Review by Paul Harris
Tubular Bells 2003: Tubular Bells just as Mike had originally intended, and has indeed wanted for the last 30 years. Many aspects of the original have concerned Mike over the years, the timing, dodgy playing, poor edits, changes in tone, background tape noise… to those with less of an musically trained ear, these are all part of the charm of the original 1973 version. From the first haunting piano arpeggios through to the toe tapping Hornpipe, an album of imperfections, and genius side by side.

The influence of Tubular Bells on music is quite simply immeasurable. Popular music is littered with compositional references, downright plagiarism and deference to the groundbreaking impact of the original version. With the release of this new 2003 version, completely re-recorded from scratch, with the benefits of modern day technology, the spectre of the troubled times that engendered its sibling can now be finally laid to rest.

Unlike Tubular Bells 2, which took the original themes, melodies and structure to create an entirely new and different, yet distinctly recognisable piece, and Tubular Bells 3 which only borrowed the piltdown man, the piano arpeggios and tubular bells from its famous brother, the 2003 version is an almost note for note re-recording of the original music. The result is a more polished piece, which is sharper and crisper, with a brighter, cleaner sound, and considerably more dynamics than the original.

Knowing the original version, it is impossible to listen to the re-recording without comparison, and to make observations and draw conclusions. The unique circumstances in 1972/3, created a unique piece of music, with idiosyncrasies that have been now been ironed out. Some might comment that the more relaxed and different circumstances in which this re-recording were made have lost something in the translation. However, the new piece adds some beautiful little touches to many of the melodies, diminutive twists to the sound, and subtle changes to the composition that create a fresh perspective on a very familiar piece.

Many will doubtless wonder how the new Tubular Bells will sound, in particular without Viv Stanshall’s familiar dulcet tones, and how the new Caveman piece created almost as an afterthought in the original, with the help of copious amounts of alcohol, will sit alongside those calming, peaceful tones of part 2 – you’ll just have to listen to find out!

This is clearly a landmark recording for Mike, an exorcism of the past, the fulfilment of a 30-year ambition, and now a movement into a new era. One thing is missing however, what about those oft referred to demo tapes? Mike has revealed very recently that they still exist. It would be a fascinating insight to hear these over 30 year old recordings alongside the new Tubular Bells 2003. How about a release as a special limited edition double CD?

Review by Chris Dewey
Tubular Bells holds a very special place in the history of modern music, as it does in every Mike Oldfield fan's heart. When I heard that Mike was to re-record it using current technology, I wondered how he would be able to improve on the enigmatic original.

I'm not ashamed to admit that I first heard Tubular Bells on an old tin box, but still loved every minute of it! It didn't matter that the record player wouldn't have looked out of place playing Fred Flintstone's favourites!
Listen to the World's greatest music on a crystal radio and you'd still enjoy it. I'm not suggesting for a moment that great sound quality doesn't make a huge difference, but you'll agree that it's the music that is memorable, not the sound quality.

There are differences here (which you'll prefer to wait to hear for yourself), every note is in perfect time and tune, and the production quality is astounding compared to the original. Technically perfect it may be, but the new recording bounces along happily and misses much of the unique atmosphere of the original, lacking the raw anger that Mike expressed in his music all those years ago.

Mike is well aware that the name does sell, and he's managed to pull it off so far - Tubular Bells II being truly inspired, Tubular Bells 3 one of his best albums yet, and the Millennium Bell very special indeed, but now another Tubular Bells? I can guarantee that the few critics that do spend the time to listen to it will be echoed by the many who will review it without even hearing it and say that Mike has run out of ideas and can do little more than try to recycle the golden success of his launch.

Let's face it, very few people would listen to this and think it is new. As fans who know every note, breath and imperfection backwards, we will all listen and point out the subtle differences in melody, timing, tuning and rythm, but put it on when friends come round and they'll probably just say, "Ah, yes, isn't that Tubular Bells!"

We know that Mike is still capable of true genius, and he will deliver again, but the public image of Mike Oldfield will sadly take a downturn with the marketing suicide of yet another Tubular Bells.

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