Crazy Diamond
(1993)

Syd Barrett box-set re-release: April 26, 1993.

Cd1: 'The Madcap Laughs' + bonus tracks
Cd2: 'Barrett' + bonus tracks
Cd3: 'Opel' + bonus tracks

Tracks

1.01. Terrapin (Barrett)

(Take 1)

1.02. No Good Trying (Barrett)

(Take 3)

1.03. Love You (Barrett)

(Take 4)

1.04. No Man's Land (Barrett)

(Take 5)

1.05. Dark Globe

(Take 1)

1.06. Here I Go (Barrett)

(Take 5)

1.07. Octopus (Barrett)

(Take 11)

1.08. Golden Hair (Joyce)

(Remake, Take 11)

1.09. Long Gone (Barrett)

(Take 1)

1.10. She Took A Long Cold Look At Me (Barrett)

(Take 5)

1.11. Feel (Barrett)

(Take 1)

1.12. If It's In You (Barrett)

(Take 5)

1.13. Late Night (Barrett)

(Take 2)

1.14. Octopus (Barrett)

(Takes 1 & 2) (Bonus)

1.15. It's No Good Trying

(Take 5) (Bonus)

1.16. Love You (Barrett)

(Take 1) (Bonus)

1.17. Love You (Barrett)

(Take 3) (Bonus)

1.18. She Took A Long Cold Look At Me (Barrett)

(Take 4) (Bonus)

1.19. Golden Hair (Joyce)

(Take 5) (Bonus)

2.01. Baby Lemonade (Barrett)

(Take 1)

2.02. Love Song (Barrett)

(Take 1)

2.03. Dominoes (Barrett)

(Take 3)

2.04. It Is Obvious (Barrett)

(Take 1)

2.05. Rats (Barrett)

(Demo)

2.06. Maisie (Barrett)

(Take 2)

2.07. Gigolo Aunt (Barrett)

(Take 15)

2.08. Waving My Arms In The Air (Barrett)

(Take 1)

2.09. I Never Lied To You

(Take 1)

2.10. Wined & Dined (Barrett)

(Take 10)

2.11. Wolfpack (Barrett)

(Take 2)

2.12. Effervescing Elephant (Barrett)

(Take 9)

2.13. Baby Lemonade (Barrett)

(Take 1, Guitar and Vocals) (Bonus)

2.14. Waving My Arms In The Air (Barrett)

(Take 1, Guitar and Vocals) (Bonus)

2.15. I Never Lied To You

(Take 1, Guitar and Vocals) (Bonus)

2.16. Love Song (Barrett)

(Take 1) (Bonus)

2.17. Dominoes (Barrett)

(Take 1) (Bonus)

2.18. Dominoes (Barrett)

(Electric Guitar and Vocals) (Bonus)

2.19. It Is Obvious (Barrett)

(Take 2) (Bonus)

3.01. Opel (Barrett)

(Take 9)

3.02. Clowns & Jugglers (Barrett)

(Take 2)

3.03. Rats (Barrett)

(2-Track Demo)

3.04. Golden Hair (Joyce)

(Remake, Take 6)

3.05. Dolly Rocker (Barrett)

(Take 1)

3.06. Word Song (Barrett)

(Take 1)

3.07. Wined & Dined (Barrett)

(2-Track Demo)

3.08. Swan Lee (Silas Lang) (Barrett)

(Take 5)

3.09. Birdie Hop (Barrett)

(2-Track Demo)

3.10. Let's Split

(Take 1)

3.11. Lanky (Part One) (Barrett)

(Take 1)

3.12. Wouldn't You Miss Me

(Dark Globe) (Take 1)

3.13. Milky Way (Barrett)

(Take 5)

3.14. Golden Hair (Joyce)

(Instrumental Backing Track)

3.15. Gigolo Aunt (Barrett)

(Take 9) (Bonus)

3.16. It Is Obvious (Barrett)

(Take 3) (Bonus)

3.17. It Is Obvious (Barrett)

(Take 5) (Bonus)

3.18. Clowns & Jugglers (Barrett)

(Take 1) (Bonus)

3.19. Late Night (Barrett)

(Take 2, Original Backing Track) (Bonus)

3.20. Effervescing Elephant (Barrett)

(Take 2) (Bonus)

Lyrics

2.02. Love Song (Barrett)

I knew a girl and I like her still
she said she knew she would trust me
and I her will...
I said: OK baby, tell me what you'll be
and I'll lay my head down and see what I see.
By the time she was back
by her open eyes
I knew that I was in for a big surprise.

I knew a girl and I like her still
she said she knew she would trust me
and I her will...
I said: OK baby, tell me what you'll be
and I'll lay my head down and see what I see.
By the time she was back
by her open eyes
I knew that I was in for a big surprise.

2.03. Dominoes (Barrett)

It's an idea, someday
in my tears, my dreams
don't you want to see her proof?
Life that comes of no harm
you and I, you and I and dominoes, the day goes by...

You and I in place
wasting time on dominoes
a day so dark, so warm
life that comes of no harm
you and I and dominoes, time goes by...

Fireworks and heat, someday
hold a shell, a stick or play
overheard a lark today
losing when my mind's astray
don't you want to know with your pretty hair
stretch your hand, glad feel,
in an echo for your way.

It's an idea, someday...

It's an idea, someday
in my tears, my dreams
don't you want to see her proof?
Life that comes of no harm
you and I, you and I and dominoes, the day goes by...

2.05. Rats (Barrett)

Got it hit down
spot knock inside a spider
said: "That's love yeh, yeh, yeah!"
said: "That's love yeh, yeh, yeah!"
said: "That's love - All know it
TV, teeth, feet, peace, feel it...
That's love, yeh, yeh, yeah!"
That's love, yeh, yeh, yeah!"

I like the fall that brings me to
I make a cord around sinew

Duck the weight and east is less
Deep craving of the metal west
hell tomorrow's rain and test
hell tomorrow's rain and test
Love an empty sun and guess
dimples dangerous and blessed

Heaving, arriving, tinkeling
mingling jet and statuettes
seething wet we meet in fleck
seething wet we meet in fleck
lines and winds and freeben half
each fair day I give you half
of each fair day I give you half
I look into your eyes anew,
laying in the sun for you...

Blam, splattered, tactile, engine
heaving, quacky, squeaky, dormy, roofy, wham
I'll have them mind blown
broken jardy, cardy, smoocho, poocho, paki, puffi
splosh eat moxy, very smelly,
cable, gable, splinter, shaddle
top the seam he's taken off

rats, rats lay down flat
we don't need you, we act like that
and if you think you're un-loved
then we know about that...
rats, rats, lay down flat!
yes, yes, yes, yes, lay down flat!

2.06. Maisie (Barrett)

Maisie, Maisie, Maisie, Maisie...
bad luck, bride of a bull
strode out to meet Masie in the evening light
Maisie, his illuminous grin put her in a spin
Maisie, lay in the hall
with diamonds and emeralds
Maisie, Maisie...
bad luck - the bride of a bull

Maisie lay in the wall with her emeralds
and diamond brooch, beyond reproach
bad luck - bride of a bull
strode out to meet Maisie in the evening light...
Maisie!

2.12. Effervescing Elephant (Barrett)

An effervescing elephant
with tiny eyes, and great big trunk
once whispered to the tiny ears
the ears of one inferior
that by next june he'd die, oh yeah!
because the tiger would roam
and the little one said oh my goodness I must stay at home
and everytime I hear a growl
I'll know the tiger's on the prowl
and I'll be really safe you know
The elephant he told me so
And everyone was nervvy, oh yeah!
and the message was spread
to zebra, mongoose, and the dirty hippopotamus
who wollowed in the mud and chewed
his spicy hippoplancton food
and tended to ignore the word
prefering to survey a herd
of stupid water bison, oh yeah!
and the jungle took fright
and ran around for all the day and the night
but all in vain because you see
the tiger came and said to me,
"You know I wouldn't hurt not one of you
I much prefer something to chew
you're all too scant, oh yeah!"
He ate the elephant...

3.05. Dolly Rocker (Barrett)

Dolly Rocker... It's called Dolly Rocker... It's an old make of dress...
Well, months old, you know.. that sort of thing)

I know a sweet girl
she done went out and paid for me
was a sweet girl
after five we went for tea
She seen a Dolly Rocker
She want a girl, she got her
I wanna see her, I know I do
I love you darling, all for you.

You want to meet Pearl?
she's as cute as a squirrel's nut.
She done seen me
said she thought she got the lot.
She's a Dolly Rocker
want to wait 'till I got her
said she knew I know we know I do
said she gotta see me lonely with you.

Oceans may travel, away too long
senses in the gravel, to see yourself at home
nice to be at home
all I'll ever do forever
all my life, you see, when you got her
all I know, you know, I show you, baby
through your head push to you, baby
is a Dolly Rocker.
She know what she got her
She seen a Dolly Rocker
She seen a Dolly Rocker

3.06. Word Song (Barrett)

Stained, glaucous, glycerine, gold,goat, clover
gold, local stocks, type, food, wild, national, lake, flag,
valve, gyroscope, sect
heat, helium, lead, bare, state, invention, medieval
refraction, faction, ultra-action,
hunter, interest, bullet, market...

Loads, liquids, neon, heater, jaws, jungle
mains, signal, knives, kitchen
ingot, lovely, mirror, mold
Mycenaean, moat, poppy, rubber,
radar, rags, sugar, teak
silver, poke, tin, beetroot,
carrott, ebony, fruit, copper, silk...

Carpet, distant, pigmy, hid, pack,
timber, pudding, straw
raindrops, spattering, ramps
chameleon, prairie, pods, trigger
museum, scales, square, ultra, out of map, vent
volcano, vain, wreck, tactic
tidal, arches, valley, hand
inflect, impression, loom, last, molten
you gamma, meeting
lighting, signal, island, coral-cold

Rooftop In A Thunderstorm Row Missing The Point

With yellow, red and roomy food, and quivered
crouching on a golden cushion
undressed himself to disappear
through an infinity of pleasure
and smiled to free the running me
with "Am I my brother's keeper?"
his meek hand on devils gloves
shaping running blood.

The prohecy, to ricreate the truth
in visions of a seasonal mood
in truth, the only sight he saw
lay hidden in the bathroom door
and spat on the rug
as high is high, so low is low
and that's the end of it. -

3.09. Birdie Hop (Barrett)

Birdy Hop - he do, he hop along
a lonely bird upon a window there
he, he, there he blow
a windy snow, he knew the snow,
I know the snow, a hoppy bird

The antelope ride around the parasole
just to see if he's a man
enough to meet you in the sandpit
on a flying kind of sign in a meddlesome way
you know the way - I see the flies
she's a little kite the sort
you think you might like to fly
and like a kite you get to see her
every night, you know the way
she's only paving her way -
hectochrome plane - I see the flies.

Birdy Hop - he do, he hop along
a lonely bird upon a window there
he, he, there he blow
a windy snow, he knew the snow,
I know the snow, a hoppy bird

A camel woke up to a polish dawn
wouldn't look to see his feet had gone
he wouldn't like it
wouldn't have the strength to fight it,
I see the flies
I'm the only bird, a little third,
I lost a quarter
had a yearning to be earning just a dollar a day
in a way you shouldn't like it, hectochrome plane
I see the flies.

Notes

Barrett's two solo-albums re-released with 'Opel', several
bonus-tracks and booklet. The three CD's including bonus tracks were
also released seperate.


Syd Barrett

Booklet text by Brian Hogg, January 1993

Born in Cambridge on January 6 1946, Roger Keith Barrett was given his
"Syd" sobriquet while attending the city's High School, where his
friends included Roger Waters and Dave Gilmour. The latter
subsequently joined Barrett on a busking tour of France and although
the pair also worked as a folk-based duo, their muse was peppered by
songs from the Rolling Stones. Syd also championed the Beatles in a
circle usually sympathetic to jazz. Designer Storm Thorgerson,
speaking to journalist

Nick Kent, recalls Barrett's obsessions as "music, painting, and
religion. He was a great artist, but he just stopped. He was starting
to shut himself off slowly then."

Syd did however take up a place at London's Camberwell School of Art,
but continued playing in various part time aggregations, including The
Hollering Blues and Greg Mott and the Mottoes. Waters was meanwhile
studying architecture at Regent Street Polytechnic, where he formed
Sigma 6 with fellow undergraduates Nick Mason (drums) and Rick Wright
(keyboards). Having added bassist Clive Metcalfe, the same act evolved
into a variety of permutations - The T-Set, The (Screaming) Abdabs -
each of which survived on a diet of de rigeur R&B. Metcalfe then left
the line-up; Waters switched from guitar to bass, but while Juliette
Gale (who later married Wright) was briefly a member, Bob Close took
over the lead spot of a group which underwent a radical change when
Roger invited Barrett to join.The latter's blend of mysticism,pop and
hallucinogenics was at odds with Close's traditional outlook and the
Abdabs imploded towards the end of 1965. Almost immediately Barrett,
Waters, Wright and Mason reconvened as The Pink Floyd Sound, a name
Syd had coined from an album by Georgia blues musicians Pink Anderson,
and Floyd Council.

Within weeks the new line-up had repaired to the Thompsan Private
Record Company, a tiny studio sited in the basement of a house in
Hemel Hampstead. Here they recorded two songs; an original hinged to
the 'Gloria' riff entitled Lucy Leave and a version of Slim Harpo's
I'm a King Bee. Rudimentary they may have been, but both tracks
indicate a defined sense of purpose, particularly the former which,
although pop R&B, shows a playful imagination.

However, it was late in the following year before the quartet, bereft
of their 'Sound' suffix, began attracting notoriety as part of a
counter-culture milieu centered on the Free London School at All
Saint's Church Hall.This self-help organization attracted
proto-hippies,working class activists,and Black Power acolytes,
including Michael X, and was instrumental in providing a focus for the
emergent underground, inspiring two of its adherents, (Barry) Miles
and John 'Hoppy' Hopkins, to found Britain's first alternative
publication, 'International Times'. The paper was launched on October
15 at a party at the Roundhouse; it was here The Pink Floyd made it's
major debut.

A subsequent review in 'IT', termed the quartet a "psychedelic pop
group" and described their "scary feed back sounds and slide
projections (which) produced outer space/prehistoric textures on the
skin". Other accounts noted that the power blew out during
'Interstellar Overdrive', which suggested that by this stage the Floyd
were blending original songs to a set once-renowned for freaked-out
readings of 'Louie, Louie' and 'Road Runner'. Early Barrett originals
including the whimsical Effervescing Elephant, written at age 16, and
'Golden Hair', a poem from James Joyce's 'Chamber Music' which he'd
set to music. Armed with such disparate inspiration, the Floyd
returned to Thompson's on October 31 where they recorded what became
the soundtrack to the film San Francisco.

"Syd's influences were the Stones, Beatles, Byrds and Love" the
group's first manager, Pete Jenner, told Nick Kent, adding at Barrett
wore out his copy of the last-named group's debut album. "I was trying
to tell him about this Arthur Lee song I couldn't remember the title
of, so I just hummed the main riff. Syd picked up his guitar, followed
what I was humming, and went on to use the chord pattern he worked out
for Interstellar Overdrive.

Interstellar Overdrive, with it's extended free-form passage, was the
piece which established Pink Floyd's experimental reputation and it
was one of the tracks the group attempted during their first recording
session at Chelsea's Sound Technique's. By December 1966 the group had
become, with The Soft Machine, one of the acts appearing at the UFO
Club in Tottenham Court Road, Founded by Hoppy Hopkins in partnership
with Joe Boyd. This pivotal venue brought the new religion to the West
End and although it's tenure was short, a mythical status was quickly
established. Boyd, already proved as a record producer, struck up a
relationship with the group which, in January 1967, repaired to the
aforementioned studio. Two versions of Interstellar Overdrive, were
undertaken; one truncated, another long, and it was also here that the
quartet completed Barrett's quirky Arnold Layne. Although this latter
master was placed with EMI's Columbia outlet, the company rejected
Interstellar Overdrive, both readings of which subsequently appeared
on the soundtrack to Tonight Let's All Make Love in London. When this
set was exhumed in 1990, it was bolstered by another improvised piece,
dubbed Nick's Boogie, which may indeed date from the 'Thompson's era.
The Floyd also cut an early version of Astronomy Domine at this time,
but whether it was the product of these or subsequent sessions is
unclear.

Arnold Layne was meanwhile coupled to another original from the first
Sound Techniques' visit, Let's Roll Another One, later given the less
contentious title, Candy and a Currant Bun. The pairing formed the
Floyd's debut the following March and the resultant top 30 hit
confirmed the group as a national attraction.

On May 3rd the singer and producer began overdubs on Love You, No Good
Trying and Clowns and Jugglers. The Soft Machine - Mike Ratledge
(keyboards), Hugh Hopper (bass) and Robert Wyatt (drums) - added
avant-garde backing to three songs which, despite Syd's erratic tempo,
boast a wonderful sense of mischief. Yet whereas the first two
performances appeared on Madcap Laughs, that of Clowns and Jugglers.
was shelved until the release of Opel. On the 4th, Barrett added
backwards guitar to No Good Trying and lead to Terrapin and No Man's
Land. It was at this point that Dave Gilmour entered the frame.

"Dave had been taking a casual interest during most of the later
sessions," Malcom Jones explained in his booklet 'The Making of Madcap
Laughs'. "It was only a short step to suggesting that he and Roger
Waters should produce some tracks as well."

Barrett had remained on friendly terms with his erstwhile collaborator
- their respective flats were close to one another - and Syd have even
appeared backstage at a Pink Floyd gig in Croydon. The remaining
sessions were completed in a three day sprint - June 13th and 14th and
July 26th - partly because of Gilmour and Waters' commitments to the
mixing of Ummagumma and a tour of Holland. On the first day Barrett
began a new version of Clowns and Jugglers., now retitled Octopus.
Eleven takes, including false starts, were required to complete a
master, the last of which was used on Madcap Laughs. Despite its
breakdown, and the singer's indecision over the ideal key, take 2 is
also enchanting and is issued here for the first time. Eleven attempts
were also required for Golden Hair; the final rendition appeared on
the album while the sixth was exhumed for Opel. Two new songs, Long
Gone and Wouldn't you Miss Me (aka Dark Globe) were also recorded at
the session. The latter required only two takes but although the same
number of Long Gone were attempted, neither was deemed suitable and
the issued version was completed the following month.

The final day's work proved frantic. Syd attempted a new reading of
Wouldn't you Miss Me - that issued on Opel - before opting for take 2
from the previous session. Three untried compositions: She Took a Long
Cold Look at Me, Feel and If Its in You were also completed. Feel
required a single take, If Its in You broke down four times before the
fifth proved 'best', while the same number was required for Long Cold
Look. The fourth take, complete with false starts, is included here.

The Madcap Laughs was released on Harvest in January 1970, having been
preceded the previous month by a single which coupled Octopus) a line
from which inspired the album's title) with Golden Hair. Reviews for
the set were complimentary and on 24th February a confident Barrett
undertook a live session for John Peel's 'Top Gear'. Of the five songs
completed, only one, Terrapin, came from Madcap Laughs. The remainder
were all new compositions, including Gigolo Aunt, Baby Lemonade and
Two of a Kind, the last of which Syd would not record on album. The
fifth inclusion was Effervescing Elephant, reprised from Barrett's
nascent repertoire.

Syd returned to Abbey road two days later where, with Dave Gilmour,
again as producer, he began work on a projected second album with Baby
Lemonade. Two takes of Maisie ensued before Barrett launched into the
first 15 tries at Gigolo Aunt. Only three were complete: take 7, take
9 - included here for the first time and take 15, which appeared on
"Barrett". The session ended with multiple takes of Waving My Arms in
the Air, of which the first was declared 'best'. trio comprising
Gilmour, Shirley and Pink Floyd's Richard Wright (organ) accompanied
Syd on these recordings, suggesting a sense of urgency prevailed.
Where Madcap was painstakingly pieced together, this second set would
result from periodic bursts of activity.

On February 27th the singer cut four demos - Wolfpack, Waving My Arms
in the Air, Living Alone and Bob Dylan's Blues - all of which appear
to have been taken away by Gilmour. The last two titles did not
reappear, and although a tape of the reportedly excellent Dylan's
Blues circulated briefly, these performances now seem to be lost
forever. Work also continued on Gigolo Aunt, but it was not until
April 1st that Barrett returned to Abbey Road.

Rough mixes of work in progress ensued before Syd began a new version
of Wolfpack on the 3rd. Recording was then suspended until June 5th
when Barrett completed three 2-track demos of Rats, Wined and Dined,
and Birdie Hop. Each of these performances were eventually reissued on
Opel, although the same version of Rats formed the basis of that on
Barrett. Two days later Syd recorded a new song, the ebullient Milky
Way, which again made its debut on Opel. He also resurrected a
composition from Pink Floyd's early set, She Was a Millionaire,
retitled simply Millionaire. Two illstarred attempts followed, neither
of which featured vocals, before the notion was discarded and the
day's work ended with group overdubs on the bilious Rats.

Another break ensued before recording was recommenced. Five tracks
were undertaken on July 14th, including nine new readings of
Effervescing Elephant - take 2 is preserved alongside the final
master, plus numerous overdubs on Wined and Dined.. Three attempts at
Dominoes, one of Syd's most beguiling compositions, were completed and
both the false start and the first full take make their debut in this
set. The singer's initial attempt at Love Song, at this point known
simply as 'Untitled', is also featured herein. Barrett also put down
Dolly Rocker and Let's Split during this session but, although
subsequently shelved, both songs were placed on Opel.

Love Song was completed during a period stretching from the 17th to
the 21st July. Rudimentary attempts at overdubbing Dolly Rocker were
entirely wiped before Syd began work on another piece dubbed
'Untitled' but later known as Word Song. Unissued at the time, this
enchanting song also made its debut on Opel. Five takes of It is
Obvious were then undertaken, and although the first was chosen for
subsequent embellishments, other renditions were equally meritorious
and take 2 (with electric guitar), take 3 and take 5 (with acoustic)
have been included on this set.

Work on Barrett closed with remakes of Maisie and Waving my Arms in
the Air, which segued into a new piece, I Never Lied to You. The
album, for which Syd designed the sleeve, was released in November
1970 and if reaction was more muted than that greeting Madcap Laughs,
this was partly due to timing, rather than content. It was apparent,
however, that this second selection, despite its more intimate
framework, captured a talent in the process of disintegration. "I
think Syd was in good shape when he made Madcap," Pete Jenner opined
to Nick Kent. "He was still writing good songs." By contrast Dave
Gilmour recalled in the same NME article that, during the Barrett
sessions, "It was mostly a case of me saying: 'Well, what have you got
then Syd' and he'd search around and eventually work something out."

Notions of singles and perhaps a third album abounded over ensuing
months. 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. In truth Syd
was already slipping into the life of a recluse although in an
interview in 'Rolling Stone' of Christmas '71 he declared himself
"totally together". Within weeks this brave assertion was called into
question when, during an appearance at Kings College Cellar in
Cambridge, blues performer Eddie 'Guitar' Burns introduced a "last
minute put together boogie band". Here Barrett joined ex-Delivery
bassist Jack Monch and former Pretty Things/Pink Fairies drummer Twink
for what was, by all accounts, a loose jam. The trio nonetheless opted
to stay together and, dubbed Stars, appeared with Skin Alley and MC5
at Cambridge Corn Exchange. The resultant set was little short of
chaotic, Syd failed to surface for the next date and ensuing shows wee
cancelled.

Barrett nonetheless remained the subject of interest and speculation
about his future activities heightened following the release of David
Bowie's 'tribute' album, "Pin Ups", which included a version of See
Emily Play. Indeed Bowie was one of the many names suggested as the
mysterious benefactor funding Syd's ill-starred return to Abbey Road
in summer 1974. 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.

Since then interest in Barrett's activities has remained constant,
despite the subject's abdication. The Pink Floyd track, Shine on You
Crazy Diamond, was and unequivocal tribute, while a judicious
repackaging of the singer's two albums during the mid-1970s introduced
his work to a new audience. Opel showed a spectrum much wider than the
official releases suggested and taken together Barrett's canon reveals
an intuitive, idiosyncratic talent of dazzling originality. He may
never record again and while it's now difficult to divorce the fragile
images from the creator's personal traumas, there was a time when many
of the enclosed songs were viewed simply as beguiling. Approach them
now in a similar spirit.

Brian Hogg January 1993

With thanks to:
Nick Kent - "Syd Barrett", New Musical Express, 1974.
Barry Miles - "Games for May", NME 1976
Malcolm Jones - "The Making of The Madcap Laughs", Private
Publication, 1982

---

Syd Barrett - Crazy Diamond

Date of Release: 1993

1993 CD: EMI 81412
1994 CD: Capitol 81412
2000 CD: EMI 81412

Includes the two original albums (Madcap Laughs '70 and
Barrett '70), the rarities album Opel ('88)
+ 19 Bonus Tracks (outtakes).


Tracks

Disc One - The Madcap Laughs
101 - Terrapin (Take 1)
102 - No Good Trying (Take 3)
103 - Love You (Take 4)
104 - No Man's Land (Take 5)
105 - Dark Globe (Take 1)
106 - Here I Go (Take 5)
107 - Octopus (Take 11)
108 - Golden Hair (Remake, Take 11) (Joyce)
109 - Long Gone (Take 1)
110 - She Took A Long Cold Look (Take 5)
111 - Feel (Take 1)
112 - If It's In You (Take 5)
113 - Late Night (Take 2)
114 - Octopus (Takes 1 & 2) (Bonus)
115 - It's No Good Trying (Take 5) (Bonus)
116 - Love You (Take 1) (Bonus)
117 - Love You (Take 3) (Bonus)
118 - She Took A Long Cold Look At Me (Take 4) (Bonus)
119 - Golden Hair (Take 5) (Bonus) (Joyce)

Disc Two - Barrett
201 - Baby Lemonade (Take 1)
202 - Love Song (Take 1)
203 - Dominoes (Take 3)
204 - It Is Obvious (Take 1)
205 - Rats (Demo)
206 - Maisie (Take 2)
207 - Gigolo Aunt (Take 15)
208 - Waving My Arms In The Air (Take 1)
209 - I Never Lied To You (Take 1)
210 - Wined And Dined (Take 10)
211 - Wolfpack (Take 2)
212 - Effervescing Elephant (Take 9)
213 - Baby Lemonade (Take 1, Guitar and Vocals) (Bonus)
214 - Waving My Arms In The Air (Take 1, Guitar and Vocals) (Bonus)
215 - I Never Lied To You (Take 1, Guitar and Vocals) (Bonus)
216 - Love Song (Take 1) (Bonus)
217 - Dominoes (Take 1) (Bonus)
218 - Dominoes (Take 2) (Electric Guitar and Vocals) (Bonus)
219 - It Is Obvious (Take 2) (Bonus)

Disc Three - Opel
301 - Opel (Take 9)
302 - Clowns And Jugglers (Take 2)
303 - Rats (2-Track Demo)
304 - Golden Hair (Remake, Take 6) (Joyce)
305 - Dolly Rocker (Take 1)
306 - Word Song (Take 1)
307 - Wined And Dined (2-Track Demo)
308 - Swan Lee (Silas Lang) (Take 5)
309 - Birdie Hop (2-Track Demo)
310 - Let's Split (Take 1)
311 - Lanky (Part One) (Take 1)
312 - Wouldn't You Miss Me (Dark Globe) (Take 1)
313 - Milky Way (Take 5)
314 - Golden Hair (Instrumental Backing Track) (Joyce)
315 - Gigolo Aunt (Take 9) (Bonus)
316 - It Is Obvious (Take 3) (Bonus)
317 - It Is Obvious (Take 5) (Bonus)
318 - Clowns And Jugglers (Take 1) (Bonus)
319 - Late Night (Take 2, Original Backing Track) (Bonus)
320 - Effervescing Elephant (Take 2) (Bonus)


A three-CD box set that enshrines Barrett's complete recorded
legacy as a solo artist. Besides including his two 1970 albums,
this collection includes the 1989 compilation of unreleased
material, Opel. The chief attraction of this set for Barrett
fans is no less than 19 previously unreleased alternate takes
from throughout his quite brief solo career. All of those
alternate takes, it's important to note, are alternate versions
of songs that appear on the three previously available albums;
no entirely unheard compositions were unearthed. Nonetheless,
these alternate takes are more interesting listening than you
might expect, for a couple of reasons. First, Barrett was so
mercurial (and occasionally unfocused) in the studio that it
was difficult to get him to play a song the same way twice.
Second, the alternate takes are usually starker and more
acoustic in nature than the official versions; they're not
better, but have interesting different slants. With some of the
songs repeated two, three, or even four times, this is
definitely for the hardcore fan. But it's a beautifully
produced document, with a meticulously detailed booklet, of a
uniquely primitive visionary, and has many moments of charming
and chilling power. It includes everything salvageable that he
produced, with the exception of the Peel Sessions. It doesn't
match his work with the original Pink Floyd, but the music
continues to influence and be emulated (most notably by Robyn
Hitchcock), though never equaled.
-- Richie Unterberger

---
Madcap Laughs.nfo
General info
============
Title....................: The Madcap Laughs (Crazy Diamond Box CD#1)
Artist...................: Syd Barrett
Genre of posting.........: Psychedelia
Type of recording........: Studio
Release year recording...: 1970 / 1993
Number of songs..........: 19
Total playing time.......: 57:03

Tracklist
============
01. Terrapin (Barrett) - 5:04
02. No Good Trying (Barrett) - 3:26
03. Love You (Barrett) - 2:30
04. No Man's Land (Barrett) - 3:03
05. Dark Globe (Barrett) - 2:02
06. Here I Go (Barrett) - 3:11
07. Octopus (Barrett) - 3:47
08. Golden Hair (Joyce) - 1:59
09. Long Gone (Barrett) - 2:50
10. She Took a Long Cold Look at Me (Barrett) - 1:55
11. Feel (Barrett) - 2:17
12. If It's in You (Barrett) - 2:26
13. Late Night (Barrett) - 3:11
14. Octopus (Barrett) - 3:09
15. It's No Good Trying [Take Five] (Barrett) - 6:22
16. Love You [Take One] (Barrett) - 2:28
17. Love You [Take Three] (Barrett) - 2:11
18. She Took a Long Cold Look at Me [Take Four] (Barrett) - 2:44
19. Golden Hair (Joyce) - 2:28

Comments
============
Like a supernova, Roger "Syd" Barrett burned briefly and brightly, leaving an indelible mark upon psychedelic and progressive rock as the founder and original singer, songwriter, and lead guitarist of Pink Floyd. Barrett was responsible for most of their brilliant first album, 1967's The Piper at the Gates of Dawn, but left and/or was fired from the band in early 1968 after his erratic behavior had made him too difficult to deal with (he appears on a couple tracks on their second album, A Saucerful of Secrets). Such was his stature within the original lineup that few observers thought the band could survive his departure; in fact, the original group's management decided to keep Syd on and leave the rest of the band to their own devices. Pink Floyd never recaptured the playful humor and mad energy of their work with Barrett.
After a period of hibernation, Barrett re-emerged in 1970 with a pair of albums, The Madcap Laughs and Barrett, which featured considerable support from his former bandmates (especially his replacement, David Gilmour, who produced most of the sessions). Members of the Soft Machine also play on these records, which have a ragged, unfinished, and folky feel. Barrett's eccentric humor, sly wordplay, and infectious melodies range from brilliant to chaotic on his solo work. Lacking the taut power of his recordings with the Floyd in 1967, they nevertheless remain fascinating and moving glimpses into a creative psyche gone awry after (it is theorized) too much fame and too many drugs too early. With increasing psychological problems, Barrett withdrew into near-total reclusion after these albums. He never released any more material, and these days rarely appears in public, let alone to play music.

Although they attracted little attention upon their release, his albums also attracted a cult audience. Barrett's music and mystique achieved a lasting influence that continues to grow over two decades later. Latter-day new wave psychedelic acts like Julian Cope, the Television Personalities, and (especially) Robyn Hitchcock acknowledge Barrett's tremendous influence on their work. The Barrett cult became large enough to warrant the release of an entire album of previously unreleased material and outtakes, Opel, in the late '80s, as well as his sessions for the BBC.

Richie Unterberger

AMG EXPERT REVIEW: A three-CD box set that enshrines Barrett's complete recorded legacy as a solo artist. Besides including his two 1970 albums, this collection includes the 1989 compilation of unreleased material, Opel. The chief attraction of this set for Barrett fans is no less than 19 previously unreleased alternate takes from throughout his quite brief solo career. All of those alternate takes, it's important to note, are alternate versions of songs that appear on the three previously available albums; no entirely unheard compositions were unearthed. Nonetheless, these alternate takes are more interesting listening than you might expect, for a couple of reasons. First, Barrett was so mercurial (and occasionally unfocused) in the studio that it was difficult to get him to play a song the same way twice. Second, the alternate takes are usually starker and more acoustic in nature than the official versions; they're not better, but have interesting different slants. With some of the songs repeated two, three, or even four times, this is definitely for the hardcore fan. But it's a beautifully produced document, with a meticulously detailed booklet, of a uniquely primitive visionary, and has many moments of charming and chilling power. It includes everything salvageable that he produced, with the exception of the Peel Sessions. It doesn't match his work with the original Pink Floyd, but the music continues to influence and be emulated (most notably by Robyn Hitchcock), though never equaled.

Richie Unterberger

AMG EXPERT REVIEW: Wisely, The Madcap Laughs doesn't even try to sound like a consistent record. Half the album was recorded by Barrett's former bandmates Roger Waters and Dave Gilmour, and the other half by Harvest Records head Malcolm Jones. Surprisingly, Jones' tracks are song for song much stronger than the more-lauded Floyd entries. The opening "Terrapin" seems to go on three times as long as its five-minute length, creating a hypnotic effect through Barrett's simple, repetitive guitar figure and stream of consciousness lyrics. The much bouncier "Love You" sounds like a sunny little Carnaby Street pop song along the lines of an early Move single, complete with music hall piano, until the listener tries to parse the lyrics and realizes that they make no sense at all. The downright Kinksy"Here I Go" is in the same style, although it's both more lyrically direct and musically freaky, speeding up and slowing down seemingly at random. Like many of the "band" tracks, "Here I Go" is a Barrett solo performance with overdubs by Mike Ratledge, Hugh Hopper, and Robert Wyatt of the Soft Machine; the combination doesn't always particularly work, as the Softs' jazzy, improvisational style is hemmed in by having to follow Barrett's predetermined lead, so on several tracks, like "No Good Trying," they content themselves with simply making weird noises in the background. The solo tracks are what made the album's reputation, though, particularly the horrifying "Dark Globe," a first-person portrait of schizophrenia that's seemingly the most self-aware song this normally whimsical songwriter ever created. Honestly, however, the other solo tracks are the album's weakest tracks, with the exception of the plain gorgeous "Golden Hair," a musical setting of a James Joyce poem that's simply spellbinding. The album falls apart with the appalling "Feel." Frankly, the inclusion of false starts and studio chatter, not to mention some simply horrible off-key singing by Barrett, makes this already marginal track feel disgustingly exploitative. But for that misstep, however, The Madcap Laughs is a surprisingly effective record that holds up better than its "ooh, lookit the scary crazy person" reputation suggests.

Stewart Mason

---
Barrett.nfo
General info
============
Title....................: Barrett (Crazy Diamond Box CD#2)
Artist...................: Syd Barrett
Genre of posting.........: Psychedelia
Type of recording........: Studio
Release year recording...: 1970 / 1993
Number of songs..........: 19
Total playing time.......: 56:04

Tracklist
============
01. Baby Lemonade (Barrett) - 4:11
02. Love Song (Barrett) - 3:05
03. Dominoes (Barrett) - 4:09
04. It Is Obvious (Barrett) - 3:00
05. Rats (Barrett) - 3:02
06. Maisie (Barrett) - 2:51
07. Gigolo Aunt (Barrett) - 5:47
08. Waving My Arms in the Air (Barrett) - 2:07
09. I Never Lied to You (Barrett) - 1:52
10. Wined and Dined (Barrett) - 2:59
11. Wolfpack (Barrett) - 3:41
12. Effervescing Elephant (Barrett) - 1:54
13. Baby Lemonade [Take One] (Barrett) - 3:46
14. Waving My Arms in the Air [Take One] (Barrett) - 2:13
15. I Never Lied to You [Take One] (Barrett) - 1:48
16. Love Song [Take One] (Barrett) - 2:32
17. Dominoes (Barrett) - 0:40
18. Dominoes (Barrett) - 2:36
19. It Is Obvious (Barrett) - 3:51

Comments
============
Like a supernova, Roger "Syd" Barrett burned briefly and brightly, leaving an indelible mark upon psychedelic and progressive rock as the founder and original singer, songwriter, and lead guitarist of Pink Floyd. Barrett was responsible for most of their brilliant first album, 1967's The Piper at the Gates of Dawn, but left and/or was fired from the band in early 1968 after his erratic behavior had made him too difficult to deal with (he appears on a couple tracks on their second album, A Saucerful of Secrets). Such was his stature within the original lineup that few observers thought the band could survive his departure; in fact, the original group's management decided to keep Syd on and leave the rest of the band to their own devices. Pink Floyd never recaptured the playful humor and mad energy of their work with Barrett.
After a period of hibernation, Barrett re-emerged in 1970 with a pair of albums, The Madcap Laughs and Barrett, which featured considerable support from his former bandmates (especially his replacement, David Gilmour, who produced most of the sessions). Members of the Soft Machine also play on these records, which have a ragged, unfinished, and folky feel. Barrett's eccentric humor, sly wordplay, and infectious melodies range from brilliant to chaotic on his solo work. Lacking the taut power of his recordings with the Floyd in 1967, they nevertheless remain fascinating and moving glimpses into a creative psyche gone awry after (it is theorized) too much fame and too many drugs too early. With increasing psychological problems, Barrett withdrew into near-total reclusion after these albums. He never released any more material, and these days rarely appears in public, let alone to play music.

Although they attracted little attention upon their release, his albums also attracted a cult audience. Barrett's music and mystique achieved a lasting influence that continues to grow over two decades later. Latter-day new wave psychedelic acts like Julian Cope, the Television Personalities, and (especially) Robyn Hitchcock acknowledge Barrett's tremendous influence on their work. The Barrett cult became large enough to warrant the release of an entire album of previously unreleased material and outtakes, Opel, in the late '80s, as well as his sessions for the BBC.

Richie Unterberger

AMG EXPERT REVIEW: A three-CD box set that enshrines Barrett's complete recorded legacy as a solo artist. Besides including his two 1970 albums, this collection includes the 1989 compilation of unreleased material, Opel. The chief attraction of this set for Barrett fans is no less than 19 previously unreleased alternate takes from throughout his quite brief solo career. All of those alternate takes, it's important to note, are alternate versions of songs that appear on the three previously available albums; no entirely unheard compositions were unearthed. Nonetheless, these alternate takes are more interesting listening than you might expect, for a couple of reasons. First, Barrett was so mercurial (and occasionally unfocused) in the studio that it was difficult to get him to play a song the same way twice. Second, the alternate takes are usually starker and more acoustic in nature than the official versions; they're not better, but have interesting different slants. With some of the songs repeated two, three, or even four times, this is definitely for the hardcore fan. But it's a beautifully produced document, with a meticulously detailed booklet, of a uniquely primitive visionary, and has many moments of charming and chilling power. It includes everything salvageable that he produced, with the exception of the Peel Sessions. It doesn't match his work with the original Pink Floyd, but the music continues to influence and be emulated (most notably by Robyn Hitchcock), though never equaled.

Richie Unterberger

AMG EXPERT REVIEW: On his second solo album, Barrett was joined by Humble Pie drummer Jerry Shirley and Pink Floyd members Rick Wright (organ) and Dave Gilmour (guitar). Gilmour and Wright acted as producers as well. Instrumentally, the result is a bit fuller and smoother than the first album, although it's since been revealed that Gilmour and Wright embellished these songs as best they could without much involvement from Barrett, who was often unable or unwilling to perfect his performance. The songs, however, are just as fractured as on his debut, if not more so. "Baby Lemonade," "Gigolo Aunt," and the nursery rhyming "Effervescing Elephant" rank among his peppiest and best-loved tunes. Elsewhere, the tone is darker and more meandering. It was regarded as something of a charming but unfocused throwaway at the time of its release, but Barrett's singularly whimsical and unsettling vision holds up well.

Richie Unterberger\