Comments on: Wings On Our Heels

By: Jim Lochner

Jim Lochner — Thu, 14 Jan 2010 18:54:10 +0000

I’ve never seen it so I can’t judge. I’ll add it to the already lengthy list. :) And that’s strictly for the score.

By: Charles Mazarakes

Charles Mazarakes — Thu, 14 Jan 2010 18:50:44 +0000

It was a bomb Jim but in my perhaps – in my not so humble opinion – not because of a lack of quality but because the subject carried so much baggage.

I actually am a fan not only of the score but the film and am hoping that one day R. Scott, like he’s done with the KINGDOM OF HEAVEN, will give us a definitive four hour version.

Now I know that there are a few who thought 1492 was already too long so I suppose that would a slow death.

By: Jim Lochner

Jim Lochner — Thu, 14 Jan 2010 18:17:12 +0000

I haven’t heard 1492 in YEARS! I really should dig it out. I remember when it came out that I thought Vangelis had taken huge steps forward in his film music. Nothing was going to beat CHARIOTS OF FIRE in 1981, and nothing was going to beat ALADDIN either. Menken was uber-popular, so was the movie. And, as good as the other scores are, I still think ALADDIN was the proper choice and showed, again, big steps forward in Menken’s film writing. Perhaps if 1492 hadn’t been such a bomb, Vangelis would have stood a better chance. Then again, if I remember correctly, that synth style of writing and his time had passed by 1992. But correct me if I’m wrong.

By: Charles Mazarakes

Charles Mazarakes — Thu, 14 Jan 2010 18:11:20 +0000

Though I generally like this score especially the main theme, I think Vangelis’ 1492: CONQUEST OF PARADISE is far grander and greater work.
The main theme is gorgeous but one that really grabs me has always been the driving and dark Hispañola.

Menkin’s ALADDIN won that year beating out Goldsmith’s BASIC INSTINCT, Isham’s, A RIVER RUNS THROUGH IT, the always underrated Richard Robbins’ HOWARDS END, and Barry’s CHAPLIN. Though ALADDIN held little interest for me it was still a fine year for score nominations but it really is a shame that – at least in my book – the best wasn’t even on the list

By: Jim Lochner

Jim Lochner — Wed, 13 Jan 2010 14:53:26 +0000

Ya learn something new every day. Fascinating to learn more about this composer that I know very little about, so thanks for your comments. :)

By: eewee1

eewee1 — Wed, 13 Jan 2010 05:08:47 +0000

To the trained ear, all of Vangelis’ percussion sounds real. I own all his albums except 2 of the most obscure ones. Tomita worked with synth percussion at around the same time. So did Wendy Carlos. There is a noticeable difference between real cymbals especially and synths made to sound like cymbals. The cymbals in “Chariots of Fire” sound real. If you were Vangelis, would you rather use the cymbals in your own studio or the embarrassing synth equivalent of 1981? ;-) By the way, the piano in the track is also real. Vangelis owned a Bösendorfer at the time.

By: Jim Lochner

Jim Lochner — Wed, 13 Jan 2010 01:50:42 +0000

I never doubted his percussion abilities. Was just curious about whether or not it was real percussion on the soundtrack. But even more embarrassing than my not knowing whether or not Vangelis played percussion, is misspelling “heels,” which I have now corrected. Doh! Some days I just can’t win. :)

By: eewee1

eewee1 — Tue, 12 Jan 2010 23:48:47 +0000

Watch this for some evidence:
http://www.youtube.com/watch?v=_r40VYk0Y-o

By: Jim Lochner

Jim Lochner — Tue, 12 Jan 2010 23:15:10 +0000

Were they actual percussion instruments or percussion-like sounds made from the synthesizer? Either way, you have a good point. Thanks for pointing that out.

By: eewee1

eewee1 — Tue, 12 Jan 2010 22:42:20 +0000

“Composed entirely for piano-based synthesizer…” Actually, almost entirely. Vangelis is also a percussionist, as is demonstrated in the use of actual cymbals, bells, etc.