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1985
October saw the release of a giant Tangerine Dream boxed set from Virgin Records, 'Tangents 1973-1983'. In the first of this two-part feature, MARK PRENDERGAST considers Tangerine Dream's groundbreaking use of emergent synthesizer technology during their first decade.
In December 1993, when Virgin approached me to work on their forthcoming Tangerine Dream boxed set, it seemed like a thrilling but difficult task. Then, I knew only that the box set dealt with the Virgin years (19731983), and did not even know which tracks the group would select for final inclusion. The story of Tangerine Dream's long career involves over 40 album releases and continuous changes in personnel, played out against a backdrop of three decades of massive advances in available music technology. Because of this last point, it was important to show how such a progressive group as Tangerine Dream adapted as new equipment became available. To help unravel this story, I interviewed members of Tangerine Dream in depth. Further research produced a 74-page booklet for the boxed set, in which my purpose was to highlight the legacy of the group, and to convey their pioneering attitude towards recording electronic music. In recent years, this attitude has attracted great attention from those involved with modern electronic dance music, and consequently, like their contemporaries Pink Floyd, Tangerine Dream have seen their sounds widely sampled for re-use in House music. During the course of my interviews with them, Edgar Froese and Christoph Franke came up with a great deal of fascinating background to the recording of each album, which was a just credit to their dedication and tenacity. Today, electronic equipment is pretty easy to use. You just buy it, study the manuals, and connect up the leads. In Tangerine Dream's heyday, equipment was all about trial-and-error, trying to obtain certain sounds from frankly unreliable machines. Today, 10 million album sales later, their story is still unique, for in many ways, as the group's founder Edgar Froese says, the history of Tangerine Dream is the history of modern electronic equipment.
But luck was on Tangerine Dream's side, as Ohr Records took up the option. However, before the album was even released, Schulze quit during a European tour, and Froese found himself again fronting an unstable outfit. It was at this point that Christoph Franke joined the group. Eight years younger than Froese, Franke had impeccable credentials. He came from a family of musicians, and had won several brass competitions before turning to percussion in the group Agitation Free, which he founded when only 13. Within two years he was already working in his own electronic recording studio, having had his interest in electronic music encouraged by his music teacher, Thomas Kessler. Franke subsequently went on to join the prestigious Les Percussions de Strasbourg, which he now describes as "an avant-garde percussion thing, with a lot of Asian and Indian influences, and a lot of contemporary jazz. I liked jazz, I liked rock, I liked Indian. I was pretty much open-minded to everything I could hit. At the same time, though, I had the classical study -- I studied the trumpet, the violin, the piano and composition, harmony and stuff. I met Edgar at the Berlin studio. He had just lost Klaus and needed a drummer. He struck me as a serious thinker, into playing regular concerts. So we just improvised, and liked each other's ideas. After a few concerts, I decided to stay. Then Conrad [Schnitzler] left, we got Steve Schroeder in, and recorded Alpha Centauri".
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RUBYCON
Most of the rest of 1974 was spent performing in strange locations, particularly European cathedrals. Back in England, TD returned to The Manor in January 1975 to record Rubycon, possibly their finest achievement. Choral and pastoral elements added to the impression that Froese, Franke, and Baumann had really absorbed the innovations of Stockhausen and Ligeti decades before. On the equipment front, Franke added a modified Elka organ, while Baumann introduced prepared piano and ARP synth. Not surprisingly, Rubycon charted higher than Phaedra on its release three months later. Edgar Froese remembers the recording: "Unlike Phaedra, there were no breaks in creative flow. The sequencers could now be technically better equipped, although many of the technical alterations had to be custom-built. This was a very extensive undertaking, and most of our Phaedra earnings went into new equipment. I had orchestral instruments recorded by the BBC for my Mellotron, at the time a very luxurious thing to do. The biggest problem was the inconstant power supply at The Manor -- power cuts which forced us to interrupt recording sessions to connect synths to electrical generators. Chris's Moog also played random sequences at times, because of the unstable current driving the oscillators". More problems with Franke's Moog plagued the group on a subsequent Australian tour, when it was damaged in transit, an experience that led TD to re-think their entire live transportation setup. According to Franke: "All the modules had been built into one big case, to save time setting up on stage. The large case was shipped upside-down, and after 48 hours on the plane, the heavy transformers came loose and fell through the circuitry. When I first plugged it into the mains in Australia, I got a heavy electric shock. It wouldn't make any sound, and two days were spent repairing it and flying stuff in from Germany. That was a nightmare -- I nearly lost my life on that one". At the end of 1975, TD released Ricochet, an album culled from the cathedral performances in Europe. 'Part 2' was quite brilliant, opening with flute and closing with a suite-electronique which wouldn't sound out of place on the latest ambient House album. Franke was quite proud of it: "Ricochet was the first album we really had a
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concept on. We had 16 tracks, so it was the first album where we really got in touch with overdub technology -it was much more formed". With no let-up, the group began 1976 by retiring to Berlin to record the soundtrack for William Friedkin's film The Sorcerer. The collection of 13 short compositions combined throbbing rhythm with chilling suspense. Froese recalls: "Sorcerer was recorded on an old 8-track Ampex in Berlin. It was one of the four machines that were in Abbey Road Studios in London, and which were sold after the Beatles era. We had rented an old movie theatre in Berlin, and made a small studio out of it. The Moog was very useful, and by this stage we were quite versed in its use. We also used a Fender Rhodes piano, guitars, and even Revox tape machines as delay units". Franke: "William Friedkin had heard our music in Los Angeles. He rang up and said he liked it, that it was innovative and new, and that he'd like to do a film with it. He was interested in having the music playing for the actors on set. We felt very independent -- it was just us in a room in Berlin, with an 8-track and the script".
END OF AN ERA
Stratosfear soared up the British and American charts, and in the spring and summer of 1977, Tangerine Dream played two sell-out tours of the United States (see the 'Live Dreaming' side panel). Encore, a live album
from the tour, was released in October 1977. It captured the full stylistic Dream sound over four tracks -- from guitar rock to ambient, sequenced compositions to sound paintings. Franke today admits that the tour involved a lot of improvisation, and that every show was recorded. "It was very expensive to do a good live recording at that time. We used a 4-track Ampex deck." As well as being a good summation of their musical career up to that point, Encore proved to be the end of a golden period for the band, as the album was the last to feature Peter Baumann. After the last concert of the tour at Boulder, Colorado in September 1977, Baumann left the band for good. Friction between him and Froese had come to a head, and his solo career had taken off with Romance '76. A second solo album, Trans-Harmonic Nights (released in 1979) was a crucial recording, on the way to electro-bop and House music. Baumann described it as "near the edge points of pop", and won global critical acclaim for its creation. But for Tangerine Dream, Baumann's departure was to prove a serious set-back...
Next month, in Part Two of this feature, Chris Franke and Edgar Froese look back on how they overcame the difficulties caused by Peter Baumann's departure , and how they spearheaded the development of digital sampling technology over the course of the next decade.
THE 800,000 MARK SYNTH: CHRIS FRANKE ON THE FIRST MOOG IN GERMANY
"I didn't have a synth at the time of Zeit, but occasionally I would practice on the big Moog modular in the Hansa recording studios. They had got it inexpensively from The Rolling Stones, who used it for a film in 1967 and then saw no further use for it. Fricke and Eberhard Schoener were definitely the first people in Germany to own a Moog, and had paid 800,000 Marks each for the privilege! Anyway, nobody in Hansa knew how to use it. So I got involved, but wasn't allowed to take it out of the studio until 1973. It didn't have a user's manual, so for two years I kept rehearsing on it. Every night I'd go into the studio and explore the Moog with its bad patching and unstable sound. But what I discovered about it was the sequencing side, its ability to generate an ongoing rhythm. Its sound, to me, had analogies with the repetitive rhythms of Indian music. It wasn't boring, so I just spent hours and hours creating sequences. Later, Edgar heard it and thought its driving rhythm was perfect for Tangerine Dream's music."
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