Robert Reed, we needed your music, we needed you to continue the legacy of great musicians, to emulate them and feed our souls with the best of music expression. Can’t wait to get all your albums. Never stop making music and remember, instrumental music is the perfect music.
We live in a world where there are thousands of pop bands that sound the same, thousands of doom metal bands that sound the same, thousands of rappers that sound the same.... and yet this guy gets crucified for being the only musician on earth that can get close to Mike Oldfield's early album sound??? I don't get it. This is a great work that stands up on its own. Sure, he's got Oldfield's language and forms down but Mike didn't create those out of thin air - he had his influences too (Bedford for one!). Rob Reed is a fantastic multi-instrumentalist - his playing is top notch and his production is wonderful. There is nothing cheap about this. Yes, there is homage but there are fresh ideas too. We're lucky to have such music.
Kop Prophet ,, I seriously agree. Rob Reed evidently loved Mike Oldfield's music of the 70's so much thst he wanted to make more of it, and had the ability to do so. I call that love. sttgaegoaktd
The "Sanctuary" project is so good!! It is lovely to keep having new music in the classic Oldfield style, like a continuation of all those master works of the 70s (Ommadawn, Tubular Bells, Hergest Ridge, etc)... Rob Reed is an amazing musician, giving us so many wonderful times with the marvelous music of Magenta, Sanctuary, Kompendium and all his projects... What an artist!!!
I only discovered Robert Reed two days ago - if I heard this without knowing Id be convinced it was the master himself, Old Mikefield! Ive been huge fan since the start, this is just beautiful. CDs on order already! Mr Reed et al - you are the one Ive been waiting for since Ommadawn.......
Man, you've gotta be kidding me! That was totally incredible! What a piece of music! What a bunch of super skilled musicians and singers! Unbelievable!
I've been a fan of Mike Oldfield for more years than I care to admit. My father brought Tubular Bells into the house on its release and at just seven years of age back then, I was smitten. After saving pocket money, I had my very own copy by the time I was nine years of age. I followed Mike's music religiously up until Amarok and while I still purchased his later albums, I felt his music passed me by as my preference and taste lay in his earlier works; my favourite albums in order are Hergest Ridge and Incantations in joint first place, followed by Ommadawn, Tubular Bells and Platinum, followed by the rest. I have Children of the Sun and Shooting at the Moon in my collection together with his collaborations with Pekka Pohjola and David Bedford. Many works have, to a small or large degree been influenced by Mike. I only recently however, came to discover Robs music. An excerpt from Sanctuary was the first one and I honestly thought I had discovered a long lost Oldfield piece. My joy at discovering that it wasn't, and there was more is indescribable. In the short time I have come to learn more about Robert Reed and his music, I'm disappointed to learn that some people arrogantly refer to his music as copies of Mike's. Many musical genres have since evolved with various artists playing similar music to each other and yet, they're not accused of copying an orginator of a genre. Why? Because each artists is acknowledged as continuing a particular genre. Look at Glam Rock, Punk, New Wave, Rap for examples. Personally, I congratulate Robert not for copying, but for continuing the genre that Mike created and moved off. Thanks to Robert Reed, I have a renewed interest in Mike Oldfield once again and while there may be similarities, there's enough difference (in my personal opinion) to see that Robert puts his own stamp on a much loved and much missed genre. Congratulations Mr Reed, and thank you.
Oldfield created a genre. For reasons - difficulty being the biggest one - hardly anyone else ever wrote in that genre. Rob Reed is one of the very few who can. He is not 'copying' Oldfield. He is expanding the genre that Oldfield created. Just as Beethoven built on the legacy created by Haydn and Mozart. Just as Bach - even Bach! - developed from earlier composers such as Vivaldi. And despite the obvious similarities in their shared genre, there is really no mistaking Oldfield for Reed, or vice versa. Each has their own unique stamp. Thank you, Rob, for creating what almost no-one else could!
De la escuela de M Oldfield su alumno más destacado es Reed. La calidad es inobjetable y genera una obra de arte similar a la del propio maestro. Oldfield debe trabajar con Reed, seguramente magnificarán esfuerzos para beneplácito de todos nosotros. Saludos
Whatever camp you are in is immaterial, it's a tribute to excellence in musicianship and performance I appreciate the work that it takes. Keep it going everyone!
Wow-wow! Just discovered it! Musicians have taken music creativity on higher level at the beginning of this century - and in it human harmony prevails despite our times. Is it a reaction to it?! I’d call it artistic rebelliousness. I’d call these musicians heroes!
I've been living/breathing the Sanctuary Series for some time now. . . Must . . try . . . and . . listen . . to . . other . . music. . on . . occasion.
Although this piece of music is clearly a Mike Oldfield's pastiche, one of my favorite teenage artist, I find it to be as much enjoyable. The skilful arrangements are similar but the melodies sound fresh. Congratulations and big thanks for the sharing.
I just was thinking about the sound engineers, I’ll bet very few ever think about their contribution. Like they musicians in such a complicated performance must have very similar skills. It’s not just knob twiddling, they have to remember the whole sequence and where to put the emphasis and whee and when to reduce, control the spectrum of all the sounds … hats off to them and a big applause 👏
Realmente me emociona. Hacía tiempo que no sentía algo así con la música. Me considero fan de Mike Oldfield y no considero para nada un ataque o un plagio o una ofensa a su música, sino todo lo contrario. Es cierto que hay fragmentos similares a algunos de sus primeros discos, pero hasta ahí. Las melodias son totalmente nuevas, y llenas de sentimiento. Me parece una bendición que alguien recoja ese estilo tan característico de Oldfield y le aporte su propia personalidad dando como resultado unos Santuarios dignos de devoción.
Es evidente que la mayoría de críticas a Robert, especialmente las dirigidas en el sentido del plagio son injustas o erróneas. Solo hay que escuchar música renacentista española para comprender que las variaciones de un tema pueden ser tan buenas o mejor que el tema original de manera que lo engrandecen. Como mínimo aportan otras posibilidades que agrandan el abanico de una obra. Soy un seguidor idólatra de Oldfield, lo cual no me impide valorar en absoluto este tipo de "continuaciones-interpretaciones-variaciones-tributos" a su carrera. Enfocar solamente como plagio o imitación la música de Robert es de un fundamentalismo supino y una falta de grandeza de miras gañanesca. Todo lo que suene a Olfield me encanta excepto que sea muy malo y este no es el caso de Rob.
I wonder if there is any official feedback from Mike Oldfield or even collaboration with him ? I’d be interested to hear what he thinks, if I was him, I’d be immensely honoured to know that I’d influenced such an immensely talented musician as Rob Reed. The man is responsible for such a huge amount of amazing music and collaboration. Amazing 🤩
Interesting experience to listen to a kind of music that was in my sound library when I was young. I realize that is not my cup of tea anymore, although I appreciate its orientation. The classical influences in form, harmonic structures, folk music elements, etc, that many of the British music back then had. Emotionally doesn't do it for me, it never gets anywhere, while it keeps shifting between different ideas, many times with no correlation to each other. I am aware that most of my current appreciation for this music has to do with what has been become musical meaningful to me in the last 20 years. In contrast, I feel this music as being rhythmically and melodically uninteresting, boxed, which by no means is a quality value on this music, just an aesthetic personal appreciation.
If Oldfield had brought out albums like this in the nineties, instead of the garbage Heavens Open and Earth Moving ,he would have been one of the most successful musicians ever, he lost his way, but Robert is forging the path that he should have taken.
I love this, and clearly Mr Reed is a talented guy. A wonderful homage to you know who. But....one tiny, teensy thing I would dare venture would be to lengthen the times for each motif or theme (I'm not very musical). Just as we're getting going into a nice segment, it stops after 90 seconds / two minutes, then a slow bit for a minute, then off we go with another theme. I wish each piece would last longer, and we can sink and wallow into the riffs. You know who would just build and build, and not just at the end of the records, but he'd just let a single theme flow without chopping and changing so quickly throughout his music. But this is still fab.
Incredibly torn whether I love or hate this. Undoubtedly skillful reproduction of the classic 1970's Oldfield style which I still love to bits but lacking the melodic virtues of the master. Do I listen to this as if I am hearing lost outtakes, as a kind of tribute band or a standalone piece inspired by the Master? I dont know but I will keep on listening till I work it out and applaud truly great musicianship and the deep love of a musical genre which should have had more disciples.
Umwerfend schön.Klingt manchmal sehr nach Mike Oldfield.Aber das ist nicht wichtig.Gratulation dem Komponisten und auch den Musikern.Eine Bereicherung.
Mike Oldfield que dice de este grupo ???? Se sentira plagiado ???? El tiene un caracter fuerte , lo peor seria que algun novato escuche esto y crea que estos son los creadores originales de este bello estilo .
Es verdad, como el que cree que Juan Gris inventó el cubismo. Pos dará lo mismo surprimo, si investiga llega a Oldfield sin duda y si no investiga pues nada mal escuchar a Reed.
3 года назад
No puedo escuhar esto sin estar constantemente aludiendo a Oldfield, buenas iterpretaciones, buen sonido.... pero parece una IA modificando la música de Oldfield....
The composer of this piece must have spent a lot of time doing something like Mike Oldfield, without getting to plagiarism, but it sounds the same. It's hard to work like this, because it's a "soul" to music. This never comes to transmit anything because as I listen I distract myself thinking and looking for what work of Oldfield seems; Plagiarize are not only copying musical notes, but also specific sounds, particular riffs, special musical structures, very features of Mike Oldfield, own style.
Agustín Muñoz no genetalices. Que no t transmita a ti no significa nada. A mi si pero no generalizo. No dudo d que eres un integrista d MO por eso t dedicas solo a buscar a que se parece en vez d escuchar tranquilo.. No dudes, quien ahora toca las TB es Reed.
Ay Agustín se nota que eres muy literal que no aprecias ni metáforas ni más allá de tus conceptos hormigonados integristas creyéndote guardian de una música que muchos amamos más que tu, tanto en tiempo como en intensidad. Viva MO style y Reed practicándolo.
Agustín Muñoz me refería a esto, si si en la 45th an convention, si si en homenaje, si si con Tom Newman, si si con Tubilar Tribute, si si con Les Penning, si si con Luke Oldfield, si si con los más geeks oldfilianos del mundo. Ay Agustín. ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-VtliH4NlsAE.html
I really like M. Oldfiekd, but I think that he came too close to pop music. Rob Reed's compositions are beautiful and I do not consider them plagiarized. Sure Rob would like to have such a reputation as Oldfield and probably will not. It's good that I know and listen to them. :-)
Madre mía lo que hay que leer...Le reconozco el esfuerzo de crear otras melodías para que no parezca una copia descarada de Oldfield pero es que son melodías sin "alma" que no las recuerdas tras varias escuchas. Le falta enganchar como hacía el maestro con sus discos. Mucha gente saber tocar bien actualmente pero a Reed le falta enganchar. Musica bien ejecutada pero sin transcendencia. Por no hablar de los climax que para nada son como los del maestro.
Abra usted su mente de prejuicios, comparaciones y cerrazón y verá que esto no es plagio sino al contrario, admiración, amor y pasión por la obra de Oldfield. No sea usted talibán porque le impide disfrutar de esta música al comparar. Es evidente (excepto para los fundamentalistas fanáticos) que Rob no intenta compararse con Mike.
Sorry, art is all about finding your own voice. This is brillantly composed and played but it is just an awful plagiarism. What a shame and what's the point ? Magenta, Rob Reed's band, with his own sound is far better and worth of praise.
Not really. For most of the few thousand years we know about art here in the western world, it definitely wasn't about 'finding your own voice'. This is a 20th century, post-Freudian construct which has been used to justify all manner of nonsense over recent decades. There's no real evidence that people even thought of themselves as individuals in the same way as we think of ourselves as individuals now. Artists almost certainly didn't. During the renaissance, art was all about finding a voice which was as indistinguishable from the master to whom the 'artist' was apprentice as would allow mass-prodution and support business and that didn't change until the end of the 1st world war. The language of music, notes, staffs and key signitures etc., was developed so that church choirs could 'reproduce' as faithfully as possible, music which was sung in geographically remote parts of Europe, in order the spread the faith. The music of that time, such as it survives, was created by men and occasionally women who certainly didn't think of themselves as composers. The reason Baroque music sounds the way it does is a result of imitation and the repetition and the spread of musical ideas, formulas and riffs. That we recognise the work of individual composers happens almost in spite of the music they produce. Talk to musicologists about the works that can reliably be attributed to J.S. Bach, it's alot, but there are also many, many qualifications and question marks. The history of Rembrandt's career is a constant shift of attribution and re-attribution. This idea that artists look for 'their own voices' is something bad, lazy teachers tell school kids because they think it sounds inspiring. Until the 20th century art was hard, grinding work done mostly by men trying to make something as beautiful as they knew how to, in the service of a Church or a King in order to make enough money to live by it. Of course there was investment of ego and competiton, but not that much. Now, fortunately, all standards of beauty are relative, everything can be art, and everyone is an artist and can express themselves as individuals. Aren't we lucky? I'm a huge mike Oldfield fan, I have every one of his albums, some in multiple editions and formats and Ommadawn is one of the most important pieces of music to me personally ever. Over decades of listening, much as I really really love him, I cannot escape the sad truth that his 'muse' (for want of a much better expression) departed not long after the Incantations album was released and the Exgesis treatment he went through, though it may have saved his sanity and possibly even his life, destroyed his music. For me perhaps only the track Woodhenge from the Platignum album retains the beauty and mystery of his earlier work. I'm grateful to Robert Reed for giving me back something, though by no means everything, that I found in Mike Oldfield's early recordings. Something I have lost and missed for a very long time and which I really, really hoped to find in his Return to Ommadawn, but it's not there.
Awful Plagiarism? Really. You complete Ignaramous (I'd use the word TWAT, but that is beyond you) ....Hopefully you understand that A) music since the 1800's has been Stolen every decade. B) someone has to move the world forwrad. To me, not one person in this music is plagiarism or stolen. This is a songwriter and musician who has real ideas and every tune......every melody....is memorable.....As much as I love Tubular Bells......It is an album by a man that was allowed to run amuck in a studio....and Mike's TB is a golden nugget to us all...Don't be so fucking disrespectful who keeps this Music style alive....Go and take your head...and shove it in either a pile of shit or Ice....upt to you......
@@tarkusboy1548 Really sorry for you. You are not only crass and vulgar but you are so stupid you are not even able to read correctly a post. I think that writting and playing such a piece is OK when you are young and in search of your own music, but doing this when you are in your fifties, with thirty records under your belt is at least embarrassing. He has the right to do it, and I have the right to say what I think of it and prefer his work with Cyan or Magenta, two bands you have probably not a clue about.
@@fandru5538 I accept your comments about vulgarity...crass...mmmm. Yep. I know both Magenta and Cyan very well. also I know Trippa when Rob and Tina were writing pop tunes. Don't ever be sorry for me. I just don't like someone who calls plagiarism on someone trying to forge ahead and try new music. Don't we all plagiarise? It's in every artist who has been writing for years. Copeland, Holst to John Williams(with the comparison between Star Wars and Holst's Jupiter) to Leonard Bernstein, to Keith Emerson and his use of Bartok, Janacek, Ginastera and bach. No one is above or below or above stealing...or emulating. As long as you enjoy music these days, doesn't matter if you are 20 years old or 80 years old creating music.....There will always be someone who hates it and someone who loves it.
@@tarkusboy1548 Crass... in fact, I am french and my english is not that good... I see your point and can share it to some extent. The first pieces written by Beethoven were full Mozart ! Nobody comes from nowhere, specially in art. In the music Robert Reed writes for Magenta, you can hear Yes, ELP and other bands of the Seventies, but just from time to time, because he comes from there and had such admiration and love for this music and these bands. Kind of his musical DNA, I guess. Nothing to criticize there, because Magenta has nevertheless his own voice and his own sound. Imo, this is not the case in this piece, where I can only hear a redoing of Tubular Bells. Good or not is not the point for me, I just can't stand it. But as you say this is all about subjectivity and we can't all love the same songs or react in the same way, even if we may have similar tastes.
