On The Road Again: Mike Oldfield "Tubular Bells (2011 Reissue, Remastered, Stereo, SHM-SACD, Gatefold Cardboard Sleeve, Japan, Mercury Records, UIGY-9080)"

domingo, 1 de junio de 2025

Mike Oldfield "Tubular Bells (2011 Reissue, Remastered, Stereo, SHM-SACD, Gatefold Cardboard Sleeve, Japan, Mercury Records, UIGY-9080)"

Tubular Bells is the debut studio album by the British musician Mike Oldfield, released on 25 May 1973 as the first album on Virgin Records. It comprises two mostly instrumental tracks. Oldfield, who was 19 years old when it was recorded, played almost all the instruments.

Tubular Bells initially sold slowly, but gained worldwide attention in December 1973 when its opening theme was used for the soundtrack to the horror film The Exorcist. This led to a surge in sales which increased Oldfield's profile and played an important part in the growth of the Virgin Group. It stayed in the top ten of the UK Albums Chart for one year from March 1974, during which it reached number one for one week. It reached number three on the US Billboard 200, and number one in Canada and Australia. It has sold more than 2.7 million copies in the UK, and an estimated 15 million copies worldwide.

An orchestral version produced by David Bedford was released in 1975 as The Orchestral Tubular Bells. It was followed by the albums Tubular Bells II (1992), Tubular Bells III (1998), The Millennium Bell (1999), and a re-recorded version, Tubular Bells 2003, for its 30th anniversary. A remastered edition was released in 2009. In 2010, Tubular Bells was one of ten classic album covers from British artists commemorated on a series of UK postage stamps issued by the Royal Mail. Its contribution to British music was recognised when Oldfield played extracts during the 2012 Summer Olympics opening ceremony in London.

Oldfield learned to play the guitar at an early age, and as a teenager he became the bass player for the Whole World, a band put together by Kevin Ayers, formerly of Soft Machine. The Whole World recorded their album Shooting at the Moon (1970) at Abbey Road Studios over several months in 1970, when Oldfield was 17. When the group did not have a recording session booked in the morning, Oldfield would arrive early and experiment with the different instruments, including pianos, harpischords, a Mellotron and various orchestral percussion instruments, and learned to play each of them.

The Whole World broke up in mid-1971 and Ayers lent Oldfield a two-track Bang & Olufsen Beocord ¼" tape recorder. Oldfield blocked off the erase head of the tape machine, which allowed him to record onto one track, bounce the recording onto the second, and record a new instrument onto the first track, thus overdubbing his playing one instrument at a time, and effectively making multitrack recordings.

In his flat in Tottenham in north London, Oldfield recorded demos of four tracks he had been composing in his head for some years, using the tape recorder, his guitar and bass, some toy percussion instruments, and a Farfisa organ borrowed from the Whole World keyboardist David Bedford. The demos comprised three shorter melodies (early versions of what would become the sections "Peace", "Bagpipe Guitars", and "Caveman" on Tubular Bells 2003), and a longer piece he had provisionally titled "Opus One". Oldfield was inspired to write a long instrumental after hearing Septober Energy (1971), the only album by Centipede. He was also influenced by classical music, and by A Rainbow in Curved Air (1969) by the experimental composer Terry Riley, on which Riley played all the instruments himself and used tape loops and overdubs to build up a long, repetitive piece of music.

Late in 1971, Oldfield joined the band of Arthur Louis, who were recording demos at the Manor Studio. The studio was being constructed in the former squash court of an old manor house in Shipton-on-Cherwell, Oxfordshire, which had recently been bought by the young entrepreneur Richard Branson and which was being turned into a residential recording facility run by his music production team of Tom Newman and Simon Heyworth. Oldfield was shy and socially awkward, but struck up a friendship with the producers after they heard his guitar playing. Oldfield asked Newman to listen to his demos, but they were in his Tottenham flat, so one of Louis' roadies drove Oldfield to London and back to retrieve them. Newman and Heyworth made a copy of the demos onto 4-track tape, and promised Oldfield that they would speak to Branson and his business partner Simon Draper about them. After the album was released, Newman said he preferred the demo versions: "They were complete melodies in themselves – with intros and fade-outs or ends. I liked them very much and was a little nonplussed when Mike strung them all together."

Oldfield spent much of 1972 working with his old bandmates from the Whole World on their solo projects while trying to find a record label interested in his demos. Oldfield approached labels including EMI and CBS, but each rejected him, believing the piece was unmarketable without vocals. Increasingly frustrated and short of money, Oldfield heard that the Soviet Union paid musicians to give public performances, and was at the point of looking through the telephone directory for the phone number of the Soviet embassy when Draper called him with an invitation to dinner with Branson on Branson's houseboat moored in London. Branson told Oldfield that he liked the demos, and wanted Oldfield to spend a week at the Manor recording "Opus One".

Tubular Bells was recorded on an Ampex 2-inch 16-track tape recorder with the Dolby noise-reduction system, which was the Manor's main recording equipment at the time. Oldfield had Virgin hire instruments including guitars, keyboards and percussion instruments. Oldfield has recounted differing stories over the years regarding the inclusion of the tubular bells; in 2001 he suggested that they were among the instruments he asked Branson to hire, but in 2013, he said that he saw them among the instruments being removed from the studios after John Cale had finished recording there, and asked for them to be left behind.

Oldfield, Newman, and Heyworth spent their evenings drinking in a pub, after which they returned to the Manor and recorded through the night. Heyworth recalled several disasters, including one instance where half a day's work was accidentally erased. Final mixing was an involved process, with the faders operated by Oldfield, Newman, Heyworth, and two others simultaneously. They followed detailed tracking charts and the process was restarted if one person made even a slight mistake. Heyworth recalled difficulty in cutting the album due to vinyl's limited dynamic range, and insisted on heavy vinyl normally used for classical records.

Oldfield played the majority of the instruments as a series of overdubs, which was an uncommon recording technique at the time. In total, 274 overdubs were made and an estimated two thousand "punch-ins", although Newman said "it was really only 70 or 80" in total. Despite various guitars being listed on the album sleeve, such as "speed guitars", "fuzz guitars" and "guitars sounding like bagpipes", the only electric guitar used on the album was a 1966 blonde Fender Telecaster which used to belong to Marc Bolan and to which Oldfield had added an extra Bill Lawrence pickup. The guitars were recorded via direct injection into the mixing desk. To create the "speed guitar" and "mandolin-like guitar" named in the sleeve notes, the tape was recorded at half speed. An actual mandolin was used only for the ending of Part Two. Oldfield also used a custom effects unit, the Glorfindel box, to create the "fuzz guitars" and "bagpipe guitars" distortion. In 2011, Oldfield's Telecaster was sold for £6,500, and the money was donated to the mental health charity SANE. According to the engineer Phil Newell, the bass guitar used on the album was one of his Fender Telecaster Basses.

Oldfield recorded side one, known as "Opus One" at the time, during his one allotted week at the Manor in November 1972. He was particularly interested in starting the piece with a repeating riff, and devised the opening piano sequence after experimenting with an idea for several minutes on Bedford's Farfisa organ. He wanted a slight variation on its 16/8 time signature by dropping the sixteenth beat, and chose the key of A minor as it was easy to play. Oldfield recorded the opening riff on a Steinway grand piano, but struggled to perform in time. Heyworth solved the problem by placing a microphone next to a metronome in another room and feeding it into Oldfield's headphones. The short honky-tonk piano section was included as a tribute to Oldfield's grandmother, who had played the instrument in pubs before World War II. The staff and workers at the Manor made up the "nasal choir" that accompanies it. Oldfield had difficulty in producing a sound from the tubular bells, as he wanted a loud note from them but both the standard leather-covered and bare metal hammers did not produce the volume that he wanted. In the end, Newman obtained a heavier claw hammer and Oldfield used it to produce the desired sound intensity but cracked the bells in the process.

The track closes with a segment featuring Vivian Stanshall, formerly of the comedic rock group Bonzo Dog Doo-Dah Band, introducing each instrument being played one by one. The idea originated when the band were due to use the Manor after Oldfield, and had arrived while he was still recording. Oldfield had liked the way Stanshall introduced the instruments one at a time on the Bonzos' song "The Intro and the Outro" on Gorilla (1967), and told Newman that he would like Stanshall to do the same. Newman agreed, but had to persuade the shy Oldfield to ask Stanshall if he would carry out the request. Stanshall readily agreed to the idea and is credited on the liner notes as "Master of Ceremonies", but Newman recalled that the job proved to be more difficult than anticipated, as Stanshall forgot the names of the instruments and introduced them at the wrong points. Oldfield wrote a list of the instruments in order, indicating where Stanshall should introduce them. The way in which Stanshall said "plus... tubular bells" inspired Oldfield to use it as the album's title.

After Part One had been recorded, Oldfield was allowed to stay on at the Manor to record additional overdubs during studio downtime. He spent Christmas and New Year at his family's home, but returned to the Manor from February to April 1973 to record the second part of his planned album. Oldfield had "Part Two" mapped out and sequenced by the time he came to record it.

The "caveman" section is the only part of Tubular Bells that features a drum kit, which is played by Steve Broughton of the Edgar Broughton Band. The section begins with a backing track of bass and drums, with Oldfield overdubbing all other instruments. The shouting vocals developed near the end of the recording, when he had practically finished recording the instruments for the section but felt it needed something else. Heyworth recalled that Branson was getting impatient and pressured Oldfield to deliver the album, and to include vocals on one of the tracks so he could release it as a single. Angered by Branson's suggestion, Oldfield returned to the Manor where he drank half a bottle of Jameson's whiskey from the studio's cellar and demanded that the engineer take him to the studio where, intoxicated, he "screamed his brains out for 10 minutes" into a microphone. The incident left Oldfield so hoarse that he was unable to speak for two weeks. The engineer ran the tape at a higher speed during the recording, so that upon playback the tape ran at normal speed, thus dropping the pitch of the voice track and producing the "Piltdown Man" vocals listed on the credits.

Side two closes with a rendition of "The Sailor's Hornpipe", a track Oldfield had been performing since he was in the Whole World. It was originally preceded by a longer version of the piece, featuring a vocal contribution from Stanshall over musical backing and marching footsteps. This session occurred at 4 a.m. after Oldfield, Stanshall, and Newman had spent the night drinking. Newman placed microphones in various rooms of the Manor and began recording, and the trio set off on an unplanned tour of the house, with Oldfield on mandolin and Newman on acoustic guitar playing "The Sailor's Hornpipe" while Stanshall gave an inebriated, improvised tour of the Manor. In the end, a more traditional instrumental version of the tune was put on the album although Stanshall's version was included on the Boxed compilation. It is also found on the 2001 and 2009 remasters as a bonus track.

The cover of Tubular Bells was created by designer and photographer Trevor Key, who was suggested by Sue Steward, a press officer at Virgin Records at the time. Key was invited to present his portfolio, and one of his designs depicted a boiled egg with blood dripping from it, which Branson liked and wanted to use for the cover because he wanted to call the album Breakfast in Bed. Oldfield hated both the image and the title and rejected them. A modified version of the image, with the blood replaced by egg yolk, was used as the cover for Heaven's Open (1991), Oldfield's final album for Virgin.

Steward accompanied Key to a beach on the Sussex coast to photograph the cover's backdrop. Key brought with him bones shown burning on the beach on the back cover, but the day was bitterly cold and it took some time to set light to them. The perfectionist Key also spent several hours photographing the seascape until he had a shot of the waves that he was happy with. The triangular "bent bell" on the front was inspired by the damage Oldfield had caused to the tubular bells while playing them on the record. Key designed and constructed one, which he then photographed in his studio and superimposed on the beach backdrop. Oldfield was captivated by the finished artwork, and insisted that his name and the album title be in small letters and coloured pale orange, so as not to distract from the overall image. According to Steward, Key was paid £100 for his work, but he went on to design several other sleeves for Virgin and Factory Records artists, including Technique (1989) by New Order and "Genetic Engineering" (1983) by Orchestral Manoeuvres in the Dark.

The "bent bell" has become the image most associated with Oldfield, appearing on the cover of every Tubular Bells sequel album. It is also the logo of his personal music company, Oldfield Music Ltd. The cover of Tubular Bells was among ten images chosen by Royal Mail for a set of "Classic Album Cover" postage stamps, issued in January 2010.

In January 1973, Branson visited the MIDEM music conference in Cannes, France and pitched side one to various music companies with the hope of securing a record deal. One American executive offered $20,000 if vocals were added to the music. The unsuccessful visit led Branson and Draper to consider putting the album out through mail order, before they chose to form their own label, Virgin Records, and use Tubular Bells as their first release. The album was released in the UK on 25 May 1973, and in North America in October 1973.

Early sales were slow, and it was not until July 1973 that the album appeared in the UK Albums Chart, reaching an initial peak of number seven. The situation changed following the release of The Exorcist in December 1973, Oldfield later attributing the music's successful use on the soundtrack to its unusual 15/8 opening time signature. From February 1974 to May 1975, Tubular Bells dropped out of the UK top 10 for only four weeks. Sixteen months after its release, it went to number one for the week ending 5 October 1974, having spent 10 consecutive weeks in second place behind Band on the Run (1973) by Wings, and Oldfield's second album Hergest Ridge (1974).

In surpassing Hergest Ridge for the number one album, Oldfield became only the second artist in history to replace himself at the top of the UK album chart, after the Beatles in 1963, and again in 1964. The feat was later achieved by Michael Jackson and David Bowie, although on both occasions this followed the death of the artist. Prior to the 2020s, the album had re-entered the charts in every decade since its release, most recently appearing in the week ending 22 March 2018 (its 287th week in total).

On 22 April 2007, British newspaper The Mail on Sunday gave away 2.25 million free copies of Tubular Bells to its readers in a card packet displaying the artwork. The release was organised by EMI, who had bought out Virgin Records, and the newspaper claimed that its promotion increased sales of the album by 30%. Oldfield was unhappy about the deal, as he had not been consulted about it and felt it devalued the work.

Tubular Bells has sold more than 2.63 million copies in the UK, and an estimated 15 million worldwide. As of July 2016, it was the 42nd best-selling album of all time in the UK.

The first single released from the album was created by the original US distributor, Atlantic Records. The single was an edit of the first three sections from Part One and was not authorised by Oldfield. The single was released in February 1974 in the United States and Canada only, where it peaked at number seven on the U.S. Billboard Hot 100 chart on 11 May 1974,. The track also reached number 15 on the Adult Contemporary chart. In Canada, the single was released as "Tubular Bells (Theme from Exorcist)", peaking at number three on the RPM Top Singles chart on 18 May 1974, and was placed at number 103 in the top 200 singles of the year.

"Mike Oldfield's Single (Theme from Tubular Bells)" was the first 7-inch single released by Oldfield in the UK, in June 1974, peaking at number 31. The A-side was a re-recording of Part Two's "bagpipe guitars" section, arranged in a more pastoral version with acoustic guitars and featuring the oboe (played by Lindsay Cooper) as the lead instrument, with "Froggy Went A-Courting" as the B-side.

The introduction to Part One was chosen to feature in the 1973 horror film The Exorcist. According to the British film critic Mark Kermode, the decision to include the music was the result of chance – the director, William Friedkin, had decided to discard the original score by Lalo Schifrin and was looking for music to replace it. Friedkin was visiting the offices of Ahmet Ertegun, the president of Atlantic Records (which distributed Tubular Bells in the US), and picking up a white label record of the album from the selection of records in Ertegun's office, he put it on the record player and instantly decided that the music would be perfect for the film. Although the introduction only features briefly in two scenes, it has become the track most commonly associated with the film. Oldfield said he did not want to see the film because he believed he would find it too frightening.

Track listing

All music by Mike Oldfield, except on "Tubular Bells, Part Two" which includes "The Sailor's Hornpipe" (traditional).

Side one