All language subtitles for The Pink Floyd Story Which One Is Pink Ws Pdtv Xvid-Cfe

'This programme contains some strong
language, and scenes of repetitive
flashing images.' The Pink Floyd...

# Money

# Get away... #

In 2005,
four distinguished rock musicians

performed together for the first
time in 25 years at Live 8.

For a precious 20 minutes,
they were all once again
the legendary Pink Floyd,

a band that has spanned 40 years,
pioneering everything

from underground rock
to the stadium extravaganza.

A band that has survived tragedy,
shunned celebrity

and wrestled publicly with
both its success and its audience.

There have been five men in
Pink Floyd and three of them have
led the band in different decades.

That's why the question
still remains, which one's Pink?

London, 1965.

British pop music rules the world.

Clubs are throbbing with
electric guitars, pounding drums
and would-be rock'n'roll stars.

Three middle-class students, Rick
Wright, Roger Waters and Nick Mason

were studying architecture
at the Regent Street Polytechnic.

They formed a band and dreamed
of escaping the profession
they seemed destined to inhabit.

The group went through
several permutations and names,
including The Tea Set and Sigma 6,

performing standard cover versions
of American and British
rhythm and blues.

They were going nowhere.

A childhood friend of Roger Waters
since their schooldays together
in Cambridge

drifted down to London
to study painting.

His name was Syd Barrett.

He joined Sigma 6, renamed the band
The Pink Floyd Sound,
and promptly became its front man.

Syd sort of lived like he walked.
He walked with a bounce.

He came up on his toes
so every step he took was like a pop.

He had a lot of sort of Tigger
in him.

He was, as everyone says,
bubbly, very attractive,

everyone wanted to be his friend.

Barrett was a highly original
writer and musician.

His songs had
a quirky, British, pastoral edge

and his guitar playing led the band
into extended sonic explorations.

He would do things on the guitar that
no-one would ever dream of doing.

Which influenced me and made me do
things on the keyboards I wouldn't...
people hadn't done before.

Technically, no, not so brilliant,
but, for me, the technique
is not important.

It's the originality,
and he was one of the originals.

It is a curious thing that people
can go into the music business

with little technical ability,

but absolute determination
to show off at all costs.

If you can actually play,
it's very hard not to copy
other things that you hear...

...but we couldn't copy anything
because we couldn't, you know.

Rick was the only one
who went to music school.

Rick was the one who would
always help out in arrangements.

He was the one
who used to tune Roger's bass.

MUSIC: "Interstellar Overdrive"
by Pink Floyd

Now simply called Pink Floyd, the
band found itself at the epicentre
of London's underground explosion,

playing a unique mix of original,
melodic pop and freak-out music at
clubs such as UFO and Middle Earth.

Overnight, they became the house
band of the underground movement,
taking their audiences on a trip.

One of the things
that sets them apart is,

so many other bands
are based around blues.

They had this avant-garde
approach to...

the long instrumental passages,

but they always started
from a brilliant pop song by Syd.

Tinkling and bashing and scraping
and making the instruments make
whatever noises they would.

After we'd be doing that for, like,
ten minutes, we'd play the riff
twice more and that was the end.

You still had a tune, a song, and
then you'd have an improvised bit,
then you'd have a tune and a song.

It was radical. It was very radical.

MUSIC: "Arnold Layne" by Pink Floyd

# Arnold Layne had a strange hobby

# Collecting clothes

# Moonshine, washing line

# They suit him fine... #

Arnold Layne, an everyday tale
of a man stealing women's underwear
from washing lines,

was the first of Barrett's original
songs to be recorded as a demo.

Produced by Joe Boyd, it was
touted around several companies

before The Beatles' label, EMI,
signed the band in February 1967.

From the start, the Floyd were
determined to do things their way.

As college boys, they were
already wary of the pop business
and its old-school managers.

We were always very distrustful
of that whole scene.

It was very kind of East End,
camel-hair coats, you know.

"Stick with me, son,
you'll be all right,"

and we were very wary of all that.

I think what was so different then
to now is they'd sign almost
anything with long hair.

If it turned out to be
a golden retriever, so what?

"We've signed you as a pop band.
Now make albums.
Lots of three-minute singles,"

and we said, "No way!"

We're talking about a world where
Sergeant Pepper hadn't been released.

Almost overnight, it switched from
being hit singles to being albums.

MUSIC: Being for the Benefit
of Mr Kite by The Beatles

In early '67, The Beatles
were recording Sergeant Pepper
at London's Abbey Road Studios.

In February, the Floyd arrived
at the same studios

to record
their equally momentous first album,
The Piper At The Gates Of Dawn.

# Alone in the clouds all blue... #

This was the Summer of Love.
Everything was possible.

EMI appointed The Beatles' engineer,
Norman Smith,
as the Floyd's producer.

I know he had a struggle with Syd

because Syd would come in with
his extraordinary songs and Norman
would say, "That's great,

"but we've got to put some form
to it. We've got to get it
into time." Syd would say, "Yes, OK,"

and then go out and play it
a different way.

The Floyd were determined
to exploit everything Smith
and Abbey Road could offer,

experimenting with new sounds
and recording techniques.

We had a tape running around
microphone stands

all the way around
the control room,

so we could get a very slow delay.
It ran through three tape recorders.

One of the advantages of Abbey Road
was that there was a lot of old
sort of stuff lying around.

They probably had a spinet or
a clavichord or things like that.

While the Floyd tinkered away
recording Syd's fairy tale songs

and the studio version of the
sonic improvisations they were
playing in the underground clubs,

producer Norman Smith struggled to
get another single out of Barrett.

The band eventually decamped here,
Sound Techniques in west London

where Joe Boyd had produced
Arnold Layne, to record what would
become their first big hit.

MUSIC: "See Emily Play" by Pink Floyd

# Emily tries but misunderstands

# She's often inclined to borrow
somebody's dreams till tomorrow

# Till tomorrow, till tomorrow... #

Barrett invited an old friend
and musician from Cambridge
to come to the recording sessions.

Guitarist and singer David Gilmour
was shocked by what he found.

In the flesh, he was
a little bit strange, glazed eyes.

For me, having not seen him
for a while, it was quite alarming
to see him like that.

I didn't know how alarming,
or how alarmed I should be,

or how permanent
that sort of thing was
or whether that was just a moment.

You don't really think about it.

Barrett was becoming
increasingly erratic.

He was taking too many drugs
and didn't like the limelight.

When his song See Emily Play
climbed into the Top Ten,
the cracks began to appear.

I think we did a lot more pop shows
and ballrooms,

and I think that was probably
a bit more difficult for them.
That was probably difficult for Syd.

Syd didn't want to play.

I was particularly
feeling quite the same.
I didn't want to really play it.

I don't think any of the band
wanted to play it. So it pissed
the audiences off a lot.

We had a few beer bottles and stuff
thrown at us.

These shows were a million miles
away from Pink Floyd's
underground home base

where the band, like its audience,
was lost in the light show.

They were deliberately
devoid of personality.

They didn't talk much.

You know, the fact they were covered
with these lights all the time.

They'd all study their instruments.
Nobody looked out.

"Are you having a good time? Yeah!
Clap your hands!" All that stuff.
We'd never done that.

In fact, we did like
to hide behind the lights.

And it became a kind of,
"Who are these people?"

My memory of seeing them is walking
round the stage trying to work out
where the noise came from.

What Rick and Syd played
were very well-blended together.

When Barrett emerged from
the shadows and into the studio
lights of Top Of The Pops,

he went into meltdown.

The second week that we went in,
Syd was very disgruntled
and he started saying,

"Why should I have to do this?
John Lennon doesn't have to do this."

I was looking at him, going,
"What the fuck are you talking about?

"This is it! This is what we've
worked all these years to achieve.

"This is the sort of pinnacle
of success. And you don't want
to do it? You're mad!"

Of course, he WAS mad,
but that wasn't the point.

It was a really clear indication...
I was really shocked.

Syd was suddenly starting
to get recognised,

and he would be
a scrumptious pop idol.

Maybe he thought, "Do I really want
this life? Is this what I want?"

Maybe that's what was
coming out unconsciously then
in all the wacky behaviour.

Was all the wacky behaviour
a rejection of becoming a pop star?

One day we were going off to do
a gig and we went to pick him up

and he jumped into the car and
he was wearing a frock, you know.

I said, "What are you doing, Syd?"
He said, "I'm a homosexual,"

and he went through this whole thing
where he pretended to be gay
for days on end.

The Floyd was losing
not only its leader,

but also the writer responsible
for much of its original material
and hit singles.

So we took a very positive view
and we all went, " Agh!

"Don't show me!"

You know, it was denial
at the ultimate level, really.

I mean, Roger had a theory he was a
schizophrenic. I don't think he was.

But I'm still convinced
he took a huge overdose of acid
and destroyed his brain cells.

He went to see Ronnie Lang
and he said, "There's nothing
we can do for him."

Physically, the brain
has actually been destroyed.

So, very sad.

No amount of English reserve
could mask the fact that Barrett
was now an acid casualty,

virtually unable to perform.

The other band members
called a crisis meeting

with managers Peter Jenner,
Andrew King and Bryan Morrison.

Peter Jenner and Andrew King
were convinced that without Syd,
there was no Pink Floyd.

"You know, you solve this problem
or you go back to being an architect.

"If you don't solve this problem,
it's over!"

Panic! Panic!

And terrible concern

because it was also... It was
a mixture of a business panic
because we needed another single -

"Syd, please,
can you write another single?"

Syd didn't know what he thought.
"No, Syd's got an idea."
"Really? What is it?"

"Syd thinks you should hire
two girl saxophone players,"

and that was it, I think.

"Oh! Well... No!"

You know. No.

Bryan Morrison, who was a barrow boy,
said, "The name's Pink Floyd.

"As long as we put out the Pink
Floyd, no-one's going to know the
difference. Which one of you is Syd?"

It was Barratt's old Cambridge
friend, David Gilmour, who was asked
by the band to join Pink Floyd.

When you're all young, thrusting,
ambitious people in your early 20s,

you have a brutality
about the things you do

that...

you know, your ambition is driving
you forward without much care for
other people's feelings, to be frank.

And you have plenty of time
to feel guilty later.

As 1967 gave way to 1968,

Syd Barrett gave way to David
Gilmour as Pink Floyd passed through
a brief five-member transition.

I think it was odd for David,
it was odd for Syd, and the rest of
us were a bit embarrassed about it.

We nearly said something,
that's how bad it was!

I think it was difficult for David

because when he came into the band,

I think his role was to try
and play Syd's guitar parts.

# Ooh, ooh, ooh, ooh,

# Ooh, ooh, ooh, ooh

# Ooh, ooh, ooh, ooh

# Ooh, ooh, ooh, ooh... #

It was his band.
It was him and about him.

I think I coped with it OK.
There were moments of feeling
lost on stage,

and not knowing what the hell
was going on around me.

I did spend some of my time
with my back to the audience...

sort of sliding mic-stand legs
up the guitar,

making weird noises,

feeling rather embarrassed.

That's not all the time.

Quite a bit of the time
it really worked and gelled

and you started thinking, "Yeah, I'm
getting what we're on about here."

The band was now recording
that difficult second album,
A Saucerful Of Secrets.

Some of the tracks
were already recorded -

I think, Set The Controls For
The Heart Of The Sun, which was

Roger's first real moment of glory,

was already pretty well done.

I think there's a guitar
on there that Syd did and
a bit of guitar that I did.

I think that's the only moment
we share on the track.

# Little by little the night
turns around... #

One of the things that worked
quite well was very rhythmic
moments.

# Counting the leaves which tremble
at dawn

# Lotuses lean on each other
in yearning... #

We did break some new ground by
allowing the music to drop down,

drop away and become this more...
ethereal spacey music.

It was deep space that now attracted
the Floyd's attention,

as it did countless millions
of other hopefuls worldwide in 1969.

'The world's TV audience, 600 million
people this afternoon watched
the Apollo 11 spacecraft

'launched into a perfect blue sky
above Cape Kennedy in Florida.'

As the first men walked on the moon,
Pink Floyd played along with
the TV pictures for the BBC.

We were there in the studio
playing live while people
were walking on the moon.

I can't quite imagine it today,

that behind a programme
they'd have a pop group making up
a jam live in the studio

while that was going on.

Ha! Those were the days!

'Aircraft reports a visual
with three chutes... '

When the Floyd returned to Earth,

they discovered that producing
singles without Barrett
was Mission Impossible.

We all tried to write singles.

Point Me At The Sky was one
notable failure.

MUSIC: "Point Me At The Sky"

We couldn't do it.

Eventually we just gave up
and went, "We can't do that -
what can we do?"

"We'll do long things, then."

MUSIC: "Careful With That Axe,
Eugene"

Careful With That Axe, Eugene
announced a Floyd of extended,

rock-driven soundscapes and implied
narratives. A kind of space rock
made by an unidentified crew,

now journeying without a captain.

We were fantastically insular.

We didn't really want to be
influenced by other people
and things that were going on.

We were fiercely independent
of what we were doing.

We did learn a lot about improvising
and about listening to what
other people were doing,

and picking up an idea
and developing it.

This was the age of experimentation

and difficult music of prepared
pianos and classical pretensions,

saucepans full of secrets,
all of which the Floyd embraced.

A lot of the time
it would just be like plonky noises.

We'd be searching for something and
it didn't work.

Ultimately, to me personally,
it became rather unsatisfying.

I think it was Roger who said,
"Let's make an album without
using any of our instruments."

"Use household objects."

So we spent days getting a pencil
and a rubber band till it sounded
like a bass.

We spent weeks doing this.

Nick would find saucepans and stuff,
then deaden them to make them sound
like a snare drum.

I remember saying to Roger,
"This is insane."

MUSIC: "Atom Heart Mother"

Atom Heart Mother was the Floyd's
most ambitious experiment yet,

a rock suite incorporating
a brass band and choir.

MUSIC: "Atom Heart Mother"

The musicians didn't give a shit.
It was basically a brass band.

They didn't give a shit. They just
wanted to have their beer and
get pissed. It was very weird.

Atom Heart Mother was like
a movie soundtrack.

It was meant to be the soundtrack
to an epic movie that didn't exist.

It was an interesting exercise but
it doesn't hold an enormous amount
of Pink Floyd development.

Their fans disagreed.

The record went to number one
in the album chart in October 1970.

But as the members sharpened
their song-writing skills,

strengthened their musical
partnership and focused
their experimental ambitions,

they hit a creative peak
on their next album, Meddle,

with a little help
from Seamus the dog.

MUSIC: "Seamus"

It took a while before any of us
turned up songs we thought were good.

I suppose our confidence to move

slightly away from being quite
so out there, came with time.

MUSIC: "One Of These Days"

The Floyd had fathered British
prog rock and unwittingly,

its self-indulgent excesses.

But they showed exactly how it
should be done with Echoes -

a 23-minute track that
made up the entire second side
of the Meddle album.

# Overhead the albatross

# Hangs motionless upon the air... #

The whole band worked on it
together.

#... the rolling waves
In labyrinths of coral caves... #

Everyone would be throwing things
in, seeing what worked

and what didn't.

# Willowing across the sands
And everything... #

All encouraging each other,
all getting inspired
by other people's ideas.

It was a really collective
piece of music.

I think we found our feet.

I think we found we can do this
without Syd.

MUSIC: "Echoes"

Roger would be driving it more than
anyone else, in its dynamic range.

All of that work, everything
we did there I look upon as
serving our apprenticeship,

before we could actually say,
"Right, now we're ready.

"Put on your apron, we're gonna make
Dark Side Of The Moon."

We'd learned how to use our chisels.
And we'll do it properly this time.

MUSIC: "Money"

In 1973 the Floyd returned
to the moon -

but this time to its dark side.

# Money

# Get away

# Get a good job with... #

Times had changed. Sixties
optimism had given way
to the troubled Seventies.

This was a world in eclipse,
materialistic and authoritarian.

'Anything is possible' had become
'nothing is possible'.

Roger Waters' lyrics spat back at
a world now peopled by us and them.

The record sold millions and
gave them their first number one
album in the States.

They had become conflated, in my mind

with this thing which I really
thought was the death of music,

prog rock and stuff like that.

It was over-considered,

middle class, intellectual,

English stuff.

I didn't have it, uniquely amongst
the planet, I have to say.

But it's only much later I realised
the scale of their achievement.

What it is is a great record.
That's what it is.

It's absolutely one of the
cardinal pillars of rock'n'roll,
in my view, now.

MUSIC: "Us And Them"

I certainly knew, as we were
making this album, that something
magical is happening.

I remember sitting at
the final listening...

all of us saying, "That is good...

"That is very good."

MUSIC: "On The Run"

One of the elements that made it
so successful was that
the bloody record company

pulled their finger out
and got on with it.

That initial surge and that number
one in America was very important.

It was certainly, apart from the
obviously talented drumming on it,
was to do with the record company

doing their job.

This album just shot up

and was so enormous, we leapt
into a different stratosphere.

Part of you wants it.
You want that success.

You love it, you know.

You want people to love you
or to pretend they love you.

It's a drug.

Dark Side represents not only
the band's biggest commercial hit,

but also their most successful
artistic collaboration.

Four men, one band - it would never
be quite the same again.

Are there some difficult moments?
Yes. How do you get round them?

We pretend they're not there.

We certainly don't face up
to them in an adult way,
if that's what you mean.

We understand each other very well,
we're very tolerant of each other.

But a lot of things are unsaid
as well.

We're all from the British
aristocracy, with the exception
of David Gilmour.

And all our mothers are countesses
in England. Dukes and duchesses...

I mean, obviously they're a gang
of idiots but live and let live.

In America a record executive puffed
on his cigar and asked the group,

"Oh, by the way, which one's Pink?"

Roger had, by this time,
become the lyricist.

And it really was team work because
David and me would write music,

Roger would go home and write some
lyrics and come back. That was how
the writing was working then.

MUSIC: "Brain Damage"

# The lunatic is on the grass

But this Pink Floyd seemed regretful
and sometimes angry.

This wasn't pop music as we'd known
it but a new and surprisingly

commercial strain of
English melancholy.

If I'm at home
and I go on the piano,

it's all very melancholic,
what I play.

I keep saying to myself
I have to get out of this,

do something more upbeat.

David's melancholic too,

in his guitar playing.

Against Roger's rather flowery
and political and angry lyrics. It's
quite an interesting combination.

People naturally experience unease

about all of this.

I think most human beings experience
and think, "Well, on the surface
all of this seems to be working,

"but it just doesn't sit right
with me."

That's why people attach to it.

They're attached to this work
because there's a sense of relief,
even if it's melancholic,

when you go, "Oh, my God,
somebody else gets it too.

"Somebody else feels
this sense of unease."

It's Roger's phrase "quiet
desperation", isn't that what
he says, "it's the English way"?

Something like that.

Dave is quintessentially English.

There's a reserve. And it's hard...

to break out of it. So he doesn't.
He just plays it.

The daunting task of following
Dark Side Of The Moon

was finally clinched back at
Abbey Road Studios in 1975.

The spectre of Syd Barrett was
celebrated, if not fully laid
to rest, on what would become

their second most successful album,
Wish You Were Here.

They paid tribute to their
mercurial founder in an
emotionally charged anthem

that would become an essential part
of any Pink Floyd concert.

# Remember when you were young

# You shone like the sun

# Shine on you crazy diamond

# Now there's a look in your eyes

# Like black holes in the sky

# Shine on

# You crazy diamond

# You were caught in the crossfire

# Of childhood and stardom

# Blown on the steel breeze

# Come on, you target

# For faraway laughter

# Come on, you stranger

# You legend, you martyr

# And shine... #

The way in which Syd left

and their consistent determination
to link themselves to Syd,

to talk about him, to sing about
him, write songs about him

I think it's been good karma
for them.

He's there because we all know that

the band wouldn't have existed
without him kicking it off.

I think we also felt that, having
dropped him out of the band,

perhaps we have a bit of guilt,

of course we should've done
something better for him.

It's funny, when Syd died last year,
I realised that

by and large,
I'd already done all my grieving.

I'd done it 20 years before,
I'd been doing it.

The Floyd had always been
a multimedia band

but the innocent DIY days of
the late Sixties were long gone.

The band now commanded huge stadiums

and pioneered a form of rock theatre
that amazed and delighted
their ever-expanding audience.

But they continued to hide behind
the pyrotechnics.

We don't exist, we're just a brand.
Here we are.

Don't put any lights on us, be
distracted by these fucking
flying pigs and aeroplanes.

Just keep away from us,
you're not getting near us.

Our cosy rapport with the audience
that were there,

entirely for us, and would be quiet.

In the quiet bits
you could hear a pin drop.

That whole thing where we felt at one
with our audience changed rather.

Rather than focusing on the
individuals, what did they want
to focus on? The music.

But how do you do that to punters
without boring them?

Quite a lot of people were
playing Frisbee at the back

and you've got to try
and get them to join in.

That's the real reason for doing
big things - you want everyone
to enjoy the show.

It's impossible to think or imagine
that in every largish town

there are 50, 000 people
who know and love your music.

It's just not realistic to
believe that.

Dave particularly was very against
doing anything. "Why can't we just
stand on stage and play the songs?"

"It'll be boring."

Waters, the most organised,
motivated and ambitious member
of the group, pushed ahead

planning every higher concepts
and bigger extravaganzas,

making pigs fly and Pink Floyd
THE show in town.

But his increasing disgust
with society and authority

now put him and the band in conflict
with the very audiences that flocked

to their stadium shows,
which were becoming an
increasingly empty spectacle.

# Big man, pig man, ha ha... #

You know, that was a lot of show,
that Animals was really a big show.

I became rather disenchanted with it.

And thought that too much was lost.

What was gained from having
a large congregation of people
communing together

which is what a stadium
at its best is,

was being lost in a watering down
of the way the message got across
to the audience.

I thought it was inhuman
and only about money.

# Ha ha, charade you are... #

On the 1977 Animals tour, Waters
himself conceded defeat by stadium,

when he spat, like an older,
angrier Johnny Rotten at
a member of the audience.

# You well-heeled big wheel... #

One of the very irritating things
about being

post-show is, when it's been a bad
one, and someone says,

"That was fucking great."

You resent them. You think,
"What the fuck do you know?

"It was crap."

# We don't need no education... #

Waters' personal response to the
Animals incident and the dead-end
of the stadium experience

was to make physical and mental
barriers,

and his sense of alienation the
subject of the Floyd's next project.

He would rewrite the book
of rock theatre on The Wall.

If you show yourself, it's a risk.

You take the risk of being rejected.

If you have pretensions to being an
artist of any kind,

you have to take the risk of people
rejecting you, thinking
you're an arsehole.

"That's crap." So, you may
think it is, but it's me.

# All in all, you're just
a... nother brick in the wall... #

Waters approached The Wall
as a one-man construction crew.

But his determined vision and
combative leadership marginalised
the other members.

My confidence in my own
lyric writing has not
always been that high.

And Roger showed a very strong
desire to be the lyricist.

We all... lazily allowed that to
happen.

I didn't have any material to offer
and David didn't really, either.

And Roger had begun to think,
"I'm the writer of this band.

"And I don't want anyone else to
write. I'm going to become..."

It was the start of that whole thing.

So, I'm to blame for not having
anything and he's to blame for not
encouraging anything to come.

"Oh, he wouldn't let us write."
What?! That's just so stupid.

I'm desperate for people to write,
always,

always, always, always.

# Is there anybody out there? #

The fact is Roger arrived with
The Wall more or less pre-written.

That was a hell of a different thing
to Dark Side.

# Is there anybody out there? #

Now the indisputable leader
of the band, Waters, frustrated
by a lack of support,

keyboard player, Rick Wright.

Our personal relationship broke down
completely by The Wall.

That's when I left.

But, the interesting thing is, when
I was asked to leave, I said,

"I will but I want to finish this
and I want to play live,

"play the performances." And Roger
was totally happy for me to play.

I think the personality clash
had a lot to do with it.

And his... his belief that he was
the band...

And that the other musicians... The
story goes that Nick was the next
one to be thrown out by him.

We'd reached the point where
Roger questioned why he was working
with these other people,

who he felt were not really helping
him do what he wanted to do.

In fact they were criticising him,
"That's not quite right, Roger."

Regime change was in the air.

My musical taste and abilities

had just as much, if not more,

to do with it all than Roger's.

And if I allowed this dictatorship
to become real and total,

then our music would suffer.

Because I didn't think, still don't,

that is really Roger's main forte.

When I was that very young guy in
that band all those years ago

I would stand in the corner, smoke
cigarettes endlessly and snarl.

I'm not as reactionary in
the literal sense, as I was
when I was as a young man.

I don't immediately feel
I've got to, you know,

hurt you before you hurt me.

The band made one more record
together, The Final Cut.

But in most respects
it was a solo album from Waters.

Soon after, he informed their record
company that he was leaving,

and declared that Pink Floyd
was no more.

# Or make 'em me

# Or make 'em you

# Make 'em do
what you want them to... #

This was something David Gilmour
in particular refused to accept.

I think he was very surprised
when David and Nick said "OK,

"you can leave the band, fine."
He didn't expect them to say,

"Now we'll make a Pink Floyd album,
go on tour without you."

It seemed important to me to just
get on and do the best you can do.

And... you know,

Syd Barrett's Pink Floyd had been
one Pink Floyd.

The Pink Floyd with the four
of us, Roger, Rick, Nick and I,
had been another one.

And this would be another version.

That, I think, shocked him a bit.

Well, not shocked him...
and made him angry.

Well, we know it made him angry
because he tried to stop it.

The argument was me, rather
pompously, and I admit now,
erroneously,

suggesting that because I wasn't
in the band any more that the brand
and band name should be retired.

So, it wasn't up to me.

Well, it's a battle about using a
name. It's a name that all of us had
spent our adult lives working on,

as anonymous as we all have been
throughout that Pink Floyd history.

I mean, after all, who's Nick Mason?

He's the drummer with Pink Floyd.

Um...

Who's Rick? He's the keyboard
player.

Who's Roger? Oh, he's the guy
who was in the Pink Floyd.

You know...

That's who they are.

MUSIC: "Learning To Fly"

Spurred into action, Gilmour wrote
and recorded a new Floyd album,

A Momentary Lapse Of Reason,
with new collaborators.

Released in 1987, it went on
to sell 9 million copies.

And encouraged Gilmour to tour
the Floyd with Rick Wright and
Nick Mason fully reinstated.

# Into the distance
A ribbon of black

# Stretched to the point
of no turning back

# A flight of fancy... #

When the band played live in Venice
in July 1989,

the televised event was watched
around the globe.

Pink Floyd were back, bigger than
ever and with a new leader.

# Holding me fast

# How can I escape

# This irresistible grasp?

# Can't keep my eyes from
the circling sky

# Tongue-tied and twisted

# Just an earthbound misfit, I...

# Ice is forming on the tips... #

Pink Floyd toured the world,
as did a solo Roger Waters.

He performed his version of The Wall
in Berlin in 1990.

Both played the band's most popular
numbers while lawsuits and bad blood
flowed between them.

I remember one night playing in
Cincinnati to about 2, 000 people
in a 6, 000-seat arena.

And they were playing to 60, 000
people in a football stadium next
door.

Playing all my songs!

You know, but...

Erm... it was hard to take.

The Momentary Lapse Of Reason tour
restored the confidence of both
Rick Wright and Nick Mason.

Under Gilmour's leadership the band
now worked together again as a team.

For what would be the last
original Pink Floyd album.

The Division Bell began life here
in 1993

in Gilmour's floating studio,
moored at Hampton Court.

We decided to start this one, we'd
all go and jam, for a week or so.

Just start playing together and
out of that came Division Bell.

So, it was a true Floyd
writing partnership again.

Well, that sounds to me like
something that needs development
but it could almost be...

I have nothing to say.

It was a happier Pink Floyd
that continued recording
The Division Bell throughout 1993.

Happy together, but nonetheless
compelled to gaze once again
back into their past,

with the closing track High Hopes.

# The grass was greener

# The light was brighter

# The days were sweeter

# The nights of wonder

# With friends surrounded... #

When you hink about how many
different versions,

different
lead songwriters they've had.

And yet...

there's something that links it all.

Certainly they managed to make the
changes evolutionary, gradual...

and always maintaining
a certain kind of sound.

More than a decade after
The Division Bell was released,

the Pink Floyd lawsuits had subsided
and the band had been put on ice,

Bob Geldof wanted the four surviving
members of the group to reunite

as the climax of his Live 8 event.

A task akin to making poverty
history.

He opened negotiations
with David Gilmour.

I really don't do the hard sell cos
I don't want to do it to him.

He's desperate not to do this. I can
see it, he's not gonna do it.

And I just have to say, one, no-one
in Pink Floyd's world feels that you
guys ever said goodbye properly.

And that's true.

Two, it's 20 minutes.

It's 20 minutes.

"Ah, we're going on tour..."
Spare me.

Don't tell me that the Pink Floyd
getting back together again
will not seize

the entire... That's the thing that
makes this totally different.

Gilmour said no.

So, Geldof contacted Waters
who called Gilmour,

who called Geldof and so on.

Eventually the four men
buried the axe

and agreed to play together
just one more time as Pink Floyd.

We had a meeting with Roger
and he wanted to do other songs.

Basically David said, "Look,
they've asked Pink Floyd to play.

"We're Pink Floyd so we're gonna do
these songs, and if you'd like to
play with us, that'd be great."

So he was very humble, actually.

He knew that, he realised that.

But he loved it.

# I cannot put my finger on it now

# The child is grown
The dream is gone... #

To me, it was also very good to get
back onto speaking terms,

after all the bickering
with Roger over the years,

and us to maybe grow up
a little bit...

Become adult human beings in some
sort of reasonable relationship...

For that moment.

Mummy! Um...

It was, er... it was terrific.

From the playing point of view,
it was really easy and really nice,

and fun to play together.

For me playing with Roger... the
relationship between the bass player
and the drummer is special,

you just intuitively know which
mistakes we're gonna make next.

Great to have Roger standing
next to me... playing the bass.

It did bring back memories,
and a little bit of emotion.

I think it's great that happened.
I really think it was great.

If that's the only time we get to
draw a line under it, well, so be it.

I'd like to do more of it.
I thought it was really cool. It
was very interesting, musically

and emotionally and philosophically.

This vast, numberless constituency
gathered about because
these four men said,

"Enough's enough, this single thing
is important enough to put aside

"these pathetic misgivings
of the past."

There was nothing more potent or
symbolic on that night than

these four old geezers

playing... so beautifully,

laying their own ghosts to rest,

and the thing is, it worked.

There are 20 million children
in school,

now - cos of what went on
all during that week.

And emblematic of that week,

was this signature group

and this great moment
in their lives.

I think.

The body language was funny...

Roger seemed, "Yeah, I'm back!"

Sort of very pleased.
And the others were kind of...

like that a bit.

We were a family, you know,
and we went through a divorce.

A marriage and we went through a
divorce. And erm...

I don't know who divorced who,
but anyway...

It didn't feel like a family.

There are connections I feel
with my mother and my brother

that I don't feel for anybody
that I was in Pink Floyd with.

It's very like a family. You get
sick of each other, the way you do
in families.

And you get this wonderful honesty...

you know, shouting at people,
telling them how useless they are
and what they've done wrong.

It's a bit like the Munsters,
if you know what I mean.

Well, there it is. You can pass
your verdict as well as I can.

My verdict is that it is a regression
to childhood but after all, why not?

MUSIC: "Eclipse"

I would love to go out and play
Floyd music again.

Stubborn isn't the word, talking
about leading a horse to water
but you can't make it drink.

Well, these horses can't even be led
to the water.

I don't think it will happen but
I think... Well, you can ask Dave
when you speak to him.

I think it happens.

# And all that is gone

# And all that's to come

# And everything under the sun
is in tune

# And the sun is eclipsed
by the moon. #