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Rock - Paru le 1 janvier 1983 | UMC (Universal Music Catalogue)

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Following a long-established production pattern, Mike Oldfield assembled some relatively simple pop- and rock-flavored numbers following one long introductory piece on his 1983 Disky release, Crisis. The 20-minute opening title-track is a quintessential Oldfield texture study that consists of sparkling synth washes with edgier material weaving in and out. A fine setup, this track cleanses the aural pallet, preparing the listener nicely for the tunes that follow. Yes fans who can adjust to the sugary highlight "In High Places" will enjoy Jon Anderson's springy vocal work on the track. The energetic guitar romp "Taurus 3" will also appeal to most prog and art rock fans. Those in search of more ethereal Oldfield material should be aware of this record's pop leanings, but open-minded listeners will have a good time exploring Crisis, one of Oldfield's better releases of this type. © Vincent Jeffries /TiVo
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Rock - Paru le 1 janvier 2013 | UMC (Universal Music Catalogue)

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Rock - Paru le 1 janvier 1982 | UMC (Universal Music Catalogue)

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Mike Oldfield was back into the extended composition game with Five Miles Out, continuing the "Taurus" series with the mammoth "Taurus II," an entertaining enough romp with references to Irish music, brass bands and Oldfield's beloved Morris. The true standout, though, was the title track, a paean to flying in bad weather that could easily double for Oldfield's feelings about the sort of monumental critical drubbing he was accustomed to receiving. "Family Man" became a huge worldwide hit for Hall & Oates. © Steven McDonald /TiVo
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Rock - Paru le 3 mars 2014 | EMI

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25ème album studio pour Mike Oldfield! 8 ans après son dernier disque, il revient avec un disque moins complexe que le précédent. Des morceaux dans le style pop rock qui sonnent très 90’s, tant dans les compositions que dans l’enregistrement. Centré autour de la guitare de Mile et de la voix de Luke Spiller, Man On The Rocks n’offre pas vraiment de nouveauté dans la discographie pantagruélique de l’auteur de Tubular Bells, mais satisfera sans aucun doute les fans de l’artistes. NG
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Rock - Paru le 1 janvier 1983 | UMC (Universal Music Catalogue)

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Following a long-established production pattern, Mike Oldfield assembled some relatively simple pop- and rock-flavored numbers following one long introductory piece on his 1983 Disky release, Crisis. The 20-minute opening title-track is a quintessential Oldfield texture study that consists of sparkling synth washes with edgier material weaving in and out. A fine setup, this track cleanses the aural pallet, preparing the listener nicely for the tunes that follow. Yes fans who can adjust to the sugary highlight "In High Places" will enjoy Jon Anderson's springy vocal work on the track. The energetic guitar romp "Taurus 3" will also appeal to most prog and art rock fans. Those in search of more ethereal Oldfield material should be aware of this record's pop leanings, but open-minded listeners will have a good time exploring Crisis, one of Oldfield's better releases of this type. © Vincent Jeffries /TiVo
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HI-RES26,99 €
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Rock - Paru le 1 janvier 1982 | UMC (Universal Music Catalogue)

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Mike Oldfield was back into the extended composition game with Five Miles Out, continuing the "Taurus" series with the mammoth "Taurus II," an entertaining enough romp with references to Irish music, brass bands and Oldfield's beloved Morris. The true standout, though, was the title track, a paean to flying in bad weather that could easily double for Oldfield's feelings about the sort of monumental critical drubbing he was accustomed to receiving. "Family Man" became a huge worldwide hit for Hall & Oates. © Steven McDonald /TiVo
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Rock - Paru le 1 janvier 2013 | UMC (Universal Music Catalogue)

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Rock - Paru le 1 janvier 2013 | UMC (Universal Music Catalogue)

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Rock - Paru le 1 janvier 2013 | UMC (Universal Music Catalogue)

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Pop - Paru le 21 novembre 1994 | WM UK

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Rock - Paru le 1 février 1973 | UMC (Universal Music Catalogue)

Sorti le 25 mai 1973 sous le numéro de catalogue V2001, Tubular Bells est un disque marquant de l'histoire de la musique pop (au sens le plus large du terme) pour au moins trois raisons principales. C'est d'abord le tout premier disque sorti sous le label Virgin de Richard Branson, avec le fameux logo des deux vierges enlacées,, oeuvre de Roger Dean. Ce simple fait suffit à faire rentrer Tubular Bells dans l'histoire mais il doit moins au hasard qu'à l'incroyable talent de visionnaire du patron du label qui, au-delà de Mike Oldfield, pressentait l'arrivée de la musique électronique dite « planante », comme il anticipera quelques années plus tard l'émergence de la new wave.La seconde raison est l'apparition d'un véritable musicien prodige en la personne de Mike Oldfield. Bassiste et guitariste de Kevin Ayers à dix-sept ans, il compose seul cette incroyable fresque sonore dont il joue de presque tous les instruments, dont les fameuses cloches tubulaires donnant leur nom à l'album, et un son si particulier à sa mémorable introduction. Divisé en deux parties, représentant chacune une face de 33 tours, Tubulars Bells est une sorte d'opéra rock cosmique qui entend donner une vision panoramique des styles musicaux de la planète. En ce sens, il est aussi un disque précurseur du New Age par sa dimension universaliste. Dans chacune des parties, Mike Oldfield procède à un étonnant mélange des genres, qu'il arrive à rendre cohérent. Passant du « Blues » au « Thrash », ou de « Ghost Bells » à « Russian », Mike Oldfield enregistre une oeuvre qui n'a pas d'équivalent et doit autant à l'electro qu'au folk et à la pop, voire à la world fusion. Ce qui rendit Tubular Bells célèbre et constitue la troisième raison de son importance, est la présence de son thème d'introduction dans le film L'Exorciste de William Friedkin. Difficile d'imaginer le choc provoqué en 1973 par ce film d'épouvante mais l'introduction de « Tubular Bells, Part. 1 » n'y est pas pour rien avec son beat répétitif totalement avant-gardiste. Le film offrait de l'inédit et, avec ce morceau instrumental, une nouveauté sonore. C'est par le film que le disque est devenu l'un des albums les plus vendus des années 1970.Album d'un virtuose, Tubular Bells eut aussi une influence considérable au fil des décennies. Le disque d'origine connut en effet pas moins de cinq « suites », allant de l'orchestrale à la purement electro, toutes réalisées par Mike Oldfield, avec un bonheur inégal. Son thème principal devint lui un maître-étalon de la musique de films fantastiques, des bandes originales de John Carpenter à celles de la série Scream. Beaucoup de disques reçoivent ce qualificatif mais rares sont ceux aussi authentiquement novateurs que Tubular Bells. © ©Copyright Music Story Francois Alvarez 2015
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Pop - Paru le 31 août 1998 | WM UK

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Pop - Paru le 1 janvier 2010 | UMC (Universal Music Catalogue)

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Pop - Paru le 31 août 1998 | WM UK

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Électronique - Paru le 26 mai 2003 | WM Spain

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Pop - Paru le 25 mars 2008 | Decca (UMO)

The legendary British composer will always be most identified with his breakthrough long-play composition "Tubular Bells" and the way it was used to illuminate fear in The Exorcist. The happy truth is that since then he's amassed an incredible catalog of over 20 albums featuring just about every instrumental form but jazz: pop, classical, new age, world music, computer game, film soundtrack, etc. The title of his 2008 45-minute classical-influenced opus Music of the Spheres is a reference to the prolific and eclectic composer's feeling that all music should aim to represent the spiritual or otherworldly elements of life -- something beyond the mundane and everyday. He accomplishes that via the sheer hypnotic beauty of the gentler passages and the percussive drama of others, both of which characterize the multi-movement opening track, "Harbinger," which lives up to its title as a preview of the overwhelming, ethereal joys to come. Mike Oldfield is a highly accomplished film composer and it would be easy to imagine gorgeous, sweeping pieces like "Animus" and "Silhouette" behind pastoral romantic scenes, and action-packed, percussively dense expressions like "The Tempest" building some heavy suspense for some nail-biting plot. Completely recorded by an orchestra at Abbey Road studios and featuring Oldfield himself on guitar, Music of the Spheres -- which features guest performances by world-renowned young soprano (and Decca labelmate) Hayley Westenra and classical piano phenom Lang Lang -- is huge in scope yet at heart simple and emotionally direct on a purely melodic level. While the piece was entirely conceived, produced, and written by Oldfield, he turned to popular modern classical composer Karl Jenkins to translate his ideas into traditional classical notations arranged for orchestra -- a great departure from the artist's usual array of studio-only wizardry. Jenkins, who once played oboe on a live BBC recording of "Tubular Bells" in 1975, gets a co-production credit, and with good reason. Oldfield scored his music via a computer program called Logic, while Jenkins used Sibelius to create the musical notation. Oldfield recorded an elaborate demo using orchestral samples, then handed it over so that Jenkins could add the human touch by re-recording it by an orchestra of classical musicians. It's a rich, heartfelt collaboration that breaks new ground for both men. Oldfield had no trouble declaring that he was almost moved to tears while listening to Music of the Spheres come alive at Abbey Road. It's a primitive spiritual and emotional response that every listener would later relate to. © Jonathan Widran /TiVo
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Rock - Paru le 1 juin 1984 | UMC (Universal Music Catalogue)

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Paru en 1984, la même année que sa bande originale pour le film La Déchirure (The Killing Field), Discovery fut un vrai tournant pour Mike Olfield. Disque d’or en France, l’album met essentiellement en exergue des chansons et non des instrumentaux, spécialité habituelle du Britannique. Au micro, Maggie Reilly et Barry Palmer se partagent le travail. Derrière, Olfield signe une musique pop rock de facture classique toujours construite autour de thèmes forts comme le single d’ouverture To France le montre à la perfection. Mélodiste chevronné et instrumentiste virtuose, Mike Olfield montre avec ce neuvième album studio qu’il maîtrise tous les domaines de son art. © CM/Qobuz
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Rock - Paru le 1 juin 1984 | UMC (Universal Music Catalogue)

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With 1984's Discovery, Mike Oldfield seems to be back on track, utilizing the vocal power of Maggie Reilly and the drum playing of Simon Phillips to create some rather appealing selections. "The Lake" is a simply gorgeous instrumental inspired by Switzerland's Lake Geneva, the location in which the album was recorded, while "To France" is a powerful pop/rock tune based on the life of Mary, Queen of Scots. Both Reilly and Barry Palmer share the vocal duties throughout the tracks, signifying Oldfield's subtle emergence into a more pop-infused atmosphere. "Tricks of the Light" is a wonderful instrumental that relies on the keyboard to give it energy, while even so-so efforts like the title track and "Poison Arrows" come off as upbeat and inspired. Discovery peaked at number 15 in the U.K., and even though it didn't garner much attention elsewhere, it serves as one of Mike Oldfield's most entertaining releases from the decade. © Mike DeGagne /TiVo
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Rock - Paru le 1 janvier 2012 | UMC (Universal Music Catalogue)

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Pop - Paru le 31 août 1998 | WM UK