Cool Jazz. Modern Jazz. Jazz fusion. Vocal jazz. Spiritual jazz. Free Jazz. Others Jazz. US Rap. Old School Rap. West coast Rap. East coast Rap. Others US Rap. French Rap. International Rap. Hip Hop Movies. Other Electro. European Movies. TV Shows. Sound Library. World Music.
African Traditional. Indian Ocean. Others South American Traditional. West Indies. Visual Kei. Shibuya Kei. Sound Tracks. Others Countries. Old Music. Ancient Music. Various Items. Accessories for protection and cleaning. Transport packaging. Brush and Cleaners. Plastic sleeves for records. On cover Cookies You can set your cookie preferences using the toggles below.
Aphrodite's child and related - Aphrodite's child, , Pax spray. Number of items: 3 - Various conditions see description - Including: Gatefold. Multiple Titles Yes. Yes, this is actually a heavy rock song! Just change the Moody Blues type of Mellotron-oriented keyboard arsenal to a Hammond, and it could be an obscure Deep Purple song.
A curiosity more than a recommendable or representative Aphrodite's Child number. This one's an energetic and rocking psych-era pop song in a fast tempo. Demis Roussos' raspy vocals are backed by high vocal harmonies reminiscent of the early Moody Blues. The song hurries ahead in a very straightforward way without much new details, and for that reason it is quickly worn out. But 'Rain and Tears' has proved to be an evergreen classic, hence three friendly stars for this pop single.
The strangest part about this album is that the tracks are so diverse that it often sounds like a various artist compilation than a single band performing. The title track sounds like some straight out of the Procol Harum playbook with moody organs churning out their notable baroque pop and classical influences.
The second track "Wake Up" sounds like a totally different band with a pop folk hippie infused consciousness awakening psychedelic pop feel that is drenched in key changes. Of all the tracks on board, it's the closer "Such A Funny Night" that is probably most like anything of the debut album.
Catchy piano grooves, psychedelic Indo-raga sitar and helium induced vocal pitches augmented by flute and sitar trade-offs. Definitely my favorite track and the catchiest that even manages to squeeze in some ragtime piano sounds. It seems that Vangelis had sort of a one tracked mind and was obsessed with the apocalypse and end days, which when applied on the debut album and "," flourished in great progressive fecundity, however with this second album it seems that the band were just going for as much chart topping pop jugulars as they possibly could with the only attention being paid to crafting as many commercial hits as allowed by law with no regard given to the unifying potentials of the album as a whole.
Despite the tracks lacking the unified thematic luster of "End Of The World" or not even coming close to the progressively polished sophistication of "," it still has it's charms and while eternally doomed to be the lesser of APHRODITE'S CHILD's mere three albums, is still a decent psychedelic pop album that displays Vangelis' signature melodic sound coupled with Roussos romantic Mediterranean vocal style that would propel them into hugely successful solo careers in the 70s and beyond.
Vangelis in Formynx and Roussos in Idols. Unfortunately just as the band had formed, Greece was rocked by the upset of a right-wing dictatorship commonly known as the Regime Of The Colonels which lasted from which is why Greece did not participate in the burgeoning prog scene as did most of the European continent. Vangelis, the de facto leader from the beginning, decided to relocate his newly formed band in London where they could carry on without the burdens of political turmoil but en route found themselves stuck in Paris during the strikes and student uprisings which delayed their musical ambitions for a short time.
Koularis would not take part in the band until 's " The title track opens which sets the overall vibe of the entire album with an almost James Bond theme song type of feel with over the top pop vocals dressed up with a somewhat cheesy symphonic backdrop but the track morphs into powerhouse of classical piano prowess, percussive outbursts and dramatic dynamics shifting.
It also is irresistibly catchy as Vangelis proved to be one of the great song writers of all of Europe. Kite" with its circus like quirkiness and lyrical similarities. The big hit was "Rain And Tears" which was a major success in Europe and is a baroque pop tune that is a reworking of the German composer Johann Pachelbel's "Pachelbel's Canon.
These tracks fit into the overall psychedelic pop scheme of things but have more sounds effects and progressive developments.
Personally i was quite surprised how much i liked this debut album as i was only expecting some generic 60s pop album that was a carbon clone of the British scene but that couldn't be farther from the reality.
This is a brilliant example of 60s psychedelic pop and for anyone interested in that scene should by no means miss out on this one. Roussos has a unique vocal style that gives a flair of exoticness as his Greek accent and Mediterranean influences clearly separate the band from the British scene all the while encompassing the best aspects of it. While the slower tracks may prove a little cheesy for the casual listener, the orchestrations of the compositions are fairly sophisticated for the average pop band drawing the obvious comparisons to The Moody Blues and Procol Harum.
Review by memowakeman Special Collaborator Honorary Collaborator. This compilation album is pretty nice if you don't pre-judge and let your ears be fulfilled by the cool psych-pop tunes that Demis Roussos wrote long, long time ago. I am saying this, because here, as prog lovers, we fell in love with , the ultimate masterpiece of this band, but their earlier works don't really have much in common with the so acclaimed , which is why I'm warning you.
Once you have open ears and mind, you will really enjoy the sweet voice of Roussos, along with the cool arrangements Vangelis added in this compilation of nice short tracks, in which you will find some folk resemblances, actually Greek traditional folk can be found here, as well as that spicy psychedelia inherent in their music.
The pop sound might be also evident in some songs, but believe me, this is a good pop. I'm curious to hear comments about.
One of the best tracks of the whole album. This track is very interesting for the arrangements. It's folk, but this could be folk from a number of different countries. There's a celtic flute, a Greek choir, African drums which turn into a jazz drum solo while the choir keeps track of the two chord of which the track is made.
Can the beast be captured? I don't know, but other than the drums, the keyboards come from remote to help the drums. While we proceed to the end, the music becomes more challenging. The voice screaming "I am to come I was" is more obsessive than the drums below. Is it the beast? It looks like. I can't say that it's a scary track because I'm used to Shub-Niggurath and similars, but it doesn't transmit good sensations for sure. Is she Irene Papas?
Nothing so dark will ever be realeased by any of the band's members in the following years. Also in this song I hear some Canterbury influences. Or better, the beat influence makes me think to Wigwam but I hear also Gong or even Gentle Giant on this one.
Surely a song that deserves some attention. Its position in the album, just after the darkest and more challenging moment is not a case. It's a pity the this song is closed by a fade out. Now comes the epic: a 20 minutes track after a whole album on which the longest song doesn't reach 5 minutes and half and some are shorter than one minute. It's a suite of the kind of Saucerful of Secrets or some Caravan instrumental moments, but totally original.
Nobody else than Aphrodite's Child could have done a thing of this kind. It's an epic track, very intense and developed. There are folk elements, the guitar played like a bouzuki or a mandolin for example. It's a track on which the effort of all the band's members can be heard. The recorded voices from previous tracks, specially infinity, which overlap the choir in the most relaxing part, it looks like this is a theatrical representation of the Apocalypse, or just that the whole mankind is watching the end of the world like it was a performance.
In the crescendo of chaos which follows, the sreams from Infinity are dreadful and spine chilling. At minute 12 there's another section made of percussion and guitar which can remotely remind to Santana.
The music grows up again including bass and keyboards. Some tapes from the previous speeches are quite randomly in but the base is clear and the track does never loose its continuity. This track is enough to consider the album a masterpiece. The crescendo becomes more chaotic and at minute the music dissolves again into percussion and tapes.
It's time for a long drums solo on which Vangelis puts electronic spacey sounds which survive when the drums stop. A voice says "All the seats were occupied" and the track ends in a scary chaos. Not bad for the end of the world. There's time for a closer. The world is over and the album is about to end.
After all the darkness accumulated up to now, the band didn't want to leave its public with so bad sensations. They probably knew that this would have benn their last work. It' Lucas Sideras. Thanks to "Mrbelette" for pointing it out. They have closed their story with a masterpiece, not many artists have been able to end in this way.
The New Testament Book of Revelation was tailor-made for a Prog Rock concept album, especially in the spiritually adventurous and drug-addled early s. But their more refined symphonic interpretation lacked the untethered psychedelic overkill of this album, not to mention the orgasmic shrieking of guest star Irene Papas.
Goodness knows how closely the '72 version follows Scripture, but was that really its aim? In retrospect, the adaptation here by multi-instrumentalist Evangelos Papathanassiou aka Vangelis pandered more to counter-culture conceits, with the same calculated efficiency he would later bring to his solo albums and soundtracks. The album, originally two LPs, covers a lot of territory in minutes, earning high marks for diversity and chutzpah.
Side One of the first record re-imagines the fall of Babylon as an Arena Rock event, then moves to the haunting poetry and solo piano of "Loud, Loud, Loud", then kicks into the full-throttle cosmic rock of "The Four Horsemen", followed by some electro-vibe Aegean folk music, followed in turn by even more portentous narration And on it continues, throughout four sides of vinyl: into the Battle of Locusts, the Wedding of the Lamb, the Capture of the Beast complete with rattling chain effects , plus the Seven Bowls, Seven Seals, Seven Angels, Seven Trumpets, so forth and so on.
All of it incredibly ambitious, suitably pompous, and wildly creative in an undisciplined sort of way. Much like the car depicted in the sleeve art it's an album careening headlong into a masonry wall: a messy but impressive experience, musically compelling but often even more incoherent than its source text.
But that same stylistic inconsistency is possibly a saving grace, because if one episode doesn't grab your attention hard to believe the next won't be too far behind it.
Disregarding the hodge-podge insanity of the climactic twenty-minute medley "All the Seats Were Occupied", the album packs separate tracks into total minutes: you do the math. Don't blame Vangelis for trying to stuff all his eggs into one colorful basket. This was the sound of a young musical prodigy with aspirations beyond his native Greece, and as yet thankfully unaware of his own limitations. Under the circumstances a few cracked shells ought to be expected, but who cares?
We can only hope the actual End of Days will sound this entertaining. I mean is a progressive landmark in my opinion but on the other hand it contains many moments that are pretty hard to bear for many people like the long lasting copulation on second disc for instance.
It has it's meaning and significance for the story of the album no doubt but I can imagine there are complete tribes on this earth who feel this shouldn't be on any serious recording.
Okay, the late sixties and seventies was the era of sexual liberation but to utter this in such a flagrant way, hmmm It's only fair to say this feature on the album is just one of many aspects and there is much to digest on this doubler. Strange sounds of all kind, great music Four Horsemen f.
Not good enough by any means for the grade "excellent" in my opinion for therefore the positive impressive moments are a minority compared to the negative bizarre stuff. But at least is original and important to the history of progressive rock.
And for that reason all things considered it gets three stars from me interesting and essential instead of good but non-essential in this case.
By the way like several reviewers did before me I deliberately saved this album to become my review : social review comments Review Permalink Posted Tuesday, June 25, Review this album Report Review Without question I hold this album up as a true testament to the powerful and creative heights that human artistic expression can take us. As the record company demanded severe editing and Vangelis kept wisely his own head, the release was postponed by nearly two years.
Roussos is effectively stealing the show on the best-known song 'The Four Horsemen', but on the whole contains very little ordinary singing. Instead human voices are more used in spoken narrative parts. Musical ingredients are very varied, ranging from folklore to psychedelic or avant-gardisctic prog.
The patchwork factor sometimes disturbs the coherence, and frankly there are quite many tracks of 25 that I'm not fond of. And isn't it quite silly to announce: "That - was - The Wedding - of - the Lamb Now - comes - The Capture - of the Beast'?
Irene Papas does her notoriously provocative wailing on 'Identity' which is followed by the rollicking "Here and Now! The nearly side-long 'All the Seats Were Occupied' is rather over-stretched, but I like the way ends with the simple, emotional song 'Break'. Every proghead should listen it through with concentration at least once. I am proud and delighted to have this album in my Collection. The mere glance at the cover fills me with joy and I stand in awe, somewhat, when listening to it.
The music possesses everything prog ought to. It is pompous, dramatic, eclectic and furthermore based around a concept of biblical thematics. That seems to be just about enough and more required. Or isn't it? There is no denying that the musicality and power of the concept is very impressive.
The main problem, for me, lies in the overall material. I don't think that the album is as brilliant all the way through, as it is in some of it's parts. Obviously the record is intended to be sat through, that is listened to in one sitting.
To me it is rather difficult to do that. I find myself wander off, both in mind and body. There is no shortage of great songs on The first seven tracks or so are great, "The four horseman" is one amazing track.
Dramatic and exciting. The trembling vocals of Roussos is really fitting the musical context. The finest track of the first disc I own the CD version is "Aegian sea" which is an almost ambient track and to me forebodes the future of Vangelis.
This is such an emotive track and really gets my blood flowing. Simply outstanding. Short but very powerful. The second disc holds "Hic et nunc" and "All the seats were occupied".
Together they form the epic center piece of the album. I do not rate it all that high, since I feel it noodles on a bit, sometimes going nowhere. I does not manage to keep up my interest all the way through. I guess that the conclusion of my ramblings must be that really is an overbearing album, too heavy and meandering to keep up the interest and quality. It is an impressive album and I think one ought to have taken part in it by listening once or twice but I fear it is not the Classic it is supposed to be.
The band bites off too large chunks of musical flesh to carry it off. It leaves an album of good and sometimes great songs. At times even pointless ones. To me it is an album worth three stars and no more. Judge by yourself: first of all, it comes from Greece. There are not many important Greek progressive rock opus from the classical 70's decade. Not really easy to describe.
Third, as you probably understood, the band abandons the psych-pop short songs format of the 60's to turn more progressive and esoteric. Finally, this record will be the last from the Greeks, as the line-up was pursuing different objectives. Vangelis wanted to explore unknown spacey musical landscapes, "" being mainly his baby, whereas Demis Roussos will move towards romantic pop songs.
Concerning the curious minimalistic cover, it simply represents a car registration plate. Now, let's see what this beast is made of. Disc 1 alternates structured tracks and ambient narration interludes. Despite its title, "Loud, Loud, Loud" is a calm piano narration, followed by the most known passage of the album, "The Four Horsemen".
A delicate psychedelic and ethereal song with a crystalline voice. But now the strangeness really begins. The slow mystical narration "The Seventh Seal" introduces another little gem, the floydian "Aegian Sea".
This aquatic instrumental is just magic, perfect for relaxation. The spoken ambient "Seven Bowls" and experimental "The Wakening Beast" interludes lead to the incantatory ethnic "Lament", that possesses a slight middle-eastern feel.
It abruptly mutates into the more lively but still mystical "The Marching Beast" and its modal jazz touch. Don't worry, surprise comes back with the pure free-jazz "Tribulation". Fun, although quite out of place. The only weak passage of this disc is in fact "The Beast", a little irritating soft rock song. The first part concludes with the shortest track, the odd spoken "Ofis".
Disc 2 is bit more experimental and improvisational. The bizarre narration "Seven Trumpets" introduces the cool psych jazz-rock "Altamont". It's not everyday that you hear a mystical ethnic folk with electronic sonorities!
Very nice! Enjoyable, but less astonishing than the three first tracks of the disc. These 19 minutes are a sort of mixture of electronics and space rock jam over which are superposed some extracts of the record. For instance, "Ofis" is repeated 3 times, as it only lasts 17 seconds.
Pleasant, although a bit messy at times. The ender, "Break", is a soft piano song, a little cheesy. Original, innovative, creative are one of the few words that comes to mind when talking about this nearly indescribable progressive beast. A little lack of coherency, spoken interludes and a few weaker passages are the only negative points that can be found on this unique double-album. Few artists were able to offer such musical variety at the time and unite opposite genres such as rock, folklore, electronics and jazz.
Nevertheless, more than just experimental fusion, the compositions often manage to be very good and groundbreaking. Some of the multiple ideas spread all over the record are ahead of their time. After all, you're listening to psych- folk-rock crafted by a future pioneer of electronic music.
IVANOV (5) - Let Me In / 14 Person (Vinyl), Quickie Rhythm, Destinados A Ir Al Abismo, Commercial, Liquid Swords - Wu-Tang Clan - Disciples Of The 36 Chambers: Chapter 1 (CD), Io Uguale Io - Renato Zero - ZerOro (CD, Album), Divertimento, Op. 4 (1923) Für Flöte, Klarinette, Horn Und Fagott - Nielsen*, Hindemith*, Haas*, Eis, It`S Not Just A Story - Lords Moor Singers - Majim Jesaja 12:3 (Vinyl, LP), Nightlife - Pet Shop Boys - Format (B-Sides And Bonus Tracks 1996–2009) (CD), 2nd Mov. Menuetto. Un Poco Allegretto - Joseph Haydn, Aeolian String Quartet - String Quartets Op. 9, The Artist In The Ambulance - Thrice - The Artist In The Ambulance (CD, Album), Rewind - Karl Tuff Enuff Brown - Pure Silk : A New Dimension (CD) We Have Joy - Killing Joke - Revelations (Vinyl, LP, Album)