Syd Barrett & Pink Floyd
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Monday, April 8, 2013

Free Syd Barrett & Roky Erickson Torrents!

Here are the current torrent links for Have You Got It Yet? and a whole bunch of Roky Erickson and Golden Dawn. Duggie Interview is in HYGIY? Companion Files. Happy downloading. Merry Christmas. Free Beer and Chicken! Masoltov! Yippie!

Current torrent links:

HYGIY Vol 1&2 V2.0: http://thepiratebay.org/torrent/4035087 & http://www.yeeshkul.com/forum/showthread.php?t=7269


HYGIY Vol 3 & 5-10: http://thepiratebay.org/torrent/3717941


HYGIY Vol 4 V2.0: http://thepiratebay.se/torrent/5899883 & http://www.demonoid.ph/files/details/2425347 & http://www.yeeshkul.com/forum/showthread.php?t=22091


HYGIY Vol 11 V2.11: http://thepiratebay.org/torrent/5496150 & http://www.yeeshkul.com/forum/showthread.php?t=19622


HYGIY Vol 12-19: http://thepiratebay.org/torrent/3766073

HYGIY Companion Files: http://thepiratebay.org/torrent/4936070 Duggie Fields Interview is in here.

Syd Barrett & Pre-DSOTM Pink Floyd Covers & Tribute Collection: http://www.demonoid.ph/files/details/2877322

Syd's Cambridge - 3 unique tours with over 50 locations related to Syd Barrett & the Roots of Pink Floyd, 4:3 PAL, 72:02
http://thepiratebay.se/torrent/6080359 & http://www.demonoid.ph/files/details/2507921 & http://www.yeeshkul.com/forum/showthread.php?t=22983

Project Syd - Roger "Syd" Barrett - Cambridge Autumn 2009 Interviews with Friends: Richard Jacobs, Sue Unwin, John Watkins, Stephen Pyle, Warren Dosanjh, Diana McKenna, et.al. By Alexandros Papathanasiou, 16:9 PAL, 17:29
Http://thepiratebay.se/torrent/5842633 & http://www.demonoid.ph/files/details/2390622

Pink Floyd - Careful With These Tracks - Ummagumma - Unreleased: http://thepiratebay.se/torrent/4944948

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ROK DVD 1-5
http://thepiratebay.se/torrent/7108414 & http://www.demonoid.ph/files/details/2883059

ROK DVD 6 - Roky Erickson & The Explosives - 2007-07-13, 'Roky's 60th Birthday Party', Paramount, Austin, TX, HH Aud/M, 49:24
http://thepiratebay.se/torrent/5867073 & http://www.demonoid.ph/files/details/2385053

ROK DVD 7 - Roky Erickson - 2007-11-12, Austin Opry House, Austin City Limits S33E12 (aired 2008-01-12), 31:18
http://thepiratebay.se/torrent/5883933 & http://www.demonoid.ph/files/details/2415994

ROK DVD 8 - Roky Erickson - 2010-12-12, Luxor, Cologne, Germany, Rockpalast broadcast: 2011-02-28, PAL, 16:9, 44:54
http://thepiratebay.se/torrent/6467883 & http://www.demonoid.ph/files/details/2662575


ROK DVD 9 - Roky Erickson - 2012-03-01, El Rey Theater, Los Angeles, CA, HD Aud/HH, 40:45
Http://thepiratebay.se/torrent/7409830 & http://www.demonoid.me/files/details/2965695

ROK CD 48 - Roky Erickson & The Aliens - 1978?, The Evil One Demos, Studio, 48:47
http://thepiratebay.se/torrent/6539010 & http://www.demonoid.ph/files/details/2689558


ROK CD 49 - Roky Erickson & The Aliens - The Evil One Alternate Takes & Mixes, Studio, 118:00
http://thepiratebay.se/torrent/6543687 & http://www.demonoid.ph/files/details/2691180

ROK CD 50 - Roky Erickson & The Aliens - The Evil One Vocal Takes & Instrumentals, Studio, 137:08
http://thepiratebay.se/torrent/6866815 & http://www.demonoid.ph/files/details/2799200


ROK CD 51 -Roky Erickson - Don't Slander Me Alternate Takes & Mixes, 1982, The Site Studio, San Rafael, CA, 127:59
Http://thepiratebay.se/torrent/7501868


ROK CD 52 - Roky Erickson - 2012-11-09, T.T. The Bear's Place, Boston, MA, Aud/M, 67:22
http://thepiratebay.se/torrent/7849570

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Golden Dawn Collection:
http://thepiratebay.se/torrent/7080529 & http://www.demonoid.ph/files/details/2874144
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The Velvet Underground - 1966-4 Scepter Studios, Norman Dolph acetate: http://thepiratebay.se/torrent/3495078

The Velvet Underground - A Symphony Of Sound (Arcana compilation): http://thepiratebay.se/torrent/6744866


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Friday, April 5, 2013

Twink - Syd Barrett Stars Interview - 3/13

Syd Barrett Stars
Syd Barrett Stars

Over the month of March, 2013 a group of Syd Barrett fans interviewed Twink, Mohammed Abdullah John Alder, about his time with Syd in the short lived group Stars. Here is Twink's account of his Syd Barrett Stars period:
Annette May: My name's Annette May and I live in Portland, Oregon USA. I look forward to your interview with Mohammed! I'm amazed at all the memorabilia he has; plus his memory is sharp as a tack when it comes to all the questions he's been asked. It's really a pleasure to see that Mohammed is doing what he does best as a musician. We are all so fortunate to have him around on Facebook sharing his stories, music, and photos so generously!

1) Alexander P. HB: 1972, how was Syd at that time?, How did Syd join Stars?

TWINK: Response to question 1. Syd was in good health qnd he was looking for people to play with. He found Jack Monck and I and then we then formed STARS together.

2) Anette May: Hi Mohammed! How long did you spend time in Morocco before your collaboration with Syd and Jack and did the trip change the way you've played drums prior to the way you played them beforehand?

TWINK: Hello Annette you are question 2. I only spent 10 days in Morocco it was too hot and I moved north to Portugal and then France. I was away about 3 months. In the short time I was in Morocco I learnt a lot about North African rhythms which did influence my playing thereafter.

3) Boab Thomas: Was Syd still creating? Lyric writing? Was he taking the whole Stars thing seriously?

TWINK: Hello Boab you are question 3. Syd was painting and performing live a very creative time for him. I believe he was taking STARS seriously..... he didn't miss a rehearsal or a gig.

4) Mark Ashkettle: Was Syd really interested in getting a band together and writing new material or just going through the motions?

TWINK: Hello Mark you are question 4 which was answered in response to question 3.

5) Matthew Horsley: Did Syd start to prefer to be called "Roger" in 1972?

TWINK: Hello Matthew u r question 5. He responded to both Roger and Syd at that time.

6) Mark Ashkettle: Was there any indication that Syd was writing new material or was interested in writing new material? Did Syd give any indication that he thought Stars were a long-term prospect, that they might record an album of new material?

TWINK: Hello again Mark and question 6. It was much to early for any of us to discuss writing new material or to consider whether STARS was a long term project with a view to recording an album. We were simply enjoying our time playing together.

7) Boab Thomas: Equipment - guitars/effects Syd was using!

TWINK: Hello Boab no 8. Black telecaster with no effects apart from slide ....amp and mike.......drums and bass.

8) Stephen Ballard What songs were rehearsed?

TWINK: Hello Stephen no 8. We rehearsed and performed LUCIFER SAM....WAVING MY ARMS IN THE AIR....BABY LEMONADE....AND OTHER SYD SONGS as well as some blues jams.

9) Memo Hernandez: How had Syd's guitar style changed from his days in the Floyd?

TWINK: Hello Memo no 9. Yes his playing had matured.

10) Kiloh: Did he have an EchoRec unit at this time?

TWINK: Hello Kiloh no 10. No Echorec.

11) Lisa Jolene Anderson: Where were most of the STARS practices held at? Who arranged to have Syd included in STARS and was he hesitant about it?

TWINK: Hello Lisa no 11: The STARS rehearsals began at Syd's house and then moved to my place. Syd decided to form a band with Jack and I.

12) Kiloh: How different was his playing from the UFO days?

TWINK: Hello again Kiloh no 12. His playing had matured and his fingers were faster.

13) Julian Massaldi: How was Syd musically by that point, in terms of knowing the chords and lyrics to his own songs? Was it normal to rehearse with him, like any other musician who wrote the songs you're playing, did he have to be reminded of how they went, or did he do them differently each time?

TWINK: Hello Julian no 13. Syd had no problem remembering the chords or the lyrics to any of his songs at rehearsals or gigs.

14) Marc Scobac: Which one of you came up with the name Stars? Did Syd decide the Stars set lists?

TWINK: Hello Marc no 14. Syd came up with the name STARS. Marc part 2 of your question. We all agreed the set list.

Syd Barrett Stars
Syd Barrett Stars
Syd Barrett Stars
Syd Barrett Stars

15) Julian Massaldi: Did he show any favoritism towards any of his own songs? We know he was quite proud of Octopus, were there any others that he was keen to play or wanted for sure on the set list?

TWINK: Hello Julian again no.15. It was a forgone conclusion that we would perform Syd's songs. Syd & Jack suggested songs and my suggestion was LUCIFER SAM. The blues jams were jams and very free form.

16) Julian Massaldi: Did he do any directing during rehearsals, did he give any instructions as to how to play them, or just let you play as you wanted?

TWINK: Hello Julian no.& 16. I remember Jack & Syd directing rehearsals which were very relaxed. We were all familiar with Syd's songs so once we got started on a song "it flew".

17) Joseph Morris: why was Syd growing a beard?

TWINK: Hello Joseph no 17. I can only speak for my beard. I didn't have the money for razor blades or shaving soap.

18) Memo Hernandez: Are there any more pictures? Maybe from the few gigs? Or from rehearsals?

TWINK: Hello Memo no. 18. Yes there are other pics all taken at the open air gig in Cambridge Market Sq by the friend of Steve Brink who moved to Australia quite soon after the show. I saw them and I had a couple of prints but not all.There may be other pics taken by others but I've never seen any.

19) Kiloh: What can you tell us about a set of pictures of Stars playing an outdoor gig in Cambridge Market Square in February (?) 1972, taken by an unknown Australian photographer?

TWINK: Hello Kiloh no. 19. See 18.

20) Gaz Hunter: How was Syd during rehearsals for the Stars gig, calm, paranoid, creative?

TWINK: Hello Gaz no. 20. He was humorous, calm & creative.

21) Marc Scobac: Was the Market Square gig planned in advance or did the band just show up and play?

TWINK: Hello Marc no. 21. The gig was planned in advance.

22) Kiloh: Can you write anything cool you remember as well as your strongest memory for each of the gigs below please:

Gigs:
1-26-72, King's College Cellars -- Barrett, Monck and Twink play a short set (also: Eddie "Guitar" Burns)
1-27-72, Corn Exchange, Cambridge, England -- Last Minute Put Together Boogie Band (also: Hawkwind, Pink Fairies)

February
2-5-72 the Dandelion Coffee Bar, Cambridge, England
2-?-72, Petty Cury (near Market Square) -- Stars
2-?-72, the Dandelion Coffee Bar, Cambridge, England
2-24-72, Cambridge Corn Exchange, Cambridge, England (also: MC5 / Skin Alley)
2-26-72, Cambridge Corn Exchange, Cambridge, England (also: Nektar)

TWINK: Hello Kiloh no 22.) 1) I was very happy to see Syd arrive at the gig with his guitar hoping to jam.
2) Exceedingly happy to see Syd come to the next gig, again with his guitar hoping to jam.
3)I remember Syd standing in front of Jack & I confident and performing a very nice set.
4) Definitely for our best gig, Syd had everyone in the palm of his hand.
5) Corn Exchange 1. The night before the show Syd, Jack, Jenny, Silver & I went out to celebrate and then back to Union Rd for a few laughs......the show was a disaster for STARS everything went wrong.
5) Corn Exchange 2. Good gig and recorded.
6) Dandelion another good gig.

23) Mary Cosco: Wonderful! How Syd was at that time? He was glad to get back on stage? Was he still using drugs? Did he of his Pink Floyd and their abandonment? Thanks

TWINK: Hello Mary no 23. Syd was healthy and happy. He was not using any drugs and never spoke about The Pink Floyd except in reference to his music.

24) Mark Ashkettle: Did they rehearse the unreleased Floyd stuff like scream thy last scream & vegetable man? did Syd talk about the Floyd albums released after he left?

TWINK: Hello Mark no.24. We never discussed the later Pink Floyd trax or albums only Syd's solo albums & PIPER ..... which we all appreciated considerably.

25) Kiloh: Yes, what did he say about Pink Floyd? Details, details, details... Was he bitter?

TWINK: Hello Kiloh no. 25. Syd never spoke about PINK FLOYD and never ever revealed any bitterness to me. He was happy !

26) Kiloh: Did he talk about his two solo albums? If so, what did he say? Did he talk about the botched mix of Madcap Laughs?

TWINK: Hello Kiloh no. 26. He only spoke of his 2 solo albums as reference points to songs we rehersed.

27) Alexander P. Hoffmann: Twink has brought him the later printed posters of The Stars. Then Twink has talked with him, of course. Perhaps Twink can tell a little bit about that meeting.

TWINK: Hello Alexander no 27. I didn't stay long at Syd's house I simply handed the poster to him he smiled, said "Thank you" and closed the door.

28) Joseph Morris: Where are the Stars tapes?

TWINK: Hello Joseph no 28. Only Allah knows.

29) Zachary Biggs: Yeah has any progress been made in finding any recordings?

TWINK: Hello Zachary no. 29. No progress as far as I know.

30) Kiloh: Supposedly, a soundboard recording was made of the gig with Nektar. Stars Roadie, Joly McFee, said that cassette copies were briefly circulating among band members and Staff. Do you remember such a tape circulating? If so, how did it get lost?

Here's what Joly says about the tape:

"Nektar, being prog, had state of the art audio—two WEM Audiomasters out front and monitors. I mixed the band. Another roadie was Nigel, who took care of the stage. I think it was a friend of his that taped the show. I was lent the tape by Nigel some months later and it sounded good; I gave it back without copying. I later heard he lost it. I believe that. If it were around, it would have surfaced by now."

TWINK: Hello Kiloh no. 30. I remember that recording and the tape that Joly had. I listened to it in his van on a trip from Cambridge to London. I sounded very good indeed.

31) Kiloh: Who was Victor Kraft? What can you tell us about him?

TWINK: Hello Kiloh no 31. Victor Kraft was a close friend of Leonard Bernstein, Aaron Copeland and STARS. An American gentleman living in Cambridge guarding his son Jeremy who was at school there. He came to all the STARS shows with a portable recorder and recorded some if not all the shows.

32) Steve Czapla: Did he have any particular opinion of the other bands on the bills -- MC5, Nektar, Hawkwind, etc?

TWINK: Hello Steve no. 32. MC5-The Greatest Rock n Roll Band ever, NEKTAR-Kool, Hawkwind-Great guys and The Pink Fairies - Nice

33) Memo Hernandez: Were there any plans in making an album?

TWINK: Hello Memo no.33. No plans to record.

34) Dave Folsom: Did he ever talk about Pink Floyd's albums with Syd? It would be great to know what Syd thought of Ummaguamma and Atom Heart Mother.

TWINK: Hello Dave no. 34. We only discussed PIPER ...... as a reference point for songs we were rehearsing.

35) Marc Scobac: Historically, it's been really hard to hear Syd's vocals on live tapes; did Syd sing softly at Stars gigs or could he be heard clearly.
Syd Barrett Stars
Syd Barrett Stars

TWINK: Hello Marc no. 35. He could be heard clearly.

36) Michael Rawding: Jack Monck said the last Stars gig was his worst show ever. He felt that Syd was there in body only. What does Twink recall about the audience's reaction to the show?

TWINK: Hello Michael no. 36. Jack was referring to the gig before the last gig as he had forgotten about the NEKTAR show. When we finally took the stage after the MC5 set the crowd went wild with girls jumping on stage and dancing. Which was a bit off putting for Syd.Things got steadily worse culminating in Syd cutting his finger.

37) Alexander P. HB: Is the recording (the known) Olympia 1970 or The Stars 1972? , Are there photos of the performance in the hall of Corn Exchange ?????

TWINK: Hello Alexander no. 37. I believe that recording is STARS 1972 because I recognise my drumming and I can hear Jacks voice.

38) Marc Scobac: Why did the Last Minute Put Together Boogie Band split?, Did anyone ever contact you about releasing the Last Minute Minute Put Together Boogie Band with Syd sitting in recording?

TWINK: Hello Marc no. 38. When Jack and I left TLMPTBB it continued so I have no idea why the band broke up. Watch this space about the recording you refer too: (link missing).

39) Marc Scobac: Were you surprised Syd quit; why or why not?

TWINK: Hello Marc no. 39. I was not surprised when Syd quit as it could have happened at any time by any one of us.

40) Mark Ashkettle: Did Syd give any indications in 1972 that he was finding it difficult to deal with audiences and being a pop star, that he'd prefer to live quietly and concentrate on painting? Did Syd have any favourite new bands in early 1972, was he still interested in current music?

TWINK: Hello Mark no. 40. Syd had the perfect balance in his life at that time. He enjoyed playing in STARS continued with his painting and listening to jug band music.

41) Chris Oliver: Please ask Twink if he and Syd wrote anything together. I also heard rumors that he was around for the Think Pink sessions, Could you ask him if this is true? thank you!

TWINK: Hello Chris no. 41. The only thing that could be considered joint compositions would be the spontaneous live blues jams. Syd was not there for the THINK PINK sessions.

42) Marc Scobac: Did you make any other attempts to work with Syd or get him to come back to Stars after he told you he was leaving?

TWINK: Hello Marc no. 42. We stayed in touch for a time and Syd did come to a TWINK demo recording session at Polydor Studios but did not play on the recording. We never talked about STARS again.

43) Rickard Alstar: Mr. Alder, If the 3 man experiment (Barrett, Monck, Alder) would have worked to its full potential, would you have initiated the next step and formulated an original studio project?

TWINK: Hello Richard no.43. A studio project would have been the next progression however we were not given that opportunity.

44) Neville Harson: If it hasn't been asked of him too many times, it might be good to know if he has any unseen footage or unheard recordings.

Hello Neville no. 44. I have no unseen footage or unheard recordings of STARS.

45) Rich Hall: Has anyone asked if Twink and Syd ever talked after 1972? If yes, what kinds of things were on Syd's mind, and if not, why? Did they have a sour parting of the ways with the demise of Stars?

TWINK: Hello Rich no.45. Definitely no sour parting of the ways and my conversations with Syd after 1972 are personal and private business.

46) Rich Hall: Oh. One more. Did Syd contact Twink to drum on the 1974 sessions?

THINK: Hello Rich no. 46. I dont know if he tried to contact me or not.

47) Steve Czapla: Twink, is there any video or outtakes from your time with Plasticland, and did you cover any Syd/Floyd songs with them?

TWINK: Hello Steve no. 47. I think there must be some outtakes from the live recordings with Plasticland. There are 2 unreleased trax from studio recordings at that time 1) The original version of "Seize The Time" & "Hey Momma Keep Your Big Mouth Shut". No Syd or Floyd covers from Twink & Plasticland.

48) Wade Born: I would like to know if ANY outtakes or demos exist,have they been released or will be released from TWINK'S FIRST Solo release...THINK PINK.What a great LP
that is...were there any unmentioned artist contributions to these sessions? Does TWINK have any special recollections from this recording time period?

TWINK: Hello Wade no. 48. There are bonus trax on the new Sunbeam Records re-issue of THINK PINK - TWINK out April 4th. Full artist contributions and extensive recollections on this CD & LP release with 8 bonus trax. Also look for The Think Pink and Nevereverland Demos by Twink on the Italian Get Back label.



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Monday, March 25, 2013

Syd Barrett Madcap Laughs & Barrett 8 Track Tape!

Syd Barrett Madcap Laughs
Syd Barrett Madcap Laughs
Check out this Madcap Laughs & Barrett double 8 track cassette. Wow. I wonder if the mix is different on this? Back in the day, the record companies used to cram two LPs on one 8 track and sell it. I suppose to make up for the inferior packaging and mechanism.
Syd Barrett Madcap Laughs
Syd Barrett Madcap Laughs

Ahhhh, but the lowly 8 track tape is getting a spiffing up of its reputation these days. Frequently, 8 tracks contained different mixes than the LPs. All of the 13th Floor Elevators albums sported completely different mixes than their LP counterparts.

Syd Barrett Madcap Laughs
Syd Barrett Madcap Laughs

Pink Floyd issues a quadraphonic mixes on 8 track of their Atom Heart Mother, Dark Side of the Moon and Wish You Were Here albums. The 8 track issue of Animals includes a long version of Pigs on the Wing with a guitar solo by Snowy White. Some issues of this 8-track tape have square labels on each side, while other issues have a single label that wraps around both sides.
Syd Barrett Madcap Laughs
Syd Barrett Madcap Laughs

Syd Barrett Madcap Laughs & Barrett on 8 track! My mind is dancing with visions of different mixes!



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Thursday, March 7, 2013

Untangling the Octopus Explained

Untangling the Octopus
Untangling the Octopus
Untangling the Octopus
Untangling the Octopus
Untangling the Octopus
Untangling the Octopus
Untangling the Octopus
Untangling the Octopus

Ever since Paul Belbin wrote Untangling the Octopus in 2005 there has been controversy. Who wrote it? Why? Who published it first? Now apparently, the Author of a well-known Syd Barrett biography cribbed it for his book without acknowledging Paul. Anyway, I wrote Paul recently for an explanation and here is his reply to me below.

Hi Kiloh,

Here we go again... you would be amazed how much controversy that essay has embroiled me in over the years (or maybe not given your experiences over Roky material) ! Is this happening on the Facebook group? As you know, I don’t Facebook.

For clarity, here's a potted history, feel free to quote me. It’s probably longer than you expected, but hopefully, you’ll see why.

I first wrote 'Untangling The Octopus' in 2005. At the end, I added – “Copyright: July 2005 by Percy The Ratcatcher a.k.a. paulbelbin@btinternet.com For discussion on the Vegetable Friends and Madcapslaughing Yahoo ! Groups. Not for amendment, publication, reproduction or quotation without the author’s permission (you probably only have to ask though !)”

That's exactly what I wrote because I just copied and pasted it from the original essay. I extended and updated the essay in August 2006 and published Version 2 with the same copyright. The reason I added the copyright was not that I was precious about the essay - I knew there was more to discover, and wanted to encourage people to contribute ideas - but because I knew it would be easy pickings for a journalist / biographer to claim it for their own. After the amount of work I had put into it, I felt some acknowledgement was at least due. In turn, I acknowledged everyone who had contributed sources and suggestions.

Reactions and outcomes were mixed from the start. The owner of Vegetable Friends disapproved of the copyright to the extent of asking me to take the essay down. As a result, I no longer participate in that group. David Parker (author of 'Random Precision') gave the essay to the producers of the 'Syd Barrett: Under Review' DVD as evidence that Syd's writing was more than just acid-induced word salad. They used it, but didn't credit the source.

Julian Palacios earned my respect and gratitude by asking for my permission to publish - on the internet - an expanded essay mixing my observations with his own suggestions about influences and sources for 'Octopus'. I was happy to give him permission, and Julian wrote some kind words about the essay in 'Dark Globe', and referenced it in the bibliography. See the very last page of the book. Under online sources it says, Belbin, Paul ‘Untangling The Octopus’ Laughing Madcaps Group, 2004-6, http://www.sydbarrettpinkfloyd.com. That’s the right way to do it !

In May 2008 I received an email from Ian Barrett, saying that he knew Rob Chapman, who was writing a biography of Rog/Syd (as Ian put it). Ian said he had passed ‘Untangling The Octopus’ to Rob and “He is very interested in your work and is unaware of some of the references you have brought out. He told me he is very keen to speak to you about it and will be contacting you.”

That contact never happened. When I read Rob Chapman’s ‘A Very Irregular Head’, I found the section on Octopus not only  reproduced many of the sources identified in my essay, but took a very similar approach to setting out the case, sometimes even using the same words as me to make a point. I contacted Rob and congratulated him on a fine Barrett biography, but said I felt some acknowledgement was due. He disagreed, to the point of invoking the legal department of Faber and Faber and ‘strongly urging’ me to seek legal representation.

This is where Felix comes in. He had also read the ‘Octopus’ section in ‘A Very Irregular Head’, and he also thought that Rob Chapman could be accused of plagiarism. He wrote a review of the biography pointing out that the dissection of Octopus for which the author received much credit, actually wasn’t very original at all. That’s here:
http://atagong.com/iggy/archives/2010/06/the-big-barrett-conspiracy-theory.html

I thanked Felix for making this public, and he replied asking if he could host the essay on his site, ‘The Holy Church of Iggy The Inuit’. So… yes, I gave Felix permission to host the essay. But not exclusive permission. The damn essay was never meant to be exclusive, not even to me. it was a labour of love and the starting point – I hoped – for some serious research and discussion. My ego is large enough to think I deserve some credit for it, but I’ve never sought to gain anything else from it.

Felix is welcome to host it. So are you. If it’s anyone’s to give away, it’s mine and I give it freely! All I ask is that the source is acknowledged. I know you understand this, as HYGIY was done in exactly the same spirit.

Let me know whether this settles the arguments. I will forward it to Felix with a covering note.

Meanwhile, take care, and if there are any exciting developments / HYGIY updates, etc… don’t forget to put them on the Yahoo Group too, I still get the digests!

Cheers

Paul (Percy The Ratcatcher)
To read the Belbin/Palacios version of Untangling the Octopus go here:

http://www.sydbarrettpinkfloyd.com/2009/09/untangling-octopus-by-paul-belbin-1996.html
 
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Saturday, February 9, 2013

'Junkyard' photo shoot upgrades.

Thanks to Ewgeni Reingold who provided me with a link to a DVD copy of the Pink Floyd doc, the making of the album "Wish You Were Here", that contains these 2 Syd-era photo upgrades. 
These are from the 2nd October 1967 'Junkyard' photo shoot by Adrian Boot. The shot of the 4 sitting around a book is the 4th shot of this set up to surface. We've had Syd's face from this photo for years but not the whole group shot. There's still room for an upgrade as they didn't show the whole pic but panned across it while zooming out! I have reconstructed it as best I could. The shot of them sitting on the wall is a massive upgrade of this photo compared to what we had before. The close of Nick & Syd is from that same pic.
 
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Friday, February 1, 2013

Mick Rock Interview - Construction Magazine

Mick Rock
Mick Rock

The Mick Rock Interview by Richard Fulco
Construction Magazine - Thursday, April 26, 2012
From the series “Great Rock Photographers.”


Mick Rock is known as “The Man Who Shot the Seventies,” but the photographer didn’t stop working when David Bowie took off his Ziggy Stardust costume. In fact, Mr. Rock is so busy these days that he can “hardly keep up with his own brain.” In fact, Rock’s Legend Series at CATM (500 West 22nd street, NYC, www.catmchelsea.com) has been extended through April 29th.

In our “Great Rock Photographer” series, the legendary Mick Rock chats about David Bowie, Lou Reed, Syd Barrett, whacked-out poets, LSD, his health scare, yoga, New York, cats and, oh yeah, photography.

Riffraf: In your photographs of Syd Barrett, you can see an accursed poet. He had a reputation of being difficult. Was he?

Mick Rock: No, quite the opposite. Syd and me were very comfortable together. I think that was why I got the pictures I got. I took acid with him once, just one time. And whenever I say it to people they think, Oh, my God, that must have been weird. But it wasn’t.

It was actually quite relaxed and very playful. We had a lot of fun, and we played records and looked at Robert Crumb comics and played like a kind of Chinese checkers game. I still remember certain things about it and it was entirely playful. I did have some pretty bizarre experiences with certain people under the influence of acid but not with Syd.

It was more with Syd about the pressures. I did actually the last interview with him, and that’s where that phrase, ‘a very irregular head,’ comes from and ‘I’m full of dust and guitars.’ That was from the very last public interview he ever did, not long after I finished at Cambridge in 1971.

That’s when I did the very last pictures of him in the garden of his mother’s house and down in the basement where he had a pad.

So I got on with Syd. I often have to remind myself and remind people when I’m talking about those early years, how young we all were. Everyone was in their early 20s. My daughter’s 21 now, and I look back and think of all the craziness I was up to at 21, including taking photos of Syd.

And I think it was a very accelerated kind of time, not just for me, but for the people I hung around with. It was a time when there was still something called the ‘underground’ where all this creativity happened . . . not in the political sense because I had little interest in it and still don’t. I’ve never voted in my life. I despise all politicians.

Maybe Winston Churchill you can take your hat off to, but even he had a checkered early career. It was only his facing down of Hitler that transformed him into this very substantial person. He’s a fascinating man. But in general, politicians are undoubtedly a lower form of human life. They’re in the business of lying and manipulation.

And, if you get someone who comes along who’s not so bad, like Obama, even he’s forced into all kinds of compromises by the circumstances. I’m sure he’s got a fairly pure heart, but he’s stuck with the fact that he’s black and with racism that’s still rife in this country, and the powers that be that really control what happens . . . but that’s a whole other tale.

Riffraf: At the time of the Madcap Laughs, do you think Syd was relieved from the pressures of Pink Floyd?

Mick Rock: I think he was relieved from having to play the same songs every night. In the same way. He was really more like a jazz musician in many ways. He thought like a painter. Like an abstract painter. That’s really what he was for the rest of his life. And what he had been originally since a young age.

A book of his art came out last year. There aren’t many of his actual physical paintings left—but the interesting thing was that he would photograph his paintings and then destroy them.

In recent years I reconnected with a girlfriend of Syd’s, Jenny Spires. And she has some of his original paintings, as well as a collection of Syd’s love letters to her. She’s referred to as ‘Jennifer Gentle’ in the early Floyd track ‘Lucifer Sam’.

Riffraf: I want to ask you one more question about Syd.

Mick Rock: Syd never goes away. It’s amazing. My first conversations with David Bowie were about Syd Barrett.

Riffraf: What did you guys talk about?

Mick Rock: We talked about Syd, and he had recently met Lou and Iggy. You’ve got to remember Lou and Iggy were not that well known at that moment in time. They both had a certain underground following, but that was before Transformer and Raw Power, and in either case had they been able to sell any records or get radio airplay.

I remember talking about Syd and Iggy and Lou Reed in the first of my conversations with David Bowie. I think that’s why we got on. We had certain tastes in common and you have to remember again, in 1972, those tastes were maybe slightly more esoteric than they are today.

Riffraf: I know Bowie used to go to the Floyd shows, the underground shows at the UFO Club.

Mick Rock: It was to see Syd. It was Syd that really obsessed him, not particularly Pink Floyd. And the other thing about Syd was he sang like an Englishman. David sort of almost invented singing like an Englishman, but the precursor was Syd Barrett. Even in the case of The Beatles you could hear Buddy Holly and the Everly Brothers and occasionally Little Richard or something. And the Stones were totally American influenced of course.

‘Arnold Layne was a strange fellow.’ That’s a totally British thing. David also sang with this English intonation which certainly influenced just about all significant succeeding British rock and rollers.

And then along comes Bryan Ferry. He was another of the British school. And a great singer/songwriter called Steve Harley who had a band called Cockney Rebel who, certainly in Europe in the 70s, was very significant.

Riffraf: I suppose that Syd was influenced by Ray Davies and his English-isms.

Mick Rock: Maybe. But I don’t recall Syd being particularly interested in The Kinks. Ray [Davies] didn’t sound that English early on. Think of ‘You Really Got Me.’ But by the time he got to ‘Lola,’ yes.

Besides the obvious like Dylan and the Stones and The Beatles, which we all loved, Syd was interested in jazz. That’s what he often played. Coltrane and Mingus. In a way he thought more like a jazz musician. It was always about improvisation and I think that was the thing with Floyd. He didn’t want to go out and play the same music every night. He wanted to just do whatever he felt like.

He was about the blues as well, but he mixed up all these influences and it became Pink Floyd which didn’t sound like anything you’d ever heard before and it was certainly the result of his LSD experiments. Although, at that time, I don’t think the rest of the band had taken acid, not at the beginning.

Syd was certainly the visionary as Dave and Roger constantly give him credit for. They’ve been very good about showing their respect for his innovations.

Riffraf: You can’t get away from Syd. In Tom Stoppard’s play Rock ‘n’ Roll, the Syd character looms large although he’s not a character in the play itself.

Mick Rock: Tom Stoppard, the renowned playwright, wrote the foreword to my book Exposed, and he talks about Syd and how that formed the connection between him and me.

And, of course, the afterword’s by a gentleman called Andrew Loog Oldham who I got to know in New York in the late 70s. He was the original manager and producer and publicist of the Rolling Stones. A genius, no doubt.

For that book I wanted to get a kind of slightly different flavor rather than going to somebody obvious and getting them to write a foreword because I’ve done collaborations with Queen and with Debbie [Harry] and with David and Iggy and even with Rocky Horror.

I have a great Rocky Horror book out in Germany for which Richard O’Brien, who wrote the musical and who plays Riffraf in the film, wrote the foreword for. It’s in both German and English although it is of course primarily a photobook.

And now I finally got around to doing a book with Lou Reed.

Riffraf: I’m glad Lou agreed to do that with you.

Mick Rock: Well, I think it’s about timing. It’s 40 years since Transformer. I’ve been often approached about doing it, but it was never going to happen without Lou’s full participation. I always involve the subjects of my books. And I have a deep and abiding respect for Lou both as a person and an artist, and I want him to be totally happy about the end result. I’m just scanning pictures and sending them over to him and he’s picking out what he likes. We’ll both write a foreword for the book and we’ll co-sign. It’ll be a beautiful signed and numbered and slipcased limited edition tome, to be published by Genesis Publications, with whom I did my collaborations with Bowie and Queen. And Syd, who co-signed 320 copies of our book Psychedelic Renegades, which was his only public gesture over the last 35 years of his life. The co-signed copies are now selling for several thousand dollars, if you can find them . . .

Of course, Lou has an interesting, somewhat combative public reputation in his maturity, but he shows one side to journalists, and that’s only a little bit of Lou Reed. The full man is much more interesting and complex. And has been very kind to a number of people I know.

Riffraf: I understand that you have a good friendship with David and had one with Syd, but were you ever in awe of a subject?

Mick Rock: I think I was a little in awe of all of them: Syd, David, Lou Reed. Lou, especially back in those days, was such a groundbreaker. We were all a bit in awe of Lou Reed, certainly David was too.

And Freddie, of course, an awesome talent. And Iggy Pop. Absolutely. He was a primal force, the like of which has never been equalled in rock n roll. When punk rock came along in full force a few years later, it was kind of amateur time compared to Iggy. It was like . . . this is punk?

I still think of Iggy in 1972, when I shot the Raw Power photos. Now, that was punk. And he’s still the one true punk out there. All the rest have drifted away. A great artist.




I agree (about Iggy). Check out this SICK boxed set a friend and fan sent me; all sourced from vinyl:






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Monday, January 21, 2013

Corporal Clegg - An Analysis

"Corporal Clegg" is a song engendering much speculation and questions. It is featured on their second album, A Saucerful of Secrets (1968) and was written by Roger Waters and features Nick Mason on lead vocals. The song also features a kazoo.



"Corporal Clegg"

Corporal Clegg had a wooden leg
He won it in the war, in 1944.
Corporal Clegg had a medal too
In orange, red, and blue
He found it in the zoo.
Dear, dear were they really sad for me?
Dear, dear will they really laugh at me?
Mrs. Clegg, you must be proud of him.
Mrs. Clegg, another drop of gin.
Corporal Clegg umbrella in the rain
He's never been the same
No one is to blame
Corporal Clegg received his medal in a dream
From Her Majesty the queen
His boots were very clean.
Mrs. Clegg, you must be proud of him
Mrs. Clegg, another drop of gin.


The song is about a soldier who lost his leg in World War II. It is the first mention of war in a Pink Floyd song, something that would become a common theme in Roger Waters' lyrics, Roger having lost his father thus in 1944. Waters told Mojo magazine that this song is autobiographical. He explained: "Corporal Clegg is about my father and his sacrifice in World War II. It's somewhat sarcastic—the idea of the wooden leg being something you won in the war, like a trophy." This can be seen as rather lighter in tone than the Floyd's later tackling of the subject, though, despite the irony (Clegg "won" his wooden leg in the war) and darkness behind the lyrics; indeed, among the cacophony of voices towards the end we hear an officer telling his one-legged man: "Clegg! Been meaning to speak to you. About that leg of yours! You're excused parade from now on!" and members of the band actually corpsing in the chorus.

As far as Corporal Clegg is concerned, it should be noted that Syd Barrett does not appear. I don't have it handy, but one of the Seventies music rags (Melody Maker, I think) forwarded a fan letter to Syd and published his reply. He mentioned specifically that he does not appear on "Corporal Clegg." The Belgian vid features an early mix of the song. I have listened to it again, playing it out loud and was struck that it was definitely Gilmour's most convincing Syd impression.

There were also some very interesting clippings from 1968 which seem to suggest that Pink Floyd's second album, "A Saucerful of Secrets", was originally going to be titled "Corporal Clegg". Another article suggests 'Corporal Clegg as the first single off the new album.



"Corporal Clegg" may be Waters trying to copy Syd musically, but that's not a Syd lyric. (In fact you could draw a line from there to "Free Four" to "Animals" to "Final Cut.") And some of the melodies of "Corporal Clegg" always sounded to me like the earliest seeds of some of the stuff on The Wall. "Waiting for the Worms"--that's what "Corporal Clegg" reminds me of--a jauntier version of "Worms".



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