His interview during "Heaven and Hell" has always been, and remained, one of the single greatest inspirations for me. He mentions the difference between "commercial music" and the rest of music ... and then even goes on to say that he uses odd things and instruments in his work ... like there are t-spoons in everyone of his works!

 

I really think he is a product of a time where theater, film and art, and music were so experimental, and some of the spaghetti stuck in the wall and some didn't. He is very capable of expressing it and explaining it, however, this is very difficult to explain to most people that look at the "arts" as some sort of an academic process, as the definitions of "progressive" music have become ... at that point the music is "dead" because you will not be appreciated for copying what was written down ... and not a single musician out there can ever be himself, or original ... because it is now "defined".

 

I am not sure that he is one of the most experimental and creative ones. I kinda think that Edgar Froese fits in there somewhere, and so does Riuichi Sakamoto, and Michael Oldfield, and Klaus Schulze ... people who have never quit experimenting with sounds and textures in music ... and lost their "progressive" side because no one could peg them down with definitions.

 

There is always hope with the arts ... any of them ... it's just a matter of turning your eyes in another direction and stop looking at the past ... it's really simple!

 

 

Did occur to me watching that interview that I had already heard those views expressed here.

 

The interviewer clearly struggled at times and I couldn't help but have some symathy for him.

 

Anyway to Vangelis and his glorious eccentricity and amazing talent I raise a glass or two