ARIZONA LIVE

I remember in the 1970s that Tangerine Dream said that they would be, in future, using what were then known as "computer instruments" (I suppose we now know that refers to digital rather than analogue synthesisers and Mellotrons). This had at least two distinct effects: (1) a "cleaner" - or more "clinical" - sound, (2) an increase in the number of shorter, "melodic" tracks which would be faithfully reproduced onstage in the future. Unfortunately, it is now practically impossible to tell which live album a particular piece is from.

Thankfully, the "Kraftwerk - like" effect of this machine music is tempered to a large extent by Linda Spa's saxophone introducing a much more human tone. In Paul Stump's book "Digital Gothic", it is stated that Edgar Froese decided that Linda was a "much, much better keyboard player" [than saxophonist]. One gets the feeling that he may be a bit put out by the attention which she receives. Again from the 70s, I remember a music paper article in which Edgar acknowledged his youthful dislike of saxophonists when he played in bands because they always attracted the girls! Surely he's outgrown it by now? Still, the electric guitars are also used to good effect, so I'm not taking all the glory away from you Edgar. (Hey, that reminds me, I've still got the plectrum you used in Glasgow in 1975!)

"Arizona 92" doesn't really offer anything new. It is has a playlist of tracks from earlier Tangerine Dream albums and is not a 'masterpiece' in the sense of, for example, "Rubycon", but it is an excellent balance of digital synthesisers and soulful woodwind. Just a pity that they didn't employ the equivalent of a newspaper sub- editor to suggest some decent titles. I mean: "Two Bunch Palms" and "Love On A Real Train". Eh??

It also seems unlikely that we'll ever hear another truly improvised concert such as those given by Edgar, Christoph Franke and Peter Baumann. Pity