recorder, which was The Manor’s main recording equipment at the time.
To create the double speed guitar, the tape was simply run at half speed during recording. Oldfield also used a custom effects unit, named the Glorfindel box, to create the ‘fuzz’ or ‘bagpipe’ distortion on some guitar pieces on the album. The Glorfindel box was given to David Bedford at a party, who then subsequently gave it to Oldfield. Tom Newman criticised the wooden cased unit in a 2001 interview with Q magazine noting that it rarely gave the same result twice.
The set of tubular bells that were used on the album had been left by an instrument hire company after John Cale’s sessions at the Manor, at the request of Oldfield.
According to Phil Newell the Bass guitar used on the album was one of his Fender Telecaster Basses.
Vivian Stanshall, who was staying at the Manor at the time, was asked to introduce the instruments for the finale of part one. It was the way in which Stanshall had said plus… tubular bells which gave Oldfield the idea to call the album Tubular Bells.. “Sailor’s Hornpipe” and the original ending
When recorded in 1973, the coda at the end of Part Two, the “Sailor’s Hornpipe”, was originally preceded by a longer slightly bizarre rendition of the piece. Loud marching footsteps trot around the sound channels as the “Sailor’s Hornpipe” is played on acoustic instruments, whilst announcer Vivian Stanshall gives an obviously-inebriated, improvised tour of the Manor. According to the liner notes for the Boxed vinyl set, this session occurred at four in the morning after Oldfield, engineer Tom Newman and Stanshall had been drinking heavily. They placed microphones in the rooms of the Manor, hit record and set off on an unplanned tour of the house.
It was cut from
Pages: 1 2 3 4 5 6 7 8 9 10 11 12 13 14 15 16 17 18 19 20 21 22 23 24 25 26 27 28 29