1. Waterborne 6'15"
2. Betrayal 3'
3. Poland 7'
4. Sundance Kid 7'
5. Silver Scale 6'30"
6. Warsaw In The Sun 5'15"
7. Stratosfear 95 8'30"
8. Dolphin Dance 6'15"
9. Le Parc 4'
10. Beach Theme 5'30"
11. 9701 3'45"
12. Flash Flood 7'45"
13. 220 Volt (Big Volt Mix) 8'15"
14. Firetongues 7'15"
15. Two Bunch Palms 5'30"
17. Rising Haul in Silence 7'45"
18. Lamb With Radar Eyes 7'45"
19. Touchwood (The Forest Mix) 7'45"
20. TimeSquare 8'45"
22. Towards the Evening Star 6'15"
The brief (seven-date) U.K. 1997 tour followed the more extensive European tour of earlier in the year. The track list was kept roughly the same with some exceptions - a chunk of "Poland" substituting for "Diamond Diary"; the addition of "Beach Theme" closing the first set in place of "Blue Bridge"; the substitution in the second set of "Girls on Broadway" with "Two Bunch Palms"; the "TimeSquare" second-set closer (bumping out "Towards The Evening Star"), and the reconfiguration of some encores (to which "Towards The Evening Star" was relegated).
[Compilers' additional note: The Valentine Wheels CD is a faithful, unretouched representation of the first set of the U.K. tour. Thus, we won't belabour the obvious by referencing Valentine Wheels constantly on tracks 1 to 10. Note, however, that our timings for the first set don't correspond exactly to the discrete track times on Valentine Wheels because of the bridges between tracks we include in the timings.]
The first set (the vintage set) can be heard on Valentine Wheels, and is quite similar to that in the rest of the European tour. The second set is virtually unchanged, with only Towards The Evening Star replaced by TimeSquare.
1. Follows the lines of the Oasis version, not the truncated version played on the 1992 North America tour - that is, after the halfway point, it doesn't shift into next-track bridge music. Guitar accompaniment is much more strident than in 1992 or on the studio release; here, it essentially is the dominant instrument of the lead melody. As with most tracks played live on this tour, also augmented by subtle effects trills.
2. Very much along the lines of the 1990 U.K. tour remix, but with a more aggressive lead-melody overlay. Not followed, as was usually the case in past tours, by the slight remix of "Diamond Diary."
3. An excerpt from the end of the track. Essentially faithful to the original, but with some interesting sound effects (including a unique one that sounds vaguely like a cash register) and subtle background tonal overlays.
4. Here, the backing track is much the same as the live/studio (take your pick) version on 220 Volt Live, but with the addition, as usual, of some subtle (and not-so-subtle) new voicings and lines atop the mix, notably a front-and-center sound effect that might be described as a "large spring gone mad". (It's especially forward in the mix on Valentine Wheels, less noticeable on the audience recordings.) The start of the track on the 220 Volt CD is a studio construction and was not played live. (It also was not played live in 1992, when this track made its debut.)
5. The lead-in bridge is an approximation of the start of the track on Tangents, and it carries on the melody in a vaguely horn-like voice as the familiar backing sequencer rhythm fades in. A very lively interpretation of this live favorite, with added effects aiding in the build-up to the all-out rhythm part. A notable addition is a brief bit of bagpiping (!) during the lead-up, strangely panned on Valentine Wheels. The fast rhythmic part is much shortened from the early-'80s live rendition (as it was in the European tour earlier in the year), but with many sonic highlights added.
6. Like the previous year's London show rendition, quite faithful to the CD version. Here, the additions are mostly insignificant - the most notable one is a choir-voice backing in parts.
7. The version on Tyranny of Beauty; some of the (few and far-between) non-guitar portions are filled with improvised synth-melody (and the now-ubiquitous synth-voice that sounds like a choir chanting the word "Allez"). The guitar work is much looser and more "let it all hang out" in style than on the studio version - indeed very little of the track is guitar-less.
8. The bridge leading into this track - another live favourite - cleverly presages the well-known "Dolphin Dance" melody. Not heavily altered from the version on Underwater Sunlight but for a few synth tones overlaid throughout to give the song a more textured feel. The "electric guitar" melodic passage seems to be exactly the same as the studio version, so this line was clearly not played live.
9. The percussive bridge preceding this track presages the familiar "Streethawk" melody, as in the European tour. The backing track is studio-faithful, with some "windy" noises and other flourishes overlaid to give it a more frenetic feel.
10. Here, the "Beach Theme" backing track sounds tonally somewhat different from the studio soundtrack version, indicating that the song was recomposed for this, its first and only live roll-out. The guitar lead (here by Zlatko Perica) is more pervasive, comes in earlier, and follows slightly different lines than the studio version's. The bridging music leads directly into the song's full-on rhythmic part without the studio version's intro.
18. A slightly different mix from the Goblin's Club version, more as it appears on Tournado. A slightly altered groove at the middle of this track radically improves this version of "Lamb With Radar Eyes" over the Goblin's Club version.
20. Follows the same lines as the studio version, but with much more obtrusive/prominent guitar accompaniment. The soaring lead line evident on Dream Mixes 2 is hardly to be heard live. The middle part also sounds a bit more spartan than on the studio release.
All timings rounded to nearest 15 seconds and include bridges following song (if any).
Tour personnel: Edgar Froese, Jerome Froese, Zlatko Perica, Emil Hachfeld.
Timings based on Valentine Wheels, Nottingham and Glasgow concerts.
|ENCORE SUMMARY: UK Tour 1997|
|Tapes ignored: Glasgow|
|SHOW SUMMARY: UK Tour 1997|
|Date||City and Venue||Longest Known Tape||Source||Avg. Quality Rating|
|29.10.97||Bristol Colston Hall||[no known tape]||--||--|
|30.10.97||Nottingham Royal Concert Hall||140 min.||AU||8.0*|
|01.11.97||Glasgow Royal Concert Hall||90 min.||AU||7.5*|
|02.11.97||Leeds Town & Country Club||[no known tape]||--||--|
|03.11.97||Birmingham||[no known tape]||--||--|
|04.11.97||Manchester Apollo||140 min.||AU||5.0*|
|06.11.97||London Shepherds Bush Empire||140 min.||AU#||8.0*#|
# = multiple AU or FM versions known to exist
* = average quality rating based on 3 or fewer results
© 2000 John A. Burek and Mark Schaffer