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 does not 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 effect thrills.
Very much along the lines of the 1990 UK 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.
An excerpt from the end of the track. Essentially faithful to the original from Poland, but with some interesting sound effects (including a unique one that sounds vaguely like a cash register) and subtle background tonal overlays.
Here, the backing track is much the same as the 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 is especially forward in the mix of Valentine Wheels, less noticable on the audience recordings. The start of the track on the 220 Volt Live CD is a studio construction and was neither played on this tour nor during the 1992 tour when this track made its debut.
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 from the eighties, 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 rhtythmic 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.
Like the previous year's London show rendition, quite faithful to the CD version from Poland. Here, the additions are mostly insigificant -- the most notable one is a choir-voice backing in parts.
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 chsnting the word "Allez"). The guitar work by Zlatko Perica 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.
The bridge leading into this track -- another live favorite -- 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.
The percussive bridge preceding this track presages the familiar Streethawk melody, as in the European tour. The backing track is faithful to the studio version from Le Parc, with some "windy" noises and other flourishes overlaid to give it a more frenetic feel.
Here, the backing track sounds tonally somewhat different from the studio soundtrack Thief, indicating that this song was recomposed for this, its first and only live-rollout. 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 intro of the studio version.
Essentially the same as the studio version on Turn Of The Tides, but with Emil Hachfeld's percussion a bit faster and more pronounced at times. An outstanding bridge leads into this track.
A slightly different mix from the Goblins Club version, more as it appears on Tournado. A slightly altered groove at the middle of this track radically improves this live rendition over the studio version.
Follows the same line as the studio version from TimeSquare, but with much more obtrusive and prominent guitar accompaniment. The soaring lead line evident on the studio version is hardly to be heard live. The middle part also sounds a bit more spartan than on the studio release.
(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.
Notes
The brief (seven-date) UK 1997 tour followed the more extensive European Tour 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 The 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).
