DBD1967Pt1

PRESS MENTION | Early January 1967: « Rave » magazine mentions Pink Floyd as a new group to follow this year

PHOTO SESSION | Early January 1967
A photo session is set by Tony Gale in his Fleet street studio.

Photographies by Tony GALE

PHOTO SESSION | Early January 1967
A photo session is set by Tony Gale in his Fleet street studio.

Photographies by Tony GALE

PRESS MENTION | 2 January 1967 The Pink Floyd is blamed by the press for the noise Level during performances

« A meter used in a Daily Mail experiment recorded one pop group playing up to 120 decibels - 25 above the level which an acoustics expert said would cause permanent damage if heard for 15 minutes. The sessions were at a club in Chalk Fatm. N.W.. and a basement in Tottenham Court Road. W.. The music and light were arranged to create the psychedelic sensations similar those experienced by taking the drug LSD. Four hundred people listened to the Pink Floyd pop group at the Freak-our-a sun trolley happening in

Tottenham Court Road.»

« Listening to pop above the danger level », Daily Mail, 2 January 1967

PRESS MENTION | 2 January 1967 The Pink Floyd is blamed by the press for the noise Level during performances

« A meter used in a Daily Mail experiment recorded one pop group playing up to 120 decibels - 25 above the level which an acoustics expert said would cause permanent damage if heard for 15 minutes. The sessions were at a club in Chalk Fatm. N.W.. and a basement in Tottenham Court Road. W.. The music and light were arranged to create the psychedelic sensations similar those experienced by taking the drug LSD. Four hundred people listened to the Pink Floyd pop group at the Freak-our-a sun trolley happening in

Tottenham Court Road.»

« Listening to pop above the danger level », Daily Mail, 2 January 1967

CONCERT DATE | 5 January 1967 The Marquee, London, England

« I went to see the Pink Floyd last week at the Marque Club. I was knocked out by their act; It is fantastically exciting, a real breakthrough in pop entertainment. It has affinities with free form Jazz (affinities not altogether accepted by the group themselves) and with “happenings" (something again which they didn’t recognise).

In a way the Floyd might be called a Kensington group: they more or leas started In the London Free School in All Saints Church hall in Fowls Gardens, Hotting H11L

There, in the Sound and Light Workshop. they moulded their act from a normal R and B basis to this new audio-visual approach.

The transition Is still in progress. Roge Waters, the bass guitarist and leader spokeman (though they all believe in the music enough to argue about it) stained that they were experimenting all the time. Roge from the Cromwell Road, is an architect — presently designing a new Bank of England. All but one of the group still work during the day. although they play two nights regularly a week, apart from other one-night bookings.

Nick Mason, the drummer, comes from Hampstead and is also an architect — studying at Regent Poly. Lead guitarist Sid Barrett, like Roge Waters, originally comes from Cambridge but now lives near Cambridge Circus. Organist Rick Wright received classical training and lives In Hatch End. The group started about 18 months ago, but only started the psychedelic kick a couple of months ago. when they used the L.F.S. and Hornsey College of Art Sound and Light Workshops to evolve the ’"Total Show" that they are aiming at. “What we really want,” Roger told me. “is for complete audience participation. You just don’t get it at the Marquee. What we want is not just lights flashing on us but on the audience as well — and they should react spontaneously and not simply dance around as they would to normal music. “Another good thing would be if we could get a theatre and all the proper equipment." They have, however, made a lot of progress since their beginnings in Notting Hill. They are now playing every Thursday at the Marquee for an Indefinite period and on Fridays at the new West Bid Night Tripper Club sad have odd bookings at Chak Farm Round House »

« Straight to Heaven in ’67 - taking off from All Saints », Kensington Post, 6 January 1967

CONCERT DATE | 5 January 1967 The Marquee, London, England

« I went to see the Pink Floyd last week at the Marque Club. I was knocked out by their act; It is fantastically exciting, a real breakthrough in pop entertainment. It has affinities with free form Jazz (affinities not altogether accepted by the group themselves) and with “happenings" (something again which they didn’t recognise).

In a way the Floyd might be called a Kensington group: they more or leas started In the London Free School in All Saints Church hall in Fowls Gardens, Hotting H11L

There, in the Sound and Light Workshop. they moulded their act from a normal R and B basis to this new audio-visual approach.

The transition Is still in progress. Roge Waters, the bass guitarist and leader spokeman (though they all believe in the music enough to argue about it) stained that they were experimenting all the time. Roge from the Cromwell Road, is an architect — presently designing a new Bank of England. All but one of the group still work during the day. although they play two nights regularly a week, apart from other one-night bookings.

Nick Mason, the drummer, comes from Hampstead and is also an architect — studying at Regent Poly. Lead guitarist Sid Barrett, like Roge Waters, originally comes from Cambridge but now lives near Cambridge Circus. Organist Rick Wright received classical training and lives In Hatch End. The group started about 18 months ago, but only started the psychedelic kick a couple of months ago. when they used the L.F.S. and Hornsey College of Art Sound and Light Workshops to evolve the ’"Total Show" that they are aiming at. “What we really want,” Roger told me. “is for complete audience participation. You just don’t get it at the Marquee. What we want is not just lights flashing on us but on the audience as well — and they should react spontaneously and not simply dance around as they would to normal music. “Another good thing would be if we could get a theatre and all the proper equipment." They have, however, made a lot of progress since their beginnings in Notting Hill. They are now playing every Thursday at the Marquee for an Indefinite period and on Fridays at the new West Bid Night Tripper Club sad have odd bookings at Chak Farm Round House »

« Straight to Heaven in ’67 - taking off from All Saints », Kensington Post, 6 January 1967

PRESS MENTION | 6 January 1967: One the first article about the band in the general press is published in the « The kensington Post ».

The Kensington News, 6 January 1967.

PRESS MENTION | 6 January 1967: One the first article about the band in the general press is published in the « The kensington Post ».

The Kensington News, 6 January 1967.

CONCERT DATE | 6 January 1967 « Freak Out Ethel », Seymour Hall, London, England

«Back here in London the International Times party at the Round House became the start of a series of events there. The British for «Freak-Out» is Rave-Up which is just what they were. As the place has no heating and as London is hovering about freezing point this time of year, appreciation of the events is more projective than real. However, at the U.F.O. Club (Night Tripper) organized by Hoppy, Joe Boyd and IT every Thursday at the rooms below the Berkeley Cinema, the air is warm, the coffee and drinks more than usually liquid and the sounds of the Pink Floyd louder than the ear can tell. The projections have reached a peak of perfection and the movies and slides provide alternatives from the sounds. The great thing is that it is an all night meeting place for people. A place where they can talk and exchange ideas in a part of the club far from the band, or sit and allow their sensory apparatus to evaporate with the electronic feedback waves of the Floyd. They really are the group to watch!»

«London by Mile», The Other East Village, 15 January 1967

Eric Clapton and The Who's Pete Townshend later claimed they'd been in the audience.

Pete Townsend:

«On January 6, 1967, I missed one of the only Who shows of my career through drug abuse (to assist this show) Syd Barrett was wonderful and so were the rest of them. I fell in love with the band and the club itself. Syd, who walked on stage (off his head on acid), played a single chord and made it last about an hour using an electronic echo machine called a Binson,” he explained. “When he did start to play again he was truly inspiring. Roger Waters had the most incredible presence, he was strikingly handsome and clearly fancied [my partner] Karen. I found him a little scary. It was evident he was going to be the principal driving force behind Pink Floyd»

«Who I am», Pete Townsend, 2012

CONCERT DATE | 6 January 1967 « Freak Out Ethel », Seymour Hall, London, England

«Back here in London the International Times party at the Round House became the start of a series of events there. The British for «Freak-Out» is Rave-Up which is just what they were. As the place has no heating and as London is hovering about freezing point this time of year, appreciation of the events is more projective than real. However, at the U.F.O. Club (Night Tripper) organized by Hoppy, Joe Boyd and IT every Thursday at the rooms below the Berkeley Cinema, the air is warm, the coffee and drinks more than usually liquid and the sounds of the Pink Floyd louder than the ear can tell. The projections have reached a peak of perfection and the movies and slides provide alternatives from the sounds. The great thing is that it is an all night meeting place for people. A place where they can talk and exchange ideas in a part of the club far from the band, or sit and allow their sensory apparatus to evaporate with the electronic feedback waves of the Floyd. They really are the group to watch!»

«London by Mile», The Other East Village, 15 January 1967

Eric Clapton and The Who's Pete Townshend later claimed they'd been in the audience.

Pete Townsend:

«On January 6, 1967, I missed one of the only Who shows of my career through drug abuse (to assist this show) Syd Barrett was wonderful and so were the rest of them. I fell in love with the band and the club itself. Syd, who walked on stage (off his head on acid), played a single chord and made it last about an hour using an electronic echo machine called a Binson,” he explained. “When he did start to play again he was truly inspiring. Roger Waters had the most incredible presence, he was strikingly handsome and clearly fancied [my partner] Karen. I found him a little scary. It was evident he was going to be the principal driving force behind Pink Floyd»

«Who I am», Pete Townsend, 2012

PRESS MENTION | 7 January 1967: « The kensington Post » dedicated a short article about a new band « before they hit the stratosphere »

CONCERT DATE | 8 January 1967 The Upper-Cut, Forest Gate, London, England

Roger Ford (Audience member):

« remember going to see (…) the early Pink Floyd were on playing Arnold Lane. Stage was all red lights. Brilliant night»

«The Upper Cut Club, part 1 - the rise», E7 Website, 24 July 2013

CONCERT DATE | 8 January 1967 The Upper-Cut, Forest Gate, London, England

Roger Ford (Audience member):

« remember going to see (…) the early Pink Floyd were on playing Arnold Lane. Stage was all red lights. Brilliant night»

«The Upper Cut Club, part 1 - the rise», E7 Website, 24 July 2013

RECORDING SESSION | 11 & 12 January 1967 Sound techniques studios, London, England
Pink Floyd and producer Joe Boyd spent two days at Chelsea's Sound Techniques Studios, recording and mixing Interstellar Overdrive and Nick's Boogie for the Tonite Let's All Make Love In London soundtrack.

Anthony Stern:

« Two years later when I was had launched into this film called tonight let's all make love in London when I went along to see them at you for of course remembering that term it was Syd and his pals who used to rehearse outside my door and keep me awake at night went along a couple of times in fact I then got friendly with him. Jenny Spyre who was pretty close to sit at the time too and and she I was more than anybody and saw some of my film and said wouldn't thus it wouldn't syd’s music the ideal for it and I agreed entirely and went back to see Syd and said listen you guys I'm making this film I like your music I've done some filming at you fo and why don't I take you into a studio and record I'd like to record interstellar overdrive and maybe something else I'll book a studio for three hours and you can come in and i'll record some music and i'll use it for my film while they were recording it.

I filmed it this is obviously assuming I might use a little bit in film they then did another track which was an improvisation which they then decided to call Nick's boogie and I came out with a load of tapes and signed contract to use the material in my film they were delighted to get the promotion ended up using the music I wanted over a lot of images that I'd shot at you for and I used it again at the end of the

film over the sequences I'd shot later I don't know a year later i'll probably at the 14-hour technicolor dream I thought the music was absolutely perfect because my film was not intended to be a pop

film even though i called it pop concerto for film eventually i wasn't interested in the the sort of light-hearted side of pop music I was much more interested in the darker»

«Unidentified Radio Interview», January 1967

Peter Whitehead:

«(…) At the time I was putting my film, «Tonite Let’s all make love in London» together, Jenny* said:«You’ve got to use them », so being smitten, I paid £80 or £90 for a session and we filmed them recording Interstellar Overdrive. It was nearly 15 minutes long»

«Pink Floyd - The whole crazy trip!», Q Special Edition, October 2004

RECORDING SESSION | 11 & 12 January 1967 Sound techniques studios, London, England
Pink Floyd and producer Joe Boyd spent two days at Chelsea's Sound Techniques Studios, recording and mixing Interstellar Overdrive and Nick's Boogie for the Tonite Let's All Make Love In London soundtrack.

Anthony Stern:

« Two years later when I was had launched into this film called tonight let's all make love in London when I went along to see them at you for of course remembering that term it was Syd and his pals who used to rehearse outside my door and keep me awake at night went along a couple of times in fact I then got friendly with him. Jenny Spyre who was pretty close to sit at the time too and and she I was more than anybody and saw some of my film and said wouldn't thus it wouldn't syd’s music the ideal for it and I agreed entirely and went back to see Syd and said listen you guys I'm making this film I like your music I've done some filming at you fo and why don't I take you into a studio and record I'd like to record interstellar overdrive and maybe something else I'll book a studio for three hours and you can come in and i'll record some music and i'll use it for my film while they were recording it.

I filmed it this is obviously assuming I might use a little bit in film they then did another track which was an improvisation which they then decided to call Nick's boogie and I came out with a load of tapes and signed contract to use the material in my film they were delighted to get the promotion ended up using the music I wanted over a lot of images that I'd shot at you for and I used it again at the end of the

film over the sequences I'd shot later I don't know a year later i'll probably at the 14-hour technicolor dream I thought the music was absolutely perfect because my film was not intended to be a pop

film even though i called it pop concerto for film eventually i wasn't interested in the the sort of light-hearted side of pop music I was much more interested in the darker»

«Unidentified Radio Interview», January 1967

Peter Whitehead:

«(…) At the time I was putting my film, «Tonite Let’s all make love in London» together, Jenny* said:«You’ve got to use them », so being smitten, I paid £80 or £90 for a session and we filmed them recording Interstellar Overdrive. It was nearly 15 minutes long»

«Pink Floyd - The whole crazy trip!», Q Special Edition, October 2004

CONCERT DATE | 13 January 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

Pink Floyd, supported by The Giant Sun Trolley, played UFO, London. Film-maker Peter Whitehead recorded their performance. Some of the footage appeared in the video/DVD release Pink Floyd — London 1966-1967.

Rick Wright:

« UFO played a very big part in the change I think. It used to be held in a church hall in Powis Gardens — very much a sort of workshop atmosphere. It was all very experimental, and at that time we were working things out with music and lights. I suppose our whole life was centred around UFO then — but it was a complete way of life It all came out in the open, and that was such a nice feeling The whole thing was an entity in itself — you know, the Floyd were on stage, but the audience and everything else that was happening was just as Important »

«Pink Floyd», Top Pops & Music Now, 15 September 1969

CONCERT DATE | 13 January 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

Pink Floyd, supported by The Giant Sun Trolley, played UFO, London. Film-maker Peter Whitehead recorded their performance. Some of the footage appeared in the video/DVD release Pink Floyd — London 1966-1967.

Rick Wright:

« UFO played a very big part in the change I think. It used to be held in a church hall in Powis Gardens — very much a sort of workshop atmosphere. It was all very experimental, and at that time we were working things out with music and lights. I suppose our whole life was centred around UFO then — but it was a complete way of life It all came out in the open, and that was such a nice feeling The whole thing was an entity in itself — you know, the Floyd were on stage, but the audience and everything else that was happening was just as Important »

«Pink Floyd», Top Pops & Music Now, 15 September 1969

PRESS MENTION | 14 January 1967: Melody Maker dedicated an article to the main Britain psychedelic band, Pink Floyd and The Move

CONCERT DATE | 14 January 1967 « Coming-up Hop », The Great Hall, University of Reading, Reading, England

Roger Waters:

«I think people complained because it was very noisy, you know: the local residents. But in those days we would have done Interstellar Overdive and … other stuff from the first album. I suppose. We wouldn’t do See Emily Play because we never played it live. We used to refuse to play the single. We were very kind of snotty, you know … «we’re not playing that rubbish» you know «It’s a single» and «we’re serious artisits» (…) So, we would have done Astronomy Dominé though and Interstellar Overdrive. We probably would only have done two, three tracks. In fact, i wrote the … the, i remember … the satin shirts from Take six, i mention them in … in, um, the satin shirts from Take six, i mention them in … in, um, on «The Wall», i think. I’ve got something like a satin shirt with pin-hole burns in, or something. What? I can’t remember it. It was a wonderful time for a band to be growing up through, because rock n’ roll was so young on those days …And there were no synthesisers and no drum machines and no … So you had to play whatever you played, but in those days at least you did HAVE to play, you know, you did actually …»

«The Friday Rock Show », BBC Radio One, 12 August 1987.

CONCERT DATE | 14 January 1967 « Coming-up Hop », The Great Hall, University of Reading, Reading, England

Roger Waters:

«I think people complained because it was very noisy, you know: the local residents. But in those days we would have done Interstellar Overdive and … other stuff from the first album. I suppose. We wouldn’t do See Emily Play because we never played it live. We used to refuse to play the single. We were very kind of snotty, you know … «we’re not playing that rubbish» you know «It’s a single» and «we’re serious artisits» (…) So, we would have done Astronomy Dominé though and Interstellar Overdrive. We probably would only have done two, three tracks. In fact, i wrote the … the, i remember … the satin shirts from Take six, i mention them in … in, um, the satin shirts from Take six, i mention them in … in, um, on «The Wall», i think. I’ve got something like a satin shirt with pin-hole burns in, or something. What? I can’t remember it. It was a wonderful time for a band to be growing up through, because rock n’ roll was so young on those days …And there were no synthesisers and no drum machines and no … So you had to play whatever you played, but in those days at least you did HAVE to play, you know, you did actually …»

«The Friday Rock Show », BBC Radio One, 12 August 1987.

PHOTO SESSION | 16 January: 1967. Angela Williams shot the band in his flat at Redclifle Square in London.

Angela Williams:

«I saw The Pink Floyd at theInstitute of Contemporary Arts (ICA) in London. They brought large speakers and a psychedelic light show. Afterwards, everyone fell out onto the pavement in shock. They came to my flat in Redcliffe Square, and I took a series of very 'straight' portraits of them looking very cool, in their flowery shirts and shades and made some prints with double exposures»

rockphotographerscollective Website

Photographies by Angela WILLIAMS

PHOTO SESSION | 16 January: 1967. Angela Williams shot the band in his flat at Redclifle Square in London.

Angela Williams:

«I saw The Pink Floyd at theInstitute of Contemporary Arts (ICA) in London. They brought large speakers and a psychedelic light show. Afterwards, everyone fell out onto the pavement in shock. They came to my flat in Redcliffe Square, and I took a series of very 'straight' portraits of them looking very cool, in their flowery shirts and shades and made some prints with double exposures»

rockphotographerscollective Website

Photographies by Angela WILLIAMS

CONCERT DATE | 16 January 1967 Institute of Contemporary Arts, Mayfair, London, England

«They performed this week twice in circumstances not normally associated with pop groups. Rarely, in fact, has a pop group (which is what we have to label the Floyd, as that's tlie nearest they get to any labeling) broken the music barrier so decisively.

On Monday they played in the Dover Street clubroom of the Institute of Contemporary Arts, with a discussion be-tween the group and audience following.

Then, on Tuesday, they appeared in a concert at the Commonwealth Institute presented by the young classical music Impresario. Christopher Hunt. It* the LC.A.’s first pop group and Mr. Hunt's too During the interval between sessions at the Institute, by the way, there waa a performance of NOIT, a mime for paper giants. Ttie creation of artist John Latham, this work is. Itn told, a three-dimensional representation of the Pink Floyd's state of mind. How about that!»

«The Floyd break the music barrier», Kensington Post, 20 January 1967

CONCERT DATE | 16 January 1967 Institute of Contemporary Arts, Mayfair, London, England

«They performed this week twice in circumstances not normally associated with pop groups. Rarely, in fact, has a pop group (which is what we have to label the Floyd, as that's tlie nearest they get to any labeling) broken the music barrier so decisively.

On Monday they played in the Dover Street clubroom of the Institute of Contemporary Arts, with a discussion be-tween the group and audience following.

Then, on Tuesday, they appeared in a concert at the Commonwealth Institute presented by the young classical music Impresario. Christopher Hunt. It* the LC.A.’s first pop group and Mr. Hunt's too During the interval between sessions at the Institute, by the way, there waa a performance of NOIT, a mime for paper giants. Ttie creation of artist John Latham, this work is. Itn told, a three-dimensional representation of the Pink Floyd's state of mind. How about that!»

«The Floyd break the music barrier», Kensington Post, 20 January 1967

CONCERT DATE | 17 January 1967 « Music In Colour by The Pink Floyd », Commonwealth Institute, London, England

CONCERT DATE | 19 January 1967 The Marquee, Wardour Street, London, England

CONCERT DATE | 20 January 1967 UFO Club, London, England

As Pete stated during his introduction speech for the induction of the band to the 2005 UK Rock&Roll Hall of fame, He watched the and for the fist time at this date. He actually skipped a Who concert to take Eric Clapton to a Floyd show!

Photographies by Robert AZRAKI

CONCERT DATE | 20 January 1967 UFO Club, London, England

As Pete stated during his introduction speech for the induction of the band to the 2005 UK Rock&Roll Hall of fame, He watched the and for the fist time at this date. He actually skipped a Who concert to take Eric Clapton to a Floyd show!

Photographies by Robert AZRAKI

PRESS MENTION | 20 January 1967: The « Kensington Post » the newspaper dedicates a positive article on the first concerts of January

PHOTO SESSION | 21 January: A photo session is held by Irene Winsby

Winsby shot for British tabloid « News of the World », for what turned out to be an expose on drug use by pop groups. She first photographed them at a rehearsal, but band manager Peter Jenner thought the band looked too under-the-influence, and so Winsby returned the next day to shoot them under more controlled (and sober) circumstances. Some years ago, English photo archivist/dealer Mark Hayward discovered 25 of Winsbyís lost photographs of Barrett and Floyd in an album of vintage prints. Winsby’s Pink Floyd photographs were published in 2011 as part of a limited edition book titled « Barrett ».

Irene Winsby (Photographer):

«During the session, Syd Barrett clearly stood out as an enthusiastic and bright young man who immediately took the lead to help organize the rest of the group but ‘When Peter Jenner was shown the contacts he asked me to photograph them again two days later, saying the boys would have ‘tidied up’ their appearance. We had the second session on 22th January at 6pm. You can see the difference»

PHOTO SESSION | 21 January: A photo session is held by Irene Winsby

Winsby shot for British tabloid « News of the World », for what turned out to be an expose on drug use by pop groups. She first photographed them at a rehearsal, but band manager Peter Jenner thought the band looked too under-the-influence, and so Winsby returned the next day to shoot them under more controlled (and sober) circumstances. Some years ago, English photo archivist/dealer Mark Hayward discovered 25 of Winsbyís lost photographs of Barrett and Floyd in an album of vintage prints. Winsby’s Pink Floyd photographs were published in 2011 as part of a limited edition book titled « Barrett ».

Irene Winsby (Photographer):

«During the session, Syd Barrett clearly stood out as an enthusiastic and bright young man who immediately took the lead to help organize the rest of the group but ‘When Peter Jenner was shown the contacts he asked me to photograph them again two days later, saying the boys would have ‘tidied up’ their appearance. We had the second session on 22th January at 6pm. You can see the difference»

PHOTO SESSION | 22 january: a second photo session is held by Irene Winsby at 41 Edbrooke Road, London.

Photographies by Irene Wisby.

Irene Winsby (Photographer):

«I was introduced to Pink Floyd by the Picture Editor of the News of the World.Through their manager, Peter Jenner, arranged to photograph them on 22-24 January 1967,at 8pm,whilst they were rehearsing at 41 Edbrooke Road, London.I had been advised by the editor not to accept food, drink, cigarettes etc.from the group for fear of spiking.That was a misplaced warning - although Syd Barrett was spaced-out,they were charming, welcoming, polite and into themselves»

Photographies by Irene Wisby.

PHOTO SESSION | 22 january: a second photo session is held by Irene Winsby at 41 Edbrooke Road, London.

Photographies by Irene Wisby.

Irene Winsby (Photographer):

«I was introduced to Pink Floyd by the Picture Editor of the News of the World.Through their manager, Peter Jenner, arranged to photograph them on 22-24 January 1967,at 8pm,whilst they were rehearsing at 41 Edbrooke Road, London.I had been advised by the editor not to accept food, drink, cigarettes etc.from the group for fear of spiking.That was a misplaced warning - although Syd Barrett was spaced-out,they were charming, welcoming, polite and into themselves»

Photographies by Irene Wisby.

PRESS MENTION | 26 January 1967: First major mention of the band in the Dutch « Hitweek » with the article entitled « Londen in-stad en Pink Floyd »

CONCERT DATE | 27 January 1967 UFO Club, London, England

Pink Floyd were filmed at UFO for a Granada TV documentary, 'Scene Special', which was broadcast on 7 March 1967.

CONCERT DATE | 27 January 1967 UFO Club, London, England

Pink Floyd were filmed at UFO for a Granada TV documentary, 'Scene Special', which was broadcast on 7 March 1967.

CONCERT DATE | 28 January 1967 Hexagon Restaurant, University of Essex, Wivenhoe Park, Colchester, England

Rick Wright:

«A gig at Essex University where someone has built a flashing light system and controlled and showed a film at the same time»

CONCERT DATE | 28 January 1967 Hexagon Restaurant, University of Essex, Wivenhoe Park, Colchester, England

Rick Wright:

«A gig at Essex University where someone has built a flashing light system and controlled and showed a film at the same time»

TV APPAREANCE | 28 January 1967 U.F.O footage with appearance of the band

Many shots of the band. See this page for more details

«Granada Television is to make a documentary pro-gramme about London's UFO Club, the mixed media centre in London's Tottenham Court Road. The film will be made at the club tomorrow (Friday). Material filmed at the club will be used in the TV documentary which will be broadcast on February 7»

«UFO TV Film»,Melody Maker, 28 January 1967

TV APPAREANCE | 28 January 1967 U.F.O footage with appearance of the band

Many shots of the band. See this page for more details

«Granada Television is to make a documentary pro-gramme about London's UFO Club, the mixed media centre in London's Tottenham Court Road. The film will be made at the club tomorrow (Friday). Material filmed at the club will be used in the TV documentary which will be broadcast on February 7»

«UFO TV Film»,Melody Maker, 28 January 1967

RECORDING SESSION | 29 January 1967 Chelsea's Sound Techniques Studios.
Arnold Layne and its B-side Candy And A Currant Bun were recorded

RECORDING SESSION | 31 January & 1st February 1967. EMI Studios, London, England.

Mixing sessions for the first single

RECORDING SESSION | 31 January & 1st February 1967. EMI Studios, London, England.

Mixing sessions for the first single

CONCERT DATE | 2 February 1967 Cadenas, Stoke Hotel, Guildford, England

Dave Eles (Audience member):

«In 1967 Malc and I went to a new club in a Guildford pub backroom to see an up and coming group called Pink Floyd. Not too impressed, mainly because they blew the fuses and ended up singing skiffle songs acoustically! As there was no music before or between their sets there was a great lack of atmosphere that night and we convinced the promoters to take us on as DJs for all their future club nights «
« Suburban’s mod - a forgotten story (part 3) », The Mod Generation Website, 14 June 2014

CONCERT DATE | 2 February 1967 Cadenas, Stoke Hotel, Guildford, England

Dave Eles (Audience member):

«In 1967 Malc and I went to a new club in a Guildford pub backroom to see an up and coming group called Pink Floyd. Not too impressed, mainly because they blew the fuses and ended up singing skiffle songs acoustically! As there was no music before or between their sets there was a great lack of atmosphere that night and we convinced the promoters to take us on as DJs for all their future club nights «
« Suburban’s mod - a forgotten story (part 3) », The Mod Generation Website, 14 June 2014

CONCERT DATE | 3 February 1967 Queen's Hall, Leeds, England

PHOTO SESSION | 6 February: photos session for the « Jackie » magazine.
This magazine for teen girls was the best-selling magazine at this time. The photos were eventually used in different editions as for the 7 October 1967 issue.

Photographer unknown

PHOTO SESSION | 6 February: photos session for the « Jackie » magazine.
This magazine for teen girls was the best-selling magazine at this time. The photos were eventually used in different editions as for the 7 October 1967 issue.

Photographer unknown

PHOTO SESSION | 7 February: photos session for the « Fabulous 208 » magazine.
« Fabulous 208 », later retitled « Fab 208 » from 1969 was a British pop music magazine published by the French-language radio station « Radio Luxembourg » . This phot shot was used later for the subsequent issues as the 7 September issue

Photographies by Bo ARRHED

PHOTO SESSION | 7 February: photos session for the « Fabulous 208 » magazine.
« Fabulous 208 », later retitled « Fab 208 » from 1969 was a British pop music magazine published by the French-language radio station « Radio Luxembourg » . This phot shot was used later for the subsequent issues as the 7 September issue

Photographies by Bo ARRHED

CONCERT DATE | 9 February 1967 New Addington Hotel, New Addington, Croydon, England

CONCERT DATE | 10 February 1967 Leicester College of Art & Technology, Leicester, England

PRESS MENTION | 15 February 1967: A student newspaper, dedicates two pages to the Floyd concert with rare pictures taken in UFO Club.

MAIN EVENT | Mid February 1967: Arnold Layne footage in West Wittering beach, Emsworth, Sussex
After recorded their first single, the band agreed to shoot a promotional film for Arnold Layne probably between the 10th and 16th of February (taking advantage of their presence in the region following the gig at the University of Sussex). Peter Jenner asked to a friend of June Child, then-girlfriend of Syd, Derek Nice a young director.

The main idea is to shoot the band wandering on the beach of West Wittering, in Sussex.According Nick, the choice of this beach was guided by the presence of the house of his parents who would be a headquarter for the crew during this shooting.

Photographies by Peter JENNER

Nick Mason:

«Black and white footage is surprisingly current and quite funny: it shows the four of us on the beach with a fifth member of the band who turns out to be a mannequin. We shot it all on a short gray day, and were just leaving the East Wittering parking lot when a police car pulled up and ended the fun. Given the notoriety of another local resident, Mr. Keith Richards, of his friends, I think the law was hoping for another big roundup. With the best faces of naive bourgeois we asserted that we had not seen any of our suspicions, but that we would of course inform them immediately if we noticed any misunderstanding. It was very fortunate that they did not search the car in which the mannequin was, naked except for a police helmet»
« Inside Out », Nick Mason, 2005

MAIN EVENT | Mid February 1967: Arnold Layne footage in West Wittering beach, Emsworth, Sussex
After recorded their first single, the band agreed to shoot a promotional film for Arnold Layne probably between the 10th and 16th of February (taking advantage of their presence in the region following the gig at the University of Sussex). Peter Jenner asked to a friend of June Child, then-girlfriend of Syd, Derek Nice a young director.

The main idea is to shoot the band wandering on the beach of West Wittering, in Sussex.According Nick, the choice of this beach was guided by the presence of the house of his parents who would be a headquarter for the crew during this shooting.

Photographies by Peter JENNER

Nick Mason:

«Black and white footage is surprisingly current and quite funny: it shows the four of us on the beach with a fifth member of the band who turns out to be a mannequin. We shot it all on a short gray day, and were just leaving the East Wittering parking lot when a police car pulled up and ended the fun. Given the notoriety of another local resident, Mr. Keith Richards, of his friends, I think the law was hoping for another big roundup. With the best faces of naive bourgeois we asserted that we had not seen any of our suspicions, but that we would of course inform them immediately if we noticed any misunderstanding. It was very fortunate that they did not search the car in which the mannequin was, naked except for a police helmet»
« Inside Out », Nick Mason, 2005

PHOTO SESSION | 13 February: A session for EMI is organized with Michael Ochs

Photographies by Michael OCHS

PHOTO SESSION | 13 February: A session for EMI is organized with Michael Ochs

Photographies by Michael OCHS

CONCERT DATE | 17 February 1967 St Catherine's College Valentine Ball, The Dorothy Ballroom, Cambridge, England

CONCERT DATE | 18 February 1967 California Ballroom, Dunstable, England

Roger Waters:

«The California Ballroom was the one where they were pouring pints of beer to us from the balcony, that was most unpleasant, and very, very dangerous too»

«Interview with Roger Waters and Nick Mason», Zigzag magazine, July 1973.

CONCERT DATE | 18 February 1967 California Ballroom, Dunstable, England

Roger Waters:

«The California Ballroom was the one where they were pouring pints of beer to us from the balcony, that was most unpleasant, and very, very dangerous too»

«Interview with Roger Waters and Nick Mason», Zigzag magazine, July 1973.

CONCERT DATE | 20 February 1967 Adelphi Ballroom, West Bromwich, England

RECORDING SESSION | 23 February 1967 First recording session for Their first LP at EMI Studios with 6 takes for Mathilda Mother

Nick Mason:

«Just a month after “Arnold Layne",we were In Studio 3 at Abbey Road recording Piper. It was very quick. Roger and I had been In college mosts days, and then suddenly we I had become professional, and we were spending seven hours a day doing music rather than an hour and a hair. Initially. Syd was pleased about all this. In the Pink Floyd exhibition at the V&A there was a letter he wrote, saying how excited he was by the whole thing (…)»

«Dark Globe», Uncut, May 2020

RECORDING SESSION | 23 February 1967 First recording session for Their first LP at EMI Studios with 6 takes for Mathilda Mother

Nick Mason:

«Just a month after “Arnold Layne",we were In Studio 3 at Abbey Road recording Piper. It was very quick. Roger and I had been In college mosts days, and then suddenly we I had become professional, and we were spending seven hours a day doing music rather than an hour and a hair. Initially. Syd was pleased about all this. In the Pink Floyd exhibition at the V&A there was a letter he wrote, saying how excited he was by the whole thing (…)»

«Dark Globe», Uncut, May 2020

CONCERT DATE | 24 February 1967 Ricky Tick Club, Thames Hotel, Windsor, England

CONCERT DATE | 24 February 1967 UFO Club, Tottenham Court Road, London, England
The band is filmed by Beyerischer Rundfunk for a TV show called « Die Jungen Nachtwandler - London Unter 21 », broadcasted on 3 July 1967.

CONCERT DATE | 25 February 1967 UFO Club, Tottenham Court Road, London, England
The band is filmed by Beyerischer Rundfunk for a TV show called « Die Jungen Nachtwandler - London Unter 21 », broadcasted on 3 July 1967.

MISCELLANOUS | Pink Floyd is targeted by the press and politicians concerned about the rise in drug use among the young population.
The psychedelic movement is seen as an important vector of this phenomenon.

Pamphlets advertising London pop group The Pink Floyd at Malvern Winter Gardens on March 4 have been banned because. said Mr. J. D. Harrison. the town's entertainments manager. they suggested a trend towards drugs and it was « completely wrong »
« Leaflets ban », Birmingham Daily Post, 25 February 1967

MISCELLANOUS | Pink Floyd is targeted by the press and politicians concerned about the rise in drug use among the young population.
The psychedelic movement is seen as an important vector of this phenomenon.

Pamphlets advertising London pop group The Pink Floyd at Malvern Winter Gardens on March 4 have been banned because. said Mr. J. D. Harrison. the town's entertainments manager. they suggested a trend towards drugs and it was « completely wrong »
« Leaflets ban », Birmingham Daily Post, 25 February 1967

PHOTO SESSION |Mid-Late February 1967: the band os photographed backstage at London by BO Arched for the Swedish press

Photographies by Bo ARRHED

PHOTO SESSION |Mid-Late February 1967: the band os photographed backstage at London by BO Arched for the Swedish press

Photographies by Bo ARRHED

RECORDING SESSION | 27 February and 1st March 1967. EMI Studios, London, England

The band is recording Chapter 24 (5 takes) and Interstellar Overdrive (2 takes). A mix is produced the last day.

RECORDING SESSION | 27 February and 1st March 1967. EMI Studios, London, England

The band is recording Chapter 24 (5 takes) and Interstellar Overdrive (2 takes). A mix is produced the last day.

MAIN EVENT | 28 February 1967: EMI signs the band with a £5,000 advance

Nick Mason:

«It wasn’t until February of this year that everything started happening for us and made us decide to turn professional, and life has been a bit chaotic for us since then »

« We feel good - say the Pink Floyd«, Record Mirror, 21 October 1967

Nick Mason:

«I mean, we were incredibly awful, we were a dreadful band, we must have sounded frightful…»

Shades of Pink" from The Source with host Charlie Kendall, 1984

Rick Wright:

«I’m still very aware of what we were doing back in the late Sixties. We were very experimental and, because we were, we were playing a lot of bad things, too; I mean not good music»

«Saturday Night», BBC Radio One, October 15, 1994

Nick Mason:

«Quand nous avons signé un contrat avec EMI en 1967, je pensais que ça durerait un an, guère plus … Roger n’était pas de mon avis. Il possédait une vision bien plus vaste»

«Nick Mason: Une vie en rose», Paris Match, 17 November 2016

Nick Mason:

«Syd was absolutely up for it as soon as we signed that EMI contract in February 1967. There was no suggestion at all that he might be uncomfortable with the idea of becoming a pop star»

«Blow Up», Mojo 60’s, July 2016

The band could be signed on Decca records since many talent scout tried to approch the managment.

Pete Shelley (writer, producer)

«I (…) recommended the company to sign Pink Floyd, though unfortunately they slipped through the net»

«Pete goes solo», Birmingham Evening Mail, 3 August 1974

Norman Smith is designed as the producer of the band

Norman Smith (Pink Floyd Producer):

«I can't in all honesty say that the music meant anything at all to me. In fact. I could barely call it music given my background as a jazz musician and the musical experience that I'd had with The Beatles. After all. with The Beatles we're talking about something really melodic. whereas with Pink Floyd. bless them. I can't really say the same thing for the majority of their material. A mood creation through sound is the best way that I could describe Floyd. There was something about Syd Barrett's songs which was indescribable non-scripted obviously had that Barrett magic for an awful lot of people. His songs were interesting as far as I was concerned, but more for the question, "Well. why the hell did he write that?". You know. "What inspired him?" Nevertheless, we got along as well as anybody could with Syd Barrett. He really was in control. He was the only one doing any writing. he was the only one who I. as a pro- ducer, had to convince if I had any ideas, but the trouble with Syd was that he would agree with almost everything I said and then go hack in and do exactly the same bloody thing again. I was really getting nowhere.»

«Mr Smith a blast from the past», Studio Sound, June 1998

MAIN EVENT | 28 February 1967: EMI signs the band with a £5,000 advance

Nick Mason:

«It wasn’t until February of this year that everything started happening for us and made us decide to turn professional, and life has been a bit chaotic for us since then »

« We feel good - say the Pink Floyd«, Record Mirror, 21 October 1967

Nick Mason:

«I mean, we were incredibly awful, we were a dreadful band, we must have sounded frightful…»

Shades of Pink" from The Source with host Charlie Kendall, 1984

Rick Wright:

«I’m still very aware of what we were doing back in the late Sixties. We were very experimental and, because we were, we were playing a lot of bad things, too; I mean not good music»

«Saturday Night», BBC Radio One, October 15, 1994

Nick Mason:

«Quand nous avons signé un contrat avec EMI en 1967, je pensais que ça durerait un an, guère plus … Roger n’était pas de mon avis. Il possédait une vision bien plus vaste»

«Nick Mason: Une vie en rose», Paris Match, 17 November 2016

Nick Mason:

«Syd was absolutely up for it as soon as we signed that EMI contract in February 1967. There was no suggestion at all that he might be uncomfortable with the idea of becoming a pop star»

«Blow Up», Mojo 60’s, July 2016

The band could be signed on Decca records since many talent scout tried to approch the managment.

Pete Shelley (writer, producer)

«I (…) recommended the company to sign Pink Floyd, though unfortunately they slipped through the net»

«Pete goes solo», Birmingham Evening Mail, 3 August 1974

Norman Smith is designed as the producer of the band

Norman Smith (Pink Floyd Producer):

«I can't in all honesty say that the music meant anything at all to me. In fact. I could barely call it music given my background as a jazz musician and the musical experience that I'd had with The Beatles. After all. with The Beatles we're talking about something really melodic. whereas with Pink Floyd. bless them. I can't really say the same thing for the majority of their material. A mood creation through sound is the best way that I could describe Floyd. There was something about Syd Barrett's songs which was indescribable non-scripted obviously had that Barrett magic for an awful lot of people. His songs were interesting as far as I was concerned, but more for the question, "Well. why the hell did he write that?". You know. "What inspired him?" Nevertheless, we got along as well as anybody could with Syd Barrett. He really was in control. He was the only one doing any writing. he was the only one who I. as a pro- ducer, had to convince if I had any ideas, but the trouble with Syd was that he would agree with almost everything I said and then go hack in and do exactly the same bloody thing again. I was really getting nowhere.»

«Mr Smith a blast from the past», Studio Sound, June 1998

CONCERT DATE | 28 February 1967 Blaises Club, Imperial Hotel, Kensington, London, England

Dutch biography sent to the Netherland press by EMI

CONCERT DATE | 1st March 1967 The Ballroom, Eel Pie Island Hotel, Twickenham, England

RECORD RELEASE | 3 March 1967 The first single Arnold Layne is released

Nick Mason:

«Syd got on really well with Joe Boyd when we recorded «Arnold Layne». He was happier with him than working with Norman Smith on Piper, Joe was much more part of the counter-culture, and Andrew and Peter were absolutely supportive of Syd, too, who worked for Elecktra. which behaved mote like an Indie label, whereas EMI was a full-on commercial operation - Manchester Square. A&R departments. marketing department. £25 for the cover of a record, that's how it worked. Of course, they had had The Beatles, which nude them top dog»

«Dark Globe», Uncut, May 2020

RECORD RELEASE | 3 March 1967 The first single Arnold Layne is released

Nick Mason:

«Syd got on really well with Joe Boyd when we recorded «Arnold Layne». He was happier with him than working with Norman Smith on Piper, Joe was much more part of the counter-culture, and Andrew and Peter were absolutely supportive of Syd, too, who worked for Elecktra. which behaved mote like an Indie label, whereas EMI was a full-on commercial operation - Manchester Square. A&R departments. marketing department. £25 for the cover of a record, that's how it worked. Of course, they had had The Beatles, which nude them top dog»

«Dark Globe», Uncut, May 2020

CONCERT DATE | 2 March 1967 Assembly Rooms, Worthing, England

CONCERT DATE | 3 March 1967 Market Hall, St. Albans, England

MAIN EVENT | 3 March 1967 EMI Press reception.
The band play several songs at EMI House, 20 Manchester Square, London, England Pink Floyd attended a press conference and photo session at 12:30pm at EMI Records headquarters, they also mimed performances of Arnold Layne and 'Candy And A Currant Bun complete with their lightshow. A "surrealist film" (according press), believed to be the Arnold Layne promo shot at West Wittering Beach, was also reported to have been shown.

A photographic session on the steps of EMI office building, was held after the reception. These pictures were often used in different books or article about the band the flooring years.

Photographies by Doug McKenzy

Photographies by Doug McKenzie

Interviewer: «OK! I recently saw a picture of you and the band in a Syd Barrett biography walking around in London in colorful clothes cheering. You had just signed a record deal. 1967.»

Waters: «Swinging, wasn’t it?»

Interviewer: «Yes swinging, even if you just meant this ironic.»

Waters: «In 1967 I had a very romantic idea of the music business. You know, I had just studied architecture for 5 years and wanted to leave an impact in this world this way or another. It was a fine thing having a record deal. We were incredibly glad and thrilled.»

«Interview with Roger Waters», Süddeutsche Zeitung, 18 May 2003

MAIN EVENT | 3 March 1967 EMI Press reception.
The band play several songs at EMI House, 20 Manchester Square, London, England Pink Floyd attended a press conference and photo session at 12:30pm at EMI Records headquarters, they also mimed performances of Arnold Layne and 'Candy And A Currant Bun complete with their lightshow. A "surrealist film" (according press), believed to be the Arnold Layne promo shot at West Wittering Beach, was also reported to have been shown.

A photographic session on the steps of EMI office building, was held after the reception. These pictures were often used in different books or article about the band the flooring years.

Photographies by Doug McKenzy

Photographies by Doug McKenzie

Interviewer: «OK! I recently saw a picture of you and the band in a Syd Barrett biography walking around in London in colorful clothes cheering. You had just signed a record deal. 1967.»

Waters: «Swinging, wasn’t it?»

Interviewer: «Yes swinging, even if you just meant this ironic.»

Waters: «In 1967 I had a very romantic idea of the music business. You know, I had just studied architecture for 5 years and wanted to leave an impact in this world this way or another. It was a fine thing having a record deal. We were incredibly glad and thrilled.»

«Interview with Roger Waters», Süddeutsche Zeitung, 18 May 2003

CONCERT DATE | 3 March 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

Elton John:

«I saw The Pink Floyd with Syd at the UFO in Tottenham Court Road in 1967 and I was blow away. I'd never seen anything like it. Just the visual aspect of the show alone was totally unbelievable. It was extremely exciting because it was a pretty small club anyway ... an amazing thing, visually and musically too»

«Pink Floyd's Syd Barrett», Mojo, September 2006

CONCERT DATE | 3 March 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

Elton John:

«I saw The Pink Floyd with Syd at the UFO in Tottenham Court Road in 1967 and I was blow away. I'd never seen anything like it. Just the visual aspect of the show alone was totally unbelievable. It was extremely exciting because it was a pretty small club anyway ... an amazing thing, visually and musically too»

«Pink Floyd's Syd Barrett», Mojo, September 2006

CONCERT DATE | 3 March 1967 Market Hall, St. Albans, England

CONCERT DATE | 4 March 1967 Poly Rag Ball, Regent Street Polytechnic, London, England

«Pamphlets advertising London pop group the Pink Floyd at Malverr Winter Gardens on 4th March have been banned because, said Mr. J. D. Harrison, the town's entertainments manager. they suggested a trend cowards druss and It was «completely wrong»»

«Leaflets bans», Birmingham Post, 25 February 1967

CONCERT DATE | 4 March 1967 Poly Rag Ball, Regent Street Polytechnic, London, England

«Pamphlets advertising London pop group the Pink Floyd at Malverr Winter Gardens on 4th March have been banned because, said Mr. J. D. Harrison, the town's entertainments manager. they suggested a trend cowards druss and It was «completely wrong»»

«Leaflets bans», Birmingham Post, 25 February 1967

CONCERT DATE | 5 March 1967 Saville Theatre, Shaftesbury Avenue, London, England

Photographie by Tony GALE

Tony Gale (Photographer):

«On March 5 1967 Pink Floyd were on the bill at London’s Saville Theatre - then owned by Brian Epstein - supporting Lee Dorsey alongside the Ryan Brothers and Jeff Beck.This was probably the first time the gelatine ”psychedelic” light effects were used in a major theatre.Photographers,used to bright spot lights,were caught off guard by the low-key lighting and had relatively slow films in their cameras hence the somewhat blurred stage images which in retrospect,actually add to their intended effect»

CONCERT DATE | 5 March 1967 Saville Theatre, Shaftesbury Avenue, London, England

Photographie by Tony GALE

Tony Gale (Photographer):

«On March 5 1967 Pink Floyd were on the bill at London’s Saville Theatre - then owned by Brian Epstein - supporting Lee Dorsey alongside the Ryan Brothers and Jeff Beck.This was probably the first time the gelatine ”psychedelic” light effects were used in a major theatre.Photographers,used to bright spot lights,were caught off guard by the low-key lighting and had relatively slow films in their cameras hence the somewhat blurred stage images which in retrospect,actually add to their intended effect»

TV RECORDING | 6 March 1967 « The Rave », Granada TV Studios, Manchester, England
This show would be the first appareance on the TV. The producers denied to the Floyd the use of the light show (apart the oils projections). The band has played Arnold Layne (Interstellar Overdrive for the biographer Alain Dister). This show was never brodcasted. Probably wiped as usually with this network. The BFI does’nt have a copy of this show.

CONCERT DATE | 7 March 1967 Winter Gardens, Malvern, England

CONCERT DATE | 9 March 1967 The Marquee, Wardour Street, London, England

RELATED EVENT | 10 March 1967. EMI introduces the « Arnold Layne » movie with a press reception. The presence of the group is not definitely established

RECORD RELEASE | 10 March 1967 Pink Floyd's debut single, Arnold Layne is released in the UK, and reached No. 20 in the charts.
The song was banned by BBC Radio London, who objected to the lyrics about a transvestite underwear thie

«The Pink Floyd, four young men named Roger,Nick, Syd and Rick, have been making much noise on the London club scene over the past few months. In and around our capital, there’s a custom-tallored audience ready to buy ‘Arnold Layne’, the outfit’s first self-penned single»

«By Discker», Liverpool Echo, 11 March 1967

Andrew King:

«We spent a couple of hundred quid, trying to buy it into the charts. The management did that, not EMI»

«The Piper at the Gates of Dawn», John Cavanagh, 2003.

RECORD RELEASE | 10 March 1967 Pink Floyd's debut single, Arnold Layne is released in the UK, and reached No. 20 in the charts.
The song was banned by BBC Radio London, who objected to the lyrics about a transvestite underwear thie

«The Pink Floyd, four young men named Roger,Nick, Syd and Rick, have been making much noise on the London club scene over the past few months. In and around our capital, there’s a custom-tallored audience ready to buy ‘Arnold Layne’, the outfit’s first self-penned single»

«By Discker», Liverpool Echo, 11 March 1967

Andrew King:

«We spent a couple of hundred quid, trying to buy it into the charts. The management did that, not EMI»

«The Piper at the Gates of Dawn», John Cavanagh, 2003.

CONCERT DATE | 10 March 1967 UFO, The Blarney Club, Tottenham Court Road, London, England
Preview of the Arnold Layne promo film at this gig

CONCERT DATE | 11 March 1967 Main Hall, Technical College, Canterbury, England

«When the Pink Floyd played at Canterbury in November* they were good, but when they returned on Saturday to the Canterbury Technical College dance they were even better»

«The pagan effect of the Pink Floyd», Kent Herald, 15 March 1967

*The 19th November

CONCERT DATE | 11 March 1967 Main Hall, Technical College, Canterbury, England

«When the Pink Floyd played at Canterbury in November* they were good, but when they returned on Saturday to the Canterbury Technical College dance they were even better»

«The pagan effect of the Pink Floyd», Kent Herald, 15 March 1967

*The 19th November

CONCERT DATE | 12 March 1967 Agincourt Ballroom, Camberley, England

RECORDING SESSION | 15 & 16 March 1967. EMI Studios, London, England

After some works on Chapter 24, the band records the spécial French version of Interstellare Overdrive (short version). At the end of the session, the group starts the recording of Flaming.

RECORDING SESSION | 15 & 16 March 1967. EMI Studios, London, England

After some works on Chapter 24, the band records the spécial French version of Interstellare Overdrive (short version). At the end of the session, the group starts the recording of Flaming.

PRESS MENTION | 16 March 1967 Roger Waters reacts to the psychedelic reputation of the band

Roger Waters:

«We keep changing our act so that the audiences won’t tire of them, but basically we go on stage to enjoy ourselves and do what we want to do. Neither do we consider ourselves as being psycheodelic»

«Pink Floyd say their act is no gimmick», Leicester Mercury, 16 March 1967

CONCERT DATE | 17 March 1967 Kingston Technical College, Kingston-Upon-Thames, England

Roger Waters:

«Really a fairly good gig, partly because the support group was boring that everyone was glad to see us»

«Nick Mason’s 1968 Diary», Their Mortal Remains Catalogue, 2017

PRESS MENTION | 16 March 1967 Roger Waters reacts to the psychedelic reputation of the band

Roger Waters:

«We keep changing our act so that the audiences won’t tire of them, but basically we go on stage to enjoy ourselves and do what we want to do. Neither do we consider ourselves as being psycheodelic»

«Pink Floyd say their act is no gimmick», Leicester Mercury, 16 March 1967

CONCERT DATE | 17 March 1967 Kingston Technical College, Kingston-Upon-Thames, England

Roger Waters:

«Really a fairly good gig, partly because the support group was boring that everyone was glad to see us»

«Nick Mason’s 1968 Diary», Their Mortal Remains Catalogue, 2017

PHOTO SESSION | Mid-March 1967 Pink Floyd is photographed at Cromwell Road, London by Peter Wynn-Wilson

Photographies by Peter Wynn-Wilson

PHOTO SESSION | Mid-March 1967 Pink Floyd is photographed at Cromwell Road, London by Peter Wynn-Wilson

Photographies by Peter Wynn-Wilson

PRESS MENTION | 18 March 1967 Following the controversy about the lyrics of Arnold Layne, Roger Waters gives an interview to the « Ireland's Saturday Night » newspaper.

Roger Waters:

«I’m upset when people say it is a smutty song. This attitude is the type of thing which leads to the kind of situation which the song is about. It is a real song about a real subject. It isn’t just a collection of words - like love, baby and dig - put to music like the average pop song. If all the members of the group had not liked it we would not have done it. That’s obvious. The song was written in good faith. I think it is good. If we can’t write and sing songs about various predicament then we might as well not to be in the business »

« Our new record is not smutty say the Pink Floyd «, Ireland Saturday’s Night, 18 March 1967

PRESS MENTION | 18 March 1967 Following the controversy about the lyrics of Arnold Layne, Roger Waters gives an interview to the « Ireland's Saturday Night » newspaper.

Roger Waters:

«I’m upset when people say it is a smutty song. This attitude is the type of thing which leads to the kind of situation which the song is about. It is a real song about a real subject. It isn’t just a collection of words - like love, baby and dig - put to music like the average pop song. If all the members of the group had not liked it we would not have done it. That’s obvious. The song was written in good faith. I think it is good. If we can’t write and sing songs about various predicament then we might as well not to be in the business »

« Our new record is not smutty say the Pink Floyd «, Ireland Saturday’s Night, 18 March 1967

CONCERT DATE | 18 March 1967 Enfield College of Technology, Enfield, London, England
On Tuesday 17 lulv 2012 a listener to the Ken Bruce Show on BBC Radio 2 called in to say that he was the social secretary of the college who had booked Pink Floyd for theircollege dance. Tickets were printed on pink card and cost 8 shillings. At the thunderous climax of Pink Floyd's set he recalled adisgusted janitor pulling the plug on the power, and in a fit ofanger at being interrupted Roger Waters threw his guitar at the wal at the back ofthe stage. At acollege reunion some 30 years later the former secretary was amused to note the dent in the wall was still there.

Nick Mason:

« Probably the worst gig ever! Everything broke, amp after amp, and we all freaked totally, cursing, snorting and eventually grow up completely»

«Nick Mason’s 1968 Diary», Their Mortal Remains Catalogue, 2017

CONCERT DATE | 18 March 1967 Enfield College of Technology, Enfield, London, England
On Tuesday 17 lulv 2012 a listener to the Ken Bruce Show on BBC Radio 2 called in to say that he was the social secretary of the college who had booked Pink Floyd for theircollege dance. Tickets were printed on pink card and cost 8 shillings. At the thunderous climax of Pink Floyd's set he recalled adisgusted janitor pulling the plug on the power, and in a fit ofanger at being interrupted Roger Waters threw his guitar at the wal at the back ofthe stage. At acollege reunion some 30 years later the former secretary was amused to note the dent in the wall was still there.

Nick Mason:

« Probably the worst gig ever! Everything broke, amp after amp, and we all freaked totally, cursing, snorting and eventually grow up completely»

«Nick Mason’s 1968 Diary», Their Mortal Remains Catalogue, 2017

RECORDING SESSION | 19 March 1967 EMI Studios, London, England
First recordings of Gnome.

RECORDING SESSION | From 20 to 22 March 1967. EMI Studios, London, England
The group is recording manily the Roger’s Take Up Thy Stethoscope And Walk and beginning to work on Pow R., Toc H. and The Scarecrow. The group decided to abandon the short version of Interstellaire Overdrive recorded. on 16 March. Instead, the Floyd is working on the take 2 recorded on 27 February and mixed on 1st March.

While recording in Studio 3 at Abbey Road, Pink Floyd were introduced to The Beatles, working on «Sgt. Pepper's Lonely Hearts Club Band by the former Beatles engineer and now Floyd-producer Norman Smith.

Hunter Davies (Beatles bipgrapher):

« A man in a purple shirt called Norman arrived: he used to be one of their recording engineers and now had a group of his own, The Pink Floyd. Very politely he asked George Martin if his boys could possibly pop in to see the Beatles at work. George smiled unhelpfully. Norman said perhaps he should ask John personally, as a favor. George Martin said no, that wouldn't work. If by chance he and his boys popped in about 11 o'clock. he might just be able to see what he could do. They did pop in around 11, and exchanged a few halfhearted hellos. The Beatles were still going through the singing of "It's Getting Better" for what now seemed the thousandth time »

«The Beatles: The Authorised Biography», Hunter Davies, 1968

Nick Mason:

«They were God-like figures to us. We sat humbly and humbled, at the back of the control room while they worked on the mix, and after a suitable (and embarrassing) period of time had elapsed, we were ushered out again»

«Inside Out», Nick Mason

Roger Waters:

«McCartney used to come into our studio. I don’t know why, but he’d become a bit of a fan. He’d see what we were doing. “’Ello! All right?” Swinging dodgy. That Scouser thing. But I remember going into the studio once. I can’t recall whether George Martin was there, but I’m sure Geoff Emerick was. John was in there for

sure. He wouldn’t even look at you, let alone speak to you. But I remember thinking, ‘Whoa, this is exciting!’ But afterwards, working in Abbey Road, I used to see the Mellotron. There was a space between the two sets of soundproof doors that opened onto the main entrance of Studio 2. The Mellotron was in there. It sat for years and years and years. It was painted pale grey, and there it was – “Strawberry Fields”. I remember it. I’m glad we were there».

«We're all in this together», Uncut, July 2017

RECORDING SESSION | From 20 to 22 March 1967. EMI Studios, London, England
The group is recording manily the Roger’s Take Up Thy Stethoscope And Walk and beginning to work on Pow R., Toc H. and The Scarecrow. The group decided to abandon the short version of Interstellaire Overdrive recorded. on 16 March. Instead, the Floyd is working on the take 2 recorded on 27 February and mixed on 1st March.

While recording in Studio 3 at Abbey Road, Pink Floyd were introduced to The Beatles, working on «Sgt. Pepper's Lonely Hearts Club Band by the former Beatles engineer and now Floyd-producer Norman Smith.

Hunter Davies (Beatles bipgrapher):

« A man in a purple shirt called Norman arrived: he used to be one of their recording engineers and now had a group of his own, The Pink Floyd. Very politely he asked George Martin if his boys could possibly pop in to see the Beatles at work. George smiled unhelpfully. Norman said perhaps he should ask John personally, as a favor. George Martin said no, that wouldn't work. If by chance he and his boys popped in about 11 o'clock. he might just be able to see what he could do. They did pop in around 11, and exchanged a few halfhearted hellos. The Beatles were still going through the singing of "It's Getting Better" for what now seemed the thousandth time »

«The Beatles: The Authorised Biography», Hunter Davies, 1968

Nick Mason:

«They were God-like figures to us. We sat humbly and humbled, at the back of the control room while they worked on the mix, and after a suitable (and embarrassing) period of time had elapsed, we were ushered out again»

«Inside Out», Nick Mason

Roger Waters:

«McCartney used to come into our studio. I don’t know why, but he’d become a bit of a fan. He’d see what we were doing. “’Ello! All right?” Swinging dodgy. That Scouser thing. But I remember going into the studio once. I can’t recall whether George Martin was there, but I’m sure Geoff Emerick was. John was in there for

sure. He wouldn’t even look at you, let alone speak to you. But I remember thinking, ‘Whoa, this is exciting!’ But afterwards, working in Abbey Road, I used to see the Mellotron. There was a space between the two sets of soundproof doors that opened onto the main entrance of Studio 2. The Mellotron was in there. It sat for years and years and years. It was painted pale grey, and there it was – “Strawberry Fields”. I remember it. I’m glad we were there».

«We're all in this together», Uncut, July 2017

PRESS MENTION | 21 March 1967 The Coventry Evening Telegraph dedicates an article about the new scene with many mentions of Pink Floyd

RECORDING SESSION |22 March 1967, as the band is recording Scarecrow and Interstellar Overdrive, the young photographer Paul Berriff shoot the band in EMI Studios

Photographies by Paul BERIFF

RECORDING SESSION |22 March 1967, as the band is recording Scarecrow and Interstellar Overdrive, the young photographer Paul Berriff shoot the band in EMI Studios

Photographies by Paul BERIFF

CONCERT DATE | 22 March 1967 Canteen, London School of Economics, London, England

CONCERT DATE | 23 March 1967 Clifton Hall, Rotherham, England

Contract for the Ricky-Tick Club gigs

CONCERT DATE | 24 March 1967 Ricky Tick Club, Hounslow, England

PRESS MENTION | 25 March 1967 Paul Jones is talking to the press of his cinematographic project who will know as «The Committee»

Paul Jones:

«I’m not likely to get offered many artistic parts, so I was keen to do this film. It’s supposed to be a study of any individual and his place in society (…) Oh well, I get caught by the law and the film is about how people realise the murderer’s not really vicious at all and actually quite a nice guy. So they let him off»

«Murder by Paul», Disc & Music Echo, 25 March 1967

PRESS MENTION | 25 March 1967 Paul Jones is talking to the press of his cinematographic project who will know as «The Committee»

Paul Jones:

«I’m not likely to get offered many artistic parts, so I was keen to do this film. It’s supposed to be a study of any individual and his place in society (…) Oh well, I get caught by the law and the film is about how people realise the murderer’s not really vicious at all and actually quite a nice guy. So they let him off»

«Murder by Paul», Disc & Music Echo, 25 March 1967

CONCERT DATE | 25 March 1967 Ricky Tick Club, Hounslow, England

CONCERT DATE | 25 March 1967 Article entitled « Meet the Pinkie winkie » present the band in Disc & Music Echo

CONCERT DATE | 25 March 1967 New Yorker Discotheque, Swindon, England

CONCERT DATE | 26 March 1967 Shoreline Club, Caribbean Hotel, Bognor Regis, England
On 25th March 1967 Pink Floyd played three gigs in 24 hours. The appeared at the Ricky Tick Club in Windsor, then the New Yorker Discotheque in Swindon and then played at the Shoreline Club in Bognor Regis (in the early hours of the 26th March).

CONCERT DATE | 28 March 1967 Chinese R&B Jazz Club, Bristol Corn Exchange, Bristol, England

CONCERT DATE | 29 March 1967 The Ballroom, Eel Pie Island Hotel, Twickenham, England
The performance was cancelled. See the page dedicated to the cancelled performances of Pink Floyd for more details

RECODING SESSION | 29 March 1967 EMI Studios, London, England. Mixing session

TV RECORDING | 30 March 1967 Pink Floyd were filmed for an appearance on «Top Of The Pops» at the BBC's Lime Grove Studios in West London.
The performance was never broadcast because Arnold Layne dropped three places in the charts the following week.. See the page dedicated to the videos and film documents for more details

CONCERT DATE | 31 March 1967 Top Spot Ballroom, Ross-on-Wye, England
The performance was cancelled. See the page dedicated to the cancelled performances of Pink Floyd for more details

The trio shot on July 1967 at a campsite in the south

PHOTO SESSION | Early 1967 Session by EMI. An image was used for a cover of Arnold Layne

MISCELLANOUS EVENT | Late March/Early April, David Gilmour who left Joker’s Wild goes to Paris with two friends, Willie Wilson and Rick Wills
They form a new band called initially Bullets, then Flowers. They give many gigs on the French riviera some weeks later.

PRESS MENTION | 1st April 1967: The brother of Mick Jagger gives a big coverage to the Floyd in « Dis & Music Echo ».

CONCERT DATE | 1st April 1967 The Birdcage Club, Portsmouth, England

MISCELLANOUS EVENT | On the way back from Portsmouth, Aubrey Powell remembers erractic behaviour of Syd

Aubrey Po Powell (co-founder of Hipgnosis):

« (…) the others didn't really want to be with him, remember we smoked a joint, and Syd must have laughed for about two hours, hardly speaking. He was obviously losing the plot»

«Blow Up», Mojo 60’s, July 2017

Aubrey Po Powell (co-founder of Hipgnosis):

«I found him a bit odd. He wasn't the same Syd I'd met a year or so before»

«Us and them», Mark Blake, 2023

MISCELLANOUS EVENT | On the way back from Portsmouth, Aubrey Powell remembers erractic behaviour of Syd

Aubrey Po Powell (co-founder of Hipgnosis):

« (…) the others didn't really want to be with him, remember we smoked a joint, and Syd must have laughed for about two hours, hardly speaking. He was obviously losing the plot»

«Blow Up», Mojo 60’s, July 2017

Aubrey Po Powell (co-founder of Hipgnosis):

«I found him a bit odd. He wasn't the same Syd I'd met a year or so before»

«Us and them», Mark Blake, 2023

PRESS MENTION | 1st April 1967 A dedicated article in the « Melody Maker »

RADIO SESSION | 3 April 1967 Pink Floyd performed Candy And A Currant Bun and Arnold Layne for BBC Radio's « Monday, Monday! » at Playhouse Theatre

PRESS MENTION | 1st April 1967 A dedicated article in the « Melody Maker »

RADIO SESSION | 3 April 1967 Pink Floyd performed Candy And A Currant Bun and Arnold Layne for BBC Radio's « Monday, Monday! » at Playhouse Theatre

PHOTO SESSION |5 April 1967 A photo session is set at the Blackhill's Office, 41 Edbrooke Road, London by the French photograph Alain Sister

Photographies by Alain DISTER

Alain Dister:

«C’était au tout début de Rock&Folk (…) A ce moment-là, il y avait justement un spécialiste des musiques anglo-saxonnes, Philippe Rault, qui a eu cette idée que l’on parte ensemble en Angleterre faire des photographies de la nouvelle scène anglaise qui était alors en pleine explosion. J’étais déjà allé à Londres pour y rencontrer Jimi Hendrix, et on sentait qu’il y avait quelque chose qui se passait avec le rock psychédélique, le swinging London, etc. Pink Floyd venait de sortir Arnold Layne. C’était vraiment au tout début de l’histoire du groupe et on avait organisé une rencontre. J’étais censé faire uniquement des photos et pas du tout d’interview ou quoi que ce soit d’autre. Uniquement des photos pour le magazine et pour moi-même, pour les revendre en tant que photographe freelance.

Le rendez-vous avait été organisé avec les managers, Andrew King et Peter Jenner. Ces deux personnages étaient très intéressants car ils étaient de purs produits des écoles publiques anglaises. Ils avaient eu l’idée de faire tourner les groupes dans le circuit des universités, plutôt que d’organiser des concerts dans des salles, et ainsi aller à la rencontre du public,.

Ça nous semblait intéressant aussi de rencontrer ces gens-là. Rendez-vous a donc été pris dans leur bureau. Ils ont réuni les quatre musiciens pour que l’on procède à cette session photo. Ce qui était assez étonnant, c’est que trois d’entre eux étaient habillés en costume sombre, avec tout de même des chemises un peu bariolées et colorées, ainsi que des foulards. Nous étions en pleine période psychédélique et la mode était, alors, à ces foulards un peu indiens dans l’esprit. Le quatrième, Syd Barrett, avait au contraire choisi de mettre un pantalon vert, un gilet afghan jaune orangé avec une chemise très colorée en dessous. Il tranchait vraiment sur les trois autres. Et le rapport avec eux était aussi très différent. Le rapport avec Barrett, par exemple, était pratiquement de la télépathie. Il ne parlait pas ou très très peu. Et en même temps, c’était un remarquable modèle. Il y avait quelque chose qui se passait entre le photographe et le modèle qui faisait que l’on avait plaisir à le photographier. Il y avait comme une émanation que l’on pouvait capter, alors que les autres

étaient des musiciens lambda, très sympas et très loquaces.

Je me souviens notamment d’un Nick Mason très bavard. Waters, à l’époque, était très sympathique. Bon, bien après, il paraît que ça a un peu changé (rires), mais à ce moment-là, c’était un garçon très ouvert. Idem pour Rick Wright. Vraiment des gens agréables, assez discrets, qui n’en faisaient pas des tonnes et qui se prêtaient volontiers aux caprices du photographe. J’ai vraiment passé un très bon moment avec eux»

« Interview d’Alain Dister par Dumbangel», Speak to Me #04, Printemps 2010

PHOTO SESSION |5 April 1967 A photo session is set at the Blackhill's Office, 41 Edbrooke Road, London by the French photograph Alain Sister

Photographies by Alain DISTER

Alain Dister:

«C’était au tout début de Rock&Folk (…) A ce moment-là, il y avait justement un spécialiste des musiques anglo-saxonnes, Philippe Rault, qui a eu cette idée que l’on parte ensemble en Angleterre faire des photographies de la nouvelle scène anglaise qui était alors en pleine explosion. J’étais déjà allé à Londres pour y rencontrer Jimi Hendrix, et on sentait qu’il y avait quelque chose qui se passait avec le rock psychédélique, le swinging London, etc. Pink Floyd venait de sortir Arnold Layne. C’était vraiment au tout début de l’histoire du groupe et on avait organisé une rencontre. J’étais censé faire uniquement des photos et pas du tout d’interview ou quoi que ce soit d’autre. Uniquement des photos pour le magazine et pour moi-même, pour les revendre en tant que photographe freelance.

Le rendez-vous avait été organisé avec les managers, Andrew King et Peter Jenner. Ces deux personnages étaient très intéressants car ils étaient de purs produits des écoles publiques anglaises. Ils avaient eu l’idée de faire tourner les groupes dans le circuit des universités, plutôt que d’organiser des concerts dans des salles, et ainsi aller à la rencontre du public,.

Ça nous semblait intéressant aussi de rencontrer ces gens-là. Rendez-vous a donc été pris dans leur bureau. Ils ont réuni les quatre musiciens pour que l’on procède à cette session photo. Ce qui était assez étonnant, c’est que trois d’entre eux étaient habillés en costume sombre, avec tout de même des chemises un peu bariolées et colorées, ainsi que des foulards. Nous étions en pleine période psychédélique et la mode était, alors, à ces foulards un peu indiens dans l’esprit. Le quatrième, Syd Barrett, avait au contraire choisi de mettre un pantalon vert, un gilet afghan jaune orangé avec une chemise très colorée en dessous. Il tranchait vraiment sur les trois autres. Et le rapport avec eux était aussi très différent. Le rapport avec Barrett, par exemple, était pratiquement de la télépathie. Il ne parlait pas ou très très peu. Et en même temps, c’était un remarquable modèle. Il y avait quelque chose qui se passait entre le photographe et le modèle qui faisait que l’on avait plaisir à le photographier. Il y avait comme une émanation que l’on pouvait capter, alors que les autres

étaient des musiciens lambda, très sympas et très loquaces.

Je me souviens notamment d’un Nick Mason très bavard. Waters, à l’époque, était très sympathique. Bon, bien après, il paraît que ça a un peu changé (rires), mais à ce moment-là, c’était un garçon très ouvert. Idem pour Rick Wright. Vraiment des gens agréables, assez discrets, qui n’en faisaient pas des tonnes et qui se prêtaient volontiers aux caprices du photographe. J’ai vraiment passé un très bon moment avec eux»

« Interview d’Alain Dister par Dumbangel», Speak to Me #04, Printemps 2010

CONCERT DATE | 6 April 1967 City Hall, Salisbury, England

CONCERT DATE | 7 April 1967 Floral Hall, Belfast, Northern Ireland

Roger Waters:

«We played in Belfast recently and the reception there was great»

«Nothing nasty behind our light and colour effects», New Musical Express, 1st July 1967.

CONCERT DATE | 7 April 1967 Floral Hall, Belfast, Northern Ireland

Roger Waters:

«We played in Belfast recently and the reception there was great»

«Nothing nasty behind our light and colour effects», New Musical Express, 1st July 1967.

CONCERT DATE | 8 April 1967 Rhodes Center, Bishops Stortford, England

PRESS MENTION | 8 April 1967 First clue for a project about a concept-concert who eventually would be the « Games for May » show was leaked by their manager

Peter Jenner:

« We hope to present a show of completely new material with tapes and films »

« Pink Floyd: giant date » Disc& Music Echo, 8 April 1967.

PRESS MENTION | 8 April 1967 First clue for a project about a concept-concert who eventually would be the « Games for May » show was leaked by their manager

Peter Jenner:

« We hope to present a show of completely new material with tapes and films »

« Pink Floyd: giant date » Disc& Music Echo, 8 April 1967.

PHOTO SESSION |Early-Mid April 1967 A famous photo session is set by Colin Prime in Ruskin Park.

Nick Mason:

« Photographer Colin Prime was commissioned by Blackhill to take some of our first publicity shots.. This session took place in Ruskin Park off Denmark Hill »

« Pink Floyd's Iconic First Photoshoot In Ruskin Park Took Place 50 Years Ago », Rock Archive Website, 28 April 2017

Photographies by Colin PRIME

One of the picture was later used as back cover for « The Piper at the gates of Dawn »

Colin Prime:

«All the guys were in high spirits at the time (Syd was performing cartwheels) but quite laid back, so after some slightly more formal shots I experimented and came up with these images»

« Pink Floyd's Iconic First Photoshoot In Ruskin Park Took Place 50 Years Ago », Rock Archive Website, 28 April 2017

PHOTO SESSION |Early-Mid April 1967 A famous photo session is set by Colin Prime in Ruskin Park.

Nick Mason:

« Photographer Colin Prime was commissioned by Blackhill to take some of our first publicity shots.. This session took place in Ruskin Park off Denmark Hill »

« Pink Floyd's Iconic First Photoshoot In Ruskin Park Took Place 50 Years Ago », Rock Archive Website, 28 April 2017

Photographies by Colin PRIME

One of the picture was later used as back cover for « The Piper at the gates of Dawn »

Colin Prime:

«All the guys were in high spirits at the time (Syd was performing cartwheels) but quite laid back, so after some slightly more formal shots I experimented and came up with these images»

« Pink Floyd's Iconic First Photoshoot In Ruskin Park Took Place 50 Years Ago », Rock Archive Website, 28 April 2017

CONCERT DATE | 8 April 1967 The Roundhouse, Chalk Farm, London, England

PRESS MENTION | 8 April 1967 On « Disc & Music Echo », An article is dedicated to the Floyd with interview od members of the band

CONCERT DATE | 9 April 1967 Britannia Rowing Club, Nottingham, England

CONCERT DATE | 10 April 1967 The Pavilion, Bath, England

«Pink Floyd appeared at the Pavilion, Bath on Monday evening and hardly left the audience stunned. "Shocked" would have been a more appropriate word. I have never, ever heard such a load of noisy, boring. monotonous rubbish hiding under the name of music. The hand-out goes on to list the names of the four-but piece group but forgets to mention the two projectionists who travel with and are part of, the Pink Floyd. Were it not for these two cleverly handling and screening Quatermass-type explosive films, fabulously-coloured, then the group would surely have died a horrible death»

«The long thin column»,Western Daily Press, 13 April 1967

CONCERT DATE | 10 April 1967 The Pavilion, Bath, England

«Pink Floyd appeared at the Pavilion, Bath on Monday evening and hardly left the audience stunned. "Shocked" would have been a more appropriate word. I have never, ever heard such a load of noisy, boring. monotonous rubbish hiding under the name of music. The hand-out goes on to list the names of the four-but piece group but forgets to mention the two projectionists who travel with and are part of, the Pink Floyd. Were it not for these two cleverly handling and screening Quatermass-type explosive films, fabulously-coloured, then the group would surely have died a horrible death»

«The long thin column»,Western Daily Press, 13 April 1967

PHOTO SESSION | Mid- April 1967 A session is held to the EMI office building for publicity.

Photographer unknown

PHOTO SESSION | Mid- April 1967 A session is held to the EMI office building for publicity.

Photographer unknown

RECORDING SESSION | 11 to 12 April 1967 Recording session for « The Piper at the gates of dawn »
The band begins to work onAstronomy Dominé, Percy the Ratchatcher (Lucifer Sam), the unreleased She was a millionaire and some sounds effects for the beginning of Astronomy Dominé.

MISCELLANOUS | Mid-April 1967 Interview with « Kink » magazine
Roger Waters gives an interview in the name of the band to Cess Mentink

Roger Waters with Cess Mentink

MISCELLANOUS | Mid-April 1967 Interview with « Kink » magazine
Roger Waters gives an interview in the name of the band to Cess Mentink

Roger Waters with Cess Mentink

CONCERT DATE | 15 April 1967 K4 Discotheque, West Pier, Brighton, England
The band played in front of a 60-foot wide white projection screen. Some sequences appeared in the film « Promenade » (See the page dedicated to the appearance of the band on films and videos).

Cameron Watson (first band’s manager):

«(Un jour), un club de Brighton téléphone à l’agence en disant qu’ils voulaient absolument faire jouer le Floyd : « j’ai bluffé au téléphone et j’ai dit que ça allait coûter 600 Livres... « Quoi ? » s’est étranglé le type, « Eh oui, mon pote, ils sont n° 4 !* » Alors qu’avant on les faisait jouer au maximum pour 300 Livres, ce qui était déjà une belle somme à l’époque : Jimi Hendrix jouait pour 35 Livres quand on le faisait passer à Londres ! Et ça a marché, le club les a pris à 600 car ils devenaient des stars»

« Du flamant Rose ou du cochon ? » Rockland, July 1988

There was something eerie about the vast crowd standing on the beach looking out to sea, turning its head first to the east then to the west, like the end of the world in an epic film. Events later in the " Kinetic Audio Visual Environment" on the West Pier were more deliberately disturbing. Bruce Lacey's " Humanoid Robots» were inoffensive enough. One of them called Tudor actually blew bubbles to show how friendly he/she was.

But the young in the audience got a bit restive with the arty flickering of light and scientific catch-phrases on the screens all around them. They wanted the pink Floyd. This is a pop group amplified, distorted and then amplified again. It is like being in the middle of an explosion while an electric current is passed through your body and vour ear drums are simultaneousiv pierced by power-driven screwdrivers»

« Brighton Festival ups and down », The Daily Telegraph, 17 April 1967

CONCERT DATE | 15 April 1967 K4 Discotheque, West Pier, Brighton, England
The band played in front of a 60-foot wide white projection screen. Some sequences appeared in the film « Promenade » (See the page dedicated to the appearance of the band on films and videos).

Cameron Watson (first band’s manager):

«(Un jour), un club de Brighton téléphone à l’agence en disant qu’ils voulaient absolument faire jouer le Floyd : « j’ai bluffé au téléphone et j’ai dit que ça allait coûter 600 Livres... « Quoi ? » s’est étranglé le type, « Eh oui, mon pote, ils sont n° 4 !* » Alors qu’avant on les faisait jouer au maximum pour 300 Livres, ce qui était déjà une belle somme à l’époque : Jimi Hendrix jouait pour 35 Livres quand on le faisait passer à Londres ! Et ça a marché, le club les a pris à 600 car ils devenaient des stars»

« Du flamant Rose ou du cochon ? » Rockland, July 1988

There was something eerie about the vast crowd standing on the beach looking out to sea, turning its head first to the east then to the west, like the end of the world in an epic film. Events later in the " Kinetic Audio Visual Environment" on the West Pier were more deliberately disturbing. Bruce Lacey's " Humanoid Robots» were inoffensive enough. One of them called Tudor actually blew bubbles to show how friendly he/she was.

But the young in the audience got a bit restive with the arty flickering of light and scientific catch-phrases on the screens all around them. They wanted the pink Floyd. This is a pop group amplified, distorted and then amplified again. It is like being in the middle of an explosion while an electric current is passed through your body and vour ear drums are simultaneousiv pierced by power-driven screwdrivers»

« Brighton Festival ups and down », The Daily Telegraph, 17 April 1967

CONCERT DATE | 16 April 1967 The Brady Club, Stepney, London, England

CONCERT DATE | 19 April 1967 Bromel Club, Court Hotel, Bromley, England

Richard Busby:

«I went with a friend from school. I was 16. It was my first 'proper' gig. What I remember is there were about 120 / 150 people there. There was plenty of room for more. I think the Move concert [which followed on a slightly later date] had more people attending! And yes Floyd far far superior!

"They had the projector with the slide show about 25 feet from the stage to the left of the room (facing the stage). I think the bar was to the right of the room.

"The concert went well. They played Arnold Layne and most if not all of the songs (if I remember properly) from the first album. I think Syd behaved well. I certainly don't remember anything going wrong or being disjointed in any way. I will wrack my brain for other memories. Sorry it is not more memories (currently) but it was nearly 49 years ago!»

«Brain Damage website - Review», 20 January 2016

CONCERT DATE | 19 April 1967 Bromel Club, Court Hotel, Bromley, England

Richard Busby:

«I went with a friend from school. I was 16. It was my first 'proper' gig. What I remember is there were about 120 / 150 people there. There was plenty of room for more. I think the Move concert [which followed on a slightly later date] had more people attending! And yes Floyd far far superior!

"They had the projector with the slide show about 25 feet from the stage to the left of the room (facing the stage). I think the bar was to the right of the room.

"The concert went well. They played Arnold Layne and most if not all of the songs (if I remember properly) from the first album. I think Syd behaved well. I certainly don't remember anything going wrong or being disjointed in any way. I will wrack my brain for other memories. Sorry it is not more memories (currently) but it was nearly 49 years ago!»

«Brain Damage website - Review», 20 January 2016

CONCERT DATE | 20 April 1967 Queen's Elisabeth Hall, Barnstable, England
The band is banned since they threw flowers on the audience

Roger Waters:

«Wonder what would've happened if we'd thrown bricks!»

«His dream girl turned into a hit song!», Jackie, 7 June 1967

Roger Waters:

«Wonder what would've happened if we'd thrown bricks!»

«His dream girl turned into a hit song!», Jackie, 7 June 1967

CONCERT DATE | 20 April 1967 Queen's Elisabeth Hall, Barnstable, England
The band is banned since they threw flowers on the audience

Roger Waters:

«Wonder what would've happened if we'd thrown bricks!»

«His dream girl turned into a hit song!», Jackie, 7 June 1967

Roger Waters:

«Wonder what would've happened if we'd thrown bricks!»

«His dream girl turned into a hit song!», Jackie, 7 June 1967

PRESS MENTION | The band is planning some TV appearances in Europe for the last quarter of the year.
This « TV tour » will be postponed early 1968 since the Floyd agreed to join to the Hendrix- tour in England.

« Melody Maker », 30 September 1967

PRESS MENTION | The band is planning some TV appearances in Europe for the last quarter of the year.
This « TV tour » will be postponed early 1968 since the Floyd agreed to join to the Hendrix- tour in England.

« Melody Maker », 30 September 1967

CONCERT DATE | 21 April 1967 Starlight Ballroom, Greenford, England

CONCERT DATE | 21 April 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

PRESS MENTION | Mention of the band in the press by the Rolling Stone’s guitarist

Interviewer: «Are there always new groups coming in ?»

Keith Richards: «Of course, but who is waiting for a Pink Floyd or whatever all those new groups are called ?We have to worry about that. And that is actually a shame»

«Er wordt te veel gepraat en te weinig goede muziek gemaakt», De Telegraaf, 22 April 1967

PRESS MENTION | Mention of the band in the press by the Rolling Stone’s guitarist

Interviewer: «Are there always new groups coming in ?»

Keith Richards: «Of course, but who is waiting for a Pink Floyd or whatever all those new groups are called ?We have to worry about that. And that is actually a shame»

«Er wordt te veel gepraat en te weinig goede muziek gemaakt», De Telegraaf, 22 April 1967

CONCERT DATE | 22 April 1967 Benn Memorial Hall, Rugby, England

«The boys appeared only once-but the 45-minute stint was about all the average onlooker could take.

Flipping through their repertoire, which included " Interstellar Overdrive." "Candy and a Currant Bun" and their latest * Arnold Layne," they displayed a remarkable dedication to a brand of music which may fade into the past, or could be the next progression in the musical annals of the 20th century»

«Pink Floyd perform like mad scientists», Rugby Advertiser, 28 April 1967

CONCERT DATE | 23 April 1967 Starlight Ballroom, Greenford, England

CONCERT DATE | 24 April 1967 Blue Opera Club, The Feathers Public House, Ealing Broadway, London, England

Roger Waters’ forehead was cut by an audience member who threw him a penny

Peter Jenner:

«I remember Floyd played a jazz club in Ealing, and someone threw a big old penny at Roger Waters because they weren't playing proper blues music, and it hit him in the teeth... People knew that Floyd were psychedelic, so they were expecting something weird, but there were occasions when audiences would get upset because they weren't getting a nice set of songs that sounded exactly like the single. I think it was in Dunstable that someone up in the balcony above the band poured a pint of beer over Roger in protest. Somehow it was always Roger who ended up as the target!»

CONCERT DATE | 24 April 1967 Blue Opera Club, The Feathers Public House, Ealing Broadway, London, England

Roger Waters’ forehead was cut by an audience member who threw him a penny

Peter Jenner:

«I remember Floyd played a jazz club in Ealing, and someone threw a big old penny at Roger Waters because they weren't playing proper blues music, and it hit him in the teeth... People knew that Floyd were psychedelic, so they were expecting something weird, but there were occasions when audiences would get upset because they weren't getting a nice set of songs that sounded exactly like the single. I think it was in Dunstable that someone up in the balcony above the band poured a pint of beer over Roger in protest. Somehow it was always Roger who ended up as the target!»

CONCERT DATE | 25 April 1967 The Stage Club, Clarendon Restaurant, Oxford, England

CONCERT DATE | 28 April 1967 Tabernacle Club, Hillgate, Stockport, England

TV SESSION | 29 April 1967 VARA TV Studios, Zaandam, The Netherlands

Photographies by Nico VAN DER STAM

Peter Fock:

«It was indeed a musical as well as colorful surprise to all of us»

«Holland», Cashbox, 20 May 1967

Peter Jenner
« I have a vivid recollection of sitting on the edge of a canal in Amsterdam with The Kinksand Pink Floyd because we’d got a Dutch TV show. EMI was so well-connected internationally, they could send acts abroad. So, by and large in those day, the record company was key to getting you out of the UK»

«Those magnificent Men», Collectors Special Edition, 2020

Aubrey Powell drove the band's van that night between holland and London

Aubrey Po Powell (co-founder of Hipgnosis):

« The night before we'd been in Amsterdam smoking dope. Everyone tired, most of us tripping, and feeling pretty awful»

«Blow Up», Mojo 60’s, July 2017

PHOTO SESSION |The same day, a photo session is set in Amsterdam

Photographies by Nico VAN DER STAM

TV SESSION | 29 April 1967 VARA TV Studios, Zaandam, The Netherlands

Photographies by Nico VAN DER STAM

Peter Fock:

«It was indeed a musical as well as colorful surprise to all of us»

«Holland», Cashbox, 20 May 1967

Peter Jenner
« I have a vivid recollection of sitting on the edge of a canal in Amsterdam with The Kinksand Pink Floyd because we’d got a Dutch TV show. EMI was so well-connected internationally, they could send acts abroad. So, by and large in those day, the record company was key to getting you out of the UK»

«Those magnificent Men», Collectors Special Edition, 2020

Aubrey Powell drove the band's van that night between holland and London

Aubrey Po Powell (co-founder of Hipgnosis):

« The night before we'd been in Amsterdam smoking dope. Everyone tired, most of us tripping, and feeling pretty awful»

«Blow Up», Mojo 60’s, July 2017

PHOTO SESSION |The same day, a photo session is set in Amsterdam

Photographies by Nico VAN DER STAM

MAIN EVENT | 29 April 1967 « 14 Hour Technicolour Dream », Alexandra Palace, London, England

Photographies by Michael PUTLAND

Roger Waters:

«We gave a concert a short while ago at the Royal Festival Hall, and although we learnt a lot from it. We also lost a lot of money on it - we had to give up a week’s work in order to arrange everything, and so on. «Games for May», as it was called, was on in the evening, and we went onto the stage in the morning to try and work out our act -up till then we hadn’t thought about what we were going to do. Even then we only got as far as rehearsing the individual numbers, and working out the lighting. So when it came to the time of the performance in the evening, we had no idea of what we were going to do»

«We feel good», Record Mirror, 21 October 1967

Nick Mason:

«We just took a lot of props on stage with us and improvised. Quite a bit of what we did went down quite well, but a lot of it got completely lost. We worked out a fantastic stereophonic sound system whereby the sounds travelled round the Hall in a sort of circle, giving the audience an eerie effect of being absolutely surrounded by this music - and of course we tried to help the effect by the use of our lighting. Unfortunately it only worked for people sitting in the front of the Hall - still this was the first time we’d tried it, and like a lot of other ideas, we used for the first time at this concert, they should be improved by the time we do our next one. Also we thought we’d be able to use the props and work our act out as we went along - but we found this to be extremely difficult. I think it’s important to know what you’re going to do - to a certain extent, anyway. I always like to be in control of the situation.

Another thing we found out from giving that concert was that our ideas were far more advanced than our musical capabilities - at that time, anyway. I think we’ve improved a lot now - well we’ve had to, obviously - and it’s much easier for us to put across what we want to say. We made a lot of mistakes at that concert, but it was the first of its kind, and we, personally learnt a lot from it»

«We feel good», Record Mirror, 21 October 1967

«Vers minuit, le groupe tant attendu, le Pink Floyd s’est installé sur une petite scène d’environ 3m X 5m. Le groupe se compose de Syd Barrett (lead guitar), Roger Waters (basse), Rick Wright (orgue) et Nick Mason (batterie). Il faut ajouter le projectionniste, Jo Gannon, que le Floyd considère comme le cinquième membre du groupe, un élément indispensable comme n’importe lequel d’entre eux. Les instruments, guitares-orgue-batterie, sont très classiques et on pouvait à l’avance se demander si «après tout, ça n’est pas un orchestre semblable aux milliers d’autres que compte aujourd’hui la swinging England». Eh! bien non, le Pink Floyd n’est pas un groupe comme les autres (…) Mais vraiment quand ces quatre gaillards s’emparent de leurs instruments, il se passe quelque chose! Je dois le reconnaître, dès les premières minutes, j’ai bondi et je me suis dit: «Bon sang! voilà un des trucs les plus originaux que j’aii entendus depuis les Beatles!». En fait de Beatles, il y en avait un dans l’assistance, assis par terre devant la scène, très attentif, incognito sous sa moustache fraîchement poussée: Paul. Comment décrire la musique du Floyd: rauque, affolante (au sens propre du terme), profonde, poignante, orinique, interstellaire, science-fictionnesque, envoûtante, voilà quelques-uns des adjectifs qui lui conviennent le mieux. Mais ce que je tiens à souligner, c’est que cette musique fait peur et qu’elle vus remue les tripes. Émotionnellement, c’est une tragédie permanente, entrecoupée de délires oriniques qui finissent toujours mal. C’est une musqieu torturée mais profonde et en définitive belle. Rien à voir avec les gimmicks plus ou moins réussis des groupes freak-out de la West Coast. Ceux qui comme moi possèdent l’album des Mothers of Invention auront sans doute été déçus par une face nulle et une seconde intéressante – pas vraiment ce qu’on peut appler le pied. Quand au reste des «psychedelic groups» américains, je n’ai encore rien entendu qui aille qussi loin que le Floyd (…) Techniqueent parlant, le Pink Floyd base ses morceaux sur un rythme solide imprimé par la batterie. C’est une musique sur laquelle on peut taper du pied. En dehors des thèmes, assez brefs d’ailleurs, les trois autres instruments sont libres de toute contrainte; cela veut-il que Syd, Rodger (sic) et Rick font n’importe quoi, chacun de leur côté? Non, car le groupe est tellement soudé que chaque phrase musicale jouée par l’un d’entre eux trouve son écho dans le contre-chant de son voisin. En fin de compte, c’est une musique très concertée qui se présente au public. D’ailleurs avant chaque passage en scène, les quatre membres du groupe s’isolent une bonne dizaine de minutes pour discuter efficacementde ce qu’ils vont expérimenter. Et les lumières me demanderez-vous? Elles concourent à créer une atmosphère pour la pleine réceptivité de l’auditoire. En dehors des «slides» habituelles, le Pink Floyd possède tout un système de projections tournantes qui procurent au spectateur une réelle sensation d’ivresse et d’envol. N’oubliez pas que le but essentiels du psychedelic est de fournir par des effets visuels et sonores de perceptivités identiques à celles procurées par l’absorption du LSD.

En général, les morceaux du Floyd durent une trentaine de minutes chacun; trente minutes pendant lequelles un esprit ouvert découvrira d’excellentes idées; trente minutes de véritables happening instrumental. La majorité des morceaux débutent par un thème chanté et croyez-moi, les paroles sont toujours «out of this world!». Le morceau qui m’a impressionné le plus s’intitule Pow R., Toc H. L’action se déroule dans la jungle et Roger improvise des cris d’oiseaux extraordinaires qui, dans leur fureur, rappellent frénétiquement le célèbre film d’Alfred Hitchcock. Le suspense et la frayeur sont présents à tout moment. Autres titres remarquables: Stoolfix, Flaming, Butterfly, Chapter 24 et Take up thy Stéthoscope and walk. Le Pink Floyd décrit sa musique comme «une mise en condition émotionnelle totale de la personnalité»

«Stupéfiant Pink Floyd», Rock & Folk, Juillet 1967.

Interviewer: «What about that other legend, The great technicolor dream?»

Nick Mason: «Oh that was a joke. That was the night we did East Deerham as well»

Roger Waters: «I’ll never forget that night. We did a double header that night. First of all we played to a roomful of about 500 gipsies, hurling abuse and fighting, and then we did Ally Pally»

Nick Mason: «We certainly weren’t legendary there. Arthur Brown was the one. Taht was a great launching»

Roger Waters: «There was so much dope and acid around in those days that i don’t think anyone can remember anything about anything»
«Games for May», New Musical Express, 15 May 1976

June Bolan:

«One of the last British gigs Syd played with Floyd was the Technicolor Dream at Ally Pally. First of all we couldn't find Syd, then I found him in the dressing room and we was so gone. I kept saying, Syd, It's June. Look at me. Roger Waters and I got him on his feet, got him out to the stage. We put the white Stratocaster round his neck and he walked on stage and of course the audience went spare because they loved him. The band started to play and Syd stood there, he just stood there, tripping out of his mind. They did three, maybe four numbers and we got him off. He couldn't stand up for a set, let alone do anything else»

«No Man's Land, Interviews»,Robert Sandall

Twink:

«I remember that, we weren't booked to play, we just drove up & played. We just said "We're Tomorrow & we're playing"-bluffed our way onto the stage; and did a really good set, I think. We enjoyed it anyway. But that was the kind of thing you had to do at the time, if you were trying to get into something which had already started, you had to push your way in. The people who were organising the gigs had probably been thinking along those lines for years & then it suddenly became a movement. And the movement had already begun by the time we arrived. It was still early days for the movement though. As soon as I'd heard about Ufo I went down there, it had been going for 2-3 weeks & I went down there one Friday night».

«Interview with Twink, Syd Barrett's bandmate in Stars», Opel #11, 5 December 1985.

Aubrey Powell remembered some years later an incident when Roger Waters asked him to get a bottle of whisky. He initially refused his request

Aubrey Powell

«But Roger said, 'Fucking go and find me a bottle of whisky.' At which point I said, 'Goodbye, got in my van and left»»

«Aubrey Powell - The prog interview», Prog Magazine, April 2023

MAIN EVENT | 29 April 1967 « 14 Hour Technicolour Dream », Alexandra Palace, London, England

Photographies by Michael PUTLAND

Roger Waters:

«We gave a concert a short while ago at the Royal Festival Hall, and although we learnt a lot from it. We also lost a lot of money on it - we had to give up a week’s work in order to arrange everything, and so on. «Games for May», as it was called, was on in the evening, and we went onto the stage in the morning to try and work out our act -up till then we hadn’t thought about what we were going to do. Even then we only got as far as rehearsing the individual numbers, and working out the lighting. So when it came to the time of the performance in the evening, we had no idea of what we were going to do»

«We feel good», Record Mirror, 21 October 1967

Nick Mason:

«We just took a lot of props on stage with us and improvised. Quite a bit of what we did went down quite well, but a lot of it got completely lost. We worked out a fantastic stereophonic sound system whereby the sounds travelled round the Hall in a sort of circle, giving the audience an eerie effect of being absolutely surrounded by this music - and of course we tried to help the effect by the use of our lighting. Unfortunately it only worked for people sitting in the front of the Hall - still this was the first time we’d tried it, and like a lot of other ideas, we used for the first time at this concert, they should be improved by the time we do our next one. Also we thought we’d be able to use the props and work our act out as we went along - but we found this to be extremely difficult. I think it’s important to know what you’re going to do - to a certain extent, anyway. I always like to be in control of the situation.

Another thing we found out from giving that concert was that our ideas were far more advanced than our musical capabilities - at that time, anyway. I think we’ve improved a lot now - well we’ve had to, obviously - and it’s much easier for us to put across what we want to say. We made a lot of mistakes at that concert, but it was the first of its kind, and we, personally learnt a lot from it»

«We feel good», Record Mirror, 21 October 1967

«Vers minuit, le groupe tant attendu, le Pink Floyd s’est installé sur une petite scène d’environ 3m X 5m. Le groupe se compose de Syd Barrett (lead guitar), Roger Waters (basse), Rick Wright (orgue) et Nick Mason (batterie). Il faut ajouter le projectionniste, Jo Gannon, que le Floyd considère comme le cinquième membre du groupe, un élément indispensable comme n’importe lequel d’entre eux. Les instruments, guitares-orgue-batterie, sont très classiques et on pouvait à l’avance se demander si «après tout, ça n’est pas un orchestre semblable aux milliers d’autres que compte aujourd’hui la swinging England». Eh! bien non, le Pink Floyd n’est pas un groupe comme les autres (…) Mais vraiment quand ces quatre gaillards s’emparent de leurs instruments, il se passe quelque chose! Je dois le reconnaître, dès les premières minutes, j’ai bondi et je me suis dit: «Bon sang! voilà un des trucs les plus originaux que j’aii entendus depuis les Beatles!». En fait de Beatles, il y en avait un dans l’assistance, assis par terre devant la scène, très attentif, incognito sous sa moustache fraîchement poussée: Paul. Comment décrire la musique du Floyd: rauque, affolante (au sens propre du terme), profonde, poignante, orinique, interstellaire, science-fictionnesque, envoûtante, voilà quelques-uns des adjectifs qui lui conviennent le mieux. Mais ce que je tiens à souligner, c’est que cette musique fait peur et qu’elle vus remue les tripes. Émotionnellement, c’est une tragédie permanente, entrecoupée de délires oriniques qui finissent toujours mal. C’est une musqieu torturée mais profonde et en définitive belle. Rien à voir avec les gimmicks plus ou moins réussis des groupes freak-out de la West Coast. Ceux qui comme moi possèdent l’album des Mothers of Invention auront sans doute été déçus par une face nulle et une seconde intéressante – pas vraiment ce qu’on peut appler le pied. Quand au reste des «psychedelic groups» américains, je n’ai encore rien entendu qui aille qussi loin que le Floyd (…) Techniqueent parlant, le Pink Floyd base ses morceaux sur un rythme solide imprimé par la batterie. C’est une musique sur laquelle on peut taper du pied. En dehors des thèmes, assez brefs d’ailleurs, les trois autres instruments sont libres de toute contrainte; cela veut-il que Syd, Rodger (sic) et Rick font n’importe quoi, chacun de leur côté? Non, car le groupe est tellement soudé que chaque phrase musicale jouée par l’un d’entre eux trouve son écho dans le contre-chant de son voisin. En fin de compte, c’est une musique très concertée qui se présente au public. D’ailleurs avant chaque passage en scène, les quatre membres du groupe s’isolent une bonne dizaine de minutes pour discuter efficacementde ce qu’ils vont expérimenter. Et les lumières me demanderez-vous? Elles concourent à créer une atmosphère pour la pleine réceptivité de l’auditoire. En dehors des «slides» habituelles, le Pink Floyd possède tout un système de projections tournantes qui procurent au spectateur une réelle sensation d’ivresse et d’envol. N’oubliez pas que le but essentiels du psychedelic est de fournir par des effets visuels et sonores de perceptivités identiques à celles procurées par l’absorption du LSD.

En général, les morceaux du Floyd durent une trentaine de minutes chacun; trente minutes pendant lequelles un esprit ouvert découvrira d’excellentes idées; trente minutes de véritables happening instrumental. La majorité des morceaux débutent par un thème chanté et croyez-moi, les paroles sont toujours «out of this world!». Le morceau qui m’a impressionné le plus s’intitule Pow R., Toc H. L’action se déroule dans la jungle et Roger improvise des cris d’oiseaux extraordinaires qui, dans leur fureur, rappellent frénétiquement le célèbre film d’Alfred Hitchcock. Le suspense et la frayeur sont présents à tout moment. Autres titres remarquables: Stoolfix, Flaming, Butterfly, Chapter 24 et Take up thy Stéthoscope and walk. Le Pink Floyd décrit sa musique comme «une mise en condition émotionnelle totale de la personnalité»

«Stupéfiant Pink Floyd», Rock & Folk, Juillet 1967.

Interviewer: «What about that other legend, The great technicolor dream?»

Nick Mason: «Oh that was a joke. That was the night we did East Deerham as well»

Roger Waters: «I’ll never forget that night. We did a double header that night. First of all we played to a roomful of about 500 gipsies, hurling abuse and fighting, and then we did Ally Pally»

Nick Mason: «We certainly weren’t legendary there. Arthur Brown was the one. Taht was a great launching»

Roger Waters: «There was so much dope and acid around in those days that i don’t think anyone can remember anything about anything»
«Games for May», New Musical Express, 15 May 1976

June Bolan:

«One of the last British gigs Syd played with Floyd was the Technicolor Dream at Ally Pally. First of all we couldn't find Syd, then I found him in the dressing room and we was so gone. I kept saying, Syd, It's June. Look at me. Roger Waters and I got him on his feet, got him out to the stage. We put the white Stratocaster round his neck and he walked on stage and of course the audience went spare because they loved him. The band started to play and Syd stood there, he just stood there, tripping out of his mind. They did three, maybe four numbers and we got him off. He couldn't stand up for a set, let alone do anything else»

«No Man's Land, Interviews»,Robert Sandall

Twink:

«I remember that, we weren't booked to play, we just drove up & played. We just said "We're Tomorrow & we're playing"-bluffed our way onto the stage; and did a really good set, I think. We enjoyed it anyway. But that was the kind of thing you had to do at the time, if you were trying to get into something which had already started, you had to push your way in. The people who were organising the gigs had probably been thinking along those lines for years & then it suddenly became a movement. And the movement had already begun by the time we arrived. It was still early days for the movement though. As soon as I'd heard about Ufo I went down there, it had been going for 2-3 weeks & I went down there one Friday night».

«Interview with Twink, Syd Barrett's bandmate in Stars», Opel #11, 5 December 1985.

Aubrey Powell remembered some years later an incident when Roger Waters asked him to get a bottle of whisky. He initially refused his request

Aubrey Powell

«But Roger said, 'Fucking go and find me a bottle of whisky.' At which point I said, 'Goodbye, got in my van and left»»

«Aubrey Powell - The prog interview», Prog Magazine, April 2023

PRESS MENTION | A communiqué is published in the press to announces the forthcoming «Games for May» show

«The Floyd intend this concert to be a musical and visual exploration not only for themselves, but for the audience too. New material has been written and will be aired for the first time, including some specially prepared four-way stereo tapes. visually, the lights-men of the group have prepared an entirely new, bigger-than-ever-before show».

PRESS MENTION | A communiqué is published in the press to announces the forthcoming «Games for May» show

«The Floyd intend this concert to be a musical and visual exploration not only for themselves, but for the audience too. New material has been written and will be aired for the first time, including some specially prepared four-way stereo tapes. visually, the lights-men of the group have prepared an entirely new, bigger-than-ever-before show».

CONCERT DATE | 30 April 1967 Plaza Teen Club, Thornton Lodge Hall, Huddersfield, England

The band was billed «The group that’s got to be seen to be believed» !

Sue Bardon (Audience member):

«I didn’t know much about them as I was more into Motown at the time but there was a lot of people there that did know them. My friend said «you’ve got to come see them as they’re amazing» It was inspiring, it was really busy, I was so taken up with it, it was the first gig I’d ever been to. It was absolutely packed but I remember there were rows of wooden chairs and we did manage to get a seat. And the stage was like made up for a children’s pantomime. It’s an experience that I’m glad I didn’t miss»

«Author’s hunt for pictures of the day Pink Floyd came to Huddersfield», Examiner Live Website, 12 July 2013

Keith Hope (Matchbox support band):

«They had a lass in the balcony with glass slides. A bit primitive, but then it was the 60s. We have tried to get rid of each other but we can’t. We drifted apart, but we all ended up back playing together again. I remember thinking they were not right good. Not a memorable gig and I don’t think they went down that well, compared to other bands. They said they would come up in one van if they could borrow most of the support band’s gear.. Nick Mason played my small Premier drum kit. Nick was very chatty and friendly, and I remember a lady helping Roger Waters get into a very tight pair of white trousers. Syd Barrett spoke to us but was very quiet, as was Rick Wright. During Floyd’s performance our guitarist, Clementine John Stevenson III, happened to remark: «I can’t see these making it big» The youth club leader, Jimmy Collins, took a call from Floyd to say they may be late in arriving. Mr Collins pointed out that the contract was for them to be at the venue for 6.30pm and that if they were not there for that time they would be in breach of their contract. In the meantime Rob and myself had to try to keep the crowd entertained by playing records. They then had to set up their equipment on stage and their oil lanterns in the balcony. They used a lot of kaleidoscope effects and most of these involved oil discs revolving in front of a large spotlight on to the stage. The group finished their show and went to Mr Collins for their money.

They were told that although they had performed they were in breach of contract and would receive nothing. In the end I believe they were paid a proportion of their fee»

«The night that Floyd came to town (late!)», Examiner Live Website, 12 July 2013

CONCERT DATE | 30 April 1967 Plaza Teen Club, Thornton Lodge Hall, Huddersfield, England

The band was billed «The group that’s got to be seen to be believed» !

Sue Bardon (Audience member):

«I didn’t know much about them as I was more into Motown at the time but there was a lot of people there that did know them. My friend said «you’ve got to come see them as they’re amazing» It was inspiring, it was really busy, I was so taken up with it, it was the first gig I’d ever been to. It was absolutely packed but I remember there were rows of wooden chairs and we did manage to get a seat. And the stage was like made up for a children’s pantomime. It’s an experience that I’m glad I didn’t miss»

«Author’s hunt for pictures of the day Pink Floyd came to Huddersfield», Examiner Live Website, 12 July 2013

Keith Hope (Matchbox support band):

«They had a lass in the balcony with glass slides. A bit primitive, but then it was the 60s. We have tried to get rid of each other but we can’t. We drifted apart, but we all ended up back playing together again. I remember thinking they were not right good. Not a memorable gig and I don’t think they went down that well, compared to other bands. They said they would come up in one van if they could borrow most of the support band’s gear.. Nick Mason played my small Premier drum kit. Nick was very chatty and friendly, and I remember a lady helping Roger Waters get into a very tight pair of white trousers. Syd Barrett spoke to us but was very quiet, as was Rick Wright. During Floyd’s performance our guitarist, Clementine John Stevenson III, happened to remark: «I can’t see these making it big» The youth club leader, Jimmy Collins, took a call from Floyd to say they may be late in arriving. Mr Collins pointed out that the contract was for them to be at the venue for 6.30pm and that if they were not there for that time they would be in breach of their contract. In the meantime Rob and myself had to try to keep the crowd entertained by playing records. They then had to set up their equipment on stage and their oil lanterns in the balcony. They used a lot of kaleidoscope effects and most of these involved oil discs revolving in front of a large spotlight on to the stage. The group finished their show and went to Mr Collins for their money.

They were told that although they had performed they were in breach of contract and would receive nothing. In the end I believe they were paid a proportion of their fee»

«The night that Floyd came to town (late!)», Examiner Live Website, 12 July 2013

PRESS MENTION | Late April 1967 The press announces a festival with the band, Jimi Hendrix and Cream pour the end of May at Spalding.

On the left: The Spalding Guardian (on 28 April), On the right: New Musical Express (on 29 April)

PRESS MENTION | Late April 1967 The press announces a festival with the band, Jimi Hendrix and Cream pour the end of May at Spalding.

On the left: The Spalding Guardian (on 28 April), On the right: New Musical Express (on 29 April)

PRESS MENTION | 28 April 1967 Communiqué by The Pink Floyd management about the last-minute cancelled performance at Newcastle on 21 April (rescheduled later on 19 May)

I do hope you will publish this letter of apology to Pink Floyd fans In Newcastle. We were booked to appear at the A'GoGo club last Friday and were unable to appear because our new van broke down on the Ml at a time and place that made it impossible for us to set to Newcastle that evening. We were very upset to miss our first Bin in Newcastle and we are arranging to play there as soon as possible in the near future.

Both the promoter and ourselves did everything we could to get there, out because of the time factor Involved, we couldn't arrive In time to play' even half g set ft was very unfortunate that this our first breakdown should have happened on our first visit to Newcastle, and we hope our next visit there, will there be incident
The Pink Floyd, c/o i1 Edbrooke Road. London, wa.

PRESS MENTION | 28 April 1967 Communiqué by The Pink Floyd management about the last-minute cancelled performance at Newcastle on 21 April (rescheduled later on 19 May)

I do hope you will publish this letter of apology to Pink Floyd fans In Newcastle. We were booked to appear at the A'GoGo club last Friday and were unable to appear because our new van broke down on the Ml at a time and place that made it impossible for us to set to Newcastle that evening. We were very upset to miss our first Bin in Newcastle and we are arranging to play there as soon as possible in the near future.

Both the promoter and ourselves did everything we could to get there, out because of the time factor Involved, we couldn't arrive In time to play' even half g set ft was very unfortunate that this our first breakdown should have happened on our first visit to Newcastle, and we hope our next visit there, will there be incident
The Pink Floyd, c/o i1 Edbrooke Road. London, wa.

PRESS MENTION | 29 April 1967 An article about the light man of the band is published in Evening Sentinel newspaper

MISCELLANOUS EVENT | Early May 1967, David Gilmour has a love affair with the Brigitte Bardot’s younger sister, Marie-Jeanne on the set Eric Rohmer’s movie «la collectionneuse».

She later recommends the guitarist to her sister for the soundtrack of his movie, « A coeur joie » (« Two weeks in September »). He puts his voice on two titles and met Michel Magne, the future owner of the Strawberry Studios at Hérouville.

David Gilmour

« (…) je ne l'ai jamais vraiment rencontrée (Brigitte). Par contre, j'ai un peu connu sa soeur cadette, Mijanou.»

«La vérité sur Pink Floyd et Brigitte Bardot», Le Parisien, 18 September 2015

MISCELLANOUS EVENT | Early May 1967, David Gilmour has a love affair with the Brigitte Bardot’s younger sister, Marie-Jeanne on the set Eric Rohmer’s movie «la collectionneuse».

She later recommends the guitarist to her sister for the soundtrack of his movie, « A coeur joie » (« Two weeks in September »). He puts his voice on two titles and met Michel Magne, the future owner of the Strawberry Studios at Hérouville.

David Gilmour

« (…) je ne l'ai jamais vraiment rencontrée (Brigitte). Par contre, j'ai un peu connu sa soeur cadette, Mijanou.»

«La vérité sur Pink Floyd et Brigitte Bardot», Le Parisien, 18 September 2015

Nick Mason’s notebook showing all the scheduled gigs on May

A record that is fast racing up the charts at the moment is the Pink Floyd's recording of "Arnold Layne." The group do not rely on their music alone but also on the combination of various lighting sequences which are projected on to the audience and the group. The group refuses to be classified as psychedelic,

claiming that they are not seeking to create hallucinat-tory effects but claim to be the musical spokesmen for a new movement in pop enter-tainment. Their lighting mana-ger, Pip Carter, in order to get the desired effects uses projectors, spot lamps and slides on which he spreads chemicals to produce weird effects. The Pilk Floyd's act is a sensation and a spectacle not to be missed, the sounds and kaleidoscope of colours is excitingly bewildering. The group line up is lead guitar-ist, Syd Barrett, Rick Wright forgan), Koger Waters (bass). and Nick Mason i drummer) »

« Pop chatter », Londonderry Sentinel, 3 May 1967

A record that is fast racing up the charts at the moment is the Pink Floyd's recording of "Arnold Layne." The group do not rely on their music alone but also on the combination of various lighting sequences which are projected on to the audience and the group. The group refuses to be classified as psychedelic,

claiming that they are not seeking to create hallucinat-tory effects but claim to be the musical spokesmen for a new movement in pop enter-tainment. Their lighting mana-ger, Pip Carter, in order to get the desired effects uses projectors, spot lamps and slides on which he spreads chemicals to produce weird effects. The Pilk Floyd's act is a sensation and a spectacle not to be missed, the sounds and kaleidoscope of colours is excitingly bewildering. The group line up is lead guitar-ist, Syd Barrett, Rick Wright forgan), Koger Waters (bass). and Nick Mason i drummer) »

« Pop chatter », Londonderry Sentinel, 3 May 1967

CONCERT DATE | 3 May 1967 The Moulin Rouge, Ainsdale, England

CONCERT DATE | 4 May 1967 Locarno Ballroom, Coventry, England

CONCERT DATE | 6 May 1967 Kitson College, Leeds, England

PRESS MENTION | Early May 1967 First adverts for the « Barbeque’ 67 » festival

CONCERT DATE | 7 May 1967 Mojo Club, Sheffield, England

CONCERT DATE | 12 May 1967 « Games For May », Queen Elizabeth Hall, London, England
Pink Floyd performs the first-ever surround sound concert at «Games for May», a lavish affair at London’s Queen Elizabeth Hall where the band debuts its custom-made quadraphonic speaker system. The technological breakthrough not only amazes and confuses the mass of stoned concert-goers, but it goes on to raise the standard of what audiences would come to expect from a live rock performance.

The band were immediately banned from ever playing the hall again after bubbles from a bubble machine and flowers distributed to the audience were blamed for staining the venue's carpet and seats.

Photographies of the rehearsals by Nick HALL

Roger Waters:

«We recently played a concert at the Queen Elizabeth Hall and that’s usually where string quartets play. The people who came to see us there were a very mixed lot. Some really way-out people with bare feet and a few old women who always go to the Queen Elizabeth Hall no matter what’s on. But mostly they were average men and women between 17 and 25 mixed with a few teeny-boppers»

«Nothing nasty behind our light and colour effects», New Musical Express, 1st July 1967

Nick Mason:

«We just took a lot of props on stage with us and improvised. Quite a bit of what we did went down quite well, but a lot of it got completely lost. We worked out a fantastic stereophonic sound system whereby the sounds travelled round the Hall in a sort of circle, giving the audience an eerie effect of being absolutely surrounded by this music - and of course we tried to help the effect by the use of our lighting. Unfortunately it only worked for people sitting in the front of the Hall (...) Also we thought we’d be able to use the props ans work our act out as we went along - but we found this to be extremely difficult (...)

Another thing we found out from giving that concert was that our ideas were far more advanced than our musical capabilities (...) We made a lot of mistake at that concert, but it was the first of its kind and we, personally, learnt a lot form it»

« We feel good - say the Pink Floyd», Record Mirror, 21 October 1967

Roger Waters:

« Although we learnt a lot from it, we also lost a lot of money on it, we had to give up a week’s work in order to arrange everything and so on«

« We feel good - say the Pink Floyd», Record Mirror, 21 October 1967

Pink Floyd performs the first-ever surround sound concert at «Games for May», a lavish affair at London’s Queen Elizabeth Hall where the band debuts its custom-made quadraphonic speaker system. The technological breakthrough not only amazes and confuses the mass of stoned concert-goers, but it goes on to raise the standard of what audiences would come to expect from a live rock performance.

The band were immediately banned from ever playing the hall again after bubbles from a bubble machine and flowers distributed to the audience were blamed for staining the venue's carpet and seats.
It was the fist time in the history of the band they played with a feature film behind (Arnold Layne promo film was used)

«The noisiest and prettiest display ever seen on the South Bank»

Financial Times, May 1967

«The choice of the Queen Elizabeth Hall for the Games for May event was really good thinking., for it was a genuine twentieth century chamber music concert. Acoustically the Hall is probably better for amplified sound than natural sound, and the cleanness of presentation of the Hall itself was perfect for the very loose mixed media. ....

The performance consisted, basically, of the Pink Floyd, a tape machine, projections, (lowers, aid the Queen Elizabeth Hall: all combined rather leisurely.

The first half was a fairly straight representation of their sound and light show, but the second half moved right into the hall and into the realm of involvement. Musically, the second half was really bordering on pure electronic music, and very stood at that!

On the whole it was good to see the strength of a hip show holding its own in such a museum-like and square environment. More of this»

«Floyd play games», IT Magazine, 19 May 1967

CONCERT DATE | 12 May 1967 « Games For May », Queen Elizabeth Hall, London, England
Pink Floyd performs the first-ever surround sound concert at «Games for May», a lavish affair at London’s Queen Elizabeth Hall where the band debuts its custom-made quadraphonic speaker system. The technological breakthrough not only amazes and confuses the mass of stoned concert-goers, but it goes on to raise the standard of what audiences would come to expect from a live rock performance.

The band were immediately banned from ever playing the hall again after bubbles from a bubble machine and flowers distributed to the audience were blamed for staining the venue's carpet and seats.

Photographies of the rehearsals by Nick HALL

Roger Waters:

«We recently played a concert at the Queen Elizabeth Hall and that’s usually where string quartets play. The people who came to see us there were a very mixed lot. Some really way-out people with bare feet and a few old women who always go to the Queen Elizabeth Hall no matter what’s on. But mostly they were average men and women between 17 and 25 mixed with a few teeny-boppers»

«Nothing nasty behind our light and colour effects», New Musical Express, 1st July 1967

Nick Mason:

«We just took a lot of props on stage with us and improvised. Quite a bit of what we did went down quite well, but a lot of it got completely lost. We worked out a fantastic stereophonic sound system whereby the sounds travelled round the Hall in a sort of circle, giving the audience an eerie effect of being absolutely surrounded by this music - and of course we tried to help the effect by the use of our lighting. Unfortunately it only worked for people sitting in the front of the Hall (...) Also we thought we’d be able to use the props ans work our act out as we went along - but we found this to be extremely difficult (...)

Another thing we found out from giving that concert was that our ideas were far more advanced than our musical capabilities (...) We made a lot of mistake at that concert, but it was the first of its kind and we, personally, learnt a lot form it»

« We feel good - say the Pink Floyd», Record Mirror, 21 October 1967

Roger Waters:

« Although we learnt a lot from it, we also lost a lot of money on it, we had to give up a week’s work in order to arrange everything and so on«

« We feel good - say the Pink Floyd», Record Mirror, 21 October 1967

Pink Floyd performs the first-ever surround sound concert at «Games for May», a lavish affair at London’s Queen Elizabeth Hall where the band debuts its custom-made quadraphonic speaker system. The technological breakthrough not only amazes and confuses the mass of stoned concert-goers, but it goes on to raise the standard of what audiences would come to expect from a live rock performance.

The band were immediately banned from ever playing the hall again after bubbles from a bubble machine and flowers distributed to the audience were blamed for staining the venue's carpet and seats.
It was the fist time in the history of the band they played with a feature film behind (Arnold Layne promo film was used)

«The noisiest and prettiest display ever seen on the South Bank»

Financial Times, May 1967

«The choice of the Queen Elizabeth Hall for the Games for May event was really good thinking., for it was a genuine twentieth century chamber music concert. Acoustically the Hall is probably better for amplified sound than natural sound, and the cleanness of presentation of the Hall itself was perfect for the very loose mixed media. ....

The performance consisted, basically, of the Pink Floyd, a tape machine, projections, (lowers, aid the Queen Elizabeth Hall: all combined rather leisurely.

The first half was a fairly straight representation of their sound and light show, but the second half moved right into the hall and into the realm of involvement. Musically, the second half was really bordering on pure electronic music, and very stood at that!

On the whole it was good to see the strength of a hip show holding its own in such a museum-like and square environment. More of this»

«Floyd play games», IT Magazine, 19 May 1967

CONCERT DATE | 13 May 1967 St. George's Ballroom, Hinckley, England

TV SESSION | 14 May 1967 « Look at the week », BBC Lime Grove Studios, Shepherds Bush, London, England
Roger Waters and Syd Barrett were interviewed by musicologist Dr. Hans Keller for the BBC arts programme 'The Look Of The Week', which also included live performances of Pow R. Toc H. and Astronomy Dominé.

RECORDING SESSION | 14 May 1967 the band is working in Sound Techniques Studio.

Pink Floyd commenced recording their second single, See Emily Play, at Chelsea's Sound Techniques Studios. Further sessions continued through May. David Gilmour, who was playing gigs in France with his own band, visited Floyd in the studio during a trip to London.

RECORDING SESSION | 14 May 1967 the band is working in Sound Techniques Studio.

Pink Floyd commenced recording their second single, See Emily Play, at Chelsea's Sound Techniques Studios. Further sessions continued through May. David Gilmour, who was playing gigs in France with his own band, visited Floyd in the studio during a trip to London.

David Gilmour:

«Syd rang me up and asked me along to the studio. When I got there he gave me a complete blank. I’ll go on record as saying that was when he changed. He was one of the great rock and roll tragedies»

«Floyd Joy», Melody Maker, 19 May 1973

David Gilmour:

«Syd rang me up and asked me along to the studio. When I got there he gave me a complete blank. I’ll go on record as saying that was when he changed. He was one of the great rock and roll tragedies»

«Floyd Joy», Melody Maker, 19 May 1973

CONCERT DATE | 19 May 1967 Club'A Go-Go, Newcastle-upon-Tyne, England

Martin Ward (Syd’s childhood friend and audience member):

«The gig was post ‘Arnold Layne’, and was memorable for being the first “psychedelic” light show I (and perhaps Newcastle!) had ever seen. The club was pretty small, so there cannot have been a huge crowd there. In truth, the only number I can recall is the inevitable ‘Interstellar Overdrive’. When the band left the stage, I greeted Syd who wondered what I was doing in Newcastle (I was a student there). We had a brief chat, but Syd’s glazed eyes told a scary story and he was keen to depart. That, sadly, was the last contact I had. I was so saddened by Syd's subsequent decline and demise, but I have many happy memories of a cheery, funny, talented childhood friend»

Martin Ward (Syd’s childhood friend and audience member):

«The gig was post ‘Arnold Layne’, and was memorable for being the first “psychedelic” light show I (and perhaps Newcastle!) had ever seen. The club was pretty small, so there cannot have been a huge crowd there. In truth, the only number I can recall is the inevitable ‘Interstellar Overdrive’. When the band left the stage, I greeted Syd who wondered what I was doing in Newcastle (I was a student there). We had a brief chat, but Syd’s glazed eyes told a scary story and he was keen to depart. That, sadly, was the last contact I had. I was so saddened by Syd's subsequent decline and demise, but I have many happy memories of a cheery, funny, talented childhood friend»

MISCELLANOUS EVENT | Late May 1967 First early signs of a problem with Syd

Joe Boyd (producer):

«The first time I was worried about Syd was in May, late May. I was walking down Charing Cross Road, Cambridge Circus. I met his girlfriend, she was moved and there was Syd, lying down, not lying down, sitting in the gutter. And she said he'd been tripping for days. He was just completely out of it. And that was worrying. I hadn't seen him for a month. That was the first time I started ... geez ... this is not good»

«Joe Boyd remembers Syd Barrett & reflects on his legacy for Pink Floyd», John Edington documentaries, 2011

Joe Boyd (producer):

«The first time I was worried about Syd was in May, late May. I was walking down Charing Cross Road, Cambridge Circus. I met his girlfriend, she was moved and there was Syd, lying down, not lying down, sitting in the gutter. And she said he'd been tripping for days. He was just completely out of it. And that was worrying. I hadn't seen him for a month. That was the first time I started ... geez ... this is not good»

«Joe Boyd remembers Syd Barrett & reflects on his legacy for Pink Floyd», John Edington documentaries, 2011

CONCERT DATE | 20 May 1967 Club'A Go-Go, Newcastle-upon-Tyne, England

RECORDING SESSION | 21 May 1967 The band is recording in EMI Studios
First works on See Emily play and The Bike song (Bike).

CONCERT DATE | 23 May 1967 Town Hall, High Wycombe, England

CONCERT DATE | 24 May 1967 romel Club, Court Hotel, Bromley, England

CONCERT DATE | 25 May 1967 « Gwent Constabulary ('A' Division) Spring Holiday Barn Dance », The Barn, Grosmont Wood Farm, Cross Ash, Wales

CONCERT DATE | 26 May 1967 General Post Office North West Regional Dance, Empress Ballroom, Winter Gardens, Blackpool, England

CONCERT DATE | 27 May 1967 Civic Hall, Nantwich, England

CONCERT DATE | 29 May 1967 «Barbecue '67», Tulip Bulb Auction Hall, Spalding, England

First three photographies by George ELDERTON. Last photography by Alec BYRNE

Nick Mason:

«The problem was that when we played, for example, the Tulip Bulb Auction Hall in Spalding, we were supporting Cream and Jimi Hendrix, but the top of the bill was Geno Washington. Consequently, most people who paid to come and see bands expected something they could dance to. We absolutely weren’t what they expected or wanted, so it was not good.

The only reason we eventually got away with it was that the other circuit opening up at the time was the redbrick university circuit, and in fact what was happening was that our fan base would come there, rather than going into town»

«Things cannot be destroyed once and for all», Record Collector

Martin Willmott (Audience member):

«Pink Floyd were the first big band to start, and were pop artists at that time. Impossible to believe almost, but they had had two recent hits and were thought of as a psychedelic pop band. They were really terrible. The light show was truly pathetic, although credit where due, they were pioneers of the art form. Someone with an overhead projector had sheets of acetate with globs of oil on them, making the globs roll about on the plastic. The globs were projected onto a bed-sheet. You couldn't hear the vocals and the volume was too low to hear the instruments. It didn't quite attain the standard of amateurish. I think The Move came on next, and were one of the best bands on the bill for impact and sound. They got a bit of life into the audience and impressed me more than I expected».

UKRockFestival Website

Nick Mason:

«The problem was that when we played, for example, the Tulip Bulb Auction Hall in Spalding, we were supporting Cream and Jimi Hendrix, but the top of the bill was Geno Washington. Consequently, most people who paid to come and see bands expected something they could dance to. We absolutely weren’t what they expected or wanted, so it was not good.

The only reason we eventually got away with it was that the other circuit opening up at the time was the redbrick university circuit, and in fact what was happening was that our fan base would come there, rather than going into town»

«Things cannot be destroyed once and for all», Record Collector

Martin Willmott (Audience member):

«Pink Floyd were the first big band to start, and were pop artists at that time. Impossible to believe almost, but they had had two recent hits and were thought of as a psychedelic pop band. They were really terrible. The light show was truly pathetic, although credit where due, they were pioneers of the art form. Someone with an overhead projector had sheets of acetate with globs of oil on them, making the globs roll about on the plastic. The globs were projected onto a bed-sheet. You couldn't hear the vocals and the volume was too low to hear the instruments. It didn't quite attain the standard of amateurish. I think The Move came on next, and were one of the best bands on the bill for impact and sound. They got a bit of life into the audience and impressed me more than I expected».

UKRockFestival Website

«The estimated 6,000 strong crowd remained unfazed, enduring the sweltering heat and cramped space to catch a glimpse of rock royalty.»The events poster described: “Non-stop dancing 4pm in afternoon until 12pm at night”, also advertising that a licenced bar had “been applied for” whilst promising a “knockout atmosphere.”»To drive up local interest, Lincolnshire group Sounds Force Five were recruited to entertain the crowd during the intermission between acts.»Relatively unknown at the time, Pink Floyd were the first to take to the stage on the day, fronted by original member Syd Barrett.The line-up for the concert was arranged by the various genres of music each group belonged to, with Pink Floyd and The Move the first to take the stage, as they were both deemed "psychedelic groups »

«Revisited: The festival which brought Jimi Hendrix, Pink Floyd and Cream to Lincolnshire», LincolnshireLive, 9 July 1967

«No one seemed to have told the 11,000 assorted hippies, mods, and rockers who attended the Spalding Tulip Festival freak-out recently that they should make Love not War. From the reports I hear it was more like the Gaza Strip than a concert dance, and some facts give cause for apprehension.

The basis of the problem was that there were too many people trying to get in to see such luminaries as Hendrix, Geno Washington, the Move, the Cream, and the Pink Floyd. People were trampled in the rush to get into the hall, and apparently the whole affair bore a distinct resemblance to a queue for Forest Cup semifinal tickets.

But this was only the start. Once inside, friction began to smoulder between the wide-tie brigade and the leather-jacket element. I have been told that one rocker was seen being beaten unmercifully by scores of cropped-haired mods, greatly to the amusement of bystanders.

This sort of thing is, of course, abominable. The fault lies partly with the organisers, in that they might have realised that such a huge crowd would turn up on a Bank holiday, and thus they should have made it strictly an all-ticket function. Those who really wanted to go and listen to the music would have bought their tickets, and those who wanted a punch-up could have gone to Clapton for a happening on the pier»

«Concert was rather off key», The Guardian, 19 June 1967

«The estimated 6,000 strong crowd remained unfazed, enduring the sweltering heat and cramped space to catch a glimpse of rock royalty.»The events poster described: “Non-stop dancing 4pm in afternoon until 12pm at night”, also advertising that a licenced bar had “been applied for” whilst promising a “knockout atmosphere.”»To drive up local interest, Lincolnshire group Sounds Force Five were recruited to entertain the crowd during the intermission between acts.»Relatively unknown at the time, Pink Floyd were the first to take to the stage on the day, fronted by original member Syd Barrett.The line-up for the concert was arranged by the various genres of music each group belonged to, with Pink Floyd and The Move the first to take the stage, as they were both deemed "psychedelic groups »

«Revisited: The festival which brought Jimi Hendrix, Pink Floyd and Cream to Lincolnshire», LincolnshireLive, 9 July 1967

«No one seemed to have told the 11,000 assorted hippies, mods, and rockers who attended the Spalding Tulip Festival freak-out recently that they should make Love not War. From the reports I hear it was more like the Gaza Strip than a concert dance, and some facts give cause for apprehension.

The basis of the problem was that there were too many people trying to get in to see such luminaries as Hendrix, Geno Washington, the Move, the Cream, and the Pink Floyd. People were trampled in the rush to get into the hall, and apparently the whole affair bore a distinct resemblance to a queue for Forest Cup semifinal tickets.

But this was only the start. Once inside, friction began to smoulder between the wide-tie brigade and the leather-jacket element. I have been told that one rocker was seen being beaten unmercifully by scores of cropped-haired mods, greatly to the amusement of bystanders.

This sort of thing is, of course, abominable. The fault lies partly with the organisers, in that they might have realised that such a huge crowd would turn up on a Bank holiday, and thus they should have made it strictly an all-ticket function. Those who really wanted to go and listen to the music would have bought their tickets, and those who wanted a punch-up could have gone to Clapton for a happening on the pier»

«Concert was rather off key», The Guardian, 19 June 1967

MISCELLANOUS EVENT | Late May 1967 During a break at Paris, the Flowers recorded an original song of David. Likely the first-ever song written by David.

Billy Kopp:
« Willie Wilson recalls a Paris session in which a Gilmour original was recorded, but demurs from elaborating. «And Dave won’t thank me if I do otherwise», he says. «HE wouldn’t have wanted you to hear it»

«Reinventing Pink Floyd - from Syd Barrett to The Dark Side of the Moon», Bill Kopp, 2018

David Gilmour:

«(…) J’ai essayé de composer lorsque mon groupe, qui s’appelait alors Blullit and Flowers, s’était installé en France, vers 1966-67. J’ai notamment le souvenir d’une chanson dont je ne vous parlerai surtout pas, j’ai trop honte»

«Juste une dernière Gdañsk», Guitarist Magazine.

Billy Kopp:
« Willie Wilson recalls a Paris session in which a Gilmour original was recorded, but demurs from elaborating. «And Dave won’t thank me if I do otherwise», he says. «HE wouldn’t have wanted you to hear it»

«Reinventing Pink Floyd - from Syd Barrett to The Dark Side of the Moon», Bill Kopp, 2018

David Gilmour:

«(…) J’ai essayé de composer lorsque mon groupe, qui s’appelait alors Blullit and Flowers, s’était installé en France, vers 1966-67. J’ai notamment le souvenir d’une chanson dont je ne vous parlerai surtout pas, j’ai trop honte»

«Juste une dernière Gdañsk», Guitarist Magazine.

PRESS MENTION | June 1967 The magazine « Muzak Express » devotes a long article to the group with many colour photos

CONCERT DATE | 2 June 1967 UFO, The Blarney Club, Tottenham Court Road, London, England
Pink Floyd played UFO as part of a fund-raising gig for the club's co-founder John Hoppy Hopkins, after his arrest for drug possession.

Joe Boyd:

«The Floyd hadn’t played at UFO for two months or something, and they came back for their first gig after they’d really made it. I remember it was very, very crowed. It was June 2, 1967 and because of the crowd and everything, there was only one way in. They had to go through the crowd to the dressing room. And they came past me, just inside the door, and it was very crushed so it was like faces two inches from your nose. So they all came by, kind of «Hi Joe!», «How are you ?».«Great», you know and I greeted them all as they came through and the last one was Syd. And the great thing with Syd was that he had a twinkle in his eye. I mean, he was a real eye-twinkler. He had this impish look about him, this mischievous glint. And he came by, and I said «HI, Syd» and he just kind of looked at me. I looked right in his eye and there was no twinkle. No glint. It was like somebody had pulled the blinds - you know, nobody home. It was a real shock, very, very sad»

«Games for May», New Musical Express, 15 May 1976

Joe Boyd:

«The Floyd hadn’t played at UFO for two months or something, and they came back for their first gig after they’d really made it. I remember it was very, very crowed. It was June 2, 1967 and because of the crowd and everything, there was only one way in. They had to go through the crowd to the dressing room. And they came past me, just inside the door, and it was very crushed so it was like faces two inches from your nose. So they all came by, kind of «Hi Joe!», «How are you ?».«Great», you know and I greeted them all as they came through and the last one was Syd. And the great thing with Syd was that he had a twinkle in his eye. I mean, he was a real eye-twinkler. He had this impish look about him, this mischievous glint. And he came by, and I said «HI, Syd» and he just kind of looked at me. I looked right in his eye and there was no twinkle. No glint. It was like somebody had pulled the blinds - you know, nobody home. It was a real shock, very, very sad»

«Games for May», New Musical Express, 15 May 1976

«The Pink Floyd played last week to the largest crowd UFO has ever held. At times queues stretched for yards up Tottenham Court Road, and twice the box office had to close because the floor was packed. The audience included Jimi Hendrix, Chas Chandler, Eric Burdon, Pete Townshend and members of the Yardbirds. Appeals by Suzy Creamcheese and Joe Boyd were made to the rather emotional crowd to prevent them taking any action against John Hopkins' imprisonment, until after his appeal has been heard. It is a pity that with all this happening the Pink Floyd had to play like bums. The Soft Machine also appeared briefly to perform a poem for John Hopkins. The Tales of Ollin dance group played for about 40 minutes and completely captured the audience imagination, also on the bill was the Hydrogen Jukebox».

«Record crowd at U.F.O.», International Times, 16 June 1967.

«The Pink Floyd played last week to the largest crowd UFO has ever held. At times queues stretched for yards up Tottenham Court Road, and twice the box office had to close because the floor was packed. The audience included Jimi Hendrix, Chas Chandler, Eric Burdon, Pete Townshend and members of the Yardbirds. Appeals by Suzy Creamcheese and Joe Boyd were made to the rather emotional crowd to prevent them taking any action against John Hopkins' imprisonment, until after his appeal has been heard. It is a pity that with all this happening the Pink Floyd had to play like bums. The Soft Machine also appeared briefly to perform a poem for John Hopkins. The Tales of Ollin dance group played for about 40 minutes and completely captured the audience imagination, also on the bill was the Hydrogen Jukebox».

«Record crowd at U.F.O.», International Times, 16 June 1967.

PHOTO SESSION | Early `June 1967 Photo session by Andrew Whittuck

Andrew Whittuck:

« “I had a friend who knew the Pink Floyd managers and they were keen for any publicity, since Pink Floyd had only been formed 18 months before. They all came to my studio/bedroom in my parents’ house in Hampstead with all their instruments and most importantly for me, with their lighting guy. The only illumination I used was the lighting they used in their gigs, a 35mm Kodak projector with glass slides with a mixture of oil/water and coloured ink, heated by a hair dyer close up, so that the ever changing bubbles of colour floated over them.”They were these quit, cool, Cambridge intellectuals.At one point, Syd wedged himself into the corner of the room. My mother said he looked like he needed a cup of tea - he perked up after that»

«What goes on! Barrett Home», Mojo, August 2003

Andrew Whittuck:

« “I had a friend who knew the Pink Floyd managers and they were keen for any publicity, since Pink Floyd had only been formed 18 months before. They all came to my studio/bedroom in my parents’ house in Hampstead with all their instruments and most importantly for me, with their lighting guy. The only illumination I used was the lighting they used in their gigs, a 35mm Kodak projector with glass slides with a mixture of oil/water and coloured ink, heated by a hair dyer close up, so that the ever changing bubbles of colour floated over them.”They were these quit, cool, Cambridge intellectuals.At one point, Syd wedged himself into the corner of the room. My mother said he looked like he needed a cup of tea - he perked up after that»

«What goes on! Barrett Home», Mojo, August 2003

CONCERT DATE | 5 June 1967 Recording session for « The Piper at the Gates of Dawn »

Bike, Mathilda Mother and the segue between Interstellar Overdrive (unreleased).

CONCERT DATE | 5 June 1967 Recording session for « The Piper at the Gates of Dawn »

Bike, Mathilda Mother and the segue between Interstellar Overdrive (unreleased).

CONCERT DATE | 9 June 1967 College of Art, Hull, England

CONCERT DATE | 10 June 1967 The Nautilus Club, South Pier, Lowestoft, England

CONCERT DATE | 13 June 1967 Blue Opera Club, The Feathers Public House, Ealing Broadway, London, England

PHOTO SESSION | 15 June 1967 Photo session by Denzo Hoffman

Photographies by Denzo Hoffman

PHOTO SESSION | 15 June 1967 Photo session by Denzo Hoffman

Photographies by Denzo Hoffman

CONCERT DATE | 16 June 1967 Tiles Club, Oxford Street, London, England

CONCERT DATE | 17 June 1967 The Ballroom, Dreamland Amusement Park, Margate, England

CONCERT DATE | 17 June 1967 Supreme Ballroom, Ramsgate, England

CONCERT DATE | 20 June 1967 Commemoration Ball, Magdalen College, Oxford, England

PHOTO SESSION | 20 June 1967 Nico Van der Star set a photo session at Picadilly Circus of London

Photographies by Nico VAN DER STAM

CONCERT DATE | 21 June 1967 Bolton College of Art Midsummer Ball, Rivington Hall Barn, Horwich, Bolton, England

CONCERT DATE | 23 June 1967 « Rolls Royce Apprentice's Ball », The Locarno Ballroom, Derby, England

CONCERT DATE | 21 June 1967 Bolton College of Art Midsummer Ball, Rivington Hall Barn, Horwich, Bolton, England

CONCERT DATE | 23 June 1967 « Rolls Royce Apprentice's Ball », The Locarno Ballroom, Derby, England

«After experiencing a performance by the com pletely untamed Pink Floyd last night the only thought that can enter a fractured mind is: "How much further can this sort of thing go?"They appeared at the Locarno Derby at a Derby Colleges of Art and Technology Students’ Union event and played something even more advanced than music something that was frightening It entered the mind and completely drained it of any sensible thought I closed my eyes and couldn’t even see darkness! Syd Barratt on lead guitar produced a sound which could be compared with that produced by a large squadron of low-flying Lancaster bombers He slipped in generous portions of a mixed up Hendrix chords and sang rubbish — but the words did not matter When four young men can blow their minds — and also the minds of members of the audience — then their music must be given a chance it must mean something But what ? Coloured images Their music was powerful but they are rated below the American psycho vendors If this was second rate then first rate must be almost suicidal.

To add to this bubbling inferno of music, coloured images were poured across the stage. The images resembled blood observed through microscope.

Blurred, coloured and moving cells of liquid ran across the faces of Rick Wright (organ), Roger Waters (bass) and drummer Nick Mason. They all displayed bells around their necks- a svmbol of peace. «We don't use flowers as our peace symbol» said Mr. Barratt(sic) «We just don't have time to pick them.»The essence behind our music is happiness, we just want everyone to be happy» After their frst musical excursion, one member of the audience shouted to the group telling them that it was rubbish. But how could he say that this was rubbish?

It has been created, it can affect person's thinking. People who are interested will listen to it. People do not listen to rubbish!

As a contrast to the kinky Pinkies two Derby groups managed to fire in with some very good soul music»

«Frightening Pink Floyd sensations», Derby Evening Telegraph, 24 June 1967

«After experiencing a performance by the com pletely untamed Pink Floyd last night the only thought that can enter a fractured mind is: "How much further can this sort of thing go?"They appeared at the Locarno Derby at a Derby Colleges of Art and Technology Students’ Union event and played something even more advanced than music something that was frightening It entered the mind and completely drained it of any sensible thought I closed my eyes and couldn’t even see darkness! Syd Barratt on lead guitar produced a sound which could be compared with that produced by a large squadron of low-flying Lancaster bombers He slipped in generous portions of a mixed up Hendrix chords and sang rubbish — but the words did not matter When four young men can blow their minds — and also the minds of members of the audience — then their music must be given a chance it must mean something But what ? Coloured images Their music was powerful but they are rated below the American psycho vendors If this was second rate then first rate must be almost suicidal.

To add to this bubbling inferno of music, coloured images were poured across the stage. The images resembled blood observed through microscope.

Blurred, coloured and moving cells of liquid ran across the faces of Rick Wright (organ), Roger Waters (bass) and drummer Nick Mason. They all displayed bells around their necks- a svmbol of peace. «We don't use flowers as our peace symbol» said Mr. Barratt(sic) «We just don't have time to pick them.»The essence behind our music is happiness, we just want everyone to be happy» After their frst musical excursion, one member of the audience shouted to the group telling them that it was rubbish. But how could he say that this was rubbish?

It has been created, it can affect person's thinking. People who are interested will listen to it. People do not listen to rubbish!

As a contrast to the kinky Pinkies two Derby groups managed to fire in with some very good soul music»

«Frightening Pink Floyd sensations», Derby Evening Telegraph, 24 June 1967

MISC EVENT | Late June 1967 First clue about the work of the Floyd about the future «Committee» with this interview of Paul Jones in Hitweek (A dutch music magazine):

Interviewer: «Paul, when you were here in February there were no further film plans, are there anyway ?»

Paul Jones: «I am busy again, but not this time with a big society, we are doing it with some friends, a kind of underground film, a short one of about twenty minutes».

Interviewer: «Who directs the film ?»

Sheila: «A totally unknown boy, Max Steuer, who is actually a lecturer in econometrics. He wrote a book about killing the basket, and then brought it back to life, "The Committee" was called the book, and also the film. Excellent young actors are playing»

Paul: «We can say the best two, which means that Terence Stamp and Michael Caine are not present, this is going to be a much better film, a surrealistic film. The music is provided by the Pink Floyd».

«Paul Jones Willoos objekt», Hitweek, 23 June 1967 (Translated by Romain Fouray)

Interviewer: «Paul, when you were here in February there were no further film plans, are there anyway ?»

Paul Jones: «I am busy again, but not this time with a big society, we are doing it with some friends, a kind of underground film, a short one of about twenty minutes».

Interviewer: «Who directs the film ?»

Sheila: «A totally unknown boy, Max Steuer, who is actually a lecturer in econometrics. He wrote a book about killing the basket, and then brought it back to life, "The Committee" was called the book, and also the film. Excellent young actors are playing»

Paul: «We can say the best two, which means that Terence Stamp and Michael Caine are not present, this is going to be a much better film, a surrealistic film. The music is provided by the Pink Floyd».

«Paul Jones Willoos objekt», Hitweek, 23 June 1967 (Translated by Romain Fouray)

CONCERT DATE | 23 June 1967 « 8-Hour Psycho-Chromatic Fantasy », Great & Small Halls, Bradford University, Bradford, England

PRESS MENTION | 1st July 1967, The band is the subject of an article about the use of the light show in the English musical press

On the left: Medley Maker, on the right: New Musical Express

PRESS MENTION | 1st July 1967, The band is the subject of an article about the use of the light show in the English musical press

On the left: Medley Maker, on the right: New Musical Express

CONCERT DATE | 1st July 1967 The Swan Public House, Yardley, Birmingham, England

CONCERT DATE | 2 July 1967 Digbeth Institute (Civic Hall), Digbeth, Birmingham, England

CONCERT DATE | 3 July 1967 The Pavilion, Bath, England

CONCERT DATE | 5 July 1967 The Ballroom, Eel Pie Island Hotel, Twickenham, England

RECORDING SESSION | 5 July 1967 More recording session for « The Piper at the Gates of Dawn »
Astronomy Dominé and Lucifer Sam segue.

TV SESSION | 6 July 1967 BBC Lime Grove Studios, Shepherds Bush, London, England

Photographies by Harry GOODWIN

«Chris Welch of Melody Maker remembers bumping into the Floyd’s legendary leader Syd Barrett backstage, who mused: «It’s beautiful here. I never go anywhere else. You meet interesting people prepared to like me. That’s very nice»»

«Top of the Pops 50th Anniversary», Patrick Humphries, 2013

June Bolan (Syd Barrett’s girlfriend):

«I think it's indicative ame-it could be just one record. something like 'See Emily Play,' and your first Top of the Pops and then things change. Before, they were four people who'd grown up together, or gone to college together. It became separate camps 6 people: your smokers and dopers, and your drinkers. The drinkers weren't extreme, by any manner or means, but they preferred doing that to rolling joints and taking acid and whatever else one did in those days. But it was a very gradual split»

«A saucerful of secrets - A Pink Floyd odyssey», Nicholas Schaffner, 1992

Just before the performance, the French magazine « Les Rockers » get an exclusive (and elusive) interview of Syd Barrett

Interviewer: « Do you intend to do more instrumental pieces like Insterstellar Overdrive? »

Syd Barrett: « Certainly. In fact, Insterstellar Overdrive was released on our first 33 rpm album in a different version to the one that appeared on our French super 45. It lasts almost ten minutes »

Interviewer: « Are you taking on any new ideas about electronic music? »

Syd Barrett: « Quite a few. Our ideas usually come from ourselves. At the moment we're mainly interested in the visual side of our singing tour, and we'll soon be getting some new, ultra-perfect machinery for the lights. Our next UK tour may well take place under a big top, rather like the one used by Cinérama itinérant »

Interviewer: « Who are your favorite bands? »

Syd Barrett: « Cream and The Beatles, of course! »

Interviewer: « Are you satisfied with See Emily Play? »

Syd Barrett: « We didn't like Arnold Layne that much, but we're pretty happy with Emily. We don't even like the 33 rpm album that much. We're trying to do better and better and to get as close as possible to what we want to do. Which is quite difficult, because we don't know exactly what we want to do! Maybe the second album will be more to our liking »

Interviewer: « Are you planning to come to France soon? »

Syd Barrett: « At the moment, we're preparing a promotional trip to the United States, but we think we'll be able to perform in France before the end of the year. »

« Les Pink Floyd », Les Rockers, August 1967

On backstage of « Top of the Pops », Harry Goodwin took portraits of the band

TV SESSION | 6 July 1967 BBC Lime Grove Studios, Shepherds Bush, London, England

Photographies by Harry GOODWIN

«Chris Welch of Melody Maker remembers bumping into the Floyd’s legendary leader Syd Barrett backstage, who mused: «It’s beautiful here. I never go anywhere else. You meet interesting people prepared to like me. That’s very nice»»

«Top of the Pops 50th Anniversary», Patrick Humphries, 2013

June Bolan (Syd Barrett’s girlfriend):

«I think it's indicative ame-it could be just one record. something like 'See Emily Play,' and your first Top of the Pops and then things change. Before, they were four people who'd grown up together, or gone to college together. It became separate camps 6 people: your smokers and dopers, and your drinkers. The drinkers weren't extreme, by any manner or means, but they preferred doing that to rolling joints and taking acid and whatever else one did in those days. But it was a very gradual split»

«A saucerful of secrets - A Pink Floyd odyssey», Nicholas Schaffner, 1992

Just before the performance, the French magazine « Les Rockers » get an exclusive (and elusive) interview of Syd Barrett

Interviewer: « Do you intend to do more instrumental pieces like Insterstellar Overdrive? »

Syd Barrett: « Certainly. In fact, Insterstellar Overdrive was released on our first 33 rpm album in a different version to the one that appeared on our French super 45. It lasts almost ten minutes »

Interviewer: « Are you taking on any new ideas about electronic music? »

Syd Barrett: « Quite a few. Our ideas usually come from ourselves. At the moment we're mainly interested in the visual side of our singing tour, and we'll soon be getting some new, ultra-perfect machinery for the lights. Our next UK tour may well take place under a big top, rather like the one used by Cinérama itinérant »

Interviewer: « Who are your favorite bands? »

Syd Barrett: « Cream and The Beatles, of course! »

Interviewer: « Are you satisfied with See Emily Play? »

Syd Barrett: « We didn't like Arnold Layne that much, but we're pretty happy with Emily. We don't even like the 33 rpm album that much. We're trying to do better and better and to get as close as possible to what we want to do. Which is quite difficult, because we don't know exactly what we want to do! Maybe the second album will be more to our liking »

Interviewer: « Are you planning to come to France soon? »

Syd Barrett: « At the moment, we're preparing a promotional trip to the United States, but we think we'll be able to perform in France before the end of the year. »

« Les Pink Floyd », Les Rockers, August 1967

On backstage of « Top of the Pops », Harry Goodwin took portraits of the band

Photographies by Harry GOODWIN

CONCERT DATE | 7 July 1967 The Birdcage Club, Eastney, Portsmouth, England

CONCERT DATE | 8 July 1967 Memorial Hall, Northwich, England

CONCERT DATE | 9 July 1967 Roundhouse, Chalk Farm, London, England

Some sequences were filmed and later broadcasted during « Late Night Line-Up » TV show on BBC2 (see the page dedicated to the Videos and Films appearance).

TV SESSION | 13 July 1967 BBC Lime Grove Studios, Shepherds Bush, London, England

Nick Mason:

«We were as excited to be on Top Of The Pops as anyone. We bought into the idea that you needed the single, and that this would be the launch pad for everything else. That’s quite important: it took a while for us to work out that what we wanted was to run our own show»

«Things cannot be destroyed once and for all», Record Collector,

TV SESSION | 13 July 1967 BBC Lime Grove Studios, Shepherds Bush, London, England

Nick Mason:

«We were as excited to be on Top Of The Pops as anyone. We bought into the idea that you needed the single, and that this would be the launch pad for everything else. That’s quite important: it took a while for us to work out that what we wanted was to run our own show»

«Things cannot be destroyed once and for all», Record Collector,

CONCERT DATE | 15 July 1967 Stowmarket Carnival, The Cricket Meadow, Stowmarket, England

Eric Allard (Guitarist of Our Generation):

«Pink Floyd were really something quite different and Stowmarket didn’t know what had hit it. As a musician, I was really into it and thought it was exciting, but I remember the next day in the papers there were lots of complaints about the noise»

«50 years since Pink Floyd took psychedelic sound to Stowmarket Carnival», East Anglian Daily Times, 8 July 2017

Desiree Shelley (audience member):

«I was there but I shouldn’t have been – my parents didn’t know I had gone. It was the height of flower power and my friends and I were dressed accordingly. It was very exciting to see them but of course they were not as famous then. It was quite pioneering afterwards. I didn’t realize the significance of it until much later when they started travelling the world. But it was nice to be able to say you had seen them in Stowmarket»

«50 years since Pink Floyd took psychedelic sound to Stowmarket Carnival», East Anglian Daily Times, 8 July 2017

Eric Allard (Guitarist of Our Generation):

«Pink Floyd were really something quite different and Stowmarket didn’t know what had hit it. As a musician, I was really into it and thought it was exciting, but I remember the next day in the papers there were lots of complaints about the noise»

«50 years since Pink Floyd took psychedelic sound to Stowmarket Carnival», East Anglian Daily Times, 8 July 2017

Desiree Shelley (audience member):

«I was there but I shouldn’t have been – my parents didn’t know I had gone. It was the height of flower power and my friends and I were dressed accordingly. It was very exciting to see them but of course they were not as famous then. It was quite pioneering afterwards. I didn’t realize the significance of it until much later when they started travelling the world. But it was nice to be able to say you had seen them in Stowmarket»

«50 years since Pink Floyd took psychedelic sound to Stowmarket Carnival», East Anglian Daily Times, 8 July 2017

CONCERT DATE | 16 July 1967 Redcar Jazz Club, Coatham Hotel, Redcar, England

CONCERT DATE | 18 July 1967 The Palace Ballroom, Douglas, Isle of Man, England

CONCERT DATE | 19 July 1967 The Floral Hall, Gorleston, Norfolk, England

CONCERT DATE | 20 July 1967 The Floral Hall, Gorleston, Norfolk, England

Bill Cameron (guitarist of the Copycats band)

«Pink Floyd was in the 2 Red Shoes in the summer of love 1967 [Thursday, 20 July]. They played really long instrumental stuff and it went down badly. Most folk there watched the light show* which was kind of new and psychedelic»

«My Dear Watson aka Johnny and TheCopycats», Scotbeat Website,

Bill Cameron (guitarist of the Copycats band)

«Pink Floyd was in the 2 Red Shoes in the summer of love 1967 [Thursday, 20 July]. They played really long instrumental stuff and it went down badly. Most folk there watched the light show* which was kind of new and psychedelic»

«My Dear Watson aka Johnny and TheCopycats», Scotbeat Website,

«And at the Red Shoes Ballroom, Columbia recording stars, the Pink Floyd. This is the group that brings its own lighting to set the scene oscillating and vibrating with WAY OUT SETS. It's not all dark-mixed-fruit cake frolics for the lads and lasses here, you see. Maybe they don't bother with pedestrian crossings and traffic lights. Maybe there are only four trains out of town each day... but even Elgin has its moments. Which is why four Pink Floyds - Roger Waters, quiet and seemingly cultured, Syd Barrett, quiet and seemingly shy, Rick Wright and Nick Mason - pile into a car at Great Yarmouth at darkest night on Wednesday and drive through the night and day to arrive near Elgin at a seaside hotel in Lossiemouth at 4 p.m. on Thursday. (…) The Pink Floyd aren't too sure about Elgin either. «Terrible stage - we're going to give up ballroom gigs. Conditions are so bad. We'd really like to set up in a big tent, circus style, and take our show around the country»

They slump around Room 3a, quite hideously decorated, in the Stotfield Hotel back in Lossiemouth. Say little, sip tea (not a drug, dollie or drink appears, Mr Older Generation), listen to remarkably good reception on Radio London until John Peel creeps out of his Perfumed Garden at 2 a.m. Then they go to bed «I suppose it's odd - us being up here when we've got a big hit going. Still we're staying up here a couple of nights. Be a break really. No, the hotel people don't mind our clothes and hair. Think they'd be a bit disappointed if we didn't turn up in fancy dress» Four unpretentious, easygoing and unaffected boys really. Nothing mysterious about them at all. Uncomplaining about having to come to Elgin, not really bothered by the travelling.

In Elgin, Mrs. Margaret Fraser will be back baking dark-mixed-fruit cakes today. Unaware the Pink Floyd have even been. Bu the fans are, and appreciate it. A top ten group coming into this outpost of the Highlands is really something of an ambassadorial effort»

«Och Aye … Scotland goes Pink», Disc & Music Echo,

«And at the Red Shoes Ballroom, Columbia recording stars, the Pink Floyd. This is the group that brings its own lighting to set the scene oscillating and vibrating with WAY OUT SETS. It's not all dark-mixed-fruit cake frolics for the lads and lasses here, you see. Maybe they don't bother with pedestrian crossings and traffic lights. Maybe there are only four trains out of town each day... but even Elgin has its moments. Which is why four Pink Floyds - Roger Waters, quiet and seemingly cultured, Syd Barrett, quiet and seemingly shy, Rick Wright and Nick Mason - pile into a car at Great Yarmouth at darkest night on Wednesday and drive through the night and day to arrive near Elgin at a seaside hotel in Lossiemouth at 4 p.m. on Thursday. (…) The Pink Floyd aren't too sure about Elgin either. «Terrible stage - we're going to give up ballroom gigs. Conditions are so bad. We'd really like to set up in a big tent, circus style, and take our show around the country»

They slump around Room 3a, quite hideously decorated, in the Stotfield Hotel back in Lossiemouth. Say little, sip tea (not a drug, dollie or drink appears, Mr Older Generation), listen to remarkably good reception on Radio London until John Peel creeps out of his Perfumed Garden at 2 a.m. Then they go to bed «I suppose it's odd - us being up here when we've got a big hit going. Still we're staying up here a couple of nights. Be a break really. No, the hotel people don't mind our clothes and hair. Think they'd be a bit disappointed if we didn't turn up in fancy dress» Four unpretentious, easygoing and unaffected boys really. Nothing mysterious about them at all. Uncomplaining about having to come to Elgin, not really bothered by the travelling.

In Elgin, Mrs. Margaret Fraser will be back baking dark-mixed-fruit cakes today. Unaware the Pink Floyd have even been. Bu the fans are, and appreciate it. A top ten group coming into this outpost of the Highlands is really something of an ambassadorial effort»

«Och Aye … Scotland goes Pink», Disc & Music Echo,

CONCERT DATE | 21 July 1967 Ballerina Ballroom, Nairn, Scotland

CONCERT DATE | 22 July 1967 The Beach Ballroom, Aberdeen, Scotland

PRESS MENTIONS | 22 July 1967 Following the legal problems encountered by the Rolling Stones due to their drug use, a charity concert event is planned.
Scheduled on September 8, with the Floyd taking part among others. It was eventually cancelled.

On the left: Melody Maker, on the right: Disc & Music Echo

PRESS MENTIONS | 22 July 1967 Following the legal problems encountered by the Rolling Stones due to their drug use, a charity concert event is planned.
Scheduled on September 8, with the Floyd taking part among others. It was eventually cancelled.

On the left: Melody Maker, on the right: Disc & Music Echo

CONCERT DATE | 23 July 1967 Cosmopolitan Ballroom, Carlisle, England

PRESS MENTION | 26 July 1967 The Danish press announces the first European tour of the band.

« Pink Floyd til Danmark », Hejmdal newspaper

PRESS MENTION | 26 July 1967 The Danish press announces the first European tour of the band.

« Pink Floyd til Danmark », Hejmdal newspaper

TV SESSION | 27 July 1967 BBC Lime Grove Studios, Shepherds Bush, London, England

MISC EVENT | 28 July 1967 Pink Floyd's scheduled performance for the BBC's 'Saturday Club' music programme was cancelled at the last minute.
On the 28th of July, Syd Barrett walked out on a radio recording session for BBC's Saturday Club. This meant that come August 12, Pink Floyd lost out on an audience of eight million listeners - when their first album was released the same weekend. As BBC producer Bill Bebb summarily scribbled: « Group officially 'resting' due to 'nervous breakdown' of lead singer » »

BBC’s head sent a polite letter asking which member had « freaked out » during the studio session along with any additional comments or explanations regarding what happened.

MISC EVENT | 28 July 1967 Pink Floyd's scheduled performance for the BBC's 'Saturday Club' music programme was cancelled at the last minute.
On the 28th of July, Syd Barrett walked out on a radio recording session for BBC's Saturday Club. This meant that come August 12, Pink Floyd lost out on an audience of eight million listeners - when their first album was released the same weekend. As BBC producer Bill Bebb summarily scribbled: « Group officially 'resting' due to 'nervous breakdown' of lead singer » »

BBC’s head sent a polite letter asking which member had « freaked out » during the studio session along with any additional comments or explanations regarding what happened.

CONCERT DATE | 28 July 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

Joe Boyd:

« (The face of Syd) face was really close to mine, and i vividly remember thinking, «Shit, it’s like somebody just turned out the light» It was just blank. His eyes were very different».

«Scream thy last scream », Uncut, November 2016.

«In a cacophony of sound played to a background of multi-coloured projected lights the Pink Floyd proved they are Britain's top psychedelic group before the hip audience at UFO Club, Tottenham Court Road, on Friday night.In two powerful sets they drew nearly every conceivable note from their instruments but ignored their two hit singles. They include " Power-Toc-H" (sic) and a number which received its first hearing called "Reaction In G" which they say

was a reaction against their Scottish tour when they had to do "See Emily Play." Bass player Roger Waters gave the group a powerful depth and the lights played on to them set an impressive scene. Many of the audience found the Floyd's music too much to sit down to and in more subdued parts of the act the sound of jingling bells from their dancing masters joined in.

It is clear that the Floyd prefer playing to UFO-type audiences rather than provincial ones and are at their best in an atmosphere more acceptable to them»

«Pink Floyd excels on their own ground», Melody Maker, 5 August 1967

CONCERT DATE | 28 July 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

Joe Boyd:

« (The face of Syd) face was really close to mine, and i vividly remember thinking, «Shit, it’s like somebody just turned out the light» It was just blank. His eyes were very different».

«Scream thy last scream », Uncut, November 2016.

«In a cacophony of sound played to a background of multi-coloured projected lights the Pink Floyd proved they are Britain's top psychedelic group before the hip audience at UFO Club, Tottenham Court Road, on Friday night.In two powerful sets they drew nearly every conceivable note from their instruments but ignored their two hit singles. They include " Power-Toc-H" (sic) and a number which received its first hearing called "Reaction In G" which they say

was a reaction against their Scottish tour when they had to do "See Emily Play." Bass player Roger Waters gave the group a powerful depth and the lights played on to them set an impressive scene. Many of the audience found the Floyd's music too much to sit down to and in more subdued parts of the act the sound of jingling bells from their dancing masters joined in.

It is clear that the Floyd prefer playing to UFO-type audiences rather than provincial ones and are at their best in an atmosphere more acceptable to them»

«Pink Floyd excels on their own ground», Melody Maker, 5 August 1967

CONCERT DATE | 29 July 1967 Wellington Club, The Dereham Exchange, East Dereham, England

Roger Waters:

«We played to a roomful of about five gypsies, hurling abuse and fighting»

«Notes toward the illumination of the Floyd», Zigzag Magazine, May 1973

Roger Waters:

«We played to a roomful of about five gypsies, hurling abuse and fighting»

«Notes toward the illumination of the Floyd», Zigzag Magazine, May 1973

CANCELLED CONCERT | 31 July 1967 Town Hall, Torquay, England

Your feedback is invaluable to me, and we will acknowledge your contribution by citing you as a contributor.

Your feedback is invaluable to me, and we will acknowledge your contribution by citing you as a contributor.

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PRESS MENTION | Early January 1967: « Rave » magazine mentions Pink Floyd as a new group to follow this year

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PRESS MENTION | Early January 1967: « Rave » magazine mentions Pink Floyd as a new group to follow this year

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PHOTO SESSION | Early January 1967A photo session is set by Tony Gale in his Fleet street studio.

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PHOTO SESSION | Early January 1967A photo session is set by Tony Gale in his Fleet street studio.

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PRESS MENTION | 2 January 1967 The Pink Floyd is blamed by the press for the noise Level during performances

Tottenham Court Road.»

« Listening to pop above the danger level », Daily Mail, 2 January 1967

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PRESS MENTION | 2 January 1967 The Pink Floyd is blamed by the press for the noise Level during performances

Tottenham Court Road.»

« Listening to pop above the danger level », Daily Mail, 2 January 1967

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CONCERT DATE | 5 January 1967 The Marquee, London, England

In a way the Floyd might be called a Kensington group: they more or leas started In the London Free School in All Saints Church hall in Fowls Gardens, Hotting H11L

There, in the Sound and Light Workshop. they moulded their act from a normal R and B basis to this new audio-visual approach.

« Straight to Heaven in ’67 - taking off from All Saints », Kensington Post, 6 January 1967

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CONCERT DATE | 5 January 1967 The Marquee, London, England

In a way the Floyd might be called a Kensington group: they more or leas started In the London Free School in All Saints Church hall in Fowls Gardens, Hotting H11L

There, in the Sound and Light Workshop. they moulded their act from a normal R and B basis to this new audio-visual approach.

« Straight to Heaven in ’67 - taking off from All Saints », Kensington Post, 6 January 1967

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PRESS MENTION | 6 January 1967: One the first article about the band in the general press is published in the « The kensington Post ».

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PRESS MENTION | 6 January 1967: One the first article about the band in the general press is published in the « The kensington Post ».

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CONCERT DATE | 6 January 1967 « Freak Out Ethel », Seymour Hall, London, England

«London by Mile», The Other East Village, 15 January 1967

Eric Clapton and The Who's Pete Townshend later claimed they'd been in the audience.

Pete Townsend:

«Who I am», Pete Townsend, 2012

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CONCERT DATE | 6 January 1967 « Freak Out Ethel », Seymour Hall, London, England

«London by Mile», The Other East Village, 15 January 1967

Eric Clapton and The Who's Pete Townshend later claimed they'd been in the audience.

Pete Townsend:

«Who I am», Pete Townsend, 2012

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PRESS MENTION | 7 January 1967: « The kensington Post » dedicated a short article about a new band « before they hit the stratosphere »

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PRESS MENTION | 7 January 1967: « The kensington Post » dedicated a short article about a new band « before they hit the stratosphere »

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CONCERT DATE | 8 January 1967 The Upper-Cut, Forest Gate, London, England

Roger Ford (Audience member):

« remember going to see (…) the early Pink Floyd were on playing Arnold Lane. Stage was all red lights. Brilliant night»

«The Upper Cut Club, part 1 - the rise», E7 Website, 24 July 2013

CONCERT DATE | 8 January 1967 The Upper-Cut, Forest Gate, London, England

Roger Ford (Audience member):

« remember going to see (…) the early Pink Floyd were on playing Arnold Lane. Stage was all red lights. Brilliant night»

«The Upper Cut Club, part 1 - the rise», E7 Website, 24 July 2013

RECORDING SESSION | 11 & 12 January 1967 Sound techniques studios, London, EnglandPink Floyd and producer Joe Boyd spent two days at Chelsea's Sound Techniques Studios, recording and mixing Interstellar Overdrive and Nick's Boogie for the Tonite Let's All Make Love In London soundtrack.

Anthony Stern:

film over the sequences I'd shot later I don't know a year later i'll probably at the 14-hour technicolor dream I thought the music was absolutely perfect because my film was not intended to be a pop

film even though i called it pop concerto for film eventually i wasn't interested in the the sort of light-hearted side of pop music I was much more interested in the darker»

«Unidentified Radio Interview», January 1967

Peter Whitehead:

«(…) At the time I was putting my film, «Tonite Let’s all make love in London» together, Jenny* said:«You’ve got to use them », so being smitten, I paid £80 or £90 for a session and we filmed them recording Interstellar Overdrive. It was nearly 15 minutes long»

«Pink Floyd - The whole crazy trip!», Q Special Edition, October 2004

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RECORDING SESSION | 11 & 12 January 1967 Sound techniques studios, London, EnglandPink Floyd and producer Joe Boyd spent two days at Chelsea's Sound Techniques Studios, recording and mixing Interstellar Overdrive and Nick's Boogie for the Tonite Let's All Make Love In London soundtrack.

Anthony Stern:

film over the sequences I'd shot later I don't know a year later i'll probably at the 14-hour technicolor dream I thought the music was absolutely perfect because my film was not intended to be a pop

film even though i called it pop concerto for film eventually i wasn't interested in the the sort of light-hearted side of pop music I was much more interested in the darker»

«Unidentified Radio Interview», January 1967

Peter Whitehead:

«(…) At the time I was putting my film, «Tonite Let’s all make love in London» together, Jenny* said:«You’ve got to use them », so being smitten, I paid £80 or £90 for a session and we filmed them recording Interstellar Overdrive. It was nearly 15 minutes long»

«Pink Floyd - The whole crazy trip!», Q Special Edition, October 2004

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CONCERT DATE | 13 January 1967 UFO, The Blarney Club, Tottenham Court Road, London, England

Pink Floyd, supported by The Giant Sun Trolley, played UFO, London. Film-maker Peter Whitehead recorded their performance. Some of the footage appeared in the video/DVD release Pink Floyd — London 1966-1967.

Rick Wright:

«Pink Floyd», Top Pops & Music Now, 15 September 1969

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PHOTO SESSION | Early January 1967
A photo session is set by Tony Gale in his Fleet street studio.

PHOTO SESSION | Early January 1967
A photo session is set by Tony Gale in his Fleet street studio.

RECORDING SESSION | 11 & 12 January 1967 Sound techniques studios, London, England
Pink Floyd and producer Joe Boyd spent two days at Chelsea's Sound Techniques Studios, recording and mixing Interstellar Overdrive and Nick's Boogie for the Tonite Let's All Make Love In London soundtrack.

RECORDING SESSION | 11 & 12 January 1967 Sound techniques studios, London, England
Pink Floyd and producer Joe Boyd spent two days at Chelsea's Sound Techniques Studios, recording and mixing Interstellar Overdrive and Nick's Boogie for the Tonite Let's All Make Love In London soundtrack.