Sally, oldest of the Oldfield siblings, which include Michael and Terry, was very open about the experiences which led to the formation of her music, her career, and her latest CD. 

mr.com: Your new CD, FLAMING STAR, demonstrates a number of influences from an equal number of disparate sources. There are influences of Celtic, African, Arabian music and cultures interwoven throughout all of the tracks. Such a varied wellspring of influences usually results from early exposure. Were you exposed to any, or all, of these influences by your parents when you were a child? 

SO: Actually, it was quite the opposite. My childhood, as well as that of my brothers, was very troubled. My mother had significant difficulties and as a result we grew up with a very pressured life experience. I was ultimately educated in a Catholic convent and it was a very sheltered environment, with uniforms, curfews, and the like. But, I think, the negative experience became a creative fuel, not only for myself but also for my brothers. Then when I attended Bristol University I began reading literature and the philosophers, getting exposure to all of these different areas that I hadn't had any prior experience with.   

mr.com: What were your fields of study? 

SO: Someone introduced me to philosophy when I was 15 or 16. I was uninspired at that time; it was about 1972, however, that I had what I can only call a life-changing experience, a revelation that drove me into an about turn. You've heard of people having a near- death experience, going to the light, experiencing infinite light. The phrase "blew my mind" doesn't come close to explaining what happened to me. I experienced what I saw was the incredible connectiveness of life. The phrase blew my mind doesn't come near to what happened. Realized life was infinite, there was no death. It was such a revelation that I began to work backwards, starting with philosophy, I went from there into spirituality, religion, and poetry. I also started writing music; with this revelation this experience, I had music and the chanting, some of which is on FLAMING STAR, coming into my head. It is interesting that with Quantum physics science and religion are turning toward each other for answers to the questions which both fields raise. 

mr.com: I recently found out that when you were at convent, you were friends with Marianne Faithfull, who was one of my favorites in the early '60s and thereafter. Did you share any of your musical interests? And are you aware if either of you had any influence upon the other? 

SO: Marianne and I were partners in crime, if you will. Being in a convent we weren't allowed to mingle with the boys at Leighton Park, the local boys' school. Actually the more daring of us -- Marianne and I-- had to find ways around that, and became quite innovative at it. Marianne shortly thereafter became involved with (Andrew) Loog Oldham, which led to her recording "And Tears Go By." We have an interesting friendship, not really maintaining consistent contact But still connecting occasionally. 

mr.com: Your early work in the 1970s was, perhaps, more folk-based than your present work. Were there any musicians active at that time -- Richard Thompson, Nick Drake, Sandy Denny just to name a few -- who had any particular influence on you? 

SO: Yes, all of those you named, actually. My first project was with my brother Michael, and was called "SallyAngie" and was very traditional folk music, influenced by all of those people. Michael and I only did the one project together. We get along quite well but creatively had differences which I'm afraid, made it difficult for us to work together!   

mr.com: Your work since the late '70s has, in addition to being eclectic in its sources, has been infused with a strong sense of spirituality. This is especially true on FLAMING STAR with its focus on the unity within creation. There is similar unity in the tracks on FLAMING STAR, as well, both musically and topically. Was there any specific occurrence which sparked the creation of FLAMING STAR? 

SO: It was a combination of things, actually. I was stuck with major recording contracts for 15 years, since I recorded and released "Mirrors." About 18 months ago they all ran out and I decided not to renew. I began to conceive the FLAMING STAR PROJECT and went to New WORLD Music with the project. They were wonderful about letting me do what I wanted to do. The only problem was that I didn't have money for a high budget project. I accordingly went --literally-- into the streets of London and worked with unknown musicians who were not getting their due. 

mr.com: One aspect of FLAMING STAR which I found to be particularly interesting is that while you utilized the sound of several percussive, and if you will, primitive instruments you also made use of several contemporary technological instruments, Moog Bass and drum machines. Did you have a clear vision of what you wanted to do before you went into the studios, or was FLAMING STAR a project that evolved once you got into the recording environment? 

SO: It was a combination of both, actually. I had a definite idea of what I wanted to do and it further evolved when I brought Martin Zavale into the project. Martin did a lot of the percussive work on FLAMING STAR; he is from Asia, and had a real sense of what I wanted to do rhythmically. 

mr.com: I also noticed that FLAMING STAR was recorded at a number of different locales? What influenced your decision to record this project at a number of different places, and particularly, what factors led to your selection of these particular locations? 

SO: Actually, due to budget constraints, we recorded with whatever was available, and whoever was available! I actually found Martin through an ad in a news agency! I was able through similar synchronicity to complete the entire project. Again, it was a demonstration of how interconnected all things really are.     

mr.com: Have you done anything in other media, such as books or film? 

SO: I've thought of possibly writing a book; it might be semi-autobiographical and it will be very spiritual. I am waiting for it all to come together, waiting for the perfect time and perfect opportunity. I think that if you wait for opportunities they will come around to you. In time. I would also love to do something with film music. Music is wonderful, it offers tremendous opportunities in so many ways. I'm also feeling a calling to the United States, I feel that there is something there waiting for me as well. It's just a matter of waiting for the opportunity to come around. 

mr.com: Do you have anything specific planned for your next project? 

SO: Yes, actually. I'm working on a twin project to FLAMING STAR, with dance mixes. A DJ did a mix of "Mirrors" that was a Top 5 record last year in Spain. 

mr.com: What music have you been listening to recently? 

SO: Classical music. I have been listening to Benjamin Britain's War Requiem (La Cremosa) which was written in the 1950s. I also listen to African tribal music.