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33⅓ Main Series #6
The Piper at the Gates of Dawn
Through a series of interviews with a wide range of people connected to Pink Floyd in their earliest days (including Nick Mason, Peter Jenner, Jenny Fabian, Storm Thorgerson, Duggie Fields and Peter Whitehead), John Cavanagh paints a vivid picture of how this remarkable debut album was created. He brings to life the stories behind each track, as well as Pink Floyd's groundbreaking live performances of the time.
EXCERPT
The Piper at the Gates of Dawn is a wondrous creation often seen through the distorted view of later events. These things have served to overshadow the achievement of The Pink Floyd on their debut album: an outstanding group performance; a milestone in record production; and something made in much happier circumstances than I had expected to find...This is not another book about "mad Syd". This, instead, is a celebration of a moment when everything seemed possible, when creative worlds and forces converged, when an album spoke with an entirely new voice. "Such music I never dreamed of," as Rat said to Mole.
EXCERPT
The Piper at the Gates of Dawn is a wondrous creation often seen through the distorted view of later events. These things have served to overshadow the achievement of The Pink Floyd on their debut album: an outstanding group performance; a milestone in record production; and something made in much happier circumstances than I had expected to find...This is not another book about "mad Syd". This, instead, is a celebration of a moment when everything seemed possible, when creative worlds and forces converged, when an album spoke with an entirely new voice. "Such music I never dreamed of," as Rat said to Mole.
132 pages, Paperback
First published September 17, 2003
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Displaying 1 - 30 of 44 reviews
May 12, 2012
This album is an entracing whirligig of English psychedelia of the Alice in Wonderland-meets-Pooh Bear-and an elf-on a croquet lawn-in the 5th dimension variety. The English type of acid music was so different from the American. This was often because English people had not actually taken any acid but had just read descriptions of acid trips and what acid music was supposed to be in the newspapers. English psychedelia had one foot in Croydon and the other in Tibet :
I'll sing you a song with no words and no tune
To sing in your kazi* while you suss out the moon
(Small Faces, mid 68)
* toilet
Syd Barrett was a serious contender for the position of King of the Acidheads although John Lennon would have taken some beating. Syd's songs on this album focus on children and their outlook on life (Mathilda Mother, Flaming, Bike, Lucifer Sam, Scarecrow, The Gnome - and the album title comes of course from The Wind in the Willows) - it was one of the main pillars of countercultural belief at the time, that children were all naturally high and natural truth-tellers and founts of ancient pre-conscious wisdom, (another pillar was that the city was bad and the country was good, there was a whole theology going off, crude but effective). Syd's compressed songwriting style and melodic flair, whereby ideas and effects and nuances and riffs were all phasing in and out with great rapidity, makes this album still a headphone wonderland; there are no complete clunkers and of course this is a completely different Pink Floyd to the tedious corporate beast that emerged after DSOTM.
Syd Barrett as we know got chucked out of the band just at the beginning of the sessions of the next album Saucerful of Secrets (also recommended, almost as good as this one); then he made one poignantly unsettling solo album (The Madcap Laughs), a second not good and clearly mentally unhinged solo album (Barrett) and a bunch of very disturbing demos, and that was it.
I have a crush on 33 1/3 books, they're just too cute, and mostly, they just string you along, I'm sorry to say. It turns out that when you get rabid fans writing about their all time fave album, the results are all over the place. Who would have thought. This one is all right but there are far too many books about Syd Barrett, early Pink Floyd, crazy diamonds and acid casualties. It's skippable, unlike the album.
October 9, 2014
I have become a fan of the 33½ series of books analyzing influential LPs ever since encountering the one about Jethro Tull's "Aqualung", which articulated quite a few of the album's musical qualities I have appreciated for a long time but also been unable to explain exactly why until now. This one I've been even more curious to read, not just because Pink Floyd's "Piper at the Gates of Dawn" is probably the album that's done the most to shape my taste in music but also since PF might be the single most over-analyzed band in rock history - making it something of a challenge for the author to say something new.
Having been written by a different author, it takes a different route than the "Aqualung" book which focused on the composition of the music and how it tied into the lyrical themes. Instead, John Cavanaugh takes as his central angle the creative process involved in making the album. He even starts with admitting that so much has been written about PF's music from the biographical analytical angle of Syd Barrett and Roger Waters' lives that it would be necessary taking another route time. Cavanaugh focuses instead on the recording process, going into the teamwork between not just the band members but also the businesspeople and recording personnel who made it possible. Holding it all together is a perspective on the sociological context of the cultural milieu surrounding Pink Floyd back then.
From the analysis, the general impression emerges that "Piper..." is the kind of record that could be only have been made by those exact musicians at that exact time. For example, it turns out that many of my favourite things about that LP are the result of extremely ambitious but at the time not very technically skilled musicians being given very little time to record with a lot of for the time very advanced recording technology they weren't used to, and all that happening at a time when pop/rock music was suddenly becoming much more ambitious in ways that people weren't able to categorize properly yet.
That might finally explain why I personally find Pink Floyd's music to have gotten less and less interesting as they matured as artists, an opinion that Roger Waters obviously disagrees with me about since he disowns everything between "Piper..." and "Dark Side of the Moon".
Having been written by a different author, it takes a different route than the "Aqualung" book which focused on the composition of the music and how it tied into the lyrical themes. Instead, John Cavanaugh takes as his central angle the creative process involved in making the album. He even starts with admitting that so much has been written about PF's music from the biographical analytical angle of Syd Barrett and Roger Waters' lives that it would be necessary taking another route time. Cavanaugh focuses instead on the recording process, going into the teamwork between not just the band members but also the businesspeople and recording personnel who made it possible. Holding it all together is a perspective on the sociological context of the cultural milieu surrounding Pink Floyd back then.
From the analysis, the general impression emerges that "Piper..." is the kind of record that could be only have been made by those exact musicians at that exact time. For example, it turns out that many of my favourite things about that LP are the result of extremely ambitious but at the time not very technically skilled musicians being given very little time to record with a lot of for the time very advanced recording technology they weren't used to, and all that happening at a time when pop/rock music was suddenly becoming much more ambitious in ways that people weren't able to categorize properly yet.
That might finally explain why I personally find Pink Floyd's music to have gotten less and less interesting as they matured as artists, an opinion that Roger Waters obviously disagrees with me about since he disowns everything between "Piper..." and "Dark Side of the Moon".
January 12, 2018
A nice piece on Pink Floyd's mostly overlooked The Piper at the Gates of Dawn, the only complete album featuring the troubled genius and founder of the group, Syd Barrett. He was the key figure in the band who was later replaced by David Gilmour. One can only wonder how different the sound of Pink Floyd might have been had Barrett remained healthy. On the other hand, he was the preeminent influence on their greatest works, including Astronomy Domine and Interstellar Overdrive. Although not on this album, Syd also was the writer of their first pop hit, See Emily Play, which was recorded during the same sessions.
As all Pink Floyd fans know, the album Wish You Were Here (has a better album in the rock era ever been produced?), is all about Syd, who, after he left the band and, for all practical purposes, this world, was actually present at some of the recording sessions of the album. Shine On You Crazy Diamond (this version by Gilmour) and the song Wish You Were Here (the greatest song ever written) were all about Syd.
This book is for Pink Floyd fanatics and musicians interested in the technical details and history of the recording. An interested tidbit is an anecdote about influence the Beatles and the Floyd had on each other. A quote near the conclusion of the book by BBC producer Stewart Cruickshank sums up the impact of the album nicely: "Even if Pink Floyd had never made another record, people would still talk about them now in much the same way that they'll talk about the first MC5 album, because it captures something."
If you don't know about the MC5, you haven't lived. Kick Out the Jams was Punk when Johnny Rotten and Sid Vicious were still trying to figure out crayons.
As all Pink Floyd fans know, the album Wish You Were Here (has a better album in the rock era ever been produced?), is all about Syd, who, after he left the band and, for all practical purposes, this world, was actually present at some of the recording sessions of the album. Shine On You Crazy Diamond (this version by Gilmour) and the song Wish You Were Here (the greatest song ever written) were all about Syd.
This book is for Pink Floyd fanatics and musicians interested in the technical details and history of the recording. An interested tidbit is an anecdote about influence the Beatles and the Floyd had on each other. A quote near the conclusion of the book by BBC producer Stewart Cruickshank sums up the impact of the album nicely: "Even if Pink Floyd had never made another record, people would still talk about them now in much the same way that they'll talk about the first MC5 album, because it captures something."
If you don't know about the MC5, you haven't lived. Kick Out the Jams was Punk when Johnny Rotten and Sid Vicious were still trying to figure out crayons.
February 28, 2008
My favorite of the 33 1/3 book series. The slant the author takes on this book is not the Syd Barrett acid tragedy, but rather a healthy look at what the psych scene in London was at the time.
Points the author made:
That Barrett was 100% in charge of the band and the music and not quite far gone yet.
Barrett was the only real hard-core acid head while the rest of the band were beer drinking mates.
Pink Floyd wanted to be pop stars while Syd didn't really care much for stardom even back in the day.
I didn't want this book to end, and thought it was so good I played "Piper At The Gates of Dawn" as I read it. Ba-boom chi chi, Ba-boom chi chi...
Points the author made:
That Barrett was 100% in charge of the band and the music and not quite far gone yet.
Barrett was the only real hard-core acid head while the rest of the band were beer drinking mates.
Pink Floyd wanted to be pop stars while Syd didn't really care much for stardom even back in the day.
I didn't want this book to end, and thought it was so good I played "Piper At The Gates of Dawn" as I read it. Ba-boom chi chi, Ba-boom chi chi...
March 1, 2017
This year marks 50 years since Pink Floyd's first psychedelic masterpiece, "Piper at the Gates of Dawn." This is a lovely little book about the making of the album and the band at the time. Doesn't add a huge amount that's not already known, but still - lovely. Just like that strange and whimsical album, before Pink Floyd became epic and heavy and humourless and that almost perfect balance of experimental and popular.
April 23, 2014
his was a near perfect 33 1/3 style book. good information about the band, the world at the time, recording process and struggles. the focus is very strong on just this album. now to listen to the record FOR THE FIRST TIME! (crazy, i know.)
May 1, 2019
Having just seen Nick Mason's Saucerful of Secrets, I sought out a book on early Pink Floyd. A fabulous read that re-ignited my love of this record.
February 6, 2023
There’s some interesting tidbits about the Floyd’s early years and Syd Barrett but it’s all very surface level and frustratingly focuses mostly on tangentially relevant stuff, I assume because the book is founded upon interviews with tangentially relevant people.
The structure is also extremely annoying. The author chooses to write his way through the tracklist, song by song. On paper this is a good approach to break an album down, but he does not bother to do that, so I have no idea why he chose this structure. He jumps from tangent to tangent constantly with no care for chronology or anything. There will be one, maybe two sentences about a particular song, then a few paragraphs about a story or event that has nothing to do with the recording of that song, and that didn’t even happen around the same time. Then he feebly transitions to the next song. It’s a confounding way to approach this kind of book.
Good album. Deserved a much better write up.
The structure is also extremely annoying. The author chooses to write his way through the tracklist, song by song. On paper this is a good approach to break an album down, but he does not bother to do that, so I have no idea why he chose this structure. He jumps from tangent to tangent constantly with no care for chronology or anything. There will be one, maybe two sentences about a particular song, then a few paragraphs about a story or event that has nothing to do with the recording of that song, and that didn’t even happen around the same time. Then he feebly transitions to the next song. It’s a confounding way to approach this kind of book.
Good album. Deserved a much better write up.
December 20, 2015
I've got a waffly unfinished draft review of this from January; the only points in it that still seem worth making months later are:
- what a nice person the author seems (especially in his respect for Syd Barrett, his choices and privacy) in contrast with the judgementalism seen about artists in other 33 1/3s I've read or flicked through, and in that Clinton Heylin book All the Madmen.
- I appreciated its being written by a musician, not simply a journalist/fan, given the extra technical info he brings to it.
- what a nice person the author seems (especially in his respect for Syd Barrett, his choices and privacy) in contrast with the judgementalism seen about artists in other 33 1/3s I've read or flicked through, and in that Clinton Heylin book All the Madmen.
- I appreciated its being written by a musician, not simply a journalist/fan, given the extra technical info he brings to it.
August 11, 2016
Solid. You won't learn anything new but it's a pleasurable read.
August 28, 2025
I am a fan of Pink Floyd. I'm not a rabid fan. I think before listening to this album, I've probably only really listened to three of their albums (Dark Side, Wish You Were Here, and The Wall). Therefore, I was aware that Syd Barrett existed and that he went mad and disappeared.
Unsurprisingly, there is more to the story. This book explores the one Floyd album, Piper at the Gates of Dawn, that was truly Barrett's. Instead of a mad man holding back the rest of the group, we find a man with a turbulent childhood whose imagination and genius pushed music beyond its confines. Music fans tend to view artists as people who need to make music, who want to be in the limelight, who crave adulation and can't understand why someone who run from their popularity. While this is certainly true for many music artists, it is not true for everyone. For some, this fame and adulation creates a prison. It is without doubt that Syd Barrett had mental health issues, nor is it in doubt that Floyd's music after Barrett left evolved and saw heights that they likely wouldn't have reached if he was still part of the band.
Many Floyd fans dismiss this album. I was one of those people, but while reading this book and listening to the album many times during this period, I was able to see its beauty and genius. Its genius lies in its simplicity of language and imagery that is underpinned with complex, industry expanding music. After this album, Pink Floyd went on to create incredible soundscapes, but they lost what Barrett brought. As with all prog-rockish music, it can get quite pretentious. Floyd is as guilty of this as anyone. Pipers' beauty is in its simplicity, in its tightness. Pink Floyd never regained this simplicity and, for many, were worse off because of this loss.
Unsurprisingly, there is more to the story. This book explores the one Floyd album, Piper at the Gates of Dawn, that was truly Barrett's. Instead of a mad man holding back the rest of the group, we find a man with a turbulent childhood whose imagination and genius pushed music beyond its confines. Music fans tend to view artists as people who need to make music, who want to be in the limelight, who crave adulation and can't understand why someone who run from their popularity. While this is certainly true for many music artists, it is not true for everyone. For some, this fame and adulation creates a prison. It is without doubt that Syd Barrett had mental health issues, nor is it in doubt that Floyd's music after Barrett left evolved and saw heights that they likely wouldn't have reached if he was still part of the band.
Many Floyd fans dismiss this album. I was one of those people, but while reading this book and listening to the album many times during this period, I was able to see its beauty and genius. Its genius lies in its simplicity of language and imagery that is underpinned with complex, industry expanding music. After this album, Pink Floyd went on to create incredible soundscapes, but they lost what Barrett brought. As with all prog-rockish music, it can get quite pretentious. Floyd is as guilty of this as anyone. Pipers' beauty is in its simplicity, in its tightness. Pink Floyd never regained this simplicity and, for many, were worse off because of this loss.
May 5, 2019
A great retrospective on Pink Floyd's first album. I had read the Velvet Underground book immediately before this so it was fascinating hearing about the UK music scene around the same time as that was going on it America.
I love how friendly everyone in the UK seemed. Even the Beatles acted almost as mentors to the young Pink Floyd.
This also gives a great retrospective on perhaps Pink Floyd's most unique member, Syd Barrett. The book dissects his mental state and touches on the meaning behind his lyrics. It makes the distinction that the Piper wasn't just a Syd Barrett album and that it was an important starting point for the other band members too. But I would have loved for it to talk more about Roger Waters and Syd Barrett's friendship and more specifics about how this album affected each band member.
I love how friendly everyone in the UK seemed. Even the Beatles acted almost as mentors to the young Pink Floyd.
This also gives a great retrospective on perhaps Pink Floyd's most unique member, Syd Barrett. The book dissects his mental state and touches on the meaning behind his lyrics. It makes the distinction that the Piper wasn't just a Syd Barrett album and that it was an important starting point for the other band members too. But I would have loved for it to talk more about Roger Waters and Syd Barrett's friendship and more specifics about how this album affected each band member.
December 23, 2022
The author takes a very loose approach to the topic, jumping from explanations of recording techniques, biographical tidbits of the band members, record company details, and the scene from which the band emerged, making this a casual and accessible read. For lovers of the album (the majority of those who read this book, I suspect), it may fall a bit short for lack of sharper music criticism or additional perspective from fellow fans, peer musicians, and others. On that note, my biggest complaint is that the most frequent voice quoted comes from Jenny Fabian, a Floyd superfan and author of the 1969 book, Groupie, whose contributions essentially amount to “Wow, they sounded amazing on acid, man!” or “Syd, he was so beautiful,” which makes a caricature out of her and does not lend any new perspective on the band or album.
March 22, 2020
I have to admit, I’ve never been the biggest Syd Barrett-led Pink Floyd fan, but he’s been growing on me over the years. John Cavanagh gives us a brief, but solid, overview of the making of this landmark psychedelic album. Using interviews and quotes from many of the players and people in The Floyd’s inner circle, we are also presented with the crazy and transformative time period that helped define the underground music scene in mid-to-late 1960s London. A great and quick read for all pre-Dark Side Pink Floyd fans. I just wish there was a bit more...this album and the psychedelic revolution that Barrett and Floyd helped revolutionize deserves a full-blown examination.
October 12, 2022
A great album which I still find pleasure with listening to, made all the more interesting with the pertinent facts dealing with the separate creation of each track and the stories behind them, as given in this book.
Without Syd Barrett, the group as it were then wouldn't exist without this album; a flagship for the group's meteoric success to come.
Without Syd Barrett, the group as it were then wouldn't exist without this album; a flagship for the group's meteoric success to come.
May 6, 2025
One of my favourite albums of all time, but the book itself is a little unfocused. The structure was a little irritating and it felt like a rambley long read about a fascinating subject. To be fair, I've read quite a few books on Pink Floyd now, and there's so much more interesting stuff you could have put in here.
March 23, 2019
Very nice dive into The Floyd's first record. Some interviews and research co-mingle with editorial to create a breezy but informative read that educates on just how Syd and co. put together Piper and the landscape of the time.
January 3, 2021
Probably my favorite of the series so far. Cavanagh clearly loves the album and Syd. He does a fantastic job telling the story of Floyd, the recording of the album and giving a track by track analysis as one interwoven work.
August 21, 2023
I think Floyd-heads may find enjoyment in this book, especially ones who would gladly listen to different versions of the same track and marvel at Syd Barrett's inventiveness. I personally think the book suffers for focusing entirely on the music and hardly at all on the people making it.
December 30, 2023
finally, a 33 1/3 book that doesn’t burn out part-way through. such a good read, a proper celebration, and i now get to enjoy the new life that this book has breathed into an old favourite album of mine
May 11, 2018
Not a fan of this one - the book or the album. They both just leave me flat. Perhaps I am too sober to enjoy them...
November 2, 2019
este tipo de libros me aburren de la misma manera que me interesan, tratan de discos que siempre me han dicho mucho per no aportan nada que no se haya tratado en otra ocasión.
June 20, 2020
Listen to the album and dream instead.
December 6, 2020
An average entry in the series, but interesting enough for someone who doesn't know the history of Pink Floyd. I also appreciate the respect for Barrett.
March 8, 2022
The best 33 1/3 book I’ve read on the basis that it is not trying to impress me by how much the author knows but instead tells me about the album’s production, influence, legacy, and meaning.
August 7, 2022
Όλα τα βιβλιαράκια της σειράς “33 ½” είναι απολαυστικά για τους μουσικόφιλους αφού φωτίζουν ωραία κάποια εμβληματικά άλμπουμ της παγκόσμιας δισκογραφίας.
Το ντεμπούτο των Pink Floyd είναι ένα διαμάντι του ψυχεδελικού ροκ (και το μόνο στο οποίο βρίσκουμε τον Syd Barrett) και ο John Cavanagh προσπαθεί να πιάσει διάφορες πλευρές του αν και ξέρει πως αντικειμενικά είναι δύσκολο να εντυπωσιάσει ή να πει κάτι νέο αφού έχουν γραφτεί πολλά βιβλία για το σχήμα και το Syd Barrett (που ήταν και ο βασικός συνθέτης για το αριστούργημα αυτό πριν αποχωρήσει λόγω των ψυχικών θεμάτων που τον βασάνιζαν).
Ο συγγραφέας παίρνει συνεντεύξεις από πάρα πολλά άτομα προσπαθώντας να ψηλαφήσει όχι μόνο το άλμπουμ, αλλά και τη ζωή των μελών καθώς και την περιρρέουσα ατμόσφαιρα της εποχής. Το πιο ενδιαφέρον κομμάτι είναι πως ξεκινάει πριν την ηχογράφηση ώστε να καταλάβει κάποιος τι είναι αυτό που οδήγησε στη δημιουργία του άλμπουμ και λεπτομέρειες σε σχέση με την ηχογράφηση που αφορούσαν κάποιους εκτός μπάντας όπως οι τεχνικοί στο στούντιο γιατί μπορεί το σχήμα να είχε κάτι στο μυαλό του αλλά ούτε τεχνικά άρτιοι ήταν, ούτε ήταν εύκολο να ηχογραφηθούν πολλά από αυτά που ήθελαν εξαιτίας της τεχνολογίας εκείνη την εποχή (που κάνει ακόμα πιο σημαντική τη δουλειά που έριξαν οι άνθρωποι του στούντιο).
Το ντεμπούτο των Pink Floyd είναι ένα διαμάντι του ψυχεδελικού ροκ (και το μόνο στο οποίο βρίσκουμε τον Syd Barrett) και ο John Cavanagh προσπαθεί να πιάσει διάφορες πλευρές του αν και ξέρει πως αντικειμενικά είναι δύσκολο να εντυπωσιάσει ή να πει κάτι νέο αφού έχουν γραφτεί πολλά βιβλία για το σχήμα και το Syd Barrett (που ήταν και ο βασικός συνθέτης για το αριστούργημα αυτό πριν αποχωρήσει λόγω των ψυχικών θεμάτων που τον βασάνιζαν).
Ο συγγραφέας παίρνει συνεντεύξεις από πάρα πολλά άτομα προσπαθώντας να ψηλαφήσει όχι μόνο το άλμπουμ, αλλά και τη ζωή των μελών καθώς και την περιρρέουσα ατμόσφαιρα της εποχής. Το πιο ενδιαφέρον κομμάτι είναι πως ξεκινάει πριν την ηχογράφηση ώστε να καταλάβει κάποιος τι είναι αυτό που οδήγησε στη δημιουργία του άλμπουμ και λεπτομέρειες σε σχέση με την ηχογράφηση που αφορούσαν κάποιους εκτός μπάντας όπως οι τεχνικοί στο στούντιο γιατί μπορεί το σχήμα να είχε κάτι στο μυαλό του αλλά ούτε τεχνικά άρτιοι ήταν, ούτε ήταν εύκολο να ηχογραφηθούν πολλά από αυτά που ήθελαν εξαιτίας της τεχνολογίας εκείνη την εποχή (που κάνει ακόμα πιο σημαντική τη δουλειά που έριξαν οι άνθρωποι του στούντιο).
December 6, 2023
Αρκετά στοχευμένο με ενδιαφέρουσες πληροφορίες σχετικά με την 1η κυκλοφορία των Floyd.
September 30, 2023
if you're reading this, please do yourself a favor and listen to Pink Floyd's debut album The Piper at the Gates of Dawn from 1967
August 17, 2015
If you are a music junky, you should be reading these 33 1/3 books. I've read the one about my favorite album (Double Nickels on the Dime) and a Bob Dylan classic (Highway 61 Revisited) and both times I appreciated the music more fully after reading. This one is about Pink Floyd's first album which I've listened to but not memorized like Dark Side and The Wall, and once again the book has opened up the music a bit. I knew very little about early Pink Floyd with the exception of Syd Barrett's LSD and schizophrenia cocktail and meltdown. Astronomy Domine sounds even more interesting now.
March 15, 2014
My first meeting with the 33 1/3 series was Low and it set high standards that Piper at the Gates of Dawn just doesn't live up to. It is more a mish-mash of parts of interviews that are often hard to follow. It gets better towards the end, but it also talks more about the Syd, consciously avoiding mad epithet.
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