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OxygÃÆ'¨ne (English: Oxygen ) is the third studio album by electronic musician and French composer Jean-Michel Jarre and his first album was not meant to be used as a soundtrack. OxygÃÆ'¨ne consists of six songs, only given the number "OxygÃÆ'¨ne Part I" to "Part VI". It was first released in France in December 1976, on the record label Disques Dreyfus licensed to Polydor, with an international release following in mid 1977. The album reached number one on the French charts, number two on the UK charts and number 78 on the ladder US songs.

Jarre recorded an album in a home recording studio while using a variety of synthetic analogues, one digital synthesizer, as well as instruments and other electronic effects. It became a bestseller and was Jarre's first album to achieve mainstream success. It was very influential in the development of electronic music since then and has been described as an album that "leads the synthesizer revolution of the Seventy" and "an infectious combination of wobble, overwhelming analog sequences and unforgettable hook lines".


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Prior to 1976, Jarre had dabbled in a number of projects, including unsuccessful music synthesizer albums, ad jingles and ballet compositions. Her inspiration for OxygÃÆ'¨ne came from a painting by artist Michel Granger (given to Jarre by his wife nominee Charlotte Rampling), who showed the Earth exfoliate to reveal the skull. Jarre obtained artist permission to use the image for this album.

Jarre devised OxygÃÆ'¨ne for eight months using a number of synthetic analogs and an eight-track recorder installed in his apartment kitchen. However, he found it difficult to get the recording released, not least because it was "No singer, no exact title [song], just 'I', 'II', 'III', 'IV', 'V' and 'VI' ".

The motif of the song "OxygÃÆ'¨ne Part IV" is a variation of the phrase from "Popcorn" by Gershon Kingsley, which Jarre himself had previously covered under the pseudonyms "Pop Corn Orchestra" and "Jamie Jefferson". Drum sound is produced using two presets simultaneously on Korg Mini Pops drum machine.

Jarre finally found the publisher, Francis Dreyfus, the head of Disques Motors (now Disques Dreyfus). Dreyfus is the husband of one of his fellow Jarre in Groupe de Recherches Musicales of Pierre Schaeffer, where Jarre has learned to use a synthesizer, including EMS VCS 3, which plays a major part in music OxygÃÆ' â "¢ ¨ne . Although Dreyfus was initially skeptical about electronic music, he gambled by pressing 50,000 copies. The album sold 15 million copies.

In 1997, Jarre produced a sequel album called OxygÃÆ'¨ne 7-13 . This refers to the original album as the first six moves of a larger fuller work, despite the time difference between the album's second release. It is written in the same style and uses some of the same instruments, although the work is much faster. Jarre certainly does not try to mimic the mood or atmosphere of the original album, but uses the same work approach to "create a mood later".

In 2007, Jarre produced a new version of the album, recorded live on stage, but without the audience, for a DVD release that included 3D video. The new CD DVD title is OxygÃÆ'¨ne: Live in Your Living Room , with an enhanced CD called OxygÃÆ'¨ne: New Master Recording . He uses the same instrument, but does work with three other collaborators (Dominique Perrier, Francis Rimbert and Claude Samard), rather than overdubbing all parts of him.

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Critical reception

The reaction to the album when it was released in the UK in July 1977 was largely negative: the British music press, more interested in the development of British punk scene, oriented to guitar-based music and hostile to most electronic music. Angus MacKinnon of NME mocks OxygÃÆ'¨ne as "only an endless cosmic voyage." German Spacer ([Tangerine] Dream, Schulze et al) mapped this section out of electronics galaxy aeon ago... The album [...] is very annoying. Explore its main influence instead. "Loving the album to the French version of Mike Oldfield's Music Week said:" Unfortunately Jarre has produced the work who bore in his self-conscious musicality - he must have used his art on his sleeves, Oldfield he never stood back and laughed at his own creation.This was heavy all over, and his influence was constantly jogging his elbows - especially the innocent touches of Mahler and Bach that were almost continuously supporting... some interest will be generated but the album does not really fit for our petty and musical Anglo-Saxon island. "Karl Dallas of Melody Maker is more friendly to the album, saying:" Pert ama times i heard this album i hate it. It feels so bland, so light, so fluid... I have to admit it pays further listening, and it's not quite electronic Muzak I have written it as originally. "The study notes that the album is composed in the same way as classical music, not rock music, and concludes:" On the other hand, is not classical music. Although the disco tracks are playing [referring to "OxygÃÆ'¨ne Part IV"] is, as you might guess, actually the most musically effective part, it has the same relationship with popular music like Tangerine Dream, say, or Oldfield. Personally, it still does not impress me as well, except on a technical level, it seems to be a lack of heart, a passionate engagement in the music-making act that makes Edgar Froese's work almost the music equivalent of Jackson Pollock's painting. done, too formal. "The most positive reviews come from Robin Smith from Record Mirror, which calls the album" probably the definitive synthesizer and mellotron masterpiece of '77. It is very difficult to communicate warmth through such music and the end result is usually rigid but Jean Michael Jarre has specified various shapes that are united by the cohesive line. "

A retrospective review by AllMusic's Jim Brenholts gave the album a top ranking, writing that it was "one of the original e-music albums" and has "persisted in the test of time and the evolution of digital electronics".

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Track list

All songs are composed by Jean-Michel Jarre.

First side
  1. OxygÃÆ'¨ne (Part I) - 7:39
  2. OxygÃÆ'¨ne (Part II) - 7:46
  3. OxygÃÆ'¨ne (Part III) - 3:16
Second side
  1. OxygÃÆ'¨ne (Part IV) - 4:14
  2. OxygÃÆ'¨ne (Part V) - 10:23
  3. OxygÃÆ'¨ne (Part VI) - 6:20

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Instruments

  • ARP 2600
  • EMS Synthi AKS
  • EMS VCS3
  • RMI Harmonic Synthesizer
  • Farfisa Professional Organs
  • Eminent 310U
  • Mellotron
  • Minipop-7 Cadence Machine)

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Production

  • Produced by Jean-Michel Jarre
  • Engineered and blended by Jean-Pierre Janiaud; assistant engineer: Patrick Foulon
  • Mastered by Translab

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cover version

  • Hank Marvin covered "OxygÃÆ'¨ne (Part IV)" on his 1993 album Heartbeat.
  • Hypnosis covered their "OxygÃÆ'¨ne (Part IV)" in 1983 Oxigene (also known as Disco Mix).
  • The vocal recording "Oxygene (Part II)", released in 2000, by Serbian rapper Gru with the lyrics "Samo sex Srbina spasava".
  • DJ John 00 Fleming and The Digital Blonde cover "OxygÃÆ'¨ne (Part IV)" as a trans single in 2009. This version has received praise from Jarre himself.

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In popular culture

  • "OxygÃÆ'¨ne Part II" is used in the original 1978 Chinese Jackie Chan movie version of Snake in the Eagle's Shadow and Peter Weir's/Mel Gibson 1981 filming < i> Gallipoli .
  • "OxygÃÆ'¨ne Part IV" is used in the closing scene of the BBC Drama Micro Men , a documentary drama about the rise of the UK home computer market.
  • The "OxygÃÆ'¨ne" segment is used as background music in the third and sixth sections of the first radio series Hitchhiker Guide to Galaxy .
  • "OxygÃÆ'¨ne Part IV" is featured on fictitious radio station The Journey in the 2008 video game Grand Theft Auto IV .
  • "OxygÃÆ'¨ne Part IV" is used in many arcade hands distributed by Elaut, using repetitions that are played 2 times at 20 second intervals when the machine is powered on but off.
  • "OxygÃÆ'¨ne Part I" is used in the sketch of Limmy's Show .

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Graphics and certification


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Releasing history


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References




External links

  • OxygÃÆ'¨ne in Discogs
  • OxygÃÆ'¨ne and OxygÃÆ'¨ne: New Master Record in JarreUK

Source of the article : Wikipedia

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