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Track Listings
| 1. Stars End Part 1 |
| 2. Stars End Part 2 |
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Customer Reviews
Most Helpful Customer Reviews
11 of 11 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
I first became aware of this album through Mike Oldfield's 'Boxed' release in the late 1970s. That album consisted of his first three albums plus the bonus LP, 'Collaborations'. One of the tracks on the bonus issue was a lengthy extract from 'Star's End'. Made the year after 'Tubular Bells', it too consists of one composition, but is nowhere near as accessible as Oldfield's music. Though rock instruments are featured, the album is predominantly performed by the Royal Philharmonic Orchestra and sounds more like a modern classical work.
It's intended as a musical representation of the process signified by the title. This isn't an album that will have you humming. The opening fragments of violin which suggest the gathering of matter towards the eventual chemical reaction are discordant. 'Star's End' is an impressionistic album. The aforementioned extract is probably the highlight of the album. During this, Oldfield plays a trademark electric guitar solo over the backdrop of a steady, portentous timpani beat and an orchestral wall of sound.
The merit of depicting a star's collapse in music will remain open to debate. Nevertheless, this is a well-crafted album, not for the casual listener, but one which rewards patience and attention.
It's intended as a musical representation of the process signified by the title. This isn't an album that will have you humming. The opening fragments of violin which suggest the gathering of matter towards the eventual chemical reaction are discordant. 'Star's End' is an impressionistic album. The aforementioned extract is probably the highlight of the album. During this, Oldfield plays a trademark electric guitar solo over the backdrop of a steady, portentous timpani beat and an orchestral wall of sound.
The merit of depicting a star's collapse in music will remain open to debate. Nevertheless, this is a well-crafted album, not for the casual listener, but one which rewards patience and attention.
18 of 19 people found the following review helpful
Format:Audio CD
For me David Bedford's 'Star's end' is my most cherished album for 25 years. I always was surpised why this album never got any attention (as far as I know).
The gravitational collapse of a star; the uninmaginable quantummechanical phenomena; the time-space curvation: 'Star's end' is the only music I know which 'describes these things quite accurate' in sound.
Warning: It certainly is not easy music.
Although it is filed under 'Popular music' it looks more like modern experimental classical music (despite the guitar work of Mike Oldfield).
It makes full use of a big orchestra.
To many listeners it will sound like 'avant-garde' music but it definitely is not: 'avant-garde'-music is clinical, emotionless; 'Star's end' is full of melodies although they are not easy. It is the opposite of Vangelis 'Cosmos':
'Cosmos' has a big easy tune; the first time 'Cosmos' sounds beautiful but soon you will get bored. You won't get bored with 'Star's end'.
The gravitational collapse of a star; the uninmaginable quantummechanical phenomena; the time-space curvation: 'Star's end' is the only music I know which 'describes these things quite accurate' in sound.
Warning: It certainly is not easy music.
Although it is filed under 'Popular music' it looks more like modern experimental classical music (despite the guitar work of Mike Oldfield).
It makes full use of a big orchestra.
To many listeners it will sound like 'avant-garde' music but it definitely is not: 'avant-garde'-music is clinical, emotionless; 'Star's end' is full of melodies although they are not easy. It is the opposite of Vangelis 'Cosmos':
'Cosmos' has a big easy tune; the first time 'Cosmos' sounds beautiful but soon you will get bored. You won't get bored with 'Star's end'.
Most Helpful Customer Reviews on Amazon.com (beta)
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3 reviews
1 of 1 people found the following review helpful
ON BEYOND TRANTOR
28 Jan 2012
Format:Audio CD
It's safe to say that most people who become cognizant of this very obscure album's existence will do so through a Mike Oldfield discography. David Bedford conducted the choir and strings on Oldfield's Hergest Ridge album, and Oldfield returns the favor by guesting as the soloist on this 45-minute Bedford orchestral work, recorded the same year (1974). That being said, the potential purchaser is warned that this is not a guitar concerto, nor a "in-all-but-name" Oldfield album in spite of his significant contribution. With Vernon Handley conducting the Royal Philharmonic Orchestra, Stars End is a major avant-garde masterpiece that is both modernistic and experimental, yet imminently very accessible and enjoyable if the listener is willing to put in the time.
So what is it like? A simple starting point (that does not adequately do the work full justice) would be the orchestral textures that Andrew Powell added to the early Alan Parsons Project albums married to the rhythms of Stravinsky, the long lines of Mahler, and the convention-defying gestures of composers such as Prokofiev and Messiaen. There are no big hummable melodies, but little fragments are quite catchy and will implant themselves into your musical memory. With a title like Stars End (presumably borrowed from Asimov) that practically begs for visual interpretation, there is actually very little here that is descriptive or pictorial, although the quieter moments will undoubtably elicit images of "vast interstellar spaces".
Both halves open with the offbeat rhythms, swirling textures, glissando slides, staccato punctuation, and the generally wild effects that cause many listeners and reviewers to blanch. A definitive pulse is ultimately discernible beneath the long, slow crescendos (crescendi?). Oldfield's guitar (right channel) and bass guitar (left channel) are used primarily as rhythm instruments over tiny thematic fragments; his stop-and-start soloing is heard all too briefly but a fascinating call-and-response between the two instruments closes the first half. Just when it seems a fughetta, a chorale, or an "almost" tune is beginning to establish itself, everything disintegrates with sudden interruptions or an orchestral build-up of explosive discord. Other highlights include a hypnotic portamento section, whistling strings over static pedal points, and a reprise of the call-and-response that leads to the long-awaited mysterious ending: four final acscending notes.
Vernon Handley (who would go on in 1988 to conduct the awe-inspiring premier recording of Robert Simpson's Symphony #9 - another reference point) is to be greatly commended for holding together what must have been a very difficult work to record. While not everyone (even Oldfield fans) will "get it", Stars End has very much repaid this listener's investment of time, and will always be returned to with increasing fascination. If you ever find yourself reading about Bayta, Toran, and the Mule on a rainy winter's night by the fireside, no finer musical consummation could possibly be suggested.
So what is it like? A simple starting point (that does not adequately do the work full justice) would be the orchestral textures that Andrew Powell added to the early Alan Parsons Project albums married to the rhythms of Stravinsky, the long lines of Mahler, and the convention-defying gestures of composers such as Prokofiev and Messiaen. There are no big hummable melodies, but little fragments are quite catchy and will implant themselves into your musical memory. With a title like Stars End (presumably borrowed from Asimov) that practically begs for visual interpretation, there is actually very little here that is descriptive or pictorial, although the quieter moments will undoubtably elicit images of "vast interstellar spaces".
Both halves open with the offbeat rhythms, swirling textures, glissando slides, staccato punctuation, and the generally wild effects that cause many listeners and reviewers to blanch. A definitive pulse is ultimately discernible beneath the long, slow crescendos (crescendi?). Oldfield's guitar (right channel) and bass guitar (left channel) are used primarily as rhythm instruments over tiny thematic fragments; his stop-and-start soloing is heard all too briefly but a fascinating call-and-response between the two instruments closes the first half. Just when it seems a fughetta, a chorale, or an "almost" tune is beginning to establish itself, everything disintegrates with sudden interruptions or an orchestral build-up of explosive discord. Other highlights include a hypnotic portamento section, whistling strings over static pedal points, and a reprise of the call-and-response that leads to the long-awaited mysterious ending: four final acscending notes.
Vernon Handley (who would go on in 1988 to conduct the awe-inspiring premier recording of Robert Simpson's Symphony #9 - another reference point) is to be greatly commended for holding together what must have been a very difficult work to record. While not everyone (even Oldfield fans) will "get it", Stars End has very much repaid this listener's investment of time, and will always be returned to with increasing fascination. If you ever find yourself reading about Bayta, Toran, and the Mule on a rainy winter's night by the fireside, no finer musical consummation could possibly be suggested.
1 of 1 people found the following review helpful
review
6 Jun 2011
I'll admit to buying this one for two reasons; 1.) it was released on Virgin Records (always a source of interesting, non-mainstream material, and 2.) the cheesy space themed cover art (courtesy of Chris Callis).
So it turns out that David Bedford was a well known avant-garde and classical composer, conductor and orchestator. I'm not going to bother going into his resume - you can look it up if interested. His 'rock' credentials came as a result of his work on Kevin Ayer's solo debut "Joy of a Toy". In addition to orchestrating the album, Bedford joined Ayers recording and touring band. That job introduced him to bassist Mike Oldfield and when Oldfield was signed as a solo act by Virgin Records, Bedford orchestrated and conducted the material on his album "The Orchestral Tubular Bells" as well as several follow-up collections. The unexpected success of the Oldfield collaboration got him signed to Virgin where 1974's "Star's End" served as his second solo offering.
Reportedly commissioned by The Royal Philharmonic Orchestra (RPO), the album was co-produced by Bedford and Oldfield (the latter provided bass and guitar). Initially entitled "The Heat Death of the Universe", the collection was inspired by Bedford's interest in astronomy (the title borrowed from Isaac Asimov's novel Second Foundation. Based on the title, I'm guessing Bedford was trying to capture the chaos associated with the collapse of a star ... okay, that may be total crap on my part. Anyhow, be forewarned these two extended instrumentals showcasing the RPO with Vernon Hardley conducting reflect 45 minutes worth of modern avant garde themes. Musically there was absolutely nothing remotely rock or progressively oriented here. In fact, large segments of the album were pretty discordant (try sitting through the first couple of minutes of side two), if not outright dull with the RPO seemingly heading off in random directions whenever they got bored with a particular passage. While there wasn't much in the way of melody, or rhythm, the album was full of ominous dronings, abrupt starts and stops, and occasionally interesting sound effects. Oldfield's bass and guitar made occasional appearances, but with the exception of the closing segment of side one and a brief segment on side two where his instantly recognizable 'chiming' guitar took the spotlight, for the most part he simply didn't add a great deal to the proceedings.
I'm not sure why, but for some reason Virgin elected to slap modified cover art on the US release. The original and superior UK cover is shown below:
Virgin catalog number V 2020
To be totally honest, I've only managed to get through the set three times and each and every time it's reminded me of the incidental music to an Aliens or Star Trek film. The album has its admirers, but I'll readily admit I'm just not sophisticated enough to enjoy it.
"Star's End" track listing:
(side 1)
1.) Star's End (instrumental) (Part 1) (David Bedford) - 23:18
(side 2)
1.) Star's End (instrumental) (Part 2) (David Bedford) - 22:26
For anyone interested, Bedford has a web presence at:
[...]
So it turns out that David Bedford was a well known avant-garde and classical composer, conductor and orchestator. I'm not going to bother going into his resume - you can look it up if interested. His 'rock' credentials came as a result of his work on Kevin Ayer's solo debut "Joy of a Toy". In addition to orchestrating the album, Bedford joined Ayers recording and touring band. That job introduced him to bassist Mike Oldfield and when Oldfield was signed as a solo act by Virgin Records, Bedford orchestrated and conducted the material on his album "The Orchestral Tubular Bells" as well as several follow-up collections. The unexpected success of the Oldfield collaboration got him signed to Virgin where 1974's "Star's End" served as his second solo offering.
Reportedly commissioned by The Royal Philharmonic Orchestra (RPO), the album was co-produced by Bedford and Oldfield (the latter provided bass and guitar). Initially entitled "The Heat Death of the Universe", the collection was inspired by Bedford's interest in astronomy (the title borrowed from Isaac Asimov's novel Second Foundation. Based on the title, I'm guessing Bedford was trying to capture the chaos associated with the collapse of a star ... okay, that may be total crap on my part. Anyhow, be forewarned these two extended instrumentals showcasing the RPO with Vernon Hardley conducting reflect 45 minutes worth of modern avant garde themes. Musically there was absolutely nothing remotely rock or progressively oriented here. In fact, large segments of the album were pretty discordant (try sitting through the first couple of minutes of side two), if not outright dull with the RPO seemingly heading off in random directions whenever they got bored with a particular passage. While there wasn't much in the way of melody, or rhythm, the album was full of ominous dronings, abrupt starts and stops, and occasionally interesting sound effects. Oldfield's bass and guitar made occasional appearances, but with the exception of the closing segment of side one and a brief segment on side two where his instantly recognizable 'chiming' guitar took the spotlight, for the most part he simply didn't add a great deal to the proceedings.
I'm not sure why, but for some reason Virgin elected to slap modified cover art on the US release. The original and superior UK cover is shown below:
Virgin catalog number V 2020
To be totally honest, I've only managed to get through the set three times and each and every time it's reminded me of the incidental music to an Aliens or Star Trek film. The album has its admirers, but I'll readily admit I'm just not sophisticated enough to enjoy it.
"Star's End" track listing:
(side 1)
1.) Star's End (instrumental) (Part 1) (David Bedford) - 23:18
(side 2)
1.) Star's End (instrumental) (Part 2) (David Bedford) - 22:26
For anyone interested, Bedford has a web presence at:
[...]
1 of 1 people found the following review helpful
Powerful
30 Jan 2009
Format:Audio CD
well worth listing to. Bedford from the 70s with Vernon Handley and the RPO, and Mike Oldfield perform a powerful and sensual work.
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