SALLY OLDFIELD

With no real showstoppers, the most frustrating aspect is how even a 9+ minute version of her first and biggest hit "Mirrors" can't oblige long time listeners with a single iteration of a verse or chorus with which to connect the dots. The best piece here is the self referential "Bird of Paradise", followed by the title cut that was done just as well in fewer minutes on "Secret Songs". It's telling and perhaps comforting that her only works to punctuate the last 25 years are in the form of compilations and remixes, so her luminescence hasn't been obscured by too many late career moves that have plagued lesser artists of a certain age.

"Secret Songs" would set up her final phase to date, a blend of all those influences with her own and invited wizardry, and even presage the rebirth of her only hit as a dance floor smash, but more about that later. She does so without resorting to yet more high-heeled renditions of early triumphs. I suppose it's still kitschy, which keeps me from rounding up to 4 stars, but tracks like the mesmerizing "Warm Wind on the Wasteland", "Flaming Star", the Celtically triumphant "Ohureo", and the reasonably high standards of most of the rest oblige me to recommend that the collection lose its "bubbling under" status already.

Even on the opener, with all its technological flare, the percussion and shout-chanted vocals seem to correct the errors of the prior two or three releases, with even her silky voice on the rise. The dreamy ballad "Natasha" is by several accounts an ode to herself as she is sometimes known by this name, perhaps a clever alteration of her middle name "Patricia". "Clear Light" is a trance like brief incantation, so by the time we get to the ripoff of a tune from her first album, it's obvious that at least some of what's here is in the same league.

Slipping in at just under 3.5 stars, "Natasha" is a mature effort that suggests this experienced singer, songwriter and musician has found inspiration in sincere self reflection.

"Instinct" isn't a whole lot different from its predecessor "Femme" in its polished production and arrangements, though perhaps with a tad less backbone, a possible consequence of Oldfield ceding many of the songwriting credits to others. The very good but hardly a near classic "House of Silence" is a credible cross between CHRIS DE BURGH and LOREENA MCKENNITT, while "Oleanders" reflects a path she might have followed to greater recognition. Most of the rest is forgettable synth pop blessed with a voice that deserves better, even on the collaboration with JUSTIN HAYWARD. If Sally had only trusted her instincts, which works better in art than in real life, what might have been?

'Mirrors' was a successful debut single: it peaked at #19 in the UK Singles Chart and remained in that chart for thirteen weeks. I don't remember hearing it on the Finnish radio (perhaps it was played but I was just too young to pay attention), but the album was a bit later often seen in second hand record shops -- whether a good or a bad sign --, and I have also come across the song on various artists compilations. 'Mirrors' is a joyful, Celtic-flavoured celebration of life. In addition to her crystal-clear vocals that flow like honey, the bright soundscape leans strongly on glockenspiel and other percussion. It's adequate to compare the song to the light, folk-oriented recordings that Mike had done amidst his epic albums, as well as to the certain arrangement details on Hergest Ridge and Ommadawn.

'Night of the Hunter's Moon' has a lot in common with 'Mirrors', but also notable differences. In the place of open- hearted joy there's a sense of nocturnal adventure. The arrangement is more varied, perhaps slightly patchy here and there. Mandolin and Moog bass, both played by Sally, are very central in the sound. Whether referring to the whole album or to this single, such a good introduction of this all too forgotten artist.

Great vocals, great harmonies, great overall atmosphere, great musicianship, great production.

It's insane to think that she did this album all by herself. The instruments, the vocals, the production. For a debut album this is insanely good.

The music crosses different syles: new age, worldmusic, folkmusic and progressive rock (sans the rock).

What haunts me the most on this album, isn't just the beautiful vocals and the nice instrumentation, but the warmth of the production and how the themes just flow into eachother. There's a lot going on, but it never is chaotic.

This is the only album of Sally I know, but I will surely check out the rest of her. This is an absolute must-have for progfans and musicfans worldwide.

The songs are very lyrical and not very complex. I'd actually put this in the "New Age" category with a subcategory of Crossover Prog: I think of this album in the same way that I think of Enya's music. Ethereal, very pretty. Not a lot of "prog" substance here, but it's quite nice.

A while back, I though I'd revisit Sally Oldfield and listen to the rest of her catalog. Unfortunately, my experience seems to mirror that of others' on this site, judging by the quick falloff in the number of ratings after Water Bearer. Her voice, which sounds light and ethereal on this recording, gets old very quickly on every subsequent release, especially when she lowers her register and starts to imitate Kate Bush?unsuccessfully.

However, on Water Bearer she's singing much higher in her range, which works for her well. It's too bad Sally Oldfield started relying on so much fast vibrato on later recordings, as if she and her brother were imitating each other's style: her with vocal vibrato, and Mike Oldfield with lead guitar vibrato. In Mike's playing, it works for me. In Sally Oldfield's singing, it does not.

However, here on Water Bearer she's allowing herself to sing a lot of clear notes in a high register, which gives her a very pure and listenable tone.

Musically she seems to be influenced a lot here by her brother's ostinato repeating patterns as well, which gives the music a very familiar quality that helps. I think that's why this album is the one people gravitate to. On later albums, the songwriting seems a lot weaker and closer to pop. Unfortunately, Sally Oldfield didn't have the songwriting, singing or musical style to fit into a pop idiom.

Bottom line: stick with Water Bearer, and enjoy. But beware: some recent remastered releases chopped the album down from around 45 minutes to well under 40, for some reason I cannot fathom. Avoid those like the plague. The sonic improvements from the remastering (which are present, but aren't huge) are not worth sacrificing half or more of several of the songs.