Which is best? TUBULAR BELLS, HERGEST RIDGE or OMMADAWN? I could make a case for any of them. There is plenty of debate in these...reviews about their respective merits, but frankly it's like arguing over which is the most important bird species.

The simple fact is that you need to own all three albums. There are many who believe that Oldfield was put on this Earth to make OMMADAWN. If Oldfield had disappeared completely from the music scene after recording OMMADAWN, then his place in history would have been assured. Without this trilogy of albums, there would have been no market for the likes of Andreas Vollenweider, and a much smaller audience for composers as diverse as Tangerine Dream, Steve Reich, Arvo Part and even late Jan Garbarek.

With TUBULAR BELLS, Mike Oldfield opened up what would be known as New age music to a mass audience. With OMMADAWN, he sealed his place in music legend, and perhaps unwittingly discovered a new audience by composing a suite of melodies with immense appeal to children. Some time after this, Oldfield was hired to re-work the theme tune to the BBC children's programme, BLUE PETER.

OMMADAWN represented a departure from his previous solo, multi-tracked recording technique. Other musicians were involved, not just in the recording but in the composition and arrangement too. Influences from the folk music of Ireland, Africa and Eastern Europe can be clearly heard. Paddy Moloney of the Irish band the Chieftains contributed the distinctive uillean pipes. It was way ahead of its time, and for me, it confirms the 22-year-old Oldfield as not just one of the great classical guitarists in rock, but as one of its greatest composers.

Everyone peaks at some point in their life, and Oldfield did it between the ages of 19 and 22. What sort of a life can you lead thereafter? Oldfield has enjoyed his wealth and tried to recapture the glory of his prodigious musical achievement, but not with total success.

OMMADAWN is Oldfield at his peak. The 1970s provided the nurturing environment needed to create this extraordinary recording. We are unlikely to witness either again.

Mike Oldfield was one of my greatest discoveries, when I was a teenager (now I'm 30 and still listen to him). The first contact with "Ommadawn" for me was a section, extract from final on Part 1, featured on his 1985's "The Complete/Live Side" - for me, this section is still one of Mike's best peaces ever made, although he's made more than 30 albums so far. In those years, his longplays were very hard to find, but I was lucky to got his "Boxed" anthology at the beginning of 90's. Wow! what an album! Immediately after that, I bought a CD, because it's just been realesed in my country. Today, "Ommadawn Part One" is regularly in my CD-player at least once a month. For those who are about to take steps into Mike's music, I highly recommend this album as a typical for his earlier works ('73 Tubular Bells, '74 Hergest Ridge and '77 Incantations) - although these albums have a similar structure, they are all unique in a way. "Ommadawn" is a wonderful mix of ethno, pop-rock and symphonyc music, built on three or four simple melodies, which reaches the climax at the end of Part 1. Accompanied by female, male and children choirs (Penrhose kids from the Manor, where this album was recorded), this peace brought me to places I've never been before, even with his music. Every time I think of this record, the word POWER comes to my mind. It really is powerfull and if you'll listen to the final section of Part 1, when screaming guitars, african drums and choir explode together in a total climax, you'll know what I mean. For those who are familiar with his later works: a drum patern, used at the end of Part 1, was included later on his "Far above the clouds" peace from "Tubular Bells 3", combined together with bass-patern from "Tubular Bells 1". It is great, but for me, it could not reach "Ommadawn" because of the simple reason: this record was made in 1975 and I could hardly imagine the reflection and influence it had in those times. "Ommadawn" is often said to be the best Mike's fans record, along with "Amarok" and I very much agree with them. Today, I am very much disappointed with his latest "Millennium Bell" album, because someone who has written such a masterpiece as "Ommadawn" could have done much better! So: one of the albums of the century.

Mike Oldfield had only just turned 22 when he made "Ommadawn", an album of such incredible musical depth and innovation for its time that I'm forced to wonder who he was in a past life. The symphonic rock style of "Tubular Bells" and "Hergest Ridge" is reinvented here, and although some may call it "New Age", little in that genre has produced anything as exciting or uplifting as "Ommadawn". Oldfield certainly had a knack for hummable melodies, which he would then repeat and augment with chanted vocals, African percussion, Irish folk instrumentation, acoustic and electric guitars, or anything else that fit his fancy; the backwards sound mosaic that opens side two has an especially moving pull to it. By the time it's over, Oldfield leaves you breathless; then, you're swept away by "On Horseback", a singalong which sounds like Sesame Street on acid. This album will make you feel young, old, wise, innocent, spirited, and spaced out all at once. File under "symphonic-space-folk-world-newage-pop-rock" and just listen.

It is impossible to give this stuff anything less than 5 stars. It is even better than Tubular Bells, the so called Mike Oldfield masterpiece. Both the long instrumental tracks are haunting and the hidden vocal track is so beautiful I continuously hum it for a day or two every time I listen to it.

This must be one of the best instrumentals albums (well it is 95% instrumental). Offcourse it does not beat stuffs like Ian Anderson's "Divinities" but that was a roam into another genre. Like Tubular Bells, most instruments has been played by prodigious Mike Oldfield. Go for it for an ethereal, out of this world experience. Only weak point can be the themes may seem repeatative for people not into this kind of music.

For the few of us who were or are aware of Mike Oldfield at all...this classic is a staple for any listener of his music.

Don't be fooled by the supposed African drummers on this...this reeks of total Celtic music. Hergest Ridge is, in my opinion, a langoured effort at Tubular Bells, Part II, this music here...is quite original and most refreshful.

The haunting cover alone with the still face showing through a rain streaked window should be a clue in itself. This musician is growing...and looking into the inner self to express himself musically.

I could be a real critic here and point out certain key factors in this masterpiece...but...since this flows from start to finish...that would be rude.

If you want to hear somone come off as subtle as a slegehammer banging into the sand...this must be heard. Released at a time when Art Rock was en vogue...this truly was the herald of them all.

Truly haunting and a good listen to when you are alone and in the mood to be surrounded by beauty, this is a welcome relief to the chaos that surrounds us.