Aphrodite's Child - End Of The World (1968 Mercury) LP

Artist: Aphrodite's Child
Album: End Of The World
Label: Mercury – 138.350 MCY
Format: Vinyl, LP, Album, Stereo
Country: Greece
Released: 1968
Genre: Psychedelic Rock, Prog Rock
Audio codec: FLAC | lossless

Tracklist:
A1. End Of The World 3:13
A2. Don't Try To Catch A River 3:38
A3. Mister Thomas 2:45
A4. Rain And Tears 3:10
A5. The Grass Is No Green 6:05
B1. Valley Of Sadness 3:13
B2. You Always Stand In My Way 3:55
B3. The Shepherd And The Moon 3:02
B4. Day Of The Fool 5:26

Personnel:
Drums, Bass, Vocals – Lucas Sideras
Organ, Percussion, Vibraphone, Flute – Vangelis Papathanassiou
Vocals – Claude Chauvet (tracks: A1, A4)
Vocals, Classical Guitar, Trumpet, Double Bass, Bouzouki, Organ – Demis Roussos

The debut album of the only Greek 1960s rock band to make an international impact could have almost been the work of a foppish British psychedelic group on the cusp of turning progressive, if not for the notable foreign accent on the (entirely English-language) vocals. The use of the Mellotron in particular recalls the early psychedelic Moody Blues, as do the mild influences of classical music in the keyboards and melodies. If there's something distinct about Aphrodite's Child, it's a certain Mediterranean sentimental streak to both those melodies and the songs, which get more overtly romantic than virtually any British (or American) psychedelic band would have thought suitable. Though Aphrodite's Child stood up well to the British bands in their level of instrumental accomplishment and production, End of the World is an uneven record. The more heart-wringing numbers will be way too sappy for many listeners, some of the hard-rocking songs have overwrought soulful vocals, and there's a general awkwardness that's inevitable when bands are singing in a non-native language. But this epic melancholic grandeur also makes Aphrodite's Child stick out to some degree among second-division psychedelic acts, and their use of skin-crawling psychedelic effects, while dated, is quite imaginative (especially on the closing "Day of the Fool"). The title cut could well have been a standard European pop ballad without those effects, and is certainly the catchiest song here, if the drippiest, though it was the yet daintier "Rain and Tears" that gave them a hit in parts of Europe