Jean Michel Jarre "Oxygene" album 1976 εποχές βινυλίου ΜΟΥΣΙΚΗ

 

Jean Michel Jarre

“ Oxygene ”

album 1976

3^rd studio album

First released in France in December 1976

Internationally released in 1977

εποχές βινυλίου

ΜΟΥΣΙΚΗ

 

 

 

 

/ - το εξώφυλλο

( ελληνική κυκλοφορία 1977 )

 

 

 

 

/ - το οπισθόφυλλο

( ελληνική κυκλοφορία 1977 )

 

 

 

/ - το βινύλιο

( ελληνική κυκλοφορία 1977 )

Side 1

 

 

 

 

 

 

/ - το βινύλιο

( ελληνική κυκλοφορία 1977 )

Side 2

 

 

 

 

 

 

 

 

1976: (Dec): Jean Michel Jarre, “Oxygene”  (album)

  Διεθνώς ο δίσκος κυκλοφόρησε στα 1977. Είχε προηγηθεί η κυκλοφορία του στη Γαλλία τον Δεκέμβριο του 1976.

   Ο ορχηστρικός (instrumental) δίσκος ηλεκτρονικής μουσικής “Oxygene” του Jean Michel Jarre  ακούστηκε κατά κόρον στην Ελλάδα και στο ράδιο και σε διαφημίσεις και σε τηλεοπτικές εκπομπές ως ηχητικό υπόστρωμα (το λεγόμενο «χαλί» στην δημοσιογραφική αργκό) και ως εναρκτήριο μουσικό κομμάτι σε «ντίσκο» εκείνης της εποχής.

      O πρώτος που τον σύστησε-εισήγαγε στο ελληνικό κοινό ήταν ο Γιάννης Πετρίδης από την μεσημεριανή ραδιοφωνική του εκπομπή με επαινετικά εισαγωγικά σχόλια και γνωστοποιώντας-υπενθυμίζοντας ότι ήταν ο γιος του διακεκριμένου συνθέτη Maurice Jarre.

      Μολονότι στην ηλεκτρονική  pοp/rock μουσική  είχαν προηγηθεί άλλοι, (από τις πιο γνωστές περιπτώσεις ο Vangelis), ο συγκεκριμένος δίσκος του Jean Michel Jarre υποχρέωσε τα μαζικά ακροατήρια να έρθουν σε κάποια στοιχειώδη επαφή και αποδοχή με την μουσική των συνθεσάϊζερς. Όλα αυτά πάντα για την περίπτωση της Ελλάδας.  

 

 

 

 

 

 

 

 

Κατάλογος πωλήσεων albums (Αγγλία)

Στον κατάλογο πωλήσεων των albums για την αγγλική αγορά:

To “Oxygene” στη θέση 2.

Sounds magazine, September 17, 1977, p. 6.

 

 

 

 

 

Στους δίσκους 45 στροφών (αγγλική αγορά):

Το “Oxygene” στη θέση 4

Sounds U.K., September 17, 1977, p. 6. 

 

 

 

δημοσίευμα 1

δισκοκριτική:

by Tim Whelan

The Leader Post, Regina, October 14, 1977

 

/ - 1.

 

 

 

 

 

/ - 2.

 

 

 

 

 

 

/ - 3.

 

 

 

 

 

 

 

/ - 4.

 

 

 

 

 

/ - 5.

 

 

 

 

 

/ - 6.

 

 

 

 

The Leader Post, Regina, Saskatchewan, Canada, Friday, October 14, 1977, [ section: PostScipt, p. 7. ]

( ο τίτλος της εφημερίδος )

 

 

 

 

 

 

 

 

δημοσίευμα 2:

δισκοκριτική

by Bob Uhrinak

Beaver County Times, October 26, 1977

 

 

 

/ - 1.

 

 

 

/ - 2.

 

 

 

Beaver County Times, Pennsylvania, (U.S.A.), Wednesday, October 26, 1977, p. B11.

( o τίτλος της εφημερίδος )

 

 

 

 

 

 

 

 

δημοσίευμα 3:

by William D. Laffler

The Hour, Norwalk, Ct., Wednesday, November 2, 1977, p. 10.

 

( o τίτλος του δημοσιεύματος )

 

 

/ - 1.

 

 

 

 

 

 

/ - 2.

 

 

 

 

 

 

/ - 3.

 

 

 

 

 

/ - 4.

 

 

 

 

The Hour, Norwalk, Connecticut, (U.S.A.), Wednesday, November 2, 1977, p. 10.

( o τίτλος της εφημερίδος )

 

 

 

 

Συνέντευξη με τον Jean-Michel Jarre

Sounds magazine, September 17, 1977, p.

 

 

“The Oxygene Man”

by Mick Brown

 

 

Charlotte Rampling and Jean Michel Jarre

     (φωτο από το δημοσίευμα)

 

   THE SUCCESS of ‘Oxygene’ is one more piece of evidence that both electronic music and the Common Market have become inescapable facts of life. Its composer and performer, Jean-Michel Jarre claims it is the most successful French record ever in England, and who's to argue?

    It is probably also the most successful French record ever in France. It has been No. 1 in the album charts there for the past 5 months, sold 1 ½ million copies throughout Europe and been favourably received in America and behind the Iron Curtain.

   Inescapable certainly.

   It has become hard to avoid it on the radio; Thames Television have taken to using it as background-music between programmes fit's place in the BBC sound library filed under ‘space-flight atmosphere' seems certain) and Jarre himself confidently predicts a future for it in airport-lounges and hotel elevators throughout the world.

   Those who saw in Bowie’s 'Low' and in the music of Tangerine Dream, Can and Kraftwerk the dawn of a new era of music as ‘environment colour', transcending barriers of taste, age, class, demographic and socio-economic background, music which recognises no tradition but that which it is creating, music as clean and cool and precise and universal as the computer — look no further. It appears to have arrived in the shape of 'Oxygene'.

   And for those who find the prospect a little bleak, cold, heartless — some how inhuman — don't sweat.

   “There is a bad image about electronic music: in the minds of many people it means..." Jarre searches for the right word,

"...Vacuum cleaner. That bad idea comes from too many composers who use electronics just to make sound effects. For me it's exactly the same as a symphony orchestra or an acoustic guitar. "

    “If you arc a musician, if you have the talent and the ambition to communicate, to catalyse the sensitivity of the time for all people — and this is the main role of the artist — if you have this then you can do it with a stone, a violin or a computer in exactly the same way. Electronics does not inhibit emotional expression. It is only the approach of the person using it which is inhibiting..."

   So machines can be human. Or at least the men behind them can. Jarre most certainly is. Relaxing in his hotel suite, making regulation jeans and workshirt look chic in a way which seems the sole prerogative of the French, he complains half-heartedly about the air-traffic dispute which delayed his incoming flight by four hours one minute, and expresses his surprise at the ‘rapidité' of Oxygene's success in this country the next. He records 'Top of the Pops’ tomorrow.

Inescapable.

   "For me the record is a spectacular success because the music is not for one particular kind of public", he says, settling back into the sofa.

   "I’ve received many letters, from teenagers who normally listen to rock music and from old people — 65 years of age — who say they normally listen to classical music; and all the letters are saying the same thing, the music exists outside their normal conceptions of what they do and don't enjoy. This is interesting to me.”

   And gratifying too.

   Cassically-trained but with working experience with rock bands in Paris during the sixties, the 29-year-old Jarre is quick to dissown labels like ‘modern classical' or 'popular' composer.

   “To me I am just a contemporary composer using contemporary methods. Electronic instruments are the instruments of my generation; everybody is using electronics everyday when you switch on you lights, the TV, your razor. Electronic instruments are the most adapted to go through different barriers of the media. Where do you listen to music? Through a hi-fi, through radio, through TV — all those arc electronic ways of diffusion. It's totally normal that a composer in 1977 should be using electronics; it's the medium of our age.

    "One Century ago I would have used the symphony orchestra, but now a composer who is not conscious of electronics is a reactionary. All the classical instruments used today were invented in the 16th and 17^th Century. We've come a long way since then, and if we don’t fully utilise our understanding of technology and use that to reflect our times then we are still living in the past."

   The Americans, says Jarre, have wised up to the fact: electronic music, fooling around with synthesizers, has recently been introduced as part of the curriculum in junior schools. He had no such luck

 

   HIS FATHER is Maurice Jarre, composer of such film-soundtracks as 'Dr Zhivago' and 'Lorenzaccio', but as his parents separated when Jean-Michel was five there was little active encouragement from that quarter. Nonetheless he learnt piano as a child, studied classical composition at the Conservatoire of Paris (playing rock and roll in the evenings) and then went on to progressive music studies’ at the Paris Music Research Centre. There he dabbled in oriental music, experimented with computers ("You approach a computer like you approach a tom-tom – the principle is the same") and worked with one of the first synthesizers ever manufactured.

   After 3 years he came to the realization that  "in that sort of academic climate you are making more philosophy about music than music itself." He set about building his own studio instead – a base for turning some of the theory he had learned into practice.

    He performed his first full electronic composition at the Paris Opera House, a venue so conservative that he was asked to paint his speakers gold to blend in with the rest of the rococco décor. The performance did much to convert traditionalists to the aesthetic possibilities of electronic sound, and brought Jarre some kudos in ‘serious’ music circles.

 

   So much for ‘serious’ music.

   Instead he started writing film and TV scores, pop songs, advertisting jingles – and background music for airports and shopping malls.

 

   Whilst Jarre agrees that he is part of a new movement in music, he balks at being too closely identified with it’s progenitors. Americans Terry Riley and Phil Glass are more influenced |by jazz and oriental music, he says;  while the German groups like Tangerine Dream, Kraftwerk and Ash Ra, well, "for me their music is far removed from my intentions. Our music may seem similar on superficial listening, because it's electronic instruments and the public are not yet totally used to or informed about that yet. It's like if you were making a classical concert in the Amazon I'm not sure they would make the distinction between Schuman, Beethoven and Vivaldi.

   "For me all the German groups are working in a very different way; they arc making a kind of apology of the machine, using it for it’s own sake. That is quite German that thinking. Like in concert the three members of Tangerine Dream leave the stage altogether and just let the machines get on with it. Maybe this kind of music is made for a public of machines, not people? I can't agree with that approach, even if sometimes the result is quite interesting.

   'The other difference is that all the German groups seem to be building their music in a horizontal way; Klaus Schulze, for example, sometimes has a very interesting arrangement of sounds, but the mood is always the same for 20 or 40 minutes. I am trying to compose more vertically than that, with more attention to different moods, melody, timbre. In 40 minutes music must pass through romantic moments, tragic, maybe funny. Not so serious all the time ...”

 

   Jarre is already at work on a follow up to 'Oxygene'. His intention, he says, is to develop a library of records each representing a different mood, that the prospective listener might care to slip into, “rather than because they like particular songs or because this guitarist or that pianist happened to be playing on it, as happens with some pop albums.”

   He works from a studio in his Paris home, alone — "because it is almost impossible to communicate your ideas to other musicians with this kind of work" —just him, his 20 or so synthesisers and a friendly electrician to translate his ideas for new machines into functioning reality and patch up any errant electrical circuits.

   The contemporary composer must be an electrician in terms of technique, he says, but not necessarily in effecting repair, “do you ask Arthur Rubinstein to fix his piano, or Eric Clapton to mend his own guitar?"

 

   Jarre insists his music is not studio-bound; there will be live performances, but not until he has completed his second album, allowing him a wider repertoire of music. And then his performance will be augmented by film.

 

   "It’s not honest to ask the public to sit and watch me hiding behind machines," he says. “That is not a performance. In Paris Klause Schulze made a concert with his back to the public; it went on so long people began to leave, and he didn't even notice because he had his back to them ..."

   Jarre says he will face the audience, while the audience face the music— and dance?

 

 

 

Sounds magazine, September 17, 1977, p. 16.  

 

 

 

 

 

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Jean Michel Jarre

“ Oxygene ”

album 1976

3^rd studio album

First released in France in December 1976

Internationally released in 1977

εποχές βινυλίου

ΜΟΥΣΙΚΗ ]