1967January11thThere is an entry in the Floyd's schedule from Malcolm Jones's book that says the Floyd were at Sound Techniques this day; it is unknown what, if anything, they recorded, as Sound Techniques did not keep logs as meticulously as EMI. It is also possible the Floyd canceled a session to play an important gig.23rd-25thSee January 11th29thAnother session at Sound Techniques, although it is known what happened on this date. On this day, the Floyd recorded both sides of their first single, Arnold Layne and Candy and a Currant Bun. Barrett played his guitar and sang, Waters played bass, Wright played organ and sang backup, and Mason played drums and other percussion. Acetates were pressed sometime between this date and February 27th, with Candy and a Currant Bun still having the title Let's Roll Another One and the lyrics applying thereto. Joe Boyd produced these tracks, before their EMI contract saddled the Floyd with Norman Smith.31stSee January 11th.February1stSee January 11th.21st-22ndThe Floyd came to EMI Studios for the first time this evening, to record what was at this stage Matildas Mother, to eventually bear the title Matilda Mother. At this point it probably still had the Belloc lyrics, before the estate of Hillaire Belloc threatened EMI with a lawsuit should this version be issued. Again, Barrett played guitar and did lead vocals on the chorus, Wright played keyboards and sang lead vocals on the verses and backing on the chorus, Waters played bass, and Mason played drums and other percussion. They filled one four-track tape, 63417, with an unknown number of takes, before finishing the session.23rdContinued work on Matildas Mother. A (presumably mono) mixdown of the song into tape 63409. Of course, this tape would be useless once the lyrics were stopped.27thEMI took delivery of the tapes of Candy and a Currant Bun and Arnold Layne today from Sound Techniques. (Candy un-numbered, Arnold Layne 7XCA 27877.) Mixing commenced. It is also probably on this date that the lyrics to Let's Roll Another One were changed to the more innocuous Candy and a Currant Bun, and the vocals re-recorded to compensate. Recording began on Chapter 24; a four-track tape- 63428- filled with an unspecified number of takes. On this relatively minimalist track, Barrett sang lead vocals, Wright played piano and Farfisa organ and sang backup, Waters played bass, and Mason played percussion. The recording of the album version of Interstellar Overdrive began today, taking tape 63429. The recording history of this track is complex and uncertain. What is known is that the majority of the track is from take 2, recorded on this day, and the end of the track is probably from one of the versions recorded on March 16th. The mono version has an layer of organs, drums, and guitar the stereo version lacks, but the stereo version has some manic stereo effects applied liberally at certain places in the track, especially at the end. The entire track was overdubbed with another version of Interstellar Overdrive on an unspecified date, in effect double-tracking the entire performance. An overdub-less version of take 2, faded out early, was released on a French EP in July of this year. Once more, Barrett on guitar, Wright on organ, Waters on bass, and Mason on drums and percussion.March1stMixing of Chapter 24 and Interstellar Overdrive, onto tape 63424. These can't have been the final album mixes, as both tracks recieved overdubs but two weeks later.11thArnold Layne b/w Candy and a Currant Bun was released in Britain on this day; it reached a peak of 20 on the charts, despite being banned by pirate station Radio London for being "smutty".15thMore recording on Chapter 24 and a few more takes (unknown how many, but less than four) of Interstellar Overdrive, occupying tape 63667. (Note: all takes after the first two were about five minutes long.)16thRecording of four more takes of Interstellar Overdrive, including one false start. The ending of one of these takes probably makes up the last part of the released version. Also begun on this day was the recording of the track Flame, to become Flaming. Flaming had many sound effects overdubbed onto it; presumably, this session was to record only the basic track. Barrett played guitar and sang, Wright played keyboards, Waters played bass and, uncharacteristically, slide whistle, and Mason played drums and percussion. The takes of both these tracks recorded this day occupy tape 63669.20thFour new tracks were started on this very productive day, and three of them were done being recorded by the end of the session. The first track was Waters's dark Take Up Thy Stethoscope and Walk, at this point lacking the "and Walk". Barrett played guitar, Wright keyboards, Waters played bass and sang, and Mason played drums and percussion. The next track, sandwiched between takes of Take Up Thy Stethoscope, was The Gnome, completed in a single take. On this wonderfully simple track, Barrett played acoustic guitar and sang lead, Waters played bass, Wright played a celesta and sang backing, and Mason played percussion. The first part of the recording of Take Up Thy Stethoscope and the entirety of The Gnome take up tape 63673. More recording on Stethoscope, then on to the next track, The Scarecrow. The Scarecrow was also finished in but one take, with Barrett on guitar and vocals, Wright on Farfisa organ, Waters on bass, and Mason on percussion. Moving on, recording was started on Pow R Toc H, yet known as Power Toc H. Barrett played guitar and did vocalizations, Wright played keyboards and piano, Waters played bass and vocalizations, and Mason played drums and percussion. Everything after The Gnome was on tape 63676.21stMore recording on Power Toc H, on tape 67678.22ndA mixdown of Interstellar Overdrive, on tape 63672.26th-27thA studio session was booked this date, but was possibly cancelled for a gig in Bognor Regis. The Floyd, if they were in the studio, didn't record anything.29thMixes of the tracks recorded on the 20th, The Gnome, Power Toc H, The Scarecrow, and Take Up Thy Stethoscope, onto tape 63692.April4thRecording of what were eventually to become the first two tracks on the Pink Floyd's debut album. Astronomy Domine took up two four-track tapes, 63934 and 63935. On this spaciest of tracks, Barrett played a Fender Esquire and sang lead, Wright played a Farfisa and sang backing, Waters played a Rickenbacker 4001 bass, Mason played drums and percussion, and the band's manager, Peter Jenner, read astronomical/astrological words and phrases through a megaphone, to be faded into the finished track at various points. The next track was Percy the Ratcatcher, to become Lucifer Sam. Taking up tape 63951, the song has the standard Floyd arrangement: Barrett on guitar and vocals, Wright on keyboards, Waters on bass, and Mason on drums and percussion.11th, 12thEMI.17thMixdowns of Astronomy Domine onto tape 63952.18thMore mixdowns of Astronomy, onto tape 63953, followed by recording on three separate tracks, two of which have never seen the light of day. First, work on She Was a Millionaire, reported to be an attempt at a followup single to Arnold Layne. The song was only worked on on this one day, and was never mixed down, so presumably any plans for its use as a single never got far. She Was a Millionaire, along with some recording on the newly-retitled Lucifer Sam, were on tape 63954. Onto tape 63955, more recordings on Lucifer Sam, followed by work on a crossfade between Interstellar Overdrive and The Bike Song (at this stage, yet un-retitled). Though this attempt was aborted, it gives some hint as to a planned running order for the album.May18thSound Techniques.21stAfter over a month of inactivity in the recording studio, the Floyd returned to EMI to begin (or, possibly, continue- see April 18th) work on The Bike Song, on tape 64402. Barrett on guitar and vocals, Wright on organ, piano, and backing vocals, Waters on bass, and Mason on drums. Also, probably on this day, the Floyd returned to Sound Techniques to work on their next single, See Emily Play. David Gilmour is supposed to have visited during this session. Barrett sang lead and played guitars, Wright played keyboards and organ and sang backing vocals, Waters played bass and sang backing vocals, and Mason played drums and percussion.23rdOn this day, EMI took delivery of the See Emily Play tapes, 7XCA 30214.June1stMixdowns of Lucifer Sam and The Bike Song on tape 64571.5thMixdowns of Chapter 24 on tape 63956. The tape number dates it to the session on April 18th.7thRecording on Matilda's Mother (probably replacing the vocals with the new, wholly Barrett-penned lyrics), Chapter 24, and Flaming, on tape 64532.16thSee Emily Play b/w The Scarecrow is issued, peaking at 6 in the UK and 134 in the US. (Note: Tower Records, the Floyd's American distributor, reissued this single three times between now and late 1968, never reproducing the single's British success.)27thMore recording on Flaming, on tape 65057.29thMixdowns of The Bike Song, Flaming, Matilda Mother, and Lucifer Sam, on tape 65094. At this stage, it was found Matildas Mother ran too long, so Norman Smith cut the tape into three parts, and edited the first and third together to create the final master, explaining the abrupt cut partway through the song. The three parts were: Matilda Mother, Wondering and Dreaming, and Sunshine.July3rdMixdowns of The Bike Song on tape 63956- the same tape used on June 5th.5thMixdowns of Astronomy Domine and Lucifer Sam on tape 64109, the tape again dating it back to an earlier session.13thAn early version of the album was assembled today; not many notes survive, but it is known that Side One started with Astronomy Domine and had five tracks (the final version has six), and Side Two started with Stethoscope and had five tracks as well.18thFinal mixdowns on the album. On tape 64295, Interstellar Overdrive, The Gnome, Chapter 24, The Scarecrow, and Bike (the same as the released Side Two). On tape 65106, Astronomy Domine, Lucifer Sam, Matilda's Mother, Power Toc H, Take Up Thy Stethoscope, and Flaming. At some point, Flaming was cut out and insterted between Matilda's Mother and Power Toc H (thus making this tape identical to the released Side One).August5thThe release of The Piper at the Gates of Dawn. It peaked at 6 in the UK and 131 in the US. Tower Records released a single, Flaming b/w The Gnome, to coincide with the release. This did not chart. (Note: the US version of Piper is a bastardized version released as Pink Floyd. It lacked Bike, Astronomy Domine, and Flaming. The order was: Side One: See Emily Play, Pow R. Toc H., Take Up Thy Stethoscope and Walk, Lucifer Sam, Matilda Mother. Side Two: The Scarecrow, The Gnome, Chapter 24, Interstellar Overdrive.)7thRecording of Scream Thy Last Scream and Set the Controls for the Heart of the Sun, on tape 65464. Notably, Scream Thy Last Scream was never mixed down from the four-track tapes, so it never must have been seriously considered for use. There is debate as to whether Gilmour played on Set the Controls- if so, his contribution was added at a later date. On Set the Controls: Barrett on guitar (probably), Mason on drums and percussion, Waters on bass and vocals, and Wright on keyboards and vibraphone. On Scream Thy Last Scream: Barrett on guitar and probably varispeed vocals, Waters on bass, Wright on organ, and Mason on drums and lead vocals.8thEMI.15th, 16thSound Techniques.September5th, 6thSessions at Sound Techniques.October5th, 6thSound Techniques.9th, 10th, 11th, and/or 12thThe Floyd are listed as having some possibly cancelled EMI sessions on these days; this is not clear. Other sources indicate that on the 9th, 10th, and/or 11th, the Floyd were at De Lane Lea, recording Vegetable Man and Remember a Day, as well as (possibly) Jugband Blues.19thReported as the day Norman Smith prepared the final four-track tapes of Jugband Blues.20th-21stSessions at De Lane Lea studios, probably producing the In the Beechwoods and John Latham tracks.24thOn this date EMI recieved tapes of Jugband Blues and Remember a Day, probably recorded at De Lane Lea Studios, on an unknown date. On Jugband Blues: Barrett, guitar and vocals, Wright, keyboards, Mason, drums and percussion, Waters, bass, and 8 members of the Salvation Army International Staff Band: Ray Bowes and Terry Camsey on cornet, Mac Carter and Ian Hankey on trombone, Les Condon and George Whittingham on B sharp bass, Maurice Cooper on euphonium, and one other member, whose name has been lost to history. On Remember a Day: Barrett on slide and acoustic guitar, Wright on piano, Farfisa organ, and lead vocals, Waters on bass, and, unusually, Norman Smith on drums and backing vocals. There are no tape numbers.26th-27th27th-28thApples and Oranges.30thTwo four-track tapes filled with takes of the new song Apples and Oranges. (Tapes 66462 and 66463.) Barrett on guitar and vocals, Wright on keyboard and backing vocals, Waters on bass and backing vocals, and Mason on drums and percussion.November1stMixing of Apples and Oranges on tape 66464, then mixing for the single: Apples and Oranges on tape 7XCA 30453 and Paint Box on 7XCA 30454. (It is not known where and when Paint Box was recorded- probably sometime in October. Barrett, rhythm guitar and backing vocals, Waters, bass and backing vocals, Wright, piano and lead vocals, and Mason, drums and percussion.) Then, two four-track tapes of recordings: The first, 66409, had an untitled recording on it. The second, 66461, had more untitled recordings, and then some work on Apples and Oranges. (It is possible the untitled track was later renamed or worked into something else.)2ndMore recording on the previous day's untitled track (66460), then recording on Paint Box (66563).15thStereo mixing, on tape 66771, of both sides of the single, Apples and Oranges and Paint Box. Neither of these mixes was used on the single, and it is unclear why they were mixed into stereo this early after their original mono mixing.18thThe release of Apples and Oranges b/w Paint Box. It failed to chart, possibly adding to Barrett's mental decline.1968January10th, 11thEMI.17thEMI.18thRecording, on tape 67242, of Let There Be More Light, a Waters solo composition. Gilmour, electric guitars, lead vocals on the choruses, Wright, Farfisa and Hammond organs, lead vocals on the verses, Waters, bass and whispered backing vocals on the verses, and Mason, drums and percussion. Also recorded were some untitled rhythm tracks, onto tape 67243.24th-25thRecording began this evening on what was called on the tape box The Most Boring Song I've Ever Heard Bar Two, eventually to be given its proper name of See Saw. It was written by Rick Wright. Gilmour on guitar, Wright on organ, piano, vibraphone, mellotron, and vocals, Waters, bass, Mason, drums and percussion.31stMore recording, on tape 67449, on The Most Boring.... Work was also started on Waters's Corporal Clegg, on tape 67450. Gilmour on guitar and vocals, Wright on keyboards and vocals, Waters on bass and vocals, and Mason on drums, percussion, and vocals. This is, notably, the only song on which all four band members sing.February1stMixdowns, on tape 67451, of Corporal Clegg.7thMore recording on Corporal Clegg, on tape 67509.12thA busy day. More recording on Corporal Clegg, followed by work on The Boppin' Sound (probably renamed later, or possibly unused), then work on It Should Be So Nice (to be renamed It Would Be So Nice). On It Should Be So Nice: Wright, lead vocals, organ, piano, mellotron, Gilmour on rhythm guitar and backing vocals, Waters on bass and backing vocals, and Mason, drums. It is reported that Barrett sings backing vocals on this track, but this seems decidedly unlikely. Then, work on Doreen's Dream by Waters (to be renamed Julia Dream). Gilmour on acoustic guitar, delayed electric guitar, and lead vocals, Waters on bass, and Wright on mellotron and backing vocals. This was followed by work on Richard's Rave Up, a piece that was probably eventually incorporated into A Saucerful of Secrets as the third movement (Storm Signal). Then, more work on Doreen's Dream before finishing for the day. All the day's work was on tape 67371.13thMore recording, on tape 67375, of Doreen's Dream and Corporal Clegg. Then, mixdowns from four-track to mono, on tape 67374, of The Boppin' Sound, It Should Be So Nice, and a retitled Doreen Dream.15thMore mixdowns to mono from four-track of Corporal Clegg and Set the Controls, on tape 67544.March5thRecording on the newly-titled It Would Be So Nice. (Tape 67818.)12thEMI.13thMore recording on It Would Be So Nice, on tape 68025.21stYet more recording on It Would Be So Nice, on tape 68044. It was probably on this date that the lyrics were changed to avoid legal action by the Evening Standard. It Would Be So Nice was then mixed for the next single release, tape 7XCA 32056.23rdMixing of the finally-titled Julia Dream for the single, on tape 7XCA 32057.April1st, 2ndEMI.5thRecording of a piece known as Nick's Boogie, 1st, 2nd, and 3rd movements. This was probably eventually incorporated into A Saucerful of Secrets as the second movement (Syncopated Pandemonium). Tape 68268 was used.10thTwo tapes, 68241 and 68286, of mixdowns of Nick's Boogie, 1st and 2nd movements.13thIt Would Be So Nice b/w Julia Dream released. It failed to chart.22ndMixdowns of The Most Boring Song... on tape 68519.23rdMixdowns of Set the Controls on tape 68519, followed by mixdowns of Set the Controls, Let There Be More Light, and the third movement of Nick's Boogie on tape 68399.24thMore mixdowns of Nick's Boogie, on tape 68552.26thStero mixing of Set the Controls and See Saw on tape 68562, followed by stereo mixing of Let There Be More Light on tape 68563.30thStereo mixing of Corporal Clegg and Nick's Boogie on tape 68569.May2ndStereo mixing of the Waters songs Let There Be More Light and Set the Controls on tape 68574.3rdMixing of See Saw on tape 68576.5thEMI received or assembled four-track master tapes of the following tracks this day, all probably recorded at De Lane Lea: In the Beechwoods, No Title, and Vegetable Man (tape 68409); and an Instrumental and In the Beechwoods (tape 68410).6thA four-track master of an untitled track was received or assembled (see May 5th) on tape 68411.9thMore four-tracks (see May 5th) of the following: Remember a Day (68412); Remember a Day, Jugband Blues, and Vegetable Man (68413); Vegetable Man and Remember a Day (68414); Jugband Blues (68415); and a track known as John Latham (68416). Of these tracks, a few mixes were made for the upcoming album: on tape 68417: an unused mono mix of Remember a Day and the final mono mix of Jugband Blues; on tape 68418: a rejected mono mix of Remember a Day, the final mono mix of Remember a Day, the final stereo mix of Jugband Blues, and the final stereo mix of Remember a Day.15thThe mono master of A Saucerful of Secrets was compiled today.16thThe stereo master of A Saucerful of Secrets was compiled today.June29thA Saucerful of Secrets is released in the UK, peaking at 9.July27thA Saucerful of Secrets is released in the US, and fails to chart.August19thLet There Be More Light b/w Remember a Day (both edited mono mixes) is released in the US, and fails to chart.