CHAPTER 1
THE PIPER AT THE GATES OF DAWN
WITH DENNIS DUNAWAY AND PAUL KEHAYAS
SIDE 1 |
1. Astronomy Domine (Barrett) | 4:08 |
2. Lucifer Sam (Barrett) | 3:05 |
3. Matilda Mother (Barrett) | 3:05 |
4. Flaming (Barrett) | 2:44 |
5. Pow R. Toc H. (Barrett, Waters, Wright, Mason) | 4:23 |
6. Take Up Thy Stethoscope and Walk (Waters) | 3:04 |
SIDE 2 |
1. Interstellar Overdrive (Barrett, Waters, Wright, Mason) | 9:38 |
2. The Gnome (Barrett) | 2:02 |
3. Chapter (Barrett) | 24 3:39 |
4. The Scarecrow (Barrett) | 2:07 |
5. Bike (Barrett) | 3:20 |
ISSUE VARIANCE NOTES: The US version consists of Side 1: âSee Emily Play,â âPow R. Toc H.â (as âPow R. Tochâ), âTake Up Thy Stethoscope and Walkâ (as âTake Up My Stethoscope and Walkâ), âLucifer Sam,â âMatilda Motherâ; Side 2: âThe Scarecrow,â âThe Gnome,â âChapter 24,â âInterstellar Overdrive.â âSee Emily Playâ was new to the US edition while âAstronomy Domine,â âFlaming,â and âBikeâ were omitted.
Recorded at EMI Recording Studios, St. Johnâs Wood, London
PERSONNEL: Syd Barrettâlead guitar, vocals; Roger Watersâbass guitar, vocals; Rick Wrightâorgan, piano; Nicky Masonâdrums
Produced by Norman Smith
Released August 5, 1967 (UK); October 21, 1967 (US)
Wielded like a rainbow-refracting sword not a year into psychedelic rockâs very existence, The Piper at the Gates of Dawn seemed to destine Pink Floyd for notorietyâwhich they instantly received, the press labeling them incendiary pied pipers making music for LSD takers. Psychedelia might have gotten off the ground stateside, with a trajectory that might include (using the Beatles as its base) Bob Dylan, the Byrds, the Beach Boys, Jefferson Airplane, the 13th Floor Elevators, and the Grateful Dead, but Pink Floyd served as the first complete package about London town, soon and forever to be psychâs second office, after San Francisco.
A suitably psychedelic portrait of Pink Floyd from 1967. Clockwise from top left: Syd Barrett, Nick Mason, Rick Wright, and Roger Waters.
The three architecture students (Roger, Rick, and Nick) and one art student (Syd) had been making music together as school chums since 1962, signing a deal with EMI on February 1, 1967, and one month later issuing their contentious âArnold Layneâ single. The bandâs ÂŁ5,000 record deal, although spread over five years and without free studio time, allowed them complete control over their output, which, to the labelâs dismay, got stranger as time went on, culminating in 1969âs Ummagumma and letting up only slightly with the release of Atom Heart Mother the following year.
The collection of songs issued in August 1967, The Piper at the Gates of Dawn, represented an intensifying UK response to the birth of psych on the American West Coast. The proceedings were led for the first and last time by Syd Barrett, sole penner of eight of the original UK issueâs eleven tracks, and in on the full-band credit for two more (both instrumentals), with only âTake Up Thy Stethoscope and Walkâ credited to Roger Waters alone. Additionally, Syd played all the guitar on the album and took the lionâs share of the lead vocals, his accent lending it some distinction.
Label from the UK mono pressing of The Piper at the Gates of Dawn.
In the spirit of what the Beatles had already been pioneering, especially with Revolver, Pink Floyd recorded Piper with Beatles engineer Norman Smith at EMI Studios (later to become Abbey Road). As well, George Harrisonâs friend Vic Singh emphasized the new sartorial style of psych by finding crazy, colorful clothes for the band and then shooting the guys in triple vision with a prism lens to evoke an acid trip.
The cover art and the new Wind in the Willowsâderived title (changed at the last minute from Projection) represented powerful messaging parallel to the bandâs already notorious reputation for trip-friendly live shows. The visuals helped focus the message, setting the Floyd up for success as the new hippies upturning the apple cart and freeing minds with their new full-length record, a field recording of the proceedings in Sydâs head as the more responsible trio behind their acid-addled leader looked on in growing dismay.
An Italian pressing of The Piper at the Gates of Dawn from 1971, with Gilmourânot actually a member of the band at the time the album was madeâerroneously pictured on the cover.
The warning signs of Sydâs descent into madness are all over the record. Against the idyllic and paisley âFlaming,â âThe Gnome,â âBike,â and âChapter 24,â there are âMatilda Mother,â âLucifer Sam,â âInterstellar Overdrive,â and the harrowing âAstronomy Domine,â a virtual sound-painting of brain drain. All told, one might conjecture that Pink Floydâs was the type of psych that was going to cause King Crimson, Van der Graaf Generator, and heavy metal, rather than that of Yes, Genesis, and the peaceful easy sounds of the country-rock Avocado Mafia taking over the Troubadour in L.A. Indeed, this darkness brought in by Syd on this record would linger and then metasta...