I am not a big Syd Barrett fan …

… And nor am I a big fan of Pink Floyd. However, I do have a copy of Dark Side of The Moon, an album largely about Pink Floyd’s founding member, but an album made in 1973, long after Syd Barrett (1946-2006) left the band and just before he left the music business.

I was reading on several blogs about Barrett’s many contributions in terms of introducing several innovative guitar techniques. But for that, I get an overwhelming impression of erratic, irrational behaviour, and of him being a burden on the other members.

Say what you like about his genius, his musical artistic output was very scant, and what he did needed the constant intercession of people like Roger Waters and David Gilmour. It appeared that the most difficult job was getting Syd into the studio to perform on his own album. And when he did, he only rarely performed with the rest of the band.

I see him more as a curiosity, a spectacle, than as a musician. It is politically correct to take the musical snob’s way out and lionize him as a mad genius, because what he actually did put out were never great hits. This ensures that a kind of “cult legend” aura is maintained.

Cultists often refer to tracks as “Interstellar Overdrive” as one example of Syd Barrett’s buy tramadol for dogs online genius. The instrumental was recorded in the late 60s while he was still with Pink Floyd. I sat through the entire 17-minute performance to see for myself. True, he uses a lot of tricks that were innovative in the late 60s. Also, recalling that The Beatles were recording Sargent Pepper in Abbey Road Studios in a studio next to theirs, it must be granted that no one on either side of the pond had that sound until years later. But I wasn’t impressed by his guitar solo that I heard so much praise about (there was only a brief one in the entire 17 minutes), nor was I impressed by the composition in general. Original doesn’t always mean good. Just ask members of The Shaggs. The song kind of resembles today’s trance music. Except this one took live, and reasonably talented musicians, free of our current addiction to beat boxes, tape loops, and Auto-Tune software. Well, but not free of addictions of another kind, I suppose.

Interstellar Overdrive was repetitive, and had a monotonous rhythm. I don’t think a person should listen to it sitting down like I did. You need to throw a party where recreational drugs are abundant, and the music is loud. Then, you “get” the music, or more precisely, you “dig” the music.

(video) Proof that all songs since the late 60s sound like Waltzing Matilda

The comedy rock group Axis of Awesome will set out to prove that all songs since the Beatles’ Let It Be sound like Waltzing Matilda, and that Waltzing Matilda sounds like intro to “Don’t Stop Believing” by Journey. By syllogistic reasoning, therefore, all songs sound like Journey. This is only a five-minute video, but it’s five minutes of the same four piano chords, without tempo changes or changing the order the chords that are played. That may take some patience. But the fact that it applies so widely over 45 years of music fascinates me, although it could easily apply over 100 years. I could imagine singing “Should auld acuaintance be forgot and never brought to mind?” to those chords. And since Robert Burns wrote Auld Lang Syne over 300 years ago, that would make Journey a band of Johnny-Come-Latelies by comparison.

Waltzing Matilda is heard about halfway through, just after that other Australian hit, “Down Under”, by Men at Work. Quite compelling.

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(Cocteau Twins) Lyrics to Fotzepolitic — NOT!

These lyrics to Fotzepolitic (or a close facsimilie) had appeared on a newsgroup some years ago. The approximate lyrics are below. I was convinced that these were the actual lyrics, but recently I have looked at some “lyrics” websites, and they all post more or less the same “approximate” lyrics, but to my knowledge, none of them are like the one I have here.

If you had not heard the song Fotzepolitic, I recommend you give it a listen. Seriously, I thought it was a cool song (click below).

The Cocteau Twins had this strange style of singing, which could only arguably be called “the English language”. I think they invented a few words and used some non-words also. But of course, we were all charmed by Elizabeth Frazier’s singing and music and bought their recrods anyway. It didn’t matter what she was singing about; it was how it was sung. Their style was atmospheric and ethereal. But Fotzepolitic was more on the “pop” side.

Maybe these are the lyrics, maybe they’re not. But you can play the above video and sing along with these words anyway. They are as good a guess as anything out there.

My dreams are like a chemist
Must be drugs
They're a young girl's dreams

True some drool
and shoot like a baby with stones
But I'll use just rouge

Not like the scary hairs on other singing groups
Like the scary hairs on other singing groups
Big boobs

Family food its you like a stone inside me
Sit on my face

I am stoned; 
I am drowned, now
I'm bleached to blonde
Now I'm empty-headed.

See and saw bounce me back to you, will you?
See and saw bounce me back to you, will you?, 
Will you?