Showing posts with label Cologne. Show all posts
Showing posts with label Cologne. Show all posts

Friday, 3 July 2026

Jul 3: 1975 - 'Ommadawn' and the rest

In November 1975, Mike Oldfield's third (and best) album was released: Ommadawn.

Here's a short documentary on the making of the album, which featured a much larger group of musicians than for his first two albums. They included Pierre Moerlen, who he would work with quite a lot in years to come.


The cover image was shot by David Bailey and there were some additional images of Mike in the same session which are great shots of him at that time.

And here's a performance from Knebworth Festival, with the band I saw in 1980 when I saw Mike play, in the same t-shirt... some improvisational differences, but I still remember it very well....




Here's the details of the rereleased album:

Mike Oldfield’s appearance at Knebworth on June 21st 1980 marked a significant moment in his career, representing one of his rare large-scale live performances during this period. The concert was part of a major outdoor festival that also featured other notable acts of the era, including the Beach Boys and Santana. For Oldfield, who was known for being somewhat reclusive and uncomfortable with live performances, taking the stage at such a massive venue was particularly noteworthy. The event drew tens of thousands of fans to the historic Hertfordshire estate, which had become one of Britain’s premier outdoor concert venues during the late 1970s and early 1980s.

The performance showcased material from Oldfield’s extensive catalogue, with particular emphasis on his ground-breaking multi-instrumental compositions. His stage setup required substantial technical coordination, as Oldfield was known for playing numerous instruments himself during live shows, seamlessly transitioning between guitars, keyboards, and other instruments. The live interpretation of his work demanded both musical virtuosity and careful orchestration, as many of his studio recordings featured extensive overdubbing and layered instrumentation that had to be recreated in a live setting.

The Knebworth concert came during an interesting phase of Oldfield’s career, following the enormous success of Tubular Bells and subsequent albums like Hergest Ridge, Ommadawn, and Incantations. By 1980, he had established himself as a pioneering figure in progressive rock and instrumental music, though he remained an enigmatic presence who gave relatively few interviews and live performances compared to his contemporaries. The scale of Knebworth represented both an opportunity and a challenge for an artist who preferred the controlled environment of the studio.

The event itself has become part of Knebworth’s storied history as a concert venue, joining the ranks of memorable performances by major rock acts of the period. For fans of Oldfield’s work, the concert represented a rare opportunity to witness his complex compositions performed live with full production values. While Oldfield would continue to perform sporadically throughout his career, his Knebworth appearance remains a notable milestone in demonstrating his willingness to share his innovative musical vision with large audiences despite his well-documented discomfort with the spotlight.​​​​​​​​​​​​​​​​

1975 also saw Camel release 'The Snow Goose' based on the book by Paul Gallico. 



The string arrangements were by David Bedford, who also worked with Mike Oldfield.

For Dylan Jones, this was one of the most important years for music. I've been reading his book on 1975, and there are mentions for various other key albums from this year too, including Keith Jarrett's Köln Concert.


What were your favourite albums which were released in 1975?

Add them in the comments below.

Monday, 2 March 2026

Mar 2: Cities and Music #2: Cologne and Kraftwerk

A nice piece in 'The Guardian' explores the legacy of 'Autobahn'. It's just over fifty years since the LP was released.


Tim Jonze explores the legacy of this album and in particular, the main title track.

Astonishingly for a 22-minute 43-second song about the German road network, it somehow managed to change the musical landscape forever.

I remember my Uncle Stan playing me this album on his quadrophonic sound system - it must have been shortly after it came out.



There is a connection with Köln here too, which I visited in 2024 for Practical Pedagogies.
For me the classic Keith Jarrett concert is the main connection I think of with the city.


A Jude Rogers' piece in the 'New Statesman' - I blogged about her book at the very start of the blog.


Monday, 5 January 2026

Jan 5: Matt Podbury's innovative 'Music and Place' unit

In November 2024, I was fortunate enough to attend Practical Pedagogies 3 in Cologne. Particularly as I'd already been to Iceland that half term which meant two trips away from family. It was another cracking event organised by Russel Tarr and hosted by a school just outside of the city, with provocations and entertainment by Hywel Roberts. The 2026 event is now open with a call for sessions.

"To be modern is to find ourselves in an environment that promises us adventure, power, joy, growth, transformation of ourselves and the world – and at the same time that threatens to destroy everything we have, everything we know, everything we are.”
Marshall Berman

One session I went to at Practical Pedagogies was by my friend Matt Podbury: who is also a colleague of the organiser Russel Tarr at the International School of Toulouse, where he teaches geography.

He had been trialling a new unit on music and its connections with our emotional landscape. This includes a look at favourite music, emotional music and lyrics, sense of place and also the connections with landscapes. It's a chance for younger students to be introduced to some of the classics as well.

For Matt that meant Pulp (with connections with Sheffield where he used to teach) and Queen.


The session was really nicely put together and presented. We will also come back to Sheffield again later in the blog as it has a great musical heritage.


Matt finished by showing a tool called SUNO, which is an AI tool that generates a musical track or song in just a few sentences, based on the prompts it is given.




One particularly nice aspect of the work was the creation of physical artefacts which were in the form of LPs. Matt had sourced blank white LP sleeves, and also some cheap €1 vinyl records. It also helps that he has a sizeable record collection dating back to the 1990s which he could use to model what we was hoping for. 

The unit also had an element of emotional geographies about it.

Give it a look... and a go...

I've created a great song with Suno... it will appear later in the blog.



And Matt will be reprising this workshop in a joint session with me at the GA Conference in April 2026.