syd barrett aritz branton
Pink Floyd wrote “Wish you were here” about him. Bowie covered two of his songs, “See Emily Play” and “Arnold Layne”. But, as with so many musicians, there’s a supposedly romantic legend about this singer, guitarist and composer.
He formed Pink Floyd in 1964 and, until 1968, it was one of the leading groups in the London underground. Then, damaged by drug abuse, he was replaced by David Gilmour. He made two solo records. In 1971, having lost his sanity, he left London and returned to his hometown, Cambridge, and to his mother’s house, where he lived until his death in 2006.
So, in fact, his legend isn’t at all romantic: it reflects his suffering and the suffering of those who loved him. For all of us, a great talent was lost far too early. But for those of us who enjoy cultural things, Barrett’s music is far more interesting than his sad biography. It’s probably his dark story, once more, that makes some people believe that all of his music was psychoedelic: loud songs that bring together drugs, fantasy and guitars. It’s true that Barrett was a highly creative and innovative guitar player, and that Pink Floyd made a lot of psychodelic music, but, unfortunately, they didn’t record much of that type of music. The only LP they recorded with him, “Piper at the Gates of Dawn”, is all pop songs with three great exceptions: “Astronomy Domine”, “Lucifer Sam” and “Interstellar Overdrive”. According to contemporary sources, their concerts were made up mostly of this latter type of sound. Apparently, this avant-garde music was hugely successful in London but, outside the capital, audiences hated it. Once more because of his wretched legend, it is often believed that Barrett’s work finished when he left the group. But that’s far from the truth. His two solo albums are marvelous. The first one, “The Madcap Laughs”, was produced by his old group mates Roger Waters and David Gilmour. The second, “Barrett”, David Gilmour and another group-mate, Rick Wright, produced. It seems that Barrett’s psychological condition made the recording sessions very trying. On some songs, the other musicians recorded the backing track and then Barrett added the guitar and voice.
On most songs, Barrett recorded and then the other musicians filled in as best they could. All of them recorded together on only one song, “Gigolo Aunt”. In spite of all this, they’re fine records. The melodies and instrumentation get close to you and envelop you. Most of the sounds are warm and make you feel good. Barrett’s voice is full of charm. The reverse guitar solo of “Dominos” is incredibly beautiful and,apparently, he recorded it in a single take. Some lyrics seem simple and then turn surreal. Many others are just surreal, no two ways about it. Somehow, you get the sensation that you know Barrett by listening to these two records, although probably nobody really knew him well. You can still listen to “The Madcap Laughs” and “Barrett” today and enjoy them immensely.
He formed Pink Floyd in 1964 and, until 1968, it was one of the leading groups in the London underground. Then, damaged by drug abuse, he was replaced by David Gilmour. He made two solo records. In 1971, having lost his sanity, he left London and returned to his hometown, Cambridge, and to his mother’s house, where he lived until his death in 2006.
So, in fact, his legend isn’t at all romantic: it reflects his suffering and the suffering of those who loved him. For all of us, a great talent was lost far too early. But for those of us who enjoy cultural things, Barrett’s music is far more interesting than his sad biography. It’s probably his dark story, once more, that makes some people believe that all of his music was psychoedelic: loud songs that bring together drugs, fantasy and guitars. It’s true that Barrett was a highly creative and innovative guitar player, and that Pink Floyd made a lot of psychodelic music, but, unfortunately, they didn’t record much of that type of music. The only LP they recorded with him, “Piper at the Gates of Dawn”, is all pop songs with three great exceptions: “Astronomy Domine”, “Lucifer Sam” and “Interstellar Overdrive”. According to contemporary sources, their concerts were made up mostly of this latter type of sound. Apparently, this avant-garde music was hugely successful in London but, outside the capital, audiences hated it. Once more because of his wretched legend, it is often believed that Barrett’s work finished when he left the group. But that’s far from the truth. His two solo albums are marvelous. The first one, “The Madcap Laughs”, was produced by his old group mates Roger Waters and David Gilmour. The second, “Barrett”, David Gilmour and another group-mate, Rick Wright, produced. It seems that Barrett’s psychological condition made the recording sessions very trying. On some songs, the other musicians recorded the backing track and then Barrett added the guitar and voice.
On most songs, Barrett recorded and then the other musicians filled in as best they could. All of them recorded together on only one song, “Gigolo Aunt”. In spite of all this, they’re fine records. The melodies and instrumentation get close to you and envelop you. Most of the sounds are warm and make you feel good. Barrett’s voice is full of charm. The reverse guitar solo of “Dominos” is incredibly beautiful and,apparently, he recorded it in a single take. Some lyrics seem simple and then turn surreal. Many others are just surreal, no two ways about it. Somehow, you get the sensation that you know Barrett by listening to these two records, although probably nobody really knew him well. You can still listen to “The Madcap Laughs” and “Barrett” today and enjoy them immensely.
