The far distant shore 17


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page 46  Once again Palacios explains how the seashore was important in Syd's lyrics. The seashore made a profund impression on Roger. The moment he saw light strike the water, the diamond sun shining on the silver sea dazzled him. His world shone. The roots of Barrett's lyrical connections linking places, words and feelings are to be found in these experiences. This imagistic meta-language gave scattered clues of how he interpreted the world. — Julian Palacios, Dark Globe



Photographed at the beach at Migjorn … Photos show him playing a flute while reclining in the sand, head propped on his arm, sunk deep inside his own thoughts. … Skulking off to sit under a wind-gnarled Sabina juniper tree, Barrett played Hutt's sitar for hours without a word to anyone. — Julian Palacios, Dark Globe

At the recording session on 4 th September 1967, the intro notes later used for Opel were played with a flute effect: it's possible that just weeks before he may have tried the same notes on a flute, as in the photo above, taken to immortalize his days in Formentera.  sources → Palacios, Julian. Syd Barrett & Pink Floyd: Dark Globe. London: Plexus Publishing Limited, 2010. 15, 266. Print. http://books.google.com/books?id=DvgH58uEPFAC&pg=PA15 [&pg=PA266] The LaughingMadcaps. http://sydbarrettpinkfloydesp.blogspot.it/2013/04/musica-e-imagen-paratus-oidos-have-you.html