Worthy for its possessive pop-psychedelic, songwriting skills, acoustic rock challenges and mono-lyrical emotions, the album reflects Barrett in a supreme moment of feeling comfortable, strong ecstatic, sensibly expressive or weirdly complex. Madcap Laughs is no state of the art (it would wrong to think of it like that), but it surely a great album to sink in, figuratively or (rather) concretely. Both meaning music, style, verse and a bit of appeal (being needed). The moment lasts for two albums, Madcap Laughs and Barrett, neither too noticeably dissimilar, nor two sharply alike. The juicy idea is that Barrett is, individually, the great and fascinating music talent, while his moment away from Pink Floyd hasn’t got the slightest of a blur and a smirk: it’s exciting and fun, it’s consistent and stylishly abiding, it’s elegant and interesting, it’s deep and woozy.
The Pink Floyd approach is both consumable (two of his colleagues are present, as guests) and straightened away, given that Barrett influenced tremendously (with what he had as authentic writing, singing, playing and envisioning) the psychedelic debut of the great band (and it’s best, Saucerful Of Secrets), yet didn’t stay long in the great pink atmosphere, neither thrived on the same level as Floyd into his own doing. Pretty close to the idea, Syd Barrett isn’t doing his plain private records he’s having his most powerful freedom of expression. The box set includes "The Madcap Laughs," "Barrett" and "Opel," and a 24-page, longbox-sized booklet about the recordings.Barrett’s solo work is not (truly) a matter of albums, discs and spins it’s a full, short and rarely demanding moment of music and sheer taste. It includes additional tracks at the end of the CD - mostly alternate takes - not included on the original album. The version of "Barrett" we play on "Floydian Slip" comes from the "Crazy Diamond" box set, released in 1993. "Opel," released in 1988, was simply a collection of the many alternate takes and unreleased material that came out of "The Madcap Laughs" and "Barrett" sessions.) A failed attempt at a third album in late 1974 involved a few days of unproductive sessions, before the project was scrapped. (1974's " Syd Barrett" double album was a reissue of "The Madcap Laughs" and "Barrett" - the first time that material was made available in the United States.
Short of a session on "Sounds of the 70s" for BBC's Radio One, the "Barrett" LP sessions would be the last significant recording Syd Barrett would do. ( Roger Waters had co-produced material with Gilmour on Barrett's first solo effort, but decided to sit out the second attempt.) With Barrett handling guitar, Gilmour also called in Floyd's Rick Wright for the organs, and Humble Pie's Jerry Shirley for drum work. The "Barrett" album, like much of "The Madcap Laughs," was produced by David Gilmour, who also played bass on the project. Work continued, sporadically, through the summer 1970, and in November the "Barrett" album was released, complete with Barrett's sketches on the cover. Syd Barrett wasted no time in getting back into the studio following his debut solo album, "The Madcap Laughs," released in January 1970.
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