Iggy Rose was one of Syd Barrett's girlfriends in 1969.
She is most famous for being the model on the Syd Barrett album: 'The Madcap Laughs'.
Nicknamed Iggy the Eskimo, it was rumoured she was part Inuit.
One day, in 1969, she disappeared out of Syd's life and was not heard of ever since.
Almost four decades later, the Holy Church of Iggy the Inuit started to mess with things.
Its five years mission: to find Iggy and bring her back to the spotlights.
And guess what, with some invaluable help from many, many friends... we did...
At the end of March 2015 the Church closed its doors, although the search for new pictures and movies still continues.
Our Tumblr microblog iggyinuit.tumblr.com and its social equivalent
facebook.com/iggyinuit are still (daily) updated and really
important news will be added as a Newsflash.
Our highlights, world exclusives and generally daft items can be checked here: Highlights.
An overview of our 200 posts can be found at the Articles Index.
Alternatively there is the 'Holy Search' search field and the 'Taglist'.
A fantasy based on facts. Inspired by a theory from Simon Matthews.
In a previous post
the Church reviewed Simon Matthews' book Psychedelic
Celluloid that lists some 120 'flower power' era movies and their
ties with pop and rock stars from that period. One of the movies that
pass the revue is The Committee, a 1968 flick that mainly gets
its reputation from an 'unreleased' Pink Floyd soundtrack. As such it
was dredged up in 2005 for a DVD release and, more recently, added to
the Pink Floyd compilation The
The movie, loved by some (including the Reverend, actually) and ignored
by everybody else, tells the absurd story of a hitch-hiker (Paul
Jones, lead singer from Manfred
Mann) who decapitates the driver who offers him a ride. After a few
minutes he sews the head back on the corpse and as if nothing had
happened both men each go their own way.
A while later the hitch-hiker is invited to participate in an official
Committee, where he is briefly confronted with his victim (whose
neck-marks have been miraculously healed). This pretty Kafkaesque
situation raises the question if that reunion was staged, or not, and if
there will be any consequences for the perpetrator, or not.
Perhaps the Committee is a tribunal, or perhaps it is not. Perhaps it's
all an elaborate trap, a mind-fuck, like number
six had to undergo in the village. Contrary to The
Prisoner the hitch-hiker decides not to make a run for it and
immediately confesses his crime to the director of the Committee.
Unfortunately, the final twenty minutes of the film consists of
pseudo-philosophical babble about the previous, concluding that 'the
whole world is a madhouse, an extended madhouse', with thanks to R.D.
Laing for the inspiration.
In a meta-prognostic way the movie relates to Syd Barrett and Pink
Floyd. Pink Floyd who cut the head of the driver on their road to
success. Then sewing the head back on and making big bucks from milking
their guilty consciences. (And didn't R.D. Laing conclude that it wasn't
Syd Barrett who was mad, but the people around him?)
The story of the soundtrack is as blurry as its script. On the DVD's
obligatory interview there is the comment that the Floyd 'demanded the
most expensive soundtrack studio in London' which is weird as they
recorded the thing for practically nothing at the basement flat of the
The following abundantly lends from Julian Palacios' Dark Globe, David
Parker’s Random Precision and the webzine Spare
Bricks. Simon Matthews interviewed Max Steuer for Psychedelic
Celluloid and gave the Church some valuable background information.
The Committee was filmed in autumn and winter of 1967 by Max Steuer
(writer, producer) and Peter Sykes (writer, director). Steuer was
a lecturer at the London School of Economics and when he made the
preparations for the movie he consulted his ex-colleague Peter
Jenner for a possible soundtrack. Jenner agreed as he had exactly
the right band in his portfolio for the job: The Pink Floyd.
What both men didn’t know was that Pink Floyd was almost a goner and
that Syd Barrett was full-time preoccupied losing his marbles. The movie
was in its final stage when the band was limping between disaster gigs
and unsettling recording sessions.
“How about that soundtrack?” asked Steuer.
“Coming up.” lied Jenner.
Blame it on the New Year, because here is where the story becomes blurry
In January 1968 pretty boy Gilmour had joined the band in a desperate
move to salvage the sinking ship. At first Barrett joined them on a
couple of gigs but they soon understood that the band’s dwindling live
reputation could only be saved by leaving him, and his effervescing
marbles, at home.
The same can be said about the recording sessions that were in full
swing. Out of courtesy Barrett was invited to some, but after a while…
well, things just got faster done with Syd not in the studio.
On 20 December 1967 Syd and the Floyd had been overdubbing Scream
Thy Last Scream. Early January was used to have some rehearsals with
the new guitarist and to work in the studio on Set
The Controls For The Heart Of The Sun and Scream Thy Last Scream,
however it is not certain if Syd was present, mentally or physically.
You Got It Yet session (presumably on the 10th of January) had not
been appreciated, to say the least.
Saturday 20 January 1968 was Syd's last concert with Pink Floyd.
Theoretically the five-man Floyd had existed for three weeks, but they
only gigged at five concerts on four locations, in ten days. The next
Monday, Tuesday and Wednesday the band rehearsed as a four-piece, making
it de facto clear that Syd’s days were over. Nobody found it
necessary to pick up Barrett for further gigs and also the Saucerful
of Secrets studio sessions would go on without him. Rumour goes that
- at several occasions - Syd Barrett sat patiently outside the recording
room, waiting to be asked in. Nobody asked him in.
But on Wednesday, 30 January 1968, Syd was indeed expected at the Sound
Techniques studio to record The Committee soundtrack. He arrived one and
a half hour late, didn’t bring his guitar, nor a band, much to the
annoyance of Max Steuer who had been promised the full Floyd by Peter
Jenner. That last was a bit difficult as Pink Floyd #2 was recording in
the Abbey Road studios, about 3.9 miles (6.3 km) north from Old Church
While Jenner took Steuer for a therapeutic walk, Andrew King (and/or
engineer John Wood) phoned around to get some gear and some musicians,
probably Nice-drummer Brian
'Blinky' Davidson and Barrett-buddy Steve
Peregrin Took. Julian Palacios:
Steuer and Jenner returned a few hours later to find a trio of drums,
bass, and guitar.
Max [Steuer] told me that Barrett turned up with a drummer and bass
player that he didn't recognize and this was the first inkling he had
that things were not OK within the Pink Floyd.
The improvised band ploughed through a twenty-minute instrumental, which
Barrett insisted should be played backwards for the soundtrack.
In an interview for Spare
Bricks in 2005, Max Steuer remembered the story somewhat different:
Syd read the story and said he would do the film. This seemed fine by
me. He asked us to book a very expensive studio, and showed up an hour
and a half late, and without a guitar. He asked Peter Sykes and me to
get lost, which we did. We came back a few hours later to find a trio -
drums, bass, and guitar. They finished a bit and lased it up backwards.
Syd thought it was a good start. It cost too much money, and would have
sunk the film.
At midnight the session ended and they all went home. The next day John
Wood phoned Barrett to have the title of the track they had recorded.
Unfortunately Barrett couldn't be reached, so that field was never
filled out on the session sheet.
Max Steuer nearly got a heart attack when he saw the bill. It was
£61.6s. Nowadays this is hardly enough to buy a Pink Floyd Immersion
set, but in those days it was the equivalent of about £1000 now (roughly
$1240 or €1170). Add half a dozen sessions more to finish the job and
The Committee and its directors would’ve been bankrupt.
There are some strange things going on with that contract. The session
document, that can be found in Parker’s study, was made up for Norman
Smith and Pink Floyd and is dated 12 January. The typed date is
stricken out and changed, by hand, to the thirtieth. Under the band’s
name someone wrote that it was Syd Barrett who took the session, but
unfortunately the names of the session musicians have not been noted.
Legally Syd Barrett was still in the band and it would take until May
before all legal razzmatazz was fulfilled. Peter Jenner probably booked
the studio when there was still hope for Syd’s future (as a songwriter
and/or studio musician) but it is also rather understandable that the
band didn’t want to be confronted with him after the Have You Got It
Yet-debacle. If we are sure of something it is that somewhere
mid-January Syd Barrett was declared persona non grata by the
Enterprises still believed that Barrett was the goose with the
golden eggs. If the Floyd wanted to go on without him it was their own
stubborn stupid choice. Without the pressure of touring, Syd would be
able to record those British oddities by the dozen. As a matter of fact
a solo record had already been briefly discussed – just before Arnold
Layne had been produced - when Syd gave Joe
Boyd a six track demo tape containing Boon Tune (aka Here I
Go) and a proto-version of Jugband Blues, that would resurface on
Saucerful. It is believed the tape was given to Chris Joe Beard from The
Purple Gang who promptly lost it. (For more info, see: Hurricane
Making a soundtrack, that was usually just seen as an quick 'n' easy
side-job, would be a great way to get Barrett in the picture and the
Syd Barrett and colleagues managed to record a 20 minutes jam. So where
is the tape? Max Steuer:
Somehow, Peter Jenner got that tape. Peter, give me back my tape!
As far as I know I am not in possession of these tapes, I might have
been given a copy, but surely not the masters. (…) Max Steuer may have
given us the tapes. But I do not remember them. But many things
disappeared with the sudden collapse of Blackhill. My recollection is
that they were less than amazing. However if I come across anything I
will let you know. (The complete Peter Jenner interview at the Holy
Church can be found at: An
innerview with Peter Jenner)
When Simon Matthews interviewed Max Steuer for Psychedelic Celluloid it
was re-confirmed that Peter Jenner collected the tape from him. All he
can remember is that the piece sounded 'jazzy, with a groove'.
Unless it is miraculously found back (what frequently happens when an
anniversary release is announced) the recording seems to be lost.
The second soundtrack
A while later Roger Waters heard about the problem and he proposed to do
the soundtrack with the band, as was initially promised by Peter Jenner,
who was no longer their manager. It wouldn't be the last time Waters,
Gilmour, Wright & Mason would come to Barrett's rescue. (A detailed
review of the soundtrack, that includes an early version of Careful With
That Axe, Eugene, can be found at Brain
The Barrett tapes
According to Simon Matthews the aborted soundtrack session is
intertwined with the departure of Barrett, Jenner and King from Pink
Floyd. The following has almost been copied verbatim from him.
In early 68 Jenner and King thought (for about a week or so) about
rebuilding a new group around Barrett and Wright. To do this they were
in need of an extra bass player and drummer. Barrett duly turned up with
a bass player and drummer at the studio for The Committee.
In May 68 Barrett had several sessions, with a bass player and drummer
who were never named, but it is almost certain that Steve Peregrin Took
was around. Rhamadan and Lanky are some of the
instrumentals that came out of it.
By late June 68 Jenner and King had enough rough material they felt
useable to be included on a Syd Barrett solo album. This included 3 Pink
Floyd tracks: In the Beechwoods, Scream Thy Last Scream, Vegetable Man;
Barrett's work for The Committee, now called Rhamadan and a couple of
new ones: Swanlee (Silas Lang), Late Night and Golden Hair. Lanky Pt. 1
and Clowns & Jugglers were considered as well.
The Pink Floyd veto
At this point music industry politics kicked in. Pink Floyd #2 were
releasing A Saucerful of Secrets and didn't want their 'old' material
released under the Syd Barrett flag. The band guaranteed Blackhill
Enterprises royalties for everything already released, but kept the
rights for the unreleased tracks. These would be hidden in the vault for
50 years, until The Early Years came out.
By refusing to release those 3 early Barrett songs the idea of finishing
a Barrett solo album soon was shelved. Peter Jenner and Andrew King
moved on to easier things like Marc Bolan's T Rex. They wouldn't
jeopardize, not unreasonably, the financial security that the Pink Floyd
royalties gave them. Peter Jenner made the same request in 1974 and
again Pink Floyd blocked him. Simon Matthews:
Given that Barrett got ousted from the group, dropped from The
Committee, had the first version of his solo LP aborted, got dropped by
Jenner (on rather vague grounds) and then had his re-started solo LP
taken over by Waters and Gilmour and it's release put back until after
the Pink Floyd had released Ummagumma, I'm not surprised that he was
wary of Pink Floyd and Jenner and King thereafter.
The whole world is a madhouse, an extended madhouse.
(Simon Matthews is currently working on a sequel of Psychedelic
Celluloid, covering the period 1975-1986.)
Many thanks to: Peter Jenner, Simon Matthews. ♥ Libby ♥ Iggy ♥
Sources (other than the above mentioned links): Fitch, Vernon: The
Pink Floyd Encyclopedia, Collector's Guide Publishing, Ontario,
2005, p. 66, 133. Hughes, Christopher: A Committee of not many,
Bricks 25, 2005. King, David: An Interview with Peter Sykes,
Bricks 5, 2000. Manning, Toby: The Rough Guide To Pink Floyd,
Rough Guides, London, 2006, p. 260. Matthews, Simon: Psychedelic
Celluloid, Oldcastle Books, Harpenden, 2016, p. 74. Matthews,
Simon: email conversation with Felix Atagong, February 2017. Palacios,
Julian: Syd Barrett & Pink Floyd: Dark Globe, Plexus, London,
2010, p. 320. Parker, David: Random Precision, Cherry Red
Books, London, 2001, p. 119-121. Povey, Glenn: Echoes, the complete
history of Pink Floyd, 3C Publishing, 2008, p. 90.