Interstellar Overdrive - Musik
Interstellar Overdrive by Pink Floyd
Pink Floyd
Künstlerbiographie Pink Floyd
Pink Floyd War Eine 1965 Gegründete Britische Rockband. Mit Ihrer Musik Und Der Visuellen Gestaltung Ihrer Platten Und Bühnenauftritte Schuf Sie Einen Unverwechselbaren Und Seinerzeit Völlig Neuartigen Stil. Auch Kommerziell War Sie Sehr Erfolgreich Die Angaben Über Die Anzahl Ihrer Verkauften Tonträger Schwanken Zwischen 260 Und 300 Millionen. Pink Floyd Gehört Damit Zu Den Erfolgreichsten Bands Überhaupt. Das Konzeptalbum The Dark Side Of The Moon Ist Das Weltweit Drittmeistverkaufte Album Und Das Konzeptalbum The Wall Das Meistverkaufte Doppelalbum. Unter Der Leitung Des Ersten Sängers Und Gitarristen Syd Barrett Gehörte Die Band Zunächst Zur Britischen Bewegung Des Psychedelic Rock. Nach Dem Durch Drogenkonsum Und Psychische Probleme Bedingten Ausstieg Des Frontmanns Entwickelte Die Gruppe In Der Besetzung Roger Waters David Gilmour Richard Wright Und Nick Mason Einen Eigenständigen Stil Mit Einflüssen Aus Progressive Rock Blues Jazz Sowie Klassischer Und Neuer Musik. Die Texte Die Von 1973 The Dark Side Of The Moon Bis 1983 The Final Cut Komplett Von Waters Geschrieben Wurden Setzen Sich Oft Kritisch Mit Sozialen Und Politischen Themen Auseinander. Kompletter Wiki-Artikel Https //de.Wikipedia.Org/wiki/Pink_Floyd Diskografie
The Piper At The Gates Of Dawn 1967 A Saucerful Of Secrets 1968 More 1969 Ummagumma 1969 Atom Heart Mother 1970 Meddle 1971 Obscured By Clouds 1972 The Dark Side Of The Moon 1973 Wish You Were Here 1975 Animals 1977 The Wall 1979 The Final Cut 1983 A Momentary Lapse Of Reason 1987 The Division Bell 1994 The Endless River 2014
Frogtoon Musik - Song-Info: Interstellar Overdrive
Pink-Floyd - The Piper At The Gates Of Dawn
This Song Was First Featured On The San Francisco Soundtrack And Also In Different Form On The 'Tonite Lets All Make Love In London' Movie. "I Was Once Trying To Tell Him About This Arthur Lee Song I Couldn't Remember The Title Of So I Just Hummed The Main Riff. Syd Picked Up His Guitar And Followed What I Was Humming Chord-Wise. The Chord Pattern He Worked Out He Went On To Use As The Main Riff For 'Interstellar Overdrive'. -- Peter Jenner "...Barrett's Riff Is Allegedly Based On Love's Version Of Burt Bacharach's 'My Little Red Book'" -- Mark Paytress Record Producer Magazine And Of Course It Was Quite Different Because My Humming Was So Bad! The Chord Pattern He Worked Out He Went On To Use As His Main Riff For Interstellar Overdrive." The Song Jenner Was Attempting To Hum Was Love's Version Of The Burt Bacharach And Hal Davies Song My Little Red Book. Others Notably Roger Waters Also Detected A Hint Of Ron Grainer's Theme To Steptoe And Son In Syd's New Riff. -- Jones "Wish You Were Here". "I Was Trying To Tell Him About This Arthur Lee Song I Couldn't Remember The Title Of So I Just Hummed The Main Riff. Syd Picked Up His Guitar Followed What I Was Humming And Went On To Use The Chord Pattern He Worked Out For 'Interstellar Overdrive'." 'Interstellar Overdrive' With Its Extended Free-Form Passage Was The Piece Which Established Pink Floyd's Experimental Reputation And It Was One Of The Tracks The Group Attempted During Their First Recording Session At Chelsea's Sound Techniques. -- Brian Hogg 1993 Crazy Diamond Box Set Booklet Often Stretching For Over Half An Hour And Always Sonically Disorientating Interstellar Overdrive Became An Aural Replica Of An LSD Trip's Dislocation And Confusion And It Lit The Way For The Total Abandonment Of Conventional Musical Structures That Began In Earnest In 1966. There Was Very Little Precedent For This Sound In Britain Apart From Maybe The Who. When The Floyd Began Playing Interstellar Overdrive In April 1966 The Beatles' Psychedelic B-Side Rain Had Yet To Be Released And Revolver Was Still Four Months Away. During The Floyd's Residencies At The Marquee And The UFO Clubs Interstellar Overdrive Became The Cornerstone Of The Show. A Wildly Unpredictable Chemically-Inspired Instrumental Of Indeterminate Length Required A Considerable Leap Of Faith For A Pop Audience Weaned On Blues Or Merseybeat But It Soon Became A Curious Anthem For The Emerging Underground Scene. ... On January 11 1967 Barrett Waters Wright And Mason Entered Sound Techniques Studio In Chelsea With Engineer John Woods And Producer Joe Boyd. In Two Short Sessions Across Successive Days The Pink Floyd Cut Four Songs Interstellar Overdrive A Version Lasting 16 Minutes And 46 Seconds That Was The Closest They Ever Came To Capturing Their Frenetic Stage Sound On Tape And Nick's Boogie - Another Freewheeling Jam - Followed By Two Of Barrett's Eccentric Pop Tunes Arnold Layne And Let's Roll Another One Later To Become Candy And A Currant Bun . No Other Song In The Floyd's Early Canon Better Illustrates The Duality At The Heart Of The Group Than Interstellar Overdrive. On The One Hand Barrett The Unfettered Art Student Who Would Constantly Exclaim That There Were "no Rules" On The Other Roger Waters The Cautious Structuralist And Architecture Student. Waters Reined In Syd's Free-Jazz Tendencies. "Given The Chance Syd Would Have Jammed The Same Chord Sequence All Night " Notes King. "Roger Gave The Track Dynamic Boundaries Within Which Syd Could Run Free." -- Jones "Wish You Were Here". This Song Is A Prime Example Of Pink Floyd's Early Syd Barrett-Driven Days When They Created Mostly Psychedelic Rock. It Features Long Discordant Chords On Barrett's Guitar Constantly Changing Tempos Shifting Rhythms And Few Or In This Case No Lyrics At All. The Main Riff Throughout The Tune Was Adapted From The Guitar Riff From Love's Remake Of "My Little Red Book."
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Biography - Pink Floyd
Pink Floyd War Eine 1965 Gegründete Britische Rockband. Mit Ihrer Musik Und Der Visuellen Gestaltung Ihrer Platten Und Bühnenauftritte Schuf Sie Einen Unverwechselbaren Und Seinerzeit Völlig Neuartigen Stil. Auch Kommerziell War Sie Sehr Erfolgreich Die Angaben Über Die Anzahl Ihrer Verkauften Tonträger Schwanken Zwischen 260 Und 300 Millionen. Pink Floyd Gehört Damit Zu Den Erfolgreichsten Bands Überhaupt. Das Konzeptalbum The Dark Side Of The Moon Ist Das Weltweit Drittmeistverkaufte Album Und Das Konzeptalbum The Wall Das Meistverkaufte Doppelalbum. Unter Der Leitung Des Ersten Sängers Und Gitarristen Syd Barrett Gehörte Die Band Zunächst Zur Britischen Bewegung Des Psychedelic Rock. Nach Dem Durch Drogenkonsum Und Psychische Probleme Bedingten Ausstieg Des Frontmanns Entwickelte Die Gruppe In Der Besetzung Roger Waters David Gilmour Richard Wright Und Nick Mason Einen Eigenständigen Stil Mit Einflüssen Aus Progressive Rock Blues Jazz Sowie Klassischer Und Neuer Musik. Die Texte Die Von 1973 The Dark Side Of The Moon Bis 1983 The Final Cut Komplett Von Waters Geschrieben Wurden Setzen Sich Oft Kritisch Mit Sozialen Und Politischen Themen Auseinander. Kompletter Wiki-Artikel Https //de.Wikipedia.Org/wiki/Pink_Floyd Diskografie
The Piper At The Gates Of Dawn 1967 A Saucerful Of Secrets 1968 More 1969 Ummagumma 1969 Atom Heart Mother 1970 Meddle 1971 Obscured By Clouds 1972 The Dark Side Of The Moon 1973 Wish You Were Here 1975 Animals 1977 The Wall 1979 The Final Cut 1983 A Momentary Lapse Of Reason 1987 The Division Bell 1994 The Endless River 2014 read less
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The Piper At The Gates Of Dawn 1967 A Saucerful Of Secrets 1968 More 1969 Ummagumma 1969 Atom Heart Mother 1970 Meddle 1971 Obscured By Clouds 1972 The Dark Side Of The Moon 1973 Wish You Were Here 1975 Animals 1977 The Wall 1979 The Final Cut 1983 A Momentary Lapse Of Reason 1987 The Division Bell 1994 The Endless River 2014 read less
16 ähnliche Künstler wie Pink Floyd - Frogtoon Musik
Roger Waters David Gilmour Syd Barrett Led Zeppelin King Crimson The Beatles The Doors Emerson, Lake & Palmer Yes Genesis Supertramp The Alan Parsons Project Camel Dire Straits Jethro Tull The Who.
This song was first featured on the San Francisco Soundtrack and also in different form on the 'Tonite Lets All Make Love in London' movie.
"I was once trying to tell him about this Arthur Lee song I couldn't remember the title of, so I just hummed the main riff. Syd picked up his guitar and followed what I was humming chord-wise. The chord pattern he worked out he went on to use as the main riff for 'Interstellar Overdrive'. -- Peter Jenner "...Barrett's riff [is] allegedly based on Love's version of Burt Bacharach's 'My Little Red Book'"
-- Mark Paytress, Record Producer Magazine
And of course it was quite different because my humming was so bad! The chord pattern he worked out he went on to use as his main riff for Interstellar Overdrive." The song Jenner was attempting to hum was Love's version of the Burt Bacharach and Hal Davies song My Little Red Book. Others, notably Roger Waters, also detected a hint of Ron Grainer's theme to Steptoe And Son in Syd's new riff.
-- Jones, "Wish You Were Here".
"I was trying to tell him about this Arthur Lee song I couldn't remember the title of, so I just hummed the main riff. Syd picked up his guitar, followed what I was humming, and went on to use the chord pattern he worked out for 'Interstellar Overdrive'." 'Interstellar Overdrive', with its extended free-form passage, was the piece which established Pink Floyd's experimental reputation and it was one of the tracks the group attempted during their first recording session at Chelsea's Sound Techniques.
-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet
Often stretching for over half an hour and always sonically disorientating, Interstellar Overdrive became an aural replica of an LSD trip's dislocation and confusion, and it lit the way for the total abandonment of conventional musical structures that began in earnest in 1966. There was very little precedent for this sound in Britain, apart from maybe The Who. When the Floyd began playing Interstellar Overdrive in April 1966, The Beatles' psychedelic B-side Rain had yet to be released and Revolver was still four months away. During the Floyd's residencies at the Marquee and the UFO clubs, Interstellar Overdrive became the cornerstone of the show. A wildly unpredictable, chemically-inspired instrumental of indeterminate length required a considerable leap of faith for a pop audience weaned on blues or Merseybeat, but it soon became a curious anthem for the emerging underground scene. ...
On January 11, 1967, Barrett, Waters, Wright and Mason entered Sound Techniques studio in Chelsea with engineer John Woods and producer Joe Boyd. In two short sessions across successive days The Pink Floyd cut four songs, Interstellar Overdrive (a version lasting 16 minutes and 46 seconds that was the closest they ever came to capturing their frenetic stage sound on tape) and Nick's Boogie - another freewheeling jam - followed by two of Barrett's eccentric pop tunes, Arnold Layne and Let's Roll Another One (later to become Candy And A Currant Bun).
No other song in the Floyd's early canon better illustrates the duality at the heart of the group than Interstellar Overdrive. On the one hand, Barrett the unfettered art student who would constantly exclaim that there were "no rules"; on the other, Roger Waters the cautious structuralist and architecture student. Waters reined in Syd's free-jazz tendencies. "Given the chance, Syd would have jammed the same chord sequence all night," notes King. "Roger gave the track dynamic boundaries within which Syd could run free."
-- Jones, "Wish You Were Here".
This song is a prime example of Pink Floyd's early Syd Barrett-driven days, when they created mostly psychedelic rock. It features long, discordant chords on Barrett's guitar, constantly changing tempos, shifting rhythms, and few, or in this case, no lyrics at all.
The main riff throughout the tune was adapted from the guitar riff from Love's remake of "My Little Red Book."
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