One record at a time: 467. Steve Winwood - Refugees of the Heart

The final Steve Winwood record in my collection takes us out of the eighties with 1990's "Refugees of the Heart". I hadn’t heard this album before ordering it, but since it was on a flash sale for a very reasonable price, I thought—why not?

On hearing the record, things don't bode well from the outset as opening track, "You'll Keep On Searching" begins with the dreaded sound of a saxophone. Still, there’s just enough of the Roland D-50 preset "Digital Native Dance" to keep me listening. As the song crawls along at a mid-tempo pace, weaving through passages of Hammond organ and more saxophone, it feels as though it might never end. After nearly six and a half minutes, we move on to the slightly more palatable "Every Day (Oh Lord)," which offers some interesting rhythmic elements, though it still doesn’t exactly set the house on fire.

Among these rather conventional rock tracks, "One and Only Man" has enough rhythm and synth textures to make it worth a listen, but much of the rest can be safely ignored. I have a dislike of the final track on the first side, "I Will Be There," which is marred by a grating saxophone and runs for at least twice as long as it has any right to.  

Flipping to the reverse side, there’s some country-tinged nonsense called "Another Deal Goes Down", while "Running On" and "Come Out and Dance" are almost indistinguishable rock dirges. The ten-minute-long closing track, "In The Light of Day," starts with a simple synth sequence before gradually building into yet another torturous saxophone solo before it peters out.

Although the credits frequently mention the use of the Fairlight CMI, aside from a few elements on the final track and some scattered drum samples, this album sounds like it was created by session musicians using conventional instruments. "Refugees of the Heart" marks Winwood’s final step away from making music for American radio and is aimed closer to his roots. However, as I stated in my first piece on Steve Winwood, the genres he is generally associated with aren’t to my taste—and neither is this album. 1/5

One record at a time: 466. Steve Winwood - Roll With It

"Roll With It" was released in 1988 and became one of Winwood's most commercially successful albums in the USA. Having had a massive pop hit with his previous studio album, Steve Winwood seemed to deliver a record full of rock tracks aimed at middle America for the follow-up. However, if you look past the machismo and the leather jacket, the old Steve Winwood can still be found lurking on the background.

We kick off with the Motown pastiche that gave the album its name. I say 'pastiche' but this song was so close to actual Motown songs that Holland–Dozier–Holland received a song writing credit. Whilst this is undoubtedly a catchy number it is highly derivative and belongs to a genre I do not enjoy. Hot on its heels is another single called  "Holding On" which sound much more like traditional Winwood territory. 

There's a prominent Roland CR-78 drum machine and a Multimoog bass on the brooding third track "The Morning Side" which sound like something Phil Collins would have come up with. My personal favourite on the album is "Put On Your Dancing Shoes" as it has some great chords in the chorus and some plastic synth brass that is redolent of the eighties.

I know "Don't You Know What The Night Can Do?" was popular at the time of release but I find it a truly unremarkable song. "Hearts On Fire" recycles lyrics and licks from "Higher Love" and sounds a bit too 'mainstream adult contemporary radio' to me. The only other song to mention is the final number "Shining Song" which features the Fairlight CMI "ARR1" preset along with "Fantasia" from the Roland D50. Tame stuff. 2/5

One record at a time: 465. Steve Winwood - Chronicles

"Chronicles" is a compilation album from 1987 that bring together the highlights of Steve Winwood's solo work released on the Island record label. Having just scored a hit with "Back in the High Life" Winwood was hot property in America and the executives at Island records were keen to use their final album under his contract to capitalise. 

To promote the album Tom Lord-Alge was asked to sprinkle some of his auditory fairy dust on the criminally ignored track "Valerie" and another top ten hit was born. Also dunked in the Lord-Alge sheep-dip were "Help Me Angel" and "Talking Back To The Night". Whilst all these remixes sound good, you could argue the originals were perfectly satisfactory. I guess the aim of giving these older songs a more polished sound was to make them more appealing to the new found American market. 

Whilst the track choices for this compilation are fairly evenly split amongst Winwood's solo albums, the only song from his eponymous debut is "Vacant Chair". However, this track is presented as a lean four and a half minute edit rather than the the full fat album mix. Also edited are "Spanish Dancer" and "While You See A Chance" with the former sounding particularly truncated. Interestingly my compact disc and "The streaming services of Lucifer™ " use the full album mixes rather than the edits, so this vinyl is rather unique in that regard.

Personally I'd like to have seen "Big Girls Walk Away" included here and a tasteful edit of "Midland Maniac" might have offered a slightly more holistic view of Windood's solo career. Having said that, this is an engaging compilation and serves as a great introduction to Steve's early solo work. 3/5

One record at a time: 464. Steve Winwood - Back In The High Life

In 1986, Steve Winwood decided to pursue his commercial ambitions and aim for greater success in America. The result was "Back In The High Life," a highly polished album produced by Russ Titelman in New York. Winwood collaborated with a host of session musicians and prominent backing vocalists, while the technically adept Lord-Alge brothers worked behind the scenes to add the finishing touches that would make the record so appealing to the American market. Once released the album sold well and earned Winwood two Grammy awards in the process. All this success prompted his move to the United States—mission accomplished.

Central to this success was the single "Higher Love". Whilst my children know this song thanks to a dance remix of Whitney Houston’s cover version that appeared on the soundtrack to the film "Sing 2", my own first encounter with the song was thirty-five years earlier. Side A of the cassette compilation "Now That's What I Call Music 8" is full of wonderful music and I would always look forward to this track coming along straight after Swing Out Sister's "Breakout". 

One of the standout elements of "Higher Love" is its rhythm track, where drummer John Robinson enhanced the Oberheim DMX drum machine’s sound with dynamic fills and added punch. The remarkable percussive loop that opens the track was actually captured by chance as Robinson practiced in the studio. I've heard esteemed producer and engineer Gary Langan say that a recording engineer’s job is to capture everything musicians produce in the studio—if you’re not recording, you’re not doing your job properly. By this definition, Tom Lord-Alge was certainly doing his job as not only did he manage to record Robinson’s improvisation but he then managed to seamlessly incorporated it into the finished track. 

Famously, Chaka Khan provides backing vocals and the credits also list Nile Rodgers on guitar. The liner notes mention the use of a PPG Waveterm, but I can also hear sounds reminiscent of the Yamaha DX7 (bass) and the Sequential Circuits Prophet 5 (brass). The album version of the song is almost six minutes long, but it never feels tiresome. This is peak eighties pop.

The second track, "Take It As It Comes" moves into more conventional rock territory, featuring Hammond organ, chugging rhythm guitar, and a brass section. However, both the song and its execution are rather unremarkable. The single "Freedom Overspill" brings in more synth touches, including a Yamaha DX7 BASS.1 bassline, but the overly showy guitar work by Joe Walsh of The Eagles feels out of place.

Another highlight is "Wake Me Up On Judgement Day". While the verse and pre-chorus are somewhat bland, the song rewards persistence with an uplifting chorus. As the track gathers momentum, Nile Rodgers steps into the spotlight, and the focus remains on the infectious chorus, leaving behind the earlier diversions.

A personal favourite is "My Love's Leavin'" which was co-written with long-term collaborator Vivian Stanshall. This song blends the sound of the DMX drum machine with the ubiquitous DX7 E.PIANO 1 and Tom Lord-Alge’s mix is rich with reverbs, delays, and equalisation, maintaining a palpable tension throughout. The album credits are so extensive that it is easy to overlook that Arif Mardin arranged the synthesised strings on this track. It is an amazing end to a pleasing album. 3.5/5.

One record at a time: 463. Steve Winwood - Talking Back To The Night

“Talking Back to the Night” was recorded entirely in Steve Winwood’s home studio, making it a genuine solo effort. This time, Winwood not only composed every note, but also played, recorded, and mixed the whole album himself. If he had taken charge of the sleeve design as well, perhaps we would have had a more striking cover, but that is a minor complaint. I purchased this original 1982 UK pressing from eBay eight years ago. The sound quality is decent, though not outstanding.

The album begins with the hit single “Valerie”. On this release, you will find the original mix, which feels raw compared to the polished 1987 remix. For those familiar with the latter, this version may seem less refined, but it remains an irresistibly catchy track. The synth textures are prominent and Winwood has mentioned that the Prophet 5 was responsible for nearly all the electronic sounds on the album.

“Big Girls Walk Away” might raise eyebrows with its title, but if you give it your full attention, it proves to be a highlight. The track blends Linn LM-1 drums, Roland VP-330 vocoder and Prophet 5 synth to create a soulful edge to its synth-pop foundation.

After such an energetic start, “And I Go” slows the pace. This is a soul-infused number, featuring Hammond organ flourishes and other familiar genre tropes. There is also a jarring edit at one minute and twenty-two seconds that always catches my ear. “While There’s a Candle Burning” begins unassumingly but gradually builds with synth riffs and seventies-style guitar. Side one closes with “Still in the Game”, which, while melodically bland, offers some appealing synth work.

Turning to side two, “It Was Happiness” is pleasant but somewhat forgettable. However, “Help Me Angel” is a true highlight and is presented here in its original form before Tom Lord-Alge got his hands on it for the “Chronicles” compilation. This song grooves relentlessly, driven by a tight drum pattern and excellent synths. The title track is another mid-tempo, synth-driven piece that is enjoyable but does not leave a lasting impression. Finally, “There’s a River” delivers the slow blues number you might have been dreading; it is best skipped. 3/5

One record at a time: 462. Steve Winwood - Arc of a Diver

"Arc of a Diver" was released in 1980 and my well worn original pressing is showing its age. Not only is the sound reproduction pretty poor, but there are also some outdated and misogynistic ideas within these grooves. The first time I heard "Second-hand Woman" I thought I was misinterpreting things or being oversensitive, but the more I heard the song the more disconcerting I found it. The music is inoffensive, but the lyrics are just vile.

On a brighter note, the album opens with "While You See a Chance", where the Prophet 5 and Multimoog synths blend beautifully with Winwood’s signature Hammond organ. The lyrics may be a bit scattershot, but the inventive, catchy music more than compensates. "Slowdown Sundown" takes an unexpected acoustic turn, but the track is ultimately saved by a wonderful Moog bass and a standout solo.

Side B begins with "Spanish Dancer," a long-time favourite of mine. The track is rich with synth textures and features a bubbling analogue sequence that underpins lush polysynths and subtle percussion. I especially enjoy how this song ebbs and flows, building tension and release to great effect. "Night Train" is an eight-minute journey that feels more contemporary and you may find yourself tapping your foot - albeit absent mindedly. The album closes with "Dust," a somewhat underwhelming composition, though Winwood’s vocals remain a highlight.

Overall, "Arc of a Diver" is a mixed bag: musically inventive in places, but marred by outdated themes and inconsistent songwriting. Still, there are moments of brilliance that make it worth a listen—if you can look past its flaws. 2/5

One record at a time: 461. Steve Winwood - Steve Winwood

Although I’m not a fan of blues, R&B, or blue-eyed soul—the genres most often associated with Steve Winwood—there’s something about his solo work that genuinely intrigues me. I suspect it’s the undeniable brilliance of his songwriting and musicianship that draws me in. Still, I have to admit, it’s his albums from the 1980s that truly capture my interest.

I picked up my copy of this album on eBay about six years ago. Interestingly, it turned out to be an American pressing, which I hadn’t realised when I bought it. The sleeve has a deletion cut in the bottom right corner—a telltale sign of how it ended up here in the UK.

Since this album dates back to 1977, it isn’t among my favourites. The tracks lean heavily into the style of seventies soul, filled with funky clavinet, electric piano, and wailing guitars. The Minimoog makes a few appearances as the only synth, and, as you’d expect from Winwood, there’s plenty of Hammond organ throughout. There are just six songs on the record, but with each running between five and eight minutes, listeners would have felt they were getting their money’s worth.

While most of the album doesn’t quite resonate with me, I did find myself paying closer attention to “Midland Maniac” and “Vacant Chair.” The opening track, “Hold On,” features a Minimoog patch that I instantly recognised from Winwood’s later work, and its strong energy did win me over to some extent. Still, overall, this album isn’t really my cup of tea. 1/5

One record at a time: 460. Way Out West - Way Out West

Fifteen years ago I wrote on this blog: 

"I have never been able to pin point quite why I love the music of Way Out West. Ever since I first heard ‘Domination’ in 1996, I have been entranced by the band’s output. Album tracks such as ‘Sequoia’, ‘Activity’, ‘Call Me’ and ‘Ultraviolet’ are amongst the best pieces of electronic music ever composed." 

This all might sound like hyperbole, but I genuinely believe that Way Out West make music that transcends the genre of dance. I think my admiration is derived from the fact that, whilst many of the band's contemporaries proved to be ephemeral, much of Way Out West's early work still resonates with me.

Their self-titled debut album, originally released in 1997, is a perfect example. My copy is the 2025 reissue from Music On Vinyl—one of just 750 individually numbered double blue vinyl sets. Although that sounds impressive, the reality is you can still buy a brand new copy for around £30. The relatively cheap price probably accounts for the lack of gatefold sleeve and the plain inners that feel a bit underwhelming. Thankfully the music transcends the packaging. 

Proceedings kick off with the single "Blue" which is based on the music from the cult film "With Nail and I". Some people find it hard to discern the original melody in amongst the growling synths and relentless breakbeats, but it is there. The track delivers a compelling blend of foot moving progressive house and pure listening pleasure—I enjoy it immensely.

Hot on the heels of the opener is the hit single "The Gift" and this track probably accounted for 90% of the sales of the album. Here the Westies wrap manic breakbeats and lush synth chords around a sample of Joanna Law singing a line from the folk song "The First Time Ever I Saw Your Face". I'm really not a fan of folk music and I was perfectly prepared to hate the version of the song the sample is taken from, but Law's cover is actually a rather funky downtempo take titled "Fist Time Ever". As good as it is though, this track is never going to be my favourite.

The last track on the first side is a ambient piece called "Earth" that actually closes the album on most other formats. You get a definite sense that this song was shoehorned in here as there was nowhere else for the cutting engineer to fit it. This is a bit of a shame as placing the track here both breaks the early momentum and robs us of a come down at the end.

On the flip side of the first disc, we’re treated to “Domination”- a track that almost defies description. The best way to capture this song's essence is to call it a rip-roaring breakbeat masterpiece with gorgeous synth loops, lush chords, and vocals by JFK—sort of. Next up there are some faint ragga vibes on the appropriately titled "Dancehall Tornado", but the music remains firmly rooted in trance and breakbeat.

"Sequoia" that opens the second disc is a personal favourite. This is one of few tracks with a prominent four-on-the-floor kick drum and open hats on the third beat and it makes for a nice change. The samples are used more sparingly here and the pulsating synths are allowed to take centre stage. "Questions Never Answered" is a bit more straightforward and really doesn't do enough to warrant a runtime of nearly nine minutes. 

Things pick up again with the single "Ajare" which deserved to do chart higher on both the occasions it was released. As the synths blast like sirens the TR-909 hit hats provide a relentless backdrop to the perfect vocal samples. "Kind of the Funk" successfully explores the big beat territory normally patrolled by the likes of Chemical Brothers or Fatboy Slim. The vinyl finishes off with "Drive By" which seems to be an edit of the "Club Mix" of "Blue" from the CD single.

After this initial flush of artistic perfection Way Out West lost their way a bit and became a little more inconsistent. Whilst their second album is good, their third effort "Don't Look Now" saw them use a female vocalist and adopt a more mellow sound. This move really didn't work for me and I lost interest in the band until "We Love Machine" was released in 2010. Whilst Jody and Nick do still surface together occasionally its eight years since their last album and nothing will ever feel quite like this did in 1997. 4.5/5

One record at a time: 459. Wang Chung - Mosaic

My copy of Wang Chung’s fourth album, “Mosaic,” was originally pressed for the Italian market, yet somehow it found its way to England. Like the rest of my Wang Chung collection I acquired this record from eBay around ten years ago, but I can't say this one has been played as much as the others. 

The album opens with a track that proved to be both a blessing and a curse for the band. “Everybody Have Fun Tonight” became a huge hit in North America and catapulted the band into the spotlight. Despite its commercial success, the song has been parodied and even mocked, largely due to the line: “everybody Wang Chung tonight.”

A seemingly casual use of the band’s name as a verb had unexpected consequences and invited a degree of ridicule. From what I’ve read, however, the band has always maintained that “there’s no such thing as bad publicity,” and they’ve embraced the joke with good humour. Still, having their biggest hit lampooned and dismissed as an object of ridicule won't have helped their credibility.

On this side of the Atlantic, the joke didn’t quite land, and “Fun Tonight” barely made an impression on the UK charts. Perhaps there was no joke to get. It’s not a bad song, but it doesn’t reach the heights of “Dance Hall Days.” In fact, there are stronger tracks scattered throughout the album than their most famous single.

The follow up single "Let's Go!" that opens the flip side of this album also managed to crack the top ten in the USA (but was met the same underwhelming response here in the UK) but the internet seems to have forgotten this and is happy to brand the band a 'one hit wonder'.

Second track in the running order is "Hypnotise Me" which is another strong effort that was featured on the soundtrack to the film "Innerspace". I remember this film being quite a big deal when it was released and I imagine the band were pretty pleased to be associated with it. The song wasn't a big hit, but it has a great hook and energy to spare.

Beyond the singles, the album offers standout moments - “The Flat Horizon” deserves special mention, while the closing track, “The World in Which We Live,” delivers an epic finale. Admittedly, the momentum slows with the somewhat clichéd “A Fool and His Money” and “Betrayed” feels directionless, but the strength of the surrounding tracks ensures the album remains a rewarding listen overall.

This album sounds different to its predecessors as not only does it have a different producer, but because it was created using the Synclavier rather than the Fairlight. Alongside the electronics the band deploy a brass section and a veritable chorus of backing singers to give a somewhat more commercial and - dare I say it - American sound. 3/5

One record at a time: 458. Wang Chung - To Live And Die In L.A. (Music From The Motion Picture)

It’s rare for a renowned Hollywood director to become so captivated by a band that they invite them to compose the soundtrack for a film. Yet that’s exactly what happened when William Friedkin chose Wang Chung to create the music for, “To Live and Die in L.A.” in 1985.

It appears that Friedkin was a big fan of the album "Points On The Curve," with the song "Wait" being a particular favourite. It's unclear whether Friedkin knew that band member Jack Hues was classically trained before approaching them to score the film, or if he simply trusted that they would be up to the task. Either way the band accepted the challenge and they wrote and recorded the music in just two weeks.

The album presented here features songs used in the film on the first side and instrumental pieces on the second. The music is not written for orchestra but realised on contemporary instruments such as the Fairlight CMI, PPG wave and EMU Emulator II. Whilst there is a smattering of very eighties sounding guitar and some nice bass from Nick Feldman, this is a distinctly electronic score.

The title track is a clever song that shies away from the band's usual shiny pop sound and delivers something slightly more disturbing. Unusually the chorus descends in pitch which gives a highly atmospheric and introspective feeling. I'm not a big fan of the second track "Lullaby" as it sounds a little kitsch for my ears but "Wake Up, Stop Dreaming" supplies an overdose of Emulator shakuhachi samples before morphing into a pop song that matches the style of the title track. For whatever reason William Friedkin insisted on using the track "Wait" from their previous album on the film so it is reprised here too.

Amongst the instrumental pieces there is a distinctive track called "Black—Blue—White" which sounds uncannily like Front 242. It is interesting to note that the Belgian EDM pioneers have a similar track called "Black White Blue" and I find it hard to believe that there wasn't some 'cross pollination' going on as Jack and Nick scrambled to generate ideas for the soundtrack. 

There's also evidence of corners being cut with the nine minute opus "City of the Angels" which, as good as it is, simply amounts to an extended deconstruction of the track "Wait". Throughout these tracks you can hear distinctive PPG Wave choirs, Emulator strings and drums from the LinnDrum and its older brother the LM-1 - it's like an eighties synth spotting game. 

The final track "Every Big City" has such a strong eighties sound it could be mistaken for a modern tribute used as library music on YouTube (I'm not sure of this is praise or condemnation). Still, this is a highly entertaining album and the combination of clever songs and dark eighties instrumentals wins me over. 3.5/5

One record at a time: 457. Wang Chung - Points On The Curve

The annals of history might record the transition from Huang Chung to Wang Chung as a simple change in spelling, but for listeners, this shift marked a dramatic evolution in the band's sound and artistic direction.

Huang Chung's self-titled debut album, while competent, often feels tentative. Even the original version of their signature track, "Dance Hall Days," lacks the polish and energy that would later define the band. In contrast, "Points On The Curve" - their first release as Wang Chung - embraces a sleek, electronic-driven pop style that moves away from their earlier new wave influences.

When listening to the original UK pressing of "Points On The Curve" you might be struck by its unique running order, which differs from other international releases and all CD versions. Personally, I find this original sequence enhances the album's flow and cohesion, making for a more compelling listening experience. 

The album opens with the single "Don't Let Go" that features a bassline that is both simple and beguiling. It may not be as instantly catchy as some of the band's biggest hits, but this song does have a good groove and was among the first tracks to resonate with the public.

For many, the opening bars of "Dance Hall Days" evoke memories of 1983; for others, the song is forever linked to 2002's "Grand Theft Auto: Vice City." Regardless of your reference point, the track's quirky lyrics and infectious melody are infectious. There's also something about the descending chord progression of the guitar in this song that is quite fascinating. In fact "Dance Hall Days" is so good I can even tolerate the saxophones.

"Look at Me Now" stands out with its funk influences and wonderful orchestral sounds that are coloured by the distinctive, and rather mushy tones of the Fairlight CMI. That same Fairlight hallmark is present in "Even If You Dream," which also features classic Simmons toms and snare, delivering a true eighties overload. What’s especially remarkable on these tracks is the sound that producers Chris Hughes and Ross Callum coax from the LinnDrum. The reverb, EQ, and compression on the drum machine are expertly handled and among the best I’ve ever heard. 

In terms of the compositions I also like "Wait" and "Don't Be My Enemy" - with an honourable mention to "True Love". And yes, "Talk it out" is supposed to end like that. Whilst this album isn't as perfect as my memory tells me, it remains a cornerstone of eighties pop. 4/5

One record at a time: 456. VCMG - Ssss

In 2012, Vince Clarke and Martin Gore joined forces to produce an album of minimalist dance music under the imaginative monicker VCMG. I am not sure what prompted these former bandmates to collaborate in this manner, but it is worth noting that they have not repeated the exercise. Although the relationship seemed cordial enough at the time, it never stuck me as a natural reunion; more a marriage of convenience.

For some reason I bought both this double album, the compact disc and all of the 12" EPs that were released alongside "Ssss" (maybe the anticipation proved too much for me). As it turns out I didn't even need to buy the CD as it came free with the vinyl anyway - so I really do have far more copies of this album than I need. I wouldn't mind this veracious consumption if I actually liked the album, but I can't recall listening to it once in the last thirteen years. On the plus side the vinyl sounds immense with deep bass and near flawless sound reproduction.

As soon as I drop the stylus, the sound of the first track "Lowly" brings back memories and proves to be surprisingly entertaining. I find these tracks hard to pigeonhole but I'd describe the music as minimal techno or a less angular form of IDM. Their sound is more melodic than Autechre, less acid than Richie Hawtin and not as raw as Aphex Twin. To my ears VCMG have a tendency to float around the same space as Speedy J - but purists will probably tell me that's a load of rubbish.

The Achilles heel of all of these tracks is that they are just too damn long. As you might expect, the ideas are solid and the instrumentation impeccable, but things do have a tendency to just ramble on. "Wind Up Robot" and "Bendy Bass" are a case in point where a good three minute trim would make for a much more enjoyable experience. 

Whilst "Single Blip", "Aftermaths" and "Spock" were released as singles I have absolutely no idea what promoted them above anything else here. Maybe the choice was arbitrary. That's part of my problem with this record: it sounds a like one amorphous mass where its difficult to distinguish one track from the next. I totally get that this is two esteemed songwriters throwing off the shackles of pop and trying something different, but it misses the mark for me. I hope to hear this album again in another thirteen years but I somehow doubt it will come out of the sleeve before then. 2/5

One record at a time: 455. Jon and Vangelis - The Best Of

After Jon Anderson and Vangelis put their collaboration on hold, Polydor Records decided to fill the gap with a compilation. The imaginatively titled "Best Of" gathers together the highlights from the band's first three albums and includes their two top ten singles. Released in 1984 this LP broke the top ten and earned the record company a good deal of money for minimal outlay. 

"Italian Song" from the album "Private Collection" might not be the most energetic opening, but it does at least have a strong melody. The hit single "I'll Find My Way Home" is another strong composition but keeps us in the 'easy listening' space a bit too long. 

Things really start to kick off with "State of Independence" which was originally released as a single in 1981 but it sank without a trace. The song was reissued to promote this compilation and it did manage to scrape into the top 70 at the second time of asking. Despite relatively poor commercial success this is undoubtedly one of the pair's best songs and the success of the later Donna Summer version attests to this. The edited version presented here is nice enough but I'd have preferred the full version that was featured on the album "The Friends of Mr Cairo".

Speaking of "The Friends of Mr Cairo" we actually get the full twelve minute version of the title track on the second side along with the rather limp "Outside Of This (Inside Of That)". There's a nice flourish at the end of the album with "He Is Sailing" and "I Hear You Now" rounding things out in style.

Whilst there are two or three tracks on this compilation that don't exactly set my world on fire, I can't think of much else in the band's back catalogue that would replace them. The record company made a good effort with what they had and this is probably the only Jon and Vangelis album you will ever need. 3/5

One record at a time: 454. Jon and Vangelis - Private Collection

Having achieved commercial success with their two previous albums, Jon Anderson and Vangelis decided to team up again and release "Private Collection". Here I will be listening to what Discogs says is an original UK pressing, but as the sleeve has references to a compact disc version, I am not convinced it is from 1983.

Opening track "Italian Song" has a wonderful melody and as Anderson translated his nonsense lyrics into Italian they are much more digestible. "And When the Night Comes" is a good track right up until the point Anderson starts trying to tell us, "A woman needs to feel alive, a woman needs her sex". Even if I judge these lyrics in historical context I still can't digest such sexist nonsense. 

Whilst the music on "Deborah" is pretty strong Anderson rather lets things down with his clumsy lyrics. Only "He Is Saling" comes up to the mark with its vocoder tinged vocals and superlative CS-80 bass. The final track "Horizon" is a very odd one. Imagine twenty two minutes of fairly tuneless synths and Andersons insistent vocals drifting along with no real purpose and you get an idea of just how boring this piece is. I'm glad when it is all over. Any marks here are for "Italian Song" and "He Is Sailing", everything else in this collection was probably best kept private. 2/5

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 cut. "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