Jean-Michel Jarre-Oxygene 7-13 (1997)

When a musician or group faces a second part or a sequel to a masterpiece, there are two possibilities, the first that it is a continuous success or the second that it is a failure, it is a complete disaster and ends up being viciously beaten.
Examples we have many, from Meat Loaf with his "Out of Hell II" to "Tubular Bells II" by Mike Oldfield to give just two examples that came out well.
In 1997 Jean Michel Jarre thought of continuing that fabulous album that he had released in 1976 "Oxygene", but giving it a more modern approach with the most technologically advanced sounds of the moment.
"Oxygene 7-13" was the title that was given to this sequel and was the product of the logical conological movements that followed the original, which consisted of six.
Jarre in this new installment of "Oxygene" sacrificed much of the original romantic component, changing it for a greater drama and a more calibrated dynamic load, achieving an elegant work that pleases and innovates without surpassing his original album.

Jean-Michel Jarre-Oxygene (1976)

This is without a doubt the most influential and important electronic music album in history, as well as being the best-selling album globally (more than 25 million copies).
Son of the composer of soundtracks Maurice Jarre and outstanding student of one of the best Vanguard musicians of the 20th century, such as Pierre Schaeffer, Jean Michel Jarre would start at a very young age in the use of synthesizers and other electronic instruments.
In 1976 he would release his masterpiece, "Oxygene", an album that, based on the coordinates of the most repetitive contemporary music, with cyclical structures, clings to melodic and percussive patterns capable of competing with any catchy pop chorus.
The legacy of this enormous and magnificent work is based on several factors, on the one hand the revolutionary use of the impressive range of synthesizers and on the other the intelligent use of the stereo possibilities to produce a sound with surround effects and all with the conviction of a Jarre who knew how to define his style from this first great commercial success, an unmistakable style that managed to capture the attention of millions of followers around the world and that today continues to amaze and sound as if it were the day it was published.

Jean-Michel Jarre-Magnetic Fields (1981)

In “Magnetic Fields”, Jean-Michel Jarre updated his sound to incorporate the latest synthesizers and new recording techniques, yet he adapted it to the overall compositional approach he had begun with “Oxygene” and “Equinoxe” (part 5 of the album, for example, is essentially a slightly more mainstream version of the “easy listening” track he added to the end of the previous album). As such, it forms the end of a trilogy of works (“Oxygene”, “Equinoxe”, and “Magnetic Fields”) that span the final days of the analog synthesizer era and the dawn of the digital synthesizer era; precisely for this reason, it is of interest to anyone with an appreciation for the history of electronic music, and it helps that it is a very enjoyable album to listen to in its own right. In some ways, this album also marks a slight shift in Jean-Michel Jarre’s sound, with music that is more compact, less ethereal and spatial, and more focused on sampling and rhythm. This was one of his first works to feature samples of human voices and "everyday" elements in the music, something Jarre would experiment with extensively on his follow-up album, "Zoolook", released a few years later. The brilliant, nearly 18-minute opening suite (comprising "Parts I and IV") is one of Jarre's signature pieces, constructed as a sequence of two successive main motifs, with a dreamy interlude that provides a kind of cosmic atmosphere. The first main motif is based on a dynamic series of synthesized chord progressions, with many soaring layers and additional harmonies that continue to unfold in a solid and elegant crescendo; The second track has a more orchestral feel, with a progressive architecture (the closest electronic pop can get to progressive), and "Part IV" is the album's most beautiful moment: evocative melodic lines and relaxing layers reminiscent of "Parts IV" and "VII" of "Equinoxe", but with a more serene atmosphere. "Part V", on the other hand, is simply a rumba: Jarre delves deeper into Latin music here, offering an interpretation of this prototype of Latin American Creole sensuality. In short, this third album by the French musician (although it was actually his fifth) proved to be an extraordinary work, as ambitious as its predecessors. While it didn't achieve the same massive sales figures, it did climb to the top of the charts in many countries around the world, with sales far exceeding 4 million copies.

Jean-Michel Jarre-Equinoxe (1978)

After his seminal "Oxigene", Jean-Michel Jarre took a step forward with his next work, "Equinoxe", a more rhythmic and dreamy album that traverses diverse soundscapes. Perhaps not as ethereal as its predecessor, it showcases his more earthly side, like an underwater journey rather than a space voyage. The music shifts throughout the album, from atmospheric soundscapes to more optimistic moments layered with rhythmic electronica, presented in such a way that it becomes extremely enjoyable and frankly addictive. However, Jean-Michel Jarre doesn't break new ground with this work; rather, he manages to articulate his synthesizer-driven, mainstream ideology with a more solid foundation. While maintaining his knack for creating captivating atmospheres and catchy synthesizer flourishes, Jarre's renewed interest in crafting well-developed electronic orchestrations allows him to deliver and portray a greater sense of order, thus placing greater emphasis on the basic melodic lines and their interplay with programmed harmonies and ethereal synthesizer layers. Jarre also takes particular care in using percussive undertones in the programmed arpeggios to enhance certain passages. The sound production also feels a bit louder, which is quite fitting for the nature of this album's repertoire. "Parts I and II" display this tendency quite openly, as do "Parts IV and VII", which are the album's most powerful moments. The exquisite motifs contained in "Parts IV and VII" achieve an almost epic stature, thanks to the constant display of energy and the subtle use of emerging reworkings, such as the strong presence of the solo string section, which definitely helps to build an orchestral feel that seems to float above the electronic textures and effects. "Part V" was the album's single, and it's no surprise, as it's quite catchy and exudes a similar vibe to "Oxygene Part IV", while "Part VI" is essentially a minimalist progression of sequenced chords à la Kraftwerk's "Radio-Activity", establishing a link between "Parts V and VII". Finally, "Part VIII" evokes occasional memories of a bohemian club in Paris (a section that would later be called "Band in the Rain"), before a grandiose reprise of the main theme from "Part V" emerges, closing an album of extraordinary beauty and another huge success for the French musician.

Jean-Michel Jarre-The Concerts in China (1982)

In 1981, Frenchman Jean-Michel Jarre became the first Western musician to perform in China after the communist era of Mao Zedong. His five concerts in Beijing and Shanghai were more of a diplomatic event than a series of musical performances, initiating a kind of political and cultural exchange with France. For the occasion, Jarre deployed a vast array of expensive technological equipment, including state-of-the-art synthesizers, giant screens, multiple projectors, and an innovative laser system. He even composed a series of new pieces inspired by Eastern music, which he performed with the Beijing Symphony Orchestra. To power the enormous equipment, entire neighborhoods in both cities had to be shut down. The concert was projected onto massive visual screens atop some of the tallest buildings in both cities. Musically, Jarre blended passages from his two albums released at the time, "Oxygene" and "Equinoxe", with pieces adorned with traditional Chinese atmospheres that he had composed for the occasion. A year later, the double album "The Concerts In China" was released, featuring material taken from that successful tour of the Asian country. Without a doubt, Jean-Michel Jarre's concerts in China constitute a fundamental part of the history of modern music and represent an enormous human and technical challenge, something the Frenchman would repeat in other colossal concerts later on, such as those held in Paris, London, and Houston, each of which drew more than a million spectators.

Jean-Michel Jarre-Rendez-Vous (1986)

After an experimental album like "Zoolook" (1984), French composer Jean-Michel Jarre partially returned to his classic 1970s sound with his fifth album, "Rendez-Vous". In this release, he dispensed with the heavy, multi-layered synthesizers in favor of a simpler array of instruments. This move allowed him to place much greater emphasis on composition rather than creating sounds and special effects as before. On the other hand, Jarre displays undeniable similarities to the work of Vangelis, who had already explored this territory in "Heaven and Hell" (1975) and "Albedo 0.39" (1976), not to mention the album he would release years later titled "Mythodea". A track like "Second Rendez-Vous" is one of Jarre's finest compositions, evoking a post-Beethovenian movement. Originally composed as a link to the Challenger shuttle mission, this album is a historical piece that takes on added dramatic weight due to the disaster that claimed the lives of all the astronauts on that mission. The music on this album is itself quite prosaic and predictable than the events surrounding it and was, in a way, designed to be part of the famous light and laser show that would later take place in Houston, considered the largest outdoor concert in history with over 1.5 million spectators. By 1986, events were overwhelming even Jarre himself; "Rendez-Vous" was intended to be the centerpiece of the celebrations for NASA's 25th anniversary and the 150th anniversary of the founding of Houston.