The story behind this record began twenty nine years ago. Once upon a time, in 1966, I, too, became a member of one of the innumerable rock groups formed in those fascinating days, which also tried - like all the rest - to play "by ear" the songs of the Beatles who were the standard bearers of a true musical revolution. We never managed to complete the "undertaking" with dignity and a little later we, too, followed the inevitable fate of most of the teenage rock groups: we broke up and as there were four of us, we scattered to the four winds...
Despite everything, my own journey did not prove to be so distant after all. I did not turn my back on music, I simply changed guitars. I betrayed my youthful love - the electric guitar - in order to surrender myself to the mature charm of the classical guitar. However, it was not long before it seemed to me that Bach, Vivaldi, Sor, or Villa-Lobos, began to build an impenetrable wall between the "classical" sounds and what we had learned to call "pop" music. Of course, it was not them that were to blame for my delusion, but the inevitable music school prejudices that kept that "wall" up in my mind for many years until certain circumstances and mainly some people - chiefly Manos Hadjidakis among them - helped me make it disappear. And so I discovered that there were many mediocre things in "classical" music, as well as other very important things in "pop". Having thus liberated myself, I began to listen to the music of Hadjidakis and the Beatles with the same love with which I had approached the works of Vivaldi and Bach. The only thing that remained for me to do was to overcome all prejudice and to play the music. And that is precisely the significance of this creative encounter with the favourite songs of my teenage years.
I would like to thank Thanassis Tsiatas for his invaluable help in four of the songs in this album and Tassos Karakatsanis who was the go-between for my, first date with the "Girl".
I would also like to thank Themis Zafiropoulos, not only for the recording but also for the inspiration he had in doing it in a natural location. As I promised him in Nauplia, "Fool on the Hill" is dedicated to him.
"Michelle" is dedicated to Manos Efstratiadis. He was the first to be receptive to this musical concept of mine and it was this reaction of his that led me to go ahead and do it. The suite "LET IT BEatles" in its entirety is dedicated to Maro Razi, who not only experienced its creation note by note and contributed substantially to its completion, but bore half the load of performing it so well.
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