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John Lennon called him 'Normal'.... (written by Julian Palacios)
Norman ‘Hurricane’ Smith (February 22, 1923 – March 3, 2008) was part of
the Golden Age at EMI. One of his very first assignments as engineer was
Kidd and the Pirates classic Shakin' All Over in 1960.
Already in his thirties when he began with EMI, Smith came up through
the ranks the hard way, learning the ins and outs of Abbey Road's three
studios. By the time he got to engineering The
Beatles, he'd already learned to compensate for the sometimes
acoustically odd rooms and crude two track recording consoles.
He and others developed some extraordinary techniques; just listen to
way Ringo's drums still jump out in She Loves You. EMI’s
innovations left the competition baffled by their recordings, which
couldn’t imagine Ringo Starr’s distinctive damped snare sound was due to
a combination of close miking, compression and tea towels in the bass
Smith had engineered all the Beatles albums through 1965’s Rubber
Soul and was adept at the arduous cut-and-paste editing required for
their four-track recordings. Having learnt his craft under the tutelage
of Beatles’ producer George Martin, he had been promoted from engineer
to producer and Piper was to be his first album as producer.
Norman and Pink Floyd
Despite his problems with Syd, (My godfathers, he's an awkward chap,
this Syd Barrett) Smith did some incredible work with the Floyd,
coaching them through vocal harmonies, sometimes joining in on the
recording (Note). He, Peter Bown (engineer) and
Jeff Jarratt (tape operator) rode the technological advances for all
they were worth, using limiting and reverb, then moving into flanging,
artificial double tracking. Spartan controls disguised the sensitivity
of the circuits inside the desk. The TG12345 Curve Bender provided an
equalisation curve, which let a sparkling surge of sound through to
saturate the recording tape.
Smith’s touches were subtle but powerful, note the rising glissando
note, which finishes each chorus on Bike, achieved using a crude
oscillator and vari-speeding the tape down while the track was running.
Smith was a hands-on producer, spending plenty of time on the studio
floor with the band rather than ensconced up in the control booth.
Despite his at time stolid approach to recording, Smith had a
wide-ranging ear and an experimental approach. If Mason wanted tympani,
Waters wanted to play his bass with a violin bow or Wright wanted to
mike up a harmonium, Smith was critical in helping them. Toy clockwork
running around the studio floor or miking wooden blocks, these were all
done because they had Smith as an ally.
Songs evoking the intensity of their live performances, such as Pow R. Toc H.
and Interstellar Overdrive, benefited from Smith and Bown, having
the rhythm section of Waters & Mason mixed right to the fore. The mono
mix is much punchier, compressed so the midrange jumps out with
thunderous drums and bass. If Barrett’s more intricate sonic textures
fade into the mix, his guitar rings out sharp as sirens, jumping out
like phantoms from under the stairs.
Despite purists crowing over the superiority of the mono mix of Piper,
the stereo version Smith produced was a feat of engineering. So radical
a departure from the mono mix, the stereo version amounts to the first
remix album. Smith, in a dazzling display of work, did the entire stereo
mix in two sessions totalling nine hours. The 2007 remaster
gives the stereo The Piper at the Gates of Dawn great resonance,
with a wide horizon of reverb, echo and chorus galore.
On the stereo version of Interstellar Overdrive, the rhythm
section of Mason & Waters is mixed to the right, while the melodic team
of Wright & Barrett is mixed to the left. The split in the stereo
spectrum mirrors the split in the Pink Floyd’s own music; with an
edginess that seeps into their tracks from the contention, musical and
personal, between the two sides of the group.
Smith was working round the clock, doing double time on the Pink Floyd’s
debut and The
Pretty Things psychedelic song cycle S.F. Sorrow. Dick Taylor, the
Pretty’s guitarist, recalled Smith as wide open to experimentation, and
with Smith as producer the Pretty Things let loose with some inspired
work. S.F. Sorrow and Piper DEFINE psychedelia, filled chock a brim with
sonic invention. These Norman Smith productions sound radical and fresh
forty years later.
THE MAN WAS A FUCKING MONUMENT!
Please, in memoriam for Hurricane Smith, crank up Interstellar
Overdrive until your bass bins rattle and the council files a noise
complaint. In Normanni nos fides. A great producer and one of the
last of the old school. RIP old man, you will be missed.
Note: Norman Smith replaced drummer Nick Mason during the recording
sessions for Remember A Day (October 1967, A Saucerful Of
Secrets). His vocals are also prominent on the same track. Remember
A Day is mostly cited as being one of the very few Five
Man Floyd tracks (meaning that both Syd Barrett and David Gilmour
played on the track, together with the rest of the band). Back to text.
It has been a sad week for us, music lovers. Rick
Wright, one of the founding fathers of the band Pink
Floyd, died of cancer. Wright was a member of the 1963 R&B cover
6 that would grow, a couple of years later, into the next hip thing
when Syd Barrett joined the gang. The hip thing would soon become a
monster, a gravy train, a dinosaur, it had its up and downs, it was
praised and loathed by the so-called serious music press.
I am not good at obituaries, and who am I to write one anyway, so I’ll
pass the word to David Gilmour, not only a colleague but also close
friend of him.
In the welter of arguments about who or what was Pink Floyd, Rick's
enormous input was frequently forgotten.
He was gentle, unassuming and private but his soulful voice and playing
were vital, magical components of our most recognised Pink Floyd sound.
I have never played with anyone quite like him. The blend of his and my
voices and our musical telepathy reached their first major flowering in
1971 on 'Echoes'. In my view all the greatest PF moments are the ones
where he is in full flow. After all, without 'Us and Them' and 'The
Great Gig In The Sky', both of which he wrote, what would 'The Dark Side
Of The Moon' have been? Without his quiet touch the Album 'Wish You Were
Here' would not quite have worked.
In our middle years, for many reasons he lost his way for a while, but
in the early Nineties, with 'The Division Bell', his vitality, spark and
humour returned to him and then the audience reaction to his appearances
on my tour in 2006 was hugely uplifting and it's a mark of his modesty
that those standing ovations came as a huge surprise to him, (though not
to the rest of us).
I admit I was one of those many fans who sheered louder for Rick than
for the others on David’s last tour. Hearing him sing Echoes with David
was probably my best Floydian encounter ever, topping Dogs that Roger
Waters used (and still uses) to sing on his solo tours.
Roger Waters, normally a man of many words, has put the following
appropriate statement on his website:
Julianindica (aka Julian Palacios) wrote some great stuff about Wright
at Late Night:
Wright’s keyboard style had a unique melancholic grandeur. He had an ear
for exotic sounds, bringing in Middle Eastern Phrygian scales into his
mix. Never one to play lightning fast or pound the notes out, Wright
conjured up his unique style with patience. What was left out was as
important as what stayed in, and Wright took a calm and methodical
approach. The influence of Davis sideman Bill Evans introspective,
melancholic piano was strong. Modal jazz had minimal chords and relied
on melody and intervals of different modes. A slow harmonic rhythm
opened space in the music, in contrast to bebop’s frenzy.
The so-called Lost
in the Woods movie, that was part of the Knebworth pre show
documentary, is a mix coming from different people, at different places,
on different occasions. The Church quotes archbishop Dark Globe, who has
scrutinized the movie before:
There's footage of Syd larking around in a garden with friends in 67,
the 'lilac shirt' footage of Syd (late 67/68?) in which Lyndsay Corner
also appears, and the blue suit/yellow ruffled shirt footage of Syd in
the woods with two girls (Iggy and a mystery brunette) from 69.
The home movie footage is multilayered and you can catch glimpses of
different footage superimposed on top of the main footage.
During the bit of Syd in the woods with Iggy, there's some footage of
Syd with an acoustic guitar (at least that's what I can see). The
flashbacks movie only shows tantalising glimpses of the Syd home movie
footage. (taken from Late
The home movie snippets are used twice in the Knebworth documentary.
The documentary starts with Pink (Langley Iddens) pouring a glass of
wine. For the next 39 seconds several vintage clips, taking no longer
than a couple of frames, will be intercepted with shots from the actor.
The first home movie scenes have already ended when the documentary is
just one minute old. The main bunch seems to be filmed at a garden party.
The second home movie scenes arrive about 10 minutes later and will go
on for 42 seconds. The main footage has Syd walking in a park with Iggy
and a mysterious brunette, Syd and Iggy climbing trees, the two woman
running hand in hand, Syd acting funny with a stick in his hand… The
park footage is intercepted a few times by other home movies from other
Part 1: Garden fun – blowing bubbles
Several garden shots have been used in this compilation. There is a
scene with a girl on a swing, people blowing soap bubbles and generally
having fun, Syd eating a - very hard to spot - banana…
The Church tried to identify the people in the movie with the help of
the worldwide web, posting screenshots at several anorak fora, and Dark
Globe took it upon him to show these pictures to David Gale and Matthew
Scurfield after a reading at the City Wakes festival this year.
Hester Page. It could be that screenshots 1 and 2 depict the
same person. She remained unidentified until Dark Globe showed the
pics to David Gale who recognised picture 2 as ‘Hester’. Barrett fan
julianindica could narrow this down to Hester Page. Hester Page gets
mentioned in the Syd Barrett biography by Julian Palacios, aptly
called Lost In The Woods, as part of the 101 Cromwell Rd incrowd.
That two-storey flat in Kensington was the place for many
Cantabrigians to sleep, meet and greet. Syd Barrett and Lindsay
Corner lived there for a while and Pink Floyd used the place to
rehearse (much to the annoyance of painter Duggie Fields). It was
also somewhat of an LSD epicentre and a ‘critical nexus for
Underground activities of every shade and stripe’.
David Gale. This man is David Gale. To quote his own words at
the City Wakes – it’s the hooter that gives me
away. Gale was a schoolmate of David Gilmour and a friend of Syd. In
1965 David’s parents went to Australia for a 6-month period leaving
the house and its garden in the safe hands of their son. It didn’t
take long before the Cambridge jeunesse would meet there and there
is a chance that the first part of the Syd Barrett Home Movie has
indeed been shot in the garden of David Gale’s parents. Nigel
Lesmoir-Gordon and Storm Thorgerson had film cameras so one of them
may have shot the footage (NLG made the iniquitous Syd’s First Trip
movie where David Gale can be seen). It was also at David Gale’s
place that Syd Barrett had a cosmically encounter wit a plum, an
orange and a matchbox, as witnessed by Storm Thorgerson who would
later use this for a record sleeve and for a concert movie.
Lyndsay Corner. David Gale and Matthew Scurfield identify the
girl on a swing as Lyndsay Corner.
Part 2: the Lost In The Woods footage
Mick Rock. When Syd and Iggy are walking in the woods a face
is superimposed. It is Mick Rock who has (probably) shot the movie.
Iggy is wearing the same necklace as on the Madcap Laughs photo
sessions and (perhaps) the same clothes. Syd however has another
shirt than in the Psychedelic Renegades book. The Lost In The Woods
scenes have been edited on the Knebworth documentary and carry parts
from at least 3 other home movies.
Unknown. Syd and another man walking & talking in a garden
in front of a house. Identity Unknown.
Unknown. Syd and a girl blowing bubbles in a park. Identity
Lyndsay Corner. Close-up of Lyndsay Corner (in a park).
Mysterious brunette. 3 people can be identified on the Lost
In The Woods movie: Syd, Iggy and Mick Rock. In several shots with
Iggy and Syd we see a second woman, the mysterious brunette, whose
identity we don’t know yet.
Update: on second thought, she could be Hester Page (see
first picture above), although it is a wild guess. JenS,
however concludes that the girl is not Hester Page. Gretta Barclay
does not recognise her either: "I do not recognise the brunette –
the name Jennie Gordon came to mind, but in truth, I simply have
no idea of who she is."
Pop-art painter Duggie Fields, who still lives in the same apartment,
and Mick Rock have testified that Iggy only stayed at Syd’s place for a
couple of weeks. When Mick Rock showed Syd the pictures of the photo
sessions for the cover of The Madcap Laughs she was already long gone….
According to Duggie Fields, a homeless and drug-addicted couple, Greta
and Rusty, took the vacant place, much to the aggravation of the painter
who had to bring Greta to the hospital after an overdose.
Neither Mick Rock nor Storm Thorgerson give the exact date when The
Madcap Laughs photo shoot was made: the closest thing they can come up
with is Autumn 1969. Syd Barrett and David Gilmour met at the studio on
the 6th of October to sort out the running order of the album. Other
studio work, that didn’t need Syd’s presence, was done the same month:
banding the LP master (9 October) and cutting the LP (16 October). After
hearing the master Malcolm Jones ordered a recut early in November. The
record was officially released on the second of January 1970.
Malcolm Jones recounts:
One day in October or November I had cause to drop in at Syd's flat on
my way home to leave him a tape of the album, and what I saw gave me
quite a start. In anticipation of the photographic session for the
sleeve, Syd had painted the bare floorboards of his room orange and
purple. Up until then the floor was bare, with Syd's few possessions
mostly on the floor; hi-fi, guitar, cushions, books and paintings. In
fact the room was much as appears on the original 'Madcap' sleeve. Syd
was well pleased with his days work and I must say it made a fine
setting for the session due to take place.
Based on this information most anoraks radiocarbon the photo shoot date
in the second half of October, although November is also a possibility.
The Lost In The Woods home move with Syd, Mick, Iggy and the mysterious
brunette should thus be pinpointed to that period (this was written
in December 2008).
Update: But... as the Holy Church would find out the next year
(January 2009) the above photo shoot date appears to be wrong. It is
pretty sure that Iggy left Syd in April 1969. Further analysis of the
Madcap pictures show that several details point to spring 1969, rather
than autumn. For a complete report please consult: Anoraks
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press Limited, London, 2007, p. 141. Jones,
Malcolm: The Making Of The Madcap Laughs, Brain
Damage, 2003, p. 13. Palacios, Julian: Lost In The Woods,
Boxtree, London, 1998, p. 241. Parker, David: Random Precision,
Cherry Red Books, London, 2001, p. 154-158.
The best Pink Floyd book I've read in years is of course Mark
Blake's Pigs Might Fly. Don't tell this to his friends and relatives
but I know from a reliable source that he prays at the Holy
Church of Iggy the Inuit from time to time.
The funniest book about the Floyd are the memoirs, not of Nick gentleman
drummer boy Mason, although they are good for a chuckle or two, crusty
apple pie indeed, but those of Guy
Pratt. About a third of My Bass and Other Animals colours
pink as Guy joined the diet Floyd, although diet was not exactly the
right word to describe the intake of Mr. Gilmour at that time, on their A
Momentary Lapse of Reason world tour. Pratt has a very weird kind of
humour and one of his pranks was an attempt to crash the Pink Floyd tour
plane by frantically running up and down the corridor, in mid-flight!
Normal bands have a tour bus; Pink Floyd has a tour plane and the
drummer was flying it. If you don’t want to read the book, you can watch
where Guy tells about his Floydian encounters.
The best, best as in anoraky, Syd Barrett biography is Julian Palacios' Lost
in the Woods, he is a silly bugger if you ask me as he invited the
Church on the SBRS
forum. Around this time a second (more condensed, I’m afraid) version of
his book should finally appear. So far for this commercial break-up.
Speaking about Barretthings, the amount of Syd related books is slowly
overhauling the man’s solo output and recently two new ones (in French)
have made it onto my desk. Written by Jean-Michel
Espitallier, Syd Barrett, le rock et autres trucs, looked the
most promising. It doesn't claim to be a biography but a personal
rendition, part essay, of a French Barrett connoisseur.
In my opinion France and rock go together like Germany and humour, Italy
and efficiency, Belgium and world soccer finales but this one, I hoped,
could be an exception as Mr. Jean-Michel Espitallier is not only is a
devoted Barrett fan, but also the translator of the French edition of
Tim Willis' Madcap biography, a renowned minor poet
Xavier Enderby) and drummer of the French rock band Prexley?
(although that last is not exactly a reference, see above).
The title is a nice pun, un jeu de mots, as it can be interpreted
as rock and other stuff but also as rock and other tricks.
That is why I preferred to start with this tome instead of the other
French Barrett book lying on my desk, called The First Pink Floyd,
already deserving the price for lamest title of the year.
Stuff & tricks
It is 30 November 2004 and Jean-Michel Espitallier is nervously
strolling around St. Margaret’s Square hoping to get a glimpse of the
man who was once known as Syd but now prefers to be called Roger. When
Syd-Roger drives by (in his sister's car) and the vehicle has to stop at
the crossroads - I deliberately use this term here - where Jean-Michel
is sitting on a bench, both men meet in the eye and both pretend, for a
couple of minutes, not to see the other one. This anecdote sets the tone
of the book, marvellously described by the drummer who can't hide his
poetic roots. Strong stuff. Nice trick.
I once remarked at the, now defunct, Astral Piper forum that I couldn’t
understand the romantic feelings some female Barrett fans had for Syd. I
mean, this guy was a slightly disturbed diabetic elderly and if I should
have asked them to have a fling with my grandfather they would’ve been
insulted… Espitallier is aware of this dichotomy and compares Syd
Barrett to Peter Pan. Syd was a Cambridge youngster who refused to grow
up and died in the early Seventies when he, like Icarus, reached for the
sky too soon. After all these years, fans were still hoping to find a
glimpse of Syd, although only Roger had survived.
From old aged Roger it goes to old aged rock. Espitallier makes the
point that we have forgotten about the My
Lai massacre but only remember its soundtrack. Good Morning
Vietnam has turned into an infomercialised cd-compilation (I have a Tour
Of Duty TV-Shop-six-pack myself). Television documentaries use The
Mamas and The Papas to comment napalm
warfare. We look at a vintage take of an American soldier who has just
placed a bullet through a women’s head but all we discuss is Suzy Q by
the Creedence Clearwater Revival. Although the above is not
really new, innovative or original, it is good to see it in print from
time to time.
Jean-Michel Espitallier is not always well informed. I can forgive him
that he mistakes the Dutch designer
duo Simon Posthuma and Marijke Koger for a couple of Germans but
when it comes to Syd some facts should better have been checked before
putting it into print. That Mick Rock did not shoot the cover
of The Madcap Laughs is perhaps stuff for anoraks (Mick Rock
himself has more or less hinted he was behind it anyway, a fact that
Storm Thorgerson denies) but the story that, shortly before his death,
Syd Barrett found a guitar from his brother-in-law and started strumming
it can be found in the Mike Watkinson & Pete Anderson Crazy
Diamond biography, that appeared 15 years before Syd Barrett passed
away. And that particular anecdote probably dated already from a few
years before it went into print. There are so many myths about Syd
Barrett that one doesn’t need to create new ones.
It is perhaps understandable, the man is a poet and not a biographer.
His book is about the Barrett phenomenon and not about the historical
Lost in translation
Jean-Michel Espitallier writes : Il y a la musique qui nous rentre
dans le cerveau musical et il y a la musique qui passe directement dans
Espitallier not only has been hit in the stomach by Syd’s music but
received some hits on the head as well, resulting in some serious brain
damage. He heard his first Syd song in 1973 and remembers it as Babe
Lemonade; actually it is Baby Lemonade. And Jean-Michel’s lethargic
song title memories keep on going on. Barrett’s James Joyce adaptation
is baptized Golden Air (not Hair) and Syd’s final Pink Floyd
statement Jugband Blues is changed to Jugband Blue. A couple of
decades ago I started reading a promising French novel but quit after a
dozen pages because the author kept on insisting on a Beatles’ song
called Eleanor Rugby. Things like that make me grind my teeth. It
makes me even wonder if Jean-Miche Espitallier is a real Barrett fan or
a mere fraud trying to cash in, like a few others, on the Barrett
legacy. For Ig’s sake, it just takes a 10 seconds look on a record
sleeve to see if a title has been noted down without mistakes.
The book ends with a list of creative geniuses who stopped being
creative at a certain point in their lives. One of these persons is the
19th century poet Arthur
Rimbaud, who stopped writing at 21 and proclaimed: Merde à la
poésie! I would like to end this review with: Merde au poète!
But let’s have a look at the pros and cons of his Syd-hiking first (bad
pun, I know)…
Pros: instead of the umpteenth biography this book is a personal
journey from the author through music, art and literature, using the
Barrett legend as a guide. Interesting viewpoints about music, fandom,
culture and politics are intertwined with nice wordplays such as ‘Bob
Dylan had a Plan Baez’.
Cons: actually Jean-Michel Espitallier gets more Barrett song
titles wrong than he gets them right. At a certain moment I even thought
he did it on purpose, the man is a poet after all.
I used to have this philosophy teacher who subtracted points from our
exam results if we made spelling mistakes. Although we were angry with
the man in those days I can now see he had a point (our points,
actually). So out of 10, Syd Barrett, le rock et autres trucs gets
an 8 for its content, but I feel obliged to subtract at least 5
points for its many mistakes.
...it is silent in here. Did a poet pass or did someone fart?
(This book is further trashed in another Church post: Tattoo
Espitallier, Jean-Michel: Syd Barrett, le rock et autres trucs,
Rey, Paris, 2009, 192 pages, 17 €.
Note: This book grew out of an essai radiophonique
Jean-Michel Espitallier gave on radiostation France Culture on 4
November 2007. Called Syd Barrett Quand Même it can be found
on the (interesting) French Floyd fansite Seedfloyd.
Webbrowser version: http://www.seedfloyd.fr/article/syd-barrett-quand-meme.
Direct downloads in MP3 or WMA format can be found on the same page.
In the interview that Iggy - or should we say Evelyn - gave after
nearly 40 years of silence in The
Croydon Guardian she remembers how she helped Syd to paint the
floorboards that would give an extra psychedelic feel to The Madcap
Laughs cover picture.
When Mick turned up to take the photos I helped paint the floor boards
for the shoot, I was covered in paint, I still remember the smell of it.
But Iggy, as we will keep on calling her, isn’t the only one
remembering. Also present were Rusty and Margaretta, better known as
I remember that Iggy was involved with the floor painting project and
that she had paint all over her during the floor painting time but I was
not involved with the painting of the floor.
Several biographies, including Julian Palacios’s Lost In The
Woods (p.241), Tim Willis’s Madcap (p.106) and Mark
Blake’s Pigs Might Fly (p. 141) describe Greta (sic) and
her companion Rusty as homeless ‘speed freaks’. This description almost
certainly comes from painter Duggie Fields who shared the flat with Syd
and who wasn’t very amused with the many people Syd invited to say the
Julian Palacios remembers Duggie Fields from an interview he did in 1996:
He was so cool. Reserved and wary at first, then about halfway through
he became super raconteur. (email to FA, 10 February 2010).
This lead to the following paragraph in the Lost In The Woods
Duggie Fields recalls a steady stream of visitors, ‘some visitors were
parasites and some were confused in their drug use, not even abusing
‘Rusty and Greta were homeless when they came to stay here,’ explains
Fields. ‘Greta became good friends with Jenny Spires, and came into
Syd’s life from that connection. They were in my life to a degree but I
didn’t want them around. (…) They probably brought stimulants for Syd
and he took them.’
Now, for the first time in over 40 years Margaretta Barclay has
decided to share her memories with the Holy Church of Iggy the Inuit as
well. But lets starts by setting the record straight:
Your blog relating to Syd Barrett mentions that Rusty and I were drug
addicted. This is most certainly not true and an old friend of
ours - Jenny Spires has made that fact known to you.
My sister Catriona (Trina) and I met Jenny Spires during the mid 1960’s
at a London grooming school. Jenny introduced my sister and I to Syd at
101 Cromwell Rd and at Edgerton Court. Rusty was not with us at that
Rusty and I were not in the ‘steady stream of visitors’. In 1970 we were
in Suffolk at the beginning of that year and Devon for the remainder of
it. Not in London. We were not homeless either. Rusty and I left London
for various reasons but primarily because I was expecting my first child.
Syd was a very dear friend of ours and we did a considerable amount
together in the 60's. Contrary to what I have read, we did not provide
Syd with drugs.
It was of course 40 years ago when Barrett recorded The Madcap Laughs
and memories may have played tricks on people. A famous example is the
Mick Rock statement that Syd Barrett's car was bright pink while the
pictures taken by him on that day show that the car was actually dark
blue. On the DVD The Pink Floyd & Syd Barrett Story Duggie
Fields remembers how Syd painted the floor boards of his flat.
Although the story is rather funny we now know that the actual truth may
have been somewhat different. Similar Syd Barrett myths or legends have
been created (and repeated in books and magazines) that way throughout
the years without veryfying. Margaretta continues:
Without wishing to be vindictive where Duggie Fields and his interviews
are concerned, surely, in order to obtain a balanced view of Syd’s
chosen circle of friends, it would be sensible to back up assumptions
Syd was a highly sensitive, almost delicate person, who was well aware
of his constitution where drugs were concerned and perfectly capable of
not being cajoled in to anything he did not want to do. To my knowledge,
he did not take vast quantities of drugs.
He enjoyed our company and invited us to stay at Wetherby Mansions where
we shared good times together. Iggy was around at that time too and I
remember her helping to paint the room in question. Dominique A., a
French friend of ours, was also close to Syd at this time. Jenny,
Catriona and I lived with her in Chelsea for a time.
Update: the Church managed to contact Dominique A. but she
refused to talk about the past.
According to Margaretta the legends surrounding Syd Barrett contain many
errors and “if they relate to my sister Catriona, Rusty and me, it is my
duty to ensure that they are not perpetuated”.
It is convenient to point a finger at others in order to explain Syd’s
behavioural patterns. Syd behaved in his inimitable way long before he
Duggie did not socialise with us as a group – and his conclusion that I
indulged in such a way - and on my own, is erroneous.
From our point of view Syd was a vulnerable person, we cared for him and
our aim was to encourage him to be creative, to write and play his
guitar. After all, Rusty only wanted to write and play music with Syd -
to give him drugs was not on our agenda; Syd - was ‘far out’ enough
The Reverend was of course anxious to know what kind of music Rusty and
Syd played together:
Rusty and Syd played Syd’s songs and variations on them ’Oh baby my
hairs on end about you’, ‘Octopus’ etc…, as well as songs they created
together and basic blues.
In 1969 we went to Isle of Wight Festival together and at one point, in
an effort to encourage Syd to play his guitar, we took him to stay with
a musician friend of ours in Wales. Gala may remember the journey.
There have indeed been rumours of Syd Barrett visiting the Isle
of Wight festival before and a (much discussed) picture of this
event does exist. Margaretta is formal that the photograph is genuine:
The Isle of Wight picture is definitely of Syd with me beside him. (She
is the woman at his left side, FA.)
Back to Rusty and Gretta. Hoping that the visit would inspire and
encourage Syd to return to the musical ‘land of the living’ they took
him to a ‘brilliant musician’ who lived in Solva, Haverfordwest, Dyfed: Meic
(Update: The next paragraph is totally wrong as the Welsh
musician in question iwas Meic Stevens, not Mike Stevens
(although Meic has also been credited as Mike, early in
his career). But as this Mike Stevens's family was so kind to contact
the Church and as his music is really groovy, the Reverend has decided
not to delete it. See: Gretta
Speaks (Pt. 2))
It is believed that this musician was Mike Stevens from the Welsh
band The Shevells (aka The Welsh Conquerors). In the mid sixties the
band recorded several records featuring Stevens on guitar and vocals.
Around 1966, as Mike Stevens & The Shevells, they recorded a cover
version of Cathy's Clown and the Go-Go
Train and as The Shevelles, Come
On Home. Stevens was an on/off member of the band as he was
apparently also involved in The Squires, originally Tom Jones’s back up
band and the composers of the hit It's Not Unusual. (Information taken
the Church is currently trying to contact M. Stevens.)
In a soon to be published, revised and updated, 2010 edition of Julian
Palacios’s biography Lost
In The Woods the roles of Gretta and Rusty in Syd Barrett’s life
have already been changed for the better. Palacios writes:
Life at home edged further toward the chaotic when Rusty and Greta,
casual friends of Barrett’s, moved in. (…) Only recently arrived in
London, not on the ‘underground scene’, they later left for Devon, where
they married and settled. Greta may have done speed, but the pair were
not the terrible people they have been painted as.
When Rusty B. split with Greta, he came and stayed with Jack Monck and
Jenny (Spires). In late 1972, Jack and Rusty started a new band, Rocks
(Above quotes from 'Syd Barrett & Pink Floyd' by Julian
Palacios - Plexus Books, May September 2010 edition.)
Gretta Barclay remarried, is a proud mother and an even prouder
grandmother, and according to her family ‘she is a wonderful amazing
beautiful lady who has 3 children who love her very much’.
The Reverend can only agree with that. Even for the Church there are
more important things in life than chasing the shadow of a girl who
lived for a while in a house were someone, apparently famous, lived as
The second part of the interview will be published in the weeks to come.
The Church wishes to thank: Margaretta Barclay for her invaluable
testimony about what really happened in those early days of 1969. Julian
Palacios for additional information.
Sources: (other than internet links mentioned above): Blake,
Mark: Pigs Might Fly, Aurum Press, London, 2007, p.141. Fields,
Duggie interview in: The Pink Floyd & Syd Barrett Story, DVD
UK Ltd 2005. Palacios, Julian: Lost In The Woods, Boxtree,
London, 1998, p. 241. Willis, Tim, Madcap, Short Books,
London, 2002, p. 106.
History, as we know it, is the story of royalty and generals and does
not contain the memory of the millions who succumbed or who tried to
build a normal life.
This also applies to modern popular history. Pink Floyd & Syd
Barrett biographies and the so-called Sixties counter-culture
studies that have appeared all repeat the memories of a small, nearly
incestuous, circle of people who made it, one way or another. You always
stumble upon those who have become the royalty and generals of the
Underground. Others are less known, the lower rank officers, but still
Other people had less luck, but at least we know some of their stories.
Syd Barrett, although a millionaire in pounds, still is the prototype of
the drug-burned psychedelic rock star. But there are other members of
the Sixties Cambridge mafia, a term coined by David Gilmour, who didn’t
make it and whose stories are less known.
Ian Pip Carter, whose career started in Cambridge in the early
Sixties as pill pusher, had to fight a heroine addiction for most of his
life. After a visit to his friend (and employer) David Gilmour in Greece
Pip was imprisoned for drug possession where he was forced to go cold
turkey but he fell again for the drug once released, despite the fact
that the Pink Floyd guitarist send him to (and paid for) several rehab
sessions. “The needle had dug so far; searching relentlessly for a vein,
(that it) had decimated the nervous system in his left arm”, writes
Matthew Scurfield in his account of the Cantabrigian London mob.
Described by Nick Mason as 'one of the world's most spectacularly inept
roadies' the Floyd eventually had to let Pip go. He was the one who
accidentally destroyed a giant jelly installation at the Roundhouse on
the 15th October 1966 by parking the Pink Floyd van in the middle of it
or, different witnesses tell different stories, by removing the wooden
boards that supported the bath that kept the jelly. (You can read the story,
taken from Julian Palacios 1988 Lost In The Woods biography here.)
In 1988 Carter was killed during a pub brawl in Cambridge. Mark Blake
writes how David Gilmour used to help his old Cambridge friends whenever
they were in financial trouble and Pip had been no exception.
People familiar with the finer layers of the Syd Barrett history know
Charan Singh, the Master of the Sant
Mat sect, rejected the rock star for obvious reasons. The religion
was strictly vegetarian, absolutely forbid the use of alcohol and drugs
and didn’t allow sex outside marriage. Syd 'I've got some pork
chops in the fridge' Barrett hopelessly failed on all those points.
It is believed that John Paul Robinson, nicknamed Ponji, a very ardent
follower of the Path, tried to lure Syd into the sect after he had
visited India in 1967. And probably it had been another Cantabrigian,
Paul Charrier who converted Ponji first. (Paul Charrier was one of the
people present at Syd's trip in 1965 where he was intrigued for hours by
a matchbox, a plum and an orange. This event later inspired Storm
Thorgerson for the Syd Barrett (compilation album) record cover
and an impressive and moving Pink Floyd backdrop movie.)
John Paul Robinson had his own demons to deal with and in the Sixties he
visited a progressive therapist who administered him LSD to open his doors
of perception. Only after he had returned from India he ‘literally
seemed to be shining with abundance’, passing the message to all his
friends that he had been reborn. Ponji gave up his job, wanted to lead
the life of a beggar monk, but his internal demons would take over once
in every while.
He'd sit on the stairs with his elbows on his knees and forehead placed
carefully at the tips of his fingers, reeling out the same old mantra
proclaiming how he was just a tramp, that his body was an illusion, a
mere prison, a temporary holding place for his soul.
The story goes that he shouted ‘I refuse to be a coward for the rest of
my life’ just before he jumped in front of an oncoming train (1979?).
We only happen to know these people in function of their relationship
with Syd Barrett. Their paths crossed for a couple of months and we, the
anoraks, are only interested in that one small event as if for the rest
of these peoples lives nothing further of interest has really happened.
But the truth is that their encounter with Barrett is just one small
glittering diamond out of a kaleidoscope of encounters, adventures,
joys, grieves, moments of happiness and sadness. It is the kaleidoscope
of life: falling in love and making babies that eventually will make
babies on their own. A granddaughter's smile today is of much more
importance than the faint remembrance of a dead rock star's smile from
over 40 years ago.
The Church should be probing for the kaleidoscope world and not for that
one single shiny stone. Syd may have been a star, but our daily universe
carries millions of those.
Dedicated to those special ones whose story we will never know.
Thanks to: Paro नियत (where are you now?)
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press, London, 2007, p. 47, p. 337. Palacios,
Julian: Lost In The Woods, Boxtree, London, 1998, p. 85. Scurfield,
Matthew: I Could Be Anyone, Monticello Malta 2009, p. 151, p.
208, p. 265-266. Photo courtesy of William Pryor, p. 192.
Update 2016: In the 2015 coming of age novel Life
Is Just..., Nigel Lesmoir-Gordon describes early sixties Cambridge
and the submersion into eastern religions.
Julian Palacios, contributor and friend of the Church let us know that
the revised version of his Syd Barrett biography (first edition, 1998
already) will be out any day now. So, for the first time in the history
of the Church, let us celebrate a commercial break.
Update: The final title is 'Syd Barrett & Pink Floyd: Dark
Globe', and it is out 29 September (2010) in Europe and America
(Source: Julian Palacios).
Here is a loud announcement. Silence in the studio!
Syd Barrett, who died in 2006, was a teenage art-school student when he
founded Pink Floyd. Famous before his twentieth birthday, Barrett led
the charge of psychedelia onstage at London s famed UFO Club, and his
acid-inspired lyrics became a hallmark of London s 1967 Summer of Love.
Improvisatory and whimsical, Zen-like and hard-living, Barrett pushed
the boundaries of music into new realms of artistic expression while
fighting what would prove to be a losing battle against his inner demons.
Julian Palacios' probing and comprehensive biography, ten years in the
writing, features a wealth of interviews with Syd s family, friends, and
members of the band, providing an unvarnished look at Barrett s life and
work. Author Julian Palacios traces Syd s evolution from precocious
youth to psychedelic rock star; from leading light to drug burnout; from
lost exile to celebrated icon, examining both his wide-ranging
inspirations and his enduring influence on generations of musicians. A
never-to-be-forgotten casualty of the excesses, innovations and idealism
of the 1960s, Syd Barrett is one of the most heavily mythologized men in
rock, and this book offers a rare portrayal of a unique spirit in flight
Buy Syd Barrett & Pink Floyd: Dark Globe on Amazon.
The official (still not updated) page: Julian Palacios. Syd
Barrett & Pink Floyd: Dark Globe. Plexus Books. 320 pages /
60 photos / 230 x 155mm ISBN10 85965 431 1 ISBN13 978 0 85965 431 9
(The Church is not affiliated with or endorsed by this company.)
A couple of months ago a new Syd Barrett compilation was announced and
EMI (Harvest) was proud to proclaim that Syd Barrett had joined the
league of Jimi
Hendrix or Marc
Bolan, meaning that the man has got more compilation albums written
on his name than genuine albums.
Let's make a quick sum, shall we? Barrett, who was the founder of the
mythical band Pink
Floyd, was overtly present on their first album The
Piper At The Gates Of Dawn. On the second album A
Saucerful Of Secrets he had already taken a sabbatical, and although
present on 3 tracks (out of 7) he only takes the vocal lead (and writing
credits) on the testamentary coda Jugband
There are at least 7 Pink Floyd compilations that have Barrett's
(sometimes unreleased) work on it and the last one Echoes
(2001) turned Syd Barrett into an overnight millionaire. The fortieth
anniversary edition of Piper (2007) has (in the deluxe edition)
an extra CD containing some alternative versions and the Pink Floyd's
early singles as well.
Barrett's solo output in the early seventies is limited to two albums, The
Madcap Laughs and Barrett,
and that is all there is, give or take 5 or 6 compilations. The count
depends whether one catalogues the Opel
(1988) record as a compilation of alternative takes and unreleased
material or as a real 'third' solo album.
The most recent compilation 'An
Introduction To Syd Barrett' boasts that this is the first time in
history that Barrett's Pink Floyd and solo tracks have been compiled on
one disk. This is true, but… so what?
On the other hand a quick glance at the list
of unreleased material shows that there are about a dozen Pink Floyd
studio tracks from their Syd Barrett era, but alas this compilation
still doesn't contain any of them.
So what could possibly be the added value of this album, one might ask?
Not its cover, that doesn't show Syd Barrett at all but that has been
created, as usual, by Storm
Thorgerson. Thorgerson, and more particularly his Hipgnosis
studio, made some landmark record sleeves in the Seventies and Eighties,
but he seems not able nowadays to sell his creations to influential
bands, unless you call the freaky weirdoes of The Mars Volta
influential of course. Thorgerson's contemporaneous work flirts a bit
too much with cheap kitsch and luckily there is still Pink Floyd Ltd
that keeps him away from the unemployment office. I'm quite fond of
Thorgerson's work and I do like the cover although most Syd Barrett fans
I frequent compare it with visual diarrhoea so I leave it to you to make
up your own mind.
As a Barrett anorak I am not interested in the regular songs on this
compilation - as a matter of fact I didn't even listen to those - but I
jumped immediately on top of the so-called enhanced tunes. The
compilation boasts that 4 tracks have been remixed and one track has
been 'upgraded' with additional bass from David Gilmour who also
supervised the mixes. (The following review has been largely influenced
comments on the NPF
forum and MOB's
comments on the A
Fleeting Glimpse forum.)
Dominoes: the new mix has been so subtly done that there is
hardly any difference. The vocals are more emphasized and the backwards
guitar sounds a trifle clearer. Some corrections may have been done,
because on the original versions several (drum) parts were out of
'synch'. These errors have miraculously disappeared on the 2010 mix.
Octopus: this track is 7 seconds longer, due to the fact that a
'false' start has been added at the beginning. The "isn't it
good to be lost in the woods" vocals have been clarified and brought
to the fore and it could even be that its first part has been taken from
an alternative take (also a few drumbeats have been added that weren't
there on the 1970 version). Overall the muddled sound of vocals and
guitars have been cleaned.
She Took a Long Cool Look: this track has always been
called She Took A Long Cold Look in the past, but the
title has now been changed. This is one of so called 'live' bits from
Barrett's first album. These included false starts, bad guitar playing,
unstable singing and Barrett generally loosing it… David Gilmour said he
included these demos in 1970 to reveal Barrett in all his fragility, but
later regretted his choice…
The 2010 version snips some of the unnecessary background sounds
(Barrett turning some papers) and the guitar breakdown in the middle of
the song is replaced by some strumming from another take. And - as with
all of these remixes - Barrett's voice sounds more crisp than before and
with less disturbing echo.
Matilda Mother (Pink Floyd): the 40 years anniversary edition of Piper
already had this alternative take but in a much shorter version. This
one takes 50 seconds longer and has benefited from a real mix. Probably
the 2010 version is a sound-collage of several outtakes.
Here I Go: this little dance hall tune has always been my
favourite Barrett track. For over 40 years I have wondered how this song
really ended and now the ditty lasts 5 seconds longer. Gilmour has done
a fine job by adding extra bass and after my second listen I already
felt that this was the way it should always have been. (There is also a
tiny rhythm correction - compared with the original version - at 01:46.)
Personally I find it a bad judgment from Gilmour & Co to keep the fade
out but the closing chord I had been waiting for can still be heard. And
I know it's starting to sound repetitive, but Barrett's vocals have been
upgraded as well and sound crispier than ever. You don't need to buy the
album to listen to this track as a promo video has been put on the web
as well: Here
I Go (official video).
The few remixes on this compilation are subtle, have been done with
great care and love for the original material so that my initial anoraky
opinion of 'don't touch the originals' has now been switched over to
'why didn't they simply enhance all tracks'?
But the real revelation of the album can't be found on plastic. The CD
contains a key to download the mythical Rhamadan track from the official
Syd Barrett website and this is what the next chapter is all about.
I won't get into the old story, legend or myth, of Rhamadan as it is all
old news by now. The Holy Church of Iggy the Inuit wrote a bit about it
in Anoraks and
Pontiacs and Rob Chapman in A
Very Irregular Head describes it as a 'conga-heavy jam session
lasting eighteen minutes and of little merit', although it is highly
doubtful that the biographer could get hold of the piece.
The only person, apart from some EMI alumni, who could listen to the
track in its full glory was David Parker, author of Random
Precision. In order to get EMI's permission he had to sign a 'scarily
draconian declaration', so scarily draconian that he even had to
delete a forum post wherein he had simply admitted it had been 'scarily
draconian'. The Holy Church of Iggy the Inuit sometimes threatens with
the Holy Igquisition but apparently that secret service is
peanuts compared to the EMI 'unlimited supply, there is no reason why'
David was the only author who could write, in detail, how the piece
sounded and as it is so damn accurate I see no point of trying to give
my own description.
Peter Bown announces Rhamadan take 1 over some bass and organ
noises. He pronounces the title Rarmardarn like a 1950's BBC
newsreader. The piece itself begins with the conga drums (probably Steve
Took from Tyrannosaurus Rex).
The bass comes in and immediately takes the lead role (whoever the bass
player is they are extremely proficient) with some very fast Stanley
Clarke style runs and slides in places. The vibes then begin to come in,
along with some disjointed organ chording (mostly on one chord). This
then continues for a couple of minutes with the bass leading over the
conga beat, vibes and organ chords. A piano then enters playing a loose
boogie rhythm, and someone starts playing some very staccato mellotron
notes as well. Things settle into a groove, and a second drummer joins
in, mainly on cymbals. After about 5 minutes Syd's guitar starts to
appear, playing muted chords to fill out the sound. The bass falls back
slightly, and the piano takes the lead, Syd's guitar feeding back
momentarily as he begins to play solo notes. (…)
The piece eventually starts to fizzle out with some mad staccato
mellotron, the ever present organ chord and a lot of bass improvisation
with a sprinkling of piano notes. Syd plays some open chord plucking and
everything gets rather free form with Syd letting his guitar build-up
feedback and then fades it out. (…)
Syd starts another riff but it begins to fade until the bass player
picks up on it, and everyone begins following along. Another crescendo
of feedback builds up as Syd picks out what sounds like the Close
Encounters three note theme (!). (…)
Things build up yet again, with everyone in random improvisation, then
everyone stops except the organ chord. The bassist begins a strident
riff, giving the vibes a chance to solo (with staccato mellotron
accompaniment). The bass rockets off into a hyper-drive riff, then
everything finally falls to bits, ending with our old friend the organ
chord drone, the mad mellotronist and a few bass notes.
We don't really know who are the players on Rhamadan, but Steve
Peregrin Took is a name that appears in almost all biographies.
Biographer Julian Palacios, however, seems to disagree now:
Talking to my friend GH today, he wrote: 'I don't think that Steve Took
is the conga player on these sessions. I knew Steve and discussed Syd
with him on a few occasions, he said that Syd had jammed with him round
at his flat and that he had recorded it, but there was never any mention
of going into a recording studio with Syd. My understanding was that
Steve didn't get pally with Syd until after his split from Marc (Bolan).
Back in 68 Tyrannosaurus Rex where gigging like crazy and still very
much a going concern.' (Taken from Late
Night Discussion Forum.)
Rhamadan isn't half as bad as everyone, who had never heard it, claimed
it to be. Especially when one remembers that the same biographers and
journalists tend to praise AMM, The Soft Machine or The Third Ear band
for their revolutionary musical approach. Rhamadan is of course a highly freakadelic
experiment, almost free-jazz in its approach, a genre Syd Barrett was
not unfamiliar with.
If you have bought the CD, Rhamadan can be downloaded (legally) from the
official Syd Barrett website, but unfortunately only in the MP3 format
with a rather cheapish 152kbs bitrate. But its bitrate is not the only
amateurish characteristic. While millions of people all over the world
have discovered MP3 tags, EMI is of the opinion that this invention is
way over their heads. The tags are all empty and reveal that the track
is untitled (Track 1), comes from an unknown album,
is from an unknown artist and from an unknown year. Not
even the Publisher and Copyright data are filled in. My 8-years old
godchild can rip MP3 tunes better than EMI does, she at least knows how
to attach a (sleeve) picture to the file. (Although I worked this out by
myself, Jen D at madcapslaughing
beat me by a day by publishing the same findings before me. As I haven't
got an irregular head I'll give this bloke the credits.)
While EMI has been nagging us for years that copying is killing music
a closer look on the MP3 tags reveals us that the file has been
converted with FreeRIP.
Here is the biggest music company in the world and it uses a freeware
version of a (quite good, I agree) MP3 converter to spread around a
track belonging to the founder of their second most commercially
successful band, next to The Beatles.
I know of the bad financial situation of the music company but I wasn't
aware that EMI was that close to bankrupt that they can't even afford a
29,75 dollar software program anymore.
None really. The best thing is to decide for yourself if the 5 remixes
and the 1 download are sufficient to buy the album. As a Barrett anorak
myself, I simply had no choice.
Sources: (other than internet links mentioned above) Chapman,
Rob: A Very Irregular Head, Faber and Faber, London, 2010, p. 215. Parker,
David: Random Precision, Cherry Red Books, London, 2001, p.
A while ago it was announced
at the Holy Church of Iggy the Inuit that Julian Palacios' long
awaited Syd Barrett biography Dark Globe (Full title: Syd Barrett
& Pink Floyd: Dark Globe) had finally appeared in web shops all over the
world. Palacios' previous work Lost In The Woods already dates
from 1998 but is (was) still a classic work about Barrett.
Dark Globe 2010 is not an amended or appended Lost In The Woods,
Palacios didn't use the easy trick Mike Watkinson & Pete Anderson fell
for when they re-issued their Crazy Diamond biography, leaving
the (many) errors uncorrected and just adding an extra chapter about Syd
Barrett's passing. But I wouldn't go as far as the one critic who
claimed that Crazy Diamond is full of 'unsubstantiated nonsense' and
that it should come 'with a government health warning on the dust
jacket'. Crazy Diamond still takes a soft spot in my heart as it was the
first attempt at a serious Barrett biography.
But back to Julian Palacios. For those who want to immediately know if
Dark Globe is worth the investment, rather than meandering through this
review, I will quote Kiloh Smith from Laughing
Just finished Dark Globe and... it's the best book about Syd Barrett
that was ever written. I'd say that Dark Globe is my favourite, followed
by Crazy Diamond, with A Very Irregular Head taking up a distant third.
(Full review at: sydbarrettpinkfloyd.com)
Probably this is the first time in history that Kiloh and I share the
same opinion, but he is not the only one praising Palacios. Fleeting
Glimpse gives the biography a perfect 10 and quite rightly so. And
Mark Paytress from Mojo also has some nice things to say (see left side
I once noted down that the art of writing biographies is not in adding
details, but in weeding out the superfluous. Palacios is not entirely of
the same opinion and that is why my review took so long to appear here.
Dark Globe is packed with details, quite an anorak's dream, and it does
need some concentration. In my case I found it better to savour the
different paragraphs, one at a time, sometimes even going back a bit,
than to read the book in one big afternoon chunk.
Palacios has unearthed details that no one has ever found or published
before and, this has to be said as well, not all of those are relevant
to the average Barrett fan.
Did you know that Syd Barrett had a job as a postman in his teenager
years, delivering Christmas cards during the holidays? I didn't. Not
only does Palacios reveal that but he also points out that the underwear
fetishist who was immortalised in Pink Floyd's first single Arnold Layne
could have been a Royal Mail post van driver.
Those familiar with the Pink Floyd's early history remember that the
band lived, 64-65-ish, in Mike
Leonard's house, an architect who introduced the amateurish R&B gang
to light-shows and avant-garde music. Leonard also played a mean piano
and replaced Rick Wright for a while, what made him think he was a
member of what was ironically called Leonard's
Every student who has been living in a community knows that, sooner or
later, food will start disappearing. Stanhope Gardens was no exception
to that and Rick Wright used to keep his morning cornflakes inside a
locked cupboard, fearing that Roger Waters would otherwise steal his
beloved morning cereals. The mystery has lingered on for over 4 decades
but Julian Palacios has finally discovered who really nicked Wright's
breakfast: not Roger Waters but a boarder named Peter
Kuttner. Utterly irrelevant but fun to read. The only fear I have
now is that Roger Waters will probably write a concept album about it
once he finds out.
Not all of this biography reads like a biography. At certain points
Palacios can't hide any-more he is a writer at heart, with poetical
streaks, obviously regretting that he wasn't around in those underground
days. What to say about this:
The face came out from under the murky swell of psychedelic oil lights,
like a frame around a picture. A pale, handsome face with thick silky
hair and a white satin shirt. Something bright and small seemed to
twinkle in his eyes, vanished, then winkled once more like a tiny star.
Palacios adds many song descriptions and can get quite lyrical about
chord progressions. Personally I can't be bothered as I don't hear the
difference between an A and an F anyway. These parts read like a Korean
DVD recording manual to me but I suppose that any amateur musician will
enjoy them. Julian has been doing more than his homework and for many
early Pink Floyd songs he traces back musical or textual references
(today we would call that sampling), but he isn't too snotty to
give due credits to where they belong.
Palacios has an encyclopaedic musical knowledge and halfway the book I
regretted I didn't note down all songtitles he cites. Songs Barrett
liked, songs Barrett played and rehearsed in his youth, songs that
influenced some of his later work. Adding these would make a nice
cd-box, not unlike the cover disks Mojo magazine sometimes issues.
Julian's observations can sometimes be a bit über-detailed. Arnold
Layne, the famous song about the cross-dressing knicker-thief,
contains a slight musical nod to the 1928 Ma Rainey song Prove
It On Me Blues, not coincidentally another song about
cross-dressing. As I am tone-deaf - a condition I share with Roger
Waters, so it mustn't be all bad as he made a fortune with it - I don't
hear any familiarity between both musical pieces but blues scholar John
Olivar says there is and Julian Palacios acknowledges it. I simply
Other links are easier to grasp for a simple man like me, like the fact
that Jennifer Gentle (the protagonist from the Lucifer
Sam song) can be traced back to a medieval ballad
where it goes:
There were three sisters fair and bright, Jennifer, Gentle
and Rosemary... And they three loved one valiant knight— As
the dow [dove] flies over the mulberry-tree.
There is one single remark in Palacios book that would create a small
storm if its subject happened to be Lennon or Hendrix. In August 1974
Barrett recorded some demos for a third album that never saw the light
of day. Barrett had no new songs and he just tried out some blues
variations like he used to do more than a decade before in his mother's
living room. Initially the 1974 demos were noted down as 'various
untitled oddments' and the individual titles these tracks have now
were given by producer Pete Jenner to distinguish the different parts.
#1 (there is also #2 and #3) traces of Bo
Thing can be found back. In January 2010 Palacios found
out that the track nicknamed John
Lee Hooker is in fact a rendition of Mojo
Hand from Lighting'
Hopkins. That particular titbit didn't even provoke a ripple in the
usual stormy Barrett pond.
Palacios adds layers on layers of information. If you happen to be
amongst the dozen or so readers who remember the 1989 Nick Sedgwick
novel Light Blue With Bulges you might have wondered who was the beatnik
behind the espresso machine (and with his hands in the till) of a famous
Cambridge coffee bar. Don't look any further, Palacios will tell you
exactly who operated the espresso machine, how the coffee bar was called
and even more... reveal the brand of the Italian espresso machine...
only... I would like to pass this information to you but I can't find it
back right now as... and here is my biggest dissatisfaction with this
book... Dark Globe contains no index.
In the past I have written some harsh words about biographies and
reference books that omit an index:
Unfortunately the book [Pink
Floyd FAQ] has got no index, what duly pisses me off, so if you want
to know something about, let's say: You Gotta Be Crazy, there is no
other way to find it than to start reading the bloody thing all over
again. So called biographies (…) and reference books without an index
(or an alphabetical or chronological filing system) are immediately put
aside by me and won't be touched again. Ever.
I know for sure that Prince
Stanisla(u)s Klossowski de Rola, better known as Stash, is
cited in Dark Globe. But if I urgently need this information for a post
at the Holy Church, to answer a question on the Late Night Syd Barrett
forum or just to ease my mind, I will only be able to consult Palacios'
(now defunct) 1998 biography Lost In the Woods (pages 186-93),
Mark Blakes' 2007 Pigs Might Fly (pages 81 & 99) or Rob Chapman's
2010 A Very Irregular Head (p. 278) although that last insists to
call the dandy prince de Rollo.
Dark Globe is by near and by far the best Syd Barrett biography ever,
but not having an index is (in my awkward opinion) unforgivable as it
diminishes its traceability near to factor zero. And that's a shame... I
do know that indexes are but a geeks' dream and that most people don't
bother with those, but my ultimate wet dream consists of reading
bibliographies that have half a dozen footnotes per page. Maybe I am the
No 4 Yes
With hindsight it is easy to call Syd Barrett a genius, but not
everybody was of that opinion in 1966. Here is what Peter
Banks, from Syn
(a precursor of progressive rock-band Yes)
had to say: “Whatever night they played was the worst night of the week.
(…) A bunch of guys making noise and wearing make-up.” Perhaps that is
why Nick Mason quipped, years later, that Johnny Rotten would have
looked quite ridicule in a 'I hate Yes' t-shirt.
Pink Floyd was probably not the best band of the psychedelic bunch, but
they surely were the loudest, even outdoing The Who in volume at the Psychedelicamania
happening on the last day of 1966. A reporter of the Daily Mail, armed
with a sound meter, reported on 'pop above the danger level' and warned
for permanent damage to the ears.
In just a couple of months Barrett had not only shifted from quiet blues
to avant-garde 120 decibel hard rock, he also traded his daily cup of
earl green tea for LSD, mandrax and generally everything that could be
easily swallowed or smoked.
The previous reads kind of funny but it is an infinite sad story that
has been underrated by witnesses, fans and biographers alike. All kind
of excuses have been used not to turn Barrett into a hopeless drug case:
his father's death, the pressure of his band-mates, managers and record
company, even the stroboscopic effect of the liquid light shows...
(although of course all these things may have weakened his
self-defence). In my opinion, Julian Palacios manages to get the tone
right and he consecrates some poignantly written paragraphs to the
darker side of the psychedelic summer.
In April of this year the Church of Iggy the Inuit published the We
are all made of stars post. The article tried to remember two people
of the early Floydian era: Ian Pip Carter, a long-time friend of Gilmour
and a Floyd-roadie who had to fight an heroine addiction for most of his
life and; John Paul Ponji Robinson who tried, in vain, to find inner
piece in eastern mysticism.
Palacios adds another Cantabrigian: Johnny Johnson, who in a paranoid,
probably drug-infected, streak jumped from a six-storey window, survived
the fall, but would eventually commit suicide a few years later.
Hendrix, Morrison, Jones and Joplin: 'each victim to the Dionysian
excess they embodied'. Alice
Ormsby-Gore: overdose (her friend Eric Clapton had more luck).
Julian Ormsby-Gore: suicide. Paul
Getty: heroine paralysed him for life. Talitha
Dina Pol, his wife: overdose. The list is long and those who
survived were not always the lucky ones...
Although there are still people who think that Syd Barrett turned
avant-garde during the Floyd's first tour in America, Nick Mason, in his
typical no-nonsense style, put it otherwise:
Syd went mad on that first American tour. He didn't know where he was
most of the time. He detuned his guitar on stage. He just stood there
rattling strings, a bit weird even for us. (Cited in Dark Globe, but
originally taken from a May 1994 Mojo interview.)
Barrett's situation reminds me of an Alice Flaherty quote I encountered
in a recent Douglas Coupland novel:
All the theories linking creativity to mental illness are really
implying mild disease. People may be reassured by the fact that almost
without exception no one is severely ill and still creative. Severe
mental illness tends to bring bizarre preoccupation and inflexible
As the poet Sylvia
Plath said, 'When you're insane , you're busy being insane – all the
time when I was crazy , that's all I was.
Trip to Sanity
There is the somewhat romantic viewpoint of Duggie Fields, but basically
it tells just the same:
He (Syd) could lie in bed thinking he could do anything in the
world he wanted. But when he made a decision that limited his
The problem, for those who follow the hypothesis Syd had a problem, was
that for Barrett there weren't any possibilities left, although record
company, colleagues and friends mildly tried to lure him into the studio
or invite him for an impromptu jam. But to paraphrase Sylvia Plath: Syd
was too busy being insane, and all the time he was crazy that was all he
was able doing.
While at different forums people are arguing, even today, that
hallucinogenic drugs are harmless
Palacios retaliates by simply listing musicians who had to fight
Wilson... It took these people literally decades to crawl back to normal
life after years of misery. Also Barrett hoped to overcome his
condition one day as was proven by a handwritten note in his copy of The
Oxford Textbook of Psychiatry. Syd bloody well understood what was wrong
with him and we – the fans – don't fucking know how hard it was for him.
A dark spot that even Palacios can't clarify is 'Syd's lost weekend'
that roughly went from 1975 to the early Eighties. The first 400 pages
describe Barrett's public life from the mid-Sixties until the pivotal
event in 1975 when Syd entered the Wish You Were Here recording
sessions. The 30 remaining years of his life are dealt with in a mere 40
pages. Even for Palacios there is nothing to dig. (Rob Chapman managed
to add some anecdotes from Barrett's Cambridge life – although some are
disputed while you read this - but he didn't unearth anything new about
Syd's Chelsea Cloister days either.)
Atagong Strikes Again
The following paragraph will probably not add any points to my Barrett
reputation scale, already at ground zero level, but who cares. Just
before publishing this text I checked the official Syd Barrett website
to see if Dark Globe, the biography, is mentioned there. It isn't.
It comes as no surprise as its main function apparently is to sell
t-shirts, even on the discography page you'll look in vain for the
latest Barrett compilation 'An Introduction to...' (review at: Gravy
Train To Cambridge). I am pretty sure its web master knows
everything about Flash ActionScript but is unable to recognise a
Barrett-tune even if whistled through his arse. When the site started in
December 2008 (a temporary page had already been present a few weeks before)
it managed to get the release dates wrong from all known Syd Barrett
solo albums. Yes, both of them. It is not that Barrett has been
as prolific as Frank Zappa who released records for breakfast.
Fan art was mistakenly published as genuine Syd Barrett art and the
bibliography contained a non existent book that had been designed as a
joke by former Late Night member Stanislav. Even today slightly
photoshopped pictures can be found on its pictures page. Apparently the
official Syd Barrett website moguls have got no problems that their main
source of income swallowed pills by the gallon and fornicated everything
female within a 3 miles radius but depicting Syd Barrett with a cigarette
in his mouth obviously is a bridge too far.
Clearly I am getting too old for this hobby of mine but I hope I got the
message through that Syd Barrett is a bit more than a cheap shirt. Dark
Globe by Julian Palacios more than proves this and contrary to my
threatening promise of above I'm immediately going to read it again.
A certain Felix Atagong calls himself laughingly the Reverend of the
Holy Church of Iggy the Inuit. But now he realises: Julian Palacios is
our prophet. And Dark Globe is our holy book, but I wouldn't mind an
Palacios, Julian: Syd Barrett & Pink Floyd: Dark Globe, Plexus,
London, 2010. 443 pages, 24 photo pages. ISBN10:
85965 431 1 ISBN13: 978 0 85965 431 9. Amazon (UK) link.(The Church is not affiliated with or endorsed by this company.)
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press Limited, London, 2007, p. 143. Chapman,
Rob: A Very Irregular Head, Faber and Faber, London, 2010, p. 336. Coupland,
Douglas: Player One, William Heinemann, London, 2010, p. 223.
Coupland himself cites from a Alice Flaherty book called The
Midnight Disease: The Drive to Write, Writer's Block, and the
Creative Brain. Music score taken from: Riddles
Wisely Expounded(pdf document).
The Anchor's editor was kindly asked, although summoned would be a more
appropriate term, to do an independent review of an interview of the
Reverend of the Holy Church of Iggy the Inuit that recently appeared on
the extraordinary Spanish Barrett blog Solo
en las Nubes (Alone in the Clouds).
Run by Antonio Jesús the blog is a mix of information and
fun, containing several references to La Sagrada Iglesia de Iggy La
Esquimal, that could be without doubt a title for one of the weirder Pedro
Almodóvar movies. Quite recently, in a dark corner of The
Anchor, dimly lit by a dripping candle in a bottle on the rough
wooden table, I bend over to the gorgeous black-haired girl sitting in
front of me, slowly whispering 'La Sagrada Iglesia de Iggy La Esquimal'
in her ears (actually, in one ear only as it is quite infeasible to
whisper in two ears at the same time, except for Mick Jagger perhaps).
Oh Alex Fagotin baby, she passionately sighed with heaving
breasts, say that to me one more time, but unfortunately my hair already
had caught fire by then.
One very interesting part of the Spanish Barrett blog are the so-called self-interviews
(or autoentrevista) and so far Antonio has persuaded Duggie
Fields and Laughing Madcaps front-man Kiloh Smith to reveal
their souls in these autobiographical Rorschach
Titled 'Felix Atagong: "Un hombre sincero"' the latest
self-interview has provoked roars of hysterical laughter from the Åland
Islands to Wallis
and Futuna. We reveal no real secrets if we tell you that the
Reverend has left a trail of female victims from Oslo to Tarzana
and rumour goes there will be more to follow despite many international
The Reverend's self-interview can already be described as absolute
rock-bottom and without doubt it will be voted the all-time-worst-entry
at the - otherwise excellent - Spanish Barrett blog. Time to let you
decide for yourself what a kind of pompous pathetic pumpernickel that
Reverend of the Holy Church of Iggy the Inuit really is. Ladies and
gentlemen, the Anchor presents, but not too proudly: Felix Atagong: an
Felix Atagong: "Un hombre sincero"
Even the roads of rock are unfathomable.
Felix Atagong, from Belgium, has created a blog dedicated to Iggy, the
model of The Madcap Laughs album. Nobody knew her whereabouts for almost
forty years. The coincidence of life, meaning that it is not
coincidental at all, has lead this case to an unexpected but
In his self-interview, Mr. Atagong, the Sherlock Holmes of the Floydian
world (he even helped to clarify the Publius Enigma) and always
committed to the truth he slowly peels the layers of the story of his
blog, and more... (introduction written by Antonio Jesús)
1. What is the Holy Church of Iggy the Inuit?
The Holy Church of Iggy the Inuit is a blog for Syd Barrett fans dealing
with the – very short – period in 1969 when Syd's alleged girlfriend
Iggy lived with the singer. Apart from some unverified rumours about her
Eskimo roots nobody really knew something about her, nor what happened
to her after her sudden disappearance in 1969.
2. How did it all start?
The Church more or less started as a prank. Discussing the (theoretical)
possibility of a Barrett religion on the Late Night forum I mentioned a Saint
Iggy Congregation in 2007 and when, in March 2008, DollyRocker
recognised Iggy acting in a 1967 British documentary, I jokingly announced
the Church's birth. But the idea still ripened for five months before
any blog post appeared.
3. What were your intentions?
These were quite ambiguous by design.
Obviously the Church frame, lead by an all-knowing Reverend who
addresses his flock in a swollen and theatrical language, is satirical.
I wanted to imitate those overzealous fans, who can't stop arguing that
Barrett is the world's most underrated musical genius and graphical
artist and who painstakingly, almost in religious stupor, scrutinize
every minute of his life.
But while I was developing the blog I soon realised that I was
painstakingly, almost in religious stupor, collecting all available
puzzle pieces that lay shattered over the net, on blogs, in forums, that
were published in different articles and biographies, thus creating the
ultimate Iggy repository.
Both concepts share an an osmotic relationship and - by being what it is
and what it pretends to be – the Church has evolved into a meta-concept,
although that thin ironic line is probably completely ignored by the
people who visit it.
4. But the Church did trigger an Iggy revival, didn't it?
Not really. Every avalanche starts with a couple of snowflakes and by
sheer luck the Holy Church happened to be on the right place at the
right time. After nearly 40-years of silence several people
simultaneously remembered Iggy. Most of the time the Church was not
involved but has been monitoring and commentating these events. What
nobody expected, except perhaps for the Holy Igquisition, is that it
resulted in some sort of Iggymania.
Iggymania started when Mojo magazine put Syd Barrett on its cover in
2010. Of course that cover story was all about The Madcap Laughs 40th
birthday but the Church had clearly inspired one of the articles. Not
only did this boost the hits on the website but a few days later The
Church could reveal that Evelyn (Iggy) had been found back as well and
that thanks to Mojo.
Beginning of this year Pink Floyd biographer Mark Blake could finally
interview Iggy and that is when Iggymania fully exploded.
5. Not bad for something that started as a joke.
The Church had already turned serious when JenS shared her memories with
us, revealing that she (probably) introduced Iggy to Syd and pinpointing
The Madcap Laughs photo-shoot date in spring, rather than in the autumn
of 1969. Some time later another acquaintance of Syd gave her first
interview ever to the Church. Margaretta Barclay and her boyfriend Rusty
were regular visitors at Syd's flat and they even tried to resuscitate
Barrett's interest in music by dragging him over to Meic Stevens, who is
still some kind of weird folk cult figure.
I find it rewarding that some of the Church theories have been reprinted
in magazine articles and biographies, so I guess we're not all rubbish
6. But finding Iggy also presented a major crisis for the Church,
It is the ambiguity of all organisations that have a certain goal. What
do you do if the goal has been reached? What will Greenpeace do if
no-one hunts little seals any more? The worst thing that could happen to
the Church was to find Iggy! But every time the Reverend uttered the
fear there would be lack of Iggy, something new turned up. And 2011 has
already proved to be no exception.
Thinking about the future the Church did some reorganising and will
continue developing into other areas, of course not neglecting its
primary task to inform about al things Ig. One of the new items at the
Church will be a gossip corner called 'The Anchor', named after the
Cambridge pub Syd Barrett used to visit in the early Sixties. We hope it
will stir things up as the Barrett community has become quite lethargic
lately. We're all old farts who fall asleep after our afternoon tea and
7. The question we are all waiting for: is Iggy aware of it at all
and what does she think of the Church?
Evelyn kept a low profile over the years, although she apparently never
hid the fact that she had been on the cover of The Madcap Laughs album.
But the path of Iggy and the path of the Barrett fan community simply
didn't converge for the last 40 years.
Recently Iggy has contacted the Church and she gave us valuable
information. However the question is what will happen when Iggymania
freezes over. I feel it a bit hypocrite to say that now, but it was
never the Church's intention to invade Iggy's privacy.
8. This interview should have at least one anoraky question,
reflecting the true nature of the Church. Does the 'eskimo chain' line
in Barrett's Dark Globe refer to Iggy?
Dark Globe is a very poignant, hermetic track and, as is the case in
many of Syd's songs, its lyrics can be interpreted in different ways. I
think Julian Palacios describes it as a lament to Pink Floyd or
something of that order. It also reads as a goodbye song to a past love
and here is where the 'eskimo chain' line fits in – or doesn't.
I'm only a person with Eskimo chain I tattooed my brain all the way... Won't
you miss me? Wouldn't you miss me at all?
Most people who read Barrett blogs will know that Barrett recorded under
the guidance of Malcolm Jones, but somewhere in May 1969 he passed the
torch to David Gilmour (Roger Waters would join in as well on a later
date). Jones had given up in desperation, as Peter Jenner had done the
year before, that last one declaring that the sessions had been 'chaos'.
Finally it was David Gilmour who pleaded Harvest records to allow
Barrett a third and final chance to finish his solo record. Of course
this is just one interpretation and not all biographers and witnesses
agree with that. Another story goes that Malcolm Jones simply invited
Gilmour (and Waters) for marketing reasons: three Pink Floyd members for
the price of one, so to speak (four if one adds Rick Wright who might
have done some uncredited overdubs on Golden Hair). Probably the truth
lies, as is often the case, somewhere in the middle.
The first session of the third recording round took place on the 12th of
June 1969. Barrett premiered two new songs: Dark Globe and Long Gone. On
the third (and final) session (26th of July) Roger Waters joined David
Gilmour and a couple of other attempts were made of the same songs.
(this alternative version of Dark Globe, now retitled as Wouldn't You
Miss Me, was later released on the Opel outtakes album.)
It would be logical to see Long Gone and Dark Globe as an indivisible
pair as they are both sad love songs. But there is an abundance of that
theme on The Madcap Laughs. Jenny Spires told the Church: “Syd wrote
songs and not all of them were about one person or another. It was his
job. (…) Syd was not romantically inclined this way. 'I'm only a person
with Eskimo chain' refers to the evolutionary chain, not to a specific
person. He was on a very much higher spiritual plane, not so much on the
But on the other hand Syd liked to put wordplay and little nods to
reality in his texts. Pink Floyd's second single See Emily Play refers
to psychedelic debutante Emily Young and to Libby Gausden, Jennifer
Gentle from Lucifer Sam is a mixture between Jenny Spires and an ancient
English ballad called 'There were three sisters' (Jennifer, Gentle and
Dark Globe also contains the verse: “'The poppy birds way, swing twigs
coffee brands around.” At first sight this is just a nature description
set in a romantic mood but if one knows that a former girlfriend of Syd
was Vivian 'Twig' Brans it becomes quite clear that Syd has cryptically
entered her name in that line.
So while Dark Globe may have no-one specific in mind the Eskimo chain
line may have been a slight nod toward Iggy.
9. This explanation made my appetite grow for more. How can one join
To paraphrase Groucho Marx: I don't want to belong to any Church that
will accept me as a member, so you can't. The Church does have some
loyal friends though who have helped by passing on valuable information.
Basically the Church just reaps what others have sown (a common practice
amongst churches, I might add). Many kudos go to a long list of loyal
brainstormers, informants, witnesses and friends (and I already want to
apologise for the ones I have forgotten): Anne, Anthony, Bea, Denis,
Dollyrocker, Douggie, Eternal, Gretta, Jenny, Julian, Kieran, Lisa,
Mark, Paro, Prydwyn, Rod, Sadia, Sean, Vicky, our many visitors and
fans... And of course Iggy herself.
10. What is this recurring thing about the Holy Igquisition?
Nobody expects the Holy Igquisition!
Self-interview courtesy of: Solo en las Nubes (2011) - Felix
Atagong: "Un hombre sincero", introduction written by
Antonio Jesús. Self-interview written in December 2010 and updated in
The Anchor is the Holy Church of Iggy the Inuit's satirical
division, intended for people with a good heart, but a rather bad
character. More info: The
Anchor. Read our legal stuff: Legal
Yesterday, on Friday the 11th of June 2011, the Reverend of the Holy
Church of Iggy the Inuit was waiting on a bench at the central bus
station when a man addressed him in French, but he soon switched over to
"I see you are reading a nice book about Pink Floyd. I used to be a Pink
Floyd fan myself. Syd Barrett, the madcap loves."
At least it sounded like 'the madcap loves' in my ears and not 'the
madcap laughs', but perhaps the man had just a small problem with
English pronunciation. Never have made that link myself, I can only
smilingly agree that the madcap loves is one of the better
Floydian slips ever.
The madcap loves, I love it.
But perhaps I just misheard the thing, my ears aren't any more what they
used to be, after having been mistreated by Iron Maiden on my iPod for
the last lustrum.
Mad cat's something you can't explain
A trademark rhyme in Barrett's Octopus
song is the line that named the album:
The madcaplaughed at the man on the border Heigh-ho,
Huff the Talbot.
But Rob Chapman, in an interesting YouTube interview
about his biography A
Very Irregular Head, is of the opinion that Barrett did not sing mad-cap
but mad cat. In that case the title of Barrett's first solo
album is based upon a misunderstanding from producer David
The mad cat laughed at the man on the border Heigh-ho,
Huff the Talbot.
Since Paul Belbin's excellent cyber-essay 'Untangling
the Octopus' (2005), hosted at the Church with the author's
permission, we know that the Octopus song (also titled Clowns
and Jugglers in an earlier stage) is packed with obscure literary
references, disclaiming the rumour that Barrett wrote his songs in a
drug influenced frenzy. One of the characters ripped by Syd Barrett
comes from an anonymous nursery rhyme called 'Huff
the Talbot and our cat Tib':
Huff the talbot and our cat Tib They took up sword and
shield, Tib for the red rose, Huff for the white, To fight upon
For the adherers of the mad cat theory it is perhaps of importance here
that the dog's adversary in the battle of Bosworth
just above is not a mad-cap but a cat called Tib.
Rob Chapman also mentions nonsense poet Edward
Lear as a further influence on Barrett but he didn't catch the
There was an old man on the Border, Who lived in the
utmost disorder; He danced with the cat, And made
tea in his hat, Which vexed all the folks on the Border.
You don't need to be a genius to reconstruct how the dancing cat from
Lear's man on the border and Tib, the warrior cat at Bosworth field,
amalgamated into the mad cat character in Octopus.
But, as with all things Syd, things aren't always that simple. The
madcap believers have a point as well as a madcap galloping chase does
appear in an early incarnation of Clowns and Jugglers:
Sit up, touching hips to a madcap galloping chase "Cheat"
he cried shouting “Kangaroo!”
The wind one morning sprang up from sleep, Saying, “Now for a frolic!
now for a leap! Now for a madcap, galloping chase! I’ll
make a commotion in every place!”
In that case David Gilmour mistook one line for the other and the
album's title may have been taken from a quote that didn't make it on
Salvation Came Lately
But the above has got absolutely nothing to do with today's article and
the Reverend duly apologises for the confusion.
Sitting on a bench at the bus station he was addressed by a man who had
found a common point of interest: Pink
Floyd. To prove that the traveller wasn't talking bollocks, the
sharp-dressed man suddenly sang the following lines from Jugband
I don't care if the sun don't shine and I don't care if nothing is
mine and I don't care if I'm nervous with you I'll do my loving in
Asked to sing a favourite line from a Floyd tune (luckily that never
happens) I would never quote an early song, so the choice of this man
was quite interesting, to say the least. Unfortunately, the strophe was
followed by the announcement that he didn't listen to the Floyd any
more, only to religious music.
To my shame I have to admit that the Reverend didn't see it coming that
another Reverend was trying to lure him into the tentacles of another
Church... Coincidentally we had to take the same bus and we talked like
close friends until it was time for the ambassador of god to leave the
ambassador of Iggy.
The 'book' I was reading wasn't a book but a special 82 pages issue from
the French rock magazine Vibrations,
entirely dedicated to Pink Floyd (7,90 €). Printed on luxurious glossy
paper it assembles articles (translated in French) from well known Q,
Mojo and NME journalists, such as Martin Aston, the Church's partner in
Blake, Pat Gilbert, Chris Salewicz and the French Aymeric Leroy, who
apparently has written an acclaimed biography on the band: 'Pink Floyd: Plongée
dans l'oeuvre d'un groupe paradoxal'.
The times are long gone when I bought everything that was from far or
nearby Pink Floyd related, I even resisted buying Pink Floyd coffee mugs
a couple of week ago, something that would have been impossible for me
in the past millennium, so here is a biography I wasn't aware of. Not
that I am planning to buy it. There isn't one single French Pink Floyd
or Syd Barrett biography that doesn't clash with my personal beliefs of
what a good biography should be.
Update 2011 06 20: Unfortunately the Internet isn't the safe
place any more where you can insult someone without being noticed.
Aymeric Leroy got hold of this post and wanted to set a few things
Thanks for mentioning my book on your blog. I'd just like to point out
that it isn't a "biography", more like a critical assessment of the
band's entire discography, which does include background info of a
biographical nature, but primarily an analysis of the music and lyrics.
The stuff I wrote for the special issue of "Vibrations" is expanded from
the more biographical passages of the book, but the book isn't an
"expanded" version of those. There are other people who did a great job
telling the band's history, and I relied on their work, but my reason
for adding yet another book to the impressive PF bibliography was to try
and do something different - write about the actual music for at least
75% of the book.
Duly noted, Aymeric, and perhaps the Church will have a go at your book
then, one of these days...
Uncut and uncombed
It promises to be a hot Pink Floyd year, this year, and the makers of Uncut
magazine have issued a 146 pages Pink Floyd special in their The
Ultimate Music Guide series. It isn't such a classy edition as the
French Vibrations, but of course the good news is that it
contains at least twice as much information. With at least one article
or interview per Pink Floyd record this obviously is the 'better buy' of
the two, although the initial set-up is more or less the same. The Uncut
special assembles old articles and a few new ones and promises to be an
That an enjoyable read isn't always the same as an accurate read proves
Allan Jones' The Madcap Laughs & Barrett article on pages 32 till 35. He
starts with mentioning that Syd Barrett entered Studio 3 on the 6th of
May 1968, for the first of six sessions that would follow. I don't know
what it is with this 6-sessions-myth but Rob Chapman claims exactly the
same in his biography. As I always seem to have recalled 9 sessions
instead of 6 (but according to the Holy Pope of Rome my brain has been
irrecoverably damaged by years of masturbation) it is time for yet
another anoraky investigation.
So not for the first time in my career as Reverend of the Holy Church of
Iggy the Inuit I have counted the 1968 Madcap recording dates, as
noted down in David Parker's excellent sessionagraphy Random
Precision. It all starts in the beginning of May.
1968 05 06 – In the morning EMI engineers had been transferring
two Pink Floyd tracks 'In the Beechwood' (aka 'Down in the
Beechwoods') and 'Vegetable Man' for Syd Barrett to work on, but when
Barrett finally arrived he decided to record two new songs instead:
'Silace Lang' (aka 'Silas Lang') and 'Late Night'. Session One.
According to the Allan Jones article Barrett recorded the rambling
'Rhamadan' the day after. Wrong. The next day would have been the
seventh of May, but Barrett only re-entered the studio one week later.
1968 05 13 – 'Silas Lang' (take 1) and 'Late Night' (take 6),
were worked on / transferred by Peter Jenner. It is not clear if Syd
Barrett was present in the studio or if this was merely a technical
session. Of course this could have been one of those 'chaotic' sessions
where Barrett simply didn't show up, with Peter Jenner trying to salvage
the furniture by using the spare time for some producer’s work. Session
1968 05 14 – 'Rhamadan', 'Lanky' (Pt. 1&2), 'Golden Hair'.
Obviously Barrett and three session musicians were in the studio,
although nobody seems to remember who the backing band members really
were. Session Three.
1968 05 21 – 'Late Night', 'Silace Lang'. This was the day when
Syd Barrett forgot to bring his guitar to the studio and Peter Jenner
had to rent one for £10.50. Always a kind of a joker, our Syd. Session
1968 05 28 – 'Golden Hair', 'Swan Lee' (aka 'Silace Lang'),
'Rhamadan'. This session also included (the same?) three session
musicians. Session Five.
1968 06 08 – Superimposition of titles recorded on 6th, 14th,
21st & 29th [wrong date, FA] of May, 1968, so read the red
form notes. Peter Jenner made a provisional tracklist for what could
have been Barrett's first album:
Silas Lang Late Nights (sic) Golden Hair Beechwoods (originally
recorded with Pink Floyd) Vegetable man (originally recorded with
Pink Floyd) Scream Your Last Scream (sic, originally recorded with
Pink Floyd) Lanky Pt 1 Lanky Pt 2
Looking like a Barrett's fan wet dream the above track listing debunks
the story - still popular at certain disturbed Barrett circles - that
the band Pink Floyd and its members deliberately boycotted their former
Barrett was apparently present at this session as some guitar overdubs
were recorded for 'Swan Lee' (the right title of that track still wasn't
decided). Session Six.
1968 06 14 – cancelled session
1968 06 20 – tape transfers and overdubs on 'Late Night' (noted
down as 'Light Nights'), 'Golden Hair', 'Swanlee' (again another way of
naming this track). Syd Barrett probably did some vocal overdubs. Session
1968 06 27 – 'Swanlee', 'Late Night', 'Golden Hair'. Tape
transfers and possible (vocal) overdubs. This is a bit of a mystery
session as the archives of EMI aren't clear what really happened. Session
1968 08 20 – 'Swan Lee', 'Late Nights', 'Golden Hair', 'Clowns &
Jugglers'. First appearance of the track that would later be named
Octopus. Session Nine.
Session nine is where Peter Jenner decided to pull the plug, and unless
you believe in the conspiracy theory that Jenner was a spy for the Pink
Floyd camp, there must have been a valid reason for it.
So there we have it, the nine chaotic Madcap sessions of the year 1968.
Of course it is clear where the six sessions explanation comes from, if
one omits the second session where Barrett probably never cared to show
up and some tape transfer and overdub sessions you have successfully
diminished nine sessions into six.
It all is a matter of interpretation: at one side you have those who
argue that Barrett recorded a nice collection of great dance songs in
only six sessions, at the other side you have those (including producer,
manager and personal friend Peter Jenner) who claim that nine sessions
weren't enough to produce three decent demos. As always the truth lies
somewhere in the middle.
So the six session myth, as noted down by Allan Jones in the Uncut Pink
Floyd 'Ultimate Music Guide' might not be so far off the truth.
Another misty myth hangs around the cover shoot of the album. Allan
Jones bluntly states, more out of ignorance, I presume, than of
knowledge, that Mick Rock was responsible for the cover. The official
version goes that the pictures, used for the cover, were taken by Storm
Thorgerson, who happened to be at the same place at the same time
(as the picture at the left side proves). The Holy Church of Iggy the
Inuit has already spilled lots of bits and bytes about The Madcap Laughs photo
sessions (in plural), so we won't go further into that.
Iggy 'Eskimo' Rose revealed to Mark Blake that other shots were taken as
I don't think Storm and Mick were very impressed by them. If you've ever
seen the cover of the Rod Stewart album, Blondes Have More Fun, they
were a bit like that... Of me and Syd. There were others of me and Syd,
as well, which remind me of the picture of John and Yoko [on Two
Virgins] which came out later. I'd love to see those pictures now.
(Taken from: The
Strange Tale Of Iggy The Eskimo Pt. 2)
Nowadays it is not that certain any more if these shots were taken by
Storm Thorgerson or by Mick Rock. There might even have been a third
photographer at play. It seems that the flat of Syd Barrett was crowded
with people that day and that they all brought a camera. Unfortunately
the naughty Syd & Iggy pictures seem to have disappeared...
Maybe it was because there was too much frontal. Poor Syd, I remember
getting carried away, pulling and pushing him about, getting astride
him. He was in fits of laughter....which of course is not what they [the
photographers] where after. (Iggy Rose, 30 May 2011.)
Riding the Octopus
Allan Jones is of course not a Barrett anorak like yours truly (and most
of the readers of this blog) and thus he has to confide upon other
anoraky people. So he probably doesn't see any harm in the following
Rob Chapman's close reading of the remarkable 'Octopus', for example,
revealed the craft of which Syd was still capable. The song's cleverly
accumulated lyrics drew on diverse literary sources, folklore, nursery
rhymes, and the hallucinatory vernacular of dream states to create a
wholly realised, enraptured universe, halcyon and unique. (p. 35)
This is all true and very beautifully written, but only – and this
brings us back to the starting point of this article – it was Paul
Belbin's essay (compiled with the help of a dozen of contributors) that
revealed the Octopus' hidden lyrics to begin with and that roughly five
years before Chapman's Irregular Head biography. No wonder that Julian
Palacios, a Syd Barrett biographer in his own right, calls it the
Rosetta stone for decoding the writing inspirations for one of Syd
Barrett's most beloved songs.
But all in all Uncut's 'The Ultimate Music Guide' to Pink Floyd seems to
be an essential (and rather cheap, only £5.99) overview of the band and
its records and I like all the articles that I've read so far. I think
it's a gem and a keeper.
The Church wishes to thank: Paul Belbin, Mark Blake, Julian Palacios and
the wandering anonymous Pink Floyd lover from the Embassy of God.
Top picture: variation on a theme from The
Kitten Covers. ♥ Iggy ♥ Libby ♥
Sources: (other than internet links mentioned above) Belbin,
Paul: Untangling the Octopus v2, 2006. PDF
version, hosted at the Holy Church of Iggy the Inuit. Belbin, Paul &
Palacios, Julian: Untangling the Octopus v3, 2009, hosted at the
Syd Barrett Research Society (forum no longer active). Update
April 2015: same article hosted at Late
Night. Parker, David: Random Precision, Cherry Red Books,
London, 2001, p. 126-138.
Let me start this review with a quote at the end of 'Anthropologie du
Rock Psychédelique Anglais', a title that is so universal that
I don't have to translate it into English, unless for some Americans, I
Pire quotes Simon
Frith who wrote in 1978:
The rock audience is not a passive mass, consuming records like
cornflakes, but an active community, making music into a symbol of
solidarity and an inspiration for action.
Obviously this quote should be branded on the bodies of record company
executives all over the world, especially those that gave us the music
of Britney Spears and other singing cattle, and who think that pop music
is something repetitive, uninspired and slick (but alas not Slick as Surrealistic
Pillow Grace once was). But this post seems to be turning
psychedelic before it has even started, so I'll wait a bit until that
sugar cube wears off a bit.
Anthropology of English Psychedelic Rock
Alain Pire is a Belgian musician whom I may have caught about 30 years
ago when he was a member of the Jo
Lemaire & Flouze band, although he won't probably remember that
gig in the Stella Artois Feestzaal in Louvain anymore. Neither do
I, by the way, I only have a slight recollection that I may have watched
that band through a beer enhanced haze.
It was Jenny
Spires who pointed me to him, noting that I would perhaps be
interested in his (French) study of English psychedelic rock. It is
weird that a member of the Sixties underground Cambridge mafia, a term
coined by David Gilmour if my memory is correct, had to point me to a
book written by a compatriot. The gap between the Belgian French and
Dutch community is so deep and our internal relations are so troubled
that we don't know any more what the other community is up to, even on a
In the Sixties we would have called this divine intervention but I thank
social networking services for bringing this study into my attention.
Anthropology of English Psychedelic Rock is based upon Alain
dissertation for the University of Liège in 2009, counts roughly 800
pages and is divided into 4 parts:
English psychedelic music Analysis of British psychedelic songs British
counter-culture Psychedelic drugs
English psychedelic music
Paradoxically the subject of the book is its biggest weakness. Defining
psychedelic music is like describing a butterfly's flight. We all know
instinctively how psychedelic music sounds, but it is nearly impossible
to write down its genetic formula on a piece of paper.
It is extremely complex to give a definition of a musical genre that is
so protean as psychedelic rock. (p. 92)
Basically Alain Pire, or Dr. Alain Pire for you, doesn't get any further
than stating that psychedelic music is music that simulates or evokes
psychedelic sensations. It's a bit like saying that the girl above is
nude because she has no clothes on.
As vague as the above definition is, psychedelic music does have some
common points. It uses technical novelties that had only recently been
introduced in the record studios and that in some cases were invented on
the spot by sound engineers at the demand of the musicians.
Another psychedelic brand mark is the reverse
tape effect or backmasking.
The legend goes that John Lennon, under the influence of cannabis,
'invented' the effect by listening to a tape that had not be rewound,
but sound modifications and (reverse) tape loops had already been used
music circles since the early fifties. Those same avant-garde
musicians had also experimented with musique
concrète, using acousmatic
sound as a compositional resource, and with tape speed effects but,
once again, these techniques were made popular by psychedelic rock bands
in the Sixties, notably The
Beatles who seemed to be one step ahead of all the others.
It is due to George Harrison that Indian instruments invaded psychedelia
as well, first used in Norwegian
Wood and later picked up and copied by The Rolling Stones, Traffic,
Pretty Things, Donovan and others. I won't give the other characteristic
instruments of psychedelic music here, otherwise there would be no
reason to buy the book, but I'll gladly make an exception for the
psychedelic instrumental gimmick par excellence: the mellotron.
The basics of this instrument was already around since the late forties,
but once again, and I'm starting to sound like a stuck vinyl record
here, it was re-discovered by English psychedelia. Graham
Bond may have been the first to record it on Baby
Can It Be True (1965), but its full potential was used by The
Beatles and The
Moody Blues who made it their signature instrument. For a while it
was even nicknamed a Pindertron,
after the keyboards player of that band.
It took me a couple of months to finish Anthropology of English
Psychedelic Rock and that is due to the second part where the author
analyses 109 psychedelic songs. I had the chance to listen to the songs
on my iPod while reading the book and that is of course the ideal way to
benefit of the detailed descriptions.
Starting with Shapes
of Things (Yardbirds,
1965) and ending with Cream's
I'm so glad (1969) it describes the four heyday years of
psychedelia. Influental bands and their albums get extra attention and a
short biography: The Beatles (obviously), but also The Rolling Stones,
Jimi Hendrix, The Pretty Things, The Soft Machine and Syd Barrett's Pink
It struck me, quite pleasantly, that Pire quotes Julian Palacios' Lost
In The Woods on page 251, intriguingly not in the Pink Floyd,
but in the Sergeant Pepper section, an album that – according to both
Pire and Palacios - started the end of the psychedelic era.
This strange psychedelic movement, blossoming quickly in an explosive
flash of colour, already seemed to be withering slightly. Its momentum
was to be felt everywhere in the world, but the original Big Bang, so to
speak, was nearing an end.
Of course Pire can't write detailed biographies about every band, that
isn't the purpose of his work, but the anoraky nitpicker in me came
across some mistakes that could have been weeded out by a better editor
or proofreader. Some examples:
The influence of science fiction stories will be found later in the
lyrics of 'Interstellar overdrive' or 'Astronomy Domine'. (p. 289)
I agree with Astronomy, but I have some difficulties believing that the
lyrics of Interstellar Overdrive find their origins in a science fiction
story as it is... an instrumental. Alain Pire knows bloody well that the
track contains no lyrics as he gets quite lyrical about the piece later
This track is more than a piece of music: it is the testimony of an era,
a musical spokesman for a generation. When the band was in a good shape
its open structure symbolised, on its own merits, the term Psychedelic
Music. (p. 369)
Another mistake that slipped through is this one:
Duggie Fields, painter and friend of Syd Barrett at that time, still
lives at 101 Cromwell Road (p. 293).
The Holy Church of Iggy the Inuit has dedicated enough space to Syd's
(and Duggie's) apartment, located at Wetherby Mansions, Earls Court
Square. Of course Duggie lived at 101 Cromwell Road before and that is
probably were the error comes from.
During the year 1968, Barrett recorded his first solo album: The Madcap
Laughs, with the help from David Gilmour and Waters... (p. 340)
Also this is only part of the truth, Syd Barrett recorded some demos in
1968, but the sessions were abandoned after Peter Jenner agreed they
were 'chaos'. In April 1969, perhaps thanks to the the good influence of
Iggy, Syd found himself fit enough to start with the real recordings for
his first album.
But like I said, nitpicking is unfortunately enough the Holy Church of
Iggy the Inuit's core business and the few mistakes certainly don't take
away the merits of this study. (But I would have a stiff talk with
Gérard Nguyen 'secrétariat de rédaction et mise en page'
if I were you, Alain, there are still too many printing errors in this
Alain Pire doesn't only describe the psychedelic big shots but also
dedicates some space to bands like Tintern
Abbey, who only issued one single in their entire career or the
almost forgotten band Blossom
Toes. Butterfly flights indeed.
Throughout the book Alain Pire has the funny habit of first fully
explaining a quote that he has found in an extensive bibliography or
from interviews taken by himself, then followed by the quote itself and
thus merely repeating the previous.
I can understand that a doctoral thesis must be large and that some
professors at the University of Liège may be a bit slow to understand
but printed in a book this makes you feel like you are standing on top
of echo mountain. (Of course it could be that he uses this gimmick as
the written equivalent of the psychedelic tape loop trick.)
Even then, by deleting these double entries Alain Pire could at least
have saved 20 pages, handy for an index that is now missing.
It must be a second millennium thing that scholars don't put indexes any
more in their books. Alain Pire's study literally cites hundreds of
people, but the reader is unable to find these back once you have closed
the book. That's a pity. Especially as I like to borrow these things
myself for my various web doodles. Perhaps it is another way of saying,
look it up yourself, buddy.
(I suddenly realise that if I ever publish a Pink Floyd inspired book
the people that I have duly pissed of in my blog reviews will jump on my
back as a horde of hungry dogs.)
The third part of the study, a description of the London Counter
Culture, is a book in its own right.
Of course there isn't much new you can tell about the underground. Jonathon
Green wrote perhaps the ultimate counter culture bible with Days
In The Life: Voices from the English Underground 1961-71 and its
alter ego All Dressed Up: The Sixties and the Counterculture and
Miles has added a sequel to his In the Sixties book, London
Calling: A Countercultural History of London Since 1945.
But Alain Pire puts down some cleverly made points here and there, such
as the following remark about the decline of the traditional British
values in the Sixties:
Family, religion, marriage, faithfulness get beaten in the face and
other values like sexual liberation, hedonism and alternative
spiritualism emerge. These new values embrace individualism like the
growing importance of one's appearance, but also, and paradoxically, new
forms of group participation like the ritual passing of a joint, the
sharing of sexual partners and living in communes. (p. 538)
Of course the Sixties counter culture could only thrive under the
favourable economical and cultural circumstances of that period.
Counter culture can only live a parasitic life, meaning that it carries,
right from its start, the seeds of its own failure. (p. 563)
Basically the classless society of Swinging London was a (very small)
mixture of (rock) stars, young aristocrats and middle class youth who
had the financial means (or their parent's support) to live outside the
One of the many instruments that helped creating psychedelic music was a
wonder drug called LSD.
Alain Pire tries hard to give an unbiased, albeit slightly favourable,
opinion about the drug that was, almost from one day till the other,
reviled by the American and British governments.
LSD has been tested as a medicine or therapy by several scientific
investigators but these experiments had to be stopped, despite the fact
that most clinical test gave positive results, especially with proper
Of course LSD also had its negative sides, even more when people started
to use it as a leisure drug, Pire notes about Barrett:
If LSD helped Syd in the beginning to reveal his genius as a composer,
it became a real brake for his creativity and progressively sucked away
his writing potential. (p. 324)
Not that the dangers of LSD were not known. Michael Hollingshead, one of
the early LSD researchers, accidentally administered himself a massive
dose of the drug. After that event he got the constant impression of
living in a no man's land, partially in reality and partially in the
twilight world and at one point he asked Aldous Huxley and Timothy Leary
While LSD seems to be the ideal method to open certain doors of
perception it can turn into a living nightmare if these doors refuse to
shut again, leaving its victim behind like a character from an Arthur
Machen story. I may not think if this is what really happened to Syd
The psychedelic era and its music is still greatly remembered and loved.
It mainly arrived because several puzzle pieces, randomly thrown in the
air, landed in such a way that they formed a nice picture.
Alain Pire divides these puzzle pieces into two parts: the pedestal and
The pedestal of the psychedelic era was a thriving economic situation
and a socio-cultural context that was open for change. George Harrison
called the Sixties a period of 'mini renaissance'. Alain Pire rightfully
mentions the art schools that were a pool of inspiration and experiment.
The list of those who attended art school is long: Chris Dreja, Dick
Taylor, Eric Burdon, Eric Clapton, Iggy Rose, Jimmy Page, John Lennon,
John Whitney, Keith Relf, Keith Richards, Pete Townshend, Phil May, Ray
Davies, Robert Wyatt, Roger Chapman, Roy Wood and Syd Barrett.
Three extra components were the psychedelic icing on the cake: First:
extremely talented musicians suddenly came out in the open; Second:
psychedelic drugs opened doors of (musical) imagination and experiment; Third:
technical wizardry made it possible to find new ways to deal with sound.
But all this couldn't have happened without the support of a fifth
pillar: the public. Without a public open for change and experiment the
psychedelic movement would have stayed a small avant-garde movement
unknown to the outside world.
Let me end with a quote taken from the introduction by Barry Miles:
Anthropology of English Psychedelic Rock is the most complete history of
that period's music that I have ever read. The author has to be
complimented for his erudition and I heartily recommend his book to
anybody who wants a profound explication of what really happened during
the Swinging Sixties. (p. 9)
I couldn't say it better. Anthropologie du Rock Psychédelique Anglais
is a damn well read and urgently needs to be translated into English.
Pire Alain, Anthropologie du Rock Psychédelique Anglais, Camion
Blanc, Rosières en Haye, 2011. 815 pages, foreword by Barry Miles. 38
The Church wishes to thank: Alain Pire, Jenny Spires.
The Holy Igquisition has got a little black book with Roger
Waters' interesting quotes in. Needless to say that this is a very
thin book, with lots of white space, but here is a phrase from the Pink
Floyd's creative genius (his words, not ours) this article
would like to begin with.
There are no simple facts. We will all invent a history that suits us
and is comfortable for us, and we may absolutely believe our version to
be the truth. (…) The brain will invent stuff, move stuff around, and so
from 30 years ago (…) there's no way any of us can actually get at the
The Reverend would – however – first want to ask one fundamental
question, of which our readers may not be quite aware of the
significance of it... If Roger Waters is such a creative genius writing
poignant one-liners criticizing his fellow rock colleagues:
Lloyd-Webber's awful stuff. Runs for years and years and years. (…) Then
the piano lid comes down. And breaks his fucking fingers. (It's
A Miracle, Amused
...why then does he agree to release hyper-priced Immersion boxes
containing a scarf, some marbles, carton toasters, playing cards, other
debris and, oh yeah, incidentally some music as well? One can only
conclude it's a miracle. Let's just hope he doesn't get near a
piano for the next couple of years.
But probably we are too harsh in our criticism, Roger Waters has told
the press before that he is simply outvoted by the other Pink Floyd
members. This is a situation that used to be different in the past when
he reigned over the band as the sun
king, but like he will remember from his Ça
Ira days, these are the pros and cons of capitalist democracy.
A typical Floydian example of false memory syndrome is the visit of Syd
Barrett in the Abbey
Road studios on the 5th of June 1975. It is a mystery to us why EMI
didn't ask for entrance money that day as a complete soccer team,
including the four Pink Floyd members David
Mason, Roger Waters and Rick
Wright, claim they have seen, met and spoken to Syd Barrett.
Roadie (and guitar technician) Phil Taylor remembers he had a
drink in the mess with Syd and David. Stormtrooper Thorgerson
has had his say about it all but if one would give him the opportunity
he would argue – probably in yet another book rehashing the same old
material – that he started the band Pink Floyd at the first place. Other
'reliable' witnesses that day include (alphabetically sorted): Venetta
Fields, backing singer and member of The
Leckie, EMI engineer and producer (but not on Wish
You Were Here) Nick
Sedgwick, friend of Roger Waters and 'official' biographer of Pink
Shirley, Humble Pie drummer and friend of David Gilmour Carlena
Williams, backing singer and member of The Blackberries
Some say that Barrett visited the studio for two or three days in a row
and three people, including his former managers Peter
Jenner and Andrew
King, claim they spoke to Syd Barrett about a month later on David
Gilmour's wedding while the bridegroom himself claims that Syd Barrett
never showed up. To quote Pink Floyd biographer Mark
Blake: “...not two people in Pink Floyd's world have matching
stories...”, and neither do two biographies...
In his most recent, but probably not his last, picture book about Syd
Rock writes the following:
He (Syd Barrett, FA) asked me to take photos for the sleeve of
his first solo album The Madcap Laughs that autumn. At the time he was
living with yet another very pretty young lady known only as Iggy the
Eskimo. She wasn't really his girlfriend although clearly they had a
sexual relationship. But of course her presence in some of the photos we
took that day added an important element that enhanced their magical
Most biographies (all but one, Julian Palacios' Dark
Globe, in fact) put the date of The Madcap Laughs photo shoot in the
autumn of 1969 and this thanks to testimonies of Storm
Thorgerson, Mick Rock and, most of all, Malcolm
Jones. The Church, however, beliefs there is a 'misinformation
effect' in play. Researchers have found out that people will
automatically fill in the blanks in their memory if a so-called reliable
witness comes with an acceptable story. This would not be the first time
this happens in Pink Floyd history. And probably there have been 'cover
picture' meetings after summer between Harvest
perhaps even leading to an alternative Storm Thorgerson photo shoot (the
But in the end it was decided to use the daffodils session from
That the Church's theory (with the help of JenS) wasn't that far-fetched
was proven in March 2010 when the rock magazine Mojo
consecrated a three pages long article to pinpoint the date of the
shooting of The Madcap Laughs, with testimonies from Duggie Fields, Mick
Rock, Jenny Spires and Storm Thorgerson. The article and the Church's
comments can be found at Goofer
Dust [(I've got my) Mojo (working)... Part 2].
We know from JenS, Duggie Fields and Gretta
Barclay that Iggy arrived early 1969, and helped painting the floor,
but the only person who didn't comment on this was Iggy Rose herself. So
one freezing winter day The Holy Church asked her if she could have been
around at Wetherby Mansion, after the summer of 1969...
Iggy Rose: "I don't think it was that late, but I have to admit
it was almost 45 years ago. I remember I was cold, and they had a
one-bar-heater to try and keep me warm. I stayed a week here and there
and I never gave that photo shoot another thought. Later I found out
when Mick Rock came back for the second shoot he was disappointed I
Syd met Iggy (Pt. 1)): "I took Ig to Wetherby Mansions in January or
February 1969 where she met Syd Barrett. (…) I introduced Iggy to Syd
shortly before I left (to America, FA), and she was around when I
left. She wasn’t there for long and generally moved around a lot to
Iggy Rose: "I had absolutely no idea how mammoth he was. Syd
never came on to me as the Big I Am. In fact when he played his rough
tracks of The Madcap Laughs he was so endearingly sweet and appealing...
Even asking me whether it was good enough to take to some bloke at EMI
Margaretta Barclay (Gretta
Speaks (Pt. 2)): "Iggy moved about and stayed with all sorts of
people in all sorts of places without declaring her intention to do so.
To my knowledge there was no ‘when Iggy left Syd’ moment. We were all
free spirits then, who moved whenever and wherever a whim took us."
Iggy Rose: "I wasn't even aware of who Syd Barrett really was. Of
course I knew of Pink Floyd. I must have seen them perform at Crystal
Palace but they were to me an obscure avant-garde underground band, who
played way-out music I couldn't dance to."
Jenny Spires (public conversation at Iggy Roses' Facebook
page): "Ig, Syd painted the floor boards as soon as he moved in
Christmas 68. When I moved in with him in January there were still
patches not done, by the door, in the window under the mattress where we
slept, in top right hand corner of the room. When he painted it
initially, he didn't wash the floor first. He just painted straight onto
all the dust etc... Dave (Gilmour) also painted his floor red..."
Duggie Fields (Mojo): "It was pretty primitive, two-bar electric
fire, concreted-up fireplaces... it was an area in decline. I don't
think there was anything, no cooker, bare floorboards..."
Mate (alleged visitor at Wetherby Mansions, FA): "The
three rooms all faced the street. On entering the house, the first room
was Fields', the second and largest, I guess about 25 square meters,
Barrett's. The third and smallest room was a communal room or a bedroom
for guests. Gala (Pinion, FA) stayed there. In the corridor were
some closets stuffed with clothes.
Then the floor bended to a small bathroom, I think it was completely at
the inside without a window. At the back was the kitchen with a window
to the garden. It was not very big and looked exactly like in the
Fifties. The bathroom was also rather simple, I mean, still with a small
tub. I don't remember how the bathroom floor looked like though."
Update 2016: 'Mate' is an anonymous witness who claims to have
been an amorous friend of Syd Barrett, visiting him several times in
London and Cambridge between 1970 and 1980. However, later
investigations from the Church have found out that this person probably
never met Syd and is a case of pseudologia fantastica. This
person, however, has a nearly encyclopedic knowledge of Syd Barrett and
early Pink Floyd and probably the above description of Syd's flat is
Iggy Rose: "I think Gala had the small room, Duggie the second
and Syd the largest. She had a lot of perfumes and soaps and gave me a
nice bubbly bath once... ...and tampons." (Launches one of her legendary
roaring laughs provoking a temporarily hearing loss with the Reverend.)
Any colour you like
Ian Barrett: "The stereo in the picture ended up at my house, and
I am pretty sure I had the record player in my bedroom for a good few
years. God knows where it is now though..."
Iggy Rose: "I wonder what happened to the old heavy tape recorder
with the giant spools. I remember Syd carrying it over for me to listen
to his rough cut of The Madcap Laughs."
Malcolm Jones (The Making Of The Madcap Laughs): "In anticipation
of the photographic session for the sleeve, Syd had painted the bare
floorboards of his room orange and purple."
Mick Rock (Psychedelic Renegades): "Soon after Syd moved in he
painted alternating floor boards orange
JenS: "I was staying with Syd between the New Year and March '69.
(…) Anyway, at that time, the floor was already painted blue
and orange and I remember thinking how
good it looked on the Madcap album cover later on when the album was
Iggy Rose (The
Croydon Guardian): "When Mick (Rock, FA) turned up to
take the photos I helped paint the floor boards for the shoot, I was
covered in paint, I still remember the smell of it."
Margaretta Barclay (Gretta
Speaks): "I remember that Iggy was involved with the floor painting
project and that she had paint all over her during the floor painting
time but I was not involved with the painting of the floor."
Iggy Rose (Mojo):
"He jumped off the mattress and said, 'Quick, grab a paint brush.' He
did one stripe and I did another. If you look at Mick Rock's pictures, I
have paint on the soles of my feet."
Duggie Fields (The Pink Floyd & Syd Barrett Story): "I think he
painted the floor boards, sort of quite quickly. He didn't prepare the
floor, I don't think he swept the floor actually. (…) And he hadn't
planned his route out of the bed that was over there. He painted around
the bed and I think there was a little problem getting out of the room.
(…) He painted himself in."
Jenny Fabian (Days In The Life):: "He'd painted every other floor
board alternate colours red and green."
Iggy Rose: "I remember the mattress being against the
wall......Soooooo either we ran out of paint, or waited till the paint
dried, so poor Syd was marooned in the middle of the floor. (…) The
floorboards were painted red and blue.
I do remember, as the paint was on my feet and bottom. Did you know that
Syd wanted to take the colours right up the wall?"
Mate: "The planks were painted in a bright fiery-red,
perhaps with a slight tendency towards orange,
and dark blue with a shadow of violet.
Iggy is absolutely right: this was no orange's
orange. The curtains were dark
green velvet." (This witness may be a mythomaniac,
Mick Rock: "They were long exposures because of the low light and
they were push-developed which means that you give the film more time in
the processing fluid. You can tell because the colour changes and
the film starts to break up which causes that grainy effect."
Libby Gausden: "I always thought it was orange
paint, not red." Iggy
Rose: "Careful Libs darling! People will start to analyse that, the
way they did with the dead daffodils." Libby Gausden:
"Well they had faded from red to orange
when I got there."
Jenny Spires (public conversation
at Iggy Roses' Facebook
page): "The floor was painted long before you arrived Ig and was blue
and orange. You and Syd might have given
it another lick of paint and covered up some of the patchiness and bare
floorboard that was under the mattress before the Rock/Thorgersen shoot.
Perhaps, he only had red paint for that,
but it was blue and orange."
Mate: "Even in 1970 there were still unpainted parts in the room,
hidden under a worn rug. I suppose the floor had been beige-white before
Syd and Iggy painted it in dark blue
with a shadow of violet and bright orangy
red . The floor boards had not been carefully painted and
were lying under a thick shiny coat. The original pitch-pine wood didn't
In my impression it was an old paint-job and I didn't realise that Syd
had done it all by himself the year before. I never spoke with him about
the floor as I couldn't predict that it would become world-famous one
day. It is also weird that nearly nobody seems to remember the third
room..." (This witness may be a mythomaniac, see above.)
Mick Rock: "I actually went back a couple of weeks later. We
still didn't know what the LP was going to be called and we thought we
might need something different for the inner sleeve or some publicity
Iggy Rose: "I did go back afterwards and maybe Syd mentioned this
to someone. I wasn't bothered and I didn't know Syd was some big pop
star. He never lived like one and certainly didn't behave like."
When Iggy disappeared it wasn't to marry a rich banker or to go to Asia.
As a matter of fact she was only a few blocks away from the already
crumbling underground scene. One day she returned to the flat and heard
that Barrett had returned to Cambridge. She would never see Syd again
and wasn't aware of the fact that her portrait was on one of the most
mythical records of all time.
Update 2016: The above text, although meant to be tongue in
cheek, created a rift between the Reverend and one of the cited
witnesses, that still hasn't been resolved 4 years later. All that over
a paint job from nearly 50 years ago.
Many thanks to: Margaretta Barclay, Duggie Fields, Libby Gausden, Mate,
Iggy Rose, JenS & all of you @ NML & TBtCiIiY...
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press Limited, London, 2007, p. 231-232. Clerk,
Carol: If I'm honest, my idea was that we should go our separate ways,
Roger Waters interview in Uncut June 2004, reprinted in: The Ultimate
Music Guide Issue 6 (from the makers of Uncut): Pink Floyd, 2011, p. 111. Gladstone,
Shane: The Dark Star, Clash 63, July 2011, p. 53 (Mick Rock
picture outtakes). Green,
Jonathon: Days In The Life, Pimlico, London, 1998, p.168. Jones,
Malcolm: The Making Of The Madcap Laughs, Brain Damage, 2003, p.
13. Mason, Nick: Inside Out, Orion Books, London, 2011
reissue, p. 206-208. Rock, Mick: Psychedelic Renegades,
Plexus, London, 2007, p. 18-19, Rock, Mick: Syd Barrett - The
Photography Of Mick Rock, EMI Records Ltd, London & Palazzo Editions
Ltd, Bath, 2010, p. 10-11. Spires, Jenny: Facebook
conversation with Iggy Rose, July 2011.
On Wednesday, 9 May 2012, it was reported that Clive
Welham passed away, after having been ill for a long time.
50 years earlier, he was the one who introduced a quiet, shy boy to
Roger 'Syd' Barrett at the Cambridge College of Art and Technology. The
boys had in common that they both liked to play the guitar and
immediately became friends, that is how Syd Barrett and David Gilmour
met and how the Pink Floyd saga started.
Just like in the rest of England, Cambridge was a musical melting pot in
the early sixties with bands forming, merging, splitting and dissolving
like bubbles in a lava lamp.
Clive 'Chas' Welham attended the Perse
Preparatory School for Boys, a private school where he met fellow
student David Gilmour. As would-be musicians they crossed the
social barriers and befriended pupils from the Cambridge and County
School for Boys, meeting at street corners, the coffee bars or at home
were they would trade guitar licks. Despite their two years age
difference Clive was invited to the Sunday afternoon blues jam sessions
at Roger Barrett's home and in spring 1962 this culminated in a
'rehearsal' band called Geoff Mott & The Mottoes. Clive
Welham (to Julian Palacios):
There was Geoff Mott [vocals], Roger Barrett [rhythm guitar], and
“Nobby” Clarke [lead guitar], another Perse boy. I met them at a party
near the river. They’d got acoustic guitars and were strumming. I
started picking up sticks and making noise. We were in the kitchen, away
from the main party. They asked me if I played drums and I said, “Not
really, but I’d love to.” They said, “Pop round because we’re getting a
Clive Welham (to Mark Blake):
It was quite possible that when me and Syd first started I didn't even
have any proper drums and was playing on a biscuit tin with knives. But
I bought a kit, started taking lessons and actually got quite good. I
can't even remember who our bass player was...
Although several Pink Floyd and Syd Barrett biographies put Tony Sainty
as the Mottoes' bass player Clive Welham has always denied this: “I
played in bands with Tony later, but not with Syd.”
Another hang-around was a dangerous looking bloke who was more
interested in his motorbike than in playing music: Roger Waters.
He was the one who designed the poster for what is believed to be The
Mottoes' only public gig.
After Clive Welham had introduced David Gilmour to Syd Barrett, David
became a regular visitor as well. Surprisingly enough Syd and David
never joined a band together, starting their careers in separate bands.
Although they were close friends it has been rumoured there was some
pubertal guitar playing rivalry between them.
1962: The Ramblers
The Mottoes never grew into a gigging band and in March 1962 Clive
Welham, playing a Trixon
drum kit, stepped into The Ramblers with Albert 'Albie' Prior
(lead guitar), Johnny Gordon (rhythm guitar), Richard Baker (bass) and
Chris ‘Jim’ Marriott (vocals).
The Ramblers’ first gig was at the United Reformed Church Hall on Cherry
Hinton Road. They used their new Watkins Copycat Echo Chamber giving
them great sound on The Shadows’ Wonderful Land and Move It.
The Ramblers soon acquired a certain reputation and gigged quite a lot
in the Cambridge area. One day Syd Barrett asked 'Albie' Prior for some
rock'n roll advice in the Cambridge High School toilets: “...saying that
he wanted to get into a group and asking what it involved and in
particular what sort of haircut was best.”
Unfortunately the responsibilities of adulthood crept up on him and lead
guitarist 'Albie' had to leave the band to take a job in a London bank.
On Tuesday, the 13th of November 1962, David Gilmour premiered at a gig
at the King's Head public house at Fen Ditton, a venue were they would
return every week as the house band. Gilmour had joined two bands at the
same time and could also be seen with Chris Ian & The Newcomers,
later just The Newcomers. Notorious members were sax-player Dick
Parry, not unknown to Pink Floyd anoraks and Rick
Wills (Peter Frampton's Camel, Foreigner and Bad Company).
Memories have blurred a bit but according to Glenn Povey's Echoes
Gilmour's final gig with The Ramblers was on Sunday, 13 October 1963.
Beginning of 1964 The Ramblers disbanded but three of its 5 members
would later resurface as Jokers Wild.
1963: The Four Posters
But first, in autumn 1963, a band known as The Four Posters was
formed, although it may have been just a temporarily solution to keep on
playing. David Altham (piano, sax & vocals) and Tony Sainty (bass &
vocals) were in it and perhaps Clive Welham (drums). Unfortunately their
history has not been documented although according to Will Garfitt, who
left the band to pursue a painting career, they played some gigs at the
Cambridge Tech, the Gas Works, the Pit Club and the university. Contrary
to what has been written in some Pink Floyd biographies John Gordon was
I was never in The Four Posters. Clive and I were together in The
Ramblers, and we left together to join Dave, David and Tony to create
Jokers Wild. I don't know whether Dave and Tony came from The Newcomers
or The Four Posters...
1964: Jokers Wild
The Ramblers, The Four Posters and The Newcomers ended at about the same
time and the bands more or less joined ranks. Renamed Jokers Wild
in September 1964 it was at first conceived as an all-singing band. “We
were brave enough to do harmony singing that other groups wouldn’t
attempt, including Beach Boys and Four Seasons numbers”, confirmed Tony
Sainty. The band had good musicians, all of them could hold a tune, and
they soon had a loyal fanbase. They became the house-band at Les Jeux
Interdits, a midweek dance at Victoria Ballroom. Clive Welham: “We
came together in the first place because we all could sing.”
Some highlights of their career include a gig with Zoot
Money's Big Roll Band, The
Paramounts (an early incarnation of Procol Harum) and a London gig
as support act for The
Animals. This last gig was so hyped that a bus-load of fans followed
them from Cambridge to the big city of London.
1965: Walk Like A Man
Mid 1965 the band entered the Regent Sound Studios in Denmark Street,
London. They recorded a single that was sold (or given) to the fans
containing Don’t Ask Me What I Say (Manfred
Mann) and Big Girls Don’t Cry (The
Four Seasons). Out of the same session came a rather limited
one-sided LP with three more numbers: Why
Do Fools Fall in Love, Walk
Like a Man and Beautiful
Delilah. This is the only 'released' recording of Jokers Wild
although there might be others we are not aware of. Peter Gilmour
(David's brother) who replaced Tony Sainty on bass and vocals in autumn
1965 commented this week:
Sad news. A great bloke. I'll replay some of those old recordings doing
Four Seasons and Beach Boys numbers with his lovely clear falsetto voice.
Somewhere in October 1965 they played a private party in Great Shelford
together with an unknown singer-songwriter Paul
Simon and a band that was billed as The Tea Set because Pink
Floyd sounded too weird for the highbrow crowd. Clive Welham:
It was in a marquee at the back of this large country house [that can,
by the way, be seen on the cover of the Pink Floyd album Ummagumma,
FA]. I sat on and off the drum kit because of my wrist problems. Willie
Wilson sat in on drums and I came to the front on tambourine.
The musicians enjoyed themselves, jamming with the others and Paul Simon
- 'a pain in the arse', according to drummer Willie Wilson - joined in
on Johnny B. Good. A couple of days later Jokers Wild supported Pink
Floyd again, this time at the Byam Shaw School, Kensington, London. Each
band was paid £10 for that gig.
1965: the Decca tapes
By then Jokers Wild were seriously thinking of getting professional.
They were not only known by the locals in Cambridgeshire, but did
several society parties in London as well. Also the military forces had
discovered them: Jokers Wild was invited for the Admiral League dance at
the Dorchester Hotel in London and played several dances at the RAF and
USAF bases of Mildenhall, Lakenheath, Alconbury and Chicksands. Their
repertoire changed as well, shifting more towards soul, R&B and Tamla
Motown. Libby Gausden: “How we danced to David Gilmour, Peter Gilmour,
David Altham, John Gordon, Tony Sainty and dear Clive xxx.”
Some promoters were sought for and the band recorded a single for Decca:
You Don’t Know Like I Know (Sam
and Dave) / That’s How Strong My Love Is (Otis
Redding), but unfortunately it was never released because the
original version by Sam and Dave had already hit the UK market.
After the Decca adventure the original band slowly evaporated over the
next few months. Peter Gilmour left (probably after the summer of 1966)
to concentrate on his studies. Clive Welham had difficulties combining
his full time job with a semi-professional rock band and had some
medical problems as well. John Gordon further explains:
Clive [Welham] became unable to play any more (with a wrist complaint)
and was replaced by Willie Wilson... and that line-up continued for some
time. It was later still that Tony Sainty was replaced by Rick
[Wills]... and then, when the band was planning trips to France, I had
to 'pass' to finish my degree at college.
1966: Bullit & The Flowers
Now a quartet with David Altham, David Gilmour, John 'Willie' Wilson and newcomer
Rick Wills on bass, they continued using the known brand name, a trick
Gilmour would later repeat (but slightly more successful) with Pink
Floyd, touring around Spain, France and The Netherlands. Another failed
attempt to turn professional made them temporarily change their name to Bullit
and when David Altham also left the remaining trio continued as The
Flowers, mainly playing in France. Around camp-fires on this planet
it is told how a sick (and broke) David Gilmour returned to London, just
in time to get a telephone call from Nick Mason, asking if he had a few
minutes to spare.
2012: Nobody Knows Where You Are
Clive worked at the Cambridge University Press but always continued with
his music. According to Vernon Fitch he played in a band called Jacob's
Ladder in the Seventies and was a successful singer with local
Cambridge band Executive Suite in the Nineties. Helen Smith
remembers him as the leader of Solitaire, what must have been
(according to Colleen Hart) in the mid-Seventies:
A brilliant front man in his band 'Solitaire' - he had a wonderfully
sweet singing voice and could easily hit the high notes!
Update 2012 08 12: In 1978 Clive made a private, non commercial
recording of Peanuts, originally a 1957 hit from Little
Joe & The Thrillers:
David Altham: guitar, saxophone, keyboards, vocals David Gilmour:
guitar, vocals, harmonica John Gordon: rhythm guitar, vocals (1964 to
late 1965) Tony Sainty: bass, vocals (1964 to early 1966) Peter
Gilmour: bass, vocals (early 1966) Clive Welham: drums, vocals (1964
to late 1965) John 'Willie' Wilson: drums (from late 1965)
Jokers Wild #2 (Summer 1966 - Summer 1967 / Source: Glenn Povey) AKA
Bullit (3 summer months in 1966 at the Los Monteros hotel in Marbella?) AKA
The Flowers (end 1966)
David Altham: rhythm guitar (to December 1966) David Gilmour: guitar,
vocals Rick Wills: bass (from January 1967) John 'Willie' Wilson:
According to Julian Palacios in Dark Globe, quoting David Gale,
'perse pigs and county cunts' were friendly nicknames the pupils of
these rivaling schools gave to each other. David Gale's assumption can
be found on YouTube
although it may have been a raunchy joke towards his audience and part
of his 'performance'. (Back to text above.)
Syd Barrett in Jokers Wild?
In an interview for the Daily
Mirror in August 2008 Rosemary Breen (Syd's sister) told:
He [Syd] started his first band, Jokers Wild, at 16. Sunday
afternoons would see Cambridge chaps and girls coming over for a jamming
session. The members of Pink Floyd were just people I knew. Roger Waters
was a boy who lived around the corner and Dave Gilmour went to school
over the road.
This seems to be a slip of the tongue as Syd Barrett never joined the
band. In a message on Facebook,
Jenny Spires adds:
Syd was not in Jokers Wild... He jammed with all the various members at
different times, but he wasn't in it. When I met him in 64, he was
playing with his old Art School band Those Without. He was also in The
Tea Set at the same time. He played with several bands at the same time,
for example if someone needed a bass player for a couple of gigs they
may have asked him to stand in. Earlier, he played with Geoff Mott and
also with Blues Anonymous. There were lots of musician friends in
Cambridge that Syd played and jammed with. (Jenny Spires, 2012 06 30)
Many thanks to: Viv Brans, Michael Brown, Lord Drainlid, Libby Gausden,
John Gordon, Peter Gilmour, Colleen Hart, Chris Jones, Joe Perry,
Antonio Jesús Reyes, Helen Smith, Jenny Spires & I Spy In Cambridge. All
pictures courtesy of I
Spy In Cambridge. ♥ Iggy ♥ Libby ♥
Sources (other than the above internet links): Blake, Mark: Pigs
Might Fly, Aurum Press Limited, London, 2007, p. 22-23, 34. Clive
Welham at Cambridge News Death
Notices, May 2012. Dosanjh, Warren: The music scene of 1960s
Cambridge, Cambridge, 2012, p. 42, 46-47. Free download
Spy In Cambridge. Fitch, Vernon: The Pink Floyd Encyclopedia,
Collector's Guide Publishing, Ontario, 2005, p. 342. Gordon, John: Corrections
re Jokers Wild, email, 2012-05-12. Palacios, Julian: Syd
Barrett & Pink Floyd: Dark Globe, Plexus, London, 2010, p.
27-28, 31. Povey, Glenn: Echoes, the complete history of Pink Floyd,
3C Publishing, 2008, p. 13, 20-24, 29.
On the 6th June of 1970 Syd Barrett gave his short Olympia concert
together with David Gilmour and Jerry
Shirley. We won't get further into the discussion about the set's
brevity and about the fact that a certain faction of Barrett fans and
musicians, including Mohammed Abdullah John 'Twink' Alder, think
that the tape of that gig is in fact a Stars performance of February
1972, but we will use this date as a calibration point for Syd's...
length of hair.
The friendly discussion about the exact colour of Syd's floor boards
created an existential crisis in Barrett-land (see: The
Case of the Painted Floorboards (v 2.012)), with people who refuse
to talk to each other ever since, and the hair-length discussion
promises to be as lively. As a matter of fact Syd's Hair Chronology is
not a new topic, we could find a Late Night forum
thread from 2007, but like all things Syd this discussion comes up
about every 6 months or so.
the second solo album, was released on 14 November 1970 and his
management found it advisable to have some photo shoots and interviews
to promote the album.
Barrie Wentzell had the following to say about this:
Chris Welch and I went along to do a quick interview with Syd at his
managers office. We were a bit apprehensive, as stories of Syd's
behavior of late seemed bizarre. When we got there, we were met by a
very upset guy who said Syd had locked himself into a room and he
wouldn't come out. Oh dear! It seemed the stories were true. Chris and I
spoke to him through the door and tried to convince him that we were his
friends and that everything was ok. He slowly opened the door and
ushered us in quickly shutting and locking the door behind us. He stood
there looking very frightened, muttering, Those people out there are
aliens, and are after me! We tried to tell him that they were his
management and friends and they cared about him, as do we. He seemed
unconvinced, and I took this dark side of Syd pictures and managed to
persuade him to let Chris and I out and that we'd send help. He took the
key from his pocket, unlocked the door. We escaped and Syd locked
himself back inside. Taken from: Snapgalleries.
The pictures of Syd Barrett, taken that day by Barrie Wentzell, have
been nicknamed the 'stoned tramp' session and show an unshaven Syd
Barrett with mid-long hair and a pair of eyes that not always seem to be
focusing on something (see: second picture). One of them appeared in
Melody Maker of the 31st of January 1971, next to the Chris Welch
article that was titled: Confusion
and Mr Barrett. (To add further discombobulation Barrie Wentzell
dates the picture as 1971 on his own website,
but it is – probably – from November 1970.)
Let's Call the Whole Thing Off (aka I like tomato)
In Autumn 1970, Barrett was living semi-permanently in his mother's
house in Cambridge, far away from the frantic London beatnik drug scene
he had been a member, propagator and victim of. He had deliberately left
everything and everybody behind to find some peace of mind. Perhaps he
had decided to follow Gala Pinion, who had found a job at Joshua Taylor,
a Cambridge department store and who had left London a few months
earlier. One of Syd's many dreams was to settle down and start a family.
Gala and Syd officially announced their engagement in October after they
had found a ring at Antiquarius on King's Road.
To celebrate this event a joint family engagement dinner was organised
but that day Syd was not in a very good shape. While Donald, Alan, Ruth,
Roe and Gala's father where staring at each other in silence he threw
some tomato soup over his fiancé and disappeared for the bathroom when
the roast pork arrived... Julian Palacios:
He cut off his long hair to an inch from his skull and returned
downstairs. As though the sixties had never happened, he severed links
with his past with a pair of scissors. He rejoined the family fold,
taking his place at the table in silence. Gala said, ‘No one batted an
eyelid. They carried on with the meal as if nothing had happened, didn’t
say a word. I thought, “Are they mad or is it me?’”
It is not sure when this dinner took place, but it might have been after
the Barrett promo interview(s), so December 1970 seems like a valid
candidate. The dinner fiasco was an omen for things to come, Syd would
spy on Gala at her work and accused her to have an affair with a sales
assistant and with his former drummer, Jerry Shirley. One day Barrett
wrote a formal letter to break off the engagement and she returned the
ring, but he would still harass her for weeks to come. During a final
row, incidentally at Jerry Shirley's place, Barrett finally understood
that he had lost. Even Syd must have grasped at one point that showing
up at night and scaring the shit out of her was not the proper way to
win her back.
A few months later, that same Barrie Wetzell photographed Barrett to
accompany the famous Michael Watts article that appeared in Melody Maker
on the 27th of March 1971 (see third picture above).
Barrett has very short hair and looks rather agile:
Syd Barrett came up to London last week and talked in the office of his
music publisher, his first press interview for about a year. His hair is
cut very short now, almost like a skinhead. Symbolic? Of what, then? He
is very aware of what is going on around him, but his conversation is
often obscure; it doesn't always progress in linear fashion. Taken from: Syd
Barrett interview, Melody Maker, Mar 27 1971, Michael Watts.
The above quote points out that the 'skinhead' pictures date from mid
March 1971, although on Wetzell's website
they are mislabelled as 1970. Steve Turner of Beat Instrumental met Syd
on the 19th of April 1971:
He now has his hair cropped to Love Me Do length but compromises with a
purple satin jacket and stack heeled boots. During the interview he
relights each cigarette from the remnants of the previous one and pivots
his eyeballs at an incredible speed as he speaks. "I've just left a
train and had to pay an awful taxi ride" he says slowly tipping his ash
into an empty coffee cup. "I've come to look for a guitar. I've got a
neck in the other room. Quite an exciting morning for me." Something
about him makes you think that this may well be right. Taken from: Syd
Psychedelic Veteran (free subscription to read).
And in May Barrett had a visit from Mick Rock and his wife Sheila (and
not Iggy Rose as has been hinted here and there). Syds' hair already has
grown a bit (see fourth picture above).
In early 1972, with the Stars gigs, he will have very long hair and a
beard (see fifth picture).
We will never be sure about what Barrett's motivation was for his
actions, but we can be sure about one thing, his hair grew at a
Sources (other than the above internet links): Chapman, Rob: A
Very Irregular Head, Faber and Faber, London, 2010, p. 281. Palacios,
Julian: Syd Barrett & Pink Floyd: Dark Globe, Plexus, London,
2010, p. 383, 389. Willis, Tim, Madcap, Short Books, London,
2002, p. 121-123.
Pictures: 1: 1970 06: Syd at Olympia, photographer unknown, Rex
Features. 2: 1970 11: 'Barrett' 'stoned tramp' promo shot by Barrie
Wentzell. 3: 1971 03: 'Barrett' 'skinhead' promo shot by Barrie
Wentzell. 4: 1971 05: Syd in his mother's garden, Cambridge, by Mick
Rock. 5: 1972 02: Syd performing with Stars by Jenny Spires.
Many thanks to: Psych, Stanislav & the gang at Late Night & Birdie Hop. ♥
Iggy ♥ Libby ♥
What is there to say about Storm, except perhaps, like someone put in Birdie
Hop, that he had a great name and a great life?
Thorgerson was a member of the so-called Cambridge mafia, who in the
early Sixties fled their home-town en masse to seek fame and
fortune in the great city. They wanted to study in London, at least that
is what they told their parents, but frankly these youngsters just
wanted to get away from parental guidance and have an uncensored bite of
adult life: sex, drugs and rock'n roll. Paradoxically, or maybe not,
once they arrived in London they immediately flocked together, sharing
apartments and houses and meeting in the same clubs and coffee houses.
The term Cambridge mafia was coined by David
Gilmour to denominate that bunch of relatives, friends and
acquaintances who stuck together, not only in the sixties, but are still
doing today. As a relative young and unknown band Pink
Floyd looked for associates, sound- and light technicians, roadies
and lorry drivers in their immediate neighbourhood, often not further
away than the next room in the same house.
Thorgerson was no exception, he had played cricket in the same team as Bob
Klose and Roger
Waters, and when the Floyd needed a record cover for A
Saucerful Of Secrets, Storm managed to squeeze himself in, staying
there till the end of his life, as the recent variations
of the Dark Side of the Moon cover show us.
But even before Saucerful Storm had been involved with the band, it was
at his kitchen table at Egerton Court that the members, minus Syd
Barrett, discussed the future of Pink Floyd and decided to ask for a
little help from yet another Cantabrigian friend: David Gilmour.
Obviously, this blog would not exist if, in the week from the 14th to
21st April 1969, Storm hadn't made an appointment with history to start
a magical photo shoot.
Julian Palacios in Dark Globe:
Storm Thorgerson supervised the photo session for the cover of The
Madcap Laughs, bringing in Mick Rock to photograph at Syd’s flat. ‘Syd
just called out of the blue and said he needed an album cover,’
confirmed Rock. When Thorgerson and Rock arrived for the shoot, ‘Syd was
still in his Y-fronts when he opened the door,’ Mick explained. ‘He had
totally forgotten about the session and fell about laughing. His lady
friend of two weeks, “Iggy the Eskimo”, was naked in the kitchen
preparing coffee. She didn’t mind either. They laughed a lot, a magical
There has been some muffled controversy who was the brain behind the
pictures of The Madcap Laughs, not really helped by some contradicting
explanations from Storm Thorgerson and Mick
Rock. They both arrived the same day, both with a camera, and
probably Rock handed over (some of) his film rolls to Storm as this was
initially a Hipgnosis
Unfortunately we will never be able to ask Storm whether there was a
third photographer present or not, but the chance is he wouldn't have
remembered anyway. The rumour goes Storm was a rather chaotic person and
that most Barrett negatives disappeared or were misplaced through the
Perhaps the best, or at least the most personal, the most touching, the
most emotional album art by Storm is the cover of the 1974 Syd Barrett
vinyl compilation. It is a simple brown cover with Syd's name in
handwriting and a small picture, taken from what probably was an autumn
or late summer photo session also destined for the cover of The Madcap
Laughs. The pictures of the so-called yoga photo-shoot however where not
used, as we all know, for Syd's first album as Storm decided to use the
daffodil and Iggy session from April instead. Hence the misdating in
nearly all biographies.
In 1974 Harvest decided to package Barrett's two solo albums as a budget
release. Storm, by then de de facto house photographer of Pink
Floyd, was asked to design a new cover. Storm rang at Syd's apartment
but the recalcitrant artist smashed the door when he heard about the
reason for the visit.
Thorgerson went back to the office and decided to make a cover out of
leftover pictures. On top of the brown background he put a plum, an
orange and a matchbox. This was probably the first time that Storm
played a game that he would later repeat with other Floydian artwork,
leaving enigmatic hints that were initially only understood by that
select group of Cantabrigian insiders who had known Syd personally.
Thorgerson's riddles culminated in the art for The
Division Bell (and its many spin-offs) that had a visual companion
for every song of the album, and rather than clarifying or portraying
the lyrics they added to the mystery. It still is his opus magnum
and unfortunately he will not be able any more to top it. We will never
know if he was in with the Publius
Enigma hoax although there have been a few leads pointing that way.
At a later stage Storm lost me somewhat. His mix of photographic
surrealism and mockery became too much a gimmick and the freshness and
inventiveness were gone. The covers of the latest Syd Barrett and Pink
Floyd compilations were not always appreciated by the fans. Perhaps he
was already sick by then.
But these few failings disappear at the magical
visual oeuvre Storm Thorgerson has left us (and not only for Pink
Floyd): A Nice Pair, Argus, Cochise, Dirty Things Done Dirt Cheap,
Flash, Houses of the Holy, Lullubelle III, Picnic, Savage Eye, Sheet
Music, The Lamb Lays Down On Broadway, Tightly Knit, Venus and Mars and
many many more...
Thorgerson was a rock artist without having recorded a single note of
music, he will be missed on Earth, but if there is that nirvana he will
surely be welcomed by Clive, Nick, Pip, Ponji, Rick, Steve, Syd and the
Many thanks to: Lori Haines. ♥ Iggy ♥ Libby ♥
Sources (other than the above internet links): Palacios,
Julian: Syd Barrett & Pink Floyd: Dark Globe, Plexus, London,
2010, p. 340.
A wise man once said: put two Barrett fans together and they start a
group, put three and they start a fight.
When in May 2007 the Astral Piper forum came to a standstill
it was all due to a quarrel that had started a lustrum before and that
suddenly turned ugly.
Dark Days In Paradise
In 1998 an Australian fan with a movie director's dream went to London
and Cambridge. He visited the traditional Floydian landmarks and of
course he also headed for St.
Margaret Square where he caught a glimpse of Mr. Barrett on his way
for his daily newspaper. Somehow he managed to get his camera out and
recorded a take of the ex-rock-star returning home.
Back at home he compiled his holiday souvenirs in a 12 minutes 58
seconds video tape, named it R. K Barrett - A Day So Dark So Warm
(by Reflecting Electric Eye Films) and started selling those at record
stores and fairs.
Apparently this wasn't a release Australia was waiting for and in order
to conquer the world the tape was (briefly) advertised on A
Fleeting Glimpse. Almost immediately the footage was baptised the
'stalker video' by the Yahoo Laughing Madcaps group where the mindless
bleaters were instructed to drag the maker down by the stone. Kiloh
His video was 40+ minutes of Cambridge footage (filler) with about a
minute of him following Roger down the street with Roger looking
bewildered and upset. Oh yeah, the shitbag slowed the footage down to
milk even more "time". We obtained a copy and put it on HYGIY? and gave
it away for free thereby rendering his profit thing moot. We also did a
hate email campaign to him from my 3,000+ member group. We were also the
ones who coined the phrase: Stalker Video. (Kiloh Smith on Facebook,
14 September 2013.)
Unfortunately Col Turner (from the aforementioned A Fleeting
Glimpse website) who had only agreed to put up an ad for a fellow
countryman was targeted in the same hate campaign as well. Things got so
heated that one of those loud-mouthed, self-proclaimed Barrett prophets
send death threats to the website owner. Col Turner at first retaliated
that he would report this at the police, but gave in at the end:
I WAS involved with selling that wretched video for all of 12 days about
4 years ago (written in 2005). I NEVER claimed that it had the approval
of Syd's family. (...) I made a mistake, and as soon as I realised I had
made a mistake, I corrected it, and refused to have anything more to do
with it. I had NOTHING to do with the filming of it, in fact, it was
about two years old when it was shown to me. (Col Turner on NPF,
9 March 2005.)
And all this for a one minute long sequence of someone who made a dozen
of decent songs somewhere in the late sixties, although we may not
forget that the movie maker was of course first interested in his own
wallet and not in the preservation of Syd's legacy. As a matter of fact
you had to be a fool to believe the somewhat redundant message at the
end of his movie that went like this:
There's some Syd on your doorstep
Despite the insults and the threats that made you wonder who the bad
guys really were, the movie maker in spe returned to the UK and
again he took his camera with him. In Tim Willis' book Madcap
it is written that he acted as a spokesman of the Echoes
community who had paid for a Syd Barrett bench in the Botanic
Gardens in Cambridge, but the Echoesians have always denied they
appointed someone to break the news to Barrett. Anyway, carrying a few
hand-drawn maps of the bench in his hand, he rang the door at number 6
of St. Margaret Square.
Barrett opened the door, a look of unnerving intensity on his face. The
man explained why he was there and Barrett asked where it was. The man
handed over a map with directions to the bench. As he glanced over the
page Barrett’s rather severe expression melted into a smile the outside
world had not seen in decades. Barrett asked for the other map. He
signed it ‘R Barrett’. (Taken from: Dark
Globe by Julian Palacios.)
What lots of people don't know is that the event was filmed in real
candid camera style using the camera that was recording in the fan's
shoulder-bag. A couple of 'doorstep' pictures were leaked to the outside
world but the movie itself of Syd putting his autograph on the map was
never shown to the general public, although rumours go that the
door-stepper tried to sell the tape to a few hardcore collectors.
We're all following a strange melody
On Sunday, the third of April 2005 Astral
Piper was launched, a website and forum that described itself as
the New Syd Barrett Appreciation Society. Its owner, Dion Johnson,
was not someone who saw things small. On one of the introductory pages
he expresses his wish to have a society 'of mammoth numbers', to
personally design the sleeve for the soon to be released Vegetable
Man single, to issue a Barrett tribute CD (urging Robyn Hitchcock,
Graham Coxon and Michael Stipe to contact him, sito presto) and
to erect some kind of 'memorial tribute' in Cambridge.
were made (at a total cost of 1347.50 AUD, if our information is right)
that could be purchased through Astral Piper. The benefits would be used
to erect a 12 feet (3,65 metres) tall monument,
standing on 4 curved metal legs, with the sunlight streaming through a
metal cut-template of Syd's face, as if a bench on a park wasn't already
enough. This wild idea apparently pleased Syd's family and made it into
press but alas the Cambridge city council wasn't jumping for joy.
Astral Piper was a remarkable website, not only because it was a perfect
example of how letter-types, colours and styles can clash (one look at
the html code makes you run away, screaming), but also because it
contained little gems, like the Actuel
article, translated in English, and interviews with and collaborations
Read and Vic
Singh, to name just a few. A mirror of this website has been
archived at Astral
Piper Redux 2013.
Syd on it!
Bench for Syd' page, so was promised, was going to be one of the
most exciting parts of the website.
It will contain a recent 2002 conversation with Syd Barrett featuring
our astral piper and Cambridge astronaut in very good spirits. For those
who don't know, back in 2001 a worldwide group named "Echoes", (with
some help from friends around the world), as well as some very nice
people within the city of Cambridge, a park bench was commissioned in
honour of our hero, Mr Roger Keith (Syd) Barrett. Sporting a
commemorative brass plaque, it was placed in a section of Cambridge
parklands. (…) The full story of the bench and how its location was
revealed to Syd in person (making his day, and mine), is to be loaded on
this web-page soon.
This was definitively the proof that the owner of the Astral Piper
website was also the person who had made the (unreleased) doorstep
video. Unfortunately, this was also the beginning of the end. Dion was
accused on his own forum of being the maker (and seller) of the A Day So
Dark So Warm movie which he vehemently denied (needless to say proof was
against him). The situation escalated and one day he pulled the plug out
of the forum
and the 'A Bench for Syd' webpage was never updated.
There were some fresh starts
and some friendly offers to continue Astral Piper, but these all failed.
The relentless persecution of a few genuine Barrett 'fans' who filled
their days by sending insults to the people involved had become too much.
End of story? Not really.
The Final Cut
Two days ago an interesting item could be found on eBay (page taken
down), being sold by I.E. it was described as follows:
Final video chat filmed with Syd Barrett in 2002 (Roger Keith
Barrett) from Pink Floyd with autograph by Syd Barrett.
Up for auction is an incredibly RARE and UNIQUE item!
This is the last known VIDEO RECORDING and conversation with Syd
Barrett, the genius and founding member of great British rock band, Pink
Up until now this doorstep recording was only spoken about in Syd
Barrett and Pink Floyd forums, discussed among fans and written about in
the now well known book and biography about Syd Barrett's life called
Madcap, by Tim Willis.
In the book, it speaks of an Australian fan who knocked Syd’s door to
tell him about a special park bench seat which had been erected in the
Cambridge Botanical Gardens in honour of him. I am that fan. Since Syd’s
death this bench has become even more meaningful. And I believe this
recording of Syd Barrett is incredibly rare, unique and valuable.
I am the person who knocked Syd’s door, and I am the person who filmed
the conversation with him. He was very happy to learn about the location
of the garden bench, and he can be seen smiling quite a lot during the
casual conversation and very happy to speak. Syd used to enjoy walking
in the Cambridge Botanical Gardens, and this enthusiasm is evident.
This video recording is now an important part of Pink Floyd/Syd Barrett
I think it is safe to say that this is the final known video recording
of Syd (Roger Keith) Barrett. He never gave interviews in his later
years and spent most of his life in the privacy of his Cambridge based
home in the suburb of Cherry Hinton.
The original camera tape was badly damaged years ago but thankfully it
was captured to a digital format in the beginning and so up for auction
is the original recording transferred into two formats. A normal DVD
which can be played in a domestic DVD player and also a USB stick which
contains a digital file format of the recording which can be played on
any home computer. Plus I will include a Data DVD for archiving. Also
included is a hand drawn map of the bench’s location which Syd also
kindly “signed” on the day. It has been framed in a high quality frame,
matte-board and photos associated with the conversation with Syd,
including some stills taken from the video recording are also in the
frame. Filmed in January 2002 it is a brief conversation with Syd which
shows Syd speaking and clearly in a good mood.
I cannot stress enough that this is a ONE OFF ITEM! It will be sold ONCE
here on ebay!!
It will be sold here on ebay and the winning bidder can do whatever they
like with the footage. Maybe it could be used as part of a BBC
documentary one day (and sold to the BBC) or it may simply go to an avid
fan or collector for their private collection. Possibly even someone
famous like David Bowie (who I believe is a dedicated Syd Barrett fan)
could purchase it. Or perhaps a Hard Rock Cafe or some crazy casino in
the US may want to buy it?
Part of the final price will go to charity Stroke. My father died from a
Stroke and it is a charity I strongly believe in.
Like many people living in the UK at the moment, I struggle to pay the
rent, bills and put food on the table. I’m selling something quite
valuable from my past which hopefully will make somebody happy as this
is a genuine once in a lifetime opportunity to buy something incredibly
rare and unique. I have no idea what this recording is worth, and so I
will make it a simple start bid with a no reserve price.
It is available on ebay worldwide and will be sent via
Insured/Registered/Tracked DHL courier. Or if the buyer is based in the
UK, the item will be sent Registered/Signed For Courier. Alternatively,
the item may be picked up in person from an address here in Cambridge,
Winning bidder will receive the following:
1) A DVD of the footage which can be played on any domestic DVD Player
or computer 2) A data DVD which has a raw file of the footage. 3)
USB stick containing an MP4 video file of this conversation with Syd
(Roger Keith) Barrett 4) A framed print containing a map personally
signed by Syd in 2002. The large framed print also contains photograph
srelating to the bench and chat with Syd at his home in Cambridge. Frame
dimensions are 76cm wide, 67cm high and 3cm thick.
Any questions, please ask. This item ends on Sunday 22nd September at
11.06pm (British standard time).
This sale was not only picked up by Cambridge
News, but unfortunately also by those Syd Barrett fans who never
forget and called the seller some very bad names. Two days after the
item was put for sale, it was withdrawn from eBay.
The Anchor got hold of the news that the Barrett Trust may have
intervened and that they had the item removed. This is understandable,
they can only agree with Syd being sold if they can have their share of
the profit, they're not called the Cambridge Mafia for nothing, you know.
A gallery, containing all the known doorstep pictures, has been added
to this blog: Doorstep.
(The above article is entirely based upon facts, some situations have
been enlarged for satirical purposes.) The Anchor wishes to thank:
Anonymous, Cambridge News, HYGIY, Dion Johnson, Joanne 'Charley' Milne,
Kiloh Smith, Col Turner.
Sources (other than the above internet links): Luminous_grin &
Syd Barrett, NPF forum, 25 June 2007. Col Turner & others, Syd
Stalker, NPF forum, 19 March 2005. Palacios, Julian: Syd
Barrett & Pink Floyd: Dark Globe, Plexus, London, 2010, p. 434.
The Anchor is the Holy Church of Iggy the Inuit's satirical
division, intended for people with a good heart, but a rather bad
character. More info: The
Anchor. Read our legal stuff: Legal
Warning: this article contains pictures of naked boobs which may
result in temporary blindness for minors.
On the 5th of March 2009 the Syd Barrett Trust received Fart
Enjoy, a one-off book, created and illustrated by Syd Barrett,
believed to be made late 1964 or during 1965. It was donated by Syd's
school friend Andrew
Rawlinson who had kept it all these years. The day after it was put
on eBay. On Monday the 23rd March the highest bid reached £27,323 but
this was rejected and brought back to £12,100. Eventually the book sold
All related websites (and organisations) seem to have vanished: Syd
Barrett Trust, Syd Barrett Fund (the change of name
took place at the request of the Barrett family), Interstellar, The City
Wakes, Escape Artists,... We came across the rumour that Escape Artists
was, and we quote: 'a financially incompetent group'. The Syd Barrett
Fund was probably conned by 'useless PR men and bullshitters', but as we
can't verify this we'll leave it like that. Eventually Escape
Artists dissolved and Rosemary Breen, Syd's sister, teamed up with Squeaky
Gate that seems to be a more reliable charity.
Update 8 April 2014: The metaphorical ink on this page wasn't dry
yet or we were informed, on 30 March 2014, that Squeaky Gate may need to
close the books. While chief executive Simon Gunton told the Cambridge
News (on the 7th of April) that the fundings, coming from the
government, were running dry, the rumour pit in Cambridge has a slightly
more salient story of several ten thousands of pounds disappearing from
its bank account. Syd Barrett & charity: it's no good trying. Update
9 April 2014: We have had confirmation that Squeaky Gate is now history.
Well not exactly. Page 13 was missing and replaced by the following
This particular page has been left blank for legal reasons For
further details see www.pinkfloyd.com
For many fans the abundance of the 'fuck' word (9 times) and the
presence of a pin-up might have had something to do with that.
Especially in America big chains do not like to sell records that may
potentially besmirch the frail American psyche with swear words and
naked boobs. Going to the official Pink Floyd website obviously didn't
explain anything at all, so Keith Jordan of Neptune
the band's management:
Pink Floyd's manager told me earlier that the page is missing from the
album booklet because of copyright issues. EMI are not willing to face
unlimited litigation against them for including it! So it's not about
censorship at all!
Which is weird as the missing page had been published in Tim Willis's Madcap
book before and it can be still found on the NPF website
(and numerous others) as well.
Should you not know what all this hassle is about, at the left is the
picture in question. It surely gives the impression that Roger Keith
Barrett, like most pimpled adolescents, had a rather debatable sense of
humour and was overtly sexist, putting raunchy graffiti (FUK, SUK, LIK,
TIT, NIPL and a hard to find CUNT), including a stylised penis, all over
the picture. Rob Chapman describes it as:
a porn-mag photo of a topless woman encrypted with toilet-wall graffiti
And Julian Palacios adds that the page reveals Barrett's:
misogynistic adolescent fear and a fascination with naked women.
In Will Shutes' excellent Barrett essay, that like all art essays
meanders between the sublime and the slightly ridiculous, he cleverly
remarks that the BOYS FUCK GIRL word permutations - on the same page -
form 'two tip-to-toe penises'.
BOYS FUCK GIRL
BOY FS UCK GIRL
BO FYUS CK GIRL
B FOUYCS K GIRL
F BUOCYK S GIRL
FU BCOK YS GIRL
FUC BK OYS GIRL
FUCK BOYS GIRL
FUCK BOY GS IRL
FUCK BO GYIS RL
FUCK B GOIYRS L
FUCK G BIORYL L
FUCK GI BROL YS
FUCK GIR BL OYS
FUCK GIRL BOYS
As if two penises isn't serious enough he has also the following to say
about the pin-up:
The voyeuristic theme evident in Fart Enjoy relates to the omnipresence
of the sexualized image, and is humorous in its deliberate childishness.
In Barrett's most prominent foray into Pop Art, he illustrates the
anatomy of an anonymous topless model with tears and glasses, snot,
spiders, a cyclist ascending her left breast, and some sort of discharge
from her 'NIPL'.
For another observer the snot under her nose could also be a moustache,
the nipple discharge could be some sort of surrealistic fart (enjoyed or
not) and the anonymous topless model could be someone who ran for miss
Great Britain in 1955 and who played roles in the cult-horror movie Peeping
Tom (1960) and in the ultimate sixties sex comedy Alfie
In 1963 Playboy
called this actress a sex siren who was:
for years exploited as English grist for run-of-the-mill pin-up roles,
until her portrayal of Sir Laurence Olivier's mistress in The
Entertainer proved she could deliver lines as well as show them.
She must have left an everlasting impression because in the March 1966
issue this 'perky, pretty Lancashire lass' was portrayed by none other
than the British photographer of the stars, David
Bailey. One of these pictures
is the one that was massacred by Syd Barrett for his Fart Enjoy booklet.
As a movie star Shirley
Anne Field disappeared in the mid seventies but eventually she
returned in My
Beautiful Laundrette (1985), stayed for 42 episodes in the Santa
Barbara soap (1987) and was last seen on the silver screen in the
2011 comedy The
Power Of Three. IMDB
lists her impressive career, Shirley Anne Field starred in 70 different
movie and TV productions (not counting individual episodes) in nearly 6
Andrew Rawlinson writes
the Fart Enjoy booklet is probably from 1965.
I’m not sure about the exact date. I know where I was living, so that
places it between the end of 1964 and the summer of 1965. He was in
London (Tottenham Street I think, not Earlham Street) and I was in
But unless somebody unequivocally proves that Syd Barrett really was a Time
Lord (now here's a daring subject for our satiric The
Anchor division, we might say) we seem to have a problem as the
David Bailey pictures of Shirley Anne Field date from March 1966 and not
from the year before.
How on Earth did Syd Barrett happen to insert a picture from a March
1966 Playboy into a 1965 (f)artwork?
All seems to turn around the exact moment in time when Syd Barrett moved
from Tottenham Street to Earlham Street. Mark Blake and others put this
in 1965 but Rob Chapman in A Very Irregular Head writes:
During the summer of 1966 Syd moved out of Tottenham Street and with his
new girlfriend, fashion model Lindsay Corner, took up residence in the
top-floor flat at 2 Earlham Street, just off Shaftesbury Avenue.
One chirping biographer doesn't make spring, especially not this one, so
isn't there another way to date Fart Enjoy?
Actually there is.
Page 10 in the booklet has a transcript from a letter (postcard?) from
Syd's mother to her son. Some biographers call it a spoof although this,
nor the authenticity, can be proven. But made up or not, it contains
three interesting sentences.
I hope you are having a nice weekend. How did the group get on at
Essex? Shall we reckon to set off – Devon-wards – on Sat. 26th?
Let's start with the last line, the one that carries a date. Browsing
through calendars from nearly 50 years ago we can see there have only
been a few Saturdays the 26th between 1964 and 1966: two in 1964
(September and December), one in 1965
(June) and three in 1966
(February, March and November).
1964 Syd Barrett, as a member of The Hollerin' Blues, didn't
have that many gigs in 1964, and these were all around Cambridge. In the
autumn of that year he joined the proto-Floyd, who where probably still
called The Spectrum Five, but they only had about 3 concerts in London.
1965 Pink Floyd and/or The Tea Set had a slightly busier
schedule in 1965, but all in all there were only a dozen of gigs. None
of these were in Essex or happened around the only Saturday the 26th of
1966 "By early 1966 Pink Floyd's fortunes were taking a
dramatic turn for the better", writes Glenn Povey in Echoes, but frankly
their career only started to mushroom end of September. The Tea Set's
first claim for fame was when they were billed, thanks to Nick
Sedgwick, for three sets on a two-days festival on Friday the 11th
and Saturday the 12th of March 1966, next to real FAMOUS people and
bands. Nick Mason remembers:
The only gig that might have brought us to wider attention had been at
Essex University. At their rag ball, we shared the bill with the Swinging
Blue Jeans, who did appear, and Marianne
Faithfull who was billed as appearing – if she managed to return
from Holland in time. It didn’t sound hopeful. We were still called Tea
Set at the time although we must have given the impression of being in
transition to psychedelia, since in spite of having ‘Long
Tall Texan’ in our repertoire, where we all sang to the
accompaniment of acoustic guitars, somebody had arranged oil slides and
a film projection.
Roger Waters (as quoted in Palacios' Dark Globe):
‘We’d already become interested in mixed media,’ recalled Roger Waters.
‘Some bright spark there had given this paraplegic a film camera and
wheeled him round London filming his view. Now they showed it up on
screen as we played.’
The avant-garde movie lovers at the Church sometimes wonder if this
cinematographer wasn't an American who had recently moved to England.
Later he would play an important part in the London's Film-Makers'
Co-op, that grew out of film screenings at Better
Books. But looking into that would take us too far, actually.
The Essex University Rag Ball was the Floyd's first event to be
proud of and something Syd would have been bragging about to his mother
and friends. Not only was this their only Essex gig in the 1964 –
1966 period, but it also perfectly matches the 'spoof' letter in Fart
I hope you are having a nice weekend.
Refers to the week after the Essex gig when Syd hypothetically received
the letter (around 19 March 1966).
How did the group get on at Essex?
Syd's mum asks about the concert of the week before, when The Tea Set
had their first breakthrough (12 March 1966).
Shall we reckon to set off – Devon-wards – on Sat. 26th?
Points to a date in the immediate future, Saturday the 26th of March
Bob Dylan Schmooze
It's a shame EMI couldn't track down the owner of the copyright of the
woman with her boobies out which Barrett cut from a magazine. EMI chose
not to include it in the reproduced Fart Enjoy book in PATGOD.
So writes Neptune Pink Floyd on their Facebook
page, about a year ago. Well, now that the Holy Igquisition has
settled this matter, once and for all, EMI will have no excuse any more
not to include the complete Fart Enjoy booklet in - let's say - a 50
years anniversary Immersion set of Pink Floyd's first album.
We think we have gathered enough evidence to bring back the creation
date of the Fart Enjoy booklet from a two-years period to roughly one
week in 1966. The Church managed to identify the pin-up Syd Barrett drew Kilroy
on, as well as the photographer and the magazine it appeared in.
The only question that stays unanswered is: Why did Syd Barrett have
this particular Playboy?
The Playboy of March 1966 not only had topless pictures of Shirley Anne
Field. Pages 41 to 44 and 138 to 142 make room for a 'candid
conversation with the iconoclastic idol of the folk-rock set'. Syd
Barrett, like all Cantabrigian beatniks, admired Bob Dylan and discussed
his records, he had written a parodic song
about him, and took Libby Gausden to the Royal Festival Hall on 17 May
1964 to see him.
If we can be sure of one thing, it is that Syd Barrett really
bought this Playboy for the interview.
Many thanks to: Anonymous, Giulio Bonfissuto, Mick Brown, Warren
Dosanjh, Rich Hall, Alexander Hoffmann, Keith Jordan, Göran Nyström,
Neptune Pink Floyd Forum, Vintage Erotica Forum. ♥ Iggy ♥ Libby ♥
Sources (other than the above links): Atagong, Felix: Fasten
Your Anoraks, The Holy Church of Iggy the Inuit, 8
September 2007. Beecher, Russell & Shutes, Will: Barrett,
Essential Works Ltd, London, 2011, p. 165. (This book has the complete
Fart Enjoy.) Chapman, Rob: A Very Irregular Head, Faber and
Faber, London, 2010, p. 62, 111. Mason, Nick: Inside Out: A
personal history of Pink Floyd, Orion Books, London, 2011 reissue,
p. 35. Palacios, Julian: Dark Globe, Plexus, London, 2010, p.
92, 98. Povey, Glenn: Echoes, the complete history of Pink Floyd,
3C Publishing, 2008, p. 32, 48. Rawlinson, Andrew: Syd Barrett -
His Book @ Syd Barrett Rresearch Society, 15 March 2009 (forum no longer
active). Rawlinson, Andrew: Syd
Barrett - His Book, 20 March 2009 (mirror). Willis, Tim, Madcap,
Short Books, London, 2002, p. 53-55. (This book has a few pages of Fart
One of the Reverend's great advantages of his Pink
Floyd adoration, somewhere in the mid-seventies, was the start of a music
Miles' excellent Visual Documentary (first edition: 1980) had
a separate discography with Floydian collaborations and once the
Reverend had a job, in the early eighties, he also had the dough to buy
Floyd - and later: Hipgnosis
- related records at the local second-hand record shops thus creating a
musical spiderweb with Pink Floyd at its centre.
After the Reverend had joined an illegal local university radio station
his weekly excursions to the record shop resulted in an even bigger
appetite for vinyl. At Saturday afternoon he would arrive home with the
catch of the day, open his Who's Who in Rock Music, look for the
records he had just bought and underline all personnel (band members and
session players) he found in the alphabetical listing. The book came in
very handy for making the playlist for a weekly rock, blues, jazz and
folk show he co-produced, trying to find connections from one record to
the other. The world-wide web, dear children, didn't exist yet in those
days and links weren't just one click away as they are now.
This last remark is one Norman
Hurricane Smith could have made (actually, does make) in his
autobiography John Lennon Called Me Normal. The book was first
issued as a limited edition at a 2007 Beatles Fan Fest but, as we found
out this year to our amazement, it can also be found at Lulu
where it is sold for a healthy 25$ a piece. If you don't know for sure
who Norman Smith is you can read this excellent obituary, written by Syd
Barrett biographer Gian Palacios, hosted at the Church: John
Lennon called him 'Normal'....
Invasion Force Venice
Smith was a pilot during world war II but he never saw any real war
action, making the chance of being killed nearly zero. He was part of a
secret missions squadron, so secret that military bureaucracy didn't
give them any. When the European side of the war was over, and most
soldiers were sent home, Smith and his colleagues were stationed in Venice
of all places to await further secret invasion plans, but apparently
they were forgotten after Japan's surrender as there were no more enemy
countries to secretly invade.
While England was on ration books, Norman sunbathed on Venice beach,
dining on espresso, grappa, Parma ham and stuffed mushrooms, longing for
the woman he had married in May 1945. In the evening he would go to the
Excelsior hotel for a Cinzano soda where he sat in with the twelve-piece
jazz band. It took British headquarters two full years to locate (and
dismiss) the secret squadron, probably by following the trail of
limoncello and sambucca bills, and back home - in 1947! - Smith decided
for a weird career change and became a refrigerator repair man.
The Beat is on
But his heart had always been with music and Norman's second lucky
strike came when he managed to bluff himself in at EMI where he became
an apprentice sound engineer in 1959. No two without three and Smith's
third chance of a lifetime came when some Liverpudlian lads auditioned
for a record deal, supervised by his boss George
And here is where Smith's autobiography, that was in fact ghost-written
by Neil Jefferies who is called 'Research' throughout the book, becomes
foggy. The audition, so remembers Smith, did not take place as George
Martin professes, repeated in every Beatles biography since. Norman
hints that something smelly was going on from the beginning and that
shady deals were taking place in the dark corners of the studio,
something to do with song-rights. Each individual Beatle earned only one
thousand of a pound per single while others had their greasy hands in
the till. He repeats this several times in the book, but he never
actually directs his accusations at someone, although George Martin,
coincidentally, always seems to blend in the background.
You can read between the lines that Norman Smith and George Martin
weren't best pals, especially since the one didn't find it necessary to
mention the other in his memoirs despite the fact that Smith had
engineered and produced about a hundred Beatles songs. When George, who
has acquired something of an infallible status, got hold of the news
that Norman was writing his side of the story, Smith was summoned to an
informal meeting in the EMI gardens that is a bit described like Galileo
Galilei having to explain heliocentrism
Paul V and the Roman
Pink: the Colour of Money
But this blog is not about the true story of The
Beatles but about (early) Pink Floyd. George Martin may have done a Don
Corleone on Norman Smith, but when it comes to his own financial
matters the Hurricane is overtly discreet as well. So you will find only
one flimsy reference in the 501 pages book that Smith once had a solid
financial share in Pink Floyd (12,5% as was leaked out by Neil Jefferies
in a Record Collector article). About his financial share in the Beatles
catalogue (and all the other bands he recorded and produced): not a word.
It was destroyed by the production. It is a fucking good song.
his reaction is likewise:
There might be no L's in Waters, but there are two in 'Bollocks'.
Smith is too much of a realist and doesn't adhere the romantic or
conspiracy viewpoints many fans have of the downfall of Barrett:
Syd wasn't anybody else's fault. Syd was Syd's bloody fault.
At one point Norman Smith, Parlophone head suit after George Martin had
left EMI with doors smashing, got a phone call from Bryan Morrison
bragging about a new fantastic band he wanted to promote. They met at
I found myself having a pint with him in the filthiest,
foulest-smelling, shittiest dive that I'd ever been to in my life so
far. (…) I thought: Maybe I should just go home?
deep in the bowels of the Tottenham Court Road, in the overpowering pong
of Patchouli oil, dope, and incense and sour ale that would have a tramp
gagging but maybe not your average music-biz exec, I suddenly found
myself listening to some great sounds and also being propositioned by
some starry-eyed chicks.
Of course Norman also met the Pink Floyd managers:
Andrew King and his friend Peter Jenner were not hippies and certainly
not mohair-suited wide-boys out on the make. (…) They were about as
middle-class as you could get. They both attended Westminster School (…)
and both their fathers were clergymen! - Yes! (…) Two vicar's sons
managed Pink Floyd!!!
Unfortunately that's about all there is to find in the 500 pages book
and while every fan was eager to read some revealing stories about
Smith's involvement with The Beatles and Pink Floyd the biography never
goes further than occasional cocktail party small talk. Some anecdotes
are literally repeated five time throughout the book and it would have
benefited to be two-thirds shorter. To add insult to injury most
anecdotes seem to be about... Elvis
Presley, a man Norman Smith never met, nor recorded, but thoroughly
Fish Report with a Beat
The DVD Pink Floyd: Meddle - A Classic Album Under Review is one
of those rather redundant, take the money and run, documentaries where
people – who have nothing to do with Pink Floyd whatsoever – claim to
make an in-depth analysis of the band or one of its albums, but it has
an interesting ten minutes Syd Barrett featurette with Peter
Banks (Syn, Yes) and Norman Smith. (Direct link: Syd
Barrett - The Early Days Of Pink Floyd.)
In the interview Norman Smith tells Syd didn't come over as the 'musical
director' of the Floyd:
He spoke through his songs.
The featurette tells more about how Jugband
Blues came into place (and we will not try to find out what this has
got to do with Meddle).
It was actually Norman Smith's idea to add 'some kind of a brass band'
at the end of the song and Barrett suggested to ask the Salvation
Army for that.
Through his many contacts Norman managed to hire several International
Staff Band musicians, 12 to 14, he recalls, but it was probably
closer to 8. Random Precision author David Parker assumes these
musicians were 'moonlighting' as the International Staff Band itself has
no trace of this session in its archives, besides that the complete
troupe had over 30 members.
Syd Barrett showed up in the studio an hour too late, that 19th of
October 1967, and Norman asked him what he had in mind. As legend goes
Barrett didn't have any ideas and suggested that they could play
anything they liked. Then he left the studio. Smith adds somewhat wryly:
He not only left the studio, he left the building.
We can imagine this was not the kind of behaviour Norman Smith liked,
for several reasons.
First he was perhaps too much of a musician and so he did fully
understand that classical trained performers need a score in front of
their noses before they blow their horns. Pink Floyd would have about
the same problem, a couple of years later, with Atom
Heart Mother, when the orchestra refused to play the score the way Ron
Geesin had written it. The composer had to be removed from the
studio seconds before he wanted to punch one of the musicians in the
Second, Norman Smith also had a financial responsibility towards EMI,
and the bookkeepers wouldn't have liked the idea to pay an eight man
brass band to sit on their chairs for tea and biscuits.
So he played the tape in front of the session players and when they
couldn't come up with an improvisation, these guys were not rock
musicians who can fabricate a lick in seconds, Norman wrote a score he
was rather embarrassed with, but it ended up on the record anyway.
You have those hardcore Sydiots, with the emphasis on the last part, who
find the idea to have a brass band play anything they like one of those
genial flashes half-god Barrett had. Hagiographer Rob
Chapman is one of them:
Once again Syd’s wilfully anarchic approach was in direct conflict with
the regimented working methods of an unsympathetic producer.
Actually Smith's testimonial shows it was exactly the contrary. Syd was
the one who acted unprofessional by first arriving too late and then by
leaving the studio when he was asked to direct the session. Smith was
obliged, back against the wall, to deal with the problem, which he did
splendidly in the short time that was left to him. One thing is for
sure, Normal really earned his 12,5% on this one...
It is generally believed that Jugband Blues is one of the songs Barrett
wrote in the second half of 1967, together with Vegetable
Man and Scream
Thy Last Scream. This trilogy is regarded by some as being highly
introspective songs where Syd, in an exceptional state of clarity,
describes his own vulnerable and frail psyche.
However, in a recent autobiography from Chris
Joe Beard, Taking The Purple, a remarkable (and until now
untold) story has been put forward.
Chris Joe Beard is lyricist / songwriter from the band The Purple Gang
who had an underground novelty hit in 1967. They started as a
band and changed their name from The Young Contemporaries to The
Purple Gang, forced by their manager, a roaring 1920’s aficionado, who
thought a clean-cut Chicago gangster style would be cool. Looking for a
scene to make some promo pictures they stumbled upon a shop in Kings
Road, where they accidentally met Paul
The shop's name Granny
Takes A Trip inspired Joe Beard to write an innocent and funny song
about a rich old lady wanting to meet movie-star Rudy
Vallée in Hollywood, adding it to a catchy melody that had been
composed by piano player Geoff Bowyer. The song was a cross-over between
traditional jug and pop and as such producer Joe
Boyd preferred it to their more traditional repertoire à la Bootleg
Whiskey (that has John
'Hoppy' Hopkins on piano, by the way).
Incidentally The Purple Gang wasn't the only band Joe Boyd was producing
that week in January 1967. On Sunday, the 29th, a band called Pink
Floyd, then still without a contract, had recorded Arnold
Layne at Sound Techniques studios. Syd Barrett had listened to
Granny Takes A Trip and had humorously remarked it would become #2 after
the Floyd's soon to be number one. But Joe Boyd had other important news
There’s a tape of some of his [Syd Barrett, note from FA]
songs and we think a good, quick follow-up to Granny is on there. Syd
thinks Boon Tune is the one for you. There are several. There’s
one called Jugband Blues but he’s still working on that.
Joseph from Transatlantic Records objected, saying that they
didn't want to pay out any royalties to someone from outside the band.
Boon Tune was shelved, although it would surface as Here
I Go on a Barrett solo album. Joe Beard took the reel-to-reel demo
home where it was promptly forgotten and it has never been found back
While the UFO
crowd accepted The Purple Gang in their midst, the BBC did
otherwise, and for exactly the same reasons.
Granny's Satanic Trip
The title of The Purple Gang's first single Granny Takes A Trip was
tongue in cheek and ambiguous enough to please the psychedelic crowd. By
then the band did not like the gangster outfits they had to wear from
their manager and opted for a more alternative look. Singer Pete Walker,
nicknamed Lucifer, was a member of a coven, an actual warlock, and used
to wear a red robe with a big upside down cross while gigging. During
the Wizard song he would do the odd pagan routine on stage, much
appreciated by the psychedelic crowd (see also: Arthur
Brown). However, for the BBC, the word 'trip' in the lyrics
and the satanic outing of the singer was enough reason to ban the song.
The BBC boycott dwindled the chances for The Purple Gang to get into the
charts, to get their (only) record sold, to find gigs and they
eventually disbanded. If this proves one thing, dear sistren and brethren,
it is that selling your soul to the devil will not automatically
guarantee you chart successes.
The first half of the biography, from the start to the psychedelic years
of the band, is interesting, funny, packed with anecdotes and deserves a
5 star rating. The fact that the BBC banned Joe Beard's only chance to
have a million-seller has left its marks though and unfortunately the
author feels the need to repeat that every few pages. The later years,
with Chris Beard as a solo-artist and struggling to get The Purple Gang
back on the road are a bit tedious. But the Kindle
edition is only 5$, cheaper than the latest Pink Floyd interview in Q,
Mojo or Uncut, so it is money well spent. For the first half, the book
is a real treat to read.
Two Of A Kind
Eventually, in 2006, Joe Beard and a reincarnated Purple Gang covered Boon
Tune in a jug band way.
At a book signing / reading in 2007, Joe Boyd talked about the lost demo
tape Syd Barrett gave him in early 1967... He said Syd described the
tape's contents as 'songs the band didn't want to do' (Source: timeline
of songs). According to Julian Palacios that tape had 6 tracks and
Boyd and Jenner even discussed the possibility of Syd Barrett doing a
solo record, next to the Pink Floyd's first, with skiffle or music-hall
style songs. (By the way, did you know we have a Peter Jenner interview
on this blog? An
innerview with Peter Jenner)
It is not sure if there have been one or two Barrett demo tapes floating
around as both men claim they took a tape home and lost it. Joe Boyd
received his from Syd Barrett and remembers it had six whimsical tunes.
Joe Beard, who got his from Boyd, only remembers two songs: Boon Tune
and Jugband Blues.
Jugband Blues turned up, heavily re-arranged, on [A] Saucerful of
Secrets – still with the kazoos.
Jugband Blues was recorded by Pink Floyd in October 1967 and as also
Vegetable Man was made during the same session it has always been
assumed these songs are somewhat related. In Nick Kent's 1974 article The
Cracked Ballad of Syd Barrett Peter Jenner is quoted:
Y'see, even at that point, Syd actually knew what was happening to him.
(...) I mean 'Jug Band Blues' is the ultimate self-diagnosis on a state
of schizophrenia. (Source: The
Cracked Ballad of Syd Barrett)
But if the song had already been written earlier than January that year,
this comment doesn't make much sense, does it? What if Jugband Blues is
just one of those songs where Barrett copies and juxtaposes 'sampled'
messages from other sources, like he did in Octopus
(See also: Mad Cat
Still got the Blues for You
Martin began her career in 1915 as a vaudeville singer and in the
twenties she became one of the popular female blues singers, next to Bessie
Smith and Ma
Rainey. In September 1924 she recorded some tracks with jug player Earl
McDonald and fiddler Clifford Hayes and one of those was
At first sight that song has nothing in common with Barrett's version.
Sara Martin's song is a variation on the popular blues theme of the
person who wakes up in the morning and sees that her daddy
(lover) is gone. In the first decade of the twentieth century a 'daddy'
in African American slang was still a pimp, but later on the term was
generalised to a male lover.
Did you ever wake up, find your daddy gone? Turn over on your side,
sing this lonesome song I woke up this morning between midnight and
day You oughta see me grab the pillow where my daddy used to lay (Source:
Band Blues Sept. 16, 1924.)
One riddle is how Barrett came up with the title 'Jugband Blues'. The
chance is small he could find it (mentioned) on a compilation album like
he did with Pink
Anderson and Floyd
Council. (The origins of the Pink Floyd name is extensively
discussed at Step
It Up And Go.) Sara Martin's Jug Band Blues was only issued as a
B-side on two different 78-RPM records from 1924, perhaps in two
different versions: Don't You Quit Me Daddy (Okeh 8166) and Blue
Devil Blues (Okeh 8188, not to be confounded with the Walter
Page track from a few years later). Her 'complete recorded works'
do not include the 'Jug Band' track and probably there weren't any
compilations around in the sixties including that track.
Jug Band Blues can (now) be found on a 1994 Clifford Hayes compilation.
He had several bands in the twenties, with Earl McDonald on jug, and
issued several songs under different names for copyright reasons. Earl
McDonalds also had several bands in the twenties, with Clifford Hayes on
fiddle, which doesn't make it simpler to find any accurate information.
The jug band / skiffle revival resulted in at least three compilations,
between 1962 and 1967, but none of these have Sara Martin's Jug Band
Blues. We checked.
had been very popular in the UK and was not unknown by the Pink Floyd
members. Rick Wright had a brief flirtation with skiffle, before
converting himself to to trad jazz and Syd Barrett's brother Alan played
sax in a skiffle group in Cambridge.
Cambridge had its own deal of skiffle bands, or groups that had started
as skiffle units but moved to R&B or rock'n roll later on. The
Scramblers, who turned into The Phantoms, The (Swinging) Hi-Fi's, The
Black Diamonds, who evolved into The Redcaps, with Tony Sainty on
bass (see: RIP
Clive Welham: a biscuit tin with knives). Tony Sainty was also in
The Chequers, as was Ricky Wills who would later appear on David
Gilmour's first solo album. Willie Wilson, who played with Quiver
and on the first Gilmour album as well, had been a (replacement) drummer
for The Zodiacs, whose roots had also been in skiffle. You can read all
about them in the excellent, awarded (and free) I
Spy In Cambridge book The
music scene of 1960s Cambridge.
Blue Devil Blues by Sara Martin and her Jug Band (with its flip side:
Jug Band Blues) has been nominated to be the very first recorded jug
band number in human history and that fact may well have been known in
Cambridge jug band and skiffle circles. Syd Barrett may have been well
aware of this as well.
A Dream within a Dream
Deconstructing Syd's Jugband Blues.
It's awfully considerate of you to think of me here and I'm most
obliged to you for making it clear that I'm not here
Rob Chapman is right when he describes the opening lines from Jugband
Blues as 'cultivated sarcasm' and refuses to see this as a declaration
of schizophrenia like Peter Jenner does or did. David Gilmour, and
others with him, see Jugband Blues as a transitional song, between his
earlier work with Pink Floyd and his later solo songs, that are more
mature and experimental in their lyrics.
Actually this opening is just an (awkward) introduction like in so many
skiffle songs, including Here I Go.
This is a story about a girl that I knew She didn't like my songs and
that made me feel blue.
Of course Here I Go is pretty conservative and lends its intro from
trademark skiffle à la Lonnie
Well, this here's the story about the Battle of New Orleans. (Battle
of New Orleans) Now here's a little story. To tell it is a must. (My
Old Man's A Dustman) Now, this here's the story about the Rock Island
line. (Rock Island Line)
Syd Barrett transforms the traditional skiffle opening line into a dark
and mysterious setting.
After the introduction the anecdote is usually explained or elaborated
on, although the enigma in Jugband Blues only gets bigger.
and I never knew the moon could be so big and I never knew the moon
could be so blue
A big moon, or super-moon
(a popular term dating from 1979), happens when the full moon and the
earth are at its closest distance, sometimes resulting in a so-called perigean
spring tide. We had one at the 9th of September 2014 and they happen
about every 412 days. So it is an event that only happens once in a
An astronomical blue
moon, or the second full moon in the same month, happens about once
every two or three years. Blue
Moon is also a standard, from 1934, that has been performed by
countless bands and singers, and that has a romantic connotation.
Blue moon You saw me standing alone Without a dream in my heart Without
a love of my own
The title of that song (and Syd's lyric) is taken from the saying 'once
in a blue moon', meaning a rather rare occasion and Wikipedia
learns us that the term 'blues' may have come from 'blue devils',
meaning melancholy and sadness.
and I'm grateful that you threw away my old shoes and brought me here
instead dressed in red
Just like the 'head / down / ground' symbolism is used several times in
Syd songs (see: Tattoo
You) so does 'shoes / blues'. Apples and Oranges has a dedicated
follower of fashion who alliteratively goes
shopping in sharp shoes
, while Vegetable Man walks the street
in yellow shoes I get the blues.
Earlier in his songwriting career, Barrett was much influenced by an
got the Bob Dylan blues, and the Bob Dylan shoes.
Of course shoes and blues has always been something of a nice pair as
was already proved by Robert Johnson in Walking
Woke up this morning I looked 'round for my shoes You know I had
those mean old walking blues
an old pair of shoes your favorite blues gonna tap out the rhythm
In the ballad 'Blue Moon' (see point 2) the protagonist who was lost /
alone has been helped / cared for by someone. In Jugband Blues we seem
to have the same situation. At this part of the song a second actor is
introduced who tries to assist the first one.
and I'm wondering who could be writing this song
Barrett almost describes an out-of-body experience in the first part of
the song. Pete Townshend claimed he had one once using STP, a drug that
also Barrett was familiar with. This is another variation on a theme of
absence as the narrator is present and absent at the same time. Make
your name like a ghost, suddenly seems more autobiographical than ever.
I don't care if the sun don't shine and I don't care if nothing is
mine and I don't care if I'm nervous with you I'll do my loving in
So I don't care if the sun don't shine I'll get my lovin' in the
evening time When I'm with my baby
Syd's 'I'll do my loving in the winter' makes the refrain fairly darker
than in the original though. It is as if Barrett is indefinitely
postponing the happiness that could be waiting for him.
During the refrain some kazoos make the point that this is a jug band
song after all, and then a psychedelic Salvation Army band (perhaps Syd
did see the contradiction before everybody else) jumps in. Then it is
the time for one of the weirdest codas ever:
And the sea isn't green and I love the queen
At first sight this is just a nonsense verse. There was a song called The
Sea Is Green, written by The
Easy Riders, an American calypso and folk-song trio and used in the
travelogue documentary, but this is a long shot. In the song a sailor
expresses his hope to find his family back when he returns home. By
implying that the sea isn't green, Barrett loses all hope to see
his loved ones back.
6.1 A possible Beatles connection (Update: 1st of November
At the Late
Night forum, Wolfpack came with another explanation, that
seems far more plausible than ours, he remembered that The Beatles' Yellow
Submarine has 'a sea of green' in its lyrics. Actually the term is
used twice in that song. It comes up at the first strophe where the
story is told about a man who travels in a yellow submarine:
So we sailed up to the sun Till we found a sea of green
The term shows up again in the third strophe where it is told that the
sailors live a life of ease:
Sky of blue and sea of green.
The song is not originally from the 1968 animated movie,
but from the 1966 Revolver
album, where it was the obligatory Ringo Starr track. Paul
McCartney wrote it with Ringo in mind, hence the simplicity of the
melody and the nonsensical subject. McCartney had a little help from his
friends John Lennon and Donovan,
who actually came up with the green sea lines.
Barrett, in a much darker mood than McCartney, who had a children's song
in mind, declares there is no such thing as a sea of green. The sailors'
unburdened life has been based on a dream.
There is a second similarity between Yellow Submarine and Jugband Blues.
Although Norman Smith was not involved in the recording it has a (short)
interruption by a brass band, just after the line 'and the band begins
to play'. Engineer Geoff
Emerick, who is on backing vocals with George Martin, Neil
Jones and Brian
Epstein, used a 1906 record of a military march, altering it a bit
to avoid copyrights. Several sound effects were used for the song,
including the cash register sound that would later be used by Pink Floyd
on Money. There is another Floydian connection, although bit stretched,
Echoes (1970) has the Roger Waters line 'and everything is green and
submarine', but that last is used as an adjective, not as a noun.
Unfortunately we will never know if Norman Smith thought of Yellow
Submarine when he proposed Syd Barrett to add a brass band in between
and what exactly is a dream and what exactly is a joke
The 'Carrollesque quality of the closing couplet', to quote Rob Chapman
again, is omnipresent. In Lewis
The Looking Glass', on a cold winter evening, Alice climbs through a
mirror where chess pieces are alive. Alice meets the White and Red Queen
and the 'joke' subject is briefly spoken about:
Even a joke should have some meaning—and a child's more important than a
joke, I hope.
Dreams are discussed more often in the book, even the surreal
possibility that Alice is nothing but a 'thing' in the Red King's - so
somebody else's - dream:
If that there King was to wake,' added Tweedledum, 'you'd go out — bang!
— just like a candle!' (…) When you're only one of the
things in his dream. You know very well you're not real.
At the end, with Alice back in her house, she still isn't sure what
really happened and in whose dream she had landed.
Let's consider who it was that dreamed it all. (…) You see,
(…), it MUST have been either me or the Red King. He was part of my
dream, of course — but then I was part of his dream, too!
As we now know that Jugband Blues might have been written before Barrett
had his apparent breakdown, all speculation about this being an intense
self-description could be wrong, unless of course Syd altered the lyrics
between January and October 1967.
We'll never know for sure.
Ever drifting down the stream— Lingering in the golden gleam— Life,
what is it but a dream?
Many thanks to: Baby Lemonade, Syd Wonder, Wolfpack and all participants
from the Jugband
Blues thread (started in 2008) at the Late Night Forum. ♥ Iggy ♥
Sources (other than the above internet links): Beard, Chris
Joe: Taking The Purple. The extraordinary story of The Purple Gang –
Granny Takes a Trip . . . and all that!, Granville Sellars (Kindle
edition), 2014, location 858, 1372, 1392. Blake, Mark: Pigs Might
Fly, Aurum Press Limited, London, 2013 reissue, p. 18. Carroll,
the Looking Glass, Project Gutenberg. Chapman, Rob: A Very
Irregular Head, Faber and Faber, London, 2010, p. 191. Dosanjh,
music scene of 1960s Cambridge, I
Spy In Cambridge, Cambridge, 2013, p. 32, 40, 44, 50. Jefferies,
Neil, Dartford's Finest Band, Record Collector 417, August 2013,
p. 54-55. Mason, Nick: Inside Out: A personal history of Pink Floyd,
Orion Books, London, 2011 reissue, p. 21. Manning, Toby: The Rough
Guide To Pink Floyd, Rough Guides, London, 2006, p. 34. Palacios,
Julian: Syd Barrett & Pink Floyd: Dark Globe, Plexus, London,
2010, p. 25, 298, 314. Parker, David: Random Precision, Cherry
Red Books, London, 2001, p. 99. Smith, Norman 'Hurricane', John
Lennon Called Me Normal, Lulu (self-published), 2008, p. 218, 373,
397. Unnumbered section: #8.
(Warning: this blogpost contains gratuitous nudity.)
Happy New Year, dear sistren and brethren, followers of
the Holy Church of Iggy the Inuit, we know these wishes come a tad too
late, but for us, Sydiots, the sixth of January is all that more
important, isn’t it?
Barrett’s seventieth birthday, as you probably know, was going to be
remembered with the launch of a renewed official website at www.sydbarrett.com,
under the supervision of Ian and Don Barrett and the help of some fans
who want to stay anonymous, except the one bloke who bragged about it on
that particular Whining Madcaps group we have long been blocked from.
Who is it who’s credited in 4 Syd books, spent months of (…) free time
collating photos of Syd and the early Floyd cos NO ONE else had done it
before, (…) has a credit at the end of the Technicolour Dream
documentary, was interviewed by Storm for his Syd film, helped Pink
Floyd’s manager with the original Syd website THEN was asked by Ian and
Don Barrett for (…) help with the new one.
Who you gonna call? Syd-busters! The rant goes on after that and
we seriously wonder why the man still hasn’t got a statue in that
cultural indifferent town that is Cambridge, instead of the one that is
going to be erected for Syd.
Saturday the ninth saw two magical gatherings, one at the Geldart
in Cambridge and one at the Cirio
in Brussels. The one in Cambridge had the usual gang of Sydiots who
don’t want to be remembered of the madcap’s London exploits. The one in
Brussels was just an alcoholic debauchery between two webmasters and
their mutual adoration for ginger pussies, which is a far more
interesting starting point to, uhm..., start a conversation.
But, like we said, on the sixth of January of the year 2016 a new
official Syd Barrett website
was launched. It also immediately crashed which means that it either was
inundated by the amount of hits or that the chosen internet provider
happens to be a cheap and cheerful one who can’t handle more than a
dozen clicks per minute.
Apart from that the website
is a nice surprise, compared to the old one that already looked outdated
the day it was uploaded (and that had many wrong entries, including
wrong release dates for Syd's solo albums and examples of Stanislav's
dadaist fanart that crept into several sections). See: Cut
the Cake (2011) and/or Syd's
Official site gets a makeover (2010).
Much effort has been put into a short biographical Introduction
that tries to condense Syd's life into a readable article that won't
scare the fans away. While every Barrett scholar would probably
highlight other aspects of the madcap's life it is a nice treat, written
by someone who cares.
section is what probably will attract most of the fans to the new site,
publishing many unseen portraits of the artist as a young man, hidden –
up till now - in private family albums. Obviously there are also
sections of the early Pink Floyd and Syd's solo years, nothing really
earth-shattering can be found in there (for the anorak, that is) but it
is a nice touch though that the pictures with Syd and Iggy (by Mick
Rock) have lost the legend that they were taken during the autumn of
1969. We don't see any Storm or Hipgnosis pictures in there but this
could be a coincidence...
A ridiculously wide menu banner (it looks cool on a smartphone though)
brings us to the Music
page where different songs will be analysed. For the launch it is Octopus
that gets the geek treatment, with – next to an introduction – Paul
Belbin's Untangling the Octopus essay, in a Julian Palacios
revision. It is great to see this 'Rosetta stone for decoding the
writing inspirations for one of Syd Barrett's most beloved songs' appear
on an official website.
Hidden underneath the introductory Syd Barrett Music page are four
sub-sections that are, at first sight, not entirely coherent and can be
gives an overview of his discography, Pink Floyd and solo, including
compilations and different formats. This list omits the 1992 Cleopatra
Octopus CD compilation (although you can mysteriously find its cover on
a different page) and also two early Pink Floyd compilations: The Best
Of The Pink Floyd (1970) and Masters Of Rock (1974). Obviously the Last
Minute Put Together Boogie Band release that was confiscated by Pink
Floyd, unaware of the fact that a second copy of the tape was still
hiding in a Cambridge cupboard, is nowhere to be found either.
publishes a complete list of Barrett's compositions, released and
otherwise, and it is a section that gives already much food for debate,
especially as an early Pink Floyd Immersion set could be in the make.
Albums tends to give an overview of tributes. It is a bit a
superfluous (and very incomplete) list, perhaps only added to do Men
On The Border the favour they deserve. Personally I don't understand
why the pretty ridiculous Vegetable Man Project is listed 6 times, but
the equally ridiculous Hoshizora
No Drive not. Closer to home I don't see Rich Hall's Birdie
Hop And The Sydiots, nor Spanishgrass
by Spanishgrass, appearing in the list.
Posters gives what the title says, but also here the list is pretty
random, although (early) Pink Floyd poster collectors are known to the
people coordinating this section of the website.
But we've seen things change rapidly, even for the past few days, so
when you read this some of these glitches may already have been repaired.
Obviously there is also an Art
section on the site, divided into several sections: Student
& Sketches (this section has some unseen pictures of Roger's notebooks)
and Syd's DIY
furniture (and his bike). The Fart Enjoy art-book is published as
well, but mentions that it was made in 1965, while it contains a pin-up
from a 1966 Playboy (don't pretend you didn't see it!) and refers to a
March 1966 Pink Floyd gig (see: Smart
Enjoy). But here we are meddling with muddy Sydiot territory again.
Last, but not least, there is a Barrett Books
entry. Also here it is all in the mind of the webmaster. Needless to say
that the 'classic' biographies in the English language have all been
mentioned, as well as other publications in a pretty arbitrary way.
London Live by Tony Bacon still makes it to the list. Other than the
picture on the front, this book has got no real connection to Syd
Barrett. It contains a history of London Clubs and the bands who played
there. Pink Floyd is mentioned, obviously, but so are a couple of
hundred other bands and artists.
The first two Mick Rock Syd Barrett photo books are included but not the
third one: Syd Barrett – Octopus - The Photography Of Mick Rock, EMI
Records Ltd & Palazzo Editions Ltd, Bath, 2010. There are other things
as well, like the weird way some Italian and French books make it to the
list and others don't, but this review is already messy enough.
Oh, by the way, there is a Links
page as well (that we nearly missed) but we will not spend another word
on it. Just check it for yourself and draw your own conclusions.
But it is a start all right, and one in the good direction. Things can
only get better.
Many thanks to: Anonymous, Paul Belbin, Mary Cosco, Stanislav Grigorev,
Rich Hall, Antonio Jesús, Göran Nyström, Julian Palacios. ♥
Iggy ♥ Libby ♥