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| Mike Oldfield - Hergest Ridge Virgin Records, 1974 Recorded at The Manor, Oxfordshire Produced by Tom Newman and Mike Oldfield |
English musician Mike Oldfield become an overnight sensation when he released his debut record, Tubular Bells in 1973. Entirely composed and performed by Oldfield, Tubular Bells, propelled him to the forefront of the progressive rock movement. The album was a triumph for instrumental music with sales of around 16 million records worldwide and launched Virgin, Richard Branson's enduring record label.
Despite the enormous success of Tubular Bells, the reclusive and troubled Oldfield was a reluctant star and sought solace in rural Herefordshire. Inspired and named after Hergest Ridge, a hill on the border between England and Wales, his second album Hergest Ridge follows a similar format to Tubular Bells with each side forming an entire musical piece. Recorded at the Manor in Oxfordshire, Hergest Ridge was released in September 1974 and gave Oldfield his first number one LP. Amazingly, the album was only knocked off the top of the charts by his own Tubular Bells - a feat that only a few artists such as the Beatles and Bob Dylan have achieved!
Hergest Ridge is delicate and ambient in places with both folk and classical music, alongside rock influence. Its more down-to-earth musically than its predecessor, and ultimately not as immediately engaging or memorable. However, that does not mean this album isn't interesting - far from it! The beauty of Hergest Ridge is in its subtlety and composition and proves that Oldfield was a hugely talented arranger as well as musician. The album grows and grows with each listen and requires a lot more attention than its predecessor. Hergest Ridge is thoroughly rewarding when you give it the time it deserves.
'Part One' begins with a sustained and dreamy organ chord and a beautiful recorder melody, which to me sound like a homage to the countryside where Oldfield was living at the time. The music evolves slowly with the introduction of a pulsating electric guitar, which adds a beat and structure to the ambiance. Another keyboards fades into the mix and the recorder is subtly replaced by a mandolin playing a similar melody. The music evolves further as an electric guitar enters playing a series of phrases which add more layers and textures into the increasingly lush arrangement. The music reaches its crescendo with an epic guitar and trumpet solo. Both solos are so uplifting and yet so mournful at the same time - something which Oldfield is always able to convey so expertly in his music. This opening passage is one of my favourite pieces of music by Oldfield and one that constantly excites me. The way the music evolves from little more than simple ambient noises into a dramatic wall of sound is just incredible.
The next passage of 'Part One' begins calmly, with a beautiful, classical inspired piece of music. Oldfield uses a mixture of strings, an oboe, and a classical guitar, which weave in and out of each other. Like the opening piece, tension is built again with the introduction of electric guitar which adds complexity and depth to the music. Intriguingly, at around the 13 minute mark, Oldfield plays some Sleigh bells - which has a very similar effect to the Tubular Bells arrangement on his previous record. Suddenly, Oldfield introduces a distorted bass riff, which he builds upon with another blistering guitar solo. After playing out this rock section, the music fades and is overtaken by a coral arrangement, bringing the ambiance and classical music back into the forefront. 'Part One' goes full circle, as is concluded with a reprise of the recorder melody which opened the movement.
'Part Two' begins with an oboe melody played over some minor guitar chords. It slowly builds into with the introduction of some very complex electric guitar work from Oldfield, not too dissimilar from the work of Steve Howe from the group Yes. The opening movement slowly develops into the main theme of 'Part Two'in which a recorder plays a soaring melodic phrase which is then overtaken by a medieval inspired choral piece. Without warning, as though a storm has come over Hergest Ridge, the music becomes dark, intense, and heavy. Oldfield apparently used 90 guitar overdubs in order to perfect one of his most progressive musical moments. Gone is the calm and peaceful ambiance, replaced by an unforgiving thunderstorm. Above the noise of the guitars, you can also hear some distorted keyboards which add a subtle melodic component to this otherwise chaotic section. As Oldfield was suffering from mental health issues at the time, one could argue, that this section maybe a reflection of what was happening to Mike internally. It is certainly an intense, almost upsetting piece of music - especially in contrast to the beautiful ambiance of 'Part One'. For me, the heavy section always creates wonderful, dramatic images of an all consuming storm battering Hergest Ridge, highlighting the volatility of nature. Like all storms, it eventually dies down and order is restored. The main theme from 'Part Two' makes a final appearance to create a satisfying and complete conclusion to Hergest Ridge.
Hergest Ridge is a masterpiece. A beautiful interpretation of the extremes of nature and possibly an insight into the mind of someone battling mental illness. Although Hergest Ridge was a fairly strong seller at the time, it was overshadowed by the enduring Tubular Bells. Nonetheless, Hergest Ridge stands as one one of Oldfield's most complete and spectacular works and highly recommend that people revisit and enjoy this fine album.
If you enjoyed this album, check out:
Mike Oldfield - Tubular Bells 1973
Bo Hansen - Music Inspired by Lord of the Rings 1970
Jean Michele Jarre - Equinoxe 1978
