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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$2.75
$2.29 (used)
Man On The Rocks [2 CD]Man On The Rocks [2 CD]
Mercury 2014
Audio CD$10.63
$16.73 (used)
OmmadawnOmmadawn
Import
UMe Imports 2010
Audio CD$3.30
$8.77 (used)
Songs of Distant EarthSongs of Distant Earth
Import
Warner Spec. Mkt. UK 2008
Audio CD$1.36
$0.32 (used)
AmarokAmarok
Import · Remastered
EMI Europe Generic 2000
Audio CD$3.28
$3.99 (used)
Tubular BeatsTubular Beats
Eagle Rock Entertainment 2013
Audio CD$7.06
$8.34 (used)
Tubular BellsTubular Bells
Import
Imports 2016
Vinyl$23.48
$30.26 (used)
Millennium BellMillennium Bell
Import
Warner Bros UK 1999
Audio CD$3.15
$2.15 (used)
GuitarsGuitars
Import
Warner Bros UK 1999
Audio CD$2.46
$1.27 (used)
CrisesCrises
Import
1-2-3-4-GO! 2013
Audio CD$3.23
$2.26 (used)
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Mike Oldfield ~ Ommadawn ~ Quad Quadraphonic LP 1975 Virgin Records USD $19.95 Buy It Now 6h 15m
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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)

4.08 | 960 ratings
Tubular Bells
1973
3.93 | 482 ratings
Hergest Ridge
1974
2.51 | 153 ratings
The Orchestral Tubular Bells
1975
4.32 | 1087 ratings
Ommadawn
1975
3.92 | 366 ratings
Incantations
1978
3.10 | 237 ratings
Platinum
1979
3.50 | 255 ratings
Q.E.2
1980
3.69 | 305 ratings
Five Miles Out
1982
3.43 | 349 ratings
Crises
1983
2.76 | 213 ratings
Discovery
1984
2.63 | 126 ratings
The Killing Fields
1984
2.61 | 177 ratings
Islands
1987
2.05 | 148 ratings
Earth Moving
1989
4.07 | 489 ratings
Amarok
1990
2.51 | 155 ratings
Heaven's Open
1991
3.58 | 258 ratings
Tubular Bells II
1992
3.72 | 257 ratings
The Songs Of Distant Earth
1994
3.09 | 188 ratings
Voyager
1996
3.38 | 187 ratings
Tubular Bells III
1998
2.94 | 153 ratings
Guitars
1999
2.30 | 123 ratings
The Millenium Bell
1999
2.47 | 122 ratings
Tr3s Lunas
2002
3.73 | 169 ratings
Tubular Bells 2003
2003
2.79 | 125 ratings
Light + Shade
2005
3.04 | 151 ratings
Music Of The Spheres
2008
3.36 | 138 ratings
Man On The Rocks
2014
0.00 | 0 ratings
Return To Ommadawn
2017

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

3.75 | 77 ratings
Exposed
1979

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

3.92 | 36 ratings
Tubular Bells II & III Live (DVD)
1999
2.54 | 36 ratings
The Art In Heaven Concert Live In Berlin (DVD)
2000
4.54 | 13 ratings
DVD Collection
2003
3.13 | 27 ratings
Elements - The Best Of (DVD)
2004
3.79 | 31 ratings
Exposed
2005
4.41 | 64 ratings
Live At Montreux 1981
2006

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

3.77 | 40 ratings
Mike Oldfield - Boxed
1976
3.57 | 13 ratings
Airborn
1980
3.00 | 4 ratings
Impressions
1980
2.98 | 9 ratings
Music Wonderland
1981
3.69 | 33 ratings
The Complete Mike Oldfield
1985
3.21 | 5 ratings
Collector's Edition Box I
1990
3.16 | 7 ratings
Collector's Edition Box II
1990
2.49 | 23 ratings
Elements: The Best of Mike Oldfield
1993
2.96 | 14 ratings
Elements: 1973-1991
1993
2.64 | 14 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
2.67 | 9 ratings
The Complete Tubular Bells
2003
2.53 | 14 ratings
The Platinum Collection
2006
4.13 | 8 ratings
Two Sides: The Very Best of Mike Oldfield
2012
3.43 | 7 ratings
Tubular Beats
2013
4.00 | 2 ratings
The Studio Albums: 1992-2003
2014
3.67 | 3 ratings
The Best Of: 1992-2003
2015
4.00 | 2 ratings
The Space Movie
2015
0.00 | 0 ratings
The 1984 Suite
2016

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

3.67 | 3 ratings
Tubular Bells
1974
3.67 | 3 ratings
In Dulci Jubilo
1975
3.33 | 3 ratings
Don Alfonso
1975
2.00 | 1 ratings
Don Alfonso (German Version)
1975
3.18 | 9 ratings
Portsmouth
1976
3.50 | 4 ratings
William Tell Overture
1976
3.33 | 3 ratings
Cuckoo Song
1977
2.00 | 1 ratings
Take 4
1978
4.00 | 5 ratings
Guilty
1979
3.25 | 4 ratings
Blue Peter
1979
2.50 | 2 ratings
Extract From Tubular Bells (live)
1979
3.00 | 3 ratings
Arrival
1980
3.67 | 3 ratings
Wonderful Land
1981
0.00 | 0 ratings
The Singles
1981
3.33 | 3 ratings
Five Miles Out
1982
3.25 | 4 ratings
Family Man
1982
2.25 | 9 ratings
Mistake
1982
4.00 | 1 ratings
Moonlight Shadow
1983
3.23 | 12 ratings
Shadow on the Wall
1983
4.00 | 7 ratings
To France
1984
3.93 | 14 ratings
Pictures in the Dark
1985
3.38 | 12 ratings
Shine
1986
2.11 | 9 ratings
Innocent
1989
2.89 | 9 ratings
Tattoo
1992
3.00 | 1 ratings
Man In The Rain
1998
5.00 | 1 ratings
Tubular Bells Limited Edition
1998
3.00 | 1 ratings
Far Above The Clouds CD 1
1999
3.00 | 1 ratings
Far Above The Clouds CD 2
1999

MIKE OLDFIELD Reviews


Showing last 10 reviews only
 Tubular Bells by OLDFIELD, MIKE album cover Studio Album, 1973
4.08 | 960 ratings

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Tubular Bells
Mike Oldfield Crossover Prog

Review by Kaelka

5 stars Some love it and some don't, some find it overrated and others couldn't live without it, but an essential point is often missed : "Tubular Bells" is a monument, a genuine turning point in the history of music. Where would Richard Branson and the whole Virgin empire, including the space travel projects, be now if, on a fine morning of 1972, Oldfield hadn't seen studio workers move out the rented instruments used by John Cale, and among them the most improbable and rarely seen of all symphonic ones? Yes, Oldfield was a genius then, the first one to make a full use of the 16-track recording technology, or rather the first one to realize that it meant he could dispense with tiresome bandmates and do it all by himself. "Tubular Bells" is essentially the result of days and days of musical onanism, fuelled by LSD and Oldfield's almost permanent state of mental depression. Fiddling with tape speed, hiring the studio staff (including the cook!) when he suddenly needed a male choir, grabbing a passing Viv Stanshall to have him voicing the megalomaniac "hey guys, listen how I can play all those instruments" Part 1 ending piece, all of this is the stuff of legend. Of course Mike Oldfield was a genius, and "Tubular Bells" his monument, his Leonardo's "Mona Lisa", his Rodin's "The Thinker". You don't wonder if "Mona Lisa" is a good or beautiful work of art, you just go to the Louvre and stare at it. All the same, don't wonder if "Tubular Bells" is a good album, just go get a copy and listen to it. Everyone should do it, because it's history.
 Guitars by OLDFIELD, MIKE album cover Studio Album, 1999
2.94 | 153 ratings

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Guitars
Mike Oldfield Crossover Prog

Review by kenethlevine
Special Collaborator Prog-Folk Team

3 stars Most of MIKE OLDFIELD's classic albums, not to mention live clips, leave little doubt as to which instrument would accompany him across the desert should he find himself in the middle of the Passover story. If he is an accomplished multi-instrumentalist, it's really only on the guitars, and maybe those bells, those bells, that he established a singular style that permeated even his most commercial and vocal oriented work. So dedicating an album exclusively to guitar sounds doesn't seem much less exploitative than "Tubular Bells XIV" or whatever. So of course he has done so!

The album opens with the pretty "Muse", which bears resemblance to the material on the weak "Voyager", but "Cochise" resolutely dispels the notion of yet another new age album. A riff reminiscent of LED ZEPPELIN's "Whole Lotta Love" dominates, while lead guitars sear the pungent upper atmosphere of the piece. I can't say I had noticed Oldfield's idolatry of JIMMY PAGE before, but in case you somehow missed it, the riff from Led Zep's "Heartbreaker" is compressed into service by "Out of Sight". While I'm grateful to learn something new about his influences, by the time more early metal riffs appear in "B Blues" I've had quite enough, but even that's not the last time. Luckily "Four Winds" morphs from a beginning reminiscent of the storm sequence of "Hergest Ridge" to a decent epic with several distinct parts, including an almost surfer rock later theme. The main highlight here is the well named "Enigmatism", adopting the gravitas of the best Oldfield instrumentals of that time. "Out of Mind" is an infectious rock piece which I think would work well with lyrics, in a "Heaven's Open" kind of way but heavier.

While certainly not revolutionary or even a worthy introduction to this influential musician, "Guitars" includes more than enough dynamic playing to keep it from being stored in the attic along with other unwanted toys, musical or otherwise.

 Tubular Bells by OLDFIELD, MIKE album cover Studio Album, 1973
4.08 | 960 ratings

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Tubular Bells
Mike Oldfield Crossover Prog

Review by ALotOfBottle
Prog Reviewer

4 stars Tubular Bells is quite hard to classify. I think Crossover Prog is the right label for it to be under. However, it is far more than just crossover prog that. A thought by other member about this work that I really liked was that "Tubular Bells" put Mike Oldfield among greats like Bach, Beethoven, Stravinsky or Wagner (not sure if those were the composers he named). Anyway, that is very much true. Despite being laid on more rock-oriented (although not rock per se) basis, "Tubular Bells" is a piece of modern classical music. Extremely well crafted music.

Part 1 is more of a "Tubular Bells" signature, an overall more epic piece with an incredible climax in the end (a main atribute of the album). This very climax is carefully planned, we are being driven towards it for 20 minutes, everything is very proficiently built up.

Part 2 is a great ambient part, mellow, very melodic with much British flegm. I feel though like the closing is a bit of a let-down.

Well, this is an undeniable masterpiece, but I will give it 4 stars, because despite my warm words, it is boring at times.

 Q.E.2 by OLDFIELD, MIKE album cover Studio Album, 1980
3.50 | 255 ratings

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Q.E.2
Mike Oldfield Crossover Prog

Review by Replayer

4 stars QE2, like its predecessor Platinum, is a transitional album between Oldfield's more progressive albums of the 70s with side-long tracks and the more commercial works of 80s. This album starts Oldfield's collaboration with Maggie Reilly, who would later sing on future Oldfield hits Moonlight Shadow and To France.

Many songs on QE2 feature the unlikely combination of vocoder, brass instruments, mandolin and African drums. The album's working titles included Mirage and Carnival, but it was changed to QE2, which is a reference to the cruise ship Queen Elizabeth 2 (in service 1969-2008). I think any connection is tenuous at best, especially since the album is mainly instrumental and the lyrics are made-up words. The original vinyl made the nautical theme more explicit by featuring a porthole on the cover (which is supposed to represent the side of a ship, the blue area representing the sky), a schematic of a ship with on inside sleeve and a life preserver-shaped record label.

Taurus 1 is a strong opener. The title might be a reference to Mike's birth sign, which is in fact Taurus; I'm not sure whether it's supposed to represent a musical autobiography. The song features Phil Collins on drums, although a drum machine is used during the introductory mandolin section (insert joke about Genesis loaning their drummer and drum machine to Mike). The song is split into five short sections with memorable themes. Towards the end there is an interesting section where the main melody keeps switching between different instruments every few notes.

Sheba is a vocoder song with nonsense words. Mike sings though the vocoder and Maggy Reilly joins later using her normal voice. Phil Collins also plays drums on this song. The second half is more rocking than the first. This is the song I like least on this album.

Conflict is a guitar-focused Celtic rock instrumental with African drumming and quoting the Badinerie movement of Bach's Orchestral Suite No. 2 in B minor on flute synth. It's quite progressive and packs all of this in just a couple of minutes.

At Virgin Records' request, Oldfield included a couple of cover tunes. The first cover is Arrival, one of two instrumentals by ABBA. It's a pleasant folk tune and I think it benefits from Oldfield's changes to its instrumentation.

The second cover is Wonderful Land, made famous by The Shadows, and showcases Mike's guitar skill. Oldfield makes the track his own with one of his characteristic multi-instrumental arrangements. The second half is more up-tempo and livelier. I particularly enjoy the mandolin snippets.

Mirage is one of those songs with a classic Oldfield climax, that starts simple and has more and more instruments added, increasing its tempo adding more variations. It's little repetitive for my tastes (and this is coming from an Oldfield fan!). The electric guitar in the second half is quite good, but I feel the song takes too long to take off. I don't really like the horn section stabs either.

The title track is another climaxing song. The official title is QE2/QE2 Finale. My guess is that the QE2 Finale starts at the four minute mark, when the drums join in. The finale features a charming electric guitar and Northumbrian Bagpipe duet, both played by Mike, reprising the last theme from Taurus 1. David Hentschel, known for producing Genesis albums in the late 70s, arranged the brass section (which I appreciate here). He gets a writing credit on QE2, but not the QE2 Finale.

As the name suggests, Celt is a Celtic song with fake Celtic lyrics, African drums, and very good guitar playing. Hey, this sounds like an Ommadawn review!

Molly is a simple and short lullaby-like electric guitar instrumental dedicated to Mike's daughter.

I thoroughly enjoy this album despite its rather light nature. I find the music very optimistic and joyful and I particularly like Taurus 1, Conflict and the title track. Instrumental compositions have always been Mike's forte and he delivers many interesting themes and arrangements. I'd rate it as his best 80s album, but below his first four studio albums. I also recommend his live video recording Live At Montreux 1981, which features several QE2 compositions.

 Amarok by OLDFIELD, MIKE album cover Studio Album, 1990
4.07 | 489 ratings

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Amarok
Mike Oldfield Crossover Prog

Review by HarmonyDissonan

5 stars CLASSIC OLDFIELD-DEFINITELY BACK TO FORM W/ONE EXCEPTION: NUMEROUS POINTS OF HUMOR!

I listened to this cd at work the other evening and I remembered how I liked it, but I really felt that I never paid as close attention to it as it deserved, until then! It made me feel...ha-ha-ha-happy?! Although I had known that it was as good as his hey-day work from the seventies, I had forgotten just how good it was! Sure, history shows us just how good Tubular Bells, Hergest Ridge, Ommadawn and Incantations are without a doubt and how well received they've been, but there is something special about this cd! There are many points within this work where humor is both subtly and obtrusively brought to the fore. I love the classic cd's I mentioned above, but it is the amount of humor in this work that sets it apart. I haven't reviewed any of his other albums, but needless to say, I'd rate the four that I had mentioned all 4 to 5 stars! And although this has been reviewed almost innumerably as well, I just felt compelled after my emotional reaction while listening to it for the first time in quite a while the other evening, to spend the time to critique it also. If anyone who enjoys Mike Oldfield's oeuvre, but as of yet hasn't purchased this album, I'd highly recommend this as a 2nd or 3rd purchase of his with only Hergest Ridge a close 4th and Incantations as a close 5th. It is somewhat lighter than the classics but not at all in a bad way. I can't help but wonder if Mr. Oldfield was just in a very happy period of his existence during the time he produced this album or if making it, with that humorous vein, was a conscious decision? Which ever is the case, I'm glad that the stars aligned the way they did so as to leave us blessed with this piece of artwork! As I listen to this again while writing this review, I can't help but smile at the quality and the humor! Just great!

But even if you think that nothing much is happening, wait for the grand finally! Lol! Well that's what I'd like to talk to you all about...endings. Now endings normally happen at the end, but as we all know, endings are just beginnings! You know, once these things really get started, it's jolly hard to stop them again. However, as we have all come this far, I think, under the circumstances, the best solution is that we all just keep going! Let's keep this going in site, never an ending. Let's remember that this world wants fresh beginnings!...of course...of course...

Well that's about it for now. Take care and enjoy God's gift of music!

Isn't that charming, toodle-oo, I really feel like I could dance! Lol...Lol, charming, Lol...

 Man On The Rocks by OLDFIELD, MIKE album cover Studio Album, 2014
3.36 | 138 ratings

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Man On The Rocks
Mike Oldfield Crossover Prog

Review by shantiq

3 stars At times it sounds very lame like a motivational ad for a Democratic Convention gathering (Liberty ... Liberty )but still it has that MO magic underpinning it all so that you will listen to it time and again thinking this sounds like an ad for a Democratic Convention gathering ... and then you will listen to it again ... and ...

The themes here seem to be more in line with the interests and appetites of a rockstar exile ; i'll take the schooner across to Florida from the Bahamas; than it has to do with anything else but whichever way one sees flaws in the project it still has that MO magic the way Earthmoving all those years ago [1989 i think] although the tunes were more catchy then .... so YES ... BUT

PS1: Could that voice [Luke Spiller ]be more MOR? More banal? MO used a similar singer on his other "song" album [Earthmoving] There are 3 reasons I can think of for using such a bland vocal : 1. Catch the "market" especially US MOR 2. MO likes that voice :] and he sure is entitled to that ... 3. It is the voice he thinks he would have if he himself sang. Carlos Santana does exactly the same on his albums: bland MOR voice. Would love to ask MO why? I would surmise 1. was the answer ...

PS2: Explaining the MO magic : Mike Oldfield seems to carry/embody/incarnate the Spirit of Summer Albion; his music somehow resonates best in England in the summer months; as if he has a direct line to the Spirit of the Land ; and this he imbues in all his tracks including the ones here; although they are geographically more on the Nassau-Florida axis on this album

 Portsmouth by OLDFIELD, MIKE album cover Singles/EPs/Fan Club/Promo, 1976
3.18 | 9 ratings

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Portsmouth
Mike Oldfield Crossover Prog

Review by Matti
Prog Reviewer

3 stars Mike Oldfield's marvelous albums Hergest Ridge (1974) and Ommadawn (1975) were recorded in the countryside of Herefordshire where the introvert, young musician had escaped the sudden fame and success brought by Tubular Bells. As a freetime activity he used to go pony riding with folk musician Leslie Penning (one of the guest musicians on Ommadawn). The two collaborated on several folk oriented singles that Oldfield released in the following years; the next major work, double album Incantations, came out no sooner than in 1978.

'Portsmouth' is a joyful two-minute instrumental with a danceable rhythm. The innocently naive and happy melody is played by Leslie Penning's recorder, and Oldfield's simple, rhythmic acoustic guitar is joined by hand drum and accordion along the way. It's quite obvious that Oldfield just had a good time making this kind of simple folk music, without giving a slightest thought on the pressures of success. And it was very much about returning to his musical roots; he started his musical career in the age of fourteen playing folk with his elder sister Sally, as a duo called SALLYANGIE.

Four-minute 'Argiers' is also a recorder-centred folk piece but in minor and in a slow tempo. This tune stands much better the repeated listenings. It has a New Agey serenity, and it's up to the listener how melancholic one feels it to be. To me it's mostly soothing.

This charming but non-essential single is among the finest representations of the low-profile era in Oldfield's career between Ommadawn and Incantations. Both tracks are included on the 4-CD "Best of" box set Elements (1993) and on the Deluxe edition of Ommadawn (2010).

 Five Miles Out by OLDFIELD, MIKE album cover Studio Album, 1982
3.69 | 305 ratings

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Five Miles Out
Mike Oldfield Crossover Prog

Review by steelyhead

4 stars This CD doesn´t need all the bad press It has had all those years. It is a good one and I think Taurus II is one of the finest pieces of music He has ever written (I mean It).

So enough with the backlashing and I encourage you to buy this CD and listen for yourself the good music It has on It. There's even a collaboration with Carl Palmer (not a good one, but alas).

I know, I know It has Family Man on It but take as a little Disco amusement and try to dance at the rhythm.

3.5 stars rounded up to four. Live with It.

 Crises by OLDFIELD, MIKE album cover Studio Album, 1983
3.43 | 349 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.

 Discovery by OLDFIELD, MIKE album cover Studio Album, 1984
2.76 | 213 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.

Thanks to ProgLucky for the artist addition. and to Snow Dog for the last updates

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