![]() His prediction never came to be, but for an invite-only gig at Queen Elizabeth Hall in May 1967, the band installed a joystick dubbed “ The Azimuth Co-ordinator” on top of Richard Wright’s keyboard to send the band’s potent, droning sound and sci-fi effects careening around the first-of-its-kind quadraphonic playback system in the venue. “We’ll have a huge screen 120 feet wide and 40 feet high inside and project films and slides.” That August, Waters told Melody Maker that he wanted Pink Floyd to travel from city to city with a circus-style big top. ![]() From late 1966 through the fabled Summer of Love, they were the house band at the UFO, the Swinging London rock club/art space/drug den, which gave them free rein to blend their droning jams with trippy visuals, sound effects, fog machines, and extreme volume. Over the prior half-decade, Pink Floyd had established themselves as, if not the best psychedelic rock band, then certainly the most technologically extravagant. ![]()
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