Podcasts about Interstellar Overdrive

(S4 Ep15) Pink Floyd-Pipers at The Gates of Dawn with guest Mark BlakeReleased August 4, 1967, Recorded February 21-May 2, 1967 (EMI)  Piper at the Gates of Dawn (1967) is Pink Floyd's debut album, largely shaped by Syd Barrett's visionary, whimsical songwriting and experimental approach to psychedelia. Combining surreal lyrics with complex musical arrangements, the album became a defining work of the British psychedelic scene. Tracks like "Astronomy Domine" and "Interstellar Overdrive" showcase the band's innovative use of studio effects and improvisation. At the same time, songs such as "Lucifer Sam" and "Matilda Mother" blend folk influences with dreamy, eccentric storytelling. The album's experimental nature and Barrett's increasing mental instability, worsened by heavy drug use, marked the band's transition from a psychedelic force to something more expansive. Despite its initial mixed reception, Piper is now a cornerstone of rock history. It reveals the early creativity of a band destined for greatness but also foreshadows the tragic unraveling of Barrett's role, paving the way for Pink Floyd's future with David Gilmour. Signature Tracks: "Astronomy Domine," "Lucifer Sam,"  "Flaming"Full Album: YouTube, Spotify Playlist  YouTube, Spotify 

Sie gelten als eine der wichtigsten Bands der Musikgeschichte: Pink Floyd. Mit ihrer ausgefeilten, atmosphärischen Musik begeistern sie noch heute Millionen Fans. Wie hat es diese Band geschafft, so dermaßen erfolgreich zu sein und trotzdem immer ihr eigenes Ding zu machen? Lutz und Carsten schauen sich das "Phänomen" Pink Floyd genauer an. Im ersten Teil geht's um die Zeit von der Gründung bis zu den großen Erfolgen Mitte der 70er. Angefangen als unbedarfte Studentenband wurden sie schnell zum Geheimtipp der Psychedelic-Szene. Allerdings gab's zunehmend Probleme mit ihrem charismatischen Frontmann, von dem sie sich schließlich trennten. Wie sollte es danach weitergehen? Die Band war planlos und mit Erfolg rechnete keiner - doch Pink Floyd konnten sich erfolgreich beweisen... ++++++++++Song-Tipps zur Folge++++++++++ "Astronomy Domine", "Interstellar Overdrive", "Arnold Layne", "Remember a Day", "Set The Controls For The Heart of the Sun", "Jugband Blues", "Careful With That Axe Eugene", "Grantchester Meadows", "Atom Heart Mother", "Summer '68", "Fat Old Sun", "Echoes", "One of these Days", "San Tropez", "Breathe", "Time", "The Great Gig in the Sky", "Money", "Us and Them", Any Colour You Like", "Eclipse", "Shine On You Crazy Diamond (alle Parts)", "Welcome To The Machine", "Have A Cigar", "Wish You Were Here"

Episode 95 Early Intersections of Rock and Electronic Music   Playlist Frank Zappa, The Mothers of Invention, “The Return of the Son Of Monster Magnet (Unfinished Ballet In Two Tableaus)” from Freak Out! (1966 Verve). Bass, Guitarrón, Soprano Vocals, Roy Estrada; Drums, Jimmy Carl Black; Guitar, Vocals, Arranged By, Written-By, Leader, Musical Director, Frank Zappa; Lead Guitar, Rhythm Guitar, Elliot Ingber; Vocals, Harmonica, Tambourine, Finger Cymbals, Ray Collins. Having been gifted a copy of the Mother's album Freak Out! In 1966, it was apparently this song that stuck in Paul McCartney's mind, inspiring the “Carnival of Light” recording to follow. 12:15 The Beatles, “Carnival of Light” an unreleased track that was commissioned by the Million Volt Light and Sound Rave, an event held at the Roundhouse in London on January 28 and February 4, 1967. Recorded during a session for the song "Penny Lane" in January 1967. Working with the recording studio as a creative tool, this was a project brought to band by Paul McCartney who had been asked by the festival sponsors to create a tape to be featured at the event. It was reported later that McCartney explained the exercise to his bandmates by saying, "This is a bit indulgent, but would you mind giving me 10 minutes? I've been asked to do this thing. All I want you to do is just wander round all of the stuff and bang it, shout, play it." The result was this sound piece. The Beatles were already conditioned for turning out spectacular sound effects in the studio. This was before the Moog Synthesizer came to Abbey Road. Nonetheless, they had access to all manner of guitar effects, echo, reverb, a Mellotron, electronic piano, organ, Lesley speakers and other devices with which to improvise. 13:08 The Riders Of The Mark, “The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg” from The Electronic Insides And Metal Complexion That Make Up Herr Doktor Krieg/Gotta Find Somebody (1967 20th Century Fox). I wish I knew more about this band, but I don't. They had this one single. It has sometimes been included on compilation of psychedelia. Rock music, tape reversal, tape echo, fuzz tones, guitars. 2:13 Pink Floyd, “Interstellar Overdrive” from The Piper At The Gates Of Dawn (1967 Columbia). UK release of the formidable Pink Floyd, then making an impact with their first LP. No synthesizers, but there were electronic rock instruments galore and some imaginative stereo imaging, a benefit of working with tape in those days. Bass Guitar, Vocals, Roger Waters; Lead Guitar, Vocals, Syd Barrett; Drums, Nicky Mason; Piano, Organ, Rick Wright. 9:40 Bernard Parmegiani, “Pop'eclectic (1968)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Parmegiani was one of the lesser-known composers associated with the French musique concrete school, although he was no less prolific in many genres, including electronic music for commercials. He was adept at experimenting across genres, providing musique concrete vividness to works for jazz and rock music. I always find his work to be refreshing and uncluttered by musical cliches. 11:03 (Frank Zappa) The Mothers of Invention, “Are You Hung Up?” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 1:30 Silver Apples, “Velvet Cave” from Silver Apples (1968 Kapp). Composed and Arranged by, Dan Taylor, Simeon; Percussion, Dan Taylor; The Simeon (oscillators, filters), Simeon; Vocals, Dan Taylor, Simeon. “INSTRUCTIONS: Play Twice Before Listening.” This two-man group used a genius combination of drums and oscillators, a match made in heaven. 3:27 (Frank Zappa) The Mothers of Invention, “Nasal Retentive Calliope Music” from We're Only In It For The Money (1968 Verve). Arranged By, Composed By, Conductor, Concept By Conceived, Directed By Executed, Producer, Frank Zappa; Bass, Vocals, Other Asthma, Roy Estrada; Drums, Trumpet, Vocals, Other Indian Of The Group, Jimmy Carl Black; Drums, Vocals, Other Yak & Black Lace Underwear, Billy Mundi; Guitar, Piano, Vocals, Edited By, Other Weirdness, Frank Zappa; Piano, Woodwind, Other Wholesome, Ian Underwood; Saxophone, Other Weirdness & Teen Appeal, Euclid James Motorhead Sherwood; Sounds Snorks, Dick Barber; Voice Creepy Whispering, Engineer, Gary Kellgren; Voice Telephone, Suzy Creamcheese; Woodwind, “Mumbled Weirdness,” Bunk Gardner. 2:03 The United States of America, “The American Metaphysical Circus” from The United States of America (1968 Columbia). While the entire psychedelic scene in America was adding tape manipulation, fuzz tones, and echo to their recordings, The United States of America brought a blend of rock musicianship and serious tape collage work to the fore. The tape effects in their music were not the usual brief hooks or the sake of novelty, but fully composed blocks of electronic and found sounds integrated in the core of their tunes. Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. 5:07 The United States of America, “Hard Coming Love” from The United States of America (1968 Columbia). Electric Bass, Rand Forbes; Keyboards, Electronics, Organ, Piano, Arranged, Electric Harpsichord, Calliope, Joseph Byrd; Lead Vocals, Dorothy Moskowitz; Organ, Piano, Calliope, Ed Bogas; Percussion, Drums Electric Drums, Craig Woodson; Producer, David Rubinson; Violin Electric Violin, Ring Modulator, Gordon Marron. No synthesizers as such, but Tom Oberheim built ring modulators and other devices for them. 4:48 Bernard Parmegiani, “Du Pop À L'âne (1969)” from JazzEx (1999 Plat Lunch). Composed, produced, edited by Bernard Parmegiani. Of special interest on this track is a sampled chunk of a song by the Doors that appears about 6 minutes in, altered and accompanied by editing and effects. This use of sampling speaks to the liberties that musique concrete musicians were taking with found materials. 10:14 Pierre Henry & Michel Colombier, “Prologue,” “Psyché Rock,” “Jéricho Jerk,” and “Teen Tonic” from Mass For Today / The Green Queen (1969 Limelight). Compilation of earlier works first released in 1967. These four works were part of “Mass for Today,” an electronic rock ballet.” This is a decent collection, with selections from other Henry musique concrete works. The electronic sounds and tape effects seem somewhat heavy-handed now, but at that time, this was what one could do without a synthesizer. Henry was already a maestro of musique concrete by that time so it's especially interesting to see what sounds he added without seeming trite or cliched. Réalisation Sonore, Pierre Henry; Written by, Michel Colombier, Pierre Henry. 9:54 Spooky Tooth and Pierre Henry, “Have Mercy” from Ceremony: An Electronic Mass (1969 Island). Bass Guitar, Andy Leigh; Composed by Gary Wright, Pierre Henry; Drums, Mike Kellie; Electronics, Realisation Sonore, Pierre Henry; Lead Guitar, Luther Grosvenor; Lead Vocals, Mike Harrison; Lead Vocals, Keyboards, Gary Wright. 8:10 The Free Pop Electronic Concept, “Pish! Pshaw!” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 4:47 The Free Pop Electronic Concept, “Cosmos Rhythms” from A New Exciting Experience (1969 Palette). From Brussels. Bass, James; Composed By, Recorded by Arsène Souffriau; Drums, Stu Martin; Electric Guitar, Jess; Organ, Scott Bradford; Percussion, Tumba, Vinagre. 3:01 Tommy James and the Shondells, “Cellophane Symphony” from Cellophane Symphony (1969 Roulette). This title track was a rare instrumental from this group normally associated with rock vocal hits. This is the only track in this podcast featuring the Moog Modular Synthesizer. There were certainly other examples of the Moog since it was first used in 1967, but I wanted to choose an example of how the synthesizer could be used by a rock band, rather than a pop artist such as Jean Jacques Perrey or Mort Garson. This is a terrific example that I would bet many of my listeners have never heard before. Tommy James, lead vocals, guitars, keyboards; Eddie Gray, lead guitar, backing vocals; Ronnie Rosman – keyboards, backing vocals; Mike Vale, bass guitar, backing vocals; Pete Lucia, drums, percussion, backing vocals. 9:37 West Coast Pop Art Experimental Band, “As Kind as Summer” from Vol. 3 - A Child's Guide To Good & Evil (1968 Reprise). American psychedelic rock band, formed in Los Angeles in 1965, broke up in 1969. Three teens (brothers Dan and Shaun Harris and their friend Michael Lloyd) teamed up with 30-year old Bob Markley, who got them a record deal with Reprise. Each of their albums was most bizarre, combining hummable pop tunes and spacey production. I included this particular track because it starkly demonstrates the use of tape loops and sound reversal. 1:10 Toshi Ichiyanagi, The Flowers, "Electric Chant” and “The Flowers (内田裕也とザ・フラワーズ)” from Opera "From The Works Of Tadanori Yokoo (1969 The End Record). Composed by Toshi Ichiyanagi and performed by the Japanese rock group The Flowers: Bass, Takeshi Hashimoto; Drums, Joji Wada; Guitar, Vocals, Remi Aso; Percussion, Backing Vocals, Yuya Uchida; Steel Guitar, Katsuhiko Kobayashi; Vocals, Hiroshi Chiba, Kento Nakamura. I'm including two pieces from this opera from 1969. The first, “Electric Chant” is electronic and includes tape collage while the second, “The Flowers” was performed by the Japanese pop rock band The Flowers and is loaded with distortion, echo, feedback, and reverberation, transforming the simple rock format into a discourse in electronic sound. 5:17 & 7:18 Tim Buckley, “Starsailor” from Starsailor (1970 Bizarre). Engineer, Stan Agol; Vocals, Producer, Written by, Tim Buckley. According to Larry Beckett, Buckley's chief lyricist and collaborator, who was there when they recorded this track, Buckley had a basic lyric track to which he recorded 18 additional vocals tracks on top of it. “He didn't write it out as a classical musician does, but it was thoroughly composed.” From the standpoint of rock music, this was more akin to composing with tone clusters than chord progressions. 4:34 Opening background music: Luc Ferrari, “Dialogue Ordinaire Avec La Machine (1984)” from Dialogue Ordinaire Avec La Machine / Sexolidad (2019 Elica). Composed and performed by Luc Ferrari. Opening and closing sequences voiced by Anne Benkovitz. Additional opening, closing, and other incidental music by Thom Holmes. See my companion blog that I write for the Bob Moog Foundation. For additional notes, please see my blog, Noise and Notations.

Episode one hundred and fifty-seven of A History of Rock Music in Five Hundred Songs looks at “See Emily Play", the birth of the UK underground, and the career of Roger Barrett, known as Syd. Click the full post to read liner notes, links to more information, and a transcript of the episode. Patreon backers also have a twenty-five-minute bonus episode available, on "First Girl I Loved" by the Incredible String Band. Tilt Araiza has assisted invaluably by doing a first-pass edit, and will hopefully be doing so from now on. Check out Tilt's irregular podcasts at http://www.podnose.com/jaffa-cakes-for-proust and http://sitcomclub.com/ Resources No Mixcloud this time, due to the number of Pink Floyd songs. I referred to two biographies of Barrett in this episode -- A Very Irregular Head by Rob Chapman is the one I would recommend, and the one whose narrative I have largely followed. Some of the information has been superseded by newer discoveries, but Chapman is almost unique in people writing about Barrett in that he actually seems to care about the facts and try to get things right rather than make up something more interesting. Crazy Diamond by Mike Watkinson and Pete Anderson is much less reliable, but does have quite a few interview quotes that aren't duplicated by Chapman. Information about Joe Boyd comes from Boyd's book White Bicycles. In this and future episodes on Pink Floyd I'm also relying on Nick Mason's Inside Out: A Personal History of Pink Floyd and Pink Floyd: All the Songs by Jean-Michel Guesdon and Philippe Margotin. The compilation Relics contains many of the most important tracks from Barrett's time with Pink Floyd, while Piper at the Gates of Dawn is his one full album with them. Those who want a fuller history of his time with the group will want to get Piper and also the box set Cambridge St/ation 1965-1967. Barrett only released two solo albums during his career. They're available as a bundle here. Completists will also want the rarities and outtakes collection Opel.  ERRATA: I talk about “Interstellar Overdrive” as if Barrett wrote it solo. The song is credited to all four members, but it was Barrett who came up with the riff I talk about. And annoyingly, given the lengths I went to to deal correctly with Barrett's name, I repeatedly refer to "Dave" Gilmour, when Gilmour prefers David. Patreon This podcast is brought to you by the generosity of my backers on Patreon. Why not join them? Transcript A note before I begin -- this episode deals with drug use and mental illness, so anyone who might be upset by those subjects might want to skip this one. But also, there's a rather unique problem in how I deal with the name of the main artist in the story today. The man everyone knows as Syd Barrett was born Roger Barrett, used that name with his family for his whole life, and in later years very strongly disliked being called "Syd", yet everyone other than his family called him that at all times until he left the music industry, and that's the name that appears on record labels, including his solo albums. I don't believe it's right to refer to people by names they choose not to go by themselves, but the name Barrett went by throughout his brief period in the public eye was different from the one he went by later, and by all accounts he was actually distressed by its use in later years. So what I'm going to do in this episode is refer to him as "Roger Barrett" when a full name is necessary for disambiguation or just "Barrett" otherwise, but I'll leave any quotes from other people referring to "Syd" as they were originally phrased. In future episodes on Pink Floyd, I'll refer to him just as Barrett, but in episodes where I discuss his influence on other artists, I will probably have to use "Syd Barrett" because otherwise people who haven't listened to this episode won't know what on Earth I'm talking about. Anyway, on with the show. “It's gone!” sighed the Rat, sinking back in his seat again. “So beautiful and strange and new. Since it was to end so soon, I almost wish I had never heard it. For it has roused a longing in me that is pain, and nothing seems worth while but just to hear that sound once more and go on listening to it for ever. No! There it is again!” he cried, alert once more. Entranced, he was silent for a long space, spellbound. “Now it passes on and I begin to lose it,” he said presently. “O Mole! the beauty of it! The merry bubble and joy, the thin, clear, happy call of the distant piping! Such music I never dreamed of, and the call in it is stronger even than the music is sweet! Row on, Mole, row! For the music and the call must be for us.” That's a quote from a chapter titled "The Piper at the Gates of Dawn" from the classic children's book The Wind in the Willows -- a book which for most of its length is a fairly straightforward story about anthropomorphic animals having jovial adventures, but which in that one chapter has Rat and Mole suddenly encounter the Great God Pan and have a hallucinatory, transcendental experience caused by his music, one so extreme it's wiped from their minds, as they simply cannot process it. The book, and the chapter, was a favourite of Roger Barrett, a young child born in Cambridge in 1946. Barrett came from an intellectual but not especially bookish family. His father, Dr. Arthur Barrett, was a pathologist -- there's a room in Addenbrooke's Hospital named after him -- but he was also an avid watercolour painter, a world-leading authority on fungi, and a member of the Cambridge Philharmonic Society who was apparently an extraordinarily good singer; while his mother Winifred was a stay-at-home mother who was nonetheless very active in the community, organising a local Girl Guide troupe. They never particularly encouraged their family to read, but young Roger did particularly enjoy the more pastoral end of the children's literature of the time. As well as the Wind in the Willows he also loved Alice in Wonderland, and the Little Grey Men books -- a series of stories about tiny gnomes and their adventures in the countryside. But his two big passions were music and painting. He got his first ukulele at age eleven, and by the time his father died, just before Roger's sixteenth birthday, he had graduated to playing a full-sized guitar. At the time his musical tastes were largely the same as those of any other British teenager -- he liked Chubby Checker, for example -- though he did have a tendency to prefer the quirkier end of things, and some of the first songs he tried to play on the guitar were those of Joe Brown: [Excerpt: Joe Brown, "I'm Henry VIII I Am"] Barrett grew up in Cambridge, and for those who don't know it, Cambridge is an incubator of a very particular kind of eccentricity. The university tends to attract rather unworldly intellectual overachievers to the city -- people who might not be able to survive in many other situations but who can thrive in that one -- and every description of Barrett's father suggests he was such a person -- Barrett's sister Rosemary has said that she believes that most of the family were autistic, though whether this is a belief based on popular media portrayals or a deeper understanding I don't know. But certainly Cambridge is full of eccentric people with remarkable achievements, and such people tend to have children with a certain type of personality, who try simultaneously to live up to and rebel against expectations of greatness that come from having parents who are regarded as great, and to do so with rather less awareness of social norms than the typical rebel has. In the case of Roger Barrett, he, like so many others of his generation, was encouraged to go into the sciences -- as indeed his father had, both in his career as a pathologist and in his avocation as a mycologist. The fifties and sixties were a time, much like today, when what we now refer to as the STEM subjects were regarded as new and exciting and modern. But rather than following in his father's professional footsteps, Roger Barrett instead followed his hobbies. Dr. Barrett was a painter and musician in his spare time, and Roger was to turn to those things to earn his living. For much of his teens, it seemed that art would be the direction he would go in. He was, everyone agrees, a hugely talented painter, and he was particularly noted for his mastery of colours. But he was also becoming more and more interested in R&B music, especially the music of Bo Diddley, who became his new biggest influence: [Excerpt: Bo Diddley, "Who Do You Love?"] He would often spend hours with his friend Dave Gilmour, a much more advanced guitarist, trying to learn blues riffs. By this point Barrett had already received the nickname "Syd". Depending on which story you believe, he either got it when he started attending a jazz club where an elderly jazzer named Sid Barrett played, and the people were amused that their youngest attendee, like one of the oldest, was called Barrett; or, more plausibly, he turned up to a Scout meeting once wearing a flat cap rather than the normal scout beret, and he got nicknamed "Sid" because it made him look working-class and "Sid" was a working-class sort of name. In 1962, by the time he was sixteen, Barrett joined a short-lived group called Geoff Mott and the Mottoes, on rhythm guitar. The group's lead singer, Geoff Mottlow, would go on to join a band called the Boston Crabs who would have a minor hit in 1965 with a version of the Coasters song "Down in Mexico": [Excerpt: The Boston Crabs, "Down in Mexico"] The bass player from the Mottoes, Tony Sainty, and the drummer Clive Welham, would go on to form another band, The Jokers Wild, with Barrett's friend Dave Gilmour. Barrett also briefly joined another band, Those Without, but his time with them was similarly brief. Some sources -- though ones I consider generally less reliable -- say that the Mottoes' bass player wasn't Tony Sainty, but was Roger Waters, the son of one of Barrett's teachers, and that one of the reasons the band split up was that Waters had moved down to London to study architecture. I don't think that's the case, but it's definitely true that Barrett knew Waters, and when he moved to London himself the next year to go to Camberwell Art College, he moved into a house where Waters was already living. Two previous tenants at the same house, Nick Mason and Richard Wright, had formed a loose band with Waters and various other amateur musicians like Keith Noble, Shelagh Noble, and Clive Metcalfe. That band was sometimes known as the Screaming Abdabs, The Megadeaths, or The Tea Set -- the latter as a sly reference to slang terms for cannabis -- but was mostly known at first as Sigma 6, named after a manifesto by the novelist Alexander Trocchi for a kind of spontaneous university. They were also sometimes known as Leonard's Lodgers, after the landlord of the home that Barrett was moving into, Mike Leonard, who would occasionally sit in on organ and would later, as the band became more of a coherent unit, act as a roadie and put on light shows behind them -- Leonard was himself very interested in avant-garde and experimental art, and it was his idea to play around with the group's lighting. By the time Barrett moved in with Waters in 1964, the group had settled on the Tea Set name, and consisted of Waters on bass, Mason on drums, Wright on keyboards, singer Chris Dennis, and guitarist Rado Klose. Of the group, Klose was the only one who was a skilled musician -- he was a very good jazz guitarist, while the other members were barely adequate. By this time Barrett's musical interests were expanding to include folk music -- his girlfriend at the time talked later about him taking her to see Bob Dylan on his first UK tour and thinking "My first reaction was seeing all these people like Syd. It was almost as if every town had sent one Syd Barrett there. It was my first time seeing people like him." But the music he was most into was the blues. And as the Tea Set were turning into a blues band, he joined them. He even had a name for the new band that would make them more bluesy. He'd read the back of a record cover which had named two extremely obscure blues musicians -- musicians he may never even have heard. Pink Anderson: [Excerpt: Pink Anderson, "Boll Weevil"] And Floyd Council: [Excerpt: Floyd Council, "Runaway Man Blues"] Barrett suggested that they put together the names of the two bluesmen, and presumably because "Anderson Council" didn't have quite the right ring, they went for The Pink Floyd -- though for a while yet they would sometimes still perform as The Tea Set, and they were sometimes also called The Pink Floyd Sound. Dennis left soon after Barrett joined, and the new five-piece Pink Floyd Sound started trying to get more gigs. They auditioned for Ready Steady Go! and were turned down, but did get some decent support slots, including for a band called the Tridents: [Excerpt: The Tridents, "Tiger in Your Tank"] The members of the group were particularly impressed by the Tridents' guitarist and the way he altered his sound using feedback -- Barrett even sent a letter to his girlfriend with a drawing of the guitarist, one Jeff Beck, raving about how good he was. At this point, the group were mostly performing cover versions, but they did have a handful of originals, and it was these they recorded in their first demo sessions in late 1964 and early 1965. They included "Walk With Me Sydney", a song written by Roger Waters as a parody of "Work With Me Annie" and "Dance With Me Henry" -- and, given the lyrics, possibly also Hank Ballard's follow-up "Henry's Got Flat Feet (Can't Dance No More) and featuring Rick Wright's then-wife Juliette Gale as Etta James to Barrett's Richard Berry: [Excerpt: The Tea Set, "Walk With Me Sydney"] And four songs by Barrett, including one called "Double-O Bo" which was a Bo Diddley rip-off, and "Butterfly", the most interesting of these early recordings: [Excerpt: The Tea Set, "Butterfly"] At this point, Barrett was very unsure of his own vocal abilities, and wrote a letter to his girlfriend saying "Emo says why don't I give up 'cos it sounds horrible, and I would but I can't get Fred to join because he's got a group (p'raps you knew!) so I still have to sing." "Fred" was a nickname for his old friend Dave Gilmour, who was playing in his own band, Joker's Wild, at this point. Summer 1965 saw two important events in the life of the group. The first was that Barrett took LSD for the first time. The rest of the group weren't interested in trying it, and would indeed generally be one of the more sober bands in the rock business, despite the reputation their music got. The other members would for the most part try acid once or twice, around late 1966, but generally steer clear of it. Barrett, by contrast, took it on a very regular basis, and it would influence all the work he did from that point on. The other event was that Rado Klose left the group. Klose was the only really proficient musician in the group, but he had very different tastes to the other members, preferring to play jazz to R&B and pop, and he was also falling behind in his university studies, and decided to put that ahead of remaining in the band. This meant that the group members had to radically rethink the way they were making music. They couldn't rely on instrumental proficiency, so they had to rely on ideas. One of the things they started to do was use echo. They got primitive echo devices and put both Barrett's guitar and Wright's keyboard through them, allowing them to create new sounds that hadn't been heard on stage before. But they were still mostly doing the same Slim Harpo and Bo Diddley numbers everyone else was doing, and weren't able to be particularly interesting while playing them. But for a while they carried on doing the normal gigs, like a birthday party they played in late 1965, where on the same bill was a young American folk singer named Paul Simon, and Joker's Wild, the band Dave Gilmour was in, who backed Simon on a version of "Johnny B. Goode". A couple of weeks after that party, Joker's Wild went into the studio to record their only privately-pressed five-song record, of them performing recent hits: [Excerpt: Joker's Wild, "Walk Like a Man"] But The Pink Floyd Sound weren't as musically tight as Joker's Wild, and they couldn't make a living as a cover band even if they wanted to. They had to do something different. Inspiration then came from a very unexpected source. I mentioned earlier that one of the names the group had been performing under had been inspired by a manifesto for a spontaneous university by the writer Alexander Trocchi. Trocchi's ideas had actually been put into practice by an organisation calling itself the London Free School, based in Notting Hill. The London Free School was an interesting mixture of people from what was then known as the New Left, but who were already rapidly aging, the people who had been the cornerstone of radical campaigning in the late fifties and early sixties, who had run the Aldermaston marches against nuclear weapons and so on, and a new breed of countercultural people who in a year or two would be defined as hippies but at the time were not so easy to pigeonhole. These people were mostly politically radical but very privileged people -- one of the founder members of the London Free School was Peter Jenner, who was the son of a vicar and the grandson of a Labour MP -- and they were trying to put their radical ideas into practice. The London Free School was meant to be a collective of people who would help each other and themselves, and who would educate each other. You'd go to the collective wanting to learn how to do something, whether that's how to improve the housing in your area or navigate some particularly difficult piece of bureaucracy, or how to play a musical instrument, and someone who had that skill would teach you how to do it, while you hopefully taught them something else of value. The London Free School, like all such utopian schemes, ended up falling apart, but it had a wider cultural impact than most such schemes. Britain's first underground newspaper, the International Times, was put together by people involved in the Free School, and the annual Notting Hill Carnival, which is now one of the biggest outdoor events in Britain every year with a million attendees, came from the merger of outdoor events organised by the Free School with older community events. A group of musicians called AMM was associated with many of the people involved in the Free School. AMM performed totally improvised music, with no structure and no normal sense of melody and harmony: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] Keith Rowe, the guitarist in AMM, wanted to find his own technique uninfluenced by American jazz guitarists, and thought of that in terms that appealed very strongly to the painterly Barrett, saying "For the Americans to develop an American school of painting, they somehow had to ditch or lose European easel painting techniques. They had to make a break with the past. What did that possibly mean if you were a jazz guitar player? For me, symbolically, it was Pollock laying the canvas on the floor, which immediately abandons European easel technique. I could see that by laying the canvas down, it became inappropriate to apply easel techniques. I thought if I did that with a guitar, I would just lose all those techniques, because they would be physically impossible to do." Rowe's technique-free technique inspired Barrett to make similar noises with his guitar, and to think less in terms of melody and harmony than pure sound. AMM's first record came out in 1966. Four of the Free School people decided to put together their own record label, DNA, and they got an agreement with Elektra Records to distribute its first release -- Joe Boyd, the head of Elektra in the UK, was another London Free School member, and someone who had plenty of experience with disruptive art already, having been on the sound engineering team at the Newport Folk Festival when Dylan went electric. AMM went into the studio and recorded AMMMusic: [Excerpt: AMM, "What Is There In Uselesness To Cause You Distress?"] After that came out, though, Peter Jenner, one of the people who'd started the label, came to a realisation. He said later "We'd made this one record with AMM. Great record, very seminal, seriously avant-garde, but I'd started adding up and I'd worked out that the deal we had, we got two percent of retail, out of which we, the label, had to pay for recording costs and pay ourselves. I came to the conclusion that we were going to have to sell a hell of a lot of records just to pay the recording costs, let alone pay ourselves any money and build a label, so I realised we had to have a pop band because pop bands sold a lot of records. It was as simple as that and I was as naive as that." Jenner abandoned DNA records for the moment, and he and his friend Andrew King decided they were going to become pop managers. and they found The Pink Floyd Sound playing at an event at the Marquee, one of a series of events that were variously known as Spontaneous Underground and The Trip. Other participants in those events included Soft Machine; Mose Allison; Donovan, performing improvised songs backed by sitar players; Graham Bond; a performer who played Bach pieces while backed by African drummers; and The Poison Bellows, a poetry duo consisting of Spike Hawkins and Johnny Byrne, who may of all of these performers be the one who other than Pink Floyd themselves has had the most cultural impact in the UK -- after writing the exploitation novel Groupie and co-writing a film adaptation of Spike Milligan's war memoirs, Byrne became a TV screenwriter, writing many episodes of Space: 1999 and Doctor Who before creating the long-running TV series Heartbeat. Jenner and King decided they wanted to sign The Pink Floyd Sound and make records with them, and the group agreed -- but only after their summer holidays. They were all still students, and so they dispersed during the summer. Waters and Wright went on holiday to Greece, where they tried acid for the first of only a small number of occasions and were unimpressed, while Mason went on a trip round America by Greyhound bus. Barrett, meanwhile, stayed behind, and started writing more songs, encouraged by Jenner, who insisted that the band needed to stop relying on blues covers and come up with their own material, and who saw Barrett as the focus of the group. Jenner later described them as "Four not terribly competent musicians who managed between them to create something that was extraordinary. Syd was the main creative drive behind the band - he was the singer and lead guitarist. Roger couldn't tune his bass because he was tone deaf, it had to be tuned by Rick. Rick could write a bit of a tune and Roger could knock out a couple of words if necessary. 'Set the Controls for the Heart of the Sun' was the first song Roger ever wrote, and he only did it because Syd encouraged everyone to write. Syd was very hesitant about his writing, but when he produced these great songs everyone else thought 'Well, it must be easy'" Of course, we know this isn't quite true -- Waters had written "Walk with me Sydney" -- but it is definitely the case that everyone involved thought of Barrett as the main creative force in the group, and that he was the one that Jenner was encouraging to write new material. After the summer holidays, the group reconvened, and one of their first actions was to play a benefit for the London Free School. Jenner said later "Andrew King and myself were both vicars' sons, and we knew that when you want to raise money for the parish you have to have a social. So in a very old-fashioned way we said 'let's put on a social'. Like in the Just William books, like a whist drive. We thought 'You can't have a whist drive. That's not cool. Let's have a band. That would be cool.' And the only band we knew was the band I was starting to get involved with." After a couple of these events went well, Joe Boyd suggested that they make those events a regular club night, and the UFO Club was born. Jenner and King started working on the light shows for the group, and then bringing in other people, and the light show became an integral part of the group's mystique -- rather than standing in a spotlight as other groups would, they worked in shadows, with distorted kaleidoscopic lights playing on them, distancing themselves from the audience. The highlight of their sets was a long piece called "Interstellar Overdrive", and this became one of the group's first professional recordings, when they went into the studio with Joe Boyd to record it for the soundtrack of a film titled Tonite Let's All Make Love in London. There are conflicting stories about the inspiration for the main riff for "Interstellar Overdrive". One apparent source is the riff from Love's version of the Bacharach and David song "My Little Red Book". Depending on who you ask, either Barrett was obsessed with Love's first album and copied the riff, or Peter Jenner tried to hum him the riff and Barrett copied what Jenner was humming: [Excerpt: Love, "My Little Red Book"] More prosaically, Roger Waters has always claimed that the main inspiration was from "Old Ned", Ron Grainer's theme tune for the sitcom Steptoe and Son (which for American listeners was remade over there as Sanford and Son): [Excerpt: Ron Grainer, "Old Ned"] Of course it's entirely possible, and even likely, that Barrett was inspired by both, and if so that would neatly sum up the whole range of Pink Floyd's influences at this point. "My Little Red Book" was a cover by an American garage-psych/folk-rock band of a hit by Manfred Mann, a group who were best known for pop singles but were also serious blues and jazz musicians, while Steptoe and Son was a whimsical but dark and very English sitcom about a way of life that was slowly disappearing. And you can definitely hear both influences in the main riff of the track they recorded with Boyd: [Excerpt: The Pink Floyd, "Interstellar Overdrive"] "Interstellar Overdrive" was one of two types of song that The Pink Floyd were performing at this time -- a long, extended, instrumental psychedelic excuse for freaky sounds, inspired by things like the second disc of Freak Out! by the Mothers of Invention. When they went into the studio again with Boyd later in January 1967, to record what they hoped would be their first single, they recorded two of the other kind of songs -- whimsical story songs inspired equally by the incidents of everyday life and by children's literature. What became the B-side, "Candy and a Currant Bun", was based around the riff from "Smokestack Lightnin'" by Howlin' Wolf: [Excerpt: Howlin' Wolf, "Smokestack Lightnin'"] That song had become a favourite on the British blues scene, and was thus the inspiration for many songs of the type that get called "quintessentially English". Ray Davies, who was in many ways the major songwriter at this time who was closest to Barrett stylistically, would a year later use the riff for the Kinks song "Last of the Steam-Powered Trains", but in this case Barrett had originally written a song titled "Let's Roll Another One", about sexual longing and cannabis. The lyrics were hastily rewritten in the studio to remove the controversial drug references-- and supposedly this caused some conflict between Barrett and Waters, with Waters pushing for the change, while Barrett argued against it, though like many of the stories from this period this sounds like the kind of thing that gets said by people wanting to push particular images of both men. Either way, the lyric was changed to be about sweet treats rather than drugs, though the lascivious elements remained in. And some people even argue that there was another lyric change -- where Barrett sings "walk with me", there's a slight "f" sound in his vocal. As someone who does a lot of microphone work myself, it sounds to me like just one of those things that happens while recording, but a lot of people are very insistent that Barrett is deliberately singing a different word altogether: [Excerpt: The Pink Floyd, "Candy and a Currant Bun"] The A-side, meanwhile, was inspired by real life. Both Barrett and Waters had mothers who used  to take in female lodgers, and both had regularly had their lodgers' underwear stolen from washing lines. While they didn't know anything else about the thief, he became in Barrett's imagination a man who liked to dress up in the clothing after he stole it: [Excerpt: The Pink Floyd, "Arnold Layne"] After recording the two tracks with Joe Boyd, the natural assumption was that the record would be put out on Elektra, the label which Boyd worked for in the UK, but Jac Holzman, the head of Elektra records, wasn't interested, and so a bidding war began for the single, as by this point the group were the hottest thing in London. For a while it looked like they were going to sign to Track Records, the label owned by the Who's management, but in the end EMI won out. Right as they signed, the News of the World was doing a whole series of articles about pop stars and their drug use, and the last of the articles talked about The Pink Floyd and their association with LSD, even though they hadn't released a record yet. EMI had to put out a press release saying that the group were not psychedelic, insisting"The Pink Floyd are not trying to create hallucinatory effects in their audience." It was only after getting signed that the group became full-time professionals. Waters had by this point graduated from university and was working as a trainee architect, and quit his job to become a pop star. Wright dropped out of university, but Mason and Barrett took sabbaticals. Barrett in particular seems to have seen this very much as a temporary thing, talking about how he was making so much money it would be foolish not to take the opportunity while it lasted, but how he was going to resume his studies in a year. "Arnold Layne" made the top twenty, and it would have gone higher had the pirate radio station Radio London, at the time the single most popular radio station when it came to pop music, not banned the track because of its sexual content. However, it would be the only single Joe Boyd would work on with the group. EMI insisted on only using in-house producers, and so while Joe Boyd would go on to a great career as a producer, and we'll see him again, he was replaced with Norman Smith. Smith had been the chief engineer on the Beatles records up to Rubber Soul, after which he'd been promoted to being a producer in his own right, and Geoff Emerick had taken over. He also had aspirations to pop stardom himself, and a few years later would have a transatlantic hit with "Oh Babe, What Would You Say?" under the name Hurricane Smith: [Excerpt: Hurricane Smith, "Oh Babe, What Would You Say?"] Smith's production of the group would prove controversial among some of the group's longtime fans, who thought that he did too much to curtail their more experimental side, as he would try to get the group to record songs that were more structured and more commercial, and would cut down their improvisations into a more manageable form. Others, notably Peter Jenner, thought that Smith was the perfect producer for the group. They started work on their first album, which was mostly recorded in studio three of Abbey Road, while the Beatles were just finishing off work on Sgt Pepper in studio two. The album was titled The Piper at the Gates of Dawn, after the chapter from The Wind in the Willows, and other than a few extended instrumental showcases, most of the album was made up of short, whimsical, songs by Barrett that were strongly infused with imagery from late-Victorian and Edwardian children's books. This is one of the big differences between the British and American psychedelic scenes. Both the British and American undergrounds were made up of the same type of people -- a mixture of older radical activists, often Communists, who had come up in Britain in the Ban the Bomb campaigns and in America in the Civil Rights movement; and younger people, usually middle-class students with radical politics from a privileged background, who were into experimenting with drugs and alternative lifestyles. But the  social situations were different. In America, the younger members of the underground were angry and scared, as their principal interest was in stopping the war in Vietnam in which so many of them were being killed. And the music of the older generation of the underground, the Civil Rights activists, was shot through with influence from the blues, gospel, and American folk music, with a strong Black influence. So that's what the American psychedelic groups played, for the most part, very bluesy, very angry, music, By contrast, the British younger generation of hippies were not being drafted to go to war, and mostly had little to complain about, other than a feeling of being stifled by their parents' generation's expectations. And while most of them were influenced by the blues, that wasn't the music that had been popular among the older underground people, who had either been listening to experimental European art music or had been influenced by Ewan MacColl and his associates into listening instead to traditional old English ballads, things like the story of Tam Lin or Thomas the Rhymer, where someone is spirited away to the land of the fairies: [Excerpt: Ewan MacColl, "Thomas the Rhymer"] As a result, most British musicians, when exposed to the culture of the underground over here, created music that looked back to an idealised childhood of their grandparents' generation, songs that were nostalgic for a past just before the one they could remember (as opposed to their own childhoods, which had taken place in war or the immediate aftermath of it, dominated by poverty, rationing, and bomb sites (though of course Barrett's childhood in Cambridge had been far closer to this mythic idyll than those of his contemporaries from Liverpool, Birmingham, Newcastle, or London). So almost every British musician who was making music that might be called psychedelic was writing songs that were influenced both by experimental art music and by pre-War popular song, and which conjured up images from older children's books. Most notably of course at this point the Beatles were recording songs like "Strawberry Fields Forever" and "Penny Lane" about places from their childhood, and taking lyrical inspiration from Victorian circus posters and the works of Lewis Carroll, but Barrett was similarly inspired. One of the books he loved most as a child was "The Little Grey Men" by BB, a penname for Denys Watkins-Pitchford. The book told the story of three gnomes,  Baldmoney, Sneezewort, and Dodder, and their adventures on a boat when the fourth member of their little group, Cloudberry, who's a bit of a rebellious loner and more adventurous than the other three, goes exploring on his own and they have to go off and find him. Barrett's song "The Gnome" doesn't use any precise details from the book, but its combination of whimsy about a gnome named Grimble-gromble and a reverence for nature is very much in the mould of BB's work: [Excerpt: The Pink Floyd, "The Gnome"] Another huge influence on Barrett was Hillaire Belloc. Belloc is someone who is not read much any more, as sadly he is mostly known for the intense antisemitism in some of his writing, which stains it just as so much of early twentieth-century literature is stained, but he was one of the most influential writers of the early part of the twentieth century. Like his friend GK Chesterton he was simultaneously an author of Catholic apologia and a political campaigner -- he was a Liberal MP for a few years, and a strong advocate of an economic system known as Distributism, and had a peculiar mixture of very progressive and extremely reactionary ideas which resonated with a lot of the atmosphere in the British underground of the time, even though he would likely have profoundly disapproved of them. But Belloc wrote in a variety of styles, including poems for children, which are the works of his that have aged the best, and were a huge influence on later children's writers like Roald Dahl with their gleeful comic cruelty. Barrett's "Matilda Mother" had lyrics that were, other than the chorus where Barrett begs his mother to read him more of the story, taken verbatim from three poems from Belloc's Cautionary Tales for Children -- "Jim, Who Ran away from his Nurse, and was Eaten by a Lion", "Henry King (Who chewed bits of String, and was cut off in Dreadful Agonies)", and "Matilda (Who Told Lies and Was Burned to Death)" -- the titles of those give some idea of the kind of thing Belloc would write: [Excerpt: The Pink Floyd, "Matilda Mother (early version)"] Sadly for Barrett, Belloc's estate refused to allow permission for his poems to be used, and so he had to rework the lyrics, writing new fairy-tale lyrics for the finished version. Other sources of inspiration for lyrics came from books like the I Ching, which Barrett used for "Chapter 24", having bought a copy from the Indica Bookshop, the same place that John Lennon had bought The Psychedelic Experience, and there's been some suggestion that he was deliberately trying to copy Lennon in taking lyrical ideas from a book of ancient mystic wisdom. During the recording of Piper at the Gates of Dawn, the group continued playing live. As they'd now had a hit single, most of their performances were at Top Rank Ballrooms and other such venues around the country, on bills with other top chart groups, playing to audiences who seemed unimpressed or actively hostile. They also, though made two important appearances. The more well-known of these was at the 14-Hour Technicolor Dream, a benefit for International Times magazine with people including Yoko Ono, their future collaborator Ron Geesin, John's Children, Soft Machine, and The Move also performing. The 14-Hour Technicolor Dream is now largely regarded as *the* pivotal moment in the development of the UK counterculture, though even at the time some participants noted that there seemed to be a rift developing between the performers, who were often fairly straightforward beer-drinking ambitious young men who had latched on to kaftans and talk about enlightenment as the latest gimmick they could use to get ahead in the industry, and the audience who seemed to be true believers. Their other major performance was at an event called "Games for May -- Space Age Relaxation for the Climax of Spring", where they were able to do a full long set in a concert space with a quadrophonic sound system, rather than performing in the utterly sub-par environments most pop bands had to at this point. They came up with a new song written for the event, which became their second single, "See Emily Play". [Excerpt: The Pink Floyd, "See Emily Play"] Emily was apparently always a favourite name of Barrett's, and he even talked with one girlfriend about the possibility of naming their first child Emily, but the Emily of the song seems to have had a specific inspiration. One of the youngest attendees at the London Free School was an actual schoolgirl, Emily Young, who would go along to their events with her schoolfriend Anjelica Huston (who later became a well-known film star). Young is now a world-renowned artist, regarded as arguably Britain's greatest living stone sculptor, but at the time she was very like the other people at the London Free School -- she was from a very privileged background, her father was Wayland Young, 2nd Baron Kennet, a Labour Peer and minister who later joined the SDP. But being younger than the rest of the attendees, and still a little naive, she was still trying to find her own personality, and would take on attributes and attitudes of other people without fully understanding them,  hence the song's opening lines, "Emily tries, but misunderstands/She's often inclined to borrow somebody's dream til tomorrow". The song gets a little darker towards the end though, and the image in the last verse, where she puts on a gown and floats down a river forever *could* be a gentle, pastoral, image of someone going on a boat ride, but it also could be a reference to two rather darker sources. Barrett was known to pick up imagery both from classic literature and from Arthurian legend, and so the lines inevitably conjure up both the idea of Ophelia drowning herself and of the Lady of Shallot in Tennyson's Arthurian poem, who is trapped in a tower but finds a boat, and floats down the river to Camelot but dies before the boat reaches the castle: [Excerpt: The Pink Floyd, "See Emily Play"] The song also evokes very specific memories of Barrett's childhood -- according to Roger Waters, the woods mentioned in the lyrics are meant to be woods in which they had played as children, on the road out of Cambridge towards the Gog and Magog Hills. The song was apparently seven minutes long in its earliest versions, and required a great deal of editing to get down to single length, but it was worth it, as the track made the top ten. And that was where the problems started. There are two different stories told about what happened to Roger Barrett over the next forty years, and both stories are told by people with particular agendas, who want particular versions of him to become the accepted truth. Both stories are, in the extreme versions that have been popularised, utterly incompatible with each other, but both are fairly compatible with the scanty evidence we have. Possibly the truth lies somewhere between them. In one version of the story, around this time Barrett had a total mental breakdown, brought on or exacerbated by his overuse of LSD and Mandrax (a prescription drug consisting of a mixture of the antihistamine diphenhydramine and the sedative methaqualone, which was marketed in the US under the brand-name Quaalude), and that from late summer 1967 on he was unable to lead a normal life, and spent the rest of his life as a burned-out shell. The other version of the story is that Barrett was a little fragile, and did have periods of mental illness, but for the most part was able to function fairly well. In this version of the story, he was neurodivergent, and found celebrity distressing, but more than that he found the whole process of working within commercial restrictions upsetting -- having to appear on TV pop shows and go on package tours was just not something he found himself able to do, but he was responsible for a whole apparatus of people who relied on him and his group for their living. In this telling, he was surrounded by parasites who looked on him as their combination meal-ticket-cum-guru, and was simply not suited for the role and wanted to sabotage it so he could have a private life instead. Either way, *something* seems to have changed in Barrett in a profound way in the early summer of 1967. Joe Boyd talks about meeting him after not having seen him for a few weeks, and all the light being gone from his eyes. The group appeared on Top of the Pops, Britain's top pop TV show, three times to promote "See Emily Play", but by the third time Barrett didn't even pretend to mime along with the single. Towards the end of July, they were meant to record a session for the BBC's Saturday Club radio show, but Barrett walked out of the studio before completing the first song. It's notable that Barrett's non-cooperation or inability to function was very much dependent on circumstance. He was not able to perform for Saturday Club, a mainstream pop show aimed at a mass audience, but gave perfectly good performances on several sessions for John Peel's radio show The Perfumed Garden, a show firmly aimed at Pink Floyd's own underground niche. On the thirty-first of July, three days after the Saturday Club walkout, all the group's performances for the next month were cancelled, due to "nervous exhaustion". But on the eighth of August, they went back into the studio, to record "Scream Thy Last Scream", a song Barrett wrote and which Nick Mason sang: [Excerpt: Pink Floyd, "Scream Thy Last Scream"] That was scheduled as the group's next single, but the record company vetoed it, and it wouldn't see an official release for forty-nine years. Instead they recorded another single, "Apples and Oranges": [Excerpt: Pink Floyd, "Apples and Oranges"] That was the last thing the group released while Barrett was a member. In November 1967 they went on a tour of the US, making appearances on American Bandstand and the Pat Boone Show, as well as playing several gigs. According to legend, Barrett was almost catatonic on the Pat Boone show, though no footage of that appears to be available anywhere -- and the same things were said about their performance on Bandstand, and when that turned up, it turned out Barrett seemed no more uncomfortable miming to their new single than any of the rest of the band, and was no less polite when Dick Clark asked them questions about hamburgers. But on shows on the US tour, Barrett would do things like detune his guitar so it just made clanging sounds, or just play a single note throughout the show. These are, again, things that could be taken in two different ways, and I have no way to judge which is the more correct. On one level, they could be a sign of a chaotic, disordered, mind, someone dealing with severe mental health difficulties. On the other, they're the kind of thing that Barrett was applauded and praised for in the confines of the kind of avant-garde underground audience that would pay to hear AMM or Yoko Ono, the kind of people they'd been performing for less than a year earlier, but which were absolutely not appropriate for a pop group trying to promote their latest hit single. It could be that Barrett was severely unwell, or it could just be that he wanted to be an experimental artist and his bandmates wanted to be pop stars -- and one thing absolutely everyone agrees is that the rest of the group were more ambitious than Barrett was. Whichever was the case, though, something had to give. They cut the US tour short, but immediately started another British package tour, with the Jimi Hendrix Experience, the Move, Amen Corner and the Nice. After that tour they started work on their next album, A Saucerful of Secrets. Where Barrett was the lead singer and principal songwriter on Piper at the Gates of Dawn, he only sings and writes one song on A Saucerful of Secrets, which is otherwise written by Waters and Wright, and only appears at all on two more of the tracks -- by the time it was released he was out of the group. The last song he tried to get the group to record was called "Have You Got it Yet?" and it was only after spending some time rehearsing it that the rest of the band realised that the song was a practical joke on them -- every time they played it, he would change the song around so they would mess up, and pretend they just hadn't learned the song yet. They brought in Barrett's old friend Dave Gilmour, initially to be a fifth member on stage to give the band some stability in their performances, but after five shows with the five-man lineup they decided just not to bother picking Barrett up, but didn't mention he was out of the group, to avoid awkwardness. At the time, Barrett and Rick Wright were flatmates, and Wright would actually lie to Barrett and say he was just going out to buy a packet of cigarettes, and then go and play gigs without him. After a couple of months of this, it was officially announced that Barrett was leaving the group. Jenner and King went with him, convinced that he was the real talent in the group and would have a solo career, and the group carried on with new management. We'll be looking at them more in future episodes. Barrett made a start at recording a solo album in mid-1968, but didn't get very far. Jenner produced those sessions, and later said "It seemed a good idea to go into the studio because I knew he had the songs. And he would sometimes play bits and pieces and you would think 'Oh that's great.' It was a 'he's got a bit of a cold today and it might get better' approach. It wasn't a cold -- and you knew it wasn't a cold -- but I kept thinking if he did the right things he'd come back to join us. He'd gone out and maybe he'd come back. That was always the analogy in my head. I wanted to make it feel friendly for him, and that where we were was a comfortable place and that he could come back and find himself again. I obviously didn't succeed." A handful of tracks from those sessions have since been released, including a version of “Golden Hair”, a setting by Barrett of a poem by James Joyce that he would later revisit: [Excerpt: Syd Barrett, “Golden Hair (first version)”] Eleven months later, he went back into the studio again, this time with producer Malcolm Jones, to record an album that later became The Madcap Laughs, his first solo album. The recording process for the album has been the source of some controversy, as initially Jones was producing the whole album, and they were working in a way that Barrett never worked before. Where previously he had cut backing tracks first and only later overdubbed his vocals, this time he started by recording acoustic guitar and vocals, and then overdubbed on top of that. But after several sessions, Jones was pulled off the album, and Gilmour and Waters were asked to produce the rest of the sessions. This may seem a bit of a callous decision, since Gilmour was the person who had replaced Barrett in his group, but apparently the two of them had remained friends, and indeed Gilmour thought that Barrett had only got better as a songwriter since leaving the band. Where Malcolm Jones had been trying, by his account, to put out something that sounded like a serious, professional, record, Gilmour and Waters seemed to regard what they were doing more as producing a piece of audio verite documentary, including false starts and studio chatter. Jones believed that this put Barrett in a bad light, saying the outtakes "show Syd, at best as out of tune, which he rarely was, and at worst as out of control (which, again, he never was)." Gilmour and Waters, on the other hand, thought that material was necessary to provide some context for why the album wasn't as slick and professional as some might have hoped. The eventual record was a hodge-podge of different styles from different sessions, with bits from the Jenner sessions, the Jones sessions, and the Waters and Gilmour sessions all mixed together, with some tracks just Barrett badly double-tracking himself with an acoustic guitar, while other tracks feature full backing by Soft Machine. However, despite Jones' accusations that the album was more-or-less sabotaged by Gilmour and Waters, the fact remains that the best tracks on the album are the ones Barrett's former bandmates produced, and there are some magnificent moments on there. But it's a disturbing album to listen to, in the same way other albums by people with clear talent but clear mental illness are, like Skip Spence's Oar, Roky Erickson's later work, or the Beach Boys Love You. In each case, the pleasure one gets is a real pleasure from real aesthetic appreciation of the work, but entangled with an awareness that the work would not exist in that form were the creator not suffering. The pleasure doesn't come from the suffering -- these are real artists creating real art, not the kind of outsider art that is really just a modern-day freak-show -- but it's still inextricable from it: [Excerpt: Syd Barrett, "Dark Globe"] The Madcap Laughs did well enough that Barrett got to record a follow-up, titled simply Barrett. This one was recorded over a period of only a handful of months, with Gilmour and Rick Wright producing, and a band consisting of Gilmour, Wright, and drummer Jerry Shirley. The album is generally considered both more consistent and less interesting than The Madcap Laughs, with less really interesting material, though there are some enjoyable moments on it: [Excerpt: Syd Barrett, "Effervescing Elephant"] But the album is a little aimless, and people who knew him at the time seem agreed that that was a reflection of his life. He had nothing he *needed* to be doing -- no  tour dates, no deadlines, no pressure at all, and he had a bit of money from record royalties -- so he just did nothing at all. The one solo gig he ever played, with the band who backed him on Barrett, lasted four songs, and he walked off half-way through the fourth. He moved back to Cambridge for a while in the early seventies, and he tried putting together a new band with Twink, the drummer of the Pink Fairies and Pretty Things, Fred Frith, and Jack Monck, but Frith left after one gig. The other three performed a handful of shows either as "Stars" or as "Barrett, Adler, and Monck", just in the Cambridge area, but soon Barrett got bored again. He moved back to London, and in 1974 he made one final attempt to make a record, going into the studio with Peter Jenner, where he recorded a handful of tracks that were never released. But given that the titles of those tracks were things like "Boogie #1", "Boogie #2", "Slow Boogie", "Fast Boogie", "Chooka-Chooka Chug Chug" and "John Lee Hooker", I suspect we're not missing out on a lost masterpiece. Around this time there was a general resurgence in interest in Barrett, prompted by David Bowie having recorded a version of "See Emily Play" on his covers album Pin-Ups, which came out in late 1973: [Excerpt: David Bowie, "See Emily Play"] At the same time, the journalist Nick Kent wrote a long profile of Barrett, The Cracked Ballad of Syd Barrett, which like Kent's piece on Brian Wilson a year later, managed to be a remarkable piece of writing with a sense of sympathy for its subject and understanding of his music, but also a less-than-accurate piece of journalism which led to a lot of myths and disinformation being propagated. Barrett briefly visited his old bandmates in the studio in 1975 while they were recording the album Wish You Were Here -- some say even during the recording of the song "Shine On, You Crazy Diamond", which was written specifically about Barrett, though Nick Mason claims otherwise -- and they didn't recognise him at first, because by this point he had a shaved head and had put on a great deal of weight. He seemed rather sad, and that was the last time any of them saw him, apart from Roger Waters, who saw him in Harrod's a few years later. That time, as soon as Barrett recognised Waters, he dropped his bag and ran out of the shop. For the next thirty-one years, Barrett made no public appearances. The last time he ever voluntarily spoke to a journalist, other than telling them to go away, was in 1982, just after he'd moved back to Cambridge, when someone doorstopped him and he answered a few questions and posed for a photo before saying "OK! That's enough, this is distressing for me, thank you." He had the reputation for the rest of his life of being a shut-in, a recluse, an acid casualty. His family, on the other hand, have always claimed that while he was never particularly mentally or physically healthy, he wasn't a shut-in, and would go to the pub, meet up with his mother a couple of times a week to go shopping, and chat to the women behind the counter at Sainsbury's and at the pharmacy. He was also apparently very good with children who lived in the neighbourhood. Whatever the truth of his final decades, though, however mentally well or unwell he actually was, one thing is very clear, which is that he was an extremely private man, who did not want attention, and who was greatly distressed by the constant stream of people coming and looking through his letterbox, trying to take photos of him, trying to interview him, and so on. Everyone on his street knew that when people came asking which was Syd Barrett's house, they were meant to say that no-one of that name lived there -- and they were telling the truth. By the time he moved back, he had stopped answering to "Syd" altogether, and according to his sister "He came to hate the name latterly, and what it meant." He did, in 2001, go round to his sister's house to watch a documentary about himself on the TV -- he didn't own a TV himself -- but he didn't enjoy it and his only comment was that the music was too noisy. By this point he never listened to rock music, just to jazz and classical music, usually on the radio. He was financially secure -- Dave Gilmour made sure that when compilations came out they always included some music from Barrett's period in the group so he would receive royalties, even though Gilmour had no contact with him after 1975 -- and he spent most of his time painting -- he would take photos of the paintings when they were completed, and then burn the originals. There are many stories about those last few decades, but given how much he valued his privacy, it wouldn't be right to share them. This is a history of rock music, and 1975 was the last time Roger Keith Barrett ever had anything to do with rock music voluntarily. He died of cancer in 2006, and at his funeral there was a reading from The Little Grey Men, which was also quoted in the Order of Service -- "The wonder of the world, the beauty and the power, the shapes of things, their colours lights and shades; these I saw. Look ye also while life lasts.” There was no rock music played at Barrett's funeral -- instead there were a selection of pieces by Handel, Haydn, and Bach, ending with Bach's Allemande from the Partita No. IV in D major, one of his favourite pieces: [Excerpt: Glenn Gould, "Allemande from the Partita No. IV in D major"]  As they stared blankly in dumb misery deepening as they slowly realised all they had seen and all they had lost, a capricious little breeze, dancing up from the surface of the water, tossed the aspens, shook the dewy roses and blew lightly and caressingly in their faces; and with its soft touch came instant oblivion. For this is the last best gift that the kindly demi-god is careful to bestow on those to whom he has revealed himself in their helping: the gift of forgetfulness. Lest the awful remembrance should remain and grow, and overshadow mirth and pleasure, and the great haunting memory should spoil all the after-lives of little animals helped out of difficulties, in order that they should be happy and lighthearted as before. Mole rubbed his eyes and stared at Rat, who was looking about him in a puzzled sort of way. “I beg your pardon; what did you say, Rat?” he asked. “I think I was only remarking,” said Rat slowly, “that this was the right sort of place, and that here, if anywhere, we should find him. And look! Why, there he is, the little fellow!” And with a cry of delight he ran towards the slumbering Portly. But Mole stood still a moment, held in thought. As one wakened suddenly from a beautiful dream, who struggles to recall it, and can re-capture nothing but a dim sense of the beauty of it, the beauty! Till that, too, fades away in its turn, and the dreamer bitterly accepts the hard, cold waking and all its penalties; so Mole, after struggling with his memory for a brief space, shook his head sadly and followed the Rat.

Bands in the van, and a band at the crossroads. In this episode of RNRA Shorts, we'll get into the early days of Pink Floyd, and the latest from a Pink Floyd member: Nick Mason's 2022 Saucerful of Secrets tour. Written by Richard Evans and Christian Swain, Sound Design by Jerry Danielsen.  Sponsors and PartnersNick Mason's Saucerful Of SecretsRock's BackpagesSongsPink Floyd, “Echoes,” from MeddlePink Floyd, “See Emily Play,” from Piper at the Gates of DawnPink Floyd, “Set the Controls for the Heart of the Sun” from A Saucerful of SecretsPink Floyd, “Interstellar Overdrive,” from Piper at the Gates of DawnPink Floyd, “Bike,” from Piper at the Gates of DawnPink Floyd, “Fearless,” from MeddlePink Floyd, “One of These Days,” from MeddlePink Floyd, “Jugband Blues,” from A Saucerful of SecretsNick Mason's Saucerful of Secrets: “Arnold Layne,” from Live at the RoundhouseBooksMason, Nick. Inside Out: A Personal History of Pink Floyd Chronicle Books LLC. Kindle Edition.Cutler, Sam. You Can't Always Get What You Want: My Life with the Rolling Stones, the Grateful Dead and Other Wonderful Reprobates . ECW Press. Kindle Edition.Films, Documentaries, and TV Shows“What Drives Us,” Directed by Dave Grohl, 2021"Omnibus" Syd Barrett: Crazy Diamond (TV Episode 2001) - IMDbPink Floyd: Dark Side of the Moon (Short 1973) - IMDbNick Mason's Saucerful of Secrets: Live at the Roundhouse (2020) - IMDbOnline SourcesPink Floyd | Rock & Roll Hall of FameWhy Pink Floyd's Nick Mason Finally Went Solo at 75 – Rolling StoneHow Pink Floyd Carried on With 'A Saucerful of Secrets'Nick Mason's Saucerful of Secrets Concert Setlist at Zagrebački velesajam - Paviljon 9, Zagreb on May 31, 2022

Bands in the van, and a band at the crossroads. In this episode of RNRA Shorts, we'll get into the early days of Pink Floyd, and the latest from a Pink Floyd member: Nick Mason's 2022 Saucerful of Secrets tour.  Written by Richard Evans and Christian Swain, Sound Design by Jerry Danielsen.   Sponsors and Partners Nick Mason's Saucerful Of Secrets Rock's Backpages Songs Pink Floyd, “Echoes,” from Meddle Pink Floyd, “See Emily Play,” from Piper at the Gates of Dawn Pink Floyd, “Set the Controls for the Heart of the Sun” from A Saucerful of Secrets Pink Floyd, “Interstellar Overdrive,” from Piper at the Gates of Dawn Pink Floyd, “Bike,” from Piper at the Gates of Dawn Pink Floyd, “Fearless,” from Meddle Pink Floyd, “One of These Days,” from Meddle Pink Floyd, “Jugband Blues,” from A Saucerful of Secrets Nick Mason's Saucerful of Secrets: “Arnold Layne,” from Live at the Roundhouse Books Mason, Nick. Inside Out: A Personal History of Pink Floyd Chronicle Books LLC. Kindle Edition. Cutler, Sam. You Can't Always Get What You Want: My Life with the Rolling Stones, the Grateful Dead and Other Wonderful Reprobates . ECW Press. Kindle Edition. Films, Documentaries, and TV Shows “What Drives Us,” Directed by Dave Grohl, 2021 "Omnibus" Syd Barrett: Crazy Diamond (TV Episode 2001) - IMDb Pink Floyd: Dark Side of the Moon (Short 1973) - IMDb Nick Mason's Saucerful of Secrets: Live at the Roundhouse (2020) - IMDb Online Sources Pink Floyd | Rock & Roll Hall of Fame Why Pink Floyd's Nick Mason Finally Went Solo at 75 – Rolling Stone How Pink Floyd Carried on With 'A Saucerful of Secrets' Nick Mason's Saucerful of Secrets Concert Setlist at Zagrebački velesajam - Paviljon 9, Zagreb on May 31, 2022

Bands in the van, and a band at the crossroads. In this episode of RNRA Shorts, we'll get into the early days of Pink Floyd, and the latest from a Pink Floyd member: Nick Mason's 2022 Saucerful of Secrets tour. Written by Richard Evans and Christian Swain, Sound Design by Jerry Danielsen.  Sponsors and PartnersNick Mason's Saucerful Of SecretsRock's BackpagesSongsPink Floyd, “Echoes,” from MeddlePink Floyd, “See Emily Play,” from Piper at the Gates of DawnPink Floyd, “Set the Controls for the Heart of the Sun” from A Saucerful of SecretsPink Floyd, “Interstellar Overdrive,” from Piper at the Gates of DawnPink Floyd, “Bike,” from Piper at the Gates of DawnPink Floyd, “Fearless,” from MeddlePink Floyd, “One of These Days,” from MeddlePink Floyd, “Jugband Blues,” from A Saucerful of SecretsNick Mason's Saucerful of Secrets: “Arnold Layne,” from Live at the RoundhouseBooksMason, Nick. Inside Out: A Personal History of Pink Floyd Chronicle Books LLC. Kindle Edition. Cutler, Sam. You Can't Always Get What You Want: My Life with the Rolling Stones, the Grateful Dead and Other Wonderful Reprobates . ECW Press. Kindle Edition. Films, Documentaries, and TV Shows“What Drives Us,” Directed by Dave Grohl, 2021"Omnibus" Syd Barrett: Crazy Diamond (TV Episode 2001) - IMDbPink Floyd: Dark Side of the Moon (Short 1973) - IMDbNick Mason's Saucerful of Secrets: Live at the Roundhouse (2020) - IMDbOnline SourcesPink Floyd | Rock & Roll Hall of FameWhy Pink Floyd's Nick Mason Finally Went Solo at 75 – Rolling StoneHow Pink Floyd Carried on With 'A Saucerful of Secrets'Nick Mason's Saucerful of Secrets Concert Setlist at Zagrebački velesajam - Paviljon 9, Zagreb on May 31, 2022

I've been wanting to talk about Pink Floyd for quite some time. One of my favorite bands of all time, Pink Floyd had an incredible run of albums in the 1970s that were the whole package...music, lyrics, production value...it all worked. As 2022 is the 45-year anniversary of the album Animals, which is one of my favorites, I though that would be a good place to start. I enlisted the help of my friend Joel Craig, a former internet DJ who hosted the show Interstellar Overdrive at ProgRock.com and The Dividing Line a few years back. Joel and I discuss the album in depth and share our passion for this classic album. Reminder: You can support independent podcasting by becoming a Michael's Record Collection Patreon subscriber starting at only $2 per month (50 cents an episode...or less!) at the MRC Patreon page. Supporter benefits escalate at each level, providing more value the more you support the show. For example, you will know about interviews in advance and some levels can submit questions for the artists, come on the show to co-host, enter prize drawings, and more.  Please hit the like button and leave a rating/review on Apple Music or the Goodpods app if you consume this podcast on those platforms. You can read my Michael's Record Collection newsletter for free by signing up at michaelsrecordcollection.substack.com. Follow MRC on Twitter (@MikesRecords), like us on Facebook, and check us out on Instagram. Have questions or comments or want to suggest a topic? Hit me up at michaelsrecordcollection@gmail.com.

Una de las bandas de rock psicodélico y rock progresivo más míticas de la historia. Pioneros de la experimentación sonora y elaboradas puestas en escena, generalmente acompañadas de audiovisuales. Formada en Londres en 1965, esta es Pink Floyd. Parte 1 de 3: Syd Barrett. Síguenos en https://instagram.com/revolucionesmusicalesLista de reproducción:Lucifer SamJulia Dream (fragmento)See Emily PlayFloyd Council - Runaway Man Blues (fragmento)Arnold LayneOn The Run (fragmento)BikeEchoes (fragmento)Remember A DayCymbaline (fragmento)Interstellar Overdrive (fragmento)Brain DamageEclipseShine On You Crazy Diamond (2-5)Jugband Blues (fragmento)OctopusSet the Controls for the Heart of the Sun (fragmento)Wish You Were Here

What does it take to produce an incredible Pink Floyd Experience in a medium sized, yet highly artistic community in the center of America? It takes a team, and they do it WELL! We were super stoked to have Byron Neighbors and Jason Caton of Interstellar Overdrive on the show to help promote their upcoming show on April 22nd at The Blue Note, in Columbia, Missouri. As a long time fan, I can tell you that it's mind blowing. Here's a few insights into the moving parts and the friendly musicians who do all of this for YOU! Enjoy. --- Send in a voice message: https://anchor.fm/undetermined-podcast/message Support this podcast: https://anchor.fm/undetermined-podcast/support

Byron talks about his Big Muff. --- Send in a voice message: https://anchor.fm/undetermined-podcast/message Support this podcast: https://anchor.fm/undetermined-podcast/support

Let em eat Jellybeans. We run and hide our heads, then we kick in to Interstellar Overdrive. Don't become a wobbly stool. You are not John Bonham! Let's get back to the riff. Pat Smear meets Prince.

Morceaux: Elekibass – “Tiger” (JP) The Cabins – “Mechadog” (JP) Hush – “Interstellar Overdrive” (JP) Bo En – “Be Okay (with Avec Avec)” (UK/JP)

PINK FLOYD is who we've decided to cover for our third full-band discography which means Episode 25 covers the 1967 debut "The Piper at the Gates of Dawn" (OG 11-track UK track listing). The sole Syd Barrett-fronted Floyd album, Mark, Kevin, Alex, and Chris take you on a historical journey surrounding the album as well as share our favorites and not-so favorites from the debut. We go on a deep dive track-by-track listen of this monumental psychedelic rock album as well as share personal stories of discovering Pink Floyd's "The Piper at the Gates of Dawn." Tune in next week for Episode 26 covering "A Saucerful of Secrets." #THEGNOME Follow "Light the Sky Podcast" on Instagram, Twitter, and Facebook to stay up-to-date with all things LTS. Instagram: https://www.instagram.com/lighttheskypodcast/ Twitter: https://twitter.com/LighttheSkyPod1 Facebook: https://www.facebook.com/LightTheSkyPodcast/

Peter Bebergal returns (previously on episode #180 with his book Strange Frequencies)  to discuss magic, witchcraft, and the occult and how those things impacted the world of Rock & Roll music.  Check the attachment to this episode for a bunch of music links relevant to the show and Peter's book Season of the Witch.   Speaking of books - Karen has a new one and I made an easy to remember shortcut to it on Amazon:  http://bit.ly/OnTheOffensive (The lettering case in that link does matter.) Discussed in the episode: Image of David Bowie in "Diamond Dogs" album (MOMA) Made for TV Movie: Devil Dog - The Hound of Hell The George Harrison "documentary" Karen mentions - Paul McCartney Really Is Dead: The Last Testament of George Harrison (There is a lot of mixed messaging out there on whether this is a serious but wacky documentary or a silly but confusing mockumentary. It was originally released as a documentary but the filmmaker has since reclassified it as "mockumentary" - was this for legal reasons?) FYI: The narration is not by George Harrison. The UFO Club in London was a short-lived hub of early lights & sounds and psychedelic imagery. It only operated over a two-year span but had a tremendous impact on music culture - and on posters for bands. Peter's original SOTW Spotify List (link) Song/Album Notes Fire (The Crazy World of Arthur Brown) Starts with the iconic (and parent-frightening) "I AM THE GOD OF HELLFIRE..." Sacred Songs (Daryl Hall) Daryl Hall (!?) album inspired by the work of Aleister Crowley Cross Road Blues (Robert Johnson) While the legend of the blues musician at the crossroads is often applied to Robert Johnson, it has earlier roots with... Cool Drink of Water Blues (Tommy Johnson) Tommy Johnson, not related to Robert, was the focus of an earlier version of the crossroads legend Anthology of American Folk Music (via archive.org) A partial selection of the 6-album (3, 2-record ea) set of American Folk Music curated by Harry Smith. The Piper at the Gates of Dawn (Pink Floyd) The Syd Barrett-led Pink Floyd would change a lot after Barrett's descent into mental illness, but there are psychedelic and occult themes in this eclectic early Floyd album. Interstellar Overdrive is a good long instrumental track to read Bebergal's book to. My Sweet Lord (George Harrison) Perhaps the most public of the musician seekers, Harrison's ode to the search for a connection to the numinous was very successful - and also (accidentally?) directly copied He's So Fine by The Chiffons. Shankar: Dhun (Ravi Shankar) Sitar would meet Guitar when the Beatles went to India and met gurus and traditional Indian musicians, most famously Ravi Shankar. Lucifer Rising soundtrack (Bobby BeauSoleil) The soundtrack to occult filmmaker Kenneth Anger's movie Lucifer Rising was supposed to be done by Led Zeppelin's Jimmy Page, but things happened. (This complicated story is covered in Bebergal's book.) War Pigs (Black Sabbath) The Ozzy Osborne led band would take its name from an Italian horror film, but like Alice Cooper, the "occult" aspects of Sabbath appear to be entirely performative. Consider Ozzy's paean to Aleister Crowley in which he fails to pronounce the old occultist's name right. (Crowley rhymes with holy.)  Sympathy for the Devil (The Rolling Stones) The Stones' "wicked" song - was it inspired by Baudelaire or Kenneth Anger? And how many times do the band sing "who? who?" in this 6-minute treat? Misty Mountain Hop (Led Zeppelin) Combining elements of Tolkien fantasy and drug-fueled psychedelic experiences, LZ music combined many elements of fictional and authentic occult imagery. Jimmy Page's interest in Aleister Crowley is legendary with him even buying Crowley's Loch Ness adjacent home Boleskin. Mephisto Waltz (Misfits) The punk band Misfits took their imagery and themes from horror movies and the occult as well. Jack Parsons (The Claypool Lennon Delirium) This came out after Bebergal's book, but this is an amazing modern throwback to the psychedelic era that also tells a weirdly surprisingly accurate story of Jack Parsons, occultist, and rocketeer. Hotter than Hell (KISS) KISS aligned itself with wild stage antics and imagery, but in the 1970s even having the word "hell" in your song titles could lead to allegations that your band's name really stood for "Knights in Satan's Service." (Narrator: It didn't.) Life on Mars? (David Bowie) Bowie's role in occult rock history is really quite peculiar and not what I expected. Often in drug-fueled paranoia of the occult, his off-stage behavior stands in stark contrast from the on-stage cool presence.  I wanted to include a song from him on this list and this peculiar antithesis to My Way is one I really like. After Cease to Exist (Throbbing Gristle) I'm not recommending this 20 min weird and disturbing soundscape - but if you're feeling a bit like Frank in Hellraiser and just wonder what the cenobites probably jam to?  Anyway, in Bebergal's book, there are some interesting tidbits about how Throbbing Gristle's members became involved with William S. Burroughs and the occult aspects of his life. Bela Lugosi's Dead (Bauhaus) The song that kicked off the goth scene. It doesn't take 9 mins to tell people that Bela Lugosi (the actor who played Dracula in the 1931 Universal horror film) is dead… but it does the Bauhaus way.  Hallowed Be Thy Name (Iron Maiden) Peter doesn't write about Iron Maiden in the book, but growing up in the 80s, Iron Maiden was one of the many reasons I refused to get a 96 Rock Card. I was so not into heavy metal and it was weird catching up on that stuff in my 40s instead of my teens. In Search Of Space (Hawkwind) Before Motorhead, Lemmy sang about UFOs. (Well, I think that's what he's singing about?) Door of the Cosmos (Sun Ra) Sun Ra's jazz music isn't really rock, but it's something. And I think magician Penn Jillette mentions Sun Ra about as often as he mentions James Randi. Witch Trial (Black Mass Lucifer) The pioneering electronic album Black Mass Lucifer - or is it Black Mass by Lucifer? - is an album by electronic music audio explorer Mort Garson. It's occult-themed but its weird MOOG tonal tapestries, without the context of title or lyrics, would be hard to classify as specifically "magic" themed.  The Tales of Topographic Oceans (Yes) A friend once described to me how that in the 1970s it was common to put on long, trippy albums and just stare at album artwork and go on imaginary journeys. With a cover by Roger Dean and just four songs, each about 20 mins in length, I think this is exactly what he was talking about. I once had an angry Navy training instructor basically spit at Yes's "Owner of a Lonely Heart" and shout to the class "It ain't Yes unless it takes 15 minutes to listen to and has a 5-minute guitar solo!" Apes**t (Beyonce and Jay-Z) Jay-Z has played around with the imagery of the illuminati and occult. Here's an article about the imagery use in the video for this song. Secular Haze (Ghost B.C.) Combines ghoulish occult imagery with monk garb and skeletal makeup. Swedish in origin, but not flat-packed. 

En este sexto programa de la serie "A la escucha del virus" continuamos presentando un conjunto de audiciones en principio no relacionadas directamente con la pandemia que actualmente nos afecta —en una u otra medida— a todos, pero que quizá puedan alentar ciertas reflexiones —o, por lo menos, sensaciones— que nos ayuden a imaginar una representación diferente de la compleja y dolorosa situación que toda la humanidad está atravesando en estos días. Tras el movimiento de diástole o de expansión progresiva que, a lo largo de los cinco programas anteriores, nos llevó desde la escala microscópica del virus hasta las dimensiones enormes del universo, en este programa mantenemos esa perspectiva cósmica, mientras nos disponemos a iniciar un retorno paulatino, durante las próximas semanas, hasta alcanzar de nuevo, al final de esa sístole, las proporciones ínfimas propias de los virus. La semana pasada nuestra perspectiva galáctica permitía tomar en consideración el hecho de que la pandemia, de momento, solamente afecta a nuestro pequeño planeta dentro de la vastedad del cosmos. En esta edición de Ars Sonora añadiremos otras preguntas inspiradas por ese mismo salto de escala: ¿estamos, los seres humanos, confinados en nuestro sistema solar? ¿en nuestra galaxia? ¿en nuestro universo? ¿De qué depende, en fin, que nos sintamos o no confinados en un espacio determinado? Los confines de la imaginación, también los de la imaginación sonora (por usar una expresión propia del filósofo Eugenio Trías, que reflexionó ampliamente sobre la idea de límite), pueden ser aún más amplios que los contornos de nuestra galaxia… Pero también más opresivos, según los casos, que los de las más estrechas prisiones o las celdas más angostas. Nuestros prejuicios —también los musicales— pueden limitarnos, como seres humanos, mucho más que cualquier restricción física. Como ejercicio de flexibilidad estética, proponemos la audición de algunos fragmentos de composiciones procedentes de géneros y artistas tan diversos como Karlheinz Stockhausen (“Sternklang”), Merzbow (“Dark Star”), Francisco Guerrero (“Coma Berenices” y “Rigel”), Hans Zimmer (“Interstellar”) y Pink Floyd (“Interstellar Overdrive”). Escuchar audio

Hello. Thanks for tuning in! Welcome to the Virginia Ave Music Forum podcast. I'm really excited to present this Podcast to you. These episodes were all recorded at the 5th annual Virginia Ave Music Fest back in May of 2019. As a big 5th anniversary treat, the fest founders (Mike & Pat also from Square Cat vinyl) wanted to do something special for the Fest's fans & attendees. Along with 5 fantastic days of independent music, they tasked me with creating the forum. So across 4 days, I organized 11 panels (stared ones are the panels you'll be able to listen to): Music & Social Justice * Music Licensing * All Ages Music Community * Live Performances * Classical Music Indy * WFYI Public Media Home Recording * Music Business 101 * Girls Rock Indy * Vinyl Music Videos Personally, I had a fucking blast with this! Sure, maybe I chose topics that I find super interesting… but also, I purposely chose those topics to cover as many relevant areas as possible. I wanted the panels to be interesting for fest attendees, as well as being beneficial for independent musicians from across the region. We were only able to get quality audio from 8 of them, but I really think you're going to enjoy the conversations. The panelists mostly came from Indy… but we were privileged to bring in some brilliant friends from around the region as well. For now, the Virginia Ave Music Fest is no more. But fear not, the guys that brought you that fest aren't done yet. Check out their new venture, Interstellar Overdrive Events. Through this brand they'll be bringing Indy a variety of events with music from a lot of genres FB: Interstellar Overdrive Events IG: Interstellar Overdrive Events As for me. I'm working on some ideas to continue to help Indiana musicians, and maybe one day independent musicians from other cities. I'm still getting the plan for that together, but for now you can follow me along too FB: Headlong IG: Headlong Media IG: Me - Jeff This podcast isn't really brought to you buy anyone. I didn't get any funding or a sponsor to put this out. It's just the Fest and me. It was recorded by the great team from Pioneer (R.I.P.), and then mixed, tracked, edited, and put together by me. So if you do wanna sponsor it…please let me know! Any money received for this project will first go to the artists whose songs are featured in each episode, and then into future projects that Interstellar Overdrive and Headlong work on. Now…let's get into it. Thank you so much for listening. In these 8 episodes I hope you have some fun, learn something, and get motivated to push your own music career further. Please reach out to us on social media if you have any questions or wanna continue any of the conversations.

Gather bards!! Lend an ear for, as the faint embers of a dull fire crackle, we are joined by the fabled horologist of the Bardic Kings, Frederik Ehmke!! ----------------------------------------------------------------------------------------------------------- What past and future secrets does the Keeper of Time hold? That, my friends, is something you must learn for yourselves all I can do is give you a chair... Learn under the tutelage of the legendary drummer himself!! http://www.drumworks-taunusstein.de/Willkommen.html https://m.facebook.com/FrederikEhmkeDrumworks/ https://www.youtube.com/channel/UC18o4phPX_wbcIAf0xK69qQ Journey to far away places with Interstellar Overdrive: http://www.interstellar-overdrive.de Obtain the prophetic Legacy of the Dark Lands: http://nblast.de/BGLegacyOfTheDarkLands Scry the skalds of D&W on their only North American Tour: https://www.facebook.com/demonsandwizardsofficial/ Walk through the Fire with Sinbreed: http://www.sinbreed.com/ Listen to the 8bit Minstrels over at Epic Nes Metal: https://www.youtube.com/user/UnseeingSecurity Join your bardic brothers and sisters: https://m.facebook.com/groups/305186503697893?ref=m_notif¬if_t=feedback_reaction_generic check us out on Podbean or Anchor.fm/Twilight World ----------------------------------------------------------------------------------------------------- no one should ask you for the name of the one, who chants the story...

BLACK.STAR........................... by tony justerini http://www.filefactory.com/file/2j8yj9yiiuir/projeto%203.mp3 01. Los Chicros – Changes, Bowie Mania, 2007 02. Tantra – Partir Sempre, Mistérios e Maravilhas, 1977 03. Hollywood Studio Symphony – Syriana, Syriana, 2005 04. Talking Heads – Wild Wild Life, Single, 1986 05. Talking Heads – City Of Dreams, Single, 1986 06. EF – What If I Took A Wrong Turn, A Trilogy Of Dreams, Noise and Silence, 2005 07. Daniel Lanois – Still Water, Acadie, 1989 08. David Bowie – Black Star, Black Star, 2016 09. Peter Murphy – Your Face, Dust, 2002 10. Ben Mink – Dead Graves, Fifty Dead Men Walking, 2009 11. Sam Lee – Doves, Songs by The Tumbled Sea, 2008 12. Pink Floyd – Interstellar Overdrive, The Piper at the Gates of Dawn, 1967 13. Andrew Bird – Meet Me Here at Dawn, Fingerlings 4, 2010 14. A Shoreline Dream – Focus the Present, Avoiding the Consequences, 2006 total time: 01:20:30 http://radioetiopia.phase108.net/ https://instagram.com/radioetiopia/ https://radiolisboa.pt/ www.radioetiopia.com

It's another installment of Music of the Marvel Cinematic Universe (MCU) on Nobody Asked You, Kevin! In Episode 26, I talk about Doctor Strange, psychedelic rock music, Pink Floyd, and their song Interstellar Overdrive. Pink Floyd's other connections to Doctor Strange are also mentioned. Pink Floyd's Interstellar Overdrive studio recording on YouTube Pink Floyd's Interstellar Overdrive live recording with Frank Zappa Pink Floyd's Interstellar Overdrive live recording at Santa Monica, CA (1970) Dose Makes the Poison Blog with Pictures of the cover art of A Saucerful of Secrets and Doctor Strange

Darlene McCrea [00:31] a side: "My Heart's Not in It" b side: "Don't Worry Baby" Tower Records 104 1964 Phew... quite the classic. Former member of The Cookies, and Ray Charles Raelettes. Love [05:51] a side: "My Little Red Book" b side: "A Message to Pretty" Elektra Records EK-45603 1966 A fine stripped down version of Burt Bacharach's tune. And supposedly influenced the Syd Barrett's riff in "Interstellar Overdrive". And that b-side is clearly Byrdsian. Betty LaVette [12:26] a side: "My Man - He's a Lovin' Man" b side: "Shut Your Mouth" Atlantic Records 45-2160 1962 16 year old Betty LaVette telling us about her man. And hoo boy do I love the flipside. The Knack [17:45] a side: "My Sharona" b side: "Let Me Out" Capitol Records 4731 Woo! Again, a killer flipside. The sleeve for this single features the titular Sharona. The Lovin' Cohens [25:05] a side: "Noshille Katz" b side: "Shoilly Klein" MGM Records K13700 1967 From the mind of NYC songwriter Bobby Weinstien, in homage of John Sebastian's ode to the studio musicians of Music City "Nashville Cats". Gary US Bonds [30:08] a side: "New Orleans" b side: "Please Forgive Me" Legrand Records KB-484 1960 The original breakout single from Mr. Bonds. Fluke Starbucker [36:05] a side: "New Parade/Carwash" b side: "Cumulous to Nebulous" Isota Records sody003 2002 A Gagon family outing from the early aughties. The Strangeloves [46:43] a side: "Night Time" b side: "Rhythm of Love" Bang Records B-514 1965 From the songwriting trio that brough you "I Want Candy". And covered by J Geils on their Love Stinks album. Music behind the DJ: "The Look of Love" by Christopher Scott.

Pink Floyd: Syd Barrett – guitarra, voz Roger Waters – bajo, voz líder Rick Wright – teclados, voz líder Nick Mason – batería, percusión David Gilmour – guitarra, voz líder fue una banda de rock británica, considerada un icono cultural del siglo xx y una de las bandas más influyentes en la historia de la música, que obtuvo gran popularidad gracias a su música psicodélica que evolucionó hacia el rock progresivo y rock sinfónico con el paso del tiempo. Es conocida por sus canciones de alto contenido filosófico, la experimentación sónica, las innovadoras portadas de sus discos y sus elaborados espectáculos en vivo. Sus ventas sobrepasan los 300 millones de álbumes vendidos en todo el mundo. Pink Floyd es conocido principalmente por el estilo espacial de sus composiciones y por sus elaborados álbumes conceptuales de mediados de los años 1970, pero lo cierto es que comenzaron como una banda mucho más convencional. Sus primeros años, dirigidos por Syd Barrett, estaban teñidos de la psicodelia imperante en aquel momento (finales de los años 60), aunque comenzaba a mostrar algunas trazas de los que se acabaría convirtiendo en el rock espacial característico de la formación. El consumo masivo de drogas como el LSD por parte de Barrett provocó que sus composiciones oscilaran entre las clásicas melodías de pop como «Astronomy Domine» y la experimentación de temas más largos como «Interstellar Overdrive», hasta el límite de que The Piper at the Gates of Dawn fue considerado como uno de los mejores álbumes psicodélicos jamás publicados.21? Las letras de este trabajo, divertidas y humorísticas y a veces emulando viajes espaciales como metáforas del sentimiento psicodélico, contrastan con el sonido envolvente del teclado de Wright y con las melancólicas líneas de guitarra de Barrett, dando un sonido general a menudo caótico y confuso. Nuestro agradecimiento a José Luis C. por su inestimable ayuda y apoyo al programa

Pink Floyd: Syd Barrett – guitarra, voz Roger Waters – bajo, voz líder Rick Wright – teclados, voz líder Nick Mason – batería, percusión David Gilmour – guitarra, voz líder fue una banda de rock británica, considerada un icono cultural del siglo xx y una de las bandas más influyentes en la historia de la música, que obtuvo gran popularidad gracias a su música psicodélica que evolucionó hacia el rock progresivo y rock sinfónico con el paso del tiempo. Es conocida por sus canciones de alto contenido filosófico, la experimentación sónica, las innovadoras portadas de sus discos y sus elaborados espectáculos en vivo. Sus ventas sobrepasan los 300 millones de álbumes vendidos en todo el mundo. Pink Floyd es conocido principalmente por el estilo espacial de sus composiciones y por sus elaborados álbumes conceptuales de mediados de los años 1970, pero lo cierto es que comenzaron como una banda mucho más convencional. Sus primeros años, dirigidos por Syd Barrett, estaban teñidos de la psicodelia imperante en aquel momento (finales de los años 60), aunque comenzaba a mostrar algunas trazas de los que se acabaría convirtiendo en el rock espacial característico de la formación. El consumo masivo de drogas como el LSD por parte de Barrett provocó que sus composiciones oscilaran entre las clásicas melodías de pop como «Astronomy Domine» y la experimentación de temas más largos como «Interstellar Overdrive», hasta el límite de que The Piper at the Gates of Dawn fue considerado como uno de los mejores álbumes psicodélicos jamás publicados.21? Las letras de este trabajo, divertidas y humorísticas y a veces emulando viajes espaciales como metáforas del sentimiento psicodélico, contrastan con el sonido envolvente del teclado de Wright y con las melancólicas líneas de guitarra de Barrett, dando un sonido general a menudo caótico y confuso. Nuestro agradecimiento a José Luis C. por su inestimable ayuda y apoyo al programa

Pink Floyd: Syd Barrett – guitarra, voz Roger Waters – bajo, voz líder Rick Wright – teclados, voz líder Nick Mason – batería, percusión David Gilmour – guitarra, voz líder fue una banda de rock británica, considerada un icono cultural del siglo xx y una de las bandas más influyentes en la historia de la música, que obtuvo gran popularidad gracias a su música psicodélica que evolucionó hacia el rock progresivo y rock sinfónico con el paso del tiempo. Es conocida por sus canciones de alto contenido filosófico, la experimentación sónica, las innovadoras portadas de sus discos y sus elaborados espectáculos en vivo. Sus ventas sobrepasan los 300 millones de álbumes vendidos en todo el mundo. Pink Floyd es conocido principalmente por el estilo espacial de sus composiciones y por sus elaborados álbumes conceptuales de mediados de los años 1970, pero lo cierto es que comenzaron como una banda mucho más convencional. Sus primeros años, dirigidos por Syd Barrett, estaban teñidos de la psicodelia imperante en aquel momento (finales de los años 60), aunque comenzaba a mostrar algunas trazas de los que se acabaría convirtiendo en el rock espacial característico de la formación. El consumo masivo de drogas como el LSD por parte de Barrett provocó que sus composiciones oscilaran entre las clásicas melodías de pop como «Astronomy Domine» y la experimentación de temas más largos como «Interstellar Overdrive», hasta el límite de que The Piper at the Gates of Dawn fue considerado como uno de los mejores álbumes psicodélicos jamás publicados.21? Las letras de este trabajo, divertidas y humorísticas y a veces emulando viajes espaciales como metáforas del sentimiento psicodélico, contrastan con el sonido envolvente del teclado de Wright y con las melancólicas líneas de guitarra de Barrett, dando un sonido general a menudo caótico y confuso. Nuestro agradecimiento a José Luis C. por su inestimable ayuda y apoyo al programa

Pink Floyd: Syd Barrett – guitarra, voz Roger Waters – bajo, voz líder Rick Wright – teclados, voz líder Nick Mason – batería, percusión David Gilmour – guitarra, voz líder fue una banda de rock británica, considerada un icono cultural del siglo xx y una de las bandas más influyentes en la historia de la música, que obtuvo gran popularidad gracias a su música psicodélica que evolucionó hacia el rock progresivo y rock sinfónico con el paso del tiempo. Es conocida por sus canciones de alto contenido filosófico, la experimentación sónica, las innovadoras portadas de sus discos y sus elaborados espectáculos en vivo. Sus ventas sobrepasan los 300 millones de álbumes vendidos en todo el mundo. Pink Floyd es conocido principalmente por el estilo espacial de sus composiciones y por sus elaborados álbumes conceptuales de mediados de los años 1970, pero lo cierto es que comenzaron como una banda mucho más convencional. Sus primeros años, dirigidos por Syd Barrett, estaban teñidos de la psicodelia imperante en aquel momento (finales de los años 60), aunque comenzaba a mostrar algunas trazas de los que se acabaría convirtiendo en el rock espacial característico de la formación.102? El consumo masivo de drogas como el LSD por parte de Barrett provocó que sus composiciones oscilaran entre las clásicas melodías de pop como «Astronomy Domine» y la experimentación de temas más largos como «Interstellar Overdrive», hasta el límite de que The Piper at the Gates of Dawn fue considerado como uno de los mejores álbumes psicodélicos jamás publicados.21? Las letras de este trabajo, divertidas y humorísticas y a veces emulando viajes espaciales como metáforas del sentimiento psicodélico, contrastan con el sonido envolvente del teclado de Wright y con las melancólicas líneas de guitarra de Barrett, dando un sonido general a menudo caótico y confuso. Nuestro agradecimiento a José Luis C. por su inestimable ayuda y apoyo al programa

En esta emisión nos centramos en canciones que apelan al horroro o al miedo, visitaremos casas embrujadas y nos aterrorizaremos con marcianos, monstruos y fantasmas Eagles - Hotel California - Hotel Califonria, Genesis - Abacab - Keep it dark, Warren Zevon - Stand in the fire - Hombre lobo en londres, Sui Generis - Rasguña las piedras - El fantasma de Canterville. Nos visita un amigo oyente que nos trae Living Colour - Under cover of darkness, The White Stripes - Elephant - I just dont know what to do with my Nirvana - Unplugged - The man who sold the word. Finalizamos con temas del Primer Disco de Pink Floyd: The Piper At The Gates Of Dawn con Astronomy Domine, Interstellar Overdrive y Bike.

INTERSTELLAR OVERDRIVE #7 con Montse Romero, Carlos Izuel y Jorge Morral. Hablamos con Albert Bosch, aventurero comprometido y conferenciante de éxito, del Arte de Vivir Intensamente, de la sensibilidad necesaria para perseguir nuestros sueños y de la responsabilidad en los compromisos que tomamos en la vida para salvar nuestro planeta de las amenazas creadas por el hombre. Un programa fascinante, empoderador e imprescindible para todos aquellos que quieran acercar aquello que quieren hacer con aquello que hacen realmente, que quieran aprender cómo perseguir sus propios sueños. Para contactar con IO - Página de Facebook de Interstellar Overdrive: https://facebook.com/interstellarpodcast Para contactar y seguir a Albert Bosch - http://www.albertbosch.info CONTENIDO del programa io#7: 0m0s - Presentación: La ruta en solitario de la Antártida y más 4m30s - Los inicios; la sensibilidad de Albert Bosch 7m0s - Cambiando el cronómetro por la brújula 9m0s - Project Management aplicado a la aventura 12m0s - Actitud, propósito y energía 14m0s - Transmitiendo pasión en un equipo 16m40s - Dakar en un coche eléctrico 18m0s - Factores esenciales en un equipo 20m0s - No te fíes siempre de tu experiencia! 21m0s - Preparando el proyecto Polo Norte 21m 30s - El valor del buen humor cuando las cosas se ponen feas 22m15s - Conectar con un propósito 24m50s - Tu personaje propio 26m35s - Es verdad que no existe la verdad 28m0s - Lo difícil es renunciar 30m0s - Humildad 32m25s - Hablar con la naturaleza, el entorno y las montañas 38m0s - La mina de oro más grande del mundo 41m45s - Optimismo para salvar el planeta 45m0s - Ser un ejemplo de compromiso 47m0s - El fracaso como maestro 51m15s - Lo que quieres frente a lo que haces 57m40s - Fortaleza mental 1h02m0s - Transmitir valores a los hijos 1h05m0s - El espacio familiar 1h06m20s - No se puede ser cobarde 1h09m20s - La verdadera aventura 1h11m0s - A quién admira Albert Bosch 1h13m0s - Pristine Seas. Enric Sala y National Geographic 1h14m50s - Qué le dirías a Donald J. Trump 1h17m0s - El aliado que suma

INTERSTELLAR OVERDRIVE #6 con Montse Romero, Carles Izuel y Jorge Morral Hablamos con Gustavo Pou de la figura del rescatador de abejas y de la grave problemática a la que nos enfrentamos todos debido al descenso trepidante de la población de este insecto pilar de la cadena biológica. Para contactar con IO - Página de Facebook de Interstellar Overdrive: https://facebook.com/interstellarpodcast Para contactar y seguir a Gustavo Pou - https://www.facebook.com/groups/1093105077372844/ CONTENIDO del programa io#6: 0m0s - Presentación 3m30s - La transición de Gustavo Pou 8m0s - El grave problema de las abejas 11m06s - Regando nustro jardín con veneno 14m0s - Defensa de las abejas 16m0s - Evolución de la relación abeja-humano 23m0s - Fumigando como un payés 24m20s - Cruces telúricos y abejas 26m30s - El mayor peligro al que se enfrentan las abejas 27m0s - Contaminación ambiental y abejas 29m20s - Atraco a una abeja 32m0s - Un poco de historia; explotación de abejas 33m0s - Historias de reinas 37m30s - Diferencias abeja - avispa 40m37s - Tipos de abeja 43m0s - La avispa asiática 45m0s - La varroa 47m0s - Hormigas y abejas 48m0s - Gustavo no produce miel 49m50s - La figura y función de un rescatador de abejas 1h0m0s - Historias de abejas y catedráticos 1h02m0s - Colmena Perone 1h05m0s - La abeja como comunidad; la voluntad del grupo, no del individuo 1h15m0s - Qué hacer si te pica una abeja 1h17m0s - Mantras para abejas 1h20m0s - Comunicación y conexión con las abejas 1h23m0s - Red de rescatadores de abejas 1h30m0s - Estructuras de colmenas y panal 1h36m0s - La abeja como maestro 1h40m0s - Despedida del programa io#6

INTERSTELLAR OVERDRIVE #5 con Montse Romero, Jorge Morral y Carlos Izuel Hablamos del oficio de escribir con la autora Jèssica Roca. De lo que significa escribir y el compromiso que todo autor debe tener con su oficio. Para contactar con IO - Página de Facebook de Interstellar Overdrive: https://facebook.com/interstellarpodcast Para contactar y seguir la obra de Jèssica Roca - http://labustiagroga.blogspot.com CONTENIDO del programa io#5: 0m0s - El gran platero 2m09s - Presentación de la autora Jèssica Roca 5m0s - Cómo y por qué empezaste a escribir? 9m45s - Escribir sin ganas 12m0s - El ojo del escritor 17m0s - Cómo empezar a escribir 20m0s - Trabajo de documentación y metodología 27m0s - Padres, entorno y fuentes de inspiración 32m0s - La libreta de las tramas 34m47s - La edición de los textos 35m50s - Autores favoritos y por qué lo son. Bukowski, Virginia Wolf y Montserrat Roig 42m0s - Escribe siempre para ti mismo 46m30s - Poesía 52m0s - El escritor total; Creerse ser escritor 57m0s - Escribir como meditación 1h0m15s - Cursos de escritura 1h5m0s - Inputs a gestionar como escritor 1h09m0s - Acerca de leer 1h13m0s - Vivencias personales y escritura 1h21m0s - Personajes literarios transformadores 1h27m0s - Consulta IChing 1h31m0s - Formas de contacto y despedida

INTERSTELLAR OVERDRIVE #4 con Montse Romero, Carlos Izuel y Jorge Morral Hablamos de creatividad aplicada con Pep Torres. En esta charla / entrevista conversamos con este genial inventor y músico. Para contactar con IO - Página de Facebook de Interstellar Overdrive: https://facebook.com/interstellarpodcast CONTENIDO PARA EL PROGRAMA io#4: 0m presentación 1m15s Quién es Pep Torres? 2m15s Realizar ideas 3m0s Orden y Creatividad 7m20s Niños y Creatividad 8m Motivación y Creatividad 12m30s MIBA 13m45s Muebles Sin Monstruos 15m45s Creatividad y falta de recursos 19m Biblioteca mental 21m Cómo trabaja Pep Torres para crear 22m Ferran Adrià y Arzak 24m15s Soledad y Creatividad 25m Rutinas de trabajo 27m Motos y Coches, pasado y futuro 30m15s Cómo pedir un crédito 33m15s Cómo vender tu idea 34m45s Sacarle partido a los medios de comunicación 39m Brainstorming Sí o No 41m Cómo lo haría Apple? El Inspector Interior 44m45s Interstellar Overdrive 47m Tainted Love 48m15s Combinación funcional de Creativos 50m30s Importancia de escuchar a los clientes 53m30s Evaluando ideas de negocio 54m30s El fracaso como maestro 57m La creatividad en el mundo 1h0m0s La Creatividad empieza en una hoja de cálculo 1h3m La Pregunta Temática: El momento más creativo de Pep Torres 1h12m Validar el talento 1h13m Hijos y creatividad 1h18m La verdad es un punto de vista 1h22m Lectura / Consulta IChing 1h25m5s Despedida y Contacto

INTERSTELLAR OVERDRIVE #3 con Montse Romero, Carlos Izuel y Jorge Morral. Entrevistamos a Sandra Sogas, experta en Registros Akashicos. Hablamos de mediums, clarividencia, videncia, planos astrales, entidades positivas y negativas, ángeles y arcángeles, guías espirituales personales y cómo contactar con ellos, y muchas cosas más. Para contactar con IO - Página de Facebook de Interstellar Overdrive: https://facebook.com/interstellarpodcast Contacto con Sandra Sogas: http://www.kinesiologiakashica.com CONTENIDO DEL PROGRAMA: 0m0s - Presentación 2m0s - El don de Sandra Sogas: Clarividencia 6m0s - Uri Geller y experiencias familiares 7m55s - Qué es un sueño lúcido? 9m0s - Qué hay en "el otro lado". Planos Astrales y Plano etérico Cómo se estructura 10m30s - Qué es un viaje astral 11m10s - La mente al "otro lado". Acceso al inconsciente 12m50s - El viaje del alma. Diferentes etapas del astral 18m0s - El plano del poder. Dioses y Semidioses. Elementales. Espíritus antiguos. 20m45s - Angeles y Arcángeles 21m35s - El plano psíquico emocional y mental 29m48s - El alma es una proyección del doble etérico. Consejo de guías. 32m45s - Recomendación de la película Nuestro Hogar. Chico Xavier 35m0s - Cómo saber nuestra misión de vida 35m50s - Cómo contactar con tu guías 39m20s - Ejercicio práctico de meditación para conectar con tus guías 52m0s - Los Registros Akashicos 57m45s - El despertar de la energía Kundalini 1h03m20s - Cómo sería el mundo si todos conectáramos con nuestros guías 1h05m15s - Confederación Intergaláctica 1h07m0s - Evolución humana. Intervenciones externas 1h11m0s - Cómo acceder y preguntar a los registros akashicos 1h17m55s - Datos contacto Sandra Sogas 1h20m0s - Despedida y cierre

Segundo capitulo de I/O con Montse Romero, Carles Izuel y Jorge Morral- Hablamos de medicina integrativa y sanacion con el doctor Francisco Barnosell. Contacto Interstellar Overdrive : facebook.com/interstellarpodcast Contacto Francisco Barnosell : paco@barnosell.com Libro Dr. Barnosell : Entre dos aguas. CONTENIDO CAPITULO#2 min 0 - somos energia en movimiento, min 3 - simbiosis entre medicinas, min 7 - vida despues de la vida, min 17 - terapias complementarias en hospitales, min 22 - peritos en medicinas alternativas, min 25 - medicina integrativa, min 33 - prevencion de la enfermedad, min 52 - proteccion ante radiaciones electromagneticas causadas por moviles antenas wifi etc, 1h4min - viviremos 150 años, 1h9min - tecnologia aplicada e insertada en el cuerpo, 1h15min - sociedad futura, 1h18min - experiencias fuera del cuerpo y miedo a la muerte, 1h22min - contacto con almas, 1h25min - terapia por vibracion, 1h29min - pregunta tematica: que es la belleza? , 1h34min - como contactar con el dr. barnosell, 1h36min - consulta IChing para Interstellar#2, 1h40min - contacto, datos IO y despedida.

Primer capitulo IO con Montse Romero, Carles Izuel y Jorge Morral- min 0 - presentacion e intro, min 21 - consciencia, min 23 - comunicacion con seres vivos y ejercicio, min 31 - consciencia y empresa, min 33 - enfermedad mental y consciencia, min 35 - consciencia y energia, min 37 - el poder "secreto" de la imaginacion, min 43 - paradigma, min 45 - ruido, min 46 - Dios y el campo cuantico, min 49 - que quiere tu alma y como saberlo, min 53 - bashar, min 55 - proposito superior, 1h12min - el bien y el mal, 1h21min - teatro terapeutico, 1h26min - consulta IChing, 1h35min - contacto, datos y despedida.

Bienvenidos al audio de presentación de Insterstellar Overdrive. Puedes visitarnos en http://jorgemorral.com/io

All rights reserved to Pink Floyd on the intro used "Interstellar Overdrive", rights by EMI records "The Rapture" by Senses Fail, all rights reserved to Vagrant Records image by Marvel and drawn by Mark Bagley

Repartons dans le Marvel Cinematic Universe avec l'arrivée du personnage de Doctor Strange interprété par Benedict Cumberbatch et porté à l'écran par Scott Derrickson dans ce nouvel épisode de 24FPS, le podcast ciné avec ou sans spoiler.Dans la première partie de l'émission, Jérôme et Julien abordent les origines du personnage des comics avant de s'intéresser à la longue gestation du film, puis à son casting, et enfin ils livrent leur avis général sur le film, le tout sans spoiler. Car c'est au bout d'01h16m00 que retentit le signal sonore qui marque le début de la seconde partie de l'émission, cette fois avec spoilers, où la majorité des scènes du film ainsi que les références parfois cachées qui s'y trouvent sont abordées.Bonne écoute, et dites nous ce que vous avez pensé de ce nouvel arrivant dans le MCU !Crédits musicaux : Ancient Sorcerer's Secret de Michael Giacchino, issu de l'album Doctor Strange - Original Motion Picture Soundtrack (2016), et Interstellar Overdrive de Pink Floyd, issu de l'album The Piper At The Gates Of Dawn (1967)Rendez-vous sur bepod.be pour visionner les images mentionnées en fin d'émission.

Pink Floyd, The Rolling Stones, 13th Floor Elevators, Jupiter Maçã, Liquid Visions, Gal Costa na Mixtape Psicodélica que o nosso amigo Alípio Raposo preparou, faça o download agora.  (clique com o botão direito e selecione salvar). Para ouvir outras músicas do artista clique nos links. 01 – Interstellar Overdrive – Pink Floyd 02 – Me and the Devil Blues – Dead Meadow 03 – Warpainting – The Myrrors 04 – Section 43 – Country Joe and The Fish 05 – Butterflight – Liquid Visions 06 – Roller coaster – 13th Floor Elevators 07 – 2000 light years from home – The Rolling Stones 08 – Lindo sonho delirante LSD – Fábio 09 – Objeto Sim, Objeto Não – Gal Costa 10 – Sociedade Humanóides Fantásticas – Jupiter Maçã A próxima mixtape vai pro ar no dia 20/02/2015.

Pink Floyd, The Rolling Stones, 13th Floor Elevators, Jupiter Maçã, Liquid Visions, Gal Costa na Mixtape Psicodélica que o nosso amigo Alípio Raposo preparou, faça o download agora.  (clique com o botão direito e selecione salvar). Para ouvir outras músicas do artista clique nos links. 01 – Interstellar Overdrive – Pink Floyd 02 – Me and […]

Los Micronautas es el hermano pequeño de Los Retronautas, el podcast de los clásicos de la C-F. En nuestra primera entrega abrimos nuestra farmacia fantacientífica para hablaros de algunas de las drogas más curiosas del género. Como banda sonora nos acompañan Pink Floyd con "Interstellar Overdrive" y The Beatles con "Tomorrow Never Knows". La sintonia es "Walk on the Wet Side" de Jan and Dean. Busca la lista de reproducción de Los Retronautas en Spotify, Puedes contactar con nosotros a través de Facebook en www.facebook.com/retronautas, o en Twitter: @losretronautas. Saludos desde los días del futuro pasado.

Los Micronautas es el hermano pequeño de Los Retronautas, el podcast de los clásicos de la C-F. En nuestra primera entrega abrimos nuestra farmacia fantacientífica para hablaros de algunas de las drogas más curiosas del género. Como banda sonora nos acompañan Pink Floyd con "Interstellar Overdrive" y The Beatles con "Tomorrow Never Knows". La sintonia es "Walk on the Wet Side" de Jan and Dean. Busca la lista de reproducción de Los Retronautas en Spotify, Puedes contactar con nosotros a través de Facebook en www.facebook.com/retronautas, o en Twitter: @losretronautas. Saludos desde los días del futuro pasado.

Episode 090: Lost In Space! (Featuring a journey through the stars, and on a rocket, with a little help from The Day The Earth Stood Still.) Enjoy! https://ia601508.us.archive.org/28/items/LostInSpace_201810/LostInSpace.mp3   Lost In Space! # Track * Artist * Album * Label 01.) * * Excerpts from The Day The Earth Stood Still (Throughout) 02.) Interstellar Overdrive … Continue reading Lost In Space!

Doctor Who: Podshock Episode 57 For the Week of the 30th of October 2006 Running Time: 2:03:21 - Extended Episode! Special Edition: Jon Pertwee Interview In this episode: News: Children in Need Concert Sold Out, Peter Barkworth "Leader Clent" Dies, Stewart Bevan Switches with Deborah Watling. Features: We chat with Joey Reynolds of American Who and Interstellar Overdrive radio shows, Torchwood reviewed (the first two episodes: Everything Changes and Day One, from the archives - our interview with Jon Pertwee (recorded in April 1986 on the Destinies radio show on WUSB 90.1 FM). Announcements: Second Life Anniversary Celebration Virtual Meet-Up, Create a Podshock Promo. Feedback: Dan "Danger Mouse" and Ari from Boston impressions on Torchwood. Promos: Doctor Who Sea Cruise, Cinemaslave podcast. Guests: "Sci-Fi Radio Guy" Joey Reynolds joins us as a guest host on this episode, with recorded guests Jon Pertwee, Dr. Howard Margolin, Ralph Schiano, and "The Anti-Doctor". Hosted by James Naughton (UK), Ken Deep (US), and Louis Trapani (US) Do you want the Enhanced Podcast AAC file format? Get our Enhanced Podcast version of this episode using our feed at http://www.gallifreyanembassy.org/podshock/podshock.xml

Doctor Who: Podshock Episode 57 For the Week of the 30th of October 2006 Running Time: 2:03:21 - Extended Episode! Special Edition: Jon Pertwee Interview In this episode: News: Children in Need Concert Sold Out, Peter Barkworth "Leader Clent" Dies, Stewart Bevan Switches with Deborah Watling. Features: We chat with Joey Reynolds of American Who and Interstellar Overdrive radio shows, Torchwood reviewed (the first two episodes: Everything Changes and Day One, from the archives - our interview with Jon Pertwee (recorded in April 1986 on the Destinies radio show on WUSB 90.1 FM). Announcements: Second Life Anniversary Celebration Virtual Meet-Up, Create a Podshock Promo. Feedback: Dan "Danger Mouse" and Ari from Boston impressions on Torchwood. Promos: Doctor Who Sea Cruise, Cinemaslave podcast. Guests: "Sci-Fi Radio Guy" Joey Reynolds joins us as a guest host on this episode, with recorded guests Jon Pertwee, Dr. Howard Margolin, Ralph Schiano, and "The Anti-Doctor". Hosted by James Naughton (UK), Ken Deep (US), and Louis Trapani (US) Do you need the MP3 file format? Get our MP3 version of this episode using our MP3 dedicated feed at http://www.gallifreyanembassy.org/podshock/podshockmp3.xml