This article explores the profound and lasting influence of Syd Barrett on Pink Floyd’s music. Using the innovative “Candy and a Currant Bun” test, we analyze every track in the band’s catalogue, revealing that most of their greatest songs, whether created by, about, or in reaction to Barrett, stem from his unique genius. With data-backed insights, vivid imagery, and a fresh perspective on Barrett’s foundational role, this piece redefines how we view Pink Floyd’s legacy, proving that Barrett was not just a fleeting presence but the creative epicentre of their evolution.
It’s impossible to discuss Pink Floyd without acknowledging the indelible impact of Syd Barrett, the band’s original frontman, songwriter, and the architect of its early sound. Barrett’s influence resonates not only in the tracks he contributed to but across Pink Floyd’s entire discography, even years after his departure. A compelling argument can be made: the majority of Pink Floyd’s best music is either created by, about, or as a reaction to Syd Barrett.
To prove this theory, we can use what I’ve coined the “Candy and a Currant Bun” test—a simple but effective measure of whether a song can be considered superior to one of Pink Floyd’s earliest (and rather simplistic) songs, “Candy and a Currant Bun.” While the choice of “Candy and a Currant Bun” as a baseline is inherently subjective, its simplicity and lack of complexity make it an ideal reference point for evaluating Pink Floyd’s more ambitious works. This test, while subjective, provides a consistent baseline from which we can objectively assess the quality of the band’s catalogue. By comparing each track to this early tune, a pattern emerges: the vast majority of Pink Floyd’s most celebrated tracks are either directly linked to Syd Barrett or inspired by the search for their own sound in the aftermath of his influence.
The Case for Syd Barrett as Ground Zero
To understand why Syd Barrett is the “ground zero” of Pink Floyd’s musical evolution, we need to examine how the band’s songs fall into distinct categories of influence:
- Category 1: Syd Barrett sings, plays, or writes the song. These are the tracks from the band’s debut album and early singles that feature Syd directly. Songs like “Astronomy Domine” and “Bike” are quintessential examples of Barrett’s influence during Pink Floyd’s formative period.
- Category 2: Songs written about Syd Barrett. These emotionally charged tracks often reflect the band’s anguish over Barrett’s departure and mental decline. “Shine On You Crazy Diamond” and “Wish You Were Here” are prime examples.
- Category 3: Attempts to “out-Syd Syd” in terms of psychedelia. After Barrett’s exit, Pink Floyd continued to experiment with the psychedelic style he pioneered, often pushing it further into uncharted territory. Tracks like “Set the Controls for the Heart of the Sun” and “Careful with That Axe, Eugene” fit this category.
- Category 4: Reactions to Barrett’s influence, as the band tries to establish their own musical identity. Albums like Meddle, The Dark Side of the Moon, and Animals are filled with tracks where the band defines their style, but always within the looming shadow of Barrett’s original vision.
- Category 5: Songs with no relation to Syd Barrett. Though these tracks may be great in their own right, they lack the depth or influence that Syd’s presence (or absence) imprinted on the band’s most impactful work.
Who’s in the Band?
Who’s on them – Categorised as:
- Group A: Syd Barrett, Roger Waters, Nick Mason, Richard Wright.
- Group B: Roger Waters, David Gilmour, Nick Mason, Richard Wright.
- Group C: Roger Waters, David Gilmour, Nick Mason (without Richard Wright).
- Group D: David Gilmour, Nick Mason, Richard Wright (without Roger Waters).
- Group E: David Gilmour, Nick Mason (without Richard Wright or Roger Waters).
The Candy and a Currant Bun Test
Now, let’s apply the “Candy and a Currant Bun” test to Pink Floyd’s catalogue. The premise is simple: is this song better than “Candy and a Currant Bun”? If it is, it likely belongs in one of the first four categories—meaning that it was either created by, about, or as a reaction to Syd Barrett.
Getting Empirical
Below is a comprehensive table that lists every track from Pink Floyd’s studio albums, categorized by its relationship to Barrett and evaluated against the Candy and a Currant Bun test:
Album | Song | Category | Who’s on them | Better than “Candy and a Currant Bun” |
---|---|---|---|---|
The Piper at the Gates of Dawn (1967) | Astronomy Domine | 1 | Group A | Y |
Lucifer Sam | 1 | Group A | Y | |
Matilda Mother | 1 | Group A | Y | |
Flaming | 1 | Group A | Y | |
Pow R. Toc H. | 1 | Group A | Y | |
Take Up Thy Stethoscope and Walk | 5 | Group A | N | |
Interstellar Overdrive | 1 | Group A | Y | |
The Gnome | 1 | Group A | Y | |
Chapter 24 | 1 | Group A | Y | |
The Scarecrow | 1 | Group A | Y | |
Bike | 1 | Group A | Y | |
A Saucerful of Secrets (1968) | Let There Be More Light | 3 | Group A | Y |
Remember a Day | 4 | Group A | Y | |
Set the Controls for the Heart of the Sun | 3 | Group A | Y | |
Corporal Clegg | 2 | Group A | N | |
A Saucerful of Secrets | 4 | Group A | Y | |
See-Saw | 4 | Group A | N | |
Jugband Blues | 1 | Group A | Y | |
More (1969) | Cirrus Minor | 5 | Group B | Y |
The Nile Song | 5 | Group B | Y | |
Crying Song | 5 | Group B | N | |
Up the Khyber | 5 | Group B | N | |
Green Is the Colour | 4 | Group B | Y | |
Cymbaline | 5 | Group B | Y | |
Party Sequence | 5 | Group B | N | |
Main Theme | 5 | Group B | N | |
Ibiza Bar | 5 | Group B | N | |
More Blues | 5 | Group B | N | |
Quicksilver | 5 | Group B | N | |
A Spanish Piece | 5 | Group B | N | |
Ummagumma (1969) | Astronomy Domine (Live) | 1 | Group B | Y |
Careful with That Axe, Eugene (Live) | 3 | Group B | Y | |
Set the Controls for the Heart of the Sun (Live) | 3 | Group B | Y | |
A Saucerful of Secrets (Live) | 4 | Group B | Y | |
Sysyphus | 5 | Group B | N | |
Grantchester Meadows | 2 | Group B | Y | |
Several Species of Small Furry Animals Gathered… | 3 | Group B | N | |
The Narrow Way | 4 | Group B | Y | |
The Grand Vizier’s Garden Party | 5 | Group B | N | |
Atom Heart Mother (1970) | Atom Heart Mother (suite) | 4 | Group B | Y |
If | 4 | Group B | Y | |
Summer ’68 | 4 | Group B | Y | |
Fat Old Sun | 4 | Group B | Y | |
Alan’s Psychedelic Breakfast | 3 | Group B | Y | |
Relics (1971) | Arnold Layne | 1 | Group A | Y |
See Emily Play | 1 | Group A | Y | |
Paint Box | 4 | Group A | N | |
Remember a Day | 4 | Group A | Y | |
Careful with That Axe, Eugene | 3 | Group B | Y | |
Cirrus Minor | 5 | Group B | Y | |
The Nile Song | 5 | Group B | Y | |
Biding My Time | 4 | Group B | Y | |
Bike | 1 | Group A | Y | |
Meddle (1971) | One of These Days | 4 | Group B | Y |
A Pillow of Winds | 5 | Group B | N | |
Fearless | 5 | Group B | Y | |
San Tropez | 5 | Group B | N | |
Seamus | 5 | Group B | N | |
Echoes | 4 | Group B | Y | |
Obscured by Clouds (1972) | Obscured by Clouds | 5 | Group B | N |
When You’re In | 5 | Group B | N | |
Burning Bridges | 5 | Group B | Y | |
The Gold It’s in the… | 5 | Group B | N | |
Wot’s… Uh the Deal | 5 | Group B | Y | |
Mudmen | 5 | Group B | N | |
Childhood’s End | 5 | Group B | Y | |
Free Four | 4 | Group B | Y | |
Stay | 5 | Group B | N | |
Absolutely Curtains | 5 | Group B | N | |
The Dark Side of the Moon (1973) | Speak to Me | 5 | Group B | N |
Breathe (In the Air) | 5 | Group B | Y | |
On the Run | 5 | Group B | Y | |
Time | 5 | Group B | Y | |
The Great Gig in the Sky | 5 | Group B | Y | |
Money | 5 | Group B | Y | |
Us and Them | 5 | Group B | Y | |
Any Colour You Like | 5 | Group B | Y | |
Brain Damage | 2 | Group B | Y | |
Eclipse | 5 | Group B | Y | |
Wish You Were Here (1975) | Shine On You Crazy Diamond (Parts I-V) | 2 | Group B | Y |
Welcome to the Machine | 2 | Group B | Y | |
Have a Cigar | 4 | Group B | Y | |
Wish You Were Here | 2 | Group B | Y | |
Shine On You Crazy Diamond (Parts VI-IX) | 2 | Group B | Y | |
Animals (1977) | Pigs on the Wing (Part 1) | 5 | Group B | Y |
Dogs | 5 | Group B | Y | |
Pigs (Three Different Ones) | 5 | Group B | Y | |
Sheep | 5 | Group B | Y | |
Pigs on the Wing (Part 2) | 5 | Group B | Y | |
The Wall (1979) | In the Flesh? | 4 | Group B | Y |
The Thin Ice | 4 | Group B | Y | |
Another Brick in the Wall (Part 1) | 4 | Group B | Y | |
The Happiest Days of Our Lives | 4 | Group B | Y | |
Another Brick in the Wall (Part 2) | 4 | Group B | Y | |
Mother | 4 | Group B | Y | |
Goodbye Blue Sky | 4 | Group B | Y | |
Empty Spaces | 4 | Group B | Y | |
Young Lust | 4 | Group B | Y | |
One of My Turns | 4 | Group B | Y | |
Don’t Leave Me Now | 4 | Group B | N | |
Another Brick in the Wall (Part 3) | 4 | Group B | Y | |
Goodbye Cruel World | 4 | Group B | N | |
Hey You | 4 | Group B | Y | |
Is There Anybody Out There? | 4 | Group B | Y | |
Nobody Home | 4 | Group B | Y | |
Vera | 2 | Group B | Y | |
Bring the Boys Back Home | 4 | Group B | N | |
Comfortably Numb | 4 | Group B | Y | |
The Show Must Go On | 4 | Group B | Y | |
In the Flesh | 4 | Group B | Y | |
Run Like Hell | 4 | Group B | Y | |
Waiting for the Worms | 4 | Group B | Y | |
Stop | 4 | Group B | N | |
The Trial | 4 | Group B | Y | |
Outside the Wall | 4 | Group B | N | |
The Final Cut (1983) | The Post War Dream | 5 | Group C | N |
Your Possible Pasts | 5 | Group C | N | |
One of the Few | 5 | Group C | N | |
The Hero’s Return | 5 | Group C | N | |
The Gunner’s Dream | 5 | Group C | N | |
Paranoid Eyes | 5 | Group C | N | |
Get Your Filthy Hands Off My Desert | 5 | Group C | N | |
The Final Cut | 5 | Group C | N | |
Not Now John | 5 | Group C | N | |
Two Suns in the Sunset | 5 | Group C | N | |
A Momentary Lapse of Reason (1987) | Signs of Life | 5 | Group D | Y |
Learning to Fly | 5 | Group D | Y | |
The Dogs of War | 5 | Group D | Y | |
One Slip | 5 | Group D | Y | |
On the Turning Away | 5 | Group D | Y | |
Yet Another Movie | 5 | Group D | Y | |
A New Machine (Part 1) | 5 | Group D | N | |
Terminal Frost | 5 | Group D | N | |
A New Machine (Part 2) | 5 | Group D | N | |
Sorrow | 5 | Group D | Y | |
The Division Bell (1994) | Cluster One | 5 | Group D | Y |
What Do You Want from Me | 5 | Group D | Y | |
Poles Apart | 2 | Group D | Y | |
Marooned | 5 | Group D | Y | |
A Great Day for Freedom | 5 | Group D | Y | |
Wearing the Inside Out | 5 | Group D | Y | |
Take It Back | 5 | Group D | Y | |
Coming Back to Life | 5 | Group D | Y | |
Keep Talking | 5 | Group D | Y | |
Lost for Words | 5 | Group D | Y | |
High Hopes | 5 | Group D | Y | |
The Endless River (2014) | Things Left Unsaid | 5 | Group E | N |
It’s What We Do | 5 | Group E | N | |
Ebb and Flow | 5 | Group E | N | |
Sum | 5 | Group E | N | |
Skins | 5 | Group E | N | |
Unsung | 5 | Group E | N | |
Anisina | 5 | Group E | N | |
The Lost Art of Conversation | 5 | Group E | N | |
On Noodle Street | 5 | Group E | N | |
Night Light | 5 | Group E | N | |
Allons-y (1) | 5 | Group E | N | |
Autumn ’68 | 5 | Group E | N | |
Allons-y (2) | 5 | Group E | N | |
Talkin’ Hawkin’ | 5 | Group E | N | |
Calling | 5 | Group E | N | |
Eyes to Pearls | 5 | Group E | N | |
Surfacing | 5 | Group E | N | |
Louder Than Words | 5 | Group E | Y |
Highlight Key Data Insights
Based on the data:
- Total Songs Analyzed: 164
- Songs Better than “Candy and a Currant Bun”: 104
- Songs in Categories 1–4 Better than “Candy and a Currant Bun”: 64 (61.54%)
- Songs in Category 5 Better than “Candy and a Currant Bun”: 40 (38.46%)
The table reveals significant insights into the relationship between Syd Barrett’s influence and the quality of Pink Floyd’s music. Among the 164 songs analyzed, 104 were deemed better than “Candy and a Currant Bun.” Notably, 64 of these (61.54%) belong to Categories 1–4, underscoring Barrett’s foundational role in the band’s creative evolution. These categories represent songs directly connected to Barrett—either through his contributions, songs written about him attempts to emulate his style, or reactions to his influence.
In contrast, only 40 songs in Category 5 (38.46%), those with no connection to Barrett—surpassed the baseline. This demonstrates a clear trend: songs tied to Barrett are statistically more likely to achieve a higher standard of quality. The data provides strong empirical backing for the hypothesis that Barrett’s influence—direct or indirect—served as a creative touchstone for Pink Floyd.
Additionally here’s a slice and dice of the category data.
Category | Total Songs | Better than ‘Candy and a Currant Bun’ | Percentage Better |
---|---|---|---|
1 – With Syd | 15 | 15 | 100 |
2 – About Syd | 9 | 8 | 88.89 |
3 – Competes with Syd | 7 | 6 | 85.71 |
4 – Reaction to Syd | 42 | 35 | 83.33 |
5 – Unrelated to Syd | 91 | 40 | 43.96 |
Conclusion: Syd Barrett as the Epicenter of Pink Floyd’s Legacy
As we can see from the table, most of the songs deemed “better than ‘Candy and a Currant Bun’” fall into one of the first four categories, proving that Syd Barrett’s influence is inescapable in Pink Floyd’s greatest music. Whether the band was writing about him, attempting to emulate his psychedelic genius, or reacting to his absence by developing their own distinct style, Barrett was always at the core of their creativity.
While Pink Floyd evolved over the years and developed iconic albums without Barrett’s direct involvement, his presence—or the lack thereof—served as the creative spark that drove the band to heights of innovation that few others have achieved. In this sense, Syd Barrett truly was the “ground zero” of Pink Floyd, the gravitational centre around which their music orbited.
Though Barrett’s time with the band was tragically cut short, his influence remains integral to understanding why Pink Floyd’s music resonates as deeply today as it did decades ago. Even as the band’s sound evolved with albums like The Dark Side of the Moon and Wish You Were Here, the creative sparks ignited by Barrett’s presence continued to shape their identity, proving that his influence transcended his time with the band. The Candy and a Currant Bun test highlights this enduring legacy: Syd Barrett’s music isn’t just good; it’s foundational.
In the end, Pink Floyd’s best work, their most memorable albums, and their most defining songs all trace back to the origin point of Syd Barrett. Whether directly or indirectly, he is the axis upon which their creative world turned.