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Barrett Original recording reissued, Extra tracks

4.2 out of 5 stars 68 customer reviews

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Audio CD, Original recording reissued, Extra tracks, February 5, 2013
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Editorial Reviews

Digitally remastered edition of this 1970 album from the eccentric British Rock legend and former Pink Floyd leader. Includes seven bonus tracks consisting of alternate versions of album tracks. EMI.
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Product Details

  • Audio CD (February 5, 2013)
  • Number of Discs: 1
  • Format: Original recording reissued, Extra tracks
  • Label: Harvest
  • ASIN: B003ZZAXN6
  • Average Customer Review: 4.2 out of 5 stars  See all reviews (68 customer reviews)
  • Amazon Best Sellers Rank: #12,371 in Music (See Top 100 in Music)

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Top Customer Reviews

Format: Audio CD
There is no way to predict either "The Madcap Laughs" or "Barrett" based on the few things we originally heard from Syd on Pink Floyd's debut album. At once, the records are miles apart and still as close as they could ever be. Of the two solo albums, "Barrett" is perhaps more readily accessible than "The Madcap Laughs" simply because it features a more typical rock line-up and a more traditional "songs" approach. But there is nothing typical or traditional about "Barrett".
This album is eccentirc in different ways: the "oh I forgot I was playing a solo" solo in "Gigolo Aunt", the bizarre atmosphere of "Maisie", the stylistic symmetry of song pacing between side one with side two, on the album anyway. (Baby Lemonade / Gigolo Aunt. Love Song / Waving My Arms in the Air. Dominoes / I Never Lied to You. It is Obvious / Wined and Dined. Rats / Wolfpack. Maisie / Elephant.) What it took to make this album one can only imagine and it seems a great deal of credit belongs to David Gilmour for pulling, and keeping, things together. There is a pervasively sad beauty to everything. Sad not from pain, but from surrender to a nostalgia and longing. These are the emotions that provide the record with a deeper sense of organization, intentional or not.
There is also a loose and improvised feel to much of what's going on here, and yet there are many many familiar markers. The bluesy riff on "Maisie" is nothing special, but the surpressed, almost mumbled delivery of the lyrics transforms the simple music into something ethereal. And we hear the lyrics of someone, no matter how altered by drugs and shades of mental illness, who has a singular voice.
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By A Customer on February 9, 1999
Format: Audio CD
I should start with a few caveats. First, I thinks it's something of a scandal that no one has reviewed this album before me. Second, I freely admit that although I love Syd Barrett's music, and count him among the greatest songwriters ever, I'm a little hard-pressed to explain why. The best I can do is to say that this is music that bypasses the head and goes straight for the heart.
"Barrett", Syd Barrett's second solo album, is a little more polished than his first ("The Madcap Laughs", q.v.). This seems to be due to the contributions of his ex-bandmates, David Gilmour and Rick Wright, who produced this album. It's almost as if they led Syd into the studio, sat him down, bid him play, recorded what came out, and fleshed it out later. (Maybe that's exactly what happened, I don't know.) In any case, some of Barrett's lovliest songs are here, including "Baby Lemonade", "Love Song", "Dominoes", and "Gigolo Aunt". "Waving My Arms In The Air" ranks very high among my favorite Barrett songs (I like to bemuse my friends with this one), "Wined And Dined" is an achingly beautiful love song, and "Effervescing Elephant" is a charming nursery ditty (try singing this one as fast as possible without running out of breath). Hardly a bad song here.
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Format: Audio CD
This album is not for casual listeners. And it is not for those who require the jauntiness of some of Syd's Pink Floyd songs. Syd's life was falling apart when this album was made, and it shows. The songs often seem to start off as simple, perky pop songs and take turns for the worse; the chord progressions are unexpected and weird; Syd's voice is unbearably broken and plaintive. Songs like "Baby Lemonade" are hooky enough to be immediately satisfying, but on repeated listening the poppiness conceals a terrible ache: "In the evening, sun going down, when the earth streams in in the morning. Send a cage through the post, make your name like a ghost..." The lyrics are brilliantly surreal; like all the best art, they cannot be understood, but must be FELT.
There is a reason this album became a bible for generations of "alternative" songwriters. The more you listen to it, the more emotion it reveals. The odd musical turns and evocative lyrics are what makes it endlessly rewarding; your brain never quite gets used to it all. This is one of the only albums I've ever heard that is not dated at all; it could have been made yesterday. Even the production values are plain, simple, up-to-the-minute. This is the album all those DIY, lo-fi bands are trying to create, but no one can equal Syd. This is where it started.
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Format: Audio CD
Barrett is a fine album, a bit choppy and unrefined, but spotted by such wonderful explosions of chaos (Rats whips me into a frenzy every time I hear it.) It also provides some fine juggling of the English language (The Effervescing Elephant has great metre, Rats has a wonderful rhythm (comparable to Cirrus Minor)) and every song has very creative lyrics. I don't recommend this album to any superficial Floyd fans who can only extend their affection to The Wall and Dark Side of the Moon, while, with supercillious airs, spurn Piper at the Gates of Dawn and Saucerful of Secrets ("Gee, this music's getting creepy...")
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