Review Summary: Lacking in focus but just as ambitious as its precursors, III dazzles and concludes the Tubular trilogy on an enthralling high
Tubular Bells was a masterpiece of progressive rock. There’s no denying it. The cultural stranglehold that Mike Oldfield’s magnum opus holds is frighteningly vast, with the creator even going so far as to produce an unforgettable medley to be used as the theme to notorious horror film, 'The Exorcist'. Oldfield has had his ups and downs in his career, both when performing with bands and whilst writing solo, but attempting to create follow-ups to one of the most revered albums of all time seemed like a foolhardy endeavour; the sheer appeal of the original garnered it a dedicated fanbase and earned Oldfield himself a lot of well-deserved attention, but the concept was never conceived as a trilogy. The first sequel,
Tubular Bells II, was a solid but relatively safe affair, largely following the same musical structure as its’ predecessor. It introduced some new leitmotifs and doctored elements from the original so as to effectively recompose them, but essentially, the album was varied and featured an impressive amount of loyalty to the original, carrying the still-burning prog-rock torch aloft, whilst still treating listeners to a wholly different experience.
Tubular Bells III, though, does something a little differently. The only album in the original
’Bells collection to not go to number one in the UK, the album represents something of a stylistic departure for Oldfield, who clearly wishes to keep the feeling of the original two records, but whose experimentation renders this a little alienating. The chrome appearance of the album art symbolises a steelier, colder, but more refreshing approach than part two, and although it’s not the perfect finale to this historic collection, it’s a bloody good effort.
The changes in style are obvious from the outset, with Oldfield’s taking up residence in Ibiza an accepted explanation for such additions. Thankfully, such elements are not idiosyncratic and actually give the album an edge that the first two records lacked. Despite this, it’s important to remember that the first two parts had no need to rely on such a gimmick, instead being organic musical experiences that thrived because of their invention. Innovation is still present and very much accounted for on
III, but the progressive elements appear to have been retained from part II, and re-used; everything else just seems to have been added. This does not mean, though, that the album is devoid of any creative merit. First track ‘The Source Of Secrets’ is a classically enthralling prog-rock tune, beginning with the low whistle of wind instruments as they mimic a soft breeze. Before long the classic piano melody kicks in, accompanied by a low repeating chime in the background. Bass synths and an almost electro-house beat are introduced and the bass continues to pump as the beautifully ambient but still invigorating track progresses. This is followed by ‘The Watchful Eye’- a delightfully ethereal but spookily minimalist track that leads directly into ‘Jewel In The Crown’. Memorable, soulful, and beautifully contemplative, the song is a mellow, rhythm-and-synth driven affair with some beautifully simplistic solos laden throughout. The song progression on the release is absolutely flawless, and a large number of the tracks run together seamlessly. On a few occasions, the prog-rock and chill-out vibes jar a little aggressively, especially on some of the later tracks. Thankfully, Oldfield’s use of new elements is sparing but fitting, most of the time playing second fiddle to the actual music rather than taking over the entire sound.
Oldfield is still a man capable of surprising listeners, it seems, as best represented by fourth track, ‘Outcast’. An intimidatingly technical hard rock track that finds an impressively precarious balance between metal and experimental disco rock, the song is a soaring representation of Oldfield’s impressive musical ability. It also features some synthesised solos, and a demonic voice in the later stages of the song that appear to roar, ‘Out, demon! Out!’ before evolving into a monstrously overpowering breakdown. This gives the song a caustic, brutish appeal, whilst still staying true to the trademark Oldfield sound. One of the greatest tracks on the album is most definitely the final composition ‘Far Above The Clouds’. Uplifting and triumphant, the song sees Oldfield making inventive use of audio cues, a young girl’s voice, and of course, the sound of tubular bells. The melodies are fantastically implemented and the energetic breakdown that follows the tautly orchestrated build up feels destructive and yet, somehow, completely positive. Like most of Oldfield’s work, the album is best experienced in one sitting, as a single musical voyage. Unlike the albums that came before it,
III does feature tracks that stand alone more convincingly, but the pervasive aura and tension that are resonant every string pluck and cymbal crash is still there, and is best experienced all at once.
Oldfield builds his tubular tower a little higher and continues to expand his legacy with
III, and although it may not be the best regarded of the TB series, that by no means renders it poor. In fact, musically, it’s sounder than part II, because it understands that the essence of prog rock is expanding the sound, not wallowing in the contextualisation of previous efforts. True,
II was more focused, and this album does go overboard in its’ attempts to incorporate new elements, but the overall effect is one of success, and it’s an impressive finish to a wonderful three-volume set. Everyone who fancies themselves a music lover owes it to themselves to experience this whole collection, because regardless of how many times one listens to the albums individually, nothing compares to the complete warped, unearthly, exciting, troubling, but altogether hopeful experience Oldfield has created.
III sits contentedly with the previous entries into the TB canon, and although it may not be in quite as prestigious a position as it’s two elder siblings, it more than deserves to be remembered alongside them.
