A short atmospheric intro built around Morpheus effects (evident, for instance, on the re-recorded Zoning soundtrack) and bell sounds leads into an excerpt of the album track, starting approximately three minutes into the track as presented on Poland.
The body of this track is essentially the same as the "live studio" version on 220 Volt Live. (As discussed in the 1992 N.A. tour, on 220 Volt Live the opening section of this track is a studio fabrication.) Here, the track starts with the rhythm part.
A track that stayed officially unreleased until 2020, but was already given a name in the official web-page release of the tourlist. This is a brief, upbeat track in the style of Oasis, but with quirky percussion and a repeating electric-piano motif. Live, the back-projection showed a flyover panorama of snow-capped peaks, which fit the music well.
Basically the same as on 220 Volt Live, but it sounds like the bass was upped considerably (though, granted, 220 Volt Live is notoriously thin-sounding bass-wise compared to the actual '92 tour anyway). Also, during the quiet interlude in the middle of the track, the lead is played differently, here with a bell-like patch.
Extended to accommodate some excellent Spanish-guitar soloing. The bridge leading into the track clearly presages the Catwalk themes, combined with all-too-short, rousing percussion and sequencer interplay.
The bridge preceding this track is a stunning amalgam of techno percussion and some vaguely Phaedra like sequencing. Pity it's less than a minute long! Otherwise, however, the track is same as the studio version.
The bridge leading into this track uses some distinctive chanting sampled voices that are clearly presets. (They've been recognized in songs by several other bands, as well as in an American automobile commercial.) The track itself is the same as the studio version.
Starts suddenly in the midst of the sequencer part which presages the guitar solo. Essentially gave Edgar his venue for an axe solo, though it's been pointed out by several tape aficionados that the solo he rehearsed during the pre-show soundcheck (of which a fantape exists) was far more spirited than this one!
Cover of the Beatles classic. The live version is a bit shorter than the studio version provided on the Shepherds Bush CD single.
Elf June And The Midnight Patrol [not played]
This encore was planned (according to the web page tracklist), but not played at the Shepherds Bush venue's insistence because of the London Underground's shut-down time.
(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.
There were plans for a TD tour in autumn 1995, but these had been cancelled. Then there was an idea of perhaps touring in April 1996, but again this became not true. "Of course we are still interested in concerts", Julia Snyder from Tadream Production was cited in issue 13 of Dream Collector. But the band first wanted to confirm their new contracts with record companies all over the world, she explained. "The band should do such a tour with their new record company because this is very important for cooperation as well as for promotion." TD still take their former announcement for serious, Julia Snyder said. "We hope to be able to do some concert in the second half of the year." TD's former record contracts with Miramar (USA) and Virgin (Europe) had been fulfilled with the releases of The Dream Mixes and Edgar Froese's solo 2CD set Beyond The Storm.
Finally, in late November Tangerine Dream gave this one-off concert to promote the then new album Goblins Club. The concert was split in two parts: the vintage set, consisting at a large part of compositions of the eighties, and the modern set, featuring music from the nineties, including three tracks from the new album. This turned out to be a blueprint of the European tour that took place one year later and consisted of a setlist quite similar to this -- though there are enough differences to make this concert interesting to fans. Especially notable is the fact that this concert was the last one featuring Linda Spa on keyboards and saxophone for the next nine years.