END OF THE WORLD

1. "End Of The World" (3:13) Is the lead vocalist here a woman--Claude Chauvet? or Demis Roussos? It's so French--and so beautiful in that dramatic French tradition à propros to 1968. Despite the song's beautiful melodies, the screams at the end of each verse belie some kind of deep-seated angst or frustration which, to my mind, gives this song quite another (rather surprising) element than just one of simple beauty. (9.5/10)

2. "Don't Try To Catch A River" (3:38) very pleasant and engaging R&B given a Baroque pop sheen. Masterful keyboard work from Vangelis Papathanassiou. (8.875/10)

3. "Mister Thomas" (2:52) Demis Roussos' theatric song inspired by The Beatles' "Being for the Benefit of Mr. Kite" doesn't work for me (especially being lyric incomprehensive as I am). (8.6667/10)

4. "Rain And Tears" (3:10) another Baroque Pop song that feels very familiar from so many British songs as well as due to the blatant employment the famous Pachelbel melody and chord progression. Demis' vocal performance is quite emotional--much like that of a French chanteuse. I can see the reason this was a popular radio hit. Claude Chauvet's operatic soprano vocalese in the background only adds to that beauty. (8.875/10)

5. "The Grass Is No Green" (6:05) nature-focused psychedelia in a bit of a Beatles/Moody Blues fashion. Not enough variety or development for me--despite the vocal performance that previews those of Led Zeppelin's Jean-Paul Jones. (8.6667/10)

6. "Valley Of Sadness" (3:13) using more of the Baroque pop instrumental palette the (8.75/10)

7. "You Always Stand In My Way" (3:55) a little funk in this energetic song: bass, drums, clavinet and screeching blues-rock vocals in the vein of Janis Joplin, Mick Jagger, or Eric Burdon. (To my ears, Demis' voice often sounds like that of a scratchy-voiced woman.) Impassioned and dripping with synth strings (Mellotron?), this kind of aggressive blues-rock is just not my cup of tea. (8.666667/10)

8. "The Shepherd And The Moon" (3:04) multi-voice psychedelia with dynamic bass, drums, and acoustic guitar strumming before everything goes mellow-pastoral, then Vangelis' Mellotron takes over while Demis vocal becomes more theatric (sounding like Moses on the Mountain). The folk melodies and references are quite obvious and impressive--as is Vangelis' keyboard work. (8.875/10)

9. "Day Of The Fool" (5:50) a long subtle keyboard intro precedes a melodramatic Jesus Christ Superstar-like vocal performance from Demis Roussos. Very passionate and theatric. (I know: JCS won't be coming to London's stages for another four years but I have nothing from the 1960s to compare this to.) Vangelis' keyboard work is again quite impressive. (8.875/10)

Total time 35:00

Most of this music is oriented toward radio play and the vast majority is in fact quite appropriate and fitting for popular interest. Lead singer Demis Roussos is quite good--even in his lightly-accented English--and these songs all feel quite sophisticated and top tier; no simplistic drivel here.

B/four stars; an excellent collection of very impressive and mature (and diverse) songs that any proto-prog lover will enjoy.

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