The Making of The Madcap Laughs
by Malcolm Jones
1982

[from
http://www.pink-floyd.org/barrett/MADCAP.txt ]


[Malcolm Jones' Book "The Making of The Madcap Laughs"]

Echoesians:

Any historian knows that if you mean to advance your
understanding of a specific portion of history, it is
extremely important to obtain as many actual facts as
possible. Whereas it can be extremely helpful to read
others' interpretations of the facts, often things can
become blurred over the years and by one author summarizing
what another author summarized and so on.

Unfortunately, actually obtaining source materials can be
extremely difficult. Indeed, the book you are about to read
has been out of print for decades and even then, only a few
hundred copies were produced. The vast majority of these, I
don't doubt, have become lost. So, it was with great joy
that I was able to locate a copy (and for an extremely
reasonable rate).

The book was originally manually typed using a fairly bad
typewriter. It was full of typographical glitches and
spelling errors. The grammar is not the best. The text can
become extremely confusing and redundant at times.

However, I have done my very best to ensure that every
single period and comma has been faithfully reproduced. I've
tried to make the following document EXACTLY like my
original. Where words were misspelled in the original, I
have made corrections. However, when Mr. Jones used
"British" spellings, I have kept these the same. (Why do you
Brits *have* to use "s" when you need to use "z" ?) 
Tragically, there is one spelling error that I would *love*
to be able to fix, but I have been unable to determine *for
sure* what the correct spelling is. I am afraid Storm
Thorgerson (or however his last name is really spelled) will
be forever doomed to having his name botched. Storm T.,
should you ever read this, I am really sorry.

The change in media necessitated a few slight modifications
to the text, which I sincerely hope do not interfere with
your enjoyment of this manuscript:

Many pages had footnotes. The number would appear in the
text and the note would appear on the bottom of the page.
Since the "pages" in cyberspace either don't exist or can
vary radically among machines, I decided to place the whole
note into the text at the site of the number. The note is
set off from the rest of the text using *'s. The last pages
of the book are lists of gigs, sessions, and the like. These
also had footnotes, but they were much harder to deal with.
I left them in their original positions with respect to the
rest of the text. I hope that my doing so does not lead to
confusion for you.

Malcolm Jones did Syd fans an incredible service by
compiling and publishing this book. It is extremely
important aid to any serious Barrett or early Floyd scholar.
I am extremely pleased to be able to bring it to you.
Please, share it with anyone you know that might be looking
for a copy. Thanks, Mr. Jones.

The Eskimo Spy

=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=-=

SYD BARRETT -- The Making Of The Madcap Laughs

Contents -- Session Dates . Musicians . Take Numbers . Floyd Sessions + Gigs Plus Full Story -- - -- - -- --

_Introduction_

Scarcely a year goes by than the rock press, rather like the
Times and the first cuckoo of spring, report a 'sighting' of
Syd Barrett, usually in Cambridge or in London. Whether
these reports are accurate is uncertain, but ever since the
early seventies the myth surrounding the man seems to have
mushroomed. There is a growing army of admirers who would
see him as some sort of living legend, even though his total
recorded output consists of little more than three albums.
Legend or otherwise, I was able, in a modest way, to be able
to assist Syd in recording some of his best remembered solo
recordings (I produced the first 'Madcap Laughs' sessions
amounting to half of the album). With the exception of the
excellent 'Terrapin' publications there has been remarkably
little written about Syd, so this is my attempt to remedy
this in some small way. This publication is a straight,
factual account of the making of the album, 'the Madcap
Laughs'. As I kept all my studio production notes and files
what follows is an accurate account of events in those few
months of 1969.

I had joined E.M.I. Records from Manchester University as a
management trainee, although my main passion in life was
music. Raised on rock & roll (I was 23 at the time, just a
little older, I think, than Syd), I played in amateur groups
in my native Southport, and even played on the stage of the
Cavern Club (an unpaid, failed, audition in case you want to
know!). After a month on the E.M.I. training course, I was,
in late 1967, offered the responsibility of acquiring
finished recordings from outside, independent producers.
This included talents such as Mickie Most and Denny Cordell,
who had just signed Procol Harum and the Move to E.M.I., and
I naturally accepted. My first signing was 'River To Another
Day' by Dave Edmunds' Love Sculpture. Deep Purple, Barclay
James Harvest and Tyrannosaurus Rex soon followed.

This was the time when the British 'underground' movement
was flourishing, and E.M.I.'s corporate image could make
acquiring masters difficult in face of the competition from
progressive companies such as Island Records. In view of
this I campaigned within E.M.I. for the establishment of a
label with a more contemporary image than Parlophone and
Columbia. I eventually had my way, and was given the task of
establishing and running the new label, which I called
Harvest, in addition to my other duties. After a successful
launch in June of 1969, I was ready to plan more
releases.......

One day, late in March, 1969, I received a message that Syd
Barrett had 'phoned EMI's studio booking office to ask if he
could go back into the studios and start recording again. It
was over a year since Syd had parted company with Pink Floyd
and, as head of Harvest, the request was referred to me.

I had never met Syd, although he had apparently been in the
studio with Peter Jenner a year previously, just after I
joined EMI. Needless to say I was familiar with his past
successes with the Floyd, and I knew as much as anyone about
the circumstances surrounding his leaving. It had occurred
to me on several occasions to ask what had become of Syd's
own solo career. Peter Jenner and Andrew King, the original
Floyd management team, managed many artists on Harvest. Dark
references were made to 'broken microphones in the studios
and general disorder' by EMI management, and this had
resulted in a period when, if not actually banned, Syd's
presence at Abbey Road was not particularly encouraged. None
of Peter Jenner's recordings of Syd had turned out
releasable, and no-one in EMI's A&R department had gone out
of his way to encourage Syd back. Now that I had A&R
responsibility for Harvest, I was determined to make the
most of this contact with Syd and I rang him back
immediately.

Syd explained that he had lots more material for a new
album, and since he had not recorded for more or less two
years there was no reason to doubt him. He was also keen to
try and salvage some of Peter Jenner's sessions (see session
Appendices), and in all he seemed very together -- in
contrast to all the rumours circulating at the time. There
was, he said, a song called Opel, another called Terrapin, a
song about an Indian girl called Swan Lee, and one called
Clowns And Jugglers. Plus he had started work at Abbey Road
on a James Joyce poem, 'Golden Hair' which he was most
anxious to complete. It all sounded too good for words!

The next day I approached Roy Featherstone, my immediate
boss at the time, with the line 'Syd's ready to record
again', explaining the conversation I'd had with Syd and
pushing hard for his restoration to favour. Roy was very
positive, but said he'd also have to check with his boss,
Ron White, who authorised all recordings. In all honesty it
wasn't very hard persuading them both to let Syd record
again. Both Roy and Ron were well aware of Syd's successes
and potential capabilities. The Pink Floyd had already said
that they did not wish to release any more singles; 'Point
Me At The Sky' and 'It Would Be So Nice' before it had been
flops and were no longer indicative of the style that the
new line-up was developing. Work had already begun on what
was to become "Ummagumma" the previous November (with
'Embryo'; more about that later!!). It is likely that they
felt that, if EMI could have the 'new' Floyd and the
creative genius behind the 'old' both recording, then all
the better. I furthermore had a powerful argument in reserve
should they deny Syd this chance to resume his career. If
they would not consent, I privately argued, then they could
not morally hold Syd to his contract, although legally it
would have been possible. Fortunately, it never came to
that, and Ron and Roy gave me their permission and support
to let Syd record.

Contrary to what was later printed, E.M.I. never stipulated
that Syd could only cut singles. What was decided was to see
what was the strength of Syd's new material, and plan
accordingly. If it worked, then, O.K. we'd do an album. If
not, we'd call it a day.

My next task was to find a producer who Syd would feel
comfortable with and of whom EMI would approve, as they were
adamant that Syd should not record unaided in view of
previous events. *(1) I never did ask Syd if the rumours of
studio damage were true. I suspect if there was any truth in
the stories then it was probably exaggerated. None of the
engineers ever made reference to them.*  The obvious first
choice was Norman Smith, an EMI staff producer and then
still producer for the Floyd. Norman was one of the finest
producers of the time, and certainly the best of those
affiliated as staff producer. Norman engineered many of the
early Beatles classics, and was a fine musician.
Unfortunately his commitment to the Floyd ('Ummagumma' was
in the early stages) and his reluctance to have a conflict
of interests with the Floyd and Syd made him decline the
job. Peter Jenner similarly thought it wise to stay out,
especially in view of his increasing responsibility to the
growing roster of acts he managed with Andrew King
(including Edgar Broughton Band, Tyrannosaurus Rex, Pete
Brown, and soon, Kevin Ayers). The other obvious choice, in
retrospect, would have been to offer Joe Boyd the chance to
work with Syd again as he produced 'Arnold Layne';
regrettably, it didn't occur to me at the time. Although I
had met Joe a couple of times, I don't recall knowing that
he'd done 'Arnold Layne'. I certainly didn't remember his
name from my copy of the record, so I didn't think of him. I
still regret that. E.M.I. had no other staff producers
capable of handling Syd's style as Norman could have done,
and when I talked it over with Syd his response was stark
and simple... 'You do it'. Syd knew I was a musician (of
sorts), and as he saw me as his ally at EMI (& I had
produced 'Love Sculpture''s first album) I probably was a
logical choice to him. I was also acceptable to EMI's bosses
who wanted someone they knew and trusted present on the
sessions. If this seems naive in 1982, in 1969 no-one
produced their own records, not even the Beatles.

At Syd's suggestion, then, and almost by default, I became
Syd's producer.

I called him immediately to say we were in business, and
suggested a meeting to go over his new material. As I was
unfamiliar with Peter Jenner's productions of the previous
year, I asked Syd to play me tapes he had of rough mixes of
a song called Silas Lang (re-titled 'Swan Lee') *(2) "Silas
Lang" is the original title on the EMI files, and this was
later changed to "Swan Lee". Syd never referred to it as
Silas Lang, and this may be a mistake on the part of the
engineer on the original session. Part of the lyric goes
'the land in silence stands', which sounds, in part, rather
like 'Silas Lang'.* ,'Late Night'. (The master at EMI of
this original was probably erased and re-made later),
'Ramadan' (or 'Rhamadan'), Lanky parts one and two (the last
two were long instrumentals) and 'Golden Hair', which Syd
had referred to many times. 'Silas Lang' or 'Swan Lee' was a
long and rambling tale about an Indian maiden, reminiscent
in many ways of the story of Hiawatha. It had no vocal when
I heard it, but had promise. The version of 'Late Night' was
not the one finally released, but it too had a certain charm
so we agreed to re-make that. 'Lanky' and 'Rhamadan' were
very long and rambling percussion instrumentals. Engineer
Peter Bown's announcement on the tape of 'Lanky Part One'
is, rather wearily, "Five minutes of drums!". It wasn't very
good!  "Rhamadan" lasted for almost twenty minutes, and in
its unfinished state was also pretty boring. Syd too was not
satisfied with it (he'd overdubbed several conga drums in
random improvisation) and we agreed to abandon that. But in
contrast, 'Golden Hair' was great, although it needed a
little cleaning up (eventually, Syd re-made it with Dave
Gilmour and Roger Waters). After Syd had played me these
tapes and we had discussed which to continue with, he played
me the new songs. One of the most exciting was a song in 3/4
(waltz) tempo, which was the best I had heard so far. Part
of the lyric is reprinted overleaf.

OPEL (Syd Barrett)  Copyright All rights reserved. (excerpt)

On a distant shore, miles from land Stands the ebony totem
in ebony sand The dream in a mist of gray On a far distant
shore

A pebble that stood alone Driftwood lies half buried Warm
shallow water sweeps shells So the cockles shine

A bare winding carcass stark Shimmers as flies scoop up meat
An empty way and dry tears

I'm trying to find you I'm living, I'm giving To find you To
find you I'm drowning ......

It was an extremely haunting song; very stark and poignant.
We would certainly record that one. Next came a song called
'Clowns and Jugglers'. Fans will know it under its eventual
title, 'Octopus', again, another 'yes'. Next Syd played
snatches of another song, 'Terrapin' which was similar in
feel to 'Opel', though less desolate. And finally he played
an old tymey song 'Love You' which I liked a little, but as
Syd was pretty keen on it, largely because it was uptempo, I
agreed on that too. Already we seemed to have enough for 3/4
of an album and certainly several sessions. I left Syd's
flat totally elated, determined next day to book studio time
immediately and to get started. *(1) By coincidence I lived
in the same square as Syd -- Earls Court Square. By a
further coincidence, Dave Gilmour was living at the time in
the block backing onto Syd's in the adjacent Old Brompton
Road.*

The first session was booked for Thursday, April 10th, in
studio three. E.M.I.'s studio complex is still arguably one
of the best in the world. In 1969 it most certainly was.
Studio One was the largest, and almost exclusively used for
large orchestral recordings (when I had first seen it I was
convinced a helicopter could fly in it!). Studio two was
always fully booked, often by the Beatles, the Hollies, and
other top E.M.I. artists and, of course, the Floyd often
were using it for 'Ummagumma'. Studio Three was the
smallest, 'though still large by studio standards, and more
intimate than studio two (but less technically advanced;
studio two had 8 track machines while studio three was still
four track). Both Syd and I were familiar with Number 3 (I
had produced Love Sculpture's first album there) so we
settled for that one. Studio Two had a control room set at a
higher level than the studio itself, which meant looking
down on the musicians -- and frankly I disliked that. It's
easier for the producer to see what's happening but I felt
it was harder for the musicians to see into the control
booth, and Syd needed a relaxed atmosphere. Plus, three was
easier to book at short notice!

Syd and I spent the first session alone (7p.m. to 12.30)
investigating the old tapes made a year earlier to see if
anything was usable. We first overdubbed guitar and vocal
tracks onto 'Silas Lang' ('Swan Lee') and experimented with
ideas for 'Clowns And Jugglers'. Neither of these was
eventually used (Clowns And Jugglers, re-recorded as
'Octopus', was used in another version), and we both agreed
that the new songs were far better than the old tracks. But
at least we had checked each other out and we returned to
Earls Court ready to start afresh the next evening.

The next evening we got down to business proper. Syd was in
a great mood and in fine form, a stark contrast to the
rumours and stories I'd been fed with. In little over five
hours we laid down vocal and guitar tracks (extra backings
on most came later) for four new songs and two old.

The first we made (the engineer was Peter Mew) was 'Opel',
at Syd's request. We both felt at the time that it was one
of his best new songs *(1) After Dave (Gilmour) and Roger
(Waters) took over production, I left the final say to them
and Syd as to which songs were included in the final album.
I was nevertheless very sad that 'Opel' was left out,
especially in the light of what I thought to be lesser songs
being included. I assume it was Syd's decision.*  It took
Syd nine runs at it to get a complete take, and even that
was not perfect. Nevertheless it had a stark attraction to
it, and most of the early takes were merely false starts.
Anyone who has experience of studio techniques will
appreciate that it takes several attempts to get the right
feel and to feel totally relaxed. ('Hound Dog' took over 30
takes!)  Many of the unsuccessful takes are merely lapses of
memory, technical faults, popping the letter 'p' at the
microphone, squeaky chairs, etc. Syd always had lyric sheets
in front of him, and turning the pages was often caught on
tape (it was left in on 'She Took A Long Cold Look'). Two
complete takes were made, the rest were false starts similar
to the ones Dave and Roger left in on 'If It's In You'.

Most of the tracks on this were just with Syd and his
guitar. I felt that, with his guitar alone we could put down
some songs and overdub backings later as necessary (contrary
to usual policy of making backings and adding vocals
afterwards). Next we did 'Love You' -- again just guitar and
voice. We did several takes of this. The first was fast, in
fact VERY fast (faster than the issued one). The second was
very slow!  Take three was a false start, and take four was
the one we later overdubbed and issued. All three good takes
were perfect, and in fact we weren't sure which take to use.
The studio note says 'Best to be decided later'. All takes
took less than twenty minutes to do. This was Syd at full
tilt!  At this session Syd was in great form, and very
happy. No matter what people may say to the contrary, Syd
was very together, and this was his first session with the
new songs. Although Opel needed 9 attempts, Love You needed
only one re-take. The next track we did, 'It's No Good
Trying' was much the same. The very first take, with Syd and
his blue speckled Fender Telecaster, was good. Take two was
a false start, and take three was the version we used
(although at 5 minutes 14 seconds it needed a little
shortening). I kept Syd on the move, refusing too many
retakes. And it was working. In the two hours between 7.30
and 9.30 we had completed several successful takes of three
songs.

During the tea break we discussed going back to some of the
songs started the previous year, in particular 'Golden
Hair', and perhaps 'Late Night' although the original
version of that had been destroyed, it seemed. We returned
to the studio and started work on another new song,
'Terrapin'. In one take Syd laid down a guitar and vocal
track that was to be the master!  At my suggestion Syd
double tracked his vocal part, and that was it! (he later
overdubbed the solo).

When we resumed Syd overdubbed slide guitar (using his
cigarette lighter as a slide) on the backing track of 'Late
Night', plus the vocal. The vocal took no time at all, and
we swiftly moved on to 'Golden Hair' which we had
transferred from the original 4 track to an 8 track master.
I do not know who the musicians were on this track, but the
instrumentation was identical to the re-made version that
Dave and Roger were to produce later -- vibes, bass, drums
and guitar. The version I worked on with Syd was not the one
used on the album, although the remake was a direct copy of
mine. This first version featured Syd's guitar more
prominently. In fact there were two versions made at this
session, the second featuring an added harmony vocal line by
Syd. When I heard much later that Dave and Roger re-made
'Golden Hair' I was, to say the least, surprised. The issued
recording, while technically better, is far less atmospheric
than the original, and I still feel that a re-make was
unnecessary.

By midnight we felt we had done enough for one day. We had
worked on seven titles in one way or another, and we both
felt we had made great progress. In the cab back to Earls
Court we discussed our next session, and I was looking
forward to a quiet and relaxing weekend. I told Syd I would
pick him up the next Thursday as usual; Syd replied by
saying he'd bring along some musicians to play on some of
the tracks we were planning, and with that we parted
company.

The following Thursday, as planned, I called a cab and went
to collect Syd. We dropped in at Dave Gilmour's flat round
the corner to borrow an amplifier, and set off for Abbey
Road. At the studio we met up with Jerry Shirley and
'Willie' Wilson, the musicians Syd had invited along. The
session was to be done 'live' i.e. everyone recording their
parts at the same time, including Syd's vocal and guitar
parts. As usual, Syd played his blue Fender Telecaster,
unamplified, as rhythm. *(1) Syd had maintained fairly
constant contact with David Gilmour, who's amp we were
using. When he delivered the tapes for the 'More' album to
me, David quizzed me as to how the sessions were
progressing, although he showed no interest at the time in
producing Syd. By April he had completed most of his solo
contributions to 'Ummagumma', and had more time to spare.* 
We started with 'No Man's Land', and Syd ran through the
song several times with Jerry and Willie following to pick
up the sequences. After a little rehearsal we tried for a
take to let everyone hear how we were progressing
(frequently a 'take' is attempted, not for a master, but
simply to check that the equipment is working correctly and
to let the performers hear how they sound in the control
room). After several other run throughs we went for a
master, and in all we completed three takes successfully,
the last being the best. The bass was later re-recorded *(2)
The original bass track showed room for improvement, which
we did later on during the session, after Syd's guitar parts
had been recorded.*  Syd then recorded the guitar solo and
the spoken part, which was as unintelligible then as it is
now!  The other guitar part was overdubbed later (see
session lists). Syd's guitar playing could, at times, be
extremely erratic. He would frequently switch from playing
rhythm to lead at double the volume, setting the meters well
into the red and requiring a re- take. It was a matter of
having too many ideas and wanting to record them all at
once!

This April 17th session was the first that we did in Studio
Two instead of Studio Three. Whereas the April 11th session
had been mainly voice and guitar tracks, with no backings,
this one was to employ Jerry Shirley and John 'Willie'
Wilson (who also lived in Earls Court!). The greater scope
afforded by the 8 track machine in No. 2 (Studio three was 4
track) would allow us to do more overdubs if necessary,
particularly on 'No Man's Land'. No. 2 also had a much
better drum sound (it is a larger studio) and it isn't hard
to tell that Jerry Shirley plays extremely loudly in the
studio, especially on 'Here I Go'. Compare the drum sound on
this to Ringo's Beatles work of the time. They are very
similar.

'Here I Go', the second song of the session, was also the
second 'old-tymey' song Syd did on the album -- that is
using a music hall style chord structure. With its unusual
introduction and overall theme, it shows Syd at his relaxed
best. He wrote it, I seem to remember, in a matter of
minutes. *(1) Syd nearly always had his lyrics in front of
him on a stand, in case of the occasional lapse of memory.
This song was the only one I remember him needing no cue
sheet at all.*  The whole recording was done absolutely
'live', with no overdubs at all. Syd changed from playing
rhythm to lead guitar at the very end, and the change is
noticeable. (Syd, however, would change like that often.
Whereas it was accepted practice to record, say, the rhythm
guitar for the whole duration of the song and then to go
back later and overdub the solo. To Syd this was an
unnecessary procedure!  He'd mix them together. That
accounts for the 'drop' during the solo, as Syd's rhythm
guitar is no longer there!)  The whole session lasted for
just three hours (in the afternoon). At the end I casually
asked Syd if he had any more songs for the next one in a
week's time. 'Not really, but, er, I've got a weird idea I
want to try out' was all he would say. 'Well,' I replied,
'does it need other musicians ? -- because if so I'll need
to book studio two again.'  'No' was his reply. A couple of
days later I was none the wiser, and getting rather anxious.
On the one hand I didn't want to book the wrong studio, and
on the other I didn't want to hold valuable studio time with
no real plans. Syd eventually said that he had no new songs
but would quite like to see if there was anything we could
do with one of Pete Jenner's old tracks, 'Rhamadan'. This
was a long (even boring) track, lasting about 18 minutes,
which Syd (or, at least, I have always presumed it was his
playing) had made the previous May. It featured several
conga drum overdubs, with no apparent theme or direction.
Reluctantly I agreed to check it out, but said that we
really didn't need a studio for that, we could use one of
the mixing rooms. Just in case, I arranged for a stereo
machine to be set up so we could mix it for reference later
at home or in my office. On the morning of April 23rd., Syd
and I again set out for Abbey Road.

Syd was carrying a small, portable cassette player, which I
assumed he was bringing so that we could make him a copy of
'Rhamadan'. I was very wrong. 'I'd like to overdub some
motorbike sounds onto 'Rhamadan'', he said, 'so I've been
out on the back of a friend's bike with the cassette player.
They are all ready to put onto the 'Rhamadan' four track.' 
When Syd played the cassette of the sound effects, it was
terrible!  Not only was it poor quality for casual
listening, it was certainly no good for professional
recording. Syd was quite insistent, so I said nothing more
until we got to Abbey Road. I planned to let engineer (Peter
Mew, I believe) reinforce my feelings. For almost an hour we
struggled to wire Syd's machine into the 4 track master
machine. The trouble with such an operation is that
professional electrical fittings are bigger, better and more
complex than those purchased over the counter of the average
hi- fi shop. Someone in the workshop at Abbey Road had to
actually make a connecting lead from Syd's cassette machine
to the Studer 4 track. When we eventually wired the two
together (cassette players are more common place in studios
today with the increase in quality achieved over the last
five years), it was apparent to all of us that the quality
was not good enough. Even mixed into the conga drums at low
level the tape hiss and extraneous noises were unacceptable.

Fortunately, E.M.I. came to the rescue. One of the many
advantages Abbey Road possessed over other studios of the
time was its superior back-up facilities *(1) The workshop
that made up the connecting lead for us was also
responsible, as a matter of policy, for taking apart any
equipment from outside sources and checking that it was up
to E.M.I.'s technical standards. When the Beatles wanted to
record in their newly opened Apple studios, it was E.M.I.'s
equipment that was shipped out, in bulk, to Apple to do the
recording. All Apple Studios started with was an empty room!
 And it wasn't long before they were back recording in Abbey
Road.* , including a large sound effects library. The next
hour was spent selecting the right combination of starting
up, revving, starting off and various gear changes, etc. for
a thirty second tape, this time in stereo. Exactly what Syd
intended to do I shall never know, because he later changed
his mind and abandoned the project. Maybe it still lies,
rejected, in the archives. The session we planned for two
days later was almost abandoned due to illness on my part. I
had suffered from colitis for some time, and a recurrence of
the illness prevented me from attending the session. All
that we planned to do was transfer all the tracks originally
made on 4 track to 8 track for more overdubs, and I
suggested to Syd that he might like to go ahead on his own
and mix them down himself. Studio Three was now (just) able
to cope with 8 track machines, although it still had the old
4 track mixing desk. Nevertheless it was an improvement
which we wished to take advantage of, especially as we had
decided to overdub backings onto 'It's No Good Trying',
'Clowns and Jugglers', 'Love You', and several others (see
appendix). I noticed when preparing the appendix that 'Opel'
was among them. Syd had obviously, at this stage, not
decided to exclude it from the album. I still think, to this
day, that this is one of his best and most haunting tracks,
and it was tragic that, for reasons unknown to me, it was
not included on the final album.

On May 3rd Mike Ratledge and Robert Wyatt of the Soft
Machine overdubbed various parts onto the 8 track copies
made the previous session. In contrast to their own
recordings, Syd's tracks were very erratic and
unpredictable. Although Syd booked them he wasn't very good
at explaining to them what he wanted. 'Love You' was a
simple overdub of jangle piano and drums, plus of course,
Hugh Hopper on bass. Lack of adequate rehearsal gave the
Soft's performances a rather ragged aspect, for which I must
take responsibility. If I had been able to give them more
studio time they would have delivered better backings,
although I must add that over the years the erratic quality
of these tracks has been what endeared them to Barrett fans.
I can't help feeling, 'though, that the Soft Machine
themselves were not very proud of their own contributions!

We had done 'Love You' first because it was the easiest.
Next came 'It's No Good Trying'. This was not a particularly
easy track to overdub. Between lines, (or verses) Syd had
varying passages of blank guitar chords with no regular form
to them. At one moment there would be 8 bars between verses,
at the next maybe 6 or seven.. very hard for a musician
other than the composer to follow!  A drummer likes to be
able to 'lead into' the next verse with either a roll or a
pause, or anything to announce the arrival of another new
verse. Without written parts (charts) it had to be done from
memory, and given such a task they fared extremely well. If
'Love You' was a little irregular (Syd went into the next
verse, occasionally, after 6 1/2 or 7 bars instead of 8)
then 'It's No Good Trying' was positively impossible!  Syd
had, before the session, taken copy tapes of many of these
tracks which I had presumed were to give to the musicians he
was booking to learn ahead of the session. Unfortunately I
was wrong. He kept them!  Anyway, after a bit of a struggle,
we overdubbed 'It's No Good Trying' and moved on to 'Clowns
and Jugglers'. This was the version I had worked on with
Syd, originally, on our first session together on 10/4/69,
when we had overdubbed guitar and voice onto a rough guitar
backing Syd had made alone the year previously. It was in a
higher key (than the issued one) and Syd had to sing really
forcefully to make it work, but it still rates as one of my
favourite unissued Syd recordings, after 'Opel'.
Unfortunately he wished to overdub bass and drums (as was
done, in a further re-make, for the version Dave and Roger
produced that eventually appeared on the album). I liked it
as it was, with Syd's voice and several guitar tracks to
back him up. It had some very effective sounds, made by Syd,
by half speaking words and sounds, during the solo.
Unfortunately, the contributions at this overdub session by
the Soft Machine were, in all honesty, pretty dire, and it
must have been THIS version that Dave Gilmour heard and
which led him to persuade Syd to remake it later. Mike
Ratledge was required to improvise long passages of organ
chords which, frankly, didn't work, and Robert Wyatt ended
up playing tambourine. It was easier than trying to follow
Syd's erratic bar structures!

The following day we had a further session and Syd
overdubbed his backwards guitar track on 'It's No Good
Trying', and the lead guitar line on 'Terrapin', and 'No
Man's Land'.

During most of the later sessions Dave Gilmour had been
taking a casual interest in what Syd was doing in the
studios. The Soundtrack for Barbet Schroeder's 'More' film
had been completed (it was, out of interest, not made at
Abbey Road as it was not a regular Pink Floyd album, being
made as a commission for someone other than E.M.I. The
royalty rate was consequently higher than usual as the
recording costs were born by the film makers and the Floyd).
With 'More' out of the way, Dave was back at Abbey Road with
the rest of the Pink Floyd recording material for
'Ummagumma', their first major album without Syd at all (he
does play on several tracks on 'A Saucerful Of Secrets',
contrary to stories stating otherwise). Syd had been seeing
Dave a lot, and had even been to see him backstage at a
Floyd show in Croydon. It was only a short step to Dave
(with Roger Waters) suggesting to Syd that he should produce
some tracks as well as myself.

At the time I never felt any sense of being ousted from my
role as producer. I had fared pretty well, and I still feel
that there was enough already made to complete an album.
Much of what David and Roger were to produce was little more
than guitar and voice tracks which any of us could have
supervised. I have referred to 'Opel' and the early versions
of 'Clowns and Jugglers' and 'Golden Hair', both of which
later were re-made, with minor improvements. But I had no
objections at the time. My original ambition had been
fulfilled -- to get Syd back on record. How it was done was
of no objection to me as long as it was done professionally,
so when Dave came to me and said that Syd wanted him and
Roger to do the remaining parts of the album, I acquiesced.
In a sense I was a little apprehensive. Although I had my
office duties (I was still, of course, head of Harvest and
had not relinquished my post acquiring recordings for other
E.M.I. labels), I felt that David in particular had a lot on
his plate (He still had to record major parts for
'Ummagumma'). But I felt that it was very likely that he and
Roger could produce more interesting tracks than I ever
could.

I think here I should correct a fallacy, recorded in Rick
Sanders; excellent book, 'Pink Floyd' (Futura Publications,
1976). In it he states that E.M.I. called a halt to the
album, saying: 'Barrett asked David Gilmour for help.
Gilmour and Waters managed to talk EMI into allowing three
more days in the studio to finish the album.'  In fact, EMI
had agreed that the project should extend into an album
after about the third session, after they had heard rough
mixes of several tracks.

Unknowingly, then, my last studio session with Syd was on
May 4th. From then on, I would act in executive capacity
only.

**************

The rest of the album was done in three sessions, on June
12th and 13th, and a month later, on July 26th. The reason
for the long gap, which Syd found very frustrating, was that
both Dave and Roger were in the studio mixing 'Ummagumma'
*(1) Putting all the sessions together they run thus: 12
June 1969 : Syd Barrett (5 titles) 13 June 1969 : Syd
Barrett (1 title) 17 June 1969 : Mixing Dave's part of
'Ummagumma' 23 June 1969 : Mixing Roger's part of
'Ummagumma' 26 July 1969 : Syd's last session for the album
The additional cause for the delay in the completion of the
album was that the Floyd were on tour in Holland for much of
July.*, so Rick Sanders contention that 'half of 'the Madcap
Laughs' was recorded in a two-day sprint' is largely true.

On June 12th, Dave and Roger supervised the re-making of
'Clowns and Jugglers' (now re-titled 'Octopus') and 'Golden
Hair', plus two new titles 'Dark Globe' and 'Long Gone'. As
I was not present on these sessions I cannot, of course,
describe the atmosphere of the moment or describe how these
tracks were made. But from my session sheet made by the
engineer and producers at the time, this is approximately
what went on.

The first track to be tackled was 'Octopus'. Although this
version was completed to Syd and Dave's satisfaction, it was
shorter than the issued version, running for 2.49 as opposed
to the issued 3.45 version. Only 4 tracks of the 8 were
used, probably two voices and two guitar tracks, all by Syd.
'Octopus' was put to one side and 'Golden Hair' was started
(again!). Syd did 5 takes before a satisfactory one was
completed, and both takes 6 and 7 were more or less
completed, although the files indicate that only take 6 was
satisfactorily completed, running for 1 minute 44 seconds.
Takes 8, 9 and 10 were all false starts, and eventually,
after eleven takes, the master was done! After this, Syd
overdubbed his vocal (the original takes were just his
acoustic guitar) plus the vibes, organ and cymbals of Dave
and Roger (although Roger does not appear on the engineer's
list of producers: Syd and Dave are officially listed) and,
possibly, Rick Wright??  This eleventh take of Golden Hair
(not to mention the many early takes of the original
version!), plus overdubs, is the one that was finally
released. It had been a long time in the making, although I
must say it was well worth the effort. It is one of Syd's
best ever recordings, and I put it on the 'B' side of
'Octopus', later.

The third recording was a second attempt (on that day, that
is), to record a successful take of 'Octopus'. This time,
after another 10 takes, it was the eleventh take of
'Octopus' (the re- make) that constituted the basic track
for the issued version. The song had had a very chequered
career, starting life, in its unissued form, in July, 1968,
continuing with attempts by me to have The Soft Machine
overdub it (3/5/69) and eventually being abandoned in
preference to this remake of June 12th. The modus operandi,
as far as I can tell, was, much as I had done, to have Syd
record guitar and vocal only and to overdub the rest of the
instruments later. Certainly, from the studio notes, it
seems that this was what happened, as the session the next
day (13/6/69) was devoted solely to overdubbing drums,
vocal, bass and electric guitars.

NOTE: I hope that the reader is not, at this point, lost in
the welter of takes, re-takes, re-makes, etc. I suggest that
you refer to the session appendix later in the book and to
the run down of the album and when each track was recorded,
also in the appendix.

Having completed successful takes of 'Golden Hair' and
'Octopus', the next track tackled was a new song, 'Dark
Globe'. Syd obviously was best at ease with songs that he
had not attempted to record too many times, as he completed
this one on the second take. It is, admittedly, only guitar
and voice, but so too were the basic takes for 'Golden Hair'
and 'Octopus' which both took eleven takes to get the same
basic track. I can draw no assumptions from this other than
the general one which -- I had always adopted with Syd,
namely not to keep on with too many attempts at the same
song with no break. 'Long Gone', the next title attempted by
Syd and Dave, didn't work after two takes, and was later
replaced by another attempt. The last song on the session
was another take of 'Dark Globe', probably to see if they
could come up with a better take than the one already
accepted. Strangely, the issued version runs for only 1.57
minutes, while the later, unissued one was as long as 3.15!
*(1) For the observant, the album states the time of the
issued version of 'Dark Globe' as 2.10!  Time it for
yourself!  Maybe there was a false start from take one
intended for use and excluded at the last moment by Syd,
Dave and Roger, which would have added extra time. As I was
not responsible, of course, for this title, this is only
supposition. But it certainly was the first version, not the
second, used.*  I have never heard it but it would be good
to compare it with the short, issued version. Anyway, it was
decided not to use this re-make and to use the one made
earlier in the session.

As stated earlier, the session the next day was a short one,
devoted solely to the overdubbing, onto the previous day's
master of 'Octopus', the bass, drums, lead voice and
electric guitar that completed the issued master. Again, Syd
and Dave are listed as producers, with no mention of Roger
Waters.

The session of June 13th was the last Syd would have for
over a month, as the Floyd had work to do of their own and,
in particular, a tour, during most of July, of Holland. His
final session for the album took place on July 16th, and was
completed pretty much in a hurry!  Titles completed during
that session were 'She Took A Long Cold Look', 'Long Gone'
(the remade, issued version), an attempted re-make of 'Dark
Globe' (Called 'Wouldn't You Miss Me' on the session sheet!)
and the continuous run of 'She Took A Long Cold Look (at
me)' / 'Feel' / 'If It's In You'. Again, I do not know how
the first version on this session of 'She Took A Long Cold
Look' went, but my original reaction, (which I still hold)
was one of disappointment. False starts are O.K. if they
give an insight into the musicianship / artistry of those
present, or even if they present the odd mistake which
everyone is capable of. But when I first heard the false
starts to 'If It's In You' my reaction then, (as now) was
first one of anger that they were left in, and, secondly,
boredom!  Now I hate to wind people up, but the false starts
to the tracks that I had personally supervised were far more
interesting than those left in the final album. They
certainly would have been more of a candid insight to the
atmosphere on the sessions and less detrimental to Syd's
abilities than the ones left in. Those left in show Syd, at
best, as out of tune (which he rarely was) and, at worst, as
out of control (which again, he never was). They are still
my least favourite tracks on the record, in direct contrast
to my favourites which also were Gilmour/Waters productions
('Octopus', 'Golden Hair'). Apart from the overdubbing of
organ onto 'Long Gone', the whole of this session was just
Syd alone, a rather desolate ending to the recording of an
album that took over a year to make, with as much ending up
on the cutting room floor as on the issued album.

It is possibly an indication (contrary to reports) as to the
freedom that Dave, Roger and Syd had, that the album was
completed and mixed with no-one (including myself) knowing
so! So when Syd rang and told me that Dave and Roger had
mixed the tracks they had produced and that they intended to
mix mine too, I knew we finally had an album. The album was
finally assembled into its final running order by Syd and
Dave on October 6th (it had taken over two months to mix,
and Syd was a bit pissed off with the delay, as I was!), and
the next task was to schedule the release date........at
last!!!


_THE SLEEVE:_

The task of designing the album sleeve went to Storm
Thorgorson and Aubrey 'Po' Powell of Hipgnosis, who had
previously done the design for 'A Saucerful Of Secrets'. In
1967 all album graphics were, by tradition, done by the
resident designers in the record companies. The Beatles, at
E.M.I. at least, were probably the first group ever to be
allowed to bring in outside designers, and the Pink Floyd
were the second. Allowing outsiders to do artwork was little
short of a heresy, and complaints such as 'It's the wrong
size for the platemakers' or 'the EMI logo is in the wrong
place' (it had to be placed top left) were offered as the
reason for keeping work within the company. It also allowed
the company, understandably, to keep greater control over
the progress of work. Almost single-handed in Britain,
Hipgnosis managed, by their work for the Floyd and acts on
Harvest that I gave to Hipgnosis at the design stage, to
change the quality of album graphics and put an end to years
of indifferent work. In 1982 it is almost expected that a
group will have a very large say in the design of their
sleeve, or even do (or commission) the work themselves. But
in 1967 it was a very different story!  One day in October
or November I had cause to drop in at Syd's flat on my way
home to leave him a tape of the album, and what I saw gave
me quite a start. In anticipation of the photographic
session for the sleeve, Syd had painted the bare floorboards
of his room orange and purple. Up until then the floor was
bare, with Syd's few possessions mostly on the floor; hi-fi,
guitar, cushions, books and paintings. In fact the room was
much as appears on the original 'Madcap' sleeve. Syd was
well pleased with his days work and I must say it made a
fine setting for the session due to take place.

By the time the artwork was completed it was too late to get
the album pressed and into the shops in time for Christmas
without doing an unprofessional job of work. Then, as now,
it is usually beneficial to pre-sell the album by giving a
salesman a finished sleeve to show to the buyers in the
individual shops. Such a sales aid can double advanced
orders, but tends to delay the release of the record. In the
end a months delay means no lost sales (if someone wants an
album, he will more likely than not still want it a month
later!) but all too often there is pressure from management
and from the artist him or herself to rush the release of
the record. In my experience such actions are rarely likely
to increase sales, usually it is the opposite. Fortunately,
is Syd's case, there was no such pressure and the sales
department scheduled the album for their January supplement,
with our choice of single, 'Octopus' / 'Golden Hair' helping
to pre-sell the album during December. The album is still
available over ten years later, so I think our release plan
didn't to it much harm!

The initial reaction was generally very good, with a
particularly flattering review in the then fledgling 'Time
Out'. Syd was offered a 'live' session by Top Gear, and the
recording was broadcast during late February. Elsewhere
there was precious little airplay either for the single or
for any of the album tracks. Radio was even more charts
oriented than it is today with only a couple of 'rock'
programmes per week, and the initial sales of a couple of
thousand were largely through word of mouth based on Syd's
reputation. I recently found a sales figure sheet dated 27th
February, showing that, in almost two months, 'The Madcap
Laughs' had sold just over 6,000 copies. Not bad! 'Melody
Maker', while not devoting many column inches to the record
gave a fairly enthusiastic review, saying it was 'a fine
album full of madness and lunacy representing the Barrett
mind unleashed'. 'Disc' called it 'an excellent album to
start 1970'.

'Beat Instrumental' gave it a rather strange,
uncomprehending review, putting it in a 'late night'
bracket, and stating that 'Terrapin' comprised vocals,
guitar and washboard'!! Nevertheless it was a good review,
calling it a 'beautiful solo album'. The January 31st
edition of 'Melody Maker' carried an interview with Syd by
Chris Welch, with Syd stating that 'Top Of The Pops' is all
right! and that he had written lots more material. N.M.E.
made the observation that, with the listing of five
engineers, it would have been a nice touch to list the
musicians too. Sad to say that was contractually impossible,
as all the musicians involved were under contract to other
companies, and in the climate of 1970 rival labels were
reluctant to allow their stars to appear on other labels.
This was particularly annoying as it is only fair to list
musicians who have made a significant contribution to an
album. It wasn't possible, though, so their names were left
off. In a sense it added an air of mystery to the whole
affair, but there is no reason why the re-issue double album
could not have rectified the situation. Unfortunately this
was not done and to this day no musician credits appear on
the sleeve.

For my own part, among my usual efforts, I took the time to
write a letter, under an assumed name, to M.M. saying how
great the album was. Dishonest ?  Not really, but I felt I
had to do all I could personally manage to help sell the
record. At the time I had no financial stake, and when the
letter was published I allowed myself a private smile.

All in all, the initial sales and reaction were sufficient
to justify sanctioning a second solo album. The first
session took place as early as 26th Feb., and the following
day Syd made four songs as demos only, in stereo only, not
multi track. They were 'Wolfpack', 'Waving My Arms In The
Air', 'Living Alone' and a track that has since been the
subject of much speculation 'Dylan Blues'. David Gilmour is
credited, on the recording sheet, as having taken the tape
with him at the end of the session. I am sure Syd's fans
would love to hear those four demos to compare them with the
versions released on 'Barrett', but above all, the 'Dylan
Blues' is the most tantalising!  I often wonder if Dave
still has the tape. Still, that's another story!!

************

_SYD_BARRETT_RECORDING_SESSIONS_

Below is a documentation of all Syd Barrett solo recording
sessions for 'The Madcap Laughs'. It includes the 1968
sessions supervised by Peter Jenner, none of which were
issued with the exception of a small part of 'Late Night'
(see the album breakdown on page 17, where details of take
numbers are also listed).


A: _PRODUCED_BY_PETER_JENNER_

6/5/68   Silas Lang : not issued (Later re-titled 'Swan Lee') Late Night ; not issued. Version 1. Probably erased when re-recorded 21/5/68
14/5/68  Rhamadan : not issued Lanky Part 1. not issued Lanky Part 2. not issued Golden Hair version 1. not issued
21/5/68  Late Night version 2. Partly used for L.P. Silas Lang (contd)(note 1) not issued
28/5/68  Golden Hair version 1. Contd. not issued Swan Lee contd. not issued Rhamadan contd. not issued
8/6/68   Swan Lee contd. not issued
20/6/68  Swan Lee contd. not issued Late Night version 2 contd. (see 21/5/68 note) Golden Hair version 1 contd. not issued
20/7/68  Clowns And Jugglers (later re-titled 'Octopus') version 1 (this session produced by Syd alone) not issued


B: _PRODUCED_BY_MALCOLM_JONES_

10/4/69  Swan Lee contd. not issued Clowns And Jugglers version 1 contd. not issued
11/4/69  Opel : not issued Love You version 1 (fast) not issued Love You version 2 (slow) not issued Love You (take 4) issued version (see note 2) It's No Good Trying Terrapin Late Night version 2 contd. Golden Hair version 1 contd. not issued
17/4/69  No Man's Land Here I Go  (with Jerry Shirley, drums, and John 'Willie'

Wilson, bass).

Note 1. When an existing recording from a previous session is continued, for example to overdub vocals, or guitars, etc., I have put 'continued'. This means that the recording in question is not another version.
Note 2. Naturally, any recording _without_ the note 'not issued' is the one which appears on 'Madcap Laughs'.
23/4/69  Rhamadan contd. not issued Motorbike effects. not issued
25/4/69 The following titles were transferred from the original 4 track masters to 8 track tape for overdubs at a later date. No new recording was done other than on 'Love You', but it is included as a session as it is an indication as to the songs that

Syd was planning to continue with, and Syd supervised the copying himself.

It's No Good Trying; Terrapin; Opel; Clowns and Jugglers, Love You, Golden Hair; Late Night; Swan Lee; Love You was overdubbed, but as I was not present at this session I cannot specify what. They were certainly minor additions. Items 1, 2, 5, 7, were issued -- items 3, 4, 6, 8 were not, although items 4, 6 were re- recorded later and issued.
3/5/69   Love You contd. It's No Good Trying, contd Clowns And Jugglers contd not issued Note: on this session, the Soft Machine (Mike Ratledge, keyboards; Robert Wyatt, drums; Hugh Hopper, bass) overdubbed backings.
4/5/69   It's No Good Trying, contd. Terrapin contd. No Mans Land contd


C: _PRODUCED_BY_DAVE_GILMOUR_AND_ROGER WATERS_

12/6/69  Octopus version 2. not issued (for clarification, see note 1) Golden Hair version 2. (note 2) Octopus version 3  (Note 3) Dark Globe version 1 (issued) Long Gone version 1 not issued Dark Globe version 2 not issued
Note: the recording sheet lists Syd and Dave Gilmour as producers, with no reference to Roger Waters.
Note 1. 'OCTOPUS' (also known as 'Clowns and Jugglers' in its early versions). Syd made this song on two separate occasions. Syd produced the original backing track to the first version (20/7/68) which I overdubbed with the Soft Machine (3/5/69). This version was never issued and the version made on this session (12/6/69), produced by Dave Gilmour, is the issued one. In fact, Octopus was attempted twice on this session. The first, producing two complete takes, was abandoned, and after 'Golden Hair' was successfully completed, Syd had another go at 'Octopus', this time making the successful version that was issued on the album. In all, then, there were four completed versions of the song!  Syd started one which I completed (vocals, and later, the Soft Machine), and Dave Gilmour made two versions (three takes), making four in all.
Note 2: for clarity, this is the issued version
Note 3; for clarity, this is the issued version
13/6/69  Octopus version 3 contd.
26/7/69  She Took A Long Cold Look, version 1, not issued Long Gone, version 2 Wouldn't You Miss Me (incorrect announcement for Dark Globe re-make, version 3) not issued

She Took A Long Cold Look, version 2 Feel If It's In You


_MIXING_SESSIONS_FROM_MULTITRACK_TO_STEREO_MASTER_

The mixing of the album was accomplished in two days, in a
total of three sessions by Dave Gilmour and Roger Waters.
Long Gone, She Took A Long Cold Look, Feel, If It's In You
and Octopus were all mixed in a morning session on August
5th by Dave and Roger.

Golden Hair, Dark Globe and Terrapin were mixed in a similar
three hour session in the afternoon of the same day. The
remaining tracks, all my productions, were mixed by Dave
alone on September 16th. The splicing together of the album,
including the sequencing of the running order, was done by
Dave and Syd on October 6th.


"_THE_MADCAP_LAUGHS_"

What follows is a rundown, track by track, of the album as
it finally appeared, listing the recording dates of the
tracks that were finally used. Alternative recorded
versions, takes, etc., appear elsewhere in the booklet.

* Produced by the author ** ditto, with assistance from Peter Jenner. Ta!

_SIDE_ONE_
* 1. TERRAPIN April 11th '69 take 1. Guitar and voice (both double tracked)
May 4th '69.  Lead guitar overdubbed.
* 2. NO GOOD TRYING April 11th '69 take 3. Guitar and voice May 3rd., '69  Organ, bass, drums overdubbed (Soft Machine) May 4th., '69  Syd's backwards guitar part overdubbed.
* 3. LOVE YOU April 11th '69 take 4. Guitar and voice May 3rd '69    Piano, bass, drums, overdubbed (Soft Machine)
* 4. NO MANS LAND April 17th '69  take 5. Syd, plus Jerry Shirley, drums, John 'Willie' Wilson, bass. (Bass, vocals re-made later on same session) May 4th '69     Syd overdubbed lead guitar.
5. DARK GLOBE June 12th '69  take 2 Guitar and voice.
* 6. HERE I GO April 17th '69  take 5  Syd, voice / guitar plus Jerry Shirley, drums, John 'Willie' Wilson, bass. Recorded 'live'.

_SIDE_TWO_
1. OCTOPUS June 12th '69 take 11. Guitar and voice June 13th '69 elec. gtr., bass, drums overdubbed (Shirley, Gilmour, Syd,)
2. GOLDEN HAIR June 12th '69 take 11. Guitar, voice. Vocal, vibes, organ, cymbals overdubbed after (Rick Wright? plus unknown cymbals, maybe Shirley ?)
3. LONG GONE July 26th '69 take 1  Guitar and voice. Organ overdubbed later with second vocal.
4. SHE TOOK A LONG COLD LOOK July 26th '69 take 5  Guitar and voice.
5. FEEL July 26th '69 take 1  Guitar and voice
6. IF IT'S IN YOU July 26th '69 take 5  Guitar and voice
**7. LATE NIGHT May 21st '68    take 2 Backing track; (unknown musicians) April 11th '69  Vocals and guitar overdubbed.

_PINK_FLOYD_RECORDINGS_1967/8_
E.M.I., "the greatest recording organisation in the world",
had the most comprehensive and sophisticated studios in
London at the time, having been responsible for a massive
proportion of British-made pop hits (and classics) of the
last thirty years. I have referred elsewhere to the
impressive technical back-up that Abbey Road studios offer
to artists recording there and the Fort- Knox like tape
library facilities are as impressive. Tapes and sessions
were filed and cross indexed, originally on 'Artists cards',
today on microfilm. Below is a listing of Pink Floyd masters
originally held at Abbey Road or at various other locations
in and around London. I stress 'originally' because many of
the 4 and 8 track masters have probably been disposed of
once acceptable mono and stereo mixes had been completed. As
most of the recordings listed below were made before I
joined E.M.I. I cannot specify with any degree of accuracy
which tapes are the ones released and which are alternate,
unissued takes. I have given as many guidelines as possible
to allow the reader to judge for himself which are the
released versions, and comparison with the gig sheets will
probably be helpful.

In 1967 the EMI studios were 4 track. For the uninitiated,
that means that artists were able to record four instruments
or groups of instruments completely independently, either
together or at separate times, and to combine them in
whatever sound balance was desirable at a later date. Any
track, or group of tracks, could be re-recorded while
leaving the others intact. A backing track could be
recorded, say on two tracks, while the remaining two could
be reserved for several attempts later for lead vocal and,
say, guitar solo. Today, 24 and 32 tracks are more common,
although 'Sgt Pepper' was done on 4!!

If more than 4 tracks were required, then once four had been
filled they could be mixed together onto a second machine,
either onto one track leaving three empty ones, or in
stereo, allowing two more tracks to be completed. This was
known as a "four to four" or 4 -- 4, and the Beatles
certainly used this for 'Sgt Pepper'. It was possible to do
this a couple of times without any significant loss of tape
quality, and it follows that in this process several 4 track
masters would accumulate. The reader should not assume,
therefore, that when a title appears several times on 4
track tapes that there are several different versions of the
same song. A later tape is most likely a continuation of the
same recording, representing later overdubs onto the same
original take.

I would like to amplify the point made earlier that the
majority of 4 track masters will, by now, have been disposed
of. Multi-track masters on inch wide tape are extremely
bulky to store, and very costly at that. Once a stereo mix
was done, a period of time was waited and the four track
tapes were erased. In some cases, such as the Beatles, they
were retained, and maybe some later Floyd tapes were kept
also, but it is unlikely. 4 track tapes were originally kept
for future quad releases, but in view of the demise of that
medium it is unlikely any still exist. Please do not write
to EMI asking them to issue titles you see here. They almost
certainly no longer exist, and what the Floyd rejected then
would still today meet with the same rejection!

EMI did not work on a 'matrix' or 'master' number system in
the studios. Matrix numbers, as the term implies, were used
at the factory level to identify stampers for issued
records. And in view of the huge amounts of
approved-for-release 'masters', they were identified, not
individually, but by the composite reel on which they
appeared. Anyone wishing to locate, say, 'Shaking All Over'
by Johnny Kidd would locate the tape reel under 'K' and,
when the reel was in their hand, it would be easy to locate
the title desired. In this manner EMI kept the numbering
system to a quarter of what it otherwise could have been. If
more than one take was retained on this master reel then the
approved master was identified.

On every recording session the tape operator (as opposed to
the balance engineer who was his 'superior') would note
down, not only on the tape box but also on a 'Recording
Sheet' details of each title recorded, which takes were
false starts, which takes were completed, which takes were
approved and which, eventually, was the agreed 'master'. It
is these sheets which, as producer for Syd, I kept and have
used for the section relating to 'The Madcap Laughs'. Before
each session commenced there would be an ample quantity of
recording tape, each with a sticker identifying what was,
for the moment, blank tape, with a number. This 'reel
number' was eventually used to identify the tape in the
library, and generally those were used in numerical
sequence. Occasionally, of course, they would be used a
little out of sequence, and it is therefore important that
the reader does not assume that any tape with a lower number
than another was necessarily recorded first, although in
most cases that was true. For example: tape numbers 63934
and 63951 both relate to the session dated 11.4.67. 4 and 8
track tapes are shown generally as 4T and 8T. Without this a
tape can be assumed to be stereo, or rarely, in the Pink
Floyd's case, mono.

Generally speaking, the dates noted are the dates of the
actual session. Finished tapes were left for collection by
the library staff who generally did this each day. EMI was
reluctant, with so much valuable material lying around and
so many unknown visitors, to leave masters in studio racks.
When the tape arrived at the library it was logged with the
date with a cross check against the session details. As
there was also a session sheet it can be relied on as
accurate for 99.9% of the time. Sometimes a tape, completed
at, say, 2 in the morning after the library was locked up
for the night, would be left in the studio, especially if it
was required for further work on the next day. But even
then, the library would enter into their files the date on
either the tape box itself or on the recording sheet. One
exception, for example, is 'Corporal Clegg'. The 4 track
master was filed on 7/2/68 whereas the stereo mix from that
tape was dated earlier, on 31/1/68 and 1/2/68.

Finally, I must emphasise that this is only a listing of
tapes filed, and not of sessions. As the two coincide it may
be assumed that for the greater part it is a session listing
also. HOWEVER -- when work was done on an existing tape, no
new tape would be resultant and therefore the tape library
would not list it. I am, 'though, fairly sure that most
Floyd sessions resulted in at least one new tape being
recorded and therefore logged into the library. With the
exception of the odd overdub onto an existing 4 track master
I feel fairly sure that all that was handed into the library
did, indeed, represent a Pink Floyd studio session. Thanks,
Abbey Road, you're the B E S T !!!


_PINK_FLOYD_MASTERS_1967-1968_

Several early Pink Floyd masters were made, not at EMI, but
at Sound Techniques Studios in Chelsea. Arnold Layne / Candy
and A Currant Bun were certainly recorded there, and Rick
Wright, in 'Beat Instrumental' of September 1967 stated that
'See Emily Play' was also made there. It also seems that all
recordings up to the middle of March may have been made
outside Abbey Road.

21-22/2/67 Matildas Mother                  63417-4T     (note 1)

23/2/67    Matildas Mother                  63409        (note 2)

27/2/67    Candy And A Currant Bun                       (note 3) Arnold Layne (2 takes)           7XCA 27877   (note 4) Chapter 24                       63428-4T Interstellar Overdrive           63429-4T

1/3/67     Chapter 24                       63424 Interstellar Overdrive

15/3/67    Chapter 24                       63667-4T Interstellar Overdrive (short version)
16/3/67    Interstellar Overdrive (short version)    63669-4T Flame
20/3/67    Take Up Thy Stethoscope          63673-4T The Gnome
20/3/67    Take Up Thy Stethoscope          63676-4T The Scarecrow Power Toc H
21/3/67    Power Toc H                      67678-4T
22/3/67    Interstellar Overdrive           63672
29/3/67    The Gnome                        63692 Power Toc H The Scarecrow Take Up Thy Stethoscope and walk
11/4/67    Astronomy Domine                 63934-4T
11/4/67    Astronomy Domine                 63935-4T
11/4/67    Percy the Ratcatcher             63951-4T
17/4/67    Astronomy Domine                 63952
18/4/67    Astronomy Domine                 63953
18/4/67    She Was a Millionaire            63954-4T Lucifer Sam (originally called Percy the Ratcatcher)
Note (1) Titles here are as they appear in the original files, not as they became on release.
Note (2) Tape numbers with no 4T suffix are stereo or mono mixdowns.
Note (3) Not issued. There is no tape number in the files. Without definite information it is impossible to state categorically which of the above tapes are different takes of the same title or simply continued progress on the same basic recording. I have refrained from guessing!
18/4/67    Lucifer Sam                      63955-4T Crossfades with Interstellar Overdrive and the Bike Song (Note 1)
21/5/67    The Bike Song                    64402-4T
23/5/67    See Emily Play  (Note 2)         7XCA 30214
1/6/67     Lucifer Sam                      64571 The Bike Song
5/6/67     Chapter 24                       63956
7/6/67     Matilda's Mother                 64532-4T Chapter 24 Flaming
27/6/67    Flaming                          65057-4T
29/6/67    The Bike Song                    65094 Flaming Matilda Mother (correct title used for first time) Wondering and Dreaming (most likely Matilda Mother) Sunshine Lucifer Sam
3/7/67     The Bike Song                    63956 (same reel Interstellar Overdrive                   as 5/6/67)
5/7/67     Astronomy Domine                 64109 Lucifer Sam
13/7/67    The original running order for 'Piper At the Gates of Dawn' is partly indicated by the library notation for the assembled album, done on July 13th. The library card indicated "Side One -- Astronomy Domine etc. -- 5 titles (there were 6) Side Two -- Take Up Thy Stethoscope etc -- 5 titles."  Interstellar Overdrive, not Take up.. was the eventual opener for side two, and another, unspecified title was added to side one to make up six songs. The library card places the L.P. matrix numbers against the above tape, although the one that follows (18/7/67) is the correct running order, and therefore the true L.P. master.
18/7/67    Interstellar Overdrive, The Gnome, Chapter 24, The Scarecrow, Bike              64925
18/7/67    Astronomy Domine, Lucifer Sam, Matilda's Mother, Power

Toc H, Take Up Thy Stethoscope, Flaming.  65106 (Flaming was eventually put as track 4, moving Pow R Toc H and Take Up Thy Stethoscope down one slot each).

Note (1) As the titles do not appear together on the album, it can be assumed that these crossfades to join the two were abandoned. It is interesting, though, to have an idea of the original sequencing of 'Piper'.
Note (2) The lack of a 4 track master for this confirms Rick Wright's contention that this track, unlike others at this time, was made at Sound Techniques on May 21st and delivered to EMI May

23rd.
7/8/67     Scream Thy Last Scream (Note 1)  65464-4T Set The Controls For The Heart Of The Sun
24/10/67   Jugband Blues (see note overleaf for 9/5/68) Remember A Day (Note 2) (see note overleaf for 9/5/68)

30/10/67   Apples and Oranges               66462-4T

30/10/67   Apples and Oranges               66463-4T

1/11/67    Apples and Oranges (not master)  66464 Paintbox                         7XCA 30454 Apples and Oranges (note 3)      7XCA 30453
1/11/67    Untitled                         66409-4T
1/11/67    Untitled                         66461-4T Apples and Oranges
2/11/67    Untitled                         66460-4T
2/11/67    Paintbox                         66563-4T
15/11/67   Apples and Oranges               66771 (stereo) Paintbox
18/1/68    Let There Be More Light          67242-4T Rhythm tracks                    67243-4T
24-25/1/68  The Most Boring Song I've Ever Heard 67378-4T Bar Two (later re-titled See Saw)
31/1/68    The Most Boring Song I've Ever Heard 67449-4T Bar Two
31/1/68    Corporal Clegg                   67450-4T
1/2/68     Corporal Clegg                   67451
7/2/68     Corporal Clegg                   67509-4T
12/2/68    Corporal Clegg                   67371-4T The Boppin' Sound It Should Be So Nice Doreen's Dream (re-titled Julia's Dream) Richard's Rave Up Doreen's Dream (re-titled Julia's Dream)
13/2/68    Doreen's Dream (  "   "     "       "  ) Corporal Clegg                   67375-4T
13/2/68    The Boppin' Sound                67374 (4 track to It Should be So Nice                         mono) Doreen Dream (re-titled Julia's Dream)
15/2/68    Corporal Clegg                   67544 (4 track to Set The Controls For The Heart Of The Sun    mono)
Note (1) The version I have heard of this, to my ears, seems not to feature Syd on lead vocal, although he does seem to sing a line some way into the song.
Note (2) There is no 4 track tape under this title; it is possible that it is 'Sunshine' (see 29/6/67), left over from the first album. This tape seems to be the projected, but canceled, single, replaced by Apples & Oranges.
Note (3) The issued single
5/3/68     It Would Be So Nice                  67818-4T
13/3/68    It Would Be So Nice                  68025-4T
21/3/68    It Would Be So Nice                  68044-4T It Would Be So Nice                  7XCA 32056
23/3/68    Julia Dream                          7XCA 32057
5/4/68     Nick's Boogie 1st, 2nd and 3rd Movt. 68268-4T
10/4/68    Nick's Boogie 1st, 2nd movt.        68241
68286
23/4/68    Set The Controls For The Heart Of The Sun Let There Be More Light              68399 Nick's Boogie 3rd Movt (transferred to tape 68552, below)

22/4/68    The Most Boring Song etc (See Saw)   68519
23/4/68    Set The Controls For The Heart Of The Sun
24/4/68    Nick's Boogie 1st, 2nd and 3rd movts.68552 (note 1)
26/4/68    Set The Controls For The Heart Of The Sun See Saw                              68562 (stereo)
26/4/68    Let There Be More Light              68563 (stereo)
30/4/68    Corporal Clegg                       68569 (stereo) Nick's Boogie (see note 1; this must have been intended to replace the mix of 24/4/68)
2/5/68     Let There Be More Light              68574 (stereo) (presumably this stereo mix replaced that of 26/4/68) Set The Controls
3/5/68     See Saw                              68576
5/5/68     In The Beechwoods                    68409-4T No Title Vegetable Man Instrumental                         68410-4T In The Beechwoods
6/5/68     Untitled                             68411-4T
The above titles seem to have been recorded at Sound Techniques (i.e. those recorded on June 5th and 6th.)
Note (1) This track is noted in the files as having been cut out and inserted into the album master. As Nick Mason wrote none of the songs (at least, according to the record itself), it is possible that this was excluded from the album or included, under another title, with credit to another member of the group as the true composer.
9/5/68     The following session possibly took place outside Abbey Road, probably at Sound Techniques. My reasons for this assumption are as follows. The 4 track masters are on 1/2 inch tape, which EMI did not use. Secondly, Jug Band Blues was filed in mono on 24/10/67, although there was no previous record in the files of a 4 track tape. It is likely, therefore, that the mono mix was received at EMI (originally for single release) and that the 4 track followed later on this master reel the following May. There was similarly no 4 track for 'Remember A Day', although, _if_ this was re-titled from the original title of 'Sunshine', there was a 4 track. 

           Remember A Day              68412-4T 1/2 inch

           Remember A Day              68413 4T 1/2 inch

           Jug Band Blues
           Vegetable Man
           Vegetable Man               68414-4T 1/2 inch
           Remember A Day
 
           Jug Band Blues              68415-4T 1/2 inch

           John Latham                 68416-4T 1/2 inch

 
           Remember A Day (mono re-mix) not used 
           Jug Band Blues (used for mono L.P.)  68417 
           Remember A Day (reject mono mix)     68418 
 
           Remember A Day (mono L.P. mix) 
           Jug Band Blues (stereo mix) 
           Remember A Day (stereo L.P. mix) 
 
15/5/68    'A Saucerful Of Secrets' assembled mono L.P. from 
           previous mono mixes 
 
16/5/68    'A Saucerful Of Secrets' assembled stereo L.P. from 
           previous mixes 
 
Syd Barrett does not appear on many of the above titles,
although his original contributions may have been replaced.
He certainly appears on Jug Band Blues and Remember A Day.
He has been variously credited with playing on 'Let There Be
More Light', 'Corporal Clegg' (both of which seem unlikely),
Set The Controls, (recorded originally shortly after the
release of 'Piper' and there is no trace in the files of a
later multi-track tape to replace the original). This latter
track seems most likely, looking at the date of its first
recording, to have featured Syd, although aurally it seems
unlikely. Rick Sanders also states that Syd is on See Saw,
which is, at least, in the style of Syd's early Floyd
material.

Syd officially left the Floyd in early April, 1968, although
relations with the rest of the group had been strained for
six months or so. He did not appear on It Would Be So Nice,
recorded in early March, and it is fairly safe to assume he
did not record with them after that. This would rule out his
playing on any tracks commenced after that date; 
.................the difficult tracks are those filed with
dates of 5/5/68. Syd certainly sang on Vegetable Man. As
they were probably recorded at Sound Techniques the date of
5/5/68 may simply refer to the date when EMI received them,
indicating an earlier recording date. With no more reliable
information, the individual listener must use his own aural
judgement!
 
 
_PINK_FLOYD_DATE_SHEETS_ 
 
_1966_ 
  Sept 30th London free school 
  Oct 14    All Saints' Hall, London 
  Oct 15    International times launch party 
  Oct 23    All Saints' Hall 
  Oct 29    All Saints' Hall 
  Oct 31    Demo session -- Thompson Recording Ltd. 
  Nov 4     All Saints' 
  Nov 5     Wilton Hall, Bletchley 
  Nov 8     All Saints' 
  Nov 15    All Saints' 
  Nov 18    Hernsey Art College 
  Nov 19    Canterbury tech. 
  Nov 22    All Saints 
  Nov 29    All Saints 
  Dec 3     Roundhouse (anti Ian Smith gig) 
  Dec 9     Marquee 
  Dec 12    Albert Hall Oxfam charity gig 
  Dec 22    Marquee 
  Dec 23    UFO club, London, plus Roundhouse all nighter 
  Dec 24    UFO 
  Dec 29    Marquee 
  Dec 31    Roundhouse all nighter 
 
_1967_ 
  Jan 5     Marquee 
  Jan 6     Seymour Hall 'freakout' 
  Jan 8     Upper Cut, Forest Gate 
  Jan 9     Rehearsal 
  Jan 11    Sound techniques studio (see note 1) 
  Jan 13    UFO 
  Jan 14    Reading University 
  Jan 16    ICA 
  Jan 17    Commonwealth Institute 
  Jan 19    Marquee 
  Jan 20    UFO 
  Jan 21    Birdcage, Portsmouth 
  Jan 22    Rehearsal 
  Jan 23-25 Sound Techniques Studio (see note 1) 
  Jan 26    Rehearsal 
  Jan 27    UFO 
  Jan 28    Essex University 
  Jan 29    Sound Techniques 
  Jan 30    Photo rehearsal (this probably means photo session 
                              and music rehearsal!) 
  Jan 31    Sound Techniques Studio 
 
Notes: 1) The date on the EMI tape library card gives Feb
21st as the first date allocated to any masters. The date
for Arnold Layne, then, generally given as 27/2/67 may well
be the date EMI logged the master, and this may not be the
actual date of recording. Nick Mason's sheet gives 21/2/67
as 'EMI' (studios) and in all 6 days were spent at Sound
Techniques before 27/2/67!!

The above information comes courtesy of Bernard White, Nick
Mason, with occasional help from the salutory work of Rick
Sanders ('Pink Floyd' -- Futura)
 
  Feb 1     Sound Techniques 
  Feb 2     Cadenna's, Gu[i]ldford 
  Feb 3     Queen's Hall, Leeds 
  Feb 6     'Jackie' photo session 
  Feb 7     'Fabulous' photo session 
  Feb 8     Rehearsal 
  Feb 9     Addington Hotel, Croydon 
  Feb 10    Leicester 
  Feb 11    Sussex University 
  Feb 13    Photo Session 
  Feb 16    Southampton Guildhall 
  Feb 17    Cambridge Dorothy Ballroom 
  Feb 18    California Ballroom, Dunstable 
  Feb 20    West Bromwich Adelphi Ballroom 
  Feb 21    E.M.I. (probably an Abbey Road session, to record 'Matilda Mother' their first EMI session). Feb 27th is usually the date given for the 'Arnold Layne' session at Sound Techniques studio. I suspect in view of the fact that already 6 days had been spent in the studio that this is erroneous (the date comes from the EMI files) and that this is the date when EMI _received_ the tape from Sound Techniques. It was probably recorded earlier in the month. The date of Feb 27th does not appear on Nick Mason's sheet at all.
  Feb 28    Blaises, London 
  March 1   Eel Pie Island 
  March 2   Worthing 
  Mar 3     St Albans and UFO 
  Mar 4     Regent St Poly (Rag Ball) 
  Mar 5     Saville Theatre, London 
  Mar 6     Granada T.V., Manchester 
  Mar 7     Malvern 
  Mar 9     Marquee 
  Mar 10    UFO 
  Mar 11    Canterbury 
  Mar 12    Camberley 
  Mar 14, 15, 16 (Mar 14 not noted in EMI files) 
  Mar 17    Kingston Tech 
  Mar 18    Enfield 
  Mar 19 -- 22 (Mar 19 not noted in EMI files). 
  Mar 23    Rotherham 
  Mar 24    Ric Tic Club, Hounslow 
  Mar 25    Windsor 
  Mar 26    Bognor Regis 
  Mar 26/7  EMI. The Bognor date may have meant the cancelling of the Mar 26 EMI date. 
  Mar 28    Bristol 
  Mar 29    Eel Pie Island 
  Mar 30    Ross-on-Wye 
  April 1   EMI reception; Portsmouth Birdcage 
  April 3   BBC (Mon-Thurs) 
  April 6   Salisbury 
  April 7   Belfast 
  April 8   Bishops Stortford; Roundhouse 
  April 9   Nottingham 
  April 10  Bath 
  April 11  EMI 
  April 12  EMI 
  April 13  Tilbury 
  April 15  Brighton 
  April 16  Bethnal Green 
  April 17, 18 EMI 
  April 19  Bromley 
  April 20  Barnstable 
  April 21  Greenford; UFO 
  April 22  Rugby 
  April 23  Crawley Starlite 
  April 24  Ealing Feathers 
  April 25  Oxford 
  April 28  Stockport 
  April 29  Holland Ally Pally 
  April 30  Huddersfield 
 
  May 3     Ainsdale (Southport) 
  May 4     Coventry 
  May 6     Leeds Kitson Hall 
  May 7     Sheffield 
  May 12    Queen Elizabeth Hall, London ('Games For May') 
  May 13    Hinkley 
  May 14    BBC Look of the Week 
  May 18    Sound Techniques studio 
  May 19    Newcastle 
  May 20    Southport 
  May 21    Sound Techniques; Brighton 
  May 23    High Wycombe
  May 25    Abergavenny 
  May 26    Blackpool 
  May 27    Nantwich 
  May 28    Spalding 
  
'See Emily Play' recorded May 21 and delivered to EMI on May 23rd
  June 2    UFO 
  June 9    Hull 
  June 10   Lowestoft; UFO 
  June 13   Ealing 
  June 16   Tiles 
  June 17   Margate 
  June 18   Brands Hatch 
  June 20   Oxford 
  June 21   Bolton 
  June 22   Bradford 
  June 23   Derby 
  June 24   Bedford 
  June 26   Coventry / Warwick University ?
  June 28   Eel Pie Island. 
  
  July 1    Birmingham, Swan (Yardley) 
  July 2    Birmingham Civic Hall 
  July 3    Bath ? 
  July 5    Eel Pie Island 
  July 6    Top Of The Pops recording 
  July 7    Portsmouth 
  July 8    Norwich Memorial Hall 
  July 9    Roundhouse (BBC TV) 
  July 15   Stowmarket 
  July 16   Redcar 
  July 17   ITV recording 
  July 18   Isle of Man 
  July 19   Great Yarmouth (Floral Hall) 
  July 20   Elgin
  July 21   Nairn 
  July 22   Aberdeen 
  July 23   Carlisle (Cosmopolitan Ballroom) 
  July 27   Top Of The Pops 
  July 28   BBC Saturday Club 
  July 29   Dereham / Ally Pally 
  July 31   Torquay 
 
  August 1, 2   German T.V. 
  August 7, 8,  EMI 
  August 15, 16 Sound Techniques Studio 
 
  September 1 Roundhouse 
  Sept 2    UFO 
  Sept 5,6, Sound Techniques 
  Sept 9    Copenhagen (press) 
  Sept 10   Copenhagen Star Club 
  Sept 11   Copenhagen 
  Sept 12   Arhus ? 
  Sept 13   Stockholm 
  Sept 15   Belfast, Starlight Ballroom 
  Sept 16   Ballymena, Flamingo 
  Sept 17   Cork, Arcadia Ballroom 
  Sept 21   Worthing 
  Sept 22   Tiles 
  Sept 23   Chelmsford Corn Exchange 
  Sept 27   Leicester 5th Dimension 
  Sept 28   Hull, Skyline Club 
  Sept 30   Nelson, Imperial Club 
 
  October 1 Saville Theatre 
  Oct 2     Photo session 
  Oct 5, 6  Sound Techniques Studio / Brighton 
  Oct 7     Bristol Victoria Rooms 
  Oct 9-12  EMI (may have been cancelled) 
  Oct 12    Rotterdam 
  Oct 13    Weymouth Pavilion 
  Oct 14    Bedford, Caesars 
  Oct 16 or 17 Bath Pavilion 
  Oct 20,21 De Lane Lea studios 
  Oct 22    York 
 
For the rest of October the Floyd were in the USA
on their first tour. 
 
  November 12 Rotterdam 
  Nov 14    Royal Albert Hall (with Hendrix, Move, Amen Corner) 
  Nov 15    Bournemouth, as above 
  Nov 16    Sheffield, as above 
 
  December 9 Oz (magazine interview) 
  Dec 13    Redruth 
  Dec 14    Bournemouth 
  Dec 15    Middle Earth 
  Dec 16    Ritz; Birmingham 
  Dec 17    BBC 
  Dec 20    Top Gear 
  Dec 21    Speakeasy 
  Dec 22    Olympia Christmas Show 
 
_1968_ 
 
  Jan 8,9,  Rehearsals 
  Jan 10,11 EMI 
  Jan 12    Aston University 
  Jan 13    Weston-super-mare 
  Jan 15,16 Rehearsals 
  Jan 17,18 EMI 
 
  February 1 EMI ('Corporal Clegg')
  Feb 6     Rehearsals 
  Feb 10    Nelson 
  Feb 11    Top Gear, BBC. 
  Feb 16    Pontypool 
  Feb 17    Pushing 
  Feb 18,19 Brussels TV (Dave Gilmour now with the group 
             announcement) 
  Feb 20,21 Paris TV 
 
  March 4   Vanessa Redgrave party! 
  March 5   EMI ('It Would Be So Nice') 
  March 9   Manchester Tech 
  March 12  EMI 
  March 14  Belfast 
  March 16  Hampton Court / Middle Earth 
  March 17  Belgium 
 
  April 1,2 EMI
   
April 6. Syd's departure from the Floyd was announced around
this time, although it is likely that he did not participate
in most of the activities on this page to any great extent.
I have overlapped on this date sheet in the same manner as I
did on the recording session files for much the same
reasons. Some of the tapes with dates as late as May, such
as those recorded some time before at Sound Techniques but
not delivered until much later, did feature Syd. They were
probably called for by EMI so that they could get hold of
Jugband Blues which was needed for 'Saucer', being assembled
in the running order for release the next month (June).

I have refrained from making notes in this date sheet
linking recording dates with the EMI files. In leaving this
to the reader I will suggest that, when a studio other than
EMI is listed and no date appears in the session file, then
if a date follows shortly after in the session lists, it may
be supposed that these are the titles, if any, recorded. It
is always a possibility, that studio dates listed in this
date sheet could have been cancelled in order to fulfil an
important club booking, and the studio dates replaced later!
(signed) Malcolm Jones
 
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SONGS WORDS BARRETT HOP!