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Tangerine Dream - Ricochet (1975)

Genre: Berlin School Electronic

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Voices In The Net wrote: Tangerine Dream's second album of 1975, Ricochet, was mixed from tapes of their French and British tours. Like Rubycon before, it featured two long compositions, each of them filling one side of the vinyl album. According to Chris Franke, the concerts were much too long to use in one context. So Tangerine Dream had to edit about 40 to 50 hours of music, kilometres of tape, to find the most important parts that eventually were released on their first live album. The photography on the front cover was taken by Monika Froese on the ocean shore near Bordeaux. In 1995 Virgin re-released the album on CD in the so-called "Definitive Edition" series, featuring the original front cover artwork. The sound quality of this release, using the Super Bit Mapping technology, is probably the best up to now. Nevertheless, on previous releases, Ricochet, Part Two started with a very soft clapping of two hands left at the beginning of the piano part to give the measure for the music. This clapping has been deleted from the "Definitive Edition" CD, perhaps being regarded as a disturbing noise.

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Review by Joe McGlinchey, Ground and Sky:

Tangerine Dream's first live album, stitched together from performances in France and Britain, with another iconic cover (three gaunt trunks masking the sun), though it still could stand like a studio album, as the audience is only there to provide bookended applause. The entirety of the album is in the key of C minor, as is also true for their next double-album live release Encore. Apparently, this was necessary because the band's custom-made sequencing gear could only be set to that key.

"Part One," recorded in Autumn 1975 in France, opens up with a solemn march. Froese's fuzzed guitar introduces the main theme of the piece (a repeated melody of C-Bflat-Aflat-G-F-G), then the keyboards latch on to it, doubling the melody and adding harmonic variations. Of note, there are real drum sounds (presumably Chris Franke, given his earlier role in the band and the emphasis on toms) in addition to synthetic percussion. The march builds and builds, before being intruded upon by a sudden barrage of garbled sound samples. At about eight minutes into "Part One", the second half turns an urgent pace. Now the instantly recognizable, classic Tangerine Dream sound flows in: looping melodic patterns and rhythmic sequencing to weave a soft thread of hypnosis about the listener. The band explode with a bouquet of different sounds, the layering of which is astounding, if you really sit and listen to everything that's going on. Again, did just three people play all of what we hear at once live? Incredible, if so; they must have had state-of-the-art equipment. The main theme resurfaces soon enough to lend some thematic cohesion.

"Part Two" was recorded in Croyden, England (October 23, 1975) and contains a prelude with a delicate piano ringing out lonely notes with just the left amount of echo, before a flute mellotron wanders into the picture to provide companionship. Though brief, this is one of the most beautiful moments on the album, with higher notes twinkling in the distance somewhat recalling Frippertronics. Then, it's off to another wave or two of racing, mechanistic sequencing and kaleidoscopic patterns, sometimes louder and sometimes softer, more or less seeing us through the remainder of "Part Two."

Perhaps more than any other album in their catalog, I would cast my vote for Ricochet as the prototype of the classic Tangerine Dream sound; the music that probably first runs through most the heads of those who have some familiarity with the band. Although it sounds to me a little more unidimensional relative to its two immediate predecessors Phaedra and Rubycon (perhaps it's the unrelenting constancy of key), the album offers a pleasing number of contrasts in dynamic and when the piece hits its climactic sections, the layering of sounds to emerge really catches the ear. Sound quality is excellent.

Review by Michael Neumann, Prog Archives:

How many albums has Tangerine Dream released in their ongoing four-plus decade career? Dozens? Hundreds? The original T. Dreamer Edgar Froese himself may not even know the total, but this much is true: of all the music the band has produced over the years, this 1975 album is the one I would choose to bring with me into the afterlife.

"Ricochet" seamlessly condenses over 40 hours of live tapes from the classic mid-‘70s formation of Froese, Chris Franke and Peter Baumann, back when the trio was (notoriously, in some instances) playing in cathedrals all around Europe. It may well be the quintessential Tangerine Dream experience, striking a near perfect balance between the raw electronic research and development of their earlier albums and the (relatively) more accessible efforts of later incarnations.

In concert, the band displayed more freedom and energy than on their more circumspect studio recordings. Never mind that the audience had nothing to look at except three Germans sitting immobile behind a wall of synthesizers, usually on a darkened stage. A TD gig was designed as more of a treat for the inner mind, which may explain why, unlike the live albums of other bands from the same era, this one plays so well on disc.

It opens with an ominous drone (of course), shifting gradually into something resembling a futuristic march, over which Froese plays his moody guitar riffs and Franke pounds some (acoustic) tom-toms: possibly overdubbed, but real drums nonetheless. Finally, almost eight minutes in, comes the moment of truth in any TD performance, when the sequencers begin to percolate out of the synthetic haze. As always in the lexicon of Tangerine Dream it’s a point of high musical drama, and even more so here with the menacing echo of Edgar Froese’s PINK FLOYD-inspired guitar wailing in the background.

"Part One" (no other titles are offered) ends ten minutes later on the same fading drone it began with: a nice touch of symmetry in an otherwise improvised set (of course it might have been a conscious afterthought at the mixing console, long after the actual performance). "Part Two" then opens in unexpected contrast, with a gentle piano interlude setting up another, more lyrical sequencer pattern, this time programmed with a definite European-classical sensibility, as opposed to the mundane, rockier workouts of their later Hollywood soundtracks.

Listening to the album again (for the first time in…well, more years than I care to admit) I’m again struck by the fascinating patterns created by the constant blending of overlapping sounds and sequences, often in contradicting time signatures. It’s a style this band could have (and in retrospect maybe should have) legally patented. Add a section of industrial noise and rhythm (including a looped mantra of mechanical assembly-line voices), segue into an ethereal passage for mellotron flutes, reprise the opening sequencer theme in a quieter variation, and the result is a stunning musical experience not soon forgotten.

Altogether the album is only 38+ minutes long, meager even by the limited standards of a vinyl LP. But thirty years later it remains one of the uncontested pinnacles of a long and influential career, and even today stands up as a signpost toward more than one musical future.

Review by T. Rox (Coops), Prog Archives:

…and I could have been listening to this masterpiece for the last 31 years!

I had the good fortune just yesterday (7th August, 2006) to spy a copy of Tangerine Dream’s “Ricochet” in the record store when looking for something ‘new’ for my collection; I bought it (amazingly my first TD recording) and have played it end-to-end three times already as I try to make up for lost time after realising I have missed out on listening to this brilliant album for some 31 years.

Everything that needs to be said about the music on “Ricochet” has been said (and being no expert on the technical side of music I could probably do it not justice). What I can share with you is how good the music on this album makes me feel; the sense of calm that it instils in me; the feeling of being mesmerised and taken on a journey through space and time … an experience almost beyond words!

If you are not a fan of live albums do not be put off this album by the live album tag. There is only polite applause at the beginning of “Part One” and the end of “Part Two” to give the listener any idea at all that this is a live recording. Beyond that “Ricochet” sounds like it could have come straight out of a studio.

I am listening to “Ricochet” again left now and it is, without doubt, a five-star masterpiece of progressive music …

Tracklisting:

1. Ricochet Pt. 1 (17:02)

2. Ricochet Pt. 2 (21:12)

Total Time: 38:14

Line-Up:

- Edgar Froese / synthesizer, bass, guitar, keyboards, composer

- Peter Bauman / keyboards, drums

- Christoph Franke / keyboards

The old upload on here of this album has no log or cue to indicate quality or care when extracting the music, hence the need for a PROPER here.

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