Tangerine Dream – Dead Solid Perfect (Original Motion Picture Soundtrack)

The Dream Isn't Always The Same.

Tangerine Dream, now comprised of founder Edgar Froese and Johannes Schmoelling replacement Paul Haslinger, provided the energetic score for Bobby Roth’s 1988 HBO film, “Dead Solid Perfect.”

Roth, who collaborated with the band on several projects including "Heartbreakers" and "Rainbow Drive," initially was keen to adorn his film with C & W songs, but finally opted to commission the band to provide his film with their popular style.

Based on sports authority Dan Jenkins’ 1974 novel about Danny Lee (Randy Quaid), a diamond in the rough golfer desperate to enjoy the coveted all pro status, but is restricted by his personal foibles and a crumbling marriage to his wife Beverly (an underappreciated Kathryn Harrold).

But can he achieve his goals with the aid of his divisive sponsor, "Bad Hair" Wimberly (Jack Warden), or forever flounder in the leagues of the underdog?

While performances are credited to Haslinger, Froese’s input, likely advisory in nature, still retains his classic “dream" tropes-heavy sequencer progressions, strong, intuitive emotional writing for keyboards, and an astute use of percussion.

As many films centered on the sport were largely semi-comedic or outright slapstick in nature (e.g. "The Caddy," "Caddyshack," "Happy Gilmore," and "Tin Cup"), Roth's feature is dramatic in spirit, akin to later films including “The Legend Of Bagger Vance" and "Tommy's Honour."

Consequently, Froese and Haslinger balance some of this plot's more humorous bits and serious moments with a largely bright and carefree sound.

Created at a turning point in their career as their style advanced into more upbeat pseudo pop works for film and as a band, this score, along with “Near Dark” and “Miracle Mile,” remain to date their last truly essential film works.

This re-issue of the 1990 Silva Screen Records album program begins with the film’s main theme. Twinkling ambiences and woodwind samples highlight Kenny’s tribulations. Emerging percussion energizes the optimism of his goals despite his martyr-status.

The clock like tickings of "In The Pond" recall equally terse effects for the band's “Three O'Clock High" contributions the year prior. As Ken's far too patient wife "Beverly Leaves," regretful piano slowly plays before segueing to more reflective synthesized tones.

The consequences of the pivotal “Tournament Montage" crackle with expectation as sequencer patterns eagerly flutter.

An all too familiar golfer headache, the "Sand Trap" is met with appropriately scattered, frustrated rhythms. A "Nine Iron" is filled with the Dream’s late 80s Atari reinvigorated vocal samplings, along with more accessible beats.

The importance of the "U.S. Open" competition is celebrated with a curt fanfare for electronic brass and woodwind samples developing into a quiet, dramatic piece befitting the tournament’s rich legacy of high sportsmanship.

The sardonic "My Name Is Bad Hair" is comprised of glimmering sequential beats, brief guitar licks, and a somewhat "New Agey" approach in the vein of Yanni and Ray Lynch, with introspective raindrop sounds plinking softly.

"Welcome to Bushwood/Golfus interruptus" and "Déjà Vu" are accented with stern, confrontational percussion and bold keyboard work. A welcome "Birdie" is appropriated with joyous calypso samples and recurrent motifs present throughout the score.

The "Kenny and Donny Montage" is reminiscent of Jan Hammer’s more brooding "Miami Vice" scoring, with hints of the Mellotron strings that were an integral part of the band's 1970s work. Concluding the album are the triumphant measures of "Kenny’s Winning Shot," as his dreams are realized for hearty and vivid strings.

As with many of the Dream's Silva releases, this album is not assembled in Froese’s preferred home listening mode but instead is listed sequential in film order. Hence the twenty-two tracks, as compared to the expected ten fans have grown accustomed to throughout their remarkable career.

Subtract a star if you find their seminal Virgin Records era output more enjoyable, as "Dead Solid Perfect" is not your father's Berlin School of Electronics.

Absent from this unofficial 35th Anniversary reissue are the Billy Vera songs produced by Michael Sembello. Suffice it to state this limited addition of 500 pressings from Dragon's Domain Records will no doubt disappear from the marketplace quickly.

I'm not a huge fan of TD after the early 80s but I gave this album a shot (no pun intended) and it's surprisingly decent.

Of course the digital synths are in full force, but melodically and stylistically it's a very enjoyable listen.

It's gotta rank up there with Body Love (Originalmusik) as far as juxtapositions between content & source go, though...