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Getting big recognition for his work, like being awarded an Oscar for Chariots of Fire, and selling huge numbers of albums of both his instrumental solo work and his collaborations with Yes singer Jon Anderson he gained enough status to be able to consider his options very well when he was asked by newly successful director Ridley Scott to write the original score for his upcoming futuristic philosophical thriller Blade Runner. Ironically this score was not instantly released as an album, like most other scores for films categorically are. Almost instantly a bootleg tape was going rounds in film music communities but it became very rare and reached hardly any fan. In 1994, after the release of the Directors cut of the film a big dream of many people came finally true. I would like to take this opportunity to say thanks to Dennis for writing the above text on Vangelis and helping me out.
2007 was the year of Blade Runner and in 2007 we finally got to see Blade Runner: The Final Cut released in Cinemas as well as we got a proper release on DVD, HD DVD and Blu Ray to enjoy in your home. To celebrate the 25’th anniversary of original theatrical release of Blade Runner we also got a new expanded release of Vangelis soundtrack.
This is the most complete (official) soundtrack of Blade Runner and it includes some all new material from Vangelis in high quality, both when it comes to audio quality and musically. For information on Disc 1, please check the Vangelis Blade Runner (1994) information above. One of the first thing that made me spellbound by Blade Runner was the soundtrack, to me it strengthen what I saw on the screen and I much later noticed that the music sometimes just flow out together with some of the other sounds in the movie. Below here you have a couple of good links I recommend you to visit if you want to know more about Vangelis.
A great source when it comes to Vangelis and his different released works (Official and un-official), also has a great Vangelis news section.
There can be no doubt that his compositions attributed greatly to the dark and brooding atmosphere of the film. His parents saw him toying round with the piano and decided to give him piano lessons which he tried very shortly and furthermore refused ever since. Demis Roussos started a successful career as a solo singer and Vangelis started his experiments using electronic instruments for music like he had never heard before.

He made music for nature series like Apocalypse des Animaux, nature films like Fete Sauvage and motion pictures like Chariots of Fire and Antarctica. Scott’s vision must have been overwhelming, and the first designs and results where magnifying.
But when looked upon more clearly the style and form of the music varies greatly over the total of time. For reasons still unclear the original recordings were not licensed and the record company released an album with partly orchestral re-recordings of the work. There where three different releases which contained evertything from the 2007 Final Cut to the older 1982 and 1992 (and Workprint) edits of Blade Runner. Para reproducir la musica que tendra que actualizar su navegador o actualizar el Plugin de Flash. Vangelis is an eccentric artist, and always has been since his first successes during his youth in Greece where it all started.
He used influences from all he could get, including classical music, rock and pop music, jazz, Fusion and avant-garde. A jazzy piece with a saxophone, a symphonic overture which sounds grand and pompous, Arabic oriented ambient music and some simple floating notes here or there. This album however displayed non of the passion, tense and downright beauty of the recordings everybody wanted, which became very soon an obsession for both admirers of the film and fans of Vangelis.
But he still displays his professionalism and lonely height in quality within his own style. The tracks on the soundtrack that are not in the movie fits perfectly and the audio quality is far superior any of the bootlegs. Vangelis is truly a master when it comes to writing music and I believe that most people that have seen Blade Runner sometimes takes notice of the special feeling that the music adds to Blade Runner.
But always recognizable, by adding his own style in composition and expressive performances. Even more: a tragic piece of synthesizer blues appropriately ends a violent action sequence, a pumping pre-techno track supports the end titles suggesting that the story is still far from over yet and a choir dominated climax accompanies the key scene where a meeting of two most opposite yet alike characters ends destructively.

Because of the dated nature of the recordings Vangelis went back to his original tapes and recompiled it to form an up to date album. Again it became one of his most pleasantly surprising film scores, effectively combining the strength of his contemporary style with the feelings inherent to the period in which the story takes place.
He moved to new territories as well, releasing a very limited and very special album as tribute to byzantine painter El Greco, and recorded opera works with famous diva Montserrat Caballe. He had a broad experience to base his creations on and created a no less than unforgettable soundtrack which has become as legendary as the film itself. Still, it all sounds very coherent when perceived within the film or the original soundtrack album. He reprocessed some tracks slightly, skipped some bits (regretted by many many people) and added dialogues from the film over certain pieces, creating an interesting concept album.
Three years after the film the music became unexpectedly a huge success in Europe after it gained attention in Germany when a popular boxer used it as personal theme music. Also he organized the spectacular opening to Athens’ world championship in athletics during the summer of 1997. He used to play acoustic drums and use other traditional instruments but most prolific in his recordings are the synthesizer sounds, which he played and still plays like no one else: alive, breathing and irresistible. It broke many sales records and heightened and broadened the fame Vangelis already had in certain circles in Europe. Finally he recorded a few completely new tracks, inspired by the film’s images (Blush Response and Wait for me).

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