Mike Oldfield

Never really cared for Mike Oldfield's previous works, I enjoyed Tubular Bells the song but not the Tubular Bells album. I own "The Best of" album but wasn't really inspired enough by that to purchase any of his other albums. So when I purchased "Music of the Spheres" I felt I was taking a real chance and might not enjoy it - fortunately I was wrong. Strong melodies are supported by orchestra and choir. It's like a sound track to a movie where they used only the most beautiful and melodic pieces. This is not Tubular Bells and I highly recommend it to anyone who enjoys beautiful orchestral music.

Heard this CD while traveling on tour in the UK. I was very taken with it, and bought it when I got home.
I can't believe how well it went with the English countryside as we traveled. Now it causes me to harken back to that trip!
The music, in my opinion, is very beautiful with lots of different instrumentation and voices. There has to something everyone would love on the album.

One of the best cd's i now own. This is an Orchestral venture that is a timeless piece of music that takes you on a journey of so many emotions. I feel it is the best creation Mike has composed. I write this so that Mike Oldfield receives more of the credit he so rightfully deserves. This cd has brought us much enjoyment and

I like Oldfield, I have all of his albums including this one, but "Music Of The Spheres" is just more of the same. Oldfield has been spinning his creative wheels for over a decade now. I'd say the last Oldfield album I really enjoyed was 1994's "The Songs Of Distant Earth". Since then, Oldfield has been doing variations on the same themes with "Music Of The Spheres" being pleasant, but as another reviewer said, not innovative.

Yes, Oldfield utilizes real instruments and an orchestra and opera singer, but when it's all said and done it's not memorable. Some tracks standout more than others, and for me that moment comes in the middle of the album with "On My Heart" and "Aurora". I know I'm going to be lambasted for what I'm going to say next, but I'd really like to hear Oldfield utilize singers again and make more pop albums like "Five Miles Out", "Crises", "Discovery", "Islands" and "Earth Moving" as much as many fans would gasp in horror. It's been almost 20 years since he tried his hand at making a pop album, and I still think Oldfield excels at making good pop songs.

So, "Music Of The Spheres" is merely a rote exercise. Pleasant, inoffensive, average Oldfield. It did not excite me as some of his past work has. Good, but not above average or great.

The latest of Mike Oldfield's work is a nice addition to his collection of music, definitely would recommend buying this cd!

Mike Oldfield's third studio recording marks the end of the most creative phase of his career. "Tubular Bells" explored an aggressive and improvised world of chaos and turmoil. "Hergest Ridge" presented listeners with the genteel and serene flip side of that world. "Ommadawn" is a step outward into a much larger and all encompassing world. It combines both the energy and serenity of his first two albums, but importantly expresses itself through shifting ethnic backdrops. Oldfield is for the first time acknowledging and utilising a `world music' ethic, with Celtic influences sitting comfortably with African influences.

Many critics have seen the explosive finale to Side One as representing some form of cathartic rebirth for Oldfield, and certainly post "Ommadawn" he would enter into controversial therapies and emerge a new man in late 1978 when he returned with his fourth album "Incantations". Rather than a rebirth, "Ommadawn" almost feels like a death. Oldfield would never recapture the simple beauty and resonance of this album. Certainly he would go on to produce fine works (Incantations, Amarok, Voyager), but "Ommadawn" feels like the thematic culmination of something far grander and important, something which can only be understood with the support of his first two albums.

The sense of an end is further confirmed by "Ommadawn" being Oldfield's final album in the serene countryside of Herefordshire. Although Oldfield's albums tended to veer towards adjectives such as complex and progressive, there is still an essential child-like naivety, purity and innocence to "Ommadawn", best exemplified by the sheer playfulness of certain parts and of the beautiful folk ditty "On Horseback". On the front cover a sombre Oldfield stares out through a rainy window, there is a sense of passing, of moving on, of facing an uncertain future, and with "Ommadawn" Oldfield finally broke free from the insecurities of the past.

I simply adore Ommadawn. I have listened to it innumerable times over almost twenty years. Not only do I never tire of this wondrous creation, I find the occasional moment when I hear something within it I did not hear before. If a day comes when I feel beaten down or depressed, I can listen to the music of Mike Oldfield and bask in the joy of knowing I lived at a time in history when one of humanity's finest musicians lived, and I can find unexpressable hope in knowing I might one day be able to hear this man in person. Imagine this- Having the profound privelige of seeing Mike Oldfield perform live, and then being cryogenically frozen for thousands of years. The people of that future day will see you as amazing simply because you were afforded that opportunity. People will want to know you, and they will want to touch you. Man, imagine the babes...

Ive always loved Mike Oldfields work although his latter suff hasn't impressed me as much. This album along with Hergest Ridge and of course Tubular Bells are his masterpieces. Ommadawn is my favourite out the three, its a beautifully constructed treasure that never seems to age with time. Ive been listening to this album since I was 6 and 15 years later I still play this record religously it's that good do yourself a favour and buy it now!

Released in 1975, the haunting Ommadawn is an excellent recording and the last of the trilogy that featured album-length works including Tubular Bells (1973) and Hergest Ridge (1974). All three of these albums can be purchased in one shot with the "Boxed" package. Of the three albums, Ommadawn is a personal favorite.

Mike Oldfield is quite the multi-instrumentalist and on Ommadawn plays everything from acoustic/electric guitar, to bass, to (tons of) synthesizers (amongst other instruments), including a brief vocal passage on Ommadawn Part Two (he sings quite well). In addition to the wide range of instruments Mike plays, he is joined by Irish musician and Chieftains leader Paddy Maloney (pipes); Mike's sister Sally and Irish singer Clodagh Simmons (vocalese passages); Leslie Penning (recorder); a team of excellent African drummers (Jabula); and most notably, virtuoso Gong drummer/percussionist Pierre Moerlen. Unfortunately, Pierre is not allowed to rip it up on the kit and simply contributes percussion bits here and there. The way I see it, a full drum kit, especially when handled by a master percussionist like Pierre Moerlen, could have added another (dynamic) dimension to this recording.

This should not imply that this album is dull or one-faced. On the contrary, it is richly textured instrumental music with touches of progressive rock here and there and a great deal of traditional English folk music. I should note that although the term "world music" was used in the liner notes to describe the album, I do not feel that it is appropriate here, given the emphasis on European melodies, harmonies, and rhythms. Mike has a good handle on melodies and they are both abundant and haunting. He also knows how to put a large piece together, and the two works, including Parts One (19'14") and Two (17'17") flow along very smoothly, develop nicely, and more than hold my interest. Mike also has a sense of humor and there are (exceptionally) brief passages that are bouncier and lighter than the rest of the music, which is largely brooding and contemplative.

This remastered album was transferred using HDCD technology and the sound is incredible with deep rich bass and crisp treble. I would have liked to see more in the way of liner notes and photos, but we can't always get what we want. All in all, this is a pleasant instrumental album that is recommended along with Hergest Ridge.

I have been listening to this composition at suitable intervals for 30 years now. Many of the reviewers here sound like this is about the best thing they've ever heard. Count me in. In one effort this album established the breadth of perspective of New Age music on par with classical music. Hundreds of years from now when people want to hear only the best of our era, this work will be there. Tubular Bells is Oldfield's wonderful if playful signature composition, but Ommadawn is his masterpiece.

I personally would like to have 1% of Mike Oldfield's talent,how many people realize how much time and effort go into the concerts and albums that Mike does.All you wannabees who like to tear apart Mike, could you do it any better? Mike Oldfield is one of the last remaining musicians that puts his heart into his music.He makes his music for the fans, and because he loves the music. I haven't listened to his new upcoming release Music of the Spheres,but based on all his other GREAT works i know it will be great. Why don't you just sit back and enjoy the music, you might find some real jewels if you wouldn't pick it apart.Mike Oldfield is the most talented musician, composer,engineer,you name it, on the face of the planet,bar none, and that's the truth.

People read these reviews because they are not sure about an artist or one of their works, and are just getting interested. Let me assure anyone reading this (if you are recently interested in Mike Oldfield) that this is a beautiful CD.

The reviewers here leave a confusing picture: some haven't heard this but reviewed it anyway, others are getting it mixed up with Tubular Bells 3, which has different music on it.

I bought this CD after reading reviews here, and was not put off by the supposed fans, crying about remakes (how many times???) etc. I first got interested in MO from Tubular Bells 2, which has some striking, highly original and beautiful compositions. They ARE NOT the same as the Tubular Bells original. In fact, all of Mike Oldfield's Tubular Bells works are enough different, that you could own all of them and enjoy each separately for what it is.

Except for TB 2003, which is the grownup modern version of Mike's ideas from 1973. If this CD had no predecessor, it would be an above-par ambient-rock fusion work that would attract some notice. If Mike Oldfield decides to redo it to make it better, more power to him. Don't believe any of the tripe here that it is without soul, etc. Electronic instruments are used by everybody nowadays, from the pure guys like Ulrich Schnauss, to the major players like Alan Parsons. (Well,except for Tingstadt and Rumbel, and the Chieftains, --both of whom I like a lot--and other acoustically-committed musicians.)

To belittle the guy for wanting to make a version fit for the generations unborn, is to quarrel over territory that doesn't belong to you. That's what I think, anyway.

This is a 4.5 stars effort, rounded to 5.

When I had bought this I had ordered the original version and received this version. When I saw that it was 2003 I thought about returning it, but decided to keep it. When I first put it on I immediately noticed a difference even though I had not heard this in years. I still have the vinyl LP from the '70s! I really like this version of Tubular Bells, but I am not sure if I like it as much as the original version. The original version was done with less instruments which lends to its uniqueness. The sound quality of this version is by far better than the original due to the limitations from the source tape of the original. All in all, I am glad I kept this version, but will buy the original version also.

I've been a fan of Mike Oldfield's work since the release of "Tubular Bells" in the 1970's. Unfortunately, I think this 2003 re-recording lacks much of the spontaneity and exhuberance that made the original recording so wonderful.

All the way from the excessively fuzzy sound of the rock guitars to John Clease using his best "Fawlty Towers" voice to call out the various instruments in the Part One Finale. This version of "Tubular Bells" is just too studied; too aware of itself; too cute; too over-produced.

I'm going to continue listening to the original recording - warts and all. It's alive in a way that "Tubular Bells 2003" is not.

On this album, he is trying to re-record, as closely as possible, to the original 1973 release. Why the hell does he want to do that? If he had released this performance live, his efforts may have been more justified. I'd rather see him and his other performers try and reproduce the original album this tight instead of just hear it being redone as a CD only release.

Now, I know everybody who likes Mike Oldfield is criticizing him for re-recording and re-packaging Tubular Bells over and over, and over again these past 30 plus years. But, if it wasn't for the 1992 release of Tubular Bells II, I would have probably just let myself forget all about him. I really didn't follow Mike Oldfield's music much after Crises (1983) and The Killing Fields (1984). I didn't care for how Mike Oldfield was doing less long played projects and started to perform pop sounding ditties with other singers. Sometimes, you wouldn't know if you were listening to Mike Oldfield or ABBA. Simple pop songs like "Family Man", "To France", "Moonlight Shadow", etc. And when I saw "Discovery" (1984) and seen that it had more short pop songs with vocals, I just sort of gave up on Mike Oldfield, altogether. So I think, TB II was a smart move for Mike Oldfield to re-introduce himself to the music world. "Tubular Bells" (1973) was considered a Progressive Rock achievement back then, and so TB II of 1992 had to compete with the modern day New Age music market. I don't think TB III was a great disappointment, and I certainly I won't give it a miss either. To see it performed live now (on his very hard to find PAL region only DVD release of TB II and TB III live) actually makes me appreciate that album so much more.

And why shouldn't Mike Oldfield try and keep Tubular Bells alive? When we go to see any singer or band in concert, we are usually not too concerned about hearing some of their new material. We want to see and hear the hits, of course. Especially from bands who's past is much more glorified than where they are today.

However, If he tries to re-record this album just once more, he really should seek some therapy. I think by now, he's beat this horse enough. Please Mike, give it a rest!

For one summer, in 1993, I listened to this album religiously. It's an instrumental album, carrying the sonic motif familiar to anyone who's seen the Exorcist.

So, I slipped it back into rotation, to see if it was as good as I remembered.

For me, this album didn't ring true to my memories. I had remembered this album as inspiring, but now it seems entertaining, but also somewhat pretentious at times. Ah well...sometimes the memories matter more.

Celtic Music,West Music,Instrumental rock Music and others diferent styles in the pherphas most complete of Mike Olfield's albums.Pherphas The strongest song of the mike olfield's history is in this album(The Bell).

19 years after Mike Oldfield's groundbreaking and complex debut album he returned to drink from the well which had launched his career onto an unsuspecting public. It is easy to criticise Oldfield and record label Warners for the opportunism of this album, but one has to remember the difficulties Oldfield had endured through the late 1980's thanks to Virgin Records indifferent promotional attitude to his work. Pressured throughout the decade to follow "Tubular Bells" up Oldfield resisted Virgin's entreaty. That he eventually chose to record a follow up album for a new record label shows a clear attempt on Oldfield's part to stick two fingers up at Richard Branson et al, like "Tubular Bells" this album was an act of rebellious revenge.
Musically it is also very satisfying, polished and precise Oldfield has never struggled when it comes to producing memorable and often entrancing music. Warner's cleverly marketed the album at the emergent audience for "New Age" music that Enigma had established. The lead track "Sentinel" is a perfect evocation of Oldfield's multifarious thematic style. Certainly large swathes of the music use the "Tubular Bells" as a basis, but Oldfield often takes us on a journey heavenwards as the guitars soar and range. The major difference is the production. Trevor Horn brings a polished over produced sound that is at times clinical. The aggressive improvisation of "Tubular Bells" is not replicated and nor is the energy. Nevertheless on tracks such as "Weightless" and "Tattoo" Oldfield produces some of his most emotive and memorable music. This is an experiment that could have gone terribly wrong, but in fact it is an excellent nostalgic addition to Oldfield's fascinating body of work.

This is a fantastic musical sojourn that should not be viewed as a rehash of anything. Melodies abound. Listen and listen again.
I am a rocker and fingerstyle acoustic guitarist. Some new-age reviewers are sickeningly pompous as if their false elitism disallows recognition of good work. Again, listen to the music and enjoy. Mr. Oldfield takes us on journeys to places yet visited. Textures and virtuosity, interesting layers live here. Even the tinkling piano-based recurring theme from Bells 1 is different. If discerning reviewers cannot tell one from the other, I have some basement demos I will get to you. It must be lonely on that pedestal of vitriol.

Now, I know everybody who likes Mike Oldfield is criticizing him for re-recording and re-packaging Tubular Bells over and over, and over again these past 30 plus years. But, if it wasn't for the 1992 release of Tubular Bells II, I would have probably just let myself forget all about him. I really didn't follow Mike Oldfield's music much after Crises (1983) and The Killing Fields (1984). I didn't care for how Mike Oldfield was doing less long played projects and started to perform pop sounding ditties with other singers. Sometimes, you wouldn't know if you were listening to Mike Oldfield or ABBA, or just simply someone else. Simple pop songs like "Family Man", "To France", "Moonlight Shadow", etc. done with a female vocalist. And when I saw "Discovery" (1984) and seen that it had more short pop songs with vocals, I just sort of gave up on Mike Oldfield, altogether. So I think, TB II was a smart move for Mike Oldfield to re-introduce himself to the music world. "Tubular Bells" (1973) was considered a Progressive Rock achievement back then, and so TB II of 1992 had to compete with the modern day New Age music market. I don't think TB III was a great disappointment, and I certainly I won't give it a miss either. To see it performed live now (on his very hard to find PAL region only DVD release of "Tubular Bells II and III Live") actually makes me appreciate this album and that album so much more.

And why shouldn't Mike Oldfield try and keep Tubular Bells alive? When we go to see any singer or band in concert, we are usually not too concerned about hearing some of their new material. We want to see and hear the hits, or the pieces of music that are his claim to fame, of course. Especially from bands who's past is much more glorified than where they are today.

However, Mike Oldfield's recording of "Tubular Bells 2003" was just ridiculous! On this album, he is trying to re-record, as closely as possible, to the original 1973 release. This might have been more enjoyable if he and his other performers filmed this tight performance live before an audience. A DVD of this performance would have been much more justified than this pointless CD only release.

So, if he tries to re-record this album just once more, he really should seek some therapy. I think by now, he's beat this horse enough. Please Mike, give it a rest!

I originally(many years ago) bought this on tape,I must have let someone "borrow" it and it was never returned,and so this CD was like visiting an old friend who I had not seen for years.It is still very good and really worth listening to(unlike some of his later rubbish)

I played this recording often during a journey I made with my parents and chinese girlfriend, around south africa. My father was dying of cancer. We all loved the music - cross generational, haunting, seamless and seemingly endless - ideal for a road trip. Several years after my fathers death, I played it again. I noticed my girlfriend crying. I asked why. The music instantly returned her to that wonderful journey and reminded her of my father. Can you ever ask for more from a recording?

Mike Oldfield's range sometimes stumps listeners. His Tubular Bells series remains one of the most idiosyncratic in all of popular music, yet he's done rock (Five Miles Out), Celtic (Voyager) and this piece of Science Fiction New Age. Of all of Oldfield's work, "Songs of Distant Earth" is one of my favorites.

He ustilzed the concept of Arthur C Clarke's famous work, but eschews narrative/voiceovers and lets the music form the story. Random words and an Apollo broadcast form what "lyrics" the music has, as the album builds in a meditative way. Oldfield even coyly cops from his own work on "Tubular World," as well as from Enigma on "Hibernaculum." When the album reaches its climax on "Ascension/New Beginning," it matches the goal of Clarke's work, which was to reach unity in song and discovery. As ambient electronic music, it also soothes, relaxes and offers joy.

One of the best of the ambient genre, "Songs Of Distant Earth" accomplishes what few concept albums do. It stands on its own as a great piece of music.

Why a fool? Because I loved Tubular Bells, and because I looked no further, or asked for any more from Oldfield. I wandered on and found other great music, in Yes, Tangerine Dream, early Genesis, middle Floyd, so I wasn't deprived. But this is a **stunning** album that I could have found years ago. In 35 years of seriously listening to music I've never encountered more cathartic, enchanting and fulfilling pieces. Dang, I should become the ancient mariner and stoppeth one of three. My loss is my albatross, and this review is my atonement... You'd risk more than the cost of this album on a suspect book or over-hyped movie: treat yourself.

Words are inadequate to describe the joy and exhilaration I feel listening to this CD...Absolutely beautiful!

A wonderful eclectic compilation. A bold step for Luciano that works! Very easy listening.

the neville brothers don't belong here. they have fake voices that were made by marketing people. pavarotti has a voice trained over the years with tremendous preparation and hours and hours of classical training and lessons. it's like putting gary matthews jr. on a hitting show with ted williams. a big joke. but everyone else is great.

Pop stars with Opera singers, who would of thought. But it worls well. This CD is fun and has some wonderful proformances. Sting and Pav are very good together on Pania Angelicus. Sting is also good with Zucchero on Muoio Per TE. This CD sounds wonderful and is a must have for the fans of Pav, Sting, Kaas, May, Succhero, at all.

This is not what I expected. I only like "La donne mobile." My mom only liked "Caruso" and "Panis Angelicus." This is not like the second on or the one for Bosnia. Those rocked.

This is the first cd in the Pavarotti and Friends series which benefits charities. The wonderful thing about them, is the mix of genres. And this one is no exception. Listen to Sting sing with Pavarotti on the beautiful 'Panis Angelicus', and 'La Donna e Mobile'. Who would have thought of pairing those two together. But it works with breathtaking magic. Just look at the list of artists on this disc and the songs performed. There really is something for every taste. From operatic songs to rock. I love this series, and highly recommend them to all music lovers.

There are several absolutely gorgeous tracks on this album, including my favourite "Sunset". There are some less good too, but worth buying in my opinion,

If you're familiar with his music, then you already know how unpredictable his projects can be from one CD to the next. He is an innovator, always. Though I may not always appreciate what he's trying to do in a particular project, I always admire his genius and willingness to move through the many shades of music like a painter always experimenting with colors. Light & Shade is a 2-disc set, one titled "Light" and the other aptly "Shade." "Light" is more serene/mellow down tempo and "Shade" is filled with the more deep bass electronic style music heard in clubs. I happen to like both, but I lean more to the "Light," so I like this project from Mike. Definitely worth your time and money, especially since you're only paying the price of one. Listen to the sample tracks here and judge for yourself. But I'm still a great fan of Mike.

I have to admit there are only a few of his works I truly enjoy, The Songs of Distant Earth (VERY SOOTHING)Is by far his very best in my opinion but this one being opposite in beat is a good one to listen to whem you need a burst of energy. I just discovered him while looking around forsomething different. I am not an expert on his sound but some of his Cd's left me wondering just what was he thinking?. The older ones are far better. Take advantage of Amazon's ability to listen to music. Listen to this one before taking anyone else's word on what you may or not may like, You just might find it is better than the reviewer who compaired him to Picaso say's it is!

After reading the reviews below, I can only conclude that Mr. Kinkaid was listening to the same album I was, and everyone else something completely different. I found the whole two albums to be even more bland than Tres Lunas, and IT was elevator music with the exception of a few tracks. Understand, Mike Oldfield has delighted me for more than 35 years with awesome innovation in styles and inspired virtuosity in performance. This last album contains none of either. I, too, am sad to see the passing of a musical genius into mediocrity.

I just thought I mention that the CD I got is in an interesting format. My audio CD player is happy with it, but my computer will only play some tracks using software on the CD. And I cannot locate the equivalent of the "play all" button, so I have to restart the player for each track. I suppose I can bypass this somehow, but why should I have to? It's 2am and I just want to listen to the music.
The software in question allows the user (according to the help files) modify the mix of the music and then store the resultant music to play back later on. I cannot comment on this feature since I am not too interested in mixing music, although a quick run through did not turn up any problems.
The music is OK for Mike Oldfield, but is not similar to Tubular Bells, Hergest Ridge, or Ommadawn. It more like his later, shorter, pieces.

It was always going to be a challenge for young musician Mike Oldfield to follow up the astonishing critical and commerical success of his debut album "Tubular Bells." Unprepared for the limelight of the media circus, the shy and introverted Oldfield headed for the calm and serenity of the Herefordshire countryside. Here he conceived his second album, one whose peaceful pastoral elegance would be overlooked by music critics who had disapproved of Oldfield's unwillingness to play the media game. "Hergest Ridge" was thus unfairly dismissed as the weaker progeny of "Tubular Bells", a dull sequel, much the same thing, but less inspired.

"Hergest Ridge" instead is a subtle piece, a technical improvement on "Tubular Bells", with the rough edges of the latter smoothed over. It is less tough; less rushed, with an elegiac timeless feel, a wonderful winter landscape unsullied by the smog and chaos of the city. Having been born and lived in Hereford for 25 years, the lightly shift tonalities of mood and theme; tell of a familiar space to me, one in which stasis is celebrated, and in which change and innovation is viewed with ambivalence. Herefordshire is a county in which progress is slow and "Hergest Ridge" seems to capture the beauty of this static world, whilst avoiding and leaving unarticulated the resultant frustrations that come with such an attitude.

Oldfield constructed for himself a self contained world, one which the artwork on the album cover reflects perfectly. In an age of speed, technology and intense media attention this album is an excellent antidote and reminder of the musical beauty that can be inspired by landscapes we take for granted. The reputation of "Hergest Ridge" has steadily increased over the years, it now enjoys a place outside the shadow of "Tubular Bells", a place of open rolling fields, a place of joyful naivety and innocence and beautiful blue winter skies.

Much of the same thing as the previous, but much less inventive or invocative. Nice for fans of Mike, maybe a must. I was dissapointed, manly because I KNOW Mike Oldfield could do better. However, I do like the album and listen to it often, just NOT as often.

The thing about Oldfield is how different his music is from other popular music. Not being a trained musician it's hard for me to articulate but I'll try. Orchestral and sweeping with distinct movements, the music communicates emotion and thoughts without lyrics. I don't know where Hergest Ridge is, but I've traveled there with Oldfields help. A great work of art, and one that finds more inspiration in Bach than Elvis Presley.

I once read that the Moody Blues were the Sistine Chapel of popular music but Oldfield is more deserving of that comparison.

Herbgest Ridge, Ommadawn and the Origional Tubular Bells Hybrid, are the best of Mike Oldfield.

I can't believe how long it took me to branch out further into Mike Oldfield's back catalogue than 'Tubular Bells', especially after finally hearing 'Hergest Ridge'. It is comparable in pretty much no way at all to his classic debut, other than the two-part format, as it sees him in a very much more subtle musical mood than before. Gone are the quick shifts from section to section, replaced by a very conscious intention to smooth the edges out, to develop one section into another rather than merely switching them in an instant, regardless of the instrumentation involved. The result is a very soothing listen indeed. From the almost impossibly quiet introduction, it builds in density of sound, adding flutes, synth and orchestral instruments that have been constructed in such a way that it is not easy to audibly pick them apart from each other. In terms of genre it's a largely folkish affair, albeit a very grand interpretation. Writing 'Hergest Ridge', he seems to have paid more attention to using chord sequences as a mode for the progression of the long piece, and since he succeeds very well it gives the listener the sense that this is better written than its predecessor. It feels like a more controlled composition. The man certainly had a feeling for the right chords to use, and it is at its most beautiful when the piece strips away to leave only his acoustic guitar. One particular highlight is the climax of part one when the lead electric guitar towers over the dense, lush orchestral harmonies, as if it were leading a charge of sweeping melody.

'Hergest Ridge' is probably just as good as 'Tubular Bells', really, it just forfeits the musical immediacy of his debut in favour of a subtler, more considered approach. It works as a slow-evolving faux-classical piece as well as a 'prog rock' piece, which, upon reflection, is very well indeed

Those of you that don't get it, the title stands for the ocean liner by that name from the early 1980's when the vinyl version came out. And this CD is of a distinct British Flavor with several tracks. Overall I think this CD is much better than the one I just reviewed called "Platinum". From the sounds of what could be a Gypsy camp to the sounds of Old England, a good CD!

This is Mike Oldfield's best album. I've loved it since I had it on LP. Sheba alone knocks me out. One of the pieces borrows from Mozart. The original Tubular bells is a close second. His Best:
1. QE2
2. Tubular Bells
3. Crises
4. Hergest Ridge
5. Platinum.
A lot of his other stuff is uninteresting. Crisis has 3 great vocal songs by Maggie Riley and Jon Anderson. Hergest Ridge copies Tubular Bells style of long pieces constantly changing.

Sounds like instrumental progressive rock. Sound throught the album is a little bit thin but otherwise production work is very fine and I like those real horns (which were replaced by synths in next album).

One thing bugs me in this album: I don't personally like idea of Mike covering Abba & Shadows. I think those cover songs should have been published as singles. Albums should have Mike's own stuff or traditionals. However, Mike's versions of these songs are very fine. Shadows responded to Mike by covering Moonlight Shadow some years later.

Just like two other instrumental albums relased in 1980 (namely Tangerine Dream's Tangram and Jarre's Magnetic Fields) this albums features vocoder. That's OK, since I've always been a fan of vocoder sound.

Mike's own compositions are nice. The highlights are title track and Celt. Title track QE2 is one of my favorite songs. The second half of it has so catchy melody and sound...
Also the second half of Taurus I is funny.

Often good music is not commercially so succesful but
this album reached no.1 spot in German album charts. Nice.

"Qe2" came out between the rocking "platinum" and more complex "Five miles out".it could be heard that he is searching for more natural sounds.there is only little left from clear and crispy production of "platinum" - the production is different and the whole album has a bit darker sound than other albums.
"Taurus I" is a real gem from here - a 10 minutes long complex track with a lot of celtic motives and great Vocoder tricks.Mike's guitar and synths are outstanding.

"qe2","Sheba","Wonderful land","Arrival" and "Molly" are very positive and cheerful tracks.only "Mirage" and loud "Conflict" have that bit of Madness and darkness in them.
"QE2" is another great work from Mike Oldfield that should not dissapoint any of his fans.his mixture of distorted guitars,synths,celtic music and progressive rock didn't grew old up to now.a must have album!

This is INCREDIBLE music, I still listen to it 20 years after it was released. It's hard to find the words to describe the feeelings this music conveys. While providing us with a handful of great instruments (harps, african drums, mandolin, tambourine ..), Mike Oldfield seems to find his celtic roots back. With Voyager, it is certainly the most celtic of his records, though you can't really classify this kind of music. I do enjoy the mixture of happy, energetic tracks (Celt) and sad, rather short ones (Molly). This is probably one of Oldfield's most underrated records. I can't help but thinking the 80ties were Mike's best period, and that nothing (and certainly not The millenium bell or Tres Lunas) will ever resemble Five miles out or Discovery ..

I originally(many years ago) bought this on tape,I must have let someone "borrow" it and it was never returned,and so this CD was like visiting an old friend who I had not seen for years.It is still very good and really worth listening to(unlike some of his later rubbish)

I played this recording often during a journey I made with my parents and chinese girlfriend, around south africa. My father was dying of cancer. We all loved the music - cross generational, haunting, seamless and seemingly endless - ideal for a road trip. Several years after my fathers death, I played it again. I noticed my girlfriend crying. I asked why. The music instantly returned her to that wonderful journey and reminded her of my father. Can you ever ask for more from a recording?

Mike Oldfield's range sometimes stumps listeners. His Tubular Bells series remains one of the most idiosyncratic in all of popular music, yet he's done rock (Five Miles Out), Celtic (Voyager) and this piece of Science Fiction New Age. Of all of Oldfield's work, "Songs of Distant Earth" is one of my favorites.

He ustilzed the concept of Arthur C Clarke's famous work, but eschews narrative/voiceovers and lets the music form the story. Random words and an Apollo broadcast form what "lyrics" the music has, as the album builds in a meditative way. Oldfield even coyly cops from his own work on "Tubular World," as well as from Enigma on "Hibernaculum." When the album reaches its climax on "Ascension/New Beginning," it matches the goal of Clarke's work, which was to reach unity in song and discovery. As ambient electronic music, it also soothes, relaxes and offers joy.

One of the best of the ambient genre, "Songs Of Distant Earth" accomplishes what few concept albums do. It stands on its own as a great piece of music.

Why a fool? Because I loved Tubular Bells, and because I looked no further, or asked for any more from Oldfield. I wandered on and found other great music, in Yes, Tangerine Dream, early Genesis, middle Floyd, so I wasn't deprived. But this is a **stunning** album that I could have found years ago. In 35 years of seriously listening to music I've never encountered more cathartic, enchanting and fulfilling pieces. Dang, I should become the ancient mariner and stoppeth one of three. My loss is my albatross, and this review is my atonement... You'd risk more than the cost of this album on a suspect book or over-hyped movie: treat yourself.

Words are inadequate to describe the joy and exhilaration I feel listening to this CD...Absolutely beautiful!