DIONYSIS SAVVOPOULOS

Savvopoulos at his absolute BEST!!

While albums like Perivoli tou Trellou, Ballos, Vromiko Psomi and 10 Chronia Kommatia really showcase the limitless creativity and musical chops of prodigial composer Dionysis Savvopoulos, in my opinion his magnum opus lies in his retelling of the ancient Greek comedy, Acharnians (subtitling the album, 'Aristophanes has returned from the dead').

Structuring this album into quite a literal rock opera, there's only 34 minutes worth of material on this, with a significant portion of the runtime taken up by monologue. Even if you don't speak Greek I recommend you listen to these spoken parts as Savvopoulos' storytelling capabilities and passions are truly unparalleled, and the orchestral accompaniment and weird sound effects makes for some very riveting and clearly Brechtian inspired musical moments.

The songs themselves, in their unfortunate limited capacity, are absolutely flawless and truly contain masterful composition and orchestration to combine a wide array of inspiration ranging from traditional Greek music, Byzantine chants, Gothic chorale, Renaissance/English folk, opera, rock, musical theatre and surrealist Brechtian theatre. For just over thirty minutes, that is a notable achievement, especially when the transitions and mixing between all the different genres are so seamless, with no part of the album seeming out of place and running its full duration smoothly. Notable aspects of unique instrumentation which really enhances the music on this album to contains a full orchestra, sheepskin bagpipes and lutes for that extra bit of spicy Hellenism, notable voices in Greek music (N. Papazoglou, S. Boulas) backed by a strong male ensemble, harpsichords and booming tubular bells.

Throughout the whole album, Savvopoulos' expressive and highly intimately worded narration accompanyies the chanting, haunting voices of the Acharnians, who serve as the ancient Greek chorus during the show. Their voices stylistically switch between and mix styles resembling droning Byzantine prayers of the Greek Orthodox church (Parodos/Kyrikes), Epirotic polyphony (Paravasi), Icarian carolling (Stasimo) and Western-style musical theatre (Agonas/Kyrikes). This versatility of this dynamic yet highly foreboding ensemble already sets the humourous yet somehow unsettling nature of the show, heightening its non-naturalistic plot.

The music does not shy away from rapidly yet seamlessly changing between simple acoustic medieval minstrel tunes and dirges to haunting, harmonising chorale backed by thrashing orchestra and electric guitars which ground the listener instantly. The changing tempos and time signatures throughout the whole album, interwoven with the narration and the spoken word, really adds layers of complexity to Savvopoulos' writing capability.

Notable moments from the album include the strong opening track Parodos in all its wonderful variations and changes between most, if not all the aforementioned genres seamlessly, the Anglo-folk tinged beginning of Siggrousi, the climax of the very heavy yet vocally stunning Paravasi, the orchestral and a-cappella versions of Stasimo as well as the chilling yet calming voices of Kyrikes which wraps the story in on its close. Likewise, the greatest moment of this album (as if it could get any better from all its preceding songs) is the ensemble and orchestra singing and playing in unison at the grand finale Exodos, celebrating the 'resurrection' of Aristophanes from the thymeyards. A rewarding and highly jovial musical extravaganza for the listener as the musical soars to a triumphant close after a string of flawless storytelling and musicianship.

So is this a prime example of progressive rock? Well, no. Not really. So then why does it get my five stars? Because this is a piece of progressive theatre and opera by a notable progressive rock artist, much like Pink Floyd's The Wall, Frank Zappa's Joe's Garage and Jethro Tull's Too Old to Rock n Roll, Too Young to Die! which has been composed and performed exceptionally well on the album and in many live shows because of its gleaming musicianship and artistry. The music on this album is Savvopoulo at his most explorative, most experimental and most surreal, with not a single boring moment from its hopeful and charming opening monologue to the final operatic number which will ring down Aristophanes' iconic (and one-of-his-first!) comedies for generations to come.

An emblimatic figure of the Greek Rock scene, growing different generations and upon different periods of the Greek history, Dionysis Savvopoulos was born in Thessaloniki in 1944 and stopped his studies at the School of Law in 1963 to become a singer/songwriter.He moved to Athens and sung in various cult pubs and bars of the Greek capital, before launching his debut ''Fortigo'' in 1966, followed by ''To perivoli tou trelu'' in 1967.It was about the same time, when he was imprisoned by the Greek dictatorship for his political and revolutionary beliefs.One of his best albums, ''Mpallos'' sees the light in 1971 on the legendary Lyra label.Among the participants of this album was also Dimitris Poulikakos.

The sidelong 16-min. title track, which refers to an ancient dance, mainly performed on Greek islands, is one of the most obscure pieces in the Avant Folk field with definite influences from Balkan Music and Macedonian Folk, characterized by the changing use of traditional instruments and the impressive, archaic horn sections.Shifting between poetic vocal parts and folky instrumentals, this track is a good example of dark and haunting Progressive Folk with acoustic passages and strong percussions in evidence, supported by Balkan-inspired horn lines, delicate flute and sweet piano themes.A really challenging composition with sarcastic lyrics, driven by the complex breaks and its dramatic atmosphere.The second side is certainly more easy-listening, somewhere between Psychedelic Rock and Singer/Songwriter stylings, even if the Folk influences are still apparent.Moreover I can detect a slight jazzy vibe in the electric guitar parts.Savvopoulos' voice is a trademark of his releases with his hoarse and extremely lyrical color and these pieces contain alternating electric and acoustic moments with more conventional song structures, strengthened by the presence of flutes and horns.''Dialeima'' is among the best cuts of the second side with Classical-driven flute parts and pastoral acoustic guitars in the vein of PREMIATA FORNERIA MARCONI, while the closing ''Se efcharisto o eteria!'' is a ZAPPA-esque piano/horn-driven ballad with chant-like vocal arrangements and a humoristic lyrical content.

''Mpallos'' is an excellent addition for all fans of Psychedelic Folk, Avant Prog and Experimental Rock.Enigmatic music, controlled by poetic vocals with electroacoustic craziness and lots of diverse climates.Warmly recommended in general, Greek fans will also appreciate the sinister lyrics of the album and should add a half star.

Album no.2 on the essential list of Savvopoulos' early releases, "Vromiko Psomi" picks up from where "Ballos" concluded. The eclectic nature is ever apparent with styles ranging from cabaret music to folk, Greek ethnic (zeimpekiko-Epirotic-Macedonian-Thracean tunes) to avant progressive rock, and all that within 37 minutes.

The structure of the album is in a way similar to "Ballos", with several shorter-length songs and a long composition, which comes by the name 'Mavri Thalassa' and represents the absolute highlight; in this occasion, the album concludes (rather than opens) with that most majestic piece of composition.

The "shorts" include among others a very good cover of (surprise-surprise) Bob Dylan on its 'The Wicked Messenger' with strong political lyrics and folkish atmosphere on acoustic guitars. 'I Dimosthenous Lexis' and 'Zeimpekiko' are two of his most well-known compositions that have survived the decades, the former a low-tempo socio-political statement with elaborate rhythm section and the latter an elongated version of the traditional Greek zeimpekiko, giving a different dimension to the Minor Asia-derived 9/8 tempo. Light-hearted and ironic moods could not be absent from this festival; 'Elsa se Fovamai' and 'Olaria Olara', the former showing some skill on sliding guitar playing under an trumpet-led party. The tribute to Zappa and Beefheart, but also progressive folk, take place on 'Tragoudi' and 'To Moro', the second including ecstatic operating female vocals on the short refrain.

All the above mix with trumpet improvisations, twin-flute phrases and Macedonian/Thracean tempos on slap bass to produce 'Mavri Thalassa'. Ancient Greek theatre and opera make their way on the grandiose refrain, which lifts the composition to unimaginable heights, following a dark verse seeming to come out a Pagan dance. After a total fluke of avant improvisation the song returns to an ethnic/folk structure before concluding, leaving the listener with an open mouth...

Similar to "Ballos", "Vromiko Psomi" is a must-have for those stretching their prog boundaries even if not all compositions appear challenging enough for the initiated listener.

A unique listening experience

The early 70's finds Greece in a turmoil caused by the military junta and a number of artists try to find a way to express their feelings. Savvopoulos is one of them and with his third full album he delivers what is possibly his best effort to date, dominated by the brilliance of the title track, a revolutionary atmosphere and hidden messages behind well-worked lyrics.

''Ballos'' (cf. dance of the Aegean islands) takes up half of the album and is arguably Savvopoulos' best composition. Through an orgasm of Macedonian bagpipes, trombone and oboe sounds, the rhythm section reaches a delirium of odd-time signatures and fusion percussion, taking the listener back to traditions of Northern Greece and the Balkans. Combined with the sophisticated Greek lyrics and through a series of sub-sections, you find yourself experiencing an ancient Greek comedy and drama combined, going back thousands of years... The "Choros" is just around the corner waiting to enter the main stage as the drums are pumping, as influences from Zappa and Beefheart merge with this weird symphonic orchestra...

Although the remainder of the album does not reach the heights of the title track, RIO fans will appreciate the Captain Beefheart references especially on ''Killeler'', while the odd trip continues with the mixing of the ironic cabaret-like music, folk (a very interesting cover of Dylan's ''All Along the Watchtower'') and symphonic prog rock arrangements (the closing two tracks). Ranging from light-hearted to dark and mysterious, almost medieval, moods, ''Ballos'' keeps the listener on his toes. Greek lyrics can be an obstacle to appreciating this album, but if you are looking for something different from the norm, this album should be your starting point in a journey to Balkan/RIO prog!