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M i c h a e l W a d d a c o r ‘ s πStrange Brew√ Fresh insights on | Edition 01 of August 16 2006

Shine on you !

A tribute to , eccentric co-founder

Over three remarkable years between He was once a daringly creative and 1965 and 1968 and one seminal devilishly good-looking leader of Britain’s , the late Syd Barrett (60) was a mid- cultural revolution before gifted , a witty counter- plunging into a reclusive world, mostly culture figurehead and a dandy English eccentric before tragically concealed at home in , for succumbing to the dark side of LSD than 30 years. and rock stardom and then, sadly, disappearing into reclusion and Syd Barrett – according to a Pink Floyd anonymity for the best of part of 35 spokesperson quoted through an online years. Michael Waddacor pays tribute to edition of BBC News on July 11 2006 – died one of the most influential pioneers of peacefully at home from diabetes-related the English psychedelic and post- genres. complications in his hometown of Cambridge, in July at the age of 60.

Almost 40 years on, it is apt to dust off a For those of us who continue to celebrate vinyl copy of Pink Floyd’s classic debut Pink Floyd as one of the most inspirational and frontier-breaking British rock bands of album, The Piper at the Gates of Dawn, the past four decades, then Barrett merits a and again indulge in all 42 minutes of its special tribute for his contribution to the timeless fusion of freeform, experimental heady, ephemeral days of the psychedelic and frolicsome 1960s Anglo movement. His subsequent influence on the pop-rock eccentricity. more explorative and music of the will long be At the heart of this seminal, 1967 British remembered – even though his fleeting rock music album pulsates the bizarre, free- musical talent only graced one full Pink spirited and often erratic genius of Pink Floyd album. Floyd’s original singer and guitarist, Syd Barrett. Born Roger Keith Barrett in Cambridge on January 6 1946, he met two would-be

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 1 members of Pink Floyd, and Tree of the 1990s to savour a modicum of , while attending Cambridge the Barrett-era Pink Floyd influence. High School for Boys. He later moved to where he attended the In October 1966, Pink Floyd performed a School of Art and learnt to play the . weekly gig at the ’s Barrett played in several low-key bands in Sound/Light Workshop in the All Saints’ the earlier 1960s, including a folk-duo with Church Hall in Notting Hill. It was during David Gilmour, before being invited in 1965 one of its Free School performances that by Waters to play in The Abdabs, which members of Timothy Leary’s Millbrook would soon become The Pink Floyd Sound. Institute suggested that the should introduce psychedelic lightshow to Pink Floyd legend has it that Barrett – a complement its music. aficionado – suggested the name after a record he owned by two American Psychedelic heydays bluesmen, and Floyd Council. From here, moved on and would become the pivotal musical act of London’s Eclectic expressions 1966-1967 psychedelic heydays, playing at trendy underground venues such as the UFO The original Pink Floyd – comprising Club. Here at the most counter of Barrett, Waters, Richard Wright sanctuaries, Pink Floyd and drummer – fast became the dazzled audiences not only with high-decibel arty darlings of the in music that was fast becoming more the earlier part of 1966 by playing regular adventurous and original, but also with novel Sunday afternoon gigs at The . visual effects comprising mostly projected Dubbed The Spontaneous Underground, light and moving, liquid slide visuals. these experimental, surreal and usually indulgent musical sessions were alchemic Towards the end of 1966, the band and its and eclectic expressions of music and the two founding co-managers, and visual arts. Andrew King, established an egalitarian, counterculture-style management company, Seemingly random elements of American Blackhill Enterprises, to manage the band’s blues, 1950s rock ‘n roll, British pop-rock music and affairs. Pink Floyd’s career began and folk, distorted amplifier feedback, to build critical mass and, in January 1967, nursery-rhyme motifs and freeform the musical director of the UFO Club, the electronica were fused and shaped into a now famous English music producer, Joe new musical art form. These inventive Boyd, produced their first single, Arnold Floydian soundscapes established the nexus Layne. between and much of the more captivating and progressive British rock This quirky single, which helped to define music that would evolve in the latter 1960s the more accessible, radio-friendly side of and earlier 1970s. , managed to reach number 25 in the British charts. Ironically, One need only listen to the likes of however, it did not endear itself to one of the 1970s, The Dukes of fringe, pirate radio station, Radio London. Stratosphear of the and Porcupine Based on a light-hearted lyrical sketch of a

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 2 transvestite who stole women’s underwear had augmented Barrett on stage for a few from wash-lines, was weeks prior to the latter’s departure. considered to be “too smutty” for the station and was banned from airplay. By this time, Barrett’s increasing taciturnity, eccentricity, moodiness and unreliability Without doubt, by 1967 Barrett had become were deemed to be far greater liabilities than the group’s leader and frontman – not only his assets as a gifted, but erratic songwriter. because of his dandy dress sense, attractive It has long been argued by music fans and looks and often eccentric behaviour, but journalists that the combined excesses of because he was the singer, the guitarist and, pop stardom, inner struggles for creative by far, the principal songwriter. EMI Music leadership and, most of all, recreational-drug in England signed the band in 1967 with a consumption in Pink Floyd at the time led to cash advance of £5 000, which was a the emotional, mental and creative demise of considerable enticement at that time for an Barrett. In short, Barrett is often documented aspiring, experimental with little in the music media as rock’s first notorious following outside London. acid casualty due to his allegedly high consumption of LSD. Success was confirmed when Pink Floyd’s second single, the perennial pop-psychedelic While Syd Barrett was by then regarded as classic, , reached number five being little more than a fading amusement in the British charts in July 1967. A month and encumbrance by his band mates, his later, this hit single was followed by the departure was not entirely acrimonious. of the debut Pink Floyd album, The Gilmour, Waters and Wright, acting in Piper at the Gates of Dawn. Barrett – an different roles, went on to help Barrett to admirer of children’s stories and fairytales – record two good, but comparatively prosaic took this title from a chapter in Kenneth solo , (1970) Grahame’s children’s classic, The Wind in and Barrett (1971). In the 1970s, with his the Willows (1908). physical health, mental faculties and artistic muse failing him – Barrett returned home to Tragic decline Cambridge to live what was largely regarded to be a subdued, reclusive lifestyle, with his Less than a year later, after a high-octane mother, far from the limelight of the British surge into the stellar realms of rock heroism and media. and counterculture improvisation, Barrett’s art and career plummeted swiftly in the wake In the mid-1970s, he joined Pink Floyd for a of releasing The Piper … album. His tragic surprise social visit during the recording of decline was affirmed when his Pink Floyd the landmark Wish You Were Here album colleagues decided not to pick him up from (1975), which features the famous Barrett his London apartment one spring day, as eulogy, Shine on You Crazy Diamond. agreed, for a scheduled meeting. Barrett was also alluded to in Pink Floyd’s most famous album, 1973’s Dark Side of the On April 6 1968, it was announced that Moon, as “the lunatic on the grass”, among Barrett had left Pink Floyd and the band other references. In his absence from the would forge ahead with its new-found public eye, a group of devoted fans, who had guitarist and singer, David Gilmour, who formed the Syd Barrett Appreciation

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 3 Society, kept his legacy aflame by reflections about the stellar realms and other publishing a monthly newsletter, Terrapin. less worldly themes.

Quoted online through BBC News on Structurally, The Piper … was one of the Wednesday, July 11 2006, British singer, trendsetting albums of the time, shifting , paid homage to Barrett, from longer, meandering and atmospheric saying: “He was so charismatic and such a guitar-and-keyboard-driven pieces with startlingly original songwriter. His impact on sinister and disturbing undertones to my thinking was enormous.” succinct, quirky and cheerful pop tunes that could have found their way into pre-school In the same online edition, one-time friend music curricula. At once, The Piper … was and producer, , wrote: “I think Syd mature and childish, charming and dark, leaves an extraordinary legacy because cheerful and menacing, languid and (Pink) Floyd are famous all over the world.” energised, restrained and explosive, cosmic He added: “The that he wrote and the and earthy … a true guidebook for way he played the guitar and his attitude and concocting a veritable collage of psychedelic his approach towards music in 1966 and ’67 sounds, lyrics and images. shaped the group.” The album fared well in Britain where it New dawn peaked at number six in the charts at a time when the likes of The Beatles, , While his two solo albums may still continue The Kinks, and The to allure die-hard fans, Syd Barrett’s legacy Yardbirds were serious competition for is, without doubt, best encapsulated in The airplay and tickets. Across the Piper at the Gates of Dawn album. The Atlantic, however, it would take the less- Piper … remains one of the most eccentric Americans a while longer before enchanting, kaleidoscopic and whimsical they started warming to the album, which albums to have emerged from the British crawled to an insignificant 131 in the US rock vanguard of 1966-1968. album charts in 1967.

On this album, Barrett is the crazy diamond Top 10 psych gem of many facets with his novel fusion of carefree and child-like naivety, mischief and Along with nine other psychedelic-era spontaneity that swung from moods of musical gems, The Beatles’ Sergeant lightness and euphoria to those of frenzy, Pepper’s Lonely Hearts’ Club Band, The disconsolation and even a grim desperation Experience’s Axis: Bold as and seclusion bordering on the paranoid. Love, Love’s Forever Changes, ’s Surrealistic Pillow, Cream’s His subject matter, especially, epitomised Disraeli Gears, The Thirteenth Floor that daft, nonsensical and quintessential wit Elevators’ Easter Everywhere, The Rolling that only the unhinged English can best Stones’ Between the Buttons, ’ master and cherish: short and silly songs Fifth Dimension and Traffic’s Mr Fantasy, about bicycles, cats, gnomes, perverts and “a The Piper … ranks as one of the most thousand misty riders”, as well as celebrated and seminal albums to have been transcendental, surreal, lysergic-tinged conceived during, or close to, 1967’s Summer of Love.

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 4 Once described ineloquently by The Who’s “Piper … virtually defines British guitarist, , as a “fucking psychedelia,” from the third edition of The awful” LP, the first Pink Floyd album was Mojo Collection (The Ultimate Music recorded in 16 sessions over four months at Collection), edited by Jim Irvin and Colin EMI’s Studios in London with McLear (Canongate, 2003) the help of producer, Norman Smith, and engineer, Peter Brown. Almost 40 years “It (Piper …) revealed Barrett to be a master later, it remains a rare and precious gem – a of charmingly simple songs, while on fitting legacy to a crazy English diamond. and they unveiled the epics Come on you raver that had grown out of their on-stage improvisations,” from The Rock Primer, In hindsight, one is certain that today’s edited by John Collis (Penguin, 1980) mellower quartet of Gilmour, Mason, Waters and Wright would confess, if gently ÆÆÆÆÆ “Syd (Barrett) had a taste for prodded, that the greatest post-Barrett Pink whimsy, leaning to lyrics about cats and Floyd masterpieces, Dark Side of the Moon gnomes, but his daft wit and eerie melodies and Wish You Were Here, could not have made the album (Piper …) a rock version of achieved such artistic lustre and commercial the Mad Hatter’s tea party,” Rob Sheffield glory without the subtle influences of Syd from the fourth edition of The New Rolling Barrett. Stone Album Guide (Fireside, 2004) ……………………………………………… One of the most majestic Floyd songs from these two works is the latter’s Shine on You Crazy Diamond (Part One), which ends with High Hopes! these fitting Roger Waters lyrics: Speaking in the British rock press in recent “Come on you raver, you seer of visions, weeks, Pink Floyd singer and guitarist, come on you painter, you piper, you David Gilmour, is adamant that the stellar prisoner, and shine!” band will not regroup to record another album or undertake live performances, even The Piper at the Gates of Dawn is the though the band has received attractive subject of a dedicated pocketbook under the concert-tour offers from big rock promoters. same title by the British rock writer, John Cavanagh (Continuum, 2003; ISBN 0-8264- The band re-formed last year – with Roger 1497-4). Waters – to perform at in London. ……………………………………………… From Gilmour’s media reports, we assume that 1994’s mixed-review Other views on The Piper at the will be the last Pink Floyd studio album. Gates of Dawn But Floyd fans need not feel entirely bereft of hope and satisfaction: the new David “One of the first ‘head’ albums …,” Colin Gilmour album, (reviewed Larkin in the third edition of All-Time Top overleaf), is worth exploring. 1 000 Albums (Virgin, 2000) ………………………………………………

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 5 Island (re)treat

Listen to the new David Gilmour While that certain evocative and rustic album, On an Island (2006, Columbia) English melancholy still colours his work, it is today more subtle and more optimistic, Produced by David Gilmour, Phil and therefore less disconcerting. He has Manzanera and Chris Thomas plumbed the depths of human love – and has risen in a new light, perhaps even reborn. Featured include B J Cole, , Georgie Fame, , Phil Deft guitar solos Manzanera, , , , , Richard Wright To his credit, as one of rock’s most hurtfully and underrated and under-acknowledged guitarists, Gilmour’s familiar languid sound remains melancholy Getting personal at 60 sweet, eloquent, relaxed and melodious as ever. In a nutshell, his deftly played guitar Twelve years after the release of the last solos remain his high points – and it is Pink Floyd studio album, 1994’s The heartening to hear that he remains assured, Division Bell, singer-guitarist David explorative and heartfelt as ever without Gilmour recently launched his third – and getting excessive or fanciful. best – solo album, On an Island. The release date coincided with the ’s sixtieth While one doubts whether On an Island will birthday – March 6 2006. be a powerful catalyst for creating a new generation of David Gilmour fans, it will Fittingly, On an Island is Gilmour’s most reaffirm his reputation among dedicated fans personal and intimate album of his 38-year and endear him a little further to those of us recording career and a far cry from his who have followed the Cambridge-born- disappointing previous solo album, 1984’s and-bred musician since Pink Floyd’s lacklustre About Face. second album, 1968’s . An aura of contentment, tranquillity and understated artistry surrounds this album, One gathers from reading some of the recent which is at once fluid, touching, warm and British rock magazines that Gilmour has earnest. There’s that overriding feeling that been enjoying domestic bliss in rural Sussex, Gilmour – now the bucolic and gracefully raising his second brood of four children ageing gentleman with nothing left to with his second wife, English fiction writer, prove – has long since shed any rock-star . He has devoted a ambitions and preoccupations with considerable amount of his time and energy groundbreaking rock concepts in favour of to his family and home life, as well as some making music that is simple, subtle, honest, of his hobbies and interests, which include idiosyncratic and free from the dictates of flying the veteran aircrafts he keeps at his any dominant musical fashions and Surrey home. obsessions.

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 6 The houseboat sessions Gilmour’s musical forms and ideas, notably his lyrical guitar work. His artistic muse, however, has not abandoned him and, after recording about The songs are personal and idiosyncratic 150 ideas for songs on mini-disc, he began without the high-flying social commentary to reflect seriously on the idea of recording and barbed cynicism that pervaded the latter some of these for an album. With gentle days of the Roger Waters-dominated Pink encouragement from his wife, Gilmour Floyd (1977-1982). called on his neighbour and friend, former guitarist, , to get These are sincere, heartfelt songs about a serious album project going in May 2004. admiring stars, strolling along beaches and through fields and groves, lighting candles, Working mostly on Mondays at first, celebrating marriage and fatherhood, feeding Gilmour and Manzanera laid down the basic swans and – above all – celebrating human tracks and ideas for On an Island in love and companionship far from the Gilmour’s personal recording studio in his madding crowd. century-old houseboat, Astoria. Warm media response

The songs were shortlisted to an initial 40 The British media, in general, has warmed to choices – and then whittled down further, On an Island, with two of the premier with 10 of the pieces (eight songs and two English rock magazines, Mojo and Q, each instrumentals) being mastered and featured awarding it four stars and Uncut three stars. on the album. Classic Rock, however, was far less Subsequent recording sessions took place in enthused with its 4/10 rating. Review writer, London at EMI’s – the Philip Wilding, was largely dismissive of the home of many Pink Floyd recording album, remarking that it “… sounds like it sessions, including the marathon sessions of was recorded in Dave’s conservatory after a 1972 for Dark Side of the Moon. Recording light lunch, so soulless are the results”. sessions also took place at British Grove, Gallery Studio and at home. Q’s calls On an Island “a very warm record”, adding “… you can wallow in The Abbey Road-recorded orchestral songs that allow Gilmour to do what he does arrangements by were best: sing in that lullaby-ish high register and conducted by Robert Ziegler. peel off another candidate for the mother of all guitar solos, repeatedly”. Finding his alter ego Mojo’s James McNair refers to it as “a As with The Division Bell, On an Island hugely sensual work, its prevailing mood features a generous lyrical contribution by (being) one of Zen-like calm”. Uncut’s Andy Polly Samson, who acts as an alter ego of Gill says: “On an Island is very much a sorts for Gilmour. While some distracters vacation reverie, its languid manner and may challenge the merits or pertinence of soothing textures designed to trigger Samson’s role, her words fuse well with memories of holiday bliss.”

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 7 The Wright sound To be blunt, it is at this point that one realises beyond all other reasons, this album On an Island opens with a short, poignant is being admired and sold on the strength of instrumental, , featuring Gilmour’s gorgeous guitar solos. Gilmour alone on and special effects. It is a sombre piece that gives little hint Saxophone debut about what follows until the third minute, when Gilmour breaks out into one of his Then comes one of the album’s pleasant more familiar-sounding, slow-burning surprises: the haunting, opening strains of a Stratocaster solos, which transitions slickly solo saxophone that prelude Red Sky at into the first of the songs, the title track. Night. Just as one recalls with admiration the fine contributions of to the Dark On an Island is one of the album’s vocal Side of the Moon sound, it dawns that highlights, with its meandering, blissed-out- Gilmour has been studying the saxophone in in-the-moonlight vocal harmonies by David recent years with his son, Charlie – and now Crosby and Graham Nash. Within minutes, he is doing something he’s always wanted to Gilmour launches the first of several notable do: play the saxophone on one of his own guitar solos, which recollect the best of his albums. Floyd solos, such as those he crafted on standout classics like . has to be the most spiritually Friend and fellow Floyd stalwart, Richard sounding Gilmour we have heard, despite his Wright, provides some sympathetic aural ongoing admissions that he remains an tapestries on , reminding us atheist. He has felt the power of holy places that he and Gilmour were just as vital to the and declares with all the comfort and Floyd sound and concepts as was Roger certainty in the world that “this earthly Waters. heaven is enough for me” – and so it is.

The unhurried musical musings flow through Just after the halfway mark, the second to The Blue, this time featuring Wright on instrumental, Then I Close My Eyes, harmony vocals with Chris Stainton (ex- introduces fresh, new sounds, with Grease Band and Roxy Music), Jools Gilmour’s ethereal acoustic guitar being Holland and Polly Samson all contributing complemented by B J Cole on Weissenborn on keyboards without ever detracting from guitar, Robert Wyatt (ex-) on Gilmour’s idly flowing . Forty , on and Alasdair years on, Gilmour has not strayed from his Malloy on glass harmonica. love of slow blues – and why should he? A hint of The pace lifts on the fourth track, , with its determined, march-like beat A hint of Wartime England brings nostalgic keeping shy from sounding pompous. It is, hues to Smile, with Gilmour unashamedly perhaps, one of the album’s low points with sounding like he is just as close to the its overall lack of discernible melody until memory of Vera Lynn as he is to the roots of Gilmour later shifts the upwards the blues and space rock. It may be one of towards a higher plane with another blues- the weaker tracks, but it has a reverent tinged, spacey guitar solo. earthiness to keep one piqued.

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 8 A Pocketful of Stones keeps the languor comfort and purpose in restraint and a more flowing, but this time it is graver and more pared sound. sombre in tone, almost depressing, until a hint of optimism creeps in later with another So, if you want to rock out, forget it … unhurried, no-particular-place-to-go guitar because the closest Gilmour ever came to solo. rocking out was on of 1979!

One of the strong tracks, Where We Start, is PS: For the ecologically minded, this is the an ironic, but nevertheless fitting closing first time I have seen a CarbonNeutral¡ CD track as one pictures Gilmour and Samson walking hand-in-hand on a glorious day to savour the joys of swans, woodpeckers, ……………………………………………… bluebells and an immaculate moment of seemingly eternal – just pure being-ness in an English country setting. Five essential Floyd albums This is close as Gilmour will ever get to (1) Dark Side of the Moon (1973) being a romantic – a man made all the (2) Wish You Were Here (1975) deeper and fuller by rediscovering the (3) The Piper at the Gates of Dawn (1967) blessings of love and nature in his autumn (4) The Wall (1979) years. (5) (1971)

Sublime production For a definitive introduction to the band, listen to the 26-track, double-disc anthology, While Gilmour’s pleasing third solo album, Echoes, released in 2001. The compilation sadly, may not emulate the grand, mid-1970s was co-produced by David Gilmour and Floyd masterpieces, Dark Side of the Moon James Guthrie and features a delightful and Wish You Were Here, it is a well-crafted booklet designed by Storm Thorgeson and and sublimely produced musical journey Peter Curzon, as well as reproduced lyrics. spanning slightly more than 50 minutes of domestic bliss, earthly love and an appreciation for nature and friendship. ……………………………………………… What On an Island may lack, in places, in melodic vigour, instrumental adventure and soul-searching lyrics, is countered by its The must-read Floyd books warmth. Here, one must concur with James McNair that there is “a Zen-like calm” – a Saucerful of Secrets: The Pink Floyd feeling that the master has slain his internal Odyssey, (Delta, 1991) dragons and has come close to experiencing his own musical nirvana. Inside Out: A Personal History of Pink Floyd, Nick Mason (Weidenfeld & Whereas Roger Waters is tempted to be Nicholson, 2004) dramatic, daring, outspoken and even downright sneering and scathing, as he was on 1991’s , Gilmour finds ………………………………………………

Strange Brew 01 ° The Pink Floyd edition ° 2006-08 ° 9 ……………………………………………… The must-see DVDs

(1) Pulse: In Concert (2DVD) • , 1972 [s] Æ (2005) featuring an entire live rendition of • Dark Side of the Moon, 1973 ÆÆ Dark Side of the Moon recorded at Earls • Wish You Were Here, 1975 ÆÆ Court, London in 1994 • Animals, 1977 Æ • The Wall, 1979 ÆÆ (2) Live at : The Director’s Cut • A Collection of Great Dance Songs, (2003) featuring delightfully indulgent, 1981 [c] psychedelic jams in an empty amphitheatre • Works, 1983 [c] • Final Cut, 1983 (3) The Making of Dark Side of the Moon • A Momentary Lapse of Reason, 1987 (2003) featuring interviews with David • Delicate Sound of Thunder, 1988 Gilmour, Nick Mason, Roger Waters and [live] [l] Richard Wright • Shine On, 1992 [8-CD ] • The Division Bell, 1994 Æ ……………………………………………… • Pulse, 1995 [l] • Is There Anybody Out There: Pink Floyd websites Wall Live 1980-1981, 2000 [l] • Echoes, 2001 [c] ÆÆ Fans can visit Pink Floyd online at ……………………………………………… www.pinkfloyd.com Edited and published by Michael Waddacor© of Soul Star√ Publishing, 1 Hocky Avenue, Other sites worth visiting include: Northcliff, 2195, Johannesburg, South Africa

• www.pinkfloyd.co.uk (EMI) Mail: PO Box 6508, Cresta, 2118, South Africa Phone: +27 11 888 1226 (office) or • www.pinkfloyd-co.com (fans) +27 84 457 7133 (mobile) • www.pinkfloyd.net (fans) Fax: +27 866 111 777 • www.pinkfloydonline.com (fans) Email: [email protected]

© Copyright: Unless otherwise clearly ……………………………………………… indicated, all material in this newsletter, Michael Waddacor‘s Strange Brew√, is protected by international copyright and may The Pink Floyd discography not be sold, copied or reproduced in any manner or form without the prior written • The Piper at the Gates of Dawn, consent of the publishing editor. 1967 ÆÆ Subscriptions: The first few editions of this • A Saucerful of Secrets, 1968 Æ publication will be distributed free of charge. To • , 1969 [half-live] Æ receive copies of this sporadic publication by email, complete the subscription form and send • More, 1970 [soundtrack] [s] it to Michael Waddacor at Soul Star√ Publishing • , 1970 Æ by email or fax. • Relics, 1971 [compilation] [c] Æ • Meddle, 1971 ÆÆ ………………………………………………

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