END OF THE WORLD

As already pointed out on this site, the main attraction of this record is the wizardry of Vangelis' keyboards. He really is a marvel on here. I didn't notice his piano and organ work so much at first but on a second listen I realised that he proved to be an apt user of all kinds of sonic gimmicks with echoey production, compensating for the lack of guitars perfectly. There are some guitars here, but I can hardly hear them, just bass and drums.

It's difficult to compare Aphrodite's Child with other groups. Sometimes there are hints of the Moody Blues, but this album is still unique in its own way. The opener 'End Of The World' is a really well-written song and one of my favourites, with a few well-placed hooks, a few adrenaline-raising piano chords and a few chillin' 'AIIIEEEYAH' by singer Roussos.

Just like another reviewer, I'd like to defend 'Mister Thomas', which some describe as silly. The main singing style on this song may have had a slight influence by the Kinks (which isn't a bad thing of course!) but the carnivalesque chorus part sounds something like traditional Greek music, adding some different variety and flavour to the album. The European mega hit 'Rain And Tears' is very pretty and graced with gentle harpsichord playing. In my opinion, Roussos' trembling Greek vocals are strangely beautiful too and a distinguishing part of the music.

'Valley Of Sadness' is another personal favourite. The melody and singing always melts me whenever I hear it. The most raving track is 'You Always Stand In My Way". The arrangements are excellent and the vocals more aggressive, sounding like the singer is almost throwing a fit in the studio. 'The Grass Is No Green' is the most psychedelic song and Roussos' Eastern influenced chanting is quite authentic. The band also captured the world of paranoia on 'Day Of The Fool', the album-closing number where Roussos impersonates a poor romantic madman (quite a thrilling story, too).

Like I mentioned earlier, the magnificent keyboard sound is the most powerful part of the entire record. In 1968, few people would have dared to bring keyboard experimentation to such complex levels. It was recorded in Paris and would have sounded very different in continental Europe at the time. There certainly wouldn't have been anything like it in the trio's native Greece. A very cool, forgotten classic. The songs may be quite fun, catchy, more commercial and less progressive than on the album "666" that came later, but this has a lot of character and is equally as eccentric. Although an oldie, it's a great goodie and highly recommended. 4 Stars