Tubular Bells

Very cool but a little dull.

I enjoyed this way more than most of the prog rock I’ve been dealt. The different motions in the two long tracks could definitely have been considered different tracks for the ease of navigation. I found myself grooving at times and I wasn’t struck by anything dating this work in particular.

This sounds like what demons would listen to during playtime.

Fantastic! It's not often I find a new-to-me album that helps my insomnia. This isn't an insult to Tubular Bells - sleep music, for me, needs to be interesting enough to capture my attention and evocative enough to get my imagination going with imagery that has nothing to do with the stresses of daily life. A++ soothing of my jumpy nervous system. Adding to my library.

The first 4 minutes really were the best part of the album. The other 44 ranged from pretty good to mentally taxing. Ironic saying that since yesterday's was Trout Mask Replica, but I just didn't find this one as fun.

Quite an interesting listen, lots of good sounds. Hard to believe that Mike Oldfield was 19 when he composed this. Can't go wrong with 2 20-25 minute songs, great background music.

If someone decides to create a Prog rock instrumental album, they would be so lucky as to match this project. Glad to have listened to this!

Wtf this is not acceptable

Shits tubular 🤙

Interesting album. Clocked the horror theme to begin with

4+/5

I didn't think "electronic instrumentals" and "power ballad" could coexist but here we are.

It was just two songs!

# 497 : Tubular Bells : 06/06/2025 I know this album. A good friend of mine thought it was the bees knees back in the day, but alas I am not one for instrumentals. I hadn't really listened to it before, just snippets, and this time I found my mind wandering whilst I was "trying" to listen to it. A bit boring and sleepy. ok, but not 5 stars.

I've listened to this album many times throughout my life, but I think that for progressive albums of this type, each time you listen to them you end focusing on different sections, so there's always a sense of novelty. Mike Oldfield recorded all the instruments for Tubular Bells at 19 years old, which is rather impressive. There's not a lot of, we could call it, "virtuosity" in the way the instruments are played, instead the focus is on storytelling through musical structures. There's some very memorable sections, like the slow vocal introduction of instruments at Part I 20:20 and the growling at Part II 11:45. Historically speaking, this is [Virgin Records](https://en.wikipedia.org/wiki/Virgin_Records)' first published album and was its earliest success. It's fun to read that the huge Richard Branson's present conglomerate had its beginnings in the early 70's as some record shop in Notting Hill Gate specializing in krautrock imports.

This isn't bad music, but it feels like it's trying too hard to be avant garde that it comes off pretentious and overthought.

I think the only redeeming quality of this record is the fact that it has the song from the exorcist on it. I can’t think of anything else nice to say here. This is a perfect example of “weird for the sake of weird” and I did not enjoy it at all. The bizarre rambling on the last track really sealed this albums 1* fate.

This is a really bizarre album, which is usually something that I don't mind or even enjoy, but not in this case. Wanders all over the place without ever arriving anywhere. There's no clear reason for each side to be presented as one long composition, as there's no feeling that the disjointed sections of each part are at all unified into a greater, cohesive piece. Each part ends in a spectacularly annoying way: part one with someone calling out each instrument as they're added back into the soundscape, and part two with horrible guttural grunt-screaming interludes. Disastrous.

Parts are nice to listen to while working. But then some random voice comes on and sounds like they are hocking a loogie and you wonder what the hell is music anyway? Unfortunately that just ruined it for me

Halfway through Tubular Bells part 2 it loses the plot a bit, but great until then.

This is an album i feel i should enjoy. An album equivalent of an eighties coffee table book that all middle class households own and say they like. But I didn’t grow up in a working class household so the only nostalgia i have is for its use in soundtracks, but that exposure tender to be fleeting and therefore this just feels unnecessarily overblown pretentiousness of the highest class. This is not a classical work, an instrumental (i dont care it had a short burst of speaking toward the end) does not need to be 25 minutes long. It comes to something when the theme from Blue Peter is a highlight, given the programme itself was a dull patronising affair I assume Mike Oldfield’s single is named that as if he played this on his dates that would certainly be the end result. Although give it it’s due mercifully short. The final track is frankly pointless why anyone would want to listen to that i’m not sure.

I was mildly drunk whilst listening to it, which I think helped.

I remember seeing a re-release of The Exorcist in the cinema in the late 90s. Having never seen it before, I didn't really know what to expect, but both me and my mate dissolved into fits of giggles at the infamous head revolving scene. The rest of the cinema was unimpressed at our disrespect. Anyway, to the album: it's another album my parents listened to when I was a kid in the 80s! Not one of the ones I remember with any fondness, or really remember at all minus the Exorcist theme. I am not sure how I'd blanked out the werewolf, but I clearly had. I am glad I listened to this as an adult, I liked parts of it a lot, but for the love of god, give me a proper song structure! And less grunting. 2/5

Elevator music

what a crazy first album on the list. this sounds like a soundtrack to an 80s thriller lost to time. I have no idea why it's on a list of albums you MUST hear.

An important album, but not to my liking.

Interesting. 2.5

Artiste connu. Cet album fait partie de mes préférés ! Une invitation au voyage. Il faut se laisser porter par la musique, on ne sait jamais ou elle va nous mener. Chaque nouvelle partie est une surprise, c'est ce qui fait tout son charme. On en redemande, même après plus de 20 mn. Il mérite donc la note maximale ! =>5/5 Pour ceux qui ont découvert Mike Oldfield dans cette liste et apprécié l'album : ses albums suivants ('Ommadawn', 'Incantations' et 'Hergest Ridge' par ordre de préférence) sont tout aussi réussis.

Five stars for the werewolf growls alone. Totally tubular.

Tubular Bells is so much more than just the soundtrack to The Exorcist. It is also a lengthy, self-indulgent wankfest of epic proportions. My favorite part is when he introduces all of the instruments by name.

Tubular Bells (Part One)

Almost didn’t give it the time of day, very glad that I did - itches scratches didn’t know I had

Now this is the kind of album that I could see someone absolutely adoring or completely despising. Mike Oldfield's 1973 album Tubular Bells is a number of things. It's mostly instrumental. It's comprised of what is effectively one long song split into 2 parts with unique segments within each part. It's mostly the work of one guy. It's fairly proggy. Most importantly of all for this review, it is an album that I like. I enjoyed Tubular Bells. Is it my favorite mostly instrumental album that only has two tracks? No. Miles Davis has it beat with In A Silent Way. However, Tubular Bells is an album that appeals to me. I enjoy cool compositions that last for a long time if they're done well. I've mentioned this a lot lately. Between "Pyramids" on Channel Orange, the title track on 2112, and this, I've now acknowledged my love of long-ass songs in three of the past 4 reviews, which is interesting. I can see why others may not like Tubular Bells as much as I do. It can be seen as a bit repetitive and it's not the most engaging album in existence. However, I could never give an album like this a low score. It's Tubular Bells, man! Good stuff. Low 4/5.

Normally a fully instrumental album would get an automatic one star, but this has the poltergeist theme.

I like how towards the end of the first track, he just starts listing off all of the instruments his keyboard can play.

🧌 Piltdown Review (Caveman Voice): "Ruhhh... GONGGG... hmmngrrhh TWO SLIGHTLY DISTORTED GUITARRRGH... brrrrrngnghh TUBES! BELLS! WHALE NOISES! HURRGHHH." (Translation: "This album is culturally significant, but also, who invited the neanderthal to grunt through track II?") This legendary one-man prog epic earns points for innovation, ambition, and accidental horror movie stardom — but let’s be honest, it’s a fever dream in symphonic form. Between the Celtic-tinged serenity and the full-on throat-grunting descent into madness, it’s equal parts fascinating and exhausting. By the end, I was just trying to survive the roll call and hoping the Piltdown Man doesn’t follow me home.

This album was really cool, but a lot of it felt like background noise and/or pretentious. Still enjoyed listening but probably not something I’ll revisit

Listened before?: No, never Good background music for working--not sure Mike Oldfield would take that as a compliment, but I really enjoyed it!

The start of this was epic but quickly devolved into something I wasn't too keen on

I was very surprised by this album. First off, part one of tubular bells is like a fever trip. It’s wildly challenging at first, just in how repetitive it is at the beginning. But as the song goes past the exorcist theme you realize that it’s just bouncing off the walls if different ideas and constant changes. I guess I didn’t realize going into it that it was going to develop into a progressive rock album and that was a pleasant surprise. Where the album really wins me over though is in part 2. It starts softer and feels significantly less like a nightmare (I don’t mean that in a negative way). It still super progressive and leads into some guitar solos that are fun. It even gets alittle silly near the end (which I’m always a huge fan of when bands don’t take themselves too seriously). The only reason this album isn’t a 5 is because the last two really short tracks just feel like nothing, and I don’t mean they are not long enough. I just mean they have so much less to offer and are pretty forgettable, frankly. But those first two OVER TWENTY MINUTE LONG songs are great and super fun and interesting. If you have a lot of free time to listen to incredibly long progressive rock music, this is like an early gem of the genre.

i audibly laughed at “~glockenspiel~ *ding ding ding*” because it caught me so off guard, and then the goblin soundtrack reallllly threw me off but i’m not mad at it. not my usual jam but i actually found it moderately enjoyable as background music while pretending to be a pro hacker at work

Weird but innovative. I imagine listening to this while high would be an absolute wild trip.

Kinda good, but there were moments of displeasure (bells/goblins)

Good instrumental stuff. The vocals from part 2 starting halfway through surprised me

Not bad, but I’m not sure I get the hype over this.

prog-tacular!

Not my type of music

Good album

He estado mirando info del álbum y no sabía que la fortuna de Richard Branson empezó con este disco. Lo escuché hace más de 30 años y nunca he vuelto a oírlo más allá que cuando he visto la película del Exorcista. Mejor de lo que recordaba, hay que escucharlo. Aparte de la intro tampoco creo que vuelva oírlo deliberadamente.

I was always told by my mother to listen to this album. It was pretty neat and different. Not entirely sure I'd ever listen again. The end of the album has a bit that was pretty funny, but for the life of me I can't remember what it was now, other than relative to art.

I was going to write something witty, like: It's no wonder it was chosen for a horror movie; it's horrific. But in the end, all I really want to say is: No thanks.

Awesome and I just learned he played every instrument on this album.

Surprisingly better than I thought it would be!

Didn’t care for

I like the sounds, it’s generally pretty and fairly proggy, but it does run on a little and becomes tiresome after a while to the point where during both listens I kinda started tuning it out but it was always pleasant while I was listening, so I’d go a solid 3-3.5 stars

Objectively, this is a great album. He is certainly good at playing instruments. He is not good at being an artist. I just can't get into it. Albums like this should take you on a journey, and make you feel a powerful roller coaster of emotion with the transitions. I don't feel any emotional connection to this whatsoever. I felt more of a connection with Pingu playing icicles in the cave (which is what the first ten minutes or so remind me of). I did enjoy the sound of the electric guitar - though the demonic grunts were unwarranted. It was a disappointing listen. I want to like it, but just don't.

Weird, not sure I'll listen again

No, thanks.

had to rereview bc this album has grown on me SO MUCH

Weird

4./5.0: Very Good

i enjoyed this overall. he incorporated a ton of different instruments which kept things feeling fresh and unpredictable. speaking of unpredictable, my major complaint about this album comes from the vocalizations. the random growls in pt 2 interrupt the groove in a bad way. but they don't hold a candle to the sudden announcement of incoming instruments at the end of pt 1. this made me bust out laughing completely took me out of the music. without those two things this is easily a five star album

Great album, progressive rock slowly appearing into the mainstream. Love it, surely a perfect vinyl suggestion for near future.

I wasn't sure when I saw 20+ min runtimes on 2 of these tracks, but what a ride this was! I think aside from the weird vocal work on the 2nd track, everything was well put together and just excellent.

This album is like the shitty music they put on in the background of restaurants, and that's not a compliment. ha

GET IN! This is a masterpiece of an album that I've been listening to regularly since my youth, thanks to dad's influence. One of my more memorable concert moments was seeing Tubular Bells For Two, featuring two very talented musicians performing the whole of Tubular Bells pt. I and II. I'm taken on a musical journey through time and space every time I spin this. Mike Oldfield has certainly composed one of the all-time greats.

umm...idk i was vibing until they started growling

Very cool music. Of the time and experimental in the way only a young person can do it without too much influence from the world around them. Now I know where that song comes from!

go away

Wasn’t in the right mood for that.

4/29/25. Very soothing and skillful guitar work here! I can listen to this while reading or doing another task - it's very moving and compelling to listen to, almost like a classical piece.

I can't say that I enjoyed it exactly, but I've given less fascinating albums 3 stars for at least being interesting and this was certainly that.

Why do I like this and hate so much other prog? Dynamics. Since this isn’t so in your face all the time (lookin at you, ELP) the big parts get a chance to shine and actually achieve their intended goal. Because of that, the long instrumentals don’t drag the way they easily could have. Part 1 was better than part 2 (could have done without the guy clearing his throat), but I did like the weird way it ended.

Incredibly overhyped. Nice as a background tune while doing your job but otherwise very mediocre.

I had no idea this was a full length. It's amazing, reminiscent of Goblin, I guess there was just something to 70s prog-rock film scores. Instantly added to library

5 minutes of the famous Exorcist bit followed by prog rock silliness. Ruined my Saturday morning coffee and newspaper reading. Pass.

Had no idea this was an album first, Exorcist association makes it unsettling. Interesting rock instrumental, even has some educational parts. Very rock opera, very cinematic.

Ok I see you

Hell yeah

This might be one of the most irritating albums I’ve ever listened to. It’s like an annoying kid poking you and you tell them to stop so they leave their pointer finger a centimeter away from your arm and scream BUT I’M NOT EVEN TOUCHING YOU. Introducing the instruments was really painful to listen. The last minute of part 2 made me want to rip my ears out. Like we get it. Shut up. The single is fine. It’s not offensive. Sailors hornpipe is.. idk i was so done with the album by this point Overall, it wasn’t the worst thing ever but I would much prefer to never listen to this again.

Interesante

I sort of liked it. Then sort of hated it. Then sort of liked it. Etc…that happened every 1 minute so I guess it is 3 stars.

Not mad I listened to it, wouldn’t listen to it again

Huh, wouldn’t have guessed the Exorcist theme song would’ve turn up on here, but life is full of strange little surprises isn’t it? A bizarre album. 2.5⭐️ that’s rounding down for that growly ass werewolf shit going on towards the end. What the hell was that about? What was any of this about?

This album is fucking rad. Seeing the cover, I was afraid it was gonna be some British techno shit that I'd have to slog through for 79 minutes. This 47 minutes went by way too fast. Holy buckets...this dude recorded this at age 19 and played: grand piano, glockenspiel, Farfisa organ, bass guitar, electric guitar (including "speed guitar", "fuzz guitar", "mandolin-like guitar" and "guitars sounding like bagpipes"), taped motor drive amplifier organ chord, assorted percussion, acoustic guitar, flageolet, honky tonk piano, Lowrey organ, tubular bells, concert tympani, Hammond organ, Spanish guitar, vocals ("Piltdown Man" and "Moribund chorus") Quite impressive.

Seems like this would be a pretentious person’s favorite album. Wasn’t terrible, wasn’t spectacular, solid background music.

Wow what an exceptional piece of music. I've heard of it before but never heard more than the opening Exorcist theme. Pt 2 > 1.

Nope

Gtfoh

A super weird album, where the weirdness actually works pretty well? I don't really understand why, but I don't make the rules I just follow them. The vocalizations in part ii ruin most of that part for me, though. Take that out, and this is a much different rating, because I did, for the most part, really enjoy this album. But why am I listening to monster man scream at me. Favorite Song(s): Part i

i loved this melody as a kid. instrumentally awesome but it was a bit too long for me

I think what really gives this music its charm is that you can practically *feel* a young musician's foray into the unknown here. Mike doesn't come across as a veteran composer here, but instead as a wunderkind running amok in his musical toy room, leering at his arsenal of guitars and keyboards with wide-eyed excitement. In every odd arrangement choice, in every sudden shift to a next section, in every introduction of yet another musical motif, you know that you are witnessing the authentic joy of exploration and listening to someone chasing the promises of his wild imagination. Mike Oldfield would of course grow to become a more accomplished composer creating, in my opinion, more accomplished albums. However, the sense of adventure on display here is what keeps so many of us returning to these pieces of music time after time.

This was not at all what I expected, but I ended up having a great time with the album. It takes you to unexpected places. I know it's a "caveman" in Pt. II, but in my head this is Klingon Opera.

I liked it I listened to Tubular Bells part 1 and hoped that there was a part 2 and there was 8 out of 10

Fav: Tubular Bells - Pt. 1 Least Fav: Tubular Bells - Pt. 2 I’d say just get rid of the weird caveman vocals and it’s a 5, some of this was truly beautiful such as the ending parts of Part 1, but those vocals kind of took me out of the vibe

It's definitely technically impressive and the fact that this guy played all of the instruments on this album is really cool but it's really forgettable just feels like Mike flexing that he can play a bunch of instruments. 5/10 Favourite: None Least Favourite: Pt. II

41/1001 Made so popular by its inclusion on The Exorcist soundtrack, there is now a copy of the LP in every single charity shop in the UK. Anyone who has bought it since then on any other format is probably a woodwork teacher. As with so many other albums on this list, I can maybe see why it was seen as ground-breaking at the time, and I can see why people might like it... but it has not aged well and it says nothing to me about my life. Inoffensive, pompous, prog wankery. Two tracks and nearly 50 minutes later, I'm not sure I understand anything more about "bells that are tubular" than I did before I started.

I cannot stress enough how earth shattering this composition was when it came out, when in particular it appeared in the film score for end of the THE EXCORIST. Brilliant progressive instrumental rock. It is mind blowing that a 19 year old did nearly all of this himself. The overdubs are so flawless that this album feels like it had to have used a multitrack sequencer that didn't even exist yet.

Groundbreaking album in the realm of rock music, with an almost classical approach to its composition. I can't really call it influential, as I can't think of any other artists who have followed in Oldfield's footsteps and made music like this. Sure, there are plenty of experimental music pieces that use rock instrumentation, but usually those don't include catchy riffs and melodic ideas presented here. Truly a remarkable journey in musical form that, by the end, will make you wonder "how did we get here?", but everything flows perfectly and makes complete sense. (Side note: I've never watched The Exorcist, so I never associated the opening section with it, nor I ever even consider it to be remotely scary sounding, like a lot of people seem to. I guess context really is king.) Key tracks: Tubular Bells (Part One)

Well ... starts out quite nicely, but not crazy about the ending. And that's just the first song! The second song wasn't as good, and then there were two short songs that should not have been included.

It’s incredible in its detail and singular vision. I’m never going to be sitting around saying “you know what I want to listen to right now? Fukkin Tubular Bells!” But I’m glad it’s out there and it’s worth listening to

Jaha. Faktiskt positivt överraskad. Kändes som det skulle bli uselt. Två jättelånga trotslåtar. De är rätt sköna, men svåra att greppa helt. Minus för "skriken" (runt minut 15) på del II, och den krystade uppräkningen av instrument. Tvek om jag lyssnat igen dock.

Den här gillade jag verkligen. Första låten/delen är riktigt riktigt bra. Andra delen är svagare och gynnas heller inte av de gutturala lätena mot slutet. Oavsett är detta musikaliskt väldigt imponerande, särskilt med tanke på när det släpptes. Kul överraskning!

Sometimes an album, and this is a good example, needs to be considered in the context of when it was released and what was happening then either personally or globally in your life. This is on top of how it was considered musically at the time. On the latter point and as others have said it was an immense achievement for an unknown 19 year old to write, play and produce a piece of music this size. The fact that it has been re-mastered many times and re-recorded and played at concert halls by symphonic orchestra’s is testament to how great a piece of music it is. More importantly to me and the reason why I like this album so much is the time period it was released. 1973 was a dreadful year in the UK. The Country was on its knees due to numerous strikes. There was a 3 day week due to power blackouts. IRA bombings were striking fear into everyone. Music was a welcome distraction and this album was at the forefront of that. Virgin records consisted of a mail order page at the back of music papers. LP’s were cut price so it was not only financially advantageous but Virgin were considered to be extremely cool. Tubular Bells was the biggest thing at Virgin Records. The Exorcist was the biggest film of the year and the music intro from this album helped to make it that way. Having this album was a badge of honour. No more more so when I arrived at RAF Disforth on a cold winter day and discovered one of my mates had managed to smuggle his copy of TB into the dormitory along with a dansette record player. We must have listened to it through over 50 times the 3 weeks we were there. Such happy memories and why the music and the iconic sleeve mean so much to me. Plus…Tubular Bells (hair standing up on head and shivers down back of spine stuff) 5/5 31/3/25

Yes

Prog Rock probably peaked here (sorry Rush fans), the into was cool since they used it in The Exorcist and anyone born in the UK from the 1970s onward heard that musical motif at least 100,000 times in their life without realising it. Ended with a sea chanty style variation of the Sailor's Hornpipe, wasn't expecting that, but over 45 minutes this album took me to a lot of unexpected places.

Cinematisk progrock, multiinstrumentalr, the exorcist

[7/10] Damn this demon music got silly

Funnily enough, I thought I got this album already, I do listen to it quite often though. I've never seen The Exorcist, so it never really had that association for me. It makes me think of a lovely spring day or a walk on the beach (á la the iconic album cover), so I'm not sure why it was picked for that film! The album is a masterpiece in my opinion, it's incredible how many instruments he played on it, and how many great melodies appear throughout the two sides.

Today I learned that the RuneScape soundtrack is considered an all time influential album

The first few minutes really felt like they were building up to something exciting, but each side of the album is more like a series of vignettes than a coherent, continuous composition. Bit of a let down.

It's a bit of a weird album, completely hit and miss. At its best, the music is pretty interesting and quite varied. I even like the weird Klingon bit. But at its worse it's meandering, and it doesn't really stand out. It's a strange beast, I kind of admire the weirdness, but it's not something I'd return to. 2.5 rounded up.

Tubular Bells is Mike Oldfield's debut album, and was an international success. This rich, instrumental album was composed, performed, and recorded by Oldfield, when he was all of nineteen years old. The album was used as the soundtrack for the movie the Exorcist, which helped drive the notoriety and acclaim for the work. Among the many accolades for the work, it won a Grammy for Instrumental Composition, and was part of the initial success of the Virgin Records empire. This is a beautiful, layered composition, that could be called prog rock, and is considered one of the first works of new age music. This is a brilliant album that has inspired musicians and even genres for decades.

Lost interest very rapidly

This really is a fantastic album. Almost entirely instrumental, including some really groovy odd time stuff. Orchestral layering of modern instruments, repeating motifs - it's very good.

No way that the tubular bells sound so shitty, I waited 20 minutes to listen to them. The weakest part of the project are the two singles.

i understand that it was in the exorcist but it doesnt need to be 25 minutes long

This was incredible. I had never really heard any more than the theme part used in The Exorcist. Loved this.

The Exorcist and Blue Peter bits are good. Quite a weird album really, eg the weird noises that one guy makes for about 5 minutes towards the end. Not sure how this sold so many copies.

Even though I only found the album decent, I appreciate the editors for including stuff like this in the list. 5/10

Pt. I // Pt. 2

I like the Tubular Bells, but the rest of the album feels unnecessarily long.

For most of it, this was a pleasant listen. I just have to ask, why is it on the list?

Lowkey when he was like "tubular bells" and then he started playing the tubular bells, I kinda popped off. A close second was when he said glockenspiel and then started playing glockenspiel. Musical wallpaper, otherwise. Rating: 4/10

3/10 I like an instrumental but this just does nothing for me. Favorite Song: Tubular Bells pt. W

A lot of noodling, probably best enjoyed high

Reminds me that i need to watch the exorcist. Although I enjoyed parts of it (particularly the section of part II with vocals), there are a lot of ideas in here, many of which are pretty disparate and some of which are not very developed. It feels like a bunch of ideas that aren't of sufficient quality to carry a song have been combined in a linear way as if the value of the music is just the sum of its parts. There's not much complexity or quality of musicianship and I don't really feel like there are the thematic links or continuity to justify being two long tracks. Tone/production is not awesome either. My dad loves this album so i'm kind of surprised that i was so underwhelmed but I just didn't see much value there. Sounds like a 19 year old has dicked around with a lot of instruments and this is what's come out.

I spent the first bit of my listening scouring the net for tattoo artists that could give me the Sam and Dean Winchester ward tattoo that would fend off demons and ghosts from possessing my body. Then I gave up and turned it off.

Me at 0:10: oh nice, it's the theme from The Exorcist, that's super catchy Me at 12:00: still going huh? OK he's doing some slightly different stuff at least Me at 26:00: well that was long but not terrible and it's over now- oh, nope, there's a part 2 Me at 37:50: oh hey, the demon from The Exorcist actually makes a cameo Me at 49:10: well that was very different. Did I like it? I'm not sure

Enjoyed part 1 way more than part 2. 1 sounds like the theme from Halloween 2 sounds like it's from Ocarina of Time Until they both don't sound like that anymore. It's good.

2 minutes into the first track, I was very tempted to stop listening. I'm glad I listened to the whole album. I found that as I treated it like a classical music concert, rather than a collection of rock & roll hits, I enjoyed this album a lot

I liked 2 songs. I had to skip through a few that were just hard to listen to for me.

This was good, but not something I'd seek out.

For context, in prog rock: just very recently, I had King Crimson and Genesis' "The Lamb...", both absolutely delightful. Now, this? Is not. Credit where credit's due, dude recorded all of that by himself with overdubs, but... I think I can hear that, in this incoherent, self-indulgent mess I had no whatsoever fun with. There are a few fine musical themes in here but those all end up being fucked with by some stupid - "Gimmick:" - gimmick or yet another - "Layer:" layer and there weren't too many good themes to start with, really, in this new age flavoured noodling. It's like Oldfield repeatedly got bored throughout all of this - I guess I can't blame him - and wanted to let us know. Nicest bit, for me, was the part past the angry Klingon; reminiscent of Pink Floyd, albeit without Gilmour's sense for melodies of course - only to be interrupted by "Hello! Now I'll play the jig from Popeye! Wheee!" (-_-) Is this humour? I don't know, I didn't laugh. Just random, cringey and disconcertingly odd, the whole thing. The way this album annoys me puts it into the one star category, but I'll grant it an attainment bonus. It's still rather shit.

This is an album that I knew of by reputation but had never actually listened to before. Generally this was great, but there are things that completely take you out of the experience. For example when he starts talking like a muppet character that's been possessed by a demon.

so good whattt, I had no clue it was all one piece

This was totally Tubular.

Very monotonous

Meh.

Pretty amazing it was composed when he was age 19. Very good accomplishment.

felt a little warm and a little melancholy. good shit

Weird album. Lowkey fire tho

Excellent classic!

Too weird to listen to often but had enough interesting parts

Wasn't expecting The Exorcist theme. Part 1 was okay background music but Part 2 was garbage.

It is a hard listen this album. Musically it is incredible, but it is not enjoyable to put yourself through 1/5

Moments of epicness. Would have liked if it was broken up into more tracks, but this is how it was envisioned and you have to respect that. 4/5

5/5

Idk. Not really so Tubular. Sounds like Halloween them on opening track.

This has not aged well. The famous opening aside the rest is just noise. Pity.

Listening to this as a standalone piece of music as it was intended, my mind wanders into questions about how much technology has changed music and our perceptions of it. In the early 1970's when it was incredibly expensive to record and distribute music, this kind of a random epic fantasy from a precocious teen was incredibly rare and widely celebrated. Now, with low cost digital recording technology and youtube, it's ubiquitous. The contemporary version of Mike Oldfield is perhaps Bo Burnham, and I prefer Bo, because when you're creating in land of great abundance of readily available music such as we live in today, the challenge shifts from production to marketing, and the only way to gain attention is to make great use of the attention you are already receiving, typically by offering worthwhile content (literally, worth the listener's while). Also, any pretense that Tubular Bells rises above pure novelty is shattered about 2/3 of the way into side one, when a quite pleased with itself voice starts introducing each instrument as it reappears. Hey, Mike was a teenager, and lord knows you don't want to hear what I was doing at his age so we cut him some slack. But we don't have to keep listening to it, let alone revere it. p.s. The second star is for the truly excellent use of excerpts of this in the terrifying movie, "The Exorcist."

Well, *that* was not what I expected from either the title or the album cover. Definitely distinctive, and even if it's not necessarily rock--or for that matter pop--music, it's a worthwhile listening experience. Each album side plays like a classical score or possibly a musical soundtrack with all the lyrics removed, and of course there's that "Exorcist" theme opening that apparently captured a nation's attention and helped Richard Branson's fame and fortune. It's a bit hard listening to this for the first time in 2025 to understand how this album could have stayed in the UK top ten for much of 1974, but clearly it resonated. (The album is also at times sort of a precursor to New Age music, which might help explain its pull too.) It's impressive to read how nearly every instrument is played by Mike Oldfield, as well as all of his self-taught playing and producing attempts, not to mention how many overdubs went into each piece on the album. At times it felt like the aural equivalent to that incredible 96-minute single-take movie "Russian Ark" (touring the Hermitage Museum), both of which are simultaneously interesting concepts and remarkably tedious experiences at times. And funny to read that the "Piltdown Man" section of Part Two was created when Oldfield downed a half-bottle of whiskey and screamed into the microphone for 10 minutes straight, all out of pique at Branson telling Oldfield he needed vocals to sell the album; it feels like this anecdote kind of sums up Oldfield's approach to people and feedback and perhaps even music.

That was hilarious. Love. I'm a sucker for stuff that ranges from great to godawful (now with more spoken word!) and knowing it was used as the original Exorcist's theme is the chef's kiss. This is the kind of album you spring on people on a road trip where you're driving.

was not expecting the orc-rock breakdown or the captain pugwash coda.

"Yeah no, but please hear me out! With a 16-track recorder, Mike Oldfield couldn't record all the instruments at once like a band would in a typical studio session. Instead, he had to meticulously build the album layer by layer, instrument by instrument. So likely he started with some foundational elements, maybe a piano or acoustic guitar part, laying those down on a few tracks, for the whole 26 minutes of Side A in one go. Then, he'd go back and record another instrument on a different track while listening to the existing recording. You know, he almost invented overdubbing! Then he'd repeat this process again and again, filling up the 16 tracks with different instruments and parts. To add even more layers, he would have to "bounce" or combine several recorded tracks onto a single track, freeing up space for more overdubs. So, Oldfield had to overcome technical limitations and potential sound quality issues to achieve his musical vision. This recording process is a big part of what makes Tubular Bells so unique and impressive. It's a fascinating example of how artists can push the boundaries of technology and creativity to produce groundbreaking music!" "Sure, but is it any good?" "Meh, it's ok"

Listened to previously, and not my thing. Appreciate the skill.

The bit where he announces all the instruments is uber cool. The rest? Riffs with no connecting ideas. It’s not awful by any standards. Maybe quite good. Some of the riffs are great actually. Also this sold a gajillion and also pretty much launched virgin records. So yes you should listen to it. But you might find yourself wondering - what’s the fuss about? 2.5

Back when I was a kid, albums were expensive and I didn't own that many. I also hadn't discovered where the good record stores were, so most of my records were sourced from the Ashfield Record Bar (in Hercules Street, now a bakery), Kmart, or mail-order from the World Record Club. I'm pretty sure I bought my cassette copy of Tubular Bells from the Kmart bargain bin when I was about 13, and I played it a lot. But I can't say I have played the album often since I turned about 16. I've since picked up a vinyl copy, but I am most likely to spin this disco cover by the Champs (https://youtu.be/qgtRVTU6hv8?si=3N_3dGVdLGidefxz&t=16). It's been over 30 years since I listened to the original Tubular Bells all the way through. I generally don't like prog (too clever clogs), but I enjoyed spinning this again. Mike Oldfield knows a good melody and hook. Tubular Bells feels full of surprising little musical moments. It's like an Easter egg hunt in a hedge maze, where you turn a corner, and suddenly there is a new little vignette to surprise and delight. And then you push on further through the hedge maze to find the next egg. Some stray observations after listening to this all the way through for the first time in 30 years; - It is more fun than I remember, and much more memorable. I can still remember a lot of the melodies and moments along the way. - Some sections are clearly jokes. - It is a chock-a-block with mistakes. For some reason, I had it in my head that they'd laboured over this record, obsessively overdubbing. With my more mature ears, I can hear how quickly it was thrown together. Lots of flubbed notes, out of tune guitars, clumsy transitions, sloppy playing. This was recorded quickly by a nerdy teenager on whatever equipment was available. Nobody involved really knew what they were doing, and it shows. Personally, I find the imperfections kind of charming. - I now realise how much the main section is cribbed from the Bonzo Dog Band's 'Intro and the Outro'. Not a bad thing really -- more people should get Viv Stanshall to narrate their records. "Eric Clapton on ukelele, Princess Anne on sousaphone" - Also, Terry Riley was clearly a big influence. I also listened to the Part One demo, and the influence is especially profound there. I quite like minimalism, so that works for me. - Part One is definitely better than Part Two. - I don't normally approve of guitars DI'ed straight into the desk, especially in the age before cab simulators. They sound fizzy and claustrophobic. But I'll forgive them here because of the way they fit into the (inadvertent) sound design. They sound really up-close and warm. -When I was a kid, I always wished it had more drums in it, and I secretly still feel that. But maybe it would be much more serious with drums and lose its charm. Maybe it's better like this. I note this from Simon Frith's contemporaneous review (quoted on wikipedia): "Oldfield's concern is the sound of rock, but Tubular Bells lacks rock's other essence — energy. This is no way body music — no sex, no violence, no ecstasy; nothing uncontrolled, nothing uncontrollable." I think he's correct, so I think the decision to leave off the drums was consistent with the more cerebral, less physical music. You couldn't dance to this record, by intention. - The version I listened to today was heavily remastered (and possibly remixed?) in the 2000s. I did not enjoy the extra brightness and space in the mix; it actually makes it sound like the recording is hollow and missing its centre. I was immediately nostalgic for the overly compressed tape saturation of my old cassette copy. - That cover art really is great, isn't it? I was expecting to return to this album to find that early 70s prog seriousness and pretentious cleverness that I really hate, but instead found a charmingly amateurish, fun and often funny album (in a quite teenage way). It's full of cracking little tunes and delightful moments. It's a really easy album to like. 3.5 stars, rounding up for being more fun than I remember.

You’d think that this album would exist in the shadow of the opening being the basis for the Exorcist’s main theme, but by the time the bass and piano comes in, you’re firmly back in Tubular Bells land for the duration of the ride. I remember seeing the cover of this album amongst my dad’s (of course; this is the quintessential Dad Album) Pink Floyd and Rush LPs as a kid and finding something very striking about the shape on the cover. I remember my dad showing me Oldfield’s performance of Tubular Bells on the Old Grey Whistle Test and it being a real catalyst for my love of instrumentals, soundtracks, and post and prog rock. It’s been a long time since I last sat down and listened to it and I’ve got to say, it’s still got the stuff. It could easily have been a bloated and pretentious mess, but Oldfield builds the piece with such sincerity that even the spoken word introductions to the individual instruments elicits a smile rather than an eye-roll. It’s wild to think Oldfield was only 19 when he recorded this album; it feels like the work of an Old Master, so profound is its delivery and its confidence to give each movement room to breathe. I particularly love the turn that Part 2 takes midway, but I know even my dad thinks that is “a bit wanky”.

Nagyon nosztalgikus volt a soundja valamiért, kicsit hasonlit itt ott Yann Tiersen zeneihez nekem, ezert meg jobban tetszett::))

Like instrumental Pink Floyd. aged somehow not bad without feeling fresh. Absolute footprint of that time‘s alternative music.

Strange, experimental.

Excepting the rote Exorcist passage this was quite compelling for me, just pretentious enough in that special prog rock way. This is nice long form music to soundtrack your day. Rating 4.0

Tubular Bells is a bold, chaotic ride through Mike Oldfield’s teenage imagination—brilliant in flashes, but wildly uneven. The haunting opening is iconic for a reason, but much of the rest feels like a 49-minute experiment in throwing every instrument possible into the mix. For every moving passage, there’s a baffling moment (looking at you, Piltdown Man) that derails the mood. It’s an impressive debut that often collapses under its own ambition. Still, clearly, there was enough demand for it to be released four more times in the ensuing decades.

An odd album which sort of stands on its own. What is is? Prog Rock? NeoClassical? Ambient? Film music? It certainly worked as the main theme from The Exorcist from where a lot of people will recognise it. Tubular Bells is essentially two long instrumental tracks in which the then 19 year old Mike Oldfield layers multiple instruments, building to a crescendo. I listen to it about once a year and I'm always surprised by the time variations, the way some parts come in just after you think they should, which keeps you off balance. And then there is that bonkers, but wonderful, part and the end of the first sequence where Viv Stanshall announces each instrument as it joins, finishing with "TUBULAR BELLS!!!". It shouldn't work, but it does.

Very impressive musical composition. Once in a long while listen.

Kinda crazy how the first song goes from exorcist theme to something completely different. It wasn’t bad but it sounds kinda like a kid fucking around with a tape recorder who struck it big because a movie producer liked the first 2 minutes of his 25 minute song.

I was terrified when I saw the length and lack of songs. The growling in the middle was a bit weird but honestly this was good.

Not 1st listen Well I’m sure glad Tubular Bells helped make a billionaire out of Branson /s Luckily there’s more to its legacy The reckless abandon that went into making this album predates artpop experiments by Bowie and ELO, is surprisingly accessible for an instrumental prog album, *and* it’s also one of my Dad’s favourite records. How could I not like it I have underrated the English/Celtic folk-influenced second half, as the more eclectic first half kinda eclipses it. That Master of Ceremonies part is instant dopamine, imho If I have but one criticism, some sections (particularly in Pt 1) seem all too brief while others go on too long. A masterpiece, but a flawed one

Not a fan. Would've been miles better had he divided up the songs. Had his moments though.

Pretty crazy that Oldfield basically recorded this whole thing, playing every instrument, at only 19. It's a fun listen, I like all of the prog noodling, and I got a kick out of the slowed down, drunken yelling in Pt. 2. 3.5/4

What a weird album, and not at all what I expected. I like the Caveman part. I think maybe earliest use of harsh vocals I've heard? 3.5/5

I don’t really know why but I get a good amount of enjoyment out of this. I don’t really have anything else to say.

A mind-bending classic !

The fact that this was released in the 70s deserves a few stars. Love the improv vibes of it.

3.5

Brilliant

I can remember my parents playing this when I was a nipper in the 70's. Whenever I hear the intro it gives me goosebumps. The intro is the best part (imo) but in fairness, it's pretty good the whole way through. I definitely enjoyed it this time round (and I doubt I'd heard the whole album for 40+ years). I think any album that evokes such strong memories is significant.

its ok. very very long.

I’m not really a fan of any songs where the instruments used have to be introduced to the listener whilst the song is ongoing. It’s not great is it.

Well at least they tried something different!

What a weird album for all the fuss made about it. Prog but not. Classical and folky but. Somewhat twee. Keeps you kind of interested because the songs never end, but without ever actually being interesting. And that’s just Pt I, Pt II is plain dreadful. The only positive thing coming from the album is the confirmation (albeit we all knew this deep inside) never to finish an album on a sailors jig. Bonus point for making everyone think this was the future on release.

It's okay I suppose, but a little too light and new-worldy for my tastes. I would give it 3.5, but rounded down to 3 stars.

When people talk about a musical experience this is a prime example of that. It can't be listened to in parts. This works best in a single listening session. It's important to separate the connection most people most likely make to The Exorcist, because there is such a stark difference between The Exorcist theme portion and the rest of the piece. If you're able to take the music for what it is it's a really great listen.

An interesting prog album. Some fun themes were introduced throughout the album, but it's not very cohesive. That didn't necessarily detract from the experience, but it was notable. Still had a good time.

This has to be the free album they gave you when you bought a new stereo. On cassette. Maybe 8-track.

great, but I cannot listen to it.

Two 20min+ tracks, ugh. I don't like prog but this was okay. Tolerable but it did take me a few listening sessions to get through.

I like the start but I don't like where it goes.

Genuinely thought I'd find this a bit of a grind to listen to, but actually enjoyed it, musically quite interesting, giving it a 3 as I don't think I'll listen to it again any time soon. Maybe the kind of record I'd sit through every few years

I know it probably isn’t a 5, but this is so peak

This is awesome. Can ppl seriously not appreciate some weird prog? Is all you want basic verse chorus structure? Live a little bit! Appreciate pure music! This is epic as hell, giving it a 5 out of spite

Eka biisi ainakin on ihan ehtaa klassista. Ensimmäisten sekuntien kauhuteema (en muista missä leffassa toi on) oli hyvä ja myös lopun hetken kestänyt mandoliinipimputus. Kyllä tätä on Oldfield saanut miettiä ja varmasti tietylle yleisölle pärähtää.

Ykkösbiisissä on harvoja kohtia, jotka eivät olisi jollain tapaa tehokkaita. Miinuspiste örkin soolonumerosta kakkosbiisissä.

No private session used for spotify. I had no idea what to expect, but a 56 minutes album with four tracks had me nervous. I did read a bit about while listening to it and read Mike played most the instruments on it, there are a quite a few so props to that. Not bad, don't know when I would listen to it again.

exceedingly boring with nice baselines

Overall interesting but not my thing

I honestly did not know what to expect and could not be more confused by the journey this album took me on. Pt. 1 was pleasant. Pt. sounded like GWAR and Enya had a baby?? This is so weird. I did not have the patience for all the extra tracks on the 50th (!) anniversary edition...

Bit of an odd one…

Rather enjoyable (mostly) instrumental album. Lots of melodies I felt like I've heard before, whether they were directly from snippets/samples from this or if others have pulled from it for inspiration. 4/5

A few years ago I rated all of the albums in my collection to rank them and this album came out on top. This isn't just an album; it's an experience. I can imagine just about a whole movie while listening to this. I gotta admit the part that starts around the 12 minute mark on part 2 is kind of weird, but I feel it somehow fits in the fantasy setting I imagine. The goblin king sends a wolf into battle. I just forgot it ended on a sailor's tune. I thought that was only on a bonus track I didn't listen to this time. I also really admire Mike Oldfield for his multi instrumentalism.

Love me some prog rock wankery

A very interesting instrumental album with lots of different feels and instruments. Almost perfect but the werewolf portion of the album took me out of it.

A bit too "progressive" for my particular taste, but great instrumental music nonetheless.

Before generating this album, I was thinking about how much I enjoyed yesterday’s (Phaedra by Tangerine Dream), and how I really just wanted to listen to that again. I feel like I lucked out - in a lot of ways, this really was similar: kind of an instrumental journey of an an album. Not quite as spacey or dreamlike, but always interesting and multi textural. I had never heard of the album or artist before today, and had no idea what to expect.

Interesting listen. Starts as the theme to the exorcist but then changes quite a bit. Good background listening

The better I knew a part, the more I enjoyed it. Which meant that the beginning was very good and it was downhill after that. I have heard part 1 multiple times fully so I appreciated the build up to the tubular bells. But part 2 I had never heard and I don't know what it added to the overall experience. Was it even the same song, it felt disconnected. On the wiki somebody had said that it was a shame that Oldfield mashed his 4 demos into one song, and I agree. But still, 4 stars for the amazing buildup and layering of sound.

Odd music

Pretty impressive and sounds like it could be made even today.

Interesting but will never listen to it again.

Sounds like glam hip hop. Like Lin-Manuel Miranda created a rap persona. Hot garbage

Ein zeitloses Meisterwerk, das Genregrenzen sprengt und bis heute inspiriert. Tubular Bells ist nicht nur ein Album, sondern ein musikalisches Erlebnis, das die Fantasie beflügelt.

Well, it definitely delivers on the title. There are plenty of tubular bells. I’ve got a lot of respect for Mike Oldfield—dude played just about every instrument on this thing. That’s impressive, no question. As for the music itself, it’s decent background noise. Kinda meanders in places, but it’s got that cinematic, almost spooky vibe that works in the right setting. I wouldn’t put it on intentionally, but I’m giving it an extra star for its iconic use in The Exorcist. That connection alone makes it more memorable than it might’ve been otherwise.

I’m so far behind on this site. I decided to just randomly select one of the many albums I have unrated. I was initially considering a redo, but I decided to give the Bells a shot. I was pleasantly surprised. In the 50 minute runtime, there were so many moments that caught my ear. So many different rhythmic changes and parts that brought me back in when I lost focus. That being said, I think some of the transitions to said parts could have been better. Sometimes it felt like wow I like this new section, but it didn’t flow super well. I’m not sure I’ll revisit this, but I hope I do eventually.

5/5. This guy was 19 when he made this. I'll just stick to my desk job lol. But seriously, super impressive stuff and although you can hear some simple changes in measures, the playing of the instruments and the epic melodies and themes throughout really define themselves without jumbling together on both sides. Silly at times, heavy at others, but the closing of Side One is definitely the highlight with the different instruments coming and going and the sick riff. Still crazy it's mostly just one guy at that age. Best Song: Part One, Part Two (not many options to choose from)

What an interesting experience. It's always fun to hear where an artist came from, and this must have been quite the introduction for people.

Cool album. Had no idea this is where that piano part was from. Good inclusion, I like the odd instrumental album.

Really instrumental. Like that horror film

This "album" plays jump rope with the bad/good line so often but ultimately I think it ends on the good side of the line. Really it was the guttural singing/grunting/noises in part 2 that brought me round to liking the album again. What a rollercoaster though.

The Exorcist music. Long and drawn out. Not good for car jams. 2/5

When he said "plus tubular bells" I popped off

I liked the bells enough but could have done without the growling

This came out right when high school ended, and I seem to recall a lot of folks there and in college owned this, but it’s not really one you’d play at a party, or playing cards with my buddies. The radio edit was pretty cool for its time amidst the regular Top 40 songs. Overall I quite like most of this, although the last third or so of track 2 kinda is meh. A 3.5 bumped to a 4 because the surround sound version on Apple Music was quite nice.

Liked this more than I expected to! A solid 2!

Great album

Much better than I expected though it isn’t something I would seek out. 3 stars (I understand how some could give it 5, but I’m basing my ratings off my enjoyment).

Starting with the chilling main theme famously used in horror classic The Exorcist, this magnum opus from a freaking 19 year old also includes a fun and quite beautiful homage to Britten’s ‘The Young Person’s Guide to the Orchestra’, a great little jig, and a section with full on death metal vocals. It’s maybe a bit too long, with some motifs not being as inspired as others and some transitions between sections seeming a bit stilted (or just having extended periods of silence) but when it’s good it’s really really good

2.4 1x great track one with the exorcist but towards the end of track 2 he lost me

I almost skipped ahead, which would have been unfortunate. If I hadn’t finished the first track, I never would’ve gotten to hear him show off all the sounds his new synthesizer could make and would never know what an artificial glockenspiel sounds like.

For this album, I tried something a little different. When I went to listen to it, I turned off all the lights in my bedroom, laid on my bed, closed my eyes and — in that near sensory-deprivation — let the music take me wherever it may. To that end, I ended up imagining off the top of my head some kind of plot about a cult who worshipped the tubular bell object on the cover, someone who escaped that cult, and the summoning of a fallen angel associated with that object. Honestly, I dipped in and out of it a bit, so I can't give you a full plot summary... And you're not here for that anyway. Speaking on the music itself, well, put me in the camp of people who're impressed by the fact that this was all performed by one person. A 19-year old, no less. I mean, this is a complex, nearly 50 minute suite that only gets broken up because of the limitations of vinyl. In fact, that's part of why I listened to this album — this piece, really — the way I did; considering it more in the realm of classical music than anything else. And I'm not even someone who listens to much classical music, if any. Through that lens, though, I think it's very good. I'll say, I'm not nutso about it — the New Age-iness about it is probably why I dipped in and out of my imaginary movie every now and then. Y'can't imagine to something if you're not focused on it, y'know? Plus, y'know, extended instrumental music like this just normally isn't my thing. Blame my undiagnosed ADHD, which is the other, larger reason why I listened to this piece the way I did. Honestly, though, if I were to have this on as background music, soundtracking whatever I'm doing instead of dictating my imagination... I'd be perfectly happy with it, yeah. It's tryna focus on the intricacies that can be a problem for me, y'know? Which is kind of strange given how much of a big deal I've made over the fact that I'm "melody first," though that usually applies to shorter songs. Under normal circumstances, I'm probably more likely to concentrate on "Nuclear" than this piece. All that said, however, I'm perfectly happy to give this thing a 4. It's not its fault I have trouble with longform composition like it, and from what I did pick up, I liked what I heard. And, hey, it did allow me to pull an extended FANTASIA segment completely out of thin air, so for prompting that alone... Worse music wouldn't have, is what I'm thinking. Not gonna lay on my back like that for any other albums going forward, though. Gwoof, you should feel how I've felt typing this up. My neck and the taste in my mouth mostly... So odd. Though I suppose I always could've felt worse. Eh, Regan?

I can definitely understand why this album has the reputation it does with British audiences, but honestly, it just kind of feels like your bog-standard prog album without the more fantastical elements thrown in. 3.5 bumped down to 3.

I’m at a 5. Hard to find anything to wax poetic about when it comes to 50 minutes of mostly instrumental music, but it’s a real testament that two tracks, coming in at over 23 minutes apiece, can be that captivating when given the time and space to really breathe, as well as giving each instrument their own chance to shine. It’s certainly not everyone’s cup of tea, but for my tastes, this hit right down the line of “good prog rock meets VGM sensibilities”, and the ever evolving and growing soundscape on both tracks, each with their own individual segments before some good resets, really made it feel like less of a slog that it could’ve been. One of my biggest pet peeves in music is when a song ends up lingering for too long; I’m not saying I need constant stimulation, but I’m too attentive as a listener to not notice when a drum pattern is stuck in limbo, or a guitar riff gets repeated a few too many times, or if the vocals / lyrics get stuck in a holding pattern. This album works because it’s constantly finding new innovations within the big sandbox that it has room to operate in – pretty much every minute in Part 1 finds a new instrument to add to the mix, or a new tone or soundscape to experiment with. It’s ever changing, but it’s slow, subtle changes that kept me engaged, and felt like a natural evolution throughout. Part 2 does this pretty well – it doesn’t do it *as* well, but it knows when to change up the soundscape to stop it from getting too stuck. It is really a miracle that this felt like it flew by – we’ve had albums that are less than 30 minutes that feel slower than this did, but I guess that’s more of a knock on pacing as a whole than it is to the quality of those albums, most of which have still been good. I’m just glad this had such room to breathe in; not everyone can pull off 26 minute songs and keep it captivating. These are, by far, the longest ones we’ve gotten as a group, and I guess it’s a real testament to my own musical growth that I could endure it, analyze it, and appreciate it. Sure, there’s a Metal Gear Solid 5-adjacent boost in the name here that helps a lot, but if we had gotten this in February or March, there’s a real chance I could’ve just ignored it. Either way, this was really fucking good. It’s a real music journey that lasts for 50 minutes, and even past its Exorcist-based popularity, the rest of the album is an absolute treat. Pop some headphones in, sit down, relax, and just let Mike Oldfield take you as far as you can go. It’s a very, very easy 5 for me.

I would NEVER have expected this album. An insane blend of medieval musical styles with electronic and prog rock tendencies. Not a perfect album but I think a true unique work. The weird grunt singing is kind of meh but it also kind of works. The exorcist theme slaps.

love it reather side1 than 2

He started virgin records from this album so an extra star for that.

Erste Song ist extrem gut Zweiter auch sehr nett mit den Sussy vocals aber im Schatten des ersten.

Appalling, naive, pretentious, twaddle from a young man trying to be "clever" but in reality just showing his musical inexperience. I burst out laughing several times during the listen. I wish I could give this rubbish 0, 1 will have to suffice.

I'm aware of the legacy this has due to the single's inclusion in "The Exorcist", but I've never actually heard more outside of the intro to the first track (like most, I would assume). The instrumentation and composition is pretty impressive, even more so after reading that Oldfield was only NINETEEN during recording and also the fact that he largely played most of the instruments himself. I'm mainly referring to "Part One" when discussing the above. "Part Two" takes some...strange turns multiple times through that I guess you'll just have to listen to for yourself.

A unique album in many ways, and it still sounds good after more than 50 years. Only a few long tracks (or should I call it symphonies) on the album. Ground-breaking synths with acoustic instruments too and all played by the same, young (23?) Mike Oldfield. Has elements of minimal classical music. Not a 5 for me because it's all a bit cold and academic and doesn't really move me. It's a bit too show-off like (try and cram as many instruments and variations in as possible). Still, quite a feat and a definite "must hear".

Not bad. Just not really my thing.

My mind can't separate Tubular Bells I from The Exorcist, so the song naturally gave me the creeps - well done. TB II is way more folky than I expected. What a weird album. It does deserve to be on this list even though this was a tedious listen.

Un de mes premiers vinyles !

La première partie est juste géniale, la 2ème un peu moins selon moi. Mais ça reste un classique.

J'ai apprécié l'écoute. Les différentes atmosphères s'enchaînent bien, sans être trop similaires ni différentes. Néanmoins, il y a un truc qui me dérange, un peu comme avec The Wall de Pink Floyd, je n'arrive pas à l'écoute en entier...

Comment passer de ce qui semblait être l'une de mes plus belles découvertes musicales de ces derniers mois à finalement l'une des mes plus grandes déception en moins de 10 min. Malgré un début envoûtant qui pouvait faire espérer, c'est dès la fin de la 5 ème minute qu'arrivent les premiers gros défaut qui à mon sens sont symptomatique du reste de la musique/album. D'un coup, la musique change du tout au tout, sans spécialement de transition, rompant ainsi la sorte de cohérence qui s'était créé précédemment. Au final, cela donne un côté brouillon, qui se répète tout a long de la pièce. On a pas le temps de s'adapter à une ambiance que tout change. Ainsi, bien que de nombreux passages me plaisent plutôt bien, il manque d'un liant, d'une sorte d'unité qui rassemble les différentes parties de la pièce et probablement que beaucoup d'entre elles manque d'être développées un peu plus. Dommage...

la composition est super, album remarquable.

Back in the day!

Lovely. A warm bath of an album. Brought back many memories.

Enjoyed. I've listened before but it improves each time.

fun piece, not smth I'd listen to a lot independently but he's doing cool shit

why am I getting only albums that are before 1980, what is this biased bs

EXORCIST THEME, L THEME Лучшая песня - Tubular Bells.

Dreary and repetitive

Oh for the love 2 stars barely

Isn't this the theme from the Exorcist?! Epic song, but does it need an hour long extended version? I don't think so.

Unfortunate the Exorcist theme was the beginning and end of many peoples' engagement with this endlessly engaging exploratory of guitar and keyboard and their infinite manifestations. I listened to this forever and never tired of it. intriguing to this day. My favorite part? When he starts adding instruments by name to the riff. Sublime.

If it wasn’t for the Exorcist music or Viv Stanshall doing the hornpipe I wouldn’t care a fig about this. I know it made Richard Branson a fortune but it’s pretty dull and serviceable only as Mall Music. Another 2.5.

I am very familiar with this album. I know it's repetitive and impossibly connected to "The Exorcist," and that's what made me buy the CD all those many years ago. But as I listened to the album in my teens and 20s (and beyond), I remained mesmerized by the album on its own terms. I love how the initial riff of the first side serves as a bed for so many other melodies and how they all culminate in flowing trickles and dramatic swells in an ever-expanding and contracting composition. I also remain impressed with the sheer number of instruments (analog!) incorporated. The mandolins and electric guitars, the piano and chiming bells, the choir... the arrangement is fantastic. And the introduction of the instruments is genius. I always get a kick out his excitement when the narrator says, "plus, tubular bells!" (Though "two slightly distorted guitars" might really be the best.) I was thrilled to see this served up and thoroughly enjoyed listening to it. It had been a while. I'll take this over every single EDM offering we've had to date.

Unsure how to react to this. Parts of it were quite engaging, but the songs seem more like Whitman's Samplers of sounds than unified statements, so it was hard to emotionally connect with it. The two parts I expected to dislike were when the voice-over artist announced the instruments and the grunting at the end of the album. Weirdly, I dug both parts.

I always liked this even though it’s become so horror iconic. super impressive that he was 19 when he created it.

Definitely over rated. It's the kind of thing people make all the time but thanks to a strong opening this has entered the halls of fame?

I get why this is on here I really really do . it's quite the experience. I dont think I'll be returning to it beyond background noise

I was wondering if/when this album would appear. It truly meets the criteria of a must listen as it was and is unique in its concept and delivery. I have always loved how the melodies and harmonies flow seamlessly, and, it's got...tubular bells!

Geniunely impressed me, never heard anything like it... and you know what? It was good! 4 stars just because of how different it is

Bello, complesso, piacevole, famosissimo.

The first 4 minutes or so were fun, but the rest was extremely wanky, the way a lot of prog can be.

I do not like it, yet due to its association with childhood birthday parties it is a 3.

My favorite electronic album of all-time. Music introduced during the movie”The Exorcist”. Wore out my vinyl recording of it, in the 70’s.

This is an interesting listen. It works as background music but doesn't really move me. It's good, but not something I would have in heavy rotation. It can be a little weird between the spooky "The Exorcist" theme, the calling out of the instruments, and the grunting. It does make it worth a listen.

MAN-DOE-LYNNNN!! The opening riff is fantastic, but most of the remaining album is too much noodle not enough steak.

I got really into Mike Oldfield last year, particularly the phenomenal Ommadawn. This is great also. I feel bad for the folks who only know it from The Exorcist, that’s like the first 7 minutes or something, you have to keep listening to get to the guy screaming in Klingon.

This guy recorded this when he was 19? Pretty impressive.

Wasn’t a big fan

Didn't make it all the way through this but I think I got the gist (although I am not sure I really get what he was doing here). This album had some interesting sounds but wasnt really for me. 2.5.

4 - obviously a masterpiece but for my sake I wish it was broken up into more than two parts. No chance I’m saving a 20 min song

Love!!!

This is bonkers, isn’t it? I remember my dad had this on vinyl. I wonder if all those people who bought it on the back of The Exorcist knew what they were letting themselves in for. Also to the dude wittering on about child abuse, Roman Polanski did not direct Thr Exorcise and Wm Friedkin was never accused as far as I’m aware.

I hope to one day be as excited about something as Mike Oldfield when he introduces the mandolin(!)

Give a man a fish, and you feed him for a day. Give a man access to every instrument conceivable, and he feeds us all for eternity. Introducing 5 star reviews.

I like different stuff like this and parts remind me of the background music you hear at EPCOT and things like that and I'm a big background music fan. Part 1 was better but for "new" 50 year old now classical music it works. One to revisit

Just...weird!

I guess you've got to love this album or hate it? A lot depends whether you're an oldie too. I'm firmly in the former camp and I guess those that hate it love the sort of new stuff that will be soon forgotten. This was groundbreaking and iconic and has stood the test of time. A truly great album

This album, as a kid, terrified me, but now that I can appreciate great music, great composition…now I love it!

I like the exorcist bit, but then it waffles and he slowly starts talking about what instruments are being played and once they are all in it's okay again, but that's just track 1. Them track 2 was largely forgeable. It's a 3 because of the start of track 1 and the end of track 1

Not the worst 20 min songs I’ve heard, far from the best though

Always enjoy the first half, but never quite had the same affinity for the second half. Still a classic prog rock album for me.

Man, this is a lot. There are cool moments on here and obviously, the track used for The Exorcist is legendary. This is still pretty off the wall, though.

The opening song just plains scares me. Its diferent and its great technically, I cant say anything negative but that its too long. Not my type of music but much better today that when I first listened to it.

Damn. I was really vibing with this until the vocals in part ll...

Nope.

nuormestari, ihmelapsi.. nuori osuja... 80 eri instrumenttia,.masteroinut kaikki.. mike ''old soul'' field... youngfield at present... unc at soul... bike coldfield... Olen melkein kyyneleissä. Kyllä, kuulin tämän, kun se ilmestyi ensimmäisen kerran. Siirryin jazziin ja jazzfuusion puoleen a la Weather Report ja Soft Machine ja National Health. Mutta tällä kertaa olen täynnä niin katkeraa, makeaa nostalgiaa. Tuolloin se muistutti minua surusta Englannin ohittamisesta peltoineen, metsineen ja kukkuloineen. Elgarin ja Vaugh-williamsin itsevarma isänmaallisuus vaikutti silloinkin vanhentuneelta. Joten nyt vuonna 2024 tämä musiikki on niin nostalginen veto menneisyydestä ennen Englannin ja sen kulttuurin valtaamista... TARKOITAN SIIS PUOLALAISIA!!!! MUNA PILLUUN AH AH MUNA PILLUUN AH AH... part 1

Good

Very cool

Always thought it was a bit dull. Played all the instruments himself though, clever lad

Fully instrumental, I really liked this, good background music and quite varied.

I heard this way back in college and it was completely different from everything else at the time. Trying to listen to it now is just tedious

It's definitely not for me. It's not "bad", but I don't see why this album is on this list.

Some moments of beauty, interrupted by some odd sounding human-made sounds. Shame, in a way. Also really stumped as to how this album reached such popularity - I know the movie contributed a lot, but still. In a way, nice to see people being so open to such an album!

The Exorcist Theme part and the rest of the prog record is very impressive as a debut at 19. A weird record you'd need more than a day to accurately rate.

Jako mi je naporno slušati ovu Egzorcist ponavljajuću melodiju, dođe mi da vrištim. Ovo je opet slučaj u kojem kužim zašto je nešto veliko, ali jebemu mater... 10 minuta in, i dalje mi nije napeto. 20 minuta in, postajem dosta nervozna😂 ne volim kad mi glazba to radi. Melodijica na kraju Pt. I mi je jedino kul na albumu dosada, ne mogu se sjetiti gdje je još korištena. Drugi dio Pt.2 mi je donekle zanimljiv, ali nedovoljno da utječe puno na završnu ocjenu. Pošto sam bila sretna kad je završio album, može se zaključiti da nisam baš uživala u njemu. Meni je ovo 2/5 ili 4/10 i to čisto zbog tih par dobrih dijelova i rispekta za glazbenu svestranost.