Aphrodites’s Child
„666“
Rock, Progressive Rock. 2 LPs, Black Vinyl, Gatefold, Reissue 1977 (1972).

"666" is the third and final studio album by the Greek band fronted by Vangelis. It's a concept album, considered part of the progressive rock genre, but also exhibiting avant-garde elements. The album is based on the Book of Revelation. At the time, the song "∞" ("Infinity") caused a scandal. Greek actress and icon Irene Papas sang "I was, I am, I will come" over a percussive background, in a wild manner. This worried the label, which hesitated to release the album. Her vocals, perceived by many as an "explicit orgasm," sparked controversy. Only when the band shortened the song from almost 36 minutes to 5 minutes was the label willing to release the track. 

This review wouldn't work without briefly mentioning Evangelos Odysseas Papathanassiou "Vangelis," who sadly passed away in Paris in 2022. Vangelis is primarily known worldwide for his soundtracks. I'll mention just two films: Blade Runner and 1492. Vangelis's unique career began with Aphrodite's Child. From 1968 to 1972, they released three albums; it wasn't until "666" (1972) that the band turned to progressive rock. This was also their last studio album. Although Vangelis finished working on "666," he didn't performed it live with thee the band. Shortly afterward, the band broke up.

Credits

Vangelis Papathanassiou – alle Tasteninstrumente, Flöte und Percussions
Costas Ferris (Regisseur), Vangelis Papathanassiou – Konzept
Demis Roussos – Bass, Gesang
Loukas Sideras – Schlagzeug, Gesang
Silver Koulouris – Gitarre, Percussions

First, I apologize for the poor image quality. Even in 1972, contrasts were a common feature in art, so I can't understand why yellow-orange lettering was used on a red cover. Fortunately, it's about the music. I won't be discussing each individual track, but rather the overall concept.

Inside a circus tent, the apocalypse is performed, while outside, the apocalypse is actually unfolding. In the end, the two merge into one another. "666" is a highly ambitious work that wasn't exactly supported by the Mercury label. Mercury doubted the commercial success of a progressive concept album and ultimately had it distributed by Vertigo. Critics gave the album mixed reviews. Only later did "666" become a cult album of progressive rock. This is also due to its avant-garde, experimental use of electronic keyboards, elements of world music, jazz, and musique concrète. Only six of the album's 24 songs contain vocals and lyrics, four sung by lead singer Demis Roussos and two by Loukas Sideras. The remaining tracks are either instrumental pieces, some with narration, or they use vocals as an instrument. And there you have it: a delicious, progressive stew.

Actually, "666" is inexplicable; you simply have to hear it. I'd recommend checking out "Babylon," "The Four Horseman," "The Seventh Seal," and "The Beast." However, in my opinion, it only really works if you listen to the songs as a cohesive concept. On first listen, I wasn't sure whether Irene Papas was actually simulating an orgasm or meant to represent some kind of divine ecstasy. I'm inclined to think it's the latter. Or perhaps it's simply a deliberate provocation—that's just pure speculation on my part. 

Conclusion

For a progressive concept album, I find "666" surprisingly accessible. The work is varied, at times absurdly funny, and experimentally interesting. Vangelis and his colleagues have created a melodic work of art that remains engaging. Highly recommended for all prog fans and concept album enthusiasts.

The photos are all from my LP. The rights to all motifs, logos, texts and fonts that can be seen in the photos are of course owned by the copyright holder.

No AI was used in the making of this Review.
©08.September.2026