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Mike Oldfield: The complete Mike Oldfield

 A l b u m   D e t a i l s


Label: Virgin Records
Released: 1985
Time:
 61:40 / 55:54
Category: Pop/Rock
Producer(s): See Artists ...
Rating: ********.. (8/10)
Media type: CD
Web address: www.mikeoldfield.org
Appears with:
Purchase date: 1996.03.01
Price in €: 16,99



 S o n g s ,   T r a c k s


Disk 1:
[1] Arrival (Benny Andersson/Björn Ulvaeus)
[2] William Tell Overture (Rossini)
[3] Cuckoo Song (Mike Oldfield)
[4] In Dulci Jubilo (R.L.Pearsall)
[5] Portsmouth (Mike Oldfield)
[6] Jungle Gardenia (Mike Oldfield)
[7] Guilty (Mike Oldfield)
[8] Blue Peter (Mike Oldfield)
[9] Waldberg [The Peak] (Mike Oldfield)
[10] Wonderful Land (Jerry Lordan)
[11] Etude - Theme from the Killing Fields [Single Version] (Francisco Tarrega)
[12] Moonlight Shadow (Mike Oldfield)
[13] Family Man (Tim Cross)
[14] Mistake (Mike Oldfield)
[15] Five Miles Out (Mike Oldfield)
[16] Crime of Passion (Mike Oldfield)
[17] To France (Mike Oldfield)
[18] Shadow on the Wall [12" Version] (Mike Oldfield)

Disk 2:
[1] Excerpt from "Ommadawn" (Mike Oldfield)
[2] Excerpt from "Tubular Bells" (Mike Oldfield)
[3] Excerpt from "Hergest Ridge" (Mike Oldfield)
[4] Excerpt from "Incantations" (Mike Oldfield)
[5] Excerpt from "The Killing Fields" (Mike Oldfield)
[6] Sheba (Mike Oldfield)
[7] Mirage (Mike Oldfield)
[8] Platinum (Mike Oldfield)
[9] Mount Teide (Mike Oldfield)

 A r t i s t s ,   P e r s o n n e l


MIKE OLDFIELD - Bass, Guitar, Keyboards, Multi Instruments, Percussion, Producer

ADAM ANT - Guitar
BARRY PALMER - Vocals
GRAEME PLEETH - Keyboards
HARALD ZUSCHRADER - Fairlight
MAGGIE REILLY - Vocals
MICKEY SIMMONDS - Keyboards
MIKE FRYE - Percussion, Drums
MORRIS PERT - Percussion, Drums
PHIL SPALDING - Bass
PIERRE MOERLEN - Percussion, Drums
RICK FENN - Bass, Guitar
ROGER CHAPMAN - Vocals
SIMON HOUSE - Violin
SIMON PHILLIPS - Drums
TIM CROSS - Keyboards
TIM RENWICK - Bass, Guitar

DAVID HENTSCHEL - Producer
DIRK HOHME - Producer
STEVEN APPLEBY - Design

 C o m m e n t s ,   N o t e s


2xLP: 1985 UK (Virgin MOC 1)
2xCD: 1985 UK (Virgin CDMOC 1)



Composer Mike Oldfield rose to fame on the success of Tubular Bells, an eerie, album-length conceptual piece employed to stunning effect in the film The Exorcist. Born May 15, 1953 in Reading, England, Oldfield began his professional career at the age of 14, forming a folk duo with his sister Sally; a year later, the siblings issued their debut LP, Sallyangie. By the age of 16, he was playing bass with Soft Machine founder Kevin Ayers' group the Whole World alongside experimental classical arranger David Bedford and avant-jazz saxophonist Lol Coxhill; within months, Oldfield was tapped to become the band's lead guitarist prior to recording the 1971 LP Shooting at the Moon.

Tubular Bells, originally dubbed Opus 1, grew out of studio time gifted by Richard Branson, who at the time was running a mail-order record retail service. After its completion, Oldfield shopped the record to a series of labels, only to meet with rejection; frustrated, Branson decided to found his own label, and in 1973 Tubular Bells became the inaugural release of Virgin Records. An atmospheric, intricate composition which fused rock and folk motifs with the structures of minimalist composition, the 49-minute instumental piece (performed on close to 30 different instruments, virtually all of them played by Oldfield himself) spent months in the Number One spot on the U.K. charts, and eventually sold over 16 million copies globally. In addition to almost singlehandedly establishing Virgin as one of the most important labels in the record industry, Tubular Bells also created a market for what would later be dubbed New Age music, and won a Grammy for Best Instrumental Composition in 1974.

The follow-up, 1974's Hergest Ridge (named after Oldfield's retreat in a remote area of Herefordshire) also proved phenomenally successful, and dislodged Tubular Bells at the top of the British chart. With 1975's Ommadawn, he explored ambient textures and world music; however, the emergence of punk left Oldfield baffled, and he retreated from sight for three years following the LP's release. He resurfaced with 1978's Incantations, which featured the single "Guilty," a nod to the disco movement; Platinum, issued a year later, kept its eye on the clubs, and featured a dance version of the Philip Glass composition "North Star." With 1980's QE 2, Oldfield moved completely away from his epic-length pieces and travelled into pop territory, a shift typified by the album's cover of ABBA's "Arrival." He continued in a pop vein for much of the 1980s, as albums like 1983's Crises, 1984's Discovery and 1987's Islands encroached further and further upon mainstream accessibility. In 1992, Oldfield teamed with producer Trevor Horn for Tubular Bells II, which returned him to the top of the U.K. charts. The Sound of Distant Earth appeared two years later, followed by a third Tubular Bells update in 1998.

Jason Ankeny, All-Music Guide
 

 L y r i c s


The Instrumental Section:

ARRIVAL

Instrumental


WILLIAM TELL OVERTURE

Instrumental


CUCKOO SONG

Instrumental


IN DULCI JUBILO

Instrumental


PORTSMOUTH

Instrumental


JUNGLE GARDENIA

Instrumental


GUILTY

Instrumental


BLUE PETER

Instrumental


WALDBERG (THE PEAK)

Instrumental


WONDERFUL LAND

Instrumental


ETUDE

(Theme From The Killing Fields)

Instrumental



The Vocal Section:

MOONLIGHT SHADOW

The last that ever she saw him,
Carried away by a moonlight shadow.
He passed on worried and warning,
Carried away by a moonlight shadow.
Lost in a riddle that Saturday night,
Far away on the other side.
He was caught in the middle of a desperate fight
And she couldn't find how to push through.

The trees that whisper in the evening,
Carried away by a moonlight shadow.
Sing a song of sorrow and grieving,
Carried away by a moonlight shadow.
All she saw was a silhouette of a gun,
Far away on the other side.
He was shot six times by a man on the run
And she couldn't find how to push through.

[ Chorus ]

I stay, I pray
See you in heaven far away.
I stay, I pray
See you in heaven one day.

Four a.m. in the morning,
Carried away by a moonlight shadow.
I watched your vision forming,
Carried away by a moonlight shadow.
Stars roll slowly in a silvery night,
Far away on the other side.
Will you come to terms with me this night,
But she couldn't find how to push through.

[ Repeat Chorus ]

Far away on the other side.

Caught in the middle of a hundred and five.
The night was heavy and the air was alive,
But she couldn't find how to push through.

Carried away by a moonlight shadow.
Carried away by a moonlight shadow.
Far away on the other side.
But she couldn't find how to push through.


FAMILY MAN

She had a sulky smile,
She took a standard pose as she presented herself.
She had sultry eyes,
She made it perfectly plain that she was his for a price.

But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."

She wore hurt surprise
As she re-checked her make-up to protect herself.
She showed less than pride,
She made it totally clear that she was his for a price.

But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!
Please just leave me alone, I'm a family man.
If you push me too far, I just might...."

She gave him her look
That would have worked on any other man in sight.
He could not mistake,
She wanted to go back with him and spend the night.

But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!
Please just leave me alone, I'm a family man.
If you push me too far, I just might...."

She turned, tossed her head and then
She started to make her final exit line.
She showed real disdain,
As if explaining again she could be his for a price.

But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."

But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."

But he said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might...."

He said, "Leave me alone, I'm a family man,
And my bark is much worse than my bite!"
He said, "Leave me alone, I'm a family man.
If you push me too far, I just might!"


MISTAKE

There was a mistake under the weather,
One shout's gonna turn into another.
It's a heartbreak under the weather,
Standing out in the cold.

Highway is frightning.
Rain hammering on your window.
I hate sheet lightning.
You reach for the telephone.

[ Chorus ]

Mistake under the weather,
One shout's gonna turn into another.
It's a heartbreak under the weather,
Standing out in the cold.

I pray for blue skies,
Rain hammering on your window.
On your way you wonder why
You're spending on your own.

[ Repeat Chorus ]

And talking on the radio,
You never know how to say
Anything's a plan that could be on your mind,
It could vanish in a tragical way.
Get lost in dreaming.
Rain hammering on your window,
Try to catch the meaning.
You're dancing on your own.

[ Repeat Chorus ]

And talking on the radio,
You never know how to say
Anything's a plan that could be on your mind,
It could vanish in a tragical way.

(Hammering)

(Meaning)

There was a mistake under the weather,
One shout's gonna turn into another.
It's a heartbreak under the weather,
Standing out in the cold.

It was a mistake under the weather,
One shout's gonna turn into another.
It's a heartbreak under the weather,
Standing out in the cold.

There was a mistake under the weather,
One shout's gonna turn into another.
It's a heartbreak under the weather,
Standing out in the cold.

It was a mistake!


FIVE MILES OUT

What do you do when your falling,
You've got 30 degrees and you're stalling out?
And it's 24 miles to your beacon;
There's a crack in the sky and the warning's out.

Don't take that dive again!
Push through that band of rain!

Five miles out,
Just hold your heading true.
Got to get your finest out.
You're Number 1, anticipating you.

Climbing out.
Just hold your heading true.
Got to get your finest out.
You're Number 1, anticipating you.

Mayday! Mayday! Mayday!
Calling all stations!
This is Golf-Mike-Oscar-Victor-Juliet
IMC CU.NIMB...icing,
In great difficulty, over.

The traffic controller is calling,
"Victor-Juliet, your identity.
I have you lost in the violent storm!
Communicate or squawk 'Emergency'!"

Don't take that dive again!
Push through that band of rain!

Lost in static, 18,
And the storm is closing in now.
Automatic, 18!
(Got to push through!) Trapped in living hell!

Your a prisoner of the dark sky,
The propeller blades are still!
And the evil eye of the hurricane's
Coming in now for the kill.

Our hope's with you,
Rider in the blue.
Welcome's waiting, we're anticipating
You'll be celebrating, when you're down and braking.

Climbing out.
(Climbing, climbing)
Five miles out.
(Climbing, climbing)

Five miles out,
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)

Five miles out,
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)

Climbing out.
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)

Five miles out,
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)

Climbing out.
Just hold your heading true.
Got to get your finest out....
(Climbing, climbing)

Climbing out.
Just hold your heading true.
Got to get your finest out....


CRIME OF PASSION

On a bright day she passed away in the morning.
It's a cruel way to take her away with no warning.
He took her hands through every midnight hour
And then saw her fading away like a spring shower.

[ Chorus ]

I can see a complete life's time,
Pictures and posters of times and fashion.
Nineteen years with no reason or rhyme
Taken away in a crime of passion.

He stood to see if he could catch her breathing
But it was no good, he understood she was leaving.
He looked outside the frosty window pane
And then he saw her moving away, Elizabeth Jane.

[ Repeat Chorus ]

I see freedom in sight, it's a long climb
But she would not give up the fight for a long time,
And I see a light come shining in tonight.
Baby, it's all right, we couldn't have changed it with second sight.

[ Repeat Chorus ]

I see freedom light shining in the night.
I see freedom but she wouldn't give up the fight.

I see a light go shining in tonight.
Baby, it's all right, we couldn't have changed it with second sight.

I see a light go shining in tonight.
Baby, it's all right, we couldn't have changed it with second sight.


TO FRANCE

Taking on water,
Sailing a restless sea
From a memory,
A fantasy.
The wind carries
Into white water,
Far from the islands.
Don't you know you're

[ Chorus ]

Never going to get to France.
Mary, Queen of Chance, will they find you?
Never going to get to France.
Could a new romance ever bind you?

Walking on foreign ground,
Like a shadow,
Roaming in far off
Territory.
Over your shoulder,
Stories unfold, you're
Searching for sanctuary.
You know you're

[ Repeat Chorus ]

I see a picture
By the lamp's flicker.
Isn't it strange how
Dreams fade and shimmer?

[ Repeat Chorus ]

I see a picture
By the lamp's flicker.
Isn't it strange how
Dreams fade and shimmer?

[ Repeat Chorus ]

Never going to get to France.
Never going to....

Never going to get to France.
Never going to....

Never going to get to France.
Never going to....


SHADOW ON THE WALL

[ Chorus ]

Shadow on the wall!
Shadow on the wall!
Shadow on the wall!
Shadow on the wall!
Like a shadow on the wall!

Treat me like a prisoner,
Treat me like a fool.
Treat me like a loser,
Use me as a tool.
Face me 'til I'm hungry,
Push me in the cold.
Treat me like a criminal,
Just a shadow on the wall!

[ Repeat Chorus ]

Treat me like I'm evil,
Freeze me 'til I'm cold.
Beat me 'til I'm feeble,
Grab me 'til I'm old.
Fry me 'til I'm tired,
Push me 'til I fall.
Treat me like a criminal,
Just a shadow on the wall!

[ Repeat Chorus ]

Shadow on the wall!
Shadow on the wall!
Like a shadow on the wall!

Shadow on the wall!
Shadow on the wall!
Like a shadow on the wall!

Shadow on the wall!
Shadow on the wall!
Like a shadow on the wall!

Shadow on the wall!
Shadow on the wall!



The Complex Section:

EXCERPT FROM OMMADAWN

Instrumental


EXCERPT FROM TUBULAR BELLS

Instrumental


EXCERPT FROM HERGEST RIDGE

Instrumental


EXCERPT FROM INCANTATIONS

Instrumental


EXCERPT FROM THE KILLING FIELDS (EVACUATION)

Instrumental




The Live Section:

SHEBA

Instrumental


MIRAGE

Instrumental


PLATINUM

Instrumental


MOUNT TEIDE

Instrumental

 M P 3   S a m p l e s


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