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Question: What does Mike need? :: Total Votes:36
Poll choices Votes Statistics
...to leave Warner? 6  [16.67%]
...a new producer? 9  [25.00%]
...both things? 21  [58.33%]
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Topic: What does Mike need?< Next Oldest | Next Newest >
Mige Iranzo Offline




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Posted: May 01 2003, 19:26

I think a new producer with fresh ideas will be perfect for Mike. Someone like Yonderboi, Uwe Schmidt or Alex Paterson if he wants to do more electronic stuff, or Tom Newman again for a more "personal" sound. But please, no more old fashioned early 90's plain new age. :/

A change of record company would be good too, but nowadays there're less and less great record companies and I think Oldfield wouldn't fit in a little "indie" label...

Don't you think it?


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Tellur Offline




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Posted: May 02 2003, 04:40

None of the above! I'd say Mike needs to get pissed of at Warner to write Amarok II with "I hate Warner" lyrics in morse code.
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Holger Offline




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Posted: May 02 2003, 05:28

Yeah!   :laugh:
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oblique Offline




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Posted: May 02 2003, 14:56

All Mike needs is a kick in the ass.    ;)

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"While we are alive we should sit among colored lights and taste good wines, and discuss our adventures in far places; when we are dead, the opportunity is past." - Jack Vance
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TOBY Offline




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Posted: May 02 2003, 16:20

He certainaly needs a producer, that's unarguable. He needs to work with someone who understands his music, where's he's been before with it and where he wants to take it now. He desperatly needs new ideas or at least have his own ideas filtered through someone who can give them freshness.
It's interesting if you read between the lines of that making of TB book both Tom Newman and Simon Heyworth had a lot more input into how TB turned out than most people think, there was a certain amount of arm twisting on their part to persuade Mike to leave in certain bits and leave out others. The very fact that Mike is now at his most insular, and has been for the last decade, in terms of collaborating with other people is, if you ask me, pretty much the reason his albums have been less than brilliant in that time period.

And he desperately needs to be on a smaller record label. He needs to be a big fish in a small pond rather than shrinking fish in a huge pond. WEA may well have put an effort into his early releases but they certainaly seem now as if they've given up on him just like Virgin did towards the end. He desperately needs someone like a smaller record label to put real imagination into promoting him, which of course brings us to the fundamental point that he needs to write good HONEST music and stop this general feeling you get that he's desperately trying to sound like he's apealing to a fashionable youth market that quite simply aren't listening and never will.

And lastly he needs to start playing live much more often. I would say this is the one obvious reason in the downturn of his public profile, certainaly in the late 80's it was and so again now. He needs to play small intimate gigs and not go way in over his head trying to fill large lifeless cattle sheds. I've alway's thought it would be brilliant if he headlined one of the tents at Glastonbury, he would go down fantasticaly and it would do more than anything else to get him noticed and dare I say it trendy again.
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oblique Offline




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Posted: May 02 2003, 16:55

Well Toby. It's a 50 year old we're talking about.
When TB was made Mike was still open to influences from people like Tom And Simon.
All these remixes that were made the last 10 years or so could have been cooperations with other artists (not counting DJ Pippi).
IMHO the last artist Mike really had interaction with was Simon Phillips, over 19 years ago.
I agree with you on Glastonbury,but can you force a hermit like Mike?


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TOBY Offline




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Posted: May 02 2003, 17:22

But Mike's alway's been strangely open to influence, it's just always been from the wrong people, ie record company executives who want to push down a certain route. Either that or as has been suggested by some one (with inside knowledge) he surrounds himself with yes men who just agree to his every whim. Infact there's an example on the TL promo video where he's demonstrating his 'sax guitar' and somebody in his studio say's 'wow it sounds really good!'. Whereas what they should have said is 'oh my god that sounds shit, you're not putting that on the album are you?' I jest aside but you get my point.

ps I've been to Glastonbury a few times over the years and I've alway's seen hermits, I'm sure Mike wouldn't be to out of place.
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oblique Offline




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Posted: May 02 2003, 17:37

You may ask yourself as to why he only lets people getting near who don't contradict.
Must be his strong character, or he's just stubborn (mildly spoken).
Surely he's been influenced over the years. We all have been so there's no exception there.
But in order to communicate you have to be willing to listen too. Somehow I don't think that Mike is such a good listener.

As for Glastonbury...all my favorit artists have performed there so I just wish it would be easier for me to go there once.


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"While we are alive we should sit among colored lights and taste good wines, and discuss our adventures in far places; when we are dead, the opportunity is past." - Jack Vance
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Tellur Offline




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Posted: May 05 2003, 12:02

I would like to know one thing - what are your exact accusations against Warner? Well yes, I know Mike was recently publishing some one-size-fits-all albums, proboably because of Warner's strategy, but hey, last time you were moaning that he's not as known out in the mainstream society as he should be. I am sure they appreciate his extraordinary talent and will let him release cool one-shots in the future.
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TOBY Offline




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Posted: May 05 2003, 14:58

I suppose peoples problems with WEA depend on how well they percieve WEA have handled things generaly and how much of Mike's downturn in profile is his fault, musically speaking, and how much is the record companys for not marketing him right. It has to be said that my argument against WEA is purely from a UK point of view because obviously things are different in other countries especially Spain where he has a reletively high profile.

Certainly in recent years WEA seem to have put less and less effort into marketing him here in the UK, Tres Lunas was handled unbelievably badly and it looks as if TB2003 is being handled the same way, put it this way I won't believe TB2003 is released on the 26th of this month untill I've got it in my hand. For such an important release for Mike I've yet to see a single advert, article or even mention of the album in the music press. It's here the finger of blame splits up because is this WEA's fault, Mike's and his management's fault or quite simply because everyone is so bored with Mike releasing TB albums that they've long since lost interest? Who knows? But the latter is fairly likely I would say.

The other area up for question is WEA's sheer lack of imagination regarding that TB box set. Quite frankly I think its a badly put together rip off, almost all the people who will buy it, us fans, already own TB2 and TB3 and that extra DVD intended to lure us in is shockingly lacking in anything interesting to make it worthwhile. We all know how much you can be creative with DVD content, so why not here??????????? Interestingly enough just today I read an interview with Dave Gilmour who said he regularly rejects record company proposals to put out Pink Floyd DVD's on the grounds that they aren't being put together with enough care and generly speaking are thought buy him to be pretty crap. Now I'm not insinuating Mike doesn't care, I just don't think he's interested sometimes at all about these things.

The last issue is whether or not WEA is in anyway at all an influencing factor in the quality, or lack of, in Mike's music. Personaly I do think a lot of Mike's output in the last ten years has become hamoganized and reletively soulless to varying degrees somewhat befitting of the huge multinational record company he now belongs to.The truth is we just don't know for certain just how much the general direction of Mike's music in recent years is record company inflenced.

My own view is that he would do better on a slightly smaller more personable record label producing honest sounding music, put it this way it couldn't get much worse for him to change. Of course all of this is purely academic if Mike is going to continue producing less than inspiring music, so ultimately a certain amount of blame can be directed back to bad decision making on his part, certainly on a creative level.
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qjamesfloyd Offline




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Posted: May 06 2003, 06:47

I like the idea of Mike going to a smaller label,because WEA have lots of big names of there label,and Mike is just another one of them,but a smaller label would perhaps be a lot more happy and amazed that they have an artist as big and clever as Mike Oldfield,and would put in a lot more offort to keep him at there label.
It's funny that David Gilmour's name came up,because i was thinking about Mike's need for a producer,we all no about Mike's previous producer's,Newman,Horn,etc,but i feel going back to a former producer would not move Mike as an artist forward again,so,why not David Gilmour,he is a perfectionist like Mike,an amazing producer,and more importantly a guitarist too.and a man used to creating both songs and instrumentals.
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Holger Offline




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Posted: May 06 2003, 08:27

As Tom Newman said, 'Talk about clash of egos...'
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TOBY Offline




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Posted: May 06 2003, 08:31

Well they don't get on particularly well for a start but I agree Mike needs to work with sombody else. He could do a lot worse than working with Tom Newman again who at least understands him, unlike Trevor Horn. He needs somebody sympathetic to his style and help make the right creatve decisions. Pretty much all Mike's recent stuff has suffered, not so much in the music composed, but how its been translated and refined to a finished article.
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Ram
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Posted: May 06 2003, 13:56

I think Mike and Tom will never work together again, because Mike isn`t interested in mainly acoustic albums anymore and Tom Newman doesn`t like music with too much synth stuff, drum loops etc. Excuse my english.
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Mige Iranzo Offline




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Posted: May 06 2003, 17:02

Who had thought 5 years ago David Bowie would work again with Tony Visconti?

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Sysiyo Offline




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Posted: May 07 2003, 04:17

They did work together five years ago, on 'Safe', a song for the Rugrats movie soundtrack, that eventually wasn't included on the movie (it was later rerecorded for Heathen and can be heard as a B-side to Everyone Says 'Hi').
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bevy Offline




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Posted: May 17 2003, 16:25

I think mike needs a good sleep in as he will pobs have a bad head after his 50th birthday pissup : )
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ian Offline




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Posted: May 18 2003, 06:31

I would like to see Mike take the direction of fusing his acoustic Ommadawn/Incantations atmosphere with more modern sounds,but maintaining an organic production.

Amarok,Incantations,Hergest Ridge and particulary Ommadawn had depth,space.You could hear distant guitars that sounded like they were in a defined space.

I just want to hear origanal sounds and not just factory synth presets and recognizable sounds from sample CDs.

Leave the polished squeeky clean production to the producers of drab,soulless boy band/girl band pop.
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Blue Dolphin Offline




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Posted: May 18 2003, 07:11

I'd like to see him begin with his tours again. I was listening to those recordings of his tours in the early 80's. I did want to see them, but yeah I wasn't born yet... :/

But maybe his hasn't got the energy or he's just bored with it.


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-The mark of a good musician is to play one note and mean it-

Mike Oldfield - 1980
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torbenyj Offline




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Posted: May 18 2003, 07:40

I think he will get a second wind soon - like david bowie, gilmore, elton john and so on
T
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