One of the first songs written by Wright. Sold to a liverpuldian's band called Adam, Mike & Tim in 1964. A demo tape by Wright still exists.
Nick Mason:
« Rick wrote a proper song and sold it. He’s written a single before the rest of us were even properly operational »
« The dream is over », Mojo, November 2008
ROOFTOP IN A THUNDERSTORM ROW MISSING THE POINT (1966/Syd Barrett)
Song written by Barrett but apparently not recorded.
PINK THEME (uncredited/1966)
It's possible that this title and the track Pink are the same, but in any case it seems to be an improvisation that the band was used to at the time.
Roger Waters :
« We didn't know many songs so, often, we'd throw chords at each other and improvise on them ... if you can call that improvising .. »
« Roger Waters », You, Novembre 1990.
FLAPDOODLE DEALING (uncredited/1966)
An instrumental often played in the band's early years. However, some experts, such as Rob Chapman (author of the biography "A very Irregular Head"), believe that this title actually refers to a pre-version of Pow R., Toc H. However, it is possible to distinguish that this song and the 1967 title were played together at the October 14, 1966 concert on the setlist put together by the band. In all likelihood, then, they are two different tracks.
Rob Chapman:
«On the subject of Flapdoodle Dealing, this is one of those occasions where I have to own up and admit I can’t remember my source on this matter. I was told years ago that a.) it’s a Waters title and b.) it is in fact an embryonic version of Pow R Toc H. Both seem feasible to me. It doesn’t sound like a Syd title. Syd always had simple song titles and a very unshowy vocabulary.
As a title Flapdoodle Dealing has got that self consciously wacky Waters vibe about it (see also ‘walk with me sydney’ ‘take up thy stethoscope’ and Floyd titles passim)».
« Questions & Answer with Rob Chapman », Syd Barrett Website, 2010
age' track, because it was recorded in a single take in Syd's garage. Version used in the 1968 film "San Francisco".
Peter Jenner:
« It was very primitive, I think it was recorded in a single stereo take, I imagine it was put on a two-track (...) I think the thing that was interesting was Interstellar Overdrive because it was a very good version (...) because it was very live. I think we tried a few things and they didn't really work »
LET’S ROLL ANOTHER ONE(Barrett/1966)
Pre-version of Candy and a Currant Bun, a song about drugs and sex. Barrett took a Howlin' Wolff riff from SmokeStack Lightning for the occasion. Contrary to popular belief, the known Bootleg versions of this track do not come from the aforementioned recording session.
This recording was made by Irene Winsby and copied by Bernard White (one of the Floyd's great collectors, who died in 2005). Irene photographed the Floyd on January 20 or 22, 1967 (at least just before the UFO concert). During her (lost) photo session, she left a recorder running, which captured the entire rehearsal.
Joe Boyd:
«I can't remember if the sessions for the single and the film were done together. I'm pretty sure we recorded both sides of the single in one night and mixed them the next night. Certainly, Arnold Layne was not re-recorded. Candy and a Current Bun, I think, was written from tracks Syd had composed before joining the Floyd. It wasn't an original, although it was the B-side of Arnold Layne. I've always thought that this session at High Wycombe was the moment when Syd started writing material specifically for the Floyd, rather than just writing songs at random ».
Roger Waters:
« We had to change all the lyrics in one song because it was about rolling joints. It was called Let's Roll Another One and we had to change the title to Candy and a current Bun. ».
«Pink Floyd», Zig-Zag, March 1973.
Interviewer:« The Arnold Layne Acetate has an unreleased version of Candy and a Current Bun on the B-Side. Do you know why Syd reworked the lyrics ? ».
Nick Mason:« Yes, because it was originally called Let's roll another one. And it was quite rightly felt that no radio station, in the UK anyway, would play anything with a drug reference like that. So it was rewritten».
«Acid Tales », Record Collector, August 1973.
Roger Waters:
«It had lines in it like «Tastes right if you eat it right». The BBC didn't like that at all - nor did a lot of other people - so the lyrics and title had to be changed»
It turns out that this song has been in the repertoire since at least 1965, alongside Butterfly and Remember Me, as this letter from Syd Barrett to his girlfriend proves:
Oh my girl fading in the sun
Go buy a candy and a currant bun
I'm high! Don't try to spoil the fun
Go cry or I'll have another one
Ooh don't touch me child
Please, you know you drive me wild
Please, you know I'm feeling frail
It's true sun's shining very bright
It's you I'm gonna love tonight
Ice cream tastes good if you eat it right
Ice cream tastes good if you treat it right
Ooh don't talk to me
Please, just walk with me
Please, you know I'm feeling frail
Oh my girl fading in the sun
Go buy a candy and a currant bun
I'm high don't try to spoil the fun
Go cry or I'll have another one
Ooh don't touch me child
Please, you know you drive me wild
Please, you know I'm feeling frail
STONED ALONE Aka I GET STONED (Barrett/1966)
Probably the first track written by Barrett alone for Pink Floyd. The tape, recorded on October 31 1966 at Thompson Private Recording Studios, seems to belong to Gilmour.
Andrew King:
« The song I remember was a track called I get Stoned: 'Sitting here all alone, I get stoned'. I don't know how it was done. I think it was just Syd singing with an acoustic guitar and it was meant to be developed later. I don't even know if there was ever a rhythm track on it. But certainly, that's what I believe »
Peter Jenner:
« The whole recording was probably done on a 'Live' only track in the studio with maybe a vocal track redone on it or something »
Andrew King:
« I’ve always thought that this song I get Stoned was the first song Syd actually wrote for the Floyd. I've always thought that session at High Wycombe was when Syd really started writing material for the Floyd, rather than just bits and pieces »
« CAROLINE OVEGUIAN’S SONG » (David Gilmour/1966)
David Gilmour, who was resident with his group Bullitt at the club « La Plage » in Saint-Etienne at the end of 1966 (see the page « Day by Day - 1966 » for more details), composed a song for the owner’s daughter (and uncle of the French musician André Manoukian) for Christmas 1966.
Jean-Jacques Oviguian (Club’s owner):
« (J’aurais dû l’enregistrer) J’aurais peut-être gagné de l’argent».
« À l’hiver 1966, David Gilmour s’installe trois mois à Saint-Étienne », Le Progrès, 28 July 2017
COPS AND ROBBERS (1966/Diddley)
GIMME A BREAK (1966/Cox)
ROAD RUNNER (Bo Diddley)
PIGGY BACK SURFERS (Bo Diddley)
I CAN TELL (1966/Bo Diddley)
NO MONEY DOWN (1956/Chuck Berry)
SWEET, OH MY SWEET (1961/ Doc Pomus, Mort Shuman)
SUMMERTIME (1935/ George Gerschwin)
CARELESS LOVE (Traditionnal)
I GOT LOVE IF YOU WANT IT (1962/Slim Harpo)
HOW HIGH THE MOON (1940/Morgan Lewis, Nancy Hamilton)
I’M A LOVER, NOT A FIGHTER (1940/Morgan Lewis, Nancy Hamilton)
Frequently played songs in the early incarnations of the band between 1963 and 1965. Roger Waters played I can Tell as an encore for the 9 november 1987 show.
Rick Wright
« We used to be really focused on rhythm and blues; because everybody was supposed to do that. But I've never been crazy about rhythm and blues; I'm more into jazz. When Syd took over the band, we reaffirmed a more improvisational style, around guitars and synths. Roger started to play the bass as a lead instrument. And I introduced a bit of classical colour » « Pink Floyd Story », Mojo, Mai 1994.
Roger Waters: « As soon as Syd started writing more songs, we ejected the others from the repertoire. But we still did RoadRunner or Gimme a break and all that stuff for years »
Nick Mason: « But especially when Bob Close was in the band. When he left, that was another reason why we got rid of the old material »
Roger Waters: « Because we couldn't play them anymore »
« Pink Floyd », Zig-Zag, March 1973.
Nick Mason:
« We wanted to become really good Bo Diddley players. It took several years, of slow transition, from that moment until we were playing more free Rhythm&Blues like interstellar Overdrive »
Floyd shared the bill with Chuck Berry at the Locarno Festival in 1972. Photograph taken by Nick Mason
