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