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. 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 following day, in about five hours, Barrett recorded vocal and guitar tracks for four recently recorded songs, starting with "Opel", and two old ones. 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 multiple false starts. The next song attempted was "Love You", the first take of which featured a faster tempo than the officially released take 2. After "Love You", they recorded "It's No Good Trying", which was similarly completed in just a few takes. Barrett was in "great form, and very happy", Jones recalled, and "very together". 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. 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". The following session took place on 17 April, in Studio 2 at EMI. 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 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. 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. 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. After these tests, the band recorded three takes, the last of which became the