WORDSTORIES
BARRETT HOP!

(from eArHeAd!)

information about the lyrics


A               B               C

D               E               F               G

H               I               J

K               L               M               N

O               P               R

S               T               V               W




*A*

"Apples and Oranges" -The Pink Floyd- 11/18/1967 Single3 '67 A, (Box)

It's unlike anything we've done before. It's a new sound. Got a lot of guitar in it. It's a happy song, and it's got a touch of Christmas. It's about a girl who I just saw walking round town, in Richmond. The 'apples and oranges' bit is the refrain in the middle.

-- Syd Barrett, Melody Maker, December 1967.


When staying with Lyndsey [Korner], ... [Syd] would spend much of his time simply wandering the streets window-shopping and meandering along the banks of the Thames. One day he noticed an attractive young woman doing her shopping and decided to follow her. He trailed her for hours, finally ending up at the duck pond a short bus ride away on Barned Common. Syd's recollection of this afternoon's light stalking became Apples and Oranges....

-- Cliff "Syd's-Blind-From-Diabetes" Jones, "Wish You Were Here", 1996.


"Arnold Layne" -The Pink Floyd- Jan 1967 on "Relics", "Works", Single1 '67 A

"Arnold Layne" -The Pink Floyd- Sept 16, 1967

The first manifestation of Barrett's songwriting talents was a bizarre little classic called 'Arnold Layne'. A sinister piece of vaguely commercial fare, it dealt with the twilight wanderings of a transvestite/pervert figure and is both whimsical and singularly creepy.

[and quoting David Gilmour speaking about Syd Barrett]

"It wasn't just the drugs, we'd both done acid before the whole Floyd thing, it's just a mental foible which grew out of all proportion. I remember all sorts of strange things happening - at one point he was wearing lipstick, dressing in high heels, and believing he had homosexual tendencies...."

-- Nick Kent, New Musical Express, 1974.


"Syd, why did you write such a dirty, filthy smutty immoral and degrading song as "Arnold Layne"?

Syd blinked blankly: "Well I just wrote it. I thought "Arnold Layne" was a nice name, and it fitted very well into the music I had already composed".

"But isn't it true," said I, "that Radio London, quite rightly, banned the record because they thought it was "smutty"?"

Instead of reeling into the wardrobe and revealing a cupboard full of feminine clobber, Syd began to explain : "I was at Cambridge at the time. I started to write the song. I pinched the line about "moonshine washing line" from Rog, our bass guitarist - because he has an enormous washing line in the back of his house. Then I thought, "Arnold must have a hobby", and it went on from there. "Arnold Layne" just happens to dig dressing up in women's clothing. A lot of people do - so let's face up to reality. About the only other lyric anybody could object to, is the bit about, "It takes two to know" and there's nothing "smutty" about that!"

-- unknown author interviewing Pink Floyd, "Freaking Out With the Pink Floyd", Terrapin #12, Oct 1974


Roger Waters' mother noticed that washing, particularly underwear belonging to her female lodgers, kept vanishing from her line during the night. The Cambridge Knicker Snatcher became the cause of much local gossip and Roger would keep Syd abreast of events as more laundry disappeared from his garden. Amused, Syd began work on a song about the story. It took him three weeks to perfect during frequent train journeys between London and Cambridge....

-- Jones, "Wish You Were Here".


'Arnold Layne' was a true story from the group's Cambridge days. "Both my mother and Syd's had students as lodgers because there was a girl's college up the road," says Waters. "So there were constantly great lines of bras and knickers on our washing lines. Arnold, or whoever he was, took bits and pieces off the washing lines."

-- Mike Watkinson & Pete Anderson, "Crazy Diamond: Syd Barrett & the Dawn of Pink Floyd", edited by Chris Charlesworth, Omnibus Press, 2001; p. 51


Roger Waters says, 'Both my mother and Syd's mother had students as lodgers because there was a girl's college up the road so there was constantly great lines of bras and knickers on our washing lines.' In one curious incident, the bras and knickers that hung on the washing lines in the Barrett's garden proved irresistable to a local underwear fetishist. This character, whom Barrett would later immortalise in song as Arnold Layne, made off with many of poor nursing students' undergarments, presumably to indulge his fantasies. 'Arnold or whoever he was, had bits and pieces off our washing lines. They never caught him. He stopped doing it after a bit, when things got too hot for him.' 'I was in Cambridge at the time I started to write the song,' Syd Barrett told *Melody Maker*. 'I pinched the line about "moonshine washing line" from Roger because he had an enormous washing line in the back garden of his house. Then I thought "Arnold must have a hobby" and it went on from there. Arnold Layne just happened to dig dressing up in women's clothing.'

-- Julian Palacios, "Lost in the Woods: Syd Barrett and the Pink Floyd," Boxtree, 1998; p. 27.


Syd's eccentricity also surfaced from time to time such as when he appeared before [Ronnie] Salmon in the foyer [of Chelsea Cloisters] wearing a dress, his head newly shaven. "He had on a Crombie coat with a dress underneath and a pair of plimsoils. I ran after him because I couldn't believe what I'd seen, and there he was walking down Sloane Avenue." Syd had brought 'Arnold Layne' to life and the disarming display no doubt appealed to his creator's dark sense of humour.

-- Watkinson/Anderson, Crazy Diamond, p. 118.

"Astronomy Domine" -The Pink Floyd- Sept 16, 1967

"Astronomy Domine" -The Pink Floyd- on "Piper at the Gates of Dawn"

(A voice, apparently Peter Jenner through a megaphone, precedes the lyrics with these spoken words:)

"All Twelve Houses
Low viscocity
Scorpio
Arabian Skies
Libra
Cordelia
Mars
Repeated -- a -- plumb
A man who was under a great influence
Pluto was not discovered until 1930
Try to join conjunction with the fixed stars
Co-habitation too psychic
Shoot near the f-fire ball
Sun Sign System
Sun Sign System
...---...
(Barnabas disappears)
Sun Sign System
...---...
Sun Sign System
...---...
I am seeing green
...---...
Starlight Orbita
...---...
You have total flow 1-7
...---...
You have hold of your goal"

[and after the second descending pair of oo-oo-oo's:]

When you dance you die
The last one eats the oreo
Go
Gateway towards your goal
Goal
Go
(Got a private life at home name's Daphne)

-- Kiwikatz and Schiffer!
http://pages.quicksilver.net.nz/kiwikatz/Wepages/Lyrics/


Syd came down from his [first acid trip with Nigel Gordon and Storm Thorgerson] convinced that he had encountered the full majesty of the universe and began to search for a way to express what he'd seen in his music. He often carried with him a small Times Astronomical Atlas, which included speculation from noted astronomers on the likely surface conditions of each of the planets in the solar system. Syd combined this information with allusions to astronaut Dan Dare, Pilot Of The Future (a popular strip from boys' comic The Eagle) into a string of lyrics which would, a year later, become Astronomy Domine.

-- Jones, "Wish You Were Here".


There's no elegant sequence to the astronomical bodies typically listed, though one could make a rather interesting case that they represent a journey of departure from our solar system (Jupiter, Saturn, Uranus, to *Neptune*).

To wit, Jupiter and Saturn are in proper order, then three of Uranus' moons (Oberon, Miranda and Titania -- Cordelia, previously mentioned, is also such a satellite of Uranus, but I'll ignore it), then Neptune, again in physical sequence, and, unless the lyric sheets are wrong and it should read "Triton" (moon of Neptune, possible!), the last, 'Titan', is a moon of *Saturn*, throwing a monkey-wrench into the otherwise smooth sequence of astronomical bodies. The mention of "water underground" could relate to one or more of Jupiter's moons (Io in particular, about which so much fuss was made in Arthur C. Clarke's "2010"). Astronomonical poetic collage.

-- eArHeAd!


*B*
"Baby Lemonade: Take 1" -Solo- Feb 26, 1970 on "Barrett" (93) (Track 13) (Box 2,13)

"Baby Lemonade: Take 2" -Solo- Feb 26, 1970 on "Barrett" (Track 1) (Box 2,1)

NO DATA -- conjecture:
Possible euphemism in title: infant bathwater.
Lyrics contain references to clowns, depression.

BARRETT (album)

There'll be all kinds of things [on 'Barrett']. It just depends on what I feel like doing at the time. The important thing is that it will be better than [The Madcap Laughs]. There are no set musicians, just people helping out like on 'Madcap' which gives me far more freedom in what I want to do.

-- Syd Barrett, promoting his second album.


When it appeared, the album sleeve was bedecked with insect sketches drawn by Barrett in his Cambridge Art School days.

-- Watkinson/Anderson, Crazy Diamond, p. 94.


"Bike" -The Pink Floyd- July 1967 on "Piper at the Gates of Dawn" (Track 10)

"Bike" -The Pink Floyd- [date?] on "Relics" (Track 11)

...allegedly inspired by a large Raleigh bicycle belonging to his new Cambridge girlfriend Jenny Spires... although she has since dismissed the connection as rubbish.

-- Watkinson/Anderson, Crazy Diamond, p 32.


'The Bike Song' (aka "Bike") .... [was] the forthcoming album's [i.e. Piper at the Gates of Dawn -- eH] closer. Cliff ["Syd's Blind From Diabetes"] Jones wrote,

The tempo changes at the end of every verse. The rising glissando note that finishes each chorus was achieved using a crude oscillator and varispeeding the tape down while the track was running.
The lead vocal on 'Bike' is set far enough apart from the lead to disorient the listener. One fears the vocal tracks will become unglued and drift farther out of phase than they already are. Artificial double tracking was developed at EMI to save the trouble of recording a separate back-up vocal The song started out as a playful Barrett ditty in the style of 'The Gnome', but the haunting coda imbues it with a prophetic, sinister overtone. The finale of the song proper is a parody of the sort of fanfares to be found at the end of an operetta by Gilbert and Sullivan or in English vaudeville. Waters, Wright and Barrett join in on a campy chorus, inviting the girlk 'who fits in with my world' into Syd's 'room of musical tunes'. At the beginning of the coda, footsteps echo down a long hallway, a door opens with a heaving creak and a most extraordinary sound collage free of melody or harmony erupts; as if Barrett was trying to let everyone else hear the sounds in his head: a wash of cymbals, discordant string instruments, clockwork echoing the bell towers of Cambridge.

The final ingredient in this sonic bouillabaisse is a repeated loop of shrill and horrific laughing voices, rising discordantly as the 'room of musical tunes' fades back into the recesses of Syd's mind. Slowed down by half, the loop reveals itself to be a roughly edited loop of bellowing laughter. It resounds from the speakers like the riotous drunken laughter of pub regulars ringing in the ear of one fleeing a pub into a cold, raining night. The twisted laughter is both funny and frightening, disarming you as it hits home. And its eerily reminiscent of the run-out groove on *Sergeant Pepper's Lonely Hearts Club Band*, which Syd and the Floyd were directly inspired by when they heard a special advance copy. Indeed, the day *Sergeant Pepper* was released, the Floyd were at Abbey Road working on a version of 'Bike'.

-- Palacios, Lost in the Woods, p. 151.

"Birdie Hop" -Syd Barrett- 1969 on "Opel" (Track 9)

NO HARD DATA --
there are two possible theories on the meaning of these lyrics, neither completely satisfactory. the first is that the song is dedicated to one of Syd's friends, photographer John 'Hoppy' Hopkins. this maintains in credibility what it lacks in comprehension, for a simple identification of Hoppy as the bird tells us little about other aspects of the song: camel, antelope, hippo, I see the flies(?).

the second theory revolves around the contentions by Palacios regarding the band 'The Flies' and how Syd was afraid of their vocal accusations of "sell-out!" during one or more of their combined shows. this tells us very little about the bird, however.

-- EARhEaD!

"Bob Dylan's Blues: Demo" -Solo- Feb 27, 1970

it is well-known that Dylan was a heavy influence on Syd's lyrics and guitar, and this song contains numerous references to Dylan's lyrics and life. a good example of this is the following from Dylan's "I Shall Be Free #10", in which appear the words:
I got knocked down and my head was swimmin'
I wound up with the Dean of Women
(Yippee!
I'm a poet
I know it
Hope I don't blow it)
Syd's song is also sometimes referred to as "Dylan's Blues", "Dylan Blues", or "Bob Dylan Blues".

-- earheaD! with help from sri catyananda!

"Boon Tune" [/ Here I Go] -The Pink Floyd- 1968

this song is rumoured to be an alternate early version of 'Here I Go'.

-- earHead!


*C*
"Candy And A Currant Bun" -The Pink Floyd- Mar 1967 Single1 '67

(Side B to Arnold Layne)
"Let's Roll Another
" ... was renamed "Candy and a Currant Bun" to make it more digestible for record companies and radio play.

-- Watkinson/Anderson, Crazy Diamond, p. 49.

["Candy and a Currant Bun"] had begun as "Let's Roll Another One", an unsubtle ode to the joys of smoking dope, but EMI balked. Once gain, the Floyd were forced to acquiesce. "We had to change all the lyrics," said Waters, "because it was about rolling joints. ... it had lines in it like, 'Tastes good if you eat it right...' No they did not like it at all." When told to change the words to "Let's Roll Another One", a mischievous (and rather annoyed) Syd snuck the word 'fuck' into the rewritten version..

-- Palacios, Lost in the Woods, p. 128.


Syd "became a bit flustered" when told his reference to dope smoking had to be cut out but Waters told him curtly to shut up. Waters disapproved of dope smoking in the studio, while Syd was naturally all for it.

-- Watkinson/Anderson, Crazy Diamond, p. 50.


"Chapter 24" -The Pink Floyd- July 1967 on "Piper at the Gates of Dawn" (Track 8)

"Chapter 24".....that was from 'I Ching', there was someone around who was very into that, most of the words came straight off that. "Lucifer Sam" was another one, it didn't mean much to me at the time, but then three or four months later it came to mean alot."

-- Syd Barrett, Terrapin 9 p. 7. (intvw c. 1971)


[NOTE: Hexagram 24: is described within Wilhelm/Baynes I Ching as meaning:

K'UN -- THE RECEPTIVE, EARTH
CHEN -- THE AROUSING, THUNDER

...

THE JUDGEMENT
Return. Success.
Going and coming in without error.
...
On the seventh day comes return.

...

All movements are accomplished in six stages and the seventh brings return. ... Therefore seven is the number of the young light, and it arises when six, the number of great darkness, is increased by one.

...

THE IMAGE

Thunder within the earth....

...

*The Sequence*

Things cannot be destroyed once and for all.
...

THE JUDGEMENT

Return. Success.
Going out and coming in without error.
...
On the seventh day comes return.
...

THE IMAGE

Thunder within the earth.
...
Thus the kings of antiquity closed the passes
At the time of solstice.
...

The hexagram is associated with the month of winter solstice....

-- King Wen (JUDGEMENT); Duke of Chou (IMAGE); and Confucius (COMMENTARY: *The Sequence*) in "The I Ching or Book of Changes", transl. to German by Helmut Wilhelm, transl. to English subsequently by Cary F. Baynes, published by Princeton University Press, 1977 (published by Bollingen Foundation, Inc., 1950); pp. 97-8, 504.]


Another popular hangout for the Cambridge set was the home of Seamus O'Connell, whose mother was quasi-bohemian and also tolerant of youngsters running amok in her house. ... Seamus' mother was deeply interested in the occult, and had amassed countless books on tarot cards, astrology and esoteric books on Chinese oracles such as the *I-Ching*. There was a part of Syd's nature that erred towards the mystic, and he would often leaf through the books on visits, always keen to find something new, asking Mrs. O'Connell endless questions.

-- Palacios, Lost in the Woods, p. 22.


In the summer of 1964, Barrett had moved down to London to study painting at Camberwell Art School in Peckham, sharing a flat with David Gale in a building owned by Seamus O'Connell's mother. Others in the Cambridge set would drift in and out.... 'Syd was staying with us in Tottenham Court Road,' says Seamus O'Connell. 'He had a bedsit there. My mother had set up house in this place, and various friends had gotten bedsits there. An appalling place, but it had an atmosphere to it. And Syd was getting interested in the occult, which my mother was also into. She would do tarot card readings for him.' Indeed. Barrett was very keen on the occult and many a night would sit up talking to Seamus' mother about astrology, tarot cards and the like. She introduced him to the *I-Ching*, the Chinese oracle based on readings drawn from random numbers thrown with coins, probably the most interesting of occult fortune telling devices, as it has as much to do with probability and mathematics as divination and mysticism. Syd was suitably intrigued.

...

Lyrically the song was lifted nearly verbatim from Richard Wilhelm's 1924 translation of the Chinese oracle *The I-Ching* -- *The Book of Changes*. Barrett had been given a copy by Seamus O'Connell's mother when he was living in the flat on Tottenham Street and his interest in Eastern mysticism had only grown in Earlham Street's sanctuary of creativity.

-- Palacios, Lost in the Woods, pp. 35, 155.


Nigel and Jenny Gorden, David Gale, and others, became involved with Sant Mat, and Barrett, the younger in the group, would have also, except for the rejection he received by the master, apparently for being too young (Palacios, others).

-- earHeaD

"Clowns and Jugglers: Take 1" -Solo- July 20, 1968 on (Box 3,18)

"Clowns and Jugglers: Take 2" -Solo- July 20, 1968 on "Opel" (Track 2) (Box 3,2)

"Octopus: Take 1,2" -Solo- June 12, 1969 on (Box 1,14)

"Octopus: Take 11" -Solo- June 12, 1969 on "Madcap" (Track 7) (Box 1, 7)

I carried [Octopus] around in my head for about six months before I actually wrote it, so maybe that's why it came out so well. The idea was like those number songs like "Green Grow the Rushes Ho" where you have say, twelve lines each related to the next, and an overall theme. It's like a fool-proof combination of lyrics really, and then the chorus comes in and changes the tempo but holds the whole thing together.

-- Syd Barrett, Terrapin 9, p. 7. Interview by Giovanni Dadomo, 1971


*D*
"[Dark Globe/]Wouldn't You Miss Me: Take 1" July 26, 1969 on "Opel" (Track 12) (Box 3,12)

"Dark Globe[/Wouldn't You Miss Me]: Take [2]" -Solo- Aug 5, 1969 on "Madcap" (Track 5) (Box 1,5)

There is conjecture that this song is somehow related to the Palantir Stone(s) in Tolkien's fiction.

-- eArHeaD!

"Dolly Rocker: Take 1" -Solo- July 14, 1970 on "Opel" (Track 5) (Box 3,5)

[Eng: "What's this song called, then?"
Syd: "Dolly Rocker. It's called Dolly Rocker.
It's an old make of dress.
Well, months old, you know, that sort of thing. ]

"Dominoes: Take 1" -Solo- July 14, 1970 on "Barrett" (93) (Track 17) (Box 2,17)

"Dominoes: Take 2" -Solo- July 14, 1970 on "Barrett" (93) (Track 18) (Box 2,18)

"Dominoes: Take 3" -Solo- July 14, 1970 on "Barrett" (Track 3) (Box 2,3)

"'Dominoes ' is probably the album's most arresting track, as well as being the only real pointer to what the Floyd might have sounded like had Barrett been more in control of himself. The song is exquisite, a classic kind of Lewis Carroll scenario which spirals up and almost defies time and space. 'You and I/And Dominoes /A day Goes By,' before drifting into an archetypal Floyd minor-chord refrain straight out of 'More'."

-- Nick Kent, New Musical Express, April 13, 1974


*E*
"Effervescing Elephant: Take 2" -Solo- July 14, 1970 on (Box 3,20)

"Effervescing Elephant: Take 9" -Solo- July 14, 1970 on "Barrett" (Track 12) (Box 2,12)

One of the first songs Syd ever wrote, and one of his favorites as well. He played it live for the BBC and at a one-off gig in 1970.

-- Palacios, Lost in the Woods, p. ?


*F*
"Feel: Take 1" -Solo- July 26, 1969 on "Madcap" (Track 11) (Box 1,11)

"Flaming" -The Pink Floyd- July 1967 on "Piper at the Gates of Dawn" (Track 4)

One of the most characteristic sensations of an LSD trip is "flaming", a visual experience where ordinary things like cigarettes or fingers emit sparks like the traces of hand-held fireworks in the dark. Syd mixes the memory of a psychedelic picnic on the banks of the River Cam in the autumn of 1965 with those of childhood games of hide-and-seek with his sister Rosemary.

-- Jones, "Wish You Were Here".


*G*
"Gigolo Aunt: Take 9" -Solo- Feb 27, 1970 on (Box 3,15)

"Gigolo Aunt: Take 15" -Solo- Feb 27, 1970 on "Barrett" (Track 7) (Box 2,7)

NO DATA --
the first time I ever heard this song I thought it might be a pun with magical import (talismanic properties) implying a reductionist diagram (see "abracadabra" in triangular talismanic form):

a gigolo awn't you
the gigolo awn't
[the gigolo
the,]

interrupted by a lyrical transition, but I've since attributed this up to my creativity.

-- eArHeaD!

"Gnome, The" -The Pink Floyd- March 1967 on "Piper at the Gates of Dawn" (Track 7)

Syd was quite familiar with the figure of the gnome from fantasy and folklore. not only that, he sometimes fashioned himself a gnomish sort, living under the ground (cellar), being in the 'Underground', having mystical encounters with Pan in the Wildwood as was portrayed in Kenneth Grahame's "The Wind in the Willows", from which he obtained the title of his first album with The Pink Floyd.

-- eARhEAd!


J.R.R. Tolkien's 'The Lord of the Rings' trilogy and 'The Hobbit' were both seminal Barrett influences. 'The Hobbit' directly inspired the writing of Barrett's 'The Gnome', with it's 'no-name [gnome-named!] grimble gromble' (a grimble is Old English for a gnome!).

-- Dark Globe #2 (Gerald the Mouse, editor)


"Golden Hair: Take 1" -Solo- May 14, 1968 on "Opel" (Track 14) (Box 3,14)

"Golden Hair: Take 6" -Solo- June 12, 1969 on "Opel" (Track 4) (Box 3,4)

"Golden Hair: Take 11" -Solo- June 12, 1969 on "Madcap" (Track 8) (box 1,8)

(These lyrics are originally from "Chamber Music" by James Joyce, 1907)

Lean out your window, golden hair
I heard you singing in the midnight air
My book is closed, I read no more
Watching the fire dance, on the floor
I've left my book, I've left my room
For I heard you singing through the gloom
Singing and singing, a merry air
Lean out your window, golden hair


"Golden Hair: Take 5" -Solo- June 8, 1968 on (Box 1,19)


*H*
"Have You Got It Yet?" -The Pink Floyd- 1968

If leaving Pink Floyd was hard for Barrett, so were his last months in the band. [Jerry] Shirley explains: "When he plays a song, it's very rare that he plays it the same way each time - any song. And some songs are more off-the-wall than others. When he was with the Floyd, towards the very end, Syd came in once and started playing this tune, and played it completely different. Every chord change just kept going somewhere else and he'd keep yelling (the title), 'Have you got it yet ?' I guess then it was Roger (who kept yelling back, 'No!') who kind of realized, 'Oh, dear.'" "When he was with the Floyd, towards the very end, Syd came in once and started playing this tune, and played it completely different. Every chord change just kept going somewhere else and he'd keep yelling (the title), 'Have you got it yet?' I guess then it was Roger (who kept yelling back, 'No!') who kind of realized, 'Oh, dear.'... "It was getting absolutely impossible for the band," Shirley recalls. "They couldn't record because he'd come in and do one of those 'Have you got it yet' numbers, and then onstage he would either not play or he'd hit his guitar and just turn it out of tune, or do nothing."

-- Jerry Shirley quoted by DiLorenzo, 1978.


"Here I Go: Take 5" -Solo- April 17, 1969 on "Madcap" (Track 6) (Box 1,6)

"He wrote it, I seem to recall, in a matter of minutes. [MJ note: 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!)"

-- Malcolm Jones, 'Madcap'.


Shirley and Willie Wilson, the former Jokers Wild drummer, were both drafted into the making of the LP midway through April, helping in the recording of 'No Man's Land', with its incoherent spoken piece, and 'Here I Go', the second 'old timey' song on the album. Jones states categorically that this latter track, with its unusual music hall structure, was written in the studio in a matter of minutes, so refuting Roger Waters' assertion that all Syd's material was written prior to the split with Pink Floyd. The track was recorded "live" with the freshly written lyrics in front of Syd.

-- Mick Rock, "The Madcap Laughs: Mick Rock Photo Sessions, 1993.


*I*
"If It's In You: Take 5" -Solo- April 26, 1969 on "Madcap" (Track 12) (Box 1,12)

"If You Go: Demo" -Solo- 1974

the original notes to "Opel" cast doubt on its existence as, at that point, neither tapes nor paperwork seemed to have survived. They have subsequently surfaced, although the results bear little relation to the work gracing "Madcap Laughs" and "Barrett". Instead Syd spent the time working on ill-focussed blues' licks and chord sequences, only one of which bore a title: 'If You Go'.

The process was abandoned before any vocal tracks were attempted.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


"I Get Stoned (aka "Stoned Alone") Apparently October 31, 1966, from a Hemel Hempstead Tape

"I Never Lied to You" -- see " Waving My Arms in the Air/I Never Lied to You"

"I Never Lied: Take 1" -Solo- Feb 27, 1970 on (Box 2,15)

"I Never Lied: Take 1" -Solo- Feb 27, 1970 on "Barrett" (Track 9) (Box 2,9)


"Interstellar Overdrive" -The Pink Floyd- Jan 1967

"Interstellar Overdrive" -The Pink Floyd- October 31st, 1966

This song was first featured on the San Francisco Soundtrack and also in different form on the 'Tonite Lets All Make Love in London' movie. "I was once trying to tell him about this Arthur Lee song I couldn't remember the title of, so I just hummed the main riff. Syd picked up his guitar and followed what I was humming chord-wise. The chord pattern he worked out he went on to use as the main riff for 'Interstellar Overdrive'. -- Peter Jenner "...Barrett's riff [is] allegedly based on Love's version of Burt Bacharach's 'My Little Red Book'"

-- Mark Paytress, Record Producer Magazine


And of course it was quite different because my humming was so bad! The chord pattern he worked out he went on to use as his main riff for Interstellar Overdrive." The song Jenner was attempting to hum was Love's version of the Burt Bacharach and Hal Davies song My Little Red Book. Others, notably Roger Waters, also detected a hint of Ron Grainer's theme to Steptoe And Son in Syd's new riff.

-- Jones, "Wish You Were Here".


"I was trying to tell him about this Arthur Lee song I couldn't remember the title of, so I just hummed the main riff. Syd picked up his guitar, followed what I was humming, and went on to use the chord pattern he worked out for 'Interstellar Overdrive'." 'Interstellar Overdrive', with its extended free-form passage, was the piece which established Pink Floyd's experimental reputation and it was one of the tracks the group attempted during their first recording session at Chelsea's Sound Techniques.

-- Brian Hogg, Crazy Diamond Booklet.


Often stretching for over half an hour and always sonically disorientating, Interstellar Overdrive became an aural replica of an LSD trip's dislocation and confusion, and it lit the way for the total abandonment of conventional musical structures that began in earnest in 1966. There was very little precedent for this sound in Britain, apart from maybe The Who. When the Floyd began playing Interstellar Overdrive in April 1966, The Beatles' psychedelic B-side Rain had yet to be released and Revolver was still four months away. During the Floyd's residencies at the Marquee and the UFO clubs, Interstellar Overdrive became the cornerstone of the show. A wildly unpredictable, chemically-inspired instrumental of indeterminate length required a considerable leap of faith for a pop audience weaned on blues or Merseybeat, but it soon became a curious anthem for the emerging underground scene. ...

On January 11, 1967, Barrett, Waters, Wright and Mason entered Sound Techniques studio in Chelsea with engineer John Woods and producer Joe Boyd. In two short sessions across successive days The Pink Floyd cut four songs, Interstellar Overdrive (a version lasting 16 minutes and 46 seconds that was the closest they ever came to capturing their frenetic stage sound on tape) and Nick's Boogie - another freewheeling jam - followed by two of Barrett's eccentric pop tunes, Arnold Layne and Let's Roll Another One (later to become Candy And A Currant Bun).

No other song in the Floyd's early canon better illustrates the duality at the heart of the group than Interstellar Overdrive. On the one hand, Barrett the unfettered art student who would constantly exclaim that there were "no rules"; on the other, Roger Waters the cautious structuralist and architecture student. Waters reined in Syd's free-jazz tendencies. "Given the chance, Syd would have jammed the same chord sequence all night," notes King. "Roger gave the track dynamic boundaries within which Syd could run free."

-- Jones, "Wish You Were Here".


"It Is Obvious: Take 1" -Solo- July 17, 1970 on "Barrett" (Track 4) (Box 2,4)

[(2) voice: "It is obvious." Eng: "Syd? Are you ready?" "Yes." "Off you go."]


"It is Obvious: Take 2" -Solo- July 17, 1970 on "Barrett" (93) (Track 19) (Box 2,19)

"It is Obvious: Take 3" -Solo- July 17, 1970 on "Crazy Diamond" (Track ?) (Box 3,16) "Blues Version"

"It is Obvious: Take 5" -Solo- July 17, 1970 on (Box 3,17)


*J*

"Jugband Blues" -The Pink Floyd- 1967 on "Saucerful..." (Track 7)

"It is almost a poetic recitation by Barrett, with avantgarde sound effects by the group. The centre passage is almost free form pop, with six members of the Salvation Army on the recording session told to 'play what you like.'

-- Alan Walsh, "HITS ? THE FLOYD COULDN'T CARE LESS" Melody Maker December 9, 1967.

Jugband Blues is a poignant coda to Syd's tenure as leader of Pink Floyd, the final track on Saucerful Of Secrets, recorded long before work began on the second album in October 1967. When Andrew King heard Syd play it for the first time he was awestruck. An extraordinary hybrid, part jaunty singalong, part melancholic love song, part insane Dadaist freefall, it was, in his view, one of the finest things Syd had ever produced and petitioned for its release as the next single.

It was recorded in two sections at De Lane Lea Studios, the first with the Floyd, the latter just Syd alone with an acoustic guitar. In a moment of sublime clarity he encapsulated the pain of his own deteriorating mental condition in lines like, "I'm most obliged to you for making it clear that I'm not here/And I'm wondering who could be writing this song." Though each line seems to be a non sequitur, they come together into an impression of Syd's advancing illness....

The two parts of the song are bridged by a collage which features the Salvation Army Band of North London who recorded their albums at Abbey Road. Syd had asked Norman Smith for a brass section to play through the bridge and wanted them to play spontaneously, without music. Smith felt the bewilded musicians should be properly scored. It was the only time Syd had a vociferous disagreement with Smith, who finally agreed to record two versions, one with his scored section and one with Syd's instruction to "play whatever you want". Syd, tired of arguing, walked out, leaving Smith to finish the track his way. EMI rejected Jugband Blues as too downbeat to be a single.

-- Jones, "Wish You Were Here".


*K*
"(I'm a) King Bee"

"I'm a King Bee" was written and first recorded by James Moore (aka Slim Harpo), b. 1924 - d. 1970. Moore was a rhythm and blues singer, guitarist, and harmonica player from Louisiana. He recorded 'King Bee' in Crowley, Louisiana and it was released in 1957 on the Excello label as a "answer song" to "Bumble Bee", which had been written and recorded by Lizzie Douglas McCoy (Memphis Minnie). Slim Harpo had other R&B and rock and roll crossover hits in the 1960s such as "Raining in My Heart" (1961) and "Baby Scratch My Back" (1966) and he toured with James Brown at Madison Square Garden and appeared in the Whiskey A-Go-Go in 1968. Of all his songs, "I'm a King Bee" was most often covered by white rock and roll bands, including the Grateful Dead, the Rolling Stones, and Pink Floyd.

-- catherine yronwode, blues fan

"What's the point in listening to *us* doing 'I'm a King Bee' when you can hear Slim Harpo do it?"

-- Mick Jagger, 1968

*L*
"Lanky (Pt. 1)" -Solo- May 14, 1968 on "Opel" (Track 11) (Box 3,11)

"Lanky (Pt. 2)" -Solo- May 14, 1968


"Late Night: Demo" -- Solo- May 14, 1968

"Late Night: Take 2" -Solo- May 28, 1968 on (Box 3,19)

"Late Night: Take 2" -Solo- May 28, 1968 on "Madcap Laughs" (Track 13) (Box 1,13)

Syd then used a cigarette lighter to overdub a slide guitar sequence on 'Late Night', before completing the piece with a first-time vocal.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


"Let's Roll Another One" -The Pink Floyd- Jan 1967 Unreleased '67 B ??)

The original title for what became, at the BBC's insistence, 'Candy and a Currant Bun'.


"Let's Split: Take 1" -Solo- July 14, 1970 on "Opel" (Track 10) (Box 3,10)

"Living Alone: Demo" -Solo- Feb 27, 1970

[an unreleased Barrett song recorded in 1970. The tape is believed to be owned by David Gilmour -- earhead]


"Long Gone: Take 1" -Solo- July 26, 1969 on "Madcap" (Track 9) (Box 1,9)

"Love Song: Take 1" -Solo- July 14, 1970 on (Box 2,16)

"Love Song: Take 1" -Solo- July 14, 1970 on "Barrett" (Track 2) (Box 2,2)

"Love You: Take 1" -Solo- April 11, 1969 on (Box 1,16)

"Love You: Take 3" -Solo- April 11, 1969 on (Box 1,17)

"Love You: Take 4" -Solo- April 11, 1969 on "Madcap" (Track 3) (Box 1,3)

The singer then completed several versions of 'Love You'; the first fast, the third slower, the fourth forming the basis for that appearing on "The Madcap Laughs". As performances, there was little to choose between the different renditions and the final choice reflected mood - "best to decide later" states the cryptic note attached to the box.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


"Lucifer Sam" -The Pink Floyd- July 1967 on "Piper ..." (Track 2)

"Chapter 24".....that was from 'I Ching', there was someone around who was very into that, most of the words came strait off that. "Lucifer Sam" was another [obscure song], it didn't mean much to me at the time, but then three or four months later it came to mean alot."

-- Syd Barrett, Terrapin 9 p. 7. (intvw c. 1971)


"Lucy Leave" -The Pink Floyd Sound- 1965

From the 1965 acetate with King Bee.

...an original hinged to the 'Gloria' riff... Rudimentary ...but ...indicat[ing] a defined sense of purpose, particularly [Lucy Leave,] which, although pop R&B, shows a playful imagination.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


*M*

"Madcap Laughs" (Album)

...it was released far too long after it was done. I wanted it to be a whole thing that people would listen to all the way through with everything related and balanced, the tempos and moods offsetting each other, and I hope that's what it sounds like.

-- Syd Barrett, Terrapin 9, p. 8.


'Like a painting as big as the cellar.'

-- Syd Barrett, Rolling Stone, 12/71.


Oh, I don't think *anyone* can communicate with Syd. I did those albums because I liked the songs, not, as I suppose some might think, because I felt guilty taking his place in the Floyd. I was concerned that he wouldn't fall completely apart. The final re-mix on 'Madcap' was all mine as well.

-- David Gilmour quoted by Nick Kent, 1974


G.D.: Were you satisfied with "Madcap Laughs"?

S.B.: Yes, I liked what came out, only it was released far too long after it was done. I wanted it to be a whole thing that people would listen to all the way through with everything related and balanced, the tempos and moods offsetting each other, and I hope that's what it sounds like. I've got it at home but I don't listen to it much now."

-- Interview by Giovanni Dadomo, 1971


Barrett's first solo album, Shirley says, was a result of the Floyd finally convincing Syd "that he should get off his ass and make an album." Gilmour and Waters co-produced the LP, but after the experience Waters gave up ("That's it! I can't cope with that again!") and Rick Wright joined Dave as co-producer for the second one.

-- DiLorenzo, 1978, Ibid.


Despite some incredible songwriting, complicated structures and stunning sonic/verbal images, there's no way to avoid feeling that the two albums are the portrait of a breakdown. Scattered throughout the nightmare/fantasy lyrics are whispers and screams from a confused Syd, trying to carry on in the midst of utter disorientation and emotional turmoil.

DiLorenzo, 1978, Ibid.


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).

-- Malcom Jones, 'Making of Madcap Laughs'.


Questioned about the exclusion of 'Opel', Gilmour cannot remember the track and wrongly assumes it to be an alternative title for one of the released songs. Sadly, it appears that during the undignified scramble of the final recording and mixing, this classic Barrett track was overlooked.

The task of designing the album sleeve fell to Storm Thorgeson and his partner Aubrey 'Po' at Hipgnosis. That October Malcolm Jones dropped into Syd's flat to leave a tape of the album and what he saw gave him a start: "In anticipation of the photographic session Syd had painted the floorboards of his room orange and purple. Up until then the floor had been bare with Syd's possession mostly on the floor - hi-fi, guitar, cushions, books and paintings. Syd was well pleased with his day's 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 have the album pressed and into the shops in time for Christmas. Realising there was still a fair amount of money around in January, Harvest delayed release until late that month, selecting 'Octopus' backed with 'Golden Hair' as a single to promote it. Initial reaction was favourable although, apart from a live session on Top Gear, there was precious little airplay for either single or album. EMI was still half-hearted towards Harvest and the only person who played Syd on the radio was John Peel. Radio was even more chart-oriented than it is today but even so a sales figure sheet at the end of February showed "The Madcap Laughs" had sold over 6000 copies, mainly through word-of-mouth based on Barrett's reputation. Disc announced that it was "an excellent album to start 1970" while Beat Instrumental labelled it a beautiful solo record, best played late at night.

-- Mick Rock, "The Madcap Laughs: Mick Rock Photo Sessions, 1993


the following Thursday (April 17th) at which point the singer introduced two musical acquaintances, bassist 'Willie' Wilson and drummer Jerry Shirley. The former had been a member of Joker's Wild with Dave Gilmour; the latter was concurrently in Humble Pie, and having warmed up with rudimentary rehearsals, the trio recorded five takes of 'No Man's Land'. The same number of attempts ensued of 'Here I Go' and in both cases the final reading was deemed best. Barring sundry overdubs on 'No Man's Land', these were the versions mixed down for "Madcap Laughs".

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


"Maisie: Take 2" -Solo- Feb 26, 1970 on "Barrett" (Track 6) (Box 2,6)

Dave Gilmour also maintains that songs such as 'Rats' and 'Maisie' on the second album simply fell into place during studio rehearsals.

catherine yronwode identifies the bass and percussion at the beginning of Maisie as deriving from Howlin' Wolf's "Spoonful"

-- "The Madcap Laughs: Mick Rock Photo Sessions, 1993


"Matilda Mother" -The Pink Floyd- Sept 16, 1967 {Piper at the Gates of Dawn, Track 3}

The songs were full of fairy-tale images. Matilda Mother is a beautiful evocation of being read a bedtime story by mother. When it was first played live, Syd would sing verses lifted straight from Hilaire Belloc's Cautionary Tales. When it came time to record the track, Andrew King approached the Belloc estate but was refused permission to use the poem, so Syd wrote his own version.

-- Jones, "Wish You Were Here".


here is the Belloc version of

Matilda Who told Lies, and was Burned to Death.
(from http://www.rcatholic-l.freeservers.com/introduction.html )

Matilda told such Dreadful Lies,
It made one Gasp and Stretch one's Eyes;
Her Aunt, who, from her Earliest Youth,
Had kept a Strict Regard for Truth,

Attempted to believe Matilda:
The effort very nearly killed her,
And would have done so, had not She
Discovered this Infirmity.
For once, towards the Close of Day,
And finding she was left alone,
Went tiptoe
to
the telephone
And summoned the Immediate Aid


"Millionaire: Demos" -Solo- June 7, 1970 *[?]

"Milky Way: Take 5" -Solo- June 7, 1970 on "Opel" (Track 13) (Box 3,13)


*N*
"No Good Trying: Take 3" -Solo- April 11, 1969 on "Madcap" (Track 2) (Box 1,2)

"No Good Trying: Take 5" -Solo- April 11, 1969 on (Box 1,15)

"No Man's Land: Take 5" -Solo- April 17, 1969 on "Madcap" (Track 4) (Box 1,4)

(garbled words:
Tell me, Tell me, Tell me.
Yippee.
[unconfirmed after this point, from one of two sources online; one apparently by Billie French (as in Sepulchrave's lyrics, which mention his work), not used here, and another without attribution (found in Kiwikatz & Schiffer, to which Billie French also has laid claim)] Don't, if you?
Stop that, that just upset yourself
Listen, Listen, if you ask in person
I'll stick to the joke, you know
Yelling and screaming, help me!

All that in the afternoon, for that matter
So she'd asked if we could stay with Grace
Maybe a day or a couple of weeks
You know, until Tuesday
Pick up my mushrooms
Clean my skin up
Pick up some tissue
Pick up the production
It's all fine! You know
And she shared the wine
And had cups for 3 or 4 people
And that nonsense

Gracie do her song, heavily spaced
All the pink shine on war
Explodes from beneath
Don't you would rather
Be out the front door sometime
Long ago instead of being
Cooped up like a caged rat?)

-- picked up off the net at Kiwikatz/Schiffer I think, plus adjustments by earhEAd! =============================================================

G.D.:In "No Man's Land" on 'Madcap' there's a long spoken part which is barely audible, like the faded lyrics of "Astonomie Domine", was the intention to abstract the words into just background noise?

S.B.: Originally the words were meant to be heard clearly, but we went and actually did it, that's how it came out, which wasn't really how I'd planned it.

-- Giovanni Dadomo interview with Syd, July and August 1974 Interview with Syd Barrett c. 1971; unpublished until Terrapin 9/10) p. 8.

=============================================================

Shirley and Willie Wilson, the former Jokers Wild drummer, were both drafted into the making of the LP midway through April, helping in the recording of 'No Man's Land', with its incoherent spoken piece.

-- "The Madcap Laughs: Mick Rock Photo Sessions, 1993


*O*
"Octopus" - See Clowns and Jugglers.

"One in a Million" -The Pink Floyd- Sept 16, 1967

An early live piece, also known -- courtesy of cloth-eared bootleggers as 'Rust in a Million' and 'Brush Your Window'


"Opel" (Album)

'The Madcap Laughs' was released in January 1970, and within a matter of months, work began on a second collection. The resulting album, titled simply 'Barrett' was a less experimental offering, it featured a single production unit, Dave Gilmour and Rick Wright, and a more structured backing group. Syd had prepared several demos in readiness for the sessions, some of which would form the basic vocal and guitar tracks for the finished master, with the instrumental muscle merely overdubbed.

-- 1988 Opel Album booklet


This is not a lost third album, but a companion to those two exceptional original releases and collects the best of what is left available.

-- 1988 Opel Album booklet.


Rough mixes of work in progress ensued before Syd began a new version of 'Wolfpack' on the 3rd. Recording was then suspended until June 5th when Barrett completed three 2-track demos of 'Rats', 'Wined and Dined' and 'Birdie Hop'. Each of these performances was eventually issued on "Opel", although the same version of 'Rats ' formed the basis of that on "Barrett". Two days later Syd recorded another new song, the ebullient 'Milky Way ', which again made its debut on "Opel". He also resurrected a composition from Pink Floyd's early set, 'She Was A Millionaire', retitled simply 'Millionaire'. Two ill-starred attempts followed, neither of which featured vocals, before the notion was discarded and the day's work ended with group overdubs on the bilious 'Rats'.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


"Opel: Take 9" -Solo- April 11, 1969 on "Opel" (Track 1) (Box 3,1)

When Syd transferred all the four tracks to eight-track for the final mixing, Jones noticed that 'Opel' was among them: "Syd obviously intended to include it on the album. I still think to this day that it is one of his best tracks and it's tragic that it wasn't included in the final album."

-- "The Madcap Laughs: Mick Rock Photo Sessions, 1993


The first new song completed was 'Opel'. Nine takes were attempted, the last of which was unquestionably the finest. It remains unfathomable why this mesmerising performance should have been left unreleased; its exhumation was deserved and the track rightly formed the focal point of that aforementioned collection.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


*P*
'Piper at the Gates of Dawn' (album)

Scholars of the Barrett approach to rock guitar would do well to seek out the mono mix of "Piper", which differs markedly in places from the more common stereo copies.

-- Mark Paytress, Record Producer


The Floyd's debut album, "Piper At The Gates Of Dawn", followed in August. Of its eleven tracks, Syd composed eight - collaborating on two others - and the result was one of the finest sets of its era. If English psychedelia dosed its narcotisation with Lewis Carroll and Edward Lear, then the combination of experiment and childhood fantasy was never stronger here as whimsy, nostalgia and dynamite riffs cross- pollinated its enchanting tapestry.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


Pink Floyd's first album, The Piper At The Gates Of Dawn was very much Syd's baby. He took the record's title from chapter seven of Kenneth Grahame's children's novel The Wind In The Willows, in which Rat and Mole meet Pan; half man, half goat and the god of flocks, woods and fields. They encounter him as a golden, dream-like vision when Rat takes Mole to "the place of my song dream...the Holy place." Pan is used by Grahame to convey rather profound spiritual concepts about elemental forces and the afterlife to his young readers. This intrigued Syd, who took the episode as the central beam of his writing for the album. And not just that, Syd would often inform friends of how he too had met Pan and been instilled with the spirit of the forest. "He thought Pan had given him insight and understanding into the way nature works," recalls Andrew King. ...

Piper was well received, though some of the hardened UFO crowd felt its emphasis on whimsy was a betrayal of the Floyd's free-form intent. But it had a curious, delicate beauty, infused with Syd's dark spirit that few, not even the band, really understood. "I love listening to it just for Syd's songs," says Rick Wright reflectively. "It's sad because it reminds me of what might have been. Syd could have easily been one of the finest songwriters around today."

-- Jones, "Wish You Were Here".


"Pow R Toc H" -The Pink Floyd- July 1967 on "Piper at the Gates of Dawn" (Track 5)


*R*

"Rats: Demo" -Solo- June 5, 1970 on "Barrett" (Track 11), "Opel" (Track 3) (Box 2,11 3,3)

'Rat' in particular was really odd. That was just a very crazed jam, and Syd had this lyric that he just shouted over the top. It's quite nuts. But some of his songs are very beautiful."

-- Jerry Shirley, from DiLorenzo, 1978, Ibid.

Water in the north has sprung from the one of heaven, which is complemented by the six of earth. Fire in the south has sprung from the two of earth, which is complemented by the eight of earth. Metal in the west has sprung from the four of earth, which is complemented by the nine of heaven.

Confucius decodes the Yellow River Map, in "I Ching", transl. Wilhelm/Baynes; Ibid., p. 309.

"Reaction in G" (Improv)

An improvisation called Reaction In G was often cranked out in protest at having to play 'The Hits' whenever the Floyd performed outside the capital.

-- Jones, "Wish You Were Here".


"Rhamadam: Demo" -Solo- May 14, 1968

Looking through at some bits of paper with Ramadan down Malcolm recalled the 3 hours (10:30am to 1:00pm actually) that they tried to put overdubs of a motorcycle onto the Ramadan track.

Malcolm Jones: Oh it's a good idea, it's just that the thing he had was this terrible little cassette player, I mean you know what cassette players were like in those days...

Ivor Trueman: Was he actually serious about that. (Syd had recorded some motor bike sounds on the back of his friend's bike-with this portable cassette & wanted to overdub this onto the Ramadan track.)

Malcolm Jones: Oh yes, we spent hours on it, the tape was no good, the first thing we did was try & link the cassette up through the desk, I think we made up a lead eventually, & we spent hours & then the engineer said it was not really very good so we said alright, cos EMI's got a good effects library. So we went along & dug out all the sound effects & spent hours putting them onto tape because the sound effects records are all one bit, the engine revving etc... & you add them all together. I don't think we stuck it on anything, I'm not sure where it was intended to go..

Ivor Trueman: I've heard rumours that the Floyd used it in Atom Heart Mother.

Malcolm Jones: I haven't got that album, I doubt it, it won't be Syd's tape.

Again one of Malcolm's pieces of paper (he has quite a few of them) shows that Ramadan & the motorbike effects were entered into the tape library mixed down to stereo but not joined together.

-- Opel #8, M. Jones Interview with I. Trueman, 1984


"Rooftop in a Thunderstorm Row Missing the Point"


*S*
"'San Francisco' Soundtrack" -The Pink Floyd- Oct 31, 1966

"A Saucerful of Secrets" (Album) 1968 (Rumors of Syd guitar involvement only)

A Saucerful Of Secrets was never originally intended to be a full Pink Floyd album but a collection of oddments left over from the band's beginnings.

-- Jones, "Wish You Were Here".


"Scarecrow" -The Pink Floyd- March 1967 on "Piper at the Gates of Dawn", Single2 '67 B

"Scream Thy Last Scream" -The Pink Floyd- Sept 16, 1967

The proposed, but abandoned, follow-up to 'See Emily Play'. Called 'Old Woman in a Casket' by some promoters.

-- Mark Paytress, Record Producer Magazine


'Scream' has meanwhile joined 'Vegetable Man', another product of this tortuous period, as the great 'lost' Barrett creations. The masters for both still bear the declaration "not to be used for LP", ie: the group's projected second album.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


"See Emily Play" -The Pink Floyd- March 1967 on "Relics", "Works", Single2 '67 A

I was sleeping in the woods on night after a gig we'd played somewhere, when I saw this girl appear before me. That girl is Emily.

-- Syd Barrett, quoted by Nick Kent, New Musical Express, April 13, 1974


Games for may, was a "happening" held at the Queen Elizabeth Hall on May 12, 1967 and Syd was commissioned to write a theme song for the event. Jenner and King felt certain that the result had 'hit' written all over it and suggested Syd rework it for the charts. Needing a new lyrical theme to fill the now redundant chorus line of "Free games for May" Syd looked around him for inspiration and found The Honourable Emily Kennet, a 16-year-old raver that the UFO crowd had nicknamed "the psychedelic schoolgirl" and looked down upon. Syd echoed this in the opening line: "Emily tries but misunderstands."

-- Jones, "Wish You Were Here".


...'See Emily Play'.... was initially entitled 'Games For May' in honour of the event [a happening] the Floyd had undertaken at the South Bank Queen Elizabeth Hall. "(They) intended this concert to be a musical and visual exploration - not only for themselves but for the audience too," proclaimed the attendant press release and the show did mark a watershed in their career.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


....The tour of America was rife with stories of Syd's eccentric behaviour. The band played on 'American Bandstand' and Syd refused to lip sync the words to 'See Emily Play'. He stood facing the camera, lips impassively shut.

-- "Beyond the Wildwood with Brother Syd", Gian Palacios, originally published in Jakarta Program Magazine (September, 1994).


"She Took a Long Cold Look: Take 4" -Solo- July 26, 1969 on (Box 1,18)

"She Took a...: Take 5" -Solo- July 26,1969 on "Madcap" (Track 10) (Box 1,10)

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').

-- Malcom Jones, 'Madcap'


"Stoned Alone" -The Pink Floyd- Sept 16, 1967

"...some say "Stoned Alone"

-- Mark Paytress, Record Producer


"Sunshine" Demo (see Matilda Mother)" -The Pink Floyd- 1966

Although Malcolm Jones' 'The making of The Madcap Laughs' suggests that this was an early version of 'Remember A Day', it is now thought to be a working title for part of 'Matilda Mother'.

Chris Moise: "'Sunshine' is/was and will always be an edit piece recorded for Matilda Mother. You can hear it at the end of Matilda on Piper."

"[Swan Lee/]Silas Lang: Demo" -Solo- May 14, 1968

"Swan Lee[/Silas Lang]: Take 5" -Solo- May 28, 1968 on "Opel" (Track 8) (Box 3,8)

'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'. ... 'Silas Lang' or 'Swan Lee' was a long and rambling tale about an Indian maiden, reminiscent in many ways of the story of Hiawatha.

-- Malcolm Jones' 'The making of The Madcap Laughs'


*T*
"Terrapin: Take 1" -Solo- April 11, 1969 on "Madcap" (Track 1) (Box 1,1)

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).

-- Malcom, Madcap


"Two of a Kind" (on Peel Sessions)

["Syd wanted to do one song called 'Two Of A Kind' which Rick (Wright) wrote. He thought it was his."]


*V*
"Vegetable Man" -The Pink Floyd- 1967

The last Floyd song Syd wrote, 'Vegetable Man', was done for those sessions, though it never came out. Syd was around at my house just before he had to go to record and, because a song was needed, he just wrote a description of what he was wearing at the time and threw in a chorus that went 'Vegetable man -- where are you?' It's very disturbing. Roger took it off the album because it was too dark, and it is. It's like psychological flashing.

-- Peter Jenner


cf. "Guiseppe Archimboldo" 1527-1593 (in particular "Summer", in which the 'Vegetable Man' appears!), who painted composite "images" of people using a variety of vegetation and other small objects (compare with the painting of many others who used composition to create a greater effect, such as George Serat's Pointalism).

-- earhead


'Scream' has meanwhile joined 'Vegetable Man', another product of this tortuous period, as the great 'lost' Barrett creations. The masters for both still bear the declaration "not to be used for LP", ie: the group's projected second album.

-- Brian Hogg, 1993, Crazy Diamond Box Set Booklet


*W*
"Waving My Arms: Take 1" -Solo- Feb 27, 1970 on (Box 2,14)

"Waving My Arms: Take 1" Feb 27, 1970 on "Barrett" (Track 8) (Box 2,8)

"Waving My Arms In The Air" recalls Syd's early Floyd days when, attired in a long cape, he would stand onstage with his image projected onto a screen behind him, and do exactly that.

-- DiLorenzo, 1978, Ibid.


"Wined and Dined: Demo" -Solo- June 5, 1970 on "Opel" (Track 7) (Box 3,7)

"Wined and Dined: Take 10" -Solo- July 14, 1970 on "Barrett" (Track 10) (Box 2,10)

"Wolfpack: Demo" -Solo- Feb 27, 1970

"Wolfpack: Take 2" -Solo- April 3, 1970 on "Barrett" (Track 11) (Box 2,11)

"Word Song: Take 1" -Solo- July 17, 1970 on "Opel" (Track 6) (Box 3,6)

Ivor Trueman: People call it The Word Song or Untitled Words
Malcolm Jones: Syd's not said what it's supposed to be called?
Ivor Trueman: I don't know.

-- Opel #8 Interview, 1984.




GENERAL NOTES:

Malcom Jones:
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.


Mark Paytress:
Unfortunately there are few good quality live or studio recordings hailing from Syd Barrett's days with Pink Floyd. Even the master tapes of their early BBC radio sessions have disappeared.


QUAALUDE

PRELUDE

SONGSWORDS BARRETT HOP!

VERSION 020622