In 1972, the double album "Zeit" came out, and this can be said to be Tangerine Dream's longest step away from the rock-orientated music.
15 years later, in 1987, "Zeit" was released on CD for the first time. While the UK release had a total different cover design, originating from the boxed set "In The Beginning" and music material, shortened by about two minutes to fit on the CD, the USA release featured the reworked original cover artwork and the complete music material on two CDs.
The sound of the two releases is also strikingly different, the original Relativity release having a much brighter and more detailed sound and is slightly longer by a few seconds, mainly because of longer inter-track gaps.
The double CD set has a light blue border on the front and back covers.
"Zeit" (German: Time) is the third album by Tangerine Dream. A double LP, it was the first release featuring Peter Baumann, who joined Chris Franke and Edgar Froese.
The style of this album is slower and more atmospheric than TD previous albums. Its atmospheric drone music tone is similar to ex-member Klaus Schulze's solo album "Irrlicht" (released the same month) as it stemmed from a common idea that Schulze and Froese couldn't agree on and parted ways about. Florian Fricke from the Munich-based group Popol Vuh, playing Moog synthesizer, and four cellists appear on the first track. The album cover depicts a solar eclipse.
The Dream Roots Collection is a five-disc retrospective of Tangerine Dream's career, including one disc of previously unreleased material. All of the material on the collection has been remixed and reworked by Edgar Froese and his son Jerome, and while these remixes might not be historically accurate, they nevertheless retain the essence of the original versions, making the box an intriguing journey through the group's past. While the set is too extensive for casual listeners, hardcore fans will find the new mixes and rarities fascinating, making the set a worthwhile addition to their collection.
The most surprising release of 2003 for every Tangerine Dream fan was most probably The Bootleg Box Set Vol. 1. Sanctuary Music, well known for their numerous re-releases of TD material of the Pink and the Blue Years era, had been very successful with a series of bootleg boxes by ELP and approached Tangerine Dream for the same type of thing. Since they wanted old material and were pressing to get these boxes into the pipeline as swiftly as possible, TD could not go into the process of scanning their own archives and restoring old tapes. So they chose to use readily available bootleg sources for the first two planned sets…
Quinoa is a set of rare and previously unreleased material from Tangerine Dream. "Voxel Ux" was composed for a website competition in 1996. "Quinoa" was available to fan-club members only. It was a limited-edition (1,000 copies) release in 1992. "Lhasa" is the first of seven movements in Tangerine Dream's Tibetan cycle. This CD is the classic Tangerine Dream sound with heavy sequences and dense atmospheres. Saxophone riffs are an added bonus. Tangerine Dream fans and e-music lovers will like this disc a lot.
A rather confusing package for those with a newfound interest in Tangerine Dream, The Essential Tangerine Dream might appear to be a three-in-one compilation by glancing at the front, since it lists three titles - two of which happen to be title tracks of Tangerine Dream albums - seemingly picked at random. As it is a single-disc compilation that features full-length versions of tracks by a band that thrived in the ten- to 20-minute format, the set is more like a sampler than an all-encompassing anthology designed to satisfy the curious. That said, this is an excellent sampler, one that should spark further interest in the group's deep discography.
Underwater Sunlight was the first album Paul Haslinger recorded with Tangerine Dream and his presence is immediately felt. With Haslinger, the group relied more heavily on strict structures and jarring compositional flourishes, which is only appropriate, since he came directly from a classical background. The group hadn't quite figured out how to fully incorporate these techniques into their music, but the results on Underwater are nevertheless fascinating.
The material of this album was composed during Tangerine Dream's North American tour back in August/September 1988. Weeks after weeks in tourbusses, planes, hotels and various locations gave the two guys here the opportunity to get musically into something different off stage. The plan was to release the stuff as an on and off the road album later in the year. The road feeling as well as the summertime in the states had been a strong influence for these compositions. The album was completed while hanging out after the tour at a friend's place in LA. Because of various reasons the album had a delay for over about seventeen years before it now will be presented to the public…
Stratosfear, the last Tangerine Dream album by the great Baumann/Franke/Froese threesome, shows the group's desire to advance past their stellar recent material and stake out a new musical direction while others were still attempting to come to grips with Phaedra and Rubycon. The album accomplishes its mission with the addition of guitar (six- and 12-string), grand piano, harpsichord, and mouth organ to the usual battery of moogs, Mellotrons, and e-pianos. The organic instruments take more of a textural role, embellishing the effects instead of working their own melodic conventions. Stratosfear is also the beginning of a more evocative approach for Tangerine Dream…