Live In Los Angeles

This recording has been re-editted to the best of my knowledge of Vangelis music. As i`m not very familiar with Vangelis music, it has been hard for me to pick the
exact point to cut the tracks in pieces. I don`t have much Vangelis cd`s and those i do have do not have most tracks included here on them. Also live interpretations of these songs often do not match the track times of the studio recordings, so that wasn`t much help either.
This recording has been slightly tweaked for a better and fuller sound quality. There are however some glitches and distortion in the source that could not be removed, such as the sound of the microphone being touched or the recorder/microphone not coping very well with the soundlevel of the concert (wich, as you can read in the other textfile included was pretty loud but good with speakers as large as buildings (well small ones anyway). Also the source tape too must have suffered through the years!
That being said, i think the overal sound quality is a very good audience recording rating B to B+ (to me and my ears).
But for your own judgement a sample (mp3) is posted as a reply! I chose a sample that has some distortion in it, so not the best bit of the recording, just to get an idea of the level of distortion.
The tracks titles (most of the Vangelis solo tracks) are unclear to me, so any help identifying them would be much appreciated. On the few different versions of this recodring the same titles were used, and some are unknown titles. Also the last track on cd1 and the first track on cd2 are (i think) one and the same but cut in two, but i left it that way because they are almost impossible to paste together well.
I have no knowledge that anything from this album has seen an official release (if so i will remove it at once).

Taken from a Vangelis fan site.

Live in Los Angeles (November 7 1986)

During Vangelis' stay in the US he unexpectedly gave a concert in Los Angeles. He set up his synths so he could single-handedly play live versions (in new improvised versions) of his famous hits and improvise some new material. Sometimes the sound is a bit dry compared to his albums, because of his determination to play everything himself, but it certainly has a special feeling about it. Vangelis' talent to variate on his melodies in unexpected fashion was displayed here in full glory.
The music included Pulstar, Missing, To The Unknown Man, Memories Of Green, Blade Runner Lovetheme, Abraham's Theme, Hymne, Chariots of Fire and the Tao of Love as well as some new material; most of which transformed gently into the next track.
Jon Anderson came on stage at some point and sang a few famous J&V songs, to Vangelis' spontaneous new arrangements. This unique display was enthusiastically greeted by the overjoyed audience. The series of songs started with a stunning new rendition of "Long Ago, So Clear" from the Heaven and Hell album. It was followed by "Italian Song" and "One More Time".
At the end Vangelis came up with a totally restyled version of the famous "Singing in the rain", which was one of the rare occasion were Vangelis plays music that was not composed by himself. He made it his own though by rearranging it, pushing its flexibility to absolute limits.

Read the Eyewitness report below by Wade Major, who was present.
Report on the Los Angeles concert
-- Eye witness report on the concert in Los Angeles, 1986 --
By Wade Major

The Los Angeles concert
I remember when I first caught the ad in the Daily Bruin student newspaper at UCLA..."Vangelis to appear at Royce Hall." Knowing that he'd only given two or three concerts previously, I think my heart skipped a whole minutes worth of beats. The day the tickets went on sale, I was there over an hour in advance to insure getting the best seats possible, which isn't hard since Royce Hall is a small venue with excellent acoustics throughout.
Finally, the day arrived and it immediately promised to be everything I'd hoped for. The audience was demographically all over the map, from elderly opera patrons to middle-aged showbiz types to funky, young music industry types.
Entering the hall, the first thing to catch my eye was the wall of loudspeakers on the stage, approximately six 18-foot columns, each comprised of two massive 9-foot speakers, lined in an arc around the back of the stage. In the middle was an impressive console of what must have been at least 9 keyboards formed like three sides of a square.
As the hour approached, more people continued to stream in late, including Dyan Cannon and, most inconspicuously, Jeremy Irons, who was just coming off his success in "The Mission." Irons entered wearing a bright, cherry-red, velour-textured blazer and took his seat in the center section.
Finally, the lights went down and a respectful cheer erupted when Vangelis stepped out, smiled bashfully, and took his seat at the console, his left profile to the audience.
He effortlessly slipped through a half-dozen of his most memorable music, including pieces from Chariots, Albedo, China and Spiral.
I only vaguely remember him speaking at the break, just long enough to introduce an old friend... Jon Anderson, who stood up near the front of the hall and walked up on stage as the hall erupted into bigger cheers than previously. Whether arranged or not, the two performed "So Long Ago, So Clear" beautifully. Anderson praised his friend and offered some recollections of when they first met and how they worked together that elicited fond laughter from the audience, most of whom obviously had some knowledge of this history in the first place.
After the interlude with Anderson had ended, Vangelis resumed his repertoire, receiving a standing ovation at the end. He smiled gently from behind his keyboards, seemingly overcome and shy at the same time, the waved his hands in an amusing clenched fist "victory" salute over his head. When the ovation continued, a clear demand for more, he stopped, seemed to think for a moment and then nodded firmly, as if he had finally thought of the appropriate encore...."Singing in the Rain," Vangelis-style.
Again, a standing ovation and the all-too-short evening was over. As an overcome and overwhelmed audience exited Royce hall amid smiles and laughter, I remember overhearing Dyan Cannon exclaiming to her friends the same sentiment felt by all that evening, "It's just pure, improvisational genius."

Added: 28.05.2007