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*FREE* Direct Download - Mike Oldfield - Tubular Bells (The Ultimate Edition 2009 3CD) [E .torrent

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Tubular Bells - The Ultimate Edition
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The 2009 (Ultimate) reissue

In 2008 when Oldfield's original 35 year deal with Virgin Records ended, the
rights to the piece were returned to him, and were transferred to Mercury
Records. Mercury issued a press release on 15 April 2009, where Oldfield's
Virgin albums were transferred to the label, and re-released, starting 8 June
2009. Tubular Bells was released in four physical variations, and two digital
variations in the UK and Ireland, and as five physical editions elsewhere.[18]
In April 2009 a new official website, TubularBells2009.com, was unveiled.

The new releases contain a new 2009 stereo mix of the album, which Oldfield
created at his home in the Bahamas in March 2009. The "Deluxe Edition" contains
a 5.1 mix, and the "Ultimate Edition" box set contains a 60 page hardback book,
a poster, plectrums and other pieces such as rough mixes and demo versions of
the album. There is also a vinyl version released as part of the Back to Black
series.

The liner notes include photos from the time and text written by Mark Powell
about Oldfield and the album. The DVD also states on its label that it features
the "Tubular Bells film" from The Old Grey Whistle Test as visual content,
however this appears not to be on the DVD and is also not listed on the outer
cover of the album.

The Digital Edition contains the same audio content as the Ultimate Edition. The
Vinyl Edition is part of the Back to Black series, and contains the original
1973 mix of the album. Downloads are also available from Back to Black website.
The Vinyl Edition carries the original seascape artwork.



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* CD one - (As Standard edition)

1. "Tubular Bells Part One" (New stereo mix by Mike Oldfield, Bahamas,
March 2009) - 22:58
2. "Tubular Bells Part Two" (New stereo mix by Mike Oldfield, Bahamas,
March 2009) - 23:20
3. "Mike Oldfield's Single" - 3:53
4. "Sailor's Hornpipe" (Vivian Stanshall version) - 2:48

* CD two - (Original Stereo Mix)

1. "Tubular Bells Part One" (Original stereo mix)
2. "Tubular Bells Part Two" (Original stereo mix)

* CD three - (Demos)

1. "Tubular Bells (long)" (demo) - 22:55
2. "Caveman Lead-in" (demo) - 2:44
3. "Caveman" (demo) - 5:06
4. "Peace Demo A" (1971 demo) - 7:01
5. "Peace Demo B" (1971 demo) - 4:22
6. "Tubular Bells, Part One" (scrapped first mix Spring 1973) - 25:13


* DVD - (As Deluxe edition) [Note: NOT INCLUDED IN THIS TORRENT]
* Vinyl - (As Vinyl edition) [Note: NOT INCLUDED IN THIS TORRENT]



Equipment

For the 2009 remix, the following equipment was utilised. A screenshot of the
session in Steinberg Nuendo was included in the Ultimate Edition book.

* Steinberg Nuendo 422
* Apple Mac Pro, 2xQuad 3GHz
* 24 Channel Euphonix MC Mix System and one MC Control
* Digidesign 003 + audio interface
* Dynaudio Acoustic Air Series networking 5.1 loudspeaker system
* Solid State Logic Duende
* TCC Electronic Powercore
* DVR 2 digital vintage reverb
* Coffee machine



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SOME (MOSTLY) USELESS WIKIPEDIA INFORMATION
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ALBUM PROGRESSION

Progression of part one

Part one opens with a soft minor key piano line in 15/8 eventually played
verbatim by organ and glockenspiel. This riff is made up of two bars; the first
bar is in 7/8, the second bar is in 8/8. These are later joined by a
different line in bass guitar. An occasional punchy organ chord, first heard at
about 1:02 in, accents this piece, harmonised by variations of the anchor line
and a later incorporated 3/4 chord sequence, both in piano. At around 3:38, a
gentle flute line appears, which segues into a section of 4/4-7/8-7/8-4/4, and
at 3:40 an electric guitar line, the latter entirely in 4/4.

After the electric guitar line ends, a softer, fast guitar line ("speed guitar,"
as listed in the liner notes) takes over, only to be interrupted by an acoustic
guitar line overlaying the original piano phrase in major key. A gentle
glockenspiel/piano piece takes over, but is later replaced with a fast piano
section, occasionally accented with organ chords.

The mood of the first 6 minutes is soon replaced by edgy electric guitar and,
afterward, a sinister organ chord, with various changes in pitch and duration.
But, once again, a more refined, carefree section ensues, dominated by acoustic
guitar and piano, eventually returning to the soft riff first heard just past
four minutes into the piece.

A 3/4 variation of the original theme comes next, followed by eerie bass and
organ playing, segueing into a bluesy shuffle on electric guitar. Once again,
when it looks like the piece will be serene (when the nasal choir intervenes),
another edgy guitar line ensues, with Oldfield incorporating both 4/4 and 7/8.

After that, a more folky acoustic line plays (with background tambourine), but
is suddenly cut off by the tolling of bells. A weary acoustic guitar line
follows, breaking into the eight-and-a-half minute "Finale" section, commencing
with a double bass line in 5/4, polyrhythmically played with a 4/4 acoustic
line. After the bass and guitar unite into the 4/4 line, the acoustic guitar
tacets and is eventually replaced by soft pipe organ notes (usually lasting four
or eight full beats) while the bass line plays.

After the 10-bar bass phrase is repeated several times, Stanshall introduces
many of the instruments appearing in part one up to then, beginning with the
keyboards, followed by glockenspiel and all guitars before the tubular bells are
announced, the ensemble becoming more dynamic and full as more instruments are
said. Finally, after the tubular bells enter, a wordless feminine chorus starts
to sing. Farther down, the Finale ensemble fades out to an acoustic guitar solo,
which takes up the remainder of part one.

Progression of part two

Part two begins where part one left off; a soft, simple piece, this time,
beginning with bass guitar and working up with other guitars and keyboards. The
opening time signature is 6/8, but a later line plays a similar melody in 3/4 on
various instruments, beginning with guitar. The opening section builds for five
minutes before the second section starts, another 3/4 section at half tempo on
acoustic guitar, with accompaniment on organ, mandolin and female chorus.

At around 8:48, the piece becomes edgy and surreal again, as the "bagpipe
guitars" enter the piece (electric guitars with added effects to give it the
bagpipe-esque sound), playing a 12/8 piece of sorts. About 11 minutes in, the
intensity of the section builds as the guitar pitches increase and a heavy piano
"roll" plays, climaxed by a sudden ascending glissando on the piano.

What comes next is one of the more unusual parts of the entire album. Tympani
rolls and drum kit commence this part, highlighted by unintelligible "lyrical"
utterances, growls, and screams by Oldfield (who, according to rumours, was then
intoxicated), in rebellion to how Richard Branson wanted him to include at least
one part with lyrics to release as a single (at the time, Oldfield was not
interested in adding lyrics to his music). This is listed in the liner notes as
the "Piltdown Man". Oldfield's yelling is countered by various phrases on piano,
guitars, and the "Moribund chorus," with this piece abruptly ending on one loud
shout exactly 16:29 in.

As expected, another quiet section ensues, a 12/8 piece mostly dominated by
guitars and organ. This section gives an excellent insight into the psychedelic,
spacey side of Oldfield (a similar sound to that of Pink Floyd's David Gilmour),
which would also be present in his third album, Ommadawn. After about five
minutes, an optimistic organ line plays, segueing into a climactic arrangement
of "Sailor's Hornpipe".

"Sailor's Hornpipe" begins with just one guitar playing at a moderately slow
tempo, but quickly mutates into a gradually accented piece with multiple
instruments (including an unlisted violin), ending with two loud, accented
notes. In live performances, Oldfield would reach incredible tempos and
"Sailor's Hornpipe" alone became a staple of his concerts.

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The recording sessions

* Part one was recorded in just one week at The Manor Studio, owned by the
founder of Virgin Records, Richard Branson. Oldfield used this studio
immediately after John Cale's sessions and just before the Bonzo Dog Doo-Dah
Band began recording.[35]
* Oldfield's working title for Tubular Bells was Opus One; Richard Branson
thought to call it Breakfast in Bed. One of the possible album covers for
Breakfast in Bed included a boiled egg with blood pouring out of it. This cover
was edited and used as the artwork for Oldfield's final album with Virgin,
Heaven's Open.[36]
* Mike Oldfield had been performing "The Sailor's Hornpipe" for years before
including it on Tubular Bells, when he was the bass player with Kevin Ayers and
The Whole World.[37]
* The only electric guitar to be used on the album was a 1966 blonde Fender
Telecaster (serial no. 180728) which used to belong to Marc Bolan. Oldfield had
added an extra Bill Lawrence pickup and has since sold the guitar and donated
the money to the SANE charity.[38]
* According to Oldfield the "Piltdown Man" shouting sequence came about when
he had practically finished recording the instruments for the section, but felt
that it needed something else. The whiskey-fueled idea to create the "Piltdown
Man" effect was to shout and scream into a microphone while running the tape at
a lower speed.
* The album was recorded on an Ampex 2" 16 track tape recorder, which was
The Manor's main recording equipment at the time.
* To create the double speed guitar, the tape was simply run at half speed
during recording. Oldfield also used a custom effects unit, named the Glorfindel
box, to create the 'fuzz' or 'bagpipe' distortion on some guitar pieces on the
album. The Glorfindel box was given to David Bedford at a party, who then
subsequently gave it to Oldfield. Tom Newman criticised the wooden cased unit in
a 2001 interview with Q magazine noting that it rarely gave the same result
twice.[39]
* The set of tubular bells that were used on the album had been left by an
instrument hire company after John Cale's sessions at the Manor, at the request
of Oldfield.[40]
* According to Phil Newell the Bass guitar used on the album was one of his
Fender Telecaster Basses.
* Vivian Stanshall, who was staying at the Manor at the time, was asked to
introduce the instruments for the finale of part one. It was the way in which
Stanshall had said plus... tubular bells which gave Oldfield the idea to call
the album Tubular Bells.[41] The "lyrics" announcing the instruments are: "Grand
piano; reed and pipe organ; glockenspiel; bass guitar; double speed guitar; two
slightly distorted guitars; mandolin! Spanish guitar, and introducing acoustic
guitar, plus... tubular bells".



-------------------------------------------------------------------------------

Demo version

Oldfield recorded the demo pieces of Tubular Bells in his flat in Tottenham,
London in 1971. Oldfield recorded the demos on a Bang & Olufsen Beocord 1/4"
tape machine which he had borrowed from Kevin Ayers. Oldfield was able to
overdub his playing by blocking off the erase head of the tape machine. The
demos titled, "Tubular Bells Long", "Caveman Lead-In", "Caveman", "Peace Demo A"
and "Peace Demo B" appeared on the DVD-Audio version of the rerecording of
Tubular Bells, Tubular Bells 2003.

Pieces from Oldfield's 1971 demos appear on the 2009 Mercury reissue of Tubular
Bells; also included on this release is a scrapped mix of the album from Spring
1973.

-------------------------------------------------------------------------------

"Sailor's Hornpipe" and the original ending

When recorded in 1973, the coda at the end of Part Two, the "Sailor's Hornpipe",
was originally preceded by a longer slightly bizarre rendition of the piece.
Loud marching footsteps trot around the sound channels as the "Sailor's
Hornpipe" is played on acoustic instruments, whilst announcer Vivian Stanshall
gives an obviously-inebriated, improvised tour of the Manor. According to the
liner notes for the Boxed vinyl set, this session occurred at four in the
morning after Oldfield, engineer Tom Newman and Stanshall had been drinking
heavily. They placed microphones in the rooms of the Manor, hit record and set
off on an unplanned tour of the house.

It was cut from the final version for being too strange to be put on an unknown
artist's first album, though it can be heard "in all its magnificent
foolishness" (from the liner notes) on Boxed. The Boxed set reinstates the
section at the end of side two of Tubular Bells. It can also be heard on the
SACD (multi-channel track only) This rendition of "Sailor's Hornpipe" was
included in the 2009 Mercury reissue of Tubular Bells.

The "lyrics" to Stanshall's improvised tour of the Manor follows:

"The hallway.

From outside, an ordinary house. A great house, true - four hundred and
eighty three rooms, each one with its own marble wash basin and douche, bidet as
it may. But inside, and the positions are reversed. A human failing, some say a
disease, but a disease that Sir Francis Dashwood knew, and knew it well.

Upstairs, inside and a revelation. It's a discotheque. No, no, uh.. there
are paintings, real, and look here - a rare seventeenth century masterpiece, and
if I can scrape a little of it off, beneath I can find hidden a fourteenth
century underpiece.

Made entirely of tiny pieces of eggshells, this lurid work has caused
controversy in the world of embroidery and anthropologicky. No, I'll say it
again, anthropolology. Umm.. no quite possibly make an anthropol, no, uh, I mean
an apolog..ph.. It has enthralled distinguished professors, and in layman's
language is "blinking well baffling".

But to be more obtusely, "buggered if I know." Yes, "buggered if I know."
And that's all we've gleaned so far from experts in fourteenth century painting,
renaissance, greengrocers, and recently revived members of the public. Buggered
if I know.

Vivian Stanshall, about three o'clock in the morning, Oxfordshire, 1973,
Goodnight"

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EXTRACT FROM EAC LOG FILE
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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 14. June 2009, 2:17

Mike Oldfield / Tubular Bells (The 2009 Stereo Mixes)

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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 14. June 2009, 3:27

Mike Oldfield / Tubular Bells (The Original 1973 Stereo Album Mix)

Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : F:Archivos de programaExact Audio
CopyFLACFLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o
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Exact Audio Copy V0.99 prebeta 4 from 23. January 2008

EAC extraction logfile from 14. June 2009, 4:51

Mike Oldfield / Tubular Bells (The Demos)

Used drive : HL-DT-STDVD-RAM GSA-H55N Adapter: 0 ID: 0

Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No

Read offset correction : 102
Overread into Lead-In and Lead-Out : No
Fill up missing offset samples with silence : Yes
Delete leading and trailing silent blocks : No
Null samples used in CRC calculations : Yes
Used interface : Installed external ASPI interface
Gap handling : Appended to previous track

Used output format : User Defined Encoder
Selected bitrate : 1024 kBit/s
Quality : High
Add ID3 tag : No
Command line compressor : F:Archivos de programaExact Audio
CopyFLACFLAC.EXE
Additional command line options : -8 -V -T "ARTIST=%a" -T "TITLE=%t" -T
"ALBUM=%g" -T "DATE=%y" -T "TRACKNUMBER=%n" -T "GENRE=%m" -T "COMMENT=%e" %s -o
%d


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