Jean-Michel Jarre - Oxygene (1977) & Equinoxe (1978)

I'm including both of these classic Jean-Michel Jarre albums as a double feature. When I first heard them, they were issued as a double-LP (remember those?), and subsequently occupied opposite sides of a 90 minute cassette (remember those???). These were perhaps the most important albums to fuel my childhood synthesizer-cravings. 

Let's start with Oxygene, which was released in 1977, and recorded at Jean-Michel Jarre's home studio. The equipment listed in the original liner notes is as follows (my comments in brackets): A.R.P. synthesizer, A.K.S. synthesizer, V.C.S. 3 synthesizer, R.M.I. Harmonic synthesizer, Farfisa organ, Eminent (310 Theatre Unique organ), Mellotron, Rhythmin' Computer (Korg Mini-Pops 7). 

The string sounds on the album were from the Eminent organ, which has the distinction of being the first instrument equipped with a string synthesizer, before such an instrument was available stand-alone. It was run through an Electro-Harmonix Small-Stone Phaser pedal to give it the distinctive tone. The Korg Mini-Pops 7 rhythm machine had a built-in flaw that Jarre exploited to good effect: it could play more than one preset rhythm at once. Thus, on the iconic single Oxygene IV for instance, you can hear 'slow rock' and 'beguine' combined.

Oxygene IV, courtesy of alejandrodurand24.

Oxygene II is my favourite song from the album. Epic, sweeping, and somehow possessed of emotion, proving it's possible to be moved by a song made on machines!

Oxygene II, courtesy of jackrudybacks.

Oxygene III is a short track nestled between its better-known counterparts. Some evil-sounding discordant synths in the background, with a soaring theremin-like lead from the AKS (Jarre has played this part on a theremin at live shows).

Oxygene III, courtesy of oldiesfan520

Oxygene 7 used to crack me up when I was a kid. The sequenced percussion (from one of the ARPs?) sounded to me like a cat eating bikkies at double-speed. I fondly remember listening out for it whenever the album was played.

Oxygene V, courtesy of oldiesfan520

Equinoxe gear list: ARP 2600 Synthesizer, EMS Synthi AKS, VCS 3 Synthesizer, Yamaha CS60, Oberheim TVS-1A, RMI Harmonic Synthesizer, RMI Keyboard Computer, ELKA 707, Korg Polyphonic Ensemble 2000, Eminent, Mellotron, ARP Sequencer, Oberheim Digital Sequencer, Matrisequencer 250, Rhythmicomputer (Korg Mini-Pops 7 and Roland CR-78), EMS Vocoder.

While the mood largely continues in the vein of Oxygene, Jarre gets slightly more upbeat on tracks like Equinoxe 5.

Equinoxe 5, courtesy of ojciecnatoora.

The other single from the album was Equinoxe 4, perhaps the track with the most going on in it. Listen out for the excellent sample & hold bass warbles during the bridge.

Equinoxe 4, courtesy of kikkerfan.

Interesting melodies on Equinoxe 3. It reminds me of a medieval ballroom dance.

Equinoxe 3, courtesy of jaki386.

The epic Equinoxe 7. I always thought this would be a good final track for the album, but that honour goes to part 8, which is composed of two movements and could pass for two songs.

Equinoxe 7, courtesy of speedfreek67.

The Alan Parsons Project - I Robot (1977)

Alan Parsons, an engineer at Abbey Road studios, famously worked on Pink Floyd’s Dark Side Of The Moon album – well-regarded for its use of found-sounds, tape effects, and innovative studio technique. The Alan Parson’s Project continued in this vein, creating thematic albums of pop/rock music with an evolving cast of studio musicians & vocalists. The use of obscure instruments and innovative sound-design gave their music an out-of-the-ordinary feel. Their first album, ‘Tales Of Mystery and Imagination,’ based on works by Edgar Allan Poe, is a case in point.

On their next album, ‘I Robot,’ a funk-inspired affair, the synthesizer begins to play a larger role. It’s worth mentioning that a device called the Projectron was also used on this (and other APP albums). The Projectron was a one-off device created by Parsons himself:

“The Projectron was effectively an analog ‘sampler’. It could therefore produce any sound fed into it. It was a little like the Mellotron, but was capable of much higher quality. Usually it would reproduce tape loops individually recorded to a 16 or 24-track tape machine. The attack and decay times were adjustable using voltage control technology. One of the most featured sounds is the female background vocals on Breakdown. The Projectron looked something like a keyboard synthesizer but with lots of sockets on the front panel for connections to a multi track tape machine. Sadly, there are no known photos of it and it has disappeared into the annals of legend.”

The EMI Vocoder shows up on ‘The Voice’ (a track inspired by The Temptations’ ‘Papa Was A Rolling Stone’):

The Raven [from Tales of Mystery & Imagination] was the first rock song to feature a vocoder, which was designed by EMI's Research Laboratories. Eric Woolfson: "That's right, that was one of the earliest uses of vocoder. It was a machine that the EMI scientists had developed, a very cumbersome thing that was very much in its early stages. They had gotten it together in a way that let us do some relatively new things with it.”

This would be one of the rare occasions Alan can be heard doing 'lead vocals' in his career. "For The Raven it was not a real vocal sound at all, it was an electronic synthesis of my voice. I also did that electronic piece on The Voice ('he's gonna get you') [from I Robot]. The part on Time [from Pyramid] could be argued as a counter lead vocal. The real reason that I don't sing is that I don't think I'm a really good singer. Modesty prevents me from stealing any limelight. I'd much rather have people ask ‘why don't you sing?’, than 'why do you sing?’” 

As for the synths used here, information is a little sketchy. Duncan Mackay played a Yamaha CS-50 or CS-60 (and a prototype CS-80 on subsequent albums); there may have also been an EMS Synthi-A. If you have more info, please post in the comments.

*Thanks to Micke via the Vintage Synth Explorer forums for the interview excerpts.

The title track, an instrumental, opens the album. Some nice phased sweeps start things off, and a bubbly bass sequence propels the track along as various acoustic elements are added; including choir, cymbalom, and kantele.

I Robot, courtesy of unstoppable3rd

Next up, the otherworldy ballad "Some Other Time." The synthesizer parts here are such that they blend seamlessly with the orchestration. The most overtly synthetic-sounding part, ironically, appears to be guitar fed through an effects pedal.

Some Other Time, courtesy of leonheart54

'The Voice,' on which you can hear the EMI vocoder. This song was inspired by The Temptations' epic track 'Papa Was A Rolling Stone.' Well worth a listen if you enjoy this one.

The Voice, courtesy of colejordan123 

The final track on the album is perhaps my favourite. My one complaint is that it's so short. Beautiful synth-work throughout, and the orchestra just tops it off. The concept here is an addendum to the Book of Genesis, in which robots, which we've created in our own image, inherit the earth. 

Genesis Ch. 1 V. 32, courtesy of PARAFER2004

I could go on posting tracks from this album. There's the shimmering proto-ambient track 'Nucleus,' which I suspect features heavy use of the Projectron. There's the slide-guitar vs. synthesizer dreaminess of 'Day After Day.' There are the album's funkiest moments in 'I Wouldn't Want To Be Like You' and 'Breakdown,' which don't have much to do with synthesizers, but are fantastic tracks. Perhaps the only song I tend to skip is 'Total Eclipse' which is exactly the sort of dramatic music that should accompany an eclipse of the sun. Composed exclusively of choir and discordant strings, it doesn't make much sense alongside the other tracks unless you've listened to the 'Fall Of The House Of Usher' suite from the previous album. I hope, by hearing these excerpts, you'll be tempted to give I Robot a listen.

The Doctor Who Theme

It would be remiss of me to start this blog without mentioning one of the most important pieces of electronic music in popular culture: the theme to Doctor Who. It's certainly what introduced me to the concept of synthesizers at an early age. Technically, it was created before synthesizers (as we know them today) existed; but nearly all elements of the tune were created by tone and white noise generators (oscillators, in effect), then processed and sequenced on tape machines. Composed by Ron Grainer and realized in 1963 by Delia Derbyshire at the BBC Radiophonic Workshop, it's a piece of music that still sounds fresh and haunting today. Indeed, elements of Delia's original are used in Murray Gold's current version of the theme.

Mark Ayres, former composer of incidental music for the show, curator of the Radiophonic Workshop archives, and the man in charge of audio-restoration for DVD releases of the classic series, has written an extensive article on the history of the Doctor Who Theme which is well worth a read.

Exhibit 1: The original theme, 1963. Courtesy of TheDoctor001

A classic clip of Delia Derbyshire at work. Courtesy of radioshaolin

Exhibit 2: Peter Howell's version, 1980. Courtesy of timelord726

Synths: Yamaha CS80, ARP Odyssey, EMS Vocoder, and Roland Jupiter 4. 

The making of Peter Howell's version. Courtesy of thegreenman42

Exhibit 3: Dominic Glynn's version, 1986. Courtesy of timelord726

Synths: Roland Juno-6, Yamaha DX21, Korg 770. 

Exhibit 4: Keff McCulloch's version, 1987. Courtesy of timelord726

Synths: Sequential Circuits Prophet 5. 

These are by no means all versions of the Doctor Who theme. The original went through many subtle changes during the ten years it was used on the show, and there was even an aborted version Delia Derbyshire created on an EMS Synthi-100 (known as the "Delaware" version). Countless others have been produced throughout the years for audio-adventure releases, specials, etc... Not to mention the hundreds of fan-produced versions found at whomix.