He just, for some incredible reason picked the very day that we were doing a song which was about him. He came in as we were doing the vocals for "Shine On You Crazy Diamond", which was basically about Syd. And I said to Roger, "Who is he?" and Roger said "I don't know." And I said "Well, I assumed he was a friend of yours," and he said "No, I don't know who he is." Anyway, it took me a long time, and then suddenly I realised it was Syd, after maybe 45 minutes. strange." Anyway, so I sat down with Roger at the desk and we worked for about ten minutes, and this guy kept on getting up and brushing his teeth and then sitting – doing really weird things, but keeping quiet. Roger was there, and he was sitting at the desk, and I came in and I saw this guy sitting behind him – huge, bald, fat guy. The episode is taken up by Wright as follows: Gilmour confirmed this story, although he could not recall which composition they were working on when Barrett showed up. He subsequently slipped away during celebrations for Gilmour's wedding to Ginger Hasenbein, which took place later that day. When asked what he thought of the song, Barrett said it sounded a "bit old". Someone asked to play the suite again for Barrett and he said a second playback was not needed when they had just heard it. When they eventually realised that the withdrawn man in the corner was Barrett, Roger Waters became so distressed about Barrett's appearance that he was reduced to tears.
Because of his drastically changed appearance, the band did not recognize him for some time. One day during recording, Barrett (now heavyset, with a completely shaved head and eyebrows) wandered into the studio (although Mason has since stated that he is not entirely certain whether "Shine On You Crazy Diamond" was the particular work being recorded when Barrett was there). Syd Barrett, visiting Abbey Road Studios on 5 June 1975 Particularly for Roger and myself being the rhythm section, which would be laid down first, this was a fairly tough business because the whole thing had to be sort of right. Consequently whenever we played these pieces, they had to be played from beginning to end. With the invention of 16-track and 2-inch tape there was the belief for quite a while that there would be something wrong with editing tape that big. That part was re-recorded at British Grove Studios by pianist Richard Wright during the multi-channel mix used for the album Immersion Edition and the SACD release. On part 3, a piano part seems to have been added "live" to the final mix, making it absent from multitrack masters. There was no way of saving it, so we just had to do it yet again. That affected the tom-toms and guitars and keyboards which were playing along at the time. Unfortunately nobody understood the desk properly and when we played it back we found that someone had switched the echo returns from monitors to tracks one and two.
So we did it again in one day flat and got it a lot better. We originally did the backing track over the course of several days, but we came to the conclusion that it just wasn't good enough. Īccording to guitarist David Gilmour and drummer Nick Mason on the Wish You Were Here episode of In the Studio with Redbeard, Pink Floyd recorded a satisfactory take of "Shine On You Crazy Diamond" but because of a new mixing console which was installed at Abbey Road Studios, it needed to be re-recorded because excessive 'bleed' from other instruments could be heard on the drum tracks. Our bodies were there, but our minds and feelings somewhere else." Eventually an idea was raised to split the song in two, Parts I–V and Parts VI–IX. Recording īassist Roger Waters commented, as the sessions were underway, that "at times the group was there only physically. It was intended to be a side-long composition (like " Atom Heart Mother" and " Echoes") but was split into two sections and used to bookend the album, with new material composed that was more relevant to the album and to the situation in which the band found themselves. The work was first performed on their 1974 French tour and recorded for their 1975 concept album Wish You Were Here.
The remaining band members felt guilty for removing him, but they viewed it as necessary, admiring Barrett's creativity and being concerned about his severe mental decline.
He was replaced by David Gilmour, Barrett's former school friend who had initially been brought in as second guitar. Barrett was ousted from the band by the other members in 1968 due to his drug use and troubled mental health, which had affected his ability to integrate with the rest of the band and perform and create as a musician. The song was conceived and written as a tribute and remembrance to their former band member Syd Barrett, a founding member of Pink Floyd.
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