B e hind t he Wall

Pink Floyd

Hugh FielderTHE COMPLETE PSYCHEDELIC HISTORY FROM 1965 TO TODAY

PINK_FLOYD_FIN_PRELIMS_001-005.indd 2-3 04/07/2013 13:36

B e hind t he Wall

Pink Floyd

Hugh FielderTHE COMPLETE PSYCHEDELIC HISTORY FROM 1965 TO TODAY

PINK_FLOYD_FIN_PRELIMS_001-005.indd 2-3 04/07/2013 13:36

A division of Book Sales, Inc.276 Fifth Avenue, Suite 206New York, New York 10001

RACE POINT PUBLISHING and the distinctive Race Point Publishing logo are trademarks of Book Sales, Inc.

Race Point Publishing © 2013

All photographs from the publisher’s collection unless otherwise noted on pages 232–5.

All background textures © iStockphoto.

All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted,

in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without prior

written permission from the publisher.

The information in this book is true and complete to the best of our knowledge. All recommendations are made without any

guarantee on the part of the author or Publisher, who also disclaims any liability incurred in connection with the use

of this data or specific details.

This publication has not been prepared, approved, or licensed by Pink Floyd or any of its assignees. This is not an

official publication. We recognize, further, that some words, model names, and designations mentioned herein are the

property of the trademark holder. We use them for identification purposes only.

ISBN-13: 978-1-937994-25-9

Library of Congress Cataloging-in-Publication Data

Author: Hugh FielderProject editor: Jeannine Dillon

Designer: Jacqui Caulton Picture research: Tom Seabrooke

Printed in China

10 9 8 7 6 5 4 3 2 1

contents

1 First Bricks 6 2 The Syd Barrett Years 16 3 The Doldrums 40 4 Meddling Through 52 5 Lunar Eclipse 70 6 Postcards from the Edge 94 7 Dog Eat Dog 110 8 Walls and Burning Bridges 126 9 Cut to Pieces 148

10 Lapses and Divisions 164 11 Not Just Another Brick 192

Discography 214 Albums 224 Selected Bibliography 231 Acknowledgments 232 Picture Credits 232 Index 236

PINK_FLOYD_FIN_PRELIMS_001-005.indd 4-5 04/07/2013 13:37

CHAPTER 1

F i rst B r ic k s

RIGHT: People looking out over the River Cam below the King’s College Chapel spires in Cambridge, England. Three members of Pink Floyd grew up in this idyllic university town — Roger Waters, Syd Barrett, and David Gilmour.

PINK_FLOYD_FIN_CH1_006-015.indd 6-7 04/07/2013 13:38

CHAPTER 1

F i rst B r ic k s

RIGHT: People looking out over the River Cam below the King’s College Chapel spires in Cambridge, England. Three members of Pink Floyd grew up in this idyllic university town — Roger Waters, Syd Barrett, and David Gilmour.

PINK_FLOYD_FIN_CH1_006-015.indd 6-7 04/07/2013 13:38

8 PINK FLOYD: BEHIND THE WALL 9FIRST BRICKS

even though Pink Floyd formed in London and first found

success providing the musical soundtrack to the London

psychedelic scene in the 1960s, the group’s origins are root-

ed 60 miles north, in the historic university town of Cambridge.

This is not just because three of the band grew up there. Their

music resonates with the unhurried and self-assured pace of

Cambridge life, the elegant architecture, the carefully manicured

lawns, the placid River Cam winding its way between the colleges.

Cambridge was an idyllic place to grow up during the postwar

years of the 1950s and 1960s. With 10,000 students in residence,

the university was the town’s biggest employer, providing jobs

for everyone from porters to professors. The flat terrain made it

easy to get around by bike, and most people did. (Every now and

again, your bike might be “borrowed,” but you’d find it a few days

later at the police pound.)

George Roger Waters, the oldest member of the Cambridge

trio, was born 20 miles south of London, in Great Bookham, near

Leatherhead, on September 9, 1943. His father, Eric Fletcher

Waters, a religious and physical education teacher, was at the

time serving as a Second

Lieutenant with City of Lon-

don Regiment of the 8th

Battalion Royal Fusiliers. In

January 1944 Eric was part

of a landing force on the

Italian peninsular of Anzio,

and he was shot and killed

on February 18, 1944, dur-

ing the prolonged battle

that followed.

Roger was five months

old when Eric died, but it

wasn’t until he was three

that he realized that—unlike

the other children around

him—he had no father. It

affected him badly, and

would continue to do so as

he grew older. As former Rolling Stone editor Timothy White later

wrote, “I’d wager that there isn’t a day that goes by when Roger

Waters doesn’t consciously and unconsciously mourn and miss

the father he never knew—or hate the hierarchy of circumstances

that robbed him of a parent.” The loss would inform much of

his work with Pink Floyd, notably The Wall, The Final Cut, and his

subsequent solo albums.

In 1944 Roger’s mother, Mary Waters, moved the family to

Cambridge, where her sister lived. She got a job in a local primary

school, and within a few years she was teaching her son’s class.

Two years later she found herself teaching another Roger: Roger

Barrett. Naturally, Mary’s son was not about to start hanging

around with a kid two years younger than him, but he was at

least aware of the other Roger, who lived two doors from Mary’s

sister. The two boys also went to the same Saturday morning art

class, where Barrett found someone of his own age to paint with:

David Gilmour.

Roger Keith Barrett, later known as Syd, was born in Cambridge

on January 6, 1946, the fourth of five children. His father, Dr.

Arthur Barrett, was a pathologist at the nearby Addenbrooke’s

Hospital. He was also a prominent figure in the town’s cultural life

as a member of the University Botanical Society and oboist in the

Cambridge Philharmonic Orchestra. Roger’s mother was a senior

figure in the Cambridgeshire Girl Guide movement, and her son a

keen Boy Scout. They lived in a large house with a big living room

and kitchen where the parents and children would entertain their

respective friends, often at the same time.

Roger was a confident extrovert who was by all accounts

indulged by his mother. He could charm her into just about

anything he wanted, but would sometimes display a violent

temper if things didn’t go his way. He was naturally gifted at

music, words, and painting, although he generally resisted any

attempt to improve these gifts with formal training.

David Jon Gilmour was born on March 6, 1946, in Newnham, on

the southwestern fringe of Cambridge. His father was a professor

of genetics at Cambridge University, his mother a teacher who

later became a TV producer, and he had two brothers and a sister.

He grew up in a relaxed atmosphere, where music was a regular

feature, but he also had to learn to be self-sufficient at an early

age. He was only five when he was sent to boarding school for a

year while his parents relocated temporarily to America. It was

not an experience he enjoyed. “Roger lost his father in the war,”

he once joked. “I lost mine in Greenwich Village.”

Gilmour could cross the road from his house onto a foot-

path that led to the bucolic Grantchester Meadows, which run along

the banks of the River Cam, as immortalized by the romantic poet

ABOVE: A travel poster produced for London & North Eastern Railway (LNER) to promote rail travel to Cambridge.

Rupert Brooke in “The Old Vicarage, Grantchester,” which ends with

the famous lines, “Stands the church clock at ten to three / And is

there honey still for tea?” Waters, Barrett, and Gilmour had their

own memories of the area. Waters would go fishing; Barrett would

play there with his younger sister Rose, exercising his imagination.

It was a perfect place to enact stories from children’s books like

The Wind in the Willows. Pink Floyd would later pay their own

homage with Waters’s “Grantchester Meadows” (from Umma-

gumma) and Gilmour’s “Fat Old Sun” (from Atom Heart Mother),

both of which evoke the sound and atmosphere of the place.

At the age of 11, Waters moved up to the Cambridgeshire

High School for Boys, the source of his irritation against the

education system, which would eventually manifest itself as

a full-scale tirade on The Wall. He was particularly scathing

about the teachers, later recalling, “There were some who

were just incredibly bad and treated the children so badly,

putting them down all the time, never encouraging them to

do things, just trying to keep them quiet and still and crush

them into the right shape so that they could go to university and

‘do well.’”

ABOVE: The picturesque Grantchester Meadow. Both Gilmour and Waters would pay homage to this scenic spot in “Fat Old Sun” and “Grantchester Meadows.”

RIGHT: Romantic poet, Rupert Brooke, who also immortalized the spot in his piece “The Old Vicarage, Grantchester.”

PINK_FLOYD_FIN_CH1_006-015.indd 8-9 04/07/2013 13:38

8 PINK FLOYD: BEHIND THE WALL 9FIRST BRICKS

even though Pink Floyd formed in London and first found

success providing the musical soundtrack to the London

psychedelic scene in the 1960s, the group’s origins are root-

ed 60 miles north, in the historic university town of Cambridge.

This is not just because three of the band grew up there. Their

music resonates with the unhurried and self-assured pace of

Cambridge life, the elegant architecture, the carefully manicured

lawns, the placid River Cam winding its way between the colleges.

Cambridge was an idyllic place to grow up during the postwar

years of the 1950s and 1960s. With 10,000 students in residence,

the university was the town’s biggest employer, providing jobs

for everyone from porters to professors. The flat terrain made it

easy to get around by bike, and most people did. (Every now and

again, your bike might be “borrowed,” but you’d find it a few days

later at the police pound.)

George Roger Waters, the oldest member of the Cambridge

trio, was born 20 miles south of London, in Great Bookham, near

Leatherhead, on September 9, 1943. His father, Eric Fletcher

Waters, a religious and physical education teacher, was at the

time serving as a Second

Lieutenant with City of Lon-

don Regiment of the 8th

Battalion Royal Fusiliers. In

January 1944 Eric was part

of a landing force on the

Italian peninsular of Anzio,

and he was shot and killed

on February 18, 1944, dur-

ing the prolonged battle

that followed.

Roger was five months

old when Eric died, but it

wasn’t until he was three

that he realized that—unlike

the other children around

him—he had no father. It

affected him badly, and

would continue to do so as

he grew older. As former Rolling Stone editor Timothy White later

wrote, “I’d wager that there isn’t a day that goes by when Roger

Waters doesn’t consciously and unconsciously mourn and miss

the father he never knew—or hate the hierarchy of circumstances

that robbed him of a parent.” The loss would inform much of

his work with Pink Floyd, notably The Wall, The Final Cut, and his

subsequent solo albums.

In 1944 Roger’s mother, Mary Waters, moved the family to

Cambridge, where her sister lived. She got a job in a local primary

school, and within a few years she was teaching her son’s class.

Two years later she found herself teaching another Roger: Roger

Barrett. Naturally, Mary’s son was not about to start hanging

around with a kid two years younger than him, but he was at

least aware of the other Roger, who lived two doors from Mary’s

sister. The two boys also went to the same Saturday morning art

class, where Barrett found someone of his own age to paint with:

David Gilmour.

Roger Keith Barrett, later known as Syd, was born in Cambridge

on January 6, 1946, the fourth of five children. His father, Dr.

Arthur Barrett, was a pathologist at the nearby Addenbrooke’s

Hospital. He was also a prominent figure in the town’s cultural life

as a member of the University Botanical Society and oboist in the

Cambridge Philharmonic Orchestra. Roger’s mother was a senior

figure in the Cambridgeshire Girl Guide movement, and her son a

keen Boy Scout. They lived in a large house with a big living room

and kitchen where the parents and children would entertain their

respective friends, often at the same time.

Roger was a confident extrovert who was by all accounts

indulged by his mother. He could charm her into just about

anything he wanted, but would sometimes display a violent

temper if things didn’t go his way. He was naturally gifted at

music, words, and painting, although he generally resisted any

attempt to improve these gifts with formal training.

David Jon Gilmour was born on March 6, 1946, in Newnham, on

the southwestern fringe of Cambridge. His father was a professor

of genetics at Cambridge University, his mother a teacher who

later became a TV producer, and he had two brothers and a sister.

He grew up in a relaxed atmosphere, where music was a regular

feature, but he also had to learn to be self-sufficient at an early

age. He was only five when he was sent to boarding school for a

year while his parents relocated temporarily to America. It was

not an experience he enjoyed. “Roger lost his father in the war,”

he once joked. “I lost mine in Greenwich Village.”

Gilmour could cross the road from his house onto a foot-

path that led to the bucolic Grantchester Meadows, which run along

the banks of the River Cam, as immortalized by the romantic poet

ABOVE: A travel poster produced for London & North Eastern Railway (LNER) to promote rail travel to Cambridge.

Rupert Brooke in “The Old Vicarage, Grantchester,” which ends with

the famous lines, “Stands the church clock at ten to three / And is

there honey still for tea?” Waters, Barrett, and Gilmour had their

own memories of the area. Waters would go fishing; Barrett would

play there with his younger sister Rose, exercising his imagination.

It was a perfect place to enact stories from children’s books like

The Wind in the Willows. Pink Floyd would later pay their own

homage with Waters’s “Grantchester Meadows” (from Umma-

gumma) and Gilmour’s “Fat Old Sun” (from Atom Heart Mother),

both of which evoke the sound and atmosphere of the place.

At the age of 11, Waters moved up to the Cambridgeshire

High School for Boys, the source of his irritation against the

education system, which would eventually manifest itself as

a full-scale tirade on The Wall. He was particularly scathing

about the teachers, later recalling, “There were some who

were just incredibly bad and treated the children so badly,

putting them down all the time, never encouraging them to

do things, just trying to keep them quiet and still and crush

them into the right shape so that they could go to university and

‘do well.’”

ABOVE: The picturesque Grantchester Meadow. Both Gilmour and Waters would pay homage to this scenic spot in “Fat Old Sun” and “Grantchester Meadows.”

RIGHT: Romantic poet, Rupert Brooke, who also immortalized the spot in his piece “The Old Vicarage, Grantchester.”

PINK_FLOYD_FIN_CH1_006-015.indd 8-9 04/07/2013 13:38

10 PINK FLOYD: BEHIND THE WALL 11FIRST BRICKS

when we were teenagers,” Waters recalled. They spent a lot of

time “talking about smoking dope, but not doing it—in those

days.” Waters’s cricketing pal Bob Klose met Barrett around the

same time. “I would go along to Syd’s after school and he’d be

there painting away,” he said. “And we’d play and chat, strumming

away at some basic chords with the occasional Bo Diddley riff.”

Despite having received a final school report that somewhat

uncharitably stated he had “never fulfilled his considerable

potential,” Waters gained the necessary qualifications to study

mechanical engineering at Manchester University. Shortly before

he was due to start, however, he changed his mind and decided

instead to take a year off while he considered what to do next. He

hitchhiked across Europe, through Greece and Turkey to Lebanon,

on an adventure that would continue to resonate some four

decades later, when he recorded a starkly political song called

“Leaving Beirut,” which he released as a download in 2004.

Returning to Cambridge, Waters applied to the School of

Architecture at Regent Street Polytechnic College in London.

Realizing that he would need to be able to demonstrate a

proficiency in drawing for his interview portfolio, he began to

hang out more with the more artistically minded Barrett, who by

now had a flashy new Futurama II electric guitar, for which he’d

built his own box amplifier. It was after traveling up to London

to see Gene Vincent in concert in late 1961 that Waters and

Barrett started thinking about forming their own band. They

even prepared a list of necessary equipment. A few weeks later,

however, Barrett’s world was shattered when his father died of

cancer—a tragedy made worse by the fact that he had only found

out about his father’s condition a few weeks earlier.

Barrett’s response was to immerse himself in music and

painting, having moved down to the front room on the ground

floor of the house. It was effectively a self-contained living space

that could double up as a studio or rehearsal room—as it did

when he joined his first band, Geoff Mott and the Mottoes, in

1962. Barrett played guitar and sang covers of Buddy Holly and

Eddie Cochran while also performing instrumentals by seminal

British guitar band the Shadows. Meanwhile, as the Barrett family

adjusted to their new circumstances, his mother took in student

lodgers, including a future Japanese prime minister and the

daughter of the actress Jeanne Moreau.

In the summer of 1962 Barrett left Cambridgeshire High

School and enrolled at the Cambridge Technical College to study

art. By now, Waters was at Regent Street Polytechnic College,

where he was no more impressed by his tutors than he had been

by his school teachers in Cambridge. He finally bought his own

guitar, a Spanish acoustic on which he neatly inscribed the slogan

“I Believe to My Soul” (after a Ray Charles song). He hooked up

with another guitar-playing student who could also sing, Keith

Noble, and together they formed the Tailgate Two and began

playing songs by everyone from the Everly Brothers to Buddy

Holly at private parties.

Almost six months passed before Waters noticed two other

musically inclined students hanging around the common room:

Richard Wright and Nick Mason.

Richard William Wright was born on July 28, 1943, in Pinner,

a prosperous, leafy suburb in the northwest of London. His

father was the chief chemist at Unigate Dairies and provided

Richard with a typical upper-middle-class education at a private

preparatory school (where corporal punishment was evidently

rife) and the highly regarded Haberdashers’ Aske’s Hampstead

School. As a child, Wright learned piano and trumpet before

teaching himself to play the guitar at 12 while recovering from a

broken leg. What really lured him away from classical music was

jazz, notably Miles Davis’s take on Gershwin’s Porgy and Bess, a

record that he always played from start to finish, he said, “because

it stops you dead in your tracks.” The album also inspired him to

RIGHT: A shot of the Radio Luxembourg studio. Radio Luxembourg was responsible for bringing

rock ’n’ roll to British teenagers back in the days when the BBC didn’t make it available

on the national airwaves.

Barrett joined Waters at the school two years later. He never

seemed to hate the place as much as Waters did, although he had

frequent disciplinary problems over his uniform and in particular

his aversion to shoe laces. (Gilmour’s parents sent him to the

nearby fee-paying Perse School instead.)

Despite his antipathy toward his teachers, Waters took an

active interest in sport. He was a member of the school rugby

team—alongside Storm Thorgerson, who would later design the

artwork for many of Pink Floyd’s albums—and the cricket team,

in which he played alongside Bob Klose, who would become part

of an embryonic Pink Floyd line-up a few years later. Waters had a

sense of adventure, too, as he showed when he went hitchhiking

around the country at the age of 13. More incongruously, he joined

the local cadet force and held a position of command for a time—

until his charges rebelled against his dictatorial manner and beat

him up. Waters’s response was to hand in his uniform, whereupon

he was given a dishonorable discharge. He subsequently joined

the Campaign for Nuclear Disarmament and became the chairman

of the local youth branch.

The arrival of rock’n’roll in the mid 1950s, spearheaded by

Bill Haley and the Comets’ “Rock Around the Clock,” became

a rallying point for any teenage rebel, with or without a cause.

Haley’s was the first record David Gilmour bought, a brittle 78 rpm

disc that got broken when somebody sat on it. Barrett’s musical

epiphany was Lonnie Donegan’s “Rock Island Line”; Waters’s was

Gene Vincent’s “Be-Bop-a-Lula.”

Rock’n’roll was hard to find on the radio. The BBC, which had

a monopoly on the British airwaves, had yet to acknowledge the

existence of teenagers, who instead tuned their cheap transistor

radios to Radio Luxembourg, a commercial station beamed to-

ward Britain in crackling AM frequencies from the tiny European

principality. Listening was often a clandestine affair, carried

out under the covers, late at night, when the best American

rock’n’roll was played. It was the entry point to an alternative

cultural experience. Converts would gather in coffee bars to

exchange news on the latest Eddie Cochran single or cram into

one of the listening booths at Millers Music Shop in the center of

Cambridge. Both Barrett and Gilmour bought their first acoustic

guitars at Millers at the age of 14, but while Barrett was happy

to strum the first two or three chords he could master and then

let his imagination take over, Gilmour learned to play from Pete

Seeger’s instructional book-and-record set. He would listen

to records that interested him, trying to decipher the guitar

parts, displaying the meticulous attention to detail that would

characterize his career.

Waters declined to buy a guitar. Instead, as soon as he was

old enough, he bought a 1946 vintage Francis-Barnet motorbike.

His new friend on the pillion seat was Barrett. “We became close

ABOVE: The front window of Miller’s Music Centre in Cambridge, England. Both Barrett and Gilmour bought their first acoustic guitars here.

PINK_FLOYD_FIN_CH1_006-015.indd 10-11 04/07/2013 13:39

10 PINK FLOYD: BEHIND THE WALL 11FIRST BRICKS

when we were teenagers,” Waters recalled. They spent a lot of

time “talking about smoking dope, but not doing it—in those

days.” Waters’s cricketing pal Bob Klose met Barrett around the

same time. “I would go along to Syd’s after school and he’d be

there painting away,” he said. “And we’d play and chat, strumming

away at some basic chords with the occasional Bo Diddley riff.”

Despite having received a final school report that somewhat

uncharitably stated he had “never fulfilled his considerable

potential,” Waters gained the necessary qualifications to study

mechanical engineering at Manchester University. Shortly before

he was due to start, however, he changed his mind and decided

instead to take a year off while he considered what to do next. He

hitchhiked across Europe, through Greece and Turkey to Lebanon,

on an adventure that would continue to resonate some four

decades later, when he recorded a starkly political song called

“Leaving Beirut,” which he released as a download in 2004.

Returning to Cambridge, Waters applied to the School of

Architecture at Regent Street Polytechnic College in London.

Realizing that he would need to be able to demonstrate a

proficiency in drawing for his interview portfolio, he began to

hang out more with the more artistically minded Barrett, who by

now had a flashy new Futurama II electric guitar, for which he’d

built his own box amplifier. It was after traveling up to London

to see Gene Vincent in concert in late 1961 that Waters and

Barrett started thinking about forming their own band. They

even prepared a list of necessary equipment. A few weeks later,

however, Barrett’s world was shattered when his father died of

cancer—a tragedy made worse by the fact that he had only found

out about his father’s condition a few weeks earlier.

Barrett’s response was to immerse himself in music and

painting, having moved down to the front room on the ground

floor of the house. It was effectively a self-contained living space

that could double up as a studio or rehearsal room—as it did

when he joined his first band, Geoff Mott and the Mottoes, in

1962. Barrett played guitar and sang covers of Buddy Holly and

Eddie Cochran while also performing instrumentals by seminal

British guitar band the Shadows. Meanwhile, as the Barrett family

adjusted to their new circumstances, his mother took in student

lodgers, including a future Japanese prime minister and the

daughter of the actress Jeanne Moreau.

In the summer of 1962 Barrett left Cambridgeshire High

School and enrolled at the Cambridge Technical College to study

art. By now, Waters was at Regent Street Polytechnic College,

where he was no more impressed by his tutors than he had been

by his school teachers in Cambridge. He finally bought his own

guitar, a Spanish acoustic on which he neatly inscribed the slogan

“I Believe to My Soul” (after a Ray Charles song). He hooked up

with another guitar-playing student who could also sing, Keith

Noble, and together they formed the Tailgate Two and began

playing songs by everyone from the Everly Brothers to Buddy

Holly at private parties.

Almost six months passed before Waters noticed two other

musically inclined students hanging around the common room:

Richard Wright and Nick Mason.

Richard William Wright was born on July 28, 1943, in Pinner,

a prosperous, leafy suburb in the northwest of London. His

father was the chief chemist at Unigate Dairies and provided

Richard with a typical upper-middle-class education at a private

preparatory school (where corporal punishment was evidently

rife) and the highly regarded Haberdashers’ Aske’s Hampstead

School. As a child, Wright learned piano and trumpet before

teaching himself to play the guitar at 12 while recovering from a

broken leg. What really lured him away from classical music was

jazz, notably Miles Davis’s take on Gershwin’s Porgy and Bess, a

record that he always played from start to finish, he said, “because

it stops you dead in your tracks.” The album also inspired him to

RIGHT: A shot of the Radio Luxembourg studio. Radio Luxembourg was responsible for bringing

rock ’n’ roll to British teenagers back in the days when the BBC didn’t make it available

on the national airwaves.

Barrett joined Waters at the school two years later. He never

seemed to hate the place as much as Waters did, although he had

frequent disciplinary problems over his uniform and in particular

his aversion to shoe laces. (Gilmour’s parents sent him to the

nearby fee-paying Perse School instead.)

Despite his antipathy toward his teachers, Waters took an

active interest in sport. He was a member of the school rugby

team—alongside Storm Thorgerson, who would later design the

artwork for many of Pink Floyd’s albums—and the cricket team,

in which he played alongside Bob Klose, who would become part

of an embryonic Pink Floyd line-up a few years later. Waters had a

sense of adventure, too, as he showed when he went hitchhiking

around the country at the age of 13. More incongruously, he joined

the local cadet force and held a position of command for a time—

until his charges rebelled against his dictatorial manner and beat

him up. Waters’s response was to hand in his uniform, whereupon

he was given a dishonorable discharge. He subsequently joined

the Campaign for Nuclear Disarmament and became the chairman

of the local youth branch.

The arrival of rock’n’roll in the mid 1950s, spearheaded by

Bill Haley and the Comets’ “Rock Around the Clock,” became

a rallying point for any teenage rebel, with or without a cause.

Haley’s was the first record David Gilmour bought, a brittle 78 rpm

disc that got broken when somebody sat on it. Barrett’s musical

epiphany was Lonnie Donegan’s “Rock Island Line”; Waters’s was

Gene Vincent’s “Be-Bop-a-Lula.”

Rock’n’roll was hard to find on the radio. The BBC, which had

a monopoly on the British airwaves, had yet to acknowledge the

existence of teenagers, who instead tuned their cheap transistor

radios to Radio Luxembourg, a commercial station beamed to-

ward Britain in crackling AM frequencies from the tiny European

principality. Listening was often a clandestine affair, carried

out under the covers, late at night, when the best American

rock’n’roll was played. It was the entry point to an alternative

cultural experience. Converts would gather in coffee bars to

exchange news on the latest Eddie Cochran single or cram into

one of the listening booths at Millers Music Shop in the center of

Cambridge. Both Barrett and Gilmour bought their first acoustic

guitars at Millers at the age of 14, but while Barrett was happy

to strum the first two or three chords he could master and then

let his imagination take over, Gilmour learned to play from Pete

Seeger’s instructional book-and-record set. He would listen

to records that interested him, trying to decipher the guitar

parts, displaying the meticulous attention to detail that would

characterize his career.

Waters declined to buy a guitar. Instead, as soon as he was

old enough, he bought a 1946 vintage Francis-Barnet motorbike.

His new friend on the pillion seat was Barrett. “We became close

ABOVE: The front window of Miller’s Music Centre in Cambridge, England. Both Barrett and Gilmour bought their first acoustic guitars here.

PINK_FLOYD_FIN_CH1_006-015.indd 10-11 04/07/2013 13:39

13FIRST BRICKS

duo. Before long, Waters and Noble decided to expand their line-

up—and where better to start than with Waters’s new friends,

Mason and Wright. By the summer of 1963 they had become

Sigma 6, which for a while also included Wright’s girlfriend (and

later wife) Juliette Gale on backing vocals. The line-up was as

fluid as the name, which changed first to the Abdabs and then to

the Screaming Abdabs (a British slang term for a fit of anger) over

the course of the next year. They played a steady diet of American

rhythm and blues (much of it having originally been released on

Chicago’s Chess label), plus an elongated version of John Lee

Hooker’s boogie classic “Crawling King Snake.” At one point they

rehearsed a bunch of songs written by an aspiring songwriter called

Ken Chapman, who also managed the group briefly. But when a

music publisher rejected the songs, the band’s impetus to play

together—which had peaked with the publication of a small article

in the Regent Street Polytechnic College student magazine—

began to ebb away. For now, Waters, Wright, and Mason remained

a functioning musical unit in need of a singer and a guitarist.

Back in Cambridge, Barrett was enjoying his heyday on the

local scene, becoming known as “Syd the Beat” on account of

his tight jeans and Chelsea boots. He’d been joined at Cambridge

Technical College by Gilmour, and they’d spend hours playing

together, with Bob Klose in tow, smoking a little hashish and

trying to work out the Keith Richards licks on early Rolling Stones

records. Barrett was the least accomplished musician among

them, but he made up for it in other ways. “The thing with Syd

was that his guitar wasn’t his strongest feature,” Gilmour recalled.

“His style was very stiff. I always thought I was the better guitar

player. But he was very clever, very intelligent, an artist in every

way. And he had a frightening talent when it came to words. They

just used to pour out.” One early outpouring that stuck was the

jaunty, nonsense-rhyming “Effervescing Elephant,” a song that

would later show up on his second solo album, Barrett.

Gilmour and Barrett each joined several bands, although

strangely they never did so together. It generally went like this:

one would join a band, and after a few months some of the band

members would quit to form a new band, bringing in other guys

from other bands, who would then quit to form a new band—and

so it went on. That was how Gilmour ended up in Jokers Wild,

the most professional of the Cambridge bands, whose Beach Boys

and Four Seasons covers—plus Gilmour’s rendition of Wilson

Pickett’s “In the Midnight Hour”—were well received on the local

scene, resulting in a flourishing gig list.

Barrett’s bands never reached that level, but he wasn’t too

bothered. He’d set his mind on attending Camberwell College of

Art in London, even forgoing a ticket to see the Beatles at the

Cambridge Regal in November 1963 so that he could attend an

interview on the same day. Borrowing his girlfriend’s father’s

TOP: Syd Barrett in 1964 performing in Those Without circa 1963–1964.

ABOVE: Ticket stub to Those Without on June 16, 1963.

add trombone and saxophone to his instrumental repertoire.

He’d decided to study architecture on the advice of a teacher

but was already showing ambivalence to that field by the time

he met Waters.

Nicholas Berkeley Mason was born on January 27, 1944, in

Birmingham. When he was two, the Mason family—which included

Nick and three sisters—moved to fashionable Hampstead in north

London after his father landed a job as a filmmaker for Shell

Oil. They lived on Downshire Hill, an attractive street lined with

Regency houses made famous by a group of artists, among them

Stanley Spencer and Mark Gertler, in the 1920s and 1930s. Mason’s

father made films about motor sports and collected vintage cars

(a hobby his son would later pursue with equal fervor), while

Nick attended the enlightened co-educational Frensham Heights

private school in Surrey and got his first drum kit at the age of 12,

having failed to master piano or violin. He played in the school’s

Dixieland jazz band for a while before starting to listen to Radio

Luxembourg, which prompted him to buy a 78 rpm single of Bill

Haley’s “See You Later Alligator,” followed by Elvis Presley’s Rock

’n’ Roll album. His first band, the Hotrods, didn’t get much further

than a group photo and several versions of Duane Eddy’s “Peter

Gunn,” recorded to Mason’s reel-to-reel tape machine. At Regent

Street Polytechnic College, he was the most committed of the

three architecture students who would go on to form Pink Floyd,

although he still kept his drum kit set up in his room, just in case.

The year 1963 was a watershed in British pop as the Beatles shot

to national stardom, leaving a trail of chirpy young beat groups in

their wake. The buzz across the music scene was palpable; there

was a sense that this was the beginning of something important,

beyond the media-created burst of Beatlemania.

It certainly seemed the right time to be in a band rather than a

12 PINK FLOYD: BEHIND THE WALL

ABOVE: A painting from Syd Barrett in 1964. It was reported that Syd immersed himself in painting and music when his father died in 1961, and he was accepted by the Camberwell College of Art in London just a few years later.

ABOVE: Looking up at Regent Street Polytechnic College in London, where Roger Waters met Nick Mason and Richard Wright in 1962.

“…HE WAS VERY CLEVER, VERY INTELLIGENT, AN ARTIST IN EVERY WAY. AND HE HAD A FRIGHTENING TALENT WHEN IT CAME TO WORDS…” —DAVID GILMOUR (ON SYD BARRETT)

PINK_FLOYD_FIN_CH1_006-015.indd 12-13 04/07/2013 13:39

13FIRST BRICKS

duo. Before long, Waters and Noble decided to expand their line-

up—and where better to start than with Waters’s new friends,

Mason and Wright. By the summer of 1963 they had become

Sigma 6, which for a while also included Wright’s girlfriend (and

later wife) Juliette Gale on backing vocals. The line-up was as

fluid as the name, which changed first to the Abdabs and then to

the Screaming Abdabs (a British slang term for a fit of anger) over

the course of the next year. They played a steady diet of American

rhythm and blues (much of it having originally been released on

Chicago’s Chess label), plus an elongated version of John Lee

Hooker’s boogie classic “Crawling King Snake.” At one point they

rehearsed a bunch of songs written by an aspiring songwriter called

Ken Chapman, who also managed the group briefly. But when a

music publisher rejected the songs, the band’s impetus to play

together—which had peaked with the publication of a small article

in the Regent Street Polytechnic College student magazine—

began to ebb away. For now, Waters, Wright, and Mason remained

a functioning musical unit in need of a singer and a guitarist.

Back in Cambridge, Barrett was enjoying his heyday on the

local scene, becoming known as “Syd the Beat” on account of

his tight jeans and Chelsea boots. He’d been joined at Cambridge

Technical College by Gilmour, and they’d spend hours playing

together, with Bob Klose in tow, smoking a little hashish and

trying to work out the Keith Richards licks on early Rolling Stones

records. Barrett was the least accomplished musician among

them, but he made up for it in other ways. “The thing with Syd

was that his guitar wasn’t his strongest feature,” Gilmour recalled.

“His style was very stiff. I always thought I was the better guitar

player. But he was very clever, very intelligent, an artist in every

way. And he had a frightening talent when it came to words. They

just used to pour out.” One early outpouring that stuck was the

jaunty, nonsense-rhyming “Effervescing Elephant,” a song that

would later show up on his second solo album, Barrett.

Gilmour and Barrett each joined several bands, although

strangely they never did so together. It generally went like this:

one would join a band, and after a few months some of the band

members would quit to form a new band, bringing in other guys

from other bands, who would then quit to form a new band—and

so it went on. That was how Gilmour ended up in Jokers Wild,

the most professional of the Cambridge bands, whose Beach Boys

and Four Seasons covers—plus Gilmour’s rendition of Wilson

Pickett’s “In the Midnight Hour”—were well received on the local

scene, resulting in a flourishing gig list.

Barrett’s bands never reached that level, but he wasn’t too

bothered. He’d set his mind on attending Camberwell College of

Art in London, even forgoing a ticket to see the Beatles at the

Cambridge Regal in November 1963 so that he could attend an

interview on the same day. Borrowing his girlfriend’s father’s

TOP: Syd Barrett in 1964 performing in Those Without circa 1963–1964.

ABOVE: Ticket stub to Those Without on June 16, 1963.

add trombone and saxophone to his instrumental repertoire.

He’d decided to study architecture on the advice of a teacher

but was already showing ambivalence to that field by the time

he met Waters.

Nicholas Berkeley Mason was born on January 27, 1944, in

Birmingham. When he was two, the Mason family—which included

Nick and three sisters—moved to fashionable Hampstead in north

London after his father landed a job as a filmmaker for Shell

Oil. They lived on Downshire Hill, an attractive street lined with

Regency houses made famous by a group of artists, among them

Stanley Spencer and Mark Gertler, in the 1920s and 1930s. Mason’s

father made films about motor sports and collected vintage cars

(a hobby his son would later pursue with equal fervor), while

Nick attended the enlightened co-educational Frensham Heights

private school in Surrey and got his first drum kit at the age of 12,

having failed to master piano or violin. He played in the school’s

Dixieland jazz band for a while before starting to listen to Radio

Luxembourg, which prompted him to buy a 78 rpm single of Bill

Haley’s “See You Later Alligator,” followed by Elvis Presley’s Rock

’n’ Roll album. His first band, the Hotrods, didn’t get much further

than a group photo and several versions of Duane Eddy’s “Peter

Gunn,” recorded to Mason’s reel-to-reel tape machine. At Regent

Street Polytechnic College, he was the most committed of the

three architecture students who would go on to form Pink Floyd,

although he still kept his drum kit set up in his room, just in case.

The year 1963 was a watershed in British pop as the Beatles shot

to national stardom, leaving a trail of chirpy young beat groups in

their wake. The buzz across the music scene was palpable; there

was a sense that this was the beginning of something important,

beyond the media-created burst of Beatlemania.

It certainly seemed the right time to be in a band rather than a

12 PINK FLOYD: BEHIND THE WALL

ABOVE: A painting from Syd Barrett in 1964. It was reported that Syd immersed himself in painting and music when his father died in 1961, and he was accepted by the Camberwell College of Art in London just a few years later.

ABOVE: Looking up at Regent Street Polytechnic College in London, where Roger Waters met Nick Mason and Richard Wright in 1962.

“…HE WAS VERY CLEVER, VERY INTELLIGENT, AN ARTIST IN EVERY WAY. AND HE HAD A FRIGHTENING TALENT WHEN IT CAME TO WORDS…” —DAVID GILMOUR (ON SYD BARRETT)

PINK_FLOYD_FIN_CH1_006-015.indd 12-13 04/07/2013 13:39

15FIRST BRICKS

shoes—with laces—was another sign of his determination. And

it worked. Barrett moved to London in the summer of 1964, rent-

ing a flat off Tottenham Court Road in a less than salubrious part

of town, not far from where Klose now lived. The two friends

promptly found Waters living with Mason in a large, rundown

house in Highgate, north London.

Waters and Mason’s landlord was Mike Leonard, a lecturer at

the Polytechnic who had also recently set up a sound-and-light

department at the nearby Hornsey College of Art. Leonard used

projectors and light machines to create all manner of special

effects—gadgets Waters in particular was very impressed by. Leo-

nard also showed an interest in the Screaming Abdabs (or what-

ever they were called that week) and let them rehearse at the

house, much to the annoyance of the neighbors. With Wright on

an extended holiday in Greece, having been kicked out of the Poly-

technic College, Leonard moved in on keyboards, and the band

even performed as Leonard’s Lodgers a couple of times—until the

others decided he was too old to join their band permanently.

The house in Stanhope Gardens, west London, is where Pink

Floyd really came together, although it took them a while. Barrett

was focused on settling into his art course, so it was Klose who be-

gan rehearsing with the band. It turned out that Klose could really

play guitar—rather than just strum a few chords—and the group

quickly restructured around him, with Waters moving to bass. Klose

also brought in a new singer, another Cambridge associate named

Chris Dennis, and the band took on another new name, the Tea Set.

Dennis’s quirky sense of onstage humor did not sit easily with

the band’s rambling R&B style, however, and when Barrett escaped

his seedy surroundings, moved up to Stanhope Road, and started

hanging around at rehearsals, Dennis was dropped. The returning

Wright quickly struck up a rapport with Barrett, their jazzy improvi-

sations bringing a whole new dynamic to the band. Barrett was also

coming up with some new songs—“Butterfly,” “Remember Me,”

and a quaint ode to the burgeoning pot culture entitled “Let’s Roll

Another One”—but he still expressed doubts about what he could

contribute to the band. In a letter to his Cambridge girlfriend, he

said he was thinking of asking Gilmour to take his place in the band.

Part of the problem was that he didn’t gel musically with the more

straight and structured Klose.

Thankfully, Barrett persevered, and the gigs started trickling

in: a few pub dates followed by a support slot at a Polytechnic

College dance headlined by the Tridents, featuring a young Jeff

Beck, who was about to

replace Eric Clapton in the

Yardbirds. They were grad-

ually learning about setting

up and onstage presen-

tation, and over Christmas

1964 they demoed four

songs—three Barrett orig-

inals and a cover of Slim

Harpo’s “I’m a King Bee”—

which they pressed up as

seven-inch acetate “test”

records to play to anyone

who might give them a gig.

Barrett’s other contri-

bution was to provide the

band with yet another

name after they turned up

to a gig only to find ano-

ther Tea Set on the bill. He

spliced the names of two

obscure Carolina blues-

men in his record collection—Pink Anderson and Floyd Council

—and came up with Pink Floyd. At first, not wanting to appear

too freaky, they called themselves the Pink Floyd Blues Band.

Then, when Klose quit in the summer of 1965 after failing his

first-year exams, taking much of the blues element with him,

Messrs Barrett, Wright, Waters, and Mason soldiered on as the

Pink Floyd Sound.

During that summer, on a trip back to Cambridge, a friend

shot some footage of Barrett after he’d taken magic mushrooms

(some of which appeared on DVD years later as Syd’s First Trip).

Barrett also drove down to the South of France with his old school

friends, Storm Thorgerson and David Gilmour, where the three of

them would busk for their supper.

A couple of months later, the Pink Floyd Sound played at Thorg-

erson’s engagement party, alongside Joker’s Wild and a then-

unknown American folk singer named Paul Simon. Later that year

they entered two beat group contests in London—only to discover

that both were due to take place on the same evening. They passed

on one, lost the other, and were back to feeding on scraps. Fortun-

ately, something was stirring underground.

14 PINK FLOYD: BEHIND THE WALL

ABOVE: An early shot of Pink Floyd. From left to right: Richard Wright, Roger Waters, Nick Mason, and Syd Barrett.

ABOVE: The cover of Syd Barrett’s First Trip. During the summer of 1965, a friend shot some footage of Barrett taking magic mushrooms, and the film ended up on DVD years later.

RIGHT: An early group shot of Pink Floyd. From left to right: Syd Barrett, Nick Mason, Roger Waters, Bob Klose, and Richard Wright.

FAR RIGHT: A very young David Gilmour on the far left performing in the blues-rock band Joker’s Wild alongside Dave Altham, John Gordon, and Tony Sainty.

PINK_FLOYD_FIN_CH1_006-015.indd 14-15 04/07/2013 13:39

15FIRST BRICKS

shoes—with laces—was another sign of his determination. And

it worked. Barrett moved to London in the summer of 1964, rent-

ing a flat off Tottenham Court Road in a less than salubrious part

of town, not far from where Klose now lived. The two friends

promptly found Waters living with Mason in a large, rundown

house in Highgate, north London.

Waters and Mason’s landlord was Mike Leonard, a lecturer at

the Polytechnic who had also recently set up a sound-and-light

department at the nearby Hornsey College of Art. Leonard used

projectors and light machines to create all manner of special

effects—gadgets Waters in particular was very impressed by. Leo-

nard also showed an interest in the Screaming Abdabs (or what-

ever they were called that week) and let them rehearse at the

house, much to the annoyance of the neighbors. With Wright on

an extended holiday in Greece, having been kicked out of the Poly-

technic College, Leonard moved in on keyboards, and the band

even performed as Leonard’s Lodgers a couple of times—until the

others decided he was too old to join their band permanently.

The house in Stanhope Gardens, west London, is where Pink

Floyd really came together, although it took them a while. Barrett

was focused on settling into his art course, so it was Klose who be-

gan rehearsing with the band. It turned out that Klose could really

play guitar—rather than just strum a few chords—and the group

quickly restructured around him, with Waters moving to bass. Klose

also brought in a new singer, another Cambridge associate named

Chris Dennis, and the band took on another new name, the Tea Set.

Dennis’s quirky sense of onstage humor did not sit easily with

the band’s rambling R&B style, however, and when Barrett escaped

his seedy surroundings, moved up to Stanhope Road, and started

hanging around at rehearsals, Dennis was dropped. The returning

Wright quickly struck up a rapport with Barrett, their jazzy improvi-

sations bringing a whole new dynamic to the band. Barrett was also

coming up with some new songs—“Butterfly,” “Remember Me,”

and a quaint ode to the burgeoning pot culture entitled “Let’s Roll

Another One”—but he still expressed doubts about what he could

contribute to the band. In a letter to his Cambridge girlfriend, he

said he was thinking of asking Gilmour to take his place in the band.

Part of the problem was that he didn’t gel musically with the more

straight and structured Klose.

Thankfully, Barrett persevered, and the gigs started trickling

in: a few pub dates followed by a support slot at a Polytechnic

College dance headlined by the Tridents, featuring a young Jeff

Beck, who was about to

replace Eric Clapton in the

Yardbirds. They were grad-

ually learning about setting

up and onstage presen-

tation, and over Christmas

1964 they demoed four

songs—three Barrett orig-

inals and a cover of Slim

Harpo’s “I’m a King Bee”—

which they pressed up as

seven-inch acetate “test”

records to play to anyone

who might give them a gig.

Barrett’s other contri-

bution was to provide the

band with yet another

name after they turned up

to a gig only to find ano-

ther Tea Set on the bill. He

spliced the names of two

obscure Carolina blues-

men in his record collection—Pink Anderson and Floyd Council

—and came up with Pink Floyd. At first, not wanting to appear

too freaky, they called themselves the Pink Floyd Blues Band.

Then, when Klose quit in the summer of 1965 after failing his

first-year exams, taking much of the blues element with him,

Messrs Barrett, Wright, Waters, and Mason soldiered on as the

Pink Floyd Sound.

During that summer, on a trip back to Cambridge, a friend

shot some footage of Barrett after he’d taken magic mushrooms

(some of which appeared on DVD years later as Syd’s First Trip).

Barrett also drove down to the South of France with his old school

friends, Storm Thorgerson and David Gilmour, where the three of

them would busk for their supper.

A couple of months later, the Pink Floyd Sound played at Thorg-

erson’s engagement party, alongside Joker’s Wild and a then-

unknown American folk singer named Paul Simon. Later that year

they entered two beat group contests in London—only to discover

that both were due to take place on the same evening. They passed

on one, lost the other, and were back to feeding on scraps. Fortun-

ately, something was stirring underground.

14 PINK FLOYD: BEHIND THE WALL

ABOVE: An early shot of Pink Floyd. From left to right: Richard Wright, Roger Waters, Nick Mason, and Syd Barrett.

ABOVE: The cover of Syd Barrett’s First Trip. During the summer of 1965, a friend shot some footage of Barrett taking magic mushrooms, and the film ended up on DVD years later.

RIGHT: An early group shot of Pink Floyd. From left to right: Syd Barrett, Nick Mason, Roger Waters, Bob Klose, and Richard Wright.

FAR RIGHT: A very young David Gilmour on the far left performing in the blues-rock band Joker’s Wild alongside Dave Altham, John Gordon, and Tony Sainty.

PINK_FLOYD_FIN_CH1_006-015.indd 14-15 04/07/2013 13:39

236 237INDEX

Page numbers in italics indicate photographs.

Abbey Road Studios 26, 50, 54, 62, 64, 68, 80, 83, 85, 104, 108, 113, 194, 224

Abdabs 13About Face (Gilmour) 158, 158, 163, 220, 229Acer Arena, Sydney, Waters’ solo performance at,

2007 201Adams, Douglas 188Ahoy, Rotterdam: live performance at, 1971 62 live performance at, 1977 117, 199Air Studios 64“Alan’s Psychedelic Breakfast” (Pink Floyd) 57, 226Aldiss, John 56Alexandra Palace, London 28, 29, 32Algie (inflatable pig) 115, 116, 121, 168All Saints Hall, London 19, 22 Altham, Dave 14American Bandstand 35AMM 18Amsterdam Rock Circus, live performance at, 1972

80Amused to Death (Waters) 180–181, 186, 186, 194,

222Anger, Kenneth 22Animal Farm (Orwell) 113–114, 113Animals (Pink Floyd) 92, 113, 114, 115, 116, 116, 117,

119, 120, 122, 123, 138, 212, 215, 225, 227, 229Animals tour, 1977 see In the Flesh Tour“Another Brick in the Wall Part 2” (Pink Floyd) 132,

132, 135, 138, 154, 156, 195, 196, 217, 223, 228Antonioni, Michelangelo 22, 49, 49Apollo 11 48Appice, Carmine 168“Apples and Oranges” (Barrett) 33, 35, 38, 39, 217“Arnold Layne” (Barrett) 22, 24, 26, 26, 30–31, 169,

217“Arnold Layne” (Gilmour feat. Bowie and Wright)

200, 200

“Astronomy Domine” (Barrett) 48, 218Atom Heart Mother (album) (Pink Floyd) 9, 54, 56,

57, 58–59, 59, 62, 66, 187, 195, 214, 225–26“Atom Heart Mother” (single) (Pink Floyd) 44, 54,

56, 57, 58, 59, 64

“Baby Lemonade” (Barrett) 50Barrett (Barrett) 13, 50, 219Barrett, Dr. Arthur 8Barrett, Rose 9Barrett, Syd 8, 9 artistry of 13 childhood 8 death 204 drug taking 11, 22, 30–31, 35, 50 education 10, 11, 13 father dies 11 first guitars 10, 11 first record bought 10 forced out of Pink Floyd 39, 42, 43 guitar playing 13 joins first band 11 life after Pink Floyd 42, 50–51, 104, 108 mental condition 30–39 painting 8, 11, 13, 13, 22, 51 Radio 1 sessions 50, 219 “Shine on You Crazy Diamond” and 104, 108 solo gigs 50 solo recordings 13, 50, 51, 219 see also under

individual recording title Syd Barrett’s First Trip 15, 15 turns up at Pink Floyd gigs 42 see also under individual album and song title Bath Festival 1970 57Battersea Power Station 115, 116BBC 10, 48, 50, 57Beatles 12, 13, 18, 32, 87Beck, Jeff 15, 38–39, 186Belloc, Hillaire 22Birmingham’s Mothers Club, live performance at,

1969 48

Blackhill Enterprises 19, 42, 45, 103Blade Runner (movie) 93Bley, Carla 154, 154Blow Up 22, 49“Bob Dylan’s Blues” (Barrett) 51The Body 54Boston, Massachusetts, live performance at, 1971

66–67, 69Bowie, David 129, 200Boyd, Joe 23, 24, 26, 31“Brain Damage” (Waters) 72“Breathe” (Pink Floyd) 92, 124, 196Brickman, Mark 187, 188, 201Britannia Row Productions 113, 129, 132, 133, 135,

157, 158, 163, 187Burdon, Eric 22Burroughs, William 22Bush, Kate 102, 103“Butterfly” (Barrett) 15

Ça Ira (Waters) 181, 222Cambridge 7, 8, 8, 15, 19, 22, 30, 43, 45, 50, 51,

171Cambridge Technical College 11, 13Cambridgeshire High School for Boys 9, 10, 11“Candy and a Currant Bun” (“Let’s Roll Another

One”) (Barrett) 15, 24, 26Capitol Records 33, 35, 58, 66, 90, 96, 154“Careful with That Axe, Eugene” (Pink Floyd) 42,

48, 49, 68Carin, Jon 166, 171, 196, 200Castalia Institute, Milbrook, New York 19CBS Records 90, 133, 135, 154, 160, 163, 166, 167Chapman, Ken 13Cheetah Club, Los Angeles, live performance at,

1967 35Chelsea Hotel 45Christie, Carolyn 129, 186Clapton, Eric 15, 160A Clockwork Orange (movie) 59Cochran, Eddie 10, 11

A Collection of Great Dance Songs (Pink Floyd) 154, 154, 216

Collins, Mel 128Columbia Records 48“Comfortably Numb” (Pink Floyd) 124, 132, 135,

140, 179, 200, 208Concert for Sandy Relief 208Contact (movie) 93Copenhagen, live performance at, 1970 62Corgan, Billy 194Cornish, Pete 124“Corporal Clegg” (Waters) 43“Crawling King Snake” (John Lee Hooker) 13Crosby, David 200Crystal Palace Garden Party, 1971 64, 64“Cymbaline” (Pink Floyd) 46

Damned 127, 128, 129, 129“Dark Globe” (Barrett) 50Dark Side of the Moon (Pink Floyd) 44, 49, 74,

80–81, 83, 84–85, 86, 86, 90, 92, 96, 98, 104, 107, 119, 132, 168, 187, 189, 194, 200–201, 202–203, 204, 212, 213, 215, 226–227

Dark Side of the Moon, Waters’ solo tour, 2006–2008 200–201, 201

Dave Gilmour Signature Stratocaster 124David Gilmour (Gilmour) 128, 128, 220Deep End band 163Deep Purple 59The Delicate Sound of Thunder (Pink Floyd) 178,

179, 215, 218Dennis, Chris 15Discovery (Pink Floyd) 209The Division Bell (Pink Floyd) 187–189, 187, 188,

189, 190, 190, 215, 229The Division Bell, tour, 1994 187–190, 189, 190Dobro 160“Dogs” (“You Gotta Be Crazy”) (Waters) 98, 113,

114, 194“Dominoes” (Barrett) 50Donegan, Lonnie 10Driscoll, Jerry 85Driving Force 163

“Each Small Candle” (Waters) 195Earls Court: The Division Bell tour, 1994 190 Shelter benefit concert at, 1973 90, 91 The Wall tour at, 1980 142–143, 144–145, 146–147Echoes (Pink Floyd) 194, 216“Echoes” (Pink Floyd) 44, 64, 68, 93Eclipse (working title for Dark Side of the Moon)

74, 81Edwards, Bernard 132“Effervescing Elephant” (Barrett) 13Elektra Records 23, 24

Emerson Lake & Palmer 113EMI 24, 26, 42, 43, 45, 48, 50, 51, 58, 62, 113, 163,

166, 167Empire Pool, Wembley, live performance at, 1974

98Evans, Sean 206, 208Everly Brothers 11Ezrin, Bob 129, 132, 133, 135, 138, 157, 158, 167, 168,

169, 187, 229

Faces 64Faithfull, Marianne 22Fantasia (movie) 93Farnborough Technical College, live performance

at, 1971 62“Fat Old Sun” (Gilmour) 9, 57, 195“Fearless” (Gilmour–Waters) 65Fender 124Fenn, Rick 163Ferry, Bryan 162, 163, 166Filmore West and Winterland The Final Cut (Pink Floyd) 8, 156–157, 158, 160,

169, 215, 228First 3 Singles (Pink Floyd) 22Fisher, Mark 107, 138, 140, 181, 187, 205–206A Foot in the Door (Pink Floyd) 209, 21614-Hour Technicolor Dream 28, 28

Games for May concept show, 1967 28, 28, 29, 30, 30, 31, 51

“Games for May” (Barrett) 30Geesin, Ron 54, 54, 56, 57Geldof, Bob 150, 151, 152–153, 156, 196Geoff Mott and the Mottoes 11“Gigolo Aunt” (Barrett) 50Gilmour, David 8, 15, 71 on “Atom Heart Mother” 54 Barrett and 8, 12, 13, 15, 30–31, 42, 43, 50,

108 Barrett solo recordings and 50 birth and childhood 8–9, 10 Cambridge Technical College 13 CBE 196 Dark Side of the Moon and 81, 90, 92, 93, 212 discography 220 education 10 equipment 124, 124, 125 fame 194 The Final Cut and 156, 157 first guitar 10 first record bought 10 joins Pink Floyd 38–39, 42–43 Jokers Wild 13, 14, 30, 128, 140 Live Aid and 162, 163 Live 8 and 196–197, 199, 198, 199 love life/marriages 59, 104, 180, 186, 187

Momentary Lapse of Reason and 166, 167, 168, 169, 171

More and 46 on Norton Warburg and business failings of Pink

Floyd 132–133 on Pink Floyd as a band of seekers 104 Pop Quiz 154 response to criticism 102 right to name “Pink Floyd” 173 on “A Saucerful of Secrets” 44 Sex Pistols, on 113 solo work 128, 128, 133, 158, 158, 159, 160, 195,

200, 200, 204, 204 see also under individual recording title songwriting see under individual song title Soyuz TM–7 and 179 split of Pink Floyd and 160, 163, 166, 167 support for other artists 103 The Wall and 129, 132, 135, 138, 140 Waters’ Wall tour and 208 Wright’s exit from Pink Floyd and 133, 135Glastonbury Festival, Waters’ solo performance

at, 2002 192–193, 195 “Golden Hair” (Barrett) 50Gordon, John 14“The Grand Vizier’s Garden Party” (Mason) 48“Grantchester Meadows” (Waters) 9, 46, 57“Great Gig in the Sky” (Wright) 74, 81, 92, 124Green (Hillage) 129“Green Is the Colour” (Pink Floyd) 46Griffiths, Nick 135Guthrie, James 157

Hammersmith Odeon, live performance at, 1984 148–149

Harper, Roy 102, 104, 128Harrison, George 28, 32Harvest Records 48, 50“Have a Cigar” (Waters) 104, 108, 119, 217“Have You Got It Yet?” (Barrett) 39Havel, Václav 189Henderson, Peter 84Hendrix, Jimi 22, 32, 34, 35“High Hopes” (Pink Floyd) 188, 218Hipgnosis 45, 108, 138, 169The Hit (movie) 160Hiwatt 124Holly, Buddy 11Holophonic Sound 157Holzman, Jac 24Horne, Nicky 127Hornsey College of Art 15Hubert H. Humphrey Metrodome, Minneapolis

173Humble Pie 50Hyde Park, live performance at, 1970 56, 57

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236 237INDEX

Page numbers in italics indicate photographs.

Abbey Road Studios 26, 50, 54, 62, 64, 68, 80, 83, 85, 104, 108, 113, 194, 224

Abdabs 13About Face (Gilmour) 158, 158, 163, 220, 229Acer Arena, Sydney, Waters’ solo performance at,

2007 201Adams, Douglas 188Ahoy, Rotterdam: live performance at, 1971 62 live performance at, 1977 117, 199Air Studios 64“Alan’s Psychedelic Breakfast” (Pink Floyd) 57, 226Aldiss, John 56Alexandra Palace, London 28, 29, 32Algie (inflatable pig) 115, 116, 121, 168All Saints Hall, London 19, 22 Altham, Dave 14American Bandstand 35AMM 18Amsterdam Rock Circus, live performance at, 1972

80Amused to Death (Waters) 180–181, 186, 186, 194,

222Anger, Kenneth 22Animal Farm (Orwell) 113–114, 113Animals (Pink Floyd) 92, 113, 114, 115, 116, 116, 117,

119, 120, 122, 123, 138, 212, 215, 225, 227, 229Animals tour, 1977 see In the Flesh Tour“Another Brick in the Wall Part 2” (Pink Floyd) 132,

132, 135, 138, 154, 156, 195, 196, 217, 223, 228Antonioni, Michelangelo 22, 49, 49Apollo 11 48Appice, Carmine 168“Apples and Oranges” (Barrett) 33, 35, 38, 39, 217“Arnold Layne” (Barrett) 22, 24, 26, 26, 30–31, 169,

217“Arnold Layne” (Gilmour feat. Bowie and Wright)

200, 200

“Astronomy Domine” (Barrett) 48, 218Atom Heart Mother (album) (Pink Floyd) 9, 54, 56,

57, 58–59, 59, 62, 66, 187, 195, 214, 225–26“Atom Heart Mother” (single) (Pink Floyd) 44, 54,

56, 57, 58, 59, 64

“Baby Lemonade” (Barrett) 50Barrett (Barrett) 13, 50, 219Barrett, Dr. Arthur 8Barrett, Rose 9Barrett, Syd 8, 9 artistry of 13 childhood 8 death 204 drug taking 11, 22, 30–31, 35, 50 education 10, 11, 13 father dies 11 first guitars 10, 11 first record bought 10 forced out of Pink Floyd 39, 42, 43 guitar playing 13 joins first band 11 life after Pink Floyd 42, 50–51, 104, 108 mental condition 30–39 painting 8, 11, 13, 13, 22, 51 Radio 1 sessions 50, 219 “Shine on You Crazy Diamond” and 104, 108 solo gigs 50 solo recordings 13, 50, 51, 219 see also under

individual recording title Syd Barrett’s First Trip 15, 15 turns up at Pink Floyd gigs 42 see also under individual album and song title Bath Festival 1970 57Battersea Power Station 115, 116BBC 10, 48, 50, 57Beatles 12, 13, 18, 32, 87Beck, Jeff 15, 38–39, 186Belloc, Hillaire 22Birmingham’s Mothers Club, live performance at,

1969 48

Blackhill Enterprises 19, 42, 45, 103Blade Runner (movie) 93Bley, Carla 154, 154Blow Up 22, 49“Bob Dylan’s Blues” (Barrett) 51The Body 54Boston, Massachusetts, live performance at, 1971

66–67, 69Bowie, David 129, 200Boyd, Joe 23, 24, 26, 31“Brain Damage” (Waters) 72“Breathe” (Pink Floyd) 92, 124, 196Brickman, Mark 187, 188, 201Britannia Row Productions 113, 129, 132, 133, 135,

157, 158, 163, 187Burdon, Eric 22Burroughs, William 22Bush, Kate 102, 103“Butterfly” (Barrett) 15

Ça Ira (Waters) 181, 222Cambridge 7, 8, 8, 15, 19, 22, 30, 43, 45, 50, 51,

171Cambridge Technical College 11, 13Cambridgeshire High School for Boys 9, 10, 11“Candy and a Currant Bun” (“Let’s Roll Another

One”) (Barrett) 15, 24, 26Capitol Records 33, 35, 58, 66, 90, 96, 154“Careful with That Axe, Eugene” (Pink Floyd) 42,

48, 49, 68Carin, Jon 166, 171, 196, 200Castalia Institute, Milbrook, New York 19CBS Records 90, 133, 135, 154, 160, 163, 166, 167Chapman, Ken 13Cheetah Club, Los Angeles, live performance at,

1967 35Chelsea Hotel 45Christie, Carolyn 129, 186Clapton, Eric 15, 160A Clockwork Orange (movie) 59Cochran, Eddie 10, 11

A Collection of Great Dance Songs (Pink Floyd) 154, 154, 216

Collins, Mel 128Columbia Records 48“Comfortably Numb” (Pink Floyd) 124, 132, 135,

140, 179, 200, 208Concert for Sandy Relief 208Contact (movie) 93Copenhagen, live performance at, 1970 62Corgan, Billy 194Cornish, Pete 124“Corporal Clegg” (Waters) 43“Crawling King Snake” (John Lee Hooker) 13Crosby, David 200Crystal Palace Garden Party, 1971 64, 64“Cymbaline” (Pink Floyd) 46

Damned 127, 128, 129, 129“Dark Globe” (Barrett) 50Dark Side of the Moon (Pink Floyd) 44, 49, 74,

80–81, 83, 84–85, 86, 86, 90, 92, 96, 98, 104, 107, 119, 132, 168, 187, 189, 194, 200–201, 202–203, 204, 212, 213, 215, 226–227

Dark Side of the Moon, Waters’ solo tour, 2006–2008 200–201, 201

Dave Gilmour Signature Stratocaster 124David Gilmour (Gilmour) 128, 128, 220Deep End band 163Deep Purple 59The Delicate Sound of Thunder (Pink Floyd) 178,

179, 215, 218Dennis, Chris 15Discovery (Pink Floyd) 209The Division Bell (Pink Floyd) 187–189, 187, 188,

189, 190, 190, 215, 229The Division Bell, tour, 1994 187–190, 189, 190Dobro 160“Dogs” (“You Gotta Be Crazy”) (Waters) 98, 113,

114, 194“Dominoes” (Barrett) 50Donegan, Lonnie 10Driscoll, Jerry 85Driving Force 163

“Each Small Candle” (Waters) 195Earls Court: The Division Bell tour, 1994 190 Shelter benefit concert at, 1973 90, 91 The Wall tour at, 1980 142–143, 144–145, 146–147Echoes (Pink Floyd) 194, 216“Echoes” (Pink Floyd) 44, 64, 68, 93Eclipse (working title for Dark Side of the Moon)

74, 81Edwards, Bernard 132“Effervescing Elephant” (Barrett) 13Elektra Records 23, 24

Emerson Lake & Palmer 113EMI 24, 26, 42, 43, 45, 48, 50, 51, 58, 62, 113, 163,

166, 167Empire Pool, Wembley, live performance at, 1974

98Evans, Sean 206, 208Everly Brothers 11Ezrin, Bob 129, 132, 133, 135, 138, 157, 158, 167, 168,

169, 187, 229

Faces 64Faithfull, Marianne 22Fantasia (movie) 93Farnborough Technical College, live performance

at, 1971 62“Fat Old Sun” (Gilmour) 9, 57, 195“Fearless” (Gilmour–Waters) 65Fender 124Fenn, Rick 163Ferry, Bryan 162, 163, 166Filmore West and Winterland The Final Cut (Pink Floyd) 8, 156–157, 158, 160,

169, 215, 228First 3 Singles (Pink Floyd) 22Fisher, Mark 107, 138, 140, 181, 187, 205–206A Foot in the Door (Pink Floyd) 209, 21614-Hour Technicolor Dream 28, 28

Games for May concept show, 1967 28, 28, 29, 30, 30, 31, 51

“Games for May” (Barrett) 30Geesin, Ron 54, 54, 56, 57Geldof, Bob 150, 151, 152–153, 156, 196Geoff Mott and the Mottoes 11“Gigolo Aunt” (Barrett) 50Gilmour, David 8, 15, 71 on “Atom Heart Mother” 54 Barrett and 8, 12, 13, 15, 30–31, 42, 43, 50,

108 Barrett solo recordings and 50 birth and childhood 8–9, 10 Cambridge Technical College 13 CBE 196 Dark Side of the Moon and 81, 90, 92, 93, 212 discography 220 education 10 equipment 124, 124, 125 fame 194 The Final Cut and 156, 157 first guitar 10 first record bought 10 joins Pink Floyd 38–39, 42–43 Jokers Wild 13, 14, 30, 128, 140 Live Aid and 162, 163 Live 8 and 196–197, 199, 198, 199 love life/marriages 59, 104, 180, 186, 187

Momentary Lapse of Reason and 166, 167, 168, 169, 171

More and 46 on Norton Warburg and business failings of Pink

Floyd 132–133 on Pink Floyd as a band of seekers 104 Pop Quiz 154 response to criticism 102 right to name “Pink Floyd” 173 on “A Saucerful of Secrets” 44 Sex Pistols, on 113 solo work 128, 128, 133, 158, 158, 159, 160, 195,

200, 200, 204, 204 see also under individual recording title songwriting see under individual song title Soyuz TM–7 and 179 split of Pink Floyd and 160, 163, 166, 167 support for other artists 103 The Wall and 129, 132, 135, 138, 140 Waters’ Wall tour and 208 Wright’s exit from Pink Floyd and 133, 135Glastonbury Festival, Waters’ solo performance

at, 2002 192–193, 195 “Golden Hair” (Barrett) 50Gordon, John 14“The Grand Vizier’s Garden Party” (Mason) 48“Grantchester Meadows” (Waters) 9, 46, 57“Great Gig in the Sky” (Wright) 74, 81, 92, 124Green (Hillage) 129“Green Is the Colour” (Pink Floyd) 46Griffiths, Nick 135Guthrie, James 157

Hammersmith Odeon, live performance at, 1984 148–149

Harper, Roy 102, 104, 128Harrison, George 28, 32Harvest Records 48, 50“Have a Cigar” (Waters) 104, 108, 119, 217“Have You Got It Yet?” (Barrett) 39Havel, Václav 189Henderson, Peter 84Hendrix, Jimi 22, 32, 34, 35“High Hopes” (Pink Floyd) 188, 218Hipgnosis 45, 108, 138, 169The Hit (movie) 160Hiwatt 124Holly, Buddy 11Holophonic Sound 157Holzman, Jac 24Horne, Nicky 127Hornsey College of Art 15Hubert H. Humphrey Metrodome, Minneapolis

173Humble Pie 50Hyde Park, live performance at, 1970 56, 57

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“If” (Waters) 56–7, 160“In the Flesh” (Pink Floyd) 195In the Flesh tour, 1977 119, 119, 120, 121, 122, 123,

123, 128, 130, 140, 195In the Flesh Waters’ solo tour, 1999–2003 194–195,

195 Incredible String Band 24International Times 19, 22, 28, 31“Interstellar Overdrive” (Barrett) 22, 24, 26, 27, 45Is There Anybody Out There – the Wall Live 1980–

1981 (Pink Floyd) 216Islington Green School 135“It Would Be So Nice” (Wright) 43, 217

James, Brian 126, 128“Je Crois Entendre Encore” (Bizet) 195Jenner, Peter 18, 19, 22, 24, 32, 33, 35, 42, 50Jethro Tull 45Jimi Hendrix tour, 1967 34, 35, 35, 36–37Jokers Wild 13, 14, 30, 128, 140Jones, Malcolm 50Joplin, Janis 35“Jugband Blues” (Barrett) 32, 33, 43

Kamen, Michael 135, 157, 160KB Hallen, Copenhagen, live performance at, 1971

65Keltner, Jim 168Kenner, Peter 50King, Andrew 18, 19, 24, 32, 33, 35, 42Kinks 18Klose, Bob 10, 11, 13, 15Knebworth Festival, 1975 108, 109, 109, 111Kubrick, Stanley 59

La Carrera Panamericana (Pink Floyd) 186–187, 186

La Vallée (movie) 74, 75Ladd, Jim 168, 169Lear, Edward 22“Learning to Fly” (Pink Floyd) 166, 166, 169, 218Leary, Timothy 19Lennon, John 28, 158, 163Leonard, Mike 15“Let There Be More Light” (Waters) 43, 43, 217Levin, Tony 168Live Aid 162, 163Live 8 196, 196, 197, 198, 199, 204London ’66–’67 (Pink Floyd) 24London Free School 19Los Angeles, live performance at, 1973 88–89Los Angeles Memorial Sports Arena, live

performance at, 1975 105, 107“Love for Levon” concert, 2012 208“Love Song” (Barrett) 50“Lucifer Sam” (Barrett) 22

Lulubelle III 58Lynton, Annette 186

Maben, Adrian 68The Madcap Laughs (Barrett) 50, 51, 219Madison Square Garden, New York, live

performance at, 1977 123Manchester College of Commerce 48Marseilles, France, live performance at, 1972 82, 84Martin, George 24, 64Marvin, Hank 124Mason, Lindy 48Mason, Nick 65 Barrett’s exit from Pink Floyd and 35, 38, 39, 42,

43, 108 birth and childhood 12 Britannia Row and 163 Cambridge Technical College 11 Dark Side of the Moon and 72, 80, 82, 87, 93, 212 Discography 221 Driving Force, appears on 163 drug taking 19 education 11, 12 Final Cut and 156, 157, 158, 229 first band 12 first records 12 on Gilmour joining Pink Floyd 38, 43 Hillage, work with 129 on Pink Floyd’s equipment 113 La Carrera Panamericana and 186–187 on Live at Pompeii 68 Live 8 and 196, 198 marriages 48, 104, 128, 186 Meddle and 226 A Momentary Lapse of Reason and 169, 229 on Pink Floyd method of working 44 produces The Damned 128, 129, 129 produces Wyatt 103 on Pink Floyd record deal 26 Regent Street Polytechnic 13, 15 right to name “Pink Floyd” 173 Rock Bottom, performs on 103 Rock and Roll Hall of Fame and 194 Sigma 6 and 13 solo recordings 154, 154, 162, 163 Soyuz Tm-7 and 179 The Wall and 132, 135, 138, 140, 156 on underground scene 22, 25 Ummagumma and 225 Waters’ exit from Pink Floyd and 133, 163, 166,

168 Waters’ political views and 114 Waters’ The Wall tour and 208 Wright exit from Pink Floyd and 135The Massed Gadgets of Auximenes—More Furious

Madness from the Pink Floyd 48

Masters of Rock (Pink Floyd) 96“Mathilda Mother” (Barrett) 22, 35Max, Arthur 72MC5 50McCartney, Paul 19, 22, 28, 85, 111Meddle (Pink Floyd) 66, 66, 72, 92, 157, 187, 214,

226Medicine Head 81Memorial Fund for Disaster Relief 181Middle Earth, Convent Garden 42Millers Music Shop, Cambridge 10, 11A Momentary Lapse of Reason (Pink Floyd) 167,

168, 169, 171, 171, 179, 215, 229A Momentary Lapse of Reason, tour, 1987–1988

171, 171, 172, 173, 174–175, 176–177, 186“Money” (Pink Floyd) 72, 74, 81, 90, 92, 124, 154,

179, 196, 217Moore, Anthony 168More (soundtrack from the movie) 46, 47, 48, 187,

214Morrison, Bryan 24, 42, 48“Mother” (Pink Floyd) 135, 195Mothers Club, Birmingham 48The Move 32, 35Muggeridge, Malcolm 74“Murder” (Gilmour) 158Music for Pleasure (Damned) 128, 129Music for the Body 54Music in Colour, Commonwealth Institute,

Kensington 23

“The Narrow Way” (Gilmour) 48Nash, Graham 200Nassau Coliseum, New York: Another Lapse tour, 1988 179 The Wall tour, 1980 139, 140, 141New Musical Express 102Newmark, Andy 157Nice 35, 35A Nice Pear (Pink Floyd) 96, 97, 216Nick Mason’s Fictitious Sports (Mason) 154, 221“Nick’s Boogie” (Pink Floyd) 24Noble, Keith 11, 13Noble, Richard 163Nureyev, Rudolf 83

O’List, Davy 35O’Rourke, Steve 42, 98, 123, 162, 163, 186Obscured by Clouds (Pink Floyd) 72, 74, 75, 187,

215Oh, by the Way (Pink Floyd) 201“The Old Vicarage, Granchester” (Brooke) 9Oldfield, Mike 163Olympisch Stadion, Amsterdam, live performance

at, 1972 76–77, 78–79On an Island (Gilmour) 200, 200, 220

“On the Run” (Pink Floyd) 74, 80“One Of These Days” (Pink Floyd) 64–65, 66, 68,

217“One Slip” (Pink Floyd) 169, 218“One Thousand and One Nights” 83Ono, Yoko 28Opel 51, 219“Outside the Wall” (Pink Floyd) 208

Palladino, Pino 158Parker, Alan 150, 150, 156Parry, Dick 196, 200Parsons, Alan 80, 81, 81, 92Pat Boone Show 35Patterson, Floyd 96Peel, John 57The Perry Como Show 35Perse School 10Phang, W.R. 96“Pigs” (“Three Different Ones”) (Waters) 114“Pigs on the Wing (Part I)” (Waters) 114“Pigs on the Wing (Part II)” (Waters) 114“A Pillow of Winds” (Gilmour–Waters) 65Pink Floyd: albums see under individual album title Barrett forced out of 39, 42, 43 discography 214–219 financial affairs 132–133, 138 as a five-piece 39 formation of 8–13 legal right to name 173 name, birth of 15 record deal, first 24, 26 reunion at Live 8 196, 197, 198 Rock and Roll Hall of Fame induction 194 sales 66, 90, 104, 119, 138, 157, 212 songs see under individual song title split 156–157, 158, 163, 166, 167, 168 tours 33, 34, 35, 35, 38, 45, 48, 54, 57, 58, 66, 72,

74, 83, 87, 90, 96, 98, 98, 99, 100–101, 104, 107, 107, 108, 117, 119, 119, 120, 122, 123, 123, 128, 129, 138, 140, 141, 142–147, 168, 169, 171, 171, 173, 174–177, 179, 179, 186, 187, 188, 189, 189, 190, 190 see under individual album, tour and venue name

Wright leaves 133, 135 see also under individual member name

The Pink Floyd and Syd Barrett Story 32, 96, 108Pink Floyd Blues Band 15Pink Floyd Sound 15, 18, 19, 20, 21, 22Pink Floyd: Live at Pompeii (movie) 68, 82, 83, 218Piper at the Gates of Dawn (Pink Floyd) 27, 32, 33,

38, 45, 96, 214, 224“Point Me at the Sky” (Gilmour–Waters) 46, 46,

217Polanski, Roman 83

Polydor Records 24Pop Festival, Rotterdam, 1970 55Porcaro, Jeff 134, 135, 158Povey, Glenn 56“Pow R Toc H” (Barrett) 22Pratt, Guy 171, 187, 200Preisner, Zbigniew 200Price, Jonathan 107Procol Harum 32, 34Profiles (Mason) 162, 163, 221The Pros and Cons of Hitch Hiking (Waters) 129,

158, 159, 160, 163, 171, 221Pulse (Pink Floyd) 92, 190, 191, 216, 218

Quiver 128

Radio K.A.O.S. (Waters) 168–169, 186, 221Radio London 26Radio Luxembourg 10, 10Rainbow Theatre, live performance at, 1972 71, 74Ralphs, Mick 158Regent Street Polytechnic College, London 11, 12,

13, 13, 15Relics (Pink Floyd) 68, 68, 216“Remember a Day” (Wright) 43“Remember Me” (Barrett) 15Remember That Night (Gilmour) 204, 204Remembrance of Things Past (Proust) 83Renwick, Tim 171, 196“Return of the Son of Nothing” (Pink Floyd) 62, 64“Rhamadan” (Barrett) 51Richards, Keith 13Ritchie, Ian 168“Rock Around the Clock” (Haley) 10Rock Bottom (Wyatt) 103Roda-Gil, Étienne 181Rodgers, Nile 132Roeg, Nicholas 160Roland Petit Ballet 83Rolling Stones, The 13–14, 18, 59“Run Like Hell” (Pink Floyd) 130, 132, 179, 217, 218,

223

Sainty, Tony 14Samson, Polly 186, 200Sandall, Robert 22, 81A Saucerful of Secrets (Pink Floyd) 43, 45, 46, 96,

195, 214, 224–225“A Saucerful of Secrets” (Pink Floyd) 43, 44, 45,

48, 68Saville Theatre, London, backstage at, 1967 38Scarfe, Gerald 121, 121, 138, 140, 150, 156, 160, 195,

205, 208Scene, New York 45, 45Schaffner, Nicholas 19Schroeder, Barbet 46, 74

Scott, Tom 168“Scream Thy Last Scream” (Barrett) 33, 43Screaming Abdabs 13, 15“Seamus” (Pink Floyd) 65“See Emily Play” (Barrett) 30, 31, 35, 217“See Saw” (Wright) 43“Set the Controls for the Heart of the Sun”

(Waters) 32, 43, 68, 74, 160, 195“Several Species of Small Furry Animals Gathered

Together in a Cave and Grooving with a Pict” (Waters) 46 Sex Pistols 113Shadows 11, 124 “Sheep” (“Raving and Drooling”) (Waters) 98, 113,

119Shelter benefit concert, Earls Court, London, 1973

90, 91Shine On (Pink Floyd) 186“Shine on You Crazy Diamond” (Pink Floyd) 50, 96,

98, 104, 108, 119, 124Shirley, Jerry 50Shrine Exposition Hall, Los Angeles, live

performance at, 1968 46Sigma 6 13Silver Clef Awards Winners charity show 186Singh, Vic 32Sky Arts 202–203Small Faces 18, 128“Smile” (Gilmour) 195Smith, Norman 26, 33, 43, 44, 48, 54Soft Machine 50, 103Solidarity Movement 200Solider Field Stadium, Chicago, live performance

at, 1977 123Songbook, 1977 (Pink Floyd) 112“Sound and Light Workshop” 19Sound Techniques, Chelsea 24Soyuz TM–7 179Spectrum Theatre, Philadelphia, live performance

at, 1977 123Spontaneous Underground, Marquee Club,

London 18, 18Stade Olympique, Montreal, live performance at,

1977 123Starr, Ringo 28Stars 50Stile, Alan 57“Summer ‘68” (Wright) 56, 57, 217Super Bear Studios, Nice 133

Tailgate Two 11, 13“Take It Back” (Pink Floyd) 188, 218Tea Set 15Ten Years After 45Terrapin (Syd Barrett Appreciation Society fanzine)

50, 51

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238 PINK FLOYD: BEHIND THE WALL 239INDEX

“If” (Waters) 56–7, 160“In the Flesh” (Pink Floyd) 195In the Flesh tour, 1977 119, 119, 120, 121, 122, 123,

123, 128, 130, 140, 195In the Flesh Waters’ solo tour, 1999–2003 194–195,

195 Incredible String Band 24International Times 19, 22, 28, 31“Interstellar Overdrive” (Barrett) 22, 24, 26, 27, 45Is There Anybody Out There – the Wall Live 1980–

1981 (Pink Floyd) 216Islington Green School 135“It Would Be So Nice” (Wright) 43, 217

James, Brian 126, 128“Je Crois Entendre Encore” (Bizet) 195Jenner, Peter 18, 19, 22, 24, 32, 33, 35, 42, 50Jethro Tull 45Jimi Hendrix tour, 1967 34, 35, 35, 36–37Jokers Wild 13, 14, 30, 128, 140Jones, Malcolm 50Joplin, Janis 35“Jugband Blues” (Barrett) 32, 33, 43

Kamen, Michael 135, 157, 160KB Hallen, Copenhagen, live performance at, 1971

65Keltner, Jim 168Kenner, Peter 50King, Andrew 18, 19, 24, 32, 33, 35, 42Kinks 18Klose, Bob 10, 11, 13, 15Knebworth Festival, 1975 108, 109, 109, 111Kubrick, Stanley 59

La Carrera Panamericana (Pink Floyd) 186–187, 186

La Vallée (movie) 74, 75Ladd, Jim 168, 169Lear, Edward 22“Learning to Fly” (Pink Floyd) 166, 166, 169, 218Leary, Timothy 19Lennon, John 28, 158, 163Leonard, Mike 15“Let There Be More Light” (Waters) 43, 43, 217Levin, Tony 168Live Aid 162, 163Live 8 196, 196, 197, 198, 199, 204London ’66–’67 (Pink Floyd) 24London Free School 19Los Angeles, live performance at, 1973 88–89Los Angeles Memorial Sports Arena, live

performance at, 1975 105, 107“Love for Levon” concert, 2012 208“Love Song” (Barrett) 50“Lucifer Sam” (Barrett) 22

Lulubelle III 58Lynton, Annette 186

Maben, Adrian 68The Madcap Laughs (Barrett) 50, 51, 219Madison Square Garden, New York, live

performance at, 1977 123Manchester College of Commerce 48Marseilles, France, live performance at, 1972 82, 84Martin, George 24, 64Marvin, Hank 124Mason, Lindy 48Mason, Nick 65 Barrett’s exit from Pink Floyd and 35, 38, 39, 42,

43, 108 birth and childhood 12 Britannia Row and 163 Cambridge Technical College 11 Dark Side of the Moon and 72, 80, 82, 87, 93, 212 Discography 221 Driving Force, appears on 163 drug taking 19 education 11, 12 Final Cut and 156, 157, 158, 229 first band 12 first records 12 on Gilmour joining Pink Floyd 38, 43 Hillage, work with 129 on Pink Floyd’s equipment 113 La Carrera Panamericana and 186–187 on Live at Pompeii 68 Live 8 and 196, 198 marriages 48, 104, 128, 186 Meddle and 226 A Momentary Lapse of Reason and 169, 229 on Pink Floyd method of working 44 produces The Damned 128, 129, 129 produces Wyatt 103 on Pink Floyd record deal 26 Regent Street Polytechnic 13, 15 right to name “Pink Floyd” 173 Rock Bottom, performs on 103 Rock and Roll Hall of Fame and 194 Sigma 6 and 13 solo recordings 154, 154, 162, 163 Soyuz Tm-7 and 179 The Wall and 132, 135, 138, 140, 156 on underground scene 22, 25 Ummagumma and 225 Waters’ exit from Pink Floyd and 133, 163, 166,

168 Waters’ political views and 114 Waters’ The Wall tour and 208 Wright exit from Pink Floyd and 135The Massed Gadgets of Auximenes—More Furious

Madness from the Pink Floyd 48

Masters of Rock (Pink Floyd) 96“Mathilda Mother” (Barrett) 22, 35Max, Arthur 72MC5 50McCartney, Paul 19, 22, 28, 85, 111Meddle (Pink Floyd) 66, 66, 72, 92, 157, 187, 214,

226Medicine Head 81Memorial Fund for Disaster Relief 181Middle Earth, Convent Garden 42Millers Music Shop, Cambridge 10, 11A Momentary Lapse of Reason (Pink Floyd) 167,

168, 169, 171, 171, 179, 215, 229A Momentary Lapse of Reason, tour, 1987–1988

171, 171, 172, 173, 174–175, 176–177, 186“Money” (Pink Floyd) 72, 74, 81, 90, 92, 124, 154,

179, 196, 217Moore, Anthony 168More (soundtrack from the movie) 46, 47, 48, 187,

214Morrison, Bryan 24, 42, 48“Mother” (Pink Floyd) 135, 195Mothers Club, Birmingham 48The Move 32, 35Muggeridge, Malcolm 74“Murder” (Gilmour) 158Music for Pleasure (Damned) 128, 129Music for the Body 54Music in Colour, Commonwealth Institute,

Kensington 23

“The Narrow Way” (Gilmour) 48Nash, Graham 200Nassau Coliseum, New York: Another Lapse tour, 1988 179 The Wall tour, 1980 139, 140, 141New Musical Express 102Newmark, Andy 157Nice 35, 35A Nice Pear (Pink Floyd) 96, 97, 216Nick Mason’s Fictitious Sports (Mason) 154, 221“Nick’s Boogie” (Pink Floyd) 24Noble, Keith 11, 13Noble, Richard 163Nureyev, Rudolf 83

O’List, Davy 35O’Rourke, Steve 42, 98, 123, 162, 163, 186Obscured by Clouds (Pink Floyd) 72, 74, 75, 187,

215Oh, by the Way (Pink Floyd) 201“The Old Vicarage, Granchester” (Brooke) 9Oldfield, Mike 163Olympisch Stadion, Amsterdam, live performance

at, 1972 76–77, 78–79On an Island (Gilmour) 200, 200, 220

“On the Run” (Pink Floyd) 74, 80“One Of These Days” (Pink Floyd) 64–65, 66, 68,

217“One Slip” (Pink Floyd) 169, 218“One Thousand and One Nights” 83Ono, Yoko 28Opel 51, 219“Outside the Wall” (Pink Floyd) 208

Palladino, Pino 158Parker, Alan 150, 150, 156Parry, Dick 196, 200Parsons, Alan 80, 81, 81, 92Pat Boone Show 35Patterson, Floyd 96Peel, John 57The Perry Como Show 35Perse School 10Phang, W.R. 96“Pigs” (“Three Different Ones”) (Waters) 114“Pigs on the Wing (Part I)” (Waters) 114“Pigs on the Wing (Part II)” (Waters) 114“A Pillow of Winds” (Gilmour–Waters) 65Pink Floyd: albums see under individual album title Barrett forced out of 39, 42, 43 discography 214–219 financial affairs 132–133, 138 as a five-piece 39 formation of 8–13 legal right to name 173 name, birth of 15 record deal, first 24, 26 reunion at Live 8 196, 197, 198 Rock and Roll Hall of Fame induction 194 sales 66, 90, 104, 119, 138, 157, 212 songs see under individual song title split 156–157, 158, 163, 166, 167, 168 tours 33, 34, 35, 35, 38, 45, 48, 54, 57, 58, 66, 72,

74, 83, 87, 90, 96, 98, 98, 99, 100–101, 104, 107, 107, 108, 117, 119, 119, 120, 122, 123, 123, 128, 129, 138, 140, 141, 142–147, 168, 169, 171, 171, 173, 174–177, 179, 179, 186, 187, 188, 189, 189, 190, 190 see under individual album, tour and venue name

Wright leaves 133, 135 see also under individual member name

The Pink Floyd and Syd Barrett Story 32, 96, 108Pink Floyd Blues Band 15Pink Floyd Sound 15, 18, 19, 20, 21, 22Pink Floyd: Live at Pompeii (movie) 68, 82, 83, 218Piper at the Gates of Dawn (Pink Floyd) 27, 32, 33,

38, 45, 96, 214, 224“Point Me at the Sky” (Gilmour–Waters) 46, 46,

217Polanski, Roman 83

Polydor Records 24Pop Festival, Rotterdam, 1970 55Porcaro, Jeff 134, 135, 158Povey, Glenn 56“Pow R Toc H” (Barrett) 22Pratt, Guy 171, 187, 200Preisner, Zbigniew 200Price, Jonathan 107Procol Harum 32, 34Profiles (Mason) 162, 163, 221The Pros and Cons of Hitch Hiking (Waters) 129,

158, 159, 160, 163, 171, 221Pulse (Pink Floyd) 92, 190, 191, 216, 218

Quiver 128

Radio K.A.O.S. (Waters) 168–169, 186, 221Radio London 26Radio Luxembourg 10, 10Rainbow Theatre, live performance at, 1972 71, 74Ralphs, Mick 158Regent Street Polytechnic College, London 11, 12,

13, 13, 15Relics (Pink Floyd) 68, 68, 216“Remember a Day” (Wright) 43“Remember Me” (Barrett) 15Remember That Night (Gilmour) 204, 204Remembrance of Things Past (Proust) 83Renwick, Tim 171, 196“Return of the Son of Nothing” (Pink Floyd) 62, 64“Rhamadan” (Barrett) 51Richards, Keith 13Ritchie, Ian 168“Rock Around the Clock” (Haley) 10Rock Bottom (Wyatt) 103Roda-Gil, Étienne 181Rodgers, Nile 132Roeg, Nicholas 160Roland Petit Ballet 83Rolling Stones, The 13–14, 18, 59“Run Like Hell” (Pink Floyd) 130, 132, 179, 217, 218,

223

Sainty, Tony 14Samson, Polly 186, 200Sandall, Robert 22, 81A Saucerful of Secrets (Pink Floyd) 43, 45, 46, 96,

195, 214, 224–225“A Saucerful of Secrets” (Pink Floyd) 43, 44, 45,

48, 68Saville Theatre, London, backstage at, 1967 38Scarfe, Gerald 121, 121, 138, 140, 150, 156, 160, 195,

205, 208Scene, New York 45, 45Schaffner, Nicholas 19Schroeder, Barbet 46, 74

Scott, Tom 168“Scream Thy Last Scream” (Barrett) 33, 43Screaming Abdabs 13, 15“Seamus” (Pink Floyd) 65“See Emily Play” (Barrett) 30, 31, 35, 217“See Saw” (Wright) 43“Set the Controls for the Heart of the Sun”

(Waters) 32, 43, 68, 74, 160, 195“Several Species of Small Furry Animals Gathered

Together in a Cave and Grooving with a Pict” (Waters) 46 Sex Pistols 113Shadows 11, 124 “Sheep” (“Raving and Drooling”) (Waters) 98, 113,

119Shelter benefit concert, Earls Court, London, 1973

90, 91Shine On (Pink Floyd) 186“Shine on You Crazy Diamond” (Pink Floyd) 50, 96,

98, 104, 108, 119, 124Shirley, Jerry 50Shrine Exposition Hall, Los Angeles, live

performance at, 1968 46Sigma 6 13Silver Clef Awards Winners charity show 186Singh, Vic 32Sky Arts 202–203Small Faces 18, 128“Smile” (Gilmour) 195Smith, Norman 26, 33, 43, 44, 48, 54Soft Machine 50, 103Solidarity Movement 200Solider Field Stadium, Chicago, live performance

at, 1977 123Songbook, 1977 (Pink Floyd) 112“Sound and Light Workshop” 19Sound Techniques, Chelsea 24Soyuz TM–7 179Spectrum Theatre, Philadelphia, live performance

at, 1977 123Spontaneous Underground, Marquee Club,

London 18, 18Stade Olympique, Montreal, live performance at,

1977 123Starr, Ringo 28Stars 50Stile, Alan 57“Summer ‘68” (Wright) 56, 57, 217Super Bear Studios, Nice 133

Tailgate Two 11, 13“Take It Back” (Pink Floyd) 188, 218Tea Set 15Ten Years After 45Terrapin (Syd Barrett Appreciation Society fanzine)

50, 51

PINK_FLOYD_FIN_ENDS_214-240.indd 238-239 04/07/2013 14:20

240 PINK FLOYD: BEHIND THE WALL

“Terrapin” (Barrett) 50, 195Thatcher, Margaret 114“The Thin Ice” (Waters) 169, 195, 206Thomas, Chris 86Thorgerson, Storm 10, 45, 58, 66, 86, 96, 97, 108,

138, 169“The Tide is Turning” (Waters) 181, 223“Time” (Pink Floyd) 74, 80, 92, 217Tonite Let’s All Make Love in London (movie) 24Top of the Pops 26, 30, 31Torry, Clare 81Tower Records 33, 35Townshend, Pete 22, 158, 163Tridents 15“Two Suns in the Sunset” (Waters) 157

UFO Club 20, 21, 22, 23, 24, 28, 31, 42Ummagumma (Pink Floyd) 9, 48, 49, 50, 214, 225Unicorn 103, 128U.S. tours: first, 1967 34, 35 second, 1968 45, 45, 46, 46 1970 58 1971 72 1972 74, 83 1975 105, 106, 107, 107, 108 1977, In the Flesh tour 123, 123 1980, The Wall tour 140 1984/85, Waters’ solo 160, 168–9 1987, A Momentary Lapse of Reason tour 171,

173, 173, 179 1994, The Division Bell tour 188, 189 1999, Waters’ solo tour 194 2006, Gilmour solo 200 2006–2008, Waters’ solo Dark Side of the Moon

tour 201 2010– Waters’ solo The Wall tour 204, 208, 209,

210–211“Us and Them” (Wright) 49, 72, 74, 90, 217

Vedder, Eddie 208“Vegetable Man” (Barrett) 33, 43Venice, live performance at, 1980 180Vincent, Gene 10, 11Vitti, Monica 22

The Wall (album) (Pink Floyd) 8, 9, 129, 132, 133, 135, 138, 139, 140, 141, 142–3, 144–145, 146–147, 150, 151, 152–3, 154, 157, 158, 204, 205, 205, 206, 207, 208, 209, 210–211, 215, 228

The Wall (movie) 150, 151, 152–153, 154, 155, 156, 156The Wall – Live in Berlin (Pink Floyd) 185, 186,

221–222The Wall, tour, 1980 136–7, 138, 139, 140, 141,

142–147

The Wall, Waters’ solo live performance, Berlin, 1990 181–182, 181, 182–183, 184–185, 186

The Wall, Waters’ solo tour of 2010, 204–206, 205, 206, 207, 209, 210–211

Wallis, Gary 171Warburg, Andrew 132–133Warburg, Norton 132–133Ward, Jonathan 138, 140, 181Waters, Eric Fletcher 8, 9Waters, Judy 43Waters, Mary 8Waters, Roger 9 Animals and 104, 113, 114, 116, 121 assumes leadership of Pink Floyd 43 “Atom Heart Mother” and 54, 57 Barrett and 10–11, 35, 38, 39, 42, 43, 50 birth 8 buys first guitar 11 Campaign for Nuclear Disarmament, joins 10 childhood 8, 10–11, 46 criticism of lyrics, response to 102–103 Dark Side of the Moon and 87, 92, 93 Dark Side of the Moon solo tour 200–201, 200,

201, 204 death of father and 8, 154 discography 221–222 drug taking 11, 19 Final Cut and 156–157, 158 first record bought 10 Glastonbury Festival, 2002 192–193, 195 Live 8 and 196, 198, 199 love life/marriages 43, 104, 128, 186 More and 46 Obscured By Clouds and 72, 74 political views 114 Regent Street Polytechnic College, London 11,

12 Saucerful of Secrets and 43 solo work see under individual album and song

titlesplit of Pink Floyd and 133, 156–157, 158, 162, 163,

166, 167, 168, 169, 171, 173 Ummagumma and 48 The Wall (album) and 129, 132, 138, 140 The Wall (live at Berlin Wall) and 181, 181, 182–183,

184–185 The Wall (movie) and 150The Wall (solo tour, 2010–2013) and 204, 205,

205, 206, 207, 208, 209, 210–11 Wright exit from Pink Floyd and 133, 135“Welcome to the Machine” (Waters) 104, 121, 194,

217Wembley Stadium, live performance at, 1988 172,

173Wet Dream (Wright) 128, 129

“When the Tigers Broke Free” (Waters) 154, 155, 218White, Snowy 119, 119, 128, 140White, Timothy 8–9Whitehead, Peter 24Whitehouse, Mary 114The Who 18, 45, 158Wills, Rick 128Wilson, Brian 38Wilson, Peter Wynne 19, 22, 188Wilson, Willie 128, 140Winter tour, 1974 99, 100–101, 102Winwood, Steve 158Wish You Were Here (Pink Floyd) 58, 93, 104, 107,

108, 108, 113, 121, 132, 215, 227“Wish You Were Here” (Pink Floyd) 104, 108, 191,

194Wizard of Oz (movie) 92, 93, 93Works (Pink Floyd) 157Wright, Jamie 135Wright, Juliette 13, 128Wright, Richard 11 Atom Heart Mother and 54, 57, 56 Cambridge Technical College 11 childhood 11 Dark Side of the Moon and 72, 87 death 204 discography 223 Final Cut and 228 joins band 13 leaves Pink Floyd 133, 135, 140, 158 Live 8 196, 204 Live at Pompeii and 83 marriages 32, 128 Momentary Lapse of Reason and 229 More and 46 on early days of band 19 Porgy and Bess (Davis) and 11–12 Regent Street Polytechnic 13 returns to Pink Floyd 166–7, 168, 169, 186–7 Rock and Roll Hall of Fame induction and 194 Sigma 6 and 13 solo albums 128, 128, 133 see also under

individual recording title song writing 49, 72, 81 see also under individual

song title Syd Barrett and 15, 42, 43, 44, 50, 108 UFO Club 20 The Wall and 129, 133, 135, 138, 157 Waters’ political views and 114 Wyatt, Robert 103, 103

Yardbirds 15Yes 113

Zabriskie Point (movie) 49, 72

PINK_FLOYD_FIN_ENDS_214-240.indd 240 04/07/2013 14:20

A division of Book Sales, Inc.276 Fifth Avenue, Suite 206New York, New York 10001

RACE POINT PUBLISHING and the distinctive Race Point Publishing logo are trademarks of Book Sales, Inc.

Race Point Publishing © 2013

All photographs from the publisher’s collection unless otherwise noted on pages 232–5.

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All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted,

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ISBN-13: 978-1-937994-25-9

Library of Congress Cataloging-in-Publication Data

Author: Hugh FielderProject editor: Jeannine Dillon

Designer: Jacqui Caulton Picture research: Tom Seabrooke

Printed in China

10 9 8 7 6 5 4 3 2 1

contents

1 First Bricks 6 2 The Syd Barrett Years 16 3 The Doldrums 40 4 Meddling Through 52 5 Lunar Eclipse 70 6 Postcards from the Edge 94 7 Dog Eat Dog 110 8 Walls and Burning Bridges 126 9 Cut to Pieces 148

10 Lapses and Divisions 164 11 Not Just Another Brick 192

Discography 214 Albums 224 Selected Bibliography 231 Acknowledgments 232 Picture Credits 232 Index 236

PINK_FLOYD_FIN_PRELIMS_001-005.indd 4-5 04/07/2013 13:37