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
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