OMMADAWN

Listed In PA under "Crossover Prog", Ommadawn, to me, is at the apex of symphonic progressive rock and is without a doubt a must have album of it's, mostly, instrumental subgenre. Multi instrumentalist Oldfield crafts another astonishing album with magnificent variations on themes which now include a heavy nod to Celtic and African influences and fusions.

Where Tubular Bells rang out with orchestral over and undertones, and Hergest Ridge goes for a pastoral ride in the English countryside, Ommadawn encompasses both while bringing celestial embellishments into it's rich sound mix. Starting out with a simple music box like melody played on a harp, it soon devolves into the ominous minor chords of a synthesizer section, supported with choir like vocals from both Oldfield's sister Sally, and the incredible Clodagh Simonds. Its only with 40 years of reflection that Oldfield's patch plug ARP 2600 synthesizer reveals itself as the only instrument to date the album. All other organic instruments such as bouzouki, acoustic guitars, mandolin, grand piano, harp, tympani, recorders, pan flutes, electric guitars, hand drums and tympani sound as fresh as the day that they were committed to tape.

Side one the album, or part one of the CD reissues, features much of the gentle contrasted with the bold such as side one's coda that is the now celebrated, and at the time, remarkable, fusion of syncopated African hand drums contrasted with both acoustic and electric guitar figures, and Simond's faux Celtic language styled chanting before the piece finally dissolves into just the lone hand drums and fades out.

Side two, or part two, revisits one the opening side's earlier themes, but this time in a layered sea of electric guitar arpeggios that's revisited with more of Oldfield's incredible synth notes that seem to want to explode out of the dense sound mix, burst out the speakers and into one's listening space. It's one of the most remarkable pieces on the album followed a short ways by some inventive Uillean pipe playing from none other then an uncredited Paddy Maloney of the Cheftains. After a quiet folky section that features Oldfield's bouzouki and acoustic guitar, Maloney does all in his incomparable power to coax beautifully sweet notes from such a course and strident instrument as the Uillean pipes. It's fascination to me is listening to it's stunning beauty contrasted by the instrument's own throaty droning rasp. For many, this section is either a "love it or hate it" piece, but to me, remarkably, it's both.

After another electric guitar army crescendos it's way into part two's final fade out, the Ommadawn album ends with an anti climax with the trite sing along song "On Horseback", which is terribly overproduced and is the only piece of music on the album to sound like a Phil Spector produced overindulgence, with even a child's choir throw into the mix.

So, Ommadawn does not end on a high note, but I suppose an anti climax is better than no climax at all. 4.5 stars, as Ommadawn is arguably Oldfield's finest work and remains almost timeless. I usually do not go into too much detail on remixed album remasters, but the 2010 CD edition features both the original and remixed albums remastered by Oldfield himself. I prefer the original sound mix as the 2010 remix features more defined bass detail and lower bass extension overall, but as usual with these remixes, it looses some oomph in the top end. However, both versions sound excellent.