Socrates Drank the Conium were undoubtedly the most important exponents of the Greek rock scene throughout the 1970s and up to the early 1980s. Their name has attained a somewhat legendary status and commands considerable respect among Greek rock fans and critics up to this day.
Although the name ‘Socrates Drank the Conium’ first appeared in 1969, the story of the band goes back to the time when fellow high-school students Antonis Tourkogiorgis and Yiannis Spathas formed The Persons. The impeccable synchronization and exemplary blending of Spathas’s guitar playing with Tourkogiorgis’s distinctive use of bass was evident from early on, as was the potential for the remarkable compositions that were about to emerge.
After releasing three singles and making several live appearances as Persons, they changed their name to Socrates Drank the Conium (or simply Socrates, as friends and fans would end up calling them) and made their recording debut (Socrates Drank the Conium, 1972) as a trio, with Elias Boukouvalas behind the drums. The album is characterized by an explosive mix of blues, heavy rock and psychedelic elements much akin to the sound of bands like The Jimi Hendrix Experience and Cream. Apart from such obvious influences, other artists that had a significant impact on Socrates included Ten Years After, Fleetwood Mac, John Mayal, Free and Led Zeppelin. Despite the rather poor production and the unhelpful recording conditions, which also concern their next album (Taste of Conium, 1972), Socrates’ powerful message got through and resulted in a warm reception from both Greek public and press of the time.
The band’s biggest asset was undeniably the astonishing technique of guitarist John Spathas whose virtuosity and musicality produced results of exceptional power and expressiveness when combined with the band’s rock-solid rhythm session. In addition, the frequent incorporation of traditional Greek elements in Spathas’s guitar passages and solos would also become one of the band’s trademarks and most significant innovations.
The introduction of Live in the Country – the very first song in Socrates’ recording career – is a brilliant demonstration of Spathas’s skillful guitar playing and highly idiomatic musical language, which arises from a combination of a Hendrix-like sound and elements of Greek folk music.
By the time their third album (On the Wings, 1973) hit the shelves, Socrates had already attained a preeminent place amongst contemporary Greek bands. Having played at most of the major venues in Greece but also elsewhere in Europe (including club Paradiso in Amsterdam), Socrates became known for the forcefulness and electrifying atmosphere of their live performances.
The creative course of Socrates culminated in the mid-1970s, when their collaboration with keyboardist and composer Vangelis Papathanassiou (who had also been a member of Aphrodite’s Child) led to the release of Phos (1976). Vangelis’s touch gave the band a more lyrical and elegiac sound that is clearly distinguishable throughout the album. Recorded in London, Phos (“light” in Greek) stands out as the crowning achievement of not just the band, but the entire Greek progressive rock scene of the era.
The album contains pieces of profound beauty such as Queen of the Universe, as well as a popular rendition of Starvation, which had appeared on the band’s debut album. The indisputable highlight, however, is Mountains (which would be re-recorded again in 1980), where Spathas embarks on an improvisatory trip of monumental scale, showcasing his exceptional guitar technique and unique assimilation of Greek folk musical idioms.
In the early 1980s, Socrates returned with two more noteworthy attempts (Waiting for Something and Breaking Through) and a couple of years later the band released its swan song (Plaza, 1983), having a last shot at international fame. Just before the turn of the millennium Socrates came together for a series of concerts which resulted in the release of their live album Live in Concert ’99, a record that effectively summarizes their long and remarkable career.
Pingback: Instruments of sorrow | The Muser
Pingback: A brief history of Greek rock: Spyridoula’s special birthday concert | The Muser
Pingback: In Memoriam: Yiannis Spathas (1950-2019) | The Muser