Artist: Tangerine Dream Genre(s):
Electronic
Acid Jazz
Rock
New Age
Ambient
Soundtrack
Rock: Electronic
Techno
Electronic: Progressive
Discography:
Blue Dawn Year: 2006
Tracks: 10
Tangerine Tree 7 Vol.62 Preston Guild Hall, England 5Th November 1980 Cd1 Year: 2005
Tracks: 7
Space Flight Orange Ep Year: 2005
Tracks: 2
Rocking Mars CD2 Year: 2005
Tracks: 8
Rocking Mars CD1 Year: 2005
Tracks: 6
Phaedra 2005 Year: 2005
Tracks: 1
Kyoto Year: 2005
Tracks: 11
Jeanne d'Arc Year: 2005
Tracks: 9
Purgatorio CD2 Year: 2004
Tracks: 9
Purgatorio CD1 Year: 2004
Tracks: 9
Purgatorio CD 2 CD2 Year: 2004
Tracks: 9
Purgatorio CD 1 CD1 Year: 2004
Tracks: 9
Mota Atma Year: 2003
Tracks: 10
Inferno Year: 2002
Tracks: 18
The Keep Year: 2001
Tracks: 16
Tangering Dream (electronic collection) Year: 2001
Tracks: 14
Dream Mixes III Year: 2001
Tracks: 9
Dream Mixes Year: 2001
Tracks: 9
The Seven Letters From Tibet Year: 2000
Tracks: 7
Great Wall of China Year: 2000
Tracks: 11
The Hollywood Years Vol.2 Year: 1999
Tracks: 15
The Hollywood Years Vol.1 Year: 1999
Tracks: 15
Quinoa Year: 1999
Tracks: 3
Mars Polaris Year: 1999
Tracks: 10
Architecture In Motion Year: 1999
Tracks: 8
Transsiberia Year: 1998
Tracks: 10
Electrobeats Year: 1998
Tracks: 15
Dream Encores Year: 1998
Tracks: 12
Valentine Wheels Year: 1997
Tracks: 10
Tournado Year: 1997
Tracks: 10
Oasis Year: 1997
Tracks: 8
Electronic Orgy CD4 Year: 1997
Tracks: 19
Electronic Orgy CD3 Year: 1997
Tracks: 15
Electronic Orgy CD2 Year: 1997
Tracks: 23
Electronic Orgy CD1 Year: 1997
Tracks: 15
Dream Mixes II (TimeSquare) Year: 1997
Tracks: 7
Ambient Monkeys Year: 1997
Tracks: 12
Zoning Year: 1996
Tracks: 13
Shepherds Bush (2000) Year: 1996
Tracks: 2
Goblins' Club Year: 1996
Tracks: 8
Tyranny of Beauty Year: 1995
Tracks: 9
Heartbreakers Year: 1995
Tracks: 11
Dream Mixes I CD2 Year: 1995
Tracks: 6
Dream Mixes I CD1 Year: 1995
Tracks: 10
Turn of the Tides Year: 1994
Tracks: 8
Catch Me... If You Can Year: 1994
Tracks: 19
Rumpelstiltskin Year: 1993
Tracks: 8
220 Volts Live Year: 1993
Tracks: 11
The Park is Mine Year: 1992
Tracks: 12
Rockoon Year: 1992
Tracks: 11
Deadly Care Year: 1992
Tracks: 11
The Man Inside Year: 1991
Tracks: 11
Melrose Year: 1990
Tracks: 9
Destination Berlin Year: 1990
Tracks: 10
Dead Solid Perfect Year: 1990
Tracks: 22
Miracle Mile Year: 1989
Tracks: 11
Lily On The Beach Year: 1989
Tracks: 13
Optical Race Year: 1988
Tracks: 10
Live Miles Year: 1988
Tracks: 2
Antique Dreams (unrel.1971-88) Year: 1988
Tracks: 12
Tyger Year: 1987
Tracks: 6
Three O'Clock High Year: 1987
Tracks: 22
Shy People Year: 1987
Tracks: 9
Near Dark Year: 1987
Tracks: 11
Canyon Dreams Year: 1987
Tracks: 8
Underwater Sunlight Year: 1986
Tracks: 6
Parisian Dreams Year: 1986
Tracks: 2
Green Desert Year: 1986
Tracks: 4
Legend Year: 1985
Tracks: 11
Le Parc Year: 1985
Tracks: 9
Poland (The Warsaw Concert) Year: 1984
Tracks: 4
![Flashpoint [Soundtrack]](http://img.mp3fiesta.com/covers/10/1013/alb_121655_th.jpg)
Flashpoint [Soundtrack] Year: 1984
Tracks: 10
Flashpoint Year: 1984
Tracks: 10
Firestarter Year: 1984
Tracks: 11
Wavelength Year: 1983
Tracks: 16
Risky Business(TD only tracks) Year: 1983
Tracks: 5
Logos Year: 1983
Tracks: 2
Hyperborea Year: 1983
Tracks: 4
White Eagle Year: 1982
Tracks: 4
Sohoman Live in Sydney (1999) Year: 1982
Tracks: 5
Raetikon Year: 1982
Tracks: 3
Thief Year: 1981
Tracks: 8
Exit Year: 1981
Tracks: 6
Tangram Year: 1980
Tracks: 2
Staatsgrenze West Year: 1980
Tracks: 1
Pergamon Year: 1980
Tracks: 2
Cyclone Year: 1978
Tracks: 3
Sorcerer Year: 1977
Tracks: 12
Encore Year: 1977
Tracks: 4
Stratosfear Year: 1976
Tracks: 4
Soundmill Navigator (1999) Year: 1976
Tracks: 1
Paris, Palais du Sport Year: 1976
Tracks: 4
Rubycon Year: 1975
Tracks: 2
Ricochet Year: 1975
Tracks: 2
Phaedra Year: 1974
Tracks: 4
Green Desert (1986) Year: 1973
Tracks: 4
Atem Year: 1973
Tracks: 4
Zeit Year: 1972
Tracks: 4
Alpha Centauri Year: 1971
Tracks: 3
Electronic Meditation Year: 1970
Tracks: 5
What A Blast Year:
Tracks: 9
Without question, the recordings of Tangerine Dream have made the greatest impact on the widest variety of subservient euphony during the 1980s and '90s, ranging from the to the highest degree atmospheric new age and outer space music to the harshest abrasions of electronic dance. Founded in 1967 by Edgar Froese in Berlin, the grouping has progressed through a wide tercet dozen lineups (Froese being the merely continuous member with staying power) and four distinguishable stages of development: the experimentalist minimalism of the belated '60s and early '70s; severe sequenator trance during the mid to late '70s, the group's most influential period; an organic form of subservient music on their frequent film and studio work during the eighties; and, eventually, a more propulsive dance style, which showed Tangerine Dream with a sound quite similar to their electronic inheritors in the field of view of dance euphony.
Froese, born in Tilsit, East Prussia in 1944, was slight influenced by music spell maturation up. Instead, he looked to the Dadaist and Surrealist art movements for inspiration, as well as literary figures such as Gertrude Stein, Henry Miller and Walt Whitman. He organized multimedia system events at the hall of Salvador Dali in Spain during the mid-'60s and began to entertain the notion of combination his artistic and literary influences with medicine; Froese played in a melodious jazz band called the Ones, which recorded simply unmatchable single in front dissolution in 1967. The first lineup of Tangerine Dream formed afterward that class, with Froese on guitar, bassist Kurt Herkenberg, drummer Lanse Hapshash, flutist Voker Hombach and Charlie Prince. The quintet aligned itself with contemporary American acid rock candy (the Grateful Dead, Jefferson Airplane), and played about Berlin at versatile student events. The lineup lasted only iI years, and by 1969 Froese had recruited winding actor Conrad Schnitzler and drummer Klaus Schulze. One of the trio's early rehearsals, not in the beginning intended for release, became the kickoff Tangerine Dream LP when Germany's Ohr Records issued
Electronic Meditation in June 1970. The LP was a playground for obtuse music-making -- keyboards, several standard instruments, and a smorgasbord of household objects were recorded and filtered through several personal effects processors, creating a thin, experimentalist atmosphere.
Both Schulze and Schnitzler left for solo careers subsequently in 1970, and Froese replaced them the following twelvemonth with drummer Christopher Franke and organist Steve Schroeder. When Schroeder left a twelvemonth subsequently, Tangerine Dream gained its to the highest degree stable batting order heart and soul when organist Peter Baumann united the sheepfold. The deuce-ace of Froese, Franke and Baumann would keep until Baumann's leaving in 1977, and regular and so, Froese and Franke would compose the backbone of the group for an extra decennary.
On 1971's
Alpha Centauri and the following year's
Zeit, the trio's increased use of synthesizers and a growing chemical attraction for quad music resulted in albums that pushed the perimeter for the style.
Atem, released in 1973, lastly gained Tangerine Dream widespread attention outside Europe; influential British DJ John Peel named it his LP of the year, and the radical signed a five-year narrow with Richard Branson's Virgin Records. Though less than a twelvemonth old, Virgin had already go a major player in the transcription diligence, thanks to the massive succeeder of Mike Oldfield's
Vasiform Bells (widely known for its use in the film
The Exorcist).
Tangerine tree Dream's number one record album for Virgin,
Phaedra, was an milepost non only for the group, but for instrumental music. Branson had allowed the grouping liberate rein at Virgin's Manor Studios, where they used Moog synthesizers and sequencers for the number one metre; the termination was a persistent, trance-inducing bombardment of cycle and sound, an electronic update of the late-'60s and early-'70s classic minimal art incarnate by Terry Riley. Though mainstream critics were unsurprisingly uncongenial toward the album (it plain made no pretense to rock'n'roll & roll in whatsoever form),
Phaedra stony-broke into the British Top 20 and earned Tangerine Dream a large planetary hearing.
The follow-ups
Rubycon and the live
Carom were as well based on the pattern with which
Phaedra had been reinforced, merely the outlet of
Stratosfear in 1976 adage the manipulation of more organic instruments such as untreated pianoforte and guitar; likewise, the group added vocals for 1978's
Cyclone, a act which aggravated much criticism from their fans. Both of these innovations didn't modification the profound in a marked degree, however; their incorporation into rigid sequencer patterns continued to length Tangerine Dream from the mainstream of present-day instrumental music.
Baumann leftfield for a solo calling in 1978 (afterwards creation the Private Music label), and was replaced briefly by keyboard player Steve Joliffe and and then Johannes Schmoelling, some other important member of Tangerine Dream wHO would remain until the mid-'80s. In 1980, the Froese/Franke/Schmoelling lineup was unveiled at the Palast der Republik in East Berlin, the number one unrecorded performance by a Western grouping behind the Iron Curtain. Tangerine Dream as well performed unrecorded on TV with the Munich Philharmonic Orchestra unitary twelvemonth subsequently, and premiered their studio apartment work on eighties
Tangram.
Microphone Oldfield had shown the effectuality of victimization newfangled implemental music forms as a bed for film on
Vasiform Bells, and in 1977
The Exorcist's managing director William Friedkin had tapped Tangerine Dream for soundtrack work on his film
Sorcerer. By the clip the new batting order stabilized in 1981, Hollywood was knocking on the band's door; Tangerine Dream worked on the soundtracks to more than than 30 films during the 1980s, among them
Hazardous Business,
The Keep,
Flashpoint,
Firestarter,
Imaginativeness Quest and
Fable. If the thought of standalone electronic music hadn't entered the minds of mainstream America before this metre, the bombastic achiever of these soundtracks (peculiarly
Hazardous Business) entrenched the estimation and proved enormously influential to soundtrack composers from all william Claude Dukenfield.
Despite all the spouting betwixt Hollywood and Berlin, the grouping continued to record proper LPs and circuit the public as well.
Hyperborea, released in 1983, was their final record album for Virgin, and a move to Zomba/Jive Records signaled respective serious changes for the band during the recent '80s. After the first Zomba liberation (a live concert recorded in Warsaw), 1985's
Le Parc marked the offset time Tangerine Dream had flirted with sample distribution engineering. The function of sampled material was an significant decision to constitute for a mathematical group which had always investigated the philosophical system of sound and music with much care, though
Le Parc was a considerable success -- both fans and critics calling it their c. H. Best LP in a tenner.
Tyger, released in 1987, featured more vocals than whatever premature Tangerine Dream LP, and many of the group's fans were quite down in the mouth in their disapproval.
Schmoelling left in 1988, to be replaced by the classically trained Paul Haslinger and (for a brief time) Ralf Wadephul.
Ocular Race, released in 1988, was the first Tangerine Dream album to appear on old bandmate Peter Baumann's Private Music Records. Several more albums followed for the label, after which Haslinger left to work on composing filmscores in Los Angeles. His surrogate, and the only other permanent phallus of Tangerine Dream since, was Edgar's son Jerome Froese (whose picture had graced the cover of several TD albums in the past). Another record-label change, to Miramar, preceded the liberation of 1992's
Rockoon, which earned Tangerine Dream one of their heptad number Grammy nominations. In the mid-'90s, the music of Tangerine Dream increasingly began to reflect the group's influence on a generation of electronica and saltation artists. The duet continued to record and button live albums, remix albums, studio albums, and soundtracks at the charge per unit of about two albums per year into the late '90s. Bringing back innovation member Edgar Froese for concerts during this period, the live Inferno attested their operation of Dante's classical novel by the same name.
Juliana Hatfield
