The Good and Bad of Vangelis: A Critical Assessment

If you love electronic and neoclassical music, then the works of Vangelis likely need no introduction. Winner of four Grammy Awards, an Oscar award for Best Original Score in 1981's Chariots of Fire, and a pioneering figure in classic synthesizer-based records, this prolific composer has shipped millions of copies around the world and continues to inspire aspiring musicians today. However, it would be remiss to neglect making critical assessments on his body of work when discussing Vangelis’ career; after all as with any artist or entertainer he is not without fault or controversy. Let’s look at both sides—the good and bad—from a perspective which reviews each piece objectively rather than simply following popular opinion so that ardent fans don't get upset: what are something critic and something good about Vangelis?

If you're a fan of electronic and neoclassical music, Vangelis needs no introduction. The Greek composer has enjoyed a forty-year career, spanning multiple genres, from experimental to film scores to pop. His works continue to resonate with fans the world over, providing a backdrop for movies, advertisements, and even the Olympics. But as with any artist, it would be unfair to overlook their missteps and errors. So, in this blog, we will take a non-biased look at Vangelis' career - the good and the bad - to assess his work objectively.



Firstly, let’s take a look at the good. Vangelis is well known for his use of synthesizers, which he masters in a variety of forms, from the analogue synths of the 70s to the more advanced digital instruments of today. He pioneered the use of these instruments through the release of some of his earliest albums in the progressive rock band Aphrodite’s Child. Their album “666” showcases Vangelis’s interest in self-expression and experimentation, with tracks like “The Four Horsemen” and “Do It” incorporating a range of musical elements into a concept album. His use of synth arrangements continued throughout the early seventies with albums such as Earth and Heaven and Hell, which introduced the world to his signature sound. His music also gives space for tension and suspense in films like Blade Runner and Chariots of Fire, where the compositions add to the intrigue and the drama.

However, Vangelis catalysed some controversies throughout his career that can’t be ignored. He initially refused to give an interview when he won the Academy award for Chariots of Fire because he didn't want his music to be linked to a particular ideology, even though the film’s instrumental songs have become an inspiration to aspiring musicians worldwide. Another controversial issue was the dispute over copyright by the audio designer and engineer Harry Costin, one of the inventors of the patch, who claimed to have created a significant part of Vangelis’ signature sound. Costin states that Vangelis had never even used a patch cable before and he had compiled a tight patchbook to create the music in Brass, Albedo 0.39, and later the Blade Runner soundtrack. Creators will always have limited control over their own creations, but when it comes to collaborative projects like music, it’s essential to give credit where it’s due, which raises doubts about whether or not Vangelis has taken enough responsibility.

Vangelis' musical career has had its highs and lows, but his contribution to the world of electronic and neoclassical music will always have value. His early experimentation with synth arrangements provided a template for the advancement of music, while his film scores have left an indelible mark on cinema. However, it’s important to recognise that controversies have arisen from his working methods, and he might have benefited from better collaboration throughout his career. In the end, one thing is for sure: Vangelis is, and will always be, a celebrated figure in the music world, and we can appreciate both the good and the bad that come with his work.