When I first discovered Robert Reed’s albums, I thought they were a joke perpetrated by Mike Oldfield. Surely these must be Oldfield albums, somehow lost and now put out under a nom de plume? Reed’s albums sound as good as the Oldfield canon. When they stray a little too close to the originals, it’s easy to imagine them as alternative takes and mixes; the ones that didn’t quite make it.
Robert Reed’s work acts as an extended homage to the genius of Mike Oldfield. Just as Oldfield released a series of Tubular Bells albums (with mixed results), this, as the title suggests, is the fourth in the series of Sanctuary pieces. If you like the genre of melodic prog Oldfield excelled at, here’s more to listen to. Initially you might think these albums are a clever exercise in musicianship and nothing more. It dawns they are more. Finally, you’re enjoying a Sanctuary album as much as you might an Oldfield album.
Of course, the past tense applies to Mike Oldfield’s work as he retired in 2023. Although fan groups are filled with requests for him to perform one last concert, make one last album by finishing Tubular Bells 4, or just do anything, it’s clear nothing is going to happen. Other than the continued existence of the albums, how can his music be kept alive? This is a particular problem for an artist such as Oldfield, where the strength of his music is not just his talent for melody but also is carried in his distinctive guitar tone and his preference for playing most of the instruments himself. There can only be one Mike Oldfield. Or can there?
Step forward Robert Reed. While he isn’t alone in continuing the work (also listen to Tubular Tribute, Robin A. Smith’s Tubular Bells Reimagined, or Brett Lewis, for example) he does hit the nail on the head as accurately as anyone could wish for. This is partly because of the people he collaborates with. Sanctuary IV is produced by Tom Newman, who was there at the beginning of Oldfield’s career. We can also hear Les Penning, still as fine a wind instrument player as ever he was on Oldfield’s music, and Simon Phillips, master drummer who adds heft to Crises and other mid-period albums.
Reed doesn’t only succeed through wise collaborations. He has the guitar tones that immediately identify Oldfield’s playing, except now that sound could also be Reed. Is this a problem? Not at all. When I used the word ‘homage’, I meant it. Homage can be defined as the deliberate, respectful recreation of a work within the context of another. The quality of the musical composition is what marks Robert Reed’s work out as something special.
Sanctuary IV is, as befits homage to classic Oldfield, two long-form compositions plus a much shorter track to close side two, but not in the form of a sailor’s hornpipe or a folk song about horses.
Each passage of this album triggers a reminder of its roots. As I listened to side one, The Eternal Search, I noted arrangements that are rooted in Tubular Bells, Ommadawn, Amorak, Incantations, and even a bit of Taurus II from Five Miles Out. Yet this is no medley, no greatest hits. Each arrangement is given its own melody written by Reed. Even better, the piece holds together as a composition that builds towards a goose-bumps-inducing climax, taking its cue from Ommadawn. Here, we have Simon Phillips offering a powerful drum solo (not for too long though, if you have an aversion to drum solos). Phillips also supports an earlier Incantations section, which segues into a brief burst of Les Penning in Ommadawn mode just before the glorious Taurus II inspired theme.
Side two, Truth, follows the Tubular Bells template by starting with a lyrical acoustic guitar passage. It’s a well-used device; take the music down a few notches after a mid-point high so it can all build slowly again. Although, here, acoustic guitar gives way to notorious Tubular Bells-style caveman vocals. This flows into a powerful incantations section before everything comes together for a magnificent closing anthem, underlining this is a skilful and moving album in its own right. If you’re somehow not familiar with Oldfield’s work and you like melodic instrumental prog. It’s possible to listen to and enjoy Sanctuary IV, which is probably a test of a successful homage – it can stand on its own two feet.
As with early Oldfield albums, there’s a short closing track, Sanctuary. Les Penning is to the fore again on a pastoral Celtic piece.
The production and recording quality is of the highest order. The sound is detailed, making full use of the stereo sound stage. When elements such as guitar, drums, bass, keyboards and voices push hard simultaneously to bring a section to a climax, nothing feels buried, even on my modest setup. Reed is a fine guitarist, and, by adding Simon Phillips, Les Penning and Tom Newman when required, he can fully deliver the music he has written.
And yet, some will wonder what the point of the Sanctuary series is. While it’s highly unlikely any new music from Mike Oldfield will be released, and it’s unlikely there’s much in the vaults as yet unheard, everything remains available to buy or stream. Yet projects such as this do promote this music, especially when Robert Reed and others play live.
Reed also plays with Magenta and makes music outside of the Oldfield universe. It would be interesting if he took the musicianship on display here, deployed it with others and developed Oldfield’s existing fragment of Tubular Bells 4 into a full piece, a coherent ‘new Oldfield’ album, less reliant on templates from Mike’s past. Or would that be disrespectful to the legacy?
No matter. For now, we do have the Sanctuary albums, and IV is a fine addition to the collection.
TRACK LISTING
01. The Eternal Search (20:26)
02. Truth (19:54)
03. Sanctuary (2:11)
Total Time – 42:31
VINYL
Also includes Sanctuary IV Promo One
DVD
Audio: Album in Dolby Digital & DTS 5.1 Surround
Video: Promos & extensive Sanctuary IV piano performances
MUSICIANS
Robert Reed – Guitar, Multi-Instrumentalist
Les Penning – Recorders
Simon Phillips – Drums
Tom Newman – Bodhrán
ADDITIONAL INFO
Record Label: Tigermoth Records
Country of Origin: UK
Date of Release: 16th April 2025
LINKS
Robert Reed – Facebook | Bandcamp | YouTube | X | Instagram
