SYD BARRETT MADCAP LAUGHS ORIGINAL 1970 UK HARVEST LP=

$

178

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·       SYD BARRETT (WITH THE VARIOUS MEMBERS OF PINK FLOYD) – MADCAP LAUGHS – SYD BARRET’S FIRST SOLO ALBUM; ONE OF ONLY TWO SOLO ALBUMS HE COMPLETED – ORIGINAL BRITISH PRESSING – ORIGINAL 1970 HARVEST RECORDS (UK) STEREO LP  SHVL-765

·       PRODUCED BY DAVID GILMOUR AND ROGER WATERS

·       ORIGINAL U.K. PRESSING

·       ORIGINAL YELLOW HARVEST LABEL WITH GREEN ROGER DEAN-DESIGNED “AMOEBA” LOGO, WITHOUT “EMI” BOX ON THE LABEL

·       THIS IS THE ORIGINAL, AUTHENTIC, FIRST U.K. PRESSING; THIS IS NOT A REISSUE, AN IMPORT, OR A COUNTERFEIT PRESSING.

·       ORIGINAL GATEFOLD COVER

·       ORIGINAL LAMINATED COVER

·       CLEAN, WEAR-FREE LABELS

·       THICK, HEAVY VINYL PRESSING

(►PLEASE SEE THE IMAGE OF THE COVER, LABEL OR BOTH,  SHOWN BELOW) (Note: the image shown is from our previous auction; it appears here for reference only; the actual item is in a condition quite similar to the one shown, but is not completely identical in every minute detail ).

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Wisely, The Madcap Laughs doesn't even try to sound like a consistent record. Half the album was recorded by Barrett's former bandmates Roger Waters and Dave Gilmour, and the other half by Harvest Records head Malcolm Jones. Surprisingly, Jones' tracks are song for song much stronger than the more-lauded Floyd entries. The opening "Terrapin" seems to go on three times as long as its five-minute length, creating a hypnotic effect through Barrett's simple, repetitive guitar figure and stream of consciousness lyrics. The much bouncier "Love You" sounds like a sunny little Carnaby Street pop song along the lines of an early Move single, complete with music hall piano, until the listener tries to parse the lyrics and realizes that they make no sense at all. The downright Kinksy"Here I Go" is in the same style, although it's both more lyrically direct and musically freaky, speeding up and slowing down seemingly at random. Like many of the "band" tracks, "Here I Go" is a Barrett solo performance with overdubs by Mike Ratledge, Hugh Hopper, and Robert Wyatt of the Soft Machine; the combination doesn't always particularly work, as the Softs' jazzy, improvisational style is hemmed in by having to follow Barrett's predetermined lead, so on several tracks, like "No Good Trying," they content themselves with simply making weird noises in the background. The solo tracks are what made the album's reputation, though, particularly the horrifying "Dark Globe," a first-person portrait of schizophrenia that's seemingly the most self-aware song this normally whimsical songwriter ever created. Honestly, however, the other solo tracks are the album's weakest tracks, with the exception of the plain gorgeous "Golden Hair," a musical setting of a James Joyce poem that's simply spellbinding. The Madcap Laughs is a surprisingly effective record that holds up better than its "ooh, lookit the scary crazy person" reputation suggests.

 (EXCERPT FROM AN ONLINE REVIEW BY STEWART MASON, ALL MUSIC GUIDE  /ALLMUSIC.COM/)

For additional historical information on this album, including track listing ►click here

TO SEE IF WE HAVE OTHER LISTED ITEMS BY THIS GROUP OR ARTIST ►  CLICK HERE

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·                               CONDITION:

·                               RECORD

(IMPORTANT NOTE: unless otherwise noted, ALL records are graded visually, and NOT play-graded!; we  grade records under the strong, diffuse room light or discrete sunlight)

(a)          WE GRADE THE VINYL AS STRONG VG++, just a notch below NEAR MINT. A few light abrasions (probably just sleeve scuffs inflicted in storage over the years) ARE VISIBLE, but they appear fairly  insignificant relative to the overall condition of the vinyl, and are only moderately visually distracting. For most part, the vinyl looks impeccable, without any MAJOR visual flaws or imperfections. Much of the original luster is intact, and the vinyl shines and sparkles almost like new.

(b)          The record is pressed on a beautiful, thick, inflexible vinyl, which was usually used for the first or very early pressings. Usually, the sound on such thick vinyl pressings is full-bodied, vivid, and even dramatic. Do not expect to obtain such a majestic analog sound from a digital recording!

(c)           Of course, this is a full-bodied ANALOG recording, and not an inferior, digital recording!!!

·       COVER (THIS IS THE ORIGINAL, LAMINATED, GLOSSY COVER):

THE COVER IS ABOUT VERY GOOD+ (VG+)

The following flaws or imperfections are noted on the cover:

-         Cover has some visible fraying/tattering on the spine

-         The laminated cover has a few air 'bubbles' and wrinkles in lamination (this is a common problem with most laminated 50’s and 60’s covers

-         Cover has a few tiny wrinkles along the seams

-         Cover has a visible "wrinkle"(crease)  in one of the corners.

-         The gatefold cover has partially split seams on 2 out of 4 "legs" of the cover (about 3 inches / 1 inch = 2.5 centimeters).

-         Cover has JUST A HINT of ring wear (nothing significant); On the scale from 1 to 10 (1 being the least, and  10 being the most severe), we assess the severity of ring wear as 2.

-         Light yellowing is also noted on the INSIDE gatefold (nothing significant)

NO OTHER IMPERFECTIONS ON THE COVER:

-        No cut-out (drill) holes.

-        No cut-out corners

-        No saw-marks or indents

-        No dirt/dust rubbing stains (friction marks caused by rubbing against other covers)

-        No writing

-        No stamps

-        No stains

-        No mold or mildew spots

-        No stickers or labels

-        No water damage

-        No razor marks, scratches, pressure marks, lines, streaks, or  cuts.

-        No warping

-        No wax, glue, paint or liquid drops on the cover

-        No glue traces or wax residue.

-        No bar codes

-        No RIAA stamps or stickers. 

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