Mike Oldfield - Ommadawn
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Free Music Notes for Ommadawn
Free Music Review: A wonderful album of delicate instrumental music
Hit: 5 Stars
Released in 1975, the haunting Ommadawn is an excellent recording and the last of the trilogy that featured album-length works including Tubular Bells (1973) and Hergest Ridge (1974). All three of these albums can be purchased in one shot with the "Boxed" package. Of the three albums, Ommadawn is a personal favorite.
Mike Oldfield is quite the multi-instrumentalist and on Ommadawn plays everything from acoustic/electric guitar, to bass, to (tons of) synthesizers (amongst other instruments), including a brief vocal passage on Ommadawn Part Two (he sings quite well). In addition to the wide range of instruments Mike plays, he is joined by Irish musician and Chieftains leader Paddy Maloney (pipes); Mike's sister Sally and Irish singer Clodagh Simmons (vocalese passages); Leslie Penning (recorder); a team of excellent African drummers (Jabula); and most notably, virtuoso Gong drummer/percussionist Pierre Moerlen. Unfortunately, Pierre is not allowed to rip it up on the kit and simply contributes percussion bits here and there. The way I see it, a full drum kit, especially when handled by a master percussionist like Pierre Moerlen, could have added another (dynamic) dimension to this recording.
This should not imply that this album is dull or one-faced. On the contrary, it is richly textured instrumental music with touches of progressive rock here and there and a great deal of traditional English folk music. I should note that although the term "world music" was used in the liner notes to describe the album, I do not feel that it is appropriate here, given the emphasis on European melodies, harmonies, and rhythms. Mike has a good handle on melodies and they are both abundant and haunting. He also knows how to put a large piece together, and the two works, including Parts One (19'14") and Two (17'17") flow along very smoothly, develop nicely, and more than hold my interest. Mike also has a sense of humor and there are (exceptionally) brief passages that are bouncier and lighter than the rest of the music, which is largely brooding and contemplative.
This remastered album was transferred using HDCD technology and the sound is incredible with deep rich bass and crisp treble. I would have liked to see more in the way of liner notes and photos, but we can't always get what we want. All in all, this is a pleasant instrumental album that is recommended along with Hergest Ridge.
Free Music Review: One of the best Mike's earlier works...
Hit: 5 Stars
Mike Oldfield was one of my greatest discoveries, when I was a teenager (now I'm 30 and still listen to him). The first contact with "Ommadawn" for me was a section, extract from final on Part 1, featured on his 1985's "The Complete/Live Side" - for me, this section is still one of Mike's best peaces ever made, although he's made more than 30 albums so far. In those years, his longplays were very hard to find, but I was lucky to got his "Boxed" anthology at the beginning of 90's. Wow! what an album! Immediately after that, I bought a CD, because it's just been realesed in my country. Today, "Ommadawn Part One" is regularly in my CD-player at least once a month. For those who are about to take steps into Mike's music, I highly recommend this album as a typical for his earlier works ('73 Tubular Bells, '74 Hergest Ridge and '77 Incantations) - although these albums have a similar structure, they are all unique in a way. "Ommadawn" is a wonderful mix of ethno, pop-rock and symphonyc music, built on three or four simple melodies, which reaches the climax at the end of Part 1. Accompanied by female, male and children choirs (Penrhose kids from the Manor, where this album was recorded), this peace brought me to places I've never been before, even with his music. Every time I think of this record, the word POWER comes to my mind. It really is powerfull and if you'll listen to the final section of Part 1, when screaming guitars, african drums and choir explode together in a total climax, you'll know what I mean. For those who are familiar with his later works: a drum patern, used at the end of Part 1, was included later on his "Far above the clouds" peace from "Tubular Bells 3", combined together with bass-patern from "Tubular Bells 1". It is great, but for me, it could not reach "Ommadawn" because of the simple reason: this record was made in 1975 and I could hardly imagine the reflection and influence it had in those times. "Ommadawn" is often said to be the best Mike's fans record, along with "Amarok" and I very much agree with them. Today, I am very much disappointed with his latest "Millennium Bell" album, because someone who has written such a masterpiece as "Ommadawn" could have done much better! So: one of the albums of the century.Free Music Review: The completion of Oldfield's magical, elemental trilogy
Hit: 5 Stars
Which is best? TUBULAR BELLS, HERGEST RIDGE or OMMADAWN? I could make a case for any of them. There is plenty of debate in these...reviews about their respective merits, but frankly it's like arguing over which is the most important bird species. The simple fact is that you need to own all three albums. There are many who believe that Oldfield was put on this Earth to make OMMADAWN. If Oldfield had disappeared completely from the music scene after recording OMMADAWN, then his place in history would have been assured. Without this trilogy of albums, there would have been no market for the likes of Andreas Vollenweider, and a much smaller audience for composers as diverse as Tangerine Dream, Steve Reich, Arvo Part and even late Jan Garbarek.
With TUBULAR BELLS, Mike Oldfield opened up what would be known as New age music to a mass audience. With OMMADAWN, he sealed his place in music legend, and perhaps unwittingly discovered a new audience by composing a suite of melodies with immense appeal to children. Some time after this, Oldfield was hired to re-work the theme tune to the BBC children's programme, BLUE PETER.
OMMADAWN represented a departure from his previous solo, multi-tracked recording technique. Other musicians were involved, not just in the recording but in the composition and arrangement too. Influences from the folk music of Ireland, Africa and Eastern Europe can be clearly heard. Paddy Moloney of the Irish band the Chieftains contributed the distinctive uillean pipes. It was way ahead of its time, and for me, it confirms the 22-year-old Oldfield as not just one of the great classical guitarists in rock, but as one of its greatest composers.
Everyone peaks at some point in their life, and Oldfield did it between the ages of 19 and 22. What sort of a life can you lead thereafter? Oldfield has enjoyed his wealth and tried to recapture the glory of his prodigious musical achievement, but not with total success.
OMMADAWN is Oldfield at his peak. The 1970s provided the nurturing environment needed to create this extraordinary recording. We are unlikely to witness either again.
Free Music Review: I'd Rather Be With You Than Flying Through Space.
Hit: 5 Stars
Mike Oldfield's third studio recording marks the end of the most creative phase of his career. "Tubular Bells" explored an aggressive and improvised world of chaos and turmoil. "Hergest Ridge" presented listeners with the genteel and serene flip side of that world. "Ommadawn" is a step outward into a much larger and all encompassing world. It combines both the energy and serenity of his first two albums, but importantly expresses itself through shifting ethnic backdrops. Oldfield is for the first time acknowledging and utilising a `world music' ethic, with Celtic influences sitting comfortably with African influences.
Many critics have seen the explosive finale to Side One as representing some form of cathartic rebirth for Oldfield, and certainly post "Ommadawn" he would enter into controversial therapies and emerge a new man in late 1978 when he returned with his fourth album "Incantations". Rather than a rebirth, "Ommadawn" almost feels like a death. Oldfield would never recapture the simple beauty and resonance of this album. Certainly he would go on to produce fine works (Incantations, Amarok, Voyager), but "Ommadawn" feels like the thematic culmination of something far grander and important, something which can only be understood with the support of his first two albums.
The sense of an end is further confirmed by "Ommadawn" being Oldfield's final album in the serene countryside of Herefordshire. Although Oldfield's albums tended to veer towards adjectives such as complex and progressive, there is still an essential child-like naivety, purity and innocence to "Ommadawn", best exemplified by the sheer playfulness of certain parts and of the beautiful folk ditty "On Horseback". On the front cover a sombre Oldfield stares out through a rainy window, there is a sense of passing, of moving on, of facing an uncertain future, and with "Ommadawn" Oldfield finally broke free from the insecurities of the past.
Free Music Review: Unmatched Beauty
Hit: 5 Stars
It is difficult to describe Ommadawn to someone who hasn't heard it. After having read most of the reviews on this site, you'd think that everyone was insane by saying that it was like "falling in love for the first time." However, these reviews are not exaggerating. It's certainly Oldfield's greatest work (and that's up against some pretty stiff competition), as well as the greatest rock/folk instrumental album ever made. The album is based around several very simple and elegant folk tunes, but these tunes are accented by swirling electronics, ethereal female vocals, African drums, and just about every other instrument under the sun. Though the thought of long instrumental rock albums seems to intimidate most people (especially in the States), this album is VERY accessible. The tunes are instantly singable and you won't even know that you just sat through an 18 minutes song and loved it. One of it's strengths is it's energy and it's ability to flow effortlessly between sections, causing you to get completely caught up in it's magic. Though a couple of people have referred to this album as "New Age," it is ANYTHING but. It's dark, moody, and has a driving rhythm throughout, and an incredible climax at the end of part one with screaming and anguished guitars. I can't properly describe the rush of emotion and intensity that this album possesses. And for the reissue price, I think everyone should own this album.