PINK FLOYD - Have You Got It Yet 1-10 Bonus 19 (11 CDS)

Have You Got It Yet 1-10 Bonus 19 (11 CDS bootlegs)

Have You Got It Yet? Si no lo ha hecho, entonces debería tenerlo. Estos discos son el fruto de varios años de &; RECOGIDA PERSONAL DE MATERIAL NO LIBERADO. El material inédito ha sido eliminado después de varios años de "hacer rondas" y remasterizado, eliminado, igualado la velocidad y transferido cuidadosamente a Diez discos (¡HASTA AHORA!). J. Goddard

Track lists and notation for HYGIY disc 1 

1. Lucy Leave (Acetate)  2:53

2. King Bee (Acetate) 3:04

Studio recordings dubbed from EMI disc acetates believed to having been recorded at Thompson's Private Recording Company sometime in October of 1966. Another alternative for a recording date is believed to have been in mid-1965, possibly at Regent Sound in London.

The first track is a standard ‘(I'm a) King bee’, very popular in the sixties. Barrett's version, as a matter of fact, is quite similar to that included by the Rolling Stones months later before on their first album. Lucy leave instead is probably the first Syd Barrett penned Pink Floyd recording, at least according to what Nick Mason said to J. Marie Leduc in 1973

"Our first song was Lucy Lea in Blue tight or something like that. We taped it but never published it".

It is interesting to listen to the vocal part, in line with the vocal standards of the beat era, with a clear Jagger-like style.

3. Interstellar Overdrive (San Francisco version) 14:56

Recorded on the 31st of October 1966 at the Thompson Private Recording Studios

This version of "Interstellar Overdrive" is not as listed “a demo” but was used for the 1967 short film "San Francisco" by filmmaker Anthony Stern. 

Record Collector notes the film as follows: 

“Film director Anthony Stern produced this episodic 15 minute documentary of a day in the life of the Psychedelic City of San Francisco while the Pink Floyd improvised a version of "Interstellar Overdrive" on the soundtrack, apparently the group's first proper recording.”

Another sources notes that the track was recorded in Syd Barrett’s garage but this is not likely. 

4. Mike Leonard Interview 2:05

This track come from a BBC documentary aired in early January 1968, segments of which later have been reprised in various Pink Floyd documentaries. 

Record collector: "The film was shot at the very end of 1967 and was built around their old landlord, Mike Leonard, who made light machines. The band was present to illustrate the sound/light technique and was seen performing an unknown instrumental reported in the press as being penned by Waters and Mason.”

The track played during the interview remains unidentified but some mean that this might be a very early incarnation of “Set the controls for the heart of the sun”.

5. Interstellar Overdrive (Soundtrack) 9:43

6. Nick's Boogie (Soundtrack) 11:53

7. Interstellar Overdrive, (Soundtrack LP) 3:06

These three tracks derive from the movie “Tonight let’s all make love in London” by Peter Whitehead – A tribute to the swinging London. The film itself included performances by the Pink Floyd. One of these from the UFO club (Early 1967) and the other from the 14 hour Technicolor dream (29th of April 1967). 

Colin Miles (of See for Miles) spoke of the find in British Music magazine VOX: “I think the most incredible find must be twenty-four minutes of unreleased Pink Floyd. Peter Whitehead brings his seven-inch tape with all this green mould growing all over it and I thought, Oh dear, what can we do with that? But it was so tightly would, the sound is absolutely superb.” 

Rumours have it that The Floyd also cut an early version of Astronomy Domine at this time, but whether it was the product of these or subsequent sessions are unclear.

Track 5 is not found on the soundtrack CD.  This is an edit of that performance, and an alternate mix.  This is what was actually used within the film.

Track 6 is the performance found on the CD, but here it has, by the compilers, been rendered into stereo digitally. No tracks recorded or presented in the movie have been in stereo.  

Track 7 is what appeared on the original soundtrack LP back in the 1960s.  (It's interesting mostly for historical purposes.  For twenty years, this is all anyone could hear of that version.)

The tracks were recorded at Sound technique Studios in Chelsea on the 11th or 12th of January 1967, alas the musical tracks were dubbed onto film of the band performing. 

8. Matilda Mother, (Live at UFO) 2:35

9. Interstellar Overdrive, (Live at UFO) 5:04

Recorded on the 7th of March 1967 for the “SCENE SPECIAL (Alias It’s so far out, It’s straight down!” broadcast on Granada TV. 

The burgeoning London underground scene was covered in detail in this excellent documentary (directed by Jo Durden Smith), screened in the Granada region only. Miles, John “Hoppy” Hopkins, Paul McCartney and Allen Ginsberg where among the talking heads while the Floyd were heard playing an early version of “Mathilda Mother” (then known as “Percy the Ratcatcher”).  Later in the film they were seen performing “Interstellar Overdrive” at the UFO Club, in footage shot on 20th January 1967. 

 

10. Let's Roll another One (Rehearsal) 1:46

11. Instrumental, (Rehearsal)  1:09

Taped on a home tape recorder at the Floyds rehearsal space in Mike Leonard's house, apparently on 20 Jan 1967.  

 "Let's Roll Another One" was the original title of "Candy And A Currant Bun."  They had to change the words to please the censors, but at this point the song should still have had this title -- and so even though no vocals can be heard, we present it this way.

The "instrumental" is simply that -- the band noodling about for a minute or so while the tape happened to roll.  This is sometimes titled "I Get Stoned" or "Stoned Alone" on bootlegs, but is nothing more than a bit of random music. 

12. Arnold Layne, (Acetate) 2:37

13. Candy And A Currant Bun (Acetate) 2:02

Recorded at London, Sound Techniques Studios, January 23-25, 1967

Arnold Layne, here presented on a EMI Disc Acetate differs from the finished version by the *

fade-in 2 seconds after the actual start and a strange edit which skips the organ solo. 

Candy and a  Currant bun is here presented in an early from with the lyrics:

“…I’m high don’t try to spoil my fun – don’t cry we’ll have another one!”. These lyrics were most likely cut on the later release due to pressure from EMI. Also CAACB boasts a different verse structure with no organ nor guitar solos.

J.Palacios notes: "Candy and a Currant Bun” had begun as "Let's Roll Another One", an unsubtle ode to the joys of smoking dope, but EMI balked. Once gain, the Floyd were forced to acquiesce. "We had to change all the lyrics," said Waters, "because it was about rolling joints. ... it had lines in it like, 'Tastes good if you eat it right...' No they did not like it at all." When told to change the words to "Let's Roll Another One", a mischievous (and rather annoyed) Syd snuck the word 'fuck' into the rewritten version..

14. Interstellar Overdrive (EP mix) 5:14

Recorded at Abbey Road Studios, March 14-15, 1967 later mixed for EP use on March 22, 1967.

A unique version of Interstellar Overdrive. This mix only, available only on the French EP for Arnold Layne, Candy And A Currant Bun and Interstellar Overdrive (ESRF 1857)

contains the basic track, without overdubs and fades out before the actual end of the song cutting the whole outro.

15. Pow R Toc H (BBC TV) 1:49

16. Astronomy Domine (BBC TV) 3:57

From BBC2 “Look of the Week”  14th of May 1967. 

Record Collector: “Pink Floyd opened the program with a brief “Pow R. Toc H” and popped up later in a classic piece of television farce, when they were patronized by Dr. Hans Keller. After a live “Astronomy Domine”, he engaged Waters and Barrett in an unintentionally hilarious discussion. Both songs and part of the interview have been repeated over the years, most notably on BBC-2s “Sound of the Seventies”. 

17.  See Emily Play (Stereo Enhanced)  2:52 

This track  was digitally processed from the original mono mix.  It is not the "fake stereo" version found on the Relics album, but a fan-created mix.

The track was recorded at Sound Techniques Studios, London on May 18 & 21, 1967 

Track lists and notation for HYGIY disc 2

1. Arnold Layne (Stereo enhanced)    2 :51

2. Candy And A Currant Bun (Stereo enhanced)    2 :44

Possibly Recorded on the 27th of February 1967 at Sound Techniques Studios.

Alternatively on the 23rd -25th  of January 1967

A note for the tapes appear in “Making Madcap Laughs”  as “Not issued”.  There is no tape number in the files.  

Without definite information it is impossible to state categorically which of the above tapes are different takes of the same title or simply continued progress on the same basic recording.  I have refrained from guessing!

This track was digitally processed from the original mono mix.  It is not the "fake stereo" version found on the “Masters of Rock” album, this is a fan-created mix.

 3. Remember A Day (Mono)  4 :23

Recorded on the  9th of May 1967 at Sound Techniques Studios.

This mono version is from an acetate mixed in mono possibly intended for use on “Piper at the Gates of Dawn“.

4. See Emily Play (Acetate) 2 :53

Recorded on the 21st of May 1967 at Sound Techniques Studios

This version is very close to the one release on single, there are only slight changes in the mix (vocals are

undermixed, organ is more in the front...) and the very end is uncut with a audible guitar. 

5. Flaming (US. Mono single mix) 2 :45

Recorded on the 29th of June 1967 at Abbey Road Studios 

"Flaming" was not on the first US release of "The Piper at the Gates of Dawn" album, and was then released as a single. This version is different from the regular mix: background noises are mixed much louder.

6. Instrumental (aka “Sunshine”)  1 :36 Recorded on the 4th of September 1967 at Abbey Road Studios 

Originally listed as begin recorded on the 9th of April 1967 but there is some disputes concerning the real recording dates. This untitled outtake was probably recorded around the same time "Jugband Blues" and "Vegetable Man" were recorded.

On a lot of circulating copies, the title of this outtake is "Sunshine", but it's wrong ("Sunshine" was a working title for something that was later included in "Matilda Mother", and no outtake ever surfaced for this track). 

But it  is most likely "Untitled" -- labeled as such on the studio reel, and never was assigned a title.  It has not been confirmed, but by process of elimination has been assigned the date of 4 Sept 1967.  (This is an edit of a longer piece, it went on for three or four minutes.)

On thing can though be said about it – This is not “Beechwoods” 

For more information read “SYD BARRETT, SILAS LANG & “SUNSHINE” OR: THE PROS AND CONS OF NIT PICKING” published in the Late Night fanzine. 

 

7. Set The Controls for the heart of the (Syd's part)  0 :32 

Recorded on the 7th of August 1967 at Abbey Road Studios

David Gilmour: Syd's on three or four tracks on 'A Saucerful of Secrets', including 'Remember A Day' and 'Jugband Blues'. He's also on a tiny bit of 'Set the Controls for the Heart of the Sun.' (Editor's note: according to various sources, Syd may have also played on 'Corporal Clegg' and 'See Saw') 

Malcolm Jones: Syd Barrett does not appear on many of the above titles, although his original contributions may have been replaced.  He certainly appears on Jug Band Blues and Remember A Day.  He has been variously credited with playing on 'Let There Be More Light', 'Corporal Clegg' (both of which seem unlikely), Set The Controls, (recorded originally shortly after the release of 'Piper' and there is no trace in the files of a later multi-track tape to replace the original).  This latter track seems most likely, looking at the date of its first recording, to have featured Syd,

although aurally it seems unlikely.  Rick Sanders also states that Syd is on See Saw, which is, at least, in the style of Syd's

early Floyd material.

8. Scream Thy Last Scream (Peter Jenner 1974 mix)  4:41

Recorded on the 7th of  August 1967 at Abbey Road Studios

The vocals a clearly mixed and balanced towards the music on the Jenner ’74 mix. 

This may be the most widespread version of “Scream thy last Scream”. This mix most likely from the period just before or after the 1974 session which Syd didn’t complete. There was talk of releasing Syd's outtakes as early as 1974. 

Jenner believed he might be able to use them for the "third album," and so he mixed them for this purpose.

It so seems that once the recording sessions collapsed (See disc 4 tracks 28-36) Jenner started to look through the archives in hope to produce a compilation of Syd Barrett tracks (Not unlike the 1988 release “Opel”) but that too failed. 

With no other options at hand EMI re-released “The Madcap Laughs” and “Barrett” as “Syd Barrett” (Harvest SHDW 404).

9. Scream thy last scream (coda)  0 :18 

Unknown recording date

This 18 second tape loop leaves anyone slightly baffled. Bleeps and the sound of a tape rewinding mixed low in the background. When it’s noted that the authenticity is dubious then it is most likely a correct note. The segment is nowhere to be found on any of the released 

10. Vegetable Man (Peter Jenner 1974 mix) 2 :30 Recorded 5-6th of September 1967 at Sound Techinque Studio

See track 8 & 18-19

 

9. Scream thy last scream (coda)

10. Vegetable Man (Peter Jenner 1974 mix)

11. Flaming (BBC Top Gear)  2 :41

12. Scarecrow (BBC Top Gear)  2:05

13. The Gnome (BBC Top Gear)  2 :14

14. Matilda Mother (BBC Top Gear)  3 :26

15. Reaction In G (Top Gear)  0 :35

16. Set The Controls for the heart of the sun (Top Gear)  3 :14

Recorded at the BBC Playhouse Theatre, London, England on the 25th of September 1967

BBC notes it to having been premiered on October 1st 1967

The Floyd taped four songs from Piper at the Gates of Dawn, as well as ‘Apples and Oranges’, the latter is the same recording as the single release. Versions of ‘Set the Controls for the Heart of the Sun’ and ‘Reaction in G’ were also recorded during this session but not broadcast. 

17. Jugband Blues (Mono)  2 :58

Recorded 24th of October 1967 at Abbey Road

Malcolm Jones: 9/5/68 The following session possibly took place outside Abbey Road, probably at Sound Techniques.  My reasons for this assumption are as follows.  The 4 track masters are on 1/2 inch tape, which EMI did not use.            Secondly, Jug Band Blues was filed in mono on 24/10/67, although there was no previous record in the files of a 4 track tape.  It is likely, therefore, that the mono mix was received at EMI (originally for single release) and that the 4 track followed later on this master reel the following May.  There was similarly no 4 track for 'Remember a Day', although, 

if this was re-titled from the original title of 'Sunshine', there was a 4 track.

But then again it’s also likely that the take presented here is from the final mix session (the one intended for the Mono Release of the “Saucerful of Secrets” album. That date has been set to the 9th of May 1968.

Jugband Blues was intended as the follow-up to Pink Floyd's second single, See Emily Play. This is the only track with notable differences between the stereo and mono versions-the latter having more guitar and vocals. It exists in three official versions- UK stereo, the UK mono, and the stereo mix from the Canadian A Nice Pair. The Canadian version of Jugband included a different stereo mix, unknown elsewhere. Whether or not Syd was truly aware of his own slide into the abyss, may not ever be known, but, lines like 'I’m most obliged to you for making it clear that I'm not here/And I'm wondering who could be writing this song'...could safely be described as the ultimate self-diagnosis on a state of schizophrenia. "Syd knew exactly what was happening to him, but was powerless to stop it. He knew he was going wrong inside." [Andrew King]

18. Scream Thy Last Scream, (Malcolm Jones 1987 mix)  4 :40 

Recorded 7th of August 1967 at Abbey Road Studios

19. Vegetable Man, (Malcolm Jones 1987 mix) 2 :37 

Recorded 5-6th of September 1967 at Sound Technique Studio

 

It can once again only be assumed that there were greater plans to include these two tracks on the, then forthcoming, Syd Barrett compilation “Opel”. Once again we’re dealing with two very clean mixes of these lost tracks. Note that the vocals and voices on Vegetable man are much louder mixed and it features a long outro, not echoed madly like the Jenner 74 mix.

When work commenced for “Opel”, Malcolm Jones came in and did a couple of test mixes.  However, his failing health prevented him from accomplishing much; I believe he put in just one day's work.  The "Vegetable Man" mix sounds as if he was merely testing the levels and trying to determine what was on the tape -- this could not have been intended for any commercial release.

Gareth Cousins was eventually given the job of mixing the bonus tracks included in the Crazy Diamond box set following the work he’d done on “Opel”.

There are obviously three different sets of mixes for “the lost single”. 2 Mono mixes and one Fake Stereo mix. 

The Jenner 1974 mixes are the partially fake Stereo mixes where as the later 1988 Malcolm Jones Mixes are the real mono ones (Note that the 1974 VM is a true Stereo track). – Why Jones would mix VM and STLS in Mono for a possible inclusion on “Opal” is not so hard to understand. But then again Jones gives no indication towards a actual Stereo recording session for these tracks. As for Scream thy last scream the instruments and vocals are mainly mono. However, some stereo effects can be heard, especially on the background noises (high pitched voices). This may be a later enhancement.  Much of the stereo effects on Scream thy last Scream seem to be contributed to the tape being echoes with a stereo delay. 

20. Apples And Oranges (Stereo)   3 :04

Recorded 15th (See below) of November 1967 at Abbey Road

A real Stereo mix of Apples and Oranges released on the 2 Compilations “Best of..” and “Masters of Rock” in 1970 respectively 1973. (See additional notes at the end of the track list for disc 2.)

21. Paint Box (Stereo)  3 :29

Recorded 12th??? of November 1967 at Abbey Road

This might be the wrong date for all I can see in the Malcolm Jones list. There a recording dates on the 2nd of November (66563-4T) and on the again on the 15th (66771), the latter which is labelled Stereo – Thus It’s fair to assume that the recording date was on the 15th of November together with “Apples and Oranges” (See Track 20). 

22. Vegetable Man (Top Gear) 3 :15

23. Pow R Toc H (Top Gear)  2:53

24. Scream Thy Last Scream (Top Gear)  3 :39

25. Jugband Blues (Top Gear)  3 :49

Recorded on the 20th of December 1967 at Maida Vale Studio 4, London for BBC ‘Top Gear’

This BBC session is especially crucial because it’s one of the very last appearances Barrett made with the band (he played his last show with the following January). ‘Vegetable Man’ includes a very short instrumental section and the chaotic feeling of the original studio recording is recreated perfectly, while the fade-out in ‘Pow R Toc H’ probably happened during the radio broadcast itself. ‘Scream thy Last Scream’ is also similar to the studio version and ‘Jugband Blues’ has a spaced-out middle section in place of the "Jugband" playing on the album recording—this final song is fittingly the last echo of the Syd Barrett era.

26. Julia Dream (Stereo Enhanced) 2 :32 

Recorded 13th of February 1968 at Abbey Road Studios

Julia Dream underwent a mixing session of the mono tapes with included the track getting echoed vocals, and a louder backing track – Julia Dream was later released in true Stereo on Relics. The session for this version of Julia Dream is one of the more curious sessions logged in the list presented in the Malcolm Jones book.

13/2/68    Doreen's Dream (  "   "     "       "  ) 

            Corporal Clegg                    67375-4T 

 

13/2/68    The Boppin' Sound                67374 (4 track to mono)

            It Should be So Nice                         

            Doreen Dream (re-titled Julia's Dream)

Tt’s faily obvious that both finished versions of of Julia dream come from the “Doreen’s Dream” sessions on the 13th .  First the track was recorded as 4Track Stereo (67375-5t) then it was mixed down in Mono. Julia Dream first appears by name 10 days later on the 23rd of February a date which most likely is a mixing/mastering session. It also seems that the 

 

27. It Would Be So Nice (Stereo enhanced)  3 :40

Recorded 21st of March 1968 – Possibly at Sound Techniques Studio

This stereo enhanced version of “It would be so nice” seem to derive from the afore mentioned compilations “Best of…” and “Masters of Rock”.  It might also be one of the last tracks on which Syd featured (if he does feature on it) – Both Julia Dream and It would be so nice are logged in the period where David Gilmour were being coaxed into Pink Floyd thus giving Barrett minimal space to appear. (See additional note at the end of the tracklist for disc 2)

28. Julia Dream (Stereo)  2 :37

Recorded 13th of February 1968 at Abbey Road Studios

See track 26 for more details

Additional notes for tracks 20,26 & 27:

”Fake Stereo” is done by someone to recreate the effect of stereo by electronically re-channelling (as was often done in the late 60s). Thus every instrument, every sound, was present on both sides of the stereo, but eq-tweaking had subtly given the impression that the instruments were distributed across the stereo pan. This is though not a genuine Stereo mix.

For Disc 3: 

"It all comes straight out of our heads and it's not too far out to understand. If we play well on stage I think most people understand that what we play isn't just a noise. Most audiences respond to a good set." 

Track list for HYGIY Disc 3.

1. Reaction In G      06:19

2. Arnold Layne                        03:15

3. One In A Million 06:03

4. Matilda Mother         06:03

5. Scream Thy Last Scream      05:21

6. Astronomy Domine         07:29

Live at Star Club, Copenhagen, September 13 1967

The Pink Floyd spent 5 days in Denmark from the 9th to the 13th of September 1967 meeting the press, performing three times at Star Club in Copenhagen and allegedly a venue in Boom, Aarhus on the 10th before moving on to Sweden. 

What makes the Star Club recording so very special is that it is the first fully preserved gig from 1967. 

”Star Club was situated on Aaboulevarden, in central Copenhagen and housed a 3-story discotheque. It also hosted live music on the ground floor for a period (mostly for the up and coming bands amongst which were The Move, Jethro Tull og John Mayall). The building in which Star Club lay have since been demolished and the ground now holds a house of apartments.”

A rare early concert tape and an interesting set list - Unfortunately the band’s P.A. is lousy and the vocals are very difficult to hear. ‘Reaction in G’ (actually in E) was the typical opening number at this time and this rare ‘Arnold Layne’ makes the tape worth getting alone. Also featured is the strange ‘One in a Million,’ a longer version of ‘Matilda Mother,’ and another lesser-known Barrett track, ‘Scream thy Last Scream’ (recorded later in the year), which they continued to play into 1968. This concert shows a heavier side than the Piper album, but overall their live sound here isn’t terribly impressive. ‘Interstellar Overdrive’ is also surprisingly absent, if the recording is complete.

"Today the new pop groups not only want to give the audience a concert, they want to give the audience a total experience in pictures and sound effects. Pink Floyd has reached very far in this effort. The material was instrumental, and one of the few songs you could recognize was "Set the controls for the Heart of the Sun"" (from BT, September 12, 1967).

On a curious note, there is a persistent rumor about a fourth show sometime during that week in 1967. Namely at Rolf- Hallen on Fyn ca. 20 km out of Odense but this has never been possible to confirm.

7. Reaction In G 04:12

8. Pow R Toc H 11:37

9. Scream Thy Last Scream 04:44

10. Set the Controls for the heart of the Sun 09:02

11. Interstellar Overdrive 14:21

Hippy Happy Fair, Oude Ahoy Hall, Rotterdam, November 13, 1967

The correct name is Ahoy hal (not ´halle´, that’s German not Dutch). 

Rotterdam is divided in a northern and southern part by the river ´maas´. Ahoy is located in the southern part.

It’s a sporting venue with several halls and rooms and some outdoor fields. The main ´Ahoy´ hall itself is a large venue, designed for Cycling and athletics sports (its oval shaped).

As long as I can remember, the main hall has been a venue for concerts as well. Despite the lousy sound you get in the hall, almost all major acts have (or will) performed there.

The ´oude Ahoy hal´ refers to the older building that once stood at the same place. (´oude´ is dutch for ´old´). That sports hall was reconstructed heavily in the mid seventies. I believe, Floyd was one of the first acts in 1977 to play in the renewed building. ”Ahoy” can be explained as follows: “It’s an old fashioned greeting used in the sailing world."Ship Ahoy" was a way of saying "Hello" to another vessel in the immediate surrounding. Nowadays as brief version is ´Hoi´ and still used in the Dutch language as ´hello´. (I always start my mail with ´hoi´ which indeed derives from ´Ahoy´). I don’t know why the venue was named like that, but I can imagine that it is a sort of salute to Rotterdam, which is the largest harbor in the world.

Nowadays, still large concerts are held there, just recently Bruce Springsteen played there. Seating is around 

10.000 people, so it’s not a big hall in US standards.

Floyd played in the (old) hall in 1967 as part of a ´teens and twens´ event called the ´Hippy Happy Fair´. It was a ´fair´ for modern youths in the ´summer of love´ period. All kinds of different ´beat groups´ played there (some locally famous).

The show from Oude Ahoy Hall in Rotterdam is a sub-par recording, but definitely a great document considering the time period. This show occurred the day after their disastrous first U. S. tour ended, but Barrett seems to be playing well enough here after seriously flaking out in America. Both ‘Pow R Toc H’ and ‘Interstellar Overdrive’ are much longer than the studio versions, and this early ‘Set the Controls for the Heart of the Sun’ is a raw, heavier rendition than the more developed version on A Saucerful of Secrets.

Track list - Have you got it yet? Disc 4

1. In The Beechwoods backing track ‘67 (from 3/69 Mason interview) 04:49

2. Vegetable Man 1967  (from 3/69 Mason interview) 02:35

3. Vegetable Man 1967 rehearsal (from 3/69 Mason interview) 02:47

digitally enhanced versions

(For the original unprocessed version of these tracks see HYGIY Disc 6 tracks 23 – 25)

A member of LaughingMadcaps (who wishes to remain anonymous) was delighted with what we were doing, and when he saw the initial song lists for HYGIY he realized he owned a few tracks that had not been heard.  Rather than press up a new bootleg CD, he generously donated his tracks to the HYGIY project -- in this way, it would be distributed to thousands of fans all over the world, for free.  We are all in his debt.

While in high school, he interviewed Nick Mason in early 1969 (probably March as Nick was on his way to the first of the 'More' sessions at the time) for the student newspaper.  In the course of that interview, Nick played him a few selections from a private reel.  They were captured by the student's tape deck and preserved for us in this way.  It's an ambient recording of several Pink Floyd songs playing in the room, while Nick comments occasionally.  (Fortunately, Nick plays them loud!)

The original complete interview tape was stolen not long after the interview, but the music segment had been copied by a friend of the interviewer and is the source of these recordings.  Quality is a bit ropey,  but listenable enough.  'Beechwood' runs for almost five minutes and is obviously a backing track, but has some classic Syd tempo/chord changes.  Rick Wright is very much to the fore.  The instrumental 'Vegetable Man' is rather loose in style, but has some evil leady sort of rhythm guitar playing from Syd.  The whole tape runs for about 11 minutes.

These songs very nearly didn't survive.  The source tape is a cassette dubbed from the master reel.  (It was a cheap cassette, too, with some leakage coming through from the other side of the tape.)  For the sake of convenience he dubbed copies of just the songs--and it's a good thing too, because his interview tapes were stolen a year or two later.  And so, this is all we have.  However, there can be no doubts of its authenticity:  that is Nick Mason's voice, after all!

 

The 1967 mix of "Vegetable Man" is different from the later ones--you can hear the band laughing at the end, longer than they do on the common 1974 mix. (This can also be heard on the 1987 mix of the track.)

 

The other "Vegetable Man" track appears to be a rehearsal, and instrumental run-through.  It's unique among Floyd RoIOs (one almost never hears them in rehearsal). This begs the question of what else is waiting in the archives.

For this -  the anonymous benefactor deserves all credit. 

4. Silas Lang (Backing track) 02:52

Recorded: June 5th  1968

Toward the end of the 1974 sessions, Jenner had a dub of this 1968 recording made, thinking perhaps something further could be done with it.  This reel was leaked to a fan at a later date; of the several hours of 1974 sessions, everything in circulation comes from the mix downs on that one 20-minute reel, and the 1968 "Swan Lee" instrumental as well.  The "banjo" and "sax" parts came from a mellotron (one of the rhythm-tracks settings), as well as the odd "piano" notes at the beginning.

Much dispute have arisen about this track. So much that a very extensive article was written by Jon Allan 

in which he tracks down the origins of the track.  It is thought quite obvious when play alongside tracks 7

and 8 on this CD that the track evolved into the intro for Swan Lee. 

Here follows a note from the Late Night article:

‘Opel” and ‘Crazy Diamond’ co-compiler Phil Smee believes the Banjo and Saxophone part to be the result of copying the unmixed track onto a poorly wiped (erased) master tape, but I disagree. Here’s why: In 1973 Roger Waters told Zig Zag magazine that towards the end of his time with Pink Floyd, Syd had “a great plan...to expand the group, get in two geezers, some two freaks that he’d met someplace or other. One of them played banjo and the other played saxophone. We weren’t into that at all, and it was obvious that the crunch had finally come”.

  

5. Lanky Part II (aka Rhamadan) 01:37

Recorded: May 14th 1968  

Once again Malcolm Jones’ “The Making of Madcap Laughs” comes to the rescue. 

It’s obvious been hard for the followers and the makers of Syd Barretts music to keep track of the differences between “Lanky II” and “Rhamadan” and that is simply because they were recorded on the same date: May 14th 1968. 

From “The Making of Madcap Laughs” 

14/5/68  

Rhamadan : not issued 

Lanky Part 1. not issued 

Lanky Part 2. not issued 

Golden Hair version 1. not issued

Produced by Peter Jenner

This is the only time Lanky pt.1 & 2 appear in the recording logs where as Rhamadan pops back up again on the 23rd of April 1969 for the infamous Motorcycle dubbing session. 

'Lanky' and 'Rhamadan' were very long and rambling percussion instrumentals.  Engineer Peter Brown's announcement on the tape of 'Lanky Part One' is, rather wearily, "Five minutes of drums!".  It wasn't very good!  "Rhamadan" lasted for almost twenty minutes, and in its unfinished state was also pretty boring.  Syd too was not satisfied with it (he'd overdubbed several conga drums in random improvisation) and we agreed to abandon that. (Malcolm Jones) 

”Syd was carrying a small, portable cassette player, which I assumed he was bringing so that we could make him a copy of 'Rhamadan'.  I was very wrong. 'I'd like to overdub some motorbike sounds onto 'Rhamadan'', he said, 'so I've been out on the back of a friend's bike with the cassette player.  They are all ready to put onto the 'Rhamadan' four track.'  When Syd played the cassette of the sound effects, it was terrible!  Not only was it poor quality for casual listening, it was certainly no good for professional recording.”  

Purely speculating I’d say that its possible that “Lanky” and “Rhamadan” merely is takes of the same track but named differently. Anyway it seems that the one and half minute long segment presented here is enough to settle any idea of what the track “Rhamadan” might be like! 

6. Golden Hair (instrumental Cousins mix 1988) 01:58

Recorded:  May 28th 1968

A continued session on Golden Hair (Take 1) first recorded on the 14th of May 1968. This was later mixed by Gareth Cousins in hope that It would make the cut, as a bonus track,  for the 1993 release “Crazy Diamond” – In the end both Cousins and Malcolm Jones, who produced the album, settled for the first recorded version from the 14th. That version is by the way 11 seconds shorter than this. 

7. Swan Lee (Backing track, Jones alt mix) 00:56

Recorded: June 8th 1968

8. Swan Lee (backing track) 02:44

Recorded: June 20th 1968

Both of these tracks are backing sessions for Swan Lee based on the session heard on track 4. 

Malcolm Jones:

”As I was unfamiliar with Peter Jenner's productions of the previous year, I asked Syd to play me tapes he had of rough mixes of a song called Silas Lang (re-titled 'Swan Lee') *(2) "Silas Lang" is the original title on the EMI files, and this was later changed to "Swan Lee".  Syd never referred to it as Silas Lang, and this may be a mistake on the part of the engineer on the original session.  Part of the lyric goes 'the land in silence stands', which sounds, in part, rather like 'Silas Lang'…'Silas Lang' or 'Swan Lee' was a long and rambling tale about an Indian maiden, reminiscent in many ways of the story of Hiawatha.  It had no vocal when I heard it, but had promise.”

9. Clowns and Jugglers (take I) 02:46

Alternative mix with studio chatter 

Recorded: July 20th 1968

This version of “Clowns and Jugglers” doesn’t at all vary all that much from the version finally being released on “Opel” in 1988 and again with the “Crazy Diamond” box (1993).  Both versions available are from the very first recording session and are very similar to each other. It can be assumed that this version of the track most like was mixed by Gareth Cousins. 

10. Swan Lee (Fragment) 00:45

 Recorded: April 10th 1969

Syd and I spent the first session alone (7p.m. to 12.30) investigating the old tapes made a year earlier to see if

anything was usable.  We first overdubbed guitar and vocal tracks onto 'Silas Lang' ('Swan Lee') and experimented with ideas for 'Clowns And Jugglers'.  Neither of these was eventually used (Clowns And Jugglers, re-recorded as 'Octopus', was used in another version), and we both agreed that the new songs were far better than the old tracks.  But at least we had checked each other out and we returned to Earls Court ready to start afresh the next evening. See also Tracks 4,7,8.

11. Opel (Studio chatter) 00:27

12. Love You (Take 2) 01:21

Recorded: April 11th 1969

The first we made (the engineer was Peter Mew) was 'Opel', at Syd's request.  We both felt at the time that it was one of

his best new songs.  I was very sad that 'Opel' was left out (off the album), especially in the light of what I thought to be lesser songs being included.  I assume it was Syd's decision. It took Syd nine runs at it to get a complete take, and even that was not perfect.  Nevertheless it had a stark attraction to it, and most of the early takes were merely false starts.

13. Clowns and Jugglers (take 2 - keyboard mix) 01:35

Recorded: May 3rd 1969 

On May 3rd Mike Ratledge and Robert Wyatt of the Soft Machine overdubbed various parts onto the 8 track copies made the previous session.  In contrast to their own recordings, Syd's tracks were very erratic and unpredictable.  Although Syd booked them he wasn't very good at explaining to them what he wanted.

This was the version I had worked on with Syd, originally, on our first session together on 10/4/69, when

we had overdubbed guitar and voice onto a rough guitar backing Syd had made alone the year previously.  It was in a higher key (than the issued one) and Syd had to sing really forcefully to make it work, but it still rates as one of my favourite unissued Syd recordings, after 'Opel'.

14. Long Gone (take II) 01:50

Recorded: 7/26/69 

15. Dark Globe (Choral version - Jenner 1974 Echo Mix) 02:59

Recorded: 7/27/69

 

16. Dark Globe (Choral version - Jones 1987 clean mix) 02:58

Recorded: 7/27/69

These two tracks (15 & 16) may be mislabelled as Malcolm Jones notes that the 26th  of July 1969 was the last recording session with Syd for the album. It could off course be that these tracks are mix tracks based on previously recorded material – but there seem to be no indication of a recoding session on the 27th of July.

17. Maisie (take I) 00:24

false start 

Recorded: 2/26/70 

18. Maisie (take II) 03:00

Alternative mix with extra vocals 

Recorded: 2/26/70

Malcolm Jones: “All in all, the initial sales and reaction were sufficient to justify sanctioning a second solo album.  The first session took place as early as 26th Feb., and the following day Syd made four songs as demos only, in stereo only, not multi track.  They were 'Wolfpack', 'Waving My Arms In The Air', 'Living Alone' and a track that has since been the subject of much speculation 'Dylan Blues' (ed. But where is Maisie??)

19. Rats (take I) 01:08

False start with studio chatter 

Recorded: 6/5/70 

20. Wined and Dined (takes I & II) 01:40

Edit with studio chatter 

Recorded: 6/5/70 

An extract from an article by Michael West talking to a EMI Clerk on the phone, published in the Fanzine Opel:

 ’And when was the last session before ’74?’ 

’In 1970…Just hold on, there it is. “Milky way”, “She was a millionaire”, “Rats”: All seventh of June 1970.

´’”She was a millionaire”? June 1970? Can you read me out the rest of the sessions? From the beginning?’

’”Wolfpack”, “Milky Way”, “She was a millionaire”, “Rats”, “Love Song”, “Untitled”, “It is obvious”, “Effervescent Elephant”…“Dolly Rocker”, “Dominoes”, “Let’s Split”…”Wined and Dined”….

Alas “Rats Take 1” and “Wined and Dined” are from the last coherent sessions conducted by Syd at Abbey Road. 

LIVE AT OLYMPIA 1970

21. Terrapin (Live 1970) 04:09

22. Gigolo Aunt (Live 1970)    05:19

23. Effervescing Elephant (Live 1970) 01:17

4. Octopus (Live 1970) 05:13

Recorded: June 6th 1970 at Olympia London 

Extravaganza '70 - Music and Art Fashion Festival, The grand hall, Olympia Exhibition Hall, Olympia London. With David Gilmour on bass and Jerry Shirley on drums.

Syd's only post-Floyd solo show was once again marred by a bad p.a. and resultant low vocals, 

but it still features some inspired guitar work and is fun to listen to. The P.A. Problems are mostly sorted out by the final song, so we're treated a freakin' amazing version of Octopus. 

”He was going to do it, he wasn't going to do it, it was on and off, so finally we said, 'Look, Syd, come on, man - you can do it!' We got up, I played drums, David Gilmour played bass and he managed to get through a few songs. It got good, and then after about the fourth song Syd said, 'Oh great; thanks very much' and walked off! We tried, you know” (Jerry Shirley)

6.6.70 Extravaganza 70 – Music and Fashion Festival, The Grand Hall, Olympia Exhibition Hall, Olympia, London, England.

With Colosseum, Mungo Jerry, The Move, Mike Raven, The Pretty Things, Rare Bird, Steamhammer, Jackson Heights with Lee Jackson and Fairfield Parlour. 

Barrett’s first major appearance was a late addition at the last evening of this four-day festival (3-6.6.70). He was joined on stage by David Gilmour (bass guitar) and Jerry Shirley (drums) and played a rushed set that included ‘Gigolo Aunt’, ‘Effervescing Elephant’ and ‘Octopus’ . His vocals were barely audible throughout and even before the last track was finished he left the stage to scattered applause. (Povey/Russell – In the Flesh)

BBC TOP GEAR 1971

25. Baby Lemonade (BBC) 02:15

26. Dominoes (BBC)             02:51

27. Love Song (BBC) 01:29

Recorded:  February 16th 1971

16.2.71 BBC Transcription Service studios, Kensington House, Shepherd’s Bush, London, England

Barrett’s second and final session for BBC radio one in which he performed ‘Baby Lemonade’, ´Dominoes’  and ‘Love song’. It was broadcast on Bob Harris – Sound of the Seventies on 1.3.71 at 6.00pm. (Povey/Russell – In the Flesh)

Barrett did complete a session for Radio 1's 'Sounds of the Seventies', but where on 'Top Gear' he chose to unveil new material, here he offered 'Baby Lemonade', 'Dominoes' and 'Love Song'.

THE 1974 SESSIONS 

…’Oh, I’m sorry: It doesn’t say. It just says “Various bits and pieces – details inside tape box”. Sorry!’…

28. "Boogie" 01:32

29. If You Go, Don't Be Slow 02:34

30. "Ballad incomplete"  00:24

31. fragment 00:05

Recorded:  August 13th 1974

32. "Slow Boogie" 02:59

33. John Lee Hooker 03:53

34. "Fast Boogie" 01:21

Recorded: August 12th 1974

35. "Boogie #2 (More Echo) 00:20

From Darryl Read EP  

Recorded:  August 13th 1974

36. Was That OK? 00:04

Towards the end of 1974 Peter Jenner again managed to get Syd into Abbey Road for the purpose of cutting a new album. By all accounts the sessions, which lasted for three or four days, were pretty dire. For one thing, Syd showed up with no material prepared and no strings on his guitar. He also was prone to wander away, not returning, and may even have bit an Abbey Road employee! The end result was three reels of mostly unfinished, untitled instrumentals, the most complete of which featured bass and drum overdubs done by Syd himself. When these tapes were reviewed during the making of the ‘Crazy Diamond’ box set, they were found to contain no vocal tracks apart from the odd bit of studio chatter.

Over the years this four-day session has been the subject of debate, and indeed the original notes to "Opel" cast doubt on its existence as, at that point, neither tapes nor paperwork seemed to have survived. They have subsequently surfaced, although the results bear little relation to work gracing "Madcap Laughs" and "Barrett". Instead Syd spent the time working on ill-focused blues' licks and chord sequences, only one of which bore a title: 'If You Go'. The process was abandoned before any vocal tracks were attempted.

”It was an abortion. He just kept over-dubbing guitar part on guitar part until it was just a total chaotic mess. He also wouldn't show anyone his lyrics - I fear actually because he hadn't written any” (Peter Barnes). 

Track list - Have you got it yet? Disc 5

"Sound Opinions," WXRT-FM, Chicago” 

January 3, 2001 Length: 78:52 (condensed from a 2-hour program) 

Radio show / discussion devoted to Syd Barrett: A retrospective of his career, tracing his influence on Pink Floyd through all eras of the band's history. To our knowledge, the first-ever radio program on commercial American airwaves, devoted solely to Syd (and Pink Floyd in relation to Syd). 

Hosted by Jim DeRogatis (author of "Kaleidoscope Eyes," the definitive history of psychedelic rock from 1960s through 1990s, and "Let It Blurt," pioneering biography of Lester Bangs), and Greg Kot. Includes previously unheard interviews with Gilmour and Mason. 

Track list - Have you got it yet? Disc 6

1. Pink Floyd interview (CBC) 2/67 10:35

This radio broadcast interview from February 1967 has previously appeared on several bootlegs. 

2. Barrett/Waters interviewed by Hans Keller (Look of the Week) 03:42

Recorded for BBC TV on the 14th of May 1967

From the TV show “look of the week” on which the Pink Floyd performed “Pow R. Toc H.” and “Astronomy Domine” 

(See tracks 15 & 16 on Disc 1). 

3. Syd, unknown studio chatter 1969             00:06

4. Waters interview, Stockholm (Swedish Radio) 02:56

Recorded by Swedish Radio P3 in early September 1967 

Most of you should by all logic not be able to understand the first 20 seconds of this broadcast because of the Swedish speaker, this is why I’ve translated the opening lines for you: 

”They only did one appearance on their Sunday visit at Gyllene Cirkeln/Golden Circle where their light show caused arose

some attention. I met with the bass player after the show and asked him to present himself and the other members…

upon which Roger talks about the band and the music. 

5. John Peel, Waters, Jenner interviews (1970s FM) 04:02

6. Jenner interview, one channel of Piper underneath (1970s FM) 06:08

7. Jenner, Mason, Gilmour interviews (1970s FM) 06:29

8. Pink Floyd interview Blackpool, UK 03/21/69 04:58

Previously available on the semi-official Interview disc “The Conversation Series” on which it also appears in full length. 

9. Pink Floyd interview NYC 09/28/70 05:57

Discussing the name of the band, Ummagumma and several other issues.

10. Waters interviews Roger The Hat (for "Dark Side" background voices)1972 07:36

Possibly the most memorable interview used on “The Dark side of the Moon”. This is the roadie Roger the Hat

answering questions by Roger Waters. (On the album, you can hear his voice during "On the Run" ("Live for today, gone tomorrow, that's me, hahaha…") and during "Us And Them" ("Short, sharp shock …").

The interview was broadcast on the Capitol Radio  documentary broadcast ("Pink Floyd Story") in December 1976 and January 1977

11. Paul Breen interview (BBC) 10/27/88 05:18

12. Octopus rough mix (Malcolm Jones fragment) 6/13/69 00:25

'OCTOPUS' (also known as 'Clowns and Jugglers' in its early versions).  Syd made this song on two separate occasions.  

Syd produced the original backing track to the first version (20/7/68) which I overdubbed with the Soft Machine (3/5/69).  

This version was never issued and the version made on this session (12/6/69), produced by Dave Gilmour, is the issued one.  In fact, Octopus was attempted twice on this session.  The first producing two complete takes, was abandoned, and after 'Golden Hair' was successfully completed, Syd had another go at 'Octopus', this time making the successful version that was issued on the album.  In all, then, there were four completed versions of the song!  Syd started one which I completed (vocals, and later, the Soft Machine), and Dave Gilmour made two versions (three takes), making four in all.

Too be specific - this is “13/6/69  Octopus version 3 contd.”

This version also corresponds to the the one used on “The Madcap Laughs” according to Malcolm Jones’ notes:

1. OCTOPUS 

June 12th '69 take 11. Guitar and voice 

June 13th '69 elec. gtr., bass, drums overdubbed (Shirley, 

Gilmour, Syd,)

13. ytpmE sescapS (Hidden msg on "The Wall") 00:20

This may be one of the most recognizable nods from the Floyd toward Syd. From the track Empty Spaces on “The Wall” (1979) the message as follows: “Congratulations, you have just discovered the secret message, please send your answer to old Pink, care of the funny farm, Chalfont. (Interruption) Roger, Carolyn on the phone! Okay.” 

Needless to say it is considered that “Old Pink” is Syd! 

14. eltiT oN (excerpt) 9/4/67 01:16

15. eeL nawS (excerpt) 6/8/68 00:31

16. seonimoD (solo) 7/14/70 03:35

These three tracks was reversed in order to show the certain parts that were recorded reversed. 

Track 14 is the track also mentioned as “Sunshine” (See disc 2 track 6) this reversed except enables us to hear the 

arpeggio guitar played by Syd. 

The excerpt on Track 15 is from Swan Lee and shows what most likely is the opening 30 seconds. 

and finally there is the track “Dominoes” off which David Gilmour spoke in the 2001 BBC documentary “Crazy Diamond” and the VH1 counterpart “Legends – Syd Barrett” 

17. sampling loop #1 ("One In A Million") 00:06

18. sampling loop #2 ("Pow R Toc H") 00:36

19. sampling loop #3 ("King Bee") 00:04

The sampling loops were included for your amusement. We recommend that you rip the loop and place it in a continuous loop and crank up the amplifier. Who knows you may be the next Syd Barrett!! 

20. Scream Thy Last Scream (16rpm excerpt) 01:21

This is a segment from STLS which has been sped down to show the second vocals Syd did for the song, the so called “chipmunk” lyrics. The second line of lyrics was recorded at slow speed causing it to speed up considerably when the song was played back at the correct speed! 

21. My Little Red Book excerpt.  (Love, 1966) 00:15

22. Steptoe & Son theme except. 01:09

Jim Derogatis' Kaleidoscope Eyes, states that the riff for this song came after Waters hummed the riff of a Ten Years After song to Syd Barrett who tried to follow it on guitar but the riff that Syd is trying to reproduce in Interstellar Overdrive is not from 10 Years After, but from the song "My little red book" by Love, sung to him by manager Peter Jenner (who had heard it on a recent trip to the States).

Apart from all this it should be noted that “My little red book” more-so is a Burt Bacharach song covered by Love. 

Another suggested source for the Interstellar Overdrive riff is the theme to the BBC-TV series “Steptoe and Son”. There seem thought to be an inconsistency in this compared to the Love theory. The reason for this would be that Steptoe and Son wasn’t airing at the time Interstellar Overdrive was conceived. From the “Steptoe and Son” Appreciation Society: 

The series started with a Comedy Playhouse production titled "The Offer" in January 1962, and the first of the regular 

series started in June 1962. It was on BBC-TV for four seasons, up to 1965. These shows were broadcast in black & 

white. But that is off course pure speculation!

23. In the Beechwoods (Unprocessed) 04:49

24. Vegetable Man 1967 mix (Unprocessed) 02:57

25. Vegetable Man 1967 rehearsal (Unprocessed) 03:26 

Turn your attention to the notes for Disc 4 for more information on these tracks. The tracks have been added to this disc in their original quality due to pressure from the members of Laughing Madcaps! 

On a curious note - The opening part of Saucerful of Secrets can be heard in the background in the gap between the 2 versions of Vegetable man, this might be contributed to the other side of the tape leaking.

Track list - Have you got it yet? Disc 7

1. Nick Mason interview (1995) for the book, "Kaleidoscope Eyes" 47:51 

2. David Gilmour interview (1991) promoting the "Shine On" box set 27:32 

3. Nick Mason interview (1986) excerpt             01:31

Track list - Have you got it yet? Disc 8 "Esoterica"

1. Corporal Clegg (Belgian Video mix) 2:53

2. Paintbox (Belgian Video mix) 3:29

3. Set the Controls for the heart of the sun (Belgian Video mix) 4:53

Recorded on the 31st of January 1968/18th of February 1968 for BRT-TV Belgium

Record Collector notes: 

Early 1968: Belgian TV (BRT – TV) Shortly after Barrett’s departure (although some insists it was before), the group flew to Belgium for a series of gigs with new guitarist Dave Gilmour (either permanently replacing and/or deputising for an ailing Syd, depending on whom you believe) A series of short films was produced for broadcast there, each showing Roger Waters handling Barrett’s vocals.

In circulation are “See Emily Play” (Shot in a field), “Apples and Oranges” (in a green-grocer’s, “Scarecrow” (filmed around an ancient baths, adjacent to the ‘Emily’ field!) and “Astronomy Domine” (in the studio, complete with liquid light show) A One-minute segment of “Set the controls for the heart of the sun” is also in circulation. 

More filmed clips of the Floyd performing in front of the Belgian Camera have been seen from the 18th of February of 1968 when they filmed for Radio & T-1 Belge. This may or may not be from the same session as the previous promos. 

Both “Corporal Clegg” and “Paintbox” appear on the later.

Most remarkable of the Video mixes is the version of Corporal Clegg which includes a completely different ending as opposed to the album version. 

4. It Would Be So Nice (Promo edit) 3:15

Recorded on February 12-13 & March 5-12-21, 1968 att Abbey Road Studios.

For the UK Promo single released on the 12th of April 1968.

Minor variations in the structure of the song. Some cuts in Verse and Chorus alongside the mono mix

5. Julia Dream (echo mix) 2:32

Recorded on the 13th of February 1968

For more information see Disc 2 Track 26.

6. Let There Be More Light (Promo edit) 3:01

7. Remember A Day (Promo edit) 2:42

Recorded on the 5th and 6th of October 1967 at London, Sound Techniques Studios

For the US Promo single released on the 19th of August 1967. 

This mix is in mono which fades before the final verse in the song. 

8. Vegetable Man (Mono mix) 2:32

Recorded on the 11th of October 1967

9. It Would Be So Nice (stereo enhanced) 3:41

10. Relics LP, radio ad #1 1:03

11. Relics LP, radio ad #2 1:03

Radio ads most likely from American radio late spring 1971 in time for the US release of the album

on the 15th of  July 1971.  

12. No Man's Land (spoken, semi-audible) 17Apr69            1:06

Recorded on the 17th of April 1969

13. Octopus (Malcolm Jones fragment) 0:25

Recorded on the 13th of June 1969

14. Octopus (Left channel mix) 3:45

Left Channel only

15. Love You (Right channel mix) 2:28

Right Channel only with synth 

16. Rats (Right channel mix) 2:57

Right Channel Only with  more guitars

17. Gigolo Aunt (Left channel mix, more guitar) 5:47

Left Channel only with more guitars

18. Wined And Dined (Left channel mix) 2:59

Left Channel Only unplugged

19. Wolfpack (Right channel mix) 3:45

Right Channel only with more guitars 

 

20. Let's Split (Edit)             1:37

Recorded on the 14th of July 1970

21. soesimoD (Solo) 3:35

22. eltiT oN (Excerpt) 1:17

23. eeL nawS (Excerpt) 0:32

24. secapS ytpmE (Hidden msg on "The Wall") 0:21

See tracks 13-16 on disc 16 for more information

25. My Little Red Book riff (Love, 1966) 0:15

See Disc 6 track 21 for more information

26. Steptoe & Son/Old Ned (Theme) 2:29

A longer edit of track 22 on Disc 6 

27. Interstellar Overdrive (Soundtrack) 9:43

An edit/mix from the 12th of January 1967

See tracks 5-7 on disc 1 for more information

28. Scream Thy Last Scream (16rpm excerpt) 1:28

See disc 6 track 20 for more information

29. AMMusic - Later During A Flaming Riviera Sunset (edit, AMM Jun66) 3:56

Track list - Have you got it yet? Disc 9 & 10 

"Distorted View" & "OOPS I Did It Again!"

Disc 9:

1. Astronomy Domine 4:12

2. Lucifer Sam 3:07

3. Matilda Mother             3:08

4. Flaming             2:46

5. Pow R Toc H 4:26

6. Take Up Thy Stethoscope and Walk 3:07

7. Interstellar Overdrive 9:42

8. The Gnome 2:13

9. Chapter 24 3:42

10. Scarecrow 2:11

11. Bike 3:22

12. Scream Thy Last Scream (1974 mix) 4:41

13. Vegetable Man (1974 mix) 2:31

14. Paint Box 3:29

15. No Title (September 4, 1967) 1:36

16. Apples and Oranges 3:06

17. Remember A Day 4:33

18. Set The Controls 5:28

19. Corporal Clegg             4:13

20. Scarecrow (Left channel, not OOPS) 2:08

21. Astronomy Domine (Left channel, not OOPS) 4:05

Disc 10:

01. Late Night, take 2 (slide guitar) 3:14

02. Swan Lee (backing track) 2:44

03. Golden Hair, take 5 2:18

04. Clowns And Jugglers 3:28

05. No Good Trying             3:26

06. Love You 2:30

07. No Man's Land             3:03

08. Dark Globe (choral version) 2:58

09. Here I Go             3:12

10. Octopus             3:48

11. Golden Hair 2:00

12. Late Night 3:11

13. Swan Lee 3:14

14. Rats (Left Channel, not OOPS)             2:57

15. Gigolo Aunt, take 9 3:48

16. Baby Lemonade 4:12

17. Dominoes 4:10

18. It Is Obvious 3:00

19. Rats 3:02

20. Maisie, alt mix             3:00

21. Gigolo Aunt 5:48

22. Wind And Dined 2:59

23. Wolfpack             3:41

24. Effervescing Elephant 1:55

25. Golden Hair (instrumental) 1:56

Notes written by HYGIY? Compilers:

Syd / Pink Floyd OOPS (Out Of Phase Stereo) Mixes- These are fan-created remixes. These are NOT session outtakes. OOPS is a process by which a home user can remix a stereo track, thus revealing musical details that were less evident in the commercial mix. Depending on how the original track was put together, the differences may be subtle or dramatic, varying from song to song and in different parts of the song.

This CD (9) consists of nearly every available stereo Pink Floyd track Syd is either on or ever been rumored to be on. We left off "See Saw" and "Jugband Blues" because they wouldn't hold up to repeated listening. ("Jugband" whispers for most of the track, except for some of the Salvation Army band when the volume spikes. "See Saw" fades in and out with vocal and mellotron.)

This is the best of the Barrett solo material, as rendered into out-of-phase More tracks could be included, but the OOPS process didn't yield a particularly interesting mix, and considerations of space won out.

It goes without saying that acoustic songs could not be used. With nothing to work with beyond a guitar and a vocal, OOPS is beside the point. By necessity, this disc features Syd with a band, or at least some overdubs.

(CDs 9-10 feature a few single-channel mixes left over from CD8, noted as such. These are not OOPS mixes, but feature one channel of the original panned to stereo. A few of these tracks are good enough to stand alone as such, and so we present them this way.)

Every OOPS and mono track in HYGIY 8-10 has been rendered as a dual-signal expansion: one channel is a mirror image of the other. For the listener, this means a richer sound field and a more natural ambience than could be expected from pure mono, yet without any obvious attempt at a stereo result from a mono source.

What is OOPS?

OOPS stands for Out Of Phase Stereo. It is a simple technique used to process the two channels of modern stereo recordings into a "new", third channel, enabling us uncover "hidden" sounds in stereo recordings. The resulting OOPS:ed signal is a single channel, mono signal. 

This process is also known as "Left Minus Right". When Quadraphonic recording was the rage in the seventies, OOPS or left Minus Right was used as a cheap way of creating a new, third channel to increase the stereo listening experience. 

Why OOPS Works?

The speakers (or headphones) of your stereo system convert an electrical signal into sound, by moving the speaker cone in relation to the positive and negative waves in the signal.

In a simple example of a pure tone, the electrical signal makes the speaker "oscillate" (move back and forth rapidly) by moving one way, outwards for example, on the positive (+) halves of the electrical waves, and move back the other way on the negative halves. The speaker cone movement makes the air in front of it move, and this frequently oscillating air reaches your ears as sound. This single wave is a "frequency" (how frequently the sound moves back and forth) and you hear it as a tone. 

Recorded sound is made up of many of these electrical waves in various combinations relating to the frequencies in the sounds being recorded. Now, imagine two signals that are identical, except they are "out of phase" with each other, that is, that when one signal is having a positive wave peak, the other is having an identical negative peak.

If these signals are mixed together, they will cancel each other out. The positive peak of the first signal tries to make the speaker move out, but as it does, it is counteracted by the equal but opposite negative peak from the second signal, which tries to pull the speaker cone back in, so no sound results. 

In a stereo recording, some of the sounds are recorded on the left channel, and some are recorded on the right channel. However, because of the mixing done during the recording process, some sounds are on BOTH channels. It is very common in modern stereo recordings, for example, for the instruments to be in stereo (different) on both sides, and the vocal to be "in the middle", by having it mixed into both channels. 

Now, if you took one of the channels of the above example and combined it OUT OF PHASE (plus to minus and minus to plus) with the other channel, whatever was THE SAME in both channels would cancel out, and you would hear only what was DIFFERENT in both channels. In our example, you would cancel the vocal, and hear only the instrumental accompaniment 

Disc 19 - Apocrypha length -- 79:51

01 Twink - Enter The Diamonds 2:05

02 Pink Floyd - Astronomy Domine Demo 4:03

03 Sun Ra, Keith Moon & Syd - Stonehenge '69 Solstice Jam 4:42

04 The Beatles - The Candle Burns (Peace Of Mind) 3:13

05 Syd Barrett - Susan's Lungs 0:49

06 The Beatles - Pink Litmus Paper Shirt 0:39

07 Pink Floyd - Julia Dream Demo 3:04

08 Syd Barrett - Interstellar Overdrive Demo 6:24

09 Syd Barrett - Bob Dylan's Blues Demo 2:00

10 Syd w/The Beatles - What's The New Mary Jane 3:13

11 Syd Barrett - Milky Way (alternate mix) 3:04

12 Syd Barrett - Cinnamon Toast 3:41

13 Pink Floyd - See Emily Play (Top of the Pops 7/67) 2:45

14 Pink Floyd - Piggy Back Demo (edit) 2:38

15 Syd Barrett - Chooka Chooka Chug Chug 0:35

16 Syd w/Kevin Ayers - "Oh Is That...Is That Ummmm" 0:13

17 Syd w/Soft Machine - Esther's Nose Job edit (live 3Feb70) 5:35

18 Pink Floyd - Scream Thy Last Scream, mono mix 6:02

19 Pink Floyd - Vegetable Man, mono mix 2:36

20 Syd Barrett - Last Ever Recording Session 1975 1:10

21 Pink Floyd - Take Up Thy Stethoscope Demo 3:00

22 Pink Floyd - Stanley The Simpleton 1:12

23 Syd w/Steve Took - Molecular Lucky Charm (edit) 5:30

24 Syd w/Steve Took - Syd's Wine (edit) 4:30

25 Pink Floyd w/Hawkwind (BBC) - Heckty Skies (edit) 7:06

NB--Most of these are credited to Syd or Pink Floyd, although if they were REALLY Syd or PF they wouldn't be here. Common sense dictated it was easier to list them as you see them than to put quotation marks around every other word. When in doubt, consult the Liner Notes--SHN copies of this disc come with nine pages of twisted tales, explanations and debunkings.

Then there is the "grey area" material. A few are legitimate Syd/PF tracks that have been compromised in one way or another. Also, the Took tracks -- we have no way to know if Syd is on those. We have no way to know he isn't either, so here they are. 

Notes:  v1.1 September 2003

This is the long-awaited (i.e., pushed to the back of the bus) volume of Syd Barrett “hoax tracks.”  Here we collect various “Syd” material not fit to mingle with the rest of the herd.

Rock’n’roll artists inevitably will be bootlegged if they have enough of a following to sell any records at all.  It’s one measure of an artist’s worth, certainly of whether or not they’ve “made it.”  (If nobody is interested in hearing your unreleased material—you haven’t.)  

Some artists, however, are special.  And so are their followings.  If you look hard enough you can find a Uriah Heep bootleg.  However, you probably won’t find anything of theirs that they never did.    But in the case of the Beatles, Hendrix, Beach Boys, Dylan—Madonna, even—one fan in a million is not content merely to collect whatever material they can find.  They take it a step further.  They roll their own.

To my knowledge, there is perhaps two hours of spurious Syd Barrett currently in circulation.  Seasoned collectors, not to mention anybody who ever cranked up Napster in search of Syd, have long been insulted by such material.  This disc collects the “best” of it.  Here are the ugly ducklings all in a row, swimming around in their very special play pool.  They’re even more ludicrous heard one after another than they were out in the wild.

The first Syd hoaxes appeared in the early 1980s.  With fewer sources of information available to the fan than can be found nowadays, they were easily fabricated.  Some of them spread widely, to the point of being included on various early bootlegs.

Today, all the available unreleased material can be found elsewhere in the HYGIY? collection.  Every session Syd ever took part in has been documented in David Parker’s Random Precision.  When new material appears, it is possible to quickly authenticate it.  If a track is bogus, LaughingMadcaps can notify thousands of fans instantly.  Thus, while any eeejit can rename a file and upload it to a network, the time when it could spread unchallenged is over.  In a way, this collection represents the end of the dark ages.  Syd’s real fans are networked as never before.

The hoaxer is the ultimate fan-mutant (after Mark David Chapman).  It’s said that the ultimate fan is inspired by their heroes to pick up an instrument and form a band.  This is where the hoaxer gets it all wrong.  You’re supposed to write and record your own songs.  Go out there in the world and play them.  Be yourself.  Get a life.

The hoaxer will take a bit of music from somewhere or other and mislabel it in honor of their hero.  Then they will pimp it around, saying “there’s a rumor” the artist played on a track, or this is a “rare demo” or a “previously unheard” new song.  The hoaxer’s collection increases, and as the viral material spreads the hoaxer feels very pleased with himself—almost as if he’d accomplished something.

The hoaxer is a parasite.  He wastes the time and energy of the real fans on his own self-aggrandizement.  For this alone he deserves to be ostracized, and so he is.

Worse, he is a parasite on the artist.  More often than not, the hoax is inept.  Some are so bad one suspects the insult to be deliberate.  On an unconscious level, of course it is.  The “fan” wishes they could somehow be equal of the artist, to be noticed, to feel important, creative, to collaborate.  All they lack is talent.  And so they shoplift it.

In the process various bits of random, unrelated and substandard material are attributed to the artist.  He can do nothing about any of this, and his reputation suffers.  Nobody deserves to be slandered in this way.  (For the hoaxer we’re tempted to make an exception.)

Hence, this collection.  For historical purposes, to set the record straight, to clear Syd’s good name...and yeah, because these things deserve our mockery...we quarantine them.  

The “Apocrypha” are various books that weren’t considered authentic enough to make it into the Bible.  Some were obviously spurious, others seemed legit but parts were bogus, others just didn’t fit in.  So it is with the tracks on this disc.  Not every one of these is a deliberate hoax.  Some of them are in a “grey area”—Syd might be involved, or we simply don’t know, but for whatever reason they can’t be placed anywhere else in the HYGIY? series.

Track 01:  Twink – “Enter The Diamonds”

For title alone, we can’t think of a better opener.  On Napster, this was credited to “Twink with Syd Barrett,” as if saying a thing was the same as making it so.  Admittedly, that lead guitar has a similar tone and mood to Syd’s in “Gigolo Aunt.”  (All the more reason to doubt it could be Syd, who never played anything the same way twice.)  And yes, there is that reference to “diamonds.”  But this has much more in common with the great sloppy drunken boogie of the Pink Fairies.  

The fact is, this track appeared on a Twink EP called Do It ’77.  It was recorded in 1977.  Any questions?  I pointed this out to the person from whom I downloaded it, and he said “but there’s a rumor” Syd plays on this.  No.  There isn’t.

If Twink had ever had Syd guesting on one of his sessions, you wouldn’t be able to shut him up about it.  There’d be a big pink sticker on the cover, “featuring SYD BARRETT!!!,” cut into the shape of a crazy diamond.  Ironically, the EP featured another track, “Psychedelic Punkaroo,” which Twink has since claimed was written for Syd.  The fun thing about Twink is, he’ll say anything.

Track 02: Pink Floyd – “Astronomy Dominé demo”

Ahhhh… The Freak-Out Demos.  I have 45 minutes of this stuff, and most of it can’t bear the light of day.  Some things are too horrible to contemplate, and so most of them will not be preserved here.  We’ll give you just enough to get the general idea.  This tape appeared at some point in the 1980s and a few people were convinced that these were, in fact, Pink Floyd demos from the Piper era.  Bernard White saw through them immediately, but the late, great Nicholas Schaffner, writing in A Saucerful Of Secrets, took them at face value.  He wrote that if Syd had had his way, the final mix of Piper would have been awash in reverb and phase shift.  (See what we mean about harm to the artist’s good name?  People who ought to have known better were fooled into thinking Syd liked tape hiss and distortion, and enjoyed noise for its own sake.)

What we have here is one channel of the Piper track, fed into an EQ that cranked the lower frequencies while compromising everything else.  Here and there, bits of incompetent/incontinent lead guitar are dubbed on top, giving the impression that Syd was in the process of learning his own song.  They ran this through a few more tape decks, which changed the speed and added extra hiss.  Then they inflicted it on the world.

With “fans” like these, is it any wonder Syd won’t even read their mail?

Track 03:  Sun Ra, Keith Moon & Syd – “Stonehenge ’69 Solstice Session”

Somebody’s idea of a joke; a power trio from hell.  In real life, these three people never met.  If they had, I doubt they would have had very much to say to each other.  This recording is a pleasant-enough bit of guitar strumming with flute over that.  It sounds like it was done in somebody’s basement on a low-end 4-track cassette recorder, the sort that finally became affordable to amateur musicians in the late 1980s.  There is no percussion at all.  No keyboards either.  And no Syd

Track 04:  The Beatles – “The Candle Burns (Peace Of Mind)”

Attributed to Lennon or Harrison or both, this “outfake” has been a perennial on Beatle bootlegs since the mid-1970s.  It has long since been debunked and the identity of the person responsible been determined.  However, there have been some attempts made to reclaim it under Syd’s name, and so we include it here.  It is a decent-enough bit of psychedelia, but not very convincing as a hoax.  (The Beatles, just possibly.  Syd, not at all.)

Track 05:  Syd Barrett – “Susan’s Lungs”

This is an insult.  A portion of the “Silas Lang” backing track was fed through a flanger, and some random female intoning in French or German is dubbed on top.  I guess there’s supposed to be some clever pun going on between “Silas Lang” and “Susan’s Lungs.”  Some things aren’t worth taking the time to debunk, but we’ll document them all the same.

Track 06:  The Beatles – “Pink Litmus Paper Shirt”

A companion piece to “Susan’s Lungs.”  This one takes up where the last bit of “Silas Lang” left off, while two-part harmonies chant “You know that I’ve been hurt/Check my litmus paper shirt.”  Words to live by.  Pink litmus is acidic, isn’t it?  Whoa, deep.  Unless pink litmus is alkaline, which would explain the perception of injury—not enough acid.  This track has been attributed to the Beatles, but since Syd’s music was used we include it here.

Track 07:  Pink Floyd – “Julia Dream demo”

I’ve even seen a session date assigned to this one, in August of 1967.  However, it’s from the Freak-Out Demos.  Not everything on that tape was derived from Piper.  Half the tracks feature a guitarist and bass player pretending to be Barrett and Waters.  This is one of those.  For what it’s worth, it’s the best track on the tape.  I got it in the early 1990s and thought it was genuine.  It’s plausible, anyway.  That snarling guitar tone could never be Gilmour.  One could imagine it to be Syd, until hearing several more Freak-Out Demos featuring the same guitar sound on tracks they never recorded.

Track 08:  Syd Barrett – “Interstellar Overdrive demo”

This track has been around since the early 1980s and was considered authentic until the 31 October 1966 recording came into circulation.  (It’s not far off from the Freak-Out Demos overall, but the version of “Interstellar” on that tape is infinitely worse.  It’s unspeakable, and goes on for 17 minutes.  This one is pretty decent.)  Again, it’s a plausible hoax, purporting to be a two-guitar demo tape.  However, the 1966 studio take used in the San Francisco film is closer in spirit to Love’s “My Little Red Book” than any version they did afterward.  One would expect an earlier demo to have a tempo and feel even closer to the Love track.  This one derives from the Piper version.  I’m told the Barrett family debunked this as well.  Fair enough; if Syd had owned a two-track recorder and made demos on it, they’d have been first to know.

Track 09:  Syd Barrett – “Bob Dylan’s Blues demo”

Enough with the plausible—this track returns us to the land of the woefully inept.  In mid-2000, I personally downloaded this track from the individual who put it into circulation.  He had already been laughed out of two or three Syd forums, mostly for claiming to own tracks he couldn’t produce.  His explanation for the lack of a vocal on this was priceless:  “I was mailed the tape from England, and it was a multitrack.  So I put it into a multitrack deck to attempt a mixdown, and I accidentally erased the vocal.  Yeah I know it sucks, but” we should be grateful for what we do have, hmmmmm?  Even though it was well-documented that “Bob Dylan Blues” was a two-track demo then in the possession of one David Gilmour.

Not only was he sloppy in basic research, he never bothered to check the Info fields of the MP3 he had renamed for this project.  If he had, he would have altered them so nobody could tell this was really “Slide Guitar Freestyle” by Ben Harper, live on FM from Portugal in 1996.

Track 10:  The Beatles – “What’s The New Mary Jane”

This White Album outtake (featuring John, George and Yoko) was a staple of pre-Anthology Beatle bootlegs; I own at least three mixes of it but used none of them here.  The very track that launched the hoax was sent in by Christer Undemo of Stockholm, Sweden, who writes:

“Trying to make THE END of a very very long story about Beatles/Barrett, ‘What’s the Shame Mary Jane.’  I’m responsible for it.

“I bought a Beatles bootleg for a friend and Unforgotten Hero for me, way back in 1980-1982.  After listening to Unforgotten Hero, we played the Beatles bootleg.  I thought the singing on the second verse did sound very strange and not by John.  So I said to my friend, who could this be, I said could it be Syd?   We had seen in the Miles book that they did write about a meeting on April 15, 1967.  But we couldn’t decide who was singing.  So I sent this song to two friends, one in Germany and one in USA, and asked them, could this be Syd?  One said no I don't think so, the other one couldn't say, like us. 

”Then one of these two must have sent it to someone else.  I didn't send it to anyone else, as I didn't think it actually was Barrett singing.  Then suddenly I saw it on tape lists as ‘Barrett w/Beatles 67-04-15.’  I have gotten it several times as filler on tapes and it has always been the same version as the one I got from the Beatles bootleg.  They have even played it on Swedish national radio as Barrett w/Beatles.  That’s the story of how it ‘was born.’”

Track 11:  Syd Barrett – “Milky Way rare mix”

There are one or two legitimate alternate mixes of “Milky Way” floating around.  (With only one take in existence, and nothing to mix but a vocal and a guitar, the differences are trivial.  The Opel mixdown is the only one that matters.)  However, this version includes some pleasant surf guitar and percussion that sounds suspiciously like shoe boxes.  Somehow, these overdubs go unmentioned in David Parker’s Random Precision.  If they had been found on the master tape, we would have heard them on Opel.

Track 12:  Syd Barrett – “Cinnamon Toast”

Outstanding!  Finally, somebody’s idea of a joke is genuinely funny.  If a Syd parody had ever landed on a National Lampoon LP or been submitted to Dr. Demento, this would’ve been it.  This is more “grey area” than hoax per se, since we’re not expected to believe that’s really Syd singing.  Famous last words:  “Let’s go watch some telly.”

Track 13:  Pink Floyd – “See Emily Play, live?, Top of the Pops, 7/67”

And sure enough, here’s the Floyd on TV in mid-67.  It’s been rumored that Syd sings a live vocal over the “Emily” single, but the recording quality is so bad it’s a tough call.  In fact, we found a reasonably decent source for this track (B+ quality at least), and there doesn’t seem to be any live vocal.  There are one or two spots when the double-tracking isn’t perfect, but if you listen closely to the single you’ll hear them in the original.  The rougher sound quality does tend to exaggerate these flaws, but the fact is that everybody lip-syncs on Top Of The Pops.  There’s no reason to believe they would have rigged up a live microphone just for Syd—the only thing “live” in this track is the bit of applause and announcer at the very end.  The truth is, Syd didn’t even want to be there.

Track 14:  Pink Floyd – “Piggy Back” (edit)

It’s the dreaded Freak-Out Demos again.  This time, “Syd” and “Roger” are working on an “original.”  (The title was taken from a 10/66 set list.)  Amusingly enough, “Roger” can’t find the riff.  He can barely find the E string.  The two players are so untogether that this sounds a little like Syd’s 1974 sessions—which is interesting in a way, because nobody had heard them yet.  The main riff seems to think it would like to be the intro to “Baby Lemonade” but can’t quite make up its mind.  After two or three minutes it becomes impossible to care.  We edited this down and faded it early.  Don’t worry, you didn’t miss a thing.

Track 15:  Syd Barrett – “Chooka Chooka Chug Chug”

There is a legitimate track with this title on the 1974 session reel.  It’s 34 seconds long.  This track also lasts exactly 34 seconds before it cuts off in mid-note.  (Coincidence?  Or…destiny?)  Since Syd didn’t have titles for most of the tracks, Peter Jenner came up with descriptive names for the various bits that made up this reel.  This one was based upon Syd’s guitar rhythm:  chooka chooka chug chug.

Why then does this version feature some ass-clown playing a bass through a chorus pedal?  (The fact that it was announced by the same individual who had blessed us all with the “Bob Dylan’s Blues demo” a year previous might have something to do with it.)  

And what does the ass-clown play?  Ooom-pah, ooom-pah, ooom-pah, ooom-pah.  As anybody who owns a Syd album already knew…Syd never wrote any polkas.

We’ll give the final word to the person who “discovered” this one—who would care to argue the point?  “It has not been known to be on any bootlegs or anything like that.  It is very short.  Again, we have no proof that the track is real.  There are no vocals so it would be hard to pinpoint if the track is indeed a hoax because we don't even know if it is or not.  But we believe and several close friends have all said this track sounds indeed real.”

Track 16:  Syd Barrett/Kevin Ayers – “Oh Is That, Is That Ummm”

Everybody knows about “Singing A Song In The Morning” by now.  With the reissue of Joy Of A Toy, there was no point in including it here.  There’s no mystery anymore.  Everyone should just go out and buy the thing.  I did.  And there’s no point in preserving the “acetate version” either, which was merely a low-fi copy of the single.  However, there is one other Syd bit of interest on Joy Of A Toy.  In this sliver of dialogue before “Song For Insane Times,” it’s rumored you can hear Syd saying the words “Oh is that… is that ummmm?” and then the tune launches in.  Maybe it’s Syd, maybe not.  I dunno.  It sounds like his voice.  Grey area.

Track 17:  The Soft Machine – “Esther’s Nose Job 3/2/70” (edit)

Supposedly with Syd.  His few live shows are very well documented.  He once was advertised to appear on a bill with Kevin Ayers for a European gig, but Syd never went.  The one time he set foot on a stage in 1970 was the 6/6/70 London show, and they all but had to drag him out.  Earlier in the year he was busy making the Barrett album with David Gilmour, not gigging with The Soft Machine.  Any questions?

Track 18:  Pink Floyd – “Scream Thy Last Scream, mono mix”

Track 19:  Pink Floyd – “Vegetable Man, mono mix”

These two songs went unheard until 1975, when they were played on UK radio.  Because it includes the DJ patter, this tape might be of some slight historical interest since it documents the occasion.  Unfortunately, either the broadcast or the tape deck was in mono.  The DJ patter is in mono as well.  Underneath the DJ patter at the beginning is “Flaming”—the stereo mix.  (It’s easy to distinguish between them; the true mono mix features flanging on the drums.)  It’s the stereo mix of “Flaming,” flattened into mono on the tape.

Minus the announcer, these tracks have often been passed off as “mono single mixes,” even though they were never approved for release.  There was no special mix done for radio play.  We hear what any schmuck would achieve using outdated equipment.  In fact, neither track sounds all that good.  With authentic stereo mixes in A+ quality available elsewhere on HYGIY?...why care?  Some people will collect anything.

Track 20:  Syd Barrett – “Last Ever Recording Session 1975” (edit)

Never mind that it was really 1974.  What we have here is a chunk from those sessions, but slowed down to half speed.  News flash: at 16 RPM, Syd’s guitar sounds like a bass.  This might be another attempt at humor.  Syd was “on downers” for the sessions.  Riiiiight.

There are several of these tracks floating around on peer-to-peer networks, and no need to include them all.  It’s interesting listening for a minute or so, though I prefer Chris Squire.  Past that point the novelty wears off, and so we pulled the plug.

Track 21:  Pink Floyd – “Take Up Thy Stethoscope demo”

The Freak-Out Demos, once more for old time’s sake.  This is another deconstruction of a Piper track.  We could have included their “Pow R Toc H” instead, but this one includes more of that extra-special guitar work from “Syd.”  Then again, we could’ve included “Gimme A Break” from that tape, except it’s an alternate take of “Piggy Back” and features a little too much of that extra-special guitar work from “Syd.”  You’re welcome.

Track 22:  Pink Floyd – “Stanley The Simpleton”

Syd with the Floyd was at the peak of his powers.  This has been purported to be an outtake from 1967, and as such it is an insult to his considerable talents.

Whoever inflicted this one, I’ll give them credit for at least writing a little song and singing it.  Most hoaxers are too lazy for that.  However, every song Syd recorded with the Floyd has been thoroughly documented.  It shouldn’t be necessary to point out that there is nothing in EMI’s tape vault titled “Stanley The Simpleton.”  It shouldn’t, except for the casual fan or the newcomer who has seen this plastered all over the peer-to-peer networks so many times they figure it must be true.

It isn’t.  This was made at some point in the mid-1990s.  It’s typical of home-studio recordings from that period.  If you listen closely to the echo effects they’re all digital. And the guy doing the singing is nowhere near to a Cambridge accent. (To his credit, the guy who sang “Cinnamon Toast” didn’t even try.)  Then there are the lyrics, such as they are, and the melody, such as it is...

Track 23:  Steve Peregrin Took – “Molecular Lucky Charm”

Track 24:  Steve Peregrin Took – “Syd’s Wine”

Steve Took is mostly remembered today for having been the original percussionist in Tyrannosaurus Rex.  One could say Marc Bolan got rid of him for the same reason Mick Jagger got rid of Brian Jones—everything Bolan pretended to be, Took really was.  Marc wanted desperately to be a Popstar, and all Steve ever wanted was “to sit under an orange tree, play my guitar in the sun, get stoned and dig the smells and the colours.”

Steve continued writing and recording until his untimely death in 1979, but little came of it at the time.  One set of 1972 home recordings was issued in 1995 as Missing Link...(to Tyrannosaurus Rex).  There are rumors Syd plays on these two tracks.  Unlike various Napster “rumors,” there is at least some plausibility to these.

We don’t know.  The Tookie group on Yahoo has been researching the question, but results so far have been inconclusive.  There are two people who could verify this.  Steve Took is dead.  Roger Barrett, if he even recalls Steve Took thirty years later, no longer answers questions.  It’s difficult to make certain, because anyone in the London underground community might have dropped in on Steve at some point and been roped into a session.  All the “evidence” is circumstantial.

Among the reasons it is suspected Syd may have done so is the fact that Steve had done some session work for Syd in 1968.  (He appears on “Lanky” and “Rhamadam.”)  It’s thought that Syd might have returned the favor.

Steve Took and Syd were friendly; he was a great admirer of Syd.  Given their respective situations they had a lot in common.  Both of them had seen something they’d been involved in from the very beginning take on new life after their respective departures.  According to Mick Farren in Give The Anarchist A Cigarette, Steve and Syd hung around together in the late 1960s and on occasions Took “dragged Syd along” to things or would be “talking maniacally at Syd.”  (According to Farren, part of the reason was that Syd attracted prettier girls than the rest of “The Pink Fairies Drinking Club.”)

Then there’s the fact that these sessions took place at Steve Took’s flat.  By 1972 it would have been nearly impossible to get Syd to enter a studio, but there was a decidedly casual vibe at Steve’s place.  (Listen closely during one of these tracks and you can hear him fall out of his chair.  The other musicians don’t bat an eye.)

Steve’s manager, Tony Secunda, had been Bolan’s manager as well, and Steve didn’t altogether trust him.  In fact, he had something close to a phobia at that point about going into a studio, which is why Secunda arranged for a multi-track tape recorder to be installed into Took's living space.

 

The intent never went beyond making some rough demos to shop around.  Steve didn’t keep close track of who played what, although he occasionally entitled a song after someone who had participated—which raises the obvious questions about “Syd’s Wine.”

(We don’t know if Syd was using cocaine circa 1972 but if he was at all interested, that would have been another reason to see Steve Took.  As well as furnishing Took with a tape recorder, Secunda provided Took with near-limitless suppliers of cocaine.  This has been confirmed by a number of sources including Took’s girlfriend and mother of his son, Lou.  She recalls “piles of it.  Literally piles.”  Syd in the 1970s seems to have preferred downers mostly, but who knows?  We don’t.  But there is that possibility as well.)

Paul Cox (editor of Terrapin at the time) thanked Steve Took and his girlfriend Lou in one issue for giving him Syd’s home address. This was in 1973/4, which suggests that they remained in contact for some years, even after Syd had moved from London back to his mother’s in Cambridge.

The most interesting bit of “evidence”—we are told Steve credited acoustic guitar on these two tracks to one “crazy diamond.”  I would want to see the song sheet in his handwriting to be certain of this; it’s almost too coy to be true.  (In any case, these sessions took place in 1972 and nobody would have referred to Syd that way until 1975.)

At this point, there’s no way to know.  But they are very nice tracks.  They have been processed and edited for this collection, although we left in all the acoustic guitar work that might be Syd’s.  (For the originals you’ll need to track down the Steve Took CD.)  There are several excellent Steve Took resources on the web.  Chief among them is “Steve Peregrin Took’s Domain.”  More on Steve’s career, biography and unreleased recordings can be found there at http://www.steve-took.co.uk.

Track 25 – Pink Floyd/Hawkwind – “Heckty Skies”

With much fanfare, there was an announcement in late 2001 of a newly discovered track, “unknown to the Barrett world.  It is rumored to have been recorded in late ’67 or early ’68 at the BBC Sound Workshop.  With lyrics like “couch my disease and chinse covered kisses, glazed calico cloak my costume misses” this is a definite [must] for all Barrett and Floyd collectors.  The lyrics are a rewrite of Hilaire Belloc’s ‘Ballade to Our Lady of Czestochowa.’”

Perhaps somebody got the idea into their head by misinterpreting the lyrics.  They seemed to think the first four lines went, “Guttle of white insanity/Counting dread in some vanity/This is hardly paradise/We’re off in search of Heckty Skies.”  The last two words are actually “petty scorn,” and there will be no shortage of that.

I’d never before heard this attributed to Syd, but a day or two later I was told in a private email, “The ‘Chinese Kisses’ track did the rounds a few years ago.  It was labeled as a PF ’67 BBC Radiophonic Workshop recording and/or some Syd collaboration with some Hawkwind members??  It sounds NOTHING like Syd, and PF did not record anything at the BBC Radiophonic Workshop.  This is confirmed by David Parker’s research in Random Precision.”

A moot point.  It’s Steve Harley and Cockney Rebel.  The song is “Ritz,” and the album is The Psychomodo, released in 1974.  Their finest, and “Ritz” is arguably the best song on it.  (Hawkwind’s debut was recorded in 1969, by the way.  None of them had done anything to warrant a BBC session in late ’67, and none is on record.)

If anyone had asked, we could have crushed this one years ago.  As it was, we made certain inquiries.  Steve Harley was amused.  He confirmed what we already knew:  the song has no connection with Syd Barrett.  It has even less to do with Belloc, except in somebody’s fantasy world.  And for the record, the correct lyric is as follows:  “Couch my disease in chintz covered kisses/Glazed calico cloth, my costume this is/Come to Pablo Fanque’s In Indigo/And we'll show you pastel shades of rhyme.”

It was soon announced:  “We had doubts if the track was a real Barrett track.  We were very hesitant about putting it on our collection.  At least we know now, thanks to the Laughing Madcaps group that is not Syd Barrett and we thank you for that.”

We’re all about public service.

As with the Steve Took tracks, this one has been slightly edited and processed.  The original can be found on The Psychomodo by Cockney Rebel, and we highly recommend it.  More information about Cockney Rebel can be found at http://www.steveharley.com.  About the only thing Steve Harley has in common with Syd is that both took a lot of acid when they were younger—but this is one of his finest songs and he deserves proper credit for it.  Let those who deserve it deal with the petty scorn.  Honi soit!

L A U G H I N G     M A D C A P S

Editors note: 

As Editor of this track list I have consciously decided not to comment on any of the tracks on Disc 9 or 10. 

This is because they are fan-based and that I only could fill in the original recording dates and information on the tracks as previously posted in this track list. Each track will in itself reveal the purpose of the  OOPS mix and there is therefore no reason for me to fill anything in – Enjoy / Ed. 

List of reference: 

Syd In bed quote / Roger Waters for New Indian Express, Bangalore, April 2002

Disc 1: 

Disc 1 Tracks 1 & 2 taken from "A Fish out of water" (p.115)

Disc 1 Track 3,5,6,7,8,9,15,16 taken from Record Collector #187, March 1995 Page.17 

Disc 1 Tracks 4 taken from Record Collector #187, March 1995 Page.18

Disc 1 Tracks  5,6,7,10  & 11  written by S. Czapla

Disc 1 Tracks 12 & 13 taken from http://www.winntia.com/graphics/atfos/html/CD01.html 

and J. Palacios, Lost in the Woods, p. 128.

Disc 1 Track 14 taken from http://ourworld.compuserve.com/homepages/PFArchives/DFr45.htm and http://www.winntia.com/graphics/atfos/html/CD01.html

Disc 1 track 17 - Notes on Fake Stereo from http://www.procolharum.com/west_fake.htm

Page 10 Article:  “Hits? – The Floyd couldn’t care less” By Alan Walsh  (Melody Maker, December 9, 1967 p. 9)

Disc 2: 

Disc 2 Tracks 11-16 and  22-25 taken from http://www.geocities.com/cgwhitman2/pf/pf1967.html

Disc 2 Track 7 (Quote: Gilmour) from J. Palacios, Lost in the Woods 

Disc 3:

Information about Star Club donated by Niels Nielsen and Jan Aaskov. 

Review of September 11 gig from BT, September 12 1967 

Comments on the recording from http://www.geocities.com/cgwhitman2/pf/pf1967.html

Information about Ahoy hall written by André Terhorst

 

Disc 4

Track 1-4 note by Steve C. 

Comments on tracks 10 -13 are extracts from “Making the Madcap Laughs” by Malcolm Jones.

Comments on tracks 25-36 are extracts from "What colour is sound" by Brian Hogg, January 1993

Extravaganza information from Late Night nr.3

Quotes (Shirley, Barnes) from J. Palacios, “Lost in the Woods”

Comments on tracks 4, 28 -36 taken from SYD BARRETT, SILAS LANG & “SUNSHINE” OR: THE PROS AND CONS OF NIT PICKING by Jon Allan, Publisher of Late Night Magazine 

Quotes:”And when was the last session…” and ”Oh, I’m sorry: It doesn’t say…” (Michael West for Opel Magazine May 1985) republished in “Pink Floyd – Through the eyes of…” Editor: Bruno MacDonald.

Disc 5:

Notes directly from the sleeve notes written compilers of HYGIY.

Disc 6:

Track 10 notes from http://www.winntia.com/graphics/atfos/html/CD03.html

Track 12 notes are extracts from “Making the Madcap Laughs” by Malcolm Jones.

Track 22 notes from “A Steptoe and Son Homepage” online at: 

http://home.achilles.net/~howardm/steptoe/steptoe.shtml

Disc 8:

Tracks 1-3 from Record Collector #187, March 1995 

Disc 9/10:

Comments from HYGIY Compilers and 

OOPS mixing from http://www.beatletracks.com/btoops.html:

Image material: 

Pages 5 – 10 (Images of Syd and Pink Floyd) www.syd-barrett.it

Page 8 (Arnold Layne record add), Page 9 and 10 (Drawing) taken from “A fish out of water” by Luca Ferrari 

and Annie Marie Roulin.

Page 9 and 10 (45” Covers) www.ebay.com 

Pictures of venues from www.pinkfloyds.com

Visit the Cambridge Corn Exchange online: http://www.cambridge.gov.uk/cornex/cornex.htm

Visit the Ahoy Hall, Rotterdam online: www.ahoy.nl

”The author” would like to extend a heartfelt thanks to: Laughing Madcaps and all their contributors for making “Have you got it yet?, Steve Czapla, Jan Aaskov, Niels Nielsen, John Goddard, André Terhorst, Harold Barrel, Simon Wimpenny, David Haddock, C.G. Whitman, writers and contributors to Terrapin Magazine, “Fish out of Water”, all the authors whos books I’ve quoted, all you who’ve provided  extensive material on your websites and off course R.K. (whatever you be!) 

HAVE YOU GOT IT YET? If you haven't, then you really should have it - These Discs are a fruition of several years of collective &; personal collecting OF UNRELEASED MATERIAL. The Unreleased Material has been stripped down after several years of, "doing the rounds" and re-mastered, de hissed, speed equalized and carefully transferred to Ten Discs (SO FAR!). J. Goddard

ENLACES

https://www.mediafire.com/file/hvpm1h5t1p17xop/PINK+FLOYD+Have+You+Got+It+Yet+1-10,+19.rar/file