Notes

Livemiles Part 1 is indexed at the following points on the Jive release:

(1) 0'00" (2) 14'20" (3) 19'41" (4) 24'52"

In addition, for convenience we index Parabola at the following points:

(1) 0'00" (2) 3'04"

Almost all of the Berkeley show has been released on Rockface, except that the track "Parabola" has been edited to disguise an unrecorded section when the tapes were being swapped.

1. A pretty much faithful rendition. The end is overlaid with the Legend 'Pan Pipe' patch, in order to create a segue.

2. Again, pretty faithful, although there is an additional top line and other harmonic devices, and the percussion is arguably more forceful. The track was also sometimes (e.g. Washington DC) played with an extra bass line. Towards the end there is a brass timbre which continues into the next track.

3. Harmonically richer than the studio version, perhaps to compensate for the absence of vocals, but still close to the original, more so than the Berlin 1987 version.

4. A compacted version of the studio release. The first section is shortened to about one and a half minutes, the second to about two and a half minutes, and the remainder of the track is absent. There is a new ending (in order to finish the track early); this ending does not lead into the next piece.

5. This is a piano solo by Ralf, and appears to be the same from show to show. The first minute is unreleased music (not improvised), and thereafter there are quotations from "Canyon Voices", "Ricochet Part Two" and "Song Of The Whale Part Two". After three minutes we return to the original opening music.

6. This is basically the Tangents version. The track "Phaedra of Nottingham" is from this tour also; while the track was played in Nottingham, it was not followed then by "Livemiles Part 1 (2)" as it was during this tour.

7. More or less faithful to the original, with a few extra timbres at the end of index 2, a new percussive sequence at the beginning of index 3, and another throughout the bulk of index 3. There is a different series of chords at the end here, enabling seamless segueing to the following track.

8. Originally this was Logos (3) (during the 1982 Europe tour), but this version is as appears on Tangents.

9. A slow, percussionless piece in the Optical Race vein, typified by the breathy samples that it utilises. This is a short piece, essentially devised as a bridge into the next piece, which is more substantial.

10. (8803) A piece which, to the authors' knowledge, has never been released, but which has a familiar sound to it. In many ways the track is most reminiscent of Vangelis' "I Hear You Now". Both pieces are slow and in 4/4 time, with a similar melody and rhythm section. Naturally this track is based around Optical Race timbres and effects.

11. A piece which opens with just a fast, high sequence (the staccato "ping" used ubiquitously on Optical Race), joined after one run-through by a bass line and side effects. High tempo stuff, which leads momentarily into a rhythmically syncopated short section, which then evolves into high-speed sequencer work ("ping" again) before returning to the initial motif. The last four minutes of the track are reminiscent of "Iguana" from the i-box.

12. A piano solo, this time by Paul, but this one contains no references to earlier TD works. In fact, strictly this isn't a solo, because there other instruments join in as we progress through the piece - firstly a glockenspiel sound, creating a childlike quality, then some background chord padding and a bass line.

13. This piece starts with no segue from the previous track, beginning with just soft percussion, chord padding and a sparse bass sequence. These then give way to standard 4/4 hard drumming and a guitar solo part. After 2'45" the time switches to 6/8, and there is the occasional fill with a descending staccato "ping" sequence. A minute of this and it's back to 4/4 for another two minutes, then back to 6/8 and more descending sequence fills for another minute or so. Finally the piece fades out to traffic noises which last for about a minute. These resolve into the "sucking" noise that begins the next track.

14. Pretty close to the released version, albeit with a couple of extra melodic lines for emphasis. The live version is about a minute shorter than the album version (excluding the bridge at the end). The link to the next track is a gong sound and some atmospheric chords, which last for about 45 seconds.

15. Quite similar to the album version, although there is some additional harpsichord backing in the introduction. The middle 'chorus' has an improvised line played on the top. A string sound bridges into the next track.

16. Close to the album version, though about half a minute shorter (taken, seemingly, from the end). During the middle section there is some rhythmic improvisation.

17. An octapad (sort of electric bongo) solo. The last chord of the previous track holds on for a short while, in order to link, but that disappears after not long to leave the bongos on their own. The solo is, in fact, quite tight rhythmically, being quite disciplined in 4/4 time. It ends with echo on the last bongo tap.

18. Faithful, though very slightly shorter than the released version.

19. Indistinguishable from the released (LP) version, and almost precisely the same length, down to the second.

20. The full title of the piano piece is "Beethoven - Sonata No. 8 in C minor, Op. 13 'Pathetique'" (also applies to the track below). The "Canyon Voices" part is slightly different from the album version. Firstly, the track opens with the harpsichord patch playing the melody and a bass note playing on the on-beats only. After running through the melodic phrase once the background sequences enter. Secondly, the track uods by the sequences fading out quickly and a final thumping bass note.

21. In the "Sun Gate portion", there is a new "pan pipe" effect, amongst others, but otherwise it sticks quite closely to the album version.

22. "The Midnight Trail" is about half the length of the album version.

23. Appears to be the same as the album, including the length.

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All timings rounded to nearest 15 seconds and include bridges following song (if any).

Tour personnel: Edgar Froese, Paul Haslinger, Ralf Wadephul.

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