Ridley Scott's film, 1492: Conquest of Paradise, has two things that make worth-watching... its cinematography and its music. Scott turned to an old friend, Vangelis, who had previously done Blade Runner with him. Scott wanted a blend of fifteenth-century style music and a dash of contemporary. He knew that Vangelis would do just that. With the film based on Columbus' life and the release of film and soundtrack during the quincentennial of Columbus' first voyage, it will become a huge success as a soundtrack in Europe and another album in which Vangelis will be remembered for.

[1] OPENING
"Opening" is like an introductory paragraph to the whole album. It is very brief but sets you in the mood of seeing the Caribbean in the 15th century. This piece connects wonderfully, like a transition sentence, to the next track which can be represented as Europe.

[2] CONQUEST OF PARADISE
This piece is ranking among the most recognizable, familiar and most used. It has been used for skating routines, boxer's entrances and even a bridal procession for the first lesbian marriage in Latvia. What makes this piece any different from Chariots of Fire? Well, it beautifully merges choral parts and synthesizer melodies. There is no real dominance between two and each part makes the whole piece beautiful. The choral parts seem to be like Columbus' life and his time. The synthesizer interlude gives the impression of soaring and letting your spirit free (Columbus' passion).

[3] MONASTERY OF LA RABIDA
Vangelis gives a tranquil side to a monastery. When it was used in the movie, the monastery was near the shores where Columbus sat on the shores with his son. They walk through the fields to the monastery where Columbus' other son, a monk, greeted them. The sky was blue with a mixture of gray and cirrus clouds could be seen. Occasionally, this piece makes me visualize that scene but other times, it makes very peaceful and tranquil like what Gregorian chant does.

[4] CITY OF ISABEL
Vangelis seems to love city life! Vangelis always seems to capture the common air to a city, hence the folk instruments used. By this mixture of folk instrumentation and little-bit of synthesizers (he will do this again in Foros Timis Ston Greco), gives the idea of being in a Spanish city in the 15th century. He takes us back in time and makes see that city people haven't really change in social behavior or in the atmosphere in the last 500 years or so.

[5] LIGHT AND SHADOW
This piece is one of those "half-empty, half-full" scenarios. There is a contrast of very moody melody with a sort of "comic relief." You would also think that Vangelis would assign instruments symbolizing the contrasts. Actually, he uses percussion, the folk instruments, the choir and the synthesizers all for the same thing. How could I tell the difference? It was by the use of the right keys at the right time. When you play music, you strike at the listener's emotion center. If you want to achieve a pessimistic mood, make it sound like it (like play in a minor key).

[6] DELIVERANCE
During the movie, when this piece is played, Columbus is sailing around the Caribbean islands after his Spanish claim to the new island of San Salvador (which is in the present-day Bahamas). One gets the impression of being frustrated or in despair or that dark clouds will appear during the sea voyage. The guitar continually strums the same chords and the synthesizers make the repetition more creative. The result is very depressing sounding music but not too depressing.

[7] WEST ACROSS THE OCEAN SEA
This gives the idea of being tranquil and calm. It also lets you enjoy the ocean as a thing of beauty and serenity. I can imagine Columbus looking over the deck on occasion, just looking at the water below him and the sky ahead. The colors of the sky change from day to day and Columbus appreciates it. (Hey, when you are in a ship for three months, you appreciate anything). This presents the ocean, the voyage and the idea of exploration of finding a little bit of Paradise in yourself. (Of course, this is all my opinion)

[8] ETERNITY
This one I like a lot. It incorporates Native American sounding melody with a kind of intricate waltz. I can always imagine the tranquil and happy moments in my life rushing by me in snapshots, rich in color and emotion. This piece takes me to Paradise, to that Garden of Eden and to eternity. That piece reflected eternity in a moment and infinity in a handful.

[9] HISPANOLA
This piece is sobering but a great way to get a story. I had a story idea, while listening to this, of someone approaching a house full of rotting carcasses from various 20th century wars, civilian and military. The house was only lit by the explorer's flashlight, exposing the bodies of previous lives which sicken and scare at the same time. This piece illustrates the times... in Europe, dark and gloomy and in the Western Hemisphere, after its European discovery, the beginning of the end of their Paradise. Of course, Vangelis uses the chorus to bring out the humiliating part of humanity.

[10] MOXICA AND THE HORSE
Yes, as the title suggests, yes it was played when someone was riding a horse. The first part (played in the movie) gives the impression of a horse running through the fields, the footsteps echoing all around. Sometimes, the rider on the horse is not the most pleasing person in the world. Of course, the horse is not really affected by it but it is because of the rider. In other words, you are what you ride! The second part is a favorite of mine because of the synthesizer melody and sound that is produced.

[11] TWENTY-EIGHTH PARALLEL
This one has a ballad, angelic and delicate sound. One has a feeling of the sea winds blowing and the smell of the salt while voyaging onward on a wooden ship. Some people are drawn to the piano playing the melody in a mixture of Baroque and neo-Classical. "Twenty-Eighth Parallel" (which is named for the latitude Columbus was sailing during his first voyage) can also be heard as a forerunner of Voices as far as style and sound.

[12] PINTA, NINA, SANTA MARIA (INTO ETERNITY)
This one is a favorite of mine (as well as many others). Despite the length of nearly thirteen and a half minutes, it is a fascinating work. One has a sense of continuous exploration, in that it doesn't just stop or start, but it keeps going. The melody is basic and repetitive, as in most of Vangelis' work, but it builds in sounds and raises emotions up. It is also a mixture of the new and the old as far as sounds (like synth sounds and piano) and technology (his new sample-based keyboards and an old friend, the Yamaha CS-80). I also like it how it ends with the song, "Eternity." The voyages continue...