This page contains all the articles that match the Storm Thorgerson-tag, chronologically sorted, from old to new.
Most browsers have a search function (Ctrl-F) that will highlight the entry you are looking for.
Alternatively there is the 'Holy Search' search field and the 'Taglist'.

The most famous Iggy picture, and without this one this blog would probably not even exist, can be found on the back side of Syd Barrett’s solo album The Madcap Laughs (top left pic).

There is a bit of a confusion who made these pictures. Hipgnosis designed the sleeve and Storm Thorgerson writes in his volume Mind Over Matter:

My only decision was to use a 35mm camera and upgraded colour transparency, partly because of the low level light conditions and partly for the grainy effect. (…) Friend and photographer Mick Rock, later famous for his Bowie photos amongst many others also came on the photo session, but I cant remember why. (p.204 of the 2003 edition, p. 234 in the 2007 edition although the index still assumes it is on p. 204).

Dark Globe, member of the Late Night discussion forum, had a quick chat with Storm in July:

There was the chance to see the cover of 'The Madcap Laughs' displayed at a larger size on excellent quality paper. This famous photo was taken by Storm himself for the cover of the album - and not by Mick Rock as some assume. (…) I was lucky enough to talk to Storm himself and tell him how much I admired his work. I also took the opportunity to ask him about the 'Madcap' photo session and enquired whether we would ever see any of his outtakes from that session appear in some form in the future. Unfortunately this doesn't seem likely as he informed me that his photos from that session were now lost.

Hipgnosis was probably commissioned by the record company (Harvest, EMI) to make the record sleeve. Syd Barrett however had another idea and asked his friend Mick Rock, an aspiring would-be photographer, to organise the shooting for the forthcoming album. The result was that the two photographers were present on the same day.

A lot has been written about these sessions, not in the least by Mick Rock who devoted two three books to the subject:

• Syd Barrett - The Madcap Laughs - The Mick Rock Photo-Sessions (U.F.O. Books, 1993), a book that was bundled with the album in a limited edition. The introduction of this (sold out and deleted) book can be found on various places on the net. Update 2012: the Geocities link to this page seems to be dead, but luckily there is an archived version: Syd Barrett - The Madcap Laughs - The Mick Rock Photo-Sessions.

and

• Psychedelic Renegades - Photographs of Syd Barrett by Mick Rock. Genesis Publications published the first limited edition in 2002 with 320 copies autographed by Roger Barrett & Mick Rock and 630 copies signed by Mick Rock alone (sold out). In 2005, before Barrett passed away, the Deluxe copies already had a collector’s value of 2400 £. In 2007 the book was finally published in a regular version, by Plexus (London) and Gingko (USA).

and (Update January 2012)

• Syd Barrett - The Photography Of Mick Rock. Tin box, including 128 pages high print quality [Mick Rock's words, not ours, FA] booklet and exclusive 7 inch single 'Octopus' b/w 'Golden Hair'. The rather exaggerated blurb continues: "The booklet features a full introduction, new insights and captions by Mick and quotes from Syd." (EMI Records Ltd & Palazzo Editions Ltd, Bath, 2010).

Mick Rock remembers the day as follows:

The actual session turned out to be a collaboration really because Storm also took some pictures. I remember Storm asking me whether to credit the image, ‘Hipgnosis and Mick Rock’ and I said, ‘No just credit it Hipgnosis’.

Psychedelic Renegades however does not include the sleeve pictures of The Madcap Laughs so in the end it was probably Storm who decided to use only his own material (according to Mick Rock one photo would later surface – uncredited - on Barrett’s second album). Because both sessions were made on the same day the pictures are obviously very similar (some Mick Rock pictures were also used on the Syd Barrett compilation album).

Update August 2017: In the 2017 documentary Shot! Mick Rock hints that he was behind the cover shot anyway, indirectly implying that it was not Storm Thorgerson's picture to begin with. For years there have been rumours in anoraky Floydian circles that Thorgerson and Rock sued (or threatened to sue) each other for the ownership of these pictures. Perhaps a deal was made - a bit like the one between Roger Waters and Pink Floyd over The Wall - that The Madcap Laughs front and back sleeve pictures officially belong to Hipgnosis (Storm Thorgerson) but the outtakes to Mick Rock. Syd Barrett related excerpt from Shot!: The Psycho-Spiritual Mantra of Rock.

More about the Mick Rock - Storm Thorgerson controversy:
Storm Rock Pictures 
and the ultimate Iggy photoshoot fun quiz
The Iggy IQ Quiz 

It is far from a coincidence that this blog started more or less when The City Wakes project was announced. The City Wakes is an official Syd Barrett tribute, held in the city of Cambridge, and it has been officially opened past week. But the history of the instalment of the Church will be told on an other day, promised.

Supported by Syd’s family and friends, The City Wakes is the first ever official tribute to Syd Barrett – original front-man and songwriter for Pink Floyd. A celebration of Syd’s creativity, The City Wakes focuses on Syd’s early life in Cambridge, providing a showcase for his remarkable talent and painting a picture of the explosive and vibrant early 1960s cultural scene in which he grew up.

Involving many of Syd’s former friends – not least Storm Thorgerson and Mick Rock - The City Wakes includes concert performances, exhibitions, guided tours, music workshops, a 1960s style ‘happening’, talks and a new book of interviews and memorabilia.

The City Wakes has been developed by Escape Artists, a UK arts and mental health charity and professional production house. Working with clients in both institutional and non-institutional settings, it aims to improve quality of life, health and social welfare, by recognising the vital importance of creativity to an individual’s well being. Funds generated through The City Wakes project will be used to support the charity's work in the mental health sector. Escape Artists has been working in the mental health sector in Cambridge since 1999. (Taken from The City Wakes - deleted)

One of the exhibitions taking place is called The Other Room, it is held in the Ruskin Gallery at Anglia Ruskin University, and is open from 24th October to 2nd November 2008.

At the Ruskin Gallery visitors can see over fifty of Syd's paintings, the majority of which have never before been seen in public. Also on display are rare archival-quality prints from Syd's photo-biographer Mick Rock and original pieces from Pink Floyd's legendary designer Storm Thorgerson. The exhibition features rare Syd-related memorabilia, including diaries and correspondence. (Taken from Anglia Ruskin University - link no longer available)

But of course the Church is far more intrigued by the pictures from the personal collection of Anthony Stern that are exposed as well: Pink Floyd performing at UFO (1967-ish) and his Iggy pictures.

The Other Room: Syd Barrett's Art and Life
Date: 24 October - 2 November 2008
Time: 10am - 9pm Monday to Friday, 10am - 5pm Saturday and Sunday (link has been deleted).

Thanks to Dark Globe for the picture, other pictures of the exhibition can be seen at Inside The Other Room.

The Other Room: Syd Barrett's Art And Life was a Cambridge exhibition that ended a couple of days ago. More details about it could be found in a previous post: Pictures at an exhibition.

A lucky wind (thanks SgB!) brought me a copy from the catalogue, an 18 pages booklet. The following can be found inside:

Page 2 & 3: introductions by Stephen Pyle and Anji Jackson-Main, curators of the exhibition.

Pages 3 to 9 are dedicated to the paintings of Syd Barrett. This is far the most interesting part of the catalogue as many unseen works of Syd Barrett are represented here, albeit in a rather small thumbnail format. I’m pretty sure those pictures will find their way to the specialised Syd Barrett websites and blogs so I’m not going to put them here.

Pages 10 to 12: photographs by Mick Rock. This reminds me that the Church still hasn’t dedicated some of its holy space to Mick Rock’s excellent Psychedelic Renegades book. This will be done during the long winter days when a lonely hungry wolf howls at the suburbs of Atagong Mansion.

Page 11: some family snapshots taken by Syd's relatives. I don’t want to sound too snotty, but I’ve seen these before.

Pages 14 & 15: artwork by Storm Thorgerson (Syd Barrett album cover, Barrett album cover, The City Wakes green doors poster.)

page 17: colofon.

But The Church is of course most interested in pages 12 and 13 that contain some pictures from the collection of Anthony Stern (see also: Anthony Stern Photoshoot).

Antony Stern’s Iggy pictures can be seen on The City Wakes website, a link to that particular gallery can be found at the Galleries section of their blog. And if you have a quick peek you might find something more... (Update: The City Wakes website no longer exists.)

I want to thank all the members of the Late Night forum, who visited The City Wakes, for their impressions, their pictures, their testimonies and the goodies they have been distributing amongst the other members who couldn’t attend the festival.

The Other Room's catalogue can be visualised at the gallery.

On 30 June 1990 Pink Floyd played a short – albeit not very sharp - set at the Knebworth Festival. It has to be said that it was not the band’s sole responsibility that the gig was, how shall we call it, mediocre by Floydian standards. On this disastrous occasion, and this occasion alone, a 20 minutes promo film was shown at the beginning of the show, with a short appearance of none other than Iggy the Eskimo, somewhere between the 4 and 5 minutes mark.

The movie consisted of a retrospective of the Floyd’s history and included (parts of) several early songs (together with the predecessor of the promo clip): Arnold Layne, See Emily Play, Point Me At The Sky, It Would Be So Nice and others… Since it started with the first single, the movie had to end with the last one as well. Storm Thorgerson's visual rendition of the coke-euphoric-bring-on-the-digital-sound-effects Learning to Fly from the welcome to the drum machine album A Momentary Lapse of Reason ended the documentary.

In between the vintage scenes, Langley Iddens, who was then caretaker of the Astoria, David Gilmour’s houseboat studio, sits at a table contemplating the band’s past.

Langley Iddens (see top-left picture of this post) was a prominent face on the Momentary Lapse of Reason campaign. He is the man on the cover of the album but also acted in several promo and concert videos. He can be seen as a boat rower (Signs of Life), in flight gear (Learning To Fly) and in a hospital bed (On The Run). As Storm Thorgerson directed these backdrop movies it is logical to assume that also the Knebworth pre-show documentary was made by him.

There are however rumours that Pink Floyd drummer Nick Mason was involved in the movie as well. Besides several promo clips of the Sixties the movie also shows pictures, newspaper articles, posters and flyers from the Floyd’s psychedelic past. It is a well-known fact that Mason has always been the archivist of the band, culminating in his personal account of the history of the band, Inside Out. That book, however, doesn’t reveal anything about Mason’s involvement on the Knebworth movie.

A short snippet of the Knebworth teaser, showing a happy Syd Barrett frolicking in a park with Iggy, made a collector’s career under the name Lost In The Woods or Syd Barrett Home Movie. This excerpt can be found several times on YouTube. Those cuts, however, are in a different order than on the original Knebworth feature. The Church has restored the initial flow and presents you hereafter two different versions of the so-called Lost In The Woods video.

Knebworth '90 Special Edition (DVD]

The first is taken from the DVD bootleg Knebworth '90 Special Edition on Psychedelic Closet Records. It is shared around the world amongst fans and it contains the complete concert plus some additional material, like MTV documentaries and interviews with the band.

It's a complete, stereo, recording from the original pay-per-view broadcast of Pink Floyd's appearance at the Knebworth '90 festival. The concert featured seven songs. Only five of these were broadcast. Two of the five were included on the official LD, VHS, and DVD releases. The other three songs haven't been seen since the original broadcast.

According to its maker, the pre-concert-documentary comes from a collector in England who had a first of second gen copy of the tape.

White Label [VHS]

Because the Holy Church of Iggy the Inuit firmly believes in abundance, we have added a second version of the same movie, coming from a different source. The uploaded copy has been taken from a coverless VHS tape labelled Pink Floyd film, found at an open air market stall in London, and donated to the Church, in order to repent for his many sins, by Dark Globe.

Dark Globe took it upon him to further analyse the clip, it is obvious that it consists of different movies from different people at different places, and he even went so far as harassing, although the Church prefers the word investigating, some of the people who act in it. But the results of that enquiry will be highlighted in the next post in a couple of weeks.

Enjoy and don’t do anything that Iggy wouldn’t have done.

An image gallery with stills of the Lost In The Woods home movies can be found at the gallery.

Update April 2017: 2008 YouTube links have been replaced with their 2017 counterparts.

(This is the first part of the Love In The Woods topic. The second part can be found here: Love In The Woods (Pt. 2))

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 Night.)

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 occasions…

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 unknown.
	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."

Radiocarbon dating

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.

Update 2010: in an exclusive interview to the Church Margaretta Barclay absolutely denies the above. Please consult: Gretta Speaks and Gretta Speaks (Pt. 2) 

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 and Pontiacs.

(This is the second part of the Love In The Woods post. Part 1 can be found here: Love in the Woods (Pt. 1))

An image gallery with stills of the Lost In The Woods home movies can be found at the gallery.

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.

Hello, I would like to try and clarify a couple of things about Ig.
She was a girlfriend of mine.

In January or early February 1969, a mutual friend introduced Iggy to Syd Barrett, the rock star who had left Pink Floyd. To celebrate the fortieth birthday of this event The Holy Church of Inuit brings you an exclusive rendition of what happened, as told by JenS, who knew Barrett in his Cambridge and London days.

In the first part of this article When Syd met Iggy (Pt. 1), JenS recollected how she met Iggy and how she introduced the girl to Syd. In the second part she reconstructs the photo shoot from The Madcap Laughs, Barrett’s first solo album.

Introduction

1. It is generally believed that The Madcap Laughs photo sessions, by Storm Thorgerson and Mick Rock, took place in the autumn of 1969, a couple of weeks after the album was cut and a short time before it hit the shelves of the record stores (see Stormy Pictures).

2. It is generally believed that Iggy has only been living in Syd’s apartment for two or three weeks maximum, during which the famous photo sessions took place, before disappearing completely from the scene. In our previous article JenS situates this in February or March 1969.

The problem is that there is at least a six months gap between both dates. JenS however has some strong points favouring her theory.

Daffodils and Pontiacs

Storm Thorgerson probably shot the cover of The Madcap Laughs early in the year because, according to JenS:

If you look at the vase of flowers next to Syd, they are daffodils. We get those in March.

Although a valid argument it is not really tight-fitting, but JenS continues:

The car shots (in Mick Rock’s book Psychedelic Renegades, FA) show there are no leaves on the trees.
If this were London, October or November, there would be leaves on the ground.

Mick Rock’s photo book has got quite a lot of pictures with Syd (and Iggy) leaning against a neglected Pontiac, property of Syd.

The car was there at New Year, (Syd didn’t drive it) and it was there when I left in March, with a borough sticker on it, the remains of which show on the windscreen in the photo. If Storm and Mick are saying October or November, was the car there all that time? I don’t know who would know that.

The previous comment may be completely understandable for Syd Barrett anoraks, but needs some extra explanation for the casual visitor of the Church who doesn’t know the fabulous story of Syd’s car.

Tic tac Pontiac

Painter Duggie Fields recalls:

The car too has it’s own mythology. Later on I identified it as the car used in the film of Joe Orton’s Loot (not exact, FA), but I first saw it at Alice Pollock and Ossie Clark’s New Year’s Eve party at the Albert Hall ­ a memorable event itself where both Amanda Lear and Yes (separately) took to the stage for the first time. (Taken from: Duggie Fields)

Ossie Clark, once described as an ‘enigmatic, bisexual gadabout’, textile designer (and wife) Celia Birtwell and Alice Pollock had a boutique called Quorum. It was a haute couture heaven for the Swinging Elite, dressing people like Twiggy, Jean Shrimpton, Patti Boyd, Marian Faithfull, Jimi Hendrix, the Jaggers and The Pink Floyd. His clothes were a reflection of the past but with the advantages of the new (one of his creations had discreet pockets ‘to put joints in’). In 1965 Clark was the pioneer of the flower power look and two years later nearly all of the 2000 boutiques in London would be copying his style. Clark’s haute couture empire crashed in the seventies; in 1996 he was murdered by his partner.

Mickey Finn, from T. Rex fame, won the Pontiac Parisienne at the Royal Albert Hall raffle (New Year 1969). He took possession of it but became paranoid at the unwanted attention it attracted to himself and his fellow passengers. One day he met Syd and they simply swapped cars (Syd had a mini).

But Syd never drove it, so it stayed parked outside the house for a couple of months. A wheel soon went missing and the car accumulated dust, parking tickets and legal notices. In Mick Rock’s photo book one can see that a neighbour wrote a plea in the dust of the trunk to have the car removed. Syd's solution was simple as bonjour: he gave the car away to a stranger. It was seen being driven around South Kensington soon after.

A couple of months after Syd (and before him, Mickey Finn) got the car it was used in the 1970 British movie Entertaining Mr Sloane (not Loot). The car, with its cream red and silver interior, is featured prominently throughout the movie. The flick is not great but the pink Pontiac gives a shiny performance.
Update December 2009: the above paragraph has been corrected as Syd gave the car away before the movie was made and not, as is generally believed, the other way round. For more details: please check Anoraks and Pontiacs.

This leaves us with another enigma. The car in the movie is pink, but was midnight blue when Mick Rock photographed Syd with it. Although Mick Rock seems to remember: "Syd’s car was a conspicuously bright pink Pontiac Parisienne convertible" several colour pictures, probably taken by Storm Thorgerson on the same day, testify against this. JenS adds:

Syd's Pontiac was blue, midnight blue as you say. I have no idea if it was pink before that. I've only heard it was Mickey's and pink from things I've read. I cannot imagine Syd having it resprayed or painting it.

It remains a mystery when and why the kameleon car changed its colours (twice), but if one looks very close at the picture above, there appears to be a trace of 'brownish' paint under the right front light. Could this have been its original colour?

Car Sticker

Mick Rock has taken a picture of Syd sitting on the hood of his car. A police label can be seen glued to the windshield. JenS:

Look at the date of the police sticker on Syd’s car. It seems to be April 1969. It occurred to me that the little twigs on the ground would come with the March winds, as this was the time of clear-cut seasons. They are very distinctive.

Unfortunately not all can be read, part of the sticker disappears in the inner fold of the book and the smaller letters dissolve with the background. The following is easily distinguishable:

DANGER KEEP OFF
(unreadable)
THIS IS
DANGEROUS LITTER
AND WILL BE REMOVED & DISPOSED OF
SEVEN DAYS HENCE

Dated the ___ day of ___ 196_
Registration No.
(if any) ___ F.H. CLINCH,
BOROUGH (unreadable) AND SURVEYOR

F.H. Clinch was appointed in 1964 to the post of Borough Engineer and Surveyor to the Royal Borough of Kensington and Chelsea, an appointment he took up on April the first, 1965. The date on the document is more difficult to decipher, but after some tweaking it appears to be the 14th of April 196(9). If the British police was as effective in 1969 as it is now it definitely pins The Madcap Laughs photo shoot date between the 14th and 21st of April 1969 and not autumn as has been said before. So the warning more than probably reads as follows:

Dated the 14^th day of April 196
Registration No.
(if any) VYP74 F.H. CLINCH,
BOROUGH ENGINEER AND SURVEYOR

The legend goes that Syd Barrett gave the car way to an admirer who happened to like it. It is improbable to assume that the wreck stayed on the street for six months without any police intervention.

Next week will have the final instalment of our series of JenS's memoirs.

Sources (other than internet links mentioned above)
Blake, Mark: Pigs Might Fly, Aurum Press Limited, London, 2007, p. 141.
Green, Jonathon: All Dressed Up, Pimlico, London, 1999, p. 79-80.
Jones, Malcolm: The Making Of The Madcap Laughs, Brain Damage, 2003, p. 13.
Levy, Shawn: Ready Steady Go!, Broadway Books, New York, 2003, p. 112, p.193-195.
London Borough Appointments, Official Architecture and Planning, Vol. 27, No. 9 (September 1964), pp. 1074.
Rock, Mick: Psychedelic Renegades, Plexus, London, 2007, p. 23, p. 58.

The Church wishes to thank:
Dark Globe, Sean Beaver (who watched Loot just to make sure if the Pontiac figured in it or not), Bea Day, Rich Hall, Julianindica and all the others who contributed to the discussion at Late Night: The tale of Syd's car - the movie star...
JenS for her invaluable testimony about what really happened in those early days of 1969.

Ig's close encounters of the photographical kind were not limited to the Anthony Stern triptych series alone. She can be found as well on the cover of the Syd Barrett album The Madcap Laughs, still available in any qualitative cd-shop what means that it is a hell of a job to actually find it. But on top of her picture you get some decent music as well what is a rather nice bargain.

Storm Thorgerson from the arty farty collective Hipgnosis claims he shot the cover, although Mick Rock more or less hinted the same. Both photographers were present at the same place on the same day for the same purpose. Rock writes that he was asked by Syd Barrett to do the shoot and that Storm agreed to take him on in the team.

Syd asked me to take the pictures. We had talked about the shoot for a while, and the day before it happened I told Storm from Hipgnosis, so he came along because they were putting the package together.

Thorgerson probably was despatched by Harvest director and Barrett producer ad interim Malcolm Jones and has stated that another photographer was present as well but that he didn't know what the fuck he was doing there, although in a slightly more diplomatic way:

Friend and photographer Mick Rock, later famous for his Bowie photos amongst many others, also came on this photo session, but I can’t remember why. I think it was to help me, which seems ironic given his subsequent lensmanship and success in the rock business.

It surely was one of Rock’s pics that was put - uncredited - on the back sleeve of the Barrett (his second solo) album. For the third release, a repackaging of the two previous ones, aptly called Syd Barrett, some other shots from that day in April 1969 were used, but it is not certain if these came from Rock's second-hand Pentax 35mm camera, bought from that other Hipgnosis team member Aubrey ‘Po’ Powell, or from Storm Thorgerson who also claims he used a 35mm for the job. (Although his favourite camera at that time was a Hasselblad 500 c, as used for the Floyd’s Ummagumma cover a couple of months later).

There will always be an enigma surrounding the cover shoot of The Madcap Laughs. The 1978 book Walk Away René (The Work of Hipgnosis) contains a detailed description of every picture in the book, except for… The Madcap Laughs. Unfortunately Storm’s negatives have been lost, so there will never be a Psychedelic Renegades from his hand.

Psychedelic Renegades, and then we finally get to the subject of this blog entry, is the photo book Mick Rock made in 2002. The first edition, by Genesis, had 320 copies autographed by R.K. Barrett that are worth a small fortune nowadays. In 2007 a regular edition was published by Plexus Books (European edition) and Gingko (for the USA).

There is a possibility that the Mick Rock photo shoot took more than one day. The pictures in his apartment were taken, together with Storm Thorgerson. The outside pictures date (perhaps) from the next day. Nobody can be really sure and Rock isn’t the most reliable witness to say the least. On page 18 he writes:

We shot The Madcap Laughs in the autumn of 1969 and I don’t think that Syd and Duggie Fields had been living in the flat that long.

The above is a contradiction as Syd moved in the apartment end 1968, furthermore the research of JenS, who was a friend of Syd and Ig, shows that the pictures were probably taken in April of 1969. Rock also states that:

Syd’s car was a conspicuously bright pink Pontiac Parisienne convertible.

However the few colour pictures of the car show it was (midnight) blue. But the Church will no longer go further in this matter, if you want you can read all about in some previous posts, for instance When Syd met Iggy... (Pt. 2).

About 20 pictures of the book show us a glimpse of Ig, who is described by Rock as follows…

Known only as Iggy, the half-Eskimo girl had momentarily made her way into Syd’s life, and flat, at the time when these photos were taken. Though not part of the original shoot plan, Iggy was an intriguing accomplice. With no job and little to call her own, Iggy epitomised the free natured spirit of the psychedelic underground.

The Holy Church of Iggy the Inuit is very proud to announce you 3 new Iggy galleries:
Street Life, black & white pictures of Iggy in front of the house and car.
Bare Flat, colour pictures of Iggy, walking around in the nude and posing on the background in Syd's apartment.
Rock Bottom, black & white nude study of Ig.

Most pictures have been cropped to emphasize the Eskimo girl, in reality this means that Syd Barrett has been cut out a lot. Those interested in the non-cropped versions can try their luck at Neptune Pink Floyd, other Pink Floyd related sites or - even better - purchase Mick Rock's excellent Psychedelic Renegades book. All pictures © Mick Rock.

Sources (other than internet links mentioned above):

Rock, Mick: Psychedelic Renegades, Plexus, London, 2007, p. 18, p. 20, p. 23, p. 46.
Thorgerson, Storm: Mind Over Matter, Sanctuary Publishing, London, 2003, p. 204.

To all our sistren and brethren, hail! Might you wonder if the Church is dead the answer is clear and simple: no! The Church is contemplating its path and went into an early hibernation to, as the French say, reculer pour mieux sauter.

One of the main occupations of any holy man is to study the scriptures and that is what we have been doing so far. The next post is very academic and thus, by definition, boring, although it starts rather user-friendly.

Last week a professional rock memorabilia seller put some pictures for sale that he described as:

SYD BARRETT FOUNDING MEMBER OF PINK FLOYD

4 X ORIGINAL MICK ROCK PHOTOGRAPHS TAKEN AND PRINTED IN 1974 SHOWING SYD IN HIS FLAT WITH PAINTED BOARDS,
EARLY MICK ROCK PHOTOS ARE NEAR IMPOSSIBLE TO FIND AND NOW HE PRINTS PHOTOS AT 1000 POUNDS PER PHOTO.
THESE ARE ORIGINAL 6 X 4 INCHES PRINTED BEFORE MICK ROCK BECAME FAMOUS, LONG AFTER SYD WHO WAS ALREADY FAMOUS.

The 4 prints show Syd Barrett in his apartment and date from The Madcap Laughs photo sessions where both Mick Rock and Storm Thorgerson showed up.

The Church has created some controversy concerning the date of the photo shoot. It has been published in most biographies that the pictures were taken in the autumn of 1969, but JenS, who was a Cantabrigian friend of Syd Barrett and knew Ig as well, pointed out that the pictures were probably taken in spring. The Church further narrowed the date of the photo shoot to the week between the 14th and the 21st of April 1969, and certainly not 1974 as the seller wrote.

The account of the photo shoot also differs from the point of view of who is telling the story. Storm Thorgerson claims that he shot the sleeve of The Madcap Laughs, but - in the past - Mick Rock hinted that he was behind it all.

An unconfirmed story goes that Mick Rock was taking pictures on behalf of Hipgnosis and gave (some of) his film rolls to Storm Thorgerson who developed and used some of the pictures for The Madcap Laughs record sleeve.

It takes a rascal to recognise another one. Mick Rock kept some negatives in his back pocket and forgot these until he could show off with his own little private project called Psychedelic Renegades. (In retrospect this wasn’t a bad thing as Storm Thorgerson has apparently lost all the negatives he had in his possession.)

When, a couple of years ago, probably at The Other Room exhibition, a fan asked Mick Rock to autograph the sleeve picture of The Madcap Laughs he mysteriously grinned and said something like ‘I can’t sign pictures that weren’t taken by me, can I?’ and it still isn’t sure if his comment was ironic or not.

The Church looks at its flock in awe and admiration, which is in shrill contrast with those other religions that take their believers for total nincompoops, and the Reverend will let you decide for yourself after only a tiny amount of brainwashing.

On the Madcap Laughs shooting day several photo series were made. The series of Mick Rock may have taken two consecutive days instead of one, but nobody, not even Rock himself, remembers it very well.

THE MICK ROCK COLLECTION

Outside pictures (B&W)

¤ Syd on and around his car, sometimes with Iggy.
¤ Syd & Iggy on the pavement.
¤ Syd with guitar case and guitar.

These black and white pictures show Syd and Iggy in front of the house. Syd is sitting on, standing next, leaning against the car, claimed by Mick Rock to be a pink Pontiac, while it was naturalmente blue. On some pictures Syd wears a necklace, on others apparently not. Some cut-outs of these pictures can be found in our Street Life gallery.

Inside pictures (colour)

¤ Syd with (naked) Iggy.

Syd wears a brown jacket, a yellow shirt, and reddish trousers. These are about the same clothes as on the outside session (the shirt may be different). Some cut-outs of these pictures can be found in our gallery: Bare Flat.

¤ Syd without Iggy.

Syd with blue tie-dyed t-shirt, red trousers, necklace and daffodils. No shoes. Other pictures have him sitting on the mattress, drinking coffee.

¤ Syd kneeling shirtless on the floor.
¤ Syd and his record player.

Barrett is shirtless, wears his red trousers, has the necklace (at least in one picture). Should you care to know, the record player in his room is a Garrard SP25 MK2 (thanks mrlimbo!) and the record on the player is from the soul label Direction, a subsidiary of CBS (thanks infantair!). (Information grabbed from Late Night.).

A few of these pictures appear on the inner sleeve of the double album Syd Barrett, but none have been directly credited to Mick Rock (the credits go to Blackhill, Lupus, SKR and Hipgnosis).

Update 27 December 2012: It took some time but Göran Nyström (from Men On The Border) and Giulio Bonfissuto have found enough evidence to conclude that the record on Syd's turntable is Taj Mahal's The Natch'l Blues. They did this by comparing the tracks that are visible on Mick Rock's pictures with the track listing of the record: "4 rather equally short tracks first and then one that is longer. This should be the album". (Source: Göran Nyström at Laughing Madcaps [dead link]. Other source at Late Night forum: Syds Record Player!)

Inside pictures (B&W)

¤ Syd with record player and trimphone.
¤ Syd sitting on mattress.

Syd is wearing a tie or a scarf, a tie-dyed t-shirt and a different pair of trousers (dark with rows of lighter spots). A newspaper and a trimphone are lying next to the mattress. The record player has got a different record (the one with the Direction label is lying (unprotected) underneath another one). There is no sign of Iggy in this series.

¤ Iggy nude study.

The (in)famous series of Ig. No sign of Syd here. This series can be found in our gallery: Rock Bottom.

(The Lost in the Woods home movie, probably made by Mick Rock, has Syd walking around in a yellow shirt and blue jacket and trousers. For completists: the yellow shirt is not the same as the one he is wearing on some of the pictures mentioned above.)

THE HIPGNOSIS COLLECTION

The only way to consult the Hipgnosis archives is to wade through record sleeves and the books from Storm Thorgerson, as most of the negatives have been misplaced through the years.

The best overview of Storm’s pictures on that day can be found on the inner sleeve of the compilation album Syd Barrett that appeared in 1974. Thorgerson has the following to say about its cover: "I made up the design from photos already taken at The Madcap Laughs session and added special insignia."

Outside pictures (colour)

¤ Syd leaning against car (with guitar case).
¤ Syd sitting on car.

Storm Thorgerson took a few colour pictures during the outside sessions. One of these pictures was used for the cover of A Nice Pair (Pink Floyd compilation album, that has had different editions with slightly different covers). Another picture can be found on the following Church page: When Syd met Iggy...
Update 2001 02 19: Iggy has confirmed to the Church that she took the Polaroid picture of Syd Barrett sitting next to the car: Give birth to a smile... 

Inside (B&W)

¤ The yoga session.

Syd sitting shirtless and shoeless on the floor and showing his gymnastic skills. Update October 2010: the Church is now of the opinion that the yoga pictures may have been the 'real' autumn Madcap Laughs cover shoot, commissioned by Harvest director Malcolm Jones, when the album was in its final stages: The Case of the Painted Floorboards 

Inside (colour)

Until now we only knew the pictures that were used for The Madcap Laughs and for the Crazy Diamond CD compilation.

¤ The Madcap Laughs front.

Syd, shoeless, in blue shirt and pink trousers crouching (daffodils in front of him). A bigger version of this photograph can be found on Crazy Diamond. (See also: Stormy Pictures.)

¤ The Madcap Laughs back.

Syd with yellow shirt and necklace (in red trousers) with Ig leaning artistically on the chair. A bigger version of this photograph can be found on Crazy Diamond (Syd Barrett CD box, 1993).

¤ Syd in brown jacket, sitting on the floor. Ig walking towards the chimney.
¤ Syd with a toy aeroplane (and daffodils) in front of him.

This last picture can also be found on A Nice Pair, but not on the edition that has the Syd Barrett car picture (several version of the Nice Pair sleeve do exist, as you have figured out by now).

According to the above information the four pictures that were sold on eBay belong to the Hipgnosis collection and not to Mick Rock.

1. Picture one is the famous Madcap Laughs front-sleeve but in its entirety.
2. The second picture, with Syd and a toy aeroplane, has also been published before, but this version is not cropped and shows more of the surrounding room.
3 & 4. Pictures 3 and 4 have been unknown until now and have never been published before.

The four pictures were sold for a mere 127.00 £. The Church duly hopes that the buyer is an authentic fan who will share hi-res scans with the Barrett community.

The seller of the pictures has previously sold one other Syd Barrett photo from the same session. It was un unknown picture of Syd sitting on his Pontiac, taking away, once and for all, the rumours that his car was bright pink. The Reverend wonders if claytonpriory still has other pictures to sell, perhaps with Ig on the background, although it is of course regrettable that the collection is divided and sold in separate pieces.

Did this post confuse you?

It confused the Reverend as well, especially when he found out that one picture, entitled to Mick Rock, actually needs to be credited to Hipgnosis. Or is it the other way round? That will be discussed in a later post: A Bay of Hope (update).

2022 update

December 2022 had a new update concerning Syd's record player: I call him Garrard.

Until then, my brethren and sistren, live long and prosper and don’t do anything what Ig wouldn’t have done.

Sources (other than the above internet links):

Thorgerson, Storm: Mind Over Matter, Sanctuary Publishing, London, 2003, p. 204.

A new gallery, called StormWatch has been made and contains the Madcap pictures, made by Storm Thorgerson and discussed in this entry. Play the Storm Thorgerson or Mick Rock Iggy picture quiz!

The second part of this article can be found at: A Bay of Hope (update).

In a previous post at the Church the Reverend tried to catalogue the different pictures that were made in Syd Barrett’s flat for the so-called Madcap Laughs sessions.

It is believed that the (first) session took place in April 1969. Two photographers arrived at the same day at Barrett’s apartment. They both took pictures while Barrett was posing, sitting on the floor of his flat, and with Iggy, a friend, a groupie or a temporary muse walking around in the nude. None of the boys seemed to be distracted by that. The Sixties were strange days indeed.

That is why there is a certain similarity between the pictures from Storm Thorgerson (Hipgnosis) and Mick Rock. It has also been hinted that Mick Rock gave some of his film rolls to Storm Thorgerson for further use as he apparently thought he had been hired for the job. The stuff they were smoking was still good in those days.

Dixit Rock one of his pictures appeared (uncredited) on the Barrett (solo) album and also the inner sleeve from the Syd Barrett compilation shows several Mick Rock pictures. Mick Rock would later occasionally work for Hipgnosis and if the Reverend remembers it well the portraits of Pink Floyd that can be found on Meddle are his work (although you won’t find that story in Thorgerson’s Mind Over Matter compendium).

Dark Globe spoke to Storm Thorgerson about the cover of The Madcap Laughs (probably at Borders, Cambridge):

I once had a chat with Storm at one of his exhibitions, where I mentioned that many people thought that Mick Rock photographed the Madcap cover. He expressed a mild annoyance that anyone would think so.

He then jokingly signed my copy of his book 'NOT Mick Rock, but Storm Thorgerson'.

When I asked if he would consider publishing a book of his Syd photos, he told me the originals were all lost. It was clearly a subject he didn't want to discuss so I didn't ask any more about it. I've since read interviews with him where he says he doesn't like talking about Syd. Which is fair enough. (Taken from: ‘New’ Mick Rock Syd photos?)

Beate S. had a similar experience, but with Mick Rock, when she wanted him to sign the cover of The Madcap Laughs album at Borders, Cambridge (also on the 1st of November 2008):

[Mick Rock] said something like "Can't very well sign something I didn't do, can I", grinned a bit shy and flipped through the little booklet and signed. I can't remember the words exactly… but he was not ironic at all, just telling the truth.

Later that same evening Beate had a chance to talk again to the photographer:

He was indeed serious about the cover not being his, no doubt about that. Later that evening at the party when we found out he was a really nice bloke, I admit I did not of course inquire any further as that would have been very rude in the setting. (Bea S., Mick Rock signing, email, 2 November, 2009.)

It is also possible that some of the photo sessions by Rock or Thorgerson were made on a later date. Mick seems to remember that he might have come back another day to do some extra shots, and there is also the Lost in the Woods home video, shot by Mick Rock, with Syd, Ig and a mysterious brunette. When the photographer came back a few weeks later to show Syd the pictures Iggy was gone and Syd’s mind was far further away than ever.

Storm Thorgerson was also a close friend of Syd, a friendship dating from their Cambridge days, and he may have visited him on other occasions as well. Storm took some photos later in the year (the so-called yoga pictures) and maybe this is how the legend came into place that The Madcap Laughs photo session was made after summer.

But this is of course all speculation and memories have become quite blurry through the mist of time.

The Church regards the Thorgerson versus Rock controversy as settled and until no further images miraculously appear this subject is considered closed. The Storm Watch gallery on this blog has been updated with some new pictures and one Thorgerson picture that had sneaked into the Mick Rock Bare Flat gallery has been identified as such (that same gallery also has been updated with another hi-res scan).

Sistren, brethren, we don't need the Reverend's groove thing

And now make place for some important theological matters. In the past the Reverend has addressed the believers on this blog with brethren, using this term for all believers whether they were male, female or all things in between.

At a recent congress of our arctic coven (and beyond) it was uttered that brethren is an archaic form destined for men only and that our female followers should be addressed accordingly. The arctic coven unanimously voted to use the term sistren (up against brothress) and the highest level of our church authority has now approved their plea.

Most of the texts on this blog have now been updated and the believers will be alternately addressed as sistren and brethren (or brethren and sistren). These archaic plural forms will also be used to designate one single member, as in the next example: Iggy was our first skyclad sistren after all, wearing her uniform with pride.

Further projects

The Church has got quite a few new projects in the pipeline as people from all over the Globe are suggesting subjects and people to talk to. The next article will probably delve deeper into the Cromwellian days. The Church managed to trace back one of the people who worked at the club and some memories might be published here shortly.

So until the Reverend has got something new to summon he blesses you, sistren and brethren, and don’t do anything that Ig wouldn’t have done.

Update 18 December 2011: added Mick Rock's signature from the collection of Beate S. A high-res scan can be found at our Storm Watch gallery.

2022 update

December 2022 had a new update concerning Syd's record player: I call him Garrard.

Last week The Holy Church of Iggy the Inuit published the incredible news that Iggy had been traced back. This was a world exclusive as no other news medium had reported this before.

The news that Iggy had been found was, unfortunately, also all there was to say. Although discreet investigations were done it was soon made clear that she wanted to stay anonymous and that she didn’t want to blow her cover. A short interview was out of the question, even for Mojo magazine and Mark Blake who triggered these latest events.

The Reverend is by all means not a souvenir collector who wanted to ring at her bell like all those true fans used to do at Syd Barrett’s door and her wish to be left in peace was immediately and unconditionally granted.

In September 2008 The Croydon Guardian published an article about Iggy after the Church had contacted the newspaper to get more information about The Orchid dancehall in Purley: Where did she go?  This article unearthed some unpublished pictures by Anthony Stern that were later shown at The City Wakes festival in Cambridge and was also mentioned in the March issue of Mojo.

Kirsty Whalley, the journalist who brought us the first Iggy article in The Croydon Guardian, has now managed to interview Iggy, an interview that can be found in today’s issue of this newspaper.

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.

The Church will not publish the entire interview in its columns - for at least a week - as it can be consulted at the following websites:
Croydon Guardian Tracks Down Elusive Rock Star Muse (The Croydon Guardian)
Croydon Guardian Tracks Down Elusive Rock Star Muse (This Local London)

In the next weeks however the Church will scrutinize the interview, and comments will be added where appropriate. For the moment all we wish to say is hip hip hurray to Kirsty Whalley!

In The Purloined Letter (1845) from Edgar Allan Poe dozens of intelligence officers search a room to recuperate some blackmailing material but they fail to locate it. Enters C. Auguste Dupin, probably the very first detective in fiction, who simply picks the letter from a card-rack. It had never been concealed but as the policemen had been looking for a hidden object they never cared to check the paper, lying out in the open.

Paintbox

When the Holy Church of Iggy the Inuit started its mission it was generally believed that The Madcap Laughs photo shoot had taken place in the autumn of 1969.

Why?

Mainly because every Pink Floyd and Syd Barrett related book said so and - for over 30 years of time - nobody had ever cared to check the facts. (Also Rob Chapman's A Very Irregular Head biography, that has just appeared a couple of days ago, situates the floor paint job and thus the photo shoot somewhere between August and November 1969.)

Of course the witnesses saying that the shoot had taken place in the last quarter of 1969 were quite privileged authorities on the life and works of Barrett and thus their testimonies have never been questioned (and as we will reveal later, their comments may be - partly - true).

Malcolm Jones was the Harvest manager who partly produced Barrett's first solo album and who wrote an acclaimed (for Syd fans anyway) book about these sessions.

One day in October or November (1969, FA) 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. (…) Syd was well pleased with his days work and I must say it made a fine setting for the session due to take place.

And in his Psychedelic Renegades book Mick Rock writes:

We shot The Madcap Laughs in the autumn of 1969 and I don’t think that Syd and Duggie Fields had been living in the flat that long. (…) Soon after Syd moved in he painted alternating floor boards orange and turquoise.

The above contains a contradiction, although Mick Rock probably isn't (wasn't) aware of that. Syd Barrett, Duggie Fields and a third tenant called Jules moved in the apartment in January 1969 (perhaps December 1968) and certainly not later. A while later Jules was kicked out because he didn't pay the rent.

Duggie Fields recalls in The Pink Floyd & Syd Barrett Story that the floorboards were painted 'quite quickly' after they had moved in and said in the Mojo Madcap issue:

When Jules left Iggy came soon after and she wasn't there for long. Jenny Spires (Syd's ex) brought her round. Iggy was just around, she didn't officially live here.

JenS has indeed confirmed to the Church: "I took her (Iggy) to Wetherby Mansions in January 1969." (Did the Reverend ever tell that it was thanks to biographer Julian Palacios that the Church got in contact with her?)

It is hard to remember things after 40 years, and even harder to pinpoint an exact date for certain events, but JenS certainly wasn't in England anymore in April as she had left for America, and by then the floor boards had already been painted. "When Syd and Gretta et al went to The Isle of Wight Trina - Gretta's sister - and I were in America and heading for the Woodstock Rock Festival."

Also Iggy (or Evelyn, in her interview with the Croydon Guardian) and Margaretta Barclay (in her interview with the Church) remember the painted floorboards. But opinions differ whether the floor boards were painted with a photo session in mind or not.

Gunsmoke

Just like several (tiny) details in the pictures have given away the possible shooting date, the answer may lie in the pictures themselves. What most people, including the Reverend, have neglected to do for the last 40 years was to look for the obvious. Not so for Late Night member and Syd Barrett collector Dark Globe:

After reading Jenny Spires's claim that the floorboards were painted when Syd moved into the flat, long before the Madcap photo session, I had another look at some of the photos. (…)

The 'smoking gun' for me is the can of paint and paintbrush which appears in one of the Madcap session photos: this would imply that the floorboards had only been painted recently.

Of course, it could be that he was only 'topping them up' but it certainly looks like he (and maybe Iggy) had done some painting close to the session.

The photographic evidence is there. The Mick Rock pictures from Syd Barrett's room not only reveal that parts of the floor had not been painted yet but also show that a can of (blue) paint and a big paintbrush are hiding next to Syd's mattress, together with a coffee mug and an empty wine glass.

At least two Storm Thorgerson pictures from that spring day show the paint can as well. The booklet of the Crazy Diamond Syd Barrett box shows the (partly cut off) can at the left side of the picture and the print of the so-called toy plane picture that was sold on eBay in November last year has it in full. It is a pity that only a very small image of this print exists and that its owner, if (s)he is aware of its existence, still hasn't donated some hi-res scans to the Syd Barrett community.

Dancing Barefoot

Whilst Mick Rock was at it he also took some 'nude study' pictures from Iggy but this time the Reverend will not get exited over her churrigueresque features but over her dirty feet. Her feet are black (or should that be: blue?) and probably she had been walking barefoot over the wet paint.

Stating the obvious is difficult when one is too concentrated on a subject. Church member Banjer and Sax found a simple explanation why painting a floor in two different colours will take several days or even weeks:

Maybe it took several days to complete the job, more than two days, and they would not necessarily have to have been consecutive days. So maybe days passed or even months passed between different phases of floor painting. It seems like it could have been difficult to do both colours at the same time.

The logical thing to do is indeed wait for the first colour to dry before starting the second colour. But the mystery of The Madcap Laughs photo shoot only gets bigger and, as usual, archbishop Dark Globe is to blame:

There was more than one photo shoot though. A second photo shoot (not by Mick Rock, but by Storm Thorgerson, FA) shows Syd doing yoga and posing in front of one of his paintings. The floorboards are painted in these photos so they were probably taken sometime after the session with Iggy. Syd's hair is a noticeably longer in these photos too.

These pictures were used by Hipgnosis for the cover of the vinyl compilation Syd Barrett. It is obvious that they were taken on a later date: the floor seems to be completely painted, but also the room has been reorganised. While the far left corner on the daffodil session pictures is empty it suddenly contains some canvas and paint during the yoga session pictures.

The Church already hinted in a previous post:

Perhaps Storm took some photos later in the year and maybe this is how the legend came into place that The Madcap Laughs photo session was made after summer.

This is not as far-fetched as it seems.

Autumn Photo Session

Mick Rock states: "This '69 session was specifically done for Syd's first solo album, The Madcap Laughs" and Storm Thorgerson more or less claims that Hipgnosis had been summoned by record company Harvest to do the cover.

But if the daffodil photo shoot really took place, as proposed by the Church between the 14th and 21st of April 1969, Syd Barrett had only been at two, maximum three, recording sessions for the album. (If only we could find out the date of the newspaper lying next to Barrett's bed?)

It is hard to believe that Harvest would approach Hipgnosis after three studio sessions, especially as Syd Barrett was still regarded as a liability. Between May and July of the previous year Barrett had wasted eight recording sessions and basically EMI had given up. Peter Jenner:

It was chaos…. (…) There were always these tantalising glimpses and that was what kept you going. (…) I think we just came to the conclusion that we weren't getting anywhere.

So although the April 10 and 11 sessions of 1969 had been very promising (and the one on the 17th as well) it is unlikely that the managing director of Harvest was already thinking he had chart material. And quite rightly so, because the fourth session was disastrous and has been used in books and articles to emphasize Syd's lunatic behaviour. And it wasn't getting better...

Different people tell different stories but the bottom line is that less than a month after the first (April 1969) recording session Malcolm Jones simply gave up. David Gilmour, who took over the producer seat in June, maintains until today that he was asked to salvage the sessions from the dustbin, although Malcolm Jones has tried to minimise this and claimed that the Madcap project had not really been shelved.

It was already August 1969 when the Cantabrigian Pink Floyd members started (stereo-)mixing the tapes, and as the band had a busy schedule and wanted to have some holidays as well, it would take until October for the master tapes to be ready. Now here is what the Reverend calls an appropriate moment for the record company to commission a sleeve.

Summer 1969. Harvest hotshots ask Hipgnosis to design a sleeve for the album that is in its final mix. Storm Thorgerson goes to Syd's flat to take the so-called yoga-shots, but decides later, for whatever reason, to use the (Mick Rock influenced) daffodil-shots instead. (Probably when Thorgerson presented the sleeve to Harvest, he didn't tell that the pictures came really from a photo shoot earlier in the year. That's how we know Storm.)

A legend is born.

We leave the last word to JenS who was so friendly to contact us again:

It's truly astonishing about the floor! All I can say is the floor had already been painted when I arrived. (January 1969, FA) There were parts of the room unfinished in the bay window and to the right hand corner of the room and fireplace where Syd's bed was originally and where Iggy is poised on the stool. I guess they must have had to paint these remaining bits before the shoot. They may also of course given it a second, more refreshing coat for the shoot. Interesting, bit by bit a more accurate picture is emerging.

To accompany this article a new gallery has been uploaded: Paintbox.

A sequel to this article created a great rift in Syd Barrett-land: The Case of the Painted Floorboards (v 2.012)

Many thanks to: Dark Globe, Banjer and Sax, JenS.

Sources (other than the above internet links):
Chapman, Rob: A Very Irregular Head, Faber and Faber, London, 2010, p. 235.
Drummond, Paul: In My Room, Mojo 196, March 2010, p. 82. Direct link to the scanned pdf document (hosted at the Church).
Fields, Duggie interview in: The Pink Floyd & Syd Barrett Story, DVD UK Ltd 2005.
Jones, Malcolm: The Making Of The Madcap Laughs, Brain Damage, 2003, p. 13.
Parker, David: Random Precision, Cherry Red Books, London, 2001, p. 136, p. 138.
Rock, Mick: Psychedelic Renegades, Plexus, London, 2007, p. 18-19, p. 58. The paint can pictures can be found at pages 72, 76, 83 and 84. Iggy's dirty feet on page 69.

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 Blues.

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?

Storm Damage

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.

Tracks Revisited

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 by Blade's 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).

Update December 2019: Peudent, over at Late Night, had some fun remastering the 2010 version of Syd Barrett’s Here I Go. This version has got no fadeout and the ending can now be heard at full volume. URL: https://voca.ro/3O3YGCsdWT7

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.

R(h)amadan

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' storm troops.

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.

Conclusion

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. 132-133.

The Introduction album and Rhamadan track are further discussed here:
Introduction at Late Night
Introduction at NPF
Rhamadan at Late Night
Rhamadan at NPF

A review of the 40 years anniversary edition of the Piper at the Gates of Dawn can be found at Fasten Your Anoraks

(This is Part 2 of Mark Blake's Iggy the Eskimo article, for part one click: EXCLUSIVE: The Strange Tale Of Iggy The Eskimo.)

Words: Mark Blake.
Pictures: Iggy Rose, Chris Lanaway.
Date: 20 January 2011.
Previously published on mojo.com.

While there are many reports of Barrett being withdrawn and even aggressive at this time, Iggy remembers it differently. "People talk about Syd's madness and his dark side, but I never saw it," she states. "We had a wonderful giggly time. There were no sinister moments." Only briefly did she glimpse a more troubled side to his personality. "One day, he said to me, 'How do you feel? Are you sad?' I was naked, and he went and got some paint and painted two great big eyes on my breasts with two tears coming down, and on my belly button he painted an arrow and underneath that a picture of me with a big belly, and said, 'There could be life in there. I could give you life.' But I didn't want that at all. So I panicked, and scrubbed it off." He was also uncomfortable with some aspects of fame, as Iggy discovered on a night out with Syd to The Speakeasy, a music-biz haunt in Margaret Street. "We'd persuaded Syd to go, but it was full of posers," she admits. "There were a few of us there. Someone asked the DJ to put on See Emily Play, which was a stupid thing to do." A hit for Pink Floyd more than two years before, the dance-floor cleared. "So I went on and started dancing, but Syd ran off. He was obviously very sensitive about it all."

"We had a wonderful giggly time. There were no sinister moments."

In March '69, Barrett began recording The Madcap Laughs at Abbey Road, but his erratic behaviour in the studio resulted in Roger Waters and David Gilmour helping to oversee the sessions. Gilmour was now living in Richmond Mansions, a block so close to Wetherby Mansions that he could almost see into Syd and Duggie's kitchen window. One evening, Syd announced that he had to go out. Iggy wanted to go with him, but Barrett insisted she remain at the flat. "I think I thought he was seeing another woman," she says. "I got a bit jealous, a bit pouty - very silly. Duggie knew where Syd had gone but wouldn't tell me." With Syd gone, Iggy decided to pay a visit to David Gilmour instead. Fields helped Iggy back-comb her hair, plaster her face with make-up and paint her lips black. "I looked like Medusa. Like a banshee. Duggie then took me round to Dave's place. Dave was very beautiful and very cool, and his flat was nicer than Syd and Duggie's - it was warmer for a start. Dave opened the door, took one look at me, but didn't bat an eyelid."

When Iggy walked in, she saw Syd sat in Gilmour's living room. "I went in, shouting, 'OK, where is she?' thinking there was a woman hiding in one of the rooms. But, of course, the meeting had been with Dave about the record they were making together." Barrett left Iggy with Gilmour, but rather the worse for wear, she knocked the stylus on his record player accidentally scratching his copy of Pink Floyd's brand new album. "I have no idea what album it was, only that it was their new album," Iggy sighs. (The likely candidate seems to be Soundtrack From The Film More) "So Dave threw me out... If he ever reads this I would like to say sorry for scratching his record." Back at Wetherby Mansions, Barrett was unfazed by her planned defection: "Syd just said, 'Come in love, and I'll make you a cup of tea'. How sweet."

By now, Barrett had prepared his bedroom for The Madcap... cover shoot, painting most of the floorboards orange and mauve. On the morning of the shoot, Syd asked Iggy to help finish the job. "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." When Rock arrived with the Floyd's sleeve designer Storm Thorgerson to take the photos, a naked Iggy went to put some clothes on. "But Syd said, 'No, don't'. That was his wicked sense of humour. I put the kohl around his eyes that day and tousled up his hair: come on Syd, give us a smile, moody, moody, moody! But he knew exactly what he was doing. He was as sharp as anything. He set the tone. He was the manipulator."

"Syd just said, 'Come in love, and I'll make you a cup of tea'. How sweet."

Iggy joined Syd for further photos outside the flat. Later, Rock recalled showing Barrett one of the pictures and Syd mysteriously scratching around Iggy's image; an act that has acquired some significance among Barrett's more earnest devotees. "They're making something out of nothing," she insists. "Later on, Syd showed me one of the pictures and said, 'You like that one, don't you? I know why, because of your cheekbones'. I think I was sucking on a cigarette, and, yes, I was being vain, I liked the way my cheekbones looked. So he tore the pic in half and gave it to me. There was nothing more to it than that." Strangely, Iggy also recalls other photographs being taken that day, which have never appeared since. "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."

Before long, Iggy had drifted out of Wetherby Mansions and out of Syd's life as quickly as she had drifted in. When she returned later, Duggie told her: "Syd's not here. He's gone back to Cambridge. Don't bother trying to find him." She never saw him again, and is adamant she only became aware of her presence on the cover of The Madcap Laughs after being phoned by the Croydon Guardian: "I went to a boot sale with my husband... When I saw the cover, I thought, Oh yes, that is my bottom."

Although the stories of her marrying a rich banker and joining a religious cult are untrue, there is a kernel of truth: after Syd, Iggy began seeing a wealthy businessman who was also a scientologist. However Duggie Fields' recollection of spotting Iggy climbing off a bus in a gold lamé dress is not in dispute: "It was a beautiful dress that cost £50." Still a fixture on the music scene, Iggy recalls accompanying Pink Fairies' drummer Twink to the Isle Of Wight Festival and turning up "for the very first Glastonbury... ". But in 1978 Iggy married her husband, Andrew, and "left that life behind me".

"I heard on the radio that Syd died, and I felt sad, but it was so long ago," she says. Since reading about those times in MOJO, the memories of the people and the places have slowly come back to her. "Mick Rock took some beautiful picture of me," she smiles. "But, of course, I wish I'd been paid some money for them. Still, it is amazing that people have been looking for me... and that someone has even set up a website. I still don't know what to make of all this." The fascination continues. Last week, Iggy called to tell me she had found a poem online written about her by a professor at a university in Missouri. "And it's in French," she said, sounding astonished. "'Iggy l'esquimo, Fille De Le Space'...it goes. I never believed anyone would ever write a poem for me."

by Mark Blake (www.markrblake.com)

Thanks to: Felix Atagong, Jeff Dexter and Anthony Stern

Previously published on mojo.com. Many thanks to Mark Blake for allowing us to host this article.
♥ Iggy ♥ Libby ♥

The Church of Iggy the Inuit may not have as many adherers as, let's say: the Lady Gaga fanclub, but we're quite happy with it. Iggy (Evelyn) has earned a place in our hearts and that not only for that COD (Crusty Old Dinosaur) of a Reverend. It constantly amazes us that - even today - young people still discover Ig's beauty and joyfulness, as proven in the following letter:

Dear Iggy,

Thank you for the wonderful interview and for the lovely new photos you shared with us. It was really endearing of you to talk about your relationship with Syd. It was nice to hear you guys had a wonderful time together. It was really nice on your part to also share your experiences during those days; the people you met and the places and festivals you attended.

I would also like to say you still and always will be a beautiful model to me. I love all your beautiful pictures, (you look like a beautiful princess with the white dress) and the short film clips we have of you on the web. You truly are a fun and lovely person.

Thanks again for opening your heart to us and I wish you the best in life

Griselda, California, USA

When the lady smiles

Yesterday the Reverend came across her unforgettable smile again that has been immortalised in a Look At Life documentary from 1967 called: IN Gear. An unconfirmed story goes that Granada Television burned about 500 Look At Life originals (and negatives) at a certain point in history. Luckily several (restored) movies have been issued on DVD recently, although it could be that some documentaries have been lost forever. Nobody really knows really. But the IN Gear movie is still available on the Swingin' London DVD, while the stock lasts, as the company that distributed them did the indecent thing of going bankrupt. (More to read at: Iggy Goes Shopping.)

Not only the Reverend is susceptible to her laugh, also a kid named Syd Barrett kinda liked her. One spring-day in 1969 Mick Rock and Storm Thorgerson knocked at Syd's door to take the pictures that would later adorn The Madcap Laughs. A lot has been said about this photo-shoot, also at the Church, and it is the Reverend's impression that the truth still hasn't fully emerged, mainly due to the fact that both photographers have slightly different memories about it all and are, still after all these years, arguing like young boys to make out who has the biggest one. (It was then that the Pink Floyd composed their track: Careful with that Pentax, Eugene). But be cognisant, brethren and sistren, that no storm will stop the Church and that the Reverend will leave no rock unturned. (More to read at: Storm Rock Pictures.)

Enough dilly-dallying Syd Barrett thought that day, let's take those pictures and let's get on with it. Iggy, feet still dirty from the freshly painted floor, was there to help him:

I put the Kohl around his eyes that day and tousled his hair: Come on Syd, give us a smile, moody, moody, moody! But he knew exactly what he was doing.

Indeed, Syd Barrett put himself into Arthur Rimbaud mood and refused to smile on the pictures. With hindsight one could link that to the title of his first solo-album, only that album didn't have a title yet and most of the tracks still had to be canned. After a while the action was moved to the outside, probably at Mick Rock's demand. Several of these pictures, with Syd and Ig, have appeared in Rock's Psychedelic Renegades book and some can be consulted at our Street Life gallery, although it needs to be said that the Church has done its utmost best to remove that Syd Barrett character from the pictures and to put Iggy at its focal point.

It is also believed that Storm Thorgerson joined the lot and that he took the few colour pictures that have survived us into the third millennium. In a previous post the Church discussed these (and all other) pictures of The Madcap Laughs: A Bay of Hope (2009, already!)

Gentle ladies take Polaroids

One of the outside colour pictures (to be found on some versions of the vinyl compilation A Nice Pair) show Syd Barrett with a broad smile as if his serious mask had finally been shattered to pieces. Who or what had penetrated his defence barrier?

When this picture was discussed a while ago at the Late Night forum Dominae suggested:

I'm almost certain it is from a Polaroid. I wonder if Iggy took it? It's so rare to see a broad smile. (Taken from Photo Upgrade at Late Night.)

But this proposition was almost immediately abandoned as being a lot of rubbish, until on Valentine Day of this year, Iggy told the Church through Mark Blake:

Yes, it was me that took the picture of Syd smiling in the street.

Two days later she added some further explanations:

Well spotted Dominae. I was the one who took the picture. I think Mick Rock handed me the Polaroid. I remember squealing with delight when the photo appeared. It was the first time I had seen a Polaroid.

Also her encouragements towards Syd to finally break into a smile ("Come on Syd, give us a smile, moody, moody, moody!") was probably uttered on the street with the Polaroid in her hand and not above in the flat, as she previously told Mark Blake. Her softly spoken magic spells had finally laser-beamed through Syd's defence shield and Mick Rock turned the magical moment into some portraits where the mad-cat really laughed (see Psychedelic Renegades, page 33) .

But this still doesn't account for the fact how on earth this photo ended up at the Hipgnosis archives (together with quite a few Mick Rock prints). Perhaps the Polaroid belonged to Storm Thorgerson as Mick Rock only had a second-hand 35mm camera that he had bought from Po (Aubrey Powell). Nothing to get worried about now, but it might be a sweet revenge to know that for decades, people thought they had been looking at Syd Barrett: taken by Storm, while it really was: Syd Barrett, taken by Iggy.

Update 2011 02 21: the quite exquisite (but hyper-expensive) Barrett coffee-table book will have some Storm Thorgerson outtakes of The Madcap Laughs photo-shoot as well. Dark Globe already had an exclusive preview of this work and commented:

This [solo years, note by FA] section starts with a brace of very rare photos from the 'Madcap Laughs' session taken by Storm Thorgerson. These were taken at the same session which is documented in Mick Rock's 'Psychedelic Renegades' book and most of them haven't been seen before. Perhaps the best of the lot is the one of Syd sitting on the painted floorboards and smiling broadly (perhaps at Iggy?) (Taken from: The 'Barrett' book - a preview.)

Stand by me

Before we end our sermon, dear sistren and brethren, just another thing. Last year the Church suggested that Iggy could possibly be found on a John Lennon portrait that was taken during a party at the Cromwellian in January 1967. To know the outcome, please follow the guide and head your browsers towards the following path: Dr Death and other assorted figures...

And for the meantime, don't do anything that Iggy wouldn't do.

The Church wishes to thank:
Mark Blake, Dark Globe, Dominae, Griselda and the beautiful people at Late Night.
♥ Iggy ♥

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 Dutch.

"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 madcap laughed 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 Gilmour.

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 Bosworth field.

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 following poem:

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!”

This contains a quote from The Wind In A Frolic by William Howitt:

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 the album.

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 Blues.

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 the winter...

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.

Good Vibrations

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 crime Mark 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.

Just try the following reviews of French Pink Floyd or Syd Barrett books on this blog and you'll know what I mean:
Si les cochons pourraient voler… 
Cheap Tricks 
Barrett: first in space! 

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 straight.

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 enjoyable read.

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 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 sessionography 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 Two.

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 Four.

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 colleague.

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 Seven.

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 Eight.

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.

Camera Kids

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 well:

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 quote:

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. PDF version, hosted at the Holy Church of Iggy the Inuit.
Update April 2015: same article hosted at Late Night.
Parker, David: Random Precision, Cherry Red Books, London, 2001, p. 126-138.

First of all, happy New Year sistren and brethren of the Church. These wishes do not only come from the Reverend but also from our mutual point of adoration, our nadir and zenith, Ms. Iggy Rose. With every contact she proves to us that she still is extremely exuberant, hilariously silly and all together daft as a brush (all used in a non-pejorative way).

Today, the 6th of January, is a special day as well for Sydaholics all over the world and it rejoices us that Iggy has been a part in the life of the diamond. Our wish to you, dear Iggy, is not to change a bit, because wherever you walk rainbows magically appear. We take the small inconvenience for granted that our ears are ringing when we lay down the phone. Keep on shouting to the world, Iggy, not only your anger, but your happiness and joy as well.

Somewhere near the end of 2010 the Reverend was invited by the webmaster of the Spanish Syd Barrett blog Solo en las Nubes (Alone in the Clouds) to produce a so-called auto-interview. You can read the original Spanish version of this slightly ludicrous interview at Autoentrevista - Felix Atagong: "Un hombre sincero" and an English version was later published at the Church (Felix Atagong: an honest man).

So now it is about time for La Sagrada Iglesia de Iggy La Esquimal to return the favour. Antonio Jesús Reyes from the Spanish Syd Barrett blog has finally found the time to add his version of the truth and nothing but the truth.

Antonio Jesús Reyes, a new career in a new town

Tell us about your Syd-Floyd connection. How did you end up living in Cambridge?

This is a short but complex story. I met an English girl in Seville whose mother was moving to Cambridge and I ended up going out with her… no, not with the mother! So, we decided at some point to move from Seville to Cambridge although I did not know what to expect.

Things began to get surreal when we went to the first City Wakes concert (2008). I was introduced to Rosemary Brent, and after the show we had a drink (without Rosemary). In the pub I introduced my girlfriend’s mother to a good friend of Syd, who had played the drums in Those Without (I remembered his name from a picture I saw years ago).

From that moment on, and for the rest of my stay there, these two years were sydbarretianly amazing. I nearly met every Cambridge mafia member in town. Two years after the end of it all, I’m still realizing that I was often ignorant of the fact that I met these people who had been part of Syd's and the early Floyd’s life.

So coincidentally Stephen Pyle almost became my father-in law. He told me lots of anecdotes. We talked about films, paintings, music and his work for The Rolling Stones, Queen, U2… I miss him most of all.

I worked with him at The City Wakes. One day he introduced me to Jenny Spires at Mick Brown’s and it was only after thirty minutes of conversation that I realized that I had heard that name before. She was quite kind to me and has an extraordinary good taste in music.

The Cambridge experience was incredible. My literary idol, Laurence Sterne, ‘studied’ where David Bowie played in the 70’s and… ...well, there are too many stories to tell them all.

My relationship finished some time after returning to Seville. Let me quote John Milton’s Paradise Lost, I can affirm that it is "better to reign in Hell than to serve in Heaven". My Cambridge bonds are mostly cut off now but I still appreciate the friendship forgetting they were connected to one of my idols.

How did you begin to listen to Syd-Floyd music?

I hope I can tell you in a chronological way:

First: in 1994 I was watching a documentary about the career of Pink Floyd. I remember someone saying something like “If we could make it without X, we can make it without Y”. I was reading or writing something while watching it, so I was not paying much attention. First there came a lot of noise from the TV speakers, which annoyed me… and then… a piece of music that was enchanting. It was A Saucerful of Secrets, performed live in Pompeii. It was a life-changing experience forgotten in a minute or two. I was a teenager, and it was summer, please, understand me.

Second: one day while listening to the radio, I heard a song that really touched me. It was 'Wish You Were Here’. I completely misunderstood every single thing the radio show host said and thought it was written by Syd Barrett.

Third: in a record store I found the Crazy Diamond Box. I quickly read the info and I remembered all I seemed to know about him. There was a mistake in the price as well as one of those boxes was priced 1700 pts instead of 7100 pts. You don't have to guess which one I bought.

When I got home, and listened to it, I did not like it at all. With the passing of time (a year or longer!!) I tried to listen to Opel and found that it was so different to the stuff I was usually listening to, that I got hooked.

By chance, a friend of mine lent me The Piper at the Gates of Dawn… I began to listen to Pink Floyd, the band founded by the Opel guy. At the time, I was studying English Language and Literature, so Syd was a source of knowledge here (Lewis Carrol, Hilaire Belloc, Edward Lear, James Joyce…).

Wontcha tell us about your blog?

Why not? It all began when I posted Here I Go, sung by David Gilmour on a radio show. I noticed this post got some visitors and as it was the only Syd blog in the Spanish language on this side of the universe, I decided to do something about it.

After some entries I added a device to translate the entries into other languages. I thought that other people would be interested in some of the posts like, for example, the ones offering essential and very good bootlegs. I even dared to share a home-made compilation of the Have You Go It Yet? series. Things are growing rapidly and news is becoming the core of the blog.

I also wanted to share things that haven’t got a place in the project I’m working on, that is, a book about Syd… which is going to be a quite hard task to do. Time & money, apart from Pink Floyd songs, are quite annoying. I cannot say much about this yet. There’s always the bittersweet risk of giving up, so don’t hold your breath, or you’ll suffocate. I’m trying to do my best, I swear.

The self-interview section is my favourite. I got Duggie Fields, some Belgian Reverend and Kiloh Smith to interview themselves for the blog and others are in the pipeline. It is not easy as you run the risk of being misinterpreted when choosing the subjects. Basically there are only two rules:

1. Have fun.
2. Free subject matters.

What's next? It was a surprise when I found that www.sydbarrett.org.es was free… so my blog points to this URL as well. One problem is that my computer skills are limited. I need designers for the bootlegs and layout artists for things unseen in the sydbarretian world. The number of visits is high, the collaborators are scarce. The pipe of the pipeline is going to explode.

Why Syd Barrett?

His music works like a hyperlink (a thing he has in common with David Bowie). It’s because of him that I got to know some writers I didn’t study at the university. His musical influences are quite rich. By scratching the surface you end up knowing lots of amazing musicians and albums like Zappa’s Freak-Out, Love’s Forever Changes, the works of Kevin Ayers, and The Byrds to mention a few. It made me fully appreciate other genres like psychedelic folk and blues. Syd's friend, Stephen Pyle, showed me to appreciate blues. He used to play Bo Diddley (whom he met once!), John Lee Hooker, Jimmy Reed, Buddy Guy...

With Barrett, I learned to see what’s behind a song. Some of those, for reasons we know, were under-produced (sometimes, even less than that) and yet they have reached a kind of status that will make them last forever. You know they are quite good songs even without a proper production, even with a quite imperfect performance.

Today, we see the contrary. No matter the means musicians have today, most of contemporary music seems to suffer from a dance song fate and their perishability is faster than the yoghourts in your fridge. There must be something extremely special in those under-produced Syd Barrett tracks, rougher than demos, that makes them what they are.

Tell us about your favorite music.

Recently, I’ve been listening to Kevin Ayers a lot, and The The. Also The Beach Boys are on my mp3 player. They are something special. The sound and the songs of The Beach Boys have a special quality which makes this music a kind of healing experience, the kind of help we need to survive modern life. …The Manics, Travis, Maximilian Hecker, Sun Ra… Spanish singer-songwriters like Nacho Vegas and Diego Vasallo… Good old rock and roll, like Chuck Berry, Jerry-Lee Lewis, Elvis…

You could say I’m a kind of David Bowie connoisseur. I collaborated on Nicholas Pegg’s The Complete David Bowie proposing some ideas I found interesting. I strongly recommend it. Bowie’s 1967 album is very avant-garde, and very ironic.

In general, I like artists who are innovative, like producer Joe Meek, and those who can transform the past into something completely different or revive it in a new and exciting way, like Suede.

What do you think about the recent Pink Floyd re-re-re-re-re-releases?

Those are not my cup of tea. These boxes have so much useless gimmicks and several music stuff is simply repeated! The unreleased material of every album could have been compiled in the way of The Beatles Anthology and then everyone would have been satisfied. The Pink Floyd vaults seem not to be very deep, but the treasures are so hard to get!

I understand that EMI intends to make business, however, at the same time and paradoxically, they don't make their customers happy. So what’s this for? To get cash and disappoint people? It makes people eager to download the stuff instead of buying it.

I don’t need a Piper / Saucerful Immersion set. I don’t want those marbles, I don’t need a scarf, I don’t use placeholders (I got plenty of them during my stay in Belgium). I haven’t got a Blue-ray player. In summary, I don’t want to create more needs… Do ya?

Would Barrett have become a second Bowie if only?

The otherness in Barrett could have derived into something different from Bowie or the other way round, but never would he have become a second Bowie. They would have provoked some kind of artistic turmoil in the best of the senses. Along with Brian Eno, both are (were) aware that "music is where you can crash your plane and walk away”. Songs like Arnold Layne, so childlike, or Astronomy Domine, with such an exciting and new sound, were made with a goal. Bowie and Barrett are the kind of artists carrying that old Monty Python sentence: “And now… for something completely different”. That’s what Barrett did most of the times. Every Syd tune was different.

Best memories of England?

It was all quite surreal. I remember walking on the grass of Grantchester Meadows, having coffee in The Cambridge Corn Exchange, and feeling like in a dream I had never dreamed, just because I was there by chance. I visited every place I had read about in the books, like St. Margaret Square. I also did the same in London, the three times I went there.

I arrived there in a sort of tele-transportation. I did not have the time to think of the things I knew I would see there. And surprises came in little by little; I did not know the grass of King’s College was the one mentioned on ‘Brain Damage’, for example.

I remember working for The City Wakes, restoring old magazine adverts for concerts and saying to myself… “What is this where I’m in??!!”. The result was part of a collage by Stephen Pyle (again), and it ended up on the wall of a jazz bar (and part of a postcard collection).

But life was not always easy for an immigrant. All in all it was a beautiful and wonderful bitter-sweet experience.

Apart from the aforementioned people… who else did you meet?

I met Storm Thorgerson during one of his exhibitions. I had some kind of problem with him. I had a City Wakes poster with me he made the artwork for and he put his autograph on it. I was going to leave, when he said “you have to pay 20 pounds”. I said I did not have a penny! And he let me go in a… special way.

I had the chance to meet Mick Rock, but I did not make the effort to avoid another disappointment. Steven Pyle and Mick met… and… during a chat in a bar, they removed a Syd poster from a wall and Mick dedicated it to me. Stephen said he was a very nice person, to which I thought… “****!”, it was like winning the lottery without having a coupon. A good summary of my stay.

What more can you say?

Not much. Visit Solo En Las Nubes using the translation tool or read it like that in order to improve your Spanish. There are a lot of surprises to come, not only for the Spanish speakers. Cool compilations, some material to read (in English too) and lots of music recommendations.

In the meantime, enjoy music.

© 2012 Antonio Jesús Reyes, Solo en las Nubes. Pictures courtesy of Antonio Jesús Reyes. Notes & Introduction : the Holy Church of Iggy the Inuit. Translation mistakes, typos and all possible errors are entirely the responsibility of the Holy Church of Iggy the Inuit.
♥ Iggy ♥ Libby ♥

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 truth.

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:

Did you understand the music Yoko?
Or was it all in vain?
(5.01 AM, The Pros and Cons of Hitchhiking)

and,

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 To Death),

...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.

Remembering Games

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 Gilmour, Nick 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 Blackberries
John Leckie, EMI engineer and producer (but not on Wish You Were Here)
Nick Sedgwick, friend of Roger Waters and 'official' biographer of Pink Floyd
Jerry 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...

(A more detailed article about Barrett's visits during the Wish You Were Here sessions, with pictures!, can be found at: Shady Diamond.)

Amnesydelicate Matters

In his most recent, but probably not his last, picture book about Syd Barrett Mick 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 durability.

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 and Hipgnosis, perhaps even leading to an alternative Storm Thorgerson photo shoot (the so-called yoga pictures). But in the end it was decided to use the daffodils session from spring.

JenS convinced the Church that the Madcap photo shoot took place in the first quarter of the year 1969. Most is dispersed on several articles throughout the years but the following posts give a digest of what probably happened: When Syd met Iggy... (Pt. 2), Rock - Paper - Scissors, The Case of the Painted Floorboards.

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 wasn't there."

JenS (When 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 different friends."

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 to record..."

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 pretty accurate.

JenS (Addenda and Errata with Gala and Gretta): "Gala was not there (early 1969, FA). She moved in later hooking up with Syd in May or June."

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 and turquoise."

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 released."

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."

Mick Rock (Syd Barrett - The Madcap Laughs - The Mick Rock Photo-Sessions): "There had been no discussion about money at all. Later on I did get a very minor payment but it couldn't have been more than 50£ and I don't know if it came from Syd or EMI."

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."

MP3 link: Duggie Fields.

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, see above.)

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 shine through.

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 shots."

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.

You have been reading a sequel of The Case of the Painted Floorboards. Two new - previously unpublished - Mick Rock pictures have been added to the Bare Flat gallery.

♥ Iggy ♥ Libby ♥

Despite the fact that the sixties children of the revolution all wanted to express their individualism and refused to be a part of the square 9 to 5 world they all managed to show up at the same places, dress virtually the same and take the same chemical substances.

This also applied for their holidays. Although they had been seeing each other the whole year in old rainy England, in summer they would pack their bags and flee – en masse – to the same cool (but sweaty) locations, following the so-called Hippie Trail.

The Hippie Trail extended to the Himalayas and several Cantabrigian hipsters made it to the Indies, looking for a guru who would teach them things a local vicar couldn't teach them. Paul Charrier, one of the Cantabrigian mods, beats or whatever denomination they liked that week, was one of the first to witness this. When he returned to England and opened his bag of tricks, he managed to convert a few others to the narrow path of Sant Mat, but others, like Storm Thorgerson and Matthew Scurfield, opposed to this 'wave of saccharine mysticism hitting our shores' (see also: We are all made of stars).

India and Pakistan were long and hazardous journeys and for those who only had a few weeks to spend there were always the Balearic islands where they would meet at La Tortuga or La Fonda Pepe.

Some 700 hippies arrived in Formentera in 1968 and by the summer of 1969 there were already 1,300, almost one for every 2.5 islanders. They didn’t stay all year round but were usually university students spending their holidays on the island. In 1970, Franco’s regime threw all 3,000 of them off Ibiza and Formentera. According to the regime, the hippies gave the place a bad name, but the islanders didn’t agree – for them the hippies were simply tourists. (Taken from: Thinkspain.)

Of course the islands of Formentera and Ibiza (Balearic Islands) already had some reputation of their own. The place not only gained popularity by (American) writers and artists after the second world war for its mild climate, but also because it was a central drug smuggling point. The heroes of Beat literature not only liked the bohemian's life, but in their quest for nonconformity they also actively sought contact with 'the perilous margins of society - pimps, whores, drug dealers, petty thieves'.

Quite some Dutch artists visited the place, for one reason or another. The proto-hippie-folk singing duo Nina & Frederik (Dutch-Danish, in fact), who had some hits in the fifties and early sixties, lived there. In his later life Frederik Van Pallandt attempted a career as drug smuggler and his murder in 1994 may have been a direct result. Other artist included poet Simon Vinkenoog, author Jan Cremer and Black & Decker trepanist Bart Huges. The sixties saw visits from the Beatles, the Stones and in their wake some beautiful people from London (for a more detailed list: Ibiza in the beatnik & hippie eras.)

1963

David Gale, his girlfriend Maureen, Dave Henderson, Storm Thorgerson and John Davies went to Ibiza in 1963 for their holidays where they visited Formentera island for a day. Back at home they all decided to have another holiday there.

1965

Mary Wing (and her friend Marc Dessier) found Formentera so beautiful that in 1965 they decided to stay there.

1967

Nick Mason acknowledges that after the '14 hour technicolour dream' (29 April 1967) the band was very tired and that Syd showed more severe symptoms than the others. Despite all that the continuous, eight days a week, gigging went on with the mythical Games For May concert two weeks later (12 May), the memorable Hans Keller BBC interview (14 May) and the See Emily Play recording session (18 May). There were nearly daily concerts or recording sessions between May and June of that year, but little by little cracks started to appear in their overcrowded agenda.

June, 11: two cancelled concerts in Holland
June, 18: public appearance on a bikini fashion show for Radio London, cancelled
June, 24: two cancelled concerts in Corby and Bedford
June, 25: two cancelled concerts in Manchester

On Thursday, July the 27th 1967, the Pink Floyd mimed (for the third time) on the Top Of the Pops show although Barrett was rather reluctant to do it. The next day they had a recording session for the BBC, but apparently Syd was seen leaving the block when it was their turn. This time the band and its management took Syd's behaviour seriously and decided to cancel all August gigs (with the exception of some studio recording sessions).

Update September 2012: one of these cancelled gigs was the 7th National Jazz, Pop, Ballads and Blues Festival that was visited by Iggy the Eskimo: Iggy - a new look in festivals.

Now what would you do when the lead singer of your band has got mental problems due to his abundant drug intake? You send him to a hippie, drug infested, island under the supervision of a psychedelic doctor who thinks that LSD has been been the best invention since masturbation.

Sam [Hutt, aka Smutty] was the underground's very own house doctor, sympathetic to drug users and musicians: as Boeing Duveen And The Beautiful Soup and later Hank Wangford, Sam was able to introduce a performer’s perspective. (Nick Mason)

In 1969 Smutty would have his medical office at Jenny Fabian's apartment: “I did find it a bit weird though, trying to lie around stoned listening to the sounds of vaginal inspections going on behind the curtain up the other end of the sitting-room."

After a first attempt in the studio on Scream Thy Last Scream, Pink Floyd finally went on holiday for the second half of August. Syd Barrett, Lindsay Corner, Rick Wright, Juliette Gale (Wright), Dr. Sam Hutt, his wife and baby went to Formentera while Roger Waters and Judy Trim (Waters) headed for Ibiza. They all had a good time, except for Barrett who – during a storm - panicked so hard he literally tried to climb the walls of the villa, an anecdote that is so vehemently trashed by biographer Rob Chapman that it probably did happen.

In retrospect the decision to take a hippie doctor on holiday wasn't that stupid. One of the underlying ideas was that he would be able to communicate with Syd on the same level. The band, conscientiously or not, were also aware that 'there was a fear that sending Syd to a [traditional] doctor for observation might lead to his being sectioned in a mental hospital'.

In those days most care centres in Great Britain were still Victorian lunatic asylums where medical torture was mildly described as therapy. At least these were the horrid stories told by the people who had been so lucky to escape.

He showed me to the room that was to be mine. It was indeed a cell. There was no door knob on the inside, the catch had been jammed so that the door couldn't be shut properly, the window was high up in the wall and had bars over it, and there was only a standard issue bed and locker as furniture. (William Pryor)

Nobody wanted this to happen to Syd, but a less prosaic thought was this would have meant the end of the band, something that had to be carefully avoided. “The idea was to get Syd out of London, away from acid, away from all his friends who treated him like a god.”, Rick Wright explained but in reality Dr. Hutt, and the others, merely observed Syd Barrett, catatonic as ever and still 'munching acid all the time'. Nick Mason, in his usual dry style: “It was not a success.”

Whoever thought that giving Barrett a few weeks of rest was going to evaporate the demons from his brain must have been tripping himself and on the first of September the agenda was resumed as if nothing had happened. The first 6 days were filled with gigs and recording sessions. Three days later a Scandinavian tour with the legendary Gyllene Cirkeln and Starclub gigs, followed by an Irish Tour and later, in October, the disastrous North American Tour...

Although the previous paragraphs may seem harsh they are not meant to criticise the people nor their actions. It is easy to pinpoint what went wrong 45 years ago, but as it is impossible to predict an alternative past we will never know if any other action would have had a different or better effect. The Reverend is convinced that Syd's friends, band members and management tried to do their best to help him, but unfortunately they were running in the same insane treadmill as he was. Syd wasn't the only one to be exhausted and at the same time the atmosphere was imbibed with the 'summer of love' philosophy of respecting someone's personal freedom, even if it lead to self-destruction...

1968

In 1968 Aubrey 'Po' Powell (Floydian roadie and later Hipgnosis member) visited the Formentera island together with some friends.

I first came here forty-one years ago [interview taken in 2009, FA] with David Gilmour, and then the year afterwards with Syd Barrett. The first year I came to Formentera I stayed about four months living like a hippie, and I just fell in love with it. (…) Also it was kind of difficult to get to. You had to get the plane to Ibiza and then the ferry which at that time was the only ferry that went between Ibiza and Formentera and that took about two hours to get across and it only went twice a day. So it was an effort to get there, you know, it was a rather remote place. But a lot of writers, painters and musicians gravitated there. (Taken from: Aubrey Powell: Life, light and Formentera’s influence on Hipgnosis.)

1969

Shortly after Syd Barrett watched the first moon-landing (that had been given a Pink Floyd soundtrack on the BBC) he panicked when he found out that his pal Emo (Iain Moore) and a few others (Po, John Davies) had left Albion for sunny Formentera. He literally grabbed a bag of cash and dirty clothes and headed to Heathrow, driven there by Gala Pinion.

The story goes that Syd tried to stop an aeroplane taxiing on the tarmac. In at least one version the plane actually stopped and took him on board, but other say he had to wait for the next departure. Again it is biographer Rob Chapman who categorises this anecdote as 'unsubstantiated nonsense', on the weird assumption that it failed to make the newspapers, but other biographies have also omitted this story for simply being too unbelievable.

Anyway, somewhere in July or early August 1969 Syd arrived in Ibiza and met Emo who was on his way to San Fernando (Formentera). The biographies Crazy Diamond (Mike Watkinson & Pete Anderson), Madcap (Tim Willis) and Dark Globe (Julian Palacios) all add bits and pieces to that particular holiday.

Iain Moore: “He had a carrier bag of clothes that I could smell from where I was standing.”

Emo says Syd's behaviour was pivoting like a see-saw. One moment he could be seen laughing, joking and singing with the gang; the next moment he could snap into an emotional freeze. It was useless to warn him for the blistering sun and in the end his friends 'had to grab him, hold him down, and cover him from head to toe in Nivea'.

At Formentera Syd stayed with Mary Wing, who had left Great Britain in 1965 to live on the island with Marc Dessier. According to them Barrett was a gentle soul but 'like a little brother who needed looking after'. Barrett was in good form and to an audience of European hippies he claimed he was still the leader of Pink Floyd.

Barrett borrowed Dessier's guitar: “Then he sat there, chose a letter of the alphabet and thought of his three favourite words starting with the same letter. He wrote them on three bits of paper, threw them in the air and wrote them again in the order that he picked them up.” This technique was not uncommon for beat poets and Syd may have been inspired by Spike Hawkins who showed Barrett his Instant Poetry Broth book the year before.

One Formantera picture shows Syd with an unknown girl who hides her nudity behind a red veil. The (copyrighted) picture can be found on John Davies MySpace page (image link) and has been published in the Crazy Diamond biography and on A Fleeting Glimpse.

For Pink Floyd buffs the picture shares a resemblance with the red veil picture on the Wish You Were Here liner bag, that actually exists in a few different versions. Storm Thorgerson has used the past from the band and its members for his record covers, backdrop movies and videos on several occasions, like the Barrett vinyl compilation that had a cover with a plum, an orange and a matchbox.

Hipgnosis collaborator 'Po' Powell was with Syd in Formentera in 1969, but what does Storm Thorgerson has to say about it all? He reveals that the idea for the veil came from John Blake, and not from Po:

John Blake suggested using a veil – symbol of absence (departure) in funerals ans also a way of absenting (hiding) the face. This was the last shot (…) which was photographed in Norfolk.

And in Mind Over Matter:

The red muslin veil is an universal item, or symbol, of hiding the face, either culturally as in Araby, or for respect as in funerals. What's behind the veil?

Formentera Lady

According to Nick Mason a female nude can be seen on the Wish You Were Here inside cover but of course this doesn't say anything about the unknown woman on Formentera. Who is she?

Nobody knows. And that secret remained a secret for over 40 years.

Now let's suppose a witness would show up who remembers she has been seen walking near Earl's Court.
And that she was called Sarah Sky although that probably was not her real name.
And that she spoke with a foreign accent and lived in London.
And that Sarah Sky vanished around the late 1970's and has never been heard of since.

Partially solving a problem only makes it bigger. A new quest has begun.

Updates

Iain Moore

Update 2012.05.26: According to Emo (Iain Moore) Sarah Sky may have been one of the girls who went with them to Formentera. The Syd Barrett Archives (Facebook) have the following quote:

Actually, I spoke to Emo last night and he said she was just another person who was staying at the house they rented. It was a nudist beach, lol. At least Syd kept his pants on this time! (…)
Anyway, Emo said they didn't know her and he couldn't remember who she was with. (...)
The girl in this photo is name unknown. She was American and staying in a house in Ibiza. She was visiting Formentera for the day.

Iain has, since then, reconfirmed that the Formentera Girl was an American tourist. He has also posted a new picture of Syd and the girl.

Nigel Gordon

Update August 2012: Author and movie maker Nigel Gordon does not agree with a quote in the above text, taken from Matthew Scurfield:

I just want to respond briefly to your article on Formentera etc where you wrote or quote that Santmat is ‘saccharine mysticism’. I don’t agree with you. Santmat recommends that we meditate for two and a half hours a day. It’s pretty ‘salty’!

Uschi Obermaier

Update February 2015: Some 'sources' on the web pretend the Formentera girl is none other than German photo-model Uschi Obermaier. Obviously this is not true and if you want to know how the Church came to this conclusion you can read everything at Uschi Obermaier: Proletarian Chic.

Many thanks to: Nina, Ebronte, Julian Palacios, Jenny Spires.

Sources (other than the above internet links):
Blake, Mark: Pigs Might Fly, Aurum Press Limited, London, 2007, p. 90, 131.
Chapman, Rob: A Very Irregular Head, Faber and Faber, London, 2010, p. 228, 341.
Davis, John: Childhood's End, My Generation Cambridge 1946-1965.
De Groot, Gerard: The Sixties Unplugged, Pan Macmillan, London, 2009, p. 27.
Gordon, Nigel: Santmat, email, 18.08.2012.
Green, Jonathon: Days In The Life, Pimlico, London, 1998, p. 286.
Green, Jonathon: All Dressed Up, Pimlico, London, 1999, p. 255.
Mason, Nick, Inside Out, Orion Books, London, 2011 reissue, p. 95-97.
Palacios, Julian: A mile or more in a foreign clime': Syd and Formentera @ Syd Barrett Research Society, 2009 (forum no longer active).
Palacios, Julian: Syd Barrett & Pink Floyd: Dark Globe, Plexus, London, 2010, p. 265, 353.
Pryor, William: The Survival Of The Coolest, Clear Books, 2003, p. 106.
Scurfield, Matthew: I Could Be Anyone, Monticello Malta 2009, p. 176.
Spires, Jenny: The Syd Barrett Archives, Facebook, 2012.
Thorgerson, Storm: Mind Over Matter, Sanctuary Publishing, London, 2003, p. 80.
Thorgerson, Storm: Walk Away René, Paper Tiger, Limpsfield, 1989, p. 150.
Thorgerson, Storm & Powell, Aubrey: For The Love Of Vinyl, Picturebox, Brooklyn, 2008, p. 104 (essay written by Nick Mason).
Watkinson, Mike & Anderson, Pete: Crazy Diamond, Omnibus Press, London, 1993, p. 90-91.
Willis, Tim, Madcap, Short Books, London, 2002, p. 113-114.

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?

Storm 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 session.’

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 project.

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 ages.

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 others...

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.

It was probably Monday the 28th of March 1994 when the Reverend came home from work and had a burning hot CD in his pocket. On the train from work to Atagong mansion he had already opened the booklet, had thoroughly scrutinised the artwork by Storm Thorgerson, trying to read the music in the intriguing images. Cerro Tololo, the boxing gloves, the paper heads (and headlines)... The Reverend's heart literally skipped a beat when he found out that Rick Wright had been given a song he could call his own. Rick's first Pink Floyd song for nearly two decades (and literally the centrepiece of the album).

Probably the Atagong family had supper first, then LA-girl sat in the couch, and after the Reverend had put the CD in the player he sat next to her. It must have been a rather chilly day because there was some wood burning in the stove and Mimi, the fat and pregnant cat, was enjoying the heat in her basket.

The earth noises came in... and a new legend was born...

All this came back to the Reverend when, on the 19th of May 2014 a new Pink Floyd website appeared, called Division Bell 20.

Chernobyl Blues

There was a countdown clock and a new - Storm Thorgerson inspired - video for the excellent Marooned instrumental, that grew out of a jam at the Astoria recording studio between David Gilmour & Rick Wright. There were immediately some rumours in Pink Floyd internet land, some clearly more inspired than others, but the general consensus was that the album would be re-released in an anniversary or even an Immersion edition.

The obvious nod towards Thorgerson and Wright made the fans hope for the release of The Big Spliff, a Division Bell satellite album whose demos had been lying in the vaults since 1994. Nick Mason in Inside Out:

After two weeks we had taped an extraordinary collection of riffs, patterns and musical doodles, some rather similar, some nearly identifiable as old songs of ours, some clearly subliminal reinventions of well known songs. (…) But even having discarded these, forty ideas were available. (…) We eventually ended up with enough left-over material that we considered releasing it as a second album, including a set we dubbed ‘The Big Spliff’, the kind of ambient mood music that we were bemused to find being adopted by bands like the Orb, although – unlike Gong’s Steve Hillage – we never received any invitations to join this next generation on stage.

It needs to be said that the Reverend's expectations were running in overdrive as well, he was hoping for a new Publius Enigma clue (or perhaps a modest explanation of the riddle - stroke - hoax), hidden in the artwork somewhere, and of course the anticipation of some unreleased tracks, as on the other Immersion and Discovery sets (see also: Fuck all that, Pink Floyd Ltd).

Four Star Daydream

When the clock reached zero the website indeed revealed a pricey Division Bell box-set (actually it crashed at first, as it was hit by thousands of fans at the same time). Limited at 500 copies worldwide it contained an exclusive Limited Edition Division Bell 20th Anniversary T-shirt, a remastered double vinyl in gatefold sleeve, a Division Bell CD and a Bluray with 3 alternative mixes and the new Marooned music video. Some 7 and 12 inch coloured vinyl singles were thrown in as well, together with a 24 Page 12" (30 cm) booklet, 4 art prints and... some toasters.

So basically Pink Floyd decided to ride the gravy train (again) by repackaging the same product five times in the same box and throwing it at the fans for the giveaway price of £157.50 (about 263 $ or 193 Euro, the unlimited box [without t-shirt and coasters] comes somewhat cheaper and is still available).

Each man has his price, Fred

The fact that it is Gilmour now who spits the fans in the face even made it into the papers and generally there is much disdain from the fanbase. What seemed to be the hype of the year was nothing but a cheap stunt to sell some recycled material at exorbitant prices. That the memory of Rick Wright and the legacy of Storm Thorgerson were thrown in to make a cynical million bucks more makes this release even more nauseating. Polly Samson once wrote: “David Gilmour should be cloned so that every crowded house might have one”, but at this rate she can keep him inside, lock the door and throw away the key.

Did you understand the music, Dave, or was it all in vain?

And when you feel you're near the end
And what once burned so bright is growing dim?
And when you see what's been achieved
Is there a feeling that you've been deceived?
Near The End - David Gilmour, 1984.

Upgrade 2014: a month after the publication of this article it was found out that a brand new 'recycled' Pink Floyd album was in the make, loosely based upon the Big Spliff sessions. However, this resulted in an unprecedented attack of the Floyd management towards its fans. Read: The loathful Mr. Loasby and other stories...  

(The above article is entirely based upon facts, some situations may have been enlarged for satirical purposes.)

Sources (other than the above internet links):
Mason, Nick: Inside Out: A personal history of Pink Floyd, Orion Books, London, 2011 reissue, p. 315-316.
Samson, Polly: Perfect Lives, Virago Press, London, 2010, p. 225.

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 Stuff.

Get All From That Ant

About two years after the Holy Church of Iggy the Inuit came with the news of an Anthony Stern anthology, showing an overview of his work, including unseen Pink Floyd footage and our own Iggy the Eskimo, it might finally get a release to the general public. Well, sort of. (See: Magnets & Miracles)

Get All From That Ant will be shown at a Syd Barrett (mini) festival that will be held in October in Cambridge when also a Syd Barrett memorial artwork will be unveiled. Men On The Border will interpret the mad cat’s wacko music with the Sandviken symphony orchestra, some mystery guests and a groovy lightshow from Peter Wynne Wilson.

Have You Got It Yet

Although not confirmed (yet) the Barrett movie festival may also feature Storm Thorgerson’s legendary Have You Got It Yet. This movie is being finalised by Roddy Bogawa, whom you might know from the excellent documentary Taken By Storm, that any Hipgnosis fan needs to have in his / her collection. We had a chat earlier this year with the movie maker and here is what he had to say.

I can answer some of the rumours! Yes, we are hoping the film will be released this year - it is in the editing stage - and yes, Lindsay [Corner] and Gayla [Pinion] are interviewed in it as well as Jenny Spires and Libby Gausden... I think it is ok to make that public...

Also Roger, David and Nick appear in new interviews which I think are quite different than most of the ones they've done before because Storm was present and he grew up with Syd, David and Roger.

So...it's exciting and once the film gets closer to completion, we'll talk it up more!
(Source: Facebook Chat, 2016 06 03)

Surely a release to be yearning for, even when Iggy wasn't interviewed, due to unforeseen circumstances.

Sydge and Iggnet

It is not certain if Stern’s anthology will get the DVD release as promised a couple of years ago. Our efforts to ask Anthony stayed unanswered. Artists, huh…

In 2014 some extremely lucky people received a Syd magnet, aka Sydge, for a Stern project that had to culminate in a book. Unfortunately all the relevant pages on the Anthony Stern Films blog have been removed, so we fear it has been shelved.

In December 2014 an Iggy the Eskimo magnet was announced (see: Iggy on your fridge!), but although the Holy Church ordered about a dozen that project was indefinitely postponed as well. Until now…

Syd Barrett and Iggy Photo Art Collectable Fridge Magnets.

2 Magnets in total.

Taken from original photos by Anthony Stern are these fantastic, practical and groovy fridge magnets featuring both Syd Barrret playing live and Iggy during a creative photoshoot with Anthony.

Both images can also be found in the new and upcoming GATA? Get ALL That Ant? .....biographical film of Anthony Stern's youth when he was friends with the infamous couple at the start of the Pink Floyd band creation.

An original piece of Uk Rock History documentation and a great gift idea for the Syd Barrett and Iggy fans.

The Syd and Iggy magnets are now for sale at Anthony Stern’s Etsy page. Get them while you still can…
(The Church is not affiliated with or endorsed by Mr. Stern's company.)

Many thanks to: Roddy Bogawa, Anthony Stern.
♥ Iggy ♥ Libby ♥

Tumblr pages:

Anthony Stern:
Iggnet
Sydge

Roddy Bogawa:
Taken By Storm

Felix Atagong:
Sydge (Atagong Mansion)

With Mick Rock (1948-2021) we have lost another member of the Cambridge mafia, although he wasn’t from that town, so perhaps Floydian mafia is a better description. Rock, a Londoner, was a student in Cambridge where he took a degree in Medieval and Modern Languages. He frequented some of the local beatniks, Emo (Ian Moore), Pip (Pip Carter) and Fizz (Frances Fitzgerald), and followed them to London to the legendary 101 Cromwell Rd drugs pad. Later he moved to Egerton Court where Syd Barrett, Duggie Fields, David Gale, Dave Henderson, Nigel and Jenny Lesmoir-Gordon, Aubrey ‘Po’ Powell, Ponji Robinson, Matthew Scurfield, Storm Thorgerson and Yes-collaborator Roger Dean all lived together.

In the beginning, was Syd

Rock knew Barrett since December 1966, they were hanging out together, getting high, discussing literature, playing Go, and developed some kind of virtual friendship that – according to Rock – would go on for decades. Syd’s last interview, for Rolling Stone in 1971, was taken by Mick Rock. Syd’s last ‘public’ outing was when he autographed 320 copies of Psychedelic Renegades, a 2002 Mick Rock coffee table book. Mick was one of the very few photographers who managed to picture Barrett in a relaxed state, laughing, as the 1971 pictures, taken in Syd’s back garden, prove.

My experience of Syd was he wanted to have fun. But somehow he was stymied and then he got caught in this trap, this psychological trap and he couldn’t get out of it.

The last time Mick Rock saw Syd was on an unexpected visit to Rock’s flat in Notting Hill Gate in early 1973.

Caught in a storm

There has been some animosity for years between Storm ‘Hipgnosis’ Thorgerson and Mick Rock over The Madcap Laughs pictures. History has been interpreted, changed and rearranged by both and different versions of what ‘really’ happened can be found, depending on the source one consults. Julian Palacios keeps it diplomatic in his Syd Barrett biography:

Storm Thorgerson supervised the photo session for the cover of The Madcap Laughs, bringing in Mick Rock to photograph, whom Syd requested. Rock: ‘Syd just called out of the blue and said he needed an album cover.’

The Holy Church already mentioned the divergence in a 2008 article: Stormy Pictures. Legally, the cover and back cover shots for Syd’s first solo album belong to Hipgnosis. The official story is that these have been taken by Storm, but Mick Rock has several times suggested that he was behind it all.

Thorgerson gave his point of view in the 2007 edition of Mind Over Matter:

A photo session was duly arranged at Syd’s request in the flat in Earls Court that he shared with the painter Duggie Fields. (…) My only decision was to use a 35mm camera (to adapt to Syd’s mercurial moods) and upgraded colour transparency, partly because of the low-level light conditions and partly for the grainy effect.

Mick Rock’s presence, that same day, is dryly explained as follows:

Friend and photographer Mick Rock, later famous for his Bowie photos amongst many others also came on the photo session, but I can’t remember why. I think it was to help me, which seemed ironic given his subsequent lensmanship and success in the rock business, especially in New York.

Mick Rock books (three different ones)

Mick Rock has devoted three books entirely to Syd Barrett. Two of them are part of a box that also contains some music.

Syd Barrett – The Madcap Laughs – The Mick Rock Photo-Sessions (UFO Books, 1993) is a limited deluxe box combining a book, a vinyl album and a t-shirt. The elaborate and well-researched text of this (sold out and deleted) book has been written by Pete Anderson, who is the co-author of the Syd Barrett biography Crazy Diamond. Pete Anderson wrongly dates the photoshoot in October and writes:

The task of designing the album sleeve fell to Storm Thorgerson and his partner Aubrey 'Po' at Hipgnosis.

When it comes to the actual photoshoot there isn’t a single word about Storm Thorgerson being there. Throughout the essay, it is mildly suggested that Mick Rock did all by himself.

The startling colour images were taken in a single two-hour session in the autumn of 1969 in the spartan bedroom of Syd Barrett's Earls Court flat in London. (...)
The sleeve, showing the beleaguered "star" squatting bird-like in a room devoid of all creature comforts save a vase of flowers and a battered electric fire, perfectly summed up the mood of the record which many have interpreted as a scream for help.

But isn’t the above description about the Thorgerson picture? Mick Rock (and Pete Anderson) carefully dance around the subject.

"We hadn't had any discussion about how the pictures were going to be," says Rock. "I suppose the idea had always been to do them in the flat because Syd had told me about the floorboards and he was pretty excited about that.”
“But there had been no talk of getting a model in. Iggy just happened to be there. I have no idea where she came from or where she went to. Everyone just knew her as Iggy the Eskimo." (...)
"There were no curtains, just the bed, Syd's record player, the vase, and maybe the stool. I can't remember if that was because the floor had just been painted or because he didn't like furniture."

It is no secret that Mick Rock used to work as a freelancer for Hipgnosis in his early career. His camera was a black Pentax that he had bought from Po (Aubrey Powell), equipped with a cheap 28mm wide-angle Soligor lens. The following paragraph however seems to imply that there was more than one person around (without naming them):

"I think we did make a conscious decision not to have Iggy's face in the pictures and we also decided that Syd would look good with a bit of kohl make-up around his eyes. Iggy put that on. "Syd was pretty passive about the whole thing and he was never that interested in the pictures afterwards. (…) Syd could be quite uncommunicative but I can see from the pictures that he was relaxed that day."

The photoshoot only took about two hours. Mick Rock used only two rolls of film, simply because he couldn't afford a third.

"There had been no discussion about money at all. Later on I did get a very minor payment but it couldn't have been more than £50 and I don't know if it came from Syd or EMI."

Again, not a word about Storm Thorgerson nor Hipgnosis.

Two of a kind

In his other books, Mick Rock is a bit less authoritative.

Psychedelic Renegades – Photographs of Syd Barrett by Mick Rock. Genesis Publications published a limited first edition in 2002. 320 copies were autographed by Roger Barrett & Mick Rock and 630 copies were signed by Mick Rock alone. In 2007 the book was published in a regular version, by Plexus (London) and Gingko (USA).

This is the picture book to get if you are interested in Mick Rock's Syd pictures. It has an introduction/essay by Rock and throughout the book there are some observations by the photographer, although these are not always accurate. Contrary to the first book Rock acknowledges that Storm was around that day, although he still stresses the fact that the initiative came from him:

Syd asked me to take the pictures. We had talked about the shoot for a while, and the day before it happened I told Storm from Hipgnosis, so he came along because they were putting the package together.
So the actual session turned out to be a collaboration really because Storm also took some pictures. I remember Storm asking me whether to credit the image, ‘Hipgnosis and Mick Rock’ and I said, ‘No just credit it Hipgnosis’.

This must have been a decision Rock regretted later.

Tinned Octopus

Syd Barrett – The Photography Of Mick Rock is a tin box that includes a 128 pages booklet and a 7-inch single 'Octopus' b/w 'Golden Hair' (EMI Records Ltd & Palazzo Editions Ltd, Bath, 2010). There is an introduction and some observations by Mick Rock who repeats that Syd asked him to do the photoshoot in autumn.

The Holy Church of Iggy the Inuit was the first blog in the world where it was suggested that The Madcap Laughs photoshoot took place during spring. This theory, originating from Jenny Spires, has now been largely accepted by Syd fanatics and scholars. It is possible that a second photoshoot took place later in the year, but the sleeve uses the pictures of April 1969.

Remarkably, ‘Renegades’ and ‘Octopus’ contain a picture that was cropped on the back cover of Syd’s second solo album, without crediting Mick Rock.

Syd Barrett (1974, double album vinyl compilation)

In 1974 Storm and Po knocked on Syd’s door asking if they could take some pictures for a budget vinyl compilation that was going to be released. Barrett never let them in and told his old chums to ‘fuck off’. Thorgerson designed one of his iconic sleeves instead, the one with a plum, an orange and a box of matches.

The inner sleeve of the Syd Barrett double album contains a bunch of disorganised press clippings and pictures of Syd and Pink Floyd. Some of these undoubtedly are Mick Rock’s. It means that Hipgnosis, at one point, did have access to Mick Rock’s negatives. It is believed that Mick Rock gave his film rolls to Storm, to have them developed. (Pictures of the Syd Barrett inner sleeve can be found at our Storm Watch gallery.)

Stormtrooper

There are quite a few Hipgnosis related coffee table books around (the reverend’s wife claims he’s got at least six too many). We have already quoted from Mind Over Matter, but what do the others have got to say?

It needs to be said that the sleeve pictures of The Madcap Laughs can not be found in any of Mick Rock’s books, these can only be found in Hipgnosis/Storm Thorgerson related works.

Walk Away René

The 1978 book Walk Away René (The Work of Hipgnosis, Paper Tiger, 1978) contains a detailed description of every picture in the book, except for The Madcap Laughs. It gives conspiracy theorists a field day, although it doesn't help anyone any further.

Taken By Storm

Taken By Storm (The Album Art of Storm Thorgerson, Omnibus Press, 2007) leaves no ambiguity as Storm writes:

He crouched down by the fireplace and I took a 35mm pic quite quickly.

For The Love Of Vinyl

One year later For The Love of Vinyl (The Album Art of Hipgnosis, Picturebox, 2008) was published and obviously the cover of The Madcap Laughs is represented as well. Storm Thorgerson:

Back in 1970, the Floyd helped him make a solo album called The Madcap Laughs. I told him I was coming over to his Earls Court flat to take a picture. Mick Rock came too. I think Syd painted the floor specially for us. He crouched. I took a pic. A naked girl appeared. Mick took a pic, and we went home.

Portraits

Storm Thorgerson died in 2013. Po published another Hipgnosis book one year later: Portraits. According to Po, the Madcap sleeve was taken by Storm Thorgerson, using a Nikon with a 500 ASA 24 x 36 mm film.

Powell writes that Syd invented the word Hipgnosis and that he wrote it on the front door of the Egerton Court house they all lived in. About The Madcap Laughs photoshoot Po has the following to say:

Syd's management company, Blackhill, commissioned us to do the Madcap cover, and Storm went to the flat with our assistant, Mick Rock. (Translated from the French edition by FA.)

Suddenly Mick Rock has become merely an assistant of Storm Thorgerson. It gives the story about who did what a completely new insight.

But our investigations aren’t over yet.

Shot!

In the 2017 documentary Shot! – the Psycho-Spiritual Mantra of Rock – Mick Rock hints again that he was behind the cover shot.

In the beginning, was Syd. Psychedelic Syd. (…) Syd had actually left Pink Floyd and was living in relative obscurity. He asked me to take the cover photo for his solo album The Madcap Laughs.

It is then that the official ‘Hipgnosis’ sleeve picture appears, for the first time, in a Mick Rock publication, albeit without giving credit to Storm Thorgerson. The image, with a handwritten title, clearly hints that it is Mick Rock’s work, not Storm’s. Of course, when this documentary came out Storm wasn't around anymore to comment on Rock's interpretation of the past.

I didn't really have any plans. It simply was to shoot El Syd... and Iggy opened the door in the altogether. All together now, miss Iggy.
She was holding company with Syd... but of course, the gift was the floorboards. He had moved in not long beforehand and he was painting the floorboards and he... he was painting all over these... I mean, there were dog ends buried in there. He didn't clean the floor before he started painting.

Rock shows one of the better known Madcap pictures and claims:

That should really have been the cover of The Madcap Laughs. (…) That’s what me and Syd wanted.

While he testified earlier that Syd wasn’t interested in the pictures at all, he suggests in Shot! that they both agreed on a sleeve cover, an opinion that wasn’t followed by Hipgnosis.

A reconstruction

For years there have been rumours in anoraky Floydian circles that Thorgerson and Rock sued (or threatened to sue) each other over the ownership of The Madcap Laughs pictures. Probably a deal was made – a bit like the one between Roger Waters and Pink Floyd over The Wall. The Madcap Laughs front and back sleeve pictures officially belong to Hipgnosis (Storm Thorgerson). The out-takes belong to Mick Rock. It has been hinted before that Rock handed over his film rolls to Thorgerson to have them developed and part of the deal must have been that the negatives were returned to him.

This could be the reason why the Mick Rock out-takes can’t be found in Hipgnosis / Storm Thorgerson books.
This could be the reason why ‘official’ Madcap pictures can’t be found in any Mick Rock publication, except for Shot!

Both parties seem to agree that Hipgnosis was commissioned by the record company (Harvest, EMI) to supervise the record sleeve.

Did Syd Barrett ask his friend Mick Rock, an aspiring would-be photographer, to organise the shooting for the forthcoming album? As Rock was freelancing for Hipgnosis and they all were buddies anyway, he may have warned Storm that Syd was expecting a photographer the next day. The result was that Storm was there, not as Mick Rock’s colleague, but as his boss.

We keep hearing from people how nice a person Mick Rock was. From Men On The Border we have this reaction, coming from Jenny Spires:

The wonderful Mick Rock, unmatched intelligence, kind and generous, totally lacking in malice, a dear friend. RIP. I will miss you, Mick.

That’s why it is a pity that Storm and Mick never conciliated, fought over the legacy of the Madcap pictures and refused to give the other one some credit.

Because of their stubbornness, there will always be some doubt who took The Madcap Laughs cover (and back cover) pictures. But it doesn't matter really. It's the stuff legends are made of.

Many thanks to: Anonymous, Göran Nyström.
♥ Libby ♥ Iggy ♥

Sources (other than the links above):
Chapman, Rob: A Very Irregular Head, Faber and Faber, London, 2010, p. 385.
Palacios, Julian: Darker Globe: Uncut and Unedited, private publication, 2021, p. 823, 963.

Hipgnosis & Storm Thorgerson:
Powell, Aubrey: Hipgnosis, Les Pochettes Mythiques du Célèbre Studio, Gründ, Paris, 2015, p. 40, 118 (French edition of Hipgnosis Portraits).
Thorgerson, Storm & Powell, Aubrey: For The Love Of Vinyl, Picturebox, Brooklyn, 2008, p. 38.
Thorgerson, Storm & Curzon, Peter: Mind Over Matter 4, Omnibus Press, London, 2007, p. 234.
Thorgerson, Storm & Curzon, Peter: Taken By Storm, Omnibus Press, London, 2007, p. 100.
Thorgerson, Storm: Walk Away René, Paper Tiger, Limpsfield, 1989, p. 103.

Mick Rock:
Rock, Mick: Psychedelic Renegades, Plexus, London, 2007, p. 20.
Rock, Mick & Anderson, Pete: Syd Barrett - The Madcap Laughs - The Mick Rock Photo-Sessions, U.F.O. Books, London, 1993. The text of this book ca be consulted at Luckymojo.com.
Rock, Mick: Syd Barrett - The Photography Of Mick Rock, EMI Records Ltd, London & Palazzo Editions Ltd, Bath, 2010.

Videos:
Syd Barrett related excerpt from Shot!: The Psycho-Spiritual Mantra of Rock: Syd Barrett SHOT!
Mick Rock Shot! Q&A, hosted by Barney Hoskyns. Filmed Wednesday 12th July 2017: Mick Rock Q&A (Syd bit starts at 5:30, do not miss the hilarious anecdote about David Gilmour being chased by Brian Epstein in his bedroom).
Mick Rock: on shooting Syd Barrett for 'Madcap Laughs' album cover. Interviewed in his studio, September 2001: Mick Rock.

Rod Harrod

It passed by as a fait-divers. On the third of December Rod Harrod died in his home village of Dinas Powys in South Wales. Many people, especially those in Floydian spheres, will not recognise him.

In the early days of the Church, when we were still looking for Iggy, we had an agreeable conversation with Rod about the heydays of The Cromwellian and the other clubs Iggy used to frequent. Rod Harrod was the man who - more or less – discovered Jimi Hendrix and who gave him a first chance to play at the Scotch of St James Club in London. To read a bit more about Rod Harrod you can go to these early Church archives: Rod Harrod remembers The Crom and The Style Council.

Loudersound wrote an article about Jimi Hendrix’s first show, available here: The inside story of Jimi Hendrix's first UK show, by the man who made it happen.

Our condolences to the family, relatives and friends of Rod.

2021

Twenty twenty one was a lousy weird year, with – unfortunately – also a few deceases closer to the Floydian home. The Church also had a few good moments, even something we could call the highlight in our thirteen years existence.

All of these have been illustrated on our Tumblr sister blog … and here is our annual overview:

Anonymous, Ajay Dep Thanga, Antonio Jesús Reyes, APH, Asdf35, Barbara, Basit Aijaz, Chandrima Banerjee, Din Nyy, Eleonora Siatoni, Elizabeth Joyce, Elvee Milai, Euisoo's left sock, Göran Nyström, Gregory Taylor, Hallucalation, Hmazil, Hnamte Thanchungnunga, Julian Palacios, Kevin Arnold, Kima Sailo, Lalrin Liana, Lzi Dora Hmar, Mact Mizoram, Mafela Ralte, Mark Blake, Matthew Cheney, Mick Brown, Myithili Hazarika, Noeeeayo (Rinnungi Pachuau), Panjee Chhakchhuak, Park Yoongi, Psych62, Racheliebe (Chha Dok Mi), Ramtea Zote123, Rich Hall, Rinapautu Pautu, Rob Chapman, Rontoon, Rosang Zuala, Roy Alan Ethridge, Stash Klossowski de Rola, Stephen Coates, Swanlee, Syd Wonder, Tnama Hnamte, VL Zawni, Wolfpack, Younglight, Zodin Sanga, Zolad.

♥ Libby ♥ Iggy ♥

Rick

We have sometimes been harsh about David Gilmour who reconfigured the past in favour of his colleague Rick Wright, but the friendship between Gilmour and Wright was an honest and genuine one.

In an emotional introduction, Aubrey Powell tells how David Gilmour was sitting at Rick’s deathbed (2008). At a memorial party, where Roger Waters was absent, old surviving friends from the Underground days were present. Jon Lord and Jeff Beck played some songs and David and Nick, with Guy Pratt, Jon Carin and Tim Renwick remembered Rick with Great Gig and Wish You Were Here.

Aubrey ‘Po’ Powell was sitting next to Storm Thorgerson, who was in a wheelchair after a stroke, and both men realised that they were in the autumn of their lives. Powell knew that if he had to write some memoirs, he had to get on with it. It still took him more than a decade but in 2022 he published Through The Prism: Untold Rock Stories from the Hipgnosis Archive.

Madcaps

Through The Prism is, for once, not a coffee-table photo extravaganza, but a 320 pages book filled with anecdotes and stories about Hipgnosis and their many friends, who were often also their clients.

The first chapter 'Laying Ghosts to Rest' is about Cambridge and the boy/man who started the career of Pink Floyd and indirectly Hipgnosis as well. An autobiography is based on memories and not always on facts and as such we forgive that Po repeats the story that Syd Barrett was an admirer of Pink Anderson and Floyd Council. In a previous post on this blog, Step It Up And Go, we have stated that there were no easily obtainable records of these two bluesmen, certainly not in the UK. The chance that Syd Barrett listened to one of their songs is very, very close to zero. And, contrarious as we are, Syd didn’t contrive the term Pink Floyd either, one of his beatnik friends did: Stephen Pyle. Syd borrowed the line when he had to improvise a new name for his band.

Through The Prism is not a Pink Floyd biography, but a story about a man called Po. Syd happens to be present from time to time. One day, he takes some LSD in Storm's garden and is fascinated for hours by an orange, a plum, and a box of matches. This event, ‘small as a molehill’, has grown into a mountain over the years, but of course, Hipgnosis is to blame for that. Storm turned the anecdote into a record cover (photo).

In late autumn 1969 Powell visits Syd's flat to take some publicity shots for Madcap, the so-called yoga pictures. Aubrey writes that Storm had taken the album cover shots a few weeks earlier. That is not wrong if you go by Vulcan logic, but it has been established that the cover shoot dates from April 1969. That is about 20 to 24 weeks earlier, not 'a few'. Not a word about Iggy the Eskimo, nor about the presence of another photographer who was still their friend, but not for long: Mick Rock (see also: Rock of Ages).

The Syd chapter ends with the invention of the name Hipgnosis. Powell testifies how they almost catch Syd red-handed, a pen in his hand, seconds after he wrote HIP-GNOSIS on the white front door. I always believed this was something of an urban legend, invented by Storm and Po to give the name extra cachet, but if this testimony is accurate it leaves no doubt that Syd was behind it.

Secrets

As a young man, Aubrey Powell is more a hoodlum and a swindler than an artist. Peter Jenner even has to bail him out of jail, but slowly he finds his way as a photographer, helped by Storm. When Pink Floyd asks them for the cover of A Saucerful Of Secrets their career lifts off. That cover, actually a collage of pop culture and esoteric images, is photographed in black and white and coloured by hand afterwards (photo).

For Atom Heart Mother the Floyd want a non-psychedelic cover, so nothing like Saucerful, More or Ummagumma. The solution comes from conceptual artist John Blake, whose path they will cross several times. Why not a cow? A cow it is (picture).

Equally uncharacteristic is the cover for The Dark Side Of The Moon. Again it is Pink Floyd who want something else, much to the annoyance of a stubborn Storm Thorgerson who tries to push a picture of the Silver Surfer. They find the prism concept in a popular science book and because Storm and Po can't draw they ask George Hardie to finish it (photo).

Dark Side is much more than a record, it is a worldwide recognisable symbol and Powell gives some examples of how the record (and its sleeve) have become instruments to protest against censorship and war.

Here, there and everywhere

For Wish You Were Here Hipgnosis devises some art, built around a theme of absence and the number 4. Four like 4 members of the band, 4 elements (earth, air, fire, water) and the 4 panels on a gatefold sleeve. Only, the final product is packaged in a single sleeve, but one with a twist.

One day, it must have been the 5th of June 1975, an almost unrecognisable Syd Barrett enters the office, asking where the band is. Richard Evans, of the Hipgnosis crew, replies that they are probably at Abbey Road. Po accompanies Syd to the street where he walks to Soho, ‘a confused and forlorn figure’ (see also: Shady Diamond).

The concept of the burning man puzzles Aubrey. How can he take a picture of that? For Storm, the solution is simple: set him on fire. Even better, set him on fire in America (photo).

Let’s remember folks, these are the golden days of rock. You wanna take a pic of a pyramid. Fly to Egypt. You want to check a few lakes out. Fly to California. All expenses paid, including the huge bill of ‘special medicine’ to get through those lonesome nights.

Hype Gnosis

Dark Side and Houses of the Holy (Led Zeppelin) make Hipgnosis nearly as big as the rock stars they graphically represent (photo). On a trip to Vegas Po stays in Frank Sinatra’s personal suite at Caesars Palace. Escort girls and coke (not the soft-drink variety) are included in the service, although Po claims he declines both offers.

Po loves the wide American scenery and trips to the USA are regularly made. Hiring a plane to fly over the desert to find a great location: no problem. Hiring a helicopter to shoot some pictures from the air: no problem. Hiring figurants, actors, stuntmen, and props: no problem. Rock ‘n’ Roll pays well in the seventies.

Hipgnosis not only make fantastic covers, but they have some duds as well. Al Stewart is so angry about the Time Passages sleeve that he will never speak to Po again. Needless to say that Hipgnosis lose a client that day (photo).

Obviously, the memoirs aren't about Pink Floyd alone. Peter Gabriel, Wings, and 10CC all have their entries. Po's stories about Led Zep, who have some gangsters refurbished as bodyguards, are so unbelievable you might think you have ended up in The Godfather. There’s some weird occult shit as well, Jimmy Page was called the Dark Lord by the other members of the band.

Pigs

The sleeve for Animals is Roger Waters’ idea to begin with. Storm Thorgerson is (again) pissed when his idea for a sleeve is downvoted and refuses to speak to Waters. When Storm (in the book Walk Away Renée) calls the Animals sleeve a Hipgnosis project it is up to Roger to be offended. The next Pink Floyd albums, with Roger Waters at the helm, no longer have a Hipgnosis sleeve.

Despite the friction between Storm and Roger, Po Powell is commissioned to supervise the shoot. He hires 8 photographers and asks Nigel Lesmoir Gordon to coordinate some filming from a helicopter.

On the first day, Algie (the pig) refuses to soar to the skies and they postpone the shooting for the next day. When the pig breaks free on day two Powell suddenly realises he has forgotten to rebook the marksman to shoot it down. It could’ve been a disaster, but luckily it isn’t. Although unwanted, it will go down in history as the biggest rock publicity stunt ever (photo).

Hyper-Realism

The thing with Hipgnosis is that they want to realise their surreal ideas in the real world. For a Wings Greatest Hits album, it is Paul McCartney’s wish to have a picture of a Demétre Chiparus statue standing in the snow on top of a mountain. Hipgnosis flies the statue to Switzerland where it is transported by helicopter to the Gorner Glacier. The team consists of several photographers, mountain rescuers and a pilot.

It is a great story, but frankly, the picture could have been made in the studio with cotton balls for snow and a picture of the Matterhorn as a backdrop (photo).

For a 10CC cover, Po wants to put a sheep on a sofa, by the sea. He flies to Hawaii, where there is only one sheep on the entire island. He has a sofa custom-made by a film props company (photo). Powell shows his expense sheet for the shoot. It is £2,280 in 1980 money or over £10,000 ($12,800/€11,800) today. The invoice to 10CC is double of that.

No wonder Po starts behaving like the rock stars he frequents, including a nasty habit with cocaine. Everybody who works with Storm Thorgerson knows that he can be incredibly stubborn. With the rise of MTV, Aubrey and Powell start a film company, but cracks are appearing in their relationship. The amicable banter of the past is gone and Po goes his way, becoming a successful filmmaker and creative director.

A New Machine

Years later they reconcile and when Storm realises he has not a long time to live he suggests that Po must be the Floyd’s art director. Powell is responsible for the successful Their Mortal Remains exhibition and book. Internal Floyd wars make it impossible to release a Mortal Remains compilation (not that anybody needed an extra Pink Floyd record). We finally get the confirmation that The Early Years box-set was going to include a miniature car but alas the band has always been known for its greediness (my comment, not Po’s).

Through The Prism is not a detailed autobiography but a collection of many (funny and interesting) anecdotes about Po’s graphical output and his wacky clients. Powell stays rather vague about his personal life and the relationship with Storm Thorgerson that was very troubled for a couple of decades. Attentive readers though will have the impression there is a new girlfriend or wife in every second chapter. Rock ‘n’ Roll!

For the Pink Floyd, Led Zep, 10CC and Macca anorak there is more than enough material to like this book, about those days when rock still was the pot of gold at the end of the rainbow.

Many thanks: Hipgnosis Covers.
♥ Libby ♥ Iggy ♥

November 2009

In 2009, so many years ago! — we published an article titled A Bay of Hope. 4 The Madcap Laughs pictures, allegedly taken by Mick Rock, were auctioned, although that was not entirely canon. The pictures belonged to the Hipgnosis archives, so they were – officially – Storm Thorgerson’s. But we won’t dabble in those muddy waters again, as we have already dedicated many pages to the Rock vs Storm controversy. (See, for instance: Rock of Ages )

The pictures sold for a mere 127 pounds. We are still angry for not getting them as they have disappeared into the deep pockets of a collector. All we have are small, grainy copies, taken from the eBay auction page.

The (pretty boring) 2009 article is nothing more than a catalogue, listing the Madcap pictures that were taken in Syd’s flat.

April 1969

Iggy was present during the week of April 14–21, 1969. This is now widely accepted, but it was frowned upon a decade ago.

Garrard SP.25 MK2

One famous picture by Mick Rock is the one with Syd sitting next to his record player. En passant, we mentioned the type and brand: a Garrard SP.25 MK2. The record on the player was from the soul label Direction, a subsidiary of CBS.

As usual, we didn’t find this on our own. The Syd Barrett Late Night forum had a post from Mr Limbo, written on May 31, 2007, who claimed it was a Garrard SP.25 MK2.

Mr Limbo identified the record player as a Garrard SP.25 MK2, but this was not immediately accepted by all forum members. SteveM claimed it was a Garrard AT60.

Pretty sure the turntable in the picture is a Garrard AT60. Not an SP25. It had a silver stripe along the front edge.

The problem is that these record players all look alike. Eternal Isolation enlightened us with his wisdom:

I think there are photos of both models with and without the stripe. The biggest problem I'm having with the AT60 idea is that it looks like it only came with the automatic record changer arm, and Syd's does not have that. I don't know how difficult it would be to remove that part, but I'm guessing it would not just pull right out like the spindle does. 

In one photo found in the Psychedelic Renegades book, you can see a rectangular silver plaque on the front left of the cabinet. Not a lot of the Garrards seem to have that.

Another detail to look out for is that Syd's player has one of these little round Garrard logo plaques on the top. Searching through turntable photos on the internet, it looks like some SP25s and some AT60s have it and some do not.

The problem is that the Internet is not the most reliable source, except for https://atagong.com/iggy, and often Garrard pictures are wrongly labelled. It is not even sure how to spell Garrard SP.25 MK2. The technical manual puts a dot (".") between the SP and 25, most internet articles do not.

MK 1 or 2?

After a 15-year gap, Birdie Hop's Vincenzo Gambino decided to have a new look at Syd’s record player. (You need to join the group to see his post: Garrard SP25 MK 1)

I would like to re-open an old discussion regarding Syd's turntable in Mick's photos.
It has been recognised as Garrard SP25 MK2, but I think it's an MK1.
The round tag was present in that position on the MK1 and later removed from MK2.

You want some pictures, I'll give you some pictures:

So an MK1 and not an MK2? I am glad that this has finally been settled for another decade.

Historical Accuracy

One can laugh at the average Syd Barrett fan's eye for detail, which sometimes borders on the absurd. There’s a great contrast with the Pink Floyd management, who fuck up, Every-Single-Time they release something from their archives.

In what is again a copyright extension scheme, Pink Floyd has released 18 live performances from the early seventies through streaming services. Do not be too enthusiastic. These are all well-known bootlegs that have been weeded out for decades by Yeeshkul and the large community of Pink Floyd ROIO traders. The sound hasn’t been enhanced at all, and some tracks feature ‘a few genuine vinyl scratches to enhance its digital master credentials’, as Ffrenchmullen ironically remarks at Yeeshkul.

Pink Floyd even managed to get some dates wrong. The Carnegie Hall gig dates from May 2, 1972, not February 5, 1972. It is, to quote MOB, due to the famous inverted American convention for dates (2/5/1972 vs. 5/2/1972).

Another comment, this time from DenjiDen:

Zurich is missing a majority of the songs, Tokyo is mislabeled (…) and Brussels is completely out of order and has incorrect track names.
This would be humorous if it wasn't so depressing. I wish Management would get their shit together or just sell it off to someone who cares.
This is embarrassing.

MOB, again:

Southampton is actually the BBC recording of Wembley 16 November 1974.

The list of errors goes on and on. Moomoomoomoo at Hoffman’s music forum is a bit overdramatic and describes the set as follows:

I think it's safe to call this "set" the scam of the decade; possibly of the century.

If there is a general opinion about these releases, it is to keep your money in your pockets (they sell at 20$ a piece) and to start looking for the free, and often better, copies at the usual places on the internet. One soundboard recording, for instance, has been taken from a vinyl copy, with the pops and crackles included, instead of taking it directly from the soundboard. That’s how professionally the Pink Floyd Archival Team works.

‘Incompetence and avarice‘ seems to be the motto of Pink Floyd Ltd., as Aphexj comments, but others see this just as another copyright dump and not as a general release to the public.

Dark Side

The seminal album The Dark Side Of The Moon will celebrate its 50th anniversary next year, in 2023. As far as we know now there will be some kind of anniversary release containing the following:
- 2023 Atmos Mix
- 2023 Remaster
- Live at Wembley 1974, 2023 Master

Another remaster: what do they think Dark Side is, washing powder? All in all, this will be quite underwhelming and overpriced, unless they add some marbles, of course.

Many thanks to: Aphexj, DenjiDen, Eternal Isolation, Ffrenchmullen, Vincenzo Gambino, Antonio Jesús, Mr Limbo, Steve M, MOB, Moomoomoomoo, Göran Nyström.
♥ Libby ♥ Iggy ♥

Links, used for this article:
Syd's Record Player ! @ Late Night
Garrard SP25 MK 1 @ Birdie Hop
Garrard SP 25 Mk1 SP 25 Mk2 Service Manual @ Audio Service Manuals
Garrard SP25 Review @ Vintage Sonics
Garrard SP25 Mk II @ Stereonomono
18 new pink floyd releases @ Yeeshkul
Pink Floyd releases 17 concerts from 1972 for download and streaming @ Steve Hoffman Music Forums
Pink Floyd Dark Side of the Moon 50th anniversary wish list @ Steve Hoffman Music Forums

Yeeshkul

This year 2023 is already a big one, dear sistren and brethren of the Holy Church of Iggy the Inuit. The Dark Side Of The Moon celebrates its 50th birthday, and does so, in true Floydian tradition, with an absolutely superfluous but expensive box set.

It contrasts a lot with the good people from the Yeeshkul forum, whose first task was to preserve and weed out Pink Floyd live tapes and out-takes, and doing that entirely for free. Unfortunately, the Yeeshkul forum stopped its benevolent work on the 28th of February, after having served the Pink Floyd collector for 17 years.

Luckily, there are a lot of good people around, and an entirely new forum has taken the relay baton, so to speak. RIP Yeeshkul, and welcome to Raving And Drooling.

Through The Prism

About a year ago, we reviewed Through The Prism. It is an excellent pot-pourri of Hipgnosis anecdotes, penned down by Aubrey Powell, who was top dog #2 in the art and design collective. But as far as autobiographies go, they tend to be a bit mild for oneself.

The book was turned into a documentary by Anton Corbijn in 2022: Squaring the Circle (The Story of Hipgnosis) that unfortunately has not seen a general release (yet?). There is also an excellent Storm Thorgerson video-biography by Roddy Bogawa: Taken By Storm: the art of Storm Thorgerson and Hipgnosis (2015).

Both documentaries have interviews with friends and/or clients of Hipgnosis:
TBS = Taken by Storm
STC = Squaring the Circle

Us and Them

So when Mark Blake announced 'Us and Them: The Authorised Story of Hipgnosis' we were glad that someone would finally tell the whole tale, preferably with warts and all. We feared a bit that the authorised word in the title would result in a Teletubbies treatment of the lot, but that doesn't seem to be the case. As Mark Blake said in a recent interview,

Po wrote the foreword but did not ask for copy approval and only read the book when it was published.

Pink Floyd is a band that is regularly written about in this biography. The majority of its album covers have been made by Hipgnosis and/or its spinoffs. The rest of the Cambridge Mafia gets mentioned as well. Throughout the book, names pop up that you can also find on this illustrious blog: Emo Moore, Gala (or Gayla) Pinion, Lyndsay Corner, Matthew Scurfield, Nigel Lesmoir Gordon, Pip Carter, Ponji Robinson... Some modelled for Hipgnosis, some worked for them, and others just shared a drink and a spliff.

In ‘Through The Prism’ author Po Powell is pretty sure it was a certain Syd Barrett who scribbled that neologism on the front door. Mark Blake cites Storm Thorgerson who wasn’t completely convinced:

Storm claimed it was the poet Adrian Haggard, one of the Better Books crowd and a friend of Nigel Gordon’s. P94.

Storm - Po - Peter

While most people, myself included, thought that Hipgnosis was mainly Storm's brainchild, it was a duo, consisting of Storm and Po. In the mid-seventies, a third partner joined the team, who even surpassed the other two in eccentricity: Peter 'Sleazy' Christopherson. Peter was a member of the avant-garde art performance collective COUM Transmissions which later evolved into the anti-pop band Throbbing Gristle. Shows of COUM included nudity, flogging, and all naked activity your perverted mind can think of. One day, Peter arrived too late for a TV commercial because he first had to wash the shite out of his ears. Literally.

So who were these Hipgnosis guys?

Storm Thorgerson was the main brain, the leader of the pack. Everyone agrees he was super intelligent and all-knowing. He was also a first-class pedant and pretentious asshole who motivated his underpaid personnel with screams and insults. Always brooding on Art, with a capital A, he would summon his serfs while sitting on the loo or lying in the bath. Pink Floyd video archivist Lana Topham, who professionally wrecked some videos in The Early Years box, refused to work with Storm on The Division Bell after some bad encounters with him.

"I will not collaborate with Storm, he’s a nightmare," and I left. P364.

She only agreed to work for Diet Floyd if the following rule was applied.

If I found him [Storm] being mean to anyone, he was to apologise immediately. P365.

I've Had Enough

Storm was difficult for anyone, including his clients. When Paul McCartney wanted his wife Linda Eastman to take the cover shoot for the album Venus and Mars, Storm said that he didn't think it necessary for him to be present. It made him persona non grata. Luckily, Po Powell picked up the pieces, and as such, Hipgnosis is responsible for a few Wings albums. At a Christmas party hosted by the former Beatle, Po was invited, but not Storm.

I told Storm I was going and he said, "How can you go without me?"’ says Po. I said, "Easily, because I have been invited and you haven’t, and they are a client." I turned up at the party and there’s Storm behind me. Brian Brolly [managing director of MPL Communications] stood there with a big bouncer and he said, "Storm, you’re not invited." P201.

While Storm was the bully, Po Powell was the diplomat of Hipgnosis, taking in those clients that Storm refused to handle. He was aware of the fact that money had to come in, some way or another.

Scam at Cam

That Po didn't mind how money was coming in as long as it was coming in was proven by his pre-Hipgnosis career. He stole cars for a living and cashed in checks that weren't his, using a cunning plan. The banks (and police) eventually found out, and Po was arrested. He had the right to call one person and went for… Peter Jenner. When the Floyd manager found out it was for bank fraud, he refused to bail Po out.

"It was Syd Barrett who made Peter go back," says Po. "Syd was conscious of looking after other people. (…) Peter returned with the money, for which I am forever grateful." P88.

Po received a suspended sentence, and to his amazement, the bank never asked for the stolen money to be returned.

A Saucerful of Secrets 

The Floyd was recording their second album, and Storm was pushing to use painter (and friend) David Henderson for the sleeve. Pink Floyd, however, turned this down, and Po stepped in instead. David Henderson did help with the cover though and would return, a decade later, on the cover of Led Zeppelin’s In Through The Outdoor.

And that brings us to Led Zeppelin. Po Powell befriended the band, whose roadies and personnel were often gangsters, thugs who liked to juggle knives and guns around to make sure their opinion was being heard. Plant, Page, and their manager Peter Grant liked the Hipgnosis photographer, and they didn't try to haggle on the price like Floyd's manager always did.

Hipgnosis was seen as an art collective, and its reputation skyrocketed. Powell lived the rock-star life with a villa, swimming pool, and speedboat in Florida. He also acquired some dubious friends there, the types that Sonny Crockett and Rico Tubbs arrested in the weekly Miami Vice show.

The end of the seventies saw a wind of change. Punk bands had 15£ snapshots for a record sleeve. There's no need to fly first class to America to take a picture in a New York back alley if you can take the underground to find one in London.

Stella Artois 

Po Powell also took in some clients for publicity shots. The brewery in my home town, Stella Artois, had some faint surreal pictures taken to propagate their wife beater. I don’t think this was the finest moment of Hipgnosis.

Perhaps it's a Cambridge thing, but something Hipgnosis had in common with their #1 client, Pink Floyd, was that they didn't want to pay their collaborators. Assistants were scandalously underpaid and were explained that the experience alone was worth their salary.

Greenback 

With the coming of MTV, bands and record companies find new ways to throw money around. Hipgnosis is disbanded, and Greenback starts. It is a video production company founded by Storm, Po, Peter, and (for a while) Nigel Gordon. The three Hipgnosis partners separately continue with photography, though. Just like a rock band whose members take on solo projects.

Storm finally sees a dream come true: that of being a moviemaker. Early videos include Paul Young's 'Wherever I Lay My Hat', Yes' 'Owner of a Lonely Heart' and David Gilmour's 'Blue Light' which has been ridiculed ever since.

Within three years, Greenback Films is turning millions of dollars a year. But then disaster strikes and it's their own bloody fault. Po manages to put his life back on track after a bad cocaine habit, but the MTV lifestyle also reaches Storm and Peter.

Storm's edict has always been that ‘art comes first, the money later'. If there is a budget for 100 dancers, but Storm wants 200, then 200 are hired, for art’s sake. Who pays for the extras? Greenback does. Barry Gibb’s Now Voyager goes two million dollars over budget, while Storm and Barry are at each other’s throats for most of the filming.

It’s 1985, and Greenback is one hundred thousand pounds in the red. The three amigos suddenly aren’t friends any more and talk through their lawyers. At a bank meeting to settle the debts, Po arrives with 33,000 pounds of his own money, but Storm and Peter don’t even bother to show up. For the next twelve years, Storm and Po won’t talk to each other.

Solo Projects 

As we all know, Storm will be responsible for the sleeves for the newborn Pink Floyd. Po gets multiple orders from his old friends Robert Plant and Paul McCartney. Peter Christopherson has his projects, including the avant-garde experimental band Coil.

In his later life, Storm becomes the hustler of the gang. He sells the Hipgnosis catalogue to Led Zeppelin and Pink Floyd but forgets to inform Po Powell, who is pretty pissed about it. On top of that, Storm keeps some originals behind that he sells to collectors for pocket money. One rumour goes that he asks Pink Floyd for one million pounds as he believes the Hipgnosis artwork is responsible for 15% of their record sales. The band politely refuses.

RIP 

On the opening night of the Paris ‘Pink Floyd Interstellar’ exhibition (2003), Storm has a stroke and is rushed to the hospital. He is partly paralysed. Pink Floyd and Roger Waters help him financially.

Several key figures pass away: Steve O Rourke, Syd Barrett, Rick Wright. Peter Christopherson has a fatal heart attack in 2010, and Storm Thorgerson dies in 2013. Po Powell takes over Storm’s role and becomes the creative director for all things Pink Floyd.

Conclusion 

Mark Blake has written biographies about Pink Floyd and Led Zeppelin manager Peter Grant, and as such, parts of these books have trickled down into Us And Them. One could compare Us And Them with Floyd's The Final Cut which was, in part, a sequel to The Wall. But obviously, the Hipgnosis biography is not as tedious as The Final Cut. It has plenty of juicy anecdotes, and it is, in the words of its author, 'a black comedy'.

It’s nice to see that Iggy gets a thank you from Mark Blake. Even if you aren’t into Hipgnosis, it is an excellent book for those fans who want to know more about the Cantabrigians who went to London to seek fame and fortune. Recommended reading for Floyd and Zeppelin fans. And Paul McCartney. And 10CC...

Hipgnosis lead the life of rock stars without putting a single note on vinyl, except for Sleazy. Somehow I've got the feeling that there is still more to tell, but some anecdotes should stay hidden in the fog of times. Rock 'n' fucking Roll!

Blake, Mark: Us and Them: The Authorised Story of Hipgnosis, Nine Eight Books, London, 2023.

Many Thanks: Mark Blake. Roddy Bogawa, Hipgnosis Covers.
♥ Libby ♥ Iggy ♥

Some extras: 
Mark Blake - Talks about his book US And Them, Hipgnosis, Stones & more - Radio Broadcast 20/03/2023 - YouTube.
UNDER HIPGNOSIS — THE MARK BLAKE INTERVIEW - https://vinylconnection.com.au/2023/03/13/under-hipgnosis-the-mark-blake-interview/.

PS: Un Orage Postmoderne = A Postmodern Storm.

Hip to be Square

Over the years, I have acquired a few too many Hipgnosis photo books, starting with Storm Thorgerson’s Walk Away Renée and ending with Aubrey Powell’s Hipgnosis Portraits (simply named Hipgnosis in the French edition, which has an extra boobylicious picture because French will be French). I may even have skipped a few, as they all have the same pictures and roughly the same text.

In 2022, Aubrey ‘Po’ Powell wrote an interesting (and funny) autobiography that was reviewed here as well: Through The Prism. (See: Cows, Pigs, Sheep...) This was followed by an ‘authorised story of Hipgnosis’, Us and Them, written by Mark Blake, that gave more saucy details about the Hipgnosis trio. (See: Un Orage Postmoderne) In between those two, a Hipgnosis documentary saw the light of day, Squaring The Circle, by Anton Corbijn. It was shown at a few movie festivals and streamed on several channels, but a physical release could not be found. Until now, although, at the time of writing, it can only be found on Amazon UK, where they have a ‘Collector’s Edition’ version. Probably it’s called that way because it has a DVD and a Blu-ray with the same content.

Squaring the Circle

The movie starts with Po Powell walking through an old cemetery, carrying a huge carton folder on his back. Apparently, it is the same portfolio Hipgnosis used in the sixties. It is a powerful scene, obviously augmented when Shine On You Crazy Diamond chimes in. I know it is a cinematographic trick to make our eyes water, but it is damn effective.

Po sits down, opens the folder, and shows us several iconic images: Peter Gabriel, 10CC, Pink Floyd (three different ones)...

The first talking head is, weirdly enough, the nincompoop known as Noel Gallagher, but it has to be said that his interventions are cool and to the point. He has aged gracefully.

Starting in Cambridge in 1964, Po tells us how he met Storm, who would soon become his blood brother. David Gilmour and Roger Waters comment that Storm was the leader of a bohemian pack of hipsters who listened to jazz, smoking joints.

Storm Thorgerson gets some words in as well, not fully grasping why some people think he has an ego the size of a small planet. These archival snippets have been shown before, in Roddy Bogawa’s Taken By Storm, but more of that if you keep on reading.

Storm teaches Po how to become a photographer, a trade that is, according to Po, close to alchemy.

The documentary jumps to the first Hipgnosis album sleeve, A Saucerful of Secrets. It tries to emulate a space rock kaleidoscopic drug experience of sorts. (Actually, the duo did some book covers before, but that isn’t mentioned.)

The name Hipgnosis came from Syd Barrett, says Po, although other witnesses deny that and give the honour to Dave Henderson or Adrian Haggard. It will be forever shrouded in mystery.

LSD changed a lot, and Po testifies how Syd reacted: "There was a fear that emanated from him." Storm and Po also witnessed the dark side of LSD, and they both needed therapy to get rid of the spectres haunting their brains.

The movie has been going on for about 20 minutes, and all they have been talking about is the Cambridge mafia connection between Hipgnosis and Pink Floyd. But then the subject broadens.

This is a release suited for minors aged 15 and older, and as such, it tends to go soft on certain subjects. An example is the snippet of the archive video of the Edgar Broughton Band slaughterhouse sleeve, which shows more (male) buttocks in the Bogawa documentary than in Corbijn’s version.

There is the anecdote that Jill Furmanovsky was hired by Storm because she had nice tits, and obviously, that doesn’t make the Squaring the Circle final cut either. It was no secret that Storm liked the female body, and several of his Hipgnosis sleeves show that, not always in good taste.

The ‘We piss in the sink’ story does pass the censor; apparently that one was too good not to mention.

The tipping point of Hipgnosis was not Lulubelle the Third — sorry to disappoint you, fellow Pink Floyd fans — but 1971’s Elegy from The Nice. Suddenly, Storm and Po realised you could put a piece of land art on a sleeve and sell it as an album cover. This culminated in 1973 when Hipgnosis became the go-to studio: Band on the Run, Houses of the Holy, and The Dark Side of The Moon.

By the mid-seventies, money is gushing in and Po travels around the world. In a shot that takes a split second, we see some lines of white powder on a mirror. It is the only suggestion that something was going wrong with them.

Peter Christopherson, the third Hipgnosis partner, brought an element of darkness to Hipgnosis. He had a music career as well, joining Throbbing Gristle and starting Coil and Psychic TV. Apart from that, not much is revealed about him in this documentary. Most of it isn’t suited for minors anyway. For one thing, he was aware of the changes in the music industry with punk, après-punk, and the birth of MTV.

In the early eighties, Storm and Peter believe there is no future in record sleeves any more, and they decide to start a music video company (Greenback Films). Po reluctantly joins them. In Po’s words, this made Storm think he was the master of the universe. He was always going over budget, making the company bankrupt in a couple of years.

Po Powell breaks down when he talks about the Hipgnosis collapse and their lost friendship. It is a powerful image, and putting Wish You Were Here on top of that adds to the sentiment. The screen turns black.

After the message that Storm died in 2013, the camera points back to Po, still crying over the death of his friend. In my opinion, Anton Corbijn crosses a voyeuristic line there. Chasing for cheap sentiment.

The epilogue has Po, with the carton portfolio on his back, walking towards the horizon, carrying the weight of the world. One of the best documentaries I have ever seen, with a more than excellent soundtrack.

One point of criticism, though. Squaring The Circle has one of the most underwhelming extras I have ever witnessed, consisting of a superfluous slideshow of merely 20 ‘iconic’ Hipgnosis covers. That's why we will give you a special feature at the bottom of this page.

Taken by Storm

Taken by Storm is a 2015 documentary by Roddy Bogawa. It takes off where Squaring the Circle ended, with Thorgerson’s photoshoot for Pink Floyd’s A Momentary Lapse of Reason (1987).

This documentary isn’t as streamlined as the über-slick Squaring the Circle and has a ‘home movie’ vibe all over it. It uses a lot of archival material and impromptu interviews with Storm. The interesting thing is that it also has a healthy interest in Storm’s projects after Hipgnosis, with interviews of musicians of the post-2000 era.

As usual in these documentaries, there are a bunch of talking heads telling us what a genius Storm was. There is diversity among the guests from both documentaries, which is a good thing.

After a 15-minute introduction with Thorgerson’s later work, the documentary jumps to Cambridge in the sixties, with Storm and Roger Waters playing on the same rugby team. It starts the story of Hipgnosis, as told by Storm and Po. This time Po does mention that Hipgnosis started by making pictures for book covers, but of course, it doesn’t take long before he turns to A Saucerful of Secrets. It is noteworthy that Po doesn’t link Syd Barrett with the Hipgnosis name this time. It’s just a name they found on the front door.

Atom Heart Mother gets mentioned, as does Elegy, as a pivotal point in Hipgnosis’ career. Then it’s up to Led Zep and Houses of the Holy. Storm and Po talk about the philosophy behind their record covers while Squaring the Circle is more anecdotal.

The Animals debacle (or publicity triumph, if you will) gets mentioned, this time by Storm. This isn’t a chronological overview. The Dark Side of the Moon gets mentioned after Animals, and it takes them half a minute to get rid of it. Then the documentary wooshes back two years earlier to the Edgar Broughton Band, and this time we do get to see the model’s buttocks.

Storm starts a hypocritical, poor artist’s sermon by saying how he never made money out of his work. From the Mark Blake biography, however, we know that Po bought a villa with a swimming pool and a speedboat in Florida. Storm was not only the last living surrealist, to quote David Gilmour, but he could also be quite surreal in his testimonies before a camera.

The Sex Pistols used to have a rehearsal studio next to the Hipgnosis offices. The long-haired hippies slowly started to understand there was a musical revolution in the air, especially when the Pistols came in wearing their I Hate Pink Floyd t-shirts.

After a sabbatical, a music video company sees the light of day: Greenback. Storm and Po get the chance to make a video for a new artist, whose Wherever I Lay My Hat reaches the top of the charts. Suddenly, they are recognised as the movie company for the stars. Within two years, they turn over 6 million dollars a year, according to Po. Storm has the opposite opinion: "It was totally disastrous" and tries to blame the others.

A Barry Gibb movie (Now Voyager) goes so over budget that it drowns the company. Po and Storm separate and won’t speak to each other for 12 years.

This is where Squaring the Circle stops, but Taken by Storm continues with Thorgerson’s solo adventures. Storm’s initial rescue lies in the fact that Pink Floyd does a Waters-less comeback and they want the Hipgnosis grandeur back. The documentary turns to the many post-Hipgnosis record sleeves and has interviews with collaborators, musicians, and even a psychoanalyst.

In 2003, Storm suffers a stroke in Paris. Nobody admits this happened while supervising a Pink Floyd exhibition. During his recovery, he manages to bring up an idea for a Mars Volta cover that comes out of his situation.

In the last quarter of the documentary, an EMI manager says cover art will be pushed away, not realising that there will be a vinyl renaissance. It’s the proof that record people haven’t got a single idea what they are talking about.

An Epic Epilogue

Squaring the Circle is a film about Hipgnosis, narrated by Aubrey ‘Po’ Powell. Taken by Storm is a film about Thorgerson's magic, narrated by Storm. As such, they are complementary.

One of the things I noted is that people have aged a lot between these two documentaries. It’s the Mortality Sequence all over again. Watch them both, if you can.

Guest List

For those who kick on those things, here is a list of the talking heads in both documentaries. It shows that both have an exclusive list of guests. How many of these people do you know?
TBS = Taken By Storm, STC = Squaring The Circle.

Special feature: Hipgnosis Covers with a Pig

Pictures taken from the (deleted) 'Records My Cat Destroyed' Tumblr. No pigs were harmed during these photo sessions.

Many thanks to: Hipgnosis Covers.
♥ Iggy ♥ Libby ♥

Previous Hipgnosis reviews:
Aubrey Powell: Through the Prism -- Cows, Pigs, Sheep... 
Mark Blake: Us and Them -- Un Orage Postmoderne