Syd was an incredible performer,’ says Peter Brown, who saw Pink Floyd play several times during this period. ‘Miles had invited me down to Powis Square. “You’ve gotta hear this band.” I didn’t think that much of them actually, but I liked Syd. And then because I was kind of persona grata at UFO I used to go down there a lot – partly chasing girls, but partly because it was a kind of a loose community at the time, and we all had certain aims in common. Syd was incredibly charismatic, and within his limitations he could do things on guitar that were very, very interesting. Some of them were textural things and others were definitely kind of linear improvisational type things. I mean, when he was on, when he was happening, he was really happening, y’know?’
‘I have to admit that he never struck me as special as everyone now thinks he was,’ says Barry Miles. ‘But to me he was the most sympathetic one out of the Pink Floyd. He was the one that was most in tune with what was going on at the UFO club and avant-garde music in general. He was very interested in electronic music, like Luciano Berio, who was very important at that time with his recordings of speeded-up and slowed-down collages of tape. Syd was very interested in this sort of thing, which is why he was so interested in AMM. And he certainly knew a lot about art. He was fascinated by the subject. He genuinely cared about what was going on in America. He would talk about De Kooning and Rothko and all the stuff that was being shown at the Whitechapel Gallery. I was never a close friend of Syd’s, but the few conversations we had were usually on that kind of level, because we had the same art school background and the same influences.’
Syd’s fascination with the Dutch abstract expressionist Willem De Kooning reveals another line of contact. Chaim Soutine’s ‘thick squidgy excited paint’, as Robert Hughes put it, had a big influence on De Kooning, the originator of what became known as action painting, and influenced Syd further on down the line. Indeed Robert Hughes’ description of De Kooning as ‘a creature of Protean vitality who subsumes the history of art in his own person, becomes a touchstone of the culture, and so transcends all questions of originality’ echoes Andrew Rawlinson’s early assessment of Syd, and like so many comments on his influences might just as easily have been applied to Syd himself.
Co-manager Andrew King agrees that, for all his apparent spontaneity and improvisation, it was clear that Syd had thought things through conceptually. ‘Someone once said to Picasso, “I could do that in five minutes”, and Picasso replied, “Well, it took me seventy years and five minutes.” Syd’s guitar explorations were like that. They didn’t come out of nowhere.’
‘I think that’s a quote from Whistler, actually,’ says Anthony Stern. ‘I think Whistler was sued by somebody for fraud, because he’d painted in a very abstract kind of way. And someone said, “You could do that in twenty minutes.” And he replied in the same spirit, “I’ve been doing this for a lifetime. So, it’s twenty minutes plus a lifetime.” But yes, Syd definitely did put in the hours and he put in the persistence.’
Andrew Rawlinson also draws a comparison with the modus operandi of the twentieth century’s greatest artist. ‘Just as Picasso is said to have said, “I don’t seek, I find”, I think it’s true of Syd. And I think Syd is quite Picasso-like. I mean in his method of working. I’m not comparing him with Picasso, but we all know Picasso would try anything. And whatever you want to say about him as a self-promoter and making himself out to be the genius artist, which is probably all true, it’s clearly the case that he thought, “Oh, I think I’ll have a go at that. Why not?” And he did it all his life. Syd was the same. It’s just that Syd’s creative life didn’t last very long.’
In January 1967 a German film crew from Bavarian Rundfunk came to London and made a one-hour documentary entitled Die Jungen Nachtwandler (The Young Nightcrawler) directed by Edmund Wolf, who also provided the commentary. Much of the footage was shot at UFO. As with Peter Whitehead’s film, it captures the raw innovation of Pink Floyd’s music in their early days. Wolf ’s footage allows us to hear approximately four and a half minutes of an astounding live version of ‘Interstellar Overdrive’, which is immeasurably more free-form and abstract than the version that would eventually appear on the Floyd’s debut album.
Of course, as with any truly exploratory music, the Floyd’s sonic journeys could be notoriously variable in quality. By its very definition, genuine experimentation does not always have a tangible outcome. Even Coltrane had his off nights, flailing away in the outer reaches of the cosmos, and there were certainly nights at UFO when the individual components weren’t gelling and when chemically induced voyaging among audience and performers alike gave way to uninspired noodling and musical cul-de-sacs.
‘There was very little finesse in the early days,’ concedes Barry Miles. ‘Syd was never a brilliant guitar virtuoso. He was much better at exploring ideas. There were often, particularly at the UFO club where they’d play for hours, long periods where it would get really boring to be quite honest. I’m sure that sounds sacrilegious but you’d be thinking “Jesus, God, please” as Syd went up and down the keys with his bloody lighter or marbles or steel ball bearings. And Roger was barely competent on bass. Nick would be the only person who would keep it going some nights. The leapers at the front were often dancing to him because the rest would be way off the beat.’
// Sound Affects
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