1.- Relació EST-Exposed. Anunci de Mike/Virgin

Mike, en plena eufòria post-EST i lliure de les seves inhibicions i timidesa cròniques, va anunciar els seus plans de fer una gran gira europea.

2.- La recerca i tria dels músics

Va triar els músics amb els que sentía que connectava i que coneixien la seva música i forma de treballar. Per aquest motiu, la banda estaba formada per molts dels músics que van col·laborar a Incantations: Pekka Pohjola (baix), Pierre Moerlen (batería i percusió), Benoit Moerlen (vibràfons), Maddy Prior (veu) y Nico Ramsden (guitarra). A aquests va afegir d’altres que no coneixia personalment però que la seva habilitat musical els acreditava: Phil Beer (guitarra), Mike Frye (bateria addicional), Tim Cross i Pete Lemer (teclats), y Ringo McDonough (Robin Morton?) (bodhrán).

3.- Arranjaments Orquestrals

Entrevista a David Bedford: http://www.oldfield-forum.de/thread.php?threadid=1453&sid=49ff4c205a3cde0903c52955bc3fa682

DP - How did you react to the reborn post-Exegesis Mike Oldfield?

DB - Whatever suits anybody. I mean things where you go along, pay good money to be insulted are absolutely mad.
They are really a con to make money. There are a lot of American people who go around doing that.
I told him at the time it was a complete con and he was insisting it had done him a lot of good.
However, on the other hand if he wanted that kind of treatment he could have gone to a good psycotherapist or whatever.
But it did do him some good and made him more outgoing so I am probably being unfair to these people.
It also made him a little arrogant at times and stroppy but much more decisive but for a period he went through a phase
of being extremely stroppy but that gradually died away until he became decisive which is different.

DW - Certainly his music before and after has changed. He seems to be writing more shorter pieces.

DB - Well, which came first the chicken or the egg. You don't know if his musical mind would have gone
in that direction anyway or whether this experience did it. I don't think it did, composers change naturally
over the course of the years and he probably would have come out of it and his personality would have developed anyway.
He was very young when all this happened - all the big success. He probably would have matured as part of normal maturing.

DP - Soon after Exegesis you both appeared at the "Save The Whale" concert in Jubilee Gardens, South Bank. What was performed there?

DB - Oh, yes. That is a good question. I know I had a school girlie choir. But what they would have done is anybody's business. We did my song from "The Rime of the Ancient Mariner", and we probably did a couple of Mike's singles with choir accompaniment. But I don't remember any more than that.

DP - You don't know if it was recorded?

DB - No it wouldn't have been.

DP - Was it easier to do the orchestrations for "Incantations" than for the earlier records as this was partly written with an orchestra in mind?

DB - Yes it was much easier as he had sorted out his musical ideas much more and there were definite areas where he knew he wanted orchestral instruments. He'd almost written them in the sense that synthesizers had developed enormously so he was able to do backings of synthesizers which he felt he would like strings to do so it was almost written for me.

DP - Despite the huge loss made on the Exposed tour did you consider it a good venture and did you enjoy it?

DB - Yes it was terrific. The only problem was that he was going through one of his stroppy phases so he didn't get on too well with some of the string muscians and he asked a couple of them to leave because they were not looking happy enough on stage and he was in a very stroppy and bossy mood at times and kept himself very aloof but did issue invitations to anybody who had any problems to go to his room and talk to him. So the string orchestra muscians were a bit worried that they might get the sack at any moment. Not that they would have lost any money because they would have to be paid for the whole tour. But it was extremely well recieved everwhere we went. The only thing I found disturbing was that we went to all these cities but that the stage was identical each time. There was two feet between these instruments and there was the same carpet so it was almost like doing the same concert 20 times or how many times it was. So the fact that we were in Barcelona one night and Paris the next or whatever didn't register. So it was coach, soundcheck, concert, sleep, coach soundcheck, concert, sleep until the muscianns discovered some rule that if there was X amount of hours worked they had to have so many off. So then we had to charter an aeroplane for everywhere. So it was travelling and playing really and we didn't get to see any of the cities. So when I say to people I have been to Hamburg, Munich and all this they say "Oh you lucky thing" - but I say I didn't see the cities at all.

DP - What tracks did you do vocal arrangements for on "Platinum"?

DB - Oh, was this the one with the Philip Glass piece. Yes, I arranged the voices for that.

DW - Do you normally listen to Philip Glass's music?

DB - Yes, I went to his operas. But right from the beginning although he may not admit it Mike was
influenced by Terry Riley, and the opening of Tubular Bells is very similar to a piece by Terry Riley called
"A Rainbow in Curved Air". So that was sort of in his mind although he was not the same as the minimalists in
that he develops material. So it was quite logical for him to do an arrangement of Philip Glass's track who was
at that time relatively unknown before he became a big superstar.

1979:

14 February QE Hall Rime of the Ancient Mariner for David Bedford
11 March The Venue Downwind for Pierre Moerlen's Gong [Pierre Moerlen's Gong Live recorded.]

March 31 Barcelona. April 1 Barcelona 2 & 3 Madrid 4 Paris 5 Dusseldorf 7 Berlin 9 Brussels, Belgium 10 Rotterdam,Netherlands 12 Denmark 14 Bremen 15 Hamburg 17 Munich 18 Frankfurt 21 London (Royal Festival Hall - 2 shows) 25 & 26 London (Wembley Conference Centre) 28 & 29 Wembley Arena. May 2 London Wembley Arena 3 Birmingham (NEC) 4 Manchester Apollo 7 Manchester Belle Vue

Musicians [Band of 11; 16 choir; 24 musician, 2 others =53]
Phil Beer (guitar) Pekka Pohjola (bass) Maddy Prior (vocals) Pierre Moerlen (drums and percussion) Benoit Moerlen (vibraphones) Nico Ramsden (guitar) Ringo McDonough (bodhran) Mike Frye (drums) Tim Cross (keyboards) Pete Lemer (keyboards). David Bedford arranged the string sections from London Symphony Orchestra [4 trumpets, 2 flutes, 6 violins, 6 violas, 4 cellos, 2 double basses - conducted by Dick Studt.] 16 girls from Queen's College Girls Choir.

There had been some talk that Mike was going to Russia originally on this tour. Before he went he told Tune In: "I'm thinking about the money I need for the tour. It's going to cost a fortune and there's no way we can make anything but losses." It was uncannily true.

Virgin apparently suggested using backing tapes but Oldfield wanted people and he took a large road crew of 30. Pierre Moerlen's Gong players featured heavily in Mike's line-ups because he felt a musical kinship with Moerlen's vibraphone playing. Besides his usual habit of trying to recruit classically trained musicians with some experience of playing rock, Phil Beer remembers that, "he was trying to enlist a lot of friends initially, he wanted people he knew around him." During rehearsals, "he kept on going through keyboards players, deciding that they weren't what he wanted. Then at one point he decided I wasn't what he wanted, then he changed his mind." It certainly was an assertive Oldfield that emerged after radical therapy, and it had a heavy influence on his tour relationships. Exegesis released him from some of the fears about losing control, but exaggerated his capacity to exert it.

Unfortunately the tour was dogged from the start with difficult personal and professional relationships. Richard Barrie met Mike on 14 March in Bremmen [they rehearsed in Germany during January and February] for the first time and was taken on as a tour engineer to assist the main engineer Paul Lindsay. He said of his meeting with Mike, "we hated each other at first sight", but Mike kept asking him to do jobs after the tour and they developed a long term working partnership. Less promisingly, Mike was said to have hired a tour manager whom he sacked, 'because he looked too much like a student'. Sally Arnold of Virgin Records was appointed. She had managed the Rolling Stones' European tour. Oldfield had picked the prettiest girls for the choir and her first task was to sack those whose voices did not match their looks!

Mike asked Tom Newman to go on the tour and put together the PA system with Quad Electrostatic speakers. Quadraphonic sound was then in vogue. Newman told David Porter these speakers "have a lovely sound but have got no projection. We had this enormous row about it and I left the tour. Phil Newell took my place and virtually on the eve of the thing starting forced Michael into a compromise. Everything I originally wanted actually happened but not with me having anything to do with it."

Mike took a computerised mixing desk and employed it late after rehearsals. It blew up in Dusseldorf, but not before it had caused an enormous amount of bad feeling with his fellow tour members, whose complaints he ignored.

Aside from the ominous dynamics of the tour relationships, the music was very successful. David Bedford told David Porter in interview: "Mike was going through one of his stroppy phases so he didn't get on too well with some of the string musicians and he asked a couple to leave because they were not looking happy enough on stage. He was in a very bossy and stroppy mood at times and kept himself very aloof but did issue invitations to anybody who had any problems to go to his room and talk to him. So the string orchestra musicians were a bit worried that they might get the sack at any moment. Not that they would have lost any money because they would have to be paid for the whole tour. But it was extremely well received wherever we went."

In Dusseldorf the band were joined by a group of journalists. Mike went on stage and played while wearing one of their jackets. Their general view was that the first half of the concert, Incantations, was dull, but the second half with the up tempo Tubular Bells , was excellent. For the Berlin concert Mike invited the journalists up on stage with him during the Sailor's Hornpipe playing small percussion instruments. It unsettled them but they wrote about it.

Tickets to the Saturday April 28 concert at Wembley Arena cost £4.25. Mike played Incantations, for which the lighting was mainly changes in colour but otherwise restrained. Then they performed Guilty to video coverage of two birds flying together. [Did this inspire the later lyric on Islands?] Paper jets were given out by the choir and there were thousands of them flying around Wembley. Finally Mike played Tubular Bells and as an encore reprised Guilty with Tubular Bells segued into it.

DAVID BEDFORD – "The Rime Of The Ancient Mariner Live Extract"

a: 00:00-01:53 Mike Oldfield: guitar at 1:21

b: 01:53-03:33

c: 03:33-07:01 Mike Oldfield: guitar at 3:36, 5:20, 6:24

d: 07:01-10:34 [Rio Grande I] Mike Oldfield: guitar at 9:04

e: 10:34-16:02 [Rio Grande II] Mike Oldfield: guitar at 10:34, 12:39, 14:40

f: 16:03-16:58 audience clapping, end

(The concert was recorded on Feb. 14th, 1979 at the Queen Elizabeth Hall, London)

Contrastar amb:
1975 31 April Queen Elizabeth Hall Star's End and Rime of the Ancient Mariner
No va ser el primer cop, doncs.

Music fron the Darkness

Una de les conseqüències d'Exegesis va ser la pèrdua d'inhibicions per part de Mike, i per tant de la seva timidesa, cosa que el feia poc procliu a concerts en directe. Virgin va anunciar plans per un gran tour europeu que només a Londres tindria lloc en 3 emplaçaments emblemàtics en un total de 5 dies del mes d'abril.
De tota manera, ja abans del tour, Mike va aparéixer als escenaris col•laborant amb amics seus. El 14/2/79 al Queen Elizabeth Hall, va tocar la guitarra a la versió en viu de Rime of the Ancient Mariner, de David Bedford (Inèdit). La segona aparició va ser a The Venue el 11/3/79 tocant la guitarra a la cançó Downwind a un concert de Pierre Moerlen's Gong. (Va sortir en LP)
Després d'això, Mike es concentra a la seva gira. El 31/3 comença el tour amb 4 nits a Barcelona, abans de passar a França, Alemanya, Bèlgica, Dinamarca, abans de retornar a Anglaterra. Els concerts consistien bàsicament en TB, Incantations i Guilty, amb alguna ocasional Sailor's Hornpipe. L'experiència va ser emocionalment positiva per Mike, però econòmicament va ser una ruina tant per ell com per Virgin. Afortunadament, Virgin disposava d'enregistraments en directe de les actuacions i això els va permetre triar els millors fragments i publicarlos com Exposed, contenint Incantations, TB i Guilty. Va ser rebut prou bé pels crítics.
El doble LP va sortir al mercat el 27/7/79 i originalment estava previst com una edició limitada de 100.000 còpies, però per l'increment de la demanda es va haver d'ampliar. Va arribar a 16 a les llistes UK. Al mateix temsp, Virgin treu al mercat Guilty, peça d'un caire gairebé de música disco, que Mike tocava amb gran èxit a la gira. Va arribar al 22 a les llistes, i disposava també d'una edició especial en vinil blau.
(Cronologia confusa) Mike torna a col•laborar amb Pierre Moerlen, enregistrant Downwind al seu estudi de Througham, tocant, com al concert, la guitarra. LP va sortir 2/79 i el Live a inicis dels 80.
(Data?) També fa una aparició estelar a una cançó de l'àlbum de Bram Tchaikovsky Strange Man, Changed Man, que apareix a l'abril. La peça es diu Girl of My Dreams (Què tocava?)

Man and his music

Mike va anunciar els seus plans de fer un tour.

Va buscar músics de confiança que ell creia que podien connectar bé amb el seu tipus de música: Pekka Pohjola, baix; Maddy Prior, veu; Pierre Moerlen, bateria i percusió; Benoit Moerlen, vibrafons; i Nico Ramsden, guitarra.

A aquests va afegir d’altres que no coneixia personalmente però que la seva habilitat musical els acreditava: Phil Beer, guitarra; Ringo McDonough (Robin Morton?), bodhran; Mike Frye, bateria addicional; Tim Cross i Pete Lemer, teclats.

Mike va encarregar a David Bedford els arranjaments per orquestra de les versions en viu d’Incantations i TB; haver arranjat en el passat TB per orquestra i haver dirigit l’orquestració a Incantations va facilitar molt la tasca. L’orquestra estava composada per 4 trompetes, 2 flautes, 6 violins, 9 violes, 4 violoncels i 2 contrabaixos. Dick Studt dirigia.

També es va treballar molt l’aspecte tècnic del tour, per aconseguir la qualitat màxima de so. L’amplificació havia de ser quadrafònica. Cada instrument havia de tenir el seu micròfon , i per controlar millor la qualitat i distribució del so es va fer servir una nova taula de so computeritzada.

Per anar més enllà en la tècnica del so, Mike va anar a Nova York a finals del 78 per contractar els serveis del productor i enginyer Kurt Mankacsi, que treballava per Philip Glass. No només va parlar amb Mankacsi dels concerts, siní que per aquelles dates havia escrit Guilty, una peça d’estil disco que Munkacsi va produir. Guilty es va enregistrar de forma ràpida el Decembre del 78 a NY. Mike va llogar un estudio, un grup local de [session] músics i va portar Stevie Winwood per l’orgue. Es va enregistrar la peça tant en versió single com extesa.

Aquesta cançó representa un canvi d’estil per Mike, disco-rock, si bé passar per el filtre Oldfield. Part de la música està basada en una modificació d’un dels temes recurrents a Incantations, on es toca a les cordes. De tota manera, els que prenen protagonisme són els sintetitzadors i les guitarres, la bateria i el baix, de forma més viva i menys monòtona que a Incantations. El cor intervé en diverses ocasions per dir “I’m Guilty”, que posiblement remet a EST, i el tema de la radical responsabilitat de tot al que un li passa. La versió extesa repeteix seccions de l’original més sovint i també conté una part més de guitarra de Mike.

Durant la seva visita a NY, tb concedeix una entrevista a la revista Guitar Player, on dóna força detalls sobre les guitarres que fa servir a les seves composicions; i també parla de com és el seu procés de creació de peces musicals.

Finalitzades les seves activitats a US, Mike torna a UK per preparar el tour, que estava a punt de començar a Alemanya el gener del 79 [No començava a Barcelona?]

Donada la inexperiència de Branson en temes de gires, va nomenar un manager pel tour, però Mike el va rebutjar. També es va mostrar reticent amb el segon, Sally Arnold, però aquesta, malgrat tot, es va mostrar com algú molt capaç.

Una de les primeres tasques de Sally Arnold va ser la desagradable missió de fer fora aquelles nenes del cor del Queen’s College que Mike creia que no eren prou maques; després de setmanes d’assaig.

Va ser durant la preparació de la fira que Mike va conéixer Sally Cooper, una publicista de Virgin, amb la que va connectar bastant i li va proposar que els acompanyés a la gira.

El 14 de febrer, Mike va ser músic convidat a un concert en directe de The Rime of the Ancient Mariner, al Queen Elizabeth Hall, on es feia una retrospectiva de les obres de Bedford.

L’11 de març va tocar a la peça Downwind, amb Pierre Moerlen’s Gong, al club de Virgin The Venue(incorrecte, va ser a París), a un concert on es promocionava l’últim àlbum del grup, Downwind. El concert va ser enregistrat per una ràdio americana i part del mateix va ser publicat a l’àlbum en viu Pierre Moerlen’s Gons Live al Maig.

La gira va començar el 31/3 a Barcelona, seguida per el 2/4 a Madrid, on va ser rebut amb entusiasme. D’aquí va anar a París, Düsseldorf, on Virgin li va demanar que permetés que un grup de periodistes s’unissin a la gira.

Malgrat que tots els tècnic el van advertir, inclós Tom Newman, Mike es va encaparrar en fer servir la taula de mescles computeritzada al concert de Düsseldorf, Als assajos, aquesta va explotar.

Les peces que es tocaven eren Incantation, que alguns crítics consideraven llarga i aburrida; TB, amb molta més força, i Guilty.

Hi ha qui afirma que la nova manera de tocar TB per part de Mike respon al seu caràcter més segur i confiat, després de l’Exegesis. Aquesta reinterpretació va ser un èxit a la gira.

De Düsseldorf es va anar a Berlin. Diversos periodistes van patir la difícil tasca d’entrevistar un impredecible Mike amb eufòria post-EST. Una de les més curioses tortures que els va infligir va ser fer-los sortir a l’escenari durant The Sailor’s Hornpipe per tocar instruments de percussió. Els concerts s’acompanyaven amb projeccions de l’animador Ian Emes, d’un efecte hipnòtic.

De Berlin es va anar a Bèlgica i Dinamarca, per passar després a Anglaterra, on van tenir lloc 8 shows, més un parell d’afegits a última hora a Birmingham i Manchester.

Molt poc després, Mike i Phil Newell van posar-se a treballar a l’àlbum en directe a The Manor. Es van fer servir parts dels concerts, tots els quals, excepte els 2 últims, van ser enregistrats per The Manor Mobile. Va ser un enorme treball d’edició.

Immediatament després Mike ja estava treballant al seu proper i trencador àlbum. El motiu principal és que el tour va costar molt més del que estava previst i tot i que van omplir, les pèrdues varen ser astronòmiques, i com les pèrdues les havien d’assumir tant Virgin com el propi Mike…

Mentre Mike enregistrava, altres treballs seus es posaven a la venda. 6/4/79 apareix Guilty, en format single, amb una cara B amb una secció de guitarra d’Incantations, i en maxi, on trobem la versió extesa de Guilty. El single va ser un èxit comercial i musical, arribant al lloc 22 de les llistes.

També trobem música de Mike a The Space Movie, un documental de Virgin Films sobre la carrera espacial dels EEUU. Se li va demanar composar una banda sonora, però de fet, el que trobem és un recull d’extractes dels seus anteriors treballs. Abans de aparéixer als cinemes, es va retransmetre per la ITV el 20/7/79.

Exposed, doble LP en directe, va sortir al mercat el 23/7. La qualitat musical i tècnica era excel·lent. Malgrat el que van dir els crítics sobre Incantations, aquesta obra pren més força i vitalitat a les versions en viu. Aquesta versió és més curta, però no queda clar si és perquè Mike les va editar pel disc o perquè no es van tocar. El doble LP té una vitalitat que molt posiblement deriva de la personalitat expansiva del Mike del moment.

L’edició inicial va ser de 100.000 còpies, però es varen esgotar, i Virgin va fer una nova tirada més gran.

La portada de l’àlbum és desplegable i trobem diverses fotos de la gira en forma de retalls de carret. El títol Exposed juga tant amb el tema d’incorporar aquestes fotos sense retallar, com pel fet de que Mike s’exposa al seu públic.

Les crítiques va rebre l’àlbum favorablement, i va arribar al lloc 16 de les llistes.

ITALIAN FAN CLUB

El primer tour es diu Tubular Shows.

A Barcelona es varen tocar dos concerts, 31/3 i 1/4/79.

Orquestra i cor eren més de 50, i una troupe de 25 roadies i tècnics.

3 concerts al Wembley Arena

JOSÉ CANTOS

1 mes abans dels concerts va revisar els llocs on havien de tenir lloc, a Barcelona i Madrid. A Barcelona va fer algunes millores acústiques del recinte.

També tenien el cap de seguretat Jim Callaghan, el mateix dels Rolling Stones. Kurt Munkacsi també va col·laborar com enginyer.

CHANGELLING

Mike va triar músics amb els que va treballar a Incantations, amb els que hi havia connexió i coneixen la seva forma de treballar.

Mike afirma que als concerts també va tocar HR i Ommadawn.

Les pèrdues varen ser de 1/2M de lliures, i van trigar 10 anys en ser pagades a través dels royalties d’Exposed per part de Mike.

Mike posa a continuació el tema de les classes de vol i la llicència que obté.

Es ven Througham Slad i compra Denham, per estar més a prop de Londres; a compte dels royalties del proper àlbum, avançats per Branson, més de 50k lliures.

Arrel de la sensació d’acosament en vers el rock-progressiu i especialmente la música de Mike, aquest creu que ha d’incorporar elements musicals de la música més popular. No havia més remei que adaptar-se.

De les FAQs de tubular.net:

Mike never took part in the concert series and sadly Hergest Ridge is rarely played at his own concerts. The Scottish concert shows up on The Space Movie because Virgin owned the rights to it, and is more likely to be a stereo recording. Probably due to a veto from Mike, it has never had a proper release.
There was an acetate of The Space Movie soundtrack, but it was not the same as the film soundtrack. It is just a special mix of elements that were already available to Virgin (and does not include the Incantations out-takes heard in the film), but of course - as the album was never released, it is a very rare acetate. No test pressing was ever made.

Phil Newell was given the job of putting together the double LP in 1980. It had a Townhouse label on it and I'm pretty sure only 3 of the 4 sides had grooves - so in order to hear all of it Phil had to dig out the tape for me. Basically it is all original music with mixed-in quotations and sounds from the space race era.

Here is the tracklisting:
Side 1:
Orchestral Hergest Ridge [extracts from Parts 1 & 2] (19:08)
Side 2:
Ommadawn [extracts from Part 2 then Part 1] (28:03)
Side 3:
Orchestral Tubular Bells [extracts from Parts 1 & 2] (26:46)
Side 4:
Incantations [extracts from Parts 1 - 4] (27:05)

The version of Orchestral Hergest Ridge on Side 1 includes 2 minutes of Part 1 and most of Part 2, with the Martian Song (also known as the "thunderstorm"), spliced in from the original album version.

De la web de la llista Amarok:

1978
Incantations (unused section)
There is an out-take from Incantations Part Four (the piece that developed
from Making Way - see Reflection, above) featuring vocals not present on
the final record, with lyrics taken from A Spell For Creation by Kathleen
Raine. This out-take was included on the soundtrack of The Space Movie
(see Film Music). The track as heard in the film has been edited, so the
following lines are absent:

Oh love, my love, there springs a world
And on the world there shines a sun
And in the sun there burns a fire
Within the fire consumes my heart...

He trobat el poema sencer, i em falta sentir la peça per veure si es canta sencer menys la part que diuen que falta:

Spell of Creation by Kathleen Raine

Within the flower there lies a seed,
Within the seed there springs a tree,
Within the tree there spreads a wood.

In the wood there burns a fire,
And in the fire there melts a stone,
Within the stone a ring of iron.

Within the ring there lies an O,
Within the O there looks an eye,
In the eye there swims a sea.

And in that sea reflected sky,
And in the sky there shines the sun,
Within the sun a bird of gold.

Within the bird there beats a heart,
And from the heart there flows a song,
And in that song there sings a word.

In the word there speaks a world,
A word of joy, a world of grief,
From joy and grief there springs my love.

Oh love, my love, there springs a world,
And on the world there shines a sun,
And in the sun there burns a fire,

Within the fire consumes my heart
And in my heart there beats a bird,
And in the bird there wakes an eye,

Within the eye, earth, sea and sky,
Earth, sky and sea within an O
Lie like the seed within the flower.

Downwind1979 Arista - CD BMG/Ariola

Pierre Moerlen : drums, vibraphone,marimba, timpani, keyboards, vocals
Hansford Rowe: bass
Ross Record : guitar , vocals
Benoît Moerlen : vibraphone and laughter
François Causse: percussions
Guests:
Didier Lockwood: violin on" Crosscurrent" and "Emotions"
Didier Malherbe: sax on "Downwind "
Mike Oldfield: guitar, Solina strings, bass, irish drum , amazing source of inspiration & great melodies + tape cutting on "Downwind"
Stevie Winwood: Hohner clavinet, moog solo during concert tom solo (mixed too far back, sorry Steve! will try to re-mix it some day) on track "Downwind "
Mick Taylor: guitar on "What you Know"
Terry Oldfield: flute on "Downwind".
Recorded : track Downwind in spring 1978 near Stroud at Mike oldfield's studio , engineers Mike and Paulother tracks recorded during september-october in London .
Producers:Mike Oldfield/Nick Bradford/Pierre Moerlen
Executive producer: Graham Lawson for Listenfine
Tracks: Aeroplane (lyrics by Ruan O'Lochlain , music by Pierre Moerlen) - Crosscurrents (Pierre Moerlen) - Downwind (Pierre Moerlen) - Jin-Go-Lo-Ba (M. Olatunje)- What You Know (lyrics by Ruan O'Lochlain , music by Pierre Moerlen) - Emotions (Pierre Moerlen) Xtasea (Pierre Moerlen).

De la web oficial de Pierre Moerlen (QEPD). La informació que donen es diferent a la dels llibres. Tot l'LP enregistrat a The Venue, menys la peça on toca Mike, que és a París.

Live 1980 Arista - CD: Great Expectations

Pierre Moerlen : drums, vibraphone, string machine & xylophone solo in "Mandrake"
François Causse: drums in "Mandrake" , congas, concert toms
Bon Lozaga: electric guitar & strings
Hansford Rowe : bass guitar
Benoît Moerlen : vibraphone, xylo-marimba

Guests:
Mike oldfield on guitar playing "Downwind" in Paris (1979).
Didier Malherbe on saxophone.

Recorded by the Virgin Mobile in Paris (Downwind) and at the Venue in London (all other pieces). Re-mixed by Nick Bradford & Pierre Moerlen.

Tracks:
Downwind (Pierre Moerlen) - Mandrake (Pierre Moerlen) - Golden Dilemma (Hansford Rowe) - Soli ( Hansford Rowe) - Drum Solo (Pierre Moerlen) Esnuria (Pierre Moerlen) Crosscurrents (Pierre Moerlen).
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Pierre Moerlen's Gong - Live

Label: Arista Catalog#: 202 205 Format: Vinyl, LP, Album Country: Germany Released: 1980 Genre: Jazz Style: Jazz-Rock Credits: Bass - Hansford Rowe Drums, Percussion, Synthesizer - Pierre Moerlen Guitar [Rhythm], Guitar - Bon Lozaga Marimba, Glockenspiel, Congas, Xylophone - François Causse Producer - Nick Bradford , Pierre Moerlen Vibraphone - Benoit Moerlen Written-By - Pierre Moerlen (tracks: A1, A2, B2 to B4) Notes: Recorded live at Stadium Paris, 16 Feb 1979 and The Venue London, 11 March 1979