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MIKE OLDFIELD

Crossover Prog • United Kingdom


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Mike Oldfield biography
Born in 1953 in Reading, England, Mike OLDFIELD took up the guitar at seven and was composing instrumental pieces by age 10. With his sister Sally, he secured a record deal under the name SALLYANGIE and released the folkish album "Children of the Sun" in 1968. He then landed a position playing first bass and later guitar with WHOLE WORLD, led by ex-SOFT MACHINE co-founder Kevin Ayers. During the next few years he also served as a studio musician at Abbey Road, where he experimented with a wide range of instruments. He gradually built up a home studio and began working on a large-scale project, playing all of the parts himself. This was the prototype for "Tubular Bells", but OLDFIELD had no success generating label interest until he met with future Virgin Records founders Simon Draper and Richard Branson. They loved his ideas and gave him plenty of freedom to record in their state-of-the-art The Manor studio, and ended up releasing "Tubular Bells" on their brand new label when no other record company showed interest. The record shot to first place in the UK and elsewhere, attracting the attention of director William Friedkin, whose use of the intro segment in "The Exorcist" generated widespread recognition (OLDFIELD was not pleased by the association, however).

Retreating from his newfound celebrity, OLDFIELD recorded several more critically acclaimed albums, similar in scope and approach but constantly developing new instrumental and compositional skills. In 1979 his single "Guilty" showed that shorter vocal-based pieces and more recent music styles were beginning to creep into his work; he also returned to touring in 1979 after undergoing therapy to combat his reclusive, solitary tendencies. His work in the 80s included such far-ranging releases as "Crises" (including vocals by Jon ANDERSON), the soundtrack to the film "The Killing Fields", and a song called "Family Man" which became a hit for HALL & OATES. Known for consistently offering a visual spectacular in his live performances, he also developed an interest in video artistry, including a video album called "Wind Chimes". The 90s saw a return to longer symphonic-style works, including "Amarok" and "Tubular Bells II", for which he departed the increasingly commercial Virgin Records for the smaller WEA label. His "Songs of Distant Earth" album was the first CD ever to include CD-ROM content, as well as album notes by legendary sci-fi author Arthur C. Clarke. "Voyager" showed his appreciation f...
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Tubular BellsTubular Bells
Remastered · Extra tracks · Import
Mercury UK 2009
Audio CD$3.47
$6.18 (used)
Man on the RocksMan on the Rocks
Mercury 2014
Audio CD$11.46
$10.60 (used)
CrisesCrises
Import
Universal I.S. 2013
Audio CD$14.64
$18.69 (used)
Tubular Bells, IITubular Bells, II
Reprise Records 2011
Audio CD$12.29
$0.01 (used)
IncantationsIncantations
CD+DVD · Import
Universal UK 2011
Audio CD$12.46
$18.55 (used)
Two Sides: The Very Best of Mike OldfieldTwo Sides: The Very Best of Mike Oldfield
Hip-O Records 2012
Audio CD$6.01
$5.05 (used)
Five Miles OutFive Miles Out
Import
Universal UK 2013
Audio CD$14.93
$8.99 (used)
Songs of Distant EarthSongs of Distant Earth
Import
Warner Spec. Mkt. UK 2008
Audio CD$2.68
$0.82 (used)
Tubular Bells: LimitedTubular Bells: Limited
Limited Edition · Super Audio CD - DSD · Import
Imports 2014
Audio CD$28.18
$60.79 (used)
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MIKE OLDFIELD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

MIKE OLDFIELD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.06 | 836 ratings
Tubular Bells
1973
3.92 | 414 ratings
Hergest Ridge
1974
2.48 | 137 ratings
The Orchestral Tubular Bells
1975
4.34 | 943 ratings
Ommadawn
1975
3.90 | 320 ratings
Incantations
1978
3.09 | 207 ratings
Platinum
1979
3.47 | 218 ratings
Q.E.2
1980
3.67 | 259 ratings
Five Miles Out
1982
3.40 | 307 ratings
Crises
1983
2.70 | 178 ratings
Discovery
1984
2.64 | 107 ratings
The Killing Fields
1984
2.58 | 152 ratings
Islands
1987
2.02 | 127 ratings
Earth Moving
1989
4.07 | 436 ratings
Amarok
1990
2.51 | 137 ratings
Heaven's Open
1991
3.57 | 219 ratings
Tubular Bells II
1992
3.75 | 228 ratings
The Songs of Distant Earth
1994
3.07 | 165 ratings
Voyager
1996
3.38 | 158 ratings
Tubular Bells III
1998
2.94 | 132 ratings
Guitars
1999
2.29 | 107 ratings
The Millenium Bell
1999
2.46 | 110 ratings
Tr3s Lunas
2002
3.73 | 157 ratings
Tubular Bells 2003
2003
2.79 | 112 ratings
Light + Shade
2005
3.00 | 136 ratings
Music of the Spheres
2008
3.42 | 113 ratings
Man On The Rocks
2014

MIKE OLDFIELD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.71 | 64 ratings
Exposed
1979

MIKE OLDFIELD Videos (DVD, Blu-ray, VHS etc)

3.86 | 28 ratings
Tubular Bells II & III Live (DVD)
1999
2.46 | 32 ratings
The Art In Heaven Concert Live In Berlin (DVD)
2000
4.45 | 11 ratings
DVD Collection
2003
3.09 | 22 ratings
Elements - The Best Of (DVD)
2004
3.75 | 28 ratings
Exposed
2005
4.40 | 58 ratings
Live At Montreux 1981
2006

MIKE OLDFIELD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.75 | 36 ratings
Mike Oldfield - Boxed
1976
3.57 | 11 ratings
Airborn
1980
3.00 | 4 ratings
Impressions
1980
2.98 | 8 ratings
Music Wonderland
1981
3.69 | 31 ratings
The Complete Mike Oldfield
1985
3.17 | 4 ratings
Collector's Edition Box I
1990
3.11 | 6 ratings
Collector's Edition Box II
1990
2.49 | 23 ratings
Elements: The Best of Mike Oldfield
1993
2.93 | 13 ratings
Elements: 1973-1991
1993
2.63 | 13 ratings
XXV - The Essential Mike Oldfield
1997
2.06 | 9 ratings
The Best Of Tubular Bells
2001
2.83 | 6 ratings
The Mike Oldfield Collection
2002
2.56 | 7 ratings
The Complete Tubular Bells
2003
2.48 | 13 ratings
The Platinum Collection
2006
4.00 | 8 ratings
Two Sides: The Very Best of Mike Oldfield
2012
3.14 | 7 ratings
Tubular Beats
2013

MIKE OLDFIELD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.00 | 2 ratings
Tubular Bells
1974
2.00 | 1 ratings
In Dulci Jubilo
1975
2.00 | 1 ratings
Don Alfonso
1975
2.00 | 1 ratings
Don Alfonso (German Version)
1975
4.00 | 3 ratings
Portsmouth
1976
2.50 | 2 ratings
William Tell Overture
1976
2.00 | 1 ratings
Cuckoo Song
1977
2.00 | 1 ratings
Take 4
1978
3.50 | 2 ratings
Guilty
1979
2.50 | 2 ratings
Blue Peter
1979
2.00 | 1 ratings
Extract From Tubular Bells (live)
1979
2.00 | 1 ratings
Arrival
1980
2.00 | 1 ratings
Wonderful Land
1981
2.00 | 1 ratings
Five Miles Out
1982
2.00 | 1 ratings
Family Man
1982
2.15 | 7 ratings
Mistake
1982
3.11 | 9 ratings
Shadow on the Wall
1983
3.67 | 3 ratings
To France
1984
3.93 | 12 ratings
Pictures in the Dark
1985
3.26 | 10 ratings
Shine
1986
1.71 | 7 ratings
Innocent
1989
2.17 | 6 ratings
Tattoo
1992

MIKE OLDFIELD Reviews


Showing last 10 reviews only
 Crises by OLDFIELD, MIKE album cover Studio Album, 1983
3.40 | 307 ratings

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Crises
Mike Oldfield Crossover Prog

Review by TCat
Prog Reviewer

3 stars This album is an attempt to help broaden Mike Oldfield's listening audience. It is made up of one side of short, mostly vocal songs (on my copy there are 6) and one side is one long track, mostly instrumental.

The short songs are mostly decent, a few of them poppy but not too overwhelmingly cloying. Apparently "Moonlight Shadow" was a big hit in some countries and it sounds like a song that would have been a hit in the 80s. "Mistake" is another song in the same vein but only available on the North America version and it could have easily been another hit. One of the songs on this side has Jon Anderson from "Yes" doing a guest vocal. Jon shares writing credit with Mike on this song "In High Places" and it is one of the best vocal tracks on any of Mike Oldfield's albums, especially once the full instrumentation comes in. There is one instrumental song called "Taurus 3" which highlights some amazing acoustic and electric guitar work, but alas it is too short. Roger Chapman also guests on one of the vocals, but the song is quite underwhelming and probably the worst track on the album. Not a lot of interesting stuff, but at least it is well produced and the sound is great, so that helps make up for a lot.

Of course, the best track is the side-long title track "Crises". This is mostly instrumental except for a few mostly unnecessary vocals by Mike himself. Not a bad singer though, so I don't know what he didn't sing more, probably to concentrate on what he does best, instrumentation. "Crises" has everything in it that he is famous for, great instrumentation, composition, mood and meter changes, a very nice balance of sound and instruments with interesting rhythm throughout. I don't feel that there is a returning melody on this track which is fine, it is probably more of a continuous suite than anything, and it stays consistently good throughout the entire twenty minutes that it plays. This track is as good as anything essential that he has released including "Ommadawn", "Tubular Bells", or "Hergest Ridge".

The more pop oriented songs bring the essential-ness of the album down, but at least there is enough variety among the short songs to keep it all interesting. After the popularity of this album, Mike will release a follow up album to try to copy it's success named "Discovery". That album unfortunately fails in most every aspect because of poor production and sound quality and all uninteresting pop songs except for only one 12 minute instrumental. "Crises" proves that the mix of pop and prog can work where in contrast "The Discovery" shows you how to do it all wrong. If you have a choice, look for "Crises" as the better album. But if you are interested in what Mike's essential albums sound like, get one or more of the 3 essential recordings that I mentioned in the previous paragraph. As for this album, I consider it good but not essential. 3 stars.

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 Discovery by OLDFIELD, MIKE album cover Studio Album, 1984
2.70 | 178 ratings

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Discovery
Mike Oldfield Crossover Prog

Review by TCat
Prog Reviewer

1 stars I can't say that I've heard every Mike Oldfield album, but I have heard the ones that are essential and own a few to them. But I can say for sure that this is the worst one I have heard. It's not simply for the fact that it has pop tracks (7 out of 8) with vocals and only one track that can be considered progressive. It is because the pop tracks are so uninteresting and cheesy. I can understand the attempt to get a bigger following, using pop to get more people to listen to your better music. Frank Zappa and many others have done that and were successful. But you have to have something appealing in your music that will persuade the masses to dig deeper into your discography, and this album simply does not do this.

Now, the singing isn't too bad, but it is quite standard fare, and that is surprising considering that half of the vocals are by the lead singer from Triumverat. But it sounds like he is not convinced about the music. The only vocal track worth listening to is "To France" which is the first track, and the only reason it is any good is because there is at least a short instrumental interlude that is interesting. The rest of the songs featuring vocals are just bad. The production here doesn't help either. Even though I am not a fan of pop in most cases, even people that listen to radio friendly music expect better sound and lyrics. Nothing here is really that appealing.

However, the one progressive track "The Lake" is more like the Mike Oldfield that most of us are familiar with. Completely instrumental and progressive with changing meters, tempos, great development, it has what you come to expect from this genius. This is where his talent resides and this is where he shines. It is also the only reason to look for this album, but he has so many other great albums that are full of great sounds and compositions that one 12 minute track may have a hard time convincing me that it is worth purchasing an entire album. I bought the vinyl for 50 cents so I wasn't out much and "The Lake" is definitely worth that much. So you decide if it is worth it to you. As far as I'm concerned it is a poor album that only completionists need to track down if they really just have to have everything he recorded. 1 star.

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 Hergest Ridge by OLDFIELD, MIKE album cover Studio Album, 1974
3.92 | 414 ratings

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Hergest Ridge
Mike Oldfield Crossover Prog

Review by apps79
Special Collaborator Neo Prog Team

3 stars ''Tubular bells'' was one of the best selling music products in the UK, over 2,500,000 copies were bought by the public, while the main theme of the album became the soundtrack of the horror film ''The excorcist''.Oldfield was not quite comfortable with this sudden popularity and relocated to the English countryside, near Kington in Herefordshire.1974 sees him participating on Robert Wyatt's album ''Rock bottom'', while he had already started working on a second album.During the spring of 1974 he returned to The Manor Studios and recorded ''Hergest ridge'', named after a hill near his house and close to the England-Wales borders.The album was released in August on Virgin and features drummer Chili Charles, Lindsay Cooper and June Whiting on oboe, Clodagh Simonds (from Mellow Candle) and Sally Oldfield on vocals, Ted Hobart on trumpet and David Bedford as the strings&choir conductor.Mike Oldfield plays acoustic and electric guitars, different organs and percussion and mandolin on the album.

Oldfield was not enthusiastic about his star rising, but at the same time he was not ready to abandon the long and atmosphertic music forms as presented on ''Tubular bells''.As a consequence ''Hergest ridge'' was yet another attempt on refined Orchestral Prog Rock with spacey, symphonic and pronounced British Folk flavors, split in two parts, each lasting a bit over or under 20 minutes long.The music is mostly instrumental and listening to the first part you can just admire the genius and talent of this young English composer and multi-instrumentalist.The material passes through various orchestrations, which combine Modern Classical Music with British Folk, but the cosmic grooves of ''Tubular bells'' along with the soft electric melodies are alive and kicking in this track as well.The mood is airy, pleasant and ethereal, the orchestrations with the wind instruments and string parts are beautiful, so are the rural soundscapes created by Oldfield via his acoustic guitar and the light organ parts.Charming instrumental delivery, which says farewell with a cinematic choir and Olfield's bells and recorders.As expected the second part shows no significant stylistic differences compared to the first, the music has still a strong Folk touch, but the opening minutes offer female vocals and mandolin next to the smooth electric guitars, while from the middle part begins an innovative instrumental section with guitar distortions fused with electronics and orchestral effects.Really fascinating and genuine music before the outro, which is an acoustic one with recorders, choirs and symphonic keyboards in an almost Celtic-like and grandiose melody.

Pretty great work of dreamy Progressive Rock fused with strong Folk melodies and Classical sections.Strongly recommended, especially if you love also the works of STEVE HACKETT, GORDON GILTRAP or ANTHONY PHILLIPS...3.5 stars.

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 Tubular Bells 2003 by OLDFIELD, MIKE album cover Studio Album, 2003
3.73 | 157 ratings

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Tubular Bells 2003
Mike Oldfield Crossover Prog

Review by madcap68

5 stars My 5 stars go to the DVD-Audio version of this remake and then to the high-definition surround version. If you're into surround sound, adventurous surround, that is, this is a must have! I know many listeners don't like this aggresive approach of mixing ("making my head spin...") but for me it's "if you make it surround than really use those 5 (5.1 actually) channels". And that's what they've really done here. For example, the sailor's hornpipe start scircling around you faster and faster as the melody accelerates. The whole album is packed with such effects. If you're a straight stereohead, you'll surely hate those guitar solos starting on the front left speaker and then zigging away to the back right...

As for the music, it's basically the gold old Tubular Bells, which Mike wanted to re-record without those mistakes in the old rushed recording (which I never noticed anyway, but I really tend to listen with the heart and belly and not so much with an analytic mind...). So, whenever he could remember how he did something, he reproduced it faithfully (without those wrong notes, of course).

When you can't get a grib on the - as it seems - long-cancelled DVD-Audio (which is getting more and more expensive as a second-hand item) look out for the "Mike Oldfield DVD Collection" which includes the DVD-Audio. And thus you might get it much cheaper with two bonus DVDs (that aren't that good, but we fans don't mind having them, do we?) than only the DVD-Audio.

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 Man On The Rocks by OLDFIELD, MIKE album cover Studio Album, 2014
3.42 | 113 ratings

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Man On The Rocks
Mike Oldfield Crossover Prog

Review by tszirmay
Special Collaborator Crossover Team

4 stars I frankly will again acquire the fulminating rage from prog purists, those extremist fundamentalists who will always jump on the "easy way out bandwagon" to bash the progressive rock elite. While I do not like the poppier style espoused by some of the golden era stalwarts, the commercial Genesis and the lame recent Yes come to mind, it is always due to a lack of chops that drive me bananas. How a mega drum maestro like Alan White can become so sappy and tepid, is beyond my understanding and yields nothing but contempt.

Mike Oldfield needs no introduction, pretty much releasing material since his Tubular Bells debut, a career that spans over 41 years. Some early fans have not digested kindly his decision to delve into other forms, interjecting his TB sequels with some more accessible material, a trend that began with the tongue in cheek single "Punkadiddle", showing a gifted musician unafraid of change and whimsy. Willing to take risks and eat crow if necessary. Undeniably there have been early masterpieces and then some more along the way ( "Amarok", "Songs from Distant Earth"), a few misunderstood albums that I particularly enjoy for their freshness and melodies such as the evil "Earth Moving", the Celtic-tinged "Voyager" and the thrilling "Light & Shade", panned and even crucified by most prog fans as drivel-pap. Well, in such a long and storied career, there will be some duds, or at the very least, unsatisfying albums that just don't have any pull. They are in my humble opinion, "The Millenium Bell", "Tres Lunas", "Heaven's Open", "Islands" and the classical "Music of the Spheres".

So what does the deluxe 2 CD version of "Man on the Rocks" have to offer? A return to quality that becomes apparent when listening to the instrumental CD, the brisk freshness of the sound, with the organic bass from the mighty and legendary Leland Sklar (his bass lead on Billy Cobham's Stratus remains a mythical fixture) and the cannon-fire drumming of John Robinson giving Mike all the leverage needed to instill a massive and yet pristine sound that serves little interest in reformulating past glories but forging ahead in simpler horizons (the man already has a PhD in complexity, no?). To go from the vocal to the instrumental versions really gives the dynamics a serious address, a clever little concept , something Oldfield had done on Light + Shade with the U-Myx option open to fans to alter the sound of the tracks to their own preferences.

"Sailing" is one of those crafty songs that you flippantly dismiss as 'pop-pap' and then find yourself humming it without restraint for the next few weeks, hooked, lined and sinkered! It's a sunny, breezy, tropically-tinged and relaxing song expertly delivered by Luke Spiller, a muscular voice that has oomph, power and tons of drama, which is already eliciting comparisons to the great Queen Fredo of Mercury! But when you partake in the instrumental version, it almost feels like country song with serious progressive tendencies, guitars flipping around all over the place.

"Moonshine" is a continuation of sorts, as it the peppier tendencies become now a tad more proggy, though the Spiller lead vocal is straight forward, uniquely intertwined with the whopping melody, a bar room pub anthem if I ever heard one and appropriately titled. One can imagine pub patrons all singing the chorus in harmony, raising another pint of delicious tepid brew and swinging to the marching lilt. Oldfield does one of his patented bagpipe toned guitar licks to seal the deal. Totally memorable! Without the massive anthemic voice, the vocal-less version becomes even more phenomenal, as if belonging to some movie soundtrack, the slippery electric guitar now becoming the main focus.

The title track is a flat-out monster, "Man on the Rocks" being a clever play on marital situation (Mike is going through another divorce!) but the mood and spirit is phenomenal. Spiller emotes gently, yet confidently on the microphone, fueled by a glorious hymn and symphonic bombast. The double chorus is mesmerizing, as it elevates the swell of emotion and instills the sense of celestial eternity. The energy just keeps torqueing forward, revving at optimum speed and maximum acceleration, with a whopping guitar break to send this into the stratosphere. Spiller really gets heavy towards the end, hurling his desperate words, backing vocals in tow. Mike unscrews a twirling solo that sears and even perhaps roebucks (LOL). Definitely the most proggy piece here, proof lying squarely with the orchestral version on the instrumental second CD, where the arrangement seeks to take its time in delivering the necessary aplomb.

The deliberate and measured "Castaway" takes it sweet time to get off the pier, the sails still waking up and stretching from a long siesta but ultimately Spiller and the insistent organ riff start building up a head of steam, heading into the warm winds, where Robinson's hefty drums steer the good ship Oldfield on its merry voyage. But the explosive second part gets nicely aggressive with Spiller's mighty scream and Mike's liquid and blitzing guitar rampaging with both water and fire. The hushing finale is utterly sweet and brilliant.

Sorry, do not care much for the short "Minutes" , a bit too square and plodding for this listener to appreciate, though it is far from being unpleasant, it just does not resonate at all, even in pop song terms. The instrumental version does have a bit more palate, what with another delightful axe solo.

The sultry "Dreaming in the Wind" is perhaps my preferred tune, screw-driving guitar getting the mood set up, tick-tack drumming and a bass undertow keeping pace. It's just a pretty melody, deep in melancholia, very mystifying and invigorating though I must admit the vocal version is frantically gorgeous, Spiller is a true gem and a perfect foil for the older and wiser composer. There is almost a classic the Fixx feel, especially in the drums that sound like Adam Woods and the Cy Curnin-like vocal. Mike performs a sizzling guitar solo, all sting and guitar pick, insistent and directionally inquisitive. The repetitive chorus line has a definite Bob Seger wink.

The doom-laden "Nuclear" is incredibly dark, searching out definite contrasts to the jumpier previous pieces as Spiller does his best Greg Lake imitation, I mean it's downright uncanny (think the classic "Epitaph")! Brooding, exhausting and very British, the sense of gruesome devastation and useless disconsolation are expertly accomplished, easily the most progressive piece on the disc. The vocal-less option is not as explosive, showing how important a distraught vocal can be for a songs dynamics.

"Chariots" is Mike Oldfield at his rockiest, chugging guitar boldly plowing forward, boom- boom tchak drums and a rock chorus. I guess after the soporific classicism of "Music of the Spheres", Oldfield wanted to shake some cobwebs and get perspiration heavy. Spiked by another biting and snarling axe solo, he is not cheap and minimalist in his playing, something that was woefully lacking on his previous disc.

Still wondering if the goods are all delivered? Well "Following the Angels" is another consecration of Oldfield's newfound inspiration, a majestic 7 minute + with a rather fragile and effortless initial vocal setting the mood quite eloquently, jangling and clanging guitar twangs, that country picking that I normally despise but fall in love with every time his fingers slap the fret board. I know why too, Oldfiled's guitar playing is never linear, always geometric in its audacity and vivacious in its expression. This is a sweet love song, swooning backing vocals giving this a soulful sheen that just overtakes one's possible indifference. Simply terrific piece of music.

Wanna smile there, boy? "Irene" is another rocker, raspy guitars and all, as if an outtake by ZZ Top (yeah, a Billy Gibbons raucous style to say the least), Spiller doing a remarkable job on the microphone with a testosterone/masculine delivery, showing off both tonal versatility and lung prowess. The clincher is the overt brass treatment that is straight out of Muscle Shoals , Alabama, a deliriously juicy rocker, what do you expect when the word "rollin'" is repeated infinitely. One word= Fun!

"I Give Myself Away" closes this delicious musical monument, a thoroughly enjoyable exercise giving the fan the option to go back and forth between the vocal and non-vocal selections and thus truly understand that this icon still has lots of magic in him. Spiller spills (sic) his feelings all over this dreamy track, hoarse and yet defiant, a voice of hope and resolve. Yes, it's a love song and tell me, what is wrong with that? Romantic proggers beware, this will pull at your heartstrings, perhaps even ponder your life as you look into the mirror, look back at it all and wonder how much better it could have been if love was there from the very first day.

Way more enjoyable than I hope for, but Oldfield has smartly chosen to surround himself with intensely brilliant talents, a tight rhythm section of the very highest pedigree and a lead singer that just might be rock and prog's next revelation.

4.5 Male Ice cubes

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 Hergest Ridge by OLDFIELD, MIKE album cover Studio Album, 1974
3.92 | 414 ratings

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Hergest Ridge
Mike Oldfield Crossover Prog

Review by Gatot
Special Collaborator Honorary Collaborator

3 stars Well said, this is obviously a legendary album by multi instrumentalist Mike Oldfield and I have to admit that I am not a big fan of his music even though I have many albums of him. Actually it's for a simple reason: because Mike is the seventies musician where I knew prog music at the first time. So, I had couple of his albums in the forms of CD as well as cassette. For Hergest Ridge I only have the cassette version. Honestly this is not the cassette that I regularly play as at first I was not quite familiar with the kind of music Mike plays especially with this album. A friend of mine during college tiem in Bandung, West Java, always played the music of Mike Oldfield whenever he studied in the evening for next day exam. I was with him at that time when he played the Tubular Bells album. I could not afford to listen to that kind of music where to me was a bit of boring as only rarely the triable sound of THING comes up every one minuet or so. What a boring music!

Fortunately this Hergest Ridge is not as bad as Tubular Bells as the music is quite varied in terms of style and composition with main structure lies on the keyboard-like sound and unique guitar sounds of Mike Oldfield. I can not quite differentiate, really, between part 1 and 2 as they both alike. The music is ambient in nature and You won't be able to guess on the direction of the melody as it sounds like a free flow melody that does nt form something really memorable. So to me the key to enjoy this kind of music is listening to the subtleties of the sounds produced segment by segment of the track.

Overall, it's a good album as you can get various kinds of instruments that flow in an ambient mode throughout the album. Keep on proggin' ...!

Peace on earth and mercy mild - GW

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 Man On The Rocks by OLDFIELD, MIKE album cover Studio Album, 2014
3.42 | 113 ratings

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Man On The Rocks
Mike Oldfield Crossover Prog

Review by Second Life Syndrome
Prog Reviewer

4 stars I love this album. I really do. This new album from the legendary Mike Oldfield was an unexpected surprise for me, as I'm a big fan of his guitar work and the people he's influenced. His new album "Man on the Rocks" manages to be a wonderful, enjoyable experience. This is especially so if you don't approach this album expecting "Tubular Bells" or the like. This is an old guy doing what he loves, and I really enjoy that.

Speaking of old men, this album features many tunes that center on nostalgia and pondering the mystery of life. I love to sit back and listen to older people tell stories and pass on wisdom; I really appreciate that. This album comes across that way for me.

The music, as I said, is pure enjoyment. Mike plays his signature guitar and some keys, and he has a wonderful band and a young singer behind him. This album, however, is no prog masterpiece. It has a strong classic rock sound to much of it, and that's okay. There are also some more eclectic elements, such as island music. It's a far cry from his masterworks, but you can't expect that level of work forever. So, for the most part, the music is more simplistic, rockin', and just fun. I was slightly disappointed by the lack of soloing on the album, as there are only a few. Mike's guitars are always a high point for me, and feel that his signature sound could have been used more. But, I really can't review an album for what's NOT on it.

There are many, many good songs on here, a few amazing tracks, and one track that could have been omitted. The good songs include "Sailing", "Minutes", "Dreaming in the Wind", and a few others. The bad song, for me, includes "Irene". You see, "Irene" completely blocks my vision of the rest of the album, as I really can't stand it. It's an old-fashioned, love- struck rock tune about, you guessed it, Irene. It's very shallow compared to the rest of the album, and it's just not my thing. However, I've heard much worse.

Despite that track, Mike puts out some rather incredible tracks, too. These include the folksy "Moonshine", the climactic "Man on the Rocks", the ballad "I Give Myself Away", and the strangely addictive "Castaway" that features some drums that are pure gold and one of the best solos on the album. So, with these fantastic tunes and with some wonderful tracks surrounding them, I feel that Mike Oldfield has actually satisfied my Oldfield craving.

Is this a masterpiece? Far from it. Is it worthy of your time and money? Absolutely. It's just a fun album to hear; full of progressive tweaks, elderly wisdom and introspection, and some tracks that blew away my expectations. I hope to hear more from Mike in the future, but, if this happens to be his last, I feel that he has gone out on a high note that will provide me enjoyment for years to come.

3.5 stars

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 Man On The Rocks by OLDFIELD, MIKE album cover Studio Album, 2014
3.42 | 113 ratings

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Man On The Rocks
Mike Oldfield Crossover Prog

Review by Chris S
Special Collaborator Honorary Collaborator

4 stars I must say I was somewhat skeptical when learning of this release late 2013 but when I heard the sampler of the studio work, saw Leland Sklar in the background and Luke Spiller on vocals, I knew that this could be potentially a refreshing new release.

Mike Oldfield has always managed to cross between long epic instrumental passages with short crossover pop/prog songs. In fact he even went totally pop on the studio album Earth Moving. So what am I driving at? Albums like side two off Crises, side two off Islands, side one off Heaven's Open, Discovery and Earth Moving always had a wealth of shorter, vocally driven songs. Exclude short tracks off more definitive works like Five Miles Out or QE2. So this is Oldfield in his comfort zone, mixing a good dose of rock and crossover which results in mostly a highly enjoyable album. Cleverly composed songs with a perfect blend of Oldfield's ubiquitous guitar solo's and led with Luke Spiller's vocals. I will go one further and say that in terms of choosing a male vocalist to guest on his albums, this is by far Oldfield's shrewdest choice yet.

So what about the songs. I am thrilled to say there are no throw away tracks at all. The combination of musicianship, choruses, vocals, work a treat and flow seamlessly. Spiller is so good he allows Oldfield space to belt out his music without any pressure. There are eleven tracks on Man on the Rocks, the highlights would be Nuclear. Listen to the chorus, Spiller sounds like Greg Lake on Epitaph.......yeah that good! Moonshine and Dreaming In The Wind are excellent also as is Irene. This last track really does sound like a hurricane building to a relentless and oppressive climax. Castaway has some solid drumming by John Robinson. Leland Sklar never disappoints on bass throughout the album either. So I stick my neck out and unashamedly say this the most enjoyable studio release since TBIII. A deserved four stars and great to see Oldfield back and enjoying himself. His guitars really shine.

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 Man On The Rocks by OLDFIELD, MIKE album cover Studio Album, 2014
3.42 | 113 ratings

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Man On The Rocks
Mike Oldfield Crossover Prog

Review by DrömmarenAdrian

3 stars How fantastic Mike Oldfield is here again with a fine record with many songs and a lot of music. This time it's 2014 and the record's name is "Man on the rocks" and we can see an opening in a rock where we see the sea on the cover picture. Mike Oldfield is the master of guitars and keyboards on this record and the other musicians are Luke Spiller who sings, John Robinson who drums and Leland Sklar who plays bass.

There are a lot to praise on this album some things to complain on. Firstly it's lovely to hear Oldfield's characteristic guitar, most likely those on "Crises" and secondly he has found a very talanted singer to sing his songs. Luke Spiller has a strong and very poetic voice that fits this music well. On some of these songs they have really made a good job. Particularly the title track "Man on the rocks" is fantastic(10/10), I love it very much, it is poetic, harmonic and has a lot of great guitars. The first song "Sailing" is a lovely pop song(7/10) almost in class with those on "Crises". Then we have "Nuclear" which is less enthusiastic than the other's but takes place in a fine atmosphere(7/10) and "Moonshine" is also a fine track(6/10). The others aren't as interesting. "Minutes", "Dreaming in the wind", "Chariots" and "Castaway" are quite nice songs(5/10) but the three songs in the end are actually very bad(3/10), these three should you definitely skip but listen to the eight first and get a nice collection of songs. I will let the strongs sections be higher valued than the weak ones.

For well made compositions, some nice guitar and Luke's great vocals I will give three stars. But I don't think this is enough for Oldfield, I would have liked to hear more of his guitars.

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 Man On The Rocks by OLDFIELD, MIKE album cover Studio Album, 2014
3.42 | 113 ratings

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Man On The Rocks
Mike Oldfield Crossover Prog

Review by lazland
Prog Reviewer

4 stars The first thing to say in this review is a health warning. If you are a person who believes that for a song to qualify as prog, it should be at least ten minutes long, and preferably twenty, or that any Mike Oldfield album that does not include at least one track of that length represents a sellout or abomination to all things prog, then it is fair to say that this new release is not for you. Do not waste your money, for you will be very upset and disappointed. Actually, best not to even read any further, go settle down, relax, and listen to some of that real prog.

For the rest of you, those open to the principle that a song based album can actually be pretty good and, well, like prog, this album might well be for you.

It is some six years since Oldfield's last release, and he had clearly entered a state of semi-retirement. However, the overwhelmingly positive response to his live appearance at the superb London 2012 Opening Ceremony, and, as clearly, the need to exorcise some inner demons that have been dormant for some time, persuaded the great man to sit down, write, get a band together, and release an album of entirely new material.

Band is the first thing, actually, to note about Man On The Rocks. It is an Oldfield band performance, rather than Oldfield doing it all. The man himself plays guitars and keyboards, but enlists the services of veteran bassist Leland Sklar (Phil Collins and CSN), drummer John Robinson (Eric Clapton), and, on vocals, Luke Spiller, of Derby indie rock band, The Struts. Yep, you read right, Oldfield has recruited an Indie singer to perform on one of his albums, which, if some comments are to be believed, represents a capital crime.

In fact, Spiller is one of the finds of the decade, and puts in one hell of a shift in on this. He has the full range, from the soft textures of the title track and Following The Angels, to the full rock pelt of Nuclear. Some have compared him to Freddie Mercury, and the comparison is not entirely a load of old spin. The way he works with Oldfield on the disturbingly catchy Minutes does, actually, invoke memories of another fine partnership Oldfield once had with a certain Maggie.

The music is fair mix of styles, from the pure, and instantly enjoyable toe-tapping, pop of opener Sailing, to the dark, heavy, and brooding Nuclear, via Celtic infused influences (similar to those found on Voyager) of Moonshine, Chariots, which could easily have found a way into a album such as Calling All Stations, and gospel influences on Following The Angels and the closer, I Give Myself Away.

The constant throughout is Oldfield's guitar work. If he had been the lead guitarist of a common or garden band, rather than the multi instrumentalist we know, I genuinely believe that we would be talking about him in the same reverential and hushed tones we reserve for the likes of Howe and Hackett. His (undoubtedly conscious) decision to restrict himself to guitars and keys allows him to shine, and this album contains some of the best trademark guitar bursts, licks, and riffs heard from him for many a year. I simply love the electric burst of Castaway, which screams and cries emotion.

I mentioned earlier inner demons. Well, the extraordinary title track, with its slow opening right to the bombastic rock pomp of the emotional outlets that follow, deals with his, and his late mother's, many addictions, the thoughtful Castaway with the fear of a child, Minutes and Chariots, with missing loved ones and separation (he is going through yet another separation and divorce), and, especially, the very dark Nuclear, the highlight of the album for me, dealing with emotional suffering, the riffs of which remind me of Blackmore at his rock peak, and put many so called heavy rock acts to shame. The other fine harder rock track is Irene, dealing with the hurricane that struck the island where Oldfield now calls home.

It is not, however, all doom and gloom. Following The Angels, the longest track at just over seven minutes, is a tribute to the Olympic Opening Ceremony, Sailing is about the joy of a life on the ocean waves, and a nice, gently performed, worship number in the closer, I Give Myself Away, written by William McDowell, a black gospel singer and preacher. I love the complex prog pop of Dreaming In The Wind, a tribute to an unknown man whose ashes were spread in the sea, but is more cheery than it might sound on reading. Actually, the word, in spite of some of the subject matter, that best describes this album is fun, in that Oldfield, I believe, had a great deal of fun and satisfaction in making it. It is not a "simple" pop album, it is the mature work of a great songwriter which grows on one with each and every listen.

Okay, so to a rating. Going back to the beginning of this review, this is not an Amarok, Bells, Incantations, or Ommadawn. It could be better compared to side two of Crises, or albums such as QE2 or Discovery, and stands up very well in comparison, so four stars for this, an album which I will play regularly for a long time. This review is of the single cd only. There is an extended version available with instrumental work.

His swan song? I know not, but, if it is, there are far worse ways to sign off.

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