On the morning of the 23rd, Barrett arrived at the studio with a cassette player, on which he had recorded motorbike sounds these, he told Jones, were "all ready to put onto the 'Rhamadan' four track". Afterwards, Barrett mentioned that he was interested in revisting one of the Jenner tracks − "Rhamadan". When asked if he had any new songs for the following week's session, on 23 April, Barrett's replied that he had "a weird idea I want to try out" and that other musicians would not be required. This session for "No Man's Land" and "Here I Go" lasted just three hours. Next, they recorded a song that Barrett had written in a few minutes, "Here I Go", which required no overdubs at all. " Shirley said of Barrett: "He gave the impression he knew something you didn't. They were seeing and then playing so they were always a note behind. Playing along with Barrett wasn't easy, according to Jones: "It was a case of following him, not playing with him. After these tests, the band recorded three takes, the last of which became the master take for "No Man's Land" the bass, however, was re-recorded at a later date. Once the rehearsal was through, they went for a take, to check how the band sounded and to test the equipment from within the control room. The first track Barrett and his fellow musicians worked on was "No Man's Land", after Barrett had played through the song several times, to allow Shirley and Wilson to pick up the segments. The problem with this new set-up, though, was that the songs were recorded as Barrett played them live in the studio on the released versions, a number of them have false starts and commentaries from Barrett. Jones arrived there to find that Barrett had brought in friends of his as support musicians: Jerry Shirley, drummer with Humble Pie, and Willie Wilson, Jokers Wild's drummer, although for this occasion he was playing bass. The following session took place on 17 April, in Studio 2 at Abbey Road. After returning to the studio, they worked on "Terrapin", with Barrett requiring just a single take, and added slide guitar and vocals to "Late Night". During the lunch break that day, they talked about improving some of the other songs from the Jenner sessions, particularly "Golden Hair" and "Late Night", the last of which was just a backing track at this point. Barrett was in "great form, and very happy", Jones recalled, and "very together". After "Love You", they recorded "It's No Good Trying", which was similarly completed in just a few takes. The next song attempted was "Love You", the first take of which featured a faster tempo than the officially released take 2. Barrett and his new producer were in agreement that "Opel" was among the best of the new recordings at this time only two complete takes of the song were taped, though, after mulitple false starts. The following day, in about five hours, Barrett recorded vocal and guitar tracks for four recently recorded songs, starting with "Opel", and two old ones. The first track to be worked on was "Swan Lee", which received vocal overdubs and a new guitar track, and several ideas for "Clowns and Jugglers" were considered Barrett and Jones both felt that the results were superior to the previous versions. The Jones-produced sessions commenced on 10 April 1969 at EMI's Studio 3, with that day being dedicated to going through the 1968 tapes again to see what could be improved upon. After the playbacks, Barrett performed several songs on guitar for Jones: "Opel" and "Clowns and Jugglers" (both attempted during the sessions with Peter Jenner), and the newly written "Terrapin" and "Love You". Of these, "Swan Lee" had no vocals, but Jones saw potential in the song "Late Night" did have vocals and, Jones remarked, "a certain charm" while "Golden Hair" was "great". " In a meeting at Barrett's flat in Earls Court, unsure of Jenner's production technique, Jones asked to hear some of the previous year's tapes Barrett played him " Swan Lee", " Late Night", "Rhamadan", "Lanky (Parts One and Two)" and " Golden Hair". Jones would later explain the rationale behind EMI letting Barrett record again: "What was decided was to see what was the strength of Syd's new material, and plan accordingly. In April 1969, the young executive took over the project and Barrett began working on newer material, while reworking the 1968 recordings. Jones had little difficulty in persuading his boss, Roy Featherstone, and Ron White, authoriser of EMI recordings, to allow Barrett to record with the company again.
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