The main aspect of my work these days involves recording television and radio programmes, editing out the end/start of the previous/next programme and burning it to DVD ready to be catalogued and added to library stock. It means I get to go through the Radio Times to choose anything of interest that can be recorded. And that means things that are of interest to me even when it might not really be the library's kind of thing. A case in point was last month when I noticed BBC4 were showing a live performance of Mike Oldfield's Tubular Bells from 1974.Just as Star Wars was the seminal film of my childhood, so Tubular Bells became the album I listened to repeatedly in my early years. The main reason for this was that it was pretty much the only cassette my dad had in his car, so any journey seemed to pick up wherever in the 50 minutes' worth of proceedings he'd got to last time the car's engine was switched off. My dad clearly loved Tubular Bells, to the extent that he had faithfully re-rendered the album cover for his bootleg copy (recorded from an uncle's vinyl) using a mixture of ink, felt-tipped pens and coloured pencils. Despite me having bought him the album on CD years ago I'm sure the old cassette is still hanging around somewhere...
Tubular Bells was the first recording released by Richard Branson's Virgin label back in 1973. The record reached the number 1 spot after a year and remained in the British charts for over five, selling more than 2 million copies over here. In the years since there have been all kinds of trippy remixes and revisions but, as far as I'm concerned, the original 1973 recording is the only recording worth bothering with.
The live TV studio recording from 1974 is a fairly low-key affair: there's no introduction, Oldfield is resolutely nonchalant throughout and, towards the end, the 'Master of Ceremonies' (the late Vivian Stanshall) is missing. But watching it at work, as the tinkling opening theme - famously used in The Exorcist - got going, the camera slowly panning around a handful of musicians, then zooming in on a cross-legged Oldfield picking gently on an electric guitar, made the hairs on the back of my neck stand on end. It had been many years since I last listened to the piece, and as I did, I was taken back to a more innocent time: as a primary school child, not yet having bought his first record, sat in the passenger seat of my dad's Cortina as we drove through warm summer evening Sussex countryside. Bliss!
Last week M and me spent a few days in a