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This programme contains some strong language. | 0:00:02 | 0:00:04 | |
Let's take a trip through the most visionary period | 0:00:09 | 0:00:12 | |
in British music history, | 0:00:12 | 0:00:14 | |
five kaleidoscopic years between 1965 and 1970 | 0:00:14 | 0:00:19 | |
when a handful of dreamers reimagined pop music. | 0:00:19 | 0:00:23 | |
In the mid-'60s, a counterculture swapped the white heat of technology | 0:00:25 | 0:00:32 | |
for an older Britain | 0:00:32 | 0:00:34 | |
of Edwardian fantasy | 0:00:34 | 0:00:37 | |
and bucolic bliss. | 0:00:37 | 0:00:38 | |
From out of the Bohemian underground, | 0:00:43 | 0:00:45 | |
psychedelia took over the pop mainstream. | 0:00:45 | 0:00:48 | |
So, let's go back through the secret gardens of childhood | 0:00:51 | 0:00:56 | |
to a time when British pop found its first truly original voice. | 0:00:56 | 0:01:01 | |
-STOCK FOOTAGE: -The Britain that is going to be forged | 0:01:12 | 0:01:15 | |
in the white heat of this revolution | 0:01:15 | 0:01:17 | |
will be no place for restrictive practices | 0:01:17 | 0:01:20 | |
or for outdated methods on either side of industry. | 0:01:20 | 0:01:24 | |
It's the mid-1960s, | 0:01:24 | 0:01:26 | |
a new Britain is emerging. | 0:01:26 | 0:01:28 | |
This is the era of the dishwashing machine. | 0:01:28 | 0:01:31 | |
Touch-of-the-switch central heating, they say, will soon be universal. | 0:01:31 | 0:01:35 | |
As soon as people got back on the right foot after the war, | 0:01:35 | 0:01:39 | |
the primary objective was to have permanent jobs for ever | 0:01:39 | 0:01:45 | |
and to be as conventional as possible | 0:01:45 | 0:01:49 | |
in order to retain those jobs. | 0:01:49 | 0:01:51 | |
In other words, not to rock the boat. | 0:01:51 | 0:01:53 | |
"Well, we've survived the war. What do we do now? | 0:01:55 | 0:01:57 | |
"Well, let's insure everything." | 0:01:57 | 0:01:59 | |
We were expected to be architects or civil engineers. | 0:01:59 | 0:02:03 | |
I had no idea what I wanted to do at all | 0:02:03 | 0:02:06 | |
and it was only because my grandfather had been a solicitor | 0:02:06 | 0:02:08 | |
I thought, "Oh, I'll try that, then." | 0:02:08 | 0:02:11 | |
But not every post-war child could see their place | 0:02:11 | 0:02:14 | |
in this brave new world. | 0:02:14 | 0:02:16 | |
This idea that young people were kind of meant to be formed | 0:02:16 | 0:02:20 | |
into either something academic or factory fodder, | 0:02:20 | 0:02:23 | |
it still kind of hung around. | 0:02:23 | 0:02:26 | |
I didn't care about the future. | 0:02:27 | 0:02:28 | |
We didn't used to think about it in those days. I didn't. | 0:02:28 | 0:02:31 | |
No career plans, no "Will it look good on my..." What's it called? | 0:02:31 | 0:02:35 | |
VE something or other? | 0:02:35 | 0:02:36 | |
-CV. -CV. | 0:02:36 | 0:02:38 | |
You know, fuck. | 0:02:38 | 0:02:39 | |
Too young to worry about that crap. | 0:02:39 | 0:02:41 | |
MUSIC: I'm a Man by The Yardbirds | 0:02:43 | 0:02:45 | |
# Now I'm a man | 0:02:45 | 0:02:47 | |
# I spell M | 0:02:47 | 0:02:49 | |
# A | 0:02:49 | 0:02:51 | |
# N... # | 0:02:51 | 0:02:52 | |
Teenage Britain had been borrowing the raw energy | 0:02:52 | 0:02:55 | |
of American rhythm and blues | 0:02:55 | 0:02:57 | |
but conventions were starting to be questioned. | 0:02:57 | 0:03:00 | |
# You can't resist | 0:03:00 | 0:03:02 | |
# I'm a man | 0:03:02 | 0:03:04 | |
# I spell M... # | 0:03:04 | 0:03:05 | |
We were doing blues covers. | 0:03:05 | 0:03:07 | |
We were doing Howlin' Wolf, Chuck Berry, | 0:03:07 | 0:03:10 | |
and it was all very predictable | 0:03:10 | 0:03:12 | |
so we wanted to break out of that. | 0:03:12 | 0:03:15 | |
MUSIC: Still I'm Sad by The Yardbirds | 0:03:15 | 0:03:17 | |
In 1965, The Yardbirds released Still I'm Sad. | 0:03:29 | 0:03:34 | |
It was the sound of British R&B loosening its moorings. | 0:03:34 | 0:03:38 | |
# See the stars come falling down from the sky... # | 0:03:46 | 0:03:51 | |
We used to listen to all sorts of classical music. | 0:03:53 | 0:03:56 | |
You know, Stravinsky and all sorts of stuff, | 0:03:56 | 0:03:59 | |
and then we got in the studio and we were just experimenting with it | 0:03:59 | 0:04:05 | |
and, suddenly, we started to bring in a vocal chant. | 0:04:05 | 0:04:09 | |
I think it was that sort of wish to make it something different. | 0:04:09 | 0:04:13 | |
When we first heard The Yardbirds' Still I'm Sad, | 0:04:19 | 0:04:21 | |
it certainly gave a whole new feeling | 0:04:21 | 0:04:23 | |
to what The Yardbirds were doing | 0:04:23 | 0:04:24 | |
and they stopped just being that blues group. | 0:04:24 | 0:04:27 | |
# Still I'm sad... # | 0:04:27 | 0:04:30 | |
The blues was being radically reimagined | 0:04:30 | 0:04:33 | |
as a handful of groups began testing its limits. | 0:04:33 | 0:04:36 | |
The early '60s, I got quite a reputation as a jazz drummer. | 0:04:50 | 0:04:55 | |
One university gig, Eric come up to me and said, | 0:04:58 | 0:05:03 | |
"I know you, Baker," he said, | 0:05:03 | 0:05:05 | |
"You're not a hard nut at all." | 0:05:05 | 0:05:08 | |
I said to him, "Look, I'm getting a band together. | 0:05:10 | 0:05:13 | |
"Would you be interested?" | 0:05:13 | 0:05:14 | |
And he said yes straightaway. | 0:05:14 | 0:05:17 | |
MUSIC: I Feel Free by Cream | 0:05:17 | 0:05:20 | |
In July 1966, Ginger Baker, Jack Bruce and Eric Clapton formed Cream, | 0:05:27 | 0:05:33 | |
a supergroup that combined blues, jazz and poetry | 0:05:33 | 0:05:37 | |
to create a strange brew. | 0:05:37 | 0:05:39 | |
The first time we played together, | 0:05:39 | 0:05:41 | |
it just went bam. | 0:05:41 | 0:05:43 | |
# Feel when I dance with you | 0:05:45 | 0:05:50 | |
# We move like the sea... # | 0:05:50 | 0:05:55 | |
Jazz takes you on journeys. | 0:05:55 | 0:05:57 | |
Ginger and Jack, they were both jazz musicians | 0:05:57 | 0:05:59 | |
and they really would take you somewhere. | 0:05:59 | 0:06:01 | |
# I feel free... # | 0:06:01 | 0:06:05 | |
I never play the same two nights running. | 0:06:05 | 0:06:09 | |
Nor does Eric, nor did Jack. | 0:06:09 | 0:06:11 | |
Every night was a new adventure | 0:06:11 | 0:06:15 | |
musically. | 0:06:15 | 0:06:17 | |
The psychedelic element is that we were taking people on a journey | 0:06:26 | 0:06:32 | |
in a different way from what they had been taken on before. | 0:06:32 | 0:06:36 | |
By mid-1966, a new word was starting to catch on. | 0:06:38 | 0:06:43 | |
-Psychedelic. -Psychedelic. | 0:06:43 | 0:06:44 | |
-Psychedelic. -Psychedelic. | 0:06:44 | 0:06:46 | |
-Psychedelia. -Psychedelic. | 0:06:46 | 0:06:48 | |
Psychedelic... | 0:06:48 | 0:06:50 | |
Thing. | 0:06:50 | 0:06:51 | |
I mean, what does psychedelic mean? | 0:06:51 | 0:06:54 | |
MUSIC: Paint It Black by The Rolling Stones | 0:06:54 | 0:06:58 | |
# I see a red door and I want it painted black... # | 0:06:58 | 0:07:03 | |
A strange exotic drone was building. | 0:07:03 | 0:07:06 | |
Even the two most familiar bands in Britain | 0:07:06 | 0:07:08 | |
were beginning to look and sound unfamiliar. | 0:07:08 | 0:07:11 | |
I used to co-own a bookshop with a number of people, | 0:07:11 | 0:07:14 | |
including Paul McCartney, in fact, | 0:07:14 | 0:07:16 | |
and, one day, Paul and John came into the shop | 0:07:16 | 0:07:19 | |
and John curled up on the settee with The Psychedelic Experience | 0:07:19 | 0:07:24 | |
and, literally in Tim Leary's introduction, | 0:07:24 | 0:07:26 | |
it says turn off your mind and drift downstream. | 0:07:26 | 0:07:29 | |
So John took the book home | 0:07:29 | 0:07:31 | |
and the idea's in the first Beatles psychedelic track. | 0:07:31 | 0:07:35 | |
MUSIC: Tomorrow Never Knows by The Beatles | 0:07:35 | 0:07:37 | |
# Turn off your mind | 0:07:37 | 0:07:38 | |
# Relax and float downstream | 0:07:38 | 0:07:43 | |
# It is not dying | 0:07:43 | 0:07:47 | |
# It is not dying... # | 0:07:47 | 0:07:51 | |
The Beatles, they were the world's most commercial | 0:07:51 | 0:07:54 | |
of all time rock-and-roll band | 0:07:54 | 0:07:56 | |
and yet they were producing totally far-out stuff | 0:07:56 | 0:07:58 | |
that no-one could even imagine how they got those sounds. | 0:07:58 | 0:08:01 | |
If you haven't heard of LSD, | 0:08:01 | 0:08:03 | |
you will. | 0:08:03 | 0:08:04 | |
LSD 25, a legal substance introduced to Britain via America in 1965, | 0:08:04 | 0:08:10 | |
began rippling through the Bohemian underground in 1966. | 0:08:10 | 0:08:15 | |
I think part of the musical experimentation that was going on | 0:08:15 | 0:08:19 | |
was certainly driven by a lot of use of drugs. | 0:08:19 | 0:08:23 | |
Alcohol became not really cool. | 0:08:23 | 0:08:25 | |
When we're talking about psychedelia, | 0:08:25 | 0:08:28 | |
the definition of it is to do with drugs. | 0:08:28 | 0:08:30 | |
I mean, let's not be silly. People were experimenting. | 0:08:30 | 0:08:35 | |
We didn't think of it as a drug. | 0:08:41 | 0:08:43 | |
It was something you could take | 0:08:43 | 0:08:45 | |
and it expanded your mind | 0:08:45 | 0:08:47 | |
and I don't think there's many musicians at the time | 0:08:47 | 0:08:50 | |
that didn't have a go at this thing called LSD. | 0:08:50 | 0:08:53 | |
In those days, it was a serious exploration. | 0:08:55 | 0:08:58 | |
You'd expect it to take a couple of days and wipe you out, | 0:08:58 | 0:09:01 | |
and, you know, you'd prepare the music | 0:09:01 | 0:09:03 | |
and have friends who were going to look after you | 0:09:03 | 0:09:05 | |
if you freaked out and stuff. | 0:09:05 | 0:09:06 | |
I mean, it was not something to take lightly. | 0:09:06 | 0:09:09 | |
-STOCK FOOTAGE: -These are acid heads who are going to take a trip. | 0:09:09 | 0:09:12 | |
Why? | 0:09:12 | 0:09:13 | |
To get high. | 0:09:13 | 0:09:15 | |
By which you mean what? | 0:09:15 | 0:09:16 | |
You can't explain it. You have to experience it yourself. | 0:09:16 | 0:09:20 | |
You expand your consciousness | 0:09:20 | 0:09:22 | |
and you get more aware of things. | 0:09:22 | 0:09:26 | |
Your senses are heightened. | 0:09:27 | 0:09:31 | |
If you have a record on, you're hearing things | 0:09:31 | 0:09:34 | |
that you wouldn't normally be attentive of. | 0:09:34 | 0:09:37 | |
The colours have become quite a lot brighter. | 0:09:38 | 0:09:41 | |
Also, I'm getting a slight paisley effect in the sky. | 0:09:41 | 0:09:45 | |
All of a sudden, you were like, "Hey, I've got hours." | 0:09:45 | 0:09:48 | |
Every second seemed to last, you know, ten minutes, | 0:09:48 | 0:09:51 | |
so you were kind of wound down into this slow rhythm. | 0:09:51 | 0:09:55 | |
Once, when I took a little LSD, | 0:09:55 | 0:09:57 | |
I played the guitar for about ten hours continuously. | 0:09:57 | 0:10:01 | |
Seeing into people's eyes, | 0:10:01 | 0:10:03 | |
I saw all the universes. | 0:10:03 | 0:10:05 | |
I saw them being born. | 0:10:05 | 0:10:07 | |
I saw them die. | 0:10:07 | 0:10:09 | |
I would say it was the nearest I came to being able to see God. | 0:10:09 | 0:10:14 | |
LSD use was not widespread in 1966 | 0:10:20 | 0:10:24 | |
but its effects catalysed an emerging counterculture | 0:10:24 | 0:10:27 | |
that questioned everything. | 0:10:27 | 0:10:29 | |
MUSIC: Do You Hear Me Now by Donovan | 0:10:29 | 0:10:31 | |
# Freedom fighters Speak with your tongues... # | 0:10:31 | 0:10:33 | |
Where ideas were being formed, people were experimenting. | 0:10:33 | 0:10:37 | |
They were curious. What were the alternatives? What was happening? | 0:10:37 | 0:10:41 | |
So there was an intellectual and almost philosophical | 0:10:41 | 0:10:44 | |
questioning of the past. | 0:10:44 | 0:10:47 | |
It was very obvious that capitalism, | 0:10:48 | 0:10:51 | |
it was sort of a monster. | 0:10:51 | 0:10:54 | |
We didn't like all that. You know, breadheads they were called. | 0:10:54 | 0:10:57 | |
What we liked was equality for all people, the world should be green, | 0:10:58 | 0:11:02 | |
not too many cities, don't use electricity, | 0:11:02 | 0:11:05 | |
that coal was revolting. | 0:11:05 | 0:11:07 | |
There was this sort of getting away | 0:11:07 | 0:11:10 | |
from the traditional notions of order. | 0:11:10 | 0:11:13 | |
All the traditional structures were in question. | 0:11:13 | 0:11:17 | |
What you're allowed to think, what you're allowed to be, | 0:11:17 | 0:11:21 | |
the lid got taken off. | 0:11:21 | 0:11:23 | |
While the underground questioned the establishment, | 0:11:26 | 0:11:29 | |
a former blues band were about to set fire to the 12-bar rule book. | 0:11:29 | 0:11:34 | |
MUSIC: Interstellar Overdrive by Pink Floyd | 0:11:34 | 0:11:36 | |
Up to then, it was all about playing the blues | 0:11:47 | 0:11:50 | |
and then playing blues guitar and... | 0:11:50 | 0:11:52 | |
I saw The Pink Floyd and I thought, "This is very avant-garde. | 0:11:52 | 0:11:56 | |
"This isn't like anything else I've heard." | 0:11:56 | 0:11:58 | |
The chords were very operatic. | 0:12:05 | 0:12:08 | |
They were almost Wagnerian. | 0:12:08 | 0:12:10 | |
And there was a very European sensibility | 0:12:10 | 0:12:14 | |
that anchored everything | 0:12:14 | 0:12:16 | |
and I think definitely put a big separation | 0:12:16 | 0:12:20 | |
between them and the blues. | 0:12:20 | 0:12:22 | |
Syd and Rick were improvising together long... | 0:12:29 | 0:12:33 | |
what seemed like long improvisations all on one chord. | 0:12:33 | 0:12:37 | |
Interstellar Overdrive, because it was just a riff which kept going, | 0:12:42 | 0:12:46 | |
it went right away from that notion of verse, chorus, verse, chorus. | 0:12:46 | 0:12:50 | |
That traditional sort of music structure was gone. | 0:12:50 | 0:12:54 | |
Maybe the music we play isn't directed at dancing necessarily | 0:13:14 | 0:13:19 | |
like normal pop groups have been in the past. | 0:13:19 | 0:13:22 | |
But, whilst Pink Floyd were sonically progressive, | 0:13:30 | 0:13:33 | |
Syd Barrett's lyrics harked back to a world of childhood fantasy. | 0:13:33 | 0:13:38 | |
# There was a king | 0:13:38 | 0:13:41 | |
# Who ruled the land | 0:13:41 | 0:13:43 | |
# His Majesty was... # | 0:13:43 | 0:13:46 | |
We lived in Cambridge, | 0:13:46 | 0:13:48 | |
in a town which had a lovely river running through it | 0:13:48 | 0:13:50 | |
with willows right along it. | 0:13:50 | 0:13:52 | |
Syd was certainly very keen on that. | 0:13:52 | 0:13:55 | |
It was very easy to avail yourself | 0:13:55 | 0:13:57 | |
of an actual Wind In The Willows landscape. | 0:13:57 | 0:13:59 | |
All of Syd's early songs referred in passing | 0:14:00 | 0:14:04 | |
to fairyland and the world of goblins and gnomes | 0:14:04 | 0:14:07 | |
and an Arcadian world picture | 0:14:07 | 0:14:09 | |
derived from classic children's books. | 0:14:09 | 0:14:11 | |
# Across the stream | 0:14:11 | 0:14:12 | |
# With wooden shoes | 0:14:12 | 0:14:15 | |
# Bells to tell the king the news... # | 0:14:15 | 0:14:19 | |
It was English. It was Shakespearean, in a way. | 0:14:19 | 0:14:21 | |
And I just thought that Syd Barrett | 0:14:21 | 0:14:23 | |
was a little wild Puck-Ariel figure | 0:14:23 | 0:14:27 | |
coming out of the woods with his, you know, curly hair and these eyes. | 0:14:27 | 0:14:32 | |
He seemed to me to be born of the English countryside. | 0:14:32 | 0:14:37 | |
Syd was not alone. | 0:14:37 | 0:14:39 | |
For a counterculture at odds with society, | 0:14:39 | 0:14:41 | |
LSD and children's classics combined to create the perfect retreat | 0:14:41 | 0:14:46 | |
inwards and backwards. | 0:14:46 | 0:14:50 | |
We read a lot of those children's books, you know, | 0:14:50 | 0:14:52 | |
like Alice In Wonderland, like Wind In The Willows. | 0:14:52 | 0:14:55 | |
So there was a looking back to a sort of a golden age | 0:14:55 | 0:14:59 | |
of childhood and innocence, | 0:14:59 | 0:15:01 | |
because our childhood had been fractured, a lot of us, by the war. | 0:15:01 | 0:15:06 | |
It was the last part of traditional British culture | 0:15:07 | 0:15:10 | |
that people still trusted, because that's what they grew up with. | 0:15:10 | 0:15:13 | |
This was something that they knew they could refer to | 0:15:13 | 0:15:16 | |
which, in a way, set them apart from the adults, as it were, | 0:15:16 | 0:15:19 | |
the grown-ups, the straights and the suits. | 0:15:19 | 0:15:21 | |
These Arcadian worlds of imagination and innocence | 0:15:23 | 0:15:27 | |
appealed to the new underground, | 0:15:27 | 0:15:30 | |
but this band of idealists still lacked a home. | 0:15:30 | 0:15:34 | |
In December '66, they'd find one. | 0:15:34 | 0:15:36 | |
Ufo grew directly out of things that John Hopkins | 0:15:36 | 0:15:41 | |
had been involved with - | 0:15:41 | 0:15:42 | |
Hoppy, who was the kind of leader of the whole underground scene. | 0:15:42 | 0:15:46 | |
We went and found this Irish dancehall in Tottenham Court Road. | 0:15:46 | 0:15:50 | |
The first night at Ufo, we didn't know how many people were | 0:15:50 | 0:15:53 | |
going to come, and a huge crowd turned up. | 0:15:53 | 0:15:56 | |
We were surprised at how many people came, and I think the audience | 0:15:58 | 0:16:02 | |
was surprised to see there were so many of us. | 0:16:02 | 0:16:06 | |
It was like London freaks recognised each other like, "Wow! Oh! | 0:16:06 | 0:16:11 | |
"There's more than just me and my friends." | 0:16:11 | 0:16:14 | |
# Ridin' all around the streets | 0:16:14 | 0:16:18 | |
# Four o'clock and they're all asleep | 0:16:18 | 0:16:21 | |
# I'm not tired and it's so late | 0:16:21 | 0:16:24 | |
# Movin' fast everything looks great | 0:16:24 | 0:16:28 | |
# My white bicycle... # | 0:16:28 | 0:16:31 | |
When you entered the club, | 0:16:32 | 0:16:33 | |
you had to go down a very large, wide staircase. | 0:16:33 | 0:16:36 | |
You could see these little bubbles, | 0:16:36 | 0:16:37 | |
it looked like bubbles coming up into the street, almost. | 0:16:37 | 0:16:40 | |
But they never quite made it into Tottenham Court Road. | 0:16:40 | 0:16:42 | |
It was very much descending into another world. | 0:16:42 | 0:16:45 | |
# My white bicycle... # | 0:16:45 | 0:16:48 | |
There was a sense of chaos. | 0:16:52 | 0:16:53 | |
When you got in there, you could do what the hell you liked. | 0:16:53 | 0:16:56 | |
There wasn't any real restrictions. | 0:16:56 | 0:16:58 | |
Everywhere else you went, you sat down and shut up. | 0:16:58 | 0:17:01 | |
I just bought it straightaway - incense burning, | 0:17:05 | 0:17:07 | |
freak-out dancing, a little kind of theatre group, | 0:17:07 | 0:17:11 | |
movies on this wall, another movie on this wall. | 0:17:11 | 0:17:14 | |
It was an amazing experience. | 0:17:14 | 0:17:16 | |
Ufo became the weekly meeting place. | 0:17:17 | 0:17:21 | |
It was a kind of galvanising place. | 0:17:21 | 0:17:25 | |
# My white bicycle... # | 0:17:25 | 0:17:28 | |
While Ufo, LSD and Pink Floyd were galvanising the freaks, | 0:17:28 | 0:17:33 | |
a group of musical misfits from Canterbury were developing | 0:17:33 | 0:17:36 | |
a sound along parallel lines. | 0:17:36 | 0:17:39 | |
Maybe if we'd lived in a big city we'd have known more people sooner | 0:17:48 | 0:17:52 | |
and it would have been a wider, looser circle. | 0:17:52 | 0:17:55 | |
In Canterbury, I was the only drummer they knew | 0:17:55 | 0:17:58 | |
and Mike was the only keyboard player any of us knew, | 0:17:58 | 0:18:01 | |
so despite the fact that we hadn't got much in common | 0:18:01 | 0:18:03 | |
in terms of interest, we worked together, | 0:18:03 | 0:18:06 | |
cos that's what there was. | 0:18:06 | 0:18:08 | |
I think that made us have to be more inventive, stretch ourselves. | 0:18:08 | 0:18:14 | |
John Coltrane, towards the end of his life, | 0:18:19 | 0:18:21 | |
was doing very modal stuff, | 0:18:21 | 0:18:23 | |
sometimes with just two or three chords. | 0:18:23 | 0:18:25 | |
It was, "How deep can I get into the zone?" | 0:18:25 | 0:18:28 | |
I think that sort of influenced us a lot - | 0:18:28 | 0:18:31 | |
just getting into this zone, this modal zone, and just kind of... | 0:18:31 | 0:18:35 | |
Just digging deep into that groove. | 0:18:37 | 0:18:40 | |
The only thing that mattered about who you were playing with was, | 0:18:50 | 0:18:53 | |
in my case - have they got anything original? | 0:18:53 | 0:18:55 | |
Were they specifically themselves? | 0:18:55 | 0:18:57 | |
What I like about Kevin is there's no other Kevin Ayers, | 0:18:57 | 0:18:59 | |
there's no other Mike Ratledge. | 0:18:59 | 0:19:01 | |
Mike's keyboard playing - | 0:19:01 | 0:19:03 | |
I think even he was surprised at how it came out. | 0:19:03 | 0:19:07 | |
Like a scientific experiment. | 0:19:07 | 0:19:09 | |
Suddenly you put this acid with that acid and it goes boom. | 0:19:09 | 0:19:11 | |
You think, "Blimey!" | 0:19:11 | 0:19:12 | |
The Soft Machine's heady blend of modal jazz and improvisational rock | 0:19:24 | 0:19:28 | |
needed an audience with an open mind, an audience they found at Ufo. | 0:19:28 | 0:19:34 | |
The audience didn't have any expectations, | 0:19:34 | 0:19:36 | |
so you could do what you liked. They were all stoned. | 0:19:36 | 0:19:39 | |
If they hated it, they were too out of it to pick you up on anything. | 0:19:39 | 0:19:43 | |
We found out what you mustn't do - | 0:19:43 | 0:19:44 | |
if you stop, somebody will boo, so don't stop. | 0:19:44 | 0:19:48 | |
# Say goodbye, watch the sky... # | 0:19:54 | 0:19:57 | |
It wasn't on predictable tramlines, | 0:20:05 | 0:20:07 | |
and neither were the trips people were having, | 0:20:07 | 0:20:09 | |
so people could go along with us for the journey | 0:20:09 | 0:20:12 | |
and they would go with it. | 0:20:12 | 0:20:14 | |
We weren't a pop band, we weren't a jazz band. | 0:20:14 | 0:20:17 | |
We weren't really a rock band. | 0:20:17 | 0:20:19 | |
I can only say psychedelic because we weren't anything else. | 0:20:19 | 0:20:22 | |
For a few hours one evening, together with the audience, | 0:20:22 | 0:20:25 | |
you could really go to... another planet. | 0:20:25 | 0:20:27 | |
The psychedelic underground was about more than never-ending space jams. | 0:20:34 | 0:20:39 | |
Art and fashion were also being re-cut. | 0:20:39 | 0:20:42 | |
Carnaby Street was still pretty uptight in many ways. | 0:20:43 | 0:20:47 | |
It was very sharp and smart. | 0:20:47 | 0:20:50 | |
We were looking for a much more romantic, Bohemian idea of it all. | 0:20:50 | 0:20:54 | |
# Kaleidoscope | 0:20:54 | 0:20:55 | |
# Kaleidoscope, kaleido | 0:20:55 | 0:20:57 | |
# Kaleidoscope, kaleidoscope | 0:20:57 | 0:20:59 | |
# Kaleidoscope... # | 0:20:59 | 0:21:02 | |
The first idea of Granny Takes A Trip was in tune with | 0:21:02 | 0:21:04 | |
the ideas of people like Oscar Wilde. | 0:21:04 | 0:21:08 | |
We were raiding vintage wardrobes | 0:21:08 | 0:21:10 | |
and William Morris patterns for jackets. | 0:21:10 | 0:21:13 | |
It's that idea of nostalgia, British nostalgia. | 0:21:13 | 0:21:17 | |
Just like much of the music, | 0:21:19 | 0:21:21 | |
psychedelic fashion was also channelling the past. | 0:21:21 | 0:21:24 | |
I thought everybody looked like Renaissance paintings - | 0:21:25 | 0:21:27 | |
masses of long hair, wearing robes and stuff. | 0:21:27 | 0:21:30 | |
The girls wore long skirts. | 0:21:30 | 0:21:32 | |
Everybody looked like John the Baptist. | 0:21:32 | 0:21:35 | |
Some of us did walk around looking like dandies, | 0:21:35 | 0:21:38 | |
with these Edwardian jackets. | 0:21:38 | 0:21:40 | |
There was always a scarf. | 0:21:40 | 0:21:42 | |
I broke down once on the side of the motorway and I had this... | 0:21:43 | 0:21:46 | |
what looked like a nightshirt on. | 0:21:46 | 0:21:48 | |
The AA man came up and he said, | 0:21:48 | 0:21:51 | |
"What are you, one of them lords or something?" | 0:21:51 | 0:21:53 | |
This sort of strange figure, you know. | 0:21:53 | 0:21:56 | |
The psychedelic underground was even developing | 0:22:00 | 0:22:02 | |
its own subterranean media network. | 0:22:02 | 0:22:05 | |
We have our own publishers, our own film-makers, our own theatres, | 0:22:05 | 0:22:08 | |
night clubs. It's a complete society. | 0:22:08 | 0:22:12 | |
The scenes themselves are connected by the paper as an agency. | 0:22:12 | 0:22:17 | |
1966 we brought up the first issue of International Times, | 0:22:17 | 0:22:20 | |
which was the first underground newspaper in Europe. | 0:22:20 | 0:22:23 | |
International Times covered the areas that we thought that | 0:22:23 | 0:22:25 | |
Fleet Street was completely ignoring - | 0:22:25 | 0:22:27 | |
the anti-Vietnam war movement, for instance, the CND movement. | 0:22:27 | 0:22:31 | |
We covered how much dope was costing. | 0:22:31 | 0:22:34 | |
Myself and a bunch of friends realised there were | 0:22:34 | 0:22:36 | |
a constituency of young people who had no voice, basically. | 0:22:36 | 0:22:39 | |
Even in the slightly garbled image of the International Times, | 0:22:41 | 0:22:46 | |
there was some very serious thought and some very serious writing. | 0:22:46 | 0:22:50 | |
I think Miles provided the underground scene | 0:22:50 | 0:22:53 | |
with a very rigorous professionalism. | 0:22:53 | 0:22:56 | |
As 1966 grew to a close, | 0:23:04 | 0:23:06 | |
the counterculture that had centred around Ufo, It | 0:23:06 | 0:23:09 | |
and Granny Takes A Trip was a growing force, | 0:23:09 | 0:23:12 | |
but the psychedelic movement was little more than a whisper - | 0:23:12 | 0:23:16 | |
a world away from booming Britain. | 0:23:16 | 0:23:18 | |
MUSIC: Sunshine Superman by Donovan | 0:23:23 | 0:23:25 | |
In December of '66, however, | 0:23:25 | 0:23:26 | |
a harpsichord-drenched piece of psych pop hit number two in the UK charts. | 0:23:26 | 0:23:32 | |
# Sunshine came softly through my | 0:23:32 | 0:23:36 | |
# A-window today | 0:23:36 | 0:23:40 | |
# Could've tripped out easy | 0:23:40 | 0:23:42 | |
# But I've a-changed my ways... # | 0:23:42 | 0:23:46 | |
And, perhaps sensing a rising tide, December '66 also saw the BBC | 0:23:46 | 0:23:51 | |
broadcast Jonathan Miller's Alice In Wonderland. | 0:23:51 | 0:23:54 | |
Was this just a coincidence? | 0:24:09 | 0:24:11 | |
Or was there something in the air? | 0:24:12 | 0:24:14 | |
Oh, that's the great puzzle. | 0:24:16 | 0:24:18 | |
Who am I? | 0:24:18 | 0:24:19 | |
MUSIC: Strawberry Fields Forever by The Beatles | 0:24:25 | 0:24:28 | |
# Let me take you down cos I'm going to | 0:24:34 | 0:24:40 | |
# Strawberry Fields | 0:24:40 | 0:24:42 | |
# Nothing is real | 0:24:45 | 0:24:47 | |
# And nothing to get hung about | 0:24:48 | 0:24:51 | |
# Strawberry Fields forever... # | 0:24:52 | 0:24:56 | |
By February 1967, Britain was beginning to suspect | 0:24:56 | 0:25:00 | |
that The Beatles' catchy tunes and matching suits period was over. | 0:25:00 | 0:25:04 | |
We'd started off as cheery chappies, Northern lads - fun, nice boys. | 0:25:05 | 0:25:12 | |
We didn't really believe it, but we realised it was our image. | 0:25:12 | 0:25:15 | |
But as time went by, we needed to develop. | 0:25:15 | 0:25:18 | |
It was quite a heavy drug period for most of the people in our world, | 0:25:19 | 0:25:24 | |
so I think all of that found its way into the music. | 0:25:24 | 0:25:27 | |
# No-one I think is in my tree | 0:25:30 | 0:25:35 | |
# I mean, it must be high or low... # | 0:25:35 | 0:25:38 | |
Strawberry Fields was where The Beatles suddenly stopped | 0:25:38 | 0:25:41 | |
being transatlantic and suddenly dealt with British subjects, | 0:25:41 | 0:25:46 | |
childhood memories, feelings about death. | 0:25:46 | 0:25:49 | |
They went in all sorts of interesting directions | 0:25:49 | 0:25:52 | |
which popular songs had never gone to before. | 0:25:52 | 0:25:55 | |
# Strawberry Fields | 0:25:55 | 0:25:57 | |
# Nothing is real... # | 0:25:59 | 0:26:03 | |
The potential of what you could do under the guise of making pop music | 0:26:03 | 0:26:08 | |
was...the doors were being opened. | 0:26:08 | 0:26:10 | |
Strawberry Fields Forever had a very universal message which was, | 0:26:13 | 0:26:16 | |
basically, return to innocence. | 0:26:16 | 0:26:18 | |
We were talking about the period when music moved | 0:26:18 | 0:26:21 | |
from being part of the entertainment business to art. | 0:26:21 | 0:26:24 | |
I think a lot of people have twigged they've shut themselves in a bit. | 0:26:28 | 0:26:32 | |
They've got all these rules for everything - | 0:26:32 | 0:26:34 | |
rules of how to live, how to paint, how to make music. | 0:26:34 | 0:26:37 | |
It's just not true any more. | 0:26:38 | 0:26:40 | |
Any new strange world, like psychedelic, drugs, | 0:26:40 | 0:26:44 | |
the whole bit, freak-out music and all of that, don't immediately | 0:26:44 | 0:26:48 | |
take it as that, because your first reaction has got to be one of fear. | 0:26:48 | 0:26:53 | |
Then, rather shockingly, | 0:26:54 | 0:26:57 | |
Paul McCartney admitted to taking LSD on national television. | 0:26:57 | 0:27:01 | |
Go on, how often have you taken LSD? | 0:27:03 | 0:27:05 | |
About four times. | 0:27:07 | 0:27:09 | |
Don't you believe that this was a matter which you should have kept private? | 0:27:09 | 0:27:13 | |
I mean, you're spreading this now, at this moment, | 0:27:13 | 0:27:16 | |
this is going into all the homes in Britain. | 0:27:16 | 0:27:19 | |
I'd rather it didn't, you know, but you're asking me the question, | 0:27:19 | 0:27:22 | |
you want me to be honest. I'll be honest. | 0:27:22 | 0:27:25 | |
But as a public figure, | 0:27:25 | 0:27:26 | |
surely you've got a responsibility to not... | 0:27:26 | 0:27:29 | |
No, it's you who's got the responsibility. | 0:27:29 | 0:27:32 | |
You've got the responsibility not to spread this now. | 0:27:32 | 0:27:35 | |
I'm quite prepared to keep it as a very personal thing if you will too. | 0:27:35 | 0:27:40 | |
If you shut up about it, I will. | 0:27:40 | 0:27:42 | |
MUSIC: Sgt Pepper's Lonely Hearts Club Band by The Beatles | 0:27:42 | 0:27:47 | |
Society's darlings were becoming full-on psychedelic trailblazers. | 0:27:47 | 0:27:52 | |
# It was 20 years ago today | 0:27:52 | 0:27:54 | |
# Sgt Pepper taught the band to play... # | 0:27:54 | 0:27:57 | |
We were all down the Speakeasy. | 0:27:57 | 0:27:59 | |
At that time, George Harrison and John Lennon were in. | 0:27:59 | 0:28:03 | |
They sent the roadie back up to Abbey Road to get | 0:28:03 | 0:28:06 | |
a copy of Sgt Pepper. | 0:28:06 | 0:28:08 | |
We put it on the big speakers at Speakeasy. | 0:28:08 | 0:28:10 | |
I can remember George doing air guitar | 0:28:10 | 0:28:13 | |
to the opening of Sgt Pepper. | 0:28:13 | 0:28:15 | |
# We're Sgt Pepper's Lonely Hearts Club Band... # | 0:28:16 | 0:28:21 | |
The power, the energy, it was like a kind of tidal wave, | 0:28:21 | 0:28:25 | |
it just washed over you. | 0:28:25 | 0:28:27 | |
# Sgt Pepper's Lonely Hearts Club Band | 0:28:27 | 0:28:31 | |
# Sit back and let the evening go... # | 0:28:31 | 0:28:35 | |
I remember during the sessions that they were very concerned to | 0:28:36 | 0:28:39 | |
not lose anybody, you know, not lose the mums | 0:28:39 | 0:28:42 | |
and the aunties who bought the records for their teenage kids, | 0:28:42 | 0:28:46 | |
but they also wanted to push the boundaries of rock and roll. | 0:28:46 | 0:28:49 | |
A lot of what The Beatles were doing | 0:28:50 | 0:28:52 | |
when you look at it was passing on this freedom. | 0:28:52 | 0:28:56 | |
I think that was one of the great values of what we did. | 0:28:56 | 0:29:00 | |
We kind of just showed what we were going through to the world. | 0:29:00 | 0:29:04 | |
# Arnold Layne | 0:29:04 | 0:29:07 | |
# Had a strange hobby | 0:29:08 | 0:29:11 | |
# Collecting clothes | 0:29:15 | 0:29:17 | |
# Moonshine washing line | 0:29:17 | 0:29:22 | |
# They suit him fine... # | 0:29:23 | 0:29:27 | |
While The Beatles had been creating their carnival of psychedelia, | 0:29:27 | 0:29:30 | |
Pink Floyd went pop. | 0:29:30 | 0:29:33 | |
The charts were getting weird. | 0:29:33 | 0:29:36 | |
# Oh, Arnold Layne | 0:29:36 | 0:29:39 | |
# It's not the same... # | 0:29:39 | 0:29:42 | |
Arnold Layne is based on truth. | 0:29:42 | 0:29:45 | |
Syd's mother took in lodgers. | 0:29:45 | 0:29:48 | |
Laundry would get hung on the clothesline in the back yard. | 0:29:48 | 0:29:51 | |
There was a case about a guy getting actually | 0:29:51 | 0:29:54 | |
convicted for stealing underwear. | 0:29:54 | 0:29:57 | |
This is just Syd reporting on his life. | 0:29:57 | 0:30:01 | |
# Arnold Layne | 0:30:03 | 0:30:06 | |
# Arnold Layne, Arnold Layne... # | 0:30:06 | 0:30:11 | |
I think Arnold Layne was an example of rock and roll | 0:30:11 | 0:30:14 | |
dealing with subjects which had not previously been covered - | 0:30:14 | 0:30:17 | |
a pervert stealing underwear off of people's back-yard washing lines. | 0:30:17 | 0:30:22 | |
Even two years earlier, nobody would have written a song about that. | 0:30:22 | 0:30:26 | |
A second single, See Emily Play, soon followed. | 0:30:28 | 0:30:32 | |
The kings of the underground were now appearing on Top Of The Pops. | 0:30:32 | 0:30:36 | |
# Emily tries but misunderstands | 0:30:36 | 0:30:41 | |
# She's often inclined to borrow somebody's dreams till tomorrow... # | 0:30:43 | 0:30:49 | |
Steeped in a longing for childhood, | 0:30:49 | 0:30:51 | |
the song was allegedly inspired by a teenage Emily Young. | 0:30:51 | 0:30:55 | |
We used to sit around the same place smoking joints. | 0:30:55 | 0:30:58 | |
I think that song was... It was about him. It was the two Syds. | 0:30:58 | 0:31:02 | |
There was one who got on with his life and the other one who | 0:31:03 | 0:31:07 | |
had become a star and was taking huge amounts of drugs. | 0:31:07 | 0:31:10 | |
He was losing his grip. | 0:31:11 | 0:31:13 | |
His muse, his poetic spirit, he called that Emily. | 0:31:13 | 0:31:17 | |
It was the feminine part of him, it was the creative part of him. | 0:31:17 | 0:31:22 | |
That side really needed help. | 0:31:22 | 0:31:24 | |
# See Emily play. # | 0:31:24 | 0:31:30 | |
While pop was getting trippy, by the spring of '67 | 0:31:30 | 0:31:33 | |
LSD had been illegalised and the psychedelic movement started | 0:31:33 | 0:31:37 | |
feeling the effects of an establishment clamp-down. | 0:31:37 | 0:31:40 | |
The police was starting to get upset with the underground. | 0:31:40 | 0:31:44 | |
I mean, they used to come to Ufo | 0:31:44 | 0:31:46 | |
and search people in the queues for drugs and arrest people. | 0:31:46 | 0:31:50 | |
The fact that a lot of people were taking drugs | 0:31:50 | 0:31:52 | |
meant that the police had easy targets, basically. | 0:31:52 | 0:31:55 | |
By the middle of the year, The Rolling Stones were busted. | 0:31:56 | 0:32:00 | |
International Times also was busted by the police. | 0:32:00 | 0:32:03 | |
We thought we were going to have a major lawsuit, | 0:32:03 | 0:32:05 | |
so we needed to put on some benefits to raise money to fight the case. | 0:32:05 | 0:32:10 | |
Something like 40, 42 bands, I think, offered their services. | 0:32:10 | 0:32:15 | |
It was absolutely fantastic. | 0:32:15 | 0:32:17 | |
MUSIC: She's A Rainbow by The Rolling Stones | 0:32:17 | 0:32:19 | |
In April 1967, 10,000 people poured into Alexandra Palace | 0:32:19 | 0:32:23 | |
to attend the 14 Hour Technicolor Dream. | 0:32:23 | 0:32:26 | |
It was the moment the summer of love opened its gates to the masses. | 0:32:26 | 0:32:30 | |
# She comes in colours everywhere | 0:32:30 | 0:32:33 | |
# She combs her hair | 0:32:33 | 0:32:35 | |
# She's like a rainbow | 0:32:35 | 0:32:39 | |
# Coming, colours in the air | 0:32:39 | 0:32:41 | |
# Everywhere | 0:32:41 | 0:32:44 | |
# She comes in colours... # | 0:32:44 | 0:32:46 | |
You walked inside and the scale of it | 0:32:46 | 0:32:49 | |
and the whole thing was just wonderful. | 0:32:49 | 0:32:52 | |
It was like the UFO club magnified. | 0:32:52 | 0:32:55 | |
It was a wonderful place to be at that time and to be performing. | 0:32:55 | 0:32:58 | |
# She comes in colours everywhere | 0:32:58 | 0:33:00 | |
# She combs her hair | 0:33:00 | 0:33:03 | |
# She's like a rainbow... # | 0:33:03 | 0:33:06 | |
I decided that it would be a good idea to take a trip to | 0:33:06 | 0:33:08 | |
get into the spirit of the event. | 0:33:08 | 0:33:10 | |
I think Syd did as well, | 0:33:10 | 0:33:12 | |
so we both dropped a tab or whatever one did at that time. | 0:33:12 | 0:33:16 | |
You went in and it was this huge place. | 0:33:16 | 0:33:19 | |
This huge room with people climbing up, lots of scaffolding, | 0:33:19 | 0:33:22 | |
the old Ally Pally organ. | 0:33:22 | 0:33:24 | |
Lots of lights and smoke. | 0:33:24 | 0:33:27 | |
It was just an extraordinary experience, because everybody was | 0:33:27 | 0:33:30 | |
out of their heads, wandering around looking at other people who were | 0:33:30 | 0:33:33 | |
out of their heads who were doing things whilst out of their heads. | 0:33:33 | 0:33:36 | |
Some came and found enlightenment. | 0:33:38 | 0:33:41 | |
We're letting our imagination flow with the rhythm of music. | 0:33:41 | 0:33:44 | |
That's like the rhythm of the sea or the rhythm of creation. | 0:33:44 | 0:33:48 | |
All you can do is dig it. | 0:33:48 | 0:33:49 | |
You just go where it's going and flow with it. | 0:33:50 | 0:33:54 | |
Others were left scratching their heads. | 0:33:54 | 0:33:56 | |
Do you know what the evening is really about? | 0:33:56 | 0:33:59 | |
No, I don't think anybody does. | 0:33:59 | 0:34:01 | |
I feel rather sorry for them, personally. | 0:34:01 | 0:34:03 | |
To me, they're looking for something, | 0:34:03 | 0:34:05 | |
but they don't even know themselves what they're looking for. | 0:34:05 | 0:34:07 | |
-Did you come here to enjoy yourself this evening? -Yeah, and I haven't. | 0:34:07 | 0:34:10 | |
-What did you expect? -Something better than this. | 0:34:10 | 0:34:13 | |
We walked out and lay on the grass | 0:34:33 | 0:34:35 | |
and saw one of those great English spring dawns. | 0:34:35 | 0:34:39 | |
Hundreds of people streaming out of Alexandra Palace downhill. | 0:34:39 | 0:34:44 | |
I remember thinking to myself, this whole movement, this whole thing | 0:34:44 | 0:34:48 | |
that we're all a part of, is way bigger than I thought. | 0:34:48 | 0:34:52 | |
Now, it's unstoppable. | 0:34:55 | 0:34:56 | |
The summer of 1967 saw psychedelia become a mass phenomenon. | 0:34:59 | 0:35:04 | |
I remember seeing all these people with Afghan coats, | 0:35:04 | 0:35:08 | |
long hair and bells walking up the straight. | 0:35:08 | 0:35:12 | |
My God, they've all become hippies, within months. | 0:35:12 | 0:35:15 | |
We're talking about something which just exploded. | 0:35:15 | 0:35:19 | |
It was the beginning of the end in terms of its naked purity | 0:35:24 | 0:35:28 | |
as an artistic movement and statement. | 0:35:28 | 0:35:31 | |
On the other hand, it was the beginning of it spreading in | 0:35:31 | 0:35:34 | |
a more watered down way throughout the whole of English culture. | 0:35:34 | 0:35:40 | |
Now every band in Britain seemed to be writing songs about toy shops, | 0:35:41 | 0:35:45 | |
toffee apples and rainbows. | 0:35:45 | 0:35:47 | |
A psychedelic tsunami was about to wash over the singles charts. | 0:35:47 | 0:35:52 | |
MUSIC: Whiter Shade Of Pale by Procol Harum | 0:35:52 | 0:35:54 | |
With Whiter Shade Of Pale, we were trying to do something different. | 0:35:59 | 0:36:03 | |
It was a direct influence | 0:36:03 | 0:36:05 | |
from Jacques Loussier's Air On A G String. | 0:36:05 | 0:36:08 | |
I'd thought that classical music can be part of contemporary music. | 0:36:08 | 0:36:13 | |
# We skipped the light fandango | 0:36:14 | 0:36:18 | |
# Turned cartwheels cross the floor | 0:36:20 | 0:36:24 | |
# I was feeling kind of seasick | 0:36:27 | 0:36:30 | |
# And the crowd called out for more... # | 0:36:33 | 0:36:37 | |
Psychedelia really gave the freedom | 0:36:38 | 0:36:40 | |
and made you float off places that you hadn't been. | 0:36:40 | 0:36:44 | |
We didn't really know if it would be a hit, | 0:36:44 | 0:36:46 | |
but it all happened so quickly. | 0:36:46 | 0:36:49 | |
I think it got released about three weeks after we'd made it. | 0:36:49 | 0:36:52 | |
It was number one the week after that. | 0:36:52 | 0:36:56 | |
# That her face at first just ghostly | 0:36:56 | 0:37:01 | |
# Turned a whiter shade of pale... # | 0:37:01 | 0:37:06 | |
Now even baroque could be number one. | 0:37:09 | 0:37:12 | |
# But it's too late to say you're sorry | 0:37:12 | 0:37:16 | |
# How would I know? Why should I care? # | 0:37:16 | 0:37:19 | |
Bands that had only recently been knocking out R&B hits | 0:37:19 | 0:37:22 | |
were being caught up in the moment. | 0:37:22 | 0:37:26 | |
# Well, let me tell you 'bout the way she looked | 0:37:26 | 0:37:28 | |
# The way she acted | 0:37:28 | 0:37:30 | |
# The colour of her hair... # | 0:37:30 | 0:37:32 | |
We always thought we were just being a beat group. | 0:37:32 | 0:37:34 | |
There were a lot of Zombies tracks we did which, you know, | 0:37:34 | 0:37:37 | |
a lot of blues and jazz influence in those things, but apart from that, I | 0:37:37 | 0:37:41 | |
was listening to a lot of classical music and I wasn't the only one. | 0:37:41 | 0:37:43 | |
That European influence really came into our music as well, | 0:37:43 | 0:37:48 | |
without being conscious of it. | 0:37:48 | 0:37:50 | |
I mean, Time Of The Season I would say at the time was | 0:37:50 | 0:37:53 | |
affected by that zeitgeist. | 0:37:53 | 0:37:55 | |
# It's the time of the season | 0:37:56 | 0:38:00 | |
# When love runs high | 0:38:02 | 0:38:05 | |
# In this time | 0:38:05 | 0:38:07 | |
# Give it to me easy | 0:38:07 | 0:38:09 | |
# And let me try with pleasured hands | 0:38:12 | 0:38:16 | |
BOTH: # To take you in the sun to promised lands | 0:38:16 | 0:38:21 | |
# To show you everyone | 0:38:21 | 0:38:24 | |
# It's the time of the season | 0:38:24 | 0:38:29 | |
# For loving... # | 0:38:29 | 0:38:32 | |
The whole "summer of love" thing, in inverted commas, | 0:38:37 | 0:38:40 | |
was something that we were very suspicious of in a way, | 0:38:40 | 0:38:42 | |
because it felt very naive | 0:38:42 | 0:38:44 | |
and people paid lip service to it to some degree, but in another way, | 0:38:44 | 0:38:49 | |
there was a really genuine upsurge of feeling there. | 0:38:49 | 0:38:53 | |
You couldn't help but be captured by it. | 0:38:53 | 0:38:56 | |
# It's the time of the season | 0:38:56 | 0:39:00 | |
# For loving... # | 0:39:00 | 0:39:02 | |
Even kings of Carnaby Street The Small Faces | 0:39:02 | 0:39:06 | |
were trading in their mod suits for kaftans | 0:39:06 | 0:39:08 | |
and creating psychedelic music hall. | 0:39:08 | 0:39:11 | |
# Over bridge of sighs | 0:39:11 | 0:39:14 | |
# To rest my eyes in shades of green | 0:39:14 | 0:39:18 | |
# Under dreaming spires | 0:39:18 | 0:39:22 | |
# To Itchycoo Park, that's where I've been... # | 0:39:22 | 0:39:24 | |
The great thing about The Small Faces, we were experimenting. | 0:39:24 | 0:39:28 | |
Most bands were - The Beatles, The Stones, everybody - | 0:39:28 | 0:39:30 | |
they were desperately trying to lose that teenybopper image. | 0:39:30 | 0:39:33 | |
LSD, right, songwriters in the band | 0:39:33 | 0:39:35 | |
would be looking for other expressions, | 0:39:35 | 0:39:37 | |
so they're writing songs about their experience of taking it. | 0:39:37 | 0:39:41 | |
# It's all too beautiful... # | 0:39:41 | 0:39:45 | |
Itchycoo Park was the first time we'd discovered phasing. | 0:39:45 | 0:39:49 | |
# I feel inclined to blow my mind | 0:39:49 | 0:39:53 | |
# Get hung up, feed the ducks with a bun... # | 0:39:53 | 0:39:55 | |
We looped a piece of tape around the tape machine | 0:39:55 | 0:39:58 | |
and looped it around the back of a chair and just let it run. | 0:39:58 | 0:40:02 | |
There was that drum fill... | 0:40:02 | 0:40:03 | |
HE IMITATES DRUMS | 0:40:03 | 0:40:05 | |
-# Tell you what I'll do -What will you do? | 0:40:08 | 0:40:11 | |
# I'd like to go there now with you... # | 0:40:11 | 0:40:15 | |
The best way to listen to it is smoke a bit of weed | 0:40:15 | 0:40:18 | |
and lay back and enjoy it. | 0:40:18 | 0:40:20 | |
# It's all too beautiful | 0:40:20 | 0:40:24 | |
# It's all too beautiful | 0:40:24 | 0:40:28 | |
# It's all too beautiful... # | 0:40:28 | 0:40:31 | |
The psych craze was even permeating the no-nonsense bands | 0:40:31 | 0:40:35 | |
of working-class Birmingham. | 0:40:35 | 0:40:37 | |
The bands that played in Birmingham just played in pubs | 0:40:38 | 0:40:42 | |
and working men's clubs. | 0:40:42 | 0:40:43 | |
Flower power, psychedelia and all that, | 0:40:43 | 0:40:46 | |
I don't think it meant a great deal to the people of Birmingham. | 0:40:46 | 0:40:49 | |
We were a working-class band, | 0:40:50 | 0:40:52 | |
but you're influenced by whatever else is going on around you because | 0:40:52 | 0:40:57 | |
you think it might make whatever song you write more up-to-date. | 0:40:57 | 0:41:02 | |
In 1967, the ubiquitous sound of psychedelia was the sitar | 0:41:02 | 0:41:07 | |
but, without access to such an instrument, Roy Wood | 0:41:07 | 0:41:10 | |
set about creating his own DIY take on that exotic Eastern sound. | 0:41:10 | 0:41:14 | |
In those days, you had to make the best of what was there. | 0:41:24 | 0:41:27 | |
I wanted to try and make it like a sitar kind of thing | 0:41:27 | 0:41:30 | |
with the drones and then... | 0:41:30 | 0:41:32 | |
..you know, that kind of stuff going on. | 0:41:34 | 0:41:37 | |
I thought, "Well, wouldn't it be nice to include that in a song?" | 0:41:37 | 0:41:40 | |
That ended up being I Can Hear The Grass Grow. | 0:41:40 | 0:41:43 | |
# See the people all in line | 0:41:53 | 0:41:56 | |
# What's makin' them look at me? | 0:41:56 | 0:42:00 | |
# Can't imagine that their minds | 0:42:00 | 0:42:03 | |
# Are thinkin' the same as me | 0:42:03 | 0:42:06 | |
# I can hear the grass grow | 0:42:06 | 0:42:09 | |
# I can hear the grass grow | 0:42:09 | 0:42:13 | |
# I see rainbows in the evening... # | 0:42:13 | 0:42:17 | |
The Move, they were psychedelic | 0:42:18 | 0:42:20 | |
but they were a beer drinker's psychedelia. | 0:42:20 | 0:42:22 | |
# Can't seem to puzzle out the signs... # | 0:42:22 | 0:42:28 | |
Roy Wood was picking up stuff that was coming up from the underground. | 0:42:28 | 0:42:32 | |
Cos he's so brilliant musically, | 0:42:32 | 0:42:34 | |
he was just turning it into whatever he wanted to | 0:42:34 | 0:42:38 | |
without necessarily having to take acid to get there. | 0:42:38 | 0:42:42 | |
While psych was invading the singles charts, post-Sgt Pepper, | 0:42:45 | 0:42:49 | |
the artistic scope of the LP was exploding. | 0:42:49 | 0:42:52 | |
The four of us decided that we were going to drop acid, | 0:42:59 | 0:43:05 | |
and it opened a door in my mind. | 0:43:05 | 0:43:09 | |
I could see the world as it really was for the first time. | 0:43:09 | 0:43:14 | |
We were searching for some kind of enlightenment. | 0:43:14 | 0:43:17 | |
Having seen the light, | 0:43:20 | 0:43:22 | |
The Moody Blues set about writing an album of cosmic proportions. | 0:43:22 | 0:43:26 | |
Days Of Future Passed we'd written around the story of Everyman | 0:43:27 | 0:43:33 | |
and a day in his life, but he had a magical mystic side. | 0:43:33 | 0:43:39 | |
# Who's there? | 0:43:39 | 0:43:41 | |
# Afternoon | 0:43:41 | 0:43:45 | |
# I'm just beginning to see | 0:43:47 | 0:43:50 | |
# I'm on my way... # | 0:43:51 | 0:43:54 | |
The scope of Days Of Future Passed was unprecedented, and cemented | 0:43:54 | 0:43:58 | |
the concept of the concept album in the popular imagination. | 0:43:58 | 0:44:02 | |
One song and a strange new instrument would combine to create | 0:44:04 | 0:44:08 | |
the album's break-out hit. | 0:44:08 | 0:44:09 | |
I wanted to do a song about the night. | 0:44:11 | 0:44:14 | |
I was at the end of one big love affair, at the beginning of another. | 0:44:15 | 0:44:19 | |
So I sat on the side of the bed and I wrote the two verses | 0:44:19 | 0:44:22 | |
on this big old 12-string. | 0:44:22 | 0:44:24 | |
I played it to the other guys and they weren't that taken by it. | 0:44:26 | 0:44:31 | |
# Nights in white satin... # | 0:44:31 | 0:44:34 | |
# Never reaching the end... # | 0:44:36 | 0:44:41 | |
Mike, our keyboard player, had found an instrument called the mellotron. | 0:44:41 | 0:44:46 | |
Mike said, "Play it again." I went, "Nights in white satin." He went... | 0:44:46 | 0:44:49 | |
HE IMITATES MELLOTRON MELODY | 0:44:49 | 0:44:52 | |
# Beauty I'd always missed | 0:44:52 | 0:44:56 | |
# With these eyes before... # | 0:44:56 | 0:44:59 | |
And when he did that and he put the big chord on it... | 0:44:59 | 0:45:03 | |
# Cos I love you... # | 0:45:03 | 0:45:05 | |
HE IMITATES MELLOTRON | 0:45:05 | 0:45:07 | |
..everybody else was interested. | 0:45:07 | 0:45:10 | |
# Yes, I love you | 0:45:10 | 0:45:14 | |
# Oh, how I love you... # | 0:45:14 | 0:45:22 | |
There's another element in that song that I haven't talked about, | 0:45:25 | 0:45:31 | |
because the other element is death. | 0:45:31 | 0:45:34 | |
Love, when it's over, is a form of death. It's close to grief. | 0:45:34 | 0:45:40 | |
That mellotron, the mysticism in the song, put that all together | 0:45:40 | 0:45:44 | |
and it starts to create a beautiful magic. | 0:45:44 | 0:45:48 | |
# Yes, I love you | 0:45:50 | 0:45:52 | |
# Oh, how I love you... # | 0:45:52 | 0:45:59 | |
In the wake of Days Of Future Passed, the concept album became de rigueur. | 0:45:59 | 0:46:04 | |
The LP was surpassing the single as pop's ultimate expression. | 0:46:04 | 0:46:07 | |
Meanwhile, away from the glare of the pop industry, | 0:46:18 | 0:46:21 | |
the traditionally conservative world of folk music was also mutating. | 0:46:21 | 0:46:26 | |
We thought the kind of music that we want to be listening to is | 0:46:26 | 0:46:30 | |
not really around, so we'd better make it. | 0:46:30 | 0:46:33 | |
That's how the String Band started, really. | 0:46:33 | 0:46:35 | |
We thought, "Let's make the kind of music that we'd like to listen to." | 0:46:35 | 0:46:39 | |
# My cave was bright with sulky gems | 0:46:39 | 0:46:42 | |
# That paved the stars like diadems | 0:46:42 | 0:46:46 | |
# Silver lost and buried gold | 0:46:46 | 0:46:50 | |
# Such was my home in days of old... # | 0:46:50 | 0:46:55 | |
Robin went to Morocco and he came back with lots of instruments, | 0:46:55 | 0:46:59 | |
Moroccan instruments and African instruments | 0:46:59 | 0:47:02 | |
that he'd got over there - | 0:47:02 | 0:47:03 | |
flutes and gimbris and ouds and all that kind of stuff. | 0:47:03 | 0:47:06 | |
The Incredible String Band, they were travelling to Morocco | 0:47:19 | 0:47:22 | |
and travelling to Turkey and travelling to India and coming back. | 0:47:22 | 0:47:26 | |
You know, there was this real thirst for cultures that were really | 0:47:26 | 0:47:30 | |
different from England and Britain. | 0:47:30 | 0:47:33 | |
I just thought it was brilliantly original. | 0:47:33 | 0:47:36 | |
The band's exotic sound was honed on a heady combination of LSD | 0:47:38 | 0:47:42 | |
and the isolation of the Scottish countryside. | 0:47:42 | 0:47:45 | |
Maybe ten miles out of Glasgow was Temple Cottage. | 0:47:45 | 0:47:49 | |
It was just a retreat. | 0:47:49 | 0:47:51 | |
We were away from the obligations of the town and, you know, | 0:47:51 | 0:47:53 | |
we didn't have to bother about any of that stuff. | 0:47:53 | 0:47:56 | |
We would just completely be immersed in developing this music. | 0:47:56 | 0:48:01 | |
In 1968, the band released The Hangman's Beautiful Daughter, | 0:48:01 | 0:48:05 | |
which included a 13-minute song about life, love, amoebas and acid. | 0:48:05 | 0:48:11 | |
# Lay down, my dear sister | 0:48:11 | 0:48:14 | |
# Won't you lay and take a rest? | 0:48:14 | 0:48:18 | |
# Won't you lay your head upon your saviour's breast? | 0:48:18 | 0:48:26 | |
# And I love you | 0:48:26 | 0:48:29 | |
# But Jesus loves you the best | 0:48:29 | 0:48:32 | |
# And I bid you good night | 0:48:32 | 0:48:35 | |
# Good night | 0:48:35 | 0:48:36 | |
# Good night... # | 0:48:36 | 0:48:38 | |
With acid, you went on a trip. | 0:48:38 | 0:48:40 | |
You went to experience a slightly different reality and bring it back | 0:48:40 | 0:48:45 | |
to the world and the world would be sparkly and new with a bit of luck. | 0:48:45 | 0:48:49 | |
Cellular Song is just a trip. | 0:48:49 | 0:48:52 | |
It's my attempt to write a kind of timeless hymn | 0:48:52 | 0:48:56 | |
that would relate to everyone. | 0:48:56 | 0:48:59 | |
# May the long time sun shine upon you | 0:48:59 | 0:49:02 | |
# All love surround you | 0:49:02 | 0:49:04 | |
# And the pure light within you | 0:49:04 | 0:49:07 | |
# Guide you all the way home | 0:49:07 | 0:49:09 | |
# Oh, may the long time sun shine upon you | 0:49:09 | 0:49:12 | |
# All love surround you | 0:49:12 | 0:49:15 | |
# And the pure light within you | 0:49:15 | 0:49:17 | |
# Guide you all the way home... # | 0:49:17 | 0:49:20 | |
The Hangman's Beautiful Daughter hit number five in the charts | 0:49:20 | 0:49:24 | |
and the band became the unlikeliest of stars. | 0:49:24 | 0:49:27 | |
When The Incredible String Band released | 0:49:27 | 0:49:29 | |
Hangman's Beautiful Daughter, and by that time I had become | 0:49:29 | 0:49:32 | |
their manager, I said, "You're not playing folk clubs any more. | 0:49:32 | 0:49:37 | |
"You're going to open for the Floyd." | 0:49:37 | 0:49:39 | |
# May the long time sun shine upon you | 0:49:39 | 0:49:42 | |
# All love surround you | 0:49:42 | 0:49:44 | |
# And the pure light within you | 0:49:44 | 0:49:46 | |
# Guide you all the way home... # | 0:49:46 | 0:49:48 | |
Joe arranged for us to do big concert halls. | 0:49:48 | 0:49:51 | |
The promoters said, "Oh, there's no way we can do this." | 0:49:51 | 0:49:54 | |
And they all sold out. | 0:49:54 | 0:49:56 | |
# Oh, may the long time sun shine upon you | 0:49:56 | 0:49:59 | |
# All love surround you | 0:49:59 | 0:50:01 | |
# And the pure light within you | 0:50:01 | 0:50:04 | |
# Guide you all the way home. # | 0:50:04 | 0:50:14 | |
This new breed of folk music resonated with | 0:50:16 | 0:50:19 | |
a generation of urban Bohemians that distrusted modernity | 0:50:19 | 0:50:23 | |
and yearned to get back to the garden. | 0:50:23 | 0:50:27 | |
A lot of British music is fascinated and devoted to the countryside, | 0:50:27 | 0:50:32 | |
whether it's Cecil Sharp | 0:50:32 | 0:50:34 | |
and Vaughan Williams walking down a byway in Norfolk to collect | 0:50:34 | 0:50:38 | |
a song in 1908 or whether it's Mike Heron and Robin Williamson | 0:50:38 | 0:50:44 | |
tripping out on, you know, a Scottish Highland. | 0:50:44 | 0:50:49 | |
There's a sense of wonder of nature, awareness of nature. | 0:50:49 | 0:50:53 | |
The late '60s saw a wave of musicians turn their backs on the city | 0:50:55 | 0:50:59 | |
and head for the country. | 0:50:59 | 0:51:01 | |
# The rainbow river | 0:51:02 | 0:51:04 | |
# Is a loving stream | 0:51:04 | 0:51:07 | |
# Down in a valley by a mountain | 0:51:07 | 0:51:10 | |
# That is pine tree tall... # | 0:51:10 | 0:51:11 | |
I'd grown up in London and I knew London and I love London, | 0:51:13 | 0:51:18 | |
but it wasn't where I could be. | 0:51:18 | 0:51:21 | |
I couldn't understand it, I couldn't make any sense of anything, | 0:51:21 | 0:51:24 | |
of the way that the world appeared to be. | 0:51:24 | 0:51:28 | |
# Sit by the lantern | 0:51:28 | 0:51:30 | |
# Watch as the years turn | 0:51:30 | 0:51:33 | |
# Slowly bringing truth | 0:51:33 | 0:51:36 | |
# For every child to learn... # | 0:51:36 | 0:51:39 | |
Donovan told us about these islands | 0:51:39 | 0:51:41 | |
he'd bought off the west coast of Skye. | 0:51:41 | 0:51:43 | |
It just sounded perfect. | 0:51:43 | 0:51:46 | |
I left London with a horse and a wagon and a boyfriend and a dog. | 0:51:47 | 0:51:52 | |
We set off on this journey. | 0:51:52 | 0:51:54 | |
We don't exactly have an aim. | 0:51:55 | 0:51:58 | |
We want to set up a croft, a community. | 0:51:58 | 0:52:01 | |
But we want to keep travelling as well. | 0:52:01 | 0:52:03 | |
# The stone-built farmhouse is a rough-stone cottage | 0:52:03 | 0:52:08 | |
# Hiding close against the hillside of a winding track... # | 0:52:08 | 0:52:14 | |
I just wanted to learn how to live | 0:52:14 | 0:52:16 | |
without the internal combustion engine. | 0:52:16 | 0:52:21 | |
Without electricity, without running water, | 0:52:22 | 0:52:25 | |
without all the trappings of modernity. | 0:52:25 | 0:52:27 | |
It was possible to get out to the country | 0:52:29 | 0:52:32 | |
and have nothing and just live. | 0:52:32 | 0:52:34 | |
# Just another diamond day | 0:52:36 | 0:52:39 | |
# Just a blade of grass | 0:52:39 | 0:52:42 | |
# Just another bale of hay | 0:52:42 | 0:52:45 | |
# And the horses pass... # | 0:52:45 | 0:52:49 | |
There were neat little haystacks and neat little houses | 0:52:49 | 0:52:53 | |
and beautifully ploughed fields. | 0:52:53 | 0:52:55 | |
I just felt that everything could be so simple | 0:52:56 | 0:52:59 | |
if I could just get back to that kind of way of being. | 0:52:59 | 0:53:02 | |
# Just another field to plough | 0:53:02 | 0:53:04 | |
# Just a grain of wheat | 0:53:04 | 0:53:08 | |
# Just a sack of seed to sow | 0:53:08 | 0:53:10 | |
# And the children eat... # | 0:53:10 | 0:53:15 | |
For me, the road took on a personality, | 0:53:15 | 0:53:17 | |
the mountains took on a personality, the grass, everything. | 0:53:17 | 0:53:21 | |
I was creating my own world. I made a bubble for myself. | 0:53:21 | 0:53:25 | |
# Just another life to live | 0:53:27 | 0:53:30 | |
# Just a word to say... # | 0:53:30 | 0:53:31 | |
But while Bohemia was getting its head together in the country, | 0:53:33 | 0:53:36 | |
as the '60s drew to a close, the innocence and idealism that | 0:53:36 | 0:53:40 | |
had blossomed in the psychedelic revolution was wilting. | 0:53:40 | 0:53:44 | |
A lot of the amateur idealism of the '60s was being | 0:53:44 | 0:53:48 | |
absorbed by commercial success. | 0:53:48 | 0:53:52 | |
You know, suddenly we were grown up and having to do business. | 0:53:52 | 0:53:55 | |
You know, had to get to gigs on time. | 0:53:55 | 0:53:57 | |
That was one of the problems with Syd. | 0:53:57 | 0:53:59 | |
Being in a band and having to deal with all these things | 0:54:02 | 0:54:04 | |
became too much for him. | 0:54:04 | 0:54:06 | |
Reality kicked in and you couldn't just be. | 0:54:06 | 0:54:09 | |
Syd Barrett's increasing LSD use and erratic behaviour | 0:54:10 | 0:54:14 | |
meant that he had to leave Pink Floyd in April 1968. | 0:54:14 | 0:54:18 | |
A lot of the ideas had been usurped, | 0:54:19 | 0:54:23 | |
had gone in the wrong direction, had been atrophied by drugs. | 0:54:23 | 0:54:27 | |
The counterculture went very, very sour. | 0:54:27 | 0:54:30 | |
After all the warmth of '67, | 0:54:32 | 0:54:34 | |
musicians must have felt like I did - | 0:54:34 | 0:54:37 | |
like there was a new coldness. | 0:54:37 | 0:54:38 | |
I think that had an effect on the music. | 0:54:38 | 0:54:40 | |
# Oh, fire | 0:54:40 | 0:54:44 | |
# I'll take you to burn | 0:54:44 | 0:54:49 | |
# Oh, fire | 0:54:49 | 0:54:52 | |
# I'll take you to learn... # | 0:54:54 | 0:54:56 | |
Musically, the child-like optimism of psychedelia | 0:54:56 | 0:54:59 | |
was giving way to a darker trip. | 0:54:59 | 0:55:02 | |
I am the god of hellfire and I bring you... | 0:55:02 | 0:55:06 | |
# Fire | 0:55:06 | 0:55:07 | |
# I'll take you to burn | 0:55:08 | 0:55:10 | |
# Fire | 0:55:12 | 0:55:15 | |
# I'll take you to learn... # | 0:55:15 | 0:55:18 | |
Fire itself was part of a reflection of a change in mood, | 0:55:18 | 0:55:22 | |
because that innocence had met with money, political resistance, | 0:55:22 | 0:55:27 | |
police resistance. | 0:55:27 | 0:55:29 | |
There was a sense of, "Well, either we just turn tail, join them, | 0:55:29 | 0:55:34 | |
"or we resist them." | 0:55:34 | 0:55:36 | |
Before I knew it, this shy, long-nosed boy | 0:55:36 | 0:55:40 | |
from Whitby in Yorkshire became the god of hellfire. | 0:55:40 | 0:55:44 | |
# Fire | 0:55:44 | 0:55:47 | |
# To destroy all you've done | 0:55:47 | 0:55:49 | |
# Fire | 0:55:52 | 0:55:54 | |
# To end all you've become... # | 0:55:54 | 0:55:57 | |
Things were toughening up. | 0:55:58 | 0:56:00 | |
Enoch Powell giving the "rivers of blood" speech, you know. | 0:56:00 | 0:56:03 | |
This was all stuff that was going on. | 0:56:03 | 0:56:05 | |
You know, it's all very well, the idea of love and peace, | 0:56:05 | 0:56:09 | |
but realisation isn't going to come from just sitting back | 0:56:09 | 0:56:12 | |
and smoking and listening to Sgt Pepper. | 0:56:12 | 0:56:15 | |
No. It's going to come because you want those changes | 0:56:15 | 0:56:18 | |
but you have to work for them. | 0:56:18 | 0:56:20 | |
The National Front, the growing troubles in Ulster | 0:56:31 | 0:56:34 | |
and the Grosvenor Square protests | 0:56:34 | 0:56:36 | |
were demanding a different cultural response. | 0:56:36 | 0:56:39 | |
There's no doubt that there was a martial atmosphere. | 0:56:39 | 0:56:43 | |
The world was changing. | 0:56:43 | 0:56:44 | |
Some of our music was a bit dark at the end of the '60s, | 0:56:44 | 0:56:47 | |
because we knew that a lot of the stuff was ridiculous, | 0:56:47 | 0:56:50 | |
and claims people were making about changing the world were farcical. | 0:56:50 | 0:56:55 | |
We were a bit cynical, I think. | 0:56:55 | 0:56:57 | |
By 1970, the golden age of British psychedelia was over. | 0:57:20 | 0:57:25 | |
The commercialism of peace and love | 0:57:25 | 0:57:27 | |
was such that everyone had moved on to something else by then. | 0:57:27 | 0:57:30 | |
Reality was right in your face. Just like, "Wake up! | 0:57:30 | 0:57:33 | |
"It's time to wake up." | 0:57:33 | 0:57:34 | |
In just five kaleidoscopic years, British music | 0:57:37 | 0:57:40 | |
and culture had been totally shaken up. | 0:57:40 | 0:57:43 | |
The freedom that psychedelic music gave us, it was totally free. | 0:57:44 | 0:57:47 | |
You did what you bloody well liked. | 0:57:47 | 0:57:49 | |
It was an enlightenment. Yes, this was a time... A new enlightenment. | 0:57:51 | 0:57:56 | |
The years between '65 and '70 were among the most open, | 0:57:57 | 0:58:01 | |
the most tolerant in British music. | 0:58:01 | 0:58:05 | |
They were times of opportunity. | 0:58:05 | 0:58:07 | |
One thing that I learnt from going from the '60s into the '70s - | 0:58:09 | 0:58:12 | |
that there are no barriers. | 0:58:12 | 0:58:14 | |
It was a period of just tremendous concentration of ideas. | 0:58:16 | 0:58:20 | |
But it had been taken to its limit | 0:58:20 | 0:58:23 | |
and had its influence on future music. | 0:58:23 | 0:58:25 | |
Which way ought I to go from here? | 0:58:26 | 0:58:28 | |
(That depends a great deal on where you want to go to.) | 0:58:29 | 0:58:32 | |
MUSIC: The Great Gig In The Sky by Pink Floyd | 0:58:34 | 0:58:37 | |
(Amoebas are very small.) | 0:59:19 | 0:59:21 |