It was May 16, 1967, in Bournemouth, England, and a young man named Robert Fripp was celebrating his 21st birthday with his family. More importantly, he had made a significant decision that day—to announce a change of heart. Although he was on path to pursue a career in estate management, his heart was in playing the guitar. While no reaction has been documented, it’s possible that Arthur, Robert’s father, was devastated upon hearing the news, especially since Robert was supposed to follow in his footsteps. Yet Robert stood his ground.

One day, while reading “Melody Maker,” Robert stumbled upon an ad for a “progressive intelligent” musician. Subsequently, Robert answered the calling, and on the other end were the Giles brothers, Michael (who was a drummer), and Peter (a bassist). The duo had been in various groups by that point, and although they had recorded various songs, they had yet to achieve creative fulfillment. After auditioning and proving his worth, the three agreed to move out to London, and share a flat, where they would live together while rehearsing, and occasionally recording material.

Meanwhile, a young man named Ian McDonald had just returned to London after serving in the British army, as a musician for the past five years. His homecoming was thanks to his father “bailing” him out. One day, Ian met Peter Sinfield, a mediocre musician, yet also an exceptionally gifted lyricist. Ian recognized this talent in Sinfield, and subsequently asked him if he would be interested in collaborating to compose material. The two agreed, cementing an important relationship. Ian would also begin dating Judy Dyble, who at the time had just been in the group Fairport Convention.

By 1968, the highly eccentric musical trio, by this point known as “Giles, Giles and Fripp,” managed to secure a recording deal with Decca. In spite of their unusual image, they still managed to convince the record label of their worth due to their style and musicianship. By September 1968, their “Cheerful Insanity” album was released, but it turned out to be a commercial flop. The new group, still hanging onto their deal with Decca, while also seeking more collaborators, decided to place an ad in the paper. The unofficial trio comprising Ian, Peter Sinfield and Ian’s then girlfriend Judy replied to the ad. The new conglomerate went on to write and unofficially record new material together, but before long Judy decided to part with the newfound company. However, Ian’s multi-talented nature remained an asset to Giles, Giles & Fripp, as did Peter Sinfield’s lyrics, so the two stayed on.

One night, in late 1968, Robert and Michael held a conversation in the small hours in their flat, to discuss the direction of a potential new band. The proposed style for this new group would be akin to John McLaughlin combined with Jethro Tull (although the end result proved to be more unique than either of these two artists). Michael proposed utilizing a double bass drum kit, and it was remembered that Ian had already taken a keen interest in the Mellotron. But perhaps the most important addition would be that of a strong lead vocalist and bassist. Although Peter Giles had already been serving in that capacity, Robert, prompted by this new musical direction, suggested a possible replacement—his old friend, Greg Lake.

After ringing up Greg, Robert mentioned that while a record deal with Decca was in place, the new group did not need two guitarists, so he asked Greg if he could serve as bassist. Upon agreeing to join the band, Greg was scheduled to move to London by December 1968, and into a new living space.

Ian's uncle, Angus Hunking, financed the new band's expansion through a loan, with which it became possible to acquire new instruments, including a PA system. The band had also found interested management in the form of David Enthoven and John Gaydon, who would later be known collectively as EG. And with the band's rehearsal space manifesting in the basement of Fulham Palace Cafe (discovered by Peter Sinfield), January 13, 1969 was later agreed upon as their first official rehearsal date.

While January 13 is fondly remembered as the birthday of King Crimson, as they later came to be known (thanks to Peter Sinfield), it wasn't peaches and cream from the start. One of the most significant problems the band faced was Greg not meeting their standard, musically. Greg did not have the same jazz inclination that the other three musicians did, but what he lacked in musical ability, he made up for with his powerful voice and style. There was even a time when the band thought they might need to replace Greg for a more skilled player, but with time he caught up with the others.

Following this dilemma, the band secured their first residency at the Change Is club in Newcastle, in February of 1969. The experience gave the band an idea of how to reform their performances, and make them more distinct. Although they had good intentions, more work still needed to be done. Back in the cafe basement, the band's efforts attracted a small audience, with people spreading the word about a mysterious group playing incredible music. Subsequently, the band began promoting their work visually. Barry Godber, a friend of Peter's who was a computer programmer turned artist, designed a "flaming eye" poster that was used to announce the band's name while suggesting intrigue. As rehearsals continued, the band attracted Moody Blues producer Tony Clarke, who saw potential in Crimson and encouraged them to consider him for producing their first album.

By April 9, 1969, a gig at the Speakeasy club in London proved to be a smashing success. It had been a little less than three months since their first rehearsal, and the band had finally found their voice. More significantly, members from Yes and various big names in the music industry were in attendance. Their first number was "21st Century Schizoid Man," and the impact of the band's new sound proved to be so powerful, that nearly everyone in the club stopped and stared in amazement. Peter's light show proved especially complimentary, with various colors and effects used to accentuate the nuances of the music. Even Peter Banks of Yes was so moved that, despite having ordered a drink that night, never touched it.

May 16, 1969 saw the start of a lengthy residency at the Marquee club in London, where the band became a hit. Meanwhile, recording sessions with Tony Clarke were underway at Morgan Studios, but proved to be challenging for the band, as Clarke was more keen on moving away from the improvisation element of Crimson's music, among other things.

During a gig at the Revolution club, the band was witnessed by none other than Jimi Hendrix, who was observed to be jumping up and down while proclaiming that Crimson was "the best band in the world." After the gig, he approached Robert and told him, "Shake my left hand, man. It's closer to my heart."

One day changed Ian's love life forever. When boarding from London’s public transit system at Richmond Station, he encountered Charlotte Bates, who was with her kitten and a friend. Although feeling a strong attraction, Ian did not pluck up the courage to approach her on the spot, yet the subsequent memories of her haunted him. Eventually, he decided to place an ad in the underground “International Times” paper; while a seeming long shot, Charlotte later heard of the ad through her friend, and after ringing up Ian, the two hit it off. 

The band's breakthrough performance took place on July 5, 1969, with an appearance at a concert in Hyde Park (organized around the Rolling Stones). With hundreds of thousands in attendance, this event was essentially England's Woodstock (preceding the American counterpart by only a month). Following the conclusion of a condensed set, the band received a standing ovation, and their gig scheduled for the following night at the Marquee club was jam-packed with new fans. Before long, it became evident that their success was spreading like wild fire.

Back in the studio, the band were growing increasingly critical of Tony Clarke's input to mold the band's image and style to his liking. After some discussion, the band reached the consensus that it would be better to make their own mistakes than someone else's. Ending the relationship with Clarke, they decided to produce their first album, and move from Morgan to Wessex Studios. They also signed with Island Records, which employed a novel "tape lease" deal, which meant the band would pay to record the album, then license it to Island while retaining the underlying rights.

One day, after recording "Schizoid Man," and in just one take, Barry Godber, previously known for designing the flaming eye image, walked in with what would serve as the images for their first album. The first was a painting of an agitated face, and the second of a smiling one.

After production for the album concluded, Crimson’s debut album, “In The Court Of The Crimson King,” was released in the UK in October 10, 1969. The next step was to take the album to an American record label, and EG set their eyes on the American label Atlantic Records. Following a visit to Ahmet Ertegun, then president of Atlantic, a playback of the new album caught his attention, and landed EG a deal on the spot. 

Signing with Atlantic paved with way for an American tour, which was set to commence on October 27, 1969. However, this transition introduced some of the band's most difficult challenges. The band had established a no-girlfriend policy, which meant Charlotte couldn't tag along. Furthermore, being away from home and familiar surroundings meant the band would not have the same freedom. Michael Giles once described the experience as being like a caged animal, only to be released when the time was right to entertain spectators, then retreat back in their cages upon the show's end. In reality, it was not cages, but rather hotels which constituted the form of their confinement.

Their first American gig was at Goddard College in Vermont, on October 29, 1969. Due to a billing mistake, it had been advertised that soul musician King Curtis, and not King Crimson, was due to perform on the same day. The crowd reaction to the band's opening proved to be detrimental, as it was suspected that many were dropping acid for the occasion. But with the band's heavy sound, it can only be assumed that several people experienced a very bad trip.

During their stay in the US, Greg, Ian, and Peter dabbled with drugs, particularly marijuana. Although Robert and Michael never partook, Ian explored other territory with methamphetamines (also known as speed). While the three band members seemed to enjoy themselves, Robert, the band's spokesman and assumed leader, took advantage of the time away from the stage to continue practicing.

Meanwhile, Ian’s drug usage remained active during the American tour, perhaps as a coping mechanism for separation anxiety. After persuading EG, who were back in the UK, to allow Charlotte to fly to New York, Ian's wish was granted, and the two were reunited. However, she was only permitted to stay for a brief time before heading back home. Meanwhile, Michael, who was beginning to feel disillusioned with the pressures of touring, shared with Robert the idea of Crimson's status shifting to that of a studio band, much like The Beatles. But since Robert was not receptive to the idea, it did not stick.

It was during the band's scheduled appearances on the west coast that the dreaded news came to light. Driving through Big Sur in early December, while headed to the Fillmore West, Robert was in the passenger's seat. Ian and Michael were seated behind, and Ian proceed to tell Robert, plainly, that he and Michael were leaving the band. Robert was heartbroken by the news, so much so that he offered to leave, if it meant that they would stay. But Ian insisted that the band should continue with Robert. Meanwhile, Greg felt it would be more appropriate to form an entirely new band with Robert, in the wake of the split. However, Robert felt the band's name, and what it represented, was too important to abandon. Their final gig took place on December 14, 1969, at the Fillmore West. Within the span of a year, Crimson's rise and fall was truly meteoric, to say the least.

Research Sources:

• "Lucky Man" by Greg Lake (2017)

• "Epitaph" CD Set (1997) Liner Notes

• "Bill Bruford: The Autobiography" (2013)

• "In The Court Of King Crimson" by Sid Smith (2002/2019)

• Brian Murphy Band Interviews (1990s) (unavailable to the public)

• Michael Giles Interview (2012): youtube.com/watch?v=7knyXbN6f00

• John Gaydon Interview (2012): youtube.com/watch?v=EiICm-ebjVQ&t=129s

• Peter Banks Interview (2007): themarqueeclub.net/interview-peter-banks-yes

• "The Complete 1969 Recordings" Boxed Set (2020) Liner Notes And Supplements

• "Prog Rock Britannia" BBC Documentary (2002): youtube.com/watch?v=pB413O56tho

• Greg Lake Interview (1990s/2019): inthestudio.net/online-only-interviews/king-crimson-in-the-court-crimson-king-greg-lake/

Pink Floyd’s early years were characterized by a sense of experimentation and creative exploration. Drawing from a wide range of influences, including jazz, blues, and psychedelic rock, the band developed a sound that was uniquely their own. With Syd Barrett’s unconventional guitar playing and whimsical songwriting style at the forefront, Pink Floyd quickly gained a reputation as one of the most exciting and boundary-pushing bands of their time.

Pink Floyd represented two sets of friends: Roger Waters and Syd Barrett, and later, Roger, Rick Wright, and Nick Mason. So in that sense, Roger was the common denominator between the two groups. Roger, Rick, and Nick would meet during their first year of university at Regent Street Polytechnic in September 1962, where they enrolled as architecture majors, whereas Roger and Syd were acquainted as childhood friends during their upbringing in Cambridge. When Syd came to London, as a student at the Camberwell School Of Art in the summer of 1964, a band began to take shape.

Chris Dennis was the original singer of the group, but when the Royal Air Force recruited Chris in early 1965, things began to change. Subsequently, by the summer of that year, guitarist Bob Klose would also leave, at the behest of his parents, to focus on his studies. Roger Waters suspects that Bob’s departure may have been a sort of catalyst for the Floyd’s later psychedelic sound, as he would elaborate: “We hadn’t anyone who had any blues knowledge… [so] we started making strange noises.” Syd effectively became the group’s main guitarist and leader following the line-up shift, and although he was not the most technically proficient guitarist on the music scene, he possessed an originality that made him attractive in many respects.

Meanwhile, a “free jazz” group by the name of AMM would record under the newly established DNA label, which Peter Jenner co-founded. Jenner was someone with an interest in music, although his day job saw him serve as a university professor. The group was marked not only by their improvisational style, but also because of their decision to utilize seemingly un-musical instruments (like radios and saws) in their performances. Effectively working on bridging the gap between music and noise, the band would have a profound influence on Syd, and in turn Pink Floyd.

Although Syd filled the absence of former guitarist Bob Klose in 1965, it wasn’t until the following year that the band rebranded to “The Pink Floyd Sound.” Over time, the name was abbreviated to “The Pink Floyd,” then finally “Pink Floyd.” The name came about when Syd Barrett was having to think of a new name fast after discovering that another band called “The Tea Set” (the same name as Syd’s band) were due to play on the same bill. The intersection of Pink Anderson and Floyd Council would serve as a testament to Syd’s unusual yet ingenious problem-solving skills.

On June 5, 1966, Peter Jenner decided to pay a visit to the Marquee Club, where he encountered the Floyd. Although they were still doing blues covers, they had a way of putting their own “cosmic” spin on the numbers. However, despite leaving a good impression on Jenner, as it turned out, the band was about to split up. Nick Mason left, and with his girlfriend Lindy, visited New York. It was in an underground newspaper, the “East Village Other,” that news of the Floyd struck Mason as having a bigger impact than previously thought. As he would later describe it: “It made me realize that the band had the potential to be more than simply a vehicle for my own amusement.”

After the summer break of 1966, and with Nick Mason back on board, Peter Jenner tried to entice the band to join DNA, but Roger was more interested in the managerial possibilities than being signed up with the label. DNA, as it turned out, was not doing well, so Jenner, sensing an opportunity with the Floyd, decided to recruit another university colleague of his, Andrew King, for the purpose of managing the group. Jenner would take a twelve-month leave of absence from his teaching position, in the event that things failed to take off. With the newly-established partnership, Jenner and King offered to manage the Floyd, and the band agreed. By the end of October 1966, the band had also become partners with their new management in Blackhill Enterprises. Blackhill’s name was taken from a cottage owned by Andrew King’s family, and was envisioned as a banner under which other groups would also be managed. It would subsequently be known for organizing concerts, in such locations as Hyde Park, among other activities.

By this point, the band had given up whatever ambitions they had of pursuing their studies, going full force into this new direction. However, while everyone seemed content with the idea of a career in music, Syd was one person who struggled with his decision to abandon his enrollment in art school. Some close to Syd even wondered why he was leaving art for music, citing his immense talent.

By November 1966, the band’s setlist would include such compositions as “Matilda Mother” and “Astronomy Domine” (both of which would later appear on the band’s debut album). Everyone was encouraged to write, Jenner recalls, but it was Barrett who was the interesting and original one.

UFO would be one of the band’s more frequented stomping grounds. The club name was pronounced “U-FO,” short for “Underground Freak Out.” The first night of the UFO’s opening would take place on December 23, 1966, with the Floyd and contemporaries Soft Machine performing as the venue’s “house” bands. The club subsequently operated every Friday night, up until 8 AM.

An American couple by the names of Joel and Toni Brown, visiting from San Francisco, would contribute the light show that the band later became known for. Utilizing colored slides and a projector, the technology served the music’s ambience, creating an atmosphere that was unique for its time. After the Browns returned to the US, Peter Jenner and his wife attempted to build a replica of the Browns’ setup, comprising timber shelving, spotlights, drawing pins, and gels. Jenner considers this addition to the band’s setup as the Floyd’s entry into the “mixed-media” realm.

The band would continue to play R&B standards, albeit with a psychedelic tinge, up until the end of 1966. By December 1966, Pink Floyd, now possessing a demo tape to share with interested record labels, revisited Cambridge to play at an art school’s Christmas party. The following year would also see the band expand in their live presence, from approximately 20 gigs in 1966, to well over 200 in 1967.

On January 11 and 12 of 1967, the Floyd and their producer of choice, the American Joe Boyd, recorded “Interstellar Overdrive” and “Nick’s Boogie” at Sound Technique Studios, for the film soundtrack of “Tonite Let’s All Make Love In London.” The film itself is all but forgotten, while the Floyd’s contributions remain the only noteworthy part of the project. Also recorded at Sound Technique, on January 29, 1967, and with Joe Boyd still on the team, the Floyd went to work on “Arnold Layne,” their first single, and its B-side “Candy And A Currant Bun.” 

It was on February 28, 1967 that the band signed with EMI, as part of a record deal for their first album. As part of the agreement, a £5,000 advance was negotiated, thanks in large part to Norman Smith, EMI’s producer of choice. EMI was also persuaded to sponsor the acquisition of a new Ford Transit van, which at the time became known among pop groups for its ability to accommodate the typical array of band equipment. The other item that EMI managed to put up was the Binson Echorec, the unit which was behind some of the band’s well known “cosmic” sounds.

Pink Floyd were considered, by 1967, as the underground’s “house” band. However, although embraced by the underground, they otherwise faced backlash from the music community at large, with some remarking that their performances were not music, but rather glorified noise.

On March 1, 1967, recording commenced for the band’s debut album, “The Piper At The Gates Of Dawn,” in Studio 3 of Abbey Road Studios, with Norman Smith in the producer seat. Nick Mason’s recollection is that recording sessions were fairly smooth. As previously cited, EMI chose Norman Smith to produce the Floyd’s record, as part of their policy of using in-house producers, despite the band’s pre-exiting relationship with Boyd. Smith was also seen as a suitable choice, considering his having worked with The Beatles prior to the Floyd. However, just because Smith had this experience didn’t necessarily translate to a smooth relationship with the Floyd, whose ideas were more outlandish and improvisational. Smith managed to encourage the band to limit their improv, which was what made their live performances so unique. “Interstellar Overdrive,” as it appeared on the album, would last just under 10 minutes, whereas live it would have gone on for much longer. As a result, some of the Floyd’s fanbase saw the EMI deal as a sell-out.

On March 10, 1967, “Arnold Layne” was released in the UK, and would go on to reach a high of number 20 in the charts. However, due to the lyrical content, which painted a picture of a transvestite underwear thief, the BBC, as well as the pirate radio stations of the time, made it near impossible for the band to promote their hit, even though it would eventually land the band on “Top Of The Pops,” albeit in the form of a music video. A live performance was also recorded, but never aired because the song later dropped in the charts.

While much of the Floyd’s fanbase were heavily immersed in psychedelic culture, whether through clothing or substances, Syd would be the one member of the band with whom the late ‘60s ethos took a firm grip. It has been said that by early 1967, Syd was already a regular user of LSD, according to those closest to him and the band. Whereas Roger, Rick, and Nick were more moderate or even abstinent in their drug use, Syd was known to partake of anything that was passed around, perhaps his way of going with the flow. Opium and heroin may have been among the other substances consumed, in addition to marijuana, which could not have had a positive impact on the young and aspiring Syd. Considering the later events that would ensue, some argue that Joe Boyd should have produced the band’s album. Others argue that, regardless of whether or not Boyd had stuck around, Syd felt he’d been had by creating something remotely “commercial,” and therefore tried to sabotage success, both for himself and his bandmates.

On April 29, 1967, one of the earliest documented episodes of Syd’s infamous plight would take place. June Child, who used to look after Syd, recalled that the band couldn’t find him before their gig was set to begin. When they did eventually locate Syd, he was so “gone,” that even after managing to get him up on his feet, position him on the stage, and place his guitar around his neck, even after the band had started, he just stood still, with his arms dangling. The assumption is that Syd was probably too intoxicated to have performed as he ought to… or was he?

The Games For May concert (with the accompanying subtitle: “Space Age Relaxation For The Climax Of Spring”) took place on May 12, 1967, and is fondly remembered as one of the band’s milestones. Set at the Queen Elizabeth Hall, the underground newspaper “International Times” went on to call it a “genuine twentieth century music chamber concert.” Nick Mason later remembered the gig as: “A Pink Floyd multi-media event… there were no support acts, so we were able to control the environment and create a particular mood. The audience… were seated, so the intention was clearly that… they should listen and watch, rather than dance.” Another reason why the concert is fondly remembered is because the band would premiere their latest contraption, the Azimuth Co-ordinator, as operated by Rick, and invented by an Abbey Road technician. There were two channels, each with a joystick; one for Rick’s organ, and another for sound effects. The Azimuth Co-ordinator would constitute one of the first quadraphonic devices of its kind.

On May 14, 1967, Roger and Syd were interviewed by the Austrian Dr. Hans Keller for the BBC’s “Look Of The Week,” which also included a live performance. The contrast between the respected musicologist and the up-and-coming rock stars could not have been more distinct.

On May 18, 1967, the Floyd began recording what would become their next hit single, “See Emily Play.” When ideas were being exchanged between Norman Smith and the band, regarding the next follow-up to “Arnold Layne,” it was suggested that “See Emily Play” (initially known as “Games For May”), would be a suitable candidate. However, Syd reacted negatively to the concept of a single, since he already loathed the idea of anything being remotely “commercial.” While the recording of “Emily” was initially attempted at Abbey Road, the band, unsatisfied with their sound, and hoping to replicate the success of “Arnold Layne,” resorted back to Sound Technique Studios to recapture the magic, which meant they could collaborate with Joe Boyd again.

On June 16, 1967, “See Emily Play,” with the B-side “The Scarecrow,” was released in the UK, going on to reach number 6 in the charts. On July 6, the Floyd would return on “Top Of The Pops,” this time in-person, for a mimed rendition of the song. The band would appear on TOTP for two more occasions, but during their third appearance, Syd refused to comply. According to Roger Waters, Syd would remark: “If John Lennon doesn’t have to do ‘Top Of The Pops,’ why should I?” 

On August 4, 1967, “Piper At The Gates Of Dawn” was released in the UK, going on to reach number 6 in the charts. However, as the band’s rise was increasingly obvious, so were Syd’s bad days, which seemed to outweigh the good ones. The band tried to press on, and convince themselves that with enough time, Syd’s mood would improve. June Child’s recollection was that Syd was taking LSD as many as three to four times a day. This eventually led to “Melody Maker” running a headline titled “Pink Floyd Flake Out” on August 19, going on to report that Syd was experiencing “nervous exhaustion.” However, this was an excuse put out by the band’s management, in the hope of preserving whatever reputation the band had remaining. Andrew King would elaborate to the press: “He is tired and exhausted, and has been advised to rest for two weeks.” Syd was attracting attention to himself, and at the same time pushing it away, signaling an inner conflict. While there was no widely accepted treatment for drug addiction in the late ‘60s, a psychiatrist by the name of R.D. Laing was recruited to try and solve the band’s fiasco. Even though Roger was willing to drive his bandmate to North London for the initial consultation, Syd refused to get out of the car, leaving the band’s future hanging in limbo.

On October 9, 1967, work on the Floyd’s next album, eventually known as “A Saucerful Of Secrets,” commenced at De Lane Lea Studios in Holborn, London, with further recording taking place at Abbey Road Studios.

Acting as road manager for their upcoming American tour, Andrew King flew to the US before the Floyd were due to arrive, while Peter Jenner remained back in the UK. However, Andrew was in for a surprise, and while in San Francisco, he discovered that the band’s work visas had yet to arrive. As a result, early dates needed to be canceled, after the situation was relayed to impresario Bill Graham, known for his Fillmore East and West venues. However, undaunted by the Floyd’s failure to be prepared, Graham subsequently rung up the American ambassador in London, in the middle of the night, to effectively force the paperwork through. As if this wasn’t enough, when the band arrived in the States with nothing but their guitars, the group’s US label, Capitol, neglected to organize replacement drums and amplifiers, among other items, leaving the Floyd to seek the assistance of local music shops for loaners. 


By November 4, 1967, after the initial setbacks, the Floyd made their American debut at the Winterland Auditorium in San Francisco, where they would support Janis Joplin’s band, Big Brother and the Holding Company. When the band performed, however, Syd proceeded to detune his guitar until the strings came off, and just as the band were getting started. But behind the scenes, Syd was alienating his bandmates through his behavior. When the group would appear on “The Pat Boone Show,” Syd continued in his arrogance, relaying a single word to one of the interviewer’s questions: “What do you like?” “America,” Syd replied.

While it is unknown if Syd was still using LSD in the US, marijuana consumption went up, coupled with the fact that in the US, the habit of lacing it with tobacco was not common, as it was back in the UK. Peter Wynne-Willson, one of the band’s lighting technicians while in the US, recalls that the band were gifted with plenty of dope, but the consequence of this was Syd’s growing disconnect, with the technician remarking: “That was the first time I saw Syd standing on stage, unable to play.”

As a result of Syd’s episodes, Andrew King decided to pull the plug on the remaining gigs scheduled for the East Coast. Roger was so distraught, that he demanded Syd be fired on the spot. Yet somehow, the guitarist was retained, and a new UK tour commenced on November 17, 1967, as if the band were in denial of their new reality. Although they would be headlined by The Jimi Hendrix Experience, the coupling did not lift Syd’s spirits. On the contrary, observing a photo of the musicians posing together, Syd can be observed at the far end of the frame, staring at the camera with a haunting gaze.

Syd’s reluctance to go with the flow had its highs and lows, and even by December of 1967, another session for the BBC demonstrated Syd’s continued ability to play, in spite of what some were saying. Eventually, as a sign of frustration, Barrett introduced a new “song” to the band, but with a catch: infamously known as “Have You Got It Yet?”, now viewed as a tongue-in-cheek statement, Barrett intentionally changed the structure of the song with each play-through, making it impossible for the band to grasp. However, Roger was beginning to assume leadership of the band where Syd had failed to take control. The writing was on the wall, and it was only a matter of time before Syd would be ousted.

The Floyd performed their final gig as a four-piece on December 22, 1967, at London’s Olympia Exhibition Hall, bringing an end to the madness that was the original Pink Floyd. But even this event, titled “Christmas On Earth Continued,” was not without its problems, and could very well be considered the hair that broke the camel’s back. As Nick Mason would later remark: “It was time to come out of denial. We had tried to ignore the problems, and willed them to go away, but even our lust to succeed could no longer obscure the fact that we could not continue with Syd in this state.” 

Syd’s behavior effectively got him fired from his own band. His forsaking a career in art, instead to pursue music, has been seen by some as potentially having had a more traumatic effect than previously thought, especially taking Syd’s later trials into account. Although Syd was a gifted writer, once the harsh reality of the industry set in, Syd lost interest in the idea of fame, eventually withdrawing from social interactions almost entirely. Mason reckons that Syd was more stubborn than people realized, and that the idea of being a pop star did not fully resonate with him. There was a side of the coin that he simply hadn’t foreseen, in spite of any good intentions early on. Although the band was in mutual agreement that Syd had to go, something which would occur soon after the new year, the Floyd’s managers believed Barrett was the key to their rise to begin with, a sort of golden goose, and were determined to support his transition to a solo act. 

But not all hope was lost, for Roger knew someone they could call to replace Syd: a childhood friend of Roger and Syd’s, also emanating from Cambridge, named David Gilmour. And the rest, as they say, is history.

Research Sources:

• Official Pink Floyd website

• The Pink Floyd Archives website

• “Inside Out” by Nick Mason (2005)

• “Cambridge Station” boxed set (2016)

• “Pigs Might Fly” by Mark Blake (2008)

• “A Very Irregular Head” by Rob Chapman (2010)