SYD BARRETT RARE 180 GRAM FACTORY SEALED 4 LP SET

$

300

SYD BARRETT - BARRETT -  STARTS THIS COLLECTION FOLLOWED BY HIS ADDITIONAL TWO LP'S - OPEL (a double LP set) AND - THE MADCAP LAUGHS

THREE LP'S WITH FOUR PIECES OF RARE SIMPLY VINYL U.K. PRESSED HEAVY VINYL 180 GRAM VINYL OUT OF PRINT VINYL. THIS IS OUR ONE AND ONLY SET.

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There have been so few vinyl LPs produced over the last 5 years that you should never pass up the opportunity to upgrade your collection. They're each very limited in their pressings and disappear with extraordinary quickness from the vinyl market. This causes prices to skyrocket because once they are gone, they are gone forever! Don't second-guess yourself with this chance to upgrade your collection because before you know it, the opportunity will have passed forever.

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BARRETT - HEAVY VINYL 180 GRAM -  A founding member of Pink Floyd who suffered a mental breakdown in the late '60s, Syd Barrett is revered in some circles for his singular vision. While outtake recordings that have surfaced have sadly shown much of his psychic dislocation, his two solo albums he released have much idiosyncratic beauty to offer. Barrett is the second solo album, joining The Madcap Laughs as a solid representation of Barrett's innate tunefulness and bizarre, surrealist imagery. Produced by the Floyd's David Gilmour and Rick Wright and featuring Humble Pie's Jerry Shirley on drums, the album veers from lighthearted shuffling jug band tunes to the grand and majestic "Baby Lemonade," possibly Barrett's finest song. Several other Barrett staples such as "Dominoes," "Rats," "Gigolo Aunt," and "Effervescing Elephant" showcase Barrett's knack for unexpected chord changes and inventive rhythmic breaks. Ironically, Barrett's music is not some heavy "acid rock" trip but a free-spirited, openly optimistic, and folkie journey through one man's unusual mind.

THE MADCAP LAUGHS - 180 GRAM VINYL -  History
The title of the album comes from a line in the song Octopus. After leaving the group,
Barrett began recording sessions with former Pink Floyd-turned-Syd Barrett
manager Peter Jenner  in May 1968. Although the sessions were brief, the project was abandoned for almost
a year while Barrett spent much of the year as a recluse. In April 1969,
Malcolm Jones  took over the project and Barrett began working on newer material, while reworking the
1968 recordings. Session musicians, namely, members of The Soft Machine , as well as Humble Pie
  drummer Jerry Shirley  were also called in to augment
Barrett's songs. It is still a mystery why Jones abandoned production
responsibilities, at the end of May, so soon after having assumed them.
Jones' recollections of the sessions are that he and Barrett got on well
together and had in fact completed half of the album before the new
producers took over. Roger Water and David Gilmour were in the
process of completing Pink Floyd's ambitious Ummagumma  album when they got involved with
The Madcap Laughs that July and helped Barrett finish his album, "in a
two-day sprint" according to Rick Sanders, author of Pink Floyd (Futura
Publications, 1976).
The album featured a rather unorthodox recording process, in which Syd would
provide a backing track of his own singing accompanied by acoustic guitar,
over which the session musicians would overdub the rest of the arrangement.
However, Syd's playing and singing were highly erratic and unpredictable-he
skipped or added beats and bars seemingly at random, or otherwise he would
strum on a single chord for a long time before unexpectedly reverting back
to the main portion of the song. This was all much to the frustration of the
session musicians; a close listen to several tracks [in particular "No Good
Trying" and "Love You"] will reveal the backing band hovering uncertainly
here, or being caught off-guard by a chord change there (during an
interview, Robert Wyatt recounted that musicians would ask "What key is that in, Syd?" and Barrett
would reply "Yeah", or "That's funny"). Syd would not allow the musicians to
rehearse or re-record their overdubs, insisting that they sounded fine.
After several months of intermittent recording, the album was finally deemed
complete.
The cover shows Syd Barrett in his living room.
"Octopus" was released as a single in November 1969 and the album itself
followed in January 1970. It reached #40 in the UK at the time[1]  and was fairly
well-reviewed.

All songs by Syd Barrett, except where noted.
1. "Terrapin " - 5:04
Take 1, recorded 11 April 1969, overdubs added 4 May
Produced by Malcolm Jones
2. "No Good Trying" - 3:26
Take 3, recorded 11 April 1969, overdubs added 3/4 May
Produced by Malcolm Jones
3. "Love You" - 2:30
Take 4, recorded 11 April 1969, overdubs added 3 May
Produced by Malcolm Jones
4. "No Man's Land" - 3:03
Take 5, recorded 17 April 1969, overdubs added 4 May
Produced by Malcolm Jones
5. "Dark Globe " - 2:02
Take 1, recorded 5 August 1969
Produced by David Gilmour and Roger Waters
6. "Here I Go" - 3:11
Take 5, recorded 17 April 1969
Produced by Malcolm Jones
7. "Octopus  " - 3:47
Take 11, recorded 12 June 1969, overdubs added 13 June
Produced by Syd Barrett and David Gilmour
8. "Golden Hair" - 1:59 (Barrett, Joyce
Take 11, recorded 12 June 1969
Produced by Syd Barrett and David Gilmour
9. "Long Gone" - 2:50
Take 1, recorded 26 July 1969
Produced by David Gilmour and Roger Waters
10. "She Took a Long Cold Look" - 1:55
Take 5, recorded 26 July 1969
Produced by David Gilmour and Roger Waters
11. "Feel" - 2:17
Take 1, recorded 26 July 1969
Produced by David Gilmour and Roger Waters
12. "If It's in You" - 2:26
Take 5, recorded 26 April 1969
Produced by David Gilmour and Roger Waters
13. "Late Night" - 3:10
Take 2, recorded 28 May 1968, overdubs added 11 April 1969
Produced by Pete Jenner, Malcolm Jones (overdubs)

OPEL - DOUBLE LP SET - PRESSED ON 180 GRAM VINYL 

The collection "Opel" was released in the late 1980s and consists mostly of outtakes from Barrett's two solo albums as well as a few alternate takes. Most of the tracks had not even seen the light of day for years before their release, and the fact that Syd Barrett had this many songs left is really quite surprising considering that he only recorded two albums during his solo career.

Opel is a collection of left over tracks from Syd's solo career. The tracks range in quality from the much refined “Opel” and “Wouldn’t You Miss Me” to being able to hear them talking in the studio and Syd playing his guitar pretty sloppy like in “Word Song” and “Let's Split“, which are really good anyhow. My advice is to buy The Madcap Laughs and Barrett or his Floyd work first before this album since this is the scraps of his music, but even the scraps are good.

This affair is extremely hit and miss in the truest sense, and should only be approached AFTER you have already bought Syd's two proper solo albums. The handful of really great tracks ("Dolly Rocker," "Milky Way," and "Wouldn't You Miss Me" in particular) make up for any lackings elsewhere, and show proof that even at this stage, Syd could occasionally pull it all together and create a song that is just pure magic. Even casual listeners would be smitten with songs like "Milky Way," but as an album I can only recommend this to the diehards who have everything else Syd ever did. Approach "Opel" with caution, but don't pass it by, either.

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