Mike Oldfield - Tubular Bells (The Ultimate Edition 2009 3CD) [E

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Tubular Bells - The Ultimate Edition

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The 2009 (Ultimate) reissue



In 2008 when Oldfield's original 35 year deal with Virgin Records ended, the

rights to the piece were returned to him, and were transferred to Mercury

Records. Mercury issued a press release on 15 April 2009, where Oldfield's

Virgin albums were transferred to the label, and re-released, starting 8 June

2009. Tubular Bells was released in four physical variations, and two digital

variations in the UK and Ireland, and as five physical editions elsewhere.[18]

In April 2009 a new official website, TubularBells2009.com, was unveiled.



The new releases contain a new 2009 stereo mix of the album, which Oldfield

created at his home in the Bahamas in March 2009. The "Deluxe Edition" contains

a 5.1 mix, and the "Ultimate Edition" box set contains a 60 page hardback book,

a poster, plectrums and other pieces such as rough mixes and demo versions of

the album. There is also a vinyl version released as part of the Back to Black

series.



The liner notes include photos from the time and text written by Mark Powell

about Oldfield and the album. The DVD also states on its label that it features

the "Tubular Bells film" from The Old Grey Whistle Test as visual content,

however this appears not to be on the DVD and is also not listed on the outer

cover of the album.



The Digital Edition contains the same audio content as the Ultimate Edition. The

Vinyl Edition is part of the Back to Black series, and contains the original

1973 mix of the album. Downloads are also available from Back to Black website.

The Vinyl Edition carries the original seascape artwork.







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* CD one - (As Standard edition)



1. "Tubular Bells Part One" (New stereo mix by Mike Oldfield, Bahamas,

March 2009) - 22:58

2. "Tubular Bells Part Two" (New stereo mix by Mike Oldfield, Bahamas,

March 2009) - 23:20

3. "Mike Oldfield's Single" - 3:53

4. "Sailor's Hornpipe" (Vivian Stanshall version) - 2:48



* CD two - (Original Stereo Mix)



1. "Tubular Bells Part One" (Original stereo mix)

2. "Tubular Bells Part Two" (Original stereo mix)



* CD three - (Demos)



1. "Tubular Bells (long)" (demo) - 22:55

2. "Caveman Lead-in" (demo) - 2:44

3. "Caveman" (demo) - 5:06

4. "Peace Demo A" (1971 demo) - 7:01

5. "Peace Demo B" (1971 demo) - 4:22

6. "Tubular Bells, Part One" (scrapped first mix Spring 1973) - 25:13





* DVD - (As Deluxe edition) [Note: NOT INCLUDED IN THIS TORRENT]

* Vinyl - (As Vinyl edition) [Note: NOT INCLUDED IN THIS TORRENT]







Equipment



For the 2009 remix, the following equipment was utilised. A screenshot of the

session in Steinberg Nuendo was included in the Ultimate Edition book.



* Steinberg Nuendo 422

* Apple Mac Pro, 2xQuad 3GHz

* 24 Channel Euphonix MC Mix System and one MC Control

* Digidesign 003 + audio interface

* Dynaudio Acoustic Air Series networking 5.1 loudspeaker system

* Solid State Logic Duende

* TCC Electronic Powercore

* DVR 2 digital vintage reverb

* Coffee machine







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SOME (MOSTLY) USELESS WIKIPEDIA INFORMATION

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ALBUM PROGRESSION



Progression of part one



Part one opens with a soft minor key piano line in 15/8 eventually played

verbatim by organ and glockenspiel. This riff is made up of two bars; the first

bar is in 7/8, the second bar is in 8/8. These are later joined by a

different line in bass guitar. An occasional punchy organ chord, first heard at

about 1:02 in, accents this piece, harmonised by variations of the anchor line

and a later incorporated 3/4 chord sequence, both in piano. At around 3:38, a

gentle flute line appears, which segues into a section of 4/4-7/8-7/8-4/4, and

at 3:40 an electric guitar line, the latter entirely in 4/4.



After the electric guitar line ends, a softer, fast guitar line ("speed guitar,"

as listed in the liner notes) takes over, only to be interrupted by an acoustic

guitar line overlaying the original piano phrase in major key. A gentle

glockenspiel/piano piece takes over, but is later replaced with a fast piano

section, occasionally accented with organ chords.



The mood of the first 6 minutes is soon replaced by edgy electric guitar and,

afterward, a sinister organ chord, with various changes in pitch and duration.

But, once again, a more refined, carefree section ensues, dominated by acoustic

guitar and piano, eventually returning to the soft riff first heard just past

four minutes into the piece.



A 3/4 variation of the original theme comes next, followed by eerie bass and

organ playing, segueing into a bluesy shuffle on electric guitar. Once again,

when it looks like the piece will be serene (when the nasal choir intervenes),

another edgy guitar line ensues, with Oldfield incorporating both 4/4 and 7/8.



After that, a more folky acoustic line plays (with background tambourine), but

is suddenly cut off by the tolling of bells. A weary acoustic guitar line

follows, breaking into the eight-and-a-half minute "Finale" section, commencing

with a double bass line in 5/4, polyrhythmically played with a 4/4 acoustic

line. After the bass and guitar unite into the 4/4 line, the acoustic guitar

tacets and is eventually replaced by soft pipe organ notes (usually lasting four

or eight full beats) while the bass line plays.



After the 10-bar bass phrase is repeated several times, Stanshall introduces

many of the instruments appearing in part one up to then, beginning with the

keyboards, followed by glockenspiel and all guitars before the tubular bells are

announced, the ensemble becoming more dynamic and full as more instruments are

said. Finally, after the tubular bells enter, a wordless feminine chorus starts

to sing. Farther down, the Finale ensemble fades out to an acoustic guitar solo,

which takes up the remainder of part one.



Progression of part two



Part two begins where part one left off; a soft, simple piece, this time,

beginning with bass guitar and working up with other guitars and keyboards. The

opening time signature is 6/8, but a later line plays a similar melody in 3/4 on

various instruments, beginning with guitar. The opening section builds for five

minutes before the second section starts, another 3/4 section at half tempo on

acoustic guitar, with accompaniment on organ, mandolin and female chorus.



At around 8:48, the piece becomes edgy and surreal again, as the "bagpipe

guitars" enter the piece (electric guitars with added effects to give it the

bagpipe-esque sound), playing a 12/8 piece of sorts. About 11 minutes in, the

intensity of the section builds as the guitar pitches increase and a heavy piano

"roll" plays, climaxed by a sudden ascending glissando on the piano.



What comes next is one of the more unusual parts of the entire album. Tympani

rolls and drum kit commence this part, highlighted by unintelligible "lyrical"

utterances, growls, and screams by Oldfield (who, according to rumours, was then

intoxicated), in rebellion to how Richard Branson wanted him to include at least

one part with lyrics to release as a single (at the time, Oldfield was not

interested in adding lyrics to his music). This is listed in the liner notes as

the "Piltdown Man". Oldfield's yelling is countered by various phrases on piano,

guitars, and the "Moribund chorus," with this piece abruptly ending on one loud

shout exactly 16:29 in.



As expected, another quiet section ensues, a 12/8 piece mostly dominated by

guitars and organ. This section gives an excellent insight into the psychedelic,

spacey side of Oldfield (a similar sound to that of Pink Floyd's David Gilmour),

which would also be present in his third album, Ommadawn. After about five

minutes, an optimistic organ line plays, segueing into a climactic arrangement

of "Sailor's Hornpipe".



"Sailor's Hornpipe" begins with just one guitar playing at a moderately slow

tempo, but quickly mutates into a gradually accented piece with multiple

instruments (including an unlisted violin), ending with two loud, accented

notes. In live performances, Oldfield would reach incredible tempos and

"Sailor's Hornpipe" alone became a staple of his concerts.



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The recording sessions



* Part one was recorded in just one week at The Manor Studio, owned by the

founder of Virgin Records, Richard Branson. Oldfield used this studio

immediately after John Cale's sessions and just before the Bonzo Dog Doo-Dah

Band began recording.[35]

* Oldfield's working title for Tubular Bells was Opus One; Richard Branson

thought to call it Breakfast in Bed. One of the possible album covers for

Breakfast in Bed included a boiled egg with blood pouring out of it. This cover

was edited and used as the artwork for Oldfield's final album with Virgin,

Heaven's Open.[36]

* Mike Oldfield had been performing "The Sailor's Hornpipe" for years before

including it on Tubular Bells, when he was the bass player with Kevin Ayers and

The Whole World.[37]

* The only electric guitar to be used on the album was a 1966 blonde Fender

Telecaster (serial no. 180728) which used to belong to Marc Bolan. Oldfield had

added an extra Bill Lawrence pickup and has since sold the guitar and donated

the money to the SANE charity.[38]

* According to Oldfield the "Piltdown Man" shouting sequence came about when

he had practically finished recording the instruments for the section, but felt

that it needed something else. The whiskey-fueled idea to create the "Piltdown

Man" effect was to shout and scream into a microphone while running the tape at

a lower speed.

* The album was recorded on an Ampex 2" 16 track tape recorder, which was

The Manor's main recording equipment at the time.

* To create the double speed guitar, the tape was simply run at half speed

during recording. Oldfield also used a custom effects unit, named the Glorfindel

box, to create the 'fuzz' or 'bagpipe' distortion on some guitar pieces on the

album. The Glorfindel box was given to David Bedford at a party, who then

subsequently gave it to Oldfield. Tom Newman criticised the wooden cased unit in

a 2001 interview with Q magazine noting that it rarely gave the same result

twice.[39]

* The set of tubular bells that were used on the album had been left by an

instrument hire company after John Cale's sessions at the Manor, at the request

of Oldfield.[40]

* According to Phil Newell the Bass guitar used on the album was one of his

Fender Telecaster Basses.

* Vivian Stanshall, who was staying at the Manor at the time, was asked to

introduce the instruments for the finale of part one. It was the way in which

Stanshall had said plus... tubular bells which gave Oldfield the idea to call

the album Tubular Bells.[41] The "lyrics" announcing the instruments are: "Grand

piano; reed and pipe organ; glockenspiel; bass guitar; double speed guitar; two

slightly distorted guitars; mandolin! Spanish guitar, and introducing acoustic

guitar, plus... tubular bells".







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Demo version



Oldfield recorded the demo pieces of Tubular Bells in his flat in Tottenham,

London in 1971. Oldfield recorded the demos on a Bang & Olufsen Beocord 1/4"

tape machine which he had borrowed from Kevin Ayers. Oldfield was able to

overdub his playing by blocking off the erase head of the tape machine. The

demos titled, "Tubular Bells Long", "Caveman Lead-In", "Caveman", "Peace Demo A"

and "Peace Demo B" appeared on the DVD-Audio version of the rerecording of

Tubular Bells, Tubular Bells 2003.



Pieces from Oldfield's 1971 demos appear on the 2009 Mercury reissue of Tubular

Bells; also included on this release is a scrapped mix of the album from Spring

1973.



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"Sailor's Hornpipe" and the original ending



When recorded in 1973, the coda at the end of Part Two, the "Sailor's Hornpipe",

was originally preceded by a longer slightly bizarre rendition of the piece.

Loud marching footsteps trot around the sound channels as the "Sailor's

Hornpipe" is played on acoustic instruments, whilst announcer Vivian Stanshall

gives an obviously-inebriated, improvised tour of the Manor. According to the

liner notes for the Boxed vinyl set, this session occurred at four in the

morning after Oldfield, engineer Tom Newman and Stanshall had been drinking

heavily. They placed microphones in the rooms of the Manor, hit record and set

off on an unplanned tour of the house.



It was cut from the final version for being too strange to be put on an unknown

artist's first album, though it can be heard "in all its magnificent

foolishness" (from the liner notes) on Boxed. The Boxed set reinstates the

section at the end of side two of Tubular Bells. It can also be heard on the

SACD (multi-channel track only) This rendition of "Sailor's Hornpipe" was

included in the 2009 Mercury reissue of Tubular Bells.



The "lyrics" to Stanshall's improvised tour of the Manor follows:



"The hallway.



From outside, an ordinary house. A great house, true - four hundred and

eighty three rooms, each one with its own marble wash basin and douche, bidet as

it may. But inside, and the positions are reversed. A human failing, some say a

disease, but a disease that Sir Francis Dashwood knew, and knew it well.



Upstairs, inside and a revelation. It's a discotheque. No, no, uh.. there

are paintings, real, and look here - a rare seventeenth century masterpiece, and

if I can scrape a little of it off, beneath I can find hidden a fourteenth

century underpiece.



Made entirely of tiny pieces of eggshells, this lurid work has caused

controversy in the world of embroidery and anthropologicky. No, I'll say it

again, anthropolology. Umm.. no quite possibly make an anthropol, no, uh, I mean

an apolog..ph.. It has enthralled distinguished professors, and in layman's

language is "blinking well baffling".



But to be more obtusely, "buggered if I know." Yes, "buggered if I know."

And that's all we've gleaned so far from experts in fourteenth century painting,

renaissance, greengrocers, and recently revived members of the public. Buggered

if I know.



Vivian Stanshall, about three o'clock in the morning, Oxfordshire, 1973,

Goodnight"



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