It also Floyd's first significant use of vocal harmonies, sounding almost Beatlesque, except for the organ and the steady clapping rhythm. The band also backed off on the echo a little, although See Emily Play still has a lot of organ, as well as a sped-up piano section.Ĭompared to the three other singles up until now, Scarecrow is rather subdued and conventional. More psychedelic pop, coming up! These aren't quite as silly-sounding as the previous single, despite See Emily Play being about a girl playing with her toys.
While this is enjoyable, it's not nearly as good a debut single as it could have been. In addition to the silly, cutesy lyrics, this song includes a few verbal gags (after the line "please, you know you drive me wild", a deadly-serious voice repeats "drive me wild"), and ends with some thoroughly Binson'd organ. This is perhaps my favourite Syd-penned single, and I prefer it to the A-side.
Like most Floyd attempts at singles, it ends up sounding overly silly and just short enough that it doesn't really go anywhere, but at least these early singles are charmingly silly.Ĭandy and a Currant Bun was originally titled "Let's Roll Another One", but it had to be rewritten so as not to be about drugs to appease the censors of 1960s Britain. It reprimands him, and encourages him to not "do it again". These are a healthy mix of silly pop songs and Syd-era Floyd's trademark echoey guitar and organ.Īrnold Layne is a song about a guy who steals ladies' underwear from washing lines. This is 29 minutes of footage no psychedelic rock fan should miss. One thing's for sure, though they all deliver rock-solid performances that put much of their later, more polished work to shame.Īll in all, an interesting look at the band's early history, which would later prove to be their best recorded improvisation with Syd, and a very tight performance that would take Gilmour-era Floyd some time to match. Also, Rick looks very out of place wearing a white shirt and tie, while the rest of the group are dressed very casually. The band members themselves look much younger and less sure of themselves than they would in later films. The piece ends with a short drum solo from Nick. This one ends up with a much darker feel than Interstellar Overdrive, with the Binson echoes dominating most of the piece, and Roger doing some of his best bass work I've ever heard. Since they didn't have one prepared, they decided to improvise something based around a rhythm Nick played on the toms using mallets. Meanwhile, Nick is the same old Nick he would always be just along for the ride, but never trying to get into the limelight.Īs it turned out, the band had booked more studio time than they needed, giving them time to play another piece. It's quite hilarious to watch the same Roger Waters who would go on to write The Wall rocking out on his bass with a big grin on his face. Turning to the other two members of the group, Roger and Nick mainly keep a steady beat going throughout the piece, but towards the end they start to get a little more involved in the improv as the whole thing nears its climax. This is made all the more eerie by the echoes from the Binson, and Richard is always right there on the same page as Syd, whatever he's doing. The one-chord vamp seems to rise and fall, with Syd gradually drifting further and further from playing an actual melody, at times just making toneless plucking noises or running his slide up and down his guitar's strings. It's quite remarkable how Syd and Richard (who each have a Binson Echorec tape echo device hooked up to their respective instruments) manage to play so well together, despite the very loose structure of this piece. This performance doesn't have the studio editing that would go into "perfecting" the album version later that year, making this a raw, unbridled glimpse of early Floyd. It's fairly simple, and in my view this recording showcases it at its best. The structure of Interstellar Overdrive is a riff consisting of powerful, descending chords in E major, followed by extended, loosely structured improvisation, followed by a return to the main riff. It was later re-released on DVD, with Nick's Boogie (an entirely improvised number to make the most of available studio time) as a bonus track. About a third to half of the footage is of Pink Floyd playing the rest is footage from various nightclubs around London. This is a film of collated imagery of the London 1960s psychedelic scene, with Pink Floyd performing what was then one of their staple tunes, Interstellar Overdrive, as accompaniment. Interstellar Overdrive (Barrett, Mason, Waters, Wright) (16:46)
(aka Tonite Let's All Make Love in London)ġ.
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