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By 1975, too, the band had received sufficient financial recompense from their recording successes to have equipped themselves with an impressive array of (largely) custom kit, making them capable of producing sounds that no-one else at the time could come even close to emulating. Almost 25 years down the road, the music obviously isn't such a novelty any more, but it remains every bit as vibrant-and unique-as it ever was. And this album shows just how comfortable-and brilliant-the three were when working together in front of an audience. The music-making here appears to be so effortless and is truly captivating, even now.
Following the group's usual live performance practice, "Ricochet" plays as two continuous sets with just one break-for the old vinyl side-change.Read more ›
The beauty of Tangerine Dream is not just in their revolutionary use of electronic instrumentation, but how they mix that with more traditional, acoustic instruments to produce an organic sound, something not purely electronic. The use of mellotron gives a haunting quality, particularly the use of flute sounds in part 2. Edgar Froese's trademark Les Paul guitar sound is heard to good effect in part 1. In fact Froese is such a good guitar player. Listen to his wonderful solo on "Magic Lantern" from the "Beyond the Storm" compilation to see what I mean. The use of percussion too is important in setting the dramatic tone of this album.
The line-up of Froese, Baumann and Franke worked wonderfully and their potential is fully realised on this album. The intuition between each player is spellbinding and it must have been something special to behold within a live setting.
This period which produced such albums as "Phaedra", "Rubycon" and "Stratosfear" clearly indicate that the band have left a lasting legacy of important musical statements, which not only show how Tangerine Dream were crucial in the evolution of electronic instrumentation and music in the 70's, but also how they wrote some of the most breathtaking music of that period.