AphroditesChild17The story of Aphrodite's Child

Aphrodite's Child was a Greek rock band, formed by Vangelis Papathanassiou together with Demis Roussos and Lucas Sideras in May 1968 in Paris, France. The group is mostly known for their hit singles such as 'Rain And Tears' (1968), 'End Of The World' (1968), 'I Want To Live' (1969), 'It's Five O'Clock' (1969) and 'Spring, Summer, Winter and Fall' (1970). In three years time the group made three albums, "End Of The World" (1968), "It's Five O'Clock" (1969) and the concept album "666" (1972), the last one is regarded their masterpiece and one of the most important progressive rock works of the early 1970s. A fourth member, Argyris Koulouris, stayed behind in Athens in 1968, but returned in 1970 after fulfilling his army duty to play on their final album. 

 


1966

The story of Aphrodite's Child begins in the summer of 1966 in Athens (Greece) when Demis Roussos first meets Vangelis Papathanassiou through their mutual friend, Lucas Sideras. Lucas was a friend of Vangelis since 1958, after they had met through an aunt of Vangelis who was a friend of Lucas' family. Demis had played bass, with Lucas on drums as part of the groups “The Beatniks” in 1964 and “The Minis” in 1966.

At the time the music scene in Greece was quickly developing, and many young musicians and groups emerged in search of a new sound, breaking away from the traditional Greek music towards a new movement of pop/rock or beat music, and taking inspiration from similar movements in Western pop-scenes. 

With Vangelis still living with his parents in the centre of Athens, the three young men meet at his home, which then already had his room stacked with instruments. Vangelis asks Demis to sing something, and when he finishes, tells him he has a unique voice and should do something with it! Demis and Lucas are impressed with Vangelis' musical talent (he was considered a child prodigy in his birth town Volos at the age of 6) and his ability to play just about any instrument effortlessly. His main instrument was a Hammond B3 organ, which combined with a Klavinet Honner on top and a glaviolin below, plus a mouthpiece gazut created a unique and defining sound! Note that back then synthesizers were not available yet in Greece...

Earlier that year Vangelis had stopped with his hugely popular band “The Forminx” and was looking for musicians to build his own group. Demis had played bass before with groups such as “The Idols” and “We Five”. Together with Argyris 'Silver' Koulouris on guitar, whom Demis and Lucas knew from playing in the band “The Minis”, they form a group sometimes referred to as “The Papathanassiou Set” or “Vangelis Papathanassiou and his orchestra”. The first rehearsals of the new formation take place in Vangelis’ home, and from the first moment it is clear that the dynamics and sound of this group work very well together...

 


 

1967

PlasticsNevermoreEven though the Greek music scene is quickly developing, Vangelis is convinced that popular success can only be found outside of Greece. When Lucas tells him about the lively music scene that he witnessed at the “Marquee Club” in Soho in London during his Economics study in 1962/1963, the idea develops to leave and try their luck in England. For this purpose they record a demo with two songs, 'Plastics Nevermore' and 'The Other People' in 1967, which they send to Philips records in London through Nikos Antipas of Philips Greece. After hearing the demo, the London office invites the group for a meeting in London, which Vangelis and Lucas accept. At the meeting Philips promises to take the band on if they move to England. 

Excited about the prospect, the group schedules a number of performances to earn some money for the trip, first in Thessaloniki at the Macedonia Palace, followed by four gigs in Athens and in September they are contracted for three months to play at the Galaxy rooftop bar of the Hilton hotel in Athens, accompanying singers such as Violet Mai, Tassos Papastamatis (also ex-Forminx) and Vilma Ladopoulou (Vangelis’ girlfriend at the time). During this time they also record several songs in the studio with other Greek artists, most notably Zoitsa (Zoe) Kouroukli, Aleka Kanelidou, Ricardo Credi, Tammy, George Romanos and Vilma Ladopoulou.

 

 


 

1968

As the Hilton-contract is ending, the group starts to make plans to travel to London. With the trip nearing, Argyris Koulouris is getting cold feet and makes a fateful decision to stay behind and fulfil his army service. Despite this setback, the remaining trio is determined to leave, and around the 20th of March Demis and Lucas take the train to London, with Vangelis and Vilma scheduled to follow a week later. Passing through Munich and arriving in Paris on the 23th, they reach Calais and take the ferry to Dover, where the customs check their luggage and discover several photos and tapes of the band in Demis’ suitcase. Due to the lack of work permits, this fact is sufficient to refuse them entry in the UK! Dissapointed they return to Paris, take a room in a hotel near “Le Bon Marché” and call Vangelis to tell him about their bad luck…

When on the 26th of March Vangelis also arrives with Vilma, the group decides to stay in Paris and move to hotel Mazarin at rue Mazarine, in the Quartier Latin, taking rooms for 20 French Francs a night (including breakfast). They contact Philips in London, who tell them to sit tight in Paris until they have sorted out their residence and work permits.

The next month student protests are swelling in Paris, resulting in the May ‘68 student revolt. Public life slowly comes to a full stop, ultimately leaving the group stuck in Paris because of continued transportation strikes, and with their finances quickly running out... Vangelis and Lucas spend hours waiting at the post office trying to get a call to their parents in Athens, and thanks to the incoming postal money orders they manage to tide over until better days.

A month goes by without a message from England, and the Philips office on London is no longer answering their calls... Without the possibility to travel to London, Nikos Antipas of Philips Greece suggests to contact the office in Paris, where they meet with Pierre Sberro. After hearing the demos, Pierre is excited and arranges a room in the basement of the Philips building near Porte d’Italie so that they can set up the instruments that have arrived from Athens and start on rehearsing their first songs. He already has a suggestion, to write an adaptation of a classical composition…

 


 

Aphrodite’s Child

In the beginning of May Philips France is organising an international conference, and the group is invited for the evening party at the hotel De La Trémoille. While discussing possible recording dates and a name for the band with Sberro, Lou Reizner, head of Mercury records in Europe, passes by and suggests the name “Aphrodite’s Child” (the name inspired by a track on his earlier production of Dick Campbell’s album “Sings Where It’s At”). It is decided there and then, and everyone celebrates their christening with champagne!

That evening the group is presented a record contract for the next 6 years, providing an excessively low fee of 2%, to share between the three band members (plus an advance of US$200). At first the group declines, but being in desperate need of funds they have no option but to accept and sign the contract!

During practise sessions at the basement of the Philips office Vangelis, Demis and Lucas meet the amiable Roberto Seto, who offers to help them out and set them up for a try-out performance in his “Omnibuss” club. Still anxious to find out if their new sound appeals to the public, the gig is a great success, and is repeated for a larger audience several times. They ask Seto to become their manager, but he declines. Still, he recommends his friend Jean-Pierre Rawson who takes the position.

RainAndTearsFrom the 10th of May 1968 it takes them four days to record 'Rain And Tears' and 'Don’t Try To Catch A River' in studio Davout in Paris. The record company forwards Boris Bergman to write the lyrics and one of their secretaries to sing the female chorus. As it turns out the recording is just in time, as the next day the studio closes down due to a general strike...

The song 'Rain And Tears' is an adaptation of the classical “Canon“ composition by Johann Pachelbel, as suggested by Pierre Sberro. The single, issued on the 22nd of May in France, is an instant success and sells more than 1 million copies in France alone, turning gold and reaching the first position in the French charts a few weeks later! The song receives plenty of airplay on the radio, being the last song that came out before the strike, while everybody was listening to the radio to follow the news on the events of the May ‘68 protests.

In the meantime Vangelis, Demis and Lucas have moved to a hotel on Rue Saint Andre des Arts, in the middle of the Quartier Latin. There they experience the violence of the May ’68 student riots in the Parisian streets, being trapped in their rooms wearing wet towels on their face to protect against the tear gas… The resulting chaos and demolition in the streets leave a strong impression on them, and later Vangelis would make this experience the subject of his album “Fais Que Ton Rêve Soit Plus Long Que La Nuit” (1972).

Due to the sudden success the band is in demand for performances, and Rawson has set up a management team for the band. After arranging the equipment, Aphrodite’s Child is first booked to play for 10 days at the “Psychedelic” club near the Champs-Élysées at the end of May.

AphroditesChild05During the summer the band is booked to play at venues outside of Paris, first in Geneva (Switzerland), where again they get stuck at the border due to customs inspections. Fortunately the performances go well, so next is Port-Barcarès in the south of France, where they play at Club Lydia for another 10 days. It is there that Vangelis receives the sad news from Greece that his mother has passed away. His brother Niko visits him to support him.

The next performances take place in Saint-Tropez at the exclusive “Byblos” club, around which time “Rain And Tears” is rising the charts and the band attracts more and more attention from the public and press. With a limited discography still, they play a mixture of their own songs and covers of popular songs.

The last booked venue on the tour is “Club de Valbonne” near Cannes, which is beautifully situated and includes a garden and swimming pool that are decorated with Greek columns and artifacts. It is here that the group records a promotional videoclip for 'Rain And Tears', which by then has reached the top position in the charts!

By the time that the group returns to Paris, "Aphrodite’s Child” has become a well-known name and requests pour in for interviews and TV appearances. Their manager Rawson has a hard time handling their agenda, so he sets up an office at the historic “L’Olympia” music hall.

EndOfTheWorldFrontDue to the success of 'Rain And Tears'” Pierre Sberro of Philips records now insists to start recording for an album release. The band however has not forgotten the way that Philips treated them to sign an unattractive contract earlier, so with the help of lawyers they successfully re-negotiate the contract, and double their share from 2 to 4%. In their years as Aphrodite’s Child such re-negotiations would happen two more times, in the end agreeing to a share of 10% for the group.

Now that their financial situation has improved, all band members can afford to buy new instruments, Lucas is over the top with a new Ludwig drumset, whereas Demis chooses the latest Fender precision bass guitar. Vangelis orders a new console and the famous Mellotron electronic keyboard.

In September the band performs their first full length concert at a sold-out “Palais Des Sports” in Lyon before 10,000 spectators!

Recording sessions for an album release take place in the new Polydor studio during the last week of June, as well a couple of days halfway September, working again with lyricist Boris Bergman. The album “End Of The World” is released by Mercury Records throughout Europe in October 1968, and is rightly regarded as a classic of psychedelic rock music, being a successful fusion of Byzantine folk influences and rock experimentation. To promote the album the single 'End Of The World' b/w 'You Always Stand In My Way' is released, which again becomes a hit in France. Also they continue touring in France (as shown by this unique recording of a concert performance in Lille), appear in a number of television shows in France, and record a psychedelic video clip for 'End Of The World', portraying the three Greeks in a barren mountainous landscape.

With the management office of the band located in the well-known theatre “L’Olympia”, Vangelis, Demis and Lucas are now often found in the theatre café, an easy place to meet with other artists. The theatre’s director Bruno Coquatrix, a good friend of Johnny Hallyday and Sylvie Vartan, asks them to be the opening act for the upcoming show of Sylvie Vartan, a great opportunity to promote their music to a wider public. So from the end of November they play for a month in one of the finest venues of Paris, “L’Olympia”!

 


 

1969

In the new year the band returns to Cannes to perform two songs at the Midem Festival on the 20th of January. The same month the record company releases a third (promotional) 7” single in France for 'Valley Of Sadness' b/w 'Mr. Thomas', but it is abandoned by Philips without a commercial release.

No doubt looking to expand their success in the rest of Europe, Aphrodite’s Child covers two songs that have been selected to compete at the San Remo festival in Italy, i.e. 'Lontano Dagli Occhi' (by Sergio Endrigo and Mary Hopkin) and 'Quando l'Amore Diventa Poesia' (by Orietta Berti and Massimo Ranieri) and release the songs on a 7” single in Italy in January 1969. Though neither song wins the contest (the winner representing Italy at the European Song Contest), the single does well and the group travels to Italy to promote the songs. On the 8th of April they play 'Lontano Dagli Occhi' live in Renzo’s Arbore’s television show “Speciale Per Voi” on RAI television, and on the 17th of April they play at the festival Of Lugano.

Back in Paris, Vangelis starts working on a new project, a new arrangement of J.P. Martini’s 1784 ballad 'Plaisir' d'Amour', which was recorded as 'I Want To Live' in the last week of March. Together with the more upbeat rock song 'Magic Mirror' on the flipside, 'I Want To Live' is released on a 7” single on the 23rd of April, and reaches the no.1 position in several European charts, exactly the summer hit that the record company had requested. At time of the single release the band is performing as the opening act for singer Johnny Hallyday in the “Palais Des Sports” in Paris. After the third night however further performances are cancelled as Lucas strained his ankle backstage.

To promote the single the group performs in several television shows in France, records a video clip with director Daidy Davis-Boyer and even features in the popular music television series “Discorama” presented by Denise Glaser on the 22nd of June. This broadcast includes an interview with the band members.

AphroditesChild09The success of the album calls for the release of another, so Vangelis, Demis and Lucas return to the studio. What was not possible a year earlier now finally happens, the three Greeks, still astonished with their sudden success, travel to London to record new songs with sessions in Trident Studios in Soho, from the 16 to 21st of June. Only half of the songs for the new album are recorded in London (among others 'It’s Five O’Clock'), the rest of the songs were recorded later in the “Europa Sonor” studio with the help of engineer Roger Roche.

During the summer a tour has been planned for the band in Italy. They depart on the 14th of August and after a 20 hour drive, enduring the heat and traffic they arrive in Naples, only to find that the venue does not exist… it is a scam! Undiscouraged they continue the tour, using Rome as their base, playing in many of the coastal regions where people are enjoying the holidays, among others at the Piscina Dei Castelli discotheque in Sestri Dei Leivante (August 25th) and the Salona Del Linta Park hotel in Asagio (September 6th), where they enter the Festival Bar contest with 'I Want To Live'.

Back in Paris it is time to finalise the new album, and in advance of the upcoming release, 'Let Me Love, Let Me Live' is released on a 7” single on the 20th of October. While the song does very well in France and reaches 2nd position in the charts, it is the b-side 'Marie Jolie'” that is more popular in the rest of Europe. On the 27th of November Aphrodite’s Child releases their second album "It’s Five O’Clock” and it is a hit all across EuropeItsFiveOClockFront. To promote the album the group again appears in popular television shows, not only in France but also in Italy, and record a video clip with director Davis-Boyer for 'Let Me Love, Let Me Live'. Most of the songs are again written by Vangelis, with exception of 'Let Me Love, Let Me Live'" (Lucas) and 'Annabella' (Demis). The songs 'Try To See' and 'Pathenon' that were recorded during the sessions did not get selected for the album. The first song was never heard of again, but the second is included on the compilation CD “The Singles+“ (2003).

The title song 'It's Five O'Clock', backed with “Funky Mary” is released as the second 7” single from this album on the 29th of December, and does very well in the charts of many European countries, reaching the first position in France in Italy!

During the year Vangelis does some solo projects, like contributing the song 'Days Of Love' for his old friend Tassos Papastamatis (ex-Forminx) on his 7” single release 'Rosetta' in April, as well as compose the song 'Tu C’Eri Gia' for Greek singer Vana Veroutis on her 7” single release “Ed Ora Si” (a cover of 'I Want To Live') in Rome, during the Italian tour. On the 29th of November he records two compositions, 'Chakatak' and 'Socrates in Texas', of which only the first is released (i.e. on the compilation CD “Babylon The Great“ in 2002).

By the end of year Vangelis is even commissioned to compose the score for Henry Chapier’s feature film “Sex Power”, for which the music is recorded in December. Its soundtrack LP released in 1970 would become the first album released in his own name.

 


 

1970

With a growing popularity throughout Europe and selling millions of records, Aphrodite’s Child has become one of the most successful bands of their time! But even though the re-negotiated record contract has solved their initial financial problems, the proceeds of record sales are hardly sufficient to support their adjustment to the more extravagant lifestyle that comes with a newly found superstar status… This is more of a problem for Demis and Lucas, who are for a large part financially depending on the proceeds of performing and touring with the band, whereas Vangelis receives most of the publishing royalties, since he is writing almost all of the songs for the group.

Adjusting to their new life in France, Vangelis, Lucas and Demis are enjoying their time in Paris and shaping a personal life outside that of the band. Vangelis for instance has moved to a luxurious apartment on Avenue Foch in one of the most expensive areas of Paris, where his father moves in with him for some time. Demis is living in a simple apartment with his wife Monique David (now Monique Vidal), a sales assistant at Galerie Lafayette who is pregnant with their daughter Emily. As for Lucas, he is now living with his partner Flore Derenne, who worked for many years as a model in Italy. Lucas enjoys the music scene of Paris, watching other rock artists perform live at the “L’Olympia” and the "Rock and Roll Circus".

Vangelis is considered the natural leader of the group, being the eldest and having the most experience since his time with The Forminx in Greece. Still, important decisions are made together, and there was almost never a fight between them. Demis and Lucas admire Vangelis for his musical talent, and trust him to lead the musical direction of the group. During the year however Vangelis more and more wants to stay in the studio to work on his musical projects, and to experiment with these fascinating new electronic instruments called synthesizers that are more and more becoming available.

SpringSummerWinterAndFallFFor instance, in this year he finds himself composing the theme for the "Rose d'Or" festival, a theme performed by the orchestra of Raymond Lefevre in Montreux (Switzerland) at the end of April.

To promote both the album and single “It’s Five O’Clock”, the group again appears on several French television shows during the first months of 1970. While Vangelis still joins on television, for some performances he is replaced by his brother Niko, who also happens to be gifted keyboard player. With the summer approaching, the record company once more insists on a single release and asks Vangelis to come up with a new song to bridge the gap towards a third album. On the 1st of June Aphrodite’s Child record 'Spring, Summer, Winter and Fall' and 'Air', which together are released on a 7” single on the 22nd of that month. Again the single does very well in Europe, and reaches the no. 1 position in Italy!

To promote 'Spring, Summer, Winter and Fall' a video clip is shot on Avenue Foch in Paris, not far from Vangelis’ apartment, and the band appears on Dutch television with a performance in “Toppop”. In June the group is awarded a gold disc for their latest album, and for the presentation a special ceremony is organised by Philips in the city of Monte Carlo in Monaco.

With Vangelis unwilling to tour, Demis and Lucas take a well-deserved holiday to Greece in the summer. Without Vangelis, they appear on Greek television with Demis singing several of their Aphrodite’s Child songs. During the year the band regularly visits Italy, and in the month of August they feature on a TV show with Irene Papas, as well as (without Vangelis) enter the famous “Festival Bar” contest held at the Salona Del Linta Park hotel in Asagio, to win with their entry 'It’s Five O’Clock'.

 


 

Apocalypse

Vangelis firmly sets himself in the studio in Paris to prepare work on the next album. This time he wants do things differently, breaking away from being the hit-record machine that the record company wants him to be. When Vangelis is approached by film director and compatriot Costas Ferris to create the music for his film script “Aquarius” he declines, but then he asks Ferris to come up with a concept for the album that he has already started working on. Ferris, who had already worked with Vangelis in Greece in 1966 on a film about “The Forminx”, proposes a story based on the final chapter of the biblical New Testament, The Apocalypse of St. John, which Vangelis accepts, and together they start working on the details of the concept and music, which is then being is referred to as “Apocalypse”.

When Lucas and Demis hear of the idea for their next album they are not entirely convinced, as musically the album would be a big turn from what they had made so far, and that could break away from their audience and be a risk for commercial success. Still, Vangelis is determined and the promise of a new European tour after the release of the album gets everyone on board of the project.

666StudioDue to their commercial success Vangelis is able to negotiate with Philips the exclusive use of the “Europa Sonor” studio at Rue de la Gaîté, for as long as it takes to record the album, and the studio will be off-limits for any agents of the record company until that time. It is Lucas that comes up with the idea to invite Argyris Koulouris to re-join the band for the recording of this album, as he has just finished his army duty in Greece. The return of Argyris also helps to improve the atmosphere between Vangelis, Demis and Lucas, where the last two are still cross with Vangelis refusing to travel for tours and performances, thus having to decline many lucrative offers which is hurting their income. Jean-Pierre Rawson is no longer their manager, so now meetings take place in Vangelis’ apartment, often with their respective wives or girlfriends present (which apparently is not helping to improve things either).

Recording sessions take place during the last three months of the year, and finish early in 1971. The first week is used to set up a wide selection of instruments, including gongs, metallophones, xylophones, harpsichords, conga drums and two classical pianos, all ready to record on the new 24-track tape recorder engineered by Roger Roche. In the background Vangelis sets up two targets to practice his archery, as well as some canvasses for his painting.

Also present in the studio are the talented guest musicians Harris Chalkitis (bass, saxophone, conga drums) and Michel Ripoche (violin, trombone, saxophone). Sessions start with improvised jams, from which slowly themes arise and the foundations for the songs are built. While recording, Vangelis has a separate microphone on the intercom of the headphones, that he uses to communicate with the other musicians during the sessions.

666RecordingSoon fans gather at the entrance of the studio, and often friends, fans, and journalists are let inside to watch the creation of their latest album. Due to the spontaneous nature of the recordings, there is often room for improvisation, and many visitors even contribute to the songs, for example:

  • Irene Papas, the Greek actress and singer, who the group had met a year earlier in Italy on a television show, improvises an ecstatic vocal session on the track '∞' (Infinity). The vocal improvisation would prove controversial and almost did not make it onto the album.
  • Giorgio Gomelski, the record producer and first manager of The Rolling Stone, who the group had met in 1968 during their performances at the “Club de Valbonne”, often visits and helps around with the production.
  • John Forst is selected by Gomelski to provide English narration thanks to his heavy British accent.
  • Yannis Tsarouchis, the Greek painter and set designer narrates a Greek text on “Ofis”, taken from the Greek play “Karagiozis”.
  • Daniel Koplowitz, an uncredited young boy, the son of a diplomat, recites a text on “Loud, Loud, Loud”.
  • Some of the fans by their own initiative contribute to the record with their voices performing as the public of the 'theatre' of 'circus'.

Other visitors of the studio at time of the recording sessions are Theo Angelopoulos, the Greek film director that briefly worked with Vangelis and “The Forminx” on a film about the group back in Greece in 1965, and Salvador Dali, the famous Spanish surrealist artist, who through contact with Costas Ferris came to the studio several times to listen to the work in progress.

As Jean-Pierre Rawson is no longer managing the band, talks have begun with Roberto Seto, who helped the band when they just arrived in Paris. With the consent of Vangelis, Seto starts planning a major tour around European cities, starting in Paris in January, then on to Italy for three concerts in Rome, Turin and Milan, returning to France to play in the 10 largest cities before continuing to Brussels, Amsterdam, Hamburg, Berlin, Munich, Geneva and Zurich. And finally, London and New York!

At year end, on Christmas eve to be exact, the documentary “Cantique des Créatures” is broadcast on French television. The feature is based on a religious song by Saint Francis of Assisi from the 13th century, and marks the first collaboration between Vangelis and French director Frédéric Rossif, a friendship that would last a lifetime.

 


 

1971

AphroditesChild18When the recording sessions are done, Vangelis remains in the studio to start work on the puzzle to compile an album from the hours and hours of tapes that were recorded the last few months. Together with Demis and Lucas there are some discussions on the final mix, but overall the process goes well and the time has come to invite the people from the record company to present the result...

After listening for two hours the people from Philips are shocked. This is not the pop hit material they were used to from Aphrodite’s Child, and moreover, they consider the music blasphemous and do not understand the concept nor potential of the album. They especially take offence of the ‘∞‘ Infinity vocal by Irene Papas, which in its original form lasts 39 minutes, and demand that the track is removed from the album. Vangelis refuses, and the release of the album is put on hold.

To make sure that Philips is not able to make a different version of the album without his approval, Vangelis takes the studio tapes from the studio to his home...

Even worse for Demis and Lucas is that Vangelis is now having second thoughts about the new European tour that Roberto Seto has planned for the band. When the time has come to sign the contracts, Vangelis avoids it and it is clear that he is not willing to tour. This essentially marks the end of the group, as after a stormy quarrel between Lucas and Vangelis the band would never record together again...

Without the prospect of any proceeds from record sales or a new tour, Demis and Lucas decide to go on their own tour without Vangelis, who is replaced by multi-instrumentalist Harris Chalkitis on keyboards. It is Roberto Seto that organises the tour to Italy during the summer of 1971, where the band still performs using the name “Aphrodite’s Child”. Lucas remembers: “A very difficult decision emotionally, but a necessary evil given the circumstances of the moment. I won't go into details about this tour, because I always wanted to erase it from my memory!”.

It is Demis who takes the next step and makes the decision to go solo. According to Lucas, Demis was already groomed by the record company during the recording sessions of the Aphrodite’s Child album, and as early as April 1971 he records his first solo single 'We Shall Dance' in the “Europa Sonor” studio at Rue de la Gaîté, involving many people from the same team including Lucas Sideras, Argyris Koulouris, Harris Chalkitis and Michel Ripoche. Released on the 26th of May, the song is an instant hit all over Europe, and the start of a very successful solo career that would finally see Demis perform on stages all over the world, and sell millions of records.

After the summer tour Lucas also appears as member of the group “Eros” on their only single 'Rain Train' / 'I Can See It' (1971) together with Lakis Vlavianos, Harris Chalkitis and Dimitri Tambossis. In 1972 he takes the leap of a solo career with his first album “One Day”, also recorded at “Europa Sonor” studio Rue de la Gaîté with engineer Roger Roche, and with contributions by Argyris Koulouris, Dimitri Tambossis, Costas Ferris and Richard Francis. Later Lucas would release a second album “Pax Spray” (1975) with lyrics by Vilma Ladopoulou, and work with the short-lived band “Ypsilon” (1977), but he never again would achieve the same level of success as with Aphrodite’s Child.SuchAFunnyNightD

With the release of “Apocalypse” on hold and the band touring, Vangelis now has some time for a new project. Giorgio Gomelsky proposes to record new material in London, and with the help of BYG records books time in Marquee studios in May and June 1971. The sessions result in recordings that would later be known as “The Dragon” and “Hypothesis” albums, which were issued years later without Vangelis’ permission.

Together with Vilma Ladopoulou (vocal) and Argyris Koulouris (guitar) Vangelis then records the psychedelic 'Astral Abuse' and 'Who Killed?' songs, which are released on the BYG label under the pseudonym “Alpha Beta”.

During the summer Fréderic Rossif organises a live session with renowned painter Georges Mathieu, where the artist creates two action-paintings ‘live’ while Vangelis improvises music at the same time. The session is recorded by Rossif and included in his documentary "Georges Mathieu, Ou La Fureur D'être”.

As the negotations with Vangelis on the new album are stuck, in September Philips releases 'Such A Funny Night' from the “It’s Five’O Clock” album as a single throughout Europe, to keep the momentum for Aphrodite’s Child, even though in reality the group has already split up.

 


 

1972

One year after finishing the recording of the new album the release is still on hold with Philips. To make a statement, Vangelis books the “Europa Sonor” studio, orders a big chocolate cake with one candle, and invites Costas Ferris, the other band members, their friends and some journalists to ‘celebrate’ the anniversary.

Also present at the party is Gérard Fallec, who becomes the PR coordinator for Philips for the project. Until then the album is referred to as “Apocalypse”, a name that Gérard feels lacks impact, as is commonly being used in artistic, literary, social and political references. He then proposes to change the title to “666”, presented in the form of a car licence plate, and also comes up with a picture of the painting by Michel Dubré of a car crash that ultimately is used on the inside of the gatefold cover.

Finally after long discussions with Philips, Vangelis agrees to shorten the album to almost 80 minutes, to fit on a double LP album. In return he is able to include the ‘∞‘ Infinity-track, shortened though to a mere 5 minutes. The album is released on the Vertigo label in June 1972 in France, and later throughout Europe and the UK and USA.

One 7” single makes it off the album, 'Break' / 'Babylon' is released on the 6th of October, but that can not turn the album into a commercial success at the time. However, in this time the experimental masterpiece "666" has received widespread acknowledgement and is widely regarded as a classic work and milestone in progressive rock!

Although Aphrodite’s Child only released three studio albums, their impact on the progressive rock and psychedelic scenes was profound. “666” in particular, remains a landmark in concept albums and is regarded as one of the most important progressive rock works of the early 1970s. The album’s experimental approach to sound and structure has influenced countless musicians in genres ranging from rock to electronic music. The band’s ability to blend traditional rock elements with symphonic, electronic, and experimental components was ahead of its time and continues to inspire musicians today!

While still residing in Paris, Vangelis continued to experiment with electronic instruments, as is showcased by his albums “Fais Que Ton Rêve Soit Plus Long Que La Nuit” (1972), “Earth” (1973), as well his film scores for Frédéric Rossif “Au Pays Des Visages” (1972), “L’Apocalypse Des Animaux” (1973) and “Georges Braque Ou Le Temp Différent” (1974).

From 1974 to 1975 Vangelis relocated to London and built his own studio at Hampden Gurney Street naming it "Nemo Studios". But that ... is a different story.

 

AphroditesChild16References

  • The Aphrodite's Child Story by Lucas Sideras (ISBN 978-960-93-9081)
  • A Question Of Weight by Demis Roussos and Véronique Skawinska (ISBN 2-86804-008-X)
  • BR Music releases, text by Bert van Breda
  • Esoteric music releases, text by Mark Powell
  • Aphrodite's Child "666" 50th Anniversary Deluxe Edition, text by Marc-Antoine Bombail

 

 Links