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1997, October 29 - 1997, November 06

UK Tour 1997


Details

Line-upEdgar Froese, Jerome Froese, Zlatko Perica, Emil Hachfeld


Dates

October 29Bristol Colston Hall (UK)
October 30Nottingham Royal Concert Hall (UK)
November 01Glasgow Royal Concert Hall (UK)
November 02Leeds Town & Country Club (UK)
November 03Birmingham Symphony Hall (UK)
November 04Manchester Apollo (UK)
November 06London Shepherds Bush Empire (UK)


Set List

Vintage Set

Waterborne (6:15)
Follows the lines of the Oasis version, not the truncated version played on the 1992 North America tour -- that is, after the halfway point, it does not shift into next-track bridge music. Guitar accompaniment is much more strident than in 1992 or on the studio release; here, it essentially is the dominant instrument of the lead melody. As with most tracks played live on this tour, also augmented by subtle effect thrills.
Betrayal (3:00)
Very much along the lines of the 1990 UK tour remix, but with a more aggressive lead-melody overlay. Not followed, as was usually the case in past tours, by the slight remix of Diamond Diary.
Poland (7:00)
An excerpt from the end of the track. Essentially faithful to the original from Poland, but with some interesting sound effects (including a unique one that sounds vaguely like a cash register) and subtle background tonal overlays.
Sundance Kid (7:00)
Here, the backing track is much the same as the version on 220 Volt Live, but with the addition, as usual, of some subtle (and not-so-subtle) new voicings and lines atop the mix, notably a front-and-center sound effect that might be described as a "large spring gone mad". It is especially forward in the mix of Valentine Wheels, less noticable on the audience recordings. The start of the track on the 220 Volt Live CD is a studio construction and was neither played on this tour nor during the 1992 tour when this track made its debut.
Silver Scale (6:30)
The lead-in bridge is an approximation of the start of the track on Tangents, and it carries on the melody in a vaguely horn-like voice as the familiar backing sequencer rhythm fades in. A very lively interpretation of this live favorite from the eighties, with added effects aiding in the build-up to the all-out rhythm part. A notable addition is a brief bit of bagpiping (!) during the lead-up, strangely panned on Valentine Wheels. The fast rhtythmic part is much shortened from the early-80s live rendition (as it was in the European tour earlier in the year), but with many sonic highlights added.
Warsaw In The Sun (5:15)
Like the previous year's London show rendition, quite faithful to the CD version from Poland. Here, the additions are mostly insigificant -- the most notable one is a choir-voice backing in parts.
Stratosfear 95 (8:30)
The version on Tyranny Of Beauty; some of the (few and far-between) non-guitar portions are filled with improvised synth-melody (and the now ubiquitous synth-voice that sounds like a choir chsnting the word "Allez"). The guitar work by Zlatko Perica is much looser and more "let it all hang out" in style than on the studio version -- indeed very little of the track is guitar-less.
Dolphin Dance (6:15)
The bridge leading into this track -- another live favorite -- cleverly presages the well-known Dolphin Dance melody. Not heavily altered from the version on Underwater Sunlight but for a few synth tones overlaid throughout to give the song a more textured feel. The "electric guitar" melodic passage seems to be exactly the same as the studio version, so this line was clearly not played live.
Le Parc (4:00)
The percussive bridge preceding this track presages the familiar Streethawk melody, as in the European tour. The backing track is faithful to the studio version from Le Parc, with some "windy" noises and other flourishes overlaid to give it a more frenetic feel.
Beach Theme (5:30)
Here, the backing track sounds tonally somewhat different from the studio soundtrack Thief, indicating that this song was recomposed for this, its first and only live-rollout. The guitar lead (here by Zlatko Perica) is more pervasive, comes in earlier, and follows slightly different lines than the studio version's. The bridging music leads directly into the song's full-on rhythmic part without the intro of the studio version.

Modern Set

Intro (3:45)
Quite similar to the drum solo on Tournado, but the UK tour version was played with a few more psychedelic effects thrown in.
Flashflood (7:45)
But for a few drum strikes, indistinguishable from the Oasis studio version.
220 Volt (Big Volt Version) (8:15)
Essentially the same as the Tournado version, but with heavier guitar accompaniment than usual. Grinding guitar also accompanied the opening chords.
Firetongues (7:15)
Essentially the same as the studio version on Turn Of The Tides, but with Emil Hachfeld's percussion a bit faster and more pronounced at times. An outstanding bridge leads into this track.
Two Bunch Palms (5:30)
Essentially the same as the 220 Volt Live version, but for a few Emil Hachfeld percussion anomalies.
Little Blond In The Park Of Attractions (Thai Dub) (7:45)
Same as the studio version from The Dream Mixes.
Rising Haul In Silence (7:45)
Same as the studio version on Goblins Club, though the last two notes were altered to lead into the following bridge.
Lamb With Radar Eyes (7:45)
A slightly different mix from the Goblins Club version, more as it appears on Tournado. A slightly altered groove at the middle of this track radically improves this live rendition over the studio version.
Touchwood (Forest Mix) (7:45)
Same as the studio version from The Dream Mixes.
TimeSquare (8:45)
Follows the same line as the studio version from TimeSquare, but with much more obtrusive and prominent guitar accompaniment. The soaring lead line evident on the studio version is hardly to be heard live. The middle part also sounds a bit more spartan than on the studio release.

Encores

Das Mädchen auf der Treppe (Rien ne va plus Mix) (6:45)
Same as the studio version from Limited World Tour Edition 1997. Was played as first encore on all gigs of this tour.
Thief Yang And The Tangram Seal (5:30)
Same as the studio version from Shepherds Bush. Played as a medley immediately following Das Mädchen auf der Treppe on all gigs.
Towards The Evening Star (6:15)
Same as the studio version from Goblins Club. Played as second encore on the gigs in Nottingham, Manchester and London.
Going West
Played as second encore in Bristol.
Running Out Of Time
Played as second encore in Bristol, forming a medley with Going West and Catwalk.
Catwalk
Played as second encore in Bristol.

(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 brief (seven-date) UK 1997 tour followed the more extensive European Tour earlier in the year. The track list was kept roughly the same with some exceptions -- a chunk of Poland substituting for Diamond Diary; the addition of Beach Theme closing the first set in place of The Blue Bridge; the substitution in the second set of Girls On Broadway with Two Bunch Palms; the TimeSquare second set closer (bumping out Towards The Evening Star), and the reconfiguration of some encores (to which Towards The Evening Star was relegated).
 

 

Advertisements for the 1997 UK Tour

Thanks to Andy King for providing these scans.

(Click on the images to see a larger version of the respective ad in a new browser window)


 

 

The 1997 UK Tour Poster

The poster lists all seven gigs of the tour.

Thanks to Jacob Pertou for uploading this poster to his blog, and many thanks to the kind person sending him this photo.

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


 

 

From Dream Collector #19, November 1997

A British Tour between Ages and New Challenges

TD Have Faced their History and Future

Even if Tangerine Dream are a German band, playing in Great Britain is always something like "back to the roots". It was in England where they had signed their first international record contract and laid the foundations of their worldwide success when they toured there for the first time back in 1974. 23 years later TD performed as a different band with different music, but they payed tribute to their roots with some adaptions of older tracks.

Both main sets hava not been totally changed but slightly adapted after the European tour in spring. The main part of the music was identical, but Edgar and Jerome Froese added some new sounds and even new tracks like TimeSquare, the title track from the forthcoming CD Dream Mixes 2. And, as if intended to be a contrast referring to TD's history, some significant sound samples from Edgar Froese's solo album Ages were used for a bridge between two tracks in the first set of the show. In the same way, the audience became a little bit separated: Some were enthusiastic about the old material, other applauded to the new tracks.

The music of Zlatko Perica (guitars) and Emil Hachfeld (codotronic percussion) has become more integrated into the band's music. Especially hard working Emil Hachfeld whose percussion appeared like a musical topping during some of the tracks in the spring shows has taken over more parts which are essential components of the TD compositions themselves.

The band also has dispensed with showing video material from The Video Dream Mixes and Oasis like in the second part of the spring gigs. During the British concerts, an improved stage light show was varied with computer graphic animations. They are a result from TD's Luminous Visions project with the Japanese artist Yoichiro Kawaguchi, Edgar Froese explained. Most of the computer artwork showed microbiological features or underwater life with strange fantasy plants and octopusses, other pictures were made of abstract colour patterns. One sequence showed the genesis of an embryo some spectators felt reminded of the Electronic Meditation subject of the circle of life.

Besides such hints onto TD's history, Edgar Froese regards to this tour as a departure to new aims: "We have performed this style of music for a certain time, but now it is time for a musical break, for doing something new and facing new challenges", he said to Dream Collector during a backstage meeting after the Glasgow gig. "This music represented one period of our work, but we will now go on to a new chapter."

Will the Tournado turn out as a clearing thunderstorm?

© 1997 by Christian Horn, Siegfried Lindhorst, Rolf Sonnemann and Peter Stöferle

 

 

 
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