The use of percussion instruments in this sort of lyrical and symphonic music is relatively unique. Vangelis: "That’s correct. Although what’s on Heaven and Hell might sound quite complex at times, my basic contributions on the keyboards, not in any way bounded by strict rules, are usually as simple as one plus one equals two. In the domain of the more or less symphonic sound-progressions, brought about in the spirit of the moment, the contributions of the percussion instruments bring power, energy and positive vibrations that are strictly necessary to avoid making the total result a tedious ego-trip." The performance of "Heaven and Hell" at the Royal Albert Hall was a real tour de force and a strange experience which turned into a complete triumph for Vangelis. Assisted by no less than two sidemen, among whom renowned conductor David Bedford(5), Vangelis played a large number of keyboard and percussion instruments. Also making their appearance was an African (percussion-) group. Some 20 girls of London’s Queens College took place behind an equal number of ‘Timpanis’ (a sort of drums). Roughly the same number of ladies in red dresses stood surrounding two enormous drums which they played in a sort of ritual round dance. The 40-odd strong English Chamber Choir plus Greek singer Vana Veroutis completed the cast. Vana didn’t actually use any words when singing. It was rather a case of her emitting sounds. Just like on the last record by the way. Does Vangelis not believe in the power of speech? "The voice (and not the word) is the expression of the body. If you can only say something with words, it cannot really be sincere. Words are insensitive. Outbursts of formalism. The sounds made by the voice are sincere expressions of feelings or emotions circulating within the body." As a musician Vangelis is self-taught. Which you can hardly imagine when you see him in action. He’s in the possession of a fluid, sensitive style on the keyboard instruments. When he plays them he shows a technical craft normally only encountered among classical musicians. The list of keyboard instruments he plays is equally impressive. A Bosendorfer grand piano, a Hohner Clavinet, a Hammond B3 organ, a Fender 88 electric piano, an Elka Rhapsody ‘String’ Machine, a Tornado ‘reed’ organ, a Farfisa organ, an ARP Prosolist, a Crumar compact piano, two Mini-Korg 700, two Roland synthesizers, two Clavioli and two stylophone 350S mini-synthesizers. And that’s enough of that.

How does Vangelis view the musical changes he has gone through since Aphrodite’s Child and his solo-LP "Earth"? Vangelis: "Three years ago already I could have made a record like Heaven and Hell. Technically speaking I was ready for it. Why I didn’t do it back then? Because the pop-market wasn’t ready for it at that moment. Some of the recordings I made 10 years ago are musically and technically speaking more complex than Heaven and Hell. The problem you have to deal with as a musician and creator of music is that you have to fight against a market, a record-company and a world for brainwashed people. As creator or performer of pop-music in 1976 you very quickly become the victim of the economic powers of this world who have meanwhile also taken over pop-music. In the sixties the creation and performance of pop-music was a form of (social) protest. Now the creation and performance of pop-music have become big business and most pop-musicians are photo-models in disguise who behave like mindless marionettes in the service of the public and the record-companies.