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Syd Barrett Pink Floyd Studio Sessions and Gigs Dates

By Malcolm Jones

 

 

аPINK FLOYD RECORDINGS 1967/1968

 

E.M.I., "the greatest recording organisation in the world", had the most comprehensive and sophisticated studios in London at the time, having been responsible for a massive proportion of British-made pop hits (and classics) of the last thirty years.а I have referred elsewhere to the impressive technical back-up that Abbey Road studios offer to artists recording there and the Fort-Knox like tape library facilities are as impressive.а Tapes and sessions were filed and cross indexed, originally on 'Artists cards', today on microfilm.а Below is a listing of Pink Floyd masters originally held at Abbey Road or at various other locations in and around London.а I stress 'originally' because many of the 4 and 8 track masters have probably been disposed of one acceptable mono and stereo mixes had been completed.а As most of the recordings listed below were made before I joined E.M.I. I cannot specify with any degree of accuracy which tapes are the ones released and which are alternate, unissued takes.а I have given as many guidelines as possible to allow the reader to judge for himself which are the released versions, and comparison with the gig sheets will probably be helpful.

 

In 1967 the EMI studios were 4 track.а For the uninitiated, that means that artists were able to record four instruments or groups of instruments completely independently, either together or at separate times, and to combine them in whatever sound balance was desirable at a later date.а Any track, or group of tracks, could be re-recorded while leaving the others intact.а A backing track could be recorded, say on two tracks, while the remaining two could be reserved for several attempts later for lead vocal and, say, guitar solo.а Today, 24 and 32 tracks are more common, although 'Sgt Pepper' was done on 4!!

 

If more than 4 tracks were required, then once four had been filled they could be mixed together onto a second machine, either onto one track leaving three empty ones, or in stereo, allowing two more tracks to be completed.а This was known as a "four to four" or 4 - 4, and the Beatles certainly used this for 'Sgt Pepper'.а It was possible to do this a couple of times without any significant loss of tape quality, and it follows that in this process several 4 track masters would accumulate.а The reader should not assume, therefore, that when a title appears several times on 4 track tapes that there are several different versions of the same song.а A later tape is most likely a continuation of the same recording, representing later overdubs onto the same original take.

 

I would like to amplify the point made earlier that the majority of the 4 track masters will, by now, have been disposed of.а Multi-track masters on inch wide tape are extremely bulky to store, and very costly at that.а Once a stereo mix was done, a period of time was waited and the four track tapes were erased. In some cases, such as the Beatles, they were retained, and maybe some later Floyd tapes were kept also, but it is unlikely.а 4 track tapes were originally kept for future quad releases, but in view of the demise of that medium it is unlikely any still exist. Please do not write to EMI asking them to issue titles you see here.а They almost certainly no longer exist, and what the Floyd rejected then would still today meet with the same rejection!

 

EMI did not work on a 'matrix' or 'master' number system in the studios.а Matrix numbers, as the term implies, were used at the factory level to identify stampers for issued records.а And in view of the huge amounts of approved-for-release 'masters', they were identified, not individually, but by the composite reel on which they appeared.а Anyone wishing to locate, say, 'Shaking All Over' by Johnny Kidd would locate the tape reel under 'K' and, when the reel was in their hand, it would be easy to locate the title desired.а In this manner EMI kept the numbering system to a quarter of what it otherwise could have been.а If more than one take was retained on this master reel then the approved master was identified.

 

On every recording session the tape operator (as opposed to the balance engineer who was his 'superior') would note down, not only on the tape box but also on a 'Recording Sheet' details of each title recorded, which takes were false starts, which takes were completed, which takes were approved and which, eventually, was the agreed 'master'.а It is these sheets which, as producers for Syd, I kept and have used for the section relating to 'The Madcap Laughs'.

 

Before each session commenced there would be an ample quantity of tape, each with a sticker identifying what was, for the moment, blank tape, with a number.а This 'reel number' was eventually used to identify the tape in the library, and generally those were used in numerical sequence.а Occasionally, of course, they would be used a little out of sequence, and it is therefore important that the reader does not assume that any tape with a lower number than another was necessarily recorded first, although in most cases that was true.а For example: tape numbers 63934 and 63951 both relate to the session dated 11.4.67.

 

4 and 8 track tapes are shown generally as 4T and 8T. Without this a tape can be assumed to be stereo, or rarely, in the Pink Floyd's case, mono.

 

Generally speaking, the dates noted are the dates of the actual session.а Finished tapes were left for collection by the library staff who generally did this each day.а EMI was reluctant, with so much valuable material lying around and so many unknown visitors, to leave masters in studio racks.а When the tape arrived at the library it was logged with the date with a cross check against the session details.а As there was also a session sheet it can be relied on as accurate for 99.9% of the time.а Sometimes a tape, completed at, say, 2 in the morning after the library was locked up for the night, would be left in the studio, especially if it was required for further work on the next day.а But even then, the library would enter into their files the date on either the tape box itself or on the recording sheet.а One exception, for example, is 'Corporal Clegg'.а The 4 track master was filed on 7/2/68 whereas the stereo mix from that tape was dated earlier, on 31/1/68 and 1/2/68.

 

Finally, I must emphasise that this is only a listing of tapes filed, and not of sessions.а As the two coincide it may be assumed that for the greater part it is a session listing also. HOWEVER - when work was done on an existing tape, no new tape would be resultant and therefore the tape library would not list it.а I am, 'though, fairly sure that most Floyd sessions resulted in at least one new tape being recorded and therefore logged into the library.а With the exception of the odd overdub onto an existing 4 track master I feel fairly sure that all that was handed into the library did, indeed, represent a Pink Floyd studio session.

 

Thanks, Abbey Road, you're the B E S T !!!

 

 

аPINK FLOYD MASTERS 1967-1968

 

Several early Pink Floyd masters were made, not at EMI, but at Sound Techniques Studios in Chelsea.а Arnold Layne / Candy and A Currant Bun were certainly recorded there, and Rick Wright, in 'Beat Instrumental' of September 1967 stated that 'See Emily Play' was also made there.а It also seems that all recordings up to the middle of March may have been made outside Abbey Road.

 

21/22 2/67 Matildas Motherааааааааааааааааааааа 63417-4T (Note 1)

23/2/67ааа Matildas Motherааааааааааааааааааааа 63409ааа (note 2)

 

27/2/67ааа Candy And A Currant Bunааааааааааааа (Note 3)

Arnold Layne (2 takes)аааааааааа 7X[CA] 27877 (note 4)

Chapter 24 аааааааааааааааааааааааааа63428-4T

Interstellar Overdriveаааааааааааааа 63429-4T

 

1/3/67аааа Chapter 24аааааааааааааааааааааааааа 63424

 

15/3/67ааа Chapter 24аааааааааааааааааааааааааа 63667-4T

Interstellar Overdrive (short version)

 

16/3/67ааа Flameааааа аааааааааааааааааааааааааа63669-4T

Interstellar Overdrive (short version)

 

20/3/67ааа Take Up Thy Stethoscopeааааааааааааа 63673-4T

The Gnome

 

20/3/67ааа Take Up Thy Stethoscopeааааааааааааа 63676-4T

The Scarecrow

Power Toc H

 

21/3/67ааа Power Toc Hаааааа ааааааааааааааааааа67678-4T

 

22/3/67ааа [Interstellar Overdrive]аааааааааааа [ ]

 

29/3/67ааа The Gnomeааааааааааааааааааааааааааа 63692

Power Toc H

The Scarecrow

Take Up Thy Stethoscope and walk

 

11/4/67ааа Astronomy Domineаааааааааааааааааааа 63934-4T

 

11/4/67ааа Astronomy Domineаааааааааааааааааааа 63935-4T

 

11/4/67ааа Percy the Ratcatcherаааааааааааааааа 63951-4T

 

17/4/67ааа Astronomy Domineаааааааааааааааааааа 63952

 

18/4/67ааа Astronomy Domineаааааааааааааааааааа 63953

 

18/4/67ааа She Was a Millionaireааааааааааааааа 63954-4T

Lucifer Sam (originally called Percy the Ratcatcher)

 

Note (1) Titles here are as they appear in the original files, not as they became on release.

 

Note (2) Tape numbers with no 4T suffix are stereo or mono mixdowns.

 

Note (3) Not issued.а There is no tape number in the files.

 

Without definite information it is impossible to state categorically which of the above tapes are different takes of the same title or simply continued progress on the same basic recording.а I have refrained from guessing!

 

18/4/67ааа Lucifer Samааааааааааааааааааааааааа 63955-4T

Crossfades with Interstellar Overdrive

and the Bike Song (Note 1)

 

21/5/67ааа The Bike Songааааааааааааааааааааааа 64402-4T

 

23/5/67ааа See Emily Playа (Note 2)аааааааааааа 7XCA 30214

 

1/6/67аааа Lucifer Samааааааааааааааааааааааааа 64571

The Bike Song

 

5/6/67аааа Chapter 24аааааааааааааааааааааааааа 63956

 

7/6/67аааа Matilda's Motherаааааааааааааааааааа 64532-4T

Chapter 24

Flaming

 

27/6/67ааа Flamingаааааааааааааааааааааааа ааааа65057-4T

 

29/6/67ааа The Bike Songааааааааааааааааааааааа 65094

Flaming

Matilda Mother (correct title used for first time)

Wondering and Dreaming (most likely Matilda Mother)

Sunshine

Lucifer Sam

 

3/7/67аааа The Bike Songааааааааааааааааааааааа 63956 (same reel as 5/6/67)

 

5/7/67аааа Astronomy Domineаааааааааааааааааааа 64109

Lucifer Sam

 

13/7/67ааа The original running order for 'Piper At the Gates of Dawn' is partly indicated by the library notation for the assembled album, done on July 13th.а The library card indicated "Side One - Astronomy Domine [etc.] Ц 5 titles (there were 6) Side Two - Take Up Thy Stethoscope etc - 5 titles.а Interstellar Overdrive, not Take up.. was the eventual opener for side two, and another, unspecified title was added to side one to make up six songs.а The library card places the L.P. matrix numbers against the above tape, although the one that follows (18/7/67) is the correct running order, and therefore the true L.P. master.

 

18/7/67ааа Interstellar Overdrive, The Gnome, Chapter 24, The Scarecrow, Bikeааааааааааааааааа 64925

 

18/7/67ааа Astronomy Domine, Lucifer Sam, Matilda's Mother, Power Toc H, Take Up Thy Stethoscope, Flaming.аа 65106

(Flaming was eventually put as track 4, moving Pow R Toc H and Take Up Thy Stethoscope down one slot each).

 

Note (1) As the titles do not appear together on the album, it can be assumed that these crossfades to join the two were abandoned.а It is interesting, though, to have an idea of the original sequencing of 'Piper'.

 

Note (2) The lack of a 4 track master for this confirms Rick Wright's contention that this track, unlike others at this time, was made at Sound Techniques on May 21st and delivered to EMI May 23rd.

 

7/8/67аааа Scream Thy Last Scream (Note 1)ааааа 65464-4T Set The Controls For The Heart Of The Sun

 

24/10/67аа Jugband Blues (see note overleaf for 9/5/68) Remember A Day (Note 2) (see note overleaf for 9/5/68)

 

30/10/67аа Apples and Orangesаааааааааааааааааа 66462-4T

Apples and Orangesаааааааааааааааааа 66463-4T

 

1/11/67ааа Apples and Oranges (not master)ааааа 66464

Paintboxаааааааааааааааааааааааааааа 7XC[A] 30454

Apples and Oranges (note 3)ааааааааа 7XCA 30453

 

1/11/67ааа Untitledаааааааааааааааааааааааааааа 66409-4T

 

1/11/67ааа Untitledаааааааааааааааааааааа аааааа66461-4T

Apples and Oranges

 

2/11/67ааа Untitledаааааааааааааааааааааааааааа 66460-4T

 

2/11/67ааа Paintboxаааааааааааааааааааааааааааа 66563-4T

 

15/11/67аа Apples and Orangesаааааааааааааааааа 66771 (stereo)

Paintbox

 

18/1/68ааа Let There Be More Lightааааааааааааа 67242-4T

Rhythm tracksааааааааааааааааааааааа 67243-4T

 

24/5 1/68а The Most Boring Song I've Ever Heard 67378-4T

Bar Two (later re-titled See Saw)

 

31/1/68ааа The Most Boring Song I've Ever Heard 67449-4T

Bar Two

 

31/1/68ааа Corporal Cleggаааааааааааааааааааааа 67450-4T

 

1/2/68аааа Corporal Cleggаааааааааааааааааааааа 67451

 

7/2/68аааа Corporal Cleggаааааааааааааааааааааа 67509-4T

 

12/2/68ааа Corporal Cleggаааааааааааааааааааааа 67371-4T

The Boppin' Sound

It Should Be So Nice

Doreen's Dream (re-titled Julia's Dream)

Richard's Rave Up

Doreen's Dream (re-titled Julia's Dream)

 

13/2/68ааа Doreen's Dream (а "аа "аааа "аааааа "а )

Corporal Cleggаааааааааааааааааааааа 67375-4T

 

13/2/68ааа The Boppin' Soundааааааааааааааааааа 67374 (4 track to

It Should be So Niceаааааааааааааааааааааааа mono)

Doreen Dream (re-titled Julia's Dream)

 

15/2/68ааа Corporal Cleggаааааааааааааааааааааа 67544 (4 track to

Set The Controls For The Heart Of The Sunааа mono)

 

Note (1) The version I have heard of this, to my ears, seems not to feature Syd on lead vocal, although he does seem to sing a line some way into the song.

 

Note (2) There is no 4 Track tape under this title; it is possible that it is 'Sunshine' (see 29/6/67), left over from the first album.а This tape seems to be the projected, but canceled, single, replaced by Apples & Oranges.

 

Note (3) The issued single

 

5/3/68аааа It Would Be So Niceааааааааааааааааа 67818-4T

 

13/3/68ааа It Would Be So Niceааааааааааааааааа 68025-4T

 

21/3/68ааа It Would Be So Niceааааааааааааааааа 68044-4T

It Would Be So Niceааааааааааааааааа 7XCA 32[0]56

 

23/3/68ааа Julia Dreamааааааааааааааааааааааааа 7XCA 32057

 

5/4/68аааа Nick's Boogie 1st, 2nd and 3rd Movt. 68268-4T

 

10/4/68ааа Nick's Boogie 1st, 2nd movt.аааааааа 68241

 

23/4/68ааа Set The Controls For The Heart Of The Sun

Let There Be More Lightааааааааааааа 68399

Nick's Boogie 3rd Movt (transferred to tape 68552,

below)

22/4/68ааа The Most Boring Song etc (See Saw)аа 68519

 

23/4/68ааа Set The Controls For The Heart Of The Sun

 

24/4/68ааа Nick's Boogie 1st, 2nd and 3rd movts.68552 (note 1)

 

26/4/68ааа Set The Controls For The Heart Of The Sun

See Sawааааааааааааааааааааааааааааа 68562 (stereo)

 

26/4/68ааа Let There Be More Lightаааааааа ааааа68563 (stereo)

 

30/4/68ааа Corporal Cleggаааааааааааааааааааааа 68569 (stereo)

Nick's Boogie (see note 1; this must have been meant to replace the mix of 24/4/68)

 

2/5/68аааа Let There Be More Lightааааааааааааа 68574 (stereo)

(presumably this stereo mix replaced that of 26/4/68)

Set The Controls

 

3/5/68аааа See Sawааааааааааааааааааааааааааааа 68576

 

5/5/68аааа In The Beechwoodsааааааааааааааааааа 68409-4T

No Title

Vegetable Man

Instrumentalаааааааааааааааааааааааа 68410-4T

In The Beechwoods

 

6/5/68а аааUntitledаааааааааааааааааааааааааааа 68411-4T

 

The above titles seem to have been recorded at Sound Techniques (i.e. those recorded on June 5th and 6th.)

 

Note (1) This track is noted in the files as having been cut out and inserted into the album master.а As Nick Mason wrote none of the songs (at least, according to the record itself), it is possible that this was excluded from the album or included, under another title, with credit to another member of the group as the true composer.

 

9/5/68аааа The following session possibly took place outside Abbey Road, probably at Sound Techniques.а My reasons for this assumption are as follows.а The 4 track masters are on 1/2 inch tape, which EMI did not use. Secondly, Jug Band Blues was filed in mono on 24/10/67, although there was no previous record in the files of a 4 track tape.а It is likely, therefore, that the mono mix was received at EMI (originally for single release) and that the 4 track followed later on this master reel the following May.а There was similarly no 4 track for 'Remember A Day', although, if аthis was re-titled from the original 'Sunshine', there was a 4 track.

 

Remember A Dayаааааааааааааааааааааа 68412-4T 1/2 inch

Remember A Dayаааааааааааааааааааааа 68413 4T 1/2 inch

Jug Band Blues

Vegetable Man

Remember A Dayаааааааааааааааааааааа 68414-4T 1/2 inch

 

Jug Band Bluesаааааааааааааааааааааа 68415-4T 1/2 inch

John Lathamааааааааааааааааааааааааа 68416-4T 1/2 inch

 

Remember A Day (mono re-mix) not used

Jug Band Blues (used for mono L.P.)а 68417

Remember A Day (reject mono mix)аааа 68418

 

Remember A Day (mono L.P. mix)

Jug Band Blues (stereo mix)

Remember A Day (stereo L.P. mix)

 

15/5/68ааа 'A Saucerful Of Secrets' assembled mono L.P. from previous mono mixes

 

16/5/68ааа 'A Saucerful Of Secrets' assembled stereo L.P. from previous mixes

 

Syd Barrett does not appear on many of the above titles, although his original contributions may have been replaced.а He certainly appears on Jug Band Blues and Remember A Day.а He has been variously credited with playing on 'Let There Be More Light', 'Corporal Clegg' (both of which seem unlikely), Set The Controls, (recorded originally shortly after the release of 'Piper' and there is no trace in the files of a later multi-track tape to replace the original).а This latter track seems most likely, looking at the date of its first recording, to have featured Syd, although aurally it seems unlikely.а Rick Sanders also states that Syd is on See Saw, which is, at least, in the style of Syd's early Floyd material.

 

Syd officially left the Floyd in early April, 1968, although relations with the rest of the group had been strained for six months or so.а He did not appear on It Would Be So Nice, recorded in early March, and it is fairly safe to assume he did not record with them after that.а This would rule out his playing on any tracks commenced after that date; [ ] .................the difficult tracks are those filed with dates of 5/5/68.а Syd certainly sang Vegetable Man.а As they were probably recorded at Sound Techniques the date of 5/5/68 may simply refer to the date when EMI received them, indicating an earlier recording date. With no more reliable information, the individual listener must use his own aural judgement!

 

 

аPINK FLOYD DATE SHEETS

 

1966

 

Sept 30th London free school

Oct 14ааа All Saints' Hall, London

Oct 15ааа International times launch party

Oct 23ааа All Saints' Hall

Oct 29ааа All Saints' Hall

Oct 31ааа Demo session - Thompson Recording Ltd.

Nov 4аааа All Saints'

Nov 5аааа Wilton Hall, Bletchley

Nov 8аааа All Saints'

Nov 15ааа All Saints'

Nov 18ааа Hernsey Art College

Nov 19ааа Canterbury tech.

Nov 22ааа All Saints

Nov 29ааа All Saints

Dec 3аааа Roundhouse (anti Ian Smith gig)

Dec 9аааа Marquee

Dec 12ааа Albert Hall Oxfam charity gig

Dec 22ааа Marquee

Dec 23ааа UFO club, London, plus Roundhouse all nighter

Dec 24ааа UFO

Dec 29ааа Marquee

Dec 31ааа Roundhouse all nighter

 

 

1967

 

Jan 5аааа Marquee

Jan 6аааа Seymour Hall 'freakout'

Jan 8аааа Upper Cut, Forest Gate

Jan 9аааа Rehearsal

Jan 11ааа Sound techniques studio (see note 1)

Jan 13ааа UFO

Jan 14ааа Reading University

Jan 16ааа ICA

Jan 17ааа Commonwealth Institute

Jan 19ааа Marquee

Jan 20ааа UFO

Jan 21ааа Birdcage, Portsmouth

Jan 22ааа Rehearsal

Jan 23-25 Sound Techniques Studio (see note 1)

Jan 26ааа Rehearsal

Jan 27ааа UFO

Jan 28ааа Essex University

Jan 29ааа Sound Techniques

Jan 30ааа Photo rehearsal (this probably means photo session and music rehearsal!)

Jan 31ааа Sound Techniques Studio

 

Notes: 1) The date on the EMI tape library card gives Feb 21st as the first date allocated to any masters.а The date for Arnold Layne, then, generally given as 27/2/67 may well be the date EMI logged the master, and this may not be the actual date of recording.а Nick Mason's sheet gives 21/2/67 as 'EMI' (studios and in all 6 days were spent at Sound Tech before 27/2/67 !)а The above information comes courtesy of Bernard White, Nick Mason, with occasional help from the salutory work of Rick Sanders ('Pink Floyd' - Futura)

 

Feb 1аааа Sound Techniques

Feb 2аааа Cadenna's, Gu[i]ldford

Feb 3аааа Queen's Hall, Leeds

Feb 6аааа 'Jackie' photo session

Feb 7аааа 'Fabulous' photo session

Feb 8аааа Rehearsal

Feb 9аааа Addington Hotel, Croydon

Feb 10ааа Leicester

Feb 11ааа Sussex University

Feb 13ааа Photo Session

Feb 16ааа Southampton Guildhall

Feb 17ааа Cambridge Dorothy Ballroom

Feb 18ааа California Ballroom, Dunstable

Feb 20ааа West Bromwich Adelphi Ballroom

Feb 21ааа E.M.I.а (probably an Abbey Road session, to record 'Matilda Mother' their first EMI session).а Feb 27^th is usually the date given for the 'Arnold Layne' session at Sound Techniques studio.а I suspect in view of the fact that already 6 days had been spent in the studio that this is erroneous (the date comes from the EMI files) and that this is the date when EMI аreceived аthe tape from Sound Techniques.а It was probably recorded earlier in the month.а The date of Feb 27th does not appear on Nick Mason's sheet at all!)

Feb 28ааа Blaises, London

March 1аа Eel Pie Island

March 2аа Worthing

Mar 3аааа St Albans and UFO

Mar 4аааа Regent St Poly (Rag Ball)

Mar 5аааа Saville Theatre, London

Mar 6аааа Granada T.V., Manchester

Mar 7аааа Malvern

Mar 9аааа Marquee

Mar 10ааа UFO

Mar 11ааа Canterbury

Mar 12ааа Camberley

Mar 14, 15, 16 (Mar 14 not noted in EMI files)

Mar 17аа аKingston Tech

Mar 18ааа Enfield

Mar 19 - 22 (Mar 19 not noted in EMI files).

Mar 23ааа Rotherham

Mar 24ааа Ric Tic Club, Hounslow

Mar 25ааа Windsor

Mar 26ааа Bognor Regis

Mar 26/7а EMI.а The Bognor date may have meant the canceling of the Mar 26 EMI date.

Mar 28ааа Bristol

Mar 29ааа Eel Pie Island

Mar 30ааа Ross-on-Wye

April 1аа EMI reception; Portsmouth Birdcage

April 3аа BBC (Mon-Thurs)

April 6аа Salisbury

April 7аа Belfast

April 8аа Bishops Stortford; Roundhouse

April 9аа Nottingham

April 10а Bath

April 11а EMI

April 12а EMI

April 13а Tilbury

April 15а Brighton

April 16а Bethnal Green

April 17, 18 EMI

April 19а Bromley

April 20а Barnstable

April 21а Greenford; UFO

April 22а Rugby

April 23а Crawley Starlite

April 24а Ealing Feathers

April 25а Oxford

April 28а Stockport

April 29а Holland Ally Pally

April 30а Huddersfield

 

May 3аааа Ainsdale (Southport)

May 4аааа Coventry

May 6аааа Leeds Kitson Hall

May 7аааа Sheffield

May 12ааа Queen Elizabeth Hall, London ('Games For May')

May 13ааа Hinkley

May 14ааа BBC Look of the Week

May 18ааа Sound Techniques studio

May 19ааа Newcastle

May 20ааа Southport

May 21ааа Sound Techniques; Brighton

May 23ааа High Wycomb

May 25ааа Abergavenny

May 26ааа Blackpool

May 27ааа Nantwich

May 28ааа Spalding

'See Emily Play' recorded May 21 and delivered to EMI on May 23rd

 

June 2ааа UFO

June 9ааа Hull

June 10аа Lowestoft; UFO

June 13аа Ealing

June 16аа Tiles

June 17аа Margate

June 18аа Brands Hatch

June 20аа Oxford

June 21аа Bolton

June 22аа Bradford

June 23аа Derby

June 24аа Bedford

June 26аа Coventry / Warwick University

June 28аа Eel Pie Island.

 

July 1ааа Birmingham, Swan (Yardley)

July 2ааа Birmingham Civic hall

July 3ааа Bath ?

July 5ааа Eel Pie Island

July 6ааа Top Of The Pops recording

July 7ааа Portsmouth

July 8ааа Norwich Memorial Hall

July 9ааа Roundhouse (BBC TV)

July 15аа Stowmarket

July 16аа Redcar

July 17аа ITV recording

July 18аа Isle of Man

July 19аа Great Yarmouth (Floral Hall)

July 20аа Elgin (Red Shoes Pub)

July 21аа Nairn

July 22аа Aberdeen

July 23аа Carlisle (Cosmopolitan Ballroom)

July 27аа Top Of The Pops

July 28аа BBC Saturday Club

July 29аа Dereham / Ally Pally

July 31аа Torquay

 

August 1, 2аа German T.V.

August 7, 8,а EMI

August 15, 16 Sound Techniques Studio

 

September 1 Roundhouse

Sept 2ааа UFO

Sept 5,6, Sound Techniques

Sept 9ааа Copenhagen (press)

Sept 10аа Copenhagen Star Club

Sept 11аа Copenhagen

Sept 12аа Arhus ?

Sept 13аа Stockholm

Sept 15аа Belfast, Starlight Ballroom

Sept 16аа Ballymena, Flamingo

Sept 17аа Cork, Arcadia Ballroom

Sept 21а аWorthing

Sept 22аа Tiles

Sept 23аа Chelmsford Corn Exchange

Sept 27аа Leicester 5th Dimension

Sept 28аа Hull, Skyline Club

Sept 30аа Nelson, Imperial Club

 

October 1 Saville Theatre

Oct 2аааа Photo session

Oct 5, 6а Sound Techniques Studio / Brighton

Oct 7аааа Bristol Victoria Rooms

Oct 9-12а EMI (may have been cancelled)

Oct 12ааа Rotterdam

Oct 13ааа Weymouth Pavilion

Oct 14ааа Bedford, Caesars

Oct 16 or 17 Bath Pavilion

Oct 20,21 De Lane Lea studios

Oct 22ааа York

 

For the rest of October the Floyd were in the USA on their first tour.

 

November 12 Rotterdam

Nov 14ааа Royal Albert Hall (with Hendrix, Move, Amen Corner)

Nov 15ааа Bournemouth, as above

Nov 16ааа Sheffield, as above

 

December 9 Oz (magazine interview)

Dec 13ааа Redruth

Dec 14ааа Bournemouth

Dec 15ааа Middle Earth

Dec 16ааа Ritz; Birmingham

Dec 17ааа BBC

Dec 20ааа Top Gear

Dec 21ааа Speakeasy

Dec 22ааа Olympia Christmas Show

 

 

1968

 

Jan 8,9,а Rehearsals

Jan 10,11 EMI

Jan 12ааа Aston University

Jan 13ааа Weston-super-mare

Jan 15,16 Rehearsals

Jan 17,18 EMI

 

February 1 EMI

Feb 6аааа Rehearsals

Feb 10ааа Nelson

Feb 11ааа Top Gear, BBC.

Feb 16ааа Pontypool

Feb 17ааа Pushing

Feb 18,19 Brussels TV (Dave Gilmour now with the group announcement)

Feb 20,21 Paris TV

 

March 4аа Vanessa Redgrave party!

March 5аа EMI ('It Would Be So Nice')

March 9аа Manchester Tech

March 12а EMI

March 14а Belfast

March 16а Hampton Court / Middle Earth

March 17а Belgium

 

April 1,2 EMI

April 6.а Syd's departure from the Floyd was announced around this time, although it is likely that he did not participate in most of the activities on this page to any great extent.а I have overlapped on this date sheet in the same manner as I did on the recording session files for much the same reasons.а Some of the tapes with dates as late as May, such as those recorded some time before at Sound Techniques but not delivered until much later, did feature Syd.а They were probably called for by EMI so that they could get hold of Jugband Blues which was needed for 'Saucer', being assembled in the running order for release the next month (June).

 

I have refrained from making notes in this date sheet linking recording dates with the EMI files.а In leaving this to the reader I will suggest that, when a studio other than EMI is listed and no date appears in the session file, then if a date follows shortly after in the session lists, it may be supposed that these are the titles, if any, recorded.а It is always a possibility, that studio dates listed in this date sheet could have been cancelled in order to fulfil an important club booking, and the studio dates replaced later!

 

(signed)

Malcolm Jones