Some slight variation between the shows as to this introductory piece, allowing for a small amount of improvisation, but broadly following the same lines. An intro in the style of Legend and, to a lesser extent, Underwater Sunlight. Common features include a "birdcall" type of effect, some sort of sampled chanting, and a low drone.
A rendition that retains some of the sounds from the original 1976 version on Stratosfear (notably the sequences), but which takes most of its melodic timbres and percussion from Underwater Sunlight era music. Markedly shorter than the original version.
Beginning with some atmospheric chord padding, followed by a choral bridge, then launching into the bulk of the piece, based around an 18-bar revolving sequence, overlaid with a lot of percussion. Less like Underwater Sunlight, owing more tonally to Le Parc, with its highly rhythmic, driving nature, with no discernible melody.
Gradually Akash Deep drops the various elements to finish with a IV-i chord exchange. Towards the end there is a series of chord pads; the piece then develops with a "twangy" melody over these Underwater Sunlight style "watery" bass chords. Finally the piece settles on one chord, and a repeated harpsichordesque patch introduces the next piece.
Originally named as such by the DJ announcing the broadcast of the Berlin 1987 show where TD played this track, too. However, the track features quite a few differences from the released version on Le Parc, not least the presence of a regular drumbeat (featuring not just the deep "boing" sound but also some "brush" effects), as well as other sounds, such as breathy chord padding and a guitar-type patch. As played live, this track bears as much resemblance to the track Shores Of Guam on Beyond The Storm.
Originally named as Samba Motel when it appeared during a radio show on WDR in 1989. Different from the album version by replacing the introduction with a lengthy percussive fill of several minutes, with slap-bass, whistles and backing rhythm track, before launching into the recognisable Underwater Sunlight track. After the new intro, it is quite faithful to the released version, although perhaps more vibrant.
Begins with thundery effects, a voice in the background, a harp sequence and a wind-like noise. Then joins a "puddle" effect. Gradually only the choir effect is left, and it drops into the piano opening of Ricochet, Part Two (but initially played in a soft synth timbre).
The above track stops suddenly, and the electric piano picks up the Ricochet, Part Two motif for the start of the piano solo. Then develops into a melody of its own, and finishes with some atmospherics before leading into the next track. This track varied from show to show and other well-known themes are sometimes dropped in.
This goes through the entire released version as on Underwater Sunlight, but instead of fading out, the closing "clashes" lead in to an aeroplane effect, after which the piece carries on in similar vein to before. Here, however, there is almost a verse-chorus pattern, each with its own four chord sequence. Note that the Vault IV version has a slight edit.
The track which once was turned into Vermilion Sands, and which first was released on Antique Dreams, appears here in all its glory. During the extensive workout for the guitar solo, the similarities between this track and the live version of Ride On The Ray (which replaced it during the North American tour later in the year) are evident. This may explain Jerome's comparison during the 1998 Electrobeats show.
Quite similar to the released version on Flashpoint. There's a lot more going on here, though -- high pitch percussive trills on the third beat of each bar, a real bass surge at the start of each bar, and a syncopated countermelody mixed lowish.
The live version misses the intro from the CD version on Underwater Sunlight, replacing it with a lead-in that uses the chord sequence i-iv-VI-iv (into which key the piece modulates) and which joins the studio version at about two minutes in. The percussion is subtly different, the electric piano part is absent until the end, replaced with a padded countermelody and trumpet effect, and overall there's more energy in the live rendition. The extra length comes from extending the main part by repetition.
Officially given the name that first appeared on the Electrobeats show of 3rd February 1998, this track is actually only the second half of a longer track in the film (more than eight minutes). The full version would certainly have improved the Legend soundtrack album.
The compositions during the encores varied from show to show, both in number and sequence.
The same goes doubly for this track -- another one that was left off the Legend soundtrack album (although this extended version did not appear in the film). The basic track is the same as Loved By The Sun without the words, but with a different opening and lasting for about a minute longer, having a proper ending rather than fading out. Although never officially released in its entirety (even on Vault IV), this track was broadcast on WDR in 1989 with only the last few seconds missing.
Supposedly released on Dream Encores, although the received wisdom suggests that the album is full of studio versions (and that's certainly true for at least some of the tracks on there). Interestingly, the version on that album purports to be from London, but the only known fantape which features this track comes from Newcastle.
A close rendition. The introduction in the studio version is absent; it is replaced with an intro that launches straight into the percussion, overlaid with a new melodic line. There is additional improvisation over the centre of the piece. The heart of the piece has a (partly) improvised overlaid line. The ending is slightly different, too -- the Roland trumpets are absent, and the i-iv-iv-VI repeats before ending with a i-iv-iv-v-vi-v-i sequence, with a slight pause before the last chord. The chord padding and the improvised top line are both reminiscent of Legend rather than Le Parc.
(All times rounded to nearest 15 seconds and include bridges following song, if any.)
Large parts of this section have been taken from the site What Dreams Are Made Of by kind permission of the authors John A. Burek and Mark Schaffer.
Tangerine Dream's 1986 Europe tour was merely a UK tour (including 19 dates) with two additional gigs in Germany and France at the end. Given that there had been more than two years without any live performance -- probably due to the many soundtrack projects on schedule during these years -- the 1986 set list was completely new. Furthermore, the 1986 tour featured a brand new line-up with Paul Haslinger replacing Johannes Schmoelling who had left the band in late 1985.