"Cool" - BBC Arena documentary

  

 

One of the best jazz films made in recent years. Even if you don't like jazz, you should watch this visually stunning 2009 BBC documentary on 1950s cool jazz. 

"The classic cool combo consisted of 3, 4 or 5 musicians, a rhythm section with the voices supplied by horns and usually a piano. They'd begin with  theme, improvise around it for several minutes and return to it. Young men with a studious air, in well cut suits and slim ties."

Cool jazz was cool for a number of reasons. It was cool music - a relaxed and poised counterpoint to the agitation of Bebop - but it also had attitude and style. It was a precursor of 1960s mod culture with its sharp suits and button down collared shirts.

"If you're good you should be wearing sharp clothes," - Charlie Davidson.

This excellent documentary, produced and directed by Anthony Wall, exudes a certain cool of its own. The narration is minimal and the pace relaxed. The written quotes, archive clips and photos set the backdrop of 1950s America but also compliment the music and let it tell its own story, in its own time.

"As always in jazz, its essence is the tension between improvisation and order, between freedom and discipline" - Time magazine November 1954 (on Dave Brubeck).

If the word "cool" is one of the most overused expressions of the 21st century, watch this and find out about when it actually meant something.

Featuring Miles Davis, Chet Baker, Gerry Mulligan, Dave Brubeck, Stan Getz, The Modern Jazz Quartet, Art Farmer, Oscar Peterson, Dizzy Gillespie, Jack Kerouac and original incidental music by George Taylor... This is the birth of the cool. 

"I think I had it in the back of my mind that I wanted to sound like a dry Martini" - Paul Desmond.

Ronnie Scott and All That Jazz

A 1989 BBC Omnibus documentary on Ronnie Scott filmed on the 30th anniversary of the club he founded in Soho, London with tenor sax player Pete King.

The documentary features footage of Zoot Sims, Sonny Rollins, Dizzy Gillespie, Ella Fitzgerald and interviews with Pete King, Stan Tracy, Mel Brooks and also a couple of young Westminster MPs called Ken Clarke and John Prescott. Both united here in order to show how jazz brings together people of opposing political views, however both claim in the interview is this is the closest is they have ever sat together.

Ronnie Scott often acted as club MC was famous for his repertoire of jokes and one-liners. "Our next guest is one of the finest musicians in the country. In the city, he's crap". Of the club he once said, "It's easy to make a million running a jazz club. Just start with two million". "I love this place, its just like home. Filthy and full of strangers" and "it was very quiet last night, we had the bouncers chucking people IN. A guy rang up and asked 'what time does the show start?' I said, what time can you get here? No but I really love this place, its made a very happy man old."

There is even a blog dedicated to Ronnie's humourous asides here The Ronnie Scott Jokes Page

After Ronnie's death in 1996, Pete King continued to run the club for a further nine years, before selling it in 2005.

Horizonte Eléctrico 2 - 10 Flamenco Rock Classics

As I said in my previous post, Horizonte Eléctrico - 10 Great contemporary Spanish bands that should be better known outside Spain, Spain is the home of the guitar. The Spanish have a tradition of guitar playing that goes back centuries. Flamenco music features some of the great virtuosos in guitar history. This tradition has been drawn on, consciously or unconsciously, in Spanish Rock for decades.

For a music steeped in tradition flamenco seems to adapt easily and I have tried to make this 10 track selection as varied as possible. It features the Beatles inspired pop / rock of Los Brincos, the hugely influential Raimundo and Rafael Amador who, in the bands Veneno and Pata Negra, were the first to convincingly merge flamenco with rock and blues in the 70s and 80s, the astonishing voice of El Luis, the 1970s new flamenco of Lole and Manuel, prog-rock from Triana, the 80s rock of El Ultimo de la Fila, the psychedelic space rock of Los Planetas and the highly successful flamenco jazz / soul of Grammy nominated Concha Buika.

In no particular order here are 10 examples of some great flamenco rock and gitano soul.





Raimundo and Rafael Amador
Virtuoso flamenco blues brothers. Raimundo and Rafael Amador were enormously influential in that they were the first to successfully merge traditional flamenco with blues and rock. Both are from Seville, and after playing with flamenco legends Paco de Lucia and El Camaron in the 70s, they formed a band called Veneno with fellow Sevillano Kiko Veneno (see below). Their own band Pata Negra had a lot of success in the 80s (also see below). Raimundo recorded with BB King in the 90s and guested with BB on tour. This clip is from the 80s.

EL luis - Yo Le Pregunto Al Viento
What a voice. Luis Barrull is from Galicia and is a great example of Gitano Soul. After releasing two albums, El Luis in 1976 and Solo in 1978, he ended up in prison for drug trafficking. His career never really recovered. The first album is a classic. A massive wall of sound with manic drumming and a voice that sounds like a cross between Johnny Cash and Solomon Burke.

Los Brincos - Flamenco
Flamenco garage rock from 1964. Los Brincos were one of the most successful and influential Spanish bands of the 1960s and are deserving of their own post. Coming soon.

Veneno - Indiopole
Kiko Veneno formed the group Veneno in 1975 with brothers Rafael and Raimundo Amador. Their eponymous first album, released in 1977 was not a great commercial success at the time but is now considered one of the great classic Spanish rock albums. It was the first album to successfully integrate flamenco with rock and blues. Listened to now it comes over as a kind of flamenco punk rock. Lyrics inspired by Tom Waits, Bob Dylan and Frank Zappa set to music which sounds like a version of flamenco played by Captain Beefheart's Magic Band or even the Incredible String Band. It's kind of unique. This track is an instrumental and the Amador brothers mix some lightning fast blues and rock runs into the trad flamenco riffs. The revolution starts here.

Pata Negra - Ratitas Divinas
Raimundo and Rafael Amador's post Veneno band, Pata Negra. They recorded several albums throughout the 80s and early 90s which the brothers defined musically as "blueslería". Outstanding are the electric "Blues de la Frontera" (1987), and the mini acoustic LP "Guitarras callejeras" from which this song is taken.  Heavy riffing plus some wonderful rapid fire soloing.

El Último de la Fila - El Loco de la Calle
El Último de la Fila (Manolo García and Quimi Portet) from Barcelona, were one of the most succesful Spanish rock bands of the 80s and 90s.This was the opening track on their third LP "Nuevas Mezclas" (1987).

Triana - Abre La Puerta
Flamenco prog rock from Seville. Triana recorded 3 very influential albums in the mid to late 70s. This track is the opener of their first album El Patio (1975).

Lole y Manuel - Todo es de Color
Dolores Montoya Rodríguez "Lole" from Seville and Manuel Molina Jiménez from Ceuta were a duo and part of the first generation of artists to try and broaden flamenco's appeal towards a more general and younger audience in the 1970s. Their song "Tu Mirá"  from their second album Pasaje del agua (1976) was included on the soundtrack for Quentin Tarantino's Kill Bill: Volume 2. "Todo es de Color" is from their first album Nuevo Dia (1975). Very atmospheric and probably the least rock and purest flamenco track in this post

Concha Buika - No Habrá Nadie En El Mundo
Another fantastic voice. Concha Buika is from Mallorca though her family is originally from Equatorial Guinea. Not so much rock, more of a mix of flamenco with soul and jazz. This track is from the album Niña de Fuego which was nominated for the 2008 Latin Grammy Award for Album of the Year.

And finally...
From "Una ópera egipcia", the most recent (2010) album by Granada's Los Planetas. Flamenco rock meets space rock and finds God?
Los Planetas - La Pastora Divina

More  

Horizonte Eléctrico - 10 Great contemporary Spanish bands that should be better known outside Spain

My Scoop.it page dedicated to Spanish Rock. Click below.

 

Ten Years After - Swing In 1969

I have always had a bit of a weakness for Ten Years After. The live album Undead recorded in May 1968 at Klooks Kleek in London is a classic late 60s British blues album and one of my favourites of the era. What separated TYA from Fleetwood Mac, Chicken Shack or the other late 60s British blues boomers was their ability to incorporate jazz. Count Basie's "I May Be Wrong, But I Won't Be Wrong Always"  and Woody Herman's "Woodchopper's Ball" demonstrate a band who definitely had the chops and could really swing. Alvin Lee had had an easy fluid jazz style and more than capable support from Leo Lyons on bass, Ric Lee on drums and Chick Churchill on keyboards.

The problem with TYA, I think, was their lack of song writing skills. Nothing written by the band really stands out and, after they hit massive success with their guitar boogie onslaught Going Home in the Woodstock film, the band gave up playing jazz and lapsed into boogie rock cliche. Within a few years the band had foundered artistically and were playing the same set live year after year. Alvin Lee eventually got bored and quit.

This clip, however, is from November 1969, after Woodstock, but before the boogie rot had set in. The band are still doing a jazz tinged set. There is fluidity to Lee's playing and the Lee / Lyons dual solo during Good Morning Little Schoolgirl is really quite impressive. This band could swing.



Ten Years After at WDR Studios, Cologne.
Setlist:
01 I May Be Wrong, But I Won't Be Wrong Always
02 Good Morning Little Schoolgirl
03 Spider In My Web
04 I'm Going Home

Eight Miles High on bagpipes - Rufus Harley

A few weeks back, I posted a solo acoustic performance of Asturias > Eight Miles High by Roger McGuinn, and commented about how a version of the song on bagpipes would be something to hear.

Well sure enough, such a recording exists. Jazz bigpiper Rufus Harley, who recorded for Atlantic Records in the 60s, played with Sonny Rollins in the 70s and guested on Laurie Anderson's 1982 Big Science album, recorded a version of Eight Miles High on bagpipes for his 1970 Atlantic album Kings / Queens.

Harley, who was of Cherokee descent and sometimes performed in Scottish kilts, got interested in the bagpipes when he saw the funeral of John F. Kennedy on TV and was moved by the sound of the Black Watch bagpipe band.

According to Harley's New York Times obituary, his son Messiah said “My dad was playing a lot of tenor sax then but because Coltrane and Rollins were smoking the sax, that’s why he turned to the bagpipes.”


Take a listen.
Rufus Harley, bagpipes; Richard Tee, piano; Eric Gale, guitar; Charles Rainey, bass; Jimmy Johnson, drums; Montego Joe, conga drum; Nadi Qamar, mamalukembia & Madagascar harp.

 

Horizonte Eléctrico - 10 Great contemporary Spanish bands who should be better known outside Spain

Firstly, Spain is the home of the guitar. The Spanish have a tradition of guitar playing that goes back centuries. Flamenco music features some of the great virtuosos in guitar history. This tradition has been drawn on, consciously or unconsciously, in Spanish Rock for decades.

The second thing to say about contemporary Spanish Rock is that it is in a very healthy state. Bands like Los Brincos or Los Bravos had some international success in the 1960s however rock in Spain has especially flourished, along with the other arts, since the return to democracy in the 1970s. There has also been a very interesting indie scene since the early 90s.

I have already talked about one of Spain's finest and most original bands here Manta Ray. In this post I have just picked 10 contemporary bands whose records I have enjoyed over the last few years. There is a slightly psychedelic 60s influence to nearly all of them. That's about all they have in common. They are not representative of anything except my own taste. Although these bands may not sell millions or be very well known outside Spain there is some great rock and pop here. The Spanish, like the British in the 60s or the Germans in the 70s, have, by drawing upon their own culture, found a convincing and legitimate voice in a music that is largely American in origin and dominated by the English language.

So, in no particular order, here are 10 great contemporary Spanish bands that should be better known outside Spain...

Corizonas - Hey hey hey (The news today)
Superb 60s psychedelic jangly rock / pop  in the tradition of Love or the Byrds. And the only track here sung in English.The Corizonas are actually two bands - Madrid surf-rockers Los Coronas and Arizona Baby from Valladolid. After touring together they decided to team up and form a kind of supergroup. Hence the name Corizonas.

Cola Jet Set - El Amor Mejora
Love'll make it better. More classic 60s inspired pop. This time from Barcelona. It must be all that sun.

Facto Delafé y Las Flores Azules - Mar el poder del Mar 
Again from Barcelona. A cross between feelgood hip hop and indie pop. The poetry of everyday life.

Sidonie - El bosque
Lost in the woods. Dance influenced hard rock with a touch of psychedelia. Another Barcelona band.

Ivan Ferreiro - Turnedo
Iván Ferreiro is from Vigo, Galicia. Here he is with his brother, Amaro. Classic song. "¿Quien no tiene el valor para marcharse?" A kind of response to The Clash's Should I Stay or Should I Go lyric? Great voice too. Like a cross between Lennon and Liam Gallagher. Complete with refreshingly cheapo home made video.

Pereza - Lady Madrid
Pereza are Rubén Pozo Prats y José Miguel Conejo Torres from Madrid. Great song. Similar feel to the Rolling Stones on Goats Head Soup.

Nacho Vegas – Cómo Hacer Crack
Nacho Vegas is from Gijon, Asturias, and used to be in Manta Ray.
A great song-writer and story teller. His songs probably best portray contemporary Spain. According to last.fm (and a few other places) he "blends the polyhedric language of rock and the most stark lyricism into an intense whole. His lyrics are painful and celebratory, pathetic and grand, brutally lucid and of an intimate beauty; a desperate philosophy of survival shines with a wicked sense of humour and a longing for the divine".
Which is nice.
Who am I to argue with that?

La Habitación Roja - Un dia perfecto
Droning psychedelic pop which might owe a little to the Velvets' Waiting for the Man in its unrelenting percussive attack. Impressive live band too.

Los Planetas - La Playa
From Granada, more droning psychedelia from Los Planetas. And a vocal style which seems to have a kind of dislocated "recorded backwards" feel rather like on the Beatles' Rain. Can be quite intoxicating.

Los DelTonos - Horizonte Eléctrico
From Cantabria, Los DelTonos rock out. Definitely Stonesian in its swagger and riffage.

They also give us the title of this post. "El horizonte brilla eléctrico, y seguir ... mi futuro está allí". ("The horizon shines electric, keep going... the future is there".)

More
Yé-yé! Spanish Nuggets - Ten 1960s Grarage, Beat and Psych classics from Spain.  

Horizonte Electrico 2 - 10 Great Flamenco Classics

20 years of the Xixon Sound

The Return of Manta Ray - Manta Ray live ...


More on my Scoop.it page dedicated to Spanish Rock. Click below.

 

The Ike and Tina Turner Revue in Europe - February 1971

1971 was a good year for Ike and Tina Turner. In the previous 12 months they'd had their first top 40 hit in the USA in nearly ten years with a cover of Sly & The Family Stone's I Want to Take You Higher (their most famous hit River Deep - Mountain High was a flop when originally issued in the US). A cover of The Beatles' Come Together also charted and began a switch away from R'n'B towards rock flavoured material. In early 1971, they covered Creedence Clearwater Revival's Proud Mary which became their biggest hit, reaching number 4 on the Billboard Hot 100 and selling over a million copies. A live album What You Hear Is What You Get was recorded at Carnegie Hall and became their first gold-selling album. Such was the success of their 1971 recordings that Ike was able to build Bolic Sound Studios near their home in Inglewood, California.

Watching the clips below from German Beat Club and Dutch TV one can see that Tina Turner was always a star. The voice. The energy. The command of the stage. The sexual allure...  However, how much was she held back by Ike and what could she have achieved without him?

There is no doubt that Tina owes her career to Ike but imagine if she'd left him sooner. Ike and Tina Turner scored some memorable hits but they were covers. What if someone had been writing material especially for her? Can you imagine the results if Tina had recorded at Muscle Shoals for Atlantic in the mid to late 60s? Or, given that Tina always said she preferred singing rock to soul, fronting a rock band and outrocking Janis Joplin?

Anyway, we can only guess and watch some of these excellent clips from the 1971 European tour when Tina still had a lot of rock'n'roll edge before she got softened up in the 80s. The Ikettes are also impressive here as back up singers. Perhaps the choreography doesn't stand up too well now but they have a personality and character that contemporary backing vocalists never have. There is warmth, playfulness, energy and some real raw soul here.



On Beat Club
River Deep - Mountain High
Beat Club was a German music program that ran from September 1965 to December 1972. It was broadcast from Bremen, Germany. The version of River Deep - Mountain High here is stunning - one of the best live versions I've heard. Raw and primitive but matching the tumultuous intensity of the Spector version.

Proud Mary
Starts nice and easy...

Take Another Piece of My Heart.
The Ikettes get their turn and do a solid version of Take Another Piece of My Heart. According to rabbitno2's comment on YouTube under this clip the Ikettes here are, left to right, Esther Jones, Jean Burks and Vera Hamilton

Come Together / Respect
Respect is ironic considering Tina's personal life at the time with Ike. "I'd like to talk about respect but instead..."

The Ike and Tina Turner Review live
An hour of the Ike and Tina Turner Review recorded in February 1971 for Dutch TV.
Not as impressive as the Beat Club performances but Tina is in fine voice, looks great and is very much the star of the show. The Ikettes lend splendid support. What backing singers are this athletic nowadays? Ike stays pretty much in the background, which is probably just as well, as he seems to be sporting a 1964 Beatle wig and looks like he just beamed down from the Starship Enterprise. No wonder the audience seem so bemused in the early part of the show.

Mostly a rock oriented repertoire however the bluesy I Smell Trouble is outstanding - deep soul with Ike giving it some fine and dirty blues guitar.

1. Them Changes
2. Sweet Inspiration
3. I Want To Take You Higher
4. Ooh Poo Pah Doo
5. A Love Like Yours, Don't Come Knockin' Every Day
6. River Deep, Mountain High
7. Come Together
8. Honky Tonk Women
9. Proud Mary
10. I Smell Trouble
11. There Was A Time
12. Shake A Tail Feather
13. I Want To Take You Higher

 

Parallax - The Pink Floyd BBC Sessions

Photo: David Mainwood

With the surfeit of BBC sessions CDs around nowadays it seems strange that the Pink Floyd refuse to countenance a release of any of the 3 hours worth of material they recorded for the BBC in the late 1960s and very early 1970s. One wonders why. It certainly can’t be a lack of demand. Legal Problems? Band members not agreeing?  Quality control?  Does David Gilmour really regard them as being substandard?

How do the Pink Floyd sessions compare to the official recordings and are they deserving of release?

The sessions run from the Syd Barrett era in 1967 through to the release of Meddle in late 1971 when they were only a year or so away from massive international success with Dark Side of the Moon. Historically therefore, they are of quite some importance. They catalogue not only the Barrett period but also the transitional experimental years when they got lost in space and wrote slightly scary songs about axes and grooving with Picts. Sound quality varies from “listenable” on the early Barrett sessions (the BBC wiped them and what survives is thanks to fan recordings off the air) to excellent mono on the 1968 to 1970 sessions, and the last “In Concert” recording from 1971 is in stereo.




BBC2 Look of the Week. BBC Television Centre, London, 14 May 1967
Fascinating Syd era performance of part of Pow R. Toc H., Astronomy Domine and interview. Musician and writer Hans Keller asks Roger Waters and a well-spoken and articulate Syd Barrett "Why does it all have to be so loud?" and then declares their music to be somewhat infantile, “A little bit of a regression to childhood. But after all, why not?”
Indeed.

Studio Sessions 1967 - 1969
1) Recorded September 25, 1967 at BBC Playhouse Theater. Broadcast October 1, 1967 (on Top Gear). Flaming / Scarecrow / Matilda Mother / The Gnome / Set The Controls / Reaction in G   
   
2) Recorded December 20, 1967 at BBC Maida Vale Studios. Broadcast December 31, 1967 (on Top Gear). Pow R Toc H / Vegetable Man / Scream Thy Last Scream / Jugband Blues

3) Recorded June 25, 1968 at BBC 210 Piccadilly Studios. Broadcast August 11, 1968 (on Top Gear). Let There Be More Light / Murderistic Women (aka Careful with That Axe Eugene) / Julia Dream / The Massed Gadgets of Hercules (aka A Saucerful of Secrets)

4) Recorded December 2, 1968 at BBC Maida Vale Studios. Broadcast December 15, 1968 (on Top Gear). Point Me At the Sky / Embryo / Baby Blue Shuffle in D Major (aka The Narrow Way, Part 1) / Interstellar Overdrive

5) Recorded May 12, 1969 at BBC Paris Cinema. Broadcast May 14, 1969 (on Night Ride, then rebroadcast June 1, 1969 on Top Gear)
Daybreak (aka Grantchester Meadows) / Nightmare (aka Cymbaline) / The Beginning (aka Green is the Colour) / Beset By Creatures of the Deep (aka Careful With That Axe, Eugene) / The Narrow Way (Part Three)

"Lucifer Sam" Photo: David Mainwood

The first Barrett session at the BBC contains an early brisk version of Set The Controls and a snatch of the unreleased instrumental Reaction in G. The second session is perhaps the most interesting. Pow R Toc H has a slightly more jazz boogie inflected piano solo and demented Barrett guitar playing than the LP version. There are also the unreleased Vegetable Man and Scream Thy Last Scream (Old Woman with a Basket) which would have been singles had Syd stayed. However a month after this session was recorded the band “forgot” to pick him up on the way to a gig in Southampton. So Syd bows out here with a version of Jugband Blues where kazoos replace the brass band and Rick Wright provides a short eastern inflected psychedelic organ coda. After making it clear that he’s not here Syd asks, “And what exactly is a dream? And what exactly is a joke?” and then leaves us bereft to rue his madness.

Jugband Blues

Post Barrett the band was left without a major songwriter. However, it comes as no great surprise that they continued venturing into spacier and more pastoral areas as they’d already started to explore these themes in Interstellar Overdrive, Astronomy Domine, Pow R Toc H and Scarecrow.

So Julia Dream, on the first (June 1968) session without Barrett, leads us into languid idyllic summer dreamscapes of rivers, trees and meadows. I rather prefer the shorter (6:50) A Saucerful of Secrets (here called The Massed Gadgets of Hercules) as it cuts out some of the rather tedious arsing about on the LP version leaving the rather wistful finale more or less intact albeit with the voices somewhat buried in the mix.

Rick Wright has now become integral to the band’s sound. His ethereal layered keyboards lead us through a December 1968 session notable for a Barrettless Interstellar Overdrive with definite prog-rock tendencies, the flop single Point Me At the Sky and a very trippy Embryo.

On the May 1969 session the songs appear to be thematically connected and it is perhaps the most enjoyable set here. The band was developing an idea of turning some already existing songs into a piece called A Man and A Journey at this time. As Grantchester Meadows / Cymbaline / Green is the Colour / Careful With That Axe, Eugene / The Narrow Way (Part Three) segue musically and thematically into one another, this session seems to reveal the first signs of a desire to come up with a larger more integrated work. Again Wright dominates the sound as the band guide us through a layered audio mist to somewhere which, rather like on an old episode of Star Trek, seems to be another earth like planet but where all the people have mysteriously disappeared and you’re not quite sure what’s going to pop out from behind the bushes.

This last studio session seems to suggest that the band have surmounted Barrett’s loss and now have a few ideas of their own. It is also notable how much Rick Wright contributed to the band’s sound in these years. The sound of the Floyd in space owes an awful lot to his keyboard textures.

The 1968 - 1969 Sessions

>

In Concert 1970 and 1971
6) Recorded July 16, 1970 before a live audience at BBC Paris Cinema
The Embryo / Fat Old Sun / Green Is the Colour / Careful With That Axe, Eugene / If / Atom Heart Mother

7) Recorded September 30, 1971 before a live audience at BBC Paris Cinema
Fat Old Sun (long version) / One of These Days / The Embryo (later version) / Echoes / Blues Jam    

Photo: David Mainwood

The July 16th 1970 show, introduced by the great John Peel, was the first of two one hour long “In Concert”  live sessions to be recorded live at BBC Paris Cinema. Green Is the Colour is segued with Careful With That Axe, Eugene and Atom Heart Mother is performed in its entirety with choir and orchestra. To be honest I’ve never been impressed with AHM. It seems to spend its 25 odd minutes chasing its own tail and falling flat on its arse. Here is no exception.

The 1971 show is far superior and reveals a band now confident and mature. David Gilmour's guitar playing has become more prominent and tastefully compliments Wright's spacey textures. The extended version of Fat Old Sun is sublime even if it is a little restrained compared to later performances on the same tour. One of These Days really kicks into a groove and Echoes, although occasionally rather sluggish and not as polished as the studio version, is a far more successful creation than Atom Heart Mother. A much longer Embryo now comes with spooky sound effects and the band encore, as they usually did on the 1971 shows, with a straight 12 bar called Blues.

There are some gorgeous moments on this show (the extended guitar solo on Fat Old Sun especially) and it stands up well against the live half of Ummagumma. Along with the 1969 studio sessions it is some of the best music the band recorded in this rather underrated period between 1968 and 1971. These BBC sessions draw a superb outline of the band's work at a time when the Pink Floyd set off in search of deep space only to find themselves on the Dark Side of the Moon.

So yes, these BBC sessions definitely deserve a release, and as Hans Keller would have said, “But after all, why not?”

The September 30th 1971 show

Moonhead 
Instrumental recorded for the BBC’s 'But what if it's made of green cheese'. Broadcast at 10pm on 20th July 1969 - the evening of the first moon landing.

More Floyd on stranger than known
Celestial Voices - The Pink Floyd live at the Paradiso, Amsterdam 1969

Golf, Fine Wines and Match of the Day - Jill Furmanovsky remembers Pink Floyd





My moon-landing jam session by David Gilmour
http://www.guardian.co.uk/science/2009/jul/02/apollo-11-pink-floyd-session

 
Keeping It Peel http://www.bbc.co.uk/radio1/johnpeel/artists/p/pinkfloyd/