Tangerine Dream

                        Festival of Perth

President
     Emeritus Professor Fred Alexander, C.B.E.
Chairman
     Professor Robert Street
Director
     David Plenkinsop
Administrator
     Will Quekett
Press and Publicity Officer
     Sherry Hopkins
Accountant
     Phylis Gregory
Secretariat
     Kay Inges, Sheryl Nicholls, Elizabeth Paige

The Perth Concert Hall
Under the direction of
The Perth Theatre Trust
     Mr. S.W. Woods A.M. (Chairman)
     Mr. R.J. Basham
     Mr. H. Bluck A.M.
     Cr. J.D. Burston
     Mrs. J. Samson
     Cr. W.A. Silbert AM., DFC
     Cr. J.E. Watters
     Mr. N.I. Prescott (General Manager)

Concert Hall Manager
     Naomi Bourne
Assistant Manager
     Andrew Holland
Head Electrician
     Bill Young
Head Mechanist
     Les Floyd

                        Festival of Perth

    By arrangement with Peter Korda and the Peter Stuyvesant

                  International Music Festival 
                            Presents

                         Tangerine Dream

                          Edgar Froese
                        Christoph Franke
                      Johannes Schmoelling

                       Perth Concert Hall

                        26 February 1982

If the chart success of people like Gary Numan, Johnny Warman and
Ultravox is any indication, then electronic rock is the sound for
the 80s. And Tangerine Dream is way ahead of their time.

     Edgar Froese - trained artist and sculptor - formed Tangerine
Dream in 1967 after the failure of his band The Ones. Initially,
Tangerine Dream was a rock and roll outfit, although not afraid to
experiment. They gathered a strong underground following- mainly
politically-minded students rebelling against the establishments
against the past, in fact, against anything conventional. This set
the pace for the band, and they developed their 'free' music.

     Their first gig was in Berlin in January 1968 following four
months of solid rehearsal. The student uprisings of that year were
an important factor in determining the band's direction. They
performed frequently for five or six hours a night at the Berlin
Zodiac Club, where one room was totally white and the other was
totally black. In such an atmosphere it was comparatively easy to
shed all one's conditional preconceptions of music.

     However, despite a strong underground following, Tangerine
Dream was not exactly a commercial success and the band split up in
March 1969. Froese persisted with two more formations, but these
were also short-lived.  Then in November 1969 Froese teamed up with
Klaus Schulze (drums) and Conny Schnitzler (cello, flute and
violin). They made an experimental tape spiced with sound effects,
and to their great surprise this landed them a recording deal with
Ohr Musik in Berlin.  The first fruit of this relationship was
'Electronic Meditation', released in 1970. Schulze then went his
own way, and Froese recruited a guy who had a reputation for being
one of the best young jazz drummers in Germany. His name was
Christoph Franke.

     Froese, Franke and Steve Shroyder (who had replaced
Schnitzler) then recorded 'Alpha Centauri', their first vague
commercial success in Germany. Soon Shroyder left, and Froese came
across Peter Baumann playing on the Berlin club scene. The line-up
was now to be fairly stable, at least on vinyl, for the next six
years.

     In early 1972 they recorded Tangerine Dream's most
experimental work - 'Zeit'; without doubt this double album
represents their furthest departure from rock. Paradoxically in the
same time period they released their  first single 'Ultima ThuLe
Parts 1 and 2'; this was essentially high energy driving rock.
Tangerine Dream was always a group of contradictions.

     Tangerine Dream's next album, 'Atem', was crucial in terms of
gaining recognition outside Germany. British DJ John Peel chose the
import as his album of 1973, In the meantime Tangerine Dream
severed what had become very bitter connections with Ohr Records,
and signed with a new British record company- Virgin.

     In early 1974 'Phaedra', their first international release,
appeared. It must rank as one of the strangest albums ever to reach
the Top Ten in Britain. The album received no airplay except for
John Peel and Tangerine Dream had as yet not performed in Britain
nor even given any British press interviews.

     'Phaedra', success inevitably led to U K concert appearances.
Their first was in London in June, and Britain was introduced to
Tangerine Dream's tradition of not even acknowledging the audience,
and of performing in almost total darkness. This phenomenon, which
was unbroken until 1977 except for the occasional use of film or
video synthesizer, was particularly bizarre at, say a French
Festival with an audience of 50,000.  Tangerine Dream did a major
UK tour in late '74 establishing a strong popular base. It is
interesting to note that at this time the band's space-age
equipment travelled in a battered fifties Berlin furniture removal
truck with a top speed of 40 mph! Every concert at this time
consisted of total improvisation. Only in 1977 did a little
preconceived structure start to develop in their live performances. 
The end of the year saw Tangerine Dream's most notorious
performance - at Rheims Cathedral. The group's last appearance in
France had been in July 1973 at a small club near Lyon; forty
people were in the audience! At Rheims however 6,000 crammed into
the ancient building with a 2,000 capacity. The overcrowding
resulted in chaos and a certain lack of respect for the historic
place; international outrage ensued. The Pope decreed that
Tangerine Dream would never play in a Catholic cathedral again, and
that Rheims itself would have to be purified! All of this provoked
a wealth of publicity around the world for Tangerine Dream. Rheims
also marked what was to become something of a trademark for
Tangerine Dream; to try and transform selected performances into
events rather than simple concerts, particularly by the use of
unusual venues. Thus over the next two years they played at the
Roman amphitheater in Orange in Southern France, the French
communist-part sponsored 'Fete de L'Humanite', Coventry Cathedral,
Liverpool Cathedral, York Minster, and two concerts at London's
Royal Albert Hall.

     'Phaedra' meanwhile had gone gold in Australia, and Tangerine
Dream toured there in March '75 with Michael Hoenig temporarily
replacing Baumann. Here the band was plagued by equipment problems,
not the least of which was that Franke's main massive synthesizer
had been irreparably damaged during transit.

     Audience reaction was mixed.

     Nonetheless Tangerine Dream's first tour outside Europe was a
considerable experience, especially a nine-hour flight across the
Australian desert in an eight seater plane necessitated by an
airline strike.

     The next two years saw a steady build-up in Europe with
extensive touring interspersed with the aforementioned special
events and of course further albums - 'Rubycon' and 'Ricochet'. The
latter recorded live - was titled after the group's obsession with
an electronic game during a French tour. In this period Tangerine 
Dream developed a reputation for being one of the loudest groups
around, often reaching 130 DB. This fact was not totally unrelated
to the absence of any outfront mixer.  'Stratosfear' appeared in
late 1976: it was a radical departure from previous albums as it
employed recognisable instruments and melodies. To promote the
album in North America Tangerine Dream toured there in March and
April. Almost all concerts sold out, although, as usual, the group
received essentially no airplay. This tour also marked the first
time that Tangerine Dream worked with a live visual accompaniment
- laser effects by Laserium.  A lot of hopes of reaching a wider 
audience in the USA hung on a movie called 'Sorcerer' (in Europe it
was titled 'Wages of Fear'), directed by William Friedkin whose
track record included 'The Exorcist' and 'The French Connection'.
At his request Tangerine Dream had recorded the soundtrack before
filming actually began so that he could shoot in relation to the
music. Unfortunately the movie did not emanate the success of
Friedkin's previous efforts - in fact it was a box-office disaster,
although critics now agree that the film and the music had very
considerable merit. The soundtrack album is interesting as it
consists of short pieces, showing Tangerine Dream at their most
disciplined.

     Another blow was the sudden curtailment of Tangerine Dream's
second North American tour in July '77 after only two concerts,
when Froese suffered an equestrian accident. Shortly thereafter
Baumann left the band to pursue a solo career.

     Froese and Franke, who still remain the nucleus of Tangerine
Dream, added Steve Jolliffe (vocals, keyboards and wind
instruments) and Klaus Krieger (drums) thus the band was a foursome
again. This line-up recorded 'Cyclone' which was followed in March
1978 by a massive soldout European tour, once again featuring
Laserium, but also incorporating exclusive lighting effects.
Perhaps the most remarkable aspect of this tour was that it marked
Tangerine Dream's final breakthrough in terms of popular
recognition in their own country, Germany. The addition of vocals
however was very much a mixed success, and the experiment has not
been repeated.

     1979 was largely a year of solo projects and experimentation,
excluding the release Force Majeure, a more traditional album than
its predecessor. In February 1980, after over a year of
negotiations, Tangerine Dream became the first western rock band
ever to play live in East Germany. It was particularly significant
given that Tangerine Dream is from West Berlin. The band played two
concerts in the Palast de Republique in East Berlin. Tickets were
changing hands for up to $100 on the black market.  The East German
concert introduced Tangerine Dream's new member Johannes
Schmoelling, who is also featured on 'Tangram', the last album in
their long and distinguished career. 'Tangram' marks the band's
entrance into its second decade of recorded music. The album
features just the title track over the two sides and continues
Tangerine Dream's facility for making sensuous symphonic electronic
music.

     Popular music is notorious for elevating, before tearing down
its artists within a short time-span. Tangerine Dream, in turn the
darlings and scapegoats of the media, have more than survived. They
have continuously proved themselves innovative and prepared to
operate with a high element of risk. Always single-minded in the
pursuit of their own musical direction, Tangerine Dream are far
beyond the whims of fashion.