BARRETT

"tears, the life that was ours grows sharper and stronger away and beyond"

Syd was a treasure. I absolutely love his two studio albums even though they are far from the psychedelic masterpiece of Piper. They are filled front to back with delightful whimsical vignettes of the last musical contributions of a most important poet of his time. Syd was not only the heart and soul of early Floyd but also able to channel the most marvelous little musical poems. Childlike melodies combined with surreal lyrics can sometimes make him seem like a combination of Nick Drake and kids folkie Dan Zanes.

Here on Barrett he has the appearance of a band in Dave Gilmour, Rick Wright, and Jerry Shirley. I say appearance because it wasn't truly a group effort but rather the guys laying down a beat after Syd did his thing. The reason Syd went first is that he rarely played things the same way twice. While the band's contribution is laid back they actually do manage to embellish the songs quite well. Wright is especially effective in this regard, check out his piano work on Love Song as an example. Simple but perfect for the song.

Many Floyd fans think that Barrett's solo work is crap and I can actually understand why some people don't like these records. It is a complete slap in the face to conventions of all types, Syd refused to play the star game or even the musician game. As I said in the Madcap review I almost feel as if Syd were just channeling whatever it was that he was dealing with in his head. Syd's music takes me places that are just as interesting and relevant as a Floyd album. Haunting places, but also lovely and nostalgic places. For me that is what's important about music, not just how cool the band is or how impressive their fretboard skills.

If you're a Floyd fan who's never heard Syd's solo stuff before, realize that it will be a little shocking at first. His sound is a bit rough and a lot untamed, showing no respect for polish. This can be off-putting at first but do give it a chance over several weeks. When you get used to the edgy sound you might begin to appreciate the hidden beauty and the sense of playfulness. Barrett features more upbeat fare like Baby Lemonade and Gigolo Aunt to love songs like Wined and Dined, to the haunting (Dominoes) and the disturbing (Maisie), to the funky (Rats) and the silly ditty (Effervescing Elephant.) It is a wonderful album of songs that fascinates me every time I play it. It puts time on hold and casts a spell on those willing to participate and check their cynicism at the door.

Syd did it his way and then walked away with his middle finger raised to the establishment. Or at least that's what his music suggests to me. He would never give into the star trip even when they offered him large sums of money for "the comeback" music. He turned them all away, content to spend his days painting away rather than being exploited. He was not the tragic hermit that the press made him out to be. His family insists he was a happy person who joked with neighborhood kids and enjoyed his art-but he simply preferred the company of himself to social situations. Life doesn't have to be all about the achievement of goals despite what the media tells us. It can be just a series of moments that we enjoy and make the best of. That's how I see the two Barrett albums. Syd seized that moment and got the music out of his system and moved on.

Reminds me of this Paul Newman film where Newman plays a loner content to piddle away his days chasing his whims. Someone asks Newman's character "Doesn't it ever bother you that you haven't done more with the life God gave you?" Newman pauses a moment and with just the slightest hint of a mischievous smile, replies "Sometimes. Not often."

Perfect.