Τρίτη 31 Δεκεμβρίου 2024

Mike Oldfield "Tubular Bells" album 1973 Virgin Records "ένα δίσκος η έναρξη μιας εταιρείας" progressive rock Music Scene Jan 1974 εποχές βινυλίου ΜΟΥΣΙΚΗ

 


Mike Oldfield

Tubular Bells

album 1973

released in May 1973

Virgin Records

«ένας δίσκος η έναρξη μιας εταιρείας»

Music Scene magazine January 1974

progressive rock

εποχές βινυλίου

ΜΟΥΣΙΚΗ

 

   

Mike Oldfield  (φωτο Music Scene)

 

 

/ - το εξώφυλλο

 

 

 

 

/ - το οπισθόφυλλο

 

 

 

 

 

"Tubular Bells" has been perhaps the most surprising, and encouraging, chart success of the year, NIGEL THOMAS takes a first tentative step towards illuminating the mystery of the man who made it.

 

 

 

 

Mike Oldfield

 

   Master of ceremonies, Viv Stanshall comes in after fifteen instrumental minutes to introduce a range of instruments each of which takes up the theme. "Grand Piano" he says, in the voice of a waiter announcing the Chefs special at the Ritz. The final announcement, "Tubular Bells" is the climax of a track that finishes on the gentle notes of an acoustic guitar after twenty or so meditative minutes of beautiful but undramatic music.

 

   One track to a side, the first release on the new Virgin label and coming to you from a completely unheard of performer. Mike Oldfield is a most unlikely figure for chart success. He is a retiring figure who spent a year planning "Tubular Bells" and another six months making it; a process which is said to have involved 2.300 overdubs.

   The record spent 15 weeks in the NME top thirty, 13 of them in the top ten. Oldfield’s reaction to this success was to buy a house way out on the borders of Wales and retreat from the city to where "there's a lot more room to breathe and be normal."

 

   "There's a very large hill and this house is built on top of it. It's on National Trust land. The balcony on the house is supposed to represent the bridge of a ship. In fact the whole house is meant to be like a ship. There are big rooms with ceilings about twenty feet high and small bedrooms like cabins."

   Perched in his ark on top of a hill Mike is planning to do it all over again. "I’m writing another piece of music. I've already got half of it finished. The last one was two pieces of music, this will be just one. The drag'll be that you'll have to turn the record over."

 

   "Tubular Bells" realty took off after a performance at the Queen Elizabeth Hall, one of the bunkers in the Siegfried Line of culture on the South Bank of the Thames. Kevin Ayers, Mick Taylor and the personnel of Henry Cow together with some girl singers for background effects. Viv Stanshall compered the show and Mike Oldfield went down a bomb.

 

   Reviewers dredged up their whole battery of superlatives. "A Masterpiece", "A genuinely new development in music". For the time being Mike can truly be said to have arrived as a cult figure who will get the attention he asks for, but also from whom much will be expected. His next record will either establish him firmly or drive away his audience. None of these considerations seem to be bothering him at all.

   "I don't think I will change with success. Not really, well I’ll just go on the same as I always did, though I'm obviously far more confident now. "

 

   MIKE OLDFIELD has obviously committed himself to extended pieces of music, and this is a tendency which the most musical side of rock has been exhibiting for some time. As the limitations of the three-minute track become more evident many artists have been looking for an alternative form.

   Most of these attempts have been dreadful. The successful triers have usually either tried linking their songs together round an idea, as Townshend has done, or they've gone in for long inventive jams. These last, in the hands of a band like Traffic are truly superb, but all too often the improvisational flair is tacking and it's a pain in the earhole.

   "Tubular Bells" is a tightly constructed record playing around a couple of themes imaginatively and, which is much more important, interestingly. In this it is a genuine contribution to the attempt to make long-lasting rock worthwhile, but it would be dangerous for either the musicians or their critics to ignore the novelty value of the tinkling sound or the once-only nature of the climax to the record.

 

   MIKE'S MUSICAL CAREER started at fifteen. "I left school at fifteen and together with my sister I made an LP called ‘Children Of The Sun’. We did go round doing gigs, we were called Sallyangie, but 1 was a bit young to know what I was doing."

 

   So he stopped that and formed a rock group called "Barefoot". "I was writing songs in those days. We did some gigs, but we packed up after one disastrous performance."

 

   Mike then joined Kevin Ayers' new band The Whole World where he stayed for two years, until he left to begin "Tubular Bells" which had been occupying his mind as they travelled around to performances. He supported himself during the recording with the occasional session work, and kept costs down by living with his mum.

 

   When he had a demo ready he started taking it round record companies. Four or five of them. "Virgin were the first but they hadn't started their own label then, they were just selling records. When they did decide to start making them as well they gave me a ring."

 

   History has proved them right. Neither artist nor company could possibly have asked for a better beginning.

                                       Nigel Thomas

 

Music Scene magazine, January 1974, p. 27.

 

 

 

 

 

Ενδεικτικά η πορεία του album στον πίνακα πωλήσεων L.P. της Αγγλίας.

 

 

 

Record Mirror, July 1973

πίνακας πωλήσεων albums (Αγγλία)

/ - Το “Tubular Bells” εισχωρεί για πρώτη φορά στον πίνακα πωλήσεων albums.

Βρίσκεται στη θέση 31.

 ( Έχει κυκλοφορήσει από τις 25 Μαϊου 1973. Η δισκογραφική εταιρεία “Virgin” είναι καινούργια. Το δισκογραφικό ντεμπούτο της με το album Tubular Bells” του Mile Oldfield.)

Record Mirror, July 14, 1973, p. 2.

 

 

 

 

Record Mirror, July 21, 1973

πίνακας πωλήσεων albums (Αγγλία)

Το “Tubular bells” έχει ανέβει στη θέση 18.

Record Mirror, July 21, 1973, p. 2.

 

 

 

 

Record Mirror, August 18, 1973.

πίνακας πωλήσεων albums (Αγγλία)

Το “Tubular Bells” βρίσκεται στη θέση 30.

Record Mirror, August 18, 1973, p. 2.

 

 

 

 

 

 

 

Record Mirror, August 25, 1973

πίνακας πωλήσεων albums (Αγγλία)

/ - Το “Tubular Bells” ανεβαίνει στη θέση 15.

Record Mirror, August 25, 1973, p. 2.

 

 

 

 

 

 

Record Mirror, September 1, 1973.

πίνακας πωλήσεων albums (Αγγλία)

/ - Το “Tubular Bells” ανεβαίνει στη θέση 7.

Στην πρώτη θέση ο Rod Stewart.

Record Mirror, September 1, 1973, p. 2.

 

 

 

 

 

Record Mirror, September 22, 1973

πίνακας πωλήσεων albums (Αγγλία)

/ - Το “Tubular Bells” βρίσκεται στη θέση 7.

Στην πρώτη θέση το νέο album των Rolling Stones Goats Head Soup”.

Στη δεύτερη θέση ο Rod Stewart.

Record Mirror, September 22, 1973, p. 2.

 

 

 

 

 

 

   

  

 

Melody Maker, November 1973

πίνακας πωλήσεων albums (Αγγλία)

Το “Tubular Bells” στη θέση 15.

Melody Maker, November 10, 1973, p. 3.

 

 

 

 

 

ΕΛΕΥΘΕΡΟΓΡΑΦΟΣ

eleftherografos.blogspot.com

[ ανάρτηση 31 Δεκεμβρίου 2024 :  

Mike Oldfield

Tubular Bells

album 1973

Virgin Records

«ένας δίσκος η έναρξη μιας εταιρείας»

Music Scene magazine January 1974

progressive rock

εποχές βινυλίου

ΜΟΥΣΙΚΗ ]

 

 

 

 

 


Δευτέρα 30 Δεκεμβρίου 2024

Jacob Bronowski "The Ascent of Man" (1973) book review by Peter Stoler Time magazine June 1974 ΚΟΙΝΩΝΙΚΗ ΣΚΕΨΗ

 


Jacob Bronowski

The Ascent of Man” (1973)

Book review by Peter Stoler

Time magazine June 1974

ΚΟΙΝΩΝΙΚΗ ΣΚΕΨΗ

 

   


  

The Ascent of Man

   Two years ago, Jacob Bronowski, a Polish born, English educated mathematician, historian and biologist, traced man’s scientific development in a widely acclaimed 13-part BBC television series, The Ascent of Man. Now he has adapted his scripts into a book. The result is a long (100,000 words), fascinating, beautifully illustrated essay about the qualities of curiosity, imagination and inventiveness that lead man to explore the world and the invisible laws that order it. The book is also an exercise in optimism, With so many scientists predicting that humanity will destroy itself, anyone who writes as enthusiastically about man as Bronowski does is practically inviting a pie in the face from his apprehensive colleagues.

 

   Bronowski begins in the Great Rift Valley of Africa where, it is believed, the creature that was to become man first put his footprints on the earth. The book ends in the 20th century at the same location with Bronowski’s fearful, yet hopeful look into the future. In between he leads the way through a catalogue of human accomplishment, from Pythagoras on the mathematical laws that govern the universe to the revolutionary observations of Ptolemy, Copernicus and Galileo; from Newton's experiments on the diffraction of light to James Watson and Francis Crick’s discovery of the key to the alphabet of life, the master molecule DNA.

 

   Bronowski often bridges the gap between the two cultures, discoursing on everything from the Mona Lisa to the construction of Rheims Cathedral. He demonstrates how the flowering of art and architecture was a natural out-growth of expanding knowledge in mathematics and the rules of perspective.

   Bronowski also corrects the popular notion that the Industrial Revolution simply forced man to give up rural pleasures for urban horrors. This revolution, he points out, freed man from age-old social strictures, creating a new aristocracy of talent.

   The Industrial Revolution also gave Science a conscience. Men like Galileo and Newton believed that science’s only responsibility was to tell the truth. The idea that science is a social enterprise dates from the Industrial Revolution, when both scientists and politicians faintly began to grasp the impact of invention and technology on man and nature. “We are surprised that we cannot trace a social sense further back,” writes Bronowski, “because we nurse the illusion that the Industrial Revolution ended a golden age.”

   The author wisely does not predict where man’s skills will take him. As a scientist, he recognizes that human progress is governed by the same uncertainty principle that applies to the movement of electrons. Science can specify where a moving electron is at any given moment, but cannot tell where the electron started from or where it will stop. Nor can science be any more exact when it comes to man. His origins are shrouded in mystery. All that is certain is that man is still evolving and, if the past is really a prologue, ascending.

                                   ® Peter Stoler

 

 

 

Time magazine, June 3, 1974, [column: Books], p. 78.

 

 

 

 

 

  

 

Jacob Bronowski, “The Ascent of Man”, January 1973.

 


 

 

ΕΛΕΥΘΕΡΟΓΡΑΦΟΣ

eleftherografos.blogspot.com

[ ανάρτηση 30 Δεκεμβρίου 2024 :  

Jacob Bronowski

“ The Ascent of Man ”  (1973)

Book review by Peter Stoler

Time magazine June 1974

ΚΟΙΝΩΝΙΚΗ ΣΚΕΨΗ ]

 

 

 

 

 

 


Kasimir Malewitsch "Der Sherenschleifer" (1912) Du (art magazine) April 1977 Ζωγραφική Εικαστικά

  Kasimir Malewitsch Der Scherenschleifer (1912) Du April 1977 Ζωγραφική Εικαστικά       Kasimir Malewitsch (1891-1956)...