The last TD production with Johannes Schmoelling was the soundtrack for Ridley Scott's movie Legend, starring Tom Cruise, Mia Sara, Tim Currie and David Bennent. Jerry Goldsmith was the original composer of the music for Legend, but Universal Studios decided they wanted a more modern sounding music and contracted with TD, Jon Anderson (singer of Yes) and Bryan Ferry (formerly with Roxy Music) to supply new music. The TD score was used for the North American version of the film only, thus the TD soundtrack was released 1986 in USA and Canada only. All other world-wide releases used the Goldsmith film score.
From mid October to late November 1982, TD toured in Europe performing 31 gigs at all in Austria, Hungary, Yugoslavia, the UK, Belgium, West and East Germany. The concert at the Dominion Theatre in London was released only a few weeks after on the record Logos Live. According to Johannes Schmoelling, this is one of his favourite albums. He considers "the live concept and the smooth transition between one idea and the next to be the key of the album's success." In 1995 Virgin re-released the album on CD in the so-called "Definitive Edition" series, featuring the original front cover artwork. For this release, the two compositions Logos, Part One and Logos, Part Two have been mixed together, forming the track Logos of some 45 minutes length.
Live Miles consists of two parts, which were both recorded live. "Livemiles I" was recorded during the American tour of 1986, while "Livemiles II" was captured at a concert to commemorate the 750th anniversary of Berlin. As usual with TD, the audience had no clue of what they were going to experience while attending one of those concerts. During that era it was rather common for TD to improvise much of the music on the spot. So when you listen to a live record of TD you mostly hear new music that isn't available as a studio version. The extended pieces displayed on Live Miles cover many musical moods and textures throughout the playing time of almost half an hour: from slow and haunting, through up-tempo and uplifting; from driving and percussive, to grand and majestic. It's all present on both tracks!
"Lily On The Beach", recorded and released in 1989, had two aspects showing TD's musical direction for the nineties: It was the first TD album featuring Edgar Froese's then 19 year old son Jerome Froese as guest musician playing lead guitar on the track Radio City; Jerome would become a regular member of TD in the next year and get more and more influence on TD's work in the future. On the other hand Long Island Sunset was the first TD composition featuring saxophone, an uncommon type of instrument for TD's music of the eighties, but becoming a strong part of their work in the early nineties.
"Booster" comes as a double CD and contains some real goodies from the alchymical soundboard of TD. There are two brand-new compositions and some tracks which aren't available on various EP's anymore. Of course you will hear music you've probably heard before. But for some of you it will become a collector's item as a pack of tracks which definitely will become 'classics' out of the first decade of the new musical Century.
This 2CD set features newly recorded versions of fan favorites such as "Cloudburst Flight" (from the 1979 album Force Majeure) and "Scrapyard" (from the 1981 soundtrack to the Michael Mann film "Thief") along with other rare tracks plus a stellar version of The Beatles’ "Tomorrow Never Knows" and much more.
Optical Race is one of Tangerine Dream's most accessible releases. The melodies and hooks are as strong as on any Dream production, and are complemented by the electronic washes of sound. Pared down to the duo of founder and visionary Edward Froese and fellow synth wizard Paul Haslinger, the music is complete yet questioning, the hallmark of all the best Tangerine Dream recordings. Stylistically it straddles the ground between the preceding Underwater Sunlight and the earlier Tangram. Optical Race also marked a reunion of sorts with former Dreamer Peter Baumann, then head of the Private Music label, which for a time became known for its edgy, electronic music by the likes of Yanni, Azuma, Eddie Jobson, and Tangerine Dream…
For many years Tangerine Dream have been very much into the soundtrack business, and most of them have been released on CDs. In early 1996 appeared one of their probably most surprising releases. Zoning is a German thriller produced 1986/87, which could be seen on TV screen for a few times only and then disappeared. Without any information before, it had been re-released in the video format nearly ten years later, accompanied by a soundtrack CD with the music of TD used for this video. Edgar Froese had recorded and mixed the whole score in 1994, eight years after TD produced the first version of this soundtrack…
2016 two CD release from the German electronic music pioneers. Particles is a wonderful mixture of live and studio tracks. Their cover version of the Main Theme from the enormously popular Netflix series Stranger Things has already made massive waves and received excellent reviews by the press, including Rolling Stone. "4 P.M. Session" is a fully improvised track recorded at the famous (Dieter) Dierks Studios close to Cologne where Tangerine Dream recorded Alpha Centauri i.e. in former times. The second CD contains tracks which are completely recorded at the Schwingungen Festival in Windeck (Germany) in September 2016. Enjoy the sound of the new generation of Tangerine Dream. In eternal memory of Edgar Froese.
Despite being credited to both Edgar Froese and Jerome Froese, in fact only the final track of the disc carries anything of Edgar's fingerprints, being an alternate mix of his own composition Mombasa, originally released just a few months ago on Booster III (2009). All of the other remixes on DM V are solely the result of Jerome's work on classic TD material from the seventies and eighties, all of which have the original music more or less discernible at some point within them. The most deeply buried of the originals is the brief inclusion of a snatch of Rubycon (1975) as an inner layer to The Return of Time, largely swallowed by a newly minted percussion pulse and swathe of electronic textures…