Tag Archives: The end of the 1960s

Syd Barrett – Vegetable Man

29 Jun

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From mid to late 1967. Syd’s erratic behaviour was becoming more and more apparent, and not only did it effect the band but it also served as a prelude to his eventual breakdown. Large quantities of LSD proved to be his undoing and at the peak of London’s summer of love, in August 1967. when Pink Floyd’s debut album was released, Syd had obviously gone a step into madness. The outcome was that his main contribution on the second album was a song Jugband blues, compared to the first album The Piper at the Gates of Dawn where almost all the songs where written by Barrett.

However, at the time they were recording their second album A Saucerful of Secrets, Syd had come up with three songs; Jugband Blues, Scream Thy Last Scream and Vegetable Man, of which only Jugband Blues was featured on the album while the two others were recorded but discarded for they were deemed ‘too dark and disturbing’. Pink Floyd’s manager, Peter Jenner, wishes the song was released. He said: ‘I always thought they should be put out, so I let my copies be heard. I knew that Roger would never let them out, or Dave. They somehow felt they were a bit indecent, like putting out nude pictures of a famous actress: it just wasn’t cricket. But I thought they were good songs and great pieces of art. They’re disturbing, and not a lot of fun, but they’re some of Syd’s finest work – though God knows, I wouldn’t wish anyone to go through what he’s gone through to get to those songs. They’re like Van Gogh.’

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Though dark, this song stands as a reminder of Syd’s state of mind at the time; a recording of Syd’s monumental breakdown as an artist and as a person. Lyrics are chilling and express alienation from the band and rest of the world. Syd felt lost and lonely where ever he went. (I’ve been looking all over the place for a place for me/ But it ain’t anywhere/ It just ain’t anywhere.) A vegetable man is Syd himself, and, just like a scarecrow (from the first album) Syd can’t seem to find a place for himself (It’s what you see/ It must be me/ It’s what I am/ Vegetable Man.)

In my opinion, the song should have been released for it brilliantly captures the fleeting optimism and hedonism of ’60s London and, in a way, it stands as a document not just to Syd’s downfall but to ’60s downfall. Vegetable Man is a prelude to Syd’s debut solo album The Madcap Laughs where the themes of loneliness, alienation and sadness would be even more elaborated. Musically the song is striking as well, and my favourite part is where Syd sings Ha, ha ha ha, ha ha ha and you can hear the echo; I love how noisy and distorted the sound is in general. It sounds spooky and haunting at the same time because after this part comes the chilling confession about not finding a place for himself (It ain’t anywhere/ It just ain’t anywhere.)

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However, the name of the song, Vegetable Man, is based on a 1572. painting Summer by an Italian painter Giuseppe Arcimboldo who created imaginative portraits made entirely of vegetables, fruits, flowers, fish, tree roots and books. His original approach to portrait painting is impressive, especially if we considered that he lived in the sixteenth century. His paintings were based on elements and seasons, but the painting Summer was the one that intrigued Syd the most while he was still in Camberwell College of Arts. Summer featured a composite man made from intricate painted vegetables; a vegetable man, if you will. Syd even appeared in a promotional photo with spring onions tied to his head, a knowing wink to Arcimboldo, not to mention Rene Magritte’s Son of Man.

1572. Giuseppe Arcimboldo - Summer1572. Summer – Arcimboldo

Ren? Magritte, The Son of Man, 1964, Restored by Shimon D. Yanowitz, 2009  øðä îàâøéè, áðå ùì àãí, 1964, øñèåøöéä ò"é ùîòåï éðåáéõ, 20091964. Son of Man – Rene Magritte

Gimme Shelter – The End of The 1960s

18 Jun

There’s no doubt that the 1960s are my favourite decade of the 20th century. It’s a decade that symbolizes the birth of rock ‘n’ roll and hippie movement. For me it’s a wonderful decade inspiring in both musical and fashion sense. However, nothing lasts forever and so this decade came to an end but what it created culturally, musically and artistically can’t be erased.

1964. Pattie Boyd with The Rolling Stones

The year 1965. was year zero for rock and roll. It was the year everything begun. In the early ’60s music for teenagers was sweet, safe and slightly soulless. Radio stations were filled with manufactured pop created by song writing teams in pop factories. Teenage girls’ idols were nice, proper white kids singing pop with a little beat such as Bobby Vee and Bobby Vinton who would went to American Bandstand and lip synched. That sound was manufactured by the American market for the British market. However, people were getting tired of it. The new generation of British teenagers craved for music with more raw, rebellious edge. They found what they were looking for in blues; music of the American black underclass, music emerged from suffering. British working class totally identified with the black America. Blues had that element of underground rage, something which British teens craved for.

Out with the old and in with the new. By 1965. a generation of rebellious teenagers who had grown up listening to black American blues had invented their own adrenaline charged sound: Rock. The Who brought attitude and volume. The Rolling Stones brought swagger and sex. The Kinks came on the music scene with their distorted guitar sound. Even Bob Dylan was inspired by the new sound and with his leather jacket and hairstyle he was almost like a Rolling Stone wanna-be.

1960s the rolling stones

It was playing blues that melted the emotional polar frost of the 1950s post-war English austerity. Because of its emphasis on improvisations it unlocked the creativity in young artists playing it. In 1962. a band was formed in suburb west London – The Rolling Stones when the singer Mick Jagger and guitarist Keith Richards bonded over a shared love of the blues. When The Stones became more well known they stopped playing at venues such as The Crawdaddy Club. Instead, they gave up their place for the new band whose sound would be the first to denote the true Rock sound – band The Who.

The Who combined the rebellious spirit, Mod-scene image with the bold self-expression of the Pop Art. They were also very interesting because they made fashion statements with their clothes. Guitarist Pete Townshend wore particularly bold and memorable gear. He wore a jacket made out of a flag, for example and the drummer Keith Moon wore Pop Art T-shirts with targets and hearts. Pop Art was popular because it was not as confined as other art movements and consequently became an important part of 1960s culture, and an important part of Swinging London as well.  With The Who exploring more provocative imagery and ideas, it was clear that the new music movement was taking shape.

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Swinging London or the capital of cool, as it was sometimes called, was a place to be in the 1960s. After the initial blues-inspired Rock came something more avant-garde, Rock evolved and psychedelic-art rock emerged from the sound of Pink Floyd with Syd Barrett exploring what he could do with his guitar. In 1967. Pink Floyd released a single Arnold Layne, a song about a clothes-stealing transvestite, introducing a new concept in Rock music – psychedelia. This was rock meets the mad hatter’s tea party. Pink Floyd’s debut album The Piper at The Gates of Dawn was released in August 1967; at the peak of London’s Summer of love. Pink Floyd had previously recorded a single See Emily Play on 23rd May 1967, and released it less than a month later. The song was about a psychedelic schoolgirl whom Syd Barrett had reportedly seen after taking acid and falling asleep in the woods. Characteristics of psychedelic rock in this song are use of echo and reverb, whimsical lyrics and the slide-guitar work done by Syd using a plastic ruler.

Syd Barrett enrolled in Camberwell College of Arts in London in summer of 1964. to study painting. Camberwell proved to be a hothouse of ideas. Actually, art schools developed what we today know as the 1960s Swinging London for they were the place where the creativity came from. Education authorities put those who did not fit in elsewhere into art collages. Entrance qualifications were vague, with academic scores waived when portfolios showed promise. Art schools produced gifted painters, promising fashion designers, artists and musicians. Even in art schools, the ground for psychedelia was set with drab post-war colours discarded in favour of violent pinks, aquas and reds. Art college students liked their music likewise amplified; sharp, short and shocking. Syd felt that art was made of the moment and the springboard to the next work and next moment. Other notable musicians that were attending art schools were Pete Townshend, Eric Clapton, John Lennon and Ray Davies.

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So at around 1967. psychedelic culture prevailed over the Mod culture that dominated during the first half of the decade. The Beatles’ album Sgt. Pepper’s Lonely Hearts Club Band released in June 1967, just before the peak of summer of love, marks the transition between pop to the more psychedelic sound. Psychedelia might have opened minds to new ideas, sounds and images but it also propelled rock music into world of hedonism and excess. The Who came to America in summer of 1967. They shocked the hippies with their destructive and aggressive performance but Monterey soon established the festival as an arena for rock ‘n’ roll music, but it also represented the climax of summer of love for the optimism of the ’60s gave way to more volatile and uncertain times.

Utopia of the ’67 could not possibly last for it was not universally accepted. Psychedelic youth and hippies were only one segment of society, and only one fragment of it. You could just feel the change in the air; the atmosphere changed and it all became much more politicized. The Woodstock ’69 festival would see the sun set on the sixties hippie dream. By that time the business started to be more in control of the music; the freedom of the sixties was lost forever. It was a beginning of something; a beginning of the end.

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The Rolling Stones quickly dragged inspiration from the changing mood and uncertainty of those times. They were one of the few bands that found creative zeal in the darkness. There was a new world going on but The Stones weren’t afraid to embrace it. They channeled all that darkness with morbid relish in one song; Sympathy for the devil. It was the theme that fascinated them since they dipped into blues. However, The Stones would be plunged into the darkness of their own in a year marked by controversy and tragedy, from the mysterious death of the guitarist Brian Jones to the murderous chaos of the Altamont festival in California in December 1969. when they recruited Hell’s Angles to provide the security. Hell’s Angels soon caused turmoil and the man was murdered as the cameras rolled. The innocence of the ’60s was lost forever.

In the song Gimme shelter it seems as if The Stones were asking for a shelter, some place safe from the turmoil, darkness and uncertainty that overshadowed the Sun like the dark clouds. (The floods is threat’ning/ My very life today/ Gimme, gimme shelter/ Or I’m gonna fade away) Another song from the same album Let it Bleed released in ’69 called You can’t always get what you want also reflects the atmosphere of the time. Each verse discusses a topic relevant to the ’60s: love, politics and drugs. The song captures the essence of the initial optimism and the eventual disillusion, followed by the resigned pragmatism of the chorus. (I saw her today at the reception / In her glass was a bleeding man / She was practiced at the art of deception/ Well I could tell by her blood-stained hands.) Rock provided a soundtrack for the changing times. It had become an incredible political and artistic force. It had given music volume and attitude.

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Still, the dark atmosphere at the dusk of the sixties had impact on other artists, such as Syd Barrett. Compared to Pink Floyd’s first album The piper at the gates of dawn that mirrors the optimism and decadence of the Swinging London, Syd’s main contribution to the second album was the song Jugband blues whose lyrics show that inside his mind he was still acutely self-aware despite the madness and darkness that had begun to engulf him. The dusk of the sixties proved to be a fruitful period not just for The Rolling Stones but for Barrett as well for its product was his solo album The Madcap laughs.

The Madcap laughs, released in January 1970. but recorded between 28. May 1968. and 5. August ’69, was Barrett’s debut solo album. It was warmly received and the madness of king Syd seemed to have touched a nerve with a generation who had seen the end of the decade take a darker turn with Altamont, the bombing of Vietnam and apparent failure of hippie culture. Its lyrics are introspective and range from lovely, almost child-like songs about love and friendship (Terrapin: I really love you/ And I mean you/ The star above you/ Crystal blue) to deeper and darker subject that mirrored what he was feeling at the time; I’ll take Dark Globe as an example; its a cliche to say that the opening lines are memorable, no, they are much more than that, they are haunting and loveable and strange, dark and crooked at the same time. (Oh where are you now/ Pussy willow that smiled on this leaf/ When I was alone/ You promised to stone from your heart.) In other songs he expresses his sadness and loneliness (You feel me/ Away far/ Too empty/ Oh so alone, I want to come home), something which young people at the time could relate to for they felt slightly betrayed and lost at looking at the ’60s the golden years of their youth gone by.

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1960s faded away, but they left us with achievements that cannot be denied. They produced numerous good bands, ventured into unknown areas of music, brought new and daring fashions and shaped attitudes and ideals that had not been forgotten despite the time gone by.