Features a slightly different opening than the studio version on Melrose. Plus, the middle sequence is changed somewhat -- the guitar lead part replaced with a sterner, more stoic, and deep synth lead line.
This version is bulked up quite a bit from the Le Parc version. There are some new choir-voice overlays and a few new chord overtones that give the song a more sumptuous sound.
At some shows, this track was somewhat changed from the studio version. A brief portion of the middle section would be differently sequenced, with a more spartan rhythm that ran in counterpoint to the main rhythm. At others, though, it was faithful to the version on Lily On The Beach.
Full, explosive remix with all-new instrument sounds. Bridges into Diamond Diary with a brassy, heraldic interlude. Very similar to the version on Antique Dreams, as is the following track.
An excerpt taken from near the middle of the track from Thief. Much less of a remix than Betrayal (Sorcerer Theme), with faithful lead voices and sequences, but subtly different highlights.
Fully remixed version of the song, covering the fast sequencer middle portion of the track. Instrumentation is essentially all new. The sequencing is very fast and frantic, much more so than in the original Phaedra, and features a prominent drum track. Some new melody lines are added, too. This version was also played in a slightly different version on the North America 1988 tour; note that the Phaedra Of Nottingham track on Antique Dreams which purports to be from this tour is actually from the 1988 North American tour!
Starts with a melancholy-sounding Haslinger harpsichord patch solo, somewhat echoing the lead melody of Tyger, played over a bed of choral voices. Then suddenly changes into a hyper-fast dual guitar solo sequence. Jerome would lead off the track with a furious rock-guitar solo, and Edgar would fill in halfway through with a more laid-back, refined (but still high-energy) solo of his own. The contrast would make for the appeal -- Jerome's fast-fingered, rawer sound compared with Edgar's driving psychedelia. The piece ends with a 2- or 3-minute chunk of mellow "chill-out" atmospherics -- well placed following all the frantic fretwork.
Not appreciably different from the studio version on Lily On The Beach, except for the dual-sax accompaniment (which occasionally diverges from the studio version) and a few new bridging chords leading into the song.
Encores
The compositions during the encores varied from show to show, both in number and sequence.
Not appreciably different from the studio version, though sometimes a soaring lead line is added. This composition was played as first encore of the gigs in Worthing, London (both concerts), Manchester, Edinburgh, Bradford and Wolverhampton.
Not appreciably different from the studio version. Played as a medley immediately following Alexander Square this composition was part of the first encore of the gigs in Worthing, London (both concerts), Manchester, Edinburgh and Bradford.
Identical to the encore played at the Berlin 1990 concert. This composition was played as second encore of the gigs in Worthing, London (both concerts), Manchester, Edinburgh, Bradford and Wolverhampton.
Basically same as studio version on Destination Berlin, though the harpsichord lead is played by the sax players. Played as a medley immediately following Ruling The Waves as second encore in Worthing, London (both concerts), Manchester, Edinburgh, Bradford and Wolverhampton.
An excerpt from a Bach flute concerto -- woodwind and faux-harpsichord -- segueing into a sax-intensive version of House Of The Rising Sun. This version is significantly different and longer from the one rolled out in 1988 and on Antique Dreams -- much more up-tempo, with growling guitar as the backing and the woodwinds playing the lead melodies. Much less the sequencer-fest that it was on the 1988 tour; much more liberty taken with the original song, too. There is also an extended new opening. Performed in Worthing (as third encore), in London (27th only, as fourth encore), Nottingham (second encore), and Oxford (first encore).
Basically the same as the studio version on Melrose. The title track of the then current album was performed during most gigs of that tour: in London (both concerts) and Nottingham as third encore, in Sheffield as first (and only one), in Edinburgh as fourth, in Bradfortd, Wolverhampton and Oxford as third, and in Bristol as second encore.
Begins with a repeated harpsichord motif; leads into a much-extended saxophone solo. The relatively spare backing track suggests that this track was essentially created to give the sax players their "solo". It was performed in London (as fourth encore on the first night, as fifth on the second), in Nottingham (first encore), Edinburgh (third encore), Bradford and Wolverhampton (fourth encore), Oxford (second) and Bristol (first encore).
(All times rounded to nearest 15 seconds and include bridges following song, if any.)
Large parts of this section have been taken from the site What Dreams Are Made Of by kind permission of the authors John A. Burek and Mark Schaffer.
