One record at a time: 453. Jon and Vangelis - The Friends of Mr Cairo

"The Friends of Mr Cairo" was originally released in 1981 but despite the band's high hopes, it did not sell well. The pair's first album "Short Stories" had been propelled to chart success by the hit single "I Hear You Now" but an edited version of the title track from this album didn't even manage a chart placing. 

A despondent but determined Vangelis set to work writing a new single and after a brief recording session with Anderson, "I'll Find My Way Home" was born. Once the sides of the disc were flipped and a photo sleeve was added alongside the new single, the album finally charted in the top ten and achieved the sales originally expected. 

Today I will be listening to the original six track version of the album with the white cover. Whilst I had owned the newer version of the LP for a long time I was intrigued by the original cover and decided buy a cheap copy from eBay. Unfortunately the wonderful people at Evri managed to partially destroy the sleeve on its journey between the eBay seller and my front door which made my purchase somewhat pointless. However, the disc itself is near perfect and is one of the best I have ever encountered. I have no idea what makes this copy sound so good but it has very little background noise and Vangelis's instruments spring across the sound stage as if they are in some kind of pseudo 3D format. 

Aside from the single "I'll Find My Way Home" this album seems to be the sound of Jon Anderson having some sort of a mid-life crisis. The lengthy title track is essentially a reminiscence about the gangster movies he watched in his childhood and comes replete with impressions of Jimmy Cagney and James Stewart that stretch the credibility of the song to its absolute limit. "Back to School" (or "Back to School Boogie" depending on which version of the artwork you are looking at) is a load of old 12 bar blues nonsense where Anderson tells us he wants to go back to school where it was safe (inconceivably this was actually released as a single!). "Beside" seems to be an aimless story about reflecting on the past but none of the lyrics really make much sense. 

"Outside and Inside" is a fairly unremarkable ballad but Vangelis adds some nice synth flourishes that elevate is just enough to be worth a listen. The pulsating "State of Independence" is the highlight of the record and the version here is somewhat longer than the single version. "The Mayflower" is a bit of a Marmite track: some will love it, others loathe it. Vangelis's music is pretty good, but the sci-fi nonsense theme and the butt-clenchingly bad voice over do drag it down. 2.5/5

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

One record at a time: 446. Vangelis - Direct

"Direct" served as my introduction to the music of Vangelis. Obviously I knew of the theme to "Chariots of Fire" and some of his more commercial work, but this was the first time I had delved into a full length album.

I don't know what drew me to buy "Direct" in particular, but it was amongst the first titles I bought when I acquired a CD player back in the late eighties. This record dates from an era when the compact disc had begun outselling vinyl and artists decided to take advantage of the higher capacity the new format afforded them. 

As a result, the compact disc of this album has twelve tracks, whilst the LP only has ten. The two tracks that are dropped from the wax are "Dial Out" and "Intergalactic Radio Station" - both of which I like. I remember "Dial Out" in particular because it was used on natural history documentaries of the period - but we will have to do without out it for this listen through.

The sleeve of this record makes references to an enigmatic new system that allowed Vangelis to compose and record simultaneously. This was set to be the first in the "Direct Series" of albums that would utilise this new technology to create modern symphonic works that covered a number of different styles. Sadly, none of the planned sequels emerged and the mysterious new techniques turned out revolve around the Zyklus MPS-1 sequencer and the imaginatively titled Direct system - which was a custom made sequencer. 

The first track "The Motion of the Stars" makes use of this new sequencer with an arpeggio played on a Prophet VS synthesizer. As various shiny digital tones emerge from the ether you can detect a distinct change in sound palette from the album "Mask" (I'm discounting the dreadful "Invisible Connections" at this point). Whilst there are still various analogue synthesizers being used, it is the FM generated sounds and EMU Emulator samples that shine brightest.

As much as the advent of sampling and digital technology resulted in some amazing new sounds, it also brought us some terrible ones too. There's something about the badly sampled electric guitar presets of the late eighties that are particularly disconcerting to me. Unfortunately, Vangelis deploys these sounds throughout "Direct" and the album does have a tenancy to sound a little tacky in places. 

The new age clichés come thick and fast on the second track "The Will of the Wind" which uses guitar samples alongside the much used Emulator II shakuhachi. I like the track "Elsewhere" with its almost perfect ending and "Metallic Rain" proves to be entertaining. On the downside I'm not keen on "Glorianna (Hymn à la Femme)" and "The Oracle of Apollo" sounds a bit underdeveloped. Having said that there's a lot to like here. This album has a new age feel with distinctly eighties sounding instruments - this might not be to everyone's taste, but it is to mine. 3.5/5

One record ata time: 445. Vangelis - Invisible Connections

I can only imagine that whoever bought this record from an Our Price store back in 1985 felt they had just wasted £6.99. Like "Beaubourg" that came before it, this is a Vangelis album that polarises opinion. I've seen one website rather generously describe this record as an "avant-garde puzzle". Personally I would describe it as a "flaming pile of crap". 

I dislike this album as the 'music' it contains consists of nothing but intermittent bleeps and rumbles that are bathed in a long reverb. The fact that the tracklisting on the sleeve is completely incorrect has absolutely no bearing on the experience of the victim....sorry listener. 

I acquired this record without having heard it and, like the person who bought it originally, I feel like I wasted my money (admittedly I didn't spend as much as £6.99 but the statement still applies). There's a lot you can do with thirty nine minutes of your life; whatever you think of, go do that instead of listening to this.  0/5

One record at a time: 444. Vangelis - Mask

Stylistically "Mask" could be considered a companion to Vangelis's earlier album "Heaven and Hell". Both records adopt a classical style and utilise a choir alongside the usual assortment of keyboards. However, this later record has a much broader sound thanks to the inclusion of samples and sequencer driven patterns. I acquired this LP in 2016 and found it quite fascinating from the outset. Whilst the music might not make an immediate impact, it becomes more impressive with repeated listening. 

"Mask" consists of six movements which are divided equally between the two sides of the record. The first movement is a ten minute long, rather grandiose piece that revolves around a synth arpeggio and a complex choral arrangement. Whilst this is an impressive opening, things get really interesting on the second movement. 

I find the string arpeggio here rather amazing and it allows Vangelis to drape his melody seamlessly over the top. By contrast "Movement 3" is much more angular and offers more than a hint of the great man's work on "Blade Runner". As well as their dramatic sound, one aspect of these composition I enjoy is the use a string synthesizer.  

In the days before poly-synths or ROMplers, string synthesisers were a cheap and convenient way of imitating the sound of an orchestra. Vangelis used many different string synthesisers over the years but he is most likely to have used a Roland VP-330 on this record. Personally I much prefer the sound of these analogue keyboards to the sampled sounds Vangelis used towards the end of his career. 

Rather than replicating common or garden acoustic instruments a string synthesizer has a much more intriguing sound. I liken this to the case of the TR-808 drum machine. Yes it was trying to provide an approximation of a drum kit, but it wasn't a direct emulation by any stretch of the imagination. It is the unique sound of the TR-808 that helped make it such a wonderful and unique instrument. I don't see many people waxing lyrical about the sound of a Alesis SR-16 even if it could accurately replicate the sound of an acoustic drum kit. 

On the flip side of the record the fourth movement almost reminds me of something we might have heard on "L'Apocalypse des animaux"; yet this time around the marimbas, percussion and double bass all sound like they are coming out of an Emulator sampler. "Movement 5" is another ten minute long opus that uses a choir alongside a synth arpeggio and Vangelis's trust Yamaha CS-80. Whilst this is an impressive piece, it's just a rehash of the first movement and I'm not sure it offers us anything different. Fittingly the record finishes with the drifting string synthesizer sounds we have heard throughout this album and reprise of the standout second movement. 4/5

One record at a time: 443. Vangelis - Soil Festivities

1984's "Soil Festivities" marked Vangelis's return to recording albums rather than the film soundtracks that had preoccupied him during the early eighties. My copy of this record is a repressing of unspecified date but it is in very good condition. I have to admit, until I acquired this record nine or ten years ago, I hadn't heard any of the music from this album. "Soil Festivities" belongs to a trilogy of less well known albums that Vangelis recorded before he relocated from his famous Nemo studio in London. Like "Mask" and "Invisible Connections", "Festivities" doesn't contain any grandiose themes or the pop sensibilities of his work with Jon Anderson. This period finds Vangelis in the mood for exploration, much like when he was signed to RCA Records ten years earlier. 

The first movement of this album uses a sample of a flute that is played on a simple repeating pattern. Whilst all manner of Yamaha CS-80 melodies and electric piano flourishes are thrown at us, the flute sound remains steadfast for the full eighteen minutes of the piece. Whilst listening to the same flute sample repeat for nearly twenty minutes might not sound like fun, it does help Vangelis realise his concept of celebrating the natural elements. The incessant drops of rain and the activity stimulated by a thunderstorm all seem to be perfectly illustrated by the notes we hear.

"Movement 2" follows a similar pattern to the first with the Emulator samples and Roland VP-330 strings creating a rather magical piece based on a repeating sequence. Things become a little more abstract on "Movement 3" in which Vangelis indulges his penchant for jazz tinged improvisation with mixed results. "Movement 4" has a distinctive bass arpeggio that underpins proceedings but it is a bit too long for my taste. Things round out with "Movement 5" which is another loose improvisation made using the characteristic combination of Rhodes piano and Yamaha CS-80. 

Whilst there is a lot to like in this album, it is inconsistent. Some of the pieces evoke clear images and fit within the concept. However, tracks like "Movement 3" and "Movement 5" sound like album filler that were phoned in. Everything is just a little self indulgent and the album would benefit from the odd edit here and there. 2/5

One record at a time: 442. Vangelis - Antarctica

"Antarctica" is the score for the Japanese film of the same name that was released in 1983. For a long time I was only familiar with the main theme from this album as it was featured on 'sound-alike' compilations such as "Synthesizer Greatest" or Project D's "Synthesizer 2". When I did finally hear the original I found it very impressive and understood why it would be considered amongst Vangelis's best work. 

As we drop the needle I am immediately struck by fact that Vangelis seems to be using a sampler for the first time. From what I have read, Vangelis bought his EMU Emulator with the intention of replacing his drum machine with samples played from the keyboard. However the rather primitive sampling technology of the time meant that the Emulator wasn't responsive enough for Vangelis and was demoted to providing percussion sounds alone. 

The sampled timpani on the opening theme are used alongside a conventional string machine and burbling analogue bass. As for the distinctive melody, there are various theories relating to how the sound was created. Some believe it is a sample of a guzheng, others think it is derived from the Yamaha CS-80 synthesizer and some theorise it is a combination of the two. Personally, I have no clue. I just know it isn't the "Koto" preset from a Roland D-10 that I used to try to play along with when I was younger.

Having just listened to the full seven and a half minute version of the theme I am struck by how much better it sounds in its unedited form. If you’ve only ever heard the version on the compilations "Themes", "Odyssey" or "Portraits" then I encourage you to seek out the original as it is a truly wondrous composition in its longer form.  

Another standout piece is "Antarctic Echoes" in which Vangelis uses the distinctive electric piano preset of the Yamaha CS-80 and the choir sound from the Roland VP-330 to reimagine the main theme. This song seems to hang in the air as if suspended by invisible threads - it is very impressive indeed. I also like "Life or Antarctica" which is a highly atmospheric track with a strong melody and the distinctive timpani samples that seem to be the hallmark of this album. 

I have never seen the film this soundtrack is taken from so I have absolutely no idea if the music is appropriate for the visuals, but it has never really summed up images of desolate snowy landscapes in my mind. Still this is impressive music and a record I should revisit more often than I do. 4/5

One record at a time: 441. Vangelis - Chariots of Fire

My copy of "Chariots of Fire" is a reissue that was pressed after the film won numerous Academy Awards; including that for best score. This is actually one of few Vangelis albums that I never bought on CD and I hadn't heard it in its entirety until I acquired this LP from eBay in 2016. Whilst visually this record is in pretty good nick, there are a few pieces of sticky debris that cause the needle to jump now and again - I will have to put it through my record cleaner at some stage.

Unless you have been living in a cave for forty years you will have heard the main theme from "Chariots of Fire" a thousand times. The music is so overused it has become a cliche. Yet if you can transcend above the cliche, you will find a fascinating piece of music that has to be considered amongst the composers best work. What I didn't realise about this record is that all the music is re-recorded especially for this release and does not feature the actual cues used in the film. I am told the original music is somewhat less embellished and everything seems to have been enhanced for the commercial release of the soundtrack.

"Five Circles" is a stirring theme played on the famous Yamaha CS-80 brass presets and we hear the familiar Rhodes piano on "Abraham's Theme". So far, so Vangelis. Then, rather strangely, we are presented with the traditional English hymn "Jerusalem" - but this performance has nothing to do with Vangelis. 

The second side of the disc features the title track that is twenty minutes in length. In this piece Vangelis takes the main theme and offers variations that have classical overtones. This music is driven by the sound of the grand piano and electronic instruments are only used to add embellishments here and there. There's nothing on this second side to get excited about and the music tends to melt into the background as your mind wanders away. 2/5

One record at a time: 440. Vangelis - See You Later

With the advent of eighties, Vangelis sought to change the sound of his music. Not only does "See You Later" feature vocals, but it also uses drum machines and collaborations with numerous other artists. Loosely based around the concept of a decaying planet, this album is fairly experimental with little concession to its commercial fortunes. Having said that, this is no "Beaubourg".

The first track, "I Can't Take It Anymore" features a Korg drum machine and a vocoder drenched vocal with occasional embellishment from the grand piano. The drum machine then gets a new pattern for "Multi-track Suggestion" where the vocalist Peter Marsh seems to sing about the various settings available on the studio equipment. Neither of these tracks get much love in online reviews, but I like them both and think they deserve more respect.

"Memories of Green" will be well known to many as it features on the soundtrack of "Blade Runner". The dreamlike lament of this piece is quite haunting but it is a bit too long. Side one finishes off with "Not a Bit-All of it" which descends into a twee bossa-nova riff with a spoken vocal by an artist called Cherry Vanilla. Whilst this track is undoubtedly tongue in cheek, it seems completely superfluous. At least it is less than three minutes in length. 

For the second side Vangelis ropes in his old mate Jon Anderson. The first track "Suffocation" sees the drum machine return and the trusty Yamaha CS-80 is wheeled out to provide the bass. This track moves through a few different phases before we hear Anderson's distinctive contra tenor followed by a languid coda. The title track that brings proceedings to an end features a sequenced bassline and jazzy Rhodes piano along with some spoken word vocals. Unfortunately this song just rattles along like an incoherent studio jam. Anderson returns at the end of the piece in a slightly more structured coda, but it is too late to rescue things. It's a shame the last track is so disappointing and what had gone before was much more entertaining. 3/5

P.S. I have since discovered that this album is not what Vangelis originally intended it to be. A test pressing of the album reveals there were three other songs included in the original tracklisting. "Fertilization" featured an unknown vocalist describing conception and gestation in humans. However, as the author of the text would not allow their work to be used, the track had to be removed from the album.

Whilst "My Love" was released as a non-album single, it is not clear why it and another song called "Neighbors Above" were removed from the LP. The track "See You Later" wasn't part of the original running order and I suspect this was just a studio jam that was tacked on the end to generate a decent runtime. 

Ridiculous vinyl colour names

Back in the day, coloured vinyl and picture discs were synonymous with inferior sound quality and I always avoided them because of this. Today however, most pressing plants seem able to create decent sounding discs no matter what colours they add (glow in the dark, splatter or glittery discs aside).

This advancement in quality means that the marketing people at record labels feel emboldened to offer all manner of special coloured vinyl editions. Not satisfied with concocting these variations, record labels also seem compelled to add some marketing spin to the names of the colours. 

Alongside the conventional colours red, white, orange etc., I also see terms like ‘Electric blue’ and ‘oxblood’ being used. I don’t really have a problem with this as these feel quite conventional names and they even appear on a list of established colour names I found.

Where I take issue is when record companies invent descriptive colour names that are so contrived they either don’t tell us what colour the vinyl will actually be or they are painfully obvious. Today I have come across the colour ‘Belgian ale’ which seems like a rather unhelpful name. Personally, I like a nice blonde or Dubbel with an amber hue; but I’m not sure if the record will be this colour or that of a Trappist Brune. They’re both Belgian ale, but very different colours – why not just say brown?

An increasingly common description I see is ‘Bottle clear’ or ‘Coke bottle clear’ - which is essentially transparent vinyl that has a pale blue tinge. Another variation is ‘milky clear’, but I’m not entirely sure where the line is between this and ‘opaque white’. Other highlights encountered recently are ‘Silver Nugget Metallic’ (which is grey), ‘Edelweiss white’ (errr it’s white) and ‘Moonlight transparent clear’ (I have no idea, but I’m guessing it is ‘bottle clear’).

One record at a time: 439. Vangelis - Opera Sauvage

I originally bought this album on CD from HMV in early 1992. I was 'a little short of funds' at the time so my mother lent me the £14 I needed to buy it. I never paid her back. I miss my mum.

Whilst this album was originally released in 1979, my LP is a repress from 1981 that I bought from eBay in 2016. This record is the soundtrack to a TV series created by long term collaborator Frédéric Rossif, but the 43 minutes of music presented here represents only a tiny fraction of what was created for the 21 episodes of the show. 

This album finds Vangelis at the peak of his creative powers in a studio brimming with the latest technology. Curiously, copies of this record with a gatefold sleeve credit Vangelis's famous Nemo studio in London and say the recordings were made during 1978 and 1979. However, the sleeve of my record states it was recorded in Paris in 1976 - so somebody is wrong somewhere.

Whatever the studio, you can't deny the music here is brilliant. The theme "Hymne" (not to be confused with a later piece with the anglicised title "Hymn") is a concise track that features a soaring melody and deeply atmospheric styling. The combined sounds of the Rhodes piano and the Yamaha CS-80 would become a hallmark of Vangelis and the track "Rêve" is a great example of this classic combination. 

Another standout melody is featured on "L'Enfant" and this should be considered amongst the composers best work. "Chromatique" is tinged slightly with jazz influences, but I like it nonetheless. The other tracks on the record that are a little less strong in terms of melody, but they all retain the same atmosphere. Whilst it is far from perfect, there are no big holes in this record. This is peak Vangelis. 4/5 

One record at a time: 438. Vangelis - The Best Of

I originally bought this album on CD in 1992 and I have strong memories of loading the disc into my Sony D-33 Discman. However, as the disc played I felt a slight pang of disappointment. I had naively assumed this would be a career retrospective but I later realised it was drawn from the four albums Vangelis released with RCA between 1975 and 1978. 

This limited scope is obviously a drawback and this can never be considered a comprehensive collection. My copy of the vinyl is an original UK pressing that I acquired on my Vangelis splurge nine years ago.  

The four tracks on the first side cherry pick the best pieces from the "Albedo 0.39" and "Spiral" albums, but "Alpha" seems conspicuous by its absence. The flip side is a little more challenging as it tries to cut the albums "Heaven and Hell" and "Beaubourg" into bite-size pieces. I can see why the A&R men chose "Bacchanale" and "Aires", but they still aren't my favourites. Let's face it, it doesn't really matter how you edit "Beaubourg" it isn't going to make much difference. 2/5

One record at a time: 437. Vangelis - China

The album "China" was released in 1979 and here I will be listening to my original UK pressing. I acquired this record from eBay nine years ago and unfortunately it is possessed of a particularly strong smell of damp. You will be unsurprised to hear that this is a concept album inspired by China and Vangelis uses traditional instruments, the spoken word and a few synthesisers to create his vision.

As I began to listen to this album, I was idly flicking through webpages trying to find out more about it. One of the first things I read was that I, and many other listeners have been completely misled regarding the tracklisting. Conventional wisdom tells us that "Chung Kuo" is five and a half minutes in length and "The Long March" that follows is a shorter piano piece. None of this is correct.

I suspect the issue arose as the majority of compact discs have been incorrectly indexed. The correct track indexing wasn't applied until Vangelis himself mastered a new version in 2017. It transpires that "Chung Kuo" is actually the long introduction to the album that lasts for one and a half minutes. "The Long March" has two parts: a more electronic piece that is often incorrectly referred to as "Chung Kuo", followed by a piano coda. It is this piano coda that is often misidentified as being the totality of "The Long March".

So, when I say that "The Long March" is an excellent track that deserves your attention, I am referring to a song you might have seen labelled as "Chung Kuo" on compilation albums, digital files and websites. 

Of the other tracks, I get the sense this album found Vangelis in a glorious period in which he used analogue synthesis to create original sounds rather than imitations of conventional instruments. Even though percussion features prominently on majestic tracks like "The Dragon", the composer is content to let synthesisers sit centre stage. "Himalaya" and "Summit" are atmospheric pieces that have just enough melody and rhythm to keep me interested, but "Yin and Yang" is not to my taste.

Naively I always assumed the abstract images on the sleeve were of a whirling dancer or some sort of oriental statue. I have been rather disappointed to find out that they are just blurry photos of Vangelis in a hotel swimming pool with no clothes on. 3/5

One record at a time: 436. Vangelis - The Dragon

"The Dragon" is an album culled from the same sessions Vangelis recorded in 1971 that resulted in the "Hypothesis" album. However, unlike its counterpart, "The Dragon" actually has something to recommend it. Whilst there are elements of the dreaded jazz music on here, Vangelis tends to borrow more from psychedelic rock this time around.

The title track that occupies the first side of the record is a fifteen minute long jam with a Middle Eastern bent. I can hear session musicians playing drums, guitar and violin, but I have no idea what Vangelis's contribution would have been. Unfortunately this track is so repetitive you could edit it down to a two minute burst without losing anything meaningful. Listening to the last four minutes is akin to torture with the same four bar loop just going around and around and around and around...

"Stuffed Aubergine" or "Stuffed Tomato" are softer sounding tracks that occupy the flip side. It's actually much easier to discern Vangelis's keyboards on these songs and the repetition isn't quite as pronounced. Still, not something I will be returning to anytime soon. I've read Vangelis didn't consume drugs or much alcohol during this period - but it sure as hell doesn't sound like it. 1/5

One record at a time: 435. Vangelis - Hypothesis

In 1971 Vangelis travelled to London and recorded some jam sessions as an experiment. The resulting recordings weren't considered to be of any merit and the whole project was unceremoniously shelved. 

Seven years later Vangelis had found commercial success and his albums would regularly sell 100,000 copies. Sensing an opportunity, the executive who originally financed the recording of the 1971 jam sessions sought out the tapes and decided to release them. Therefore "Hypothesis" is a classic cash grab that contains sub-standard material that was not approved by the composer or performers.

When I say sub-standard, I mean it. Even Vangelis himself went to court to stop distribution of the record: not because of the money, but because the product was so bad. The music takes the form of experimental jazz improvisation. The quality and the mix of the instruments isn't very good and there is little cohesion between the various performers. I bought this album out of curiosity - but my ears haven't forgiven me for what I subjected them to. Let's face it, the best thing about this record is the artwork. 1/5  

One record at a time: 434. Vangelis - Beaubourg

Until I owned this record I did not know that "Beaubourg" is a reference to the environs of the Centre Georges Pompidou in Paris. Having visited the building in 1977, Vangelis was inspired to write the music on this album and it was released the following year. 

My copy is a reissue from an unknown date that doesn't seem to be listed on Discogs. However, I'm not inclined to submit the details to the website as fellow users tend to pounce on even the slightest mistake with an aggressive zeal worthy of history's greatest despots - something I can do without. 

Listeners should be aware this is not a commercial album. Yes, it consists almost entirely of electronic music, but it seems Centre Georges Pompidou inspired the abstract and experimental side of Vangelis. "Beaubourg" is split into two parts which are contained on either side of the disc. However, unlike earlier 'two part' Vangelis albums, these are continuos pieces of music and not just separate tracks sandwiched together.

The internet tells me this album is largely the sound Vangelis manipulating the ring modulator of the Yamaha CS-80 synthesiser. Metallic noises are smeared across the soundscape as Vangelis experiments with various tunings and discordant notes. These noises go on for forty minutes. If you are persistent you may be rewarded with a short passage of melody here and there, but there is no real concession to the listener. This music is hard work. 

As this was his last album for RCA, there has been some suggestion that Vangelis simply threw down this recording to complete his contractual obligations. Personally I think this was a sincere effort to do something different and push the boundaries a bit - but this doesn't mean I have to like it. 

One of the reasons that many of the soundtracks and other works Vangelis recorded are not available commercially is because he felt there would simply be too many releases if they were all made available. But maybe, just maybe, he could have kept this one to himself and let something else slip out of the vault. I visited the Centre Georges Pompidou in 2003 but it didn't inspire me at all. However, I like to think if it had, I would have produced something more palatable than this. 1/5

One record at a time: 433. Vangelis - Spiral

"Spiral" from 1977 is notable as it saw the introduction of two important elements in the music of Vangelis: the sequencer and the Yamaha CS-80. In fact the CS-80 became so influential that Vangelis would describe it as the most important synthesizer in his career. "Spiral" is also one of few Vangelis albums that sounds truly electronic. Much of the Greek maestro's early work uses electro-acoustic instruments and his later efforts revolved around orchestral sounds. "Spiral" seems to have hit a sweet spot in which synthesizers were used to innovate rather than imitate.

My copy of this record is a UK first pressing that is housed in a nice gatefold sleeve with an embossed inner. The disc itself has no flaws and displays a quality of workmanship that you just don't see in modern records - even if it does smell like it has been kept in a damp cellar for ten years.

The title track serves as a remarkable opener and stands out as the album's highlight. Vangelis creates various sequencer driven arpeggios and burbling synth noises before introducing a grand melody that builds into a crescendo. The second track "Ballad" is also hugely enjoyable and one of very few occasions in which Vangelis's vocals (albeit highly processed) appear in his music. The third track "Dervish D." starts well but descends into 12 bar blues with jazz licks on the Rhodes piano. Happily the driving synth arpeggios manage to dilute the less palatable parts of the composition and we end up with quite a good track. 

On the second side of the disc the track "To The Unknown Man" has a strong melody and the whole piece evolves into the most amazing crescendo. The closing track, "3 + 3" is another sequencer driven effort that sounds like an uplifting counterpart to the title track. Whilst both of the songs on the b-side are over nine minutes long, Vangelis continually introduces new ideas and arrangements that serve to maintain the listener's interest. 

Even though this record ranks amongst Vangelis's very best, it has never appealed to me in quite the same way as the work of his contemporaries did. I think this is because Vangelis has a tendency to borrow from jazz, blues and rock music. Even with Vangelis at his most electronic, I occasionally feel like I am hearing something hackneyed - it's just that it is being played on electronic instruments instead of traditional ones. 3/5

One record at a Time: 432. Vangelis - La Fête Sauvage

"La Fête Sauvage" is another soundtrack album for a French wildlife documentary that was released in 1975. The sleeve of my LP is rather curious as it features a porcelain tiger - but the documentary was actually about lions. I bought this record in 2018 and it has the distinctive bouquet that only a damp shed/cellar/attic could bestow upon it. 

Whilst nominally divided into two parts, "La Fête Sauvage" actually consists of numerous short pieces and cues lumped together on each side of the record. Most of the synths and keyboards used to make this album are the same as those on "Heaven and Hell", but the finished product sounds very different. As with much of Vangelis's early work, the one constant sound seems to be that of the Rhodes piano.

The first side contains a series of pieces that are largely tranquil with only the very first track making any impression. The opening of the second side offers something of a contrast where we hear driving percussion, a strong melody and crystalline synth flourishes. I like this piece even if it does sound a bit seventies disco in places. The second cue features African singers, percussion and various animal calls set against Vangelis's signature rising synth patches. As we approach the end of the record we hear ten minutes of traditional music performed by African musicians. This music may well have worked in the context of the film, but it isn't what I came to hear. This is one for the dedicated. 1/5 

One record at a time: 431. Vangelis - Albedo 0.39

Wikipedia tells me that if Vangelis went to record this album today he would have to call it Albedo 0.3 as the amount of solar radiation the Earth reflects back into space has fallen by 9% since this album was released in 1976. The title and the track names on this record make it clear this is a concept album based around astrophysics.

I bought this record from eBay in 2016 and it comes from an era in which a gatefold sleeve was seen as a fairly standard way of expanding the artwork rather than an extravagance required to hold two records. One interesting element of the sleeve is the fact that RCA seemed to feel the need to point out that the album could be played on a mono turntable if fitted with the correct pic-up head - but "those in doubt should consult their dealer".  

On listening to this album I realise it presents a dichotomy. Whilst we hear some of the best electronic themes Vangelis ever recorded, we are also subjected to some terrible improvised jazz too. I find the track "Main Sequence" particularly distressing and I fail to see how it has any relevance to the theme of the album. This isn't electronic music; its just self indulgent, overblown and boring. 

And don't give me any of that, "You just hate jazz because it requires you to actually listen to it and your pea brain can't cope" attitude. I think I am accustomed to hearing something other than pop music in 4/4 as I grew up listening to an almost relentless barrage of Opera, I love most of Beethoven's symphonies (Fourth especially) and swing groups like The Ink Spots sound amazing to my ears. I think I am accustomed to various styles of music. I just hate jazz.

So the standout tracks are the wonderful "Pulstar" and "Alpha" with honourable mentions to the ambience of "Freefall" and the intriguing title track. Everything else you can keep. 2/5

Synth spotting in Heaven and Hell

As you may have read, I have recently been listening to the Vangelis album "Heaven and Hell". Whilst looking at the gatefold sleeve the images in the centre caught my eye. Both photographs show Vangelis's studio circa 1975 and feature a variety of keyboard instruments. For some strange reason I developed a sudden desire to know what all of these instruments were.

Ever since I fist saw a kit list on the sleeve of a Jean Michel Jarre record I have been a bit obsessed by what instruments my favourite artists used. As a child I would pore over images of Jarre's studio tying to identify the various keyboards and synthesisers and dream of owning them one day.  

Identifying the keyboards on the Vangeis sleeve wasn't very easy as the images are printed in halftone and the negative has been flipped horizontally. However, because the two photos were taken from slightly different angles, we can see different details in each. This would work to my advantage. 

The first thing I did in my geek quest was to flip the images through the horizontal plane and increase the contrast. As soon as I began to study the photos it was patently obvious that the instrument directly next to Vangelis was a grand piano. Equally easy to identify was the Fender Rhodes Mk I electric piano and the distinctive keyboards of a Hammond B3 organ. So far so good.

To help me in my quest I found an article from Sound on Sound magazine that gave me a gear list for Vangelis's studio in the mid-seventies. By process of elimination I soon managed to identify a Hohner Clavinet and a Farfisa Syntorchestra string machine. After another half an hour of squinting at the pictures and comparing them to images from the internet I had identified all but three of the instruments.

One of the keyboards I was having trouble with (11) looked almost identical to the Korg 700 I had already identified. After a bit of head scratching I realised there was actually an updated variant of the Korg that was designated the "S" version. Details on the 700S matched the image and when I saw the following footnote, everything made sense:

"Vangelis had more than one model of some of the keyboards in this list, to help cut down on overdubs, and to take advantage of the fact that different models of the same synth could have a different character." 

The second keyboard (7) was in shadow so I couldn't really make out any discernable features. The only clues were the presence of some sort of panel on the left of the keys and the number of keys themselves. A process of deduction led me to the Roland SHA3 as the only likely candidate on the list.

The final keyboard (9) is sandwiched between other synths and the only part that is visible are the keys themselves. However, the one tiny clue I could discern was some text nestled in Vangelis's armpit. Having zoomed into the image 'Blade Runner style' I could make out the letters "Torna". The SoS article mentioned something called a Tornado Keyboard and Google told me this was actually the Elka Tornado organ. Mystery solved. 

So here is the image and what I think are the instruments pictured:

1. Bösendorfer Grand Piano
2. Hammond B3 Organ
3. Hohner Clavinet
4. Korg 8000DV
5. Korg 700
6. Selmer Clavioline
7. Roland SHA3
8. Roland SH1000
9. Elka Tornado
10. Rhodes Mk I
11. Korg 700S
12. Elka Rhapsody
13. Farfisa Syntorchestra

P.S. Since I wrote this post I have found several photographs online from the same photo shoot that are much clearer. Happily these images seem to confirm my detective work.

One record at a time: 430. Vangelis - Heaven and Hell

For this post I initially began to write about the Vangelis album "Earth" - but I soon realised I don't actually own that album on vinyl. Therefore the next record I will look at is "Heaven and Hell" from 1975. My record is an original UK pressing that is in very good condition and sounds excellent to say it is over fifty years old. 

This concept album is split into two parts that consider the contrasting ideas of Heaven and Hell. Inexplicably there is also a song titled "So Long Ago, So Clear" stitched onto the end of side one. This track was a collaboration with Jon Anderson (the vocalist from the prog-rock group Yes) but I'm not convinced it fits within the concept.  

As we drop the needle we hear the opening sequence titled "Bacchanale". The music is big, brash and not to my taste at all. The portamento applied to the synth patch driving the melody sounds antiquated and strangely off key to my ears. There is some jazz Rhodes piano thrown into the mix but it doesn't sit comfortably alongside the chamber choir. When this first movement is over I am actually quite relived. This is not my idea of heaven.

We move on to the softer sounds of "Symphony to the Powers B" which is reminiscent of Mike Oldfield's work - it even features tubular bells for heaven's sake. After about thirteen minutes we meet the wonderful "Movement 3" which was the prototype for "Chariots of Fire".

For me the b-side is less distinctive and relatively benign - but it is also less polarising as a result. The "12 O’clock" movement is a highlight and only when "A Way" peters out into an inaudible whisper do we realise the ride is over. Something of an album of contrasts, "Heaven and Hell" seems to work in its more tranquil moments, but it fails when it tries to be too clever. 2/5  

One record at a time: 429. Vangelis - L'Apocalypse Des Animaux

I'm not sure how many studio recordings and soundtracks Vangelis released, but by my calculations it must be over thirty. Whilst I don't own all of these albums, there is a good chunk of them in my collection that we will need to work through. I have to admit, I wasn't really sure where to start with this odyssey, but "L'Apocalypse Des Animaux" from 1973 seems to be as good a place as any.

This 2016 remastered version of the soundtrack is pressed by Optimal on 180g vinyl but it doesn’t sound very good - it has numerous pops and crackles throughout. Also, the tracklisting printed on the sleeve and labels doesn't correspond to what actually plays.

Such inattention to detail seemed to spark a discussion on the Discogs website around the increasingly poor quality control in vinyl manufacturing. If you browse forums and the like on this subject you may read of people thinking of abandoning the format if things don't improve. For now I am happy to keep buying vinyl, but I have to admit, when I listen to records like this I do wonder why I bother.

The first track here is "L'Apocalypse Des Animaux - Générique" which has a riff that sounds ready to be loaded into a sampler and turned into a hit. The second track "La Petit Fille De La Mer" is another standout tune whose lush sound belies the fact that it seems to have been created with only an acoustic guitar, a Rhodes piano and what sounds like an organ. 

"Le Singe Bleu" features a soft trumpet that I imagine was played through a haze of cigarette smoke as Vangelis caressed the keys of his electric piano whist simultaneously sipping on a glass of Johnny Walker. No wonder the song is far too long. Another lengthy opus is "Creation Du Monde" which takes up a good chunk of the second side of the disc. You can't help but marvel at the fact that this music was recorded in 1970 (it wasn't released until three years later) as it sounds like it could have been made yesterday. The etherial chords and haunting guitar transfix me - this is how 'ambient' music should be done. 3.5/5

One record at a time: 428. Underworld - Barbara, Barbara, We Face A Shining Future

This is the second and final Underworld LP I own. "Barbara, Barbara We Face A Shining Future" was released in 2016 and I bought this record a couple of years later. I'm not completely sure, but I think I ordered this as I had been very impressed by the "Teatime Dub Encounters" EP and wanted to hear if their most recent album was just as good. Sadly I was to be disappointed.

The opening track "I Exhale" is fair enough but it does become something of an endurance test having to hear the same loop go round for eight minutes. I like the lo-fi vibes of second track "If Rah" and "Low Burn" has a more conventional techno sound that reminds me of the band in their pomp.

The ambient piece "Santiago Cuatro" offers some variety along with the downtempo "Motorhome" - but in truth I'm not a fan of either song. We return to the dance floor with the single "Ova Nova" which has a pounding TR-909 kick drum and some compressed bass, but doesn't develop one iota during its five and a half minute runtime. The closing track "Nylon Strung" is a rather jaunty number that is one chorus away from being synth-pop. Tracks like this make me wish Underworld explored this part of their sound a bit more and left the ambient nonsense to Brian Eno. 2/5 

One record at a time: 427. Underworld - Beaucoup Fish

Electronic music was on life support in the nineties and by the end of the decade I had become pretty disillusioned with contemporary music. Whilst I did occasionally take a chance on an emerging artist such as Basement Jaxx (singles were good, but not much else to interest me) or Fatboy Slim (never liked him as much as I thought I should), I largely took refuge in the back catalogue of my favourite artists. 

Therefore I must have been in a particularly brave or determined frame of mind when I walked into HMV one day in 1999 and bought "Beaucoup Fish" by Underworld on compact disc. I would never claim to be a massive Underworld fan, and the only other record of theirs that I owned at the time was the CD single of "Born Slippy .NUXX", so I can't really explain why I chose to buy their latest album.  

Whilst I was initially unimpressed by what I heard, the music did begin to grow on me and after repeated listening I grew to admire the album. Over the years I have continued to dip into Underworld's music with varying degrees of enthusiasm, but I couldn't resist buying this double vinyl reissue when it was released in 2017. 

"Cups" opens with sampled strings that soon give way to a square wave techno bass and Rick's vocoder treated vocals. The lyrics are suitably incomprehensible and despite ticking along at 130 beats per minute, there's a really laid back air to this song. After about eight minutes the track makes an abrupt turn and suddenly incorporates a breakbeat and an aggressive synth riff that segues into the more frenzied "Push Upstairs".

By far my favourite track on the album is "Jumbo" that opens the b-side. Whilst the lyrics offer Carl Smith's usual mix of the meaningful and the bizarre, it is the music on this song that sets it apart for me. The pulsating "King of Snake" seems to warrant a writing credit for Giorgio Moroder as it references "I Feel Love", but the similarity is only fleeting to my ears. I also like the relentless head banging of "Bruce Lee" and "Kittens" sounds like it was created to induce a dance floor frenzy.

Most of the other songs on this album are downtempo or more ambient efforts that miss the mark. "Winjer" and "Skym" are pretty boring and the repetitive "Push Downstairs" doesn't succeed at all. Happily the album finishes with a song called "Moaner" which is from the same stable as "Kittens" and thunders along with an amazing bassline and frenetic beat. 3/5

One record at a time: 426. Toy Matinee - Toy Matinee

During the dark days of the 2020 COVID lockdown, the YouTube algorithm threw me Guy Pratt's "Lockdown Licks". I enjoyed these videos and marvelled at how effortlessly Guy played the bass guitar. The seventh instalment of the series featured a song he had played on called "Last Plane Out" by Toy Matinee. I'd never heard of either the song or the band, but I enjoyed what I heard so much I decided to investigate further. 

Toy Matinee was a short-lived project that resulted in the release of one eponymous album in 1990. The album didn't sell that well and by 2020 it hadn't been available for almost twenty years. It took a few weeks, but I did manage to track down a compact disc at a reasonable price on eBay. Having sensed the resurgence in Toy Matinee, the clever people at Music On Vinyl decided to licence it and release this limited edition blue vinyl in 2022.

The credentials for Toy Matinee are excellent. Keyboards and songwriting were provided by Madonna's producer Patrick Leonard and his talented protégé Kevin Gilbert handled songwriting, guitar and vocals. The record was produced by the illustrious Bill Bottrell and the band featured a plethora of excellent musicians - including Guy Pratt on bass who also contributed to songwriting duties. 

"Last Plane Out" begins the album and is clearly the standout. Not only is this catchiest song but it is also the most original composition on the record. The bass is deep and funky and the elaborate guitar is very impressive indeed. Whilst there are some other good songs on the record, it is all a bit downhill from here.

The band's various influences emerge quite strongly as the record goes on with a fair bit of Elvis showing on "The Ballad of Jenny Ledge" and a flash of The Beatles heard on "Turn It On Salvador". There are some satisfying disco bass licks on "Queen Of Misery" and the title track sounds like it was lifted straight from a Dire Straights session.  

With both Leonard and Bottrell in the room you would think the production on the record would be outstanding, but in truth it is a fairly dry 'band in a room' affair largely devoid of electronics. There are flashes of synth on the introduction to "Queen of Misery" but otherwise Guy Pratt's octave pedal is the closest we get to any original sounds. If you like traditional rock then this might be a record you enjoy. As a fan of electronic music, I only appreciate the first track. 2/5

One record at a time: 425. Thompson Twins - Into The Gap

I have memories of hearing "Hold Me Now" played on the radio quite a lot during my childhood and it remains one of my favourite songs by Thompson Twins. Despite admiring the band's music, I never actually bought any of their records and this recent charity shop find is the only Thomson Twins vinyl I have ever owned.  

"Into The Gap" is the archetypal multi-million selling record that was hit on both sides of the Atlantic. Much of this commercial success can be attributed to the radio play garnered by the singles that were culled from the album. Along with "Hold Me Now" I also liked the single "Doctor! Doctor!" - but I have no memory of hearing "Take Me Up" before. To be honest I am truly surprised such a dismal track reached number two in the UK charts. 

One of the things I found most interesting about this record are the bass sounds. It seems the distinctive fretless bass that features on almost every song is actually derived from an Oberheim OB-Xa synth. Tom Bailey plays the keyboard with such skill and fluidity that these basslines could be mistaken for an electric bass guitar. Interestingly I read the bass patch is actually a modified clavinet preset and when the memory of Bailey's OB-Xa was wiped, the sound went with it.

I think one of the reasons I like Thompson Twins is because I am drawn to the sound marimbas and other percussion instruments. On tracks like "Sister of Mercy" or "Who Can Stop The Rain" Alannah Currie provides some amazing embellishments that really lift the songs. Other highlights for me are "The Gap" and "No Place For The Wicked" which are catchy songs that are expertly produced. Maybe I will have to acquire more Thomson Twins records after all. 3.5/5