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1990, October 25 - 1990, November 06

UK Tour 1990


Details

Line-upEdgar Froese, Paul Haslinger, Jerome Froese, Linda Spa, Paul Griesbach


Dates

October 25Worthing Assembly Hall (UK)
October 26London Hammersmith Odeon (UK)
October 27London Hammersmith Odeon (UK)
October 28Manchester Apollo Theatre (UK)
October 29Nottingham Royal Centre (UK)
October 30Sheffield City Hall (UK)
October 31Edinburgh Playhouse (UK)
November 01Newcastle City Hall (UK)
November 02Bradford St. Georges Hall (UK)
November 03Wolverhampton Civic Hall (UK)
November 04Oxford Apollo Theatre (UK)
November 05Exeter (UK)
November 06Bristol Colston Hall (UK)


Set List

Main Set

Three Bikes In The Sky (5:30)
Features a slightly different opening than the studio version on Melrose. Plus, the middle sequence is changed somewhat -- the guitar lead part replaced with a sterner, more stoic, and deep synth lead line.
Atlas Eyes (4:00)
Essentially the same as the studio version on Optical Race, but with a few added chords near the start.
Gaudi Park (5:15)
This version is bulked up quite a bit from the Le Parc version. There are some new choir-voice overlays and a few new chord overtones that give the song a more sumptuous sound.
Cat Scan (5:45)
Essentially the same as the studio version on Optical Race, but with a few added chord overtones dressing it up a bit.
Alaskan Summer (3:30)
At some shows, this track was somewhat changed from the studio version. A brief portion of the middle section would be differently sequenced, with a more spartan rhythm that ran in counterpoint to the main rhythm. At others, though, it was faithful to the version on Lily On The Beach.
Betrayal (Sorcerer Theme) (3:30)
Full, explosive remix with all-new instrument sounds. Bridges into Diamond Diary with a brassy, heraldic interlude. Very similar to the version on Antique Dreams, as is the following track.
Diamond Diary (3:15)
An excerpt taken from near the middle of the track from Thief. Much less of a remix than Betrayal (Sorcerer Theme), with faithful lead voices and sequences, but subtly different highlights.
Love On A Real Train (Risky Business) (2:45)
Mostly faithful to the various studio versions from Risky Business, with a few dramatic touches added, and a sudden ending that leads into Phaedra.
Phaedra (4:00)
Fully remixed version of the song, covering the fast sequencer middle portion of the track. Instrumentation is essentially all new. The sequencing is very fast and frantic, much more so than in the original Phaedra, and features a prominent drum track. Some new melody lines are added, too. This version was also played in a slightly different version on the North America 1988 tour; note that the Phaedra Of Nottingham track on Antique Dreams which purports to be from this tour is actually from the 1988 North American tour!
Electric Lion (9:15)
Essentially the same as the studio version on Melrose, but with a minute-long new lead-in.
Rolling Down Cahuenga (7:15)
Essentially the same as the studio version on Melrose, but with a minute-long new lead-in.
Dolls In The Shadow (6:00)
Essentially the same as the studio version on Melrose, but with a wispy opening bridge.
Cries And Whispers (12:00)
Starts with a melancholy-sounding Haslinger harpsichord patch solo, somewhat echoing the lead melody of Tyger, played over a bed of choral voices. Then suddenly changes into a hyper-fast dual guitar solo sequence. Jerome would lead off the track with a furious rock-guitar solo, and Edgar would fill in halfway through with a more laid-back, refined (but still high-energy) solo of his own. The contrast would make for the appeal -- Jerome's fast-fingered, rawer sound compared with Edgar's driving psychedelia. The piece ends with a 2- or 3-minute chunk of mellow "chill-out" atmospherics -- well placed following all the frantic fretwork.
Wall-Street (3:15)
Same as studio version, but the sax playing (by Linda Spa and Paul Griesbach) takes over the lead lines more prominently than on Destination Berlin.
Hitchhikers Point (5:45)
Again, same as studio version on Destination Berlin, but the sax dominates the lead lines and adds new highlights and melodies on occasion.
Long Island Sunset (8:00)
Not appreciably different from the studio version on Lily On The Beach, except for the dual-sax accompaniment (which occasionally diverges from the studio version) and a few new bridging chords leading into the song.

Encores

The compositions during the encores varied from show to show, both in number and sequence.
Alexander Square (4:45)
Not appreciably different from the studio version, though sometimes a soaring lead line is added. This composition was played as first encore of the gigs in Worthing, London (both concerts), Manchester, Edinburgh, Bradford and Wolverhampton.
Midnight In Bear City (4:45)
Not appreciably different from the studio version. Played as a medley immediately following Alexander Square this composition was part of the first encore of the gigs in Worthing, London (both concerts), Manchester, Edinburgh and Bradford.
Ruling The Waves (5:30)
Identical to the encore played at the Berlin 1990 concert. This composition was played as second encore of the gigs in Worthing, London (both concerts), Manchester, Edinburgh, Bradford and Wolverhampton.
Berlin Summer Nights (4:30)
Basically same as studio version on Destination Berlin, though the harpsichord lead is played by the sax players. Played as a medley immediately following Ruling The Waves as second encore in Worthing, London (both concerts), Manchester, Edinburgh, Bradford and Wolverhampton.
Bach Flute Concerto/House Of The Rising Sun [1990 live version] (6:30)
An excerpt from a Bach flute concerto -- woodwind and faux-harpsichord -- segueing into a sax-intensive version of House Of The Rising Sun. This version is significantly different and longer from the one rolled out in 1988 and on Antique Dreams -- much more up-tempo, with growling guitar as the backing and the woodwinds playing the lead melodies. Much less the sequencer-fest that it was on the 1988 tour; much more liberty taken with the original song, too. There is also an extended new opening. Performed in Worthing (as third encore), in London (27th only, as fourth encore), Nottingham (second encore), and Oxford (first encore).
Melrose (6:00)
Basically the same as the studio version on Melrose. The title track of the then current album was performed during most gigs of that tour: in London (both concerts) and Nottingham as third encore, in Sheffield as first (and only one), in Edinburgh as fourth, in Bradfortd, Wolverhampton and Oxford as third, and in Bristol as second encore.
The Back Of Beyond (8:15)
Begins with a repeated harpsichord motif; leads into a much-extended saxophone solo. The relatively spare backing track suggests that this track was essentially created to give the sax players their "solo". It was performed in London (as fourth encore on the first night, as fifth on the second), in Nottingham (first encore), Edinburgh (third encore), Bradford and Wolverhampton (fourth encore), Oxford (second) and Bristol (first encore).

(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.


Notes

The 1990 Tourbook

For the 1990 tour a tourbook was published. The cover photo, taken by Jim Rakete, shows the then current studio line-up without tour guests: Edgar Froese, Paul Haslinger and Jerome Froese (from left to right).

The 20-page booklet contains numerous photos (mainly from the eighties), press quotes and tour credits.

(Click on the image to see a larger version of the cover in a new browser window)


 

 

 
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