"Revolutions" was the first album by Jean Michel Jarre that I bought when it was released. Neither of these records is my original copy as that was rather badly treated and did not survive the eighties. I bought the record on the right of the picture nine years ago from eBay as a replacement. The other copy was acquired about three years ago as I felt compelled to find a copy where the sleeve had the blue area in the upper right to match my original. Nostalgia compels us to do the strangest things.
Which also explains why I own a Roland D-50. I think it is common knowledge that 90% of the sounds on this album are derived from a Roland D-550 which is the rack mount version of the D-50 (I also own one of those but it is in storage). Yet owning the synth that a musician used to make a record can shatter your illusions.
My perception of Jarre was that he was a master manipulator of sound who spent hours creating new patches and textures using an arsenal of synthesisers. At some stage of his career this may have been true, but by the late eighties Jarre was happy to load up sounds other people had created and stick largely to one synthesiser.
Today you can find the data required for almost every sound used on "Revolutions" floating about on the internet. The first time you load these sounds into a D-50 it is easy to be awestruck at having the same palette as M. Jarre. Yet, it doesn't matter how much you try, you won't come up with anything as good or successful as "Revolutions". The skill Jarre exercises on this album isn't in creating sonic fireworks but as a master of melody and arrangement
The patch "Machine Run" opens the first track "Industrial Revolution: Overture" before synthesized strings begin to play a haunting theme. A D-550 'guitar' punches through with a terrific solo that thankfully sounds nothing like a guitar. The song winds down and creates a lazy start to "Industrial Revolution: Part I" before it suddenly kicks into a second movement that is something to behold. We blend seamlessly into "Part II" which features synth arpeggios and more D-550 sounds soaring up to heaven. "Part III" is a slower anthemic affair with an extended solo.
"London Kid" sees one of Jarre's heroes, Hank Marvin playing his distinctive twangy Fender. It's a memorable and upbeat tune that must have pleased both artists when it was completed.
On the flip side we hear a Turkish ney flute weaving a melody around Jarre's increasingly frenetic synth sequences before an electronic voice announces, "Revolution". Depending on which version of the album you are listening to, you might hear a different mix of this track titled, "Revolution, Revolutions". This newer recording was used after the person playing the ney sued Jarre as he didn't have permission to use the recording. I'm not a fan of the "Revolution, Revolutions" version as the drums sound weak and the orchestra seem to be playing in a different key. This original mix is much more satisfying.
"Tokyo Kid" has always fascinated me as it sounds so unconventional. Jun Miyake provides a stunning trumpet solo that perfectly compliments Jarre's brooding score. The D-550 comes to the fore again with "Computer Weekend" which is a light and airy tune played out on the "Ocean Scenario" sound from a collection of patches by a German company called EMC.
"September" is a noble effort but the vocals sound like they were recorded in a broom cupboard using the world's worst microphone. "The Emigrant" is a fitting finale but won't be making the running for any 'best of' compilations. 4/5
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