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This time, let's dip way back to Tangerine Dream's concert at the Regent Theatre in Sydney, Australia, on February 22, 1982. The band line-up was Edgar Froese, Chris Franke and Johannes Schmoelling. During this period, the band's music was less percussive, comprising overlapping layers of keyboard-triggered sequenced electronics. Despite the absence of snappy percussives, the melodies were still fluid and dynamic, with surging tones conspiring to achieve a dreamy urgency.Fast-paced movements wash over the audience, immersing the listeners in a thick pulse of inescapable sonic drama. That was what the Aussies got to experience -- and now so can you.For 43 minutes, this CD takes you on an excursion of playful wave forms, cycles that revolve and build with sneaky evolutions. As the CD is labeled "Part One", we can only hope to be given the opportunity to enjoy more of this past performance in the future. www.space.com

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If the ideal of doing loose things and sharp sounds, in a desolating surround and an ubiquitous range, was something really upsetting, illustrating the entire mass into two volumes is also a disappointment and a serious doubt as to how keen is the taste of Tangerine Dream (or should I simply nominate Edgar W. Froese?), how good and how attentive is the concern towards improvement or classifying the results. Naturally what I am implying here isn’t really of profound and permissible truth, as both volumes are from the same years and were branched in immediate posture; thus the same nucleus is evoked and the identity is outlined to the specific proportions. Yet things are not that easy for me, also they’re by nothing solvable. And by saying this, I’m not only referring to the delicate fact that each volumes comes separate into the price topic (thank God for freewill and quality choice, right?). It is the (presumably hidden, necessitating a close look into the meanings) detail of an action done twice the effort in a halved result and a split expectation grade. And how much of a pertinence and a value comes that? The second volume is entirely shaped as a continuation, even fully symbolic, if appearances look like it was planned all along. A prolongation of the impulse and a stagnation within the context. The issue of the Hollywood Yearsmatter being double-powered is an aggravation and, as I’ve said, a distorted attention. Given the quality, the mental recognition of Tangerine Dream conceiving amount of material isn’t anymore applaudable. 1998 was abundant, unfortunately few went okay, none went over okay; and this entire project being understandably good is a mere dream. To this portrait of pessimistic opinion comes the thing of doing it expanded. To the few that the band accomplished during the ‘90s, fewer being good attributes, this one is a surprising shock of realization, yet a deceiving comfort. ProgArchives.Com

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!!! Rare !!! For the topping out ceremony of the new Sony building in Berlin, Potsdamer Platz 2nd September 1998.

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Two tapes and characters of electronic musicians meet on one record to perform the same track, and the results are quite different: "TD" provided Towards The Evening Star, the opening track from Goblins Club as base material for a Mandarin Cream Remix by the famous British techno band The Orb. There is hardly any similarity in style and sound to be discovered between the "TD" original and "The Orb" remix track. www.cybersounds.org

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Although billed as a Tangerine Dream album, the credits for this 1996 video thriller soundtrack release suggest that it would be more appropriately labelled as an Edgar Froese solo album. Although Jerome Froese's name appears in the composition credits for the disc's opening and closing tracks, all of the remaining 11 tracks, together with all of the performance credits appear in Edgar's name alone (although the sax playing on `Headhunter' sounds decidedly like that of Linda Spa, to my ears!)... Steve Benner

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This album by Tangerine Dream is an extended release of the original The Dream Mixes, released in 1995 by Miramar / Virgin. The pieces included in both are: "Little Blond in the Park of Attractions (The Thai Dub)", "Rough Embrace", "Touchwood (The Forest Mix)", "Jungle Journey (Reptile Mix)", "Virtually Fields", "Firetongues (The Break Freak Mix)", "San Rocco", "Catwalk (Dress-up Mix)", "Change of the Gods", "Bride in Cold Tears (The Motown Monk Mix)". This new release, released by TDI Music, also contains: "Touchwood (Radio Edit)", "Little Blond in the Park of Attractions (Radio Edit)", "Catwalk (Black Ink Mix)", "Touchwood (Poison Byte Mix)", "Iowa", "Sojus". The style of these versions is for the most part near to Trance Music and to Techno. Source - www.amazings.com

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Tyranny of Beauty is one of Tangerine Dream's best CDs of the early and mid-'90s. That's not saying a lot. The group's albums from that period -- and even back into the late '80s -- are relatively weak. And, to be sure, this disc has its weaknesses. However, they are overshadowed by its strengths, and the disc earns high praise. The TD lineup for this CD is Edgar Froese, Linda Spa, and Jerome Froese. Mark Horn and Gerald Gradwohl contribute various guitar performances. Those performances are the keys to this disc's merit. Gradwohl's lead guitar spots play off and to Edgar Froese's lead guitar. The sparring adds clout to the atmospheres. The atmospheres, in turn, build upon each other and create a grand soundscape. The strongest track is "Stratosfear 1995," a redesign of the Virgin era standard. This CD is a return to the basics with polish and tact. It is essential Berlin school electronica. ~ Jim Brenholts, All Music Guide

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With "Turn Of The Tides",Tangerine Dream come back to the sense of making quality and lasting music.It is within these years of darkness and unsecurity in mentality issues and,as a result of that,in consequences that great signs appear.Often "Rockoon" being considered as the peak and the major of the Seattle Years (1991-1995),I come against this and say that "Turn Of The Tides" is the most complete and well-defined album of this history curious segment.It is something as simple what defines context here:what fails to consist brilliancy in "Rockoon" is absolutely clear and perfect here.All constructions (although little,concerning new material factors) have led to this ultimate creations,the real peak and major album of the Seattle Years.I like "Turn Of The Tides" (look how easy can be resumed a bujective opinion,heh).Chronologically,this is the best album from "Lily On The Beach" to this moment.So it resonates and imense power over a period of reasonable projects.More than that,what it resonates is a breeze of authentic Tangerine Dream.No more different approaches (Quinoa-type) or half-made music acomplishments (Rockoon types).This is the main overall message.We have here a selection of good to very good pieces,in manner or high perception.I see here true meaning of Tangerine Dream,as I've seen it so clear in all the year of gold and glory.Once more."Turn Of The Tides",seen through almost all the aspects,is the album containing the true Tangerine Dream Seattle Years essence.Their brilliancy and their passion blends with the modern (necesarry) impulse.

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Recorded Live in Melbourne, Australia March 1st, 1982.A special edition for the members of the T.D.-Fanclub. Manufactured in Australia.

Some Info About TD Bootlegs in Polish

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Germany's Tangerine Dream (along with fellow countrymen Kraftwerk) either pioneered or directly influenced a slew of genres including electronica, new wave, new age, techno, and dance. By the early '90s, founding guitarist/keyboardist Edgar Froese had revamped the incredibly prolific group's lineup and brought his son, guitarist/keyboardist Jerome Froese, on board as his musical partner and pursued a more rock-oriented direction. The fascinating 1993 album 220 Volt Live, featuring ten all-new songs and one cover, was recorded on Tangerine Dream's 1992 North American tour and it was the band's first live album in five years. Guitarist Zlatko Perica and saxophonist/keyboardist Linda Spa joined as touring members, and their work is a vitally important part of the 220 Volt Live sound. The hypnotic overall feel of the music is enhanced by energetic rhythm tracks, the lengthy guitar solos from Perica, Edgar Froese, and Jerome Froese (often verging on hard rock and heavy metal in both tone and execution), and Spa's floating saxophone lines. "Oriental Haze," "Two Bunch Palms," "220 Volt," "Sundance Kid," "Backstreet Hero," "Hamlet," and "Dreamtime" are the best fresh songs. The lone cover is the Jimi Hendrix Experience's "Purple Haze." Although Tangerine Dream's fine interpretation was nominated for a best rock instrumental Grammy, its appearance as one of the encores is abrupt and jarring; mood-wise it feels conspicuously out of place amidst the flow of new material. 220 Volt Live is the companion to the VHS and laser disc home video titled Three Phase. ~ Bret Adams, All Music Guide

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The Private Music Of Tangerine Dream, as compilation, is discrete, direct and, within the fix terms (what else…), fine and formal. It focuses a lot of Melrose, which I happen to find a true uncolored reason for a great accomplishment (to a much fitting and full of act previous calls, so the close idea of shriveling a period’s resound isn’t that complete. Optical Race and Lily On The Beach (the first being a pragmatically nice effort, the second being the underdog with a surprise favorite extremity) are hashed by two or so pieces, in a way that the utmost melody and beat gets rightfully endorsed, or that some true essential cause, within a loose string, gets the only tense possible. Two or three bonus tracks are a nail in the taste, a nice one just as much, being an effect to the idea that other kind of sedentary music was made in such a fixated and under-evolved period of music and muzak. The music is of a unitary confinement inside the harmonies of very easy and accessible, towards going bland and nerving, musical summary. For more, there’s cannot be the case.A retrospective for the 1988-1990 period, bit blurry, but straightened by an impartial flavor. That is a fix walkthrough around music that can alarm the bitter taste of Tangerine Dream gone, permanently, out of sight, in the melody mind and the ambience glare. If you really want more than something already appreciated too much, try better the recommendations of lives around that period, which act the same kind of a music notion. There’s plenty, there’s too plenty. Three star “public” compilation, rasp evidence.

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Risky Business was one of the great films of the eighties. It brilliantly made comedy out of situations dealing with a confused high school senior and his sexual frustrations. The soundtrack wonderfully endorses his edgy, unsure feelings, particulary the wonderful, harried pieces from Tangerine Dream. Also on the track are excellent period songs from the eighties, most notably "In the Air Tonight" from Phil Collins. This soundtrack is a perfect example of how movie music can accentuate the feelings the film's characters, while standing on its own as great listening.

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"Livemiles" presents two live 30-minute sets from Tangerine Dream concerts in 1986 and 1987. The first track, subtitled `The Albuquerque Concert' was recorded during the band's US tour in summer '86, while the second (`The West Berlin Concert') is taken from the concert that Tangerine Dream gave during the 750th Anniversary of the city of Berlin (still divided then, of course) on 1st August '87. This latter concert was, in fact, Chris Franke's last ever appearance with the group-he quit the band the next day-so this is something of a landmark recording in the history of Tangerine Dream, marking an end of their so-called Blue Years (and their releases on the Jive-Electro label).The two sets played here are typical of Tangerine Dream in their heyday: large-scale works perfectly constructed and exquisitely executed, with superb use of power percussion programming, complex sequencer pulses, delightful sampler and synthesiser voicings and some lovely, mellifluous melodies weaving through it all. Everything blends to utter perfection, the tempos are constantly varied and there is not a single dull moment from start to finish. These must have been fabulous concerts to be at and this disc is a `must have' for all TD fans.

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Source:From Live Miles (Audio CD)

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Longtime fans of Tangerine Dream know exactly where to look for Jerome Froese (the infant son of band leader Edgar Froese) on just about all of their classic early album covers. And here he was again in 1992, suddenly grown to young adulthood, and this time joining his dad as a full-fledged member of the (yet again) re-constituted group.The question was whether this surprise injection of young blood would help invigorate a once vital but by then all but exhausted creative spirit. Not immediately, it seemed. I elatedly found this album soon after hearing the band’s pedestrian 1988 effort "Optical Race", and was surprised (and more than a little discouraged) to note how little had changed in the intervening four years. The equipment was no doubt more sophisticated, but the music was (once again) stuck in the same shallow rut, proof that all the state-of- the-art electronics on Earth can’t buy a decent melody.At this low point in their long (and even now still very much active) lifespan the group had devolved from electronic artists to wannabe rock stars making electronic music: a subtle distinction perhaps, but a necessary one. Half the album is credited to Edgar and Jerome; the rest to Jerome and Edgar, but for all the difference between them the whole thing might just as well have been composed and performed by a machine.The best tracks (a relative measure, to be sure) are at least blessed with enough energy to offset the lack of any genuine invention: "Graffiti Street", "City Dwarves", and the even more oddly titled album closer "Girls On Broadway". The rest of it is featureless, homogeneous filler, pleasant enough as a way to pass the time but hardly making any demands on your attention and/or imagination.Tangerine Dream certainly wasn’t going to win any new disciples with this set. And the band’s older, more discriminating fans could only defend it out of stubborn loyalty, still waiting (as they were by then all-too accustomed) for something better next time.

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This is another movie soundtrack by Tangerine Dream. Globally, it does not very much sound like an experimental film music: the tracks are rather down to earth and have resemblances with the ones on the Livemiles and the Tyger albums.The first track on side 1 could fit well on the Tyger album: the same kind of female vocals and the keyboards sound exactly like on that album. The track 2 consists in floating keyboards streams that seem to go nowhere. The track 3 is a more accessible rock song, with its fast beat, its winner's style keyboards, its male vocals and its flashy electric guitar. The track 4 sounds like the floating keyboards on the Near Dark album: there are just floating keyboards.The first track on side 2 is a catchy song, with a warm Chaka Khan-esque lead vocals; the keyboards are quite varied and delightful: this song is probably the best one on this record, reminding me Eurhythmics' "Sweet dreams". The next track is absolutely pure and beautiful: a perfect combination of a flashy electric guitar and fresh & dreamy keyboards, through a fast beat. Then there are cold floating keyboards expressly made for the film itself; it seems there is a huge choir through it. The last track is very melodic and has a mix of the Livemiles and the Tyger albums.

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