One record at a time: 452. Jon and Vangelis - Short Stories

I know, I know. If I was following my self imposed alphabetical system this record should have been looked at over two years ago; but for some reason I keep Jon and Vangelis filed under V. So here we are.

The collaboration between Jon Anderson and Vangelis lasted throughout the nineteen eighties and resulted in the release of four studio albums and one compilation. "Short Stories" is the first album released by the duo in 1980 and this is a copy of the original UK pressing.

The opening track "Curious Electric" features a long introduction with lots of keyboard parts and live percussion. After about three minutes Vangelis takes to the ring modulator on his trusty Yamaha CS-80 and Anderson chimes in with some nonsensical lyrics about sitting inside a television. A little while later another piece seems to emerge where Anderson throws down some ad libs as Vangelis fires up the sequencer. After nearly seven minutes things grind to a halt and the listener is left wondering what the hell they just heard.

Anderson features more prominently on the second track "Each and Every Day" which has a more contemporary (contemporary for 1979 anyway) pop feel, but it lacks a strong hook. This song is a fine example of the inherent weakness in improvisation as everything sounds a bit aimless. I also find that Anderson's nonsense lyrics can be a real roadblock to enjoyment. 

Yet somehow Anderson and Vangelis managed to pull a hit single out of this auditory chaos and "I Hear You Now" is actually quite catchy. Clearly this song is more than an improvisation as there are a considerable number of overdubbed backing vocals and, unless Vangelis has four arms, dubbed drums. Side one rounds out with a very strange track called "The Road" where an acoustic guitar and Vangelis's "Blade Runner" synths take turns to drown out Anderson's vocal. 

There's little respite on the flip side as "Far Away in Baagdad" (sic) and "Love Is" do little to right the sinking ship. There's a Rhodes infused ballad called "One More Time" that seems to creep onto "Best Of" compilations, but I have absolutely no idea why it warrant such adulation. Penultimate track "Thunder" is just absolute nonsense that sounds like it was written for a failed stage musical. The final number "Play Within a Play" is a rather limp affair for the first three minutes but suddenly a sequence and some energetic drumming emerge in a true prog-rock juxtaposition. Unfortunately this burst of excitement is soon snuffed out and we return to the more languid mood of earlier. Strange and confusing stuff. 1/5

One record at a time: 451. Vangelis - Rosetta

"Rosetta" is the final Vangelis album in my collection (well almost the final one, but more on that later). Released in 2016, this is a double 180g set with a gatefold sleeve and is pressed by Optimal. 

The music on this album belongs to the latter part of Vangelis's career when he seemed to adopt a rather generic sound palette to improvise semi-classical pieces on the hoof. The music may have been created using synthesisers, but they are chiefly being used to imitate the sound of the orchestra or piano; the majesty of the Yamaha CS-80 had well and truly been left behind. 

For the initiated there are lots of references to his other works with the first track "Origins (Arrival)" making a fleeting reference to "Spiral" followed by "Exo Genesis" flashing us an element from "The Motion of the Stars". "Perihelion" then tips its hat to the "End Titles" from "Blade Runner" and there are generally enough twinkling synths to remind us of the maestro's masterwork.

Unfortunately, aside from these asides, there's little else here I enjoy. The sequence on "Albedo 0.06" is nice and the afore mentioned "Perihelion" can be entertaining, but everything else is a little bland. There's absolutely nothing wrong with this album, but I do wish it had some teeth. In fact, I became so tired of the constant ROM-pler strings bathed in reverb that I took a break between discs. I can see Vangelis now sitting in front of his custom keyboard rig throwing this stuff down without a second thought, and ultimately it's that lack of thought that drags this album down. There's a distinct lack of ideas in "Rosetta" and it just becomes background music: "Vanilla" might have been a better title. A sad way to sign off the Vangelis section of my collection. 2/5

One record at a time: 450. Vangelis - Blade Runner

As a result of various contractual complications, the original soundtrack to the film "Blade Runner" wasn't released alongside the film. When it was finally released in 1994 it was only issued on compact disc and cassette (there was an LP released in Brazil, but good luck finding one of those). Therefore, when Audio Fidelity issued a newly remastered vinyl to members of their subscription service in 2013, it proved to be very popular. The initial five thousand copies sold out quickly and only when a second batch of unnumbered records was released did mere mortals such as myself have the opportunity to acquire one. And buy one I did.  

I have to admit, I have been looking forward to listening to this record for quite some time as it both sounds amazing and is perfectly packaged - it's not so fragile you daren't take it out of the wrapper, but at the same time it is a great object to pore over. The remastering is to a very high standard and the pressing is flawless. I seem to remember someone online quoting some pseudo-science about why red vinyl offers superior sound reproduction when this record was released, but I can't find any trace of that today - or maybe I dreamt it. The promotional sticker does rather pander to vinyl snobs by telling us it is pressed on 180g 'virgin vinyl' (read: not recycled. Coldplay would not be happy) and even the labels refer to this being an 'Analogue Pressing' - which seems a bizarre statement as I have no idea how you would create a 'digital LP' and the source file for the remastering was a digital file. Either way, the sound is astonishing even on my humble set up. 

Whilst most of the music here was featured in the film, some of it was not. There are more comprehensive collections available (both official and unofficial) but I think what Vangelis tried to do with this album was to create a listening experience rather than document the entire score. Most of the tracks are segued together and dialogue has been dubbed onto some pieces to create an atmosphere that is true to the film, but also provides a unique experience in itself.

The album opens with audio taken from a scene in which the main character Deckard enhances a photo to identify a suspect in his investigation. As Harrison Ford finishes his lines the "Main Titles" begin with a soaring Yamaha CS-80 brass sound, analogue strings and glittering sound effects. Magical stuff. 

More film audio segues us into "Blush Response" which features an arpeggio and what sound like hand claps from a Linn LM-1. "Wait For Me" is a mix of electric piano and CS-80 propelled along by a subtle beat. Everything is great on this track until the saxophone and harmonica come along and try to ruin everything - but it was the eighties, so I will let this one slide. "Rachael's Song" is a haunting melody sung by Mary Hopkin and Vangelis's slightly discordant synth backing track adds a wonderful edge to the piece.

As I said in my review of the compilation album "Themes", I'm not overly keen on "Love Theme" as it features a prominent saxophone that I don't enjoy. The next track "One More Kiss, Dear" is somewhat maligned in some quarters as it is not in keeping with the rest of the score. This song is a doo-wop pastiche sung by vocalist Don Percival and was designed to fulfil a particular brief for the soundtrack. Whilst the song clearly illustrates the breadth of styles Vangelis could turn his hand to, it does somewhat spoil the atmosphere that has built to this point. 

On the b-side, the first track is "Blade Runner Blues" which features the classic Vangelis combo of Roland VP-330, Yamaha CS-80 and the Rhodes piano. "Memories of Green" is the same track that was released the year before the film on the album "See You Later". Despite Vangelis's reluctance, the film's director Ridley Scott was insistent this piece be used to accompany one scene and it found its way onto this album as a result. 

Another standout piece is "Tales of the Future" which features the unique voice of Demis Roussos. Whilst Roussos was capable of singing at a relatively high pitch, his voice sounds like it was sped up through tape manipulation to my ears. "Damask Rose" is a short theme with Arabic influences that proceeds the majestic "End Titles" - which still sound like they were beamed in from the future. The album rounds out with the atmospheric "Tears In Rain" which incorporates motifs from the "Main Titles" to bring us full circle. 4/5

One record at a time: 449. Vangelis - 1492: Conqiest of Paradise

Until quite recently, the original soundtrack for the film "1492: Conquest of Paradise" was a rare beast on vinyl. When it was released in 1992, compact discs were dominant so only a limited number of records were pressed. Today, the price of a pre-owned copy of the LP is quite significant and Warner Music seem to have recognised this and released this "yellow flame" double vinyl in August 2025. 

Back when it was released "1492: Conquest of Paradise" dislodged Mike Oldfield's "Tubular Bells II" from my CD player and I would listen to it incessantly. There was something about the brooding tones of Vangelis's creation that matched my mood perfectly and I wallowed in its dark mystery for hours. I didn't really feel the need to see the film at the time, but when I did, it wasn't nearly as good as the vision Vangelis had laid out in my imagination.

Strictly speaking, this isn't an electronic score. Whilst Vangelis does use lots of synths, we can also hear the English Chamber Choir (a perennial favourite of Vangelis), various flutes, mandolin, violins and classical guitar. It is a spectacular and eclectic mix of instruments.

Almost every piece on this record is mesmerising, but I have a special regard for the majestic "Light and Shadow" which is so wondrous it makes my spine tingle. The main theme will probably be recognisable to many as it has been used on various commercials and at many sporting events over the years; but it is no less wonderful for this familiarity. Cues like "Deliverance", "Hispaniola" and "City of Isabel" demonstrate the sheer breadth of styles Vangelis could tackle whilst still producing evocative pieces of music 

As good as this vinyl pressing is, I can't help but feel this album is best consumed as an uninterrupted programme - they way I first heard it from CD. Having to flip sides and change discs a couple of times does somewhat interrupt the experience, but the quality of the music means I can live with this small inconvenience. As I sit and pore over the vinyl I can't help but think all of the money went into the coloured discs as the sleeve is pretty dull and the inners (admittedly poly lined) are plain. Still, I wouldn’t be without it. Magic. 5/5

One record at at time: 448. Vangelis - The City

It took me eleven years to track down a copy of "The City" on vinyl. I have no idea why it took me so long, but this record doesn't crop up on eBay very often and the shop I buy my vintage vinyl from never seemed to have a copy. The record I finally bought is a bit dusty so crackles here and there, but it still makes for a fantastic lightening experience.

Legend has it that Vangelis recorded this album in a room at the Hotel De La Ville in Rome whilst he waited for Roman Polanski to finish shooting the film "Bitter Moon" (yet another unreleased Vangelis soundtrack). One of the reasons Vangelis was able to pack an entire recording studio into a hotel room (more likely it was a suite) was the development of digital technology. 

All of the eighties digital beasts seem to present and correct on this recording. The opening track "Dawn" features the distinctive tones of the Roland D-50 with only a smattering of Yamaha CS-80 allowed to juxtapose the more modern machine. Unusually for Vangelis there are lots of drums featured on this record and the distinctive sounds of the Roland R8 are quite prominent. It would appear that Vangelis loved the Emulator II cello and choir sounds along with the saxophone and accordion too. I can hear some Korg M1 on "Good To See You" and even the DX7 gets a look in. 

As Vangelis improvises his way through the various tracks that make up this concept album he moves between jazz, new age and rock styles without breaking a sweat. The music on this record has a dreamy quality that somehow manages to tread the line between being too abstract and too obvious. Whilst this album has never been considered in step with contemporary styles it is distinctly Vangelis and has a charm I can't resist. 3.5/5

Cassette heaven

I decided to have a poke around in some local charity shops today. There were a few CDs here and there and I even found a pile of old 7" singles in one shop -but there was nothing really worth buying. As my mind began to wander to which cake I would chose from the bakers up the road, I stumbled across a massive box of treasure.

My attention was drawn to the box because of the sheer size of it and the vast number of cassettes it contained. All of the blank tapes seemed to be in near perfect condition with no writing on any of the inlay cards and nice shiny boxes. 

I spent a few minutes looking through the box and was a little disappointed to find all the cassettes were only ferric tape and either 60 or 90 minute length. No TDK MA100 to be found. 

Despite their relatively humble specification I found it hard to resist these tapes and I selected ten of the best looking examples. I expected to have to pay somewhere between five and ten pounds for my haul, but considering the price they sell for on eBay, this still seemed like a good buy. 

Having laid my prize down on the counter I locked eyes with the cashier and cautiously said, "How much for these?" 

He looked me up and down before making his opening gambit, "50p mate." 

"50p each?" I ventured, "That's a bargain!" 

"No, 50p for all of them," he replied. "Or you can take the whole box for £5."

"Errr, I don't have room for them ALL," I spluttered

"But you want them don't you?" 

At this point I thought he was teasing me, but I soon realised he was actually pleading with me, "Please take them, I have a lady that brings them in every week. She says they used to belong to her mother and I'm never going to get rid of them." 

I stuck to my guns and resisted the temptation to buy hundreds of blank cassettes - even if they were in perfect condition. When I got home I declared myself very happy with my haul and decided to see if there was anything recorded on the tapes. I rewound the first in the pile and pressed play. After a few seconds the muffled sound of a church service came out of the speakers. 

As it turned out, every one of the cassettes featured a Christian service and I guess this was the way an elderly lady kept in touch with her church. I imagine the original owner would listen to the most recent service and then simply put the cassette away and forget about it. If the tapes had only been played once, this explains why they are in such good condition.

I soon went into nerd overdrive and found a fantastic website that allowed me to date the cassettes by the design of their shells. Most of my selcetion were TDK AD or TDK AR and they seem to date between 1987 and 1995. I find it amazing that nearly forty year old cassettes can be in such good condition. 

I'll be honest, I have toyed with the idea of going back to the shop and buying the box in order to sell them on eBay, but I realise it's too little reward for the effort. Still, I'm enjoying the wave of nostalgia this whole episode has brought on and I'm already creating various mix tapes in my head. Home taping isn't killing music in this house, it's providing tender loving care.

One record at a time: 447. Vangelis - Themes

"Themes" is a compilation that features tracks released when Vangelis was signed to the Polydor label. Whilst record companies will often license recordings to each other in order to make a more comprehensive "Best of" compilation, the clever marketing people at Polydor avoided this cost by persuading Vangelis to hand over music from his unreleased film soundtracks.

By the time this compilation was released the music from the film "Blade Runner" had begun to take on mythical status. Vangelis's original score had not been released alongside the movie and the public had to be satisfied with a rather curious orchestral adaptation of the music instead. So, when excerpts from Vangelis's original work were included on this record, it was considered quite a coup. 

The music that was used on the end titles of "Blade Runner" is an iconic piece of electronic music that features a superb sequencer riff, bombastic timpani samples and an atmospheric melody. However, as a paid up member of the IHTSC ("I hate the saxophone club") I find it hard to like the "Love Theme" from the film; but I can see why it is revered nonetheless.  

"Themes" also features music from the unreleased soundtracks to "Bounty" and "Missing". Personally I like the ponderous and slightly intimidating "Opening Titles" from "Mutiny on the Bounty" and the "Main Theme from Missing" is quite touching.

Elsewhere, "Chung Kuo" and the first movement of "The Long March" are conflated to a single track that is mistakenly titled "Chung Kuo" - but as discussed in the "China" review, this seems to have been a common mistake. The standout tracks "Hymne" and "L'Enfant" are taken from "Opera Sauvage" and "La Petit Fille de la Mer" from 1973's "L'Apocalypse Des Animaux" is also included. It would be incomprehensible for this album to not include the titles from "Chariots of Fire" and it dutifully delivers with the last track. This is a nice compilation that would serve as an excellent introduction to the uninitiated. 4/5