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PostPosted: Mon Jan 11, 2016 12:36 am 
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Location: Kristiansand, Norway
1985: Schmoelling out
1986: Haslinger in
1987: Franke out
1988: Wadephul in and out
1990: Jerome in, Haslinger out

Nevertheless, the band releases a studio album EVERY year, scores TWENTY film or TV projects, and tours extensively in 86, 88 and 90.

Musically, 85-90 is one of my favorite periods!

But man, Edgar must have totally worked his butt off during those years, trying the keep the band together. I wonder what the book may have to say about it.

What do YOU think?


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PostPosted: Mon Jan 11, 2016 4:17 am 
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Quite often, Edgar showed himself to be deeply philosophical. He was apparently interested in Zen, so he must have understood that change is inevitable and that nothing lasts forever. Of course, Edgar was also very human, so tensions with certain bandmates undoubtedly made it easier for him to accept their departures. I'm not sure how candid the book will be about these sensitive issues. Even for myself, I would probably gloss over some of my more unpleasant experiences with people while writing my autobiography.

Just my two cents.


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PostPosted: Sat Jan 16, 2016 3:18 pm 
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Maybe Edgar won't mention Franke at all in the book... :o


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PostPosted: Tue Jan 26, 2016 5:58 pm 
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TD needed a revolving door during this period !!


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PostPosted: Thu Jan 28, 2016 7:12 pm 
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My understanding is that Edgar took on more of a management role from the mid-80s and left much of the composing side to Haslinger (esp. Optical Race, Lily on the Beach, Melrose).

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PostPosted: Fri Jan 29, 2016 12:37 pm 
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Jon wrote:
[...] What do YOU think?


Not sure what to make of this. A steady come and go would be perfectly natural in the evolution of a band -- if something of musically and artistically lasting value comes out in the end.

Either, it was showing a band in a state of change, desparately looking for new directions, or band members being tired of monomaniacal behaviour of the band leader, limiting their own creativity.

To me, it always sounded like a total loss of musical direction and flogging dead horses -- now we've got this vehicle called Tangerine Dream, what are we to make of that?.

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"Den Brüdern trau ich nicht. Den Brüdern trau ich nicht! Kommt alles vom Tonband." (Edgar Froese -- Signale aus der Schwäbischen Straße)


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PostPosted: Fri Jan 29, 2016 1:58 pm 
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projekt-elektronik wrote:
Jon wrote:
[...] What do YOU think?
To me, it always sounded like a total loss of musical direction and flogging dead horses -- now we've got this vehicle called Tangerine Dream, what are we to make of that?.

We're all different. To me these years resulted in some of my favorite albums ever.

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PostPosted: Fri Jan 29, 2016 3:34 pm 
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Each to his own.

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"Den Brüdern trau ich nicht. Den Brüdern trau ich nicht! Kommt alles vom Tonband." (Edgar Froese -- Signale aus der Schwäbischen Straße)


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PostPosted: Sat Jan 30, 2016 6:12 pm 
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Peter Beasley wrote:
My understanding is that Edgar took on more of a management role from the mid-80s and left much of the composing side to Haslinger (esp. Optical Race, Lily on the Beach, Melrose).


Well, Haslinger has always said that it was not possible to "beak free and move around at will" during his time in TD, so I doubt he had so much freedom as writing music on his own.


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PostPosted: Sat Jan 30, 2016 6:14 pm 
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projekt-elektronik wrote:
band members being tired of monomaniacal behaviour of the band leader, limiting their own creativity.


This is what Haslinger felt, at least to a certain degree.


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PostPosted: Sat Jan 30, 2016 9:13 pm 
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Jon wrote:
projekt-elektronik wrote:
band members being tired of monomaniacal behaviour of the band leader, limiting their own creativity.


This is what Haslinger felt, at least to a certain degree.

Where did you get this information from Jon?


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PostPosted: Sun Jan 31, 2016 11:42 pm 
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From interviews he has given through the years. I have also interviewed him myself.

There was never any bad blood between Paul and Edgar, but it was as a solo artist that Paul could make the music that he wanted. For better or worse..


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PostPosted: Mon Feb 01, 2016 9:09 pm 
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Jon wrote:
From interviews he has given through the years. I have also interviewed him myself.

There was never any bad blood between Paul and Edgar, but it was as a solo artist that Paul could make the music that he wanted. For better or worse..


It has always disappointed me that Haslinger never produced a string of excellent solo albums. Look at the fantastic solo efforts from Baumann, Schmoelling and to some degree Franke after they left the band.
Jon, are you willing and able to put a link on the Forum to your interview with Haslinger?


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PostPosted: Tue Feb 02, 2016 5:43 pm 
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I interviewed him for E-dition Magazine many years ago. That interview is not online.

But lots of other Haslinger interviews are online.


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PostPosted: Fri Dec 23, 2016 4:20 pm 
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Quote:
1985: Schmoelling out
1986: Haslinger in
1987: Franke out
1988: Wadephul in and out
1990: Jerome in, Haslinger out

Nevertheless, the band releases a studio album EVERY year, scores TWENTY film or TV projects, and tours extensively in 86, 88 and 90.

Musically, 85-90 is one of my favorite periods!

But man, Edgar must have totally worked his butt off during those years, trying the keep the band together. I wonder what the book may have to say about it.

What do YOU think?


I think the non-stop, relentless, heavy work load was exactly why there were so many line up changes in this period. As I said before, Edgar took on more of a business managerial role and left the majority of the composing to others. Also, the compositions that Edgar did provide tended to be less complex (fewer and simpler chords, no key changes) than the writing of Schmoelling and Haslinger for example. If the band had taken a year off (say 1985-86) it's quite possible that Schmoelling and Franke would've stayed longer.

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