All language subtitles for Classic.Albums.Pink.Floyd.Dark.Side.Of.The.Moon.2006.720p.BluRay.x264.AAC-[YTS.MX]

Dark Side of the Moon
was an expression

of political, philosophical,

humanitarian empathy
that was desperate to get out.

Dark Side, I think, felt like

the whole band
were working together.

It was a very creative time.
We were all very open, as well.

I think because we still had
a common goal,

which was to become
rich and famous.

The ideas that Roger
was exploring

apply to every new generation.

They still have very much
the same relevance as they had.

Can we run back
and drop it a bit?

Yeah, you can if you like.
Just turn it down a bit.

I think one of the successes
of Dark Side

is the fact that, actually,
it's very rich.

There's a lot of songs,
a lot of ideas,

all compressed
onto the one record.

I can clearly remember

that moment
of sitting and listening

to the whole mix,
all the way through,

and thinking "My God.

"We've really done
something fantastic here."

I think it has
the all-time record.

Constantly on the charts
for nearly 750 weeks.

About 14 years.

It was a huge album.

Huge not just in terms
of its sales,

but in terms
of its influence.

This was where
underground music,

progressive rock, whatever,
really went mainstream.

It was a record that had lots of
traditional pop values.

You could sing along
to these songs. But...

it also was the kind of thing
that took you places,

if you wanted to listen to it
in a darkened room.

It may very well be
the ultimate concept record,

because the concept is there,
the songs are there,

the spaces
and the music are there,

but it doesn't take away
any of the imagination.

After Syd went crazy in '68
and Dave joined,

we were all of us searching.

Fumbling around, looking for
"well, where do we go now?"

Because here was the guy
who starts producing

all these songs,

and was the sort of heartbeat
of the band.

Syd casts a long and large
shadow over events.

I think that the band were
very impressive to keep going,

actually, after the loss
of their main creative drive.

I mean, it's not something
you'd choose, is it?

You wouldn't say "Okay, let's
get rid of our songwriter".

After Syd had gone,
the music became more

kind of soundscapes than songs.

You have to work
to your strengths.

And it's a very good thing
that we couldn't write singles.

We might not have done some of
the interesting work we did.

Once Syd was out of the picture,
The Floyd just went glacial.

They just let it all spread out.

When I saw The Floyd
for the first time,

it was the summer of '68.

It was the first American tour
with David Gilmour.

And they were
just extraordinary.

You know, it was
Let There Be More Light,

Set the Controls
for the Heart of the Sun,

it was total space rock.

I started falling
out of love with that,

with some of that
psychedelic noodling stuff.

We were still, then, playing

a lot of instrumental work,
if you like,

and that would be
half the album.

But we were always searching
for a direction.

You're fighting,
a little bit, between...

Wanting to push boundaries back
a little bit

and move forward
in an experimental way,

but also to retain melody.

When you get to Meddle,
quite clearly,

Echoes shows the direction
that we're moving in.

The rest of Meddle, as I recall,
was songs.

And so, you know, the flipside
was a 20-minute piece.

A, and so it was a construct,

And B, it was the beginning

of all the writing
about other people.

It was the beginning
of empathy, if you like.

You know, "Two strangers
passing in the street,

"By chance
two passing glances meet,

"And I am you
and what I see is me."

It's a sort of thread
that's gone through everything,

for me, ever since then,

and had a big irruption
in Dark Side.

You have to remember
the context of the time.

This was the height
of glam rock.

There was, you know,
Marc Bolan in T-Rex,

and David Bowie
with Ziggy Stardust,

peddling their sort
of pop fantasies.

And The Floyd came along
with an album

that was about
these weighty themes.

He created a story.
He created...

Basically, a theatre piece

about what it was like
to live in the modern world.

All four of us were there,
and there was a discussion

about putting the album together

and making it into
this themed...

I mean, what is now called
a "concept album".

There are a number of things
that impinge upon an individual,

that colour his view
of existence.

There are pressures that are
capable of pushing you

in one direction or another.

And these are some of them,

and whether they push you
toward insanity, death, empathy,

greed, whatever...

There's something about

the Newtonian view
of that physics

that might be interesting,
and maybe that could be

what this record is about.

It was one of those
really good moments

that most bands do experience,

where everyone is onside
and everyone likes the idea

and there's some sort
of agreement

as to more or less
who's going to do what.

Dark Side of the Moon started
in a rehearsal room

in Bermondsey, I think,
that belonged...

A warehouse, belonged
to the Rolling Stones,

where we did
some sort of jamming,

writing, whatever you want
to call it.

I'm not sure how much writing
happened there.

You know. "Let's play E minor
and A for an hour or two.

"That sounds all right.
That'll take up five minutes."

A lot of the musical ideas
just came up

just sort of jamming away
in these rehearsal rooms.

Obviously, the lyrics
Roger brought in.

Because he had things to say.

And it's the first time
that he wrote all the lyrics.

Roger was our sort of
pushing, driving force.

The way Dark Side of the Moon
articulates some sense

of early adult disenchantment
is absolutely timeless.

I listened to it again recently,
and it always amazes me

that I got away with it, really,
'cause it's so lower sixth.

You know,

"Breathe, breathe in the air,
don't be afraid to care..."

In fact, I think,
within the context of the music

and within the context
of the piece as a whole,

people are prepared to accept
that simple exultation.

To be prepared
to stand your ground

and attempt to live your life
in an authentic way.

I came from jazz, basically.

I love... That's my favourite...
That's my inspiration.

And the interesting thing
about this song,

talking about jazz,
there's a certain chord...

That is totally down to a chord

I had heard on, actually,
Miles Davis' album

Kind of Blue, which is...

That chord.
That chord, I just love.

And when we were doing Breathe,
we got to G, I got to G,

and how do you get to E again?

Well, again, normally,
you'd go...

But I remembered this chord,

and I remembered
working it out at home,

listening to the record.
And I just thought...

Dave was brilliant
at double-tracking vocals.

You could do it with machines,
but there's a difference.

There's also a harmony part.

That's it on its own.

And back to the band.

There's two organ parts
which come in now.

They had been performing
this work known as Eclipse

for a few months, I think,

before actually even coming in
to Abbey Road

to start the first recordings.

Which meant the performances
were pretty tight,

and not so hard to get.

When you're working in a band
and you're performing something

willy-nilly, it develops
and changes.

In pre-bootlegging days,
this, of course,

was a far more effective
and better way of doing things.

You went into the studio
rehearsed up.

We'd been playing it live
that way for quite some time,

as a sort of guitar jam piece.

I think we were none of us
that happy with it

as a piece, and when
we also had this synthesiser.

The Synth EA, which had
a little built-in keyboard,

and it had... it was
the first sequencer, I think.

I just plugged this up

and started playing
one sequence on it.

Roger immediately pricked up
his ears. "That sounded good."

And he came out and we started
mucking with it together.

And then he put in
a new sequence of notes,

and it all developed
out of that.

A series of notes,
played in slowly...

...triggering a noise generator
and oscillators,

and then just speed it up,
you know.

Now you've got it, basically.

And that, of course, immediately
sounded much more exciting

and newer than what
we were currently doing.

They were the first band
to really go out

and try to, sort of,
make music of the future.

We were doing a lot of things
with tape loops

and curious sounds
and sound effects.

There wasn't sampling in 1972,
when they put this together,

but that's basically what
they were doing. In a sense,

they were giving you a preview
of sound-pictures of the future.

There are some very, very clever
and highly listenable

pieces of
sonic experimentation.

This is the main synthesiser.

It has the hi-hat element
built in.

Then we treat it with filters
and with other oscillators

to give it that sort of
vibrato noise.

And we bring in this guitar,

which is a backwards guitar
with echo stuff on it,

and it's being played
with a mic-stand leg,

just sliding up it...

And that whizzes left and right
across the stereo.

Then there's these synthesisers,
morph synthies,

which are creating sort of
futuristic vehicle noises,

which you take the pitch down

a little bit, and pan it
at the same time,

and that creates
an artificial Doppler sound

like ambulances
whizzing past you.

Bring in some footsteps
and some heartbeats

for extra tension.

As you see, there's an awful lot
going on in this track.

This section in particular,
the travel section,

the On the Run section,

I think, was pretty complicated.

A lot of hands on deck.

You'd always want
to put more things on

than you had tracks for.

So tracks would, very suddenly,

change from one thing
to a different thing.

All of us are on the desk
with our fingers on the faders.

But that was the way
it was, because

we didn't have automation
in those days.

A mix, in those days,
was a performance,

every bit as much
as doing a gig.

It's one thing, actually,
that we've kind of lost

in the modern age.

It was very,
very well-engineered.

It was also very,
very carefully constructed.

So there was no sort of...
Everything was well-recorded.

Dark Side was really
the first proper engineering job

I'd been given with The Floyd.

So I was pretty much
in at the deep end.

He was very good musically,
as well.

He also came up with
a couple of good ideas.

I was commissioned to record

some clocks
for a sound effects record,

for the very early days
of quadraphonic.

And when we were doing Time,

he suggested we might like
to add these clocks.

My memory of it
is just this room

full of tapes rolling round,
because it was...

Without any sort
of computer help,

everything had to be
done manually.

Getting all the clocks to chime
at the right time,

that was a process of...

Just finding a particular moment

on the multi-track tape
where the chiming would happen,

and then back-timing
all the quarter-inch originals

which contained
each of the clocks.

And then,
the very critical thing

of the tapes starting
at a specific moment,

which is all done
with hand-signs and stopwatches.

We've got the girls making
their first appearance here.

That's unprocessed.

And we put this effect called
a frequency translator on them,

which made them sound like this.

Here's the solo.

This one had probably
taken some shape live

before we ever got to do it.

But usually, in the studio,
on this sort of thing,

you just go out and have a play
and see what comes,

and it's usually mostly
the first take that's the best,

and you'll find yourself
repeating yourself thereafter.

The 1970s was the era
of the guitar.

And he had that sort of
very blues-y sound.

But then, also,
he had that other sound,

that spacy, very crystalline,
almost ethereal quality.

I suddenly realised then,
that year,

that life was already happening.

I think it's because my mother
was so obsessed with education

and the idea that childhood
and adolescence and everything

was about preparing for a life
that was going to start later.

And I suddenly realised that
life wasn't gonna start later,

that it, you know...
It starts at "dot".

And it happens all the time.

At any point,
you can grasp the reins

and start guiding
your own destiny.

And that was a big revelation
to me.

I mean, it came as
quite a shock.

One of the greatest lines,
I think,

on Dark Side of the Moon
is Roger's line about

"Hanging on in quiet desperation
is the English way".

Which is the sort of line
you could imagine, I don't know,

Evelyn Waugh,
or Somerset Maugham or someone,

writing as an observation
on the English character.

And I think that character
does permeate the whole record,

and indeed the whole
of Pink Floyd's career.

It expresses my feelings
about things very simply,

and I think that...

Musically... I think
that the music is to some extent

driven by that
emotional commitment.

The band basically wanted

another four or five minutes
of music,

and we thought it could be
an instrumental.

I think I just,
as I always have done,

I sat at the piano and I...

And those first two chords came.

Us and Them
and The Great Gig in the Sky,

you know, are fabulous
chord sequences,

and really, truly wonderful
pieces of music.

No idea whose idea it was
to get a female singer in.

Alan Parsons knew Clare Torry
and had been working with her,

and said
"Why don't you try her?"

She just went in there
and improvised over it.

Yeah, that was amazing,
that was fantastic.

That was done
while we were mixing.

We knew what we wanted.

Not exactly musically,
but we knew

that we wanted someone to
just improvise over this piece.

So we directed her. We said,
"Well, think about death.

"Think about horror.
Think whatever,

"and just go and sing."

And my memory is
that she went out

in the studio and did it
very, very quickly.

And then came back in and said
"I'm really sorry", in fact,

"about this."
Very embarrassed.

And we were in the studio
saying "This is wonderful."

And of course,
it's absolutely brilliant.

Both Rick's piano and organ work

and Clare's singing
is just incredibly moving.

At the end,
at the very end of this

I'm going to increase
the echo slowly.

We always wanted to, kind of,

not be on our covers ourselves,
not have pictures.

It's probably the most
recognisable cover of all time.

It's something that you can sit
and look at for a long time

without getting fed up with it.

The prism is the logo that
absolutely defines the record.

Dark Side of the Moon
prism design

comes from three
basic ingredients,

one of which is the light show

that the band put on.
I was trying to represent that.

Also one of the themes
of the lyrics, which was,

I think, about ambition
and greed.

And thirdly it was an answer
to Rick Wright,

who said that
he wanted something...

Simple and bold. And dramatic.

The presentation, as we call it,
of the design to the band

was a fairly brief affair.

He just brought in
three or four ideas.

I do remember
instantly seeing the pyramid.

They came in,
and they looked around,

and they went...
"That one."

Everyone immediately went

"Terrific. Great.
Let's do that."

As epitomised by their ability
to choose it so quickly

and so easily, I just think
it's somehow very fitting.

I mean, it's hard to imagine it
without it, isn't it, really?

The story in America
had been a sort of disaster,

that, really,
we hadn't sold records.

And like all good artists,
the first thing you do

is blame the record company.

But in this particular case,

I think we might
get a few more people to agree

that they hadn't
performed properly.

And so they brought in a man
called Bhaskar Menon,

who was absolutely terrific,

and he decided
he was going to make this work,

and he was going to make
the American company

sell this record. And he did!

We devised
a marketing campaign for this

which was far more extensive

than anything that the company
had ever done.

It was an album that came after
virtually a year of touring.

There was a tremendous amount
of credible press.

We had, by this time,
without a single,

got this album tremendous sales.

Close to about 1,000,000 albums
by that stage,

you know, which was
quite remarkable.

And I knew a time would come
when we would have to

get onto the next stage.

To get to the next category,
or level, of audience.

We really would need
some single-like material.

They always say, you know,
"You need a hit single,"

and we had a sort of hit single
with Money.

You know, I would have
remembered writing Money

as a sort of very blues-y thing.

I can't sing it up in
that register, but...

And it's a very
kind of transatlantic,

you know, blues-y
sort of twang to it all.

Listening to the original demo,
it's not like that at all.

It's all very, kind of, prissy
and very English.

The one thing about Money
that I think people forget

is that it's got the weirdest...

One of the biggest hits, with
the weirdest time signature.

Very unusual, 7/8 time.

Good riff.

I'd played in a band with Dick

when we were sort of
teenagers in Cambridge.

Dick was sort of
part of the Cambridge Mafia.

I didn't know
any other sax players,

and I'm probably too nervous
to ask anyone we'd heard of.

He was terrific.

Well, Dick did his sax solo
in seven-time.

And then we sort of sat
and worked out

a different sequence
for the guitar solo.

Probably to make my life easier,

so I didn't have to think
about the timing.

I love the fact
that it does change.

And, you see, lots of things
happen on Dark Side

that, for me,
are kind of magical,

without us intentionally
making them happen.

They just happen.

And I think that's one of
the great things about Money,

is that it does
change time signatures.

And that's the thing.
It goes back into the 4/4,

and all of a sudden, man,
it's rock city.

Money is an amazing single,
because it's about

the very thing that it became.
It's about success.

Something certainly
did the trick,

and it moved us up
into a super-league,

I suppose you might say.

Which brought with it
some great joy, some pride,

and some problems.

'Course it changed our life.

We were now
a big rock 'n' roll band

playing in stadiums.

You don't know
what you're in it for any more.

You know, you're in it
to achieve massive success,

and get rich and famous
and all those other things

that go along with it.

And when they're all
suddenly done, you're going

"Well, why? What next?"

It's not to say we didn't do
some good work.

But the good work that we did
was actually all about

a lot of the negative aspects
of what went on

after we'd achieved the goal.

I mean, that obviously informed

what turned out to be
the next album, quite deeply.

Wish You Were Here.

'Cause we weren't, most of us,
most of the time.

They were
a platinum monster, and...

It's not a lot of fun.

It's sort of

amazing to me now
that we had that piece of music

in 1969, when we recorded
the music for Zabriskie Point.

And throughout, I guess,
Atom Heart Mother,

the Obscured by Clouds album,
the Meddle album,

we didn't dig it out and use it.
It's such a lovely piece.

Antonioni didn't really know
what he wanted.

He needed, desperately,
to have control.

So even if you did
the right thing,

and it was perfect,
he couldn't bear to accept it

because there wasn't a choice.

All he really wanted was
Careful with that Axe, Eugene.

And I think we were all getting
a bit frustrated.

"What does he want?"

I think I was just sitting
in the studio,

and I was sitting at the piano,

and they happened to have
this violent sequence up,

and I was watching it.

Probably because I was feeling
a bit tired, or whatever,

I just started
the chord sequence.

At the time, I think,
everyone thought

"This is really good."

When we thought we'd really got
something brilliant

for his movie,

Antonioni would say

"ls beautiful, but is too sad."

You know?
"It makes me think of church."

It was obviously waiting
to be reborn in this album.

The lyrics are so direct
and linear.

Those fundamental issues

of whether or not the human race
is capable of being humane.

What's good about
the writing of this song,

from my point of view,

is the leaving of the gaps
for the repeat echo.

It's kind of strange, hearing it
without the echo, isn't it?

I find myself,
with instrumentalists,

over the years
working with people,

having very, very often,
as a producer,

in my capacity
for producing records,

having to say to people
"No, leave a hole.

"You know, just play
for half a bar,

"and then leave a bar and a half
free. You know, empty."

And that's kind of
what that song is.

You know,
that's the way it works.

The simplicity of Floyd is
almost hard to talk about,

because it is so simple.

Nick Mason playing
very slowly. You know, exact,

without a lot of

overly frilly
percussion flourishes.

Richard's touch
on piano and organ,

very gentle, very soft.

But also exact, and just
hitting the notes right.

It was always about
leaving space.

I think Dave and Rick,

their harmony vocals on it
are really very affecting.

Funnily enough,
they have very similar voices.

Both their voices are
a big factor in Dark Side,

the way they...
The way they blend.

That's Dave and Rick together.

And then Rick does another part
below that,

which you're gonna hear now.

And then the girls
are also joining in.

It seemed to me
really important,

I've no idea why it did,

to have voices on this thing.

The only thing that was clever
about it was how to do it,

so not to...
Not to have an interview.

Devised, probably,
in the canteen,

and done later that evening.

So I wrote out a bunch of cards
with questions on them.

I think what the voices did
on the record was,

they actually brought out
the "Dark Side".

They were, in a way,
the Dark Side of the Record!

First of all, we used
a number of people

who were in the studio with us.
So we used

three or four
of our road crew...

I aren't frightened
of dying at all,

'cause when you've gotta go,
you've gotta go.

The Irish doorman here, Gerry.

Why should I be frightened
of dying?

See no reason for it.
You've got to go sometime.

Wings were recording in here
at the same time,

so we used Paul and Linda,
Henry McCullough...

I don't know.
I was really drunk at the time.

It's the people who are
not used to being interviewed

who come up with the stuff.

I think they started off with
"What's your favourite colour?"

And your favourite food.
And none of which was...

it was just to get people there.

Then they went into "When was
the last time you were violent?"

This was the good bit. "When was
the last time you were violent?"

And then you'd take...
You'd answer it, and then

take the next card, and it said
"Were you in the right?"

Yeah, I was in the right.

Yes, absolutely in the right.

I certainly was in the right.

Definitely. That geezer
was cruising for a bruising.

And this remarkable roadie
called Roger The Hat.

If I participate
in this fuckin' effort,

I hope I'm gonna get
my gold disc at the end of it.

Imagine that, huh?

They tried to track him down
to do the cards,

and by the time
they got hold of him,

the cards had gone missing.
I don't know where they'd gone.

So Roger Waters actually
ended up doing it...

He actually did do that one
as an interview.

Do you ever think
you're going mad, Roger?

I once reached a stage
in my life

when I was completely convinced
that I'd gone over the brink.

Well, that's what
I care to call it.

It was obviously
a bit to do with Syd, and...

I think it's about defending
the notion of being different.

The fundamental question
that's facing us all

is whether or not
we're capable of dealing with

the whole question
of "us and them".

What he was feeling
as an individual

mirrored almost exactly
what a lot of other people

were feeling, at the time,
in their own lives.

There's no question in my mind
that Dark Side of the Moon

was one of the most important
artistic statements

of the last 50 years, probably.

It's touched very many people,
all over the world,

in ways that could not simply be
put down to the fact that,

oh, they're nice tunes,
and I like that bit at the end.

I mean, this was
a complete experience.

It was actually
a really grim time.

And he wrote a very grim record,

but did it with music
that was extremely uplifting,

compelling and bewitching.

I think it was
a very, very happy

and creative and enjoyable time
when we made this album.

It was probably the most focused
moment in our career,

in terms of all of us
working together as a band.

I'd love to have been a person

who could sit back
with his headphones on

and listen to that
the whole way through,

for the first time.

You know, I never had
that experience, but...

it would have been nice.

The thing that's often missed
is the fact that, basically,

people are responding to it
on an emotional level.

And that's what makes
great records.

It's driven by emotion.

There's nothing plastic
about it, you know?

There's nothing contrived
about it.

And I think
that's what has given it...

Well, maybe one of the things
that's given it its longevity.

But that's not to say
that the potential

for the sun to shine
doesn't exist.

You know, walk down the path
towards the light,

rather than walking
into the darkness.

There is no dark side
in the moon, really.

Matter of fact, it's all dark.