Tangerine Dream

24db wrote:Talking of the RAH I've recently read that TD's gig there in 1976 was half empty...so it looks as if TD were finding it hard selling tickets even then

Don't forget, the Astoria 2007 gig was only half full as well!

Hobo wrote:

24db wrote:Talking of the RAH I've recently read that TD's gig there in 1976 was half empty...so it looks as if TD were finding it hard selling tickets even then

Don't forget, the Astoria 2007 gig was only half full as well!

true...but the person who told me this isn't a grizzlie

24db wrote:

Hobo wrote:

24db wrote:Talking of the RAH I've recently read that TD's gig there in 1976 was half empty...so it looks as if TD were finding it hard selling tickets even then

Don't forget, the Astoria 2007 gig was only half full as well!

true...but the person who told me this isn't a grizzlie

Although I wouldn't wish Edgar and Co. a poor turn-out, I rather like being able to move freely at the gigs.

It certainly can help when carrying the beer

epsilon75 wrote:It certainly can help when carrying the beer

It was odd to wander about at the back of the hall during the gig, a bit distracting I think, but it was nice to see TD's equipment (Sound and lighting)

March 1975. I was 16 years old. Alan Freeman played the first few minutes of 'Rubycon Part 1' on his Saturday afternoon BBC Radio 1 show.
I was so impressed, I immediately got the tube down to the Royal Albert Hall to buy a ticket (50p) for the TD show on 2nd April.

My seat turned out to be almost in the roof of the venue - I had an almost birds eye view over Michael Hoenig's set up and could see just how much the success of this gig was due to his playing.

I took along my mini-cassette recorder and recorded the gig (only to have the tape stolen a few years later), but I remember quite well John Peel's introduction.

He came on and in his typical dry fashion announced (something like) "I've been looking at the kinds of alternative entertainment on in London tonight. If you'd gone to the Astra, Piccadilly you could have seen 'Naughty Nurses' and 'S*x Clinic'. If you'd gone to the ABC, Wardour Street, you could have seen 'Truck Stop Women' and 'When Girls Undress'..." He continued with a similar list before concluding ...but all in all I think you've made the best choice in coming here. So would you please welcome ... Tangerine Dream".

It's a pity the full speech isn't included on 'Bootleg Box Set Vol 1'.

Peter Beasley wrote:March 1975. I was 16 years old. Alan Freeman played the first few minutes of 'Rubycon Part 1' on his Saturday afternoon BBC Radio 1 show.
I was so impressed, I immediately got the tube down to the Royal Albert Hall to buy a ticket (50p) for the TD show on 2nd April.

My seat turned out to be almost in the roof of the venue - I had an almost birds eye view over Michael Hoenig's set up and could see just how much the success of this gig was due to his playing.

I took along my mini-cassette recorder and recorded the gig (only to have the tape stolen a few years later), but I remember quite well John Peel's introduction.

He came on and in his typical dry fashion announced (something like) "I've been looking at the kinds of alternative entertainment on in London tonight. If you'd gone to the Astra, Piccadilly you could have seen 'Naughty Nurses' and 'S*x Clinic'. If you'd gone to the ABC, Wardour Street, you could have seen 'Truck Stop Women' and 'When Girls Undress'..." He continued with a similar list before concluding ...but all in all I think you've made the best choice in coming here. So would you please welcome ... Tangerine Dream".

It's a pity the full speech isn't included on 'Bootleg Box Set Vol 1'.

My favorite ever concert Peter,it must have been an awesome experience being there

Peter Beasley wrote:March 1975. I was 16 years old. Alan Freeman played the first few minutes of 'Rubycon Part 1' on his Saturday afternoon BBC Radio 1 show.
I was so impressed, I immediately got the tube down to the Royal Albert Hall to buy a ticket (50p) for the TD show on 2nd April.

My seat turned out to be almost in the roof of the venue - I had an almost birds eye view over Michael Hoenig's set up and could see just how much the success of this gig was due to his playing.

I took along my mini-cassette recorder and recorded the gig (only to have the tape stolen a few years later), but I remember quite well John Peel's introduction.

He came on and in his typical dry fashion announced (something like) "I've been looking at the kinds of alternative entertainment on in London tonight. If you'd gone to the Astra, Piccadilly you could have seen 'Naughty Nurses' and 'S*x Clinic'. If you'd gone to the ABC, Wardour Street, you could have seen 'Truck Stop Women' and 'When Girls Undress'..." He continued with a similar list before concluding ...but all in all I think you've made the best choice in coming here. So would you please welcome ... Tangerine Dream".

It's a pity the full speech isn't included on 'Bootleg Box Set Vol 1'.

50p? what a rip off



welcome to the forum Peter...nice info btw

Nice to have you here Peter - thanks for the account - I love hearing how it was back in those classic days

The legacy of the RAH 75 show is enhanced by the fact that it was so excellently recorded by the BBC ( Radio 3 Outside Broadcast engineers). It's criminal that it took 28 years before an official release.

Some of you will know that the second and third pieces from the concert were broadcast (in mono) on BBC Radio London just a few weeks after the show along with a post-gig interview with Edgar, Chris and Michael.

Peter Beasley wrote:The legacy of the RAH 75 show is enhanced by the fact that it was so excellently recorded by the BBC ( Radio 3 Outside Broadcast engineers). It's criminal that it took 28 years before an official release.

Some of you will know that the second and third pieces from the concert were broadcast (in mono) on BBC Radio London just a few weeks after the show along with a post-gig interview with Edgar, Chris and Michael.

This one:

BBC RADIO Interview Extract.
Interviewer-Take Rubycon for instance.

Chris Franke-"For that recording we used special possibilities which are only possible in a studio, to make over-dubbing's of tape loops, to make things backwards, that are impossible on stage. In fact we make different music on recordings and on stage because we use the whole studio as an instrument and we use the tone engineer as a musician."

I-What about the stage effect Edgar? If you like it was a very low-key concert, the lighting was low, never at any time did you in fact show yourselves to the audience. Is this important"?.

Edgar Froese-"It is important. One ‘possibility’ is to make a so called 'well known entertainment' where somebody is doing something on stage and the same when he is making music. The other way and that's the way we are working, is to work only for the music and with the music and try in that way to show the people that we are only interested in the music. For us it's important with which one we are doing, that we know ourselves very well and that we know each other ‘inside’ the group very well. But that's not so important for the audience; for the audience it's important to listen to a pure sound and so it's not necessary for the audience can see what trousers I have and if my partner on the left has washed his hair or not, that's the point. I believe a concert has to be a concert and not more and not less."

I-In an ideal situation, how would you like the audience to react to a concert or react to a record of yours'?.

Edgar Froese-"It's a situation where we don't want to teach anyone, to say they have to react in that or that way; when a concert is bad and nobody is clapping (then) I think that it's right and if the concert is good and all the people are very enthusiastic and clapping that's ok to. We don't want to make a music like a program, like you work out something...you work in at the same time in which way the audience has too react. Like I do a big jump over the stage and all the audience is laughing about that and I know that before, I think that's stupid, it's silly. It's not music anymore."

Chris Franke-"So the ideal situation we want the audience to just concentrate."

I-"Is it necessary to concentrate, Would you prefer this, as to people say just sitting back and thinking about other things and just letting the music kind of wash over them."

Edgar Froese-"The main point is that we try to show them, not to teach them, to show them that it's really necessary to concentrate yourself in each situation in your life. Not only new music, that during a concert we try to show them, ok. Try to concentrate in the concert, but maybe when they would leave the concert, maybe they have understood that it's necessary, if you want to get something, to understand something in a right way that you have to concentrate yourself before."
April 2nd 1975

Have you got the full transcription where Michael Hoenig talks about equipment?

Peter Beasley wrote:Have you got the full transcription where Michael Hoenig talks about equipment?

No, typically my tape ends there. I wasn't even aware that Michael was present at the interview.

Cheers for the information, it's always useful

I have the full version. I'll transcribe it when I have time.

Peter Beasley wrote:I have the full version. I'll transcribe it when I have time.

excellent, many thanks

andy