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Tonight we honor the memory of master musician and composer Vangelis who passed away at age 79 last Tuesday, May 17.
Evángelos Odysséas Papathanassíou (Greek: Ευάγγελος Οδυσσέας Παπαθανασίου [eˈvaɲɟelos oðiˈseas papaθanaˈsi.u]; 29 March 1943 – 17 May 2022), known professionally as Vangelis (/væŋˈɡɛlɪs/ vang-GHEL-iss; Greek: Βαγγέλης [vaɲˈɟelis]), was a Greek musician, composer, songwriter and producer of electronic, progressive, ambient, and classical orchestral music.[1] He was best known for his Academy Award-winning score to Chariots of Fire (1981), as well as for composing scores to the films Blade Runner (1982), Missing (1982), Antarctica (1983), The Bounty (1984), 1492: Conquest of Paradise (1992), and Alexander (2004), and for the use of his music in the 1980 PBS documentary series Cosmos: A Personal Voyage by Carl Sagan.[1][2]
We begin tonight's program with Aphrodite's Child was a Greek progressive rock band formed in 1967, by Vangelis Papathanassiou (keyboards, flutes), Demis Roussos (bass, acoustic and electric guitar, vocals), Loukas Sideras (drums and vocals), and Silver Koulouris (guitar).[1] They initially found success in Europe with hit singles like "Rain and Tears", "End of the World", "I Want to Live", and "It's Five O'Clock". The band's career ended shortly after release of their most influential album, 666 (1972), which has appeared on a number of lists of the top progressive or psychedelic albums of all time.
666 (subtitled The Apocalypse of John, 13/18) is the third and final studio album and only double album by Greek progressive rock band Aphrodite's Child, released in June 1972 by Vertigo Records. Ostensibly an adaptation of Biblical passages from the Book of Revelation, it is the group's most critically acclaimed project. Due to internal tensions during the recording process and conflict with the record company, by the time it was released the band had already disbanded and its members had begun work on solo projects.
The central concept is a countercultural interpretation of the Book of Revelation, in which a circus show based on the apocalypse performs for an audience at the same time that the real apocalypse takes place outside the circus tent, and at the end the two merge into one.[4] Ferris described the result as a "concept book", and stated that he intended for the narration to be looser than Tommy, but more rigid than Sgt. Pepper.[4]
The music of 666 is more ambitious and experimental than previous Aphrodite's Child releases, containing greater use of electronic keyboards, studio experimentation, expanded instrumentation,[29] and influences from genres such as jazz, musique concrète and world music.[30][31] Reflecting this character, only six of the album's 24 songs have vocals and lyrics, four by lead singer Demis Roussos and two by Loukas Sideras. The rest are either instrumental, instrumentals with narration, or use vocals as an instrument.[32] Although the album's material is often acknowledged as challenging and uncommercial, it has also been described as tuneful, "fun", and retaining elements of pop music.[9][32][33] Authors Paul Hegarty and Martin Halliwell interpreted the album as reflecting "the turmoil in Greece at the time",[29] while Vangelis argued that its theme was highly relevant in general, stating in Sounds in 1974, "The answer to the question 666 is today."[12] The Mojo Collection argues that "the album's lush arrangements were as startling as any of the progressive era and have aged better than most", in part due to Vangelis not relying excessively on contemporary synthesizers and the prominent role of guitarist Silver Koulouris.[31]
Blade Runner: Original Motion Picture Soundtrack is the soundtrack for Ridley Scott's 1982 science-fiction noir film Blade Runner, composed by Greek electronic musician Vangelis. It has received acclaim as among Vangelis's best work and an influential work in the history of electronic music.[4] It was nominated in 1983 for a BAFTA and Golden Globe as best original score. The score evokes the film's bleak futurism with an emotive synthesizer-based sound,[5] drawing on the jazz scores of classic film noir[6] as well as neo-classical elements and Middle Eastern texture.[1] It features vocals from Demis Roussos and saxophone by Dick Morrissey on "Love Theme". The track "Memories of Green" from Vangelis' 1980 album See You Later was also used.[7]
The official release of the soundtrack was delayed for over a decade. The first 1994 release omitted much of the film's score and included compositions not used in the film.[4] A 25th anniversary edition released in 2007 included further unreleased material and a disc of new music inspired by the film. Various bootleg recordings containing more comprehensive versions of the score, as well as superior sound quality to the original 1994 release, have widely circulated.[8]
An orchestral rendition of the soundtrack was released in 1982 by the New American Orchestra, but disowned by both Vangelis and director Scott.[8]
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