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Syd Barrett Reviewed on this page: The Madcap Laughs - Barrett - Opel Syd Barrett was Pink Floyd's original frontman, responsible for lead vocals, guitar, and most of the songwriting on their first several singles and LP back in '67. Almost immediately, though, he started flipping out in classic 60s burnout fashion, so he was retired from the group in favor of David Gilmour. It wasn't an entirely hostile departure, and by 1969 Barrett wanted to record again. With help from assorted Floyd members he managed to get out two albums in less than two years, before disappearing again to become a recluse, which he is to this day. Although the results of these studio efforts are extremely uneven, there's a certain charm to Barrett that transcends even his sloppiest performances. We realize that the very existence of this page begs an obvious question - why haven't we reviewed Pink Floyd? The simple answer is that we're going to and we just don't have enough material for a page yet. The complicated answer is that we're sick to death of the Floyd's monster hit albums in the 70s, making us reluctant to waste any time and money worrying about them. Sorry, fans. But if anyone wants to mail us some Pink Floyd CD's for our birthdays in July (or earlier), that would be fine with us... (JA) The Madcap Laughs (1970) Indeed. This is an album you'll either love or hate - despite my three-star rating, there's really no middle ground. Madcap Laughs makes Barrett's marginal functionality obvious, with rambling, occasionally incoherent lyrics, strangely out-of-time backing tracks, and half-spoken, thickly accented vocals that occasionally yelp and howl ("If It's In You") and other times just mumble. The production is stark, with many tracks just featuring Barrett's unaccompanied guitar and vocals. As a result, some of it sounds like quickly tossed off 60s British psychedelia ("No Good Trying," with Soft Machine providing a backing track that fails to keep up with Barrett's odd timing; the excellent "No Man's Land"; the extraordinarily Floyd-esque "Long Gone"). The rest is like the Velvet Underground's gentler demo-like material (the catchy shout-along "Octopus"; the uncharacteristically straightforward love song "Late Night"). But Barrett had a clever pop sensibility, and all of the tracks do something to grab the listener's attention - the guy was clearly a damn good songwriter, and there are plenty of little lyrical gems here if you've got the patience for this kind of thing. Barrett's haunting take on James Joyce's "Golden Hair" is a great example, as is the hysterical opening track ("Terrapin"). (JA) Barrett (1970) The Floyd's David Gilmour and Richard Wright got Barrett back into the recording studio to cut a second album, and they tried hard to make it listenable. With Gilmour on bass, Wright on keyboards, and Humble Pie's Jerry Shirley on drums, they created the illusion of a real band - but all that does is decrease from Barrett's demented charm, by making his rambling performances seem merely incompetent instead of brilliantly twisted. Once in a while it comes together, though, in the form of off-kilter pop rock ("Baby Lemonade," with a nice guitar intro; "Gigolo Aunt"; "Wined And Dined"). And the best is saved for last (laughed?) - a joyful little tuba-plus-acoustic guitar romp entitled "Effervescing Elephant." If nothing else, the improved production values here make this the easiest entree to Barrett's work. (JA) Opel (recorded 1968 - 1970, released 1988) Assembled from alternate takes and unreleased tracks from the Madcap and Barrett sessions, this is actually quite interesting, with Barrett's guitar sounding clearer without the overdubs, and his singing often stronger on what amounts to a bunch of acoustic demos ("Wined and Dined"). Plus the "new" songs are mostly OK if often unfinished, although there's one terrible, atonal five-minute jam that should have been left off ("Lanky (Part 1)"). A bargain for hardcore Floyd fans, who will also get a kick out of the liner notes; but most listeners will have an easier time with the more polished Barrett, and those who have both of the first two LP's will find it superfluous. (JA) Let's split.  Main page   New additions   Pop: 00s  90s 80s 70s 60s 50s  Latin/Jazz   Top 20: DBW JA   E-mail