Pink Floyd Piper at the Gates of Dawn Art

1967 studio album by Pink Floyd

The Piper at the Gates of Dawn
Studio album by Pink Floyd
Released	5 Baronial 1967 (1967-08-05)
Recorded	21 February – 21 May 1967
Studio	EMI, London
Genre	Psychedelic rock[i] [2] acrid pop[3] space rock[4] experimental rock[5] psychedelic popular[half-dozen]
Length	41:54 [three]
Label	EMI Columbia
Producer	Norman Smith
Pink Floyd chronology
The Piper at the Gates of Dawn (1967) A Saucerful of Secrets (1968)
Singles from The Piper at the Gates of Dawn
"Flaming" / "The Gnome" Released: ii November 1967 (Usa only)

The Piper at the Gates of Dawn is the debut album by English stone ring Pinkish Floyd, the only album made under founding fellow member Syd Barrett'due south leadership. It was released on five August 1967 by EMI Columbia.^[7] The studio anthology borrows its name from the title of chapter seven of Kenneth Grahame's 1908 novel The Wind in the Willows, which refers to the nature god Pan, who plays his pan pipes at dawn. The album was recorded at EMI Studios in London's Abbey Road from Feb to May 1967. The band consisted of Barrett (lead vocals, lead guitar), Nick Mason (drums), Roger Waters (bass, vocals), and Richard Wright (keyboards, vocals). Barrett was the band's primary songwriter, though 2 tracks on the album are credited to the band collectively and i rail was written by Waters. The album was produced by Norman Smith, who would go on to produce two more albums for Pink Floyd.

In the U.s., the anthology was released as Pinkish Floyd in October on Tower Records, with an altered rails listing that omitted three songs and included the Britain not-album single "See Emily Play". In the UK, no singles were released from the album, simply in the Usa, "Flaming" was offered as a single. Two of its songs, "Astronomy Dominé" and "Interstellar Overdrive", became long-term mainstays of the band's live setlist, while other songs were performed alive simply a handful of times. The album has been hailed as a pivotal psychedelic stone album.

In 1973, the anthology was packaged with the band's second album A Saucerful of Secrets (1968) and released as A Nice Pair, to introduce the ring's early on work to new fans gained with the success of The Night Side of the Moon (1973). Special limited editions of The Piper at the Gates of Dawn were issued to marker its thirtieth, fortieth, and fiftieth anniversaries, with the former ii releases containing bonus tracks. In 2012, The Piper at the Gates of Dawn was placed at number 347 on Rolling Stone magazine's list of the "500 Greatest Albums of All Fourth dimension", and number 253 in the 2020 edition.^{[eight] [9]}

Background [edit]

Architecture students Roger Waters, Nick Mason and Richard Wright and fine art student Syd Barrett had performed under various group names since 1962, and began touring as "The Pink Floyd Sound" in 1965.^[x] They turned professional on 1 February 1967 when they signed with EMI, with an accelerate fee of £5,000.^{[11] [12] [13]} Their first single, a song about a kleptomaniac transvestite titled "Arnold Layne", was released on eleven March to mild controversy, as Radio London refused to air it.^{[xi] [xiv]}

About three weeks later, the ring were introduced to the mainstream media.^{[nb 1]} EMI's press release claimed that the band were "musical spokesmen for a new movement which involves experimentation in all the arts", but EMI attempted to put some distance betwixt them and the underground scene from which the band originated by stating that "the Pink Floyd does non know what people mean by psychedelic pop and are not trying to create hallucinatory effects on their audiences."^{[15] [sixteen]} The ring returned to Sound Techniques studio to tape their side by side unmarried, "Come across Emily Play", on 18 May.^{[17] [18]} The single was released well-nigh a month afterwards, on 16 June, and reached number vi in the charts.^{[19] [20]}

Pink Floyd picked up a tabloid reputation for making music for LSD users. The pop broadsheet News of the World printed a story nine days before the anthology'due south recording sessions began, saying that "The Pinkish Floyd group specialise in 'psychedelic music', which is designed to illustrate LSD experiences."^[21] Contrary to this paradigm, only Barrett was known to be taking LSD; authors Ray B. Browne and Pat Browne fence that he was the "only real drug user in the ring".^[22]

Recording [edit]

The band'south record deal was relatively poor for the time: a £5,000 advance over five years, depression royalties and no free studio time. All the same, it did include album development, and EMI, unsure of exactly what kind of ring they had signed, gave them free rein to record whatever they wanted.^[23]

They were obliged to record their kickoff album at EMI's Abbey Road Studios in London,^{[16] [24]} overseen past producer Norman Smith,^{[16] [25]} a central figure in Pink Floyd's negotiations with EMI.^[26] Balance engineer Pete Bown, who had mentored Smith, helped ensure that the anthology had a unique audio, through his experimentation with equipment and recording techniques.^[27] Bown, assisted by studio manager David Harris, fix up microphones an hour before the sessions began. Bown'southward microphone choices were mostly dissimilar from those used by Smith to record the Beatles' EMI sessions.^[28] Because of the quietness of Barrett'due south singing, he was placed in a song isolation booth to sing his parts.^[28] Automatic double tracking (ADT) was used to add layers of repeat to the vocals and to some instruments.^[29] The anthology features an unusually heavy use of echo and reverb to create a unique sound. Much of the reverb came from a set of Elektro-Mess-Technik plate reverberators – customised EMT 140s containing thin metallic plates under tension – and the studio'southward tiled echo chamber built in 1931.^{[29] [thirty]}

The album is fabricated upward of two different classes of songs: lengthy improvisations from the ring's alive performances and shorter songs that Barrett had written.^[31] Barrett'due south LSD intake escalated office-way through the anthology'due south recording sessions.^[32] Although in his 2005 autobiography Mason recalled the sessions equally relatively trouble-free, Smith disagreed and claimed that Barrett was unresponsive to his suggestions and constructive criticism.^{[33] [34]} In an attempt to build a relationship with the band, Smith played jazz on the piano while the band joined in. These jam sessions worked well with Waters, who was apparently helpful, and Wright, who was "laid-back". Smith's attempts to connect with Barrett were less productive: "With Syd, I somewhen realised I was wasting my time."^[35] Smith later admitted that his traditional ideas of music were somewhat at odds with the psychedelic background from which Pink Floyd had come. Nevertheless, he managed to "discourage the live ramble", every bit band manager Peter Jenner chosen information technology, guiding the band toward producing songs with a more manageable length.^{[16] [36]}

Barrett would end upwardly writing eight of the album'due south songs and contributing to two instrumentals credited to the whole ring, with Waters creating the sole remaining composition "Take Up Thy Stethoscope and Walk".^[37] Mason recalled how the anthology "was recorded in what i might call the old-fashioned way: rather quickly. Equally time went by we started spending longer and longer."^[38]

I opened the door and about shit myself ... by Christ it was loud. I had certainly never heard anything quite similar it earlier.

Abbey Road engineer Pete Bown describing his introduction to "Interstellar Overdrive"^[39]

Recording started on 21 Feb^[40] with six takes^[41] of "Matilda Mother", then called "Matilda's Mother".^{[31] [42]} The following calendar week, on the 27th,^[43] the band recorded 5 takes of "Interstellar Overdrive",^{[nb ii] [nb 3] [44]} and "Chapter 24".^{[43] [45]} On 16 March, the band had another get at recording "Interstellar Overdrive", in an attempt to create a shorter version,^[46] and "Flaming" (originally titled "Snowing"), which was recorded in a unmarried take^[47] with one song overdub.^[thirty] On nineteen March, half-dozen takes of "The Gnome" were recorded.^{[30] [48]} The following day, the band recorded Waters' "Take Upward Thy Stethoscope and Walk".^{[48] [49]} On 21 March, the band were invited to scout the Beatles record "Lovely Rita".^{[50] [51]} The post-obit twenty-four hours, they recorded "The Scarecrow" in ane accept.^{[52] [53]} The next three tracks – "Astronomy Dominé",^{[nb 4]} "Interstellar Overdrive" and "Pw R. Toc H." – were worked on extensively between 21 March and 12 April,^[56] having originally been lengthy instrumentals.^[54] Between 12 and xviii Apr,^[57] the ring recorded "Percy the Rat Catcher"^{[nb 5]} and a currently unreleased track called "She Was a Millionaire".^{[60] [61] [62]}

"Percy the Rat Catcher" received overdubs across five studio sessions and and so was mixed in late June, eventually being given the name "Lucifer Sam".^[38] Songwriting for the majority of the anthology is credited solely to Barrett, with tracks such as "Wheel" having been written in belatedly 1966 before the anthology was started.^{[31] [63] [64]} "Bike" was recorded on 21 May 1967 and originally entitled "The Cycle Song".^[31] By June, Barrett'southward increasing LSD use during the recording project left him looking visibly debilitated.^[32]

Release [edit]

In June 1967 earlier the album was released, the unmarried "See Emily Play" was sold as a 7-inch 45 rpm record, with "The Scarecrow" on the B-side, listed as "Scarecrow".^[65] The full album was released on 5 August 1967, including "The Scarecrow".

Pink Floyd continued to perform at the UFO Club, drawing huge crowds, but Barrett'south deterioration acquired them serious concern. The ring initially hoped that his erratic beliefs was a phase that would pass, merely others, including manager Peter Jenner and his secretary June Child,^{[nb 6]} were more realistic:

... I found him in the dressing room and he was so ... gone. Roger Waters and I got him on his anxiety, nosotros got him out to the stage ... and of class the audience went spare because they loved him. The ring started to play and Syd only stood there. He had his guitar around his neck and his arms merely hanging down.^[67]

To the band's consternation, they were forced to cancel their appearance at the prestigious National Jazz and Dejection Festival, informing the music printing that Barrett was suffering from nervous exhaustion. Jenner and Waters arranged for Barrett to see a psychiatrist – a coming together he did not attend. He was sent to relax in the sun on the Spanish island of Formentera with Waters and Sam Hutt (a doctor well-established in the underground music scene), but this led to no visible improvement.^{[68] [69] [seventy] [71]}

The original UK LP was released on 5 Baronial 1967 in both monaural and stereophonic mixes. It reached number six on the UK charts.^{[20] [72] [73]} The original The states album appeared on the Belfry division of Capitol on 21 October 1967. This version was officially titled simply Pink Floyd,^[74] though the original album title did appear on the back comprehend as on the UK event, and Dick Clark referred to the tape past its original title when the group appeared on his American Bandstand tv set program on 18 November.^{[75] [76]} The The states album featured an abbreviated track listing,^[77] and reached number 131 on the Billboard charts. The United kingdom single, "Meet Emily Play", was substituted for "Astronomy Dominé", "Flaming" and "Wheel".^[77] Released in fourth dimension for the band'due south United states of america bout, "Flaming" was released as a single, backed with "The Gnome".^[78] The Tower issue of the album as well faded out "Interstellar Overdrive" and broke up the segue into "The Gnome" to fit the re-sequencing of the songs. Afterward US issues on compact disc had the aforementioned title and track list as the UK version. The anthology was certified Gilt in the US every bit a part of A Dainty Pair with A Saucerful of Secrets on 11 March 1994.^[72]

About beingness handled on Tower Records, Jenner commented that: "In terms of the U.K. and Europe it was always fine. America was e'er difficult. Capitol couldn't see information technology. Yous know, 'What is this latest bit of rubbish from England? Oh Christ, it'll give us more grief, so we'll put it out on Belfry Records', which was a subsidiary of Capitol Records [...] Information technology was a very cheapskate operation and it was the beginning of endless issues The Floyd had with Capitol. It started off bad and went on being bad."^[79]

Packaging [edit]

Information technology was unusual and different, and they were delighted with information technology, and Syd did his own little drawing on the dorsum cover.

Vic Singh^[80]

Upwards-and-coming order photographer Vic Singh was hired to photograph the band for the album comprehend. Singh shared a studio with photographer David Bailey, and he was friends with Beatles guitarist George Harrison. Singh asked Jenner and King to dress the band in the brightest dress they could discover. Vic Singh and so shot them with a prism lens that Harrison had given him.^[80] The encompass was meant to resemble an LSD trip, a way that was favoured at the fourth dimension.^[81] In 2017, the lens was displayed at the Victoria and Albert Museum, every bit office of the Pinkish Floyd: Their Mortal Remains exhibition.

Barrett came up with the anthology championship The Piper at the Gates of Dawn; the album was originally titled Projection upwards to as tardily as July 1967.^[82] The title was taken from that of chapter vii of Kenneth Grahame's The Wind in the Willows ^{[83] [84]} which contains a visionary run into with the god Pan, who plays his pan pipage at dawn.^[85] It was one of Barrett's favourite books, and he often gave friends the impression that he was the embodiment of Pan.^{[nb 7] [37] [87]} The moniker was afterward used in the vocal "Polish On You lot Crazy Diamond", in which Barrett is called "you Piper".^[88] The cover for the album was one of several Pink Floyd album covers used on a series of Royal Mail stamps issued in May 2016 to commemorate 50 years of Pinkish Floyd.^[89]

In 2018, the album was reissued in its mono mix. With this version came with a new packaging box with the original record embrace within. This new design was done past Hipgnosis' Aubrey Powell and Peter Curzon and includes a gold-embossed version of the graphic by Syd Barrett which features on the back cover of the original LP.^[90]

Reception [edit]

Professional ratings

Review scores
Source	Rating
About.com	[91]
AllMusic	[3]
The Daily Telegraph	[92]
Encyclopedia of Pop Music	[93]
MusicHound	iii.v/5[94]
NME	9/10[95]
Paste	9.5/10[96]
Pitchfork	9.4/10[97]
Q	[98]
The Rolling Stone Album Guide	[99]

At the time of release, both Tape Mirror and NME gave the anthology four stars out of five. Record Mirror commented that "[t]he psychedelic image of the grouping actually comes to life, record wise, on this LP which is a fine showcase for both their talent and the recording technique. Plenty of mind blowing audio, both blatant and subtle here, and the whole thing is extremely well performed."^[100] Cash Box called information technology "a particularly hitting collection of driving, up-to-engagement rock ventures".^[101] Paul McCartney^[50] and Pink Floyd's previous producer Joe Boyd both rated the album highly. Some voiced the stance of the underground fans, by suggesting that the album did non reverberate the ring's live performances.^[18]

In contempo years, The Piper at the Gates of Dawn has gained fifty-fifty more recognition. The anthology is hailed non but as a psychedelic masterpiece but LSD is named as a directly influence.^[102] In 1999, Rolling Rock magazine gave the album 4.5 stars out of 5, calling it "the golden achievement of Syd Barrett". Q magazine described the anthology as "indispensable" and included it in their listing of the best psychedelic albums ever. It was too ranked 40th in Mojo magazine's "The 50 Most Out There Albums of All Fourth dimension" list. In 2000, Q magazine placed The Piper at the Gates of Dawn at number 55 in its list of the 100 greatest British albums ever. In 2003, The Piper at the Gates of Dawn was ranked number 347 on Rolling Rock mag'southward listing of "The 500 Greatest Albums of All Time", maintaining that rank in the 2012 update and climbing to number 253 in the 2020 reboot of the list.^{[eight] [9]}

James E. Perone says that Piper became known equally a concept anthology in afterwards years, because listeners wanted to play it all the manner through rather than option out a favourite song.^[103] While Beatles biographer Philip Norman agrees that Piper is a concept anthology,^[104] other authors argue that Pink Floyd did not offset making concept albums until 1973'southward The Nighttime Side of the Moon. Author George Reisch called Pinkish Floyd the "undisputed" kings of the concept album, only merely starting from Dark Side.^[105] In July 2006, Billboard described The Piper at the Gates of Dawn as "one of the best psychedelic rock albums ever, driven by Barrett'south oddball narratives and the band's skill with both long jams and perfect popular nuggets".^[ane]

Reissues [edit]

The Piper at the Gates of Dawn was reissued in the UK in 1979 equally a stereo vinyl album,^{[nb 8]} and on CD in the Uk and Usa in 1985.^{[nb 9]} A digitally remastered stereo CD, with new artwork, was released in the U.s.a. in 1994,^{[nb 10]} and in 1997 limited edition 30th ceremony mono editions were released in the UK, on CD and vinyl.^{[nb 11] [74]} The latter included a selection of art prints, and a six-runway bonus CD, 1967: The First Three Singles.^[106]

In 1973, the album, along with A Saucerful of Secrets, was released every bit a two-disc assault Capitol/EMI'southward Harvest Records label, titled A Nice Pair to introduce fans to the band'southward early work later the success of The Night Side of the Moon.^[107] (On the US release, the original 4-minute studio version of "Astronomy Dominé" was replaced with the viii-minute alive version plant on Ummagumma.)^{[ citation needed ]}

For the 40th anniversary, a two-disc edition was released on 4 September 2007, and a three-disc prepare was released on 11 September.^{[ citation needed ]} The packaging – designed past Storm Thorgerson – resembles a cloth-covered volume, along with a twelve-page reproduction of a Syd Barrett notebook. Discs one and ii contain the total album in its original mono mix (disc i), as well equally the alternative stereo version (disc two). Both have been newly remastered by James Guthrie. The third disc includes several Piper-era outtakes from the Abbey Road vaults, along with the ring's kickoff three mono singles. Unreleased cloth includes an alternative, shorter take of "Interstellar Overdrive" that was previously idea lost, the pre-overdubbed abridged mix of "Interstellar Overdrive" previously only bachelor on an EP in France, an culling mix of "Matilda Female parent" as information technology appeared early in the sessions and besides the 1967 stereo mix of "Apples and Oranges", which features extra untrimmed textile at the commencement and end.

The Piper at the Gates of Dawn was remastered and re-released on 26 September 2011 as function of the Why Pink Floyd...? reissue campaign. It is available in this format as either a stand up-lonely album, or as function of the Why Pinkish Floyd ... ? Discovery box set, along with the 13 other studio albums and a new colour booklet.^{[ citation needed ]} So the album was re-released on the band'south own Pink Floyd Records label on 3 June 2016 for the earth outside Europe.

For Tape Store Solar day 2018, The Piper at the Gates of Dawn was reissued in its mono mix with a bespoke envelope package containing the original cover fine art.^[108]

Live performances [edit]

The ring promoted the album with a series of concerts. They played dates in Ireland and Scandinavia, and in tardily October the band was to embark on their starting time tour of the United States. It was unsuccessful, mainly because of the mental breakdown of Barrett.^[68] In his capacity every bit tour director, Andrew King travelled to New York to begin preparations, but he ran into serious problems. Visas had not arrived, prompting the counterfoil of the outset six dates.^[69] The ring finally flew across the Atlantic on 1 November, simply work permits were not yet obtained, and then they settled into a hotel in Sausalito, California, only north of San Francisco.^[109] Afterward a number of cancellations, the outset US functioning was given 4 November at Winterland Ballroom, following Janis Joplin fronting Big Brother and the Holding Company.^[109]

For the American tour, many numbers such as "Flaming" and "The Gnome" were dropped, while others such as "Astronomy Dominé" and "Interstellar Overdrive" remained, and were cardinal to the band's set list during this period, often performed every bit encores until around 1971.^{[110] [ better source needed ]} "Astronomy Dominé" was later included on the alive disc of Ummagumma,^{[111] [112]} and adopted by the postal service-Waters Pinkish Floyd during the 1994 Division Bell tour, with a version included on the 1995 live anthology Pulse. David Gilmour, though not a member of Pinkish Floyd at the time the vocal was originally recorded, resurrected "Astronomy Dominé" for his On an Island and Rattle That Lock tours.

Communication between tape visitor and band was almost non-existent, and Pinkish Floyd'south relationship with Tower and Capitol was therefore poor. Barrett'southward mental status mirrored the problems that King encountered;^[70] when the ring performed at Winterland, he detuned his guitar during "Interstellar Overdrive" until the strings vicious off. His odd behaviour grew worse in subsequent performances, and during a television recording for The Pat Boone Evidence he confounded the director by lip-syncing "Apples and Oranges" perfectly during the rehearsal, and so standing motionless during the accept. King quickly curtailed the band's US visit, sending them domicile on the next flight.^[71]

Shortly afterward their return from the US, beginning fourteen November, the band supported Jimi Hendrix on a tour of England,^[71] but on one occasion Barrett failed to turn up and they were forced to replace him with singer/guitarist David O'List borrowed from the opening band the Nice.^[68] Barrett's depression worsened the longer the tour continued.^[113] Longtime Pink Floyd psychedelic lighting designer Peter Wynne-Willson left at the end of the Hendrix tour, though he sympathized with Barrett, whose position every bit frontman was increasingly insecure. Wynne-Willson, who had worked for a pct, was replaced by his banana John Marsh, who collected a lesser wage.^[114] Pinkish Floyd released "Apples and Oranges" (recorded prior to the United states of america tour on 26 and 27 October)^[115] but, for the rest of the ring, Barrett'southward condition had reached a crunch betoken, and they responded by calculation David Gilmour to their line-up, initially to cover for Syd's lapses during live performances.^[68]

Tracks 8–11 on the UK album edition were played the least during live performances.^[116] The success of "Run into Emily Play" and "Arnold Layne" meant that the band was forced to perform some of their singles for a limited menstruum in 1967, simply they were eventually dropped after Barrett left the band. "Flaming" and "Pow R. Toc H." were besides played regularly past the mail service-Barrett Pink Floyd in 1968, even though these songs were in complete contrast to the band's other works at this fourth dimension. Some of the songs from Piper would be reworked and rearranged for The Human being and The Journey live show in 1969 ("The Pink Jungle" was taken from "Prisoner of war R. Toc H.", and role of "Interstellar Overdrive" was used for "The Labyrinths of Auximines").

Outset in September 1967, the band played several new compositions. These included "Ane in a Million", "Scream Thy Concluding Scream", "Gear up the Controls for the Eye of the Sun" and "Reaction in M", the terminal of which was a song created by the band in response to crowds asking for their hit singles "See Emily Play" and "Arnold Layne".^[117]

Barrett resurrected the runway "Match Sam" with his brusque-lived 1972 ring Stars.^[118]

Track listing [edit]

U.k. release [edit]

All tracks are written by Syd Barrett unless otherwise noted.

Side one

No.	Title	Writer(s)	Atomic number 82 vocals	Length
one.	"Astronomy Dominé"		Barrett and Richard Wright	iv:12
2.	"Match Sam"		Barrett	3:07
three.	"Matilda Mother"		Wright and Barrett	three:08
4.	"Flaming"		Barrett	2:46
5.	"Prisoner of war R. Toc H."	Barrett Roger Waters Wright Nick Stonemason	instrumental, wordless vocals by Barrett, Waters and Wright	4:26
six.	"Have Up Thy Stethoscope and Walk"	Waters	Waters	three:05
Total length:				twenty:44

Side 2

No.	Championship	Author(s)	Pb vocals	Length
i.	"Interstellar Overdrive"	Barrett Waters Wright Mason	instrumental	ix:41
two.	"The Gnome"		Barrett	2:thirteen
iii.	"Chapter 24"		Barrett	3:42
4.	"The Scarecrow"		Barrett	2:11
5.	"Bike"		Barrett	three:21
Total length:				21:08

United kingdom viii-track release [edit]

Plan 1

No.	Title	Atomic number 82 vocals	Length
1.	"Astronomy Dominé"	Barrett and Wright
2.	"Match Sam"	Barrett
iii.	"Matilda Mother"	Wright and Barrett

Program 2

No.	Title	Writer(s)	Lead vocals	Length
1.	"Flaming"		Barrett
ii.	"Pow R. Toc H."	Syd Barrett Roger Waters Richard Wright Nick Mason	instrumental, wordless vocals by Barrett, Waters and Wright
iii.	"Bike"		Barrett

Program three

No.	Title	Author(s)	Lead vocals	Length
ane.	"Take Up Thy Stethoscope and Walk"	Waters	Waters
two.	"Chapter 24"		Barrett
3.	"The Scarecrow"		Barrett
4.	"Interstellar Overdrive—Part 1"	Syd Barrett Roger Waters Richard Wright Nick Mason	instrumental

Program 4

No.	Championship	Writer(south)	Lead vocals	Length
ane.	"Interstellar Overdrive—Determination"	Syd Barrett Roger Waters Richard Wright Nick Mason	instrumental
two.	"The Gnome"		Barrett

Us release [edit]

Side 1

No.	Title	Author(s)	Lead vocals	Length
1.	"See Emily Play"		Barrett	two:53
2.	"Pow R. Toc H."	Syd Barrett Roger Waters Richard Wright Nick Mason	instrumental	iv:26
3.	"Accept Upward Thy Stethoscope and Walk"	Waters	Waters	3:05
4.	"Lucifer Sam"		Barrett	iii:07
v.	"Matilda Mother"		Barrett and Wright	3:08
Total length:				sixteen:39

Side two

No.	Title	Writer(south)	Lead vocals	Length
1.	"The Scarecrow"		Barrett	2:11
two.	"The Gnome"		Barrett	ii:thirteen
3.	"Chapter 24"		Barrett	3:42
iv.	"Interstellar Overdrive"	Syd Barrett Roger Waters Richard Wright Nick Stonemason	instrumental	9:41
Total length:				17:47

40th anniversary edition [edit]

Released in 2007, some releases have 2 CDs (first CD in mono and 2nd CD with same tracks in stereo) and some releases include the third CD.

Disc i (in mono)

No.	Championship	Pb vocals	Length
1.	"Astronomy Dominé"	Barrett, Wright	four:17
2.	"Match Sam"	Barrett	3:09
3.	"Matilda Mother"	Wright, Barrett	3:05
4.	"Flaming"	Barrett	2:46
5.	"Pow R. Toc H." (Barrett, Roger Waters, Wright, Nick Bricklayer)	Instrumental, wordless vocals past Barrett, Waters	four:24
6.	"Have Up Thy Stethoscope and Walk" (Waters)	Waters	3:07
seven.	"Interstellar Overdrive" (Barrett, Waters, Wright, Mason)	Instrumental	nine:41
8.	"The Gnome"	Barrett	2:14
ix.	"Affiliate 24"	Barrett	3:53
x.	"The Scarecrow"	Barrett	two:ten
11.	"Bike"	Barrett	3:27
Total length:			42:13

Disc two (in stereo)

No.	Title	Lead vocals	Length
1.	"Astronomy Dominé"	Barrett, Wright	four:14
ii.	"Lucifer Sam"	Barrett	iii:07
3.	"Matilda Mother"	Wright, Barrett	three:08
four.	"Flaming"	Barrett	two:46
5.	"Pw R. Toc H." (Barrett, Roger Waters, Wright, Nick Bricklayer)	Instrumental, wordless vocals by Barrett, Waters	4:26
six.	"Take Up Thy Stethoscope and Walk" (Waters)	Waters	3:06
seven.	"Interstellar Overdrive" (Barrett, Waters, Wright, Stonemason)	Instrumental	9:xl
viii.	"The Gnome"	Barrett	2:thirteen
9.	"Affiliate 24"	Barrett	3:42
10.	"The Scarecrow"	Barrett	2:11
11.	"Bike"	Barrett	three:24
Total length:			41:57

Disc three

No.	Title	Lead vocals	Length
one.	"Arnold Layne"	Barrett	ii:57
2.	"Candy and a Currant Bun"	Barrett	two:45
iii.	"Encounter Emily Play"	Barrett	two:54
four.	"Apples and Oranges"	Barrett	3:05
5.	"Paintbox" (Wright)	Wright	3:45
half-dozen.	"Interstellar Overdrive (Take 2) (French Edit)"	Instrumental	5:fifteen
vii.	"Apples and Oranges (Stereo Version)"	Barrett	3:11
8.	"Matilda Mother (Alternative Version)"	Barrett	3:09
ix.	"Interstellar Overdrive (Take vi)"	Instrumental	5:03
Total length:			32:04

Personnel [edit]

Numbers noted in parenthesis below are based on original UK album tracklist and CD rails numbering.

Pinkish Floyd ^[119]

• Syd Barrett – electric guitar (one–seven, 9–11), acoustic guitar (4, 5, 8, ten), percussion (4), vocals
• Roger Waters – bass guitar (all tracks); slide whistle (4), percussion (four), gong (ix) (uncredited), vocals
• Richard Wright – Farfisa Philharmonic Compact organ (1–seven, nine–x), piano (2, five, xi), tack pianoforte (4, eleven), Hammond organ (iii, 4), harmonium (9, eleven), celesta (viii, 11), cello (9, 10), Lowrey organ (4), vibraphone (8), Hohner Pianet (9), violin (11), percussion (4) (uncredited), vocals
• Nick Bricklayer – drums (one–7, 11), percussion (2, 4, 5, 8–eleven)

Production

• Syd Barrett – rear cover design
• Peter Bown – engineering
• Peter Jenner – intro vocalisations on "Astronomy Dominé" (uncredited)^[120]
• Vic Singh – front cover photography
• Norman Smith – product, vocal and instrumental arrangements, drum gyre on "Interstellar Overdrive"^[121]
• Doug Sax, James Guthrie – 1994 remastering at The Mastering Lab^[122]
• James Guthrie, Joel Plante – 40th Anniversary Edition and 2011 remastering at das kicking recording^{[123] [124]}

Charts and certifications [edit]

References [edit]

Footnotes

1. ^ They were already well known in the underground scene.
2. ^ This was not the first time the band had recorded the vocal as it had been recorded earlier in the year at Sound Techniques Studios in London, between 11 and 12 Jan, for producer Peter Whitehead'due south documentary Tonite Lets All Make Dearest in London.
3. ^ An early, unoverdubbed, shortened mix of the anthology's "Interstellar Overdrive" was used for a French EP release that July.^[44]
4. ^ xiv takes of "Astronomy Dominé" were recorded,^[54] over a seven-hr session.^[55]
5. ^ "Percy the Rat Catcher"."^{[58] [59]}
6. ^ Kid was employed by Peter Jenner as a secretary and general production banana.^[66]
7. ^ Barrett believed he had a dream-like experience meeting Pan, with characters from the book. Andrew King said Barrett thought Pan had given him agreement of how nature works.^{[43] [86]}
8. ^ Britain EMI Fame FA 3065^[74]
9. ^ Britain EMI CDP 7463842, US Capitol CDP 7463842^[74]>
10. ^ US Capitol CDP 7463844^[74]
11. ^ United kingdom of great britain and northern ireland EMI LP EMP 1110, EMI CD EMP 1110^[74]

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Sources

• Povey, Glenn (2007). Echoes : The Consummate History of Pink Floyd (New ed.). Listen Head Publishing. ISBN978-0-9554624-0-5.

External links [edit]

• The Piper at the Gates of Dawn at Discogs (list of releases)

regaladosolish.blogspot.com

Source: https://en.wikipedia.org/wiki/The_Piper_at_the_Gates_of_Dawn

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