| Syd Barrett – Here I Go Lyrics | 8 years ago |
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I'd always assumed this song related to Barrett being ousted from Pink Floyd, but then read that the song had been written iirc in early 1967 and given to the Purple Gang (under the title 'Boon Tune'). Also, Jugband Blues was apparently written during this period or earlier. I think it's among the best Barrett songs and there's various ways it can be read. It's a cheery 'plenty more fish in the sea' story, you could take it literally about him writing songs, playing in Pink Floyd etc, but 'she didn't like my songs' could be read more broadly about a girl not being into a guy, and 'Here I go' can be about staying upbeat when you've been knocked back. Writing a catchy song could also be about having the right kind of schtick to win over the girl. You can wake up in the morning and remember it. Also about finding a girl who likes you, rather than the crowd you're in. 'Even allow me to hold her hand' is like a more polite, reserved take on 'I wanna hold your hand' which you might expect from someone who'd grown up in leafy Cambridge. And then, what could '"But come inside, boy, and play, play, play me a song!" be about ?! Also 'You're the kind of girl that fits in with my world' springs to mind with 'Now you see my world is...' |
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| Pink Floyd – Bring the Boys Back Home Lyrics | 10 years ago |
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The end section of a stage manager repeating 'Time to go!' seems to stem from a specific incident at one of the last Floyd shows with Barrett, 'Christmas on Earth' in late 1967. As retold by June Bolan (nee Child) who worked in the band's management office and dated Barrett for a time... http://60s-70s-little-queenies.blogspot.co.uk/2014_08_01_archive.html |
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| Syd Barrett – No Good Trying Lyrics | 15 years ago |
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"There is no use trying, said Alice; one can’t believe impossible things. I dare say you haven’t had much practice, said the Queen. When I was your age, I always did it for half an hour a day. Why, sometimes I’ve believed as many as six impossible things before breakfast." I stumbled upon this quote on this you tube page : http://www.youtube.com/watch?v=gQ_tpmGvths Has this been documented elsewhere? It seems like this song title is obviously a Lewis Carroll lift... maybe the most pilfered children's book in the psych era. It's no good trying to place your hand where I can't see because I understand that you're different from me yes I can tell that you can't be what you pretend and you're rocking me backwards and you're rocking towards the red and yellow mane of a stallion horse. It's no good trying to hold your love where I can't see because I understand that you're different from me yes I can tell that you can't be what you pretend the caterpillar hood won't cover the head of you know you should be home in bed. It's no good holding your sequin fan where I can't see because I understand that you're different from me yes I can tell that you can't be what you pretend yes you're spinning around and around in a car with electric lights flashing very fast... 'It's no good trying to place your hand, where I can't see because I understand that you're different from me' recalls a gentler version of Dylan's 'something is happening that you don't understand' (Ballad of a Thin Man)... at least my first impression of this song was that it is directed at observers of the scene/ himself. Theres a jokey play on words with 'rocking'... watching the youtube above got me thinking this could be a lighthearted put down of Mick Rock, given Barrett's tendency to throw in cryptic references to his friends/ girlfriends. Probably not though. Maybe not even a reference to the 'rock' world. There's all the fun of the fair as Barrett and companion are 'rocking backwards and rocking towards me' on 'the red and yellow mane of a stallion [fairground] horse.' Rhythmically this is kind of a companion to Octopus/ Clowns and Jugglers and draws from the same fairground imagery: http://www.nfa.dept.shef.ac.uk/history/rides/caterp.html I remember going on one of these at Cambridge Midsummer Fair back in the early 80s... you are already 'spinning around in a car with electric lights flashing very fast' when suddenly the caterpillar hood mechanically covers over each car and you're plunged into darkness whilst bumping up and down at speed... an exhilerating experience, matched here by the choppy drum rolls, carnivalesque bleepy organ and wailing lead guitar. I think the song as a whole alludes to the fairground nature of the music business/ psychedelic scene... Barrett has had too many late night's larging it, 'you know you should be home in bed', but there's no 'caterpillar hood' to protect him, he is instead standing completely exposed on stage through all this. You could go further into the significance of fairgrounds and carnivals in English culture, their demonisation as a manifestation of 'pure hedonism'. Anyway, my recollections are that even in the 80s, the Midsummer fair was a big deal in the semi-rural flatlands of Cambridge, as this other world of travelling people, bright lights and scary rides sprawled accross Midsummer Common (a conglomeration of several travelling fairs together) Not sure about 'sequined fan', any ideas? Like the 'you shouldn't try to be what you can't be' line in 'Waving my hands...' I'm not sure if the 'you' is pointed at anyone particular or is more inward looking. This was reportedly a very difficult track to record, with Syd significantly changing performance, length of bars etc between takes. As has been discussed elsewhere, this seems to have fazed Barrett's old bandmates (who on his departure settled into a plodding 4/4, with the odd exception such as 'Money' aside) more than the Soft Machine crew. His 'play what you like' approach might have been unusual, but in the context that his musical route seems to have come not through classical training but blues/ beat/ rnb morphing into an interest in free jazz does not seem unreasonable... perhaps also because he somewhat unwittingly found himself in the role of 'band leader' Is that Rick Wright on the organ? It seems reminiscent of the Tonite Lets Make Love take of Interstellar Overdrive/ Nick's Boogie... I think those two had a good musical chemistry. |
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| Syd Barrett – Waving My Arms In The Air / I Never Lied To You Lyrics | 15 years ago |
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I would suggest that these words illustrate a young man reflecting on his his own bipolar experience, the cycle of highs and lows triggered by relationships and his musical and artistic career. Barrett spoke at the time in an interview of a recent relationship that had ended and how it nearly caused him a breakdown. Not sure, chronologically speaking, if this would likely refer to his break-up with Lindsay Korner or someone else. Anyway, he is 'waving my hands in the air', jumping for joy at getting it together with whichever girl, trying to keep his feet on the ground ('pressing my feet to the ground'). This also perhaps refers to Barrett's well-documented habit of bouncing on his feet, which some see as evidence of an aspergers tendency. But things aren't all rosy, he needs help, but she is just 'laying back in a chair', unwilling to work at the relationship ('half and half'). But hey it can all be sorted again by holding hands and 'smile and we'll understand'. Not clear whether it is Syd or the girl who 'could see everywhere' … I like how this rolls over to the next line 'no-one in the land'... when you are really absorbed in a relationship and oblivious to everyone else. There's stormy weather to come, hey its 'raining cats and dogs' The song reaches a rousing chorus of 'you shouldn't try to be what you can't be' which could clearly be read as a Barrett reaching a philosophical conclusion of how his short-lived spell in the pop world was not for him, if not a pointed statement aimed at his ex. The kind of line a more perceptive rock journalist might have asked about at the time. I find it significant that the album is entitled Barrett, suggesting both a tiring of the 'Syd' moniker as well as putting to rest the sensational 'Madcap' image. I assume he was happier to put his own painting as a front cover than the posed images of the previous two records (see recent Mojo 'Iggy the Eskimo' interview) The tempo slows for the transition into 'I never lied...' 'Shoulders pressing in the hall' makes me picture the crowded scene at the Earls Court flat... so many young scenesters around, Syd doesn't even know if she is there. There's a kind of desperation to 'all and more will be for you. Everything I knew I tried with you.' I think part of the appeal with Barrett's best work is it feels intimate because there are elements that are very specific and personal, there is a vivid use of detail of ordinary life, as well as more universal reflections. Most people have been through failed young love... when all else fails you tell that other person how devoted you are to them, but it doesn't work, its controlling, its all over... Or maybe Barrett just wanted to inject this kind of melodrama into the song for effect and we shouldn't take it all too literally. This song reflects the injustice felt at the breakdown of this relationship, above all that the writer is well aware of his own shortfalls but has been honest about who he is. This is presented in starker terms in Baby Lemonade, 'I'm screaming, I met you this way' I love the next 'cliffhanger' line, 'it feels just like you're gone for just one day... for so long'. The kind of lingering pain which you expect to reside, but every day feels as bad as the one before. The pathos of 'its been so hard to bear with you not there' is skilfully emphasised with a trademark rising chromatic chord progression. The song draws to its conclusion with Barrett 'resigned to his fate', whatever has happened he can only sit and wonder if its 'what's meant to be'. The lyrical and musical twists and turns of the sequence are brought to an almost comic faux-grandiose ending with Richard Wright's leaping octave chords emphasising the return to 'A'. |
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| Pink Floyd – High Hopes Lyrics | 15 years ago |
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I agree that this song and the video directly references Gilmour's childhood, locations in Cambridge and the absence of Syd. It is more generally a middle-aged rumination on life... I think it carries on from the kind of themes in Momentary Lapse of Reason...particularly 'a life consumed by slow decay' I think this is one difference between Waters and Gilmour's outlook - both writers lyrics often about universal themes, life and death, interpersonal relationships, but Waters is more direct about politics, how we might fix the world, whereas Gilmour is more 'quiet resignation'. There is a hilarious clip of the late Floyd sans Roger at an awards ceremony, with Waters bickering over satellite link over Gilmour describing the band as 'passengers' The song works on a universal level, but also more specifically about how relationships can deteriorate as life goes on. It alludes to how in childhood you are often flung together with lots of people, who are bound together by a shared sense of adventure and wonder, but as life goes on the 'Division Bell' rings and the differences between people can drag them apart, with a wedge driven by ambition. It's a very different lyric to the Wall's 'United we stand divided we fall'; I think Waters' work seems always driven by a need to have a rallying cry, which stems from his background of activism pre-Floyd. |
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| Belle & Sebastian – The Loneliness of a Middle Distance Runner Lyrics | 15 years ago |
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Having slept on this I think I kind of missed the point in the post above. The song really relates a lot more closely to the book/ film Loneliness of the Long Distance Runner, with Stuart/ the band in the role of the protaginist - the non-conformist who is content to suffer for the sake of his own freedom, and finds exhileration in cross country running, but will only do it on his own terms. The railway ticket states the destination But it doesn't mean that we will show The band have jumped on the indie rock train, but it doesn't mean they will follow the conventional route. The future's looking colourful In comparison to the grainy black and white of British New Wave cinema A happy soul will ride in the fields The joy of cross country running Dreaming of the time when we're on stage This conjures up ABBAs Glasgow referencing anthem Super Trouper, which also examines the onstage offstage machinations of band life. Have you seen the loneliness of a middle distance runner As he stops the race and looks around? I like the stage I've seen it now Spoiler alert, but you have to watch the film/ read the book to get this. The band are happy to be in the race, but on their own terms... Its a stretch but I still think the closing line might be a Dylan ref... considering the bands media stance 'like Dylan in the Movies'... Don't Look Back also being an excellent film and ahead of its time, in its observation of the media... |
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| Belle & Sebastian – The Loneliness of a Middle Distance Runner Lyrics | 15 years ago |
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This song is a real grower... I like the imagery of rainy fields and railway stations, which places the listener into the landscape of kitchen sink drama (the genre which spawned 'The Loneliness of a Long Distance Runner') When this came out, I always associated the verse about a 'sulky afternoon spent in dispute' with the vitriolic cover article in the NME by the late 'angry young man' Steven Wells, which sort of marked the end of B+S period of not engaging with the media. A strange article where B+S were attacked for somehow betraying 'rock n roll' I somehow doubt there is any connection, could just as well allude to Stuart Murdoch or anyone else's wasted afternoon debating things in their own head. I would also read this as a reflection on the daily life of a musician... spending so much time in solitude, preparing for those short times when you're 'on stage'. Also the juncture that B+S had reached, following an apparantley tumultous period, 'it doesn't mean that we will show'; the song seems to reflect the adventure of being a successful band, the uncertainty of its future, and its engagement with the commercial world, 'businessman's conspiracy to sell you wares' Less obvious now, but at the time B+S seemed to embrace a DIY ethic and shun the business side of music business. I thought the line was 'I left the stage, I've seen it now'. Also, always thought the closing line was 'Won't you follow me down?' as in the Dylan song. It seems obvious but I will add that this song is surely also inspired by Stuart's love of cross country running. |
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| Belle & Sebastian – The Loneliness of a Middle Distance Runner Lyrics | 15 years ago |
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This song is a real grower... I like the imagery of rainy fields and railway stations, which places the listener into the landscape of kitchen sink drama (the genre which spawned 'The Loneliness of a Long Distance Runner') When this came out, I always associated the verse about a 'sulky afternoon spent in dispute' with the vitriolic cover article in the NME by the late 'angry young man' Steven Wells, which sort of marked the end of B+S period of not engaging with the media. A strange article where B+S were attacked for somehow betraying 'rock n roll' I somehow doubt there is any connection, could just as well allude to Stuart Murdoch or anyone else's wasted afternoon debating things in their own head. I would also read this as a reflection on the daily life of a musician... spending so much time in solitude, preparing for those short times when you're 'on stage'. Also the juncture that B+S had reached, following an apparantley tumultous period, 'it doesn't mean that we will show'; the song seems to reflect the adventure of being a successful band, the uncertainty of its future, and its engagement with the commercial world, 'businessman's conspiracy to sell you wares' Less obvious now, but at the time B+S seemed to embrace a DIY ethic and shun the business side of music business. I thought the line was 'I left the stage, I've seen it now'. Also, always thought the closing line was 'Won't you follow me down?' as in the Dylan song. It seems obvious but I will add that this song is surely also inspired by Stuart's love of cross country running. |
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| Belle & Sebastian – Take Your Carriage Clock and Shove It Lyrics | 15 years ago |
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Isobel Campbell certainly seems to think that this song was written about her. Interesting that it is followed by 'I'm waking up to us' on the Barman compilation album, which is even harsher. Her 'Monologue for an old true love' on her solo record, Amorino, could be taken as a response. Funny that B+S recently described their inter-band relations as 'Fleetwood Mac without the drugs' |
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