Original subtitles

I wish, how I wish you were here.

We're just two lost souls swimming in a fishbowl year after

year.

Riding on the same old ground.

What have we found?

The same old fears.

Wish you were here.

It did stem from those first four notes that popped out of the guitar one day in

King's Cross.

Somehow those notes evoked a song about Sid and his

disappearance, absence, if you like, in Roger.

It's my homage to Sid and my heartfelt expression of

my... sadness and and uh but also my my admiration for the talent and my sadness

for the loss of the friend i

think

the song is brilliant in its sort of evocation of what roger obviously felt

about said and it certainly

matches mine.

I think what was so important was to not try and write him out of history.

There are no generalities really in that song. It's not about all the crazy

diamonds. It's about Sid.

When I first

saw the Floyd, I remember, I mean, the first thing you noticed was the lights

because nobody was doing that then. At least I hadn't seen it.

But... Sid really started to shine, you know, you couldn't really take your eyes

off him, even in the murk and the purple and green blobs, you know, the bright

-eyed Sid and his singing and his guitar playing kind of jumped out at you.

By the time I was working with him in the studio, it was clear that the real

creative shape of the group emanated from Sid. Although, you know, it

certainly wasn't Sid and backing group.

Sid was a very wonderful chap.

very very witty very very sharp you know he was outgoing charming

wonderful friendly you name it i mean a wonderful man he was

um one of the gang i guess you'd say a good friend funny rather annoying

though because because he was good looking and play guitar and could paint

and always had nice girlfriends

no one that you ever really would have imagined would wind up the way he did

wind up.

Thank you.

In this post-Dark Side of the Moon period, we were all having to assess

what we were in this business for, why we were doing it, whether we were

artists or business people.

Having achieved the sort of success and money out of

it all that could fulfill anyone's wildest teenage

dreams.

why we would still want to continue to do it.

Now I remember the disappointment of Top of the Pops or having the first hit

single or whatever.

It's not as world-shaking and changing as perhaps you expect it to be.

So maybe because of the enormous success of Dark Side, there was still that sense

of, well, this hasn't made us feel enormously different or satisfied.

Roger, I think, has sometimes said that he thinks that we were kind of finished

at that point.

And he may have been right.

I think we were at a watershed then, and we could easily have split up then, and

we didn't because we were frightened of the great out there beyond the umbrella

of this extraordinarily powerful and valuable trade name, Pink Floyd.

It was the first song they played and it was like, whoa, it was like singing

about Sid Barrett.

The band that was known for their musicality, they weren't doing their

music justice.

Do you recall there was a sort of famous review by Nick Cantor? How could I

forget?

i kind of overreacted obviously i mean i feel now that i overreacted but at the

same time they partly deserved it it was a bad gig it was it was a shambolic i

mean it was um it lacked enthusiasm and it liked a sort of purpose sense of

purpose and i don't really know why from my perspective now to look back upon how

i felt then um scared as i would was uh of my own shadow, you know,

never mind my relationship with audiences.

And the real concerns about not making any contact with the audience during

much of that tour of England that we did in 1974.

And we didn't. We were.

We were very disconnected.

If we weren't giving 100%, we couldn't quite sort out why not.

You know, there was an element of frustration in having someone tell us

that. I think we probably knew it and couldn't quite sort of deal with it.

That review would have been one of the things which would have, once we'd got

over our initial ire, we would have taken on board and realised that there

was more than a germ of truth in it.

I was asked to record the Floyd at what was then called the Empire Pool, which

is now the Wembley Arena.

And when I saw the Floyd, before they went on, they said, oh, do us a favour,

will you go and sit with our sound engineer?

And I said, OK.

How long has it been since you've been here, Mark?

30 years.

And anyhow, I went back in the interval and they said, what do you think?

And I said, it's rubbish.

because I've been used to working with smaller groups on smaller mixing desks,

and theirs was massive.

So anyway, cut my story short.

Next thing I knew, I was doing the next night at the Empire Pool.

Oh, God, this does take me back.

And then I ended up doing the rest of the British tour.

Now, if somebody better just run through this, how I...

And then, as I say, then came Wish You Were Here.

There were a lot of days where we didn't do anything while they were thinking

about ideas.

The reality was that we were struggling with making the follow-up to Dark Side

and we rushed back into the studio to do that.

You know, we put ourselves under a sort of ridiculous pressure in a way, trying

to make a record from nothing.

It was disengagement. It was not being willing to apply yourself sufficiently.

A lot of moments where any one of us might have been much more interested in

thinking about what they were doing that weekend.

It became a case that two would be in the studio and two were running late, or

as it was always known, they were out playing squash.

And then we had the dartboard with the air rifle.

The concentrated activity was rather diluted. And I'm

sure for a very pushing, driving sort of person like Roger, it was

more frustrating than it was for anyone else. Although considerably frustrating

for all of us, I suspect.

When I'm in the studio, I'm there.

to do something, otherwise I'd rather be somewhere else, frankly.

So I'm there to work.

Well, you know, there's the legendary argument that I must have had with the

rest of them about my...

thought at the time that it would be better to use the other two tracks as

well that we had been working on. I had to fight David for a bit, as he

acknowledges completely.

We had a completely different idea about it, and that was a fight that I won.

Dave saw a record that had those two songs and Shine On, and it

felt cobbled together to me. It didn't feel like... like real and so at some

point in that process yeah i said i yeah i came up with the idea no this has to

be thematic and it and that's where i expressed it

this will make this a more coherent work

and it and because it's more coherent it will be better than if we just throw all

the songs we've been working on together and go boom there you are that's it

There's one song that's about Sid, but the rest of it isn't. It's a much more

universal expression of my feelings about absence.

Because I felt that we weren't really there. We were very absent.

Remembered it Come in here

and have a cigar you know and become a star

and and become immortal You become

part of the whole buying and selling machine.

It's high I would need to do a number of vocal exercises before I attempted that.

I think the lyrics so much sum up the recording business.

Rock and roll, man.

Come in here, dear boy, have a cigar, you're gonna go far.

The record companies were, they were all powerful in a way. No one worked without

a record deal in those days.

They had a lot of power.

You're not longer really an individual anymore. You're a cypher. You're playing

a part. You're a puppet.

You're not your own man.

The band is just fantastic. That is really what I think.

Oh, by the way, which one's pink?

By the way, which one is pink?

Which one's pink?

Which one's pink?

It was felt that Sid's madness had partly come about through...

the demands of the record industry.

You've had a hit, now I want you to do another hit. I want you another hit and

I want another hit.

That's not as good as your last hit.

That's not as good as your last record, you know. And I want you to do a bigger

show and have more lights and more people.

I mean, it's... Hey, all I want to do is to play a guitar and write a song.

And suddenly I'm in the middle of all this.

The star thing doesn't make you happy.

The star thing can make you want to withdraw from society.

It's awfully considerate of you to think of me here, and I'm most obliged

to you for making it clear that I'm not here.

Well, you could argue that Sid was burned by the music business, but

actually he was probably burned more by us.

Sid had sort of gone off the idea of doing Top of the Pops, of being sort of

commercial.

I think it wasn't the record company putting the pressure on, it was us

putting the pressure on, because that's the way we wanted to go.

With Have A Cigar, both of them knew that Nada Room could sing it.

I always thought Dave's voice was not deep enough.

Yeah, that's Dave.

Which one's pink? That's Roger.

They wanted the ferocity which Roger gives on other tracks.

At the time, he just felt that he hadn't got it.

Come in here, dear boy.

Have a cigar.

You're going to go far.

Roy was definitely one of the great characters around for a lot of our early

life, really.

We used to do quite a lot of shows where Roy would be on the bill.

A good guy to have around.

I was in Studio 2 and they were in Studio 3.

I think Roy was actually rather lacking in momentum himself.

I think we were...

it didn't only seem to affect pink floyd you know that that's why i have this

vision i guess of me being in and out all the time in and out in and out in

and out he spent quite a lot of time in the studio with us a

very expensive recording time that he would spend just in our control room

chattering and anyway i digress roger was really struggling with it and then

dave then they both tried There was a lot of arguing about how we were going

to do it and how we were going to make it work.

And at one point, Roy, who was in the room, piped up and said, I just said,

I'll do it, if you like, for a price.

I mean, Roy really put his heart into this.

I mean, I can picture him now putting his heart and soul into

it, as if his life depended on it.

You gotta get an album out, you owe it to the people. We're so happy we can

hardly count.

I mean, the lyrics... If I'd have written those lyrics, I'd feel well

pleased. And did we tell you the name of the game, boy?

We call it riding the gravy train.

It was played millions of times around the world as a single. That was my vocal

as... On a, you know, really kind of a number one selling single,

everybody thought it was Roger.

I was a bit peed off about that. I think if I'd sung it, it would be more

vulnerable and less cynical than the way he did it. But that's not the way Roy

sings. He went off and did it and did a great job and thank you very much.

I don't think Roger liked his version terribly much, but I think his version

is the perfect version.

He was singing a sort of parody anyway, which I don't like.

I never liked it.

The worst of it is that sometimes when I'm doing, you know,

when I'm doing a gig, there's some waggle shout, have a cigar,

you know.

I regret it. And that's not because I've got anything against Roy. I haven't, you

know, and... I think if I'd persevered with it, I would

have done it better.

I was so unbelievably thrilled to be there. And I was just very young, as I

was just about 21.

There is actually a rather nice picture of me that Nick Mason took and sort of

sums up because I just look wide-eyed and, you know, thrilled is the only word

I think.

I baked some fairy cakes and I thought it would be a good idea to bring them to

the studio.

There's this wonderful sequence of Roger proving that he did enjoy the cake.

I think that... that nick took these pictures because i can't imagine that i

had the courage to sort of you know take them but perhaps i did

roger is in the driving seat in in these pictures as far

as the studio is concerned and um perhaps that position is is hard but

actually it's probably better if just one person is in the driving seat roger

actually you know kept a tight hold on the helm And that's what he did.

And, you know, you can't gainsay that because the record, you know, the

records were very good.

Darkside was just such a sort of thing.

All the pieces fell into place.

Or as Nick Mason says, the drumming did it.

So I think that that was quite hard to deal with.

What do you do next? What do you do to top it? What do you do to be different?

Well, I couldn't draw, so fantasy pictures were out.

I couldn't paint, so artsy-fancy was out.

I wasn't a graphic designer, and also I was not interested in band pictures,

because I found them a bit dull. You know, a group of four musicians who play

guitar,

drums and bass or keyboards would seem to me to be for musicians and they could

be anybody.

We always felt that representing the music was the order of the day.

I know it sounds radical, even revolutionary.

So in order to represent the music, one didn't really want to be limited in the

great palette of art and life to a picture of four geezers.

We mostly

in those days, left it to Storm to come up with things which we would give him a

desultory two minutes of our mixing time to say, that one maybe, that one,

not that, not that.

They were recording at Abbey Road and I remember going there and I remember I

was very nervous in doing the presentation.

He came up with these...

This you know from the lyrics from this theme of absence and it just seemed like

a very very very good idea I remember getting a little round of applause.

I was most gratified I can tell you storm actually is probably one of the

most argumentative people you could ever meet Roger and storm it have these

intense conversations over fine wines and so on

Storm and Roger were two great intellects and, you know, there's sparks

flying in their brains, those two.

I got very preoccupied with four, with the number four.

There were four words in the title, four members of the band and four elements to

life. Air, fire, water and earth.

So the first thing that was done was a postcard.

The postcard said, wish you were here.

Poe found this fantastic location.

called lake mono which is such an amazing location that you could just

about photograph a plastic duck in it and you'd like it we always thought

there was an element of storm loving to find the most expensive distant location

in the world so he could go off and have a little jolly for a few days at our

expense this guy is doing a yoga position in a yoga chair locked into the

mud poor man with a breathing apparatus on and he had to hold his breath so i

didn't get any bubbles That's all shot for real. It's not airbrushed or cut in

or anything. That was a moment in time on a magical evening with amazing light.

Did that take a long time to set up, that shot?

A fucking long time.

This shot was a pain in the arse.

I came to the notice of Pink Floyd because I made a film in Los Angeles for

the BBC.

I thought that I would do a kind of a visual diary of Americana at that time.

So I drew everything that I could think of at the time, like Black Power,

Playboy magazine, Mickey Mouse.

It's a fantastic Mickey Mouse sequence, where Mickey goes from being the mouse

to being a sort of drug-crazed mouse.

Far out Mickey is such a clean living guy and there he was On

drugs I thought it was absolutely brilliant and I just thought this we

could really It'd be great to work with someone who produced something like this

and I took it to Roger and showed Roger and Roger loved it

It was very awkward, like all relationships at the beginning, because

they wanted one thing from me and I wasn't coming up with the goods, I felt.

When I say this to Roger these days, he said, oh, I don't remember that.

I just remember it was an enormous relief after a lot of the flailing

around visually that we'd done with Dark Side Of The Moon.

I think the Sandman is a particularly great image.

You know, the fact that we're all bits of sand that can blow away, I think it

was just an idea I had, really.

I wanted to do the impermanence of life or whatever, you know, it all sounds

rather pretentious crap, really.

The beginning of the record sounds very melancholy and is very melancholy and is

melancholy music.

It's a sort of blues, it's a sort of G minor blues, that whole first six or

seven minutes.

We obviously found a mood that we wanted to, not exactly jam to, but

play around with and find something within.

And we were never too afraid of leaving quite a long period of time instrumental

before vocals came in.

At the time, it was a case of, let's see what works.

So then, hence the wineglass tape came out.

The wineglasses were recorded for an album that we're going to make called

Household Objects, which we had on a loop, and then Rick then

built up. the sound with synthesizers and organ.

Dave wanted a big sound, so the guitar was recorded in a different studio, so

hence the click track.

He put his amplifiers and speakers down in Studio One.

being a classical music studio, and then miked it from a distance.

I think it comes across on the album.

You could picture it being played out somewhere in an auditorium.

This will be Rick, featured on the end of Shine On.

where he really came into his element.

You have Hammond organ on there, you have grand piano, plus the

other synthesized instruments he plays.

I can't remember exactly what synthesizer that was, but this is

Richard's trademark.

He's a great piano player and does highlight,

I think, his classical training.

I think if he'd had another 20 minutes.

He would have heard probably a Rick Wright concerto at

the very end where he does the tribute

to Sid Barrett.

I don't remember if that was just Rick thinking of that at the

spur of the moment.

That was a nice touching thing.

He was kind of a crazy diamond, and all the things it says about him,

those brilliant lines, are very, very accurate, you know.

You wore out your welcome with random precision was certainly a part of him.

Well, you wore out your welcome with random precision, rolled on

the steel...

My memory is that we were recording a Radio 1 show at the BBC and

Sid didn't turn up and I think it was a Friday and no one could find him

so we basically waited and waited, and I think we had to cancel the recording, or

we tried to do some without him, I'm not sure, and then the managers went off

trying to find him.

And when they found Sid, which I think was a Sunday or Monday, they told us

that, well, something's happened to Sid.

And something had happened to him, total difference.

And I remember him being right like this, and looking in his eyes, and was

just like...

Somebody turned the lights out. It just looked so blank.

He was living with a whole sort of community of people who were very much

believing acid can release you and, you know, get to the truth and all that

stuff.

And that he took too much.

And he went up on stage and he just stood there.

for long stretches and he'd play the guitar for a bit and then he'd stop.

He had done so much damage, because acid, that's what it does to you.

Too much acid would literally fry your brains.

We were unable to help Sid and probably, I won't say deliberately, but had our

own interests at heart.

And so consequently, probably tried to hold on to him for far longer than we

should have done.

Sid left the band in 1968.

Sid was only around for that one record. It was a tiny piece of... It was a very

important piece. It was the opening piece of the Pink Floyd story.

And it may well be that Pink Floyd would never have started and would have never

carried on and nothing would have happened. We will never know.

He was a real hindrance to the band in many ways.

Having said that...

We simply wouldn't have got to where we got to. There'd be no Dark Side of the

Moon if Sid hadn't been around to take us on that first major step.

I find it so upsetting working with Sid in those days.

It was like trying to...

seeing someone sort of drowning and trying to pull them out but they were

kept on slip you know the hand slipped away all the time we were hoping that

would be therapeutic for him and might help him come back trying it was like

trying to to bring him back come back said come back

there

was never likely to be any way back and that is

quite awful to think about.

And of course, they loved their oohs, so we just oohed them, saying, and they

just oohed the rest of the way. They loved oohs.

Carlina and Vanessa being Americans and soulful, It was a wonderful contrast

between the sort of Britishness of Pink Floyd.

I didn't know them from a bar of soap, and I didn't like their music in the

beginning. It was all in a minor key, it was all very low, and everything was

oohs and ahhs. Who are these people?

I thought Motown was meticulous, but this was the most meticulous for

musicians that I'd ever seen work before.

Something told me in my head, Vanetta, you're here for a reason. You must enjoy

this music. You must get on with this music because you're here.

There's something for you to learn.

They managed to do their job without getting involved in the band politics.

So those two were very good at just, you know, we might be furious

with each other about something or other and having some great row.

the dinner table or in the car on the way to the show or whatever.

And they'd just be very, very relaxed and just get on with it. And they always

sang beautifully.

One of my fondest, fondest memories of being with Pink Floyd, recording Shine

On Your Crazy Diamond, because that was the only thing that we got to actually

record with them as opposed to singing, performing Dark Side of the Moon. So

that was the great thing about it. We actually got on a record.

for Welcome to the Machine.

They just wanted bits of ad hoc animation bunged into the show willy

-nilly. And, of course, I had my little team of animators who are strictly

trained to work to a track.

And without a track, they don't know what to do.

And I used to go and tell Roger this, and he said, it doesn't matter about a

track, just let them do something.

I assume he made all that spherical stuff having heard...

the VCS3 throbbing at the beginning of Welcome to the Machine.

All of that stuff.

When it came to Welcome to the Machine,

I think Roger was really getting into his synthesizers,

so hence you have all these different effects.

I mean, some of these noises are, to me, just futuristic.

I loved that machine.

I used it a lot back in the day.

I've still got one.

Still good for wind and explosions.

See, and the throb is basically what Roger would have played.

on bass.

He adds to it later on with the real bass.

The only real instruments really on there are Dave's acoustics.

To add a bit more to the aggression of the song, the timps and cymbals are

added.

It just sounds like a very angry song to me. It always did.

Very angry.

That somebody was getting something out of their system.

This particular creature I created, I remember showing it to the gang, who

sort of went along with everything I said at that point. They didn't sort of

correct anything.

Roger particularly has this idea that if you hire an artist, you don't try and

change what that artist does. You hire an artist for what he does.

Cherry has a very similar kind of a bolshie attitude.

Towards all status quo and all the powers that be that I do

The

sea of blood that comes towards us and crashes through the

steel towers God knows what it's about.

But so I thought it was a very kind of a strong image a sea of blood I did really

add piece by piece, the animation.

So when I'd done The Sea of Blood, Roger probably said, we need it a bit longer.

So then The Sea of Blood had to turn into hands, praying, grasping hands,

hopeless, lost kind of hands, I suppose, searching for some god or some reason to

it all.

You could say that Welcome to the Machine is only about my experience in

the music industry.

It's not. It's about all of our experience in the face of that

monstrous grinding thing that chews us up and spits us out.

In the meetings that Stormaline had, you know, one of the topics was somebody

getting burnt in the business, you know, which was an expression at the time,

man, I've been burned.

You know, so what more logical kind of magrit concept, if you like, would

be than two men shaking hands and one of them's getting burnt?

And we both went, yeah.

Mostly because it was so outrageous.

These are the days before computers, so it meant setting a man on fire, which we

did. Yeah, it wasn't very difficult.

Issuing orders from the bunker is really easy. Over-the-top men.

Anyway, that was done for real in a studio lot in Hollywood.

What could be more absent than a studio lot?

I believe it was the Warner Brothers lot.

I'd been doing a lot of firework in those days.

And I had the special suits and all this stuff for full envelop fire.

But a partial is basically, you know, a pretty safe, pretty easy one to do.

And in most cases.

He had a team of 20 people around him with fire extinguishers and ready to,

you know, deal with any emergency.

The effects man will step out and he's got a wand about that long with a fire

on the end of it. And they go, we're ready.

action and he just touches the three or four spots like that steps out

everything's burning and it's a still picture so shake shaking hands

nothing to it and after i shot about i suppose 15 shots and

15 times for somebody to catch fires rather a lot suddenly a gust of breeze

came up and the fire whipped around his face there's a funny thing about fire

when it gets in your face you're going to move It's just, that's just part of

the thing. And once it blew it around, I turned as fast as I could.

He fell to the ground, absolutely smothered with foam and blankets and

everything like that. And he got up and he said, that's it, no more.

And luckily, I got it in the can.

And here we see him, his foot leaving frame. I mean, it's a sort of rather

surreal image of absence in itself.

You know, but that's real absence.

Out of frame, out of sight, you know. And you just kept shooting.

I just kept shooting, yeah. I mean, I had to get this shot. I had to be right.

So, you know, I have no time to be concerned with his singed body.

You know, if they want somebody burning and they're going to pay me, I don't

care if they have an artist drawing the fire.

When developing a theme of absence,

It seemed therefore appropriate that in the end the cover should be absent.

Got it here?

This is the end piece, or the end part of the puzzle.

Anyway, the record company, especially in America, went completely apeshit.

You mean rap? Wish you were in black opaque shrink wrap so you can't see it?

Are you completely fucking mad?

But you had to have a sticker that said what it was, otherwise...

the factory wouldn't pack it properly, let alone the fans buy it.

I hear a story that there are some aficionados who've had wish

you were here for many a year now and have carefully slit the opaque vinyl

shrink wrap and extracted the record and actually haven't seen the cover in 35

years.

Brilliant.

That's really absent.

Yeah, well, that's the one I can remember quite clearly.

That was me strumming a 12-string guitar, which I'd recently purchased

from a guy I know, and coming up with, you know, the opening riff of Wish You

Were Here.

And again, like the four notes at the beginning of Shine On You Crazy Damn,

other people start going, hey, that's good, you've got something there.

And I said to him, what's that you're playing? That's really nice. And he

played it.

And I said, that's really good.

Maybe I should try and do something with it.

I think Roger and I then worked on writing the verses and putting those

chords into the whole thing. And Roger did those brilliant

words, and there we are.

And did they get you to trade?

Your heroes for ghosts Hot ashes for trees

Hot air for a cool breeze Cold comfort for

change And did you exchange A walk-on part in the

war For a lead role like H?

That collaboration between David and I, I think, is, you know, really good.

All bits of it are really, really good. So I'm very happy about it.

So So you think you can tell

Heaven and hell

I think most of the songs that I've ever written all pose similar questions.

Can you free yourself enough?

to be able to experience the reality of life as it goes on before you and with

you and as you go on as part of it.

Or not, because if you can't, you stand on square one until you

die.

And I know that may sound like bullshit, but that's what the song is about.

How I wish, how I wish you were here.

We're just two lost souls swimming in a fishbowl Year after year

Running over the same old ground What have we found?

The same old fear Wish you were here

All the songs are encouraging me I guess I write them for me

And it's to encourage myself

not to accept a lead role in a cage.

But to go on demanding of myself that I keep

auditioning for the walk-on part in the war.

Because that's where I want to be.

I want to be in the trenches.

I don't want to be at headquarters or I don't want to be sitting in a hotel

somewhere.

I want to be... I want to be...

Probably, I might say, in a way that my father would approve of.

It's a very simple sort of country song, if you like.

It's still, because of its resonance and the emotional weight it carries,

It is one of our best songs.

People do attach to lots of internal feelings that they may have, and they

may not be entirely sure what it's about. And neither am I. I mean, I'm

only telling you what it's about for me.

But there's no reason why other people shouldn't put other interpretations on

it, which could be just as valid.

Although shine on you crazy diamond is the one that is specifically about said

and wish you were here has a broader remit I Can't sing it without thinking

about it My

memory is that i came into the studio and there was this guy standing there in

a gabardine raincoat and a large large bloke and i had no idea who it was and

surprisingly no one's saying who's that person what's he doing wandering around

all our gear in the studio and then then him coming into the control room and

standing around and how remarkable how long it was before anyone actually woke

up

Finally, I think it was David who said, Nick, do you recognise him?

And I looked and I think I either shrugged my shoulders or at some point

Dave put me out to my misery and said, it's Sid.

And we just stood there, sat there and just were shell-shocked, basically.

And then until somebody thought of something to say to him.

And then we were all unbelievably shocked at his appearance.

I mean, I didn't recognize, I didn't know it was him.

But it was pretty, pretty affecting, really.

I mean, Roger and Dave cried.

You know, this slim, elegant if.

bedraggled and dazed person that I'd last seen had turned rather balloon

-shaped and had no eyebrows and not much hair.

There is the photograph of him in the studio at the time and if you looked at

Sid in early 67 and Sid then it was

So different.

It was a great loss.

And, you know, the... ..imagining what he would have gone on to do

is... Speculating on that, if you like, is... He could have become so

great.

It's actually quite emotional, standing up here with these three guys after all

these years.

Standing to be counted with the rest of you.

Anyway, we're doing this for everyone who's not here, but particularly, of

course, for Sid.

To me, it's...

about the most complete album in some ways and we all know how difficult it

was to get to that point and the problems we had

it's full of grief but and

anger but also full of love you've got to see beyond the grief and

anger to the possibilities of of love