Tangerine Dream‘s second live album, this time a double, would also be the final album of the Froese-Franke-Baumann line-up. It was recorded during the band’s North American tour of March-April 1977. Unlike Ricochet, which though technically a ‘live’ album had basically no audience presence, on Encore the audience makes their presence known at certain points, lending the recording proper live ambience. I think this album probably will hold its greatest appeal for those who picked it out of its chronological context with the other 70s albums. If you did track the band’s output chronologically, chances are that by the time you reach Encore, you may find it to be redundant with what came before (though on the other hand, perhaps you might find it to be this line-up’s grand summary statement of that style). The main idea is yet again ‘C minor with modal soloing.’ Sticking to this key (or A and E, two other alternatives), according to Edgar Froese, was a requirement of their equipment at the time. However, for anyone who has Rubycon, Ricochet, Stratosfear, and Sorcerer in their collection, this sounds pretty much well-exhausted by this point. To this foundation, the band provides different add-ons and variations (e.g., most of the tracks open up with spacious prelude improvisations) to provide some color.
Cherokee Lane” is probably the most conservative of the four tracks in terms of duplicating previous work
Joe McGlinchey –
Tangerine Dream‘s second live album, this time a double, would also be the final album of the Froese-Franke-Baumann line-up. It was recorded during the band’s North American tour of March-April 1977. Unlike Ricochet, which though technically a ‘live’ album had basically no audience presence, on Encore the audience makes their presence known at certain points, lending the recording proper live ambience.
I think this album probably will hold its greatest appeal for those who picked it out of its chronological context with the other 70s albums. If you did track the band’s output chronologically, chances are that by the time you reach Encore, you may find it to be redundant with what came before (though on the other hand, perhaps you might find it to be this line-up’s grand summary statement of that style). The main idea is yet again ‘C minor with modal soloing.’ Sticking to this key (or A and E, two other alternatives), according to Edgar Froese, was a requirement of their equipment at the time. However, for anyone who has Rubycon, Ricochet, Stratosfear, and Sorcerer in their collection, this sounds pretty much well-exhausted by this point. To this foundation, the band provides different add-ons and variations (e.g., most of the tracks open up with spacious prelude improvisations) to provide some color.
Cherokee Lane” is probably the most conservative of the four tracks in terms of duplicating previous work