| | Mike Oldfield Amarok CD Mike Oldfield Discography of CDs
 (7 Customer Reviews)
Digitally remastered by Simon Heyworth (March & April 2000, Chop 'Em Out, London, England).
A slight African theme can be singled out around the edges of Amarok, as Oldfield employs such instruments as bongo and clay drums, mixed in with ukulele and flamenco guitar. The sound of a toothbrush can be heard in one part of the album, as his unique combinations of noises and effects make up the bulk of this average sounding album. As much as the instruments are interesting to listen to, the rhythms and the syncopations that zigzag and intermingle come up short in leu of a final product. The most entertaining part of Amarok involves a chorus of childlike chants with the roar of a wild beast heard in the background, joined by some appealing drum beats off in the distance. The liner notes tell a short story of two men that discover a huge golden statue somewhere in ancient Africa. One man can hear music emanating from this figure, while the other hears something totally different, which in fact is the theme of Amarok. What is heard by some, may be heard differently by others, but nonetheless the result is music in one form or another. Some alluring moments do strike the ears during the course of this album, but entire layout falls short of holding attention. ~ Mike DeGagne
Includes liner notes by David Lanig.
Personnel: Clodagh Simonds, Bridget St. John (vocals).
Unknown Contributor Role: Mike Oldfield.
Personnel includes: Mike Oldfield, Clodagh Simonds, Bridget St. John, Janet Brown, Paddy Maloney.
Producers: Mike Oldfield, Tom Newman, Daniel Lazerus.
Mike Oldfield Amarok Songs
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Click on the  buttons below to play song samples |
| |   | 1. | Amarok |
| Amarok Music Review Average Rating: (4.4 out of 5 stars)   List All Reviews One of Oldfield's greatest works
From about two minutes into hearing this album for the first time back in 1989, I knew it was something special. While some will take issue with its length or seeming disjointedness, after a few listens its overarching structure, clever self-references, and judicious reuse of major themes becomes more apparent. This is the irreverent and playful Mike we heard on the first Tubular Bells, but with 16 more years of experience making magic in the studio, and seemingly on a mission to create something challenging. This was also the first album I ever heard that used the rear channels of Dolby surround systems, whether or not it was intentional, and the sound is incredibly pristine and dynamic. If you're at all a fan of Oldfield's progressive works, you absolutely need this album.
Submitted by Rob (Clifton Park, NY, USA)
Was This Review Helpful? Yes No 1 of 1 found this helpful.
dynamic knock' out
This HDCD Remaster blown me away,when it comes to soundreproduction,buy it now!!
Submitted by kent (sweden)
Was This Review Helpful? Yes No 1 of 1 found this helpful. So far so, far so far so...
I'm ..happy.. to say that I've spent my entire life searching for music. This album is by far the most precious treasure I've found. I would go so far as to say this is the most important piece of music written since Beethoven wrote his 9th symphony. Unfortunately Mike Oldfield is perhaps the most unknown and unappreciated talent of our time.
Submitted by casionova (Toronto Ca.)
Was This Review Helpful? Yes No Suprising.
Suprising is what you may think when you see that there is only one song on this album. But don't worry it is very enjoyable... much like tubular bells when I think about it. The music has strong rythmic energy. I was waiting to hear tubular bells but was dissaointed to find none, instead i found the bouzouki which is very cool.
Submitted by Olumpus (Melbourne,Vic,Australia)
Was This Review Helpful? Yes No An outstanding rhythmic voyage
60 minutes. One 'happy' track. This work shows Mike Oldfield at his very best: Rhytmic and energetic to the max. It contains an incredible amount of different, catchy rhytmic sequences, and they're all squeezed into just one track. Some would say that this is a waste of good ideas, since there is plenty of original material on this album for several "normal releases". But the rest of us are just happy that Oldfield for the first time in many years did EXACTLY like he pleased.
It is both traditional, gaelic, experimental, rock, choral and grotesque. Perhaps it would be easier to mention the (few) instruments that Oldfield DOESN'T play! After 54 minutes, a grotesque parody of Margaret Thatcher appears. This little sketch was done by the actress Janet Brown, who also played Prime Minister Thatcher on the TV satire show "Spitting Image".
If you're disappointed with this album, it's because you lack a sense of musical humour, otherwise you'll love this essential Oldfield album for the rest of your life... And one more thing: This album can make you 'happy'(!)
Submitted by c-4 (Odense, Denmark)
Was This Review Helpful? Yes No List All Reviews | Have you heard this album? |  |
Purchase Amarok CD To buy, Click on price to add to cart | Very Best Of Enya CD (2009)
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Comprised of 18 tracks culled from the singer/composer's first three decades, The Very Best of Enya was pieced together by the artist herself, along with longtime collaborators Nicky and Roma Ryan. ...
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The title track is an almost spooky exercise in synth/sequencer tension and dynamics: while eerie atmospheres of Mellotron go head to head with spiraling Moogs, dense, humming sequencer webs percolate along the surface, ...
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| | Jesse Sykes Oh, My Girl CD (2004)
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Oh, My Girl, the second album by singer/songwriter Jesse Sykes and her band the Sweet Hereafter -- led by Phil Wandscher -- picks up where her debut, Reckless Burning, left off. Songs are played at cough-syrup tempo, production is sparse, instrumentation equally so, offering just enough of a frame for the melody and lyrics to hang themselves on, and everything, absolutely everything, is underplayed. There is plenty ...
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| | JD Trio Allen Shine! CD (2009)
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On the tenor saxophone, J.D. Allen is becoming a musician without peer as he continually refines his phrasings and voicings. To his credit, he's taking the lessons taught to all tenor players by Coleman Hawkins, Sonny Rollins, and John Coltrane, developing his own personal brand of modern mainstream and progressive jazz. Like Rollins, he's adopted the pianoless trio here, again joining rising star bassist Gregg August and emerging young drummer Rudy Royston on this follow-up to the recording I Am I Am to make mercurial, liquid, and lithe original music. The trio plays jazz that is diverse within concise structured parameters, with only two selections over five minutes. The title track is serene, soulful, and patient, "Angel" is an easy blues/swing with no histrionics, "Se'Lah" a soul ballad with calming null spaces, and "Ephraim" is spatial and spiritual in a no-time concept. The group and Allen ramp it up for the drum bashing and sax honking to free and hard bopping "Esre!," go into a solid Rollins-esque churning bop for "Marco Polo" that is short and to the point, cop the Rollins calypso groove dance style on a very hip "Sonhouse," and eschew soulful Ornette Coleman-like lines with August's bass interludes during "Teo." More like Coltrane on the flowing "The Laughing Bell" and hard bopping "Variation," Allen and his band know exactly when to lay back or charge hard. Though the leader composed this program, there is one track penned by Butch Morris, "Conjuration of Angels," where August's strummed bass ...
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