Ну все, сканы те дошли. Не знаю, что выкладывать-то, там много всего и хаотично расположено
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Ну все, сканы те дошли. Не знаю, что выкладывать-то, там много всего и хаотично расположено
Да весь архив, если можно! Там разберёмся
[QUOTE=zoman;146548]<...> 3й диск на переизданном в 2007 году [I][B]"Волынщика"[/B][/I][/QUOTE]
вспомнил! 3й диск у переиздания это кажись сорокопятки реставрированные (первые синглы). если не ошибаюсь))
[B]ooz2003[/B], весь архив у меня не выкладывается :( наказание какое-то. Приходи за своим пластом с флешкой что ли...
Могу сказать, что помимо фотографий и сканов с журналов там есть например сканы с тетрадей (!) Сида (и откуда кто это взял?!)
Либо я, либо (скорее всего) zoman заскочит (но, видать, не скоро). Ты только не удаляй ))
[QUOTE=ooz2003;146930] Ты только не удаляй ))[/QUOTE]я то, что с внешки качаю, обычно долго раздаю :)
17.04.10 Подкаст с сессиями Pink Floyd для Би-Би-Си 1967-1969
Веб-сервис "Brain Damage — the definitive Pink Floyd podcast" предлагает слушателям выпуск #150 от 16-го апреля, подготовленный при участии сотрудников Harvested Records и посвященный юбилейной редакции сборника студийных сессий Pink Floyd для радио Би-Би-Си "BBC Archives 1967-1969 – 40th Anniversary Edition".
Запись передачи можно прослушать или скачать в формате mp3 (160 kbps, 123,2Mb) на странице сервиса. В нее вошли 23 трека Pink Floyd этого периода (сессии 25 сентября и 20 декабря 1967; 25 июня и 2 декабря 1968; 12 мая 1969), тщательно отобранных энтузиастами Harvested среди имеющихся вариантов архивных записей и значительно улучшенных по качеству звучания.
К полной версии обновленной двухдисковой коллекции (30 треков, HRV CDR 008 RevB) в lossless-формате клиенты торрент-трекера Yeeshkul! уже имели удовольствие получить доступ в конце декабря прошлого года.
[B][url]http://braindamage.libsyn.com/index.php?post_id=605268[/url][/B]
Pink Fairies и Сид Баррет [SPOILER][B]Pink Fairies и Сид Баррет[/B]
[I]Twink - вокалист и ударник на первом альбоме Pink Fairies 1971-Never Never Land.[/I]
Pink Fairies.
The line up of The Pink Fairies (Mark 1) featured Think Pink musicians Twink, Took and Farren, and was named after the Pink Fairies Rock 'n' Roll Club, a loose group of people including Took, Farren, The Deviants, Syd Barrett (still at the time in Pink Floyd). They were resident in Ladbroke Grove, the home of the UK Underground.
Pink Fairies (Mark 2) was formed with Twink and former Deviants (but without Mick Farren). He left The Pink Fairies in 1971 (although he would periodically return) and after a spell in Morocco moved to Cambridge where he played with Syd Barrett, in Stars, after which he moved back to London.
The Stars
Early in 1972 Twink played in the short lived trio Stars with Syd Barrett and bassist Jack Monck. Stars played a handful of shows which were well received. However, Syd, fragile mentally, quit after reading a negative review by Roy Hollingworth in Melody Maker.
Stars were a short-lived British supergroup that played three shows in 1972. Its members were Syd Barrett on guitar, Twink on drums, and Jack Monck (of Delivery) on bass.
History
The band played three live concerts in Cambridge before Barrett disbanded the group. Shortly thereafter Syd Barrett left music and his public life altogether and began living in seclusion. Recordings of their performances were made but remain lost. All three performances contained early Pink Floyd songs and different versions of tracks from Barrett's 1970 solo album The Madcap Laughs. At one point in each show Barrett entered one of the catatonic trances that had plagued his later Pink Floyd performances, the worst coming in their second concert, where Barrett became almost completely frozen and had to be carried off stage.
Breakup
According to Twink, the band ended when Barrett approached him in the street, carrying a scathing review[1] of their third concert. He waved the paper in Twink's face and said, essentially, "That's it."
[I]Оригинальный текст заметки Роя Холлинворта в Мелоди Мейкер 4.03.1972 о концерте Stars at Cambridge Corn Exchange 24.02.1972.[/I]
[url]http://muddy-roger.livejournal.com/47566.html[/url]
[SPOILER]Отзыв в Melody Maker о дебютном концерте Stars 24 февраля 1972 - Гуголь не находит этого текста в сети, хотя в Terrapin'e его фотокопия должна бы быть. По свидетельству Twink'а - сей вдохновенный эссеист, Рой Холлингуорт, практически развалил своим ревью всю банду, так как Сид 5-го марта дал Твинку и Монку отмашку экземпляром газеты: "Я не хочу больше играть".
Melody Maker, March 4, 1972. "The Madcap returns"
Syd Barrett’s new band, Stars, made their strange debut at Cambridge Corn Exchange last week.
Roy Hollingworth reports…
“Hey hey Saturdays in the hay you know you can’t do these things / hey, hey.”
The lines went a little something like that. I couldn’t hear too clearly because Syd didn’t seem very interested in the microphone.
He stopped playing actually, and scratched his nose, and then started playing again. Three figures to my front shrugged their shoulders, and left. They didn’t understand Syd Barrett.
Neither did the other people who left. Neither did the people who talked in the very dark corners. Neither did the guy who pulled a market wagon noisily across the floor. Neither did the person who switched the house-lights on (to reveal that there were only about 30 people there).
But The Madcap played on, as if he understood. He played and played and played. No tune in particular, no tune in fact. He sounded out of tune most of the time anyway. But the tune was most certainly in his head.
He played a demented solo that ran ragged lines up to ten minutes. His ragged hair fell over a face that fell over a guitar and seldom looked up. He changed time almost by the minute, the keys and chords made little sense. The fingers on his left hand met the frets like strangers. They formed chords, and then reformed them, and then - apparently nearly got it right - and then wandered away again. And then Syd scratched his nose again, and let loose a very short sigh.
It was like watching somebody piece together a memory that had suffered the most severe shell-shock. I don’t know how much Syd Barrett remembered, but he didn’t give in. Even though he lost his bassist (Monck), and even though Twink (drums) couldn’t share Syd’s journey, Syd played on.
The audience got smaller.
This tragic little scene took place last week in a dank place called The Corn Exchange, Cambridge, which is in fact just what it is, A Corn Exchange. It was the debut evening of Stars, a band formed by Twink in Cambridge. Syd is from Cambridge.
If it’s still on to say that the last act is the top act, then Stars were the top act. They were preceded by Skin Alley, and the outrageous MC 5. There were also - to quote the programme, - “recorded sound to re-charge your brain cells, films to wreck your head, and food to melt your stomach.” I think I might have seen five smiles all evening. It was a gay affair.
Nobody in the world writes songs like Syd Barrett. Nobody. His songs are rare to the point of being raw. There is no dressing, no spice, and sadly, only a very small plate to lay them on. There is seldom tune, except the change of chord enforced by either an aching finger or an aching throat. And yet they’re magic. They must be. I have a fond affection for Barrett’s songs. Though God knows why.
Apart from some numbing, sordid, right-down screwy rock-n-roll from MC 5 (Bless their little Detroit socks) the time preceding Stars was an extraordinary affair.
There’s this dance / concert / meeting / somewhere to walk / talk / mope / where you can be cool / drugged / bombed / bashed / blasted. For 65p you can walk on concrete, and meet people who are similar to yourself, who share the same desire to walk on concrete, and look similar to yourself.
Well the train got there, and Syd was there. He was walking around a lot, and standing about too.
It’s the strangest experience - when you feel you’re fairly strange yourself - to be put into a situation when you feel virtually straight. An imaginary bowler hat grew out of my head. And wouldn’t go, no matter how much I shook.
God bless those handful who danced.
Who really went to see MC 5, or to see Syd Barrett?
My Madcap plugged his Fender Telecaster into a fairly battered amp. There was Syd Barrett, on stage again. It’s been a long time. I tried to remember how he stood with Floyd. It was pretty much the same.
He was a beard now, but his eyes are still deep cavities hiding and inexplicable vision. Tuning up presents awkward problems. He holds his guitar like he’s never held a guitar before. He keeps scratching his nose.
“Madcap Laughs” opened the set. It didn’t sound much like it used to. But Syd’s voice did. A well-spoken wine - “Barth,” “Larf.” See Emily Play?
The chords are out of tune, and he keeps looking to his right, and sort of scowling at Twink and the bassist. As though in disagreement. I stood and watched, and thought he was bloody great.
A girl gets up on stage, and dances, and he sees her, and looks fairly startled. As the clock ticked into the small hours of Friday morning, Syd retreated to the back of the stage, trying to find one of those runs. He messes chords together/ There is no pattern. But if you think very hard, you can see a faint one, you can see some trailers in the sky.
The large concrete floor is littered now, not with people, but their relics. Plastic cups that contained orange juice, or lemon juice, or coffee. And some squashed wholenut scones, and buns. And Underground newspapers.
And Syd played on. Will anyone listen to the Madcap?
“Hey hey Saturdays in the hay you know you can’t do these things / hey, hey.”
Такие вот примерно слова. Я не смог расслышать яснее, потому что Сид не очень-то обращал внимание на микрофон.
Он бросил играть совсем, почесал нос, затем начал заново. Три силуэта передо мной пожали плечами и удалились. Они не поняли Сида Барретта.
Как не поняли и те, кто остался. Как и те, кто базарил о своём под покровом темноты. Как и чувак, который с грохотом провез свою продуктовую тележку через весь гадюшник. Как и тот, кто вдруг врубил верхний свет, чтоб можно было пересчитать все три десятка присутствующих.
Но The Madcap продолжал играть, как будто сам-то понимал. И играл и играл и играл. [обыгрываем тюн] No tune in particular, no tune in fact. He sounded out of tune most of the time anyway. But the tune в его голове, конечно же, все время была..
Он играл сумасшедшее соло, которое клочковатыми кусками растягивалось на десять минут. Его всклочковатые волосы свешивались на лицо, которое свешивалось на гитару, и лишь изредка поднималось оглянуться. Он менял размерность почти каждую минуту, ключ и аккорды не имели большого смысла. Пальцы его левой руки натыкались на лады, как на незваных гостей. Они выстраивали аккорд, затем перестраивали его, затем – ага, это почти что оно - и затем блуждали в поисках снова. Потом Сид опять почесал нос и как-то так коротенько вздохнул.
Мы словно наблюдали за кем-то, кто перенес очь серьезную контузию, и теперь пытается собрать обрывки памяти. Я не знаю, сколько обрывков Сид Барретт собрал, но он не сдавался. И даже, хотя он потерял по дороге басиста (Monck), и даже при том, что Twink (барабаны) не мог разделить с Сидом его утешествие, Сид играл.
Аудитория уменьшилась ещё.
...
--------------------------
Сейчас обнаружил, что, пока брызгал слюной, забыл откомментировать собственно цитату, с которой начинается заметка:
"Hey hey Saturdays in the hay you know you can’t do these things / hey, hey."
Это Холлингворту так послышались слова из песьни "Waving My Arms in the Air"; выхватив из контекста "сатадей", "хэй" и "хейхей" и не расслышав про дождь, который как из ведра, сиречь как из ружья, или же как лист перед травой (in the hay), остальное он приблизительно додумал сам. На самом деле:
"...When it rains on Saturday, cats and dogs in the hay, stormy day, hey, hey
And you shouldn't try to be what you can't be..."
[/SPOILER]
Twink coined the term Acid Punk to describe his music and went on to release an EP Do It '77 in 1978. It included the songs Psychedelic Punkeroo - about Syd Barrett (credited to 'A. Syd').
[I]Larry Wallis - гитара и вокал на третьем альбоме Pink Fairies 1973-Kings Of Oblivion.[/I]
Sometime during 1972 Wallis recorded sessions with Steve Peregrin Took at Took’s basement flat in Mayfair. These very casual sessions contain appearances by Twink, Mick Wayne, Duncan Sanderson, and almost certainly Syd Barrett.
[I]Steve Peregrin Took - непосредственно на альбомах Pink Fairies не играл, но участвовал в записи сольника Твинка 1970-Think Pink и вообще числился в этой музыкальной тусовке рубежа 60х-70х под названием Pink Fairies Motorcycle Club and All-Star Rock and Roll Band. Судя по всему был хорошим другом Баррета, насколько у последнего вообще могли быть друзья.[/I]
In addition, Took's friendship with Bolan's 'idol' Syd Barrett had also developed through their shared interests in both LSD (acid) and 'strange musical noises'. Mick Farren in his memoir Give The Anarchist A Cigarette recalled that Took would "drag a bemused Syd Barrett along" to events in Ladbroke Grove in the late 1960s and Took remained friends with Barrett well into the 1970s. Took worked with Syd Barrett on unreleased "Ramadan" tracks [3]. While in Tyrannosaurus Rex, Took also appeared as a backing vocalist on a session for David Bowie, the results of which can be heard on the Bowie at the Beeb BBC sessions album.
In 1972-73 Steve moved into a basement flat beneath Secunda's Mayfair offices, which he set up as a live-in recording studio to demo material at his own ease. The flat rapidly became a magnet for the cream of musicians on the underground scene who would contribute to the recordings while visiting Took. As well as old colleagues from Hawkwind and the Pink Fairies, Secunda reported that Took received visits from Syd Barrett, who at the time was living in Cambridge but would shortly relocate back to London. From Secunda's account, it would appear likely that Barrett is on the recordings done in the flat by Took and his friends.
Highlights of the session tapes were eventually released by Cleopatra Records in 1995 as "The Missing Link To Tyrannosaurus Rex". A new version of the 1971 acoustic Shagrat song Beautiful Deceiver is tracklisted on the CD as 'Syd's Wine' and a credit for guitar and other noises is given to one Crazy Diamond, an allusion to the 1975 Pink Floyd track Shine On You Crazy Diamond written in tribute to Barrett. Stripped down versions of the track 'Syd's Wine' reveal a second guitarist in the room and audible vocal noises.[/SPOILER]
Кто & когда открыл дверь Мику | Сторму? [SPOILER][B]Кто & когда открыл дверь Мику | Сторму?[/B]
In my room
A portrait in alienation, never has an album sleeve contributed so much to the myth of a musician. But the photo session that begat the images for [I]The Madcap Laughs[/I] is itself enshrined in intrigue. [I]Paul Drummond[/I] reports…
Just like the music it contained, the album sleeve for Syd Barrett's The Madcap Laughs was multifaceted and broke with convention. It was The Beatles, swiftly followed by Pink Floyd, who had initially resisted EMI's policy of not commissioning outside designers for LP covers and, as a result, Floyd's design team Hipgnosis - consisting of Storm Thorgerson (a childhood friend of Syd's) and Aubrey ‘Po’ Powell - were hired to work on Barrett's first solo album. However, instead of the proud proclamation of a potentially glittering solo career the image itself was a dark and intriguing piece of poetic reportage.
On January 30, 1968, 10 days after his final show with Pink Floyd, Syd first entered a studio as a solo artist when he turned up at Sound Techniques for what would be an unfruitful session. Barrett, like Roky Erickson (his supposed US 'acid casualty' counterpart), was unable to control his predisposition to mental disorder, resulting in a pharmacopoeia of self-medication. By late '68, he was directionless and hanging out on the west London hippy scene until sharing a flat with an old artist friend form the infamous ‘101' (Cromwell Road) acid house in '67, helped instigate his creative comeback. The Madcap photos, taken in his new apartment, are important not least of all because they document Syd's tipping point and form the pictorial foundation of his legend. In reality, his bohemian lifestyle masked his growing alienation prior to a subsequent complete withdrawal; these photographs mark Barrett's last theatrical stand, a stage-managed snapshot, crouching in the shadows of the human condition.
Yet despite the increasing number of Barrett books even the most basic facts behind the startling cover image aren't confirmed. Who actually took the photograph? Mick Rock or Storm Thorgerson? And when? Spring or autumn 1969? The shoot is often cited as taking place in October '69, thereby delaying the album's release until Christmas, so why - as we are about to find out - does the presence of a naked woman and a huge Canadian car prove otherwise? In the hope of resolving some of the seemingly irreconcilable inconsistencies that have dogged the story of the sleeve and so intrigued Syd-devotees down the years, Mojo visited the celebrated pop artist Duggie Fields, who still resides at Wetherby Mansions, the Earls Court address he shared with Syd from January 1969 to October 1970, who began by telling us about how he ended up living with Syd...
>> Duggie Fields: I'd gone to America in '68 with Gilly Staples, who'd been connected with Quorum [Alice Pollock and Ossie Clark's shop]. She'd done a bit of modelling, a bit of a shop assisting, and when we got back she started seeing Syd. Dave Gilmour was the hunky van driver at Quorum that the girls fancied - I slept on Dave's floor. I needed somewhere to stay, so did Syd. He'd left the Floyd by that stage. He didn't talk about them particularly but I don't remember him being miserable either.
> How did you find the flat?
>> DF: I'd gone to South Ken to buy the Evening Standard because it came out there first. There was a flat in Egerton Court, where Syd had already lived. I rang up the agent and said I'd take it. She said, "You're second in line but I've got another in Earls Court," so I said I'd take that, there wasn't a choice... Syd signed the lease because he had the income, which I didn't.
> What was the flat like when you arrived?
>> DF: It was pretty primitive, two-bar electric fire, concreted-up fireplaces... It was an area in decline. I don't think there was anything, no cooker, bare floorboards. We had nothing. A mattress on the floor was the way we lived because that was the cheapest option. So, one started furnishing with whatever. I started going to Portobello, we found a chair in the street.
> Where was Syd's head at?
>> DF: Well, I thought he was very positive when he first moved in. He started painting; he was playing his guitar and writing. I don't know how long it took before he didn't get out of bed. But I had other people falling to bits around me too, he wasn't the only one. I'd left college, I was living hand-to-mouth, but I had started selling [paintings].
> Was he taking Mandrax at this point?
>> DF: Yes, Mandrax and smoking [marijuana]. I don't think anything else heavier, certainly not acid. I never saw acid in this flat at all.
In some of the photos you see canvases piled against the wall...
DF: Most of the canvases were blank. Some would be started with a watery idea. I don't think he ever found a direction in painting. I only ever saw what he moved in with... He had a couple of hanging mobiles; there was one that was like a castle. I wasn't impressed by what I saw. I wouldn't have picked it out, unless it was associated with him, as anything interesting. I don't think I was a help because I was on the other side of this wall, painting away continuously.
Were there other people who shared the flat?
DF: We had [another friend] Jules first and he ended up not paying rent, which is why we kicked him out.
Then came the mysterious Iggy The Eskimo who appeared naked on the back cover?
DF: When Jules left Iggy came soon after and she wasn't here for long. Jenny Spires [Syd's ex] brought her round. Iggy was just around, she didn't officially live here. I remember being at a 31 bus stop and seeing her coming down the stairs very elegantly in this gold lame 1940s dress that had bell sleeves that buttoned to a train but with no underwear and completely exposed... Not a care in the world. There were these incredible creatures around, no other word for them.
Iggy's current whereabouts and full identity remain another of Madcap's unsolved mysteries (see panel p76). Jenny Spires first met Iggy in January 1969 and introduced her to Syd and he let her stay. "I was on my way to the States and was confident she would look out for him," recalls Spires. "When I left at the end of February, she was there. There wasn't anything between them then. She wasn't his girlfriend, but she was good company." Iggy's involvement appeal's to date the shoot as spring '69 as she was long gone by autumn. The dying daffodils on the cover suggest the spring and Duggie seriously doubts Syd would pay for imported autumnal varieties! It's more likely Syd picked them while in the park with Iggy, as captured on Super-8 film. In March Syd contacted EMI about work recommencing on his album. It was then that he painted his floorboards, possibly in anticipation of the cover shoot. He then piled his few possessions and mattress into the bay window and appeared to literally paint himself into the proverbial corner. As long as he occupied his island, reality and a world of possibilities remained outside his door.
Proud of his work, Syd invited old friend and ally Mick Rock to take some photographs. Keen to experiment with a Pentax he'd recently bought from Po at Hipgnosis, Mick called round a couple of times but to no avail. Instead Rock was roped into the Hipgnosis shoot, which by today's standards was extremely ad hoc. Mick arrived first, to find Syd still in bed. Rock snapped a few documentary shots of Barrett in his underpants on his island-mattress, before Syd donned a pair of paint-stained trousers and Iggy added kohl to his eyes to give him that elegantly wasted look. Syd hadn't painted the entire floor and there was only one clean angle if you didn't want to expose his 'set' for what it was: a drab, domestic room with an ugly electric fire. Mick then composed more considered shots, using the perspective of the floorboards, clean backgrounds, and natural light behind the camera.
[QUOTE]Mick Rock: "Iggy answered the door and was completely naked - as a student/hippy thing that didn't seem unusual. I didn't know what I wanted to be when I did the Madcap session - a lyricist or writer. I'd only started taking pictures a few months earlier. But something that day clicked in my aesthetic brain. I don't think we even talked about the record. I didn't take many photos that day, maybe two and half rolls in all. The painted floorboards, the outside shots with the car and Iggy were just elements that happened to be around. None of it was planned, I just got lucky. He didn't even finish painting around the bed; he just painted round all the furniture. It was a magical day. He looked like a poete maudit, something out of Rimbaud. Doomed rocker or dark star, as a paper called him. We both wanted the 'feet' picture for the cover, that looked more like The Madcap Laughs than the Storm cover, but history is what it is. I was in no position to argue, I was just a kid. Hipgnosis put all the artwork together, I was barely out of college and Storm was commander-in-chief of artwork…”[/QUOTE]
When Thorgerson arrived his sole focus was the strongest element in the room: the floor. He worked fast in fading light, placing a wide-angled lens millimetres off the ground to create an Alice In Wonderland effect, giving the floorboards an elastic quality. Drama was also implied by the steep perspective and ethereal sidelight, directing the eye to the crouching Barrett. He isn't athletically poised but suggests defiant exhaustion and a dark edge of 'knowing'. The only other element were the wilting daffodils: possibly a Barrett in-joke, a symbol of his rebirth and inevitable downfall?
>> Storm Thorgerson: I think the only person with me [that day] was Mick Rock. Hipgnosis was approached and Po was busy so I went along... I don't normally take the photos.
> There seems to be a lot of confusion about who took the cover photo...
>> ST: There's no confusion, I'd be very surprised if Mick thought he took the photo. I've never heard him say that. No, it was my photo. Mick came as my assistant and friend, to help me out. In those days we were very ‘unformalised'. It was a Hipgnosis job. I told Syd on the phone that I was coming round to take his photo for his album cover, which is why he painted the floor blue and orange. I don't think he absorbed it deeply.
> So the floor was painted specifically for the shoot?
>> ST: Yes. What I remember of that session is that Syd had bothered to paint the floor; I looked at it and thought, That's great, I'll shoot that. I was more interested in the floor than I was in Syd. Well, photographs of burgeoning rock'n'roll stars don't interest me very much. I mean Syd was just Syd. I don't think I've ever felt very special about the way somebody looks. I'd feel special about their music. Part of Syd's character was in the floor, so it s should take precedence, which is why I favoured the floor. Obviously we made a feature of it because it's not often someone paints their floor for you, so in effect l felt honoured and it seemed appropriate. There have been pictures of Syd before and after, but not necessarily of his floor. That's why the picture is how it is.
> Did you try lots of different set-ups?
>> ST: No, I just asked him to crouch by the fireplace, it looked like a good place to put him. Syd is very spontaneous, he just adopted an automatic pose. I probably made him change it a bit but not a lot and I took a quick shot. I only took a few. I did it quite quickly, I just thought Syd looked very 'Syd-like', and that was good enough.
> Do you remember what he was like that day?
>> ST: Not particularly, it was all you were gonna get because Syd was rather mercurial and changeable of mood. I don't think one wanted to make it any more difficult for him.
> The lens works brilliantly on the boards, did you try many?
>> ST: Either a 28mm or 35mm, an ordinary wide angle, it wasn't anything special. I don't think it's very pronounced. I mean it was very early days in our careers, we didn't know much then.
> Was it a deliberate decision to underexpose the cover?
>> ST: The film was undergraded on purpose. It was available light but there wasn't much and I didn't have any lights with me. So we had to push the film in order to get it processed and be able to see something, to give us the grain.
> The back cover is very different in feel...
>> ST: I think it's exposed differently rather than lit differently. We opened up the shot in order to get Iggy in the picture, so it wasn't as moody as the front.
> The photos used in the gatefold - the baby's head - was there a meaning behind that?
>> ST: I'm sure there was, sounds too purposeful not to mean something, doesn't it?
> Do any negatives survive?
>> ST: All gone. If only. Mick might have some...
When the cover shoot was over, Rock continued outside using Syd's blue Pontiac Parisienne as a prop (one shot was used for the 1970 Barrett LP). The life of this inanimate object (registration: VYP74) helps confirm that the shoot wasn't in the autumn. Mickey Finn, later of T.Rex, had won it in Quorum's Christmas party raffle at the Royal Albert Hall (December 19, 1968) but became so paranoid by the attention it drew that shortly afterwards he swapped it for Syd's mini. Syd never drove it and when it was about to be towed, he gave it away. It was next seen, painted pink, in the film adaptation of Joe Orton's Entertaining Mr Sloane (filmed between August 18 and October 6, 1969).
In the 40 years that have elapsed since the release of The Madcap Laughs, the mythology that surrounds Syd Barrett has continued to grow, aided by the album sleeve's imagery. For those who identify with this bygone rock’n’roll era but are too young to have experienced it, this grainy image is a brilliant template for false nostalgia. Gone is the multicoloured glamour of psychedelia, instead we're presented with the close-of-the-'60s decadence exposed, the same dishevelled, 'the party's over' feel depicted in Withnail And I. Donald Cammell and Nic Roeg confronted the same confused reality with Jagger's portrayal of a reclusive rock star in Performance. Interestingly, rumour has it Roeg is considering a Barrett biopic.
Since the shoot itself, Storm Thorgerson has continued to redefine album artwork as fine art. Meanwhile, Mick Rock's association with Syd led on to further era-defining and iconic images of David Bowie, Lou Reed and Iggy Pop. While Hipgnosis's archive of that day has disappeared, Rock's remains intact and published in a number of different forms, augmented by the last shoot that Mick undertook in Barrett's Cambridge garden in 1971. The latter provides fans with a further tantalising glimpse into the world of the Madcap before he shut them out for good. So how does Rock view his friend's retreat from it all?
[QUOTE]Mick Rock: It's not for me to say. I know Dave Gilmour was the one who made sure [Syd] had his money, and made sure Syd had five tracks on Echoes [The Best Of Pink Floyd, released in 2001]. That made him a lot of money. His publisher told me Syd had made a couple of million that year. He made a couple of hundred thousand a year in regular royalties, anyway. So the irony of Syd was that he didn't have to do anything after 1970 anyway.[/QUOTE]
He approached things as a painter, and he did that for the rest of his life. He destroyed all his paintings, but that's not the odd part: the odd part is he appears to have photographed all of them first. So there is a record of them. He didn't want to be The Rolling Stones 40 years on, playing the same old songs. He was more like a Charlie Parker: an improviser. He didn't want a formula that was repeated.
[url]http://muddy-roger.livejournal.com/53058.html[/url][/SPOILER]
[B]Джулиана[/B], а можно попросить выложить на hdd из того архива материалов о Сиде - только один зархивированный файл "Syd Barrett Early Pink Floyd Photo & Info Collection v3" - а то zoman передал битый какой-то...
[QUOTE=ooz2003;149879][B]Джулиана[/B], а можно попросить выложить на hdd из того архива материалов о Сиде - только один зархивированный файл "Syd Barrett Early Pink Floyd Photo & Info Collection v3" - а то zoman передал битый какой-то...[/QUOTE]
Может он такой и есть, ведь Zoman записывал архив у меня. Но я попробую, обещать не могу, ибо комп сам себе хозяин.
А ты когда его разархивировывала ошибки никакой не выдавалось?
Кусочек из интервью Роберта Уайатта [участвовал в Soft Machine] Ричи Унтербергеру (18 ноября 1996)[SPOILER]<...>
УНТЕРБЕРГЕР: Я бы хотел задать вопрос об ещё одном человеке из моей книги, у которого мне не удастся взять интервью. Вы играли на барабанах на каких-то сольных записях Сида Барретта.
УАЙАТТ: Я видел не так много их (Pink Floyd) выступлений. Но он мне нравился. Он был скромный, вдумчивый и определённо чем-то поглощённый.
УНТЕРБЕРГЕР: С ним было трудно работать?
УАЙАТТ: Нет, абсолютно. Очень легко. Даже, пожалуй, слишком легко. Он был очень, очень покладистый. Настолько покладистый, что вам не надо было обязательно знать, что он хочет, или нравится ли ему это – потому что, ему, казалось, нравилось то, что ты делаешь. Мне кажется, что он, наверное, так же пострадал бы от вступления в мир коммерческой культуры, как и они. Мне кажется, это могло бы быть для него очень сложно. То, что ты художник, работающий на каком-то чердаке – это, наверное, глупая иллюзия, просто глупая романтичная мечта…то же самое, как стать поп-звездой. Но я не думаю, что его романтические мечты имели что-то общее с ответственностью, налагаемой коммерческим “звёздным” положением.
То, что я говорю о коммерческих делах – это не снобизм. Факт тот, что там, похоже, существует своя собственная движущая сила, и от неё требуются определённые вещи. Вы знаете, как это происходит с голливудскими фильмами – они фактически ведутся бухгалтерами. То, что ты становишься богатым и знаменитым, не даёт тебе свободы – наоборот, забирает её…понимаете, про что я? И в музыке то же самое. Когда все механизмы входят в зацепление – менеджмент, гастроли, и сам образ действий – музыкант превращается в довольно маленький винтик в машине, оживляющей всех этих полукоматозных личностей в индустрии – и они, конечно, знают, как им действовать. И в какой-то момент оказывается, что твоей жизнью распоряжаются адвокаты и бухгалтеры. И тебе положено быть очень довольным, потому что ты добился своего и т.д. Но на самом деле тебя уносит течение, в котором твоя собственная личность может совершенно затеряться.
Как я уже говорил, это вопрос не снобизма. Из такого положения дел возникают чудесные вещи. Но если у тебя была своя собственная маленькая “штучка”, то она, наверное, не сможет выжить, будучи пропущена через подобный процесс. Я, конечно, не знаю, но могу представить себе, что такое запросто могло случиться с Сидом. Я могу себе представить, что сам процесс работы в группе просто абсолютно его разбалансировал.
УНТЕРБЕРГЕР: Правда ли, что на его сольных альбомах музыканты не знали, в какой тональности играется песня, и что им приходилось останавливаться на тех дублях, которые были завершены?
УАЙАТТ: Это правда, но, понимаете, это не очень… В музыкальном смысле я вырос в 50-е годы. Если вам хочется эксцентричности, такого вот невербального мира и всяких странных сигналов, которые нужно подхватывать, то с джазовыми музыкантами в этом никто не сравнится. Я просто читаю такие истории о работе с Мингусом и всеми прочими. Мне кажется, работать с Сидом Барреттом было просто легко и приятно. Мне он казался обходительным и дружелюбным. Я не могу припомнить, чтобы с ним было что-то не в порядке. Мне очень нравились его песни. Музыка, стихи, и то, как он их пел. Я ни в чём его не обвиняю. Мне кажется, я не знаю ничего такого, что бы он сделал не так. Я просто думаю, что этому бизнесу подходит не каждый. Я знаю по собственному опыту, что это не так легко.
Но самые лучшие отношения у меня были с басистом, Роджером. Он был очень-очень добр и великодушен по отношению ко мне. Я знаю, что потом они все перессорились. Но я очень любил и его и остальных. Мне было очень жаль, что они распались. Я знаю, как случаются такие вещи. Но мне они действительно нравились – не только Сид, но все они. Мне казалось, что Роджер был очень для них важен – т.е. его вклад. Да и игра Рика на органе. Это была хорошая группа, а потом она стала другой хорошей группой. Ясно – они стали чем-то другим. Насколько я могу судить, Гилмор – я немного знаю о гитаристах, мне не приходилось с ними много работать – но, кажется, он хорош, как только может быть хорош в этой области рок-гитарист. Но, сами понимаете, он очень мирской человек. В мире власти и денег он как у себя дома, и он может иметь с этим дело. Это должно было случиться. Фанатам Сида Барретта не следует обижаться. Я не понимаю, как это могло быть иначе.
Текст (С) 1996 Ричи Унтербергер, книга “Неизвестные легенды рок-н-ролла”.
Перевод (С) 2001, 19 августа, Павел Качанов.
[url]http://cachanoff.livejournal.com/1407.html#cutid1[/url][/B][/SPOILER]
спасибо, это интервью еще раз подтверждает тот факт, что слухи о невероятно трудной работе с Сидом Барреттом преувеличены
[QUOTE=ooz2003;150030]А ты когда его разархивировывала ошибки никакой не выдавалось?[/QUOTE]
Нет, все хорошо. Может быть тебе попробовать еще раз распаковать?
ну вот благодаря тебе распаковала и посмотрела эту классную сессию Мика Рока ч/б в доме матери Роджера Кита - красота!
А смогёшь на hdd этот архив [#99] выложить?
"произошла ошибка", "произошла ошибка"...
но я могу тебе на почту попробовать послать, кидай ящик
Игорь, может у тебя просто версия архиватора? я, кстати, даже ин пробовал ещё распокавать... надо глянуть...)
С архивом разобрались, всё цело. Ещё раз спасибо!
Наткнулся тут ещё на такое: [SPOILER]К сожалению, сам я этого не видел, видел мой товарищь, тоже очень любяший этого человека... Вскоре после смерти по британскому телевидению прошел ролик на тему "что станется с квартирой Баррета". Там был интерьер, большей частью сделаный руками самого Баррета. Порясающий. Очень детский, очень тепый, совершенно безумный. Больше всего другу запомнились самодельные дверные ручки из игрушечных пластмассовых бегемотиков...[/SPOILER]
Соственно вот репортаж тот: [url]http://www.youtube.com/watch?v=zDpSTudt-e4[/url]
очередной день памяти. [SPOILER]Эй, Сид! не знаю, кому ты адресовал те строки про воспоминания, друзьям видимо, но я буду вспоминать тебя :) как ты того и хотел.[/SPOILER]
[B]Сборник "An Introduction to Syd Barrett" выйдет в октябре[/B]
[I]5 новых версий сведения, добавленная Гилмором партия бас гитары, новый 20 минутный инструментал...[/I] [SPOILER]Новый сборник композиций Сида Барретта и Pink Floyd под названием "An Introduction to Syd Barrett" выйдет на лейбле EMI/Harvest Records 4-го октября. Впервые песни Барретта из его сольных альбомов и в составе Pink Floyd будут представлены в одной компиляции.
Четыре трека этого сборника: Octopus, She Took a Long Cold Look, Here I Go и Dominoes выйдут в новой обработке, сделанной Дэвидом Гилмором (исполнительным продюсером альбома), Дэмоном Иддинсом (Damon Iddins) и Энди Джексоном (Andy Jackson) на плавучей студии Astoria в этом году. Альтернативная версия песни Matilda Mother также включена в альбом в новой редакции.
Треклист будущего релиза:
1.Arnold Layne
2.See Emily Play
3.Apples And Oranges
4.Matilda Mother (Alternative Version) (2010 Mix)
5.Chapter 24
6.Bike
7.Terrapin
8.Love You
9.Dark Globe
10.Here I Go (2010 Mix)
11.Octopus (2010 Mix)
12.She Took A Long Cold Look (2010 Mix)
13.If It's In You
14.Baby Lemonade
15.Dominoes (2010 Mix)
16.Gigolo Aunt
17.Effervescing Elephant
18.Bob Dylan Blues
Оформление альбома, в лучших традициях Pink Floyd, возложено на Сторма Торгерсона и его студию.[/SPOILER]
[SPOILER]On 4 October 2010, EMI/Harvest Records will release An Introduction To Syd Barrett, a brand new collection that brings together for the first time the tracks of Pink Floyd and Syd Barrett on one compilation. David Gilmour, having co-produced The Madcap Laughs (with Roger Waters) and produced Barrett, has taken the role of executive producer for the album, collaborating with engineers Andy Jackson and Damon Iddins, who have remixed five tracks including 'Octopus', 'She Took A Long Cool Look', 'Dominoes' and 'Here I Go'. David has added bass guitar to 'Here I Go', and the team have also remixed Pink Floyd's 'Matilda Mother'.
Brand new artwork has been provided by long time Pink Floyd associate Storm Thorgerson and his estimable studio.
Tracklisting is Arnold Layne, See Emily Play, Apples And Oranges, Matilda Mother (2010 Mix), Chapter 24, Bike (all by Pink Floyd), Terrapin, Love You, Dark Globe, Here I Go (2010 Remix), Octopus (2010 Mix), She Took A Long Cool Look (2010 Mix) (aka She Took A Long Cold Look), If It's In You (all from The Madcap Laughs), Baby Lemonade, Dominoes (2010 Mix), Gigolo Aunt, Effervescing Elephant (all from Barrett) and Bob Dylan Blues (from Wouldn't You Miss Me – The Best Of Syd Barrett). All tracks have been remastered from the original analogue masters by Andy Jackson of Tube Mastering.
An addition to An Introduction To Syd Barrett is the previously-unreleased 20-minute instrumental 'Rhamadan'. Produced by former Pink Floyd and Syd co-manager Peter Jenner, the list of musicians is lost in the mists of time, though it's rumoured to include congas by Steve Peregrine Took of Tyrannosaurus Rex. It is to be offered as an extra downloadable track with the CD (via an auxiliary Website), and also the iTunes version of the album. Once again Damon Iddins and Andy Jackson mixed it in 2010.
[url]www.sydbarrett.com/home.htm[/url][/SPOILER]
скачала вчера такой вот бутлег:
[B]Syd Barrett - Have You Got It Yet № 2 ( 2009)[/B]
[U]трек-лист[/U]
[SPOILER]01 Lucy Leave (May/June? 1965) 02:55
02 King Bee (May/June? 1965) 03:06
03 Green Onions (17Dec67 "Tomorrow's World" BBC-TV) 01:58
04 Int Overdrive (31Oct66 demo 1st gen) 15:07
05 Interview + Int Overdrive (Dec66, CBC) 10:37
06 Matilda Mother (20Jan67 UFO) 02:52
07 Int Overdrive (20Jan67 UFO no voiceover) 04:17
08 Let's Roll Another One (22Jan67 rehearsal) 01:58
09 Instrumental (22Jan67 rehearsal) 01:10
10 Arnold Layne (28Jan67 acetate) 02:38
11 Candy And A Currant Bun (28Jan67 acetate) 02:04
12 instrumental (24Feb67 UFO prob "Interstellar") 04:35
13 Pow R. Toc H. (14May67 "Look Of The Week" BBC-TV) 01:02
14 Astronomy Domine (14May67 "Look Of The Week" BBC-TV) 03:59
15 See Emily Play (21May67 acetate, alt ending) 02:53
16 Emily edit piece (16rpm, looped 5x) 00:42
17 Set The Controls (08Aug67 mono) 05:28
01 In The Beechwoods (19Oct67) 04:50
02 VegMan (11Oct67, mixdown May68) 02:41
03 VegMan jam (09-11Oct67 mixdown May68) 02:50
04 Untitled, take 7 (04Sep67 1st gen) 01:34
05 Remember A Day (12Oct67 mono) 04:24
06 Scream Thy Last Scream (07Aug67 Jenner 1974 mix) 04:41
07 Vegetable Man (11Oct67 Jenner 1974 mix) 02:31
08 Reaction In G (1967, b'cast 26Apr69 Beat Club, German TV 1stGen) 00:44
09 The Scarecrow (25Sep67 BBC 1stGen) 02:18
10 The Gnome (25Sep67 BBC 1stGen) 02:38
11 Matilda Mother (25Sep67 BBC 1stGen) 03:34
12 Flaming (25Sep67 BBC master) 02:45
13 Set The Controls (25Sep67 BBC master) 03:35
14 Reaction In G (25Sep67 BBC master) 00:51
15 Scream Thy Last Scream (07Aug67 Jones 1987 mix) 04:42
16 Vegetable Man (11Oct67 Jones 1987 mix, from "What Syd Wants") 02:39
17 Jugband Blues (24Oct67 mono) 03:00
18 Flaming (02Nov67 Tower mono 45) 02:47
19 Set The Controls (18Feb68 Belgian vid mix) 04:53
20 Vegetable Man (20Dec67 BBC 1stGen) 03:37
21 Scream Thy Last Scream (20Dec67 BBC 1stGen) 03:50
22 Jugband Blues (20Dec67 BBC 1stGen) 03:58
23 Pow R. Toc H. (20Dec67 BBC 1stGen) 04:38
24 Tomorrow's World instrumental (17Dec67 BBC-TV) 01:45[/SPOILER]
Поделишься?)
да, но сначала прослушаю :)
[QUOTE=Джулиана;163999]скачала вчера такой вот бутлег:
[B]Syd Barrett - Have You Got It Yet № 2 ( 2009)[/B]
[U]трек-лист[/U]
[SPOILER]01 Lucy Leave (May/June? 1965) 02:55
02 King Bee (May/June? 1965) 03:06
03 Green Onions (17Dec67 "Tomorrow's World" BBC-TV) 01:58
04 Int Overdrive (31Oct66 demo 1st gen) 15:07
05 Interview + Int Overdrive (Dec66, CBC) 10:37
06 Matilda Mother (20Jan67 UFO) 02:52
07 Int Overdrive (20Jan67 UFO no voiceover) 04:17
08 Let's Roll Another One (22Jan67 rehearsal) 01:58
09 Instrumental (22Jan67 rehearsal) 01:10
10 Arnold Layne (28Jan67 acetate) 02:38
11 Candy And A Currant Bun (28Jan67 acetate) 02:04
12 instrumental (24Feb67 UFO prob "Interstellar") 04:35
13 Pow R. Toc H. (14May67 "Look Of The Week" BBC-TV) 01:02
14 Astronomy Domine (14May67 "Look Of The Week" BBC-TV) 03:59
15 See Emily Play (21May67 acetate, alt ending) 02:53
16 Emily edit piece (16rpm, looped 5x) 00:42
17 Set The Controls (08Aug67 mono) 05:28
01 In The Beechwoods (19Oct67) 04:50
02 VegMan (11Oct67, mixdown May68) 02:41
03 VegMan jam (09-11Oct67 mixdown May68) 02:50
04 Untitled, take 7 (04Sep67 1st gen) 01:34
05 Remember A Day (12Oct67 mono) 04:24
06 Scream Thy Last Scream (07Aug67 Jenner 1974 mix) 04:41
07 Vegetable Man (11Oct67 Jenner 1974 mix) 02:31
08 Reaction In G (1967, b'cast 26Apr69 Beat Club, German TV 1stGen) 00:44
09 The Scarecrow (25Sep67 BBC 1stGen) 02:18
10 The Gnome (25Sep67 BBC 1stGen) 02:38
11 Matilda Mother (25Sep67 BBC 1stGen) 03:34
12 Flaming (25Sep67 BBC master) 02:45
13 Set The Controls (25Sep67 BBC master) 03:35
14 Reaction In G (25Sep67 BBC master) 00:51
15 Scream Thy Last Scream (07Aug67 Jones 1987 mix) 04:42
16 Vegetable Man (11Oct67 Jones 1987 mix, from "What Syd Wants") 02:39
17 Jugband Blues (24Oct67 mono) 03:00
18 Flaming (02Nov67 Tower mono 45) 02:47
19 Set The Controls (18Feb68 Belgian vid mix) 04:53
20 Vegetable Man (20Dec67 BBC 1stGen) 03:37
21 Scream Thy Last Scream (20Dec67 BBC 1stGen) 03:50
22 Jugband Blues (20Dec67 BBC 1stGen) 03:58
23 Pow R. Toc H. (20Dec67 BBC 1stGen) 04:38
24 Tomorrow's World instrumental (17Dec67 BBC-TV) 01:45[/SPOILER][/QUOTE]
ыть) вот это круть крутяцкая!
что же, как и ожидалось, на этом бутлеге собраны почти все записи, которые ранее были у меня только на кассетах. в частности Lucy Leave и King Bee, а кроме того великолепные Scream Thy Last Scream и Vegetable Man.
замечательно. скоро выложу.
1 часть - [B] [url]http://hdd.tomsk.ru/file/thfnsqpy[/url][/B]
2 часть - [B][url]http://hdd.tomsk.ru/file/ynldjvhf[/url][/B]
Поклон!
тому кто выложил на трекере - однозначно. там даже моя любимая версия Pow R. Toc H. с Look Of The Week" BBC в мр3 формате есть.