I will be reviewing the entire box set disc by disc. I will give the good, the bad, and the ugly on the set and look at it as both to someone who isn’t s super collector as well as someone who already has a lot of this material. I will expand this article each day as I go along. Audio first and then video.
Disc 1 & 2 Cambridge Station
Songs 1-6: Obviously being fans of Syd Barrett and the early Pink Floyd this is where we want to start. The 6 songs from the Tea Set which came out last year in that limited RSD double single are as good as I reviewed there, so I will not add anything to that.
Songs 7-11: These are the early singles in Mono, they sound nice, not really anything new or much to add here that most of us don’t know.
Song 12: Matilda Mother is the version from the 40th anniversary of Piper and An Introduction to Syd Barrett, nothing new here.
Song 13: Jugband Blues, just the 2010 mix of this song.
Song 14: In the Beechwoods, one of the holy grails that we have been waiting for, well, it’s here, it’s an instrumental and the sound quality is good.
Song 15: Vegetable Man, the 2nd of the holy missing songs, now I will say this is the best sounding version I have heard, BUT the mix is a new mix and not the original mix that we are used to hearing on RoIO’s and such, the easiest tell on that is at the end of the song. But a nice edition and certainly the best quality version that has ever been out there.
Song 16: Scream Thy Last Scream, well this one I am a little disappointed in, especially the mix. Honestly I have a RoIO that beats this in both sound and mix. The most noticeable difference is that they mixed down the high pitch (Syd) singing and brought Nick’s main vocal more out front, they also unbalanced the keyboards in this mix.
Songs 1-8: The Stockholm show from 67 that was dug up a few years ago, it sounds great, even if you still cannot really hear the vocals. The standout is Reaction in G, but also to note that Scream Thy Last Scream is truncated.
Songs 9-17: John Latham versions 1-9, well really these are just alot of instrumental tracks, mostly just jamming in the studio, they sound fine, but nothing really stands out here.
What is still missing from this time frame, well quite a bit, here is my list:
The Advision sessions: Interstellar Overdrive, Arnold Layne, Let’s Roll Another One, and a fourth track, where are these? Though Interstellar Overdrive we may already have.
Songs missing from the Piper sessions: 4/18/67 She was a Millionaire, and the early Lucifer Sam (Percy the Ratcatcher), 6/29/67 Sunshine, The original 67 Mixes of Scream and Vegetable, the Barrett sessions from Saucerful from 8/7/67 through at least the end of the year such as Set the Controls, Remember a Day, Paintbox, Let there Be More Light. Also if there are any studio versions of Reaction in G and One in a Million (unless this is the same as She Was a Millionaire).
Disc 3 Germination
Songs 1-4: 1968 singles, sound good, have been around before though.
Songs 5-6: Now here are a pair of new items that we have not heard before, 2 tracks from Capitol Studios in Hollywood, they are certainly interesting. Song 1 sounds like it may be an early thought of Cymbaline, sort of. And Roger’s Boogie sounds like nothing else the Floyd have done, odd tune, cool though.
Tracks 7-13: BBC sessions, all great, though I may prefer the mixes from Rhapsody In Pink (RoIO) than these, just my 2c.
More to Come…
As some of you may already know, it has been announced that a Pink Floyd – The Early Years 1965-1972 box set is being released to cover the treasure trove of unreleased, live and rare recordings from their early years. This release will finally get songs like Scream Thy Last Scream, Vegetable Man, In The Beechwoods and more finally out there as well as the 1965 demos that were released in a limited fashion last year.
There will also be separate releases of the discs contained within the set with some tracks being left out and exclusive to the box.
The only tracks that seem to be missing now from the Syd Barrett time period is She Was A Millionaire, recorded in April of 67, along with the early version of Lucifer Sam called Percy The Ratcatcher, and the early versions of Arnold Layne and Let’s Roll Another One (Candy and a Currant Bun) (Unless these two are included here in the set, but it doesn’t seem to be the case), beyond that everything seems to be covered and then some.
Links to Order below:
Full Box Set Information Below:
PINK FLOYD ‘THE EARLY YEARS 1965-1972’
† previously unreleased 1965-67
CAMBRIDGE ST/ATION CD 1:
1. Lucy Leave* 2.57
2. Double O Bo* 2.57
3. Remember Me* 2.46
4. Walk With Me Sydney* 3.11
5. Butterfly* 3.00
6. I’m A King Bee* 3.13
7. Arnold Layne 2.57
8. See Emily Play 8.57
9. Apples And Oranges 3.05
10. Candy And A Currant Bun 2.45
11. Paintbox 3.48
12. Matilda Mother (2010 mix) 4.01
13. Jugband Blues (2010 mix)† 3.01
14. In The Beechwoods (2010 mix)† 4.43
15. Vegetable Man (2010 mix)† 2.32
16. Scream Thy Last Scream (2010 mix)† 4.43
Total: 50 mins, 32 secs approx.
Tracks 1-11 mono.
Tracks 12-16 stereo
*including Rado Klose on guitar and Juliette Gale on vocals on ‘Walk With Me Sydney’
CD 2: Live in Stockholm 1967
2. Reaction in G † 7.18
3. Matilda Mother† 5.34
4. Pow R. Toc H.† 11.56
5. Scream Thy Last Scream† 4.00
6. Set The Controls For The Heart Of The Sun† 7.17
7. See Emily Play† 3.16
8. Interstellar Overdrive† 8.57
Please note: the above tracks feature vocals recorded at a less than optimum level
John Latham (studio recordings 1967)
9. John Latham Version 1† 4.32
10. John Latham Version 2† 5.06
11. John Latham Version 3† 3.45
12. John Latham Version 4† 2.59
13. John Latham Version 5† 2.48
14. John Latham Version 6† 3.17
15. John Latham Version 7† 2.36
16. John Latham Version 8† 2.49
17. John Latham Version 9† 2.38
Total: 79 mins, 13 secs approx.
Tracks 1-8 recorded live Sept 10, 1967 at Gyllene Cirkeln, Stockholm, Sweden
Tracks 9-17 recorded at De Lane Lea Studios, London, 20 October 1967
All tracks stereo
1. Chapter 24: Syd Barrett in the Gog Magog Hills, Cambridgeshire, UK 1966 / Pink Floyd at EMI Studios, London, April 1967 3.40
2. Nick’s Boogie† : recording Interstellar Overdrive and Nick’s Boogie at Sound Techniques Studio, Chelsea, January 11, 1967 / 6.36 Live at UFO, The Blarney Club, London, January 13, 1967
3. Interstellar Overdrive: ‘Scene – Underground’ UFO at The Blarney Club, London, January 27, 1967 4.15
4. Arnold Layne: promo video. Wittering Beach, UK, early 1967 2.54
5. Pow R. Toc H. / Astronomy Domine: plus Syd Barrett and Roger Waters interview: BBC ‘The Look Of The Week’ – BBC Studios, 9.22 London, May 14, 1967
6. The Scarecrow: ‘Pathé Pictorial’, UK, July 1967 2.05
7. Jugband Blues: ‘London Line’ promo video, 1967, London 2.58
8. Apples And Oranges: plus Dick Clark interview: ‘American Bandstand’, Los Angeles, USA, November 7, 1967 4.51
9. Instrumental Improvisation† : BBC ‘Tomorrow’s World’, London, December 12, 1967 2.11
10. Instrumental Improvisation† : ‘Die Jungen Nachtwandler’, UFO, The Blarney Club, London, February 24, 1967 4.32
11. See Emily Play: BBC ‘Top Of The Pops’ – partially restored BBC Studios, London, July 6, 1967 2.55
12. The Scarecrow (outtakes): ‘Pathé Pictorial’, UK, July 1967 2.07
13. Interstellar Overdrive: ‘Science Fiction – Das Universum Des Ichs’, The Roundhouse, London, 1967 9.33
Total: 57 mins, 59 secs approx.
1968 GERMIN/ATION CD
1. Point Me At The Sky 3.40
2. It Would Be So Nice 3.46
3. Julia Dream 2.34
4. Careful With That Axe, Eugene (single version) 5.46
5. Song 1, Capital Studios, Los Angeles, 22 August 1968† 3.19
6. Roger’s Boogie, Capitol Studios, Los Angeles, 22 August 1968† 4.35
BBC Radio Session, 25 June 1968:
7. Murderistic Woman (Careful With That Axe, Eugene) † 3.38
8. The Massed Gadgets Of Hercules (A Saucerful Of Secrets) † 7.18
9. Let There Be More Light† 4.32
10. Julia Dream† 2.50
BBC Radio Session, 20 December 1968:
11. Point Me At The Sky† 4.25
12. Embryo† 3.13
13. Interstellar Overdrive† 9.37
Total: 59 mins, 14 secs approx.
Tienerklanken’, Brussels, Belgium, 18-19 February 1968: 22.28
1. Astronomy Domine
2. The Scarecrow
3. Corporal Clegg
5. Set The Controls For The Heart Of The Sun
6. See Emily Play
8. Apples And Oranges: ‘Vibrato’, Brussels, Belgium, February 1968 3.03
‘Bouton Rouge’, Paris, France, 20 February 1968: 13.35
9. Astronomy Domine
11. Set The Controls For The Heart Of The Sun
12. Let There Be More Light
13. Paintbox: ‘Discorama’, Paris, France, 21 February 1968 3.40
14. Instrumental Improvisation† : ‘The Sound Of Change’, London, UK, March 1968 2.15
15. Set The Controls For The Heart Of The Sun: ‘All My Loving’, London, UK, 28 March 1968 2.40
16. It Would Be So Nice (excerpt): ‘Release-Rome Goes Pop’, Rome, Italy, April 1968 1.21
17. Interstellar Overdrive: ‘Pop 68’, Rome, Italy, 6 May 1968 6.59
‘Tienerklanken – Kastival’, Kasterlee, Belgiu, 31 August 1968: 3.48
18. Astronomy Domine
19. + Roger Waters interview
‘Samedi et Compagnie’, Paris, France, 6 September 1968: 5.31
20. Let There Be More Light
21. Remember A Day
22. Let There Be More Light: ‘A L’Affiche du Monde’, London, UK, 1968 1.53
‘Tous En Scene’, Paris, France, 21 October 1968: 6.39
23. Let There Be More Light
25. Let There Be More Light: ‘Surprise Partie’, Paris, France, 1 November 1968 6.35
26. Point Me At The Sky: Restored promo video, UK, 1968 3.19
Total: 84 mins, 18 secs approx..
1969 DRAMATIS/ATION CD 1:
‘More’ album non-album tracks
1. Hollywood (non-album track) † 1.21
2. Theme (Beat version) (Alternative version) † 5.38
3. More Blues (Alternative version) † 3.49
4. Seabirds (non-album track) † 4.20
5. Embryo (from ‘Picnic’, Harvest Records sampler) 4.43
BBC Radio Session, 12 May 1969:
6. Grantchester Meadows† 3.36
7. Cymbaline† 3.38
8. The Narrow Way† 4.48
9. Green Is The Colour† 3.21
10. Careful With That Axe, Eugene† 3.26
Live at the Paradiso, Amsterdam, 9 August 1969:
11. Interstellar Overdrive† 4.20
12. Set The Controls For The Heart Of The Sun† 12.25
13. Careful With That Axe, Eugene† 10.09
14. A Saucerful Of Secrets† 13.03
Total: 68 mins, 50 secs approx.
Part 1: ‘The Man’, Amsterdam, 17 September 1969
1. Daybreak (Grantchester Meadows)† 8.14
2. Work† 4.12
3. Afternoon (Biding My Time)† 6.39
4. Doing It† 3.54
5. Sleeping† 4.38
6. Nightmare (Cymbaline)† 9.15
7. Labyrinth† 1.10
Part 2: ‘The Journey’, Amsterdam, 17 September 1969
8. The Beginning (Green Is The Colour)† 3.25
9. Beset By Creatures Of The Deep (Careful With That Axe, Eugene)† 6.27
10. The Narrow Way, Part 3† 5.11
11. The Pink Jungle (Pow R. Toc H.)† 4.56
12. The Labyrinths Of Auximines† 3.20
13. Footsteps / Doors† 3.12
14. Behold The Temple Of Light† 5.32
15. The End Of The Beginning (A Saucerful of Secrets)† 6.31
Total: 76 mins, 36 secs approx..
‘Forum Musiques’, Paris, France, 22 January 1969: 19.25
1. Set The Controls For The Heart Of The Sun – David Gilmour interview
2. A Saucerful Of Secrets
3. ‘The Man’ and ‘The Journey’: Royal Festival Hall, London, rehearsal, April 14, 1969: 14.05
- Afternoon (Biding My Time)
- The Beginning (Green Is The Colour)
- Beset By Creatures Of The Deep†
- The End Of The Beginning (A Saucerful Of Secrets)
Essencer Pop & Blues Festival, Essen, Germany, October 11 1969: 19.14
4. Careful With That Axe, Eugene
5. A Saucerful Of Secrets
Music Power & European Music Revolution, Festival Actuel, Amougies Mont de l’Enclus, Belgium, 25 October 1969: 27.53
6. Green Is The Colour
7. Careful With That Axe, Eugene
8. Set The Controls For The Heart Of The Sun
9. Interstellar Overdrive with Frank Zappa 11.26
Total: 71 mins, 14 secs approx.
1970 DEVI/ATION CD 1:
1. Atom Heart Mother live in Montreux, 21 Nov 1970† 17.58
BBC Radio Session, 16 July 1970:
2. Embryo† 11.10
3. Fat Old Sun† 5.52
4. Green Is The Colour† 3.27
5. Careful With That Axe, Eugene† 8.25
6. If† 5.47
7. Atom Heart Mother† with choir, cello & brass ensemble 25.30
Total: 78 mins, 8 secs approx.
CD 2: Unreleased tracks from the ‘Zabriskie Point’ soundtrack recordings:
1. On The Highway† 1.16
2. Auto Scene Version 2† 1.13
3. Auto Scene Version 3† 1.31
4. Aeroplane† 2.18
5. Explosion† 5.47
6. The Riot Scene† 1.40
7. Looking At Map† 1.57
8. Love Scene Version 7† 5.03
9. Love Scene Version 1† 3.26
10. Take Off† 1.20
11. Take Off Version 2† 1.12
12. Love Scene Version 2† 1.56
13. Love Scene (Take 1)† 2.16
14. Unknown Song (Take 1)† 5.56
15. Love Scene (Take 2)† 6.40
16. Crumbling Land (Take 1)† 4.09
17. Atom Heart Mother† Early studio version, band only 19.15
Total: 67 mins, 9 secs approx.
DVD 1: An Hour with Pink Floyd: KQED, San Francisco, USA, 30 April 1970:
1. Atom Heart Mother 17.37
2. Cymbaline 8.38
3. Grantchester Meadows 7.37
4. Green Is The Colour 3.31
5. Careful With That Axe, Eugene 9.09
6. Set The Controls For The Heart Of The Sun 12.37
Total: 59 mins, 9 secs approx.
Audio only: Atom Heart Mother album original 4.0 Quad mix 1970:
7. Atom Heart Mother 23.42
8. If 4.31
9. Summer ’68 5.29
10. Fat Old Sun 5.24
11. Alan’s Psychedelic Breakfast 13.01
Total: 52 mins, 7 secs approx.
‘Pop Deux – Festival de St. Tropez’, France, 8 August 1970: Part 1:
1. Cymbaline (sound check) 3.54
2. Atom Heart Mother 13.46
3. Embryo 11.23
4. Green Is The Colour/ 5. Careful With That Axe, Eugene 12.21
6. Set The Controls For The Heart Of The Sun 12.07
Roland Petit Ballet, Paris, France, 5 December 1970:
7. Instrumental Improvisations 1,2,3† live in the studio 3.28
8. Embryo 2.39
Blackhill’s Garden Party, Hyde Park, London, UK, 18 July 1970:
9. Atom Heart Mother with the Philip Jones Brass Ensemble/John Alldis Choir 21.15
Total: 80 mins, 53 secs approx.
All DVD content is included on one blu-ray.
1971 REVERBER/ATION CD:
1. Nothing Part 14 (Echoes work in progress) † 7.01
BBC Radio Session, 30 September 1971:
2. Fat Old Sun† 15.33
3. One Of These Days† 7.19
4. Embryo† 10.43
5. Echoes† 26.25
Total: 67 mins 1 sec approx.
1. Interview + Atom Heart Mother (extracts) ‘Aspekte’ feature 9.51 Hamburg, Germany, 25 February 1971 Brass & Choir conducted by Jeffrey Mitchell
2. A Saucerful Of Secrets (extract) Offenbach, Germany, 26 February 1971 ‘Cinq Grands Sur La Deux’ 17.55
Abbaye de Royaumont, Asnierès-sur-Oise, France, 15 June 1971
3. Set The Control For The Heart Of The Sun
5. Atom Heart Mother (extract) 3.12 ‘Musikforum Ossiachersee’, Ossiach, Austria, 1 July 1971 Brass & Choir conducted by Jeffrey Mitchell
‘Get To Know’ 6.23 – Randwick Race Course, Sydney, Australia, 15 August 1971
6. Careful With That Axe, Eugene
’24 hours – Bootleg Records’, London, UK, 1971:2.27
7. Documentary including Pink Floyd and manager Steve O’Rourke
‘Review’, London, UK, 1971: 3.37
8. Storm Thorgerson & Aubrey ‘Po’ Powell interviewed re: record cover design
9. One of These Days (‘French Windows’) 4.17 Ian Emes animation created July 1972, Birmingham, UK
10. Atom Heart Mother (extract, in colour): 5.10 ‘Musikforum Ossiachersee’, Ossiach, Austria, 1 July 1971 Brass & Choir conducted by Jeffrey Mitchell
11. Atom Heart Mother: ’71 Hakone Aphrodite 15.11 Open Air Festival, Hakone, Japan, 6-7 August 1971
Total: 68 mins 3 secs approx..
1. Echoes original 4.0 Quad mix 1971 23.35
1972 OBFUSC/ATION CD:
Obscured By Clouds 2016 Remix
1. Obscured By Clouds† 3.03
2 When You’re In† 2.31
3 Burning Bridges† 3.30
4 The Gold It’s In The… † 3.07
5 Wot’s…Uh The Deal† 5.09
6 Mudmen† 4.18
7 Childhood’s End† 4.33
8 Free Four† 4.16
9 Stay† 4.06
10 Absolutely Curtains† 5.52
Total 40 mins 25 secs approx.
Recording Obscured by Clouds, Château d’Hérouville, France, 23-29 February 1972
1. Wot’s…Uh The Deal: with recording session photos 5.04
2. Pop Deux: Documentary recording Obscured By Clouds 7.14 + David Gilmour and Roger Waters interview
Brighton Dome, UK, 29 June 1972 16.44
3. Set The Controls For The Heart Of The Sun
4. Careful With That Axe, Eugene
Roland Petit Pink Floyd Ballet, France, news reports 1972-73
5. Actualités Méditerranée, Marseille, 22 November 1972 3.29
6. JT Nuit – Les Pink Floyd, Marseille, 26 November 1972 3.04
7. JT 20h – Pink Floyd, Paris, 12 January 1973 3.01
8. Journal de Paris – Les Pink Floyd, Paris, 12 January 1973 5.03
9. Poitiers – Autour Du Passage Des Pink Floyd 4.27 Concert set up news report – France, 29 November 1972
Live At Pompeii (with 2016 5.1 Audio Remix)
10. Careful With That Axe, Eugene 6.40
11. A Saucerful Of Secrets 10.09
12. One Of These Days 5.58
13. Set The Controls For The Heart Of The Sun 10.24
14. Echoes 26.10
Total: 107 mins 27 secs approx..
BONUS CONTINU/ATION CD:
BBC Radio Session, 25 September 1967:
1. Flaming† 2.42
2. The Scarecrow† 1.59
3. The Gnome† 2.08
4. Matilda Mother† 3.20
5. Reaction in G† 0.34
6. Set The Controls For The Heart Of The Sun† 3.19
BBC Radio Session, 20 December 1967:
7. Scream Thy Last Scream† 3.35
8. Vegetable Man† 3.07
9. Pow R. Toc H.† 2.45
10. Jugband Blues† 3.50
BBC Radio Session, 2 December 1968:
11. Baby Blue Shuffle In D Major† 3.58
12. Blues† 4.59
13. US Radio ad 0.22
14. Music from The Committee No. 1 1.06
15. Music from The Committee No. 2 3.25
16. Moonhead† 7.16 live on 1969 BBC TV moon landings broadcast
17. Echoes† 24.10 live at Wembley 1974
Total: 72 mins 35 secs approx.
1. Arnold Layne (Alternative version) 2.56 Hampstead Heath and St. Michael’s Church, Highgate, London, UK, March 1967
2. ‘P1 – P wie Petersilie’ 16.52 Stuggart, Germany, 22 July 1969
A Saucerful of Secrets
3. Atom Heart Mother 3.46 ‘Bath Festival of Blues & Progressive Music’, Shepton Mallet, UK, 27 June 1970
4. ‘Kralingen Music Festival’ 10.16 Rotterdam, The Netherlands, 28 June 1970
Set The Controls For The Heart Of The Sun
A Saucerful Of Secrets
5. ‘The Amsterdam Rock Circus’ 35.41 Amsterdam, The Netherlands, 22 May 1972
Atom Heart Mother
Careful With That Axe, Eugene
A Saucerful Of Secrets
6. The Committee – (Feature Film) 55.18 Score by Pink Floyd
Total: 124 mins 49 secs approx.
‘More’ feature film 1.56.00
‘La Vallée’ (Obscured By Clouds) feature film 1.45.00
Total: 3 hours 41 mins approx.
ALSO INCLUDED: 7” VINYL SINGLES IN REPRODUCTION SLEEVES:
- Arnold Layne C/W Candy And A Currant Bun
- See Emily Play C/W The Scarecrow
- Apples And Oranges C/W Paintbox
- It Would Be So Nice C/W Julia Dream
- Point Me At The Sky C/W Careful With That Axe, Eugene
Pink Floyd have begun their series of vinyl re-releases with their first 4 albums; Piper At The Gates Of Dawn, A Saucerful Of Secrets, More & Ummagumma). So fans of Syd Barrett will be particularly interested in the first two releases. I will review these in the upcoming weeks.
For our Ad-Blocker friends (links to get the albums):
Since we here at The Syd Barrett Archives broke this before any of the other Floyd sites, I wanted to make sure I also gave this a thorough review. Well, it finally landed in my hands and ears last night and so here we go.
A few notes before I start. I believe from a number of sources that the band was either The Tea Set or Sigma 6 during this time frame and not Pink Floyd, not that it is a big deal, but it is something. I also think that it might be Bob Klose singing on Remember Me which he isn’t credited for, but until we hear back from him I cannot be sure. It certainly isn’t Syd, Rick or Roger. Could be Nick I suppose, but my gut tells me it is Bob.
1. Lucy Leave – Most hardcore Floyd and Barrett fans are already familiar with this track, since it has been widely available since the advent of youtube from it’s acetate along with King Bee. Not much of a change here, slightly longer, a bit more cleaned up. Lucy Leave fits directly into the mid 60’s stuff like Yardbirds, Animals, a little Beatles, The Who. It is definitely the most Floyd like cut out of the bunch, but it still isn’t very Floyd.
2. Double O Bo – Talked about it’s existence for years and it finally pops up. This is a great little Bo Diddly style number with some fun drums and fun lyrics from Syd. This may be my favorite aside from Lucy.
3. Remember Me – As I mentioned above, I think this track has Bob singing. But beyond that it reminds me of early Captain Beefheart mixed with the Yardbirds and Doors like keyboards, pre Doors. In fact Rick’s keyboards all seem very Doors like throughout the songs that use them. Rick beat them to that one apparently.
4. Walk With Me Sydney – Syd is singing like Syd tends to, and in fact the lyrics are kind of like Vegetable Man and some of his solo stuff. A goofy song overall, but fun, and you have Rick’s sister doing back up vocals. Another song that has long existed in the Floyd legend, but finally heard!
5. Butterfly – The start of the song is very much like solo Syd stuff. In fact after hearing these 6 songs I would say that Syd’s solo stuff was much more like he normally wrote than the stuff with Floyd. This is a nice song, maybe the most put together out of the bunch without being or sounding like a cover. Still blues based, but solid.
6. King Bee – Like Lucy Leave, it has been floating around forever, it’s a ok cover aside from the Bass playing which was supposedly Rick on this track. Fun, but nothing great. One of the rare times over the Floyd career that you get to hear them do blues.
It would seem we have had a surprise this RSD Nov 2015, with the release of Pink Floyd 1965, double 7 inch – Their First Recordings, limited to 1000 copies worldwide, it may be the start of a possible Piper or early years immersion set, guess we will have to wait and see.
A1 – Lucy Leave – 2:53
B1 – Double O Bo – 3.25
B2 – Remember Me – 2:45
C1 – Walk with Me Sydney – 3:11
D1 – Butterfly – 2:59
D2 – I’m A King Bee – 3:07
Syd Barrett: Vocals, Guitar
Rado (Bob) Klose: Guitar
Nick Mason: Drums
Roger Waters: Bass, Vocals
Richard Wright: Keyboards
Juliette Gale: Vocals (Walk With Me Sydney)
Most likely this has been released just so the record company can do their copyright extensions, so expect to see some interesting things pop up next year and in 2017 as well.
I will have a full review of this double 7″ within the week.
Our friends at Pink Floyd Italia have posted 30 second sound clips, go and have a listen!
Newsweek has released a special 50th anniversary edition specifically about Pink Floyd, it is out for sale now on the stands with a 10.99 price, though it can be had on Amazon for less, check the link below:
They all come in paper sleeves like the albums and have booklets and bonus tracks.
The Madcap Laughs has the bonus track Rhamadam which was only available as a digital download in the past.
Barrett has Bob Dylan Blues in Mono which is new, and Dominoes (2010 Remix)
Opel has the 2010 Remixes of Here I Go, Octopus, and She Took A Long Cold Look
All in all by getting all three you end up with a very complete solo catalog from Syd Barrett.
Here is some news that has been missed by me to do some catch up:
1. In Japan special releases of The Madcap Laughs and Barrett were released that looked like mini records.
2. There is a newer book called Madcap by Tim Willis.
3. A special book of photos by Mick Rock called “Psychedelic Renegades” was released of all of his Syd photos. There was a limited run of 320 deluxe copies that were actually signed by Syd himself, just as “Barrett”. They are also signed my Mr. Rock and there was a bigger run without the Barrett Signature.
4. Roger does have diabetes, he is actually listed at DiabetesMusic.com
5. In England and Germany they have released Barrett and The Madcap Laughs as a double CD.
RELEASED ON VHS & DVD ON 24TH MARCH 2003
One of the most famous creators and characters of the psychedelic era, Syd Barrett has not conducted an interview or released music since the early seventies yet his self-imposed anonymity still fascinates fans old and new. The original songwriter for Pink Floyd was only with the band for a vibrant 3 years when he left in 1968, yet when the band released their greatest hits album in 2001 Syd had written over a fifth of the tracks. This year it is 35 years since Syd Barrett left the band yet mystery still surrounds this prodigy of rock.
The Pink Floyd and Syd Barrett Story retells the fascinating story of the start of one of the largest and most influential bands in rock and the drug induced breakdown of their original song writer and lead man. Direct Video Distribution UK is delighted to announce the 24th March 2003 VHS and DVD release of this personal and candid profile of the once effervescent musician and now cult figure of Syd Barrett. Roger Waters, Dave Gilmour, Nick Mason and Rick Wright retell how Syd’s slip from reality haunted the band for many years and this is clearly demonstrated in the tracks Shine On You Crazy Diamond and Wish You Were Here. There are also insights from former girlfriends, landlords, flatmates, producers, managers, friends and famous fans. Also featuring rare early footage of the band performing; including a live show at the UFO Club, and an appearance with former landlord Mick Leonard on Tomorrows World.
Available on DVD in Dolby Digital 5.1 and DTS Surround Sound. Extras include previously unseen footage of Roger Waters talking about Syd, Dave Gilmour talking about Wish You Were Here, Robyn Hitchcock performing Dominoes and It Is Obvious, Graham Coxon performing Love You, And a Biography of Syd Barrett.
Born Roger Keith Barrett in 1946 in Cambridge, Syd Barrett obtained his nickname from regulars at a local jazz club who when finding out his surname, christened him after as old drummer from the area. Aged 17 he moved down to London to attend the Camberwell Art School. In London he met up with old friend Roger Waters, who he had an understanding with since they were young that they would start a band together. Syd consequently joined up with the people Roger was playing with.
Syd quickly became the main songwriter, and named the band after two Georgia blues men Pink Anderson and Floyd Council. Their experiments with feedback and electronic sound quickly made them the hippest band among London’s early psychedelic set. Whilst Pink Floyd were experimenting with sound and light they also started experimenting in the other side of London’s psychedelic set – drugs. Some thought that with the aid of drugs Syd was more liberated and had the freedom to write memorable songs. Nevertheless his grasp on reality was slipping away. He didn’t turn up for interviews and started to refuse to perform though he’d quite happily practice. His behavior became so erratic that an American tour had to be cut short.
The band was in a dilemma; Syd was becoming a liability yet he still wrote the majority of their songs. Their solution in January 1968 was to excuse him from performing to concentrate on song writing. Dave Gilmour was asked to join the band to cover for Syd. Two of the songs that he wrote Vegetable Man and Scream The Last Scream were not released by EMI but their apparent autobiographical style was not lost on many. Pink Floyd admit that their style back in the late sixties was if there was a problem they would ignore it, then one day it came to a point where they did ignore the problem by not picking Syd up.
Syd went on to release two solo albums The Madcap Laughs and Barrett in 1970. After the poor reception of the second album Syd retreated to his mothers house in Cambridge. Back at home he joined up with some Cambridge musicians and formed The Stars. But Syds involvement was like his attention span short. During the following years Syd moved between London and Cambridge staying on friends’ floors. In the mid 70s he even turned up at the studios where Pink Floyd were recording Shine On You Crazy Diamond the song written about Syd. With his shaved head (hair and eyebrows) and weighing about 17-18 stone none of the band recognized him.
In 1978 he tired of London and walked back to Cambridge, where he now lives, calling himself Roger Barrett having left Syd behind. The Pink Floyd and Syd Barrett Story is a moving portrait of a cult figure.
A FIRST!!!!!! I finally have gotten a picture of the CD cover for the new best of cd.
I see we have a new picture on the cover here too. Good luck to everyone on getting their copy on April 16th (UK). If anyone needs help finding a copy let me know.
Here is a press release from EMI in the UK:
‘Wouldn’t You Miss Me? The Best Of…’
Release Date: April 16th 2001
Catalogue No.: 532 3202
For the first time in the UK, Harvest release a ‘best of’ Syd Barrett compilation.
Titled ‘Wouldn’t You Miss Me? The Best Of’, this 22 track CD contains a selection of Syd’s ‘best’ work culled from his two studio albums, ‘Madcap Laughs’ and ‘Barrett’ and the rarities album, ‘Opel’, together with the previously unreleased and much sought after, ‘Bob Dylan Blues’ (an outtake from 1969, which has made its appearance due to Syd’s longtime friend and fellow Pink Floyd member, Dave Gilmour giving EMI permission to use the track). Also included is a BBC session track, ‘Two Of A Kind’.
Syd Barrett’s music has influenced many artists – this compilation not only serves as an excellent reminder of a genius at work, but makes the perfect sampler for a whole new generation wishing to hear who it was that influenced some of their favourite bands, and of course a chance for fans to hear the unreleased track for the first time – a pure gem!
- Late Night
- Swan Lee
- Wolf Pack
- Golden Hair
- Here I Go
- Long Gone
- No Good Trying
- Baby Lemonade
- Gigolo Aunt
- Wouldn’t You Miss Me
- Wined And Dined
- Effervescing Elephant
- Waving My Arms In The Air
- I Never Lied To You
- Love Song
- Two OF A Kind (BBC Session Track)
- Bob Dylan Blues (Previously Unreleased)
- Golden Hair (instrumental)
SLEEVE NOTES BY MARK PAYTRESS
There are magnificent cult heroes shrouded in the stuff of infamy and legend … and then there is Syd Barrett. Syd the unforgotten hero of the early Pink Floyd, who virtually set the parameters for British psychedelia with his fanciful songs and space-age improvisation. The summer of love’s prize bloom who soon wilted under the gaze of the pop world’s plastic eye. The sacrificial lamb of the love generation’s wilder excesses who simply forgot to sing or play his guitar. The self-styled’ Vegetable Man’ who re-emerged with two solo albums that bore the scars of hippie innocence and the acid experience with a shocking self consciousness (sic). It’s the best of these two remarkable records – and out-takes recorded during the sessions – that are now available on “Wouldn’t You Miss Me”, the first ever Syd Barrett compilation.
Syd’s genius, and its subsequent fragmentation, seems a dream and a nightmare away from a potentially idyllic upbringing as a middle class son of one of Britain’s most prestigious and cultured cities. As a Cambridge child, Barrett (born Roger Keith Barrett on 6 January 1946) listened attentively to stories read by his mother Winifred, tales that instilled in him a thirst for escape and invention, an otherworld he continued to inhabit as an a student at Camberwell Art School during the mid-60s. Inevitably, music too, inspired him, typically The Beatles, Bob Dylan and – most of all – the gritty, hostile sounds of R&B epitomized by The Rolling Stones. Another, more general influence was the emerging post-Beat subculture, which aspired to a new way of life where poetry, art, literature, music and recreational drug use provided an antidote to artless suburban convention. This provided the perfect environment in which the ever-imaginative Barrett could flourish.
It was Syd’s peculiarly acute imagination that transformed the early Pink Floyd from a promising R&B group with lofty ambitions into the UK’s premier acid-rock combo. Barrett’s fragmented, glissando guitar-playing added an otherworldly gloss to the band’s extended jams, while his shorter songs conjured up a magical, idyllic backdrop to flower-power’s technicolor dreams. In 1967, when half of the western world appeared to turn on, tune in and at least fantasise about dropping out, these were indeed admirable qualities.
After the debut 45, “Arnold Layne”, scraped into the charts, the (sic) impeccable psych-pop follow-up, “See Emily Play”, took the band into the Top 5, onto ‘Top Of The Pops’ and around the country’s ballroom circuit. By August 1967, and with the band’s debut album, “The Piper At The Gates Of Dawn”, poised for release, The Pink Floyd were on the cusp of a real breakthrough. Unfortunately, it was the moment when Syd decided to absent himself for a few days; worse still, he returned a changed man. Always erratic, now his behaviour seriously undermined the group’s future. His ability to translate his raw songwriting into finished studio creations left him; on stage, he often stood motionless contributing nothing more than provoking looks of bewilderment on the faces of his colleagues. After a second guitarist, Syd’s old Cambridge buddy Dave Gilmour, was added to the line-up, Barrett became virtually dispensable to the band. On 26 January 1968, the group that had once relied so much on his contributions, set off for a concert without him.
Despite this apparent humiliation (though Barrett already seemed past caring), all was not lost. Pink Floyd’s co-managers Andrew King and Peter Jenner chose to dissolve their relationship with the band, and Jenner – who once described Syd as “the most creative person I’d ever known” – became Barrett’s manager and producer. But while the Floyd steadily rebuilt their career through constant gigging and an infinitesimal attention to detail in the recording studio, Syd became more difficult than ever. Recording sessions for his first solo album, “The Madcap Laughs”, began in May 1968 and continued intermittently until October 1969, overseen by a number of increasingly exasperated producers and engineers.
“Initially, these were booked as demo sessions just to see if Syd had any songs worth recording,” recalls Peter Mew, who engineered several of the tracks on the first record. “it was all a bit chaotic – do a bit, then go off and have a smoke – and Syd wasn’t totally compos mentis. He wasn’t temperamental, just not on the same planet as the rest of us. A lot of the songs had potential and you thought, “if the guy pulls himself together, you’ve got something here.” After stints with Jenner and EMI staffer Malcolm Jones handling production duties, the Floyd’s Dave Gilmour and Roger Waters were drafted in to salvage something from the sessions.
Syd’s work with Pink Floyd had been ornate and sophisticated. The arrangements on ‘The Madcap Laughs” – threadbare, slapdash even – couldn’t have been more different. The effect was both unsettling and inspiring, for here was pitiable estrangement and unharnessed imagination, unrefined and nerve-tinglingly raw. On “Feel”, one of the record’s more despairing songs, Barrett complains: “I want to go home…” Early in 1970, around the time of the album’s release, that’s exactly what he did, leaving his central London flat and returning to the family home in Cambridge, where he famously took up residence in the cellar.
Between February and July that year, he was tempted back to London for intermittent work on a second solo album, “Barrett”, a marginally more conventional – though less inspired – affair thanks to the involvement again of Dave Gilmour. “Dave showed incredible amounts of patience,” says Jerry Shirley, who played drums on the sessions. “We never knew what time Syd would start or finish. He might not even turn up at all. The only predictable thing about Syd at that point was that he was totally unpredictable, as nutty as a fruitcake.”
On these solo records, Syd’s working methods took the psychedelic model of spontaneous creativity to the extreme. “The one thing Syd could still do was to write a decent, unusual song,” says Shirley. “But even they got so unpredictable that even he couldn’t remember them. If you didn’t record a new song right away, it would be gone.” After getting several of Syd’s new songs down on tape, the musicians – who also included Floyd keyboard player Rick Wright and Gilmour himself – would overdub the parts afterwards, no mean feat given Syd’s erratic sense of timing. “He found it extremely difficult to play as part of a band by this time,” maintains Jerry Shirley. “it was just all over the place.” Despite this obvious limitation, Shirley and Gilmour nevertheless braved an appearance with Syd for a comeback concert at the Olympia, London, in June 1970. Four songs into the set, Barrett simply put his guitar down and walked off. By the end of the year, he’d returned to Cambridge for good, largely oblivious to the enormous cult that was growing, and continues to grow around him.
One of many latter-day celebrity Barrett devotees is Blur guitarist Graham Coxon, who once donated a vast, Syd- inspired sculpture to a charity auction. “I think Syd made a decision, although a very twisted one, that a musician’s lifestyle wasn’t for him,” he says. “I like to think of him being happy, painting and going for strolls in the park. I don’t think he misses the pop circus. I think he overdosed on it and chose a more pastoral existence.” And the reason why the Barrett milieu is so enduring? “There is a little bit of Syd in everyone,” he insists. “It’s that sensitivity and vulnerability.”