Tag Archives: Vangelis

Rain, tears and dreams: Sounds from May 1968

Rain and tear(gase)s

Exactly 50 years ago, in May 1968, promising Greek musicians Vangelis Papathanassiou, Demis Roussos and Lucas Sideras find themselves in Paris, following a failed attempt to relocate to London. There, caught up in the whirlwind of student riots and amid general unrest in the French capital, the group is christened Aphrodite’s Child and releases the single Rain and Tears.

A lyrical composition based on Pachelbel’s Canon in D major, the song became an immediate hit and reached No. 1 in the French charts, thus setting the stage for the band’s hugely successful yet short career (their final album and acclaimed psychedelic masterpiece 666 would be released in 1972).

An unlikely soundtrack to the May 1968 events in France, Rain and Tears became widely popular among those fighting and singing out on the streets of Paris, despite its English and seemingly non-political lyrics. According to Demis Roussos, however, its very title was a veiled reference to the ongoing revolt, with “rain” standing for the May rainfalls in Paris and “tears” alluding to the tear gases thrown in the streets of the French capital.

A dream longer than the night

Vangelis, who would later achieve global fame with his music scores for Chariots of Fire and Blade Runner, revisited the May 1968 events a few years later in his album Fais que ton rêve soit plus long que la nuit (“Make your dream last longer than the night”, a title borrowed by one of the slogans used during the May events), recorded in 1971 and released in 1972.

Only released in France and Greece, this remarkable album (originally subtitled “Poème Symphonique”) is a two-part collage of chants, protest songs, field recordings, sound effects, instrumental passages, as well as news and conversation snippets. Centering on May 1968 and inspired by the French student riots, it can be seen as Vangelis’s personal, highly evocative interpretation and musical reflection on the events.

After all, the spirit of the French May had to do not only with politics, but also the power of imagination and creativity. In the words of prominent film director Costas Ferris, who participated in the street battles in Paris (and would later pen the lyrics for Aphrodite’s Child landmark album 666), the whole May ´68 affair “was not just about street battles, confrontation and politicization. It was poetry”.

Advertisements

At the meeting point of Greek cinema and music: Notes on a remarkable collaboration

A pivotal figure at the intersection of Greek cinema and music, Costas Ferris is mostly known as the director of the award-winning film Rembetiko, and -to a lesser extent- for having penned the lyrics for Aphrodite’s Child’s psychedelic masterpiece 666.

Probably less known has been the collaboration between Ferris and musician Stavros Logaridis, member of the famous Greek pop group Poll and founder of the progressive rock ensemble Akritas, whose debut (and sole) self-titled album still ranks as one of the very peaks of its genre.

Described as a “dance suite for quartet and play back”, Akritas (1973) features a highly original blend of rock, electronic, classical as well as folk elements. Ferris, who had first met Logaridis in London in late 1972, wrote the lyrics for this truly outstanding album, which (like Aphrodite’s Child 666) contains biblical references and allusions to the Book of Revelation in particular.

The two men would soon collaborate again for Ferris’s film The Murderess (1974), based on a well-known Greek novel by Alexandros Papadiamantis. A visually stunning and innovative film, The Murderess also stands out for its unique soundtrack, consisting solely of instrumental electronic music. Composed by Logaridis, who was only 21 years old at the time, the music is largely experimental and abstract, yet closely following the film’s narrative and complementing the various themes and motifs so effectively it soon becomes itself one of the movie’s major components.

Ferris and Logaridis would form a close friendship and collaborate again on various occasions, including the music for the TV series Violet City in 1975 (which would actually lead to a legal battle against Vangelis concerning the famous theme from his Oscar-winning score for Chariots of Fire).

Although Logaridis never quite achieved the level of fame or international success of artists like Vangelis or Aphrodite’s Child, his singular talent remains indisputable. Not unlike Ferris’s seminal role in the evolution of modern Greek cinema, Logaridis’s work has been crucial -if somewhat understated- for the development of the Greek music scene in the 1970s and 1980s.

Indeed, as testified by such groundbreaking works as The Murderess and Akritas, the collaboration between the two Greek artists bore some very special fruit, both on screen and on record.

Great moments of Greek(lish) rock, pt.3: Drunken Socrates

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.

Socrates Drank the Conium (1972)

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.

SocratesBy 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.

Great moments of Greek(lish) rock, pt.1: The Psychedelic Apocalypse

Here is wisdom. Let him who has understanding calculate the number of the beast, for it is the number of a man: His number is 666.

(Rev. 13:18)

Although 60s-70s Greek rock music was of no particular interest to the international public (not least because of obvious linguistic reasons), there were however some notable exceptions. Perhaps the most well-known Greek English-singing band of the era is Aphrodite’s Child (named after a song by Dick Campbell), formed in 1967 by Vangelis Papathanassiou (keyboards), Demis Roussos (bass guitar and vocals), Loukas Sideras (drums and vocals), and Anargyros “Silver” Koulouris (guitar).

Their first single Rain and Tears (1968), an adaptation of Pachelbel’s famous Canon in D, was recorded while the band was based in France. It met with considerable international success and went on to sell more than one million copies.

The band’s undisputed masterpiece, however, would be 666 (The Apocalypse of John, 13/18). Recorded between late 1970 and early 1971, 666 is considered a landmark in the history of progressive rock. An album of astonishing musical diversity, it was a powerful combination of original concept and highly innovative sound.

666 was largely Vangelis’s own musical project, as is testified by the advanced (for the time) use of synthesizers/keyboards, sound effects, and overall production. Musically, the album contains several remarkable moments (e.g. Aegean Sea, Break, The Four Horsemen), however it works best when seen as an uninterrupted, thematically-unified musical composition.

Aphrodite's Child: Best ofIts musical merits notwithstanding, the release of 666 was not unproblematic. The record company did not approve of the record’s length and largely experimental style, to say nothing about its subject matter. To top it off, the track “∞” featured Greek actress Irene Papas singing frantically “I was, I am, I am to come” in an aural simulation of female orgasm.

When the double album was eventually released in 1972 (one year after it had been completed), its blood-red cover (where the number 666 is prominently displayed) would also stir some controversy. This, however, only helped to boost the album’s sales, which exceeded 20 million copies worldwide.

Despite being the band’s greatest achievement, 666 would also be their swan song. Relationships between band members grew increasingly worse during the album’s recording, and by the time the record was out Aphrodite’s Child had already split. Both Roussos and Vangelis would follow successful solo careers, the latter achieving worldwide fame as a composer of electronic music (including the soundtracks for Blade Runner and Chariots of Fire).

Even though the children of Aphrodite had chosen to go their separate ways, they had managed to give birth (albeit a troubled one) to their psychedelic masterpiece – an everlasting monument of Greek rock music and one of the defining albums of the 70s progressive and experimental scenes.