Syd Barrett & Pink Floyd
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Tuesday, November 30, 2010

Andrew Whittuck 'Bedroom' photo shoot, July 1967

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Monday, November 29, 2010


Pink Floyd Ummagumma

Pink Floyd Ummagumma
Pink Floyd Ummagumma
Pink Floyd Ummagumma

By Neville Harson

It may be hard to imagine now, but there was once a time when avant-garde aesthetics and popular music were not so far apart. It seems there was a brief window of time; a window that opened a crack in the late 50’s, was thrown wide open in the late 60’s and early 70’s and was closed again by the end of the 70’s. This was a time when beat poets and abstract expressionist painters were covered in Life magazine; when people actually flocked to enigmatic movies like “Last Year At Marienbad”, and when bands like Pink Floyd made--and sold--records like Ummagumma. This is perhaps one of the strangest records ever to be released on a major label. If this album were recorded today, no major label would go near it.

Ummagumma, (the word itself may or may not be Cambridge slang for getting it on) is Pink Floyd’s first concept album. There is no story line of any kind; instead, the conceptual framework of the album is simple: one live LP, and one studio LP, the latter further broken into four sections wherein each of the four members of the band gets to indulge in whatever suits their fancy for 12-15 minutes apiece. When the double LP was originally released, it retailed for the same price as one LP.

Taken together, these two very different records give a partial snapshot of what Pink Floyd was doing in 1969. Still somewhat directionless in the absence of their erstwhile leader Syd Barrett (who was, at the time, putting together his first solo album with a little help from his Floydian friends), the band decided to release an LP that would be representative of their live shows of the time. Two live shows were recorded, in April and May, 1969 (though for some reason, the liner notes say June). The finished record consisted of four longish live versions of songs taken from their first two albums or recent singles. A fifth track, a new arrangement of the Syd-penned “Interstellar Overdrive”, was dropped due to the time constraints of the LP.

All of the songs on the live album are stronger, louder, more muscular, and, especially in the case of “Eugene,” far more effective than their studio counterparts. The record begins with Barrett‘s “Astronomy Domine.” We lose the strange radio voices from the studio version, but we gain a band who is audibly on fire. Mason’s drumming in particular, is hyperactive, sometimes pounding out the beat, other times playing around it; sometimes doing both in the same few measures. Gilmour uses his wah-wah pedal to great effect. There’s more of a dynamic range in this live version than there is on the original album, with the band dropping out of the middle of the piece, leaving only Wright’s lonely keyboard. Incredibly, the audience is dead silent until the very end of the piece.

Listen here:

“Careful With That Axe, Eugene” (the only track without a space-themed title) is also played to its full dramatic effect, with Gilmour’s eerie, wordless wailing suddenly building into Waters’ bone-chilling screams, which eventually subside and return to Gilmour. Amazingly, the song only has one chord. There are other versions of this song floating around, legally and otherwise, including “Come In Number 51, You’re Time is Up” on the Zabriskie Point soundtrack. None of them have the dynamic range that Ummagumma’s version has, and it would be hard to find better screams on any other version. My guess is that Waters knew this version was being taped for posterity (he even says so on Careful With These Tracks, an unedited version of the live album) and so he gave this rendition his absolute all.

Listen here:

And if you want more of the same (and who wouldn’t?) you could flip the record over and groove to the entrancing and powerful version of “Set The Controls For the Heart of the Sun.” This has always been one of my favorite Floyd tracks, thought the studio version is somewhat anemic, and I was mortified when Roger Waters opened his 1984 concerts with a “disco-fied” version on his 1984 tour. Wright plays in the faux-middle eastern scale he was fond of at the time, Gilmour is back on wah-wah guitar, and Mason just pounds the crap out of his toms. After an instrumental crescendo, there’s a quiet part that, like “Astronome Domine,” features Wright’s spacey keyboards, with a little bit of Gilmour on slide guitar.

Listen here:

The grand finale of this live set is the four part epic, “A Saucerful of Secrets.” And like the other live versions found here, the sounds are more fully developed and explored than they are on the studio versions of these same songs. There is more clarity and delineation between the different sections, which each section given its own subtitle for the first time. The first part isn’t much more than cymbals, organ, bass and slide guitar in a nondescript noise jam. This builds to a crescendo, and instead of dropping to near silence, it cuts to a repeated drum figure which the other band members make various noises over. This is followed by a short bit of ambient organ, which becomes the stately sixteen chord progression of part four (“Celestial Voices”). Starting quietly, and slowly adding instruments and volume, the piece culminates in a David Gilmour wordless vocal solo. Gilmour reportedly composed some of his classic guitar solos by singing them first, which makes me wonder if this was ever intended to be a guitar solo. Somewhere, perhaps, a version like that exists.

Here’s the “Celestial Voices” segment:

The second LP, recorded in the studio, is where the avant-garde side of the band takes center stage. Keyboardist Richard Wright kicks things off with the portentous mellotron riff of “Sysyphus.” In the original Greek myth, Sysyphus is punished by Zeus, and forced to live an afterlife of eternal frustration--he is to roll a stone up a hill repeatedly, only to have the stone roll back down the hill each time. I’m guessing there are some Floyd fans would probably opt to endure this punishment rather than listen to the 12 or so minutes of Wright’s four-part suite. Apart from the main riff, the first part consists of piano that grows more discordant until Wright is just slamming the keys, scraping the strings, and banging an occasional drum. The second part is arrhythmic prepared piano, random drums, what sounds like a steam train whistle and high-pitched animal squeals (that will also show up in Roger Waters’ segment). This all gets more and more chaotic until the relative calm of Part III, which appears to be an uneasy interlude for mellotron, organ, vibes, birds and other ambient noises. Part IV begins with a sudden, massive, evil-sounding chord, more tympani, cymbals and organ drone, concluding with the main theme once again. Though it has been reported in Nicholas Shaffner’s book “A Saucerful of Secrets: The Pink Floyd Odyssey” that Wright “wanted the opportunity to compose real music,” it seems somewhat ironic that his section of the record seems the most improvised, and the least composed.

Roger Waters is up next, and he turns in a surprisingly restrained, acoustic guitar song, “Grantchester Meadows” (also known as “Daybreak” on certain live recordings). The lyrics are alliterative; the mood is pastoral; the sounds, cinematic. There are birds, a fly, and if you listen really closely, someone playing a few trumpet notes with their mouth during the instrumental section (the lunatic on the grass?) It’s a truly lovely and understated track--two adjectives rarely used to describe much of the Floyd oeuvre. But then suddenly the scene changes, and we’re in a house listening to the same pesky fly we heard in the meadow, and now there’s someone coming down the stairs and SWAT! SWAT! SMACK! This is perhaps the first instance of Pink Floyd using sound effects as a segue between tracks, an effect that would be repeated on most of their ensuing albums.

“Grantchester Meadows” video clip with footage of the actual meadow and river:

What follows is fairly remarkable. Pink Floyd has always been a band known for the theme of insanity that runs throughout their music. And this next track--”Several Species of Small Furry Animals Gathered Together In A Cave And Grooving With A Pict”--may well be the most insane thing they’ve ever committed to tape. It consists solely of human-made animal noises (Animals!) as well as other sounds made by mouth and mouth only. I’m fairly sure the drumming is just a couple of fingers tapping on a microphone. There’s also a loop of someone chanting “Haam BAH! Wheeee!” It’s really quite stunning, though not very accessible, and it’s hard to believe this is the same four people who recorded “The Wall” a decade later. There’s some high-pitched animal operatics, some screams, and then an unintelligible monologue that sounds like something out of James Joyce’s “Finnegan’s Wake.” (How this track was ever included on the Pink Floyd “greatest hits” compilation Works is a mystery!) If you slow the piece down, during the monologue you can hear someone, presumably Roger Waters, say, “That was pretty avant-garde, wasn’t it?” (Yes, Roger, it certainly was.)

“Several Species” video clip:

Flipping the record over we come to the comparatively gentle acoustic guitar strumming of David Gilmour’s “The Narrow Way, Parts I, II & III” The first section was previously known as “Baby Blue Shuffle in D Major”, when it was played live on the BBC. There are two acoustic guitars playing variations on D chords, and at least two slide guitars overdubbed and making trippy little background noises. Every now and then there are some even weirder sounds made presumably with guitar effects pedals and backwards tracking. Part II of Gilmour’s mini-epic begins with an ominous riff that harkens back to Wright’s “Sysyphus” theme. It repeats and repeats, with the guitar effects eventually taking over, until the riff is just a wobbly memory in the background. A drone sound leads to a couple of more conventional guitar chords, and we arrive at the second piece on this record that could comfortably be described as a “song.” Gilmour’s faintly ominous lyrics are sung in three part harmony, which is dreamy and beautiful. The vocals are mixed quietly, apparently, because Gilmour felt a little insecure about the lyrics. Nick Mason also makes an appearance on drums (Wikipedia says it‘s Gilmour, but listen to the fills--it has to be Mason). In later years, Gilmour wrote this piece off, saying he thought it was “pretty horrible“, but I really think he should give it another listen. I’d take “The Narrow Way” --all three parts--over anything from The Division Bell.

Listen to “The Narrow Way, Part III” here:

Finally we get to drummer Nick Mason’s nine minutes of fame. His piece, “The Grand Vizier’s Garden Party” consists of his slightly skewed take on a drum solo, bookended by two rather short, but pretty flute pieces, played by his wife Lindy (uncredited on the LP sleeve). It is all rather spartan, but there are some nice effects. As with Wright, Waters and Gilmour, there’s a section where he goes a bit crazy overdubbing drums on drums, building to another crescendo before the peaceful sound of the flute returns, providing a soothing ending to a rather difficult record.

Though it may be easy to call the second half of Ummagumma self-indulgent, I really don’t think it is. Yes, there is an “everything-including-the-kitchen-sink” aesthetic at play here. And perhaps with all four members working “solo” they didn’t have the checks and balances that come from working together. But the ideas on this record, while strange, are at least brief, varied, and mostly interesting. If they had taken only one of these ideas, and spread it out over a thirty minute side, THAT would have been self indulgent. Instead, the pieces vary and flow, and if you don’t like something, you only have to wait a minute or two and you’ll probably be hearing something quite different.

There are some similarities between the solo pieces. All of the individual members take a turn overdubbing their instruments many times over (though Waters does this with his voice and not his bass, thank god), but this is somewhat excusable as multi-track recording was a novelty at the time, as studios had only recently grown from 4 tracks in 1967 to 8 and 16 tracks in the final years of the decade. And the band also fall into the trap that most young male musicians fall into at one time or another of having a piece start quietly and then build to a climax before ending suddenly (just like male sexuality--or ummagumma!) It should be noted that this formula--where each band member gets their own track--would be repeated to some degree on their next LP Atom Heart Mother.

There was at least one other track recorded at these sessions, “Embryo” which was probably dropped because it was a full band piece and so didn’t fit into the conceptual framework of the record, being neither live nor solo. It was only released on a long forgotten label sampler until its appearance on the Works compilation.


The cover of the album, designed by Hipgnosis, is a picture within a picture, ad infinitum (although the original LP cover supposedly has four variations before ending with the cover of their previous LP, A Saucerful of Secrets). In each of the pictures, the position of each band member rotates. The back cover is a photo of two of the Floyd’s roadies standing in front of their transport van amidst a carefully arranged array of the bands equipment, from amps, tympani, and trombone(?) to drumsticks and microphones. The inner sleeve was the penultimate time the band would make a photographic appearance on one of their albums (the last being Meddle, two years later). Each of the photos--relatively normal black-and-white images--is a little bit odd. David Gilmour appears in front of a tree that seems to have little bodies and faces carved into it (the celebrated Elfin Oak tree in Kensington Gardens). Roger Waters gazes adoringly at his then-wife (whose indifferent gaze is turned away from him). Richard Wright is slumped down under his piano, looking rather unhappy. And Nick Mason appears in sixteen small photos that read like a film strip, which perhaps represents the band’s interest in film scoring, which they were doing a lot of around that time.

Ummagumma’s live album is essential listening, especially if all you know about live Pink Floyd is limited to Delicate Sound of Thunder and Pulse. This music is alive! The studio half is definitely recommended for the more adventurous Floyd fans, but might be difficult going for less curious ears.

Pink Floyd:
Roger Waters
David Gilmour
Rick Wright
Nick Mason

Recorded at MOTHERS Birmingham, April 27th 1969 and Manchester College of Commerge, May 2nd 1969
Produced by Pink Floyd
Engineer: Brian Humphries

Produced by Norman Smith
Engineer: Peter Mew

Sleeve design and photographs by Hipgnosis

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Sunday, November 28, 2010

Emo Speaks More About Syd Barrett's Visit to Formentera

syd barrett

Click the picture to the right to see Emo Moore speak in greater detail about Syd Barrett's trip to Formentera.

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Pink Floyd 1967 Floral Hall, Southport, Lancashire, England

pink floyd 1967

A check out this poster advertising shows featuring John Mayall's Bluesbreakers and Pink Floyd playing at the Floral Hall, Southport, Lancashire, England in May 1967.

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Thursday, November 25, 2010

Pink Floyd Saucerful of Secrets - A Retrospective

Pink Floyd Saucerful of Secrets
Pink Floyd Saucerful of Secrets
Pink Floyd Saucerful of SecretsReleased in 1968, Pink Floyd's second album, "A Saucerful of Secrets," shows the band in a transitional period following up on their debut The Piper at the Gates of Dawn which appeared the year before. The band's lineup was in flux, as the original guitarist and songwriter Syd Barrett had gone mad and would soon be gone entirely; while David Gilmour came on to replace him, while bassist Roger Waters picked up the bulk of the songwriting duties, along with a pair of contributions from keyboardist Richard Wright. Barrett's songwriting veered between little ditties of childlike innocence and spaced-out paeans to the glory of the cosmos. As his role in the band was diminished, Pink Floyd lost that whimsical side and came to focus exclusively on complex psychedelia.

Two of Barrett's most famous songs were recorded during this period but not used. They were "Scream thy Last Scream" & "Vegetable Man". Both were prospective follow up singles to Apples and Oranges. “Vegetable Man”, and “Scream Thy Last Scream”, are some of the last attempts at coming up with a hit single, in the wake of “See Emily Play” that Syd wrote before being booted out of his band. The band should have left off "Corporal Clegg" and "Let There be More Light" to include these insane masterpieces.

Roger Waters does his best to imitate Syd Barrett with his two of trippy psychedelic rock songs, "Let There Be More Light" and the very amusing "Corporal Clegg" (representing the first of Waters' various war-themed songs, though this particular tune is done with humor, including a solo on kazoo). Richard Wright delivers a fine pair of atmospheric songs, "Remember a Day" and "See-Saw", both left over from Piper...

The first of the two really standout tracks is "Set the Controls for the Heart of the Sun". Written by Waters, who based his lyrics on lines from Chinese poetry, it is a very spacey and exotic track, with the organ and guitar merging quite beautifully. It was far better live, but the studio version is pretty good anyway -- a vaguely Middle-Eastern melody, whispered vocals by Waters, and very spacey playing by Wright and Gilmour.

But the big centerpiece of the album is the title track, which is a twelve-minute instrumental of strange sounds and clashing of china and cymbals, with wild keyboard and piano action, and a very strange slide guitar solo- all with Nick Mason's solid drumming in the background. Roger Waters was once quoted saying that it was supposed to demonstrate the before, middle, and end of a battle. The first part is the tension build-up, the middle section is the war (with drummer Nick Mason's tribal percussion loop, Gilmour running his guitar up and down a microphone stand, Waters repeatedly smashing a gong, and Wright pounding his piano senseless), and the final part is the release, the calm after the battle. It's an amazing piece, one of Pink Floyd's best, and it points in the musical direction that the Floyd would take on future releases. It is not untrue to say that Saucerful of Secrets is the "A Day in a Life" of Pink Floyd.

However, it is Syd Barrett who gets the final, haunting word on "Saucerful" with his Pink Floyd swansong, "Jugband Blues," recorded just before his exit from the band, and which the Floyd rightfully saved for release on "Saucerful Of Secrets." The song---featuring some very twisted lyrics and a cameo by a Salvation Army band---may indeed represent Barrett's tragic fall into dementia, but he still sings it with tremendous feeling, and no diehard Floyd fan will ever forget Barrett's final, jarring line, "And what exactly is a joke?” It's his last composition on a Floyd album, and with his passing it seems an even more poignant track now than it ever was. This is pure wonderful, idiosyncratic Barratt. In a way it's a self-pitying song; "It's awfully considerate of you to think of me here, and I must oblige to you for making it clear that I'm not here"...yet it's as freaky as say 'Bike', complete with the Sally Bash army band in the background, together with Rick Wright's strange swirling organ. Oh, and that wonderful kazoo pops up yet again.

Jugband Blues is incredible. It was great to see the same style and creative talent that was the main motivation in Piper round off and conclude the CD. All the reviews that seem try to find psychological meaning in the lyrics or makeup of the song are really missing the entire point--Syd was a Surrealist and the song is surrealism. The meaning is not in the lyrics or in the structure of the song, but in the destruction and absurdity of lyrical meaning and song structure. It is obvious that the rest of the band isn't (at least quite yet) making Surrealism music, but they still do an amazing job playing with the sound and creating very interesting and intelligent music.

Far more than simply a transitional album, "A Saucerful of Secrets" profiles a maturing band that is still performing on the edge of lunacy while transitioning onto a more focused and purposeful musical path. As it is with all of their pre-"Dark Side of the Moon" releases, I cautiously recommend "A Saucerful of Secrets" to those who are only familiar with the "rock radio" edits from this fine band. If you had trouble relating to the albums that those radio-friendly edits came from, then this one is probably not for you. However, if you think that you are up to the challenge, this album may very well expand your musical horizon beyond anything you might have hoped for and, consequently, send you off on a mission to experience other early Pink Floyd offerings as well.

There are other tracks from this same period, the singles "It Would be so Nice" and "Point Me at the Sky" along with the amazing "Julia Dream". There's more in the can too, you can bet on that.

If "Piper at the Gates of Dawn" rates a digital remaster, then it's about time for a Pink Floyd Saucerful of Secrets, to get the same attention. And, please put the Syd tracks of "Scream Thy Last Scream", as well as, "Vegetable Man" on it as bonus tracks. In fact, anything else you find in the vaults centered on Syd and this album please include. Hurry up; we're not getting any younger waiting for this flawed masterpiece to be sonically remastered in this decade!

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Monday, November 22, 2010

Syd Barrett Studio Chatter Transcriptions

Syd Barrett Studio
From mark184021 comes transcriptions of Syd Barrett studio chatter. It's posted chronologically below:

13 May 1968

Silas Lang (mixdown)

Martin Benge: Silas Lang this is RM1 from 4-track, take 1.
(mono mixdown of Silas Lang as recorded 6 May 1968, complete at 2m 45s)

14 May 1968

Golden Hair

Peter Bown: Golden Hair take one.

(Take 1 complete)

21 May 1968

Late Night

Peter Bown: Rolling

Syd: (indistinct)

(brief pause)

Syd?: 1, 2, 3, 4…

(Take 2 complete at 3m 12s)

20 June 1968

Golden Hair

Jenner (or unknown engineer): “This is take 5 and it’s a 4-track copy of take 2”

(Take 5, complete at 2m 28s)

Syd (during fade-out): indistinct – sounds like “Can I just turn a little bit?”

20 July 1968

Clowns And Jugglers

Malcolm Jones: This is Clowns And Jugglers, take one, RS1 on E69631 (probably from a later mixing session)

Ken Scott: This Is Clowns And Jugglers, and it’s take one!

(Take 1, complete at 3m 33s)

11 April 1969


Malcolm Jones: This is RS1 and it’s Opel from E91221 4-track and it’s take 9 (probably from a later mixing session)

(Brief strumming from the end of take 8)

Syd: That’s two verses sorry, I’ll do it again.

Peter Mew: Nine.

Jones: Syd, could you watch the poppng on the P’s.

Syd: Yes.

(tape cuts)

Jones: OK, watch your popping Syd love…

(take 9 complete at 6m 24s)

Love You

Peter Mew: Love You take 1.

(Brief burst of guitar and voice)

Malcolm Jones: OK Syd.

Syd: Yeah.

(Take 1, complete at 2m 1s)

Syd: That’s all…. on that one.

Jones: Do you wanna hear that?

Syd: Yeah.

(tape cut)

Jones: Different tempo.

(take 2 complete at 2m 42s)

(tape cut)

Control room voice: Three.

(Take 3, breakdown at 1m 59s)

Syd: Better do that again, please.

No Good Trying

(Unnumbered take, breakdown at 0m 15s)

Syd: OK, do it again.

Jones: Syd, is your guitar meant to be, have you turned your guitar down?

Syd: Yeah.

Jones: Is it supposed to be down, or…

Syd: No. It’s nice jangly, can you keep it there.

(brief pause)

Jones: OK Syd, off you go.

Syd: Right. (Sighs)

(Take 1, complete at 5m 39s)

12 June 1969


Studio voice: OK?

Syd: Right.

(Take 1, breakdown at 0m 10s)

Syd: Shall I do that?

Waters (in studio): Yeah!

(tape cuts)

Control room voice: Two.

Syd: After?

Waters: Keep going. Keep going Syd, (indistinct)

(Take 2, breakdown at 2m 43s)

Long Gone

Control room voice: This is, er, the new version of Long Gone.

Syd (very quietly): Dolly Rocker.

Control room voice: Two.

(Take 2 complete at 1m 54s)

26 July 1969

She Took A Long Cold Look At Me

Syd: “OK. I’m ready.”

(Take 1, breakdown at 0m 6s)

Waters (in studio): Why don’t you start low, and go into the high bit later on?

(Take 2, breakdown at 0m 4s)

Syd: Yeah, I won’t go with that.

Control room voice: Three.

(Take 3, breakdown at 0m 8s)

Control room voice: Four.

(Take 4, complete at 1m 56s)

Syd: Two verses, that’s it.

Control room voice: Come and have a listen.

Waters (in control room): Or shall we play it down there?

Control room voice: No, it’s better up here.

Wouldn’t You Miss Me

(Take 1, complete at 3m 0s)

Syd: That’s all.

She Took A Long Cold Look At Me

(Take 5, complete at 1m 50s)

Syd: That's short.


Control room voice: Feel, take one

(Take 1, complete at 2m 17s)

Syd: The last one was diamond, actually. Alright.

Control room voice: (indistinct)

If It’s In You

(unknown take, breakdown at 0m 4s)

(unknown take, breakdown at 0m 5s)

Syd: Look, you know, it’s, I’ll…

Control room voice: Six.

Syd: Start again, I’ll start again.

Control room voice (barely audible): Three.

Waters (in control room): Syd, what about taking the guitar down a semitone, so the (indistinct)

Syd: No, it’s just the fact, you know, of going through it. I mean if you, if we could cut –

(Tape cuts)

(Take 5, complete at 1m 51s)

26 February 1970


Peter Bown: Maisie, take one.

(Take 1, breakdown at 10s)

Bown: Two.

Gilmour (in studio): Put the count on.

(Take 2, complete at 2m 48s)

27 February 1970

Gigolo Aunt

Peter Bown: Take nine, Gigolo Aunt.

Syd/Gilmour/Wright (in studio): general chatter

Gilmour: OK, try it again. Are you going to do an intro?

Syd: Yeah.

(Take 9 complete at 3m 46s)

Syd: Mmmm!

1 / 2 April 1970

Baby Lemonade – vocal overdubs

(addition of double tracked vocals to track recorded 27 Feb 1970 - complete at 3m 46s)

Syd: I think that was OK.

7 June 1970

Milky Way

Syd: One, two, three, four

(take 5, complete at 3m 0s)

Birdie Hop

Gilmour: This is Birdie Hop, take one.

Bown: Ready Syd.

(Take 1, complete at 2m 30s)


Syd: ‘Allo?

Alan Parsons: Hello.

Syd: Ah, hello.

Parsons: Hello?

Syd: (chuckles) I’m going to play another one, but it’s in E.

Parsons: OK. Do whatever you like.

Syd: There’s only three.

Parsons: OK!

Gilmour: What’s this one called Syd?

Syd: This one’s called… well I suppose it’s called Rats at the moment. I don’t really dig the animals, it’s irrelevant… animals. My own fetish.

Gilmour: OK, call it Rats. Rats, take one.

Parsons: OK (inaudible)

Syd: Right.

(False start, 10s)

Syd: Is it on? The lights, I mean.

Parsons: Don’t worry about that.

Syd: (laughs)

(Take 1 complete at 3m 2s)

Wined And Dined

Syd coughs.

Gilmour: Wined And Dined, this is take one.

(False start, 30s)

Syd: I’ll start again. I’ll do it on top, right.

Gilmour: Two

(Take 1 complete at 3m 0s)

Syd: And whatever. That’s about, that’s – (tape cuts)

14 July 1970

Effervescing Elephant

Gilmour: Play on, Syd.

Syd: Effervescing Elephant.

(Take 1 complete at 1m 5s)

Syd: (chuckles) All right?

Gilmour: Yeah!

Dolly Rocker

Control room voice: What’s this one called?

Syd: Dolly Rocker. It’s called Dolly Rocker. Sort of old make of dress. Well, months old, you know, that sort of thing.

(Take 1, complete at 2m 42s)

Let’s Split

Control room voice: Syd?

Syd: Yeah?

Control room voice: What’s this one called?

Syd: Hasn’t got a title, I suppose it’s called something like um… Really hasn’t got a title. Oh-

Control room voice: (indistinct)

Syd: Yeah.

Peter Bown: I’ve put the machine on and (indistinct)

Syd: OK.

(Take 1 complete, with breaks, at 2m 15s)

Syd: (breaking off mid-song before resuming) Oh… (sound of papers shuffling) like that. (Song resumes)

Syd: Hold it, can you? That’s all. Cheers.


Gilmour: OK, do it.

Syd: Shall we try and sing it? Oh - that’s alright, don’t worry, don’t worry.

Gilmour: What’s it called?

Syd: Don’t know. No title. I suppose it’s called Dominoes.

Gilmour: OK, do it.

(Take 1, breakdown at 0m 26s)

Syd: Right. Dominoes.

(Take 2 complete at 2m 22s)

Syd: That’s all.

21 July 1970

Word Song

Control room voice (over intro): We’re rolling.

(Take 1, complete at 3m 19s)

22 July 1970

It Is Obvious

Peter Bown: It is obvious!


Gilmour: Syd, are you ready?

Syd: Yeah.

Gilmour: Off you go.

(Take 2 complete at 3m 31s)

Peter Bown: Three.

(Take 3 complete at 3m 34s)

Peter Bown: It Is Obvious, take five.

Gilmour: Do that rhythm you were just playing just then.

Syd: Which one?

Gilmour: That one you were just strumming, just a minute ago.

(Syd strums)

Gilmour: OK, off you go.

(Take 5 complete at 2m 53s)

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Sunday, November 21, 2010

Psychedelic UFO Roundhouse Poster!

UFO Roundhouse

Check out one of the rarest of the British psychedelic silkscreen posters. It was used to promote two shows featuring the Jeff Beck Group, Ten Years After, Dantanlian’s Chariot & Zoot Money. These gigs took place Sept. 22 & 29, 1967 at the UFO Roundhouse in London. Shortly after, this club closed in October 1967.

This incredibly trippy image was designed by Martin Sharp, and is featured in "High Art", page 117 (if you don't have this book, do yourself a favor and get it, especially if you like the British psychedelic art). This original silkscreen poster measured 19 3/4" x 30"...

The UFO Club’s popularity brought about its demise — being too tiny to accommodate the increasing number of fans. The beginning of the end came in June 1967, when Hoppy Hopkins was imprisoned for drugs. Police pressure on the 31 Tottenham Court Road location increased in the following weeks, and the landlords revoked the lease. UFO then moved into The Roundhouse for a few months but, despite the building being much run down, the rent was exorbitant. If a big name such as Jeff Beck was playing, UFO broke even, but the club usually lost money.

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Friday, November 5, 2010

Syd Barrett Hendrix Tour Photo

Syd Barrett Hendrix
Syd Barrett Hendrix
Syd Barrett Hendrix
Syd Barrett Hendrix
Syd Barrett Hendrix
Syd Barrett Hendrix
Check out this picture of Syd Barrett (top) from the November 1967 Package Tour. Syd looks like a deer in the headlights.

At the end of 1967 Pink Floyd embarked on a package tour of the United Kingdom with Jimi Hendrix and The Move headlining, and supported by Amen Corner, The Nice, The Outer Limits and Eire Apparent. They got a twenty minute slot (just enough for three songs) and played two gigs per day. The pressure during this tour became too much for Syd, and at times Davy O'List (of The Nice) was asked to stand in for him.

According to some the Syd Barrett Hendrix relationship was a good one with Jimi frequently looking in on Syd because he "knew that he was cracking up".

The Jimi Hendrix Experience tour with the Pink Floyd, Move, Amen Corner, Nice, Eire Apparent and the Outer Limits (November 1967)

14 - Royal Albert Hall, Kensington, London, England

15 - Winter Gardens, Bournemouth, Hampshire, England (two shows)

17 - City Hall, Sheffield, Yorkshire, England (two shows), and Queen's Hall, Leeds, England (All Night Garden Party-not part of Hendrix tour)

18 - Empire Theater, Liverpool, Lancashire, England (two shows)

19 - Coventry Theater, Warwickshire, England (two shows)

22 - Guildhall, Portsmouth, Hampshire, England (two shows)

23 - Sophia Gardens Pavilion, Cardiff, Glamorgan, Wales (two shows)

24 - Colston Hall, Bristol, Gloucestershire, England (two shows)

25 - Opera House, Blackpool, Lancashire, England (two shows)

26 - Palace Theater, Manchester, Lancashire, England (two shows)

27 - Whitla Hall, Queens College, Belfast, Ulster, Ireland (two shows) (Festival of Arts)

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