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Then onwards to Vangelis' Chariots of Fire (1981), the A-side of which is a series of shorter pieces that were used as aural backdrop for the eponymous film. I only listened to the B-side which consists of just a single, spacious, 20-minute track. Whilst Vangelis piano sounds pathetic, the overall recording is quite good. I love the filigree patterns of electronic effects that create a vast, friendly sense of space, nicely projected by the Michell and all its downstream acolytes. Edelkitsch, but I enjoyed it anyhow.
China (1979) is another matter. Musically it is more cogent than Chariots. Again I only listened to the B-side, with Yin & Yang, Himalaya and Summit. Oh, how often have my thoughts drifted towards those magnificent giants when listening to these tracks. Himalaya and Summit together make for a very evocative 15-minute symphonic poem. If one tries to imagine how it might sound performed by a symphony orchestra, it becomes pretty avant garde. Xenakis comes to mind! The recording is quite good and I felt the Michell allowed a much better appreciation of the subtly layered soundscape conjured by Vangelis than I ever remembered hearing. All in all these were great rediscoveries, so thoroughly enjoyable because of the great, lively sound extracted from the worn vinyl by the revitalised Gyrodec.
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