EXORCIST-UNDERPINNING ‘symphonic rock’ side-length shenanigans courtesy of a one-man-free-festival assortment of instruments, as dryly detailed by narrator Viv Stanshall, to the undoubted consternation of many a ‘head’ who had lulled themselves into a mellowed-out sense of false security before the spoken interlude commenced. Chart-topping knocking-himself-off-the-top-spot feat of endurance, assisted by a John Peel-instigated round of panic-buying, established Virgin Records as a viable financial concern, meaning that all of that studio tomfoolery with slightly varispeeded guitars was in a roundabout way responsible for The Sex Pistols, elusive cola drinks, globetrotting hot air balloon ridiculousness and that bloke who was harrassed by British Airways for being a ‘Virgin stooge’. Reviled for many years as the ultimate totem of hippy self-indulgence, not helped by its near-inescapability in the charity shop racks, but the inclusion of flashes of humour and dangerous hints of melody, not to mention Oldfield’s publicity-suspicious DIY-ethic proto-punk credentials, have more recently assured its elevation to the status of The Prog Rock It’s OK To Like. Not least if you’re listening to Radcliffe and Maconie on any random day.
Creamguide's Pick of the Day
It always amuses us when we see clips of Double Your Money and notice the category board includes both “jazz (traditional)” and “jazz (modern)”, though it is true that at that point trad really was big news, the nascent Pick of the Pops spinning off from Trad Tavern being just one example of its hold on the nation’s teens in the early sixties, despite it being influenced by music some forty years old at the time.
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Points of View
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