VANGELIS Interview 2016, English Version


Vangelis Album „Odes“ von 1978

Even though you are a cosmopolitan, your music has always stayed rooted in Greece which is evident in the two records that you recorded with the Greek actress Irene Papas. For me, those two records are remarkable in the way they demonstrate how folk music and synthetic sounds can create a piece of musical art. How did it come to this new musical direction in your life in 1977 with Odes and seven two years later with the follow up Rhapsody?

There is no why we did it. We just did it. But I must say, although that these traditional songs they have been approached with a completely different way these recordings was, and still are, very well accepted in Greece, especially from the old people at villages. Which means, that what ever we do, we should never betrayed the roots. I grab the opportunity here to mention that there are more examples, in various albums that I have recorded, that the influence and presence of my country is equally evident,

Since Aphrodite’s Child, you worked with your fellow country man Demis Roussos, who was very successful in 1973 in Germany as a Pop Singer. You used his extraordinary voice also on the BLADE RUNNER soundtrack. Did you both had considered other collaborations after that?

We had others very successful collaborations like the “Mourir Auprès De Mon Amour/Because”.

With Jon Anderson, the front singer of Yes, you had a very productive collaboration between 1979 and 1991, where your music got an additional depth through the lyrics of Jon, covering love, life and death. Please take us down memory lane and tell us how you worked together. Did you create your music first and then Jon wrote the lyrics or vice versa?

My system is not to have a system. And with Jon, I can only tell you one word. Spontaneity. Going to the studio, we never knew in advance what are we going to do and we didn’t knew after what we have done.

After four remarkable records, you guys went your separate ways. How come? Was this just a lack of opportunity and time, or did you want to go in a new direction artistically?

We never thought about it. It stopped it as it started. Without any specific plan.

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    Thanks a lot for this interview, it´s like an extra christmas gift for me :)

    Vangelis, if you´re reading this, thanks a lot for all the music you gave us so far. It´s a pleasure seeing you sitting by the CS-80 still in 2016. I can only hope one day you will be able to release the old NEMO Studio tapes and maybe an official ‚Bitter Moon‘ soundtrack.

    As a human being with sensitive antennas I´m quite aware that your music is more than just music but like a translation of space, life and love in music as to be able to be perceived by human senses. Channeling those energies is quite a lonely and important task in a world where greed, power and money for most people is of overwhelming and higher importance.

    I really admire what you´re doing and sometimes I wish I could visit the old and long gone NEMO Studios in London just to experience the atmosphere where all the early works were received, where space energies and stardust became alive through your hands and became music.

    Thank you Mr. Vangelis and all the best wishes

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      Stimmt, bei diesem Interview, das wahrscheinlich für den Literaturnobelpres 2017 nominiert wird, kann in der deutschen Übersetzung viel Tiefsinn verloren gehen.

      Beispiel „Is up to you to do it“ könnte man übersetzen mit „Machs doch einfach selber“ oder „Kannst Du so machen, dann ist es halt Kacke“.

      Das ändert natürlich einiges am Sinn dieser vielen tiefschürfenden Aussagen.

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