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Subtitles by Billy Novy.
This programme contains some strong language.
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How I wish How I wish you were here
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We're just two lost souls Swimming in a fish bowl
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Year after year
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Running over the same old ground
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What have we found?
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The same old fears
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Wish you were here.
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It did stem from those first four notes
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that popped out of the guitar one day in King's Cross.
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Somehow, those notes evoked a song about Syd
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and his disappearance, absence, if you like, in Roger.
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It's my homage to Syd
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and my heartfelt expression of my sadness and...
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But also my admiration for the talent, and my sadness
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for the loss of the friend.
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You were caught in the crossfire
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Of childhood and stardom
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Blown on the steel breeze.
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I think the song is brilliant in its sort of evocation of what
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Roger obviously felt about Syd, and certainly, it matches mine.
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I think what was so important was to not try
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and write him out of history.
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Come on, you stranger
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You legend, you martyr
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And shine!
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There are no generalities, really, in that song.
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It's not about, "All the crazy diamonds", it's about Syd.
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THEY VOCALIZE AND EMIT NOISES
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When I first saw the Floyd, I remember...
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I mean, the first thing you noticed was the lights,
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because nobody was doing that then. At least I hadn't seen it.
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But Syd really started to shine.
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You know, you couldn't really take your eyes off him,
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even in the murk and the purple and green blobs, you know,
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the bright-eyed Syd and his singing and his guitar playing
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kind of jumped out at you.
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Blinding signs flap Flicker, flicker, flicker
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Blam... Pow! Pow!
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Da, da-da, da, da-da, da-da
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Da-da, da-da
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Ooooh!
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By the time I was working with them in the studio,
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it was clear that the real creative shape of the group emanated
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from Syd, although,
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you know, it certainly wasn't Syd and backing group.
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Syd was a very wonderful chap.
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Very, very witty. Very, very sharp.
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You know, he was out-going, charming, wonderful, friendly.
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You name it. I mean, a wonderful man.
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He was one of the gang, I guess you'd say.
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A good friend. Funny.
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Rather annoying, though - he was good looking
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and played guitar and could paint,
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and always had nice girlfriends.
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No-one that you ever really would have imagined
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would wind up the way he did wind up.
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Remember when you were young
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You shone like the sun
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Shine on, you crazy diamond.
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Little by little The night turns around
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Counting the leaves Which tremble at dawn
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Ah, aaah, ah, aaah, ah
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Ah, aaah, ah, aaah, ah
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Set the controls For the heart of the sun
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Heart of the sun
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Heart of the sun.
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In this post Dark Side Of The Moon period,
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we were all having to assess
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what we were in this business for,
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why we were doing it, whether we were artists or business people.
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Having achieved the sort of success
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and money out of it all that...
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that could fulfil anyone's wildest teenage dreams,
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why we would still want to continue to do it.
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Yeah, I remember the disappointment of Top Of The Pops
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or having the first hit single or whatever.
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It's not as world-shaking
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and changing as perhaps you expect it to be.
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So maybe, you know, because of the enormous success
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of Dark Side, there was still that sense of,
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"Well, this hasn't made us feel enormously different or satisfied."
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Roger, I think, has sometimes said that he thinks
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that we were kind of finished at that point,
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and he may have been right.
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I think we were at a watershed then,
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and we could easily have split up then.
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And we didn't, because we were frightened
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of the great out there, beyond the umbrella
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of this extraordinarily powerful and valuable trade name - Pink Floyd.
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It was the first song they played, and it was like, "Whoa,"
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it was like singing about Syd Barrett.
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The band that was known for their musicality,
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they weren't doing their music justice.
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Do you recall there was a famous review by Nick Kent?
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How could I forget?
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I kind of over-reacted, obviously.
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I mean, I feel now that I over-reacted,
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but at the same time, they partly deserved it.
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It was a bad gig.
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It was, it was shambolic.
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I mean it was...it lacked enthusiasm and it lacked a sort of purpose,
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a sense of purpose, and I don't really know why.
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From my perspective now, to look back upon how I felt then,
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scared as I was of my own shadow, you know,
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never mind my relationship with audiences,
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and there were real concerns about not making any contact
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with the audience during much of that tour of England
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that we did in 1974.
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And we didn't. We were... we were very disconnected.
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If we weren't giving 100%, we couldn't quite sort out why not.
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You know, there was an element of frustration
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in having someone tell us that.
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I think we probably knew it and couldn't quite sort of deal with it.
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That review would have been one of the things which would have -
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once we'd got over our initial ire - we would have taken on board
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and realised that there was more than a germ of truth in it.
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I was asked to record the Floyd at what was then called
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the Empire Pool, which is now the Wembley Arena,
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and when I saw the Floyd before they went on, they said,
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"Oh, do us a favour, will you go and sit with our sound engineer?"
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And I said, "OK."
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How long is it since you've been here, Brian?
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30 years.
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And anyhow,
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I went back in the interval and they said
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"Well, what do you think?" And I said, "It's rubbish."
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Because I'd been used to working with smaller groups
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on smaller mixing desks, and theirs was massive.
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So anyway, cut a long story short,
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next thing I knew, I was doing the next night at the Empire Pool.
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Oh, God, this does take me back.
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And then I ended up doing the rest of the British tour.
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Somebody better just run through this.
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And then, as I say, then came Wish You Were Here.
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There were a lot of days where we didn't do anything,
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while they were thinking about ideas.
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The reality was that we were struggling with making the follow-up
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to Dark Side, and we rushed back in to the studio to do that.
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You know, we put ourselves under a sort of ridiculous pressure,
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in a way, trying to make a record from nothing.
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It was disengagement.
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It was not being willing to apply yourself sufficiently.
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A lot of moments where any one of us might have been much more
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interested in thinking about what they were doing that weekend.
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It became a case of two would be in the studio and two were running
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late or, as it was always known, they were out playing squash.
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And then we had the dartboard with the air rifle.
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The concentrated activity was rather diluted,
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and I'm sure for a...
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..a very pushing, driving sort of person
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like Roger, it was more frustrating than it was for anyone else,
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although considerably frustrating for all of us, I suspect.
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When I'm in the studio, I'm there to do something,
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otherwise I'd rather be somewhere else, frankly.
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So I'm there to work.
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Well, you know, there's the legendary argument
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that I must have had with the rest of them about...
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..my thought at the time that it would be better to use
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the other two tracks as well that we had been working on.
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I had to fight David for a bit, as he acknowledges completely,
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you know.
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We had a completely different idea about it,
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and that was a...that was a fight that I won.
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Dave saw a record that had those two songs and Shine On,
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and it felt cobbled together to me.
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It didn't feel like real.
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And so at some point in that process, yeah,
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I came up with the idea of, "No, this has to be thematic,"
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and that's the way I expressed it.
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This will make this a more coherent work,
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and because it's more coherent,
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it will be better than if we just throw all the songs
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we've been working on together and go boom, there you are, that's it.
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There's one song that's about Syd, but the rest of it isn't.
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It's a much more universal expression of my feelings
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about absence...
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..because I felt that we weren't really there,
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we were very absent.
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I remembered it.
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Come in here, dear boy Have a cigar
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You're gonna go far.
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"Come in here and have a cigar,"
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you know, and become a star and become immortal.
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You're gonna make it if you try
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They're gonna love you.
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You become part of the whole buying and selling machine.
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It's high.
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I would need to do a number of vocal exercises before I attempted that.
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I think the lyrics so much sum up the recording business.
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Rock 'n' roll, man.
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Come in here, dear boy Have a cigar
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You're gonna go far.
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The record companies were... they were all-powerful, in a way.
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No-one worked without a record deal in those days,
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so they had a lot of power.
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You're not longer really an individual any more,
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you're just...you're a cipher,
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you're playing a part, you're a puppet.
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You're not your own man.
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The weather's just fantastic That is really what I think
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Oh, by the way Which one's Pink?
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By the way, which one is Pink?
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Which one's Pink?
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Which one's Pink?
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And did we tell you The name of the game, boy?
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We call it Riding the gravy train.
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It was felt that Syd's madness had partly come about
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through the demands of the record industry.
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"You've had a hit, now I want you to do another hit."
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"I want you another hit, and I want another hit."
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"And that's not as good as your last hit."
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"That's not as good as your last record," you know,
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"And I want you to do a bigger show and have more lights
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"and more people."
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I mean, it's...
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"Hey, all I wanted to do is to play a guitar
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"and write a song, and suddenly I'm in the middle of all this."
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The star thing doesn't make... doesn't make you happy, you know.
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That, the star thing, can make you want to withdraw from society.
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It's awfully considerate of you To think of me here
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And I'm most obliged to you For making it clear
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That I'm not here.
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Well, you could argue that Syd was burned by the music business,
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but actually, he was probably burned more by us.
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And I never knew the moon...
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Syd had sort of gone off the idea of doing Top Of The Pops,
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and being sort of commercial.
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..shoes and brought me here.
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I think it wasn't the record company putting the pressure on, it was us
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putting the pressure on, because that's the way we wanted to go.
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I don't care If the sun doesn't shine
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And I don't care If nothing is mine
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And I don't care If I'm nervous with you
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I'll do my loving in the winter.
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Come in here, dear boy Have a cigar
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You're gonna go far
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Fly high...
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With Have A Cigar,
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both of them knew that neither of them could sing it.
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I always thought that Dave's voice was not deep enough.
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I've always had a deep respect I mean that most sincerely.
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Yeah, that's Dave.
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I think the band's fantastic That is really what I think
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By the way, which one's Pink?
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That's Roger.
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They wanted the ferocity which Roger gives on other tracks.
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At the time, he just felt that he hadn't got it.
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"Come in here, dear boy, have a cigar.
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"You're gonna go far."
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Roy was definitely one of the great characters around for a lot
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of our early... our early life, really.
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We used to do quite a lot of shows where Roy would be on the bill.
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00:18:46,960 --> 00:18:49,320
A good guy to have around.
255
00:18:49,320 --> 00:18:55,080
I was in Studio 2 and they were in Studio 3.
256
00:18:55,080 --> 00:18:57,320
I think Roy was actually rather...
257
00:18:58,760 --> 00:19:01,560
..lacking in momentum himself.
258
00:19:01,560 --> 00:19:02,920
I think we were...
259
00:19:02,920 --> 00:19:06,000
It didn't only seem to affect Pink Floyd.
260
00:19:06,000 --> 00:19:08,480
You know, that's why I have this vision,
261
00:19:08,480 --> 00:19:12,880
I guess, of me being in and out all the time, in and out, in and out.
262
00:19:14,360 --> 00:19:17,480
He spent quite a lot of time in the studio with us.
263
00:19:19,480 --> 00:19:22,440
Very expensive recording time that he would spend just
264
00:19:22,440 --> 00:19:25,680
in our control room chattering and...
265
00:19:25,680 --> 00:19:27,760
Anyway, I digress.
266
00:19:27,760 --> 00:19:29,840
Roger was really struggling with it,
267
00:19:29,840 --> 00:19:33,360
and then Dave... then they both tried.
268
00:19:33,360 --> 00:19:36,120
There was a lot of arguing about how we were going to do it
269
00:19:36,120 --> 00:19:38,080
and how we were going to make it work.
270
00:19:38,080 --> 00:19:40,480
At one point Roy, who was in the room, piped up and said...
271
00:19:40,480 --> 00:19:44,600
I just said, "I'll do it if you like, for a price."
272
00:19:44,600 --> 00:19:49,960
I've always had a deep respect and I mean that most sincerely
273
00:19:49,960 --> 00:19:53,480
I mean, Roy really put his heart in this.
274
00:19:53,480 --> 00:19:56,080
I mean, I can picture him now...
275
00:19:56,080 --> 00:19:58,720
Which one's Pink?
276
00:19:58,720 --> 00:20:01,040
..putting his heart and soul in to it,
277
00:20:01,040 --> 00:20:03,080
as if his life depended on it.
278
00:20:03,080 --> 00:20:07,040
You gotta get an album out You owe it to the people
279
00:20:07,040 --> 00:20:10,320
We're so happy We can hardly count.
280
00:20:10,320 --> 00:20:11,720
I mean, the lyrics...
281
00:20:13,600 --> 00:20:15,960
If I'd have written those lyrics, I'd feel well pleased.
282
00:20:15,960 --> 00:20:21,300
And did we tell you The name of the game, boy
283
00:20:21,380 --> 00:20:23,980
It was played millions of times around the world as a single.
284
00:20:23,980 --> 00:20:27,280
That was my vocals on a... You know, really...
285
00:20:27,280 --> 00:20:31,360
a kind of a number one selling single.
286
00:20:31,360 --> 00:20:33,640
Everybody thought it was Roger.
287
00:20:35,200 --> 00:20:37,480
I was a bit peed off about that.
288
00:20:37,480 --> 00:20:40,280
I think if I'd sung it, it would be more vulnerable
289
00:20:40,280 --> 00:20:42,760
and less cynical than the way he did it.
290
00:20:42,760 --> 00:20:45,200
But that's not the way Roy sings.
291
00:20:45,200 --> 00:20:51,680
He went off and did it and did a great job, and thank you very much.
292
00:20:53,400 --> 00:20:56,040
I don't think Roger liked his version terribly much,
293
00:20:56,040 --> 00:20:59,080
but I think his version is the perfect version.
294
00:20:59,080 --> 00:21:02,360
He was singing a sort of parody, anyway...
295
00:21:04,400 --> 00:21:08,400
..which I don't like. I never liked it.
296
00:21:08,400 --> 00:21:14,000
The worst of it is that sometimes when I'm doing,
297
00:21:14,000 --> 00:21:16,400
you know, when I'm doing a gig...
298
00:21:18,280 --> 00:21:22,640
..there's some wag'll shout, "Have A Cigar", you know.
299
00:21:22,640 --> 00:21:25,120
I regret it, and that's not
300
00:21:25,120 --> 00:21:27,680
cos I've got anything against Roy, I haven't, you know.
301
00:21:27,680 --> 00:21:29,120
And, um...
302
00:21:30,920 --> 00:21:35,520
I think if I'd persevered with it, I would have done it better.
303
00:21:35,520 --> 00:21:39,760
Come in here, dear boy Have a cigar
304
00:21:39,760 --> 00:21:42,560
You're gonna go far
305
00:21:42,560 --> 00:21:45,880
You're gonna fly high
306
00:21:45,880 --> 00:21:49,320
You're never gonna die You're gonna make it if you try
307
00:21:49,320 --> 00:21:52,360
They're gonna love you.
308
00:21:59,680 --> 00:22:01,200
I was so unbelievably thrilled
309
00:22:01,200 --> 00:22:04,600
to be there, and I was just very young,
310
00:22:04,600 --> 00:22:05,880
I was just about 21.
311
00:22:05,880 --> 00:22:08,040
There is actually a rather nice picture of me
312
00:22:08,040 --> 00:22:11,600
that Nick Mason took, and it sort of sums up, because I just look
313
00:22:11,600 --> 00:22:13,000
wide-eyed and,
314
00:22:13,000 --> 00:22:16,200
you know, thrilled is the only word, I think.
315
00:22:16,200 --> 00:22:18,160
I'd baked some fairy cakes,
316
00:22:18,160 --> 00:22:20,840
and I thought it would be a good idea to bring them to the studio.
317
00:22:20,840 --> 00:22:25,280
There's this wonderful sequence of Roger proving that he did
318
00:22:25,280 --> 00:22:26,840
enjoy the cake.
319
00:22:26,840 --> 00:22:30,040
I think that Nick took these pictures,
320
00:22:30,040 --> 00:22:34,200
because I can't imagine that I had the courage to sort of,
321
00:22:34,200 --> 00:22:36,400
you know, take them, but perhaps I did.
322
00:22:39,560 --> 00:22:42,640
Roger is in the driving seat in these pictures,
323
00:22:42,640 --> 00:22:46,640
as far as the studio's concerned, and perhaps that position is hard.
324
00:22:46,640 --> 00:22:48,680
But, actually, it's probably better
325
00:22:48,680 --> 00:22:51,920
if just one person is in the driving seat.
326
00:22:51,920 --> 00:22:55,320
Roger, actually, you know, kept a tight hold on the helm,
327
00:22:55,320 --> 00:22:58,040
and that's what he - that's what he did.
328
00:22:58,040 --> 00:23:01,120
And, you know, you can't gainsay that,
329
00:23:01,120 --> 00:23:04,680
because the records, you know, the records were very good.
330
00:23:13,400 --> 00:23:16,120
Dark Side was just a such a sort of thing.
331
00:23:16,120 --> 00:23:18,840
All the pieces fell into place,
332
00:23:18,840 --> 00:23:20,160
or as Nick Mason says,
333
00:23:20,160 --> 00:23:21,560
"The drumming did it."
334
00:23:21,560 --> 00:23:25,680
So I think that that was quite hard to deal with.
335
00:23:25,680 --> 00:23:27,480
What do you do next? What do you do to top it?
336
00:23:27,480 --> 00:23:29,240
What do you do to be different?
337
00:23:30,680 --> 00:23:33,240
Well, I couldn't draw,
338
00:23:33,240 --> 00:23:36,080
so fantasy pictures were out.
339
00:23:36,080 --> 00:23:39,720
I couldn't paint, so artsy fartsy was out.
340
00:23:39,720 --> 00:23:43,920
I wasn't a graphic designer, and also, I was not interested
341
00:23:43,920 --> 00:23:49,160
in band pictures, because I found them a bit dull, you know, a group
342
00:23:49,160 --> 00:23:53,160
of four musicians who play guitar, drums and bass or keyboards
343
00:23:53,160 --> 00:23:56,560
would seem to me to be four musicians. They could be anybody.
344
00:23:56,560 --> 00:24:02,840
We always felt that representing the music was the order of the day.
345
00:24:02,840 --> 00:24:05,920
I know, it sounds radical, even revolutionary!
346
00:24:05,920 --> 00:24:10,120
So in order to represent the music, one didn't really want to be limited
347
00:24:10,120 --> 00:24:15,000
in the great palette of art and life to a picture of four geezers.
348
00:24:15,000 --> 00:24:20,840
We'd mostly, in those days, left it to Storm to come up with
349
00:24:20,840 --> 00:24:26,000
things which we would give him a desultory two minutes
350
00:24:26,000 --> 00:24:31,440
of our mixing time, to say that one, maybe, that one, not that, not that.
351
00:24:31,440 --> 00:24:35,600
They were recording at Abbey Road, and I remember going there,
352
00:24:35,600 --> 00:24:37,480
and I remember I was very...
353
00:24:37,480 --> 00:24:40,440
I was very nervous in doing the presentation.
354
00:24:40,440 --> 00:24:44,760
He came up with these - this, you know, from the lyrics,
355
00:24:44,760 --> 00:24:49,880
from this theme of absence, and it just seemed like a very good idea.
356
00:24:49,880 --> 00:24:52,680
I remember getting a little round of applause.
357
00:24:52,680 --> 00:24:54,640
I was most gratified, I can tell you.
358
00:24:54,640 --> 00:24:58,560
Storm, actually, is probably one of the most argumentative people
359
00:24:58,560 --> 00:25:00,640
you could ever meet.
360
00:25:00,640 --> 00:25:04,240
Roger and Storm would have these intense conversations
361
00:25:04,240 --> 00:25:06,840
over fine wines and so on.
362
00:25:06,840 --> 00:25:10,440
Storm and Roger were two great intellects and, you know,
363
00:25:10,440 --> 00:25:14,840
there was sparks flying in their brains, those two.
364
00:25:14,840 --> 00:25:20,320
I got very pre-occupied with four, with the number four.
365
00:25:20,320 --> 00:25:23,520
There were four words in the title, four members of the band,
366
00:25:23,520 --> 00:25:28,040
and four elements to life - air, fire, water and earth.
367
00:25:28,040 --> 00:25:31,080
So the first thing that was done was a postcard.
368
00:25:31,080 --> 00:25:33,400
The postcard said "Wish You Were Here."
369
00:25:33,400 --> 00:25:37,560
Po found this fantastic location, called Lake Mono,
370
00:25:37,560 --> 00:25:39,760
which is such an amazing location
371
00:25:39,760 --> 00:25:43,040
that you could just about photograph a plastic duck in it
372
00:25:43,040 --> 00:25:44,120
and you'd like it.
373
00:25:44,120 --> 00:25:47,360
We always thought there was an element of Storm loving to find
374
00:25:47,360 --> 00:25:49,800
the most expensive, distant location in the world
375
00:25:49,800 --> 00:25:54,680
so he could go off and have a little jolly for a few days at our expense.
376
00:25:54,680 --> 00:25:57,160
This guy is doing a yoga position
377
00:25:57,160 --> 00:25:59,440
in a yoga chair locked into the mud,
378
00:25:59,440 --> 00:26:01,960
poor man, with a breathing apparatus on.
379
00:26:01,960 --> 00:26:04,560
And he had to hold his breath so I didn't get any bubbles.
380
00:26:04,560 --> 00:26:07,640
That's all shot for real. That's not airbrushed or cut or anything.
381
00:26:07,640 --> 00:26:11,440
That was a moment in time on a magical evening,
382
00:26:11,440 --> 00:26:12,680
with amazing light.
383
00:26:12,680 --> 00:26:15,000
Did that take a long time to set up, that shot?
384
00:26:15,000 --> 00:26:17,560
A fucking long time.
385
00:26:17,560 --> 00:26:19,640
This shot was a pain in the arse.
386
00:26:40,800 --> 00:26:42,520
I came to the notice of Pink Floyd,
387
00:26:42,520 --> 00:26:45,400
because I made a film in Los Angeles for the BBC.
388
00:26:45,400 --> 00:26:48,840
I thought that I would do a kind of a visual diary
389
00:26:48,840 --> 00:26:50,440
of Americana at that time.
390
00:26:51,680 --> 00:26:53,960
So I drew everything that I could think of at the time,
391
00:26:53,960 --> 00:26:57,360
like Black Power, Playboy magazine, Mickey Mouse.
392
00:26:57,360 --> 00:26:58,920
Hi, guys.
393
00:27:02,240 --> 00:27:05,600
There was a fantastic Mickey Mouse sequence, where Mickey
394
00:27:05,600 --> 00:27:09,200
goes from being the mouse to being a sort of drug crazed mouse.
395
00:27:15,280 --> 00:27:18,080
HE SIGHS
396
00:27:18,080 --> 00:27:20,880
Hey, man. That was far out, man.
397
00:27:20,880 --> 00:27:23,920
Mickey's such a clean living guy, and there he was...
398
00:27:25,920 --> 00:27:28,280
..on drugs.
399
00:27:28,280 --> 00:27:30,800
I thought it was absolutely brilliant, and I just thought
400
00:27:30,800 --> 00:27:33,080
this, we could really...
401
00:27:33,080 --> 00:27:35,320
It'd be great to work with someone who produced
402
00:27:35,320 --> 00:27:37,000
something like this.
403
00:27:37,000 --> 00:27:40,880
And I took it to Roger and showed Roger and Roger loved it.
404
00:27:40,880 --> 00:27:45,400
It was very awkward, like all relationships at the beginning,
405
00:27:45,400 --> 00:27:47,080
because they wanted one thing from me,
406
00:27:47,080 --> 00:27:49,000
and I wasn't coming up with the goods, I felt.
407
00:27:49,000 --> 00:27:51,840
When I say this to Roger today, he says, "Oh, I don't remember that."
408
00:27:51,840 --> 00:27:55,160
I just remember it was an enormous relief
409
00:27:55,160 --> 00:27:58,400
after a lot of the flailing around visually
410
00:27:58,400 --> 00:28:00,920
that we'd done with Dark Side Of The Moon.
411
00:28:03,600 --> 00:28:08,560
I think the Sandman is a particularly great image.
412
00:28:11,280 --> 00:28:14,920
You know, the fact that we're all bits of sand that can blow away,
413
00:28:14,920 --> 00:28:17,120
I think it's just an idea I had, really.
414
00:28:17,120 --> 00:28:22,360
I wanted to do the impermanence of life or whatever, you know.
415
00:28:22,360 --> 00:28:26,480
It all sounds rather... pretentious crap, really.
416
00:28:46,600 --> 00:28:50,600
The beginning of the record sounds very melancholy,
417
00:28:50,600 --> 00:28:53,600
and is very melancholy and is melancholy music.
418
00:28:55,840 --> 00:28:57,080
Sort of blues,
419
00:28:57,080 --> 00:29:00,520
it's a sort of G Minor blues that whole first six or seven minutes.
420
00:29:04,960 --> 00:29:11,760
We obviously found a mood that we wanted to not exactly jam to,
421
00:29:11,760 --> 00:29:14,760
but play around with and find something within.
422
00:29:17,560 --> 00:29:20,640
And we were never too afraid of leaving quite a long period
423
00:29:20,640 --> 00:29:25,240
of time instrumental before vocals came in.
424
00:29:51,880 --> 00:29:56,400
You see, at the time, it was a case of let's see what works.
425
00:29:59,400 --> 00:30:02,960
So then, hence, the wine glass tape came out.
426
00:30:08,960 --> 00:30:12,040
The wine glasses were recorded for an album
427
00:30:12,040 --> 00:30:15,520
they were going to make called Household Objects,
428
00:30:15,520 --> 00:30:17,680
which we had on a loop
429
00:30:17,680 --> 00:30:22,400
and then Rick then built up the sound
430
00:30:22,400 --> 00:30:24,960
with synthesisers and organ.
431
00:30:35,360 --> 00:30:38,920
They wanted a big sound, so the guitar was recorded
432
00:30:38,920 --> 00:30:40,440
in a different studio,
433
00:30:40,440 --> 00:30:43,080
so hence the click track.
434
00:30:45,400 --> 00:30:49,760
He put his amplifiers and speakers down in studio one...
435
00:30:51,320 --> 00:30:55,680
..being a classical music studio, and then mic'd it from a distance.
436
00:30:56,960 --> 00:30:59,960
I think it comes across on the album.
437
00:31:03,520 --> 00:31:07,280
You could picture it being played out somewhere in an auditorium.
438
00:31:15,400 --> 00:31:19,040
This will be Rick featured on the end of Shine On,
439
00:31:19,040 --> 00:31:21,040
where he really came in to his element.
440
00:31:25,040 --> 00:31:29,320
You have a Hammond organ on there, you have grand piano...
441
00:31:30,640 --> 00:31:35,760
..plus the other synthesised instruments he plays.
442
00:31:48,920 --> 00:31:51,960
I can't remember exactly what synthesiser that was,
443
00:31:51,960 --> 00:31:58,920
but this is Richard's...trademark.
444
00:32:01,520 --> 00:32:06,120
He's a great piano player,
445
00:32:06,120 --> 00:32:11,280
and does highlight, I think, his classical training.
446
00:32:12,520 --> 00:32:16,680
And I think if he'd had another 20 minutes, you would have heard
447
00:32:16,680 --> 00:32:21,080
probably like a Rick Wright concerto.
448
00:32:25,600 --> 00:32:31,080
And at the very end, where he does the tribute to Syd Barrett,
449
00:32:31,080 --> 00:32:37,080
I don't remember if that was just Rick thinking of that
450
00:32:37,080 --> 00:32:39,560
at the spur of the moment.
451
00:32:39,560 --> 00:32:43,360
That was a nice... a nice touching thing.
452
00:32:48,440 --> 00:32:52,160
He was kind of a crazy diamond,
453
00:32:52,160 --> 00:32:55,280
and all the things it says about him
454
00:32:55,280 --> 00:32:59,920
in those brilliant lines are very, very accurate, you know.
455
00:33:01,680 --> 00:33:04,000
"You wore out your welcome with random precision",
456
00:33:04,000 --> 00:33:05,680
was certainly a part of him.
457
00:33:05,680 --> 00:33:11,640
Well, you wore out your welcome With random precision
458
00:33:11,640 --> 00:33:16,800
Rode on the steel breeze
459
00:33:16,800 --> 00:33:19,960
Come on, you raver,
460
00:33:19,960 --> 00:33:22,560
You seer of visions
461
00:33:22,560 --> 00:33:25,760
Come on, you painter, you piper
462
00:33:25,760 --> 00:33:29,440
You prisoner, and shine!
463
00:33:31,800 --> 00:33:35,840
My memory is that we were recording a Radio One show
464
00:33:35,840 --> 00:33:37,320
at the BBC...
465
00:33:38,640 --> 00:33:40,440
..and Syd didn't turn up.
466
00:33:40,440 --> 00:33:41,960
And I think it was a Friday.
467
00:33:42,960 --> 00:33:44,600
And no-one could find him.
468
00:33:44,600 --> 00:33:47,720
So we basically waited and waited, and I think
469
00:33:47,720 --> 00:33:50,600
we had to cancel the recording, or we tried to do some without him,
470
00:33:50,600 --> 00:33:54,280
I'm not sure, and then the managers went off trying to find him.
471
00:33:55,440 --> 00:33:58,960
And when they found Syd, which I think was a Sunday or Monday,
472
00:33:58,960 --> 00:34:03,040
they told us, "Well, something's happened to Syd."
473
00:34:04,440 --> 00:34:07,640
And something had happened to him, total difference.
474
00:34:07,640 --> 00:34:11,200
And I remember him being right like this, and looking in his eyes,
475
00:34:11,200 --> 00:34:12,280
and it was just like...
476
00:34:12,280 --> 00:34:14,320
HE MAKES CLICKING NOISE
477
00:34:14,320 --> 00:34:16,440
..somebody had turned the lights out, you know,
478
00:34:16,440 --> 00:34:18,080
he just looked so blank.
479
00:34:20,200 --> 00:34:23,800
He was a living with a whole sort of community of people who were
480
00:34:23,800 --> 00:34:27,760
very much believing acid can release you and, you know,
481
00:34:27,760 --> 00:34:31,080
get to the truth and all that stuff,
482
00:34:31,080 --> 00:34:34,960
and...he took too much.
483
00:34:34,960 --> 00:34:37,640
And he went up on stage
484
00:34:37,640 --> 00:34:42,360
and he just stood there for long stretches
485
00:34:42,360 --> 00:34:45,760
and he'd play the guitar for a bit and then he'd stop.
486
00:34:45,760 --> 00:34:49,080
He had done so much damage, because acid, that's what it does to you.
487
00:34:49,080 --> 00:34:52,360
Too much acid will literally fry your brains.
488
00:34:52,360 --> 00:34:56,200
Nobody knows where you are
489
00:34:59,040 --> 00:35:01,560
How near or how far
490
00:35:03,440 --> 00:35:10,040
Shine on, you crazy diamond.
491
00:35:12,960 --> 00:35:17,960
We were unable to help Syd and probably, I won't say deliberately,
492
00:35:17,960 --> 00:35:22,240
but had our own interests at heart, and so consequently
493
00:35:22,240 --> 00:35:27,320
probably tried to hold on to him for far longer than we should have done.
494
00:35:28,440 --> 00:35:31,080
Syd left the band in 1968.
495
00:35:31,080 --> 00:35:36,480
Syd was only around for that one record, it was a tiny piece.
496
00:35:36,480 --> 00:35:39,400
It was a very important piece, it was the opening piece
497
00:35:39,400 --> 00:35:43,320
of the Pink Floyd Story, and it may well be that Pink Floyd
498
00:35:43,320 --> 00:35:45,720
would never have started and would have never carried on
499
00:35:45,720 --> 00:35:48,440
and nothing would have happened. We will never know.
500
00:35:48,440 --> 00:35:54,800
He was a real hindrance to the band in many ways.
501
00:35:54,800 --> 00:35:59,560
Having said that, we simply wouldn't have got to where we got to.
502
00:35:59,560 --> 00:36:02,120
There would be no Dark Side Of The Moon if Syd
503
00:36:02,120 --> 00:36:06,680
hadn't been around to take us on that first major step.
504
00:36:21,000 --> 00:36:24,000
I found it so upsetting working with Syd in those days.
505
00:36:24,000 --> 00:36:27,640
It was like trying to...seeing someone sort of drowning
506
00:36:27,640 --> 00:36:30,920
and trying to pull them out, but they kept on slip...you know,
507
00:36:30,920 --> 00:36:33,320
the hand slipped away all the time.
508
00:36:33,320 --> 00:36:36,200
We were hoping that it would be therapeutic for him
509
00:36:36,200 --> 00:36:38,840
and might help him come back.
510
00:36:38,840 --> 00:36:41,720
Trying...it was like trying to bring him back.
511
00:36:41,720 --> 00:36:43,560
"Come back, Syd, come back."
512
00:36:50,400 --> 00:36:54,200
And there was never likely to be any way back, and that is...
513
00:36:57,040 --> 00:37:00,800
..quite awful to think about.
514
00:37:00,800 --> 00:37:06,120
GUITAR MUSIC
515
00:37:25,040 --> 00:37:29,040
You reached for the secret too soon
516
00:37:32,000 --> 00:37:34,440
You cried for the moon
517
00:37:35,800 --> 00:37:40,760
Shine on you crazy diamond.
518
00:37:41,800 --> 00:37:44,080
And of course, they loved their ooohs,
519
00:37:44,080 --> 00:37:45,160
so we just oooh'd them,
520
00:37:45,160 --> 00:37:47,640
saying, "Shine on, you crazy diamond," and just oooh'd
521
00:37:47,640 --> 00:37:49,400
the rest of the way. They loved ooohs.
522
00:37:52,560 --> 00:37:56,720
Carlena and Venetta, being Americans and soulful,
523
00:37:56,720 --> 00:37:58,240
was a wonderful contrast
524
00:37:58,240 --> 00:38:01,040
between the sort of Britishness of Pink Floyd.
525
00:38:02,800 --> 00:38:05,280
I didn't know them from a bar of soap,
526
00:38:05,280 --> 00:38:07,960
and I didn't like their music in the beginning.
527
00:38:07,960 --> 00:38:10,440
It was all in a minor key, it was all very low,
528
00:38:10,440 --> 00:38:14,640
and everything was oohs and ahhs. Who are these people?
529
00:38:14,640 --> 00:38:19,440
I thought Motown was meticulous, but this was the most meticulous
530
00:38:19,440 --> 00:38:23,520
four musicians that I had ever seen work before.
531
00:38:23,520 --> 00:38:27,560
And something told me in my head, "Venetta,
532
00:38:27,560 --> 00:38:30,800
"you're here for a reason, you must enjoy this music,
533
00:38:30,800 --> 00:38:33,680
"you must get on with this music, cos you're here,
534
00:38:33,680 --> 00:38:35,800
"there's something for you to learn."
535
00:38:35,800 --> 00:38:40,720
They managed to do their job without getting involved in the band
536
00:38:40,720 --> 00:38:44,480
politics, so those two were very good at just..
537
00:38:44,480 --> 00:38:48,920
You know, we might be all furious with each other
538
00:38:48,920 --> 00:38:51,680
about something or other and having some great row
539
00:38:51,680 --> 00:38:55,400
at the dinner table or in the car on the way to the show or whatever,
540
00:38:55,400 --> 00:38:58,880
and they'd just be very, very relaxed and just get on with it.
541
00:38:58,880 --> 00:39:00,400
And they always sang beautifully.
542
00:39:00,400 --> 00:39:05,440
One of my fondest, fondest memories of being with Pink Floyd
543
00:39:05,440 --> 00:39:08,720
recording Shine On You Crazy Diamond,
544
00:39:08,720 --> 00:39:12,840
because that was the only thing that we got to actually record with them,
545
00:39:12,840 --> 00:39:15,600
as opposed to singing-performing Dark Side Of The Moon.
546
00:39:15,600 --> 00:39:18,680
So that was the great thing about it, we actually got on a record.
547
00:39:18,680 --> 00:39:25,040
Shine on, you crazy diamond.
548
00:39:34,720 --> 00:39:36,800
Welcome To The Machine.
549
00:39:36,800 --> 00:39:40,840
They just wanted bits of ad-hoc animation bunged into the show
550
00:39:40,840 --> 00:39:42,480
willy nilly. And, of course,
551
00:39:42,480 --> 00:39:47,280
I had my little team of animators who are strictly trained to work
552
00:39:47,280 --> 00:39:51,360
to a track, and without a track, they don't know what to do.
553
00:39:51,360 --> 00:39:53,360
And I used to go and tell Roger this,
554
00:39:53,360 --> 00:39:57,400
and he said, "It doesn't matter about a track, just let them do something."
555
00:39:59,520 --> 00:40:04,040
I assume he made all that spherical stuff having heard
556
00:40:04,040 --> 00:40:09,240
the VCS3 throbbing at the beginning of Welcome To The Machine.
557
00:40:10,800 --> 00:40:13,360
Boom, boom, boom, boom... All of that stuff.
558
00:40:13,360 --> 00:40:15,920
HE CLICKS AND WHIRS
559
00:40:18,120 --> 00:40:23,280
When it came to Welcome To The Machine,
560
00:40:23,280 --> 00:40:28,000
I think Roger was really getting into his synthesisers.
561
00:40:29,200 --> 00:40:32,240
So, hence you have all these different effects.
562
00:40:35,720 --> 00:40:41,200
I mean, some of these noises are, to me, just futuristic.
563
00:40:43,160 --> 00:40:46,120
I loved that machine.
564
00:40:46,120 --> 00:40:48,640
I used it a lot back in the day.
565
00:40:48,640 --> 00:40:54,200
I've still got one. It's still good for wind and explosions.
566
00:40:54,200 --> 00:40:57,720
THROBBING
567
00:40:57,720 --> 00:41:00,000
See, and the throb
568
00:41:00,000 --> 00:41:05,720
is basically what Roger would have played on bass.
569
00:41:08,000 --> 00:41:11,000
He adds to it later on with the real bass.
570
00:41:11,000 --> 00:41:14,600
THROBBING AND BASS
571
00:41:16,560 --> 00:41:19,400
The only real instruments that really are on there are
572
00:41:19,400 --> 00:41:21,160
Dave's acoustics.
573
00:41:21,160 --> 00:41:22,640
'One, two, three, four...'
574
00:41:22,640 --> 00:41:25,560
GUITAR
575
00:41:28,080 --> 00:41:31,280
DRUMS
576
00:41:33,200 --> 00:41:35,840
To add a bit more to the aggression of the song,
577
00:41:35,840 --> 00:41:39,960
the timps and cymbals were added.
578
00:41:46,800 --> 00:41:50,200
It just sounded like a very angry song to me, always did.
579
00:41:50,200 --> 00:41:51,320
Very angry.
580
00:41:51,320 --> 00:41:54,720
That somebody was getting something out of their system.
581
00:41:54,720 --> 00:41:57,720
Welcome, my son
582
00:41:58,800 --> 00:42:03,600
Welcome to the machine
583
00:42:09,200 --> 00:42:11,880
Where have you been?
584
00:42:13,560 --> 00:42:17,040
It's all right We know where you've been
585
00:42:19,600 --> 00:42:23,400
This particular creature I created,
586
00:42:23,400 --> 00:42:25,760
I remember showing it to the gang,
587
00:42:25,760 --> 00:42:28,760
who sort of went along with everything I said at that point,
588
00:42:28,760 --> 00:42:31,760
they didn't sort of correct anything.
589
00:42:31,760 --> 00:42:34,040
Roger, particularly, has this idea that
590
00:42:34,040 --> 00:42:36,880
if you hire an artist,
591
00:42:36,880 --> 00:42:38,920
you don't try and change what that artist does,
592
00:42:38,920 --> 00:42:41,320
you hire an artist for what he does.
593
00:42:41,320 --> 00:42:46,800
Gerry has a very similar kind of...bolshie attitude
594
00:42:46,800 --> 00:42:51,800
towards all status quo and all the powers that be that I do.
595
00:42:51,800 --> 00:42:57,400
So, welcome...
596
00:42:57,400 --> 00:43:01,200
To the machine.
597
00:43:01,200 --> 00:43:03,760
And the sea of blood that comes towards us
598
00:43:03,760 --> 00:43:06,680
and crashes through the steel towers.
599
00:43:06,680 --> 00:43:08,200
God knows what it's about.
600
00:43:08,200 --> 00:43:13,240
But I thought it was a very kind of a strong image, a sea of blood.
601
00:43:13,240 --> 00:43:19,200
I did really add piece by piece the animation, so when I'd done
602
00:43:19,200 --> 00:43:23,320
the sea of blood, Roger probably said we need it a bit longer.
603
00:43:27,720 --> 00:43:32,080
So then the sea of blood had to turn into hands, praying,
604
00:43:32,080 --> 00:43:33,520
grasping hands,
605
00:43:33,520 --> 00:43:36,480
hopeless lost kind of hands, I suppose,
606
00:43:36,480 --> 00:43:39,800
searching for some god or some reason to it all.
607
00:43:43,560 --> 00:43:45,440
You could say that Welcome To The Machine
608
00:43:45,440 --> 00:43:49,360
is only about my experience in the music industry...
609
00:43:50,800 --> 00:43:54,280
It's not, it's about all of our experience
610
00:43:54,280 --> 00:43:57,040
in the face of that monstrous,
611
00:43:57,040 --> 00:44:01,320
grinding thing that chews us up and spits us out.
612
00:44:08,720 --> 00:44:12,480
In the meetings that Storm and I had, one of the topics
613
00:44:12,480 --> 00:44:15,720
was somebody getting burnt in the business, you know,
614
00:44:15,720 --> 00:44:19,400
which was an expression at the time. "Man, I've been burned."
615
00:44:19,400 --> 00:44:25,560
You know, so, what more logical, kind of, concept, if you like,
616
00:44:25,560 --> 00:44:29,360
would be than two men shaking hands and one of them is getting burnt?
617
00:44:29,360 --> 00:44:33,200
And we both went, "Yeah!" Maybe because it was so outrageous.
618
00:44:33,200 --> 00:44:35,920
And these are the days before computers,
619
00:44:35,920 --> 00:44:37,960
so it meant setting a man on fire, which we did.
620
00:44:37,960 --> 00:44:40,960
Yeah, it wasn't very difficult. Issuing orders from the bunker,
621
00:44:40,960 --> 00:44:43,080
it's really easy. "Over the top, men."
622
00:44:48,080 --> 00:44:52,720
Anyway, that was done for real in a studio lot in Hollywood.
623
00:44:52,720 --> 00:44:57,160
What could be more absent than a studio lot?
624
00:44:59,360 --> 00:45:02,560
I believe it was a Warner Brothers lot.
625
00:45:02,560 --> 00:45:03,720
I was doing a lot
626
00:45:03,720 --> 00:45:06,120
of fire work in those days,
627
00:45:06,120 --> 00:45:08,320
and I had the special suits
628
00:45:08,320 --> 00:45:09,640
and all this stuff
629
00:45:09,640 --> 00:45:13,360
for full envelop fire, but a partial is basically,
630
00:45:13,360 --> 00:45:17,520
you know, a pretty safe, pretty easy one to do.
631
00:45:17,520 --> 00:45:20,320
And... In most cases.
632
00:45:20,320 --> 00:45:24,680
He had a team of...20 people around him with fire extinguishers,
633
00:45:24,680 --> 00:45:27,320
ready to deal with any emergency.
634
00:45:27,320 --> 00:45:29,480
The effects man will step out
635
00:45:29,480 --> 00:45:33,360
and he's got a wand about that long with a fire on the end of it,
636
00:45:33,360 --> 00:45:37,280
and they go, "We're ready, action, and he just touches the three
637
00:45:37,280 --> 00:45:40,640
or four spots like that, steps out, everything is burning,
638
00:45:40,640 --> 00:45:45,960
and it's a still picture, so shake...shaking hands -
639
00:45:45,960 --> 00:45:47,440
nothing to it.
640
00:45:47,440 --> 00:45:51,480
And after I had shot about, I suppose, 15 shots,
641
00:45:51,480 --> 00:45:54,560
and 15 times for somebody to catch fire is rather a lot,
642
00:45:54,560 --> 00:45:56,240
suddenly a gust of breeze came up.
643
00:45:56,240 --> 00:45:59,200
And the fire whipped round his face.
644
00:45:59,200 --> 00:46:01,680
There's a funny thing about fire - when it gets in your face
645
00:46:01,680 --> 00:46:05,480
you're going to move, that's just part of the thing.
646
00:46:05,480 --> 00:46:09,040
And once it blew it around, I turned as fast as I could.
647
00:46:09,040 --> 00:46:12,680
He fell to the ground, absolutely smothered with foam
648
00:46:12,680 --> 00:46:15,520
and blankets and everything like that. He got up and he said,
649
00:46:15,520 --> 00:46:17,320
"That's it, no more."
650
00:46:17,320 --> 00:46:19,520
Luckily, I got it in the can.
651
00:46:19,520 --> 00:46:21,800
And here we see his foot leaving frame.
652
00:46:21,800 --> 00:46:25,960
And that's a sort of surreal image of absence in itself, you know?
653
00:46:25,960 --> 00:46:27,480
But that's real absence.
654
00:46:27,480 --> 00:46:29,760
Out of frame, out of sight, you know?
655
00:46:29,760 --> 00:46:31,360
And you just kept shooting?
656
00:46:31,360 --> 00:46:32,720
I just kept shooting, yeah.
657
00:46:32,720 --> 00:46:34,840
I mean, I had to get this shot and it had to be right.
658
00:46:34,840 --> 00:46:40,400
So, you know, I didn't have time to be concerned with his singed body.
659
00:46:40,400 --> 00:46:43,840
You know, if they want somebody burning and they're going to pay me,
660
00:46:43,840 --> 00:46:47,720
I don't care if they have an artist drawing the fire.
661
00:46:52,660 --> 00:46:55,940
When developing a theme of absence,
662
00:46:55,940 --> 00:46:58,340
it seemed therefore appropriate that in the end,
663
00:46:58,340 --> 00:46:59,860
the cover should be absent.
664
00:46:59,860 --> 00:47:03,020
The...um... Got it here.
665
00:47:03,020 --> 00:47:05,180
The...um...
666
00:47:05,180 --> 00:47:09,060
This is the end piece, or the end part of the puzzle.
667
00:47:09,060 --> 00:47:11,460
Anyway, the record company, especially in America,
668
00:47:11,460 --> 00:47:12,900
went complete apeshit.
669
00:47:12,900 --> 00:47:15,940
"You mean wrap Wish You Were Here in black opaque shrink wrap
670
00:47:15,940 --> 00:47:19,420
"so you can't see it? Are you completely fucking mad?"
671
00:47:19,420 --> 00:47:22,700
But you had to have a sticker that said what it was,
672
00:47:22,700 --> 00:47:25,540
otherwise the factory wouldn't pack it properly,
673
00:47:25,540 --> 00:47:27,020
let alone the fans buy it.
674
00:47:28,620 --> 00:47:32,180
I hear stories that there are some aficionados...
675
00:47:33,580 --> 00:47:37,740
..who have had...who have had Wish You Were Here for many a year now,
676
00:47:37,740 --> 00:47:41,780
and have carefully slit the opaque vinyl shrink wrap
677
00:47:41,780 --> 00:47:44,100
and extracted the record
678
00:47:44,100 --> 00:47:46,980
and actually haven't seen the cover in 35 years.
679
00:47:46,980 --> 00:47:50,900
Brilliant. That's really absent.
680
00:48:03,820 --> 00:48:07,020
Well, that's the one I can remember quite clearly.
681
00:48:10,180 --> 00:48:13,220
That was me strumming a 12 string guitar,
682
00:48:13,220 --> 00:48:16,540
which I'd recently purchased from a guy I know,
683
00:48:16,540 --> 00:48:19,140
and coming up with, you know, the opening riff
684
00:48:19,140 --> 00:48:20,540
of Wish You Were Here.
685
00:48:23,860 --> 00:48:24,900
And again, like...
686
00:48:24,900 --> 00:48:27,940
like the four notes at the beginning of Shine On You Crazy Diamond,
687
00:48:27,940 --> 00:48:30,220
other people start going, "Hey,
688
00:48:30,220 --> 00:48:32,140
"that's good, you've got something there."
689
00:48:38,140 --> 00:48:41,780
And I said to him, "What's that you're playing? That's really nice."
690
00:48:41,780 --> 00:48:43,460
And he played it.
691
00:48:43,460 --> 00:48:46,260
And I said, "That's really good.
692
00:48:47,420 --> 00:48:49,620
"Maybe I should try and do something with it."
693
00:48:49,620 --> 00:48:55,180
I think Roger and I then worked on writing the verses
694
00:48:55,180 --> 00:48:59,860
and putting those chords in to the... in to the whole thing, and Roger...
695
00:49:02,460 --> 00:49:05,220
..did those brilliant words, and there we were.
696
00:49:05,220 --> 00:49:09,820
Did they get you to trade your heroes for ghosts
697
00:49:11,340 --> 00:49:13,500
Hot ashes for trees
698
00:49:15,300 --> 00:49:17,620
Hot air for a cool breeze
699
00:49:18,620 --> 00:49:20,540
Cold comfort for change
700
00:49:21,820 --> 00:49:24,500
And did you exchange
701
00:49:24,500 --> 00:49:27,220
A walk on part in the war
702
00:49:27,220 --> 00:49:30,740
For a lead role in a cage?
703
00:49:39,500 --> 00:49:44,180
That collaboration between David and I, I think is, you know,
704
00:49:44,180 --> 00:49:48,500
really good. All bits of it are really, really good.
705
00:49:48,500 --> 00:49:50,180
So I'm very happy about it.
706
00:50:00,260 --> 00:50:04,380
So, so you think you can tell
707
00:50:06,460 --> 00:50:08,940
Heaven from hell
708
00:50:10,500 --> 00:50:13,300
Blue skies from pain
709
00:50:14,300 --> 00:50:16,580
Can you tell a green field
710
00:50:17,700 --> 00:50:19,940
From a cold, steel rail?
711
00:50:21,700 --> 00:50:24,820
A smile from a veil?
712
00:50:24,820 --> 00:50:27,780
Do you think you can tell?
713
00:50:27,780 --> 00:50:30,420
I think most of the songs that I've ever written
714
00:50:30,420 --> 00:50:33,860
all pose similar questions.
715
00:50:33,860 --> 00:50:39,660
Can you free yourself enough to be able to experience the reality
716
00:50:39,660 --> 00:50:42,780
of life as it goes on before you
717
00:50:42,780 --> 00:50:47,300
and with you, and as you go on as part of it or not?
718
00:50:47,300 --> 00:50:54,220
Because if you can't, you stand on square one until you die.
719
00:50:54,220 --> 00:50:57,860
And I know that may sound like bullshit,
720
00:50:57,860 --> 00:51:00,180
but that's what the song is about.
721
00:51:02,340 --> 00:51:05,700
How I wish How I wish you were here
722
00:51:08,220 --> 00:51:12,180
We're just two lost souls Swimming in a fish bowl
723
00:51:12,180 --> 00:51:14,260
Year after year
724
00:51:16,380 --> 00:51:19,980
Running over the same old ground
725
00:51:19,980 --> 00:51:21,700
What have we found?
726
00:51:21,700 --> 00:51:24,340
The same old fears
727
00:51:24,340 --> 00:51:26,940
Wish you were here.
728
00:51:28,500 --> 00:51:31,500
All the songs are encouraging me,
729
00:51:31,500 --> 00:51:33,980
I guess I write them for me,
730
00:51:33,980 --> 00:51:37,260
and it's to encourage myself...
731
00:51:38,460 --> 00:51:43,580
..not to accept a lead role in a cage...
732
00:51:45,180 --> 00:51:48,860
..but to go on demanding of myself
733
00:51:48,860 --> 00:51:52,700
that I keep auditioning
734
00:51:52,700 --> 00:51:57,100
for the walk on part in the war, because that's where I want to be.
735
00:51:57,100 --> 00:51:59,820
I want to be in the trenches.
736
00:51:59,820 --> 00:52:02,780
I don't want to be at headquarters or I don't want to be sitting
737
00:52:02,780 --> 00:52:04,900
in a hotel somewhere.
738
00:52:04,900 --> 00:52:09,420
I want to be... I want to be engaged...
739
00:52:10,580 --> 00:52:13,300
..probably, I might say,
740
00:52:13,300 --> 00:52:16,900
in a way that my father would approve of.
741
00:52:24,900 --> 00:52:29,180
It's a very simple sort of country song, if you like.
742
00:52:29,180 --> 00:52:31,980
It's still... Because of its resonance
743
00:52:31,980 --> 00:52:36,260
and the emotional weight it carries,
744
00:52:36,260 --> 00:52:40,020
it is one of our best songs.
745
00:52:43,620 --> 00:52:47,860
People do attach to it lots of internal feelings that they may have,
746
00:52:47,860 --> 00:52:52,140
and they may not be entirely sure what it's about, and neither am I.
747
00:52:52,140 --> 00:52:55,020
I mean, I'm only telling you what it's about for me.
748
00:52:56,660 --> 00:52:59,620
But there's no reason why other people shouldn't put
749
00:52:59,620 --> 00:53:04,060
other interpretations on it, which could be just as valid.
750
00:53:08,340 --> 00:53:10,540
Although Shine On You Crazy Diamond
751
00:53:10,540 --> 00:53:13,860
is the one that is specifically about Syd, and Wish You Were Here
752
00:53:13,860 --> 00:53:16,420
has a broader remit...
753
00:53:17,540 --> 00:53:20,460
..I can't sing it without thinking about Syd.
754
00:53:33,740 --> 00:53:37,740
My memory is that I came in to the studio
755
00:53:37,740 --> 00:53:41,980
and there was this guy standing there in a Gabardine raincoat,
756
00:53:41,980 --> 00:53:46,900
and a large, large bloke, and I had no idea who it was.
757
00:53:46,900 --> 00:53:50,300
And surprisingly, no-one's saying, "Who's that person?
758
00:53:50,300 --> 00:53:54,100
"What's he doing wandering around all our gear in the studio?"
759
00:53:54,100 --> 00:53:58,780
And then...then him coming in to the control room and standing around,
760
00:53:58,780 --> 00:54:05,300
and how remarkable, how long it was before anyone actually woke up.
761
00:54:05,300 --> 00:54:11,460
Finally, I think it was David who said, "Nick, do you recognise him?"
762
00:54:12,460 --> 00:54:17,180
And I looked and I think I either shrugged my shoulders
763
00:54:17,180 --> 00:54:20,420
or at some point Dave sort of put me out of my misery
764
00:54:20,420 --> 00:54:23,180
and said, "It's Syd".
765
00:54:23,180 --> 00:54:25,140
And we just sort of stood there,
766
00:54:25,140 --> 00:54:28,180
or sat there and just were shell-shocked, basically.
767
00:54:29,860 --> 00:54:32,940
And then until somebody thought of something to say to him.
768
00:54:35,380 --> 00:54:39,940
And then we were all unbelievably shocked at his appearance.
769
00:54:41,140 --> 00:54:44,300
I mean, I didn't recognise him, I didn't know it was him.
770
00:54:44,300 --> 00:54:45,780
But it was pretty...
771
00:54:48,420 --> 00:54:50,500
..pretty affecting, really.
772
00:54:50,500 --> 00:54:52,180
I mean, Roger and Dave cried.
773
00:54:53,820 --> 00:54:57,860
You know, this slim, elegant...
774
00:54:59,100 --> 00:55:03,660
..if bedraggled and dazed person that I had last seen, had turned
775
00:55:03,660 --> 00:55:09,580
rather balloon shaped, and had no eyebrows and not much hair, and...
776
00:55:20,020 --> 00:55:23,220
And there is the photograph of him in the studio at the time,
777
00:55:23,220 --> 00:55:28,140
and if you looked at Syd in early '67
778
00:55:28,140 --> 00:55:31,780
and Syd then, it was so different.
779
00:55:34,460 --> 00:55:38,540
It was a great loss and, you know...
780
00:55:40,740 --> 00:55:44,900
..imagining what he would have gone on to do is...
781
00:55:44,900 --> 00:55:48,460
Speculating on that, if you like, is...
782
00:55:48,460 --> 00:55:51,180
He could have become so great.
783
00:56:33,020 --> 00:56:37,620
It's actually kind of nice standing up here with these three guys
784
00:56:37,620 --> 00:56:40,380
after all these years.
785
00:56:41,820 --> 00:56:44,460
Standing to be counted with the rest of you.
786
00:56:46,260 --> 00:56:50,620
Anyway, we're doing this for everyone who's not here,
787
00:56:50,620 --> 00:56:52,820
but particularly, of course, for Syd.
788
00:56:56,980 --> 00:57:01,020
HE INTONES
789
00:57:01,020 --> 00:57:05,300
To me, it's about the most complete album, in some ways,
790
00:57:05,300 --> 00:57:11,980
and we all know how difficult it was to get to that point,
791
00:57:11,980 --> 00:57:14,300
and the problems we had.
792
00:57:17,900 --> 00:57:22,900
It's full of grief and anger, but also full of love.
793
00:57:24,420 --> 00:57:31,220
You've got to see beyond the grief and anger to the possibilities of love.
794
00:57:33,840 --> 00:57:37,640
APPLAUSE
795
00:57:37,640 --> 00:57:39,360
Thank you.
796
00:58:25,340 --> 00:58:31,520
Subtitles by Billy Novy.65912
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