The far distant shore 2

From Opel: Immersion Set for Distant Shores
Jump to navigationJump to search

White2.jpg
Go to cover page
Go to i. Introducion
Go to ii. The title
Go to iii. The totem
Go to iv. The far distant shore
Go to v. Driftwood
Go to vi. Dry tears
Go to vii. A circle of grey
Go to viii. To be found…
Go to ix. Information pack

Go to previous page

page 31

Go to next page

Hand-right2.jpg

Syd used grey to describe a sad, distant rain in "Baby Lemonade":

Music-notes.jpg

Rain falls in grey far away
Please, please, Baby Lemonade

YTbutton.jpg

And a hill in "It Is Obvious":

Music-notes.jpg

So equally over a valley, a hill wood on quarry stood
Each of us crying
A velvet curtain of gray mark the blanket where the sparrows play

YTbutton.jpg

He was more or less metaphorical: while grey and blue in "Gigolo Aunt" aptly remind sand and sea for a beach, his reply to Robert Wyatt about how to play a song was colourful, but dark like a grey:

Perhaps we could make the middle darker and maybe the end a bit middle-afternoonish... at the moment it's too windy and icy.

— Syd Barrett  

Even writing about a dream is not an avowal of unclear ideas for Syd, since on one of his first compositions, "Bob Dylan Blues", he stated he usually is writing about dreams:

Music-notes.jpg

Well I sing about dreams and I rhymes it with seams
Cause it seems that my dream always means
That I can prophesy all kinds of things

YTbutton.jpg



sources →
Willis, Tim. Madcap: the half-life of Syd Barrett, Pink Floyd's lost genius. London: Short books, 2002. 105. Print. http://www.lrb.co.uk/v25/n01/jeremy-harding/afternoonishness