1 00:00:02,000 --> 00:00:09,040 Subtitles by Billy Novy. This programme contains some strong language. 2 00:00:12,600 --> 00:00:16,480 How I wish How I wish you were here 3 00:00:18,840 --> 00:00:22,920 We're just two lost souls Swimming in a fish bowl 4 00:00:22,920 --> 00:00:26,280 Year after year 5 00:00:27,720 --> 00:00:30,480 Running over the same old ground 6 00:00:30,480 --> 00:00:33,120 What have we found? 7 00:00:33,120 --> 00:00:36,760 The same old fears 8 00:00:36,760 --> 00:00:39,000 Wish you were here. 9 00:01:34,120 --> 00:01:37,040 It did stem from those first four notes 10 00:01:37,040 --> 00:01:41,320 that popped out of the guitar one day in King's Cross. 11 00:01:45,760 --> 00:01:49,560 Somehow, those notes evoked a song about Syd 12 00:01:49,560 --> 00:01:56,240 and his disappearance, absence, if you like, in Roger. 13 00:01:56,240 --> 00:01:58,600 It's my homage to Syd 14 00:01:58,600 --> 00:02:05,400 and my heartfelt expression of my sadness and... 15 00:02:05,400 --> 00:02:09,760 But also my admiration for the talent, and my sadness 16 00:02:09,760 --> 00:02:11,960 for the loss of the friend. 17 00:02:11,960 --> 00:02:15,200 You were caught in the crossfire 18 00:02:15,200 --> 00:02:17,240 Of childhood and stardom 19 00:02:18,440 --> 00:02:21,800 Blown on the steel breeze. 20 00:02:23,240 --> 00:02:29,320 I think the song is brilliant in its sort of evocation of what 21 00:02:29,320 --> 00:02:33,080 Roger obviously felt about Syd, and certainly, it matches mine. 22 00:02:33,080 --> 00:02:37,440 I think what was so important was to not try 23 00:02:37,440 --> 00:02:38,880 and write him out of history. 24 00:02:38,880 --> 00:02:41,320 Come on, you stranger 25 00:02:41,320 --> 00:02:44,000 You legend, you martyr 26 00:02:44,000 --> 00:02:46,600 And shine! 27 00:03:04,880 --> 00:03:07,480 There are no generalities, really, in that song. 28 00:03:07,480 --> 00:03:10,120 It's not about, "All the crazy diamonds", it's about Syd. 29 00:03:10,120 --> 00:03:13,160 THEY VOCALIZE AND EMIT NOISES 30 00:03:23,520 --> 00:03:26,400 When I first saw the Floyd, I remember... 31 00:03:26,400 --> 00:03:28,720 I mean, the first thing you noticed was the lights, 32 00:03:28,720 --> 00:03:32,200 because nobody was doing that then. At least I hadn't seen it. 33 00:03:32,200 --> 00:03:37,000 But Syd really started to shine. 34 00:03:37,000 --> 00:03:39,480 You know, you couldn't really take your eyes off him, 35 00:03:39,480 --> 00:03:43,280 even in the murk and the purple and green blobs, you know, 36 00:03:43,280 --> 00:03:46,560 the bright-eyed Syd and his singing and his guitar playing 37 00:03:46,560 --> 00:03:48,080 kind of jumped out at you. 38 00:03:48,080 --> 00:03:53,720 Blinding signs flap Flicker, flicker, flicker 39 00:03:53,720 --> 00:03:57,400 Blam... Pow! Pow! 40 00:03:57,400 --> 00:04:01,360 Da, da-da, da, da-da, da-da 41 00:04:01,360 --> 00:04:03,040 Da-da, da-da 42 00:04:03,040 --> 00:04:07,240 Ooooh! 43 00:04:07,240 --> 00:04:10,360 By the time I was working with them in the studio, 44 00:04:10,360 --> 00:04:14,880 it was clear that the real creative shape of the group emanated 45 00:04:14,880 --> 00:04:16,720 from Syd, although, 46 00:04:16,720 --> 00:04:19,280 you know, it certainly wasn't Syd and backing group. 47 00:04:32,600 --> 00:04:36,360 Syd was a very wonderful chap. 48 00:04:36,360 --> 00:04:38,800 Very, very witty. Very, very sharp. 49 00:04:38,800 --> 00:04:45,880 You know, he was out-going, charming, wonderful, friendly. 50 00:04:45,880 --> 00:04:48,440 You name it. I mean, a wonderful man. 51 00:04:48,440 --> 00:04:53,040 He was one of the gang, I guess you'd say. 52 00:04:53,040 --> 00:04:55,520 A good friend. Funny. 53 00:04:55,520 --> 00:04:58,080 Rather annoying, though - he was good looking 54 00:04:58,080 --> 00:05:00,200 and played guitar and could paint, 55 00:05:00,200 --> 00:05:02,280 and always had nice girlfriends. 56 00:05:04,120 --> 00:05:07,400 No-one that you ever really would have imagined 57 00:05:07,400 --> 00:05:11,520 would wind up the way he did wind up. 58 00:05:18,240 --> 00:05:20,080 Remember when you were young 59 00:05:23,360 --> 00:05:25,680 You shone like the sun 60 00:05:27,520 --> 00:05:33,800 Shine on, you crazy diamond. 61 00:05:53,640 --> 00:05:58,320 Little by little The night turns around 62 00:06:02,680 --> 00:06:06,600 Counting the leaves Which tremble at dawn 63 00:06:06,600 --> 00:06:10,680 Ah, aaah, ah, aaah, ah 64 00:06:10,680 --> 00:06:14,480 Ah, aaah, ah, aaah, ah 65 00:06:14,480 --> 00:06:18,680 Set the controls For the heart of the sun 66 00:06:22,520 --> 00:06:24,800 Heart of the sun 67 00:06:26,240 --> 00:06:28,440 Heart of the sun. 68 00:06:35,240 --> 00:06:37,800 In this post Dark Side Of The Moon period, 69 00:06:37,800 --> 00:06:40,960 we were all having to assess 70 00:06:40,960 --> 00:06:44,640 what we were in this business for, 71 00:06:44,640 --> 00:06:49,640 why we were doing it, whether we were artists or business people. 72 00:06:49,640 --> 00:06:53,160 Having achieved the sort of success 73 00:06:53,160 --> 00:06:59,560 and money out of it all that... 74 00:06:59,560 --> 00:07:04,120 that could fulfil anyone's wildest teenage dreams, 75 00:07:04,120 --> 00:07:08,400 why we would still want to continue to do it. 76 00:07:08,400 --> 00:07:12,880 Yeah, I remember the disappointment of Top Of The Pops 77 00:07:12,880 --> 00:07:14,840 or having the first hit single or whatever. 78 00:07:14,840 --> 00:07:17,640 It's not as world-shaking 79 00:07:17,640 --> 00:07:20,160 and changing as perhaps you expect it to be. 80 00:07:21,840 --> 00:07:25,200 So maybe, you know, because of the enormous success 81 00:07:25,200 --> 00:07:27,760 of Dark Side, there was still that sense of, 82 00:07:27,760 --> 00:07:32,200 "Well, this hasn't made us feel enormously different or satisfied." 83 00:07:33,880 --> 00:07:37,360 Roger, I think, has sometimes said that he thinks 84 00:07:37,360 --> 00:07:40,520 that we were kind of finished at that point, 85 00:07:40,520 --> 00:07:42,440 and he may have been right. 86 00:07:45,120 --> 00:07:47,120 I think we were at a watershed then, 87 00:07:47,120 --> 00:07:49,320 and we could easily have split up then. 88 00:07:49,320 --> 00:07:51,880 And we didn't, because we were frightened 89 00:07:51,880 --> 00:07:56,000 of the great out there, beyond the umbrella 90 00:07:56,000 --> 00:08:01,400 of this extraordinarily powerful and valuable trade name - Pink Floyd. 91 00:08:15,840 --> 00:08:18,240 It was the first song they played, and it was like, "Whoa," 92 00:08:18,240 --> 00:08:20,560 it was like singing about Syd Barrett. 93 00:08:28,800 --> 00:08:33,720 The band that was known for their musicality, 94 00:08:33,720 --> 00:08:36,800 they weren't doing their music justice. 95 00:08:36,800 --> 00:08:40,640 Do you recall there was a famous review by Nick Kent? 96 00:08:40,640 --> 00:08:42,760 How could I forget? 97 00:08:42,760 --> 00:08:44,400 I kind of over-reacted, obviously. 98 00:08:44,400 --> 00:08:46,520 I mean, I feel now that I over-reacted, 99 00:08:46,520 --> 00:08:49,600 but at the same time, they partly deserved it. 100 00:08:49,600 --> 00:08:51,440 It was a bad gig. 101 00:08:51,440 --> 00:08:53,120 It was, it was shambolic. 102 00:08:53,120 --> 00:08:59,200 I mean it was...it lacked enthusiasm and it lacked a sort of purpose, 103 00:08:59,200 --> 00:09:01,520 a sense of purpose, and I don't really know why. 104 00:09:01,520 --> 00:09:07,880 From my perspective now, to look back upon how I felt then, 105 00:09:07,880 --> 00:09:13,480 scared as I was of my own shadow, you know, 106 00:09:13,480 --> 00:09:16,400 never mind my relationship with audiences, 107 00:09:16,400 --> 00:09:20,400 and there were real concerns about not making any contact 108 00:09:20,400 --> 00:09:24,880 with the audience during much of that tour of England 109 00:09:24,880 --> 00:09:26,160 that we did in 1974. 110 00:09:26,160 --> 00:09:32,200 And we didn't. We were... we were very disconnected. 111 00:09:34,400 --> 00:09:39,600 If we weren't giving 100%, we couldn't quite sort out why not. 112 00:09:39,600 --> 00:09:43,040 You know, there was an element of frustration 113 00:09:43,040 --> 00:09:45,440 in having someone tell us that. 114 00:09:45,440 --> 00:09:50,600 I think we probably knew it and couldn't quite sort of deal with it. 115 00:09:53,320 --> 00:09:56,880 That review would have been one of the things which would have - 116 00:09:56,880 --> 00:10:02,520 once we'd got over our initial ire - we would have taken on board 117 00:10:02,520 --> 00:10:05,800 and realised that there was more than a germ of truth in it. 118 00:10:22,200 --> 00:10:25,480 I was asked to record the Floyd at what was then called 119 00:10:25,480 --> 00:10:28,600 the Empire Pool, which is now the Wembley Arena, 120 00:10:28,600 --> 00:10:33,040 and when I saw the Floyd before they went on, they said, 121 00:10:33,040 --> 00:10:37,520 "Oh, do us a favour, will you go and sit with our sound engineer?" 122 00:10:37,520 --> 00:10:38,800 And I said, "OK." 123 00:10:38,800 --> 00:10:41,400 How long is it since you've been here, Brian? 124 00:10:41,400 --> 00:10:43,160 30 years. 125 00:10:45,280 --> 00:10:46,840 And anyhow, 126 00:10:46,840 --> 00:10:48,560 I went back in the interval and they said 127 00:10:48,560 --> 00:10:52,080 "Well, what do you think?" And I said, "It's rubbish." 128 00:10:52,080 --> 00:10:56,000 Because I'd been used to working with smaller groups 129 00:10:56,000 --> 00:11:00,560 on smaller mixing desks, and theirs was massive. 130 00:11:01,720 --> 00:11:03,880 So anyway, cut a long story short, 131 00:11:03,880 --> 00:11:07,800 next thing I knew, I was doing the next night at the Empire Pool. 132 00:11:12,160 --> 00:11:14,280 Oh, God, this does take me back. 133 00:11:14,280 --> 00:11:17,280 And then I ended up doing the rest of the British tour. 134 00:11:18,520 --> 00:11:21,000 Somebody better just run through this. 135 00:11:21,000 --> 00:11:25,080 And then, as I say, then came Wish You Were Here. 136 00:11:25,080 --> 00:11:27,360 There were a lot of days where we didn't do anything, 137 00:11:27,360 --> 00:11:30,720 while they were thinking about ideas. 138 00:11:30,720 --> 00:11:34,600 The reality was that we were struggling with making the follow-up 139 00:11:34,600 --> 00:11:38,200 to Dark Side, and we rushed back in to the studio to do that. 140 00:11:39,480 --> 00:11:44,080 You know, we put ourselves under a sort of ridiculous pressure, 141 00:11:44,080 --> 00:11:46,240 in a way, trying to make a record from nothing. 142 00:11:47,680 --> 00:11:49,120 It was disengagement. 143 00:11:49,120 --> 00:11:54,080 It was not being willing to apply yourself sufficiently. 144 00:11:54,080 --> 00:11:59,000 A lot of moments where any one of us might have been much more 145 00:11:59,000 --> 00:12:03,880 interested in thinking about what they were doing that weekend. 146 00:12:05,520 --> 00:12:09,120 It became a case of two would be in the studio and two were running 147 00:12:09,120 --> 00:12:14,160 late or, as it was always known, they were out playing squash. 148 00:12:15,960 --> 00:12:21,080 And then we had the dartboard with the air rifle. 149 00:12:22,200 --> 00:12:27,320 The concentrated activity was rather diluted, 150 00:12:27,320 --> 00:12:30,240 and I'm sure for a... 151 00:12:31,760 --> 00:12:34,920 ..a very pushing, driving sort of person 152 00:12:34,920 --> 00:12:37,720 like Roger, it was more frustrating than it was for anyone else, 153 00:12:37,720 --> 00:12:40,960 although considerably frustrating for all of us, I suspect. 154 00:12:40,960 --> 00:12:45,400 When I'm in the studio, I'm there to do something, 155 00:12:45,400 --> 00:12:49,120 otherwise I'd rather be somewhere else, frankly. 156 00:12:49,120 --> 00:12:50,680 So I'm there to work. 157 00:13:02,640 --> 00:13:05,120 Well, you know, there's the legendary argument 158 00:13:05,120 --> 00:13:08,520 that I must have had with the rest of them about... 159 00:13:10,680 --> 00:13:13,880 ..my thought at the time that it would be better to use 160 00:13:13,880 --> 00:13:17,520 the other two tracks as well that we had been working on. 161 00:13:17,520 --> 00:13:21,880 I had to fight David for a bit, as he acknowledges completely, 162 00:13:21,880 --> 00:13:22,920 you know. 163 00:13:22,920 --> 00:13:25,960 We had a completely different idea about it, 164 00:13:25,960 --> 00:13:28,880 and that was a...that was a fight that I won. 165 00:13:29,960 --> 00:13:36,240 Dave saw a record that had those two songs and Shine On, 166 00:13:36,240 --> 00:13:39,920 and it felt cobbled together to me. 167 00:13:39,920 --> 00:13:42,360 It didn't feel like real. 168 00:13:42,360 --> 00:13:45,240 And so at some point in that process, yeah, 169 00:13:45,240 --> 00:13:49,720 I came up with the idea of, "No, this has to be thematic," 170 00:13:49,720 --> 00:13:52,200 and that's the way I expressed it. 171 00:13:55,320 --> 00:13:58,360 This will make this a more coherent work, 172 00:13:58,360 --> 00:14:00,720 and because it's more coherent, 173 00:14:00,720 --> 00:14:03,600 it will be better than if we just throw all the songs 174 00:14:03,600 --> 00:14:07,200 we've been working on together and go boom, there you are, that's it. 175 00:14:07,200 --> 00:14:10,880 There's one song that's about Syd, but the rest of it isn't. 176 00:14:10,880 --> 00:14:16,320 It's a much more universal expression of my feelings 177 00:14:16,320 --> 00:14:18,400 about absence... 178 00:14:20,360 --> 00:14:23,800 ..because I felt that we weren't really there, 179 00:14:23,800 --> 00:14:25,280 we were very absent. 180 00:14:38,280 --> 00:14:39,920 I remembered it. 181 00:14:44,320 --> 00:14:47,600 Come in here, dear boy Have a cigar 182 00:14:47,600 --> 00:14:48,920 You're gonna go far. 183 00:14:48,920 --> 00:14:51,120 "Come in here and have a cigar," 184 00:14:51,120 --> 00:14:55,160 you know, and become a star and become immortal. 185 00:14:55,160 --> 00:14:57,120 You're gonna make it if you try 186 00:14:57,120 --> 00:14:58,840 They're gonna love you. 187 00:14:58,840 --> 00:15:03,560 You become part of the whole buying and selling machine. 188 00:15:03,560 --> 00:15:05,000 It's high. 189 00:15:05,000 --> 00:15:09,920 I would need to do a number of vocal exercises before I attempted that. 190 00:15:09,920 --> 00:15:15,040 I think the lyrics so much sum up the recording business. 191 00:15:19,200 --> 00:15:21,400 Rock 'n' roll, man. 192 00:15:21,400 --> 00:15:25,320 Come in here, dear boy Have a cigar 193 00:15:25,320 --> 00:15:28,360 You're gonna go far. 194 00:15:28,360 --> 00:15:32,240 The record companies were... they were all-powerful, in a way. 195 00:15:32,240 --> 00:15:35,080 No-one worked without a record deal in those days, 196 00:15:35,080 --> 00:15:37,840 so they had a lot of power. 197 00:15:40,680 --> 00:15:43,720 You're not longer really an individual any more, 198 00:15:43,720 --> 00:15:45,840 you're just...you're a cipher, 199 00:15:45,840 --> 00:15:48,520 you're playing a part, you're a puppet. 200 00:15:48,520 --> 00:15:50,080 You're not your own man. 201 00:15:50,080 --> 00:15:53,840 The weather's just fantastic That is really what I think 202 00:15:53,840 --> 00:15:57,440 Oh, by the way Which one's Pink? 203 00:15:58,880 --> 00:16:00,720 By the way, which one is Pink? 204 00:16:00,720 --> 00:16:01,880 Which one's Pink? 205 00:16:01,880 --> 00:16:03,080 Which one's Pink? 206 00:16:03,080 --> 00:16:08,640 And did we tell you The name of the game, boy? 207 00:16:08,640 --> 00:16:12,120 We call it Riding the gravy train. 208 00:16:12,120 --> 00:16:17,720 It was felt that Syd's madness had partly come about 209 00:16:17,720 --> 00:16:21,640 through the demands of the record industry. 210 00:16:21,640 --> 00:16:23,800 "You've had a hit, now I want you to do another hit." 211 00:16:23,800 --> 00:16:25,920 "I want you another hit, and I want another hit." 212 00:16:25,920 --> 00:16:28,120 "And that's not as good as your last hit." 213 00:16:28,120 --> 00:16:31,040 "That's not as good as your last record," you know, 214 00:16:31,040 --> 00:16:33,320 "And I want you to do a bigger show and have more lights 215 00:16:33,320 --> 00:16:34,600 "and more people." 216 00:16:34,600 --> 00:16:36,560 I mean, it's... 217 00:16:36,560 --> 00:16:38,760 "Hey, all I wanted to do is to play a guitar 218 00:16:38,760 --> 00:16:42,200 "and write a song, and suddenly I'm in the middle of all this." 219 00:16:42,200 --> 00:16:46,080 The star thing doesn't make... doesn't make you happy, you know. 220 00:16:46,080 --> 00:16:50,200 That, the star thing, can make you want to withdraw from society. 221 00:16:50,200 --> 00:16:55,000 It's awfully considerate of you To think of me here 222 00:16:55,000 --> 00:17:00,400 And I'm most obliged to you For making it clear 223 00:17:00,400 --> 00:17:02,200 That I'm not here. 224 00:17:02,200 --> 00:17:04,960 Well, you could argue that Syd was burned by the music business, 225 00:17:04,960 --> 00:17:07,520 but actually, he was probably burned more by us. 226 00:17:07,520 --> 00:17:09,240 And I never knew the moon... 227 00:17:09,240 --> 00:17:12,720 Syd had sort of gone off the idea of doing Top Of The Pops, 228 00:17:12,720 --> 00:17:14,480 and being sort of commercial. 229 00:17:14,480 --> 00:17:16,760 ..shoes and brought me here. 230 00:17:16,760 --> 00:17:19,840 I think it wasn't the record company putting the pressure on, it was us 231 00:17:19,840 --> 00:17:23,200 putting the pressure on, because that's the way we wanted to go. 232 00:17:23,200 --> 00:17:26,960 I don't care If the sun doesn't shine 233 00:17:26,960 --> 00:17:31,880 And I don't care If nothing is mine 234 00:17:31,880 --> 00:17:36,360 And I don't care If I'm nervous with you 235 00:17:36,360 --> 00:17:40,560 I'll do my loving in the winter. 236 00:17:46,560 --> 00:17:49,320 Come in here, dear boy Have a cigar 237 00:17:49,320 --> 00:17:51,600 You're gonna go far 238 00:17:51,600 --> 00:17:53,280 Fly high... 239 00:17:53,280 --> 00:17:54,880 With Have A Cigar, 240 00:17:54,880 --> 00:17:58,920 both of them knew that neither of them could sing it. 241 00:17:58,920 --> 00:18:03,560 I always thought that Dave's voice was not deep enough. 242 00:18:03,560 --> 00:18:07,120 I've always had a deep respect I mean that most sincerely. 243 00:18:07,120 --> 00:18:08,360 Yeah, that's Dave. 244 00:18:10,840 --> 00:18:14,520 I think the band's fantastic That is really what I think 245 00:18:14,520 --> 00:18:17,080 By the way, which one's Pink? 246 00:18:17,080 --> 00:18:18,120 That's Roger. 247 00:18:18,120 --> 00:18:22,840 They wanted the ferocity which Roger gives on other tracks. 248 00:18:22,840 --> 00:18:25,520 At the time, he just felt that he hadn't got it. 249 00:18:28,080 --> 00:18:31,320 "Come in here, dear boy, have a cigar. 250 00:18:31,320 --> 00:18:33,280 "You're gonna go far." 251 00:18:33,280 --> 00:18:37,440 Roy was definitely one of the great characters around for a lot 252 00:18:37,440 --> 00:18:40,600 of our early... our early life, really. 253 00:18:41,640 --> 00:18:46,960 We used to do quite a lot of shows where Roy would be on the bill. 254 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.