Jonathan Richman, singer, guitarist
Composer ~ Multi-instrumentalist
birth name: Michael Gordon Oldfield

Mike Oldfield

May 15, 1953, Reading England

Few rock & roll careers have managed to be both as strange and as successful as that of Mike Oldfield. After his 50-minute, nearly all-instrumental prog rock odyssey Tubular Bells launched Virgin Records and somewhat bafflingly reached number one on the UK album charts in 1974, he has continually thrown convention to the wind with each successive release, and has yet to really be punished for it with a serious dip in commercial success or critical acclaim. ~ The Quietus: Mike Oldfield Interview ~ August 2, 2011 © The Quietus

Blends progressive rock with world, folk, classical, electronic, ambient, and new-age music. ~ Wikipedia: Mike Oldfield ~ retrieved February 1, 2016 © Wikipedia

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May 15, 1976 ~ Billboard Hot 100 ~ #3 (5) Wings, Silly Love Songs ~ #2 (1) John Sebastian, Welcome Back ~ #1 (3) The Sylvers, Boogie Fever


“I never planned that music would be a career. I just remember seeing people like Hank Marvin and Bert Weedon on the telly and being enthralled by the sound of a guitar. There was a pawn shop near my parents’ house in Reading, and they had a little red guitar in the window. I pestered my dad for weeks and, one day, it appeared in my bedroom. Discovering music coincided with a sad period for my family - my mother was very ill and I sort of withdrew into myself. Music became my refuge. If I went out with friends, I didn’t make small talk - I just played the guitar. Music was how I communicated. It’s funny how a horrible period in your life can have such a positive outcome.” ~ The Express: Mike Oldfield Interview ~ March 2, 2014 © The Express

Mike Oldfield ~ Tubular Bells (1973) ~ Named one of the 1001 Albums You Must Hear Before You Die in 2008.

As a Session musician, guest or band member

Robert Wyatt ~ Rock Bottom (1974) ~ Ranked #98 Pitchfork Top 100 Albums Of The 1970s in 2004 ~ It's impossible not to hear the stretched-out time of convalescence in its drones and long melodies as Wyatt devotes himself to keyboards, whittling at his synths as quizzically as he hones his lyrics, which gnarl with surreal wordplay but temper the brilliantly grounded wit that flashed across his earlier work. ~ 2004 © Pitchfork

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