The unexpected return of Syd Barrett in 1975
In June 1975, Pink Floyd were in Abbey Road nearing completion of their ninth album, Wish You Were Here. A dishevelled man unexpectedly entered the studio, and upon closer inspection, Roger Waters realised that this was Syd Barrett, the band’s former psychedelic leader, reports BritPanorama.
None of the members of Pink Floyd – Waters, Dave Gilmour, Nick Mason or Richard Wright – had seen Barrett since 1969. Barrett had left the band in 1968, becoming a recluse after a drug-induced mental health breakdown. Aubrey “Po” Powell, a longstanding friend of the band and creator of their album artwork, recalled living with Barrett in London during the late 60s, noting that one weekend Barrett’s condition deteriorated rapidly. “One day he was there, all bouncing and bubbly. And then by the Tuesday, his eyes were black, and he’d spent the weekend taking vast amounts of LSD. Something happened whereby it burnt out his brain. He was definitely gone. He couldn’t play the guitar. He couldn’t function,” Powell said.
Barrett, looking borderline unrecognisable, had previously visited the Hipgnosis studio in Soho, where Powell and art director Storm Thorgerson were based. “I was shocked, and I was stunned at the state of him,” said Powell. “It was everything that I’d heard that had happened to him.”
There are varying accounts regarding Barrett’s brief appearance at Abbey Road. Some sources suggest he was eager to play, while others describe more surreal interactions, such as Barrett brushing his teeth as he danced. Regardless of the specifics, he exited the studio shortly after arriving, leaving an unsettling impact on those present. “I think it freaked everybody out,” Powell remarked, noting the band’s subsequent disquiet.
Barrett’s surprise visit coincided with Pink Floyd grappling with their identity in the wake of the monumental success of The Dark Side of the Moon. The album’s themes of absence and alienation resonated deeply, with Barrett’s shadow lingering over the band. The opening and closing nine-part, 26-minute opus “Shine On You Crazy Diamond” stands as a poignant tribute to Barrett. “Wish You Were Here is partly dedicated to that,” Powell clarified, emphasising that the album explores broader themes beyond Barrett’s influence, particularly the absence of sincerity in the music industry.
The success of The Dark Side of the Moon, which has sold over 45 million copies, propelled Pink Floyd to rock stardom but also left them feeling emotionally drained. “It was the end,” Waters reflected. “We’d reached the point we’d been aiming for since we were teenagers. There was really nothing more to do.” Gilmour echoed this sentiment, stating, “The success… scared us. You do start thinking, was that a fluke?” This period marked the beginning of a schism within the band as they navigated their newfound fame and its accompanying pressures.
Waters, typically engaged with the commercial aspect of fame, found himself disillusioned by the industry. “Roger’s always liked fame, and he’s always liked money. But nevertheless, he at that time was definitely disillusioned with the way that record companies ran,” Powell noted. This introspection influenced the production of Wish You Were Here, leading to a prolonged and challenging writing process. The band initially attempted a follow-up album titled Household Objects, abandoning the concept in favour of more relevant creations.
During this tumultuous period, Pink Floyd faced criticism. In November 1974, a review by rock critic Nick Kent characterised their performance at Wembley Arena as lacklustre. Following months of stagnation in the studio, Waters convened an emergency meeting in March 1975, resulting in the decision to discard previously written material except for “Shine On You Crazy Diamond.” They refocused their energies on new songs that reflected their current state, including the satirical “Have a Cigar,” which targeted the music industry’s disconnect with artists.
The title track became an enduring favourite, expressing heartfelt emotion while echoing Barrett’s legacy. Waters described it as “battling elements within myself,” which also connected to his personal separation from first wife Judith. The album cover, featuring two businessmen shaking hands with one on fire, encapsulated the album’s themes of absence and authenticity. Powell noted the cover’s costly production, driven by a desire to visually represent the album’s essence.
Upon its release on 12 September 1975, Wish You Were Here received mixed reviews; while some praised it, others were less enthusiastic. Nonetheless, the album topped charts in both the UK and the US and has since sold over 23 million copies, solidifying its classic status. Retrospective evaluations celebrate it as Pink Floyd’s last fully cohesive work before internal tensions escalated.
Powell reflects on the band’s trajectory, noting that Animals marked a shift in their dynamic, signalling growing fractiousness. Yet, he acknowledges Wish You Were Here as one of the most significant albums in Pink Floyd’s oeuvre, exemplifying the complexity and contradictions of their artistry.
Wish You Were Here 50 is out on Friday.
