“But wait.” You get up and begin pacing the room. Obviously, all this comp needs to contain is the greatest music said act has ever produced. You’ve busted out the blank tape or labored with multiple alternate playlists, assembling your own “best of” for a coworker, pal, or some hottie you’re trying to get into the sack. If you’ve ever loved an obscure band, then you have probably come across this challenge yourself. The Edgar Froese solo releases are generally excellent and should be considered an essential part of the puzzle.It’s remarkably difficult to put together a really good compilation. The last thing the band needed was to start sounding like some kind of electronic tribute band version of Heart with lots of widdly woo guitars and saxophones. Optical Race, Miracle Mile, Destination Berlin, Melrose, Lily On The Beach, Canyon Dreams - lots of shorter, punchy tracks that sound somewhat generic, even characterless, and the last one of any note is Canyon Dreams, which was recorded at the end of Franke's tenure but released a number of years later.Īfter that, I gave up with the tasteless garbage that was Rockoon and Volt 220. Livemiles is the final recording with Franke, two side long epics that tapped into the same DNA as Poland, and the last one I would recommend unreservedly. Le Parc, Legend, Green Desert, Underwater Sunlight, Near Dark, Shy People, Tyger, Livemiles - aside from Tyger, which is irredeemably awful with unsuitable vocals stolen from a cutprice Bonnie Tyler, these are the beginning of the end, with a high number of short, punchy, almost jingle type tracks and atmospheric soundtrack stuff. Poland - the last genuine classic to my ears, 4 side long pieces that flowed beautifully. The Keep, Das Madchen Auf Der Treppe, Wavelength, Risky Business, Firestarter, Flashpoint- lots of soundtrack albums at this point, short, largely atmospheric tracks built on fragments of melody, high on atmosphere, probably not the best place to start as they were made quickly for money and sometimes it shows. Side 2, instrumental, is much, much better.įorce Majeure, Tangram, Quichotte (also released as Pergamon), Thief, Exit, White Eagle, Logos (live) Hyperborea - an evolution from the previous with more, shorter, more distinct tracks and perhaps more dated as the band were using more commonly available equipment So much so I've re-edited it to take the vocals out, which improves it dramatically. This material is a long mopre melodic and rhythmic, with bass, drums, and even riffs.Ĭyclone - side 1, with vocals, is atrocious. Phaedra, Rubycon, Ricochet, Stratosfear, Sorcerer, Encore (live) - every one a classic : the live albums (up to around 1992) were comprised of almost entirely new material, so as essential as any studio album. 'Virgin Years' : for the next 15 or so years, TD specialised in side long instrumental epics that were, mostly, several songs that melded into and out of each other. Imagine an album made of nothing but the first three minutes of "Shine On You Crazy Diamond" and you're there. Though that era is 16 years and about 44 albums! More than enough to keep most people satisfied.Ītem, Alpha Centuri, Zeit - classic ambient, most without rhythms, built on long, undulating textures of sound.
The period with Chris Franke as member - ending chronologically with LiveMiles- is the only era I love. The golden era runs 1971-1989 (or so), and nothing later than Canyon Dreams. They don't have a 'best' album as such, as picking 1 out of 150 or so is practically impossible. It's very long and in German, but that's the way it is My master keyboard was a Roland RD100 and I also used the piano sound from it.
But I know that the drum sounds were from the Novation Drumstation, a rack module with TR808 and TR909 sounds but without the internal sequencer of those drummachines. I can't remember what synths I used other than they were outboard hardware synths and no vstis, but I owned the following during those times : Access Virus a, Korg 01wfd, Kawai K5000r, and several of the Roland M-**1 modules that were based on their expansion boards for the JV 2080. Those I programmed using Notator's Event editor that could be used as an excellent drum editor as well. The instruments I mostly played and recorded them with Notator, except for the drums. The vocals I recorded directly to the tapemachine of course. I recorded all the midi stuff on the Atari and transferred it to the multitrack prior to mixing. I had a Micon Audio synchronizer to sync the Atari with a 24 track Tascam tapemachine. This track I recorded ca 2001 using Notator on an Atari. Click to expand.Speaking of Notator on Atari:
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