On this day in music history: May 8, 1982 - “Chariots Of Fire - Titles” by Vangelis hits #1 on the Billboard Hot 100 for 1 week, also topping the Adult Contemporary chart for 5 weeks on April 3, 1982. Written and produced by Evangelos Papathanassiou (aka Vangelis), it is the biggest hit for the Greek musician and composer. The theme song to the Academy Award winning film about two British athletes training for the 1924 Olympics in Paris, the composer is chosen by film director Hugh Hudson to score the film. Vangelis takes a unique approach when creating the music for the period film. It is contrasted dramatically by a contemporary, modern sounding score performed by the composer alone on an acoustic piano, combined with numerous layers of synthesizers (including the Yamaha CS-80 and ARP 2600), only augmented by a choir on one track. Released as a single in late 1981, Entering the Hot 100 at #94 on December 12, 1981, it begins a long and slow climb up the US pop singles chart, finally reaching the top of the chart twenty weeks later. Vangelis wins an Academy Award for Best Original Music Score for the music he composed for the film in March of 1982. The critical and commercial success of the film turns the Greek composer’s majestic and unconventional film score into a surprise pop hit, with the soundtrack album spending four weeks at number one on the Top 200 beginning on April 17, 1982 and being certified Platinum in the US by the RIAA. The title theme and the score become instantly iconic, with the theme being used in numerous other films, television shows and commercials over the years.
You ever notice that modern music doesn’t have enough saxophone? I meal listen to this and try not to feel all fuck yes sensual. beautiful little track from one of my favorite movies. Ideal chill out music to listen to in a candle lit bath!
Probablemente ostente el título de film de culto por excelencia de los años ochenta. Film-noir scy-fy con tintes filosóficos y una deslumbrante puesta en escena que todavía impacta tres décadas más tarde. No pasa lo mismo con su banda sonora, que acusa el paso del tiempo como casi cualquier cosa que provenga de aquellos años: infinitos colchones de sintetizadores en sequencer, saxos melódicos, voces, climáticos teclados. Hace pocos años conoció una edición por partida doble.