good music for lsd

relayer, sorry for my post.
i just hate it when people talk shit about GD because their music has done alot of good in my life.

scratch my last statement.

love+peace+chicken grease

 

It's all good man, gd got some great tunes, I even have 2 stickers on my car still.

 

its a good fuckin thing i didnt read all this shit,, cause ya wouldnt like what i would have to say about the deads recorded music..

luv n lite..

 

ddddddddaaaaaaaaaaaaaaammmmmmmmmmmmmnnnnnnnnnnnnnnnnnnn!!!!!!!!!!!!!!!!!!!!!!!!!!! woah joe

 

radiohead, all of it, everything, for Pablo Honey to hail to the theif.... kid A is my fav.....

 

Grateful Dead is definitely an acquired taste, at least for those who for their whole lives have listened to other types of music. I have been getting more into it lately as I have gotten more used to it. The same goes for The Doors and Pink Floyd.

 

the doors - strange days
iggy pop and the stooges - 1969
the doors - waiting for the sun

 

I Get Up, I Get Down



In her white lace
You can clearly see the lady sadly looking.
Saying that she'd take the blame
For the crucifixion of her own domain.

I get up, I get down,
I get up, I get down.
Two million people barely satisfy.
Two hundred women watch one woman cry, too late.
The eyes of honesty can achieve.
How many millions do we deceive each day?

[Thru the duty she would coil their said
amusement of her story asking only interest
could be laid upon the children of her domain]

I get up, I get down.
I get up, I get down. In charge of who is there in charge of me.
Do I look on blindly and say I see the way?
The truth is written all along the page.
How old will I be before I come of age for you?
I get up, I get down.
I get up, I get down.
I get up, I get down.

 

The time between the notes relates the color to the scenes.
A constant vogue of triumphs dislocate man, so it seems.
And space between the focus shape ascend knowledge of love.
As song and chance develop time, lost social temp'rance rules above.
Ah, ah.

Then according to the man who showed his outstretched arm to space,
He turned around and pointed, revealing all the human race.
I shook my head and smiled a whisper, knowing all about the place.
On the hill we viewed the silence of the valley,
Called to witness cycles only of the past.
And we reach all this with movements in between the said remark.

Close to the edge, down by the river.
Down at the end, round by the corner.
Seasons will pass you by,
Now that it's all over and done,
Called to the seed, right to the sun.
Now that you find, now that you're whole.
Seasons will pass you by,
I get up, I get down.
I get up, I get down.
I get up, I get down.

 

A man conceived a moment's answers to the dream,
Staying the flowers daily, sensing all the themes.
As a foundation left to create the spiral aim,
A movement regained and regarded both the same,
All complete in the sight of seeds of life with you.

Changed only for a sight of sound, the space agreed.
Between the picture of time behind the face of need,
Coming quickly to terms of all expression laid,
Emotion revealed as the ocean maid,
All complete in the sight of seeds of life with you.
Oh.

Turn round tailor, coins and
Assaulting all the mornings of the crosses
Interest shown, never know
Presenting one another to the cord, their fruitless worth;
All left dying, rediscovered cords are broken,
Of the door that turned round, locked inside
To close the cover, the mother earth.
All the interest shown, they won't
To turn one another, to the sign hide, hold, they won't
At the time tell you, watching the world,
To float your climb. watching all of the world,
Watching us go by.

And you and i climb over the sea to the valley,
And you and i reached out for reasons to call.

Ii. eclipse
(anderson/bruford/squire)

Coming quickly to terms of all expression laid,
Emotion revealed as the ocean maid,
As a movement regained and regarded both the same,
All complete in the side of seeds of life with you.

Iii. the preacher the teacher
(anderson/bruford/howe/squire)

Sad preacher nailed upon the coloured door of time;
Insane teacher be there reminded of the rhyme.
There'll be no mutant enemy we shall certify;
Political ends, as sad remains, will die.
Reach out as forward tastes begin to enter you.
Ooh, ooh.

I listened hard but could not see
Life tempo change out and inside me.
The preacher trained in all to lose his name;
The teacher travels, asking to be shown the same.
In the end, we'll agree, we'll accept, we'll immortalise
That the truth of the man maturing in his eyes,
All complete in the sight of seeds of life with you.

Coming quickly to terms of all expression laid,
As a moment regained and regarded both the same,
Emotion revealed as the ocean maid,
A clearer future, morning, evening, nights with you.

Iv. apocalypse (anderson/bruford/howe/squire)

And you and i climb, crossing the shapes of the morning.
And you and i reach over the sun for the river.
And you and i climb, clearer, towards the movement.
And you and i called over valleys of endless seas.down.

 

ahhh shit where's relayer? is that the song that brought you to tears on lsd?

 

i would say " Yes " and Iron Butterfly 1 song " as the ultimate LSD music.

 

emerson lake and palmer - knife edge ..anything with lots moogs and electronics sounds

 

Robert Moog and Moog Synthesisers


Robert Moog

Robert Moog developed his ideas for an electronic instrument by starting out in 1961 building and selling Theremin kits and absorbing ideas about transistorised modular synthesisers from the German designer Harald Bode.

After publishing an article for the January 1961 issue of the magazine 'Electronics World', Moog sold around a 1000 Theremin kits from 1961 to 63 out of a three room apartment. Eventually he decided to begin producing instruments of his own design. After toying with the idea of a portable guitar amplifier, Moog turned to the synthesiser.

Whilst attending a convention in the winter of '63, Moog was introduced to the idea of building new circuits that would be capable of producing sound. In September 1964 he was invited to exhibit his circuits at the Audio Engineering Society Convention. Shortly afterwards in 1964 Moog begin to manufacture electronic music synthesisers. Moog's synthesisers were designed in collaboration with the composers Herbert A. Deutsch, and Walter (later Wendy) Carlos.

Wendy CarlosAfter the success of Carlos's album "Switched on Bach", entirely recorded using Moog synthesisers, Moog's instruments made the first leap from the electronic avant garde, into commercial popular music. The Beatles bought one, as did Mick Jagger who bought a hugely expensive modular Moog in 1967 (unfortunately this instruments was only used once, as a prop on a film set and was later sold to the German experimentalist rockers, Tangerine Dream).

Though setting a future standard for analogue synthesiser, the Moog Synthesiser Company did not survive the decade, larger companies such as Arp and Roland developed Moog's protoypes into more sophisticated and cost effective instruments. Robert Moog has returned to his roots and currently runs 'Big Briar' a company specialising in transistorised version of the Theremin

Moog Production Models


Modular Moog Synthesiser c1967


Another Modular Moog Synthesiser

 

Robert Moog, the American pioneer in the mid-60s of the modern synthesiser, is the subject of this amiable documentary. Director Hans Fjellestad doesn't steer a conventional chronological path in telling this story of man and machine: the focus is on interviews with the 70-year-old inventor himself and with musicians such as Keith Emerson and Rick Wakeman, who enthusiastically embraced the Moog technology.

 

Lev Sergeivitch Termen & "The Theremin" (1917)

also: The "Rhythmicon", The "Terpistone", The "ThereminCello", The "keyboard Theremin" and the Story of Leon Termen.


Lev Sergeivitch Termen playing the "Theremin"

The principles of beat frequency or heterodyning oscillators were discovered by chance during the first decades of the twentieth century by radio engineers experimenting with radio vacuum tubes. Heterodyning effect is created by two high radio frequency sound waves of similar but varying frequency combining and creating a lower audible frequency, equal to the difference between the two radio frequencies (approximately 20 Hz to 20,000 Hz). the musical potential of the effect was noted by several engineers and designers including Maurice Martenot, Nikolay Obukhov, Armand Givelet and Leon (or Lev) Sergeivitch Termen the Russian Cellist and electronic engineer.

One problem with utilising the heterodyning effect for musical purposes was that as the body came near the vacuum tubes the capacitance of the body caused variations in frequency. Leon Termen realised that rather than being a problem, body capacitance could be used as a control mechanism for an instrument and finally freeing the performer from the keyboard and fixed intonation.

Termen's first machine, built in the USSR in 1917 was christened the "Theremin" (after himself) or the "Aetherophone" (sound from the 'ether') and was the first instrument to exploit the heterodyning principle. The original Theremin used a foot pedal to control the volume and a switch mechanism to alter the pitch. This prototype evolved into a production model Theremin in 1920, this was a unique design, resembling a gramaphone cabinet on 4 legs with a protruding metal antenae and a metal loop. The instrument was played by moving the hands around the metal loop for volume and around the antenae for pitch. The output was a monophonic continuous tone modulated by the performer. The timbre of the instrument was fixed and resembled a violin string sound. The sound was produced directly by the heterodyning combination of two radio-frequency oscillators: one operating at a fixed frequency of 170,000 Hz, the other with a variable frequency between 168,000 and 170,000 Hz. the frequency of the second oscillator being determined by the proximity of the musician's hand to the pitch antenna. The difference of the fixed and variable radio frequencies results in an audible beat frequency between 0 and 2,000 Hz. The audible sound came from the oscillators, later models adding an amplifier and large triangular loudspeaker. This Theremin model was first shown to the public at the Moscow Industrial Fair in 1920 and was witnessed by Lenin who requested lessons on the instrument. Lenin later commissioned 600 models of the Theremin to be built and toured around the Soviet Union.
The 1920 production model of the Theremin

Termen left the Soviet Union in 1927 for the United States where he was granted a patent for the Theremin in 1928. The Theremin was marketed and distributed in the USA by RCA during the 1930's and continues, in a transistorised form, to be manufactured by Robert Moog's 'Big Briar'company.

The heterodyning vacuum tube oscillator became the standard method of producing electronic sound until the advent of the transistor in the 1960's and was widely used by electronic musical instrument designs of the period. The Theremin became known in the USA as a home instrument and featured in many film soundtracks of the 1940-50's, it also appeared in several pop records of the 1960's ( the Beach Boys "good Vibrations" being the most well known example) but never overcame it's novelty appeal and was used for effect rather than a 'serious instrument', most recordings employ the Theremin as a substitute string instrument rather than exploiting the microtonal and pitch characteristics of the instrument. Leon Sergeivitch Termen went on to develop variations on the original Theremin which included the "Terpistone", The "Rhythmicon", the "keyboard Theremin" and the "Electronic Cello".

The "Rhythmicon" (1930)

The first electronic rhythm generator.

The "Terpistone" (1930)

The Terpistone was an adaptation by Leon Termen of the Theremin for use by dancers. The control antena being made in the form of a huge metal sheet hidden under the floor. Movements of the dancers in the area above the sheet caused variations in pitch of the Terpistone's oscillators due to the capictance of the dancers bodies. This instrument was used for several 'exotic' dance, music and light shows throughout the 1930's

 

godd lsd music? well i like the blue but the green is nice too

 

The Theremin became known in the USA as a home instrument and featured in many film soundtracks of the 1940-50's, it also appeared in several pop records of the 1960's ( the Beach Boys "good Vibrations" being the most well known example)

 

Yea, they all do lol. And you and I & the rest of em.

 

saw her sitting in the rain,
raindrops falling on her.
She didn´t seem to care.
She sat there and smiled at me.

And I knew
(I knew, I knew, I knew, I knew)
she could make me happy
(happy, happy).
Flowers in her hair,
Flowers everywhere.

I love the flower girl,
Oh, I don´t know just why.
She simply caught my eye.
I love the flower girl,
She seemed so sweet and kind.
She crept into my mind.

I knew I had to say hello
(hello, hello)
She smiled up at me
She took my hand
And we walked
through the park alone

And I knew
(I knew, I knew, I knew, I knew)
she could make me happy
(happy, happy).
Flowers in her hair,
Flowers everywhere.

I love the flower girl,
Oh, I don´t know just why.
She simply caught my eye.
I love the flower girl,
She seemed so sweet and kind.
She crept into my mind.

Suddenly the sun broke through
(see the sun).
I turned around she was gone
(where did she go).
And all I had left
Was one little flower from her hair.

But I knew
(I knew, I knew, I knew, I knew)
she had made me happy
(happy, happy).
Flowers in her hair,
Flowers everywhere