Vangelis was called to do the soundtrack to the Ridley Scott film, Blade Runner. It was suggested to Scott when he wanted something more "futuristic" in the music. Vangelis used the same technique that he did in Chariots of Fire. He sits down and analyzes the pictures before him and responding by playing and performing. To achieve the psychological effect of the music with a movie, he depends on pictures instead of timing. It worked! In 1995, twelve years after the movie's theatrical release and the promise of the official soundtrack coming out, Vangelis released the original work under the EastWest (Atlantic in the United States) label and all to enjoy.

[1] MAIN TITLES
It starts off with Deckard (Harrison Ford) giving commands to his computer. It has been debated amongst the Direct Mailing List about whether the conversation should have been added or not. It is very spooky and errie to enter into a world that is very different in look, feel and in habitation. Vangelis takes us to that world very well. It doesn't really matter if the sound is from the eighties...

[2] BLUSH RESPONSE
It starts off with another conversation. This time it is with Deckard, Rachel and Dr. Tyrell. AS soon as the conversation ends, the fast-paced harmony starts to play (which is a harpischord-like sound and a percussion ryhthm). Soon, the meldoy plays in on an occassion. One of the things that I like about it is the contrast between the conversation and the main piece. It doesn't sound like a "blush response."

[3] WAIT FOR ME
In the beginning, you hear sensual breathing and a conversation between Rachel and Deckard. To me, this is like one of those "cheap hotel" scenes. I like the way the saxophone is used which proves my theory that Vangelis has "done his homework."

[4] RACHEL'S SONG
I like this song because it is brief and it is very romantic. The sounds used to achieve this romantic emotion (nonsexual) is a "water-dripping" sound (either symbolizing a broken-down world or a replicant's heartbeat), the synthesizer sound and Mary Hopkin's voice (Rachel's "cry"). The way the melody plays, the way the "dripping" sound flactuates and the way she sings, gives the song the idea of a troubled girl seeking a normal life. To me, the emotion displayed there is absolutely incredible.

[5] LOVE THEME
This was a classic song from this album. I can't see why not. It is very striking, very sexual (I'm serious!) and emulates the old love themes of a 40's saxophone. You remember those detective stories where the lady in distress spends a romantic evening with her "knight in shining armor." To me, while listening to it, I capture that image and that intent. Vangelis did his homework!

[6] ONE MORE KISS, DEAR
The first time I heard this song, I laugh my ass off because it wasn't what I expected from Vangelis. It was basically one of those songs you heard on the radio in the 40's. There is actually a story behind this song. Ridley Scott wanted to use a song from that period but it would have been a problem getting through with royalities (and that film wasn't cheap either!). So, Vangelis jumped at the chance and collaborated with lyricist, Peter Skellern. This was the result... a depressing, love song!

[7] BLADE RUNNER BLUES
This one I like in spite of the length and the lack of musical flow. I like because it blends Vangelis' own "futuristic" style (common stereotype to place on electronic musicians) and a blues/jazz format. I constantly see a window and a storm occuring outside while listening to this. Just me with my thoughts while looking out into the rain.

[8] MEMORIES OF GREEN
(This song was originally on See You Later)

[9] TALES FROM THE FUTURE
I imagine this "city in ruins" image running through my head. The vocalist that is ringing in my ears as I'm writing this is no other than Demis Roussos, vocalist and member of Vangelis' group Aphrodite's Child. This piece gives that kind of Oriental, Byzantium, Gypsy, Arabic... whatever you want to call it... sound and atmosphere. It is also like walking through a William Gibson novel.

[10] DAMASK ROSE
This one is almost funeral sounding to me. It sounds like what you play when a town is burning, or when a patriarch (Orthodox office, not the head of household) dies or after seeing and contemplating a movie or play like Investigation of Auschwitz (by Peter Weiss) or Fiddler on the Roof. It is very somber and dark indeed, which I think is the point.

[11] BLADE RUNNER (End Titles)
This one strikes me funny because it gives a sense of closure but it really doesn't. I just imagine everybody getting up out of the theater seats when the movie is over. Usually, that is the time when everyone scrambles to get out. Sometimes however, you want to stay to hear the rest of the song (especially if it is a good song) and see it totally end. The music leaves you with this sense of confusion and puzzlement and asks the question, "O.K. so now what happened?"

[12] TEARS IN RAIN
I like it how it ends here with this song. It begins with Tyrell's deathbed conversation with Deckard which took place on a roof during the rain. It shows that life can't last forever and all the moments you remember and treasured should be treasured and remembered... because... they will never come again. It gives a sense of reflection and can give you tears while you look upon the past, look towards the future while standing in the present.