Jean-Michel Jarre -

Jean-Michel Jarre is a French keyboardist and sound technician who emerged in the early 1970s, first as a soundtrack composer. He gained global prominence with his 1976 release Oxygène, which brought electronic music to a wider audience. During the ensuing quarter-century, he released fifteen-plus titles on Disques Dreyfus.

Background

Jean-Michel Jarre was born in Lyon, France, on August 24, 1948. His father, composer/conductor Maurice Jarre (1924–2009), left the family and moved stateside when Jean-Michel was five. Jean-Michel was half-raised by his maternal grandparents. His grandfather was an oboeist and inventor who designed the audio mixer at Radio Lyon.

The young Jarre studied classical piano but his early influences came from street performers and jazz musicians on the Parisian club scene. During the mid-1960s, while studying music theory at the Lycée Michelet, he earned money as a painter and had his works exhibited at the Lyon Gallery.

Early Activity

Jarre’s first band was called Mystère IV. His next band, The Dustbins, appeared in the 1967 movie Des garçons et des filles and self-issued the 1968 single “Let Me Take Your Hands” (b/w “I Feel So Down”). In 1969, Jarre briefly joined the Groupe de Recherches Musicales, where he first encountered the Moog modular synthesizer and the work of Colognese composer Karlheinz Stockhausen.

Jarre set up his first recording studio in his flat on Rue de la Trémoille. It consisted of a EMS VCS 3, an EMS Synthi AKS, and two Revox tape machines. One of his earliest compositions, “Happiness Is a Sad Song,” was used in a 1969 exhibition at Reims’ Maison de la Culture (Cultural House).

Jarre debuted as a solo recording artist with the single “La Cage” (b/w “Erosmachine”), released on Pathé in 1971.

Deserted Palace

Jean-Michel Jarre released his debut album, Deserted Palace, in 1972 on Sam Fox.

The album blends electronic experimentation with classical-inspired structures, layering ARP, EMS Synthi AKS, VCS 3 synthesizers, Farfisa organ, and percussion.

The Deserted Palace tracks combine sharply contoured synth lines, rhythmic motifs, and textural experiments, presenting a pop-oriented sensibility within avant-garde electronic frameworks. Jarre composed fifteen tracks.

A1. “Poltergeist Party” (2:10) — brief, spiky synth patterns over percussive accents
A2. “Music Box Concerto” (2:40) — contoured keyboard phrases evoke mechanical precision
A3. “Rain Forest Rap Session” (1:37) — rapid percussive sequences with layered electronic textures
A4. “A Love Theme for Gargoyles” (1:10) — delicate, sustained synth lines with classical inflection
A5. “Bridge of Promises” (3:15) — interweaving synth and organ motifs creating angular movement
A6. “Exasperated Frog” (0:45) — abrupt, playful electronic bursts
A7. “Take Me to Your Leader” (1:55) — brisk tempo with contoured electronic timbres
A8. “Deserted Palace” (2:10) — layered organ and synth passages with measured rhythmic pacing
A9. “Pogo Rock” (1:05) — staccato synth lines and percussive accents
B1. “Wind Swept Canyon” (8:00) — extended, evolving synth textures with dynamic contour shifts
B2. “The Abominable Snowman” (0:55) — concise, angular synth gestures
B3. “Iraqi Hitch-Hiker” (2:24) — rhythmic, experimental sequences with varied timbres
B4. “Free Floating Anxiety” (2:15) — sparse, tension-filled synth layers
B5. “Synthetic Jungle” (1:35) — rapid electronic textures and layered sequences
B6. “Bee Factory” (0:55) — buzzing synth lines and staccato accents

Sessions occurred at studio locations uncredited, produced by Jarre for library and broadcast purposes.

Deserted Palace features uncredited artwork by Bernard Beaugendre.

The album was intended as library music for television, advertising, and film, providing versatile electronic compositions for multiple uses.

Les Granges Brûlées (OST)

In May 1973, Eden Roc issued Les Granges Brûlées (English: The Burned Barns), Jean-Michel Jarre’s soundtrack to French director Jean Chapot’s crime thriller starring Simone Signoret and Alain Delon.

The score combines sharply contoured electronic textures with brief vocal passages, integrating Jarre’s early synth experimentation into the film’s tense, dramatic atmosphere. The tracks vary between short, staccato sequences and longer, atmospheric passages, framing the narrative with dynamic rhythmic shifts and textural layering.

Jarre composed all material. Vocalist France Vanier appears on select numbers.

A1. “La Chanson des Granges Brûlées” (2:40) — vocal line with contoured synth backdrop sets thematic tone
A2. “Le Pays de Rose” (2:02) — short, expressive synth motifs
A3. “L’Hélicoptère” (1:29) — rapid, percussive sequences evoke aerial motion
A4. “Une Morte dans la Neige” (1:40) — sparse textures with tension-filled contour shifts
A5. “Zig-Zag” (2:15) — jagged rhythmic synth patterns
A6. “Le Juge” (1:20) — measured, angular synth phrases
A7. “Le Car / Le Chasse-Neige” (1:24) — brief, rhythmic electronic sequences
A8. “Thème de l’Argent” (1:08) — staccato synth motifs with underlying harmonic tension

B1. “Rose” (2:15) — vocal-driven track with layered synth textures
B2. “Hésitation” (1:00) — concise, tension-filled electronic gestures
B3. “La Perquisition et les Paysans” (2:35) — shifting synth sequences depict narrative movement
B4. “Reconstitution” (0:55) — brief, pointed electronic phrases
B5. “Les Granges Brûlées” (3:14) — elongated synth textures build dramatic weight
B6. “Descente au Village” (0:25) — quick, atmospheric transition
B7. “La Vérité” (0:58) — concise, tension-filled synth statement
B8. “Générique” (2:40) — vocal and synth layering closes the score

Sessions occurred at uncredited studios with Jarre producing. Les Granges Brûlées features recto artwork by Ferracci and verso photography by Georges Kapler.

The film is a Franco-Italian thriller set in winter in the Haut-Doubs. A crime occurs near an isolated farm, prompting a judge to suspect a local family. The family matriarch, Rose, confronts the investigation. The cast reunites Simone Signoret and Alain Delon after La Veuve Couderc (1971) and includes Paul Crauchet, Bernard Le Coq, Renato Salvatori, Jean Bouise, and Miou-Miou.

Oxygène

Jean-Michel Jarre released his third album, Oxygène, in December 1976 on Disques Motors/Polydor.

Jarre assembled six interlinked pieces with sustained analog tones, phased organ layers, tape-loop atmospherics, and paced sequencer lines that rise and recede in long arcs. He develops each part with slow harmonic shifts, filtered textures, and recurring motifs shaped by echo and reverb.

Jarre composed all six pieces and performed them alone with the EMS VCS 3 and Synthi AKS, ARP 2600, RMI Keyboard Computer, Eminent 310 organ, Mellotron, Farfisa organ, and Mini-Pops 7 drum machine.

Oxygène unfolds across six connected movements that traverse contrasting atmospheres and tempos. It opens with a slow, spacious introduction in Part I, layering airy, liquid-like synth lines with sharp, isolated motifs that hint at the faster passages ahead. Part II accelerates into an insistent sequence of high-register synth bursts, underpinned by rapid arpeggiated lines, evoking urgency and kinetic motion, before shifting into colder, more desolate textures.

Part III offers a shorter, tense interlude built from sparse, resonant chords and staccato effects, leading into the expansive, iconic Part IV, where slow, wind-like synth gestures and five-note motifs create hypnotic, rising patterns with subtle rhythmic propulsion. Part V divides into two contrasting sections: a calm, lullaby-like opening gives way to a denser, rhythmically active sequence with arpeggiated bass and layered synth leads that soar and spiral.

Oxygène VI closes with airy, oceanic textures, incorporating field recordings that suggest seagulls and waves, combined with floating, spacious melodies that wind down the journey. Throughout, Jarre balances intricate synth lines, shifting contours, and dynamic pacing, creating immersive soundscapes that move from meditative stillness to vivid, propulsive energy.

A1. “Oxygène (Part I)” (7:40)
A2. “Oxygène (Part II)” (7:54)
A3. “Oxygène (Part III)” (2:55)

B1. “Oxygène (Part IV)” (4:13)
B2. “Oxygène (Part V)” (10:23)
B3. “Oxygène (Part VI)” (6:21)

Sessions occurred at Jarre’s home studio in Paris between August and November 1976 with Michel Geiss as programming advisor and Jean-Pierre Janiaud as mixing engineer at Studio Gang. Translab handled mastering.

Oxygène features cover art by French painter Michel Granger, who adapted his watercolor of a cracked Earth revealing a skull to the LP format.

Polydor issued “Oxygène (Part IV)” as the lead single in January 1977, followed later that year by “Oxygène (Part II).”

“Oxygène (Part IV)” reached No. 4 on the UK Singles Chart and rose to No. 1 in Spain. It placed at No. 4 on the Dutch Single Top 100 and entered the Swedish chart at No. 10. The single also charted in Australia, where it peaked at No. 26 on the Kent Music Report.

Oxygène achieved strong chart success: it reached No. 1 on the French album charts, climbed to No. 2 on the UK Albums Chart , and peaked at No. 78 on the US Billboard Top LPs & Tape.

Equinoxe

Jean-Michel Jarre released his fourth album, Equinoxe, in December 1978 on Disques Dreyfus/Polydor.

Equinoxe extends the textured electronic sound Jarre established on Oxygène, unfolding across eight interlinked pieces that trace a day in human experience from morning to night. Sequencer-driven pulses, swirling pads, and layered synthesized effects shape each track, while rain, storm, and thunder motifs provide subtle environmental framing. Tracks vary in intensity and pace: some move with steady, undulating propulsion, others accelerate with rapid arpeggios or shift in angular, contoured lines.

Jarre composed all eight tracks, integrating programmed sequences, organ layers, and synthesizer washes. Michel Geiss assisted with custom equipment including the Matrisequencer 250 and Rhythmi-computer, which helped realize the album’s complex rhythmic textures.

Équinoxe moves through eight connected movements that alternate between contemplative atmospheres and rhythmic drive. Part I opens with two intertwining synth lines that gradually converge, fading into layered sound waves. Part II flows with spacious, undulating textures, carrying softly shifting motifs that hover above steady percussive pulses. Part III introduces warmer, more articulated leads, building into Part IV, where sharp, ascending synth patterns and orchestral string-like textures create a sense of expansive motion and heightened intensity.

Part V begins with rain and thunder effects, then rises into a structured, upbeat sequence with propulsive arpeggios and layered synths. Part VI reduces to minimalistic sequenced chords, acting as a restrained bridge into Part VII, where dynamic synth motifs and rich harmonic layering convey an almost epic sweep. Part VIII closes with occasional bursts of wind and organ effects before revisiting the main Part V motif, blending contemplative ambience with a final, forceful statement. Throughout, Jarre balances rhythmic variation, contouring synth lines, and carefully spaced textures, crafting an immersive journey that alternates between introspection and forward motion.

A1. “Equinoxe Part 1” (2:23)
A2. “Equinoxe Part 2” (5:01)
A3. “Equinoxe Part 3” (5:11)
A4. “Equinoxe Part 4” (6:52)

B1. “Equinoxe Part 5” (3:54)
B2. “Equinoxe Part 6” (3:15)
B3. “Equinoxe Part 7” (7:24)
B4. “Equinoxe Part 8” (5:02)

Sessions occurred at Jarre’s home studio in Paris from January to August 1978. Jean-Michel Jarre produced the album, mixing was handled by Jean-Pierre Janiaud with Patrick Foulon assisting.

Equinoxe features cover artwork by Michel Granger, Le trac, depicting abstract, shadowed figures under a fragmented landscape.

Disques Dreyfus released two singles: “Equinoxe Part 5” (December 1978) reached No. 45 on the UK Singles Chart, followed by “Equinoxe Part 4” (June 1979).

The album reached No. 11 on the UK Albums Chart, No. 126 on the US Billboard 200, and top-five positions in France and the Netherlands. It sold over 3 million copies worldwide.

Les Chants Magnétiques

Jean-Michel Jarre released his fifth album, Les Chants Magnétiques, on May 20, 1981, on Dreyfus/Polydor.

Les Chants Magnétiques continues Jarre’s layered electronic explorations with a mix of sequencer-driven passages, textural washes, and manipulated samples. Tracks shift between precise rhythmic propulsion, fragmented sequences, and human or mechanical sounds, creating contrasts of motion and stillness. Some pieces employ abrupt turns and angular lines, while others feature flowing, immersive sonic fields that suggest both minimalism and surreality.

Jarre composed all tracks, integrating Fairlight CMI digital sounds alongside EMS instruments such as the Synthi AKS, VCS 3, and Vocoder 1000. Collaborator Michel Geiss contributed sampled effects, including train sounds and toy-box textures.

Les Chants Magnétiques opens with Part I, a sprawling composition built from two successive motifs. The first motif layers dynamic synthesized chords with soaring harmonies that swell into a solid, textured crescendo, while the second motif introduces orchestral-style countermelodies and lightly improvised synth leads, blending elegance with subtle tension.

Part II shifts to an upbeat, twisting rhythm driven by sequenced pulses, punctuated by sampled voices and brisk percussive accents. Part III unfolds as a spacious soundscape of synthetic textures—emulated machinery, tuned percussion, and radar-like effects—that suggest an abstract electronic environment. Part IV emphasizes flowing, contoured lines with serene harmonies and occasional Latin rhythmic touches, creating a reflective, airy atmosphere. Part V, subtitled “The Last Rhumba,” closes the album with a playful Latin-infused pulse, offering a humanized counterpoint to the preceding electronic architecture.

A1. “Les Chants Magnétiques Part 1” (17:50)

B1. “Les Chants Magnétiques Part 2” (3:59)
B2. “Les Chants Magnétiques Part 3” (4:15)
B3. “Les Chants Magnétiques Part 4” (6:18)
B4. “Les Chants Magnétiques Part 5 – La Dernière Rumba” [The Last Rumba] (3:30)

Across the album, Jarre balances intricate sequencing, layered synth strings, and rhythmic variation, alternating expansive, immersive passages with concise, rhythmically driven sections that explore both harmonic and textural depth.

Sessions occurred at Croissy Studio, France, with Jarre producing and Jean-Pierre Janiaud mixing, assisted by Patrick Foulon. The album features cover artwork designed by Remy Magron.

Disques Dreyfus released three singles: “Les Chants Magnétiques Part 2” (April 1981), “Les Chants Magnétiques Part 4 (Remix)” (November 1981), and “The Last Rumba” (1981, Netherlands).

Les Chants Magnétiques reached No. 6 on the UK Albums Chart, No. 98 on the US Billboard 200, and top-five positions in France, Austria, the Netherlands, and Germany, with sales exceeding 200,000 in France.

Les Concerts en Chine (live)

In May 1982, Jean-Michel Jarre released Les Concerts en Chine (The Concerts in China), a two-record document of his October 1981 shows in Beijing and Shanghai.

The album blends live interpretations of Jarre’s earlier compositions with new works inspired by Chinese culture, alongside one rearranged traditional Chinese piece. Performances shift between expansive sequenced passages, layered textures, and sampled sounds, incorporating both abrupt rhythmic variations and flowing, atmospheric sections. The set integrates studio effects, live instrumental interplay, and orchestral contributions, producing contrasts of intensity and stillness.

Jarre composed all original material. The Peking Conservatoire Symphony Orchestra performed on “Jonques de pêcheurs au crépuscule” [Fishing Junks at Sunset], conducted by Huang Feili, with collaborative guzheng performances by Mrs. Li Meng and Mr. Wang Zhi. His backing band featured Frederick Rousseau (MDB Polysequencer, RSF Kobol, Yamaha CS-60, Korg Rhythm, ARP 2600), Dominique Perrier (Moog Liberation, Sequential Circuits Prophet-5, Eminent, Korg Polyphonique, RSF Kobol), and Roger Rizzitelli (electronic percussion, Simmons electronic drum).

A1. “L’Ouverture” [The Overture] (4:47)
A2. “Arpégiateur” [Arpegiator] (6:54)
A3. “Equinoxe 4” (7:49)

B1. “Jonques de pêcheurs au crépuscule” [Fishing Junks at Sunset] (9:38)
B2. “L’Orchestre sous la pluie” [Band in the Rain] (1:29)
B3. “Equinoxe 7” (9:54)

C1. “Orient Express” (4:22)
C2. “Les Chants Magnétiques 1” [Magnetic Fields 1] (0:21) — table tennis sound effects, no relation to studio track
C3. “Les Chants Magnétiques 3” [Magnetic Fields 3] (3:48)
C4. “Les Chants Magnétiques 4” [Magnetic Fields 4] (6:49)
C5. “Harpe Laser” [Laser Harp] (3:35)

D1. “Nuit à Shanghai” [Night in Shanghai] (7:02)
D2. “La dernière rumba” [The Last Rhumba] (2:07)
D3. “Les Chants Magnétiques 2” [Magnetic Fields 2] (6:30)
D4. “Souvenir de Chine” [Souvenir of China] (3:54)

Sessions captured the live shows with Jarre producing, recorded by René Ameline and Patrick Aufour with the Flight Mobile.

Les Concerts en Chine reached No. 6 on the UK Albums Chart and No. 9 in the Netherlands.

Musique pour Supermarché

In July 1983, Jean-Michel Jarre pressed and distributed one copy of Musique pour Supermarché, an album of electronic muzak recorded for Orrimbe, a supermarket-themed art show held that summer in Paris.

Though technically his sixth studio album, Jarre destroyed the Supermarché master tapes and artwork before selling the single copy at the Hôtel Drouot auction house. Bootlegs stem from tape recordings of the album’s lone front-to-back airing on Radio Luxembourg.

Zoolook

Jean-Michel Jarre released his seventh studio album, Zoolook, on November 16, 1984, on Dreyfus/Polydor.

The album constructs its sound from manipulated vocal and spoken-word samples in 25 languages, layered with electronic textures and sequenced synth lines. It interweaves abrupt rhythmic patterns, processed percussion, and digital sampling with Jarre’s signature synthesizer timbres, producing sections that shift between dense, textured passages and sparse, spacious interludes.

Jarre composed all tracks. Laurie Anderson provided vocals on “Diva”. His backing players included Adrian Belew (guitars, effects), Ira Siegel (additional guitars), Marcus Miller (bass guitar), Yogi Horton (drums), and Frederick Rousseau (additional keyboards). Sound engineer Daniel Lazerus oversaw recordings, with David Lord mixing most tracks and René Ameline handling “Zoolookologie”. Xavier Bellenger contributed ethnographic research.

Zoolook revolves around dense layers of sampled voices from twenty-five languages, shaping them into pitched, chopped, and stretched elements that function as both rhythm and texture. “Ethnicolor” opens with a spacious, droning atmosphere that gradually accumulates percussion, plucked bass, and swelling synth lines, erupting into a climactic, high-energy passage. “Diva” centers on Laurie Anderson’s fragmented, laconic vocals, floating over irregular percussive pulses and glimmering synth textures, creating an airy, playful tension.

The title track drives forward with rigid electronic beats and angular synth stabs, while “Zoolookologie” leans into buoyant, syncopated rhythms with jagged vocal fragments darting atop funk-inflected bass and bright digital textures. “Wooloomooloo” and “Ethnicolor II” employ layered sound collages, combining distant vocal samples, sequenced motifs, and shifting rhythmic accents to produce immersive, surreal soundscapes. Interspersed short pieces like “Blah Blah Café” provide staccato, glitchy breaks, balancing the album’s larger, more intricate structures.

A1. “Ethnicolor” (11:41)
A2. “Diva” (7:33) — features Laurie Anderson performing in an invented vocal language

B1. “Zoolook” (3:50)
B2. “Wooloomooloo” (3:20)
B3. “Zoolookologie” (4:20)
B4. “Blah Blah Cafe” (3:21)
B5. “Ethnicolor II” (3:52)

Across the record, Jarre manipulates tempo, density, and vocal timbre to transform human speech into both melodic contour and percussive drive, giving the album a kinetic, otherworldly pulse.

Sessions took place at Jarre’s home studio in Croissy-sur-Seine and at Clinton Studio, New York, with Jarre producing. Mixing was completed at Croissy Studio.

The album produced two singles: the title track, released 30 November 1984, and “Zoolookologie,” released 31 May 1985. Both singles were accompanied by music videos: the former directed by Jean-Pierre Jeunet featuring robots by Marc Caro, and the latter directed by Rod McCall.

Zoolook reached No. 47 on the UK Albums Chart, No. 24 in Germany, No. 28 in Austria, and charted in the Netherlands, Sweden, Switzerland, and New Zealand.

Rendez-vous

Jean-Michel Jarre released his eighth studio album, Rendez-vous, on April 1, 1986, on Dreyfus/Polydor.

The album blends layered synthesizer textures with sequenced rhythms and digital percussion, emphasizing long, evolving passages and dramatic dynamic shifts. Jarre integrates his signature analog and digital synth palette, including the Elka Synthex and Fairlight CMI, with occasional acoustic instrumentation, creating expansive, atmospheric soundscapes punctuated by striking melodic arcs.

Jarre composed all tracks. Key contributors included Michel Geiss (ARP 2600, Eminent BV, Matrisequencer), Dominique Perrier (Memorymoog on “Second Rendez-Vous”), Joe Hammer (E-mu Drumulator, percussion on “Second Rendez-Vous”), Pierre Gossez (saxophone on “Last Rendez-Vous [Ron’s Piece]”), David Jarre (Baby Korg on “Fifth Rendez-Vous”), and the Choir of Radio France, directed by Sylvain Durand, providing vocals on “Second Rendez-Vous”.

A1. “Premier Rendez-Vous” (First Rendez-Vous) (2:54)
A2. “Deuxième Rendez-Vous” (Second Rendez-Vous) (10:55) — features layered synths, rhythmic variations, and choir passages
A3. “Troisième Rendez-Vous” (Third Rendez-Vous) (3:30)

B1. “Quatrième Rendez-Vous” (Fourth Rendez-Vous) (3:57)
B2. “Cinquième Rendez-Vous” (Fifth Rendez-Vous) (7:41) — develops themes from earlier singles and prior Jarre compositions
B3. “Dernier Rendez-Vous (Ron’s Piece)” (Last Rendez-Vous) (6:04) — dedicated to Challenger astronauts, saxophone by Pierre Gossez

Sessions occurred at Croissy Studio, France, with Jarre producing. Mixing and final sequencing took place at the same studio.

Rendez-Vous features album artwork by Michel Granger.

The album was promoted with the single “Fourth Rendez-Vous” in May 1986.

Rendez-Vous reached No. 9 in the UK Albums Chart, No. 52 on the US Billboard 200, and charted across Austria, Finland, Germany, the Netherlands, New Zealand, Sweden, and Switzerland.

Rendez-vous Houston: A City in Concert

Jean-Michel Jarre performed Rendez-vous Houston: A City in Concert on the evening of April 5, 1986, in downtown Houston, coinciding with the release of his Rendez-Vous album. The show celebrated Houston’s 150th anniversary and NASA’s 25th anniversary while honoring the astronauts lost in the Challenger disaster, including Jarre’s friend Ron McNair. An estimated 1.5 million people attended, temporarily setting a record for the largest outdoor rock concert.

The performance juxtaposed towering skyscrapers with expansive projections and fireworks. Jarre’s synthesizers and laser harp alternated between rhythmically varied sequences, spacious ambient passages, and sharply contoured lead lines. Saxophonist Kirk Whalum substituted for McNair on Last Rendez-Vous, contributing melodic passages against layered electronic textures, while choreographed dance and choir sections reinforced thematic space and city imagery.

Jarre composed all material for the concert. The ensemble included keyboardists Michel Geiss, Sylvain Durand, Dominique Perrier, Francis Rimbert, and Pascal Lebourg; drummer Jo Hammer; percussionist Dino Lumbroso; soprano Christine Durand; alto saxophonist Kirk Whalum; The High School for the Performing and Visual Arts dance troupe; and two choirs—the Singing Boys of Houston (93 singers) and the High School’s seven sopranos.

A 52-minute TV edit of the concert was released on VHS, featuring seven tracks. The first 15 minutes contain documentary footage with background music, while the remaining footage presents live performances. Two tracks, “Equinoxe Part 5” and “Equinoxe Part 7,” appear on the live album In Concert Houston/Lyon (later re-released as Cities In Concert Houston/Lyon, 1997 edition). Full audio of the broadcast is available online, alongside audience recordings.

1. “Ethnicolor Part 1” (VHS)
2. “Rural Space”
3. “Oxygène Part 1” (from Oxygène)
4. “Oxygène Part 2”
5. “Oxygène Part 4”
6. “Equinoxe Part 7” (VHS and CD; from Equinoxe)
7. “Souvenir of China”
8. “Urban Space”
9. “Equinoxe Part 4”
10. “Equinoxe Part 2”
11. “Equinoxe Part 5” (VHS and CD)
12. “Outer Space”
13. “Rendez-Vous 3” (VHS; from Rendez-Vous)
14. “Rendez-Vous 2” (VHS)
15. “Oxygène Part 5”
16. “Last Rendez-Vous – Ron’s Piece” (VHS)
17. “Rendez-Vous 4” (VHS)
18. “Rendez-Vous 4” – Encore

Sessions and live production involved extensive stage setup, synthesizer arrays, laser harp, and synchronized fireworks. Equipment damage from rain and high winds required on-site repairs, while local authorities monitored crowd and firework safety throughout the performance.

Revolutions

Jean-Michel Jarre released his ninth studio album, Revolutions, on September 26, 1988, on Dreyfus/Polydor.

The album emphasizes digital synthesizers, particularly the Roland D-50, layered with programmed percussion and vocal textures. Jarre blends sequenced passages with expansive synth timbres, incorporating occasional acoustic elements such as Turkish flute and trumpet, creating shifting dynamics and sharply contoured melodic lines across long-form tracks.

Jarre composed all tracks. Collaborators included Michel Geiss (ARP 2600, Kawai K5, Matrisequencer), Dominique Perrier (Emulator, Fairlight CMI, Ensoniq ESQ-1, D-50, Synthex, OSC OSCar, Akai MPC60 programming), Joe Hammer (drums, Simmons, SDX, Dynacord Add-one), Francis Rimbert (additional synthesizer programming), Hank Marvin (guitar on “London Kid”), Jun Miyake (trumpet, megaphone on “Tokyo Kid”), Kudsi Erguner (Turkish flute), Patrice Tison (guitar), Guy Delacroix (bass guitar), Mireille Pombo (vocal chorus on “September”), Sylvain Durand (Fairlight CMI on “London Kid”), the Bruno Rossignol Choir (choir on “Industrial Revolution”, “London Kid”, “L’Emigrant”), and the Female Choir from Mali, directed by Sori Bamba (choir on “September”).

A1. “Révolution industrielle” (Industrial Revolution) (16:51) — expansive synth layers, vocal choir, programmed percussion sequences
A2. “London Kid” (4:27) — guitar by Hank Marvin, blending sequenced synth lines with bright, contoured melodic shapes
B1. “Révolutions” (Revolutions) (4:57) — vocoder by Jarre and Geiss, structured around rhythmic shifts and textural contrasts
B2. “Tokyo Kid” (5:21) — trumpet and megaphone highlight dynamic, angular passages within dense synth arrangements
B3. “Computer Weekend” (4:42) — sequenced patterns create driving pace and layered synth textures
B4. “September” (3:53) — dedicated to Dulcie September, integrates choral elements and sustained harmonic swells
B5. “L’Emigrant” (The Emigrant) (4:10) — choir and synths combine with subtle rhythmic modulation to underscore reflective tones

Sessions occurred at Croissy Studio, France, with Jarre producing and Henri Loustau engineering, assisted by Philippe Cusset.

The album was promoted with the single “Revolutions” in September 1988 and followed by “London Kid” in December 1988.

Revolutions reached No. 2 on the UK Albums Chart and charted across Austria, Germany, the Netherlands, Norway, Sweden, and Switzerland.

Discography: