- This British Virgin LP has an incredible Triple Plus (A+++) side one backed with an excellent Double Plus (A++) side two
- The space, the richness and the clarity all combine to make this a powerful listening experience
- It’s incredibly hard to find good sounding copies of this record – this is only the second White Hot copy to hit the site in a long time
- “Mike Oldfield’s groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single, unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music.”
These sides sounds good from top to bottom — the top end extension brings out the harmonics in the bells, and the deep bass really brings the organ to life. Many copies are smeary and veiled, but this one has no such problems.
There is a lot going on here, and unless you have a clear and transparent copy like this one it just turns into a mess. This one has all the presence and space required to bring this music to life, with no attendant sacrifice in richness or Tubey Magic.
What makes this copy better than the others we played? An extended top end; spaciousness and transparency; richness and fullness, and so much more.
Many copies were congested in the louder sections, some never got big, some were thin and lacking the lovely analog richness of the best — we heard plenty of copies whose faults were obvious when played against two excellent sides such as these.
If you have five or ten copies of a record and play them over and over against each other, the process itself teaches you what’s right and what’s wrong with the sound of the album. Once your ears are completely tuned to what the best pressings do well that the others do not do as well, using a few specific passages of music, it will quickly become obvious how well any given pressing reproduces those passages.
The process is simple enough. First you go deep into the sound. There you find something special, something you can’t find on most copies. Now, with the hard-won knowledge of precisely what to listen for, you are perfectly positioned to critique any and all pressings that come your way.
Mike Oldfield’s groundbreaking album Tubular Bells is arguably the finest conglomeration of off-centered instruments concerted together to form a single unique piece. A variety of instruments are combined to create an excitable multitude of rhythms, tones, pitches, and harmonies that all fuse neatly into each other, resulting in an astounding plethora of music. Oldfield plays all the instruments himself, including such oddities as the Farfisa organ, the Lowrey organ, and the flageolet.
The familiar eerie opening, made famous by its use in The Exorcist, starts the album off slowly, as each instrument acoustically wriggles its way into the current noise that is heard, until there is a grand unison of eccentric sounds that wildly excites the ears.
Throughout the album, the tempos range from soft to intense to utterly surprising, making for some excellent musical culminations. Mandolins and Spanish guitars are joined by grinding organs and keyboards, while oddball bells and cranking noises resound in the distance. In the middle of the album, guest Vivian Stanshall announces each instrument seconds before it is heard, ending with the ominous sounding tubular bells, a truly powerful and dominating instrument.
The most interesting and overwhelming aspect of this album is the fact that so many sounds are conjured up yet none go unnoticed, allowing the listener a gradual submergence into each unique portion of the music.
Tubular Bells (Part One)
Tubular Bells (Part Two)