******************************************************************************* Tubular Bells - The Ultimate Edition ******************************************************************************* 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. ------------------------------------------------------------------------------- * 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 ------------------------------------------------------------------------------- SOME (MOSTLY) USELESS WIKIPEDIA INFORMATION ------------------------------------------------------------------------------- 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. ------------------------------------------------------------------------------- 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....
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