Oldfield's parents are Maureen and Raymond Oldfield, a nurse and doctor res… Read Full Bio ↴Oldfield's parents are Maureen and Raymond Oldfield, a nurse and doctor respectively. His sister Sally and brother Terry are successful musicians in their own right and have appeared on several of his albums. Mike Oldfield attended the now defunct Presentation College at 63 Bath Rd., Reading, in Berkshire.
Early career
Oldfield's career began fairly early in his life, playing acoustic guitar in local folk clubs. At this time, he already had two fifteen minute instrumental pieces in which he would "go through all sorts of moods", a precursor to his landmark 1970s compositions. In his early teens, Oldfield was involved in a 'beat group' playing Shadows style music (he has often cited Hank Marvin as a major influence, and would later cover the Shadows' song "Wonderful Land"). In 1967 he and his sister Sally formed the folk duo The Sallyangie and were signed to Transatlantic Records after exposure in the local folk scene. An album, Children of the Sun was issued in 1968. After Sallyangie disbanded, he formed another duo with his brother Terry, called Barefoot, which took him back to rock music.[1]
In 1970 he joined ex-Soft Machine vocalist Kevin Ayers' backing group The Whole World playing bass guitar. The band also included keyboardist and composer David Bedford, who quickly befriended Oldfield and encouraged him in his composition of an early version of Tubular Bells. Bedford would later arrange and conduct an orchestral version of that album. With Ayers, Oldfield recorded two albums, Whatevershebringswesing and Shooting at the Moon. Both albums featured early versions of what would become his trademark sound.
Having recorded a demo version of Tubular Bells, Oldfield attempted to convince someone in the music industry to take the project on, but was told the project was unmarketable. However, in 1972 he met the young Richard Branson who was setting up his own record label, Virgin Records, and after playing the demo to engineers Tom Newman and Simon Heyworth, he began recording the 1973 version of the album.
1973–1991: Virgin years
Tubular Bells became Oldfield's most famous work. The instrumental composition was recorded in 1972 and launched on 25 May 1973 as the inaugural album of Richard Branson's Virgin Records label. The album was groundbreaking, as Oldfield played more than twenty different instruments in the multi-layered recording made in Branson's Manor studios, and its style progressed continuously, covering many diverse musical genres. The album quickly reached the Top 10 of the UK album chart and has spent 279 weeks on the chart to date, a figure bettered by only ten other albums[citation needed]. Its 2,575,000 UK sales put it at No.28 on the list of the best selling albums in the UK. In the U.S., it received attention chiefly by appearing in the soundtrack to The Exorcist. In the autumn of 1974, the follow-up LP, Hergest Ridge, was No.1 in the UK for three weeks before being dethroned by Tubular Bells. Although Hergest Ridge was released over a year after Tubular Bells, it reached No.1 first. Tubular Bells spent 11 weeks (10 of them consecutive) at No.2 before its one week at the top. In 1979, Tubular Bells was used as the main musical score for The Space Movie, a Virgin movie that celebrated the 10th anniversary of the Apollo 11 mission. The Exorcist track is the score used for the landing sequence of the Apollo flights.
Like Tubular Bells, Hergest Ridge is a two-movement instrumental piece, this time evoking scenes from Oldfield's Herefordshire country retreat. This was followed in 1975 with the pioneering world music piece Ommadawn, and 1978's Incantations which introduced more diverse choral performances from Sally Oldfield, Maddy Prior and the Queen's College Girls Choir.
Around the time of Incantations, Oldfield underwent a controversial self-assertiveness therapy course known as Exegesis.[2] Possibly as a result, the formerly reclusive musician staged a major European tour to promote the album, chronicled in his live album Exposed, much of which was recorded at the National Exhibition Centre near Birmingham, the first-ever concert there.
In 1975, Oldfield received a Grammy award for Best Instrumental Composition in "Tubular Bells – Theme From The Exorcist". In 1979, he recorded a version of the signature tune of the popular British Childrens Television programme, Blue Peter, which was used by the show for 10 years.
The early 1980s saw Oldfield make a transition to "mainstream" popular music, beginning with the inclusion of shorter instrumental tracks and contemporary cover versions on Platinum and QE2 (the latter named after the cruise ship). Soon afterwards he turned to songwriting, with a string of collaborations featuring various lead vocalists alongside his characteristic searing guitar solos. The best known of these is "Moonlight Shadow", his 1983 hit with Maggie Reilly. This song has been covered by various other artists, including Aselin Debison (Canadian folk singer) and DJ Mystic (electronic/techno). In 2002 it was a huge[vague] hit in central Europe for the German dance act Groove Coverage. The most successful Oldfield composition on the US pop charts during this period was actually a cover version — Hall & Oates's remake of Oldfield's "Family Man" for their 1982 album H2O.
Oldfield later turned to film and video, writing the score for Roland Joffé's acclaimed film The Killing Fields and producing substantial video footage for his album Islands. Islands continued what Oldfield had been doing on the past couple of albums, with an instrumental piece on one side and rock/pop singles on the other. Of these, 'Islands', sung by Bonnie Tyler and 'Magic Touch', with vocals by Max Bacon (US version) and Jim Price (UK/rest of the World) were the major hits. In the USA, Virgin America really worked[vague] 'Magic Touch', servicing[vague] album rock, new age and top 40 programmers. The single was a major success, reaching the top 10 on the Billboard album rock charts.
Earth Moving was released in July 1989, and was a moderate success. The album was the first to feature rock/pop songs on both sides. Several were released as singles: 'Innocent' and 'Holy' in Europe, and 'Hostage' in the USA for album rock stations. This was, however, a time of much friction with his record label. Virgin Records reportedly insisted that any future instrumental album should be billed as Tubular Bells 2. Oldfield's rebellious response was Amarok, an hour-long work featuring rapidly changing themes (supposedly devised to make cutting a single from the album impossible), unpredictable bursts of noise, and a very cleverly hidden Morse code insult directed at Richard Branson. Although regarded by many fans as his greatest work, it was not a commercial success. His parting shot from the Virgin label was Heaven's Open, which continued the veiled attacks on Branson but was notable for being the first time Oldfield had contributed all the lead vocals himself. Some[attribution needed] say this was due to his desire to quit Virgin as soon as possible (he had previously stated that his voice did not belong on his recordings). This theory is supported by the fact that Heaven's Open is the only album that Oldfield released as Michael Oldfield, not Mike Oldfield.
1992–2003: Warner years
The very first thing Oldfield did when arriving at this new label, Warner Bros. Records, and as his final insult to his former label, was to write and release Tubular Bells II (This was a re-interpretation of Tubular Bells), which was premiered at a live concert at Edinburgh Castle. He then continued to embrace new musical styles, with The Songs of Distant Earth (based on Arthur C. Clarke's novel of the same name) exhibiting a softer "New Age" sound. In 1994 he also had an asteroid named after him, 5656 Oldfield.[3][4]
In 1995 Oldfield further continued to embrace new musical styles by producing a celtic themed album, Voyager. In 1998 he produced the third Tubular Bells album, Tubular Bells III (also premiered at a concert, this time in Horse Guards Parade, London), drawing from the dance music scene at his new home on the island of Ibiza. This album was still inspired by themes from Tubular Bells, but differed in lacking a clear two part layout.
During 1999 Oldfield released two albums. The first, Guitars, which used guitars as the source for all the sounds on the album, including percussion. The second, The Millennium Bell, consisted of pastiches of a number of styles of music that represented various historical stages over the past millennium. The work was performed live in Berlin for the city's millennium celebrations in 1999-2000.
Most recently, he added to his repertoire the Music VR project, combining his music with a virtual reality-based computer game. His first work on this project is Tr3s Lunas launched in 2002, a virtual game where the player can interact with a world full of new music. This project appeared as a double CD, one with the music, and the other with the game.
In 2003 he released Tubular Bells 2003, a re-recording of the original Tubular Bells, on CD, and DVD-Audio. This was done to "fix" many "imperfections" in the original due to the recording technologies of the early 1970s and limitations in time that he could spend in the recording studio. It celebrated the 30th anniversary of Tubular Bells, Oldfield's 50th birthday and his marriage to Fanny in the same year. The DVD-Audio version has the same content as the CD version in surround, and some demos of the original Tubular Bells. At around the same time Virgin released an SACD version containing both the original stereo album and the 1975 quadraphonic mix by Phil Newell. In the 2003 version, the original voice of the 'Master of Ceremonies' (Viv Stanshall) was replaced by the voice of John Cleese, Stanshall having died in the interim.
2004–present: Recent years
On 12 April, 2004 Oldfield launched his next virtual reality project, Maestro, which contains music from the Tubular Bells 2003 album and also some new chillout melodies. The games have since been made available free of charge on Oldfield's website.
A double album, Light & Shade was released on Mercury Records, with whom Mike had recently signed a three album deal. The two discs contain music of contrasting moods, one relaxed ("Light") and the other more edgy and moody ("Shade"). The album was released on 26 September 2005. "Light" includes a selection of tracks from the album in U-MYX format, which allows listeners to create their own remixes.
In 2006 Oldfield said he was working on a long instrumental and later added that it would be a classical album "going to be based around the festival of Hallowe’en".[5] Oldfield will only be playing "classical guitar and grand piano", while the rest is choir and orchestra. Karl Jenkins has been assisting with the orchestration. The confirmed title of the album is Music of the Spheres and will be released by Universal[6] in the UK on March 17, 2008. Although unrelated to this new project, he headlined the German Nokia Night of the Proms tour, consisting of 18 concerts in December 2006.[7]
His autobiography Changeling was published in May 2007 by Virgin Books.[5]
Personal life
Oldfield and his siblings were raised Roman Catholic, the faith of their Irish mother.[8] In the late 1970s, Oldfield briefly married Diana D'Aubigny (the sister of the Exegesis group leader), but this lasted just a few weeks.
Mike Oldfield has seven children. In the early 1980s, he had three children with Sally Cooper (Molly, Dougal and Luke). In the late 1980s, he had two children (Greta and Noah) with Norwegian singer Anita Hegerland. In the 2000s, he married Fanny Oldfield (née Vandekerckhove), whom he met during his time in Ibiza; they have two sons together (Jake and Eugene).
Mike is a motorcycle fan, he has five bikes, which includes : BMW R 1200 GS, Suzuki GSX-R750, Suzuki GSX-R1000, Yamaha R1 and others. He also says that some of his inspiration for composing comes from riding them.
In November 2006, fellow musician Noel Gallagher won a Spanish court case against Oldfield. Gallagher had bought an Ibiza villa for £2.5 million from Oldfield in 1999, but quickly discovered that part of the cliff-top property was falling into the sea. He was also annoyed by the huge “eyesore” of a yacht moored in his view – but it turned out it was his with the house. Gallagher and girlfriend Sara MacDonald spent summer 2006 at the villa, and the resulting court case awarded Gallagher a six-figure sum in compensation.[9]
In 2007 Oldfield caused a minor stir in the British press by criticizing Britain for being too controlling and over protective, specifically concentrating on the smoking ban which the country introduced in the summer of that year. With this Oldfield moved from his Gloucestershire home to Palma de Mallorca, Spain.[10][11] Oldfield has lived outside the UK in the past; including living in Los Angeles and Ibiza in the 1990s and Switzerland in the mid-1980s, for tax reasons. Oldfield also currently has a home in Monaco.
Early career
Oldfield's career began fairly early in his life, playing acoustic guitar in local folk clubs. At this time, he already had two fifteen minute instrumental pieces in which he would "go through all sorts of moods", a precursor to his landmark 1970s compositions. In his early teens, Oldfield was involved in a 'beat group' playing Shadows style music (he has often cited Hank Marvin as a major influence, and would later cover the Shadows' song "Wonderful Land"). In 1967 he and his sister Sally formed the folk duo The Sallyangie and were signed to Transatlantic Records after exposure in the local folk scene. An album, Children of the Sun was issued in 1968. After Sallyangie disbanded, he formed another duo with his brother Terry, called Barefoot, which took him back to rock music.[1]
In 1970 he joined ex-Soft Machine vocalist Kevin Ayers' backing group The Whole World playing bass guitar. The band also included keyboardist and composer David Bedford, who quickly befriended Oldfield and encouraged him in his composition of an early version of Tubular Bells. Bedford would later arrange and conduct an orchestral version of that album. With Ayers, Oldfield recorded two albums, Whatevershebringswesing and Shooting at the Moon. Both albums featured early versions of what would become his trademark sound.
Having recorded a demo version of Tubular Bells, Oldfield attempted to convince someone in the music industry to take the project on, but was told the project was unmarketable. However, in 1972 he met the young Richard Branson who was setting up his own record label, Virgin Records, and after playing the demo to engineers Tom Newman and Simon Heyworth, he began recording the 1973 version of the album.
1973–1991: Virgin years
Tubular Bells became Oldfield's most famous work. The instrumental composition was recorded in 1972 and launched on 25 May 1973 as the inaugural album of Richard Branson's Virgin Records label. The album was groundbreaking, as Oldfield played more than twenty different instruments in the multi-layered recording made in Branson's Manor studios, and its style progressed continuously, covering many diverse musical genres. The album quickly reached the Top 10 of the UK album chart and has spent 279 weeks on the chart to date, a figure bettered by only ten other albums[citation needed]. Its 2,575,000 UK sales put it at No.28 on the list of the best selling albums in the UK. In the U.S., it received attention chiefly by appearing in the soundtrack to The Exorcist. In the autumn of 1974, the follow-up LP, Hergest Ridge, was No.1 in the UK for three weeks before being dethroned by Tubular Bells. Although Hergest Ridge was released over a year after Tubular Bells, it reached No.1 first. Tubular Bells spent 11 weeks (10 of them consecutive) at No.2 before its one week at the top. In 1979, Tubular Bells was used as the main musical score for The Space Movie, a Virgin movie that celebrated the 10th anniversary of the Apollo 11 mission. The Exorcist track is the score used for the landing sequence of the Apollo flights.
Like Tubular Bells, Hergest Ridge is a two-movement instrumental piece, this time evoking scenes from Oldfield's Herefordshire country retreat. This was followed in 1975 with the pioneering world music piece Ommadawn, and 1978's Incantations which introduced more diverse choral performances from Sally Oldfield, Maddy Prior and the Queen's College Girls Choir.
Around the time of Incantations, Oldfield underwent a controversial self-assertiveness therapy course known as Exegesis.[2] Possibly as a result, the formerly reclusive musician staged a major European tour to promote the album, chronicled in his live album Exposed, much of which was recorded at the National Exhibition Centre near Birmingham, the first-ever concert there.
In 1975, Oldfield received a Grammy award for Best Instrumental Composition in "Tubular Bells – Theme From The Exorcist". In 1979, he recorded a version of the signature tune of the popular British Childrens Television programme, Blue Peter, which was used by the show for 10 years.
The early 1980s saw Oldfield make a transition to "mainstream" popular music, beginning with the inclusion of shorter instrumental tracks and contemporary cover versions on Platinum and QE2 (the latter named after the cruise ship). Soon afterwards he turned to songwriting, with a string of collaborations featuring various lead vocalists alongside his characteristic searing guitar solos. The best known of these is "Moonlight Shadow", his 1983 hit with Maggie Reilly. This song has been covered by various other artists, including Aselin Debison (Canadian folk singer) and DJ Mystic (electronic/techno). In 2002 it was a huge[vague] hit in central Europe for the German dance act Groove Coverage. The most successful Oldfield composition on the US pop charts during this period was actually a cover version — Hall & Oates's remake of Oldfield's "Family Man" for their 1982 album H2O.
Oldfield later turned to film and video, writing the score for Roland Joffé's acclaimed film The Killing Fields and producing substantial video footage for his album Islands. Islands continued what Oldfield had been doing on the past couple of albums, with an instrumental piece on one side and rock/pop singles on the other. Of these, 'Islands', sung by Bonnie Tyler and 'Magic Touch', with vocals by Max Bacon (US version) and Jim Price (UK/rest of the World) were the major hits. In the USA, Virgin America really worked[vague] 'Magic Touch', servicing[vague] album rock, new age and top 40 programmers. The single was a major success, reaching the top 10 on the Billboard album rock charts.
Earth Moving was released in July 1989, and was a moderate success. The album was the first to feature rock/pop songs on both sides. Several were released as singles: 'Innocent' and 'Holy' in Europe, and 'Hostage' in the USA for album rock stations. This was, however, a time of much friction with his record label. Virgin Records reportedly insisted that any future instrumental album should be billed as Tubular Bells 2. Oldfield's rebellious response was Amarok, an hour-long work featuring rapidly changing themes (supposedly devised to make cutting a single from the album impossible), unpredictable bursts of noise, and a very cleverly hidden Morse code insult directed at Richard Branson. Although regarded by many fans as his greatest work, it was not a commercial success. His parting shot from the Virgin label was Heaven's Open, which continued the veiled attacks on Branson but was notable for being the first time Oldfield had contributed all the lead vocals himself. Some[attribution needed] say this was due to his desire to quit Virgin as soon as possible (he had previously stated that his voice did not belong on his recordings). This theory is supported by the fact that Heaven's Open is the only album that Oldfield released as Michael Oldfield, not Mike Oldfield.
1992–2003: Warner years
The very first thing Oldfield did when arriving at this new label, Warner Bros. Records, and as his final insult to his former label, was to write and release Tubular Bells II (This was a re-interpretation of Tubular Bells), which was premiered at a live concert at Edinburgh Castle. He then continued to embrace new musical styles, with The Songs of Distant Earth (based on Arthur C. Clarke's novel of the same name) exhibiting a softer "New Age" sound. In 1994 he also had an asteroid named after him, 5656 Oldfield.[3][4]
In 1995 Oldfield further continued to embrace new musical styles by producing a celtic themed album, Voyager. In 1998 he produced the third Tubular Bells album, Tubular Bells III (also premiered at a concert, this time in Horse Guards Parade, London), drawing from the dance music scene at his new home on the island of Ibiza. This album was still inspired by themes from Tubular Bells, but differed in lacking a clear two part layout.
During 1999 Oldfield released two albums. The first, Guitars, which used guitars as the source for all the sounds on the album, including percussion. The second, The Millennium Bell, consisted of pastiches of a number of styles of music that represented various historical stages over the past millennium. The work was performed live in Berlin for the city's millennium celebrations in 1999-2000.
Most recently, he added to his repertoire the Music VR project, combining his music with a virtual reality-based computer game. His first work on this project is Tr3s Lunas launched in 2002, a virtual game where the player can interact with a world full of new music. This project appeared as a double CD, one with the music, and the other with the game.
In 2003 he released Tubular Bells 2003, a re-recording of the original Tubular Bells, on CD, and DVD-Audio. This was done to "fix" many "imperfections" in the original due to the recording technologies of the early 1970s and limitations in time that he could spend in the recording studio. It celebrated the 30th anniversary of Tubular Bells, Oldfield's 50th birthday and his marriage to Fanny in the same year. The DVD-Audio version has the same content as the CD version in surround, and some demos of the original Tubular Bells. At around the same time Virgin released an SACD version containing both the original stereo album and the 1975 quadraphonic mix by Phil Newell. In the 2003 version, the original voice of the 'Master of Ceremonies' (Viv Stanshall) was replaced by the voice of John Cleese, Stanshall having died in the interim.
2004–present: Recent years
On 12 April, 2004 Oldfield launched his next virtual reality project, Maestro, which contains music from the Tubular Bells 2003 album and also some new chillout melodies. The games have since been made available free of charge on Oldfield's website.
A double album, Light & Shade was released on Mercury Records, with whom Mike had recently signed a three album deal. The two discs contain music of contrasting moods, one relaxed ("Light") and the other more edgy and moody ("Shade"). The album was released on 26 September 2005. "Light" includes a selection of tracks from the album in U-MYX format, which allows listeners to create their own remixes.
In 2006 Oldfield said he was working on a long instrumental and later added that it would be a classical album "going to be based around the festival of Hallowe’en".[5] Oldfield will only be playing "classical guitar and grand piano", while the rest is choir and orchestra. Karl Jenkins has been assisting with the orchestration. The confirmed title of the album is Music of the Spheres and will be released by Universal[6] in the UK on March 17, 2008. Although unrelated to this new project, he headlined the German Nokia Night of the Proms tour, consisting of 18 concerts in December 2006.[7]
His autobiography Changeling was published in May 2007 by Virgin Books.[5]
Personal life
Oldfield and his siblings were raised Roman Catholic, the faith of their Irish mother.[8] In the late 1970s, Oldfield briefly married Diana D'Aubigny (the sister of the Exegesis group leader), but this lasted just a few weeks.
Mike Oldfield has seven children. In the early 1980s, he had three children with Sally Cooper (Molly, Dougal and Luke). In the late 1980s, he had two children (Greta and Noah) with Norwegian singer Anita Hegerland. In the 2000s, he married Fanny Oldfield (née Vandekerckhove), whom he met during his time in Ibiza; they have two sons together (Jake and Eugene).
Mike is a motorcycle fan, he has five bikes, which includes : BMW R 1200 GS, Suzuki GSX-R750, Suzuki GSX-R1000, Yamaha R1 and others. He also says that some of his inspiration for composing comes from riding them.
In November 2006, fellow musician Noel Gallagher won a Spanish court case against Oldfield. Gallagher had bought an Ibiza villa for £2.5 million from Oldfield in 1999, but quickly discovered that part of the cliff-top property was falling into the sea. He was also annoyed by the huge “eyesore” of a yacht moored in his view – but it turned out it was his with the house. Gallagher and girlfriend Sara MacDonald spent summer 2006 at the villa, and the resulting court case awarded Gallagher a six-figure sum in compensation.[9]
In 2007 Oldfield caused a minor stir in the British press by criticizing Britain for being too controlling and over protective, specifically concentrating on the smoking ban which the country introduced in the summer of that year. With this Oldfield moved from his Gloucestershire home to Palma de Mallorca, Spain.[10][11] Oldfield has lived outside the UK in the past; including living in Los Angeles and Ibiza in the 1990s and Switzerland in the mid-1980s, for tax reasons. Oldfield also currently has a home in Monaco.
Family Man
Oldfield Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
She had sulky smile
She took her standard pose as she presented herself
She had sultry eyes
She made it perfectly plain that she was his for a price
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far I just might"
She wore her hurt surprise
As she rechecked her make-up to protect herself
She showed less than pride
She made it totally clear that she was his for a night
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite
Please, just leave me alone, I'm a family man
If you push me too far I just might"
She gave him her look
It would have worked on any other man in sight
He could not mistake
She wanted to go back with him and spend the night
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite
Please, just leave me alone, I'm a family man
If you push me too far I just might"
She turned, tossed her head
And then she started to make her final exit line
She showed real disdain
As if explaining again, she could be his for a price
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far, I just might"
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far I just might"
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far I just might"
He said, "Leave me alone, I'm a family man
And my bark is much worse than my bite
He said, "Leave me alone, I'm a family man
If you push me too far I just might" (might, might, might, might, might)
She took her standard pose as she presented herself
She had sultry eyes
She made it perfectly plain that she was his for a price
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
She wore her hurt surprise
As she rechecked her make-up to protect herself
She showed less than pride
She made it totally clear that she was his for a night
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite
Please, just leave me alone, I'm a family man
If you push me too far I just might"
She gave him her look
It would have worked on any other man in sight
He could not mistake
She wanted to go back with him and spend the night
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite
Please, just leave me alone, I'm a family man
If you push me too far I just might"
She turned, tossed her head
And then she started to make her final exit line
She showed real disdain
As if explaining again, she could be his for a price
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far, I just might"
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far I just might"
But he said, "Leave me alone, I'm a family man
And my bark is much worse than my bite"
He said, "Leave me alone, I'm a family man
If you push me too far I just might"
He said, "Leave me alone, I'm a family man
And my bark is much worse than my bite
He said, "Leave me alone, I'm a family man
If you push me too far I just might" (might, might, might, might, might)
"Family Man" by Mike Oldfield is a song about a man who is resisting the temptation of an attractive woman despite her sultry ways. The lyrics suggest that the woman is a prostitute or at least willing to sleep with him for money, but the man is married and has a family. He repeatedly tells her to leave him alone, but she persists in trying to seduce him, until finally she gives up and leaves.
The song is about the conflict between desire and duty. The man is clearly attracted to the woman and tempted by her offer, but he knows that he has responsibilities to his family that come first. The chorus, "Leave me alone, I'm a family man," is a reminder to himself and also a warning to the woman that he will not be swayed from his commitment to his family.
The lyrics also touch on themes of power and control. The woman is portrayed as a seductress who uses her sexuality to get what she wants, but the man is able to resist her advances and maintain his own power over the situation. He is in control of his desires and his actions, even in the face of temptation.
Line by Line Meaning
She had sulky smile
She appeared unhappy or displeased
She took her standard pose as she presented herself
She positioned herself in a way that she typically does when meeting someone new
She had sultry eyes
She had a seductive gaze in her eyes
She made it perfectly plain that she was his for a price
She made it clear that she was available to him for a fee or some sort of exchange
But he said, "Leave me alone, I'm a family man
He rejected her advances and reminded her that he is committed to his family
And my bark is much worse than my bite"
Although he may seem harsh or unfriendly, he is not as aggressive or dangerous as his appearance may suggest
She wore her hurt surprise
She showed a look of disappointment or shock
As she rechecked her make-up to protect herself
She touched up her makeup, perhaps to conceal her emotions or to look her best while leaving
She showed less than pride
She appeared ashamed or embarrassed
She made it totally clear that she was his for a night
She explicitly stated that she was willing to have a brief sexual encounter with him
She gave him her look
She gave him a seductive or alluring gaze
It would have worked on any other man in sight
Her gaze or expression would have successfully attracted any other man except him
He could not mistake
He understood perfectly well
She wanted to go back with him and spend the night
She desired to spend the night with him intimately
And then she started to make her final exit line
She prepared to leave and delivered her last statement to him
She showed real disdain
She expressed strong dislike or disapproval towards him
As if explaining again, she could be his for a price
As if reminding him that she was still available for a transaction
He said, "Leave me alone, I'm a family man
He reiterated that he was committed to his family and not interested in her advances
If you push me too far, I just might"
He warned her that if she persisted or went too far, he may act more aggressively than he normally would
Lyrics © BMG Rights Management, Universal Music Publishing Group, CONCORD MUSIC PUBLISHING LLC
Written by: David Brough Pert-Morris, Eddie Fenn, Maggie Reilly, Michael Gordon Oldfield, Mike Fry, Timothy Kjell Cross
Lyrics Licensed & Provided by LyricFind
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