On December 22, 1965, shortly after the release of their second album Turn! Turn! Turn!, the Byrds entered RCA Studios in Los Angeles to record "Eight Miles High" and " Why", two new songs that they had recently composed. Upon release, Fifth Dimension was widely regarded as the band's most experimental album to date and is today considered by critics to be influential in originating the musical genre of psychedelic rock. Additionally, a third single taken from the album, " Mr. Two preceding singles, " Eight Miles High" and " 5D (Fifth Dimension)", were included on the album, with the former just missing the Top 10 of the Billboard singles chart. The album peaked at number 24 on the Billboard Top LPs chart and reached number 27 on the UK Albums Chart. However, it was the first Byrds album not to include any songs written by Bob Dylan, whose material had previously been a mainstay of the band's repertoire. In spite of this, the loss of Clark resulted in an album with four cover versions and an instrumental, which critics have described as "wildly uneven" and "awkward and scattered". In an attempt to compensate for Clark's absence, guitarists Jim McGuinn and David Crosby increased their songwriting output. Most of the album was recorded following the February 1966 departure of the band's principal songwriter Gene Clark. Every sound.Fifth Dimension is the third album by the American rock band the Byrds and was released in July 1966 on Columbia Records. First see the person and his art - then the context in which he works. For Roman, who at some point even studied musicology, it also has something to do with becoming older. These include self-played piano passages or the sound of a plectrum scraping on guitar strings. The attraction of Eight Miles High often lies in the combination of different sources of sound. Sporadic melodies seem like a tender reminder of the fact that there's more to life than the constant abstract search for something you've never heard before. Nonetheless, Roman Flügel does not suppress the subjective and emotional aspect of his music. Inquisitive experimenting, a mellow conquest of an aural world. Sometimes Katalog seems like 'Looking for the perfect sound'. So it was not a collective emergence into the summer of love, but a retreat into a new from of individuality. Ironically shattered by the fact that Roman first heard Roxy Music's wistful version of the song. The project name Eight Miles High is little more than the vague memory of a piece of pop history. This creates room for his own personal approach, one could almost call it songwriting. In contrast, Frankfurt-based producer Roman Flügel's Eight Miles High project profits from the fact that electronic music is no longer inevitably regarded as a collection of dehumanised tracks. 'Eight Miles High' catapulted the Byrds into the whirl of the upcoming flower-power hype. Of course one can create pumping tracks and bizarre soundscapes with them, hack songs into tiny pieces until no beat sounds like the next. Yet, after all, samplers and computers are nothing else than the contemporary equivalent of guitars. The individual musician/producer had to disappear in the DJ's mix just out of principle, dissolve in the collective 'us' frenzy. Techno was likewise long regarded by many people as a mere collection of clichés: as strictly functional, fun terrorism, concerned solely about effectiveness. The hippie hype was more powerful than their interest in a unique song. However, the prevalent talk about free love, flower power and mind-expanding drugs did not exactly sharpen one's senses: although 'Eight Miles High' describes the band's first flight to Britain, many journalists interpreted the lyrics as a hidden drug allegory. Nothing could be taken for granted anymore, everything seemed to be changing. "'Eight Miles High' is perhaps the most beautiful song by the American country/rock band The Byrds: in 1966 the legendary bass, crazy sound ideas and the guitar inspired by John Coltrane defined the way of life of a generation between beat and psychedelic.
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