SYD BARRET "BARRETT" LP ON HARVEST 1970 SHSP 4007 M/M

	£		21
	$		28

You are bidding on SYD BARRETT's LP "BARRETT" ON HARVEST RECORDS . UK PRESSING (1970) 12" LP. CAT No. SHSP 4007. 

THIS IS THE EXCELLENT TEXTURED SLEEVE EARLY VERSION AND LOOKS INCREDIBLE!!!!!!!!!!

NOTE: THIS IS RARE TO FIND IN THIS (MINT) CONDITON, AND WILL ONLY BECOME MORE AND MORE COLLECTABLE

IT'S THE 1st SOLO ALBUM BY THE EX-PINK FLOYD HERO, AND ONE OF THE LEGENDS OF ROCK 'N ROLL!!!!!!!!

Condition:

Cover: MINT - seriously, no detectable faults at all.

Vinyl:   MINT  - as above - it's unplayed!

Tracklisting:

1. Baby Lemonade (4:07)
2. Love Song (3:02)
3. Dominoes (4:02)
4. It Is Obvious (2:55)
5. Rats (2:57)
6. Maisie (2:46)
7. Gigolo Aunt (5:42)
8. Waving My Arms In The Air (2:09)
9. I Never Lied To You (1:46)
10. Wined And Dined (2:54)
11. Wolfpack (3:41)
12. Effervescing Elephant (1:52)

Total Time: 37:53

Line-Up / Musicians

- Syd Barrett / guitar, vocals
- Jerry Shirley / percussion, drums
- John Wilson / drums
- Vic Saywell / tuba
- Willie Wilson / percussion
- Richard Wright / organ, harmonium, piano, keyboards
- David Gilmour / organ, guitars, bass

Background

A key figure in the development of London's underground music scene during the late 1960s and -- despite his rather brief period of activity -- a continuing influence on popular (and unpopular) music onward into the 21st century, Syd Barrett also has the unfortunate distinction of being one of rock music's early drug casualties. His combined talents for eccentric pop songwriting and bold sonic exploration insured his rapid rise to fame and enduring legacy, but the equally rapid decent into chemically-induced mental illness sadly leaves us with the never-to-be-answered question of what Barrett would have accomplished had circumstances allowed him to achieve his full potential as a musician.

Reviews from ProgArchives

Review 1

Syd was a treasure. I absolutely love his two studio albums even though they are far from the psychedelic masterpiece of Piper. They are filled front to back with delightful whimsical vignettes of the last musical contributions of a most important poet of his time. Syd was not only the heart and soul of early Floyd but also able to channel the most marvelous little musical poems. Childlike melodies combined with surreal lyrics can sometimes make him seem like a combination of Nick Drake and kids folkie Dan Zanes.

While Syd’s first album was just him with an acoustic here on Barrett he has the appearance of a band in Dave Gilmour, Rick Wright, and Jerry Shirley. I say appearance because it wasn’t truly a group effort but rather the guys laying down a beat after Syd did his thing. The reason Syd went first is that he rarely played things the same way twice. While the band's contribution is laid back they actually do manage to embellish the songs quite well. Wright is especially effective in this regard, check out his piano work on Love Song as an example. Simple but perfect for the song.

Many Floyd fans think that Barrett’s solo work is crap and I can actually understand why some people don’t like these records. It is a complete slap in the face to conventions of all types, Syd refused to play the star game or even the musician game. As I said in the Madcap review I almost feel as if Syd were just channeling whatever it was that he was dealing with in his head. Syd’s music takes me places that are just as interesting and relevant as a Floyd album. Haunting places, but also lovely and nostalgic places. For me that is what’s important about music, not just how cool the band is or how impressive their fretboard skills.

If you’re a Floyd fan who’s never heard Syd’s solo stuff before, realize that it will be a little shocking at first. His sound is a bit rough and a lot untamed, showing no respect for polish. This can be off-putting at first but do give it a chance over several weeks. When you get used to the edgy sound you might begin to appreciate the hidden beauty and the sense of playfulness. Barrett features more upbeat fare like Baby Lemonade and Gigolo Aunt to love songs like Wined and Dined, to the haunting (Dominoes) and the disturbing (Maisie), to the funky (Rats) and the silly ditty (Effervescing Elephant.) It is a wonderful album of songs that fascinates me every time I play it. It puts time on hold and casts a spell on those willing to participate and check their cynicism at the door.

Syd did it his way and then walked away with his middle finger raised to the establishment. Or at least that’s what his music suggests to me. He would never give into the star trip even when they offered him large sums of money for “the comeback” music. He turned them all away, content to spend his days painting away rather than being exploited. He was not the tragic hermit that the press made him out to be. His family insists he was a happy person who joked with neighborhood kids and enjoyed his art-but he simply preferred the company of himself to social situations. Life doesn’t have to be all about the achievement of goals despite what the media tells us. It can be just a series of moments that we enjoy and make the best of. That’s how I see the two Barrett albums. Syd seized that moment and got the music out of his system and moved on.

Reminds me of this Paul Newman film where Newman plays a loner content to piddle away his days chasing his whims. Someone asks Newman’s character “Doesn’t it ever bother you that you haven’t done more with the life God gave you?” Newman pauses a moment and with just the slightest hint of a mischievous smile, replies “Sometimes. Not often.”

Perfect.

Review 2

Perpetuation is the key symbol for me.It gives me the pleasure and it gives me the perspective.This “positive stagnation” reflects actually many things and is no real damage for those who understand the music and appreciate it.The least of the effort is to learn to appreciate.Syd Barrett solo is minimalist,self-concentrated,self-conserved and self-educated,define by the moment and musician of the sole speech,but he is by nothing simple.The most serious of mistakes is to consider Syd Barrett’s “lone tracks” an easy-listening substance.If it’s not the music,it is the lyric (but it can be the music!!).If it’s not the lyric,it is the expression.If it’s not even the expression,it is the artistical subtile metafor.Barrett’s musical world is least of all,genuine.The arguments may not be pluri-motivated,but they stay fit for an aroused occasion.As far from the Pink Floyd psychedelic contemporary definition as he is (the discrepance between this and that is,indeed,an interesting fact of study and a curios,maybe even debauchee here and there,move of his),the few he offers makes the complete stand.The absence of some characteristics goes compensated with others.Charisma compensates on lack of diversity.Fluency on unstyled.Consistency on magical moments.Free flow on magic pulse.Et caetera.Personally, Syd Barrett is a moderate name as a musician of its own,I keep wishing (a futile wish,of course) that it would have been more.A name so imposed lives just partially to its range.The decent releases resume to a simple session and an even easier moment of listening.The flow and the approach of this leasure “ballady” streaming is one of convenience,always accesible,always enjoyable,always the choice towards which to reach out when too complex,too excentric or too min-drilling isn’t your desire (or you get tired of it).You never know,you just never know.The perspective and the way seems always opened.Syd Barrett the Pink Floyd pretender plays here songs with his voice and his guitar without “pretending” anything.It’s a cool,yet fragile state of play the one that he chooses to perpetuate through these short years and short moments.

Barrett’s second solo album,simply called…”Barrett” (! -- ?),is the sequel response to his “Madcap Laughs” creation.Being in the same year of 1970 (and given the “positive style stagnation” factor) I can presume that it is bound with “Madcap Laughs” by an unique nucleus (if I am mistaking by saying this,that’s that).The version of “Barrett” I bought contains,besides the twelve pieces,extra takes and stuff.Apparently what Syd’s offering after the fully-formed repertoire is a set of rehearsal short,one that don’t really have such a big role (except if you want to hear Syd at work).Now how I ended up with these bonus track,don’t have a clue.On to the main subject.”Barrett” is loosened in comparison with “Madcap Laughs”.What is definitely missing is the spark (present in the previous – which is the best) of the accent,some of the high essence and the perfect mix of themes,motives and approaches.It’s a most regular expression,one not criticizable,but neither applaudable.Somehow the same manner and the same nucleus arrangement (that if my earlier assumption is correct) turns out one great artistic movement in the smashing debut and another more mellow one in the continuation.Barrett scaled (or scalling) at medium.Atmosphere is perhaps to closed,mood too settled on one pitch,character of a too voiled aroma.Good moment arise occasionally (for the decent album has,after all,to be supported by something positive;in fact,”Barrett”’s that kind of normal point album quite clean of flaws and abrazive textures,but to which the limitations say much and say against it). “Baby Lemonade”,”Wined And Dined” and such certainly know how to make a positive moment.If the short simple essence is a deficit or a thing to adore,that’s mainly a thing of your choices.Incorruptible,eloquent,saturated,manifested.Redeemer.”Barrett”’s maybe not the personal album or the purest of quality and sketch,but it’s an energy of its own.Maybe it’s the sad design of something that will never be,but it helds the moment in his rapture.Far from an explosion,but far from a downgraded style as well.A prolific artist to be experienced once in a while under full significance.Three soild stars express an album’s possibility,but his limits also,placing them on acknoledged terms.What “Barrett” is and isn’t.