Mike Oldfield – Ommadawn
- FaceOff - עימות חזיתי
- Oct 28
- 3 min read
On October 28, 1975 (though some sources suggest dates ranging from late October to early November), Mike Oldfield released his third album, “Ommadawn”.
After the overwhelming success of "Tubular Bells" and the more introspective “Hergest Ridge,” Oldfield retreated even deeper into solitude to create one of the most personal, spiritual, and musically transcendent albums of his career, showcasing his mastery of world music influences. It was a record born from grief, isolation, and an unquenchable need for artistic liberation.
Recorded at “The Beacon,” his remote home studio in Herefordshire, “Ommadawn” was both a reaction to the pressure of fame and an escape from the world’s noise. Oldfield, who played nearly every instrument himself, built a sonic universe from traditional folk sounds, African percussion, Celtic melodies, and haunting choral layers. The recording sessions stretched over several months, marked by personal turmoil and a drive for perfection.
Oldfield’s mother passed away shortly after he had begun recording, a tragedy that cast a long shadow over the process. Later, he recalled that working on the album became his only source of comfort — a way to channel grief into creation and turn loss into sound. Every tone, every beat, every harmony was carefully sculpted — sometimes obsessively — until it resonated with raw emotion and healing.
As with Oldfield's first two albums, “Ommadawn” is a single same-titled composition divided into Part One and Part Two, each designated to a single side of the LP. The structure enhances the immersive journey, giving the listener the sense of an evolving narrative rather than a collection of separate songs.
Supporting Oldfield’s vision were a few key collaborators who added distinct textures and character to the work. His sister Sally Oldfield contributed ethereal backing vocals that glide across the mix, while his brother Terry Oldfield added haunting panpipes passages that deepen the album’s pastoral tone. Pierre Moerlen, already known for his work with “Gong,” brought his distinctive drumming and percussive sophistication, adding rhythmic precision and a subtle world-music energy that perfectly complements the African drum players and Oldfield’s layered arrangements.
"Ommadawn (Part One)" begins softly, like the mist rising over green hills. Acoustic guitars shimmer against a backdrop of recorders and gentle choral voices. As the layers unfold, the pastoral calm gives way to rhythmic tension — African drums, pipes, and Oldfield’s electric guitar erupt into a soaring, cathartic climax that embodies both sorrow and release. This section remains one of his most breathtaking achievements: intricate yet organic, powerful yet intimate.
"Ommadawn (Part Two)" opens in contrast, returning to reflection and stillness. The melodies are folk-inflected, guiding the listener through a landscape of light after the storm. Towards its close, "On Horseback" appears — a simple, almost childlike song sung by Oldfield himself with the help of a children's choir. What might seem naïve on the surface carries a deep message: after the emotional odyssey of the album, the joy of life itself feels newly rediscovered. Children’s laughter, soft flutes, and acoustic strumming bring the journey to a peaceful, heartwarming close.
Upon its release, “Ommadawn” was met with critical acclaim and commercial success, reaching No. 4 on the UK Albums Chart. Many saw it as Oldfield’s most emotionally complete work — a bridge between the structured innovation of “Tubular Bells” and the ethereal beauty of later albums like “Incantations.” Decades later, he would return to its spirit on “Return to Ommadawn” (2017).
“Ommadawn” stands as a timeless testament to musical purity — an album that feels handcrafted, spiritual, and deeply human. It’s not just a record to be heard, but one to be felt — a journey through solitude, pain, and transcendence, emerging into light.
For Listening: Spotify, Apple Music
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