Discussion:
What should be done to promote the legacy of TD?
Robert P
2012-03-25 12:26:14 UTC
Permalink
It seems cool these days to like Kraftwerk. Despite having released very little in the past 20 years, they are name checked by the majority of new electronic music artists out there. Tangerine Dream seems rather forgotten about. Do you think it is because most people unfairly dismiss them as "New Age"? I think a lot of modern ambient stuff owes a lot more to TD and the Berlin School than the more straightforward Techno based sound of Kraftwerk. Maybe Virgin need to do some kind of promotion for the recent boxets like Kraftwerk did for their boxset The Catalogue. What do you think? or do you think EF does not care much about that kind of thing anyway?



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Matthew Stringer
2012-03-25 13:17:50 UTC
Permalink
Kraftwerk stopped when they were at risk of becoming dated, sticking to the occasional appearances where they can maintain that cult status.

TD were the best thing in the universe and massively respected. Had Ed called it a day when he and Chris parted and become a producer or something else then they would have retained that legacy and respect. But to keep banging on endlessly releasing album after album after album of progressively poorer bland mushy electro wallpaper everyone is past caring. Artists that stop at their peak maintain that legacy, artists that just keep churning out work when they're just past it just become a disappointing cliche.

Instead of being remembered for being part of something that created works like Rubycon, Ricochet, Stratosfear, Encore, Pergmon, Tangram, Poland, Thief, Risky Business, Le Parc, Underwater Sunlight and Live Miles etc. He's the guy that brought us 25 years of bongos, bland FM chords and tedious embarrassing remixes.

He's crashed the legacy right into the mountain, where as the former members that left at the right point have been able to keep that status and respect.

Does he care? Probably not, he always seemed to run the thing as a business anyway. As long as the forever faithful buy the half-dozen CD's he vomits out each year and turn up to watch him fall asleep behind a stack of keyboards on stage then there's enough of a steady income to keep food on his table until he's done.

Maybe when the time comes for a posthumous boxed set, then the jury will return with a verdict on what the legacy really was.
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having released very little in the past 20 years, they are name checked by the majority of new electronic music artists out there. Tangerine Dream seems rather forgotten about. Do you think it is because most people unfairly dismiss them as "New Age"? I think a lot of modern ambient stuff owes a lot more to TD and the Berlin School than the more straightforward Techno based sound of Kraftwerk. Maybe Virgin need to do some kind of promotion for the recent boxets like Kraftwerk did for their boxset The Catalogue. What do you think? or do you think EF does not care much about that kind of thing anyway?
[Non-text portions of this message have been removed]



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Cliff Proctor
2012-03-25 13:36:50 UTC
Permalink
Biggest load of pish I've read in a long, long time.
..


-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 2:17 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?

Kraftwerk stopped when they were at risk of becoming dated, sticking to the
occasional appearances where they can maintain that cult status.

TD were the best thing in the universe and massively respected. Had Ed
called it a day when he and Chris parted and become a producer or something
else then they would have retained that legacy and respect. But to keep
banging on endlessly releasing album after album after album of
progressively poorer bland mushy electro wallpaper everyone is past caring.
Artists that stop at their peak maintain that legacy, artists that just keep
churning out work when they're just past it just become a disappointing
cliche.

Instead of being remembered for being part of something that created works
like Rubycon, Ricochet, Stratosfear, Encore, Pergmon, Tangram, Poland,
Thief, Risky Business, Le Parc, Underwater Sunlight and Live Miles etc.
He's the guy that brought us 25 years of bongos, bland FM chords and tedious
embarrassing remixes.

He's crashed the legacy right into the mountain, where as the former members
that left at the right point have been able to keep that status and respect.

Does he care? Probably not, he always seemed to run the thing as a business
anyway. As long as the forever faithful buy the half-dozen CD's he vomits
out each year and turn up to watch him fall asleep behind a stack of
keyboards on stage then there's enough of a steady income to keep food on
his table until he's done.

Maybe when the time comes for a posthumous boxed set, then the jury will
return with a verdict on what the legacy really was.
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having released very
little in the past 20 years, they are name checked by the majority of new
electronic music artists out there. Tangerine Dream seems rather forgotten
about. Do you think it is because most people unfairly dismiss them as
"New Age"? I think a lot of modern ambient stuff owes a lot more to TD and
the Berlin School than the more straightforward Techno based sound of
Kraftwerk. Maybe Virgin need to do some kind of promotion for the recent
boxets like Kraftwerk did for their boxset The Catalogue. What do you
think? or do you think EF does not care much about that kind of thing
anyway?
[Non-text portions of this message have been removed]



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d***@virginmedia.com
2012-03-25 15:55:17 UTC
Permalink
You left Logos off the list. Logos is far better than an etc.
Other than that, spot on. :p
Post by Cliff Proctor
-----Original Message-----
Sent: 25 March 2012 14:18
Subject: Re: [tadream] What should be done to promote the
legacy of TD?
Kraftwerk stopped when they were at risk of becoming dated,
sticking to the occasional appearances where they can
maintain that cult status.
TD were the best thing in the universe and massively
respected. Had Ed called it a day when he and Chris parted
and become a producer or something else then they would have
retained that legacy and respect. But to keep banging on
endlessly releasing album after album after album of
progressively poorer bland mushy electro wallpaper everyone
is past caring. Artists that stop at their peak maintain
that legacy, artists that just keep churning out work when
they're just past it just become a disappointing cliche.
Instead of being remembered for being part of something that
created works like Rubycon, Ricochet, Stratosfear, Encore,
Pergmon, Tangram, Poland, Thief, Risky Business, Le Parc,
Underwater Sunlight and Live Miles etc. He's the guy that
brought us 25 years of bongos, bland FM chords and tedious
embarrassing remixes.
He's crashed the legacy right into the mountain, where as
the former members that left at the right point have been
able to keep that status and respect.
Does he care? Probably not, he always seemed to run the
thing as a business anyway. As long as the forever faithful
buy the half-dozen CD's he vomits out each year and turn up
to watch him fall asleep behind a stack of keyboards on
stage then there's enough of a steady income to keep food on
his table until he's done.
Maybe when the time comes for a posthumous boxed set, then
the jury will return with a verdict on what the legacy really was.
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having
released very little in the past 20 years, they are name
checked by the majority of new electronic music artists out
there. Tangerine Dream seems rather forgotten about. Do you
think it is because most people unfairly dismiss them as
"New Age"? I think a lot of modern ambient stuff owes a lot
more to TD and the Berlin School than the more
straightforward Techno based sound of Kraftwerk. Maybe
Virgin need to do some kind of promotion for the recent
boxets like Kraftwerk did for their boxset The Catalogue.
What do you think? or do you think EF does not care much
about that kind of thing anyway?
[Non-text portions of this message have been removed]
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Matthew Stringer
2012-03-25 17:18:06 UTC
Permalink
D'Oh yes, sorry, stunning.
Post by d***@virginmedia.com
You left Logos off the list. Logos is far better than an etc.
Other than that, spot on. :p
[Non-text portions of this message have been removed]



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Dariusz Stochmal
2012-03-25 14:31:12 UTC
Permalink
I must say that these are very harsh words about the band that over the years has provided us with some of the most stuning music on this planet. Even if their recent output has been lacking TD has definatelly earned the right to relase whatever they want.
Post by Matthew Stringer
Kraftwerk stopped when they were at risk of becoming dated, sticking to the occasional appearances where they can maintain that cult status.
TD were the best thing in the universe and massively respected. Had Ed called it a day when he and Chris parted and become a producer or something else then they would have retained that legacy and respect. But to keep banging on endlessly releasing album after album after album of progressively poorer bland mushy electro wallpaper everyone is past caring. Artists that stop at their peak maintain that legacy, artists that just keep churning out work when they're just past it just become a disappointing cliche.
Instead of being remembered for being part of something that created works like Rubycon, Ricochet, Stratosfear, Encore, Pergmon, Tangram, Poland, Thief, Risky Business, Le Parc, Underwater Sunlight and Live Miles etc. He's the guy that brought us 25 years of bongos, bland FM chords and tedious embarrassing remixes.
He's crashed the legacy right into the mountain, where as the former members that left at the right point have been able to keep that status and respect.
Does he care? Probably not, he always seemed to run the thing as a business anyway. As long as the forever faithful buy the half-dozen CD's he vomits out each year and turn up to watch him fall asleep behind a stack of keyboards on stage then there's enough of a steady income to keep food on his table until he's done.
Maybe when the time comes for a posthumous boxed set, then the jury will return with a verdict on what the legacy really was.
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having released very little in the past 20 years, they are name checked by the majority of new electronic music artists out there. Tangerine Dream seems rather forgotten about. Do you think it is because most people unfairly dismiss them as "New Age"? I think a lot of modern ambient stuff owes a lot more to TD and the Berlin School than the more straightforward Techno based sound of Kraftwerk. Maybe Virgin need to do some kind of promotion for the recent boxets like Kraftwerk did for their boxset The Catalogue. What do you think? or do you think EF does not care much about that kind of thing anyway?
[Non-text portions of this message have been removed]
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Derek Gatley
2012-03-25 14:39:11 UTC
Permalink
So you have wasted the last 25 years listening to a band you no longer like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.

Sent from Samsung Mobile

Matthew Stringer <***@firstnet.co.uk> wrote:

Kraftwerk stopped when they were at risk of becoming dated, sticking to the occasional appearances where they can maintain that cult status.

TD were the best thing in the universe and massively respected. Had Ed called it a day when he and Chris parted and become a producer or something else then they would have retained that legacy and respect. But to keep banging on endlessly releasing album after album after album of progressively poorer bland mushy electro wallpaper everyone is past caring. Artists that stop at their peak maintain that legacy, artists that just keep churning out work when they're just past it just become a disappointing cliche.

Instead of being remembered for being part of something that created works like Rubycon, Ricochet, Stratosfear, Encore, Pergmon, Tangram, Poland, Thief, Risky Business, Le Parc, Underwater Sunlight and Live Miles etc.  He's the guy that brought us 25 years of bongos, bland FM chords and tedious embarrassing remixes.

He's crashed the legacy right into the mountain, where as the former members that left at the right point have been able to keep that status and respect.

Does he care? Probably not, he always seemed to run the thing as a business anyway. As long as the forever faithful buy the half-dozen CD's he vomits out each year and turn up to watch him fall asleep behind a stack of keyboards on stage then there's enough of a steady income to keep food on his table until he's done.

Maybe when the time comes for a posthumous boxed set, then the jury will return with a verdict on what the legacy really was.
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having released very little in the past 20 years, they are name checked by the majority of new electronic music artists out there. Tangerine Dream seems rather forgotten about. Do you think it is because most people unfairly dismiss them as "New Age"? I think a lot of modern ambient stuff owes a lot more to TD and the Berlin School than the more straightforward Techno based sound of Kraftwerk. Maybe Virgin need to do some kind of promotion for the recent boxets like Kraftwerk did for their boxset The Catalogue. What do you think? or do you think EF does not care much about that kind of thing anyway?
[Non-text portions of this message have been removed]



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[Non-text portions of this message have been removed]



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Robert P
2012-03-25 14:48:21 UTC
Permalink
Sorry but I agree with him. Maybe not many on this list will but I have talked with many HUGE fans of TD from the 70's onwards who have been disappointed with the band's output in the past 15 years. The idea is that less is more and I know that I was put off at first when I read that Tangerine Dream had released more than 100 albums. I could not believe there was not some rubbish in that mix. I think it is wrong to say that someone is not a fan because they do not like the material put out by a group who are (both musically and personal wise) very different to the group that people knew from the 70's to 90's. Don't get me wrong, I am sure there are some amazing pieces of the music in the latter day material but the band's true legacy is stuff like Rubycon and even my all time favourite album Poland. I think releasing album after album on sub standard material dilutes the great legacy the band has. Of course this is my personal opinion and I do not wish to start an argument.

Of course one can argue continuing to make new music is better than touring with a greatest hit set, which is what Krafwerk is doing. However Kraftwerk are seen as more credible.


Rob
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
Sent from Samsung Mobile
Kraftwerk stopped when they were at risk of becoming dated, sticking to the occasional appearances where they can maintain that cult status.
TD were the best thing in the universe and massively respected. Had Ed called it a day when he and Chris parted and become a producer or something else then they would have retained that legacy and respect. But to keep banging on endlessly releasing album after album after album of progressively poorer bland mushy electro wallpaper everyone is past caring. Artists that stop at their peak maintain that legacy, artists that just keep churning out work when they're just past it just become a disappointing cliche.
Instead of being remembered for being part of something that created works like Rubycon, Ricochet, Stratosfear, Encore, Pergmon, Tangram, Poland, Thief, Risky Business, Le Parc, Underwater Sunlight and Live Miles etc.  He's the guy that brought us 25 years of bongos, bland FM chords and tedious embarrassing remixes.
He's crashed the legacy right into the mountain, where as the former members that left at the right point have been able to keep that status and respect.
Does he care? Probably not, he always seemed to run the thing as a business anyway. As long as the forever faithful buy the half-dozen CD's he vomits out each year and turn up to watch him fall asleep behind a stack of keyboards on stage then there's enough of a steady income to keep food on his table until he's done.
Maybe when the time comes for a posthumous boxed set, then the jury will return with a verdict on what the legacy really was.
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having released very little in the past 20 years, they are name checked by the majority of new electronic music artists out there. Tangerine Dream seems rather forgotten about. Do you think it is because most people unfairly dismiss them as "New Age"? I think a lot of modern ambient stuff owes a lot more to TD and the Berlin School than the more straightforward Techno based sound of Kraftwerk. Maybe Virgin need to do some kind of promotion for the recent boxets like Kraftwerk did for their boxset The Catalogue. What do you think? or do you think EF does not care much about that kind of thing anyway?
[Non-text portions of this message have been removed]
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ch.an
2012-03-25 15:29:29 UTC
Permalink
Hi,
Post by Robert P
Sorry but I agree with him. Maybe not many on this list will but I have talked with many HUGE fans of TD from the 70's onwards who have been disappointed with the band's output in the past 15 years.
I disagree! The last 15 years were not that bad! Since Goblins Club I
like TD a lot, again. The years between 1987 and 1995 were disappointing
for me. That's the phase (Melrose & Seattle Years) I seldom enjoy
listening. But look at works of the last years like Five Atomic Seasons,
The Divine Comedy or the new Sonic Poem Series. That's great stuff! All
the critics stopped listening in the 80ies. They call it "elevator muzak".

If TD had quit after the Virgin Years they would have been electronic
heroes, of course. But Edgar Froese choosed a more difficult way. Some
say he is doing too much. And o.k., not everything became gold in his
fingers. But if he had retired and hadn't produced the great works I
mentioned above - something wonderful would be missing!

Christian


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Cliff Proctor
2012-03-25 15:30:47 UTC
Permalink
There are some poor overall albums but virtually all of them have 2, 3 or more really good tracks.

Certain albums I’m discounting from this (the Dante trilogy, Under Cover, Madcap....for example as these were works that I think Edgar
wanted to get out of his system and were a complete departure from the “norm”).

However, on recent albums like the Seasons series, and the new sonic poems there are some stunning tracks.

Obviously if you want to hear stuff from the 70’s maybe Red Shift is the place to go. ( I listen to them also and they have some quite amazing tracks)

All of the above is purely subjective.
From: Robert P
Sent: Sunday, March 25, 2012 3:48 PM
To: ***@yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?


Sorry but I agree with him. Maybe not many on this list will but I have talked with many HUGE fans of TD from the 70's onwards who have been disappointed with the band's output in the past 15 years. The idea is that less is more and I know that I was put off at first when I read that Tangerine Dream had released more than 100 albums. I could not believe there was not some rubbish in that mix. I think it is wrong to say that someone is not a fan because they do not like the material put out by a group who are (both musically and personal wise) very different to the group that people knew from the 70's to 90's. Don't get me wrong, I am sure there are some amazing pieces of the music in the latter day material but the band's true legacy is stuff like Rubycon and even my all time favourite album Poland. I think releasing album after album on sub standard material dilutes the great legacy the band has. Of course this is my personal opinion and I do not wish to start an argument.

Of course one can argue continuing to make new music is better than touring with a greatest hit set, which is what Krafwerk is doing. However Kraftwerk are seen as more credible.

Rob
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
Sent from Samsung Mobile
Kraftwerk stopped when they were at risk of becoming dated, sticking to the occasional appearances where they can maintain that cult status.
TD were the best thing in the universe and massively respected. Had Ed called it a day when he and Chris parted and become a producer or something else then they would have retained that legacy and respect. But to keep banging on endlessly releasing album after album after album of progressively poorer bland mushy electro wallpaper everyone is past caring. Artists that stop at their peak maintain that legacy, artists that just keep churning out work when they're just past it just become a disappointing cliche.
Instead of being remembered for being part of something that created works like Rubycon, Ricochet, Stratosfear, Encore, Pergmon, Tangram, Poland, Thief, Risky Business, Le Parc, Underwater Sunlight and Live Miles etc. He's the guy that brought us 25 years of bongos, bland FM chords and tedious embarrassing remixes.
He's crashed the legacy right into the mountain, where as the former members that left at the right point have been able to keep that status and respect.
Does he care? Probably not, he always seemed to run the thing as a business anyway. As long as the forever faithful buy the half-dozen CD's he vomits out each year and turn up to watch him fall asleep behind a stack of keyboards on stage then there's enough of a steady income to keep food on his table until he's done.
Maybe when the time comes for a posthumous boxed set, then the jury will return with a verdict on what the legacy really was.
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having released very little in the past 20 years, they are name checked by the majority of new electronic music artists out there. Tangerine Dream seems rather forgotten about. Do you think it is because most people unfairly dismiss them as "New Age"? I think a lot of modern ambient stuff owes a lot more to TD and the Berlin School than the more straightforward Techno based sound of Kraftwerk. Maybe Virgin need to do some kind of promotion for the recent boxets like Kraftwerk did for their boxset The Catalogue. What do you think? or do you think EF does not care much about that kind of thing anyway?
[Non-text portions of this message have been removed]
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ch.an
2012-03-25 15:34:00 UTC
Permalink
Post by Cliff Proctor
However, on recent albums like the Seasons series, and the new sonic poems there are some stunning tracks.
hey, man, you read my thoughts!

:-)
Christian




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Matthew Stringer
2012-03-25 17:17:37 UTC
Permalink
No, not at all, I stuck with them up until 220 Volt then couldn't take any more.

Occasionally I have a listen to a new record or scope out a YouTube link just to see but it's all fairly awful.

I decided to give them one more chance last year when they played Manchester as it's local but it was so terrible I could have cried, just a 3 hour dirge of fuzzy bass without any light or shade, contemplated walking out several times but I was someones ride home so had to stay.

I heard the 'remix' of Horizon yesterday, the original is achingly stunning, the subtle build to that orgasmic sequence is just something that no-one else could do, but this new version is so awful it made me angry, they were the best thing in the world and now we have shit like that that sounds like it was done buy some spod on YouTube and Ed has the audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.

I like most of the stuff up until Franke left, which I still listen to and often, there's been a few releases of legacy stuff with him on such as Valley of the Sun and Vanishing Blue which served as a reminder of what they used to be able to do before they fell out and threw it all away. But for new music there's a whole world of people making much more interesting things to listen to.

As to why am I still on the list? Well it's free, I like the people on here and there's always that hope that one day some archive material will see the light of day. Failing that maybe when Ed shakes a 6 Franke, Baumann, Schmoelling & Haslinger will get together to do a tribute gig and remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]



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Cliff Proctor
2012-03-25 17:35:46 UTC
Permalink
“I'm sorry but fuck, off.”

Very eloquent. Not.

From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?


No, not at all, I stuck with them up until 220 Volt then couldn't take any more.

Occasionally I have a listen to a new record or scope out a YouTube link just to see but it's all fairly awful.

I decided to give them one more chance last year when they played Manchester as it's local but it was so terrible I could have cried, just a 3 hour dirge of fuzzy bass without any light or shade, contemplated walking out several times but I was someones ride home so had to stay.

I heard the 'remix' of Horizon yesterday, the original is achingly stunning, the subtle build to that orgasmic sequence is just something that no-one else could do, but this new version is so awful it made me angry, they were the best thing in the world and now we have shit like that that sounds like it was done buy some spod on YouTube and Ed has the audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.

I like most of the stuff up until Franke left, which I still listen to and often, there's been a few releases of legacy stuff with him on such as Valley of the Sun and Vanishing Blue which served as a reminder of what they used to be able to do before they fell out and threw it all away. But for new music there's a whole world of people making much more interesting things to listen to.

As to why am I still on the list? Well it's free, I like the people on here and there's always that hope that one day some archive material will see the light of day. Failing that maybe when Ed shakes a 6 Franke, Baumann, Schmoelling & Haslinger will get together to do a tribute gig and remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]





[Non-text portions of this message have been removed]



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Matthew Stringer
2012-03-25 17:43:20 UTC
Permalink
There's a time for eloquence, and there's a time for anger.

it wasn't the former.
“I'm sorry but fuck, off.”
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take any more.
Occasionally I have a listen to a new record or scope out a YouTube link just to see but it's all fairly awful.
I decided to give them one more chance last year when they played Manchester as it's local but it was so terrible I could have cried, just a 3 hour dirge of fuzzy bass without any light or shade, contemplated walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly stunning, the subtle build to that orgasmic sequence is just something that no-one else could do, but this new version is so awful it made me angry, they were the best thing in the world and now we have shit like that that sounds like it was done buy some spod on YouTube and Ed has the audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and often, there's been a few releases of legacy stuff with him on such as Valley of the Sun and Vanishing Blue which served as a reminder of what they used to be able to do before they fell out and threw it all away. But for new music there's a whole world of people making much more interesting things to listen to.
As to why am I still on the list? Well it's free, I like the people on here and there's always that hope that one day some archive material will see the light of day. Failing that maybe when Ed shakes a 6 Franke, Baumann, Schmoelling & Haslinger will get together to do a tribute gig and remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]



------------------------------------

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http://www.tadream.net
-----------------------Yahoo! Groups Links

<*> To visit your group on the web, go to:
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Cliff Proctor
2012-03-25 18:17:04 UTC
Permalink
Angry because someone no longer makes the type of music you want to listen
to
and has the gall to make what they want ? How odd.




-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:43 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?

There's a time for eloquence, and there's a time for anger.

it wasn't the former.
Post by Cliff Proctor
“I'm sorry but fuck, off.”
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take any more.
Occasionally I have a listen to a new record or scope out a YouTube link
just to see but it's all fairly awful.
I decided to give them one more chance last year when they played
Manchester as it's local but it was so terrible I could have cried, just a
3 hour dirge of fuzzy bass without any light or shade, contemplated
walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly
stunning, the subtle build to that orgasmic sequence is just something
that no-one else could do, but this new version is so awful it made me
angry, they were the best thing in the world and now we have shit like
that that sounds like it was done buy some spod on YouTube and Ed has the
audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and
often, there's been a few releases of legacy stuff with him on such as
Valley of the Sun and Vanishing Blue which served as a reminder of what
they used to be able to do before they fell out and threw it all away. But
for new music there's a whole world of people making much more interesting
things to listen to.
As to why am I still on the list? Well it's free, I like the people on
here and there's always that hope that one day some archive material will
see the light of day. Failing that maybe when Ed shakes a 6 Franke,
Baumann, Schmoelling & Haslinger will get together to do a tribute gig and
remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer
like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]



------------------------------------

-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links





------------------------------------

-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links

<*> To visit your group on the web, go to:
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tadream-***@yahoogroups.com
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Matthew Stringer
2012-03-25 18:41:08 UTC
Permalink
Really?

To say that would mean that you have no interest or care at all.

to say take it or leave it is what you say about any random artist you couldn't care less about.

Haslinger for example, I've no interest in his music, whether he scores another hit film or not, I couldn't care less. Good luck to him. He's a fantastic musician but it's not for me.

But TD were the sound track of my youth, they meant the world to me, the music they created could not have been created by anyone else, they were better than everyone, completely unique in their awesomeness. Despite decades of advances in technology, it's still beyond the reach of everyone else, sure there's the odd Ricochet clone and a few covers of Logos but all they do is illustrate the futility in trying to be that good.

They've been copied and emulated a thousand times but no-one comes close to capturing the magic they had.

The new stuff isn't special in that anyone with a synth could knock out something that is at least as good, there's a million musicians on Soundcloud that are putting together tracks at home that run rings about what TD are doing. This shouldn't be possible. They're TD for Christ's sake!

Something like that horrid Horizon remix would have never passed their quality control before, 20 years ago if Ed had heard it he'd have ridiculed it and rightly so.

It's not like he could, if he wanted to make something on a par with Horizon but is simply choosing not to, he has to know that if he did the fans would be all over it and this list teeming with posts. But he can't and he doesn't really care and it's heartbreaking to witness.

But don't dare sully the legacy of Tangerine Dream by pretending the the stuff 'they're' making now is anything like as good or as impressive as the stuff they were doing over 25 years ago.

If I couldn't give a stuff then I wouldn't bother saying anything.
Post by Cliff Proctor
Angry because someone no longer makes the type of music you want to listen
to
and has the gall to make what they want ? How odd.
-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:43 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
There's a time for eloquence, and there's a time for anger.
it wasn't the former.
“I'm sorry but fuck, off.”
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take any more.
Occasionally I have a listen to a new record or scope out a YouTube link
just to see but it's all fairly awful.
I decided to give them one more chance last year when they played
Manchester as it's local but it was so terrible I could have cried, just a
3 hour dirge of fuzzy bass without any light or shade, contemplated
walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly
stunning, the subtle build to that orgasmic sequence is just something
that no-one else could do, but this new version is so awful it made me
angry, they were the best thing in the world and now we have shit like
that that sounds like it was done buy some spod on YouTube and Ed has the
audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and
often, there's been a few releases of legacy stuff with him on such as
Valley of the Sun and Vanishing Blue which served as a reminder of what
they used to be able to do before they fell out and threw it all away. But
for new music there's a whole world of people making much more interesting
things to listen to.
As to why am I still on the list? Well it's free, I like the people on
here and there's always that hope that one day some archive material will
see the light of day. Failing that maybe when Ed shakes a 6 Franke,
Baumann, Schmoelling & Haslinger will get together to do a tribute gig and
remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer
like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
------------------------------------
-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links
[Non-text portions of this message have been removed]



------------------------------------

-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links

<*> To visit your group on the web, go to:
http://groups.yahoo.com/group/tadream/

<*> Your email settings:
Individual Email | Traditional

<*> To change settings online go to:
http://groups.yahoo.com/group/tadream/join
(Yahoo! ID required)

<*> To change settings via email:
tadream-***@yahoogroups.com
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Ricardo Aranda
2012-03-25 19:39:53 UTC
Permalink
From time to time I use to feel that still there will be some new TD stuff
that will blow mi mind, every 5 or 6 new releases I may pick one of them
and give it close attention, that was the case of that (to me) disgraceful
Madcap`s Flaming Duty. Any recording like that with other names printed
on cover may bore myself to death but being a TD release in addition it
makes
me sad, really.

I have the Phaedra 35th anniversary DVD and certainly has great 25 minutes
of
great music from the beggining although plenty of it is sampled, there`s
little of
live playing there, then a blond chic comes in and begin smashing toms, and
magic vanishes little by little. The falling down in freefall of Edgar`s
creation
music quality is so evident that IMO he should have ended with TD, I guess
in 2000 - 2002, now all those Virgin releases and mostly all the music
realeased
in the eighties consists just on a short period of time, but still I have
plenty of
fantastic music in there to enjoy, listen to and re-discover every time I
listen to
anything from 1971, to say 1988, including solo releases. Being fair with
the
most exciting band and music I met in my entire life is to promote that part
of it`s legacy. If my son, for example picks that MFD mistakenly to know
what does TD sound like, will discard it after playing it for 10 minutes and
will
never want to know the magnificence of Ricochet.

We still can do many things by being members of this or other list, starting
from sharing experiences, thoughts opinions, even friendship upon a
common passion we had...errrr...."we have".


----- Original Message -----
From: "Matthew Stringer" <***@firstnet.co.uk>
To: <***@yahoogroups.com>
Sent: Sunday, March 25, 2012 3:41 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?


Really?

To say that would mean that you have no interest or care at all.

to say take it or leave it is what you say about any random artist you
couldn't care less about.

Haslinger for example, I've no interest in his music, whether he scores
another hit film or not, I couldn't care less. Good luck to him. He's a
fantastic musician but it's not for me.

But TD were the sound track of my youth, they meant the world to me, the
music they created could not have been created by anyone else, they were
better than everyone, completely unique in their awesomeness. Despite
decades of advances in technology, it's still beyond the reach of everyone
else, sure there's the odd Ricochet clone and a few covers of Logos but all
they do is illustrate the futility in trying to be that good.

They've been copied and emulated a thousand times but no-one comes close to
capturing the magic they had.

The new stuff isn't special in that anyone with a synth could knock out
something that is at least as good, there's a million musicians on
Soundcloud that are putting together tracks at home that run rings about
what TD are doing. This shouldn't be possible. They're TD for Christ's sake!

Something like that horrid Horizon remix would have never passed their
quality control before, 20 years ago if Ed had heard it he'd have ridiculed
it and rightly so.

It's not like he could, if he wanted to make something on a par with Horizon
but is simply choosing not to, he has to know that if he did the fans would
be all over it and this list teeming with posts. But he can't and he doesn't
really care and it's heartbreaking to witness.

But don't dare sully the legacy of Tangerine Dream by pretending the the
stuff 'they're' making now is anything like as good or as impressive as the
stuff they were doing over 25 years ago.

If I couldn't give a stuff then I wouldn't bother saying anything.
Angry because someone no longer makes the type of music you want to listen
to
and has the gall to make what they want ? How odd.
-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:43 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
There's a time for eloquence, and there's a time for anger.
it wasn't the former.
"I'm sorry but fuck, off."
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take
any
more.
Occasionally I have a listen to a new record or scope out a YouTube link
just to see but it's all fairly awful.
I decided to give them one more chance last year when they played
Manchester as it's local but it was so terrible I could have cried, just a
3 hour dirge of fuzzy bass without any light or shade, contemplated
walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly
stunning, the subtle build to that orgasmic sequence is just something
that no-one else could do, but this new version is so awful it made me
angry, they were the best thing in the world and now we have shit like
that that sounds like it was done buy some spod on YouTube and Ed has the
audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and
often, there's been a few releases of legacy stuff with him on such as
Valley of the Sun and Vanishing Blue which served as a reminder of what
they used to be able to do before they fell out and threw it all away. But
for new music there's a whole world of people making much more interesting
things to listen to.
As to why am I still on the list? Well it's free, I like the people on
here and there's always that hope that one day some archive material will
see the light of day. Failing that maybe when Ed shakes a 6 Franke,
Baumann, Schmoelling & Haslinger will get together to do a tribute gig and
remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer
like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
------------------------------------
-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links
[Non-text portions of this message have been removed]



------------------------------------

-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links






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No se encontraron virus en este mensaje.
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------------------------------------

-----------------------
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-----------------------Yahoo! Groups Links

<*> To visit your group on the web, go to:
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<*> Your email settings:
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<*> To change settings online go to:
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<*> To change settings via email:
tadream-***@yahoogroups.com
tadream-***@yahoogroups.com

<*> To unsubscribe from this group, send an email to:
tadream-***@yahoogroups.com

<*> Your use of Yahoo! Groups is subject to:
http://docs.yahoo.com/info/terms/
michaeljean
2012-03-25 23:09:44 UTC
Permalink
Everyone responds differently to each project. I have been listening to TD
for over 30 years and really do enjoy MFD immensely. It just so happens was
just watching the video a few minutes ago with my kids and can’t believe it
is five years old already. I can count on one hand those TD releases that
to me were really dull to me (like Deadly Care, or Dead Solid Perfect).

My point it not to argue, but rather ask others who do know the MFD material
well whether the video mix is different than the audio mix. I "seem" to
enjoy the video more than the disc, and wondered if anyone knows if they are
actually different or not.

To promote their legacy they need to set up a Foundation, which is something
I thought was in the works at one time.


MJ

-----Original Message-----
From: ***@yahoogroups.com [mailto:***@yahoogroups.com] On Behalf Of
Ricardo Aranda
Sent: Sunday, March 25, 2012 3:40 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?
From time to time I use to feel that still there will be some new TD stuff
that will blow mi mind, every 5 or 6 new releases I may pick one of them and
give it close attention, that was the case of that (to me) disgraceful
Madcap`s Flaming Duty. Any recording like that with other names printed on
cover may bore myself to death but being a TD release in addition it makes
me sad, really.

I have the Phaedra 35th anniversary DVD and certainly has great 25 minutes
of great music from the beggining although plenty of it is sampled, there`s
little of live playing there, then a blond chic comes in and begin smashing
toms, and magic vanishes little by little. The falling down in freefall of
Edgar`s creation music quality is so evident that IMO he should have ended
with TD, I guess in 2000 - 2002, now all those Virgin releases and mostly
all the music realeased in the eighties consists just on a short period of
time, but still I have plenty of fantastic music in there to enjoy, listen
to and re-discover every time I listen to anything from 1971, to say 1988,
including solo releases. Being fair with the most exciting band and music I
met in my entire life is to promote that part of it`s legacy. If my son, for
example picks that MFD mistakenly to know what does TD sound like, will
discard it after playing it for 10 minutes and will never want to know the
magnificence of Ricochet.

We still can do many things by being members of this or other list, starting
from sharing experiences, thoughts opinions, even friendship upon a common
passion we had...errrr...."we have".


----- Original Message -----
From: "Matthew Stringer" <***@firstnet.co.uk>
To: <***@yahoogroups.com>
Sent: Sunday, March 25, 2012 3:41 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?


Really?

To say that would mean that you have no interest or care at all.

to say take it or leave it is what you say about any random artist you
couldn't care less about.

Haslinger for example, I've no interest in his music, whether he scores
another hit film or not, I couldn't care less. Good luck to him. He's a
fantastic musician but it's not for me.

But TD were the sound track of my youth, they meant the world to me, the
music they created could not have been created by anyone else, they were
better than everyone, completely unique in their awesomeness. Despite
decades of advances in technology, it's still beyond the reach of everyone
else, sure there's the odd Ricochet clone and a few covers of Logos but all
they do is illustrate the futility in trying to be that good.

They've been copied and emulated a thousand times but no-one comes close to
capturing the magic they had.

The new stuff isn't special in that anyone with a synth could knock out
something that is at least as good, there's a million musicians on
Soundcloud that are putting together tracks at home that run rings about
what TD are doing. This shouldn't be possible. They're TD for Christ's sake!

Something like that horrid Horizon remix would have never passed their
quality control before, 20 years ago if Ed had heard it he'd have ridiculed
it and rightly so.

It's not like he could, if he wanted to make something on a par with Horizon

but is simply choosing not to, he has to know that if he did the fans would
be all over it and this list teeming with posts. But he can't and he doesn't

really care and it's heartbreaking to witness.

But don't dare sully the legacy of Tangerine Dream by pretending the the
stuff 'they're' making now is anything like as good or as impressive as the
stuff they were doing over 25 years ago.

If I couldn't give a stuff then I wouldn't bother saying anything.
Angry because someone no longer makes the type of music you want to listen
to
and has the gall to make what they want ? How odd.
-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:43 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
There's a time for eloquence, and there's a time for anger.
it wasn't the former.
"I'm sorry but fuck, off."
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take
any
more.
Occasionally I have a listen to a new record or scope out a YouTube link
just to see but it's all fairly awful.
I decided to give them one more chance last year when they played
Manchester as it's local but it was so terrible I could have cried, just
a
3 hour dirge of fuzzy bass without any light or shade, contemplated
walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly
stunning, the subtle build to that orgasmic sequence is just something
that no-one else could do, but this new version is so awful it made me
angry, they were the best thing in the world and now we have shit like
that that sounds like it was done buy some spod on YouTube and Ed has the
audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and
often, there's been a few releases of legacy stuff with him on such as
Valley of the Sun and Vanishing Blue which served as a reminder of what
they used to be able to do before they fell out and threw it all away. But
for new music there's a whole world of people making much more interesting
things to listen to.
As to why am I still on the list? Well it's free, I like the people on
here and there's always that hope that one day some archive material will
see the light of day. Failing that maybe when Ed shakes a 6 Franke,
Baumann, Schmoelling & Haslinger will get together to do a tribute gig and
remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer
like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
------------------------------------
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http://www.tadream.net
-----------------------Yahoo! Groups Links
[Non-text portions of this message have been removed]



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-----------------------Yahoo! Groups Links






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Cliff Proctor
2012-03-26 08:59:05 UTC
Permalink
You’re right about the MFD video. It does somehow seem to have a slightly different feel/sound to it.
Nothing too obvious but just certain elements I seem to recall sounding ‘better’.



From: michaeljean
Sent: Monday, March 26, 2012 12:09 AM
To: ***@yahoogroups.com
Subject: RE: [tadream] What should be done to promote the legacy of TD?


Everyone responds differently to each project. I have been listening to TD
for over 30 years and really do enjoy MFD immensely. It just so happens was
just watching the video a few minutes ago with my kids and can’t believe it
is five years old already. I can count on one hand those TD releases that
to me were really dull to me (like Deadly Care, or Dead Solid Perfect).

My point it not to argue, but rather ask others who do know the MFD material
well whether the video mix is different than the audio mix. I "seem" to
enjoy the video more than the disc, and wondered if anyone knows if they are
actually different or not.

To promote their legacy they need to set up a Foundation, which is something
I thought was in the works at one time.

MJ

-----Original Message-----
From: mailto:tadream%40yahoogroups.com [mailto:mailto:tadream%40yahoogroups.com] On Behalf Of
Ricardo Aranda
Sent: Sunday, March 25, 2012 3:40 PM
To: mailto:tadream%40yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?
From time to time I use to feel that still there will be some new TD stuff
that will blow mi mind, every 5 or 6 new releases I may pick one of them and
give it close attention, that was the case of that (to me) disgraceful
Madcap`s Flaming Duty. Any recording like that with other names printed on
cover may bore myself to death but being a TD release in addition it makes
me sad, really.

I have the Phaedra 35th anniversary DVD and certainly has great 25 minutes
of great music from the beggining although plenty of it is sampled, there`s
little of live playing there, then a blond chic comes in and begin smashing
toms, and magic vanishes little by little. The falling down in freefall of
Edgar`s creation music quality is so evident that IMO he should have ended
with TD, I guess in 2000 - 2002, now all those Virgin releases and mostly
all the music realeased in the eighties consists just on a short period of
time, but still I have plenty of fantastic music in there to enjoy, listen
to and re-discover every time I listen to anything from 1971, to say 1988,
including solo releases. Being fair with the most exciting band and music I
met in my entire life is to promote that part of it`s legacy. If my son, for
example picks that MFD mistakenly to know what does TD sound like, will
discard it after playing it for 10 minutes and will never want to know the
magnificence of Ricochet.

We still can do many things by being members of this or other list, starting
from sharing experiences, thoughts opinions, even friendship upon a common
passion we had...errrr...."we have".

----- Original Message -----
From: "Matthew Stringer" <mailto:qube%40firstnet.co.uk>
To: <mailto:tadream%40yahoogroups.com>
Sent: Sunday, March 25, 2012 3:41 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?

Really?

To say that would mean that you have no interest or care at all.

to say take it or leave it is what you say about any random artist you
couldn't care less about.

Haslinger for example, I've no interest in his music, whether he scores
another hit film or not, I couldn't care less. Good luck to him. He's a
fantastic musician but it's not for me.

But TD were the sound track of my youth, they meant the world to me, the
music they created could not have been created by anyone else, they were
better than everyone, completely unique in their awesomeness. Despite
decades of advances in technology, it's still beyond the reach of everyone
else, sure there's the odd Ricochet clone and a few covers of Logos but all
they do is illustrate the futility in trying to be that good.

They've been copied and emulated a thousand times but no-one comes close to
capturing the magic they had.

The new stuff isn't special in that anyone with a synth could knock out
something that is at least as good, there's a million musicians on
Soundcloud that are putting together tracks at home that run rings about
what TD are doing. This shouldn't be possible. They're TD for Christ's sake!

Something like that horrid Horizon remix would have never passed their
quality control before, 20 years ago if Ed had heard it he'd have ridiculed
it and rightly so.

It's not like he could, if he wanted to make something on a par with Horizon

but is simply choosing not to, he has to know that if he did the fans would
be all over it and this list teeming with posts. But he can't and he doesn't

really care and it's heartbreaking to witness.

But don't dare sully the legacy of Tangerine Dream by pretending the the
stuff 'they're' making now is anything like as good or as impressive as the
stuff they were doing over 25 years ago.

If I couldn't give a stuff then I wouldn't bother saying anything.
Angry because someone no longer makes the type of music you want to listen
to
and has the gall to make what they want ? How odd.
-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:43 PM
To: mailto:tadream%40yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?
There's a time for eloquence, and there's a time for anger.
it wasn't the former.
"I'm sorry but fuck, off."
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
To: mailto:tadream%40yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take
any
more.
Occasionally I have a listen to a new record or scope out a YouTube link
just to see but it's all fairly awful.
I decided to give them one more chance last year when they played
Manchester as it's local but it was so terrible I could have cried, just
a
3 hour dirge of fuzzy bass without any light or shade, contemplated
walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly
stunning, the subtle build to that orgasmic sequence is just something
that no-one else could do, but this new version is so awful it made me
angry, they were the best thing in the world and now we have shit like
that that sounds like it was done buy some spod on YouTube and Ed has the
audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and
often, there's been a few releases of legacy stuff with him on such as
Valley of the Sun and Vanishing Blue which served as a reminder of what
they used to be able to do before they fell out and threw it all away. But
for new music there's a whole world of people making much more interesting
things to listen to.
As to why am I still on the list? Well it's free, I like the people on
here and there's always that hope that one day some archive material will
see the light of day. Failing that maybe when Ed shakes a 6 Franke,
Baumann, Schmoelling & Haslinger will get together to do a tribute gig and
remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer
like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
------------------------------------
-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links
[Non-text portions of this message have been removed]

------------------------------------

-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links

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Version: 10.0.1424 / Base de datos de virus: 2113/4823 - Fecha de
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Base de datos de virus interno no esta actualizado.

-----
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Comprobado por AVG - www.avg.com
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[Non-text portions of this message have been removed]



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-----------------------Yahoo! Groups Links

<*> To visit your group on the web, go to:
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Cliff Proctor
2012-03-25 21:06:52 UTC
Permalink
Not everybody thinks that stuff like Ricochet or Rubycon is particularly
impressive or even good ;-)



-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 7:41 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?

Really?

To say that would mean that you have no interest or care at all.

to say take it or leave it is what you say about any random artist you
couldn't care less about.

Haslinger for example, I've no interest in his music, whether he scores
another hit film or not, I couldn't care less. Good luck to him. He's a
fantastic musician but it's not for me.

But TD were the sound track of my youth, they meant the world to me, the
music they created could not have been created by anyone else, they were
better than everyone, completely unique in their awesomeness. Despite
decades of advances in technology, it's still beyond the reach of everyone
else, sure there's the odd Ricochet clone and a few covers of Logos but all
they do is illustrate the futility in trying to be that good.

They've been copied and emulated a thousand times but no-one comes close to
capturing the magic they had.

The new stuff isn't special in that anyone with a synth could knock out
something that is at least as good, there's a million musicians on
Soundcloud that are putting together tracks at home that run rings about
what TD are doing. This shouldn't be possible. They're TD for Christ's sake!

Something like that horrid Horizon remix would have never passed their
quality control before, 20 years ago if Ed had heard it he'd have ridiculed
it and rightly so.

It's not like he could, if he wanted to make something on a par with Horizon
but is simply choosing not to, he has to know that if he did the fans would
be all over it and this list teeming with posts. But he can't and he doesn't
really care and it's heartbreaking to witness.

But don't dare sully the legacy of Tangerine Dream by pretending the the
stuff 'they're' making now is anything like as good or as impressive as the
stuff they were doing over 25 years ago.

If I couldn't give a stuff then I wouldn't bother saying anything.
Post by Cliff Proctor
Angry because someone no longer makes the type of music you want to listen
to
and has the gall to make what they want ? How odd.
-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:43 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
There's a time for eloquence, and there's a time for anger.
it wasn't the former.
Post by Cliff Proctor
“I'm sorry but fuck, off.”
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take
any
more.
Occasionally I have a listen to a new record or scope out a YouTube link
just to see but it's all fairly awful.
I decided to give them one more chance last year when they played
Manchester as it's local but it was so terrible I could have cried, just a
3 hour dirge of fuzzy bass without any light or shade, contemplated
walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly
stunning, the subtle build to that orgasmic sequence is just something
that no-one else could do, but this new version is so awful it made me
angry, they were the best thing in the world and now we have shit like
that that sounds like it was done buy some spod on YouTube and Ed has the
audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and
often, there's been a few releases of legacy stuff with him on such as
Valley of the Sun and Vanishing Blue which served as a reminder of what
they used to be able to do before they fell out and threw it all away. But
for new music there's a whole world of people making much more interesting
things to listen to.
As to why am I still on the list? Well it's free, I like the people on
here and there's always that hope that one day some archive material will
see the light of day. Failing that maybe when Ed shakes a 6 Franke,
Baumann, Schmoelling & Haslinger will get together to do a tribute gig and
remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer
like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
------------------------------------
-----------------------
http://www.tadream.net
-----------------------Yahoo! Groups Links
[Non-text portions of this message have been removed]



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http://www.tadream.net
-----------------------Yahoo! Groups Links





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Matthew Stringer
2012-03-25 22:42:19 UTC
Permalink
I'm not a 70's man myself, my favourite period was the Schmoelling era, I just loved what they did. The gear had matured enough to let them be proper musicians (although my favourite of all time is probably Live Miles, it's less clever technically but as a composition it still demonstrated that there are few that could match them).

I respect the 70's as it established them but there's not a lot I can still listen to, Stratosfear is still fantastic however. A lot of that period was just noodling though where the fact they used gear that was intended for a university lab rather than the stage earned them the mystique and appeal. If they'd stopped back then I wouldn't have bothered with them at all.

I know it's sacrilege but I've never been a huge fan of Ricochet, I think the equipment is too much of a limitation for what they were trying to do.


But as Ricardo said, I like the crowd that TD created and like the musicians that were inspired by them and enjoy chatting and hearing what they do.

Believe it or not I still respect Ed for what he did, the team he established as without him none of their music would have happened. I just think that he should have hung up his MIDI leads a long time ago, wrote his memoirs and secured his place in the archives of musical greatness.
Post by Cliff Proctor
Not everybody thinks that stuff like Ricochet or Rubycon is particularly
impressive or even good ;-)
[Non-text portions of this message have been removed]



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Cliff Proctor
2012-03-26 08:55:41 UTC
Permalink
Funnily enough, same here. I ‘discovered’ TD with Force Majeure, Tangram, Thief, White Eagle and then investigated random old releases.
Alpha Centauri/Atem was the first proper historical set I bought (French import on Polydor, bought on a visit to my cousin in Canterbury)

As for Rubycon/Ricochet etc, they’re good for their time, given the equipment used was relatively new and unexplored in this manner.
Red Shift/Radio Massacre International and Airsculpture (among many others of course) do keep this type of music alive, and a lot of it is very good.

With TD, I still to this day find many tracks very good and others rather poor – no change over the years there. Same with most other artists I listen to.
It’s rare to have an album where you like every single track. (And even on albums where there are only 2/3 long tracks, there are usually certain sections that don’t
quite make the mark.)

The Manchester gig was unfortunately marred by poor sound, particularly near the front, but the CD release
is far far better sound wise and there are some cracking tracks.

Bongos/drums are not to everyone’s taste I guess but i suppose they add a bit of added visuals to an otherwise fairly sedate stage set.
And Iris always seems to be having a ball.

Maybe a place in the archives of musical greatness is not what he seeks. Otherwise I’m sure he wouldn’t keep on vomiting up releases every year, knowing they
were sub-standard. He seems to have a passion for writing/recording whatever suits him, as all great musicians do.

One artist who does seem to have acquired somewhat legendary status is Pete Namlook, whose albums I’ve tried to get into but frankly I find them to be pretty bland, repetitive, uninspiring and generally just a bit boring....but that’s another story.


From: Matthew Stringer
Sent: Sunday, March 25, 2012 11:42 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?


I'm not a 70's man myself, my favourite period was the Schmoelling era, I just loved what they did. The gear had matured enough to let them be proper musicians (although my favourite of all time is probably Live Miles, it's less clever technically but as a composition it still demonstrated that there are few that could match them).

I respect the 70's as it established them but there's not a lot I can still listen to, Stratosfear is still fantastic however. A lot of that period was just noodling though where the fact they used gear that was intended for a university lab rather than the stage earned them the mystique and appeal. If they'd stopped back then I wouldn't have bothered with them at all.

I know it's sacrilege but I've never been a huge fan of Ricochet, I think the equipment is too much of a limitation for what they were trying to do.

But as Ricardo said, I like the crowd that TD created and like the musicians that were inspired by them and enjoy chatting and hearing what they do.

Believe it or not I still respect Ed for what he did, the team he established as without him none of their music would have happened. I just think that he should have hung up his MIDI leads a long time ago, wrote his memoirs and secured his place in the archives of musical greatness.
Post by Cliff Proctor
Not everybody thinks that stuff like Ricochet or Rubycon is particularly
impressive or even good ;-)
[Non-text portions of this message have been removed]





[Non-text portions of this message have been removed]



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http://www.tadream.net
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Ricardo Aranda
2012-03-25 23:44:46 UTC
Permalink
Digging on some Klaus Schulze stuff on Amazon I found a paragraph on a comment
in which someone tries to explain the effects of this music, may be a little bit laughable
but on the other hand, describes exactly what happens when this kind of music WORKS,
makes effect, brings joy.
"Your ears serve as receptors to the sound, it transmits a reverberation to the brain and instantly swells the heart with stimulation. The heart then responds favorably and returns a signal of approval back to the brain so that your whole body can become incorporated into the vast numbness of the absolution of pleasure and sound."
If this is a good way to describe this feeling then this process is interrupted to me in some part
of the process in last 12 or 15 TD studio latest releases.

Kind regards
-Rick


----- Original Message -----
From: Cliff Proctor
To: ***@yahoogroups.com
Sent: Sunday, March 25, 2012 6:06 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?



Not everybody thinks that stuff like Ricochet or Rubycon is particularly
impressive or even good ;-)

-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 7:41 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] What should be done to promote the legacy of TD?

Really?

To say that would mean that you have no interest or care at all.

to say take it or leave it is what you say about any random artist you
couldn't care less about.

Haslinger for example, I've no interest in his music, whether he scores

another hit film or not, I couldn't care less. Good luck to him. He's a

fantastic musician but it's not for me.

But TD were the sound track of my youth, they meant the world to me, the
music they created could not have been created by anyone else, they were
better than everyone, completely unique in their awesomeness. Despite
decades of advances in technology, it's still beyond the reach of everyone
else, sure there's the odd Ricochet clone and a few covers of Logos but all
they do is illustrate the futility in trying to be that good.

They've been copied and emulated a thousand times but no-one comes close to
capturing the magic they had.

The new stuff isn't special in that anyone with a synth could knock out

something that is at least as good, there's a million musicians on
Soundcloud that are putting together tracks at home that run rings about
what TD are doing. This shouldn't be possible. They're TD for Christ's sake!

Something like that horrid Horizon remix would have never passed their
quality control before, 20 years ago if Ed had heard it he'd have ridiculed
it and rightly so.

It's not like he could, if he wanted to make something on a par with Horizon
but is simply choosing not to, he has to know that if he did the fans would
be all over it and this list teeming with posts. But he can't and he doesn't
really care and it's heartbreaking to witness.

But don't dare sully the legacy of Tangerine Dream by pretending the the
stuff 'they're' making now is anything like as good or as impressive as the
stuff they were doing over 25 years ago.

If I couldn't give a stuff then I wouldn't bother saying anything.
Post by Cliff Proctor
Angry because someone no longer makes the type of music you want to listen
to
and has the gall to make what they want ? How odd.
-----Original Message-----
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:43 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
There's a time for eloquence, and there's a time for anger.
it wasn't the former.
Post by Cliff Proctor
“I'm sorry but fuck, off.”
Very eloquent. Not.
From: Matthew Stringer
Sent: Sunday, March 25, 2012 6:17 PM
Subject: Re: [tadream] What should be done to promote the legacy of TD?
No, not at all, I stuck with them up until 220 Volt then couldn't take
any
more.
Occasionally I have a listen to a new record or scope out a YouTube link
just to see but it's all fairly awful.
I decided to give them one more chance last year when they played
Manchester as it's local but it was so terrible I could have cried, just a
3 hour dirge of fuzzy bass without any light or shade, contemplated
walking out several times but I was someones ride home so had to stay.
I heard the 'remix' of Horizon yesterday, the original is achingly
stunning, the subtle build to that orgasmic sequence is just something
that no-one else could do, but this new version is so awful it made me
angry, they were the best thing in the world and now we have shit like
that that sounds like it was done buy some spod on YouTube and Ed has the
audacity to stamp the Tangerine Dream name on it. I'm sorry but fuck, off.
I like most of the stuff up until Franke left, which I still listen to and
often, there's been a few releases of legacy stuff with him on such as
Valley of the Sun and Vanishing Blue which served as a reminder of what
they used to be able to do before they fell out and threw it all away. But
for new music there's a whole world of people making much more interesting
things to listen to.
As to why am I still on the list? Well it's free, I like the people on
here and there's always that hope that one day some archive material will
see the light of day. Failing that maybe when Ed shakes a 6 Franke,
Baumann, Schmoelling & Haslinger will get together to do a tribute gig and
remind us what the name Tangerine Dream really meant.
Post by Derek Gatley
So you have wasted the last 25 years listening to a band you no longer
like? Think that says more about you than it does about Edgar.
Seriously, I sometimes wonder why some people are even on this list.
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Robert
2012-03-27 03:09:00 UTC
Permalink
But TD were the sound track of my youth, <
TD were the soundtrack to my youth too. Wow, I sure was a stud then. Young and healthy. Creative. Not so bad looking either if I do say so myself. Had all my hair. Could run 5 miles without getting out of breath. I'm older now. Most of my hair is gone and won't come back. The rest is gray. I keep telling myself I should try to get back in shape. So much seems to have passed me by. I guess I do find myself repeating myself on occasion.

I suppose you think I should just kill myself, eh? But you know some people still like me. My wife says I'm just as good as ever, just "different". Have some old friends. Some new friends. Older but wiser? More mature? Well, I don't know. But I guess I'm not ready to kick the bucket yet. Maybe someone who remembers me from my youth will be disappointed with how I am now, but if that's the case I guess they can just get out of my life and remember me as I was. I guess I'm just lucky that nobody has a "Bob" group saying how great I used to be and what crap I am now.




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Markus Buckley
2012-03-27 07:04:55 UTC
Permalink
Well said Bob!!!



-----Original Message-----
From: ***@yahoogroups.com [mailto:***@yahoogroups.com] On Behalf
Of Robert
Sent: 27 March 2012 04:09
To: ***@yahoogroups.com
Subject: [tadream] The soundtrack of my youth
But TD were the sound track of my youth, <
TD were the soundtrack to my youth too. Wow, I sure was a stud then.
Young and healthy. Creative. Not so bad looking either if I do say so
myself. Had all my hair. Could run 5 miles without getting out of
breath. I'm older now. Most of my hair is gone and won't come back. The
rest is gray. I keep telling myself I should try to get back in shape.
So much seems to have passed me by. I guess I do find myself repeating
myself on occasion.

I suppose you think I should just kill myself, eh? But you know some
people still like me. My wife says I'm just as good as ever, just
"different". Have some old friends. Some new friends. Older but wiser?
More mature? Well, I don't know. But I guess I'm not ready to kick the
bucket yet. Maybe someone who remembers me from my youth will be
disappointed with how I am now, but if that's the case I guess they can
just get out of my life and remember me as I was. I guess I'm just lucky
that nobody has a "Bob" group saying how great I used to be and what
crap I am now.



[Non-text portions of this message have been removed]



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Matthew Stringer
2012-03-27 07:17:32 UTC
Permalink
Maybe there would be a "Bob" group saying that though if you'd not acknowledged that you were no longer at your peak. If you ran those 5 miles as a wheezing asthmatic but insisted you were as fast and as fit as ever, then someone would have to break it to you gently so that you'd avoid embarrassment or injury.

But as you've acknowledged all those things, instead people say, he's alright that Bob, you should have seen him in his day, he had great hair and could really run. He wrote some memoirs about the whole period, really worth a read.
Post by Robert
But TD were the sound track of my youth, <
TD were the soundtrack to my youth too. Wow, I sure was a stud then. Young and healthy. Creative. Not so bad looking either if I do say so myself. Had all my hair. Could run 5 miles without getting out of breath. I'm older now. Most of my hair is gone and won't come back. The rest is gray. I keep telling myself I should try to get back in shape. So much seems to have passed me by. I guess I do find myself repeating myself on occasion.
I suppose you think I should just kill myself, eh? But you know some people still like me. My wife says I'm just as good as ever, just "different". Have some old friends. Some new friends. Older but wiser? More mature? Well, I don't know. But I guess I'm not ready to kick the bucket yet. Maybe someone who remembers me from my youth will be disappointed with how I am now, but if that's the case I guess they can just get out of my life and remember me as I was. I guess I'm just lucky that nobody has a "Bob" group saying how great I used to be and what crap I am now.
[Non-text portions of this message have been removed]



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Cyaron
2012-03-28 09:22:52 UTC
Permalink
Post by Matthew Stringer
Maybe there would be a "Bob" group saying that though if you'd not acknowledged that you were no longer at your peak. If you ran those 5 miles as a wheezing asthmatic but insisted you were as fast and as fit as ever, then someone would have to break it to you gently so that you'd avoid embarrassment or injury.
But as you've acknowledged all those things, instead people say, he's alright that Bob, you should have seen him in his day, he had great hair and could really run. He wrote some memoirs about the whole period, really worth a read.
What if the bob of today wasn't trying to be a world-class athlete anymore? What if he was trying to work on a new sort of workout method that he could publish, and still exercised to keep in the best shape he could given his age?

This gets into all sorts of potential questions. How far does the parallel go, and how fair is it to judge the aspirations of an old man to the inspirations of a young one?


Completely fair? Not at all? Probably somewhere in the middle.


Surely he won't be as successful in many ways as he was before, but might still be successful in others. Both points would be valid. To either attack or defend him relentlessly might be pointless.



Cyaron



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simonfay2001
2012-03-27 14:38:37 UTC
Permalink
I guess I'm just lucky that nobody has a "Bob" group saying how great I used to be and what crap I am now.
I lost all respect for Bob when he started wearing a toupee and playing bongos over tapes of muzak. And when he told me sneeringly "If you don't like it, don't buy it" I asked the receptionist for a different room.

SF




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Matthew Stringer
2012-03-27 14:58:38 UTC
Permalink
-----Original Message-----
From: simonfay2001 <***@yahoo.co.uk>
Reply-to: ***@yahoogroups.com
To: ***@yahoogroups.com
Subject: [tadream] Re: The soundtrack of my youth
Date: Tue, 27 Mar 2012 14:38:37 -0000
I guess I'm just lucky that nobody has a "Bob" group saying how great I
used to be and what crap I am now.
I lost all respect for Bob when he started wearing a toupee and playing
bongos over tapes of muzak. And when he told me sneeringly "If you don't
like it, don't buy it" I asked the receptionist for a different room.

SF


Just because Bob chooses to wear his hair now in a way you don't like
doesn't mean it's any less wonderful than it's always been. His hair was
only ever to suit him and not anyone else (even though he expects you to
still buy the cuttings). Don't you realise that, if he wanted to, he
could easily grow it back to how it was, it's just the
follicular-challenged direction he wants to go in these days as he's a
true artist of hair and you should always respect that without question.


M.







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Robert
2012-03-28 04:15:50 UTC
Permalink
I may have said this before but….

Back in the early 80's I was in a store that had a book on electronic music. The title and author are long forgotten, but I do remember what it said about TD. It said that they were a great band once, but after the album Rubicon they went commercial and the quality went down hill. The book said, in so many words, that they were crap now and best ignored. Fortunately, they didn't pack in in based on such reviews of their work and made music that was the "soundtrack of my youth". Since then I have read in various places comments that indicated TD were past it. They lost their mojo when sequencers were introduced, when Peter left, when Johannes left, when Chris left, when Linda's saxophone was introduced, the introduction of live percussion ("bongos"), etc. And yet TD plug on. In the past several years they have released a lot of music. Some of it uninteresting to my ears, some every bit as good as anything they ever did.

So, for me, TD music has been the soundtrack of my youth and middle age. With any luck, they will also be the soundtrack that ushers me into my old age.






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Cliff Proctor
2012-03-28 09:44:54 UTC
Permalink
Completely well said. It’s about the journey. Not just the short ride.

TD have been part of my life for so long now it’s almost hard to believe.
Along the way there have been peaks and troughs and even the troughs had certain diamonds in there.
(and also the peaks have occasionally had their low points).

However, the interest has always remained. Unlike with (for example) Gary Numan. I went off the style of music he moved into around the Dance / I, Assassin albums.

Recently I have been listening to his recent stuff, from Exile onward and I like what he’s been doing.



From: Robert
Sent: Wednesday, March 28, 2012 5:15 AM
To: ***@yahoogroups.com
Subject: [tadream] "They shake their heads, they say I've changed..."


I may have said this before but….

Back in the early 80's I was in a store that had a book on electronic music. The title and author are long forgotten, but I do remember what it said about TD. It said that they were a great band once, but after the album Rubicon they went commercial and the quality went down hill. The book said, in so many words, that they were crap now and best ignored. Fortunately, they didn't pack in in based on such reviews of their work and made music that was the "soundtrack of my youth". Since then I have read in various places comments that indicated TD were past it. They lost their mojo when sequencers were introduced, when Peter left, when Johannes left, when Chris left, when Linda's saxophone was introduced, the introduction of live percussion ("bongos"), etc. And yet TD plug on. In the past several years they have released a lot of music. Some of it uninteresting to my ears, some every bit as good as anything they ever did.

So, for me, TD music has been the soundtrack of my youth and middle age. With any luck, they will also be the soundtrack that ushers me into my old age.





[Non-text portions of this message have been removed]



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j***@gmx.de
2012-03-28 10:20:14 UTC
Permalink
For me it is not only TD's music, it's the whole experience: Then fan part of my life includes also collecting music and memorabilia ("hunting down" rare items), searching for information, attending concerts (including short vacations to interesting places), meeting other fans and sharing the experience/views with them (sometimes making them friends), meeting the band on some occasions, get to know related artists/music.

Even if personal and community's taste and perception change over time there seems to be some common sense about what were their peak times. So I dare to say it's quite unfair to judge TD on their peak times' music: IMHO even the non-peak output has almost always been much better crafted than a lot of other EM stuff around - on a musical and on a technical level (the latter one can be judged on).

I love having the choice from 45 years of TD music, I chose according to my mood an I know that it will not be disappointed.




-------- Original-Nachricht --------
Datum: Wed, 28 Mar 2012 10:44:54 +0100
Betreff: Re: [tadream] "They shake their heads, they say I\'ve changed..."
Completely well said. It’s about the journey. Not just the short ride.
TD have been part of my life for so long now it’s almost hard to believe.
Along the way there have been peaks and troughs and even the troughs had
certain diamonds in there.
(and also the peaks have occasionally had their low points).
However, the interest has always remained. Unlike with (for example) Gary
Numan. I went off the style of music he moved into around the Dance / I,
Assassin albums.
Recently I have been listening to his recent stuff, from Exile onward and
I like what he’s been doing.
From: Robert
Sent: Wednesday, March 28, 2012 5:15 AM
Subject: [tadream] "They shake their heads, they say I've changed..."
I may have said this before but….
Back in the early 80's I was in a store that had a book on electronic
music. The title and author are long forgotten, but I do remember what it said
about TD. It said that they were a great band once, but after the album
Rubicon they went commercial and the quality went down hill. The book said, in
so many words, that they were crap now and best ignored. Fortunately, they
didn't pack in in based on such reviews of their work and made music that
was the "soundtrack of my youth". Since then I have read in various places
comments that indicated TD were past it. They lost their mojo when
sequencers were introduced, when Peter left, when Johannes left, when Chris left,
when Linda's saxophone was introduced, the introduction of live percussion
("bongos"), etc. And yet TD plug on. In the past several years they have
released a lot of music. Some of it uninteresting to my ears, some every bit
as good as anything they ever did.
So, for me, TD music has been the soundtrack of my youth and middle age.
With any luck, they will also be the soundtrack that ushers me into my old
age.
[Non-text portions of this message have been removed]
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Empfehlen Sie GMX DSL Ihren Freunden und Bekannten und wir
belohnen Sie mit bis zu 50,- Euro! https://freundschaftswerbung.gmx.de


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michaeljean
2012-03-29 09:28:10 UTC
Permalink
Yes, I think that is the intent. The band's output is simply their
interpretation of life and their life experiences through music.

It is the soundtrack of their lives as well. Just as people may come and go
during our lifetimes, so it is with those who share and experience that
journey with TD.


MJ




So, for me, TD music has been the soundtrack of my youth and middle age.
With any luck, they will also be the soundtrack that ushers me into my old
age.






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JeffL
2012-03-26 22:43:55 UTC
Permalink
As to why am I still on the list? Well it's free, I like the people on here and there's always that hope that one day some archive material will see the light of day.<<<<<
That's pretty much the reason I'm still on the list (archive material).
I went to the Royce Hall show a couple of years ago, but out of the last 10+ years I think the only release I bought was Jeanne D'Arc. The current music just isn't very intersting to me.

-Jeff Lester



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simonfay2001
2012-03-26 10:02:49 UTC
Permalink
Post by Robert P
It seems cool these days to like Kraftwerk. Despite having released very little in the past 20 years, they are name checked by the majority of new electronic music artists out there. Tangerine Dream seems rather forgotten about. Do you think it is because most people unfairly dismiss them as "New Age"?
I genuinely had no idea that the new kids on the electronica block were name-dropping Mr Hutter's high-tech cabaret - the bloggers and their acolytes are another matter. I wonder how much of the latterday spike in interest is driven by the Apple/smartphone/tech-news crowd, enthralled by cornball Futurology set to a beat?

I don't know how Edgar could capture a comparably-noisy slab of the Zeitgeist under the present circumstances. he'd have to come up with a release and pre-amble that was striking enough to be a game-changer.

The TD material I like or love (we're talking up to 1990 or so) had far more fibre and imagination than much of what comes under the "New Age" banner.

SF





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boyonthestairs
2012-03-26 19:57:56 UTC
Permalink
Post by simonfay2001
I genuinely had no idea that the new kids on the electronica block were name-dropping Mr Hutter's high-tech cabaret - the bloggers and their acolytes are another matter. I wonder how much of the latterday spike in interest is driven by the Apple/smartphone/tech-news crowd, enthralled by cornball Futurology set to a beat?
It's not really "new kids" on the electronica block as much as the whole damn electronic dance music scene and most of its home-listening-frendly offshoots. Any DJ who has even a marginal grasp of history is likely to tell you how important KW were for electronic music... TD references can be coaxed out of some Warp Records artists and such, but mostly they seem to be considered a dead end by the clubber types aware of them, AFAI gather? Did some weird stuff in the 70s, died out or something with the prog dinosaurs?

But I suspect many might change their opinion if presented with something like Silver Scale or Cool Breeze of Brighton. IMO it's pretty obvious that parts of 80s TD (also 70s too) had an important if uncredited influence on the development of trance, and probably some on Germany's techno scene as well.

(Berlin's still famed as one of the electronic music capitals of the world, you know, except these days it's for the dance clubs.)
Post by simonfay2001
The TD material I like or love (we're talking up to 1990 or so) had far more fibre and imagination than much of what comes under the "New Age" banner.
New Age of course is one genre that DOES properly credit TD for all their pioneering work. Many of you may be familiar with the breed of fan who goes as far as insisting that TD (and Schulze, and Jarre, and Vangelis, and Ashra...) were New Age all along - or since Phaedra at least.

In the collective mind of music journalism NA seems to rank somewhere between schlager and elevator muzak in overall importance, though, so this is going to be a dead end for wider promotion.

_j.



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krautrock
2012-03-26 20:03:24 UTC
Permalink
Post by boyonthestairs
Post by simonfay2001
I genuinely had no idea that the new kids on the electronica block were name-dropping Mr Hutter's high-tech cabaret - the bloggers and their acolytes are another matter. I wonder how much of the latterday spike in interest is driven by the Apple/smartphone/tech-news crowd, enthralled by cornball Futurology set to a beat?
It's not really "new kids" on the electronica block as much as the whole damn electronic dance music scene and most of its home-listening-frendly offshoots. Any DJ who has even a marginal grasp of history is likely to tell you how important KW were for electronic music... TD references can be coaxed out of some Warp Records artists and such, but mostly they seem to be considered a dead end by the clubber types aware of them, AFAI gather? Did some weird stuff in the 70s, died out or something with the prog dinosaurs?
But I suspect many might change their opinion if presented with something like Silver Scale or Cool Breeze of Brighton. IMO it's pretty obvious that parts of 80s TD (also 70s too) had an important if uncredited influence on the development of trance, and probably some on Germany's techno scene as well.
(Berlin's still famed as one of the electronic music capitals of the world, you know, except these days it's for the dance clubs.)
Post by simonfay2001
The TD material I like or love (we're talking up to 1990 or so) had far more fibre and imagination than much of what comes under the "New Age" banner.
New Age of course is one genre that DOES properly credit TD for all their pioneering work. Many of you may be familiar with the breed of fan who goes as far as insisting that TD (and Schulze, and Jarre, and Vangelis, and Ashra...) were New Age all along - or since Phaedra at least.
In the collective mind of music journalism NA seems to rank somewhere between schlager and elevator muzak in overall importance, though, so this is going to be a dead end for wider promotion.
_j.
Actually if you set up google news for updates you'll see that almost every week (sometimes everyday) that TD get referenced by some group or artist.



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simonfay2001
2012-03-27 09:39:45 UTC
Permalink
Post by boyonthestairs
But I suspect many might change their opinion if presented with something like Silver Scale or Cool Breeze of Brighton. IMO it's pretty obvious that parts of 80s TD (also 70s too) had an important if uncredited influence on the development of trance, and probably some on Germany's techno scene as well.
New Age of course is one genre that DOES properly credit TD for all their pioneering work. Many of you may be familiar with the breed of fan who goes as far as insisting that TD (and Schulze, and Jarre, and Vangelis, and Ashra...) were New Age all along - or since Phaedra at least.
In the collective mind of music journalism NA seems to rank somewhere between schlager and elevator muzak in overall importance, though, so this is going to be a dead end for wider promotion.
_j.
IIRC there WAS a flurry of UK hipsterish interest in TD circa 1990 or so, worded so as to confirm what you suggest - acknowledgement of their helping to birth trance/dance styles (there was a vogue for "Ambient House" at the time, which I thought 'Art of Vision' off 'Melrose' was a good elder-statesmen's tip for). 'Love on a Real Train' is perhaps the most condensed specimen of proto-trance I can think of.

New Age as a term is just used as a dumping ground for artists deemed "ungood" by the Orwellian critics.

SF



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Cliff Proctor
2012-03-27 12:37:37 UTC
Permalink
Strangely, for me Love On A Real Train is one vastly overrated piece of music. I just don’t ‘get’ what’s supposed to be so good about it.

It’s an ok track, but that’s about all.



From: simonfay2001
Sent: Tuesday, March 27, 2012 10:39 AM
To: ***@yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Post by boyonthestairs
But I suspect many might change their opinion if presented with something like Silver Scale or Cool Breeze of Brighton. IMO it's pretty obvious that parts of 80s TD (also 70s too) had an important if uncredited influence on the development of trance, and probably some on Germany's techno scene as well.
New Age of course is one genre that DOES properly credit TD for all their pioneering work. Many of you may be familiar with the breed of fan who goes as far as insisting that TD (and Schulze, and Jarre, and Vangelis, and Ashra...) were New Age all along - or since Phaedra at least.
In the collective mind of music journalism NA seems to rank somewhere between schlager and elevator muzak in overall importance, though, so this is going to be a dead end for wider promotion.
_j.
IIRC there WAS a flurry of UK hipsterish interest in TD circa 1990 or so, worded so as to confirm what you suggest - acknowledgement of their helping to birth trance/dance styles (there was a vogue for "Ambient House" at the time, which I thought 'Art of Vision' off 'Melrose' was a good elder-statesmen's tip for). 'Love on a Real Train' is perhaps the most condensed specimen of proto-trance I can think of.

New Age as a term is just used as a dumping ground for artists deemed "ungood" by the Orwellian critics.

SF





[Non-text portions of this message have been removed]



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simonfay2001
2012-03-27 14:32:53 UTC
Permalink
Post by Cliff Proctor
Strangely, for me Love On A Real Train is one vastly overrated piece of music. I just don’t ‘get’ what’s supposed to be so good about it.
Depending on how close to the surface your middle eye is, the track's hypnotic light-bearing pulsation will either lift its (musically slight on paper) self up by its own twinkling bootstraps, or just sound like some pleasant derivative of Steve Reich. And it was good enough to be recycled for a passage a few minutes into 'Poland'.

Speaking of proto-trance, have just remembered the opening section of 'Logos' - now how did I forget it? It sounds like the opening of an abyss deep deep down somewhere, and the swaying movement of a procession into the light it releases from its centre. I really must put these things on a Post-It (registered trademark) note.

SF



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Matthew Stringer
2012-03-27 14:48:48 UTC
Permalink
It's the subtly of the layered sequences, the fact that on the surface
it sounds like a loop but it isn't as it's constantly changing and
covers quite a bit of distance in a short period of time, the way it
builds, backs off then builds again for the crescendo with that subtle
delicacy is something I just find magical and unique.

TD had that minute attention to detail where they'd have lots of
elements overlap that paint a collage that cannot be attributed to any
component part. It fits the scene from the film perfectly, couldn't
imagine anything else playing there. Musically it's fairly simple, you
wouldn't need to be a virtuoso to play it but it captures brilliantly
the motion of a train without sounding mechanical or deliberate.

The new versions miss the point, they just sample a section and then
just loop which kills off all it was as it's then just a simple melody
over a basic static loop.

It's not necessarily their best composition, or the best melody or the
most complicated, however for me, it'll always be the single best thing
they did as it sums up in less than 4 minutes why they were complete
masters and the greatest thing in the universe.


Matthew





-----Original Message-----
From: Cliff Proctor <***@sky.com>
Reply-to: ***@yahoogroups.com
To: ***@yahoogroups.com
Subject: Re: [tadream] Re: What should be done to promote the legacy of
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100


Strangely, for me Love On A Real Train is one vastly overrated piece of
music. I just don’t ‘get’ what’s supposed to be so good about it.

It’s an ok track, but that’s about all.






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krautrock
2012-03-27 15:08:49 UTC
Permalink
Post by Matthew Stringer
It's the subtly of the layered sequences, the fact that on the surface
it sounds like a loop but it isn't as it's constantly changing and
covers quite a bit of distance in a short period of time, the way it
builds, backs off then builds again for the crescendo with that subtle
delicacy is something I just find magical and unique.
TD had that minute attention to detail where they'd have lots of
elements overlap that paint a collage that cannot be attributed to any
component part. It fits the scene from the film perfectly, couldn't
imagine anything else playing there. Musically it's fairly simple, you
wouldn't need to be a virtuoso to play it but it captures brilliantly
the motion of a train without sounding mechanical or deliberate.
The new versions miss the point, they just sample a section and then
just loop which kills off all it was as it's then just a simple melody
over a basic static loop.
It's not necessarily their best composition, or the best melody or the
most complicated, however for me, it'll always be the single best thing
they did as it sums up in less than 4 minutes why they were complete
masters and the greatest thing in the universe.
Matthew
-----Original Message-----
Subject: Re: [tadream] Re: What should be done to promote the legacy of
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100
Strangely, for me Love On A Real Train is one vastly overrated piece of
music. I just don’t ‘get’ what’s supposed to be so good about it.
It’s an ok track, but that’s about all.
it's not even theirs - Franke you rip-off artist!



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Matthew Stringer
2012-03-27 15:14:52 UTC
Permalink
-----Original Message-----
From: krautrock <***@yahoo.co.uk>
Reply-to: ***@yahoogroups.com
To: ***@yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Date: Tue, 27 Mar 2012 15:08:49 -0000
Post by Cliff Proctor
-----Original Message-----
Subject: Re: [tadream] Re: What should be done to promote the legacy of
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100
Strangely, for me Love On A Real Train is one vastly overrated piece of
music. I just don’t ‘get’ what’s supposed to be so good about
it.
Post by Cliff Proctor
It’s an ok track, but that’s about all.
it's not even theirs - Franke you rip-off artist!

He was 15 musicians short, show some respect! ;)














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krautrock
2012-03-27 15:24:56 UTC
Permalink
Post by Cliff Proctor
-----Original Message-----
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Date: Tue, 27 Mar 2012 15:08:49 -0000
Post by Cliff Proctor
-----Original Message-----
Subject: Re: [tadream] Re: What should be done to promote the legacy
of
Post by Cliff Proctor
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100
Strangely, for me Love On A Real Train is one vastly overrated piece
of
Post by Cliff Proctor
music. I just don’t ‘get’ what’s supposed to be so good about
it.
Post by Cliff Proctor
It’s an ok track, but that’s about all.
it's not even theirs - Franke you rip-off artist!
He was 15 musicians short, show some respect! ;)
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can be treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.




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d***@virginmedia.com
2012-03-27 17:46:17 UTC
Permalink
I'd take that single DAT tape / Chris Franke concert over all the output of TD in the past 20 years.
OK I exaggerate.
I'd only do the trade of Pacific Coast Highway was thrown in too.


_____

From: ***@yahoogroups.com [mailto:***@yahoogroups.com] On Behalf Of krautrock
Sent: 27 March 2012 16:25
To: ***@yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Post by Cliff Proctor
-----Original Message-----
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Date: Tue, 27 Mar 2012 15:08:49 -0000
Post by Cliff Proctor
-----Original Message-----
Subject: Re: [tadream] Re: What should be done to promote the legacy
of
Post by Cliff Proctor
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100
Strangely, for me Love On A Real Train is one vastly overrated piece
of
Post by Cliff Proctor
music. I just don’t ‘get’ what’s supposed to be so good about
it.
Post by Cliff Proctor
It’s an ok track, but that’s about all.
it's not even theirs - Franke you rip-off artist!
He was 15 musicians short, show some respect! ;)
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can be treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.







[Non-text portions of this message have been removed]



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Cliff Proctor
2012-03-27 18:02:42 UTC
Permalink
Froese should have quit after Lady Greengrass IMO....


From: ***@virginmedia.com
Sent: Tuesday, March 27, 2012 6:46 PM
To: ***@yahoogroups.com
Subject: RE: [tadream] Re: What should be done to promote the legacy of TD?


I'd take that single DAT tape / Chris Franke concert over all the output of TD in the past 20 years.
OK I exaggerate.
I'd only do the trade of Pacific Coast Highway was thrown in too.

_____

From: mailto:tadream%40yahoogroups.com [mailto:mailto:tadream%40yahoogroups.com] On Behalf Of krautrock
Sent: 27 March 2012 16:25
To: mailto:tadream%40yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Post by Cliff Proctor
-----Original Message-----
Reply-to: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
To: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Date: Tue, 27 Mar 2012 15:08:49 -0000
Post by Cliff Proctor
-----Original Message-----
Reply-to: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
To: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
Subject: Re: [tadream] Re: What should be done to promote the legacy
of
Post by Cliff Proctor
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100
Strangely, for me Love On A Real Train is one vastly overrated piece
of
Post by Cliff Proctor
music. I just don’t ‘get’ what’s supposed to be so good about
it.
Post by Cliff Proctor
It’s an ok track, but that’s about all.
it's not even theirs - Franke you rip-off artist!
He was 15 musicians short, show some respect! ;)
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can be treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.

[Non-text portions of this message have been removed]





[Non-text portions of this message have been removed]



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d***@virginmedia.com
2012-03-27 18:12:02 UTC
Permalink
Wow, that is hard-core.

I've heard some people say he should have called it a day after Elecronic Meditation.

But you are the first to go back further.


_____

From: ***@yahoogroups.com [mailto:***@yahoogroups.com] On Behalf Of Cliff Proctor
Sent: 27 March 2012 19:03
To: ***@yahoogroups.com
Subject: Re: [tadream] Re: What should be done to promote the legacy of TD?




Froese should have quit after Lady Greengrass IMO....

From: ***@virginmedia.com <mailto:ditton33%40virginmedia.com>
Sent: Tuesday, March 27, 2012 6:46 PM
To: ***@yahoogroups.com <mailto:tadream%40yahoogroups.com>
Subject: RE: [tadream] Re: What should be done to promote the legacy of TD?

I'd take that single DAT tape / Chris Franke concert over all the output of TD in the past 20 years.
OK I exaggerate.
I'd only do the trade of Pacific Coast Highway was thrown in too.

_____

From: mailto:tadream%40yahoogroups.com [mailto:mailto:tadream%40yahoogroups.com] On Behalf Of krautrock
Sent: 27 March 2012 16:25
To: mailto:tadream%40yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Post by Cliff Proctor
-----Original Message-----
Reply-to: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
To: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Date: Tue, 27 Mar 2012 15:08:49 -0000
Post by Cliff Proctor
-----Original Message-----
Reply-to: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
To: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
Subject: Re: [tadream] Re: What should be done to promote the legacy
of
Post by Cliff Proctor
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100
Strangely, for me Love On A Real Train is one vastly overrated piece
of
Post by Cliff Proctor
music. I just don’t ‘get’ what’s supposed to be so good about
it.
Post by Cliff Proctor
It’s an ok track, but that’s about all.
it's not even theirs - Franke you rip-off artist!
He was 15 musicians short, show some respect! ;)
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can be treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.

[Non-text portions of this message have been removed]

[Non-text portions of this message have been removed]







[Non-text portions of this message have been removed]



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krautrock
2012-03-27 18:16:50 UTC
Permalink
Perhaps he shouldn't have bothered with his first group before the Ones? keep everyone happy? fine chance...whinge, grizzle etc
Post by d***@virginmedia.com
Wow, that is hard-core.
I've heard some people say he should have called it a day after Elecronic Meditation.
But you are the first to go back further.
_____
Sent: 27 March 2012 19:03
Subject: Re: [tadream] Re: What should be done to promote the legacy of TD?
Froese should have quit after Lady Greengrass IMO....
Sent: Tuesday, March 27, 2012 6:46 PM
Subject: RE: [tadream] Re: What should be done to promote the legacy of TD?
I'd take that single DAT tape / Chris Franke concert over all the output of TD in the past 20 years.
OK I exaggerate.
I'd only do the trade of Pacific Coast Highway was thrown in too.
_____
From: mailto:tadream%40yahoogroups.com [mailto:mailto:tadream%40yahoogroups.com] On Behalf Of krautrock
Sent: 27 March 2012 16:25
To: mailto:tadream%40yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Post by Cliff Proctor
-----Original Message-----
Reply-to: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
To: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Date: Tue, 27 Mar 2012 15:08:49 -0000
Post by Cliff Proctor
-----Original Message-----
Reply-to: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
To: mailto:tadream%40yahoogroups.com <mailto:tadream%40yahoogroups.com>
Subject: Re: [tadream] Re: What should be done to promote the legacy
of
Post by Cliff Proctor
TD?
Date: Tue, 27 Mar 2012 13:37:37 +0100
Strangely, for me Love On A Real Train is one vastly overrated piece
of
Post by Cliff Proctor
music. I just don’t ‘get’ what’s supposed to be so good about
it.
Post by Cliff Proctor
It’s an ok track, but that’s about all.
it's not even theirs - Franke you rip-off artist!
He was 15 musicians short, show some respect! ;)
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can be treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
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Matthew Stringer
2012-03-27 18:39:29 UTC
Permalink
CF was the techie in the band, before him TD weren't using synths, all the clever stuff they did he help bring to the table.

However, he was only one component, as a musician it needed the likes of PB, JS or PH to provide the melody and composition. If you look at the period between Baumann leaving and Schmoelling starting it was obvious that the quality of the composition had taken a dip, it was restored masterfully with the opening bars of Pergamon.

EF has always been the weakest musician in the band, however it was his leadership and direction that enabled the band to produce the incredible music that they did. It's a bit like Roger Waters from Pink Floyd, clearly the weakest musician but without him the other members were never going to make the music that they did with. Everyone had a role to play and the end result was greater than the sum of the component parts.

When Chris left the quality of TD took a battering as all the techie stuff that they had done was gone and we had Korg M1 presets and the start of the Sax and bongos. Some of the melodies were still quite good in places but the ship had sailed the boom in dance and electronica that happened at the end of the 80's demonstrated that with a tiny amount of gear it was still possible to do something new with synths and TD were now a bit retro.

It is a shame Chris walked away from it, he proved in my mind with the London Concert the significance of his contributions were to the band but has decided to do other things, but he's not trying to make a statement or trying to live in the past with low quality rehashes of former tracks. He keeps himself reasonably busy with scores for TV progs and whatnot and is probably enjoying his life. But I couldn't knock him or anyone else from walking away from TD.

Given the amount of music that is made for TV and film there's only a comparable handful that is held in high esteem most of it is fairly generic so no-one is likely to buy a CD of it but it pays well enough so why not have an easy job?

I wish Ed had also walked away and retired the brand, if he'd become a producer or written a book then we'd have this rosy view of this amazing band that changed the world, but to try and keep it going long past its sell-by date releasing an endless stream of CD's of a diminishing quality is now past tragic. Seeing a frail old man slumped behind some keyboards for 3 hours a night is not the way a hero should end his career.
Post by d***@virginmedia.com
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can be
treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.
[Non-text portions of this message have been removed]



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krautrock
2012-03-27 19:06:54 UTC
Permalink
Would Klaus Schulze stop because I don't like his music or that been through some serious illness and looks frail? don't think so - nor should he, respect to the guy even if I can't stand his music :)

One thing fans forget is that Chris didn't just walk away from TD, he also took $1,000,000 of equipment with him (plus a few tapes!), leaving Edgar only with his small private studio (a 24 track setup like Johannes)...he took his M1 with him to Hollywood ;) (together with Baumann's projekt elektronik modular - only to do nothing with it - what a waste!). Without Edgar's drive and sound design (yes, Johannes has pointed this out several time) TD wouldn't have done half of things they did 'when you thought they were good' (please insert years here, Jan 1st - 3rd 1981?). As far as Edgar being the weakest think (are you copying and pasting this in from Steve Dinsdale? :D) where you in the studio when they recorded? did you see who played what? if you were could I have a video please? ;) If Ed
gar is Roger, who is Chris? Nick Mason? ;)
Post by Matthew Stringer
CF was the techie in the band, before him TD weren't using synths, all the clever stuff they did he help bring to the table.
However, he was only one component, as a musician it needed the likes of PB, JS or PH to provide the melody and composition. If you look at the period between Baumann leaving and Schmoelling starting it was obvious that the quality of the composition had taken a dip, it was restored masterfully with the opening bars of Pergamon.
EF has always been the weakest musician in the band, however it was his leadership and direction that enabled the band to produce the incredible music that they did. It's a bit like Roger Waters from Pink Floyd, clearly the weakest musician but without him the other members were never going to make the music that they did with. Everyone had a role to play and the end result was greater than the sum of the component parts.
When Chris left the quality of TD took a battering as all the techie stuff that they had done was gone and we had Korg M1 presets and the start of the Sax and bongos. Some of the melodies were still quite good in places but the ship had sailed the boom in dance and electronica that happened at the end of the 80's demonstrated that with a tiny amount of gear it was still possible to do something new with synths and TD were now a bit retro.
It is a shame Chris walked away from it, he proved in my mind with the London Concert the significance of his contributions were to the band but has decided to do other things, but he's not trying to make a statement or trying to live in the past with low quality rehashes of former tracks. He keeps himself reasonably busy with scores for TV progs and whatnot and is probably enjoying his life. But I couldn't knock him or anyone else from walking away from TD.
Given the amount of music that is made for TV and film there's only a comparable handful that is held in high esteem most of it is fairly generic so no-one is likely to buy a CD of it but it pays well enough so why not have an easy job?
I wish Ed had also walked away and retired the brand, if he'd become a producer or written a book then we'd have this rosy view of this amazing band that changed the world, but to try and keep it going long past its sell-by date releasing an endless stream of CD's of a diminishing quality is now past tragic. Seeing a frail old man slumped behind some keyboards for 3 hours a night is not the way a hero should end his career.
Post by d***@virginmedia.com
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can b
e treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.
Post by Matthew Stringer
[Non-text portions of this message have been removed]
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d***@virginmedia.com
2012-03-27 20:10:42 UTC
Permalink
Can I just say Mr Stringer is presenting a well balanced evidence-based case
here. While Mr krautrock alleges CF took £1,000,000 of equipment when
pretty-much anything analog was garage-sale fodder in the late 80's thanks
to the DX7.
Thankyou.



_____

From: ***@yahoogroups.com [mailto:***@yahoogroups.com] On Behalf Of
krautrock
Sent: 27 March 2012 20:07
To: ***@yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?





Would Klaus Schulze stop because I don't like his music or that been through
some serious illness and looks frail? don't think so - nor should he,
respect to the guy even if I can't stand his music :)

One thing fans forget is that Chris didn't just walk away from TD, he also
took $1,000,000 of equipment with him (plus a few tapes!), leaving Edgar
only with his small private studio (a 24 track setup like Johannes)...he
took his M1 with him to Hollywood ;) (together with Baumann's projekt
elektronik modular - only to do nothing with it - what a waste!). Without
Edgar's drive and sound design (yes, Johannes has pointed this out several
time) TD wouldn't have done half of things they did 'when you thought they
were good' (please insert years here, Jan 1st - 3rd 1981?). As far as Edgar
being the weakest think (are you copying and pasting this in from Steve
Dinsdale? :D) where you in the studio when they recorded? did you see who
played what? if you were could I have a video please? ;) If Edgar is Roger,
who is Chris? Nick Mason? ;)
Post by Matthew Stringer
CF was the techie in the band, before him TD weren't using synths, all the
clever stuff they did he help bring to the table.
Post by Matthew Stringer
However, he was only one component, as a musician it needed the likes of
PB, JS or PH to provide the melody and composition. If you look at the
period between Baumann leaving and Schmoelling starting it was obvious that
the quality of the composition had taken a dip, it was restored masterfully
with the opening bars of Pergamon.
Post by Matthew Stringer
EF has always been the weakest musician in the band, however it was his
leadership and direction that enabled the band to produce the incredible
music that they did. It's a bit like Roger Waters from Pink Floyd, clearly
the weakest musician but without him the other members were never going to
make the music that they did with. Everyone had a role to play and the end
result was greater than the sum of the component parts.
Post by Matthew Stringer
When Chris left the quality of TD took a battering as all the techie stuff
that they had done was gone and we had Korg M1 presets and the start of the
Sax and bongos. Some of the melodies were still quite good in places but the
ship had sailed the boom in dance and electronica that happened at the end
of the 80's demonstrated that with a tiny amount of gear it was still
possible to do something new with synths and TD were now a bit retro.
Post by Matthew Stringer
It is a shame Chris walked away from it, he proved in my mind with the
London Concert the significance of his contributions were to the band but
has decided to do other things, but he's not trying to make a statement or
trying to live in the past with low quality rehashes of former tracks. He
keeps himself reasonably busy with scores for TV progs and whatnot and is
probably enjoying his life. But I couldn't knock him or anyone else from
walking away from TD.
Post by Matthew Stringer
Given the amount of music that is made for TV and film there's only a
comparable handful that is held in high esteem most of it is fairly generic
so no-one is likely to buy a CD of it but it pays well enough so why not
have an easy job?
Post by Matthew Stringer
I wish Ed had also walked away and retired the brand, if he'd become a
producer or written a book then we'd have this rosy view of this amazing
band that changed the world, but to try and keep it going long past its
sell-by date releasing an endless stream of CD's of a diminishing quality is
now past tragic. Seeing a frail old man slumped behind some keyboards for 3
hours a night is not the way a hero should end his career.
Post by Matthew Stringer
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would have
never heard Supernanny or Big Brother USA. Music that will last long long
after he and I have gone, music to inspire the next generation of electronic
music composers to come. Thank god he got out of TD's endless Hollywood film
scoring to take a year off and then start his own Hollywood film scoring
business of top quality films including smash hits like the ELIZABETH SMART
STORY which we all remember with awe. But then true to his word he stopped
all of that to concentrate on live concerts, performing a single concert in
20 odd years, and with the help of a DAT machine. And on top of that an
endless stream of brilliant electronic music solo albums for as Chris has
sid 'Without a solo career in Hollywood, you can be treated a bit like a
slave'...phew thank god that never happened. Chris you have my respect mate,
thanks for keeping the flame alive.
Post by Matthew Stringer
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]



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krautrock
2012-03-27 20:15:20 UTC
Permalink
Oh Graham, let's not be so formal
Post by d***@virginmedia.com
Can I just say Mr Stringer is presenting a well balanced evidence-based case
here. While Mr krautrock alleges CF took £1,000,000 of equipment when
pretty-much anything analog was garage-sale fodder in the late 80's thanks
to the DX7.
Thankyou.
_____
krautrock
Sent: 27 March 2012 20:07
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Would Klaus Schulze stop because I don't like his music or that been through
some serious illness and looks frail? don't think so - nor should he,
respect to the guy even if I can't stand his music :)
One thing fans forget is that Chris didn't just walk away from TD, he also
took $1,000,000 of equipment with him (plus a few tapes!), leaving Edgar
only with his small private studio (a 24 track setup like Johannes)...he
took his M1 with him to Hollywood ;) (together with Baumann's projekt
elektronik modular - only to do nothing with it - what a waste!). Without
Edgar's drive and sound design (yes, Johannes has pointed this out several
time) TD wouldn't have done half of things they did 'when you thought they
were good' (please insert years here, Jan 1st - 3rd 1981?). As far as Edgar
being the weakest think (are you copying and pasting this in from Steve
Dinsdale? :D) where you in the studio when they recorded? did you see who
played what? if you were could I have a video please? ;) If Edgar is Roger,
who is Chris? Nick Mason? ;)
Post by Matthew Stringer
CF was the techie in the band, before him TD weren't using synths, all the
clever stuff they did he help bring to the table.
Post by Matthew Stringer
However, he was only one component, as a musician it needed the likes of
PB, JS or PH to provide the melody and composition. If you look at the
period between Baumann leaving and Schmoelling starting it was obvious that
the quality of the composition had taken a dip, it was restored masterfully
with the opening bars of Pergamon.
Post by Matthew Stringer
EF has always been the weakest musician in the band, however it was his
leadership and direction that enabled the band to produce the incredible
music that they did. It's a bit like Roger Waters from Pink Floyd, clearly
the weakest musician but without him the other members were never going to
make the music that they did with. Everyone had a role to play and the end
result was greater than the sum of the component parts.
Post by Matthew Stringer
When Chris left the quality of TD took a battering as all the techie stuff
that they had done was gone and we had Korg M1 presets and the start of the
Sax and bongos. Some of the melodies were still quite good in places but the
ship had sailed the boom in dance and electronica that happened at the end
of the 80's demonstrated that with a tiny amount of gear it was still
possible to do something new with synths and TD were now a bit retro.
Post by Matthew Stringer
It is a shame Chris walked away from it, he proved in my mind with the
London Concert the significance of his contributions were to the band but
has decided to do other things, but he's not trying to make a statement or
trying to live in the past with low quality rehashes of former tracks. He
keeps himself reasonably busy with scores for TV progs and whatnot and is
probably enjoying his life. But I couldn't knock him or anyone else from
walking away from TD.
Post by Matthew Stringer
Given the amount of music that is made for TV and film there's only a
comparable handful that is held in high esteem most of it is fairly generic
so no-one is likely to buy a CD of it but it pays well enough so why not
have an easy job?
Post by Matthew Stringer
I wish Ed had also walked away and retired the brand, if he'd become a
producer or written a book then we'd have this rosy view of this amazing
band that changed the world, but to try and keep it going long past its
sell-by date releasing an endless stream of CD's of a diminishing quality is
now past tragic. Seeing a frail old man slumped behind some keyboards for 3
hours a night is not the way a hero should end his career.
Post by Matthew Stringer
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would have
never heard Supernanny or Big Brother USA. Music that will last long long
after he and I have gone, music to inspire the next generation of electronic
music composers to come. Thank god he got out of TD's endless Hollywood film
scoring to take a year off and then start his own Hollywood film scoring
business of top quality films including smash hits like the ELIZABETH SMART
STORY which we all remember with awe. But then true to his word he stopped
all of that to concentrate on live concerts, performing a single concert in
20 odd years, and with the help of a DAT machine. And on top of that an
endless stream of brilliant electronic music solo albums for as Chris has
sid 'Without a solo career in Hollywood, you can be treated a bit like a
slave'...phew thank god that never happened. Chris you have my respect mate,
thanks for keeping the flame alive.
Post by Matthew Stringer
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
------------------------------------

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-----------------------Yahoo! Groups Links

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d***@virginmedia.com
2012-03-27 20:33:08 UTC
Permalink
Formality is good. This is a serious topic.


_____

From: ***@yahoogroups.com [mailto:***@yahoogroups.com] On Behalf Of
krautrock
Sent: 27 March 2012 21:15
To: ***@yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?




Oh Graham, let's not be so formal
Post by d***@virginmedia.com
Can I just say Mr Stringer is presenting a well balanced evidence-based case
here. While Mr krautrock alleges CF took £1,000,000 of equipment when
pretty-much anything analog was garage-sale fodder in the late 80's thanks
to the DX7.
Thankyou.
_____
[mailto:***@yahoogroups.com <mailto:tadream%40yahoogroups.com> ] On
Behalf Of
Post by d***@virginmedia.com
krautrock
Sent: 27 March 2012 20:07
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Would Klaus Schulze stop because I don't like his music or that been through
some serious illness and looks frail? don't think so - nor should he,
respect to the guy even if I can't stand his music :)
One thing fans forget is that Chris didn't just walk away from TD, he also
took $1,000,000 of equipment with him (plus a few tapes!), leaving Edgar
only with his small private studio (a 24 track setup like Johannes)...he
took his M1 with him to Hollywood ;) (together with Baumann's projekt
elektronik modular - only to do nothing with it - what a waste!). Without
Edgar's drive and sound design (yes, Johannes has pointed this out several
time) TD wouldn't have done half of things they did 'when you thought they
were good' (please insert years here, Jan 1st - 3rd 1981?). As far as Edgar
being the weakest think (are you copying and pasting this in from Steve
Dinsdale? :D) where you in the studio when they recorded? did you see who
played what? if you were could I have a video please? ;) If Edgar is Roger,
who is Chris? Nick Mason? ;)
<mailto:tadream%40yahoogroups.com> , Matthew
Post by d***@virginmedia.com
Post by Matthew Stringer
CF was the techie in the band, before him TD weren't using synths, all the
clever stuff they did he help bring to the table.
Post by Matthew Stringer
However, he was only one component, as a musician it needed the likes of
PB, JS or PH to provide the melody and composition. If you look at the
period between Baumann leaving and Schmoelling starting it was obvious that
the quality of the composition had taken a dip, it was restored masterfully
with the opening bars of Pergamon.
Post by Matthew Stringer
EF has always been the weakest musician in the band, however it was his
leadership and direction that enabled the band to produce the incredible
music that they did. It's a bit like Roger Waters from Pink Floyd, clearly
the weakest musician but without him the other members were never going to
make the music that they did with. Everyone had a role to play and the end
result was greater than the sum of the component parts.
Post by Matthew Stringer
When Chris left the quality of TD took a battering as all the techie stuff
that they had done was gone and we had Korg M1 presets and the start of the
Sax and bongos. Some of the melodies were still quite good in places but the
ship had sailed the boom in dance and electronica that happened at the end
of the 80's demonstrated that with a tiny amount of gear it was still
possible to do something new with synths and TD were now a bit retro.
Post by Matthew Stringer
It is a shame Chris walked away from it, he proved in my mind with the
London Concert the significance of his contributions were to the band but
has decided to do other things, but he's not trying to make a statement or
trying to live in the past with low quality rehashes of former tracks. He
keeps himself reasonably busy with scores for TV progs and whatnot and is
probably enjoying his life. But I couldn't knock him or anyone else from
walking away from TD.
Post by Matthew Stringer
Given the amount of music that is made for TV and film there's only a
comparable handful that is held in high esteem most of it is fairly generic
so no-one is likely to buy a CD of it but it pays well enough so why not
have an easy job?
Post by Matthew Stringer
I wish Ed had also walked away and retired the brand, if he'd become a
producer or written a book then we'd have this rosy view of this amazing
band that changed the world, but to try and keep it going long past its
sell-by date releasing an endless stream of CD's of a diminishing quality is
now past tragic. Seeing a frail old man slumped behind some keyboards for 3
hours a night is not the way a hero should end his career.
Post by Matthew Stringer
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would have
never heard Supernanny or Big Brother USA. Music that will last long long
after he and I have gone, music to inspire the next generation of electronic
music composers to come. Thank god he got out of TD's endless Hollywood film
scoring to take a year off and then start his own Hollywood film scoring
business of top quality films including smash hits like the ELIZABETH SMART
STORY which we all remember with awe. But then true to his word he stopped
all of that to concentrate on live concerts, performing a single concert in
20 odd years, and with the help of a DAT machine. And on top of that an
endless stream of brilliant electronic music solo albums for as Chris has
sid 'Without a solo career in Hollywood, you can be treated a bit like a
slave'...phew thank god that never happened. Chris you have my respect mate,
thanks for keeping the flame alive.
Post by Matthew Stringer
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]



------------------------------------

-----------------------
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-----------------------Yahoo! Groups Links

<*> To visit your group on the web, go to:
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krautrock
2012-03-27 20:58:36 UTC
Permalink
Great! You go first sir
Post by d***@virginmedia.com
Formality is good. This is a serious topic.
_____
krautrock
Sent: 27 March 2012 21:15
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Oh Graham, let's not be so formal
Post by d***@virginmedia.com
Can I just say Mr Stringer is presenting a well balanced evidence-based
case
Post by d***@virginmedia.com
here. While Mr krautrock alleges CF took £1,000,000 of equipment when
pretty-much anything analog was garage-sale fodder in the late 80's thanks
to the DX7.
Thankyou.
_____
Behalf Of
Post by d***@virginmedia.com
krautrock
Sent: 27 March 2012 20:07
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Would Klaus Schulze stop because I don't like his music or that been
through
Post by d***@virginmedia.com
some serious illness and looks frail? don't think so - nor should he,
respect to the guy even if I can't stand his music :)
One thing fans forget is that Chris didn't just walk away from TD, he also
took $1,000,000 of equipment with him (plus a few tapes!), leaving Edgar
only with his small private studio (a 24 track setup like Johannes)...he
took his M1 with him to Hollywood ;) (together with Baumann's projekt
elektronik modular - only to do nothing with it - what a waste!). Without
Edgar's drive and sound design (yes, Johannes has pointed this out several
time) TD wouldn't have done half of things they did 'when you thought they
were good' (please insert years here, Jan 1st - 3rd 1981?). As far as
Edgar
Post by d***@virginmedia.com
being the weakest think (are you copying and pasting this in from Steve
Dinsdale? :D) where you in the studio when they recorded? did you see who
played what? if you were could I have a video please? ;) If Edgar is
Roger,
Post by d***@virginmedia.com
who is Chris? Nick Mason? ;)
<mailto:tadream%40yahoogroups.com> , Matthew
Post by d***@virginmedia.com
Post by Matthew Stringer
CF was the techie in the band, before him TD weren't using synths, all
the
Post by d***@virginmedia.com
clever stuff they did he help bring to the table.
Post by Matthew Stringer
However, he was only one component, as a musician it needed the likes of
PB, JS or PH to provide the melody and composition. If you look at the
period between Baumann leaving and Schmoelling starting it was obvious
that
Post by d***@virginmedia.com
the quality of the composition had taken a dip, it was restored
masterfully
Post by d***@virginmedia.com
with the opening bars of Pergamon.
Post by Matthew Stringer
EF has always been the weakest musician in the band, however it was his
leadership and direction that enabled the band to produce the incredible
music that they did. It's a bit like Roger Waters from Pink Floyd, clearly
the weakest musician but without him the other members were never going to
make the music that they did with. Everyone had a role to play and the end
result was greater than the sum of the component parts.
Post by Matthew Stringer
When Chris left the quality of TD took a battering as all the techie
stuff
Post by d***@virginmedia.com
that they had done was gone and we had Korg M1 presets and the start of
the
Post by d***@virginmedia.com
Sax and bongos. Some of the melodies were still quite good in places but
the
Post by d***@virginmedia.com
ship had sailed the boom in dance and electronica that happened at the end
of the 80's demonstrated that with a tiny amount of gear it was still
possible to do something new with synths and TD were now a bit retro.
Post by Matthew Stringer
It is a shame Chris walked away from it, he proved in my mind with the
London Concert the significance of his contributions were to the band but
has decided to do other things, but he's not trying to make a statement or
trying to live in the past with low quality rehashes of former tracks. He
keeps himself reasonably busy with scores for TV progs and whatnot and is
probably enjoying his life. But I couldn't knock him or anyone else from
walking away from TD.
Post by Matthew Stringer
Given the amount of music that is made for TV and film there's only a
comparable handful that is held in high esteem most of it is fairly
generic
Post by d***@virginmedia.com
so no-one is likely to buy a CD of it but it pays well enough so why not
have an easy job?
Post by Matthew Stringer
I wish Ed had also walked away and retired the brand, if he'd become a
producer or written a book then we'd have this rosy view of this amazing
band that changed the world, but to try and keep it going long past its
sell-by date releasing an endless stream of CD's of a diminishing quality
is
Post by d***@virginmedia.com
now past tragic. Seeing a frail old man slumped behind some keyboards for
3
Post by d***@virginmedia.com
hours a night is not the way a hero should end his career.
Post by Matthew Stringer
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would
have
Post by d***@virginmedia.com
never heard Supernanny or Big Brother USA. Music that will last long long
after he and I have gone, music to inspire the next generation of
electronic
Post by d***@virginmedia.com
music composers to come. Thank god he got out of TD's endless Hollywood
film
Post by d***@virginmedia.com
scoring to take a year off and then start his own Hollywood film scoring
business of top quality films including smash hits like the ELIZABETH
SMART
Post by d***@virginmedia.com
STORY which we all remember with awe. But then true to his word he stopped
all of that to concentrate on live concerts, performing a single concert
in
Post by d***@virginmedia.com
20 odd years, and with the help of a DAT machine. And on top of that an
endless stream of brilliant electronic music solo albums for as Chris has
sid 'Without a solo career in Hollywood, you can be treated a bit like a
slave'...phew thank god that never happened. Chris you have my respect
mate,
Post by d***@virginmedia.com
thanks for keeping the flame alive.
Post by Matthew Stringer
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
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d***@virginmedia.com
2012-03-28 19:05:59 UTC
Permalink
I think I pointed out a huge inconsistency in your proposal which casts
doubt upon every other statement you made. The ball is in your court :p


_____

From: ***@yahoogroups.com [mailto:***@yahoogroups.com] On Behalf Of
krautrock
Sent: 27 March 2012 21:59
To: ***@yahoogroups.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?




Great! You go first sir
Post by d***@virginmedia.com
Formality is good. This is a serious topic.
_____
[mailto:***@yahoogroups.com <mailto:tadream%40yahoogroups.com> ] On
Behalf Of
Post by d***@virginmedia.com
krautrock
Sent: 27 March 2012 21:15
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Oh Graham, let's not be so formal
<mailto:tadream%40yahoogroups.com> ,
Post by d***@virginmedia.com
Post by d***@virginmedia.com
Can I just say Mr Stringer is presenting a well balanced evidence-based
case
Post by d***@virginmedia.com
here. While Mr krautrock alleges CF took £1,000,000 of equipment when
pretty-much anything analog was garage-sale fodder in the late 80's thanks
to the DX7.
Thankyou.
_____
<mailto:tadream%40yahoogroups.com>
<mailto:tadream%40yahoogroups.com> ] On
Post by d***@virginmedia.com
Behalf Of
Post by d***@virginmedia.com
krautrock
Sent: 27 March 2012 20:07
<mailto:tadream%40yahoogroups.com>
Post by d***@virginmedia.com
Post by d***@virginmedia.com
Subject: [tadream] Re: What should be done to promote the legacy of TD?
Would Klaus Schulze stop because I don't like his music or that been
through
Post by d***@virginmedia.com
some serious illness and looks frail? don't think so - nor should he,
respect to the guy even if I can't stand his music :)
One thing fans forget is that Chris didn't just walk away from TD, he also
took $1,000,000 of equipment with him (plus a few tapes!), leaving Edgar
only with his small private studio (a 24 track setup like Johannes)...he
took his M1 with him to Hollywood ;) (together with Baumann's projekt
elektronik modular - only to do nothing with it - what a waste!). Without
Edgar's drive and sound design (yes, Johannes has pointed this out several
time) TD wouldn't have done half of things they did 'when you thought they
were good' (please insert years here, Jan 1st - 3rd 1981?). As far as
Edgar
Post by d***@virginmedia.com
being the weakest think (are you copying and pasting this in from Steve
Dinsdale? :D) where you in the studio when they recorded? did you see who
played what? if you were could I have a video please? ;) If Edgar is
Roger,
Post by d***@virginmedia.com
who is Chris? Nick Mason? ;)
<mailto:tadream%40yahoogroups.com>
Post by d***@virginmedia.com
<mailto:tadream%40yahoogroups.com> , Matthew
Post by d***@virginmedia.com
Post by Matthew Stringer
CF was the techie in the band, before him TD weren't using synths, all
the
Post by d***@virginmedia.com
clever stuff they did he help bring to the table.
Post by Matthew Stringer
However, he was only one component, as a musician it needed the likes of
PB, JS or PH to provide the melody and composition. If you look at the
period between Baumann leaving and Schmoelling starting it was obvious
that
Post by d***@virginmedia.com
the quality of the composition had taken a dip, it was restored
masterfully
Post by d***@virginmedia.com
with the opening bars of Pergamon.
Post by Matthew Stringer
EF has always been the weakest musician in the band, however it was his
leadership and direction that enabled the band to produce the incredible
music that they did. It's a bit like Roger Waters from Pink Floyd, clearly
the weakest musician but without him the other members were never going to
make the music that they did with. Everyone had a role to play and the end
result was greater than the sum of the component parts.
Post by Matthew Stringer
When Chris left the quality of TD took a battering as all the techie
stuff
Post by d***@virginmedia.com
that they had done was gone and we had Korg M1 presets and the start of
the
Post by d***@virginmedia.com
Sax and bongos. Some of the melodies were still quite good in places but
the
Post by d***@virginmedia.com
ship had sailed the boom in dance and electronica that happened at the end
of the 80's demonstrated that with a tiny amount of gear it was still
possible to do something new with synths and TD were now a bit retro.
Post by Matthew Stringer
It is a shame Chris walked away from it, he proved in my mind with the
London Concert the significance of his contributions were to the band but
has decided to do other things, but he's not trying to make a statement or
trying to live in the past with low quality rehashes of former tracks. He
keeps himself reasonably busy with scores for TV progs and whatnot and is
probably enjoying his life. But I couldn't knock him or anyone else from
walking away from TD.
Post by Matthew Stringer
Given the amount of music that is made for TV and film there's only a
comparable handful that is held in high esteem most of it is fairly
generic
Post by d***@virginmedia.com
so no-one is likely to buy a CD of it but it pays well enough so why not
have an easy job?
Post by Matthew Stringer
I wish Ed had also walked away and retired the brand, if he'd become a
producer or written a book then we'd have this rosy view of this amazing
band that changed the world, but to try and keep it going long past its
sell-by date releasing an endless stream of CD's of a diminishing quality
is
Post by d***@virginmedia.com
now past tragic. Seeing a frail old man slumped behind some keyboards for
3
Post by d***@virginmedia.com
hours a night is not the way a hero should end his career.
Post by Matthew Stringer
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would
have
Post by d***@virginmedia.com
never heard Supernanny or Big Brother USA. Music that will last long long
after he and I have gone, music to inspire the next generation of
electronic
Post by d***@virginmedia.com
music composers to come. Thank god he got out of TD's endless Hollywood
film
Post by d***@virginmedia.com
scoring to take a year off and then start his own Hollywood film scoring
business of top quality films including smash hits like the ELIZABETH
SMART
Post by d***@virginmedia.com
STORY which we all remember with awe. But then true to his word he stopped
all of that to concentrate on live concerts, performing a single concert
in
Post by d***@virginmedia.com
20 odd years, and with the help of a DAT machine. And on top of that an
endless stream of brilliant electronic music solo albums for as Chris has
sid 'Without a solo career in Hollywood, you can be treated a bit like a
slave'...phew thank god that never happened. Chris you have my respect
mate,
Post by d***@virginmedia.com
thanks for keeping the flame alive.
Post by Matthew Stringer
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]
[Non-text portions of this message have been removed]



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feldon23
2012-03-31 14:02:47 UTC
Permalink
I probably know better than to wade into this flamewar about whether TD's best years are behind it...
Post by Cliff Proctor
What should be done to promote the legacy of TD?
The answer is simple. Edgar should let qualified audio restoration people go through the TD archives (surely there must be SOME recordings intact) and release boxed sets of old concerts KDM style. There is an army of volunteers who would happily do this, and Edgar has met the leader of that army personally on several occasions. ;)

I asked Jerome about whether he'd seen any signs that something was being done about archival material before he parted ways with Edgar, and he suggested there's some material on a hard drive somewhere, it's just a matter of doing something with it.


The roadblock seems to be inertia even moreso than pride. :(

-Morgan



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simonfay2001
2012-04-02 12:44:54 UTC
Permalink
Post by feldon23
The answer is simple. Edgar should let qualified audio restoration people go through the TD archives (surely there must be SOME recordings intact) and release boxed sets of old concerts KDM style. There is an army of volunteers who would happily do this, and Edgar has met the leader of that army personally on several occasions. ;)
-Morgan
Now THAT would be good - I've been impressed with what I've seen and heard of the Schulze LVE sets. Are there any Schulzians on here who can pick out highlights in KS's bewilderingly-large post-91 discography?

ta

SF



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Andrew Haley
2012-04-02 13:47:01 UTC
Permalink
Post by simonfay2001
Post by feldon23
The answer is simple. Edgar should let qualified audio
restoration people go through the TD archives (surely there must
be SOME recordings intact) and release boxed sets of old concerts
KDM style. There is an army of volunteers who would happily do
this, and Edgar has met the leader of that army personally on
several occasions. ;)
Uh, yeah. The Ricochet Tapes, please.
Post by simonfay2001
Now THAT would be good - I've been impressed with what I've seen
and heard of the Schulze LVE sets. Are there any Schulzians on here
who can pick out highlights in KS's bewilderingly-large post-91
discography?
Hmm, post-91 doesn't quite include 1990, but:

1990: The Dresden Performance

1992: Royal Festival Hall Vol. Esp. 'coz I was there.

1995: In Blue

1996: Are you sequenced? I was there, too.

2000: Gin Rosé at the Royal Festival Hall (with Ash Ra Tempel.) And there.

Also maybe check out:

2008: Farscape (with Lisa Gerrard)

2010: Big In Japan

Andrew.


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Cliff Proctor
2012-03-27 20:11:50 UTC
Permalink
"I wish Ed had also walked away and retired the brand, if he'd become a
producer or written a book then we'd have this rosy view of this amazing
band that changed the world, but to try and keep it going long past its
sell-by date releasing an endless stream of CD's of a diminishing quality is
now past tragic. Seeing a frail old man slumped behind some keyboards for 3
hours a night is not the way a hero should end his career"

Yeah, let's pension everyone off when they don't make music "like in the
good ole days" or are a bit on the old side. BB King, get yourself to the
old folks home.
And you Mr Santana. Black Sabbath ? Like pensioner's gathering at the Post
office on a Monday morning for their weekly income.
Clapton? Clapped-out more like. Motorhead ? Give it up guys. Quit while
you're behind.

Leave this music game to the young, talented ones that Simon Cowell dredges
from the bowels of the deepest slime pits in the UK.

Don't dare sully your "heritage" by carrying on making music, because
someone somewhere may take offence that you're not as good
as what they perceive to be your classic output. Oh, but don't just go
round touring the old stuff either, because that means you've not
progressed and are stuck playing music once regarded as classic but now you
come across as some sad old tribute act living on former glories.

Good job no musicians take any notice of "fans" who won't/can't accept that
things change and that there are actually other people out there who might
like the new material that is being produced.



-----Original Message-----
From: Matthew Stringer
Sent: Tuesday, March 27, 2012 7:39 PM
To: ***@yahoogroups.com
Subject: Re: [tadream] Re: What should be done to promote the legacy of TD?

CF was the techie in the band, before him TD weren't using synths, all the
clever stuff they did he help bring to the table.

However, he was only one component, as a musician it needed the likes of PB,
JS or PH to provide the melody and composition. If you look at the period
between Baumann leaving and Schmoelling starting it was obvious that the
quality of the composition had taken a dip, it was restored masterfully with
the opening bars of Pergamon.

EF has always been the weakest musician in the band, however it was his
leadership and direction that enabled the band to produce the incredible
music that they did. It's a bit like Roger Waters from Pink Floyd, clearly
the weakest musician but without him the other members were never going to
make the music that they did with. Everyone had a role to play and the end
result was greater than the sum of the component parts.

When Chris left the quality of TD took a battering as all the techie stuff
that they had done was gone and we had Korg M1 presets and the start of the
Sax and bongos. Some of the melodies were still quite good in places but the
ship had sailed the boom in dance and electronica that happened at the end
of the 80's demonstrated that with a tiny amount of gear it was still
possible to do something new with synths and TD were now a bit retro.

It is a shame Chris walked away from it, he proved in my mind with the
London Concert the significance of his contributions were to the band but
has decided to do other things, but he's not trying to make a statement or
trying to live in the past with low quality rehashes of former tracks. He
keeps himself reasonably busy with scores for TV progs and whatnot and is
probably enjoying his life. But I couldn't knock him or anyone else from
walking away from TD.

Given the amount of music that is made for TV and film there's only a
comparable handful that is held in high esteem most of it is fairly generic
so no-one is likely to buy a CD of it but it pays well enough so why not
have an easy job?

I wish Ed had also walked away and retired the brand, if he'd become a
producer or written a book then we'd have this rosy view of this amazing
band that changed the world, but to try and keep it going long past its
sell-by date releasing an endless stream of CD's of a diminishing quality is
now past tragic. Seeing a frail old man slumped behind some keyboards for 3
hours a night is not the way a hero should end his career.
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would have
never heard Supernanny or Big Brother USA. Music that will last long long
after he and I have gone, music to inspire the next generation of
electronic music composers to come. Thank god he got out of TD's endless
Hollywood film scoring to take a year off and then start his own Hollywood
film scoring business of top quality films including smash hits like the
ELIZABETH SMART STORY which we all remember with awe. But then true to his
word he stopped all of that to concentrate on live concerts, performing a
single concert in 20 odd years, and with the help of a DAT machine. And on
top of that an endless stream of brilliant electronic music solo albums
for as Chris has sid 'Without a solo career in Hollywood, you can be
treated a bit like a slave'...phew thank god that never happened. Chris
you have my respect mate, thanks for keeping the flame alive.
[Non-text portions of this message have been removed]



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Pal
2012-03-28 11:41:11 UTC
Permalink
Post by Matthew Stringer
CF was the techie in the band, before him TD weren't using synths, all the clever stuff they did he help bring to the table.
However, he was only one component, as a musician it needed the likes of PB, JS or PH to provide the melody and composition. If you look at the period between Baumann leaving and Schmoelling starting it was obvious that the quality of the composition had taken a dip, it was restored masterfully with the opening bars of Pergamon.
I'm not sure. Take a good look at Force Majeure (conceived by Froese&Franke). Fine work both compositionally and melodically. Besides, Disc 5 of Dream Roots is highly appreciated on this list.

Pal (counting down to the kick off gig)



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boyonthestairs
2012-03-27 19:01:31 UTC
Permalink
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you can
be treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.

Dammit man, I'm going to expect some reimbursement for this broken sarcasm detector. :b

_j.



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krautrock
2012-03-27 19:08:08 UTC
Permalink
Post by boyonthestairs
Post by krautrock
Yeah sorry Chris, the most talented guy in TD, without him I would have never heard Supernanny or Big Brother USA. Music that will last long long after he and I have gone, music to inspire the next generation of electronic music composers to come. Thank god he got out of TD's endless Hollywood film scoring to take a year off and then start his own Hollywood film scoring business of top quality films including smash hits like the ELIZABETH SMART STORY which we all remember with awe. But then true to his word he stopped all of that to concentrate on live concerts, performing a single concert in 20 odd years, and with the help of a DAT machine. And on top of that an endless stream of brilliant electronic music solo albums for as Chris has sid 'Without a solo career in Hollywood, you ca
n be treated a bit like a slave'...phew thank god that never happened. Chris you have my respect mate, thanks for keeping the flame alive.
Post by boyonthestairs
Dammit man, I'm going to expect some reimbursement for this broken sarcasm detector. :b
_j.
well done, you noticed ;)



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boyonthestairs
2012-03-27 21:36:52 UTC
Permalink
Post by simonfay2001
IIRC there WAS a flurry of UK hipsterish interest in TD circa 1990 or so, worded so as to confirm what you suggest - acknowledgement of their helping to birth trance/dance styles (there was a vogue for "Ambient House" at the time, which I thought 'Art of Vision' off 'Melrose' was a good elder-statesmen's tip for).
Not too hard to believe, but then again, 1990 was 20+ years ago.
Post by simonfay2001
Speaking of proto-trance, have just remembered the opening section of 'Logos' - now how did I forget it? It sounds like the opening of an abyss deep deep down somewhere, and the swaying movement of a procession into the light it releases from its centre.
That's also a good example, yes. I'd actually like to hear that kind of a soundworld done more in ambient techno and such.

(Tangent: my notes mention this Asmus Tietchens guy to check for something possibly similar from the 80s. Anyone here familiar with him?)
Post by simonfay2001
New Age as a term is just used as a dumping ground for artists
deemed "ungood" by the Orwellian critics.
SF
There are definitely some musicans who embrace it as a positiv label (mostly underground ones; I'm not aware of any of the big names liking the term). But I suppose noticably fewer than musicians labeled as such by fans. Or, for that matter, critics.
Post by simonfay2001
Actually if you set up google news for updates you'll see that almost every week (sometimes everyday) that TD get referenced by some group or artist.
When there are hundreds of thousands of people in the world who have at some point recorded something using electronic equiment, I think it ought to be possible to do better than "mentioned as a reference weekly".

OK there are bits of TD's career that seem to keep the attention well. Phaedra and/or Zeit seem to appear on most "History of Ambient" articles by now, but it falls quite fast after that. In a sense, it might be a fairly smooth curve. The late 70s are well-recognized by prog rockers and there are all them Berlin School artists aiming to keep that kind of music still going. Schmoelling/Haslinger era seems to be mostly remembered among us the fans, with the possible exception of LoaRT. The 90s don't get much love even here...

_j.



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krautrock
2012-03-27 21:42:42 UTC
Permalink
Post by boyonthestairs
Post by simonfay2001
IIRC there WAS a flurry of UK hipsterish interest in TD circa 1990 or so, worded so as to confirm what you suggest - acknowledgement of their helping to birth trance/dance styles (there was a vogue for "Ambient House" at the time, which I thought 'Art of Vision' off 'Melrose' was a good elder-statesmen's tip for).
Not too hard to believe, but then again, 1990 was 20+ years ago.
Post by simonfay2001
Speaking of proto-trance, have just remembered the opening section of 'Logos' - now how did I forget it? It sounds like the opening of an abyss deep deep down somewhere, and the swaying movement of a procession into the light it releases from its centre.
That's also a good example, yes. I'd actually like to hear that kind of a soundworld done more in ambient techno and such.
(Tangent: my notes mention this Asmus Tietchens guy to check for something possibly similar from the 80s. Anyone here familiar with him?)
Post by simonfay2001
New Age as a term is just used as a dumping ground for artists
deemed "ungood" by the Orwellian critics.
SF
There are definitely some musicans who embrace it as a positiv label (mostly underground ones; I'm not aware of any of the big names liking the term). But I suppose noticably fewer than musicians labeled as such by fans. Or, for that matter, critics.
Post by simonfay2001
Actually if you set up google news for updates you'll see that almost every week (sometimes everyday) that TD get referenced by some group or artist.
When there are hundreds of thousands of people in the world who have at some point recorded something using electronic equiment, I think it ought to be possible to do better than "mentioned as a reference weekly".
OK there are bits of TD's career that seem to keep the attention well. Phaedra and/or Zeit seem to appear on most "History of Ambient" articles by now, but it falls quite fast after that. In a sense, it might be a fairly smooth curve. The late 70s are well-recognized by prog rockers and there are all them Berlin School artists aiming to keep that kind of music still going. Schmoelling/Haslinger era seems to be mostly remembered among us the fans, with the possible exception of LoaRT. The 90s don't get much love even here...
_j.
the 90s don't get much love even here? I'll leave the irony of the sentence hanging in mid-air. Do a google for your favourite electronic artist and see how many times they get name checked by any artist, you then see the real influence of EM, Berlin school etc etc.



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boyonthestairs
2012-04-07 22:01:59 UTC
Permalink
Here's a recent example of ways in which TD sure do not seem to have that much of a visible [sic!] legacy. A design site some recent surfing brought me on:

http://www.redbubble.com/explore/synth
I count no fewer than 11 Kraftwerk designs under the synth tag; one each of Jarre, Schulze and Göttsching (slightly newer artists like Devo and Aphex Twin also get a decent amount of appearences). No TD in sight…

Visual identity is something TD never seemed to put that much effort in. I mean, what band gets a logo only on their 24rd album and doesn't put it into regular use until the 34th?!

OK there's some degree of continuity of hazy, semi-abstract atmospheric covers from Alpha Centauri up to about Poland (with Stratosfear as an exception) and sporadically thereafter, but I get the impression this was more thanks to their record companies (and later on perhaps Jerome, hence the "callback" covers of DMIII/IV/V?). (Tangerine Tree cover artists did a good job with this approach, too!)

Edgar's Zoom-O-Graphics style is quite distinctiv, but it's come in way too late in the game to make a difference. TD's too solidly a band that nobody knows what they should look like. Just look at the cover art of their compilations by different labels. The two versions of Dream Sequence (chalk drawings, bubble cluster?), the Bootleg Boxes (late 1800s-ish illustrations), the Journey thru a Burning Brain anthology (psychedelic rainbows), the Atlantic Xs/Tournado/VW reissues (color fades? lizards?!), random space pics on early years comps…

_j.



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krautrock
2012-04-08 05:14:29 UTC
Permalink
utter bollocks
Post by boyonthestairs
http://www.redbubble.com/explore/synth
I count no fewer than 11 Kraftwerk designs under the synth tag; one each of Jarre, Schulze and Göttsching (slightly newer artists like Devo and Aphex Twin also get a decent amount of appearences). No TD in sight…
Visual identity is something TD never seemed to put that much effort in. I mean, what band gets a logo only on their 24rd album and doesn't put it into regular use until the 34th?!
OK there's some degree of continuity of hazy, semi-abstract atmospheric covers from Alpha Centauri up to about Poland (with Stratosfear as an exception) and sporadically thereafter, but I get the impression this was more thanks to their record companies (and later on perhaps Jerome, hence the "callback" covers of DMIII/IV/V?). (Tangerine Tree cover artists did a good job with this approach, too!)
Edgar's Zoom-O-Graphics style is quite distinctiv, but it's come in way too late in the game to make a difference. TD's too solidly a band that nobody knows what they should look like. Just look at the cover art of their compilations by different labels. The two versions of Dream Sequence (chalk drawings, bubble cluster?), the Bootleg Boxes (late 1800s-ish illustrations), the Journey thru a Burning Brain anthology (psychedelic rainbows), the Atlantic Xs/Tournado/VW reissues (color fades? lizards?!), random space pics on early years comps…
_j.
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boyonthestairs
2012-04-08 15:59:48 UTC
Permalink
Post by krautrock
utter bollocks
OK, so either you're bored of civilized argumentation, or what I just said appears so completely wrong it isn't even worth rebutting... Anyone willing to offer a third opinion to clarify?

_j.



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Cyaron
2012-03-28 09:05:33 UTC
Permalink
Post by boyonthestairs
OK there are bits of TD's career that seem to keep the attention well. Phaedra and/or Zeit seem to appear on most "History of Ambient" articles by now, but it falls quite fast after that. In a sense, it might be a fairly smooth curve. The late 70s are well-recognized by prog rockers and there are all them Berlin School artists aiming to keep that kind of music still going. Schmoelling/Haslinger era seems to be mostly remembered among us the fans, with the possible exception of LoaRT. The 90s don't get much love even here...
_j.
While maybe not as influential or as consistent throughout, there was some great stuff by TD in the '90s. Someday, more here will realize that.


Cyaron



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Cyaron
2012-03-28 09:28:32 UTC
Permalink
Post by boyonthestairs
But I suspect many might change their opinion if presented with something like Silver Scale or Cool Breeze of Brighton.
Tracks like these don't get enough recognition. Not around here, and they're practically unknown anywhere else.


Cyaron



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g***@aol.com
2012-03-27 18:46:53 UTC
Permalink
Yes, an excellent response there, Bob. Well said.

Doug




In a message dated 27/03/2012 04:09:10 GMT Daylight Time,
But TD were the sound track of my youth, <
TD were the soundtrack to my youth too. Wow, I sure was a stud then. Young
and healthy. Creative. Not so bad looking either if I do say so myself.
Had all my hair. Could run 5 miles without getting out of breath. I'm older
now. Most of my hair is gone and won't come back. The rest is gray. I keep
telling myself I should try to get back in shape. So much seems to have
passed me by. I guess I do find myself repeating myself on occasion.

I suppose you think I should just kill myself, eh? But you know some
people still like me. My wife says I'm just as good as ever, just "different".
Have some old friends. Some new friends. Older but wiser? More mature? Well,
I don't know. But I guess I'm not ready to kick the bucket yet. Maybe
someone who remembers me from my youth will be disappointed with how I am now,
but if that's the case I guess they can just get out of my life and
remember me as I was. I guess I'm just lucky that nobody has a "Bob" group saying
how great I used to be and what crap I am now.








[Non-text portions of this message have been removed]



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s***@juno.com
2012-03-28 04:04:23 UTC
Permalink
On Tue, 27 Mar 2012 19:02:42 +0100 "Cliff Proctor"
Post by Cliff Proctor
Froese should have quit after Lady Greengrass IMO....
Made me laugh.

Stephe


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Cliff Proctor
2012-03-28 09:35:58 UTC
Permalink
Job done !

From: ***@juno.com
Sent: Wednesday, March 28, 2012 5:04 AM
To: ***@yahoogroups.com
Subject: Re: [tadream] Re: What should be done to promote the legacy of TD?


On Tue, 27 Mar 2012 19:02:42 +0100 "Cliff Proctor"
Post by Cliff Proctor
Froese should have quit after Lady Greengrass IMO....
Made me laugh.

Stephe




[Non-text portions of this message have been removed]



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Derk van Mourik
2012-03-28 11:20:20 UTC
Permalink
Post by Matthew Stringer
However, he was only one component, as a musician it needed the likes
of PB, JS or PH to provide the melody and composition. If you look at the
period between Baumann leaving and Schmoelling starting it was obvious
that the quality of the composition had taken a dip, it was restored
masterfully with the opening bars of Pergamon.
I suppose that is subjective. I listen to Stuntman, not only a Froese solo album but produced during the period mentioned above, and I hear melody and excellent compositions (especially in the title track).

Derk (who has a newfound appreciation for Froese solo work due to the impending release of the Virgin compilation)



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