SALLY OLDFIELD

'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.

This music is dream pop, electronica, Chill Out, trance, and of course some New Age with Celtic flavour too. It is programmed but the music doesn't become too sterile or mechanic at all. The production is nearly excellent. On many songs Sally weaves a shamanistic atmosphere; some sort of cosmic incantations indeed. All tracks work pretty well, but especially 'Samurai Of The Sun' is hypnotic. Sally's singing is used more like an instrument than as a vehicle for lyrics which are sparse.

13-minute version of 'Mirrors' is a bit too jamming and repetitive for my taste. It makes me think of the foolish 12" maxi-single extended versions (do such still exist?). But the album is very enjoyable if the mentioned styles interest you.

Sort of proto new age. But some things that can fit under that umbrella aren't the same. I get the feeling that Sally was on a bit of progressive rush after her part in Voyage Of The Apocalypse. This is a drastic improvement over The Sallyangie. There is still a quaintness to the music and yet a sophistication to it. Very much a Sally project as she does many of the instruments as well as the vocals.

Mike may have been the proggier sibling, but Sally really shines on this. And Mike's influence is apparent even though he's not here. She does have a little Flowers.

Sally Oldfield began her career with brother Mike in a duet call The Sallyangie back in the 60s. Her first solo work "Water Bearer" was recorded in the spring of 1978 at the Roundhouse and at Chipping Norton Studios. It was her most progressive work in a long career that veered much more into mainstream music, though I've heard "Celebration" has nice moments as well. Oldfield is an extremely talented multi-instrumentalist just like her brother and this album was completely written, arranged, and produced by her.

This highly sophisticated vocal showcase is just so impressive. Impeccable arrangements and many layers of beautifully played instrumental accompaniments grace each track. There are lots of hand percussions and exotic sounding instruments. The sound quality is crisp and clear, one reviewer I read noted her album had better sound than brother Mike's work from this period. The songs features Oldfield's beautiful "Annie Haslam-like" voice as the material delves straight into the fantasy worlds inspired by Tolkien. Truly this music is the soundtrack for your next Elven get-together at Rivendell. It can get a bit repetitive and a bit cheesy to be frank, but mostly it should please fans of prog-folk or crossover.

I enjoy "Water Bearer" on occasion and while quite pleasant and technically top-notch, I don't feel it is the important progressive work that many others do. 3 stars.

All in all Instincts looks to me like a transitional album with elements from much of all she has done since her solo career started ten years before. Her beautiful, soothing voice is still intact. The arrangements are tasteful and creative, never falling into those annoying 80´s cliches. Production is very good. The song selection may not be great but is still above average. If you enjoy the more commercial side of bands like Clannad, this CD is recommended. If PA was a pop rock site this album would surely get a higher rating. But since there is almost no prog in here this is clearly for fans and collectors.

Having said that, I must also say that not everything is lost here. I was surprised by the high quality of some the songs on Femme. At least two tracks, the opener Silver Dagger and the haunting Andromeda Rising, are great tunes with folkish structures and storytelling lyrics (think of Mike Oldfield´s Moonlight Shadow). Besides, her beautiful voice is still intact and she is capable of making even the most standard love song sound fresh and anew. Although that some struff in this CD is weak, none is really crap. Good pop songs that could have been hits. Somehow the musical market missed this opportunity to grace the charts with such outstanding singer.

Conclusion: if you´re a fan of Sally Oldfield, I still think it´s worth to check this out. She is still a great vocalist and her repertoire is not as bad as others have done at the same period. If you like pop music with some interesting folk influences you´ll probably like it. Rating: something between 2 and 2,5 stars.

Even 30 years after its release Easy sounds like a bunch of leftovers from Water Bearer. Compared to it, the songs seem weaker and the arrangements a little more conventional. Not that it doesn´t have some really great songs, like the opener Sun In My Eyes, a truly magnificent love hymn in all its glorious simplicity. Sons of The Free is another powerful tune that has all the right elements to make a classic: great hook, very inspired chorus, tasteful arrangement and a great performance of all involved, specially Sally herself using her trademark multi tracked vocals for terrific effect. Hide & Seek is a highlight too, with its folkish atmosphere and reminding me of her brother Mike´s best works.

The remaining tracks unfortunately are not par to those three and the placement of boring tunes like Answering Me at the beginning of the CD, leaving the strongest cuts at the end of side B of the original vinyl certainly didn´t help matters. Maybe things could be better if she had a little more time to work out her repertoire before entering the studio. But considering her inexperience as a solo artist and the pressures to follow the success of Mirrors, I think she did a quite good job in such short period.

Conclusion: still very good effort by this talented artist. 3,5 stars.