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Music : Ommadawn
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Rating: 
- I'd Rather Be With You Than Flying Through Space.
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.
Rating: - Ommadawn is musically perfect- Utter Perfection
I simply adore Ommadawn. I have listened to it innumerable times over almost twenty years. Not only do I never tire of this wondrous creation, I find the occasional moment when I hear something within it I did not hear before. If a day comes when I feel beaten down or depressed, I can listen to the music of Mike Oldfield and bask in the joy of knowing I lived at a time in history when one of humanity's finest musicians lived, and I can find unexpressable hope in knowing I might one day be able to hear this man in person. Imagine this- Having the profound privelige of seeing Mike Oldfield perform live, and then being cryogenically frozen for thousands of years. The people of that future day will see you as amazing simply because you were afforded that opportunity. People will want to know you, and they will want to touch you. Man, imagine the babes...
Rating: - Mike's Masterpiece
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!
Rating: - A wonderful album of delicate instrumental music
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.
Rating: - One For The Ages
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.
- I'd Rather Be With You Than Flying Through Space.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.
Rating:
- Ommadawn is musically perfect- Utter PerfectionI simply adore Ommadawn. I have listened to it innumerable times over almost twenty years. Not only do I never tire of this wondrous creation, I find the occasional moment when I hear something within it I did not hear before. If a day comes when I feel beaten down or depressed, I can listen to the music of Mike Oldfield and bask in the joy of knowing I lived at a time in history when one of humanity's finest musicians lived, and I can find unexpressable hope in knowing I might one day be able to hear this man in person. Imagine this- Having the profound privelige of seeing Mike Oldfield perform live, and then being cryogenically frozen for thousands of years. The people of that future day will see you as amazing simply because you were afforded that opportunity. People will want to know you, and they will want to touch you. Man, imagine the babes...
Rating:
- Mike's MasterpieceIve 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!
Rating:
- A wonderful album of delicate instrumental musicReleased 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.
Rating:
- One For The AgesI 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.