On this album, Oldfield and begins to experiment with electronic sounds and distortion effects in anticipation of the 80s, terribly marked by abuse of such techniques. However, the use of a healthy, just as mere accompaniments, while the music (the real one) is still that particular seal that Mike Oldfield was only able to print and even shows influenicas pop, funk and jazz in some parts of the disk.
The suite that opens the play is a piece of almost 20 minutes with a high progressive component divided into four parts (one of which is a piece adapted from Philip Glass North Star). The other songs too have their story: The song Woodhenge was replaced in the American version of the album (called Airborn) on the topic Guilty (single included in the previous live album Exposed), Sally, who appears on the back as the subject 3, does not actually appear on the disc, but is replaced by the subject Into Wonderland. Sally is a somewhat innocent ditty dedicated to Sally Cooper, Oldfield girlfriend back then, and only appears in the early editions of the LP (it was later taken by Richard Branson, and replaced by the above issue) is the particular insult Punkadiddle Mike Oldfield to Punk music, and when played live, the musicians were naked from the waist up, and I Got Rhythm is a version of a topic of George and Ira Gershwin.
Taken together, the whole album is very interesting, full of changes, melodic richness and as always the case of Oldfield, a quality hard to match.
