Customer Reviews

China

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4 star:		(4)
3 star:		(0)
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I have been a long time Vangelis fan largely due to the fact he has never succumbed to producing music for the pop masses...He is an artistic genius that truly listens to his own creative mind, heart, and spirit.Hooray for a musical artist who creates music for artistic sake and not top 40 commercial appeal.

That said, for 1979, China is a work of art to behold with all it's sonic and synthesized orchestral beauty ! Atmospheric doesn't even begin to describe the "other worldly" yet familiar earthly sounds that captivate the listener...China, if found on used vinyl, is worth the late night spin or listen on a turntable to calm the nerves and soothe the soul after a hectic day at the office or factory !

I like "space" music: electronic music that inspires a sense of science-fantasy. Vangelis is truly a front-runner of that genre. In "China" he demonstrates his talent by giving his syntho-harmonies a Far-East flavor. A fascinating fusion. "Chung Kuo" has a military pomp feel to it: fanfare for the Emperor. It has a frantic segue into "The Long March," a beautiful piano solo that almost inspires a sense of sad nostalgia. "The Plum Blossom" presents a folk violin against the dynamic backdrop of Vangelis' synthesizer "power" chords. "The Tao Of Love" is, quite simply, beautiful: a wonderful blend of electronic and acoustic arpeggios. "Himalaya," (my personal favorite on this album) puts me into outer space, which like the Himalayas, is vast, cold and indifferent. This song, like much of Vangelis' music, can be heard on Carl Sagan's popular PBS program, "Cosmos." I highly recommend using headphones while listening to this album. . . Enjoy!

My wife bought this album for me fourteen years ago and I still listen to it often. It is all that one has come to expect from our greatest living composer. Melodies, harmonies, novelties, and, as always, oddities. The opening track, Chung Kuo, showcases Vangelis's penchant for building a (great) wall of sound and then bringing music out of it. The Little Fete, by itself, would be worth the price of this outstanding work. Too bad I can't give it more stars. Enjoy!

This album is atmospheric, romantic, inspiring, dynamic, just plain genius!

1979 was THE year of punk and to think that music like CHINA was being produced at this time makes me laugh! It just spat in the face of all that contrived, hypocritical, image concious, attention seeking noise.

China is one man's vision of a mystical culture. This is reflected in the music with intelligence, passion and supreme musicianship.

It just exudes oriental charm and sensitivity. I have known many people with very differing musical tastes find this album refreshing and inspiring.

BUY IT, NOW!

Writing this review is a double pleasure for me, because in its subject matter two of my passions merge into one. I've been a devoted listener and admirer of Vangelis' work and ethos for many years; and my interest in Chinese language and culture ultimately took me to China, where I've been living for almost 7 years now.

I don't know whether Vangelis himself had ever been to China before he got the inspiration for his thematic album or not.
If he had actually been in China before, and experienced some close contact with the country and its culture, then his album "China" should be regarded as nothing less than an example of what an outstandingly gifted musician is capable of accomplishing in terms of, say, "stylistic evocation" of a foreign musical tradition.
If he'd never been to China at all -thus having to rely entirely on "secondary sources" as raw material for this work-, then I'm afraid that "China" could be considered as an early and sufficient proof of Vangelis' right to be called "GENIUS".

This album is a an astounding musical "chinoiserie", in the best sense one could find for this term; Vangelis' has produced here a pastiche of the highest order, lovingly and respectfully utilizing the elements of his own unique sonic language to somehow capture and render -in what seems to me a feat of exacerbated musical sensitivity- what we may dare to call the `Geist', the `spirit', or the general `manner' of Chinese music, its colors and textures; for it seems to me evident that what Vangelis was trying to do, rather than to vainly struggle for some unattainable aboriginal exactness or submissive copycat resemblance, was to apply yet again his inveterate spontaneous approach to musical creation, letting himself take an intuitive leap into the vast but finite world of Chinese musical conventions. However mild and scattered these impressions may appear within the album, an undeniably appropriate "feel" permeates the whole effort. The pieces in tracks 4 and 5 ("The Plum Blossom" and "The Tao of Love")could be mention as highlights. The exhilarating sinuosity of track 3 ("The Dragon") , be that of a Dragon or -as other review suggests- of the dragon-shaped creatures of the folkloric "lion dance", is also full of exact colors and timbres, swirled along amidst its joyful convolutions.

Yes, of course Vangelis displays through this brief set of pieces a candid array of "clichés"; but these "clichés" he conveys (or rather: skilfully mimics) are also exactly that for the Chinese THEMSELVES: those are some of the rutinary devices of their music, their musical commonplaces, so to speak.

"China" could well be, in some of its best moments (which the listener should find by him/herself, and FOR his/herself), quite a beautiful musical instance of what the ancient greeks called MIMESIS, not a mere servile imitation of a given model but the delicate rendition of a much more subtle likeness...
Without ceasing to "be" and "sound" like Vangelis at anytime, nevertheless, "China" is also there, everywhere, "with" Vangelis, "through" him...At least for 40 odd minutes. (However, I do agree with other reviewer whose analysis implied that the most conventionally "Chinese-sounding" touches are somewhat concentrated in only some of the pieces. I would also agree that the powerful, outlandish -and yet majestically earthly- "Himalaya" track is THE ("purely") Vangelis' signature piece of the entire album; somehow emotionally and aesthetically departing from the Chinese world/reverie constructed in the first seven pieces, it plunges the listener's ear and mind into a journey through a path way up those thundering snowy heights of immemorial stone, continuously swept by gigantic blasts of wind, which roaring swoosh I personally find both ominous and eerily soothing. And a ceaseless rattling, tinkling sound weaves fleeting passages of piano, and keeps the pace of the...ascent? I'm not exactly a confident believer in the achievements of the so-called "programatic" approaches to music, but this bold, haunting soundscape that Vangelis manages to portrait through your ears and right into your mind strikes me with quite distinct images every time I listen to it. Clear your mind and listen this track at the right (high) volume, and I think you will SEE what I mean (what Vangelis meant). This ten-minute timeless trek across the Himalayas leads onto (or, rather, ethereally blends into) "The Summit", ninth and last piece of the album; at this point we're definitely fully delving into Vangelis exclusive realm of creation, closing the album in this time-frozen contemplative mood, where every reference to the world below (?) , whether Chinese or not, has been suspended, or rather obliterated from the sound, which melts into a vanishing dreamy acustic mist, strangely icy and warm at the same time...Until everything fades away.)

One day some time ago, while I was listening to Vangelis' "China" (I don't remember exactly which of the tracks was playing at that moment), my wife (she is Chinese) happened to be at home too and casually overheard the music. She didn't have any idea of who Vangelis was and she hadn't heard anything by him before. She earnestly asked me what was the music I was listening; she said she liked it, but she felt weird to find me listening to some "CHINESE MUSIC" (sic!) she'd never heard before! It didn't even occur to her that the author/s of the music I was listening was/were not even Chinese at all!

Maybe some day, as the exchange between the West and China enhances and deepens, more and more Western listeners will be able to appreciate the deegre up to which Vangelis succeeded in this creative endeavour (yet another stroke of his generous and indefatigable genius, guided again, perhaps, by his faithful and equally hard-working Muse).

I had the good fortune of being introduced to China on vinyl, my second exposure to vangelis.

This album will upset a lot of people. Firstly the title implies some literal interpretation of chinese themes - it is not. Secondly it defies any classification as to style of music: It is too lively to be ambient, it is too organic to be electronic. Thirdly, it is epic yet far too short!

This album is music charged with epic imagery, and together with the titles of the songs evokes magnitude in both timelessness and space, hence it is one of my favourite relaxing albums. It is one that for decades has constantly been in my the turntable and more recently cd player. This album does not age.

For the musical purists, the music appears at first listen to be slightly cliched, even chaotic, and not quite culturally genuine. But gradually the profound compositional depth of this work reveals itself. Vangelis has always been a master of melodies that are complex and beautiful, and is equally skilled in arranging a multilayered synthetic orchestra or a single piano. The melodic theme of the grand opening track "Chung Kuo" inadvertently transforms into a solo piano piece that is a masterpiece in its own right.

"The Dragon" is a strangely synchopated piece that altough it is played with very electronic sounds, still has a very earthy and organic feel. It shows Vangelis' mastery of unusual time signatures - something he integrates subtly throughout the album, and gives it a unique other-worldy flow.

Then there are hipnotically beautiful minimalist compositions like "The Plum Blossom", "The Tao of Love" and "The Little Fete". A kind of musical zen garden hidden between the more epic pieces.

The album closes with a double piece that in spite of its short duration appears to be almost infinite. "Himalaya" evokes a lengthy march through altitude, wind, rocky valleys and ice. It transforms into the closing track "Summit" that evokes the conclusion to the journey, the breathtaking view, and above all, complete inner and outer calm.

Altough the music is definitely nothing striclty chinese it evokes -through melody and use of eastern scales- a kind of monastic peace. To me this is still one of Vangelis' best works, it has stood the test of time. I cannot think of any other piece of music that is a worthy follow-on after hearing the closing notes of "China", except total silence, to allow the last notes to linger in the memory undisturbed...

Of all the new stuff out there, this CD is still among the best. Van is very powerful on this Cd and the music is very potent and powerful

The Vangelis album I listen to most in my collection and the one I recommend to people, in general. More indirectly inspired by China than the title suggests.

It's interesting that two of the tracks were used in commercials in the Eighties: one for a Linoln-Mercury Cougar auto ad and another for that early Channel #5 spot (the one with the guy diving into the pool...). Some good organic-sounding stuff for fans of music synthesis, too.

This 1979 release is yet another wonderful album of progressive electronic with some vaguely Chinese compositional themes occasionally played on traditional Chinese instruments. One other property that sets China apart from his other albums is the use of acoustic instruments. I feel that the acoustic aspects of China balance the electronic textures nicely - come to think of it, there is some especially nice acoustic piano playing on The Long March.

In typical fashion, Vangelis plays a number of instruments on this album including an arsenal of synthesizers (Yamaha CS80, Korg polyphonic ensemble, Roland Jupiter 4, Yamaha CP-70 electric piano etc.) along with the acoustic piano, various bits and pieces of percussion, bamboo flutes, and what may very well be a Guzheng (plucked string instrument). Vangelis is joined by excellent violinist Michael Ripoche on one track (The Plum Blossom); and two individuals that provide very brief spoken word recitals including Yeung Hak-Fun and Koon Fook Man (The Little Fete).

The nine tracks on the album range in length from 2:44 to the lengthy and spacey track Himalaya (10:53). Musically, this is a very solid album that boasts the gloomy atmospherics and synth heavy nature of his late 1970s output along with some fairly interesting arrangements. I think that he did a pretty good job with the traditional Chinese instruments and integrating the Chinese themes into the more electronic pieces. By the way, although acoustic instruments are used on this album, this is very much a synthesizer dominated album - the synthesizer tone colors he selected are very warm sounding.

All in all, I found this to be yet another exciting album by Vangelis and rank it right up there with some of my favorites including Spiral (1977), Opera Sauvage (1979) and Chariots of Fire (1981). Recommended.

My Profile: 42 yo (2006) sales engineer.

I first heard this hallucinating album at the end of the 70's in its vinyl form. Vangelis is not an easy artist to get adquainted with, so it did take some time to fully understand the visions of China he interpretates. Its also one of those albums wher you can feel the classical maestro he is at the piano... sit back, enjoy a good cabernet and start the journey