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Black And Pink Damask Wallpaper Biography
The Pink At The Gates Of Dawn, it's difficult for those unfamiliar with Pink Floyd's music or the burgeoning British music scene of the 60's to attribute great importance to Syd Barrett. All it takes to be convinced of Barrett's significance, however, is a careful listen to Piper, A Saucerful Of Secrets (the second LP), and the singles he wrote for the group (on Relics and Masters Of Rock, a Dutch collection). What Syd created in sound and imagery was brand new: at that time America hadn't even heard of Hendrixian feedback and distortion as part of a guitar's capabilities, and the Beatles were just recording Sergeant Pepper (at the same time and in the same studios) as Pink Floyd were cutting Piper. Barrett's music was as experimental as you could get without crossing over entirely into freeform jazz; there simply were no other bands extending the boundaries of rock beyond the basic 4/4 sex-and-love themes.
Syd certainly listened to American jazz, blues, jug band music and rock, as did most young British rock 'n' rollers of the time. He used to cite Bo Diddley as his major influence, yet these inputs are no more than alluded to in his music, which contains every style of guitar playing imaginable: funky rhythm churns up speeding riffs that distort into jazzy improvisation. At times an Eastern influence surfaces, blending vocal chants, jangling guitar and devotional hum in tunes like "Matilda Mother" and the lovely "Chapter 24," based on the I Ching.
Barrett's guitar work maintained a psychedelic, dramatic ambience of incongruous contrasts, violent changes and inspired psychosis. No technician a la Eric Clapton, Barrett simply knew his own particular instrument well and pushed it to its limits. Compared by critics to Jeff Beck, Lou Reed (in his early Velvet Underground days) and Jimi Hendrix, Barrett lacked only the consistency to match their achievements.
His trademark (and Achilles heel) was sudden surprise: trance-like riffs would slide abruptly into intense, slightly offbeat strumming ("Astronomy Domine"), choppy urgency gives way to powerful, frightening peaks ("Interstellar Overdrive"), harmless lyrics skitter over a fierce undertow of evil-sounding feedback and menacing wah-wah ("Lucifer Sam"). Stylized extremes made Barrett's guitar the focus of Floyd's early music; his instrumental mannerisms dominated each song even when Syd merely played chords. Barrett's rhythms were usually unpredictable; one never knew what process in Syd's brain dictated when to speed up or slow down the pace, when to sweeten or sour the sound, and when to wrench the tempo totally out of joint, shifting gears to turn rhythms inside-out. As a result, Barrett's playing was variously described by critics as "clumsy and anarchic," "adventurous and distinctive," "idiosyncratic,"
"revolutionary" or "brilliant and painful."
Indisputably Barrett was an innovator. Whether he was entirely conscious or in control of his art is impossible to determine; perhaps it's enough to say that he was indeed effective. His work with Pink Floyd still ranks as some of the most expressive, sensational playing recorded by a rock guitarist. Even 10 years later Barrett's solos stand as fixed entities in the overall scope of Pink Floyd's music; it's a rare long-term Floyd fan who doesn't know every note, each frenzy of feedback and electronic eccentricity. Yet Syd borrowed no familiar blue licks as the young Eric Clapton, Jeff Beck and Jimmy Page were wont to do.
Black And Pink Damask Wallpaper Biography
The Pink At The Gates Of Dawn, it's difficult for those unfamiliar with Pink Floyd's music or the burgeoning British music scene of the 60's to attribute great importance to Syd Barrett. All it takes to be convinced of Barrett's significance, however, is a careful listen to Piper, A Saucerful Of Secrets (the second LP), and the singles he wrote for the group (on Relics and Masters Of Rock, a Dutch collection). What Syd created in sound and imagery was brand new: at that time America hadn't even heard of Hendrixian feedback and distortion as part of a guitar's capabilities, and the Beatles were just recording Sergeant Pepper (at the same time and in the same studios) as Pink Floyd were cutting Piper. Barrett's music was as experimental as you could get without crossing over entirely into freeform jazz; there simply were no other bands extending the boundaries of rock beyond the basic 4/4 sex-and-love themes.
Syd certainly listened to American jazz, blues, jug band music and rock, as did most young British rock 'n' rollers of the time. He used to cite Bo Diddley as his major influence, yet these inputs are no more than alluded to in his music, which contains every style of guitar playing imaginable: funky rhythm churns up speeding riffs that distort into jazzy improvisation. At times an Eastern influence surfaces, blending vocal chants, jangling guitar and devotional hum in tunes like "Matilda Mother" and the lovely "Chapter 24," based on the I Ching.
Barrett's guitar work maintained a psychedelic, dramatic ambience of incongruous contrasts, violent changes and inspired psychosis. No technician a la Eric Clapton, Barrett simply knew his own particular instrument well and pushed it to its limits. Compared by critics to Jeff Beck, Lou Reed (in his early Velvet Underground days) and Jimi Hendrix, Barrett lacked only the consistency to match their achievements.
His trademark (and Achilles heel) was sudden surprise: trance-like riffs would slide abruptly into intense, slightly offbeat strumming ("Astronomy Domine"), choppy urgency gives way to powerful, frightening peaks ("Interstellar Overdrive"), harmless lyrics skitter over a fierce undertow of evil-sounding feedback and menacing wah-wah ("Lucifer Sam"). Stylized extremes made Barrett's guitar the focus of Floyd's early music; his instrumental mannerisms dominated each song even when Syd merely played chords. Barrett's rhythms were usually unpredictable; one never knew what process in Syd's brain dictated when to speed up or slow down the pace, when to sweeten or sour the sound, and when to wrench the tempo totally out of joint, shifting gears to turn rhythms inside-out. As a result, Barrett's playing was variously described by critics as "clumsy and anarchic," "adventurous and distinctive," "idiosyncratic,"
"revolutionary" or "brilliant and painful."
Indisputably Barrett was an innovator. Whether he was entirely conscious or in control of his art is impossible to determine; perhaps it's enough to say that he was indeed effective. His work with Pink Floyd still ranks as some of the most expressive, sensational playing recorded by a rock guitarist. Even 10 years later Barrett's solos stand as fixed entities in the overall scope of Pink Floyd's music; it's a rare long-term Floyd fan who doesn't know every note, each frenzy of feedback and electronic eccentricity. Yet Syd borrowed no familiar blue licks as the young Eric Clapton, Jeff Beck and Jimmy Page were wont to do.
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
Black And Pink Damask Wallpaper
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