It was inevitable, after the mega-success of Tubular Bells in its original form, that someone would orchestrate the piece — the many and varied instrumental voices of the original virtually begged for this treatment, especially as the original album appeared at the height of the progressive rock boom, when even self-contained rock bands such as Emerson, Lake & Palmer were starting to turn toward orchestral accompaniment in their quest for richer sounds. In this case, it was composer Mike Oldfield himself who oversaw and co-produced the work with orchestrator and collaborator David Bedford, a longtime friend and colleague. The orchestration lives up to its promise, Bedford bringing to bear the diverse voices of strings, horns, brass, and winds in suitably rich fashion, even toning down many of Oldfield's original flourishes in the version for small electric orchestra (which is what the original was, in essence): An electric guitar part transcribed for reeds, a bass part given the violas, brass covering a guitar solo, or tubas replacing bass in a key section, it's all done smoothly and professionally by the Royal Philharmonic Orchestra. The only problem with the album is that it all sounds a little too conventional as orchestral music and betrays some of Oldfield's original source material and inspirations (or, perhaps, some of Bedford's influences) — so one hears in sharp relief the influence of Berlioz, Saint-Saëns, and even Jerome Moross (whose music from The Big Country — also an inspiration to Yes at an earlier date — surfaces for a few seconds at one point). The timbres are the most interesting element of this recording, which will, at times, too much resemble film music for the tastes of some listeners (this despite the fact that the original material was most familiar to many listeners in terms of its use from The Exorcist — it worked there because it sounded so unearthly, whereas here it sounds anything but unearthly; indeed, the end of "Tubular Bells, Pt. 1" is lacking in drama and joy with the absence of a narrator to introduce the array of instruments which, of course, has been altered completely for this recording). And Part 2 of the piece, which was always more problematic, comes off here as engaging from moment to moment but a bit shapeless overall, despite some superb classical-style acoustic and electric guitar from Oldfield near the end. It also would have been nice to have had some annotation by Oldfield or Bedford some decades after the fact, recalling this project. [A U.K. version was also released.]
Mike Oldfield(麦克·欧菲尔德)自从推出《Tubular Bells》之后，就成为当代的电子音乐大师。其实说他是电子音乐的大师，也是有点奇怪的，因为虽然Mike Oldfield利用电子音乐来创作，但是他的音乐蕴含了许多的元素，从典型的英国民谣、爱尔兰歌曲、到摇滚歌曲，精致而多样，而且他的音乐中也有古典的元素，也使用了传统的乐器，比如：空心木吉他之类。更难能可贵的是，Mike Oldfield每一张作品在风格上都丰富多变。但作为一个着名的电子音乐大师，无论创作或者演奏，其丰富和多变的内容似乎是符合电子音乐属于现代的超流行的特征和气质。
早在73年作者Mike Oldfield就发表了狂飚1600万张销量的惊世天碟「Tubular Bells」（管钟，后来又出了II,III系列）跨越了交响乐与摇滚乐的类型音乐界线。
其实才子 Mike Oldfield 演唱版的歌曲都是做出来请别人唱, 不过都不是挂那个演唱者的名字, 因为都发表在Mike Oldfield的专辑中, 只有专辑内页的介绍才会说vocal是谁.
1. Orchestral Tubular Bells, Pt. 1
2. Orchestral Tubular Bells, Pt. 2