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Mike Oldfield is bizarre, but he's genuinely got a unique sound and oddness to his music that stems from him being a very odd, and seemingly very naive, man, that means he should be revered more highly that he is. I've a feeling that, after he dies, there'll be a lot of rediscovery of his music.

 

It's almost like outsider art, but from a man that's so outside of any particular musical style of any time that he never really fit anywhere at any time, so that releases of his were always poorly reviewed because they didn't fit into the genres about of the time when he put out a particular release, so lazily got thrown into New Age or Prog.

 

Of particular note is the original Tubular Bells, of course, but also Ommadawn, but worth noting is the sheer weirdness of him being pressured by Virgin to do Tubular Bells II and instead doing, effectively, Ommadawn II, or Amarok, instead - which is a fascinatingly weird, angry, restless album (with the most uplifting ending imaginable with a Zulu choir) - what with it's morse code messages telling Richard Branson to fuck off, sudden volume changes, challenging "Happy?" repetition for Virgin execs, an, of course, a Margaret Thatcher impersonator delivering a positive message which sounds weirder, edgier and cleverer than any Ben Elton-esque "fuck Ms. Thatch" diatribe. I know nothing about guitars but to my ears he sounds like a pretty amazing guitarist and bassist here.

 

And of course, then he left Virgin, signed to Warner and immediately made Tubular Bells II, which is pretty funny.

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I love Mike Oldfield.

 

One Christmas we had people coming over and I put a playlist on that was exclusively covers of ‘To France’, of which there are a very surprising number of hardcore and rave versions.

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1 hour ago, englishbob said:

The Mars Volta aren't actually as-good, or as relevant, as they think they are in their own heads.

Well we’re discussing them here so I guess that makes them relevant :unsure:

 

They are however nowhere near as good as Bruno Mars when it comes to artists with Mars in their name, or indeed M|A|R|R|S

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I'm shocked to hear all this hatred for The Doors. You mean you don't all appreciate the genius of MISTER MOJO RISING?

 

MOJO RISING 

 

RISING RISING RISING

 

RIIIISSSINNNNG

 

 

 

 

(I like Light My Fire, Break on Through, Riders on the Storm, and People Are Strange.)

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Kylie had a nice redemption story of going from Stock, Aitken & Waterman tosh to universally enjoyed and pretty interesting pop, whereas Madonna went the complete opposite direction. Everything she's made in the last probably 20 years has been dire.

 

I'd always wanted to start a discussion on who was better: Madonna in the 80s, Mariah in the 90s, Beyonce in the 2000s and Robyn in the 2010s, but didn't because the answer was probably Roisin Murphy and we'd all squabble. 

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13 minutes ago, Art Vandelay said:

Kylie had a nice redemption story of going from Stock, Aitken & Waterman tosh to universally enjoyed and pretty interesting pop, whereas Madonna went the complete opposite direction. Everything she's made in the last probably 20 years has been dire.

 

I'd always wanted to start a discussion on who was better: Madonna in the 80s, Mariah in the 90s, Beyonce in the 2000s and Robyn in the 2010s, but didn't because the answer was probably Roisin Murphy and we'd all squabble. 

 

Whitney in the 80's. Unassailable.

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I'm unapologetic about the fact that I really like The Doors, and even own a book of Jim Morrison's poetry. I don't love it but there's some nice imagery in there, and it's certainly no worse than Edgar Allen Poe's (and shares thematic similarities with that writer's poems). He probably was a twat personally, but he was backed by a great band who came up with some great tunes. Including some real epics like The End, When The Music's Over, Riders on The Storm, and L.A. Woman.

 

I also really like the album @Art Vandelay mentioned that The Doors made after Morrison had died, where they composed (or borrowed) tunes and played them over recordings of Morrison reading his poems. It's a very thoughtful, poignant record.

 

So you can all stick that in your collective pipes and smoke it (while listening to The Doors).

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1 hour ago, Art Vandelay said:

Kylie had a nice redemption story of going from Stock, Aitken & Waterman tosh to universally enjoyed and pretty interesting pop, whereas Madonna went the complete opposite direction. Everything she's made in the last probably 20 years has been dire.

 

I'd always wanted to start a discussion on who was better: Madonna in the 80s, Mariah in the 90s, Beyonce in the 2000s and Robyn in the 2010s, but didn't because the answer was probably Roisin Murphy and we'd all squabble. 

To be fair Kylie hardly produced anything of worth in the last twenty years either, and in that time Madonna gave us Confessions On A Dance Floor, which whilst not quite being up there with her very best (Ray of Light) did give us Hung Up, which is way more memorable than anything Kylie has done since 2000/2001. 

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