Customer Rating: 
Summary: A single must
Comment: Back in 1973, people bought two albums, Pink Floyd's DSOTM and Mike Oldfield's Tubullar Bells.
This CD takes you to places, to sounds and feelings that no othe Tubullar Bells CD has ever been able to reproduce, as well as no other Oldfield, to that matter.
There are many versions, even the recent recreation from the man himself, however, whatever you purchase, puechase this one first, there is simply nothing comparable to it.
Customer Rating: 
Summary: Maybe you were really looking for Parsifal?
Comment: Amazon, for some reason, has suggested to me that I might want to buy this.
Ah no.
If you are really desperate to hear tubular bells, can I suggest a good recording of Parsifal? It has the virtue of being, if only subjectively, shorter.
Customer Rating:
Summary: No imagination!
Comment: Going through the reviews of Bells, I am particularly surpised by the irritation caused by the vocal bit on side two - The so called Klingon vocal. Well people, you simply have no imagination. I've always liked that bit. When it came, me and a friend of mine always had lots of fun, because we envisioned a little dwarf being chased by a pack of wolves. The little dwarf runs for his life, hindered by a full belly due to too much eating and drinking at a party the previous night. He has to puke constantly. Every now and then, he has to stop and lean against a tree to empty his stomach. That's where the SHLAUUUGHHH! noise comes from. meanwhile, you can hear the wolves, who are gaining on him, howl in the background.
By the way, Bells doesn't interest me much. It's a mosaic of little ideas and not particularly interesting melodies. Doesn't take a genius to put together. But, granted, Oldfield would prove his uncommon craftmanship years later, with Incantations and Amarok.
Customer Rating:
Summary: Review of Tubular Bells
Comment: This CD is pretty good, but i like the DVD with enhanced audio much better. Still, it's nice to listen to because it's Mike Oldfield, and he's awesome.
Customer Rating:
Summary: This has nothing to do with the movie, as intended, anyway.
Comment: Mike Oldfield probably owes his career to film director Billy Friedkin, who doesn't even like "Tubular Bells" very much, and who has never even met Oldfield, for that matter. While the 1973 smash film "The Exorcist" was in its final stages of production, suitable music wasn't yet selected, as nothing seemed to fit the mood of the piece. It was either too much bombast, or too cliche'd, never quite right. The then unknown record company called Virgin Records had some music in their vault, so Friedkin was listening to some of their unknown material, looking for something the public hadn't heard before, and something with an eerie, almost child's music box sound. He found "Tubular Bells" to be very boring and pointless, to paraphrase, but the opening motif was exactly what he wanted. Whether by association in hindsight, or just the way people think, the piano intro, with the other arrangements (bass, and keyboard and percussion accents) carries this other-worldly feel, something sinister and forboding, a tension that very few other pieces have ever achieved successfully. And the rest is history. This is Mike Oldfield's first official release, and the first of several incarnations of this piece. It seems he was always trying to find the right way to communicate this idea.
Remarkable is the fact that he played all the instruments himself, save for some of the voices, a flute arrangement, and the drums. Yes, it is self-indulgent, but that is often the best performance art. Knowing if one puts his or her all into something, and has the talent to do it, it WILL be good. The listener is transported from the ominous opening theme to a lighter dimension, a postcard-like image to a hillside occupied with a small town on a late Autumn dusk or dawn. I am imposing my own mind's eye on you here, but this is what I experience with it. This is very subjective, everyone will have their own experience, so pushing my personal images off on others could taint someone else's view. I will try to keep this to a minimum. Various themes play out, some sounding more finished than others, but the segue is as much an instrument as the actual instruments themselves.
The first act, if you will, climaxes with a repetitive rhythm from an electric bass or muted electric six-string guitar, laying down an established groove, if you will, adding a new instrument each time. The instruments are introduced one at a time by Vivian Stanshall of the Bonzo Dog Band ("I'm The Urban Spaceman"), until the creshendo is reached with "...Plus; Tubular Bells!..." The bottom the falls out, and a moment of silence ensues.
In the old days, this would be where you would go get a drink and flip the record over.
Act Two, I believe, contains an opening sequence which is every bit as ominous as the piano theme Friedkin used in his movie. The first reworking of it has this passage titled "Weightless," and that is fitting there, but in this original 1973 record, it is simply frightening. Instead of playing standard guitar notes, a technique called "fretboard harmonics" is used to lay down the groundwork as nylon and steel string guitars play the melody over top, accentuated with female (or male falsetto) vocals chanting some ethereal melody you would hear in a fever-induced dream. Once again, my own lexicon trumps the readers' perception, unless they have a powerful one of their own, but dark, gritty, monochrome black-and-white imagery of bare trees and something simply being not right pervades. This gives way to a more peaceful, gentle mood, actually sounding a little sad, with an innocence to it, completely belying what preceded it.
...relax for a few moments...
Once again, this soundscape is painted with bold strokes, as distorted guitars sounding like bagpipes swirl over tympani, playing some foreboding melody in a loop, while some mis-shapen ogre is pursuing you. A plodding rock rhythm is the background for an interesting vocal by Oldfield himself, the "Piltdown Man," as the credits say. Primal rage is building, and the terrifying howl that ensues actually put a cold chill down my back the first time I heard it. This segment is one of the most aggressive pieces in most record collections from the era, a genuinely scary performance.
Screams, howls, violence, and rage, give way to quiet darkness; points of light in the distance, a la early Pink Floyd, trailing off into oblivion, but a little postscript is appended to the very end, a little sea shanty, if you will, a reminder to not take it TOO seriously, it's just a piece of music.
And, what a good piece of music it is.
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