Pink Floyd- Interstellar Overdrive (First Listen)

[@MegaFreddie46]

"Interstellar Overdrive" is my favourite piece of work by Pink Floyd. On first listen, I remember, I was quite confused, amused and terrified at the same time. It was an experience, and even though I've been listening to it multiple times, since then (I was 16 when I first esperienced it, and now I'm 25), the repetition has never worn me out, I still feel it, experience it, and I think it to be one of the most accomplished rock tracks ever. Each time, I discover a new little sound shade, for example some bass and drums moments, and I'm amazed a little more till the next time, when I get amazed once more. It's weird, mental, convoluted, bizarre, but hey, that's what music needs to be, or better, art in general. "Interstellar Overdrive" is not about mere chaos, indeed it is an organized chaos, as it happens in free jazz. So, why to love "Interstellar Overdrive"? For many a reason, but, in synthesis, for its being so adventurous, yet designed, for its being melodic (the main riff), rhythmic (all through) and also cacophonic, for its being creative, innovative, influential, but also a stand-alone. It may serve well as a soundtrack, other than live in clubs or in studio. If a time machine existed, I would start a time warp dating back to 1967, to hear and see Pink Floyd play (pun intended). So, in conclusion, I recommend you listen to the "song" (I'd call it a space rock suite) other times, to further experience.

[@johnhouse9983]

Just love this track , i always use it when setting up stereo systems speakers etc.

[@rhwinner]

This is not the musical pillow of Roger Waters - this is endlessly creative, cacophonous at times, never repetitive or boring. My favorite track on the album for me. I discover something new every time I listen to this album. Hope you start on the next album, Saucerful....

[@ArsenalEcho]

Your "I have no words" expression at the end cracked me up way too much. I never was a fan of this piece either, but as I grew older I developed some appreciation for it. There is some order in the chaos and some method to the madness. This video is a first for me. It's my first time ever hearing this without "The Gnome" after it! I never separate the two because of the extreme contrast between them. And The Gnome is so darn sweet...

[@joemaurone7923]

Uh-oh, looks like JP was having a bad trip...! It's not so surprising that you didn't like it; you're not alone, it's not an easy first listen for most people. Matter of fact, there were TWO Pink Floyd's at the time, so to speak...the poppier "See Emily Play", and the more freaky side of Syd Barrett. Many fans wanted to hear the pop side, and were confused when they saw the trippy side live. They were divisive, that way... But even if you don't like it, you can probably at least appreciate how it planted the soundscapes of something like "Echoes".

[@hatsbo1]

Nailed it Joe.

[@DrakusRecords]

I see some people are mentioning that this song was played in the Dr. Strange movie. There's a reason for that. At the time Pink Floyd was performing this song in clubs, the Dr. Strange comic was very popular among psychedelic and acid rock fans. Pink Floyd were also fans of the comic. There would sometimes be pictures of him on their posters in the early days of Pink Floyd. The song "Cymbaline" actually directly references Dr. Strange in the lyrics. He sort of became the unofficial mascot of the space rock genre. Interstellar Overdrive is a very early example of "space rock". That is long free form psychedelic jams that were played during raves in clubs. Pink Floyd became known for this sound, and would perform this song often at the UFO club. This is probably the first example of this type of music on an album, which is why it was so ground breaking. While I appreciate the historical value of this song, I agree that it's not a song I particularly like either. Pink Floyd may have been the originators of this sound, but bands like Hawkwind would later do it much better. This song seems rather crude by comparison. Still, the raw and dirty nature of this song is part of its appeal, I suppose. And I do like the main riff and panning effects. Still, my favorite part of this song actually the part you didn't listen to. At the very end you cut it off to early. It segways directly into another Syd Barrett Fairy Tale song called "The Gnome". I love this transition. It goes from intensely uncomfortable and unsettling to whimsical in an instant. In the context of the album, this song works and I never separate it from the gnome when I play it. BTW, if you want to watch Frank Zappa's performance with Pink Floyd, it's on youtube. Don't expect anything too much different than this. It's another free form "space rock" jam. But seeing it in a live context and how the audience "danced" to this type of music may give you a better understanding of why it was popular at the time.

[@CthulhuWaitsDreaming]

Pink Floyd (Waters) also mention Dr. Strange by name in their song Cymbaline.

[@JustJP]

Ty Drakus, actually just watched the video with Zappa a bit ago.

[@richardthresh3587]

With Pink Floyd its almost always: a) a journey, and; b) a prime example of the whole being greater then the sum of the parts. I'll explain (somewhat) ... for ME, the 'journey' with the band is from their first proto-psych whimsy pop, via experimental space rock; film scores; full-on prog; political discourse; rock opera; stadium tours; middle-age mellowness right up to the dying embers of greatness that was The Endless River. Taking their works as a whole you can read the narrative across all the phases - to an extent the same goes for within their five concept albums (Dark Side, Wish You Were Here, Animals, The Wall, The Final Cut). To take any one moment, song or album out of that totality is to do it an injustice: without Take Up The Stethoscope, Interstellar Overdrive, Bike or Grantchester Meadows there wouldn't have been a Time, Sheep or Keep Talking. So for all the oddness and childish manner of the early songs I appreciate and value them for their part in the grand tale. Thus Interstellar Overdrive begat Echoes, without which we wouldn't have had Dark Side of the Moon; and without the departure of Syd and the success of Dark Side we couldn't have had the angst of Animals or the introspective despair of The Wall. The Wall begat The Final Cut and spelt the end of the Waters' led version of the band. I'm rambling a bit now - hope it all make some kind of sense.

[@marymargaretmoore9034]

I agree; great comment.

[@JustJP]

Definitely makes sense to me Rich, ty!

[@MinorCirrus]

Here's why I like it: I listen to the album in Mono.

[@martynlester9869]

Yep. You are so right. Producer Norman Smith knew mono engineering inside out from years of doing it for the Beatles, among others. This was probably one of the last Abbey Road LPs recorded with a mono master in mind, and stereo as an afterthought. The stereo mix was little more than a bit of channel panning, and in doing that they lost some of the integrity, if that's the right word, of the master. The original mono vinyl is the best way to experience this album - or failing that the CD box edition's mono remaster.

[@Thievius333]

Dr. Strange seemed to like it. As I recall it was on his playlist. There is nothing to "learn" from those of us who like it. Either you like it or you don't. That said, it took me a few listens to Piper before I warmed up to it. It challenges you because its unlike anything else you've heard before. But there's nothing I can tell you to make you like it.

[@joemaurone7923]

"Summoning his cosmic powers/ And glowing slightly from his toes/ His psychic emanations flowed/"

[@jumpingman8160]

it plays on the car crash scene

[@sarahzentexas]

Vastly prefer “Astronomy Domine” over this. It’s nice to hear Syd playing so ferociously, though.

[@samjohnson8797]

The live version of astronomy domine. Was intense especially that interview afterwards with hans keller.

[@jacquesdemolay2699]

in 1967 this was in the heart of psychedelia. It was novel and rebel -- in opposition to what was there before. Science Fiction in music was new at the time. You are backtracking from present days to 1980s to 1970s and today to 1967. I was 17 when I listened to this song for the first time. watching the early star trek and all that ...

[@lynette.]

It is the first Pink Floyd album I ever heard been a listener ever since. Still takes me to a different place every listen. You forget how new stereo was back then . Stop looking for what it should be close your eyes and let it happen. The music is the drug.

[@markspooner1224]

Floyd opened shows in the clubs (e.g. the UFO) in London with this. I imagine with psychedelic moving oil pictures on the walls. I wish I was there.

[@joemaurone7923]

"Tonight, let's all make love in London..."

[@markspooner1224]

@@joemaurone7923 Yeah, I was thinking of that too.

[@fmellish71]

Except it went on much longer lol

[@joemaurone7923]

@@fmellish71 "The 14-Hour Technicolor Dream!" :)

[@neilhinks5734]

Pure psychedelia Justin 😊 Ive always loved this song.. Its got a cracking riff. Abd that trippy.. Middle section.. The guitar work and keyboard's are just perfect imo. 😊 You can definitely get lost in this masterpiece by Floyd. Syd, s influence should not go unnoticed here.. Genius to my ears. The band realy capture the essence of space.. And entering a dream like state. ❤️ Piper.. Definitely had some high points imho. ❤️ I still get a buzz listening to this opus by the Floyd butty. Awesome choice of album im my book. Great review once again Justin.. Thanks for this.. Its an hard listen Justin. 👍 Your honesty is very refreshing too. 😊 Its not for everyone butty. Have a lovely day butty. 😊

[@perge_music]

Was never much of a fan of this album, but this track is killer, sure the playing is all over the shop and it sounds like a garage band but it has a great groove to it. Their live stuff at the time where they'd just come on and start playing, a lot! Was just one big noisy jam. Totally love all that, but compared to what the band became all of this is very much of its time, I'm not sure someone with fresh ears would discover this and get into it without having heard their later stuff first and become curious.

[@bennettwolf3821]

Brilliant ! If it leaves you with that face. It is indeed brilliant !!

[@sr1285]

I was was 11-12 years old when my older brother brought this album home and instant love with Pink Floyd, my father had your expression while it was playing :-) it was new of its time, I suppose you had to be there, it was so new, I love Piper

[@Engineer_Who]

Many comments are saying that there isn't anything to explain for "Interstellar Overdrive." And they're right. It's just something you need to listen to a few more times and form a fuller opinion. I don't love "Interstellar Overdrive," but I do like it. More than that, though, I appreciate it for what it is: an experiment in long-form, improvisational music-making. And a kickass main riff. In my experience, "Overdrive" improves on repeat listens and being heard in the context of the rest of _The Piper at the Gates of Dawn._

[@shyshift]

Birth of SPACE ROCK! Love it.

[@1969JohnnyM]

The writing credit on this song is given to all the members of the original Syd Barrett led Pink Floyd but in reality this track was pretty much created by Barrett who wrote 8 of the tracks on The Pipers at the Gates of Dawn and contributed to 2 of the instrumental songs. Its always sad for me knowing that Barrett's quick and severe mental decline began towards the very end of the recording of this album.

[@BaldJean]

We like it because it makes you travel into faraway space. And we like this kind of free-form music; a lot of early Krautrock was like that too. And we love Krautrock! In our opinion the best track on the album. The song was a bit before our time (we were born Dec 1968 and Jan 1969). In case of Jean her parents listened to this kind of stuff a lot (as well as to other late 60s and early 70s music) while they were stoned. In case of Friede her brother, who is ten years older than her, listened to stuff like this with his friends while he was babysitting her. And both Jean's parents and Friede's brother and his friends smoked a lot of hashish while doing so, and since we were in the same room with them we got high too. And then this kind of music is a fascinating experience. And you don't need to take drugs again to relive this experience when listening to music like this.

[@65alef]

The first time you heart it you hate it. Listen to it again...you will truly love it !

[@frankj10000]

It's funny to read those comments of fans who dislike the early stuff, because to me their fist two or three albums where their best (or, better worded, the ones who correspond to my personal musical tastes the most), while their later stuff is mostly boring to me. Regarding your question: I generally like experimental music (including industrial music, krautrock and free jazz). I don't know if, especially at first listen, I would have really liked this particular song so much, but when I do listen to it, I always listen to the whole album anyway, not just one song, which makes it a different experience. After all, this wasn't released as a single but as one song on an album that's supposed to be listened to as a whole.

[@Jack-D-Ripper]

Takes me back to being a 17 year old that was loving the weird vibe of the early 1970s, when I was into early Pink Floyd and glimpsing into life.

[@vernonallen3370]

Acid and a liquid light show in the UFO club in 1967 would enhance your enjoyment of it.

[@kukookachue]

I had the same reaction as you at first. This music is all about feeling and not contemporary structure, which exists within the context of the song itself. Its best described as guitar painting, which was one of Syd's many talents. This guitar playing is just amazing though and highly individualistic, which there is a time and place for. For instance I would not listen to "Eruption" by Van Halen for pleasure, but an experience of "wow, that is cool, I wonder how he did that". Syd back in the day was a guitar wiz. He was super brave to put out this style of music, which wasn't liked back then either by the masses.. In one performance, a crowd had poured beer onto them as they were playing, and they still stood for their psychedelic art and toured around the UK/US. This is a relic of that short lived revolutionary period, and that's why I love it. I would strongly urge you to check out Syd's solo album "The Madcap Laughs" where you get to see Syd shine with his songwriting which I believe is his stronger suit. It is deeply intimate as you see his pop star egoic deterioration while he battled with creating art vs commercial art. I prefer his solo work than to Piper at the Gates of Dawn.

[@kayosiiii]

I think this piece shows beginnings of what makes Pink Floyd a great band. It's a stuctured improvisation, where the beginning and end is structured and the middle is improvised, I think in a lot of ways this piece gets worked on to become "A Saucerful of secrets" where they get into making the improvised parts much more dissonant, to 'Atom Heart Mother', to 'Echoes' . It's them learning to play together.

[@O_Towne_Bear]

One of my fave PF songs.

[@joemaurone7923]

JUSTJP: I am one of those weirdos who likes this, WITHOUT pharmaceuticals! I was maybe 13 at the time, in the 80's, and into sci-fi, etc, and space rock was a natural fit for me, I already had that mindset. I didn't listen to it so much as a "song" as I did a soundtrack to an imaginary sci-fi movie or story. Also, I liked to draw aliens and robots, that kind of stuff (a regular "space cadet", at that time) , so this let my imagination run wild to imagine what was going on in the song in a cinematic way, without worrying about song structure, lyrics, etc. It was like an sci-fi action-adventure comic book or movie. This would be a perfect soundtrack for flying through a black hole, with the weird distortions of space and time...

[@scifimonkey3]

Another weirdo checking in, don’t need the drugs, turn out the lights and it’s a trip of its own.....

[@billpeters9999]

I wish I could go back to those days, everything was new, modern and magical and totally optimistic

[@maraboo72]

In general I agree to your review and I was rather sure you would not like it too much. I usually liked the more rhythmical parts when I listened to it at home. BUT: sometimes when I imagine a show in a planetarium, geysers in Jellystone or something like abstract paintings it perfectly works as acoustic catalyst. Something like a creepy music for a movie. If I like this particular music depends very much on my mood and my ability to concentrate. Or in another context: I can use some Oldfield stuff as background when reading a book. Interstellar Overdrive would drive me angry.

[@maraboo72]

@@Katehowe3010 It depends. Erik Satie said that music should not disturb conversation between people.

[@chrisc8584]

Pipers at the gates of dawn🔥 what a trip

[@dhfenske]

Justin, how is this different than Tubular Bells?...the improvisational mid-section. I also like the song because it seems to be the one on this album that is most like Pink Floyd's work from the mid-seventies, which are 5 of my favorite albums.

[@georgesonm1774]

This song was an inspiration to many bands that came after - from the 60s/70s krautrock, through Wire's Chairs Missing, to, strange as it may be, Pearl Jam (they even played it live). I also used to dismiss it as cacophony, but it's interesting to compare it with Take Up Your Sthetoscope - far from being a predictable psych rock jam, Interstellar Overdrive is so much richer, spacier and more radical in its sonic exploration - you can listen to this as a freeform proto- ambient piece whose structure, interestingly, foreshadows a typical structure of a Floyd epic (like Echoes or Atom Heart Mother, with the bit where the guitar comes back with the main riff but the organ still stays on those dissonant cluster chords). Plus it has a killer riff

[@MonsieurRette]

I love this one because : - It has one of my favourite KILLER riffs of all time - You CANNOT play it on stage the way it is played on the record, it is always about improvisation and this is what makes "Interstellar Overdrive" unique, the only structure existant is : Main riff - Impro - Main riff for ending and I find this so cool. Actually, you can say that you disliked the album version of it but it has so much different versions, take the London 1966 live version, or the BBC one for example, these versions have nothing to do with this one and may be you will like them more. Every time this tune is played on stage, it always has different things to propose (except during Nick Mason’s last tour where they actually didn’t really improvised but kind of created a usual structure to it, which is a bit sad to me). As an artist, the fact that I can play this instrumental and do WHATEVER I want on it as long as it stay in the mood of it is really exciting, it’s a kind of jazzy thing to always improvise this way but this is pure psychedelic rock 'n' roll and there wasn’t a lot of rock bands at that time who were in the same spirit, even though 67 was the year of experiment. - Syd Barrett’s imagination is exploding here, what he is doing is not about technicity, but about feelings, creativity, it can sound absurd to some people but this is real artistic expression, the instruments are speaking, they are telling a story, there is no need for words in this, the music speaks for itself. - It is crazy, unusual, different and you got to have guts to record this one and to make people listen to it because, while doing it, you perfectly know that even if many people will like it, there would be as much people who will not go through the trip because they don’t feel it like you are feeling it. I also love this audacity. However, I got to admit that it was a bit difficult for me to like the whole middle part at the beginning, it became more and more enjoyable through time.

[@JustJP]

I appreciate you sharing why you enjoy it so much, helps me gain a little insight. Ty!

[@MonsieurRette]

@@JustJP It was a pleasure, keep on making videos with great music :)

[@themoogle22]

It's about creativity and pushing the boundaries of music. It's not an easy one for those not heavily into Floyd. I'm now reeeeaaaally looking forward to your Atom Heart Mother reaction now that you've reacted to this. It's just as creative but more melodic. I'm taking it as red you will be doing an Atom Heart Mother.

[@theloniuszephyr4057]

The definitive version of "Interstellar Overdrive" is the 16 minute version found on the "Tonite Let's All Make Love in London" soundtrack, later rereleased as "London 1966/1967". It's somewhat obscure, but is far superior to the album version on "Piper..." IMO.

[@waynestumbo2408]

Ommagumma has a version of it too

[@briancarter3840]

Oh Boy! I'm a bit late to this, I just found your channel and scanned down to find you reacted to Interstellar Overdrive. God, it takes me back! 1967, and a few of us, guys in our 20's with no taste for "pop", but we'd get together on a Friday night at my place and do group improvisations with a disparate bunch of instruments. Not Jazz, not classical, just going where the wind blew us. Then my mate John showed up with this album, Piper at the Gates of Dawn, said "listen to this", and played Interstellar Overdrive. We were gobsmacked. Here was a band doing what we did, but doing it so infinitely better! Taking germs of ideas, running with them, throwing them away, bringing them back in different surroundings and mutating them. An improvised journey starting from everyday normality and travelling through strange and alien landscapes before arriving at a more familiar destination. Ace! That last, I would suggest, is the only way to interpret this track. Try and analyse it as a musical structure, look for all the usual signposts, and you end up lost. It wasn't pre-planned, it just happened. Enjoy it like a day lily flower, because tomorrow it will be gone and a new flower will take its place. This album also introduced us to the idea that mindless 3 minute pop could become so much more, and was the gateway to progressive rock. I owe them a HUGE debt! I was never lucky enough to catch this, but I'm told they could stretch these improvisations for a good half hour, and I have found on youtube a video of them improvising what is recognisably Interstellar Overdrive at a multi media happening arranged, IIRC, by Yoko Ono. Ultimately a musical dead end, but still worth listening to, and their experiments with looping tapes and music concrete led on to their later albums.

[@FLASHAHOLIC_TV]

Starts and ends ok, that's about it. Not quite the journey of Echoes.

[@bradywalton1357]

@Bookhouse Boy hah, asyd

[@1969JohnnyM]

@Bookhouse Boy Interstellar Overdrive is on the band's very 1st album whilst Echoes is on their 6th studio album when they'd been playing together longer, knew what they wanted to do musically and had the confidence to put it on vinyl but more importantly the record company by then knew there was fan base for this type of music.

[@Impactsuspect]

I like the thing, I agree with the other commenters that it needs repeated listening to. I used to listen to the whole album on tape in my walkman. I probably didn't like anything else than the main riff at first, but all of it grew on my. It's hard to explain why. Maybe it's the repeated listening to that makes one hear the structure of it, maybe its the context with the rest of the album, idk. Where I am with you is the weird channel hopping from left to right at the end. Stereo was a new thing back then and pink floyd wanted to experiment with it and baffle the audience, but I like the mono version of the song better.

[@78yestor93]

This started with Syd picking up on Peter Jenner humming a tune and turning it into an experimental track which ended up on Piper. I mean when you consider Syd was a total original composer a true trail blazer just like Bowie said, and was so inspired by his talent by the way, maybe people can just appreciate it for what it is that's not to say for you to like it rather look at it as the beginnings of what PF would become after all Waters said on numerous occasions 'the band could never have started without his talent and then could not have continued with him!

[@mieli_nation]

A little bit late here, but I'm a big fan of this instrumental. It is amazing to just lose yourself in the track, finding different grooves and modes. If you want to give it another chance, maybe try the full-length version, which is around 17 minutes, it's an earlier version, without overdubs, a little bit less chaotic, and doesn't feature the horrible production of the album stereo version. For me it is truly the definitive version.

[@acidtacos455]

i love how trippy it is, it doesn’t sound very planned out or perfect but that’s what makes it special. it feels natural and it just sounds very ethereal and magical. i love how it builds up towards the end and it does that cool back and forth swooshing, makes me feel like i’m time traveling through space or something

[@boxofstars5491]

This not a pop song or even a melody its an attempt to "record" an experience best served "live" surrounded by others having the experience with you, which also included lights. I suppose you also have to say this was at the time, a world away from any other musical experience. This was the first step on a long road of wonder for Pink Floyd fans.

[@yes_head]

Do I love it? Yeah, I do. Part of it is generational, in that it's one of those "You had to be there" songs. It's almost a museum piece, it's so archaic and "of its time". That said, there are still bands today influenced by the sense of completely unshackled experimentation the song (and the band) promotes. So appreciation isn't necessarily aesthetic, it's also the sense that as an artist you shouldn't be hemmed in by what other people think is "pretty" or "sounds nice".

[@fayellaf]

Imagine going for a really long walk and having a thought. You let your mind wonder and you end up exploring several topics in your head none of which are related to each other but somehow your brain has made those connections. The walk is coming to an end and you realise how far off track your thoughts have wondered and you drag them back to the original thought. That is what this piece of music is. Its interactive, you take from it and read into it what you need. Mike Oldfield's Sheba is very similar in that interactive nature.

[@JustJP]

I like that explanation, ty for that fayellaf

[@fmellish71]

Oh yeah, first time I heard this I was like "Hmmm, great riff but man, this sure does ramble with its weirdness." Now, I very much like the weirdness. Floyd were great at organizing atonal, chaotic sounds in some sort of musical way and that definitely isn't for everybody. I still don't really like that panning job at the end of the song, but it's indicative of where studio technology was at that point with stereo space. Also, Syd's experimentation with using a dobro slide or zippo lighter on his guitar strings was a technique that Gilmour would go on to use as well as Daevid Allen and Steve Hillage of Gong (Allen played with Soft Machine when they were sharing bills with Pink Floyd at the UFO Club in London during '66-'67), so while it sounds very unconventional and chaotic, he was the first guitarist in a rock and roll band to do that, so that's why journalists would cite it as a major guitar work. I think maybe carrying on with their earlier albums will help in getting you to feel more comfortable with that sort of sonic chaos. Or maybe not...who knows? Either way, much love and respect and glad to see you're digging into early Pink Floyd, since I grew up with Piper and Saucerful of Secrets (ps...I like Saucerful more and you might actually like the title track of that album more than this track as far as the sonic weirdness thing goes).

[@dondean9899]

its hard for someone to listen to this today you had to be there then listening to what was going on musically at the time for me the early Floyd work was them stretching searching if i remember right they where regulars at the underground club middle earth in London where they would play all night Roger Walters said that though Syd only did a few albums there would have been no Dark side of the moon without Syd and it was the early work and experimentation that led to the later work friends of mine had there albums and i would listen to the music through them it wasnt till they did Atom Heart Mother that i became a real fan though the band themselves have said its not one of there favourite albums i loved it and started buying the albums thereafter i have seen lots of docs and interviews with the band and you get the feeling there where 2 sides to the early band in that they did want commercial and social success but that they also wanted to be experimental and forge there own sound Syd wrote the early songs not sure who was the driving force musically though and befor anyone jumps down my throat most of the band themselves have stated in different interviews that they wanted commercial success even as late as Dark Side Of The Moon there is a great docu about the making of Dark Side whereby they complain of the lack of commitment in the states in promoting the album till they released Money as a single

[@auto2112]

Love your honesty, hardly any reaction channels give constructive criticism to the music they listen to for fear of losing viewers.

[@JustJP]

Ty so much auto!

[@flyingelephantwalrus]

This song *is* Pink Floyd for me. They performed this a lot live. It's pocket "Echoes"

[@Alix777.]

" Tonight lets all make love in London" terrific version of this piece

[@johnpbh]

Great, honest review. This is a real example of how they sounded live. The beginning riff was a starting point for what would become extended jams when they played live... It is VERY much of its time and I think this is an essential part of understanding how Pink Floyd developed. Again, at the time, it was ground breaking. I think I have mentioned before that it is important to start here and play through the albums to appreciate 2 things.... 1) how they developed and 2) How important David was to the band and it's musicality. Whilst Sid was very important in the beginning I think, and here there will be howls, that he would have stagnated the band. Whilst he could be both free form and whimsical, he just didn't have the technical ability and emotional depth that David has. In my humble opinion.

[@antoniomaraspin]

This is from the phase when Pink Floyd were the champions of British psychedelia (under the leadership of Syd Barrett): this is the embryo of their later 3D-space sound. Try the rest of the album. Or maybe some non-album singles, as "See Emily Play".

[@Thievius333]

He's been working his way through the record and yes, he has listened to See Emily Play. He likes that stuff fine, but can't wrap his head around the spacey stuff.

[@patryk4323]

I always listen to this when l back from school to home. 😎 Anserver: Some people just love experimetal music, i love too but i dont know why, you must just feel this and listen to this more times😁

[@Ricketik65]

"Have you got it yet?"

[@iaincoleman5947]

When this album came out, much of Pink Floyd's fan base were pissed off that it didn't all sound like Interstellar Overdrive. They made their name in the UFO Club in London, playing extended psychedelic improvisations. Imagine Interstellar Overdrive, but for two hours. This song captures a specific time, place and atmosphere. It's a historical moment that would otherwise be lost. I like this song, I find it more cohesive and enjoyable than you do. Maybe it's just not for you, and that's OK. But if you get into it, it's a way into a moment in psychedelic history, and for that reason it's invaluable.

[@rienvandijk2288]

In my opinion it's a Jackson Pollock in audio. It's not exactly about 'loving' this 'song' because it's not lovable and it is certainly not a song. It's a raw experience that makes you wonder. I think it's a kind of art, like Revolution 9 by the Beatles. I like it, but it's all about opening Pandora's box and let it flow. Ugly, harsh, good for selling Alka Seltzer, strange, weird, inventive, dopey, irritating and so on, but you will never get it. Or forget it.

[@piafounetMarcoPesenti]

The sheer creativity, avant-guarde, using noise as music, making galactic atmospheres with instruments, which should be melodic. Music as research. You see the insiprations and you also see where it would lead to. People actually danced to this...

[@kenl2091]

Well, this is interesting. I first came across this record around 1974 and thought Interstellar Overdrive was easily the pinnacle of PF's early stuff. Why? Probably its proto-metal guitarwork, certainly the phasing and stereo panning going on. The initial riff was excellent (I'm sure someone earlier has pointed out that it's very close to the theme tune of British sit-com 'Steptoe and Son' which predates it) and the free-form exploratory stuff kept my attention. I had always thought it a fan favourite too and am surprised that many here including JP don't really rate it. Ah well, each to their own - in my mind 'The Wall' is only PF's 9th best album so it'll be interesting to see where that discussion goes in about, what, a year's time? Looking forward to it!

[@Parmigiano502]

LMAO...mate, knew what was coming, the whole point of this reaction for me was to view the levels of bemusement on your face, again, comedy gold...in your last reaction to this album, you hit the nail on the head when you inferred to them trying to capture sonic art, although I think I added the art bit, cant recall but your comment was on those lines, but as others have said, you have to picture being at the UFO club and them improvising to improvised oil paint lightshows, so think here your wallpaper in the background, perfect accompaniment ha ha, and that sound is merely captured in the studio. Its not for me, never has been, after hundreds of listens, I very much prefer Syd's melodic sounds...still, this reaction has entered my Top 10 all time favourite reactions...you have several in the Top 10 btw ;)

[@JustJP]

Haha ty so much Mario! Yes, ill have to keep in mind the arty and visual aspects of it

[@Rowenband]

This reminds me of some rehearsals we had where you just let go and play and try to harmonize with the others players. Just getting loose and following the instinct. We had great moments maybe very interesting ones too. Nut this was only possible because musicians such as Pink Floyd made us seem possible to just do such things. They were innovative and open minded. Thanks to all these great people we can have fun today. Our singer always then said “Okay guys, now come back to something structured, this is just us making ourselves pleasure”. So I agree with you, it's a great experience, but not made for the listener. Although some listener can get into it. And strangely, like for Moonchild, the more you listen it, the more interesting it gets. Sometimes it becomes more interesting then other, well-structured compositions.

[@EdwardGregoryNYC]

I feel like this is Pink Floyd at their zenith with Syd. If he'd been able to hold it together and chose to stay in music, I think this would have defined their direction. Do I hear some Ventures influence?

[@EdwardGregoryNYC]

What I like on this song is that it does layer multiple lines going different directions and layering it over itself. It's a bit like stepping into Syd's mind. I agree that Nick's drumming is what holds it all together. It does go off far too long, but then it's all part of the trip they were on. I don't think it's the best - they were better at their shorter songs. But it's a fun ride. Not for everyone. Funny you mentioned King Crimson - the look on your face at the end of this song made me think "Confusion will be my Epitaph."

[@AriadneJC]

The album version is too chaotic, I feel. A much better recorded version is from the soundtrack to "Tonite Lets All Make Love In London", which can be found (unless it's blocked in your particular country) here: kzbin.info/www/bejne/pIKXcniXeMyHgNU It's the first 16m40s, and then goes on to a few other tracks that PF did for that hour-long film. The Tonite Let's All... version is much less chaotic, fairly melodic in comparison to the Piper version, and is even listenable while sober, wide awake, and living in 2021!

[@kukookachue]

This is excellent, thanks for sharing!!

[@joemaurone7923]

"Six Degrees of Pink Floyd" : the main theme/riff was based off a British tv sitcom called STEPTOE AND SON, which was the basis for...wait for it...SANFORD AND SON!

[@joemaurone7923]

@@Katehowe3010 That, too! Actually, glad you said that. It's probably more accurate to say that it was based on "Little Red Book" directly, because Peter Jenner was humming it and Syd was trying to approximate it, while Roger Waters told Syd that it reminded him of STEPTOE AND SON (and if you listen to that, it's very similar.)

[@dimitarvel1441]

It takes time with pink floyd. I really just listened to their progressive stuff until I started doing weed and all that. Then I really fell in love with this album and their early stuff.

[@peat1971]

This song is amazing because its a mindfuck😀

[@murdockreviews]

It's just the complete opposite to, say 'Incantations' by Mike Oldfield. That is all carefully composed and thought through structure. This is impromptu, on the spot free improvisation and about the joy of not knowing what exactly may happen (even as the musicians themselves). I like both approaches...

[@joemaurone7923]

6:34: The bass line riff, those 4 descending notes, always reminds me of the chorus and ending of "Escape" from RIDE THE LIGHTNING by Metallica, especially the minor key version at the ending.. "Life's for my own/ to live my own way"...

[@Doupyourflies]

It's a trip. It mimics the scary bits, the funny bits, the warm bits, the cold bits, the anxious parts and the tranquility. It's one of those that must be listened to more than once, when you want that trip vibe without having to take anything. I find it works better when stoned. The mono version was created by Pink Floyd, the stereo one by EMI. I heard the stereo one first and I'm fond of it but the mono one is the real deal, keys much more present, less rocky, more trippy and without that horrible stereo panning. It must be listened to in conjunction with The Gnome, the two are one.

[@mentaldk329]

U have to see the perspective of late 60svpsycho period . I like the main groove. Middle free flow not much but when it comes back together it is great.

[@papalaz4444244]

Rave music. Extended jams with psychedelic lightshows and recreational substances. Far out. man! :) Oh and they had their own bespoke quadraphonic PA system so the engineer could pan things all around the dance floor. It must have been quite an experience lol

[@BaldJean]

I (Friede) would like to add that it was not the free-form music alone that fascinated me. It was those weird sounds the instruments made, and I include bands like Genesis or Yes in this. For example, the guitar in the quiet section of the live version of "The Knife" by Genesis made such eerie sounds. And the same for the organ in the "I get up, I get down" section of "Close to the Edge" by Yes. And that's just two examples of many more of their sounds that were eerie for me when I was a kid. There definitely were a lot more albums from other artists that made similar impressions on me, especially with for example bands like Gong, Hawkwind, Van der Graaf Generator, Nektar or all the Krautrock bands. The albums "Alpha Centauri" by Tangerine Dream, "Tanz der Lemminge" by Amon Düül 2, "Warrior on the Edge of Time" by Hawkwind, "Epsilon in Malaysian Pale" by Edgar Froese or "Recycled" by Nektar, to name but a few , all made a huge impression on me because of their eerie sounds. The album "Cottonwoodhill" by Brainticket completely freaked me out; it took me on an extremely weird trip. I could name so many more albums that deeply impressed me. But it was always not the melodies or harmonies that fascinated me, it was the sounds.

[@jameswilliamlawless]

It’s too psychedelic for your taste it’s a head trip thats trying to induce another state of consciousness and as such is an propulsive journey to connect then explore the inner mind space and the cosmic space beyond.

[@TimvanderLeeuw]

I love this song -- it's a journey, a meditation. And there is enough going on in the song, that it doesn't get boring when listening to it. Not even after 35 years of me listening to this song. PS: You mentioned "substances"... Substances are not required to enjoy this song. I've never used any. I've known and loved this song long before I even knew what drugs were all about! 😂

[@dwarren1010]

I like the song. I like the live version too. It's one of those songs that you have to listen to a bunch of times to get used to

[@skorpeeo]

You should try watching it live in one of there videos from the era. Seeing them performing it live should make you appreciate it a lot more. Don't think they ever played it the same way twice!

[@galier2]

At first listen I also didn't like it. Now, I find it awesome, really. The best song on that album imho.

[@jamesdignanmusic2765]

Early Pink Floyd can be like that. An acquired taste that you either get or you don't - and this is definitely one of their less accessible tracks (although not as difficult as, say "Several Species of Small Furry Animals"). It was an attempt to capture their live free-for-all jamming sound. Something like "Set the Controls for The Heart of the Sun" is probably a better "in" to this era of Floyd, and I'm pretty sure you'd like that.

[@Sp33gan]

You either 'get' the early Floyd or you don't. I'll admit it took me a several listens for some of it. You've really got to be in the right mood. It's highly experimental and a grounding in acid jazz might help. It was certainly revolutionary for its time but 67 was the beginning of a revolution in music as Rock began to split into Pop and the harder stuff for the adults, which fit perfectly into the new medium of FM radio. FM wasn't allowed to play the same playlists that AM had been doing for years so they adapted by playing entire albums and album sides, such as Sgt Pepper's in its entirety. Pink Floyd was a perfect fit for it as well as Rock leaning towards album orientation instead of singles being the goal.

[@FolkSongsEtAl]

Definitely a song for listening to on psychadelics. I don't think I liked it much at the time, except when I was on psychadelics. Interestingly, I'm more impressed with how well they do sound scapes at such an early period now. It's a song for having visions of being in space to...

[@johnhouse9983]

When i saw Floyd at wembly arena they broke from the regular set and performed this followed by one of these days then saucer fulla secrets, a rare treat. You still gunna get round to Syds' solo albums , you won't regret it , melodic love songs classic stuff, retro childlike nightmare lyrics to digest.

[@daveford12]

Only being 10 when this album was released but being old enough to get into dark side of the moon when it was released, their early work does document a time in British music that some people would use the famous quote of If You Remember the ’60s, You Really Weren’t There 😀

[@waynejones1054]

Welcome to the 60s😀

[@silvertube52]

Space Rock, a transition phase between psychedelic and progressive rock. Iggy and the Stooges were originally The Psychedelic Stooges and they use to do psychedelic jams like this, but much heavier and with Iggy fighting with the audience.

[@rhwinner]

Bowie's Space Oddity really influenced by this album, and by Syd's epic fade....

[@bobholtzmann]

Listening to this transported me back an age of water beds, black light posters and beaded curtains. I actually recently saw the YT video of Zappa and Pink Floyd playing this, and will put the link below: kzbin.info/www/bejne/i5bRiGCFra2Dmbs The dissonant Zappa/Floyd live version reminds me of a story Frank told in "The Adventures of Gregory Pecary", where a group of hippies dance with wild abandon around a pile of transistor radios, each tuned to a different station.

[@jumpingman8160]

Dr Strange - this plays on his car crash scene. Curiously, the cover of PF's second album "A Saucerful of Secrets" features Dr. Strange and the Living Tribunal on the front cover.

[@johnhouse9983]

10.03 in, yeah that laugh. it just stuck with me cuz it was the first time i experienced that phasing effect that frees your mind from hemisphere lock

[@cutthr0atjake]

You're not the only one. I don't like this track either. The best bit was the riff, the rest I find dull. Still, you can't like everything. :-)

[@richardthresh3587]

It's not for everyone; but, especially when played somewhat out of context, it can seem like a very odd track even to those of us who appreciate it!

[@mondegreen9709]

Apparently, according to Wiki the riff "originated when early Pink Floyd manager Peter Jenner was trying to hum a song he could not remember the name of (most commonly identified as Love's cover of "My Little Red Book"). Guitarist and vocalist Syd Barrett followed Jenner's humming with his guitar and used it as the basis for the principal melody of "Interstellar Overdrive"."

[@cadanrichards2615]

One Of the best musical journeys of the 60s and of all time. Also you could call it an unlikeable song its a nightmare to listen to but the music itself is crazy and amazing and fits the mood of the album. Pure experimental improvisation. The middle bit reminds me of A Plague of Lighthouse keepers by Van der graaf where it goes crazy and mad. So when I first heard it I didn't like it but the more you listen to it you ll live up to it. It is one of my favourites but if you focus on the music you ll hear the tunes in the middle bit like when Van der graaf go mental on Pawn hearts, so much going on and you get lost in the music, but the more you listen to it you'll hear new stuff every time.

[@-davidolivares]

Yes, agreed. That’s the one I know.

[@Pjaypt]

The live version of Interstellar on Ummagumma? One of us is confused 🤔

[@-davidolivares]

@@Pjaypt You mean two. I also thought it was on there, oops.

[@Pjaypt]

@@-davidolivares oops!

[@-davidolivares]

@@Pjaypt Sounded right to me...

[@Lightmane]

Hi Justin. Thank you for being honest. So many wouldn't. That's one of the reasons you're one of my favorite channels to listen to, cause I know I'm going to get a real review and not "yeah, I really liked it. please like and subscribe" (UGH!) Here's what I wrote about this "song" when I reviewed the album on my blog. "Seriously, why didn't one of the James Bond movies just use this album, lol. Love the intro. Love the hippy vibe. Remember the movie 'To Sir With Love'? I can't listen to this without seeing all those hippy girls, dressed like that, dancing to the music. In my opinion that movie should be mandatory viewing for everyone in High School. If you want to change the world, then we need to 'change' the world, and that movie said it all. Now the music changes. Am I in a hospital? A futuristic world, maybe? This is just great. The sounds all flow and yet it's chaotic too. Love it. Now I see why so many loved Syd. Such creativity and imagination. I feel like I'm in a dream, on a carousel and the horses come to life and are laughing and screaming and we're all dancing and swirling. I can totally see how many could listen to this and just hate it, but not me. This is a wild ride and I don't want to get off. It slowed down again. Now what? This is just genius. My father would've loved listening to this. Space psychedelic experimental prog fusion. That's what I'm calling it. The ending is so cool. The airplane has landed. It's time to go home. I find myself teetering with S-tier again (S-tier is 100). I originally said 98... Is this 98, 99 or 100? I'm torn..." I graded it at 99. After I finished the album I went back and listened to the album a second time, to see if my opinions changed in any way. Here's what I said about this one. not even 3 minutes into my second listen and I'm already changing this to S-tier. This is on the level of King Crimson's Larks Tongues in Aspic, with their "experiment into sounds". You either hate this or you love this, and I love it. It's mesmerizing, entrancing. Psychedelic pounding experimentation with, at times, a jazzy groove feel to it. (100 - S-tier).

[@Lightmane]

@@Katehowe3010 hah hah 😀

[@JustJP]

Ty LM, and ty for the write up!

[@Lightmane]

@@JustJP I just did it for fun. Nobody reads my blog, lol

[@egapnala65]

I think its problem is that it is limited in dimensions. Basically a standard band set up doing weird things.Side four of Zappa's "Freak Out" is an extended jam featurring electronics percussion voices etc which although sounding chaotic is actually structured with repititions of various parts of it. Its a full length track starting with "Help I'm a Rock" and going on for some 20 minutes. There is footage on here of the Zappa/Floyd gig but I can't say it impresses too much.

[@egapnala65]

It is also put into context by the next track "The Gnome".

[@egapnala65]

This is the Zappa "Freak Out" track (well the last 12 minutes of it anyway) Far more interesting to listen to but you need the whole side for context kzbin.info/www/bejne/m4HCiqt6mayhn5I

[@glennbrock6560]

It's tough for me to listen to this album, but it does show their roots for educational purposes and has some amazing moments. I'm very happy that they started codifying these ideas and sounds in subsequent albums.

[@Qanzoo]

This album took me 5+ listens over 2 years to get into. It felt like I wasn't in on a joke at first.

[@snowdog87]

This song and album are what they are and what they are more than anything else is a roadmap to a Floydian future. To quote Mr. Serling.."there's the signpost up ahead"

[@WillJohnson-ct7oy]

Honestly, the more you listen to it, the more you enjoy it. Everytime i listen to it I hear something new/diferent. Also they were on alot of acid when they made this.

[@joemaurone7923]

It's Friday! "Tonight, let's all make love in London..." Welcome to the 14-Hour Technicolor Dream...

[@Charlton222]

This is my favorite track on the album by far. It's the one I most look forward to. Why? To me, it works because the whole is greater than the sum of its parts. I accept that the wheels fall off here & there because the sonic chaos of the instruments and melodies works, at least for me. Repeated listens help. I do remember not liking everything about the song on first listen - just specific moments - but that was enough to keep me intrigued and then eventually to liking, then loving it. I can see how it would sound like a jarring, jumbled mess because that's exactly what it is!

[@SuperQwerd]

I like this one, but I first heard it when I was really young. Sufficed to say, the acid back then was really, really, potent.

[@blakesbass9417]

I'd recommend listening to the interpritation of this song from Nick Mason's Saucerful of Secrets live show. It does the song a lot more justice and more digestable structure to it. I struggle to get through the breakdown and the panning on the original as well. However I do like it.

[@SharpblueCreative]

Careful with that Axe Eugene next....

[@philt4346]

A worthy soundtrack to the Stargate sequence from 2001:A Space Odyssey. The 'riff' was the second one (after Smoke) the school guitar Ace taught me, so I'm loving this dip into the Sixties. edit: the stereo panning effect doesn't translate well afer remastering, to my ear.