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Collecting Syd's outtakes by Scott Frank
It is the bewildering number of bootlegs, each with new photos or slightly different content, that I think has contributed the most to the feeling that piles and piles of material remain locked away. I once counted over 20 different source descriptions for "Interstellar Overdrive" given by bootlegs–but after some careful comparison, there were only 3 different versions of the song. So, it's relatively easy to own the same music multiple times thinking each is unique. One is forced to buy lots of releases and play detective to get some grasp of what is really available and the most likely source description. I don't know how likely it is that all of the mysteries will ever be solved. Even the half dozen or so of us who have taken the time to look into these things often violently disagree with each other. But, this is what maintains interest and makes it a hobby. (It wouldn't be a hobby if it had a point–it would be a project.) In an effort to help sort everything out, I have compiled this list of every studio song which has been made available exclusively on a bootleg. It includes as much proper source information as possible. This is very much a "living" document. It's gone through multiple updates--and I am sure that it will continue to grow in the months to come. If you have suggestions, additional information, questions, or rude remarks, you are certainly invited to send them along at any time. WITH PINK FLOYD: "King Bee" and "Lucy Leave" - There has been a fair amount of speculation as to whether these tracks are genuinely the work of Syd Barrett. According to Phil Smee, "These are the demos that Peter Jenner said were not good enough to submit to anyone." They were allegedly recorded in the Fall of 1965-- but where is anyone's guess. "Interstellar Overdrive" #1 - The San Francisco soundtrack. According to Brian Hogg in the Crazy Diamond box set, this version was recorded on 31 October 1966 at Thompson's Private Recording Studio. Anthony Stern (the film's director) said that the song was "recorded in Syd's garage". Make what you will of that. "Interstellar Overdrive" #2 - From a CBC radio broadcast and with dialog over it, this is perhaps not the sort of thing most people would find interesting. Unfortunately, we also have no solid information as to where or when it was recorded. In recent years a very nice, somewhat extended, version has been circulating. This one has a fair amount not cluttered with dialog and is worth seeking out. "Interstellar Overdrive" #3 - This version was recorded by a Granada TV crew on 20 January 1967. It contains an obvious edit, but this is all that's available. It was part of a film called So Far Out It's Straight Down. This was broadcast on 8 March 1967. Small clips of the film have been seen scattered here and there in various documentaries. But, the film as a whole piece has not been seen since it's original broadcast. A version of "Matilda Mother" with slightly different lyrics was also recorded at this concert and appears in the above film. Unfortunately, this is used only as background music. "Swan Lee" - There are two different instrumental versions of "Swan Lee" floating around, plus a version with just vocals & guitar. These three, the instrumental known to be "Silas Lang", and the instrumental which, to date, has not been given a proper title (but often called such fanciful things as "Sunshine" or "Madcap's Embrace") are among the more hotly debated Barrett tracks. The vocals and portions of the instrumentation are known to have been recorded during Mr. Barrett's solo sessions. However, there does seem to be enough circumstantial evidence to suggest that one or more of the instrumental tapes originated from Floyd sessions years earlier. "Candy And A Currant Bun" (acetate) "Arnold Layne" (acetate) "See Emily Play" (acetate - 2 different ones) - It's widely believed that these tracks were recorded at Sound Techniques Studios. (The first two were done in January 1967. "See Emily Play" was recorded on 21 May 1967.) Only the "Candy And A Currant Bun" acetate is really necessary, as it has lyrics different from the official release. One of the two "See Emily Play" recordings has a slightly different ending, which is a nice change. The version of "Arnold Layne" is edited slightly and otherwise quite uninteresting. "Scream Thy Last Scream" - This was recorded at EMI on 7 August 1967. There are at least two different studio versions around. One has a very slightly longer ending than the other. "Vegetable Man" - The tape was given to EMI on 5 May 1968. However, it would seem very likely that it was recorded the previous Fall '67. Again, there are two different studio versions available with the only difference being a slightly different ending. That's 3 different songs, all of which vary slightly at the end. I wonder why that is?
SOLO: "Dark Globe" (with backing vocals) - Two takes were recorded on 12 June 1969. According to Malcolm Jones the first take was issued. However, the book that comes with the Crazy Diamond box set lists the second take. Inexplicably, the liner notes for Madcap Laughs in this set lists "5 August 1969 (Take 1)". A third take was performed on 26 July 1969. This version was issued on Opel and occasionally pops up on unofficial releases with an additional backing vocal track. Depending on the tape, it is sometimes hard to tell, but the backing vocals are also Mr. Barrett. I really enjoy this song as it has a fuller, more completed feel than the Opel version. I wonder why this mix has remained officially unreleased? "Octopus" #1 - Rhamadam CD (track #6) "Octopus #2" - Magnesium Proverbs (track 21, Mystery Bit #1) Two takes from 20 July 1968 have been officially released. Although there are no indications that any other takes were recorded on this date, eleven takes were made on 12 June 1969. Many of the eleven were false starts. These two false starts are assumed to have been among them. It's hard to believe that out of all of the various bits of this song that are floating around unofficially, these are the only two that haven't seen the light of day. (See my tedious analysis elsewhere.) It just goes to show how thoroughly the vaults have been raided! "Long Gone" - Two takes were performed on 12 June 1969, but neither was deemed suitable. A third take (the issued version) was completed on 26 July 1969. Since we have a version that's different from the issued version, it must be from the 12 June 1969 session. "Rhamadan" - This was recorded on 14 May 1968. The short segment that we have is every bit as boring as has been alleged for years. "Maisie" (take 1) - This was recorded on 26 February 1970. It is a false start, so not much of a revelation. "Love You" (fast version) and "Love You" (slow version) - These were recorded on 11 April 1969. Takes 1, 3 and 4 appear on the box set version of Madcap Laughs. A quick comparison shows that these two are not the same as any of the officially released songs. Malcolm Jones lists the versions this way: "Love You" version 1 (fast) - not issued "Love You" version 2 (slow) - not issued "Love You" (Take 4) - issued version Brian Hogg says, "the first fast, the third slower, the fourth forming the basis for that appearing on Madcap Laughs". Take 1 (on the box set) is quite fast. The "fast version" from the Rhamadam CD breaks down in the middle, but starts out quite fast. So, it would be a good candidate for a Take 2. Take 3 (on the box set) is slower. Malcolm would probably omit Take 2 (since it's not complete), so Take 3 becomes Version 2. Take 4 is the issued version. We still have one left, so it's at least Take 5. Instrumentals from November 1974 - At least three different instrumentals have been released on bootlegs. There is also an additional piece or two floating around in the tape circles. None of them are terribly lengthy or terribly interesting. If I could make a wish for the future of Barrettology, it would be for an official release of the films of Syd's Floyd. There are several very nice films in circulation among fans, but they often suffer generational loss. (At least with bootleg CDs and CDRs, you get a copy as nice as the one owned by the chap who gave it to you.) Syd's films are so rare, so riveting, and so historically important that they deserve to be professionally remastered and made available to the public at a reasonable price.
Scott Frank is a guest contributor to Spare Bricks.
Meeting Mr. Barrett by
Daria Wells
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If
I had to describe Syd's legacy in one word, it would be: incomplete.
One gets the idea that there are loads of unseen films, unheard tapes,
and unshown paintings lurking just around the corner. Upon reflection,
however, I can't think of another artist whose work has been more completely
available. His work with the Floyd (singles, mono-mix Piper,
stereo-mix Piper) have all been remastered and widely released.
His solo sessions have been repeatedly raided for official releases
such as Opel and Crazy Diamond as well as a myriad of
bootlegs.