Vangelis ‎– The City

EastWest ‎– 9031-73026-2
CD, Album

Tracklist Hide Credits

1 Dawn 4:16
2 Morning Papers 3:55
3 Nerve Centre 5:30
4 Side Streets 4:12
5 Good To See You
Voice – Kathy Hill
6 Twilight
Voice [In Japanese] – Kimura Rieko, Mikamo Yuko
7 Red Lights
Voice [In Japanese] – Kimura Rieko, Mikamo Yuko
8 Procession 9:33

Companies, etc.



Recorded at Hotel De La Ville, Rome and Mega Studios, Paris. Mastered at 44.1, Paris.
Special thanks to: John Martin, Paul Foster, Andrew Hoy, Ian Lane, Bill Marshall and Frederick Rousseau.

℗ 1990 WEA Records Ltd © 1990 WEA Records Ltd.
Made In Germany.

Issued in a standard jewel case with eight page booklet.

Barcode and Other Identifiers

  • Barcode: 0 9031-73026-2 1
  • Label Code: LC 1557
  • Rights Society: GEMA/BIEM
  • Matrix / Runout: 903173026-2 RSA
  • SPARS Code: AAD
  • Distribution Code (France): WE 833

Other Versions (5 of 32) View All

Cat# Artist Title (Format) Label Cat# Country Year
A2 82248 Vangelis The City(CD, Album) Atlantic, Atlantic A2 82248 US 1990 Sell This Version
A4 82248 Vangelis The City(Cass) Atlantic A4 82248 US 1990 Sell This Version
9031-73026-1 Vangelis The City(LP, Album) EastWest 9031-73026-1 UK 1990 Sell This Version
M173026-2 Vangelis The City(CD, Album) EastWest M173026-2 Brazil 1991 Sell This Version
7 82248-2, 82248-2 Vangelis The City(CD, Album) Atlantic, Atlantic 7 82248-2, 82248-2 US 1990 Sell This Version


Reviews Show All 3 Reviews

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March 17, 2017
Not a bad album whatsoever, it has the Yamaha CS-80 and definitely follows on from Direct, even some Blade Runner vibes here and there. If you like Direct, you will like this one. Give it a listen from start to finish and it will grow on you, I wouldn't touch this with a barge pole due to me favouring his earlier CS-80 albums, but now I love it!


August 8, 2015

I think it’s fair to say that some of Vangelis’ most accomplished works were recorded in the 1970s and 1980s. But this 1990 album remains underrated, even by loyal fans of his.

Released in between Direct (1988) and his outstanding film score 1492: Conquest of Paradise (1992), The City is a concept album centering on urban life, by turns explosive and meditative, providing nearly 45 minutes worth of excellent electronic music, with seamless overlay of Vangelis' trademark voices and ambient sound recording e.g. footsteps, a motorcycle starting. Not to worry, these overlays do not make up more than 5 minutes of the total runtime.

The City is also one of Vangelis' more jazz-oriented albums and is a breeze to sit through. It also wouldn’t be out of place functioning as a film score for a documentary about urbanity and urban dwellers of a cosmopolitan city.

Such is Vangelis’ unparalleled skill in painting vivid soundscapes mainly through his synthesizers that you will find The City ending with 'Procession', a 9-minute long piece with a repetitive melody and chorus that grows increasingly intense, with more instruments layered on top of each other, coming full circle to the ambient sounds used in the first track 'Dawn', as if another day awaits, possibly anew, or possibly same old.

'Nerve Centre' - the album's 'noisiest' piece, a kind of heavy rock-inspired track with Vangelis simulating the electric guitar through synthesizers. It is wonderfully arranged, and ends off with the feeling that you are seeing fireworks of joy.

'Good to See You' - perhaps the best track of the album with a slow jazzy rhythm that makes you feel like you are strolling along the sidewalk as night falls. One of Vangelis' most underrated compositions.


February 20, 2009

Unfortunately even the greats have their 'off days'. This is one of those days for Vangelis. A musical evocation of a 'day in the life' of a 'City' has the makings of a good idea. Istanbul, Athens, Mumbai? Er it's hard to tell, the City is as anonymous as the music, generic and a bit flat. When things go up-tempo the melodies are well within the scope of this man's talent and the production is bland, the tracks segue in an uninteresting fashion and (worst of all) Vangelis never strays far from the presets on his synths. Why do I own this album? For tracks 5, 6 and 8, which despite all my gripes are lovely. 'Twilight' could have made it onto 'El Greco', it's that good.