Projection - A Pink Floyd(?) Timeline

[Massacote]

Yes, yes, another Pink Floyd-related timeline by me. This one I want to get more experimental (And I might butterfly a little bit here).

So, it is (very) based on this idea of flippikat of a Kevin Ayers/Syd Barrett/Richard Wright band, but adding Robert Wyatt and David Bowie (forming a band ca. 1966/67).

I'm looking forward to seeing a tracklist for a Barrett/Ayers album from this timeline - I've had an idea for a while of a timeline where Syd, Kevin, and Richard Wright form a band circa 1969

The timeline will be focused on five stories:

1. The band.
2. Nick Mason and Roger Waters (Yes, both would still be interested on the musical business, with Mason involved in production and Waters in songwriting/production).
3. Syd Barrett and his solo career. (Like the Two of a Kind timeline, I'll be obligated to make some "fake albums").
4. David Gilmour and his session musician career (at the start).
5. The pop culture around the band, of course.

 

[flippikat]

Subscribed!

There's a lot of great musicians in early-mid 1970s working in that space where art-rock, glam, pre-punk, the flickering traces of psychedelia, and the pointy-end of prog rock mixed and mingled.

Looking forward to where this goes

 

[Massacote]

1966/67: Pink Floyd Sound, Soft Machine, Davy Jones, and the UFO​

Pink Floyd Sound playing at the U.F.O. Club.
​

The Pink Floyd Sound was a British band formed in 1965 by guitarists Syd Barrett and Bob Klose, keyboardist Richard Wright, bassist Roger Waters, and drummer Nick Mason. In 1966, the band played at some venues, but never released an official record, but eventual bootlegs appeared with early versions of songs of their first album, all composed by Barrett, such as Lucy Leave and Butterfly and more songs, including a cover version of Slim Harpo's, I'm a King Bee. Besides Barrett's songs, the band played other set of cover songs with a psychedelic/instrumental improvisation. Bob Klose departed from the band earlier, and The Pink Floyd Sound disbanded after the creation of Projection, with Syd Barrett and Rick Wright joined the group, Nick Mason and Roger Waters pursuing the producer career, with Waters releasing his albums. Other names the group had included The Tea Set, Sigma 6, Meggadeth, Abdabs, and many others.

Soft Machine was founded by the former members of The Wilde Flowers, bassist Kevin Ayers, drummer Robert Wyatt, keyboardist Mike Ratledge, and guitarist Daevid Allen. As Pink Floyd Sound, the band never released/or recorded a song together, but played at almost the same venues as Pink Floyd. The other members of Wilde Flowers would form the Canterbury band Caravan. After the creation of Projection, Ayers and Wyatt joined the group, Mike Ratledge briefly formed a group with Hugh Hopper before join Caravan, and Daevid Allen went to France and formed Gong.

Before Projection, the singer Davy Jones (later known as David Bowie) participated on various blues-influenced groups, releasing songs recorded by him and cover numbers. Interested on the forming Underground movement, the young man was scheduled to appear at the inauguration of the U.F.O. Club beside the stars, The Pink Floyd Sound and Soft Machine. In a moment of agitation, Jones met Kevin Ayers at the backstage. "He was absolutely lost. [He] hadn't any supporting band.", Ayers. "Syd also approached from him, and we agreed to help him. I called Robert Wyatt and we rehearsed a set with five or four numbers, some songs by him and covers.". The trio supported Jones in the next two times before the formation of the band.

"I found interesting the idea of playing with Syd and I was looking forward on a band with him, like a side-project, or something.", says Kevin Ayers. "Surprisingly he accepted the offer, and also called Rick [Wright] to support us as keyboardist.". Jones was invited, and joined the group. "We didn't knew that Projection would disband Floyd and Soft Machine.", David Bowie. "But did.". Originally, Projection was supposed to be a side-project of both bands members with Bowie, but with the departure of Allen of Soft Machine, and the disinterest of Nick Mason on drumming, both bands were dissolved, and Projection was turned into their main project.

The Blackhill Enterprises, the company which was founded by the Pink Floyd members, Peter Jenner and Andrew King, and was also managing Soft Machine, had a surprise about the news. With Jones joining the group, and the eventual dissolution/merge of their two primary groups, Jenner and King convinced Roger Waters to stay as a sole artist, while searching for new groups to join the company. In the early 1967, Projection signed with EMI Records, eventually starting to produce their debut album.

Projection signing with EMI Records. Wyatt, Ayers and Jones were absent, and Roger Waters/Nick Mason attended the reunion.​

 

[GrayJ12]

I really, really like this. This first part is really promising and I am looking forward towards the rest.

I've always had an interest towards band/music TL (I tried to do one early on 3 years ago, it didn't go well), and you have a great premise.

 

[Massacote]

1967: Recording the album, Norman Smith, Nick the Producer and Roger's single
​

Entering the studios

Norman Smith.
​

The producer Norman Smith, known by his work with The Beatles, was hired to work with Projection, with engineer Pete Bown. The group entered the first time at the EMI Studios in February. Jones brought his singles to re-record them on their first album. The same thing made Syd Barrett. Kevin Ayers and Robert Wyatt also wrote some tunes to possibles singles when they still were members of Soft Machine. During the first days, the band started to rework on Jones and Barrett songs, with Lucy Leave and You've Got the Habit of Leaving. "We've decided to rework on the songs that were already available, then we got forward on other songs.", remembers Richard Wright. The band tried to convince Wright to record his tune You're The Reason Why, originally recorded by the trio Adam, Mike and Tim. The group rehearsed the song, but with no success. "They had a lot of ideas, but every time they forgot it.", Norman Smith. "It was a bit frustrating to work with them, specially with Syd. He was a lot unquiet. Wright and Bowie were fairly cooperative.".

After re-record the songs, the band started to work on new tunes, primarily Ayers' lyrics. During the same time, Syd was writing new more songs to a possible next album. "It was a time with a lot of inspiration...", remembers Syd Barrett. "...I was writing more songs to record, but eventually we had more than available to the album.". Only one song was chosen, called Arnold Layne. The character presented on the song was a transvestite whose strange hobby was stealing women's clothes. "When I read the song's lyrics, I became amazed with those lyrics... strangely hilarious and a bit controversial!", David Bowie.

Roger Waters and Nick Mason were also involved on produce the album, taught by Norman Smith. Waters also wanted to record two songs which he wrote, Walk With Me Sydney (which an early version appeared on Pink Floyd Sound bootlegs), and Take Up Thy Stethoscope and Walk. "I wanted to record those songs, [Peter] Jenner and [Andrew] King indeed. Norman was a lot focused on the [Projection's] album.", recalls Roger Waters. Also involved in production, Nick Mason had to wait to produce Roger's singles.

(L-R) Wright, Barrett, Mason and Waters at the studio.
​

In March, Syd entered at the studio with an idea. Instead of standard-to-psychedelic pop/rock songs, Barrett came with a Pink Floyd's old number. Agreeing with Barrett, Norman Smith started to record the takes for the song. Syd invited Nick Mason and Roger Waters to participate of the recording. The entire set gave in three takes, with 16 minutes, the experimental piece Interstellar Overdrive. With the exception of Jones, the entire band involved on the recording of the song received a songwriting credit. "We enjoyed a lot the moment.", Barrett. "In three takes, we've finished a song, in less than one day.". The band restarted to focus on Barrett and Jones' last songs.

A Visit from the Future

David Gilmour, 1968.
​

In the last week, and invited by Syd, his friend, David Gilmour visited the sessions of their debut album for the first time. The band was recording takes to Feelin' Reelin' Squeelin', a song composed by Kevin Ayers. "Had a lot of time I haven't seen Syd. And, there was the first time I saw him, with his new project. The last time I knew about him he was still with Pink Floyd.". Gilmour met his old friends, and also met David Bowie. "He was such a nice guy, but the most of all time he was quiet. Bowie was good friends with Wright and Syd, I think.".

In the same year, David Gilmour and his band, Jokers Wild went to France. Gilmour participed of the recordings of the soundtrack to the film A Coeur Joie, briefly dating the actress Brigitte Bardot. The soundtrack was composed by Michel Magne, and David did the vocals on Do You Want to Marry Me? and I Must Tell You Why. Gilmour's band would change the name to Flowers, then dissolve in France, while he returned to England.

Back to Abbey Road

In March, Projection visited the next studio to them. There were, The Beatles. They were recording Lovely Rita to a new, ambitious project, called Sgt. Peppers Lonely Hearts Club Band. Related on his biography, Nick Mason told the encounter was "[...] like meet God, or something supernatural [...]". In the same month, the band finally finished the sessions for their debut album. In a non-stop sequence, after two weeks, the group reunited again at the studios to produce their second studio album. Suggested by Barrett's sister, Rosemary, the album was called Synaesthesia, due to a report that Syd could "hear colours and see sounds".

April was a month of learning to Mason and Waters. Norman Smith, Pete Bown and his working crew started to mix the entire album. In the same time, Roger Waters finally started to record his songs to release as singles. The sessions were finished in the same week.

WALK WITH ME SYDNEY/TAKE UP THY STETHOSCOPE AND WALK

Walk With Me Sydney/Take Up Thy Stethoscope and Walk is an EP released by Roger Waters. It contains just two songs, released as singles. Walk With Me Sydney is a beat-oriented song, while TUTSaW is a psychedelic song, influenced by the beat music on the other song. Walk With Me Sydney peaked at #27 at UK Single Charts, while TUTSaW peaked at #25. Both songs were produced by Nick Mason and helped by the Projection members.

(No cover.)
ROGER WATERS - WALK WITH ME SYDNEY/TAKE UP THY STETHOSCOPE AND WALK
Genre: Beat music, psychedelic rock
Total: 6:16
Produced by: Nick Mason

Side A
1. "Walk With Me Sydney" (Roger Waters) - 3:11

Side B
2. "Take Up Thy Stethoscope and Walk" (Waters) - 3:05

​

Personnel
Roger Waters - lead vocals, rhythm guitar
Syd Barrett - backing vocals, electric guitar
Richard Wright - backing vocals, keyboards
Kevin Ayers - bass guitar
Nick Mason - drums, percussion, production
Norman Smith - supervisor

 

[Massacote]

SYNAESTHESIA

Synaesthesia is the debut album of the British rock band, Projection. The album was released by EMI Records in 20 May 1967 in the UK, and by Tower Records in 13 June 1967 in the US. With re-worked songs mixed with a new set, the record brings influences of psychedelia, blues music, and pop tunes, mainly on David Jones songs. The blues influence is clear on the first track of the album, Lucy Leave.

The band worked with Norman Smith, known by his work with The Beatles, and the producers Nick Mason and Roger Waters, which were friends, and members of Syd's previous band, Pink Floyd Sound. The album was recorded over a period of two months at the Abbey Road Studios, almost at the same time of Beatles' Sgt. Peppers. The album peaked at #8 in the UK Album Charts, and at #145 in the Billboard 200. It was fairly compared with the album, The Velvet Underground & Nico. The album was well-received by the public, mainly by the London Underground.

Arnold Layne was released as single, and with its unusual lyrics, the song was eventually banished from Radio London. Despite this, the single reached number 20 in the UK singles chart, backed by Candy and a Currant Bun. The second single, Baby Loves That Way, composed by Jones, reached number 36. It was backed by the Kevin Ayers/Robert Wyatt song, Love Makes Sweet Music.

PROJECTION - SYNAESTHESIA (1967)
Genre: Psychedelic rock, experimental rock, acid pop, garage rock
Total: 44:29
Produced by: Norman Smith, Roger Waters & Nick Mason
UK Album Charts: #8
Billboard 200: #145

Side A - 18:59
1. "Lucy Leave" (Syd Barrett) - 2:53
2. "Do Anything You Say" (David Jones) - 2:32
3. "Feelin' Reelin' Squeelin'" (Kevin Ayers) - 2:50
4. "You've Got a Habit of Leaving" (Jones) - 2:29
5. "Butterfly" (Barrett) - 2:59
6. "Love Makes Sweet Music" (Ayers, Robert Wyatt) - 2:30
7. "Candy and a Currant Bun" (Barrett) - 2:46

Side B - 25:30
8. "Interstellar Overdrive" (Barrett, Richard Wright, Ayers, Wyatt, Roger Waters, Nick Mason) - 16:46
9. "Can't Help Thinking About Me" (Jones) - 2:47
10. "Baby Loves That Way" (Jones) - 3:02
11. "Arnold Layne" (Barrett) - 2:55

​

Personnel
Projection
Syd Barrett - lead vocals [1, 5, 7, 11], lead guitar, backing vocals
David Jones - lead vocals [2, 4, 9, 10], backing vocals
Kevin Ayers - lead vocals [3, 6], bass guitar, backing vocals,
Richard Wright - backing vocals, Farfisa Combo Compact organ, piano, celesta
Robert Wyatt - lead vocals [6], drums, percussion

Additional musicians
Roger Waters - electric guitar [8]
Nick Mason - drums [8]

Production
Norman Smith - production, vocal and instrumental arrangements, drum roll on Interstellar Overdrive
Pete Bown - engineering
Nick Mason - co-producer
Roger Waters - co-producer
Mike Leonard - cover design


Note: Cover was also used on Wondering and Dreaming of Generaloberst.

 

[Massacote]

1967: Projection Live, Projection at the Studio
​

Tours, Concerts and Performances

(L-R) Richard Wright and Syd Barrett during rehearsals for Games for May.
​

Before the release of Synaesthesia, Projection made a tour in the Netherlands, Belgium, and France. In April 29, the band played in Netherlands, and returned to England, to play a concert at the 14-Hour Technicolor Dream, in the same day. The band reached the Alexandra Palace in the end of the festival, playing a set with Synaesthesia songs and a song of the future album such as, Interstellar Overdrive, Arnold Layne, Baby Loves That Way, and Astronomy Domine. "When we finished the concert in Netherlands we left the stage going back to London.", David Bowie. "We entered at the Alexandra Palace at 4/5 a.m. and played almost the same set.".

The next weeks for the band were resumed in recording sessions and concerts in London, mainly at the U.F.O. Club and Roundhouse. Nick Mason and Roger Waters weren't involved with the band anymore, seeking to produce to other bands, in separated ways. Nick Mason was indicated by EMI to produce The Yardbirds' next record with Mickie Most. Roger Waters was sharing a flat with David Gilmour. With no task at the moment, Roger was focused on improve his songwriting skills. "My daily life at the time was reading books, mainly the political genre, try to write some songs, practice bass guitar, and watch concerts on some venues at night.", remembering Roger Waters. "I was doing this almost everyday in 1967. Sometimes Dave [Gilmour] was with me, since Nick was involved with The Yardbirds, and Projection was producing their second album.".

In 12 May 1967, the concert Games for May happened at the Queen Elizabeth Hall. Promoted and organized by Blackhill Enterprises, it was held by Projection, which played a mix of songs of their first album and their future second album. Nick Mason and Roger Waters attended to the concert, as David Gilmour. Other people related to the band, such as the former members of Soft Machine, and The Yardbirds (invited by Nick Mason). There were rumours that Pete Townshend, John Lennon and Yoko Ono were also present at the concert. During the performance, the bubbles of a machine stained the furniture of the Hall, banishing the band of playing there again. The concert was recognized being the first in Britain with quadraphonic sound system, made by the Azimuth Coordinator and complex light shows. The Azimuth was stolen at the end of the show.

Games for May
12 May 1967, Queen Elizabeth Hall
Setlist
1. "Dawn (tape recording)"
2. "Matilda Mother" (Syd Barrett, Richard Wright)
3. "Lucy Leave" (Barrett)
4. "You've Got the Habit of Leaving" (David Jones)
5. "I'd Rather Be With You" (Kevin Ayers)
6. "Games for May" (Barrett, Jones)
7. "Baby Loves That Way" (Jones)
8. "Flaming" (Barrett)
9. "Remember a Day" (Wright)
10. "Interstellar Overdrive" (Barrett, Wright, Ayers, Robert Wyatt, Roger Waters, Nick Mason)
11. "Bubbles (tape recording)"
12. "Ending (tape recording)"

Encore
13. "Arnold Layne" (Barrett)
14. "Percy the Rat Catcher" (Barrett)¹

One week later, the band performed at the Look of the Week at BBC, performing Astronomy Domine. The performance would be remarked by the interview of Hans Keller to Syd Barrett and David Jones, which criticized and asked why the sound of the band was "so terribly loud". Later, the band also performed at the Top of the Pops during two weeks consecutively. The last two appearances of the band were without Barrett, which allegedly said that "John Lennon didn't have to do 'Top Of The Pops' so he didn't either.". With the absence of Barrett, the band performed See Emily Play with Jones and Wright alternating the vocals.

Constructing the Piper

After the sessions of Synaesthesia, the band immediately began to record their second studio album. "We were pretty chill about the previous sessions, so we started to compose and record takes and songs for the next album.", tells Rick Wright. The band started to record in April with six takes of Matilda's Mother, followed by I'd Rather Be With You by Kevin Ayers. The group had recorded a single to release called She's a Millionaire, but the cassette tape was lost. The reminiscent of the song would be re-recorded as a track called Opel for a future album. In the end of April, Robert Wyatt brought a song written by himself called That's How Much I Need You Now.

In early May, Projection recorded three takes of Rubber Band and five takes of Chapter 24. In 15 May, recorded Flaming and The Scarecrow in one take, with vocal overdubs in Flaming. The musician Big Jim Sullivan attended the sessions for the album, adding the sitar in Join the Gang and Chapter 24.² Astronomy Domine, Remember a Day and Pow R. Toc H. worked extensively during May and June. In June, Syd Barrett remembered a song written in late 1966 called The Bike Song. He took the song to the studio to record it. The song was recorded in late June in one take, overdubbed, and added immediately to the album.

During the sessions, the band also recorded singles, such as the experimental piece, Pow R. Toc H., which was released as B-side of Flaming. The song was widely recognized as influential between bands in the British Underground. Another tunes were mostly written by Jones, such as London Boys and The Laughing Gnome. The last time the band entered at the studio was in the first week of July to record overdubs and takes of Astronomy Domine. After that, Norman Smith and Peter Bown were in charge of mix the album. The press announces their second studio album called The Piper at the Gates of Dawn, the title was extracted of the Chapter 7 of The Wind in the Willows.

--------
Notes
[1] Later renamed to Lucifer Sam.
[2] IOTL, Chapter 24 doesn't have a sitar. (unfortunately)

 

[Massacote]

THE PIPER AT THE GATES OF DAWN

The Piper at the Gates of Dawn is the second album of the British rock band Projection. The name of the album is based on the Chapter 7 of Kenneth Grahame's The Wind in the Willows. It was the last album before David Jones change his artistic name to David Bowie. The album was released by EMI Records in the UK in 10 September 1967 and in the US in 5 October 1967. It was produced by Norman Smith, and the cover photo was taken by Colin Prime.

With a larger experimentation compared to Synaesthesia, the album features unusual, fantasy lyrics by Syd Barrett and David Jones, extending to the nostalgia of Matilda's Mother and Remember a Day brought by Richard Wright and the love songs by Kevin Ayers and Robert Wyatt. The album is considered a high peak of the psychedelia and reminded as one of the most appreciated albums of the late 60's.

Piper was subsequently recorded after the sessions of their previous album, in a consistent range with gigs and other performances by the band. During the sessions, the band worked just with Norman Smith and Peter Bown, and outside the studio, the band made presentations, such as the tour in mainland Europe (France, Belgium, Netherlands), the 14 Hour Technicolor Dream, Games for May, and performances in TV. The album reached number 6 in the UK Album Charts and number 131 in the Billboard 200, surpassing its predecessor in both countries.

The Games for May (See Emily Play), shortened to See Emily Play, was released as a promotional/lead single with London Boys in B-side. The song was a hit for the band, which was part of their setlist until the early 70's, coming back in the 90's. Flaming was released in the US with Pow R. Toc H. as B-side. Pow R. Toc H. was released as a single in the UK.

PROJECTION - THE PIPER AT THE GATES OF DAWN (1967)
Genre: Psychedelic rock, experimental rock, baroque pop
Total: 45:48
Produced by: Norman Smith
UK Album Charts: #6
US Billboard 200: #131

Side A - 24:32
1. "Astronomy Domine" (Syd Barrett) - 4:12
2. "I'd Rather Be With You" (Kevin Ayers) - 3:40
3. "Matilda's Mother" (Syd Barrett, Richard Wright) - 3:08
4. "Rubber Band" (David Jones) - 2:17
5. "Flaming" (Barrett) - 2:46
6. "That's How Much I Need You Now" (Robert Wyatt) - 2:29
7. "Lucifer Sam" (Barrett) - 3:07
8. "The Games for May (See Emily Play)" (Barrett, Jones) - 2:53

Side B - 21:16
9. "She's Got Medals" (Jones) - 2:23
10. "The Gnome" (Barrett) - 2:13
11. "She's Gone" (Ayers) - 2:11
12. "Chapter 24" (Barrett) - 3:42
13. "The Scarecrow" (Barrett) - 2:11
14. "Join the Gang" (Jones) - 2:17
15. "Bike" (Barrett) - 1:46
16. "Remember a Day" (Wright) - 4:33

​

Personnel
Projection
Syd Barrett - lead vocals [1, 3, 5, 7, 8, 10, 12, 13, 15], lead guitar, backing vocals
David Jones - lead vocals [4, 8, 9, 14], backing vocals, acoustic guitar
Richard Wright - lead vocals [3, 16], Farfisa Combo Compact organ, piano, celesta, backing vocals
Kevin Ayers - lead vocals [11], bass guitar, backing vocals
Robert Wyatt - lead vocals [2, 6, 11], drums, percussion, backing vocals

Production
Syd Barrett - rear cover design
Peter Bown - engineering
Peter Jenner - intro vocalisations on Astronomy Domine
Colin Prime - front cover photography
Norman Smith - production, vocal and instrumental arrangements

 

[flippikat]

I really like how the first Projection album isn't a fully-formed psychedelic album.. there's still a lot of RnB/garage rock influenced stuff there.

In a way it mirrors OTL Grateful Dead.. or Buffalo Springfield or Cream. Their first albums were statements of where they'd come from, with a few hints of where they were going next

 

[Loulou]

THE PIPER AT THE GATES OF DAWN

The Piper at the Gates of Dawn is the second album of the British rock band Projection. The name of the album is based on the Chapter 7 of Kenneth Grahame's The Wind in the Willows. It was the last album before David Jones change his artistic name to David Bowie. The album was released by EMI Records in the UK in 10 September 1967 and in the US in 5 October 1967. It was produced by Norman Smith, and the cover photo was taken by Colin Prime.

With a larger experimentation compared to Synaesthesia, the album features unusual, fantasy lyrics by Syd Barrett and David Jones, extending to the nostalgia of Matilda's Mother and Remember a Day brought by Richard Wright and the love songs by Kevin Ayers and Robert Wyatt. The album is considered a high peak of the psychedelia and reminded as one of the most appreciated albums of the late 60's.

Piper was subsequently recorded after the sessions of their previous album, in a consistent range with gigs and other performances by the band. During the sessions, the band worked just with Norman Smith and Peter Bown, and outside the studio, the band made presentations, such as the tour in mainland Europe (France, Belgium, Netherlands), the 14 Hour Technicolor Dream, Games for May, and performances in TV. The album reached number 6 in the UK Album Charts and number 131 in the Billboard 200, surpassing its predecessor in both countries.

The Games for May (See Emily Play), shortened to See Emily Play, was released as a promotional/lead single with London Boys in B-side. The song was a hit for the band, which was part of their setlist until the early 70's, coming back in the 90's. Flaming was released in the US with Pow R. Toc H. as B-side. Pow R. Toc H. was released as a single in the UK.

View attachment 365324
PROJECTION - THE PIPER AT THE GATES OF DAWN (1967)
Genre: Psychedelic rock, experimental rock, baroque pop
Total: 45:48
Produced by: Norman Smith
UK Album Charts: #6
US Billboard 200: #131

Side A - 24:32
1. "Astronomy Domine" (Syd Barrett) - 4:12
2. "I'd Rather Be With You" (Kevin Ayers) - 3:40
3. "Matilda's Mother" (Syd Barrett, Richard Wright) - 3:08
4. "Rubber Band" (David Jones) - 2:17
5. "Flaming" (Barrett) - 2:46
6. "That's How Much I Need You Now" (Robert Wyatt) - 2:29
7. "Lucifer Sam" (Barrett) - 3:07
8. "The Games for May (See Emily Play)" (Barrett, Jones) - 2:53

Side B - 21:16
9. "She's Got Medals" (Jones) - 2:23
10. "The Gnome" (Barrett) - 2:13
11. "She's Gone" (Ayers) - 2:11
12. "Chapter 24" (Barrett) - 3:42
13. "The Scarecrow" (Barrett) - 2:11
14. "Join the Gang" (Jones) - 2:17
15. "Bike" (Barrett) - 1:46
16. "Remember a Day" (Wright) - 4:33

​

Personnel
Projection
Syd Barrett - lead vocals [1, 3, 5, 7, 8, 10, 12, 13, 15], lead guitar, backing vocals
David Jones - lead vocals [4, 8, 9, 14], backing vocals, acoustic guitar
Richard Wright - lead vocals [3, 16], Farfisa Combo Compact organ, piano, celesta, backing vocals
Kevin Ayers - lead vocals [2, 11], bass guitar, backing vocals
Robert Wyatt - lead vocals [6], drums, percussion, backing vocals

Production
Syd Barrett - rear cover design
Peter Bown - engineering
Peter Jenner - intro vocalisations on Astronomy Domine
Colin Prime - front cover photography
Norman Smith - production, vocal and instrumental arrangements

I like how Rog is just there

 

[flippikat]

I like how Rog is just there

It's not odd to find some albums from the 1960s with band photos that don't quite match the lineup that recorded them.

OTL's Saucerful of Secrets cover had a small band photo of the Syd Barrett lineup, despite him only playing on about a quarter of the album.. and the Notorious Byrd Brothers album (The Byrds) has no David Crosby on the cover, despite him contributing a lot to those sessions before he was fired. Band politics, eh?

 

[Massacote]

I like how Rog is just there

Oh, incredibly I just didn't noted him there haha
Well, fixed!

 

[Massacote]

1967/68: The Jimi Hendrix Experience Tour, Roger Waters and David Gilmour

Schedule with the dates of the tour.
​

After the release of The Piper, Projection started to tour in Europe, mainly in France, Netherlands, Belgium, West Germany, Denmark, and Sweden. In November, the band was invited by Jimi Hendrix to tour with Jimi Hendrix Experience, The Move, and other bands/artists in UK. Supported by Nick Mason, the band decided to join the union of artists and tour with them. In mid-1968, the band would start to record another album intermediated by tours.


1968
Roger & The Yardbirds

The Yardbirds in 1967. (L-R Chris Dreja, Jimmy Page, Jim McCarty and Keith Ralf)
​

In so many ways, Nick Mason was trying to not dissolve the band. Since he was indicated by EMI, the band has released Little Games, his first full-length album as a record producer. "Nick was such a kind of a cool person who was trying to bring peace to the studio.", Keith Ralf. "We were understanding his message, but in the same time, we were almost breaking up.". In a quick move, Nick invited and introduced Roger Waters to the group. "I needed someone to coordinate the direction of the group, tough and an aspiring leader. Then, Roger popped up in my head.", tells Mason. "I was doing nothing at the moment, and I wanted to record those songs. Then, Nick called me to join Yardbirds, that was an opportunity to record those songs, so, I've agreed.", Roger Waters. The group had a lot of songs to record, demoed and/or unreleased, made during the Little Games sessions. Roger brought two more songs, Corporal Clegg, and Set the Controls for the Heart of the Sun.

With Roger picking up the bass guitar, Chris Dreja moved back to the rhythm guitar, as Jimmy Page stood with the guitar too. The Yardbirds started to work in February 1968 at the same studios as their previous album, Olympic and De Lane Lea, although, initially divided in two groups, since the tensions were high. "The thing is that Jimmy wanted an heavy-influenced sound, while McCarty and Chris wanted something more, softer, folk, and classical. [...] So Chris, Keith and Jim [McCarty] were recording at De Lane Lea, while Jimmy, Roger and I were working at the Olympic Studios. I remember that John Paul Jones was helping us too.", Nick Mason. Like Projection, the sessions were intermediated by eventual tours.

While Dreja, Ralf and McCarty almost finished their songs, Page and Waters just made the backing tracks of their songs, with the exception of Corporal Clegg, which was recorded by the entire group together in four takes, as De Lane Lea Lee and Think About It. Jimmy Page added guitar on L.S.D. "Work with Roger was a bit hard, because he wanted to change everything. He could had stabilized the situation of the band a bit, extending the eventual death of the band with Dazed and Confused, but just made everybody after the release of the album dissolve the band.", remembers Jimmy Page.

Mixing the album

In April, the band finally finished the sessions of the album, specifically, Roger Waters, Chris Dreja, Jim McCarty, and Nick Mason. "We wanted to finish that as quick as possible!", Chris Dreja. "Then, we left everything with Nick.", concluding. "[...] Rog and I had a small fight because he entered at the studio and basically gave me suggestions that the band just didn't wanted. So we've stopped to talk with each other during the rest of the year.", Nick Mason.

David Gilmour and the Sour Milk Sea

(L-R) Jackie Lomax and George Harrison.
​

"If it wasn't Roger, Eric [Clapton] or George [Harrison], I don't know where I would be.", says David Gilmour. In mid-1968, very after disband of his old band, he was desperately seeking for job as session musician, or even join a band. During this time, David Gilmour was sustained by Roger Waters. He was also presenting in small clubs and pubs in London, earning his cash, and sharing a flat with Roger Waters. With Nick Mason, he was indicated to EMI to hire him into something. Attended by Malcolm Jones, which offered him to other people, his destiny fell onto George Harrison's hands. Harrison was about to start his producer career, recording Jackie Lomax's version of his song, Sour Milk Sea. Gilmour rehearsed with Harrison's approval, and slipped into the sessions.

Besides meeting George Harrison, Gilmour met Paul McCartney and Eric Clapton which were present during the sessions, too. "I was kinda surprised that weren't just normal session musicians as me, but were Paul McCartney and Eric Clapton... [...] George was someone that's very nice to talk, sometimes joking and not, and Paul and Eric were so charismatic... Jackie [Lomax] was chill to talk, too.". Besides do the guitar solo, Gilmour offered to do the backing vocals to the single, accepted by everyone. "One time at the studio, Eric [Clapton] called me. He was near the mixing table and told me a group, called The Bee Gees, were needing a session musician to an ambitious project.". Cream, the band which Clapton was involved, and Bee Gees were associated with RSO.

In July 1968, without Roger Waters, The Yardbirds finished their Scandinavian tour. With Keith Ralf and Jim McCarty authorization, Jimmy Page and Chris Dreja started to seek for people to join their line-up. Waters was considered but after the sessions, he was discarded. With Robert Plant and John Bonham, the now-called The New Yardbirds, Dreja eventually departed from the band with the project of being photographer. The session musician John Paul Jones took the place, and the group started to record their debut album. Gilmour, which was also indicated by Waters and Mason, gave a try to have the rhythm guitar role, but he wasn't approved. "I don't had any bad thoughts about it, during this time I also became friends with Plant and Page, *laughs*". After a cease and desist letter of Dreja, the band changed the name for Led Zeppelin. Until November, their album was being produced by Nick Mason, until the band had signed with Atlantic Records.

 

[Massacote]

DAZED AND CONFUSED

Dazed and Confused is the fifth american album and final studio album before the hiatus by the English rock band The Yardbirds. The album was recorded over a period of turbulence in three months at the Olympic and De Lane Lea studios. It is the second album produced by Nick Mason and the only with the bassist Roger Waters. The album was released by Epic Records in 14 May 1968 in the US.

The album extends between the experimental tracks/improvisations of the band in the early year, the psychedelic folk of Keith Ralf and Jim McCarty, which contrasts with the bluesy-influenced tracks of Jimmy Page and Roger Waters. In early 1968, Nick Mason had the idea of reorganize the group, by putting back Chris Dreja on rhythm guitar and making Roger Waters join the group. Accepted in an act of despair, Waters brought his two songs, Corporal Clegg, and Set the Controls for the Heart of the Sun, the latter based on a writing of I Ching, the experimentation in the album became more diverse, while Corporal Clegg was developed by Waters and Page.

Dazed and Confused peaked at #74 in Billboard 200, slightly better than their previous album. Good Night Josephine was released as a single, with a live version of Dazed and Confused in B-side, but Set the Controls had the highlights of the album, eventually re-recorded to Roger Waters's first solo album, Ummagumma, but remaining unreleased. The album is allegedly claimed by the members as 'naturally disorganized'.

YARDBIRDS - DAZED AND CONFUSED (1968)
Genre: Rock, experimental rock, hard rock
Total: 43:32
Produced by: Nick Mason
Billboard 200: #74

Side A - 22:14
1. "Henry's Coming Home" (Keith Ralf/Jim McCarty) - 2:48
2. "Set the Controls for the Heart of the Sun" (Roger Waters) - 5:28
3. "Black Mountain Side" (Jimmy Page) - 2:06
4. "Love Mum and Dad" (Ralf/McCarty) - 3:48
5. "De Lane Lea Lee" (Chris Dreja, McCarty, Page) - 2:33
6. "Goodnight Sweet Josephine" (Tony Hazzard) - 2:43
7. "Never Mind" (Dreja, McCarty, Page) - 2:48

Side B - 21:18
8. "Dazed and Confused" (Page) - 6:27
9. "Corporal Clegg" (Waters, Page, Nick Mason) - 4:09
10. "Think About It" (Dreja, Ralf, McCarty, Page, Waters) - 3:48
11. "L.S.D." (Dreja, McCarty, Page, Relf) - 1:00
12. "Shining Where The Sun Has Been" (Ralf/McCarty) - 2:52
13. "Together Now" (Ralf/McCarty) - 3:02
​

Personnel
Yardbirds
Keith Ralf - lead vocals, except [2]; percussion
Jimmy Page - lead guitar
Chris Dreja - rhythm guitar, backing vocals
Roger Waters - lead vocals [2, 9], bass guitar, guitar on [2]
Jim McCarty - backing vocals, drums, percussion

Additional personnel
Clem Cattini - drums on [6]
Nicky Hopkins - keyboards on [6, 11]
John Paul Jones - bass guitar on [2, 3, 6]
Viram Jasani - tabla on [3]
Nick Mason - producer

 

[flippikat]

Good stuff. The Yardbirds get that 1968 album that eluded them in OTL.. Roger certainly had the hard-edge to steer them away from pop and into hard rock!

I'm a bit unsure of Dazed and Confused as a side-opener though, might work better closing out side 2?

 

[Massacote]

I'm a bit unsure of Dazed and Confused as a side-opener though, might work better closing out side 2?

I put Dazed and Confused as a side-opener because of the bass intro... I think it works good, with Corporal Clegg following it...

 

[Loulou]

I'm excited for whatever Band Roger Waters David Gilmour forms

 

[flippikat]

I put Dazed and Confused as a side-opener because of the bass intro... I think it works good, with Corporal Clegg following it...

Any plans for OTL's 1968 Yardbirds outtake 'Avron Knows'? Or is that getting into spoilers.....

 

[Massacote]

Any plans for OTL's 1968 Yardbirds outtake 'Avron Knows'? Or is that getting into spoilers.....

Relf, McCarty and Page could reach an agreement and the song fill Led Zeppelin I, since Dazed and Confused/Black Mountain Side appeared in Yardbirds' album...

 

[flippikat]

Relf, McCarty and Page could reach an agreement and the song fill Led Zeppelin I, since Dazed and Confused/Black Mountain Side appeared in Yardbirds' album...

Sounds good to me. It always struck me as a pre-punk gem that could've used some fleshing-out. If they need the album space filled on Led Zep I, that fits the bill.

If 'Dazed and Confused' is released as a Yardbirds tune in 1968, I'm guessing Led Zep may only play it live on their first few tours (in OTL I think they played 'For your love' on their first tour - for lack of their own tunes) - that's a huge butterfly there!

Oh, and I like Roger Water's control-freak tendencies being the cause of the Yardbirds breakup.. it might not be the last time that happens..hehehe. still, that album was a step in the right direction after 'Little Games'!