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Tangerine Dream - Encore Live
1977 | Live | Genre : Electronic | FLAC - Lossless | 374 Mb | RS | Covers & Label incl
Maybe the best album of them...
| “ | Tangerine Dream's second live album, this time a double, would also be the final album of the Froese-Franke-Baumann line-up. It was recorded during the band's North American tour of March-April 1977. Unlike Ricochet, which though technically a 'live' album had basically no audience presence, on Encore the audience makes their presence known at certain points, lending the recording proper live ambience. I think this album probably will hold its greatest appeal for those who picked it out of its chronological context with the other 70s albums. If you did track the band's output chronologically, chances are that by the time you reach Encore, you may find it to be redundant with what came before (though on the other hand, perhaps you might find it to be this line-up's grand summary statement of that style). The main idea is yet again 'C minor with modal soloing.' Sticking to this key (or A and E, two other alternatives), according to Edgar Froese, was a requirement of their equipment at the time. However, for anyone who has Rubycon, Ricochet, Stratosfear, and Sorcerer in their collection, this sounds pretty much well-exhausted by this point. To this foundation, the band provides different add-ons and variations (e.g., most of the tracks open up with spacious prelude improvisations) to provide some color. "Cherokee Lane" is probably the most conservative of the four tracks in terms of duplicating previous work, and quite ironically given what I just said above, it is the piece on here I like the most. As the band goes past the opening abstractions of the prelude and starts gearing up with the sequencers and string mellotron, and once more as these slowly build from flame to fire, the audience shrieks with delight, reminding us what a great live show these guys must have put on back in the 70s. "Monolight" provides greater departure. It begins with classical grand piano gradually given auxiliary support by other keys, which then dissolves into a clattering of sounds and effects. After this enigmatic prelude, the track formally begins with a brief, classically styled vignette that represents the most thoroughly composed moment on the album, weaving through major and minor keys with the main melody played on Moog. After this section concludes, the remainder of the track becomes business as usual, with nothing of great interest occurring, and eventually ends where it began reprising the prelude. "Coldwater Canyon" is for me the album's low point. Generally speaking, the track doesn't really go anywhere, and on top of this, hefty portions of it are given to showcasing tedious guitar soloing from Froese. I've never quite been very impressed with his guitar work as the focal point of interest; it certainly does not justify the time it eats up here. The band concludes with "Desert Dream," the only track to fully depart from the C-imposed sequencing, moving through a lonely, 'Western in space' theme to a funereal march on a trumpet-synth with accompanying Fender Rhodes and mellotron. It is probably the most original work on the album though doesn't entirely gel. Towards the end, just as the band seems set to strike up with another block of music, this curiously fades away and the audience erupts into concluding cheers. In retrospect, a strange swan song for a legendary line-up. Following Encore, Peter Baumann left the band to pursue a solo career, though interestingly he would re-unite with Tangerine Dream in a different context about a decade later, as the founder of the new age Private Records label, signing his former band for a few years. He eventually sold the Private label to BMG Records in 1994 and appears to have since retired from the music biz altogether. review by Joe McGlinchey | � |
Tracklist:
1. Cherokee Lane � 16:23
2. Monolight � 19:36
3. Coldwater Canyon � 17:39
4. Desert Dream � 17:36
Edgar Froese -guitars, twin keyboard mellotron Mark V, grand piano, Oberheim Four Voice polyphonic synth, ARP Omnistring, ARP
Digital Soloist, P.P.G. synth, Moog Modular, Projekt Electronic Time Control System;
Chris Franke -Moog Modular, Projekt electronic sequencer, Computerstudio digital sequencer, Mellotron M. 400, ARP Soloist,
Elka String, Oberheim sequencer, Oberheim Eight Voice polyphonic synth, electronic percussion;
Peter Baumann -Projekt Electronic Modular synth, Projekt Electronic sequencer, Fender Rhodes, ARP Soloist, Mellotron M. 400,
EMS Vocoder with AKG Micro C414, Elka String
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