Postby WildcatOne » Wed Jan 06, 2016 1:10 am
The following is the text file I compiled from of a series of essays I delivered over the last couple of months on the internet radio show of which I am the music consultant, "Racin' and Rockin' with DragList.com". My friend Danny White and I have been discussing music and one subject we keep coming back to is Pink Floyd. This write does not go into microscopic detail; rather it gives an empirical overview of the band, hitting on the high spots and mentioning some of the lowest. There were many of both. I'd call it an easy read, so if you have time to spend half an hour or so, kick back and enjoy.
Love to all, JB
After chatting with Danny White over the last few weeks, we concur on almost all points of Rock n’ Roll. We’ve been great sounding boards for each other, and we’ve shared countless points of interest in the history of this incredible art form. Our conversations drift from drag racing to rock n’ roll and back, and we both share opinions on the current state of affairs of both.
We’ve been all over Rock n’ Roll and its related fads, but one subject that we keep returning to and examining in great detail is the rise and fall of Psychedelic Music in the mid-to-late 60s. One group has stood out above all the others in that discussion. Over the next few shows, it is my intent with Danny’s input and imprimatur to relay some of the most important points that defined the era of psychedelia, which for all intents and purposes began and ended with the strange and inspiring story of Pink Floyd.
By the time their classic album “Dark Side Of The Moon” was released in 1973, the band had already been together for over 10 years, with their beginnings in the early 60s R & B fad having molded and shaped their internal chemistry.
There were personnel changes that happened in the band over time, but the most significant, and as it turned out, world-changing addition to the band was when one fine day in 1964, a kid showed up and introduced himself to the band. He had an aura around him that everybody could see. He was more than special; he was a force of nature that immediately had an impact on the band and the way they played from then on.
His name was Roger Barrett, from Cambridge, a mutual friend with the band of David Gilmour, and his lifelong nickname was Syd. Tall, outgoing, incredibly talented and handsome, Syd had charisma that without question put him on a par with Elvis, but he had a style and a sound all his own, and the band quickly absorbed and got in line with his incredible personality and musical excellence. He was an art college student, situating himself in a band full of architecture majors.
He played a combination of rythym and lead guitar in a way that nobody had seen before, like he was playing two guitars at once, and he was intent on creating a new, different and intriguing style of music that went above and beyond anything that had ever been done before or would not be done since. Around this time, Rick Wright moved over from guitar to keyboards full-time, and the original guitarist Bob Klose moved on, remaining true to his blues roots. After a period of woodshedding and collaborating, with Syd ultimately having the last word, the band changed their name several times from the Megadeaths, the Abdabs, then the Screaming Abdabs, Leonard's Lodgers, the Spectrum Five and the Tea Set.
Finally Syd created a name for the band that stuck, using the first names of his two favorite Piedmont Records Bluesmen from the USA, Pink Anderson and Floyd Council. He named the band The Pink Floyd Sound, and later shortened it to just Pink Floyd.
By 1966, Pink Floyd was playing all the time in Swinging London, creating a new and exciting sound that often bordered on total insanity, but didn’t quite go there altogether. Science-fiction outer space sounds blended in with spooky, swirling riffs played by what sounded like inside-out guitars, enhanced by what became known as a light show, something that hadn’t been done with a live rock n’ roll band. The music transported the audience to nirvana, and before hardly any time, the band Pink Floyd became the most popular and sought-after band in England.
When they recorded their first album, titled Piper at the Gates of Dawn at EMI studios at Abbey Road in London, they were next door to the Beatles, who were recording Sgt Pepper. There was no doubt that the Beatles heard what was going on with Floyd next door. The album was essentially written, produced and performed by Syd Barrett, and to this day it stands shoulder-to-shoulder with Sgt Pepper as an all-time psychedelic masterpiece.
Otherworldly sounds that still sound shockingly fresh to this day are mixed in with the most beautiful, cracked songs that Syd had written, and were performed perfectly by the band. They were picked to headline an event known as the 14-Hour Technicolor Dream in London. They brought in their light show and set up a quadraphonic sound system, and by the time it was over, Pink Floyd had re-written the book of rock n’ roll and had transformed proper English society into a legion of blissful, wide-open people who saw the light and joined together to change the world through music, peace and love.
Just at the peak of the band’s popularity while all this was going on, something happened to Syd. What exactly it was that happened to him is still being debated today nearly 50 years after it happened, but one thing was for sure: Syd Barrett wasn’t Syd Barrett anymore. He appeared as a hollow shell of himself, with no explanations given. His personality had disappeared and he was what everyone described as “gone”. The band kept on, but Syd’s condition was seriously affecting what they were doing. He was totally wiped-out
A US tour to promote the album had to be scrapped halfway through, as Syd had finally become impossible to work with onstage. He’d show up and stand there onstage and not play or sing, just stare out into space, or he’d strum one note on his guitar all night long. When they played in Los Angeles, they stayed at the Alice Cooper band’s house. Alice recalled that the band was fantastic on stage, including Syd, but back at the house, he said he came downstairs one morning for breakfast and Syd was sitting at the table, staring at a box of cornflakes. He said it was like Syd was watching something on that box that nobody else could see…when they were having dinner there, Glenn Buxton said that he automatically passed the salt to Syd but Syd didn’t actually ask for it. He just knew that’s what he wanted. Syd was on another wavelength altogether. I’m running out of time, so this will conclude part one of the Pink Floyd story.
Tonight I’m going to do Chapter 2 of the Pink Floyd story. Danny White and I have been collaborating on it and between the two of us, we’ve come up with what we think is a good version of this great band’s history. Where I left off 3 weeks ago was when the band returned to England following a failed first American tour to promote their first album.
The erratic and sometimes maddening behavior of the great Syd Barrett, which had become progressively worse since their album was released a few months earlier, had made it just about impossible for the band to play live anymore without him screwing it up. Dick Clark interviewed them on American Bandstand, and he put the microphone in front of Syd and he said “So, which one’s Pink?” His question was met with a cold, dead stare. He did the same thing to Pat Boone when they were on his show, too.
Now, during those heady times of Psychedelia, it was often trendy and fun to feign madness, but Syd Barrett wasn’t kidding. His anti-participation in band activities and gigs was having a seriously damaging effect on the band’s success.
It was time to have a meeting.
The band unanimously decided to bring in their friend Dave Gilmour, who was also a friend of Syd’s, from the band Joker’s Wild to play guitar and sing Floyd’s songs to help Syd with his parts. For a brief period in early 1968, Pink Floyd was a five-piece unit. The idea was for Syd to concentrate on songwriting, and have Dave cover for him onstage, but after a few gigs with that arrangement, it became clear that this was an unworkable situation, and one night when they were on their way to a gig, somebody spoke up in the van and said “Should we pick up Syd?” Another voice answered, “Why bother?” and thus began a new chapter in the story of Pink Floyd and in the history of Modern Rock.
The guy who founded the band, named it and wrote all their songs was now officially kicked out of it. The last straw was the last practice they had with him following a disastrous gig. At this practice, he came in, plugged his guitar in and played a hundred chords in a row at top volume, and screamed over and over into his microphone: “Have you got it yet? Have you got it yet?” After that incident, the band pretty much decided to call it quits with Syd and continue with Dave from then on. As much as they loved him, they had to move on, and I have to painfully agree with that decision.
Syd’s star status and his involvement with the band was actually far from over, however. His legend as the James Dean of Psychedelia continued to grow as time went on.
Although the band made what is in my opinion an outstanding follow-up to Piper At The Gates Of Dawn with the title A Saucerful of Secrets, on which Syd made minimal contributions, it was the debut of Dave Gilmour as a full-fledged member, and it was the first Pink Floyd album I ever listened to. I found out later about the Syd Barrett-led Floyd, but what is there is in my opinion the logical extension of what was established with their first album, with elements of Gregorian Chant set against tribal rythyms, free-form jazz, wailing vocals and the hardest rock I’d ever heard at that time. Their record company made the wise decision a few years later to package both of the early Floyd albums together as a double and they named it “A Nice Pair”. Needless to say, I highly recommend this purchase, as it is an accurate document of this incredible band’s roots and Syd Barrett's finest hour with them.
It turned out to be an amazing stroke of fate to get Dave Gilmour in the band. He immediately proved himself to be not only a capable replacement for Syd, but a fantastic musician, songwriter and singer, in many ways an even more dynamic front man than Syd had been. The band played on. Their time with Syd Barrett had effectively established an ongoing theme in the band’s material from then on. Loss, madness and inexplicable circumstance. Syd Barrett’s influence and legacy became a touchstone to their art.
After Floyd dumped Syd, he went off on a wild trip around the English countryside in his Cooper mini and ended up back in Cambridge getting treatment at a hospital for mental and physical exhaustion. The record company immediately signed him as a solo artist and he returned to London to attempt to get his act back together and make a solo album. Dave Gilmour signed on as the producer. He played bass on the record and hired Jerry Shirley from Humble Pie to provide drums for Syd’s songs. They just let the tapes roll when Syd was there with his guitar. What came out of him was later assembled, processed, arranged and made into songs by Gilmour and Shirley.
I’ll detail this project in the next segment, but I thought a good way to end tonight’s chapter is to relate a scene that happened in London right after Syd was given the boot from the band. At that time, the well-known British singer, Terry Reid had just turned down the gig as vocalist with Jimmy Page’s new band. He recommended a kid from Birmingham to Page named Robert Plant to take the gig. Reid was hanging out in a pub in London and Dave Gilmour walks in. He said “I’ve just got the gig with Floyd and I’m making 300 pounds a week!” Terry Reid turned around and said under his breath: “Enjoy it while you can, Dave, because without Syd Barrett, that band is going nowhere.”
Picking up the Pink Floyd story, at the end of last week’s segment, the band had made the painful and difficult decision to move on from Syd Barrett and completed their second album. Their connection and involvement with the mad genius behind their initial success was far from over, but the personnel from then on was solidified and working together.
They entered a period between 1969 and 1972 that I have often referred to as the doldrums. Not that they weren’t playing, because they were playing as good as anyone else, but although I have the albums they released during those years, I can’t find any hits anywhere. You could line up those albums and play them one after another in chronological order, and it sounds to me like one, long, brooding study of a band seeking its own identity after their guiding light had been removed. Of the albums they released, which were titled Atom Heart Mother, Meddle, Umagumma (which was my favorite), Obscured By Clouds, as well as the soundtracks to 2 movies, Meddle (not like steel, rather like being unnecessarily involved in somebody else’s business) was a complete and fully functioning statement as a band, but even with David Gilmour’s excellent playing, writing and singing, Pink Floyd seemed to be drifting, but it was drifting forward at least.
The very fact that they were still together, touring and recording is pretty amazing, considering what all they had been through to that point.
They had to completely rebuild their material, their sound, their style, their attitude and their image after having already been to highs and lows that other bands had never been confronted with, but they hung in there and by 1971 into 1972, they started work on their eighth album; the one that would redefine and reinvent their legacy and create a new template for their future career.
They came up with solid content, and a concept that created not just an atmosphere, but a complete and fully-realized state of consciousness. Pink Floyd decided to call the album Dark Side Of The Moon. The ongoing lyrical theme that ran through the whole album dealt with issues of alienation, greed, conflict and madness. Much of Floyd’s work thereafter would contain direct references to their former colleague and leader, Syd Barrett.
They worked on the album for the better part of 1972, and in early 1973 it was released. World domination was soon to follow. It was an immediate hit, number 1 worldwide and it stayed on the charts for the next 15 years, becoming one of the top selling albums in history. As I look back on that album, I personally see it as the last album the band made that was a full-team, united effort. The recording engineer, Alan Parsons, created an amazing sound using the latest in analog technology, and each band member contributed parts to the songs and the album as a whole that made it something that really nobody had ever imagined or heard before.
The first time I heard Dark Side Of The Moon was in a set of brand-new stereo headphones that a friend put on my head, and I listened to it from start to finish as it was played for the first time by our local FM Rock station. Many times during that experience, I was not sure if what I was hearing was the band playing or if it was what was going on in my mind.
There is no question that this album was a landmark not only in the history of Pink Floyd, but it opened a new chapter in the history of Rock music. For the Floyd, it was an artistic and emotional triumph, and for everybody else, it offered a window to another world. At this point in time, it was a band running itself, and you can hear it in the grooves that it was a singular focus by all the members creating synergistically a product whose whole is greater than the sum of its parts. That doesn’t happen but once in a lifetime, and it would prove over the next several years to be impossible to duplicate.
Meanwhile, the mad genius Syd Barrett was having a great deal of difficulty trying to continue his shattered career with a shattered mind. While Pink Floyd was working on making Dark Side Of The Moon, Syd was making his second solo album, titled “Barrett”. This time, Richard Wright was involved with David Gilmour and Jerry Shirley again in trying to assimilate and construct a cohesive sound out of Syd’s totally untogether song forms.
I admire these gents for their effort in trying to help their friend do something positive, but listening to this record and the one before it, it is tragic to hear compared to his work on Piper At The Gates Of Dawn. Syd Barrett, for all intents and purposes, effectively dissolved into mythic status after this album was completed, but in the years to come he would repeatedly shock the band with unexplainable phenomena.
After playing some David Peel and BBC sessions, and one concert at the Olympia Theatre in London, where Syd performed 4 songs into a poorly mixed PA system. After the fourth song, Syd politely and quietly took off his guitar, set it down on the stage and walked off. He kept walking, and he walked the 50 miles all the way back to Cambridge. He moved in at his mother’s semi-detached cottage, never to perform or record in London again. His legend would continue to grow from then on, spiced by various Syd Barrett sightings over the next few years...and wow, what sightings they were! More on that later.
Chapter 4 of the Pink Floyd story begins with the band touring the world twice in support of their huge hit album Dark Side of the Moon, which ended up being one of the best-selling albums of all time. Fame, wealth, groupies, notoriety and cheap thrills all came with it. While on tour, the band began composing songs for their follow-up which certainly was not a let-down, but there were beginning to be cracks in the armour that they wore. A sense of apathy set in among the band. All of their lifelong dreams had been more than realised, and they were all set for life. There was no real motivation to work hard anymore. The spoils of their success came easy now, and it was hard to resist the temptation to abstain from anything at that point.
There was one giant ten-ton elephant in the room that was still yet to be dealt with, however...Syd Barrett. For seven years, Syd had been out there on the fringe, bizzarely appearing and disappearing at various times, which only added to his legend. However, nobody had seen Syd for a few years except for the band to reminisce and wonder whatever happened to the madcap genius who gave them their name, their style, their sound, everything, then after his monumental meltdown, he vanished. The band met with the record company and made certain that Syd received the songwriting, publishing and record sales royalties that he had earned when he was leading and guiding the band. Reports came in that he put a band together in Cambridge and played a few gigs with them but he walked out on them after the press gave them an unfavorable review. The last anybody knew of him, he was holed up in a London hotel room living off his royalties and not going out at all for a very long time.
The next album the band made was a tribute to Syd Barrett that also dealt with familiar themes from previous albums. They titled it Wish You Were Here. The album is considered by many to be the band's Magnum Opus, reaching artistic peaks that even Dark Side of the Moon only hinted at. Dave Gilmour and Rick Wright have both said that Wish You Were Here is by far their favorite Floyd album. The album contains a song that Roger Waters wrote to Syd called "Shine On You Crazy Diamond". Other than the songs Syd Barrett wrote in the early days of Floyd, Shine On is my favorite Pink Floyd song. They had completed the song in August of 1975 and were in the studio mixing it. While they were at work, a stranger drifted into the studio. He had a shaved head and eyebrows, he was plump and disshevelled, he wasn't making any sense when he spoke, and he was brushing his teeth all the time. He'd been in there with them for about an hour before they found out who he was.
He was Syd Barrett. The shockwave that went through the band at that moment cannot adequately be described, except to say that they broke down in tears after seeing him. This was beyond anything they had imagined about Syd. He listened to the song, made rude comments to them about it, and left without saying goodbye. It was the last time any of the band members saw him.
Wish You Were Here went platinum and further moved Floyd to the top of the Rock World. But during the construction of the album, Roger Waters began his quest to take full control of Pink Floyd. He began having ideas...concepts...methods. The rest of the guys in the band agreed with some but not all of it, and some of his ideas were voted down, as were Gilmour's. This system would become more apparent as time went on, and by the time the next album titled "Animals" was begun, Roger Waters had come to name himself as the leader and owner of Pink Floyd. I have opinions about his takeover of the creative process, but I'm gonna hold them back until the next chapter of this incredible band unfolds.
The plot of the Pink Floyd story thickens as time goes on with the band. At this time, in 1976, they're recording their tenth album. they had just finished building their own recording studio, and by this time they were all world-famous multimillionaires and rock stars living the good life. And by this time, one member of the band had developed a personal agenda that would overtake their future recording projects and concert appearances. Roger Waters started not only having ideas that had totalitarian vibes to them, he also started dictating not just his songs, but his methods and attitudes to the rest of the band.
Rick Wright and Nick Mason were pretty much complacent and distracted by personal issues, and they went along with whatever Waters was telling them. David Gilmour, however, stood toe-to-toe with Waters and more often than not, got his way. This was an era of transition for the gigantic stadium rock shows that were beyond anything even the band had ever imagined. The album that was promoted by the 1977 tour of the world was titled Animals, a concept by Waters that was loosely based on George Orwell's novel, "Animal Farm", whereby people from different classes of society are portrayed as animals. The album had 5 songs on it. The one song that Gilmour co-wrote is over 17 minutes long, and it features his finest moment as a musician, singer and songwriter. Otherwise, the album is not rated among the Floyd's finest work, and internal tensions were extremely high during the recording and the tour that followed.
At one point, Rick Wright got fed up and split, but he came back and finished the tour. On the final date of the tour, at Montreal, the band was heckled by punks who tried to climb over the fence separating them from the stage. Roger Waters walked over and spat at them. Now, I remember back then that spitting was part of a rock show, especially a punk show. But Pink Floyd was beyond huge at this time, and they were being condemned by the young, hungry punks who targeted them and other bands at their level of success as bloated, boring dinosaurs who were not relevant or useful to their lives.
The spitting incident inspired Roger Waters. He began to work on Pink Floyd's next great triumph after that, which would be finished two years later and titled "The Wall". Meanwhile, there was going to have to be a Pink Floyd to make the album, and after the Animals tour, the band was seriously damaged. I works like that, when a band gets big. Stuff that wouldn't otherwise bother anybody when they were struggling turns into problems between bandmates that can tear the band apart behind the front image.
By the way, nobody had heard from Syd Barrett in a long time by then. He was last seen back in his cottage in Cambridge, tending to his first love, painting. In the next couple of segments I'll give a review of Syd's artwork, his style and his method of producing his art.
Getting into the late 70s with Pink Floyd, what I've found is that it had become a completely different band with a completely different style by the time they recorded The Wall, their 11th studio album. Much of last week's description of complacency and apathy applies here, except that Roger Waters had decided that he was the leader of the band and the album The Wall was entirely his idea and concept.
If I may get just a little left of the main story here, I have to admit that concept albums, and as we all know, there were many, more often than not didn't impress me. This was one of them. I don't want to put a negative slant on Waters' abilities and ambitions, but in my opinion The Wall would have been a great Roger Waters solo album but not a Pink Floyd album. If they could have worked that out before. It got made as The Wall by Roger Waters with Pink Floyd. It got political, and it got ugly between Waters and the band because of all that. The movie was great, I enjoyed it, but I listened to the album once all the way through and never went back. It's just not something I could relate to.
There were major, serious internal issues in the band during this time. Gilmour did the right thing and made a solo album. So did Rick Wright. The relationship between Waters and Wright became increasingly strained until he left the band. He returned to play tours and record with Floyd after Waters was gone, but they didn't perform together for 25 years after The Wall. Waters decided that Wright wasn't contributing enough to the material to be entitled to his equal share of recording royalties and he wanted to sue him, but instead he fired him. That was just one of the things Roger Waters did to drive a stake into the heart of the band. There is a litany of insults, legal wranglings and pronouncements that Waters committed during the late 70s and early 80s that led to his departure from the band and making the announcement that Pink Floyd were no longer in existence since he wasn't in it anymore.
See, I'm not talking about the music, am I. I'm talking about what happens when one guy decides that he's the only reason the band is still popular. I don't like it, I don't think it's fair, and neither did Gilmour, Wright and Mason. Lawsuits were filed. Friendships were ruined. Gigs were cancelled. Sides were chosen. It ended up with Pink Floyd carrying on as a band with the 3 guys who Waters left behind to pursue his solo career, and to this day Roger Waters is still recycling The Wall. He's stuck with it, and he'll have to live with it for the rest of his life. He released a solo album called The Pros And Cons of Hitchhiking in the early 80s. It had a cover of a naked girl hitchhiking on a desert road. The album, in my opinion, had one great song, the title song of the album, with Eric Clapton guesting on guitar, but other than that, it didn't even hint at the power and glory of Pink Floyd. It got worse, too. I'll get to that next time.
Meanwhile, Syd Barrett was back in Cambridge living in the semi-attached cottage behind his Mom's house. He let go of the name Syd and referred to himself as Roger Barrett from the late 70s on. He spent his days living on an invalid's pension and received regular royalty payments from his recorded work both as a solo artist and from his work with Floyd. He returned to his first love and in my opinion, his greatest talent, which was painting. A gallery of Syd's surviving work is on his website, which is sydbarrett.com.
If you decide to check out his artwork, be sure you're strapped in and ready to face it. It's a rollercoaster ride into the dark soul of someone who could not express himself in this world and his paintings say far more than his music ever did. He took up gardening. He wanted to be left alone, and for the most part, folks did leave him alone, but if you ask me, during this time his story was more interesting. He's been a major topic of discussion with Danny White in putting this history of Pink Floyd together, and he should never be forgotten. If not for Syd Barrett, none of it would ever have happened, and they'll be the first ones to tell you that.
I don't know about y'all, but by now I'm burned out on the Pink Floyd Story. Mainly because it got to the point to where it was all about the band's internal problems, with Roger Waters making himself the name and the face of the band and then announcing that there was no more Pink Floyd after they made an album called The Final Cut, and the following years were a series of lawsuits and counter-lawsuits between the band members. There were a few bright spots. Gilmour, Mason and Wright recorded the album "A Momentary Lapse Of Reason" in 1985, which I thought was their best effort since Wish You Were Here; 9 years later in 1994 they did The Division Bell, which was a tribute to their departed bretheren Barrett and Waters, and finally an album of unreleased material and outtakes in 2014 called The Endless River.
These last 3 Pink Floyd albums span a period of close to 30 years, and there's not a whole lot I can say about either the music or the band during that time that doesn't involve Waters vs Floyd and Floyd vs Waters. They all made solo albums, took time to do some record producing and collaborating with up and coming artists, and after 15 studio albums, 12 world tours and hundreds of millions of records sold, and with Rick Wright dying in 2008, by 2014 when The Endless River was released, there was no more Pink Floyd. They were offered 100 million dollars to do one final tour, but David Gilmour declined to participate. I wonder if Roger Waters can tell me, would it be Pink Floyd without Dave Gilmour on guitar? I didn't think so. Pink Floyd is a memory now, and they are letting it rest.
But there's one last item in this story that deserves telling. After 35 years in seclusion, Syd Barrett died in July of 2006 at the age of 60. He had been living quietly and privately in the cottage behind his mother's house since the early 1970s, dedicating himself to painting and gardening. Public sightings were extremely rare, and he declined all offers for interviews. He went back to his birth name of Roger, and his income consisted of regular royalty payments that the band had arranged for him, as well as a meager invalid pension from the government. He had health problems for the last 20 years of his life, and the cause of his death was attributable to complications from diabetes.
The album he made with Pink Floyd, the Piper at the Gates of Dawn, has stood the test of time, and to listen to it now, it still is an incredible blast of pure inspiration and magic. His two official albums that he made after leaving Floyd in the late 60s and early 70s, called The Madcap Laughs and Barrett have been consistenly selling every year since he made them, but other than a compilation of outtakes and false starts that never made it onto a record before, titled Opel, any scrap of material from him has been highly sought-after and his story is one of the most romantic and fabled stories in the history of rock.
But David Gilmour corrected that. When Syd died, in an interview David said that there was nothing romantic or glamorous at all about Syd's story. It was a sad and hopelessly screwed-up situation, and although people should not forget the greatness of Syd's contributions, which are now considered precious relics of a mythical time, what happened to him was tragic and lost.
The saddest part of the Syd Barrett story for me is that he died twice. Once in the bloom of his youth with the world at his feet, when his spirit, his will and his mind departed him, and again, 39 years later when his body finally gave out.
He leaves a legacy of beauty, art and creativity that has never been matched since he left the public eye, but his lasting and eternal legacy is the band he founded, named and wrote the songs for that launched them into worldwide fame and fortune, Pink Floyd. We were fortunate to have them. I can't imagine what my life would have been like if I didn't have the Floyd to remind me of the other side of things. All I can say to all of them is thank you and best to you all. And a special thanks to Danny White for his input, insight and advice for me on Pink Floyd throughout the ongoing construction of this tribute.
Pictures: Syd Barrett, 1967, and Pink Floyd, 1977:
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