Original subtitles

Among players, particularly among British players,

he's incredibly highly rated, adored I'd say.

And he has a way of putting incredible feeling into everything that he does.

I suppose technically he's very good, but that's not the important thing.

The important thing is the way that he plays.

Dave's got a unique style, fumbly I think is the word I'd use.

Sorry Dave.

I think, in fact, he does have a very specific style of his own

and an ability to play in all sorts of different styles if necessary.

But I think the thing I admire most

is his ability to have a sense of the music as a whole.

I think, from that point of view,

he's been a very particularly important influence in the band.

He's had influence.

He's definitely had influence.

I think he's influenced me.

Particularly on the new album, Working With Him,

the way that he writes,

again, it shows how gracefully and how naturally you can produce a good record.

You know, it's that. It's a kind of effortless naturalness to it.

I suppose, It's all about moving people.

I think the job is to move people and to move their emotions

in one way or another with different pieces of music.

To try and capture moments of magic within the music that you do.

That's what I endeavour to do.

I'm not ready to retire yet,

this is what I do for a living, is make music.

And that involves both being on stages in front of audiences and making records.

I think you tend to dry up.

I mean, you lose certain aspects of what you're good at if you don't practice them.

How was that out there, Rick?

Was that a little bit groovy?

Just OK?

OK.

Carry on.

The worst aspect to the rehearsals was that I had to take out over a week

of my allotted time to make videos.

And having lost over a week of that,

I was quite worried that I wouldn't have enough time to put the band into shape.

I feel now much less nervous than I felt a couple of weeks ago,

but the reality is creeping up.

I shall probably be pretty nervous until I get on stage.

I'm not feeling too bad about it at all, I don't know.

My confidence has grown over the last few days.

My throat is a bit rough.

I've had flu for the last couple of days and it's followed on with a sore throat.

I've got David Gilmour, the lead guitarist

or ex-lead guitarist with Pink Floyd, doing a European tour.

I'm a great fan of Pink Floyd and I admire Dave Gilmour's guitar work tremendously.

I do tend to play about with the guitar a

bit myself and I try and emulate him as much

as I can, but without much success at the moment.

Where am I going to?

Some place called the Zenith, where we're playing tonight.

We're in Gay Paris, France, and we're about to do our concert here

in a large, sort of inflatable building called the Zine.

The Pink Floyd are considered very highly by the French, yes.

I personally think that we should have used

the Pink Floyd thing more in our publicity than we have done.

I told them it was fine to mention it,

because I don't think very many people, apart from real aficionados,

are aware of the fact that my name is one of the people in Pink Floyd.

They tell me that it's very hard times here and that touring isn't going so well,

and we look like we've sold a reasonable amount of seats tonight.

Well, what we have is an interference problem between the lighting and my music.

I haven't a vacation for my guitar.

It's very awkward.

It means I have to be very careful what I do.

I just hope that I don't have to spend all my evening

juggling around so that this sound isn't too awkward.

I'm trying to make music.

I don't, you know, the trend towards

having to leap about at maximum velocity all the time

has never been something that has really appealed to me as being necessary.

There are moments when it's fun,

but there are a lot of songs where it really doesn't apply and you shouldn't do it.

You can become lost in the music at times

when you actually do get high,

if that's what you want to call it.

You certainly sort of drift off into another space while you're actually playing.

A type of magic happens, and I can feel it, and I know the audience feel it too.

You just know that everyone is feeling it at the same time as yourself.

It doesn't happen very often,

but it's great when it does.

The people come and they will buy my record or

they'll listen to my record or they'll come to my show

and they will say, oh, well, that was as good as Pink Floyd or that wasn't

as good as Pink Floyd and that is what will happen.

There's no doubt about that.

I will be compared to it.

Between what we were doing when I first joined the Floyd

and what I'm doing now, there is quite a fundamental difference between what.

we were doing as the Floyd during the 70s.

You know, Dark Side of the Moon period onwards,

there's no real fundamental difference.

The lyrics on those albums were written by Roger, not by me.

You'd have to ask him about just how hard it was for him.

He certainly seemed to have more difficulty

dealing with stresses and strains than I did.

There are things where discussing

the strains that come on us and describing them and I feel pretty...

I feel fine about those things, you know.

There are moments when it seems to me it's got very close to being

complaining and those are the ones that I don't like.

There have been occasions where I've said

I would rather not sing this one, you do it, you know.

I hope that I enjoy the touring enough

to want to continue doing more of the same thing, more albums.

I don't want to get tied down into...

a permanent band lineup or a permanent bunch of

musicians or a permanent style of anything, you know.

I want to retain freedom in all areas

to do anything that comes to mind at any one moment, you know.

So if the next album, if I felt like doing something completely different to this one

I wouldn't want to feel committed to having to stick within

certain sort of guidelines that I've set up for myself.

I don't know how to explain it, I just like making music and performing it live.

and all the things that go with it, including the sort

of ego gratification and the adulation of people out there.

But also, you know, it's a great buzz

when you go for things that work and it sounds good.

And it's wonderful to have a bunch of good musicians

around you playing a song that you've written.

It's great to go and watch someone else doing it as well.

I've seen lots of them.

I've got to do a sound check.

I don't care how many people there are.

I can't do a conference now.

I've got to do a sound check.

Would you like that same thing again?

Or that would be favourite?

OK.

Yeah, the click on the bass on the tapes is pretty radical in places there, right?

Well, maybe the others will do one for you without me.

If that'll help it.

Can I ask what happened?

He's not here?

Who?

The French TV people. They're just not interested.

What happened, man?

What?

What happened, man?

Well, we all sit around feeling like turkeys

What would you like me to do?

Watch a bit more exciting French television.

I've seen the denouement of the...

A stiff drink is in order.

This is the camera in the dressing room.

Hold on, the documentary crew.

It's hard work to begin with, a lot of nerves

on stage, mine, falling over my fingers and stuff

all had a heavy night tonight out on the booze

and I think they've just got in

and we reready to go again, another day, - screw you mate, I'm going to drive, - especially this

it's near bad, give it ten minutes and it'll be gone, seven o'clock in the morning

without any sleep, it's near bad, it'll be flat out in ten minutes.

I like going and playing in the places but the living out of suitcases and travelling

on coaches or aeroplanes and stuff is not

enormously appealing, I don't like to be away

from my wife and kids for long periods of time

but it's a necessary part of what goes on.

I have to just get on with it so I don't really think about it.

Hammersmith Odeon is one of the two or three major London venues that one plays.

And it's the last real thing before we get over to the States, and we're ready.

It's great if you can do it well.

It's always a bit special to play in your hometown,

or to play in any of the real big cities, New York, Los Angeles, London,

the three major cities.

It's usually very difficult in London.

You wind yourself up too much about it, and it's often disappointing.

And the audiences can be a bit blasé at times.

If it comes over strongly in London, and it feels very good,

then it will be an achievement for me.