a look at the music of Vangelis Papathanassiou
Both 'Moi, je n'ai pas peur' and 'Ich hab' keine Angst' contain the same songs, only with different titles. The following list shows the differences between the two.
Curiously, the song 'Da oben ist sein Zimmer' (Il s'appelait tendresse) is later re-used on 'Tra Due Sogni' (1986).
Moi, je n'ai pas peur
This album unfortunately was never released on CD.
Ich hab' keine Angst
Generally speaking "Moi, je n'ai pas peur" is harder to find than "Ich hab' keine Angst".
LyricsFor all the lyrics of 'Moi, je n'ai pas peur', go to: Vangelis and Milva Lyrics: Moi, je n'ai pas peur
For all the lyrics of 'Ich hab' keine Angst', go to : Vangelis and Milva Lyrics: Ich hab' keine AngstReview
Here Vangelis teams up with fiery red-haired singer Milva (born 1939 in Italy) who has a smoky night-club Marlene Dietrich-type of voice, speaks German, Italian, English and French fluently and works in a variety of styles, which include real-oper (Weill/Brecht), tango and melodic pop music. This album belongs squarely to the latter category and uses six older Vangelis compositions as well as five new ones. The older pieces are mostly well-known favorites – the exception 'Athenes Ma Ville' first appeared on ‘Fais Que Ton Rêve…’ and later on the 1974 Melina Mercouri album ‘Si Melina…’, which is probably where Milva got to know it from.
In all likelihood, Vangelis' input for this album ends with the compositions, because the texts, arrangements, performances and production are all credited to Milva's own team, working in a Berlin studio. This would make sense, as Milva has basically always been a touring outfit, taking a band out on the road to promote the latest album. Therefore the arrangements are tailored more towards a conventional guitars, piano, drums combination, with more of a “rinky-dinky” sound rather than the smooth sounds Vangelis would use. All these contributions by Milva’s team are up to a decent standard but nothing more. Her thoughtful singing remains excellent throughout however, and tracks like 'Sie Sind Noch Jung/Pluie sur la mer' and 'Freunde, Die Keine Sind/Pas d'amitié a moitié' are quite well done. The five new pieces are nice but nothing special, the sort of stuff a man like Vangelis dashes off in quick succession. Maybe Milva made a visit to his London studio to obtain this material in raw form. Once in a while some sounds crop up that at least sound like the way Vangelis might have done them, particularly in ‘Der Morgen danach/Le matin d'apres’, with a typically dreamy atmosphere.
The language Milva sings is relevant to the impression the album makes. In the German version it sometimes veers towards schlager, in the French version it sounds more like chanson. Apart from obviously the language and the ordering of the tracks, there’s only one actual difference in terms of arrangement: the French track ‘Petite Femme’ has a girls’ choir, which is lacking in its German counterpart.
Review by Ivar de Vries