1492 Conquest of Paradise OST (1992) - Vangelis

Review #18

ALBUM INFO

Artiste:  Vangelis

Year:  1992

Genre:  Soundtrack/New Age/Electronic

Duration:  55min

Label:  Warner Music

Format:  CD

TRACK LISTING

1. ‘Opening’ – 1:21
2. ‘Conquest of Paradise’ – 4:47
3. ‘Monastery of La Rabida’ – 3:39
4. ‘City of Isabel’ – 2:16
5. ‘Light and Shadow’ – 3:46
6. ‘Deliverance’ – 3:28
7. ‘West Across the Ocean Sea’ – 2:53
8. ‘Eternity’ – 1:59
9. ‘Hispanola’ – 4:56
10. ‘Moxica and the Horse’ – 7:06
11. ‘Twenty Eighth Parallel’ – 5:14
12. ‘Pinta, Nina, Santa Maria (Into Eternity)’ – 13:19

CAPSULE REVIEW

When first released, Vangelis’ score for 1492: Conquest of Paradise did badly in sales.  It didn’t help that Ridley Scott’s work was also a disaster.  It was only in 1995 that the title track rose in prominence after a German boxer used it as introduction music before his boxing bouts.  More than two decades on, and on hindsight, this album is a masterpiece, one of Vangelis’ very finest.  If his score for Blade Runner (1982) is his magnum opus, this comes as a close second. 

Alternating between dynamic pieces like the title track and ‘Light and Shadow’ and quieter but evocative tracks like ‘Monastery of La Rabida’ and ‘West Across the Ocean Sea’, the score provides a sumptuous musical journey that culminates in the epic ‘Pinta, Nina, Santa Maria (Into Eternity)’. 

There’s enough ethnic flavour to suggest that Vangelis is in sync with the movie from a cultural standpoint.  Some of the organic instruments used e.g. Spanish guitar and mandolin in tracks like ‘City of Isabel’, ‘Deliverance’ and ‘Hispanola’, not to mention choral work from the superb English Chamber Choir, give the album such a musical richness that you will be clamouring for more when it ends.

Highlights:

‘Conquest of Paradise’ – One of Vangelis’ most famous movie themes, possibly only second in popularity to the main theme for Chariots of Fire (1981).  This is a triumphant and powerful piece, full of grandeur and high adventure, performed with Vangelis’ synthesizers and the English Chamber Choir.

‘Hispanola’ – Also performed by the English Chamber Choir with ethnic vocalization, this is a strong, rhythmic piece with an unconventional beat.  It builds up into something very spectacular midway with synths, before reprising its choral chorus.  The music ends on a calming note, as if the fury of battle has given way to a thoughtful aftermath. 

‘Pinta, Nina, Santa Maria (Into Eternity)’ – One of Vangelis’ most astonishing tracks in his entire discography, this 13-minute epic of electronic music needs to be experienced.  The melody repeats itself again and again, but there’s never a dull moment.  Its seeming endlessness is breathtaking to behold.

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality: Pristine recording with superb hi-fidelity sounds

Rating:  

Alexander OST (2004) - Vangelis

Review #15

ALBUM INFO

Artiste:  Vangelis

Year:  2004

Genre:  Soundtrack/Orchestral

Duration:  57min

Label:  Sony Classical

Format:  CD

TRACK LISTING

1. ‘Introduction’ – 1:32
2. ‘Young Alexander’ – 1:36
3. ‘Titans’ – 3:59
4. ‘The Drums of Gaugamela’ – 5:20
5. ‘One Morning at Pella’ – 2:11
6. ‘Roxanne’s Dance’ – 3:25
7. ‘Eastern Path’ – 2:58
8. ‘Gardens of Delight’ – 5:24
9. ‘Roxanne’s Veil’ – 4:40
10. ‘Bagoas’ Dance’ – 2:29
11. ‘The Charge’ – 1:41
12. ‘Preparation’ – 1:42
13. ‘Across the Mountains’ – 4:12
14. ‘Chant’ – 1:38
15. ‘Immortality’ – 3:18
16. ‘Dream of Babylon’ – 2:41
17. ‘Eternal Alexander’ – 4:37
18. ‘Tender Memories’ – 2:59

CAPSULE REVIEW

Vangelis’ most high-profile film score since the 1992 Conquest of Paradise, Alexander is a reminder of the master’s ability to conjure up astonishing music.  It is also possibly the only positive note to come out of the disastrous movie, one of director Oliver Stone’s career nadirs.  Whether Vangelis’ music works in the movie or not is beside the point – this is brilliant music on its own, and after the debacle of the movie, I think it’s best to appreciate the music as a standalone album.

Featuring eighteen tracks from quieter pieces like ‘One Morning at Pella’ and ‘Tender Memories’ to middle-eastern influenced rhythmic music such as ‘Roxanne’s Dance’ and ‘Gardens of Delight’, the score also sees Vangelis attempting what could be his first full-fledged orchestral score, with accompanying electronic music.  The result is an album of grandeur and heroic if sometimes melancholic music.  It’s a pity this got passed by the Oscars.

Highlights:

‘Titans’ – The main theme starts off with some choral work, before brass instruments come into play.  It builds up into a full orchestra with choir and drums.  This is one of Vangelis’ most highly-charged works – full of vitality, and bursting with feelings of courage and heroism.

‘The Drums of Gaugamela’ – I think this is my favourite track.  Starts ominously as if a battle cry for war, it builds into a concoction of drums, percussion, and brass instruments.  It is a journey into war, the bloodshed, the sacrifices, and the glories.  Vangelis captures all of these so brilliantly in this action-packed track.

‘Roxanne’s Veil’ – Performed by the outstanding Vanessa Mae on violin, and accompanied by Vangelis’ electronical arrangements, this is a very beautiful track, almost an anomaly in the score because it feels so different from the tracks preceding and after it.

‘Across the Mountains’ – Together with ‘Eternal Alexander’, this track is arguably Vangelis at his most classical and purely orchestral.  The music suggests a conqueror’s long journey, across the mountains, and across the vast lands, in search of conquest in the hopes of achieving divinity. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality:

Great recording with hi-fidelity sound

Rating:

The City (1990) - Vangelis

Review #1

ALBUM INFO

Artiste:  Vangelis

Year:  1990

Genre:  New Age / Electronic

Duration:  44min

Label:  EastWest

Format:  CD

TRACK LISTING

1.       'Dawn' – 4:16

2.       'Morning Papers' – 3:55

3.       'Nerve Centre' – 5:30

4.       'Side Streets' – 4:12

5.       'Good to See You' – 6:51

6.       'Twilight' – 4:57

7.       'Red Lights' – 3:55

8.       'Procession' – 9:33

CAPSULE REVIEW

I think it’s fair to say that some of Vangelis’ most accomplished works were recorded in the 1970s and 1980s.  But this 1990 album remains underrated, even by loyal fans of his.  

Released in between Direct (1988) and his outstanding film score 1492: Conquest of Paradise (1992), The City is a concept album centering on urban life, by turns explosive and meditative, providing nearly 45 minutes worth of excellent electronic music, with seamless overlay of Vangelis' trademark voices and ambient sound recording e.g. footsteps, a motorcycle starting.  Not to worry, these overlays do not make up more than 5 minutes of the total runtime. 

The City is also one of Vangelis' more jazz-oriented albums and is a breeze to sit through.  It also wouldn’t be out of place functioning as a film score for a documentary about urbanity and urban dwellers of a cosmopolitan city.  

Such is Vangelis’ unparalleled skill in painting vivid soundscapes mainly through his synthesizers that you will find The City ending with 'Procession', a 9-minute long piece with a repetitive melody and chorus that grows increasingly intense, with more instruments layered on top of each other, coming full circle to the ambient sounds used in the first track 'Dawn', as if another day awaits, possibly anew, or possibly same old.

Highlights:

'Nerve Centre' - the album's 'noisiest' piece, a kind of heavy rock-inspired track with Vangelis simulating the electric guitar through synthesizers.  It is wonderfully arranged, and ends off with the feeling that you are seeing fireworks of joy.

'Good to See You' - perhaps the best track of the album with a slow jazzy rhythm that makes you feel like you are strolling along the sidewalk as night falls.  One of Vangelis' most underrated compositions. 

Reviewed on Luxman Stereo Integrated Amplifier A-383, Marantz Compact Disc Player CD-63SE, and a pair of 1973 New Advent Loudspeakers.

Sound Quality: 

Consistent and decent recording

Rating: