Chords for Syd Barrett /Pink Floyd - "Pow R. Toc H. / Astronomy Domine

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_ _ [Ab] _ The Pink Floyds.
You are going to hear them in a minute and I don't want to prejudice
you.
Hear them and see them first and we'll talk about them afterwards.
But four quick
points I want to make before you hear them.
The first is that what you heard at the beginning,
that short bit, those few seconds, are really all I can hear in them, which is to say, to
my mind, there is continuous repetition and proportionately they are a bit boring.
My
second point is that they are terribly loud.
You couldn't quite hear that because, of course,
from your sets, it isn't as loud as it is here in the studio and as it was in the Festival
Hall in the Queen Elizabeth Hall on Friday.
I will ask them about that when we come to talk.
My third point is that perhaps I'm a little bit too much of a musician to fully appreciate them
and the reason why I say this is that, four, they have an audience and people who have an
audience ought to be heard.
Perhaps it's my fault that I don't appreciate _ [N] _ _ them.
I'm _ [E] not the only _ _ _ _ _ _ _ one who's
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_ _ [E] _ _ _ _ seen the fight between the blue [Eb] and steel.
_ _ [G]
Floating down the sound resounds around the icy waters [A] underground.
_ _ _ _ _ _ [E] I preserve Saturn over on Miranda and [Eb] Titania.
_ _ [G] Neptune, Titan, stars can [A] frighten.
[Ab] _ [D] _ _ _ [E] _
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[Eb] I'm [D] _ _ _ _ _ _
_ _ _ [E] _ [Dbm] _ _ _ [Ab] _
_ _ _ [E] a shining star. _
I'm a shining star.
[Eb] _ _ _ _ [G]
I'm a shining _ star.
_ _ _ [E]
Neptune, _ [Gbm] _ [F] _ _ _ [A] Titan, stars _ _ _ [F] can _ [D] _ _
_ frighten.
[Dm] _ _ _ Floating [D] down the icy [Dm] waters underground.
[D] _ I'm a [Dm] shining star.
Floating down the [D] _ _ icy _ [Dm] waters _ [D] underground. _ _ _ _ _
_ [G] _ _ _ _ _ _ [G] _
_ _ _ _ _ _ Well, if I first may turn to Roger, [Ab] I want to ask one fundamental [C] question of which our
televiewers may not be quite [Cm] aware, the significance of it, because they didn't hear all [G] of it.
Why has it all got to be so terribly loud?
[Ab] For me, frankly, it's too loud.
I just can't bear it.
I happen to have grown up in [G] the string quartet, which is a bit softer.
So why has it got to be so loud, so amplified?
Well, I don't guess it has to be, but I mean, that's the way we [Eb] like it.
And we didn't grow up with the string quartet.
And I guess it could be one of the reasons [Gm] why it is loud.
It doesn't sound terribly loud to us.
[G] It's actually not everybody who hasn't grown up in a [F] string quartet turns into a loud pop group.
So your reason is not altogether convincing, but I accept that you like it.
What I'm saying is that if one gets immune to this kind [Eb] of sound, one may find it difficult to appreciate [G] softer types of sound.
Yes.
No, I don't think that's so.
No.
[C] I mean, everybody listens.
We don't need it [Am] very loud to be able to hear it.
And [Eb] with some of it is very quiet.
Right.
I personally I like quiet music just as much as loud music.
We play in large halls and things where obviously volume is necessary.
And when people dance, like, volume, you know, comes in on its own.
[G] Well, that's interesting.
You see, when people dance, you did start, if I'm not mistaken, as a group which accompanied dancing.
Is that it?
Yeah, you could say that.
And how did you [Em] turn into a [F] concertizing group, if I may use the American term?
Well, we've only done two concerts in the US because the main scene with pop music, which I guess is what we are [Gm] at the moment,
is that [F] you play gigs around ballrooms and dance [Gm] halls and sort of scene because that's how it works at the moment.
But [G] we felt that there was no real reason why we shouldn't do an organized concert in a large hall where people came and sat and actually listened to what we do,
because dance halls, generally speaking, are not very good places to actually listen to the music.
Most people come along and the music for most of them has been, over the past few years anyway, just a sort of background noise that they can jig about to in certain sort of_
Were those two concerts successful?
[C] Yes, I think so.
I mean, when we play, I think the way the acts [Eb] developed in the last six months has [A] been influenced rather a lot by the fact that we've played in ballrooms necessarily,
because you know that this is [G] obviously the first market.
But I think concerts have given us a chance to realize that maybe the music we play isn't directed at dancing necessarily like normal pop groups have in the past.
Have you encountered any hostility towards your creation?
Well, yes, we have, but [C] I mean, I guess [G] there's been quite a lot of hostility going on in our places in the [Eb] country.
I mean, the only hostility we've actually seen, of course, [Gm] is that which has hit the national press and things.
The sort of professional knockers like Robert Pittman [F] and people have had a go at us.
Do you, in your turn, feel aggressive towards your audiences?
No, not at all.
In spite of all the loudness, you don't?
No, not at all.
There's not [A] many young people who sort of cause_
you know, who dislike it.
No, there's no shock treatment intended.
No, certainly not.
You know, some people think that we [G] deliberately try and sort of_ Shock.
Shock the audience and make them, you know, by the volume, keep them quiet sort of thing.
But this isn't so.
Well, there it is.
[Ab] I think you can pass your [D] verdict as well as I can.
My verdict is that it [Ab] is a little