Customer Reviews

Ommadawn

5 star:		(49)
4 star:		(7)
3 star:		(1)
2 star:		(1)
1 star:		(0)

 

 

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.

After having "Tubular Bells" in my cassette and CD players for roughly 13 years straight, I figured it was time to give some more of Oldfield's works a try. Upon reading the Virgin Record's bio, the first artist written about naturally was Mike Oldfield. Branson talked about "Ommadawn" being his best album, so I decided to try it for myself. Needless to say, this is slowly becoming as addictive a listen as TB was. Oldfield has way better production here and explores dynamics of minimalist structures leading into his signature layering. The writing is just as haunting here as always, with the arrangements switching notes at the drop of a hat, strings and synths weaving in and out. My favorite part of the 19 minute first song is the guitar break about ten minutes in. Listening to Oldfield work some fretboard magic makes this worth the price of the CD alone. The whole thing sounds like Debussy going mad with some Oberheim boards and a guitar. The end folk piece, loosely written around Pachabel's Canon, is amusing if not repetitious, but overall this is a stunning album that is essential to anyone starting off with Oldfield's earlier material.

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.

Mike Oldfield had only just turned 22 when he made "Ommadawn", an album of such incredible musical depth and innovation for its time that I'm forced to wonder who he was in a past life. The symphonic rock style of "Tubular Bells" and "Hergest Ridge" is reinvented here, and although some may call it "New Age", little in that genre has produced anything as exciting or uplifting as "Ommadawn". Oldfield certainly had a knack for hummable melodies, which he would then repeat and augment with chanted vocals, African percussion, Irish folk instrumentation, acoustic and electric guitars, or anything else that fit his fancy; the backwards sound mosaic that opens side two has an especially moving pull to it. By the time it's over, Oldfield leaves you breathless; then, you're swept away by "On Horseback", a singalong which sounds like Sesame Street on acid. This album will make you feel young, old, wise, innocent, spirited, and spaced out all at once. File under "symphonic-space-folk-world-newage-pop-rock" and just listen.

I have been listening to this composition at suitable intervals for 30 years now. Many of the reviewers here sound like this is about the best thing they've ever heard. Count me in. In one effort this album established the breadth of perspective of New Age music on par with classical music. Hundreds of years from now when people want to hear only the best of our era, this work will be there. Tubular Bells is Oldfield's wonderful if playful signature composition, but Ommadawn is his masterpiece.

It is impossible to give this stuff anything less than 5 stars. It is even better than Tubular Bells, the so called Mike Oldfield masterpiece. Both the long instrumental tracks are haunting and the hidden vocal track is so beautiful I continuously hum it for a day or two every time I listen to it.
This must be one of the best instrumentals albums (well it is 95% instrumental). Offcourse it does not beat stuffs like Ian Anderson's "Divinities" but that was a roam into another genre. Like Tubular Bells, most instruments has been played by prodigious Mike Oldfield. Go for it for an ethereal, out of this world experience. Only weak point can be the themes may seem repeatative for people not into this kind of music.

I was hooked on Mike Oldfield when I first listened to "Tubular Bells" in 1972. I purchased each album in succession until after "Ommadawn." I loved "Hergest Ridge", but when I purchased "Ommadawn", Mike Oldfield became my idol. This masterful recording is put together so well, building up themes and variations, sending you through a journey with climaxes that are unbeatable. Ever since this album, I have been looking for one like this one. "Songs of Distant Earth" is the only album that is a close second to "Ommadawn." Thank God that a CD of "Ommadawn" was produced because I wore out two LP's throughout the years of continually listening to the album. I can honestly say that I have listened to "Ommadawn" over 200 times and I am not tired of it! Now I am inspiring my music students to Mike Oldfield by example of this album and others. I am still looking for another album like it. I do think that with the evolution of New Age Music, there will be a large clientele for it!

For the few of us who were or are aware of Mike Oldfield at all...this classic is a staple for any listener of his music.

Don't be fooled by the supposed African drummers on this...this reeks of total Celtic music. Hergest Ridge is, in my opinion, a langoured effort at Tubular Bells, Part II, this music here...is quite original and most refreshful.

The haunting cover alone with the still face showing through a rain streaked window should be a clue in itself. This musician is growing...and looking into the inner self to express himself musically.

I could be a real critic here and point out certain key factors in this masterpiece...but...since this flows from start to finish...that would be rude.

If you want to hear somone come off as subtle as a slegehammer banging into the sand...this must be heard. Released at a time when Art Rock was en vogue...this truly was the herald of them all.

Truly haunting and a good listen to when you are alone and in the mood to be surrounded by beauty, this is a welcome relief to the chaos that surrounds us.

This is truly a classic album from Mike Oldfield - his third album ends the trilogy of Two-parts albums ("Tubular bells","HErgest ridge","ommadawn") with much warmer sound and slightly more introspective atmosphere...both parts of "Ommadawn" are showing Mike as a fully grown up composer and musician who knows how to make emotional and beautifull music without most rock and pop instruments...electric guitar is a main instruments, it makes a mood for this album and gives a bit dramatic accent in some moments (Listen to Part1 finale)
There are many traditional instruments such as Ullean pipes,bagpipes,flutes,acoustic and classical guitars,tribal drums...it is truly relaxing piece of music...in the end we have also a charming acoustic ballad "On horseback" (hidden third track) sung by Mike Oldfield himself...
While the whole album is quite melancholic and sometimes full of sadness (much more depressing than Tubular bells) it is surely one of mike's most beautifull albums ever...

Ive always loved Mike Oldfields work although his latter suff hasn't impressed me as much. This album along with Hergest Ridge and of course Tubular Bells are his masterpieces. Ommadawn is my favourite out the three, its a beautifully constructed treasure that never seems to age with time. Ive been listening to this album since I was 6 and 15 years later I still play this record religously it's that good do yourself a favour and buy it now!