Released in 2002 after a series of high-toned concept recordings, Tres Lunas is a bit of a return to straight-up, new age mood music for Mike Oldfield. The musician/composer once again spins carefully layered guitar and keyboard performances into a seemingly endless stream of space-age lullabies supported by the faintest of beats – most of which rarely exceed the intensity of a weak pulse…
Michael Gordon Oldfield (born 15 May 1953) is a British musician, songwriter, and producer best known for his debut studio album Tubular Bells (1973), which became an unexpected critical and commercial success. He is regarded as one of the greatest multi-instrumentalists of all time. Though primarily a guitarist, Oldfield plays a range of instruments, which includes keyboards, percussion, and vocals. He has adopted a range of musical styles throughout his career, including progressive rock, world, folk, classical, electronic, ambient, and new age music.
Voyager fits nicely into the mix of Oldfield’s discography. There is a strong Celtic influence and feel to this album, which finds Oldfield in what appears to be a very relaxed mood. It’s decidedly more oblique than his usual material, with 6 of the 10 tracks reworked traditional Irish/Celt folk arrangements. Oldfield is surrounded by classical orchestra (LSO), choir and a slew of famed Irish musicians (Davy Spillane and Matt Molloy, among others). From a prog perspective, this album is not particularly strong. From a more general point of view, it is an enjoyable, easy to listen to diversion.
Voyager is the 17th music album by Mike Oldfield, released in 1996 by Warner Music UK. It is a Celtic-themed album with new compositions intertwined with traditional pieces…
On his third album album with Asturias composer Yoh Ohyama would make a slight stylistical turn. Akira Hanamoto was no longer a member of the band, instead Ohyama introduced two string instrumentalists, Udai Shika on cello and Tatsuya Murayamy on viola.The new album, titled ''Cryptogram illusion'', was released at the fall of 1993 on the King label…
Notwithstanding one or two isolated exceptions, it wasn’t until the mid-Sixties that independent female voices really began to be heard within the music industry. The feminist movement naturally coincided with the first signs of genuine musical emancipation. In North America, Joan Baez and Buffy Sainte-Marie emerged through the folk clubs, coffee-houses and college campuses to inspire a generation of wannabe female singers and musicians with their strong, independent mentality and social compassion, while the British scene’s combination of folk song revival and the Beatles-led pop explosion saw record company deals for a new generation of pop-folkies including Marianne Faithfull, Dana Gillespie and Vashti Bunyan.