Would you like to inspect the original subtitles? These are the user uploaded subtitles that are being translated: 1 0:00:06 --> 0:00:11 -I'll just start with a nice easy one. -Yeah. 2 0:00:14 --> 0:00:17 Who is David Gilmour? 3 0:00:20 --> 0:00:22 God, that's easy?! I wish I knew, I've no idea. Um... 4 0:00:24 --> 0:00:29 Someone who spends his life driven by music more than anything else, 5 0:00:24 0:00:28 I would say. 6 0:00:28 0:00:29 David John Gilmour was born on Wednesday 6th March 1946, 7 0:00:39 0:00:44 in Cambridge, England, the third child of Sylvia and Douglas Gilmour. 8 0:00:44 0:00:48 At the age of 21, he joined the band Pink Floyd, 0:00:49 0:00:52 who subsequently went on to sell over 250 million albums. 0:00:52 0:00:58 His playing style 0:01:00 0:01:02 and trademark guitar sound is known the world over 0:01:02 0:01:05 and in 2011, Rolling Stone magazine ranked him 0:01:05 0:01:08 one of the greatest guitarists of all time. 0:01:08 0:01:12 MUSIC: Echoes, Part 1 by Pink Floyd 0:01:12 0:01:14 MUSIC: Shine On You Crazy Diamond by Pink Floyd 0:01:24 0:01:26 MUSIC: Wish You Were Here by Pink Floyd 0:01:36 0:01:38 # How I wish How I wish you were here 0:01:38 0:01:41 # We're just two lost souls swimming in a fish bowl 0:01:44 0:01:49 # Year after year... # 0:01:49 0:01:50 His latest solo album, Rattle That Lock, 0:01:55 0:01:58 recently entered the UK charts at number one. 0:01:58 0:02:01 And now, for the first time in nine years, 0:02:02 0:02:04 he's embarked on a tour that's seen him 0:02:04 0:02:07 perform sold-out shows in amphitheatres 0:02:07 0:02:09 and grand halls across Europe, and at the Royal Albert Hall in London. 0:02:09 0:02:14 PIANO DROWNS SPEECH 0:02:30 0:02:32 'This unlikely location on the Thames is where David Gilmour records 0:02:35 0:02:40 'and mixes all his music.' 0:02:40 0:02:43 -And this is it. -This is the boat. 0:02:43 0:02:46 -And where did you first glimpse this? -I was being driven by someone. 0:02:46 0:02:49 I stopped over there on the road somewhere, 0:02:49 0:02:52 and there was less foliage then. 0:02:52 0:02:54 I could see all that glass and stuff, 0:02:54 0:02:56 and I said, "Stop for a minute." 0:02:56 0:02:58 And peered over the wall up there 0:02:58 0:03:00 and thought, "Wow, that's fantastic." 0:03:00 0:03:03 The very next week I was sitting in the dentist's waiting room, 0:03:03 0:03:06 picked up a Country Life, and there it was for sale. 0:03:06 0:03:10 I rang up the agent, came straight down here, and... 0:03:10 0:03:14 And so you split your time between here, the house in Sussex, 0:03:14 0:03:18 and Brighton. 0:03:18 0:03:19 Yeah, this one has got the great technology for proper mixing. 0:03:19 0:03:22 It's got a mixing desk of Neve flying faders, 0:03:22 0:03:24 -where all the faders are motorised. -So this is the most hi-tech bit. 0:03:24 0:03:29 This is the most hi-tech bit and I'd have to come here to mix. 0:03:29 0:03:33 -We look at it and it looks, "Oh, yeah, really?" -Well, it's beautiful. 0:03:33 0:03:36 That's it being built. 0:03:39 0:03:41 Mahogany, Crittall's gun-metal windows. 0:03:43 0:03:45 -It's quite lavish. -Yeah. 0:03:45 0:03:47 GUITAR PLAYS 0:03:48 0:03:49 When we started thinking about doing the Momentary Lapse Of Reason album, 0:03:58 0:04:01 I'd just found and bought this place. 0:04:01 0:04:05 Nothing had been soundproofed, there was no double glazing. 0:04:05 0:04:09 -The whole band would be in this room. -The whole band would be in this room. 0:04:09 0:04:12 The drums would be in this corner, which has some sort of padding 0:04:12 0:04:15 behind it and up there, to help absorb the drum sound a bit. 0:04:15 0:04:19 And the rest would be in here. 0:04:19 0:04:20 Our guitar amps wouldn't be in here, they'd be in the other rooms 0:04:20 0:04:24 out there, in those little bedrooms and stuff. 0:04:24 0:04:27 So we'd be in here, we'd be hearing what we're doing on headphones, 0:04:27 0:04:30 but they'd be recording a Hammond organ, Lesley in that room, a guitar 0:04:30 0:04:34 in that room, the bass would be going straight to tape, 0:04:34 0:04:37 without an amp. So, yeah. 0:04:37 0:04:38 We made pretty much all of A Momentary Lapse Of Reason in here, 0:04:38 0:04:42 most of...pretty much all of The Division Bell in here, in this room. 0:04:42 0:04:47 These tracks sound enormous, you know, 0:04:47 0:04:50 but you can't quite imagine 0:04:50 0:04:51 they come out of a tiny little space like this. 0:04:51 0:04:54 Control room's in here. 0:04:55 0:04:57 Oh, look. 0:04:58 0:05:00 Well, who wouldn't want to make music in this room, I have to say. 0:05:00 0:05:03 It's fantastic. 0:05:03 0:05:05 -What's your first memories, then? -Gosh. 0:05:17 0:05:20 I have one sort of snapshot memory of me 0:05:21 0:05:25 when I apparently left my nursery school, 0:05:25 0:05:29 at about the age of three, which is in Homerton College, 0:05:29 0:05:32 where my mother had been doing teacher training, and trying 0:05:32 0:05:35 to walk home three miles to the other end of Cambridge, 0:05:35 0:05:38 down Hills Road. 0:05:38 0:05:40 That's my first...that's the first snapshot memory I can think of. 0:05:40 0:05:45 What kind of a family life was it? 0:05:45 0:05:47 Your father was a professor, an academic. 0:05:47 0:05:50 My father was a university lecturer at Cambridge, 0:05:50 0:05:54 lecturing in zoology and genetics. 0:05:54 0:05:57 My mother had been at teacher training college, 0:05:59 0:06:01 but she never really went into teaching. 0:06:01 0:06:04 Later she became a film editor at the BBC, 0:06:04 0:06:07 working on Junior Points Of View. 0:06:07 0:06:09 -You went to boarding school when you were five years old. -Yes. 0:06:09 0:06:13 My dad went to a university in Madison, Wisconsin, 0:06:14 0:06:17 for six months 0:06:17 0:06:18 and we were popped into a boarding school in Buckinghamshire. 0:06:18 0:06:22 It was me, at five, my sister, maybe just approaching seven, 0:06:23 0:06:28 and my brother, who was four. We were put in there for a year. 0:06:28 0:06:32 My parents only spent one term, six months in fact, in America, 0:06:32 0:06:39 and then came back and lived in Cambridge, 0:06:39 0:06:41 but they didn't see fit to take us out for Christmas, 0:06:41 0:06:44 or for the next two terms, 0:06:44 0:06:48 while they remembered what life was like without children. 0:06:48 0:06:53 And when are the first experiences of music, 0:06:57 0:07:00 when did that first begin to resonate in your life as a kid? 0:07:00 0:07:03 I mean, we had the radio on all the time, and records on all the time. 0:07:03 0:07:07 My parents had a very early stereo hi-fi system in the house, 0:07:07 0:07:11 they loved lots of music. 0:07:11 0:07:14 They loved show music, On The Town, West Side Story, 0:07:14 0:07:18 when that came out, and my mother played a bit of piano 0:07:18 0:07:21 and my father loved singing, you know, in the house, in the bath. 0:07:21 0:07:25 So there was a lot of musical noise going on constantly, 0:07:25 0:07:30 but the first big sort of eclat sort of moment was 0:07:30 0:07:36 Bill Haley's Rock Around The Clock, which came out when I was ten. 0:07:36 0:07:40 # We're going to rock around the clock tonight 0:07:40 0:07:43 # Put your glad rags on and join me hon' 0:07:43 0:07:45 # We'll have some fun when the clock strikes one 0:07:45 0:07:48 # We're gonna rock... # 0:07:48 0:07:49 That was brilliant. 0:07:49 0:07:51 # ..We're gonna rock, rock, rock till broad daylight 0:07:51 0:07:53 # We're gonna rock... # 0:07:53 0:07:55 And shortly after that, Elvis Presley with Heartbreak Hotel. 0:07:55 0:07:59 # Well, it's down at the end of Lonely Street 0:07:59 0:08:02 # At Heartbreak Hotel 0:08:02 0:08:04 # Where I'll be I get so lonely, baby 0:08:04 0:08:07 # Well, I'm so lonely... # 0:08:07 0:08:09 You still listen to it and you think, what a brilliant record. 0:08:09 0:08:12 I mean, it is... There's so little going on, hardly any drums, 0:08:12 0:08:16 if any, just a bass and a piano and a guitar, and a voice. 0:08:16 0:08:21 But it was absolutely magnetic. 0:08:21 0:08:22 And this is home, in the Sussex countryside. 0:08:33 0:08:37 Hello. 0:08:37 0:08:38 'It's David Gilmour's musical laboratory.' 0:08:41 0:08:44 So, explain to me what happens here. 0:08:48 0:08:51 Well, this, as you can see, this is a music room, and this has been 0:08:51 0:08:56 developing, you could call it, over 21 years we've been here. 0:08:56 0:09:01 The last album, On An Island, and a lot of the stuff for this new 0:09:01 0:09:04 album, Rattle That Lock, 0:09:04 0:09:06 were started in here, with me doing everything. 0:09:06 0:09:12 So when you're starting to build the track, you start... 0:09:12 0:09:16 -Obviously you've got your guitar, you know, plenty of them. -Yep! 0:09:16 0:09:21 And then, drums if you need to, your sax if you need to, you also 0:09:21 0:09:25 play all these instruments, the mandolin you play, I mean... 0:09:25 0:09:29 -I'm really bad at quite a lot of instruments, yes. -Good. 0:09:29 0:09:32 That's useful, then! 0:09:32 0:09:34 SAXOPHONE PLAYS 0:09:34 0:09:36 David is continually jotting musical ideas, whether it's on an iPhone, 0:09:53 0:09:58 minidisc, and then he will say, "Oh, I've got some stuff." 0:09:58 0:10:03 And I say, "Oh, great, yeah." 0:10:03 0:10:06 "Well, you know, about 150 or 200..." 0:10:06 0:10:10 "Oh, no!" 0:10:10 0:10:12 This song, Today, came from several pieces of music. 0:10:13 0:10:18 -I just found that sound on this. -That's how it all started? 0:10:21 0:10:25 That's how one part of it started, and I... 0:10:25 0:10:28 ..played that onto... 0:10:30 0:10:32 onto the iPhone, and Phil found that 0:10:32 0:10:35 and then he found a bit of me strumming a guitar. 0:10:35 0:10:38 A completely separate bit. 0:10:38 0:10:41 So that one became the beginning, which has got me 0:10:41 0:10:44 and Polly singing like a choir on it. 0:10:44 0:10:46 Oh, really? 0:10:46 0:10:47 # If you should wake... # 0:10:49 0:10:54 'I listen through, over a period of weeks, or whatever, and then 0:10:54 0:10:59 'I try and see if there's any sort of bits 0:10:59 0:11:02 'that would work with other bits.' 0:11:02 0:11:05 Not all of those are terribly successful 0:11:05 0:11:08 and maybe some of them scare him. 0:11:08 0:11:10 But there's been a few that survived. 0:11:10 0:11:13 GUITAR RIFF PLAYS 0:11:13 0:11:14 So, this is a bit that I recorded on my iPhone. 0:11:14 0:11:18 I was in a studio and had an electric guitar plugged in, 0:11:18 0:11:21 but didn't want to turn the gear on and get everything running, 0:11:21 0:11:24 and thought this is a nice thing, I'll remember it. 0:11:24 0:11:26 So I turned my phone on to... 0:11:26 0:11:28 VOLUME LOWERS 0:11:28 0:11:30 ..to remember it. 0:11:30 0:11:32 And Phil found this bit just like this, 0:11:32 0:11:35 and he stuck it together with the other thing. 0:11:35 0:11:38 And then, you know, when you add all the instruments on... 0:11:41 0:11:45 FULL TRACK PLAYS 0:11:45 0:11:46 # ..Slides away. # 0:11:46 0:11:47 MUSIC STOPS 0:11:47 0:11:49 I found it very hard to try and replicate that exactly as it is, 0:11:49 0:11:56 with something about the rhythm of it and stuff, 0:11:56 0:12:00 so we just used the original one. 0:12:00 0:12:02 ACOUSTIC GUITAR PLAYS 0:12:02 0:12:03 This is Polly, Polly Samson. 0:12:14 0:12:18 She's learning guitar, level seven, apparently. 0:12:18 0:12:21 She's an acclaimed author in her own right 0:12:21 0:12:24 and she's David's partner in more ways than one. 0:12:24 0:12:28 'Polly, my lovely wife, she is at the heart of everything we do. 0:12:35 0:12:38 'Don't know where to begin with Polly, 0:12:38 0:12:40 'she's my sort of partner in life 0:12:40 0:12:42 'and she writes most of the lyrics for my songs. 0:12:42 0:12:45 'Along with being a writer and a lyricist,' 0:12:46 0:12:51 she is a sounding board for all the stuff I do. 0:12:51 0:12:54 I will play her things and she will voice her opinion and she'll be 0:12:54 0:12:58 very astute in spotting things that maybe I haven't noticed, musically. 0:12:58 0:13:05 And has been doing that since we did the Division Bell album. 0:13:06 0:13:10 # Beyond the horizon of the place we lived when we were young 0:13:11 0:13:17 # In a world of magnets and miracles... # 0:13:17 0:13:21 Were you a Floyd fan yourself? 0:13:21 0:13:23 When I was 12, my brother had... I think it was Dark Side Of The Moon 0:13:23 0:13:31 and...Wish You Were Here, 0:13:31 0:13:34 but they didn't have a band name on them. 0:13:34 0:13:37 So, I remember I used to play them but I didn't know who they were by. 0:13:37 0:13:40 So I don't think I ever wrote "Pink Floyd" on my pencil case. 0:13:40 0:13:43 I wrote "David Bowie" on my pencil case. 0:13:43 0:13:45 When you met David for the first time, you didn't think, 0:13:45 0:13:49 -"Oh, this is David Gilmour, from Pink Floyd?" -I didn't... 0:13:49 0:13:52 He was a man with lots of children, I think is what I thought. 0:13:52 0:13:55 I mean, the first time I met him, 0:13:55 0:13:57 he had four children and I had one child, 0:13:57 0:14:00 and I think it was our children who kind of played with each other, 0:14:00 0:14:04 and so we kind of ended up at this nice day, 0:14:04 0:14:07 lunch in the countryside, sort of sitting near each other 0:14:07 0:14:09 because our children were trying to climb the same tree. 0:14:09 0:14:12 ELECTRIC GUITAR PLAYS 0:14:12 0:14:13 David is not someone who is loquacious, but he is 0:14:23 0:14:26 very emotionally engaged, but he doesn't necessarily display that. 0:14:26 0:14:31 So, do you think that you're there partly to interpret what's 0:14:31 0:14:34 -going on in David's... -Yes, I think so. 0:14:34 0:14:37 And that does feel like a huge responsibility. 0:14:37 0:14:40 But then, I mean, the whole of marriage is a bit like that, 0:14:40 0:14:43 isn't it? I mean, particularly with a partner who is quite silent. 0:14:43 0:14:48 I mean, you know, he plays guitar a lot and I often think that 0:14:48 0:14:51 if ever we were going to have an argument, 0:14:51 0:14:53 the best way we could do it would be for me to use words and him 0:14:53 0:14:55 to answer in guitar, because he's very eloquent, 0:14:55 0:14:57 and emotionally eloquent with a guitar. 0:14:57 0:15:00 So, yes, a lot of it is just trying to get under his skin 0:15:00 0:15:03 and sort of feel what he's feeling. 0:15:03 0:15:05 OK, so here's a track recorded ten years ago 0:15:10 0:15:13 for The Girl In The Yellow Dress. 0:15:13 0:15:15 It says it's got a guide vocal on here. 0:15:15 0:15:17 TRACK PLAYS 0:15:17 0:15:18 # De der 0:15:21 0:15:22 # Der-de de-de-der 0:15:22 0:15:25 # Der-de 0:15:27 0:15:29 # De de-er de-er... # 0:15:29 0:15:33 Was the process always the music first, 0:15:33 0:15:36 -was he kind of humming to you in bed? -No, it's always music first. 0:15:36 0:15:41 And he... Nowadays, he puts tracks on my iPod and I just walk up 0:15:43 0:15:47 and down playing all the tracks and eventually, you know, 0:15:47 0:15:51 one or two start to suggest things to me. 0:15:51 0:15:53 # Der de 0:15:58 0:16:00 # De der do-do-do 0:16:00 0:16:03 # De der... # 0:16:04 0:16:06 That would be what Polly would have on her headphones 0:16:06 0:16:09 and would be listening to when she wrote the lyrics. 0:16:09 0:16:12 So that's really interesting 0:16:12 0:16:13 -because you sort of feel it's almost got the words on it. -Yes. 0:16:13 0:16:17 His scats really do sound like someone singing in tongues. 0:16:17 0:16:20 It's as though the words are just, sort of, under the surface, 0:16:20 0:16:24 and it's quite interpretative at that point. 0:16:24 0:16:26 # De-der de-de... 0:16:26 0:16:30 # ..Ever closer 0:16:30 0:16:32 # This girl gets right down in a groove 0:16:32 0:16:39 # Woos and moves 0:16:39 0:16:42 # Leads him on... # 0:16:44 0:16:47 Most people imagine that people writing lyrics would be 0:16:47 0:16:49 sitting down at a table and crossing things out and writing things down. 0:16:49 0:16:53 -Do you write anything down? -I, um, it's a bit... 0:16:53 0:16:57 Actually, it's the same for my fiction, I think that 0:16:57 0:16:59 the work is done while I walk. By the time I get back to the house, 0:16:59 0:17:03 it's practically like typing 0:17:03 0:17:05 because I...while walking I've kind of worked out what it is. 0:17:05 0:17:08 But I have a notebook... 0:17:08 0:17:10 ..so this will be full of things that are not all to do with lyrics, 0:17:12 0:17:16 but... 0:17:16 0:17:18 Yeah, this was the start of Today, I think. 0:17:18 0:17:22 It looks to me like "a wide Sargasso Sea of shit". 0:17:22 0:17:25 Yes, I had written "a wide Sargasso Sea of shit"! 0:17:25 0:17:28 It just... I think it became something else in the song. 0:17:30 0:17:33 I think it was a missing line, and I thought I'll get to that line later. 0:17:33 0:17:36 So I think I had written in the song "a wide Sargasso Sea of shit". 0:17:36 0:17:40 PIANO PLAYS 0:17:40 0:17:42 SAXOPHONE PLAYS 0:17:50 0:17:52 PIANO PLAYS 0:18:05 0:18:06 I wish I'd learnt the piano properly when I was young, 0:18:06 0:18:09 and that I'd learnt to read music and could do all that stuff. 0:18:09 0:18:12 Still can't read music. 0:18:12 0:18:14 So, you just kind of know that your children will be 0:18:16 0:18:19 grateful for having learnt piano, when they're adults. 0:18:19 0:18:22 But they certainly aren't when they're young! It's just a chore. 0:18:22 0:18:26 So, they've all had piano lessons until they were bored to tears 0:18:27 0:18:32 and begged us to be allowed to stop. 0:18:32 0:18:35 Now they are moving forward, learning things by themselves. 0:18:39 0:18:43 It's terrific, they are thoroughly enjoying... 0:18:43 0:18:46 Gabriel's piano playing, since he stopped having lessons, 0:18:46 0:18:50 has gone from strength to strength 0:18:50 0:18:52 and he is in fact playing on one of the songs on the album. 0:18:52 0:18:55 Purely because he's the right person to be doing that job. 0:18:55 0:18:59 Romy has picked up the ukulele entirely on her own, 0:19:01 0:19:03 and play a number of chords, and will happily sing anything. 0:19:03 0:19:06 She's got a really nice voice, you know, with a bit of huskiness to it. 0:19:06 0:19:11 Nice low-register voice, lovely. 0:19:11 0:19:14 Joe is into science and mathematics and is excited by those things 0:19:14 0:19:18 and has got a fantastic direct, linear mind that looks to see 0:19:18 0:19:23 if there's a better way of doing things, 0:19:23 0:19:25 which will stand him in very good stead. 0:19:25 0:19:28 They don't want to be musicians 0:19:29 0:19:30 and I don't know if they'll change, 0:19:30 0:19:33 and I wouldn't dream of influencing that in any way. 0:19:33 0:19:36 Gabriel wants to be a set designer, maybe an actor as well. 0:19:36 0:19:41 Romy definitely wants to be an actor. 0:19:41 0:19:43 SLIDE GUITAR PLAYS 0:19:44 0:19:46 I use this on Breathe, 0:20:07 0:20:09 and on Great Gig In The Sky, on Dark Side Of The Moon, this one. 0:20:09 0:20:14 -This machine. -This actual one, yeah, 0:20:14 0:20:16 and have used it ever since, occasionally. 0:20:16 0:20:19 When was... Your first guitar, were you yet in your teens or not? 0:20:21 0:20:28 My next-door neighbour had a guitar, was given a guitar, 0:20:28 0:20:31 he was completely non musical. 0:20:31 0:20:33 -I borrowed it and played it for a while. -How old were you? 0:20:33 0:20:36 Probably 12, 13, and I think I gave it back to him 0:20:36 0:20:40 a couple of times and then I borrowed it again, 0:20:40 0:20:42 and thought, "Oh, never mind." 0:20:42 0:20:43 -And he never asked for it back and I kept it. -You stole it. 0:20:43 0:20:47 Basically, yeah. 0:20:47 0:20:48 My parents moved to America permanently when I was 18 or 19, 0:21:01 0:21:06 and they lived in Greenwich Village, from 1965 onwards. 0:21:06 0:21:10 So, you know, they could see the end 0:21:10 0:21:12 of Bleecker Street out of their window. 0:21:12 0:21:14 So, I mean, I got Bob Dylan's first record for my 16th birthday, 0:21:14 0:21:18 which they sent me from Greenwich Village. 0:21:18 0:21:22 Before then, they'd sent me Pete Seeger's guitar tutor record. 0:21:22 0:21:25 Which is the...my only actual instruction 0:21:25 0:21:28 was with the Pete Seeger guitar tutor record. 0:21:28 0:21:31 -PETE SEEGER: -For most of us, playing a guitar can be about as simple as walking. 0:21:31 0:21:36 Of course, remember it took us 0:21:36 0:21:37 all a couple of years to learn how to walk... 0:21:37 0:21:40 There's an LP with a big book, with all the chord shapes you might need. 0:21:40 0:21:44 It started out with a pitch pipe playing the six notes of a guitar, 0:21:44 0:21:49 so the most important thing was to learn how to tune it. 0:21:49 0:21:53 And now we're in business. 0:21:56 0:21:57 The second band was teaching you how to play a D chord, which is 0:21:57 0:22:00 three fingers on the guitar, which you then strum. 0:22:00 0:22:03 And then he sang some words, so you could do a song, instantly, 0:22:03 0:22:09 with just one chord. 0:22:09 0:22:10 # I gave my love a cherry that has no stone 0:22:10 0:22:18 # I gave my love a chicken that has no bone... # 0:22:20 0:22:28 So from the beginning of learning the guitar 0:22:28 0:22:31 I was learning singing as well. 0:22:31 0:22:33 And singing is just as important to me. 0:22:33 0:22:36 That's your vinyl collection, is it? 0:22:39 0:22:41 There's vinyl over there, well, it's mine and Polly's mixed 0:22:41 0:22:44 together in a sort of obsolete pile of tea chests and shelves. 0:22:44 0:22:49 Loads of stuff here, going way, way back. 0:22:51 0:22:54 That's the 1959 Newport Folk Festival, which I was given, 0:22:54 0:22:58 on my 16th birthday, by my parents, 0:22:58 0:23:00 who were in America at the time, along with Bob Dylan's first record, 0:23:00 0:23:04 which I've...I think I've got somewhere but I can't it any more! 0:23:04 0:23:08 So I've had these since my 16th birthday, 0:23:08 0:23:10 -as you can see by my youthful possessive writing on the back. -Yes. 0:23:10 0:23:15 I was very into folk music. Leon Bibb, some great people. 0:23:15 0:23:20 And then you can go straight on to something like the Shangri-Las, 0:23:20 0:23:23 you know, girl group in the '60s, early '60s. 0:23:23 0:23:26 Produced by a guy called George Shadow Morton, 0:23:26 0:23:30 who painted aural pictures. 0:23:30 0:23:33 I mean, Remember (Walking In The Sand), Past, Present And Future, 0:23:33 0:23:37 they are like movies. 0:23:37 0:23:39 # Whatever happened to the boy that I once knew... # 0:23:40 0:23:46 So is that where you got your interest in extra natural 0:23:46 0:23:50 sounds of even unnatural sounds? 0:23:50 0:23:52 It's the idea of creating a picture or something like a movie with 0:23:52 0:23:58 the story that's being told that I love. 0:23:58 0:24:01 Who were the guitarists who you... 0:24:01 0:24:03 Well, you talked about Pete Seeger, obviously. 0:24:03 0:24:06 Pete Seeger, Leadbelly, I was very keen on at a very early age, 0:24:06 0:24:10 12-string he played mostly, brilliant. 0:24:10 0:24:12 # Me and my wife can pick a bale of cotton 0:24:12 0:24:15 # Me and my wife can pick a bale a day 0:24:15 0:24:17 # Oh, Lordy, pick a bale of cotton 0:24:17 0:24:19 # Oh, Lord, I can pick a bale a day... # 0:24:19 0:24:21 You know, later, Hendrix, of course, Clapton, Joni Mitchell's 0:24:21 0:24:26 guitar playing, her use of different guitar tunings was a big influence. 0:24:26 0:24:32 # There's a man who's been out sailing in a decade full of dreams 0:24:32 0:24:37 # And he takes her to a schooner and he treats her like a queen 0:24:37 0:24:43 # Bearing beads from California... # 0:24:43 0:24:46 Another Side Of Bob... 0:24:46 0:24:48 The first Dylan album, just called Bob Dylan, 0:24:48 0:24:50 was recorded in December '61, and I got it in March '62, which was 0:24:50 0:24:56 when it...probably about a week after it came out in the States. 0:24:56 0:25:00 That's pretty quick going, 0:25:00 0:25:02 definitely long before it came out over here. 0:25:02 0:25:04 # Highway 51 runs right by my baby's door 0:25:04 0:25:08 # Highway 51... # 0:25:14 0:25:16 When I went into the sixth form at school, 0:25:16 0:25:18 the music teacher had given up doing music lessons 0:25:18 0:25:21 by then for the sixth form, he just said to people, 0:25:21 0:25:23 "Bring in a record, we'll play it and we'll talk about it." 0:25:23 0:25:26 And so I brought Bob Dylan's first record in. I absolutely loved it. 0:25:26 0:25:31 Played it. 0:25:31 0:25:33 Silence. 0:25:33 0:25:34 I was the only one who liked it. 0:25:36 0:25:38 I went to see him at the Festival Hall. 0:25:38 0:25:40 At one point he lost a harmonica. 0:25:40 0:25:43 -IMITATES DYLAN: -Has anyone got a harmonica in C? 0:25:43 0:25:46 And half the audience came rushing to the front like this, 0:25:46 0:25:48 with harmonicas. 0:25:48 0:25:51 MUSIC: Seamus The Dog by Pink Floyd 0:25:51 0:25:53 -Everyone went that way. -We're going this way. 0:26:13 0:26:16 -Just whatever. -Whatever... 0:26:24 0:26:26 'Family is everything, and you have to devote time and yourself to 0:26:26 0:26:33 'raising children, if that's what you elect to do in your life. 0:26:33 0:26:37 'So, yeah, I'm loving my life with my family, raising these children. 0:26:43 0:26:48 'When I was a young man, ambition, 0:26:48 0:26:51 'the desire to be together with these other guys in a pop group, 0:26:51 0:26:56 'you're very driven and ambitious, otherwise you won't get anywhere. 0:26:56 0:27:00 'And I certainly was and I'm sure there's still vestiges of that 0:27:00 0:27:04 'sort of ambition still around, but I'm not as ambitious as I was. 0:27:04 0:27:08 'I've had that. It's been fantastic.' 0:27:08 0:27:11 I put just as much work and effort into making a record 0:27:12 0:27:16 but I can prioritise my time better. 0:27:16 0:27:19 ACOUSTIC GUITAR PLAYS 0:27:21 0:27:22 Play Postman Pat. 0:27:27 0:27:28 DAVID LAUGHS 0:27:28 0:27:29 HE PLAYS POSTMAN PAT 0:27:29 0:27:30 # Postman Pat, Postman Pat 0:27:34 0:27:37 # Postman Pat and his black-and-white cat... # 0:27:37 0:27:40 Please stop! 0:27:40 0:27:42 # ..Early in the morning Right as day is dawning 0:27:42 0:27:46 # Pat puts all his post bags in his van. # 0:27:46 0:27:50 LAUGHTER 0:27:53 0:27:54 GUNFIRE 0:27:54 0:27:55 MUSIC: In Any Tongue by David Gilmour 0:28:01 0:28:03 In Any Tongue came into the mix really late on 0:28:07 0:28:10 and it was immediately clear 0:28:10 0:28:14 what that song needed to be about. 0:28:14 0:28:16 There isn't a day when one isn't affected by war. 0:28:16 0:28:18 # No sugar is enough to bring sweetness to his cup 0:28:18 0:28:26 # I know sorrow 0:28:26 0:28:32 # Tastes the same on any tongue... # 0:28:32 0:28:37 TRACK CONTINUES WITH VOCALISATION 0:29:02 0:29:04 When I'm signing this sort of vocal I try not to constrain myself 0:29:11 0:29:17 and if consonants feel like coming out they do. 0:29:17 0:29:20 Completely meaningless, you know. 0:29:20 0:29:22 You say meaningless, you mean you've not given them any kind 0:29:24 0:29:27 of status at all but they are something, obviously. 0:29:27 0:29:32 There's something in there, I suppose you could say, 0:29:32 0:29:35 trying to get out. And Polly is so brilliant at picking them out, but you can hear 0:29:35 0:29:40 consonants that she's taken that were there, 0:29:40 0:29:43 and put a proper word to. 0:29:43 0:29:45 Anyway, we'll have a quick... 0:29:45 0:29:48 '# Da da da dum...' 0:29:48 0:29:50 # What has he done? 0:29:50 0:29:52 '# Da da da doo...' 0:29:52 0:29:54 # God help our son 0:29:54 0:29:56 # Stay a while... # 0:29:57 0:29:59 Yes. 0:29:59 0:30:00 TRACK CONTINUES 0:30:00 0:30:02 What's it like, that first time that you hear, not the scat 0:30:04 0:30:08 -but the words? -That's the best... 0:30:08 0:30:09 That's an incredibly...wonderful moment. 0:30:09 0:30:14 It's really exciting and that is... 0:30:14 0:30:16 It tends to be just the two of us, and, you know, I give him 0:30:16 0:30:19 the sheet of paper and he sticks it up and sings it and... 0:30:19 0:30:23 Yeah, I think that is the most enjoyable moment of the whole thing. 0:30:24 0:30:29 There's a very special guest joining us for the next song. 0:30:30 0:30:33 This man gave me my first guitar 0:30:34 0:30:36 and was also one of the first people to play in this venue. 0:30:36 0:30:39 Please welcome Mr David Gilmour from Pink Floyd. 0:30:39 0:30:42 CHEERING 0:30:42 0:30:43 -WOMAN: -Oh, my God! 0:30:46 0:30:48 Some of my earliest memories are staying at his and Polly's 0:30:49 0:30:53 house in the countryside, 0:30:53 0:30:54 and we'd kind of stay there for whole summers. 0:30:54 0:30:58 And I guess I was too young, initially, to understand 0:30:58 0:31:02 who Pink Floyd were or who he was. 0:31:02 0:31:05 I guess he was just a friend of my parents, with a nice house! 0:31:05 0:31:09 This is crazy! 0:31:09 0:31:10 HE PLAYS THE OPENING TO WISH YOU WERE HERE 0:31:12 0:31:15 CROWD ROARS 0:31:15 0:31:17 He was the first person that told me I had a nice voice. 0:31:17 0:31:20 Which I probably didn't appreciate at the time, 0:31:21 0:31:25 but looking back, that was pretty cool. 0:31:25 0:31:27 So, so you think you can tell... # 0:31:27 0:31:31 CROWD SING ALONG 0:31:31 0:31:34 # ..Heaven from hell 0:31:34 0:31:35 # Blue skies from pain... # 0:31:37 0:31:40 We have a very young fan base. 0:31:40 0:31:42 Initially, I was a bit worried that all these 16-year-olds would 0:31:42 0:31:45 have no idea who he was. 0:31:45 0:31:49 But as soon as he walked on stage, 0:31:49 0:31:51 I just have this very vivid memory of this 16-year-old boy in 0:31:51 0:31:54 the front row, like, tears streaming down his face with happiness. 0:31:54 0:31:58 # We're just two lost souls swimming in a fish bowl... # 0:31:58 0:32:03 When we were actually learning the song, I went on YouTube to look up 0:32:03 0:32:06 a live version to see how he'd done it live in the past, 0:32:06 0:32:09 and the first thing that came up was him 0:32:09 0:32:11 and my dad playing it at the Royal Festival Hall. 0:32:11 0:32:14 It had something like 20 million views 0:32:14 0:32:16 and it suddenly all felt quite familial 0:32:16 0:32:20 and circular in some way, 0:32:20 0:32:21 that my dad had done it and now I was doing it. 0:32:21 0:32:24 # So 0:32:24 0:32:26 # So you think you can tell 0:32:26 0:32:29 # Heaven from hell... # 0:32:31 0:32:34 Pretty much everyone on my dad's side in the family is a musician. 0:32:34 0:32:37 He's a guitarist called Neill MacColl and his parents were 0:32:37 0:32:41 Ewan MacColl the folk singer and Peggy Seeger, also a folk singer. 0:32:41 0:32:45 Um, and her brother was Pete Seeger. 0:32:45 0:32:48 And strangely, I think David actually learned to play guitar initially 0:32:51 0:32:55 by listening to these instructional records that Pete Seeger had made. 0:32:55 0:33:00 So, yeah, it's all connected in some strange way, I think. 0:33:02 0:33:06 -So, here we are, rehearsal room. -So there's a lot of stuff here. 0:33:23 0:33:28 Well, this is basically pretty much what we have on stage. 0:33:29 0:33:33 We all have our full sort of stage kit. 0:33:33 0:33:35 Are you going to take all these on tour when you go? 0:33:35 0:33:37 Yes, all these things come with me. 0:33:37 0:33:39 OK, let's... 0:33:42 0:33:44 John, you play it off the thing, 0:33:44 0:33:45 cos I can't really remember what I should be doing. 0:33:45 0:33:49 Ooh. 0:33:51 0:33:52 Start... Just play it again, yeah. 0:33:54 0:33:56 Trying to remember these fucking chords. 0:34:04 0:34:07 'Without forgetting the words all the time or forgetting what 0:34:17 0:34:20 'I'm supposed to be playing all the time, 0:34:20 0:34:23 'and gradually, as you relax into it, you get more 0:34:23 0:34:25 'and more close to what you're doing, but I'm constantly, I'm listening to 0:34:25 0:34:29 'what everyone else is doing, trying to remember to say this at the end.' 0:34:29 0:34:34 Or I just stop and we do it. And I have all the lyrics here. 0:34:34 0:34:38 All of these I need to know by the time we get going. 0:34:38 0:34:41 I have... 0:34:41 0:34:42 Shine On You Crazy Diamond, I have a bit of a mental block about that, 0:34:42 0:34:47 so that is here. 0:34:47 0:34:49 And that sits on the floor during every show, 0:34:49 0:34:52 with the start of the lines, 0:34:52 0:34:54 so I get the right lines in the right order. 0:34:54 0:34:57 For some reason, I can remember 50 songs word perfect all the way 0:34:57 0:35:02 through, and I have a rotten memory. 0:35:02 0:35:04 Got that on the F. 0:35:04 0:35:05 One, two, three, four. 0:35:05 0:35:07 Bam bam, ba ba ba... 0:35:10 0:35:12 Bam bam, ba ba bam... 0:35:14 0:35:17 Great. Much better without me playing. 0:35:25 0:35:29 OK. 0:35:29 0:35:30 # Whatever it takes to break... # 0:35:56 0:35:59 Rattle That Lock came out of the work that I'd done for the last book 0:35:59 0:36:03 I wrote, which was a novel called The Kindness, 0:36:03 0:36:05 because the main character in the novel is a student of Milton. 0:36:05 0:36:08 I knew that I wanted to write a song about the need to protest 0:36:08 0:36:12 and I suddenly remembered Book Two of Paradise Lost 0:36:12 0:36:15 and Satan's heroic journey to go and challenge God. 0:36:15 0:36:18 And I thought, well, that would work really well, 0:36:18 0:36:21 within that is everything I want to say. 0:36:21 0:36:23 And I ran back and picked up the book, and there it was, 0:36:23 0:36:26 and it was a huge, huge help. 0:36:26 0:36:28 It's a sort of, not exactly a call to arms, but it's encouraging 0:36:28 0:36:32 people to stand up for themselves and shake it about a bit. 0:36:32 0:36:37 # Rattle that lock 0:36:37 0:36:39 # Lose those chains 0:36:39 0:36:41 # Rattle that lock 0:36:41 0:36:42 # Gonna lose those chains 0:36:42 0:36:45 # Rattle that lock 0:36:45 0:36:46 # I'm gonna lose those chains 0:36:46 0:36:49 # Rattle that lock... # 0:36:49 0:36:51 OK, let's do Today. 0:36:53 0:36:55 Just to cheer ourselves up, and then we can fuck off. 0:36:55 0:36:58 HE SCATS 0:37:00 0:37:03 THEY HARMONISE 0:37:03 0:37:04 Do we stay up? 0:37:07 0:37:08 # Today 0:37:10 0:37:12 # Always 0:37:12 0:37:16 # Today 0:37:16 0:37:18 # New day... 0:37:18 0:37:20 # Just a day when the weight of the world... # 0:37:20 0:37:24 Do that. 0:37:24 0:37:25 # Just a day when the weight of the world. # 0:37:25 0:37:29 BELLS CHIME 0:37:32 0:37:34 # When that fat old sun in the sky is falling 0:37:41 0:37:48 # Summer evening birds are calling... # 0:37:49 0:37:54 Way back when you were living in Cambridge, 0:37:56 0:37:58 that's when you met Syd Barrett, isn't it? 0:37:58 0:38:00 Well, there was an art school for kids in Homerton College. 0:38:00 0:38:04 They ran for, I guess, five-year-olds and above, or six-year-olds 0:38:04 0:38:09 and above, they ran art classes on a Saturday morning. 0:38:09 0:38:13 And I went to that until the age of 11 and, apparently, 0:38:13 0:38:16 I didn't know it at the time because I didn't know them, 0:38:16 0:38:19 both Syd and Roger were in the same class in the same room as me 0:38:19 0:38:22 for probably three or four years. 0:38:22 0:38:25 But I got to know Syd when I was about 14 or 15, which is 0:38:25 0:38:28 three or four years after that. 0:38:28 0:38:30 We both went to the Cambridge Tech. I was there doing A Level languages. 0:38:30 0:38:35 And Syd was doing arts and we would meet up in the art school 0:38:35 0:38:40 -every lunchtime. -What was Syd like at that time and that age? 0:38:40 0:38:44 Syd was just... Had a real, real magnetic personality. 0:38:44 0:38:48 And a spring in his step and a glint in his eye. 0:38:48 0:38:51 And was very, very sharp and very, very funny. 0:38:51 0:38:54 Everyone wanted to be friends with Syd. Me included. 0:38:56 0:38:59 By then, musically, did you have any sense what your destiny was, 0:39:02 0:39:06 what you wanted to do with your life? 0:39:06 0:39:08 By the time it got to taking my A Levels, I think 0:39:08 0:39:11 I had pretty much decided what I wanted to do. 0:39:11 0:39:14 And I thought that if I passed my A Levels, there'd be no way out 0:39:14 0:39:21 and I'd have to go off to university, 0:39:21 0:39:24 and the moment for my rock and roll career might pass. 0:39:24 0:39:28 So I stopped going to the exams. 0:39:28 0:39:32 -You just stopped, did you? -Yeah, in the middle of the A Levels... 0:39:32 0:39:35 -For fear that you might pass. -Yeah. Essentially. 0:39:35 0:39:39 THEY LAUGH 0:39:39 0:39:40 # When that fat old sun in the sky... # 0:39:40 0:39:46 I've heard people saying that they got into popular music 0:39:46 0:39:52 because of the girls, the drugs, all the rest of it. 0:39:52 0:39:57 But I... Having thought about that, I think that it was definitely 0:39:57 0:40:03 the music that was the absolute main priority for why I got into it. 0:40:03 0:40:09 And when was the first move into performance? 0:40:11 0:40:15 I suppose when I was 17 or 18. 0:40:15 0:40:17 I started...joined a band or two, you know. 0:40:17 0:40:22 You sort of flit in the door and out of the door very quickly. 0:40:22 0:40:26 One or two bands, an early one was called Newcomers. 0:40:26 0:40:30 Then after that I met some more people who wanted to do something 0:40:30 0:40:34 a bit more ambitious. And we formed what became Jokers Wild. 0:40:34 0:40:38 We did a lot of harmony music, Beach Boys, The Four Seasons, 0:40:38 0:40:44 and we did your regular R and B, the Stones numbers, 0:40:44 0:40:47 Beatles numbers, and there were five of us and we could all sing. 0:40:47 0:40:51 How did you keep pace with what was happening 0:40:51 0:40:53 -if you were doing all these covers? -It was competitive covering. 0:40:53 0:40:56 A new Beatles record, for example, would come out and we'd rush down to 0:40:56 0:41:01 Millers Music Store and we'd gather together 0:41:01 0:41:04 in one of the little booths. 0:41:04 0:41:06 They used to have those stand-up booths where you could fit 0:41:06 0:41:09 three people in like that, listening to a single, 0:41:09 0:41:11 but they also, at Millers, had bigger room booths 0:41:11 0:41:13 which were about six foot by six foot, 0:41:13 0:41:15 and you could get four or five people in 0:41:15 0:41:16 and you could listen to a whole LP. 0:41:16 0:41:19 And we would listen to a whole brand-new Beatles LP 0:41:19 0:41:23 and we'd be writing the words down and making notes on the chords 0:41:23 0:41:29 and stuff as it went through and we'd try to get them 0:41:29 0:41:32 to play it to us again. 0:41:32 0:41:33 And if the serving girls were in a good mood or you smiled at them 0:41:33 0:41:38 nicely, they might play it a second time. 0:41:38 0:41:41 And then, while you're setting up for a gig that night, you'd 0:41:41 0:41:46 rehearse one or two of the ones that seemed easiest 0:41:46 0:41:49 and you'd got to know well and then you could announce, you know, 0:41:49 0:41:53 over your PA, and this is one, a song called such and such 0:41:53 0:41:57 from the new Beatles album, which is out today. And it was... 0:41:57 0:42:01 You know, it would be massively exciting, 0:42:03 0:42:06 to play a really bad rendition with all the wrong words 0:42:06 0:42:09 and all the wrong chords, but all you could manage to pick up in one, 0:42:09 0:42:13 maybe two listens. 0:42:13 0:42:14 Can we hear some of Jokers Wild? Have you got any... 0:42:14 0:42:17 You can hear a bit of my embarrassment. 0:42:17 0:42:20 This is me singing a cover of a song by Manfred Mann. 0:42:20 0:42:26 # I give you all of my loving 0:42:30 0:42:32 # Everything I could 0:42:32 0:42:34 # And now you say you don't love me 0:42:36 0:42:38 # Well, there's no reason why you should 0:42:38 0:42:41 # But, baby, don't ask me what I say 0:42:41 0:42:44 # Don't talk about it 0:42:45 0:42:47 # You make my heart... # 0:42:47 0:42:49 NEW TRACK PLAYS 0:42:49 0:42:51 Oh, yeah, Four Seasons, three by then. 0:42:51 0:42:53 # Hey, girl 0:42:53 0:42:56 # They don't mi-i-ind 0:42:57 0:42:59 # They don't mind... # 0:42:59 0:43:02 Focusing on this popular stuff, dissecting it, 0:43:02 0:43:06 and working out how all the harmonies work, 0:43:06 0:43:09 how all the instrumentation was done and how it was produced, 0:43:09 0:43:14 this is my musical education, really. 0:43:14 0:43:16 My parents came to shows. 0:43:18 0:43:20 I mean, they would drive me to things, you know, 0:43:20 0:43:24 in the early days when I couldn't get myself to places. 0:43:24 0:43:27 Sometimes they even towed a cart full of equipment 0:43:27 0:43:31 on a trailer to gigs. 0:43:31 0:43:33 And they became big fans, you know. 0:43:34 0:43:37 Couldn't get away from them later on! 0:43:39 0:43:41 MUSIC: Set The Controls For The Heart Of The Sun by Pink Floyd 0:43:41 0:43:45 So, there was Jokers Wild and then, of course, there was Pink Floyd. 0:43:45 0:43:49 Jokers Wild had done a few gigs on the same bill with the early 0:43:49 0:43:54 version of Pink Floyd. 0:43:54 0:43:56 We played in a couple of art colleges in London 0:43:56 0:44:00 and a couple of gigs in Cambridge 0:44:00 0:44:02 and we played in a marquee in Shelford, just outside Cambridge. 0:44:02 0:44:07 The bill was Jokers Wild, Pink Floyd and Paul Simon. 0:44:07 0:44:11 So what next? 0:44:13 0:44:15 After I packed up with Jokers Wild, 0:44:15 0:44:17 I started moving between London 0:44:17 0:44:20 and Cambridge a lot, and some people I ran into in London offered me 0:44:20 0:44:25 a job with a band in a nightclub in Saint-Etienne in France. 0:44:25 0:44:29 Then we just hung around in France for the best part of the next year. 0:44:29 0:44:33 -And then, you lucky chap, you got to work with Brigitte Bardot. -Yes. 0:44:33 0:44:37 I went in and sang a couple of songs for a film soundtrack, 0:44:37 0:44:41 which was called Two Weeks In September, 0:44:41 0:44:43 which starred Mike Sarne and Brigitte Bardot. 0:44:43 0:44:45 I've never heard them since. 0:44:45 0:44:47 I hope you haven't found them. 0:44:49 0:44:50 I think we may have done. 0:44:50 0:44:53 # In my small country 0:44:53 0:44:55 # Working all day until the night 0:44:55 0:45:00 # They had no worries of any kind... # 0:45:00 0:45:03 I don't think they're dancing to this track at all, 0:45:03 0:45:06 they're dancing at a different... Look. 0:45:06 0:45:08 # I never tried to ask more questions... # 0:45:08 0:45:12 More questions. 0:45:12 0:45:14 I just turned up at a studio in Paris 0:45:17 0:45:20 and sang the words they put in front of me and went home. 0:45:20 0:45:24 DIALOGUE IN FRENCH 0:45:27 0:45:30 HE PLAYS THE OPENING TO WISH YOU WERE HERE 0:45:32 0:45:35 # So 0:45:55 0:45:56 # So you think you can tell 0:45:56 0:45:58 # Heaven from hell 0:46:01 0:46:03 # Blue skies from pain 0:46:05 0:46:07 # Can you tell a green field... # 0:46:09 0:46:11 How did joining Floyd happen, because it was really to do partly 0:46:11 0:46:14 with Syd's sort of inconsistency, or whatever you want to call it? 0:46:14 0:46:17 Well, Syd, you know, I knew the guys from the Pink Floyd pretty well. 0:46:17 0:46:23 I called Syd and he invited me to go along to a recording session. 0:46:25 0:46:29 They were recording See Emily Play. 0:46:29 0:46:31 # There is no other day 0:46:31 0:46:34 # Let's try it another way... # 0:46:34 0:46:36 -But he was very strange. -How? 0:46:36 0:46:38 You know, the light had gone out of his eyes. 0:46:38 0:46:42 He was monosyllabic and... 0:46:42 0:46:44 Yeah, it was very shocking. 0:46:45 0:46:47 So how did this transition... how did it happen? 0:46:49 0:46:52 I went to see them playing at a party at the Royal College Of Arts, 0:46:52 0:46:56 just next door to the Albert Hall, and at that party, 0:46:56 0:47:00 which must have been November, maybe, Nick came up to me 0:47:00 0:47:04 and said, whispered in my ear quietly, "If at some point soon, 0:47:04 0:47:10 "you know, we asked you to join, what would you say?" 0:47:10 0:47:13 I said, "Well, I'd probably say yes." 0:47:15 0:47:18 We did five gigs together as a five piece, 0:47:20 0:47:23 which was pretty strange, I can tell you. 0:47:23 0:47:27 And then, one day we were going to play, 0:47:27 0:47:29 I think it was at Southampton University, with T Rex 0:47:29 0:47:33 and people, Tyrannosaurus Rex then, on the bill. 0:47:33 0:47:36 And someone said, "Right, shall we go and pick up Syd?" 0:47:36 0:47:39 And someone else said, "Nah." 0:47:39 0:47:41 And we didn't, and that was the end of that, 0:47:41 0:47:44 in that sort of wonderful, callous way that you have 0:47:44 0:47:48 when you're young and ambitious. 0:47:48 0:47:50 Were you as bad as the others, then? 0:47:50 0:47:53 I'm sure I was just as bad as the others, yes. 0:47:53 0:47:56 MUSIC: Echoes, Part 1 by Pink Floyd 0:47:56 0:47:58 We became gradually more and more successful. 0:48:06 0:48:10 There was five years, really, from when I joined to when Dark Side 0:48:10 0:48:13 came out, which was when the sort of stratospheric leap happened. 0:48:13 0:48:18 # And if your head explodes with dark forebodings too 0:48:18 0:48:24 # I'll see you on the dark side of the moon... # 0:48:24 0:48:30 My mother threw herself into it, and loved every bit of it, and loved 0:48:30 0:48:34 you know, the so-called glamour of the life that I had taken on. 0:48:34 0:48:41 My father less so. 0:48:41 0:48:43 Only because it could have emasculated him a little bit. 0:48:44 0:48:47 A serious scientist doing brilliant work 0:48:47 0:48:50 but not earning anything like as much as his guitar-strumming son. 0:48:50 0:48:54 And the thrill my mother got out of that couldn't have been that 0:48:54 0:49:01 nice for him at times, I think. 0:49:01 0:49:03 PLAYBACK OF BRAIN DAMAGE TRACK 0:49:03 0:49:05 MUSIC FADES OUT 0:49:05 0:49:06 -Can we run back and drop in a bit? -Yeah, you can if you like. 0:49:08 0:49:10 Just turn it down a bit. 0:49:10 0:49:11 I mean, I didn't really make a specific mistake, but... 0:49:11 0:49:15 -Turn it down? -Yeah, my guitar's too loud. 0:49:15 0:49:17 And that working relationship at that time between you and Roger 0:49:17 0:49:21 and Rick and everyone, how was that at that period? 0:49:21 0:49:25 It was, um, sort of a microcosm of what went on later. 0:49:25 0:49:29 We all found our place in the hierarchy 0:49:29 0:49:32 -and made it work for ourselves, you know. -You call it a hierarchy. 0:49:32 0:49:36 Well, it is. These things always have a hierarchy, I think. 0:49:36 0:49:41 Roger at the top, me next, then Rick, then Nick in terms of who did 0:49:41 0:49:46 the most commanding, bossing of things around. 0:49:46 0:49:49 But I felt that in my position that I was more the leader of the musical 0:49:49 0:49:55 side of things, and Roger was definitely in terms of the lyric 0:49:55 0:50:01 and the driving force sort of way it was. 0:50:01 0:50:06 Yes, we have some pretty good arguments from time to time, yes. 0:50:06 0:50:09 -And do you manage to get over them? -Yep, we're pretty durable. 0:50:10 0:50:14 I never had that moment of thinking, 0:50:16 0:50:19 no, I really am a part of this fully. 0:50:19 0:50:22 I always thought that I was the new boy, and they enjoyed that. 0:50:22 0:50:26 -They enjoyed playing on that. -Really? 0:50:28 0:50:30 Yes, but, you know, in that sort of jokey way that you do, you know. 0:50:30 0:50:34 They would always tease me for being the new boy, 0:50:34 0:50:37 even when I'd been in it for 20 years, you know. 0:50:37 0:50:40 And what about the next stage, you know, 0:50:41 0:50:43 post Dark Side Of The Moon, Wish You Were Here, what happened after that? 0:50:43 0:50:48 Well, that's ancient history, all that old, ancient Floyd history, 0:50:48 0:50:51 the arguments, the fights and... 0:50:51 0:50:54 Well, you get over it. 0:50:54 0:50:55 We did get... 0:50:55 0:50:58 We did get on pretty well as work people, as work associates, 0:50:58 0:51:04 if you want to call it that, throughout those years, 0:51:04 0:51:07 but there were changes, you know, everyone's little problems 0:51:07 0:51:12 and dissatisfactions all started coming more and more to the fore. 0:51:12 0:51:17 Boring. Let's move on to something else. 0:51:19 0:51:21 In September 2009, David Gilmour's friend and musical partner, 0:51:29 0:51:34 Rick Wright of Pink Floyd, sadly passed away after a long illness. 0:51:34 0:51:39 Let's... let's do A Boat Lies Waiting. 0:51:40 0:51:43 # And a boat lies waiting... # 0:51:44 0:51:49 The first song to be written was A Boat Lies Waiting. 0:51:51 0:51:55 A beautiful piece of music, 0:51:55 0:51:56 it was instantly suggestive of something to do with the sea. 0:51:56 0:52:00 And...I went for a walk with it in my headphones 0:52:00 0:52:04 and then I walked back and David was walking towards me, 0:52:04 0:52:07 and I said, "Just come and sit on the beach with me, 0:52:07 0:52:09 "I just want to talk to you about this piece of music." 0:52:09 0:52:11 And I said, "David, just try to put into words for me, 0:52:11 0:52:14 "what you think it's about." 0:52:14 0:52:16 And he sort of stared off into the distance, 0:52:16 0:52:18 and then he looked at me and said, 0:52:18 0:52:20 "Well, I think it's about mortality." 0:52:20 0:52:23 And what had just been happening was, he'd been trying to find other 0:52:23 0:52:26 keyboard players and he'd come back having tried a few out, 0:52:26 0:52:30 and say, "It's just not the same." 0:52:30 0:52:33 And I think he realised, you know, really after Rick died, 0:52:33 0:52:36 just what it was he'd lost. 0:52:36 0:52:37 And so that then sort of mixed with this idea of the sea, 0:52:37 0:52:40 and Rick spent most of his life on a boat, sailing the Atlantic. 0:52:40 0:52:43 And so the song became a song about David missing Rick. 0:52:43 0:52:47 This is the original recording. 0:52:49 0:52:50 This is Gabriel making an appearance. 0:52:56 0:52:59 BABY CRIES ON RECORDING 0:52:59 0:53:01 So that dates this track to 1997. 0:53:01 0:53:06 Cos that's Gabriel as a baby, and he was born in '97. 0:53:06 0:53:09 -What made you put that in? Did you add that later? -No, that was... 0:53:10 0:53:13 -That was here. -That I did on a mini-disc on the piano in the house. 0:53:13 0:53:17 -Yeah. -And you can hear people wandering around 0:53:17 0:53:19 and crockery being washed up, and... 0:53:19 0:53:21 RECORDING PLAYS 0:53:21 0:53:22 -And you've left all that on the track. -Yeah, it's all on. 0:53:28 0:53:31 Anyway. 0:53:37 0:53:38 # Silence I'd hear you 0:53:38 0:53:42 # And a boat lies waiting... # 0:53:42 0:53:47 'On the last album, On An Island, I managed to get David Crobsy 0:53:47 0:53:52 'and Graham Nash to sing on a couple of tracks from that, 0:53:52 0:53:56 'so I thought it would be great to get them in again 0:53:56 0:54:00 'and recreate their sound with me, 0:54:00 0:54:02 'cos we seem to fit quite well together.' 0:54:02 0:54:05 And that big harmony thing is something I've always really loved. 0:54:05 0:54:10 # Something 0:54:10 0:54:12 # I never knew 0:54:12 0:54:15 # In silence 0:54:16 0:54:18 # I'd hear you 0:54:18 0:54:21 # And a boat lies waiting 0:54:21 0:54:27 # Still your clouds are flaming... # 0:54:27 0:54:34 The first solo album that I did in 1978 wasn't what 0:54:48 0:54:52 I was going to be then subsequently doing as my career. 0:54:52 0:54:55 It was something to fill in a bit of loose-end time and to have some fun. 0:54:55 0:55:02 Oh, look, mushrooms. Mmm. 0:55:02 0:55:06 # There are no boundaries set 0:55:06 0:55:10 # The time, and yet you waste it still... # 0:55:10 0:55:14 'That was to take a simpler approach, 0:55:14 0:55:16 'just go with a couple of old friends 0:55:16 0:55:19 'and just play some songs' 0:55:19 0:55:21 and have a bit of fun and see what happened. 0:55:21 0:55:24 I mean, these things were really off the cuff, just sit me down, 0:55:26 0:55:29 play around a bit and say, "Right, record." 0:55:29 0:55:32 But the last thing I did was what became Comfortably Numb. 0:55:32 0:55:36 We didn't have time to work on it any more, 0:55:36 0:55:39 and it was still around when we got to starting The Wall the next year. 0:55:39 0:55:44 -So this is the original recording? -Yeah. 0:55:48 0:55:51 # Put it on the line 0:55:54 0:55:55 # Put it to the test 0:55:55 0:55:58 # I'm just the same as all the rest 0:56:01 0:56:05 # I'm not the worst, I'm not the best... # 0:56:10 0:56:14 I'd forgotten I'd written words... of some sort. 0:56:14 0:56:18 HE SCATS ON THE RECORDING 0:56:18 0:56:19 Ran out of... 0:56:22 0:56:23 # There's nothing to live 0:56:26 0:56:28 # And nothing to die for 0:56:28 0:56:31 # There is no future, 0:56:33 0:56:35 # No past to cry for 0:56:35 0:56:38 # I'm just dust flown away on the wind... # 0:56:41 0:56:45 -Getting used to that now? -Yeah. -It's good, isn't it? 0:56:50 0:56:53 It sounds amazing, I love it. 0:56:53 0:56:54 I actually.... 0:56:57 0:56:58 I wrote Comfortably Numb on that... on that guitar, with that tuning. 0:56:58 0:57:02 -On this guitar? -Yeah. -I'll call this an honour! 0:57:02 0:57:05 Do you think that your solo songs draw on a more emotional 0:57:09 0:57:12 side of yourself? 0:57:12 0:57:13 That's hard to say, I don't know. 0:57:17 0:57:20 Not yet. Wait. 0:57:22 0:57:23 Somewhere round here. 0:57:29 0:57:30 His emotional centre is musical, it isn't... 0:57:33 0:57:38 You know, most of us express our anger, love, hate, 0:57:38 0:57:42 whatever it is, we express it in words, 0:57:42 0:57:44 and David really, really doesn't but he does express it musically. 0:57:44 0:57:48 And I don't know what came first. 0:57:48 0:57:51 You know, did the language part of his brain not evolve 0:57:51 0:57:54 because the musical part of his brain was so busy, 0:57:54 0:57:56 or was he just born with a brain that worked in that way? 0:57:56 0:58:00 It's really hard to know, but it's certainly true that emotion, 0:58:00 0:58:04 for him, is expressed musically. 0:58:04 0:58:06 Every once in a while, 0:58:08 0:58:09 an idea will force its way to the surface of my mind 0:58:09 0:58:14 that I will try to write a lyric or song about, but I've got no 0:58:14 0:58:21 way of predicting where that's going to go in the future. 0:58:21 0:58:24 I keep thinking that there is a little door, 0:58:24 0:58:28 a little key that... that I could open 0:58:28 0:58:32 and I would suddenly find a way that would make it slightly 0:58:32 0:58:35 simpler for me to move those things forward and to find them... 0:58:35 0:58:39 ..because there's plenty to write about but I haven't yet really 0:58:40 0:58:44 pinned that down. 0:58:44 0:58:45 -You wrote the lyrics for Faces Of Stone yourself, didn't you? -Yes. 0:58:49 0:58:53 What prompted it? 0:58:53 0:58:54 Faces Of Stone was prompted by a memory of a day walking 0:58:54 0:59:00 in Ladbroke Gardens with my mother, 0:59:00 0:59:03 when she was suffering from dementia. 0:59:03 0:59:06 And she... As were walking through the trees, 0:59:06 0:59:09 under the trees and the hedge, she was saying, "Oh, isn't it lovely?" 0:59:09 0:59:13 She could see pictures that weren't there, hanging in the trees. 0:59:13 0:59:18 That was a moment that sparked it off and I had a line that went, 0:59:18 0:59:22 "Faces of stone that watch from the dark as the wind swirled around 0:59:22 0:59:30 "and you took my arm in the park." 0:59:30 0:59:32 So, it's basically about my mother's decline and, you know, 0:59:32 0:59:38 the ending of one life and the beginning of another, 0:59:38 0:59:41 cos Romany was born nine months before my mother died, 0:59:41 0:59:45 so there was a short period where they were both alive together 0:59:45 0:59:50 and... 0:59:50 0:59:51 She came back to our house 0:59:53 0:59:56 and held Romany in her arms as a tiny baby. 0:59:56 0:59:59 And I have a picture of that. 1:00:01 1:00:02 And so the moment in the park, which is a mental picture, 1:00:02 1:00:06 and the picture I have of her holding Romany in her arms sparked 1:00:06 1:00:09 a little thing which became that lyric. 1:00:09 1:00:11 So this is some of what became Faces Of Stone. 1:00:13 1:00:16 This has got the original vocal that I did on my iPhone late one night, 1:00:16 1:00:23 which is where the lyric spark came from. 1:00:23 1:00:26 # Faces of stone 1:00:31 1:00:33 # Bleached white by the sun 1:00:35 1:00:37 # As the wind swirled around 1:00:41 1:00:44 # And you took my arm in the park 1:00:44 1:00:47 # Your Hollywood smile 1:00:50 1:00:52 # Shone light on the past 1:00:54 1:00:57 # But it was the future 1:01:00 1:01:03 # That you held so tight to your heart. # 1:01:03 1:01:06 I suppose when you write a song about something specific that has 1:01:14 1:01:18 got some emotional content, 1:01:18 1:01:20 I mean, that one, Faces Of Stone, that is related to my mother 1:01:20 1:01:25 and her declining years, yeah, there's an emotional thing in there. 1:01:25 1:01:32 I mean, our relationship was very difficult and tricky and... 1:01:32 1:01:36 It's good at the moment, right now, 1:01:39 1:01:41 to be putting that back into a slightly different perspective. 1:01:41 1:01:45 Trying to find the affection that was there. 1:01:47 1:01:50 I must have loved her but, er, 1:01:50 1:01:53 a lot of the time it didn't feel like I did. 1:01:53 1:01:55 -Do you miss her? -Do I miss my mother? I... 1:01:56 1:02:01 No. 1:02:01 1:02:03 No, I don't miss her, I don't think, no. 1:02:05 1:02:08 It wasn't a closely-knit emotional type family, 1:02:11 1:02:14 and when my mother wanted to be closer when she was getting old, 1:02:14 1:02:20 I found it difficult to deal with and I wanted her to... 1:02:20 1:02:24 "Get off, get off, leave me alone." 1:02:24 1:02:27 Now is not the time to be trying to do this. 1:02:30 1:02:33 The time to be doing that stuff was when I was five. 1:02:33 1:02:36 It's just days away from his first live show and David 1:02:56 1:03:00 and the band are catching up, rehearsing new songs and old. 1:03:00 1:03:05 # Money 1:03:07 1:03:08 # Get away 1:03:10 1:03:11 # Get a good job with more pay and you're OK 1:03:13 1:03:18 # Money... # 1:03:21 1:03:23 Tell me about playing live, because you haven't played live for a while. 1:03:23 1:03:27 -Do you enjoy the experience of playing? -Yes, it's terrific. 1:03:27 1:03:31 It's almost like a completely different thing, 1:03:31 1:03:33 though, to recording in the studio where you slave away 1:03:33 1:03:36 hermit-like for years and years perfecting little things. 1:03:36 1:03:40 This you have to do the work in this rehearsal room, 1:03:40 1:03:43 getting it as good as you can get it, but then you bash it out 1:03:43 1:03:47 and mistakes don't matter, as long as you get the right overall feel 1:03:47 1:03:53 and excitement and emotional depth to what you're doing. 1:03:53 1:03:59 The performance is a great part of it. 1:03:59 1:04:02 There's a lot that he has to do to be the frontman on this show. 1:04:23 1:04:28 It's a big job being David Gilmour! 1:04:28 1:04:31 And here we are in Croatia. 1:04:36 1:04:38 Never played in Croatia before, never been here, 1:04:38 1:04:40 but...the Romans got everywhere. 1:04:40 1:04:43 -Beautiful, isn't it? -It is. 1:04:44 1:04:46 How did you find this place? 1:04:49 1:04:51 Well, I set my team off to find me beautiful places, you know. 1:04:51 1:04:56 I just think it's fantastic for people's memories of an event 1:04:56 1:05:00 to be something special, not be just another sports arena or stadium. 1:05:00 1:05:06 They're going to go away again afterwards, 1:05:07 1:05:09 assuming I do a reasonably good show, they're going to go away 1:05:09 1:05:12 and they're going to remember it, 1:05:12 1:05:14 partly because of the place and the setting they're in. 1:05:14 1:05:17 And from here, you go... 1:05:17 1:05:19 From here we're off to Italy and then off to France 1:05:19 1:05:21 and off to Germany. And then we'll be back to London, 1:05:21 1:05:24 where we'll do some more dates at the Albert Hall. 1:05:24 1:05:27 And then, we'll have a little break 1:05:27 1:05:31 and after this school term is over we'll head to South America. 1:05:31 1:05:35 The school term comes in the middle of it 1:05:35 1:05:37 because you've got to be in London for the school term. 1:05:37 1:05:40 I want to be around and not be too absent. 1:05:40 1:05:43 I've had my moment, you know, of doing all those things 1:05:43 1:05:47 and letting my career come first, 1:05:47 1:05:49 but, um, I'm established, I think, aren't I? 1:05:49 1:05:53 Yeah! 1:05:53 1:05:54 There are some performers for whom the crowd is incredibly 1:05:54 1:05:59 important, but I sense that it's not just about the excitement 1:05:59 1:06:02 of the crowd, it's more about the moment and the music. 1:06:02 1:06:06 It is, well, we try very hard to get the music really... 1:06:06 1:06:09 heartfelt when we do it. 1:06:09 1:06:12 But you can never get above sort of 70% or something 1:06:12 1:06:15 without an audience. 1:06:15 1:06:17 Whatever you do in rehearsal, there's a whole massive lift of gear 1:06:17 1:06:21 when there's an audience, 1:06:21 1:06:22 for everyone, and for me definitely. 1:06:22 1:06:25 It's likely to be slightly less perfect, but more fun. 1:06:25 1:06:28 CHEERING 1:06:28 1:06:30 CHEERING INTENSIFIES 1:06:34 1:06:36 CHEERING AND APPLAUSE 1:07:57 1:07:59 PIANO PLAYS 1:08:14 1:08:15 OK. 1:08:38 1:08:40 Guard the meat, don't eat the meat. 1:08:54 1:08:57 "I'll guard it in my stomach very well." 1:08:57 1:08:59 There's potato salad over here. 1:09:02 1:09:05 'I'm a control freak. I confess, I can't do anything about it. 1:09:08 1:09:12 'I try to stop but I just am that person who does want to man 1:09:12 1:09:19 'the barbecue and does want to light the fire and do all those things.' 1:09:19 1:09:23 -'Do you have any regrets? -Can you get through life without regrets? 1:09:29 1:09:34 'I don't think you can. I've got tons of regrets! 1:09:34 1:09:38 'Tons of regrets. 1:09:38 1:09:39 'I mean, that silly song. 1:09:39 1:09:41 'I've got a few but then again too few to mention. 1:09:41 1:09:44 'I've got many regrets but you... You get on, don't you?' 1:09:44 1:09:49 There are things I could have done better, 1:09:50 1:09:52 things I should have done better. 1:09:52 1:09:54 'What is your favourite musical memory? 1:09:59 1:10:03 'Oh, God, there are just far, far too many. 1:10:03 1:10:07 'I mean, I did play at a Les Paul tribute 1:10:07 1:10:10 'once in the New York, in the '80s I think it was, 1:10:10 1:10:13 'and I was playing a blues number 1:10:13 1:10:15 'and BB King sort of wandered into the room and stood on the side.' 1:10:15 1:10:19 And at the end of the song he came up to me and said, 1:10:19 1:10:23 "Hey, boy, you sure you wasn't born in Mississippi?" 1:10:23 1:10:26 -Play Hey Jude. -Hey Jude by Romany, yes. 1:10:32 1:10:33 # Don't make it bad 1:10:33 1:10:36 # Take a sad song and make it better 1:10:38 1:10:43 # Remember to let her into your heart 1:10:45 1:10:49 # Then you can start 1:10:49 1:10:52 # To make things better 1:10:52 1:10:55 # Anytime you feel the pain 1:10:59 1:11:01 # Hey, Jude, refrain 1:11:01 1:11:04 # Don't carry the world upon your shoulders 1:11:04 1:11:11 # La la la la la... # That's too high! 1:11:11 1:11:16 LAUGHTER 1:11:16 1:11:17 Cor, she knows how to seize her moment, that girl!67182