Customer Reviews

The Piper at the Gates of Dawn

5 star:		(37)
4 star:		(7)
3 star:		(2)
2 star:		(3)
1 star:		(1)

 

 

Before Pink Floyd became (deservedly) famous in the mid-70's for Dark Side Of The Moon, Wish You Were Here, and later for The Wall, they were a different band--they were Syd Barrett's band. Instead of the epic, moody, atmospheric, trippy rock forged primarily by the synergy of Roger Waters and David Gilmour later on in Pink Floyd's existence, The Piper at the Gates of Dawn finds the band making music that is very much of its time (1967). The music that became known as "psychedelic" is loosely defined as music that combines creative sonic textures and surprising sounds with bizarre, often whimsical lyrics to either simulate or enhance a drug experience. With the Beatles just down the hall in Abbey Road Studios recording Sgt. Pepper's Lonely Hearts Club Band, The Pink Floyd (named after obscure American bluesmen Pink Anderson and Floyd Council) were on the cutting edge of the British psychedelic scene while recording The Piper at the Gates of Dawn. Now, 40 years later, we're offered a worthy definitive edition of a classic band's classic debut that still endures today as a classic of its genre, thanks to Syd Barrett's unique vision and inimitable songwriting.

What is offered in this 3-CD set? Discs One and Two are Mono and Stereo versions of the album in its entirety. Many fans are passionately divided as to which version is better: younger fans are most likely accustomed to hearing music in stereo, so a mono mix may seem antiquated. The Piper at the Gates of Dawn's stereo mix is pretty awesome--I find it a very well-thought-out stereo mix (some from this era weren't particularly well-done), and some great panning effects happen (especially in "Lucifer Sam" and the finale of "Interstellar Overdrive") that really add to the music's psychedelic impact. On the other hand, the mono version is just as essential. At the time of the album's release, British pop music was more geared toward recording radio singles in mono, so a mono version of the album is likely truer to the spirit of the times and more reflective of how bands and producers approached the recording of music when entering the studio. It certainly sounds thicker, denser, and perhaps a bit more chaotic than the stereo version, which seems to benefit the wild nature of a lot of the album's music. The great part about this set is that you get both versions, so you can decide for yourself which one you like better. In my opinion, they're both essential.

Disc 3 is composed of bonus material--the A and B sides of Pink Floyd's singles from 1967. Of these, several (including the classic singles "See Emily Play" and "Arnold Layne") were available on the hodgepodgy compilation, Relics, but some weren't--the mono and stereo "Apples and Oranges" and the B-side "Candy and a Currant Bun" were heretofore quite scarce on CD. Additionally, Disc 3 offers a couple alternate takes of the classic "Interstellar Overdrive" and an alternate version of "Matilda Mother." Since the early Pink Floyd was definitely a singles-oriented band (they had to have a successful single in "See Emily Play" to record a full-length LP), these are all essential and worthwhile bonus tracks. Just listen to "See Emily Play," and "Apples and Oranges"--they're total British psych-pop gold, with Barrett's playful charm set over a quirky and snappy backdrop of irresistible, concise pop. Fans may be upset that other rarities (i.e. "Vegetable Man," "Lucy Leave," "Two of a Kind," the list goes on...) aren't included on this disc. Although it would be great to have a definitive CD collection of these rare tracks, it's understandable that they aren't included--most were recorded after the sessions that produced this album and the accompanying singles, so it makes sense that they'd all be bundled together. Throw on top of the 3 discs of music a beautiful cloth-covered book designed by Pink Floyd design stalwart Storm Thorgerson full of pictures, information, and an 8-page reproduction of Syd Barrett's notebooks, and this set fills the bill as a definitive package.

As for the music on the album itself, it certainly justifies the fanfare of a 3-disc edition. The Pink Floyd may not have been the only (or first) British band making psychedelic pop rock at the time, but they sure made some of the best. "Astronomy Domine" is a classic opener, with strange radio chatter giving way to Syd Barrett's mysterious and evocative spacey musings sung in his gentle but haunting voice. The backdrop is dominated by Barrett's reverb-drenched guitar and Rick Wright's crazy organ sounds--two musical elements that typify the classic sound of the whole album. Barrett's songwriting really shines for its uniqueness of vision and effortless un-self-conscious whimsy on the groovy "Lucifer Sam," the hazy childhood loveletter "Matilda Mother," and the tripped-out "Flaming." The middle of the album gets really trippy, with the bizarre "Pow R. Toc H.", filled with weird vocal sound effects, Roger Waters' only track on the album ("Take Up Thy Stethescope and Walk") and "Interstellar Overdrive," one of the early band's most classic tracks. Through these songs they show a penchant for jamming centered on virtuosity, but more on a restless urge to experiment sonically and chase down some strange and stimulating sounds. Unlike the tedious jams that typify some music from this era, Pink Floyd pulls it off remarkably well (case in point, the wild ride of "Interstellar Overdrive" sandwiched between the song's surf-sounding primary riff). Barrett's fantastical whimsy returns for the album's last few tracks, especially on the Tolkein-esque "The Gnome," which jollily interrupts the droning embers of "Interstellar Overdrive," the sublime "Scarecrow," and the classic "Bike," which sees Barrett rattling off nonsensical details about his life. The album ends (much like the contemporary Sgt. Pepper) in a chaotic clamor of strange sound effects and percussive noises, marking the end of a particularly distinguished psychedelic journey. Really, what sets The Piper at the Gates of Dawn apart from some of its contemporaries is Barrett's imagination and intuitive knack for catchy lyrical and musical hooks. This is music that, despite its weirdness, sticks with you by virtue of quality writing.

Who would I recommend this set to? Die hard fans will definitely want this version--the book is fabulous, both versions of the album are essential, and the bonus material is too irresistible to pass up. If you're interested in the music but don't want to shell out the extra money, the 2-disc version has both Mono and Stereo versions of the album at a lower price. If you're new to this classic music and aren't sure you're willing to go for a fancy version, I urge you to at least grab the 1-disc version that's been out for a while. This is great music and an excellent example of a great musical era that fans of the later Pink Floyd may really appreciate. Once you're hooked on Pink Floyd's take on British psychedelic rock, be sure to check out some of the other classic albums of the genre, like the Zombies' Odessey and Oracle, self-titled Tomorrow, the first two Soft Machine albums, the Small Faces' Ogden's Nut Gone Flake, the Move's Shazam, and The World of Oz, to name a few. I hope you enjoy this classic music!

Piper At The Gates Of Dawn is one of my favorite albums, and personally I've always found it to be Pink Floyd's best album(and if any discography is jammed with classic albums it's the mighty Floyd's). Every song featured is a psychedelic gem/masterpiece that pushed the envelope of what was possible at the time. Syd Barrett knew how to write song's that were experimental, but also extremely interesting and to be truthful accessible.

That's just a brief review of the album, believe me I could go on for hours on Piper, its just that great. However the purpose of this review is to go over the particulars of the 40th anniversary edition. Overall it's fantastic. There are two major incentives for true fans that already own the album, and don't want to buy it just for the new packaging. First off the mono mix of Piper(disc one of this set) completely blows the stereo mix out of the water. After listening to the mono mix I can confidently say I will not be listening to the stereo mix all to often. The mono mix was supposedly mixed by Barrett himself, and offers a slightly more psychedelic mix than the stereo mix most are accustomed too. Effects that cant be heard in the stereo mix jump out. The vocals have a much more cosmic sound to them, and the instruments just leap out of the mix in a kaleidoscopic swirl of sound. However there are some interesting qualities in the stereo mix(Disc 2), that make it worthwhile as well. While the mix doesn't leap out like the mono does, the stereo mix offers interest for those with headphones, as instruments move in and out of the left and right channels creating interesting panning effects. Overall I prefer the mono mix but the stereo mix deserves a listen now and then, to decipher its own different sonic textures.

The other big incentive for long time fans is disc three, which includes the early singles which are "Arnold Layne", "Candy And A Currant Bun", "See Emily Play", "Apples And Oranges", and "Paintbox". Also included are 2 takes of "Interstellar Overdrive"(that are substantially different from the version on the album), "Matilda Mother"(with new lyrics), and a stereo mix of "Apples And Oranges". This disc is not your average rag tag collection of bonus tracks the early singles are all top tier Floyd songs, and are finally available by means other than buying a greatest hits collection("See Emily Play", "Arnold Layne", "Paintbox") or hunting down the now hard to find early singles promo, or the currently out of print and incredidbly expensive Shine On box set("Apples And Oranges", "Candy And A Currant Bun"). "Apples and Oranges" and "See Emily Play" especially rank up there in my top ten favorite Floyd songs. The two alternate versions of Interstellar Overdrive are also rather interesting, and the take of "Matilda Mother" is fun to listen to with its new lyrics.

The packaging itself is also great including a twelve page reproduction of one of Syd's actual notebooks.

So overall is this the best way to buy Piper? Well if you already own it and you truly enjoy it than this is well worth it. However if you've never even heard Piper before it might be a good idea to just go ahead and get the regular edition, unless of course you want the singles, as this really the best way to get them. So if you are a true fan of Floyd than consider getting this, I can say this is the best music purchase i've made in a long time and i'd heard Piper at least a thousand times before buying this.

The Piper at the Gates of Dawn is one of the most important albums in rock history and a singular work of genius by the late great Syd Barrett. It is a perfect testament to a brief moment in London history, that like the Summer of Love in the Haight, was essentially over by the time the public figured out it was happening. Only the people who were there in 66 and 67 will know what it was really like. As a big fan of Barrett and his muse I had high expectations of what a 40th anniversary edition might be like. For the most part it is one huge bummer. Let's get the biggest atrocity out of the way first before reviewing the package content.

As a Floyd fan, I am really disgusted with the surviving band members for the lack of their personal contributions and recollections, their memories of this most special album. Come on!! This is the big 40th special edition, it's a groundbreaking album, and Syd just passed away. Could there have been a bigger MISSED OPPORTUNITY GUYS for the inclusion of a page or two from Roger, Rick, Nick, even Dave and Norman Smith? For such a big moment, I would think each could have taken a moment to contribute their personal memories of the sessions, their views on Piper's place in history, and most importantly a bit of gratitude to their recently fallen band leader. But of course there must be some liner notes by a journalist, or some studio notes from Abbey Road, right? No. Nada. They may have some lame reason why this wasn't feasible, frankly I don't care. Guys with their power could have made something very special happen here if they had the will, sadly, they did not. But think for a moment how cool those pages of personal notes would have been in this little book format they released. Rant over.

Let's take a look at what you get for your money, considering that many of you have already purchased Piper several times in various forms. You get two versions of the actual remastered album, the stereo version and the mono version. This is nice for mono fans and audiophiles with trained ears who can appreciate the differences. Then there is the all important bonus third disc of extras. This is where many Floyd fans are frustrated, wishing they had released all of the missing lost recordings like Vegetable Man, Scream Thy Last Scream, etc...My understanding is that they chose to stick with only the songs that were a product of the actual Piper sessions and not get into the slightly later stuff. Whether this is the real reason or whether they just saw more opportunity in releasing those in yet another package is for Floyd fans to debate. On this bonus disc you will get Arnold Layne, See Emily Play, and Paintbox which were already out there on Relics. The more interesting items are Candy And A Current Bun and Apples And Oranges (two versions), two singles. These are really nice psychedelic pop songs though probably not as strong as Piper tracks. Then there is an alternate version of Matilda Mother and two different versions of Interstellar Overdrive. These are very cool because Syd never really did anything the same way twice. As with Syd's solo work, "alternate versions" are gold because they are often like another new song, a completely different take or feel. That is not so much the case here because Syd had more constraints than he would have later, but they're different enough to get excited about for Barrett fans. So if you don't care about a mono mix, and you don't care about these different versions, there is really no reason to spend the extra money if you own the standard Piper.

Let's move on to the packaging. Looks impressive on the web scans, doesn't it? It's nothing to get too excited about. For all that packaging, you get a few pages with lyrics and photos. The reproduction of Syd's collage notebook is of interest to very hard core Syd devotees and those folks will already have this in their possession. For the regular Floyd fan this little 12 page booklet will mean nothing more than what their 2nd grader brought home from art class. Syd's artistic jottings and musings are nice but they are not exactly as essential as his music. That's all there is. The package itself is of fair quality, I have a hunch that the glued portion of the construction may not hold up that well if one opens it often to remove CDs, but we'll see. The CDs are held in digipak holders glued to the inside and back covers. The back one that holds discs 2 and 3 is really cheesy, they place one disc partially over the other so that they can touch, and so you must remove the top disc if you want to get the one on the bottom. Sure it's not the end of the world, but again, this is Pink Floyd. You would think they could afford to do this thing up really nice. Maybe they decided they'd try harder for the 50th anniversary.

Piper (and Pink Floyd, and Syd) are favorites of mine. I don't mean to be overly negative here but I wanted to make sure people realize this "Special Edition" is mostly hype...ZERO LINER NOTES for Chrissakes...so they don't spend extra money if these little tidbits are not important to them personally. I am really amazed this is the best they could do, given their budget freedoms and the importance of this material. This is 5-star music but this release is 2 stars, for hard core fans and collectors only. Everyone else should stick with their regular Piper remaster until the 50th anniversary edition is released. Hopefully Roger will grace us with a few of his wise musing at that time. [In the meantime, Syd fanatics will get far more bang for their buck with the new Mick Rock book, featuring tons of stunning rare Syd photos and sincere interesting recollections of their personal friendship. Another great book is John Cavanaugh's "Piper at the Gates of Dawn" which is a no-nonsense detailing of the Piper sessions for under $10 bucks here at Amazon. If you love this album, it's a must read to learn how the masterpiece was created.]

Whilst today stereo is the norm, in 1967 it was a small minority market and much more time was lavished on the monaural version than on the stereo mix, which would be done in a day or two, after the mono master had been completed, and was often not released until after the standard mono version. Consequently, there were often significant differences between the two. I can remember spending far too many teenage hours comparing mono and stereo versions of albums by the Beatles, the Pink Floyd and others on headphones using a customized mono record player with a stereo cartridge wired to a second amplifier. To me, a psychedelic record such as Piper cried out for stereo effects, and thanks to the crisp production of the late Norman Smith and the sound engineering of Peter Bown at Abbey Road, I was not disappointed.

It was an exciting time at Abbey Road, too, as the Beatles were ensconced at the same time in another studio working on Sergeant Pepper, and met the Floyd while they were working on Pow R Toc H. The Pretty Things also started work on SF Sorrow there, again with Norman Smith (who also engineered Sergeant Pepper), before the Floyd's sessions were complete.

Piper was the only album that Syd Barrett made in full with the Floyd. He wrote eight of the nine songs and contributed his unique space guitar flourishes to Interstellar Overdrive and the noodly Pow R Toc H. Piper At The Gates Of Dawn is really a benchmark album of the genre now known as psyche. Roger Waters may now dismiss it as juvenilia, but I still listen to it more often than is probably healthy.

The stereo version has been newly remastered for this edition, and sounds superb. A mono version of the album has been out before, but this is apparently the first time the authentic mono mix as on the original vinyl album has been remastered, and it clocks in some seventeen seconds longer than the new stereo re-master. In particular it seems an edit of Flaming (used as an American single which had The Gnome on the flipside) was used in error on some mono editions, though at 2.43 now it is barely a second longer than the 1997 mono CD version that I already had, but though I wonder now in what way the 1997 edition did differ from the original album and why, I certainly have no complaints with the 2007 re-mastering.

The bonus disc is probably the strongest bait to attract the Pink Floyd enthusiast. It is logical that it should contain the five tracks released on singles that year (the sixth, Scarecrow, was taken from the album), and it is good to have them in catalogue again, but many collectors will already have these on the 6-track mini-LP released in 1997 or from the Shine On 1992 box set. They collect in one place all the released material that feature Syd Barrett, apart from the three tracks on A Saucerful Of Secrets.

The real treats here are the final four tracks. The French Edit of Interstellar Overdrive is a substantially re-mixed mono version of Take Two (the one used on the album) of Interstellar Overdrive, unheard since it first turned up on the French EP of Arnold Layne in 1967, and the CD also includes Take Six, a previously unreleased take recorded three weeks later, which shows the extent of variation between performances of this largely improvised piece, and is great to have. There's a rare stereo mix of the extraordinary Apples And Oranges single, too, which is said to be previously unissued but might be the same as the one on the French vinyl LP The Best Of The Pink Floyd; and finally an unreleased early version of Matilda Mother, recorded at their first Abbey Road session. The song was inspired by Hilaire Belloc's Cautionary Tales and this version has lyrics that were changed on the released version, possibly to avoid copyright problems. Obviously missing are the unreleased gems Vegetable Man and Scream Thy Last Scream, although as these were recorded for a potential single for release in 1968, long after Piper had been released, they could just as justifiably be included on an edition of A Saucerful Of Secrets.

The packaging is nice and glossy and has a facsimile of a booklet of Syd's art collage notebook as well as photos and album lyrics. Given that the primary market for a package such as this must be the avid collector, the booklet surprisingly lacks any technical details at all about the mixes, recording dates, sources and so forth.

This clearly is the definitive ultimate edition of Pink Floyd's debut album, until the next re-issue of it, and corrects the shortcomings of previous releases that most of us hadn't been aware of. Cynicism aside, this is an important sixties album for a number of reasons and deserves to be heard in both mono and stereo mixes, and the bonus disc and lavish packaging make it a considerable treat, especially for collectors.

Wonderful release.

I could expound upon what ISN'T included here...but let's rate what IS. For only the third time since 1971 (Biding My Time, Embryo, When the Tigers Broke Free) Pink Floyd has released unreleased material; for the first time ever, SYD ERA unreleased material, and two tracks at that: an unknown take (6) of Interstellar Overdrive, which is sensational. And a very different version of Matilda Mother with the Belloc lyrics (previously only glimpsed from a short live fragment), different arrangement sans the familiar mid-song splice & with a vocal middle-eight, and newly revealed vocal and lead guitar layers on the final verse. The nerdiest Syd/Floyd nerds never knew these existed, and they're worth the price.

Contrary to a previous poster's conception that the mono mix is some new bastardization, it dates to 1967 just like the studio version we've always loved. As such, it's a truly alternate mix/vision of the album that reveals alot of different sounds. I won't say it's superior to the stereo, but since it's new to me, it's definitely the mix I've been playing. Pow R Toc H is quite different. I do prefer the mono Interstellar finale, which goes lighter on the headphones-only panning fury. As yet another alternate experience, we also get the French EP Interstellar mix~ one of the album version's source takes without overdubs~ in official CD quality at last; pity it still fades out, but so glad to have it.

The early singles sound worlds better here than on the 90's "First Three Singles" disc; Arnold Layne has never sounded this good. And the remastered stereo Apples & Oranges sounds better than any mix ever has (probably my least favorite Barrett song, and I'm loving it).

I've only had the very first cd release of Piper, so the remastered stereo album icings the festivities. Therefore, on artistic & sound grounds, five stars all the way, and here's to what I hope is only the beginning of the opening of the vault.

As to what ISN'T here~ surprisingly, the single mix of Flaming, with the drums pounding thru the instrumental break (otherwise, I prefer the album mix anyway).
No unreleased songs could be a good sign, one can dream that some Relics 2 might be planned; or at the very least a limited edition Saucerful that includes Scream Thy Last, Vegetable Man, Beechwoods (c'mon guys, even without vocals it's fantastic), and a few other bits in addition to the 68 singles. Committee main theme, slow & fast versions, anyone?
Back to reality...supposedly few Piper session bits survive. Specifically, the master tape for She's a Millionaire~ the one true lost Piper outtake that no one ever seems to clamor for~ reportedly no longer exists. But you can't tell me Nick Mason doesn't have an acetate! Geez, does everything have to be perfect quality or nothing with the Floyds? Same with Lucy Leave...after 40 years, the circulating acetate is GOOD ENOUGH for gifting the historical record. Likewise, with some technical magic, the acetate of Currant Bun with original lyrics.

But that's all wishful thinking. I LOVE this release!!! Lack of liner notes/recording info is my only true complaint--but the Syd notebook is quite the consolation prize. Well done, guys, & THANK YOU.

Once again consumers are faced with the decision of whether to get the latest issue of an album they have bought many times over. Sometimes with the assumption that the previous purchase of said item was supposedly the "definitive" or "limited" edition. Pink Floyd's catalog has been re-issued and re-packaged so many times one is left with a feeling of being "ripped off". It's nice to everything in one place but come on, why can't the fans get what they have been asking for?

Admittedly the first CD version of "The Piper At The Gates Of Dawn" was not very good. Then it was re-mastered and then re-mastered again for the mono edition that came out a while back and now we are faced again with another re-master of both mono and stereo versions. By buying this "limited edition" you get another CD of the singles released by the band in 1967 as well as some out-takes along with a replica of Syd Barrett's 1965 book of his collage work which is encased in a cloth covered book.

My review is not about the album. There really is no need to go into how great it is. Others more eloquent than I have already said all there is to say. My review is about the product. Here are 2 of my pet peeves:

1. There is no track or studio annotation. We know that Abby Road kept meticulous records of all the recording sessions so you would think there would be something included with this "limited edition". There aren't even any liner notes just the lyrics.
2. Lack of really rare tracks. The singles have been released separately before. The other bonus tracks are nice to have but isn't there anything else in the vaults? Any first run-throughs? Anything from prior to signing with EMI?

I feel an opportunity has slipped through EMI's fingers. I would have like to have seen something along the lines of Frank Zappa's 4 CD edition of MOFO or the Pet Sound Sessions. A collection of all of the surviving session tapes instead of something that most people have already.

Well, I can dream can't I?

I'll end with this. If this is your first upgrade than get this, you will not be disappointed.

Update: The mono version is the same as that other mono version from a few years ago. I have played them back to back and they sound the same. Also, there has been talk that Syd Barrett was involved in the mix. There is really no evidence to back this up. According to producer Norman Smith, he mixed it and the band approved the final mono mix and he did the stereo mix later with an Abbey Road staff engineer. It's that mono mix that's on this set and the previous "limited edition" mono edition.

Update #2: After listening to this again I am even more angry about this release. This entire collection could have fit on 2 discs with room to spare. They could have filled an entire disc with 70min of unreleased material. I feel so violated.

While I'm happy to add this to my extensive collection of things-Floydian, this 3-CD limited version of "Piper" isn't anywhere near as awesome as I had expected it to be. For one, there are absolutely no write-ups ANYWHERE that tell the story of the evolution of the album and its very important place in Floyd history (after all, this is, in a sense, Syd's first - and last - true Floyd album). And, since they've gone through the trouble to put the mono and stereo versions on separate CDs -- AND include a bonus disc chock full of tracks that quite a lot of people think are on the original "Piper" to begin with -- how's about a bit of text explaining why this is so? Nope...not one word. Just lyrics, credits, and some sort of goofy reproduction of one of Syd's notebooks full-o'-scribblings (the latter of which is kinda neat - but ultimately unnecessary). Don't get me wrong...this is still a great album, but there were SO many opportunities that were passed up on that could have made this 40th anniversary limited edition worthy of being called a "special" edition that I'm ultimately left with a feeling of disappointment.

This is less a review and more a personal account. This collection remains of limited value to a more headbanging Floyd fan who thinks the apex of their output remains "The Wall." It does not. While that 1979 work was imaginitively and magnificently packaged, as music it was a self-absorbent paean to rock excess - and an embarrassment to fans of Nick Mason and the late, great Richard Wright.

"The Wall" describes a moment in time but is not especially enduring in the way that "Piper" remains the blueprint and the Bible for Space Rock throughout the world. It deliciously takes on territory only accessed at the time by Sun Ra both thematically and in approach to performance - and establishing a chapter and verse music theory still in use by Space Rock musicians some forty years later. Absent only synthesizers and sequencers which were unavailable to the band in 1967, it's all there: Eastern influences conveyed through Wright's surefired right hand; the sliding guitar technique masterfully hatched by Barrett (and dubbed "Glissando Guitar" by Gong's Daevid Allen, who appropriately credits Barrett as the inventor of the technique); nuanced percussion that ranges from bells and vibes to gongs and kettle drums, played with incredible dynamism by Nick Mason; and Waters, leading the way both with his bass guitar played in the melodic range, and with the various sound effects he produced simply with his mouth.

As regards the various criticisms about the songs not presented: "King Bee" and "Lucy Leave Me" were Screaming Abacabs demos at best, and will never be officially released. Forget it. As for "Vegetable Man"... once again, forget it. Neither the remaining members of Pink Floyd, nor the estates of Wright and Barrett, nor EMI, will ever allow it. Chances are, if you wanted to hear it, you've already heard it. You know how incredible it is. You know it was remastered pretty admirably in the lawless gray area known as Italy. Accept matters for what they are.

The remarkable things about the 3-disc set include the presentation of an original artistic booklet by Barrett which is truly incredible and beautiful; the version of "Matilda Mother" with completely different lyrics; and one of the versions of "Interstellar Overdrive" which is tougher and grungier, more garage-y, than any live version or studio take I have ever heard. It's a revelation. The power bespeaks the energy of Barrett's Floyd, and lays to rest any notion that Space Rock has to be morose, or laid back, or wishy-washy. It doesn't. It never did. As per this bold example, Space Rock can invoke almost a street toughness and remain inspirational, spitirual, and visionary.

It's about time Pink Floyd's classic debut album got the royal reissue treatment. But what's a mere 40 years in the course of rock history? This special edition combines the album itself with the singles and B-sides of the same period, which were intentionally left off the original release due to practices in the British market at that time. (That's why the classics "Arnold Layne" and "See Emily Play" have only been available on compilations until now.) Piper is clearly one of the most assured and varied slabs from the weird world of British psychedelia, and its combination of musical skill, songwriting experimentation, and Syd Barrett's unique personality make the album a deserved classic from a musical scene that it effortlessly rose above. The psychedelic vibes range widely from the spacy "Astronomy Domine" to the sinister "Lucifer Sam" to the twee "The Gnome" to the outright unhinged "Bike." The album also shows what Pink Floyd could have been, and highlights the differences in sound and outlook between the brief Syd Barrett period and the band's later years of mega-stardom. Fans of Floyd's later monster albums may be surprised to find that in the beginning, Richard Wright's keyboards were arguably the largest component of the band's sound, and Roger Waters actually had a bit of a sense of humor. But Floyd historians will be able to pick out the sly influence of Syd's material on the later albums, and I bet that a less loopy remake of the instrumental "Pow R. Toc H." might have even sounded at home on Dark Side of the Moon.

Regardless, the one-of-a-kind talents and complex outlook of the dearly departed (in more ways than one) Syd Barrett are what make this album special, and he was just so mind-bendingly unique that there's no way Pink Floyd could have sounded the same after his departure. This deluxe package can be seen as both a valuable overview for Syd fans, and a revelation for fans of the later Floyd who might be aware of Syd's early influence on the band, but haven't been able to truly experience that influence without the aid of a definitive package. After a mere 40 years, we finally have it. [~doomsdayer520~]

This record sounds almost totally different in mono . Being too young to have heard the mono LP , I grew up listening to the stereo version . Is it me or does Lucifer Sam sound faster in mono ? It sounds better that way . Listening to the stereo version now sounds a bit muddier than the mono . The whole packaging is superb and getting the singles as a bonus is nice although I already had most of them through the Shine On box set . Piper is still one of the best albums of it's era and it was long overdue for it's highly polished re-release ! a great addition to my floyd library .