Pink Floyd

Pink Floyd The Wikipedia Guide

Contents 1

2

Overview

1

1.1

Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

1.1.1

1963–67: early years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

1

1.1.2

1968–77: transition and international success

. . . . . . . . . . . . . . . . . . . . . . . .

3

1.1.3

1978–85: Waters-led era . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

7

1.1.4

1986–95: Gilmour-led era . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

8

1.1.5

2005–present . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

10

1.1.6

Musicianship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

11

1.1.7

Lyrical themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

13

1.1.8

Recognition and influence

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

15

1.1.9

Discography

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

15

1.1.10 Tours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16

1.1.11 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16

1.1.12 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

16

1.1.13 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

18

1.1.14 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

24

1.1.15 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

25

1.1.16 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

26

Members

27

2.1

David Gilmour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

27

2.1.1

Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

27

2.1.2

Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

27

2.1.3

Musical style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

29

2.1.4

Solo projects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

29

2.1.5

Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

31

2.1.6

Personal life

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

33

2.1.7

Discography

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34

2.1.8

Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34

2.1.9

Citations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

34

2.1.10 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

36

2.1.11 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37

2.1.12 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37

i

ii

CONTENTS 2.2

3

Nick Mason . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37

2.2.1

Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37

2.2.2

Musical career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

37

2.2.3

Pink Floyd songs co-written by Mason . . . . . . . . . . . . . . . . . . . . . . . . . . . .

38

2.2.4

Drumming style . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

39

2.2.5

Non-musical ventures . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

39

2.2.6

Views and advocacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

40

2.2.7

Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

40

2.2.8

Books . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

40

2.2.9

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

40

2.2.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

41

Past Members

42

3.1

Syd Barrett . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

42

3.1.1

Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

42

3.1.2

Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

48

3.1.3

Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

50

3.1.4

Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

51

3.1.5

See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

51

3.1.6

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

51

3.1.7

Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

55

3.1.8

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

55

Roger Waters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

55

3.2.1

1943–1964: early years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

56

3.2.2

1965–1985: Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

56

3.2.3

1984–present: solo career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

58

3.2.4

Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

61

3.2.5

Activism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

61

3.2.6

Political views . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

62

3.2.7

Equipment and instruments . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

63

3.2.8

Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

63

3.2.9

Citations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

63

3.2.10 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

66

3.2.11 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

66

3.2.12 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

67

Richard Wright (musician) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

67

3.3.1

Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

67

3.3.2

Pink Floyd 1967 - 1981 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

67

3.3.3

Later life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

68

3.3.4

Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

68

3.3.5

Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

69

3.3.6

Influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

70

3.2

3.3

CONTENTS

4

5

6

iii

3.3.7

Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

70

3.3.8

Pink Floyd songs with Wright singing lead vocals . . . . . . . . . . . . . . . . . . . . . .

70

3.3.9

Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

70

3.3.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

71

3.3.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

71

Other Members

72

4.1

Bob Klose . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

72

4.1.1

Biography

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

72

4.1.2

Early career

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

72

4.1.3

Recent years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

73

4.1.4

Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

73

4.1.5

Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

73

4.1.6

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

73

4.1.7

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

73

4.1.8

Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

73

Discography

74

5.1

Pink Floyd discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.1

Albums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.2

Box sets

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.3

Extended plays . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.4

Videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.5

Singles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.6

Other charted songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.7

See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.8

Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

74

5.1.9

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

75

5.1.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

77

Studio albums

78

6.1

The Piper at the Gates of Dawn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

78

6.1.1

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

78

6.1.2

Recording

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

78

6.1.3

Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

79

6.1.4

Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

81

6.1.5

Track listing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

82

6.1.6

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

82

6.1.7

Sales chart performance

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

82

6.1.8

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

82

6.1.9

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

85

A Saucerful of Secrets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

85

6.2

iv

CONTENTS

6.3

6.4

6.5

6.6

6.2.1

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

85

6.2.2

Recording and structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

85

6.2.3

Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

86

6.2.4

Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

87

6.2.5

Track listing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

87

6.2.6

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

87

6.2.7

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

88

6.2.8

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

88

Soundtrack from the Film More . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

90

6.3.1

Recording and songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

90

6.3.2

Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

90

6.3.3

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

90

6.3.4

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

91

6.3.5

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

91

6.3.6

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

91

Ummagumma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

91

6.4.1

Title

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

91

6.4.2

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

91

6.4.3

Packaging

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

92

6.4.4

Release history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

93

6.4.5

Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

93

6.4.6

Track listing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

93

6.4.7

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

93

6.4.8

Sales chart performance

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

93

6.4.9

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

93

6.4.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

94

Atom Heart Mother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

94

6.5.1

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

94

6.5.2

Cover art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

96

6.5.3

Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

97

6.5.4

Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

97

6.5.5

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

97

6.5.6

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

97

6.5.7

Charts and certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

98

6.5.8

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

98

Meddle . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100 6.6.1

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 100

6.6.2

Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 101

6.6.3

Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

6.6.4

Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 102

6.6.5

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

CONTENTS

6.7

6.8

v

6.6.6

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

6.6.7

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

6.6.8

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 103

Obscured by Clouds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104 6.7.1

Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 104

6.7.2

Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

6.7.3

Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

6.7.4

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

6.7.5

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

6.7.6

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

6.7.7

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 105

The Dark Side of the Moon . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106 6.8.1

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 106

6.8.2

Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 107

6.8.3

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 108

6.8.4

Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 110

6.8.5

Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 111

6.8.6

Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 113

6.8.7

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

6.8.8

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

6.8.9

Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114

6.8.10 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 6.8.11 Release history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 6.8.12 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 114 6.8.13 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 6.9

Wish You Were Here (Pink Floyd album) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 118 6.9.1

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

6.9.2

Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

6.9.3

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 119

6.9.4

Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

6.9.5

Critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 121

6.9.6

Reissues and remastering . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 122

6.9.7

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

6.9.8

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

6.9.9

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123

6.9.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 123 6.9.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 6.10 Animals (Pink Floyd album) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 6.10.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 6.10.2 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 125 6.10.3 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126

vi

CONTENTS 6.10.4 Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 126 6.10.5 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 127 6.10.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 6.10.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 6.10.8 Charts and certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 6.10.9 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 6.10.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 128 6.11 The Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 6.11.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 130 6.11.2 Concept and storyline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 6.11.3 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 131 6.11.4 Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 6.11.5 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 133 6.11.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 6.11.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 6.11.8 Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 6.11.9 Selected album sales . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 6.11.10 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 135 6.12 The Final Cut (album) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 6.12.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 138 6.12.2 Concept and storyline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 6.12.3 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 139 6.12.4 Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 6.12.5 Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 140 6.12.6 Aftermath and legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 141 6.12.7 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 6.12.8 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 6.12.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 142 6.13 A Momentary Lapse of Reason . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 6.13.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 143 6.13.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 144 6.13.3 Packaging and title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 6.13.4 Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 146 6.13.5 Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 6.13.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 6.13.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 6.13.8 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 6.13.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 147 6.14 The Division Bell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 6.14.1 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149 6.14.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 149

CONTENTS

vii

6.14.3 Packaging and title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 150 6.14.4 Release and reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 6.14.5 Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 151 6.14.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 6.14.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 6.14.8 Charts and certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 6.14.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 152 6.14.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 6.15 The Endless River . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 6.15.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 154 6.15.2 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 6.15.3 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 155 6.15.4 Packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 6.15.5 Promotion . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 156 6.15.6 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 6.15.7 Commercial performance

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157

6.15.8 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 6.15.9 Personnel* [72] . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 157 6.15.10 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 6.15.11 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 6.15.12 Release schedule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 6.15.13 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 6.15.14 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 158 6.15.15 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 162 7

Soundtrack albums 7.1

7.2

8

Tonite Lets All Make Love in London . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163 7.1.1

Soundtrack albums' track listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 163

7.1.2

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

7.1.3

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Zabriskie Point (album) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165 7.2.1

Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

7.2.2

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

7.2.3

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 165

Live albums 8.1

163

166

Delicate Sound of Thunder . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166 8.1.1

Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

8.1.2

Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

8.1.3

Chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

8.1.4

In space . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

8.1.5

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 166

viii

CONTENTS

8.2

8.3

9

8.1.6

Songs omitted from the album . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

8.1.7

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

8.1.8

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

8.1.9

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 167

Pulse (Pink Floyd album) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168 8.2.1

Content and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

8.2.2

Release history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

8.2.3

LED packaging . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

8.2.4

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 168

8.2.5

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

8.2.6

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

8.2.7

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 170

8.2.8

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

Is There Anybody Out There? The Wall Live 1980–81 . . . . . . . . . . . . . . . . . . . . . . . . 171 8.3.1

Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

8.3.2

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 171

8.3.3

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

8.3.4

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

8.3.5

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

8.3.6

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 172

Compilation albums 9.1

9.2

9.3

173

The Best of the Pink Floyd / Masters of Rock . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173 9.1.1

Later release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

9.1.2

Song variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

9.1.3

Track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

9.1.4

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 173

9.1.5

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

Relics (album) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174 9.2.1

Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

9.2.2

Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

9.2.3

Cover and machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

9.2.4

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 174

9.2.5

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

9.2.6

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

9.2.7

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

A Collection of Great Dance Songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175 9.3.1

Album . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 175

9.3.2

Tracks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

9.3.3

Charts and re-release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

9.3.4

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

9.3.5

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

CONTENTS

9.4

9.5

9.6

ix

9.3.6

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

9.3.7

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 176

9.3.8

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

Works (Pink Floyd album) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177 9.4.1

Release and contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

9.4.2

Alternate recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

9.4.3

Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

9.4.4

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

9.4.5

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 177

9.4.6

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

9.4.7

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

1967: The First Three Singles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 9.5.1

Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

9.5.2

Singles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

9.5.3

Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

9.5.4

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

9.5.5

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

9.5.6

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178

Echoes: The Best of Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 178 9.6.1

Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

9.6.2

Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

9.6.3

Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

9.6.4

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

9.6.5

Rejected songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 179

9.6.6

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

9.6.7

Sales certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

9.6.8

Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 180

9.6.9

Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

9.6.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 9.7

9.8

A Nice Pair . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181 9.7.1

Release history and track variations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 181

9.7.2

Cover art . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

9.7.3

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 182

9.7.4

Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

9.7.5

Sales chart performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

9.7.6

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183

The Best of Pink Floyd: A Foot in the Door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 183 9.8.1

Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

9.8.2

Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

9.8.3

Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

9.8.4

References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

x

CONTENTS 9.8.5

External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 184

10 Box sets

185

10.1 Shine On (box set) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 10.1.1 Content . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 185 10.1.2 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 10.1.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 10.2 Oh, by the Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 10.2.1 Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 10.2.2 Design and cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 10.2.3 Albums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 10.2.4 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 186 10.2.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 10.3 Discovery (box set) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 10.3.1 Contents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 10.3.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 10.3.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 187 11 Extended plays

188

11.1 London '66–'67 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 11.1.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 11.1.2 DVD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 11.1.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 11.1.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 188 12 Singles

189

12.1 Arnold Layne . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 12.1.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 12.1.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 12.1.3 Music videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 12.1.4 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 189 12.1.5 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 12.1.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 12.1.7 David Gilmour version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 12.1.8 Pink Floyd 2007 performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 12.1.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 190 12.2 See Emily Play . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 12.2.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 12.2.2 Recording and release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 12.2.3 Television performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 191 12.2.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 12.2.5 Other versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192

CONTENTS

xi

12.2.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 192 12.2.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 12.3 Flaming (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 12.3.1 Single . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 12.3.2 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 12.3.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 12.3.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 12.3.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 193 12.4 Apples and Oranges (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.4.1 TV Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.4.2 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.4.3 Further release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.4.4 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.4.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.4.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.5 It Would Be So Nice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 194 12.5.1 Different versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 12.5.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 12.5.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 12.5.4 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 12.5.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 12.5.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 195 12.6 Let There Be More Light . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.1 Writing and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.2 Lyrical themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.3 Release and live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.4 Planned B-side . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.6 Musical connections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 196 12.6.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 12.7 Point Me at the Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 12.7.1 Other releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 12.7.2 Video and photos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 12.7.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 12.7.4 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 12.7.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 197 12.7.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.8 The Nile Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.8.1 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.8.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198

xii

CONTENTS 12.8.3 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.8.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.8.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.9 One of These Days (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.9.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 198 12.9.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 12.9.3 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 12.9.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199 12.9.5 1989 promo video

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 199

12.9.6 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 12.9.7 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 12.9.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 200 12.9.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.10Free Four . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.10.1 Recording and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.10.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.10.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.10.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.10.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.11Money (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 201 12.11.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 12.11.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 12.11.3 Re-recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 202 12.11.4 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 12.11.5 Aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 12.11.6 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 12.11.7 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 12.11.8 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 12.11.9 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 12.11.10References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 203 12.11.11External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 12.12Us and Them (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 12.12.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 204 12.12.2 Spoken parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 12.12.3 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 12.12.4 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 12.12.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 205 12.12.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 12.12.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 12.13Time (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206 12.13.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 206

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12.13.2 Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 12.13.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 12.13.4 Use in film and television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 12.13.5 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 12.13.6 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 207 12.13.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 12.13.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 12.14Have a Cigar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 12.14.1 Composition and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 208 12.14.2 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 12.14.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 12.14.4 Quotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 12.14.5 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 12.14.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 209 12.14.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 12.15Wish You Were Here (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 12.15.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 12.15.2 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 12.15.3 Other recorded versions by Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . 210 12.15.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 12.15.5 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 12.15.6 Wish You Were Here (Live) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 12.15.7 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 211 12.15.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 12.15.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 12.16Another Brick in the Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 212 12.16.1 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 213 12.16.2 Award . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 12.16.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 12.16.4 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 12.16.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 12.16.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 216 12.16.7 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 12.16.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 12.17Comfortably Numb . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 12.17.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 12.17.2 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 218 12.17.3 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 12.17.4 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 219 12.17.5 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 220 12.17.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221

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CONTENTS 12.17.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 221 12.17.8 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 12.17.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 12.18Run Like Hell . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 12.18.1 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 12.18.2 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 12.18.3 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 222 12.18.4 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 12.18.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 223 12.18.6 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 12.18.7 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 12.18.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 12.18.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 12.19When the Tigers Broke Free . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 12.19.1 Writing and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 12.19.2 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 224 12.19.3 Subsequent releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 12.19.4 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 12.19.5 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 12.19.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 12.19.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 12.19.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 12.20Not Now John . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 225 12.20.1 Meaning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 12.20.2 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 12.20.3 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 12.20.4 Single . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 12.20.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 12.20.6 Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 226 12.20.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 12.20.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 12.21Your Possible Pasts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 12.21.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 12.21.2 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 12.21.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 12.21.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 227 12.21.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 12.22Learning to Fly (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 12.22.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 12.22.2 Music video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 12.22.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228

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12.22.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 12.22.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 228 12.22.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.23On the Turning Away . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.23.1 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.23.2 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.23.3 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.23.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.23.5 Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.23.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.24One Slip . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.24.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.24.2 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 229 12.24.3 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.24.4 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.24.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.24.6 Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.24.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.25Sorrow (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.25.1 Lyrics and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.25.2 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.25.3 Personnel on studio version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 230 12.25.4 Personnel on Delicate Sound of Thunder and Pulse versions . . . . . . . . . . . . . . . . . 231 12.25.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 12.26The Dogs of War (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 12.26.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 12.26.2 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 231 12.26.3 Personnel on studio version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.26.4 Personnel on live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.26.5 Cover version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.26.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.26.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.27Take It Back . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.27.1 Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.27.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 232 12.27.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 12.28High Hopes (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 12.28.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 12.28.2 Track listings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 12.28.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233 12.28.4 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 233

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CONTENTS 12.28.5 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.28.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.28.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.29Keep Talking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.29.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.29.2 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.29.3 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.29.4 Quotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.29.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 234 12.29.6 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.29.7 Release history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.29.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.30What Do You Want from Me (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.30.1 Song structure and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.30.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.30.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.30.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.31Young Lust (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 235 12.31.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 12.31.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 12.31.3 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 12.31.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 12.31.5 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 12.31.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236 12.31.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 236

13 Songs

238

13.1 List of songs recorded by Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 13.1.1 Studio recordings . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 13.1.2 Notes on non-album songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 13.1.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 13.1.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 238 13.2 Absolutely Curtains . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.2.1 Chant . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.2.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.2.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.2.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.3 Alan's Psychedelic Breakfast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.3.1 Recording and sounds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.3.2 Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 239 13.3.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 13.3.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240

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13.4 Any Colour You Like . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 13.4.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 240 13.4.2 Live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 13.4.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 13.4.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 13.5 Astronomy Domine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 13.5.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 241 13.5.2 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 13.5.3 Music video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 13.5.4 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 13.5.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 242 13.5.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 13.5.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 13.6 Atom Heart Mother (suite) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 13.6.1 Recording and composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 13.6.2 Attempted film use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 13.6.3 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 243 13.6.4 Sections . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 13.6.5 Working titles . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 244 13.6.6 Other appearances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 13.6.7 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 13.6.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 13.7 Biding My Time . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 13.7.1 Prior performance and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 13.7.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 245 13.7.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 13.7.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 13.8 Brain Damage (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 13.8.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 13.8.2 Themes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 13.8.3 "I'll see you on the dark side of the Moon" . . . . . . . . . . . . . . . . . . . . . . . . . . 246 13.8.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 246 13.8.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 13.8.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 13.9 Breathe (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 13.9.1 Authorship and composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 13.9.2 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 13.9.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 247 13.9.4 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 13.9.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 13.9.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248

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13.10Bring the Boys Back Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 13.10.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 248 13.10.2 Performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 13.10.3 Film appearance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 13.10.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 13.10.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 13.10.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 249 13.10.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.10.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.11Burning Bridges (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.11.1 Composition and vocals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.11.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.11.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.11.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.12Candy and a Currant Bun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.12.1 Lyric change . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.12.2 The Mars Volta cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.12.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 250 13.12.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 13.13Careful with That Axe, Eugene . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 13.13.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 13.13.2 Live history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 13.13.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 251 13.13.4 Other use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 13.13.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 13.14Chapter 24 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 13.14.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 13.14.2 I Ching . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 252 13.14.3 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 13.14.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 13.14.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 13.14.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 253 13.15Childhood's End (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.15.1 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.15.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.15.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.15.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.16Cirrus Minor (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.16.1 Writing and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.16.2 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.16.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254

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13.16.4 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 254 13.16.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.17Cluster One . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.17.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.17.2 Track overture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.17.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.17.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.18Coming Back to Life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.18.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.18.2 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 255 13.18.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.18.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.19Corporal Clegg . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.19.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.19.2 Music videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.19.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.19.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.19.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.19.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 256 13.20Country Song (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.20.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.20.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.21Crumbling Land . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.21.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.21.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.22Crying Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.22.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.22.2 Instrumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.22.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.22.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.22.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.23Cymbaline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 257 13.23.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 13.23.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 13.23.3 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 13.23.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 13.23.5 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 13.23.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 13.23.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 258 13.24Dogs (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 13.24.1 Musical composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259

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CONTENTS 13.24.2 Concept . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 259 13.24.3 Early versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 13.24.4 Live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 13.24.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 13.24.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 260 13.24.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 13.25Don't Leave Me Now (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 13.25.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 13.25.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 13.25.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 13.25.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 261 13.25.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.26Dramatic Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.26.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.26.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.26.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.26.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.27Echoes (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.27.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 262 13.27.2 Early versions and alternate names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 13.27.3 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 263 13.27.4 Echoes and 2001: A Space Odyssey synchronization rumours . . . . . . . . . . . . . . . . . 263 13.27.5 Alleged plagiarism . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 13.27.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 13.27.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 13.27.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 264 13.28Eclipse (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 13.28.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 13.28.2 Usage . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 13.28.3 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 265 13.28.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 13.28.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 13.28.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 13.29Embryo (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 13.29.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 13.29.2 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 266 13.29.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 13.29.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 13.29.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 13.30Empty Spaces . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267 13.30.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 267

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13.30.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.30.3 Movie and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.30.4 Hidden message . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.30.5 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.30.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.30.7 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.30.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.30.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.31Fat Old Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.31.1 Live performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 268 13.31.2 More information . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.31.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.31.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.31.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.32Fearless (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.32.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.32.2 B-side status . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.32.3 Musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 269 13.32.4 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 13.32.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 13.32.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 13.33The Fletcher Memorial Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 13.33.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 13.33.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 270 13.33.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.34The Gnome . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.34.1 Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.34.2 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.34.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.34.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.35The Gold It's in the... . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.35.1 Composition and critical reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.35.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 271 13.35.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 13.36Goodbye Blue Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 13.36.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 13.36.2 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 13.36.3 Live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 13.36.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 13.36.5 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272 13.36.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 272

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13.37Goodbye Cruel World (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.3 Live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.5 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.7 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.37.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 273 13.38The Grand Vizier's Garden Party . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 13.38.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 13.38.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 13.38.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 13.39Grantchester Meadows (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 13.39.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 13.39.2 Sound . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 274 13.39.3 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 13.39.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 13.39.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 13.40A Great Day for Freedom . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 13.40.1 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 13.40.2 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 13.40.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 275 13.40.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 13.41The Great Gig in the Sky . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 13.41.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 13.41.2 Clare Torry's vocals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 13.41.3 Quotes from those involved . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 276 13.41.4 Lawsuit . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 13.41.5 Spoken parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 13.41.6 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 13.41.7 Commercial re-use . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 277 13.41.8 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 13.41.9 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 13.41.10References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 278 13.41.11External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 13.42Green Is the Colour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 13.42.1 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279

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13.42.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 13.42.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 13.42.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 13.43The Happiest Days of Our Lives . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 13.43.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 279 13.43.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.43.3 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.43.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.43.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.43.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.44Heart Beat, Pig Meat . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.44.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.44.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 280 13.45Hey You (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 13.45.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 13.45.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 13.45.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 13.45.4 Personnel (live performances) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 281 13.45.5 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 13.45.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 13.45.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 13.46I'm a King Bee . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 13.46.1 Original song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 13.46.2 Rolling Stones version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 282 13.46.3 Other versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 13.46.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 13.47Ibiza Bar . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 13.47.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 13.47.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 13.47.3 Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 13.47.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 283 13.47.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.48If (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.48.1 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.48.2 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.48.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.48.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.48.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.49In the Flesh (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.49.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284 13.49.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 284

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13.50In the Flesh? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 13.50.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 13.50.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 285 13.50.3 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 13.50.4 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 13.50.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 13.50.6 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 13.50.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 286 13.50.8 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 13.50.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 13.51Interstellar Overdrive . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 13.51.1 Composition and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 13.51.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 287 13.51.3 Alternative versions and live performances . . . . . . . . . . . . . . . . . . . . . . . . . . 287 13.51.4 Covers and legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 288 13.51.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 13.51.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 289 13.51.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 13.52Is There Anybody Out There? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 13.52.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 290 13.52.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 13.52.3 TV excerpts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 13.52.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 13.52.5 Versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 13.52.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 13.52.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 291 13.53Jugband Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 13.53.1 Background and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 13.53.2 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 13.53.3 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 13.53.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 13.53.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 292 13.54Julia Dream . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 13.54.1 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 13.54.2 Later release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 13.54.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293 13.54.4 Covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 293

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13.54.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.54.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.55Lucifer Sam . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.55.1 Music and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.55.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.55.3 Live and cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.55.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.55.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.56Main Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 294 13.56.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.56.2 Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.56.3 Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.56.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.56.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.56.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.57Marooned (instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.57.1 Writing and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.57.2 Grammy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.57.3 Live and other releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.57.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 295 13.57.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 13.58Matilda Mother . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 13.58.1 Lyrics and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 13.58.2 Later release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 13.58.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 13.58.4 Alternative versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 13.58.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 296 13.58.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.59More Blues . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.59.1 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.59.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.59.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.59.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.60Mother (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.60.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.60.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 297 13.60.3 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 13.60.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 13.60.5 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 13.60.6 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 13.60.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

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CONTENTS 13.60.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298

13.61Mudmen (instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 13.61.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 298 13.61.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.61.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.61.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.62The Narrow Way . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.62.1 Different parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.62.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.62.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.63A New Machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.63.1 Lyrics and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.63.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 299 13.63.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 13.64Nobody Home . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 13.64.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 13.64.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 13.64.3 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 13.64.4 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 13.64.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 300 13.64.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.65Obscured by Clouds (instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.65.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.65.2 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.65.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.65.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.66On the Run (instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.66.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 301 13.66.2 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 13.66.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 13.66.4 Other versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 13.66.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 13.66.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 13.67One of My Turns . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 13.67.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 302 13.67.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 13.67.3 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 13.67.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 13.67.5 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 13.67.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 13.67.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303

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13.68Outside the Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 303 13.68.1 Overview . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.2 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.3 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.4 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.5 Stage performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.6 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.7 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 304 13.68.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 13.69Paint Box (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 13.69.1 Lyrics and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 13.69.2 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 13.69.3 Video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 13.69.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 13.69.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 305 13.70Party Sequence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.70.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.70.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.70.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.70.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.71Pigs (Three Different Ones) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.71.1 Summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.71.2 Live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 306 13.71.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 13.71.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 13.71.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 13.72Pigs on the Wing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 13.72.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 307 13.72.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.72.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.72.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.73A Pillow of Winds . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.73.1 Music and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.73.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.73.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.73.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.74Poles Apart . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 308 13.74.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.74.2 Tuning . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.74.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309

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13.75The Post War Dream (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.75.1 Intro . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.75.2 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.75.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.75.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.76Pow R. Toc H. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 309 13.76.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.76.2 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.76.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.76.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.77Quicksilver (instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.77.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.77.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.77.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.78Remember a Day . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.78.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 310 13.78.2 Release and aftermath . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 13.78.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 13.78.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 13.78.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 13.79Round and Around (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 13.79.1 Later release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 13.79.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 311 13.79.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.80San Tropez (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.80.1 Writing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.80.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.80.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.80.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.81A Saucerful of Secrets (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.81.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 312 13.81.2 Structure . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 13.81.3 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 13.81.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 13.81.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 13.81.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 313 13.82The Scarecrow (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 13.82.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 13.82.2 Music videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 13.82.3 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314

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13.82.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 13.82.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 13.82.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 314 13.83Seamus (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.83.1 Live at Pompeii version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.83.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.83.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.84See-Saw (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.84.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.84.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.84.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.85Set the Controls for the Heart of the Sun . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 315 13.85.1 Lyrics and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 13.85.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 13.85.3 Alternative and live versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 13.85.4 Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 316 13.85.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 13.85.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 13.86Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict . . . 317 13.86.1 Sounds and recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 317 13.86.2 Popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 13.86.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 13.86.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 13.87Sheep (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 13.87.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 13.87.2 Psalm 23 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 318 13.87.3 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 13.87.4 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 13.87.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 13.87.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 13.88Shine On You Crazy Diamond . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 13.88.1 Background and composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 13.88.2 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 319 13.88.3 Musical analysis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 320 13.88.4 Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 13.88.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 13.88.6 Edited versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 322 13.88.7 Releases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 13.88.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 13.88.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 323 13.89The Show Must Go On (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324

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CONTENTS 13.89.1 Recording and lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 13.89.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 13.89.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 13.89.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 13.89.5 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 13.90Signs of Life (instrumental) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 13.90.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 324 13.90.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.90.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.91A Spanish Piece . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.91.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.91.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.91.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.91.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.92Speak to Me . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.92.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.92.2 Sound effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 325 13.92.3 Spoken parts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.92.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.92.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.92.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.93Stay (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.93.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.93.2 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.93.3 Instrumentation . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.93.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.93.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 326 13.93.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.94Stop (Pink Floyd song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.94.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.94.2 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.94.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.94.4 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.94.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.94.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.95Summer '68 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.95.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.95.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.95.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 327 13.95.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.96Take Up Thy Stethoscope and Walk . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328

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13.96.1 Lyrics . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.96.2 Alternative, live versions and covers . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.96.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.96.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.97Terminal Frost . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.97.1 Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.97.2 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.97.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 328 13.98The Thin Ice . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.98.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.98.2 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.98.3 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.98.4 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.98.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.98.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.98.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.99The Trial (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 329 13.99.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 13.99.2 Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 13.99.3 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 330 13.99.4 Concerts and versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 13.99.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 13.99.6 Personnel (Live in Berlin) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 13.99.7 Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 13.99.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 13.100Two Suns in the Sunset . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 331 13.100.1Lyrics and music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.100.2Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.100.3See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.100.4References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.100.5External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.101Unknown Song . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.101.1Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.101.2Other names . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.101.3References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.102Up the Khyber . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 332 13.102.1Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 13.102.2Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 13.102.3Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 13.102.4References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 13.102.5External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333

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13.103Vegetable Man . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 13.103.1Recording and consideration . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 13.103.2Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 333 13.103.3Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 13.103.4Cover versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 13.103.5See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 13.103.6References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 334 13.103.7External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.104Vera (song) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.104.1Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.104.2Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.104.3Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.104.4References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.105Waiting for the Worms . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.105.1Composition and plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.105.2Film version . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 335 13.105.3Concerts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 13.105.4Reaction . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 13.105.5Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 13.105.6Further reading . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 13.105.7References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 13.105.8External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 336 13.106Wearing the Inside Out . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.106.1Later performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.106.2Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.106.3References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.107Welcome to the Machine . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.107.1Theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.107.2Recording . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.107.3Time signature . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 337 13.107.4Music video . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 13.107.5Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 13.107.6Live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 13.107.7Influence . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 13.107.8Quotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 338 13.107.9References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 13.107.10 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 13.108What Shall We Do Now? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 13.108.1Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 13.108.2The film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 339 13.108.3Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340

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13.108.4Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.108.5References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.108.6External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.109When You're In . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.109.1Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.109.2Cover . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.109.3Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.109.4References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 340 13.110Wot's... Uh the Deal? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.110.1Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.110.2References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.110.3External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.111Yet Another Movie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.111.1Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.111.2Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.111.3References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 341 13.112List of unreleased Pink Floyd material . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 13.112.1Syd Barrett–era unreleased songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 342 13.112.2Later–era unreleased songs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 344 13.112.3Unreleased albums . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 346 13.112.4See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 13.112.5References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 347 14 Videography

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14.1 Pink Floyd videography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.1.1 Music videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.1.2 Films/Videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.1.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.2 The Committee (film) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.2.1 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.2.2 Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.2.3 Soundtrack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 350 14.2.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.3 More (1969 film) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.3.1 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.3.2 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.3.3 Soundtrack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.3.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.3.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.4 Zabriskie Point (film) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 351 14.4.1 Plot summary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352 14.4.2 Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 352

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14.5 La Vallée (film) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 14.5.1 Synopsis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 354 14.5.2 Trivia . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 14.5.3 Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 14.5.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 14.5.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 14.6 Pink Floyd: Live at Pompeii . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 14.6.1 Background . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 14.6.2 Filming . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 355 14.6.3 Release history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 356 14.6.4 Reception . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 14.6.5 Outtakes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 357 14.6.6 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 14.6.7 Credits . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 358 14.6.8 Legacy . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 14.6.9 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 14.6.10 Sources . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 359 14.6.11 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 14.7 Pink Floyd – The Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 14.7.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 14.7.2 Cast . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 360 14.7.3 Production . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 361 14.7.4 Release . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 362 14.7.5 Documentary . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 14.7.6 Soundtrack . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 14.7.7 Chart positions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 14.7.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 363 14.7.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 14.8 The Final Cut (1983 film) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 14.8.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 14.8.2 Storyline . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 14.8.3 Music videos . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 14.8.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 14.8.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364 14.9 Delicate Sound of Thunder (film) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 364

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14.9.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 14.9.2 Songs omitted from the Film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 14.9.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 14.9.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 14.10La Carrera Panamericana . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 365 14.10.1 Music . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 14.10.2 Track listing

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14.10.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 14.10.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 14.11Pulse (1995 film) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 14.11.1 DVD track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 366 14.11.2 VHS track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 367 14.11.3 Laserdisc track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 14.11.4 Editing Out the Publius Enigma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 14.11.5 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 14.11.6 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 14.11.7 Notes and references . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 368 14.11.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 14.12The Pink Floyd and Syd Barrett Story . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 14.12.1 Plot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 14.12.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 14.12.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 369 14.13Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon . . . . . . . . . . . . . . 369 14.13.1 Selected Extra Features . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 14.13.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 14.13.3 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 370 15 Tours

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15.1 Pink Floyd live performances . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 15.1.1 Special effects . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 371 15.1.2 Major tours and concerts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 372 15.1.3 Performance history highlights . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 373 15.1.4 Backing musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 15.1.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 381 15.1.6 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 15.1.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 15.2 Pink Floyd World Tour 1968 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 15.2.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 382 15.2.2 Tour dates 15.2.3 Set list

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15.2.4 Tour band

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15.2.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383

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15.3 The Man and The Journey Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 15.3.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 15.3.2 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 15.3.3 Set one . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 383 15.3.4 Set two . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 15.3.5 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 15.3.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 15.4 Atom Heart Mother World Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 15.4.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 384 15.4.2 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 15.4.3 Set list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 15.4.4 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 15.4.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 15.4.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 15.5 Meddle Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 15.5.1 Set list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 385 15.5.2 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 15.5.3 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 15.5.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 15.5.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 15.6 Dark Side of the Moon Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 15.6.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 386 15.6.2 Tour dates

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387

15.6.3 Setlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 387 15.6.4 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 15.6.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 15.7 Pink Floyd 1974 tours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 15.7.1 1974 French Summer Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 388 15.7.2 1974 British Winter Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 15.7.3 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 15.7.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 15.8 Wish You Were Here Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 389 15.8.1 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 15.8.2 Set list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 15.8.3 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 15.8.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 15.9 In the Flesh Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 15.9.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 390 15.9.2 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 15.9.3 Set list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 15.9.4 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391

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15.9.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 391 15.10The Wall Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 15.10.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 15.10.2 Concert film . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 392 15.10.3 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 15.10.4 Set list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 393 15.10.5 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 15.10.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 15.10.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 15.11A Momentary Lapse of Reason Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 15.11.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 15.11.2 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 394 15.11.3 Set list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 395 15.11.4 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 15.11.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 15.11.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 15.12The Division Bell Tour . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 15.12.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 396 15.12.2 Tour band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 15.12.3 Sets . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 397 15.12.4 Tour dates . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 15.12.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 15.12.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 398 16 Related articles

399

16.1 The Amazing Pudding . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 16.1.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 16.2 Andrew Jackson (recording engineer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 16.2.1 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 399 16.2.2 Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 16.2.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 16.2.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 16.3 Astoria (recording studio) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 16.3.1 Early history . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400 16.3.2 Gilmour era

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 400

16.3.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 16.4 Australian Pink Floyd Show . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 401 16.4.1 Band members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 16.4.2 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 402 16.4.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 403 16.4.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404 16.5 Azimuth Co-ordinator . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

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CONTENTS 16.5.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404 16.5.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404

16.6 Back Against the Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 404 16.6.1 Track listing

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 405

16.6.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 406 16.7 Beyond the Wildwood . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 16.7.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 16.7.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 16.8 Blackhill Enterprises . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 16.8.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 16.9 The Bleeding Heart Band . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 407 16.9.1 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 16.9.2 The Wall, Berlin 1990 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 16.9.3 Later years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 16.9.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 16.9.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 16.10Jon Carin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 408 16.10.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 16.10.2 Selected discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 409 16.10.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 16.10.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 410 16.11Carolyne Christie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 16.11.1 Family

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411

16.11.2 Early marriages . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 16.11.3 Roger Waters . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 16.11.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 16.12Don Coleman (musician) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 16.12.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 411 16.12.2 Charity work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 412 16.12.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 413 16.12.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 16.13Dark Side of the Rainbow . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 16.13.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 16.13.2 Synchronicity . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 16.13.3 Coincidence versus intent . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 16.13.4 Technical considerations . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 414 16.13.5 Variations on the theme . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 16.13.6 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 415 16.13.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 16.14Ian Emes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 16.14.1 Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416

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16.14.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 416 16.14.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 16.15Bob Ezrin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 16.15.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 16.15.2 Music and production career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 417 16.15.3 Live arena . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 16.15.4 Entrepreneurship . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 16.15.5 Education . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 16.15.6 Honor and recognition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 16.15.7 Social work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 418 16.15.8 Film and television . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 16.15.9 Public speaking . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 16.15.10Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 16.15.11Partial discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 419 16.15.12See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 16.15.13References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 421 16.15.14External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 16.16Games for May . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 16.16.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 16.16.2 Setlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 16.16.3 Quotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 16.16.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 16.16.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 423 16.16.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 16.17Ron Geesin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 16.17.1 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 16.17.2 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 424 16.17.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 16.17.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 16.18James Guthrie (record producer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 16.18.1 Early years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 16.18.2 Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 425 16.18.3 Post-Wall era . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 426 16.18.4 Selected discography and credits (Pink Floyd and related releases) . . . . . . . . . . . . . . 427 16.18.5 Selected discography (as producer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 428 16.18.6 Awards . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429 16.18.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 429 16.18.8 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 16.18.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 16.19Hayseed Dixie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430

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CONTENTS 16.19.1 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 430 16.19.2 Current band members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 16.19.3 Former band members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 16.19.4 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 16.19.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 431 16.19.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 16.20Hipgnosis . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 16.20.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432 16.20.2 Style

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 432

16.20.3 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 16.20.4 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 16.20.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 16.20.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 16.21Inside Out: A Personal History of Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 16.21.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 433 16.21.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.22Jokers Wild (band) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.22.1 Recording sessions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.22.2 Band members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.22.3 Track list . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.22.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.23The Last Few Bricks . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.23.1 Composition . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 434 16.23.2 Title . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 16.23.3 Performance . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 16.23.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 16.24The Little Boy that Santa Claus Forgot . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 16.24.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 16.25Vera Lynn . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 16.25.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 435 16.25.2 Post-war career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 436 16.25.3 Honours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 16.25.4 Charity work . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 437 16.25.5 Later years . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 16.25.6 Personal life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 16.25.7 Recording career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 438 16.25.8 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 16.25.9 Filmography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 16.25.10Publications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 16.25.11References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 439 16.25.12External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440

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16.26The Machine (band) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 440 16.26.1 Members . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 16.26.2 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 16.26.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 16.26.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 16.27The Man and The Journey . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 16.27.1 Live . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 441 16.27.2 Example track list (from the Amsterdam show, 1969) . . . . . . . . . . . . . . . . . . . . 441 16.27.3 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 16.27.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 16.28Music from The Body . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 16.28.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 16.28.2 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 16.28.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 442 16.28.4 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 16.28.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 16.29Steve O'Rourke . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 16.29.1 Life and Pink Floyd manager . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 16.29.2 Racing career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 443 16.29.3 Other artists . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 16.29.4 Footnotes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 16.29.5 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 16.3019367 Pink Floyd . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 16.30.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 16.30.2 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 16.31Pink Floyd live backing musicians . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 444 16.31.1 The Dark Side of the Moon Tour 1973 . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 16.31.2 French Concert Series 1974 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 16.31.3 British Winter Tour 1974 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 16.31.4 North American Tour 1975 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 16.31.5 In the Flesh 1977 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 16.31.6 The Wall 1980–81 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 445 16.31.7 A Momentary Lapse of Reason 1987–1989 . . . . . . . . . . . . . . . . . . . . . . . . . 446 16.31.8 Knebworth Festival Benefit Concert 1990 . . . . . . . . . . . . . . . . . . . . . . . . . . . 446 16.31.9 King Edward VII Hospital Benefit Concert 1993 . . . . . . . . . . . . . . . . . . . . . . . 447 16.31.10The Division Bell Tour 1994 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 16.31.11Live 8 Concert 2005 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 16.31.12References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 16.32Pink Floyd pigs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 16.32.1 Animals . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 447 16.32.2 In the Flesh . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448

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CONTENTS 16.32.3 The Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 448 16.32.4 Pink Floyd's use of the pig post-Roger Waters . . . . . . . . . . . . . . . . . . . . . . . . 448 16.32.5 Roger Waters solo tours . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 16.32.6 Other media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 16.32.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 16.33Guy Pratt . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 16.33.1 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 449 16.33.2 Equipment . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 16.33.3 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 16.34Publius Enigma . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 16.34.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 450 16.34.2 Official statements . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 451 16.34.3 Uncle Custard . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 16.34.4 In the media . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 16.34.5 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 16.34.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 452 16.34.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 16.35Rebuild the Wall . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 16.35.1 Track listing . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 453 16.35.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 16.36Polly Samson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 16.36.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 16.36.2 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 16.36.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 16.36.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 16.37Gerald Scarfe . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 454 16.37.1 Family . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 16.37.2 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 16.37.3 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 455 16.37.4 Awards and accolades . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 16.37.5 Bibliography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 456 16.37.6 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 16.37.7 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 16.38Norman Smith (record producer) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 16.38.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 457 16.38.2 Career: producer and engineer . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 16.38.3 Recording career as “Hurricane Smith” . . . . . . . . . . . . . . . . . . . . . . . . . . 458 16.38.4 Memoir . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 16.38.5 Death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 16.38.6 See also . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458 16.38.7 Notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 458

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16.38.8 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 16.38.9 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 16.39The Wall – Live in Berlin . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 16.39.1 History . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 459 16.39.2 Setlist . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 460 16.39.3 Personnel . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 461 16.39.4 Performance notes . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 16.39.5 Charts . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 16.39.6 Certifications . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 16.39.7 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 462 16.39.8 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 16.40Storm Thorgerson . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 16.40.1 Early life . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 16.40.2 Career . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 463 16.40.3 Health problems and death . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464 16.40.4 Solo works . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 464 16.40.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 467 16.40.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468 16.41Judith Trim . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468 16.41.1 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 468 16.42We'll Meet Again . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 16.42.1 In popular culture . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 469 16.42.2 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 16.43Snowy White . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 16.43.1 Biography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 470 16.43.2 Discography . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 471 16.43.3 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 16.43.4 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 16.44Why Pink Floyd...? . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 16.44.1 Phases . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 16.44.2 Versions . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 472 16.44.3 Vinyl and SACD . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 16.44.4 A Foot in the Door . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 16.44.5 References . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 16.44.6 External links . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 473 17 Text and image sources, contributors, and licenses

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17.1 Text . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 474 17.2 Images . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 516 17.3 Content license . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 523

Chapter 1

Overview 1.1 Pink Floyd

1.1.1 1963–67: early years Formation

Pink Floyd were an English rock band formed in London. They achieved international acclaim with their progressive and psychedelic music. Distinguished by their use of philosophical lyrics, sonic experimentation, extended compositions and elaborate live shows, they are one of the most commercially successful and musically influential groups in the history of popular music.

Roger Waters met drummer Nick Mason while they were both studying architecture at the London Polytechnic at Regent Street.* [1] They first played music together in a group formed by Keith Noble and Clive Metcalfe with Noble's sister Sheilagh. Keyboardist Richard Wright, a fellow architecture student, joined later that year, and the group became a sextet named Sigma 6, the first band to include Waters, who was at this time playing lead guitar; Wright, who at first played rhythm guitar since there was rarely an available keyboard; and Mason on drums.* [2]* [nb 1] The band started performing during private functions, while rehearsing in a tearoom in the basement of the Regent Street Polytechnic. They performed songs by The Searchers and material written by their manager and songwriter, fellow student Ken Chapman.* [4]

Pink Floyd were founded in 1965 by students Syd Barrett, Nick Mason, Roger Waters, and Richard Wright. They gained popularity performing in London's underground music scene during the late 1960s, and under Barrett's leadership released two charting singles and a successful debut album, The Piper at the Gates of Dawn (1967). David Gilmour joined as a fifth member in December 1967; Barrett left the band in April 1968 due to deteriorating mental health exacerbated by drug use. Waters became the band's primary lyricist and, by the mid1970s, their dominant songwriter, devising the concepts behind their critically and commercially successful albums The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983).

In September 1963, Waters and Mason moved into a flat at 39 Stanhope Gardens, near Crouch End London, owned by Mike Leonard, a part-time tutor at the nearby Hornsey College of Art and the Regent Street Polytechnic.* [5]* [nb 2] Mason moved out after the 1964 academic year, and guitarist Bob Klose moved in during September 1964, prompting Waters' switch to bass.* [6]* [nb 3] Sigma 6 went through a number of other transitory names, including the Meggadeaths, the Abdabs and the Screaming Abdabs, Leonard's Lodgers, and the Spectrum Five before settling on the Tea Set.* [7]* [nb 4] In 1964, as Metcalfe and Noble left to form their own band, guitarist Syd Barrett joined Klose and Waters at Stanhope Gardens.* [11] Barrett, two years younger, had moved to London in 1962 to study at the Camberwell College of Art.* [12] Waters and Barrett were childhood friends; Waters had often visited Barrett and watched him play guitar at Barrett's mother's house.* [13] Mason said this about Barrett: “In a period when everyone was being cool in a very adolescent, self-conscious way, Syd was unfashionably outgoing; my enduring memory of our first encounter is the fact that he bothered to come up and introduce himself to me.”* [14]

Wright left Pink Floyd in 1979, followed by Waters in 1985, declaring it a “spent force”. Gilmour and Mason continued as Pink Floyd; Wright rejoined them as a session musician and, later, a band member. The three produced two more albums, A Momentary Lapse of Reason (1987) and The Division Bell (1994), and toured until 1994. After nearly two decades of acrimony, Pink Floyd reunited with Waters in 2005 for a performance at the global awareness event Live 8, but Gilmour and Waters have since stated they have no plans to reunite as a band again. Barrett died in 2006 and Wright in 2008. The final Pink Floyd studio album, The Endless River, recorded without Waters and based on material recorded in 1993– 1994, was released in November 2014.

Pink Floyd were inducted into the US Rock and Roll Hall of Fame in 1996, and the UK Music Hall of Fame in 2005. By 2013, the band had sold more than 250 million records worldwide, including 74.5 million certified units Noble and Metcalfe left the Tea Set in late 1963, and in the United States. 1

2 Klose introduced the band to singer Chris Dennis, a technician with the Royal Air Force (RAF).* [15] In December 1964, they managed to secure their first recording time, at a studio in West Hampstead, through one of Wright's friends, who let them use some down time for free. Wright, who was taking a break from his studies, did not participate in the session.* [16]* [nb 5] When the RAF assigned Dennis a post in Bahrain in early 1965, Barrett became the band's frontman.* [17]* [nb 6] Later that year, they became the resident band at the Countdown Club, near Kensington High Street in London, where from late night until early morning they played three sets of ninety minutes each. During this period, spurred by the group's need to extend their sets in order to minimise song repetition, came the band's “realisation that songs could be extended with lengthy solos”, wrote Mason.* [18] After pressure from his parents and advice from his college tutors, Klose quit the band in mid-1965 and Barrett took over on lead guitar.* [19] The group first referred to themselves as the Pink Floyd Sound in late 1965. Barrett created the name on the spur of the moment when he discovered that another band, also called the Tea Set, were to perform at one of their gigs.* [20] The name is derived from the given names of two blues musicians whose Piedmont blues records Barrett had in his collection, Pink Anderson and Floyd Council.* [21]

CHAPTER 1. OVERVIEW Jenner and King and the band members each holding a one-sixth share.* [23] By late 1966, their set included fewer R&B standards and more Barrett originals, many of which would be included on their first album.* [28] While they had significantly increased the frequency of their performances, the band were not widely accepted at the time. Following a performance at a Catholic youth club, the owner refused to pay them, claiming that their performance wasn't music.* [29] When their management filed suit in a small claims court against the owner of the youth organisation, a local magistrate upheld the owner's decision. However, they were much better received at the UFO Club in London, where a small fan base began to build up around the band.* [30] Barrett's performances were enthusiastic, “leaping around ... madness ... improvisation ... [inspired] to get past his limitations and into areas that were ... very interesting. Which none of the others could do”, wrote biographer Nicholas Schaffner.* [31]

Signing with EMI

attract the attention of the By 1966, the group's repertoire consisted mainly of In 1967, Pink Floyd began to * * [32] [nb 8] While in negomainstream music industry. rhythm and blues songs and they had begun to receive tiations with record companies, IT co-founder and UFO paid bookings, including one for a performance at the club manager Joe Boyd and Pink Floyd's booking agent Marquee Club in March 1966, where Peter Jenner noBryan Morrison arranged for and funded the recordticed them. A lecturer at the London School of Ecoing of some songs at Sound Techniques in West Hampnomics, Jenner was impressed by the sonic effects Barstead. Included were the standout track "Arnold Layne" rett and Wright created, and with his business partner and both of friend Andrew King, he became their manager.* [22] The and "Candy and a Currant Bun" as its B-side, * * which they recorded on 29 January 1967. [34] [nb 9] pair had little experience in the music industry and used Three days later Pink Floyd signed with EMI, receiving King's inherited money to set up Blackhill Enterprises, purchasing about £1,000 worth of new instruments and a £5,000 advance. EMI released the band's first single, Layne”, on 10 March 1967, on its Columbia laequipment for the band. It was around this time that Jen- “Arnold * * bel. [36] [nb 10] The song's references to cross-dressing ner suggested they drop the “Sound”part of their band * * led to a ban by several radio stations; however, some crename, thus becoming the Pink Floyd. [23] [nb 7] Unative manipulation by the retailers who supplied sales figder Jenner and King's guidance, the group became part ures to the music business meant that the single peaked of London's underground music scene, playing at venues * * in the UK at number 20. [37] including All Saints Hall and the Marquee. [25] While performing at the Countdown Club, the band had exper- EMI-Columbia released Pink Floyd's second single, "See imented with long instrumental excursions, and they be- Emily Play", on 16 June 1967. It fared slightly better than gan to expand upon these with rudimentary but visually “Arnold Layne”, peaking at number 6 in the UK.* [38] effective light shows, projected by coloured slides and do- They performed on the BBC's Look of the Week, where mestic lights.* [26] Jenner and King's social connections Waters and Barrett, erudite and engaging, faced tough helped gain the band prominent coverage in the Financial questioning from Hans Keller.* [39] They appeared on the Times and an article in The Sunday Times which stated: BBC's Top of the Pops, an immensely popular programme “At the launching of the new magazine IT the other night that controversially required artists to mime their singing a pop group called the Pink Floyd played throbbing mu- and playing.* [40] Though Pink Floyd returned for two sic while a series of bizarre coloured shapes flashed on a more performances, by the third, Barrett had begun to huge screen behind them ... apparently very psychedelic.” unravel, and it was around this time that the band first no* [27] ticed significant changes in his behaviour.* [41] By early In 1966, they strengthened their business relationship 1967, he was regularly using LSD, and Mason described as“completely distanced from everything going on” with Blackhill Enterprises, becoming equal partners with him .* [42]

1.1. PINK FLOYD The Piper at the Gates of Dawn Main article: The Piper at the Gates of Dawn Morrison and EMI producer Norman Smith negotiated Pink Floyd's first recording contract, and as part of the deal, the band agreed to record their first album at EMI Studios in London.* [43]* [nb 11] Mason recalled that the sessions were trouble-free. Smith disagreed, stating that Barrett was unresponsive to his suggestions and constructive criticism.* [45] EMI-Columbia released The Piper at the Gates of Dawn in August 1967. The album peaked at number 6, spending 14 weeks on the UK charts.* [46] Pink Floyd continued to draw large crowds at the UFO Club; however, Barrett's mental breakdown was by then causing serious concern. The group initially hoped that his erratic behaviour would be a passing phase, but some were less optimistic, including Jenner and his assistant, June Child, who commented: “I found [Barrett] in the dressing room and he was so ... gone. Roger Waters and I got him on his feet, [and] we got him out to the stage ... The band started to play and Syd just stood there. He had his guitar around his neck and his arms just hanging down.”* [47] Forced to cancel Pink Floyd's appearance at the prestigious National Jazz and Blues Festival, as well as several other shows, King informed the music press that Barrett was suffering from nervous exhaustion.* [48] Waters arranged a meeting with psychiatrist R. D. Laing, and though Waters personally drove Barrett to the appointment, Barrett refused to come out of the car.* [49] A stay in Formentera with Sam Hutt, a doctor well established in the underground music scene, led to no visible improvement. The band followed a few concert dates in Europe during September with their first tour of the US in October.* [50]* [nb 12] As the US tour went on, Barrett's condition grew steadily worse.* [52] During appearances on the Dick Clark and Pat Boone shows in November, Barrett confounded his hosts by not responding to questions and staring off into space. He refused to move his lips when it came time to mime“See Emily Play”on Boone's show. After these embarrassing episodes, King ended their US visit and immediately sent them home to London.* [53]* [nb 13] Soon after their return, they supported Jimi Hendrix during a tour of England; however, Barrett's depression worsened as the tour continued, reaching a crisis point in December, when the band responded by adding a new member to their lineup.* [55]* [nb 14]

1.1.2

3 15] Gilmour already knew Barrett, having studied with him at Cambridge Tech in the early 1960s.* [13] The two had performed at lunchtimes together with guitars and harmonicas, and later hitch-hiked and busked their way around the south of France.* [60] In 1965, while a member of Joker's Wild, Gilmour had watched the Tea Set.* [61] Morrison's assistant, Steve O'Rourke, set Gilmour up in a room at O'Rourke's house with a salary of £30 per week, and in January 1968, Blackhill Enterprises announced Gilmour as the band's newest member; the second guitarist and its fifth member, the band intending to continue with Barrett as a nonperforming songwriter.* [62] Jenner commented:“The idea was that Dave would ... cover for [Barrett's] eccentricities and when that got to be not workable, Syd was just going to write. Just to try to keep him involved”.* [63]* [nb 16] In an expression of his frustration, Barrett, who was expected to write additional hit singles to follow up “Arnold Layne”and “See Emily Play”, instead played the band's "Have You Got It Yet?", intentionally changing the structure on each performance so as to make the song impossible to follow and learn.* [58] In a January 1968 photo-shoot of the fiveman Pink Floyd, the photographs show Barrett looking detached from the others, staring into the distance.* [65] Working with Barrett eventually proved too difficult, and matters came to a head in January while en route to a performance in Southampton when a band member asked if they should collect Barrett. According to Gilmour, the answer was “Nah, let's not bother”, signalling the end of Barrett's tenure with Pink Floyd.* [66]* [nb 17] Waters later admitted, “He was our friend, but most of the time we now wanted to strangle him”.* [68] In early March 1968, Pink Floyd met with business partners Jenner and King to discuss the band's future; Barrett agreed to leave.* [69] Jenner and King believed Barrett to be the creative genius of the band, and decided to represent him and end their relationship with Pink Floyd.* [70] Morrison then sold his business to NEMS Enterprises, and O'Rourke became the band's personal manager.* [71] Blackhill announced Barrett's departure on 6 April 1968.* [72]* [nb 18] After Barrett's departure, the burden of lyrical composition and creative direction fell mostly on Waters.* [74] Initially, Gilmour mimed to Barrett's voice on the group's European TV appearances; however, while playing on the university circuit, they avoided Barrett songs in favour of Waters and Wright material such as "It Would Be So Nice" and "Careful with That Axe, Eugene".* [75] A Saucerful of Secrets

1968–77: transition and international success Main article: A Saucerful of Secrets

In 1968, Pink Floyd returned to Abbey Road Studios to record their second album, A Saucerful of Secrets. The LP included Barrett's final contribution to their discograIn December 1967, the group added guitarist David phy, "Jugband Blues". Waters began to develop his own Gilmour as the fifth member of Pink Floyd.* [58]* [nb songwriting, contributing "Set the Controls for the Heart Gilmour replaces Barrett

4

CHAPTER 1. OVERVIEW cessful than the two singles they had released since“See Emily Play”, it would be the band's last until their 1973 release, "Money".* [83]

Ummagumma, Atom Heart Mother, and Meddle Main articles: Ummagumma, Atom Heart Mother and Meddle Ummagumma represented a departure from their previ-

The psychedelic artwork for A Saucerful of Secrets was the first of many Pink Floyd covers designed by Hipgnosis.

of the Sun", "Let There Be More Light" and "Corporal Clegg". Wright composed "See-Saw" and "Remember a Day". Smith encouraged them to self-produce their music, and they recorded demos of new material at their houses. With Smith's instruction at Abbey Road, they learned how to use the recording studio to realise their artistic vision. However, Smith remained unconvinced by their music, and when Mason struggled to perform his drum part on“Remember a Day”, Smith stepped in as his replacement.* [76] Wright recalled Smith's attitude about the sessions,“Norman gave up on the second album ... he was forever saying things like, 'You can't do twenty minutes of this ridiculous noise.'"* [77] As neither Waters nor Mason could read music, to illustrate the structure of the album's title track, they invented their own system of no- Waters performing with Pink Floyd at Leeds University in 1970 tation. Gilmour later described their method as looking “like an architectural diagram”.* [78] ous work. Released as a double-LP on EMI's Harvest Released in June 1968, the album featured a psychedelic label, the first two sides contained live performances cover designed by Storm Thorgerson and Aubrey Pow- recorded at Manchester College of Commerce and ell of Hipgnosis. The first of several Pink Floyd album Mothers, a club in Birmingham. The second LP conexperimental contribution from each band covers designed by Hipgnosis, it was the second time that tained a single * [84] Ummagumma received positive reviews member. EMI permitted one of their groups to contract designers upon its release, in November 1969.* [85] The album * for an album jacket. [79] The release peaked at number at number 5, spending 21 weeks on the UK 9, spending 11 weeks on the UK chart.* [46] Record Mir- peaked * [46] chart. ror gave the album an overall favourable review, but urged listeners to “forget it as background music to a party” .* [78] John Peel described a live performance of the title track as “like a religious experience”, while NME described the song as “long and boring ... [with] little to warrant its monotonous direction”.* [77]* [nb 19] On the day after the album's UK release, Pink Floyd performed at the first ever free concert in Hyde Park.* [81] In July 1968, they returned to the US for a second visit. Accompanied by the Soft Machine and the Who, it marked Pink Floyd's first significant tour.* [82] In December of that year, they released "Point Me at the Sky"; no more suc-

In October 1970, Pink Floyd released Atom Heart Mother.* [86]* [nb 20] An early version premièred in France in January, but disagreements over the mix prompted the hiring of Ron Geesin to work out the sound issues. Geesin worked to improve the score, but with little creative input from the band, production was troublesome. Geesin eventually completed the project with the aid of John Alldis, who was the director of the choir hired to perform on the record. Smith earned an executive producer credit, and the album marked his final official contribution to the band's discography. Gilmour said it was

1.1. PINK FLOYD

5

“A neat way of saying that he didn't ... do anything”.* [88] 3, spending 82 weeks on the UK chart.* [46] Waters was critical of Atom Heart Mother, claiming that he would prefer if it were “thrown into the dustbin and never listened to by anyone ever again.”* [89] Gilmour The Dark Side of the Moon was equally dismissive of the album and once described it as“a load of rubbish”, stating: “I think we were scrap- Main article: The Dark Side of the Moon ing the barrel a bit at that period.”* [89] Pink Floyd's first Pink Floyd recorded The Dark Side of the Moon between number 1 album, Atom Heart Mother was hugely successful in Britain, spending 18 weeks on the UK chart.* [46] It premièred at the Bath Festival on 27 June 1970.* [90] Pink Floyd toured extensively across America and Europe in 1970.* [91]* [nb 21] In 1971, Pink Floyd took second place in a reader's poll, in Melody Maker, and for the first time were making a profit. Mason and Wright became fathers and bought homes in London while Gilmour, still single, moved to a 19th-century farm in Essex. Waters installed a home recording studio at his house in Islington in a converted toolshed at the back of his garden.* [92]

Pink Floyd in 1971

In January 1971, upon their return from touring Atom Heart Mother, Pink Floyd began working on new material.* [93] Lacking a central theme, they attempted several unproductive experiments; engineer John Leckie described the sessions as often beginning in the afternoon and ending early the next morning, “during which time nothing would get [accomplished]. There was no record company contact whatsoever, except when their label manager would show up now and again with a couple of bottles of wine and a couple of joints.”* [94] The band spent long periods working on basic sounds, or a guitar riff. They also spent several days at Air Studios, attempting to create music using a variety of household objects, a project which would be revisited between The Dark Side of the Moon and Wish You Were Here.* [95] Released in October 1971, "Meddle not only confirms lead guitarist David Gilmour's emergence as a real shaping force with the group, it states forcefully and accurately that the group is well into the growth track again”wrote Jean-Charles Costa of Rolling Stone.* [96]* [nb 22]* [nb 23] NME called Meddle “an exceptionally good album” , singling out "Echoes" as the “Zenith which the Floyd have been striving for.”* [100] However, Melody Maker's Michael Watts found it underwhelming, calling the album “a soundtrack to a non-existent movie”, and shrugging off Pink Floyd as “so much sound and fury, signifying nothing.”* [101] Meddle is a transitional album between the Barrett-influenced group of the late 1960s and the emerging Pink Floyd.* [102] The LP peaked at number

The iconic artwork for The Dark Side of the Moon was designed by Hipgnosis and George Hardie.

May 1972 and January 1973, with EMI staff engineer Alan Parsons at Abbey Road. The title is an allusion to lunacy rather than astronomy.* [103] The band had composed and refined the material on Dark Side while touring the UK, Japan, North America and Europe.* [104] Producer Chris Thomas assisted Parsons.* [105] Hipgnosis designed the album's packaging, which included George Hardie's iconic refracting prism design on the cover.* [106] Thorgerson's Dark Side album cover features a beam of white light, representing unity, passing through a prism, which represents society. The resulting refracted beam of coloured light symbolises unity diffracted, leaving an absence of unity.* [107] Waters is the sole author of the album's lyrics.* [108] Released in March 1973, the LP became an instant chart success in the UK and throughout Western Europe, earning an enthusiastic response from critics.* [109] Each member of Pink Floyd except Wright boycotted the press release of The Dark Side of the Moon because a quadraphonic mix had not yet been completed, and they felt presenting the album through a poor-quality stereo PA system was insufficient.* [110] Melody Maker 's Roy Hollingworth described side one as “utterly confused ... [and] difficult to follow”, but praised side two, writing: “The songs, the sounds ... [and] the rhythms were solid ... [the] saxophone hit the air, the band rocked and rolled”.* [111] Rolling Stone 's Loyd Grossman described it as“a fine album with a textural and conceptual richness that not only invites, but demands involvement.”* [112]

6

CHAPTER 1. OVERVIEW 1974, Pink Floyd had sketched out three original compositions and had performed them at a series of concerts in Europe.* [121] These compositions became the starting point for a new album whose opening four-note guitar phrase, composed purely by chance by Gilmour, reminded Waters of Barrett.* [122] The songs provided a fitting summary of the rise and fall of their former bandmate.* [123] Waters commented: “Because I wanted to get as close as possible to what I felt ... [that] indefinable, inevitable melancholy about the disappearance of Syd.” * [124]

Pink Floyd in 1973

While Pink Floyd were working on the album, Barrett made an impromptu visit to the studio, during which Thorgerson recalled that he “sat round and talked for a bit, but he wasn't really there.”* [125] He had changed significantly in appearance, so much so that the band did not initially recognise him. Waters was reportedly deeply upset by the experience.* [126]* [nb 24] Most of Wish You Were Here premiered on 5 July 1975, at an open-air music festival at Knebworth. Released in September, it reached number one in both the UK and the US.* [128]

Throughout March 1973, The Dark Side of the Moon featured as part of Pink Floyd's US tour.* [113] The album is one of the most commercially successful rock albums of all time; a US number 1, it remained on the Billboard chart for more than fourteen years, selling more than 40 million copies worldwide.* [114] In Britain, the album peaked at number 2, spending 364 weeks on the UK chart.* [46] Dark Side is the world's secAnimals ond best-selling album, and the twenty-first best-selling album of all time in the US.* [115] The success of the alMain article: Animals (Pink Floyd album) bum brought enormous wealth to the members of Pink In 1975, Pink Floyd bought a three-storey group of Floyd. Waters and Wright bought large country houses while Mason became a collector of expensive cars.* [116] Disenchanted with their US record company, Capitol Records, Pink Floyd and O'Rourke negotiated a new contract with Columbia Records, who gave them a reported advance of $1,000,000, which is worth approximately $5,000,000 today. In Europe, they continued to be represented by Harvest Records.* [117] Wish You Were Here Main article: Wish You Were Here (Pink Floyd album) After a tour of the UK performing Dark Side, Pink Floyd returned to the studio in January 1975 and began work on their ninth studio album, Wish You Were Here.* [118] Parsons declined an offer to continue working with them, becoming successful in his own right with the Alan Parsons Project, and so the band turned to Brian Humphries.* [119] Initially, they found it difficult to compose new material; the success of The Dark Side of the Moon had left Pink Floyd physically and emotionally drained. Wright later described these early sessions as “falling within a difficult period”and Waters found them “torturous”.* [120] Gilmour was more interested in improving the band's existing material. Mason's failing marriage left him in a general malaise and with a sense of apathy, both of which interfered with his drumming.* [120]

Battersea Power Station features in the cover image for Animals

church halls at 35 Britannia Row in Islington, and began converting the building into a recording studio and storage space.* [129] In 1976, they recorded their tenth album, Animals, in their newly finished 24-track studio.* [130] The concept of Animals originated with Waters, loosely based on George Orwell's political fable, Animal Farm. The album's lyrics described different classes of society as dogs, pigs, and sheep.* [131]* [nb 25] Hipgnosis received credit for the packaging of Animals; however, Waters designed the final concept, choosing an image of the ageing Battersea Power Station, over which they superimposed an image of a pig.* [133]* [nb 26]

The division of royalties was a source of conflict between Despite the lack of creative direction, Waters began to vi- band members, who earned royalties on a per-song basis. sualise a new concept after several weeks.* [120] During Although Gilmour was largely responsible for “Dogs”,

1.1. PINK FLOYD which took up almost the entire first side of the album, he received less than Waters, who contributed the much shorter two-part "Pigs on the Wing".* [136] Wright commented: “It was partly my fault because I didn't push my material ... but Dave did have something to offer, and only managed to get a couple of things on there.” * [137] Mason recalled: “Roger was in full flow with the ideas, but he was really keeping Dave down, and frustrating him deliberately.”* [137]* [nb 27] Gilmour, distracted by the birth of his first child, contributed little else toward the album. Similarly, neither Mason nor Wright contributed much toward Animals; Wright had marital problems, and his relationship with Waters was also suffering.* [139] Animals is the first Pink Floyd album that does not include a writing credit for Wright, who commented: "Animals... wasn't a fun record to make ... this was when Roger really started to believe that he was the sole writer for the band ... that it was only because of him that [we] were still going ... when he started to develop his ego trips, the person he would have his conflicts with would be me.”* [139]

7 the former to be their next album.* [146]* [nb 29] Bob Ezrin co-produced, and he wrote a forty-page script for the new album.* [148] Ezrin based the story on the central figure of Pink̶a gestalt character inspired by Waters' childhood experiences, the most notable of which was the death of his father in World War II. This first metaphorical brick led to more problems; Pink would become drug-addled and depressed by the music industry, eventually transforming into a megalomaniac, a development inspired partly by the decline of Syd Barrett. At the end of the album, the increasingly fascist audience would watch as Pink tore down the wall, once again becoming a regular and caring person.* [149]* [nb 30] During the recording of The Wall, Waters, Gilmour and Mason became increasingly dissatisfied with Wright's lack of contribution to the album.* [152] Gilmour said that Wright “hadn't contributed anything of any value whatsoever to the album̶he did very, very little”and that is why he “got the boot”.* [153] According to Mason,“Rick's contribution was to turn up and sit in on the sessions without doing anything, just 'being a producer'.” * [154] Waters commented: "[Wright] was not prepared to cooperate in making the record ... [and] it was agreed by everybody ... either [he] can have a long battle or [he] can agree to ... finish making the album, keep [his] full share ... but at the end of it [he would] leave quietly. Rick agreed.”* [155]* [nb 31]

Released in January 1977, the album peaked on the UK chart at number two, and the US chart at number three.* [140] NME described the album as “one of the most extreme, relentless, harrowing and downright iconoclastic hunks of music”, and Melody Maker 's Karl Dallas called it "[an] uncomfortable taste of reality in a medium that has become in recent years, increasingly soporific” Although Pink Floyd had not released a single since .* [141] 1973's “Money”, "Another Brick in the Wall (Part They performed much of the album's material during II)" supported the album, topping the charts in the US their "In the Flesh" tour, Pink Floyd's first experience and the UK.* [158] Released on 30 November 1979, The playing large stadiums, the size of which caused unease Wall topped the Billboard chart in the US for fifteen in the band.* [142] Waters began arriving at each venue weeks, reaching number three in the UK.* [159] The Wall alone, departing immediately after the performance. On ranks number three on the RIAA's list of the all-time one occasion, Wright flew back to England, threatening to Top 100 albums, with 23 million certified units sold in leave the band.* [143] At the Montreal Olympic Stadium, the US.* [160] The cover is one of their most minimalist a group of noisy and enthusiastic fans in the front row designs, with a stark white brick wall, and no trademark of the audience irritated Waters so much that he spat at or band name. It was also their first album cover since one of them.* [144]* [nb 28] The end of the tour marked The Piper at the Gates of Dawn not designed by Hipgnoa low point for Gilmour, who felt that the band achieved sis.* [161] the success they had sought, with nothing left for them to Gerald Scarfe produced a series of animations for the accomplish.* [145] subsequent live shows, The Wall Tour. He also commissioned the construction of large inflatable puppets representing characters from the storyline including the 1.1.3 1978–85: Waters-led era “Mother”, the “Ex-wife”and the “Schoolmaster”. Pink Floyd used the puppets during their performances The Wall of the album.* [162] Relationships within the band were at an all-time low; their four Winnebagos parked in a cirMain articles: The Wall and Pink Floyd – The Wall cle, the doors facing away from the centre. Waters used his own vehicle to arrive at the venue and stayed in differIn July 1978, amid a financial turmoil caused by negli- ent hotels from the rest of the band. Wright returned as to profit gent investments, Waters presented the group with two a paid musician and was the only one of the four * [163] from the venture, which lost about $600,000. original ideas for their next album. The first was a 90minute demo with the working title Bricks in the Wall, The Wall concept also spawned a film, the original idea and the other would later become Waters' first solo al- for which was to be a combination of live concert footage bum, The Pros and Cons of Hitch Hiking. Although both and animated scenes. However, the concert footage Mason and Gilmour were initially cautious, they chose

8 proved impractical to film. Alan Parker agreed to direct and took a different approach. The animated sequences would remain, but scenes would be acted by professional actors with no dialogue. Waters was screentested, but quickly discarded and they asked Bob Geldof to accept the role of Pink. Geldof was initially dismissive, condemning The Wall 's storyline as “bollocks” .* [164] Eventually won over by the prospect of participation in a significant film and receiving a large payment for his work, Geldof agreed.* [165]* [nb 32] Screened at the Cannes Film Festival in May 1982, Pink Floyd – The Wall premièred in the UK in July 1982.* [166]* [nb 33] The Final Cut Main article: The Final Cut (album)

CHAPTER 1. OVERVIEW art rock's crowning masterpiece”.* [176]* [nb 38] Loder viewed The Final Cut as“essentially a Roger Waters solo album”.* [178]

“A spent force”and Waters' departure Gilmour had recorded his second solo album, About Face, in 1984, and he used it to express his feelings about a variety of topics; from the murder of John Lennon to his relationship with Waters. He later stated that he used the album to distance himself from Pink Floyd. Soon afterwards, Waters began touring his first solo album, The Pros and Cons of Hitch Hiking.* [179] Wright formed Zee with Dave Harris and recorded Identity, which went almost unnoticed upon its release.* [180]* [nb 39] Mason released his second solo album, Profiles, in August 1985.* [181]

Following the release of The Pros and Cons of Hitch Hiking, Waters publicly insisted that Pink Floyd would not reunite. He contacted O'Rourke to discuss settling future royalty payments. O'Rourke felt obliged to inform Mason and Gilmour, and this angered Waters, who wanted to dismiss him as the band's manager. Waters terminated his management contract with O'Rourke and employed Peter Rudge to manage his affairs.* [181]* [nb 40] Waters wrote to EMI and Columbia announcing he had left the band, and asked them to release him from his contractual obligations. Gilmour believed that Waters left to hasten the demise of Pink Floyd. Waters later stated that, by not making new albums, Pink Floyd would be in breach of contract̶which would suggest that royalty payments would be suspended̶and that the other band members had forced him from the group by threatening to sue him. Waters then went to the High Court in an effort to dissolve the band and prevent the use of the Pink Floyd name, declaring Pink Floyd “a spent force creatively.” * [183] When his lawyers discovered that the partnership had never been formally confirmed, Waters returned to the High Court in an attempt to obtain a veto over further use of the band's name. Gilmour responded by issuing a carefully worded press release affirming that Pink Floyd Though Mason's musical contributions were minimal, he would continue to exist. He later told The Sunday Times: stayed busy recording sound effects for an experimental “Roger is a dog in the manger and I'm going to fight him” * Holophonic system to be used on the album. With marital . [184] problems of his own, he remained a distant figure. Pink Floyd did not use Thorgerson for the cover design, Waters choosing to design the cover himself.* [171]* [nb 36] 1.1.4 1986–95: Gilmour-led era Released in March 1983, The Final Cut went straight to number one in the UK and number six in the US.* [172] A Momentary Lapse of Reason Waters wrote all the lyrics, as well as all the music on the album.* [173] Gilmour did not have any material ready Main article: A Momentary Lapse of Reason for the album and asked Waters to delay the recording un- In 1987, Gilmour began recruiting musicians for what til he could write some songs, but Waters refused.* [174] would become Pink Floyd's first album without Waters, Gilmour later commented,“I'm certainly guilty at times A Momentary Lapse of Reason.* [185]* [nb 41] There of being lazy ... but he wasn't right about wanting to were legal obstacles to Wright's readmittance to the band; put some duff tracks on The Final Cut.”* [174]* [nb however, after a meeting in Hampstead Pink Floyd in37] Rolling Stone magazine gave the album five stars, vited Wright to participate in the coming sessions.* [186] with Kurt Loder calling it “a superlative achievement ... Gilmour later stated that Wright's presence, “would

In 1982, Waters suggested a new musical project for the band, with the working title Spare Bricks, originally conceived as the soundtrack album for Pink Floyd – The Wall; however, with the onset of the Falklands War, Waters changed artistic direction and began writing new material. Waters saw Margaret Thatcher's response to the invasion of the Falklands as jingoistic and unnecessary, and he dedicated the new album to his late father. Immediately there were arguments between Waters and Gilmour, who felt that the album should include all new material, rather than recycling a number of songs passed over for The Wall. Waters felt that Gilmour had contributed little to the band's lyrical repertoire.* [167] Michael Kamen, a contributor to the orchestral arrangements of The Wall, mediated between the two, also performing the role traditionally occupied by the then absent Wright.* [168]* [nb 34] The tension within the band grew. Waters and Gilmour worked independently; however, Gilmour began to feel the strain, sometimes barely maintaining his composure. After a final confrontation, Gilmour's name disappeared from the credit list, reflecting what Waters felt was his lack of songwriting contributions.* [170]* [nb 35]

1.1. PINK FLOYD

9 ing his former band's performances. Waters issued a writ for copyright fees for the band's use of the flying pig. Pink Floyd responded by attaching a large set of male genitalia to its underside to distinguish it from Waters' design.* [203] The parties reached a legal agreement on 23 December; Mason and Gilmour retained the right to use the Pink Floyd name in perpetuity and Waters received exclusive rights to, among other things, The Wall.* [204] The Division Bell Main article: The Division Bell For several years Pink Floyd had busied themselves with

The Astoria recording studio

make us stronger legally and musically"; Pink Floyd employed him as a paid musician with weekly earnings of $11,000.* [187] Recording sessions for the album began on Gilmour's houseboat, the Astoria, moored along the River Thames.* [188]* [nb 42] Gilmour worked with several songwriters, including Eric Stewart and Roger McGough, eventually choosing Anthony Moore to write the album's lyrics.* [190] Gilmour would later admit that the project was difficult without Waters' creative direction.* [191] Mason, concerned that he was too out of practice to perform on the album, made use of session musicians to complete many of the drum parts. He instead busied himself with the album's sound effects.* [192]* [nb 43] The album was released in September 1987. Storm Thorgerson, whose creative input was absent from The Wall and The Final Cut, designed the album cover.* [195] In order to drive home the point that Waters had left the band, they included a group photograph on the inside cover, the first since Meddle.* [196]* [nb 44] The album went straight to number three in the UK and the US.* [198] Waters commented: “I think it's facile, but a quite clever forgery ... The songs are poor in general ... [and] Gilmour's lyrics are third-rate.”* [199] Although Gilmour initially viewed the album as a return to the band's top form, Wright disagreed, stating: “Roger's criticisms are fair. It's not a band album at all.”* [200] Q Magazine described the album as essentially a Gilmour solo effort.* [201]

The album artwork for The Division Bell, designed by Storm Thorgerson, was intended to represent the absence of Barrett and Waters from the band.

personal pursuits, such as filming and competing in the La Carrera Panamericana and recording a soundtrack for a film based on the event.* [205]* [nb 45] In January 1993, they began working on a new album, returning to Britannia Row Studios, where for several days, Gilmour, Mason and Wright worked collaboratively, ad-libbing material. After about two weeks, the band had enough ideas to begin creating songs. Ezrin returned to co-produce the album and production moved to the Astoria, where from February to May 1993, they worked on about twenty-five * The associated tour had a rough start because Waters at- ideas. [207] tempted to subvert it by contacting promoters in the US Contractually, Wright was not a member of the band; he and threatening to sue them if they used the Pink Floyd commented: “It came close to a point where I wasn't name. Gilmour and Mason funded the start-up costs with going to do the album”.* [208] However, he earned five Mason using his Ferrari 250 GTO as collateral.* [202] co-writing credits on the album, his first on a Pink Floyd Early rehearsals for the upcoming tour were chaotic, with album since 1975's Wish You Were Here.* [208] Another Mason and Wright entirely out of practice. Realising he songwriter credited on the album was Gilmour's future had taken on too much work, Gilmour asked Bob Ezrin wife, Polly Samson. She helped him write several tracks, to assist them. As Pink Floyd toured throughout North including, "High Hopes", a collaborative arrangement America, Waters' Radio K.A.O.S. tour was on occasion, which, though initially tense,“pulled the whole album toclose by, though in much smaller venues than those host- gether”commented Ezrin.* [209] They hired Michael Ka-

10

CHAPTER 1. OVERVIEW

men to arrange the album's orchestral parts; Dick Parry and Chris Thomas also returned.* [210] Writer Douglas Adams provided the album title and Thorgerson the cover artwork.* [211]* [nb 46] Thorgerson drew inspiration for the album cover from the Moai monoliths of Easter Island; two opposing faces forming an implied third face about which he commented:“the absent face̶the ghost of Pink Floyd's past, Syd and Roger”.* [213] Eager to avoid competing against other album releases, as had happened with A Momentary Lapse, Pink Floyd set a deadline of April 1994, at which point they would resume touring.* [214] The album reached number 1 in both the UK and the US.* [115] It spent 51 weeks on the UK chart.* [46] Pink Floyd spent more than two weeks rehearsing in a hangar at Norton Air Force Base in San Bernardino, California, before opening on 29 March 1994, in Miami, with an almost identical road crew to that used for their Momentary Lapse of Reason tour.* [215] They played a variety of Pink Floyd favourites, and later changed their setlist to include The Dark Side of the Moon in its entirety.* [216]* [nb 47] The tour ended on 29 October 1994, with the final performance of the last Pink Floyd tour so far.* [217]* [nb 48]

to take place in one month. About two weeks later Waters called Gilmour, their first conversation in two years, and the next day the latter agreed. Gilmour then contacted Wright who immediately agreed. In their statement to the press, they stressed the unimportance of the band's problems in the context of the Live 8 event.* [110] They planned their setlist at the Connaught Hotel in London, followed by three days of rehearsals at Black Island Studios.* [110] The sessions were problematic, with minor disagreements over the style and pace of the songs they were practising; the running order decided on the eve of the event.* [220] At the beginning of their performance, Waters told the audience: "[It is] quite emotional, standing up here with these three guys after all these years, standing to be counted with the rest of you ... we're doing this for everyone who's not here, and particularly of course for Syd.”* [221] At the end, Gilmour thanked the audience and started to walk off the stage. Waters then called him back, and the band shared a group hug. Images of that hug were a favourite among Sunday newspapers after Live 8.* [222]* [nb 49] Waters commented on their almost twenty years of animosity: “I don't think any of us came out of the years from 1985 with any credit ... It was a bad, negative time, and I regret my part in that negativity.”* [224]

Though Pink Floyd turned down a contract worth £136 million for a final tour, Waters did not rule out more performances, suggesting it ought to be for a charity event Live 8 Reunion only.* [222] However, Gilmour told the Associated Press that a reunion would not happen, stating: “The [Live See also: Live 8 8] rehearsals convinced me [that] it wasn't something I On 2 July 2005, Waters, Gilmour, Mason and Wright wanted to be doing a lot of ... There have been all sorts of farewell moments in people's lives and careers which they have then rescinded, but I think I can fairly categorically say that there won't be a tour or an album again that I take part in. It isn't to do with animosity or anything like that. It's just ... I've been there, I've done it.”* [225] In February 2006, Gilmour was interviewed by Gino Castaldo from the Italian newspaper La Repubblica; the resulting article declared: “Patience for fans in mourning. The news is official. Pink Floyd the brand is dissolved, finished, definitely deceased.”* [226] When asked about the future of Pink Floyd, Gilmour responded: “The band? It's over ... I've had enough. I'm 60 years old ... [and] it is much more comfortable to work on my own.”* [226] Since then, both Gilmour and Waters have repeatedly insisted that they have no plans to reunite with Waters (right) rejoined his former bandmates at Live 8 the surviving former members.* [227]* [nb 50]

1.1.5

2005–present

performed together as Pink Floyd for the first time in more than 24 years, at the Live 8 concert in London's Hyde Park.* [219] Organiser Bob Geldof arranged the reunion, having called Mason earlier in the year to explore the possibility of their reuniting for the event. Geldof asked Gilmour, who turned down the offer, and then asked Mason to intercede on his behalf. Mason declined, but contacted Waters who was immediately enthusiastic. Waters then called Geldof to discuss the event, scheduled

Barrett died on 7 July 2006, at his home in Cambridgeshire, aged 60.* [229] His family interred him at Cambridge Crematorium on 18 July 2006; no Pink Floyd members attended. After Barrett's death, Wright commented: “The band are very naturally upset and sad to hear of Syd Barrett's death. Syd was the guiding light of the early band line-up and leaves a legacy which continues to inspire.”* [229] Although Barrett had faded into obscurity over the previous 35 years, the

1.1. PINK FLOYD national press praised him for his contributions to music.* [230]* [nb 51] On 10 May 2007, Waters, Gilmour, Wright and Mason performed during a Barrett tribute concert at the Barbican Centre in London. Gilmour, Wright and Mason performed the Barrett compositions, "Bike" and “Arnold Layne”, and Waters performed a solo version of his song “Flickering Flame”.* [232]

11 the three of us playing together and selected the music we wanted to work on for the new album. Over the last year weʼve added new parts, rerecorded others and generally harnessed studio technology to make a 21st century Pink Floyd album. With Rick gone, and with him the chance of ever doing it again, it feels right that these revisited and reworked tracks should be made available as part of our repertoire.* [243]

Wright died of cancer on 15 September 2008, aged 65.* [233] After his death, his surviving former bandmates praised him for his influence on the sound of Pink Gilmour stated that The Endless River is Pink Floyd's last Floyd.* [234] album, saying: “I think we have successfully commanOn 10 July 2010, Waters and Gilmour performed todeered the best of what there is ... It's a shame, but this gether at a charity event for the Hoping Foundation. The is the end.”* [244] event, which raised money for Palestinian children, took place at Kiddington Hall in Oxfordshire, England, where they played to an audience of approximately 200.* [235] 1.1.6 Musicianship In return for Waters' appearance at the event, Gilmour agreed to perform “Comfortably Numb”at one of Wa- Genres ters' upcoming performances of The Wall.* [236]* [nb 52] On 12 May 2011, at The O2 Arena in London, Gilmour Considered one of the UK's first psychedelic music honoured his commitment to Waters. Gilmour sang the groups, Pink Floyd began their career at the vanguard first and second chorus and played the two guitar solos. of London's underground music scene. Some categorise Near the end of the show, after the wall had fallen down, their work from that era as a space rock.* [245]* [nb 54] Waters said to the crowd: “So now we know tonight According to Rolling Stone: “By 1967, they had dewas the night when David did me the enormous honour veloped an unmistakably psychedelic sound, performing of coming to play 'Comfortably Numb'. So, please wel- long, loud suitelike compositions that touched on hard come David Gilmour! ... By a strange and extraordinary, rock, blues, country, folk, and electronic music.”* [248] happy coincidence, there is another remnant of our old Released in 1968, the song“Careful with That Axe, Euband here tonight. Please welcome Mr. Nick Mason to gene”helped galvanise their reputation as an art rock the stage!"* [238] Gilmour and Mason, with respectively group.* [75] Critics also describe them as an acid rock a mandolin and a tambourine, joined Waters and the rest band.* [249] By the late 1960s, the press had begun to of his band for "Outside the Wall".* [238]* [nb 53] label their music progressive rock.* [250] O'Neill Surber On 26 September 2011, Pink Floyd and EMI launched comments on the music of Pink Floyd: an exhaustive re-release campaign under the title Why Pink Floyd...?, reissuing the band's back catalogue in Rarely will you find Floyd dishing up newly remastered versions, including “Experience”and catchy hooks, tunes short enough for air-play, “Immersion”multi-disc multi-format editions. James or predictable three-chord blues progessions; Guthrie, co-producer of The Wall, remastered the aland never will you find them spending much bums.* [240] time on the usual pop pablum of romance, partying, or self-hype. Their sonic universe is expansive, intense, and challenging ... Where The Endless River most other bands neatly fit the songs to the music, the two forming a sort of autonomous Main article: The Endless River and seamless whole complete with memorable hooks, Pink Floyd tends to set lyrics within a broader soundscape that often seems to have In July 2014, Samson announced on Twitter that a a life of its own ... Pink Floyd employs exnew Pink Floyd album, The Endless River, would be tended, stand-alone instrumentals which are released in November.* [241] Former backing vocalist never mere vehicles for showing off virtuoso Durga McBroom said that the music came from a side but are planned and integral parts of the perproject called “The Big Spliff”, recorded at the Diviformance.* [251] sion Bell sessions, and added that Gilmour and Mason had done more recent work. The music features Wright, but Waters was not involved.* [242] Gilmour said: In 1968, Wright commented on Pink Floyd's sonic repThe Endless River has as its starting point the music that came from the 1993 Division Bell sessions. We listened to over 20 hours of

utation: “It's hard to see why we were cast as the first British psychedelic group. We never saw ourselves that way ... we realised that we were, after all, only playing for fun ... tied to no particular form of music, we could

12 do whatever we wanted ... the emphasis ... [is] firmly on spontaneity and improvisation.”* [252] Waters gave a less enthusiastic assessment of the band's early sound:“There wasn't anything 'grand' about it. We were laughable. We were useless. We couldn't play at all so we had to do something stupid and 'experimental'... Syd was a genius, but I wouldn't want to go back to playing "Interstellar Overdrive" for hours and hours.”* [253] Unconstrained by conventional pop formats, Pink Floyd were innovators of progressive rock during the 1970s and ambient music during the 1980s.* [254] Gilmour's guitar work

CHAPTER 1. OVERVIEW Sonic experimentation Throughout their career, Pink Floyd experimented with their sound. Their second single, “See Emily Play” premiered at the Queen Elizabeth Hall in London, on 12 May 1967. During the performance, the group first used an early quadraphonic device called an Azimuth Coordinator.* [260] The device enabled the controller, usually Wright, to manipulate the band's amplified sound, combined with recorded tapes, projecting the sounds 270 degrees around a venue, achieving a sonic swirling effect.* [261] In 1972, they purchased a custom-built PA which featured an upgraded four-channel, 360-degree system.* [262]

Waters experimented with the EMS Synthi A and VCS 3 synthesisers on Pink Floyd pieces such as "On the Run", "Welcome to the Machine", and "In the Flesh?".* [263] “While Waters was Floyd's lyricist and conceptualist, He used a Binson Echorec 2 echo effect on his bass-guitar Gilmour was the band's voice and its main instrumental track for "One of These Days".* [264] focus.”* [255] Pink Floyd used innovative sound effects and state of the ̶Alan di Perna, in Guitar World, May 2006 art audio recording technology during the recording of The Final Cut. Mason's contributions to the album were Music critic Alan di Perna praised Gilmour's guitar work almost entirely limited to work with the experimental as being an integral element of Pink Floyd's sound.* [255] Holophonic system, an audio processing technique used Rolling Stone ranked him number 14 in their“100 Great- to simulate a three-dimensional effect. The system used a est Guitarists of All Time”list and di Perna described conventional stereo tape to produce an effect that seemed him as the most important guitarist of the 1970s, calling to move the sound around the listener's head when they him“the missing link between Hendrix and Van Halen.” were wearing headphones. The process enabled an en* [256] In 2006, Gilmour commented on his playing tech- gineer to simulate moving the sound to behind, above or nique: "[My] fingers make a distinctive sound ... [they] beside the listener's ears.* [265] aren't very fast, but I think I am instantly recognisable ... The way I play melodies is connected to things like Hank Marvin and the Shadows".* [257] Gilmour's less is more approach to guitar solos; his ability to use fewer notes Film scores than most to express himself without sacrificing strength or beauty, drew a favourable comparison to jazz trum- Pink Floyd also composed several film scores, starting in peter Miles Davis.* [258] 1968, with The Committee.* [266] In 1969, they recorded Main article: David Gilmour

In 2006, Guitar World writer Jimmy Brown described the score for Barbet Schroeder's film More. The soundGilmour's guitar style as“characterised by simple, huge- track proved beneficial; not only did it pay well but, along sounding riffs; gutsy, well-paced solos; and rich, ambient with A Saucerful of Secrets, the material they created chordal textures.”* [258] According to Brown, Gilmour's became part of their live shows for some time theresolos on “Money”, "Time" and "Comfortably Numb" after.* [267] While composing the soundtrack for director “cut through the mix like a laser beam through fog.” Michelangelo Antonioni's film Zabriskie Point, the band * [258] Brown described the“Time”solo as“a master- stayed at a luxury hotel in Rome for almost a month. Wapiece of phrasing and motivic development ... Gilmour ters claimed that, without Antonioni's constant changes paces himself throughout and builds upon his initial idea to the music, they would have completed the work in by leaping into the upper register with gut-wrenching less than a week. Eventually he used only three of their one-and-one-half-step 'over bends', soulful triplet arpeg- recordings. One of the pieces turned down by Antogios and a typically impeccable bar vibrato.”* [259] nioni, called “The Violent Sequence”, later became Brown described Gilmour's sense of phrasing as intuitive, “Us and Them”, included on 1973's The Dark Side of singling it out as perhaps his best asset as a lead guitarist. the Moon.* [268] In 1971, the band again worked with Gilmour explained how he achieved his signature tone: Schroeder on the film La Vallée, for which they released “I usually use a fuzz box, a delay and a bright EQ setting a soundtrack album called Obscured by Clouds. They ... [to get] singing sustain ... you need to play loud ̶at or composed the material in about a week at the Château near the feedback threshold. It's just so much more fun d'Hérouville near Paris, and upon its release, it became to play ... when bent notes slice right through you like a Pink Floyd's first album to break into the top 50 on the US Billboard chart.* [269] razor blade.”* [258]

1.1. PINK FLOYD

13

Flesh Tour.* [278] The behaviour of the audience during the tour, as well as the large size of the venues, proved a Main article: Pink Floyd live performances strong influence on their concept album The Wall. The Regarded as pioneers of live music performance and subsequent The Wall Tour featured a 40 feet (12 m) high wall, built from cardboard bricks, constructed between the band and the audience. They projected animations onto the wall, while gaps allowed the audience to view various scenes from the story. They commissioned the creation of several giant inflatables to represent characters from the story.* [279] One striking feature of the tour was the performance of “Comfortably Numb”. While Waters sang his opening verse, in darkness, Gilmour waited for his cue on top of the wall. When it came, bright blue and white lights would suddenly reveal him. Gilmour stood on a flightcase on castors, an insecure setup supported from behind by a technician. A large hydraulic platform supported both Gilmour and the tech.* [280] Live performances

A live performance of The Dark Side of the Moon at Earls Court, shortly after its release in 1973: (l-r) Gilmour, Mason, Dick Parry, Waters

renowned for their lavish stage shows, Pink Floyd also set high standards in sound quality, making use of innovative sound effects and quadraphonic speaker systems.* [270] From their earliest days, they employed visual effects to accompany their psychedelic rock music while performing at venues such as the UFO Club in London.* [30] Their slide-and-light show was one of the first in British rock, and it helped them became popular among London's underground.* [248]

During The Division Bell Tour, an unknown person using the name Publius posted a message on an internet newsgroup inviting fans to solve a riddle supposedly concealed in the new album. White lights in front of the stage at the Pink Floyd concert in East Rutherford spelled out the words Enigma Publius. During a televised concert at Earls Court on 20 October 1994, someone projected the word“enigma”in large letters on to the backdrop of the stage. Mason later acknowledged that their record company had instigated the Publius Enigma mystery, rather than the band. As of 2015 the puzzle remains unsolved.* [216]

To celebrate the launch of the London Free School's magazine International Times in 1966, they performed in front of 2,000 people at the opening of the Roundhouse, attended by celebrities including Paul McCartney and Marianne Faithfull.* [271] In mid-1966, road manager Peter Wynne-Willson joined their road crew, and updated the band's lighting rig with some innovative ideas including the use of polarisers, mirrors and stretched condoms.* [272] After their record deal with EMI, Pink Floyd purchased a Ford Transit van, then considered extravagant band transportation.* [273] On 29 April 1967, they headlined an all-night event called The 14 Hour Technicolour Dream at the Alexandra Palace, London. Pink Floyd arrived at the festival at around three o'clock in the morning after a long journey by van and ferry from the Netherlands, taking the stage just as the sun was beginning to rise.* [274]* [nb 55] In July 1969, precipitated by their space-related music and lyrics, they took part in the live BBC television coverage of the Apollo 11 moon landing, performing an instrumental piece which they called "Moonhead".* [276]

Marked by Waters' philosophical lyrics, Rolling Stone described Pink Floyd as “purveyors of a distinctively dark vision”.* [249] Author Jere O'Neill Surber wrote: “their interests are truth and illusion, life and death, time and space, causality and chance, compassion and indifference.”* [281] Waters identified empathy as a central theme in the lyrics of Pink Floyd.* [282] Author George Reisch described Meddle 's psychedelic opus,“Echoes”, as“built around the core idea of genuine communication, sympathy, and collaboration with others.”* [283] Despite having been labeled“the gloomiest man in rock”, author Deena Weinstein described Waters as an existentialist, dismissing the unfavourable moniker as the result of misinterpretation by music critics.* [284]

In November 1974, they employed for the first time the large circular screen that would become a staple of their live shows.* [277] In 1977, they employed the use of a large inflatable floating pig named “Algie”. Filled with helium and propane, Algie, while floating above the audience, would explode with a loud noise during the In the

Waters' lyrics to Wish You Were Here 's "Have a Cigar" deal with a perceived lack of sincerity on the part of music industry representatives.* [285] The song illustrates a dysfunctional dynamic between the band and a record label executive who congratulates the group on their current sales success, implying that they are on the same team

1.1.7 Lyrical themes

Disillusionment, absence, and non-being

14

CHAPTER 1. OVERVIEW

while revealing that he erroneously believes “Pink”is the name of one of the band members.* [286] According to author David Detmer, the album's lyrics deal with the “dehumanizing aspects of the world of commerce” , a situation the artist must endure in order to reach their audience.* [287] Absence as a lyrical theme is common in the music of Pink Floyd. Examples include the absence of Barrett after 1968, and that of Waters' father, who died during the Second World War. Waters' lyrics also explored unrealized political goals and unsuccessful endeavors. Their film score, Obscured by Clouds, dealt with the loss of youthful exuberance that sometimes comes with aging.* [288] Longtime Pink Floyd album cover designer, Storm Thorgerson, described the lyrics of Wish You Were Here: “The idea of presence withheld, of the ways that people pretend to be present while their minds are really elsewhere, and the devices and motivations employed psychologically by people to suppress the full force of their presence, eventually boiled down to a single theme, absence: The absence of a person, the absence of a feeling.”* [289]* [nb 56] Waters commented:“it's about none of us really being there ... [it] should have been called Wish We Were Here".* [290]

identity”, a false consciousness.* [295] The “Dog”, in his tireless pursuit of self-interest and success, ends up depressed and alone with no one to trust, utterly lacking emotional satisfaction after a life of exploitation.* [296] Waters used Mary Whitehouse as an example of a“Pig"; being someone who in his estimation, used the power of the government to impose her values on society.* [297] At the album's conclusion, Waters returns to empathy with the lyrical statement: “You know that I care what happens to you. And I know that you care for me too.”* [298] However, he also acknowledges that the“Pigs”are a continuing threat and reveals that he is a“Dog”who requires shelter, suggesting the need for a balance between state, commerce and community, versus an ongoing battle between them.* [299] Alienation, war, and insanity

“When I say, 'I'll see you on the dark side of the moon'... what I mean [is] ... If you feel that you're the only one ... that you seem crazy [because] you think everything is crazy, you're not alone.”* [300] ̶Waters, quoted in Harris, 2005

O'Neill Surber explored the lyrics of Pink Floyd and declared the issue of non-being a common theme in their music.* [281]* [nb 57] Waters invoked non-being or nonexistence in The Wall, with the lyrics to “Comfortably Numb": “I caught a fleeting glimpse, out of the corner of my eye. I turned to look, but it was gone, I cannot put my finger on it now, the child is grown, the dream is gone.”* [288] Barrett referred to non-being in his final contribution to the band's catalogue, “Jugband Blues": “I'm most obliged to you for making it clear that I'm not here.”* [288]

O'Neill Surber compared the lyrics of Dark Side 's "Brain Damage" with Karl Marx 's theory of self-alienation; “there's someone in my head, but it's not me.”* [301]* [nb 58] The lyrics to Wish You Were Here 's“Welcome to the Machine”suggest what Marx called the alienation of the thing; the song's protagonist preoccupied with material possessions to the point that he becomes estranged from himself and others.* [301] Allusions to the alienation of man's species being can be found in Animals; the“Dog” reduced to living instinctively as a non-human.* [302] The “Dogs”become alienated from themselves to the extent that they justify their lack of integrity as a“necessary and defensible”position in “a cutthroat world with no room Exploitation and oppression for empathy or moral principle”wrote Detmer.* [303] Author Patrick Croskery described Animals as a unique Alienation from others is a consistent theme in the* lyrics of Pink Floyd, and it is a core element of The Wall. [301] blend of the “powerful sounds and suggestive themes” of Dark Side with The Wall 's portrayal of artistic alien- War, viewed as the most severe consequence of the manation.* [292] He drew a parallel between the album's polit- ifestation of alienation from others, is also a core eleical themes and that of Orwell's Animal Farm.* [292] An- ment of The Wall, and a recurring theme in the band's imals begins with a thought experiment, which asks: “If music.* [304] Waters' father died in combat during the you didn't care what happened to me. And I didn't care Second World War, and his lyrics often alluded to the for you”, then develops a beast fable based on anthropo- cost of war, including those from “Corporal Clegg” morphized characters using music to reflect the individual (1968), "Free Four" (1972), "Us and Them" (1973), states of mind of each. The lyrics ultimately paint a pic- "When the Tigers Broke Free" and "The Fletcher Memoture of dystopia, the inevitable result of a world devoid of rial Home" from The Final Cut (1983), an album dediempathy and compassion, answering the question posed cated to his late father and subtitled A Requiem for the in the opening lines.* [293] Postwar Dream.* [305] The themes and composition of The album's characters include the “Dogs”, represent- The Wall express Waters' upbringing in an English sociing fervent capitalists, the “Pigs”, symbolizing politi- ety depleted of men after the Second World War, a conaffected his personal relationships cal corruption, and the “Sheep”, who represent the ex- dition that negatively * [306] with women. * ploited. [294] Croskery described the“Sheep”as being in a “state of delusion created by a misleading cultural Waters' lyrics to The Dark Side of the Moon dealt with

1.1. PINK FLOYD the pressures of modern life and how those pressures can sometimes cause insanity.* [307] He viewed the album's explication of mental illness as illuminating a universal condition.* [308] However, Waters also wanted the album to communicate positivity, calling it “an exhortation ... to embrace the positive and reject the negative.” * [309] Reisch described The Wall as “less about the experience of madness than the habits, institutions, and social structures that create or cause madness.”* [310] The Wall 's protagonist, Pink, is unable to deal with the circumstances of his life, and overcome by feelings of guilt, slowly closes himself off from the outside world inside a barrier of his own making. After he completes his estrangement from the world, Pink realises that he is “crazy, over the rainbow”.* [311] He then considers the possibility that his condition may be his own fault: “have I been guilty all this time?"* [311] Realizing his greatest fear, Pink believes that he has let everyone down, his overbearing mother wisely choosing to smother him, the teachers rightly criticising his poetic aspirations, and his wife justified in leaving him. He then stands trial for“showing feelings of an almost human nature”, further exacerbating his alienation of species being.* [312] As with the writings of philosopher Michel Foucault, Waters' lyrics suggest Pink's insanity is a product of modern life, the elements of which, “custom, codependancies, and psychopathologies”, contribute to his angst, according to Reisch.* [313]

1.1.8

Recognition and influence

15 ranked Waters at number 12 with an estimated fortune of £150 million, Gilmour at number 27 with £85 million and Mason at number 37 with £50 million.* [316] In 2004, MSNBC ranked Pink Floyd number 8 on their list of “The 10 Best Rock Bands Ever”.* [317] Rolling Stone ranked them number 51 on their list of “The 100 Greatest Artists of All Time”.* [318] Q named Pink Floyd as the biggest band of all time.* [319] VH1 ranked them number 18 in the list of the “100 Greatest Artists of All Time”.* [320] Colin Larkin ranked Pink Floyd number 3 in his list of the 'Top 50 Artists of All Time', a ranking based on the cumulative votes for each artist's albums included in his All Time Top 1000 Albums.* [321] Pink Floyd have won several awards, including a “Best Engineered Non-Classical Album”Grammy in 1980 for The Wall, and a BAFTA award for “Best Original Song”in 1982 for “Another Brick in the Wall (Part 2)" from The Wall film.* [322] In 1995, they won a Grammy for best “Rock Instrumental Performance” for "Marooned".* [323] In 2008, King Carl XVI Gustaf of Sweden presented Pink Floyd with the Polar Music Prize for their contribution to modern music; Waters and Mason attended the ceremony and accepted the award.* [324] They were inducted into the Rock and Roll Hall of Fame in 1996, the UK Music Hall of Fame in 2005, and the Hit Parade Hall of Fame in 2010.* [325] The music of Pink Floyd influenced numerous artists: David Bowie called Barrett a significant inspiration, and The Edge from U2 bought his first delay pedal after hearing the opening guitar chords to "Dogs" from Animals.* [326] Other bands who cite Pink Floyd as an influence include: Queen, Tool, Radiohead, Kraftwerk, Marillion, Queensrÿche, Nine Inch Nails, the Orb and the Smashing Pumpkins.* [327] Pink Floyd were also admirers of the Monty Python comedy group. The band, among other British bands, helped to finance the making of the film Monty Python and the Holy Grail.* [328]

1.1.9 Discography Main article: Pink Floyd discography

Studio albums • The Piper at the Gates of Dawn (1967) Clockwise (from top left): Waters, Gilmour, Wright and Mason

• A Saucerful of Secrets (1968)

Pink Floyd were one of the most commercially successful and influential rock bands of all time.* [314] They have sold more than 250 million records worldwide, including 74.5 million certified units in the United States, and 37.9 million albums sold in the US since 1993.* [315] The Sunday Times Rich List, Music Millionaires 2013 (UK),

• More (1969) • Ummagumma (1969) • Atom Heart Mother (1970) • Meddle (1971)

16

CHAPTER 1. OVERVIEW

• Obscured by Clouds (1972) • The Dark Side of the Moon (1973) • Wish You Were Here (1975) • Animals (1977) • The Wall (1979) • The Final Cut (1983) • A Momentary Lapse of Reason (1987) • The Division Bell (1994) • The Endless River (2014)

[4] Povey spelled it Meggadeaths but Blake spelled it Megadeaths.* [8] Architectural Abdabs is sometimes suggested as another variation; Povey dismisses it as a misreading of a headline about the Abdabs in the Polytechnic's student newspaper.* [9] Povey used the Tea Set throughout whereas Blake's claim of the alternative spelling, the T-Set, remains unsubstantiated.* [10] [5] The four-song session became the band's first demo and included the R&B classic "I'm a King Bee", and three Syd Barrett originals,“Butterfly”,“Lucy Leave”and“Double O Bo”, a song Mason described as “Bo Diddley meets the 007 theme”.* [16] [6] According to Povey, by 1964 the group began calling itself the Abdabs.* [6] [7] Soon after, someone stole the equipment, and the group resorted to purchasing new gear on a payment plan.* [24]

1.1.10

Tours

Main article: Pink Floyd live performances

• Pink Floyd World Tour (1968) • The Man and The Journey Tour (1969) • Atom Heart Mother World Tour (1970) • Meddle Tour (1971) • Dark Side of the Moon Tour (1972–73) • French Summer Tour (1974) • British Winter Tour (1974) • Wish You Were Here Tour (1975) • In the Flesh Tour (1977) • The Wall Tour (1980–81) • A Momentary Lapse of Reason Tour (1987–90) • The Division Bell Tour (1994)

1.1.11

See also

1.1.12

Notes

[1] Wright studied architecture until 1963, when he began studying music at London's Royal College of Music.* [3] [2] Leonard designed light machines, which used electric motors to spin perforated discs, casting patterns of lights on the walls. These would be demonstrated in an early edition of Tomorrow's World. For a brief time, Leonard played keyboard with them using the front room of his flat for rehearsals.* [5] [3] Wright also briefly lived at Leonard's.* [6]

[8] They dropped the definite article from the band's name at some point in early 1967.* [33] [9] Previous to this session, on 11 and 12 January, they recorded a long take of "Interstellar Overdrive".* [34] Sometime around the sessions on 29 January, they produced a short music film for “Arnold Layne”in Sussex.* [35] [10] Shaffner described the £5,000 advance as generous; however, Povey suggested it was an inadequate agreement which required that the money be disbursed over five years.* [34] [11] At EMI, Pink Floyd experimented with musique concrète and watched the Beatles record "Lovely Rita".* [44] [12] Blackhill's late application for work permits forced Pink Floyd to cancel several of the US dates.* [51] [13] Pink Floyd released the single "Apples and Oranges" in November 1967 in the UK.* [54] [14] Barrett's absence on more than one occasion forced the band to book David O'List as his replacement.* [56] Wynne-Willson left his position as lighting director and assisted the guitarist with his daily activities.* [57] [15] In late 1967, Barrett suggested adding four new members; in the words of Waters:“two freaks he'd met somewhere. One of them played the banjo, the other the saxophone ... [and] a couple of chick singers”.* [59] [16] One of Gilmour's first tasks was to mime Barrett's guitar playing on an “Apples and Oranges”promotional film.* [64] [17] Mason is unsure which member of Pink Floyd said“let's not bother”.* [67] [18] For a short period after, Barrett turned up at occasional performances, apparently confused about his standing with the band.* [73] [19] Thorgerson had attended Cambridgeshire High School for Boys with Waters and Barrett.* [80]

1.1. PINK FLOYD

[20] The band recorded their previous LPs using a four-track system; Atom Heart Mother was their first album recorded on an eight-track machine.* [87] [21] A theft of the band's equipment, worth about $40,000, after a May 1970 show at the Warehouse in New Orleans, nearly crippled their finances. However, hours after the band notified the FBI they had recovered most of the stolen equipment. [22] Povey states that the UK release date was 5 November, but Pink Floyd's official website states 13 November. All sources agree on the US release date of 30 October.* [97] [23] Meddle 's production consisted of sessions spread over several months; the band recorded in the first half of April, but in the latter half played at Doncaster and Norwich before returning to record at the end of the month. In May, they split their time between sessions at Abbey Road, rehearsals and concerts across Great Britain. They spent June and July performing at venues across Europe, and August in the far east and Australia, returning to Europe in September.* [98] In October, they made the concert film Pink Floyd: Live at Pompeii, before touring the US in November.* [99] [24] Immediately after the session, Barrett attended a pre-party held for Gilmour's upcoming first wedding, but eventually left without saying goodbye and none of the band members ever saw him again, apart from a run-in between Waters and Barrett a couple of years later.* [127] The inspiration behind the cover image, designed by Thorgerson, is the idea that people tend to conceal their true feelings for fear of “getting burned”, wrote Pink Floyd biographer Glen Povey. Therefore, it features two businessmen shown shaking hands; one of them is on fire.* [128] [25] Brian Humphries engineered the album, which was completed in December 1976.* [132] [26] The band commissioned a 30 feet (9.1 m) pig-shaped balloon and photography began on 2 December. Inclement weather delayed filming, and the balloon broke free of its moorings in strong winds. It eventually landed in Kent, where a local farmer recovered it, reportedly furious that it had frightened his cows.* [134] The difficult shoot had resumed before they decided to superimpose the image of the pig onto the photograph of the power station.* [135] [27]“Pigs on the Wing”contained references to Waters' romantic relationship with Carolyne Anne Christie. Christie and Rock Scully, manager of the Grateful Dead, were married at the time. Waters' marriage to Judy had produced no children, but he became a father with Christie in November 1976.* [138] [28] Waters was not the only person depressed by playing in large venues, as Gilmour refused to perform the band's usual twelve-bar blues encore that night.* [143] [29] In 1976, Pink Floyd had become involved with financial advisers Norton Warburg Group (NWG). NWG became the band's collecting agents and handled all financial planning, for an annual fee of about £300,000. NWG invested between £1.6 million and £3.3 million of the band's money in high-risk venture capital schemes, primarily to

17

reduce their exposure to UK taxes. It soon became apparent that the band were still losing money. Not only did NWG invest in failing businesses, they also left the band liable for tax bills as high as 83 per cent of their income. The band eventually terminated their relationship with NWG and demanded the return of any funds not yet invested, which at that time amounted to £860,000; they received only £740,000.* [147] Pink Floyd eventually sued NWG for £1M, accusing them of fraud and negligence. NWG collapsed in 1981: Andrew Warburg fled to Spain; Waterbrook purchased Norton Warburg Investments, and many of its holdings sold at a significant loss. Andrew Warburg began serving a three-year jail sentence upon his return to the UK in 1987.* [147] [30] James Guthrie replaced engineer Brian Humphries, emotionally drained by his five years with the band, for the recording of the album.* [150] In March 1979, the band's dire financial situation demanded that they leave the UK for a year, or more and recording moved to the Super Bear Studios near Nice.* [151] [31] Although Wright's name did not appear anywhere on the finished album, Pink Floyd employed him as a paid musician on their subsequent The Wall tour.* [156] Toward the end of The Wall sessions, Mason left the final mix to Waters, Gilmour, Ezrin and Guthrie, travelling to New York to record his debut solo album, Nick Mason's Fictitious Sports.* [157] [32] Waters took a six-week leave during filming and returned to find that Parker had used his artistic license to modify parts of the film to his liking. Waters became incensed; the two fought, and Parker threatened to walk out. Gilmour urged Waters to reconsider his stance, reminding the bassist that he and the other band members were shareholders and directors and could outvote him on such decisions.* [165] [33] Pink Floyd created a modified soundtrack for some of the film's songs.* [165] [34] Recording took place in eight studios, including Gilmour's home studio at Hookend Manor and Waters' home studio at East Sheen.* [169] [35] During the sessions, Waters lost his temper and began ranting at Kamen who, out of frustration during one recording session, had started repeatedly writing“I Must Not Fuck Sheep”on a notepad in the studio's control room.* [168] [36] Waters commissioned his brother-in-law, Willie Christie, to take photographs for the album cover.* [171] [37] Though Gilmour's name did not appear on the production credits, he retained his pay as musician and producer.* [175] [38] Released as a single, "Not Now John", with its chorus of “Fuck all that”bowdlerised to “Stuff all that"; Melody Maker declared it“a milestone in the history of awfulness” .* [177] [39] Wright was also in the midst of a difficult divorce and later said that the album was,“made at a time in my life when I was lost.”* [180]

18

[40] Waters went on to record the soundtrack for When the Wind Blows, as well as his second solo album, Radio K.A.O.S..* [182] [41] Artists such as Jon Carin and Phil Manzanera worked on the album, joined by Bob Ezrin.* [185] [42] Andy Jackson engineered the album.* [189] [43] In a departure from previous Pink Floyd albums, they recorded A Momentary Lapse of Reason using a 32channel Mitsubishi digital recorder using MIDI synchronisation with the aid of an Apple Macintosh computer.* [193] Recording later moved to Mayfair Studios and then to Los Angeles.* [194] [44] Wright's name appears only on the credit list.* [197] [45] Gilmour divorced his wife Ginger and Mason married actress Annette Lynton.* [206]

CHAPTER 1. OVERVIEW

in 1965, they auditioned for the Melody Maker Beat Contest, losing to the eventual national winners.* [247] [55] Road manager Peter Watts joined them before touring Europe in 1968.* [275] [56] Thorgerson's design for Wish You Were Here 's cover included four sides, counting the inner jacket, which represented four absences related to the classical categories of substance: earth, air, fire and water. His Dark Side album cover features a beam of white light, representing unity, passing through a prism, which represents society. The resulting refracted beam of coloured light symbolizes unity diffracted, leaving an absence of unity.* [107] Absence is a key element in the existentialism of Albert Camus, who defined absurdity as the absence of a response to the individual's need for unity.* [107]

[47] Waters declined their invitation to join them as the tour reached Europe.* [217]

[57] Philosophy originated from the Greek poet, Parmenides, who wrote a poem in which the protagonist takes a cosmic chariot ride guided by a goddess who shows him that there are only two paths in life, being, which leads to truth, and non-being, which leads to confusion and discontent. The goddess also told Parmenides: “thought and being are one”.* [291]

[48] In 1995, Pink Floyd released the live album, Pulse, and an accompanying concert video.* [218]

[58] Marx considered insanity the ultimate form of selfalienation.* [301]

[46] Thorgerson also provided six new pieces of film for the upcoming tour.* [212]

[49] In the week following their performance, there was a resurgence of commercial interest in Pink Floyd's music, when according to HMV, sales of Echoes: The Best of Pink Floyd rose more than one thousand per cent, while Amazon.com reported a significant increase in sales of The Wall.* [223] Gilmour subsequently declared that he would give his share of profits from this sales boost to charity, urging other associated artists and record companies to do the same.* [223] [50] In 2006, Gilmour began a tour of small concert venues with contributions from Wright and other musicians from the post-Waters Pink Floyd tours. Gilmour, Wright, and Mason's encore performance of “Wish You Were Here” and “Comfortably Numb”marked the only appearance by Pink Floyd since Live 8 as of 2012.* [228] [51] Barrett left more than £1.25M in his will, to be divided among his immediate family, who then auctioned some of his possessions and artwork.* [231] [52] On 4 January 2011, Pink Floyd signed a five-year record deal with EMI, ending the legal dispute regarding the distribution of their catalogue. They successfully defended their vision to support their albums as cohesive units versus individual tracks.* [237] [53] It was the first time since Live 8 that the three men shared a stage and the first time that the line-up from The Final Cut appeared in concert.* [239] [54] In early 1965, Pink Floyd auditioned for ITV's Ready Steady Go!, which Mason described as “the definitive music show of the day”.* [246] Despite sounding what Mason considered “too radical for the general viewer” , they earned a callback for a second audition, with the caveat that they play material more familiar to the judges; they did not earn an appearance on the show.* [247] Also

1.1.13 References [1] Blake 2008, pp. 37–38: Mason meeting Waters while studying architecture at the London Polytechnic; Fitch 2005, p. 335: Waters meeting Mason while studying architecture at the London Polytechnic. [2] Blake 2008, pp. 39–40: Wright was also an architecture student when he joined Sigma 6; Povey 2008, pp. 13–14: The formation of Sigma 6; Schaffner 1991, p. 27: Instrumental line-up of Sigma 6: Waters (lead guitar), Wright (rhythm guitar) and Mason (drums). [3] Blake 2008, pp. 39–40. [4] Blake 2008, pp. 38–39. [5] Mason 2005, pp. 24–26. [6] Povey 2008, p. 14. [7] Povey 2008, pp. 13–18. [8] Blake 2008, p. 39: Megadeaths; Povey 2008, p. 13: Meggadeaths. [9] Povey 2008, pp. 14–15. [10] Blake 2008, pp. 43–44: The T-Set as an alternate spelling; Povey 2008, pp. 28–29: The Tea Set used throughout. [11] Blake 2008, p. 41. [12] Povey 2008, p. 13. [13] Schaffner 1991, pp. 22–23. [14] Mason 2005, p. 27.

1.1. PINK FLOYD

[15] Blake 2008, pp. 42–44. [16] Mason 2005, pp. 29–30. [17] Povey 2008, p. 19.

19

[43] Mason 2005, pp. 87–88: Smith negotiated Pink Floyd's first record contract; Schaffner 1991, p. 55: Morrison negotiated Pink Floyd's first contract and in it they agreed to record their first album at EMI Studios.

[18] Mason 2005, p. 30.

[44] Blake 2008, p. 85.

[19] Blake 2008, pp. 44–45: Klose quit the band in mid 1965 and Barrett took over on lead guitar (secondary source); Mason 2005, p. 32: Klose quit the band in mid 1965 (primary source).

[45] Mason 2005, pp. 92–93.

[20] Povey 2008, pp. 18–19. [21] Mason 2005, pp. 33–37: The origin of the band name Pink Floyd (primary source); Povey 2008, pp. 18–19: The origin of the band name Pink Floyd (secondary source). [22] Mason 2005, pp. 33–37: Jenner was impressed by Barrett and Wright; Schaffner 1991, p. 17: Jenner and King became Pink Floyd's business managers. [23] Schaffner 1991, pp. 32–33. [24] Schaffner 1991, p. 32. [25] Mason 2005, pp. 50–51. [26] Mason 2005, pp. 46–49: (primary source); Schaffner 1991, p. 34: (secondary source). [27] Mason 2005, pp. 52–53: Jenner and King's connections helped gain the band important coverage; Schaffner 1991, p. 44: “apparently very psychedelic.”

[46] Roberts 2005, p. 391. [47] Mason 2005, p. 95: “The band started to play and Syd just stood there"; Schaffner 1991, p. 36: June Child was Blackhill's assistant and secretary. [48] Povey 2008, p. 67. [49] Blake 2008, p. 123. [50] Povey 2008, pp. 67–71. [51] Povey 2008, p. 69. [52] Schaffner 1991, pp. 88–90. [53] Schaffner 1991, pp. 91–92. [54] Povey 2008, p. 72. [55] Mason 2005, pp. 95–105: Barrett's mental deterioration and Pink Floyd's first US tour (primary source); Schaffner 1991, pp. 91–94: Barrett's mental deterioration and Pink Floyd's first US tour (secondary source). [56] Fitch 2005, p. 224.

[28] Mason 2005, p. 49.

[57] Blake 2008, p. 102.

[29] Mason 2005, p. 54.

[58] Povey 2008, p. 47.

[30] Mason 2005, pp. 54–58.

[59] Blake 2008, p. 110.

[31] Schaffner 1991, p. 49.

[60] Mason 2005, p. 28.

[32] di Perna 2002, p. 29: Pink Floyd as a spack rock band; Povey 2008, p. 37: The music industry began to take notice of Pink Floyd.

[61] Mason 2005, p. 34.

[33] Blake 2008, p. 79. [34] Povey 2008, p. 37. [35] Mason 2005, pp. 59–63.

[62] Blake 2008, pp. 110–111: “the band intending to continue with Barrett"; Mason 2005, pp. 109–111: O'Rourke set Gilmour up in O'Rourke's home; Schaffner 1991, p. 104: Gilmour was officially announced as a new member of Pink Floyd. [63] Schaffner 1991, p. 107.

[36] Povey 2008, p. 342: Release date for “Arnold Layne"; Schaffner 1991, pp. 54–55: Signing with EMI.

[64] Schaffner 1991, p. 104.

[37] Mason 2005, pp. 84–85.

[65] Palacios, Julian (2010). Syd Barrett and Pink Floyd: Dark Globe. Plexus. p. 317. ISBN 978-0-85965-431-9.

[38] Povey 2008, p. 342. [39] Blake 2008, pp. 86–87.

[66] Povey 2008, p. 78. [67] Mason 2005, p. 111.

[40] Mason 2005, pp. 86–87. [68] Blake 2008, p. 112. [41] Povey 2008, p. 43. [42] Mason 2005, p. 82: Barrett was “completely distanced from everything going on"; Schaffner 1991, p. 51: Barrett's increasing LSD use starting early 1967.

[69] Blake 2008, pp. 90–113: (secondary source); Mason 2005, pp. 78–105: (primary source). [70] Povey 2008, p. 78–80.

20

[71] Mason 2005, pp. 112–114: On O'Rourke becoming the band's manager, 127–131: On O'Rourke becoming the band's manager. [72] Schaffner 1991, pp. 107–108.

CHAPTER 1. OVERVIEW

[97] Povey 2008, p. 150: A 5 November UK release date for Meddle; For a 13 November UK release date for Meddle see: “Pink Floyd – Echoes (click Echoes image link)". pinkfloyd.com. Retrieved 22 August 2009.

[73] Blake 2008, pp. 112–114.

[98] Mason 2005, p. 157: (primary source); Povey 2008, pp. 142–144: (secondary source)

[74] Blake 2008, pp. 3, 9, 113, 156, 242, 279, 320, 398: After Barrett's departure, the burden of lyrical composition and creative direction fell mostly on Waters.

[99] Povey 2008, pp. 155: Touring the US in November;174: Pink Floyd: Live at Pompeii.

[75] di Perna 2002, p. 13. [76] Blake 2008, pp. 116–117. [77] Blake 2008, p. 117.

[100] Schaffner 1991, p. 155. [101] Watts 1996, p. 56–57. [102] “Review of Pink Floyd – Meddle”. BBC Music. Retrieved 5 August 2012.

[78] Blake 2008, p. 118.

[103] Harris 2005, pp. 103–104: Recording schedule for Dark Side; Harris 2005, p. 104: Alan Parsons as an engineer on [79] Roberts, James. “Hipgnotic Suggestion” (37). Frieze. Dark Side; Schaffner 1991, p. 159: The Dark Side of the Retrieved 12 September 2012. Throughout the 70s many Moon as an allusion to lunacy, rather than astronomy. of the more successful rock bands adopted similarly abstract imagery, in particular Led Zeppelin (the album IV, 1971, dispensed with their name and the title of the record [104] Povey 2008, pp. 164–173. entirely) and Pink Floyd, who, following the Beatles, were [105] Harris 2005, pp. 140–141: (secondary source); Mason only the second band to be allowed by EMI to use an out2005, p. 177: (primary source). side designer. [80] Fitch 2005, p. 311.

[106] Harris 2005, p. 151.

[81] Povey 2008, p. 84.

[107] Weinstein 2007, p. 86.

[82] Mason 2005, pp. 127–131.

[108] Harris 2005, pp. 12–13, 88–89.

[83] Harris 2005, p. 168: (secondary source); Mason 2005, [109] pp. 133–135: (primary source). [110] [84] Povey 2008, pp. 87–89. [111] [85] Povey 2008, pp. 135–136. [86] Povey 2008, p. 344.

Schaffner 1991, p. 166. Povey 2008, p. 160. Hollingworth, Roy (1973). “Historical info – 1973 review, Melody Maker”. pinkfloyd.com. Retrieved 28 May 2011.

[88] Blake 2008, p. 148.

[112] Grossman, Lloyd (24 May 1973). “Dark Side of the Moon Review”. Rolling Stone. Archived from the original on 18 June 2008. Retrieved 7 August 2009.

[89] Schaffner 1991, p. 144.

[113] Schaffner 1991, pp. 166–167.

[90] Schaffner 1991, pp. 140–147.

[114] For Billboard chart history see: Titus, Christa; Waddell, Ray (2005). “Floyd's 'Dark Side' Celebrates Chart Milestone”. Billboard. Retrieved 12 August 2012.; Povey 2008, p. 345: A US number 1.

[87] Schaffner 1991, p. 154.

[91] Povey 2008, pp. 128–140. [92] Schaffner 1991, pp. 150–151. [93] Povey 2008, p. 122.

[115] Povey 2008, p. 345.

[116] [94] Harris 2005, p. 71: “a couple of bottles of wine and a couple of joints"; Mason 2005, p. 153: Lacking a central [117] theme they experimented. [118] [95] Harris 2005, p. 72. [119] [96] For "Meddle not only confirms lead guitarist David Gilmour's emergence”see: Costa, Jean-Charles (6 January 1972). “Pink Floyd: Meddle”. Rolling Stone. Archived from the original on 4 January 2008. Retrieved [120] 19 August 2009.; Povey 2008, p. 150: The release dates for Meddle. [121]

Harris 2005, pp. 172–173. Schaffner 1991, p. 173. Povey 2008, p. 184. Mason 2005, pp. 177: Parsons declined an offer to continue working with Pink Floyd, 200: Pink Floyd hired Humphries. Schaffner 1991, pp. 184–185. Schaffner 1991, pp. 178–184.

1.1. PINK FLOYD

21

[122] Schaffner 1991, p. 184: The motif reminded Waters of [155] Simmons 1999, p. 88. Barrett; Watkinson & Anderson 2001, p. 119: Gilmour [156] Blake 2008, pp. 269: Wright's name did not appear on composed the motif entirely by accident. the album, 285–286: Wright as a paid musician during [123] Schaffner 1991, pp. 185–186. the tour. [124] Schaffner 1991, p. 184.

[157] Mason 2005, p. 249.

[125] Watkinson & Anderson 2001, p. 120.

[158] Bronson 1992, p. 523: Peak US chart position for “Another Brick in the Wall (Part II)"; Roberts 2005, p. 391: Peak UK chart position for “Another Brick in the Wall (Part II)".

[126] Blake 2008, p. 231. [127] Schaffner 1991, pp. 189–190.

[129] Blake 2008, p. 236.

[159] Roberts 2005, p. 391: Peak UK chart position for The Wall; Rosen 1996, p. 246: Peak US chart position for The Wall.

[130] Povey 2008, p. 200.

[160] “RIAA's Top 100 Albums.”. Retrieved 21 August 2012.

[131] Blake 2008, pp. 241–242.

[161] Blake 2008, p. 279.

[132] Mason 2005, pp. 218–220.

[162] Scarfe 2010, pp. 91–115.

[128] Povey 2008, p. 346.

[133] Blake 2008, pp. 245–246: (secondary source); Mason [163] 2005, pp. 223–225: (primary source). [164] [134] Blake 2008, p. 246. [165] [135] Blake 2008, p. 246: (secondary source); Mason 2005, pp. [166] 223–225: (primary source).

Blake 2008, pp. 285–286. Blake 2008, p. 289. Blake 2008, pp. 288–292. Povey 2008, p. 229.

[136] Blake 2008, pp. 242–245.

[167] Blake 2008, pp. 294–295.

[137] Blake 2008, p. 242.

[168] Blake 2008, pp. 296–298.

[138] Blake 2008, pp. 244–245.

[169] Blake 2008, pp. 296–298: (secondary source); Mason 2005, p. 268: (primary source)

[139] Blake 2008, pp. 242–243. [140] Povey 2008, p. 347.

[170] Blake 2008, pp. 295–298: (secondary source); Mason 2005, p. 268: (primary source)

[141] Blake 2008, p. 247.

[171] Blake 2008, p. 299.

[142] Blake 2008, pp. 252–253.

[172] Blake 2008, p. 300: Peak US chart position for The Final Cut; Roberts 2005, p. 391: Peak UK chart position for The Final Cut.

[143] Mason 2005, pp. 235–236. [144] Povey 2008, p. 207. [145] Mason 2005, p. 230.

[173] Blake 2008, p. 294: (secondary source); Mason 2005, p. 265: (primary source).

[146] Blake 2008, pp. 258–259.

[174] Blake 2008, p. 295.

[147] Schaffner 1991, pp. 206–208.

[175] Blake 2008, pp. 294–300: (secondary source); Mason 2005, pp. 269–270: (primary source).

[148] Blake 2008, p. 260. [176] Schaffner 1991, p. 243. [149] Blake 2008, pp. 260–261. [177] Blake 2008, p. 300. [150] Mason 2005, p. 238. [151] Mason 2005, pp. 240–242: (primary source); Schaffner 1991, p. 213: (secondary source).

[178] Loder, Kurt (14 April 1983). “Pink Floyd̶The Final Cut”. Rolling Stone. Archived from the original on 22 June 2008. Retrieved 4 September 2009.

[152] Simmons 1999, pp. 76–95.

[179] Blake 2008, pp. 302–309.

[153] Schaffner 1991, p. 219: That's why Wright“got the boot"; [180] Blake 2008, pp. 309–311. Simmons 1999, pp. 86–88: Wright, “hadn't contributed [181] Blake 2008, pp. 311–313. anything of any value”. [154] Mason 2005, p. 246.

[182] Schaffner 1991, pp. 263–266.

22

CHAPTER 1. OVERVIEW

[183] Blake 2008, pp. 311–313: O'Rourke's involvement in the [216] settlement; Povey 2008, p. 240: “a spent force”. [217] [184] Schaffner 1991, p. 271. [218] [185] Schaffner 1991, pp. 264–268. [219] [186] Blake 2008, pp. 316–317.

Blake 2008, pp. 363–367. Blake 2008, p. 367. Povey 2008, pp. 264, 285, 351–352: Pulse. Mason 2005, p. 342: (primary source); Povey 2008, p. 237: (secondary source).

[187] Manning 2006, p. 134: Pink Floyd employed Wright as a [220] Blake 2008, pp. 380–384: (secondary source); Mason paid musician with weekly earnings of $11,000; Schaffner 2005, pp. 335–339: (primary source). 1991, p. 269: “would make us stronger legally and mu[221] Povey 2008, p. 287. sically”. [188] Blake 2008, p. 318.

[222] Blake 2008, p. 386.

[189] Fitch 2005, p. 158.

[223] “Donate Live 8 profit says Gilmour”. BBC News. 5 July 2005. Retrieved 2 August 2012.

[190] Mason 2005, pp. 284–285. [191] Blake 2008, p. 320. [192] Mason 2005, p. 287.

[224] Blake 2008, p. 395. [225] “Gilmour says no Pink Floyd reunion”. NBC News. 9 September 2008. Retrieved 2 August 2012.

[193] Mason 2005, p. 287: (primary sources); Schaffner 1991, [226] Castaldo, Gino (3 February 2006). “The requiem of pp. 268–269: (secondary source). David Gilmour: Pink Floyd gone?". La Repubblica. [194] Blake 2008, p. 321. [227] Kielty, Martin (7 January 2013). “Pink Floyd was over in 1985 says Waters”. Classic Rock Magazine.; “Pink [195] Schaffner 1991, p. 273. Floyd star: Reunion unlikely”. Toronto Sun. wenn.com. [196] Blake 2008, p. 166. Retrieved 1 December 2013. [197] Blake 2008, p. 366.

[228] Blake 2008, pp. 387–389.

[198] Povey 2008, p. 349.

[229] Pareles, Jon (12 July 2006). “Syd Barrett, a Founder of Pink Floyd And Psychedelic Rock Pioneer, Dies at 60”. The New York Times. Retrieved 7 September 2009.

[199] Blake 2008, p. 328. [200] Blake 2008, p. 327. [201] Blake 2008, pp. 326–327. [202] Blake 2008, p. 322. [203] Schaffner 1991, p. 277. [204] Blake 2008, pp. 329–335. [205] Mason 2005, pp. 311–313. [206] Blake 2008, p. 352. [207] Mason 2005, pp. 314–321. [208] Blake 2008, p. 355. [209] Blake 2008, p. 356.

[230] Blake 2008, pp. 390–391. [231] Blake 2008, p. 394. [232] Youngs, Ian (11 May 2007).“Floyd play at Barrett tribute gig”. BBC News. Retrieved 3 August 2013. [233] Booth, Robert (16 September 2008). “Pink Floyd's Richard Wright dies”. The Guardian. Retrieved 7 September 2009. [234] “Floyd Founder Wright dies at 65”. BBC News. 15 September 2008. Retrieved 2 August 2012. [235] “Pink Floyd's Roger Waters and David Gilmour reunite for charity gig: Duo play together for Hoping Foundation” . NME. 11 July 2011. Retrieved 2 August 2012.

[210] Blake 2008, pp. 356–357: (secondary source); Mason [236] Barth, Chris (15 July 2010). “Roger Waters Reunites 2005, pp. 314–321: (primary source). With David Gilmour for 'Wall' Tour”. Rolling Stone. Retrieved 1 August 2010. [211] Blake 2008, p. 359. [212] Mason 2005, p. 322. [213] Blake 2008, pp. 357–358.

[237] “Pink Floyd end EMI legal dispute”. BBC News. 4 January 2011. Retrieved 5 January 2011.

[238] Todd, Ben (13 May 2011). “Pink Floyd legends Roger Waters and Dave Gilmour reunite in front of 14,000 delirious fans at O2 Arena”. Daily Mail. Retrieved 2 [215] Mason 2005, p. 330: Momentary Lapse of Reason tour August 2012. crew was almost identicle to the The Division Bell tour crew; Povey 2008, p. 270: Rehearsing for over two weeks [239] “Pink Floyd Reunite at Roger Waters Show in London” at Norton Air Force Base before opening in Miami. , Rolling Stone, 12 May 2011, retrieved 12 May 2011 [214] Mason 2005, p. 319.

1.1. PINK FLOYD

23

[240] “Why Pink Floyd?, Pink Floyd & EMI 2011 remastered [267] Schaffner 1991, p. 128. campaign”. Whypinkfloyd.com. 2011. Retrieved 27 May [268] Schaffner 1991, pp. 135–136. 2011. [241] Newton, Steve (5 July 2014).“David Gilmour's wife Polly [269] Schaffner 1991, pp. 156–157. Samson leaks news on Twitter about new Pink Floyd al[270] Calore, Michael (12 May 2009). “12 May 1967: Pink bum”. straight.com. Retrieved 18 September 2014. Floyd Astounds With 'Sound in the Round'". Wired. Retrieved 2 August 2012. [242] Maloney, Devon (5 July 2014).“New Pink Floyd Album 'The Endless River' Out in October”. Billboard. Retrieved [271] 18 September 2014. [272] [243] Roseb, Craig (9 October 2014). “Pink Floyd Returns With First New Song From Final Album The Endless River". yahoo.com. Retrieved 14 November 2014. [273] [244] Everitt, Matt (9 October 2014). “Shaun Keaveny, with a Pink Floyd Exclusive, Pink Floyd Talk to 6 Music's Matt [274] Everitt”. BBC. [275] [245] di Perna 2002, p. 29: Pink Floyd as a spack rock act; Povey 2008, p. 86: Pink Floys as one of the UK's first [276] psychedelic music groups.

Schaffner 1991, pp. 42–43. Fitch 2005, pp. 359–360: Peter Wynne-Willson; Mason 2005, pp. 78–79: Wynne-Willson updated the band's lighting rig with some innovative ideas. Mason 2005, p. 70. Povey 2008, p. 58. Mason 2005, pp. 115–119. Povey 2008, pp. 87: The television audience, 111: Pink Floyd performed a piece titled “Moonhead”.

[246] Mason 2005, p. 31.

[277] Povey 2008, p. 183.

[247] Mason 2005, pp. 31–32.

[278] Fitch 2005, p. 241.

[248] George-Warren 2001, p. 761.

[279] Blake 2008, pp. 280–282.

[249] George-Warren 2001, p. 760.

[280] Blake 2008, pp. 284–285.

[250] Povey 2008, p. 85.

[281] O'Neill Surber 2007, p. 192.

[251] O'Neill Surber 2007, pp. 192–199.

[282] Croskery 2007, p. 36.

[252] Fitch 2001, p. 45.

[283] Reisch 2007, p. 268.

[253] Hibbert 1996, p. 147.

[284] Weinstein 2007, pp. 81–82.

[254] George-Warren 2001, pp. 760–761.

[285] Fitch 2005, p. 133.

[255] di Perna 2006, p. 59.

[286] Detmer 2007, p. 77.

[256] di Perna 2006, p. 58: “the missing link"; For Rolling [287] Detmer 2007, p. 75. Stone 's“100 Greatest Guitarists”list see:“100 Greatest [288] O'Neill Surber 2007, p. 197. Guitarists of All Time: 51) David Gilmour”. Rolling Stone. Retrieved 2 August 2012. [289] Thorgerson, Storm (1978). The Work of Hipgnosis – Walk Away Reneé. A & W. p. 148. ISBN 978-0-89104-105-4. [257] di Perna 2006, pp. 58–59. [258] Brown 2006, p. 62. [259] Brown 2006, p. 66. [260] Blake 2008, p. 86. [261] Blake 2008, p. 134. [262] Blake 2008, p. 178.

[290] Weinstein 2007, p. 90. [291] O'Neill Surber 2007, p. 191. [292] Croskery 2007, p. 35. [293] Croskery 2007, pp. 35–36. [294] Croskery 2007, pp. 37–40.

[295] Croskery 2007, p. 40. [263] Mason 2005, p. 169: Synthesiser use in “On the Run"; Fitch 2005, p. 324: Synthesiser use on “Welcome to the [296] Croskery 2007, pp. 37–38. Machine"; Fitch & Mahon 2006, p. 71: Synthesiser use on “In the Flesh?". [297] Croskery 2007, p. 39. [264] Mabbett 1995, p. 39.

[298] Croskery 2007, p. 41.

[265] Blake 2008, pp. 297–298.

[299] Croskery 2007, pp. 41–42.

[266] Mason 2005, pp. 133–135.

[300] Harris 2005, p. 89.

24

[301] O'Neill Surber 2007, p. 195. [302] O'Neill Surber 2007, p. 196. [303] Detmer 2007, p. 73. [304] O'Neill Surber 2007, pp. 195–196.

CHAPTER 1. OVERVIEW

[322] Povey 2008, p. 348: Grammy award for The Wall; For the 1982 BAFTA awards see: “BAFTA: Awards Database” . BAFTA. 1982. Retrieved 2 August 2012. [323] “And the Winners Are ...”. The New York Times. 2 March 1995. Retrieved 2 August 2012.

[305] Blake 2008, p. 294: The Final Cut dedicated to Waters' [324] Nordstrom, Louise (21 May 2008). “Pink Floyd wins Polar Music Prize”. USA Today. Retrieved 7 October late father; George-Warren 2001, p. 761: A Requiem for 2010. the Postwar Dream. [306] Blake 2008, pp. 294–295: The influence of WWII on [325] Povey 2008, p. 286: Rock and Roll Hall of Fame induction; Povey 2008, p. 287: The UK Hall of Fame inThe Wall, 351: An English society depleted of men after duction; For the Hit Parade Hall of Fame induction see: WWII. “Pink Floyd – 2010 Inductee”. Hit Parade Hall of Fame. Archived from the original on 25 January 2013. Retrieved [307] Blake 2008, pp. 194–195. 2 August 2012. [308] Weinstein 2007, p. 85. [326] For Bowie naming Barrett an inspiration see: “David [309] Harris 2005, p. 81. Bowie pays tribute to Syd Barrett”. NME. 11 July 2006. Retrieved 13 October 2009.; For Edge buying his first de[310] Reisch 2007, p. 257. lay pedal see: McCormick, Neil (editor) (2006). U2 by U2. HarperCollins. p. 102. ISBN 978-0-00-719668-5. [311] Reisch 2007, p. 263. [312] Reisch 2007, pp. 263–264. [313] Reisch 2007, pp. 258–264. [314] “Rock & Roll Hall of Fame: Pink Floyd biography”. Rock and Roll Hall of Fame. Retrieved 2 August 2012.

[327] For Queen citing Pink Floyd as an influence see: Sutcillfe, Phil (2009). Queen: The Ultimate Illustrated History of the Crown Kings of Rock. Voyageur Press. p. 17. ISBN 978-0-7603-3719-6.; For Kraftwerk see: Queenan, Joe (22 February 2008). “Vorsprung durch Techno”. The Guardian. Retrieved 31 August 2012.; For Marillion see: “Steve Rothery Interview”. All Access Magazine. 27 August 2009. Retrieved 24 March 2014.; For Tool see: The 50 Greatest Bands. Spin. February 2002. p. 78. Retrieved 31 August 2012.; Manning 2006, p. 288: Queensryche, the Orb, Nemrud, the Smashing Pumpkins; 289: Radiohead; Kitts & Tolinski 2002, p. 126: For Nine Inch Nails see the back cover.

[315] For 250 million records sold see: “Pink Floyd Reunion Tops Fans' Wish List in Music Choice Survey”. Bloomberg Television. 26 September 2007. Retrieved 2 August 2012.; For 74.5 million RIAA certified units sold see: “Top Selling Artists”. RIAA. Retrieved 2 August 2012.; For 37.9 million albums sold since 1993 see:“The Nielsen Company & Billboard's 2012 Music Industry Report”. Business Wire. 4 January 2013. Retrieved 10 May [328] “Cue the coconuts: 'Holy Grail' gallops on”. Retrieved 2014. 30 November 2014. [316] “Sunday Times Rich List 2013: Music Millionaires”. 2013. Retrieved 23 November 2013. [317] Olsen, Eric (2004-03-03).“The 10 best rock bands ever: A purely subjective list of the groups that changed music forever”. NBC News. Retrieved 2012-08-02. [318] “100 Greatest Artists: 51) Pink Floyd”. Rolling Stone. Retrieved 2012-08-02. [319] Barnes, Anthony (2004-10-03). “Q: Which is biggest band of all time? A: And readers say ... : Album sales, audience sizes and time spent in the charts combine to put the British foursome at the top”. The Independent. Retrieved 2012-08-02. [320] For VH1's “100 Greatest Artists of All Time”see: Juzwiak, Rich (2010-08-10). “Who Will Come Out On Top Of VH1's 100 Greatest Artists Of All Time?". VH1. Retrieved 2012-08-23. [321] Larkin, Colin (1998). All Time Top 1000 Albums: The World's Most Authoritative Guide to the Perfect Record Collection. Virgin. p. 281. ISBN 978-0-7535-0258-7.

1.1.14 Sources • Blake, Mark (2008). Comfortably Numb ̶The Inside Story of Pink Floyd. Da Capo Press. ISBN 978-0-306-81752-6. • Bronson, Fred (1992). Weiler, Fred, ed. The Billboard Book of Number One Hits. Billboard Books (3rd revised ed.). ISBN 978-0-8230-8298-8. • Brown, Jimmy (May 2006). “Sorcerer Full of Secrets”. Guitar World 27 (5). • di Perna, Alan (May 2006). “Shine On”. Guitar World 27 (5). • di Perna, Alan (2002). “Mysterious Ways”. In Kitts, Jeff; Tolinski, Brad. Guitar World Presents: Pink Floyd. Hal Leonard. ISBN 978-0-7546-67087.

1.1. PINK FLOYD • Croskery, Patrick (2007). “Pigs Training Dogs to Exploit Sheep: Animals as a Beast Fable Dystopia” . In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3. • Detmer, David (2007). “Dragged Down by the Stone: Pink Floyd, Alienation, and the Pressures of Life”. In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.

25 • Roberts, David, ed. (2005). British Hit Singles & Albums (18 ed.). Guinness World Records Limited. ISBN 978-1-904994-00-8. • Rosen, Craig (1996). Lukas, Paul, ed. The Billboard Book of Number One Albums. Billboard. ISBN 978-0-8230-7586-7. • Schaffner, Nicholas (1991). Saucerful of Secrets (First ed.). Sidgwick & Jackson. ISBN 978-0-28306127-1.

• Fitch, Vernon (2005). The Pink Floyd Encyclopedia (Third ed.). Collector's Guide Publishing. ISBN 978-1-894959-24-7.

• Scarfe, Gerald (2010). The Making of Pink Floyd: The Wall (1st US paperback ed.). Da Capo Press. ISBN 978-0-306-81997-1.

• Fitch, Vernon (2001). Pink Floyd: The Press Reports 1966–1983. Collector's Guide Publishing Inc. ISBN 978-1-896522-72-2.

• Simmons, Sylvie (December 1999). “Pink Floyd: The Making of The Wall”. Mojo Magazine (Emap Metro) 73.

• Fitch, Vernon; Mahon, Richard (2006). Comfortably Numb-A History of “The Wall”– Pink Floyd 1978–1981 (1st ed.). PFA Publishing, Inc. ISBN 978-0-9777366-0-7.

• O'Neill Surber, Jere (2007). “Wish You Were Here (But You Aren't): Pink Floyd and Non-Being” . In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.

• George-Warren, Holly, ed. (2001). The Rolling Stone Encyclopedia of Rock & Roll (2005 revised and updated ed.). Fireside. ISBN 978-0-74329201-6. • Harris, John (2005). The Dark Side of the Moon (First Hardcover ed.). Da Capo. ISBN 978-0-30681342-9. • Hibbert, Tom (1996) [1971]. “Who the hell does Roger Waters think he is?". In MacDonald, Bruno. Pink Floyd: Through the eyes of the band, its fans and foes. Da Capo. ISBN 978-0-306-80780-0. • Kitts, Jeff; Tolinski, Brad, eds. (2002). Guitar World Presents: Pink Floyd. Hal Leonard. ISBN 978-0-7546-6708-7.

• Watkinson, Mike; Anderson, Pete (2001). Crazy Diamond: Syd Barrett & the Dawn of Pink Floyd (First ed.). Omnibus Press. ISBN 978-0-71192397-3. • Watts, Michael (1996) [1971]. “Pink's muddled Meddle”. In MacDonald, Bruno. Pink Floyd: through the eyes of ... the band, its fans, friends, and foes. Da Capo Press. ISBN 978-0-306-80780-0. • Weinstein, Deena (2007). “Roger Waters: Artist of the Absurd”. In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.

• Mabbett, Andy (1995). The complete guide to the 1.1.15 Further reading music of Pink Floyd (1st UK paperback ed.). Om• Bench, Jeff; O'Brien, Daniel (2004). Pink Floyd's nibus Press. ISBN 978-0-7119-4301-8. The Wall: In the Studio, On Stage and On Screen • Manning, Toby (2006). The Rough Guide to Pink (First UK paperback ed.). Reynolds and Hearn. Floyd (First ed.). Rough Guides. ISBN 978-1ISBN 978-1-903111-82-6. 84353-575-1. • Hearn, Marcus (2012). Pink Floyd. Titan Books. • Mason, Nick (2005) [2004]. Dodd, Philip, ed. InISBN 978-0-85768-664-0. side Out – A Personal History of Pink Floyd (Paper• Jones, Cliff (1996). Another Brick in the Wall: The back ed.). Phoenix. ISBN 978-0-7538-1906-7. Stories Behind Every Pink Floyd Song. ISBN 978-0• Povey, Glenn (2008) [2007]. Echoes: The Com553-06733-0. plete History of Pink Floyd. Mind Head Publishing. • Mabbett, Andy (2010). Pink Floyd – The Music and ISBN 978-0-9554624-1-2. the Mystery. Omnibus Press. ISBN 978-1-84938• Reisch, George A (2007). “The Worms and the 370-7. Wall: Michael Foucault on Syd Barrett”. In Reisch, • Mabbett, Andy; Miles (1988). Pink Floyd: 25th AnGeorge A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0niversary Edition (Visual Documentary). ISBN 9788126-9636-3. 0-7119-4109-0.

26

CHAPTER 1. OVERVIEW

• Miles, Barry (2007). Pink Floyd. Omnibus Press. ISBN 978-1-84609-444-6. • Palacios, Julian (2001). Lost in the Woods: Syd Barrett and the Pink Floyd. ISBN 978-0-7522-2328-5. • Povey, Glen; Russell, Ian (1997). Pink Floyd: in the flesh, the complete performance history (1st US paperback ed.). St. Martin's Press. ISBN 978-09554624-0-5. • Reising, Russell (2005). Speak to Me. Ashgate Publishing, Ltd. ISBN 978-0-7546-4019-6. • Ruhlmann, William (2004). Breaking Records. Routledge. ISBN 978-0-415-94305-5. • Ruhlmann, William (1993). Pink Floyd. Smithmark. ISBN 978-0-8317-6912-3. • Snider, Charles (2008). The Strawberry Bricks Guide to Progressive Rock. Strawberry Bricks. ISBN 978-0-615-17566-9. Documentaries • CreateSpace (2009). Pink Floyd: Meddle (Streaming video). Sexy Intellectual. ASIN B002J4V9RI. • John Edginton (Director) (2012). Pink Floyd: The Story of Wish You Were Here (Colour, NTSC, DVD). Eagle Rock Entertainment. ASIN B007X6ZRMA. • Matthew Longfellow (Director) (2003). Classic Albums: The Making of The Dark Side of the Moon (Colour, Dolby, NTSC, DVD). Eagle Rock Entertainment. ASIN B0000AOV85. • Pink Floyd (2007). Pink Floyd – Then And Now (Colour, NTSC DVD). Pride. ASIN B007EQQX04. • Pink Floyd (2010). Pink Floyd – Whatever Happened To Pink Floyd? (Colour, NTSC, DVD). Sexy Intellectual. ASIN B004D0AMN8.

1.1.16

External links

• Pink Floyd's official website • Pink Floyd companies grouped at OpenCorporates

Chapter 2

Members 2.1 David Gilmour

ing a book and record set by Pete Seeger.* [9] At age 11, Gilmour began attending the Perse School on Hills * This article is about the English rock musician. For his Road, Cambridge, which he“didn't enjoy”. [10] While there he met future Pink Floyd guitarist Syd Barrett eponymous album, see David Gilmour (album). For the and bassist Roger Waters, who attended Cambridgeshire American jazz guitarist, see David Gilmore. for Boys, which was also situated on Hills For other people named David Gilmour, see David High School * Road. [11] Gilmour (disambiguation). David Jon Gilmour, CBE (born 6 March 1946), is an English musician, singer, songwriter and multiinstrumentalist. He is best known* [1] for his work as the guitarist and co-lead vocalist of the progressive rock band Pink Floyd. It is estimated that by 2012 the group had sold over 250 million records worldwide, including 74.5 million units sold in the United States.* [2] In addition to his work with Pink Floyd, Gilmour has produced a variety of artists, for example The Dream Academy and has had a solo career. In 2005, Gilmour was made a Commander of the Order of the British Empire (CBE) for his services to music.* [3] He was awarded with the Outstanding Contribution title at the 2008 Q Awards.* [4] In 2011, Rolling Stone magazine ranked him number 14 in their list of the greatest guitarists of all time.

2.1.1

Early life

David Jon Gilmour was born on 6 March 1946, in Cambridge, England.* [5] His father, Douglas Gilmour, eventually became a senior lecturer in zoology at the University of Cambridge, and his mother, Sylvia (born Wilson), was a teacher and film editor who later worked for the BBC. At the time of Gilmour's birth they lived in Trumpington, Cambridgeshire, but in 1956 after several relocations the couple moved their family to Grantchester Meadows.* [6]* [n 1] Gilmour's parents encouraged him to pursue his interest in music, and in 1954 he bought his first single, Bill Haley's "Rock Around the Clock".* [8] His enthusiasm for music was stirred the following year by Elvis Presley's "Heartbreak Hotel", and later "Bye Bye Love" by the Everly Brothers piqued his interest in guitar. He then borrowed one from his neighbour, but never gave it back. Soon afterward, he started teaching himself to play us-

In 1962, Gilmour began studying A-Level modern languages at Cambridge Technical College.* [10] Despite not finishing the course, he would eventually learn to speak fluent French.* [10] Barrett was also a student at the college, and he spent his lunchtimes practising guitar with Gilmour.* [10] In late 1962, Gilmour joined the blues-rock band Jokers Wild. They recorded a one-sided album and a single at Regent Sound Studio, in London, but only fifty copies of each were made.* [10] In August 1965, Gilmour busked around Spain and France with Barrett and some other friends, performing songs by the Beatles. They were not successful, getting arrested on one occasion and living a virtually hand-to-mouth existence, which resulted in his requiring treatment for malnutrition.* [12] Gilmour and Barrett later trekked to Paris, where they camped outside the city for a week and visited the Louvre.* [13] Gilmour travelled to France in mid-1967 with Rick Wills and Willie Wilson, formerly of Jokers Wild. The trio performed under the band name Flowers, then Bullitt; they were not successful. After hearing their uninspired covers of current chart hits, club owners were reluctant to pay them, and soon after their arrival in Paris, thieves stole their equipment.* [14] In May, Gilmour briefly returned to London in search of new gear. During his stay, he watched Pink Floyd record "See Emily Play" and was shocked to find that Barrett did not seem to recognise him.* [15] When Bullitt returned to England later that year, they were so impoverished that their tour bus was completely empty of petrol and they had to push it off the ferry.* [14]

2.1.2 Pink Floyd In late December 1967, drummer Nick Mason approached Gilmour and asked him if he would be interested in joining Pink Floyd. He accepted and soon

27

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CHAPTER 2. MEMBERS

afterward became their fifth member; they initially intended to continue with Barrett as a nonperforming songwriter.* [16] One of the group's business partners, Peter Jenner, commented: “The idea was that Dave would ... cover for Barrett's eccentricities and when that got to be not workable, Syd was just going to write. Just to try to keep him involved”.* [17] By March 1968, working with Barrett had become too difficult, so Pink Floyd met with business partners Jenner and Andrew King to discuss the situation.* [18] During the meeting, Barrett agreed to leave the band and the others committed to moving on without him.* [19] Waters later admitted: “He was our friend, but most of the time we now wanted to strangle him”.* [20] Jenner and King, who believed Barrett to be the creative genius of the band, decided to represent him and end their relationship with Pink Floyd.* [21]

rated into song by Waters, which became "Comfortably Numb", which was included on The Wall.* [23] The negative atmosphere surrounding the creation of The Wall album and subsequent film, compounded by The Final Cut 's virtually being a Roger Waters solo album, led Gilmour to produce his second solo album, About Face, in 1984.* [24] He used it to express his feelings about a range of topics, from the murder of John Lennon* [24] to his relationship with Waters. He has since admitted that he also used the album to distance himself from Pink Floyd. He toured Europe and the US along with support act the Television Personalities, who were promptly dropped from the line-up after revealing Syd Barrett's address on stage.* [25] Mason also made a guest appearance on the UK leg of the tour, which despite some cancellations eventually turned a profit.* [26] When he reAfter Barrett's departure, Gilmour sang much of Pink turned from touring, Gilmour played guitar with a range who Floyd's lead vocals; Waters and keyboard player Richard of artists, and also produced The Dream Academy, * had a top ten hit with "Life in a Northern Town". [27] Wright also occasionally sang lead. After the successes of The Dark Side of the Moon and Wish You Were Here, Wa- In 1985, Waters declared that Pink Floyd were “a spent ters took greater control of the band, writing and singing force creatively”.* [28] Gilmour and Mason responded lead on most of Animals and The Wall. Wright was fired with a press release stating that Waters had quit the band during the sessions for The Wall, and the relationship and they intended to continue without him.* [29] Gilmour between Gilmour and Waters would further deteriorate assumed full control of the group and produced A Moduring the making of the eponymous film, and later dur- mentary Lapse of Reason in 1987 with some contribuing recording sessions for The Final Cut. The last band tions from Mason and Richard Wright.* [24] Wright ofperformance of The Wall took place on 16 June 1981, ficially rejoined the band after the release of the album at Earls Court, London; it was Pink Floyd's last appear- for a lengthy world tour and helped create 1994's The Diance with Waters until the band's reunion on 2 July 2005, vision Bell.* [24] Gilmour explained: “I had a number at the Live 8 concert in London's Hyde Park, 24 years of problems with the direction of the band in our recent later.* [22] past, before Roger left. I thought the songs were very wordy and that, because the specific meanings of those words were so important, the music became a mere vehicle for lyrics, and not a very inspiring one. Dark Side of the Moon and Wish You Were Here were so successful not just because of Roger's contributions, but also because there was a better balance between the music and the lyrics than there has been in more recent albums. That's what I'm trying to do with A Momentary Lapse of Reason; more focus on the music, restore the balance.”In 1986, Gilmour purchased the houseboat Astoria, which is moored on the River Thames near Hampton Court, and transformed it into a recording studio.* [30] The majority of the two most recent Pink Floyd albums, as well as Gilmour's 2006 solo release On an Island, were recorded there.* [31]

Gilmour performing with Pink Floyd in the mid-1970s

By the late 1970s, Gilmour began to think that his musical talents were being underused by Pink Floyd, so in 1978 he channelled his ideas into the eponymous solo album, David Gilmour, which showcased his guitar playing and songwriting skills. Music written during the finishing stages of the album, but too late to be used, were incorpo-

On 2 July 2005, Gilmour played with Pink Floyd̶including Roger Waters ̶at Live 8. The performance caused a temporary sales increase of Pink Floyd's album Echoes: The Best of Pink Floyd.* [32] Gilmour donated all of his resulting profits to charities that reflect the goals of Live 8 saying: “Though the main objective has been to raise consciousness and put pressure on the G8 leaders, I will not profit from the concert. This is money that should be used to save lives.”* [32] Shortly after, he called upon all artists experiencing a surge in sales from Live 8 performances to donate the extra revenue to Live 8 fund-

2.1. DAVID GILMOUR

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raising. After the Live 8 concert, Pink Floyd were of- the 21st and “Money”was voted the 62nd greatest solo fered £150 million to tour the United States, but the band of all time).* [39] turned down the offer.* [33] Early in his career with Pink Floyd, Gilmour played a On 3 February 2006, he announced in an interview with multitude of Fender Stratocasters. He recorded one of the Italian newspaper La Repubblica that Pink Floyd his guitar solos, for "Another Brick in the Wall, Part 2” would most likely never tour or write material together , in one take using no editing or mixing using a 1955 again. He said:“I think enough is enough. I am 60 years Gibson Les Paul Gold Top guitar equipped with P-90 old. I don't have the will to work as much any more. Pink pick-ups.* [40] In 1996, Gilmour was inducted into the Floyd was an important part in my life, I have had a won- Rock and Roll Hall of Fame as a member of Pink Floyd. derful time, but it's over. For me it's much less compli- Gilmour's solo on “Comfortably Numb”was voted as cated to work alone.”* [34] one of the greatest guitar solos of all time in several polls * Regarding agreeing to play at Live 8, he said:“There was by listeners and critics. [41] more than one reason, firstly to support the cause. The second one is the energy-consuming and uncomfortable relationship between Roger and me that I was carrying along in my heart. That is why we wanted to perform and to leave the trash behind. Thirdly, I might have regretted it if I declined.”On 20 February 2006, Gilmour commented again on Pink Floyd's future when he was interviewed by Billboard.com, stating, “Who knows? I have no plans at all to do that. My plans are to do my concerts and put my solo record out.” In December 2006, Gilmour released a tribute to Syd Barrett, who had died on 7 July of that year, in the form of his own version of Pink Floyd's first single "Arnold Layne".* [35] Recorded live at London's Royal Albert Hall, the single featured versions of the song performed by Richard Wright and special guest artist David Bowie.* [35] The single peaked on the UK Top 75 singles chart at number nineteen.* [36] Since their Live 8 appearance in 2005, Gilmour has repeatedly said that there will be no Pink Floyd reunion. With the death of Pink Floyd keyboardist Richard Wright in September 2008, another reunion of the core group members became impossible.* [37] After his death, his surviving former bandmates praised him for his influence on the sound of Pink Floyd. Gilmour said of Wright: “In the welter of arguments about who or what was Pink Floyd, Rick's enormous input was frequently forgotten. He was gentle, unassuming and private but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound. Like Rick, I don't find it easy to express my feelings in words, but I loved him and will miss him enormously. I have never played with anyone quite like him.”* [38]

Although mainly known for his guitar work, Gilmour is also a proficient multi-instrumentalist. He also played bass on a portion of Pink Floyd tracks, keyboards, synthesiser, banjo, lap steel, mandolin, harmonica, and drums on the Syd Barrett solo track “Dominoes”. He also plays the saxophone. Many critics have been very favourable towards Gilmour and his style, music critic Alan di Perna has praised Gilmour's guitar work as being an integral element of Pink Floyd's sound.* [42] Rolling Stone ranked him number 14 in their “100 Greatest Guitarists of All Time” list and di Perna described him as the most important guitarist of the 70's, Perna also referred to Gilmour as “the missing link between Hendrix and Van Halen.”In a 2006 interview with Gilmour, he commented on his playing technique: "[My] fingers make a distinctive sound ... [they] aren't very fast, but I think I am instantly recognisable ... The way I play melodies is connected to things like Hank Marvin and the Shadows”.

In 2006, a writer for Guitar World, Jimmy Brown, described Gilmour's playing style as“characterised by simple, huge-sounding riffs; gutsy, well-paced solos; and rich, ambient chordal textures”. According to Brown, Gilmour's solos on“Money”,“Time”and“Comfortably Numb”“cut through the mix like a laser beam through fog”. Brown described the“Time”solo as“a masterpiece of phrasing and motivic development ... Gilmour paces himself throughout and builds upon his initial idea by leaping into the upper register with gut-wrenching oneand-one-half-step 'over bends', soulful triplet arpeggios and a typically impeccable bar vibrato.”Brown described Gilmour's sense of phrasing as intuitive, singling it out as perhaps his best asset as a lead guitarist. Gilmour explained how he achieved his signature tone: “I usually use a fuzz box, a delay and a bright EQ setting ... [to get] 2.1.3 Musical style singing sustain ... you need to play loud̶at or near the feedback threshold. It's just so much more fun to play Gilmour is primarily regarded as a lead guitarist. His ... when bent notes slice right through you like a razor own solo style is often characterised by blues-influenced blade.” phrasing, expressive note bends and sustain. In 2011, Gilmour was rated the 14th greatest guitarist by Rolling Stone magazine. In January 2007, Guitar World readers 2.1.4 Solo projects voted Gilmour's solos, "Comfortably Numb", "Time" and "Money" into the top 100 Greatest Guitar Solos (“Com- Gilmour has recorded four solo albums, all four of which fortably Numb”was voted the 4th, “Time”was voted charted in the US Top 40: 2006's On an Island peaked at

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CHAPTER 2. MEMBERS 2000s In 2001 and 2002, Gilmour performed a total of six acoustic solo concerts in London and Paris, along with a small band and choir, which was documented on the In Concert release.* [44] On 24 September 2004, he performed a three song set at The Strat Pack concert at London's Wembley Arena, marking the 50th anniversary of the Fender Stratocaster guitar.* [45]

Gilmour performing in Brussels in 1984, on his About Face tour

number 6 in 2006, 2008's Live in Gdansk peaked at number 26, his 1978 self-titled solo debut peaked at number 29 in 1978 and 1984's About Face peaked number 32 in 1984. Taking time off from Pink Floyd's schedule, Gilmour also took up various roles as a producer, sideman and even concert sound engineer* [24] for a wide variety of acts which included* [24] former bandmate Syd Barrett, Paul McCartney, Kate Bush, Berlin, John Martyn, Grace Jones, Tom Jones, Elton John, Eric Clapton, B. B. King, Seal, Sam Brown, Jools Holland, Bob Dylan, Pete Townshend, the Who, Supertramp, Levon Helm, Robbie Robertson, Alan Parsons, Peter Cetera, and various charity groups among others. In 1985, Gilmour was a member of Bryan Ferry's band. He played on Ferry's album Boys and Girls, as well as the song “Is Your Love Strong Enough”for the US release of the Ridley Scott-Tom Cruise film Legend. A music video for the latter was created, incorporating Ferry and Gilmour into footage from the film* [24] (released as a bonus on the 2002 “Ultimate Edition”DVD release). Later that year, Gilmour played with Ferry at the London Live Aid concert;* [24] his first collaboration with Ferry's keyboard player Jon Carin, later to tour with Pink Floyd. Gilmour also took part in a comedy skit titled The Easy Guitar Book Sketch with comedian Rowland Rivron and fellow British musicians Mark Knopfler, Lemmy from Motorhead, Mark King from Level 42, and Gary Moore. Guitar tech Phil Taylor explained in an interview that Knopfler used Gilmour's guitar rig and managed to sound like himself when performing in the skit.* [43] In 1994, Gilmour played guitar for the video game Tuneland, along with the addition of Scott Page, a saxophonist who had frequently worked with Pink Floyd. On 14 December 1999, Gilmour played a show at The Cavern Club in Liverpool with Paul McCartney, Mick Green, Ian Paice & Pete Wingfield.

Gilmour in performance, Frankfurt 2006

On 6 March 2006, Gilmour's 60th birthday, he released his third solo album, On an Island.* [46] It debuted at number 1 in the UK charts,* [47] and reached the top five in Germany and Sweden.* [48] The album earned Gilmour his first US top-ten as a solo artist, reaching number six in Billboard 200.* [49] Produced by Gilmour along with Phil Manzanera and Chris Thomas, the album features orchestrations by renowned Polish composer Zbigniew Preisner,* [50] and lyrics principally written by Polly Samson. The album features David Crosby and Graham Nash performing background vocals on the title track, Robert Wyatt on cornet and percussion, and Richard Wright on Hammond organ and vocals.* [51] Other contributors include Jools Holland, Georgie Fame, Andy Newmark, B. J. Cole, Chris Stainton, Willie Wilson, RadoʻBobʼKlose on guitar and Leszek Możdżer on piano.* [50] The album also features Gilmour's debut with the saxophone.* [51] Gilmour toured Europe, US and Canada from 10 March to 31 May 2006 to promote On an Island. There were 10 shows in the US and Canadian leg of the tour. Pink Floyd alumnus Richard Wright, and frequent Floyd collaborators Dick Parry, Guy Pratt and Jon Carin also accompanied him on the tour. More shows took place in Europe from July to August in 2006.* [52] In a press release to promote the tour, Gilmour stated:“I'm rather hoping that with this tour announcement, people will believe me when I say, honestly, this is the only band I plan to tour with!" On 10 April 2006, On an Island was certified platinum in Canada, with sales of over 100,000 copies. A video recording of a show from Gilmour's solo tour, titled Remember That Night – Live at the Royal Albert Hall, was

2.1. DAVID GILMOUR released on 17 September 2007.* [53] The double DVD, directed by David Mallet, contains over five hours of footage, including an on-the-road documentary and guest appearances by David Bowie and Robert Wyatt.* [53] The final show of David Gilmour's On an Island tour took place at the Gdańsk Shipyard on 26 August 2006. The concert was held before a crowd of 100,000, and marked the twenty-sixth anniversary of the founding of the Solidarity trade union.* [54] The show was recorded, resulting in a live album and DVD release: Live in Gdańsk.* [31] For the occasion Gilmour performed with an orchestra, using the 38-piece string section of the Polish Baltic Philharmonic Orchestra, conducted by Zbigniew Preisner.* [54]

31 Graham Nash and Phil Taylor, Gilmour's guitar technician have both stated that Gilmour is currently working on a new studio album* [62]* [63]* [64] which should be completed during 2014 and will feature Nash along with his long-time collaborator David Crosby. Gilmour's wife, Polly Samson has also stated via her Twitter account that she has been writing lyrics for her husband. On 29 October 2014, David Gilmour told Rolling Stone magazine that his new album was «coming along very well», that“there's a few months work in it yet”and that he's “hoping to get it out this following year”i.e. 2015. Besides, in addition to the new album, David Gilmour confirmed that there will also be a tour, but not a massive 200-date tour, more like an “old man's tour”, David adding: “There haven't been many discussions about the tour. But places like Radio City Music Hall sound like the right sort of vibe for me.»" David confirmed that a Pink Floyd tour supporting their new album The Endless River is not going to happen, stating: “Without [Richard Wright], that's kind of impossible.”* [65]* [66]

On 25 May 2009, he participated in a concert at the Union Chapel in Islington, London. The concert was part of the 'Hidden Gigs' campaign against hidden homelessness, which is organised by Crisis, a UK-based national charity campaigning against homelessness. In the concert he collaborated with the Malian musicians Amadou and Mariam.* [55] On 4 July 2009, he joined his friend Jeff Beck onstage at the Royal Albert Hall. David and Jeff traded solos on Jerusalem and closed the show with Hi 2.1.5 Ho Silver Lining.

Equipment

In August 2009, he released an online single, Chicago – Change the World, on which he sang and played guitar, bass and keyboards, to promote awareness of the plight of Gary McKinnon. A re-titled cover of the Graham Nash song Chicago, it featured Chrissie Hynde and Bob Geldof, plus McKinnon himself. It was produced by long-time Pink Floyd collaborator Chris Thomas.* [56] A video was also posted on-line.* [57]

2010s On 11 July 2010, Gilmour gave a performance for the charity Hoping Foundation with Roger Waters in Oxfordshire, England.* [58] The performance was presented by Jemima Khan and Nigella Lawson, and according to onlookers, it seemed that Gilmour and Waters had ended their long-running feud, laughing and joking together along with their respective partners. Waters subsequently confirmed on his Facebook page that Gilmour would play "Comfortably Numb" with him during one of his shows on his upcoming The Wall Live tour – Gilmour performed the song with Waters on 12 May 2011 at the O2 Arena, London and, with Nick Mason, played with the rest of the band on "Outside the Wall" at the conclusion of the show.* [59] Gilmour released an album with the Orb in 2010 entitled Metallic Spheres,* [60] on which he co-wrote every track and their subsequent parts, and produced, played guitar and sang. In 2011, Rolling Stone placed Gilmour at number 14 in a list of the hundred greatest guitarists of all time.* [61]

Gilmour playing a Fender Stratocaster in 1984

Some of the equipment Gilmour has used on his solo or Pink Floyd records and tours include many versions of the Fender Stratocaster, several Les Paul, and other guitar models. His primary stage and studio guitar is a 1969 Fender Stratocaster. Black with a black pickguard, it has

32 white pick-up covers and knobs. It does not have the original neck. The guitar has an added switch that combines the neck and bridge pick-ups. It has a Seymour Duncan SSL-1C (SSL-5 Prototype) bridge pick-up. The guitar strap that Gilmour pairs with this instrument once belonged to Jimi Hendrix and was a gift from his wife Polly Samson on his 60th birthday. His main guitar for the post-Roger Waters era Pink Floyd tours was a Candy Apple Red 1984 1957 Stratocaster reissue. It has a set of EMG SA active pick-ups. This guitar still continues to be used for specific songs during Gilmour's live performances. Gilmour owns a Stratocaster # 0001. This is not the first model made. Others include: • Cream coloured 1957 reissue Stratocaster. This guitar was used on Gilmour's 1984 solo tour to support the About Face album and also during the early part of the 1987–1990 Pink Floyd tour. During the 1994 Pink Floyd tour it was used as a spare guitar. During Pink Floyd's Live 8 set sidesman Tim Renwick was seen playing it. It has the same EMG setup as his red '57 Reissue model. After it was used for Live 8, the neck from the cream Stratocaster was transferred to Gilmour's main black Stratocaster. • '57 Lake Placid Blue. (Serial number #0040). This guitar was used during The Wall recording sessions. • Sonic Blue “Eric Clapton”signature Stratocaster with Fender Lace Sensor pick-ups given to Gilmour by Fender Musical Instruments Corporation used most prominently on an episode of French and Saunders. Incidentally Mark Knopfler used Gilmour's EMG red Strat in the same sketch.

CHAPTER 2. MEMBERS and was used for "Run Like Hell". The second served as a backup instrument and had a regular guitar tuning. Gilmour used this guitar for Astronomy Domine. • '59 Custom Telecaster with sunburst ash body, white binding on the body, rosewood fingerboard, and a white pickguard. A Gibson Humbucker was briefly placed in the neck position but this was removed before it was used on the Animals' recording sessions. Last seen at rehearsals during the On an Island tour. • '61 Telecaster used during The Wall recording sessions. Also used live in the post-Waters era for“Run Like Hell”. Last seen on the Syd Barrett memory concert in 2007. • 1960s brown-faded body. Used in the late 1960s. • 1960s blonde ash body with white pickguard. This was Gilmour's main guitar during his first year with Pink Floyd, but it was lost by an airline company in 1968, prompting Gilmour to buy the brown-faded Telecaster.* [68] • Esquire '55 Sunburst body a.k.a. “The workmate Tele”. Neck pick-up added. Used at the recording sessions for his first solo album and seen on the back cover of his second solo album, and used in The Wall recording sessions and subsequent tour. Also seen when Gilmour performed with Paul McCartney in the late 1990s, at the Jerry Leiber and Mike Stoller tribute concert and at the AOL Elvis Tribute on the song Don't both in 2001.

• Double-neck Stratocaster. Custom made body by guitar builder Dick Knight and using standard Other electric guitars Fender necks. It was used in the early 1970s. Along with the Fender models, Gilmour has also used a • 1959 sunburst Stratocaster body with a 1963 neck Gibson Les Paul goldtop model with P-90 pick-ups durwith a rosewood fingerboard. This guitar was given ing recording sessions for The Wall and A Momentary to Gilmour by Steve Marriott. Gilmour didn't like Lapse of Reason.* [69] It was used for the guitar solo on the guitar enough to use it for very long but did like 'Another Brick in the Wall, Part 2'. the neck better than the original one on his black Stratocaster and the two were switched. The sun- Gilmour also plays a Gretsch Duo-Jet, a Gretsch White burst model was used as a spare and for slide guitar Falcon, and a“White Penguin”. He played a Bill Lewis 24-fret guitar during the Meddle and Dark Side of the in subsequent years. Moon recording sessions, and a Steinberger GL model • White with white pickguard. Used in the late 1960s. which was his main guitar during A Momentary Lapse of Received as a gift from the rest of the band.* [67] Reason recording sessions.* [70] • Gilmour used a Stratocaster equipped with the EMG SA pick-up system on the 'Momentary Lapse of Acoustics Reason' recording. • Telecaster blonde body with white pickguard. Used Gilmour has used many different acoustic guitars throughout his career including a Gibson “Chet Atkins” on the On an Island tour. classical model, and a Gibson J-200 Celebrity acoustic • '52 Butterscotch Reissues with black pickguard. guitar.* [71] Gilmour used several Ovation models inUsed between 1987 and 1995. The first guitar was cluding a Custom Legend 1619-4, and a Custom Legtuned in Dropped D rather than a standard tuning end 1613-4 nylon string guitar, both during The Wall

2.1. DAVID GILMOUR

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recording sessions.* [72] Martin models used include a D- Fender Black Strat Signature Stratocaster 35, and a D12-28 12-string.* [72] Gilmour's large acoustic collection also includes many models from Taylor, Takamine and Guild.

Steel guitar

Gilmour playing lap steel guitar, 26 January 1977

Throughout his recording career Gilmour has added a different element to his guitar style with his use of steel guitars. A pair of Jedson pedal steel guitars were used frequently in the early 1970s. Originally purchased from a pawn shop while Gilmour was in Seattle in 1970, the Jedson was used during recording of “One of These Days” from “Meddle”and “Breathe”and “Great Gig in the Sky”from The Dark Side of the Moon.* [73] Gilmour also owns a Fender Deluxe lap steel, which he used during The Division Bell tour in 1994.* [71] Gilmour also owns a Champ lap steel model. Along with the Fender steel models Gilmour has also used: a Gibson EH150, and two Jedson models: one red (1977-tuned D-G-D-G-B-E for Shine On You Crazy Diamond, Parts 6–9, 1987–2006: Tuned E-B-E-G-B-E for High Hopes) and one blonde. He also uses a ZB steel model.* [72] Gilmour played pedal steel guitar on the album Blue Pine Trees by Unicorn.

Bass guitars Gilmour has played bass both in the studio and onstage, and has played many different bass models including: an Ovation Magnum, a Fender Bass VI, Fender Precision* [74] and Jazz bass models and a Charvel fretless (all used during The Wall recording sessions). During the 1991 Amnesty International concert Gilmour used a Music Man Fretless Stingray bass while conducting the house band and again during Spinal Tap's performance of “Big Bottom”.

David Gilmour Signature Stratocaster NOS (without tremolo arm) in its case

In November 2006, Fender Custom Shop announced two reproductions of Gilmour's “Black”Strat for release on 22 September 2008. Phil Taylor- David's guitar tech supervised this release and has written a book on the history of this guitar www.theblackstrat.com Gilmour's website states the release date was chosen to coincide with the release of his Live in Gdansk album.* [75] Both guitars are based on extensive measurements of the original instrument, each featuring varying degrees of wear. The most expensive is the David Gilmour Relic Stratocaster* [76] which features the closest copy of wear on the original guitar. A pristine copy of the guitar is also made, called the David Gilmour NOS Stratocaster.* [77]

2.1.6 Personal life Gilmour's first marriage was to American-born model and artist Virginia “Ginger”Hasenbein, on 7 July 1975.* [78] The couple had four children: Alice (born 1976), Claire (born 1979), Sara (born 1983) and Matthew (born 1986).* [79] They originally attended a Waldorf School, but Gilmour called their education there

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CHAPTER 2. MEMBERS ally over a few years Intrepid Aviation became a business because you have to be businesslike about it. Suddenly I found instead of it being a hobby and me enjoying myself, it was a business and so I sold it. I don't have Intrepid Aviation any more. I just have a nice old biplane that I pop up, wander around the skies in sometimes...* [85] Gilmour has stated in interviews that he doesn't believe in an afterlife and that he is an atheist.* [86]* [87] On 22 May 2008, Gilmour won the 2008 Ivor Novello Lifetime Contribution Award, recognising his excellence in music writing.* [88] In autumn 2008, he was awarded for outstanding contribution for music by the Q Awards. He dedicated his award to his bandmate Richard Wright, who died in September 2008.* [4] On 11 November 2009, Gilmour received an honorary doctorate from the Anglia Ruskin University.* [89]

Gilmour at Live 8 in July 2005

“horrific”.* [80] In 1994, he married journalist Polly Samson. His best man was his teenage friend and Pink Floyd album artwork designer Storm Thorgerson.* [81] The couple have four children: Gilmour's adopted son Charlie (born 1991 to Samson and Heathcote Williams), Joe (born 1995), Gabriel (born 1997) and Romany (born 2002).* [82] Charlie's voice can be heard on the telephone to Steve O'Rourke, at the end of“High Hopes”from The Division Bell.* [5] Gilmour is Godfather to actress Naomi Watts, whose father Peter Watts was a Pink Floyd roadie during the 1970s. Gilmour has been associated with various charity organisations. In May 2003, Gilmour sold his house in Little Venice to the ninth Earl Spencer and donated the proceeds worth £3.6 million to Crisis to help fund a housing project for the homeless. He has been named a vice-president of the organisation.* [83] Other charities to which Gilmour has lent support include Oxfam, the European Union Mental Health and Illness Association, Greenpeace, Amnesty International,* [24] The Lung Foundation, Nordoff-Robbins Music Therapy,* [24] Teenage Cancer Trust, and People for the Ethical Treatment of Animals (PETA).* [84] He also donated £25,000 to the Save the Rhino foundation in exchange for Douglas Adams's name suggestion for the album that became The Division Bell.* [31]

When it comes to Gilmour's political views he has stated that he is left wing, and that his beliefs spring from that of his parents; he stated that his parents were “Proper Manchester Guardian readers”, and went onto say“Some of their friends went on the Aldermaston marches. Mine never did to my knowledge, but they were both committed to voting for the Labour Party"; Gilmour inherited his parents' socialism, stating “I still consider myself to be more a socialist than anything else, even if I can't quite stick with party politics”.* [90] In August 2014, Gilmour was one of 200 public figures who were signatories to a letter to The Guardian opposing Scottish independence in the run-up to September's referendum on that issue.* [91]

2.1.7 Discography Main article: David Gilmour discography See also: Pink Floyd discography

Studio albums • David Gilmour (1978) • About Face (1984) • On an Island (2006)

2.1.8 Notes

Gilmour is an experienced pilot and aviation enthusiast. has three siblings: Peter, Mark and CatherUnder the aegis of his company, Intrepid Aviation,* [24] [1] Gilmour * [7] ine. he had amassed a collection of historical aircraft. He later decided to sell the company, which he had started as a hobby, feeling that it was becoming too commercial for 2.1.9 Citations him to handle. In a BBC interview, he stated: Intrepid Aviation was a way for me to make my hobby pay for itself a little bit, but gradu-

[1] “Gilmour, David”. Encyclopedia of Popular Music. Oxford Music Online. Retrieved 4 June 2014. (subscription required (help)).

2.1. DAVID GILMOUR

[2] For 250 million records sold see: “Pink Floyd Reunion Tops Fans' Wish List in Music Choice Survey”. Bloomberg Television. 26 September 2007. Retrieved 2 August 2012.; For 74.5 million RIAA certified units sold see: “Top Selling Artists”. RIAA. Retrieved 2 August 2012. [3] Blake 2008, p. 378.

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[31] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus,. ISBN 978-1-84938-370-7. [32] “Pink Floyd gives back”. Retrieved 2 December 2007. [33] “Pink Floyd offered millions to tour”. Retrieved 2 December 2007.

[4] “Q Awards 2008 Outstanding Contribution”. .qawards.co.uk. Retrieved 20 July 2011.

[34] “Il requiem di David Gilmour “I Pink Floyd? Sono finiti"". la Repubblica. 3 February 2006. Retrieved 20 July 2011.

[5] Fitch 2005, p. 115.

[35] Mabbett 2010, pp. 140–141.

[6] Blake 2008, p. 14: the house in Trumpington; Manning 2006, pp. 10–11.

[36] “Arnold Layne chart position”. Retrieved 4 December 2007.

[7] Blake 2008, p. 14.

[37] Booth, Robert (16 September 2008). “Pink Floyd's Richard Wright dies”. The Guardian. Retrieved 16 October 2013.

[8] Manning 2006, pp. 10–11. [9] Blake 2008, pp. 18–19. [10] Manning 2006, p. 11. [11] Blake 2008, pp. 15–17.

[38]“afp.google.com, Pink Floyd's Gilmour mourns bandmate Wright”. Google. Agence France-Presse. 16 September 2008. Retrieved 20 July 2011. [39] “100 Greatest Guitar Solos: 51–100”. Guitar World. Retrieved 9 August 2010.

[12] Manning 2006, p. 18: arrested for busking; “PINK FLOYD – David Gilmour Photos, Biography, Apparel” [40] Fitch & Mahon 2006, pp. 75–76. . Megapinkfloyd.com. Retrieved 9 August 2010.: malnutrition. [41] “David Gilmour's Guitar Solo is Number 1 (Musicjot)". Musicjot.com. Retrieved 27 September 2014. [13] Manning 2006, p. 18. [42] “100 Greatest Guitarists: David Gilmour”. Rolling Stone. [14] Manning 2006, p. 44. Retrieved 30 June 2014. [15] Manning 2006, p. 38. [16] Mason 2005, pp. 109–111: (primary source); Povey 2008, p. 47: (secondary source). [17] Schaffner 1991, p. 107.

[43] “David Gilmour – DVD Draw”. Davidgilmourblog.com. Retrieved 27 September 2014. [44] Povey 2008, pp. 306, 314–315. [45] Povey 2008, p. 315.

[18] Blake 2008, pp. 90–113: (secondary source); Mason 2005, pp. 78–105: (primary source).

[46] Blake 2008, p. 387.

[19] Blake 2008, pp. 112.

[47] “David Gilmour Biography”. Archived from the original on 3 December 2007. Retrieved 4 December 2007.

[20] Blake 2008, pp. 90–113, 112. [21] Povey 2008, pp. 78–80. [22] Povey & Russell 1997, p. 185.

[48] “On an Island music charts”. Retrieved 4 December 2007. [49] April 2006“Billboard 200”. Archived from the original on 6 January 2008. Retrieved 4 December 2007.

[23] Schaffner 1991, pp. 221–222. [50] Povey 2008, p. 298. [24] Miles, Barry; Andy Mabbett (1994). Pink Floyd the visual documentary (Updated ed.). London: Omnibus. ISBN 07119-4109-2. [25] Schaffner 1991, p. 123. [26] Blake 2008, p. 304. [27] Blake 2008, p. 312.

[51] Mabbett 2010, pp. 139–140. [52] Povey 2008, pp. 306–310. [53] Mabbett 2010, pp. 141–142. [54] Povey 2008, p. 310.

[28] Povey 2008, pp. 240–241, 246.

[55] “Pink Floyd news resource”. Brain Damage. 27 May 2009. Retrieved 20 July 2011.

[29] Povey 2008, p. 240.

[56] “Chicago”. Retrieved 4 August 2009.

[30] Blake 2008, p. 318.

[57] “McKinnon Campaign”. Retrieved 4 August 2009.

36

[58] By Daniel Kreps (12 July 2010). “Pink Floyd's Gilmour and Waters Stun Crowd With Surprise Reunion | Rolling Stone Music”. Rolling Stone. Retrieved 20 July 2011. [59] “Pink Floyd bandmates reunite at Roger Waters concert” . viagogo. 16 May 2011. Retrieved 14 October 2013. [60] “The Orb on Gilmour's website”. Davidgilmour.com. Retrieved 20 July 2011. [61] Wenner 2011, p. 59. [62] “David Gilmour Recording New Album With David Crosby and Graham Nash”. Ultimateclassicrock.com. Retrieved 30 June 2014. [63] Kaye, Ben (20 November 2013). “David Gilmour is recording a new solo album”. Consequence of Sound. Retrieved 30 June 2014. [64] “David Crosby and Graham Nash to guest on new David Gilmour album”. Uncut. 22 June 2014. Retrieved 30 June 2014. [65] “David Gilmour: There's No Room in My Life for Pink Floyd”. Rolling Stone. 29 October 2014. Retrieved 9 November 2014. [66] “David Gilmourʼs New Album “Coming Along Very Well...”in 2015”. Neptune Pink Floyd. 29 October 2014. Retrieved 9 November 2014. [67] The White Stratocaster. “The White Stratocaster”. Gilmourish. Retrieved 19 January 2009. [68] Telecasters. “Telecasters”. Gilmourish. Retrieved 19 January 2009. [69] Fitch 2005, pp. 428, 431. [70] Fitch 2005, pp. 420: Bill Lewis 24-fret guitar, 431: Steinberger GL model. [71] Fitch 2005, p. 434. [72] Fitch & Mahon 2006, p. 268. [73] Fitch 2005, p. 424.

CHAPTER 2. MEMBERS

[82] Blake 2008, p. 371: Romany, Fitch 2005, p. 116: Charlie, Joe and Gabriel. [83] “David Gilmour backs Crisis urban village”. Crisis. Retrieved 20 May 2003. [84] “FAQs”. Retrieved 27 May 2012. [85] “Intrepid Aviation”. Archived from the original on 21 October 2007. Retrieved 5 December 2007. [86] Newsday, published 30 March 2006: “I'm an atheist, and I don't have any belief in an afterlife...” [87]“The theme of the new album – those Pink Floyd habits die hard – is mortality. One song, 'This Heaven', reflects Gilmour's atheism”.The Sunday Telegraph (London), 28 May 2006, Section Seven, Pg. 8. [88] [89] “Cambridge City News, Cambridge Local News Stories & Latest Headlines About Cambridge | ARU honours Floyd's Gilmour with degree”. Cambridge-news.co.uk. Retrieved 9 August 2010. [90] Blake, Mark (October 2008).“David Gilmour: The Mojo Interview”. Mojo (London) 179: 45–46. [91] “Celebrities' open letter to Scotland – full text and list of signatories | Politics”. The Guardian. 7 August 2014. Retrieved 26 August 2014.

2.1.10 Sources • Blake, Mark (2008). Comfortably Numb: The Inside Story of Pink Floyd (1st US paperback ed.). Da Capo Press. ISBN 978-0-306-81752-6. • Fitch, Vernon (2005). The Pink Floyd Encyclopedia (Third ed.). Collector's Guide Publishing, Inc. ISBN 978-1-894959-24-7. • Fitch, Vernon; Mahon, Richard (2006). Comfort-

[74] http://www.uberproaudio.com/who-plays-what/ ably Numb: A History of “The Wall”– Pink Floyd 160-pink-floyd-david-gilmours-guitar-gear-rig-and-equipment 1978–1981 (1st ed.). PFA Publishing, Inc. ISBN [75] “The Voice and Guitar of Pink Floyd | Official Site”. David Gilmour. Retrieved 19 January 2009. [76] “David Gilmour Relic Stratocaster”. Zuitar.com. Retrieved 16 August 2008. [77] “David Gilmour NOS Stratocaster”. Zuitar.com. Retrieved 16 August 2008. [78] Gilmour, Ginger.“Ginger Art”. Retrieved 15 July 2011. [79] Fitch 2005, p. 116. [80] “Daily Telegraph Article: “We Don't Need No Steiner Education"". Waldorfcritics.org. Archived from the original on 20 July 2011. Retrieved 19 January 2009. [81] Samson, Polly (18 April 2013). “Best man at our wedding”. Retrieved 18 April 2013.

978-0-9777366-0-7. • Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery (1st UK paperback ed.). Omnibus Press. ISBN 978-1-84938-370-7. • Manning, Toby (2006). The Rough Guide to Pink Floyd (1st US paperback ed.). Rough Guides Ltd. ISBN 978-1-84353-575-1. • Mason, Nick (2005). Inside Out: A Personal History of Pink Floyd (1st US paperback ed.). Chronicle Books. ISBN 978-0-8118-4824-4. • Povey, Glen (2008). Echoes: The Complete History of Pink Floyd (2nd UK paperback ed.). 3C Publishing Ltd. ISBN 978-0-9554624-1-2.

2.2. NICK MASON

37

• Povey, Glen; Russell, Ian (1997). Pink Floyd: In the 2.1.12 External links Flesh: The Complete Performance History (1st US • Official website paperback ed.). St. Martin's Press. ISBN 978-09554624-0-5. • Official blog • Schaffner, Nicholas (1991). Saucerful of Secrets: the • Bootleg recordings Pink Floyd Odyssey (1st US paperback ed.). Dell Publishing. ISBN 978-0-385-30684-3. • Wenner, Jann, ed. (8 December 2011). “Rolling 2.2 Nick Mason Stone: The 100 Greatest Guitarists of All Time”. Rolling Stone (1145). |chapter= ignored (help) Nicholas Berkeley “Nick”Mason (born 27 January 1944) is an English musician and composer, best known as the drummer of Pink Floyd. He is the only constant 2.1.11 Further reading member of the band since its formation in 1965. Despite solely writing only a few Pink Floyd songs, Mason has co• Di Perna, Alan (2002). Guitar World Presents Pink written some of Pink Floyd's most popular compositions Floyd. Hal Leonard Corporation. ISBN 978-0-634- such as "Echoes" and "Time". 03286-8. Mason is the only Pink Floyd member to be featured on every one of their albums. It is estimated that as • Fitch, Vernon (2001). Pink Floyd: The Press Reof 2010, the group have sold over 250 million records ports 1966–1983. Collector's Guide Publishing Inc. worldwide,* [1]* [2] including 74.5 million units sold in ISBN 978-1-896522-72-2. the United States. • Fricke, David (December 2009). “Roger Waters: He competes in auto racing events, such as the 24 Hours Welcome to My Nightmare ... Behind The Wall”. of Le Mans.* [3] Mojo (Emap Metro) 193: 68–84. On 26 November 2012, Mason received an Honorary Doctor of Letters from the University of Westminster at • Harris, John (2005). The Dark Side of the Moon: the presentation ceremony of the School of Architecture The Making of the Pink Floyd Masterpiece. Da and Built Environment (he had studied architecture at Capo. ISBN 978-0-306-81342-9. the University's predecessor, Regent Street Polytechnic, 1962–1967).* [4] • Hiatt, Brian (September 2010).“Back to The Wall” . Rolling Stone 1114: 50–57. • MacDonald, Bruno (1997). Pink Floyd: through the eyes of ... the band, its fans, friends, and foes. Da Capo Press. ISBN 978-0-306-80780-0.

2.2.1 Early life

The son of the documentary film maker Bill Mason, he was born in Birmingham but brought up in Hampstead, London (many online biographies mistakenly cite the • Mabbett, Andy (1995). The Complete Guide to the street address Downshire Hill – sometimes as“the DownMusic of Pink Floyd (1st UK paperback ed.). Omshire Hills”– as a district of Birmingham), and attended nibus Press. ISBN 978-0-7119-4301-8. Frensham Heights School, near Farnham, Surrey. He later studied at the Regent Street Polytechnic (now the • Miles, Barry (1982). Pink Floyd: A Visual DocuUniversity of Westminster), where he teamed up with mentary by Miles. New York: Putnam Publishing Roger Waters, Bob Klose and Richard Wright in 1964 Group. ISBN 978-0-399-41001-7. to form Pink Floyd's predecessor, Sigma 6. • Scarfe, Gerald (2010). The Making of Pink Floyd: The Wall (1st US paperback ed.). Da Capo Press. 2.2.2 ISBN 978-0-306-81997-1.

Musical career

Mason has been the drummer on every Pink Floyd al• Simmons, Sylvie (December 1999). “Pink Floyd: bum* [5] (but not on every song; some feature session The Making of The Wall”. Mojo (London: Emap drummers and drum machines).* [5] Metro) 73: 76–95. The only Pink Floyd songs that are solely credited to Ma• Watkinson, Mike; Anderson, Pete (1991). Crazy son are "The Grand Vizier's Garden Party Parts 1–3" Diamond: Syd Barrett & the Dawn of Pink Floyd (from Ummagumma) and "Speak to Me" (from The Dark (1st UK paperback ed.). Omnibus Press. ISBN Side of the Moon).* [5] The one-off song by the band titled 978-1-84609-739-3. “Nick's Boogie”was named after him.* [5]

38 The only times Mason's voice has been included on Pink Floyd's albums are "Corporal Clegg", the single spoken line in "One of These Days" and spoken parts of "Signs of Life" and "Learning to Fly" (the latter taken from actual recording of Mason's first solo flight) from A Momentary Lapse of Reason.* [5] He does, however, sing lead vocals on two unreleased but heavily bootlegged tracks, "Scream Thy Last Scream" (1967), penned by original leader Syd Barrett and “The Merry Xmas Song”(1975–76). In live performances of the song "Sheep", he did the spoken section.* [5] Mason also appears to sing lead vocals on the bridge to Waters' first composition Take Up Thy Stethoscope and Walk. Despite legal conflicts over ownership of the name 'Pink Floyd', which began when Waters left the group in 1986 and lasted roughly seven years, Waters and Nick Mason are now on good terms.* [5] Mason joined Waters on the last two nights of his 2002 world tour to play drums on the Pink Floyd song "Set the Controls for the Heart of the Sun", and he also played drums on some concerts of Waters' European tour in 2006, and during performances in Los Angeles and New York City in the United States. On 12 May 2007, Mason joined Waters again on stage at Earls Court to play The Dark Side of the Moon. Again, on 12 May 2011, Mason was featured, along with David Gilmour, on the encore "Outside the Wall" at a concert by Waters, who was performing The Wall in its entirety. Gilmour also performed on "Comfortably Numb" that night.

CHAPTER 2. MEMBERS failed piano and violin lessons as a child before taking up drums. Mason has done some work with other people, notably as a drummer and producer for Steve Hillage, Robert Wyatt (with whom he appeared on Top of the Pops* [5]), The Damned and Gong.* [6] He also drummed for Michael Mantler.* [6] Nick Mason used Premier drums in the 1960s and occasionally in the 1970s (mainly on recordings up to Wish You Were Here). After that, he used Ludwig drums from 1970 until 1992. He currently uses Drum Workshop (DW) drums, pedals and hardware. His kit is a DW double bass kit with the Dark Side of the Moon logo on the drums. He has also used Paiste cymbals during his entire career with Pink Floyd and currently uses a mixture of Paiste Traditional, Signature and 2002 cymbals. He also endorses Remo drumheads, Latin Percussion and ProMark sticks. Mason's book, Inside Out: A Personal History of Pink Floyd, was published in the UK in October 2004.* [5] It is also available, abridged, as a 3CD audio book, read by Mason.* [5] An updated edition was published, in paperback, in 2011. He performed in the closing ceremony of the 2012 Olympic Games on 12 August 2012.

2.2.3 Pink Floyd songs co-written by Mason In July 2005, Mason, Gilmour, Wright, and Waters played together on stage for the first time in 24 years.* [5] A four-song set was played at the Live 8 concert in London.* [5] Mason also joined Gilmour and Wright for the encore during Gilmour's show at the Royal Albert Hall, London, on 31 May 2006, reuniting the post-Waters Pink Floyd. Mason has also claimed to be the link between Gilmour and Waters, and believes the band will play live again, mentioning the possibility of “playing again for a charitable cause”or even“a tour”in various interviews in the last few years. He also stated in 2006 that Pink Floyd have not officially disbanded yet. Unlike the other members of Pink Floyd, Mason has rarely played an instrument other than his drum kit or large array of percussion instruments, although he has utilized tapes and contributed sound effects to many Pink Floyd albums. He has only ever played non-percussive instruments on “The Grand Vizier's Garden Party”, his personal composition from Ummagumma, where he used a mellotron to play brief melodies and create ambient noises, on “Jugband Blues”, where he played kazoo, and on live versions of “Outside the Wall”, where he played acoustic guitar along with the rest of the band. However, on the Profiles album Mason released with Rick Fenn in 1985, he is also credited with keyboards.* [6] He can be seen playing a vibraphone in the promo video for “Lie for a Lie”, but it is unknown if he actually played on the recording. Mason has also said that he took some

•“Nick's Boogie”(1967) (London '66–'67) • "Pow R. Toc H." (1967) (The Piper at the Gates of Dawn) • "Interstellar Overdrive" (1967) (The Piper at the Gates of Dawn) • "A Saucerful of Secrets" (1968) (A Saucerful of Secrets) • "Careful with That Axe, Eugene" (1968) (B-side of their single "Point Me at the Sky") •“The Merry Xmas Song”(1969) (Unreleased) • "Up the Khyber" (1969) (Soundtrack from the Film More) • "Party Sequence" (1969) (Soundtrack from the Film More) • "Main Theme" (1969) (Soundtrack from the Film More) • "Ibiza Bar" (1969) (Soundtrack from the Film More) • "More Blues" (1969) (Soundtrack from the Film More)

2.2. NICK MASON

39

• "Quicksilver" (1969) (Soundtrack from the Film 2.2.4 Drumming style More) Influenced by jazz and big band music, Nick was a pi• "Dramatic Theme" (1969) (Soundtrack from the oneer who embraced acoustic drums (both single and Film More) double headed), tuned percussion, electronic drums and Rototoms, melding all of these into a melodic whole. • "The Grand Vizier's Garden Party" (1969) His snare drum sound shifted from harsh demarcation of (Ummagumma) beats 2 and 4 (“Careful with that Axe, Eugene”) to a fatter and gentler timbre (“Echoes”) ̶a change that •“Come In Number 51, Your Time Is Up”(1970) reflected growing studio chops.* [7] His style was gentler (Zabriskie Point) and more laid back than other progressive rock drummers •“Country Song”(1970) (Zabriskie Point) of the time. Mason soloed on a few Pink Floyd compositions including 'Nick's Boogie', 'A Saucerful of Se•“Crumbling Land”(1970) (Zabriskie Point) crets', 'The Grand Vizier's Garden Party', 'Up The Khyber', 'Skins', and 'Time'. Due to the dynamic live perfor•“Heart Beat, Pig Meat”(1970) (Zabriskie Point) mances of Pink Floyd, Mason's style was more energetic • "Atom Heart Mother" (1970) (Atom Heart Mother) and complex live, and can be heard on such albums as Ummagumma and Live at Pompeii. • "Alan's Psychedelic Breakfast" (1970) (Atom Heart Mother) • "One of These Days" (1971) (Meddle)

2.2.5 Non-musical ventures

Mason's first marriage was to Lindy Rutter, with whom he had two daughters Chloe and Holly. Lindy was also an accomplished woodwind player and she played flute on • "Echoes" (1971) (Meddle) ´The Grand Vizier's Garden Party´ from ´Ummagumma´. The couple divorced in the late 1980s and Mason is • "When You're In" (1972) (Obscured by Clouds) now married to his second wife, Nettie, most famous for • "Speak to Me" (1973) (The Dark Side of the Moon) her adjudication role on the second series of Treasure Hunt in 1984. They have two sons Cary and Guy and • "Time" (1973) (The Dark Side of the Moon) live in Hampstead, London; however, they often stay in • "Any Colour You Like" (1973) (The Dark Side of the Wiltshire town of Corsham in the former home of Camilla Parker Bowles. Holly is married to sports car the Moon) racer Marino Franchitti, the younger brother of multiple * •“Carrera Slow Blues”(1992) (La Carrera Panamer- IndyCar champion Dario Franchitti. [8] icana) As Pink Floyd's recording and touring schedule grew • "Seamus" (Meddle)

more sporadic, Mason was left with more time to pursue •“Pan Am Shuffle”(1992) (La Carrera Panamerihis favourite hobby: motor racing. He owns (through his cana) company Ten Tenths) and races several classic cars, and •“Soundscape”(1995) (Bonus track on live album has competed successfully at the 24 Hours of Le Mans. His collection has been a subject of his 1998 book, Into Pulse) the Red, in which he documents his experience with his •“Love Scene (Version 6)" (1997) (Extended 1997 cars, along with some histories.* [9] He is also a qualified Release of Zabriskie Point) pilot, and flies an Aerospatiale AS 350 Squirrel helicopter in specially painted colours.* [10] •“Unknown Song”(1997) (Extended 1997 Release Mason was invited by Ferrari to purchase one of their of Zabriskie Point) 400 Enzos, which he let Jeremy Clarkson borrow for re•“Love Scene (Version 4)" (1997) (Extended 1997 viewing purposes on the BBC motoring programme Top Gear. Mason agreed, on the sole condition that throughRelease of Zabriskie Point) out the review, Clarkson promoted the release of the •“The Hard Way”(2011) (The Dark Side of the Moon book Inside Out: A Personal History of Pink Floyd. This (Immersion edition) led to Clarkson using Pink Floyd album titles in his description of the Enzo and The Stig driving round the track •“The Travel Sequence”(2011) (The Dark Side of with "Another Brick in the Wall" playing (despite the fact the Moon (Immersion edition) that the Enzo does not come equipped with a stereo). Mason says that his favourite car of all time is the Ferrari 250 •“Sum”(2014) (The Endless River) GTO, and owns one of the 39 built (valued between £16m •“Skins”(2014) (The Endless River) and £30m).

40

CHAPTER 2. MEMBERS

His wealth amounts to £55 million, according to the 2.2.8 Books Sunday Times Rich List 2006–07.* [11] • Into the Red: 22 Classic Cars That Shaped a Century of Motor Sport (with Mark Hales) – 3 September 2.2.6 Views and advocacy 1998 (first edition), 9 September 2004 (second edition) Mason has played concerts to raise funds for Countryside Alliance.* [12] He is a board member and co-chairman • Inside Out: A Personal History of Pink Floyd – 28 of the Featured Artists' Coalition.* [13]* [14] Mason October 2004* [5] has resided at Middlewick House near Corsham, north Wiltshire, since 1996.

2.2.9 References 2.2.7

Discography

[1] “Pink Floyd Reunion Tops Fans' Wish List in Music Choice Survey”, Bloomberg, 26 September 2007, retrieved 25 May 2012

With Pink Floyd Main article: Pink Floyd discography

[2] “Pink Floyd's a dream, Zeppelin's a reality”, Richmond Times-Dispatch, 28 September 2007, retrieved 25 May 2012

Solo albums • Nick Mason's Fictitious Sports – 3 May 1981 [5] *

[3] Discovery Channel Documentary,“World's Most Expensive Cars” [4] University of Westminster presentation ceremony programme, 26 November 2012

With Rick Fenn • Profiles – 29 July 1985* [5] • White of the Eye – 1987 (soundtrack)* [5]

[5] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus,. ISBN 978-1-84938-370-7. [6] Miles, Barry; Mabbett, Andy (1994). Pink Floyd the visual documentary ([Updated ed.] ed.). London :: Omnibus,. ISBN 0-7119-4109-2.

• Tank Malling – 1988 (soundtrack) With Michael Mantler

[7] “Artists”. Lpmusic.com.

• The Hapless Child – 1976 [6] *

[8] Boshoff, Alison (2011-12-03).“Pink Floyd family values: It's not just rioter Charlie Gilmour... how four rock stars had EIGHTEEN children by eight women”. Mail Online (London). Retrieved 20 December 2011.

• Something There – 1982* [6] • Live – 1987* [6] • Review – 2000

[9] “Into the Red”. Tentenths.co.uk. Retrieved 22 October 2011.

• Concertos – 2008

[10] “Stock photography image of Mason of in his special painted Aerospatiale AS 350 helicopter”. Photographersdirect.com. Retrieved 22 October 2011.

As a producer • Principal Edwards Magic Theatre – The Asmoto Running Band (1971)* [6] • Principal Edwards Magic Theatre – Round One (1974)* [6] • Robert Wyatt – Rock Bottom (1974) [6] *

• Gong – Shamal (1976)* [6] • The Damned – Music for Pleasure (1977)* [6]

[11] Sunday Times Rich List 2006–2007, A & C Black (ISBN 978-0-7136-7941-0) [12] “Bryan Ferry to play Countryside Alliance Benefit Concert”. [13] Youngs, Ian (16 October 2010). “Pink Floyd may get back together for charity”. BBC Online. Retrieved 16 October 2010.

• Steve Hillage – Green (1978); co-produced with [14] “FAC Chairman Nick Mason in keynote interview at In Steve Hillage. Mason also plays a drum on “LeyThe City 2010”. Featured Artists' Coalition. 20 September 2010. Retrieved 16 October 2010. lines to Glassdom”* [6]

2.2. NICK MASON

2.2.10

External links

• Nick Mason's Drummerworld profile • Nick Mason interviews • Ten Tenths official site • Inside Out book page from Pink Floyd official site • Pink Floyd Drums: The Division Bell Tour Drums • An interview with Nick Mason by The Drummerʼs Journal, 2014 • An interview with Nick Mason with "Floydian Slip" host Craig Bailey, November 2014

41

Chapter 3

Past Members 3.1 Syd Barrett

ing at 60 Glisson Road.* [3]* [4] Barrett was the third of five children.* [3] His father, Arthur Max Barrett, was a * * * [6] and he was related to Roger Keith “Syd”Barrett (6 January 1946 – 7 July prominent pathologist [3] [5] * * Elizabeth Garrett Anderson. [5] [6] In 1951 his family 2006) was an English musician, composer, singer, song* * moved to 183 Hills Road. [3] [4] writer and painter. Best known as a founder member of the band Pink Floyd, Barrett was the lead vocalist, gui- Barrett played piano occasionally, but usually preferred tarist and principal songwriter in its early years and is writing and drawing. He got a ukulele at 10, a banjo at credited with naming the band. Barrett left Pink Floyd 11* [7] and a Hofner acoustic guitar at 14.* [8]* [9] A year in April 1968 and was briefly hospitalized amid specula- after he got his first acoustic guitar, he bought his first tion of mental illness exacerbated by drug use.* [2] electric guitar and built his own amplifier. One story of Barrett was musically active for less than ten years. With how Barrett acquired the nickname“Syd”is that at the age called after an old local Cambridge jazz douPink Floyd, he recorded four singles, their debut album of 14 he was * * ble bassist, [9] [10] Sid“the beat”Barrett, which claims (and contributed to the second one), and several unreSyd Barrett changed the spelling to differentiate himself leased songs. Barrett began his solo career in 1969 with * from his namesake. [11] Another story is that when he the single "Octopus" from his first solo album, The Madwas 13, his schoolmates nicknamed him “Syd”after he cap Laughs (1970). The album was recorded over the showed up to a field day at Abington Scout site wearing a course of a year with five different producers (Peter Jenflat cap instead of his Scout beret because “Syd”was a ner, Malcolm Jones, David Gilmour, Roger Waters and * “working-class”name. [12] He used both names interBarrett himself). Nearly two months after Madcap was changeably for several years. His sister Rosemary stated, released, Barrett began working on his second and final “He was never Syd at home. He would never have allowed album, Barrett (1970), produced by Gilmour and featur* ing contributions from Richard Wright. He went into it.” [10] self-imposed seclusion until his death in 2006. In 1988, At one point at Morley Memorial Junior School he an album of unreleased tracks and outtakes, Opel, was was taught by Roger Waters' mother, Mary.* [13] Later, released by EMI with Barrett's approval. in 1957, he attended Cambridgeshire High School for * * His father died of canBarrett's innovative guitar work and exploration of ex- Boys [14] (with Waters). [3] * * cer on 11 December 1961, [9] [15] less than a month perimental techniques such as dissonance, distortion and * before Barrett's 16th birthday. [16] Also on this day, feedback influenced many musicians, including David Barrett had left the entry in his diary for this date Bowie & Brian Eno. His recordings are also noted for * blank. [9] By this time, his brothers and sisters had their strongly English-accented vocal delivery. After left home and his mother decided to rent out rooms to leaving music, Barrett continued with painting and dedi* * * [15] [17] [18] Eager to help her son recover lodgers. cated himself to gardening. Biographies began appearing from his grief, Barrett's mother encouraged the band in in the 1980s. Pink Floyd wrote and recorded several tribwhich he played, Geoff Mott and The Mottoes, a band utes to him, most notably the 1975 album Wish You Were * Here, which included "Shine On You Crazy Diamond", which Barrett formed, [9] to perform in their front room. Waters and Barrett were childhood friends, and Waters as homage to Barrett. often visited such gigs.* [3]* [9]* [19] At one point, Waters even organised a gig, a CND benefit at Friends Meeting House on 11 March 1962,* [3] but shortly afterwards 3.1.1 Biography Jeff Mott joined the Boston Crabs, and the Mottoes broke up.* [9] Early years In September 1962, Barrett had taken a place at the Camart department,* [20] where he Syd Barrett was born as Roger Keith Barrett in the En- bridge Technical College * glish city of Cambridge to a middle-class family liv- met David Gilmour. [21] During the winter of 1962 and 42

3.1. SYD BARRETT early 1963, the Beatles made an impact on Barrett, and he began to play Beatles songs at parties and at picnics. In 1963, Barrett became a Rolling Stones fan and Barrett and then-girlfriend Libby Gausden saw them perform at a village hall in Cambridgeshire.* [21] It was at this point Barrett started writing songs; one friend recalls hearing “Effervescing Elephant”(later to be recorded on his solo album Barrett).* [22] Also around this time, Barrett and Gilmour occasionally played acoustic gigs together.* [23] Barrett had played bass guitar with Those Without during the summer of 1963* [23]* [24] and both bass and guitar with The Hollerin' Blues the next summer.* [23] In 1964, Barrett and Gausden saw Bob Dylan perform.* [21] After this performance, Barrett was inspired to write "Bob Dylan Blues".* [25] Barrett, now thinking about his future,* [23] decided to apply for Camberwell College of Arts in London.* [26] Barrett enrolled in the college in the summer of 1964* [23] to study painting.* [27]

43

While Pink Floyd began by playing cover versions of American R&B songs,* [42] by 1966 they had carved out their own style of improvised rock and roll,* [43]* [44] which drew as much from improvised jazz.* [45] After Bob Klose departed from the band, the band's direction changed. However, the change was not instantaneous,* [nb 4] with more improvising on the guitars and keyboards.* [35] Mason reflected, “It always felt to me that most of the ideas were emanating from Syd at the time.”* [nb 5]* [35]

At this time, Barrett's reading reputedly included: Grimm's Fairy Tales, Tolkien's The Hobbit and Lord of the Rings, Carlos Castaneda's The Teachings of Don Juan, and The I-Ching. During this period, Barrett wrote most of the songs for Pink Floyd's first album, and also songs that would later appear on his solo albums.* [48] In 1966, a new rock concert venue, the UFO (pronounced as “you-foe”),* [50] opened in London and quickly became a haven for British psychedelic music. Pink Floyd, Pink Floyd years (1965–68) the house band,* [46]* [50]* [51]* [52] was its most popular attraction and after making appearances at the rival Main article: Pink Floyd Roundhouse,* [52]* [53]* [54] became the most popular musical group of the "London Underground" psychedelic Starting in 1964, the band that would become Pink Floyd music scene.* [8] evolved through various line-up and name changes including “The Abdabs”,* [28]* [29] “The Screaming By the end of 1966, Pink Floyd had gained a reliable manAbdabs”,* [29]“Sigma 6”,* [29]* [30] and“The Meg- agement team in Andrew King and Peter Jenner.* [55] Togadeaths”.* [29] In 1965, Barrett joined them as The wards the end of October 1966, Pink Floyd, with King Tea Set* [29]* [31] (sometimes spelled T-Set).* [32] When and Jenner, set up Blackhill Enterprises, to manage the they found themselves playing a concert with another group's finances. Blackhill was staffed by lodgers Jenband of the same name, Barrett came up with“The Pink ner found in his Edbrooke Road house, and among othFloyd Sound”(also known as “The Pink Floyd Blues ers, Barrett's flatmate, Peter Wynne Wilson (who beBand”,* [32] later “The Pink Floyd”).* [nb 1] During came road manager, however, since he had more experi1965, they went into a studio for the first time, when a ence in lighting, he was also lighting assistant).* [56] King friend of Richard Wright's gave the band free time to and Jenner wanted to prepare some demo recordings for record.* [nb 2]* [31] In the summer of 1965, Barrett began a possible record deal, so at the end of October, they booked a session at Thompson Private Recording Stuan affair with Lindsay Corner.* [39] dio,* [52] in Hemel Hempstead.* [nb 6]* [56] King said of During this summer Barrett had his first LSD trip in the the demos: “That was the first time I realised they were garden of friend Dave Gale,* [39]* [40] with Ian Moore going to write all their own material, Syd just turned into and Storm Thorgerson.* [nb 3]* [39] In one period of exa songwriter, it seemed like overnight.”* [57] perimentation with LSD, Barrett and another friend, Paul Charrier, ended up naked in the bath, reciting:“No rules, King and Jenner befriended American expatriate Joe no rules”.* [41] That summer, as a consequence of the Boyd, the promoter of the UFO Club, who was makcontinuation of drug use, the band became absorbed in ing a name for himself as one of the more important enSant Mat, a Sikh sect. Storm Thorgerson (then living on trepreneurs on the British music scene. The newly hired Earlham Street) and Barrett went to a London hotel to booking agent, Bryan Morrison, and Boyd had proposed meet the sect's guru; Thorgerson managed to join the sect, sending in better quality recordings. From Morrison's while Barrett, however, was deemed too young to join. agency the band played a gig outside London for the first Thorgerson perceives this as a deeply important event in time.* [58] In November, the band performed the first Barrett's life, as he was intensely upset by the rejection. (of many) strangely named concerts: Philadelic Music While living within close proximity of his friends, Barrett for Simian Hominids, a multimedia event arranged by decided to write more songs ("Bike" was written around the group's former landlord, Mike Leonard, at Hornsey College of Art.* [52]* [58] They performed at the Free this time).* [35] School* [59] for the following two weeks, before performing at the Psychodelphia Versus Ian Smith event at London Underground, Blackhill Enterprises and the Roundhouse in December, arranged by the Majority gigs Main article: Blackhill Enterprises

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Rule for Rhodesia Campaign, and an Oxfam benefit at British singles charts* [66] (despite being banned by Rathe Albert Hall* [52] (the band's biggest venue up to this dio London)* [63]* [67] and the follow-up single, "See point).* [58] Emily Play", had done even better, peaking at number 6.* [66] The album was successful in the UK, hitting number 6 on the British album charts.* [66] Their first three Releases singles (including their third "Apples and Oranges"), were written by Barrett, who also was the principal visionary/author of their critically acclaimed 1967 debut alTonite Lets All Make Love in London Main article: bum. Of the eleven songs on Piper, Barrett wrote eight Tonite Lets All Make Love in London and co-wrote another two.* [68] At the beginning of 1967, Barrett was dating Jenny Spires (who would later marry future Stars member Jack Monck), however, unknown to Barrett, Spires had an affair with Peter Whitehead. Spires convinced Whitehead (who thought the band sounded like “bad Schoenberg") to utilise Pink Floyd in a film about the swinging London scene.* [60] So at the cost of £80, in January, Whitehead took the band into John Wood's Sound Techniques in Chelsea,* [61] with promoter Joe Boyd in tow.* [60] Here, the band recorded a 16-minute version of “Interstellar Overdrive”and another composition, “Nick's Boogie”.* [60]* [61] Whitehead had filmed this recording, which was used in the film Tonite Let's All Make Love in London* [61] and later on the video release of London '66–'67.* [60]* [61] Whitehead later commented about the band that: “They were just completely welded together, just like a jazz group”.* [60]

Record deal Boyd attempted to sign the band with Polydor Records.* [49]* [62] However, Morrison had convinced King and Jenner to try to start a bidding war between Polydor and EMI.* [62] In late January, Boyd produced a recording session for the group,* [49]* [55] with them returning to Sound Techniques in Chelsea again.* [nb 7]* [49]* [64] After the aforementioned bidding war idea was finished, Pink Floyd signed with EMI. Unusually for the time the deal included recording an album, which meant the band had unlimited studio time at EMI Studios, in return for a smaller royalty percentage. The band then attempted to re-record “Arnold Layne”, but the Boyd version from January was released instead.* [63]

Departure from Pink Floyd Through late 1967 and early 1968, Barrett's behaviour became increasingly erratic and unpredictable, partly as a consequence of his reported heavy use of psychedelic drugs, most prominently LSD.* [8] Many reports described him on stage, strumming one chord through the entire concert, or not playing at all.* [69] At a show at The Fillmore in San Francisco, during a performance of “Interstellar Overdrive”, Barrett slowly detuned his guitar. The audience seemed to enjoy such antics, unaware of the rest of the band's consternation. Interviewed on Pat Boone's show during this tour, Syd's reply to Boone's questions was a “blank and totally mute stare,”according to Nick Mason, “Syd wasn't into moving his lips that day.”Barrett exhibited similar behaviour during the band's first appearance on Dick Clark's popular TV show American Bandstand.* [70] Although surviving footage of this appearance shows Barrett miming his parts of the song competently,* [71] during a group interview afterwards, when asked two questions by Clark, Barrett's answers were terse, almost to the point of rudeness (though, Clark noted, they had been flying non-stop from London to Los Angeles). During this time, Barrett would often forget to bring his guitar to sessions, damage equipment and occasionally was unable to hold his pick.* [72] Before a performance in late 1967, Barrett reportedly crushed Mandrax tranquilliser tablets and an entire tube of Brylcreem into his hair, which subsequently melted down his face under the heat of the stage lighting,* [73] making him look like “a guttered candle”.* [74] Nick Mason later disputed the Mandrax portion of this story, stating that“Syd would never waste good mandies”.* [75]

During their UK tour with Jimi Hendrix in November Main article: The 1967, guitarist David O'List from The Nice was called in to substitute for Barrett on several occasions when he was unable to perform or failed to appear.* [76] Sometime The band's first studio album, The Piper at the Gates of around Christmas, David Gilmour (Barrett's old school Dawn, was recorded intermittently between February and friend) was asked to join the band as a second guitarist July 1967 in Studio 3 at Abbey Road Studios, and pro- to cover for Barrett, whose erratic behaviour prevented duced by former Beatles engineer Norman Smith.* [65] him from performing, with the idea of retaining a fiveAt the same time, the Beatles were recording "Lovely member line-up of the band. For a handful of shows Rita" for their album, Sgt. Pepper's Lonely Hearts Club Gilmour played and sang while Barrett wandered around Band, in Studio 2. By the time the album was released on on stage, occasionally deciding to join in playing. The 4 August, “Arnold Layne”(which was released months other band members soon grew tired of Barrett's antics earlier, on 11 March) had reached number 20 on the and, on 26 January 1968, when Waters was driving on The Piper at the Gates of Dawn Piper at the Gates of Dawn

3.1. SYD BARRETT the way to a show at Southampton University, the band elected not to pick Barrett up: one person in the car said, “Shall we pick Syd up?" and another said, “Let's not bother.”* [77]* [78]* [79]* [80] As Barrett had, up until then, written the bulk of the band's material, the initial plan was to keep him in the group as a non-touring member̶as The Beach Boys had done with Brian Wilson̶ but this soon proved to be impractical.* [79]* [81]* [82] Gilmour subsequently became a full-time member of the band.

45 album, The Madcap Laughs. However, Jenner said: “I had seriously underestimated the difficulties of working with him”.* [88] By the sessions of June and July, most of the tracks were in better shape; however, shortly after the July sessions, Barrett broke up with girlfriend Lindsay Corner and went on a drive around Britain in his Mini, ending up in psychiatric care in Cambridge.* [89] During New Year 1969, a somewhat recovered Barrett had taken up tenancy in a flat on Egerton Gardens, Earls Court, London, with artist Duggie Fields.* [89]* [90] Here, Barrett's flat was so close to that of Gilmour's that Gilmour could look right into Barrett's kitchen.* [89] Deciding to return to music, Barrett contacted EMI and was passed to Malcolm Jones, the then-head of EMI's new prog rock label, Harvest* [87] (after Norman Smith* [91] and Jenner declined to produce Barrett's record,* [91] Jones produced it).* [89]* [91] Barrett wanted to recover the Jennerproduced sessions recordings; several of the tracks were improved upon.* [92]

According to Roger Waters, Barrett came into what was to be their last practice session with a new song he had dubbed "Have You Got It Yet?". The song seemed simple enough when he first presented it, but it soon became impossibly difficult to learn and they eventually realised that while they were practising it, Barrett kept changing the arrangement.* [79]* [82] He would then play it again, with the arbitrary changes, and sing “Have you got it yet?". Eventually they realised they never would, and that they were simply bearing the brunt of Barrett's idiosyncratic The Jones-produced sessions started in April 1969 at EMI sense of humour.* [83] Waters had called it“a real act of Studios. After the first of these sessions, Barrett brought mad genius”.* [79]* [82] in friends to help out: Humble Pie drummer, Jerry Shirley Barrett did not contribute material to the band after A and Jokers Wild (Gilmour's old band) drummer, Willie Saucerful of Secrets was released in 1968. Of the songs Wilson. For the sessions, Gilmour played bass. Talking he wrote for Pink Floyd after The Piper at the Gates of to Barrett wasn't easy, said Jones: “It was a case of folDawn, only one, "Jugband Blues", made it to the band's lowing him, not playing with him. They were seeing* and second album; one, “Apples and Oranges”, became then playing so they were always a note behind”. [89] overdubs by mema less-than-successful single; and two others, "Scream A few tracks on the album feature * bers of the band Soft Machine. [53] During this time, Thy Last Scream" and "Vegetable Man", were never offiBarrett also played guitar on the sessions for Soft Macially released. Barrett supposedly spent time outside the * recording studio, in the reception area,* [84] waiting to chine founder Kevin Ayers' debut LP Joy of a Toy, [93] although his performance on “Religious Experience” be invited in. He also showed up to a few gigs and glared not reat Gilmour. Barrett played slide guitar on "Remember a (later titled "Singing a Song in the Morning") was leased until the album was reissued in 2003.* [53]* [94] Day" (which had been first attempted during the Piper sessions), and also played on "Set the Controls for the One time, Barrett had told his flatmate that he was going off“for an afternoon drive”. However, he followed Pink Heart of the Sun".* [85] On 6 April 1968, the group of* ficially announced Barrett was no longer a member, [84] Floyd to Ibiza (according to legend, he skipped checkthe same day the band's contract with Blackhill Enter- ins and customs, ran onto the runway and attempted to flag down a jet). One of his friends, J. Ryan Eaves, bass prises was terminated.* [79] player for the short-lived but influential Manchester band “York's Ensemble”, later spotted him on a beach wearing messed-up clothes and with a carrier bag full of money. Solo years (1968–72) At this point, during the trip, Barrett had asked Gilmour After leaving Pink Floyd, Barrett left the public eye. At for his help in the recording sessions.* [89] the behest of EMI and Harvest Records, he embarked After two of the Gilmour/Waters-produced seson a brief solo career, releasing two solo albums, The sions,* [95] they remade one track from the Soft Machine Madcap Laughs and Barrett (both 1970), and a single, overdubs and recorded three tracks. These sessions came "Octopus". Some songs, "Terrapin",“Maisie”and "Bob to a minor halt when Gilmour and Waters were mixing Dylan Blues", reflected Barrett's early interest in the Pink Floyd's newly recorded album, Ummagumma, to blues.* [86] Barrett's dismay. However, through the end of July, they managed to record three more tracks. The problem with The Madcap Laughs Main article: The Madcap the recording was that the songs were recorded as Barrett played them “live”in studio. On the released versions Laughs a number of them have false starts and commentaries from Barrett.* [89] Despite the track being closer to After Barrett left Pink Floyd, Jenner followed suit. He complete and better produced, Gilmour and Waters left led Barrett into EMI Studios to record some tracks* [87] the Jones-produced track “Opel”off Madcap.* [96] in May that would later be released on Barrett's first solo

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Gilmour, on the sessions for The Madcap Laughs: "[Sessions] were pretty tortuous and very rushed. We had very little time, particularly with The Madcap Laughs. Syd was very difficult, we got that very frustrated feeling: Look, it's your fucking career, mate. Why don't you get your finger out and do something? The guy was in trouble, and was a close friend for many years before then, so it really was the least one could do.” ̶David Gilmour, * [97]

Dave and myself did the second one. But by then it was just trying to help Syd any way we could, rather than worrying about getting the best guitar sound. You could forget about that! It was just going into the studio and trying to get him to sing. ̶Richard Wright, * [102]

Performances Despite the numerous recording dates for his solo albums, Barrett undertook very little musical activity between 1968 and 1972 outside the studio. On 24 February 1970, he appeared on John Peel's BBC radio programme Top Gear* [98]* [103] playing five songs ̶only one of which had been previously released. Three would be re-recorded for the Barrett album, while the song “Two of a Kind”was a one-off performance (possibly written by Richard Wright).* [nb 8] Barrett was accompanied on this session by Gilmour and Shirley who played bass and percussion,* [98] respectively.* [nb 9]

Upon the album's release in January 1970, Malcolm Jones was shocked by the substandard musicianship on the Gilmour and Waters-produced songs: “I felt angry. It's like dirty linen in public and very unnecessary and unkind”. Gilmour said: “Perhaps we were trying to show what Syd was really like. But perhaps we were trying to punish him”. Waters was more positive: “Syd is Gilmour and Shirley also backed Barrett for his one and a genius”.* [98] only live concert during this period.* [101] The gig took Barret said “It's quite nice but I'd be very surprised if it place on 6 June 1970 at the Olympia Exhibition Hall as did anything if I were to drop dead. I don't think it would part of a Music and Fashion Festival.* [106] The trio perstand as my last statement.”* [98] formed four songs,* [101]“Terrapin”,“Gigolo Aunt”, “Effervescing Elephant”and “Octopus”. Poor mixing left the vocals barely audible until part-way through the Barrett Main article: Barrett (album) last number.* [106] At the end of the fourth song, Barrett unexpectedly but politely put down his guitar and The second album, Barrett, was recorded more sporad- walked off the stage.* [101] The performance has been ically than the first,* [99] with sessions taking place be- bootlegged.* [106]* [107] Barrett made one last appeartween February and July 1970.* [98]* [100] The album ance on BBC Radio, recording three songs at their studios was produced by David Gilmour,* [98]* [101] and fea- on 16 February 1971. * [nb 10] All three came from the tured Gilmour on bass guitar, Richard Wright on key- Barrett album. After this session, he took a hiatus from board and Humble Pie drummer Jerry Shirley. The his music career that lasted more than a year, although in first two songs attempted were for Barrett to play and/or an extensive interview with Mick Rock and Rolling Stone sing to an existing backing track. However, Gilmour in December, he discussed himself at length, showed off thought they were losing the“Barrett-ness”. One track ( his new 12-string guitar, talked about touring with Jimi “Rats”) was originally recorded with Barrett on his own. Hendrix and stated that he was frustrated in terms of his That would later be overdubbed by musicians, despite the musical work because of his inability to find anyone good changing tempos. Shirley said of Barrett's playing: “He to play with.* [108] would never play the same tune twice. Sometimes Syd couldn't play anything that made sense; other times what he'd play was absolute magic.”At times Barrett would say: Later years (1972–2006) “Perhaps we could make the middle darker and maybe the end a bit middle afternoonish. At the moment it's too Stars and final recordings See also: Stars (British band) windy and icy”.* [98] These sessions were happening while Pink Floyd had just begun to work on Atom Heart Mother. On various occa- In February 1972, after a few guest spots in Cambridge sions, Barrett went to“spy”on the band as they recorded with ex-Pink Fairies member Twink on drums and Jack Monck on bass using the name The Last Minute Put their album.* [98] Together Boogie Band (backing visiting blues musician Wright said of the Barrett sessions: Eddie “Guitar”Burns and also featuring Henry Cow guitarist Fred Frith), the trio formed a short-lived band Doing Syd's record was interesting, but called Stars.* [109] Though they were initially well reextremely difficult. Dave [Gilmour] and Roger ceived at gigs in the Dandelion coffee bar and the town's did the first one (The Madcap Laughs) and Market Square, one of their gigs at the Corn Exchange

3.1. SYD BARRETT

47

in Cambridge* [110] with the MC5 proved to be disastrous.* [111] A few days after this final show, Twink recalled that Barrett stopped him on the street, showed him a scathing review of the gig they had played, and quit on the spot,* [111] despite having played at least one subsequent gig at the same venue supporting Nektar.* [75]

Barrett, who had reverted to using his original name of Roger, continued to live in his late mother's semidetached home in Cambridge, and had returned to painting, creating large abstract canvases. He was also said to have been an avid gardener and his main point of contact with the outside world was his sister, Rosemary, who Free from his EMI contract on 9 May 1972, Bar- lived nearby. He was reclusive, and his physical health rett signed a document that ended his association with declined,* as he suffered from stomach ulcers and type 2 diabetes. [120] Pink Floyd, and any financial interest in future record* ings. [112] Barrett attended an informal jazz and poetry Although Barrett had not appeared or spoken in public performance by Pete Brown and former Cream bassist since the mid-1970s, time did little to diminish interest Jack Bruce in October 1973. Brown arrived at the show in his life and work. Reporters and fans still travelled to late, and saw that Bruce was already onstage, along with Cambridge to seek him out, despite his attempts to live “a guitarist I vaguely recognised”, playing the Horace a quiet life and public appeals from his family for peoSilver tune “Doodlin'". Later in the show, Brown read ple to leave him alone.* [121] Many photos of Barrett beout a poem, which he dedicated to Syd, because, “he's ing harassed by paparazzi when walking or cycling from here in Cambridge, and he's one of the best songwriters the 1980s until his death in 2006, have been published in in the country”when, to his surprise, the guitar player various media. Apparently, Barrett did not like being refrom earlier in the show stood up and said,“No I'm not” minded about his musical career and the other members .* [113] By the end of 1973, Barrett had returned to live of Pink Floyd had no direct contact with him. However, in London, staying at various hotels and, in December of he did visit his sister's house in November 2001 to watch that year, settling in at Chelsea Cloisters. He had little the BBC Omnibus documentary made about him – reportcontact with others, apart from his regular visits to his edly he found some of it “a bit noisy”, enjoyed seeing management's offices to collect his royalties,* [109] and Mike Leonard of Leonard's Lodgers again, calling him the occasional visit from his sister Rosemary. his “teacher”, and enjoyed hearing "See Emily Play" * * In August 1974, [109] Jenner persuaded Barrett to re- again. [122] turn to Abbey Road Studios in hope of recording another album. According to John Leckie, who engineered these sessions, even at this point Syd still “looked like he did when he was younger..long haired”.* [114] The sessions lasted three days and consisted of blues rhythm tracks with tentative and disjointed guitar overdubs. Barrett recorded 11 tracks, the only one of which to be titled was “If You Go, Don't Be Slow”. Once again, Barrett withdrew from the music industry, but this time for good. He sold the rights to his solo albums back to the record label and moved into a London hotel. During this period, several attempts to employ him as a record producer (including one by Jamie Reid on behalf of the Sex Pistols, and another by The Damned, who wanted him to produce their second album) were all fruitless.* [115]* [116] Withdrawal to Cambridge In 1978, when Barrett's money ran out, he moved back to Cambridge to live with his mother. He returned to live in London again in 1982, but lasted only a few weeks and soon returned to Cambridge for good. Barrett walked the 50 miles (80 km) from London to Cambridge.* [117] Until his death, Barrett received royalties from his work with Pink Floyd from each compilation and some of the live and studio albums and singles that featured his songs. Gilmour commented “I made sure the money got to him”* [118]

Death and aftermath After suffering from diabetes for several years, Barrett died at home in Cambridge on 7 July 2006,* [18] aged 60. The cause of death was pancreatic cancer.* [123]* [124] The occupation on his death certificate was “retired musician”.* [125] He was cremated, with his ashes given to a family member or friend.* [126] In 2006, his home in St. Margaret's Square, Cambridge, was put on the market and reportedly attracted considerable interest.* [127] After over 100 showings, many by fans, it was sold to a French couple who bought it simply because they liked it; reportedly they knew nothing about Barrett.* [128] On 28 November 2006, Barrett's other possessions were sold at an auction at Cheffins auction house in Cambridge, raising £120,000 for charity.* [129] Items sold included paintings, scrapbooks and everyday items that Barrett had decorated.* [130] NME produced a tribute issue to Barrett a week later with a photo of him on the cover. In an interview with The Sunday Times, Barrett's sister revealed that he had written a book: “He read very deeply about the history of art and actually wrote an unpublished book about it, which I'm too sad to read at the moment. But he found his own mind so absorbing that he didn't want to be distracted.”* [131]

In 1996, Barrett was inducted into the Rock and Roll Hall of Fame as a member of Pink Floyd; he did not attend the According to local newspapers, Barrett left approximately ceremony.* [119] £1.7 million to his two brothers and two sisters.* [132] According to a 2005 profile by biographer Tim Willis, This sum was apparently largely acquired from royalties

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from Pink Floyd compilations and live recordings featuring songs he had written while with the band.* [118] A tribute concert called Games for May* [133] was held at the Barbican Centre, London on 10 May 2007 with Robyn Hitchcock, Captain Sensible, Damon Albarn, Chrissie Hynde, Kevin Ayers and his Pink Floyd bandmates performing.* [134] A series of events called The City Wakes was held in Cambridge in October 2008 to celebrate Barrett's life, art and music. Barrett's sister, Rosemary Breen, supported this, the first-ever series of official events in memory of her brother.* [135] After the festival's success, arts charity Escape Artists announced plans to create a centre in Cambridge, using art to help people suffering from mental health problems.* [136]

3.1.2

which, when Barrett saw Waters he ran outside, dropping his bags full of sweets in the process),* [111] this was the last time any member of Pink Floyd saw him. A reflection on the day appears in Nick Mason's book Inside Out: A Personal History of Pink Floyd. A reference to this reunion also appears in the film The Wall, where the character Pink, played by Bob Geldof, shaves his body hair after having a mental breakdown, just as Barrett had.

Compilations

Legacy

In 1988, EMI Records (after constant pressure from Malcolm Jones)* [140] released an album of Barrett's studio Wish You Were Here sessions out-takes and previously unreleased material recorded from 1968 to 1970 under the title Opel.* [141] The disc was originally set to include the unreleased Barrett Pink Floyd songs “Scream Thy Last Scream”and “Vegetable Man”, which had been remixed for the album by Jones,* [140] but the band pulled two songs* [142] before Opel was finalised.* [143] In 1993 EMI issued another release, Crazy Diamond, a boxed set of all three albums, each with further out-takes from his solo sessions that illustrated Barrett's inability/refusal to play a song the same way twice.* [144] EMI also released The Best of Syd Barrett: Wouldn't You Miss Me? in the UK on 16 April 2001 and in the US on 11 September 2001.* [145] This was the first time his song "Bob Dylan Blues" was officially released, taken from a demo tape that Gilmour had kept after an early 1970s session.* [145] Gilmour kept the tape, which also contains the unreleased“Living Alone” from the Barrett sessions.* [146] In October 2010 Harvest/EMI and Capitol Records released An Introduction to Syd Barrett̶a collection of both his Pink Floyd and remastered solo work.* [147] The 2010 compilation An InBarrett visiting Abbey Road Studios on 5 June 1975 troduction to Syd Barrett includes the downloadable bonus track “Rhamadan”, a 20-minute track recorded at one Barrett had one noted reunion with the members of Pink of Syd's earliest solo sessions, in May 1968. In 2011, it Floyd, in 1975 during the recording sessions for Wish You was announced that a vinyl double album version would Were Here. He attended the Abbey Road session unan- be issued for Record Store Day.* [148]* [149]* [150] nounced, and watched the band record "Shine On You Bootleg editions of Barrett's live and solo material exCrazy Diamond" ̶a song that happened to be about Bar- ist.* [151]* [152] For years the“off air”recordings of the rett. By that time, the 29-year-old Barrett had become BBC sessions with Barrett's Pink Floyd circulated, until quite overweight, had shaved off all of his hair (including an engineer who had taken a tape of the early Pink Floyd his eyebrows), and his ex-bandmates did not at first recog- gave it back to the BBC̶which played it during a tribnise him. Barrett's behaviour at the session was erratic; he ute to John Peel on their website. During this tribute, the spent part of the session brushing his teeth.* [137]* [138] first Peel programme (Top Gear) was aired in its entirety. Roger Waters finally managed to ask him what he thought This show featured the 1967 live versions of "Flaming", of the song and he simply said“sounds a bit old”.* [138] "Set the Controls for the Heart of the Sun", and a brief He briefly attended the reception for Gilmour's wedding 90-second snippet of the instrumental "Reaction in G". In to Ginger that immediately followed the recording ses- 2012, engineer Andy Jackson said he had found“a huge sions; however, he left early without saying goodbye. box of assorted tapes”, in Mason's possession, containing Apart from a brief encounter between Waters and Barrett versions of R&B songs that (the Barrett-era) Pink Floyd in Harrods a couple of years later* [111]* [139] (during played in their early years.* [153]

3.1. SYD BARRETT

49 of Soft Machine and Gong, has cited Barrett's use of slide guitar with echo as a key inspiration for his own “glissando guitar”style.* [155] His recordings both with Pink Floyd and in later solo albums were delivered with a strongly British-accented vocal delivery, specifically that of southern-England. He was described by Guardian writer Nick Kent as having a “quintessential English style of vocal projection”.* [156] David Bowie was quoted as saying that Barrett, along with Anthony Newley, was the first person he had heard sing rock or pop music with a British accent.* [157]

Barrett's first acoustic guitar

Barrett's free-form sequences of “sonic carpets”pioneered a new way to play the rock guitar.* [158] He played several different guitars during his tenure, including an old Harmony hollowbody electric, a Harmony acoustic, a Fender acoustic, a single-coil Danelectro 59 DC,* [159] several different Fender Telecasters and a white Fender Stratocaster in late 1967. A silver Fender Esquire with mirrored discs glued to the body* [160] was the guitar he was most often associated with and the guitar he “felt most close to.”* [108] Musical and pop culture influence

Mirrored Fender Esquire

Creative impact and technical innovation Barrett wrote most of Pink Floyd's early material. He was also an innovative guitarist, using extended techniques and exploring the musical and sonic possibilities of dissonance, distortion, feedback, the echo machine, tapes and other effects; his experimentation was partly inspired by free improvisation guitarist Keith Rowe of the group AMM, active at the time in London.* [154] One of Barrett's trademarks was playing his guitar through an old echo box while sliding a Zippo lighter up and down the fret-board to create the mysterious, otherworldly sounds that became associated with the group. Barrett was known to have used Binson delay units to achieve his trademark echo sounds. Daevid Allen, founder member

Many artists have acknowledged Barrett's influence on their work. Paul McCartney, Pete Townshend,* [161] Blur,* [162]* [163]* [164] Kevin Ayers,* [165] Gong,* [165] Marc Bolan,* [163]* [166] Tangerine Dream,* [167] Julian Cope* [168] and David Bowie* [163]* [166] were inspired by Barrett; Jimmy Page, Brian Eno,* [169] and The Damned* [115]* [170] all expressed interest in working with him at some point during the 1970s. Bowie recorded a cover of "See Emily Play" on his 1973 album Pin Ups.* [171] The track “Grass”, from XTC's album Skylarking was influenced when Andy Partridge let fellow band member Colin Moulding borrow his Barrett records. Robyn Hitchcock's career was dedicated to being Barrett-esque; he even played “Dominoes”for the 2003 BBC documentary The Pink Floyd and Syd Barrett Story.* [168] Barrett's decline had a profound effect on Roger Waters' songwriting, and the theme of mental illness permeated Pink Floyd's later albums, particularly 1973's The Dark Side of the Moon and 1975's Wish You Were Here* [172] which was a deliberate and affectionate tribute to Barrett, the song, “Shine on You Crazy Diamond”,* [173] and also 1979's The Wall.* [172] "Wish You Were Here", partly about Barrett,* [174] borrows imagery of a “steel rail”from Barrett's solo song,“If It's in You,”from The Madcap Laughs album. In 1987, an album of Barrett cover songs called Beyond the Wildwood was released. The album was a collection of cover songs from Barrett's tenure with Pink Floyd and from his solo career. Artists appearing were UK and US indie bands including The Shamen, Opal, The Soup Dragons, and Plasticland.* [175]

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CHAPTER 3. PAST MEMBERS

Other artists who have written tributes to Barrett include his contemporary Kevin Ayers, who wrote “O Wot a Dream”in his honour (Barrett provided guitar to an early version of Ayers' song“Religious Experience: Singing a Song in the Morning”).* [53]* [94] Robyn Hitchcock has covered many of his songs live and on record and paid homage to his forebear with the songs “The Man Who Invented Himself”and "(Feels Like) 1974”. Phish covered“Bike”,“No Good Trying”,“Love You”,“Baby Lemonade”and “Terrapin”. The Television Personalities' single “I Know Where Syd Barrett Lives”* [164] from their 1981 album And Don't the Kids Love It is another tribute.* [nb 11] In 2008, The Trash Can Sinatras released a single in tribute to the life and work of Syd Barrett called “Oranges and Apples”, from their 2009 album In The Music. Proceeds from the single go to the Syd Barrett Trust in support of arts in mental health. Johnny Depp showed interest in a biographical film based on Barrett's life.* [177] Barrett is portrayed briefly in the opening scene of Tom Stoppard's play Rock 'n' Roll (2006), performing“Golden Hair”. His life and music, including the disastrous Cambridge Corn Exchange concert and his later reclusive lifestyle, are a recurring motif in the work.* [178]* [179] Barrett died during the play's run in London. Mental state There has been much speculation concerning Barrett's psychological well-being. Many believe he suffered from schizophrenia.* [83]* [180]* [181] Barrett's use of psychedelic drugs, especially LSD, during the 1960s is well documented. In an article published in 2006, in response to notions that Barrett's problems came from the drug, Gilmour was quoted as saying: “In my opinion, his nervous breakdown would have happened anyway. It was a deeprooted thing. But I'll say the psychedelic experience might well have acted as a catalyst. Still, I just don't think he could deal with the vision of success and all the things that went with it.” * [182] Many stories of Barrett's erratic behaviour off stage as well as on are also well-documented. In Saucerful of Secrets: The Pink Floyd Odyssey, author Nicholas Schaffner interviewed people who knew Barrett before and during his Pink Floyd days. These included friends Peter and Susan Wynne-Wilson, artist Duggie Fields (with whom Barrett shared a flat during the late 1960s), June Bolan and Storm Thorgerson, among others.

apartment during this period was described by writer and critic Jonathan Meades. “I went [to Barrett's flat] to see Harry and there was this terrible noise. It sounded like heating pipes shaking. I said, 'What's up?' and he sort of giggled and said, 'That's Syd having a bad trip. We put him in the linen cupboard'".* [184] Storm Thorgerson responded to this claim by stating“I do not remember locking Syd up in a cupboard. It sounds to me like pure fantasy, like Jonathan Meades was on dope himself.”* [184] Watkinson and Anderson included quotes from a story told to them by Thorgerson that underscored how volatile Barrett could be. “On one occasion, I had to pull him off Lindsay (Barrett's girlfriend at the time) because he was beating her over the head with a mandolin".* [185] On one occasion, Barrett threw a woman called Gilly across the room, because she refused to go to Gilmour's house.* [111] According to Gilmour in an interview with Nick Kent, the other members of Pink Floyd approached psychiatrist R. D. Laing with the 'Barrett problem'. After hearing a tape of a Barrett conversation, Laing declared him “incurable”.* [186]* [187] After Barrett died, his sister Rosemary insisted that Barrett neither suffered from mental illness nor received treatment for it at any time since they resumed regular contact in the 1980s.* [188] She allowed that he did spend some time in a private “home for lost souls”̶Greenwoods in Essex̶but claimed there was no formal therapy programme there. Some years later, Barrett apparently agreed to sessions with a psychiatrist at Fulbourn psychiatric hospital in Cambridge, but Breen claimed that neither medication nor therapy was considered appropriate.* [188] His sister denied he was a recluse or that he was vague about his past: “Roger may have been a bit selfish ̶or rather self-absorbed̶but when people called him a recluse they were really only projecting their own disappointment. He knew what they wanted, but he wasn't willing to give it to them.” Barrett, she said, took up photography and sometimes they went to the seaside together. “Quite often he took the train on his own to London to look at the major art collections̶ and he loved flowers. He made regular trips to the Botanic Gardens and to the dahlias at Anglesey Abbey, near Lode. But of course, his passion was his painting”, * [188]* [189]

“For June Bolan, the alarm bells began to sound only 3.1.3 Discography when Syd kept his girlfriend under lock and key for three days, occasionally shoving a ration of biscuits under the Main article: Syd Barrett discography door.”* [183] A claim of cruelty against Barrett commit- See also: Pink Floyd discography ted by the groupies and hangers-on who frequented his

3.1. SYD BARRETT Studio albums • The Madcap Laughs (1970) • Barrett (1970)

3.1.4

Filmography

• London '66–'67 (1967) • Tonite Lets All Make Love in London (1967) • The Pink Floyd and Syd Barrett Story (2003)

3.1.5

See also

• List of songs recorded by Syd Barrett

3.1.6

References

Footnotes [1] Barrett devised the name “Pink Floyd”by juxtaposing the first names of Pink Anderson and Floyd Council* [33] whom he had read about in a sleeve note for a 1962 Blind Boy Fuller album: “Curley Weaver and Fred McMullen, [...] Pink Anderson or Floyd Council̶these were a few amongst the many blues singers who were to be heard in the rolling hills of the Piedmont, or meandering with the streams through the wooded valleys.”* [34]* [35]

51

[6] The demo recordings consist of “I Get Stoned”(aka “Stoned Alone”), “Let's Roll Another One”, “Lucy Leave”and a 15-minute version of “Interstellar Overdrive”.* [56] [7] The Sound Techniques session resulted in a recording of the single "Arnold Layne",* [49]* [58] and the recording of other songs: "Matilda Mother", "Chapter 24",“Interstellar Overdrive”and“Let's Roll Another One”(which was renamed to "Candy and a Currant Bun", at the suggestion of Waters). Referring to the choice of“Arnold Layne”, Nick Mason said: “We knew we wanted to be rock'n'roll stars and we wanted to make singles, so it seemed the most suitable song to condense into 3 minutes without losing too much”.* [63] [8]“Two of a Kind”was credited to Richard Wright on the original Peel Session release, but to Barrett on later releases, including The Best of Syd Barrett: Wouldn't You Miss Me?.* [104] According to David Gilmour, Wright wrote the song but an increasingly confused Barrett insisted it was his own composition (and wanted to include it on The Madcap Laughs).* [105] [9] These five songs were originally released on Syd Barrett: The Peel Session. [10] These three songs, along with the five from the Top Gear performance, were released on Syd Barrett: The Radio One Sessions.

[11] The Television Personalities became the subject of controversy and derision when, as they had been selected as the opening act on Gilmour's About Face tour in the early 1980s, lead singer Dan Treacy decided to read aloud [2] They recorded a cover of Slim Harpo's "I'm a King Bee", Barrett's real home address to the audience of thousands. and three Barrett originals:“Double O Bo”,“Butterfly” * * Gilmour removed them from the tour immediately afterand“Lucy Leave”. [36] [37]“Double O Bo”and“Lucy wards.* [176] Leave”survive as vinyl acetates.* [37]* [38] [3] While under the influence of the acid, Barrett had placed an orange, a plum and a matchbox into a corner, while staring at the fruit, which he claimed symbolised“Venus and Jupiter”.* [39]* [40] Thorgerson later used this imagery, by adding the previously mentioned items to the cover of the double album combination of Barrett's solo albums, Syd Barrett.* [39] [4] The band were still playing R&B hits as late as early 1966,* [46]* [47] however, mixed in with several original songs:“Let's Roll Another One”,“Lucy Leave”,“Butterfly”,“Remember Me”and“Walk with Me Sydney” .* [46] [5] Barrett, frequently at his Earlham Street residence, played The Mothers of Invention's Freak Out!, The Byrds' Fifth Dimension, The Fugs' and Love's debut albums,* [48] and The Beatles' Revolver,* [49] repeatedly. All these albums were connected by their proto-psychedelic feel, which had begun to guide Barrett's songs, as much as R&B had, previously.* [48] "Interstellar Overdrive" (included into the band's setlist from autumn), for example, was inspired by the riff from Love's "My Little Red Book", the free-form section (and also, "Pow R. Toc H.") was inspired by Frank Zappa's free-form freak-outs and The Byrds' "Eight Miles High". The Kinks' "Sunny Afternoon" was an important influence on Barrett's songwriting.* [48]

Citations [1] Unterberger, Richie (2006). “Review of Syd Barrett”. Allmusic. Retrieved 4 October 2013. [2] Patterson, R. Gary (6 July 2004). Take a Walk on the Dark Side: Rock and Roll Myths, Legends, and Curses. Touchstone. p. 180. ISBN 978-0-7432-4423-7. [3] Manning 2006, p. 8 [4] Chapman 2010, pp. 3–4 [5] Blake 2008, p. 13 [6] Chapman 2010, p. 4 [7] Manning 2006, pp. 9–10. [8] Palacios 1997 [9] Manning 2006, p. 10. [10] Chapman 2010, p. 12. [11] Mason, Nick. Inside Out: A Personal History of Pink Floyd (Weidenfeld & Nicolson, 2004) ISBN 978-0-29784387-0.

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[12] Chapman 2010, p. 11–12.

[48] Manning 2006, p. 26

[13] Chapman 2010, p. 8.

[49] Chapman 2010, p. 132

[14] Chapman 2010, p. 9.

[50] Manning 2006, p. 30

[15] Blake 2008, p. 17.

[51] “20th Century London: Youth Culture & Fashion”. Retrieved 11 May 2007.

[16] Chapman 2010, p. 31. [17] Chapman 2010, p. 33. [18] “Seeing Pink – a Floyd gazetteer of Cambridge”. Cambridge Evening News. 17 October 2007. Retrieved 17 September 2011.

[52] Jones 2003, p. 27 [53] Manning 2006, p. 27 [54] Chapman 2010, p. 115 [55] Manning 2006, p. 25

[19] Schaffner 2005, p. 22-23. [56] Manning 2006, p. 28 [20] Chapman 2010, p. 40 [21] Manning 2006, p. 11 [22] Manning 2006, pp. 11–12. [23] Manning 2006, p. 12 [24] Chapman 2010, p. 50 [25] Chapman 2010, p. 58 [26] Chapman 2010, p. 45 [27] Anon (12 July 2006). “Syd Barrett”. The Times (Times Newspapers Ltd). Retrieved 11 June 2011.

[57] Manning 2006, pp. 28–29. [58] Manning 2006, p. 29 [59] Chapman 2010, p. 95 [60] Manning 2006, p. 31 [61] Chapman 2010, p. 123 [62] Manning 2006, pp. 31–32 [63] Manning 2006, p. 32 [64] Jones 2003, p. 28

[28] Manning 2006, p. 14.

[65] Manning 2006, p. 34.

[29] Chapman 2010, p. 52

[66] “PINK FLOYD | Artist”. Official Charts. Retrieved 7 July 2012.

[30] Blake 2008, p. 38. [31] Manning 2006, p. 15 [32] Blake 2008, p. 43 [33] Chapman 2010, p. 53

[67] Chapman 2010, pp. 141–142 [68] EMI Records Ltd., “The Piper at the Gates of Dawn” insert

[34] “Floyd Council”. Retrieved 23 October 2010.

[69] “Syd Barrett”. The Economist. 20 July 2006. Retrieved 18 June 2007.

[35] Manning 2006, p. 19

[70] Schaffner 2005, p. 13.

[36] Manning 2006, pp. 15–16

[71] Chapman 2010, p. 199.

[37] Chapman 2010, p. 65

[72] Willis 2002, p. 102.

[38] Manning 2006, p. 16

[73] Manning 2006, p. 42.

[39] Manning 2006, p. 17

[74] Schaffner 2005, pp. =13–14

[40] Chapman 2010, pp. 76–77

[75] Willis 2002

[41] Manning 2006, p. 18

[76] Mason 2011, pp. 95–105

[42] Chapman 2010, p. 73

[77]“Gilmour interview in Guitar World". January 1995.

[43] Blake 2008, p. 45.

[78] Blake 2008, p. 112.

[44] Chapman 2010, p. 99

[79] Manning 2006, p. 45

[45] Chapman 2010, p. 124

[80] Schaffner 2005, pp. 14–15

[46] Chapman 2010, p. 86

[81] Schaffner 2005, p. 265.

[47] Chapman 2010, p. 104

[82] Schaffner 2005, p. 14

3.1. SYD BARRETT

53

[83] DiLorenzo, Kris.“Syd Barrett: Careening Through Life.” [108] Rock, Mick (December 1971). “The Madcap Who Trouser Press February 1978 pp. 26–32 Named Pink Floyd”. Rolling Stone. Retrieved 27 April 2009. If you tend to believe what you hear, rather than [84] Schaffner 2005, p. 15 what is, Syd Barrett is either dead, behind bars, or a vegetable. He is in fact alive and as confusing as ever, in the [85] 1993 Guitar World interview with David Gilmour town where he was born, Cambridge. [86] Manning 2006, p. 9.

[109] Manning 2006, p. 74

[87] Jones 2003, p. 3

[110] Chapman 2010, p. xv

[88] Manning 2006, p. 70.

[111] Manning 2006, p. 73

[89] Manning 2006, p. 71

[112] Palacios 2010, p. 400

[90] BdF. “Prose”. Duggie Fields. Retrieved 22 July 2012. [113] Palacios 2010, p. 401. [91] Jones 2003, p. 4

[114] Parker 2001, p. 194.

[92] Jones 2003, pp. 3–4

[115] Watkinson & Anderson 2001, pp. 121–122

[116] [93] Bush, John (23 April 2012). “The Harvest Years 1969– 1974 – Kevin Ayers : Songs, Reviews, Credits, Awards” [117] . AllMusic. Retrieved 5 July 2012. [118] [94] Palacios 2010, p. 362 [95] Parker 2001, p. iv. [96] Manning 2006, pp. 71–72.

Schaffner 2005, p. 213. Palacios 2010, p. 414. “Barrett leaves £1.25m”. Cambridge Evening News. 11 November 2006. Retrieved 14 September 2014.

[119] Povey, Glenn (2007). Echoes – The Complete History of Pink Floyd. Mind Head Publishing. p. 286. ISBN 978-09554624-0-5.

[97] “David Gilmour: Record Collector, May 2003 – All Pink [120] Gilmore, Mikal (5 April 2007). “The Madness and Floyd Fan Network”. Pinkfloydfan.net. 10 January 2001. Majesty of Pink Floyd”. Rolling Stone. Retrieved 6 June 2012. [121] “Set The Controls; Interview to Roger 'Syd' Barrett's [98] Manning 2006, p. 72 Nephew”. Pink-floyd.org. 22 April 2001. Retrieved 28 February 2012. [99] Kent, Nick (2007). The Dark Stuff: Selected Writings on [122] Willis, Tim (6 October 2002). “You shone like the sun” Rock Music. Faber & Faber, Limited. p. 121. . The Observer (London). Retrieved 17 February 2007. [100] Barrett (booklet). Syd Barrett. Harvest, EMI. 1970. pp. [123] Watkinson & Anderson 2001. 1–2. [101] Manning 2006, p. 61

[124] Klosterman, Chuck (31 December 2006). “Off-Key”. New York Times. Retrieved 17 February 2007.

[102] “Rick Wright: Broken China Interview – Aug 1996 – All Pink Floyd Fan Network”. Pinkfloydfan.net. Retrieved [125] “Pink Floyd founder dies aged 60”. Daily Mail (London). 12 July 2006. Retrieved 14 August 2007. 6 June 2012. [103] Jones 2003, p. 13

[126] “Syd Barrett (1946–2006)". Find A Grave Memorial. 11 July 2006. Retrieved 16 February 2009.

[104] Kellman, Andy. “Wouldn't You Miss Me?: The Best [127] “Syd Barrett's home on the market”. BBC News. 11 of Syd Barrett – Syd Barrett : Songs, Reviews, Credits, September 2006. Retrieved 17 February 2007. Awards”. AllMusic. Retrieved 12 August 2012. [105] Watkinson & Anderson 2001, p. 92 [106] Chapman 2010, p. 270

[128] Smith, Andrew (4 August 2007). “Making tracks: Visiting England's semi-secret rock shrines”. Guardian (London). Retrieved 6 August 2007.

[129] “Syd's poem auctioned for £4,600”. Cambridge Evening [107] “RoIO LP: He Whom Laughs First”. Pf-roio.de. ReNews. 29 June 2007. Archived from the original on 7 July trieved 4 October 2012. 2007. Retrieved 14 July 2007. “The International Echoes Hub – Recordings (RoIO) Database: Tatooed”. Echoeshub.com. Retrieved 4 Oc- [130] “Barrett paintings fetch thousands”. BBC. 29 November tober 2012. 2006. Retrieved 4 October 2012. “The International Echoes Hub – Recordings (RoIO) Database: Olympia Exhibition Hall”. Echoeshub.com. [131] “My lovably ordinary brother Syd”. The Sunday Times. Retrieved 4 October 2012. July 2006. Retrieved 18 October 2008.

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[132] "'Poverty-stricken' Syd Barrett and the Ł1.7m inheritance [154] Palacios 2010, p. 101. | Showbiz”. Thisislondon.co.uk. 17 May 2007. Retrieved [155] “Gong Family Maze | MizMaze / DaevidAllen”. Plan28 February 2012. etgong.co.uk. Retrieved 21 July 2012. [133] Chapman 2010, p. xiv [156] - Shine on you crazy diamond - The Guardian. Retrieved [134] Youngs, Ian (11 May 2007).“Floyd play at Barrett tribute 10 October 2014. gig”. BBC News. Retrieved 17 September 2007. [157] Pink Floyd's Barrett dies aged 60 - BBC News. Retrieved [135]“Plea for memories of Floyd rocker”. Cambridge Evening 10 October 2014. News. 17 July 2008. Retrieved 25 July 2008. [158] Denyer, Ralph (1992). The Guitar Handbook. London: [136] “Project in Syd's memory”. Cambridge Evening News. Dorling Kindersley Ltd. ISBN 0-679-74275-1, p 23 17 July 2008. Retrieved 20 February 2009.

[138] Palacios 2010, p. 408

[159] "'68 Flashback: How Pink Floyd Found Their Future and Lost Psychedelic Genius Syd Barrett in A Saucerful of Secrets”. Gibson.com. Retrieved 8 June 2011.

[139] Palacios 2010, p. 412.

[160] Chapman 2010, p. 126

[140] Palacios 2010, p. 419

[161] Manning 2006, p. 246

[137] “The Syd Barrett story”. Retrieved 1 July 2011.

[141] Unterberger, Richie. “Opel – Syd Barrett : Songs, Re- [162] “Blur's Graham Coxon on Syd Barrett”. YouTube. Reviews, Credits, Awards”. AllMusic. Retrieved 1 August trieved 14 July 2012. 2012. [163] Pink Floyd – Syd Barrett Article – Q Magazine January [142] Manning 2006, p. 186. 2004 [143] Schaffner 2005, pp. 116–117.

[164] Harris, John (12 July 2006).“John Harris on Syd Barrett's influence | Music”. London: The Guardian. Retrieved 30 [144] Unterberger, Richie. “Crazy Diamond – Syd Barrett : July 2012. Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 1 August 2012. [165] Manning 2006, p. 285 [145] Kellman, Andy (27 March 2001). “Wouldn't You Miss Me?: The Best of Syd Barrett – Syd Barrett : Songs, Re- [166] Manning 2006, p. 286 views, Credits, Awards”. AllMusic. Retrieved 1 August [167] Manning 2006, p. 285–286. 2012. [146] Parker 2003

[168] Manning 2006, p. 287

[147] Thomas, Stephen (11 October 2010). “An Introduction [169] “CRACKED BALLAD OF SYD BARRETT – 1974”. Luckymojo.com. Retrieved 18 July 2012. to Syd Barrett – Syd Barrett : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 1 August 2012. [170] Schaffner 2005, p. 214. [148] Wyman, Howard (23 February 2011). “Introduction to Syd Barrett Ltd. 2LP Vinyl Coming for Record Store [171] Eder, Bruce. “Pin Ups – David Bowie : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 3 October 2012. Day”. Crawdaddy!. Retrieved 24 February 2011. [149]“Syd Barrett – An Introduction To Syd Barrett (Vinyl, LP) [172] Schaffner 2005, p. 16 at Discogs”. Discogs.com. 18 April 2011. Retrieved 3 [173] The Pink Floyd and Syd Barrett Story (Documentary). July 2012. BBC. 2003. [150] “An Introduction to Syd Barrett – Syd Barrett : Releases” . AllMusic. 11 October 2010. Retrieved 1 August 2012. [174] Schaffner 2005, p. 18 [151] “Pink Floyd RoIO Database Homepage”. Pf-roio.de. [175] Rabid, Jack. “Beyond the Wildwood – Various Artists : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 17 May 1994. Retrieved 18 July 2012. 3 October 2012. [152] Marooned. “RoIO Audience/Soundboard Concert Database”. Echoeshub.com. Retrieved 18 July 2012. [176] Schaffner 2005, p. 123 Unterberger, Richie. “Syd Barrett – Music Biography, Credits and Discography”. AllMusic. Retrieved 1 Au- [177] Douglas, Edward (29 June 2005).“In the Future: Chocolate Factory Cast & Crew”. Coming Soon.net. Retrieved gust 2012. 13 July 2006. [153] Graff, Gary (8 February 2012). “Pink Floyd Mulling More Reissues After Expanded 'Wall' Releases”. bill- [178] Stoppard, Tom (21 March 2012). “Here's Looking at board.com. Detroit. Retrieved 7 July 2012. You, Syd | Culture”. Vanity Fair. Retrieved 18 July 2012.

3.2. ROGER WATERS

[179] "'Rock 'N' Roll': Syd Barrett On Broadway, By Kurt Loder – Music, Celebrity, Artist News”. MTV.com. 11 May 2007. Retrieved 18 July 2012. Sean O'Hagan (30 July 2006). “Theatre: Rock'n'Roll | Stage | The Observer”. London: Guardian. Retrieved 18 July 2012. [180] Greene, Andy (11 July 2006). “Founding frontman and songwriter for Pink Floyd dead at 60”. Rolling Stone. Retrieved 4 February 2009. The next year, following a highly successful tour with Jimi Hendrix, Barrett's mental state began to deteriorate ... Amid reports that he was suffering from schizophrenia, Barrett managed to release two solo albums in 1970 ... [181] “Syd Barrett, Founder of Pink Floyd band, Sufferer of Schizophrenia, Passed Away this Week.” Schizophrenia Daily News Blog. 12 July 2006 [182] “Syd Barrett, the swinging 60”. The Independent (UK). 7 January 2006. Retrieved 1 July 2010. [183] Schaffner 2005, p. 77. [184] Schaffner 2005, p. 110 [185] Watkinson & Anderson 2001, p. 83. [186] Kent, Nick. Syd Barrett feature. New Musical Express, 13 April 1974. [187] Schaffner 2005, pp. 106–107. [188] Willis, Tim (16 July 2007).“My lovably ordinary brother Syd”. The Sunday Times (London). Retrieved 12 May 2007.

55 • Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. ISBN 085965-431-1. • Parker, David (2003). Random Precision: Recording the Music of Syd Barrett 1965–1974. Cherry Red. ISBN 1-901447-25-1. • Parker, David (2001). Random Precision: Recording the Music of Syd Barrett, 1965–1974. Cherry Red Books. • Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. ISBN 1-905139-09-8. • Watkinson, Mike; Anderson, Pete (2001). Crazy Diamond: Syd Barrett & the Dawn of Pink Floyd. • Willis, Tim (2002). Madcap: The Half-Life of Syd Barrett, Pink Floyd's Lost Genius. Short Books. ISBN 1-904095-24-0.

3.1.8 External links • The Syd Barrett Archives • Official Syd Barrett Fund Website • Syd Barrett at MTV

3.2 Roger Waters

[189] Willis, Tim (6 October 2002). “You shone like the sun” George Roger Waters (born 6 September 1943) . The Observer (UK). Retrieved 27 July 2007.

is an English musician, singer, songwriter, multiinstrumentalist, and composer. In 1965, he co-founded the progressive rock band Pink Floyd with drummer Nick 3.1.7 Sources Mason, keyboardist Richard Wright and guitarist, singer • Blake, Mark (2008). Comfortably Numb: The In- and songwriter Syd Barrett. Waters initially served as the side Story of Pink Floyd. Cambridge, MA: Da Capo. group's bassist and co-lead vocalist, but following the departure of Barrett in 1968, he also became their lyricist ISBN 0-306-81752-7. and conceptual leader. • Chapman, Rob (2010). Syd Barrett: A Very IrregPink Floyd subsequently achieved international success ular Head (Paperback ed.). London: Faber. ISBN with the concept albums The Dark Side of the Moon, Wish 978-0-571-23855-2. You Were Here, Animals, The Wall and The Final Cut. By • Jones, Malcolm (2003). The Making of The Madcap the early 1980s, they had become one of the most critically acclaimed and best-selling acts in the history of popLaughs (21st Anniversary ed.). Brain Damage. ular music; as of 2013, they have sold more than 250 mil• Manning, Toby (2006). The Rough Guide to Pink lion albums worldwide, including 74.5 million units sold Floyd (1st ed.). London: Rough Guides. ISBN 1- in the United States. Amid creative differences within 84353-575-0. the group, Waters left in 1985 and began a legal dispute with the remaining members over their intended use of • Mason, Nick (2011) [2004]. Philip Dodd, ed. In- the band's name and material. They settled out of court side Out – A Personal History of Pink Floyd (Paper- in 1987, and nearly eighteen years passed before he perback ed.). Phoenix. ISBN 978-0-7538-1906-7. formed with them again. • Palacios, Julian (1997). Lost in the Woods: Syd Barrett and the Pink Floyd. Boxtree. ISBN 0-75222328-3.

Waters' solo career has included three studio albums: The Pros and Cons of Hitch Hiking, Radio K.A.O.S. and Amused to Death. In 1990, he staged one of the largest

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and most extravagant rock concerts in history, The Wall – Live in Berlin, with an official attendance of 200,000. As a member of Pink Floyd, he was inducted into the US Rock and Roll Hall of Fame in 1996 and the UK Music Hall of Fame in 2005. That same year he released Ça Ira, an opera in three acts translated from Étienne and Nadine Roda-Gils' libretto about the French Revolution. Later that year, he reunited with Pink Floyd bandmates Mason, Wright and David Gilmour for the Live 8 global awareness event; it was the group's first appearance with Waters since 1981. He has toured extensively as a solo act since 1999 and played The Dark Side of the Moon in its entirety for his world tour of 2006–2008. In 2010, he began The Wall Live and in 2011 Gilmour and Mason appeared with him during a performance of the double album in London. As of 2013, the tour is the highestgrossing of all time by a solo artist.

(YCND),* [9] having designed its publicity poster and participated in its organisation.* [10] Though he was a keen sportsman and a highly regarded member of the high school's cricket and rugby teams,* [11] he disliked his educational experience; according to Waters, “I hated every second of it, apart from games. The regime at school was a very oppressive one ... the same kids who are susceptible to bullying by other kids are also susceptible to bullying by the teachers.”* [12] Whereas Waters knew Barrett and Gilmour from his childhood in Cambridge, he met future Pink Floyd founder members Nick Mason and Richard Wright in London at the Regent Street Polytechnic (later the University of Westminster) school of architecture. Waters enrolled there in 1962, after a series of aptitude tests indicated he was well-suited to that field.* [13] He had initially considered a career in mechanical engineering.* [14]

Waters has been married four times; first in 1969 to his childhood sweetheart Judy Trim; they had no children together and divorced in 1975. The following year he 3.2.2 1965–1985: Pink Floyd married Lady Carolyne Christie; the marriage produced a son, Harry Waters, a musician who has played key- Main article: Pink Floyd boards with his father's touring band since 2006, and a daughter, India Waters, who has worked as a model. Christie and Waters divorced in 1992, and in 1993, he Formation and Barrett-led period married Priscilla Phillips. They had one son together, Jack Fletcher, before getting divorced in 2001. In 2012, Waters married actress and filmmaker Laurie Durning.

3.2.1

1943–1964: early years

George Roger Waters was born on 6 September 1943, the younger of two boys, to Mary (née Whyte; 19132009) and Eric Fletcher Waters (1913-1944), in Great Bookham, Surrey.* [2] His father, the son of a coal miner and Labour Party activist, was a schoolteacher, a devout Christian, and a Communist Party member.* [3] In the early years of the Second World War, his father was a conscientious objector who drove an ambulance during the Blitz.* [3] He later changed his stance on pacifism and joined the British Army, and as a 2Lt. of the 8th Royal Fusiliers died at Aprilia, between Anzio and Rome in Italy, on 18 February 1944, when Roger was five months old.* [4] On 19 February 2014, Waters unveiled a monument to his father and other war casualties there, and was made an honorary citizen of Anzio.* [5] Following her husband's death, Mary Waters, also a teacher, moved with her two sons to Cambridge and raised them there.* [6] Roger Waters' earliest memory is of the VJ Day celebrations.* [7] Mary Waters died in 2009, aged 96. Waters attended Morley Memorial Junior School in Cambridge and then the Cambridgeshire High School for Boys (now Hills Road Sixth Form College) with Syd Barrett, while his future musical partner, David Gilmour, lived nearby on the city's Mill Road, and attended the Perse School.* [8] At 15, Waters was chairman of the Cambridge Youth Campaign for Nuclear Disarmament

Waters performing with Pink Floyd at Leeds University in 1970

By September 1963, Waters and Mason had lost interest in their studies; they had moved into the lower flat of Stanhope Gardens, owned by Mike Leonard, a part-time tutor at the Regent Street Polytechnic.* [15] Waters, Mason and

3.2. ROGER WATERS

57

Wright first played music together in the autumn of 1963, in a band formed by vocalist Keith Noble and bassist Clive Metcalfe.* [16] They usually called themselves Sigma 6, but also used the name the Meggadeaths.* [10] Waters played rhythm guitar and Mason played drums, Wright played on any keyboard he could arrange to use, and Noble's sister Sheilagh provided an occasional vocal accompaniment.* [17] In the early years the band performed during private functions and rehearsed in a tearoom in the basement of Regent Street Polytechnic.* [18] When Metcalfe and Noble left to form their own group in September 1963, the remaining members asked Barrett and guitar player Bob Klose to join.* [19] By January 1964, the group became known as the Abdabs, or the Screaming Abdabs.* [20] During the autumn of 1964, the band used the names Leonard's Lodgers, Spectrum Five, and eventually, the Tea Set.* [21] Sometime during the autumn of 1965, the Tea Set began calling itself the Pink Floyd Sound, later the Pink Floyd and by early 1966, Pink Floyd.* [22]

A live performance of The Dark Side of the Moon at Earls Court, shortly after its release in 1973: (l-r) David Gilmour, Nick Mason, Dick Parry, Roger Waters

It was continuing to sell over 8,000 units every week as of 2005.* [32] According to Pink Floyd biographer Glen Povey, Dark Side is the world's second best-selling alBy early 1966 Barrett was Pink Floyd's front-man, gui- bum, and the United States' 21st best-selling album of tarist, and songwriter.* [23] He wrote or co-wrote all but all time.* [33] one track of their debut LP The Piper at the Gates of Waters produced thematic ideas that became the impeDawn, released in August 1967.* [24] Waters contributed tus for the Pink Floyd concept albums The Dark Side of the song "Take Up Thy Stethoscope and Walk" (his first the Moon (1973), Wish You Were Here (1975), Animals * sole writing credit) to the album. [25] By late 1967, (1977) and The Wall (1979)̶written largely by Waters Barrett's deteriorating mental health and increasingly er̶and The Final Cut (1983) ̶written entirely by Wa* ratic behaviour, [26] rendered him“unable or unwilling” ters.* [34] He referred or alluded to the cost of war and * [27] to continue in his capacity as Pink Floyd's singerthe loss of his father throughout his work, from "Corporal songwriter and lead guitarist.* [24] In early March 1968 Clegg" (A Saucerful of Secrets, 1968) and "Free Four" Pink Floyd met with managers Peter Jenner and Andrew (Obscured by Clouds, 1972) to "Us and Them" from The King of Blackhill Enterprises to discuss the band's fuDark Side of the Moon, "When the Tigers Broke Free", ture. Barrett agreed to leave Pink Floyd, and the band first used in the feature film, The Wall (1982), later in“agreed to Blackhill's entitlement in perpetuity”regardcluded with "The Fletcher Memorial Home" on The Fiing“past activities”.* [28] The band's new manager Steve nal Cut, an album dedicated to his father.* [35] The theme O'Rourke made a formal announcement about the deparand composition of The Wall was influenced by his upture of Barrett and the arrival of David Gilmour in April bringing in an English society depleted of men after the 1968.* [29] Second World War.* [36] Waters-led period Filling the void left by Barrett's departure in March 1968, Waters began to chart Pink Floyd's artistic direction. He became the principal songwriter, lyricist and co-lead vocalist (along with Gilmour, and at times, Wright), and would remain the band's dominant creative figure until his departure in 1985.* [30] He wrote the lyrics to the five Pink Floyd albums preceding his own departure, starting with The Dark Side of the Moon (1973) and ending with The Final Cut (1983), while exerting progressively more creative control over the band and its music. Every Waters studio album since The Dark Side of the Moon has been a concept album.* [31] With lyrics written entirely by Waters, The Dark Side of the Moon was one of the most commercially successful rock albums ever. It spent 736 straight weeks on the Billboard 200 chart̶until July 1988̶and sold over 40 million copies worldwide.

I think things like“Comfortably Numb”were the last embers of mine and Roger's ability to work collaboratively together.* [37] “ ” ̶David Gilmour The double album The Wall was written almost entirely by Waters and is largely based on his life story,* [38] and having sold over 23 million RIAA certified units in the US as of 2013, is one of the top three best-selling albums of all time in America, according to RIAA.* [39] Pink Floyd hired Bob Ezrin to co-produce the album, and cartoonist Gerald Scarfe to illustrate the album's sleeve art.* [40] The band embarked on The Wall Tour of Los Angeles, New York, London, and Dortmund. The last band performance of The Wall was on 16 June 1981, at Earls Court London, and this was Pink Floyd's last appearance with

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CHAPTER 3. PAST MEMBERS

Waters until the band's brief reunion at 2 July 2005 Live Momentary Lapse of Reason (1987), The Division Bell 8 concert in London's Hyde Park, 24 years later.* [41] (1994) and The Endless River (2014). As of 2013, it is In March 1983, the last Waters–Gilmour–Mason collab- estimated that Pink Floyd have sold over 250 million al74.5 million RIAA certified oration, The Final Cut, was released. The album was bums worldwide, including * units sold in the US. [53] subtitled: “A requiem for the post-war dream by Roger Waters, performed by Pink Floyd”.* [42] Waters wrote all the album's lyrics as well as the music. His lyrics 3.2.3 1984–present: solo career were critical of the Conservative Party government of the day and mention Prime Minister Margaret Thatcher by 1984–1996 name.* [43] At the time Gilmour did not have any new material, so he asked Waters to delay the recording until he could write some songs, but Waters refused.* [44] According to Mason, after power struggles within the band and creative arguments about the album, Gilmour's name “disappeared”from the production credits, though he retained his pay.* [45] Rolling Stone magazine gave the album five stars, with Kurt Loder describing it as “a superlative achievement”and “art rock's crowning masterpiece”.* [46] Loder viewed the work as “essentially a Roger Waters solo album”.* [47] Amidst creative differences within the group, Waters left Pink Floyd in 1985, and began a legal battle with the remaining band members regarding their continued use of Waters performing The Wall – Live in Berlin, Germany, on 21 the name and material.* [48] In December 1985, Waters July 1990 “issued a statement to EMI and CBS invoking the 'Leaving Member' clause”on his contract. In October 1986, he initiated High Court proceedings to formally dissolve the Pink Floyd partnership. In his submission to the High Court he called Pink Floyd a “spent force creatively” .* [49] Gilmour and Mason opposed the application and announced their intention to continue as Pink Floyd. Waters claims to have been forced to resign much like Wright some years earlier, and he decided to leave Pink Floyd based on legal considerations, stating " ... because, if I hadn't, the financial repercussions would have wiped me out completely.”* [50] In December 1987, an agreement between Waters and Pink Floyd was reached.* [48] According to Mason: We eventually formalised a settlement with Roger. On Christmas Eve, 1987, ... David and Roger convened for a summit meeting on the houseboat [the Astoria] with Jerome Walton, David's accountant. Jerome painstakingly typed out the bones of a settlement. Essentially ̶although there was far more complex detail ̶the arrangement allowed Roger to be freed from his arrangement with Steve [O'Rourke], and David and me to continue working under the name Pink Floyd. In the end the court accepted Jerome's version as the final and binding document and duly stamped it.* [51] Waters was released from his contractual obligation with O'Rourke, and he retained the copyrights to The Wall concept and his trademarked inflatable pig.* [52] The Gilmour-led Pink Floyd released three studio albums: A

The Wall – Live in Berlin, 21 July 1990

Following the release of The Final Cut, Waters embarked on a solo career that produced three concept albums and a movie soundtrack. In 1984, he released his first solo album, The Pros and Cons of Hitch Hiking, a project about

3.2. ROGER WATERS a man's dreams across one night that dealt with Waters' feelings about monogamy and family life versus“the call of the wild”.* [54] In the end the character, Reg, chooses love and matrimony over promiscuity. The album featured guitarist Eric Clapton, jazz saxophonist David Sanborn, and artwork by Gerald Scarfe.* [54] Kurt Loder described The Pros And Cons of Hitch Hiking as a“strangely static, faintly hideous record”.* [55] Rolling Stone rated the album a“rock bottom”one star.”* [54] Years later, Mike DeGagne of AllMusic praised the album for its, “ingenious symbolism”and “brilliant use of stream of consciousness within a subconscious realm”, rating it four out of five stars.* [56] Waters began touring in support of the new album, aided by Clapton, a new band, new material, and a selection of Pink Floyd favourites. Waters débuted his tour in Stockholm on 16 June 1984. Poor ticket sales plagued the tour, and some of the larger venues had to be cancelled.* [57] By his own estimate, he lost £400,000 on the tour.* [58] In March 1985, Waters went to North America to play smaller venues with the Pros and Cons Plus Some Old Pink Floyd Stuff ̶North America Tour 1985. The Pros and Cons of Hitch Hiking has been certified Gold by the RIAA.* [59]

59 RIAA.* [59] In 1990, Waters hired manager Mark Fenwick and left EMI for a worldwide deal with Columbia. He released his third studio album, Amused to Death, in 1992. The record is heavily influenced by the events of the Tiananmen Square protests of 1989 and the Gulf War, and a critique of the notion of war becoming the subject of entertainment, particularly on television. The title was derived from the book Amusing Ourselves to Death by Neil Postman. Patrick Leonard, who worked on A Momentary Lapse of Reason, co-produced the album. Jeff Beck played lead guitar on many of the album's tracks, which were recorded with an impressive cast of musicians at ten different recording studios.* [65] It is Waters' most critically acclaimed solo recording, garnering some comparison to his previous work with Pink Floyd.* [66] Waters described the record as, a “stunning piece of work”, ranking the album with Dark Side of the Moon and The Wall as one of the best of his career.* [67] The album had one hit, the song "What God Wants, Pt. 1”, which reached number 35 in the UK in September 1992 and number 5 on Billboard 's Mainstream Rock Tracks chart in the US.* [68] Amused to Death was certified Silver by the British Phonographic Industry.* [69] Sales of Amused to Death topped out at around one million and there was no tour in support of the album. Waters would first perform material from it seven years later during his In the Flesh tour.* [70] In 1996, Waters was inducted into the US and UK Rock and Roll Halls of Fame as a member of Pink Floyd.* [71]

In 1986, Waters contributed songs and a score to the soundtrack of the animated movie When the Wind Blows, based on the Raymond Briggs book of the same name. His backing band featuring Paul Carrack was credited as The Bleeding Heart Band.* [60] In 1987, Waters released Radio K.A.O.S., a concept album based on a mute man named Billy from an impoverished Welsh mining town who has the ability to physically tune into radio waves in his head. Billy first learns to communicate with a radio DJ, and eventually to control the world's computers. 1999–2004 Angry at the state of the world in which he lives, he simulates a nuclear attack. Waters followed the release with In 1999, after a 12-year hiatus from touring, and a sevenyear absence from the music industry, Waters embarked a supporting tour also in 1987.* [61] on the In the Flesh tour, performing both solo and Pink In November 1989, the Berlin Wall fell, and in July Floyd material. The tour was a financial success in the US 1990 Waters staged one of the largest and most elabo- and though Waters had booked mostly smaller venues, rate rock concerts in history,* [62] The Wall – Live in tickets sold so well that many of the concerts were upBerlin, on the vacant terrain between Potsdamer Platz graded to larger ones.* [72] The tour eventually stretched and the Brandenburg Gate. The show reported an offi- across the world and would span three years. A concert cial attendance of 200,000, though some estimates are as film was released on CD and DVD, named In the Flesh – much as twice that, with approximately one billion tele- Live. During the tour, he played two new songs“Flickervision viewers.* [63] Leonard Cheshire asked him to do ing Flame”and“Each Small Candle”as the final encore the concert to raise funds for charity. Waters' group of to many of the shows. In June 2002, he completed the musicians included Joni Mitchell, Van Morrison, Cyndi tour with a performance in front of 70,000 people at the Lauper, Bryan Adams, Scorpions, and Sinéad O'Connor. Glastonbury Festival of Performing Arts, playing 15 Pink Waters also used an East German symphony orchestra Floyd songs and five songs from his solo catalogue.* [72] and choir, a Soviet marching band, and a pair of helicopters from the US 7th Airborne Command and Con- Miramax announced in mid-2004 that a production of trol Squadron. Designed by Mark Fisher, the Wall was The Wall was to appear on Broadway with Waters play25 metres tall and 170 metres long and was built across ing a prominent role in the creative direction. Reports the set. Scarfe's inflatable puppets were recreated on an stated that the musical contained not only the original enlarged scale, and although many rock icons received in- tracks from The Wall, but also songs from Dark Side of vitations to the show, Gilmour, Mason, and Wright, did the Moon, Wish You Were Here *and other Pink Floyd alnot.* [64] Waters released a concert double album of the bums, as well as new material. [73] On the night of 1 performance which has been certified platinum by the May 2004, recorded extracts from the opera, including its overture, were played on the occasion of the Welcome Eu-

60 rope celebrations in the accession country of Malta. Gert Hof mixed recorded excerpts from the opera into a continuous piece of music which was played as an accompaniment to a large light and fireworks display over Grand Harbour in Valletta.* [74] In July 2004, Waters released two new tracks on the Internet: “To Kill the Child”, inspired by the 2003 invasion of Iraq, and“Leaving Beirut” , an anti-war song “inspired by his travels in the Middle East as a teenager”.* [75] 2005–present

Waters (far right) performing with Pink Floyd at Live 8, 2 July 2005

CHAPTER 3. PAST MEMBERS Gilmour for what would be their final performance together at the 2005 Live 8 concert in London's Hyde Park, Pink Floyd's only appearance with Waters since their final performance of The Wall at Earls Court London 24 years earlier.* [76] They played a 23-minute set consisting of "Speak to Me/Breathe"/"Breathe (Reprise)", "Money", "Wish You Were Here", and "Comfortably Numb". Waters told the Associated Press that while the experience of playing with Pink Floyd again was positive, the chances of a bona fide reunion would be “slight”considering his and Gilmour's continuing musical and ideological differences.* [77] Though Waters had differing ideas about which songs they should play, he “agreed to roll over for one night only”,* [78] Gilmour told the Associated Press,“The rehearsals convinced me it wasn't something I wanted to be doing a lot of. There have been all sorts of farewell moments in people's lives and careers which they have then rescinded, but I think I can fairly categorically say that there won't be a tour or an album again that I take part in. It isn't to do with animosity or anything like that. It's just that ... I've been there, I've done it.” * [79] In November 2005, Pink Floyd were inducted into the UK Music Hall of Fame by Pete Townshend of the Who.* [80] In September 2005, Waters released Ça Ira (pronounced [sa iˈʁa], French for “it will be fine"; Waters added the subtitle,“There is Hope”), an opera in three acts translated from the late Étienne Roda-Gil's French libretto based on the historical subject of the French Revolution.* [81] Ça Ira was released as a double CD album, featuring baritone Bryn Terfel, soprano Ying Huang and tenor Paul Groves.* [82] Set during the early French Revolution, the original libretto was co-written in French by Roda-Gil and his wife Nadine Delahaye. Waters had begun rewriting the libretto in English in 1989,* [83] and said about the composition: “I've always been a big fan of Beethoven's choral music, Berlioz and Borodin ... This is unashamedly romantic and resides in that early 19thcentury tradition, because that's where my tastes lie in classical and choral music.”* [84] Waters appeared on television to discuss the opera, but the interviews often focused instead on his relationship with Pink Floyd, something Waters would “take in stride”, a sign Pink Floyd biographer Mark Blake believes to be, “a testament to his mellower old age or twenty years of dedicated psychotherapy”.* [84] Ça Ira reached number 5 on the Billboard Classical Music Chart in the United States.* [85]

In June 2006, Waters commenced The Dark Side of the Moon Live tour, a two-year, world-spanning effort that began in Europe in June and North America in September. The first half of the show featured both Pink Floyd songs and Waters' solo material, while the second half included a complete live performance of the 1973 Pink Floyd album The Dark Side of the Moon, the first time Waters playing “In the Flesh”on his Dark Side of the Moon in over three decades that Waters had performed the alTour at Viking Stadion, Stavanger, 26 June 2006 bum. The shows ended with an encore from the third side of The Wall. He utilised elaborate staging by conIn July 2005, Waters reunited with Mason, Wright, and

3.2. ROGER WATERS cert lighting designer Marc Brickman complete with laser lights, fog machines, pyrotechnics, psychedelic projections, and inflatable floating puppets (Spaceman and Pig) controlled by a“handler”dressed as a butcher, and a full 360-degree quadraphonic sound system was used. Nick Mason joined Waters for The Dark Side of the Moon set and the encores on select 2006 tour dates.* [86] Waters continued touring in January 2007 in Australia and New Zealand, then Asia, Europe, South America, and back to North America in June. In March 2007, the Waters song, “Hello (I Love You)" was featured in the science fiction film The Last Mimzy. The song plays over the film's end credits. He released it as a single, on CD and via download, and described it as, “a song that captures the themes of the movie, the clash between humanity's best and worst instincts, and how a child's innocence can win the day”.* [87] He performed at California's Coachella Festival in April 2008 and was to be among the headlining artists performing at Live Earth 2008 in Mumbai, India in December 2008,* [88] but that concert was cancelled in light of the 26 November terrorist attacks in Mumbai.* [89]

61 featuring a complete performance of The Wall.* [93] According to Cole Moreton of the Daily Mail, “The touring version of Pink Floyd's The Wall is one of the most ambitious and complex rock shows ever ...”,* [94] and it is estimated that the tour cost £37 million to stage.* [94] Waters told the Associated Press that The Wall Tour will likely be his last, stating: “I'm not as young as I used to be. I'm not like B.B. King, or Muddy Waters. I'm not a great vocalist or a great instrumentalist or whatever, but I still have the fire in my belly, and I have something to say. I have a swan song in me and I think this will probably be it.”* [95] At The O2 Arena in London on 12 May 2011, Gilmour and Mason once again appeared with Waters and Gilmour performing “Comfortably Numb”, and Gilmour and Mason joining Waters for “Outside the Wall”.* [96] For the first half of 2012, Waters' tour topped worldwide concert ticket sales having sold more than 1.4 million tickets globally.* [97] As of 2013, The Wall Live is the highest-grossing tour of all time by a solo artist.* [98] Waters performed at the Concert for Sandy Relief at Madison Square Garden on 12 December 2012.* [99]

3.2.4 Personal life In 1969, Waters married his childhood sweetheart Judy Trim, a successful potter; she was featured on the gatefold sleeve of the original release of Ummagumma, but excised from subsequent CD reissues.* [100] They had no children together and divorced in 1975.* [101] Trim died in 2001.* [102] In 1976, Waters married Lady Carolyne Christie, the niece of the 3rd Marquess of Zetland.* [101] His marriage to Christie produced a son, Harry Waters, a musician who has played keyboards with his father's touring band since 2006, and a daughter, India Waters, who has worked as a model.* [103] Christie and Waters divorced Roger Waters in Barcelona, during The Wall Live in 2011 in 1992.* [101] In 1993, he married Priscilla Phillips; they had one son together, Jack Fletcher. Their marriage Waters confirmed the possibility of an upcoming solo al- ended in 2001.* [104] In 2004, he became engaged to acbum which “might be called”Heartland, and has said tress and filmmaker Laurie Durning; the two married on he has numerous songs written (some already recorded) 14 January 2012.* [105] that he intends to release when they are a complete album.* [90] In June 2010, Waters released a cover of "We Shall Overcome", a protest song rewritten and arranged 3.2.5 Activism by Guy Carawan and Pete Seeger at the Highlander Folk School possibly derived either from the refrain of a gospel After the 2004 Indian Ocean Earthquake and subsequent hymn published by Charles Albert Tindley in 1901, but tsunami disaster, Waters performed “Wish You Were more likely from Louise Shropshire's hymn,“If My Jesus Here”with Eric Clapton during a benefit concert on Wills.”He performed with David Gilmour at the Hoping the American network NBC.* [106] He was outspoken Foundation Benefit Evening in July 2010.* [91] The four- against the Hunting Act of 2004, and performed a concert song set included: "To Know Him Is to Love Him", which for, and attended marches supporting, the Countryside was played in early Pink Floyd sound checks, followed by Alliance. Waters explained: “Wish You Were Here”, “Comfortably Numb”, and “Another Brick in the Wall (Part Two)".* [92] I've become disenchanted with the political In September 2010, Waters commenced The Wall Live tour, an updated version of the original Pink Floyd shows,

and philosophical atmosphere in England. The anti-hunting bill was enough for me to leave

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CHAPTER 3. PAST MEMBERS England. I did what I could, I did a concert and one or two articles, but it made me feel ashamed to be English. I was in Hyde Park for both the Countryside Alliance marches. There were hundreds of thousands of us there. Good, honest English people. That's one of the most divisive pieces of legislation we've ever had in Great Britain. It's not a case of whether or not I agree with fox hunting, but I will defend to the hilt their right to take part in it.* [75]

Waters performing “Comfortably Numb”during The Wall Live in Kansas City, 30 October 2010

3.2.6 Political views Waters has been outspoken about Middle Eastern politics, and in June 2009 he opposed the Israeli West Bank barrier, calling it an “obscenity [that] should be torn down” .* [113] Later that year, he pledged his support to the Gaza Freedom March, and in 2011 he announced that he had joined the Boycott, Divestment and Sanctions (BDS) movement against Israel.* [114] Waters spoke about his support for BDS, stating that he has “been very disillusioned with UK foreign policy ... since Wilson. It was such a political turnabout from Keir Hardie and Attlee and the principles of British socialism.”* [115] In October 2010, after an animated B52 bomber had been shown dropping symbols including the Star of David as part of The Wall Live tour, the Anti-Defamation League (ADL) condemned Waters, saying that he had used “imagery long associated with steretotypes about Jews and money”and had “cross[ed] the line into antiSemitism.”In response, he wrote an open letter to The Independent in which he commented:“If I don't respond, people will see the story and will come to believe I'm antiSemitic, and I'm not. Nothing could be further from the truth.”* [116] He explained that the artwork used during his shows is“representative of religious and national and commercial interests, all of which have a malign influence on our lives and prevent us from treating each other decently”.* [116] He added:“You can attack Israeli policy without being anti-Jewish ... It's like saying if you criticise the US policy you are being anti-Christian. I'm critical of the Israeli policy of occupying Palestinian land and their policy of building settlements, which is entirely illegal under international law, and also of ghettoising the people whose land they are building on ... It's that foreign policy I'm against. It's nothing to do with the religion.” * [116]

In October 2005, he clarified: “I come back to the UK quite often. I didn't leave as a protest against the hunting ban; I was following a child in the wake of a divorce.” * [107] After leaving Britain, he moved to Long Island in New York with his fiancé Laurie Durning.* [108] In June 2007, Waters became a spokesman for Millennium Promise, a non-profit organisation that helps fight extreme poverty and malaria. He wrote an opinion piece for CNN in support of the topic.* [109] In July, he participated in the American leg of the Live Earth concert, an international multi-venue concert aimed at raising awareness about global climate change, featuring the Trenton Youth Choir and his trademarked inflatable pig. Waters In March 2013, during an interview with Electronic Intold David Fricke why he thinks The Wall is still relevant tifada, Waters stated that the American media “was under instructions from somewhere not to report [criticism today: of Israel] to the American public, on what grounds I cannot guess.”* [117] The loss of a father is the central prop on which [The Wall] stands. As the years go by, children lose their fathers again and again, for nothing. You see it now with all these fathers, good men and true, who lost their lives and limbs in Iraq for no reason at all. I've done Bring The Boys Back Home in my encore on recent tours. It feels more relevant and poignant to be singing that song now than it did in 1979.* [110] In 2012, Waters led a benefit for United States military veterans called Stand Up for Heroes. He invited a music group of combat wounded veterans called MusiCorps to perform with him.* [111] In June 2013, Waters and numerous other celebrities appeared in a video showing support for Bradley Manning.* [112]

On 20 July 2013, during a concert in Belgium, Waters' road crew released a pig-shaped balloon that had been painted with symbols including a Star of David, other political symbols shown including representing fascist, communist and capitalist representations. As the balloon floated over the audience, Waters sang the lyrics to “In the Flesh": “get him up against the wall, that one looks Jewish and that one's a coon, who let all of this riff-raff into the room”while holding“a machine gun replica and wearing a long black leather jacket with a red-and-white arm band reminiscent of a Nazi uniform.”* [118]* [119] Rabbi Abraham Cooper, associate dean of the Simon Wiesenthal Center criticized him: “Waters deployed a classic disgusting medieval anti-Semitic caricature widely used by both Nazi and Soviet propaganda to incite hatred against Jews.”* [120] Waters responded to the accusa-

3.2. ROGER WATERS tions, characterizing Cooper's statement as“wild and bigoted”with an“entirely predictable resulting rant.”* [121] Waters commented:“I should point out that in the show, I also use the Crucifix, the Crescent and Star, the Hammer and Sickle, the Shell Oil Logo and the McDonaldʼs Sign, a Dollar Sign and a Mercedes sign.”* [121] Waters explained that his father had died fighting Nazis and that he grew up in post-war England, receiving an in-depth education about the war: “I was spared no horrific detail of the heinous crimes committed in the name of that most foul ideology.”* [121] Waters stated that the Wall Show: “is many things. It is thoughtful, life affirming, ecumenical, humane, loving, anti-war, anti-colonial, prouniversal access to the law, pro-liberty, pro-collaboration, pro-dialogue, pro-peace, anti-authoritarian, anti-fascist, anti-apartheid, anti-dogma, international in spirit, musical and satirical. It is not anti-Semitic or pro-Nazi.” * [122] Waters clarified his position regarding the use of religious imagery: “the Star of David represents Israel and its policies and is legitimately subject to any and all forms of non violent protest.”* [121] Waters stated that the pig balloon represents “the evil of errant government.”* [121] He added: “For the sake of some perspective. The inflatable pig ... has appeared at every Wall Show since September 2010, some 193 shows [and] yours is the first complaint.”* [122] During a December 2013 interview in CounterPunch magazine, Waters made statements urging musicians to boycott Israel in response to their continued occupation of Palestine. He compared Israeli domestic policies with those of Nazi Germany, stating:“the parallels with what went on in the '30s in Germany are so crushingly obvious” .* [123] In response, author Rabbi Shmuley Boteach accused Waters of anti-Semitism.* [124] Waters defended himself, pointing out that he was not criticising Jews or Israelis in general, but the actions of the Israeli state against the Palestinians.* [125]

3.2.7

Equipment and instruments

Waters' primary instrument in Pink Floyd was the electric bass guitar. He briefly played a Höfner bass but replaced it with a Rickenbacker RM-1999/4001S, until 1970 when it was stolen along with the rest of the band's equipment in New Orleans.* [20] He began using Fender Precision Basses in 1968, originally alongside the Rickenbacker, and then exclusively after the Rickenbacker was lost in 1970. First seen at a concert in Hyde Park, London in July 1970, the black P-Bass was rarely used until April 1972 when it became his main stage guitar and as of 2 October 2010, the basis for a Fender Artist Signature model.* [126] Waters endorses RotoSound Jazz Bass 77 flat-wound strings.* [127] Throughout his career he has used Selmer, WEM, Hiwatt and Ashdown amplifiers but has used Ampeg for the last few tours, also employing delay, tremolo, chorus, stereo panning and phaser effects in his bass playing.* [128]

63 Waters experimented with the EMS Synthi A and VCS 3 synthesisers on Pink Floyd pieces such as "On the Run",* [129] "Welcome to the Machine",* [130] and "In the Flesh?"* [131] He played electric and acoustic guitar on Pink Floyd tracks using Fender, Martin, Ovation and Washburn guitars.* [128] He played electric guitar on the Pink Floyd song "Sheep", from Animals,* [132] and acoustic guitar on several Pink Floyd recordings, such as “Pigs on the Wing 1 & 2”, also from Animals,* [133] "Southampton Dock" from The Final Cut,* [134] and on "Mother" from The Wall.* [135] A Binson Echorec 2 echo effect was used on his bass-guitar lead track "One of These Days".* [136] Waters plays clarinet during concert performances of "Outside the Wall".* [137]

3.2.8 Discography Main article: Roger Waters discography See also: Pink Floyd discography

• The Pros and Cons of Hitch Hiking (1984) • Radio K.A.O.S. (1987) • Amused to Death (1992) • Ça Ira (2005)

3.2.9 Citations [1] “Roger Waters”. Desert Island Discs. 29 May 2011. BBC Radio 4. http://bbc.co.uk/programmes/b011j39v. Retrieved 18 January 2014. [2] Thompson 2013, p. 7. [3] Blake 2008, p. 13. [4] Blake 2008, pp. 13–14; for the Commonwealth War Graves Commission entry on Eric Waters see: “Casualty Details”. Commonwealth War Graves Commission. Retrieved 1 March 2013. [5] “Wanted in Rome”. [6] Manning 2006, pp. 5–6. [7] “Desert Island Discs, Roger Waters”. BBC Radio 4. 29 May 2011. Retrieved 29 May 2011. [8] Watkinson & Anderson 1991, pp. 15–18. [9] Mason 2005, pp. 12–13. [10] Povey 2008, p. 13. [11] Watkinson & Anderson 1991, p. 23. [12] Blake 2008, pp. 14–19. [13] Povey 2008, p. 320. [14] Blake 2008, p. 36.

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[15] Blake 2008, p. 40: (secondary source); Mason 2005, p. 20: (primary source).

[47] Loder, Kurt (14 April 1983). “Pink Floyd: The Final Cut (Toshiba)". Rolling Stone. Retrieved 6 May 2012.

[16] Manning 2006, p. 13: (secondary source); Mason 2005, p. 17: (primary source).

[48] Povey 2008, pp. 240–241.

[17] Mason 2005, pp. 17–18. [18] Mason 2005, pp. 13–18. [19] Mason 2005, p. 18: (primary source); Povey 2008, p. 14: (secondary source).

[49] Povey 2008, pp. 221, 237, 240–241, 246. [50] Blake 2008, pp. 312–313. [51] Mason 2005, pp. 293–294. [52] Manning 2006, pp. 139.

[24] Mason 2005, pp. 87–107.

[53] For Pink Floyd's worldwide album sales see:“Pink Floyd Reunion Tops Fans' Wish List in Music Choice Survey” . Bloomberg. 26 September 2007. Retrieved 25 May 2012.; “Pink Floyd's a dream, Zeppelin's a reality”. Richmond Times-Dispatch. 28 September 2007. Retrieved 25 May 2012.;“Pink Floyd biography”. Official site. Retrieved 4 June 2012.; for Pink Floyd's US album sales see: “Top Selling Artists”. Recording Industry Association of America. Retrieved 17 October 2010.

[25] Blake 2008, p. 91.

[54] Schaffner 1991, pp. 272–273.

[20] Povey 2008, p. 14. [21] Povey 2008, pp. 18, 28. [22] Mason 2005, pp. 30–37: (primary source); Povey 2008, p. 32: (secondary source). [23] Mason 2005, p. 87.

[26] Blake 2008, pp. 90–114. [27] Mason 2005, p. 129. [28] Mason 2005, p. 105. [29] Mason 2005, p. 106. [30] Mason 2005, pp. 106–107, 160–161, 265, 278. [31] Blake 2008, pp. 3, 9, 113, 156, 242, 279, 320, 398. [32] Titus, Christa; Waddell, Ray (2005).“Floyd's 'Dark Side' Celebrates Chart Milestone”. Billboard. Retrieved 24 October 2011. [33] Povey 2008, p. 345. [34] Mason 2005, pp. 265–269. [35] Blake 2008, p. 294. [36] Blake 2008, pp. 294–295, 351. [37] Blake 2008, p. 275. [38] Blake 2008, p. 260. [39] “RIAA GOLD & PLATINUM Top 100 Albums”. Recording Industry Association of America. Retrieved 17 October 2010.

[55] Blake 2008, pp. 305–306. [56] DeGagne, Mike. “The Pros and Cons of Hitch Hiking” . AllMusic. Retrieved 17 October 2010. [57] Blake 2008, pp. 332–333. [58] Blake 2008, p. 309. [59] “RIAA Certifications”. Recording Industry Association of America. Retrieved 17 November 2010. [60] Fitch 2005, p. 36. [61] Manning 2006, p. 131. [62] Povey & Russell 1997, pp. 246–247. [63] Blake 2008, p. 346. [64] Blake 2008, pp. 342–347. [65] Blake 2008, pp. 348–349. [66] Blake 2008, pp. 347–352. [67] Manning 2006, pp. 141, 252. [68] “Roger Waters: Billboard Singles”. AllMusic. Retrieved 20 November 2010. [69] “BPI Certifications”. British Phonographic Industry. Retrieved 2 October 2010.

[40] Blake 2008, pp. 260–261. [70] Povey 2008, pp. 323–324. [41] Povey & Russell 1997, p. 185. [42] Povey 2008, p. 230.

[71] “Rock & Roll Hall of Fame Pink Floyd”. Rock & Roll Hall of Fame. Retrieved 2 October 2010.

[43] Blake 2008, pp. 294–299.

[72] Povey 2008, pp. 329–334.

[44] Blake 2008, p. 295.

[73] “Pink Floyd's Wall Broadway bound”. BBC News. 5 August 2004. Retrieved 2 October 2010.

[45] Mason 2005, pp. 264–270. [46] Blake 2008, p. 300: “art rock's crowning masterpiece"; Schaffner 1991, p. 262: “a superlative achievement”.

[74] Povey 2008, p. 334. [75] Blake 2008, p. 391.

3.2. ROGER WATERS

[76] Povey 2008, pp. 237, 266–267. [77] Schaffner 1991, p. 308. [78] Blake 2008, pp. 382–383. [79] “Gilmour says no Pink Floyd reunion”. MSNBC. 9 September 2008. Retrieved 6 October 2010. [80] Blake 2008, p. 386

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[98] Allen, Bob (4 October 2013). “Roger Waters Passes Madonna for Solo Boxscore Record with $459M Wall Live Tour”. Billboard.biz. Retrieved 5 October 2013. [99] “12 Unforgettable Photos from the Epic 12–12–12 Sandy Benefit Concert”. Time. 13 December 2012. Retrieved 15 December 2012. [100] Mabbett 2010, p. 50.

[101] Fitch 2005, p. 335. [81] Tsioulcas, Anastasia (27 August 2005). “Waters' New [102] Blake 2008, p. 376. Concept”. Billboard: 45. Retrieved 6 May 2012. [82] Povey 2008, pp. 324–325. [83] Manning 2006, p. 256. [84] Blake 2008, p. 392.

[103] Blake 2008, p. 258: India Waters; Povey 2008, pp. 335– 339: Harry has performed with Waters since 2006. [104] Blake 2008, p. 348; Thompson 2013, p. 109: Jack Fletcher.

[85] “Roger Waters: Ca Ira”. Billboard. Retrieved 17 Febru- [105] “Pink Floyd's Roger Waters marries for a fourth time”. NME. 21 January 2013. Retrieved 6 September 2013. ary 2013. [86] Povey 2008, pp. 319, 334–338.

[106] “Stars lend a hand for tsunami relief”. MSNBC. Retrieved 2 October 2010.

[87] “Reminder – Pink Floyd Rock Icon Roger Waters [107] “Roger Waters: French Revolution”. The Independent. Records“Hello (I Love You)", an Original Song for New 4 October 2005. Retrieved 29 May 2014. Line Cinema's“The Last Mimzy"". Marketwire. January 2007. Retrieved 17 October 2010. [108] Blake 2008, pp. 391–392. [88] “Pink Floyd's Roger Waters to join Bon Jovi at Live Earth [109] Waters, Roger (11 June 2007). “Waters: Something can be done about extreme poverty”. CNN. Retrieved 18 India”. NME. 21 November 2008. Retrieved 2 October October 2010. 2010. [89] Michaels, Sean (1 December 2008). “Live Earth India [110] Fricke 2009, p. 74. cancelled after Mumbai attacks”. The Guardian (Lon[111] Carucci, John (9 November 2012). “Roger Waters & don). Retrieved 18 October 2010. Veterans Perform Together At Stand Up for Heroes Benefit”. Huffington Post. Retrieved 19 May 2013. [90] Brown, Mark (25 April 2008).“Read the complete Roger Waters interview”. Rocky Mountain News. Retrieved 17 [112] Gavin, Patrick (19 June 2013). “Celeb video: 'I am October 2010. Bradley Manning'". Politico. [91] Youngs, Ian (15 October 2010). “Pink Floyd may get [113] Thil, Scott (2 June 2009). “Roger Waters to Israel: Tear back together for charity”. BBC News. Retrieved 19 Down the Wall”. Wired News. Retrieved 14 October October 2010. 2010. [92] Kreps, David (12 July 2010). “Pink Floyd's Gilmour [114] For Waters' support of the BDS movement see: “Roger and Waters Stun Crowd With Surprise Reunion”. Rolling Waters voices support for Israel boycott”. Haaretz. 6 Stone. Retrieved 30 May 2011. March 2011. Retrieved 6 March 2011.; For Waters' support of the Gaza Freedom March see: Goodman, Amy (30 [93] Jones, Rebecca (27 May 2010). “Pink Floyd's Roger December 2009). “EXCLUSIVE...Pink Floyd's Roger Waters revisits The Wall”. BBC News. Retrieved 19 Waters Speaks Out in Support of Gaza Freedom March, October 2010. Blasts Israeli-Egyptian “Siege”of Gaza”. Democracy Now!. Retrieved 3 March 2012. [94] Moreton, Cole (7 November 2010). “Backstage with Roger Waters as he prepares for The Wall spectacular $60 [115] Cronin, David (18 March 2013). “Boycotting Israel is million live show”. Daily Mail (London). Retrieved 7 the “way to go,”says Pink Floyd legend Roger Waters” November 2010. . ElectronicIntifada. Retrieved 19 March 2013. [95] Butler, Will (12 April 2010).“Roger Waters Revisits 'The [116] Harkov, Lahav (5 October 2010).“Roger Waters: I'm not Wall' For Final Anniversary Tour”. NPR. Retrieved 26 anti-Semitic, I'm anti-occupation”. The Jerusalem Post. November 2010. [117] Chumley, Cheryl (5 April 2013). “Pink Floyd's Roger [96] “Pink Floyd bandmates reunite at Roger Waters concert” Waters, who is pro-Palestinian, abruptly cancels Jewish . viagogo. 16 May 2011. Retrieved 16 May 2011. stop”. The Washington Times. [97] “Roger Waters tops worldwide ticket sales for 2012”. [118] “Roger Waters concert features Nazi-like uniform, pig BBC News. Retrieved 14 July 2012 balloon with Jewish symbol”. Haaretz. 25 July 2013.

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[119] “Roger Waters concert features Nazi-like uniform, pig balloon with Jewish symbol”. The Jerusalem Post. 25 July 2013.

• Fricke, David (December 2009). “Roger Waters: Welcome to My Nightmare ... Behind The Wall”. Mojo (Emap Metro) 193: pp.68–84.

[120] “Wiesenthal Center: By Floating a Pig Balloon Stamped With Star of David at His Concert, Roger Waters Has Moved to the Front of the Line of Anti-Semites”. The Simon Wiesenthal Center. 24 July 2013.

• Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd (1st UK paperback ed.). Omnibus Press. ISBN 978-0-7119-4301-8.

[121] Cubarrubia, RJ (2 August 2013). “Roger Waters Addresses Star of David Controversy”. Rolling Stone.

• Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery (1st UK paperback ed.). Omnibus Press. ISBN 978-1-84938-370-7.

[122] “Roger Waters Responds to Accusations of AntiSemitism”. jambands.com. 1 August 2013. [123] Barat, Frank (6 December 2013). “An Interview with Roger Waters”. Counterpunch (Weekend Edition). Retrieved 15 December 2013. [124] Boteach, Shmuley (12 December 2013). “The AntiSemitic Stench of Pink Floyd”. The New York Observer. [125] “Former Pink Floyd frontman sparks fury by comparing Israelis to Nazis”. 14 December 2013. Retrieved 15 December 2013. [126] “Roger Waters Precision Bass”. Fender Musical Instruments Corporation. Retrieved 9 October 2010. [127] “Rotosound Endorsees”. Rotosound. Retrieved 23 November 2010. [128] Fitch 2005, pp. 416–430, 441–445. [129] Mason 2005, p. 169. [130] Fitch 2005, p. 324. [131] Fitch & Mahon 2006, p. 71. [132] Fitch 2005, p. 285. [133] Fitch 2005, pp. 241–242. [134] Fitch 2005, p. 295. [135] Fitch 2005, p. 213. [136] Mabbett 1995, p. 39. [137] Fitch 2005, p. 232.

3.2.10

Sources

• Blake, Mark (2008). Comfortably Numb: The Inside Story of Pink Floyd (1st US paperback ed.). Da Capo Press. ISBN 978-0-306-81752-6. • Fitch, Vernon (2005). The Pink Floyd Encyclopedia (Third ed.). Collector's Guide Publishing, Inc. ISBN 978-1-894959-24-7. • Fitch, Vernon; Mahon, Richard (2006). Comfortably Numb: A History of “The Wall”– Pink Floyd 1978–1981 (1st ed.). PFA Publishing, Inc. ISBN 978-0-9777366-0-7.

• Manning, Toby (2006). The Rough Guide to Pink Floyd (1st US paperback ed.). Rough Guides Ltd. ISBN 978-1-84353-575-1. • Mason, Nick (2005). Inside Out: A Personal History of Pink Floyd (1st US paperback ed.). Chronicle Books. ISBN 978-0-8118-4824-4. • Povey, Glen (2008). Echoes: The Complete History of Pink Floyd (2nd UK paperback ed.). 3C Publishing Ltd. ISBN 978-0-9554624-1-2. • Povey, Glen; Russell, Ian (1997). Pink Floyd: In the Flesh: The Complete Performance History (1st US paperback ed.). St. Martin's Press. ISBN 978-09554624-0-5. • Schaffner, Nicholas (1991). Saucerful of Secrets: the Pink Floyd Odyssey (1st US paperback ed.). Dell Publishing. ISBN 978-0-385-30684-3. • Thompson, Dave (2013). Roger Waters: The Man Behind The Wall. Backbeat Books. ISBN 978-161713-564-4. • Watkinson, Mike; Anderson, Pete (1991). Crazy Diamond: Syd Barrett & the Dawn of Pink Floyd (1st UK paperback ed.). Omnibus Press. ISBN 978-1-84609-739-3.

3.2.11 Further reading • Di Perna, Alan (2002). Guitar World Presents Pink Floyd. Hal Leonard Corporation. ISBN 978-0-63403286-8. • Fitch, Vernon (2001). Pink Floyd: The Press Reports 1966–1983. Collector's Guide Publishing Inc. ISBN 978-1-896522-72-2. • Harris, John (2005). The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece. Da Capo. ISBN 978-0-306-81342-9. • Hiatt, Brian (September 2010).“Back to The Wall” . Rolling Stone 1114: pp. 50–57. • MacDonald, Bruno (1997). Pink Floyd: through the eyes of ... the band, its fans, friends, and foes. Da Capo Press. ISBN 978-0-306-80780-0.

3.3. RICHARD WRIGHT (MUSICIAN)

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• Mabbett, Andy; Mabbett, Miles (1994). Pink Floyd Street Polytechnic in 1962.* [4] There he met fellow band : the visual documentary. Omnibus Press. ISBN members Roger Waters and Nick Mason, was a found978-0-7119-1444-5. ing member of The Pink Floyd Sound (as they were then called) in 1965, and also participated in its previous incar• Miles, Barry (1982). Pink Floyd: A Visual Docunations, Sigma 6 and The (Screaming) Abdabs.* [1]* [5] mentary by Miles. New York: Putnam Publishing Although Mason and Waters were competent students, Group. ISBN 978-0-399-41001-7. Wright found architecture of little interest and after only a • Scarfe, Gerald (2010). The Making of Pink Floyd: year of study moved to the London College of Music.* [2] The Wall (1st US paperback ed.). Da Capo Press. ISBN 978-0-306-81997-1. • Simmons, Sylvie (December 1999). “Pink Floyd: 3.3.2 Pink Floyd 1967 - 1981 The Making of The Wall”. Mojo (London: Emap Metro) 73: pp. 76–95. In the early days of Pink Floyd, Wright was a prominent musical force in the group (although Syd Barrett was the bandʼs chief songwriter and front man at the 3.2.12 External links time). Wright wrote and sang several songs of his own • Official website during 1967–1968. While not credited for vocals on The Piper at the Gates of Dawn, he sang lead on Barrett• Media related to Roger Waters at Wikimedia Compenned songs like "Astronomy Domine" and "Matilda mons Mother", as well as harmonies on "The Scarecrow" and "Chapter 24". Examples of his early compositions in• Quotations related to Roger Waters at Wikiquote clude "Remember a Day", "See-Saw", "Paint Box" and "It Would Be So Nice". As the sound and the goals of the band evolved, Wright became less interested in 3.3 Richard Wright (musician) song writing and focused primarily on contributing his distinctive style to extended instrumental compositions “Rick Wright”redirects here. For other uses, see such as "Cirrus Minor", "Interstellar Overdrive", "Set the Richard Wright. Controls for the Heart of the Sun", "Careful with That Axe, Eugene", "One of These Days", "Dogs" and to muRichard William “Rick”Wright (28 July 1943 – 15 sical themes for film scores (More, Zabriskie Point and September 2008) was an English musician, composer, Obscured by Clouds). He particularly made essential consinger and songwriter, best known for his career with tributions to Pink Floyd's long, epic compositions such Pink Floyd.* [1] A multi-instrumentalist, Wright's richly as "Atom Heart Mother", "Echoes" (on which he harmotextured keyboard layers were a vital ingredient and a nized with Gilmour for the lead vocals) and "Shine On distinctive characteristic of Pink Floyd's sound. Wright You Crazy Diamond". His most commercially popular frequently sang harmony and occasionally lead vocals on compositions are "The Great Gig in the Sky" and "Us and stage and in the studio with Pink Floyd (most notably on Them" from 1973's The Dark Side of the Moon.* [5] He the songs "Time", "Echoes", "Us and Them", "Wearing also contributed significantly to other mid-period Floyd the Inside Out", "Astronomy Domine", "Summer '68", classics such as “Breathe”and “Time”, singing the "Remember a Day" and "Matilda Mother"). lead vocals on alternate verses of the latter with David Though not as prolific in songwriting as his band mates Gilmour. Roger Waters, Syd Barrett and David Gilmour, he wrote significant parts of the music for classic albums such as Pink Floyd's Meddle, The Dark Side of the Moon and Wish You Were Here, as well as for The Division Bell and the band's final studio album, The Endless River.

3.3.1

Early life

Wright, whose father was head biochemist at Unigate Dairies, grew up in Hatch End, North London and was educated at the Haberdashers' Aske's School. Wright taught himself to play guitar, trumpet and piano at age 12,* [2] and took private lessons in musical theory and composition at the Eric Gilder School of Music.* [3] Uncertain about his future, he enrolled at Regent

Wright recorded his first solo project, Wet Dream, which was released in September 1978 with minimal commercial success. Battling both personal problems and an increasingly rocky relationship with Roger Waters, he was forced to resign from Pink Floyd during The Wall sessions by Waters, who threatened to pull the plug on the album if Wright did not leave the band. He was retained as a salaried session musician during the live concerts to promote that album in 1980–81. Wright became the only member of Pink Floyd to profit from the initial run of the costly Wall shows, since the net financial loss had to be borne by the three remaining “full-time”members. Wright did not attend the 1982 premiere of the film version of Pink Floyd ̶The Wall. In 1983, Pink Floyd released The Final Cut, the only album from the band on which Wright does not appear.* [1]

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Later life

Wright contributed keyboards and background vocals to David Gilmour's solo album, On an Island, and performed with Gilmour's touring band for over two dozen shows in Europe and North America in 2006. On stage with Gilmour he performed on Hammond organ, piano, electric piano, Kurzweil K2600 workstation, and even his long-inactive Farfisa organ, which was used for performing“Echoes”and two of Pink Floyd's and Syd Barrett's older songs that Gilmour chose to revisit in his recent concerts. He also provided backing vocals and lead vocals (notably on“Echoes”,“Time”, "Comfortably Numb", “Wearing the Inside Out”, "Astronomy Domine" and "Arnold Layne" – the latter released as a live single). He declined an offer to join Roger Waters and Nick Mason on Waters' The Dark Side of the Moon Live tour in order to spend more time working on a solo project.

During 1984, Wright formed a new musical duo with Dave Harris (from the band Fashion) called Zee. They signed a record deal with EMI Records and released only one album, Identity, which was a commercial and critical flop.* [1]* [5] Wright worked as a salaried musician alongside Pink Floyd, following Waters' departure. Because of legal and contractual issues from this “hired gun”status during The Wall world tour, his photo was not included in the 1987 album A Momentary Lapse of Reason and his name was listed in smaller letters than Mason and Gilmour. In 1994, by which time his reinstatement in the band had become official, he co-wrote five songs and sang lead vocals on one song ("Wearing the Inside Out") for the next Pink Floyd album, The Division Bell. This recording provided material for the double live alOn 4 July 2006, Wright joined Gilmour and Mason for bum and video release Pulse in 1995. Wright, like Nick the official screening of the P•U•L•S•E DVD. Inevitably, Mason, performed on every Pink Floyd tour. Live 8 surfaced as a subject in an interview. When asked about performing again, Wright replied he would Rick asked to be a part of A Momentary be happy on stage anywhere. He explained that his plan Lapse of Reason, and we talked and argued and was to “meander”along and said about playing live: negotiated again, and this time [The Division Bell] he's on a percentage of everything, not ...and whenever Dave wants me to play with just the record. Last time Nick and myself him, I'm really happy to play with him. And [to had put up all the money and taken all the Gilmour] you'll play with me, right? risks on everything, including the lawsuits with Roger. If you take all the risks, you expect to Wright's final vocal performance took place at“The Madget more of the profits, quite simply. This is cap's Last Laugh”a tribute concert at The Barbican in a wonderful artistic endeavour we've spent all London on 10 May 2007. It was organised by Joe Boyd our adult lives working on, but reality comes in the memory of Syd Barrett who had died the previous into it as well. * July. Boyd rounded up many musical guests all paying ̶David Gilmour, [6] their tributes to Syd including Captain Sensible, Chrissie Hynde, Damon Albarn, Kevin Ayers, Kate McGarrigle In 1996, inspired by his successful input into The Divi- with Martha Wainwright and Lily Lankin, Mike Heron, sion Bell, Wright released his second solo album, Broken Nick Laird Clowes, Vashti Bunyan, Robyn Hitchcock and China, including contributions from Sinéad O'Connor on performing solo, Roger Waters. vocals, Pino Palladino on bass, Manu Katché on drums, Pink Floyd featuring David Gilmour, Nick Mason and Dominic Miller (known from his guitar work with Sting) Wright appeared at the end of the show as surprise guests and Tim Renwick, another Pink Floyd associate, on elec- where they performed the song that had started it all, tric guitar. Broken China marked a new phase in Richard "Arnold Layne", with Wright on lead vocals. Wright's artistic development and playing style, with extensive use of computer-based recording and production Wright's final live performance was as part of David techniques, assisted by Anthony Moore with whom he co- Gilmour's band at the premiere of Gilmour's concert DVD Remember That Night. It took place on 6 Septemwrote the album's lyrics.* [7] ber 2007 at the Odeon Leicester Square, London. AfIn 1999, keyboard player Jon Carin joined with Wright's ter an edited version of the film had been shown, the wife to bring Wright and Waters back together after some band took to the stage to jam and Wright played key18 years apart; the two men met backstage after a tour boards.* [10] date by Waters.* [8]* [9] Wright appeared posthumously on Pink Floyd's album On 2 July 2005, Wright, Gilmour and Mason were joined The Endless River. by Waters on stage for the first time since the Wall concerts for a short set at the Live 8 concert in London. This was the last time that all four (post-Barrett) Pink 3.3.4 Personal life Floyd members performed together. Wright underwent eye surgery for cataracts in November 2005, preventing He married his first wife, Juliette Gale, in 1968. She had him from attending Pink Floyd's induction into the UK been a singer in one of the early bands that evolved into Music Hall of Fame. Pink Floyd. They had two children, Gala and Jamie, and

3.3. RICHARD WRIGHT (MUSICIAN)

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divorced in 1982. He married his second wife Franka in feelings in words, but I loved him and will miss 1984. They divorced in 1990. Wright married his third him enormously.* [16] wife Mildred“Millie”Hobbs (to whom he dedicated his second solo album Broken China) in 1995, with whom he Pink Floyd drummer Nick Mason told Entertainment had a son, Ben. Their marriage ended in 2007. From Weekly: 1984 to 1994 he lived on the island Kefalonia. In 1996, Wright's daughter Gala married Guy Pratt, a session muLike any band, you can never quite quansician who has played bass for Pink Floyd (and bandmate tify who does what. But Pink Floyd wouldnʼt David Gilmour) since Roger Waters' exit.* [11] In his later have been Pink Floyd if [we] hadn't had Rick. years, Wright lived in France and spent time on a yacht I think thereʼs a feeling now – particularly afhe owned in the Virgin Islands.* [12] ter all the warfare that went on with Roger and David trying to make clear what their contribution was – that perhaps Rick rather got pushed 3.3.5 Death into the background. Because the sound of Pink Floyd is more than the guitar, bass, and Wright died at home, of an undisclosed form of cancer, * * drum thing. Rick was the sound that knitted on 15 September 2008 at age 65. [5] [13] At the time it all together... He was by far the quietest of of his death, he had been working on a new solo album, the band, right from day one. And, I think, which was thought to comprise a series of instrumental * * probably harder to get to know than the rest pieces. [14] [15] of us... It's almost that George Harrison thing. His death occurred one week before the release of David You sort of forget that they did a lot more than Gilmour's Live in Gdańsk, on which he appeared. On 6 perhaps theyʼre given credit for.* [17] July 2014, it was announced that a new album, The Endless River will be the first Pink Floyd album since 1994. Former bandmate Roger Waters' website was replaced The album, released in November 2014, is based on leftwith a photograph of an array of candles and poppies over material from the 1993-1994 The Division Bell sesagainst a black background; one of the screen images sions. Material performed by Wright appears on the alused for the song“Wish You Were Here”in his“Dark bum, on which he is credited to co-writing around twoSide of the Moon Live”Tour.* [18] thirds of the material. Waters also issued a statement: David Gilmour published this tribute to Wright: No one can replace Richard Wright. He was my musical partner and my friend. In the welter of arguments about who or what was Pink Floyd, Rick's enormous input was frequently forgotten. He was gentle, unassuming, and private, but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound. I have never played with anyone quite like him. The blend of his and my voices and our musical telepathy reached their first major flowering in 1971 on 'Echoes'. In my view all the greatest PF moments are the ones where he is in full flow. After all, without 'Us and Them' and 'The Great Gig in the Sky', both of which he wrote, what would 'The Dark Side of the Moon' have been? Without his quiet touch, the album 'Wish You Were Here' would not quite have worked. In our middle years, for many reasons, he lost his way for a while; but in the early Nineties, with 'The Division Bell', his vitality, spark and humour returned to him, and then the audience reaction to his appearances on my tour in 2006 was hugely uplifting and it's a mark of his modesty that those standing ovations came as a huge surprise to him (though not to the rest of us). Like Rick, I don't find it easy to express my

I was very sad to hear of Rick's premature death, I knew he had been ill, but the end came suddenly and shockingly. My thoughts are with his family, particularly [his children] Jamie and Gala and their mum Juliet, who I knew very well in the old days, and always liked very much and greatly admired. As for the man and his work, it is hard to overstate the importance of his musical voice in the Pink Floyd of the '60s and '70s. The intriguing, jazz influenced, modulations and voicings so familiar in 'Us and Them' and 'Great Gig in the Sky,' which lent those compositions both their extraordinary humanity and their majesty, are omnipresent in all the collaborative work the four of us did in those times. Rick's ear for harmonic progression was our bedrock. I am very grateful for the opportunity that Live 8 afforded me to engage with him and David [Gilmour] and Nick [Mason] that one last time. I wish there had been more.* [19] On 23 September 2008, David Gilmour performed "Remember a Day", a Wright composition from Pink Floyd's second album, A Saucerful of Secrets (1968), on a live broadcast of Later... with Jools Holland on BBC Two as a tribute to Wright. In an interview later on in

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the show, Gilmour said that Wright had intended to perform with him that day, but that he had texted Gilmour a couple of weeks before his death to advise him that he would not be well enough to attend. This was the first live performance of the song by any member of the band. On 15 September 2008, Elton John, while playing a concert in Saskatoon, Saskatchewan dedicated the song "Believe" to Wright who had died earlier that day.* [20]

3.3.6

Influence

Dark Side of the Moon, Wish You Were Here, Animals and The Wall, the Farfisa was dropped (although it was brought back when Wright toured with David Gilmour on his On An Island tour), and an array of other instruments were added to the lineup, such as: Fender Rhodes & Wurlitzer Electric Pianos, Hohner clavinet, VCS 3, Minimoog, ARP String Ensemble and Prophet 5, Roland D-50 synthesizers. From 1987 Wright favoured Kurzweil digital synthesizers (namely the K2000 keyboard and K2000S rack modules & MIDI board) for reproducing his analogue synthesizer sounds, even though he still used his favourite Hammond B-3 or C-3 organ, along with Leslie speaker system.* [9] According to Seth Goldman, Rick tried ear moulds during the Division Bell tour, but “he didn't get on with them”.* [9] Throughout his career, Wright was also a proficient multi-instrumentalist. He also played violin, cello, bass, guitar, saxophone, and drums, amongst others.

Wright's style fused jazz, neoclassical and experimental music influences, which complemented the simple harmonic structures of the more blues and folk-based songs of Roger Waters and David Gilmour. As a keyboardist, he was more interested in complementing each piece with organ or synthesizer layers and tasteful piano or electric piano passages. Unlike his contemporaries Rick Wakeman, Tony Banks or Keith Emerson, he opted 3.3.8 Pink Floyd songs with Wright for solo playing only occasionally, notably in "A Saucersinging lead vocals ful of Secrets", “Atom Heart Mother”, “Echoes”, "Any Colour You Like", “Shine On You Crazy Dia• "Astronomy Domine", with Syd Barrett (1967) mond”, "Welcome to the Machine", "Dogs", "Sheep", "Run Like Hell" and "Keep Talking". Wright was known • "Matilda Mother", with Barrett (1967) for his ghostly, atmospheric textures such as the Leslie pi• "Paintbox" (1967) ano arpeggios at the beginning of“Echoes”, the echoed Farfisa Organ in the live versions of “Careful with That • "It Would Be So Nice" (1968) Axe, Eugene”and "Set the Controls for the Heart of the Sun", the distinctive Minimoog solo in “Shine On You • "Let There Be More Light", with David Gilmour Crazy Diamond”and the Wurlitzer passages in "Money", and Roger Waters (1968) "Time" and the Fender Rhodes riffs in "Sheep". In “A Saucerful of Secrets”and "Sysyphus" he experimented • "Remember a Day" (1968) with 'treated piano'. “Sysyphus”also made extensive • "Corporal Clegg", with Gilmour and Nick Mason use of Mellotron sounds, something of a rarity in the Pink (1968) Floyd canon. • "See-Saw" (1968)

3.3.7

Equipment

• "Crumbling Land", with Gilmour (1970)

• "Summer '68" (1970) In the early days of the band, Wright dabbled with brass before settling on the Farfisa Compact Duo electronic or• "Echoes", with Gilmour (1971) gan as his main instrument onstage (in addition to piano and Hammond Organ in the studio). For a brief pe• "Burning Bridges", with Gilmour (1972) riod in 1969, Wright played vibraphone on several of the band's songs and in some live shows, and he even • "Stay" (1972) played trombone on “Biding My Time”(also dating • "Time", with Gilmour (1973) from this experimental period). During the formative years of Pink Floyd with Syd Barrett, Wright relied heav• "Us and Them", with Gilmour (1973) ily on his Farfisa organ, fed through a Binson Echorec platter echo, to achieve distinctive sounds that helped • "Wearing the Inside Out", with Gilmour (1994) the band gain their "psychedelic rock" edge. He used a Mellotron on many Pink Floyd songs recorded in 1968, on "Sysyphus" and on "Atom Heart Mother". He started 3.3.9 Discography using a Hammond organ regularly on stage thereafter, and a grand piano later became part of his usual live con- With Pink Floyd cert setup when "Echoes" was added to Pink Floyd's regular set list. For tours in the 1970s based around The See Pink Floyd discography

3.3. RICHARD WRIGHT (MUSICIAN) With Syd Barrett • Barrett – 14 November 1970 • Plays keyboards* [21] Solo albums • Wet Dream – 15 September 1978, US number 203 • Broken China – 26 November 1996 Zee album • Identity – 9 April 1984 With David Gilmour • David Gilmour in Concert (DVD) – October 2002

71

[11] Pratt, Guy (2007). My Bass And Other Animals. London: Orion Books. ISBN 978-0-7528-7631-3. [12] Youngs, Ian (2008-09-15). “Entertainment | Obituary: Pink Floyd's Richard Wright”. BBC News. Retrieved 2014-06-30. [13] “Floyd founder Wright dies at 65”. BBC News Website (BBC). 15 September 2008. Retrieved 15 September 2008. [14] Adam Sweeting. “Obituary: Richard Wright | Music”. The Guardian. Retrieved 2014-06-30. [15] “Pink Floyd star leaves nothing in will to his three wives” . Telegraph. Retrieved 2014-06-30. [16] “The Voice and Guitar of Pink Floyd | Official Website” . David Gilmour. Retrieved 2014-06-30. [17] Franich, Darren (2008-09-18). “Pink Floyd's Nick Mason on former bandmate Richard Wright (R.I.P.) | PopWatch | EW.com”. Popwatch.ew.com. Retrieved 201406-30.

• Appears on two tracks:“Breakthrough”(Keyboard / Vocals) & "Comfortably Numb (With [18] Bob Geldof)" (Keyboard) [19]

• On an Island – 6 March 2006 • Appears on two tracks: "On an Island" (Hammond organ) & “The Blue”(Vocals) • Remember That Night (DVD/BD) – September/November(BD), 2007 • Live in Gdańsk (CD/DVD) – released on 22 September 2008

[20] “SP review: Elton John wins over Saskatoon”. Canada.com. 2008-09-16. Retrieved 2014-06-30. [21] Barrett (booklet). Syd Barrett. Harvest, EMI. 2010. p. 1.

3.3.11 External links • The Richard Wright Archives • Pink Floyd's official site

3.3.10

References

[1] Erlewine, Stephen. “Biography”. Allmusic. Retrieved 16 September 2008. [2] Mason 2005, pp. 20–21 [3] Blake 2008, pp. 38–39 [4] Mason 2005, pp. 11–12 [5] Selva, Meera (15 September 2008).“Pink Floyd member Richard Wright dies age 65”. Associated Press. Retrieved 15 September 2008. [6] Fuller, Graham (July 1994). “The Color of Floyd”. Interview Magazine, p. 20-21. Retrieved 22 July 2011. [7] Broken China sleeve credits [8] Blake 2008, p. 354 [9] Cunningham, Mark (7 May 1997).“Welcome to the Machine - the story of Pink Floyd's live sound: part 3”. Sound On Stage. Retrieved 2014-05-29. [10] “Performance at Leicester Odeon for Remember That Night DVD Launch”. Neptunepinkfloyd.co.uk. Retrieved 2014-06-30.

Chapter 4

Other Members 4.1 Bob Klose

calfe (bass guitar), and Keith Noble and Juliette Gale (vocals). The band performed rhythm & blues under various Rado Robert Garcia Klose (born 1944, professionally names (“Sigma 6”,“The Meggadeaths”,“The Abdknown as Rado Klose and as Bob Klose in the 1960s) abs”and “The Screaming Abdabs”), during their run is an English musician and photographer. Between 1964 with manager Ken Chapman, who also wrote some early and July 1965, he was the lead guitarist of a rock band that material for the band. would later morph into Pink Floyd. Although he recorded Metcalfe, Noble and Gale left the band (though Gale a couple of songs with that band, he left before their trans- would go on to marry Richard Wright in 1969). By the formation into Pink Floyd. time they left, the line-up included Syd Barrett (rhythm guitar and vocals) and Bob Klose (lead guitar and vocals), with Roger Waters on bass and vocals, Richard Wright 4.1.1 Biography on organ and vocals and Nick Mason on drums. This new group used various names, often fluctuating between Klose was born in Cambridge in 1945. His father was a “Tea Set”and“The Pink Floyd Sound”(named after two refugee from Nazi Germany and a veteran of the Spanish old Carolina bluesmen, Pink Anderson and Floyd Councivil war, and his mother was an English Land Girl. Due cil). The word “Sound”was dropped from the band's to financial situation, the family lived in a field tent on a name, with the definite article disappearing a few years farm where Klose's father worked for a couple of years later. until moving to a small Cambridgeshire village.* [1] Klose was more focused on his studies than on the band After several village schools, Klose attended school in and was more interested in jazz and blues than Barrett's Cambridge, where he met Syd Barrett and Roger Waters. psychedelia and pop, so he left the band sometime around He later moved to London to study architecture and then July 1965. Barrett assumed lead guitar, lead vocals, and science at the Regent Street Polytechnic, before abandon- the bulk of the songwriting, while Klose went on to being studies to completely devote himself to photography come a photographer and print maker. in the late 1960s. Name confusion Klose's full birth name is most often cited as Rado Robert Klose or Rado Robert Garcia Klose, with some authors citing Radovan* [2] as his full given name. The birth registration is listed as Rado R.G. Klose - mother's maiden name Coller.* [3] During the 1960s he was commonly known as Bob Klose, which was often misspelled Bob Close or occasionally even Brian Close. On the official Pink Floyd website, he is listed as Klose, Radovan 'Bob'.* [4]

4.1.2

Early career

During his architecture studies, Klose started playing lead guitar in a band with Roger Waters (guitar), Richard Wright (rhythm guitar), Nick Mason (drums), Clive Met72

'While we were at the Poly (Regent Street Polytechnic) we had various people in and out of the band and one particular, very good guitar player Bob Klose. He was really a far better musician than any of the rest of us. But I think he had some exam problems and really felt that he had to apply himself to work, whereas the rest of us were not that conscientious. And so he was sort of out of the band and we were looking for another guitar player and we knew that Syd was coming up to London from Cambridge and so he just, well he was just co-opted into the whole thing.' ̶Richard Wright* [5]

4.1. BOB KLOSE

4.1.3

Recent years

Klose confirmed in John Edginton's BBC documentary The Pink Floyd and Syd Barrett Story that his guitar can be heard on the unreleased early acetate single "Lucy Leave/"I'm a King Bee". In the documentary he also talked about Syd Barrett: “If you had said to a young Syd, 'Look, this is your bargain in life, you know, you're going to do this fantastic stuff, but it won't be forever, it'll be this short period. There's the dotted line, are you going to sign for this?' I suspect, maybe, a lot of people would sign for that, for making their mark.” In 2006, Klose wrote an accompanying essay for a picture book of previously unpublished Rowland Hilder's watercolor paintings, entitled “Rowland Hilder's British Isles”.

73

4.1.6 References [1] “Bio”. Rado Klose. Retrieved 30 June 2014. [2] Chapman, Rob (2010) “Syd Barrett: A Very Irregular Head”. Faber. ISBN 978-0-571-23855-2, page 22 [3] Cambridge District birth register Volume 3b Page 772 [4] Radovan 'Bob' Klose at the official Pink Floyd website http://www.pinkfloyd.com/music/musicians_live.php [5] Kendall, Charlie (1984). “Shades of Pink – The Definitive Pink Floyd Profile”. The Source Radio Show. Retrieved 26 July 2011. [6] “On an Island – David Gilmour | Credits”. AllMusic. 7 March 2006. Retrieved 30 June 2014. [7] “Claremont 56 – Mudd,Mudd | Credits”. AllMusic. 25

September 2006. Retrieved 30 June 2014. Klose appeared as a guest performer on David Gilmour's 2006 album On an Island (credited as “Rado Klose” [8] “Juniflip – Chico Hamilton | Credits”. AllMusic. Rerather than his former professional name “Bob Klose” trieved 30 June 2014. * ). [6] The same year, he appeared on Paul“Mudd”Mur* phy's album Claremont 56, [7] as well as Chico Hamil- [9] Ken Dryden. “Juniflip – Chico Hamilton | Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 30 June ton's album Juniflip,* [8] on which he is also listed as a 2014. co-writer for one of the songs (“Kerry's Caravan”).* [9] On both of these albums, he is credited as “Bob Klose” [10] “Blue River – Smith & Mudd | Credits”. AllMusic. 18 . December 2007. Retrieved 30 June 2014.

In 2007 he took part in BBC Radio 2's program“Days in the Life”, which was dedicated to Pink Floyd. In the first part of this show he spoke about early days with Barrett. 4.1.7 He also played on Blue River, a 2007 electronic album by Smith & Mudd, a collaboration between Paul “Mudd” Murphy and multi-instrumentalist/producer Benjamin James Smith.* [10]

4.1.4

Discography

• The Tea Set – "I'm a King Bee"/"Lucy Leave" (1964) – unreleased single

External links

• Official website • Bob Klose at the Internet Movie Database • Bob Klose at AllMusic, Bob Klose at AllMusic – example of the name confusion; the first profile lists the artist as “Bob Klose”and the other as “Rado Klose” • People in Pink Floyd's History: Bob Klose – (Note: this site also refers to the name confusion)

• David Gilmour – On an Island (2006) • Mudd – Claremont 56 (2006) • Chico Hamilton – Juniflip (2006) • V/A – This Rong Music (2006) – with Chico Hamilton • Smith & Mudd – Blue River (2007) • V/A – Bargrooves: Over Ice (2009) – with Smith & Mudd

4.1.5

Bibliography

• Rowland Hilder's British Isles (2006). A&C Black. ISBN 978-0-7136-7937-3

4.1.8 Further reading • Miles, Andy Mabbett (1995). Pink Floyd: A Visual Documentary. Omnibus Press. ISBN 0-7119-41092, (Note: Refers to Bob Close exclusively) • Dallas, Karl (1987). Pink Floyd: Bricks In The Wall. Shapolsky Publishers. ISBN 0-933503-88-1, (Note: Refers to Bob Close exclusively) • Blake, Mark (2007) “Pigs Might Fly: The Inside Story Of Pink Floyd”. Aurum Press. ISBN 978-1-84513-261-3 (published in the United States as Comfortably Numb: The Inside Story Of Pink Floyd. Thunders Mouth Press. ISBN 978-1-56858383-9)

Chapter 5

Discography 5.1 Pink Floyd discography

5.1.1 Albums Studio albums

The discography of Pink Floyd, a British rock band, con- Soundtracks sists of fifteen studio albums, three live albums, eight compilation albums, four box sets, four video albums, one Live albums extended play and twenty-seven singles. Compilation albums Formed in 1965, Pink Floyd initially earned recognition for their psychedelic or space rock music, and, as they 5.1.2 Box sets evolved, for their progressive rock music.* [1] They are known for philosophical lyrics, sonic experimentation, innovative cover art, and elaborate live shows. One of rock 5.1.3 Extended plays music's most successful acts, the group have sold over 250 million albums worldwide,* [2]* [3] including 74.5 million 5.1.4 Videos units sold in the United States alone.* [4] As a psychedelic band led by Syd Barrett in the late 1960s, Pink Floyd had moderate mainstream success and were one of the most popular bands in the London underground music scene;* [5] however, Barrett's erratic behaviour eventually forced his colleagues to replace him with guitarist and singer David Gilmour.* [1] After Barrett's departure, the band released Ummagumma. The album was released as a double disc, the first disc containing songs performed live, the second containing new studio-recorded songs. Singer and bass player Roger Waters gradually became the dominant and driving force in the mid-1970s, until his departure from the group in 1985.* [1] The band recorded several albums, achieving worldwide success with The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), and The Wall (1979); all except Animals reached number one in the US. The Dark Side of the Moon is one of the best-selling albums in the world* [6] and The Wall is the highest-certified multiple-disc album by the Recording Industry Association of America.* [7] In 1986, Waters declared Pink Floyd “a spent force”and sued to dissolve their partnership and retire the name Pink Floyd, but the remaining members, led by Gilmour, continued recording and touring under the name Pink Floyd.* [1] Following an out-of-court settlement, the band enjoyed worldwide success with A Momentary Lapse of Reason (1987), The Division Bell (1994) and The Endless River (2014).* [8]

5.1.5 Singles Promotional singles

5.1.6 Other charted songs Video albums

5.1.7 See also • Pink Floyd videography • Pink Floyd bootleg recordings

5.1.8 Notes

74

• A ^ Delicate Sound of Thunder did not enter the Canadian Albums Chart, but peaked at number seven on the Long Form Music Videos chart.* [75] • B ^ “See Emily Play”did not enter the Billboard Hot 100, but peaked at number 134 on the Bubbling Under Hot 100 Singles chart.* [76] • C ^ “Us and Them”did not enter the Billboard Hot 100, but peaked at number 101 on the Bubbling Under Hot 100 Singles chart.* [77]

5.1. PINK FLOYD DISCOGRAPHY

5.1.9

References

[1] “Pink Floyd – Biography”. AllMusic. Retrieved 24 June 2008. [2] “Pink Floyd Reunion Tops Fans' Wish List in Music Choice Survey”. Bloomberg. 26 September 2007. Retrieved 25 May 2012. [3] “Pink Floyd's a dream, Zeppelin's a reality”. Richmond Times-Dispatch. 28 September 2007. Retrieved 25 May 2012. [4] “Gold & Platinum: Top Selling Artists”. Recording Industry Association of America (RIAA). Retrieved 22 January 2013. [5] “The UFO club, Pink Floyd”. Theufo.org. 5 August 2007. Retrieved 17 May 2011. [6] Jude, Dan (4 December 2008). “Wear your art on your sleeve”. Disappear Here. Retrieved 24 May 2009. [7] “The Best Selling Albums of All Time in the USA”. Neosoul.com. 9 February 2011. Retrieved 17 May 2011. [8] Schaffner, Nicholas (1991). Saucerful of Secrets: The Pink Floyd Odyssey'. ISBN 0-517-57608-2. [9] Peak chart positions for albums in the United Kingdom: • All except Discovery: “Pink Floyd” (select “Albums”tab). Official Charts Company. Retrieved 27 December 2012. • Discovery: Zywietz, Tobias. “Chart Log UK – Weekly Updates Sales 2011”. Zobbel.de. Tobias Zywietz. Retrieved 27 December 2012. [10] Peak chart positions for albums in Australia: • Kent, David (1993). Australian Chart Book 1970– 1992. St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6. • “Discography Pink Floyd”. australian-charts.com. Hung Medien. Retrieved 27 December 2012. [11] “Discographie Pink Floyd”. austriancharts.at (in German). Hung Medien. Retrieved 27 December 2012. [12] Peak chart positions for albums in Canada: • Ummagumma: “Top Albums/CDs – Volume 13, No. 5, March 21, 1970”. RPM. Walt Grealis. Retrieved 27 December 2012. • Atom Heart Mother: “Top Albums/CDs – Volume 14, No. 19, December 26, 1970”. RPM. Walt Grealis. Retrieved 27 December 2012. • Meddle: “Top Albums/CDs – Volume 16, No. 17, December 11, 1971”. RPM. Walt Grealis. Retrieved 27 December 2012. • Obscured by Clouds: “Top Albums/CDs – Volume 18, No. 4, September 09 1972”. RPM. Walt Grealis. Retrieved 27 December 2012. • The Dark Side of the Moon: “Top Albums/CDs – Volume 19, No. 13, May 12, 1973”. RPM. Walt Grealis. Retrieved 27 December 2012.

75 • Wish You Were Here:“Top Albums/CDs – Volume 24, No. 13, December 20, 1975”. RPM. Walt Grealis. Retrieved 27 December 2012. • Animals:“Top Albums/CDs – Volume 26, No. 26, March 26, 1977”. RPM. Walt Grealis. Retrieved 27 December 2012. • The Wall: “Top Albums/CDs – Volume 32, No. 20, February 09 1980”. RPM. Walt Grealis. Retrieved 28 December 2012. • The Final Cut: “Top Albums/CDs – Volume 38, No. 9, April 30, 1983”. RPM. Walt Grealis. Retrieved 28 December 2012. • A Momentary Lapse of Reason:“Top Albums/CDs – Volume 47, No. 2, October 17, 1987”. RPM. Walt Grealis. Retrieved 28 December 2012. • The Division Bell: “Top Albums/CDs – Volume 59, No. 13, April 18, 1994”. RPM. Walt Grealis. Retrieved 28 December 2012. • Pulse: “Top Albums/CDs – Volume 61, No. 20, June 19, 1995”. RPM. Walt Grealis. Retrieved 28 December 2012. • Is There Anybody Out There? The Wall Live 1980– 81, Echoes: The Best of Pink Floyd and The Best of Pink Floyd: A Foot in the Door: “Pink Floyd – Chart History: Canadian Albums”. Billboard. Prometheus Global Media. Retrieved 27 December 2012. • Relics: “Top Albums/CDs – Volume 16, No. 4, September 11, 1971”. RPM. Walt Grealis. Retrieved 27 December 2012. • A Collection of Great Dance Songs: “Top Albums/CDs – Volume 35, No. 25, January 30, 1982”. RPM. Walt Grealis. Retrieved 28 December 2012. [13] Peak chart positions for albums in France: • “Le Détail des Albums de chaque Artiste: Pink Floyd” (select “PINK FLOYD”and then click “Go”) (in French). InfoDisc. Retrieved 27 December 2012. • “Discographie Pink Floyd”. lescharts.com (in French). Hung Medien. Retrieved 27 December 2012. [14] “Pink Floyd (Album)". charts.de (in German). Media Control Charts. Retrieved 27 December 2012. [15] “Discografie Pink Floyd”. dutchcharts.nl (in Dutch). Hung Medien. Retrieved 27 December 2012. [16] “Discography Pink Floyd”. charts.org.nz. Hung Medien. Retrieved 27 December 2012. [17] “Pink Floyd (Charts)" (select “Charts”tab). swisscharts.com. Hung Medien. Retrieved 27 December 2012. [18] Peak chart positions for albums in the United States: • “Pink Floyd – Chart History: Billboard 200”. Billboard. Prometheus Global Media. Retrieved 27 December 2012.

76

CHAPTER 5. DISCOGRAPHY • “Pink Floyd – Awards”. AllMusic. Rovi Corporation. Retrieved 27 December 2012.

[19] Povey, Glenn (2007). Echoes: The Complete History of Pink Floyd. Mind Head Publishing. ISBN 978-09554624-0-5.

[37] “Les Meilleures Ventes de CD/Albums depuis 1968 (151–200)" (in French). InfoDisc. Retrieved 10 June 2013. [38] https://itunes.apple.com/gb/album/the-endless-river/ id919664303

[20] “Certified Awards”(enter“Pink Floyd”into the“Keywords”box, then select“Search”). British Phonographic Industry. Retrieved 27 December 2012.

[39] “ARIA Charts – Accreditations – 2014 Albums”. Australian Recording Industry Association. 30 November 2014. Retrieved 13 December 2014.

[21] “Gold & Platinum: Pink Floyd”. Recording Industry Association of America. Retrieved 27 December 2012.

[40] “New Zealand album certifications – Pink Floyd – The Endless River”. Recording Industry Association of New Zealand. Retrieved 14 November 2014.

[22] “Les Certifications depuis 1973: Pink Floyd” (select “PINKFLOYD”and then click “Go”) (in French). InfoDisc. Retrieved 27 December 2012. [23] “Les Meilleures Ventes de CD/Albums depuis 1968 (951–1000)" (in French). InfoDisc. Retrieved 10 June 2013.

[41] “Les Meilleures Ventes de CD/Albums depuis 1968 (901–950)" (in French). InfoDisc. Retrieved 10 June 2013. [42] Jones, Alan (14 August 2006). “Shakira holds on slow singles chart”. Music Week. Intent Media. Retrieved 29 December 2012.

[24] “Gold-/Platin-Datenbank: Pink Floyd” (in German). Bundesverband Musikindustrie. Retrieved 27 December 2012.

[43] “DVD Chronicles Final Pink Floyd Tour”. Billboard. Prometheus Global Media. Retrieved 23 July 2013.

[25] “Austrian certifications – Pink Floyd”(in German). IFPI Austria. Retrieved 27 December 2012. Enter Pink Floyd in the field Interpret. Click Suchen

[44] “Notre Base de Données: Pink Floyd” (in French). Syndicat National de l'Édition Phonographique. Retrieved April 17, 2014.

[26] “Les Meilleures Ventes de CD/Albums depuis 1968 (401–450)" (in French). InfoDisc. Retrieved 10 June 2013. [27] “EMI Offers Special Deal to Dealers” Billboard March 24, 1973

[45] “Les Meilleures Ventes de CD/Albums depuis 1968 (701–750)" (in French). InfoDisc. Retrieved 10 June 2013. [46] “ARIA Charts – Accreditations – 2001 Albums”. Australian Recording Industry Association. Retrieved 29 December 2012.

[28] Lane, Dan (28 February 2012).“Adele overtakes Michael Jackson in all-time biggest selling albums chart”. Official Charts Company. Retrieved 27 December 2012.

[47] “Top 50 Albums Chart: Chart #1291 (Sunday 23 December 2001)". Recorded Music NZ. Retrieved 29 December 2012.

[29] “Les Meilleures Ventes de CD/Albums depuis 1968 (1– 50)" (in French). InfoDisc. Retrieved 10 June 2013.

[48] “A Foot in the Door: The Best Of Pink Floyd [2011 – Remaster]". Amazon.com. Retrieved 29 December 2012.

[30] “ARIA Charts – Accreditations – 2011 Albums”. Australian Recording Industry Association. Retrieved 27 December 2012.

[49] “NZ Top 40 Albums Chart – 26 December 2011”. Recorded Music NZ. Retrieved 29 December 2012.

[31] “Gold and Platinum Search (Pink Floyd)". Canada. Retrieved 27 December 2012.

Music

[32] “NZ Top 40 Albums Chart – 03 October 2011”. Recorded Music NZ. Retrieved 27 December 2012.

[50] “Oh, by the Way (Mini LP Replica)". Amazon.com. Retrieved 29 December 2012. [51] “Discovery”. Amazon.com. Retrieved 29 December 2012.

[33] “Les Meilleures Ventes de CD/Albums depuis 1968 (51– 100)" (in French). InfoDisc. Retrieved 10 June 2013.

[52] “The ARIA Report: Issue 854 (Week Commencing 17 July 2006)" (PDF). Australian Recording Industry Association. p. 22. Retrieved 29 December 2012.

[34] “Les Meilleures Ventes de CD/Albums depuis 1968 (451–500)" (in French). InfoDisc. Retrieved 10 June 2013.

[53] “Austria Top 40 – Musik-DVDs Top 10 21.07.2006”. austriancharts.at (in German). Hung Medien. Retrieved 29 December 2012.

[35] “The Official Swiss Charts and Music Company: Awards (Pink Floyd)". swisscharts.com. Hung Medien. Retrieved 28 December 2012.

[54] “Musik DVD Top-10 – 21.07.2006 (Uge 29 – 2006)" (in Danish). Tracklisten. Retrieved 29 December 2012.

[36] “Les Meilleures Ventes de CD/Albums depuis 1968 (501–550)" (in French). InfoDisc. Retrieved 10 June 2013.

[55] “Classement des Vidéos Musicales du 6.08.06 au 12.08.06” (in French). Institut français d'opinion publique. Archived from the original on 22 October 2006. Retrieved 29 December 2012.

5.1. PINK FLOYD DISCOGRAPHY

[56] “Dutch DVD Music Top 30 – 22/07/2006”. dutchcharts.nl (in Dutch). Hung Medien. Retrieved 29 December 2012. [57] “Top 10 Music DVDs Chart: Chart #1521 (Monday 17 July 2006)". Recorded Music NZ. Retrieved 29 December 2012. [58]“Top Music Videos”. Billboard (Nielsen Business Media) 107 (26): 98. 1 July 1995. ISSN 0006-2510. [59] “ARIA Charts – Accreditations – 2008 DVD”. Australian Recording Industry Association. Retrieved 29 December 2012. [60] “Latest Gold / Platinum DVDs”. RadioScope. Archived from the original on 28 July 2011. Retrieved 29 December 2012. [61] Peak chart positions for singles in the United Kingdom: • All except “Proper Education": “Pink Floyd” (select “Singles”tab). Official Charts Company. Retrieved 14 April 2013.

77 • “Pink Floyd – Awards”. AllMusic. Rovi Corporation. Retrieved 13 April 2013. [67] “Pink Floyd – Singles” (select “Pink Floyd”). Pink Floyd. Retrieved 5 July 2013. [68] “Les Certifications depuis 1973: Pink Floyd” (select “PINK FLOYD”and then click“Go”) (in French). InfoDisc. Retrieved 14 April 2013. [69] Pigs (Three Different Ones) (Media notes). Pink Floyd. CBS. 1977. GP-923. [70] “Pink Floyd” (select “Singles”tab). Official Charts Company. Retrieved 14 April 2013. [71] “Chartverfolgung / Pink Floyd / Single”. musicline.de (in German). Media Control Charts. Retrieved 14 April 2013. [72] “Discography Pink Floyd”. norwegiancharts.com. Hung Medien. Retrieved 13 April 2013. [73] “Discography Pink Floyd”. swedishcharts.com. Hung Medien. Retrieved 6 July 2013.

•“Proper Education":“Eric Prydz”(select“Singles” tab). Official Charts Company. Retrieved 8 August [74] “German Chart” (in German). charts-surfer. Retrieved 2013. 2007-07-26. [62] Peak chart positions for singles in Australia: •“Another Brick in the Wall": Kent, David (1993). Australian Chart Book 1970-1992. St Ives, N.S.W.: Australian Chart Book. ISBN 0-646-11917-6. •“Take It Back": Kent, David (2005). Australian Chart Book 1993-2005. Turramurra, N.S.W.: Australian Chart Book. ISBN 0-646-45889-2. •“Proper Education": “Discography Pink Floyd”. australian-charts.com. Hung Medien. Retrieved 27 December 2012. [63] Peak chart positions for singles in France:

[75] “Video – Volume 52, No. 21, October 06 1990”. RPM. Walt Grealis. Retrieved 28 December 2012. [76] “Bubbling Under the Hot 100”. Billboard (Nielsen Business Media) 79 (37): 22. 16 September 1967. ISSN 0006-2510. [77] “Bubbling Under the Hot 100”. Billboard (Nielsen Business Media) 86 (10): 30. 9 March 1974. ISSN 00062510.

5.1.10 External links

• “Accès direct à ces Artistes: Pink Floyd” (select “PINK FLOYD”and then click“Go”) (in French). InfoDisc. Retrieved 14 April 2013.

• Official website

• “Discographie Pink Floyd”. lescharts.com (in French). Hung Medien. Retrieved 14 April 2013.

• Pink Floyd discography at Discogs

[64] Peak chart positions for singles in Germany: • All except“Proper Education":“Chartverfolgung / Pink Floyd / Single”. musicline.de (in German). Media Control Charts. Retrieved 14 April 2013. •“Proper Education":“Chartverfolgung / Prydz,Eric Vs.Floyd / Single”. musicline.de (in German). Media Control Charts. Retrieved 14 April 2013. [65] “Pink Floyd – Chart History: Hot 100”. Billboard. Prometheus Global Media. Retrieved 14 April 2013. [66] Peak chart positions for songs on the Hot Mainstream Rock Tracks chart in the United States: • “Pink Floyd – Chart History: Mainstream Rock Tracks”. Billboard. Prometheus Global Media. Retrieved 13 April 2013.

• Pink Floyd at AllMusic

• Pink Floyd discography at MusicBrainz

Chapter 6

Studio albums 6.1 The Piper at the Gates of Dawn The Piper at the Gates of Dawn is the début album by the English rock band Pink Floyd, and the only one made under founder member Syd Barrett's leadership. The album, named after the title of chapter seven of Kenneth Grahame's The Wind in the Willows* [1] and featuring a kaleidoscopic cover photo taken by Vic Singh, was recorded from February to May 1967. It was produced by Beatles engineer Norman Smith and released in 1967 by EMI Columbia in the United Kingdom and Tower in the United States, in August and October respectively. The release of the album in the US was timed with the band's tour of the US. In the UK, no singles were released from the album, but in the US "Flaming" was offered as a single. The US version of the album has a rearranged tracklist, and contains the UK non-album single, "See Emily Play". Two of the album's songs, "Astronomy Domine" and "Interstellar Overdrive", became central to the band's setlist around this period, while other songs were performed only a handful of times. Since its release, the album has been hailed as one of the best psychedelic rock albums of the 1960s. In 1973, it was packaged with the band's second album, A Saucerful of Secrets, and released as A Nice Pair to introduce new fans to the band's early work after the success of The Dark Side of the Moon. Special limited editions of The Piper at the Gates of Dawn were issued to mark its thirtieth and fortieth anniversaries in 1997 and 2007, respectively, with the latter release containing bonus tracks. In 2012, The Piper at the Gates of Dawn was voted 347th on Rolling Stone magazine's list of the“500 Greatest Albums of All Time”.

6.1.1

Background

Architecture students Roger Waters, Nick Mason and Richard Wright and art student Syd Barrett had performed under various group names since 1962, and began touring as “The Pink Floyd Sound”in 1965.* [2] They turned professional on 1 February 1967 when they signed with EMI, with an advance fee of £5,000.* [3]* [4]* [5] Their first single, a song about a kleptomaniac transvestite

titled "Arnold Layne", was released on 11 March to mild controversy, as Radio London refused to air it.* [3]* [6] About three weeks later the band were introduced to the mainstream media.* [nb 1] EMI's press release claimed that the band were“musical spokesmen for a new movement which involves experimentation in all the arts”, but EMI attempted to put some distance between them and the underground scene from which the band originated by stating that “the Pink Floyd does not know what people mean by psychedelic pop and are not trying to create hallucinatory effects on their audiences.”* [7]* [8] The band returned to Sound Techniques studio to record their next single, "See Emily Play", on 18 May.* [9]* [10] The single was released almost a month later, on 16 June, and reached number six in the charts.* [11]* [12] Pink Floyd picked up a tabloid reputation for making music for LSD users. The popular broadsheet News of the World printed a story nine days before the album's recording sessions began, saying that “The Pink Floyd group specialise in 'psychedelic music', which is designed to illustrate LSD experiences.”* [13] Contrary to this image, only Barrett was known to be taking LSD; authors Ray B. Browne and Pat Browne contend that he was the“only real drug user in the band”.* [14]

6.1.2 Recording The band's record deal was relatively poor for the time – a £5,000 advance over five years, low royalties and no free studio time. It did, however, include album development, and unsure of exactly what kind of band they had signed, EMI gave them free rein to record whatever they wanted.* [15] They were obliged to record their first album at EMI's Abbey Road Studios in London,* [8]* [16] overseen by producer Norman Smith,* [8]* [17] a central figure in Pink Floyd's negotiations with EMI.* [18] Balance engineer Pete Bown, who had mentored Smith, helped ensure that the album had a unique sound, through his experimentation with equipment and recording techniques.* [19] Bown, assisted by studio manager David Harris, set up microphones an hour before the sessions began. Bown's microphone choices were mostly different from those used by Smith to record the Beatles' EMI sessions.* [20] Because of Barrett's quiet voice, he was

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79

placed in a vocal isolation booth to sing his parts.* [20] Automatic double tracking (ADT) was used not only on vocals but also on some instruments, to add layers of echo.* [21] The album featured an unusually heavy use of echo and reverberation to give it its own unique sound. Much of the reverberation effect came from a set of Elektro-Mess-Technik plate reverberators – customised EMT 140s containing thin metal plates under tension – and the studio's tiled echo chamber built in 1931.* [21]* [22] The album is made up of two different classes of songs: lengthy improvisations from the band's live performances, and shorter songs that Barrett had written.* [23] Barrett's LSD intake escalated part-way through the album's recording sessions.* [24] Although in his 2005 autobiography Mason recalled the sessions as relatively trouble-free, Smith disagreed, and claimed that Barrett was unresponsive to his suggestions and constructive criticism.* [25]* [26] In an attempt to build a relationship with the band, Smith played jazz on the piano, while the band joined in. These jam sessions worked well; Waters was apparently helpful, and Wright was “laidback”, but Smith's attempts to connect with Barrett were less productive: “with Syd, I eventually realised I was wasting my time.”* [27] Smith later admitted that his traditional ideas of music were somewhat at odds with the psychedelic background from which Pink Floyd had come, but nevertheless he managed to “discourage the live ramble”(as band manager Peter Jenner termed it) and guide the band toward producing songs with a more manageable length.* [8]* [28] Barrett would end up writing eight of the album's songs and contributing to two instrumentals credited to the whole band, with Waters creating the remaining composition, "Take Up Thy Stethoscope and Walk".* [29] Mason recalled how the album “was recorded in what one might call the old fashioned way: rather quickly. As time went by we started spending longer and longer.”* [30]

dub.* [22] On 19 March, six takes of "The Gnome" were recorded.* [22]* [41] The following day, the band taped Waters' “Take Up Thy Stethoscope and Walk” .* [41]* [42] On 21 March, the band were invited to watch the Beatles record "Lovely Rita";* [43]* [44] the following day, they recorded "The Scarecrow" in one take.* [45]* [46] The next three tracks – "Astronomy Domine",* [nb 4] “Interstellar Overdrive”and "Pow R. Toc H." – were worked on extensively between 21 March and 12 April,* [49] due to having (or being) lengthy instrumentals.* [47] Between 12 and 18 April,* [50] the band recorded both “Percy the Rat Catcher”,* [nb 5] and a currently unreleased track called "She Was a Millionaire".* [53]* [54]* [55] “Percy the Rat Catcher”received overdubs across five studio sessions, and then was mixed in late June, eventually being given the name "Lucifer Sam".* [30] Songwriting for the majority of the album is credited solely to Barrett, with tracks such as "Bike" having been written in late 1966, before the album was started.* [23]* [56]* [57] “Bike”was originally titled “The Bike Song”, and it was recorded on 21 May 1967.* [23] Because of Barrett's increased LSD use during the recording project, by June he looked visibly debilitated.* [24]

6.1.3 Release

In June 1967 before the album was released, the single “See Emily Play”was sold as a 7-inch 45 rpm record, with “The Scarecrow”on the B-side, listed as “Scarecrow” .* [58] The full album was released on 5 August 1967, including“The Scarecrow”. The album contains whimsical lyrics about space, scarecrows, gnomes, bicycles and fairy tales, along with psychedelic instrumental music. Pink Floyd continued to perform at the UFO Club, drawing huge crowds, but Barrett's deterioration caused them serious concern. The band initially hoped that his erratic behaviour was a phase that would pass, but others, including I opened the door and nearly shit myself ... by Christ it manager Peter Jenner and his secretary June Child,* [nb was loud. I had certainly never heard anything quite like 6] were more realistic: it before.

“ ” Abbey Road engineer Pete Bown describing his introduction to “Interstellar Overdrive”* [31] Recording started on 21 February* [32] with six takes* [33] of "Matilda Mother" (titled “Matildas Mother”).* [23]* [34] The following week, on the 27th,* [35] the band recorded five takes of "Interstellar Overdrive",* [nb 2]* [nb 3]* [37] and "Chapter 24".* [35]* [38] On 16 March, the band had another go at recording “Interstellar Overdrive” in an attempt to create a shorter version,* [39] and "Flaming" (originally titled “Snowing”), which was recorded in a single take,* [40] with one vocal over-

... I found him in the dressing room and he was so ... gone. Roger Waters and I got him on his feet, we got him out to the stage ... and of course the audience went spare because they loved him. The band started to play and Syd just stood there. He had his guitar around his neck and his arms just hanging down. ̶June Child* [60]

To the band's consternation, they were forced to cancel their appearance at the prestigious National Jazz and Blues Festival, informing the music press that Barrett was suffering from nervous exhaustion. Jenner and Waters arranged for Barrett to see a psychiatrist – a meeting he did not attend. He was sent to relax in the sun on the Spanish

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island of Formentera with Waters and Sam Hutt (a doctor well-established in the underground music scene), but this led to no visible improvement.* [61]* [62]* [63]* [64] The original UK LP (with a monaural mix)* [nb 7] was released on 5 August 1967, and one month later it was released in stereophonic mix.* [nb 8] It reached number six on the UK charts.* [12]* [67]* [68] The Canadian LP* [nb 9] had the same title and track listing as the UK version. The original US album appeared on the Tower division of Capitol on 26 October 1967. This version* [nb 10]* [nb 11] was officially titled simply Pink Floyd, though the original album title did appear on the back cover as on the UK issue. The US album featured an abbreviated track listing,* [72] and reached number 131 on the Billboard charts. The UK single, “See Emily Play”, was substituted for“Astronomy Domine”,“Flaming”and“Bike” .* [72] Released in time for the band's US tour, “Flaming”was released as a single, backed with“The Gnome” .* [73] The Tower issue of the album also faded out “Interstellar Overdrive”and broke up the segue into “The Gnome”to fit the re-sequencing of the songs. Later US issues on compact disc had the same title and track list as the UK version. The album was certified Gold in the US on 11 March 1994.* [67] About being handled on Tower Records, Jenner commented that:“In terms of the U.K. and Europe it was always fine. America was always difficult. Capitol couldn't see it. You know, 'What is this latest bit of rubbish from England? Oh Christ, it'll give us more grief, so we'll put it out on Tower Records', which was a subsidiary of Capitol Records [...] It was a very cheapskate operation and it was the beginning of endless problems The Floyd had with Capitol. It started off bad and went on being bad.” * [74]

Packaging

The album's title, The Piper at the Gates of Dawn, refers to the god Pan, as depicted in the book The Wind in the Willows.

from that of chapter seven of Kenneth Grahame's The Wind in the Willows* [78]* [79] which contains a visionary encounter with the god Pan, who plays his pan pipe at dawn.* [80] It was one of Barrett's favourite books, and he often gave friends the impression that he was Pan, that he was the Piper.* [nb 12]* [29]* [82] The moniker was later used in the song "Shine On You Crazy Diamond", in which Barrett is called “you Piper”.* [83]

It was unusual and different, and they were delighted with it, and Syd did his own little drawing on the back cover. Reception “ ” Vic Singh* [75] Up-and-coming society photographer Vic Singh was hired to photograph the band for the album cover. Singh shared a studio with photographer David Bailey, and he was friends with Beatles guitarist George Harrison. Singh asked Jenner and King to dress the band in the brightest clothes they could find. Vic Singh then shot them with a prism lens that Harrison had given him.* [75] The cover was meant to resemble an LSD trip, a style that was favoured at the time.* [76]

At the time of release, the album was received positively, and the record is now recognised as one of the seminal psychedelic rock albums of the 1960s. In 1967, both Record Mirror and NME gave the album four stars out of five. Record Mirror commented that“the psychedelic image of the group really comes to life on this LP, which is a fine showcase for both their talent and the recording technique. Plenty of mindblowing sound.”Cash Box called it“a particularly striking collection of driving, upto-date rock ventures”.* [92] Paul McCartney* [43] and Pink Floyd's past producer Joe Boyd both rated the album highly. Some voiced the opinion of the underground fans, by suggesting that the album did not reflect the band's live performances.* [10]

Barrett came up with the album title The Piper at the Gates of Dawn; the album was originally titled Projec- In recent years, The Piper at the Gates of Dawn has gained tion up to as late as July 1967.* [77] The title was taken even more recognition. The album is hailed not only as

6.1. THE PIPER AT THE GATES OF DAWN a psychedelic masterpiece but LSD is named as a direct influence.* [93] In 1999 Rolling Stone magazine gave the album 4.5 stars out of 5, calling it “the golden achievement of Syd Barrett”. Q magazine described the album as “indispensable”and included it in their list of the best psychedelic albums ever. It was also ranked 40th in Mojo magazine's“The 50 Most Out There Albums of All Time”list. In 2000 Q magazine placed The Piper at the Gates of Dawn at number 55 in its list of the 100 greatest British albums ever. In 2012, The Piper at the Gates of Dawn was voted 347th on Rolling Stone magazine's list of the 500 greatest albums ever.* [94] James E. Perone says that Piper became known as a concept album in later years, because listeners wanted to play it all the way through rather than pick out a favourite song.* [95] While Beatles biographer Philip Norman agrees that Piper is a concept album,* [96] other authors contend that Pink Floyd did not start making concept albums until 1973's The Dark Side of the Moon. Author George Reisch called Pink Floyd the“undisputed”kings of the concept album, but only starting from Dark Side.* [97] Reissues

81 vaults, along with the band's first three mono singles. Unreleased material includes an alternate, shorter take of “Interstellar Overdrive”that was previously thought lost, the pre-overdubbed abridged mix of “Interstellar Overdrive”previously only available on an EP in France, an alternative mix of“Matilda Mother”as it appeared early in the sessions and also the 1967 stereo mix of “Apples and Oranges”, which features extra untrimmed material at the beginning and end. Piper was remastered and re-released on 26 September 2011 as part of the Why Pink Floyd...? reissue campaign. It is available in this format as either a stand-alone album,* [nb 21]* [nb 22] or as part of the Why Pink Floyd ... ? Discovery box set,* [nb 23]* [nb 24] along with the 13 other studio albums and a new colour booklet.

6.1.4 Live performances Although there was never an official tour of the album, the band gigged in the UK to promote the album. They played dates in Ireland and Scandinavia, and in late October the band was to embark on their first tour of the United States. It was unsuccessful, mainly because of the mental breakdown of Barrett.* [61] In his capacity as tour manager Andrew King travelled to New York to begin preparations, but he ran into serious problems. Visas had not arrived, prompting the cancellation of the first six dates.* [62] The band finally flew across the Atlantic on 1 November, but work permits were not yet obtained, so they settled into a hotel in Sausalito, California, just north of San Francisco.* [106] After a number of cancellations, the first US performance was given 4 November at Winterland Ballroom, following Janis Joplin fronting Big Brother and the Holding Company.* [106]

The Piper at the Gates of Dawn was reissued in the UK in 1979 as a stereo vinyl album,* [nb 13] and on CD in the UK and US in 1985.* [nb 14] A digitally remastered stereo CD, with new artwork, was released in the US in 1994,* [nb 15] and in 1997 limited edition 30th anniversary mono editions were released in the UK, on CD and vinyl.* [nb 16] These limited editions were in a hefty digipak with 3-D box art for continental Europe and the world outside the United States. This mono CD included a slightly edited version of“Flaming”. A six-track bonus CD, 1967: The First Three Singles, was given away alongside the 1997 30th-anniversary edition of the album. For the American tour, many numbers such as “FlamIn 1973, the album, along with A Saucerful of Secrets, ing”and “The Gnome”were dropped, while others was released as a two-disc set on Capitol/EMI's Harvest such as “Astronomy Domine”and “Interstellar OverRecords label, titled A Nice Pair* [nb 17]* [nb 18] to in- drive”remained, and were central to the band's setlist durtroduce fans to the band's early work after the success ing this period, often performed as encores until around of The Dark Side of the Moon. (On the American ver- 1971.* [107]“Astronomy Domine”was later included on sion of that compilation, the original four-minute studio the live disc of Ummagumma,* [108]* [109] and adopted version of “Astronomy Domine”was replaced with the by the post-Waters Pink Floyd during the 1994 Division eight-minute live version found on Ummagumma.) The Bell tour, with a version included on the 1995 live album American edition of A Nice Pair also failed to properly Pulse. David Gilmour resurrected“Astronomy Domine” restore the segue between “Interstellar Overdrive”and for his On an Island tour. “The Gnome”. Communication between company and band was almost For the 40th anniversary, a two-disc edition* [nb 19] was released on 4 September 2007, and a three-disc set* [nb 20] was released on 11 September 2007. The packaging – designed by Storm Thorgerson – resembles a clothcovered book, along with a twelve-page reproduction of a Syd Barrett notebook. Discs one and two contain the full album in its original mono mix (disc one), as well as the alternate stereo version (disc two). Both have been newly remastered by James Guthrie. The third disc includes several Piper-era outtakes from the Abbey Road

non-existent, and Pink Floyd's relationship with Tower and Capitol was therefore poor. Barrett's mental condition mirrored the problems that King encountered;* [63] when the band performed at Winterland, he detuned his guitar during “Interstellar Overdrive”until the strings fell off. His odd behaviour grew worse in subsequent performances, and during a television recording for The Pat Boone Show he confounded the director by lip-syncing "Apples and Oranges" perfectly during the rehearsal, and then standing motionless during the take. King quickly

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curtailed the band's US visit, sending them home on the 6.1.6 next flight.* [64]

Personnel

Shortly after their return from the US, beginning 14 6.1.7 Sales chart performance November, the band supported Jimi Hendrix on a tour of England,* [64] but on one occasion Barrett failed 6.1.8 References to turn up and they were forced to replace him with singer/guitarist David O'List borrowed from the opening Footnotes band the Nice.* [61] Barrett's depression worsened the longer the tour continued.* [110] Longtime Pink Floyd [1] They were already well-known in the underground scene. psychedelic lighting designer Peter Wynne-Willson left at [2] This was not the first time the band had recorded the song: the end of the Hendrix tour, though he sympathised with “Interstellar Overdrive”had been recorded earlier in the Barrett, whose position as frontman was increasingly inyear at Sound Techniques Studios in London, between 11 secure. Wynne-Willson, who had worked for a percentand 12 January, for producer Peter Whitehead's documenage, was replaced by his assistant John Marsh who coltary, Tonite Lets All Make Love in London. lected a lesser wage.* [111] Pink Floyd released“Apples and Oranges”(recorded prior to the US tour on 26 and [3] An early, unoverdubbed, shortened mix of the album's “Interstellar Overdrive”was used for a French EP release 27 October),* [112] but for the rest of the band Barrett's that July.* [36]* [37] condition had reached a crisis point, and they responded by adding a new member to their line-up.* [61] [4] 14 takes of “Astronomy Domine”were recorded,* [47] over a seven-hour session.* [48] Tracks 8–11 on the UK album edition were played the least during live performances.* [113] The success of [5]“Percy the Rat Catcher”was later renamed "Lucifer Sam.” * “See Emily Play”and “Arnold Layne”meant that the [51]* [52] band were forced to perform some of their singles for a Jenner as a secretary and limited period in 1967, but they were eventually dropped [6] Child was employed by Peter * general production assistant. [59] after Barrett left the band.“Flaming”and“Pow R. Toc H.”were also played regularly by the post-Barrett Pink [7] UK EMI Columbia SX 6157* [65] Floyd in 1968, even though these songs were in complete * contrast to the band's other works at this time. Some of [8] UK EMI Columbia SCX 6157 [66] the songs from Piper would be reworked and rearranged [9] Canada Capitol ST-6242* [69] for The Man and The Journey live show in 1969 (“The Pink Jungle”was taken from“Pow R. Toc H.”, and part [10] US Capitol Tower T-5093* [70] of“Interstellar Overdrive”was used for“The Labyrinths [11] US Capitol Tower ST 5093* [71] Original US stereo LP of Auximines”). Beginning in September 1967, the band played several [12] Barrett believed he had a dream-like experience meeting Pan, with characters from the book. Andrew King said new compositions. These included "One in a Million", Barrett thought Pan had given him understanding of how "Scream Thy Last Scream", "Set the Controls for the nature works.* [35]* [81] Heart of the Sun" and "Reaction in G", the last of which was a song created by the band in response to crowds ask- [13] UK EMI Fame FA 3065* [67] ing for their hit singles “See Emily Play”and “Arnold [14] UK EMI CDP 7463842, US Capitol CDP 7463842* [67] Layne”.* [114] [15] US Capitol CDP 7463844* [67] [16] UK EMI LP EMP 1110, EMI CD EMP 1110* [67]

6.1.5

Track listing

All songs written and composed by Syd Barrett, except where noted.

[17] UK EMI Harvest SHDW 403* [98] [18] US Capitol Harvest SABB-11257* [99] Original A Nice Pair US LP [19] Europe EMI 503 9232* [100]

UK release

US release

[20] Europe EMI 50999 5 03919 2 9* [101] [21] Europe EMI 50999 028935 2 5* [102] 2011 remaster Europe CD [22] US Capitol 50999 028935 2 5* [103] [23] Europe EMI 50999 0 82613 2 8* [104]

40th anniversary edition

[24] US Capitol 0082613* [105]

6.1. THE PIPER AT THE GATES OF DAWN Citations [1] Cavanagh, John (2003). The Piper at the Gates of Dawn. New York [u.a.]: Continuum. pp. 2–3. ISBN 978-08264-1497-7. [2] Povey, Glenn (2007). Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. pp. 24– 29. ISBN 978-0-9554624-0-5. [3] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. pp. 54–56. ISBN 1-905139-09-8. [4] Blake, Mark (2008). Comfortably Numb: The Inside Story of Pink Floyd. Cambridge, MA: Da Capo. p. 74. ISBN 0-306-81752-7. [5] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 137. ISBN 978-0-571-23855-2.

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[24] Jeffrey, Laura S. (2010). Pink Floyd: The Rock Band. Berkeley Heights, NJ: Enslow Publishers. ISBN 978-07660-3030-5. [25] Mason 2011, pp. 92–93 [26] Palacios 2010, pp. 183–184 [27] Blake 2008, p. 77 [28] Blake 2008, pp. 84–85 [29] Perna, Alan di; Tolinski, Brad (2002). Kitts, Jeff, ed. Guitar World Presents Pink Floyd (1st ed. ed.). Milwaukee, WI: Hal Leonard. p. 7. ISBN 978-0-634-03286-8. [30] Cavanagh 2003, p. 39 [31] Blake 2008, p. 85 [32] Jones, Malcolm (2003). The Making of The Madcap Laughs (21st Anniversary ed.). Brain Damage. p. 28. [33] Palacios 2010, p. 185

[6] Cavanagh 2003, p. 19 [7] Schaffner 2005, p. 57 [8] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 34. ISBN 1-84353575-0. [9] Schaffner 2005, p. 66 [10] Chapman 2010, p. 171 [11] Blake 2008, p. 88–89 [12] “Pink Floyd | Artist | Official Charts”. officialcharts.com. Retrieved 10 October 2012.

[34] Chapman 2010, p. 149 [35] Palacios 2010, p. 187 [36] “The Pink Floyd – Arnold Layne (Vinyl) at Discogs”. Discogs. Retrieved 10 October 2012. [37] Palacios 2010, p. 188 [38] Chapman 2010, p. 151 [39] Palacios 2010, p. 195 [40] Chapman 2010, p. 152 [41] Chapman 2010, p. 153

[13] Cavanagh 2003, p. 42

[42] Palacios 2010, p. 198

[14] Browne, Ray B.; Browne, Pat (2000). The Guide to United States Popular Culture. Bowling Green, OH: Bowling Green State University Popular Press. p. 610. ISBN 9780-87972-821-2.

[43] Manning 2006, p. 36

[15] Povey 2007, pp. 37–39

[46] Palacios 2010, p. 199

[16] Schaffner 2005, p. 55

[47] Chapman 2010, p. 155

[17] Chapman 2010, pp. 169–170

[48] Palacios 2010, p. 206

[44] Palacios 2010, pp. 198–199 [45] Chapman 2010, p. 154

[18] Mason, Nick (2011) [2004]. “Freak Out Schmeak Out” [49] Palacios 2010, pp. 198, 206 . In Philip Dodd. Inside Out – A Personal History of Pink Floyd (Paperback ed.). Phoenix. pp. 70, 87. ISBN 978- [50] Chapman 2010, p. 158 0-7538-1906-7. [51] Jones 2003, pp. 21–22 [19] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. pp. 180–182. ISBN 0-85965-431-1.

[52] Cavanagh 2003, pp. 37–38

[20] Palacios 2010, p. 182

[54] Palacios 2010, p. 371

[21] Palacios 2010, p. 183 [22] Palacios 2010, p. 196

[55] “Unreleased Pink Floyd material: Millionaire / She Was a Millionaire”. Pinkfloydhyperbase.dk. Retrieved 24 December 2012.

[23] Chapman 2010, p. 142

[56] Manning 2006, p. 29

[53] Palacios 2010, p. 209

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[57] Chapman 2010, p. 162 [58] Ruhlmann, William. “The Scarecrow – Pink Floyd”. =Allmusic.com. Retrieved 19 January 2013. [59] Schaffner 2005, p. 36 [60] Mason 2011, p. 95 [61] Mason 2011, pp. 95–105 [62] Blake 2008, p. 94 [63] Schaffner 2005, pp. 88–90 [64] Schaffner 2005, pp. 91–92 [65] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012. Original UK mono LP [66] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012. Original UK stereo LP [67] Povey 2007, p. 342

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[83] “Syd Barrett: Roger 'Syd' Barrett, leader of Pink Floyd, died on July 7th, aged 60”. The Economist 380 (Economist Newspaper Ltd). 20 July 2006. p. 83. Retrieved 26 December 2012. [84] White, Dave.“Pink Floyd – Review of 40th Anniversary Edition of Piper at the Gates of Dawn by Pink Floyd”. About.com. Retrieved 10 October 2012. [85] Huey, Steve. "The Piper at the Gates of Dawn – Pink Floyd: Songs, Reviews, Credits, Awards: AllMusic”. AllMusic. Retrieved 10 October 2012. [86] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 27 December 2014. [87] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612. [88] "NME Album Reviews – Pink Floyd – The Piper at the Gates of Dawn – nme.com”. nme.com. 4 September 2007. Retrieved 10 October 2012.

[68] Chapman 2010, p. 172 [69] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012. Original Canadian stereo LP [70] “The Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012. Original US mono LP [71] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012.

[89] Deusner, Stephen (28 September 2011). “Pink Floyd: Piper at the Gates of Dawn (“Why Pink Floyd?" Reissue) :: Music :: Reviews :: Paste". pastemagazine.com. Retrieved 10 October 2012. [90] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014.

[72] Cavanagh 2003, pp. 54–55

[91]“Review: The Piper at the Gates of Dawn". Q: 275. January 1995.

[73] Cavanagh 2003, p. 55

[92] Povey 2007, p. 66

[74] Cavanagh 2003, pp. 55–56

[93] MacDonald, edited by Bruno (1996). Pink Floyd: Through the Eyes of – the Band, its Fans, Friends, and Foes. New York: Da Capo Press. p. 11. ISBN 978-0306-80780-0.

[75] Blake 2008, p. 92 [76] Carruthers, Bob (2011). Pink Floyd - Uncensored on the Record. Coda Books Ltd. ISBN 978-1-908538-27-7. [77] Chapman 2010, pp. 148–149 [78] Cavanagh 2003, pp. 2–3 [79] Vegro, Symon (2009). All That You Touch. AuthorHouse. p. 78. ISBN 9781467897969. [80] Chapman 2010, p. 148 [81] Young, Rob (2011). Electric Eden: Unearthing Britain's Visionary Music. Faber & Faber. pp. 454–455. ISBN 978-1-4299-6589-7. [82] Reisch, George A. (2007). Pink Floyd and Philosophy: Careful with That Axiom, Eugene! (3. print. ed.). Chicago: Open Court. p. 189. ISBN 978-0-8126-96363. It started with a guy named Syd who styled himself a 'Piper at the Gates of Dawn' and spent most of the 1960s surrounded by groupies.

[94] “500 Greatest Albums of All Time: Pink Floyd, 'The Piper at the Gates of Dawn' | Rolling Stone". Rolling Stone. Retrieved 12 June 2012. [95] Perone, James E. (2004). Music of The Counterculture Era (1. publ. ed.). Westport, Conn. [u.a.]: Greenwood Press. p. 24. ISBN 978-0-313-32689-9. [96] Norman, Philip (2009). John Lennon: The Life (1st Ecco pbk. ed. ed.). New York: Ecco. p. 498. ISBN 978-0-06075402-0. [97] Reisch 2007, p. 144 [98] “Pink Floyd – A Nice Pair at Discogs”. Discogs.com. Retrieved 13 November 2012. Original A Nice Pair UK LP [99] “Pink Floyd – A Nice Pair at Discogs”. Discogs.com. Retrieved 13 November 2012.

6.2. A SAUCERFUL OF SECRETS

[100] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012. 40th anniversary Europe two-CD [101] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012. 40th anniversary Europe three-CD [102] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012.

85

6.2 A Saucerful of Secrets A Saucerful of Secrets is the second studio album by the English rock band Pink Floyd. It was recorded at EMI's Abbey Road Studios on various dates from August 1967 to April 1968 and was released on 29 June 1968, through EMI Columbia in the United Kingdom, while the album was released on 27 July 1968 in the United States by Tower.

[103] “Pink Floyd – The Piper At The Gates Of Dawn at Discogs”. Discogs.com. Retrieved 13 November 2012. 2011 remaster US CD [104] [105]

[106] [107]

[108]

The album was recorded before and after Syd Barrett's departure from the group. Due to Barrett's behaviour becoming increasingly unpredictable, David Gilmour was * * “Pink Floyd – Discovery at Discogs”. Discogs.com. recruited in January 1968. [1] [2] As a result, A SaucerRetrieved 13 November 2012. Discovery Europe edition ful of Secrets became the only non-compilation Pink Floyd album on which all five band members appeared, “Pink Floyd – The Discovery Box Set at Discogs”. the first for Gilmour, with him appearing on five songs Discogs.com. Retrieved 13 November 2012. Discovery ("Let There Be More Light", "Set the Controls for the US edition Heart of the Sun", "Corporal Clegg", "A Saucerful of Secrets" and "See-Saw"), and the last for Barrett, with him Povey 2007, pp. 4–5 on three ("Remember a Day", "Jugband Blues" and“Set “The Concert Database Pink Floyd, 1971-06-20, A Perthe Controls for the Heart of the Sun”).* [3] “Set the fect Union Deep In Space, Palaeur, Rome, Italy, Atom Controls for the Heart of the Sun”was the only song all Heart Mother World Tour (c), roio”. Pf-db.com. 28 five members appeared on together. Band member Nick March 2007. Retrieved 12 December 2012. Mason declared A Saucerful of Secrets his favourite Pink Schaffner 2005, p. 156 Floyd album.

[109] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus. p. 160. ISBN 978-1-84938370-7.

6.2.1 Background

From mid to late 1967, Syd Barrett's erratic behaviour became more apparent,* [4] and at one performance of the Blake 2008, p. 102 band's first US tour, he slowly detuned his guitar while on stage. The audience, used to the band's experimenChapman 2010, p. 189 tal performances, seemed to enjoy such antics, and were Chapman 2010, p. 185 unaware of the rest of the band's increasing consternation. Interviewed on Pat Boone's show during this tour, Chapman 2010, pp. 192–193 Barrett's reply to Boone's questions was a“blank and toThe Piper at the Gates of Dawn (Media notes). Pink tally mute stare”.* [5]* [6] Barrett exhibited behaviour in Floyd. EMI. 1967. SCX6157. a similar style during the band's first appearance on Dick Clark's popular TV show American Bandstand.* [5] BarPalacios 2010, pp. 206–207 rett kept his lips closed during a mimed performance of "Apples and Oranges".* [7] Chapman 2010, p. 170

[110] Schaffner 2005, p. 94 [111] [112] [113] [114] [115] [116] [117]

[118] Povey 2007, p. 343 [119] “The Official Charts Company - The Piper At The Gates Of Dawn by Pink Floyd Search”. The Official Charts Company. 6 May 2013. [120] “ultratop.be – Pink Floyd – The Piper at the Gates of Dawn". ultratop.be. Retrieved 10 October 2012.

6.2.2 Recording and structure Recording with Syd Barrett

The album was recorded at EMI Studios in London.* [8] The first songs recorded for the album were Roger Waand an un[121] “Pink Floyd Longplay-Chartverfolgung”. musicline.de. ters'“Set the Controls for the Heart of the Sun” * Thy Last Scream"; [nb 1] released Barrett track, "Scream Retrieved 10 October 2012. * * * both recorded on 7–8 August 1967. [10] [11] [12] The two tracks were arranged to be released as a single on 8 September, before it was vetoed by the band's record 6.1.9 External links company, EMI.* [13] The band recorded "Vegetable • The Piper at the Gates of Dawn at Discogs (list of Man"* [nb 2] at De Lane Lea Studios on 9–11 Octoreleases) ber,* [14] and returned later in the month, on 19 October,

86 to record“Jugband Blues”,* [15] with producer Norman Smith booking a Salvation Army band, at Barrett's request.* [nb 3]* [15] Overdubbing “Remember a Day”at the sessions; the song, which was an outtake from The Piper at the Gates of Dawn sessions,* [14] features Barrett on slide guitar,* [16]* [18] the band took a break from the album sessions to record what become their third single, “Apples and Oranges”,* [15] on 26 and 27 October.* [19] A few days later, the band recorded the B-side, "Paint Box",* [15] before leaving for a US tour.* [15] In November, “Apples and Oranges”was released as a single but failed to chart at all.* [20] The band eventually went back to De Lane Lea and recorded the unreleased track "Vegetable Man".* [20] Sometime around Christmas, David Gilmour (Barrett's old school friend) was asked to join the band as a second lead guitarist to cover for Barrett when his erratic behaviour prevented him from performing.* [21] As Barrett had, up until then, written (or co-written) most of the songs on the band's debut album, The Piper at the Gates of Dawn, as well as the band's three singles up to this point,* [6] the initial plan was to keep him in the group as a non-touring member – in similar style to Brian Wilson's recent status in The Beach Boys – but this meant that Barrett and the group were essentially separated.* [7]* [22]* [23] For two days from 10 January 1968, Pink Floyd reconvened at EMI Studios, attempting to work on older tracks: Waters' vocals and Wright's organ were overdubbed onto“Set the Controls for the Heart of the Sun”,* [15] while Mason added vocals to “Scream Thy Last Scream”.* [2] Upon leaving the Floyd, Barrett said to Melody Maker: “I suppose it was really just a matter of being a little offhand about things”.* [24]

CHAPTER 6. STUDIO ALBUMS said, “Let's not bother.”* [21]* [28] Barrett was finally ousted from the band in late January 1968, leaving the new incarnation of Pink Floyd to finish the album; “Set the Controls for the Heart of the Sun”is the only song on which all five band members appeared.* [29] The four-piece band struggled to come up with new material for an album,* [3]* [21] but in February 1968 recorded Wright's "It Would Be So Nice" and Waters' "Julia Dream".* [nb 6]* [7] In early February it was announced that the Waters-penned track,“Corporal Clegg” would be the band's next single,* [7] however, due to pressure from the label, the song* [30] was earmarked for the album, and “It Would Be So Nice”was released in April was a single,* [nb 7] with“Julia Dream”on the Bside.* [31] Throughout April, the band was taking stock of the songs recorded up to that point.* [31] Waters blocked the release of the two tracks, “Vegetable Man”* [nb 8] and “Scream Thy Last Scream”, on the album, though the band retained “Jugband Blues”, and the Waterswritten“Set the Controls for the Heart of the Sun”which Barrett played on.* [31] With not enough material to fill the album's last 12 minutes, the band started piecing together several pieces of material̶that the finished song the band later said that they felt happy with̶that was to become the title track of the album, “A Saucerful of Secrets”.* [nb 9]* [31] Mason and Waters planned the track out as if it were an architectural design, including peaks and troughs.* [31] Producer Smith didn't like the song, stating to them that they“just can't do this, it's too long. You have to write three-minute songs.”* [31] On 25 June, the band recorded another session for BBC Radio's Top Gear, the session featured two tracks from Saucerful: “Let There Be More Light”and a shortened retitled version of the title track, titled here as“The Massed Gadgets of Hercules”.* [36]

Recording with David Gilmour When Gilmour joined the band, the Floyd performed briefly as a five-man piece, from 12 January till the 20th.* [21] For a handful of shows Gilmour played and sang while Barrett wandered around on stage, occasionally joining in with the playing. In between these fivepiece gigs, the group rehearsed a few Waters-penned songs on 15 and 16 January. During the next session on 18 January, the band, joined by Smith, jammed on rhythm tracks;* [nb 4]* [25] Barrett didn't attend this session. On 24 and 25 January, the band recorded a song, logged as “The Most Boring Song I've Ever Heard Bar 2”at Abbey Road.* [nb 5]* [26] The band recorded“Let There Be More Light”, “Corporal Clegg”(which features lead vocals by Nick Mason)* [27] and“See-Saw”all without Barrett, despite manager Andrew King claiming Barrett performed the slide solo at the end of“Let There Be More Light”.* [7] The other band members soon grew tired of Barrett's antics and, on 26 January 1968, when Waters was driving on the way to a show at Southampton University, picking the members up on the way, one person in the car said, “Shall we pick Syd up?" and another

6.2.3 Songs Like The Piper at the Gates of Dawn before it, the album contains space rock and psychedelic rock songs. However, unlike Piper, which was dominated by Barrett's compositions, A Saucerful of Secrets contains only one Barrett original: “Jugband Blues”. AllMusic described that with A Saucerful of Secrets, “the band begin to map out the dark and repetitive pulses that would characterize their next few records.”* [37] Wright sings or shares lead vocals on four of the album's seven songs, and contributes vocals on the eleven-and-a-half-minute instrumental opus “A Saucerful of Secrets”, making this the only Pink Floyd album where his vocal contributions outnumber those of the rest of the band. With Barrett seemingly detached from proceedings, it came down to Waters and Wright to provide adequate material. The opening, “Let There Be More Light”, penned by Waters, continues the space rock approach established by Barrett. “Let There Be More Light” evolved from a bass riff that was part of "Interstellar

6.2. A SAUCERFUL OF SECRETS Overdrive".* [25] Both “Remember a Day”and “SeeSaw”use the childlike approach* [38]* [39] that was established on their debut.* [40] Wright remained critical of his early contributions to the band.* [40] “Set the Controls for the Heart of the Sun”was first performed with Barrett in 1967.* [41] The success of the track was such that it remained in their live setlist until 1973 where it appeared in a greatly extended form.* [42] Waters later performed the track during solo concerts from 1984 and later.* [43] Waters borrowed the lyrics from a book of Chinese poetry from the Tang Dynasty, like Barrett had used in "Chapter 24".* [44]“Corporal Clegg”, is the first Pink Floyd song to address issues of war, a theme which would endure throughout the career of Waters as a songwriter for the band, culminating on the 1983 album The Final Cut.* [42] “A Saucerful of Secrets”was originally written as a new version of “Nick's Boogie”.* [45] The track is titled as four parts,* [46] on Ummagumma.* [47] A staple in the band's live set until summer 1972,* [47] a live version of the song was recorded on 27 April 1969 at the Mothers Club in Birmingham for inclusion on Ummagumma.* [48]* [49] “Jugband Blues”refers to Barrett's departure from the group ("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").* [50]* [51] A promotional video was recorded for the track.* [16] The band's management wanted to release the song as a single, before being vetoed by both the band and producer Norman Smith.* [15]

87 charts.* [65]* [66] It was released in the US by the Tower Records* [nb 13] division of Capitol, where it remains the only Pink Floyd album not to chart.* [68] However, when reissued as A Nice Pair* [nb 14]* [nb 15] with the original version of The Piper at the Gates of Dawn after the success of The Dark Side of the Moon, the album did chart at number 36 on the Billboard 200.* [71] “Let There Be More Light”was released as a single, backed with “Remember a Day”, in the US on 19 August 1969.* [72] The CD stereo mix of the album was first released in 1988,* [nb 16] and in 1992 was digitally remastered and reissued as part of the Shine On box set.* [nb 17] The remastered stereo CD was released on its own in 1994 in the UK* [nb 18] and the US.* [nb 19] The mono mix version of the album has never been officially released on CD. Upon its release, Rolling Stone magazine's review was unfavourable, writing that it is “not as interesting as their first”and “rather mediocre”, highlighting the neardeparture of Syd Barrett as one of its detractions.* [58] In a retrospective review for AllMusic, Richie Unterberger called the album “gentle, fairy-tale ambience”, with the songs that move from “concise and vivid”to “spacy, ethereal material with lengthy instrumental passages”.* [37] In a review for BBC Music, Daryl Easlea said Saucerful was“not without filler”, adding that“Jugband Blues”was “the most chilling”song on the album.* [55]

While promoting 2014's The Endless River, Nick Mason named A Saucerful of Secrets as his favourite of Pink Floyd's studio albums.“I think there are ideas contained there that we have continued to use all the way through Main article: List of unreleased Pink Floyd material our career,”he says.“I think [it] was a quite good way of marking Syd [Barrett]ʼs departure and Dave [Gilmour]ʼ As well as “Jugband Blues”, the album was to include s arrival. Itʼs rather nice to have it on one record, where “Vegetable Man”, another Barrett composition.* [6] The you get both things. Itʼs a cross-fade rather than a cut.” song was to appear on a single as the B-side to “Scream * [77] Thy Last Scream”.* [9]* [11] The band performed“Jugband Blues”,“Vegetable Man”and“Scream Thy Last Scream”for a Top Gear session, recorded on 20 Decem- 6.2.5 Track listing ber, and broadcast on 31st.* [52] Two additional Barrett songs,“In the Beechwoods”,* [53] and“No Title”(fre- 6.2.6 Personnel quently referred to on bootlegs as“Sunshine”),* [nb 10] were recorded early in the album sessions.* [54] At least Pink Floyd one other song, “John Latham”, was recorded during these sessions, and remains unreleased.* [54] Unreleased songs

(all personnel uncredited)

6.2.4

Release and reception

This is the first of several Pink Floyd album covers that were designed by Hipgnosis,* [61] and was only the second time that an EMI group (The Beatles were the first) was permitted to hire outside designers for an album jacket.* [62] The album was released in the UK on 29 June 1968 on EMI's Columbia label as both mono* [nb 11] and stereo* [nb 12] LPs, reaching number 9 in the UK

• Roger Waters – bass guitar, percussion, vocals* [78] • Richard Wright – piano, organ, mellotron, vibraphone, xylophone, vocals,* [78] tin whistle on “Jugband Blues”* [79] • David Gilmour – guitar, kazoo, vocals* [78] • Nick Mason – drums, percussion, vocals on “Corporal Clegg”,* [27] kazoo on“Jugband Blues”* [79]

88

CHAPTER 6. STUDIO ALBUMS

• Syd Barrett – acoustic and slide guitar on“Remem- [15] US Capitol Harvest SABB-11257* [70] ber a Day”,* [16]* [18] guitar on “Set the Controls [16] UK EMI CDP 7 46383 2* [73] for the Heart of the Sun”,* [10]* [12] vocals and guitar on “Jugband Blues”* [80] [17] UK EMI 7243 8 29751 2 0 / CDEMD 1063* [74] Additional personnel

[18] UK EMI CDS 7 80557 2* [75] [19] US Columbia CXK 53180* [76]

• Norman Smith – producer,* [81] drums and backing vocals on “Remember a Day”,* [18] voice on Citations “Corporal Clegg” • The Salvation Army (The International Staff Band) on “Jugband Blues”* [15]

6.2.7

Sales chart performance

6.2.8

References

Footnotes

[1] Povey, Glenn (2006). Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 90. ISBN 978-0-9554624-0-5. [2] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 318. ISBN 085965-431-1. [3] Gulla, Bob (2009). Guitar Gods: The 25 Players Who Made Rock History. Westport, Conn.: Greenwood Press. p. 92. ISBN 0-313-35806-0.

[1] Despite having only two complete takes of the song,* [9] “Scream Thy Last Scream”was viewed as a potential single.* [10]

[4] Palacios, Julian (1998). Lost in the Woods: Syd Barrett and the Pink Floyd. London: Boxtree. p. 183. ISBN 0-7522-2328-3.

[2]“Scream Thy Last Scream”was again scheduled for release, this time with “Vegetable Man”as the B-side, but cancelled and both tracks remain unreleased.* [9]* [11]

[5] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 13. ISBN 1-905139-09-8.

[3] When the Salvation Army were brought in to play on the track,* [16] Barrett told them to“play whatever they want” , Smith insisted on recorded parts.* [17]

[6] Reisch, George A., ed. (2007). Pink Floyd and Philosophy: Careful With That Axiom, Eugene! (1st ed ed.). Chicago: Open Court. p. 230. ISBN 0-8126-9636-0.

[4] This jamming later formed the intro to “Let There Be More Light”.* [25]

[7] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 45. ISBN 1-84353575-0.

[5] This song later became “See-Saw”.* [11] [6] Originally titled “Doreen's Dream”.* [7] [7] The single was released on 12 April 1968, almost a week after Barrett's departure from the band was announced.* [31]

[8] Jones, Malcolm (2003), The Making of The Madcap Laughs (21st Anniversary ed.), Brain Damage, pp. 23– 25 [9] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 187. ISBN 978-0-571-23855-2.

[8] Peter Jenner, one of the band's managers, said Waters blocked “Vegetable Man”because “it was too dark” [10] .* [14] [11] [9] It was David Gilmour's first professional songwriting credit. His name is incorrectly spelled “Gilmore” [12] ,* [32]* [33]* [34] an error that would persist on all press- [13] ings until finally being corrected with the 1994 remastered version.* [35] [14]

Palacios 2010, p. 262 Jones 2003, p. 23 Chapman 2010, p. 186 Palacios 1998, p. 180 Palacios 1998, p. 194

[10] Not to be confused with the early title of “Remember [15] Manning 2006, p. 41 a Day”, as written on the recorded sheet, “Sunshine” [16] Palacios 2010, p. 286 .* [11]* [15] [11] UK EMI Columbia SX 6258* [63]

[17] Chapman 2010, p. 191

[12] UK EMI Columbia SCX 6258* [64] [13] US Capitol Tower ST 5131* [67]

[18] Everett, Walter (2009). The Foundations of Rock: From “Blue Suede Shoes”to “Suite: Judy Blue Eyes”. Oxford: Oxford University Press. p. 90. ISBN 0-19-531023-3.

[14] UK EMI Harvest SHDW 403* [69]

[19] Chapman 2010, p. 189

6.2. A SAUCERFUL OF SECRETS

[20] Manning 2006, p. 43 [21] Carruthers, Bob. Pink Floyd – Uncensored on Record. Coda Books Ltd. ISBN 1-908538-27-9. Retrieved 29 October 2012.

89

[49] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus. p. 160. ISBN 978-1-84938370-7. [50] Reisch 2007, p. 236

[22] Schaffner 2005, p. 265

[51] Chapman 2010, p. 190

[23] Schaffner 2005, p. 14

[52] Manning 2006, p. 44

[24] The Madcap Laughs (booklet). Syd Barrett. Harvest, EMI. 2010. p. 1.

[53] Chapman 2010, p. 193

[25] Palacios 2010, p. 319 [26] Povey 2006, p. 90 [27] Schaffner 2005, p. 132 [28] Blake, Mark (2008). Comfortably Numb: The Inside Story of Pink Floyd. Cambridge, MA: Da Capo. p. 112. ISBN 0-306-81752-7. [29] 1993 Guitar World interview with David Gilmour [30] Manning 2006, pp. 46–47 [31] Manning 2006, p. 47 [32] “Images for Pink Floyd – A Saucerful of Secrets”. Discogs.com. Retrieved 30 October 2012. [33] “Images for Pink Floyd – A Saucerful of Secrets”. Discogs.com. Retrieved 30 October 2012. [34] “Images for Pink Floyd – A Saucerful of Secrets”. Discogs.com. Retrieved 30 October 2012. [35] “Images for Pink Floyd – A Saucerful of Secrets”. Discogs.com. Retrieved 30 October 2012. [36] Manning 2006, p. 48

[54] Jones 2003, p. 25 [55] Easlea, Daryl (17 April 2007). “Music – Review of Pink Floyd – A Saucerful of Secrets”. BBC. Retrieved 30 October 2012. [56] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 27 December 2014. [57] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612. [58] Miller, Jim (26 October 1968). "A Saucerful of Secrets". Rolling Stone (San Francisco: Straight Arrow Publishers, Inc.). Retrieved 30 May 2014. [59] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014. [60] DeRogatis, Jim. “Pink Floyd Reviews”. Yahoo! Music. Archived from the original on 4 November 2012. Retrieved 4 November 2012. [61] Palacios 2010, p. 330

[37] Unterberger, Richie. "A Saucerful of Secrets – Pink Floyd : Songs, Reviews, Credits, Awards : AllMusic”. AllMusic. Retrieved 9 October 2012.

[62] Roberts, James. “Hipgnotic Suggestion”. Frieze (37). Retrieved 15 December 2011.

[38] Palacios 2010, p. 285

[63] “Pink Floyd – A Saucerful of Secrets (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 30 October 2012.

[39] Reisch 2007, p. 272 [40] Schaffner 2005, pp. 132–133 [41] Palacios 2010, p. 271 [42] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus. ISBN 0-7119-4301-X. [43] Sweeting, Adam (20 May 2008). “Roger Waters: set the controls for the heart of the Floyd”. Telegraph. Retrieved 9 December 2012. [44] Palacios 2010, p. 265 [45] Palacios 2010, p. 322 [46]“Echoes FAQ Ver, 4.0 – 4/10”. Pink-floyd.org. Retrieved 30 October 2012. [47] Manning 2006, p. 188 [48] Schaffner 2005, p. 156

[64] “Pink Floyd – A Saucerful of Secrets (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 30 October 2012. [65] “The Official Charts Company – Saucerful of Secrets by Pink Floyd Search”. The Official Charts Company. 6 May 2013. [66] “Pink Floyd | Artist | Official Charts”. officialcharts.com. Retrieved 9 October 2012. [67] “Pink Floyd – A Saucerful of Secrets (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 30 October 2012. [68] "A Saucerful of Secrets – Pink Floyd | Billboard". billboard.com. Retrieved 9 October 2012. [69] “Pink Floyd – A Nice Pair (Vinyl, LP) at Discogs”. Discogs.com. Retrieved 30 October 2012. [70] “Pink Floyd – A Nice Pair (Vinyl, LP) at Discogs”. Discogs.com. Retrieved 30 October 2012.

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is one of the three Pink Floyd albums to feature David Gilmour as the sole lead vocalist, the others being 1987's A Momentary Lapse of Reason and 2014's The Endless [72] Fitch, Vernon. “Pink Floyd Archives-Tower Records River, and it is also the first album to be produced by Pink Discography”. Pinkfloydarchives.com. Retrieved 31 OcFloyd without assistance from Norman Smith. More was tober 2012. recorded at Pye Studios, Marble Arch, London and engi[73] “Pink Floyd – A Saucerful of Secrets (CD, Album) at neered by Brian Humphries.* [5] [71] "A Nice Pair – Pink Floyd : Awards : AllMusic”. AllMusic. Retrieved 9 October 2012.

Discogs”. Discogs.com. Retrieved 30 October 2012. [74] “Pink Floyd – Shine On (Box Set, Album, Album, Album, Album, Album, Album, Album) at Discogs”. Discogs.com. Retrieved 30 October 2012. [75] “Pink Floyd – A Saucerful of Secrets (CD, Album) at Discogs”. Discogs.com. Retrieved 30 October 2012.

Two songs can be heard in the film that were not included on the album: “Seabirds”* [6] and “Hollywood”. According to one source,* [7] the original More reel shows the following track listing: 1. Main Theme 1

[76] “Pink Floyd – Shine On (Box Set, Album, Album, Album, Album, Album, Album, Album) at Discogs”. Discogs.com. Retrieved 30 October 2012.

2. Main Theme 2

[77] Schonfeld, Zach (7 November 2014). “Pink Floydʼ s Longest-Serving Officer”. Newsweek. Retrieved 7 November 2014.

4. Party Sequence 2

[78] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [79] Manning 2006, p. 187

3. Party Sequence 1

5. Jukebox (Up the Khyber) 6. Theme – Beat Version 7. Spanish Music

[80] Palacios 1998, p. 195

8. Blues – Slow

[81] A Saucerful of Secrets (Back cover). Pink Floyd. EMI Columbia.

9. Hollywood

[82] “French Albums Chart (1968–2007)". InfoDisc.fr. Retrieved 2 June 2013.

10. Seabirds 11. Crying Song 12. Waterpipe (Quicksilver)* [8]

6.3 Soundtrack from the Film More More is the first full-length soundtrack album, and third studio album, by the English rock band Pink Floyd, released on 13 June 1969 in the United Kingdom. On 9 August 1969, it was released in the United States as Original Motion Picture Soundtrack from the film More.* [1]* [2] The film More was made in Luxembourg in 1969 and was directed by Barbet Schroeder.

13. Paris Bar

6.3.2 Release and reception More reached number 9 in the UK* [13] and, upon rerelease in 1973, number 153 in the US. In 1987, the album was issued on CD. A digitally remastered CD was released in 1995 in the UK and 1996 in the US.

Since 1995, the new edition changed the title to just Music from the Film More (US title: Music from the Motion Picture More).* [1] This was the last of three Pink Floyd 6.3.1 Recording and songs albums to be released in the United States by the Tower Records division of Capitol Records. The 1973 US reisMore contains some acoustic folk ballads, a genre that apsue was released on Harvest Records. Although the CD peared sparsely on later works. It also contains some of restores the original United Kingdom title in all countries, the band's "heaviest" recordings, such as "The Nile Song" it is represented differently on the spine (Music from the and "Ibiza Bar",* [3]* [4] as well as several instrumental Film More) and label More. tracks, featuring their experimental and avant-garde approach. This is Pink Floyd's first full album without founder mem- 6.3.3 Track listing ber Syd Barrett, who was ousted from the group in early 1968 during the recording of A Saucerful of Secrets. It All vocals by Roger Waters.

6.4. UMMAGUMMA

6.3.4

91

Personnel

[11] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612.

• Roger Waters – bass guitar, tape effects, and percussion

• Richard Wright – Hammond and Farfisa organs, piano, percussion, backing vocals

[12] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014.

• David Gilmour – acoustic, electric, slide, and Flamenco guitars, percussion, lead vocals

[13] “PINK FLOYD | Artist”. Official Charts. Retrieved 8 July 2012.

• Nick Mason – percussion, and drums

[14] Billboard chart peak position at AllMusic. Retrieved 3 July 2011.

Additional personnel • Lindy Mason – tin whistle on“Green Is the Colour” and “Party Sequence”

6.4 Ummagumma

• James Guthrie – re-mastering supervision • Hipgnosis – sleeve design

“Sysyphus”redirects here. mythology, see Sisyphus.

For the figure of Greek

• Doug Sax – re-mastering

6.3.5

Sales chart performance

6.3.6

References

Footnotes Citations [1] http://www.discogs.com/ Pink-Floyd-Soundtrack-From-The-Film-More/master/ 20679 [2] Povey, Glenn (2006). Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 110. ISBN 978-0-9554624-0-5.

Ummagumma is a double album by the English progressive rock band Pink Floyd. It was released on 25 October 1969, through Harvest Records. The first disc is a live album that contains part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded as their fourth studio album. Although the album was well received at the time of release, and was a top five hit in the UK album charts, it has since been looked upon unfavourably by the band, who have expressed negative opinions about it in interviews. Nevertheless, the album has been reissued on CD several times, along with the rest of their catalogue.

[3] Relics, Pink Floyd: Review, AllMusic.

The album is also notable for its artwork, featuring a number of pictures of the band combined together to give a Droste effect. Like several other of the band's covers, it was designed by Hipgnosis.

[4] J. DeRogatis, Turn On Your Mind: Four Decades of Great Psychedelic Rock (Milwaukee, Michigan: Hal Leonard, 2003), ISBN 0-634-05548-8, p.132.

6.4.1 Title

[5] Nick Mason, Inside Out, first edition p129

The album's title supposedly comes from Cambridge * * [6] Manning, Toby (2006). The Rough Guide to Pink Floyd slang for sex, [1] [2] commonly used by Pink Floyd (1st ed.). London: Rough Guides. p. 226. ISBN 1- friend and occasional roadie, Ian “Emo”Moore, who would say “I'm going back to the house for some um84353-575-0. magumma”. According to Moore, he made up the term [7] Johns, Matt. “Paris, Cite de la Musique, October 10th himself.* [3] 2003 – January 25th 2004 INDEPTH REVIEW”. Brain Damage. Retrieved 27 January 2014.

[8] “A List of Working Titles for Floyd Songs”. Pink Floyd Online. Retrieved 27 January 2014.

6.4.2 Background

Although the sleeve notes say that the live material was recorded in June 1969, the live album of Ummagumma was recorded live at Mothers Club, Birmingham on 27 [10] McCormick, Neil (20 May 2014). “Pink Floyd's 14 stu- April 1969 and the following week at Manchester College dio albums rated”. The Daily Telegraph (London). Re- of Commerce on 2 May of the same year as part of The trieved 27 December 2014. Man and The Journey Tour.* [4]* [5] The band had also [9] Unterberger, Richie. Album review at AllMusic. Retrieved 3 July 2011.

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The site of Mothers Club, Birmingham, where some of the live album was recorded

recorded a live version of "Interstellar Overdrive" (from The Piper at the Gates of Dawn) intended for placement on side one of the live album, and "The Embryo", which was recorded in the studio before it was decided that the band members each come up with their own material.* [4] The studio album came as a result of Richard Wright wanting to make “real music”, where each of the four group members (in order: Wright, Roger Waters, David Gilmour and Nick Mason) had half an LP side each to create a solo work without involvement from the others.* [4] Wright's contribution,“Sysyphus”, was named after a character in Greek mythology, usually spelled "Sisyphus",* [6] and contained a combination of various keyboards, including piano and mellotron. Although initially enthusiastic about making a solo contribution,* [7] Wright later described it as “pretentious”.* [4] Waters' "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" contained a variety of vocal* [8] and percussion effects treated at various speeds, both forwards and backwards, and was influenced by Ron Geesin,* [8] who would later collaborate with both Waters and Pink Floyd. Waters' other contribution Grantchester Meadows was a more pastoral acoustic offering and was usually played as an opening to concerts over 1969.* [9] Gilmour has since stated he was apprehensive about creating a solo work, and admits he “went into a studio and started waffling about, tacking bits and pieces together”,* [10] although part one of "The Narrow Way" had already been performed as“Baby Blue Shuffle in D Major”in a BBC radio session in December 1968.* [11] Gilmour said he “just bullshitted” through the piece.* [4] He asked Waters to write some lyrics for his compositions, but he refused to do so.* [4] Mason's "The Grand Vizier's Garden Party" featured his then wife, Lindy, playing flute,* [8] and Mason playing a seven-minute drum solo.* [4]

6.4.3

Packaging

The cover artwork shows the members of the band, with a picture hanging on the wall showing the same scene, ex-

cept that the band members have switched positions.* [12] The picture on the wall also includes the picture on the wall, creating a recursion effect (i. e. the Droste effect), with each recursion showing band members exchanging positions. After four variations of the scene, the final picture within picture is the cover of the previous Pink Floyd album, A Saucerful of Secrets. The latter, however, is absent from the CD release; instead, the recursion effect is seemingly ad infinitum. Hipgnosis also prepared an advert for EMI repeating the exercise with different band positions, Richard Wright now as the dominant seated figure hitherto the least so on the album cover. The illustration was bigger than the cover, therefore the number of iterations toward infinity had to be increased. The cover of the original LP varies between the British, American/Canadian and Australian releases. The British version has the album Gigi leaning against the wall immediately above the“Pink Floyd”letters.* [5] At a talk given at Borders bookstore in Cambridge on 1 November 2008, as part of the “City Wakes”project, Storm Thorgerson explained that the album was introduced as a red herring to provoke debate, and that it has no intended meaning. On most copies of American and Canadian editions, the Gigi cover is airbrushed to a plain white sleeve, apparently because of copyright concerns; however, the earliest American copies do show the Gigi cover,* [13] and it was restored for the American remastered CD edition. On the Australian edition, the Gigi cover is completely airbrushed, not even leaving a white square behind. The house used as the location for the front cover of the album is located in Great Shelford, near Cambridge.* [14] On the rear cover, roadies Alan Styles (who also appears in "Alan's Psychedelic Breakfast") and Peter Watts are shown with the band's equipment laid out on a runway at Biggin Hill Airport. This concept was proposed by Mason, with the intention of replicating the “exploded” drawings of military aircraft and their payloads, which were popular at the time.* [5] Song titles on the back are laid out slightly differently in British vs. North American editions; the most important difference being the inclusion of subtitles for the four sections of “A Saucerful of Secrets”. These subtitles only appeared on American and Canadian editions of this album, but not on the British edition; nor did they appear on original pressings of A Saucerful of Secrets. The inner gatefold art shows separate black-and-white photos of the band members. Gilmour is seen standing in front of the Elfin Oak.* [5] Original vinyl editions showed Waters with his first wife, Judy Trim, but she has been cropped out of the picture on most CD editions (with the original photo's caption “Roger Waters (and Jude)" accordingly changed to just “Roger Waters”).* [5] The uncropped picture was restored for the album's inclusion in the box set Oh, by the Way.* [5]

6.4. UMMAGUMMA

6.4.4

Release history

93 to fall asleep to”.* [29]

Ummagumma was released in the UK and US on 25 October and 10 November 1969, respectively. It reached 6.4.6 Track listing number 5 on the UK albums chart* [15] and number 74 Record one – live album in America, marking the first time the band reached the top 100 there. The album was certified gold in the US in February 1974 and platinum in March 1994. AmeriRecord two – studio album can versions of the cassette omitted “Careful with That Axe, Eugene”, “Set the Controls for the Heart of the Sun”and“A Saucerful of Secrets”. In 1987, the album 6.4.7 Personnel was re-released on a two-CD set. A digitally remastered version was issued in 1994 in the UK and 1995 in the US. 6.4.8 Sales chart performance The CD edition includes a longer version of“Sysyphus”, extended to 13:26, with the movements lasting 1:08, 3:30, 1:49 and 6:59, respectively. The original “Part 1”of “Sysyphus”was split into two tracks and called“Part 1” and “Part 2”. “Part 2”on vinyl became “Part 3”on CD, and“Part 3”and“Part 4”were combined into the CD's “Part 4”(the original “Part 4”begins with the lengthy orchestral thud). “The Narrow Way”and“The Grand Vizier's Garden Party”were also split into their three parts for easier navigation. The times below reflect the original vinyl pressing. In 2009, to mark the 40th anniversary of the album's release, Thorgerson sold a limited number of autographed lithographs of the front cover.* [16] Although the 2011 rerelease campaign Why Pink Floyd...? presented all fourteen albums newly remastered in 2011, only the studio disc of Ummagumma was remastered – the live disc is the previous 1994 version.

6.4.5

Reception

On release, Ummagumma received favourable reviews.* [7]* [8] International Times were particularly positive about the live album, with the reviewer describing it as “probably one of the best live recordings I have ever heard”.* [24] Vox included the live half of this album on its list of 'The Greatest Live Albums Ever'* [19] However, the band have since been dismissive and critical of the work. Recalling the album in later years, Waters said: "Ummagumma – what a disaster!",* [25] while in 1995, Gilmour described the album as“horrible”.* [26] In a 1984 interview, Mason said:“I thought it was a very good and interesting little exercise, the whole business of everyone doing a bit. But I still feel really that that's quite a good example of the sum being greater than the parts …"* [27] Later, he described it as “a failed experiment” , adding that “the most significant thing is that we didn't do it again”.* [28]

6.4.9 References Citations [1] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 157. ISBN 1-905139-09-8. [2] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 160. ISBN 184353-575-0. [3] Blake, Mark. Comfortably Numb: The Inside Story of Pink Floyd. Da Capo Press Inc. p. 137. ISBN 9780306817526. Retrieved 12 October 2012. [4] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 156. ISBN 1-905139-09-8. [5] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus. p. 160. ISBN 978-1-84938370-7. [6] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. p. 27. ISBN 0-7119-4301-X. [7] Mason, Nick (2011) [2004]. Philip Dodd, ed. Inside Out – A Personal History of Pink Floyd (Paperback ed.). Phoenix. p. 129. ISBN 978-0-7538-1906-7. [8] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 161. ISBN 184353-575-0. [9] Mason, Nick (2011) [2004]. Philip Dodd, ed. Inside Out – A Personal History of Pink Floyd (Paperback ed.). Phoenix. p. 130. ISBN 978-0-7538-1906-7. [10] Sounds. May 1983. [11] “BBC – Radio 1 – Keeping It Peel – 02/12/1968 Pink Floyd”. bbc.co.uk. Retrieved 12 October 2012.

Paste, reviewing the 2011 re-release, described the album [12] Mabbett 2010, p. 160. as “rock excess of the worst kind”, although the writer praised the live version of “Careful with that Axe, Eu- [13] Umphred, Neil (1994). Goldmine's Price Guide to Colgene”.* [21] Robert Christgau has suggested that the allectible Record Albums (Fourth ed.). Krause Publications. bum's“hypnotic melodies”made it“an admirable record p. 548.

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[14] Glenn Povey, Echoes: the complete history of Pink Floyd, pg. 29, Mind Head Publishing (2007), ISBN 0-95546240-1 [15] “Pink Floyd | Artist | Official Charts”. officialcharts.com. Retrieved 12 October 2012. [16] “Pink Floyd News :: Brain Damage – Pink Floyd's Ummagumma – 40th Anniversary Marked with New Memorabilia”. brain-damage.co.uk. Retrieved 12 October 2012. [17] Eder, Bruce. "Ummagumma – Pink Floyd: Songs, Reviews, Credits, Awards: AllMusic”. AllMusic. Retrieved 12 October 2012.

[32] “Pink Floyd – Awards : AllMusic”. AllMusic. Retrieved 12 October 2012.

6.4.10 External links • Ummagumma at Discogs (list of releases)

6.5 Atom Heart Mother

Atom Heart Mother is the fifth studio album by the English progressive rock band Pink Floyd. It was released by Harvest and EMI Records 2 October 1970 in the UK, and by Harvest and Capitol on 10 October 1970 in the * [19] “Pink Floyd Ummagumma". Acclaimed Music. Re- US. [1] It was recorded at Abbey Road Studios in London, England, and was the band's first album to reach trieved 27 December 2014. number 1 in the UK,* [2] while it reached number 55 in [20] Graff, Gary; Durchholz, Daniel (eds) (1999). Musithe US chart,* [3] eventually going gold there.* [4] A recHound Rock: The Essential Album Guide. Farmington mastered CD was released in 1994 in the UK and the Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-061United States, and again in 2011. Ron Geesin, who had 2. already influenced and collaborated with Roger Waters, [21] Deusner, Stephen (29 September 2011). “Pink Floyd: made a notable contribution to the album and received a Ummagumma (“Why Pink Floyd?" Reissue) :: Music :: then-rare outside songwriting credit. [18] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 27 December 2014.

Reviews :: Paste". Paste. Retrieved 12 October 2012.

[22] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014. [23] Howard, Ed (1 September 2003). “Pink Floyd – Ummagumma – On Second Thought”. Stylus Magazine. Retrieved 12 October 2012. [24] Povey, Glenn (2006). Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 115. ISBN 978-0-9554624-0-5. Retrieved 10 September 2012. [25] "(CD) Pink Floyd: Ummagumma". audio-music.info. Retrieved 12 October 2012.

This was the first Pink Floyd album to be specially mixed for four-channel quadraphonic sound as well as conventional two-channel stereo. The SQ quadraphonic mix was released on LP in a matrix format compatible with standard stereo record players. There was also a release of the quadraphonic version in the UK in fully discrete fourchannel form on the “Quad-8”format, a four-channel variant of the stereo 8-track tape cartridge. The cover was designed by Hipgnosis, and was significant in that it was the first one to not feature the band's name on the cover, or contain any photographs of the band anywhere. This was a trend that would continue on subsequent covers throughout the 1970s and beyond.

Although it was commercially successful on release, the band, particularly Waters and David Gilmour, have ex[26] Der Spiegel 23. June 1995. pressed several negative opinions of the album in more re[27] “Gilmour, Waters, Mason, Wright: Shakes of Pink – The cent years. Nevertheless, it remained popular enough for Source, 1984 – All Pink Floyd Fan Network”. Retrieved Gilmour to perform the title track with Geesin in 2008. 12 October 2012. [28]“Omnibus – Pink Floyd”. November 1994. 60 minutes in. BBC. [29] Christgau, Robert. “Pink Floyd: Atom Heart Mother”. Consumer Guide. Retrieved 18 December 2013.

6.5.1 Recording

The album came about after Pink Floyd had completed work on the soundtrack to the film Zabriskie Point in [30] Mason, Stewart.“Several Species of Small Furry Animals Rome, which had ended somewhat acrimoniously, and Gathered Together in a Cave and Grooving with a Pict - headed back to London in early 1970 for rehearsals. A Pink Floyd”. Rovi Corporation. Allmusic. Retrieved number of out-takes from the Rome sessions were used 2013-06-12. to assemble new material during these rehearsals, though [31] “The Official Charts Company - Ummagumma by Pink some of it, such as “The Violent Sequence”, later to Floyd Search”. The Official Charts Company. 6 May become "Us and Them", would not be used for some 2013. time.* [5]

6.5. ATOM HEART MOTHER

95 were impressed with his composition and tape editing capabilities, particularly Waters and Mason.* [5] Geesin was handed the completed backing tracks the band had recorded, and asked to compose an orchestral arrangement over the top of it while the band went on tour to the US, which he duly did.* [5] Geesin described the composing and arranging as “a hell of a lot of work. Nobody knew what was wanted, they couldn't read music … "* [10] According to him, Gilmour came up with some of the melodic lines, while the pair of them along with keyboardist Richard Wright worked on the middle section with the choir.* [8]* [11] When it came to recording his work in June with the EMI Pops Orchestra,* [12] the session musicians present were unimpressed with his tendency to favour avant garde music over established classical works, and, combined with the relative difficulty of some of the parts, proceeded to harass him during recording. John Alldis, whose choir were also to perform on the track, had experience in dealing with orchestral musicians, and managed to conduct the recorded performance in place of Geesin.* [5]* [13]

Roger Waters onstage at Leeds University, 28 February 1970. One of the earliest live performances of the album's title track was at this show.

Side one The title track to Atom Heart Mother resulted from a number of instrumental figures the band had composed during these rehearsals, including the chord progression of the main theme, which guitarist David Gilmour had called “Theme from an Imaginary Western”,* [6]* [7]* [8] and the earliest documented live performance was on 17 January 1970* [8] at Hull University.* [9] The band felt that the live performances developed the piece into a manageable shape.* [5] Recording of the track commenced at Abbey Road Studios in London, and was somewhat cumbersome, as it was the first recording to use a new eighttrack one-inch tape and EMI TG12345 transistorised mixing console (8 track 20 microphone inputs) in the studio, and, as a result, EMI insisted the band were not allowed to do any splicing of the tape in order to edit pieces together. Consequently, band members Roger Waters and Nick Mason had little choice but to play the bass and drums, respectively, for the entire 23 minute piece in one sitting. The other instruments the band played were subsequently overdubbed later. Mason recalled the final backing track's lack of precise timekeeping would cause problems later on.* [5]

The track was originally called “The Amazing Pudding”, though Geesin's original score referred to it as “Epic”.* [7]* [8] A refined and improved version (with Geesin's written parts) was played at Bath Festival of Blues and Progressive Music on 27 June.* [13]* [14] Its name was changed after the band were due to play an “in concert”broadcast for BBC Radio 1 on 16 July 1970, and had needed a title for John Peel to announce it.* [nb 1]* [13]* [15] Geesin pointed to a copy of the Evening Standard, and suggested to Waters that he would find a title in there. The headline was:“ATOM HEART MOTHER NAMED”, a story about a woman being fitted with a nuclear-powered pacemaker.* [7]* [16]* [17] The piece as presented on the completed album is a progression from Pink Floyd's earlier instrumental pieces such as "A Saucerful of Secrets" and even earlier, "Interstellar Overdrive". The “Atom Heart Mother” suite takes up all of side one, and is split into six parts, individually named. Geesin chose the opening section name,“Father's Shout”after Earl“Fatha”Hines, while other names such as“Breast Milky”and“Funky Dung” were inspired by the album cover artwork.* [12] The orchestral arrangements feature a full brass section,* [11] a cello* [18] and the 16-piece John Alldis choir,* [19]* [20] which take most of the lead melody lines,* [11] while Pink Floyd mainly provide the backing tracks;* [11] a reverse of the 1960s pop music practice of using orchestration as the background, and putting the rock band in front.* [21] Nevertheless, there are several occasions where Gilmour's electric guitar takes the lead.

Side two By March, they had finished recording the track,* [10] but felt that it was rather unfocused and needed some- Side two opens with three five-minute songs: one by each thing else. The band had been introduced to Ron Geesin of the band's three resident songwriters, and closes with via the Rolling Stones tour manager, Sam Cutler, and a suite with sound effects primarily conceived by Ma-

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CHAPTER 6. STUDIO ALBUMS serve his old band as they were recording Atom Heart Mother.* [18]* [21]* [28]

6.5.2 Cover art

By 1970, Rick Wright had started using a Hammond M102 organ (pictured) on stage regularly, and it makes a prominent appearance on the album.* [22]

son,* [23] but credited to the whole group.* [21] Therefore, this album's concept is similar to their previous Ummagumma album, in that it features the full band in the first half, and focuses on individual members in the second half.* [21]* [24] Waters contributes a folk ballad called "If", playing acoustic guitar.* [21]* [25] While the Floyd themselves rarely played the song live, he would revisit it with frequent performances at solo shows* [25] in support of his Radio K.A.O.S. album, more than a decade later. This is followed by Wright's "Summer '68", which also features prominent use of brass in places. It was issued as a Japanese single in 1971,* [26] and was the only track on the album never to be played live in concert. According to Mason, Gilmour, having had little songwriting experience at that point, was ordered to remain in Abbey Road until he had composed a song suitable for inclusion on the album.* [5] He came up with a folkinfluenced tune, "Fat Old Sun",* [21] which he still cites as a personal favourite.* [5] The song was extended in arrangement to fifteen minutes as a key part of the band's live set, and is a staple of Gilmour's various solo tours. The final track, "Alan's Psychedelic Breakfast", is divided into three segments, each with its own descriptive title, joined by dialogue and sound effects of thenroadie Alan Styles preparing, discussing, and eating breakfast.* [21]* [23] The idea for the piece came about by Waters experimenting with the rhythm of a dripping tap,* [23] which combined sound effects and dialogue recorded by Mason in his kitchen* [23] with musical pieces recorded at Abbey Road.* [27] A slightly reworked version was believed to be performed on stage only once on 22 December 1970 at Sheffield City Hall, Sheffield, England with the band members pausing between pieces to eat and drink their breakfast. The original LP ends with the sound of a dripping tap which continues into the inner groove, and thus plays on indefinitely.* [7]* [14]

The bootleg The Dark Side of the Moo featured a fan's attempt at copying the cover.

The original album cover, designed by art collective Hipgnosis, shows a cow standing in a pasture with no text nor any other clue as to what might be on the record.* [23]* [29] Some later editions have the title and artist name added to the cover. This concept was the group's reaction to the psychedelic space rock imagery associated with Pink Floyd at the time of the album's release; the band wanted to explore all sorts of music without being limited to a particular image or style of performance. They thus requested that their new album had “something plain”on the cover, which ended up being the image of a cow.* [23]* [29] Storm Thorgerson, inspired by Andy Warhol's famous "cow wallpaper", has said that he simply drove out into a rural area near Potters Bar and photographed the first cow he saw.* [23]* [29] The cow's owner identified her name as “Lulubelle III” .* [23]* [29]* [30] More cows appear on the back cover, again with no text or titles, and on the inside gatefold. Also, a pink balloon shaped like a cow udder accompanied the album as part of Capitol's marketing strategy campaign to“break”the band in the US.* [23]* [29]* [31] The liner notes in later CD editions give a recipe for Traditional Bedouin Wedding Feast on a card labelled “Breakfast Tips”.* [32] Looking back on the artwork, Thorgerson remembered: “I think the cow represents, in terms of the Pink Floyd, part of their humor, which I think is often underestimated or just unwritten about.” * [33]

In the mid-1970s, a bootleg containing rare singles and B-sides entitled The Dark Side of the Moo appeared, with a similar cover. Like Atom Heart Mother, the cover had no writing on it, although in this case it was to protect While recording sessions for his Barrett album were un- the bootlegger's anonymity rather than any artistic statederway (with help from Gilmour and Wright), previ- ment.* [34] The album cover to The KLF's concept album ous Floyd frontman Syd Barrett would occasionally ob- Chill Out was also inspired by Atom Heart Mother.* [35]

6.5. ATOM HEART MOTHER

6.5.3

Release and reception

Atom Heart Mother was released in the UK* [nb 2] and US* [nb 3] in October 1970, reaching number 1* [2] and number 55,* [3] respectively. It was released in the quadraphonic format in the UK,* [23] Germany* [nb 4] and Australia.* [nb 5] A remastered CD was released in 1994 in the UK* [nb 6] and the US.* [nb 7] Mobile Fidelity Sound Lab released a 24KT gold CD in the US in 1994,* [nb 8] while a LP version was released in the US in the same year.* [nb 9] As part of the Why Pink Floyd...? campaign, a remaster was released in 2011.* [nb 10]* [nb 11]

6.5.4

Legacy

97 Later, the band took a full brass section and choir on tour just for the purpose of performing this piece.* [14] However, this caused the tour to lose money, and the band found problems with the hired musicians, which changed from gig to gig as they simply took who was available, which, combined with lack of rehearsal and problems miking up the whole ensemble, made a full live performance more problematic. Reflecting on this, Gilmour said “some of the brass players have been really hopeless”.* [27] According to Mason, the band arrived at one gig in Aachen, Germany, only to discover they had left the sheet music behind, forcing tour manager Tony Howard to go back to London and get it.* [5] Because of this, a later arrangement without brass or choir, and pared down from 25 minutes to fifteen by omitting the “collage”sections and closing reprise of the main theme, remained in their live repertoire into 1972. For instance, during the first concert of that year, halfway through the first ever public live performance of The Dark Side of the Moon in Brighton, technical problems resulted in the abandoning of that performance, replaced by Atom Heart Mother.* [56] The last documented live performance of the suite was on 22 May 1972 at the Olympisch Stadium, Amsterdam, Netherlands.* [57] Stanley Kubrick wanted to use the album's title track in A Clockwork Orange.* [23] The group refused permission, primarily because Kubrick was unsure of exactly which pieces of music he wanted and what he wished to do with them. In retrospect, Waters said “maybe it's just as well it wasn't used after all”.* [27]

The album's title track was regularly performed in concert between 1970 and 1972, including an appearance at the Bath Festival of Blues and Progressive Music

Critical reaction to the suite has always been mixed, and all band members have expressed negativity toward it in recent times.* [17] For instance, Gilmour has said the album was“a load of rubbish. We were at a real down point ... I think we were scraping the barrel a bit at that period” * [52] and“a good idea but it was dreadful... Atom Heart Mother sounds like we didn't have any idea between us, but we became much more prolific after it.”* [53] Similarly, in a 1984 interview on BBC Radio 1, Waters said “If somebody said to me now – right – here's a million pounds, go out and play Atom Heart Mother, I'd say you must be fucking joking.”* [12]

On 14 and 15 June 2008, Geesin performed“Atom Heart Mother”with Italian tribute band Mun Floyd over two nights as part of the Chelsea Festival.* [58] Geesin introduced it with a history and slide show. The performances featured the chamber choir Canticum,* [59] brass and noted cellist Caroline Dale, who has worked with Gilmour. The second night saw Gilmour join Geesin on stage for the performance, which was extended to 30 minutes.* [60] In 2013, Geesin produced a book, The Flaming Cow, which documented his experience with working with Pink Floyd, including the making of this album from his point of view.* [61]

6.5.5 Track listing 6.5.6 Personnel

The band were initially enthusiastic about performing the * suite in the early 1970s. An early performance was taped Taken from sleeve notes [62] for the San Francisco based television station KQED, featuring just the band, on 28 April 1970.* [54] Two mem- Pink Floyd orable performances were at the Bath Festival of Blues and Progressive Music on 27 June and the “Blackhills (all instrumentation uncredited) Garden Party”in Hyde Park, London on 18 July. On • Roger Waters – bass guitar, acoustic guitar and voboth occasions the band were accompanied by the John cals on “If”, tape effects, tape collages Alldis Choir and the Philip Jones Brass Ensemble.* [55]

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• David Gilmour – guitars, vocals and drums on“Fat Old Sun";* [63] backing vocals

[11] US Capitol 50999 028940 2 7* [51]

• Richard Wright – keyboards, vocals on “Summer Citations '68” • Nick Mason – drums, percussion, tape editing, tape collage, additional engineering on “Alan's Psychedelic Breakfast” Additional musicians • EMI Pops Orchestra – brass and orchestral sections (uncredited)* [12] • Haflidi Hallgrimsson - cello (uncredited) [64] *

• John Alldis Choir – vocals • Alan Styles – voice and sound effects on “Alan's Psychedelic Breakfast”(uncredited) Production

[1] Povey, Glenn (2006). Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 137. ISBN 978-0-9554624-0-5. Retrieved 5 September 2012. [2] “Pink Floyd – UK Chart History”. Official Charts Company. Retrieved 30 July 2012. [3] Pink Floyd.“Pink Floyd – Awards”. AllMusic. Retrieved 4 September 2012. [4] Record Research (advertisement). Billboard magazine. 15 March 1997. Retrieved 6 September 2012. [5] Mason, Nick (2004). Inside Out: A Personal History of Pink Floyd (New ed.). Widenfeld & Nicolson. pp. 135– 138. ISBN 0-297-84387-7. [6] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 157. ISBN 1-905139-09-8. [7] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus. ISBN 0-7119-4301-X.

• Peter Bown – engineering • Alan Parsons – engineering (miscredited as“Allan Parsons”on the original sleeve) • Ron Geesin – orchestration and co-composition on Atom Heart Mother (uncredited on sleeve)* [65] • James Guthrie – 1994 remastering

6.5.7

Charts and certifications

6.5.8

References

[8] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 62. ISBN 1-84353575-0. [9] Povey, Glenn (2006). Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 181. ISBN 978-0-9554624-0-5. [10] Povey, Glenn (2006). Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 121. ISBN 978-0-9554624-0-5. [11] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 158. ISBN 1-905139-09-8.

Footnotes [1] A free performance was held at London's Hyde Park in July 1970, arranged by former Floyd management, Peter Jenner and Andrew King, with Geesin in attendance, who was shocked by the performance.* [13]* [14] *

[2] UK EMI Harvest SHVL 781 [43] [3] US Capitol Harvest SKAO-382* [44] [4] UK EMI Harvest/HÖR ZU SHZE 297 Q* [45] [5] Australia EMI Harvest Q4SHVL-781* [46] [6] UK EMI EMI United Kingdom 7243 8 31246 2 6 / CDEMD 1072* [32] [7] US Capitol CDP 0777 7 46381 2 8* [47] [8] US Capitol Harvest/Mobile Fidelity Sound Lab UDCD 595* [48] [9] US Capitol Mobile Fidelity Sound Lab MFSL 1–202* [49] [10] Europe EMI 50999 028940 2 7* [50]

[12] “Dear Diary”. The Word. July 2008. Retrieved 5 September 2008. [13] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 63. ISBN 1-84353575-0. [14] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 163. ISBN 1-905139-09-8. [15] Povey, Glenn (2006). Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 134. ISBN 978-0-9554624-0-5. Retrieved 5 September 2012. [16] Blake, Mark (2006). Comfortably Numb: The Inside Story of Pink Floyd. De Capo Press. p. 152. ISBN 978-0-30681752-6. [17] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 160. ISBN 1-905139-09-8.

6.5. ATOM HEART MOTHER

[18] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 159. ISBN 1-905139-09-8. [19] “Obituary – John Alldis”. Brain Damage. 21 December 2010. Retrieved 5 September 2012. [20] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. pp. 159–160. ISBN 1-905139-09-8. [21] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 162. ISBN 184353-575-0. [22] Mason, Nick (2004). Inside Out: A Personal History of Pink Floyd (New ed.). Widenfeld & Nicolson. p. 130. ISBN 0-297-84387-7.

99

[37] “CG: Pink Floyd”. Robert Christgau. Retrieved 4 September 2012. [38] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 27 December 2014. [39] Pink Floyd Atom Heart Mother, Acclaimed Music, retrieved 27 December 2014 [40] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612. [41] Dubro, Alec (1970). “Album review”. Rolling Stone. Retrieved 3 July 2011.

[23] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 64. ISBN 1-84353575-0.

[42] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014.

[24] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 156. ISBN 1-905139-09-8.

[43] “Pink Pink Floyd – Atom Heart Mother (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012.

[25] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 162. ISBN 1-905139-09-8.

[44] “Pink Pink Floyd – Atom Heart Mother (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012.

[26] “Pink Floyd – The Official Site – Singles”.

[45] “Pink Pink Floyd – Atom Heart Mother (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012.

[27] Povey, Glenn (2006). Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 122. ISBN 978-0-9554624-0-5. Retrieved 5 September 2012. [28] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 72. ISBN 1-84353575-0. [29] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 161. ISBN 1-905139-09-8. [30] “Pink Floyd: Atom Heart Mother – The 20 best album covers ever – Pictures – Music”. Virgin Media. Retrieved 4 September 2012. [31] R. Serge Denisoff, Solid gold: the popular record industry, p. 174, Transaction Publishers (1975), ISBN 0-87855586-2

[46] “Pink Pink Floyd – Atom Heart Mother (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012. [47] “Pink Floyd – Atom Heart Mother (CD, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012. [48] “Pink Floyd – Atom Heart Mother (CD, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012. [49] “Pink Floyd – Atom Heart Mother (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012. [50] “Pink Floyd – Atom Heart Mother (CD, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012. [51] “Pink Floyd – Atom Heart Mother (CD, Album) at Discogs”. Discogs.com. Retrieved 4 September 2012.

[32] “Pink Floyd – Atom Heart Mother (CD, Album) at Discogs”. Discogs. Retrieved 4 September 2012.

[52] Guitar World presents Pink Floyd. Retrieved 5 September 2012.

[33] “Interview: Designer Storm Thorgerson Reflects on Pink Floyd and 30 Years of Landmark Album Art”. Guitar World. 10 August 2011. Retrieved 5 September 2012.

[53] “Have Pink Floyd Split Up?". Mojo Magazine. October 2001. Retrieved 2010-08-16.

[34] Heylin, Clinton (1994). The Great White Wonders – A History of Rock Bootlegs. Penguin Books. p. 197. ISBN 0-670-85777-7. [35] Young, Stuart. “KLF is Gonna Rock Ya!". Library of Mu. Retrieved 5 September 2012. [36] Erlewine, Stephen Thomas. Album review at AllMusic. Retrieved 3 July 2011.

[54] Povey, Glenn (2006). Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 131. ISBN 978-0-9554624-0-5. Retrieved 5 September 2012. [55] “Timeline : 1970”. Pink Floyd – The Official Site. Retrieved 5 September 2012. [56] Povey, Glenn (2006). Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 164. ISBN 978-0-9554624-0-5. Retrieved 5 September 2012.

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[57] Povey, Glenn (2006). Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 168. ISBN 978-0-9554624-0-5. Retrieved 5 September 2012.

[76] “Gold-/Platin-Datenbank (Pink Floyd; 'Atom Heart Mother')" (in German). Bundesverband Musikindustrie. Retrieved 2013-04-24.

[58] New Musical Express (2 June 2008). “Dave Gilmour to perform 'Atom Heart Mother' with tribute band”. Retrieved 7 August 2012.

[77] “Italian album certifications – Pink Floyd – Atom Heart Mother” (in Italian). Federation of the Italian Music Industry. Retrieved 2013-04-24. Select Album e Compilation in the field Scegli la sezione. Select Week -- and Year ----. Enter Pink Floyd in the field Artista. Click Avvia la ricerca

[59] Canticum. “Canticum – Testimonials”. Retrieved 7 August 2012.

[60] Brain Damage (15 June 2008). “Ron Geesin – Atom [78] “American album certifications – Pink Floyd – Atom Heart Mother, Cadogan Hall, London – June 14th 2008” Heart Mother”. Recording Industry Association of . Retrieved 7 August 2012. America. Retrieved 2013-04-24. If necessary, click Advanced, then click Format, then select Album, then click [61] Ron Geesin (9 May 2013). “Ron Geesin - The Flaming SEARCH Cow (book)". Retrieved 18 June 2013. [62] Atom Heart Mother (gatefold). Pink Floyd. Harvest Records. SHVL 781 http://pinkfloydarchives.com/ Discog/France/LP/AHM/AHMbv/IC.jpg |url= missing title (help). [63] “Interview with David Gilmour”. The Sun. 26 September 2008. Retrieved 5 September 2012. [64] named in Ron Geesin's book 'The Flaming Cow: The Making of Pink Floyd's Atom Heart Mother' (2013, The History Press)

6.6 Meddle For a definition of the word “meddle”, see the Wiktionary entry meddle. This article is about the Pink Floyd album. For the song by Little Boots, see Meddle (song).

Meddle is the sixth studio album by English progressive rock group Pink Floyd, released on 30 October 1971 by [65] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Harvest Records. It was produced between the band's Floyd Odyssey (New ed.). London: Helter Skelter. pp. touring commitments, from January to August 1971. 161–162. ISBN 1-905139-09-8. The album was recorded at a series of locations around [66] “dutchcharts.nl – Pink Floyd – Atom Heart Mother”. London, including Abbey Road Studios and Morgan Studutchcharts.nl. Retrieved 2013-04-24. dios. With no material to work with and no clear idea of the album's direction, the group devised a series of novel experiments which eventually inspired the album's signature [68] “Album – Pink Floyd, Atom Heart Mother”(in German). track, "Echoes". Although many of the band's later alCharts.de. Retrieved 2013-04-24. bums would be unified by a central theme with lyrics writ[69] “Artisti – Classifica settimanale dal 28/07/2006 ten mainly by Roger Waters, Meddle was a group effort al 03/08/2006 (Negozi specializzati)" (in Italian). with lyrical contributions from each member. The cover, Federation of the Italian Music Industry. Retrieved incorporating a close-up shot of an ear underwater was, as with several previous albums, designed by Hipgnosis, 2013-04-24. though Storm Thorgerson was unhappy with the final re[70] “norwegiancharts.com – Pink Floyd – Atom Heart sult. [67]“Le Détail des Albums de chaque Artiste – P”(in French). Infodisch.fr. Retrieved 2013-04-24.

Mother”. norwegiancharts.com. Retrieved 2009-07-02.

The album was well received by music critics upon its re-

[71] “spanishcharts.com – Pink Floyd – Atom Heart Mother” lease. However, despite being commercially successful . spanishcharts.com. Retrieved 2013-04-24. in the United Kingdom, lackluster publicity on the part [72] “Hitparade.ch – Pink Floyd – Atom Heart Mother” (in German). hitparade.ch. Retrieved 2013-04-24.

of their United States-based label led to poor sales there upon initial release (though it would eventually be certified 2x Platinum as the band's popularity increased).

[73] “1970-10-24 Top 40 UK Albums Archive”. Official Charts Company. Retrieved 2014-06-17. [74] “Austrian album certifications – Pink Floyd – Atom Heart Mother”(in German). IFPI Austria. Retrieved 2013-0424. Enter Pink Floyd in the field Interpret. Enter Atom Heart Mother in the field Titel. Select album in the field Format. Click Suchen [75] “SNEP Certifications”. InfoDisc. Retrieved 2013-04-24.

6.6.1 Recording Returning from a series of tours across America and England in support of Atom Heart Mother, at the start of 1971 Pink Floyd commenced work on new material at Abbey Road Studios in London.* [1] At the time, Abbey Road was equipped only with eight-track multitrack recording

6.6. MEDDLE facilities, which the band found insufficient for the increasing technical demands of their project. They transferred their best efforts, including the opening of what became "Echoes", to 16-track tape at smaller studios in London (namely AIR, and Morgan in West Hampstead) and resumed work with the advantage of more flexible recording equipment. Engineers John Leckie and Peter Bown recorded the main Abbey Road and AIR sessions, while for minor work at Morgan, Rob Black, Wayne Gregory and Roger Quested handled the engineering duties.* [2] Lacking a central theme for the project, the band used several experimental methods in an attempt to spur the creative process. One exercise involved each member playing on a separate track, with no reference to what the other members were doing. The tempo was entirely random while the band played around an agreed chord structure, and moods such as“first two minutes romantic, next two up tempo”. Each recorded section was named, but the process was largely unproductive; after several weeks, no complete songs had been created.* [3] Leckie had worked on albums such as George Harrison's All Things Must Pass and Ringo Starr's Sentimental Journey, and was employed as a tape-operator on Meddle, partly for his proclivity for working into the early hours of the morning. He has said that Pink Floyd's sessions would often begin in the afternoon, and end early the next morning, “during which time nothing would get done. There was no record company contact whatsoever, except when their label manager would show up now and again with a couple of bottles of wine and a couple of joints.”* [4] The band would apparently spend long periods of time working on simple sounds, or a particular guitar riff. They also spent several days at AIR attempting to create music using a variety of household objects, a project which would be revisited between their next albums, The Dark Side of the Moon and Wish You Were Here.* [5]

101 "One of These Days" was developed around an ostinato bassline created by Roger Waters, by feeding the output through a Binson Echorec. The bass line was performed by Waters and Gilmour using two bass guitars, one on old strings. Drummer Nick Mason's abstruse “One of these days I'm going to cut you into little pieces”line was recorded at double speed using a falsetto voice, and replayed at normal speed.* [8] Meddle was recorded between the band's various concert commitments, and therefore its production was spread over a considerable period of time.* [2] The band recorded in the first half of April 1971, but in the latter half played at Doncaster and Norwich before returning to record at the end of the month. In May they split their time between sessions at Abbey Road, and rehearsals and concerts in London, Lancaster, Stirling, Edinburgh, Glasgow and Nottingham. June and July were spent mainly performing at venues across Europe.* [2]* [9] August was spent in the far east and Australia, September in Europe, and October to November in the US.* [2] In the same period, the group also produced Relics, a compilation album of some of Pink Floyd's earlier works.* [10] A quadraphonic mix of the album was prepared at Command Studios on 21 and 26 September, but remains unreleased.* [11]* [12]

6.6.2 Composition

Although the tracks possess a variety of moods, Meddle is generally considered more cohesive than its 1970 predecessor, Atom Heart Mother.* [13] The largely instrumental “One of These Days”is followed by "A Pillow of Winds", which is distinguished by being one of the few quiet, acoustic love songs in the Pink Floyd catalogue. These two songs segue into each other across windy sound effects, anticipating the technique that would later be used on Wish You Were Here. The title of “A Pillow Following these early experiments – called Nothings – of Winds”was inspired by the games of Mahjong that the band developed Son of Nothings, which was followed Waters and Mason, and their wives, played while in the by Return of the Son of Nothings – the working title of south of France.* [14] the new album. One of these early works involved the use of Richard Wright's piano. Wright had fed a single The song "Fearless" employs field recordings of the note through a Leslie speaker, producing a submarine-like Liverpool F.C. Kop choir singing "You'll Never Walk ping. The band tried repeatedly to recreate this sound in Alone", their anthem, which brings the song to an end the studio but were unsuccessful, and so the demo ver- in a heavily reverberated fade-out. "San Tropez", by consion was used on what would later become “Echoes” trast, is a jazz-inflected pop song with a shuffle tempo, ,* [3] mixed almost exclusively at AIR Studios.* [6] Com- composed by Waters in his increasingly deployed style bined with David Gilmour's guitar, the band were able to of breezy, off-the-cuff songwriting. The song was indevelop the track further, experimenting with acciden- spired by the band's trip to the south of France in 1970. tal sound effects (such as Gilmour's guitar being plugged Pink Floyd uncharacteristically displayed their sense of into a wah-wah pedal back to front). Unlike with Atom humour with "Seamus", a pseudo-blues novelty track feaHeart Mother, the new multi-track capabilities of the stu- turing Steve Marriott's dog (which Gilmour was looking * * dio enabled them to create the track in stages, rather than after) howling along to the music. [14] [nb 1]“Seamus” performing it in a single take. The final, 23-minute piece often tops polls as the worst song Pink Floyd ever crewould eventually take up the entire second side of the al- ated, but the band would later use animal sounds again, in Animals.* [15] bum.* [7] The final song on the album is the 23-minute “Echoes”

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. First performed as “Return of the Son of Nothing” on 22 April 1971 in Norwich,* [16] the band spent about six months on the track in three studios (Morgan, AIR and Abbey Road).* [12] The track opens with Wright's “ping”. “Echoes”was recorded almost entirely at Air Studios,* [6] and completed in July 1971.* [12]“Echoes” also gave its name to the compilation album Echoes: The Best of Pink Floyd, on which a much-edited version of the title track was included. On the compilation, multiple edits throughout the entire song cut the running length of the piece down by some seven minutes. Some of the material composed during the creation of Meddle was not used; however, one song would eventually become "Brain Damage", on The Dark Side of the Moon.* [13]* [17]

6.6.3

Packaging

The album's title Meddle is a play on words; a medal, and to interfere.* [15] Storm Thorgerson of the art-design group Hipgnosis originally suggested a close-up shot of a baboon's anus for the album cover photograph. He was overruled by the band, who informed him via an intercontinental telephone call while on tour in Japan that they would rather have“an ear underwater”.* [18] The cover image was photographed by Bob Dowling. The image represents an ear, underwater, collecting waves of sound (represented by ripples in the water).* [15] Thorgerson has expressed dissatisfaction with the cover, claiming it to be his least favourite Pink Floyd album sleeve: “I think Meddle is a much better album than its cover”.* [19] Thorgerson's colleague Aubrey Powell shares his sentiments, saying: "Meddle was a mess. I hated that cover. I don't think we did them justice with that at all; it's halfhearted.”* [20] The gatefold contains a group photograph of the band (Floyd's last until 1987's A Momentary Lapse of Reason).* [19]

successes in the United States.* [40]

Critical response On release, Meddle received generally positive reviews from music critics.* [41] Rolling Stone 's Jean-Charles Costa wrote: "Meddle not only confirms lead guitarist David Gilmour's emergence as a real shaping force with the group, it states forcefully and accurately that the group is well into the growth track again”,* [42] and the NME called it“an exceptionally good album”.* [43] Steve Peterson of Hit Parader cited “Fearless”as its best song and said of the album, “This has got to be their best ever.”* [41] Ed Kelleher of Circus called it “another masterpiece by a masterful group”, noting “Fearless” as “fascinating”and praising “Echoes”as “a tone poem that allows all four group members much time to stretch their muscles”.* [41] However, Melody Maker was more reserved, describing it as “a soundtrack to a nonexistent movie”.* [43] In his consumer guide for The Village Voice, Robert Christgau called it “not bad”, commenting that“Echoes” “moves through 23:21 of 'Across the Universe' cop with the timeless calm of interstellar overdrive, and the acoustic-type folk songs boast their very own melodies”.* [23] Referring to the lyrics of “A Pillow of Winds”, Christgau quipped: “The word 'behold' should never cross their filters again, but this is definitely an improvement: one eensy-weensy step for humanity, one giant step for Pink Floyd.”* [23]

In a retrospective review, Daryl Easlea of BBC wrote of the album in comparison to Atom Heart Mother: “In many respects, Meddle, released a little over a year later, is the same again, only with much, much, better tunes and less clutter.”* [44] Easlea commented that “Echoes”“dominates the entire work”, calling it“everything right about progressive rock; engaging, intelligent and compelling”.* [44] In The New Rolling Stone 6.6.4 Release and reception Album Guide (2004), Rob Sheffield gave the album threeand-a-half out of five stars and wrote: "Meddle introMeddle was released on 30 October 1971 in the US, and duced the Floyd's mature style in the 23-minute instru13 November in the UK.* [nb 2] Meddle was later released mental 'Echoes,' coloring the slow guitar ripples with as a remastered LP by Mobile Fidelity Sound Lab,* [32] deep-in-the-studio sonic details that only the truly baked and in April 1989 on their “Ultradisc”gold CD for- would notice, much less appreciate.”* [28] AllMusic edimat.* [33] The album was included as part of the box set tor Stephen Thomas Erlewine commented that the album Shine On on 2 November 1992.* [nb 3]* [35] “spends most of its time with sonic textures and elongated Although in the UK it reached number three, lacklustre compositions, most notably on its epic closer, 'Echoes'". publicity on the part of Capitol Records led to weak sales He noted a “uniform tone”, but not song structure, and in the US, and a chart position of number 70.* [30]* [36] wrote of the album's significance in the group's catalogue: On 29 November 1971, “One of These Days”was re- “Pink Floyd were nothing if not masters of texture, and leased as a 7-inch single in the US, with “Fearless”on Meddle is one of their greatest excursions into little dethe B-side.* [37] “One of These Days”and “Echoes” tails, pointing the way to the measured brilliance of Dark were performed during Live At Pompeii (the latter in two Side of the Moon and the entire Roger Waters era [...] parts) and also on the BBC's 1971 In Concert.* [38]* [39] [T]he album is one of the Floyd's most consistent exploMeddle was later certified gold by the RIAA on 29 Oc- rations of mood, especially from their time at Harvest, tober 1973 and then double platinum on 11 March 1994, and it stands as the strongest record they released between following the added attention garnered by the band's later Syd's departure and Dark Side.”* [21]

6.6. MEDDLE

103

6.6.5

Track listing

[3] UK - EMI PFBOX 1, US - Columbia CXK 53180 S1* [34]

6.6.6

Sales chart performance

[4] The song is entirely instrumental, except for a spoken line by Nick Mason.* [45]

6.6.7

Personnel

Credits taken from sleeve notes.* [48] Pink Floyd

Footnotes [1] Mason 2005, pp. 152–153 [2] Mason 2005, p. 157 [3] Mason 2005, p. 153

• David Gilmour – guitar, bass on “One of These Days”, lead vocals, harmonica on “Seamus” • Roger Waters – bass, lead vocals and acoustic guitar on “San Tropez” • Richard Wright – Hammond organ, piano, vocals on “Echoes” • Nick Mason – drums, percussion, vocal phrase on “One of These Days” Additional personnel • Rob Black – engineering (Morgan Studio) • Peter Bown – engineering (Air and EMI Studios) • Peter Curzon – design on album remaster

[4] Harris 2006, p. 62 [5] Harris 2006, pp. 63–64 [6] Mabbett 1995, p. 42 [7] Mason 2005, pp. 153–154 [8] Mason 2005, p. 155 [9] Povey 2007, pp. 142–144 [10] Mason 2005, p. 158 [11] Povey 2007, p. 148 [12] Snider 2008, p. 103 [13] Schaffner 1991, p. 160 [14] Mason 2005, p. 156 [15] Schaffner 1991, p. 155

• Bob Dowling – outer sleeve photos

[16] Harris 2006, p. 64

• James Guthrie – remastering

[17] Povey 2007, p. 155

• Hipgnosis – band photo

[18] Mason 2005, p. 160

• John Leckie – engineering (Air and EMI Studios)

[19] Blake 2007, p. 166

• Tony May – inner sleeve photos

[20] Harris 2006, pp. 142–143

• Pink Floyd – album cover design

[21] Erlewine, Stephen Thomas, Meddle: Overview, AllMusic, retrieved 6 September 2009

• Roger Quested – engineering (Morgan Studio) • Doug Sax – remastering • Seamus the Dog – vocals on “Seamus” • Storm Thorgerson – design on album remaster

6.6.8

References

Notes [1]“Seamus”was remade as“Mademoiselle Nobs”, featuring a different dog and no lyrics, in the film Pink Floyd: Live at Pompeii.* [14] [2] Povey (2007) suggests that the UK release date was 5 November,* [29] but Mabbett (1995) and Pink Floyd's official website both state 13 November. All sources agree on the US release date.* [30]* [31]

[22] Twist, Carlo, Meddle – Blender, blender.com, retrieved 20 August 2009 [23] Christgau, Robert, Pink Floyd: Meddle, robertchristgau.com, retrieved 20 August 2009 [24] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 27 December 2014. [25] Pink Floyd Meddle, Acclaimed Music, retrieved 27 December 2014 [26] Graff & Durchholz 1999, p. 874 [27]“Pink Floyd Meddle", Q, October 1995: 137, The four were at their most collectively prolific at this time … [28] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014.

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[29] Povey 2007, p. 150 [30] Mabbett 1995, p. 39 [31] Pink Floyd – Echoes (click Echoes image link), pinkfloyd.co.uk, retrieved 22 August 2009 [32] MFSL Out of Print Archive - Original Master Recording LP, mofi.com, retrieved 3 August 2009 [33] MFSL Out of Print Archive – Ultradisc II Gold CD, mofi.com, retrieved 3 August 2009 [34] Povey 2007, p. N/A [35] Eder, Bruce, Shine On – Review, AllMusic, retrieved 15 August 2009 [36] Harris 2006, pp. 158–161 [37] Povey 2007, p. 344 [38] Mabbett 1995, p. 43

• Mason, Nick (2005), Philip Dodd, ed., Inside Out – A Personal History of Pink Floyd (paperback ed.), Phoenix, ISBN 0-7538-1906-6 • Povey, Glenn (2007), Echoes, Mind Head Publishing, ISBN 0-9554624-0-1 • Schaffner, Nicholas (1991), Saucerful of Secrets (1st ed.), London: Sidgwick & Jackson, ISBN 0-28306127-8 • Snider, Charles (2008), The Strawberry Bricks Guide to Progressive Rock, Lulu.com, ISBN 0-61517566-X Further reading • Reising, Russell (2005), Speak to Me, Ashgate Publishing, ISBN 0-7546-4019-1

[39] Harris 2006, p. 67 [40] US Certifications Database, riaa.com, retrieved 22 August 2009

6.7 Obscured by Clouds

Obscured by Clouds is the seventh studio album by English progressive rock band Pink Floyd, based on their soundtrack for the French film La Vallée, by Barbet Costa, Jean-Charles (6 January 1972), Pink Floyd: Med- Schroeder. Some copies of the album refer to the film by dle, rollingstone.com, retrieved 19 August 2009 its English title, The Valley. The cover of Obscured by Clouds is an out-of-focus film still of a man in a tree. The Schaffner 1991, pp. 155–156 lyrics and music tell the story of one's journeys. The alEaslea, Daryl (17 April 2007), Pink Floyd Meddle Review, bum was released in the United Kingdom on 2 June 1972, bbc.co.uk, retrieved 20 August 2009 and a few weeks later in the United States, by Harvest, reaching number 6 and number 46 respectively. A sinRuhlmann, William. “One of These Days”. AllMusic. gle, "Free Four", was issued in the US only. Retrieved 19 February 2010.

[41] “Pink Floyd – Meddle”, Billboard, 1972, retrieved 6 September 2009 [42] [43] [44] [45]

[46] “Pink Floyd UK Chart History”. Official Charts Company. Retrieved 30 July 2013.

6.7.1 Overview

[47] Pink Floyd – Charts & Awards – Billboard Albums, AllMusic, retrieved 19 August 2009

By 1972, Pink Floyd had supplied the soundtracks to the films The Committee (1968) and More (1969),* [3] and [48] Meddle (sleeve). Pink Floyd. Harvest Records. to part of Zabriskie Point (1970). Consequently, Barbet Schroeder asked the band to create the soundtrack for La Vallée, which they had agreed to do after More had beBibliography come a success.* [4] The group had already started working on The Dark Side of the Moon at this point, having • Blake, Mark (2007), Comfortably Numb – The Indone some basic recording and performed the piece live side Story of Pink Floyd, Thunder's Mouth Press, several times, but work was interrupted when the band ISBN 1-56858-383-4 travelled to France on two separate trips, either side of a • Graff, Gary; Durchholz, Daniel (eds) (1999), Mu- Japanese tour, to write and record music for the film.* [5] sicHound Rock: The Essential Album Guide, Farm- The album was then mixed from 4–6 April at Morgan ington Hills, MI: Visible Ink Press, ISBN 1-57859- Sound Studios in London.* [2] 061-2 As they had done on More, the band saw a rough cut of • Harris, John (2006), The Dark Side of the Moon (3rd the film, and noted down certain timings for cues with a stopwatch. From this, they created a number of pieces ed.), Harper Perennial, ISBN 978-0-00-779090-6 that they felt could be cross-faded at various points in • Mabbett, Andy (1995), The Complete Guide to the the final cut of the film. They weren't too worried about Music of Pink Floyd (illustrated ed.), Omnibus creating complete songs, feeling that any musical piece Press, ISBN 0-7119-4301-X would be workable without the need for any solos, but

6.7. OBSCURED BY CLOUDS nevertheless, under pressure to produce enough material, they managed to create a whole series of well-structured songs.* [3] Drummer Nick Mason recalls that the sessions were very hurried, and the band spent most of the time in Paris locked away in the studio.* [4] "Free Four" was the first Pink Floyd song since "See Emily Play" to attract significant airplay in the US,* [6] and the second (after "Corporal Clegg" from A Saucerful of Secrets)* [7] to deal with the death of Eric Fletcher Waters, Roger Waters' father.* [6]* [8] "Childhood's End" was the last song Pink Floyd released to have lyrics written by David Gilmour, the band's guitarist. "Absolutely Curtains", the closing instrumental on the album, ends with a recording of the Mapuga tribe, as seen in the film.* [5]

105

6.7.3 Live performances Pink Floyd opened some shows in 1973 with an extended jam based on the pairing of “Obscured by Clouds”and “When You're In”, accompanied by smoke and a light show. “Childhood's End”is the only other song from the soundtrack to find its way to the stage. It made several appearances in Europe starting on 1 December 1972 and at the start of the band's March 1973 tour of North America, usually with an extended instrumental passage.

“Wot's... Uh, the Deal?" saw revival as part of Gilmour's set list during his 2006 solo tour. One of these performances features on Gilmour's 2007 DVD Remember That Night and also the vinyl version of his 2008 live album, During the first recording session in February 1972, the Live in Gdańsk. French television station ORTF filmed a short segment of the band recording the album, including interviews with Waters and Gilmour.* [2] In a snippet of interview footage 6.7.4 Track listing that appeared in the 1974 theatrical version (later released on VHS and Laserdisc) and subsequent “Director's Cut 6.7.5 Personnel DVD”versions of Pink Floyd: Live at Pompeii, Waters stated that early UK pressings of the album contained ex- Pink Floyd cessive sibilance (a loud high-frequency sound most ap• David Gilmour – guitars, vocals, pedal steel guitar, parent on “s”, “sh”, and “t”sounds which often VCS3 causes distortion). As Waters says in the film during a conversation with George Martin, the sibilant distortion • Nick Mason – drums, percussion, tape effects was caused by “a bad cut”, meaning it came from a poor quality tape-to-disk transfer during mastering. The • Roger Waters – bass guitar, vocals, VCS3, tape efsibilance problem was corrected in later pressings. fects Obscured by Clouds was the second Pink Floyd album • Richard Wright – keyboards, vocals, VCS3 to feature the VCS 3 synthesizer as stated by EMS * Archives. [9] Mason also plays electronic drums on this Additional personnel track.* [4] After recording had finished, the band fell out with the • Hipgnosis – album cover film company, prompting them to release the soundtrack album as Obscured by Clouds, rather than La Vallée. In response, the film was retitled La Vallée (Obscured by 6.7.6 Sales chart performance Clouds) on its release.* [4]

6.7.7 References Footnotes

6.7.2

Release and reception

The album's cover was, like several other Pink Floyd albums, designed by Hipgnosis. It consists of a photograph of a man sitting in a tree which has been taken out of focus to the point of complete distortion. Obscured by Clouds was released in the UK on 2 June 1972 and then in the United States on 15 June 1972, both on Harvest. The album reached number one in France,* [15] number six on the UK Albums Chart,* [16] and number 46* [17] on the US albums chart (where it was certified Gold by the RIAA in 1997).* [18] In 1986, the album was released on CD. A digitally remastered CD was released in March 1996 in the UK and August 1996 in the US.

Citations [1] Povey, Glenn (2006). “Playing Different Tunes 1972– 1973”. Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 168. ISBN 978-09554624-0-5. Retrieved 7 September 2012. [2] Povey, Glenn (2006). “Playing Different Tunes 1972– 1973”. Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 166. ISBN 978-09554624-0-5. Retrieved 7 September 2012. [3] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 164. ISBN 1-84353-575-0.

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[4] Mason, Nick (2004). “There Is No Dark Side”. Inside Out: A Personal History of Pink Floyd (New ed.). Widenfeld & Nicolson. p. 164. ISBN 0-297-84387-7. [5] Povey, Glenn (2006). “Playing Different Tunes 1972– 1973”. Echoes: The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 155. ISBN 978-09554624-0-5. Retrieved 7 September 2012. [6]

[7] [8] [9] [10] [11]

instrumental excursions that characterised their work following the departure in 1968 of founder member, principal composer, and lyricist, Syd Barrett. The Dark Side of the Moon 's themes include conflict, greed, the passage of time, and mental illness, the latter partly inspired by Barrett's deteriorating mental state.

Developed during live performances, an early version of the suite was premiered several months before studio Manning, Toby (2006). “The Albums”. The Rough recording began; new material was recorded in two sesGuide to Pink Floyd (1st ed.). London: Rough Guides. p. sions in 1972 and 1973 at Abbey Road Studios in Lon165. ISBN 1-84353-575-0. don. The group used some of the most advanced recordMabbett, Andy (1995). The Complete Guide to the Music ing techniques of the time, including multitrack recordof Pink Floyd. London: Omnibus. ISBN 0-7119-4301-X. ing and tape loops. Analogue synthesizers were given prominence in several tracks, and a series of recorded inMason, Stewart. Song review at AllMusic. Retrieved 4 terviews with the band's road crew and others provided July 2011. the philosophical quotations used throughout. Engineer Hinton, Graham. “EMS: The Inside Story – The Users” Alan Parsons was responsible for some of the album's most notable sonic aspects and the recruitment of non. Electronic Music Studios. Retrieved 4 July 2011. lexical singer Clare Torry. The album's iconic sleeve, deErlewine, Stephen Thomas. Album review at AllMusic. signed by Storm Thorgerson, features a prism that repreRetrieved 4 July 2011. sents the band's stage lighting, the record's lyrical themes, and keyboardist Richard Wright's request for a “simple Christgau, Robert. “Album: Pink Floyd: Obscured by and bold”design. Clouds”. Retrieved 10 September 2012.

The Dark Side of the Moon was an immediate success; it topped the Billboard Top LPs & Tapes chart for one week and remained in the charts for 741 weeks from 1973 to 1988. With an estimated 50 million copies sold, it [13] Graff, Gary; Durchholz, Daniel (eds) (1999). Musi- is Pink Floyd's most commercially successful album and cHound Rock: The Essential Album Guide. Farmington one of the best-selling albums worldwide. It has twice Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-061- been remastered and re-released, and has been covered 2. in its entirety by several other acts. It produced two singles, "Money" and "Time". The Dark Side of the Moon [14] Sheffield, Rob (2 November 2004). “Pink Floyd: Alis one of Pink Floyd's most popular albums among fans bum Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. and critics, and is frequently ranked as one of the greatest albums of all time. Retrieved 27 December 2014. [12] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 27 December 2014.

[15] “Infodisc – Pink Floyd – Obscured By Clouds”. www. infodisc.fr. Retrieved 2 March 2011. [16] “Pink Floyd UK Chart History”. Official Charts Company. Retrieved 30 July 2013. [17] Billboard chart peak position at AllMusic. Retrieved 4 July 2011. [18] Record Research (advertisement). Billboard magazine. 15 March 1997. Retrieved 6 September 2012.

6.8 The Dark Side of the Moon This article is about the album by Pink Floyd. For other uses, see Dark side of the Moon. The Dark Side of the Moon is the eighth studio album by the English progressive rock band Pink Floyd, released in March 1973. It built on ideas explored in the band's earlier recordings and live shows, but lacks the extended

6.8.1 Background Following the release of Meddle in 1971, Pink Floyd assembled for an upcoming tour of Britain, Japan and the United States in December of that year. Rehearsing in Broadhurst Gardens in London, there was the looming prospect of a new album, although their priority at that time was the creation of new material.* [1] In a band meeting at drummer Nick Mason's home in Camden, bassist Roger Waters proposed that a new album could form part of the tour. Waters' idea was for an album that dealt with things that “make people mad”, focusing on the pressures faced by the band during their arduous lifestyle, and dealing with the apparent mental problems suffered by former band member Syd Barrett.* [2]* [3] The band had explored a similar idea with 1969's The Man and The Journey.* [4] In an interview for Rolling Stone, guitarist David Gilmour said: “I think we all thought – and Roger definitely thought – that a lot of the lyrics that we had been using were a little too indirect. There was definitely a feeling that the words were going

6.8. THE DARK SIDE OF THE MOON to be very clear and specific.”* [5] Generally, all four members agreed that Waters' concept of an album unified by a single theme was a good idea.* [5] Waters, Gilmour, Mason and keyboardist Richard Wright participated in the writing and production of the new material, and Waters created the early demo tracks at his Islington home in a small recording studio he had built in his garden shed.* [6] Parts of the new album were taken from previously unused material; the opening line of "Breathe" came from an earlier work by Waters and Ron Geesin, written for the soundtrack of The Body,* [7] and the basic structure of "Us and Them" was taken from a piece originally composed by Wright for the film Zabriskie Point.* [8] The band rehearsed at a warehouse in London owned by the Rolling Stones, and then at the Rainbow Theatre. They also purchased extra equipment, which included new speakers, a PA system, a 28track mixing desk with four quadraphonic outputs, and a custom-built lighting rig. Nine tonnes of kit was transported in three lorries; this would be the first time the band had taken an entire album on tour, but it would allow them to refine and improve the new material,* [9]* [10] which by then had been given the provisional title of Dark Side of the Moon (an allusion to lunacy, rather than astronomy).* [11] However, after discovering that that title had already been used by another band, Medicine Head, it was temporarily changed to Eclipse. The new material premièred at The Dome in Brighton, on 20 January 1972,* [12] and after the commercial failure of Medicine Head's album the title was changed back to the band's original preference.* [13]* [14]* [nb 1]

The Rainbow Theatre in London, where The Dark Side of the Moon was played for the press in 1972

Dark Side of the Moon: A Piece for Assorted Lunatics, as it was then known,* [4] was performed in the presence of an assembled press on 17 February 1972 – more than a year before its release – at the Rainbow Theatre, and was critically acclaimed.* [15] Michael Wale of The Times described the piece as "... bringing tears to the eyes. It was so completely understanding and musically questioning.” * [16] Derek Jewell of The Sunday Times wrote“The ambition of the Floyd's artistic intention is now vast.”* [13]

107 Melody Maker was, however, less enthusiastic: “Musically, there were some great ideas, but the sound effects often left me wondering if I was in a bird-cage at London zoo.”* [17] The following tour was praised by the public. The new material was performed live, in the same order in which it would eventually be recorded, but obvious differences between the live version, and the recorded version released a year later, included the lack of synthesizers in tracks such as "On the Run", and Bible readings that were later replaced by Clare Torry's non-lexical vocables on "The Great Gig in the Sky".* [15] The band's lengthy tour through Europe and North America gave them the opportunity to make continual improvements to the scale and quality of their performances.* [18] Work on the album was interrupted in late February when the band travelled to France and recorded music for French director Barbet Schroeder's film, La Vallée.* [19]* [nb 2] They then performed in Japan and returned to France in March to complete work on the film. After a series of dates in North America, the band flew to London to begin recording the album, from 24 May to 25 June. More concerts in Europe and North America followed before the band returned on 9 January 1973 to complete work on the album.* [20]* [21]* [22]

6.8.2 Concept The Dark Side of the Moon built upon experiments Pink Floyd had attempted in their previous live shows and recordings, but lacks the extended instrumental excursions which, according to critic David Fricke, had become characteristic of the band after founder member Syd Barrett left in 1968. Gilmour, Barrett's replacement, later referred to those instrumentals as“that psychedelic noodling stuff”, and with Waters cited 1971's Meddle as a turning-point towards what would be realised on the album. The Dark Side of the Moon 's lyrical themes include conflict, greed, the passage of time, death, and insanity, the latter inspired in part by Barrett's deteriorating mental state; he had been the band's principal composer and lyricist.* [8] The album is notable for its use of musique concrète* [4] and conceptual, philosophical lyrics, as found in much of the band's other work. Each side of the album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience, and (according to Waters)“empathy”.* [8] "Speak to Me" and“Breathe”together stress the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life – “Don't be afraid to care”.* [23] By shifting the scene to an airport, the synthesizer-driven instrumental“On the Run”evokes the stress and anxiety of modern travel, in particular Wright's fear of flying.* [24] "Time" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focused on mundane aspects; it

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is followed by a retreat into solitude and withdrawal in dio, and these were later re-recorded to take advantage of "Breathe (Reprise)". The first side of the album ends with the band's decision to record a quadraphonic mix of the Wright and vocalist Clare Torry's soulful metaphor for album (Parsons has since expressed dissatisfaction with death,“The Great Gig in the Sky”.* [4] Opening with the the result of this mix, attributed to a lack of time and sound of cash registers and loose change, the first track the paucity of available multi-track tape recorders).* [29] on side two, "Money", mocks greed and consumerism us- “Time”and “The Great Gig in the Sky”were the next ing tongue-in-cheek lyrics and cash-related sound effects pieces to be recorded, followed by a two-month break, (ironically, “Money”has been the most commercially during which the band spent time with their families successful track from the album, with several cover ver- and prepared for an upcoming tour of the US.* [31] The sions produced by other bands).* [25] “Us and Them” recording sessions suffered regular interruptions; Waters, addresses the isolation of the depressed with the sym- a supporter of Arsenal F.C., would often break to see bolism of conflict and the use of simple dichotomies to his team compete, and the band would occasionally stop describe personal relationships. "Any Colour You Like" work to watch Monty Python's Flying Circus on the teleconcerns the lack of choice one has in a human society. vision, leaving Parsons to work on material recorded up "Brain Damage" looks at a mental illness resulting from to that point.* [30] Gilmour has, however, disputed this the elevation of fame and success above the needs of the claim; in an interview in 2003 he said:“We would someself; in particular, the line “and if the band you're in times watch them but when we were on a roll, we would starts playing different tunes”reflects the mental break- get on.”* [32]* [33] down of former bandmate Syd Barrett. The album ends with "Eclipse", which espouses the concepts of alterity and unity, while forcing the listener to recognise the common traits shared by humanity.* [26]* [27]

6.8.3

Recording

Abbey Road Studios

The album was recorded at Abbey Road Studios, in two sessions, between May 1972 and January 1973. The band were assigned staff engineer Alan Parsons, who had worked as assistant tape operator on Atom Heart Mother, and who had also gained experience as a recording engineer on the Beatles' Abbey Road and Let It Be.* [28]* [29] The recording sessions made use of some of the most advanced studio techniques of the time; the studio was capable of 16-track mixes, which offered a greater degree of flexibility than the eight- or four-track mixes they had previously used, although the band often used so many tracks that to make more space available secondgeneration copies were made.* [30]

The EMS VCS 3 (Putney) synthesizer

Returning from the US in January 1973, they recorded “Brain Damage”,“Eclipse”,“Any Colour You Like” and“On the Run”, while fine-tuning the work they had already laid down in the previous sessions. A foursome of female vocalists was assembled to sing on “Brain Damage”,“Eclipse”and“Time”, and saxophonist Dick Parry was booked to play on“Us and Them”and“Money”. With director Adrian Maben, the band also filmed studio footage for Pink Floyd: Live at Pompeii.* [34] Once the recording sessions were complete, the band began a tour of Europe.* [35]

Beginning on 1 June, the first track to be recorded was “Us and Them”, followed six days later by “Money”. Instrumentation Waters had created effects loops from recordings of various money-related objects, including coins thrown into The album is particularly notable for the metronomic a food-mixing bowl taken from his wife's pottery stu- sound effects during“Speak to Me”, and the tape loops

6.8. THE DARK SIDE OF THE MOON that open “Money”. Mason created a rough version of “Speak to Me”at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of“Breathe”. Mason received a rare solo composing credit for“Speak to Me”.* [nb 3]* [36]* [37] The sound effects on “Money”were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a “walk around the room”effect in quadraphonic presentations of the album).* [38] At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs (particularly “On the Run”).* [8] Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and“Any Colour You Like”, and a Synthi A on “Time”and “On the Run”. They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during“On the Run”),* [39] and a specially treated bass drum made to simulate a human heartbeat (during “Speak to Me”,“On the Run”,“Time”and“Eclipse” ). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on “Time”and“On the Run”.* [8] The assorted clocks ticking then chiming simultaneously at the start of“Time”, accompanied by a series of Rototoms, were initially created as a quadraphonic test by Parsons.* [36] The engineer recorded each timepiece at an antique clock shop, and although his recordings had not been created specifically for the album, elements of the material were eventually used in the track.* [40]

109 rapidly swirls around the listener).* [41] The album's credits include Clare Torry, a session singer and songwriter, and a regular at Abbey Road. She had worked on pop material and numerous cover albums, and after hearing one of those albums Parsons invited her to the studio to sing on Wright's composition “The Great Gig in the Sky”. She declined this invitation as she wanted to watch Chuck Berry perform at the Hammersmith Odeon, but arranged to come in on the following Sunday. The band explained the concept behind the album, but were unable to tell her exactly what she should do. Gilmour was in charge of the session, and in a few short takes on a Sunday night Torry improvised a wordless melody to accompany Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth, and wanted to apologise to the band – only to find them delighted with her performance.* [42]* [43] Her takes were then selectively edited to produce the version used on the track.* [5] For her contribution she was paid £30, equivalent to about £350 in 2015,* [42]* [44] but in 2004 she sued EMI and Pink Floyd for songwriting royalties, arguing that her contribution to “The Great Gig in the Sky”was substantial enough to be considered co-authorship. The High Court agreed with her, but the terms of the settlement were not disclosed.* [45]* [46] All post-2005 pressings therefore credit Wright and Torry jointly for the song.* [47]

Voices Several tracks, including“Us and Them”and“Time”, demonstrate Richard Wright's and David Gilmour's ability to harmonise their voices. In the 2003 documentary The Making of The Dark Side of the Moon, Waters attributed this to the fact that their voices sound extremely similar. To take advantage of this, Parsons perfected the use of studio techniques such as the double tracking of vocals and guitars, which allowed Gilmour to harmonise with himself. Parsons also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb,* [8] and the panning of sounds between channels (most notable in the quadraphonic mix of“On the Run”, when the sound of the Hammond B3 organ played through a Leslie speaker Clare Torry in 2003

110 Snippets of voices between and over the music are another notable feature of the album. During recording sessions, Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on flashcards. The interviewees were placed in front of a microphone in a darkened studio three,* [48] and shown such questions as “What's your favourite colour?" and“What's your favourite food?", before moving on to themes more central to the album (such as madness, violence, and death). Questions such as “When was the last time you were violent?", followed immediately by “Were you in the right?", were answered in the order they were presented.* [8] Roger “The Hat”Manifold proved difficult to find, and was the only contributor recorded in a conventional sit-down interview, as by then the flashcards had been mislaid. Waters asked him about a violent encounter he had had with another motorist, and Manifold replied "... give 'em a quick, short, sharp shock ...”When asked about death he responded“live for today, gone tomorrow, that's me ...”* [49] Another roadie, Chris Adamson, who was on tour with Pink Floyd, recorded the snippet which opens the album:“I've been mad for fucking years – absolutely years”.* [50] The band's road manager Peter Watts (father of actress Naomi Watts)* [51] contributed the repeated laughter during “Brain Damage”and “Speak to Me”. His second wife, Patricia “Puddie”Watts (now Patricia Gleason), was responsible for the line about the “geezer”who was “cruisin' for a bruisin'" used in the segue between “Money”and “Us and Them”, and the words“I never said I was frightened of dying”heard near the end of “The Great Gig in the Sky”.* [52] Perhaps the most notable responses “I am not frightened of dying. Any time will do: I don't mind. Why should I be frightened of dying? There's no reason for it – you've got to go sometime”and closing words “there is no dark side in the moon, really. As a matter of fact it's all dark”came from the studios' Irish doorman, Gerry O'Driscoll.* [53] Paul and Linda McCartney were also interviewed, but their answers were judged to be “trying too hard to be funny”, and were not included on the album.* [54] McCartney's Wings bandmate Henry McCullough contributed the line “I don't know, I was really drunk at the time”.* [55]

Completion

CHAPTER 6. STUDIO ALBUMS more “echoey”mix.* [57] Thomas later claimed there were no such disagreements, stating “There was no difference in opinion between them, I don't remember Roger once saying that he wanted less echo. In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun.”* [58] Although the truth remains unclear, Thomas's intervention resulted in a welcome compromise between Waters and Gilmour, leaving both entirely satisfied with the end product. Thomas was responsible for significant changes to the album, including the perfect timing of the echo used on“Us and Them”. He was also present for the recording of“The Great Gig in the Sky”(although Parsons was responsible for hiring Torry).* [59] Interviewed in 2006, when asked if he felt his goals had been accomplished in the studio, Waters said: When the record was finished I took a reelto-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished. And I thought, “This has obviously struck a chord somewhere”, and I was kinda pleased by that. You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else. And at that point I thought to myself, “Wow, this is a pretty complete piece of work”, and I had every confidence that people would respond to it.* [60]

6.8.4 Packaging It felt like the whole band were working together. It was a creative time. We were all very open. “ ” – Richard Wright* [61] The album was originally released in a gatefold LP sleeve designed by Hipgnosis and George Hardie. Hipgnosis had designed several of the band's previous albums, with controversial results; EMI had reacted with confusion when faced with the cover designs for Atom Heart Mother and Obscured by Clouds, as they had expected to see traditional designs which included lettering and words. Designers Storm Thorgerson and Aubrey Powell were able to ignore such criticism as they were employed by the band. For The Dark Side of the Moon, Richard Wright instructed them to come up with something “smarter, neater – more classy”.* [62] The prism design was inspired by a photograph that Thorgerson had seen during a brainstorming session with Powell.

Following the completion of the dialogue sessions, producer Chris Thomas was hired to provide “a fresh pair of ears”. Thomas's background was in music, rather than engineering. He had worked with Beatles producer George Martin, and was acquainted with Pink Floyd's manager Steve O'Rourke.* [56] All four members of the band were engaged in a disagreement over the style of the mix, with Waters and Mason preferring a“dry”and The artwork was created by their associate, George “clean”mix which made more use of the non-musical el- Hardie. Hipgnosis offered the band a choice of seven deements, and Gilmour and Wright preferring a subtler and signs, but all four members agreed that the prism was by

6.8. THE DARK SIDE OF THE MOON far the best. The design represents three elements; the band's stage lighting, the album lyrics, and Wright's request for a “simple and bold”design.* [8] The spectrum of light continues through to the gatefold – an idea that Waters came up with.* [63] Added shortly afterwards, the gatefold design also includes a visual representation of the heartbeat sound used throughout the album, and the back of the album cover contains Thorgerson's suggestion of another prism recombining the spectrum of light, facilitating interesting layouts of the sleeve in record shops.* [64] The light band emanating from the prism on the album cover has six colours, missing indigo compared to the traditional division of the spectrum into red, orange, yellow, green, blue, indigo and violet. Inside the sleeve were two posters and several pyramid-themed stickers. One poster bore pictures of the band in concert, overlaid with scattered letters to form PINK FLOYD, and the other an infrared photograph of the Great Pyramids of Giza, created by Powell and Thorgerson.* [64] Since the departure of founder member Barrett in 1968, the burden of lyrical composition had fallen mostly on Waters' shoulders.* [9] He is therefore credited as the author of the album's lyrics, making The Dark Side of the Moon the first of five consecutive Pink Floyd albums with lyrics credited only to him.* [65]* [nb 4] The band were so confident of the quality of the writing that, for the first time, they felt able to print them on the album's sleeve.* [9] When in 2003 he was asked if his input on the album was “organising [the] ideas and frameworks” and David Gilmour's was “the music”, Waters replied:

111

A live performance of The Dark Side of the Moon at Earls Court, shortly after its release in 1973. (left to right) David Gilmour, Nick Mason, Dick Parry, Roger Waters

sic in your life, I'd unreservedly recommend everyone to The Dark Side of the Moon".* [75] In his 1973 review for Rolling Stone magazine, Loyd Grossman declared Dark Side“a fine album with a textural and conceptual richness that not only invites, but demands involvement”.* [78] In his 1981 review of the album, Robert Christgau found its lyrical ideas clichéd and its music pretentious, but called it a "kitsch masterpiece”that can be charming with highlights such as taped speech fragments, Parry's saxophone, and studio effects that enhance Gilmour's guitar solos.* [68]

The Dark Side of the Moon was released first in the US on 1 March 1973, and then in the UK on 24 March. It That's crap. There's no question that Dave became an instant chart success in Britain and throughneeds a vehicle to bring out the best of his guiout Western Europe;* [75] by the following month, it tar playing. And he is a great guitar player. But had gained a gold certification in the UK and US.* [79] the idea which he's tried to propagate over the Throughout March 1973 the band played the album as years that he's somehow more musical than I part of their US tour, including a midnight performance am is absolute fucking nonsense. It's an absurd at Radio City Music Hall in New York on 17 March, notion but people seem quite happy to believe watched by an audience of 6,000. Highlights included it.* [3]* [nb 5] an aircraft launched from the back of the hall at the end of “On the Run”, which “crashed”into the stage in a cloud of orange smoke. The album reached the Billboard 6.8.5 Release Top LP's & Tape chart's number one spot on 28 April 1973,* [80] and was so successful that the band returned As the quadraphonic mix of the album was not then com- two months later for another tour.* [81] plete, the band (with the exception of Wright) boycotted the press reception held at the London Planetarium on 27 February.* [74] The guests were, instead, presented with Label a quartet of life-sized cardboard cut-outs of the band, and the stereo mix of the album was presented through a poor- Much of the album's early American success is attributed quality public address system.* [75]* [76] Generally, how- to the efforts of Pink Floyd's US record company, Capitol ever, the press were enthusiastic; Melody Maker 's Roy Records. Newly appointed chairman Bhaskar Menon set Hollingworth described side one as "... so utterly con- about trying to reverse the relatively poor sales of the fused with itself it was difficult to follow”, but praised band's 1971 studio album Meddle. Meanwhile, disenside two, writing: “The songs, the sounds, the rhythms chanted with Capitol, the band and manager O'Rourke were solid and sound, Saxophone hit the air, the band had been quietly negotiating a new contract with CBS rocked and rolled, and then gushed and tripped away into president Clive Davis, on Columbia Records. The Dark the night.”* [77] Steve Peacock of Sounds wrote:“I don't Side of the Moon was the last album that Pink Floyd were care if you've never heard a note of the Pink Floyd's mu- obliged to release before formally signing a new contract.

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bum 15× platinum,* [47] denoting sales of fifteen million in the United States – making it their biggest-selling work there (The Wall is 23× platinum, but as a double album this signifies sales of 11.5 million).* [92] “Money”has sold well as a single, and as with“Time”, remains a radio favourite; in the US, for the year ending 20 April 2005, “Time”was played on 13,723 occasions, and “Money” on 13,731 occasions.* [nb 8] Industry sources suggest that worldwide sales of the album total about 50 million.* [93] “On a slow week”between 8,000 and 9,000 copies are sold,* [87] and a total of 400,000 were sold in 2002, making it the 200th-best-selling album of that year – nearly three decades after its initial release. The album has sold 9,502,000 copies in the US since 1991 when Nielsen SoundScan began tracking sales for Billboard.* [94] To this day, it occupies a prominent spot on Billboard 's Pop Catalog Chart. It reached number one when the 2003 hybrid CD/SACD edition was released and sold 800,000 copies in the US.* [47] On the week of 5 May 2006 The Dark Side of the Moon achieved a combined total of 1,500 weeks on the Billboard 200 and Pop Catalog charts.* [60] One in every fourteen people in the US under the age of 50 is estimated to own, or to have owned, a copy.* [47] Upon a chart rule change in 2009 allowing catalog titles to re-enter the Billboard 200, The Dark Side of the Moon returned to the chart at number 189 on 12 December of that year for its 742nd charting week.* [95] It has continued to Sales sporadically appear on the Billboard 200 since then, for a The Dark Side of the Moon became one of the best-selling total of *881 non-consecutive weeks on the chart since its albums of all time,* [87] (not counting compilations and release. [96] various artists soundtracks), and is in the top 25 of a list of best-selling albums in the United States.* [47]* [88] Although it held the number one spot in the US for Reissues and remastering only a week, it remained in the Billboard album chart for 741 weeks.* [89] The album re-appeared on the In 1979, The Dark Side of the Moon was released as a * Billboard charts with the introduction of the Top Pop remastered LP by Mobile Fidelity Sound Lab, [97] and * Catalog Albums chart in May 1991, and has been a in April 1988 on their“Ultradisc”gold CD format. [98] perennial feature since then.* [90] In the UK it is the The album was released by EMI on the then-new compact disc format in 1984, and in 1992 it was re-released as a eighth-best-selling album of all time.* [91] remastered CD in the box set Shine On.* [99] This version was re-released as a 20th anniversary box set edition with ... I think that when it was finished, everyone thought it postcards the following year. The cover design was again was the best thing we'd ever done to date, and everyone by Storm Thorgerson, the designer of the original 1973 was very pleased with it, but there's no way that anyone cover.* [100] A suggestion that on CD pressings a faintly felt it was five times as good as Meddle, or eight times as audible orchestral version of the Beatles' "Ticket to Ride" good as Atom Heart Mother, or the sort of figures that it can be heard after “Eclipse”over the album's closing has in fact sold. It was ... not only about being a good heartbeats may be due to a remastering error.* [47] album but also about being in the right place at the right The original quadraphonic mix* [nb 9] was commissioned time. by EMI but never endorsed by Pink Floyd.* [29] To cele“ brate the album's 30th anniversary, an updated surround ” version was released in 2003. The band elected not to use – Nick Mason* [76] Parsons' quadraphonic mix (done shortly after the original release), and instead had engineer James Guthrie creIn the US the LP was released before the introduction ate a new 5.1 channel surround sound mix on the SACD of platinum awards on 1 January 1976. It therefore held format.* [29]* [101] Guthrie had worked with Pink Floyd only a gold disc until 16 February 1990, when it was cer- since co-producing and engineering their eleventh album, tified 11× platinum. On 4 June 1998 the Recording In- The Wall, and had previously worked on surround verdustry Association of America (RIAA) certified the al- sions of The Wall for DVD-Video and Waters' In the Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of “Us and Them”and“Time”.* [82] In some countries – notably the UK – Pink Floyd had not released a single since 1968's "Point Me at the Sky", and unusually “Money”was released as a single on 7 May,* [74] with “Any Colour You Like”on the B-side. It reached number 13 on the Billboard Hot 100 in July 1973.* [nb 6]* [83] A two-sided white label promotional version of the single, with mono and stereo mixes, was sent to radio stations. The mono side had the word “bullshit”removed from the song – leaving “bull”in its place – however, the stereo side retained the uncensored version. This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy.* [84] On 4 February 1974, a double Aside single was released with“Time”on one side, and“Us and Them”on the opposite side.* [nb 7]* [85] Menon's efforts to secure a contract renewal with Pink Floyd were in vain however; at the beginning of 1974, the band signed for Columbia with a reported advance fee of $1M (in Britain and Europe they continued to be represented by Harvest Records).* [86]

6.8. THE DARK SIDE OF THE MOON Flesh for SACD. Speaking in 2003, Alan Parsons expressed some disappointment with Guthrie's SACD mix, suggesting that Guthrie was “possibly a little too true to the original mix”, but was generally complimentary.* [29] The 30th-anniversary edition won four Surround Music Awards in 2003,* [102] and has since sold more than 800,000 copies.* [103] The cover image was created by a team of designers including Storm Thorgerson. The image is a photograph of a custom-made stained glass window, built to match the exact dimensions and proportions of the original prism design. Transparent glass, held in place by strips of lead, was used in place of the opaque colours of the original. The idea is derived from the “sense of purity in the sound quality, being 5.1 surround sound ...”The image was created out of a desire to be “the same but different, such that the design was clearly DSotM, still the recognisable prism design, but was different and hence new”.* [100]

113 ing, Non-Classical for The Dark Side of the Moon,* [110] and he went on to have a successful career as a recording artist with the Alan Parsons Project. Although Waters and Gilmour have on occasion downplayed his contribution to the success of the album, Mason has praised his role.* [111] In 2003, Parsons reflected: “I think they all felt that I managed to hang the rest of my career on Dark Side of the Moon, which has an element of truth to it. But I still wake up occasionally, frustrated about the fact that they made untold millions and a lot of the people involved in the record didn't.”* [33]* [nb 10] Part of the legacy of The Dark Side of the Moon is in its influence on modern music, the musicians who have performed cover versions of its songs, and even in modern urban myths. Its release is often seen as a pivotal point in the history of rock music, and comparisons are sometimes drawn between Pink Floyd and Radiohead – specifically their 1997 album OK Computer – which has been called The Dark Side of the Moon for the 1990s whereby the two albums share a common theme: the loss of a creative individual's ability to function in the modern world.* [113]* [114]* [115]

The Dark Side of the Moon was also re-released in 2003 on 180-gram virgin vinyl (mastered by Kevin Gray at AcousTech Mastering) and included slightly different versions of the original posters and stickers that came with the original vinyl release, along with a new 30th anniversary poster.* [104] In 2007 the album was included in Oh, by the Way, a box set celebrating the 40th anniversary of Pink Floyd,* [105] and a DRM-free version was released on the iTunes Store.* [103] In 2011 the album was re-released as part of the Why Pink Floyd...? cam- Rankings paign, featuring a remastered version of the album along with various other material.* [106] The Dark Side of the Moon frequently appears on rankings of the greatest albums of all-time. In 1987, Rolling Stone listed the record 35th on its “Top 100 Albums of 6.8.6 Legacy the Last 20 Years”,* [116] and sixteen years later, in 2003 It's changed me in many ways, because it's brought in a the album polled in 43rd position on the magazine's list of * lot of money, and one feels very secure when you can "The 500 Greatest Albums of All Time". [117] In 2012, sell an album for two years. But it hasn't changed my The Dark Side of the Moon was voted 43rd on Rolling attitude to music. Even though it was so successful, it was Stone magazine's list of the“500 Greatest Albums of All * made in the same way as all our other albums, and the Time”. [118] In 2006, it was voted “My Favourite Alonly criterion we have about releasing music is whether bum”by the Australian Broadcasting Corporation's audi* we like it or not. It was not a deliberate attempt to make ence. [119] NME readers voted the album eighth in their * a commercial album. It just happened that way. We knew 2006“Best Album of All Time”online poll, [120] and in it had a lot more melody than previous Floyd albums, and 2009, Planet Rock listeners voted the album the “great* there was a concept that ran all through it. The music est of all time”. [121] The album is also number two on was easier to absorb and having girls singing away added the“Definitive 200”list of albums, made by the National Association of Recording Merchandisers“in celebration a commercial touch that none of our records had. of the art form of the record album”.* [122] It came “ 29th in The Observer 's 2006 list of “The 50 Albums ” That Changed Music”,* [123] and 37th in The Guardian – Richard Wright* [107] 's 1997 list of the “100 Best Albums Ever”, as voted for by a panel of artists and music critics.* [124] The alThe success of the album brought wealth to all four mem- bum's cover has been lauded by critics and listeners alike, bers of the band; Richard Wright and Roger Waters VH1 proclaiming it the fourth greatest in history,* [125] bought large country houses, and Nick Mason became and Planet Rock listeners the greatest of all time.* [126] In a collector of upmarket cars.* [108] Some of the prof- 2013, The Dark Side of the Moon was selected for preserits were invested in the production of Monty Python and vation in the United States National Recording Registry the Holy Grail.* [109] Engineer Alan Parsons received a by the Library of Congress for being deemed“culturally, Grammy Award nomination for Best Engineered Record- historically, or aesthetically significant”.* [127]

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Covers, tributes and samples

6.8.7 Track listing

One of the more notable covers of The Dark Side of the Moon is Return to the Dark Side of the Moon: A Tribute to Pink Floyd. Released in 2006, the album is a progressive rock tribute featuring artists such as Adrian Belew, Tommy Shaw, Dweezil Zappa, and Rick Wakeman.* [128] In 2000, The Squirrels released The Not So Bright Side of the Moon, which features a cover of the entire album.* [129]* [130] The New York dub collective Easy Star All Stars released Dub Side of the Moon in 2003* [131] and Dubber Side of the Moon in 2010.* [132] The group Voices on the Dark Side released the album Dark Side of the Moon a Cappella, a complete a cappella version of the album.* [133] The bluegrass band Poor Man's Whiskey frequently play the album in bluegrass style, calling the suite Dark Side of the Moonshine.* [134] A string quartet version of the album was released in 2004.* [135] In 2009, The Flaming Lips released a track-by-track remake of the album in collaboration with Stardeath and White Dwarfs, and featuring Henry Rollins and Peaches as guest musicians.* [136]

All lyrics written by Roger Waters.

Several notable acts have covered the album live in its entirety, and a range of performers have used samples from The Dark Side of the Moon in their own material. Jam-rock band Phish performed a semi-improvised version of the entire album as part their show on 2 November 1998 in West Valley City, Utah.* [137] Progressive metal band Dream Theater have twice covered the album in their live shows,* [138] and in May 2011 Mary Fahl released From the Dark Side of the Moon, a song-by-song “re-imagining”of the album.* [139] Milli Vanilli used the tape loops from Pink Floyd's“Money”to open their track "Money", followed by Marky Mark and the Funky Bunch on Music for the People.* [140]

6.8.8 Personnel 6.8.9 Charts 6.8.10 Certifications 6.8.11 Release history 6.8.12 References Notes [1]“At one time, it was called Eclipse because Medicine Head did an album called Dark Side of the Moon. But, that didn't sell well, so what the hell. I was against Eclipse and we felt a bit annoyed because we had already thought of the title before Medicine Head came out. Not annoyed at them but because we wanted to use the title.”– David Gilmour* [14] [2] This material was later released under the title Obscured by Clouds.* [15] [3] Mason is responsible for most of the sound effects used on Pink Floyd's discography. [4] The sleeve notes for Wish You Were Here, Animals and The Wall credit Roger Waters as sole lyricist. [5] Gilmour's comments on this matter may be found on page 7 of John Harris' book. [6] Harvest / Capitol 3609 [7] Harvest / Capitol 3832

Dark Side of the Rainbow

[8] According to Nielsen Broadcast Data Systems* [87] [9] Harvest Q4SHVL-804

Main article: Dark Side of the Rainbow

[10] Alan Parsons was paid a weekly wage of £35 while working on the original album.* [112]

Dark Side of the Rainbow and Dark Side of Oz are two names commonly used in reference to rumours (circu- [11] All post-2005 pressings including “The Great Gig in the Sky”credit both Wright and Torry for the song, as per her lated on the Internet since at least 1994) that The Dark successful court challenge.* [41] Side of the Moon was written as a soundtrack for the 1939 film The Wizard of Oz. Observers playing the film and the album simultaneously have reported apparent syn- Footnotes chronicities, such as Dorothy beginning to jog at the lyric “no one told you when to run”during “Time”, and [1] Harris 2006, pp. 71–72 Dorothy balancing on a tight-rope fence during the line “balanced on the biggest wave”in “Breathe”.* [141] [2] Mason 2005, p. 165 David Gilmour and Nick Mason have both denied a con[3] Harris, John (12 March 2003), 'Dark Side' at 30: Roger nection between the two works, and Roger Waters has Waters, rollingstone.com, archived from the original on described the rumours as “amusing”.* [142] Alan Par26 March 2009, retrieved 8 June 2011 sons has stated that the film was not mentioned during [4] Mabbett 1995, p. n/a production of the album.* [143]

6.8. THE DARK SIDE OF THE MOON

[5] Harris, John (12 March 2003), 'Dark Side' at 30: David Gilmour, rollingstone.com, hosted at web.archive.org, archived from the original on 19 September 2007, retrieved 31 May 2010 [6] Mason 2005, p. 166

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[35] Harris 2006, pp. 109–114 [36] Schaffner 1991, p. 164 [37] Mason 2005, p. 172 [38] Harris 2006, pp. 104–105

[7] Harris 2006, pp. 73–74

[39] Harris 2006, pp. 118–120

[8] Classic Albums: The Making of The Dark Side of the Moon (DVD), Eagle Rock Entertainment, 26 August 2003

[40] Mason 2005, p. 173

[9] Mason 2005, p. 167 [10] Harris 2006, pp. 85–86 [11] Schaffner 1991, p. 159 [12] Reising 2005, p. 28 [13] Schaffner 1991, p. 162 [14] Povey 2007, p. 154 [15] Povey 2007, pp. 154–155 [16] Wale, Michael (18 February 1972), Pink Floyd ̶The Rainbow, Issue 58405; col F, infotrac.galegroup.com, p. 10, retrieved 21 March 2009

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[17] Harris 2006, pp. 91–93

[49] Schaffner 1991, p. 165

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• Povey, Glenn (2007), Echoes, Mind Head Publishing, ISBN 0-9554624-0-1

[163] FIMI: GFK Certificazioni ALBUM e COMPILATION – week 27/2011 (in Italian), fimi.it, archived from the original on 10 August 2011, retrieved 14 July 2013

• Reising, Russell (2005), Speak to Me, Ashgate Publishing, Ltd, ISBN 0-7546-4019-1

[164] “NZ Top 40 Albums Chart – 07 NOVEMBER 2011”, Recorded Music NZ, November 2011, retrieved 11 August 2013 [165] Scapolo, Dean (2007), The Complete New Zealand Music Charts 1966–2006, Recording Industry Association of New Zealand, ISBN 978-1-877443-00-8 [166] Zpav Platinum Album Poland (in Polish), zpav.pl, retrieved 26 November 2010 [167] Certified Awards Search, bpi.co.uk, retrieved 14 September 2009 [168] Adele overtakes Michael Jackson in all-time biggest selling albums chart, officialcharts.com, retrieved 3 March 2012 [169] Searchable Database, riaa.com, retrieved 31 July 2012

Bibliography • Blake, Mark (2008), Comfortably Numb ̶The Inside Story of Pink Floyd, Da Capo, ISBN 0-30681752-7 • Buckley, Peter (2003), The Rough Guide to Rock, Rough Guides, ISBN 1-84353-105-4

• Ruhlmann, William (2004), Breaking Records, Routledge, ISBN 0-415-94305-1 • Schaffner, Nicholas (1991), Saucerful of Secrets (first ed.), London: Sidgwick & Jackson, ISBN 0283-06127-8 • Sheffield, Rob et al. (2004), Brackett, Nathan; Hoard, Christian, eds., The New Rolling Stone Album Guide (4th ed.), Simon & Schuster, ISBN 07432-0169-8 • Whiteley, Sheila (1992), The Space Between the Notes, Routledge, ISBN 0-415-06816-9

6.8.13 External links • Official website

6.9 Wish You Were Here (Pink Floyd album)

Wish You Were Here is the ninth studio album by the • Christgau, Robert (1981), Christgau's Record Guide: English progressive rock group Pink Floyd, released in Rock Albums of the Seventies, Ticknor & Fields, September 1975. It explores themes of absence, the muISBN 0-89919-025-1 sic business and former band member Syd Barrett's men• Dallas, Karl (1987), Pink Floyd: Bricks in the Wall, tal decline. Inspired by material the group composed Shapolsky Publishers/Baton Press, ISBN 0-933503- while performing across Europe, Wish You Were Here was recorded in numerous sessions at London's Abbey 88-1 Road Studios. The premise of the album was based on • Graff, Gary; Durchholz, Daniel (eds) (1999), Mu- a song written by the band called "Shine On You Crazy sicHound Rock: The Essential Album Guide, Farm- Diamond".“Shine On”was a tribute to Barrett, who, coington Hills, MI: Visible Ink Press, ISBN 1-57859- incidentally, made an impromptu visit to the studio while 061-2 it was being recorded. It was lead writer Roger Waters's • Griffiths, Dai (2004), OK Computer, Continuum In- idea to split“Shine On”into two parts and use it to bookternational Publishing Group, ISBN 0-8264-1663-2 end the album around three new compositions, forming a new concept similar to their previous album, The Dark • Harris, John (2006), The Dark Side of the Moon Side of the Moon. (third ed.), Harper Perennial, ISBN 978-0-00- As with that record, the band made use of studio effects 779090-6 and synthesizers for Wish You Were Here. Additionally, • Mabbett, Andy (1995), The Complete Guide to the the band brought in guest singers to supply vocals to some Music of Pink Floyd, Omnibus Press, ISBN 0-7119- tracks, which had been another feature from their previous album. These singers included Roy Harper, who pro4301-X vided the lead vocals on "Have a Cigar", and The Black• Mason, Nick (2005), Philip Dodd, ed., Inside Out: berries, who added backing vocals on “Shine On”. A Personal History of Pink Floyd (Paperback ed.), The album became an instant commercial success and Phoenix, ISBN 0-7538-1906-6 record company EMI was unable to print enough copies • Parker, Alan; O'Shea, Mick (2006), And Now for to satisfy demand. Although it initially received mixed Something Completely Digital, The Disinformation reviews, the album has since been acclaimed by critics Company, ISBN 1-932857-31-1 and appears on Rolling Stone 's list of "The 500 Greatest

6.9. WISH YOU WERE HERE (PINK FLOYD ALBUM)

119

Albums of All Time". Band members Richard Wright and David Gilmour have each cited Wish You Were Here as their favourite Pink Floyd album.

6.9.1

Background

During 1974 Pink Floyd sketched out three new compositions, "Raving and Drooling", "You Gotta Be Crazy" and "Shine On You Crazy Diamond".* [nb 1]* [1] These songs were performed during a series of concerts in France and England, the band's first tour since 1973's The Dark Side of the Moon. As Pink Floyd had never employed a publicist and kept themselves distant from the press, their relationship with the media began to sour. Following the Abbey Road Studios publication by NME of a negative critique of the band's new material, by Nick Kent (a devotee of Syd Barrett) and Pete Erskine, the band returned to the studio in the (Parsons became successful in his own right with The first week of 1975.* [2] Alan Parsons Project).* [8] The group had worked with engineer Brian Humphries on More, recorded at Pye Studios,* [9] and again in 1974 when he replaced an inex6.9.2 Concept perienced concert engineer hired at short notice.* [10] Humphries was therefore the natural choice to work on Wish You Were Here is the second Pink Floyd album to the band's new material, although as a stranger to EMI's use a conceptual theme written entirely by Roger Waters. Abbey Road set-up he encountered some early difficulIt reflects his feeling that the camaraderie that had served ties. On one occasion, Humphries inadvertently spoiled the band previously was, by then, largely absent.* [3] the backing tracks for “Shine On”, a piece that WaThe album begins with a long instrumental preamble and ters and drummer Nick Mason had spent many hours segues into the lyrics for“Shine On You Crazy Diamond” perfecting, with echo. The entire piece had to be re, a tribute to Syd Barrett, whose mental breakdown had recorded.* [6]* [11]* [12] forced him to leave the group several years before.* [4] * Barrett is fondly recalled with lines such as “Remember Working in Abbey Road's Studio Three, [13] the group when you were young, you shone like the sun”and“You found it difficult at first to devise any new material, espereached for the secret too soon, you cried for the moon” cially as the success of The Dark Side of the Moon had left all four physically and emotionally drained. Key.* [5] boardist Richard Wright later described these sessions Wish You Were Here is also a critique of the music busi- as “falling within a difficult period”, and Waters reness. “Shine On”crosses seamlessly into "Welcome to called them as “torturous”.* [14] Mason found the prothe Machine", a song that begins with an opening door cess of multi-track recording drawn out and tedious,* [15] (described by Waters as a symbol of musical discovery while David Gilmour was more interested in improving and progress betrayed by a music industry more inter- the band's existing material. Gilmour was also becoming ested in greed and success) and ends with a party, the lat- increasingly frustrated with Mason, whose failing marter epitomising“the lack of contact and real feelings be- riage had brought on a general malaise and sense of aptween people”. Similarly, "Have a Cigar" scorns record athy, both of which interfered with his drumming.* [14] industry“fatcats"; its lyrics contain well-used clichés such Mason has since admitted that Nick Kent's criticism in as“can hardly count”,“they call it riding the gravy train” the NME may have had some influence in keeping the and “by the way, which one's Pink?". The latter was a band together.* [16]* [17] question asked of the band on at least one occasion.* [6] "Wish You Were Here" contains lyrics which relate not It was a very difficult period I have to say. only to Barrett's condition, but also to the dichotomy of All your childhood dreams had been sort of Waters' character, as an idealist, and a domineering per* realised and we had the biggest selling records sonality. [7] The album closes with a reprise of “Shine in the world and all the things you got into it On”and further instrumental excursions. for. The girls and the money and the fame and all that stuff it was all ... everything had sort of come our way and you had to reassess what 6.9.3 Recording you were in it for thereafter, and it was a pretty Alan Parsons, EMI staff engineer for Pink Floyd's previconfusing and sort of empty time for a while ous studio album, The Dark Side of the Moon, had de... clined the band's offer to continue working with them ̶David Gilmour, * [12]

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CHAPTER 6. STUDIO ALBUMS

After several weeks, Waters began to visualise another concept.* [14] The three new compositions from 1974's tour were at least a starting point for a new album, and “Shine On You Crazy Diamond”seemed a reasonable choice as a centrepiece for the new work. Mostly an instrumental twenty-minute-plus piece similar to "Echoes", the opening four-note guitar phrase reminded Waters of the lingering ghost of former band-member Syd Barrett.* [18] Gilmour had composed the phrase entirely by accident, but was encouraged by Waters' positive response.* [19] Waters wanted to split“Shine On You Crazy Diamond”, and sandwich two new songs between its two halves. Gilmour disagreed, but was outvoted three to one.* [20] “Welcome to the Machine”and “Have a Cigar”were barely veiled attacks on the music business, their lyrics working neatly with “Shine On”to provide an apt summary of the rise and fall of Barrett;* [21]“Because I wanted to get as close as possible to what I felt ... that sort of indefinable, inevitable melancholy about the disappearance of Syd.”* [18] “Raving and Drooling” and“You Gotta Be Crazy”had no place in the new concept, and were set aside until the following album, 1977's Animals.* [3] Syd Barrett's visit to studio

mystified by the identity of the visitor. He presumed that the man was a friend of Waters' and asked him, but soon realised that it was Syd Barrett.* [22] Gilmour presumed he was an EMI staff member,* [19] and Mason also failed to recognise him; he was“horrified”when Gilmour told him. In Inside Out, Mason recalled Barrett's conversation as“desultory and not entirely sensible”.* [23] Storm Thorgerson later reflected on Barrett's presence: “Two or three people cried. He sat round and talked for a bit but he wasn't really there.”* [24] Waters was reportedly reduced to tears by the sight of his former bandmate, who was asked by fellow visitor Andrew King how he had managed to gain so much weight. Barrett said he had a large refrigerator in his kitchen, and that he had been eating lots of pork chops. He also mentioned that he was ready to avail the band of his services, but while listening to the mix of “Shine On”, showed no signs of understanding its relevance to his plight. He joined the guests at Gilmour's wedding reception in the EMI canteen, but left without saying goodbye. None of the band members saw him from that day on to his death in 2006.* [25] Although the lyrics had already been created, Barrett's presence on that day may have influenced the final part of the song – a subtle refrain performed by Wright from "See Emily Play" is audible towards the end of the album.* [23] I'm very sad about Syd. Of course he was important and the band would never have fucking started without him because he was writing all the material. It couldn't have happened without him but on the other hand it couldn't have gone on with him. “Shine On” is not really about Syd – he's just a symbol for all the extremes of absence some people have to indulge in because it's the only way they can cope with how fucking sad it is, modern life, to withdraw completely. I found that terribly sad. ̶Roger Waters, * [26]

Instrumentation

Syd Barrett during his visit to the studio

As in The Dark Side of the Moon, the band used synthesizers such as the EMS VCS 3 (on “Welcome to the Machine”), but softened with Gilmour's acoustic guitar and percussion from Mason.* [6] The start of “Shine On”contains remnants from a previous but incomplete studio recording by the band known as "Household Objects". Wine glasses had been filled with varying amounts of fluid, and recordings were made of a wet finger circling the edge of each glass. These recordings were multi-tracked into chords,* [3] and used in the opening of “Shine On”.

One of the more notable events during the recording of Wish You Were Here occurred on 5 June 1975, the day Gilmour married his first wife, Ginger, on the eve of Pink Floyd's second US tour that year.* [nb 2] The band were in the process of completing the final mix of “Shine On You Crazy Diamond”* [nb 3] when an overweight man with shaven head and eyebrows, and holding a plastic bag, entered the room. Waters, who was working in the stu- Jazz violinist Stéphane Grappelli and classical violinist dio, initially did not recognise him.* [4] Wright was also Yehudi Menuhin were performing in another studio in the

6.9. WISH YOU WERE HERE (PINK FLOYD ALBUM) building, and were invited to record a piece for the new album. Menuhin watched as Grappelli played on the song “Wish You Were Here"; however, the band later decided his contribution was unsuitable and, until 2011, it was believed that the piece had been wiped.* [27]* [28] It turns out his playing was included on the album, but so low in the final mix that the band presumed it would be insulting to credit him.* [29] He was paid £300 for his contribution (£2,200 in 2015).* [30]* [31] Dick Parry again played saxophone, on“Shine On You Crazy Diamond”.* [17] The opening bars of “Wish You Were Here”were recorded from Gilmour's car radio, with somebody turning the dial (the classical music heard is the finale of Tchaikovsky's Fourth Symphony).* [32] Vocals

121 for fear of“getting burned”, and thus two businessmen were pictured shaking hands, one man on fire. “Getting burned”was also a common phrase in the music industry, used often by artists denied royalty payments. Two stuntmen were used (Ronnie Rondell and Danny Rogers), one dressed in a fire-retardant suit covered by a business suit. His head was protected by a hood, underneath a wig. The photograph was taken at the Warner Bros. studios in Los Angeles.* [36]* [37] Initially the wind was blowing in the wrong direction, and the flames were forced into Rondell's face, burning his moustache. The two stuntmen changed positions, and the image was later reversed.* [38] The album's back cover depicts a faceless “Floyd salesman”, in Thorgerson's words, “selling his soul”in the desert (shot in the Yuma Desert in California). The absence of wrists and ankles signifies his presence as an “empty suit”. The inner sleeve shows a veil concealing a nude woman in a windswept Norfolk grove, and a splash-less diver at Mono Lake – titled Monosee on the liner notes – in California (again emphasising the theme of absence).* [36]* [37] The decision to shroud the cover in black plastic was not popular with the band's US record company, Columbia Records, who insisted that it be changed (they were overruled). EMI were less concerned;* [38]* [39] the band were reportedly extremely happy with the end product, and when presented with a pre-production mockup, they accepted it with a spontaneous round of applause.* [36]

Recording sessions had twice been interrupted by US tours (one in April and the other in June 1975),* [33] and the final sessions, which occurred after the band's performance at Knebworth, proved particularly troublesome for Waters.* [20] He struggled to record the vocals for“Have a Cigar”, requiring several takes to perform an acceptable version. His problems stemmed in part from the stresses placed upon his voice while recording the lead vocals of “Shine On You Crazy Diamond”. Gilmour was asked to sing in his place,* [27] but declined, and eventually colleague and friend Roy Harper was asked to stand in. Harper was recording his own album in another of Abbey Road's studios, and Gilmour had already performed some 6.9.5 Critical reception guitar licks for him. Waters later regretted the decision, believing he should have performed the song.* [34] The The band played much of Wish You Were Here on 5 July Blackberries recorded backing vocals for“Shine On You 1975 at an open-air music festival at Knebworth. Roy Crazy Diamond”.* [17] Harper, performing at the same event, on discovering that his stage costume was missing proceeded to destroy one of Pink Floyd's vans (injuring himself in the process). 6.9.4 Packaging This delayed the normal setup procedure of the band's Wish You Were Here was sold in one of the more elabo- sound system. As a pair of World War II Spitfire airrate packages to accompany a Pink Floyd album. Storm craft had been booked to fly over the crowd during their Thorgerson had accompanied the band on their 1974 entrance, the band were not able to delay their set. The tour, and had given serious thought to the meaning of the result was that a power supply problem pushed Wright's lyrics, eventually deciding that the songs were, in general, keyboards completely out of tune, damaging the band's concerned with“unfulfilled presence”, rather than Bar- performance. At one point he left the stage, but the band rett's illness.* [35] This theme of absence was reflected in were able to continue with a less sensitive keyboard, a the ideas produced by his long hours spent brainstorm- piano and a simpler light show. Following a brief intering with the band. Thorgerson had noted that Roxy Mu- mission, they returned to perform The Dark Side of the sic's Country Life was sold in an opaque green cellophane Moon, but critics displeased about *being* denied access sleeve – censoring the cover image – and he copied the backstage savaged the performance. [50] [51] idea, concealing the artwork for Wish You Were Here in a dark-coloured shrink-wrap (making the album art “absent”). The concept behind“Welcome to the Machine” and “Have a Cigar”suggested the use of a handshake (an often empty gesture), and George Hardie designed a sticker containing the album's logo of two mechanical hands engaged in a handshake, to be placed on the opaque sleeve. The album's cover image was inspired by the idea that people tend to conceal their true feelings,

The album was released on 12 September 1975 in the UK, and on the following day in the US.* [52] In Britain, with 250,000 advance sales it went straight to number one, and demand was such that EMI informed retailers that only 50 per cent of their orders would be fulfilled.* [53] With 900,000 advance orders (the largest for any Columbia release)* [54] it reached number one on the US Billboard chart in its second week. In 1991 Wish You Were Here was Pink Floyd's fastest-selling album

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CHAPTER 6. STUDIO ALBUMS

ever.* [53]

You Were Here album. The end result of all that, whatI can live with On release, the album received mixed reviews. Ben Ed- ever it was, definitely has left me an album * very very happily. I like it very much.” [12] munds wrote in Rolling Stone: Shine on You Crazy Diamond is initially credible because it purports to confront the subject of Syd Barrett, the long and probably forever lost guiding light of the original Floyd. But the potential of the idea goes unrealised; they give such a matter-of-fact reading of the goddamn thing that they might as well be singing about Roger Waters's brother-in-law getting a parking ticket. This lackadaisical demeanor forces, among other things, a reevaluation of their relationship to all the space cadet orchestras they unconsciously sired. The one thing those bands have going for them, in their cacophonously inept way, is a sincere passion for their “art.”And passion is everything of which Pink Floyd is devoid.* [47] Melody Maker 's reviewer similarly opined: “From whichever direction one approaches Wish You Were Here, it still sounds unconvincing in its ponderous sincerity and displays a critical lack of imagination in all departments.” * [52] Robert Christgau thought highly of the album, however, writing“the music is not only simple and attractive, with the synthesizer used mostly for texture and the guitar breaks for comment, but it actually achieves some of the symphonic dignity (and cross-referencing) that The Dark Side of the Moon simulated so ponderously.”* [43] He later wrote: “My favorite Pink Floyd album has always been Wish You Were Here, and you know why? It has soul, that's why – it's Roger Waters's lament for Syd, not my idea of a tragic hero but as long as he's Roger's that doesn't matter.”* [55] Modern reception has been mostly positive, and in 2012, Wish You Were Here was voted 211th on Rolling Stone magazine's list of the“500 Greatest Albums of All Time” .* [56] In 1998 Q readers voted Wish You Were Here the 34th greatest album of all time.* [57] In 2000 the same magazine placed it at number 43 in its list of the 100 Greatest British Albums Ever.* [58] In 2007, one of Germany's largest public radio stations, WDR 2, asked its listeners to vote for the 200 best albums of all time. Wish You Were Here was voted number one.* [59] In 2004 Wish You Were Here was ranked number 36 on Pitchfork Media's list of the Top 100 albums of the 1970s.* [60] IGN rated Wish You Were Here as the 8th greatest classic rock album.* [61] Despite the problems during production, the album remained Wright's favourite: “It's an album I can listen to for pleasure, and there aren't many Floyd albums that I can.”* [4]* [62] Gilmour shares this view: “I for one would have to say that it is my favourite album, the Wish

Sales Pink Floyd and their manager Steve O'Rourke had been dissatisfied with the efforts of EMI's US label Capitol Records,* [63] and Wish You Were Here was Pink Floyd's first album with Columbia Records, an affiliate of CBS. The band remained with EMI's Harvest Records in Europe.* [64] As a result of the label switch, the band gained ownership of their recordings, so that, from Wish You Were Here onward, every one of their albums has been copyrighted to either “Pink Floyd Music Limited”or (after Waters' departure) “Pink Floyd (1987) Ltd.”instead of the corresponding record label. The album was certified Silver and Gold (60,000 and 100,000 sales respectively) in the UK on 1 August 1975, and Gold in the US on 17 September 1975. It was certified six times platinum on 16 May 1997,* [65] and by 2004 has sold an estimated 13 million copies worldwide.* [37] “Have a Cigar”was chosen by Columbia as their first single,* [6] with“Welcome to the Machine”on the B-side in the US.* [nb 4]

6.9.6 Reissues and remastering Wish You Were Here has been remastered and re-released on several formats. In the UK and US the album was reissued in quadraphonic using the SQ format in 1976,* [nb 5] and in 1980 a special Hi-Fi Today audiophile print was released in the UK.* [nb 6] In the US it was released on CD in 1983, and in the UK 1985,* [nb 7] and again as a remastered CD with new artwork in 1994.* [nb 8] In the US, Columbia's CBS Mastersound label released a half-speed mastered audiophile LP in 1981,* [nb 9] and in 1994 Sony Mastersound released a 24-carat gold-plated CD, remastered using Super Bit Mapping, with the original artwork from the LP in both longbox and jewel case forms, the latter with a cardboard slipcover.* [nb 10]* [37] The album was included as part of the box set Shine On,* [67] and five years later Columbia Records released an updated remastered CD, 17 seconds longer than the EMI remasters from 1994, giving a running time of 44:28. Its label was a recreation of the original machine handshake logo, with a black and blue background.* [nb 11] The album was subsequently re-released in 2000 for its 25th anniversary, on the Capitol Records label in the US.* [nb 12]* [37] The album was re-released and remixed in 2011 in multiple editions as part of the Why Pink Floyd...? reissue campaign. The Immersion Box Set includes the new stereo digital remaster (2011) by James Guthrie on CD, a previously unreleased 5.1 Surround Mix (2009) by James Guthrie on DVD and Blu-ray, a Quad Mix (previously released only on vinyl LP and 8-track tape) on DVD, as

6.9. WISH YOU WERE HERE (PINK FLOYD ALBUM) well as the original stereo mix (1975) on DVD and Bluray.* [nb 13] This campaign also featured the 2011 stereo remaster on 180g heavyweight vinyl * [nb 14] as well as the 2011 stereo remaster and the 5.1 surround sound mix (2009) as a Hybrid SACD.

123

[1] Schaffner 1991, p. 178 [2] Schaffner 1991, pp. 178–184 [3] Mason 2005, p. 204 [4] The Pink Floyd and Syd Barrett Story (DVD), BBC, 2003

6.9.7

Track listing

[5] Di Perna 2002, p. 23 [6] Schaffner 1991, p. 187

All lyrics written by Roger Waters.

6.9.8

Personnel

6.9.9

Sales chart performance

[7] Schaffner 1991, p. 188 [8] Mason 2005, p. 177 [9] Mason 2005, pp. 134, 200 [10] Mason 2005, p. 200

Peak positions

[11] Mason 2005, pp. 202–203

Certifications

[12] In the Studio with Redbeard, Barbarosa Ltd. Productions, 1992

*

[84]

[13] Mason 2005, p. 208 [14] Schaffner 1991, pp. 184–185

6.9.10

References

Notes

[15] Mason 2005, p. 202 [16] Mason 2005, p. 201

[1] The first two would later be renamed "Sheep" and "Dogs", and reappear on Animals.

[17] Blake 2008, p. 224

[2] There seems to be some confusion about the date that Barrett turned up, and Gilmour's wedding. Blake (2008) writes that Gilmour's wedding was on 7 July, the date also given by Ginger in“The Pink Floyd FAQ”, but that witnesses swore they saw Barrett at his reception at Abbey Road. Other authors claim that the reception and Barrett's visit were on 5 June.

[19] Watkinson & Anderson 2001, p. 119

[3] Nick Mason has expressed doubt over this.* [13]

[23] Mason 2005, pp. 206–208

[4] EMI Capitol 72438–58885* [66]

[24] Watkinson & Anderson 2001, p. 120

[5] EMI Harvest Q4 SHVL 814 (UK), Columbia PCQ 33453 (US)

[18] Schaffner 1991, p. 184

[20] Povey 2007, p. 190 [21] Schaffner 1991, pp. 185–186 [22] Schaffner 1991, p. 189

[25] Schaffner 1991, pp. 189–190 [26] Watkinson & Anderson 2001, p. 121

[6] EMI Harvest SHVL 814

[27] Mason 2005, p. 206

[7] Columbia CK 33453 (US), EMI CDP 7460352 (UK)

[28] Wilson, John (26 September 2011), Violinist Grappelli found on 'lost' Pink Floyd track, BBC, retrieved 24 September 2012

[8] EMI CD EMD 1062 [9] Columbia HC 33453 [10] Columbia CK 53753 [11] Columbia CK 64405 [12] Capitol 72438297502 [13] Capitol 509990294352 [14] Capitol 5099902988016

Footnotes

[29] Richard, Metzger (26 April 2013), Wish You Were Here: Pink Floyd Jam with Stéphane Grappelli, 1975, Dangerous Minds, retrieved 27 April 2013 [30] UK CPI inflation numbers based on data available from Gregory Clark (2014), "What Were the British Earnings and Prices Then? (New Series)" MeasuringWorth. [31] Schaffner 1991, pp. 188–189 [32] Blake 2008, p. 230 [33] Schaffner 1991, pp. 186–187

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[34] Schaffner 1991, pp. 187–188 [35] Schaffner 1991, p. 190 [36] Schaffner 1991, pp. 190–192 [37] Povey 2007, p. 346 [38] Stuart, Julia (7 March 2007), “Cover stories” (Registration required), The Independent hosted at infoweb.newsbank.com, retrieved 21 August 2009 [39] Kean, Danuta (21 June 2007), “Cover story that leaves authors out of picture”, Financial Times, retrieved 21 August 2009 [40] Erlewine, Stephen Thomas, Wish You Were Here, allmusic.com, retrieved 14 August 2009 [41] Lusk, Jon (19 April 2007), Pink Floyd Wish You Were Here Review, bbc.co.uk, retrieved 14 August 2009 [42] Twist, Carlo, Pink Floyd - Wish You Were Here, blender.com, retrieved 14 August 2009 [43] Christgau, Robert (1975), Pink Floyd – Wish You Were Here, robertchristgau.com, retrieved 14 August 2009 [44] “Pink Floyd Wish You Were Here". Acclaimed Music. Retrieved 27 December 2014. [45] Findelle, Stan (2 November 1975), Wish You Were Here: Pink Floyd, Los Angeles Times, p. O63 [46] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612. [47] Edmunds, Ben (6 November 1975), “Pink Floyd – Wish You Were Here”, Rolling Stone, archived from the original on 3 May 2008, retrieved 14 August 2009 [48] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014. [49] [50] Schaffner 1991, pp. 192–193 [51] Mason 2005, pp. 211–212 [52] Povey 2007, p. 197 [53] Schaffner 1991, p. 193 [54] Blake 2008, p. 235 [55] Christgau, Robert (1997), Radiohead – OK Computer, robertchristgau.com, retrieved 30 July 2012 [56] “500 Greatest Albums of All Time: Pink Floyd, Wish You Were Here". Rolling Stone. Retrieved 12 June 2012. [57]“Q Readers All Time Top 100 Albums”, Q (Q137 ed.), February 1998 [58]“The 100 Greatest British Albums Ever”, Q (Q165 ed.), 2000-06 Check date values in: |date= (help)

CHAPTER 6. STUDIO ALBUMS

[59] WDR listeners vote album No. 1 (in German), wdr.de, 3 October 2007, archived from the original on 11 April 2008, retrieved 14 August 2009 [60] Top 100 Albums of the 1970s, pitchfork.com, 23 June 2004, retrieved 14 August 2009 [61] Top 25 Classic Rock Albums, ign.com, retrieved 27 January 2010 [62] Redbeard (28 September 2008), Pink Floyd – Richard Wright Tribute, inthestudio.net, retrieved 14 August 2009 [63] Harris 2006, pp. 158–161 [64] Schaffner 1991, p. 173. [65] RIAA – Gold & Platinum, riaa.com, retrieved 15 August 2009 [66] Povey 2007, p. 347 [67] Eder, Bruce, Shine On – Review, allmusic.com, retrieved 15 August 2009 [68] “Pink Floyd UK Chart History”. Official Charts Company. Retrieved 30 July 2013. [69] allmusic Pink Floyd, Billboard Albums, allmusic.com, retrieved 15 August 2009 [70] Pink Floyd – Wish You Were Here, infodisc.com, retrieved 2 March 2009 [71] http://www.musikmarkt.de/Charts/Chartsgalerie/ Albumcharts/Albumcharts-1975/15.11.1975 [72] Pink Floyd – Wish You Were Here (album), austriancharts.at, retrieved 18 August 2009 [73] Pink Floyd – Wish You Were Here swedishcharts.com, retrieved 18 August 2009

(album),

[74] Pink Floyd – Wish You Were Here, norwegiancharts.com, retrieved 2 July 2009 [75]“Discos de oro y platino”(in Spanish). Cámara Argentina de Productores de Fonogramas y Videogramas. Archived from the original on 6 July 2011. Retrieved 15 August 2012. [76] “ARIA Charts – Accreditations – 2011 Albums”. Australian Recording Industry Association. Retrieved 21 August 2012. [77] “Austrian album certifications – Pink Floyd – Wish You Were Here” (in German). IFPI Austria. Retrieved 21 August 2012. Enter Pink Floyd in the field Interpret. Enter Wish You Were Here in the field Titel. Select album in the field Format. Click Suchen [78] “Canadian album certifications – Pink Floyd – Wish You Were Here”. Music Canada. Retrieved 21 August 2012. [79] “French album certifications – Pink Floyd – Wish You Were Here” (in French). InfoDisc. Retrieved 21 August 2012. Select PINK FLOYD and click OK

6.10. ANIMALS (PINK FLOYD ALBUM)

[80] “Gold-/Platin-Datenbank (Pink Floyd; 'Wish You Were Here')" (in German). Bundesverband Musikindustrie. Retrieved 21 August 2012. [81] “Italian album certifications – Pink Floyd – Wish You Were Here” (in Italian). Federation of the Italian Music Industry. Retrieved 21 August 2012. Select Album e Compilation in the field Scegli la sezione. Select Week -and Year ----. Enter Pink Floyd in the field Artista. Click Avvia la ricerca

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6.9.11 External links • Official Pink Floyd website

6.10 Animals (Pink Floyd album)

Animals is the tenth studio album by English progressive rock group Pink Floyd, released in January 1977. A [82] “Polish album certifications – Pink Floyd – Wish You concept album, it provides a scathing critique of the Were Here” (in Polish). Polish Producers of Audio and social-political conditions of late 1970s Britain, and Video (ZPAV). Retrieved 8 January 2014. presents a marked change in musical style from their ear[83] “British album certifications – Pink Floyd – Wish You lier work. Animals was recorded at the band's studio, BriWere Here”. British Phonographic Industry. Retrieved tannia Row, in London, but its production was punctu21 August 2012. Enter Wish You Were Here in the field ated by the early signs of discord that several years later Keywords. Select Title in the field Search by. Select al- would culminate in keyboardist Richard Wright leaving bum in the field By Format. Select Platinum in the field the band. The album's cover image, a pig floating beBy Award. Click Search tween two chimneys on Battersea Power Station, was conceived by bassist and writer Roger Waters, and pho[84] tographed by long-time collaborators Hipgnosis. [85] “American album certifications – Pink Floyd – Wish You Were Here”. Recording Industry Association of America. Retrieved 21 August 2012. If necessary, click Advanced, then click Format, then select Album, then click SEARCH

The album was released to generally positive reviews in the United Kingdom, where it reached number 2. It was also a success in the United States, reaching number 3 on the Billboard 200, and although it scored on the American charts for only six months, steady sales have resulted in Bibliography its certification by the RIAA at four times platinum. The • Blake, Mark (2008), Comfortably Numb ̶The In- size of the venues on the band's In the Flesh Tour, and an side Story of Pink Floyd, Da Capo, ISBN 0-306- incident in which Waters spat at a fan, prompted him to conceive the band's subsequent album, The Wall. 81752-7 • Di Perna, Alan (2002), Guitar World Presents Pink Floyd, Hal Leonard Corporation, ISBN 0-634- 6.10.1 Background 03286-0 In 1975 Pink Floyd bought a three-storey block of church • Harris, John (2006), The Dark Side of the Moon (3 halls at 35 Britannia Row in Islington, north London. ed.), Harper Perennial, ISBN 978-0-00-779090-6 Their deal with record company EMI, for unlimited stu• Mason, Nick (2005), Philip Dodd, ed., Inside Out ̶ dio time in return for a reduced percentage of sales, had A Personal History of Pink Floyd (Paperback ed.), expired, and they converted the building into a recording studio and storage facility. Its construction took up most Phoenix, ISBN 0-7538-1906-6 of 1975, and in April 1976 the band started work on their • Povey, Glenn (2007), Echoes, Mind Head Publish- tenth studio album, Animals, at the new facility.* [2]* [3] ing, ISBN 0-9554624-0-1 • Schaffner, Nicholas (1991), Saucerful of Secrets (1 6.10.2 Concept ed.), London : Sidgwick & Jackson, ISBN 0-28306127-8 Animals is the child of a Waters concept. Loosely based • Watkinson, Mike; Anderson, Pete (2001), Crazy di- on George Orwell's political fable Animal Farm, its lyrics amond: Syd Barrett & the dawn of Pink Floyd (Illus- describe various classes in society as different kinds of animals: the combative dogs, despotic ruthless pigs, and trated ed.), Omnibus Press, ISBN 0-7119-8835-8 the “mindless and unquestioning herd”of sheep.* [4] Whereas the novella focuses on Stalinism, the album is Further reading a critique of capitalism and differs again in that the sheep * * • Reising, Russell (2005), Speak to Me, Ashgate Pub- eventually rise up to overpower the dogs. [4] [5] The album was developed from a collection of unrelated songs lishing, Ltd, ISBN 0-7546-4019-1 into a concept which, in the words of author Glenn Povey, • For a television documentary on the album, see The “described the apparent social and moral decay of sociStory Of Wish You Were Here, Eagle Rock, 25 June ety, likening the human condition to that of mere ani2012 mals”.* [6]

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Apart from its critique of society, the album is also a partresponse to the punk rock movement,* [7] which grew in popularity as a nihilistic statement against the prevailing social and political conditions, and also a reaction to the general complacency and nostalgia that appeared to surround rock music. Pink Floyd were an obvious target for punk musicians, notably Johnny Rotten, who wore a Pink Floyd T-shirt on which the words “I hate”had been written in ink. Drummer Nick Mason later stated that he welcomed the“Punk Rock insurrection”and viewed it as a welcome return to the underground scene from which Pink Floyd had grown. In 1977 he produced The Damned's second album, Music for Pleasure, at Britannia Row.* [8]

Gilmour was distracted by the birth of his first child, and contributed little else towards the album. Similarly, neither Mason nor Wright contributed as much as they had on previous albums, and Animals was the first Pink Floyd album not to contain a composer's credit for Wright.* [15] Roger's thing is to dominate, but I am happy to stand up for myself and argue vociferously as to the merits of different pieces of music, which is what I did on Animals. I didn't feel remotely squeezed out of that album. Ninety per cent of the song “Dogs”was mine. That song was almost the whole of one side, so that's half of Animals. “ ” – David Gilmour, Mojo (2008)* [16]

In his 2008 book Comfortably Numb, author Mark Blake argues that "Dogs" contains some of David Gilmour's finest work; although the guitarist sings only one lead vocal, his performance is “explosive”.* [9] The song also contains notable contributions from keyboardist Richard Wright, which echo the funereal synthesizer sounds used on the band's previous album, Wish You Were Here. "Pigs (Three Different Ones)" is audibly similar to "Have a Cigar", with bluesy guitar fills and elaborate bass lines. Of the song's three pigs, the only one directly identified is morality campaigner Mary Whitehouse, who amongst other things is described as a“house-proud town mouse” .* [10] "Sheep" contains a modified version of Psalm 23, which continues the traditional “The Lord is my shepherd”with words like“he maketh me to hang on hooks in high places and converteth me to lamb cutlets”(referring to the sheep of the title). Towards the end of the song, the eponymous sheep rise up and kill the dogs, but later retire back to their homes. The album is book-ended by each half of "Pigs on the Wing", a simple love song in which a glimmer of hope is offered despite the anger expressed in the album's three other songs. Described by author Andy Mabbett as "[sitting] in stark contrast to the heavyweight material between them”,* [11] the two halves of the song were heavily influenced by Waters' relationship with his then-girlfriend.* [10]* [12]

6.10.3

The band had discussed employing another guitarist for future tours, and Snowy White was therefore invited into the studio. When Waters and Mason inadvertently erased one of Gilmour's completed guitar solos, White was asked to record a solo on “Pigs on the Wing”. Although his performance was omitted from the vinyl release, it was included on the eight-track cartridge version. White later performed on the Animals tour.* [2] Mason recalled that he enjoyed working on Animals more than he had working on Wish You Were Here.* [17]

6.10.4 Packaging See also: Pink Floyd pigs Once the album was complete, work began on its cover.

Recording

Animals was engineered by a previous Floyd collaborator, Brian Humphries,* [2] and recording took place at Britannia Row from April to December 1976, continuing into early 1977.* [13] “Raving and Drooling”and “You've Got to Be Crazy”, two songs previously performed live and considered for Wish You Were Here, reappeared as “Sheep”and “Dogs”respectively.* [2] They were reworked to fit the new concept, and separated by a Waters-penned composition, “Pigs (Three Different Ones)". With the exception of “Dogs”(co-written by Gilmour) the album's five tracks were written by Waters. The song contains references to Waters' private life; his new romantic interest was Carolyne Anne Christie (married to Rock Scully, manager of the Grateful Dead).* [14]

Battersea Power Station is the subject for the album's cover image.

Hipgnosis, designer of the band's previous album covers, offered three ideas, one of which was a small child entering his parents' bedroom to find them having sex: “copulating, like animals!"* [18] The final concept was, unusually, designed by Waters. At the time he lived near Clapham Common, and regularly drove past Battersea Power Station, which was by then approaching the end of its useful life. A view of the building was chosen for the cover image, and the band commissioned German company Ballon Fabrik (who had previously constructed Zeppelin airships)* [19] and Australian artist

6.10. ANIMALS (PINK FLOYD ALBUM) Jeffrey Shaw* [20] to build a 30 feet (9.1 m) porcine balloon (known as Algie). The balloon was inflated with helium and manoeuvred into position on 2 December, with a marksman ready to fire if it escaped. Unfortunately inclement weather delayed work, and the band's manager Steve O'Rourke neglected to book the marksman for a second day; the balloon broke free of its moorings and disappeared from view. It eventually landed in Kent and was recovered by a local farmer, who was apparently furious that it had “scared his cows”.* [21] The balloon was recovered and filming continued for a third day, but as the early photographs of the power station were considered better, the image of the pig was later superimposed onto one of those.* [21]* [22] During the “Isles of Wonder”short film shot by Danny Boyle and shown as part of the Opening Ceremonies of the 2012 Summer Olympics in London, the camera zooms down the length of the River Thames, from a small spring in the countryside all the way to the Olympic venue. During the fly-by, a pig can be seen floating above Battersea Power Station.* [23]

127 have been made available this side of the sun”,* [32] and Melody Maker 's Karl Dallas described it as "[an] uncomfortable taste of reality in a medium that has become in recent years, increasingly soporific”.* [32] Rolling Stone 's Frank Rose was similarly unimpressed, writing: “The 1977 Floyd has turned bitter and morose. They complain about the duplicity of human behavior (and then title their songs after animals – get it?). They sound like they've just discovered this – their message has become pointless and tedious.”* [33] Robert Christgau of The Village Voice gave the album a “B+" rating and found the negative reaction overly cynical, reasoning that the album functions simply as“a piece of well-constructed political program music ... lyrical, ugly, and rousing, all in the right places” .* [34]

In his 2004 autobiography Inside Out, Nick Mason suggests that the album's perceived harshness, when compared to previous Floyd releases, may be a result of a “workman-like mood in the studio”, and a subconscious reaction to the accusations from the aforementioned punk genre that bands like Pink Floyd represented “dinosaur * by the RIAA as 4× The album's theme continues onto the record's picture rock”. [35] Animals was certified * Platinum on 31 January 1995. [36] labels. Side one's label shows a fisheye lens view of a dog and the English countryside, and side two features a pig and sheep, in the same setting. Mason's handwritReissues ing is used as a typeface throughout the packaging. The gatefold features monochrome photographs of the dereOriginally released on Harvest Records in the UK and liction around the power station. Columbia Records in the US, Animals was issued on Compact Disc (CD) in 1985,* [nb 2] and in the US in 1987.* [nb 3] It was reissued as a digitally remastered CD 6.10.5 Release with new artwork in 1994,* [nb 4] and as a digitally remastered limited-edition vinyl album in 1997.* [nb 5] An Animals was a slog. It wasn't a fun record to make, but anniversary edition was released in the US in the same this was when Roger really started to believe that he was year,* [nb 6] followed in 2000 by a reissue from Capitol the sole writer for the band. He believed that it was only Records.* [nb 7]* [31] The album was also included in the because of him that the band was still going, and obvi- Shine On box set. ously, when he started to develop his ego trips, the person he would have his conflicts with would be me. Tour “ ” –Richard Wright* [9] Animals was released in the UK on 23 January 1977,* [21]* [nb 1] and in the US on 12 February. It reached number two in the UK charts, and number three in the US charts.* [31] The album's release followed Capital Radio's broadcast two days earlier of The Pink Floyd Story, and an evening press conference held at the power station two days before that.* [13] The broadcast was originally to have been an exclusive for the Londonbased station, who since mid-December had been broadcasting The Pink Floyd Story, but a copy was given to John Peel, who played side one of the album in its entirety a day earlier.* [13]* [21] NME called Animals“one of the most extreme, relentless, The band played at Soldier Field in Chicago during their In the harrowing and downright iconoclastic hunks of music to Flesh Tour in 1977.

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The album became the subject material for the band's In 6.10.10 References the Flesh Tour, which began in Dortmund on the same day the album was released. The tour continued through Notes Europe in February, the UK in March, the US for three weeks in April and May, and another three weeks in the [1] Povey (2007) suggests the album was released on 21 JanUS in June and July. Algie became the inspiration for a uary, Mason (2005) suggests 28 January number of pig themes used throughout. An inflatable pig was floated over the audience, and during each perfor- [2] EMI CDP 7461282 mance was replaced with a cheaper, but explosive version. [3] Columbia CK 34474 On one occasion the mild propane gas was replaced with an oxygen-acetylene mixture, producing a massive (and [4] EMI CD EMD 1060 dangerous) explosion. German promoter Marcel Avram presented the band with a piglet in Munich, only for it to [5] EMI EMD 1116 leave a trail of broken mirrors and excrement across its [6] Columbia CK 68521 mirrored hotel room, leaving manager O'Rourke to deal [7] Capitol CDP 724382974826 with the resulting fallout.* [37] The band were joined by familiar figures such as Dick [8] EMI Harvest SHVL 815 (vinyl album)* [31] Parry and Snowy White,* [38] but relations within the * band became fraught. Waters took to arriving at the [9] Columbia JC 34474 (vinyl album) [31] venues alone, departing as soon as each performance was over. On one occasion, Wright flew back to England, Footnotes threatening to leave the band. The size of the venues was also an issue; in Chicago, the promoters claimed to [1] Greene, Andy (16 August 2013).“Weekend Rock Queshave sold out the 67,000 capacity of the Soldier Field station: What Is the Best Prog Rock Album of the 1970s?". dium, but Waters and O'Rourke were suspicious. They Rolling Stone (New York). Retrieved 18 July 2014. hired a helicopter, photographer and attorney, and discovered that the actual attendance was 95,000; a shortfall [2] Mason 2005, pp. 218–220 to the band of $640,000.* [39] The end of the tour was [3] Blake 2008, p. 239 a low point for Gilmour, who felt that they had by now achieved the success they originally sought, and that there [4] Schaffner 1991, p. 199 was nothing else they could look forward to.* [40] In July [5] Blake 2008, pp. 241–242 1977 – on the final date at the Montreal Olympic Stadium – a small group of noisy and excited fans in the front row [6] Povey 2005, p. 200 of the audience irritated Waters to such an extent that he spat at one of them. He was not the only person who [7] Browne, Pat (15 June 2001),“Pink Floyd”, The guide to United States popular culture, p. 610, ISBN 978-0-87972felt depressed about playing to such large audiences, as 821-2 Gilmour refused to perform the band's usual twelve-bar blues encore.* [41] Waters later spoke with producer Bob [8] Schaffner 1991, pp. 194–196 Ezrin and told him of his sense of alienation on the tour, and how he sometimes felt like building a wall to separate [9] Blake 2008, p. 243 himself from the audience. The spitting incident would [10] Blake 2008, pp. 243–244 later form the basis of a new concept,* [41] which would eventually become one of the band's most successful al- [11] Mabbett 1995, p. 70 bum releases, The Wall. [12] Mabbett 1995, pp. 70–71

6.10.6

Track listing

All lyrics written by Roger Waters, except where noted.

[13] Povey 2007, p. 208 [14] Blake 2008, pp. 244–245 [15] Blake 2008, pp. 242–243

6.10.7

Personnel

6.10.8

Charts and certifications

[16] Blake, Mark (2008), Read David Gilmour Summer 2008 Interview for Mojo. Great Read!, neptunepinkfloyd.co.uk, retrieved 14 October 2009 [17] Mason 2005, p. 220

6.10.9

See also

[18] Blake 2008, p. 245

• Live Frogs Set 2

[19] Povey 2007, p. 201

6.10. ANIMALS (PINK FLOYD ALBUM)

129

[20] Jeffrey Shaw, Pig for Pink Floyd, medienkunstnetz.de, retrieved 21 May 2009

[45] "Pink Floyd – Animals”. Officialcharts.de. GfK Entertainment. Retrieved 5 August 2014.

[21] Blake 2008, p. 246

[46] “Archivio - Album - Classifica settimanale WK 44 (dal 01-11-2010 al 07-11-2010)" (in Italian). Federation of the Italian Music Industry. Archived from the original on 5 August 2014. Retrieved 5 August 2014.

[22] Mason 2005, pp. 223–225 [23] “Opening Ceremony: The Isles of Wonder – Video”. NBC Olympics. Retrieved 30 July 2012. [24] Erlewine, Stephen Thomas. Album review at AllMusic. Retrieved 30 April 2013. [25] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 18 July 2014. [26] Larkin 2011, pp. 2065–66. [27] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612. [28] Album review, pitchfork.com, retrieved 4 July 2011 [29] Garratt, John (22 November 2011). “Pink Floyd: Animals”. PopMatters. Retrieved 18 July 2014. [30] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014. [31] Povey 2007, p. 347 [32] Blake 2008, p. 247 [33] Rose, Frank (24 March 1977), Pink Floyd Animals, rollingstone.com, archived at web.archive.org, archived from the original on 18 June 2008, retrieved 13 October 2009 [34] Christgau, Robert (25 April 1977). “Christgau's Consumer Guide”. The Village Voice (New York). Retrieved 18 July 2014. [35] Mason 2005, pp. 220–221 [36] Searchable database, riaa.com, retrieved 13 October 2009 [37] Mason 2005, pp. 225–226 [38] Blake 2008, pp. 248–249 [39] Blake 2008, pp. 252–253 [40] Mason 2005, p. 230 [41] Mason 2005, pp. 235–236 [42] "Pink Floyd – Animals” (in German). Austriancharts.at. Hung Medien. Retrieved 5 August 2014.

[47] "Pink Floyd – Animals”. Charts.org.nz. Hung Medien. Retrieved 5 August 2014. [48] "Pink Floyd – Animals”. Norwegiancharts.com. Hung Medien. Retrieved 5 August 2014. [49] "Pink Floyd – Animals”. Spanishcharts.com. Hung Medien. Retrieved 5 August 2014. [50] "Pink Floyd – Animals”. Swedishcharts.com. Hung Medien. Retrieved 5 August 2014. [51] "Pink Floyd – Animals”. Swisscharts.com. Hung Medien. Retrieved 5 August 2014. [52] “Austrian album certifications – Pink Floyd – Animals” (in German). IFPI Austria. Retrieved 5 August 2014. Enter Pink Floyd in the field Interpret. Enter Animals in the field Titel. Select album in the field Format. Click Suchen [53] “Canadian album certifications – Pink Floyd – Animals” . Music Canada. Retrieved 5 August 2014. [54] “French album certifications – Pink Floyd – Animals” (in French). InfoDisc. Retrieved 5 August 2014. Select PINK FLOYD and click OK [55] “Gold-/Platin-Datenbank (Pink Floyd; 'Animals')" (in German). Bundesverband Musikindustrie. Retrieved 5 August 2014. [56] “Italian album certifications – Pink Floyd – Animals” (in Italian). Federation of the Italian Music Industry. Retrieved 5 August 2014. Select Album e Compilation in the field Scegli la sezione. Select Week -- and Year ----. Enter Pink Floyd in the field Artista. Click Avvia la ricerca [57] “British album certifications – Pink Floyd – Animals”. British Phonographic Industry. Retrieved 5 August 2014. Enter Animals in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Gold in the field By Award. Click Search [58] “American album certifications – Pink Floyd – Animals” . Recording Industry Association of America. Retrieved 5 August 2014. If necessary, click Advanced, then click Format, then select Album, then click SEARCH

Bibliography

[43] "Pink Floyd – Animals” (in Dutch). Dutchcharts.nl. Hung Medien. Retrieved 5 August 2014.

• Blake, Mark (2008), Comfortably Numb – The Inside Story of Pink Floyd, Da Capo Press, ISBN 0306-81752-7

[44] "Pink Floyd – Animals”. Lescharts.com. Hung Medien. Retrieved 5 August 2014.

• Larkin, Colin (2011). The Encyclopedia of Popular Music. Omnibus Press. ISBN 0-85712-595-8.

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• Mason, Nick (2005), Philip Dodd, ed., Inside Out – 6.11.1 Background A Personal History of Pink Floyd (Paperback ed.), Phoenix, ISBN 0-7538-1906-6 Pink Floyd's In the Flesh Tour was their first playing in large stadiums, and in July 1977 – on the final date at the • Mabbett, Andy (1995), The Complete Guide to the Montreal Olympic Stadium – a small group of noisy and Music of Pink Floyd, Omnibus Pr, ISBN 0-7119- excited fans near the stage irritated Waters to such an ex4301-X tent that he spat at one of them.* [1] He was not the only band member who felt disaffected at the show, as guiband's usual • Povey, Glenn (2007), Echoes, Mind Head Publish- tarist David Gilmour refused to perform the * encores ("Money" and "Us and Them"), [2] leaving the ing, ISBN 0-9554624-0-1 rest of the band, with backup guitarist Snowy White, to improvise a slow, sad twelve-bar blues, which Waters de• Schaffner, Nicholas (1991), Saucerful of Secrets (1st scribed as “some music to go home to”.* [3]* [4] Later ed.), London: Sidgwick & Jackson, ISBN 0-283- that night, while returning from hospital to treat an in06127-8 jury sustained to his foot while play-fighting backstage with manager Steve O'Rourke, Waters spoke with music producer Bob Ezrin, and a friend of Ezrin's, a psychiatrist sharing their car, about the feelings of alienation he was experiencing on the tour. He articulated his desire 6.11 The Wall to isolate himself by constructing a wall across the stage between the performers and the audience.* [5] He later For Vietnam Veterans Memorial, see Vietnam Veterans said, “I loathed playing in stadiums ... I kept saying to Memorial. For the film, see Pink Floyd – The Wall. For people on that tour, 'I'm not really enjoying this ... there is other things named “Wall”or “The Wall”, see Wall something very wrong with this.'"* [6] While Gilmour and (disambiguation). Wright were in France recording solo albums, and Nick Mason was busy producing Steve Hillage's Green, WaThe Wall is the eleventh studio album by the English ters began to write new material.* [7] The spitting incident progressive rock band Pink Floyd. It is the last studio al- became the starting point for a new concept, which exbum released with the classic lineup of Gilmour, Waters, plored the protagonist's self-imposed isolation after years Wright and Mason before keyboardist Richard Wright of traumatic interactions with authority figures and the left the band. Released as a double album on 30 Novem- loss of his father as a young child. To execute The Wall ber 1979, it was supported by a tour with elaborate the- concept was to attempt to analyse the performer's psyatrical effects, and adapted into a 1982 feature film, Pink chological separation from the audience, using a physical structure as a metaphorical and theatrical device.* [4] Floyd – The Wall. As with Pink Floyd's previous three albums, The Wall is a concept album and explores themes of abandonment and personal isolation. The album is a rock opera that follows Pink, a character whom bassist and lyricist Roger Waters modelled after himself and the band's original leader, Syd Barrett. Pink's life begins with the loss of his father during the Second World War and continues with abuse from his schoolteachers, an overprotective mother, and the breakdown of his marriage; all contribute to his eventual self-imposed isolation from society, represented by a metaphorical wall. Waters conceived the album during Pink Floyd's 1977 In the Flesh Tour, when his frustration with the audience became so acute that he imagined a wall between the audience and the stage. The Wall features a harsher and more theatrical style than Pink Floyd's previous albums. Wright left the band during its production but remained as a salaried musician, performing with Pink Floyd during the Wall tour. The album was one of the best selling of 1980, and by 1999 it had sold over 23 million RIAA certified units (11.5 million albums) in the United States. Rolling Stone magazine placed The Wall at number 87 on its list of The 500 Greatest Albums of All Time.

In July 1978 the band reconvened at Britannia Row Studios, where Waters presented two new ideas for concept albums. The first was a 90-minute demo with the working title Bricks in the Wall.* [8] The second, a project about a man's dreams across one night that dealt with marriage, sex, and the pros and cons of monogamy and family life versus promiscuity.* [9] The first option was chosen by the group for the new Pink Floyd project and the second idea eventually became Waters's first solo effort, a concept album titled The Pros and Cons of Hitch Hiking.* [8] By September, the band were experiencing financial difficulties.* [10] Financial planners Norton Warburg Group (NWG) had invested £1.3–3.3 million (up to £16.5 million in contemporary value* [11]) of the group's money in high-risk venture capital to reduce their tax liabilities. The strategy failed as many of the businesses NWG invested in lost money, leaving the band facing tax rates potentially as high as 83 per cent. Pink Floyd terminated their relationship with NWG, demanding the return of uninvested funds.* [12]* [nb 1] The band thus urgently needed to produce an album to make money. Because the project's 26 tracks presented a challenge greater than the band's previous albums, “Waters decided to bring

6.11. THE WALL

131

in an outside producer and collaborator.”* [8] He later the melody of the last song hinting at the cyclical nature said, “I needed a collaborator who was musically and of Waters' theme.* [24] intellectually in a similar place to where I was.”* [13] The album includes several references to former band At the suggestion of Waters's then-girlfriend, Lady Car- member Syd Barrett, including "Nobody Home", which olyne Christie, who had worked as Bob Ezrin's secretary, hints at his condition during Pink Floyd's abortive US tour the band hired him to co-produce the album.* [10] He had of 1967, with lyrics such as “wild, staring eyes”, “the worked with Alice Cooper, Lou Reed and Kiss and he obligatory Hendrix perm”and “elastic bands keeping produced Peter Gabriel's debut solo album.* [14] From my shoes on”. “Comfortably Numb”was inspired by the start, Waters left Ezrin in no doubt as to who was in Waters's injection with a muscle relaxant to combat the charge: “You can write anything you want. Just don't effects of hepatitis during the In the Flesh Tour, while in expect any credit”.* [15] Ezrin, Waters, and Gilmour Philadelphia.* [25] read Waters's concept, keeping what they liked, and discarding what they thought was not good enough. Waters and Ezrin worked mostly on the story, improving 6.11.3 Recording the concept.* [16] A 40-page script was presented to the rest of the band, with positive results: “The next day at the studio, we had a table read, like you would with The album was recorded in several locations. In France, a play, but with the whole of the band, and their eyes Super Bear Studios was used between January and July all twinkled, because then they could see the album.” 1979, with Waters recording his vocals at the nearby * [13] Ezrin broadened the storyline, distancing it from Studio Miraval. Michael Kamen supervised the orthe autobiographical work Waters had written, and in- chestral arrangements at CBS Studios in New York, in stead basing it on a composite, or gestalt character named September. Over the next two months the band used Pink.* [17] Engineer Nick Griffiths later said of the Cana- Cherokee Studios and The Village Recorder in Los Angedian producer: “Ezrin was very good in The Wall, be- les. A plan to work with the Beach Boys at the Sundance cause he did manage to pull the whole thing together. Productions studio in Los Angeles was cancelled. For a at the Producers WorkHe's a very forceful guy. There was a lot of argument week in November they worked * shop, also in Los Angeles. [26] about how it should sound between Roger and Dave, and he bridged the gap between them.”* [18] Waters wrote James Guthrie, recommended by previous Floyd collabmost of the album's material, with Gilmour sharing credit orator Alan Parsons, arrived early in the production proon "Comfortably Numb",“Run Like Hell”and“Young cess.* [27] He replaced engineer Brian Humphries, emoLust”,* [19] and Ezrin co-writing “The Trial”.* [16] tionally drained by his five years with the band.* [28] Guthrie was hired as a co-producer, but was initially unaware of Ezrin's role: “I saw myself as a hot young pro6.11.2 Concept and storyline ducer ... When we arrived, I think we both felt we'd been booked to do the same job.”* [29] The early sessions The Wall is a rock opera* [20] that explores abandonment at Britannia Row were emotionally charged, as Ezrin, and isolation, symbolised by a metaphorical wall. The Guthrie and Waters each had strong ideas about the disongs create an approximate storyline of events in the rection the album would take. Relations within the band life of the protagonist, Pink, a character based on Bar- were at a low ebb, and Ezrin's role expanded to that rett* [21] and Waters,* [22] whose father was killed dur- of an intermediary between Waters and the rest of the ing the Second World War. Pink is oppressed by his over- band.* [30] As Britannia Row was initially regarded as protective mother, and tormented at school by tyrannical, inadequate for The Wall the band upgraded much of its abusive teachers. All of these traumas become metaphor- equipment,* [31] and by March another set of demos were ical “bricks in the wall”. The protagonist eventually complete. However, their former relationship with NWG becomes a rock star, his relationships marred by infi- placed them at risk of bankruptcy, and they were advised delity, drug use, and outbursts of violence. As his mar- to leave the UK by no later than 6 April 1979, for a miniriage crumbles, he finishes building his wall, completing mum of one year. As non-residents they would pay no UK his isolation from human contact.* [17]* [23] taxes during that time, and within a month all four memHidden behind his wall, Pink's crisis escalates, culmi- bers and their families had left. Waters moved to Switzernating in a hallucinatory on-stage performance where he land, Mason to France, and Gilmour and Wright to the believes that he is a fascist dictator performing at con- Greek Islands. Some equipment from Britannia Row certs similar to Neo-Nazi rallies, at which he sets men on was relocated in Super Bear Studios near Nice.* [18]* [32] fans he considers unworthy.* [23] Tormented with guilt, Gilmour and Wright were each familiar with the studio he places himself on trial, his inner judge ordering him and enjoyed its atmosphere, having recorded there durto “tear down the wall”, opening Pink to the outside ing the production of their solo albums. While Wright world. The album turns full circle with its closing words and Mason lived at the studio, Waters and Gilmour stayed “Isn't this where …", the first words of the phrase that be- in nearby houses. Mason later moved into Waters's villa gins the album, "…we came in?", with a continuation of near Vence, while Ezrin stayed in Nice.* [33]

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The rest of the band's children were young enough to stay another version recorded by a later historian of the band, with them in France but mine were older and had to go Waters called O'Rourke and asked him to tell Wright to school. I was missing my children terribly. about the new recording arrangements, to which Wright allegedly responded: “Tell Roger to fuck off …"* [34] “ Wright disagreed with this recollection, stating that the ” band had agreed to record only through the spring and * Richard Wright [34] early summer, and that he had no idea they were so far behind schedule. Mason later wrote that Waters was Ezrin's poor punctuality caused problems with the tight “stunned and furious”,* [38] and felt that Wright was not schedule dictated by Waters.* [35] Mason found the pro- doing enough to help complete the album.* [38] Gilmour ducer's behaviour “erratic”, but used his elaborate was on holiday in Dublin when he learnt of Waters's uland unlikely excuses for his lateness as ammunition for timatum, and tried to calm the situation. He later spoke “tongue-in-cheek resentment”.* [33] Ezrin's share of the with Wright and gave him his support, but reminded him royalties was less than the rest of the band and he viewed about his minimal contribution to the album.* [41] WaWaters as a "bully", especially when the bassist mocked ters, however, insisted that Wright leave, or he would him by having badges made that read NOPE (No Points refuse to release The Wall. Several days later, worried Ezrin), alluding to his lesser share of the album's royal- about their financial situation, and the failing interperties.* [35] Ezrin later admitted that he had marital prob- sonal relationships within the band, Wright quit. News lems and was not“in the best shape emotionally”.* [35] of his departure was kept from the music press.* [42] AlMore problems became apparent when Waters's relation- though his name did not appear anywhere on the original * * ship with Wright broke down. The band were rarely in album, [43] [44] he was employed as a session musician * the studio together. Ezrin and Guthrie spliced Mason's on the band's subsequent The Wall tour. [45] previously recorded drum tracks together, and Guthrie By August 1979 the running order was largely comalso worked with Waters and Gilmour during the day, re- plete. Wright completed his duties at Cherokee Studios turning at night to record Wright's contributions. Wright, aided by session musicians Peter Wood and Fred Manworried about the effect that the introduction of Ezrin del, and Jeff Porcaro played drums in Mason's stead on would have on the band's internal relationships, was keen "Mother".* [44] His duties complete, Mason left the fito have a producer's credit on the album (their albums up nal mix to Waters, Gilmour, Ezrin and Guthrie, and travto that point had always stated“Produced by Pink Floyd” elled to New York to record his début solo album, Nick ).* [36] Waters agreed to a trial period with Wright pro- Mason's Fictitious Sports.* [46] In advance of its release, ducing, after which he was to be given a producer's credit, technical constraints led to some changes being made to but after a few weeks he and Ezrin expressed dissatis- the running order and content of The Wall, with "What faction with the keyboardist's methods. A confrontation Shall We Do Now?" being replaced by the similar but with Ezrin led to Wright working only at nights. Gilmour shorter "Empty Spaces", and "Hey You" being moved also expressed his annoyance, complaining that Wright's from its original place at the end of side three, to the belack of input was “driving us all mad”,* [37] and Ezrin ginning. With the November 1979 deadline approaching, later reflected: “it sometimes felt that Roger was set- the band left the now-incorrect inner sleeves of the album ting him up to fail. Rick gets performance anxiety. You unchanged.* [47] have to leave him alone to freeform, to create …"* [37] Wright had his own problems, a failing marriage and the onset of depression, exacerbated by his non-residency. Instrumentation The band's holidays were booked for August, after which they were to reconvene at Cherokee Studios in Los An- Mason's early drum sessions were performed in an open geles, but Columbia offered the band a better deal in space on the top floor of Britannia Row Studios. The 16exchange for a Christmas release of the album. Wa- track recordings from these sessions were mixed down ters therefore increased the band's workload accordingly, and copied onto a 24-track master, as guide tracks for the booking time at the nearby Studio Miraval.* [38] He also rest of the band to play to. This gave the engineers greater * suggested recording in Los Angeles ten days earlier than flexibility, [nb 2] but also improved the audio quality of agreed, and hiring another keyboardist to work alongside the final mix as the original 16-track drum recordings Wright, whose keyboard parts had not yet been recorded. were finally synced to the 24-track master, and the dupli* Wright, however, refused to cut short his family holiday cated guide tracks removed. [49] Ezrin later related the * band's alarm at this method of working – they apparently in Rhodes. [39] viewed the erasure of material from the 24-track master Accounts of Wright's subsequent departure from the band as “witchcraft”.* [30] differ. In his autobiography, Inside Out, Mason says that Waters called O'Rourke, who was travelling to the US on While at Super Bear studios Waters had agreed to Ezrin's the QE2, and told him to have Wright out of the band by suggestion that several tracks, including“Nobody Home” the time Waters arrived in LA to mix the album.* [40] In , “The Trial”and “Comfortably Numb”, should have an orchestral accompaniment. Michael Kamen, who had

6.11. THE WALL

133

Bruce Johnston and Toni Tennille.* [56] Ezrin's suggestion to release "Another Brick in the Wall part II" as a single with a disco-style beat did not initially find favour with Gilmour, although Mason and Waters were more enthusiastic. Waters was opposed to the idea of releasing a single at all, but became more receptive once he listened to Ezrin and Guthrie's mix of the song. With two identical verses the song was felt to be lacking, and so a copy was sent to Griffiths in London with a request to find children I think things like 'Comfortably Numb' were the last em* bers of mine and Roger's ability to work collaboratively to perform several versions of the lyrics. [50] Griffiths contacted Alun Renshaw, head of music at the nearby together. Islington Green school, who was enthusiastic about the “ idea, saying: ” David Gilmour* [52] I wanted to make music relevant to the kids – not just sitting around listening to “Comfortably Numb”has its origins in Gilmour's debut Tchaikovsky. I thought the lyrics were great – solo album, and was the source of much argument be“We don't need no education, we don't need no tween Waters and Gilmour.* [18] Ezrin claimed that the thought control …" I just thought it would be a song initially started life as“Roger's record, about Roger, wonderful experience for the kids.* [57] for Roger”, although he thought that it needed further work. Waters rewrote the song and added more lyrics for Griffiths first recorded small groups of pupils and then the chorus, but his “stripped-down and harder”recordinvited more in, telling them to affect a Cockney accent ing was not to Gilmour's liking. The guitarist preferred and shout rather than sing. He multitracked the voices, Ezrin's “grander Technicolor, orchestral version”, almaking the groups sound much larger than they were, bethough Ezrin preferred Waters's version. Following a fullfore sending his recordings back to Los Angeles. The rescale argument in a North Hollywood restaurant, the two sult was that Waters was “beaming”, and the song was compromised; the song's body eventually included the released, becoming a Christmas number one hit.* [58] orchestral arrangement, with Gilmour's second and final There was some controversy when the British press reguitar solo standing alone.* [52] ported that the children had not been paid for their efforts; they were eventually given copies of the album, and the school received a £1,000 donation (£4,000 in contemSound effects and voices porary value* [11]).* [59] previously worked with David Bowie, was booked to oversee these arrangements, which were performed by musicians from the New York Philharmonic and New York Symphony Orchestras, and a choir from the New York City Opera.* [50] Their sessions were recorded at CBS Studios in New York, although Pink Floyd were not present. Kamen eventually met the band once recording was complete.* [51]

Ezrin and Waters oversaw the capture of the sound effects used on the album. Waters recorded the phone call used on the original demo for "Young Lust", but neglected to inform its recipient, Mason, who assumed it was a prank call and replaced the receiver in anger.* [53] The call is a direct reference to an incident on the band's “In The Flesh”tour, when Waters's call to his wife Judy was answered by a man's voice. Waters also recorded ambient sounds along Hollywood Boulevard by hanging a microphone from a studio window. Engineer Phil Taylor recorded some of the screeching tyre noises on “Run Like Hell”from a studio car park, and a television set being destroyed was used on "One of My Turns". At Britannia Row Studios, Nick Griffiths recorded the smashing of crockery for the same song.* [54] Television broadcasts were used, and one actor, recognising his voice, accepted a financial settlement from the group in lieu of legal action against them.* [55] The maniacal schoolmaster was voiced by Waters, and actress Trudy Young supplied the groupie's voice.* [54] Backing vocals were performed by a range of artists, although a planned appearance by the Beach Boys on“The Show Must Go On”and “Waiting for the Worms”was cancelled by Waters, who instead settled for Beach Boy

6.11.4 Packaging The cover design is one of Pink Floyd's most minimal – a white brick wall and no text. Waters had fallen out with Hipgnosis designer Storm Thorgerson several years earlier, when the latter had included the cover of Animals in his book Walk Away Rene, and The Wall is therefore the first Pink Floyd album cover since The Piper at the Gates of Dawn not created by the design group.* [60] The LP's sleeve art and custom picture labels by cartoonist Gerald Scarfe tied in with the album's concept, with each of the four sides showing the eponymous wall in various stages of construction, accompanied by characters from the story.* [61]

6.11.5 Release When the completed album was played for an assembled group of executives at Columbia's headquarters in California, several were reportedly unimpressed by what they heard.* [72] Matters had not been helped when Columbia Records offered Waters smaller publishing rights on the

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grounds that The Wall was a double album, a position he did not accept. When one executive offered to settle the dispute with a coin toss, Waters asked why he should gamble on something he owned. He eventually prevailed.* [46] The record company's concerns were alleviated when“Another Brick in the Wall Part 2”reached number one in the UK, US, Norway, Portugal, Israel, West Germany and South Africa.* [72] It was certified platinum in the UK in December 1979, and platinum in the US three months later.* [73]

Covers

The Wall was released in the UK and in the US on 30 November 1979.* [nb 3] Coinciding with its release Waters was interviewed by veteran DJ Tommy Vance, who played the album in its entirety on BBC Radio 1.* [60] Critical opinion of its content ranged from The Village Voice critic Robert Christgau's “too-kitschy minimal maximalism with sound effects and speech fragments” * [65] and Rolling Stone writer Kurt Loder's “a stunning synthesis of Waters's by now familiar thematic obsessions”,* [68] to Melody Maker's “I'm not sure whether it's brilliant or terrible, but I find it utterly compelling.” * [74] Nevertheless the album topped the Billboard charts for 15 weeks,* [75] and in 1999 was certified 23x platinum.* [nb 4]* [76] It remains one of the best-selling albums of all time in the US,* [73]* [76] between 1979 and 1990 selling over 19 million copies worldwide.* [77] In this sense The Wall is second only to 1973's The Dark Side of the Moon. Engineer James Guthrie's efforts were rewarded in 1980 with a Grammy award for Best Engineered Recording (non-classical).* [78] Rolling Stone Magazine placed The Wall 87th on its 500 Greatest Albums of All Time list.* [79]

During each performance of the band's subsequent The Wall Tour, a 40-foot (12 m) high wall of cardboard bricks was gradually built between the band and audience. Gaps allowed the spectators to view various scenes in the story, as Scarfe's animations were projected onto the completed parts of the wall. Several characters from the story were realised as giant inflatables, including a pig, replete with a crossed hammers logo. The tour opened at the Los Angeles Memorial Sports Arena on 7 February 1980.* [83] One of its more notable elements was the band's performance of“Comfortably Numb”. While Waters sang his opening verse in front of the wall, Gilmour waited in darkness at the top of the wall, for his cue. When it came, bright blue and white lights would suddenly illuminate him, astonishing the audience. Gilmour stood on a flight case on casters, held steady by a technician, both precariously balanced atop a tall hydraulic platform.* [84] At the end of the concert, the wall was made to collapse, once again revealing the band.* [85] Along with the songs in the album, the tour featured an instrumental medley, "The Last Few Bricks", which was played before “Goodbye Cruel World”to allow the construction crew to complete the scenographic wall.* [86]

Reissues The album was originally released as a double LP and was re-issued in the UK as a double CD in 1985.* [nb 5] A remastered version with new artwork was issued in 1994,* [nb 6] followed in 1997 by a digitally remastered double-LP.* [nb 7] A half-speed master vinyl double-LP was released in the US in 1981,* [nb 8] and a double-CD followed in 1983.* [nb 9] Mobile Fidelity Sound Lab released the album on their Ultradisc format in 1990.* [nb 10] The album was re-issued as a double-CD for its 20th anniversary by Columbia in 1997,* [nb 11] and reissued by Columbia in 2000.* [nb 12]* [73] Following the end of Sony BMG's rights to most of the band's catalogue, EMI released its own version in 2000.* [nb 13] The album was reissued in three versions as part of the Why Pink Floyd...? campaign, which featured a massive restoration of the band's catalogue with remasterings by producer James Guthrie: in 2011, a “Discovery”edition, featuring the remastered version with no extras; and in 2012, both the“Experience”edition, which adds a bonus disc of unreleased material and other supplementary items, and the“Immersion”version, a sevendisc collection that also adds video materials.* [80]* [81]

The Wall has been covered by several acts, including Canadian alternative country band Luther Wright and the Wrongs, who recorded a bluegrass cover of the entire album titled Rebuild the Wall.* [82]

Tour

Scarfe was employed to produce a series of animations for The Wall. At his studio in London he employed a team of 40 animators to create a series of nightmarish visions of the future, including a dove of peace exploding to reveal an eagle, a schoolmaster, and Pink's mother.* [87] During the tour relationships within the band were at an all-time low; four Winnebagos were parked in a circle, with the doors facing away from the centre. Waters remained isolated, using his own vehicle to arrive at the venue, and stayed in separate hotels from the rest of the band. Wright, returning to perform his duties as a salaried musician, was the only member of the band to profit from the venture, which lost about £400,000.* [45] Scarfe's animations were also to have been used in the film based on the album, accompanied by live concert footage, but the latter proved too impractical to film. Alan Parker agreed to direct the film, which kept the animated sequences but also used professional actors in each scene, with no dialogue. Bob Geldof took the role of Pink. A modified soundtrack was also created for some of the film's songs.* [88] Pink Floyd The Wall was released in July 1982.* [30] In 1990 Waters and producer Tony Hollingsworth created The Wall – Live in Berlin, staged for charity at a site once

6.11. THE WALL occupied by part of the Berlin Wall.* [89] Beginning in 2010 and with dates lasting into 2013, Waters performed the album worldwide on his tour, The Wall Live.* [90] This had a much wider wall, updated higher quality projected content and leading-edge projection technology. Gilmour and Mason played at one show in London at The O2 Arena.* [91]

135

[14] EMI Harvest HAR 5194 (7”single) [15] Columbia 1-11187 (7”single) [16] Columbia 1-11265 (7”single)

Footnotes [1] Scarfe 2010, p. 51

6.11.6

Track listing

All songs written and composed by Roger Waters, except where noted.

6.11.7

Personnel

[2] Schaffner, p 329 [3] Schaffner, pp 219-220 [4] Mason 2005, pp. 235–236 [5] Blake 2008, pp. 256–257 [6] Blake 2008, p. 257

6.11.8

Sales chart performance

Album

[7] Blake 2008, p. 258 [8] Blake 2008, p. 259 [9] Blake 2008, p. 305

Singles

[10] Blake 2008, pp. 258–259

6.11.9 6.11.10

Selected album sales References

[11] UK CPI inflation numbers based on data available from Gregory Clark (2014), "What Were the British Earnings and Prices Then? (New Series)" MeasuringWorth. [12] Schaffner 1991, pp. 206–208

Notes [1] Pink Floyd eventually sued NWG for £1 million, accusing them of fraud and negligence. NWG collapsed in 1981. Andrew Warburg fled to Spain, Norton Warburg Investments (a part of NWG) was renamed to Waterbrook, and many of its holdings were sold at a loss. Andrew Warburg was jailed for three years upon his return to the UK in 1987.* [12] [2] As well as being more flexible, repeated replay of magnetic tape can, over time, reduce the quality of the recorded material.

[13] Blake 2008, p. 260 [14] Fitch & Mahon 2006, p. 25 [15] Schaffner 1991, p. 212 [16] Schaffner 1991, pp. 211–213 [17] Blake 2008, pp. 260–261 [18] Schaffner 1991, p. 213 [19] Blake 2008, p. 278

[4] As a double album 23x platinum signifies sales of 11.5 million.

[20] “Rock Milestones: Pink Floyd – The Wall”, The New York Times, retrieved 30 May 2010; Pink Floyd's Roger Waters Announces The Wall Tour, MTV, retrieved 30 May 2010; Top 14 Greatest Rock Operas/Concept Albums Of All Time, ign.com, retrieved 30 May 2010

[5] EMI CDS 7460368 (double CD album)

[21] Schaffner 1991, pp. 225–226

[6] EMI CD EMD 1111,EMI CD EMD 1071

[22] Scarfe 2010, p. 57

[7] EMI EMD 1111

[23] Schaffner 1991, pp. 210–211

[8] Columbia H2C 46183

[24] Fitch & Mahon 2006, pp. 71, 113

[9] Columbia C2K 36183

[25] Blake 2008, p. 274

[3] EMI Harvest SHVL 822 (double album)* [73]

[10] MFSL UDCD 2-537

[26] Povey 2007, p. 232

[11] Columbia C2K 68519

[27] Fitch & Mahon 2006, p. 26

[12] Columbia CDP 724383124329

[28] Mason 2005, p. 238

[13] Capitol: CDP 724383124329 (double CD album)

[29] Blake 2008, p. 262

136

[30] Blake 2008, p. 263 [31] Mason 2005, p. 240 [32] Blake 2008, pp. 262–263 [33] Mason 2005, pp. 243–244 [34] Blake 2008, p. 267 [35] Blake 2008, p. 264 [36] Blake 2008, p. 265 [37] Blake 2008, p. 266 [38] Mason 2005, p. 245 [39] Blake 2008, pp. 264–267 [40] Mason 2005, p. 246 [41] Simmons 1999, p. 88 [42] Blake 2008, pp. 267–268 [43] Schaffner 1991, p. 219

CHAPTER 6. STUDIO ALBUMS

[65] Christgau, Robert (31 March 1980), “Christgau's Consumer Guide”, The Village Voice (New York), retrieved 22 October 2013 [66] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 27 December 2014. [67] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612. [68] Loder, Kurt (7 February 1980),“Pink Floyd ̶The Wall” , Rolling Stone, archived from the original on 3 May 2008, retrieved 6 October 2009 [69] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014. [70] Starr, Red. “Albums”. Smash Hits (December 13–26, 1979): 29.

[44] Blake 2008, p. 269

[71] “Pink Floyd The Wall". Acclaimed Music. Retrieved 27 December 2014.

[45] Blake 2008, pp. 285–286

[72] Blake 2008, pp. 275–276

[46] Mason 2005, p. 249

[73] Povey 2007, p. 348

[47] Bench & O'Brien 2004, pp. 70–72

[74] Blake 2008, p. 277

[48] McCormick, Neil (31 August 2006), “Everyone wants to be an axeman…", The Daily Telegraph, retrieved 28 September 2009

[75] Schaffner 1991, p. 221

[49] Mason 2005, pp. 239–242 [50] Blake 2008, pp. 271–272 [51] Mason 2005, p. 247 [52] Blake 2008, p. 275 [53] Mason 2005, p. 237 [54] Blake 2008, pp. 269–271 [55] Mason 2005, p. 250 [56] Schaffner 1991, p. 214 [57] Blake 2008, p. 273 [58] Blake 2008, pp. 273–274

[76] GOLD & PLATINUM, riaa.com, retrieved 10 January 2011 [77] Holden, Stephen (25 April 1990), “Putting Up 'The Wall'", The New York Times, retrieved 21 August 2009 [78] Grammy Award Winners (search for The Wall), National Academy of Recording Arts and Sciences, archived from the original on 2 October 2009, retrieved 7 October 2009 [79] “The Wall – Pink Floyd”, Rolling Stone, retrieved 30 March 2011 [80] “Why Pink Floyd...? Official website”. EMI. Retrieved 4 November 2011. [81] Topping, Alexandra (10 May 2011). “Pink Floyd to release unheard tracks”. The Guardian. Retrieved 4 November 2011.

[59] Schaffner 1991, pp. 215–216

[82] Luther Wright, lutherwright.com, retrieved 6 October 2009

[60] Blake 2008, p. 279

[83] Blake 2008, pp. 280–282

[61] Simmons 1999, pp. 76–95

[84] Blake 2008, pp. 284–285

[62] The Wall at Metacritic

[85] Mason 2005, p. 252

[63] Erlewine, Stephen Thomas. Album review at AllMusic. Retrieved 5 July 2011.

[86] Povey 2007, p. 233The band also played "What Shall We Do Now?", which was kept off the original album due to time constraints.

[64] Easlea, Daryl (17 April 2007), Pink Floyd The Wall Review, BBC, retrieved 23 September 2009

[87] Schaffner 1991, pp. 223–225

6.11. THE WALL

[88] Blake 2008, pp. 288–292 [89] Blake 2008, pp. 342–347

137

[109] “ZASADY PRZYZNAWANIA ZŁOTYCH, PLATYNOWYCH I DIAMENTOWYCH PŁYT” , zpav.pl (in Polish) (ZPAV), 2001-11-27, archived from the original on 2004-02-22

[90] “Roger Waters to Restage 'The Wall' on 2010 Tour”. CBS News. 12 April 2010. Retrieved 5 November 2010. [110] Sólo Éxitos 1959-2002 Año A Año: Certificados 19791990 (in Spanish), Iberautor Promociones Culturales, [91] Greene, Andy (12 May 2011). “Pink Floyd Reunite at ISBN 8480486392, retrieved 21 August 2013 Roger Waters Show in London”. Rolling Stone. Retrieved [111] Certified Awards, bpi.co.uk, retrieved 28 September 2013 4 November 2011. [92] Fitch & Mahon 2006, pp. various

[112] US Certifications database, riaa.com, retrieved 28 March 2009

[93] “Pink Floyd UK Chart History”. Official Charts Com[113] Get Your Mind Right: Underground Vs. Mainstream, pany. Retrieved 30 July 2013. Cheri Media Group, retrieved 12 February 2013 [94] Pink Floyd ̶The Wall (album), ultratop.be, retrieved 7 [114] Chart Watch Extra: Vintage Albums That Just Keep On October 2009 Selling, Paul Grein, retrieved 9 July 2009 [95] “The Wall: Charts and Awards”. AllMusic. Retrieved 17 October 2010. [96] “French Album Chart”. Retrieved 2014-09-14. [97] “Ranking Semanal Pop del 16/01/2011 al 22/01/2011” (in Spanish). Cámara Argentina de Productores de Fonogramas y Videogramas. Archived from the original on 18 July 2011. Retrieved 12 June 2012. [98] “Oficjalna lista sprzedaży :: OLIS - Official Retail Sales Chart”. OLIS. 28 May 2012. [99] Povey 2007, p. 347 [100] Pink Floyd – Another Brick In The Wall (Part II), norwegiancharts.com, retrieved 3 July 2009 [101] Gold & Platin, capif, archived from the original on 31 May 2011, retrieved 5 July 2009 [102] Platinum, retrieved 21 July 2011 [103] Canadian certification database, cria.ca, retrieved 24 May 2009 [104] “InfoDisc: Les Albums Diamant:" (in French). InfoDisc. Syndicat National de l'Edition Phonographique. Retrieved 11 October 2010. [105] “Gold-/Platin-Datenbank (Pink Floyd; 'The Wall')" (in German). Bundesverband Musikindustrie. Retrieved 16 October 2010. [106] Ewbank, Alison J; Papageorgiou, Fouli T (1997), Whose master's voice? Door Alison J. Ewbank, Fouli T. Papageorgiou, page 78, Greenwood Press, ISBN 978-0-31327772-6, retrieved 9 July 2009 [107] “Italian album certifications – Pink Floyd – The Wall” (in Italian). Federation of the Italian Music Industry. Retrieved 17 July 2012. Select Album e Compilation in the field Scegli la sezione. Select Week -- and Year ----. Enter Pink Floyd in the field Artista. Click Avvia la ricerca [108] “Polish album certifications – Pink Floyd – The Wall” (in Polish). Polish Producers of Audio and Video (ZPAV). 2003-10-29.

Bibliography • Blake, Mark (2008), Comfortably Numb – The Inside Story of Pink Floyd (1st US paperback ed.), Cambridge, Massachusetts: Da Capo Press, ISBN 978-0-306-81752-6 • Fitch, Vernon; Mahon, Richard (2006), Comfortably Numb: A History of “The Wall": Pink Floyd 1978–1981 (1st US hardcover ed.), St. Petersburg, Florida: PFA Publishing, ISBN 978-0-9777366-0-7 • Mason, Nick (2005), Philip Dodd, ed., Inside Out: A Personal History of Pink Floyd (UK paperback ed.), London: Phoenix, ISBN 978-0-7538-1906-7 • Povey, Glenn (2007), Echoes (1st UK paperback ed.), London: Mind Head Publishing, ISBN 9780-9554624-0-5 • Bench, Jeff; O'Brien, Daniel (2004), Pink Floyd's The Wall: In the Studio, On Stage and On Screen (UK paperback ed.), London: Reynolds and Hearn, ISBN 978-1-903111-82-6 • Scarfe, Gerald (2010), The Making of Pink Floyd: The Wall (1st US paperback ed.), New York: Da Capo Press, ISBN 978-0-306-81997-1 • Schaffner, Nicholas (1991), Saucerful of Secrets (UK paperback ed.), London: Sidgwick & Jackson, ISBN 978-0-283-06127-1 • Simmons, Sylvie (December 1999), “Pink Floyd: The Making of The Wall”, Mojo (London: Emap Metro) 73: 76–95 Further reading • Di Perna, Alan (2002), Guitar World Presents Pink Floyd, Milwaukee: Hal Leonard Corporation, ISBN 978-0-634-03286-8

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• Fitch, Vernon (2001), Pink Floyd: The Press Reports "When the Tigers Broke Free" and "Bring the Boys Back 1966–1983, Ontario: Collector's Guide Publishing Home", respectively. Bass guitarist, vocalist, and primary Inc, ISBN 978-1-896522-72-2 songwriter Roger Waters also planned to record a small amount of new material for the album, further expanding • Fricke, David (December 2009), “Roger Waters: The Wall's narrative.* [2]* [3]* [4] Welcome to My Nightmare ... Behind The Wall”, As a result of the Falklands War, Waters changed diMojo (London: Emap Metro) 193: 68–84 rection, and began writing new material. He saw • Hiatt, Brian (September 2010),“Back to The Wall” British Prime Minister Margaret Thatcher's response to Argentina's invasion of the islands as jingoistic and un, Rolling Stone 1114: 50–57 necessary, and dedicated the new album – provision• MacDonald, Bruno (1997), Pink Floyd: through the ally titled Requiem for a Post-War Dream – to his faeyes of ... the band, its fans, friends, and foes, New ther, Eric Fletcher Waters, a second lieutenant of the York: Da Capo Press, ISBN 978-0-306-80780-0 8th Royal Fusiliers, who died during World War II, at Aprilia, between Anzio and Rome in Italy, on 18 Febru• Mabbett, Andy (2010), Pink Floyd The Music and ary 1944, when Roger was five months old.* [5] Gilmour the Mystery, London: Omnibus Press, ISBN 978-1disliked the political direction, which sparked arguments 84938-370-7 between him and Waters. Several pieces of music considered for but not used on The Wall, including "Your Possible Pasts", "One of the Few", "The Final Cut" and 6.12 The Final Cut (album) "The Hero's Return", had initially been set aside for Spare Bricks, and although Pink Floyd had often re-used older The Final Cut (occasionally subtitled A Requiem For material in their work, Gilmour felt the songs were not The Post-War Dream by Roger Waters* [1]) is the twelfth good enough for a new album. He wanted to write new studio album by English progressive rock group Pink material, but Waters remained doubtful as Gilmour had Floyd. It was released on 21 March 1983 by Harvest lately contributed little to the band's repertoire.* [2] Records in the United Kingdom, and several weeks later by Columbia Records in the United States. The Final The Final Cut was about how, with the Cut is Pink Floyd's last studio album to include foundintroduction of the Welfare State, we felt ing member, bassist and songwriter Roger Waters, and we were moving forward into something their only album on which he alone is credited for writresembling a liberal country where we would ing and composition. It is also the only Pink Floyd album all look after one another ... but I'd seen all that does not feature keyboardist Richard Wright. that chiselled away, and I'd seen a return to Waters originally planned The Final Cut as a soundtrack album for the 1982 film Pink Floyd – The Wall. With the onset of the Falklands War, he rewrote it as a concept album, exploring what he considered the betrayal of his father, who died serving in the Second World War. Most of its lyrics are sung by Waters; lead guitarist David Gilmour provides vocals on only one track. The packaging, also designed by Waters, reflects the album's war theme.

an almost Dickensian society under Margaret Thatcher. I felt then, as now, that the British government should have pursued diplomatic avenues, rather than steaming in the moment that task force arrived in the South Atlantic. ̶Roger Waters* [2]

The Final Cut was recorded in eight British studios from July to December 1982. Its production was dominated by increasing tensions, particularly between Waters and Gilmour. It reached the top of the UK Albums Chart, but received mixed reviews.

I'm certainly guilty at times of being lazy, and moments have arrived when Roger might say, “Well, what have you got?" And I'd be like, “Well, I haven't got anything right now. I need a bit of time to put some ideas on tape.” There are elements of all this stuff that, years later, you can look back on and say,“Well, he had a point there.”But he wasn't right about wanting to put some duff tracks on The Final Cut. I said to Roger, “If these songs weren't good enough for The Wall, why are they good enough now?" ̶David Gilmour* [6]

An accompanying short film was released in the same year. Waters later left the band and attempted to keep Gilmour and drummer Nick Mason from using the Pink Floyd name.

6.12.1

Background

The Final Cut was originally planned as a soundtrack album for the 1982 film Pink Floyd – The Wall.* [2] Under its working title Spare Bricks, it would have featured The album's working title was changed to The Final Cut, a new music or songs re-recorded for the film, such as reference to William Shakespeare's Julius Caesar: “This

6.12. THE FINAL CUT (ALBUM) was the most unkindest cut of all”.* [7] “When the Tigers Broke Free”was issued as a single on 26 July 1982, with“Bring the Boys Back Home”on the B-side.* [8]* [nb 1]* [nb 2] The single was labelled“Taken from the album The Final Cut" but was not included on that album until the 2004 CD reissue.* [9]

6.12.2

Concept and storyline

139 descent into alcoholism.* [10]* [11] The second half of the album deals with various warrelated issues. While "Southampton Dock" is a lament to returning war heroes, and also those soldiers heading out to a likely death,* [10] "Not Now John" addresses the ignorance of society toward political and economic problems.* [12]“Get Your Filthy Hands Off My Desert”deals with Waters' feelings about war and invasion, and "The Fletcher Memorial Home" (the title is a nod to Waters' lost father) reflects the fantasy of gathering together political leaders including Leonid Brezhnev, Menachem Begin and Margaret Thatcher, and applying "the final solution" to them.* [13] The album's title track deals with the aftermath of a man's isolation and sexual repression, as he contemplates suicide and struggles to reconnect with the world around him. The album ends with "Two Suns in the Sunset", a song that portrays a nuclear holocaust, the final result of a world obsessed with war and control.* [10]* [13]

6.12.3 Recording

British paratroopers guard Argentine prisoners of war on the Falkland Islands. Waters' frustration at the events surrounding the Falklands War is evident in the album.

The Final Cut is an anti-war concept album, whose lyrics explore what Waters regards as the betrayal of fallen British servicemen – such as his father – who during World War II sacrificed their lives in the spirit of a postwar dream. This post-war dream was that their victory would usher in a more peaceful world,* [3] whose leaders would no longer be so eager to solve disputes by resorting to war. The album's lyrics are critical of Thatcher, whose policies and decisions Waters regarded as an example of this betrayal. She is referred to as“Maggie”throughout the album. The opening track, "The Post War Dream", begins with a recorded announcement that the replacement for the Atlantic Conveyor, a ship lost during the campaign, will be built in Japan. Waters' lyrics refer to his dead father, the loss of Britain's shipbuilding industry to Japan, and Margaret Thatcher, before moving on to “Your Possible Pasts”, a rewritten version of one of the songs rejected for The Wall. In “One of the Few”, another rejected song, the schoolteacher from The Wall features as the main character, presented as a war hero returned to civilian life. He is unable to relate his experiences to his wife, and in“The Hero's Return”is tormented by the loss of one of his air crew (“The Hero's Return”was titled “Teacher, Teacher”when it was part of the demo version of The Wall). "The Gunner's Dream" discusses the postwar dream of a world free from tyranny and the threat of terrorism (including a reference to the Hyde Park bombing), and is followed in "Paranoid Eyes" by the teacher's

American composer Michael Kamen, who had contributed to The Wall, oversaw the orchestral arrangements. He also stood in for absent keyboardist Richard Wright, co-produced, and mediated between Waters and Gilmour. James Guthrie was employed as the studio engineer and co-producer, while Mason's drumming was supplemented by Ray Cooper, and replaced on “Two Suns in the Sunset”by Andy Newmark when Mason was unable to perform the complex timing changes required of him. It was Mason who suggested the repeated reprises of“Maggie, what have we done”be rendered instrumental rather than sung.* [14] Raphael Ravenscroft was hired to play the saxophone. Recording took place in the latter half of 1982, using eight studios, including Gilmour's home studio at Hookend Manor, and Waters' Billiard Room Studios at East Sheen.* [15]* [16] The other venues were Mayfair Studios, Olympic Studios, Abbey Road Studios, Eel Pie Studios, Audio International and RAK Studios.* [8] Tensions soon became apparent, and while Waters and Gilmour initially worked together, playing the video game Donkey Kong in their spare time, the two eventually chose to work separately. Co-engineer Andy Jackson worked with Waters on the vocals, and Guthrie worked with Gilmour on the guitar parts. They would occasionally meet to discuss the work that had been completed, and while this method was not in itself unusual, Gilmour began to feel the strain, sometimes barely maintaining his composure. Kamen too felt pressured; Waters had never been a confident vocalist, and on one occasion, after repeated studio takes, Waters noticed him writing on a notepad. Losing his temper, he demanded to know what Kamen was doing, only to find that the pianist had been writing“I Must Not Fuck Sheep”repeatedly.* [16]* [17]

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Like previous Pink Floyd albums, The Final Cut used sound effects combined with advances and innovations in audio recording technology. Mason's contributions were almost entirely limited to recording sound effects for the experimental Holophonic system, an audio processing technique used to add an enhanced three-dimensional effect to the recordings (The Final Cut is the second album ever to feature this technology).* [18] The technique is featured on “Get Your Filthy Hands Off My Desert” , allowing the sound effect of an explosion to appear to surround the listener. Sound effects from earlier Floyd albums are also evident; the wind from Meddle (1971) is re-used, as are parts of The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977) and The Wall (1979).* [19] Poppies are a recurring theme on the album's artwork. After months of poor relations, and following a final confrontation, Gilmour was removed from the credit list as producer, but would still be paid his production royalties.* [20] Waters later admitted that he was also under significant pressure, and that early in the production of The Final Cut he believed he would never record with either Gilmour or Mason again. He may have threatened to release the album as a solo record, although Pink Floyd were contracted to EMI and such a move would have been unlikely.* [16] Mason kept himself distant as he dealt with marital problems.* [21]

passed over for the cover design. Instead, Waters created the album cover himself using photographs taken by his brother-in-law, Willie Christie.* [21] The front cover shows a Remembrance poppy and four World War II medal ribbons laid out on a black fabric background. From left to right the medals are the 1939–45 Star, the Africa Star, the Defence Medal, and the Distinguished Flying Cross.* [23]

The poppy is a recurring design theme. The interior gatefold featured three photographs, the first depicting In a June 1987 interview, Roger Waters recalled the mak- an outstretched hand holding three poppies, and a soling of the album: dier standing in the middle of a field far off in the background. Two more photographs show a welder at work, his mask emblazoned with the Japanese Rising Sun Flag, The Final Cut was absolutely misery to and a nuclear explosion – a clear reference to“Two Suns make, although I listened to it of late and I in the Sunset”. The album's lyrics are reproduced on the rather like a lot of it. But I don't like my gatefold. Side one of the vinyl disc carries an image of singing on it. You can hear the mad tension a poppy field, whereas on side two a soldier with a knife running through it all. If you're trying to exin his back lies face down amongst the poppies, with a press something and being prevented from dodog beside him. The back cover features a photograph ing it because you're so uptight ... It was a horof a soldier standing upright and holding a film canister, rible time. We were all fighting like cats and with a knife protruding from his back* [10] (the film candogs. We were finally realising – or accepting, ister and knife may reflect Waters' tumultuous relationif you like – that there was no band. It was ship with The Wall film director Alan Parker).* [13] really being thrust upon us that we were not a band and had not been in accord for a long time. Not since 1975, when we made Wish You 6.12.5 Release and reception Were Here. Even then there were big disagreements about content and how to put the record The Final Cut was released in the UK on 21 March 1983 together ... But making The Final Cut was misand in the US on 2 April.* [nb 3]* [24] It was accompanied ery. We didn't work together at all. I had to by a short film, also titled The Final Cut,* [nb 4] which feado it more or less single-handed, working with tured four of the album's songs: “The Gunner's Dream” Michael Kamen, my co-producer. That's one ,“The Final Cut”,“The Fletcher Memorial Home”and of the few things that the 'boys' and I agreed “Not Now John”.* [25] The film was produced by Waters about. But no one else would do anything on and directed by Willie Christie. In the film, Waters apit.* [22] pears talking to a psychiatrist named A. Parker-Marshall; Alex McAvoy, who played the teacher in Pink Floyd – The Wall, also appears in the film.* [26] 6.12.4 Packaging The album reached number one in the UK, something that Storm Thorgerson, a founder member of Hipgnosis (de- The Dark Side of the Moon and The Wall had each failed signers of most of Pink Floyd's previous artwork), was to do. It was less successful in America, however, peaking

6.12. THE FINAL CUT (ALBUM)

141

at number six on the Billboard album charts.* [27] Issued 6.12.6 Aftermath and legacy as a single, “Not Now John”reached the UK Top 30, with its chorus of“Fuck all that”bowdlerised to“Stuff With no plans to tour the album,* [36] Waters and all that”.* [28] Gilmour instead turned to separate solo projects. Although it enjoyed a degree of commercial success, Gilmour recorded and toured About Face in 1984, and the album received mixed reviews.* [28] Melody Maker used it to express his feelings on a range of topics, from deemed it“a milestone in the history of awfulness”,* [10] the murder of musician John Lennon, to his relationship while the NME 's Richard Cook opined that “Like the with Waters – who also began touring to promote his new * poor damned Tommies that haunt his mind, Roger Wa- solo album, The Pros and Cons of Hitch Hiking. [37] Maters' writing has been blown to hell …Waters stopped son released his second solo album, Profiles, in August * with The Wall, and The Final Cut isolates and juggles the 1985. [38] identical themes of that elephantine concept with no fresh In 1985, faced with a potentially ruinous lawsuit from momentum to drive them.”* [29] Robert Christgau wrote his record company and fellow band members,* [39] Wa“it's a comfort to encounter antiwar rock that has the ters resigned. He believed that Pink Floyd was a “spent weight of years of self-pity behind it”, and awarded the force”.* [40]* [41] He applied to the High Court to prevent album a C+ grade.* [30] More impressed, Rolling Stone's the Pink Floyd name from ever being used again.* [38] Kurt Loder viewed it as“essentially a Roger Waters solo His lawyers discovered that the partnership had never album ... a superlative achievement on several levels” been formally confirmed, and Waters returned to the High .* [10]* [31] Court in an attempt to gain a veto over further use of "The Final Cut is very good but it's not personally how I the band's name. Gilmour's team responded by issuing a press release affirming that Pink Floyd would continue would see a Pink Floyd record going.” to exist; however, he later told a Sunday Times reporter – David Gilmour in 1983* [28] that“Roger is a dog in the manger and I'm going to fight him …"* [42] With over 1,000,000 units shipped in the United States, Waters wrote to EMI and Columbia declaring his inthe Recording Industry Association of America certified tention to leave the group, asking them to release him The Final Cut Platinum in May 1983; it achieved doufrom his contractual obligations. With a legal case pendble Platinum certification in 1997.* [32] Despite these ing, he dispensed with manager Steve O'Rourke and achievements, The Final Cut was the lowest-selling Pink employed Peter Rudge to manage his affairs.* [38] He Floyd studio album in the United States and worldwide later contributed to the soundtrack for When the Wind since Meddle. Gilmour claimed that this relative comBlows,* [43] and then recorded his second solo album, mercial failure supported his assertion that much of the Radio K.A.O.S..* [44] material on the album was weak.* [33] Waters responded: The Final Cut is sometimes viewed as a Waters solo record due to the combination of Pink Floyd's partial breakup and Waters' dominance on the It's absolutely ridiculous to judge a record project.* [33]* [51]* [52] The personal quality assigned to solely on sales. If you're going to use sales the lyrics are related to Waters' struggle to reconcile his as the sole criterion, it makes Grease a betdespair at the changing social face of Britain, and the loss ter record than Graceland. Anyway, I was of his father in World War II. Despite this, Gilmour's in a greengrocer's shop, and this woman of guitar solos on “Your Possible Pasts”and “The about forty in a fur coat came up to me. She Fletcher Memorial Home”are sometimes considered said she thought it was the most moving record equal to his best work on The Wall.* [10]* [53] More she had ever heard. Her father had also been recent reviews of the album have weighed its importance killed in World War II, she explained. And alongside the band's split. Stephen Thomas Erlewine I got back into my car with my three pounds writing for AllMusic said: “with its anger, emphasis of potatoes and drove home and thought, good on lyrics, and sonic textures, it's clear that it's the album enough.* [22] that Waters intended it to be. And it's equally clear that Pink Floyd couldn't have continued in this direction ...” ,* [45] and Stylus Magazine wrote: “It's about pursuing The Final Cut was released on compact disc in 1983. A something greater even when you have all the money that remastered and repackaged CD was issued by EMI in Eu- you could ever want. And either failing or succeeding rope and on Capitol Records in the US in 2004; this in- brilliantly. It's up to you decide whether this record is cluded an extra song, the previously released“When the a success or a failure, but I'd go with the former every Tigers Broke Free”.* [nb 5] In 2007, a remastered ver- time.”* [54] Mike Diver of Drowned in Sound was less sion was released as part of the Oh, by the Way boxed set, generous: “Rays of light are few and far between, and packaged in a miniature replica of the original gatefold even on paper the track titles – including 'The Gunner's LP sleeve.* [35] Dream' and 'Paranoid Eyes' – suggest an arduous listen.

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Q Magazine once compiled a top ten list of depressing [12] DeGagne, Mike, Not Now John – Song Review, allmusic.com, retrieved 22 September 2009 records, and this was on it. Enough said, I think.”* [47] [13] Schaffner 1991, p. 242

6.12.7

Track listing

All lead vocals performed by Roger Waters except "Not Now John" by David Gilmour and Roger Waters. All songs written and composed by Roger Waters.

[14] Schaffner 1991, p. 239 [15] Schaffner 1991, p. 240 [16] Blake 2008, pp. 296–298 [17] Mason 2005, p. 268

6.12.8

Personnel

[18] Mabbett, Andy; Miles (1994), Pink Floyd: The Visual Documentary, Omnibus Press, ISBN 0-7119-4109-2

6.12.9

References

[19] Schaffner 1991, p. 241

Notes [1] UK EMI Harvest HAR 5222 seven inch single), US Columbia AS 1541 (promotional 12 inch single, US Columbia X18-03142 (seven inch single) [2] The label on both sides of the single listed the tracks as taken from the forthcoming Final Cut album; however, neither song was included. [3] UK EMI Harvest SHPF 1983 (Vinyl Album); US Columbia QC 38243 (Vinyl Album) [4] UK: Video Music Collection PM0010 (VHS PAL Video EP) [5] Harvest 7243 576734 2 6 (EMI) [eu] / EAN 0724357673426, UK EMI Harvest 576 7342* [34]

Footnotes [1] CD booklet, page 2. 1983 UK/ Harvet edition [2] Blake 2008, pp. 294–295 [3] Mason 2005, p. 264 [4] Grein, Paul (18 September 1982), Pink Floyd's Next Album Will Have 'Wall' Tie-In, Billboard, pp. 11, 44, retrieved 22 September 2009 [5] Blake 2008, pp. 13–14; for the Commonwealth War Graves Commission entry on Eric Waters see: “Casualty Details”. Commonwealth War Graves Commission. Retrieved 1 March 2013.

[20] Blake 2008, p. 298 [21] Mason 2005, p. 273 [22] Roger Waters interviewed by Chris Salewicz, June 1987. [23] Povey 2007, p. 349 [24] Povey 2007, pp. 348–349 [25] Povey 2007, p. 359 [26] Schaffner 1991, p. 244 [27] Povey 2007, pp. 348–349 [28] Blake 2008, p. 300 [29] Cook, Richard (19 March 1983), “Over The Wall And Into The Dumper: Pink Floyd's The Final Cut", NME; available at Rock's Backpages (subscription required) [30] Christgau, Robert (1983), “Consumer Guide Album” , The Village Voice (robertchristgau.com), retrieved 22 September 2009 [31] Loder, Kurt (14 April 1983), Pink Floyd – The Final Cut, rollingstone.com, retrieved 4 September 2009 [32] US Certifications database, riaa.com, retrieved 28 March 2009 [33] Povey 2007, p. 230 [34] Pink Floyd – The Final Cut (album), ultratop.be, retrieved 25 September 2009

[7] Schaffner 1991, p. 238

[35] Zuel, Bernard (9 January 2008), One last brick in the wall (registration required), The Sydney Morning Herald hosted at infoweb.newsbank.com, p. 25, retrieved 23 November 2009

[8] Povey 2007, p. 237

[36] Mason 2005, p. 274

[9] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus Press. ISBN 9781849383707.

[37] Blake 2008, pp. 302–309

[6] Blake 2008, p. 295

[38] Blake 2008, pp. 311–313

[10] Blake 2008, p. 299

[39] Povey 2007, p. 240

[11] Mabbett 1995, pp. 91–93

[40] Schaffner 1991, pp. 262–263

6.13. A MOMENTARY LAPSE OF REASON

[41] Jones, Peter (22 November 1986), It's the Final Cut: Pink Floyd to Split Officially, Billboard, p. 70, retrieved 22 September 2009

143

6.13 A Momentary Lapse of Reason

[42] Schaffner 1991, p. 271

A Momentary Lapse of Reason is the thirteenth studio album by the English progressive rock group Pink Floyd, released in the UK and US in September 1987. It folSchaffner 1991, pp. 264–266 lowed guitarist David Gilmour's decision to include maErlewine, Stephen Thomas, The Final Cut – Overview, all- terial recorded for his third solo album on a new Pink music.com, retrieved 22 September 2009 Floyd album with Pink Floyd drummer Nick Mason and McCormick, Neil (20 May 2014),“Pink Floyd's 14 studio keyboardist Richard Wright. Although for legal reasons albums rated”, The Daily Telegraph (London), retrieved Wright could not be re-admitted to the band, with Mason he helped Gilmour craft what became the first Pink 27 December 2014 Floyd album since the departure of bass guitarist, singer, Diver, Mike (1 May 2004), Pink Floyd: The Final Cut: and primary songwriter Roger Waters in December 1985.

[43] Schaffner 1991, p. 263 [44] [45] [46]

[47]

Remastered, drownedinsound.com, retrieved 27 October 2009

A Momentary Lapse of Reason was recorded primarily on Gilmour's converted houseboat, Astoria. Its produc[48] Graff & Durchholz 1999, p. 872 tion was marked by an ongoing legal dispute with Waters [49] Ott, Chris (3 June 2004), Pink Floyd The Final Cut, as to who owned the rights to Pink Floyd's name, an isPitchfork Media, retrieved 27 December 2014 sue resolved several months after the album was released. [50] Sheffield, Rob (2 November 2004),“Pink Floyd: Album Unlike many of Pink Floyd's studio albums, A MomenGuide”, Rolling Stone (Wenner Media, Fireside Books), tary Lapse of Reason has no central theme and is instead archived from the original on 17 February 2011, retrieved a collection of songs written mostly by Gilmour and outside songwriters. 27 December 2014 [51] Watkinson & Anderson 2001, p. 133 [52] Mabbett 1995, p. 89 [53] Schaffner 1991, pp. 238–239 [54] Burns, Todd (1 September 2003), On Second Thought: Pink Floyd – The Final Cut, stylusmagazine.com, retrieved 27 October 2009

Though it received mixed reviews and was derided by Waters, A Momentary Lapse of Reason outsold Pink Floyd's previous album The Final Cut (1983) and was supported by a successful world tour. It has been certified quadruple platinum in the United States.

6.13.1 Background

Bibliography After the release of Pink Floyd's 1983 album The Final • Blake, Mark (2008), Comfortably Numb – The In- Cut, viewed by some to be a de facto Roger Waters solo side Story of Pink Floyd, Da Capo Press, ISBN 0- record,* [1]* [2] the band's members worked on individual solo projects. Guitarist David Gilmour expressed feelings 306-81752-7 about his strained relationship with Waters on his second • Graff, Gary; Durchholz, Daniel (eds) (1999), Mu- solo album, About Face (1984), and finished the accomsicHound Rock: The Essential Album Guide, Farm- panying tour as Waters began touring to promote his deington Hills, MI: Visible Ink Press, ISBN 1-57859- but solo album, The Pros and Cons of Hitch Hiking.* [3] 061-2 Although both had enlisted the aid of a range of success• Mason, Nick (2005), Philip Dodd, ed., Inside Out – ful performers, including in Waters' case Eric Clapton, A Personal History of Pink Floyd (Paperback ed.), their solo acts attracted fewer fans than Pink Floyd; poor ticket sales forced Gilmour to cancel several concerts, and Phoenix, ISBN 0-7538-1906-6 critic David Fricke felt that Waters' show was “a petu• Mabbett, Andy (1995), The Complete Guide to the lant echo, a transparent attempt to prove that Roger WaMusic of Pink Floyd, Omnibus Pr, ISBN 0-7119- ters was Pink Floyd”.* [4] Waters returned to the US in 4301-X March 1985 with a second tour, this time without the sup• Povey, Glenn (2007), Echoes, Mind Head Publish- port of CBS Records, which had expressed its preference for a new Pink Floyd album; Waters criticised the corpoing, ISBN 0-9554624-0-1 ration as “a machine”.* [5] • Schaffner, Nicholas (1991), Saucerful of Secrets (1 At that time, certainly, I just thought, I can't really see ed.), Sidgwick & Jackson, ISBN 0-283-06127-8 how we can make the next record or if we can it's a long • Watkinson, Mike; Anderson, Pete (2001), Crazy Di- time in the future, and it'll probably be more for, just beamond: Syd Barrett & the Dawn of Pink Floyd (Illus- cause of feeling of some obligation that we ought to do it, trated ed.), Omnibus Press, ISBN 0-7119-8835-8 rather than for any enthusiasm.

144 “ ” Nick Mason, In the Studio with Redbeard (1987)* [6] After drummer Nick Mason attended one of Waters' London performances in 1985, he admitted that he missed touring under the Pink Floyd name. His visit coincided with the release in August that year of his second solo album, Profiles, on which Gilmour sang.* [7]* [8] With a shared love of aviation, Mason and Gilmour were taking flying lessons and later together bought a De Havilland Devon aeroplane. Gilmour was working on other collaborations, including a performance for Bryan Ferry at 1985's Live Aid concert, and co-produced The Dream Academy's self-titled debut album.* [9] In December 1985, Waters announced that he had left Pink Floyd, which he believed was “a spent force creatively”.* [10]* [11] However, after the failure of his About Face tour, Gilmour hoped to continue with the Pink Floyd name. The threat of a lawsuit from Gilmour, Mason and CBS Records was meant to compel Waters to write and produce another Pink Floyd album with his bandmates, who had barely participated in making The Final Cut; Gilmour had been especially critical of that 1983 release, labelling it as“cheap filler”and“meandering rubbish”.* [12] The lawsuit left Waters with only one other option: to formally resign from Pink Floyd in order to protect himself from a lawsuit that, he said, “would have wiped me out completely”. According to Gilmour, “I told [Waters] before he left, 'If you go, man, we're carrying on. Make no bones about it, we would carry on ', and Roger replied: 'You'll never fucking do it.'"* [13] Waters had written to EMI and Columbia declaring his intention to leave the group and asking them to release him from his contractual obligations. He also dispensed with the services of Pink Floyd manager Steve O'Rourke and employed Peter Rudge to manage his affairs.* [7] This left Gilmour and Mason, in their view, free to continue with the Pink Floyd name.* [14] They threatened me with the fact that we had a contract with CBS Records and that part of the contract could be construed to mean that we had a product commitment with CBS and if we didn't go on producing product, they could a) sue us and b) withhold royalties if we didn't make any more records. So they said, 'that's what the record company are going to do and the rest of the band are going to sue you for all their legal expenses and any loss of earnings because you're the one that's preventing the band from making any more records.' They forced me to resign from the band because, if I hadn't, the financial repercussions would have wiped me out completely.

CHAPTER 6. STUDIO ALBUMS

In Waters' absence, Gilmour had been recruiting musicians for a new project. Some months previously, keyboard player Jon Carin had jammed with Gilmour at his Hookend studio, where he composed the chord progression for what later became "Learning to Fly", and so was invited onto the team.* [16] Gilmour invited Bob Ezrin (co-producer of 1979's The Wall) to help consolidate their material;* [17] Ezrin had turned down Waters' offer of a role on the development of his new solo album, Radio K.A.O.S., saying it was“far easier for Dave and I to do our version of a Floyd record”.* [18] Ezrin arrived in England in mid-1986 for what Gilmour later described as“mucking about with a lot of demos”.* [19] At this stage, there was no firm commitment to a new Pink Floyd release, and Gilmour maintained that the new material might end up on a third solo album. CBS representative Stephen Ralbovsky hoped for a new Pink Floyd album, but in a meeting in November 1986, told Gilmour and Ezrin that the music “doesn't sound a fucking thing like Pink Floyd” .* [20] Gilmour later admitted that the new project was difficult without Waters.* [21] Gilmour had experimented with songwriters such as Eric Stewart and Roger McGough, but eventually settled on Anthony Moore,* [22] who would be credited as co-writer of “Learning to Fly”and “On the Turning Away”. Instead of writing a concept album, Gilmour settled for the more conventional approach of a collection of songs without a thematic link.* [23] By the end of that year, he had decided to turn the new material into a Pink Floyd project.* [6]

6.13.2 Recording You can't go back ... You have to find a new way of working, of operating and getting on with it. We didn't make this remotely like we've made any other Floyd record. It was different systems, everything. “ ” David Gilmour* [24]

A Momentary Lapse of Reason was recorded in several different studios, mainly Gilmour's houseboat studio Astoria moored on the Thames; according to Ezrin, “working there was just magical, so inspirational; kids sculling down the river, geese flying by ...”* [19] Andy Jackson, a colleague of Floyd cohort James Guthrie, was brought in to engineer the recordings. During sessions held between November 1986 and February 1987,* [25] Gilmour's band worked on new material, which in a marked change from previous Floyd albums was recorded with a 24-track analogue machine, and overdubbed onto “ a 32-track Mitsubishi digital recorder. This trend of ” using new technologies was continued with the use of Roger Waters, Uncut (June 2004), explaining why he MIDI synchronisation, aided by an Apple Macintosh stopped his legal challenge * [15] computer.* [20]* [26]

6.13. A MOMENTARY LAPSE OF REASON After agreeing to rework the material that Ralbovsky had found so objectionable, Gilmour employed session musicians such as Carmine Appice and Jim Keltner. Both drummers, they later replaced Mason on most of the album's songs; Mason was concerned that he was too out of practice to perform on the album, and instead busied himself with its sound effects.* [20]* [27] Some of the drum parts were also performed by drum machines.* [28] During the sessions, Gilmour was asked by the wife of Pink Floyd's former keyboard player, Richard Wright, if he too could contribute to the project. A founding member of the band, Wright had left in 1979, and there were certain legal obstacles to his return, but after a meeting in Hampstead he was brought back in.* [29] Gilmour later admitted in an interview with author Karl Dallas that Wright's presence “would make us stronger legally and musically”. He was therefore employed as a paid musician, on a weekly wage of $11,000,* [30] but his contributions were minimal. Most of the keyboard parts had already been recorded, and so from February 1987 Wright played some background reinforcement on a Hammond organ, and a Fender Rhodes piano, along with adding several vocal harmonies. The keyboardist also performed a solo in“On the Turning Away”, which was discarded, according to Wright,“not because they didn't like it ... they just thought it didn't fit.”* [24] Gilmour later said:“Both Nick and Rick were catatonic in terms of their playing ability at the beginning. Neither of them played on this at all really. In my view, they'd been destroyed by Roger …" Gilmour's comments angered Mason, who reflected: “I'd deny that I was catatonic. I'd expect that from the opposition, it's less attractive from one's allies. At some point, he made some sort of apology.”Mason did concede, however, that Gilmour was nervous about how the album would be perceived.* [30] “Learning to Fly”, with its lyrics of “circling sky, Tongue-tied and twisted, just an earthbound misfit, I” , was inspired by Gilmour's flying lessons, which occasionally conflicted with his studio duties.* [31] The track also contains a recording of Mason's voice, made during takeoff.* [32] The band experimented with audio samples, and Ezrin recorded the sound of Gilmour's boatman (Langley Iddens) rowing across the Thames.* [19] Iddens' presence at the sessions was made vital when on one occasion, Astoria began to lean over in response to the rapidly rising river, which was pushing the boat against the pier on which it was moored.* [27] "The Dogs of War" is a song about “physical and political mercenaries”, according to Gilmour. Its creation came about through a mishap in the studio when a sampling machine began playing a sample of laughter, which the guitarist thought sounded like a dog's bark.* [33] "Terminal Frost" was one of Gilmour's older demos, which for some time he considered adding lyrics to, but eventually decided to leave as an instrumental.* [34] Conversely, the lyrics for "Sorrow" were written before the music. The song's opening guitar solo was recorded in the Los Angeles Memorial Sports Arena. A 24-track mobile studio piped Gilmour's Fender

145 tracks through a public address system, and the resulting mix was then recorded in surround sound.* [35]

Astoria

Despite the tranquil setting offered by Astoria, the sessions were often interrupted by the escalating row between Waters and Pink Floyd over who had the rights to the Pink Floyd name. O'Rourke, believing that his contract with Waters had been terminated illegally, sued the bassist for £25,000 of back-commission.* [19] In a late-1986 board meeting of Pink Floyd Music Ltd (since 1973, Pink Floyd's clearing house for all financial transactions), Waters learnt that a bank account had been opened to deal exclusively with all monies related to “the new Pink Floyd project”.* [36] He immediately applied to the High Court to prevent the Pink Floyd name from ever being used again,* [7] but his lawyers discovered that the partnership had never been formally confirmed. Waters returned to the High Court in an attempt to gain a veto over further use of the band's name. Gilmour's team responded by issuing a non-confrontational press release affirming that Pink Floyd would continue to exist; however, the guitarist later told a Sunday Times reporter: “Roger is a dog in the manger and I'm going to fight him, no one else has claimed Pink Floyd was entirely them. Anybody who does is extremely arrogant.”* [30]* [37] Waters twice visited Astoria, and with his wife had a meeting in August 1986 with Ezrin (the producer later suggested that he was being“checked out”). As Waters was still a shareholder and director of Pink Floyd music, he was able to block any decisions made by his former bandmates. Recording moved to Mayfair Studios in February 1987, and from February to March – under the terms of an agreement with Ezrin to record close to his home – to A&M Studios in Los Angeles: “It was fantastic because ... the lawyers couldn't call in the middle of recording unless they were calling in the middle of the night.”* [25]* [38] The bitterness of the row between Waters and Pink Floyd was covered in a November 1987 issue of Rolling Stone, which became the magazine's best-selling issue of that year.* [30] The legal disputes were resolved by the end of 1987.

146

6.13.3

CHAPTER 6. STUDIO ALBUMS

Packaging and title

The gatefold includes, for the first time since 1971's Meddle, an image of the band. Wright appears only by name in the credits.

Careful consideration was given to the album's title. The initial three contenders were Signs of Life, Of Promises Broken and Delusions of Maturity. For the first time since 1977's Animals, designer Storm Thorgerson was employed to work on a Pink Floyd studio album cover. His finished design was a long river of hospital beds arranged on a beach, inspired by a phrase from "Yet Another Movie" and Gilmour's vague hint of a design that included a bed in a Mediterranean house, as well as “vestiges of relationships that have evaporated, leaving only echoes”.* [39] The cover shows hundreds of hospital beds, placed on Saunton Sands in Devon (where some of the scenes for Pink Floyd – The Wall were filmed).* [40]* [41] The beds were arranged by Thorgerson's colleague Colin Elgie.* [42] A hang glider can be seen in the sky, a clear reference to “Learning to Fly”. The photographer, Robert Dowling, won a gold award at the Association of Photographers Awards for the image, which took about two weeks to create.* [43] To drive home the message that Waters had left the band, the inner gatefold featured a group photograph – albeit of just Gilmour and Mason – shot by David Bailey. Its inclusion marked the first time since 1971's Meddle that a group photo had been used in the artwork of a Pink Floyd album. Richard Wright was represented only by name, on the credit list,* [44]* [45] although he also appears in photographs included in later reissues.* [46]

number three in both countries, held from the top spot by Michael Jackson's Bad and Whitesnake's self-titled album.* [44] In comparison with The Final Cut, Gilmour presented A Momentary Lapse as a return to the Floyd of older days, citing his belief that towards the end of Waters' tenure, lyrics were more important than music. Gilmour said: "The Dark Side of the Moon and Wish You Were Here were so successful not just because of Roger's contributions, but also because there was a better balance between the music and the lyrics [than on later albums.]" He added that with A Momentary Lapse, he had tried to restore this earlier, more successful balance.* [53] Waters was scathing in his assessment of the new work, a view with which Wright later partly agreed, saying: “Roger's criticisms are fair. It's not a band album at all.”* [44] Writing in Q magazine, Phil Sutcliffe contended that it “does sound like a Pink Floyd album”and highlighted the two-part “A New Machine”as, variously, “a chillingly beautiful vocal exploration, a chorale of multitrack, echo and distortion broken into aching fragments by long moments of silence”and "[a] brilliant stroke of imagination”. Sutcliffe concluded: "A Momentary Lapse is Gilmour's album to much the same degree that the previous four under Floyd's name were dominated by Waters …Clearly it wasn't only business sense and repressed ego but repressed talent which drove the guitarist to insist on continuing under the band brand-name.”* [54] Recognising the return to the more music-oriented approach of Pink Floyd's classic works, Sounds said the album was “back over the wall to where diamonds are crazy, moons have dark sides, and mothers have atom hearts”.* [55] Conversely, Greg Quill of the Toronto Star wrote: “Something's missing here. This is, for all its lumbering weight, not a record that challenges and provokes as Pink Floyd should. A Momentary Lapse Of Reason, sorry to say, is mundane, predictable.”* [56] Village Voice critic Robert Christgau opined: “In short, you'd hardly know the group's conceptmaster was gone – except that they put out noticeably fewer ideas.”* [48] Writing more recently, for AllMusic, William Ruhlmann refers to it as a “Gilmour solo album in all but name”.* [47]

A Momentary Lapse of Reason was certified Silver and Gold in the UK on 1 October 1987, and Gold and Platinum in the US on 9 November. It went 2× Platinum on 18 January the following year, 3× Platinum on 10 6.13.4 Release and reception March 1992, and 4× Platinum on 16 August 2001,* [57] I think it's very facile, but a quite clever forgery ... The easily outselling The Final Cut.* [58] The album was reissongs are poor in general; the lyrics I can't quite believe. sued in 1988 as a limited-edition vinyl album, complete with posters, and a guaranteed ticket application for the Gilmour's lyrics are very third-rate. band's upcoming UK concerts.* [nb 2] The album was “ digitally remastered and re-released in 1994,* [nb 3] and a ” tenth anniversary edition was issued in the US three years Roger Waters* [52] later.* [nb 4] In 2011, A Momentary Lapse was again remastered for inclusion in the band's Discovery box set. A Momentary Lapse of Reason was released in the UK and US on 7 September 1987.* [nb 1] It went straight to

6.13. A MOMENTARY LAPSE OF REASON

6.13.5

147

Tour

later, the live album was played in orbit, on board Soyuz TM-7. The tour eventually came to an end by closing the Silver Clef Award Winners Concert, at Knebworth Park Main article: A Momentary Lapse of Reason Tour on 30 June 1990, after 200 performances, a gross audience of 4.25 million fans, and box office receipts of more The decision to tour in support of the album was made bethan £60 million (not including merchandising).* [62] fore it was even complete. Early rehearsals were chaotic; Mason and Wright were completely out of practice, and realising he had taken on too much work, Gilmour asked 6.13.6 Track listing Bob Ezrin to take charge. Matters were complicated when Waters contacted several US promoters, and threat- All lead vocals performed by David Gilmour except ened to sue them if they used the Pink Floyd name. where noted. Gilmour and Mason funded the start-up costs (Mason, separated from his wife, used his Ferrari 250 GTO as collateral). Some promoters were offended by Waters' 6.13.7 Personnel threat, and several months later 60,000 tickets went on sale in Toronto, selling out within hours.* [39]* [41] 6.13.8 Chart positions As the new line-up (with Wright) toured throughout North America, Waters' Radio K.A.O.S. tour was, on oc- 6.13.9 References casion, close by. The bassist had forbidden any members of Pink Floyd from attending his concerts,* [nb 5] Notes which were generally in smaller venues than those housing his former band's performances. Waters also issued a [1] UK EMI EMD 1003 (vinyl album), EMI CDP 7480682 (CD album). US Columbia OC 40599 (vinyl album rewrit for copyright fees for the band's use of the flying pig, leased 8 September 1987), Columbia CK 40599 (CD aland Pink Floyd responded by attaching a huge set of male bum)* [45] genitalia to the balloon's underside to distinguish it from Waters' design. By November 1987, Waters appeared [2] UK EMI EMDS 1003* [59] to admit defeat, and on 23 December a legal settlement * was finally reached at a meeting on Astoria.* [23] Mason [3] UK EMI CD EMD 1003 [59] and Gilmour were allowed use of the Pink Floyd name in [4] US Columbia CK 68518* [59] perpetuity, and Waters would be granted, amongst other things, rights to The Wall. However, the bickering contin- [5] Mason (2005) states that“rumour had it we would not be allowed in”* [60] ued, with Waters issuing the occasional slight against his former friends, and Gilmour and Mason responding by making light of Waters' claims that they would fail with- Footnotes out him.* [61] [1] Watkinson & Anderson 2001, p. 133 [2] Mabbett 1995, p. 89 [3] Blake 2008, pp. 302–309 [4] Schaffner 1991, pp. 249–250 [5] Schaffner 1991, pp. 256–257 [6] In the Studio with Redbeard, A Momentary Lapse of Reason (Radio broadcast), Barbarosa Ltd. Productions, 2007 [7] Blake 2008, pp. 311–313 A photo-montage of the stage on the Momentary Lapse Tour

[8] Schaffner 1991, p. 257 [9] Schaffner 1991, pp. 258–260

The Momentary Lapse tour was phenomenally successful. In every venue booked in the US it beat box office records, making it the most successful US tour by any band that year. Tours of Australia, Japan, and Europe soon followed, before the band returned twice to the US. Almost every venue was sold out. A live album, Delicate Sound of Thunder, was released on 22 November 1988, followed in June 1989 by a concert video. A few days

[10] Schaffner 1991, pp. 262–263 [11] Jones, Peter (22 November 1986), It's the Final Cut: Pink Floyd to Split Officially, Billboard, p. 70, retrieved 22 September 2009 [12] Schaffner 1991, pp. 261–262 [13] Schaffner 1991, p. 245

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CHAPTER 6. STUDIO ALBUMS

[15] Povey 2007, p. 240

[49] McCormick, Neil (20 May 2014). “Pink Floyd's 14 studio albums rated”. The Daily Telegraph (London). Retrieved 28 December 2014.

[16] Blake 2008, p. 316

[50] Graff & Durchholz 1999, p. 874

[17] Blake 2008, pp. 315, 317 [18] Schaffner 1991, pp. 267–268

[51]“Pink Floyd: Album Guide”. rollingstone.com. Archived from the original on 17 February 2011. Retrieved 28 December 2014.

[19] Blake 2008, p. 318

[52] Blake 2008, p. 328

[20] Schaffner 1991, pp. 268–269

[53] Schaffner 1991, p. 274

[21] Blake 2008, p. 320

[54] Sutcliffe, Phil (October 1987), “Pink Floyd: A Momentary Lapse Of Reason", Q; available at Rock's Backpages (subscription required)

[14] Schaffner 1991, p. 263

[22] Mason 2005, pp. 284–285 [23] Povey 2007, p. 241

[55] Manning 2006, p. 136

[24] Schaffner 1991, p. 269

[26] Mason 2005, pp. 284–286

[56] Quill, Greg (11 September 1987), Has Pink Floyd changed its color to puce? (Registration required), Toronto Star, hosted at infoweb.newsbank.com, retrieved 24 January 2010

[27] Mason 2005, p. 287

[57] Povey 2007, pp. 349–350

[28] Blake 2008, p. 319

[58] Povey 2007, p. 230

[29] Blake 2008, pp. 316–317

[59] Povey 2007, p. 350

[25] Povey 2007, p. 246

[30] Manning 2006, p. 134 [31] Schaffner 1991, p. 267 [32] MacDonald 1997, p. 229 [33] MacDonald 1997, p. 204

[60] Mason 2005, p. 300 [61] Blake 2008, pp. 329–335 [62] Povey 2007, pp. 243–244, 256–257 [63] Pink Floyd – A Momentary Lapse Of Reason (Album), ultratop.be, retrieved 25 January 2010

[34] MacDonald 1997, p. 272 [35] MacDonald 1997, p. 268 [36] Schaffner 1991, p. 270 [37] Schaffner 1991, p. 271 [38] Blake 2008, p. 321 [39] Blake 2008, p. 322 [40] Mason 2005, p. 290 [41] Povey 2007, p. 243 [42] Schaffner 1991, p. 273 [43] Blake 2008, p. 323 [44] Blake 2008, pp. 326–327 [45] Povey 2007, p. 349 [46] http://www.discogs.com/viewimages?release=1677936, http://www.discogs.com/viewimages?release=4626208 [47] Ruhlmann, William. “Pink Floyd A Momentary Lapse of Reason". AllMusic. Retrieved 5 October 2013. [48] Christgau, Robert. “CG: Pink Floyd”. robertchristgau.com. Retrieved 5 October 2013.

Bibliography • Blake, Mark (2008), Comfortably Numb – The Inside Story of Pink Floyd (paperback ed.), Cambridge, MA: Da Capo Press, ISBN 0-306-81752-7 • Graff, Gary; Durchholz, Daniel (eds) (1999), MusicHound Rock: The Essential Album Guide, Farmington Hills, MI: Visible Ink Press, ISBN 1-57859061-2 • Mabbett, Andy (1995), The Complete Guide to the Music of Pink Floyd, Omnibus Press, ISBN 0-71194301-X • MacDonald, Bruno (1997), Pink Floyd: Through the Eyes of the Band, Its Fans, Friends and Foes (paperback ed.), Cambridge, MA: Da Capo Press, ISBN 0-306-80780-7 • Manning, Toby (2006), The Rough Guide to Pink Floyd (1st ed.), London: Rough Guides, ISBN 184353-575-0 • Mason, Nick (2005), Philip Dodd, ed., Inside Out: A Personal History of Pink Floyd (paperback ed.), London: Phoenix, ISBN 0-7538-1906-6

6.14. THE DIVISION BELL

149

• Povey, Glenn (2007), Echoes, Bovingdon: Mind “It does have some meaning. It's about people making Head Publishing, ISBN 0-9554624-0-1 choices, yeas or nays.”* [3] • Schaffner, Nicholas (1991), Saucerful of Secrets (1st Produced a few years after the collapse of the Eastern ed.), London: Sidgwick & Jackson, ISBN 0-283- Bloc,“A Great Day for Freedom”juxtaposes the general euphoria of, for instance, the fall of the Berlin Wall, with 06127-8 the subsequent wars and ethnic cleansing, particularly * • Watkinson, Mike; Anderson, Pete (2001), Crazy Di- in Yugoslavia. [5] Audio samples of professor Stephen amond: Syd Barrett & the Dawn of Pink Floyd (illus- Hawking, originally recorded for a BT television advertisement, were used in "Keep Talking";* [6]* [3] Gilmour trated ed.), Omnibus Press, ISBN 0-7119-8835-8 was so moved by Hawking's sentiment in the advert that he contacted the advertising company for permission to use the recordings on the album.* [7] Mason said it felt 6.14 The Division Bell “politically incorrect to take ideas from advertising, but it seemed a very relevant piece.”* [3] At the end of This article is about the Pink Floyd album. For the bell the album Gilmour's stepson Charlie is heard hanging rung in the British Houses of Parliament, see Division up the telephone receiver on Pink Floyd manager Steve bell. O'Rourke, who had pleaded to be allowed to appear on a Pink Floyd album.* [8] The Division Bell is the fourteenth studio album by English progressive rock group Pink Floyd. It was released in the UK by EMI Records on 28 March 1994, and the 6.14.2 US by Columbia Records on 4 April.

Recording

The music was written mostly by David Gilmour and Richard Wright; lyrically, the album deals with themes of communication. Recording took place in several locations, including the band's Britannia Row Studios, and Gilmour's houseboat, Astoria. The production team included Pink Floyd stalwarts such as producer Bob Ezrin, engineer Andy Jackson and saxophonist Dick Parry. Gilmour's new wife, Polly Samson, co-wrote many of the album's lyrics, and Wright performed his first lead vocal on a Pink Floyd album since 1973's The Dark Side of the Moon. The album reached number one in the UK and the US, but received mixed reviews. Its release was followed immediately by a tour of the US and Europe. The Division Bell was certified gold, platinum and double platinum in David Gilmour's recording studio, Astoria the US in 1994, and triple platinum in 1999. In January 1993, Gilmour, Mason and Wright began improvising new material in sessions at a remodelled Bri6.14.1 Concept tannia Row Studios. Although the band were initially apprehensive about recording together, after the first day The Division Bell deals with themes of communication their confidence improved and soon, bassist Guy Pratt and the idea that talking can solve many of life's prob- (who had, since the end of the Momentary Lapse of Realems.* [1] In the Studio radio host Redbeard suggested that son Tour, become an item with Wright's daughter, Gala the album offered“the very real possibility of transcend- Wright)* [9] was asked to contribute. According to Maing it all, through shivering moments of grace”.* [2] Songs son, “an interesting phenomenon occurred, which was such as "Poles Apart", "Lost for Words", and particu- that Pratt's playing tended to change the mood of the larly the reference to "the day the wall came down" in "A music we had created on our own”.* [10] Without the Great Day for Freedom" have been interpreted as refer- legal problems experienced during production of their ences to the estrangement between Pink Floyd and former 1987 album, A Momentary Lapse of Reason, Gilmour band member Roger Waters, who left in 1985; however, was at ease; if he felt the band were“getting somewhere” Gilmour denied this, and said: “People can invent and , he would press the record key of a two-track DAT relate to a song in their personal ways, but it's a little late recorder.* [11]* [12] At one point Gilmour surreptitiously at this point for us to be conjuring Roger up.”* [3] The ti- recorded Wright playing the keyboard, and captured matle refers to the division bell rung in British parliament to terial which later formed the basis for three pieces of muannounce a vote.* [4]* [nb 1] Drummer Nick Mason said: sic.* [13]

150 The improvisations the band recorded helped spur their creative process, and after about two weeks they had around 65 pieces of music. With engineer Andy Jackson back on the team, and Bob Ezrin employed as coproducer, production moved to Gilmour's houseboat and recording studio, Astoria. The band listened to and voted on each track, and whittled the material down to about 27 pieces of music.* [nb 2] Eliminating some tracks, and merging others, they eventually arrived at a list about fifteen strong songs, before cutting another four to produce a tracklist of eleven. Song selection was based upon a system of points, whereby all three members would award marks out of ten to each candidate song, a system skewed somewhat by Wright's decision to award his songs ten points each, and the other songs no points.* [15] Wright was not contractually a full member of the band, a situation which clearly upset him; Wright later reflected: “It came very close to a point where I wasn't going to do the album, because I didn't feel that what we'd agreed was fair.”* [16] Despite his frustration he chose to remain, and received his first songwriting credits on any Pink Floyd album since 1975's Wish You Were Here.* [17] Gilmour's new wife, Polly Samson, also received songwriting credits. Initially, her role was limited to providing encouragement for her husband, but she later helped Gilmour write "High Hopes" (a song about Gilmour's childhood and early life in Cambridge). Her role expanded to co-writing a further six songs, something which did not sit well with Ezrin. In an interview for Mojo magazine Gilmour admitted that Samson's contributions had “ruffled the management's [feathers]", but Ezrin later reflected that her presence was inspirational for Gilmour, and that she “pulled the whole album together”.* [18] She also helped Gilmour, who, following his divorce, had developed a cocaine addiction.* [1] Keyboard player Jon Carin, and Gary Wallis were brought in to complete the band, before recording began. Five backing vocalists were also hired, including Sam Brown, and Momentary Lapse tour singer Durga McBroom. The band then moved to Olympia Studios, recorded most of the 'winning' tracks over the space of a week. After a summer break, they returned to Astoria to record more backing tracks. Ezrin worked on the various drum sounds, and previous collaborator and orchestral composer Michael Kamen provided the album's string arrangements.* [19] Dick Parry played saxophone on his first Pink Floyd album for almost 20 years, on “Wearing the Inside Out”, and Chris Thomas was booked to undertake the final mix.* [20] Between September and December recording and mixing sessions were held at Metropolis Studios in Chiswick, and the Creek Recording Studios in London. In September, the band performed at a celebrity charity concert at Cowdray House, in Midhurst.* [21] The album was mastered at the Mastering Lab in Los Angeles, by Doug Sax and James Guthrie.* [nb 3]

CHAPTER 6. STUDIO ALBUMS Instrumentation With the aid of Gilmour's guitar technician, Phil Taylor, Carin managed to locate some of the band's older keyboards from the warehouse in which they had been stored, including a Farfisa organ. Some of the sounds sampled from these instruments were used on the tracks "Take It Back", and“Marooned”.* [22] Carin was joined on keyboards by Ezrin, Durga McBroom supplied backing vocals alongside Sam Brown, Carol Kenyan, Jackie Sheridan, and Rebecca Leigh-White.* [23] Gilmour used several styles on the album. “What Do You Want from Me”is heavily influenced by Chicago blues,“Poles Apart”contains folksy overtones. Gilmour's heavily improvised guitar solos on “Marooned”used a DigiTech Whammy pedal to pitch-shift the guitar notes over a full octave. On “Take It Back”he used an EBow (an electronic device which simulates the sound of a bow on the strings), on a Gibson J-200 guitar through a Zoom effects unit.* [24]

6.14.3 Packaging and title The album feels much more home-made, very much as a band playing together in one space. I think that Rick in particular felt significantly more integrated in the process this time, compared to Momentary Lapse. It was nice to have him back. “ ” Nick Mason (2005)* [25] To avoid competing against other album releases (as had happened with A Momentary Lapse) Pink Floyd set a deadline of April 1994, at which point they would begin a new tour. By January of that year however, the band still had not decided on a title for the album. The list of names being considered included Pow Wow and Down to Earth. At a dinner one night, writer Douglas Adams, spurred on by the promise of a payment to his favourite charity, the Environmental Investigation Agency, suggested “the division bell" (used in the lyrics for“High Hopes”), and the name stuck.* [26]* [27] Longtime Floyd collaborator Storm Thorgerson provided the album artwork. He erected two large metal heads, each the height of a double-decker bus, in a field near Ely. The sculptures were positioned close together, and photographed in profile, to give the illusion that not only were they either facing or talking to each other, they also presented the viewer with a third face. The sculptures were devised by Keith Breeden, and constructed by John Robertson. Ely Cathedral is visible on the horizon.* [28]* [29] The sculptures are now in the Rock and Roll Hall of Fame in Cleveland, Ohio. The album was released in the UK and US on CD, vinyl,

6.14. THE DIVISION BELL and compact cassette, each with its own format and labelspecific design. It was also available in mini-disc format. Two 7.5-metre (25 ft) stone sculptures were made by Aden Hynes* [nb 4] for the cassette releases, and photographed in the same style as the metal heads. The artwork inside the CD liner notes revolves around a similar theme, with the image of the two heads formed by various other objects, such as newspapers (“A Great Day for Freedom”), coloured glass (“Poles Apart”), and boxing gloves (“Lost for Words”). Pages two and three portray a picture from the Chilean Cerro Tololo Inter-American Observatory. The CD case itself had the name of Pink Floyd printed in Braille on the left front side.

6.14.4

Release and reception

... there's a sense that the band may have put more thought into its trademark audio gimmickry ... than it did into its songs this time around. ... Still, the band maddeningly manages a few moments of the old grandeur here and there. The Division Bell is not a great Pink Floyd album, but an all-too-fallible simulation. “ ” Jerry McCully on The Division Bell* [33] Just rubbish ... nonsense from beginning to end. “ ” Roger Waters, giving his opinion of The Division Bell* [34]

151 for this glib, vacuous cipher of an album, which is notable primarily for its stomach-turning merger of progressiverock pomposity and New Age noodling”.* [39] Rolling Stone's Tom Graves criticised Gilmour's performance, stating that his guitar solos had “settled into rambling, indistinct asides that are as forgettable as they used to be indelible ... only on 'What Do You Want from Me' does Gilmour sound like he cares”.* [32] Nevertheless, the album was nominated in the 1995 Brit awards for the “Best Album by a British Artist”,* [40] but lost to Blur's Parklife. In March the same year the band was awarded with a Grammy for the“Best Rock Instrumental Performance”on “Marooned”.* [41] Later reviews have been warmer towards the album. Writing as part of Uncut's Pink Floyd: The Ultimate Music Guide, Graeme Thomson felt that the album “might just be the dark horse of the Floyd canon. The opening triptych of songs is a hugely impressive return to something very close to the eternal essence of Pink Floyd, and much of the rest retains a quiet power and a meditative quality that betrays a genuine sense of unity”.* [42]

6.14.5 Tour Two days after the album's release, the band's Division Bell Tour began at Joe Robbie Stadium, in suburban Miami. The setlist began with 1967's "Astronomy Domine", before moving to tracks from 1987's A Momentary Lapse of Reason, and The Division Bell. Songs from Wish You Were Here and The Dark Side of the Moon featured, as well as The Wall. Backing musicians included Sam Brown, Jon Carin, Claudia Fontaine, Durga McBroom, Dick Parry, Guy Pratt, Tim Renwick, and Gary Wallis. The tour continued in the US through April, May and mid-June, before moving to Canada, and then returning to the US in July. As the tour reached Europe in late July, Waters was invited to join the band, but he declined, and later expressed his annoyance that some Floyd songs were being performed again in large venues. On the first night of the UK leg of the tour on 12 October, a 1,200 capacity stand collapsed, but with no serious injuries; the performance was rescheduled.* [43]* [44]

On 10 January 1994 a press reception to announce the new album and world tour was held at a former US Naval Air Station in North Carolina, in the US. A purpose-built Skyship 600 airship, manufactured in the UK, toured the US until it returned to Weeksville, and was destroyed by a thunderstorm on 27 June. Pieces of the aircraft were sold as souvenirs. The band held another reception, in the UK, on 21 March. This time they used an A60 airship, translucent, and painted to look like a fish, which took journalists on a tour of London. The airship, which was During the tour an anonymous person named Publius lit internally so it glowed in the night sky, was also flown posted a message on an internet newsgroup, inviting fans in northern Europe.* [35] to solve a riddle supposedly concealed in the new alThe album was released in the UK by EMI Records on bum. The veracity of the message was demonstrated 28 March 1994,* [nb 5] and in the US on 4 April,* [nb when white lights in front of the stage at a performance 6]* [35] and went straight to #1 in both countries.* [37] in East Rutherford spelled out the words Enigma PubThe Division Bell was certified silver and gold in the UK lius. During a televised concert at Earls Court in October on 1 April 1994, platinum a month later and 2x platinum 1994, the word enigma was projected in large letters on on 1 October. In the US, it was certified gold and 2x to the backdrop of the stage. Mason later acknowledged platinum on 6 June 1994, and 3x platinum on 29 January that the Publius Enigma did exist, and that it had been instigated by the record company rather than the band. As 1999.* [38] * Despite strong sales, the album received mixed reviews. of 2014 the puzzle remains unsolved. [45] Tom Sinclair of Entertainment Weekly gave it a “D”, The tour ended at Earls Court on 29 October 1994, and writing that “avarice is the only conceivable explanation was the group's final concert performance until Live 8.

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Estimates placed the total number of tickets sold at over Footnotes 5.3 million, and gross income at about $100 million.* [46] A live album of the tour, named Pulse, and a concert [1] Blake 2008, p. 365 video, also named Pulse, (which was shot on 20 October [2] In the Studio with Redbeard, inthestudio.net, 17 August 1994) were released in June 1995.* [47] 2009

6.14.6

Track listing

All lead vocals performed by David Gilmour, except where noted.

[3] Morse, Steve (12 May 1994), Pink Floyd pride and drive keep band on top with No. 1 album and 60-show tour (Registration required), Boston Globe, hosted at highbeam.com/, retrieved 14 January 2010 [4] Mabbett 1995, pp. 119, 123 [5] Cosyns, Simon (26 September 2008), Echoes brought Rick out of his shell ... we had musical telepathy, thesun.co.uk, retrieved 17 January 2010

LP Reissues

[6] (liner notes from Echoes)

Since its release in 1994, The Division Bell has been reissued twice. The first was part of the 2011 Why Pink Floyd...? campaign which saw it remastered by Andy Jackson and released as a standalone CD and as part of the Discovery box set which collects all of the 14 studio albums together for the first time.* [48] The second reissue occurred on 30 June 2014, which saw the album released as a“20th anniversary deluxe edition”box set* [49] and a 20th anniversary double-LP vinyl reissue.* [50] The box set contains the 2011 remaster of the album; a 5.1 surround sound remix by Andy Jackson; 2-LP album on 180g vinyl; a red 7”“Take It Back”single; a clear 7”“High Hopes/Keep Talking”single; a blue, laseretched 12”“High Hopes”single; book and assorted art cards.* [49] The 2014 reissues saw the first release of the full album on vinyl as the 1994 vinyl release saw only edited versions of the songs to keep it to a single LP.

[7] In the Studio with Redbeard, 31 March 1994 [8] Mabbett 1995, p. 123 [9] Blake 2005, p. 356 [10] Mason 2005, p. 315 [11] Blake 2005, p. 354 [12] Di Perna 2002, p. 86 [13] Mason 2005, pp. 314–315 [14] Mason 2005, p. 316 [15] Mason 2005, pp. 314–321 [16] Blake 2005, p. 355 [17] Blake 2005, pp. 354–355

6.14.7

Personnel

6.14.8

Charts and certifications

6.14.9

References

[18] Blake 2005, pp. 355–356 [19] Mason 2005, pp. 318–319

Notes

[20] Blake 2008, pp. 356–357 [21] Povey 2007, p. 257 [22] Blake 2008, p. 357 [23] Mabbett 1995, p. 120

[1] The bell used at the end of the album is not the bell used in Parliament [2] Mason (2005) also writes that they had enough leftover material to create a separate release, which he called The Big Spliff.* [14] [3] See sleeve notes. [4] See sleeve notes. [5] UK EMI EMD 1055 (vinyl), EMI CD EMD 1055 (CD)* [36] [6] US Columbia C 64200 (vinyl), Columbia CK 64200 (CD)* [36]

[24] Di Perna 2002, pp. 83–85 [25] Mason 2005, p. 317 [26] Mason 2005, pp. 319–320 [27] Mabbett 1995, pp. 119–120 [28] Mason 2005, p. 320 [29] Division Bell ̶Metal Heads, hypergallery.com, retrieved 13 January 2010 [30] Ruhlmann, William. “The Division Bell – Pink Floyd | Songs, Reviews, Credits, Awards | AllMusic”. Retrieved 2013-12-01.

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[31] Christgau, Robert. “Robert Christgau: CG: Pink Floyd” [57] "Archívum › Kereső – lista és dátum szerint”(in Hungar. Retrieved 2013-12-01. ian). Mahasz. LightMedia. Select Lista as Top 40 album, then select Ev as 2014 then select Het as 27 then click on [32] Graves, Tom (16 June 1994), The Division Bell, rollingKereses stone.com, archived from the original on 19 June 2008, [58] "Pink Floyd – The Division Bell”. Charts.org.nz. Hung retrieved 3 January 2010 Medien. [33] McCully, Jerry, The Division Bell, retrieved 2010-01-09 [59] "Pink Floyd – The Division Bell”. Norwegiancharts.com. [34] Manning 2006, p. 144 Hung Medien. [35] Povey 2007, p. 270

[60] "Pink Floyd – The Division Bell”. Swedishcharts.com. Hung Medien.

[36] Povey 2007, p. 350 [37] Blake 2008, p. 359

[61] "Pink Floyd – The Division Bell”. Swisscharts.com. Hung Medien.

[38] Povey 2007, p. 351

[62] “Pink Floyd | Artist | Official Charts”. UK Albums Chart

[39] Sinclair, Tom (22 April 1994), The Division Bell, ew.com, retrieved 9 January 2010

[63] “Pink Floyd Album & Song Chart History” Billboard 200 for Pink Floyd.

[40] The Nominees, Billboard, 18 February 1995, p. 48, retrieved 13 January 2010

[64] “Gold & Platinum Certifications”. CAPIF (in Spanish). Archived from the original on 6 July 2011.

[41] Browne 2001, p. 611

[65] NO certyear WAS PROVIDED for AUSTRALIAN CERTIFICATION.

[42] Thomson, Graeme (07/06/2011). “The Division Bell” . Uncut: Ultimate Music Guide – Pink Floyd (6): 128. [66] “Austrian album certifications – Pink Floyd – The Division Bell” (in German). IFPI Austria. Retrieved 11 Check date values in: |date= (help); January 2013. Enter Pink Floyd in the field Interpret. En[43] Blake 2008, p. 367 ter The Division Bell in the field Titel. Select album in the field Format. Click Suchen [44] Povey 2007, pp. 270–280 [67] “Brazilian album certifications – Pink Floyd – The Di[45] Blake 2008, pp. 363–367 vision Bell” (in Portuguese). Associação Brasileira dos Produtores de Discos. Retrieved 11 January 2013. [46] Povey 2007, p. 264 [68] “Canadian album certifications – Pink Floyd – The Divi[47] Povey 2007, p. 285 sion Bell”. Music Canada. Retrieved 11 January 2013. [48] http://www.whypinkfloyd.com/

[69] The first web page presents the sales figures, the second presents the certification limits:

[49] http://euroshop.pinkfloyd.com/en/ browse-by-album/division-bell-20th-anniversary/ the-division-bell-20th-anniversary-deluxe-box.html

• “Pink Floyd” (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 11 January 2013. • “Kultalevyjen myöntämisrajat”(in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 11 January 2013.

[50] http://euroshop.pinkfloyd.com/en/ browse-by-album/division-bell-20th-anniversary/ the-division-bell-12-vinyl-lp-album.html [51] "Pink Floyd – The Division Bell”. Australiancharts.com. Hung Medien. [52] "Pink Floyd – The Division Bell” (in German). Austriancharts.at. Hung Medien. [53] "Pink Floyd – The Division Bell” (in French). tratop.be. Hung Medien.

Ul-

[54] Hits of the World 106 (24), Nielsen Business Media, Inc, 11 June 1994, p. 41, retrieved 13 October 2011 [55] "Pink Floyd – The Division Bell” (in Dutch). Dutchcharts.nl. Hung Medien. [56] "Pink Floyd – The Division Bell”. Lescharts.com. Hung Medien.

[70] “French album certifications – Pink Floyd – The Division Bell” (in French). Syndicat National de l'Édition Phonographique. Retrieved 11 January 2013. [71] “Gold-/Platin-Datenbank (Pink Floyd; 'The Division Bell')" (in German). Bundesverband Musikindustrie. Retrieved 11 January 2013. [72] “Italian album certifications – Pink Floyd – The Division Bell”(in Italian). Federation of the Italian Music Industry. Retrieved 14 July 2014. Select Album e Compilation in the field Scegli la sezione. Select Week -- and Year ----. Enter Pink Floyd in the field Artista. Click Avvia la ricerca [73] “Japanese album certifications – Pink Floyd – The Division Bell”(in Japanese). Recording Industry Association of Japan. Retrieved 11 January 2013.

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[74] THE FIELD id (chart number) MUST BE PROVIDED for NEW ZEALAND CERTIFICATION. [75] “Norwegian album certifications – Pink Floyd – The Division Bell”(in Norwegian). IFPI Norway. Retrieved 11 January 2013. [76] “Polish album certifications – Pink Floyd – The Division Bell” (in Polish). Polish Producers of Audio and Video (ZPAV). Retrieved 11 January 2013. [77] “Spanish album certifications – Pink Floyd – The Division Bell”(PDF) (in Spanish). Productores de Música de España. Retrieved 11 January 2013. Select the “Chart”, enter ' in the field “Year”. Select ' in the field “Semana” . Click on “Search Charts” [78] “Gold & Platinum 1987–1998”. IFPI Sweden (in Swedish). Archived from the original on 21 May 2012. [79] “The Official Swiss Charts and Music Community: Awards (Pink Floyd; 'The Division Bell')". Hung Medien. Retrieved 11 January 2013. [80] “British album certifications – Pink Floyd – The Division Bell”. British Phonographic Industry. Retrieved 11 January 2013. Enter The Division Bell in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Platinum in the field By Award. Click Search

CHAPTER 6. STUDIO ALBUMS

6.14.10 External links • The Division Bell 20 site

6.15 The Endless River The Endless River is the fifteenth and final studio album by the British progressive rock band Pink Floyd. It was released by Parlophone and Columbia Records in Friday-release countries on 7 November 2014, and in the United Kingdom and United States on 10 November 2014. It is Pink Floyd's first studio album since the death of keyboardist and founder member Richard Wright, who appears posthumously, and the third by the David Gilmour-led Pink Floyd following Roger Waters' departure in 1985. It is also the first Pink Floyd album distributed by Parlophone and Warner Bros. Records following the purchase of EMI and its assets by the Universal Music Group in 2012, their transfer to Parlophone and the purchase of Parlophone by Warner Bros. in 2013.

Described as a "swan song" for Wright, The Endless River mostly comprises instrumental music. It is based on 20 hours of unreleased material Pink Floyd wrote, recorded and produced with Wright during sessions for their previous studio album The Division Bell (1994). New material was recorded in 2013 and 2014 in Gilmour's studios the [81] “American album certifications – Pink Floyd – The DiviAstoria and Medina Studios in Hove, England. It was prosion Bell”. Recording Industry Association of America. duced by Gilmour, Youth, Andy Jackson and Phil ManRetrieved 11 January 2013. If necessary, click Advanced, zanera. then click Format, then select Album, then click SEARCH Information about the The Endless River was leaked via social media, after which Pink Floyd made a formal Bibliography announcement. The band, Parlophone and Columbia Records (outside Europe) launched a promotional cam• Blake, Mark (2008), Comfortably Numb ̶The Inpaign with television advertisements and installations of side Story of Pink Floyd, Da Capo, ISBN 0-306the album artwork in cities around the world, including 81752-7 London, New York, Paris, Berlin and Milan. The cover • Browne, Pat (2001), The guide to United States pop- concept is by Ahmed Emad Eldin with sleeve design by Stylorouge and creative direction by Aubrey Powell. ular culture, Popular Press, ISBN 0-87972-821-3 The Endless River became the most pre-ordered album • Di Perna, Alan (2002), Guitar World Presents Pink of all time on Amazon UK, and debuted at number one Floyd, Hal Leonard Corporation, ISBN 0-634- in several countries. The vinyl edition was the fastest03286-0 selling UK vinyl release of 2014 and the fastest-selling since 1997. The album received mixed reviews. • Mabbett, Andy (1995), The Complete Guide to the Music of Pink Floyd, Omnibus Pr, ISBN 0-71194301-X 6.15.1 Background • Mason, Nick (2005), Philip Dodd, ed., Inside Out: After the departure of founding member Roger Waters in A Personal History of Pink Floyd (Paperback ed.), 1985 and Waters' failed attempt to dissolve the band,* [4] Phoenix, ISBN 0-7538-1906-6 guitarist and vocalist David Gilmour was left to lead Pink • Povey, Glenn (2007), Echoes, Mind Head Publish- Floyd with drummer Nick Mason. Keyboardist Richard Wright had been fired by Waters during the recording ing, ISBN 0-9554624-0-1 of The Wall (1979), but was invited back by Gilmour • Manning, Toby (2006), The rough guide to Pink and Mason.* [5] Under Gilmour's leadership, Pink Floyd Floyd (illustrated ed.), Rough Guides, ISBN 1- recorded two studio albums: A Momentary Lapse of Rea84353-575-0 son (1987) and The Division Bell (1994). The latter saw

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Drummer Nick Mason (left) and guitarist David Gilmour (right) took up the project in 2013, intending to create “a 21st-century Pink Floyd album”.

The Endless River was created as a tribute to Richard Wright, one of the band's founding members, who died in 2008.

a greater participation from Richard Wright, who shared his first writing credits on a Pink Floyd album since Wish You Were Here (1975), and recorded his first lead vocal since The Dark Side of the Moon (1973).* [6]

sions were held at Britannia Row Studios and aboard the Astoria, where Pink Floyd's A Momentary Lapse of Reason (1987) and Gilmour's On an Island (2006) were also partly recorded. In 1994, Wright said the band had recorded “four 90-minute DATs of five or six hours of music. The hardest thing was to throw things out and decide what we're gonna work on ... but they are not lost. They are in my head, they are in Dave's head.” * [17] In the same year, Pink Floyd engineer Andy Jackson edited the material, described by Mason as ambient music, to an hour-long composition tentatively titled The Big Spliff.* [18] Pink Floyd decided not to release it.* [19]

Wright died of an undisclosed form of cancer on 15 September 2008 at the age of 65.* [5]* [7] Initial tributes to Wright included statements from Gilmour, Mason and Waters,* [8]* [9] tribute performances by artists such as Elton John* [10] and various television and radio specials In 2012, Gilmour and Mason decided to revisit recordings made with Wright prior to his death in 2008 to create produced in the weeks following his death.* [11] a new Pink Floyd album. Gilmour said: “We listened to over 20 hours of the three of us playing together and selected the music we wanted to work on for the new album. 6.15.2 Composition Over the last year we've added new parts, re-recorded The Endless River has been described by the band others and generally harnessed studio technology to make as a predominantly ambient and instrumental al- a 21st-century Pink Floyd album. With Rick gone, and bum.* [12]* [13] The closing track “Louder Than with him the chance of ever doing it again, it feels right should be made Words”is the album's only song to have a lead vocal that these revisited and reworked tracks * available as part of our repertoire.” [16] Only a small track, with lyrics by David Gilmour's wife Polly Sam* part from The Big Spliff was used. [20] * son, [14] who also shares writing credits on Pink Floyd's The Division Bell and Gilmour's On an Island.* [6]* [15] In a statement, Mason described the album as a tribute to Wright:“I think this record is a good way of recognising a lot of what he does and how his playing was at the heart of the Pink Floyd sound. Listening back to the sessions, it really brought home to me what a special player he was.”* [16] Gilmour told Mojo: “Unapologetically, this is for the generation that wants to put its headphones on, lie in a beanbag, or whatever, and get off on a piece of music for an extended period of time. You could say itʼs not for the iTunes, downloading-individual-tracks generation.”* [13]

Gilmour asked guitarist and producer Phil Manzanera, who played on and co-produced On an Island, to work on the material. Manzanera listened to 20 hours of recordings and, with Jackson and engineer Damon Iddins, spent six weeks assembling four 14-minute pieces. Gilmour gave the first two of these pieces to producer Youth, who added guitar and bass parts. In November 2013, Gilmour led sessions with Manzanera, Youth and Jackson to record material with Mason, saxophonist Gilad Atzmon and bassist Guy Pratt.* [18] Backing vocalists including Durga McBroom recorded parts and Gilmour recorded lead vocals on “Louder than Words”,* [21] with lyrics written by Gilmour's wife Polly Samson.* [22] The album comprises four pieces each taking a side of the 6.15.3 Recording record, with additional drum and guitar overdubs.* [20] “Autumn '68”features a recording of Wright playing the The Endless River is based on material recorded in 1993 Royal Albert Hall's pipe organ in 1969.* [23]* [24] The and 1994 during the Division Bell recording. The ses- track also has additional keyboards, added more recently

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by Damon Iddins. Mason stated that unreleased sessions Wright recorded for Gilmour's solo projects could appear on Gilmour's future solo albums.* [25] Bassist and songwriter Roger Waters, who left Pink Floyd in 1985, was not involved in the recording.* [26]* [27] The Endless River is the first Pink Floyd studio album since The Dark Side Of The Moon (1973) for which Mason is credited for writing (for Sum and Skins). Asked if The Endless River is the final Pink Floyd album, Gilmour replied: “Yes, I'm pretty certain that there will not be any sort of follow-up after this.”* [25]

6.15.4

Packaging

The Endless River cover artwork depicts a man in an open shirt punting across a sea of clouds towards the sun.* [28] The album is the fourth by Pink Floyd not to feature artwork by long-time collaborator Storm Thorgerson, who died in 2013;* [29] with his design company Hipgnosis, Thorgerson designed every Pink Floyd album cover but The Piper at the Gates of Dawn (1967), The Wall (1979) and The Final Cut (1983), including Pink Floyd's live and compilation albums.* [30] Hipgnosis co-founder Aubrey Powell discovered 18-year-old Egyptian artist Ahmed Emad Eldin and asked to use the concept from Eldin's piece Beyond the Sky for The Endless River.* [31] The final cover is a recreation of Eldin's work by London design firm Stylorouge.* [32] Eldin was a Pink Floyd fan and accepted enthusiastically.* [33] Powell felt Ahmedʼs concept had“an instant Floydian resonance”, and described it as “enigmatic and open to interpretation”.* [34]

Several art installations, such as this one in South Bank, London, were placed around the world in promotion of The Endless River.

2014. The Division Bell, along with subsequent live and compilation albums, were previously published by EMI in Europe and Sony counterpart Columbia Records for the rest of the world.

Pink Floyd were affected by the sale of EMI to the Universal Music Group, which lasted from 2011 to 2013. The European Commission and the Federal Trade Commission approved the sale with conditions, including the sale of certain EMI assets.* [36] Pink Floyd, along with many other bands under the EMI roster, were transferred to different labels during the process. The Parlophone Label Group was formed under Parlophone as one of many assets to be sold off by Universal following the acquisition of EMI, with Pink Floyd transferred to the Parlophone Label Group during the sale.* [37] The Warner The album title is taken from a lyric on the last track Music Group, in 2013, struck a deal with Universal to buy and single released from The Division Bell, "High Hopes": the Parlophone label Group from EMI, acquiring publish"The water flowing / The endless river / Forever and ever.” ing rights to Pink Floyd's back catalog and future releases Gilmour said the lyric suggested “some sort of contin- in the process.* [38]* [39] uum”connecting the two records, since they came from In a tweet on 5 July 2014, Pink Floyd lyricist and wife the same sessions.* [25] of David Gilmour, Polly Samson, leaked information about a new Pink Floyd album, including its title and a projected release window of October 2014* [40] to pre“Deluxe”editions empt a tabloid newspaper report.* [18] The announceThe Endless River was also released in boxed DVD and ment was followed by backing vocalist Durga McBBlu-ray “deluxe”editions, containing a 24-page hard- room posting a photo of her alongside Gilmour in the back book, postcards, and a bonus disc of three additional recording studio.* [41] Details about The Endless River music tracks and six music videos.* [22] These nine tracks were announced on Pink Floyd's website on 7 July, deplay for a total of 39 minutes.* [22] The DVD edition in- scribing it as “mainly ambient”and instrumental mucludes the album in Dolby Digital and DTS 5.1 surround sic.* [42] Pink Floyd and Parlophone formally unveiled sound, plus a 48kHz /24 bit stereo version. The Blu-ray The Endless River on 22 September 2014, including the has DTS Master Audio and PCM, 96/24 5.1 surround and release date, artwork and track listing, accompanied by a promotional website, a hyperstitial for the official Pink a PCM stereo 96/24 version.* [22] Floyd website.* [43] The site featured an artist's statement, photographs from the The Division Bell sessions, 6.15.5 Promotion pre-order details and two teasers, one featuring a 30second snippet of the album's second track, “It's What The Endless River is the second Pink Floyd album dis- We Do”, and a television advertisement, featuring the tributed by Parlophone,* [35] following the release of the album's geometric-based artwork.* [44]* [45] pre-orders 20th anniversary editions of The Division Bell earlier in for the album on physical and digital formats started

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the same day.* [46]* [47] Prominent installations of the album's artwork were placed around the world, including a four-sided 8m tall billboard placed in South Bank, London,* [28]* [48] and large-scale poster advertisements in cities such as Berlin, Paris, Los Angeles, Milan, New York and Sydney.* [49]* [50]

aimless jamming, one long thread of Dave Gilmour's guitar against Rick Wright's pastel keyboards and Nick Mason's tentative percussion, with nary a melody of any distinction alighted upon for the duration .... without the sparking creativity of a Syd or Roger, all that's left is ghastly faux-psychedelic dinner-party muzak.”* [1] The The album's only song, “Louder Than Words”, pre- NME wrote that The Endless River “sounds like what it miered on Chris Evans' breakfast show on BBC Radio 2 is: a collection of spruced-up outtakes from 1994's Division Bell. On those limited terms it works well enough, as a shortened radio edit. Gilmour and Mason appeared in an interview for BBC Radio 6 Music to promote the and it's interesting from a certain geeky perspective, but it's never quite as satisfying or substantial as you want album and to discuss Wright's contributions. The track * “Allons-y (1)" was made available to download from the it to be.” [59] Pitchfork wrote that The Endless River “is quintessentially and self-consciously Pink Floyd, for iTunes store on 4 November 2014. In the week leading up to its release, The Endless River broke the record for the better or for worse ... it proves to be one of the few Pink Floyd releases that sounds like a step backwards, most pre-ordered album in Amazon UK's history.* [51] nothing new to say and no new frontiers to explore.” On 27 November the record was broken by Take That's with * [61] Mikael Wood of the Los Angeles Times called it * III. [52] Gilmour stated that there will be no tour to sup“so excruciatingly dull (even by Pink Floyd's often-dull port the album, saying that was “kind of impossible” standards) that the band's name on the cover feels like a * * without Wright. [53] [54] straight-up bait-and-switch.”* [58]

6.15.6

Reception

The Endless River received mixed reviews from music critics. At Metacritic, which assigns a normalized rating out of 100 to reviews from mainstream critics, the album has an average score of 58, which indicates “mixed or average reviews”, based on 24 reviews as of 1 December 2014.* [55] Ludovic Hunter-Tilney of the Financial Times praised the album's nostalgic “Floydian”sound, reminiscent of the band's work prior to The Wall, and wrote: “How fitting that a band so accustomed to loss should close their account with an engrossing elegy to their own past.”* [56] Cameron Cooper of The Music gave the album three and a half out of five, writing that the album felt “less like a swansong and more like a final homage ... the lack of vocals (save for the albumʼs closing track) gives the music more freedom, allowing it to speak for itself.”* [64] In The Guardian, Alexis Petridis described it as“not a new album from an extant band, but an echo from the past – or a last, warm but slightly awkward group hug ... on those terms, it works just fine,”and praised the lead single and final track “Louder than Words”as “stately, poignant and open-hearted”.* [57] In Rolling Stone, David Fricke wrote: “Wright was the steady, binding majesty in the Floyd's explorations. This album is an unexpected, welcome epitaph.”* [63] The Observer wrote that the album is “an understated affair but unmistakably the Floyd ... a pretty good way to call it a day.”* [60] J.C. Maçek III of PopMatters wrote: “Without the vocals, something is very clearly missing and the listener is left wanting more. While this makes for a good album, The Endless River is not quite fitting to serve as the final album of the greatest rock band of their kind, to say nothing of one of the greatest rock bands of any kind ever to perform.”* [62] Andy Gill of The Independent called it“just

6.15.7 Commercial performance In the week before its release, The Endless River displaced Four by One Direction as the most pre-ordered album of all time on Amazon UK.* [65] It debuted at number one on the UK Albums Chart, with sales totaling 139,351 the third highest opening sales week of 2014,* [1] making it Pink Floyd's sixth UK number one.* [66]* [67] As of 27 November 2014, the vinyl edition had sold 6,000 copies, making it the fastest-selling UK vinyl release of 2014 and the fastest-selling since 1997.* [68] The album also debuted at number one in several other countries, including France, Germany, Portugal, Ireland, the Netherlands, Belgium, New Zealand,* [66] and Canada.* [69] In the US, it debuted at number 3 on the Billboard 200 with 170,000 copies sold in its first week;* [70] as of January 2015, it has sold 355,000 copies there.* [71]

6.15.8 Track listing All tracks produced by David Gilmour, Phil Manzanera, Youth and Andy Jackson.

6.15.9 Personnel* [72] Pink Floyd • David Gilmour – guitars (all but 3), EBow guitar (1, 3, 10), lead vocals (18), backing vocals (7, 15, 17), keyboards (7, 15, 16), piano (6, 7), EMS VCS 3 (4, 6), bass guitar (2, 4, 7, 17), Hammond organ (18), percussion (8), voice samples (1) • Nick Mason – drums (2, 4, 5, 7, 9, 11, 13, 14, 16, 17, 18) percussion (15, 18), rototoms (5), gong (5, 12, 16), voice samples (1)

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• Richard Wright – Hammond organ (1, 11, 13, 16), 6.15.10 Farfisa organ (4, 6, 14, 16), pipe organ (12), piano (4, 6, 8, 14, 18), Rhodes piano (9, 18), electric piano 6.15.11 (3), keyboards (1, 2, 5, 16, 17), synthesiser (1, 2, 8, 10, 14, 17, 18), voice samples (1) 6.15.12 Additional musicians • Guy Pratt – bass guitar (9, 14) • Bob Ezrin – bass guitar (11, 13, 18), additional keyboards (1) • Andy Jackson - bass guitar (5, 16), effects (15) • Jon Carin – synthesisers (9, 11, 13), percussion loop (11, 13)

Charts Certifications Release schedule

6.15.13 See also • List of works published posthumously

6.15.14 References Footnotes

• Anthony Moore – keyboards (15)

[1] Gill, Andy (5 November 2014). “Pink Floyd, The Endless River, album review: Boring and desperately disappointing”. The Independent. Independent Print Limited. Retrieved 5 November 2014.

• Gilad Atzmon – tenor saxophone (7), clarinet (7)

[2] Toronto Sun

• Escala:

[3] Daily Nebraskan

• Damon Iddins – additional keyboards (4, 12)

• • • •

Chantal Leverton – viola (18) Victoria Lyon – violin (18) Helen Nash – cello (18) Honor Watson – violin (18)

• Durga McBroom – backing vocals (14, 17, 18) • Louise Marshal – backing vocals (18) • Sarah Brown – backing vocals (18) • Stephen Hawking – voice sample (14) • Youth, Eddie Bander and Michael Rendall – additional programming, engineering, sound design, assorted synthesizers and keyboards Production • David Gilmour – producer • Phil Manzanera – co-producer • Youth – co-producer • Andy Jackson – engineer, co-producer, mixing, mastering of bonus content on DVD and Blu-ray • Bob Ezrin – co-producer 1993 sessions • Damon Iddins – engineer • Doug Sax - mastering for the vinyl issue Artwork

[4] Blake 2008, pp. 311–313: O'Rourke's involvement in the settlement; Povey 2008, p. 240: “a spent force”. [5] The Telegraph staff (16 September 2008). “Obituaries - Richard Wright”. The Telegraph. Telegraph Media Group. Retrieved 23 September 2014. [6] The Division Bell (liner notes). Columbia Records. 1994.

Pink Floyd.

EMI,

[7] Sweeting, Adam (16 September 2008). “Obituary: Richard Wright, Keyboard player and founder member of Pink Floyd”. The Guardian. Guardian Media Group. Retrieved 23 September 2014. [8] Simpson, Aislinn (16 September 2008). “Pink Floyd's Dave Gilmour pays tribute to band's founder Richard Wright”. The Telegraph. Telegraph Media Group. Retrieved 23 September 2014. [9] Collis, Clark (18 September 2008). “Pink Floyd's Nick Mason on former bandmate Richard Wright (R.I.P.)". Entertainment Weekly. Time Inc. Retrieved 23 September 2014. [10] The Starpheonix staff (16 September 2008). “SP review: Elton John wins over Saskatoon”. Canada.com. Postmedia Network. Retrieved 23 September 2014. [11] Johns, Matt (16 September 2008). “Tributes paid to Richard Wright from across the world”. Brain Damage. Retrieved 23 September 2014. [12] NME staff (8 July 2014). “Pink Floyd reveal details of 'mainly ambient' new album”. NME. IPC Media. Retrieved 24 September 2014. [13] Daily Mail

• Aubrey Powell – creative director • Stylorouge – sleeve design • Ahmed Emad Eldin – album cover concept

[14] Greene, Andy (22 September 2014). “Pink Floyd Roll Out Plans For 'The Endless River,' Their First LP in 20 Years”. Rolling Stone. Wenner Media. Retrieved 26 September 2014.

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EMI,

• Pulse (liner notes). Pink Floyd. EMI / Columbia Records. 1995.

[16] Roberts, Randall (22 September 2014). “Pink Floyd offers release date, cover art for album 'The Endless River'". Los Angeles Times. Tribune Publishing. Retrieved 22 September 2014.

• Echoes: The Best of Pink Floyd (liner notes). Pink Floyd. EMI. 2001.

[15] On an Island (liner notes). Columbia Records. 2006.

David Gilmour.

[17] Wright, Richard (March 1994). Pink Floyd's Richard Wright 3/94. Interview with Redbeard. Minutes 6:45. In the Studio with Redbeard. Retrieved 10 October 2014. [18]“The Return of the Parts of Something: The Making of The Endless River”, by Daryl Easlea, Prog October 2014, pp. 38-45 [19] Mason 2005, p. 315 [20] Young, Alex (22 September 2014). “Pink Floyd reveals details of new album, The Endless River”. Consequence of Sound. Retrieved 22 September 2014. [21] Maloney, Devon (5 July 2014).“New Pink Floyd Album 'The Endless River' Out in October: Report”. Billboard. Prometheus Global Media. Retrieved 6 July 2014. [22] “About“The Endless River"". Official Website for“The Endless River”. Retrieved 22 September 2014. [23] Woodcraft, Molloy (2014-11-09). “Pink Floyd: The Endless River review – 'a good way to call it a day'". The Observer. Retrieved 10 December 2014. [24] NME News Desk (2014-09-26). “Pink Floyd producer says Royal Albert Hall organ solo used on new album was 'moment of rebellion'". NME. Retrieved 10 December 2014. [25] Everitt, Matt (9 October 2014). “Shaun Keaveny, with a Pink Floyd Exclusive, Pink Floyd Talk to 6 Music's Matt Everitt”. BBC. [26] Wootton, Dan (5 July 2014). “Pink Floyd to release new album: First new collection for over two decades”. The Sun. News UK. Retrieved 11 July 2014. (subscription required) [27] “Pink Floyd to release new album in October”. The Toronto Sun. Sun Media (Quebecor). 6 July 2014. Retrieved 11 July 2014. [28] Barnes, Anthony (23 September 2014). “Pink Floyd stoke anticipation for new album with global artwork launch”. The Guardian. Guardian Media Group. Retrieved 23 September 2014. [29] Greene, Andy (18 April 2013).“Storm Thorgerson, Pink Floyd Album Art Designer, Dead at 69”. Rolling Stone. Wenner Media. Retrieved 23 September 2014. [30] Album liner notes crediting Thorgerson for album artwork: • A Collection of Great Dance Songs (liner notes). Pink Floyd. Harvest Records. 1981. • Delicate Sound of Thunder (liner notes). Floyd. EMI / Columbia Records. 1988.

Pink

[31] Lopez-Reyes, Ed (17 November 2014). “Ahmed Emad Eldin interview: designer of The Endless River cover”. Brain Damage - Pink Floyd News Resource. Matt Johns. Retrieved 22 November 2014. [32] Khairat, Mohamed (23 September 2014). “Egyptian teenager designs Pink Floydʼs new album cover”. Egyptian Streets. ES Media Inc. Retrieved 23 September 2014. [33] CCN staff (24 September 2014). “Teenager designs the cover for Pink Floyd's new album, 'The Endless River'". CNN. Turner Broadcasting System (Time Warner Inc.). Retrieved 24 September 2014. [34] Varga, George (22 September 2014). “Pink Floyd: Hear preview of its new album”. U-T San Diego. MLIM Holdings. Retrieved 23 September 2014. [35] “The Endless River: Amazon.co.uk: Music”. Amazon.co.uk. Amazon.com, Inc. Retrieved 22 September 2014. [36] Sweney, Mark (21 September 2012). “Universal's bn EMI takeover approved – with conditions”. The Guardian. Guardian Media Group. Retrieved 11 July 2014. [37] Sisario, Ben (7 February 2013). “Warner Music Group Buys EMI Assets for Million”. The New York Times. The New York Times Company. Retrieved 11 July 2014. [38] Knopper, Steve (8 February 2013). “Pink Floyd, Radiohead Catalogs Change Label Hands”. Rolling Stone. Wenner Media. Retrieved 11 July 2014. [39] Hampp, Andrew (18 December 2013).“Coldplay, David Guetta Go To Atlantic Records; Radiohead & Pink Floyd Catalogs, Kylie Minogue, Damon Albarn To Warner Bros: WMGʼs US Plans for Parlophone (Exclusive)". Billboard. Prometheus Global Media. Retrieved 11 July 2014. [40] Newton, Steve (5 July 2014).“David Gilmour's wife Polly Samson leaks news on Twitter about new Pink Floyd album”. The Georgia Straight. Vancouver Free Press. Retrieved 6 July 2014. [41] McDonald, Soraya Nadia (7 July 2014). “Pink Floyd is releasing its first new album in 20 years”. The Washington Post. Nash Holdings. Retrieved 11 July 2014. [42] Palazzo, Anthony; Beech, Mark (8 July 2014). “Pink Floyd to Release First New Album in Two Decades”. Bloomberg Businessweek. Bloomberg L.P. Retrieved 11 July 2014. [43] Johns, Matt. “New Pink Floyd album The Endless River - details and ordering info”. Brain Damage. Retrieved 24 September 2014.

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[44] Ryan, Patrick (22 September 2014). “Pink Floyd to release new album Nov. 10”. USA Today. Gannett Company, Inc. Retrieved 24 September 2014.

[61] Deusner, Stephen (13 November 2014). “Pink Floyd: The Endless River”. Pitchfork Media. Retrieved 13 November 2014.

[45] Gordon, Jeremy (22 September 2014). “Pink Floyd Detail New Album The Endless River”. Pitchfork. Pitchfork Media Inc. Retrieved 24 September 2014.

[62] Maçek III, J.C. (November 26, 2014). “Pink Floyd: The Endless River”. PopMatters.

[46] Associated Press (22 September 2014).“Pink Floyd sets release date for new album”. AOL. AOL Inc. Retrieved 24 September 2014.

[63] Fricke, David (7 November 2014). “Pink Floyd - The Endless River; Mostly instrumental set honors the bandʼs psychedelic legacy”. Rolling Stone. Wenner Media LLC. Retrieved 7 November 2014.

[47] Iyengar, Rishi (24 September 2014). “Pink Floyd Announces Its First New Album in 20 Years”. Time. Time Inc. Retrieved 24 September 2014.

[64] Cooper, Cameron (3 November 2014). “Pink Floyd The Endless River”. The Music. Street Press Australia. Retrieved 5 November 2014.

[48] Sherwin, Adam (22 September 2014). “Pink Floyd new album: Band unveil cover art for first new record in 20 years”. The Independent. Independent Print Limited. Retrieved 23 September 2014.

[65] Kharpal, Arjun (10 November 2014).“Pink Floyd album becomes most pre-ordered on Amazon”. cnbc.com. cnbc. Retrieved 14 November 2014.

[49] Kumar, Revathi Siva (24 September 2014). “Pink Floyd's New Album To Be Released After 20 Years”. International Business Times. IBT Media. Retrieved 24 September 2014.

[66] Moss, Liv (16 November 2014). “Pink Floyd score first Number 1 album in nearly 20 years!". officialcharts.com. The Official Charts Company. Retrieved 16 November 2014.

[50] Agence France-Presse (23 September 2014).“New Pink Floyd album to be released in November”. Hürriyet Daily News. Doğan Media Group. Retrieved 24 September 2014.

[67] “Pink Floyd score first Number 1 album in nearly 20 years!". localuknews.co.uk. localuknews.co.uk. 17 November 2014. Retrieved 17 November 2014.

[51] Mic.com

[68] Lee, Dave (27 November 2014). “Vinyl record sales hit 18-year high”. BBC News. Retrieved 27 November 2014.

[52] Pakinkis, Tom (27 November 2014).“Take That's III be- [69] Cross, Alan (19 November 2014). “Weekly Music Sales comes Amazon UK's most pre-ordered album of all time” Report and Analysis: 19 November 2014”. ajournalof. Music Week. Retrieved 28 November 2014. musicalthings.com. ajournalofmusicalthings. Retrieved 20 November 2014. [53] “David Gilmour: There's No Room in My Life for Pink Floyd”. Rolling Stone. 29 October 2014. Retrieved 9 [70] Caulfield, Keith (19 November 2014). “Taylor Swift's November 2014. '1989' No. 1 for Third Week on Billboard 200”. bill[54] “David Gilmourʼs New Album “Coming Along Very Well...”in 2015”. Neptune Pink Floyd. 29 October 2014. Retrieved 9 November 2014. [55] “Reviews for The Endless River by Pink Floyd”. Metacritic. CBS Interactive. Retrieved 5 November 2014. [56] Hunter-Tilney, Ludovic (4 November 2014). “Pink Floyd: The Endless River – album review”. Financial Times. Pearson PLC. Retrieved 5 November 2014.

board.com. Billboard. Retrieved 20 November 2014. [71] Christman, Ed (9 January 2015). “Music in 2014: Taylor Takes the Year, Republic Records on Top, Streaming to the Rescue”. Billboard. Prometheus Global Media. Retrieved 10 January 2015. [72] liner notes to the 2014 release [73] "Pink Floyd – The Endless River”. Australiancharts.com. Hung Medien. Retrieved 15 November 2014.

[57] Petridis, Alexis (6 November 2014). “Pink Floyd: The Endless River review – a fitting footnote to their career” [74] "Pink Floyd – The Endless River”(in German). Austriancharts.at. Hung Medien. Retrieved 18 November 2014. . The Guardian. The Guardian. Retrieved 6 November 2014. [75] "Pink Floyd – The Endless River” (in Dutch). Ultratop.be. Hung Medien. Retrieved 14 November 2014. [58] Wood, Mikael (11 November 2014). “Pink Floyd drifts toward nothingness on 'The Endless River'". Los Angeles [76] "Pink Floyd – The Endless River” (in French). UlTimes. Retrieved 19 November 2014. tratop.be. Hung Medien. Retrieved 14 November 2014. [59] Nicolson, Barry (3 November 2014). “NME Reviews Pink Floyd - 'The Endless River'". New Musical Express. [77] “Ranking ABPD - CD - 24/11/2014 a 30/11/2014” (in Portuguese). Portal Sucesso. Retrieved 12 December IPC Media (Time Inc. UK). Retrieved 5 November 2014. 2014. [60] Woodcraft, Molloy (9 November 2014). “Pink Floyd: The Endless River review – ʻa good way to call it a dayʼ [78] "Pink Floyd Album & Song Chart History” Billboard ". The Observer. The Observer. Retrieved 9 November Canadian Albums Chart for Pink Floyd. Retrieved 20 2014. November 2014.

6.15. THE ENDLESS RIVER

[79] "Top Stranih [Top Foreign]" (in Croatian). Top Foreign Albums. Hrvatska Diskografska Udruga. Retrieved 15 November 2014.

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[98] "Pink Floyd – The Endless River”. Swedishcharts.com. Hung Medien. Retrieved 18 November 2014.

[99] "Pink Floyd – The Endless River”. Swisscharts.com. [80] "Czech Albums – Top 100”. ČNS IFPI. Note: On the Hung Medien. Retrieved 18 November 2014. chart page, select 201446 on the field besides the word “Zobrazit”, and then click over the word to retrieve the [100] “2014-11-15 Top 40 UK Albums Archive”. Official correct chart data. Retrieved 18 November 2014. Charts Company. Retrieved 14 November 2014. [81] "Pink Floyd – The Endless River”. Danishcharts.com. [101] “Pink Floyd Album & Song Chart History” Billboard Hung Medien. Retrieved 17 November 2014. 200 for Pink Floyd. Retrieved 20 November 2014. [82] "Pink Floyd – The Endless River” (in Dutch). [102] "Pink Floyd Album & Song Chart History”Billboard Top Dutchcharts.nl. Hung Medien. Retrieved 14 November Rock Albums for Pink Floyd. Retrieved 20 November 2014. 2014. [83] "Pink Floyd: The Endless River”(in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 16 November 2014. [103] “End of Year Charts – ARIA Top 100 Albums 2014”. ARIA Charts. Australian Recording Industry Association. Retrieved 7 January 2015. [84] "Pink Floyd – The Endless River”. Lescharts.com. Hung Medien. Retrieved 16 November 2014. [104] Antonucci, Gabriele (12 January 2015). “Vasco Rossi: “Sono innocente”è l'album più venduto del 2014”. [85] "Longplay-Chartverfolgung at Musicline” (in German). Panorama (in Italian). Retrieved 12 January 2015. Musicline.de. Phononet GmbH. Retrieved 17 November 2014. [105] “Top Selling Albums of 2014”. Recorded Music NZ. [86] "Pink Floyd – The Endless River”. Greekcharts.com. Retrieved 2 January 2015. Hung Medien. Retrieved 22 December 2014. [106] “Jakie płyty Polacy kupowali najchętniej w 2014 roku [87] "Archívum › Kereső – lista és dátum szerint”(in Hungar– roczne podsumowanie listy OLiS” (in Polish). Polish ian). Mahasz. LightMedia. Select Lista as Top 40 album, Society of the Phonographic Industry. Retrieved January then select Ev as 2014 then select Het as 46 then click on 19, 2015. Kereses Retrieved 20 November 2014. [88] "GFK Chart-Track Albums: Week 46, 2014”. ChartTrack.co.uk. IRMA. Retrieved 14 November 2014.

[107] “ARIA Charts – Accreditations – 2014 Albums”. Australian Recording Industry Association. Retrieved 13 December 2014.

[89] ‫( חמשת הנצפים ביותר‬in Hebrew). Musicaneto. Retrieved [108] “Austrian album certifications – Pink Floyd – The End16 November 2014. less River” (in German). IFPI Austria. Retrieved 17 November 2014. Enter Pink Floyd in the field Interpret. [90] “Classifica settimanale WK 46 (dal 10-11-2014 al 16-11Enter The Endless River in the field Titel. Select album in 2014)" (in Italian). Federazione Industria Musicale Italthe field Format. Click Suchen iana. Retrieved 20 November 2014. [91] “Oricon Top 50 Albums: 2014-11-18” (in Japanese). [109] “Ultratop − Goud en Platina – 2014”. Ultratop & Hung Medien / hitparade.ch. Retrieved 13 December 2014. Oricon. Retrieved 14 November 2014. [92] “South Korea Gaon International Album Chart”. On the [110] “Canadian album certifications – Pink Floyd – The Endpage, select “2014.11.09~2014.11.15”, then " ", less River”. Music Canada. Retrieved 30 December to obtain the corresponding chart. Gaon Chart Retrieved 2015. November 9, 2014. [111] Bliss, Karen (27 January 2015).“Nielsen: Canada Loved [93] "Pink Floyd – The Endless River”. Charts.org.nz. Hung Taylor Swift, Streaming Music and, Yep, Vinyl in 2014”. Medien. Retrieved 14 November 2014. Billboard. Prometheus Global Media. Retrieved 30 January 2015. [94] "Pink Floyd – The Endless River”. Norwegiancharts.com. Hung Medien. Retrieved 14 November 2014. [112] “French album certifications – Pink Floyd – The Endless River” (in French). Syndicat National de l'Édition [95] “Polish Society of the Phonographic Industry”. Retrieved Phonographique. Retrieved 17 November 2014. 20 November 2014. [96] "Pink Floyd – The Endless River”. Por- [113] “Gold-/Platin-Datenbank (Pink Floyd; 'The Endless River')" (in German). Bundesverband Musikindustrie. tuguesecharts.com. Hung Medien. Retrieved 17 Retrieved 17 November 2014. November 2014. [97] "Pink Floyd – The Endless River”. Spanishcharts.com. [114] “Adatbázis – Arany- és platinalemezek – 2014”(in HunHung Medien. Retrieved 16 November 2014. garian). Mahasz. Retrieved 21 November 2014.

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[115] “Italian album certifications – Pink Floyd – The End- [130] “iTunes - Musik - The Endless River (Deluxe Edition) less River” (in Italian). Federation of the Italian Music von Pink Floyd”. iTunes Store DE. Apple, Inc. Retrieved Industry. Retrieved 30 December 2014. Select Album e 22 September 2014. Compilation in the field Scegli la sezione. Select Week -and Year ----. Enter Pink Floyd in the field Artista. Click [131] “iTunes - Musique - The Endless River (Deluxe Edition) par Pink Floyd”. iTunes Store FR. Apple, Inc. Retrieved Avvia la ricerca 22 September 2014. [116] “Dutch album certifications – Pink Floyd – The Endless River” (in Dutch). Nederlandse Vereniging van Produ- [132] “iTunes - Music - The Endless River (Deluxe Edition) by Pink Floyd”. iTunes Store US. Apple, Inc. Retrieved 22 centen en Importeurs van beeld- en geluidsdragers. ReSeptember 2014. trieved 17 November 2014. [117] “New Zealand album certifications – Pink Floyd – The [133] “iTunes - Music - The Endless River (Deluxe Edition) by Pink Floyd”. iTunes Store GB. Apple, Inc. Retrieved 22 Endless River”. Recording Industry Association of New September 2014. Zealand. Retrieved 17 November 2014. [118] “Polish album certifications – Pink Floyd – The Endless [134] “iTunes - Music - The Endless River (Deluxe Edition) by Pink Floyd”. iTunes Store CA. Apple, Inc. Retrieved 22 River”(in Polish). Polish Producers of Audio and Video September 2014. (ZPAV). [119] “Portuguese album certifications – Pink Floyd – The Endless River”(in Portuguese). Associação Fonográfica Portuguesa. Retrieved 17 November 2014. [120] “The Official Swiss Charts and Music Community: Awards (Pink Floyd; 'The Endless River')". Hung Medien. Retrieved 21 November 2014. [121] “British album certifications – Pink Floyd – The Endless River”. British Phonographic Industry. Retrieved 17 November 2014. Enter The Endless River in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Platinum in the field By Award. Click Search [122] “American album certifications – Pink Floyd – The Endless River”. Recording Industry Association of America. Retrieved 17 November 2014. If necessary, click Advanced, then click Format, then select Album, then click SEARCH [123] “iTunes - Music - The Endless River by Pink Floyd” . iTunes Store AU. Apple, Inc. Retrieved 22 September 2014. [124] “iTunes - Musik - The Endless River von Pink Floyd” . iTunes Store DE. Apple, Inc. Retrieved 22 September 2014. [125] “iTunes - Musique - The Endless River par Pink Floyd” . iTunes Store FR. Apple, Inc. Retrieved 22 September 2014. [126] “iTunes - Music - The Endless River by Pink Floyd” . iTunes Store US. Apple, Inc. Retrieved 22 September 2014. [127] “iTunes - Music - The Endless River by Pink Floyd” . iTunes Store GB. Apple, Inc. Retrieved 22 September 2014. [128] “The Endless River [VINYL]: Amazon.co.uk: Music”. Amazon.co.uk. Amazon.com, Inc. Retrieved 22 September 2014. [129] “iTunes - Music - The Endless River by Pink Floyd” . iTunes Store CA. Apple, Inc. Retrieved 22 September 2014.

Bibliography • Blake, Mark (2008), Comfortably Numb ̶The Inside Story of Pink Floyd, Da Capo, ISBN 0-30681752-7 • Mason, Nick (2005), Philip Dodd, ed., Inside Out: A Personal History of Pink Floyd (Paperback ed.), Phoenix, ISBN 0-7538-1906-6 • Schaffner, Nicholas (1991), Saucerful of Secrets (First ed.), London: Sidgwick & Jackson, ISBN 0283-06127-8

6.15.15 External links • The Endless River promotional website • Pink Floyd official website • Pink Floyd on Facebook

Chapter 7

Soundtrack albums 7.1 Tonite Lets All Make Love in London

independent record stores. The interviews are also as one track, thus the CD has three tracks, although the booklet incorrectly lists the interviews as two separate tracks.

Tonite Lets All Make Love in London is a soundtrack album released on LP in 1968, for the 1967 semidocumentary film made by Peter Whitehead about the "swinging London" scene of the sixties. The film is based around a series of psychedelic performances and interviews and features live performance by Pink Floyd, together with footage of John Lennon, Yoko Ono, Mick Jagger, Vanessa Redgrave, Lee Marvin, Julie Christie, Allen Ginsberg, Eric Burdon, Michael Caine and many others attending one of the band's concerts.

7.1.1 Soundtrack albums' track listings Tonite Lets All Make Love in London. (1968) (Instant Records) Side One

In 1990 See For Miles Records released an expanded version of the soundtrack on CD under the title Tonite Let's All Make Love in London ...Plus (Catalog Number: SEEK 258). The album included all the tracks from Tonite Let's All Make Love in London, the only exception being "Interstellar Overdrive" which had only appeared in a 3.02 edited form on the original release and was now replaced by the previously unreleased 16:46 full-length version. Another long and previously unreleased instrumental track by Pink Floyd, the 11:50“Nick's Boogie”, was also included in this release, together with the interviews that appear in the film.

1. Pink Floyd – "Interstellar Overdrive" (Barrett/Mason/Waters/Wright) – 3:02 This is the edited version of the almost 17 minutes long early take of the song, which is released on the London '66-'67 album and the See for Miles Records release Tonite Let's All Make Love in London ...plus 2. Marquess of Kensington –“Changing of the Guard” (Leander/Mills) – 3:06 3. Twice as Much –“Night Time Girl”(Skinner/Rose) – 3:00

4. Chris Farlowe – "Out of Time" (Jagger/Richards) – Other versions of this soundtrack have also been released. 3:36 In 2001, Power House Records released a CD under the name, Pink Floyd & Friends – Interstellar Overdrive that included the full 16:49“Interstellar Overdrive”and Side Two “Nick's Boogie”(at 11:47) by Pink Floyd, plus an interview with Mick Jagger and an introductory reading by 1. Pink Floyd – “Interstellar Overdrive”(Reprise) Allen Ginsberg called “Tonight Let's All Make Love in (Barrett) – 0:33 London”. However, there are other tracks by Fleetwood Mac, the Nice, the Moody Blues and others that did not A clip from the beginning of the 17appear on the original album or the See for Miles reissue. minute long “Interstellar Overdrive” take. To help promote Tonite Let's All Make Love in London...Plus, the interviews with Michael Caine and 2. Vashti –“Winter Is Blue”(Bunyan/Skinner) – 3:21 Lee Marvin and the two extended instrumental tracks, “Nick's Boogie”and“Interstellar Overdrive”, were also 3. Chris Farlowe – "Paint It, Black" (Jagger/Richards) released as a Pink Floyd CD. While the sleeve for the – 3:35 Pink Floyd release of Tonite Let's All Make Love in Lon4. The Small Faces – "Here Come the Nice" (Mardon...Plus states 'Mini Promotion – CD Sampler' this item riott/Lane) – 3:10 was in fact a full release and was available for sale in many 163

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5. Pink Floyd – “Interstellar Overdrive”(Reprise) Tonite Let's All Make Love in London (1991) (Imme(Barrett) – 0:54 diate Sound) A clip from the beginning of the 17minute long “Interstellar Overdrive” take.

1. Pink Floyd – "Interstellar Overdrive" (Barrett/Mason/Waters/Wright) – 3:09 2. Michael Caine Interview – 0:09

Tonite Let's All Make Love in London...Plus (1990) (See for Miles Records)

3. Marquis of Kensington –“Changing of the Guard” (Leander/Mills) – 2:53

1. Pink Floyd – "Interstellar Overdrive" (Full Length Version) (Barrett/Mason/Waters/Wright) – 16:49

4. Twice as Much –“Night Time Girl”(Skinner/Rose) – 2:41

2.“Michael Caine”interview – 0:09

5.“Dolly Bird”Interview – 0:52

3. Marquis of Kensington –“Changing of the Guard” (Leander/Mills) – 2:52

6. Chris Farlowe – “Out of Time”(Jagger/Richard) – 3:05

4. Twice as Much –“Night Time Girl”(Skinner/Rose) – 2:41

7. Edna O'Brien Interview – 2:23

5.“Interview: 'Dolly Bird'" – 0:52

8. Pink Floyd – “Interstellar Overdrive”(Reprise) (Barrett) – 0:34

6. Chris Farlowe – “Out of Time”(Jagger/Richard) – 3:04

9. Andrew Loog Oldham Interview – 0:22

7.“Interview: Edna O'Brien" – 2:23 8. Pink Floyd –“Interstellar Overdrive”(reprise) (Barrett) – 0:33 9.“Andrew Loog Oldham”interview – 0:22 10. Vashti –“Winter Is Blue”(Bunyan/Skinner) – 1:27

10. Vashti Bunyan –“Winter Is Blue”(Bunyan/Skinner) – 1:28 11. Andrew Loog Oldham Interview – 1:22 12. Vashti Bunyan –“Winter Is Blue”(Bunyan/Skinner) – 1:24

12. Vashti – “Winter Is Blue”(Reprise) (Bunyan/Skinner) – 1:23

13. Eric Burdon and The Animals – “When I Was Young” (Briggs/Burdon/Jenkins/McQuilock/Weider) – 2:58

13.“Interview: Mick Jagger" – 3:15

14. Mick Jagger Interview – 3:15

14.“Interview: Julie Christie" – 0:46

15. Julie Christie Interview – 0:46

11.“Interview: Andrew Loog Oldham”– 1:22

15.“Interview: Michael Caine”– 1:29 16. Chris Farlowe – "Paint It, Black" (Jagger/Richard) – 3:28 17.“Interview: Alan Aldridge" – 0:46 18. Chris Farlowe – "Paint It, Black (Instrumental Reprise)" (Jagger/Richard) – 0:13 19.“David Hockney”interview – 0:09 20. The Small Faces – “Here Comes the Nice”(Marriott/Lane) – 3:00 21.“Lee Marvin”interview – 0:46 22. Pink Floyd – “Interstellar Overdrive”(Reprise 2) (Barrett) – 0:54 23. Allen Ginsberg – “Tonite Let's All Make Love in London”(Ginsberg) – 1:09 24. Pink Floyd –“Nick's Boogie”(Pink Floyd) – 11:50

16. Michael Caine Interview – 1:30 17. Chris Farlowe – "Paint It, Black" (Jagger/Richard) – 3:29 18. Alan Aldridge Interview – 0:46 19. Chris Farlowe – "Paint It, Black" (Instrumental Reprise) (Jagger/Richard) – 0:13 20. David Hockney Interview – 0:09 21. Small Faces – “Here Comes the Nice”(Marriott/Lane) – 3:01 22. Lee Marvin Interview – 0:45 23. Pink Floyd – “Interstellar Overdrive (Reprise)" (Barrett) – 0:55 24. Allen Ginsberg – “Tonite Let's All Make Love in London”(Ginsberg) – 1:08

7.2. ZABRISKIE POINT (ALBUM)

7.1.2

References

[1] “allmusic ((( Tonite Let's All Make Love in London [1990] > Overview )))". www.allmusic.com. Retrieved 2010-06-26.

7.1.3

External links

• “London Is a Swinging City (1967)". www.imdb. com. Retrieved 2010-06-26.

7.2 Zabriskie Point (album) Zabriskie Point is a soundtrack album to the Michelangelo Antonioni film of the same name. It was originally released in February 1970 and comprises songs from various artists. A 1997 re-release includes four bonus tracks each from Jerry Garcia and Pink Floyd that were used in the film, but not the original soundtrack. Jim Morrison of the Doors wrote the track “L'America”for the film, but was rejected by Antonioni (“L'America”was later released on the Doors album L.A. Woman). A Rolling Stones track, "You Got the Silver", is featured in the film but not present on this album.

7.2.1

Pink Floyd

Pink Floyd's contributions to the album were recorded in November and December 1969, after the release of Ummagumma. "Come in Number 51, Your Time Is Up" is a re-recording of "Careful with That Axe, Eugene,” originally released as a b-side in December 1968. “Love Scene (Version 4)" is a Richard Wright solo piano composition. "Country Song" (also known as“The Red Queen” ) is a ballad filled with chess metaphors. "Unknown Song" (also known as “Rain in the Country”) is a relaxed instrumental. “Love Scene (Version 6)" is a bluesy instrumental. A track entitled “Fingal's Cave”and another called “Oenone”were recorded but did not appear on the finished album. Pink Floyd also recorded other unreleased material during the same sessions. Most notable is a lengthy composition which at that time was known as "The Violent Sequence" (later released on Dark Side of the Moon Immersion Box Set). This piece is immediately recognisable as the basis of "Us and Them" from Dark Side of the Moon.

7.2.2

Track listing

7.2.3

References

[1] Steven McDonald. “Zabriskie Point - Original Soundtrack | Songs, Reviews, Credits, Awards”. AllMusic. Re-

165

trieved 2013-09-21. [2] Christgau, Robert. “Album: Zabriskie Point”. Robert Christgau. Retrieved January 30, 2015.

Chapter 8

Live albums 8.1 Delicate Sound of Thunder

on “Comfortably Numb”, according to engineer Buford Jones. In addition, some harmonies were replaced For the concert video, see Delicate Sound of Thunder by studio re-takes: Richard Wright re-did his vocal on “Us and Them”and Sam Brown replaced Rachel Fury's (film). part in “Comfortably Numb”.* [4] Delicate Sound of Thunder is a double live album by the English progressive rock band Pink Floyd which was recorded over five nights at the Nassau Coliseum on Long Island, New York in August 1988 and mixed at Abbey Road Studios in September 1988. It was released on 22 November 1988, through EMI Records in the United Kingdom and Columbia Records in the United States.

8.1.1

Recording

8.1.3 Chart performance Delicate Sound of Thunder reached #11 on the Billboard 200 and is currently listed as Triple Platinum in U.S. sales ̶it was certified Gold and Platinum on 23 January 1989 and Triple Platinum in April 1997.

8.1.4 In space

The band recorded and filmed their series of shows at the Omni Coliseum in Atlanta, Georgia in November 1987 for a potential live concert film and album. However, the band was not happy with the results. Consequently, the material from these shows would make up videos and Bsides for the A Momentary Lapse of Reason singles and later these shows were released as bootleg recordings entitled Pink Floyd: The Calhoun Tapes and Would You Buy a Ticket to This Show. Then in August 1988, the band went to Nassau Coliseum and filmed and recorded their five night stand at the end of the initial Momentary Lapse 1987/88 tour.

Delicate Sound of Thunder became the first rock album to be played in space, as Soviet cosmonauts took it aboard Soyuz TM-7. The double LP was also the band's only album to be officially released in the Soviet Union by the state-owned label Melodiya.

8.1.5 Track listing CD LP / Cassette

8.1.2

Release

Side 1

The album was released in 1988 as a double LP, dou1.“Shine On You Crazy Diamond” ble cassette, and a double CD, each format containing a slightly different track listing. The album includes many 2.“Learning to Fly” works from A Momentary Lapse of Reason as well as tracks from older Pink Floyd albums. The double LP re3.“Yet Another Movie” lease did not have "Us and Them" on the track listing. Both the double LP and the double cassette had "Wish 4.“Round and Around” You Were Here" between "Another Brick in the Wall (Part 2)" and "Comfortably Numb". Side 2 Although David Gilmour stated around the time of its release and on a radio interview in 1992 that the album con1.“Sorrow” tained no studio overdubbing whatsoever, he embellished the tracks during mixing with some extra acoustic guitar 2.“The Dogs of War” 166

8.1. DELICATE SOUND OF THUNDER 3.“On the Turning Away”

167 Additional musicians • Jon Carin – keyboards, programming, backing vocals, lead vocals on “Comfortably Numb”

Side 3 1.“One of These Days”

• Rachel Fury – backing vocals

2.“Time”

• Durga McBroom – backing vocals

3.“Us and Them”(cassette only, omitted from LP).

• Scott Page – saxophones, guitar

4.“Money”

• Guy Pratt – bass guitar, backing vocals, lead vocals on“Another Brick in the Wall (Part 2),“Comfortably Numb”and “Run Like Hell”

5.“Another Brick in the Wall (Part 2)"

• Tim Renwick – guitars, backing vocals

Side 4 1.“Wish You Were Here” 2.“Comfortably Numb” 3.“Run Like Hell”

• Margaret Taylor – backing vocals (also known as Machan Taylor) • Gary Wallis – percussion, additional keyboards on “Comfortably Numb” Production

8.1.6

Songs omitted from the album

The concerts the album was taken from also featured the following songs which were not included on the album: • "Signs of Life" * • "A New Machine" • "Terminal Frost"

• Doug Sax – mastering • David Gleeson – assistant engineering • Buford Jones – engineering • Dimo Safari – band photography • Storm Thorgerson and Nick Marchant – cover design and graphics

• "On the Run" * • "The Great Gig in the Sky" *

8.1.8 Sales chart performance

• "Welcome to the Machine"

8.1.9 References

• "One Slip" * Songs with asterisk (*) are included in the video version. These songs were included on bootlegs as: Prism, Another Lapse in Japan, Nothing Is Changed, and bootleg of one of the nights (August 20, 1988) at the Nassau Coliseum recorded for this album: Another Movie in Long Island

8.1.7

Personnel

Pink Floyd

[1] Erlewine, Stephen Thomas. Album review at AllMusic. Retrieved 8 July 2011. [2] “Album review”. Robert Christgau. Retrieved 8 July 2011. [3] Azerrad, Michael. “Album review”. Rolling Stone. Retrieved 8 July 2011. [4] The Live Albums [5] “Chart Stats”. www.chartstats.com. Retrieved 8 July 2011. [6] Billboad chart peak position at AllMusic. Retrieved 8 July 2011.

• David Gilmour – guitars, lead vocals

[7] “norwegiancharts.com - Pink Floyd - Delicate Sound Of Thunder”. norwegiancharts.com. Retrieved 2009-07-02.

• Nick Mason – drums, percussion, vocal sample on “One of These Days”

[8] “Pink Floyd - Delicate Sound of Thunder - hitparade.ch” . hitparade.ch. Retrieved 2009-07-03.

• Richard Wright – keyboards, backing vocals, lead vocals on “Time”& “Comfortably Numb”

[9] “International peak chart positions”. www.ultratop.be. Retrieved 8 July 2011.

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CHAPTER 8. LIVE ALBUMS

8.2 Pulse (Pink Floyd album)

8.2.3 LED packaging

Early CD versions came with a blinking red LED on the side of the case. This was designed by EMI contractor Jon Kempner, who was awarded the platinum disc, using the now discontinued LM3909 LED flasher IC. The circuit was powered by a single AA cell; the battery life was stated to be over 6 months. Some versions were also The album was recorded during the band's Division Bell made with 2 AA batteries and later editions of the CD set Tour in 1994, specifically the UK and European leg, did not feature the blinking LED. which ran from July to October 1994 (See Pink Floyd 'Essentially, it's a device which we thought live performances). was entertaining. It's an idea of Storm Thorgerson's which related to Dark Side and the pulse, and it's a live album so the box is 8.2.1 Content and recording “alive”. After that, in terms of seriously deep meanings, one might be struggling a bit.' ̶Nick Mason, * [5] The album includes a complete live version of The Dark Side of the Moon and features a booklet with many photos from performances on this tour. It also features "Astronomy Domine", a Syd Barrett song not performed The debut of the album was highlighted by a light show from the top of the Empire State Building in New York since the early 1970s. City with music simulcasted on a New York City radio Unlike Delicate Sound of Thunder, David Gilmour and station. producer James Guthrie have stated that no parts of the songs were re-recorded in the studio (James Guthrie con• The outer packaging for Pulse with the light comfirmed this in an interview with Pink Floyd fanzine Brain partment and holder removed and on top. Damage). However, the band and Guthrie fixed songs • The blinking light compartment (2 AA version) that had bad notes (as heard on some bootlegs) by lifting from an original Pulse release with batteries resolos and corrected vocal lines from other performances moved. as the band recorded most of the European leg. Pulse (stylised as p·u·l·s·e) is a live double album by the English progressive rock band Pink Floyd, released through EMI Records on 29 May 1995* [3] in the United Kingdom and by Columbia Records on 6 June 1995 in the United States.

8.2.2

Release history

In the US, Pulse debuted at number one on the Billboard 200 in June 1995 (briefly dethroning Hootie and the Blowfish's Cracked Rear View for a week before Hootie regained the number one spot in the US) and was soon certified Double Platinum by the RIAA on 31 July 1995.* [4]

• The battery warning sticker that was on the inside of the packaging. Light still works as of December 2012. LED size difference

The LED cases are slightly broader and thicker than a standard CD jewel. Later releases that did not come with the LED matched the dimensions of a CD jewel case but are also thicker. This is due to the hardback picture book and outer sleeve which prevents storing in shelves that reOn 10 July 2006, the Pulse DVD was released of the conquire standard thickness CD jewel cases. The later vercert performed on 20 October 1994, at Earls Court, Lonsion does fit in CD shelves that do not require the exact don. The video version also featured the song "Take It jewel case thickness. Back,”and a nearly complete performance from their 20 In comparing the releases, the outer sleeve and books are October show at Earl's Court, London. identical other than size difference with the same photos The vinyl version comes in a four-LP box set and includes on each page. Only in the LED version larger book, the “One of These Days”(also heard on the cassette release) inner jacket holding each CD displays the track listing. as well as a large version of the photo booklet. In the picture at the right, the LED 2 battery compartment The original CD cover features an“eye-like”machine that is at the top, the row on the left is the LED larger version has clock pieces inside, there is a planet in its centre, and and on the row at the right is the smaller later release. All on the outside it shows evolution as it moves backwards. releases are packaged with the same two music CDs. It starts in the sea, moves to the bacteria which evolve into fishes, then into egg type creatures, then into eggs that hatch birds, and birds follow the trail of an aeroplane. 8.2.4 Track listing There are six pyramids in the desert, and in the bottom Disc one of the sea, one can observe a city in the shore.

8.2. PULSE (PINK FLOYD ALBUM) Lead vocals performed by David Gilmour unless stated otherwise.

169 • London, 16 and 20 (last part) October 1994 Disc two The Dark Side of the Moon

1. "Shine On You Crazy Diamond (Parts I-V, VII)" (David Gilmour, Roger Waters, Richard Wright) – 13:35 • London, 20 October 1994 (All London performances were at Earls Court.) 2. "Astronomy Domine" (Syd Barrett) – 4:20 • London, 15 October 1994 • Lead vocals: David Gilmour and Richard Wright 3. "What Do You Want from Me" (Gilmour, Wright, Polly Samson) – 4:10 • Cinecittà, Rome, on 21 September 1994

1. "Speak to Me" (Mason) – 2:30 • Cinecittà, Rome on 20 September 1994 2. "Breathe" (Gilmour, Waters, Wright) – 2:33 • London, 20 October 1994 (All London performances were at Earls Court.) • Lead vocals: David Gilmour and Jon Carin 3. "On the Run" (Gilmour, Waters) – 3:48 • London, 20 October 1994. Explosion recorded in London, 15 October 1994. 4. "Time" (Gilmour, Waters, Wright, Mason) – 6:47

5. "Keep Talking" (Gilmour, Wright, Samson) – 6:52

• Intro recorded in Modena, Italy on 17 September 1994. The rest of song and most of "Breathe (Reprise)" was recorded at Cinecittà in Rome on 20 September 1994. Ending of “Breathe (Reprise)" recorded in London on 20 October 1994.

• Niedersachsenstadion, Hanover, Germany on 17 August 1994

• Lead vocals: David Gilmour and Richard Wright

4. "Learning to Fly" (Gilmour, Anthony Moore, Bob Ezrin, Jon Carin) – 5:16 • London, 14 October 1994

6. "Coming Back to Life" (Gilmour) – 6:56 • London, 13 October 1994 7. "Hey You" (Waters) – 4:40 • London, 13 and 15 (last verse) October 1994 • Lead vocals: David Gilmour and Jon Carin 8. "A Great Day for Freedom" (Gilmour, Samson) – 4:30 • London, 19 October 1994 9. "Sorrow" (Gilmour) – 10:49 • Cinecittà, Rome on 20 September 1994 10. "High Hopes" (Gilmour, Samson) – 7:52 • London, 20 October 1994. Some parts (“forever and ever”line and part of lap steel solo) from London, October 14–19 or 21-29, 1994 11. "Another Brick in the Wall (Part II)" (Waters) – 7:08 • London, on 21 October 1994 • Lead vocals: David Gilmour and Guy Pratt Bonus track on cassette and LP editions 1. "One of These Days" (Gilmour, Waters, Wright, Nick Mason) – 6:45

5. "The Great Gig in the Sky" (Wright, Torry) – 5:52 • London, 20 October 1994 • Lead vocals: Sam Brown, Durga McBroom and Claudia Fontaine 6. "Money" (Waters) – 8:54 • Modena, Italy on 17 September 1994. Part of sax solo in London on 20 October 1994 7. "Us and Them" (Waters, Wright) – 6:58 • London, 20 October 1994. Second and third choruses London, 19 October 1994. 8. "Any Colour You Like" (Gilmour, Wright, Mason) – 3:21 • London, 23 October 1994. Last part recorded in London, 19 October 1994. 9. "Brain Damage" (Waters) – 3:46 • London, 19 October 1994 10. "Eclipse" (Waters) – 2:38 • London, 19 October 1994 11. "Wish You Were Here" (Gilmour, Waters) – 6:35 • Cinecittà, Rome, 20 September 1994 12. "Comfortably Numb" (Gilmour, Waters) – 9:29

170

CHAPTER 8. LIVE ALBUMS • London, 20 October 1994

Sales and certifications

• Lead vocals: David Gilmour, Richard Wright, Singles Jon Carin and Guy Pratt 13. "Run Like Hell" (Gilmour, Waters) – 8:36 • London, 15 October 1994 • Lead vocals: David Gilmour and Guy Pratt Bonus track on the cassette edition 1.“Soundscape”(Gilmour, Wright, Mason) – 22:00 • An ambient piece that was played before the 1994 concerts

8.2.5

Personnel

8.2.7 References [1] Erlewine, Stephen Thomas (2011). “Pulse - Pink Floyd | AllMusic”. allmusic.com. Retrieved 9 July 2011. [2] O'Connor, Rob (2011). “Pulse by Pink Floyd | Rolling Stone Music | Music Reviews”. rollingstone.com. Retrieved 9 July 2011. [3] “esounds”. EMI. Retrieved 8 July 2007. [4] “Gold and Platinum Database Search”. Retrieved 5 October 2009. [5] Phil Sutcliffe (July 1995). “The 30 Year Technicolor Dream”. Mojo Magazine. Retrieved 23 July 2011.

Pink Floyd • David Gilmour – electric, acoustic and lap steel guitars, lead vocals

[6] “Chart Stats - Pink Floyd - Pulse”. www.chartstats.com. Archived from the original on 26 May 2012. Retrieved 3 July 2009.

• Nick Mason – drums, percussion

[7] “Billboard.com - Artist Chart History - Pink Floyd”. www.billboard.com. Retrieved 2 July 2009.

• Richard Wright – keyboards, backing vocals, lead vocals on “Astronomy Domine”, “Time”, and “Comfortably Numb”(verses)

[8] “norwegiancharts.com - Pink Floyd - P.U.L.S.E.”. norwegiancharts.com. Retrieved 2 July 2009.

Additional musicians • Sam Brown – backing vocals, first lead vocalist on “The Great Gig in the Sky” • Jon Carin – keyboards, backing vocals, programming, lead vocals on “Hey You”, “Comfortably Numb”(verses) • Claudia Fontaine – backing vocals, third lead vocalist on “The Great Gig in the Sky” • Durga McBroom – backing vocals, second lead vocalist on “The Great Gig in the Sky” • Dick Parry – saxophones

[9] “australian-charts.com - Pink Floyd - P.U.L.S.E.”. australian-charts.com. Retrieved 3 July 2009. [10] “Pink Floyd - P.U.L.S.E. - hitparade.ch”. hitparade.ch. Retrieved 3 July 2009. [11] “Gold & Platinum Certifications”. CAPIF (in Spanish). Archived from the original on 6 July 2011. [12] “Austrian album certifications – Pink Floyd – Pulse” (in German). IFPI Austria. Retrieved 10 January 2013. Enter Pink Floyd in the field Interpret. Enter Pulse in the field Titel. Select album in the field Format. Click Suchen [13] “Canadian album certifications – Pink Floyd – P.U.L.S.E.”. Music Canada. Retrieved 10 January 2013. [14] “French album certifications – Pink Floyd – Pulse” (in

French). Syndicat National de l'Édition Phonographique. • Guy Pratt – bass guitar, backing vocals, lead vocals Retrieved 10 January 2013. on “Comfortably Numb”(verses) and “Run Like Hell” [15] “Gold-/Platin-Datenbank (Pink Floyd; 'Pulse')" (in Ger-

• Tim Renwick – guitars, backing vocals

man). Bundesverband Musikindustrie. Retrieved 10 January 2013.

• Gary Wallis – percussion, additional drums (played [16] “Polish album certifications – Pink Floyd – Pulse” (in and programmed) Polish). Polish Producers of Audio and Video (ZPAV). Retrieved 10 January 2013.

8.2.6 Album

Sales chart performance

[17] “The Official Swiss Charts and Music Community: Awards (Pink Floyd; 'P.u.l.s.e.')". Hung Medien. Retrieved 10 January 2013.

8.3. IS THERE ANYBODY OUT THERE? THE WALL LIVE 1980–81

171

We Do Now?", all transposed to D minor. It was played to allow the bricklayers to almost completely seal off the stage before Roger Waters appeared in the last brick-wide space in the wall to sing “Goodbye Cruel World”, ending the first set of the show. This music never had an [19] “IFPI Platinum Europe Awards – 1996”. International official title before the release of the live album. Fans Federation of the Phonographic Industry. Retrieved 10 named the track “Almost Gone”on some bootleg albums of the shows, but the official name was suggested January 2013. by producer James Guthrie during the mixing of the live album. The album also contained two spoken tracks ti8.2.8 External links tled“MC: Atmos”("Master of Ceremonies" for the first North American release), which served as introductions • Pink Floyd Drums: The Division Bell PULSE Tour to the songs“In the Flesh?" and“In the Flesh”, respecDrums tively. These were performed by Gary Yudman, MC for the Earls Court and Nassau Coliseum shows. The second version was a section of a recording of his speech from 8.3 Is There Anybody Out There? the first version, played at slower speed to parody the frustration (“The band is about ready to begin, I think ... No, The Wall Live 1980–81 not quite yet”) of waiting for the band to start.* [4] [18] “British album certifications – Pink Floyd – Pulse”. British Phonographic Industry. Retrieved 10 January 2013. Enter Pulse in the field Keywords. Select Title in the field Search by. Select album in the field By Format. Select Gold in the field By Award. Click Search

Is There Anybody Out There? The Wall Live 1980–81 is a live album released by Pink Floyd in 2000. It is a live rendition of The Wall, produced and engineered by James Guthrie, with tracks selected from the August 1980 and June 1981 performances at Earls Court in London. The album was first released in The Netherlands by EMI Records on 23 March 2000, who released a limited edition in the United Kingdom on 27 March. The general release followed on 18 April 2000 with US and Canadian distribution by Columbia Records. The shows involved the construction of a wall on stage throughout the first half of the show. Once complete, members of the band performed in small openings in, atop, in front of, or even behind the wall. The album artwork featured the life-masks of the four band members in front of a black wall; the masks were worn by the“surrogate band”during the song "In The Flesh". “Goodbye Blue Sky”and parts of“Run Like Hell”were taken from the 17 June 1981 show, the very last performance by the four-man Pink Floyd until the 2005 Live 8 concert.

The tracks differed slightly from the studio album, primarily in terms of longer intros and extended solos. Due to the constraints of vinyl records, the band had been forced to severely edit many songs for the album, removing whole sections, many of which were restored in concert. For example, “The Show Must Go On”had an extra verse that was deleted from the original studio recording (but included in the lyric sheet, even on the latest CD releases.) “Outside the Wall”was longer and re-arranged with mandolin, accordion, clarinet, acoustic guitars, tambourines and more natural-sounding vocal harmonies from the quartet of Joe Chemay, Jim Farber, Jim Haas, and Jon Joyce. (This would be the third official version of “Outside the Wall”available to the listener, following the extended orchestral version from the 1982 film.)

Is There Anybody Out There? was re-issued in the US and Canada in July 2005. James Guthrie, Joel Plante and Kim Richards supplied the label with new masters, and thus the mastering credit was changed from “Doug Sax and Gavin Lurssen”to Guthrie, Plante and Richards. The The album was re-released in February 2012 in remas- booklet features some songwriting updates and mentions tered form as part of the“Immersion”boxset edition of that the MC: Atmos on disc one used a sample of“We'll The Wall. Meet Again”by Vera Lynn.

8.3.1

Background

The album reached #19 on The Billboard 200 and #1 on Billboard's Top Internet Albums charts. The disc was certified Platinum (signifying sales of half a million copies, as it is a double CD) in the US in May 2000. This was the first of two Pink Floyd albums (other being A Foot in the Door – The Best of Pink Floyd) not released on vinyl.

Is There Anybody Out There? contains live versions of all the original songs along with two additional songs: "What Shall We Do Now?" and "The Last Few Bricks". “What Shall We Do Now?" was planned for the original album but removed just before release. (It remained on the lyric sheet for the original LP, but excised from future CD re-releases.) "The Last Few Bricks" was an instrumental bridge between "Another Brick in the Wall (Part III)" 8.3.2 Track listing and "Goodbye Cruel World", and contained themes from "The Happiest Days of Our Lives", "Don't Leave Me All lyrics written by Roger Waters, all music composed Now", "Young Lust", "Empty Spaces" and "What Shall by Roger Waters except where noted.

172

8.3.3

CHAPTER 8. LIVE ALBUMS

Personnel

Pink Floyd • David Gilmour – electric and acoustic guitars, vocals, mandolin on “Outside the Wall”, musical director • Nick Mason – drums, percussion, acoustic guitar on “Outside the Wall” • Roger Waters – bass guitar, vocals, acoustic guitar, clarinet on “Outside the Wall” • Richard Wright – piano, organ, synthesizer, accordion on “Outside the Wall” Additional musicians • Andy Bown – bass guitar, acoustic guitar on “Outside the Wall” • Joe Chemay – backing vocals • Stan Farber – backing vocals • Jim Haas – backing vocals • Jon Joyce – backing vocals • Andy Roberts – guitars (1981 shows) • Snowy White – guitars (1980 shows) • Willie Wilson – drums, percussion • Peter Wood – keyboards, acoustic guitar on “Outside the Wall” • Gary Yudman – MC

8.3.4

Sales chart performance

Album Singles

8.3.5

References

[1] Erlewine, Stephen Thomas (2011). “Is There Anybody Out There? The Wall: Live 1980-1981 - Pink Floyd | AllMusic”. allmusic.com. Retrieved 9 July 2011. [2] “NME Album Reviews - Is There Anybody Out There?: The Wall Live, 1980-81 - NME.COM”. nme.com. 2011. Retrieved 9 July 2011. [3] Wolk, Douglas (2011). “Pink Floyd: Is There Anybody Out There? The Wall Live: 1980-81 : Music Reviews : Rolling Stone”. web.archive.org. Retrieved 9 July 2011.

[4] Information on live performances of The Wall. Other performances featured Jim Ladd and his then fellow KMET disc jockey Cynthia Fox. [5] “Chart Stats - Pink Floyd”. www.chartstats.com. Retrieved 2009-07-02. [6] “Pink Floyd Billboard Albums”. www.billboard.com. Retrieved 2009-10-07. [7] “Is There Anybody Out There? The Wall: Live 19801981 - Pink Floyd > Charts & Awards”. Allmusic. Retrieved 2011-03-03. [8] “norwegiancharts.com - Pink Floyd - Is There Anybody Out There? The Wall Live 1980-81”. norwegiancharts.com. Retrieved 2009-07-02. [9] “allmusic ((( Pink Floyd > Charts & Awards > Billboard Singles )))". allmusic.com.com. Retrieved 2010-03-03.

8.3.6 External links • - Site containing transcripts of Waters' speeches before Run Like Hell

Chapter 9

Compilation albums 9.1 The Best of the Pink Floyd / Masters of Rock

Counterfeit editions with different track lists exist. Any edition with a track list that does not match the list shown here, is a counterfeit.* [6]* [7]* [8]* [9]

For other uses, see The Best of Pink Floyd.

9.1.3 Track list The Best of the Pink Floyd, also issued as Masters of All songs written and sung by Syd Barrett, and are taken Rock, is a compilation album of early Pink Floyd music, from singles, unless otherwise noted. concentrating on singles and album tracks from 1967 to 1968. Side one

9.1.1

Later release

1. "Chapter 24" (from The Piper at the Gates of Dawn) – 3:36

Later editions titled Masters of Rock were released 2. "Matilda Mother" (misspelled “Mathilda Mother” in 1974 in Germany,* [2] Italy,* [3]* [4] and the * on this album; from The Piper at the Gates of Dawn) Netherlands, [5] to capitalise on the success of The – 3:03 Dark Side of the Moon. It is one of a series of budget EMI compilations with identical titles, each volume for a 3. "Arnold Layne" – 2:51 different artist. Two different sleeve designs were used: one (by Herman Baas) based on the picture from the 4. "Candy and a Currant Bun" – 2:38 centre of the album sleeve for Meddle, with Syd Barrett's 5. "The Scarecrow" (from The Piper at the Gates of face superimposed over the original photo of David Dawn) – 2:07 Gilmour, who had not yet joined the band during most of the period covered by the album; and a later edition with the title filling the front cover. The latter edition is Side two titled Masters of Rock, Volume 1; subsequent volumes of Masters of Rock featured other artists. 1. "Apples and Oranges" (stereo mix) – 3:01

9.1.2

2. "It Would Be So Nice" (alternative version for radio) (Richard Wright) – 3:39

Song variations

3. "Paint Box" (stereo mix) (Wright) – 3:27 The Best of edition was only issued in mono, while Masters of Rock was notable for containing the first stereo 4. "Julia Dream" (Roger Waters) – 2:28 release of "Apples and Oranges". The album was also 5. "See Emily Play" – 2:50 the only LP source of "It Would Be So Nice" prior to the era of CD re-issues and compilations. The version of “It Would Be So Nice”appearing on this album is the altered version made for airplay, with lyrics mention- 9.1.4 Personnel ing“the Daily Standard" in place of“the Evening Stan• Syd Barrett – guitar, vocals dard". Although Masters of Rock uses the stereo mix of "Paintbox" which previously appeared on Relics in 1971, • David Gilmour – guitar, vocals on “Julia Dream” "Julia Dream" is the original mono mix which is signif(uncredited) icantly different from, and longer than the Relics stereo mix. • Nick Mason – drums, percussion 173

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CHAPTER 9. COMPILATION ALBUMS

• Roger Waters – bass guitar, vocals

Relics has been released on numerous occasions, and at times without the proper authority. One such incident • Richard Wright – keyboards, piano, organ, vo- involved EMI Australia releasing the album without the cals (however erroneously credited for playing bass- band's consent. This led to the LP being withdrawn and guitar) the album as a result became a rarity. A reissue of the album in 1996 meant that it could be purchased easily again.* [6]

9.1.5

References

[1] Ruhlmann, William (2011). “Masters of Rock - Pink Floyd | AllMusic”. allmusic.com. Retrieved 6 July 2011.

9.2.2 Contents

[2] “Pink Floyd - Masters Of Rock (Vinyl, LP) at Discogs” Relics was most noted for its inclusion of Syd Barrett-era . Discogs.com. [3] [4] [5] [6]

hit singles, "Arnold Layne" and "See Emily Play", as well “Pink Floyd - Masters Of Rock (Vinyl, LP) at Discogs” as B-sides to three other singles. The Relics versions of "Paintbox", "Julia Dream" and "Careful with That Axe, . Discogs.com. Eugene" are mixed in stereo. Relics has the only CD re“Pink Floyd - Masters Of Rock (Cassette) at Discogs”. lease of“Paintbox”that has the same length (3:33) that Discogs.com. the original single version had; on the albums The Early “Pink Floyd - Masters Of Rock (Vinyl, LP) at Discogs” Singles (1992, part of Shine On), 1967: The First Three Singles (1997), and the 40th anniversary edition of The . Discogs.com. Piper at the Gates of Dawn (2007), it fades out about 13 Illustrated guide to the unofficial albums, counterfeits and seconds later. fakes (in Italian)

[7] Fake The Best of the Pink Floyd (1) (in Italian) [8] Fake The Best of the Pink Floyd (2) (in Italian) [9] Illustrated guide to fake Pink Floyd picture discs (in English)

9.2 Relics (album) Relics is a compilation album by Pink Floyd released in 1971. The album was released on 14 May in the UK and 15 July in the United States. A re-mastered CD was released in 1996 with a different album cover, a three-dimensional version of the original sketch drawn by drummer Nick Mason for the initial release. Initially released by Starline, the compilation was reissued by Music for Pleasure in the United Kingdom; Harvest and Capitol distributed the album in the United States.

9.2.1

Release

The release of Relics occurred because the band's record company, EMI, were concerned that they had gone into the studio to record what would become Meddle without any songs or ideas, effectively starting from scratch. This, combined with their ever increasing touring schedule, made EMI realise that no new product would be released for some time, possibly not until well over a year after completing their previous album, Atom Heart Mother. In order to issue some more “product”for fans, they decided to release a budget priced LP on their Starline label, combining early singles, B-sides, album tracks and one unreleased number, "Biding My Time".* [5]

The album also includes a previously unreleased studio recording of a Roger Waters composition, “Biding My Time”, which had otherwise only been heard by live audiences as part of "The Man and The Journey" concert sequence. The album was not a definitive collection of material previously only available as singles, and several A-sides were left out. Until this was rectified with the release of The Early Singles (1992), it was left to bootlegs such as The Dark Side of the Moo to plug the gap.

9.2.3 Cover and machine The album cover was designed by drummer Nick Mason, and was inspired by his time studying architecture at the Regent Street Polytechnic. In 2008, Mason sold a limited edition of 195 signed prints of this cover.* [7]* [8] In addition to variations on the original design, the album was released in several countries with different artwork. The four-eyed face on the original US album cover was an antique bottle opener. When the album was released on CD, former Hipgnosis partner Storm Thorgerson had a real-life version of the contraption on the cover made and presented it to Mason. It still resides in Mason's office. Both Thorgerson and his assistant, Peter Curzon, came up with the idea after viewing the head sculpture which had been constructed by John Robertson and which appeared on the album sleeve of The Division Bell.

9.2.4 Track listing

9.3. A COLLECTION OF GREAT DANCE SONGS Side one

175

[6] “[email protected]”. Everything2.com. 3 April 2004.

Side two The Capitol Re-Issue of the cassette (4N-16234) is in original order.

9.2.5

Personnel

[7] “Nick Mason“Relics”limited edition signed print”. 8 March 2008. Archived from the original on 30 September 2012. Retrieved 14 September 2012. [8] “Nick Mason - Relics launch at Birmingham gallery”. Brain Damage. 1 April 2008. Retrieved 14 September 2012.

Pink Floyd [9] “Chart Stats - Pink Floyd - Relics”. www.chartstats.com. Archived from the original on 19 January 2013. Retrieved 3 July 2009.

• Syd Barrett – lead and rhythm guitar on “Arnold Layne”, “Interstellar Overdrive”, “See Emily Play”, “Remember A Day”, “Paintbox”and “Bike”, lead vocals on “Arnold Layne”, “See [10] “PINK FLOYD | Artist”. Official Charts. Retrieved 27 July 2012. Emily Play”and “Bike”

• David Gilmour – lead and rhythm guitar on all tracks [11] “allmusic ((( Pink Floyd > Charts & Awards > Billboard Albums ))". allmusic.com. except“Arnold Layne”,“Interstellar Overdrive”, “See Emily Play” “ , Remember A Day” “ , Paintbox” and “Bike"; backing vocals; lead vocals on “Julia Dream”, “Cirrus Minor”and “The Nile Song” • Nick Mason – drums, percussion, original cover design

9.3 A Collection of Great Dance Songs

• Roger Waters – bass guitar, lead vocals on “Biding A Collection of Great Dance Songs is a compilation alMy Time”, backing vocals bum by Pink Floyd released on 23 November 1981 on • Richard Wright – organ, piano, lead vocals on“Re- Harvest in the United Kingdom and on Columbia Records member a Day”and “Paintbox”, backing vocals, in the United States. trombone on Biding My Time Additional personnel

9.3.1 Album

• James Guthrie – remastering supervision • Norman Smith – drums and backing vocals on“Remember a Day”and drum roll on“Interstellar Overdrive” • Doug Sax – remastering

9.2.6

Sales chart performance

9.2.7

References

[1] Povey, Glenn (2006). “The Sound of Music in My Ears 1970–1971”. Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 142. ISBN 978-0-9554624-0-5. Retrieved 14 September 2012. [2] Allmusic review [3] Blender review [4] Yahoo! Music review [5] Povey, Glenn (2006). “The Sound of Music in My Ears 1970–1971”. Echoes : The Complete History of Pink Floyd (New ed.). Mind Head Publishing. p. 124. ISBN 978-0-9554624-0-5. Retrieved 14 September 2012.

House in Dungeness, where the photo for the cover was taken.

The title is facetious, given that Pink Floyd are not known for making particularly danceable music. This is perhaps evidenced by the album art, which featured a photograph of ballroom dancers anchored to the ground so they cannot move. The inner sleeve had pictures of dancers in either a white (UK) or black (US) background. The picture labels were a black background with blue lines and red sketch lined dancers on side one and reverse on side two.

176

9.3.2

CHAPTER 9. COMPILATION ALBUMS

Tracks

9.3.5 Personnel

The album contains alternative mixes of "Shine On You Pink Floyd Crazy Diamond" (which comprises parts 1, 2, 4 and 7) edited down for time reasons, and "Another Brick in • Roger Waters – bass (except on “Money”and the Wall (Part 2)" (which combines the intro from the “Sheep”), lead vocals on“Sheep”,“Shine On You single mix with the album version which fades out durCrazy Diamond”and “Another Brick in the Wall, ing the “if you don't eat your meat”ending). Also, Part II”, backing vocals, rhythm guitar on“Sheep” the track "Money" was re-recorded as Capitol Records refused to license the track to Columbia/CBS Records. • Richard Wright – keyboards and synthesizers (exDavid Gilmour re-recorded the track himself playing all cept on “Money”), backing vocals of the drums, guitars, keyboards, bass guitar and vocals • David Gilmour – lead and rhythm guitars, lead voand co-producing the song with James Guthrie. Dick cals on “Wish You Were Here”, “Another Brick Parry reprised his saxophone role on the track. There are in the Wall, Part II”and“Money”, bass on“One some differences between the re-recorded version and the of These Days”,“Money”and“Sheep”, backing original; mainly in the saxophone and guitar solos and the vocals, drums and keyboards on “Money” overall use of reverb and Gilmour repeating “away”at the end instead of the high pitch scat singing on the orig• Nick Mason – drums (except on “Money”), vocal inal. The drumming is noticeably different from Nick phrase on “One of These Days” Mason's, especially during the guitar solo, with very little of the tom-tom fills heard on the original. Additional personnel

9.3.3

Charts and re-release

The album was certified Gold by the RIAA on 29 January 1982 and Platinum on 6 July 1989 and Double Platinum in August 2001. The album reached number 37 on the United Kingdom charts and number 31 in the United States. Columbia issued the remastered CD in 1997 in the US and most of the world save Europe. Then a 1997 remastered CD was re-released in 2000 on Capitol Records in the US and EMI for the rest of the world including Europe.

9.3.4

Track listing

Original LP 8-track cartridge Program 1 1.“One of These Days” 2.“Wish You Were Here” Program 2 1.“Sheep” Program 3 1.“Shine On You Crazy Diamond”(Edit) Program 4 1.“Money”(1981 re-recording) 2.“Another Brick in the Wall (Part 2)" (Edit)

• James Guthrie – remastering production • The Islington Green School – vocals on “Another Brick in the Wall, Part II” • Dick Parry – saxophone on “Money” • Doug Sax – mastering and remastering • TCP (pseudonym for Hipgnosis) – sleeve design and photos (Storm Thorgerson, Peter Christopherson, and Aubrey “Po”Powell)

9.3.6 Sales chart performance 9.3.7 References [1] Ruhlmann, William (2011). “A Collection of Great Dance Songs - Pink Floyd | AllMusic”. allmusic.com. Retrieved 9 July 2011. [2] Christgau, Robert (2011). “Robert Christgau: CG: Pink Floyd”. robertchristgau.com. Archived from the original on 29 June 2011. Retrieved 9 July 2011. [3] Graff, Gary; Durchholz, Daniel (eds) (1999). MusicHound Rock: The Essential Album Guide. Farmington Hills, MI: Visible Ink Press. p. 872. ISBN 1-57859-0612. [4] Vesić, Dušan.“A Collection of Great Dance Songs, Pink Floyd”. Rock 82 (in Serbian) (Belgrade: NIP Politika) (1): 8. [5] Sheffield, Rob (2 November 2004). “Pink Floyd: Album Guide”. Rolling Stone. Wenner Media, Fireside Books. Archived from the original on 17 February 2011. Retrieved 27 December 2014.

9.4. WORKS (PINK FLOYD ALBUM)

[6] “Chart Stats - Pink Floyd - A Collection Of Great Dance Songs”. www.chartstats.com. Retrieved 2 July 2009. [7] allmusic ((( Pink Floyd > Charts & Awards > Billboard Albums )) [8] “norwegiancharts.com - Pink Floyd - A Collection Of Great Dance Songs”. norwegiancharts.com. Retrieved 2 July 2009.

9.3.8

External links

• Album trivia and quotes

9.4 Works (Pink Floyd album) Works is a Pink Floyd compilation album released in 1983. It features a variety of material, such as (among others) the band's early singles, "Arnold Layne" and "See Emily Play", alternative mixes of tracks from The Dark Side of the Moon, and the previously unreleased track, "Embryo".* [1]

9.4.1

Release and contents

The album was released by their former American label, Capitol Records, to compete with their then-current album The Final Cut. The main interest for collectors is the track "Embryo", an outtake from Ummagumma that later became a concert staple in a greatly elongated form,* [3] which originally only appeared in January 1970 on a scarce various artists compilation album promoting Pink Floyd's UK label Harvest Records entitled Picnic – A Breath of Fresh Air.* [1] Also unique to Works, the tracks “Brain Damage”and“Eclipse”are presented as alternate versions, possibly stereo mixes from the master tapes of the quadraphonic edition of The Dark Side of the Moon.

9.4.2

Alternate recordings

177

9.4.3 Cover The cover art for the album was inspired by the c. 1948 poster“Nederland industrialiseert”(“Holland industrialises”)* [4] designed by Dutch graphic artist Wladimir Flem.

9.4.4 Track listing Side one 1. "One of These Days" – 5:50 (re-mix of the Meddle version, interpolates part of "Speak to Me" from The Dark Side of the Moon) 2. "Arnold Layne" – 2:52 (single, Duophonic Stereo) 3. "Fearless" – 6:08 (from Meddle) 4. "Brain Damage" – 3:50 (from The Dark Side of the Moon, alternate mix) 5. "Eclipse" – 1:45 (from The Dark Side of the Moon, alternate mix) Side two 1. "Set the Controls for the Heart of the Sun" – 5:23 (from A Saucerful of Secrets) 2. "See Emily Play" – 2:54 (single, Duophonic Stereo) 3. "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" – 4:47 (from Ummagumma) 4. "Free Four" – 4:07 (from Obscured by Clouds) 5. "Embryo" – 4:39 (from the various artists compilation Picnic – A Breath of Fresh Air)

9.4.5 Personnel

•“Brain Damage”and“Eclipse”both have alternate mixes. Changes to these include different cut times between the two songs as well as the audience heard at the end of“Fearless"/ beginning of“Brain Damage”. Another change is that some of the spoken parts from the tracks are at different volumes ̶the primary reason for this is that the versions featured here are stereo folddowns of the quadraphonic mix.

• Syd Barrett ̶guitar, vocals on“Arnold Layne”and “See Emily Play”, guitar on “Set the Controls for the Heart of the Sun”

• Some other tracks are present in alternate “crossfade”mixes, most notably on the segues between “See Emily Play”/“Several Species of Small Furry Animals”and “Fearless”/ “Brain Damage”.

• Roger Waters ̶bass guitar, tape effects, vocals

• David Gilmour ̶guitar and vocals except on “Arnold Layne”and “See Emily Play” • Nick Mason ̶drums, percussion, tape effects, vocalisations

• Richard Wright ̶keyboards, piano, synthesisers, vocals

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CHAPTER 9. COMPILATION ALBUMS

9.4.6

Sales chart performance

9.5.4 Track listing

9.4.7

References

All songs written and composed by Syd Barrett, except where noted.

[1] Kellman, Andy (2011).“Works - Pink Floyd | AllMusic” . allmusic.com. Retrieved 13 September 2012. [2] “Pink Floyd: Album Guide | Rolling Stone Music”. rollingstone.com. 2011. Retrieved 6 July 2011. [3] Manning, Toby (2006). “Soundtracks, Compilations & Bootlegs”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 227. ISBN 1-84353-575-0. [4] “Nederland industrialiseert - Wladimir Flem, ca. 1948” . Iisg.nl. Retrieved 12 January 2012. [5] “Works - Pink Floyd : Awards”. AllMusic. Retrieved 13 September 2012.

9.5 1967: The First Three Singles The 1967 Singles Sampler, or 1967: The First Three Singles, is a limited-edition compilation album by Pink Floyd.

9.5.1

Release

1967: The First Three Singles was released in 1997 to commemorate the 30th anniversary of the band. It features the band's first three singles, which were written mostly by their band leader, Syd Barrett. The album was distributed by EMI Records in the United Kingdom and Columbia Records in the United States. All tracks are either extended or edited versions of the original singles.

9.5.2

Singles

9.5.5 Personnel Pink Floyd • Syd Barrett – guitar, lead vocals (except“Paint Box” ), original cover art • Nick Mason – drums, percussion • Roger Waters – bass guitar, backing vocals • Richard Wright – keyboards, backing vocals, lead vocals on “Paint Box” Additional personnel • Joe Boyd – production (tracks 1, 2) • Norman Smith – production (tracks 3−6) • Storm Thorgerson – cover art

9.5.6 References [1] 1967: The First Three Singles at AllMusic [2] “UK chart info for “Arnold Layne"". Chart Stats. Retrieved 3 July 2011. [3] “UK chart info for“See Emily Play"". Chart Stats. Retrieved 3 July 2011. [4] Schaffner, Nicholas (2005). “Interstellar Overdrive”. Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 98. ISBN 1-905139-09-8. [5] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 43. ISBN 1-84353-575-0.

“Arnold Layne”̶released on 11 March 1967̶reached number 20* [2] in the charts while “See Emily Play”̶ released 16 June 1967̶made it to number 6,* [3] their highest charting single in the UK until the release of 9.6 Echoes: The Best of Pink Floyd "Another Brick in the Wall (Part 2)" in 1979. “Apples and Oranges”̶from 18 November 1967 ̶was largely For other uses, see The Best of Pink Floyd. overlooked, with Roger Waters blaming its poor sales on * * bad production. [4] [5] Echoes: The Best of Pink Floyd is a compilation album by Pink Floyd. It was released by EMI Records in the United Kingdom on 5 November 2001 and the following 9.5.3 Cover day in the United States through Capitol Records. It deThe album cover includes the original artwork which was buted at number 2 on the Billboard 200 album chart on 24 found on each of the singles. “Arnold Layne”and“See November 2001, with sales of 214,650 copies.* [1] It reEmily Play”both later appeared on Echoes: The Best of mained on the chart for 26 weeks.* [2] The album was cerPink Floyd in 2001. All of these appear on the 40th an- tified Gold, Platinum and Double Platinum on 6 Decemniversary, three-disc edition, of The Piper at the Gates of ber 2001 in the US by the RIAA. It was certified Triple Dawn, as “Scarecrow”appears on the album and the Platinum in the US on 8 January 2002, and Quadruple third disc has the others. platinum on 10 September 2007.

9.6. ECHOES: THE BEST OF PINK FLOYD

9.6.1

Contents

The compilation spans the career of Pink Floyd from their first single "Arnold Layne" in 1967, through to "High Hopes", the final track from their 1994 studio album The Division Bell. Four of their albums ̶Soundtrack from the Film More, Ummagumma, Atom Heart Mother and Obscured by Clouds̶are not represented whatsoever, though multiple tracks from Atom Heart Mother* [3] and Ummagumma were planned to appear on the compilation. Each of the 26 tracks fades from one to the next with no break in the music, courtesy of longtime producer– engineer James Guthrie, to help recreate the concept album feel of the band's mid-period work. All 26 tracks were newly remastered specifically for this compilation and are not sequenced in chronological order. “Thereʼs been the occasional phone call but no great brainstorming sessions to get us all together. All our stuff [is] conducted through our engineer James Guthrie, who coordinated Echoes from his place in Lake Tahoe.” ̶David Gilmour, * [3]

179 the beginning, then he seemed to lose interest. Rick never seemed to want to get involved in it. It wandered along rather fitfully until recently, when I thought I'd better work out what we should be trying to do with it, whether we should try and represent every album or not, and on what basis we should be choosing songs. In the end we had to get everyone to vote on a list. (...) I agree [that most of the songs seemed to have picked themselves]. When I look at it, its bloody obvious really. It's amazing how long the process has been getting it sorted out.” ̶David Gilmour, * [3]

CD version Disc one Disc two Vinyl version

9.6.2

Cover

Storm Thorgerson, best known for creating the majority of album covers for Pink Floyd, worked with the band Dream Theater on their 1997 album Falling into Infinity and submitted to the band two sketches for possible covers. One became the cover that was used on the release. The second ended up being used by Pink Floyd for Echoes four years later. The two original sketches are framed and hanging in the home of former Dream Theater drummer Mike Portnoy and is pointed out by Portnoy in his Hudson Music instructional drum DVD In Constant Motion.* [4]

9.6.3

Release

Echoes is the first album released on Compact Disc that includes "When the Tigers Broke Free", which appeared in the film version of Pink Floyd ̶The Wall (the song later appeared on the 2004 re-release of The Final Cut in a slightly re-mixed form). It is the first compilation that includes songs from their previous three albums̶ The Final Cut, A Momentary Lapse of Reason and The Division Bell̶and is also the only compilation album so far that includes "Echoes" from the 1971 album Meddle. A week after the band's one-off reunion at Live 8, HMV said the sales of Echoes rose by 1343%.* [6]

Disc one Disc two Disc three Disc four

9.6.5 Rejected songs According to James Guthrie, the following songs were considered for inclusion:* [7] • "Interstellar Overdrive" (Barrett, Waters, Wright, Mason) The Piper at the Gates of Dawn, 1967 • "Scarecrow" (Barrett) The Piper at the Gates of Dawn, 1967

• "Chapter 24" (Barrett) The Piper at the Gates of Dawn, 1967

• "Careful with That Axe, Eugene" (Waters, Wright, Gilmour, Mason) B-side of "Point Me at the Sky", 1968; also appears on Relics

• "Grantchester Meadows" (Waters) Ummagumma, 1969

9.6.4

Track listing

“Weʼve been arguing about it [track selection] since May. Nick sent us a list right at

• An edited version of "Atom Heart Mother" (Waters, Wright, Gilmour, Mason, Geesin) Atom Heart Mother, 1970

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• "If" (Waters) Atom Heart Mother, 1970 • "Fat Old Sun" (Gilmour) Atom Heart Mother, 1970 • "Fearless" (Gilmour, Waters) Meddle, 1971 • "San Tropez" (Waters) Meddle, 1971 • "Breathe" (Waters, Gilmour, Wright) The Dark Side of the Moon, 1973

• "Brain Damage" (Waters) The Dark Side of the Moon, 1973

• "Eclipse" (Waters) The Dark Side of the Moon, 1973 • "Dogs" (Waters, Gilmour) Animals, 1977 • "Mother" (Waters) The Wall, 1979 • "Young Lust" (Waters, Gilmour) The Wall, 1979 • "Nobody Home" (Waters) The Wall, 1979 • "Your Possible Pasts" (Waters) The Final Cut, 1983 • "The Gunner's Dream" (Waters) The Final Cut, 1983 • "Paranoid Eyes" (Waters) The Final Cut, 1983

• Richard Wright – keyboards, organ, piano, synthesisers, clavinet, co-lead vocals on “Astronomy Domine”, “Echoes”, “Time”, “Us and Them”. Additional personnel • Sam Brown – backing vocals on “Keep Talking” • Jon Carin – keyboards on “Marooned”, “Keep Talking”, “Learning to Fly”and “High Hopes” • Lesley Duncan – backing vocals on “Time”and “Us and Them” • Venetta Fields – backing vocals on “Shine On You Crazy Diamond” • Donnie Gerard – backing vocals on “Sorrow”and “Learning to Fly” • James Guthrie – remastering, percussion on “The Happiest Days of Our Lives” • Islington Green School – choir on “Another Brick in the Wall (Part 2)" • Michael Kamen – orchestrations

9.6.6

Sales chart performance

• Carol Kenyon – backing vocals on “Keep Talking”

9.6.7

Sales certifications

• Darlene Koldenhaven – backing vocals on“Sorrow” and “Learning to Fly”

9.6.8

Credits

• Tony Levin – bass guitar on “Learning to Fly”

Pink Floyd • Syd Barrett – guitar and vocals on “Astronomy Domine”, “See Emily Play”, “Arnold Layne”, “Jugband Blues”and “Bike"; guitar on “Set the Controls for the Heart of the Sun”. • David Gilmour – guitars; fretless bass guitar on “Hey You"; bass guitar on“Sheep”,“High Hopes” , and “One Of These Days"; keyboards; drum programming on “Sorrow”, lead vocals on “Another Brick in the Wall, Part II”,“Echoes”,“Hey You”,“Money”,“Keep Talking”,“Sorrow”, “Time”,“Comfortably Numb”,“Us and Them” , “Learning to Fly”, “Wish You Were Here”, “High Hopes”. • Nick Mason – drums, percussion, tape effects, vocalisations on “One of These Days” • Roger Waters – bass guitar, rhythm guitar on “Sheep”, tape effects, lead vocals on“The Happiest Days of Our Lives”, “Another Brick in the Wall, Part II”, “Hey You”, “Set the Controls for the Heart of the Sun”,“Sheep”,“Shine on You Crazy Diamond”,“Comfortably Numb”,“The Fletcher Memorial Home”,“When the Tigers Broke Free”

• Durga McBroom – backing vocals on “Keep Talking” • Dick Parry – saxophones on “Money”, “Us and Them”, and “Shine On You Crazy Diamond” • Pontarddulais Male Voice Choir led by Noel Davis – choir on “When the Tigers Broke Free” • Guy Pratt – bass guitar on“Marooned”and“Keep Talking” • The Salvation Army (The International Staff Band) on “Jugband Blues": • Ray Bowes (cornet) • Terry Camsey (cornet) • Mac Carter (trombone) • Les Condon (E♭ bass) • Maurice Cooper (euphonium) • Ian Hankey (trombone) • George Whittingham (B♭ bass) • One other uncredited musician • Phyllis St. James – backing vocals on“Sorrow”and “Learning to Fly”

9.7. A NICE PAIR • Barry St. John – backing vocals on “Time”and “Us and Them” • Liza Strike – backing vocals on “Time”and “Us and Them” • Storm Thorgerson – cover design • Clare Torry – vocals on“The Great Gig in the Sky” • Doris Troy – backing vocals on “Time”and “Us and Them” • Carmen Twillie – backing vocals on“Sorrow”and “Learning to Fly”

181

[13] “Gold & Platinum Certification – April 2002”. Canadian Recording Industry Association. Retrieved 19 August 2010. [14] “Danish album certifications”. IFPI Denmark. Retrieved 11 January 2013. [15] “IFPI Platinum Europe Awards Q4 2007”. IFPI. Retrieved 8 August 2011. [16] “French album certifications”(in French). Syndicat National de l'Édition Phonographique. Retrieved 11 January 2013.

• Gary Wallis – percussion on “Keep Talking”

[17] “Bundesverband Musikindustrie: Gold-/PlatinDatenbank”. Bundesverband Musikindustrie (IFPI.DE). Retrieved 8 August 2011. Enter “Pink Floyd”in the “Interpret”field

• Carlena Williams – backing vocals on “Shine On You Crazy Diamond”

[18] “Greek Albums Chart”. IFPI Greece. 28 February 2002. Retrieved 25 April 2012.

9.6.9

Notes

[1] Stephen M. Silverman (15 November 2001). “Britney Spears Upsets Michael Jackson”. People. Retrieved 25 November 2009. [2] Joel Whitburn Presents The Billboard Albums, 6th Edition, Joel Whitburn, ed., 2006, p. 820. [3] “Have Pink Floyd Split Up?". Mojo Magazine. October 2001. Retrieved 16 August 2010. [4] “Mike Portnoy: In Constant Motion DVD”. Hudson Music. Retrieved 8 August 2011. [5] Johnson, Zac (2011). “Echoes: The Best of Pink Floyd Pink Floyd | AllMusic”. allmusic.com. Retrieved 9 July 2011. [6] Manning, Toby (2006). “Which One's Pink?". The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 150. ISBN 1-84353-575-0.

[19] “New Zealand album certifications”. Recording Industry Association of New Zealand. Retrieved 11 January 2013. [20] “Złote CD (2002)". ZPAV. Retrieved 8 January 2014. [21] “The Official Swiss Charts and Music Community: Awards 2001”. Hung Medien. Retrieved 11 January 2013. [22] “BPI certified awards search”. British Phonographic Industry. Retrieved 8 August 2011. Enter “Pink Floyd” in the “Search”field. [23] “RIAA - Gold & Platinum - July 03, 2009”. www.riaa. com. Retrieved 3 July 2009.

9.6.10 External links • Album's official website

9.7 A Nice Pair

[7] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 17 June 2013.

A Nice Pair is a compilation album by Pink Floyd, reissuing their first two albums ̶The Piper at the Gates [8] “UK chart info Echoes: The Best of Pink Floyd". www. of Dawn and A Saucerful of Secrets̶in a new gatefold chartstats.com. Retrieved 8 August 2011. The album re- sleeve. The album was released in December 1973 by entered the UK charts in July 2005 following Pink Floyd's Harvest and Capitol in the United States and the followreunion appearance at Live 8. ing month in the United Kingdom by Harvest and EMI. It reached number 36 in the US Billboard album charts, and [9] “Billboard.com - Artist Chart History - Pink Floyd”. was certified gold by the Recording Industry Association www.billboard.com. Retrieved 2 July 2009. of America (RIAA) in March 1994. [10] “norwegiancharts.com - Pink Floyd - Echoes - The Best Of Pink Floyd”. norwegiancharts.com. Retrieved 2 July 2009. [11] “ARIA Charts – Accreditations – 2001 Albums”. Australian Recording Industry Association. Retrieved 11 January 2013. [12] “Ultratop − Goud en Platina – 2001”. Ultratop & Hung Medien / hitparade.ch. Retrieved 11 January 2013.

9.7.1 Release history and track variations There are a few differences between the US and UK issues on the first disc of this compilation. In the US Harvest Records and its distributor Capitol Records reconstructed their edition from tapes that had been previously altered for the debut 1967 US album Pink Floyd

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(the original U.S. title for Piper) and other recordings, The Piper at the Gates of Dawn which were cut from the UK version. As explained in a note on the back cover of the US edition of A Nice Side one Pair, songs dropped from the US 1967 Pink Floyd album, "Flaming", "Astronomy Domine" and "Bike", are 1. "Astronomy Domine" – 4:14 (UK – 1967 studio verrestored for this re-issue. sion) / 8:25 (USA – 1969 live version) However, some of the restored songs appear in ver2. "Lucifer Sam" – 3:07 sions that are different from the UK Piper release: the eight-minute live Ummagumma recording of “Astron3. "Matilda Mother" – 3:08 omy Domine”replaces the original four-minute studio 4. "Flaming" – 2:46 recording; "Interstellar Overdrive" fades out slightly early (as it did on the US debut album) and adds a few sec5. "Pow R. Toc H." (Barrett / Roger Waters / Richard onds of silence before "The Gnome", rather than using a Wright / Nick Mason) – 4:26 segue between these songs as found on the UK version; 6. "Take Up Thy Stethoscope and Walk" (Waters) – and “Flaming”is an alternate mix and edit which pre3:05 viously appeared on a US single, and the only track to appear on this album in mono. In later pressings, the correct stereo version of“Flaming”was restored, while the Side two other songs continued to appear in the versions described here. The US version of this album was also released in 1. "Interstellar Overdrive" (Barrett / Waters / Wright / Canada. Mason) – 9:41 2. "The Gnome" – 2:13

9.7.2

Cover art

3. "Chapter 24" – 3:42

4. "The Scarecrow" – 2:11 The cover is by the Hipgnosis group, who did many other Pink Floyd covers, and consists of 4 grids of 9 small pic5. "Bike" – 3:21 tures of proposed but previously unused album cover designs. Several images depict a well-known phrase or saying in the form of a visual pun; for instance, the centre A Saucerful of Secrets right-hand panel on the front depicts“a fork in the road", while the bottom right represents “a fine kettle of fish” Side three . Another picture presents two puns on the album title: 1. "Let There Be More Light" (Waters) – 5:38 a nice pear, and an image of a woman's breasts; the latter is censored with a black bar on some copies, while 2. "Remember a Day" (Wright) – 4:33 other US copies opted to cover it with a purple and white sticker over the shrink wrap. Initial copies had a picture 3. "Set the Controls for the Heart of the Sun" (Waters) of a Mr. W.R. Phang's dental surgery on the cover (a – 5:28 genuine business), but Dr. Phang objected because den4. "Corporal Clegg" (Waters) – 4:13 tists were not allowed to advertise, and the picture was replaced with one of a gargling monk. US editions from the 1980s restored both the nudity and the W.R. Phang Side four photo. 1. "A Saucerful of Secrets" (David Gilmour / Waters / The album was the band's next US release after Dark Wright / Mason) – 11:57 Side of the Moon, and introduced new fans to the earlier psychedelic sound of the Syd Barrett period of Pink 2. "See-Saw" (Wright) – 4:36 Floyd, which contrasted greatly to the style of their more recent work. Following the worldwide re-issue of the 3. "Jugband Blues" (Barrett) – 3:00 original two albums on CD, including the original UK version of The Piper at the Gates of Dawn, A Nice Pair is Cassette versions in the UK feature Piper on side one and now out of print. Saucerful on side two. For the US versions, “Bike”was moved to the beginning of side two, due to the longer running length of“Astronomy Domine”on this version.

9.7.3

Track listing

All songs by Syd Barrett, except where noted.

The US 8-track version alters the running order more radically.* [2]

9.8. THE BEST OF PINK FLOYD: A FOOT IN THE DOOR Program 1 1. Astronomy Domine

183 • Roger Waters – bass guitar, percussion, vocals, lead vocals on“Pow R. Toc H.”,“Take Up Thy Stethoscope and Walk”, “Let There Be More Light”, and “Set the Controls for the Heart of the Sun”

2. Lucifer Sam 3. Matilda Mother 4. Flaming 5. Pow R Toc H

• Richard Wright – Farfisa and Hammond organs, piano, Mellotron, vibraphone, celesta, xylophone, tin whistle, vocals, lead vocals on British and American versions of“Astronomy Domine”,“Matilda Mother”,“Remember a Day”,“See-Saw”,“Let There Be More Light”, and “Corporal Clegg”

Program 2 Additional personnel 1. Interstellar Overdrive 2. The Gnome

• Peter Jenner – intro vocalisations on British version of “Astronomy Domine”

3. Chapter 24 4. The Scarecrow 5. Bike Program 3

• Norman Smith – drums and backing vocals on“Remember a Day”and drums on”Interstellar Overdrive”, producer • The Salvation Army (The International Staff Band) on “Jugband Blues”

1. Take Up Thy Stethoscope and Walk 2. Let There Be More Light

9.7.5 Sales chart performance

3. Set the Controls for the Heart of the Sun

9.7.6 References

4. Corporal Clegg 5. Jugband Blues Program 4 1. A Saucerful of Secrets 2. See Saw 3. Remember a Day

9.7.4

Personnel

Pink Floyd • Syd Barrett – guitars, lead vocals on British version of“Astronomy Domine”“ , Lucifer Sam”“ , Matilda Mother”, “Flaming”, “Pow R. Toc H.”, “The Gnome”,“Chapter 24”,“The Scarecrow”,“Bike” , and “Jugband Blues”

[1] Eder, Bruce (2011). “A Nice Pair – Pink Floyd | AllMusic”. allmusic.com. Retrieved 6 July 2011. [2] http://www.pinkfloydarchives.com/DUS8tCom.htm [3] “Chart Stats –Pink Floyd”. www.chartstats.com. Retrieved 2009-07-02. [4] allmusic (( Pink Floyd > Charts & Awards > Billboard Albums )) [5] “snep - Pink Floyd”. www.snep.com. Retrieved 200606-07. [6] “norwegiancharts.com – Pink Floyd – A Nice Pair”. norwegiancharts.com. Retrieved 2009-07-02.

9.8 The Best of Pink Floyd: A Foot in the Door

• David Gilmour – guitars, kazoo, vocals, lead vocals For other uses, see The Best of Pink Floyd. on American version of“Astronomy Domine” “ , Let There Be More Light”, and “Corporal Clegg” The Best of Pink Floyd: A Foot in the Door is a greatest • Nick Mason – drums, percussion, kazoo, vocals, hits album by Pink Floyd, that was released as part of the lead vocals on “Corporal Clegg” Why Pink Floyd...? 2011–12 remastering campaign.* [1]

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9.8.1

Track listing

9.8.2

Charts

Weekly charts Year-end charts

9.8.3

Certifications

9.8.4

References

[1] “Why Pink Floyd?, Pink Floyd & EMI 2011 remastered campaign - The Best of Pink Floyd - A Foot In The Door” . Whypinkfloyd.com. Retrieved 2 June 2011. [2] Erlewine, Stephen Thomas. “A Foot in the Door: The Best of Pink Floyd”. Allmusic. Rovi Corporation. Retrieved 11 November 2011. [3] “Pink Floyd – A Foot in the Door – The Best Of”. Austriancharts.at (in German). Hung Medien. Retrieved 3 February 2013. [4] “Pink Floyd – A Foot in the Door – The Best Of”. Ultratop (in French). Hung Medien. Retrieved 3 February 2013. [5] “A Foot in the Door: The Best of Pink Floyd – Pink Floyd: Awards”. Allmusic. Rovi Corporation. Retrieved 3 February 2013. [6] “Top Stranih – Tjedan 47, 2011”. Top of the Shops (in Croatian). HDU. Retrieved 3 February 2013.

[16] “Pink Floyd – A Foot in the Door – The Best Of”. Spanishcharts.com. Hung Medien. Retrieved 3 February 2013. [17] “Pink Floyd – A Foot in the Door – The Best Of”. Swedishcharts.com. Hung Medien. Retrieved 3 February 2013. [18] “Pink Floyd – A Foot in the Door – The Best Of”. Hitparade.ch (in German). Hung Medien. Retrieved 3 February 2013. [19] “2011-11-19 Top 40 Official UK Albums Archive”. Official Charts Company. Retrieved 3 February 2013. [20] “Pink Floyd – A Foot in the Door – The Best Of”. Australian-charts.com. Hung Medien. Retrieved 3 February 2013. [21] “Pink Floyd – A Foot in the Door – The Best Of”. Ultratop (in Dutch). Hung Medien. Retrieved 3 February 2013. [22] “Pink Floyd – A Foot in the Door – The Best Of”. Danishcharts.com. Hung Medien. Retrieved 3 February 2013. [23] “Pink Floyd – A Foot in the Door – The Best Of”. GfK Dutch Charts (in Dutch). Hung Medien. Retrieved 3 February 2013. [24] “Pink Floyd – A Foot in the Door – The Best Of”. Norwegiancharts.com. Hung Medien. Retrieved 3 February 2013. [25] “ARIA Top 100 Albums 2011”. ARIA. Retrieved 3 February 2013. [26] “Album-Top 100”. Hitlisten.nu. IFPI Denmark. Archived from the original on 23 January 2012.

[7] “Pink Floyd – A Foot in the Door – The Best Of”. Lescharts.com (in French). Hung Medien. Retrieved 3 February 2013.

[27] “ARIA Charts – Accreditations – 2011 Albums”. Australian Recording Industry Association.

[8] “Official CYTA-IFPI Charts – Top-75 Albums Sales Chart”. IFPI Greece (in Greek). Archived from the original on 8 February 2012. Retrieved 3 February 2013.

[28] “French album certifications – Pink Floyd – A Foot in the Door” (in French). Syndicat National de l'Édition Phonographique.

[10]“Pink Floyd – A Foot in the Door – The Best Of”. Italiancharts.com. Hung Medien. Retrieved 3 February 2013.

[29] “Italian album certifications – Pink Floyd – A Foot in the Door: The Best of Pink Floyd” (in Italian). Federation of the Italian Music Industry. Select Album e Compilation in the field Scegli la sezione. Select Week -- and Year ----. Enter Pink Floyd in the field Artista. Click Avvia la ricerca

[11] “Pink Floyd – A Foot in the Door – The Best Of”. Mexicancharts.com. Hung Medien. Retrieved 3 February 2013.

[30] “New Zealand album certifications – Pink Floyd – A Foot in the Door: The Best of Pink Floyd”. Recording Industry Association of New Zealand.

[12] “Pink Floyd – A Foot in the Door – The Best Of”. Charts.org.nz. Hung Medien. Retrieved 3 February 2013.

9.8.5 External links

[9] “Top 75 Artist Album, Week Ending 10 November 2011” . GfK Chart-Track. Retrieved 3 February 2013.

[13] “Official Retail Sales Chart”. OLiS. Retrieved 3 February 2013. [14] “Pink Floyd – A Foot in the Door – The Best Of”. Portuguesecharts.com. Hung Medien. Retrieved 3 February 2013. [15] “2011-11-19 Top 40 Scottish Albums Archive”. Official Charts Company. Retrieved 3 February 2013.

• Why Pink Floyd...? Official Site

Chapter 10

Box sets 10.1 Shine On (box set)

was not included, as at the time EMI were planning to release a special edition of the album, and it was hoped Shine On is a 1992 nine-CD box set by Pink Floyd which that new fans would buy both this set and the re-released was released through EMI Records in the United King- debut. dom and Columbia Records in the United States to co- According to drummer Nick Mason, a suggestion for the incide with Pink Floyd's 25th anniversary as a recording title of the box set was The Big Bong Theory.* [2] David and touring band. All CDs were digitally remastered. Gilmour said calling the box set Shine On was not a bowing out retirement box set but a continuation.* [2]

10.1.1

Content The Early Singles

The eight albums included in this box set are: Track listing • A Saucerful of Secrets 1. "Arnold Layne" (Syd Barrett) – 2:57

• Meddle

2. "Candy and a Currant Bun" (Barrett) – 2:47

• The Dark Side of the Moon • Wish You Were Here

3. "See Emily Play" (Barrett) – 2:54

• Animals

4. "The Scarecrow" (Barrett) – 2:10

• The Wall (double album)

5. "Apples and Oranges" (Barrett) – 3:08

• A Momentary Lapse of Reason

6. "Paint Box" (Richard Wright) – 3:47

• The Early Singles (bonus CD not available elsewhere)

7. "It Would Be So Nice" (Wright) – 3:46 8. "Julia Dream" (Roger Waters) – 2:35

Refer to original albums for track lists, personnel lists, and production credits.

9. "Point Me at the Sky" (Waters, David Gilmour) – 3:35

The packaging on each of the previously released albums was unique to this set. The spines of the eight black CD cases lined up to show the prism from The Dark Side of the Moon.

10. "Careful with That Axe, Eugene" (Gilmour, Waters, Wright, Nick Mason) – 5:44

Included with the box set was a hardcover book chron- Original release dates icling the career of Pink Floyd from its inception to the late 1980s and an envelope of postcards depicting artwork • 1, 2: 11 March 1967 from the included seven albums and the cover of the set itself. • 3, 4: 17 June 1967 As the collection was meant to showcase the best of Pink Floyd, the decision was made to not include the soundtrack albums More or Obscured by Clouds, or the albums Ummagumma, Atom Heart Mother and The Final Cut . The band's first album, The Piper at the Gates of Dawn 185

• 5, 6: 18 November 1967 • 7, 8: 13 April 1968 • 9, 10: 17 December 1968

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10.2.2 Design and cover

Personnel

• Syd Barrett – guitar on 1 to 6; vocals on 1 to 5; The title is a reference to a line in the song "Have a Cigar": “Oh by the way, which one's Pink?" The box cover conbacking vocals on 6 sists of a concept similar to that of Ummagumma̶one • David Gilmour – guitar on 7 to 10; vocals on 8, 9, side of the box shows a picture of a room with various objects scattered about inside it, with pictures of the main 10; backing vocals on 7 band members (Roger Waters, David Gilmour, Nick Ma• Nick Mason – drums, percussion son and Richard Wright) on the walls, whilst the other side shows the same room in different lighting, with the • Roger Waters – bass guitar; vocals on 9, 10; backing objects and pictures of band members rearranged. Standvocals on 2, 3, 5, 6, 7, 8 ing in the background of both sides of the cover is the dark silhouette of an individual, presumably that of Syd • Richard Wright – piano; organ; mellotron on 7, 8; Barrett. vibraphone on 10; vocals on 6, 7; backing vocals on 1, 2, 3, 4, 5, 8, 9

10.2.3 Albums 10.1.2

Production

• James Guthrie – remastering production

Albums, packaging format, and original release date. Refer to original albums for track lists, personnel lists, and production credits.

• Alan Parsons – assistant remastering on the included release of The Dark Side of the Moon

1. The Piper at the Gates of Dawn (single wallet) August 1967

• Aubrey Powell – sleeve design

2. A Saucerful of Secrets (single wallet) June 1968

• Doug Sax – remastering

3. Soundtrack from the Film More (single wallet) June 1969

• Storm Thorgerson – sleeve design

4. Ummagumma (gatefold, two discs) October 1969 5. Atom Heart Mother (gatefold) October 1970

10.1.3

References

6. Meddle (gatefold) October 1971

[1] Eder, Bruce (2011). “Shine On - Pink Floyd | AllMusic” . allmusic.com. Retrieved 9 July 2011.

7. Obscured by Clouds (single wallet rounded corners) June 1972

[2] U.S. radio show Rockline, 1992

8. The Dark Side of the Moon (gatefold, two posters, and two stickers) March 1973

10.2 Oh, by the Way This article is about the boxed set by Pink Floyd. For the album by Art Blakey and the Jazz Messengers, see Oh-By the Way.

9. Wish You Were Here (single wallet, liner, postcard, black shrink wrap) September 1975 10. Animals (gatefold) January 1977 11. The Wall (gatefold, two discs) November 1979 12. The Final Cut (gatefold) March 1983 (version with 2004 track list)

Oh, by the Way is a compilation boxed set by Pink Floyd* [3] released on 10 December 2007, by EMI Records in the United Kingdom and the following day in the United States through Capitol Records.* [4]

13. A Momentary Lapse of Reason (gatefold) September 1987

10.2.1

10.2.4 Production

Contents

The boxed set includes all fourteen of their standard studio albums, packaged as mini-vinyl replicas.* [5] In addition to the albums, and their extras, the set comes with a specially designed 40th Anniversary poster by Storm Thorgerson, featuring 40 Pink Floyd images.* [6]

14. The Division Bell (gatefold) March 1994

• James Guthrie – remastering production • Aubrey Powell – sleeve design • Doug Sax – remastering • Storm Thorgerson – sleeve design

10.3. DISCOVERY (BOX SET)

10.2.5

References

[1] “Allmusic review”.

187

10.3.2 References [1] Erlewine, Stephen Thomas. Album review Discovery at AllMusic. Retrieved 10 October 2011.

[2] “Pitchfork review”. [3] Rolling Stone :“Oh By The Way”: Pink Floyd Celebrate Belated 40th Anniversary With Mega Box Set [4] Massive Pink Floyd Box Due In December [5] Amazon.com: Oh By the Way: Box Set (14CD): Music: Pink Floyd [6] Pitchfork: Pink Floyd Studio Catalogue Reissued in Box Set

10.3 Discovery (box set) Pink Floyd: Discovery is a compilation box set by Pink Floyd released on 26 September 2011 to launch the Why Pink Floyd...? re-release campaign. The box set includes all of their standard studio albums, except The Endless River. All albums were newly remastered by James Guthrie. In addition to the albums the set comes with a 60-page artwork booklet designed by Storm Thorgerson.* [3]

10.3.1

Contents

All albums and their corresponding original release dates are given below. Refer to original albums for track listings, personnel and production credits. 1. The Piper at the Gates of Dawn (August 1967) 2. A Saucerful of Secrets (June 1968) 3. More (June 1969) 4. Ummagumma (October 1969) 5. Atom Heart Mother (October 1970) 6. Meddle (October 1971) 7. Obscured by Clouds (June 1972) 8. The Dark Side of the Moon (March 1973) 9. Wish You Were Here (September 1975) 10. Animals (January 1977) 11. The Wall (November 1979) 12. The Final Cut (March 1983) 13. A Momentary Lapse of Reason (September 1987) 14. The Division Bell (March 1994)

[2] Diver, Mike.“Pink Floyd Discovery review”. BBC Music. Retrieved 10 October 2011. [3] “Pink Floyd - Discovery editions and boxset”. www. whypinkfloyd.com. Retrieved 9 October 2011.

10.3.3 External links “World wide chart positions Discovery". www.ultratop. be. Retrieved 10 October 2011.

Chapter 11

Extended plays 11.1 London '66–'67

• Nick Mason – drums, percussion

London '66–'67 is an EP and film of Pink Floyd music, Production containing two “lost”tracks̶an extended version of "Interstellar Overdrive" and a previously unreleased track • Joe Boyd – production “Nick's Boogie”. These tracks were originally recorded • John Wood - engineering for Peter Lorrimer Whitehead's film Tonite Lets All Make Love in London in 1967,* [2] and the former appeared in edited form on the soundtrack album.* [2] Originally released in full on the 1990 See for Miles Records UK reis- 11.1.4 References sue of the soundtrack album, they are the earliest Pink [1] Eder, Bruce (2011). “London '66-'67 [See for Miles] Floyd recordings available commercially.* [2] The EP was originally issued in 1995, then reissued by Snapper Music (SMACD924X, 2005) on 13 September 2005, as a remastered CD and a DVD featuring the entire film plus excerpts from the original movie. The EP is considered an early example of the jazz fusion genre, incorporating jazz-influenced improvisation to their psychedelic compositions.

11.1.1

Track listing

11.1.2

DVD

• London '66–'67, the original film with the full length video of“Interstellar Overdrive”and“Nick's Boogie”. • Interview footage from the 1960s of Mick Jagger, David Hockney, Michael Caine and Julie Christie. • Footage capturing the London Scene in the late sixties. • Overview by director Peter Whitehead.

11.1.3

Personnel

Pink Floyd • Syd Barrett – electric guitar • Roger Waters – bass guitar • Richard Wright – Farfisa organ 188

Pink Floyd | AllMusic”. allmusic.com. Retrieved 9 July 2011.

[2] Chapman, Rob (2010). “Distorted View – See Through Baby Blue”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 123. ISBN 978-0-57123855-2.

Chapter 12

Singles 12.1 Arnold Layne

Boyd version from January was released instead.* [3] The song would be Boyd's last production for Pink Floyd.* [4]

"Arnold Layne" is the first single released by the English psychedelic rock band The Pink Floyd (later simply Pink Floyd), shortly after landing a recording contract with EMI. It was written by Syd Barrett, their co-founder and original frontman. Although not originally included on the band's début album, The Piper at the Gates of Dawn, “Arnold Layne”is featured on numerous Pink Floyd compilation albums.

Boyd mentioned in several interviews over the years that “Arnold Layne”regularly ran for ten to fifteen minutes in concert (with extended instrumental passages), but the band knew that it had to be shortened for use as a single. He has also said it was a complex recording involving some tricky editing, recalling that the middle instrumental section with Richard Wright's organ solo was recorded as an edit piece and spliced into the song for the final mix.

Both“Arnold Layne”and“Candy and a Currant Bun” • A DJ of the Offshore Radio Station RNI Radio were mixed into mono for the single. Both have never Northsea International had also the name Arnold been given a stereo mix, though the four-track master Layne. When he was working on the ship between tapes still exist in the EMI tape archive. 1971 and 1974

12.1.1

12.1.3 Music videos

Lyrics

The song's title character is a transvestite whose primary pastime is stealing women's clothes and undergarments from washing lines. According to Roger Waters,“Arnold Layne”was actually based on a real person: “Both my mother and Syd's mother had students as lodgers because there was a girls' college up the road so there were constantly great lines of bras and knickers on our washing lines and 'Arnold' or whoever he was, had bits off our washing lines.”

12.1.2

Recording

In January, Pink Floyd went to Sound Techniques studio in Chelsea* [1] (they had been there previously, to record two songs for Tonite Let's All Make Love in London).* [2] Here, the band recorded “Arnold Layne”,* [1]* [3] and few other songs: "Matilda Mother", "Chapter 24", "Interstellar Overdrive"* [3] and “Let's Roll Another One”(which was renamed to "Candy and a Currant Bun", at the lead of Waters).* [3] Nick Mason on the choice of “Arnold Layne": “We knew we wanted to be rock'n'roll stars and we wanted to make singles, so it seemed the most suitable song to condense into 3 minutes without losing too much”.* [3] The band had tried to re-record “Arnold Layne”after signing up with EMI, but the Joe

A black and white promotional film of “Arnold Layne” was made in late February 1967, directed by Derek Nice and featured members of Pink Floyd dressing up a mannequin before showing it around a beach in East Wittering, West Sussex.* [5] This promo, made for £2,000,* [5] was meant to be screened on 3 April 1967 for the BBC's Top of the Pops show, but cancelled when the single dropped down the chart.* [6] Another promotional film was recorded for the song, this time filmed on 29 April near St Michael's Church in Highgate.* [7] It is the only known footage of Barrett lip-synching to the song. It was shot in the spring of 1967, around the time that his mental deterioration began.

12.1.4 Release The single was released on 10 March 1967 in the UK, backed by "Candy and a Currant Bun".* [8] The band's management, Blackhill Enterprises, had paid to boost the single's chart position,* [9] as manager Andrew King stated: “We spent a couple of hundred quid, [...] trying to buy it into the charts. The management did that, not EMI.”* [10] However, despite reaching number 20 in the UK singles chart,* [11] the song's unusual transvestism theme attracted the ire of pirate radio station Radio London, which deemed the song was too far-removed from

189

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“normal”society for its listeners, before eventually banning it from radio airplay altogether.* [3]* [12]* [13] The song later appeared on the band's 1983 compilation album Works and their 2001 retrospective best-of, Echoes: The Best of Pink Floyd.* [14]

12.1.5

Track listing

All tracks written by Syd Barrett. 1.“Arnold Layne”– 2:52

• Richard Wright - organ (tracks 1-2), lead vocals (track 2), backing vocals (track 1) • Jon Carin - keyboards, backing vocals (tracks 1-2) • Phil Manzanera - guitar, backing vocals (tracks 1-2) • Steve DiStanislao - drums (tracks 1-2) • Guy Pratt - bass guitar, backing vocals (tracks 1-2)

12.1.8 Pink Floyd 2007 performance

On 10 May 2007, Pink Floyd, featuring Gilmour, Mason and Wright (minus Waters, who had appeared onstage earlier in the evening) performed for what was to 12.1.6 Personnel be Wright's final live performance, at The Barbican, London, for The Madcap's Last Laugh, a tribute show for Syd • Syd Barrett – electric guitar, acoustic guitar, lead vo- Barrett organised by Joe Boyd. At the end of the show, cals they were introduced as surprise guests and Wright sang his band's first single one final time. • Richard Wright – Farfisa organ, backing vocals 2. "Candy and a Currant Bun" – 2:38

• Roger Waters – bass guitar • Nick Mason – drums

12.1.7

David Gilmour version

David Gilmour, during his solo tour promoting On an Island, unexpectedly added the song to the setlist near the end of the American tour on 17 April 2006 show at the Oakland Paramount Theatre. This incarnation of the song was sung by Richard Wright and remained in the setlist until 31 May. On 26 December 2006, two live recordings of the song, from Gilmour's On an Island shows at the Royal Albert Hall were released as a live single, which peaked at No. 19 on the UK Singles chart.* [15] One version had guest vocals by David Bowie. Both versions are featured on Gilmour's DVD/BD, Remember That Night (Bowie's version on disc one and Wright's version as a bonus on disc two). Track listing All tracks written by Syd Barrett. 1.“Arnold Layne”(with David Bowie) – 3:30 2.“Arnold Layne”(with Richard Wright) – 3:23 3. "Dark Globe" – 2:23 Personnel • David Gilmour - electric guitar, backing vocals (tracks 1-2), acoustic guitar, vocals (track 3)

12.1.9 References [1] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 132. ISBN 978-0-571-23855-2. [2] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 31. ISBN 1-84353575-0. [3] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 32. ISBN 1-84353575-0. [4] Cavanagh, John (2003). The Piper at the Gates of Dawn. New York [u.a.]: Continuum. p. 20. ISBN 978-0-82641497-7. [5] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. pp. 191–192. ISBN 0-85965-431-1. [6] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 201. ISBN 085965-431-1. [7] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 212. ISBN 085965-431-1. [8] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 192. ISBN 085965-431-1. [9] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 193. ISBN 085965-431-1. [10] Cavanagh, John (2003). The Piper at the Gates of Dawn. New York [u.a.]: Continuum. p. 19. ISBN 978-0-82641497-7.

12.2. SEE EMILY PLAY

191

recorded in a much longer form which was then edited down* [6] for the single release. It was recorded at Sound Techniques studios on 21 May 1967.* [6]* [11] There was [12] Gilmour to release Barrett single much trickery involved in the recording with backward [13] Chapman, Rob (2010). Syd Barrett: A Very Irregular tapes, much use of echo and reverb, and the first piHead (Paperback ed.). London: Faber. pp. 141–142. ano bridge between the first chorus and second verse was recorded at a slow pace then sped up for the final master. ISBN 978-0-571-23855-2. The four-track master tape was wiped or misplaced. It no [14] “Echoes: the album credits”. Pink Floyd. Archived from longer exists and has never been mixed into true stereo; it the original on 2 June 2010. Retrieved 20 June 2013. was reprocessed for fake stereo on the 1971 Relics compi[15] “David Gilmour | Artist”. Official Charts. Retrieved 12 lation. The US single (Tower 356) was released by Tower Records three times between July 1967 and late 1968. July 2012. Each time it failed to duplicate its UK success. [11] “PINK FLOYD | Artist”. Official Charts. Retrieved 27 July 2012.

12.2 See Emily Play "See Emily Play" is the second single by English psychedelic rock band Pink Floyd.* [2]* [3] Written by original frontman Syd Barrett and recorded on 23 May 1967, it featured "The Scarecrow" as its B-side. Though it was initially released as a non-album single, the song appeared on the American edition of their debut album The Piper at the Gates of Dawn (1967). “See Emily Play”is included in The Rock and Roll Hall of Fame's 500 Songs that Shaped Rock and Roll list and reached No. 6 in the United Kingdom singles chart.* [4] As of 2014, the song has never been mixed to stereo, so the US album version was rechannelled and all subsequent reissues have been in mono.

12.2.1

Background

“See Emily Play”is also known as “Games for May”, after a free concert in which Syd Barrett's Pink Floyd performed.* [5]* [6] The slide guitar work on the song was done by Barrett using a plastic ruler.* [7] The train depicted on the single's sleeve was drawn by him. The song only stayed in the band's setlist for a few months, and was last played on 25 November 1967 in Blackpool. It was reportedly about a girl named Emily, whom Barrett claimed he saw while sleeping in the woods after taking a psychedelic drug. He later stated that the story about sleeping in the woods and seeing a girl before him was made up "...all for publicity.”According to A Saucerful of Secrets: The Pink Floyd Odyssey, by Nicholas Schaffner, Emily is the Honourable Emily Young,* [8]* [9] daughter of Wayland Hilton Young, 2nd Baron Kennet,* [10] and nicknamed“the psychedelic schoolgirl”at the UFO Club. An article in Mojo magazine called“See the Real Emily” supposedly shows a picture of Barrett's Emily.

Barrett, reportedly, was not happy with the final studio cut, and he protested against its release, which producer Norman Smith speculated was based on his fear of commercialism. It was during sessions for the song that David Gilmour became a frequent visitor to the studio,* [6] and although being invited by Barrett, was shocked by the perceived changes in Barrett's personality when he did not appear to recognise him.* [6] For many years Gilmour would recall this, saying, “I'll go on record as saying, that was when he changed”.* [6] Part of the vocal melody was played on a Mini Moog by Rick Wright at the very end of "Shine On You Crazy Diamond (Parts VI-IX)" at the end of Wish You Were Here, as a tribute to Barrett. It later appeared on the compilations Relics (1971), Works (1983), Shine On (1992), Echoes: The Best of Pink Floyd (2001),* [12] The Piper at the Gates of Dawn 40th Anniversary Edition (2007), and on A Foot in the Door – The Best of Pink Floyd (2011). The song was also included on the Barrett retrospective, An Introduction to Syd Barrett (2010).

12.2.3 Television performances Top of the Pops, BBCTV, July 1967 Pink Floyd performed the song three times on BBC TV's Top of the Pops.* [13]* [14] On each occasion, they mimed to the single and Barrett would occasionally sing a live vocal. Also adding to the legend was the fact the BBC wiped the shows, all of which were“live”transmissions. In late 2009, a badly damaged home video recording was recovered by the British Film Institute containing two of the shows the song was performed on, though only the first appearance was recoverable in part. The first performance was on the 6 July 1967 edition, hosted by Alan Freeman. Parts of this performance have been recovered from the damaged video recording.

They returned for the following week's edition, 13 July, hosted by DJ Pete Murray. The last appearance was on 27 July 1967. Once more hosted by Freeman, Barrett The details as to the recording remain shrouded in mys- failed to turn up for rehearsals at BBC Television Centre. tery due to the lack of paperwork in the EMI archive. This prompted managers Peter Jenner and Andrew King Engineer Jeff Jarrett recalls that “See Emily Play”was to perform a frantic search for Barrett. They eventually

12.2.2

Recording and release

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CHAPTER 12. SINGLES

found him and frogmarched him to the BBC. The recoverable parts of the 6 July performance were given a public screening in London on 9 January 2010 at an event called "Missing Believed Wiped" devoted to recovered TV shows. It was the first time any footage was seen of the performance since its original broadcast. The Pink Floyd management now have a copy of the footage, and have promised to use it on a future project. Beat Club, Radio Bremen August 1967 —cancelled The band were booked to appear on this edition of Beat Club. Barrett had suffered “nervous exhaustion”and the band managers decided to give the band a month long break in the hope his health would recover. Therefore the booking for this appearance had to be cancelled. Belgian TV, February 1968

• A cover appears as (one of two) B-sides on a 1991 CD single (“I Am Here”) from The Grapes of Wrath, a Canadian jangle-pop group. The same version is available on the 1994 compilation album Seems Like Fate 1984–1992. • All About Eve played the song live c. 1992 and recorded a demo, which was not released until 2006 as part of the Keepsakes compilation. • The song was covered by Arjen Anthony Lucassen on his 1997 album Strange Hobby and The Changelings on their 2002 album Astronomica. • Judy Dyble, the original lead singer of Fairport Convention, recorded a cover of “See Emily Play”in 2004. • A cover of“See Emily Play”by David West, appears on the 2001 bluegrass tribute album Pickin' on Pink Floyd: A Bluegrass Tribute.* [15]

In 1968, Pink Floyd travelled to Belgium where they filmed a TV special entitled “Pink Floid”(this misspelling is on the title credits) which featured lip-synched promotional films for “See Emily Play”, as well as for "Astronomy Domine", “The Scarecrow”, "Apples and Oranges", "Paint Box", "Set the Controls for the Heart of the Sun", and "Corporal Clegg". This was Gilmour's first TV work with the band. Barrett was still technically a member of the band but it had recently been decided to no longer collect him for gigs or shows. Therefore, Gilmour, Roger Waters and Richard Wright had to mime to Barrett's vocals.

• A cover appears on the 2008 album I Know You're Married But I've Got Feelings Too by Martha Wainwright.

12.2.4

• John Frusciante played it live.

Personnel

• Syd Barrett ̶lead vocals, electric guitar, slide guitar • Rick Wright ̶Farfisa organ, piano, tack piano, Baldwin Spinet electric harpsichord, backing vocals • Roger Waters ̶bass, backing vocals • Nick Mason ̶drums

12.2.5

Other versions

• A cover of “See Emily Play”by Canadian group Three to One (aka Okee Pokey Band) is on the 1967 Yorkville album CTV After Four. This version also appears on the psychedelic compilation album Pebbles, Volume 14.

• A cover of also appears on the 2008 re-release of the album The End Is Begun by the band 3. This is a heavily modified version, with an added bridge made by rearranging lyrics from the final verse. • A parody appears on the 2013 album “Cover Your Ears”by French Canadian duo“Sèxe Illégal”. The song is renamed “Si Émile est gay”or “If Emile is gay”

12.2.6 References [1] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 65. ISBN 1-905139-09-8. [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [3] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [4] “PINK FLOYD | Artist”. Official Charts. Retrieved 27 July 2012.

• David Bowie recorded a version of“See Emily Play” for Pin Ups in 1973.

[5] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. pp. 160–161. ISBN 978-0-571-23855-2.

• Japanese group Salon Music recorded a cover version of the song for their 1984 album La Paloma Show (Pony Canyon C28A0371).

[6] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 38. ISBN 1-84353575-0.

12.3. FLAMING (SONG)

193

[7] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 171. ISBN 978-0-571-23855-2.

other US single that was not released in the UK was "Let There Be More Light" b/w "Remember a Day" (Tower 440).

[8] Biography, Emily Young Sculpture.

This song is one of three known Pink Floyd songs to refer to an eiderdown, (better known to Americans as a comforter). The other two songs are "Julia Dream", the Bside to a 1968 single, and "A Pillow of Winds" from the Meddle album.

[9] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 161. ISBN 978-0-571-23855-2. [10] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. pp. 93–94. ISBN 978-0-571-23855-2.

12.3.2 Alternative and live versions

[11] Jones, Malcolm (2003). “The Making of The Madcap Laughs”(21st Anniversary ed.). Brain Damage. p. 29.

A live version of “Flaming”(at that time known as “Snowing”) was played in London's All Saints Hall in [12] “Echoes: the album credits”. Pink Floyd. Archived from 1966.* [6] the original on 2 June 2010. Retrieved 20 June 2013. [13] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 13. ISBN 1-905139-09-8. [14] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. pp. 38–39. ISBN 184353-575-0. [15] Pickin on Pink Floyd: Bluegrass Tribute

12.2.7

External links

A live version of the song, with Gilmour in Barrett's place, was shown on French television. The song opened with a slide whistle played by bassist Roger Waters.

12.3.3 Personnel • Syd Barrett - electric guitar, 12-string acoustic guitar, lead vocals, wind-up toys • Rick Wright - Farfisa organ, Hammond organ, Lowrey organ, tack piano, backing vocals, wind-up toys

• Music video of the song on YouTube. Accessed September 2009.

• Roger Waters - bass, slide whistle, backing vocals, wind-up toys

• Full lyrics of this song at MetroLyrics

• Nick Mason - drums, finger cymbals, wind-up toys

12.3 Flaming (song) "Flaming" (formerly titled“Snowing”)* [2] is a song by psychedelic rock band Pink Floyd, featured on their 1967 debut album, The Piper at the Gates of Dawn.* [3]* [4] Written and sung by Syd Barrett, the lyrics describe a childlike game with fantastical imagery (such as unicorns and buttercups), while prominent organ and driving bass guitar carry the uptempo music. After David Gilmour joined the band, the song remained in their set list for a while in 1968, even after Barrett's departure.

12.3.1

Single

“Flaming”was also the third US Pink Floyd single (Tower 378) and was released by Tower Records, but it did not chart. The mono US single mix of“Flaming”is slightly edited from other stereo or mono versions of the recording. This US single was released in place of the UK single, "Apples and Oranges" (backed with "Paint Box"), which had then just failed to break into the UK charts.* [5] It was the first of two US Pink Floyd singles released on Tower that were not released on a single in the UK. The

12.3.4 References [1] “Pink Floyd album reviews”. [2] Chapman, Rob (2010). “Distorted View – See Through Baby Blue”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 152. ISBN 978-0-57123855-2. [3] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [4] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [5] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 43. ISBN 1-84353-575-0. [6] https://twitter.com/pinkfloyd/status/ 389698098290638848

12.3.5 External links • Full lyrics of this song at MetroLyrics

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12.4 Apples and Oranges (song)

mond.”̶Syd Barrett* [10]

NME hailed it as “the most psychedelic single the Pink "Apples and Oranges" (released 1967) is the third Floyd have come up with”, however, it was“pretty hard United Kingdom single by Pink Floyd and the final one to get a hold of”.* [6] written by Syd Barrett.* [2]* [3] The B-side was "Paint Box" written by Richard Wright. The song is about a girl whom the narrator meets at the supermarket. It is one of 12.4.5 Personnel a handful of songs by Pink Floyd which deal directly with • Syd Barrett ̶electric guitar, lead vocals love. The song was recorded shortly before the band's US tour, on 26 and 27 October.* [4]

12.4.1

TV Performances

• Richard Wright ̶Hammond organ, piano, electric piano, backing vocals, falsetto lead vocals (bridge) • Roger Waters ̶bass, backing vocals

• Nick Mason ̶drums, tambourine Pink Floyd, along with Barrett, mimed the song on their first US televised performances on The Pat Boone Show and American Bandstand. Barrett kept his lips closed 12.4.6 References during the first performance but mimed competently on [1] “The Piper at the Gates of Dawn (3-CD Deluxe Edition)". the latter show, of which footage survives.* [5] After BarAllmusic.com. rett was replaced by David Gilmour, the band recorded a promotional film in Belgium in a fruit market with Waters [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN lip synching. 1-84195-551-5.

12.4.2

Release

This was the group's first single that failed to break into the UK charts,* [6] and their US label Tower Records issued a US-only single instead: "Flaming" b/w "The Gnome" (Tower 378). Waters blamed the single's sales performance on Norman Smith: "'Apples and Oranges' was destroyed by the production. It's a fucking good song”.* [6]* [7] When the single failed to reach the charts, Barrett's reply was that he “couldn't care less.”* [6]* [8]

12.4.3

Further release

[3] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [4] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 189. ISBN 978-0-571-23855-2. [5] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (1st ed.). London: Faber and Faber. p. 199. ISBN 978-0-571-23854-5. [6] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 43. ISBN 1-84353575-0.

Both sides of the single were mixed in stereo, but the sin- [7] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 98. gle was issued in mono, which was very muddy and probISBN 1-905139-09-8. ably contributed to its lack of success. The stereo mix of “Paint Box”first appeared on the Relics compilation [8] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark (1971), and both tracks appeared in stereo on the Masters Globe (Rev. ed.). London: Plexus. p. 308. ISBN of Rock compilation (1974). The other four early UK 0859654311. singles were issued in mono originally. "Arnold Layne", "See Emily Play", "It Would Be So Nice", and "Point Me [9] Pink Floyd official website, UK. at the Sky" only exist in mono or false stereo, while "Julia [10] MacDonald, Bruno. Pink Floyd: Through the Eyes of the Dream" was remixed for stereo at a later time, for incluBand, Its Fans, Friends, and Foes. p. 188. sion on Relics. Mono and stereo mixes of “Apples and Oranges”and the mono mix of“Paint Box”are included in the 40th Anniversary Deluxe Edition release of The 12.5 It Would Be So Nice Piper at the Gates of Dawn.* [9] "It Would Be So Nice" is a 1968 song by the rock band, Pink Floyd, written by the keyboard player/singer Richard Wright.* [2]* [3] It was the fourth single released “It's a happy song, and it's got a touch of Christmas. It's by the group. The song was left out of the 1971 collecabout a girl who I saw just walking round town, in Rich- tion Relics and, prior to the release of The Early Singles

12.4.4

Reception

12.5. IT WOULD BE SO NICE in 1992 with the box set Shine On, it was only available on the Masters of Rock compilation. Its B-side, "Julia Dream", was written by the bass guitarist Roger Waters (who was gradually transitioning into his eventual role as the predominant songwriter and vocalist)* [4] and was also re-released on The Early Singles.

12.5.1

Different versions

195 Roger Waters: “Live bookings seem to depend on whether or not you have a record in the Top Ten. I don't like 'It Would Be So Nice.' I don't like the song or the way it's sung.”Mason: “We were a rock and roll band and if you're a rock and roll band and you've got a record that you want to be number one, you get it played and if they say 'take something out' or whatever - you do it. In fact what you do is exactly what was done - you make as much press out of it as possible. You ring up the Evening Standard and say: 'Did you know that the BBC won't play our record because it mentions your paper?'"* [5]

According to a newspaper story published in 1968, there are two versions of the original single with slightly different lyrics. The story goes that the first lyric had a passing reference to the London evening newspaper, the Evening Standard. This was said to be banned by the BBC because of a strict no-advertising policy which did not allow the mention of any product by name. The group was forced 12.5.3 Personnel to spend additional time and expense to record a special version for the BBC which changed the lyric to “Daily • Rick Wright ̶lead vocals, Farfisa organ, piano, Standard”. This version is the only one that has been mellotron, recorder reissued on LP and CD. It is unknown how many of the “Evening Standard”discs, if any, actually exist. Despite • David Gilmour ̶electric guitar, acoustic guitar, the added publicity the single received very little airplay backing vocals and failed to enter the chart. • Roger Waters ̶bass guitar, backing vocals

12.5.2

Reception

In The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece, John Harris writes about the song: “The first recorded work [Pink Floyd] released in the wake of Syd Barrett's exit was Richard Wright's almost unbearably whimsical 'It Would Be So Nice,' a single whose lightweight strain of pop-psychedelia ̶akin, perhaps, to the music of such fauxcounterculturalists as the Hollies and the Monkees̶rendered it a non-event that failed to trouble the British charts; as Roger Waters later recalled, 'No one ever heard it because it was such a lousy record.' Waters' own compositional efforts, however, were hardly more promising. 'Julia Dream', the single's B-side, crystallized much the same problem: though the band evidently wanted to maintain the Syd Barrett aesthetic, their attempts sounded hopelessly lightweight.”* [1]

• Nick Mason ̶drums

12.5.4 Covers A cover version of the song appears on Captain Sensible's second solo album, The Power of Love.

12.5.5 References [1] Harris, John (2006). The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece. Harper Perennial. ISBN 0-00-723229-2. [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [3] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

Nick Mason was even more vocal than Waters in his dislike for the song:

[4] Schaffner, Nicholas. Saucerful of Secrets: The Pink Floyd Odyssey, chapter 11 (“burning bridges”), p.129

Mason: “Fucking awful, that record, wasn't it? At that period we had no direction. We were being hussled about to make hit singles. There's so many people saying it's important you start to think it is important. It is possible on an LP to do exactly what we want to do. . . .”

[5] http://digilander.libero.it/pinkside/p8.htm | Quoted in Miles (“Pink Floyd”, by Armando Gallo Editori)

12.5.6 External links • Full lyrics of this song at MetroLyrics

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CHAPTER 12. SINGLES

12.6 Let There Be More Light

a phrase which appears to reference both science fiction writer A. E. van Vogt's 1948 short story “The Rull” "Let There Be More Light" is the opening track on Pink (which tells of psychological battle of wits between a huFloyd's second album A Saucerful of Secrets.* [1]* [2] It man and a hostile alien with hypnotic powers) and a legwas also released in edited form as the fourth American endary 11th century leader of resistance to the Norman invasion of England who is believed to have roamed The single by the group.* [3] Fens of Cambridgeshire. In the third verse, the “outer lock”of the spacecraft opens to reveal “in flowing robes ... Lucy In The Sky” , causing the servicemen to sigh in wonder. The fourth The song is written by Roger Waters. It begins with an and final verse begins with the question“Did ... you ever iterative bass line before the vocals start. The first, gen- know ... / Never, ever will they ascend?" before Lucy In tler vocals are performed by Richard Wright with Waters The Sky, toes glowing, summons “his cosmic powers” whispering, and the following, harder refrain is sung by and lets the “psychic emanations”flow. David Gilmour. The last two minutes of the song mark the first appearance of a guitar solo by Gilmour on a Pink 12.6.3 Release and live Floyd album.

12.6.1

Writing and recording

A rare US-only single release (Tower 440) contains edited mono versions of this song and "Remember a Day".* [3] 12.6.2 Lyrical themes The single did not chart. Pink Floyd performed the song Let There Be More Light describes the imagined descent live from 1968-69, often as an encore. of a fantastical spacecraft at RAF Mildenhall, north-east of Waters' hometown of Cambridge. From 1950, RAF Mildenhall primarily supported US Air Force operations, 12.6.4 Planned B-side including the Strategic Air Command. This song was planned as a B-side to an edit of one of The song shares the theme of benevolent extraterrestrial Pink Floyd's later songs, "Money", for 7 December 1981, intervention in human affairs with the 1951 film The Day but for unknown reasons, the release was cancelled by The Earth Stood Still and Arthur C. Clarke's 1953 novel EMI.* [4] Childhood's End. Along with Set The Controls For The Heart Of The Sun and 1969's Cirrus Minor, it is one of only three Waters-penned lyrics to feature science-fiction 12.6.5 Personnel themes prior to his 1992 solo album Amused To Death. • David Gilmour – electric guitars, lead vocals (chorus Let There Be More Light includes cryptic references to sections)* [5] science-fiction stories, the 11th century rebel Hereward the Wake, The Beatles' song Lucy In The Sky With Di• Richard Wright – Farfisa organ and Hammond oramonds and one of Pink Floyd's early light show opergan, lead vocals (verse sections),* [5] piano ators. While the oblique lyrics contrast with the more • Roger Waters – bass guitar, whisper vocals (verse direct style that Waters would later adopt, the historical sections)* [6] and popular culture references tentatively pre-figure the overt political sentiments of later Pink Floyd and Waters • Nick Mason – drums, percussion solo releases. The first verse relates the realisation of an apparent prophecy that“something will be done”when a“mighty 12.6.6 Musical connections ship / Descending on a point of flame / Made contact with • There is a reference to The Beatles song "Lucy in the human race at Mildenhall”. the Sky with Diamonds". The second verse opens with the repeated refrain “Now ... is the time to be aware”, before referring to“Carter's father”. While some fans have speculated that Waters is 12.6.7 References describing John Carter of Mars, a character appearing in science fiction novels of Edgar Rice Burroughs, accord- [1] Strong, Martin C. (2004). The Great Rock Discography ing to Nick Mason the lyric refers to Cambridge local, (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. band associate and sometime lighting operator, Ian 'Pip' Carter. Carter's father, seeing the spacecraft,“knew the Rull revealed to him / The living soul of Hereward the Wake",

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

12.7. POINT ME AT THE SKY

[3] Fitch, Vernon. “Pink Floyd Archives-Tower Records Discography”. Pinkfloydarchives.com. Retrieved 31 October 2012.

197

12.7.2 Video and photos

The group made a promotional film for the song in which they posed in goggles and flight outfits with a vintage aero[4] Fitch, Vernon. “Pink Floyd Archives-U.K. 45s Discog- plane, registration G-ANKB (a De Havilland DH.82A raphy”. Pinkfloydarchives.com. Retrieved 31 October Tiger Moth* [4]) A still picture from this photo session 2012. was included in promotional materials given away with the U.K. single and on a picture sleeve version released in [5] Manning, Toby (2006). “Floyd's Finest 50”. The Rough The Netherlands. Alternate still shots from the same sesGuide to Pink Floyd (1st ed.). London: Rough Guides. p. sion appeared in the artwork for the 1973 LP A Nice Pair 187. ISBN 1-84353-575-0. and the booklet for 1992 remastered CD of A Saucerful of Secrets. The film also features another vintage aircraft, [6] http://www.allmusic.com/song/ G-ADBO (an AVRO 504N* [5]), plus scenes of trains at let-there-be-more-light-mt0012248192 Paddington Station.

12.6.8

External links

A different performance of Point Me at the Sky was recorded and broadcast by the BBC in late 1968, but this has never been officially released on record.

• Full lyrics of this song at MetroLyrics

12.7.3 Personnel

12.7 Point Me at the Sky "Point Me at the Sky" is the fifth United Kingdom single by the British band Pink Floyd, released on 17 December 1968.* [1]* [2] The song was an early collaboration by bassist Roger Waters and guitarist David Gilmour.* [3] The single was not released in the United States. However, it was released by Capitol Records in Canada (catalog number 72563) as well as in Japan, and some European countries. The vocals on the verse of the song are sung by Gilmour, and the bridge vocals are shared between Gilmour and Waters.

• David Gilmour – electric guitars, electic slide guitar, backing vocals, lead vocals (verses, second half of choruses) • Roger Waters – bass, backing vocals, lead vocals (first half of chorus and final verse) • Rick Wright – Hammond organ, piano, glockenspiel, backing vocals • Nick Mason – drums, maracas, temple blocks

12.7.4 Legacy 12.7.1

Other releases

Roger Waters has called“Point Me at the Sky”a“notable failure”of the post-Barrett era.* [6] Following its lack of chart success, the band decided to stop releasing singles in the U.K. altogether and concentrate only on albums, since, according to Waters, “we were no bloody good at it.”* [7]

Point Me at the Sky has since become the least readily available of all officially released Pink Floyd recordings. It was left out of the 1971 collection Relics. It was first released in the United States in 1978 on a mail-orderonly promotional album, “A Harvest Sampler”(catalog number SPRO-8795/6), in an otherwise unavailable stereo mix, and was not commercially re-issued until the 12.7.5 References 1992 CD collection The Early Singles, a bonus disc in the [1] Strong, Martin C. (2004). The Great Rock Discography Shine On box set, which used the original mono mix. Because it was not intended for album release all available versions of this recording are a mono mix. There has never been a stereo mix version. The mono mix has a rather “muddy”sound quality. Musically, the song starts out quietly and then becomes a heavy piece of psychedelia. The record did not chart. The B-side of the single, "Careful with That Axe, Eugene", became far more popular, as it was later included on two different Pink Floyd albums and played regularly at concerts throughout the early 1970s.

(7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Harvest Records. “Label credit on single”. Retrieved 14 September 2012. [4] “Air-Britain : G-ANKB”. Retrieved 17 September 2011. [5] “Aircraft G-ADBO, Av Roe And Co Ltd AVRO 504N C/N K2354”. Retrieved 17 September 2011.

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CHAPTER 12. SINGLES

[6] The Pink Floyd Story: Which One's Pink? (television production). BBC. We all tried to write singles. 'Point Me at the Sky' was one notable failure. [7]“Omnibus – Pink Floyd”. November 1994. 60 minutes in. BBC.

12.7.6

External links

• Full lyrics of this song at MetroLyrics

12.8.4 References [1] Relics, Pink Floyd: Review, Allmusic. [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [3] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [4] http://www.pinkfloyd.com/music/singles.php

12.8 The Nile Song

[5] Pink Floyd: Anthology (1980 Warner Bros. Publications, Inc., Secaucus N.J.)

"The Nile Song" is the second song from Pink Floyd's 1969 album, Soundtrack from the Film More.* [2]* [3] Released as a single in 1969 (only in France, Japan and New 12.8.5 External links Zealand),* [4] it was written by Roger Waters and sung by • Full lyrics of this song at MetroLyrics David Gilmour.

12.8.1

Reception

Andy Kellman of Allmusic describes“The Nile Song”as “one of the heaviest songs the band recorded”.* [1] The chord progression is a series of modulations, beginning at A, and then rising a whole step with each repeat, cycling through six different keys, returning to the starting point of A, and continuing the pattern as the song fades out.* [5]

12.8.2

Personnel

• Roger Waters – bass guitar • David Gilmour – electric guitar, vocals • Nick Mason – drums

12.9 One of These Days (Pink Floyd song) "One of These Days" is the opening track from Pink Floyd's 1971 album Meddle.* [1]* [2] The composition is instrumental except for a distorted, low voice that says “One of these days I'm going to cut you into little pieces”(spoken by drummer Nick Mason, a rarity for the band) and features double-tracked bass guitars played by David Gilmour and Roger Waters,* [2] with each bass hard panned into one channel of stereo. Gilmour's bass sound is quite muted and dull. According to Gilmour, this is because that particular instrument had old strings on it, and the roadie they had sent to get new strings for it wandered off to see his girlfriend instead.* [3]

• Richard Wright - keyboards

12.9.1 Music 12.8.3

Covers

“The Nile Song”was covered by: • The Human Instinct, on their 1971 album Pins In It • The Necros, on their 1986 album Tangled Up • Red Temple Spirits on their 1988 album Dancing to Restore an Eclipsed Moon • Mary Goes Round, on their 1989 album 70 Suns in the Sky • Panthers • Voivod, on their 1993 album, The Outer Limits • Dreadnaught, on their 2001 EP One Piece Missing.

The predominant element of the piece is that of a bass guitar played through a delay (echo) unit, set to produce repeats in quarter-note triplets. The result of this setting is, if the player plays simple quarter notes, the added echoes will produce a pattern of quarter note - eighth note, quarter note - eighth note. Pink Floyd would again use this technique on the bass line for "Sheep". The piece is in B minor, occasionally alternating with an A major chord. The distinctive keyboard accents on this track are composed of three components: A hammond organ forms the 'fade in', followed by a “Stab”composed of a second hammond organ with percussion stop, overdubbed with an acoustic piano fed through a leslie speaker, as was also used on Echoes. For live versions, the 'fade in' part was played on a Farfisa Organ.

12.9. ONE OF THESE DAYS (PINK FLOYD SONG) The threatening lyric, a rare vocal contribution by Nick Mason,* [2] was recorded through a ring modulator and slowed down to create an eerie effect. It was aimed at Sir Jimmy Young, the then BBC Radio 1 and Radio 2 DJ whom the band supposedly disliked because of his tendency to babble. During early 1970s concerts, they sometimes played a sound collage of clips from Young's radio show that was edited to sound completely nonsensical, thus figuratively“cutting him into little pieces”.* [4] The bootleg compilation A Treeful of Secrets contains a demo version of“One of These Days”in which the Jimmy Young collage loops in the background during the performance. However, the authenticity of this demo has not been confirmed.* [5] Possibly the most interesting thing about “One of These Days”is that it actually stars myself as vocalist, for the first time on any of our records that actually got to the public. It's a rather startling performance involving the use of a high voice and slowed down tape. ̶Nick Mason, * [6]

199 with Nick Mason and Gary Wallis on drums and percussion.* [2] It was included on the Delicate Sound of Thunder video (1989), CD, LP & cassette (1988) and Pulse album (1995) (cassette & LP only) & video & DVD (1995/2006 respectively).* [2] It is also absent from the iTunes version of the Pulse album. A live version was also put on the B-side of the “High Hopes/Keep Talking”double A-side single (1994).* [2]

12.9.4 Personnel Studio version • David Gilmour – electric guitars, pedal steel guitar, double-tracked bass (right channel) • Roger Waters – double-tracked delayed tremolo bass (left channel) • Nick Mason – drums, backwards cymbals, vocal phrase

• Richard Wright – Hammond organ, piano, EMS According to John Peel, Waters has described “One of VCS 3 synthesizer (wind sound effects) These Days”as a “poignant appraisal of the contemporary social situation”.* [7] Gilmour has stated that he considers it the most collaborative piece ever produced Delicate Sound of Thunder/Pulse by the group. A film, French Windows, was made by Ian Emes,* [8]* [2] set to the piece and featuring people and gibbons dancing against various backgrounds. After being seen on television by the band, it was back-projected by Pink Floyd during live performances* [2] and Emes was commissioned to make further films for the band. It has since been released as an “extra”on the band's Pulse DVD.* [2]

• David Gilmour – lap steel guitar • Nick Mason – drums, cymbal flourishes, vocal phrase (recording) • Richard Wright – Hammond organ Additional musicians:

12.9.2

Track listing

Japanese release (re-issue) 1.“One of These Days” 2. "Seamus" * [9]

12.9.3

Live performances

• Guy Pratt – bass guitar • Gary Wallis – percussion, extra drums on Pulse • Tim Renwick – rhythm guitar • Jon Carin – synthesizer

The song was a concert staple on the band's 1971–1973 12.9.5 1989 promo video and 1987–1994 tours.* [2] The Live at Pompeii version was retitled as "One of These Days I'm Going to Cut A promo video was used to promote Delicate Sound of You into Little Pieces", the full spoken threat.* [2] Thunder and got brief airing on MTV in 1989. It showed It was resurrected for the group's 1987–1989 A Momen- the band performing the track on stage at Nassau Coltary Lapse of Reason & Another Lapse tours and 1994's iseum and shots of the inflatable pig that flew over the The Division Bell Tour, performed by David Gilmour on audience during the song in the show. The end of the lap steel guitar, Tim Renwick on rhythm guitar, Guy Pratt clip blacks out instead of segueing into "Time" as on the on bass, Richard Wright and Jon Carin on keyboards, Delicate Sound of Thunder video.

200

12.9.6

CHAPTER 12. SINGLES

Cover versions

12.9.7 In popular culture

• Girls Under Glass released a version of this song “One of These Days”has been used in various sporton their 1995 album Crystals & Stones called ing contexts. It is the entrance music of Abdullah the Butcher (Larry Shreve), a professional wrestler best "(Another) One of These Days”* [10] known from WCW in the early 1990s. Hungarian figure • The German progressive trance project Haldolium skater Krisztina Czakó used“One of These Days”(along released a cover version of this song on a 12”picture with "Shine On You Crazy Diamond")* [12] as the music disc in 2001 on Free Form Records. Their version, for her long program at the 1992 Winter Olympics, one which was a success throughout the worldwide goa of the few times that a classic rock song has ever been and trance scenes, was heavily inspired by the Girls featured in an elite-level ice skating competition. AddiUnder Glass version.* [11] tionally, Frank Zane used the song as his posing music at the 1983 Mr. Olympia competition. For many years, • The stoner rock band Men of Porn covered “One the Italian sports show Dribbling also used the song as its of These Days”on their 2001 release Experiments opening theme. in Feedback. The song can also be found in other media. In the web• Blue Man Group covers this song during their How comic Sluggy Freelance story arc “Fire and Rain”, the to Be a Megastar 2.0 tour in 2006. They use their only arc to feature a“soundtrack”of sorts, Oasis makes a Tubulum instrument to simulate the double-bass reference to the song, stating that she is“gonna cut [Zoe] into little pieces.”Under the dialogue is a caption reading guitar effect. "'One of These Days' by Pink Floyd.”* [13] The song is • Metallica covered“One of These Days”live in Seoul played during the ending credits of The Sopranos episode in 2006. "The Fleshy Part of the Thigh" and is used in the Cosmos: A Personal Voyage episode "The Lives of Stars". A 1973 • Psychedelic black metal band Nachtmystium in- Bruce Lee documentary entitled The Man and the Legend cluded a musical homage entitled “One of These used the song, as well as the BBC drama Life on Mars. Nights”as the opening track on their 2008 album Assassins: Black Meddle, Part 1 (the album title In another more unique instance, a 1991 computer virus itself is a reference to Pink Floyd's 1971 album called “Little Pieces”cleared the victim's screen and Meddle). The song features many of the same el- displayed the message “One of these days I'm going to into little pieces,”referring to the sole lyric of the ements of the original, but reinterpreted within a cut you * song. [14] black metal idiom. It opens with wind, much like the original, but the bass is replaced with a chugging In the 2011 Japanese Light Novel "The Astonishment of guitar ostinato while the keyboard “stabs”feature Haruhi Suzumiya", Kyon sarcastically remarks to Haruhi darker harmonies. The sole lyric from the original that she use the song as her introduction music when she is also changed to state: “One of these nights I'm arrives late to the clubroom to impress the hopeful SOS going to fucking die.” Brigade Members. Haruhi replies that Kyon “comes up with a few good ideas on occasion”.* [15] • Gov't Mule has covered “One of These Days”live three times. The first time on 31 October 2008 at “One of These Days”was sampled in the song Johnny the Orpheum in Boston, on 8 February 2009 at the Ryall on the Beastie Boys album Paul's Boutique. House of Blues in Dallas, and as the opening song at the Friday night Midnight set at Wanee Festi12.9.8 References val 2010. All three times, lead singer and guitarist Warren Haynes deliberately omitted the spoken in- [1] Strong, Martin C. (2004). The Great Rock Discography tro line. (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN • German techno and trance producer Cosmic Baby, aka Harald Blüchel, produced an uncredited cover version of the song on his 1994 album Thinking About Myself, under the track title of “Au Dessous Des Nuages”. • Dream Theater covered“One of These Days”during a show in Rotterdam in 2004. • Electro-Industrial band Spahn Ranch covered the song for the Cleopatra Records Pink Floyd cover compilation A Saucerful of Pink.

1-84195-551-5. [2] Mabbett, Andy (2010). Pink Floyd ̶The Music and the Mystery. London: Omnibus Press. ISBN 978-1-84938370-7. [3] Interview with David Gilmour, Guitar World, February 1993. [4] 'One of These Days' section Echoes FAQ, Ver. 4.0, The Pink Floyd Fan Club. [5] A Tree Full of Secrets CD#3 Track Listing, The Pink Floyd RoIO Trading Pages.

12.11. MONEY (PINK FLOYD SONG)

[6] Kendall, Charlie (1984).“Shades of Pink - The Definitive Pink Floyd Profile”. The Source Radio Show. Retrieved 2011-07-26. [7] Meddler, The Pink Floyd RoIO Database. [8] This Could Happen To You: Ikon in the 1970s, exhibition programme, Ikon Gallery, Birmingham, England, July 2010. [9] “Pink Floyd Collectors - One of These Days”. Comunidad Floydiana.

201 German release 1.“Free Four”– 4:08 2. "The Gold It's in the..." – 3:01 * [6]

12.10.3 Personnel • Roger Waters ̶Lead and backing vocals, bass, handclapping

[10] Girls Under Glass ̶Crystals & Stones, Discogs.

• David Gilmour ̶acoustic & electric guitars

[11] Haldolium ̶One Of These Days, Discogs.

• Richard Wright ̶VCS3 synthesiser

[12] Krisztina Czako (HUN) ̶1992 Albertville, Ladies' Free Skate.

• Nick Mason ̶drums and tambourine

[13] Comic page, Sluggy Freelance.

12.10.4 References

[14] Little Pieces, McAfee. [15] The Astonishment of Haruhi Suzumiya, Chapter 5, p. 43

12.9.9

External links

12.10 Free Four "Free Four" is a Pink Floyd song written and sung by Roger Waters, from the album Obscured by Clouds.* [1]* [2]

12.10.1

Recording and lyrics

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 165. ISBN 1-84353-575-0. [4] “Pink Floyd - Free Four / Stay (Vinyl) at Discogs”. Discogs.com. [5] “Pink Floyd - Free Four / The Gold It's In The... at Discogs”. Discogs.com.

The song begins with a rock and roll count-in, but in this [6] “Pink Floyd Collectors”. Comunidad Floydiana Intercase Pink Floyd decided to play with words and record, nacional. “One, Two, FREE FOUR!" The song deals with reflection of one's life, the “evils”of the record industry, and also makes a reference to Roger Waters' father who was 12.10.5 External links killed in World War 2.* [3] The music begins in an upbeat • AMG song review manner, while the lyrics tell a very cynical and somewhat depressing story. “Free Four”was released as a single • Full lyrics of this song at MetroLyrics in the U.S. in 1972 but did not chart.

12.10.2

Track listing

12.11 Money (Pink Floyd song)

US release 1.“Free Four”– 3:30 2. "Stay" – 3:58 * [4] Italy release 1.“Free Four”– 4:07 2. "The Gold It's in the..." – 3:01 * [5]

Roger Waters' bassline, described as“one of the most memorable classic bass riffs ever recorded.”* [1]

"Money" is a song by the English progressive rock band Pink Floyd from their 1973 album The Dark Side of the

202

CHAPTER 12. SINGLES

Moon. Written by Roger Waters, it opened side two of 12.11.2 Recording the LP. Released as a single, it became the band's first hit in the The demo tracks for the song, including some of the US, reaching #10 in Cash Box magazine and #13 on the sound effects, were recorded in a makeshift recording * Billboard Hot 100.“Money”is noted for its unusual 7/4– studio Roger Waters had in his garden shed. [10] As 4/4 time signature, and the tape loop of money-related recorded by the band, the song has a “bluesy, transatsound effects (such as a ringing cash register and a jingle lantic feel”, unlike Waters' original demo version, which of coins) that is heard periodically throughout the song. he later described as“prissy and very English”. As heard on Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon, the demo is in G-sharp minor, as opposed to the B minor of the final version.* [2]

12.11.1

Composition

Roger Waters and David Gilmour stated that the song had been composed primarily in 7/8 time;* [2] it was composed in 7/4,* [3] according to Gilmour in an interview with Guitar World magazine in 1993.* [4]* [5]

The instrumental jam was a collaborative effort, with Gilmour overseeing the time change as well as his own guitar and vocal work, and Richard Wright and Nick Mason improvising their own parts. Dick Parry contributed the tenor saxophone solo that precedes the guitar solo. Gilmour's input is also discernible in the final mix, which features contrasting“wet”sections, with thick reverb and delay effects, and“dry”sections. In particular, during the second chorus of the guitar solo, all the reverb and delay effects are suddenly pulled out, creating a much smaller and more intimate virtual space. To produce the distinctive piercing high notes that distinguish the final chorus of his solo, Gilmour played a customized Lewis guitar with twenty-four frets, allowing a full four-octave range.* [2]

The song changes to 4/4 time for an extended guitar solo. The first of three choruses which comprise the solo was recorded using real-time double tracking. Gilmour played the chorus nearly identically in two passes recorded to two different tracks of a multi-track tape machine. The second chorus is a single guitar. The doubled One of the most distinctive elements of “Money”is the effect for the third chorus was created using automatic rhythmic sequence of sound effects that begins the track and is heard throughout the first several bars. This was (or “artificial”) double-tracking (ADT).* [2] created by splicing together recordings Waters had made One of Gilmour's ideas for the solo section was that, for of clinking coins, a ringing cash register, tearing paper, the second chorus of the solo, all reverb and echo effects a clicking counting machine and other items to construct would be completely off (referred to as“dry”), creating a seven-beat effects loop.* [2]* [10] It was later adapted to the sense of just four musicians playing in a small room. four tracks in order to create a “walk around the room” For this “dry”chorus, all musicians played softly and effect in the quadraphonic mix of The Dark Side of the subtly, with Gilmour's solo, now one single guitar, playing Moon.* [2] very sparsely. Then, for the third chorus, the dynamics would suddenly rise, with heavy use of reverb and echo In the video Classic Albums: Pink Floyd – The Making of (a “wet”sound), additional rhythm-guitar parts in the The Dark Side of the Moon, engineer Alan Parsons debackground, and the drums becoming heavy and almost scribed the recording of the band's initial backing track for the song: They used the sound-effect tape loop as a chaotic.* [6] sort of metronome, but Parsons gradually faded out the The form and chord progression are based on the stan- loop before the vocals started. As the song progressed, dard twelve-bar blues in the key of B minor, with the the band gradually sped up, yet later, between the second vocal melody and nearly all of Gilmour's soloing based verse and the saxophone solo, Parsons briefly raised up on the pentatonic and blues scales.* [7] Two twelve-bar the volume of the effects loop, and just by coincidence, verses are followed by a twenty-bar instrumental section it turned out to fit the beat. After this point, the loop is that features a blues-style tenor saxophone solo (played not heard again. by Dick Parry) along with keyboard, bass and drums and a further two-bar intro in 4/4 leading to the guitar solo, which is structured like a twelve-bar blues, but doubled 12.11.3 Re-recording to a twenty-four-bar length.* [8] The lyrics are briefly referenced in the film Pink Floyd – The Wall, when the protagonist, Pink, is caught writing poems in class by his teacher. The teacher snatches the poem book from him and reads it in a very sarcastic, demeaning manner, practically encouraging Pink's classmates to laugh. The poem is a verse of lyrics to“Money” .* [9]

The song was re-recorded for the 1981 Pink Floyd album, A Collection of Great Dance Songs, because Capitol Records refused to license the track to Columbia Records in the United States. With the help of producer James Guthrie, Gilmour re-recorded the song, providing vocals and playing all the instruments except saxophone, resulting in a much simpler drum part. Parry again contributed

12.11. MONEY (PINK FLOYD SONG) the sax solo, reprising his role on the original recording.

12.11.4

Live

From 1972 to 1975,“Money”was a regular feature of the band's Dark Side of the Moon set, and it was routinely performed as an encore during the band's 1977 tour. These later performances would typically last as long as twelve minutes. From 1987 to 1990, the band performed the song during tours supporting A Momentary Lapse of Reason, their first album without Waters, who had left the band in December 1985. In 1994 the band performed the song during tours supporting The Division Bell, their second album without Waters. An extended version of the song, again lasting up to twelve minutes, was regularly performed during Gilmour's 1984 US tour in support of his solo album About Face.

203 • The B-side of the Roger Waters single “Radio Waves”includes a live performance by the Bleeding Heart Band,* [13] sung by Paul Carrack.* [14] • Both P U L S E and a Delicate Sound of Thunder CD and video feature live versions of the track. In these versions, the song is slightly elongated to incorporate a series of solos, including a bass solo and a section spotlighting the female backing singers. • Waters' In the Flesh – Live features another live version, sung by Doyle Bramhall II, with the solo split between guitarists Bramhall, Andy FairweatherLow and Snowy White (in that order). • On the compilation album, Echoes: The Best of Pink Floyd, the song segues from "Set the Controls for the Heart of the Sun" and into "Keep Talking".* [15]

• The album A Collection of Great Dance Songs conWaters has also regularly included it on his solo tours. For tains the re-recorded version of the song. his tour supporting The Pros and Cons of Hitch Hiking, he sang the lead vocals himself. For his Radio K.A.O.S. tour, guest vocalist and keyboardist Paul Carrack sung the lead. 12.11.8 Personnel For his In the Flesh tour, it was sung by Doyle Bramhall II. • David Gilmour - guitars, vocals For The Dark Side of the Moon Live, it was sung by Dave Kilminster. “Money”was also performed by Waters at • Roger Waters - bass guitar, tape effects Live Earth's Concert at Giants Stadium on 7 July 2007. • Richard Wright - Wurlitzer electric piano “Money”was performed during Pink Floyd's reunion show, for which Waters rejoined the band (after more • Nick Mason - drums than two decades), at the Live 8 concert in London in 2005, along with "Breathe" (including the reprise that follows "Time"), "Wish You Were Here" and "Comfortably with: Numb". Unusually for a live Pink Floyd performance, at • Dick Parry - tenor saxophone Live 8 the band kept the song's solo to three choruses, as it is on the album.

12.11.9 Charts 12.11.5

Aftermath

12.11.10 References

In 2008, Guitar World magazine listed Gilmour's solo on [1] Adrian Ashton (2006), The Bass Handbook, Backbeat “Money”as #62 among readers' votes for“The Greatest Books, ISBN 0-87930-872-9. * 100 Guitar Solos”. [11] The song also was ranked #69 on the list of“The 100 Greatest Guitar Songs of All Time” [2] Classic Albums: Pink Floyd - The Making of The Dark of Rolling Stone.* [12] Side of the Moon (DVD), 2003.

12.11.6

Video

The music video for“Money”features scenes of various ways of making and spending money, and includes brief closeups of a coin spinning.

12.11.7

Alternative and live versions

•“Money”was performed by Pink Floyd on every tour from 1972 to 1994 (and 2005's Live 8), with the exception of the 1980 and 1981 Wall shows.

[3] “Pink Floyd's Dark Side of the utopia.knoware.nl. Retrieved 9 August 2011.

Moon”.

[4] Guitar World, February 1993. Retrieved from Pink Floyd Online on 3 November 2008. [5] David Hodge, “Play in a Different Time”. Play Guitar Magazine, No. 12, Spring 2007. Retrieved on 3 November 2008. [6] Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon [7] Pink Floyd: The Dark Side of the Moon (1973 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-71191028-6 [USA ISBN 0-8256-1078-8])

204

[8] Guitar for the Practicing Musician magazine, Collector's Yearbook: Guitar Classics VI, Cherry Lane Music Company, Inc., 10 Midland Avenue, Port Chester, N.Y., 10573-1490. ISSN 1061-4400. [9] Pink Floyd The Wall DVD, Columbia Music Video, 550 Madison Avenue, New York, N.Y., 10022-3211, ISBN 0-7389-0002-8

CHAPTER 12. SINGLES March 1974.* [1] The single peaked at #85 in the Canadian charts.* [2]

12.12.1 Composition

Richard Wright wrote a song known as “The Violent Sequence”while the band was working for the score of [10] “Dark Side at 30: Roger Waters”. Rolling Stone. 12 Zabriskie Point. Then the song was reworked into “Us March 2003. Retrieved 18 February 2009. and Them”. “The Violent Sequence”remained unre[11] “Guitar World Presents The Greatest 100 Guitar Solos” leased until it was included on a 2011 boxed set of“The Guitar World, updated on 30 October 2008. Retrieved on Dark Side of the Moon”, where it was named “Us and Them (Richard Wright Demo)". 8 March 2009. [12] “The 100 Greatest Guitar Songs of All Time”. Rolling “Us and Them”is rather quiet in tone and dynamics, Stone. 2008. Retrieved 2011-01-25. “David Gilmour with prominent jazz influence, although the choruses are hangs back for the first three minutes of this definitive louder than the verses. It has two saxophone solos in Floyd rocker, which started as an acoustic blues song in it, one at the beginning and another towards the end of rehearsals. Then the song shifts from a 7/4 stomp into the song. Richard Wright introduces the song with harstraight time, and he delivers a rampaging freakout, end- monies on his Hammond organ, and put a piano chordal ing up on notes so high most guitars don't even reach backing and short piano solo afterwards on the arrangethem.” ment. The tune was originally written on the piano by [13] “Radio K.A.O.S. Discography”. www.rogerwaters.org. Wright for the film Zabriskie Point in 1969 and was titled “The Violent Sequence”.* [3] In its original demo form it Retrieved 9 August 2011.

was instrumental, featuring only piano and bass. Director Michelangelo Antonioni rejected it on the grounds that it was too unlike material such as "Careful with That Axe, [15] “Echoes: the album credits”. Pink Floyd. Archived from Eugene", which was the style of music he wanted to use. As Roger Waters recalls it in impersonation, Antonioni's the original on 2 June 2010. Retrieved 20 June 2013. response was:“It's beautiful, but is it too sad, you know? [16] Library and Archives Canada: Top Singles - Volume 19, It makes me think of church".* [4] The song was shelved No. 26, August 11, 1973, August 11, 1973, retrieved 12 until The Dark Side of the Moon, where Waters put some July 2014 lyrics to it. [14]“Paul Carrack biography”. www.sing365.com. Retrieved 9 August 2011.

[17] http://austriancharts.at/showinterpret.asp?interpret= Pink+Floyd [18] http://musicline.de/de/chartverfolgung_summary/artist/ Pink+Floyd/20705/?type=single

12.11.11 External links • AMG review • “Money”Songfacts • Full lyrics of this song at MetroLyrics

12.12 Us and Them (song) "Us and Them" is a song by English progressive rock band Pink Floyd on their 1973 album The Dark Side of the Moon. The music was written by Richard Wright and lyrics by Roger Waters and it is sung by David Gilmour, with harmonies by Wright. The song is 7 minutes, 51 seconds in length, making it the longest on the album.

The verses have a unique, jazz-influenced chord progression: Dsus2, D6add9 (or Esus2/D), D minor major 7 (or Faug/D), and G/D (the D in the bass is sustained as a pedal point throughout). The D6 with an added 9th is not unlike an Esus2 with a D in the bass, but because the bass line also provides the fifth, it is more accurately described as a kind of D chord. The D minor chord with a major seventh is a rarity in 1970s rock music. There is also an alternate sequence, played louder and with multiple harmonies, with a progression of B minor, A major, G major seventh suspended second (Gmaj7sus2), enharmonic to the slash chord D/G, and C major. This progression is played twice between each verse, and is not unlike a chorus, except that the lyrics are different with each repeat.* [5] In the middle, there is a break during which roadie Roger “The Hat”Manifold speaks (during the recording of the album a number of interviews were laid down, including with Paul and Linda McCartney who were recording in the same studio).

It was also re-released on the 2001 best of album, Echoes: The Best of Pink Floyd, where it is the seventh track of “Us and Them”was released as the second single from the second disc. The ending of the song was edited in The Dark Side of the Moon in the US and "bubbled un- this version, with the vocals from the last measure treated der" the Billboard Hot 100 at #101 for three weeks in with heavy delay, and the music track muted entirely, to

12.12. US AND THEM (SONG) avoid the seamless transition to "Any Colour You Like" that occurs on The Dark Side of the Moon.* [6]

12.12.2

Spoken parts

The following quotation takes place before the second saxophone solo (it is one of two spoken parts by the then band roadie Roger “The Hat”Manifold): Well I mean, they're gonna kill ya, so like, if you give 'em a quick sh...short, sharp shock, they don't do it again. Dig it? I mean he got off light, 'cause I coulda given 'im a thrashin' but I only hit him once. It's only the difference between right and wrong innit? I mean good manners don't cost nothing do they, eh?* [7]

12.12.3

Alternative and live versions

• The instrumental “Violent Sequence”was performed on a handful of occasions in early 1970. These performances were much the same as the Zabriskie Point demo, with some added percussion from Nick Mason. On at least two occasions, the song was paired with another piece from the Zabriskie sessions, "Heartbeat, Pigmeat".* [8] • In early 1972 performances, a short audio clip of a man groaning in tortuous pain would be played at the beginning of the song, immediately highlighting the song's theme of violence. The song did not include any saxophone and the lead vocals were performed by Waters and Wright, with David Gilmour providing backing vocals. • It was occasionally featured as an encore during the band's 1977 "In the Flesh" tour (this was performed at most shows on the band's 1977 US tours during the encore). It was often used to intentionally calm the often rowdy stadium audiences. • P U L S E and the second disc and video of Delicate Sound of Thunder feature this track. Both versions are shorter than the original studio recording, and the latter features a slightly altered saxophone solo.

205 • Waters performed the song during his set during the live TV Benefit concert "12-12-12: The Concert for Sandy Relief". (2012)

12.12.4 Cover versions • The song has been covered by Between the Buried and Me on the album The Anatomy Of. • An orchestrated version, arranged by Jaz Coleman and performed by the London Philharmonic Orchestra conducted by Peter Scholes, appears on the 1995 instrumental album Us and Them: Symphonic Pink Floyd. • The song was also covered by the Scissor Sisters for their first album, but was cut. More recently, the song was covered by Swedish band, A Camp, and appeared as a B-side for their single "Love Has Left the Room". • The song was also covered by American progressive metal band Dream Theater on 11 October 2005. It was later released as part of the official bootlegs series. • The Flaming Lips included it as a part of their Dark Side of the Moon cover album. • Misery Signals covered the song for the companion soundtrack to the video game Homefront. • Easy Star All-Stars covered the song on their cover album Dub Side of the Moon. • Nena covered the song on her 2007-album Cover Me. • NOJO, modern jazz orchestra based in Toronto, released an album of original arrangements called Explores The Dark Side of The Moon on True North Records. • Bebi Dol covered the song on her 2007 live album Veče u pozorištu. • Christopher O'Riley recorded a solo piano version on his 2009 album “Out Of My Hands”.

• On Echoes, the song has a different ending: instead of segueing into what would be the next track on The 12.12.5 Personnel Dark Side of the Moon ("Any Colour You Like"), • David Gilmour – electric guitars, vocals (verses and engineer and Floyd collaborator James Guthrie gave choruses) the song a cold ending, before adding a backwards piano note that would lead into the collection's next • Richard Wright – Hammond organ, piano, vocals track, "Learning to Fly". (choruses) • Waters included the song in his 2006–08 The Dark Side of the Moon Live tour, with Jon Carin replacing Gilmour on lead vocals.

• Roger Waters – bass, backing vocals • Nick Mason – drums

206

CHAPTER 12. SINGLES

Additional personnel • Dick Parry - tenor saxophone • Lesley Duncan - backing vocals • Doris Troy - backing vocals • Barry St. John - backing vocals • Liza Strike - backing vocals

12.12.6

References

[1] Whitburn, Joel. Bubbling Under Singles & Albums (1998): 158 [2] Library and Archives Canada: Top Singles Volume 21, No. 5, March 16, 1974, March 16, 1974, retrieved 12 July 2014 [3] Andy Mabbett (July 1995),“Us and Them”, The complete guide to the music of Pink Floyd, ISBN 978-0-7119-43018 [4]“The Making of The Dark Side of the Moon”Pt. 5 (Us and Them) [5] Pink Floyd: The Dark Side of the Moon 1973 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-71191028-6 (USA ISBN 0-8256-1078-8) [6] “Echoes: the album credits”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013. [7] Longfellow, Matthew.“Pink Floyd: The Making of Dark Side of the Moon (1997)", documentary film [8] Hodges, Nick and Priston, Ian Embryo: A Pink Floyd Chronology 1966–1971. Cherry Red Books, 1999

12.12.7

External links

• AMG review

ages 28 and 29 in various interviews.* [1] It is noted for its long introductory passage of clocks chiming and alarms ringing, recorded as a quadrophonic test by Alan Parsons, not specifically for the album.* [2]

12.13.1 Composition Time is in the key of F# minor. Each clock at the beginning of the song was recorded separately in an antiques store. This is followed by a two-minute passage dominated by Nick Mason's drum solo, with rototoms and backgrounded by a tick-tock sound created by Roger Waters picking two muted strings on his bass. With David Gilmour singing lead on the verses and with Richard Wright singing lead on the bridges and with female singers and Gilmour providing backup vocals, the song's lyrics deal with Roger Waters' realization that life was not about preparing yourself for what happens next, but about grabbing control of your own destiny.* [1] He (Alan Parsons) had just recently before we did that album gone out with a whole set of equipment and had recorded all these clocks in a clock shop. And we were doing the song Time, and he said “Listen, I just did all these things, I did all these clocks,” and so we wheeled out his tape and listened to it and said “Great! Stick it on!" And that, actually, is Alan Parsons' idea. ̶David Gilmour* [3]

The drums used on the Time track are roto-toms. I think we did some experiments with some other drums called boo-bans, which are very small, tuned drums, but the roto-toms actually gave the best effect. ̶Nick Mason* [3]

• Full lyrics of this song at MetroLyrics According to an interview by Phil Taylor in 1994, David Gilmour had been using a Lexicon PCM-70 to store the circular delay sounds heard in“Time”, which could duplicate the kind of echo he used to get from his old Binson "Time" is the fourth track from the English progressive echo unit.* [4] rock band Pink Floyd's 1973 album The Dark Side of the Moon, and the only song on the album credited to all four The song was performed live from 1972 to 1975 and from members of the band, though the lyrics were written by 1987 to 1994. Roger Waters. It is the final Pink Floyd song credited to all four members and the last to feature Richard Wright on lead vocals until Wearing the Inside Out on The Di- Breathe (Reprise) vision Bell. This song is about how time can slip by, but many people do not realize it until it is too late. Roger "Breathe (Reprise)" serves as a coda to Time. It is in Waters got the idea when he realized he was no longer the key of E minor. It reprises the earlier song "Breathe", preparing for anything in life, but was right in the mid- with different lyrics. During recording, it was called dle of it. He has described this realisation taking place at “Home Again”.

12.13 Time (Pink Floyd song)

12.13. TIME (PINK FLOYD SONG) When the song ends, the reverberations of the final note resound for about a second before the piano of "The Great Gig in the Sky". When Pink Floyd reunited for the Live 8 concert, they combined "Breathe", and “Breathe (Reprise)", something they had never done before, although the London Philharmonic Orchestra had previously covered the song in this manner on their 1995 album Us and Them: Symphonic Pink Floyd. The song features on David Gilmour's 2007 DVD, Remember That Night, and in his 2008 CD Live in Gdańsk. These are the only instances of the song being given a separate track number to “Time”on an official release. The Live in Gdańsk version is titled“Breathe (In the Air) (Reprise)" rather than just“Breathe (Reprise)".

12.13.2

Film

207 • The main part of the song was used as background music for professional skateboarder Mike Maldonado in his part in Jump Off a Building, the second video from skateboard company Toy Machine. • The song was used in the Cold Case episode “Flashover”, originally airing on 21 March 2010. The episode featured songs from Pink Floyd. • WBZ-TV in Boston, MA used a portion of the song on a live camera video on November 7, 2010 (the first day of standard time in the US) during their 6 AM Sunday newscast. • The song was used in the British TV show, Misfits (TV series) episode six, season 3. • 1190, KTRA (now KFXR) in Dallas used the song as a 24/7 'stunt' for 2 weeks in January 2001 when Clear Channel, now iHeartMedia, bought the station from Radio One before flipping it to a sports talk format with FOX Sports radio.

During live performances, the band back-projected a specially-commissioned, animated film by Ian Emes.* [5]* [6] The film was subsequently included as an extra on the Pulse DVD* [5] 12.13.5

12.13.3

Personnel

• David Gilmour ̶electric guitar, and vocals (verses) • Roger Waters ̶bass guitar • Richard Wright ̶Farfisa organ, Wurlitzer electric piano, EMS VCS 3, and vocals (bridges) • Nick Mason ̶drums, percussion, and rototoms with: • Doris Troy ̶backing vocals • Lesley Duncan ̶backing vocals • Liza Strike ̶backing vocals • Barry St. John ̶backing vocals

12.13.4

Use in film and television

• The song's opening was used at the end of the trailers for the second series of Life on Mars. • The song's opening was also used to introduce a 1970s BBC TV schools programme called Biology. • The song's opening was used at News Commentary of Iran's radio channel Radio Iran. • The song was used on a few occasions in the Cantonese language re-release of Bruce Lee's first adult starring role, The Big Boss.

Alternative and live versions

• A live version of the song can be heard on the Pulse concert DVD and CD. • Another live version was played on the Delicate Sound of Thunder CD and concert video. It does not include the “Breathe (Reprise)" section at the end. • On the Roger Waters solo In the Flesh: Live tour DVD and CD, a version sung by him, Doyle Bramhall II and Jon Carin is played. • Live versions with Richard Wright appear on the David Gilmour solo Remember That Night DVD and Live in Gdańsk album. The Live in Gdańsk version segues into the “Breathe (Reprise)" section as a separate track under the title “Breathe (in the Air) (reprise)" rather than just “Breathe (Reprise)". • Part of the song is still used as a theme for a Bulgarian TV quiz game named “One minute's too long” (“Mинута е много"), which is the oldest Bulgarian TV game.

12.13.6 Cover versions • Phish covered this song at a concert on November 2nd, 1998. • Pretty Lights has remixed this song and frequently plays it live. • Wrathchild America covered this song on their 1989 album Climbing the Walls.

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CHAPTER 12. SINGLES • Godsmack recorded the song for their 2012 album Live and Inspired. • Zablji Batak from Makarska, Croatia, covered the song on numerous occasions. • Wolf People covered it on the album “Us and Them”- a cover album of Pink Floyd songs by multiple bands

12.13.7 References [1] “PINK FLOYD'S DARK SIDE OF THE MOON 4”. Utopia.knoware.nl. Retrieved 10 September 2012. [2] Schaffner, Nicholas (2005). “The Amazing Pudding”. Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 157. ISBN 1-905139-09-8. [3] Kendall, Charlie (1984).“Shades of Pink - The Definitive Pink Floyd Profile”. The Source Radio Show. Retrieved 2011-07-26. [4] Tolinski, Brad (September 1994). “Welcome to the Machines”. Guitar World. Retrieved 2011-07-29. The Australian Pink Floyd Show performing in 2006 before a backdrop during the song “Time”

[5] Mabbett, Andy (2010). Pink Floyd - The Music and the Mystery. London: Omnibus,. ISBN 978-1-84938-370-7. [6] Jackson, Lorne (2010-08-06). “The wild ideas of Birmingham film-maker Ian Emes”. Birmingham Post. Retrieved 7 August 2010.

• An orchestrated version, arranged by Jaz Coleman and performed by the London Philharmonic Orchestra conducted by Peter Scholes, appears on the 1995 instrumental album Us and Them: Symphonic 12.13.8 External links Pink Floyd. • Full lyrics of this song at MetroLyrics • Weezer covered this song during their 2008 tour of the United States.

12.14 Have a Cigar

• The Killers covered this song multiple times during their Hot Fuss tour after having their song“On Top” "Have a Cigar" is the third track on Pink Floyd's 1975 segue into it. album Wish You Were Here.* [1]* [2] It follows "Welcome to the Machine" and on the original LP opened side two. • The Flaming Lips covered this song along with the In some markets, the song was issued as a single. rest of the album on The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches English folk singer Roy Harper provided lead vocals on the song. It was one of only two Pink Floyd recordings to Doing The Dark Side of the Moon in 2009. feature guest lead vocals. • Local H frequently covers this song during their live performances, and a studio version appears on their 12.14.1 2010 EP "Local H's Awesome Mix Tape 1.”

Composition and recording

The song's music and lyrics were written by Roger Waters • Easy Star All Stars covered the song in their cover of in critique of hypocrisy and greed within the music busi* the entire album Dub Side of the Moon in 2003. [5] ness. The music is more straightforwardly rock-oriented • Dream Theater covered the song on several occa- than the rest of the album, beginning with a churning riff sions during their Six Degrees of Inner Turbulence played on electric guitar and bass. The track is filled out tour, where they covered several different classic with additional guitar, electric piano and synthesizer parts albums such as Iron Maiden's The Number of the to create a rock texture. Beast. Among the classic albums covered was Pink “Have a Cigar”concludes with a guitar solo, which is inFloyd's The Dark Side of the Moon album. terrupted by a synthesizer filter-sweep sound effect as the

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music reduces in volume to tinny, AM radio-like levels. Finally, the song ends with the sound of a radio being dialled off-station; this effect is used as a transition to the title track, "Wish You Were Here". The song's lead vocals are performed by Roy Harper. Both Waters and David Gilmour sang the song on separate takes, as well as a duet version but they were unhappy with the results (the duet version has been released as part of the Wish You Were Here Immersion set). Harper was recording his album HQ in Studio 2 of Abbey Road at the same time as Pink Floyd were working in Studio 3, and Roy Harper offered to sing the part ("...for a price”).* [3] The song is one of only two songs by the band which is not sung by one of their permanent members, the other being "The Great Gig in the Sky".

12.14.2

Live

Harper performed the song with the band on one occasion, the group's 1975 Knebworth Festival appearance, during the period Wish You Were Here was being recorded. The song was performed on the band's 1975 North American tours sandwiched in between the multi-part “Shine On You Crazy Diamond”with Gilmour and Waters singing lead. It was last performed by the band on the 1977 In the Flesh/Animals Tour, as part of the Wish You Were Here set with Waters on lead vocals, Gilmour on backing vocals and rhythm guitar and Snowy White playing the guitar solos. Waters continued to play the song on his solo tours (apart from the 1999–2002 In the Flesh tour).

12.14.3

Personnel

• Roger Waters - bass guitar • David Gilmour - electric guitars, keyboards

Cigar”by Rosebud, a studio group led by composer Gabriel Yared, from their album Discoballs: A Tribute to Pink Floyd. The song peaked at number 4 on Billboard's Disco Top 80 chart in June 1979. The B-side was a disco version of "Money". • In 1992, the band Primus recorded a cover of the song and included it as the closing track to their Miscellaneous Debris EP. Their version features a slight lyrical change: “The band is just fantastic, of the town you are the talk/Man, but who the hell's this guy they call Bob Cock?" • Foo Fighters recorded two different cover versions of the song. The first was used as b-side for the Learn to Fly CD single, while the second one, featuring Brian May on lead guitar, first appeared on the Mission: Impossible II soundtrack, and later as an Amazon.com bonus track on their 2009 Greatest Hits album and in the 2011 limited-edition vinyl only release Medium Rare, released for Record Store Day. Both versions were sung by drummer Taylor Hawkins. • The album Instead, released in 2007 by Onetwo, contains a cover version of “Have a Cigar”. • The main riff of“Have a Cigar”is incorporated into the song“Peruvian Skies”by progressive metal band Dream Theater on their 1998 live album Once in a LIVEtime and on the Live DVD 5 Years in a Livetime. Also, from their album “Images and Words,” using the main riff from “Have a Cigar”at the beginning of “Metropolis: Part I”[1992]. • A free CD given with the October 2011 issue of UK music magazine Mojo features a cover version of“Have a Cigar”by John Foxx and The Maths.* [5] This version was later announced by Mojo as 'not the finished version' and the correct version was offered as a free download from the website.* [6]

additional

• Richard Wright - Wurlitzer electric piano, ARP String Synthesizer, Minimoog, Hohner clavinet D6 • Nick Mason - drums

12.14.6 References [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

with: • Roy Harper - vocals

12.14.4

Quotes

12.14.5

Cover versions

• In 1979, Warner Bros. Records released a 12”single containing a special disco version of “Have a

[3] The Story of Wish You Were Here. 2012. [4] Pink Floyd: Wish You Were Here (Songbook. 1975 Pink Floyd Music Publishers Ltd., London, England. ISBN 07119-1029-4 (USA ISBN 0-8256-1079-6). [5] “Connections: Have A Cigar: Interview - August 2011” . Metamatic.com. Retrieved 2012-03-03. [6] “John Foxx & The Maths - Have A Cigar - News”. Mojo4music.com. 2011-08-25. Retrieved 2012-03-03.

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External links

• Full lyrics of this song at MetroLyrics

12.15 Wish You Were Here (Pink Floyd song)

12.15.2 Live performances “Wish You Were Here”made its stage debut on the band's 1977 tour, which featured a performance of the entire album at every show. It was not played live by the band for nearly ten years after this, yet became a concert staple after its reappearance in 1987, and was performed at nearly all subsequent Pink Floyd concerts. In the original 1977 concert performances, Gilmour would play his Fender Stratocaster instead of acoustic guitar, while Snowy White played a twelve-string Ovation acoustic guitar. At these shows, Nick Mason tuned an actual transistor radio on stage to a local radio station, seguing into the pre-recorded part from the album to start the song and Richard Wright would perform an extended piano coda as the wind effects played. A live version is included on Pulse. When Pink Floyd were inducted into the Rock and Roll Hall of Fame,* [7] Gilmour and Wright (Mason was in the audience) performed the song with the assistance of their presenter Billy Corgan on rhythm guitar.

"Wish You Were Here" is the title track on Pink Floyd's 1975 album Wish You Were Here.* [3]* [4] Its lyrics encompass Roger Waters' feelings of alienation from other people. Like most of the album, it refers to former Pink Floyd member Syd Barrett and his breakdown. David Gilmour and Waters collaborated to write the music. On June 14, 2013, the song was released as an unofficial promotional single on Spotify and when fans streamed it one million times, which happened after only four days, the “Wish You Were Here”was performed by Ed Sheeran rest of the band's catalogue was released. with Mason on drums, Mike Rutherford of Genesis on In 2011, the song was ranked No. 324 on Rolling Stone's guitar and Richard Jones of The Feeling on bass at the list of the 500 Greatest Songs of All Time.* [5] Closing Ceremony of 2012 Summer Olympics in London. A performer, dressed in a suit, tightrope-walked across the stadium and shook hands with a mannequin at the end, which then burst into flames, referencing the album's cover. 12.15.1 Composition In the original album version, the song segues from "Have a Cigar" as if a radio had been tuned away from one station, through several others (including a radio play and one playing Tchaikovsky's Fourth Symphony), and finally to a new station where “Wish You Were Here”is beginning.* [6] The radio was recorded from Gilmour's car radio. He performed the intro on a twelve-string guitar, processed to sound like it was playing through a car AM radio, and then overdubbed a fuller-sounding acoustic guitar solo. This passage was mixed to sound as though the guitarist were sitting in a car, listening to the radio; it also contains a whine that slowly changes pitch̶emulating the electro-magnetic interference from the engine of a car as it accelerates and decelerates. The master tape of the original recording includes an entire performance of pedal steel guitar, played by David Gilmour, that was not used in the final mix.

On 13 December 2014 David Gilmour was a guest performer at a concert by the Bombay Bicycle Club at Earls Court Arena, their concert being the final event ever to take place there before its demolition. Band member Jamie MacColl introduced Gilmour, saying; “This man gave me my first guitar and was one of the first people to play this venue and by my count has played here more than 27 times.”Gilmour then played with the band on their song “Rinse Me Down”before a performance of “Wish You Were Here”.

12.15.3 Other recorded versions by Pink Floyd

“Wish You Were Here”later appeared as the fifth track on A Collection of Great Dance Songs (with the radio intro following the end of a heavily edited “Shine On You and as the 23rd track on the Echoes The intro riff is repeated several times and reprised when Crazy Diamond”) * compilation [8] (with the radio intro following "Arnold Gilmour plays further solos with scat singing accompaLayne", and at the end crossfading with "Jugband Blues"). niment. At the end of the recorded song, the final solo crossfades with wind sound effects, and finally segues into A live recording included on the 1995 live album the second section of the multi-part suite "Shine On You P•U•L•S•E was issued as a single/EP. The cover of the Crazy Diamond". The song is in the key of G major. EP features two men whose faces are distorted by fish The song includes the line: “Can you tell a green bowls, referring to the line "We're just two lost souls swimfield/From a cold steel rail?", which is a reference to Syd ming in a fish bowl, year after year". Barrett's solo song, “If It's In You”, from The Mad- In 2005, Waters and Eric Clapton performed the song at cap Laughs album (“Hold you tighter so close/Yes you the Tsunami Aid concert, and in 2005's Live 8, Waters are/Please hold on to the steel rail”). rejoined his former bandmates in London to perform it,

12.15. WISH YOU WERE HERE (PINK FLOYD SONG) along with four other classic Pink Floyd songs.* [9]* [10] As part of the Why Pink Floyd...? campaign, the Experience and Immersion versions of the Wish You Were Here album include an alternate version of the song which includes a violin part played by Stéphane Grappelli, which was not used on the album version, though a tiny bit of the violin part can be heard as the song fades out.

12.15.4

Personnel

• David Gilmour - six and twelve-string acoustic guitars, pedal steel guitar, tape effects, lead vocals, scat singing

211 Wyclef Jean version "Wish You Were Here" served as the fourth and final single from Wyclef Jean's second studio album, The Ecleftic: 2 Sides II a Book. It was released in December 2001, peaking at #28 on the UK Singles Chart.* [23] UK CD Single (672156 2) 1.“Wish You Were Here”(Radio edit) – 4:04 2.“No Woman, No Cry”(Live version) – 4:33 3.“911”(Live version) – 4:23 4.“Wish You Were Here”(Video) – 4:25

• Nick Mason - drums, tape effects • Roger Waters - bass guitar, tape effects • Richard Wright - Steinway piano, Minimoog, harmony vocals • Stéphane Grappelli - violin (There is a brief piece of violin playing at the end of the track which was subsequently all but drowned out by the addition of the wind effects, although if you listen closely or turn the volume up louder, starting at the 5:21 mark, the barely-audible violin can be heard. Grappelli was recording in a downstairs studio, and Gilmour had suggested that there be a little “country fiddle”at the end of the song. Grappelli duly obliged, although because his contribution is barely audible, the band decided not to credit him for it in the sleeve notes. According to Waters, he received the agreed fee of £300, however.)* [11]

12.15.5

Charts

UK Cassette (672156 5) 1.“Wish You Were Here”(LP version) – 4:25 2.“Perfect Gentleman”(Remix radio edit) – 3:59 Other covers Irish rock band Aslan perform a live cover of the song. In an interview with David Gilmour he cited this performance as his favorite cover of the song. English alternative rock band Catherine Wheel recorded a cover version and released it on their 1996 compilation album Like Cats and Dogs. Electronic group Tangerine Dream recorded a cover on their CD Under Cover – Chapter One. Thom Yorke of Radiohead sings part of a cover with Sparklehorse's Mark Linkous. Yorke sang his part on the telephone from his hotel room. The track originally appeared on a CD of EMI artists covering songs by other EMI artists.

The joint venture of Los Coronas and Arizona Baby covered the song in their 2011 live album Dos Bandas y un * "Wish You Were Here (Live)" is a live recording of Pink Destino. [24] Floyd's title track off their ninth studio album Wish You Alpha Blondy has a reggae version in which he uses a Were Here, recorded by the band for their third live al- Scottish horn in line with the Rhythm guitar. bum, Pulse. “Wish You Were Here (Live)" was released Indie rock band The Antlers performed a version of the as a single on 20 July 1995 in the United Kingdom and song in June 2010 for The A.V. Club's A.V. Undercover Europe, notably the very last single released by the band series.* [25] until October 2014. British artist Ed Sheeran performed a cover of this song at the Closing Ceremonies of the London Olympic Games Track listing in 2012 with Mike Rutherford, Richard Jones, David Arnold and Nick Mason on drums.* [26] Charts The paraguayan band The Generation recorded a version for their EP Box Of Memories.* [27] Release history On 14 November 2014 the song was performed by Susan Boyle on BBC One as part of their Children In Need char12.15.7 Covers ity appeal programme.

12.15.6

Wish You Were Here (Live)

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12.15.8

CHAPTER 12. SINGLES

References

[1] “Wish You Were Here - 2011 - Remaster”. Pink Floyd. Spotify. Retrieved 14 June 2013. [2] “Pink Floyd finally hits Spotify. One million plays of Wish You Were Here unlocks the whole catalogue”. shinyshiny.tv. Retrieved 14 June 2013. [3] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [4] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [5] “500 Greatest Songs of All Time: Pink Floyd, 'Wish You Were Here'". Rolling Stone. Retrieved 2013-03-22. [6] The Absolute sound, Volume 18, Issues 87-90 p.113. Retrieved 9 September 2011 [7] Pink Floyd, Rock and Roll Hall of Fame, 1996. [8] “Echoes: the album credits”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013. [9] Povey, Glenn. (2007) Echoes: the complete history of Pink Floyd Mind Head Publishing, Retrieved 9 September 2011 [10] Pink Floyd Visionary Syd Barrett Dies At 60 Billboard 22 Jul 2006. p.46. Retrieved 9 September 2011 [11] Blake, Mark (2008).“Riding the Gravy Train”. Comfortably Numb: The Inside Story of Pink Floyd. Cambridge, Massachusetts: Thunder's Mouth Press. p. 230. ISBN 978-1-56858-383-9. Roy Harper wasn't the only special guest, or old friend to drop by the sessions. When it was discovered that classical violinists Yehudi Menuhin and Stéphane Grappelli were recording a duet at Abbey Road, [David] Gilmour suggested Grappelli come in and play a final violin coda to the song 'Wish You Were Here'. Grappelli haggled over his fee but finally settled at £300. In the end, his playing is virtually inaudible on the final mix. 'It was terrific fun, though,' recalled Gilmour. 'Avoiding his wandering hands.'

[18] “Wish You Were Here (Live) (CD, Single)". Pink Floyd. Discogs. Retrieved 31 May 2013. [19] “Wish You Were Here (Live) (CD, Maxi-Single)". Pink Floyd. Discogs. Retrieved 31 May 2013. [20] “Wish You Were Here (Live) (CD, Single, Promo)". Pink Floyd. Discogs. Retrieved 31 May 2013. [21] “Artist Chart History (Singles) – Pink Floyd”. Allmusic. Retrieved 26 July 2007. [22] “Netherlands CD Singles”. Pink Floyd Discography Archive. Retrieved 31 May 2013. [23] UK Singles ̶1952–2011, UK/US Charts [24] Prunes, Mariano. “Dos Bandas y un Destino: El Concierto - Arizona Baby, Los Coronas : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 18 September 2012. [25] “The Antlers cover Pink Floyd”. Retrieved 19 March 2013. [26] http://www.capitalfm.com/artists/ed-sheeran/news/ olympics-closing-ceremony/ [27] http://www.abc.com.py/ edicion-impresa/artes-espectaculos/ lanzan-hoy-cd-de-rock-acustico-1211506.html/ Retrieved 4 February 2014

12.15.9 External links • Full lyrics of this song at MetroLyrics

12.16 Another Brick in the Wall

"Another Brick in the Wall" is the title of three songs set to variations of the same basic theme, on Pink Floyd's 1979 rock opera, The Wall, subtitled Part 1 (working title "Reminiscing"), Part 2 (working title "Education"), and Part 3 (working title "Drugs"). All parts were written by Pink Floyd's lead vocalist and bassist, Roger Waters. Part II is a protest song against rigid schooling in [12] "Norwegiancharts.com – Pink Floyd – Wish You Were general and boarding schools in the UK in particular.* [1] Here”. VG-lista. It was also released as a single and provided the band's [13] "Austriancharts.at – Pink Floyd – Wish You Were Here” only number-one hit in the United Kingdom, the United States, West Germany and many other countries. In ad(in German). Ö3 Austria Top 40. dition, in the US, along with the tracks, "Run Like Hell", [14] "Lescharts.com – Pink Floyd – Wish You Were Here” and "Don't Leave Me Now",“Another Brick in the Wall” (in French). Les classement single. reached number fifty-seven on the disco chart.* [2] In the UK, it was Pink Floyd's first single since 1968's "Point Me at the Sky"; the song was also the final number[16] "Pink Floyd: Artist Chart History” UK Singles Chart. one single of the 1970s. For Part II, Pink Floyd received [17] “Italian single certifications – Pink Floyd – Wish You a Grammy nomination for Best Performance by a Rock Were Here” (in Italian). Federation of the Italian Music Duo or Group and lost to Bob Seger's "Against the Wind". Industry. Retrieved 2013-01-28. Select Online in the field In addition, Part II was number 375 on Rolling Stone 's list * Scegli la sezione. Select Week -- and Year ----. Enter Pink of "The 500 Greatest Songs of All Time". [3] The single * sold over 4 million copies worldwide. [4] Floyd in the field Artista. Click Avvia la ricerca [15] “Die ganze Musik im Internet”.

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213

The single, as well as the album The Wall, were banned Part 2 in South Africa in 1980 after the song was adopted by supporters of a nationwide school boycott protest- Composition ing racial inequities in education under the apartheid In the album version of The Wall,“Another Brick in the regime.* [5]* [6] Wall (Part 2)" segues from "The Happiest Days of Our Lives", with Roger Waters' signature scream. The song has strong drums, a well-known bass line and distinctive 12.16.1 Concept guitar parts in the background with a smooth, yet edgy Each of the three parts has a similar tune, and lyrical guitar solo. The song also features a choir of schoolchilstructure (though not lyrics, aside from the“all in all”re- dren singing in the second verse: as the song ends, the frain), and each is louder and more enraged than the one sounds of a school yard are heard, along with a Scottish before, rising from the sadness of Part I to the protesting teacher who continues to lord it over the children's lives by shouting “Wrong! Do it again!", and “If you don't Part II to the furious Part III. eat yer meat, you can't have any pudding! How can you have any pudding if you don't eat yer meat?!", and“You! Part 1 Yes! You behind the bikesheds! Stand still, laddie!", all of it dissolving into the dull drone of a phone ringing and Composition ending with a deep sigh. Part 1 of the song is very quiet dynamically and features a long, subdued guitar solo. The vocals are softer and gentler in tone than in Parts 2 and 3, although there is a short, sharp rise in dynamics and tone for a brief period towards the end of the lyrical portion. Sniffing, shouting, wailing, calling, and children can be faintly heard in the background. The song's beginning coincides with the final chord of "The Thin Ice", and the echoing multiguitar solo (after the lyrics) crossfades into the helicopter and yelling-teacher sounds of "The Happiest Days of Our Lives". Plot "The Thin Ice" discussed during the previous song breaks when Pink becomes older and learns of the death of his father. Pink is devastated by this reality and begins to build The Wall. Film version Pink's mother is seen praying in a church after the death of her husband overseas. Pink, however, is, at this point, oblivious of his death, and can be seen playing with a toy aeroplane. The song continues with Pink playing in a public park after his mother leaves him to go shopping. He sees a man who he takes a liking to in the absence of his own father. The man gives Pink a lift onto a ride, and it's clear Pink feels as if this man is his real father. Pink follows the man's son around, copying him, but doesn't understand why the other boy's father isn't paying attention to him. He grabs the man's hand but is shooed away, only to grab the man's hand again. The man pushes Pink away again, and dejectedly he sits on a swing (which is too far off the ground for him to swing himself). He looks over at the other parents swinging their kids, feeling even more alone.

School choir Producer Bob Ezrin had immediately recognised the hit potential of this song, but it took some manoeuvring behind the band's back until “Part II”took its eventual form. It was Ezrin's idea to use a school choir for this song, as he explained to Guitar World in 2009:* [7] The most important thing I did for the song was to insist that it be more than just one verse and one chorus long, which it was when Roger wrote it. When we played it with the disco drumbeat I said: “Man, this is a hit! But it's one minute 20. We need two verses and two choruses.”And they said, “Well you're not bloody getting them. We don't do singles, so fuck you.”So I said, “Okay, fine”, and they left. And because of our two [tape recorder] set up, while they weren't around we were able to copy the first verse and chorus, take one of the drum fills, put them in between and extend the chorus. Then the question is what do you do with the second verse, which is the same? And having been the guy who made Alice Cooper's School's Out, I've got this thing about kids on record, and it is about kids after all. So while we were in America, we sent [recording engineer] Nick Griffiths to a school near the Floyd studios [in Islington, North London]. I said, “Give me 24 tracks of kids singing this thing. I want Cockney, I want posh, fill 'em up”, and I put them on the song. I called Roger into the room, and when the kids came in on the second verse there was a total softening of his face, and you just knew that he knew it was going to be an important record.

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Griffiths approached music teacher Alun Renshaw of sequence with its marching hammers) and crowbars, creIslington Green School, around the corner from Pink ating a bonfire, dragging their teacher out of the burning Floyd's Britannia Row Studios, about the choir.* [8] school kicking and screaming while chanting “We don't Though the school received a lump sum payment of need no education.”The song ends with Pink rubbing his £1000, there was no contractual arrangement for royal- hand, which the teacher slapped with a ruler in the song ties from record sales. Under a 1996 UK copyright law, previously. they became eligible for royalties from broadcasts, and after royalties agent Peter Rowan traced choir members through the website Friends Reunited and other means, they lodged a claim for royalties with the Performing Artists' Media Rights Association in 2004.* [9]

During the song, the teacher's“meat and pudding”lines are folded into the first few lines of the school choir's lines (with the instrumental breaks between shortened by a bar in 2 places), and are performed by the teacher in the film, played by Alex McAvoy.

Disco beat

Music video

Prior to the film, the first video for the track, directed by The idea for the disco beat came likewise from Ezrin. As album/concert/film art designer Gerald Scarfe, depicted David Gilmour explained in 2009:* [7] students running in a playground (Kings Square Gardens, Islington) and the teacher puppet from The Wall concerts It wasn't my idea to do disco music, it was was used. The video also mixed in some animated scenes Bob's. He said to me, “Go to a couple of later used in "The Trial" and "Waiting for the Worms". clubs and listen to what's happening with disco The opening shot, a pan across the London skyline was music,”so I forced myself out and listened to filmed from the top of Turnpike House in Islington, both loud, four-to-the-bar bass drums and stuff and St Lukes Church and St Clements Church (the one overthought, Gawd, awful! Then we went back and looking the playground) are both clearly visible in the tried to turn one of the [song's] parts into one shot. After the media furore surrounding the song, the of those so it would be catchy. Islington Green school head teacher Margaret Maden refused permission for the children who sang on the song to appear in the video or on Top of the Pops, although at the Of the final outcome, Roger Waters has commented: time they were told it was because they didn't hold Equity Cards.* [10] It was great̶exactly the thing I expected from a collaborator. David Gilmour said: And it doesn't, in the end, not sound like Pink Floyd.

Once the film was completed, the actual scenes of “The Happiest Days of Our Lives”and“Another Brick in the Wall, Part II”were combined into a new video, which now represents the music video for “Another Brick in the Wall”. Live Versions

Plot

When performed as part of the various live shows of The Wall, the teacher is represented by a giant inflatable pupAfter being insulted by the teacher, Pink dreams that the pet, based on the figure from Scarfe's animations. This kids in his school begin to protest against their abusive puppet duly becomes the focus of the song's anger and teachers. The song talks about how he had a personal frustration. wall around him from the rest of the world, the teachers Alternative versions were just another brick in the wall. Film version Following“The Happiest Days of Our Lives”Pink starts to daydream during his class. He imagines several students marching in unison to the beat of the song, following a path until they enter a steamy tunnel section to reemerge as putty-faced clones void of individual distinction and proceed to fall blindly into an oversized meatgrinder. Starting with Gilmour's guitar solo, the children destroy the school building using hammers (foreshadowing the subsequent neo-fascist Nazi-like animated

• The single version has a short 4-bar rhythm guitar and drum intro before the initial lyric, but fades out earlier ̶ending after approximately 3 minutes 11 seconds. • The 1981 compilation A Collection of Great Dance Songs includes a hybrid (3:54) version which, like the single version, omits the segue from“The Happiest Days of Our Lives”and includes the 4-bar guitar/drum intro ̶but retains the longer playground ending of the studio version, fading out just before the telephone sounds.

12.16. ANOTHER BRICK IN THE WALL • The versions from live albums and videos Delicate Sound of Thunder and Pulse (recorded after Waters' departure from the band) feature the main guitar solo by David Gilmour, followed by an additional tapping guitar riff by touring guitarist Tim Renwick. These are backed by Guy Pratt's slap bass lines. On Delicate Sound of Thunder, the children's choir part is played from tape, while on Pulse, it is performed by the backing singers. The version on Delicate Sound of Thunder starts right after Money with the single four-bar intro, then stops, until the vocals start after a short break. The ending is also similar to the one on The Wall but without the shouting and other sound effects. In contrast, the version on Pulse is more of a reworked version with excerpt from all three parts: It starts with the telephone from the end of Part 2, then a helicopter can be heard, before David Gilmour starts playing the main guitar riff of Part 1 and the band join in for a couple of bars. Then the end part of Happiest Days comes up and the transition into the actual song is the same as on the studio album. After the second guitar solo, the keyboard staccato from Part 3 can be heard while the helicopter comes back shortly before the track ends with a cold stop. On the Pulse DVD, the vocal echo from the song Dogs can be heard during that final part, but it is not audible on the CD.

215 • During The Wall Live tour 2011, Waters added an acoustic coda to “Another Brick in the Wall (Part 2)" with brand new lyrics referring to the death of Jean Charles de Menezes.* [12] According To the 2012 Tour program this song is called The Ballad Of Jean Charles de Menezes. All in all it's just another brick in the wall All in all you're just another brick in the wall Just another blunder Just another lousy call Just another clap of thunder And apologies ring hollow From the guilty in Whitehall And there's no hint of sorrow Just the whitewash on the wall Just one man dead And nothing is gained Nothing at all And Jean Charles de Menezes remains Just another brick in the wall

• The version from Is There Anybody Out There? The Charts and certifications Wall Live 1980–81 (from the 1980–81 concerts at Earls Court, London) also features an extended solo by Snowy White and an organ solo by Richard Part 3 Wright. Composition • In 1990, prior to The Wall – Live in Berlin a rare, limited edition promo CD titled “The Wall This song is louder than the previous two parts, expressBerlin '90”was issued to radio stations (Columbia ing Pink's rage. It is also the shortest part of “Another CSK 2126) which included "When the Tigers Broke Brick in the Wall”, and cross-fades into "Goodbye Cruel Free" and a new version of “Another Brick in the World". On the live version the song gets an extended Wall Part 2”credited as a“New Recording by The ending seguing into the instrumental The Last Few Bricks Bleeding Heart Band / June 1990”. which continues its keyboard staccato. • The version from The Wall Live in Berlin has Cyndi Lauper singing lead vocals, and features Rick Di- Plot Fonzo playing the original solo, Snowy White playing a second guitar solo, Peter Wood playing an orPink decides to finish this wall as a result of his rage after gan solo, and Thomas Dolby playing a synthesiser his wife's betrayal. He states that he has seen "the writsolo. ing on the wall". He concludes that he no longer needs • The song was included with“The Happiest Days of anything at all, dismissing the people in his life as just Our Lives”in the compilation Echoes: The Best of “bricks in the wall”. The song also contains the line “I Pink Floyd,* [11] and segues into the first note of an don't need no drugs to calm me”, foreshadowing what is going to happen in the song Comfortably Numb. edited version of "Echoes". • Roger Waters' 2000 US tour, In the Flesh – Live (released on CD and DVD in 2006), featured the song̶segued in from “The Happiest Days of Our Lives”̶with live backup singers and the taped children's choir singing with Waters in the second verse, and ̶after two guitar solos ̶a third verse (same lyrics as second verse).

Film version In the film, the song is accompanied by a montage of events that contributed to the construction of the wall. This version was also completely re-recorded with a faster tempo.

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Award

The song, part number unspecified, won Waters the 1983 British Academy Award for 'Best Original Song' from the movie of The Wall.* [40]

12.16.3

Personnel

Part I • Roger Waters - lead vocals, bass guitar* [41]

• In 1999, Tournesol turned Parts I and II into an acoustic thump.* [43] • In 2001, Luther Wright and the Wrongs released Rebuild the Wall, a country and western version of The Wall, including cover versions of “Another Brick in the Wall”.* [43] • In 2005, DJ Snatch produced an electric version of “Part II”.* [43] • In 2008, Out of Phase covered Parts I, II, and III as part of his The Wall tribute.* [43]

• David Gilmour - guitars, harmony vocals* [41] • Richard Wright - Prophet-5 synthesiser, minimoog “Las Mañanitas”version * [41] During Roger Waters's The Wall Live concerts in Mexico Part II City during December 2010, some fans suggested Waters play “Another Brick on the Wall Part II”, changing the • Roger Waters - bass guitar, vocals (unison with lyrics of the song to the verses of the traditional Mexican Gilmour)* [41] birthday song “Las Mañanitas”. He performed it as an “experiment”in front of his fans during the concerts of 19 • David Gilmour - guitar, vocals (unison with Waand 21 December at the end of The Wall performance and ters)* [41] using acoustic instruments to the delight of the Mexican public. • Nick Mason - drums* [41] For this version Waters used the first part of “Las Mañanitas”song for the normal verse of “Another Brick on the Wall”, but he left the original chorus and, with: as the Another Brick on the Wall song, he performed it • Islington Green School students (organised by Alun twice. Renshaw) - vocals* [41] • Richard Wright - Hammond organ* [41]

Part III

12.16.5 See also

• Roger Waters - bass guitar, vocals, rhythm guitar* [41]

• Proper Education

• David Gilmour - guitar* [41]

• List of anti-war songs

• Nick Mason - drums* [41] • Richard Wright - Prophet-5 synthesiser* [41]

12.16.4

Cover versions

• In the wake of The Wall 's release, a teacher in Chicago cut his own record as a rebuttal to Pink Floyd, changing the lyrics to “We all need an education.”* [42] • Short-term alternative rock supergroup Class of '99 did a cover of Another Brick in the Wall (Part 1 and 2) for the soundtrack to Robert Rodriguez's 1998 science-fiction horror film, The Faculty. A music video to the song was released featuring clips from the film and an appearance by the cast which includes Elijah Wood, Jordana Brewster, Clea DuVall (who stayed in the character of Stokely by not lipsynching with her co-stars) and Shawn Hatosy.

12.16.6 References [1] "'Wall' a perfect mix of rock, film”. The State News. Retrieved 11 May 2011. [2] Whitburn, Joel (2004). Hot Dance/Disco: 1974–2003. Record Research. p. 203. [3] Rolling Stone: The RS 500 Greatest Songs of All Time [4] Rock and Pop Music. “Pink Floyd: 10 things you didn't know about the band, Telegraph, February 28th, 2012”. Telegraph.co.uk. Retrieved 14 September 2012. [5]“Counting out time Pink Floyd the wall – song was banned in South Africa in 1980”. Dprp.net. 30 November 1979. Archived from the original on 6 June 2011. Retrieved 11 May 2011. [6] (UPI) “South Africa Bans Floyd's 'The Wall'" The New York Times 15 July 1980: C6

12.16. ANOTHER BRICK IN THE WALL

[7] Simmons, Sylvie, ed. (October 2009). ""Good Bye Blue Sky”, (Pink Floyd: 30th Anniversary, The Wall Revisited.)". Guitar World (Future) 30 (10): 79–80. [8] BBC News: Just another brick in the wall?, 2 Oct 2007 [9] “Payout after Pink Floyd leaves them kids alone”. TimesOnline. 13 March 2012. Retrieved 14 September 2012. [10] 'The Brick In The Wall Kids', BBC One, 3 October 2007 [11] “Echoes: the album credits”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013. [12] "ʻItʼs a surprise to people': Roger Waters discusses the new song heʼs added to The Wall tour”. Something Else!. Retrieved 27 November 2014. [13] "Austriancharts.at – Pink Floyd – Another Brick in the Wall (Part II)" (in German). Ö3 Austria Top 40. Retrieved 12 April 2013. [14] "Ultratop.be – Pink Floyd – Another Brick in the Wall (Part II)" (in Dutch). Ultratop 50. Retrieved 12 April 2013. [15] “RPM Volume 32, No. 26”. RPM. Library and Archives Canada. 22 March 1980. Retrieved 12 April 2013. [16] “Toutes les Chansons N° 1 des Années 80”(in French). Infodisc.fr. 12 April 2013. Retrieved 12 April 2013. [17] "Officialcharts.de – Pink Floyd – Another Brick in the Wall (Part II)". GfK Entertainment. Retrieved 12 April 2013. [18] “The Irish Charts – Search charts”. IRMA. 2008. To use, type “Another Brick in the Wall”in the “Search by Song Title”search var and click search. Retrieved 17 February 2013.

217

[27] "Swedishcharts.com – Pink Floyd – Another Brick in the Wall (Part II)". Singles Top 60. Retrieved 12 April 2013. [28] "Swisscharts.com – Pink Floyd – Another Brick in the Wall (Part II)". Swiss Singles Chart. Retrieved 12 April 2013. [29] "Archive Chart: 1979-12-15” UK Singles Chart. Retrieved 12 April 2013. [30] “Pink Floyd Album & Song Chart History” Billboard Hot 100 for Pink Floyd. Retrieved 12 April 2013. [31] "Lescharts.com – Pink Floyd – Another Brick in the Wall (Part II)" (in French). Les classement single. Retrieved 12 April 2013. [32]“French single certifications – Pink Floyd – Another Brick In The Wall”(in French). InfoDisc. Select PINK FLOYD and click OK [33] “Les Singles en Or :" (in French). Infodisc.fr. Retrieved 21 April 2012. [34] “Gold-/Platin-Datenbank (Pink Floyd; 'Another Brick in the Wall')" (in German). Bundesverband Musikindustrie. [35] “Italian single certifications – Pink Floyd – Another Brick in the Wall (part 2)" (in Italian). Federation of the Italian Music Industry. Select Online in the field Scegli la sezione. Select Week -- and Year ----. Enter Pink Floyd in the field Artista. Click Avvia la ricerca [36] “Sólo Éxitos 1959–2002 Año A Año: Certificados 1979– 1990” (in Spanish). Iberautor Promociones Culturales. ISBN 84-8048-639-2.

[19] Mark Blake (2008). Da Capo Press Inc., ed. Comfortably Numb: The Inside Story of Pink Floyd. ISBN 978-0-30681752-6.

[37] “British single certifications – Pink Floyd – Another Brick in the Wall Pt.2”. British Phonographic Industry. Enter Another Brick in the Wall Pt.2 in the field Keywords. Select Title in the field Search by. Select single in the field By Format. Select Platinum in the field By Award. Click Search

[20] “The best-selling singles of 1980 in Italy”. HitParadeItalia (it). Retrieved 2 June 2013. 12. Another brick in the wall (part II) - Pink Floyd [#2]

[38] Ami Sedghi (4 November 2012). “UK's million-selling singles: the full list”. Guardian. Retrieved 4 November 2012.

[21] "Nederlandse Top 40 – week 3, 1980" (in Dutch). Dutch Top 40 Retrieved 12 April 2013.

[39] “American certifications – Pink Floyd – Another Brick in the Wall (Part II)". Recording Industry Association of America. Retrieved 17 April 2012.

[22] "Dutchcharts.nl – Pink Floyd – Another Brick in the Wall (Part II)" (in Dutch). Single Top 100. [23] "Charts.org.nz – Pink Floyd – Another Brick in the Wall (Part II)". Top 40 Singles. Retrieved 12 April 2013.

[40]“Past Winners and Nominees – Film – Awards”. BAFTA. Archived from the original on 10 January 2011. Retrieved 26 December 2010.

[24] "Norwegiancharts.com – Pink Floyd – Another Brick in the Wall (Part II)". VG-lista. Retrieved 12 April 2013.

[41] Fitch, Vernon (2005). 'The Pink Floyd Encyclopedia (3rd ed.). pp. 73, 76, 88. ISBN 1-894959-24-8.

[25] John Samson.“Another brick in the wall (part II) in South African Chart”. Retrieved 1 June 2013.

[42] Song that's driving teachers up the wall 9 (9), Libertarian Review, September 1980, pp. 42–43

[26] Davidalic (12 February 2010). “Listas de superventas: 1980”. AFE. Listas De Superventas. Retrieved 12 April 2013.

[43] “Full Albums: Pink Floyd's The Wall, Pt. 1 » Cover Me” . Covermesongs.com. Archived from the original on 25 May 2011. Retrieved 11 May 2011.

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12.16.7

CHAPTER 12. SINGLES

Further reading

his first solo album, hoping to find some later use for it. Gilmour later brought his demo of it to The Wall sessions. • Fitch, Vernon and Mahon, Richard, Comfortably In Gilmour's original demo, though there were no lyrics, Numb – A History of The Wall 1978–1981, 2006 he sang a melody not unlike the final version of the chorus. The verses, however, were in the key of E minor (a progression of E minor, D major, C major, A minor, 12.16.8 External links and back to E minor again), rather than B minor, as in the final version. Also, the chord sequence for the final • Article on Live2times chorus line “I have become comfortably numb”did not exist in Gilmour's demo. So, while the music is widely • Newspaper article on Islington Green School's conconsidered to be Gilmour's work, it is likely that Waters tribution composed the chords for that line, as well as making the decision to change the verses from E minor to B minor. • BBC story on royalties suit • BBC – ONE Life – Islington Green singers reunion. 12.17.2 Aired 3 October 2007.

Concept

• Roger Waters's take of Las Mañanitas in one of The Wall is a concept album about Pink, an embittered the Mexico City concerts on YouTube. December and alienated rock star. This song contrasts Pink's mem2010. ories of being feverishly ill as a child, and feeling nothing at all in adulthood. The lyrics feature interplay between • Full lyrics of this song at MetroLyrics a doctor treating the adult Pink (verses, sung by Waters) and Pink's inner monologue (chorus, sung by Gilmour).

12.17 Comfortably Numb For the 1995 film, see Comfortably Numb (film). "Comfortably Numb" is a song by the English rock band Pink Floyd, which first appears on the 1979 double album The Wall. It was also released as a single in 1980 with "Hey You" as the B-side. It is one of only three songs on the album for which writing credits are shared between Roger Waters and David Gilmour. The chorus melody was written by Gilmour while Waters contributed the lyrics and the music for the verses. The song had the working title of “The Doctor”.* [3] An early version of the song was included under this title on the“Immersion Box Set”of The Wall, released in 2012. The song is one of Pink Floyd's most famous, and is renowned especially for its guitar solos in the middle and at the end of the song.* [4] In 2004, the song was ranked number 321 on Rolling Stone magazine's list of the 500 Greatest Songs of All Time.* [5] In 2005, it became the last song ever to be performed by Waters, Gilmour, Wright, and Mason together. In 2011, the song was ranked 5th in the BBC Radio 4's listeners' Desert Island Discs* [6] choices. The two guitar solos were ranked as the greatest guitar solos of all time by both Planet Rock listeners and WatchMojo.com.* [7]* [8]

Film adaptation A large group consisting of Pink's manager (Bob Hoskins), the hotel manager (Michael Ensign), paramedics, and roadies burst into Pink's trashed hotel room, to find an unconscious Pink sitting in a chair. As the paramedics try to revive Pink, his manager berates him, complaining about how he never liked him. The hotel manager does not take kindly to Pink's destruction of the room, but Pink's manager insists that “he's an artist”, and eventually resorts to stuffing cash into the hotel manager's pockets. After injecting a drug into Pink's arm, the paramedics drag Pink out of the hotel and to his limousine. He is then transported to a concert where he was scheduled to play. Flashbacks of Pink's childhood are inter-cut into the scene. In the flashback, a young Pink finds a wild rat and shows it to his overprotective mother. Her negative reaction towards the rodent causes Pink to hide the rat in a nearby shed. Pink later catches a fever that keeps him bed-ridden for some time. After he recovers, Pink returns to the shed only to find that the rat has died in his absence. Pink dumps its lifeless body in a nearby river.

As he is dragged through the halls of the hotel towards a waiting limousine, the drug causes Pink to hallucinate that his body is developing into a hideous, bulbous pink shell. He dreams of injured (or perhaps dead) soldiers attempting to give him back his deceased rat. Upon being pushed 12.17.1 History into the limousine, Pink tears off his diseased shell to reWhile most songs on The Wall were written by Waters veal himself in Nazi-like military attire, and now appears alone, most of the music for “Comfortably Numb”was very clean, alert, and in control of his surroundings. written by David Gilmour, who originally recorded the The mix of “Comfortably Numb”in the film is very instrumental demo during the latter stages of recording much the same as the album version, except that Richard

12.17. COMFORTABLY NUMB Wright's organ before David Gilmour's final solo is removed, the bass guitar is more prominent, and Pink's screams (as performed by Roger Waters) are mixed in, as he claws his way out of his shell.

12.17.3

Composition

219 [David Gilmour] is obviously using a couple of effects, like a Big Muff and a delay, but it really is just his fingers, his vibrato, his choice of notes and how he sets his effects. I find it extraordinary when people think they can copy his sound by duplicating his gear. In reality, no matter how well you duplicate the equipment, you will never be able to duplicate the personality. ̶Phil Taylor, Pink Floyd's technician.* [16]

The verses are composed in the key of B minor, while the chorus is in that key's relative major, D major. The song is one of two tracks on The Wall which are free-standing and do not fade into or out of an adjacent track. (The other free-standing song is "Mother".) This is also the longest song on the album at 6:21, followed by“Mother” 12.17.4 Live performances , which is 5:32. The song has become an established favourite, and an esAccording to Rolling Stone, the lyrics came from Roger sential part of any live set by Pink Floyd, and also by WaWaters' experience when he was injected with tranquil- ters and Gilmour during their respective solo careers. izers for stomach cramps by a doctor prior to playing a Pink Floyd show in Philadelphia on the band's 1977 In the Flesh tour.* [9]* [10]“That was the longest two hours Pink Floyd of my life,”Waters said,“trying to do a show when you can hardly lift your arm.”The experience gave him the During the 1980/81 The Wall tour, where a giant wall was constructed across the stage during the performance, the idea which eventually became the lyrics to this song. song was performed with Roger Waters dressed as a docWaters and Gilmour disagreed about how to record the tor at the bottom of the wall, and David Gilmour singing song as Gilmour preferred a more grungy style for the and playing guitar from the top of the wall on a raised verses. In the end, Waters' preferred opening to the song platform with spotlights shining from behind him. It was and Gilmour's final solo were used on the album. Gilmour the first time the audience's attention was drawn to the top would later say, “We argued over 'Comfortably Numb' of the completed wall. According to David Gilmour, the * like mad. Really had a big fight, went on for ages.” [11] final solo was one of the few opportunities during those For the backing of Gilmour's vocal section, he and sesconcerts that he was free to improvise completely. sion player Lee Ritenour used a pair of high-strung acoustic guitars, similar to “Nashville”tuning, only the low It was a fantastic moment, I can tell, to E string was replaced with a high E string, two octaves be standing up on there, and Roger's just higher than normal, instead of one. (This tuning was also finished singing his thing, and I'm standing used for the arpeggios heard throughout most of "Hey there, waiting. I'm in pitch darkness and no You").* [12] one knows I'm there yet. And Roger's down and he finishes his line, I start mine and the big back spots and everything go on and the Guitar solos audience, they're all looking straight ahead and down, and suddenly there's all this light This song features two guitar solos by David Gilmour. up there and they all sort of̶their heads all The first solo is played over a shortened version of the lift up and there's this thing up there and the chorus music, and the longer outro solo is played over the sound's coming out and everything. Every verse structure. In 1989, the readers of the Pink Floyd night there's this sort of "[gasp!]" from about fanzine The Amazing Pudding voted this song the best 15,000 people. And that's quite something, let Floyd song of all time. David Gilmour's solo was rated me tell you. the 2nd best guitar solo of all-time by Guitar World mag̶David Gilmour, * [17] * azine, in a reader poll. [13] Also in Guitar World, there were details on David Gilmour's “Comfortably Numb” solo, stating that the solo (most likely the outro solo) was pieced together from several other solos that he had been experimenting with at the time; this was accomplished by recording several solos and marking his preferred segments for the perfect final take. In August 2006, it was voted the greatest guitar solo of all time in a poll by listeners of digital radio station Planet Rock.* [14] In addition, Gilmour's guitar tone in the song was named best guitar sound by Guitarist magazine in November 2010.* [15]

After Waters had left the band, Gilmour also revised the verses to his preferred grungier approach during live performances. The verse vocals were arranged for threepart harmonies, rather than attempting to imitate Waters' voice. In both 1987–88 and 1994, the lyrics were sung by Richard Wright, Guy Pratt and Jon Carin. In December 1988, a video of the live performance from Delicate Sound of Thunder reached number 11 on MTV's

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CHAPTER 12. SINGLES

Top 20 Video Countdown. The video was two minutes The Departed soundtrack on his car stereo before a serishorter than the album version and the video clip had dif- ous accident. Van Morrison's 2007 compilation album, ferent camera angles from the home video version. Van Morrison at the Movies – Soundtrack Hits includes A 10-minute version of “Comfortably Numb”was per- this version. formed at Earls Court, London on 20 October 1994, as part of the The Division Bell tour. The Pulse video release edited out approximately 1:20 minutes of the ending solo, whereas the original pay-per-view video showed the unedited version. Pink Floyd, complete with Waters, reunited briefly to perform at the Live 8 concert in Hyde Park, London in July 2005. The set consisted of five songs, of which “Comfortably Numb”was the last.

David Gilmour Gilmour has performed the song during each of his solo tours. In his 1984 tour to promote his album About Face, the set list referred to the song as“Come on Big Bum”. The vocals during the verses were performed by band members Gregg Dechart and Mickey Feat. In 2001 and 2002, the verse vocals were performed on different dates by guest singers: Robert Wyatt, Kate Bush, Durga McBroom, and most notably Bob Geldof, who had played Pink in the movie version of The Wall. On 29 May, 2006, at the Royal Albert Hall, David Bowie, in a guest appearance, sang Waters' part of the song. The next day, on 30 May, Richard Wright sang Waters' part, by himself, at the same venue. Both performances were immortalised on Gilmour's Remember That Night concert video, compiled from all three of his shows there on May 28, 29 and 30, 2006, which were part of his "On an Island" Tour to promote his new album of the same name.

Waters subsequently performed the song at the "Guitar Legends" festival in Spain in 1991 (with guest vocals by Bruce Hornsby), and at the Walden Woods benefit concert in Los Angeles in 1992 with guest vocals by Don Henley. During 1999–2000, Doyle Bramhall II and Snowy White stood in for Gilmour's vocals and guitar solos; a role carried out by Chester Kamen and White in 2002. In 2006– 2007 Gilmour's vocals were performed by Jon Carin and Andy Fairweather-Low with Dave Kilminster and White performing the guitar solos. During Waters' The Wall Live tour, Robbie Wyckoff sang Gilmour's vocals, and Dave Kilminster performed the guitar solos, both of them atop the wall, as Gilmour has been in the original tour. During the performance of 12 May 2011 at the London O2 Arena, David Gilmour appeared as a guest during this song, and both sang the choruses and played guitar from the top of the wall, echoing the original Earls Court performances.* [18] The song contains one of the show's most memorable moments, when at a specific point in the final guitar solo, Waters runs to the wall, pounding it with his fists, triggering an explosion of colour in the previously dark grey projections. Waters performed the song with Eddie Vedder singing Gilmour's vocals at 12-12-12: The Concert for Sandy Relief.

12.17.5 Cover versions An orchestrated version of “Comfortably Numb”, arranged by Jaz Coleman, performed by the London Philharmonic Orchestra, and conducted by Peter Scholes, appears on the 1995 instrumental album Us and Them: Symphonic Pink Floyd.

In 2006, David Gilmour performed the song in a concert, with the Polish Baltic Philharmonic Orchestra providing the orchestral parts that had usually been done with backing tapes or multiple synthesizers. This version would be released on Live in Gdańsk. Various Pink Floyd tribute albums include this song, including Luther Wright and the Wrongs on Rebuild the Wall (2001), Graham Parker on A Fair Forgery of Roger Waters Pink Floyd (2003), Billy Sherwood with Yes members Chris Squire and Alan White on Back Against the Wall After leaving Pink Floyd, Waters first performed“Com- (2005); Mostly Autumn with Heather Findlay singing fortably Numb”at the 1990 concert staging of The Wall verse, Sarah Slean on Pink Floyd Redux (2006) – Live in Berlin on 21 July 1990. The event's purpose was recorded it on Masters of Chant to commemorate the fall of the Berlin Wall. Roger Wa- In addition, Gregorian * (2006). [19] Staind included a live acousChapter V ters sang lead, Van Morrison sang Gilmour's vocal parts tic version on their compilation album The Singles backed by Rick Danko and Levon Helm of The Band, Bruce Hornsby performs “Comfortably 1996→2006. with guitar solos by Rick Di Fonzo and Snowy White, Numb”as part of a medley with his own “Fortunate and backup by the Rundfunk Orchestra & Choir. This Son”) on the 2005 DVD Three Nights on the Town. Dar version was used in the Academy Award-winning 2006 Williams recorded it on her 2005 album My Better Self. film The Departed, directed by Martin Scorsese. It is also heard in the TV show episode of The Sopranos, titled Collide made a cover of the song on their album“These "Kennedy and Heidi", when Christopher Moltisanti plays Eyes Before”in 2009.

12.17. COMFORTABLY NUMB The Scissor Sisters recorded a radically re-arranged disco-oriented version released in January 2004 on Polydor, with the b-side “Rock My Spot (Crevice Canyon)". This release reached number 10 in the UK Singles Chart, becoming the most successful cover of a Pink Floyd song to date in the UK. David Gilmour and Nick Mason expressed a liking for the group's version,* [20] and Roger Waters is said to have congratulated the Scissor Sisters on the version, although a lyric was changed, from “a distant ship's smoke on the horizon”to“a distant ship floats on the horizon”.* [21] Jake Shears, the band's lead singer, was invited by Gilmour to sing “Comfortably Numb”with him in some 2006 shows, but the idea was dropped at the last moment to Shears' public disappointment.* [22] This cover received a Grammy nomination for Best Dance Recording, but lost to "Toxic" by Britney Spears.

221

[2] “Pink Floyd The Wall – single releases”. Pink Floyd's Timeline. EMI; Facebook. Retrieved 18 December 2012. [3] “Pink Floyd Comfortably Numb”. Drumpaper. Retrieved 23 May 2011. [4] “50 Greatest Guitar Solos”. Guitar World. Retrieved 23 May 2011. [5] “Rolling Stone 500 Greatest Songs of All Time”. Scribd. Retrieved 23 May 2011. [6] “Listeners Desert Island Discs”. BBC. Retrieved 13 June 2011. [7] http://www.telegraph.co.uk/culture/music/3654941/ Everyone-wants-to-be-an-axeman....html [8] https://www.youtube.com/watch?v=f4NOJ42-BKM [9] “Rolling Stone: Comfortably Numb”. play.web.archive.org. Retrieved 23 May 2014.

Re-

On 7 July 2008, Van Morrison began to include this song on the set list of some of his live concert performances, [10] Mabbett, Andy (1995).“The Wall”. The Complete Guide to the music of Pink Floyd. Omnibus Press. p. 82. ISBN echoing his duet with Waters in the 1990 Berlin staging of 0-7119-4301-X. The Wall. After singing it at the Massey Hall in Toronto, Canada he remarked, “I hope you liked that. I'm not [11] “Interview with Roger Waters”. Issue 3. Rock Compact Disc magazine. September 1992. Retrieved 4 February numb and I'm not comfortable.”* [23] 2010.

Bluegrass country band Hayseed Dixie, who began their career recording and performing rock and metal covers, [12] “David Gilmour Talks About The Wall”. YouTube. Retrieved 23 May 2014. regularly finish their live sets with this song. However, they have never recorded it for official release. [13] “50 Greatest Guitar Solos”. guitarworld.com. Jazz group The Bad Plus released a cover version of the song on their 2008 record “For All I Care”.

[14] “The Greatest Guitar Solos”. planetrock.com. [15] “Pink Floyd's David Gilmour & Jimi Hendrix Have 'The

British rock band Hats Off Gentlemen It's Adequate reBest Guitar Sound of All Time'". live4ever.uk.com. leased a cover version of the song on their 2015 EP 'So[16] Tolinski, Brad (September 1994). “Welcome to the Malace'. chines”. Guitar World. Retrieved 29 July 2011.

12.17.6

Personnel

• Roger Waters – vocals (verses), bass guitar • David Gilmour – vocals (refrain), acoustic guitar, electric guitar,* [24] pedal steel guitar, Prophet-5 synthesiser • Nick Mason – drums • Richard Wright – organ with: • Michael Kamen – orchestral arrangements* [24] • Lee Ritenour – acoustic guitar* [24]

12.17.7

References

[1]“Pink Floyd –“Comfortably Numb"". Pink Floyd Discography. Discogs. Retrieved 9 May 2013.

[17] Kendall, Charlie (1984). “Shades of Pink – The Definitive Pink Floyd Profile”. The Source Radio Show. Retrieved 27 July 2011. [18] “David Gilmour Joins Roger Waters for Wall at London O2”. Roger Waters The Wall Live Tour 2010/2011.com. 12 May 2011. Retrieved 23 May 2011. [19] [20] Endelman, Michael (27 September 2006). 'Pink'". EW.com. Retrieved 23 May 2014.

“Think

[21] Tom Bishop (2 February 2004). “Scissor Sisters' stab at success”. BBC.co.uk. Retrieved 8 January 2008. ...Pink Floyd Publishing told us the band was very pleased with our version. Roger Waters wants a picture disc. [22] “Scissor Sisters star lashes out at Pink Floyd legend | News”. Nme.Com. 8 September 2006. Retrieved 23 May 2014. [23] Matt (11 July 2008). “Van Morrison performs Comfortably Numb again”. brain-damage.co.uk. Retrieved 12 October 2008. [24] Fitch, Vernon; Richard Mahon (28 July 2006). Comfortably Numb-A History of “The Wall”– Pink Floyd 1978– 1981. PFA Publishing, Inc. p. 99. ISBN 0-9777366-0-1.

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Bibliography

12.18.2 History

• Fitch, Vernon. The Pink Floyd Encyclopedia (3rd The music was written in collaboration with David Gilmour (one of three songs on The Wall for which edition), 2005. ISBN 1-894959-24-8 Gilmour is credited as a co-writer), and the lyrics were written by Roger Waters. Waters provides the vocals (except for Gilmour's multitracked harmonies singing“Run, 12.17.9 External links run, run, run,”). The song features the only keyboard solo on The Wall (although on live performances, "Young • Rolling Stone article 2004-12-09 Lust" and "Another Brick in the Wall, Part II" would also feature keyboard solos); after the last line of lyrics, a syn• Full lyrics of this song at MetroLyrics thesizer solo is played over the verse sequence, in place of vocals. Following the solo, the arrangement“empties out”and becomes sparse, with the guitar only playing an ostinato with rhythmic echoes, and brief variations every 12.18 Run Like Hell other bar. Sound effects are used to create a sense of paranoia, with the sound of cruel laughter, running footFor other uses, see Run Like Hell (disambiguation). steps, car tyres skidding, and a loud scream. The original single version and promotional EP both contain a clean "Run Like Hell" is a song from the 1979 Pink Floyd al- guitar intro, without the live crowd effects. bum The Wall. It was released as a single in 1980,* [2]* [3] reaching #15 in the Canadian singles chart * [4] as well as #18 in Sweden.* [5]

As with "Comfortably Numb", also from The Wall, the music to “Run Like Hell”has its roots in Gilmour's first solo album. “Short and Sweet”can be seen as this song's precursor. “Yes,”Gilmour told Musician magazine, “it's a guitar with the bottom string tuned down to a D, and thrashing around on the chord shapes over a 12.18.1 Concept D root. Which is the same in both [songs]. [Smiling] It's * The song is written from the point of view of anti-hero part of my musical repertoire, yes.” [7] Pink, an alienated and bitter rock star, during a hallucination in which he becomes a fascist dictator and turns a concert audience into an angry mob. The lyrics are ex- 12.18.3 Composition plicitly threatening, directed at the listener, one with an “empty smile” and “hungry heart”, “dirty feelings” The guitar intro begins with the scratching of strings and a “guilty past”, “nerves in tatters” as “hammers dampened with left-hand muting, before settling on an batter down your door.” Even the act of lovemaking is open D string dampened by palm muting. As heard eardoomed, for “if they catch you in the back seat trying to lier on the album, on "Another Brick in the Wall (Part 1)", pick her locks”, the results will be fatal. Although the the muted D is treated with a specific delay setting, prolyric “You better run like hell” appears twice in the liner viding three to four loud but gradually decaying repeats, notes, the title is never actually sung; each verse simply one dotted-eighth note apart, with the result that simply concludes with “You better run”. playing quarter notes (at 116 beats per minute) will produce a strict rhythm of one eighth note followed by two sixteenth notes, with rhythmic echoes overlapping. Over Film adaptation this pedal tone of D, Gilmour plays descending triads in D major (mostly D, A, and G), down to the open chord In the film adaptation, Pink directs his jackbooted thugs position (a quieter, second overdubbed guitar plays open to attack the“riff-raff”mentioned in the previous song, in chords only). Some of the guitar tracks are also treated which he ordered them to raid and destroy the homes of with a heavy flanging effect. queers, Jews, and black people, among others. One scene The verses are in E minor, with pedal tones of the guidepicts an interracial couple cuddling in the back seat of tar's open E, B, and G strings (a full E minor triad) ringa car when a group of neo-Nazis accost them, beating the ing out over a sequence of power chords, resulting in boy and raping the girl. the chords E minor, Fmaj7sus2(♯11), C major seventh, The Wall director Alan Parker hired the Tilbury Skins, a skinhead group from Essex, for a scene in which Pink's “hammer guard”(in black, militaristic uniforms designed by the film's animator, Gerald Scarfe) smashes up a Pakistani diner, and, Parker recalled, the action “always seemed to continue long after I had yelled out 'Cut!'.”* [6]

and Bsus4(add♭6). Providing contrast, another guitar, equally treated with delay, plays a low-pitched riff on the roots and minor sevenths of each chord, although the E♭ (minor seventh of F) and B♭ (minor seventh of C) do not match the sustaining open E and B strings an octave above.* [8]* [9]

12.18. RUN LIKE HELL

223

Aside from the added tones in each chord, the basic verse sequence of E minor, F major, E minor, C major, and B major is reprised later in "The Trial", the conceptual climax of The Wall. However, David Gilmour is not credited as a co-writer of “The Trial”, which is credited to Waters and producer Bob Ezrin.

minutes long. One live version was used as the B-side to "On the Turning Away". The song also was the closing track on the live album Delicate Sound of Thunder. Gilmour generally played an extended guitar introduction, sharing vocals with touring bassist Guy Pratt, with Pratt singing Waters' lines. In the 1994 tour, Pratt someBefore the final riff ends the song, a piercing shriek by times sang the name of the city where they were playing Roger Waters can be heard, not unlike one heard in be- instead of the word mother in the line "...they're going to send you back to mother in a cardboard box..." – in the tween "The Happiest Days of Our Lives" and "Another P•U•L•S•E video (live at Earls Court, 1994), he clearly Brick in the Wall (Part II)". sings London. According to Phil Taylor, David Gilmour played Run Like Hell on a Fender Telecaster guitar tuned to a drop-D, in the 1994 tour.* [11] Film version The movie version of the song is considerably shorter than the album version. The second guitar refrain between the first and second verses was taken out, with the verse's last line, “You better run”, leading directly to Gilmour's harmonized chant (“Run, run, run, run”), which now echoed back and forth between the left and right channels. Also, Richard Wright's synth solo was superimposed over the second verse, and the long instrumental break between the end of the synth solo and Waters' scream was removed.

12.18.4

Live performances

Pink Floyd The Wall Tour During the previous song, "In the Flesh", a giant inflatable pig was released, which Waters refers to in a speech between both songs. The speech given varied slightly on each concert and therefore can be used to identify which show a recording came from. On Is There Anybody Out There? The Wall Live 1980– 81, the speech is a mix of the 15 June 1981 and 17 June 1981 speeches. It was sometimes introduced by Waters as“Run Like Fuck”and Waters and Gilmour sang alternating lines in the verses, while the vocal quartet of Stan Farber, Jim Haas, Joe Chemay, and John Joyce sang the choruses.

Roger Waters In Roger Waters' The Wall concert in Berlin in 1990, he made no speech and sang all the lines alone. He didn't play the bass guitar for this live version. For Waters' worldwide 2010-2013 Wall tour, the song was transposed one whole step down, from D to C.* [12] This is commonly done in live performances when a singer has difficulty reaching the highest notes in the song's original key. During the intro of the song, Waters clapped and in some cases shouted, exhorting the audience to clap along and “have a good time, enjoy yourselves”, which might be considered ironic, given the paranoid tone of the actual lyrics. David Gilmour In addition to performing the song with Pink Floyd, Gilmour has also performed it himself on his 1984 solo tour in support of his About Face album. In Waters' absence, Gilmour would trade lines with bassist Mickey Feat. He also performed the song solo at the Colombian Volcano benefit concert in 1986, trading lines with houseband keyboardist John “Rabbit”Bundrick (who would later play on Waters' solo album, Amused to Death).

During the song, the“surrogate band”(also referred to, 12.18.5 Personnel in Nick Mason's book, as the “shadow band”) are on• Roger Waters ̶vocals, bass guitar, screaming and stage with the Pink Floyd members and their quartet of panting* [13] singers. Both Andy Bown and Roger Waters play bass on this song. Bown plays the bass exactly as it was recorded • David Gilmour ̶guitars, backwards cymbals, vo̶four quarter notes per bar, playing only roots, using the cals (chorus)* [13] lowest possible root in drop D tuning. Waters, mean• Nick Mason ̶drums* [13] while, plays variations at key moments, plays whole notes while singing, and, during the “emptied out”section on • Richard Wright ̶Prophet-5 synthesiser* [13] D following the synth solo, Roger sometimes improvised high-pitched riffs above Bown's low D.* [10] with: Later tours Following Waters' departure from Pink Floyd, the song became a regular number in the band's concerts, usually ending the show and going over nine

• James Guthrie ̶backwards cymbals, running and panting* [13] • Bobbye Hall ̶congas and bongos* [13]

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12.18.6

Cover versions

[11] Tolinski, Brad (September 1994). “Welcome to the Machines”. Guitar World. Retrieved 2011-07-29.

• In 2001, the Canadian all-woman heavy metal band Kittie, recorded a cover and was released on their full-length album Oracle. In this version, lead vocalist and lead guitarist Morgan Lander actually does incorporate the title of the song within the lyrics.

[12] Video on YouTube [13] Fitch, Vernon and Mahon, Richard, Comfortably Numb ̶ A History of The Wall 1978–1981, 2006, p. 106.

• The Disco Biscuits have covered “Run Like Hell” since 1997.

[14] Full albums: Pink Floyd's The Wall Pt. 2, Cover Me Songs, 2010.

• Violinist Andrej Kurti and cellist Victor Uzur recorded an instrumental version for their album The Entertainers.* [14]

[15] “Mastercastle Last Desire”. Lion Music Records. Retrieved 2011-05-01.

• In 2011 the Italian band Mastercastle recorded a 12.18.9 External links cover that was released on their album Last Desire • Full lyrics of this song at MetroLyrics special edition by the label Lion Music.* [15] The vocals are performed by the singer Giorgia Gueglio together with the special guest Flegias (singer of the band Necrodeath); the song was recorded by Pier 12.19 When the Tigers Broke Gonella at MusicArt studios (Italy).

Free

"When the Tigers Broke Free" is a Pink Floyd song by Roger Waters,* [1]* [2] describing the death of his father, 12.18.7 Further reading Eric Fletcher Waters, during the Second World War's * • Fitch, Vernon. The Pink Floyd Encyclopedia (3rd Operation Shingle. [3] edition), 2005. ISBN 1-894959-24-8.

12.18.8

References

[1] “Pink Floyd - “Run Like Hell”A-Side”. Pink Floyd Discography. Discogs. Retrieved 18 December 2012. [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [3] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [4] Library and Archives Canada: Top Singles - Volume 22, No. 17, July 19, 1980, July 19, 1980, retrieved 15 July 2014 [5] http://swedishcharts.com/showinterpret.asp?interpret= Pink+Floyd [6] [7]

[8] [9]

[10]

12.19.1 Writing and recording The song was written at the same time as The Wall, hence its copyright date of 1979, and was originally intended to be part of that album, but was rejected by the other members of the band on the grounds that it was too personal.* [4] It was subsequently recorded and included in the movie version of The Wall and first released as a separate track on a 7”single on 26 July 1982 (running 2:55), before appearing in The Wall film. The 7”was labelled “Taken from the album The Final Cut" but was not included on that album until the 2004 CD reissue.

12.19.2 Lyrics

The song sets up the story premise for The Wall movie, set over footage recreating the British contribution to the Schaffner, Nicholas (1991). Saucerful of Secrets (First Anzio campaign's Operation Shingle, where Allied forces landed on the beaches near Anzio, Italy, with the goal of ed.). Sidgwick & Jackson. ISBN 978-0-283-06127-1. liberating Rome from German control. These forces inMatt Resnicoff (August 1992). “Careful With That Axe cluded Z Company of the Royal Fusiliers, in which WaDavid Gilmour Interview”. Musician. Retrieved 2010ters' father Eric served.* [5] As Waters tells it, the for08-16. ward commander had asked to withdraw his forces from Guitar World magazine, Volume 20, Number 3, March a German Tiger tank assault, but the generals refused, 2000 and "the Anzio bridgehead was held for the price / Of a few hundred ordinary lives" as the Tigers eventually broke Floyd, Pink. Guitar tab anthology (Authenic guitar tab through the British defence, killing all of Company Z, ined. ed.). Van Nuys, CA: Alfred Music Pub. Co. ISBN cluding Eric Waters. (In the song, Waters pronounces 'Z' 0739076833. as the American “Zee”, hence the unit sometimes gets Video on YouTube incorrectly referred to as “Company C”.)

12.20. NOT NOW JOHN

225

In the second verse of the song (which makes up the 12.19.5 Charts reprise later in The Wall film), Waters describes how he found a letter of condolence from the British government, 12.19.6 See also described as a note from King George in the form of a gold leaf scroll which "His Majesty signed / In his own rub• List of anti-war songs ber stamp." Waters' resentment then explodes in the final line "And that's how the High Command took my Daddy from me". The underlying theme of the song is one of the primary catalysts for the character Pink's descent into isolation throughout the story of The Wall, especially in the film version.* [6] On 18 February 2014, precisely 70 years after his father was killed at Anzio, Waters unveiled a memorial * [7] to Z Company near to the site of the battle. Another monument had already been erected at the approximate spot where his father fell. After many years of not knowing the details of what happened on that fateful day, Waters was finally able to get some closure after 93 year-old Fusilier and Anzio veteran Harry Schindler uncovered precise details of the time and place of Waters' father's death. Both of them were present at the unveiling of the memorial.

12.19.3

Subsequent releases

The song made its first CD appearance on a promotional disc in conjunction with Roger Waters' 1990 live performance of The Wall at Potsdamer Platz in Berlin. This was the original Pink Floyd recording from The Wall movie, and had a running time of 3 minutes.

12.19.7 References

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Blake, Mark (2008). Comfortably Numb: The Inside Story of Pink Floyd. Cambridge, Massachusetts: Da Capo Press. pp. 13–14, 291. ISBN 978-0-306-81752-6. [4] “Interview with Roger Waters”. Wolfgang's Vault. 22 October 1984. Retrieved 16 January 2011. [5] Edward D. Paule.“A History of the Royal Fusiliers Company =C”. Retrieved 26 November 2011. [6] “The Wall Analysis”. Retrieved 30 May 2012. [7] “Waters Memorial”. Retrieved 19 Feb 2014. [8] “Echoes: the album credits”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013.

It was generally released on CD on Pink Floyd's 2001 compilation album Echoes: The Best of Pink Floyd.* [8] [9] "Pink Floyd: Artist Chart History” UK Singles Chart. With a duration of 3:42, this version is longer than the single release and features an extended intro section. There [10] Library and Archives Canada: Top Singles – Volume 37, is less percussion heard in the Echoes mix, but the male No. 7, October 02 1982, October 2, 1982, retrieved July choir comes in much earlier than it does in the single ver16, 2014 sion. The next time the song appeared was on the 2004 rereleased, remastered version of The Final Cut, where it 12.19.8 External links was placed between "One of the Few" and "The Hero's • Full lyrics of this song at MetroLyrics Return", this time an edited version of 3:16. This mix is similar to that of the Echoes version, but with a shorter intro.

12.20 Not Now John 12.19.4

Film version

The first verse is at the opening of the film, where Pink's father is cleaning and loading a revolver while smoking a cigarette and hearing bombs or bombers fly overhead. It then goes into the song "In the Flesh?", showing his fate. The second verse (after "Another Brick in the Wall Part 1") shows Pink finding his father's uniform, the letter of condolence, straight razor, and bullets. He then puts on the uniform, where it cuts between his father doing the same.

"Not Now John" is a song from Pink Floyd's 1983 album, The Final Cut.* [1]* [2] The track is the only on the album featuring the vocals of David Gilmour, found in the verses, with Roger Waters singing the refrains and interludes, and was the only single released from the album. “Not Now John”has the greatest amount of profanity of any song from the Pink Floyd discography, with the phrase “fuck all that”being bowdlerized to “stuff all that”in the single release. It reached No. 30 in the UK Singles Chart.

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12.20.1

CHAPTER 12. SINGLES

Meaning

of “One of the Few"; the acoustic guitar, however, is barely audible except for the fill on each fourth bar between Waters' vocals. Also, the lead-in to the first interlude ̶“Can't stop, lose job, mind gone, silicon, ...” ̶has Waters' high-pitched singing voice double-tracked with a low-pitched spoken voice ̶in a similar manner to his singing on the choruses of the song "The Hero's Return".

The lyrics, written by Roger Waters, deal with war (particularly the Falklands War) and criticism of British Prime Minister Margaret Thatcher, as well as general criticisms of the greed and corruption that Waters saw as dangers to society. It also shows the corruptible and fruitless labor of post-war America, Europe and Japan. The wording is such that it mainly tells of the changing The word “fuck”occurs in the song seven times, six of global trade and that a new leader is emerging in the times as part of the phrase, “fuck all that"; near the end consumer goods industry, Japan. the song is a“Where's-the-bar?" lyric ̶which is sung in Despite the political content of the album and the specific Italian, Greek, French and finally English ̶with the Enreferences in other songs to public figures of the time, the glish iteration sung as, “Oi ̶Where's the fucking bar, “John”of the title is not intended to refer to any partic- John?" “Fuck”is replaced with “stuff”in the 7”sinular person named John. It is being used in the British gle release. (The four iterations are preceded by the lyric, colloquial sense, where “John”can be employed in the “One, two, free four!" ̶reminiscent of the intro to ansame way as“mate”,“pal”,“Jack”, or“Guv”to re- other Pink Floyd song, "Free Four".) fer to anyone to whom one is speaking, particularly if the speaker does not know their name. At the time, this usage of“John”as a general means of address to others would 12.20.4 Single have been particularly associated with blue-collar workers, who were the people being most strongly affected by “Not Now John”was released as a single on 3 May 1983. the changes to manufacturing and trade referred to in the The words“fuck all that”were overdubbed as“stuff all that”by Gilmour, Waters, and the female backing singers. song.

“The Hero's Return”was released as the B-side, featuring an additional verse not included on the album. A 12” 12.20.2 Video single was released in the UK, featuring the two 7”tracks on side 1 and the album version of “Not Now John”on In The Final Cut Video EP for the song depicts a Japanese side 2. The single hit number thirty in the UK and number child walking through a factory searching for a soldier. seven on the US Mainstream Rock Tracks chart. The child is confronted by factory workers playing cards and geisha girls before he falls to his death from a scaf1.“Not Now John”(single version) ̶4:12 fold and is discovered by a World War II veteran (played by Alex McAvoy, who also played the schoolteacher in 2.“The Hero's Return (Parts I and II)" ̶4:02 Pink Floyd ̶The Wall). It was directed by Waters' then * brother-in-law, Willie Christie. [2] 3.“Not Now John”(album version) ̶4:56 (12”single only)

12.20.3

Composition 12.20.5 Personnel

Unlike the majority of other tracks on The Final Cut, “Not Now John”takes an upbeat, driving, tempo ̶and 12.20.6 Pink Floyd hard rock style ̶for much of its duration. Gilmour and Waters split vocals duties, similar to the song • Roger Waters ̶lead vocals, bass guitar, tapes, "Comfortably Numb" from The Wall, and they represent synthesizer different “characters”or points of view ̶Gilmour is • David Gilmour ̶guitar, vocals the self-serving ignorant layperson while Waters is the * intellectual, responsible observer of the world's woes. [3] • Nick Mason ̶drums However, Waters sings verses associated with Gilmour's character near the end of the song. Gilmour sings the three main verses, and Waters sings the two interludes ̶ Additional musicians: which feature a musical reprise of "One of the Few" ̶as well as the lead-in to the first interlude and the outro fol• Andy Bown ̶Hammond organ lowing the second. During the demo stages of the album, the song was sung entirely by Roger Waters. The song also features a group of female backing singers, It is the only track on the album not to exclusively feature who perform a sort of“call-and-response”to Gilmour's Waters on vocals. The interludes feature Waters' vocals vocals. Neither the sleeve notes nor the band have ever and a 12-string acoustic guitar mimicking the structure given any clue as to their identity.

12.21. YOUR POSSIBLE PASTS

12.20.7

References

227

12.21.2 Reception

AllMusic critic Stewart Mason said of the song, “Only a handful of proper songs drift in between the linking tracks and underdeveloped themes, with the dramatic “Your Possible Pasts”among the best. Although the song's pri[2] Mabbett, Andy (2010). Pink Floyd - The Music and the mary themes are retreads of the ideas behind The Wall Mystery. London: Omnibus. ISBN 9781849383707. ('By the cold and religious we were taken in hand/Shown how to feel good and told to feel bad' is nothing more [3] Not Now John, Pink Floyd, Allmusic. than the Sunday school version of 'We don't need no education/We don't need no thought control'), Roger Waters uses a very soft/extremely loud dynamic effectively, in a 12.20.8 External links manner quite similar to what Peter Gabriel was doing on his solo albums around the same time, and largely avoids • Full lyrics of this song at MetroLyrics the irritatingly schoolmarm-ish tone that his snickering vocals fall into on much of the rest of the album. However, the song has the same fundamental problem as the rest of The Final Cut: a lack of truly interesting melodic 12.21 Your Possible Pasts development -- which was clearly what David Gilmour, who has no songwriting credits here or on the rest of the "Your Possible Pasts" (mislabeled as “Your Impossi- album, brought to the group.”* [8] ble Pasts” on a radio promo single) is a song from Pink Chris Ott of Pitchfork Media described “You Possible Floyd's 1983 album, The Final Cut.* [1]* [2] This song was Pasts”as “a titanic blend of stadium rock, psychedelia one of several to be considered for the band's “best of” and pathos, concluding with devastating imagery,”but * album, Echoes: The Best of Pink Floyd. [3] concluded that "[t]he raucous chorus, 'Do you remember me?/ How we used to be/ Do you think we should be closer?', drifts over a somewhat predictable arrange12.21.1 Background ment, certainly nothing new in the face of their defining mope-rock standard 'Comfortably Numb'.”* [9] The song, like many others on The Final Cut, is a rewritten version of a song rejected for The Wall, originally to be used in Spare Bricks (an early version of The Final 12.21.3 Personnel Cut that was an extension of The Wall.) Guitarist David • Roger Waters ̶bass guitar, acoustic guitar, tape efGilmour objected to the use of these previously rejected fects, sound effects, and vocals tracks, as he believed that they weren't good enough for release. • David Gilmour ̶electric guitars [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 978-1-84195-551-3.

[Roger Waters] wasn't right about wanting to put some duff tracks on The Final Cut. I said to Roger, “If these songs weren't good enough for The Wall, why are they good enough now?" ̶David Gilmour* [4]

• Nick Mason ̶drums with: • Michael Kamen ̶electric piano and orchestrations • Andy Bown ̶Hammond organ • Ray Cooper ̶percussion

Despite not appearing on The Wall album, the lyrics of the chorus did appear in the film for said album, Pink 12.21.4 References Floyd – The Wall, where the lyrics were read by the main character, Pink, in-between the songs "Waiting for the [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN Worms" and "Stop". 1-84195-551-5.

“Your Possible Pasts”also appeared on a 12 inch promotional single entitled “Selections From The Final Cut,” [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-7119with "The Final Cut" on the B-side.* [5]* [6] However, de4301-X. spite not being released as a commercial single, the song did receive significant radio play, resulting in the song hit- [3] Guthrie, James. “James Guthrie: Audio: Building A ting #8 on the Billboard Mainstream Rock chart in AmerCompilation Album”. Pink Floyd. Archived from the ica.* [7] original on 2 June 2010. Retrieved 17 June 2013.

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[4] Blake 2008, p. 295

12.22.2 Music video

[5] Povey, Glenn. Echoes: The Complete History of Pink Floyd.

The music video was directed by Storm Thorgerson and filmed on West Wind Ridge, a mountain in Kananaskis [6] “Discogs “Selections From The Final Cut"". Country near Canmore, located some 50 to 75 km west of the city of Calgary, Alberta* [7] during rehearsals for the [7] “AllMusic 'The Final Cut' Awards”. band's A Momentary Lapse of Reason Tour. The video [8] Mason, Stewart. “AllMusic 'Your Possible Pasts'". combined performances of the band with a Native American, played by Canadian actor Lawrence Bayne, work[9] Ott, Chris. “Pitchfork Media 'The Final Cut'". ing in a field who then runs and jumps off a cliff to turn into an eagle. The footage of the stage show shows the band performing“Learning to Fly”but features the more 12.21.5 External links colourful light-show used for live performances of "One of these Days". The original video also depicts a factory • Full lyrics of this song at MetroLyrics worker who turns into an aeroplane pilot as well as a child who breaks free from his mother and dives off a cliff into 12.22 Learning to Fly (Pink Floyd a deep river, swimming away. The video went to #9 on MTV's Video Countdown in November 1987 and was the song) #60 video of MTV's Top 100 Videos of 1987. The video won the band its only MTV Video Music Award for "Best "Learning to Fly" is the second song on Pink Floyd's Concept Video" in 1988. The red/orange airplane is a album A Momentary Lapse of Reason.* [1]* [2] The first Beech Model 17 Staggerwing. single released from the album, it reached number 70 on the U.S. Billboard Hot 100 chart and number 1 on the Billboard Album Rock Tracks chart in September, 1987, 12.22.3 Personnel remaining three consecutive weeks at the top position in the autumn of the same year. Meanwhile, the song failed Pink Floyd to chart on the official U.K. top 40 singles charts.* [3]* [4] • David Gilmour ̶guitars, lead vocals

12.22.1

Background

• Nick Mason ̶drums, spoken words

• Richard Wright ̶keyboards, additional vocals on The song was primarily written by David Gilmour, who chorus sections developed the music from a 1986 demo by Jon Carin. The notable rhythm pattern at the beginning of the song was Additional musicians already present in the demo, and Carin stated that it was influenced by Steve Jansen or Yukihiro Takahashi.* [5] • Jon Carin ̶keyboards The lyrics describe Gilmour's thoughts on flying, for • Steve Forman ̶percussion which he has a passion (being a licensed pilot with multiple ratings), though it has also been interpreted as a • Tony Levin ̶bass guitar metaphor for beginning something new, experiencing a • Darlene Koldenhaven, Carmen Twillie, Phyllis St. radical change in life, or, more specifically, Gilmour's James, Donnie Gerrard – backing vocals feelings about striking out as the new leader of Pink Floyd after the departure of Roger Waters. Gilmour confirmed the latter interpretation on the Pink Floyd 25th Anniversary Special in May 1992. Also an avid pilot, drummer 12.22.4 See also Nick Mason's voice can be heard at around the middle • List of number-one mainstream rock hits (United of the song. “Learning to Fly”was included on Pink States) Floyd's greatest hits collection Echoes: The Best of Pink * Floyd. [6] The track was regularly performed live on the band's 12.22.5 References two post-Roger Waters tours, with touring guitarist Tim Renwick playing the song's guitar solos (although David [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN Gilmour played the solos on the studio version of the 1-84195-551-5. track). A live version is included on Delicate Sound of Thunder and Pulse. At the end of the final solo in both [2] Mabbett, Andy (1995). The Complete Guide to the Music versions, a guitar lick from the second verse of "Young of Pink Floyd. London: Omnibus Press. ISBN 0-7119Lust" (“Oooh, baby set me free”) is played. 4301-X.

12.24. ONE SLIP

[3] “Allmusic: Pink Floyd (Awards) Billboard singles”. Allmusic. Retrieved 2013-09-27. [4]“Pink Floyd singles”. officialcharts.com. Retrieved 201309-27. [5] “Jon Carin interview - August 2007 - with Brain Damage” . Brain Damage. 2007-08-17. Retrieved 2014-08-28. [6] “Echoes: the album credits”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013. [7] “Storm Thorgerson interview”. Launch.com. 2001-0117. Retrieved 2009-06-18.

229

12.23.4 Personnel 12.23.5 Pink Floyd • David Gilmour ̶guitars, lead vocals and sequencers • Nick Mason ̶drums, percussion • Richard Wright ̶organ, synthesizers and backing vocals Additional musicians:

12.22.6

External links

• Full lyrics of this song at MetroLyrics

12.23 On the Turning Away

• Tony Levin ̶bass guitar • Jim Keltner ̶drums • Jon Carin ̶synthesizer

"On the Turning Away" is a song from Pink Floyd's 12.23.6 1987 album, A Momentary Lapse of Reason.* [1]* [2]

12.23.1

Release

Released as the second single from the album, it reached number one on the Billboard Album Rock Tracks chart in early 1988. In the United Kingdom, the song charted at number 55 on the UK Singles Chart.

12.23.2

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] On The Turning Away, PinkFloyd.cl, Chile. (Spanish)

Lyrics

The song, a power ballad, references issues of poverty and oppression, lamenting on the tendency of people to turn away from those afflicted with such conditions. It ends on a determined note, with the last stanza beginning, “no more turning away”and continuing“it's not enough just to stand and stare.”It is a song that recovers the mysticism of songs like "Wish You Were Here" or "Us and Them", but this time treating topics like the suffering of people; the phrase “weak and the weary”portrays the suffering of people as a big problem in today's world.* [3]

12.23.3

References

Video

The music video for the track featured a live recording and concert footage filmed during the band's three night run at The Omni in Atlanta, Georgia in November 1987 directed by Lawrence Jordan (who has directed concert films for Rush, Mariah Carey and Billy Joel). Promotional videos for "The Dogs of War" and "One Slip" also used footage of this concert. The video made it to number nine on MTV's Video Countdown in January 1988.

12.24 One Slip "One Slip" is a song from Pink Floyd's 1987 album A Momentary Lapse of Reason.* [1]* [2]

12.24.1 Composition The album gets its title from a line of this song's lyrics. The song was co-written by David Gilmour and Roxy Music guitarist Phil Manzanera, who later co-produced Gilmour's On an Island album and played rhythm guitar on the subsequent tour.

12.24.2 Release It was first released as the B-side to "Learning to Fly". It was then re-released as the third single from the album in the UK where it was a minor hit and was the fourth single from the album in the US where it did well on the Billboard Mainstream Rock Tracks chart.

230

12.24.3

CHAPTER 12. SINGLES

Live

12.25 Sorrow (Pink Floyd song)

The track was the final song from the album played live For other uses, see Sorrow. when it was the first encore on the Momentary Lapse of Reason tour from 1987–89. The band resurrected the Floyd's 1987 altrack on one show on their 1994 The Division Bell tour "Sorrow" is the closing track from Pink * * bum, A Momentary Lapse of Reason. [1] [2] when the band performed it in Oakland, California.

12.24.4

Video

The video for the track is footage of a vintage 1930s plane flying interspersed with concert clips filmed during the band's three night run at The Omni in Atlanta, Georgia. The live footage was shot in November 1987 and was directed by Lawrence Jordan (who has directed concert films for Rush, Mariah Carey and Billy Joel). Videos for "On the Turning Away" and "The Dogs of War" were also filmed from this concert.

12.24.5

Personnel

12.24.6

Pink Floyd

• David Gilmour ̶guitars and vocals • Nick Mason ̶drums, percussion • Richard Wright - keyboards Additional musicians: • Jim Keltner ̶drums • Tony Levin ̶Chapman Stick Bass • Jon Carin ̶keyboards • Bob Ezrin ̶keyboards

12.25.1 Lyrics and music The piece was written and composed by guitarist David Gilmour. Gilmour has stated that although lyrics are not his strong point, the song is one of his strongest lyrical efforts, even though the opening lines were appropriated from John Steinbeck's The Grapes of Wrath.* [3] Sorrow was a poem I'd written as a lyric before I wrote music to it, which is rare for me. ̶David Gilmour* [4]

Drummer Nick Mason has since stated that the song was almost entirely written by David Gilmour alone over the space of one weekend on his houseboat Astoria. When he returned from the weekend, only “some spit and polish”, according to Mason, was needed. David Gilmour has also mentioned that the solo at the end of “Sorrow” was done on the boat, his guitar going through a small Gallien-Krueger amp.* [4] As on many tracks from the album, Gilmour played a Steinberger GL "headless" guitar on this song.* [5] The guitar intro was recorded inside Los Angeles Memorial Sports Arena and piped through Pink Floyd's large sound system, yielding an extremely deep, cavernous sound. The drum machine on the song was programmed by David Gilmour ̶no real drums were used.

12.25.2 Live

• Michael Landau ̶guitars (on the opening parts of “One Slip”)* [3] Live versions of the song are featured on 1988's Delicate Sound of Thunder album and 1995's Pulse album, with • Darlene Koldenhaven, Carmen Twillie, Phyllis St. running times of 9:27 and 10:49 respectively, mostly James, Donnie Gerard - Chorus taken up by extended guitar solos by Gilmour and an additional outro. A slightly shortened version of the song appears on Pink Floyd's greatest hits collection, Echoes: 12.24.7 References The Best of Pink Floyd,* [6] which is edited so that the song "Sheep" (also edited) segues into“Sorrow”. David [1] Strong, Martin C. (2004). The Great Rock Discography Gilmour played the song at the“Strat-pack”guitar con(7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN cert, an event which commemorated the 50th anniversary 1-84195-551-5. of the Fender Stratocaster. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] “Inside the Mind of Pink Floyd: David Gilmour”. Guitar. September 1995. Retrieved 2010-07-29.

12.25.3 Personnel on studio version • David Gilmour ̶guitar, vocals, keyboards, programming, synthesiser and drum machine

12.26. THE DOGS OF WAR (SONG)

231

12.26 The Dogs of War (song)

with: • Richard Wright ̶Kurzweil synthesiser • Tony Levin ̶bass guitar

For other songs with the same title, see The Dogs of War (disambiguation).

• Bob Ezrin ̶additional keyboards

"The Dogs of War" is a song by Pink Floyd from their • Darlene Koldenhaven, Carmen Twillie, Phyllis St. 1987 album, A Momentary Lapse of Reason.* [1]* [2] It James, Donnie Gerard ̶backing vocals was the third US single from the album. Live versions have an extended intro, an extended middle solo for the saxophone, a guitar and sax duel and a longer outro as 12.25.4 Personnel on Delicate Sound of compared to the album version. The track was a minor Thunder and Pulse versions rock radio hit in the US and reached #16 on MTV's Video Countdown in May 1988. • David Gilmour ̶guitar, lead vocals “The Dogs of War”describes politicians orchestrat• Nick Mason ̶drums ing wars, suggesting the major influence behind war is money. • Richard Wright ̶keyboards, backing vocals with:

12.26.1 Composition

• Guy Pratt ̶bass guitar

Musically, the song follows a twelve-bar blues structure in • Jon Carin ̶keyboards, backing vocals and pro- C minor, only with significantly different chord changes. gramming A standard blues song in C minor would progress as C minor, F minor, C minor, G (major or minor), F minor, • Tim Renwick ̶rhythm guitar, backing vocals and back to C minor. “The Dogs of War”, instead, • Gary Wallis ̶percussion, drums progresses in this way: C minor, E flat minor, C minor, A flat seventh, F minor, and back to C minor. All minor • Rachel Fury – backing vocals (Delicate Sound of chords include the seventh. Thunder) Singer David Gilmour often approaches the C minor • Durga McBroom – backing vocals (Delicate Sound chord by singing on the diminished fifth, G flat, before deof Thunder and Pulse) scending to the fourth, minor third, and root. This melody • Margaret Taylor– backing vocals (Delicate Sound of is also compatible with the next chord, E flat minor, in which G flat is the minor third. It also appears in the A Thunder) flat seventh chord, as the dominant seventh. • Sam Brown – backing vocals (Pulse) The majority of the song is in a slow 12/8 time. After a bluesy guitar solo, the song switches to a fast 4/4 • Claudia Fontaine – backing vocals (Pulse) tempo for the saxophone solo. This is not unlike what happens in "Money", a minor-key blues-based song from 12.25.5 References The Dark Side of the Moon, in which a saxophone solos over the song's predominant 7/4 tempo before switching [1] Strong, Martin C. (2004). The Great Rock Discography to a faster 4/4 tempo for the guitar solo. “The Dogs of (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN War”also imitates“Money”in its ending sequence, with 1-84195-551-5. a “call and response” between Gilmour's voice and his [2] Mabbett, Andy (1995). The Complete Guide to the Music guitar.* [3]* [4] of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] A. DiPerna, David Gilmour ̶Interviewed, Guitar World, February 1993.

12.26.2 Video

The video for the track composed of the backdrop film directed by Storm Thorgerson which depicted German Shepherds with yellow eyes running through a war zone plus a live recording and concert footage filmed during the [5] “A Momentary Lapse of Reason 1987-90 : Settings and band's three night run at The Omni in Atlanta, Georgia in Songs”. Gilmourish.com. Retrieved 10 February 2011. November 1987 directed by Lawrence Jordan (who has [6] “Echoes: the album credits”. Pink Floyd. Archived from directed concert films for Rush, Mariah Carey and Billy the original on 2 June 2010. Retrieved 20 June 2013. Joel). Videos for "On the Turning Away" and "One Slip" [4] Matt Resnicoff (August 1992). “Careful With That Axe David Gilmour Interview”. Musician. Retrieved 16 August 2010.

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were also filmed from this concert where the video for 12.26.7 “The Dogs of War”was filmed.

12.26.3

Personnel on studio version

• David Gilmour – guitar, vocals and vocalisations with: • Tony Levin – bass • Scott Page and Tom Scott – saxophone

References

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Pink Floyd: A Momentary Lapse of Reason Songbook U.K. ISBN 0-7119-1310-1

• Carmine Appice – drums and percussion

[4] Pink Floyd: The Dark Side of the Moon (1973 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-71191028-6 [USA ISBN 0-8256-1078-8])

• Jon Carin – keyboard and effects

[5] “NATO”. AllMusic.

• Bill Payne – organ • Darlene Koldenhaven, Carmen Twillie, Phyllis St. James, Donnie Gerrard – backing vocals

12.27 Take It Back For other uses, see Take It Back (disambiguation).

12.26.4

Personnel on live versions

"Take It Back" is the seventh song from Pink Floyd's * * • David Gilmour – lead guitar, vocals and vocalisa- 1994 album, The Division Bell. [1] [2] tions • Nick Mason – drums and percussion

12.27.1 Equipment

• Rick Wright – organ and synthesizer

Guitarist David Gilmour used an E-bow on a Gibson J200 acoustic guitar that is processed through a Zoom effects box, then directly injected into the board.* [3]

with: • Guy Pratt – bass

The lyrics include a common British reading of the nursery rhyme, Ring a Ring o' Roses, during its instrumental section.

• Tim Renwick – rhythm guitar • Jon Carin – keyboards and effects • Gary Wallis – percussion • Scott Page – saxophone • Margret Taylor, Rachel Fury, Durga McBroom, Roberta Freeman (video version) and Lorelei McBroom (video version) – backing vocals

12.27.2 Personnel • David Gilmour - guitars, lead vocals • Richard Wright - keyboards • Nick Mason - drums, percussion Additional musicians:

12.26.5

Cover version • Tim Renwick - additional guitar

Slovenian industrial group Laibach covered the song on their album, NATO (1994).* [5]

12.26.6

See also

• List of anti-war songs

• Jon Carin - programming • Guy Pratt - bass guitar • Sam Brown, Durga McBroom, Carol Kenyon, Claudia Fontaine - backing vocals (on P•U•L•S•E)

12.28. HIGH HOPES (PINK FLOYD SONG)

12.27.3

References

[1] Strong, Martin C. (2004).“Pink Floyd”. The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1175–1178. ISBN 1-84195-551-5.

233 2.“Marooned”̶5:31 CD maxi

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

1.“High Hopes”(radio edit) ̶5:16

[3] “Sounds of Silence”interview, Guitar World, September 1994. Retrieved 28 July 2010.

3.“One of These Days”(live) ̶6:57

2.“Keep Talking”(radio edit) ̶4:55

12.28 High Hopes (Pink Floyd 12.28.3 Personnel song) • David Gilmour - lead and backing vocals, classical, bass, and lap steel guitars "High Hopes" is the eleventh and final track from the • Richard Wright - Kurzweil synthesisers 1994 Pink Floyd album, The Division Bell, composed by David Gilmour with lyrics by Gilmour and Polly Samson. • Nick Mason - drums, church bell, percussion Its lyrics speak of the things one may have gained and lost in life, written from Gilmour's autobiographic perspective. Gilmour has said that the song is more about his with: early days, and leaving his hometown behind, than about the seeds of division supposedly planted in Pink Floyd's • Jon Carin - piano early days.* [1] Douglas Adams, a friend of Gilmour, chose the album title from one verse in this song. Live • Michael Kamen - orchestrations versions are featured on Pulse, Remember That Night and Live in Gdańsk. On Echoes: The Best of Pink Floyd, a • Edward Shearmur - orchestrations somewhat shortened version of the song segues into Syd Barrett's "Bike". The segue is accomplished by cutting • Charlie Gilmour - voice from the church bell at the end of “High Hopes”to a new bicycle bell sound effect before “Bike”begins. A • Steve O'Rourke - voice 7 inch vinyl version of the single was released on a transparent record. The final couplet from the song (“The endless 12.28.4 Cover versions river/Forever and ever”) recalls a line from the band's second single, "See Emily Play", from 1967, (“Float down • The song was covered by Shark 'n the Smoke on a river forever and ever”)* [2] and inspired the name of 2003 tribute album A Fair Forgery of Pink Floyd. their final studio album, The Endless River, released in * 2014. [3] • The song was covered by Nightwish who released two different live versions; one on the compilation album Highest Hopes: The Best of Nightwish and an12.28.1 Composition other one on the DVD End of an Era. The song is mostly in the key of C minor, and features the • The song was covered by Gregorian for their album sound of a church bell chiming a 'C' throughout, except Masters of Chant Chapter IV. for a short section in the middle where the song briefly modulates into E minor for a guitar solo. Shortly after the • The song was covered by the German band Sylvan song ends and the chimes fade out, a phone call between in 2000 for the album Signs of Life – A Tribute to O'Rourke and Gilmour's son is briefly sampled, concludPink Floyd. ing the album.

12.28.2

Track listings

CD single 1.“High Hopes”̶7:57

• The song was covered by the French power metal band Karelia in 2005 for the album Raise. • The song was covered by the German Metalcore band Caliban in 2012 for the deluxe version of I Am Nemesis.

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CHAPTER 12. SINGLES

12.28.5

Charts

12.29.3 Live

12.28.6

References

[1] Fuller, Graham (July 1994). “The Color of Floyd”. Interview Magazine, p. 20-21. Retrieved 2011-07-22.

The song was performed during the 1994 The Division Bell Tour and live versions, taken from different shows, were included in both the album Pulse and the video of the same name.

[2] http://1037theloon.com/ pink-floyd-set-to-release-new-album-this-fall/

The song was sampled by Wiz Khalifa on the title track of his 2009 mixtape Burn After Rolling.

[3] Everitt, Matt (9 October 2014). “Shaun Keaveny, with a Pink Floyd Exclusive, Pink Floyd Talk to 6 Music's Matt Everitt”. BBC.

12.29.4 Quotes

[4]“High Hopes”, French Singles Chart Lescharts.com (Retrieved January 22, 2008)

It's more of a wish [that all problems can be solved through discussion, as 'Keep Talking' suggests] than a belief. [laughs] ̶David Gilmour, 1994* [3]

[5]“High Hopes”, UK Singles Chart Chartstats.com (Retrieved January 30, 2009) [6] Billboard Allmusic.com (Retrieved January 30, 2009) [7] Library and Archives Canada: Top Singles – Volume 60, No. 13, October 17, 1994, October 17, 1994, retrieved July 12, 2014 [8] 1994 French Singles Chart Disqueenfrance.com (Retrieved January 30, 2009)

12.28.7

External links

• Full lyrics of this song at MetroLyrics

Well, I guess I experiment more than I think I do. I had a Zoom [effects box] in my control room one day and I was mucking about with something. Suddenly, I thought I should stick the E-bow on the strings and see what would happen. It sounded great, so we started writing a little duet for the E-bowed acoustic guitar [a Gibson J-200] and a keyboard. We never finished the piece, but Jon Carin [keyboardist] decided to sample the E-bowed guitar part. We kept the sample and ended up using it as a loop on “Take It Back”, and again on “Keep Talking”. ̶David Gilmour, 1994* [3]

12.29 Keep Talking "Keep Talking" is a song from Pink Floyd's 1994 album, 12.29.5 Personnel The Division Bell. Pink Floyd

12.29.1

Recording

• David Gilmour – lead vocals, guitar, talk box, EBow

• Richard Wright – Hammond organ and synthesizer Written by David Gilmour, Richard Wright and Polly Samson, it was sung by Gilmour and also features sam• Nick Mason – drums and percussion ples of Stephen Hawking's electronic voice, taken from a BT television advertisement.* [1] The song also makes Additional musicians some use of the talk box guitar effect.

12.29.2

Release

The song was the first single to be released from the album in the United States on March 1994. It was the group's third #1 hit on the Album Rock Tracks chart (a chart published by Billboard magazine which measures radio play in the USA, and is not a measure of record sales), staying atop for six weeks. The song was included on the 2001 compilation, Echoes: The Best of Pink Floyd.* [2]

• Tim Renwick – rhythm guitars • Gary Wallis – percussion • Jon Carin – Programming and additional keyboards • Guy Pratt – bass • Bob Ezrin – arrangement, percussion • Sam Brown, Durga McBroom, Carol Kenyon, Claudia Fontaine (backing vocals on Pulse) – backing vocals

12.31. YOUNG LUST (SONG)

12.29.6

Charts

12.29.7

Release history

12.29.8

References

[1] (liner notes from Echoes) [2] “Echoes: the album credits”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013. [3] “Sounds of Silence”interview, Guitar World, September 1994, retrieved 28 July 2010 [4] "Pink Floyd: Artist Chart History” UK Singles Chart. [5] “Artist Chart History (Singles) – Pink Floyd”. Allmusic. Retrieved 26 July 2007.

235

12.30.2 Personnel • David Gilmour ̶electric & acoustic guitars, lead vocals • Richard Wright ̶Hammond organ, synthesizers, wah-wah Fender Rhodes electric piano, backing vocals • Nick Mason ̶drums, percussion with: • Jon Carin ̶additional keyboards • Guy Pratt ̶bass guitar • Sam Brown - backing vocals

[6] “US CD Singles”. Pink Floyd Discography Archive. Retrieved 31 May 2013.

• Durga McBroom - backing vocals

[7] “Pink Floyd”. VintageCD. Retrieved 2 June 2013.

• Carol Kenyon - backing vocals

12.30 What Do You Want from Me (Pink Floyd song) "What Do You Want from Me" is a song by Pink Floyd featured on their 1994 album, The Division Bell.* [1]* [2] It was composed by Richard Wright, David Gilmour, and his then-girlfriend and subsequent wife Polly Samson. A live version from Pulse was released as a single in Canada, reaching #28 in the Canadian Top Singles charts.* [3]

12.30.1

Song structure and lyrics

The song is a slow, yet rocking ballad. It has a drum roll introduction, followed by a keyboard solo and then a guitar solo. David Gilmour has agreed with an interviewer that it is a “straight Chicago blues tune”, while mentioning he is still a blues fan.* [4]

12.30.3 References [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1178. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Library and Archives Canada: Top Singles - Volume 61, No. 23, July 10, 1995, July 10, 1995, retrieved 12 July 2014 [4] Brad Tolinski (September 1994). “Sounds of Silence”. Guitar World. Retrieved 2010-07-28. [5] Fuller, Graham (July 1994). “The Color of Floyd”. Interview Magazine, p. 20-21. Retrieved 2011-07-22. [6] What Do You Want From Me lyrics, Pink Floyd, Sing365.com.

In an interview, David Gilmour was asked if the song returned to the theme of alienation from the audience. He responded by saying that it “actually had more to do 12.30.4 External links with personal relationships but drifted into wider territory”.* [5] • Full lyrics of this song at MetroLyrics There is also speculation that the lyrics are a message to Floyd fans from Gilmour expressing how he feels the fans are always wanting more and more from the band, 12.31 Young Lust (song) such as “Should I sing until I can't sing anymore? Play these strings 'til my fingers are raw?",“You're so hard to "Young Lust" is a song by Pink Floyd.* [2] It appeared please”, and (song title)“What do you want from me?" on The Wall album in 1979.* [2] This song was one of The song uses the miracle of walking on water as a sar- several to be considered for the band's“best of”album, castic metaphor.* [6] Echoes: The Best of Pink Floyd.* [3]

236

12.31.1

CHAPTER 12. SINGLES

Composition

“Young Lust”is a blues-inflected hard rock number in E minor, approximately 3 minutes, 25 seconds in length. The lead vocals in the song are sung by David Gilmour, with background harmony vocals from Roger Waters during the chorus. The lyrics are about a “rock and roll refugee”seeking casual sex to relieve the tedium of touring. On the album, the preceding song, "Empty Spaces", ends with an abrupt transition into “Young Lust”. The guitar lick at the end of the second verse (“Oooh, baby set me free”) has been played live at the end of the final solo in "Learning to Fly.”

sympathetic light. In the film, several groupies (including a young Joanne Whalley, in her film debut* [2]) seduce security guards and roadies to get backstage passes, where one of them (Jenny Wright) ends up going with Pink (Bob Geldof) to his room.

12.31.4 Personnel • David Gilmour – guitars, bass guitar, lead vocals* [5] • Nick Mason – drums* [5] • Roger Waters – backing vocals* [5] • Richard Wright – organs, electric piano* [5]

12.31.2

Plot

with:

The Wall tells the story of Pink, an embittered and alien• Chris Fitzmorris – male telephone voice* [5] ated rock star.* [2] At this point in the album's narrative, Pink has achieved wealth and fame, and is usually away from home, due to the demands of his career as a touring performer. He is having casual sex with groupies to re- 12.31.5 Cover versions lieve the tedium of the road, and is living a separate life • During Roger Waters' The Wall concert in Berlin on from his wife. 21 July 1990, the song was performed by Canadian The end of the song is a segment of dialogue between rock star Bryan Adams.* [6] This version reached #7 Pink and a telephone operator, as Pink twice attempts to on the Mainstream Rock Tracks chart* [7] and is still place a transatlantic collect call to his wife. A man anpopular. It has been added to YouTube from Adams' swers, and when the operator asks if he will accept the official channel.* [8] charges, the man simply hangs up. This is how Pink learns • Producer John Law covered the song with banjo and that his wife is cheating on him. (“See, he keeps hanging electronics.* [9] up,” says the operator. “And it's a man answering!") With this betrayal, his mental breakdown accelerates. The dialogue with the operator was the result of an 12.31.6 Further reading arrangement co-producer James Guthrie made with a neighbour in London, while the album was being • Fitch, Vernon. The Pink Floyd Encyclopedia (3rd recorded in Los Angeles. He wanted realism, for the opedition), 2005. ISBN 1-894959-24-8. erator to actually believe they had caught his wife having an affair, and so didn't inform her she was being recorded. The operator heard in the recording is the second oper- 12.31.7 References ator they tried the routine with, after the first operator's [1] Vernon Fitch, Pink Floyd: Italian Vinyl Singles Discograreaction was deemed unsatisfactory.* [4] phy, The Pink Floyd Archives, 1997–2009.

12.31.3

Film version

In the film, the scene with the attempted phone call, in which Pink learns his wife is cheating on him, occurs at the very beginning of the song“What Shall We Do Now” , which is the extended version of“Empty Spaces”, before the “Young Lust”song rather than at the end of the “Young Lust”song. The implications of the song are therefore slightly different. On the album, he is already unfaithful to his wife while on tour, making him a hypocrite when he is appalled at her own faithlessness. In the film, he is only seen with a groupie after he learns of his wife's affair, which shows the character in a more

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 17 June 2013. [4] Pink Floyd: Through The Eyes Of . . . The Band, Its Fans, Friends, and Foes, edited by Bruno MacDonald. London: Sidgwick & Jackson, 1996. ISBN 0-306-80780-7 [5] Fitch, Vernon and Mahon, Richard, Comfortably Numb – A History of The Wall 1978–1981, 2006, p.84. [6] “Pink Floyd ̶The Wall”. BBC. Retrieved 2009-10-25.

12.31. YOUNG LUST (SONG)

[7] “Artist Chart History (singles) ̶Bryan Adams”. Allmusic. Retrieved 2009-10-25. [8] Bryan Adams cover on YouTube. [9] Ray Padgett, Full Albums: Pink Floydʼs The Wall, Pt. 1, Cover Me Songs, 15 September 2010.

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Chapter 13

Songs 13.1 List of songs recorded by Pink Floyd

•“See Emily Play": Recorded in mid 1967 and originally released as a single 16 June 1967. •“Apples and Oranges": Recorded in late 1967 and originally released as a single 18 November 1967.

The following is a sortable table of all songs by Pink Floyd:* [1]* [2]

•“Paint Box": Recorded in late 1967 and originally released as B-side to the“Apples and Oranges”single 18 November 1967.

• The column Song list the song title. • The column Writer(s) lists which member of Pink Floyd wrote the song.

•“It Would Be So Nice": Recorded in early 1968 and originally released as a single 13 April 1968.

• The column Lead vocal(s) lists who sang lead vocals or 'N/A' in case of instrumentals.

•“Julia Dream": Recorded in early 1968 and originally released as B-side to the “It Would Be So Nice”single 13 April 1968.

• The column Album lists the album the song is featured on.

•“Point Me at the Sky": Recorded in late 1968 and originally released as a single 17 December 1968.

• The column Year lists the year in which the song was released.

•“Careful with That Axe, Eugene": Recorded in November 1968 and originally released as B-side to the“Point Me at the Sky”single 17 December 1968.

If the song was never officially released, Year will list the year it was recorded.

•“Biding My Time": Recorded in 1969 and originally released on the compilation album Relics.

• The column Length list the length/duration of the song.

Was also a part of the show The Man and The Journey performed in 1969, then titled “Afternoon”.

There are currently 192 songs on this list.

13.1.1

Studio recordings

13.1.2

Notes on non-album songs

13.1.3 See also • List of unreleased Pink Floyd material

• List of songs recorded by Syd Barrett Some songs in the list were recorded but never released on any official original studio album but they were released on compilation albums or as singles. The album in the list 13.1.4 References is the first album it appeared on. These songs are: •“Arnold Layne": Recorded in January 1967 and originally released as a single 11 March 1967.

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

•“Candy and a Currant Bun": Recorded in January 1967 and originally released as B-side to the “Arnold Layne”single 11 March 1967.

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

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13.3. ALAN'S PSYCHEDELIC BREAKFAST

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13.2 Absolutely Curtains

before the first and in between all three instrumental parts where only Alan's muttering and movements, with oc"Absolutely Curtains" is a mostly instrumental track casional exterior background noise, are heard. Much of written by Richard Wright, which closes Pink Floyd's Alan's speech is overdubbed throughout the piece in gradually fading echoes e.g. “Macrobiotic stuff”is repeated 1972 album Obscured by Clouds.* [2]* [3] every couple of seconds, more quietly each time. It was performed live three times in the UK during the winter of 1970.* [2] 13.2.1 Chant In addition to the talking, the sounds of Alan making The last part of the track is a chant by the Mapuga tribe breakfast ̶such as lighting the stove, cooking bacon, of New Guinea recorded for La Vallée, the film to which pouring milk and cereal (which makes a popping sound Obscured by Clouds is the soundtrack. associated with Kellogg's Rice Krispies), loudly gulping and drinking milk or juice, and loudly and vigorously eating cereal̶are clearly audible in the background,* [2] 13.2.2 Personnel which adds a conceptual feel to the track. Alan can be • Richard Wright – Farfisa and Hammond organ, tack heard entering the kitchen and gathering supplies at the start of the track, and washing up and exiting the kitchen piano, Wurlitzer electric piano, VCS3 synthesiser at the end; a dripping tap can be heard during both of these instances.* [2] On some copies of the vinyl version, • Nick Mason – percussion and cymbals the dripping tap at the end of the song is cut into the runoff groove, so it plays on infinitely until the listener rewith: moves the stylus from the album,* [2]* [5] an effect obviously lost on the CD release, though the dripping contin• Mapuga tribe – vocalisations ues for approximately 17 seconds after all other sounds have ceased.

13.2.3

References

[1] “The Official Site”. Pink Floyd. [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [3] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

13.2.4

External links

• Full lyrics of this song at MetroLyrics

13.3 Alan's Psychedelic Breakfast

Jam band The Breakfast have taken their name from the song.* [6]* [7]

13.3.2 Sections Rise and Shine This piece consists of two pianos, bass, Hammond organ, drums, and a steel guitar fed through a Leslie speaker. During the opening of this section, Alan can be heard muttering to himself, deciding what to have as he begins to prepare his breakfast. He can be heard saying the following: “Oh... Er... Me flakes... Scrambled eggs, bacon, sausages, tomatoes, toast, coffee... Marmalade, I like marmalade... Yes, porridge is nice, any cereal... I like all cereals... Oh, God. Kickoff is 10am.”At the end of this section, the whistling sound of a tea kettle can be heard as the music stops.

"Alan's Psychedelic Breakfast" is the fifth and final track from the 1970 Pink Floyd album Atom Heart Mother written primarily by Nick Mason but credited to Sunny Side Up the whole group. It is a three-part instrumental.* [1]* [2] This piece takes the form of a modified fugue, and was written and performed entirely by David Gilmour on two 13.3.1 Recording and sounds acoustic guitars and a steel guitar. The track features Pink Floyd playing in the background as Alan Styles (a Pink Floyd roadie, who appeared on the back cover of Ummagumma)* [2] speaks about the breakfast he is preparing and eating,* [2]* [3]* [4] as well as breakfasts he has had in the past ("Breakfast in Los Angeles. Macrobiotic stuff..."). There are significant breaks

Morning Glory This piece was performed by the entire band. The main instrument is Richard Wright's piano, which was overdubbed three different times (one in the left channel, one

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in the centre, and one in the right channel). The piece also features very prominent bass, electric guitar, ADTed drums, and Hammond organ. At the end, after saying “My head's a blank”, Alan picks up his car keys and leaves via the door. Faintly, a car can be heard starting and driving away.

Floyd track that Waters had no part in writing while he was still a member, and the last Pink Floyd studio track credited to Mason until The Endless River.

13.4.1 Composition

The piece itself features no lyrics, and consists of a synthesised tune which segues into a guitar solo (some scat vocals are added later on, these were more promi• David Gilmour ̶steel, acoustic and electric guitars nent in live versions but are still audible in the studio cut). It is approximately three minutes, 25 seconds in length. • Roger Waters ̶tape effects, tape collage, bass The song used advanced effects for the time both in the keyboard and the guitar. The VCS 3 synthesizer was fed • Richard Wright ̶piano, Hammond organ through a long tape loop to create the rising and falling • Nick Mason ̶drums, percussion, tape edits, tape keyboard solo. David Gilmour used two guitars with the collage, additional engineering Uni-Vibe guitar effect to create the harmonizing guitar solo for the rest of the song. “Any Colour You Like” is also known (and is even listed on the Dark Side guiwith: tar tablature book* [3]) as “Breathe (Second Reprise)" because the song shares the same beat (albeit somewhat • Alan Styles ̶voice, sound effects funkier and uptempo) as the album's first song "Breathe". It has also nearly the same chord sequence just transposed a whole step lower from E minor to D minor. 13.3.4 References

13.3.3

Personnel

While the song is instrumental, it has been speculated that the song ties to The Dark Side of the Moon concept by considering the lack of choice one has in human society, while being deluded into thinking one does. It is Mabbett, Andy (1995). The Complete Guide to the Music also speculated that the song is about the fear of making of Pink Floyd. London: Omnibus Press. ISBN 0-7119- choices. The origin of the title is unclear. One possible 4301-X. origin of the title comes from an answer frequently given by a studio technician to questions put to him: “You Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. can have it any colour you like”, which was a reference to Henry Ford's apocryphal description of the Model 162. ISBN 1-84353-575-0. T: “You can have it any color you like, as long as it's Manning, Toby (2006). “Set the Controls”. The Rough black.”(Ford said something very like this in his autobiGuide to Pink Floyd (1st ed.). London: Rough Guides. p. ography.* [4] Although the Model T was in fact produced 64. ISBN 1-84353-575-0. in other colours, those that were had all been produced Schaffner, Nicholas (2005). “The Amazing Pudding”. before the introduction of moving conveyor belts sped up Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). production. After that point, black paint was used for all Model T's, since it was faster drying.) London: Helter Skelter. p. 163. ISBN 1-905139-09-8.

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2]

[3]

[4]

[5]

[6] Lee Seelig. “Backstage Pass - What's In A Name?". Archived from the original on 2006-07-24. Retrieved 2006-12-23.

Roger Waters may have settled this question, in an interview with musicologist and author Phil Rose, for Rose's collection of analytical essays, Which One's Pink?:

[7] AJ Keirans (February 28, 2004). “The Breakfast of Champions (Or What's In a Name?)". Archived from the original on 10 December 2006. Retrieved 2006-12-22.

“In Cambridge where I lived, people would come from London in a van -- a truck -- open the back and stand on the tailboard of the truck, and the truck's full of stuff that they're trying to sell. And they have a very quick and slick patter, and they're selling things like crockery, china, sets of knives and forks. All kinds of different things, and they sell it very cheap with a patter. They tell you what it is, and they say 'It's ten plates, lady, and it's this, that, and the other, and eight cups and saucers, and for the lot I'm asking NOT ten pounds, NOT five pounds, NOT three pounds... fifty bob to you!',

13.4 Any Colour You Like "Any Colour You Like" is the eighth track* [nb 1] from English progressive rock band Pink Floyd's 1973 album, The Dark Side of the Moon.* [1]* [2] It is an instrumental written by David Gilmour, Richard Wright and Nick Mason, making it one of three tracks on the album that Roger Waters did not receive writing credit for, the last Pink

13.5. ASTRONOMY DOMINE and they get rid of this stuff like this. If they had sets of china, and they were all the same colour, they would say, 'You can 'ave 'em, ten bob to you, love. Any colour you like, they're all blue.' And that was just part of that patter. So, metaphorically, 'Any Colour You Like' is interesting, in that sense, because it denotes offering a choice where there is none. And it's also interesting that in the phrase, 'Any colour you like, they're all blue', I don't know why, but in my mind it's always 'they're all blue', which, if you think about it, relates very much to the light and dark, sun and moon, good and evil. You make your choice but it's always blue.” * [5]

13.4.2

Live versions

On earlier Pink Floyd bootlegged versions of the song, there was no keyboard solo, and the song served as a long jam piece called“Scat Section”or“Scat”. Gilmour frequently sang along with his guitar solo and the band's female backing singers would sometimes come up on stage and sing as well.

241

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Schuetz, David and Denault, Matt (1995). “Echoes FAQ #1”. FAQ. Retrieved 23 December 2006. [4] Henry Ford, My Life and Work. [5] Philip Anthony Rose, Which One's Pink? An Analysis of the Concept Albums of Roger Waters & Pink Floyd. Collector's Guide Publishing, Inc. Ontario, Canada. ISBN 1-896522-47-5.

13.5 Astronomy Domine "Astronomy Domine" is a song by English rock band Pink Floyd.* [2]* [3] The song, written and composed by original vocalist/guitarist Syd Barrett, was the first track featured on their debut album, The Piper at the Gates of Dawn (1967).* [2] The lead vocal was sung by Barrett and keyboard player Richard Wright.* [2] Its working title was “Astronomy Domine (An Astral Chant)".“Domine”(the vocative of“Lord”in Latin) is a word frequently quoted in Gregorian chants.

In 1975, it was often extended, sometimes up to nearly fifteen minutes. Gilmour and the backing singers often 13.5.1 sang along with it.

Music

In 1994, it was considerably modified, to be more Sounds and references keyboard-heavy, though not extended, as in all earlier performances. This version is included on Pulse. It was seen as Pink Floyd's first foray into space * Waters performed it in his 2006–08 The Dark Side of the rock [1] (along with "Interstellar Overdrive"), although band members would later disparage this term. The Moon Live tour. song opens with the voice of their manager at the time Peter Jenner reading the names of planets through a megaphone,* [2]* [4] sounding like an astronaut over an 13.4.3 Personnel intercom. Guitarist and vocalist Syd Barrett's Fender Esquire emerges and grows louder. At 0:19 a rapid beep• David Gilmour - electric guitars, scat singing ing sound appears. At 0:26, Nick Mason's drum fills • Richard Wright - Hammond organ, EMS VCS 3, begin, and Barrett plays the enigmatic introductory figEMS Synthi A, Minimoog ure which is discussed in the next section. Keyboardist Richard Wright's Farfisa organ is mixed into the back• Roger Waters - bass ground. Barrett's incantatory lyrics about space support the theme in the song, mentioning planets Jupiter, • Nick Mason - drums, percussion Saturn, and Neptune as well as Uranian moons Oberon, Miranda, and Titania, and Saturn's moon Titan. Barrett and Wright provide lead vocals. Bassist Roger Waters' 13.4.4 References aggressive bass line, Wright's Farfisa organ, and Barrett's kinetic slide guitar then dominate, with Jenner's megaFootnotes phone recitation re-emerging from the mix for a time. [1] Some CD pressings merge "Speak to Me" and "Breathe".

Music progression Citations [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

The verse has an unusual chord progression, all in major chords: E, E♭, G, and A. The chorus is entirely chromatic, descending directly from A to D on guitar, bass, and falsetto singing, down one semitone every three beats.

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Strangest of all may be the intro, in which Barrett takes an ordinary open E major chord and moves the fretted notes down one semitone, resulting in an E♭ major chord superimposed onto an open E minor chord, fretting E♭ and B♭ notes along with the open E, G, B, and high-E strings of the guitar; the G functions both as major third to the E♭ chord, and minor third to the E chord. In the live version heard on Ummagumma (1969), the post-Barrett band, with David Gilmour on guitar, normalised the intro into straight E and E♭ major chords, also normalising the timing of the intro,* [5] but beginning in 1994, began performing a more faithful version (as heard on Pulse), which Gilmour carried into his solo career.

• The track is also featured on the 2001 Pink Floyd compilation album, Echoes: The Best of Pink Floyd.* [13] • The Pulse version reverts to the original 4-minute length, with Gilmour again taking lead vocals as in Ummagumma. • The song was also played by Gilmour and his solo band (which included Richard Wright with Guy Pratt on bass and Steve DiStanislao on drums) at the Abbey Road Studios sessions, which has been released as part of a CD/DVD On an Island package. “Astronomy Domine”was performed during the last few dates of Gilmour's On an Island tour, and features on his Remember That Night and Live in Gdańsk DVDs.

Barrett's Fender Esquire is played through a Binson echo machine, creating psychedelic delay effects. The track is the band's only overt "space rock" song, though a groupcomposed, abstract instrumental was titled "Interstellar Overdrive".* [6]* [7] Waters, in an interview with Nick Sedgewick, described “Astronomy Domine”as “the 13.5.3 Music video sum total”of Barrett's writing about space, “yet there's this whole fucking mystique about how he was the father In 1968, Pink Floyd travelled to Belgium where they filmed a lip-synched promotional film for “Astronomy of it all.”* [8] Domine”, as well as "See Emily Play", "The Scarecrow", "Apples and Oranges", "Paint Box", "Set the Controls for the Heart of the Sun", and "Corporal Clegg". Syd Barrett 13.5.2 Alternative and live versions does not appear in these films, as he had been replaced It was a popular live piece, regularly included in the by David Gilmour. band's concerts.* [2] It appears as the first track on the live David Gilmour lip-synced Syd's voice in the“Astronomy side of the album Ummagumma, released in 1969.* [2] Domine”video. This version reflects the band's now more progressive style.* [9] The song has been extended to include the first verse twice, and the instrumental in the middle,* [9] be- 13.5.4 Cover versions fore getting louder again back to the last verse. The lead vocals are shared between David Gilmour and Richard • Voivod covered this song in their 1989 album Wright,* [9] and is chanting the names of the planets at Nothingface and got the lyrics wrong.* [14] the beginning of the song. The Ummagumma version can • A cover of the song by the Mike Keneally Band is also be found on the American release of A Nice Pair, a included on the 2003 tribute album, A Fair Forgery compilation album released in 1973. of Pink Floyd.* [15] It was dropped from the live sets in mid-1971,* [2] but eventually reappeared as the first song in some sets on • Dredg covers the song on the Syd Barrett tribute althe band's 1994 tour.* [2]* [10] The last time the song was bum Like Black Holes in the Sky, The Tribute to Syd ever performed with Roger Waters was on 20 June 1971 Barrett (2008).* [16] at the Palaeur, Rome, Italy.* [11] A version from a concert in Miami appears as the B-side on the band's "Take It Back" single, and a version from one of the London con- 13.5.5 Personnel certs appears on the live album Pulse. Gilmour played • Syd Barrett - lead and slide guitar (Fender Esquire), the song at some of his appearances during his solo 2006 lead vocals tour, again sharing the lead vocal with fellow Floyd member Richard Wright.* [10] • Rick Wright - organ (Farfisa), lead vocals [' I hear you've dusted off “Astronomy Domine”for the shows. '] 'Yes, and it needed a bit of dusting, I can tell you! I don't think we'd played it since 1968.' ̶David Gilmour, * [12]

• Roger Waters - bass guitar (Rickenbacker 4001) • Nick Mason - drums with: • Peter Jenner - intro vocalisations* [4]

13.6. ATOM HEART MOTHER (SUITE)

13.5.6

References

[1] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 180. ISBN 184353-575-0. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [4] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. pp. 206–207. ISBN 0-85965-431-1.

243

13.6 Atom Heart Mother (suite) "Atom Heart Mother" is a six-part suite by the progressive rock band Pink Floyd, composed by all members of the band and Ron Geesin.* [1] It appeared on the Atom Heart Mother album in 1970, taking up the whole first side of the original vinyl record.* [1]* [2] It is Pink Floyd's longest uncut piece* [3] (the later "Shine On You Crazy Diamond", though longer, was split between two sides of Wish You Were Here.)* [1] Pink Floyd performed it live between 1970 and 1972, occasionally with a brass section and choir in 1970-71.* [1]

13.6.1 Recording and composition

[5] Pink Floyd: Anthology (1980 Warner Bros. Publications, Inc., Secaucus N.J.) Transcribes “Astronomy Domine” Recording began with the drum and bass parts, recorded as heard on Ummagumma [6] A.Robbins “The Trouser Press record guide”(Collier Books, 1991), ISBN 0-02-036361-3

in one take for the entire suite, resulting in an inconsistent tempo throughout the song. Roger Waters and Nick Mason had to play for twenty-three minutes straight.* [4]

[7] Nicholas Schaffner, “Saucerful of Secrets: The Pink Floyd Odyssey”, (Dell, 1992), ISBN 0-385-30684-9, p.66.

When Roger Waters heard David Gilmour playing the guitar parts for this track, he said that he thought it sounded like the theme song from the western film The * [8] Sedgewick, Nick,“A Rambling Conversation with Roger Magnificent Seven. [5] Waters, Concerning All This and That”, Wish You Were Here songbook, ISBN 0711910294 [USA ISBN 0825610796] [9] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 160. ISBN 1-84353-575-0. [10] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 208. ISBN 085965-431-1.

The song was the last Pink Floyd composition which was credited as being co-written by someone outside the band prior to 1979 (not counting Clare Torry's contribution to "The Great Gig in the Sky", for which she has been retroactively given credit due to a settlement with Pink Floyd).* [1]

13.6.2 Attempted film use

[11] “The Concert Database Pink Floyd, 1971-06-20, A Perfect Union Deep In Space, Palaeur, Rome, Italy, Atom Heart Mother World Tour (c), roio”. Pf-db.com. 28 March 2007.

Stanley Kubrick wanted to use this track for his film A Clockwork Orange; however, the band refused permission.* [6] Kubrick did, however, include the album cover in the film. It can be seen on a shelf in the music shop [12] Fuller, Graham (July 1994). “The Color of Floyd”. In- scene. Years later, Kubrick refused Roger Waters perterview Magazine. pp. 20–21. Retrieved 22 July 2011. mission to use audio samples from his film 2001: A Space [13] “Echoes: the album credits”. Pink Floyd. Archived from Odyssey on Waters' solo album Amused to Death.* [7] the original on 2 June 2010. Retrieved 20 June 2013. [14] Prato, Greg. “Nothingface - Voivod : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 29 October 2012. [15] Couture, François. “A Fair Forgery of Pink Floyd - Various Artists : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 29 October 2012.

13.6.3 Live

The number was performed live without the involvement of any members of Pink Floyd for the first time in 36 years on 14 and 15 June 2008 by The Can[16] Sullivan, Patrick. “Like Black Holes in the Sky: The ticum Choir,* [8] with the Royal College of Music on Tribute to Syd Barrett - Various Artists : Songs, Reviews, brass, Caroline Dale on cello, Ron Geesin on piano, AnCredits, Awards”. AllMusic. Retrieved 29 October 2012. drea Beghi on drums, Nadir Morelli on bass, Federico Maremmi on guitar and Emanuele Borgi on the Hammond organ. David Gilmour joined the gig on the sec13.5.7 External links ond night at Cadogan Hall playing his black Stratocaster for most of the track and lap steel guitar for the slide • AMG song review parts. It had been previously performed by a number of • Full lyrics of this song at MetroLyrics ensembles including the Conservatoire national supérieur

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de musique et de danse de Paris (CNSMDP) in March Part two uses various instruments fading in and out, many 2003* [9] and the Seamus Band on 14 October 2005.* [10] of which are recognizable from earlier in the suite, and also features a Leslie speaker used on a piano, an effect that is used again in "Echoes". The same brass part that opens the song is heard over this section, culminating with 13.6.4 Sections a distorted voice shouting,“Silence in the studio!" before exploding into the next section. Father's Shout (0:00–2:54) Opening with a low Hammond organ note, a brass section swoops in, creating a suspenseful note to it, similar to 1960's murder mystery/suspense films. The band then enter with the brass continuing, before the music calms down. Being reprised several times, this part may be seen as the main theme of the piece. This section, as well as the next two sections, are in the key of E minor.

Breast Milky (2:55–5:26)

Remergence (19:14–23:43) This part begins with a reprise of the Father's Shout main theme, which then quietens into an abridged reprise of the Breast Milky cello solo, followed by a double layered guitar section reminiscent of the first slide solo. This all leads into a climactic final reprise of the Father's Shout theme with the entire brass section and choir, ending with a very long resolve to E major from the choir and brass.

After this, a cello solo begins, accompanied by bass guitar Alternative section divisions and organ, with drums joining later. This is followed by a double-tracked slide guitar solo. The choir soon joins Vinyl and most CD editions of the album do not split the in at the end of this section. suite into physical tracks, and the matching of titles to sections as shown above is not universally accepted. One of the CD editions on EMI has different track divisions Mother Fore (5:27–10:12) as shown below, but this has not been proven to be officially sanctioned, and other divisions have been proposed Picking up directly after the last note of the guitar solo, as well. the organ (with quiet bass and drums) takes over for a five-minute ostinato sequence, playing chords based on 1. Father's Shout (00:00–05:20) E-minor, gradually joined by soprano voices and then a choir. The voices swell to a dramatic crescendo, before 2. Breast Milky (5:21–10:09) finally dying down. 3. Mother Fore (10:10–15:26) Funky Dung (10:13–15:29)

4. Funky Dung (15:27–17:44)

5. Mind Your Throats Please (17:45–19:49) Introduced by a key change from E minor to G minor, this section features a simple band jam session. It con6. Remergence (19:49–23:39) tains a second, much bluesier guitar solo. With the introduction of a sustained note on a Farfisa organ, and grand piano, this section changes into a chanting section by the 13.6.5 Working titles choir.* [11] The song then changes key back to E minor, slowly building to a reprise of the main theme from“Fa- The working title for this piece changed a few times during the composing and recording process. When the ther's Shout”. first main theme was composed, David Gilmour called it “Theme From an Imaginary Western”.* [5]* [12] The first Mind Your Throats Please (15:30–19:13) working title for the six-part piece was“Epic”,* [12] written in Ron Geesin's handwriting at the top of his original The 'noise' piece in the song, divided in two parts: score. The work was introduced at the 27–28 June 1970 and Progressive Music as “The Part one is composed mainly of electronic noises. Fur- Bath Festival of Blues * Amazing Pudding”. [13] thermore it is the only section on this album to feature the Mellotron; Wright uses the“3 Violins”and“Flute” In July 1970 Ron Geesin pointed Roger Waters to the registration in order to create the dissonant chord clus- 16 July 1970 edition of the Evening Standard and told ters throughout this sound collage. A distorted voice says him that he would find the song title in the newspaper. “Here is a loud announcement!" about 10 seconds before Waters saw an article about a pregnant woman who had the next part starts. This section ends with a sound effect been fitted with a heart pacemaker. The headline was from the EMI archive, of a steam train passing. “Atom Heart Mother Named”.* [1]* [14]

13.7. BIDING MY TIME

13.6.6

Other appearances

• An edited version of this song was considered for the album Echoes: The Best of Pink Floyd, but did not make the final track listing.* [15] • Hip-hop duo Atmosphere sampled the “Breast Milky”section of the suite for the backing track on the song “Painting”from their 2008 album, When Life Gives You Lemons, You Paint That Shit Gold.

13.6.7

Personnel

• David Gilmour ̶electric guitars, slide guitar

245

[10] “SEAMUS BAND - Atom Heart Mother.flv”. YouTube. Retrieved 22 July 2012. [11] Schaffner, Nicholas (2005). “The Amazing Pudding”. Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 159. ISBN 1-905139-09-8. [12] Manning, Toby (2006). “Set the Controls”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 62. ISBN 1-84353-575-0. [13] Mark Blake (2008). Comfortably Numb: The Inside Story of Pink Floyd. Da Capo Press. p. 134. ISBN 078672708X.

• Roger Waters ̶bass, tape edits

[14] Manning, Toby (2006). “Set the Controls”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 63. ISBN 1-84353-575-0.

• Richard Wright ̶Hammond M-100 organ, Farfisa Compact Duo organ, Mellotron, grand piano, Leslie piano

[15] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013.

• Nick Mason ̶drums, percussion, tape edits with: • Ron Geesin ̶orchestration and co-composition • Abbey Road Session Pops Orchestra ̶brass and orchestral sections • John Alldis Choir ̶vocals • Haflidi Hallgrimsson - cello (uncredited) * [16]

13.6.8

References

[1] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus,. ISBN 0-7119-4301X.

[16] named in Ron Geesin's book 'The Flaming Cow: The Making of Pink Floyd's Atom Heart Mother' (2013, The History Press)

13.7 Biding My Time This article is about a song by Pink Floyd. For the George and Ira Gershwin composition, see Bidin' My Time. "Biding My Time" is a composition by Pink Floyd bassist Roger Waters.* [2]* [3]

13.7.1 Prior performance and recording

Prior to the Relics compilation album,“Biding My Time” was an unreleased recording, heard only by fans who attended concerts where the band performed their early concept piece, The Man and The Journey, where the song [3] Schaffner, Nicholas (2005). “The Amazing Pudding”. appeared as “Afternoon”. During the song a trombone Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). can be heard which is played by keyboardist Richard London: Helter Skelter. p. 158. ISBN 1-905139-09-8. Wright.* [4] The lyrics talk about the narrator spending [4] Atom Heart Mother - Trivia and Quotes, Pink Floyd Co. his time with a woman he loves and forgetting the “bad days”when they were both “workin' from nine to five” [5] Schaffner, Nicholas (2005). “The Amazing Pudding”. . [2] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 162. ISBN 1-84353-575-0.

Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 157. ISBN 1-905139-09-8.

[6] Echoes FAQ

13.7.2 Personnel

[7] “Roger Waters Cape Town 27 February 2002”. Rock.co.za. Retrieved 2012-01-09.

• Roger Waters ̶bass and vocals

[8] The Canticum Choir

• David Gilmour ̶acoustic and electric guitars

[9] “PINK FLOYD ATOM HEART MOTHER - Vidéo Dailymotion”. Dailymotion.com. 2011-12-14. Retrieved 22 July 2012.

• Richard Wright ̶piano, organ and trombone • Nick Mason ̶drums and percussion

246

13.7.3

CHAPTER 13. SONGS

References

The song is somewhat slow, with a guitar arpeggio pattern similar to The Beatles' "Dear Prudence". It is in the key [1] Recording date taken from back cover of Relics album, of D major and features a recurring lyrical pattern and USA edition chorus. [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

13.8.2 Themes

Roger Waters has stated that the insanity-themed lyrics are based on former Floyd frontman Syd Barrett's mental instability, with the line “I'll see you on the dark side of the moon”indicating that he felt related to him in [4] Manning, Toby (2006). “Soundtracks, Compilations & terms of mental idiosyncrasies. The line “And if the Bootlegs”. The Rough Guide to Pink Floyd (1st ed.). Lon- band you're in starts playing different tunes...”references don: Rough Guides. p. 227. ISBN 1-84353-575-0. Barrett's behaviour near the end of his tenure with the band; because of his mental problems, there were more than a few occasions where Barrett would play a different 13.7.4 External links song than the rest of the band in the middle of a concert. The song has a rather famous opening line,“The lunatic • Full lyrics of this song at MetroLyrics is on the grass...”, whereby Waters is referring to areas of turf which display signs saying “Please keep off the grass”with the exaggerated implication that disobeying such signs might indicate insanity. The lyrics' tongue-in13.8 Brain Damage (song) cheek nature is further emphasised by Waters' assertion This article is about the Pink Floyd song. For the in the 2003 documentary Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon that not letting Eminem song, see The Slim Shady LP. people on such beautiful grass was the real insanity. Waters said that the particular patch of grass he had in mind "Brain Damage" is the ninth track* [nb 1] from English when writing the song was to the rear of King's College, rock band Pink Floyd's 1973 album, The Dark Side of the Cambridge. Moon.* [1]* [2] It was sung on record by Roger Waters, who would continue to sing it on his solo tours. David The German literary scholar and media theorist Friedrich Gilmour sang the lead vocal when Pink Floyd performed Kittler attaches great relevance to the song, referring to its it live on their 1994 tour (as can be heard on Pulse). The lyrics as well as to its technological arrangement. For him, band originally called this track “Lunatic”during live the three verses stage the (sound) technological evolution culminating in total, “maddening” performances and recording sessions. This song was one from mono to stereo, * surround sound. [4] of several to be considered for the band's“best of”album, Echoes: The Best of Pink Floyd.* [3] [3] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

13.8.1

Composition

When the band reconvened after the American leg of the Meddle tour, Roger Waters brought with him a prototype version of“Brain Damage”along with other songs such as “Money”. He had been playing the song during the recording of the Meddle album in 1971, when it was called “The Dark Side of the Moon”. Eventually this title would be used for the album itself. The song seemed to be partially inspired by their former band member Syd Barrett who had endured a mental breakdown. After road testing, the new suite entitled“A Piece for Assorted Lunatics”, the song was recorded in October along with "Any Colour You Like". The piece represents Waters' association with acoustic-tinged ballads, and along with "If" and "Grantchester Meadows", “Brain Damage”uses a simple melody and delivery. David Gilmour actively encouraged Waters to sing the song, even though at this time he wasn't particularly confident about his vocal abilities.

13.8.3 "I'll see you on the dark side of the Moon" This song is often mistakenly referred to as “The Dark Side of the Moon”alongside "Eclipse" because the two run together and are commonly played together on the radio, giving the impression that they are one song. The incorrect title is derived from the recurring lyric "I'll see you on the dark side of the Moon", the latter half of which is the album's title.

13.8.4 Personnel • Roger Waters – bass, lead vocals, tape effects • David Gilmour – electric guitars, backing vocals • Richard Wright – Hammond organ, VCS3 synthesizer • Nick Mason – drums, bells, tape effects

13.9. BREATHE (PINK FLOYD SONG) with: • Lesley Duncan – backing vocals • Doris Troy – backing vocals • Barry St. John – backing vocals • Liza Strike – backing vocals

247 a volume pedal and several overdubs.* [2] On the original album, it is a separate track from "Speak to Me", the sound collage which opens the album.* [1] Since this track segues directly into “Breathe”through the use of a sustained backwards piano chord, the two are conjoined on most CD versions of the album.* [3] A one-minute reprise is featured at the end of the song "Time",* [1] without the slide guitar and using Farfisa organ and Wurlitzer electric piano in place of Hammond organ and Rhodes piano.

The uncredited manic laughter is that of Pink Floyd's Along with the other Pink Floyd tracks,“Time”and "The Great Gig in the Sky", “Breathe”is seen as Gilmour then-road manager, Peter Watts.* [5] “carving out a more distinctive style”with the introduction of blues-based chords and solos.* [4]“Breathe”has 13.8.5 References also been seen to “embrace ecology”.* [5] Footnotes [1] Some CD pressings merge "Speak to Me" and "Breathe".

13.9.2 Alternative and live versions

Citations [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 17 June 2013. [4] Friedrich Kittler:“Der Gott der Ohren”, in: id. Draculas Vermächtnis, Reclam Verlag, Leipzig 1993, p. 130-148. [5] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus,. pp. 160p. ISBN 978-184938-370-7.

13.8.6

Further reading

• Manning, Toby. The Rough Guide to Pink Floyd. ISBN 1-84353-575-0.

13.9 Breathe (Pink Floyd song) "Breathe" is a song by progressive rock band Pink Floyd on their 1973 album The Dark Side of the Moon.* [1]

13.9.1

This song was one of several to be considered for the band's “best of”album, Echoes: The Best of Pink Floyd.* [6]

• The Pulse CD and DVD features a live version of the song* [1] with a run time of 2:33. • The song was played at the Live 8 concert and features on the DVD. For that performance,“Breathe” and“Breathe (Reprise)" were combined to form one song. Although Pink Floyd themselves had never done this before, the London Philharmonic Orchestra had previously covered the song in this manner on their 1995 album Us and Them: Symphonic Pink Floyd. • The solo Roger Waters DVD and CD, In the Flesh – Live, features a version of the song sung by Doyle Bramhall and Jon Carin. • Waters originally recorded a song called“Breathe” for Music from The Body, a soundtrack album which he recorded with Ron Geesin.* [1] Although the two are largely different in lyrics, chords and subject matter,* [1] this version can be seen as an early version of the song. Although the song is still available through a CD release of this soundtrack album, it often appears on Pink Floyd bootlegs, most notably on A Tree Full of Secrets. • Live versions with Richard Wright appear on the Gilmour solo Remember That Night DVD and Live in Gdańsk CD. The Live in Gdańsk version is titled “Breathe (In the Air)" rather than just “Breathe”.

Authorship and composition

The authorship and composition of this song is credited to David Gilmour and Richard Wright for the music, and Roger Waters for the lyrics.* [1] The song is slow-paced and rich in texture, and features Gilmour playing the lush electric guitar with a Uni-Vibe and lap steel guitar with

13.9.3 Personnel • David Gilmour – music, lead guitar, lap steel guitar, lead and backing vocals • Roger Waters – lyrics, bass guitar

248

CHAPTER 13. SONGS

• Richard Wright – music, Hammond organ, Rhodes electric piano, backing vocals • Nick Mason – drums, percussion

13.9.4

Cover versions

•“Breathe”is covered on Pink Floyd tribute album An All Star Lineup Performing the Songs of Pink Floyd featuring McAuley Schenker Group vocalist Robin McAuley and Steely Dan/Doobie Brothers guitarist Jeff “Skunk”Baxter.

[6] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 17 June 2013. [7] London Philharmonic Orchestra (10 October 1995).“Us and Them: Symphonic Pink Floyd by London Philharmonic Orchestra; Alibris UK”. Alibris.co.uk. Retrieved 2010-06-02. [8] O'Brien, Jon (9 July 2007).“The Saturday Sessions: The Dermot O'Leary Show'". Allmusic.com. Rovi. Retrieved 2010-06-02. [9] Heyes, Paul (8 July 2003). “Saturday Review - Glastonbury Festival 2003”. eFestivals.com. Retrieved 2010-0602.

• An orchestrated version, arranged by Jaz Coleman appears on the 1995 London Philharmonic Orchestra album Us and Them: Symphonic Pink Floyd.* [7] [10] Breihan, Tom (19 April 2010). “Video: The Flaming • Sea of Green cover “Breathe”and “Breathe (Reprise)" on their album Time to Fly. •“Breathe”is also covered by the southern metal band Hognose on their album ¡El Sombrero!, released by Arclight Records.

Lips Do Pink Floyd's “Breathe”on “Jimmy Fallon"". Pitchfork.com. Pitchfork Media. Retrieved 2010-06-02.

[11] Tilles, Jay (May 7, 2013). “Capital Cities Explains How They United Pink Floyd & Tupac For ʻBreatheʼ". radio.com. Retrieved May 18, 2014.

• A version of“Breathe”by The Shins is included on 13.9.6 External links the 2007 compilation album The Saturday Sessions: The Dermot O'Leary Show.* [8] • Full lyrics of this song at MetroLyrics • Flaming Lips included a version of “Breathe”in their act at the Glastonbury Festival in 2003* [9] and performed a live version for Late Night with Jimmy Fallon in 2010.* [10] Flaming Lips also covered the song with Stardeath and White Dwarfs on the band's 2009 album The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing The Dark Side of the Moon.

13.10 Bring the Boys Back Home "Bring the Boys Back Home" is a song from the Pink Floyd album, The Wall.* [1] The song was released as a B-side on the single, "Pink Floyd The Wall - Music From The Film".* [2]

• Capital Cities covered the song and incorporated a sample of Tupac Shakur's rap from Scarface's 13.10.1 Composition "Smile,”which features a similar lyric to the Pink Floyd song.* [11] As the final notes of the previous song "Vera" decay, the listener hears several snare drums articulating a march beat in 4 13.9.5 References 4 time, fading in like approaching soldiers. The song [1] Mabbett, Andy (1995). The Complete Guide to the proves to be polyrhythmic, as this beat continues unMusic of Pink Floyd. London: Omnibus. ISBN changed while the orchestra, choir, and lead vocals begin in 12 9780711943018. 8. [2] Chapman, Richard (2003). Guitar: Music, History, Players (1st pbk. ed.). New York: DK Pub. ISBN 9780789497000.

[3] Ruhlmann, William. “Speak to Me/Breathe”. Allmusic.com. Rovi. Retrieved 2012-07-08. [4] Gulla, Bob (2008). Guitar Gods: The 25 Players Who Made Rock History. Westport, Conn.: Greenwood Press. p. 93. ISBN 9780313358067. [5] Schinder, Scott; Schwartz, Andy (2008). Icons of rock : an encyclopedia of the legends who changed music forever. Westport, Conn.: Greenwood Press. p. 447. ISBN 9780313338472.

Roger Waters sings the simple and direct lyric in his upper register, stridently, supported by a choir. A IV-V-I chord progression in G major repeats, providing a sense of satisfaction. This is followed by a reversal, from G to D major with F-sharp in the bass, to C major, which features a tritone movement in the bassline, going from F♯ to C, introducing a sense of instability. This progression is a recurring Pink Floyd theme, appearing throughout the album in “Hey You”, “Vera”, and others, as well as several songs on Waters and company's follow-up concept album on the losses of war, The Final Cut. Waters and choir exhort, “Bring the boys back home / Don't

13.10. BRING THE BOYS BACK HOME

249

leave the children on their own”. On the final iteration, final sense, a theft from those who hunger the song climaxes on the relative minor of E minor. The and are not fed, those who are cold and not choir abruptly drops away, leaving Waters' voice alone, clothed.” agonised and struggling to sustain the high note (the first B above middle C). A lone snare drum also remains, continuing its now-threatening march beat, as voices from 13.10.3 Film appearance Pink's past and present mingle while his manager pounds In the film, the song is sung by a large choir, without Waon his hotel-room door.* [3]* [4]* [5] ters' lead vocal. It is also expanded, with an extended According to songwriter Roger Waters,“Bring the Boys vamp on the subdominant before repetition of the full Back Home”is the central, unifying song on The Wall: four-line lyric.

13.10.2

Performances

The original Pink Floyd concerts of The Wall were so expensive that, ultimately, the band lost money staging them. They were also, at that time, the most elaborate stage productions a rock band had ever mounted. For these reasons, and others, it is understandable that the band chose to use the original recordings of Michael Kamen's orchestral arrangements, rather than hire and rehearse a live orchestra, for what was then considered a rock and roll concert. Recordings of the original sound effects (televisions, helicopters, various atmospheric effects) were also used (as were the specific echo effects in several songs, such as "Hey You" or "Stop"). With the use of click tracks, the musicians were able to play in sync with the recordings (with the additional result that they reproduced nearly every song at its precise original tempo).

“Bring the Boys Back Home”is about not letting war, or careers, overshadow family relationships or leave children neglected. This is symbolised in the film, in which the protagonist, Pink, is seen as a young boy at a train station. The station is filled with soldiers returning from war, their loved ones happy to greet them. But though he wanders around in vain, there is no one for Pink to embrace, as his father did not make it home alive. The happy crowd sings an exultant tune,“Bring the Boys Back Home”, but the song ends abruptly on a minor chord as Pink suddenly realises he is alone. The crowd of reunited families then vanish. As the last notes die away, we see his embittered and alienated adulthood. Memories of events that drove Pink to isolation begin to recur in a loop: The teacher from "Another Brick in the Wall", the operator from "Young Lust", and the groupie from "One of My Turns", Pink's manager yelling,“Time to go!" (to play a concert) and insane laughter are also mixed into the closing seconds, concluding with the ominous voice from "Is There Anybody Out There?", reverberating slowly into silence, and segueing into "Comfortably Numb".

As “Bring the Boys Back Home”is performed by an orchestra, with a large number of drummers, and none of the typical rock and roll instruments, Roger Waters would simply sing along to a remix of the studio recording. This 13.10.4 Personnel is demonstrated on Is There Anybody Out There? The Wall Live 1980–81, paying special attention to the end• Roger Waters ̶vocals* [6] ing, when the “live”Roger Waters drops out, and his recorded lead vocal remains, sustaining the last note with with: the unique wavering heard on the studio album. Ten years later, when Roger Waters̶by then a solo artist ̶decided to stage a massive re-production of The Wall at the site of the recently dismantled Berlin Wall, he had the personnel and the finances for a full-scale arrangement (Particularly because it was understood to be a charity concert for the Memorial For Disaster Relief). Using the extended arrangement from the film, Waters sang (in his most strident, histrionic style) while backed by the Rundfunk Orchestra and Choir, band of the Combined Soviet Forces in Germany and the Red Army Chorus.

• Joe Porcaro ̶snare drum* [7] • 35 New York drummers including Bleu Ocean ̶ snare drums* [7]* [8] • New York Opera ̶choir* [7] • New York Orchestra ̶strings* [7]

13.10.5 See also

When Waters resurrected the concept of The Wall for his 2010-2012 tour, The Wall Live, the song was again cen• List of anti-war songs tral to the show's political message. Throughout the song, the projections on the fully built wall slowly gave a 1953 quote from U.S. President Dwight D. Eisenhower: 13.10.6 Further reading “Every gun that is made, every warship launched, every rocket fired, signifies, in the

• Fitch, Vernon. The Pink Floyd Encyclopedia (3rd edition), 2005. ISBN 1-894959-24-8.

250

13.10.7

CHAPTER 13. SONGS

References

13.11.3 References

[1] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

[2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

[3] Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1031-6 [USA ISBN 0-8256-1076-1])

[3] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. pp. 164–165. ISBN 1-84353-575-0.

[4] Pink Floyd: The Final Cut (1983 Pink Floyd Music Publishers Ltd., London, England.) [5] Phil Rose, Which One's Pink? An Analysis of the Concept Albums of Roger Waters & Pink Floyd (Collector's Guide Publishing, Inc., Box 62034, Burlington, Ontario, Canada, L7R 4K2, http://www.cgpublishing.com ISBN 1-89652217-3) [6] Fitch, Vernon and Mahon, Richard, Comfortably Numb ̶ A History of The Wall 1978-–1981, 2006, p. 97. [7] Fitch and Mahon, p. 97 [8] Ocean, Bleu. “About Bleu Ocean”. Retrieved 5 April 2013.

13.10.8

External links

• Full lyrics of this song at MetroLyrics

13.11 Burning Bridges (Pink Floyd song)

13.11.4 External links • Full lyrics of this song at MetroLyrics

13.12 Candy and a Currant Bun "Candy and a Currant Bun" was the B-side to Pink Floyd's first single, Arnold Layne.* [2] Its lyrical content was about drugs and casual sex.* [3]

13.12.1 Lyric change When performed live in 1967, the song was known as “Let's Roll Another One”* [2]* [4] and contained the line "I'm high - Don't try to spoil my fun", but the record company forced Syd Barrett to rewrite it, at the suggestion of Roger Waters,* [5] without the controversial drug references.* [6] Nevertheless, the recorded version added the line "Oh don't talk with me/Please just fuck with me", which the BBC censors missed.

13.12.2 The Mars Volta cover

"Burning Bridges" is a song from Pink Floyd's 1972 album Obscured by Clouds. It shares a similar tune to the The Mars Volta's cover of “Candy and a Currant instrumental "Mudmen" on the same album.* [1]* [2]* [3] Bun”was released in some U.S. indie stores as free 5” VinylDisc. It was given away with purchase of the album The Bedlam in Goliath. The VinylDisc is a new format 13.11.1 Composition and vocals that has a digital side and a vinyl side. One side plays in a CD player, while the other side plays on a turntable. The It consists of an organ melody written by Richard Wright, vinyl side contains the Pink Floyd cover “Candy and a with David Gilmour and Wright singing the lyrics by Currant Bun”, while the CD side contains the audio track Roger Waters as a duet. for“Candy and a Currant Bun”as well as the Wax Simulacra video as enhanced content. It also comes with a removable foam spindle insert to switch between CD & 13.11.2 Personnel vinyl. • David Gilmour – electric guitar, slide guitar, vocals

The track was a bonus track on the UK and Australasian releases of the album.

• Richard Wright – Hammond organ, vocals • Roger Waters – bass guitar • Nick Mason – drums, percussion

13.12.3 Personnel • Syd Barrett - lead vocals, electric guitars

13.13. CAREFUL WITH THAT AXE, EUGENE • Rick Wright - Farfisa organ, harmony vocals • Roger Waters - bass, screaming • Nick Mason - drums, spoken line

13.12.4

References

[1] “The Piper at the Gates of Dawn [3-CD Deluxe Edition]". Allmusic.com. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus,. ISBN 0-7119-4301X. [3] http://www.celestial.20m.com/candy_fact.html [4] Chapman, Rob (2010). “Distorted View – See Through Baby Blue”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 134. ISBN 978-0-57123855-2. [5] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 32. ISBN 1-84353-575-0. [6] Dodd, Philip; Philip Dodd (2005-03-17). “Chapter 2: Going Underground”. Inside Out: A Personal History of Pink Floyd (illustrated, revised ed.). Chronicle Books. p. 53. ISBN 978-0-8118-4824-4. Retrieved 2009-02-12. 'Candy and a Currant Bun' was originally called 'Let's Roll Another One', including the lyrics "'I'm high, don't try to spoil my fun'". Since this was deemed to be pushing our luck on a tape due to be taking into the still very conservative record industry, a complete alternative set of lyrics had to be cobbled together.

13.13 Careful with That Axe, Eugene

251 octaves, with a segue into the song's only lyrics: the title of the song whispered menacingly, followed by a Roger Waters scream. The song becomes much louder and more intense before gradually settling down again. In the heavier parts and later, quieter parts, David Gilmour can be heard with guitar and scat vocals; in concert, Gilmour would often sing along with his guitar line. For the re-recording made for Zabriskie Point,“Come In Number 51, Your Time Is Up”, whispering and a choir were added. David Gilmour and Roger Waters provided the vocals, and Waters' screaming is noticeably louder. It is a complete instrumental; unlike the original “Careful with That Axe, Eugene”, “Come in Number 51, Your Time Is Up”does not feature the spoken words “Careful with that axe, Eugene”, and is in the key of E minor instead of the original D minor. In the film, it plays at the end during an explosion sequence filmed in slow motion. In the booklet of the soundtrack's reissue, David Fricke writes: "'Come In Number 51, Your Time Is Up' is a cryptically titled remake of the Floyd's volcanic 1968 B-side 'Careful With That Axe, Eugene.' But its bonfire sound ̶all roaring guitars, crashing drums, and death-throe screaming ̶is the perfect complement to the movie's cataclysmic finish.”

13.13.2 Live history Pink Floyd performed the song frequently in concert from 1968–1973 in progressively slower and alternative formats, and once at the Oakland Coliseum in 1977.* [5] An embryonic form was performed as early as 31 May 1968 (captured in a recording at The Paradiso in Amsterdam) under the original title of “Keep Smiling People”, * [6]* [7] and another version was recorded on 25 June 1968 at the BBC Piccadilly Studios and broadcast on John Peel's Top Gear radio program 11 August 1968 with the original title “The Murderotic Woman”, later re-titled “Murderistic Woman”.* [8] A version was recorded live in May 1969 for the Ummagumma live disc.* [9] This version is considerably longer and more haunting than its studio counterpart, as well as having the organ parts played on Wright's Farfisa Compact Duo rather than a Hammond.* [10] Footage also exists of the group doing the song live in Australia on GTK. The live renditions on a whole were much slower, with the piece gradually building in intensity before a drum fill signaled Waters' blood-curdling screams.

"Careful with That Axe, Eugene" is an instrumental composition by the British rock band Pink Floyd.* [1] The studio recording was originally released as the B-side of their single "Point Me at the Sky" and is also featured on the Relics compilation album; live versions can also be found on Ummagumma and in the film Pink Floyd: Live at Pompeii. Pink Floyd re-recorded the track for Italian director Michelangelo Antonioni's film Zabriskie Point, retitling it “Come In Number 51, Your Time Is Up”on the film's soundtrack album.* [2] This song was one of several to be considered for the band's“best of”album, Echoes: The Best of Pink Floyd.* [3] It was included on the multi-artist Harvest compilation, A Breath of Fresh Air – 13.13.3 A Harvest Records Anthology 1969–1974 in 2007.* [4]

13.13.1

Composition

The music consists of a light, organ-based jam with Wright utilizing the Phrygian mode and an accompanying bass guitar playing just one tone (in this case, D) in

Personnel

• Roger Waters ̶bass guitar, whispering and screaming • David Gilmour ̶guitar, vocalizations • Richard Wright ̶Farfisa organ (live version), Hammond organ (studio version), vibraphone (stu-

252

CHAPTER 13. SONGS dio version)

• Nick Mason ̶drums

13.13.4

Other use

13.14.1 Composition It was written by Syd Barrett and its lyrics are inspired by text from chapter 24 of the ancient Chinese tome I Ching (The Book of Changes).* [4]* [5]

•“Careful with That Axe, Eugene”is featured in the 13.14.2 2010 film Mr. Nice.

I Ching

•“Careful with That Axe Eugene”is used in the first episode of Jacob Bronowski's The Ascent of Man. •“Careful with That Axe Eugene”is referenced in the Dream Theater song “Octavarium”.

13.13.5

References

[1] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [2] “Albums: Zabriskie Point (1970), Pink Floyd”. Floydian Slip. Retrieved 25 February 2011. Roger Waters revisited this theme in “One Of My Turns”from the Wall, in a lyric that reads “Run to the bedroom, in the suitcase on the left, You'll find my favourite axe.” [3] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 17 June 2013.

Fû hexagram

[4] “A Breath of Fresh Air: A Harvest Records Anthology, 1969-1974 - Various Artists : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 13 September 2012.

The translation Barrett referenced is not known, but phrases from the lyric can be found in the Richard Wilhelm and Baynes translation of 1950,* [6]* [4] and the [5] “Pink Floyd Oakland Coliseum 9/5/77”. Retrieved 2 Legge translation of 1899.* [7] The former is more poAugust 2012. etic, but the latter has greater detail. Chapter 24 explains [6] “Pink Floyd : Keep Smiling People”. Retrieved 2 August the significance of the Fû (复, means“returning”) hex2012. agram.* [4] [7] http://pinkfloydhyperbase.dk/unreleased/index.html# KEEP SMILING PEOPLE

13.14 Chapter 24

•“A movement is accomplished in six stages...”– The lyric's opening line appears to be taken from the I Ching's instructions for performing a divination, which is accomplished in six stages, one for each row of the hexagram, and is used to select a hexagram and its corresponding chapter. These are words from the Richard Wilhelm translation into German, rendered into English by Cary F. Baynes. The German text from Wilhelms comment to the judgement is (I Ging. Das Buch der Wandlungen. Eugen Diederichs Verlag, Jena 1924): “Alle Bewegungen vollziehen sich in sechs Stufen. Die siebente Stufe bringt dann die Wiederkehr.”and Baynes translates: “All movements are accomplished in six stages, and the seventh brings return.”(see also the next line).

"Chapter 24" is the title of a song from Pink Floyd's 1967 album The Piper at the Gates of Dawn.* [1]* [2] This song was one of several to be considered for the band's “best of”album, Echoes: The Best of Pink Floyd.* [3]

• "...and the seventh brings return...”– A significant theme of this chapter is that the subject may freely come and go without great trouble, although the last row of the hexagram (the top row) takes the contrary

[8] Hodges, Nick and Priston, Ian (1999), Embryo: A Pink Floyd Chronology 1966–1971. Cherry Red Books, p. 126. [9] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus. p. 160. ISBN 978-1-84938370-7. [10] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 160. ISBN 1-84353-575-0.

13.14. CHAPTER 24

253

position. A journey lasting six days is implied, and Note: This analysis does not cover all lines of the lyric. “in seven days comes his return”(Legge translation). • "...for seven is the number of the young light...”– In the German text, Wilhelm writes in his com- 13.14.3 Cover versions ment to the judgement: “Darum ist die Sieben • Jesu performed a version of this song on Like Black die Zahl des jungen Lichts, die dadurch entsteht, Holes in the Sky: The Tribute to Syd Barrett.* [8] dass die Sechs, die Zahl des grossen Dunkels, sich um eins steigert.”and Baynes translates literally: “Therefore seven is the number of the young light, and it arises when six, the number of the great 13.14.4 Personnel darkness, is increased by one.”(for all Baynes citations see: http://www.pantherwebworks.com/I_ • Syd Barrett – lead vocals, guitar Ching/bk1h21-30.html#24). “Young light”may also refer to the sun at winter solstice (see below).1 • Richard Wright – Farfisa organ, Hohner Pianet, As the lines in the hexagrams of the I Ching are seen cello, harmonium, backing vocals ascending from below, the“young light”is the first (unbroken) line at the bottom. In his comments to • Roger Waters – bass, gong the judgement of chapter 24 in the third book of the I Ching, Richard Wilhelm explains: “Nachdem die • Nick Mason – crash cymbals, tubular bells Kraft des Lichten im Zeichen Gou (Nr. 44, das Entgegenkommen) abzunehmen beginnt, kommt sie im Zeichen Fu nach sieben Wandlungen wieder.”which corresponds in English to:“After the power of light 13.14.5 References starts to wane in the sign Kou (No. 44, Coming to Meet) it returns in the sign Fu (No. 24, Return / The [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN Turning Point) after seven changes.” 1-84195-551-5.

• "...change returns success...”– The first line of the Wilhelm and Baynes translation is: “Return. Success.”– a summary of the Fû hexagram. • "...going and coming without error...”– This references“going in and coming out without error”(from Wilhelm and Baynes, second line of the translation), and refers to the meaning of the third row of the hexagram, counting from the bottom (from Legge).

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 17 June 2013.

• "...action brings good fortune...”– The first and second rows (from the bottom) both indicate “good fortune”.

[4] Chapman, Rob (2010). “Distorted View – See Through Baby Blue”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 151. ISBN 978-0-57123855-2.

• "...sunset, sunrise...”(latter word added in repeats of the chorus) – This refers to winter solstice (see next line): the longest night of the year, the greatest length of time between sunset and sunrise.

[5] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 187. ISBN 085965-431-1.

•“The time is with the month of winter solstice, when the change is due to come...”– Fû also symbolizes the eleventh month, which contains the winter solstice, the shortest day of the year, when the length of daylight changes from becoming shorter each day, to longer each day.

[6] I Ching, chapter 24, Wilhelm and Baynes translation, 1950, at Canta Forda Computer Laboratory [7] I Ching, chapter 24, Legge translation, 1899, at Internet Sacred Texts Archive [8] Sullivan, Patrick. “Like Black Holes in the Sky: The Tribute to Syd Barrett - Various Artists : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 29 October 2012.

• "...thunder in the other course of heaven...”– Each hexagram can also be viewed as two trigrams: the bottom three rows (inner trigram) and top three rows (outer trigram). Fû is composed of trigrams for thunder and earth. The lyric may inadvertently refer 13.14.6 External links to chapter 25's “Wú Wàng”hexagram, composed • Full lyrics of this song at MetroLyrics of the trigrams for thunder and heaven.

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13.15 Childhood's Floyd song)

End

(Pink

"Childhood's End" is a song from Pink Floyd's 1972 album Obscured by Clouds.* [1]* [2] It was the last Pink Floyd song to be composed entirely by David Gilmour, as well as the last to feature lyrics written by him, until A Momentary Lapse of Reason in 1987. The song was inspired by the 1953 science-fiction novel of the same name by Arthur C. Clarke. Coincidentally, this song and Genesis' "Watcher of the Skies" were both influenced by the novella and released in the same year.

13.15.1

Live

the first track on their 1969 album Soundtrack from the Film More.* [2]

13.16.1 Writing and recording The song is 5 minutes 15 seconds long. It was written by Roger Waters and performed with David Gilmour (vocals, guitar) and Richard Wright (organ). The song has a hallucinogenic, pastoral quality, with prominent organ and bird sound effects, like those that later that year featured on the Ummagumma track "Grantchester Meadows". It was also included on Pink Floyd's compilation album Relics. The song features no drums, which creates a rather unusual feeling. The Hammond and Farfisa organ coda is similar to that found on the“Celestial Voices” section of "A Saucerful of Secrets". While the Hammond provides a stately foundation with an Em-Bm-D-A-G-DB sequence, about 1/4 way into the coda Wright introduces the Farfisa which, run through a Binson Echorec platter echo, produces the swirly, trembly, echoey sound that hovers over the Hammond.

“Childhood's End”was performed live during Pink Floyd's European tour in late 1972 and at a few shows in March 1973 on their next North American tour. The live versions usually featured a fairly long instrumental section not found in the studio version, with an exception being the last version played on 10 March 1973 at Kent State University, when they stuck to the studio arrange- The opening birdsong is from a 1961 recording entitled ment. The live versions were also performed in F-sharp “Dawn Chorus”and the single bird featured over the organ part is a nightingale also from 1961. Both featured on minor, a step higher than the studio version (E minor). an HMV sound effects single (together with a recording of owls) but presumably the band just borrowed the originals from the EMI sound effects library as EMI owned 13.15.2 Personnel HMV. • David Gilmour - acoustic and electric guitars, lead vocals • Roger Waters - bass • Richard Wright - Hammond organ, EMS VCS 3 synthesizer, Farfisa organ • Nick Mason - drums

13.15.3

References

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

13.15.4

External links

• Full lyrics of this song at MetroLyrics

13.16 Cirrus Minor (song)

13.16.2 Music

“Cirrus Minor”has an unusual chord sequence: E minor, E flat augmented, G major, C# minor 7, C major 7, C minor 7 and B 7. The chords are built around the chromatically descending bass line. The B 7, C major 7 and G major chords are the only chords which fit into the functional context of the E minor key. This chord sequence gives the song a very surreal atmosphere. Equally surreal is the stately and pastoral Hammond/Farfisa coda. It is one of the best examples of how and why Wright was so crucial to the band's early sounds and textures.

13.16.3 Personnel • David Gilmour ̶acoustic guitar, vocals • Richard Wright ̶Hammond and Farfisa organ • Roger Waters ̶birdsong effects

13.16.4 Covers

"Cirrus Minor" is a song written and performed by the “Cirrus Minor”was covered by the French artist Étienne progressive/psychedelic rock band Pink Floyd.* [1] It is Daho on his 2007 album, L'Invitation.

13.18. COMING BACK TO LIFE

13.16.5

References

[1] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

255

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] http://www.floydianslip.com/pink-floyd/interviews/ andy-jackson.php

[4] http://www.space.com/ 17708-weird-sounds-picked-up-by-space-probes-in-earth-s-magnetospherehtml

13.17 Cluster One

[5] http://image.gsfc.nasa.gov/poetry/inspire/2006/sferics. html

"Cluster One", an instrumental, is the opening track on Pink Floyd's 1994 album, The Division Bell.* [1]* [2]

[6] http://www.u2interference.com/forums/f287/ stump-the-pink-floyd-guru-82280-5.html

13.17.1

[7] http://www.pinkfloydonline.com/forums/showthread. php?tid=1888

History

It is also the first Pink Floyd song credited to Wright/Gilmour since "Mudmen", from the 1972 album Obscured by Clouds.

[8] http://www.audio-music.info/htm/p/Pink_Floyd_The_ Division_Bell.htm

It was never performed live by the band, though portions of it were included in the sound collage tape played before their 1994 concerts.

13.18 Coming Back to Life

13.17.2

"Coming Back to Life" is a song from Pink Floyd's 1994 album The Division Bell, and is credited solely to David Gilmour.

Track overture

The noise which opens the track caused some confusion among fans in 1994, who were unsure, on playing the album for the first time, whether or not their copy was faulty, as the noise lasts for nearly 1 minute before any music begins. According to an interview with Andy Jackson, recording engineer for the album, this noise is electromagnetic noise from the solar wind.* [3] More precisely, this sound is a very low frequency record of dawn chorus* [4] and sferics,* [5] radio events respectively due to solar wind interference with Earth's magnetosphere, and lightning strikes radio emissions interfering with Ionosphere; this sound is often mistaken for Earth's crust shifting and cracking.* [6]* [7]* [8]

13.17.3

Personnel

13.18.1 Composition Gilmour has said (as can be heard on the David Gilmour in Concert DVD) that the song was written about his wife, Polly Samson. The song is played in C major. It opens with a synth droning a C major chord, leading to a slow guitar solo played with a clean sound. The first verse is then sung slowly over synth chords, before the main rhythm of the song appears, and the rest of the band join the arrangement. Another verse is sung, and followed by a guitar solo. After this guitar solo, the last few lines of the verse are sung again, and then a guitar solo is played until the end of the song.

• David Gilmour ̶guitars • Nick Mason ̶drums, percussion

13.18.2 Live performances

• Richard Wright ̶piano, Kurzweil synthesizers

It was also featured on the 1995 live album, Pulse. The version on the audio release is from a show other than that which is on the video and DVD. David Gilmour's solo live versions are featured on his live DVDs David Gilmour in Concert and Remember That Night as well as on the third CD of the special edition of the Live in Gdańsk album. Gilmour also played the song at the 50th birthday celebration of the Fender Stratocaster in 2004.

13.17.4

References

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1178. ISBN 1-84195-551-5.

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13.18.3

CHAPTER 13. SONGS

Personnel

September that year.* [5] The video takes place in a room with a dining table covered with exquisite food, and all • David Gilmour – vocals, guitar four band members, wearing helmets, officer's caps and trench coats, are there enjoying the food. An acciden• Richard Wright – Kurzweil synthesizers, Hammond tal spillage of wine triggers a full scale food fight, resultorgan ing in the room getting completely trashed and all four band members covered in food (even the cameraman gets • Nick Mason – drums, percussion dragged into it), whilst the Dove of Peace (an actual white dove) is caught in the“crossfire”. Interspersed throughwith: out the video is footage of war and the band performing the song. • Guy Pratt – bass guitar • Jon Carin – additional keyboards

13.18.4

References

13.19 Corporal Clegg "Corporal Clegg" is a song by the English psychedelic rock band Pink Floyd, and is featured on their second album, A Saucerful of Secrets (1968).* [1] It was written by Roger Waters* [1] and features David Gilmour, Nick Mason and Richard Wright on vocals, which is the only Floyd song to do so.* [2] The song also features a kazoo.

13.19.3 Personnel • David Gilmour – electric guitars, lead vocals (verses), kazoo, backing vocals • Nick Mason – drums, percussion, lead vocals (verses) • Rick Wright – Farfisa organ, lead vocals (choruses) • Roger Waters – bass, backing vocals with:

13.19.1

Lyrics

The song is about a shell-shocked soldier who lost his leg in World War II. He is described as having a medal of“orange and red and blue”, which may be a reference to the Burma Star. It is the first mention of war in a Pink Floyd song, something that would become a common theme in Roger Waters' lyrics, Roger having lost his father thus in 1944.* [1] Waters told Mojo magazine that this song is autobiographical. He explained: “Corporal Clegg is about my father and his sacrifice in World War II. It's somewhat sarcastic̶the idea of the wooden leg being something you won in the war, like a trophy.”* [3] This can be seen as rather lighter in tone than the Pink Floyd's later tackling of the subject, though, despite the irony (Clegg “won” his wooden leg in the war) and darkness behind the lyrics; indeed, among the cacophony of voices towards the end we hear an officer telling his one-legged man: “Clegg! Been meaning to speak to you. About that leg of yours! You're excused parade from now on!" and members of the band actually corpsing in the chorus.

13.19.2

Music videos

• Norman Smith – voice

13.19.4 See also • List of anti-war songs

13.19.5 References [1] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus,. ISBN 0-7119-4301X. [2] Schaffner, Nicholas (2005). “Shine On You Crazy Diamond”. Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 132. ISBN 1905139-09-8. [3] Corporal Clegg Songfacts [4] Povey, Glenn; The Complete History of Pink Floyd, 2006, p.91

Although the song was never performed live, two videos [5] Ibidem, p.111 of the song exist. The first one was shot on 19 or 20 February 1968 for Belgian RTB TV and features the band miming to a work-in-progress version of the song with a 13.19.6 External links different ending.* [4] The second one was shot on 22 July 1969 for the West-German SDR TV and broadcast on 21 • Full lyrics of this song at MetroLyrics

13.23. CYMBALINE

13.20 Country Song (Pink Floyd song)

257 their 1969 soundtrack album, Soundtrack from the Film More.* [1]* [2] The song is a lazy pastoral-like ballad, featuring a dreamy vocal delivery by Gilmour.

"Country Song" also known as "The Red Queen Theme" is a (actually untitled, Country-styled) song by 13.22.1 Composition Pink Floyd. The song is composed similarly to many standard folk ballads, with the only exception being the second chord. 13.20.1 History It is a D major with a diminished fifth. In this context the D major flat fifth chord has a more dissonant character David Gilmour provides the lead vocals (though the re- and lasts for a whole measure. It creates a very dreamy, mastered Zabriskie Point soundtrack booklet incorrectly surreal atmosphere. The song has four verses connected states that Roger Waters is providing the lead vocal, with a unison instrumental interplay of guitar and bass. though he does share vocals in unison with Gilmour in the chorus sections). It was originally meant to be on the soundtrack to the film Zabriskie Point, but Michelangelo 13.22.2 Instrumentation Antonioni didn't want it in the film. However, it can be found on the second disc from the soundtrack album's The song is introduced by a vibraphone played by Richard Wright. David Gilmour plays acoustic guitar and the 1997 reissue. The song uses chess terms as metaphors. outro slide guitar solo which is, in the beginning, very Versions of this song were called “The Red Queen close to the vocal line, with some rhythmic variation. It Theme”, possibly referring to the Red Queen character slowly evolves into its own melody line while maintaining from Through the Looking-Glass. its melodic character. This approach is very typical for Gilmour's later style. Roger Waters can be heard on the Fender Precision Bass while Nick Mason is using just the 13.20.2 References snare drum of his kit.

13.21 Crumbling Land "Crumbling Land" is a song by Pink Floyd from the soundtrack album of the film Zabriskie Point.* [1]* [2]

13.21.1

History

13.22.3 Personnel • David Gilmour ̶classical acoustic guitar, electric slide guitar and lead vocals • Rick Wright ̶vibraphone, possible backing vocals

• Nick Mason ̶snare drum It is an up-tempo, country-styled song. David Gilmour • Roger Waters ̶bass and Rick Wright provided the vocals. In the booklet of Zabriskie Point soundtrack's reissue, there is a note about what David Gilmour said about the song in an interview; 13.22.4 References he described the song as "a kind of country & western number which he [Antonioni] could have gotten done bet- [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN ter by any number of American bands. But he chose us ̶ 1-84195-551-5. very strange."

13.21.2

References

[1] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [2] “Albums: Zabriskie Point (1970), Pink Floyd”. Floyian Slip. Retrieved 25 February 2011.

13.22 Crying Song

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

13.22.5 External links • Full lyrics of this song at MetroLyrics

13.23 Cymbaline

For other uses of the word“cymbaline”, see Cymbaline "Crying Song" is a song composed by Roger Waters, (disambiguation). bassist of the British rock group Pink Floyd. It appears on

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CHAPTER 13. SONGS

"Cymbaline" is a Pink Floyd song from the album, Soundtrack from the Film More.* [1]* [2]

13.23.1

Lyrics

Its lyrics vividly tell the tale of a “nightmare”, which was the title of the song when it was first introduced in Floyd's The Man and The Journey Tour shows. The song also makes reference to the Marvel Comics character Doctor Strange. Doctor Strange also made an appearance on the cover of Pink Floyd's second album, A Saucerful of Secrets.

13.23.2

Recording

section, the band presented a selection of sound effects such as footsteps and creaking doors, courtesy of the Azimuth Co-ordinator they employed on stage. The effects represented the “nightmare”, which would conclude with the sound of a loud explosion. Thanks to the panning sounds created by the Azimuth Co-ordinator, the sounds would surround the audience and the footsteps would move from left to right through the back of the venue. However, this move often proved futile, as the sound effects frequently garnered responses of laughter instead of the intended fear. On one live recording (ROIO) an audience member went as far as to sarcastically yell “I'm scared!" Nevertheless, the footsteps segment was usually greeted with considerable applause when the band resumed playing.

The recording of '"Cymbaline”on the album is different • By mid-1969/early 1970, the band would follow the from the one in the film (the latter version is heard on a instrumental and/or sound effects section with a rerecord player in a bedroom). The vocals are a different peat of the third verse “ ( The lines converging where take, though both versions are sung by David Gilmour. you stand...”). The lyrics are also different in one place. One notable feature of the lyrics is the question posed at the end of the first verse, “Will the final couplet rhyme”. Not co- 13.23.4 Personnel incidentally, the final couplet in the song is the only one that does not rhyme. • David Gilmour ̶lead vocals and classical acoustic The song features a sparse arrangement of nylon string guitars guitar, bass, piano, drumset, bongos, and Farfisa organ entering when Gilmour does a scat solo. Pink Floyd • Richard Wright ̶piano and Farfisa organ played“Cymbaline”from early 1969 until their last show of 1971, and it was the longest-surviving More piece in • Nick Mason ̶drums and bongos the band's live shows. It was dropped from their act along with "Fat Old Sun" and "The Embryo" when they began • Roger Waters ̶bass performing early versions of The Dark Side of the Moon.

13.23.3

Live performances

13.23.5 Covers

When the band performed the song live, they made the The song has been covered by fellow English space rock band Hawkwind. The 1996 CD reissue version of their following changes to the song: eponymous debut album (1970) includes “Cymbaline” as track 13, in the bonus tracks section. • The pace of the song was slower and more deliberate, creating an even more sombre atmosphere than the studio version. • Rick Wright almost always used Farfisa organ in place of piano (the exception being their performance at KQED studios in San Francisco on April 29, 1970, in which the studio had a piano for Wright to utilize). • David Gilmour played electric guitar and performed a guitar solo over where the scat solo occurred in the song.

13.23.6 References

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

• In the spring of 1970, the key of the fadeout section was changed from E-minor to B-minor. During this 13.23.7 External links section, Roger Waters would bang a gong instead of bongos as the music faded away. After the B-minor • Full lyrics of this song at MetroLyrics

13.24. DOGS (PINK FLOYD SONG)

259

13.24 Dogs (Pink Floyd song)

barking processed through a vocoder and played as an instrument. Gilmour's last word,“stone”, echoes slowly for "Dogs" (originally composed as "You've Got to Be many measures, gradually becoming distorted and losing Crazy") is a song by English progressive rock band Pink its human character, before fading out (It reappears later Floyd, released on the album Animals in 1977. This song in the instrumental section of "Sheep"). There are no guiwas one of several to be considered for the band's “best tars in this section. Gradually, a synthesiser solo emerges, and as it reaches its climax, the acoustic guitar returns, at of”album Echoes: The Best of Pink Floyd.* [1] the original tempo, once again lively and syncopated.

13.24.1

Musical composition

The song was written in 1974 by Roger Waters with music co-written by David Gilmour with the title “You've Got to Be Crazy”. From the start, the song featured both Gilmour and Waters taking turns as lead vocalist. Waters modified the lyrics in some parts, transposed the key, and retitled it“Dogs”. The version on Animals is 17 minutes long. The main theme features what were, for Pink Floyd, rather unusual chords. In the final version's key of D minor, the chords are D minor ninth, E♭maj7sus2/B♭, Asus2sus4, and A♭sus2(♯11). All these chords contain the tonic of the song, D̶even as a tritone, as is the case in the fourth chord.* [2]* [3]* [4] The song fades in with an acoustic guitar in D tuning strumming the chords with a lively, syncopated rhythm, with a droning Farfisa organ playing chord tones (A, B♭, A, and A♭, respectively). After the first sixteen-bar progression, Gilmour begins the vocal. For the third repetition, bass guitar, Hammond organ, drums and lead guitar (playing a subtle drone of D) enter. After this repetition comes the first of several guitar solos, played on a Fender Telecaster, as opposed to Gilmour's usual Stratocaster.* [3] Next is another verse of lyrics, followed by a keyboard solo. Finally, after six repetitions of the main theme, the tempo is cut in half, dramatically slower, a new chord progression is introduced, resolving gradually to the relative major, F, with two lead guitars loudly playing a slow harmonized melody, and a quieter third guitar adding decorative string bends, with heavy use of reverb and echo. The song is then stripped back down to acoustic guitar, droning on the Dm9 chord, with the bass softly striking E, the ninth of the chord, in the same range as the guitar's lowest note, D. Another slash chord movement follows, B♭ to C/B♭, followed by the key's dominant, A Major, with the minor sixth heard first at the top of the chord, in an A(add♭6), and later, as its bass note (in a progression of A, A/F, A/E, to D minor). After another guitar solo over the new progression, Gilmour sings a melismatic vocal with overdubbed harmonies, ending with the lyric“Have a good drown/As you go down/All alone/Dragged down by the stone”, as the dissonant A/F leads back to Dm9.

The formula of the first section is followed, but this time, with Waters singing the lead. A third guitar solo ends in three-part harmony, playing descending augmented triads, leading to Gilmour's slow, harmonized guitar melody in F Major, in a section of music indistinguishable from its first appearance in the song. This leads to the final verse, with Waters singing a new, repeating melody for the sixteen lines beginning “Who was...”. Originally sung over the tonic only, in the final recording the multiple harmonized guitars alternate between D minor and C Major, while the bass further extends the harmony with a descending F, E, D, and C, creating the sense of an F sixth chord followed by C/E. Originally, Waters' lyrics (“Who was born in a house full of pain”, etc.) were echoed by Gilmour and Richard Wright in a round style, but in the final recording, only the last few are repeated, and done so by Waters himself, using tape delay. This section resolves first to B♭, then to A, before concluding with the A, F, E bass movement to a sustained Dm9, as the lyrics again end with “dragged down by the stone”.* [4] “Dogs”is the only song on Animals in which Gilmour sings a lead part, or receives a co-writing credit.

13.24.2 Concept Fitting in to the album's Orwellian concept of comparing human behavior to various animals, “Dogs”concentrates on the aggressive, ruthlessly competitive world of business, describing a high-powered businessman. The first two verses detail his predatory nature ̶outwardly charming and respectable with his “club tie and a firm handshake, a certain look in the eye and an easy smile”, while behind this facade he lies waiting “to pick out the easy meat...to strike when the moment is right”, and to stab those who trust him in the back. Subsequent verses portray the emptiness of his existence catching up to him as he grows older, retiring to the south rich but unloved: “just another sad old man, all alone and dying of cancer” , and drowning under the weight of a metaphorical stone.

The final verse explores a number of aspects of business life and how it compares to dogs, for example taking chances and being “trained not to spit in the fan”, losing their individuality (“broken by trained personnel”), obeying their superiors (“fitted with collar and chain”), being rewarded for good behaviour (“given a pat on the The middle section, in a slow, metronomic 6/4 time, is back”), working harder than the other workers (“breakbuilt upon several layers of synthesisers, sustaining the ing away from the pack”) and getting to know everyone four chords of the main theme, with the sound of dogs but spending less time with family (“only a stranger at

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home”). Every line of this verse begins with the words “Who was”, which prompted comparison to Allen Ginsberg's poem "Howl".* [5] However, Waters has denied the Ginsberg poem was any influence on his lyrics. Instead, these lines can be seen as subordinate clauses to the lyric line that precedes them (“And you believe at heart everyone's a killer/Who was born in a house full of pain/Who was [etc.]").* [6]* [7]

13.24.3

would sing all but the final verse live. Also before the final guitar solo, David would perform an extra solo. Roger would sing the“who was brought in a house full of pain” section. Then for the last part, Waters would sing“breaking away from the pack”with Gilmour and Wright singing it circular (like on the 1974/75 Gotta Be Crazy performances) and both Gilmour and Waters singing the final “who was dragged down by the stone”.

Early versions

Roger Waters would regularly perform this song on his In the Flesh Tour with Jon Carin and Doyle Brahmall II replacing Gilmour on the vocals and guitars respectively.

During 1974 performances of“You've Got to Be Crazy” , which can be heard on the Immersion Box Set and the 13.24.5 Personnel Experience version of Wish You Were Here, the band performed the song faster than it would eventually become, • Roger Waters – bass guitar, vocals, vocoder and in its original key of E minor, before they started us• David Gilmour – vocals, acoustic and electric guitar ing D tuning on their guitars, for a concert pitch of D minor. The lyrics, though different, were thematically • Richard Wright – Fender Rhodes piano, Hammond similar to the final version of “Dogs”. The lyrics were organ, Minimoog, ARP String Synthesizer, backing modified by the time the song was played live in 1975, and vocals then the lyrics changed again when recording Animals. • Nick Mason – drums, percussion Once in a while I would find something uncomfortable to sing. The first lot Roger wrote for “Dogs”when it was called “You Gotta Be Crazy”, were just too many words to sing. ... “Dogs”had so many words, I physically couldn't get them in. [We] just cut out two-thirds of his words, to make it possible rather than impossible. ̶David Gilmour* [8]

Equally impossible was for Gilmour or Waters to sing the song's highest part, “dragged down by the stone” , in the original key, which would begin on the first B above Middle C. As any recording of the early performances will attest, neither singer could quite reach and sustain it, even when attempting it together. The line appears twice, as the climax to each singer's performance. It was likely for the sake of achieving high-quality lead vocals, specifically on this line, that they lowered the key before committing the song to record. (Waters, however, would go on to reach even higher notes on songs like "Hey You", "Every Stranger's Eyes" and "One of My Turns".)* [9]* [10]

13.24.4

Live versions

The song was performed nightly during the 1977 tour.

13.24.6 References [1] Guthrie, James. “James Guthrie: Audio: Building A Compilation Album”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 17 June 2013. [2] Pink Floyd: Animals (1977 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1030-8 [USA ISBN 0-8256-1077-X]) [3] Guitar World magazine, Volume 22, Number 11, November 2002. [4] Phil Rose: Which One's Pink? An Analysis of the Concept Albums of Roger Waters and Pink Floyd. Collector's Guide Publishing Inc. ISBN 1-896522-47-5 [US ISBN 1-896522-17-3] [5] Review of the song “Dogs”, AllMusic [6] Interview with Roger Waters in Which One's Pink? An Analysis of the Concept Albums of Roger Waters and Pink Floyd by Phil Rose. Collector's Guide Publishing Inc. ISBN 1-896522-47-5 [US ISBN 1-896522-17-3] [7] Recordings There is an obvious link to the band's 1971 song on Meddle,Seamus, which was an early use of a doghowling by Pink Floyd. [8] “Rock Compact Disc magazine, Issue 3, September 1992”. Retrieved 21 July 2011. [9] Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1031-6 [USA ISBN 0-8256-1076-1])

When played on the 1977 tour, David Gilmour played his acoustic parts on electric guitar making it easy to switch between lead and rhythm with his Telecaster played in [10] Roger Waters: The Pros and Cons of Hitch Hiking (1984 dropped D tuning. Also, the song had some different soChappell Music Ltd., London, England, ISBN 0-86359129-9) los performed live to its studio counterpart. Also, David

13.25. DON'T LEAVE ME NOW (PINK FLOYD SONG)

13.24.7

External links

• Full lyrics of this song at MetroLyrics

13.25 Don't Leave Me Now (Pink Floyd song)

261 Waters, in a 1980 interview with Jim Ladd, described this song as being about “two people who have treated each other very badly”, yet are devastated at the prospect of their relationship ending. He also stated during the 1992 US radio special Pink Floyd: The 25th Anniversary Special that the lyrics had nothing to do with his personal life, as he had a more cordial relationship with his wife in real life than Pink did.

"Don't Leave Me Now" is a song by Pink Floyd.* [1] It Film version appears on The Wall album (1979) and was released as a B-side on the single of "Run Like Hell".* [2] The song begins with a close-up of the debris in Pink's hotel room, then switches over to the hotel's pool, where Pink is seen floating in a crucifix position. Having cut 13.25.1 Composition open his right hand during his violent tantrum, his blood stains the pool water. What follows is a fantasy sequence The main section of “Don't Leave Me Now”, recorded in which Pink watches The Dam Busters on TV in a much with synthesizer bass, organ, piano, and a delay-treated larger, and entirely empty, hotel room. The shadow of guitar, does not adhere to one single key, but rather cycles Pink's wife emerges on the back wall before materialising slowly through four dissonant and seemingly-unrelated into a praying mantis-like monster, which then transforms chords, for two measures of each: An E augmented into the vulva-shaped flower from "What Shall We Do chord, followed by a D flat major seventh chord, a B Now?". The song ends with Pink cowering in the corner flat dominant seventh chord with a suspended second, of the room, tortured by both the imaginary mantis in followed by a G Major chord, which, after one bar, front of him, and thoughts of his wife's adultery. augments its fifth, before returning to the beginning of the progression. The first three chords all sustain the notes G♯/A♭ and C, and this interval is then lowered 13.25.3 Personnel chromatically by one semitone for the conclusion on G • Roger Waters ̶EMS VCS 3, vocals* [5] Major. Furthermore, the roots of this chord progression (E, D♭, B♭, and G) outline the intervals of a diminished • Nick Mason ̶drums* [5] seventh chord. The roots relate to each other as a pair of tritones - the E and B♭ form one tritone, and the D♭ • David Gilmour ̶bass guitar, guitars, backing voand G form the other. Musicologist and author Phil cals, breathing* [5] Rose described this section of the song as“entirely nonfunctional harmonically”and stated that "[M]ost of the • Richard Wright ̶bass pedals, organ, piano, synthetime when a phrase ends, Waters is either singing one of sizer* [5] the most dissonant notes in the accompanying chord, or a non-chord tone.”* [3]* [4] There is no percussion, and the tempo is very slow.

13.25.4 References

In the second section, drums, bass, and guitar enter, and the music becomes more consonant, resolving to the key [1] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-7119of A minor through the use of D and A suspended second 4301-X. chords, as David Gilmour sings a refrain of“Ooh, babe” .

13.25.2

Plot

The Wall tells the story of Pink, an alienated and embittered rock star. At this point in the album's narrative, Pink has discovered his wife's infidelity. He invites a groupie to his hotel room in L.A., during his American tour and destroys the hotel room driving her away forever. Pink falls into a depression. Despite the dysfunctionality of the marriage, he listlessly pleads with his wife not to leave him, stating “I need you, babe / To put through the shredder in front of my friends”.

[2] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [3] Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1031-6 [USA ISBN 0-8256-1076-1])

[4] Rose, Phil. Which One's Pink? An Analysis of the Concept Albums of Roger Waters and Pink Floyd. Collector's Guide Publishing Inc. ISBN 1-896522-47-5 [US ISBN 1-896522-17-3] [5] Fitch, Vernon and Mahon, Richard, Comfortably Numb ̶ A History of The Wall 1978–1981, 2006, p. 87.

262

CHAPTER 13. SONGS

13.25.5

External links

13.26.1

History

of Pink Floyd.* [1] “Echoes”is the third-longest song in Pink Floyd's catalogue, after "Atom Heart Mother" • Full lyrics of this song at MetroLyrics (23:44) and the combined segments of "Shine On You Crazy Diamond" (26:01). Unlike those pieces, it is not explicitly divided into separate parts; however, the composition was originally assembled from separate frag13.26 Dramatic Theme ments, and was later split in two parts to serve as both the opening and closing numbers in the band's film Live "Dramatic Theme" is the final song of Pink Floyd's alat Pompeii. The first part was used to open the band's * * bum Soundtrack from the Film More. [1] [2] 1987-90 A Momentary Lapse of Reason Tour.

It is another short instrumental composed by Roger Waters, Richard Wright, David Gilmour and Nick Mason. The song reprises the same theme of "Main Theme", but mainly relies on David Gilmour's guitar work and only runs for roughly 2:15 minutes. CD credit omits Gilmour and Mason.

13.26.2

Personnel

• David Gilmour ̶electric guitar • Roger Waters ̶bass • Richard Wright ̶Farfisa organ • Nick Mason ̶drums

13.26.3

References

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

13.26.4

External links

• Full lyrics of this song at MetroLyrics

13.27 Echoes (Pink Floyd song) "Echoes" is a song by Pink Floyd including lengthy instrumental passages, sound effects, and musical improvisation. Written in 1970 by all four members of the group (credited as Roger Waters, Richard Wright, Nick Mason, David Gilmour on the original release), “Echoes”provides the extended finale to Pink Floyd's album Meddle. The track has a running time of 23:31 and takes up the entire second side of the vinyl recording. It also appears in shortened form as the fifth track on the compilation album which took its name, Echoes: The Best

13.27.1 Composition Each verse of the song follows a pattern of three strophes. The composition uses many progressive and unconventional musical effects. The ping sound heard at the beginning of the song was created as the result of an experiment at the very beginning of the Meddle sessions. It was produced through amplifying a grand piano and sending the signal through a Leslie rotating speaker. Most of the song's musical passages are in the key of C-sharp minor. At seven minutes in, a funk progression in the tonic minor begins. David Gilmour used the slide for certain sound effects on the studio recording, and for the introduction in live performances from 1971-75. A throbbing wind-like sound is created by Roger Waters vibrating the strings of his bass guitar with a steel slide and feeding the signal through a Binson Echorec. The high-pitched electronic 'screams', resembling a distorted seagull song, were discovered by Gilmour when the cables were accidentally reversed to his wah pedal.* [2] After observing the song being created, Nick Mason noted, “The guitar sound in the middle section of 'Echoes' was created inadvertently by David plugging in a wah-wah pedal back to front. Sometimes great effects are the results of this kind of pure serendipity, and we were always prepared to see if something might work on a track. The grounding we'd received from Ron Geesin in going beyond the manual had left its mark.”* [2] The “choral"-sounding segment at the end of the song was created by placing two tape recorders in opposite corners of a room;* [3] the main chord tapes of the song were then fed into one recorder and played back while at the same time recording. The other recorder was then also set to play what was being recorded; this created a delay between both recordings, heavily influencing the structure of the chords while at the same time giving it a very“wet” and“echoey”feel.* [4] Harmonic“whistles”can be heard produced by Richard Wright pulling certain drawbars in and out on the Hammond organ. Rooks were added to the music from a tape archive recording (as had been done for some of the band's earlier songs, including "Set the Controls for the Heart of the Sun"). The second half of the song where Gilmour plays muted notes on the guitar over Wright's slowly building organ solo was inspired by The Beach Boys song "Good Vibrations".* [5] This muted guitar riff is in 12/8 time, while most of the song is in 4/4.

13.27. ECHOES (PINK FLOYD SONG)

263

Also, the “whale call”section is in free time. The song Gilmour would resurrect the song on his 2006 On an concludes with an ascending (rising) Shepard-Risset glis- Island tour with Gilmour and Wright singing the low sando. parts and Jon Carin singing the higher parts. Wright In an interview in 2008 with Mojo, when asked who had would bring the Farfisa out of retirement just for this song composed Echoes, Wright stated he had composed the for the tour. These performances appear on Gilmour's long piano intro and the main chord progression of the Remember That Night DVD and Live in Gdańsk album. song. In the same interview he confirmed that Waters wrote the lyrics. Gilmour has claimed in interviews that the music came mainly from him and Wright.* [6]

13.27.2

Early versions names

and

alternate 13.27.4 Echoes and 2001: A Space Odyssey synchronization rumours

The piece had its genesis in a collection of musical experiments written separately by each band member, referred to as Nothing, Parts 1–24. Subsequent tapes of work in progress were labelled The Son of Nothing and The Return of the Son of Nothing; the latter title was eventually used to introduce the as-yet unreleased work during its first live performances in early 1971.* [7] During this stage of its development, the song's first verse had yet to be finalized. It originally referred to the meeting of two celestial bodies, but perhaps because of Waters' increasing concerns that Pink Floyd was being pigeon-holed as a space rock band, the lyrics were rewritten to use underwater imagery instead.

Similar to the Dark Side of the Rainbow effect, at-large rumors suggested that“Echoes”coincidentally synchronizes with Stanley Kubrick's 1968 film 2001: A Space Odyssey, when played concurrently with the final segment (titled “Jupiter and Beyond the Infinite”). “Echoes”was released three years after the film's production and is 23 minutes and 31 seconds in length, quite similar to the “Infinite”segment. Sound effects in the middle section of the song convey the feeling of travelling through, or flying over, an alien world. The drone vocalizations heard in the final scenes of 2001 seem to match with the discordant bass vibrations in the middle of “Echoes”as well as the choral glissandos of its finale. Another notable link occurs during a change in scene at precisely the moment when guitar and keyboards crescendo as the lyrics re-enter for the final verse. The early lyrics vaguely convey reference to planets, which seems entirely suitable for the film's depiction of Jupiter and its moons. Adrian Maben re-created this marriage of music and image in his director's cut of Live at Pompeii using CGI.

The title “Echoes”was also subjected to significant revisions before and after the release of Meddle: Waters, a devoted football fan, proposed that the band call its new piece We Won the Double in celebration of Arsenal's 1971 victory, and during a 1972 tour of Germany he jovially introduced it on two consecutive nights as Looking Through the Knothole in Granny's Wooden Leg (a reference to The Goon Show; the phrase appeared in an episode titled“The The members of the band always denied that the synchro£50 Cure”)* [8] and The Dam Busters, respectively.* [7] nization was intentional. Furthermore, the technology necessary to do the synchronization in a recording studio circa 1971 would have been expensive and difficult for the 13.27.3 Live performances band to acquire. However, the band had experience with creating film soundtracks by that point, having created the The song was a concert staple for the band between 1971- soundtrack to the French art house film More in 1969. It 75. The Live at Pompeii version was split in two halves. is rumored that Kubrick asked Pink Floyd to compose the The 1974 and '75 performances featured backing vocals soundtrack to 2001. However, this is unlikely as the band by Vanetta Fields and Carlena Williams and saxophone had only released their first album when Alex North was solos by Dick Parry instead of the guitar solos in the hired to score 2001. (Kubrick later decided to use clas1971–73 performances (apart from the first show of the sical music instead). Waters is sometimes misquoted as US 1975 tour where Gilmour does the first middle solo saying that the band's failure to contribute music to 2001 then gives way to Parry's sax). 's official score was his “greatest regret”, when in fact It was performed eleven times on the band's 1987 he was referencing his declination to Kubrick using the Heart Mother”suite in his film A Clockwork OrA Momentary Lapse of Reason world tour but now “Atom * [9] ange. the vocal harmonies were swapped to have Wright singing Gilmour's original lower part and Gilmour singing Wright's original high parts. The band dropped it after eleven shows as they were not happy with the performances. Also of note, Wright used synthesizers instead of the Farfisa organ.

The 1973 George Greenough film Crystal Voyager concludes with a 23-minute segment in which the full version of“Echoes”accompanies a montage of images shot by Greenough from a camera mounted on his back while surfing on his kneeboard.

264

CHAPTER 13. SONGS

13.27.5

Alleged plagiarism

In interviews promoting Amused to Death, Waters claimed that Andrew Lloyd Webber had plagiarized the refrain (“riff”) from Echoes for sections of the musical The Phantom of the Opera; nevertheless, he decided not to file a lawsuit regarding the matter. He said: Yeah, the beginning of that bloody Phantom song is from Echoes. *DAAAA-da-da-dada-da*. I couldn't believe it when I heard it. It's the same time signature̶-it's 12/8̶-and it's the same structure and it's the same notes and it's the same everything. Bastard. It probably is actionable. It really is! But I think that life's too long to bother with suing Andrew fucking Lloyd Webber.* [10]

13.27.6

Personnel

• David Gilmour - vocals, electric guitars, sound effects • Richard Wright - vocals, Hammond M-102 organ, Farfisa Combo Compact Duo organ, grand piano (through Leslie 145 speaker), sound effects • Roger Waters - bass, slide bass, sound effects • Nick Mason - drums, percussion, sound effects

13.27.7

References

*

[7]

*

[8]

*

[4]

*

[2]

*

[10]

*

[9]

*

[11]

*

[6]; list-style-type: decimal;"> [1] “Echoes: the album credits”. Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013. [2] Mason, Nick, Inside Out: A Personal History of Pink Floyd, Chronicle Books. 2004, ISBN 978-0-297-843870 [3] Harris, John: „The Dark Side of the Moon. The Making of the Pink Floyd Masterpiece“, Da Capo Press 2006, p. 74: „“We had two stereo tape machines on either side of the room,”says Leckie. “We put the tape on the first machine, and then ran it maybe five feet across the room on to a second machine, with both of them recording. The signal started on the first machine, and much as eight or nine seconds later, it would come out of the next one̶ and then feed back. You could sit there for hours, with everything you played being repeated; and after a while, incredible things would start to happen. The abstract bit at the end of“Echoes”̶the part that sounds kind of choral ̶was done like that.” “ [4] Harris, John. Dark Side of the Moon- the Making of the Pink Floyd Masterpiece. N.p.: Da Capo Press, 2006. ISBN 978-0-306-81500-3

Unreleased Pink Floyd material > Rain in the Country, The Pink Floyd Hyperbase. Denmark.

13.102 Up the Khyber "Up the Khyber" is a piece of instrumental music by the British rock band Pink Floyd. It was written by their drummer Nick Mason, and keyboardist Richard Wright.* [1]* [2]

13.103. VEGETABLE MAN

333

13.102.1 Music

13.103 Vegetable Man

The piece is an extended drum solo with added hectic piano playing, haunting organ lines, and unusual tape effects. It is approximately 2 minutes and 12 seconds long, and first appeared on Pink Floyd's Soundtrack from the Film More. It is the only Pink Floyd song credited to Mason/Wright.

"Vegetable Man" is an unreleased song by psychedelic rock band Pink Floyd. The song is written by Syd Barrett, it was written around the same time as "Jugband Blues".

13.103.1 Recording and consideration

The title is a rude joke since 'Khyber' is Cockney rhyming * slang in which 'Khyber Pass' means 'arse'.* [3] It may also The song was recorded from 9–11 October 1967. [1] The first take ends with 15 seconds of laughter from the allude to the 1968 film Carry On... Up the Khyber. band,* [2] while a different take is a faster-paced jam of the song.* [3] The song was an attempt to record a followup single to "See Emily Play",* [4]* [2] as well as the be13.102.2 Live ginning of sessions for the album which would eventually become A Saucerful of Secrets. Among the songs conThe song was played live in a slightly modified form on sidered were "Paint Box", "Scream Thy Last Scream", The Man and The Journey where it was entitled,“Doing "Jugband Blues" and "Apples and Oranges". “Vegetable It!". It was also played as a part of "Interstellar OverMan”was scheduled for release, as the B-side to“Scream drive". Thy Last Scream”, but cancelled and both tracks remain unreleased.* [5]* [6] Eventually, “Apples and Oranges” was chosen for the single release instead, with “Paint The Man and The Journey Box”as the B-side and “Jugband Blues”appearing on their next album A Saucerful of Secrets. The band played Main article: The Man and The Journey “Vegetable Man”live for a BBC radio broadcast on 20 December 1967,* [7].* [8] “Up the Khyber”was one of the many tracks which were Peter Jenner wishes the song was released: “I always played at some point or another as“Doing It”. Others inthought they should be put out, so I let my copies be clude "Syncopated Pandemonium", "The Grand Vizier's heard. I knew that Roger would never let them out, or Garden Party (Entertainment)", "Party Sequence" and Dave. They somehow felt they were a bit indecent, like “Skins”. All of these prominently feature drums. putting out nude pictures of a famous actress: it just wasn't cricket. But I thought they were good songs and great pieces of art. They're disturbing, and not a lot of 13.102.3 Personnel fun, but they're some of Syd's finest work – though God knows, I wouldn't wish anyone to go through what he's • Rick Wright ̶organ and piano gone through to get to those songs. They're like Van Gogh.”* [9] Producer Malcolm Jones (who produced Bar• Nick Mason ̶drums and percussion rett's The Madcap Laughs solo album) had remixed this song and “Scream Thy Last Scream”,* [10] for inclu• Roger Waters ̶bass, tape effects sion on the Barrett rarities album Opel (1988), however the band blocked its inclusion.* [11]* [12]

13.102.4 References [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Khyber pass, The Phrase Finder, UK.

13.102.5 External links • Full lyrics of this song at MetroLyrics

13.103.2 Composition To date, the song (along with“Scream Thy Last Scream” ) has not had an official release. Jenner claims Barrett wrote the song describing himself as he sat at Jenner's home,* [13]* [2] “He had to go and record and, because a song was needed, he just wrote a description of what he was wearing at the time...”* [6]* [14] Jenner called the track “too dark”.* [15] Many cite it as a document of Syd's monumental breakdown as a recording artist and as a person.* [16] The song was written around the same time as "Jugband Blues" which is directed towards anyone within Barrett's orbit, while “Vegetable Man”is aimed at the music industry and himself.* [17]* [18] Both songs contain the same cynical humour.* [17]

334

13.103.3 Personnel • Syd Barrett – guitar, lead vocals • Richard Wright – keyboards, backing vocals • Roger Waters – bass guitar, backing vocals • Nick Mason – drums, percussion, backing vocals

13.103.4 Cover versions The Soft Boys covered this song on the 1980 EP Near the Soft Boys,* [19] and the track was included on some editions of their Underwater Moonlight album.* [20] A cover version by Scottish band The Jesus and Mary Chain* [21] originally featured as the B-side of their debut single "Upside Down"* [22] and appears on their 2008 compilation The Power of Negative Thinking: B-Sides & Rarities.* [23] Canadian band Kosmos recorded the song for the 2006 tribute album Like Black Holes in the Sky: The Tribute to Syd Barrett.* [24] An Italian project (VegetableMan-Project) tries to collect and release 1,000 different cover versions of this song.* [25] There are currently five CDs (100 versions) and one 10”vinyl record released.* [26]

13.103.5 See also • List of unreleased Pink Floyd material

13.103.6 References

CHAPTER 13. SONGS

[9] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 113. ISBN 1-905139-09-8. [10] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 419. ISBN 085965-431-1. [11] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 186. ISBN 184353-575-0. [12] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 134. ISBN 1-905139-09-8. [13] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 112. ISBN 1-905139-09-8. [14] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 192. ISBN 978-0-571-23855-2. [15] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 43. ISBN 1-84353575-0. [16] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 190. ISBN 978-0-571-23855-2. [17] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 191. ISBN 978-0-571-23855-2. [18] Schaffner, Nicholas (2005). Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 112. ISBN 1-905139-09-8.

[1] Palacios, Julian (1998). Lost in the Woods: Syd Barrett and the Pink Floyd. London: Boxtree. p. 194. ISBN 0-7522-2328-3.

[19] “Soft Boys, The - Near The Soft Boys EP (Vinyl) at Discogs”. Discogs.com. Retrieved 20 December 2012.

[2] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 188. ISBN 978-0-571-23855-2.

[20] “Soft Boys, The - Underwater Moonlight (Vinyl, LP, Album) at Discogs”. Discogs.com. Retrieved 20 December 2012.

[3] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 285. ISBN 0859654311.

[21] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 418. ISBN 0859654311.

[4] Frame, Pete (1996). MacDonald, Bruno, ed. Pink Floyd - Through the Eyes of... (1 ed.). London: Sidgwick & Jackson. p. 38. ISBN 0-283-06273-8.

[22] Manning, Toby (2006). The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 287. ISBN 184353-575-0.

[5] Chapman, Rob (2010). Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 187. ISBN 978-0-571-23855-2.

[23] Collar, Matt.“The Power of Negative Thinking: B-Sides & Rarities - The Jesus and Mary Chain : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 31 October 2012.

[6] Jones, Malcolm (2003). “The Making of The Madcap Laughs”(21st Anniversary ed.). Brain Damage. p. 23.

[24] Sullivan, Patrick. “Like Black Holes in the Sky: The Tribute to Syd Barrett - Various Artists : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 31 October 2012.

[7] Unreleased Pink Floyd Material [8] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 306. ISBN 0859654311.

[25] the vegetable man project | Gratis muziek, tourneedata, foto's, video's [26] Das Vegetable Man Projekt

13.105. WAITING FOR THE WORMS

13.103.7 External links • Full lyrics of this song at MetroLyrics

13.104 Vera (song) For other uses, see Vera.

335

13.105 Waiting for the Worms "Waiting for the Worms" (working title "Follow the Worms") is a song from the 1979 Pink Floyd album The Wall.* [1]* [2] It is preceded by "Run Like Hell" and followed by "Stop".

13.105.1 Composition and plot

"Vera" is a song by Pink Floyd which appears on their At this point in the concept album, protagonist Pink has 1979 album, The Wall.* [1]* [2] lost hope (“You cannot reach me now”) and his thinking has decayed, bringing to mind the“worms”. In his hallucination, he is a fascist dictator, fomenting racist outrage 13.104.1 Title and violence, as begun in the preceding song, "Run Like Hell". The count-in is Eins, zwei, drei, Alle ̶German for The title is a reference to Vera Lynn, a British singer who “one, two, three, everybody”. In the beginning and end came to prominence during World War II with her popu- the crowd chants“Hammer”, a recurring representation lar song "We'll Meet Again". The reference is ironic, as of fascism and violence in The Wall. Roger Waters (and his fictional character“Pink”) would not meet his father, lost in the war. The lyric“Vera, what The song is a slow, leaden march in G Major, begun has become of you?" suggests that Vera Lynn herself, like with David Gilmour and Roger Waters alternating calm and strident voices, respectively. Waters takes over with her promise, vanished. an extended vamp on A minor, musically similar to The opening dialogue “Where ( the hell are you, Simon?") the album's earlier "The Happiest Days of Our Lives". and the sound effects are from the 1969 film The Battle Through a megaphone, he barks strident, racist invective of Britain. (“Waiting to put on a black shirt . . . for the queers and the coons and the reds and the jews”). After an extended rant, Gilmour's calmer voice returns, chuckling warmly 13.104.2 Personnel with the promise that his followers will “see Britannia rule again”and“send our coloured cousins home again,” • Roger Waters ̶vocals,* [3] acoustic guitar with Waters concluding “All you need to do is follow the • David Gilmour ̶electric guitar, bass guitar, acous- worms!" tic guitar* [3]

Finally, the song plunges into an minor-key musical theme -- root, major second, minor third, major second • Richard Wright ̶Prophet-5 synthesiser* [3] ̶that has recurred throughout the album, as the main theme to "Another Brick in the Wall", the instrumenwith: tal section of "Hey You", and will be heard in the album's climax, "The Trial". The riff is repeated in E mi* nor, with E minor and D Major chords played atop it on • New York Symphony Orchestra [3] keyboards. From the megaphone, Waters's bigoted rant lapses into incomprehensibility, while the music and the crowd's chanting grows louder. Finally, the song abruptly 13.104.3 Further reading halts with a shout of "Stop!" (which segues into the next • Fitch, Vernon. The Pink Floyd Encyclopedia (3rd song on the album, "Stop"). edition), 2005. ISBN 1-894959-24-8.

13.105.2 Film version 13.104.4 References

The imagery features a live action segment with some teenagers (the same ones from "In the Flesh?") running over a rag doll replica of Pink. He then shouts through a megaphone while his followers march through the street. Following the images of the fascist crowd, the screaming [2] Mabbett, Andy (1995). The Complete Guide to the Music face and a fascist breaking a man's skull from "What Shall of Pink Floyd. London: Omnibus Press. ISBN 0-7119We Do Now?", a dog biting meat off a hook then con4301-X. sumed by a larger one (from the Animals tour), and the [3] Fitch, Vernon and Mahon, Richard, Comfortably Numb ̶ famous goose-stepping hammer sequence, we see Pink A History of The Wall 1978–1981, 2006, p. 96. yell "Stop". [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

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13.105.3 Concerts

CHAPTER 13. SONGS • Nick Mason ̶drums* [7]

• Richard Wright ̶organ* [7] In the concerts of The Wall, a member of Pink Floyd, often Waters, would wear a dictator uniform. Gilmour would provide the high pitched“Ooooh, you cannot reach with: me now, ooooooh!" The song would build up until the lights extinguish in preparation to introduce the “Pink • Bob Ezrin ̶piano, backing vocals * [7] puppet”that sings “Stop”. The marching hammers animation would be displayed on a circular screen above • Bruce Johnston ̶backing vocals* [7] the stage during concerts.* [3] Later concerts, performed by Waters after his departure from the band, featured a similar scene. Backing singers provided Gilmour's lines, and most memorably in the 2010-2012 tour of The Wall, the song ended with the marching hammers filling the entire wall.

• Toni Tennille ̶backing vocals* [7] • Joe Chemay ̶backing vocals* [7] • Stan Farber ̶backing vocals* [7] • Jim Haas ̶backing vocals* [7]

Animation

• John Joyce ̶backing vocals* [7]

The full, uncut animation shown at the concert begins with a cartoon image of a hill. On top of the hill are indistinct objects, moving. Suddenly, as the guitar leitmotif 13.105.6 Further reading plays briefly, the sky goes dark grey, a symbol of evil. The • Fitch, Vernon. The Pink Floyd Encyclopedia (3rd scene scrolls down to reveal London being enveloped in edition), 2005. ISBN 1-894959-24-8. darkness as “Would you like to see...”and the rest of the verse is sung. Then, an abandoned tricycle is shown, as “Would you like to send...”and the rest of that verse is sung. An abandoned playground is shown as the final 13.105.7 References verse is sung. Then a viaduct appears, where something is goose-stepping. At long last it is revealed to us that the [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN objects on the hill, what possibly scared the children and 1-84195-551-5. what was under the viaduct, are marching hammers. As the fascist dictator shows increasing desperation, louder [2] Mabbett, Andy (1995). The Complete Guide to the Music and angrier, there is a whip pan in to the hammers, and of Pink Floyd. London: Omnibus Press. ISBN 0-7119as the camera pans there is a sudden, loud, abrupt instru4301-X. mental sound, which is quickly replaced by a piano. The animation stops, as the audience is taken into "Stop". [3] Blake, Mark (2008). Comfortably Numb: The Inside Story

13.105.4 Reaction • Jorge Sacido Romero and Luis Miguel Varela Cabo opined that “Waiting for the Worms”represented Waters' fears of a “potential ideological drift towards an ultranationalist, imperialist and racist stand that calls for the resurrection of a Britannia that is both pure and almighty.”* [4] • In 2010, Dublin band Twinkranes covered the song for a Mojo magazine tribute album.* [5]

of Pink Floyd. Da Capo Press. p. 281. ISBN 978-0-30681752-6. [4] Sacido Romero, Jorge; Varela Cabo, Luis Miguel (December 2006), “Roger Waters' Poetry of the Absent Father: British Identity in Pink Floyd's The Wall", Atlantis 28 (2), ISSN 0210-6124, retrieved 2010-06-27 [5] Full Albums: Pink Floyd's The Wall Pt. 2, Cover Me Songs, 2010. [6] Fitch, Vernon and Mahon, Richard, Comfortably Numb ̶ A History of The Wall 1978–1981, 2006, p. 89. [7] Fitch and Mahon, p. 108.

13.105.5 Personnel • Roger Waters ̶EMS VCS 3,* [6] lead and backing 13.105.8 External links vocals, megaphone vocals* [7] • Wall Interview ̶Jim Ladd (Waiting For The • David Gilmour ̶lead vocals, backing vocals (inWorms) tro), laughter, guitars, bass guitar, Prophet-5 synthe• Full lyrics of this song at MetroLyrics siser* [7]

13.107. WELCOME TO THE MACHINE

13.106 Wearing the Inside Out

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13.107.1 Theme

The song describes the band's disillusionment with the music industry as a money-making machine rather than a forum of artistic expression. The plot centers on an aspiring musician getting signed by a seedy executive to the music industry (the“Machine”). The voice predicts all of his seemingly rebellious ideas “ ( You bought a guitar to punish your ma / You didn't like school / And you know you're nobody's fool”). His illusions of personal identity are further crushed with lines such as “What did you The song had the working title “Evrika”. Two videos dream? / It's all right, we told you what to dream.” of the band working on this demo version can be seen on the DVD/BD included in The Endless River deluxe edition and as part of the iTunes deluxe edition. 13.107.2 Recording "Wearing the Inside Out" is a song from Pink Floyd's 1994 album, The Division Bell.* [1]* [2] It is the first Pink Floyd song since "Time" from The Dark Side of the Moon where Richard Wright sings lead, as well as his final lead vocal on a Pink Floyd album. Additionally, it is the only song on the album for which David Gilmour receives no writing credit, and the only Pink Floyd song post-Dark Side to credit neither Roger Waters nor Gilmour.

The track was built upon a basic throbbing sound made by an EMS VCS 3 followed by a one-repeat echo. On the original LP, the song segued from the first 5 parts of This song was never performed live by Pink Floyd, al- the suite "Shine On You Crazy Diamond" and closed the though it was performed on David Gilmour's 2006 On first side. On the CD pressings, especially the 1997 and an Island tour, and appears on the Remember That Night 2000 remastered issues, it segues (although very faintly) DVD and on the bonus CD of the deluxe version of Live to "Have a Cigar". This segueing is a few seconds longer in Gdańsk. on the US version than the UK version. David Gilmour admitted that he had trouble singing one line of the song; saying,“It was a line I just couldn't reach, so we dropped 13.106.2 Personnel the tape down half a semitone.”* [3] He sang the part at a slightly lower pitch, then the tape speed was raised back • Richard Wright ̶keyboards, lead vocals to normal.

13.106.1 Later performances

• David Gilmour ̶guitar, vocals (third verse), bass • Nick Mason ̶drums and percussion with: • Dick Parry ̶tenor saxophone • Sam Brown, Durga McBroom, and Carol Kenyon ̶ backing vocals

13.106.3 References [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

13.107 Welcome to the Machine "Welcome to the Machine" is the second song on Pink Floyd's 1975 album Wish You Were Here.* [1]* [2] It is notable for its use of heavily processed synthesizers and acoustic guitars, as well as a wide and varied range of tape effects.

13.107.3 Time signature Like many Pink Floyd songs,“Welcome to the Machine” features some variations in its meter and time signatures. Each bass “throb”of the VCS synthesizer is notated as a quarter note in the sheet music, and each note switches from one side of the stereo spread to the next (this effect is particularly prominent when listened to on headphones). Although the introduction of the song (when the acoustic guitar enters) does not actually change time signatures, it does sustain each chord for three measures, rather than two or four, resulting in a nine-bar intro where an even number of bars might be expected. The verses and choruses are largely in 4/4, or “common time”. However, on the line“It's all right, we know where you've been”, a measure of 7/4 is inserted, shortening the sequence, and causing the left-right stereo panning to be reversed for quite some time. An instrumental section begins, with the acoustic guitar adding variations in its strum pattern, until it switches to 3/4 for a length of time, when a 12-string acoustic riff is introduced, ascending up the E minor scale until the chord changes to C major seventh. Finally, the instrumental section ends, and the second verse begins. With the lyric, “It's all right, we told you what to dream” , once again a measure of 7/4 is inserted, and the stereo panning is finally returned to normal. Incidentally, these two phrases beginning with“It's all right ...”are the only parts to feature any chord other than some form of E mi-

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nor or C major̶these phrases go to an A bass in the first verse, and in the second verse, the acoustic guitar articulates the A as a major chord, with its C# in contradiction of the frequent C chords. The song remains in 4/4 from this point forward.* [4]

13.107.4 Music video

Stratocaster while Waters played an Ovation acoustic guitar and Snowy White played bass guitar. The live renditions of the song were complex because music had to be synchronized with the backdrop film and its sound effects. As a result, the band had to wear headphones and listen to a click-track which, in turn, meant that there was very little room left for jamming and improvisation. Pink Floyd would play the track again on its 1987/88/89 Momentary Lapse tours when Tim Renwick played lead guitar, while Gilmour played a 12-string acoustic guitar. These renditions were not synchronized to the film, which is why David Gilmour keeps looking at the screen on videos. The song was performed by Roger Waters during his Pros and Cons 1984/1985 tour, on the 1987 Radio K.A.O.S. tour, with Mel Collins as saxophone soloist. All of these performances were perfectly synchronized to the film. These live versions deviated significantly from the album version. It was also played on the 1999–2002 "In the Flesh" tour (only stills from the animation were used) and appears on the In the Flesh concert DVD and CD.

Gerald Scarfe created a music video, initially a backdrop film for when the band played the track on its 1977 In the Flesh tour. The fanciful video begins with a giant mechanical beast; a cross between a Triceratops and an armadillo. The creature slowly lumbers across an apocalyptic cityscape. The scene then shifts to show emaciated rats leaping around corpse-laden steel girders. Gleaming industrial smokestacks soon fade in, and disturbingly crack and ooze blood. A view of a barren desert is then immediately shown. In the background a small tower grows out of this desert, but then transforms into a screaming monster, which stops to pant for a few seconds before viciously decapitating an unsuspecting man in the foreground. His head then very slowly decays to a damaged skull as the 13.107.7 Influence sun sets. Finally, an ocean of blood washes away this • The song has been covered by metal band Shadows scene, and the waves turn into thousands of hands waving Fall on their album The Art of Balance. in rhythm to the music (much like people at a rock concert). All of the surrounding buildings are swept away; • The song has been covered by progressive metal except one. Despite being pulled at by the bloody masses, band Queensrÿche on their album Take Cover. it survives and, synchronising with the sound effects at the end of the track, flies up and away, high above the clouds • The song has been covered by the progressive rock to where it fits snugly into a hole inside a gargantuan floatband RPWL on their live album Start the Fire (2005) ing ovoid structure. • The song has been covered by the progressive rock/metal artist Arjen Anthony Lucassen on his second solo album, Lost in the New Real (2012) 13.107.5 Personnel Music and lyrics by Roger Waters. • David Gilmour ̶six and 12-string acoustic guitars, lead vocals • Nick Mason ̶timpani, cymbals • Roger Waters synthesiser

̶bass guitar, backing vocals,

• Richard Wright ̶EMS VCS 3, ARP String Ensemble synthesizer, Minimoog

13.107.6 Live performances The song was performed for the first time live on Pink Floyd's 1977 In the Flesh tour. Gilmour and Waters shared lead vocals, although in initial performances, Gilmour sang on his own with some backing vocals by Waters. Also for the 1977 live performances, David Gilmour played his acoustic guitar parts on his Fender

• The Pink Floyd tribute band The Machine are named after this song and they often use it as their opening number. • Tim Footman used the title for his book, Welcome to the Machine: OK Computer and the Death of the Classic Album (2007, ISBN 1-84240-388-5). The Radiohead Album "OK Computer" shares many musical and thematic elements with Pink Floyd's mid-70s oeuvre, although members of Radiohead have resisted the comparison. • The penultimate level of the video game Ecco the Dolphin is a reference to this song.

13.107.8 Quotes The only time we've ever used tape speed to help us with vocals was on one line of the Machine song. It was a line I just couldn't reach so we dropped the tape down half a semitone and then dropped the line in on the track.

13.108. WHAT SHALL WE DO NOW? ̶David Gilmour, 1975, WYWH Songbook

It's very much a made-up-in-the-studio thing which was all built up from a basic throbbing made on a VCS 3, with a one repeat echo used so that each 'boom' is followed by an echo repeat to give the throb. With a number like that, you don't start off with a regular concept of group structure or anything, and there's no backing track either. Really it is just a studio proposition where we're using tape for its own ends -- a form of collage using sound. ̶David Gilmour, 1975, WYWH Songbook

It's very hard to get a full synthesiser tone down on tape. If you listen to them before and after they've been recorded, you'll notice that you've lost a lot. And although I like the sound of a synthesiser through an amp, you still lose something that way as well. Eventually what we decided to do was to use D.I. on synthesiser because that way you don't increase your losses and the final result sounds very much like a synthesiser through a stage amp. ̶David Gilmour, 1975, WYWH Songbook

13.107.9 References [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Gary Cooper, Wish You Were Here songbook ̶1975, The Pink Floyd Fan Club. [4] Pink Floyd: Wish You Were Here (1975 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1029-4 [USA ISBN 0-8256-1079-6])

13.107.10

External links

339 It was originally intended to be on their 1979 album The Wall, and appeared in demo versions of The Wall, but was omitted* [1] due to the time restraints of the vinyl format. In its place is a much shorter song, titled "Empty Spaces", which segues directly into "Young Lust". This was a lastminute decision; the album's sleeve notes still feature the song in its track listing, and include its lyrics.

13.108.1 Composition The beginning of the song is the same backing track as "Empty Spaces", but in the original key of D minor. It's a slow, dark progression with a repetitive, electronic drum beat and solo guitar, but where“Empty Spaces”ends and segues into "Young Lust", “What Shall We Do Now?" moves into a second, louder section punctuated with guitar power chords. The transition of D - E - F - E is a recurring theme throughout the album, heard on "In the Flesh?", In the Flesh, and the three "Another Brick in the Wall" songs. The long verse is played with D minor and A minor chords. Where the album's main character, Pink's question about how he should fill out the gaps in his wall was of a rhetorical nature in “Empty Spaces”, “What Shall We Do Now?" lists the diversions, possessions, and vices of a rock star (“Shall we ... Do tours of the East / Contract diseases / Bury bones / Break up homes”) in response. The two tracks are easily confused. The tape speed for “Empty Spaces”was sped up, to raise its key to E minor, with re-recorded vocals and guitar. The members of Pink Floyd have contributed to the confusion regarding the identity of this track, misidentifying“What Shall We Do Now?" as“Empty Spaces”on multiple occasions, such as in the track listing for the film version of The Wall, and on Waters' The Wall Live in Berlin. On other occasions (such as the officially released live version), the first and second parts of the track are divided and identified as“Empty Spaces”and“What Shall We Do Now?" respectively, even though they are in fact two distinct parts of the same song, the first of which was later intended to be reprised as “Empty Spaces”. (This is based on the original lyrics and running order as printed on initial vinyl copies of the album.) The studio version has not been officially released on any CD to date, but has been widely bootlegged from the film (with the audio taken from VHS, Laserdisc and DVD sources over the decades).

• The original video on YouTube • Full lyrics of this song at MetroLyrics

13.108.2 The film

The song was featured in the film version of The Wall,* [1] coupled with an animated sequence by Gerald Scarfe. 13.108 What Shall We Do Now? The animation ̶described by Roger Waters in the DVD commentary as “The fucking flowers!" ̶starts with the "What Shall We Do Now?" (working title "Backs to the image of two flowers caressing each other. Synchronized Wall") is a song by Pink Floyd, written by Roger Waters. to the music, the flowers both have sex (taking the shape

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of a human couple doing so) with the male flower at one 13.108.6 External links point is shaped like a penis, and the final form of the female flower is of a vulva, having a fight, and ultimately • Full lyrics of this song at MetroLyrics ending with the“female”flower consuming and destroying the “male”flower. The flower sequence ends as soon as the first lyrics ( “What shall we use...”) are sung. The female flower, now transformed into a pterodactyl-like creature, flies into the distance as a row of residential and commercial buildings appears. These, however, turn out to be a wall of many post-war goods such as cars, electronics, appliances, etc. which slowly surrounds a “sea of faces”. As the song speeds up and launches into “Shall we buy a new guitar?/Shall we drive a more powerful car?...”, the animation becomes extremely morbid ̶the buildings evidently transform into the Wall, heads of people caught in the Wall screaming (the screaming face, seen later in "Waiting for the Worms"), flowers turn into barbed wire, a baby suffers a metamorphosis and turns into a reptileheaded creature and then into a Neo-Nazi stormtrooper, who smashes the head of a sitting-by dark-skinned man with a club and finally, the wall rams through a cathedral and the rubble turns into a casino-like temple, which produces more and more (albeit neon) bricks. A rag doll representing Pink is grotesquely contorted and transformed into an array of objects relating to the materialistic nature of Pink's Wall: a naked woman, ice cream, an MP-40, a hypodermic needle, a black Fender Precision Bass guitar, and a BMW M1. The sequence ends as the ground rises into the form of a fist who becomes a hammer (a hammer that would reappear in the animated sequence of "Waiting for the Worms").

13.108.3 Personnel • Roger Waters - lead vocals, bass guitar, synthesizer

13.109 When You're In "When You're In" is a track from Pink Floyd's 1972 album Obscured by Clouds.* [1]* [2] It is entirely instrumental,* [3] with a repetitive guitar riff repeating until the piece fades out. The title is a reference to a phrase by former Pink Floyd crew member, Chris Adamson, who would respond to when asked about a repair: “I'm in. And when you're in, you're in.”* [4]

13.109.1 Live This song, along with "Obscured by Clouds", was played live in late 1972 and usually opened shows on the 1973 The Dark Side of the Moon tour. The live performances were often an extended version which allowed David Gilmour to perform a guitar solo and Richard Wright to add a Hammond organ and Minimoog solo.

13.109.2 Cover The song has been covered by Swedish band Tiamat on their 1994 EP Gaia.

13.109.3 Personnel • David Gilmour - guitar

• David Gilmour - guitars, backing vocals

• Roger Waters - bass guitar

• Nick Mason - drums, percussion

• Richard Wright - hammond organ, piano

• Richard Wright - piano, synthesizer

• Nick Mason - drums

13.108.4 Live “What Shall We Do Now?" would be performed at all concerts for The Wall,* [1] and so appears on Is There Anybody Out There? The Wall Live 1980–81. It was also included in Waters' 1990 The Wall Concert in Berlin, therefore appears on the album The Wall – Live in Berlin. Waters also performed it on his 2010-2013 tour.

13.108.5 References [1] Manning, Toby (2006). “Soundtracks, Compilations & Bootlegs”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 227. ISBN 1-84353-575-0.

13.109.4 References [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5. [2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X. [3] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 164. ISBN 1-84353-575-0. [4] “FaceBook page for ThisdayinPinkFloyd”.

13.111. YET ANOTHER MOVIE

13.110 Wot's... Uh the Deal? "Wot's... Uh the Deal?" is a song from Pink Floyd's 1972 album, Obscured by Clouds.* [1]* [2] The song features multi-tracked vocals by David Gilmour,* [3] and lyrics by Roger Waters of which describe taking advantage of certain opportunities life gives and how they affect a person later on. The title is taken from the song's lyrics “Flash the readies, Wot's...Uh the Deal”and is reported to be a phrase by roadie Chris Adamson. David Gilmour performed it at several shows on his 2006 On an Island tour and it appears on the live DVD and BD, Remember That Night (2007) and on the vinyl version of his live album Live in Gdansk. It was also made available to download for people who bought the deluxe edition or iTunes edition.

341

13.110.3 External links • AMG song review

13.111 Yet Another Movie "Yet Another Movie" is the sixth track, along with “Round and Around”on Pink Floyd's 1987 album, A Momentary Lapse of Reason.* [1]* [2] It features soundbites from the film, Casablanca.

13.111.1 Live

The piece was performed at every show in Pink Floyd's 1987–1989 tours as the fourth piece in the first set of the 13.110.1 Personnel show (falling between "Learning to Fly" and "Round and Around") and was featured on the live album Delicate Original Sound of Thunder. The lap steel guitar that appears at the end of the studio version of “Yet Another Movie” • David Gilmour – acoustic guitars, lap steel guitar was replaced by a normal guitar solo played at a lower and vocals octave on the live performances of the track. On Delicate Sound of Thunder and the 2011 remaster of A Momen• Richard Wright – piano and Hammond organ tary Lapse of Reason, the band separated “Yet Another Movie”from“Round and Around”into different tracks. • Roger Waters – bass • Nick Mason – drums

13.111.2 Personnel David Gilmour 2006 live personnel • David Gilmour – acoustic guitar, lap steel guitar, lead vocals

• David Gilmour ̶guitar, vocals, programming, sequencer • Nick Mason ̶drums, sound effects

• Richard Wright – piano • Jon Carin – organ, backing vocals • Phil Manzanera – acoustic guitar, backing vocals • Guy Pratt – bass, backing vocals • Steve DiStanislao – drums

13.110.2 References [1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

with: • Patrick Leonard - synthesizers • Tony Levin ̶bass • Jim Keltner ̶drums • Steve Forman ̶percussion

13.111.3 References

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

[1] Strong, Martin C. (2004). The Great Rock Discography (7th ed.). Edinburgh: Canongate Books. p. 1177. ISBN 1-84195-551-5.

[3] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 164. ISBN 1-84353-575-0.

[2] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus Press. ISBN 0-71194301-X.

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13.112 List of unreleased Pink “Double O Bo” Floyd material “Double O Bo”is one of five songs recorded in early Pink Floyd have been known to perform and/or record a number of songs and instrumentals which have never been officially released on a single or album. Only those whose existence can be reliably confirmed are listed here. Bootleg recordings of the majority of below listed songs exist.

13.112.1 Syd Barrett–era songs

1965 by the original line-up of Pink Floyd.* [1]* [2] It was written by Barrett in 1965. “Double O Bo”, as far as “I'm a King Bee”and “Lucy Leave”, survive as vinyl acetates.* [2]* [5]* [12] The song's title describes its influences: "Bo Diddley meets the 007 theme.”* [2]* [13]* [14]

unreleased “Walk with Me Sydney”

“Walk with Me Sydney”is a Waters song written in 1965 that took its title from Hank Ballard and the Mid“I'm a King Bee” nighters'“Work With Me Henry”and was a novelty number.* [15] Waters had written it for Barrett and Juliette "I'm a King Bee" was written by blues musician Slim Gale (Wright's wife) to sing.* [15] Harpo and is one of five songs recorded in early 1965 by the original line-up of Pink Floyd, which was at the time It has been believed that the song has never been named The Tea Set – Syd Barrett, Bob Klose, Roger Wa- recorded. However, while revising band's catalogue for ters, Richard Wright, and Nick Mason.* [1]* [2]* [3] This Why Pink Floyd...? campaign, the original 1965 demo song was released in 1996 on a two track mini-CD that for the song has been discovered. Mason has confirmed came bundled with an Italian, now-withdrawn, 96-page this in an interview with Spinner, noting that it has been book “A Fish Out of Water”(not to be confused with found in archives by a friend of Wright's, along with other the children's book of the same name).* [3]* [4]“I'm a demos.* [16] King Bee”, as far as “Lucy Leave”and “Double O Bo”, survive as vinyl acetates.* [2]* [5]* [6] “I Get Stoned (Stoned Alone)" “Lucy Leave”

“I Get Stoned”is a Barrett song recorded live-instudio on 31 October 1966, along with a version of “Lucy Leave”(also known as“Lucy Lea in Blue Tights” "Interstellar Overdrive", at Thompson Private Recording )* [2] is one of five songs recorded in early 1965 by an Company.* [17] The song features Barrett with an acousearly incarnation of Pink Floyd, which was at the time tic guitar.* [18] The song was performed during a gig at named The Tea Set.* [2]* [7] The band consisted of Bar- the All Saints Hall in 1966.* [19] The opening lines are rett, Klose, Waters, Wright, and Mason. It was written by thought to be "Living alone/I get stoned". The master Barrett in 1965.* [1] This song was released in 1996 on tapes for the song are unknown, however under the tia two track mini-CD that came bundled with an Italian, tle “Living Alone”, a demo was recorded by Barrett now-withdrawn, 96-page book “A Fish Out of Water” during the sessions for the Barrett album on 27 February .* [4]* [7]“Lucy Leave”, as far as“I'm a King Bee”and 1970.* [20] “Double O Bo”, survive as vinyl acetates.* [2]* [5]* [8] Several other bands have covered the song, including “Pink Theme” Wellwater Conspiracy and Pink Stainless Tail. “Pink Theme”is a song performed by the Barrett-era Pink Floyd in 1966. The song is thought to be an instrumen“Butterfly” tal. Pink Floyd recorded the song at a concert at The All * “Butterfly”(aka Flutter By Butterfly) [9] is one of five Saints Church Hall in London, England on 14 October songs recorded in early 1965 by the original line-up of 1966. No known recording of this song is thought to still Pink Floyd.* [1]* [2]* [10] It was written by Barrett in exist. 1965.* [10]* [11] “Flapdoodle Dealing” “Remember Me” “Flapdoodle Dealing”is an instrumental song performed “Remember Me”is one of five songs recorded in early by the Barrett-era Pink Floyd in 1966.* [21]* [22] The 1965 by the original line-up of Pink Floyd.* [2] It was song is thought to have Waters coming up with its tiwritten by Barrett in 1965.* [11] tle. Pink Floyd never recorded a studio version of the

13.112. LIST OF UNRELEASED PINK FLOYD MATERIAL

343

song,* [22] however, a version was recorded live at a con- a cynical response to audiences and promoters pressurcert at The All Saints Church Hall in London, England on ing Pink Floyd to play their hit singles (such as "Arnold 14 October 1966.* [21] Layne" and "See Emily Play"),* [36] rather than the long, free-form jams they preferred at the time. Pressure from EMI to release a third single was high.* [37] Eventually, “Let's Roll Another One” on 4 and 5 September, the Floyd reconvened at EMI Studios to record something that could be released as a third Main article: Candy and a Currant Bun single, “Reaction In G”.* [38] Despite having takes 2 & 7 complete, any variation of the song remains unre* “Let's Roll Another One”is a Barrett song, later reti- leased. [38] A BBC studio rendition and a live recording * * tled "Candy and a Currant Bun" before being released of this song have survived, [39] [40] which was recorded * * * * in 1967. [23] [24] [25] It was written in 1965. [11] It in Rotterdam in November 1967, at the Hippy-Happy * features the original lyrics which were altered for the re- Fair. [41] Another version, recorded from the same show * * leased single at the suggestion of Waters, [23] allegedly as “One in a Million,”features a longer take. [42] due to concerns about the acceptability of drug references, and the song can be found on bootlegs like“Feed Untitled Your Head”. “Untitled”is a track recorded at Sound Techniques on 4 September 1967. The song is instrumental and the first 90 seconds of the recording is available on various bootlegs. “She Was a Millionaire”is a Barrett song, recorded at The title “Sunshine”is only used on bootlegs, and the Abbey Road on 18 April 1967,* [26]* [27] as a possible piece itself never had a title. B-side.* [28] Manager Peter Jenner said that the track was “the one that got away, the hit they were looking for.” * “One in a Million” [28]* [29] “She Was a Millionaire”

The opening lines are thought to be "She was a millionaire/She had some time to spare". The instrumental backing track was completed by Pink Floyd but the master tapes for the song most likely were erased,* [28] however elements from the song would later become part of Barrett's solo song “Opel”recorded in 1969. Two takes were attempted at a backing track by Barrett during the sessions for the Barrett album in 1970,* [20]* [30] before Barrett added vocals.* [27]

“One in a Million”(also known by the titles “Rush in a Million”,* [43]“Once in a Million”,“Rust in a Million” , and“Brush Your Window”),* [43] is a song performed by the Barrett-era Pink Floyd in 1967.* [42] Pink Floyd performed the song at a concert in Copenhagen, Denmark on 13 September 1967.* [42]* [43]* [44] The discrepancies in the title stem from Roger Waters' misheard stage announcement on the poor audience recording of the show.

“Scream Thy Last Scream”

“Vegetable Man”

Main article: Scream Thy Last Scream

Main article: Vegetable Man

“Scream Thy Last Scream”is a Barrett song and was “Vegetable Man”is a Barrett song that was written specifscheduled to be a single.* [31]* [32]* [33] The song fea- ically as a follow-up single to "See Emily Play".* [45] The tures a lead vocal by Mason.* [34] Barrett sung on one song was recorded from 9–11 October 1967 during the line in the song,“she'll be scrubbing bubbles on all fours” early sessions for the album which would eventually be.* [34] come A Saucerful of Secrets. Among the songs considA promotional video was made for the track.* [31] A fi- ered were “Scream Thy Last Scream”and "Jugband nal studio cut of “Scream Thy Last Scream”was com- Blues". pleted along with a somewhat different BBC radio version (which features both Barrett and Mason on lead vo“In the Beechwoods” cals).* [35] “In the Beechwoods”is a song recorded at De Lane Lea studios in October 1967.* [46]* [47] The song was written by Barrett in 1967, inspired by a wooded area in Cam“Reaction In G”, sometimes referred to (erroneously) as bridge.* [47]* [48] The song is an instrumental* [47] and “Stoned Alone”, is a song performed by the Barrett-era is 4 minutes and 47 seconds and has been bootlegged frePink Floyd in 1967. The song itself was performed as quently.* [48] According to Mason,“In the Beechwoods” “Reaction In G”

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was written right after the single,“See Emily Play”, came “Incarceration of a Flower Child” out.* [47] A Waters-penned song written in 1968, after Barrett left the band, as an attempt to reinvent themselves.* [55] “John Latham” The lyrics are about the downfall of Barrett.* [56]* [57] The song was eventually recorded by Marianne Faithfull “John Latham”is a song, recorded at De Lane Lea Studios on her 1999 album Vagabond Ways.* [56]* [57]* [58] The on 20 October 1967, at the same recording session that melody of the opening of the verses provided the chorus produced “Intremental”, and “In The Beechwoods” of "Your Possible Pasts", from the Pink Floyd album The .* [46] Final Cut. “Intremental”

“Moonhead”

“Intremental”is an 10 minute instrumental that was “Moonhead”, sometimes known as “Trip on Mars” recorded at De Lane Lea on 20 October 1967.* [47] , is an unreleased song played by the BBC in between broadcast coverage of the first Apollo moon landing on 20 July 1969.* [59] The BBC called this special episode “Early Morning Henry” of Omnibus “So what if it's just Green Cheese?".* [60] A demo from the “Set the Controls for the Heart of The song was written in 1969 for this specific purpose although it can be the Sun”sessions, as mentioned in David Parker's book and has never been officially released, * found on various bootleg recordings. [59] It found its way “Random Precision,”a guide to the recordings of Barinto the band's live set on rare occasion, such as Birmingrett. Parker states that he contacted Mason to inquire as ham Town Hall, 11 Feb 1970 and Gothenburg Sweden, to what this song was, but Mason could not remember. 11 Nov 1970 (the latter performance is often labeled as The master tape for this song is presumed lost. “Corrosion”). Sometimes seen as a predecessor to one section of the song "Money".* [44] “Have You Got It Yet?" “Have You Got It Yet?" is an unfinished song written by Barrett during the short time in which Pink Floyd was a five-piece. At the time, David Gilmour had been asked to join as a fifth member and second guitarist, while Barrett, whose mental state and difficult nature were creating issues with the band, was intended to remain home and compose songs, much as Brian Wilson had done for The Beach Boys; however, this idea soon fell short.* [49]* [50]* [51] Barrett's unpredictable behaviour at the time and idiosyncratic sense of humour* [52] combined to create a song that, initially, seemed like an ordinary Barrett tune. However, as soon as the others attempted to join in and learn the song, Barrett changed the melodies and structure, making it impossible for the others to follow,* [51]* [53] while singing the chorus “Have You Got It Yet?" and having the rest of the band answer “No, no!".* [54] This would be his last attempt to write material for Pink Floyd before leaving the band.* [54] In fact, Waters stated, in an interview for The Pink Floyd and Syd Barrett Story, that upon realizing Barrett was deliberately making the tune impossible to learn, he put down his bass guitar, left the room, and never attempted to play with Barrett again. Waters had called it“a real act of mad genius”.* [51]* [53]* [54] The song was never recorded by Pink Floyd or Barrett.

13.112.2 Later–era unreleased songs

“Seabirds” “Seabirds”is a song written by Waters for the More soundtrack to the film of the same name.* [44] While the song is used in the actual film, during a party scene, it does not appear on the soundtrack album.* [44]* [61] “Hollywood” “Hollywood”is a short instrumental (38 seconds) song written by David Gilmour and recorded in 1969. It was intended to be included in the More soundtrack, although not included on the soundtrack, it can be found on the film.* [62] “Stefan's Tit” An outtake from the More sessions. “Paris Bar” Another More outtake, found on the same multitrack tape as the above track. “Theme (Dramatic Version)" Another More outtake, found on the same multitrack tape as the above tracks.

13.112. LIST OF UNRELEASED PINK FLOYD MATERIAL “Theme (Beat Version)"

345

“Take Off, Version II”

Yet another More outtake, not found on the auctioned tape Another instrumental, intended for the same Zabriskie Point scene as “Fingal's Cave,”which bore the workbut known to exist. ing title of“Take Off, Version I.”One tape source from the sessions shows this piece to be a potential intro for "Crumbling Land" – and indeed, some bootlegs pair the “Alan's Blues” two songs together. “Alan's Blues”is an instrumental blues song first recorded for the film Zabriskie Point in December 1969. This ver“Oenone” sion was released as a bonus track on the 1997 soundtrack reissue under the title “Love Scene 6.”It began A lengthy instrumental in the Zabriskie Point appearing in live shows in early 1970, initially along with film,* [64]* [69] intended for a sex scene. Three a couple other Zabriskie instrumentals ("Heart Beat, Pig takes were recorded (under the working titles “Love Meat" and “The Violent Sequence”) that were soon Scene No. 1”,“No. 2”and“No. 3”), each somewhat dropped. Performed through 1972, often as an encore. different from the others, but all sharing the same eerie Possibly also recorded in 1971. The song appears on varorgan-and-guitar motif. The term “Oenone”refers to ious bootleg recordings (usually live, sometimes given the a Greek mythological character, namely the first wife of nickname of “Pink Blues”). Paris of Troy. Early bootleg appearances list the song as “Oneone”, sometimes thought to be a misspelling of the mythological character, but more likely a phonetic “The Violent Sequence” tip of the hat to Zabriskie Point's director Michelangelo Antonioni. “The Violent Sequence”(later known as “Religion” * ) [63] was a Wright-penned piano instrumental, originally intended to accompany a riot scene in the film “Corrosion in the Pink Room” Zabriskie Point.* [63]* [64] The melody is quickly recognizable, as it would later be used for "Us and Them", “Corrosion in the Pink Room”is a song written by Wafour years later.* [63]* [65]* [66] The song was performed ters, Gilmour, Wright, and Mason. It is an instrumental briefly in its original form in early 1970.* [63] A snippet piece that was played at their live shows during the early was officially released on the “Making of Dark Side of 1970s. It is a very avant-garde piece, with eerie piano the Moon”DVD. The track finally received an official playing by Wright and scatting by Waters, reminiscent released on Disc 6 of the The Dark Side of the Moon Im- of the sounds on "Several Species of Small Furry Animersion Box Set, though it was listed as a demo of “Us mals Gathered Together in a Cave and Grooving with a and Them”. Pict". Halfway through, the song transitions to a jazzy blues jam, similar to "Funky Dung". It also was known to feature the“whalesong effect”, used during live perfor“Fingal's Cave” mances of "Embryo" and, later on, "Echoes". Roger Waters often meddled with their manager Steve O'Rourke An outtake from the Zabriskie Point sessions,* [64]* [67] while performing, indicated by him calling out“Steven” intended to score a scene in which a plane takes off. This in this song.* [70] track first appeared on the bootleg LP Omay Yad,* [67] though for years, fans considered the title to be the bootlegger's invention. Studio documentation has since “The Merry Xmas Song” proven otherwise. The title references a geographical fea“The Merry Xmas Song”is a humorous song written ture. for a one-off performance on BBC radio in 1969, during the Zabriskie Point soundtrack sessions, and performed around 1975. It is notable as the last of only four “Rain in the Country” Pink Floyd songs to feature Mason on vocals (Barrett's “Scream Thy Last Scream”, also unreleased; "Corporal Main articles: Unknown Song and Crumbling Land Clegg" and "One of These Days"). A nearly 7 minute instrumental outtake from the Zabriskie Point sessions, based on “The Narrow Way” .* [68] It is available on bootleg albums such as Omay Yad.* [68] On the bootleg, The Complete Zabriskie Point Sessions, the Take 1 ends in Unknown Song while Take 2 ends in Crumbling Land.

“Long Blues” An improvised blues piece,“Long Blues”was performed live in 1970, at Montreux. Waters announced that since it was “a bit late for mind-expanding, we're going to play

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some music to calm down to.”While similar in sound The Committee soundtrack to Alan's Blues, some elements from "Funky Dung" and "Mudmen" are definitely present. It appears on the Early At one point, it was considered that a soundtrack LP Flights, Volume 1 bootleg. should be released containing music heard in the obscure science fiction film The Committee, for which Pink Floyd recorded a handful of seemingly untitled instrumentals, and The Crazy World of Arthur Brown contributed the “Bitter Love” song“Nightmare.”Although bootleg soundtracks (both Written by Waters, the song is about the bad experience vinyl and CD) have been released by fans, the fact that the Pink Floyd had after agreeing to appear in magazine ad- total running time of the material merely fills one side of vertisements for a bitter lemon drink called "Gini". Lyri- an LP shows that this may not have been a commercially cally, the song describes Waters selling his soul in the viable idea. desert. The song is also known as“How Do You Feel?". Zabriskie Point soundtrack “Drift Away Blues” “Drift Away Blues”is a blues improvisation that was played live* [71] on 6 July 1977 as an encore, picked in response to an aggressive audience. Waters introduced the song by telling the audience that“since we can't play any of our songs, here's some music to go home to.”Allegedly, Gilmour was upset at this and slipped off the stage rather than play. It appears on the Azimuth Coordinator Part 3 bootleg.

In 2011, a documentation was found regarding a scrapped Zabriskie Point soundtrack LP consisting entirely of Pink Floyd's score (much of which was rejected from the final film). The soundtrack was in fact released, but the album would have originally consisted of the following songs, possibly in this order: 1. "Heart Beat, Pig Meat" 2. "Country Song"

“Overture” “Overture”is a song that was written by Waters for The Wall movie.* [72] Pink Floyd decided not to include the song and it is unknown if it was ever recorded.* [72]

3. "Fingal's Cave" 4. "Crumbling Land" 5.“Alan's Blues” 6. "Oenone"

“Death Disco”

7. "Rain in the Country/Unknown Song"

An unreleased portion of The Wall, in which a DJ is heard 8. "Come in No. 51, Your Time Is Up/Careful with to taunt an audience. Some Floyd books mistakenly give That Axe, Eugene" the title as “The Death of Disco”or “The Death of Cisco.”It introduced the fascist ideas later heard in "In the Flesh,”and the guitar riff was later developed into Household Objects "Young Lust.” After the success of The Dark Side of the Moon, the band were unsure of their future direction and worried about how they would be able to top that record's huge popular“Peace Be with You” ity. In a return to their experimental beginnings, they be“Peace Be with You”, was written by Gilmour, as a gan work on a project entitled Household Objects, which farewell to Waters as he left the band. It was recorded would consist of songs played literally on household apduring the sessions for A Momentary Lapse of Reason, pliances. Instruments consisted of old hand mixers, rubbut was not included on the album because of the law- ber bands stretched between two tables, wine glasses, suits that were going on at the time between Waters and etc., however, the planned album was soon shelved. Two his former bandmates. It is said to be one of the better tracks recorded at these sessions,“The Hard Way”, and Pink Floyd songs written after Waters left the band, but “Wine Glasses”(later incorporated into the opening of Shine On You Crazy Diamond), were released on the Pink it was never bootlegged. Floyd reissues in September and November 2011 on The Dark Side of the Moon (Immersion Box Set) and Wish You Were Here (Experience Version and Immersion Box 13.112.3 Unreleased albums Set), respectively.

13.112. LIST OF UNRELEASED PINK FLOYD MATERIAL Spare Bricks Upon release of the film adaptation of The Wall, the group planned to compile an album consisting of both songs newly recorded for the film, and outtakes from the original Wall LP sessions. The original proposed title for this disc was Spare Bricks, though this was eventually amended to "The Final Cut" – and indeed, the label of the "When the Tigers Broke Free" single released at this time claims the track to be from that album. Eventually, Waters decided to reuse the second title for a new concept album, partially based around rewritten Wall rejects. Despite the claim made by the “Tigers”single, that song did not appear on the album that would finally claim the title of The Final Cut – at least until 2004, when Waters decided to permanently incorporate the song into future CD pressings. The Big Spliff An album of ambient music under the title The Big Spliff was recorded during the sessions for The Division Bell. The band seriously considered releasing it,* [73] but the idea was shelved. Part of The Big Spliff was used to create Pink Floyd's fifteenth and final album, The Endless River (2014).* [74]* [75]

13.112.4 See also • The Man and The Journey • Pink Floyd bootleg recordings • List of songs recorded by Pink Floyd

13.112.5 References

347

[8] http://collectorsfrenzy.com/details/110490106657/ Pink_Floyd__Im_a_King_Bee__acetate__ACETATE_ _VG [9] Watkinson, Mike; Pete Anderson. Crazy Diamond: Syd Barrett & the Dawn of Pink Floyd. p. 32. [10] “Unreleased Pink Floyd material: Butterfly”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012. [11] Chapman, Rob (2010). “Watching Buttercups Cup the Light”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 56. ISBN 978-0-571-23855-2. [12] http://collectorsfrenzy.com/details/110490106657/ Pink_Floyd__Im_a_King_Bee__acetate__ACETATE_ _VG [13] “Unreleased Pink Floyd material: Double O Bo”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012. [14] Mason, Nick. Inside Out: A Personal History of Pink Floyd. p. 26. [15] Chapman, Rob (2010). “Watching Buttercups Cup the Light”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 58. ISBN 978-0-571-23855-2. [16] Pink Floyd's Nick Mason Mulls Future Work With 'Bastard' Bandmates, Talks New Box Set and Syd Barrett's 'Suffering' - Spinner [17] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 136. ISBN 085965-431-1. [18] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 137. ISBN 085965-431-1. [19] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 140. ISBN 085965-431-1. [20] Barrett (booklet). Syd Barrett. Harvest, EMI. 2010. p. 1.

[1] Manning, Toby (2006). “The Early Years”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. pp. 15–16. ISBN 1-84353-575-0. [2] Chapman, Rob (2010). “Watching Buttercups Cup the Light”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 65. ISBN 978-0-571-23855-2. [3] “Unreleased Pink Floyd material: I'm a King Bee”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012. [4] “Pink Floyd Books: A Fish Out of Water”. Pinkfloydhyperbase.dk. 1998-06-19. Retrieved 21 September 2012. [5] Manning, Toby (2006). “The Early Years”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 16. ISBN 1-84353-575-0.

[21] Chapman, Rob (2010).“Flicker Flicker Blam Blam Pow” . Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 113. ISBN 978-0-571-23855-2. [22] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 129. ISBN 085965-431-1. [23] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 32. ISBN 1-84353-575-0. [24] Chapman, Rob (2010). “Watching Buttercups Cup the Light”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 57. ISBN 978-0-571-23855-2.

[6] http://collectorsfrenzy.com/details/110490106657/ Pink_Floyd__Im_a_King_Bee__acetate__ACETATE_ _VG

[25] Chapman, Rob (2010). “Distorted View – See Through Baby Blue”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 134. ISBN 978-0-57123855-2.

[7] http://pinkfloydhyperbase.dk/unreleased/index.html# LUCY LEE IN BLUE TIGHTS

[26] Jones, Malcolm (2003). “The Making of The Madcap Laughs”(21st Anniversary ed.). Brain Damage. p. 22.

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[27] Palacios, Julian (2010). “Within the Dark Globe”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 371. ISBN 0-85965-431-1.

[44] Manning, Toby (2006). “Soundtracks, Compilations & Bootlegs”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 226. ISBN 1-84353-575-0.

[28] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 209. ISBN 085965-431-1.

[45] Chapman, Rob (2010). “His Head Did No Thinking: His Arms Didn't Move”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 188. ISBN 978-0-571-23855-2.

[29] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 43. ISBN 1-84353-575-0.

[46] Random Precision:Recording The Music Of Syd Barrett 1965–1974 p.101,

[30] “Unreleased Pink Floyd material: Millionaire / She Was a Millionaire”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012.

[47] Palacios, Julian (2010). “Vegetable Man”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 288. ISBN 0-85965-431-1.

[31] Chapman, Rob (2010). “His Head Did No Thinking: His Arms Didn't Move”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 187. ISBN 978-0-571-23855-2.

[48] Chapman, Rob (2010). “His Head Did No Thinking: His Arms Didn't Move”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 193. ISBN 978-0-571-23855-2.

[32] Palacios, Julian (2010).“Summer Tempests”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 262. ISBN 0-85965-431-1.

[49] Schaffner, Nicholas (2005). “Apples and Oranges”. Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 265. ISBN 1-905139-09-8.

[33] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 41. ISBN 1-84353-575-0.

[50] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 45. ISBN 1-84353-575-0.

[34] Chapman, Rob (2010). “His Head Did No Thinking: His Arms Didn't Move”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. p. 186. ISBN 978-0-571-23855-2.

[51] Schaffner, Nicholas (2005). “Prologue - Wish You Were Here” . Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 14. ISBN 1-905139-098.

[35] Palacios, Julian (2010). “Vegetable Man”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 306. ISBN 0-85965-431-1.

[52] DiLorenzo, Kris.“Syd Barrett: Careening Through Life.” Trouser Press February 1978 pp. 26–32

[36] Chapman, Rob (2010).“His Head Did No Thinking: His Arms Didn't Move”. Syd Barrett: A Very Irregular Head (Paperback ed.). London: Faber. pp. 192–193. ISBN 978-0-571-23855-2. [37] Palacios, Julian (2010).“Summer Tempests”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 270. ISBN 0-85965-431-1. [38] Palacios, Julian (2010).“Summer Tempests”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 271. ISBN 0-85965-431-1. [39] http://pinkfloydhyperbase.dk/unreleased/index.html# REACTION IN G [40] Palacios, Julian (2010).“Summer Tempests”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 274. ISBN 0-85965-431-1. [41] Palacios, Julian (2010). Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 299. ISBN 085965-431-1. [42] Palacios, Julian (2010).“Summer Tempests”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 272. ISBN 0-85965-431-1. [43] “Unreleased Pink Floyd material: One in a Million”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012.

[53] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 45. ISBN 1-84353-575-0. [54] Palacios, Julian (2010).“Thunder Within the Earth”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 317. ISBN 0-85965-431-1. [55] Thompson, Dave. “Incarceration of a Flower a Child Marianne Faithfull : Listen, Appearances, Song Review” . AllMusic. Retrieved 20 September 2012. [56] Palacios, Julian (2010). “The Return of Ulysses”. Syd Barrett & Pink Floyd: Dark Globe (Rev. ed.). London: Plexus. p. 392. ISBN 0-85965-431-1. [57] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 46. ISBN 1-84353-575-0. [58] Demalon, Tom. “Vagabond Ways - Marianne Faithfull : Songs, Reviews, Credits, Awards”. AllMusic. Retrieved 20 September 2012. [59] “Unreleased Pink Floyd material: Moonhead”. Pinkfloydhyperbase.dk. Retrieved 20 September 2012. [60]“BBC One London, 20 July 1969 22.00: Omnibus”. Radio Times (BBC) (2384): 12. 17 July 1969. [61] “Unreleased Pink Floyd material: Seabirds”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012.

13.112. LIST OF UNRELEASED PINK FLOYD MATERIAL

[62] “Unreleased Pink Floyd material: Hollywood”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012. [63] Manning, Toby (2006). “Eclipse”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 80. ISBN 1-84353-575-0. [64] Manning, Toby (2006). “Soundtracks, Compilations & Bootlegs”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 227. ISBN 1-84353-575-0. [65] Echoes: The Complete History of Pink Floyd. Glenn Povey. Retrieved 13 August 2012. [66] http://pinkfloydhyperbase.dk/unreleased/index.html# THE VIOLENT SEQUENCE [67] http://pinkfloydhyperbase.dk/unreleased/index.html# FINGALS CAVE [68] http://pinkfloydhyperbase.dk/unreleased/index.html# RAIN IN THE COUNTRY [69] “Unreleased Pink Floyd material: Oenone”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012. [70] Mason, Nick. Inside Out: A Personal History of Pink Floyd (Weidenfeld & Nicolson, 2004). ISBN 978-0-29784387-0. [71] AWAY BLUES [72] “Unreleased Pink Floyd material: Overture”. Pinkfloydhyperbase.dk. Retrieved 21 September 2012. [73] Mason, Nick. Inside Out: A Personal History of Pink Floyd. p. 315. [74] Young, Alex (July 6, 2014). “Pink Floyd to release new album The Endless River in October”. Consequence of Sound. Retrieved July 6, 2014. [75] Young, Alex (22 September 2014). “Pink Floyd reveals details of new album, The Endless River”. Consequence of Sound. Retrieved 22 September 2014.

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Videography 14.1 Pink Floyd videography

The victim talks to him, but he's uninterested. The victim decides to pull over because he doesn't like the sound This article includes a complete videography for the of the engine. While he's looking under the hood of the car the central character slams the hood down on him, British progressive rock band Pink Floyd. decapitating him in the process. The central character Over the course of their career, Pink Floyd has released eventually sews the head back on, and the victim wakes six official home videos/DVDs and made over 15 music up. The central character tells him he doesn't want to videos. drive anymore that day and to leave without him.

14.1.1

Music videos

14.1.2

Films/Videos

14.1.3

References

A few years later the central character is called on to be part of a committee, groups that supposedly keep the system running but really don't do much of anything. He feels paranoid that the committee was called on account of him, and runs into the victim while there, who doesn't seem to remember him.

[1] “Gerald Scafe Interview”. Gerald Scarfe Interview. Retrieved 2007-07-26. [2] “American chart positions”. Billboard. Retrieved 200707-26. [3] “RIAA Certifications”. Recording Industry Association of America. Retrieved 2008-06-24.

The central character talks about this with a man listed as 'The committee director' (Robert Langdon Lloyd) in the credits. This conversation lasts for the duration of the movie, and features most of the music Pink Floyd wrote for the film.

14.2.2 Cast

[4] “BPI Certifications”. British Phonographic Industry. Archived from the original on 2008-04-24. Retrieved 2008-06-24. [5] “CRIA Certifications”. Canadian Recording Industry Association. Retrieved 2008-06-24. [6] “NVPI Certifications”. NVPI. Retrieved 2008-03-07.

• Arthur Brown as Himself • Jimmy Gardner as Boss • Paul Jones as Central figure • Tom Kempinski as Victim • Robert Langdon Lloyd as Committee Director (as Robert Lloyd) • Pauline Munro as Girl

14.2 The Committee (film)

The Committee is a 1968 British independent Black-and- 14.2.3 Soundtrack white film noir film. It featured original music by Pink Floyd as well as Arthur Brown's song Nightmare. • 1. The Committee (Part 1 backwards version) - 0:36

14.2.1

• 2. The Committee (Part 1) - 0:36

Synopsis

• 3. The Committee (Part 2) - 1:09

The movie follows a man (Paul Jones) who is unnamed. The movie starts out with the central character in a car with a man (Tom Kempinski) who just picked him up. 350

• 4. The Committee (Part 3) - 2:56 • 5. The Committee (Part 4) - 1:24

14.4. ZABRISKIE POINT (FILM) • 6. The Committee (Part 5) - 2:06 • 7. The Committee (Part 6) - 0:50 • 8. The Committee (Part 7) - 2:38 • 9. The Committee (Part 8) - 3:30

351 kitchen, the ingredients "benzedrine" and“banana peel” are deleted from the audio track. On the DVD the words have been re-added as subtitles. Most of the movie was shot on the island of Ibiza. The castle of Ibiza, which dominates the harbour and the town, is the scene for the final act. The location of Stefan's death, a tunnel near the castle, has since become a place of pilgrimage for addicts.

Titles taken from A Tree Full of Secrets bootleg. The Committee (Part 1 backwards version) is the original recording, which was reversed for the film. The Committee (Part 7) is an early recording of Careful with That 14.3.3 Soundtrack Axe, Eugene. Main article: Soundtrack from the Film More

14.2.4

External links

• The Committee at the Internet Movie Database

14.3 More (1969 film) More is an English language film directed by Barbet Schroeder, released in 1969. Starring Mimsy Farmer and Klaus Grünberg, it deals with heroin addiction on the island of Ibiza. It features a soundtrack written and performed by Pink Floyd, released as the album Soundtrack from the Film More.

14.3.1

Synopsis

A German student, Stefan, who has finished his mathematics studies, decides to have an adventure, rid himself of his inhibitions and discard his personal commitments. After hitch-hiking to Paris, he makes a friend playing cards in a bar and they decide to commit a burglary to get some money. He meets a free-spirited American girl called Estelle and follows her to Ibiza. He discovers Estelle is involved with an ex-Nazi German man called Dr. Wolf. Stefan saves Estelle from Dr. Wolf only to find she does not really want to be saved, and she introduces him to heroin (referred to by the old street name,“horse” ) which she has stolen from Dr. Wolf. Stefan is initially against Estelle using heroin, but having used it previously, she persuades him to try it. Soon Stefan and Estelle are both heavily addicted to heroin. They try to break the addiction using LSD and initially manage to stay clean. However, after a while they're both using heroin again. Unable to break free of the addiction, it quickly spirals out of control leading to a tragic end for Stefan.

14.3.2

Production

The French film censorship board in 1969 insisted that some of the dialog be censored around the 81 minute mark before the film could be released. In the film, as the couple mix up a hallucinogenic concoction in the

'His (Barbet Schroeder's) feeling about music for movies was, in those days, that he didn't want a soundtrack to go behind the movie. All he wanted was, literally, if the radio was switched on in the car, for example, he wanted something to come out of the car. Or someone goes and switches the TV on, or whatever it is. He wanted the soundtrack to relate exactly to what was happening in the movie, rather than a film score backing the visuals.' ̶Roger Waters, * [1]

14.3.4 References [1] Kendall, Charlie (1984).“Shades of Pink - The Definitive Pink Floyd Profile”. The Source Radio Show. Retrieved 2011-07-26.

14.3.5 External links • More at the Internet Movie Database • More, on BarbetSchroeder.com

14.4 Zabriskie Point (film) Zabriskie Point /zəˈbrɪskiː/ is a 1970 American film by Italian director Michelangelo Antonioni, widely noted at the time for its setting in the counterculture of the United States in the late 1960s. Some of the film's scenes were shot on location at Zabriskie Point in Death Valley. It was the second of three English-language films that Antonioni had been contracted to direct for producer Carlo Ponti and to be distributed by MGM. The other two were Blowup (1966) and The Passenger (1975). Zabriskie Point was an overwhelming commercial failure* [3] and panned by most critics upon release.* [4] It has, however, achieved somewhat of a cult status and is noted for its cinematography, use of music, and direction.

352

14.4.1

CHAPTER 14. VIDEOGRAPHY

Plot summary

The film opens with a documentary-like scene in which white and black students argue about an impending student strike. Mark (Mark Frechette) leaves the meeting after saying he is “willing to die, but not of boredom” for the cause, which draws criticism from the young white radicals. Following a mass arrest at the campus protest, Mark visits a police station hoping to bail his roommate out of jail. He is told to wait but goes to the lock-up area, asks further about bail for his roommate, is rebuffed, calls out to the arrested students and faculty and is arrested. He gives his name as Karl Marx, which a duty officer types as“Carl Marx”. After he is released from jail, Mark and another friend buy firearms from a Los Angeles gun shop, saying they need them for “self-defense”to “protect our women.” In a downtown Los Angeles office building, successful real estate executive Lee Allen (Rod Taylor) reviews a television commercial for Sunny Dunes, a new resort-like real estate development in the desert. Instead of actors or models, the slickly produced commercial features casually dressed, smiling mannequins. In the next scene Allen talks with his associate (G. D. Spradlin) about the greater Los Angeles area's very rapid growth as the two drive through crowded streets. Mark goes to a bloody campus confrontation between students and police. Some students are tear-gassed and at least one is shot. As Mark reaches for a gun in his boot, a Los Angeles policeman is seen being fatally shot, although it is unclear by whom.* [5] Mark flees the campus and rides a city bus to suburban Hawthorne where, after failing to buy a sandwich on credit from a local blue-collar delicatessen, he walks to Hawthorne Municipal Airport (California), steals a small plane and flies into the desert.

Theater.* [6] Later a California highway patrolman suspiciously questions Daria. Hidden behind a portable toilet meant for tourists, Mark takes aim and almost shoots the policeman but Daria stands between the two of them to block this, apparently saving the policeman's life before he drives away. Daria asks Mark if he was the one who killed the cop in Los Angeles. He states that he wanted to but someone else shot the officer first and that he “never got off a shot”. Getting back to the stolen plane, they paint it with politically charged slogans and psychedelic colors. Daria pleads with Mark to travel with her and leave the plane but Mark is intent on returning and taking the risks that it involves. He flies back to Los Angeles and lands the plane at the airport in Hawthorne. The police (along with some radio and television reporters) are waiting for him. and patrol cars chase the plane down the runway. Rather than stopping, Mark tries to turn the taxiing plane around across the grass and is shot to death by one of the policemen. Daria learns about Mark's death on the car radio. She drives to Lee's lavish desert home, “a desert Berchtesgaden"* [5] set high on a rock outcropping near Phoenix, where she sees three affluent women sunning themselves and chatting by the swimming pool. She grieves for Mark by drenching herself in the house's architectural waterfall. Lee is deeply immersed in a business meeting having to do with the complex and financially risky Sunny Dunes development. Taking a break, he spots Daria in the house and happily greets her. She goes downstairs alone and finds the guest room that has been set aside for her but after briefly opening the door, she shuts it again. Upon the sight of a young Native American housekeeper in the hallway, Daria leaves without a further word. She drives off but stops to get out of the car and look back at the house, leaving her own imagination seeing it repeatedly blown apart in billows of orange flame and softly flying consumer goods as a metaphor for her sadness and anger.* [5]

Meanwhile, Daria (Daria Halprin), “a sweet, potsmoking post-teenybopper of decent inclinations”, is driving across the desert towards Phoenix in a 1950s-era Buick automobile to meet her boss, Lee, who may or may not also be her lover.* [5] Along the way Daria is searching 14.4.2 Cast for a man, who works with“emotionally disturbed”children from Los Angeles. She finds the young boys near a • Mark Frechette as Mark roadhouse in the Mojave desert but they tease, taunt, and grab at her, boldly asking for“a piece of ass”, to which • Daria Halprin as Daria she asks in reply, “are you sure you'd know what to do • Paul Fix as Roadhouse owner with it?" Daria flees in her car. While filling its radiator with water, she is spied from the air by Mark, who buzzes • Bill Garaway as Morty her car and then flies only fifteen feet over Daria as she • Kathleen Cleaver as Kathleen lies face down in the sand. He throws a nightie out of the window of the plane for her to pick up. Daria goes from • Rod Taylor as Lee Allen upset to curious and smiling during this sequence. • G. D. Spradlin as Lee's associate They later meet at the desert shack of an old man, where Mark asks her for a lift so he can buy gasoline for the airplane. The two then wander to Zabriskie Point, where Harrison Ford has an uncredited role as one of the arthey make love and the site's geological formations seem rested student demonstrators being held inside a Los Anto come alive in a dusty orgy performed by The Open geles police station.

14.4. ZABRISKIE POINT (FILM)

14.4.3

Production

While in the United States for the 1966 première of his film Blowup, which had been a surprising box office hit, Antonioni saw a short newspaper article about a young man who had stolen an airplane and was killed when he tried to return it in Phoenix, Arizona. Antonioni took this as a thread, with which he could tie together the plot of his next film. After writing many drafts, he hired playwright Sam Shepard to write the script. Shepard, Antonioni, Italian filmmaker Franco Rossetti, Antonioni's frequent collaborator screenwriter Tonino Guerra and Clare Peploe (later to become the wife of Bernardo Bertolucci) worked on the screenplay.

353 Unused music Richard Wright of Pink Floyd wrote a song called “The Violent Sequence”for inclusion in the film. Antonioni rejected the song because it was too subdued and instead synchronized a re-recording of the band's "Careful with That Axe, Eugene" with the film's violent ending scene. Roger Waters states in Classic Albums - Pink Floyd - Making The Dark Side Of The Moon that while Antonioni loved the song, he said it made him “feel sad”. Eventually it was reworked into a new song known as "Us and Them", which was released on their album Dark Side of the Moon in 1973. “The Violent Sequence”remained unreleased until it was included on a 2011 boxed set of Dark Side of the Moon, where it was named “Us and them (Richard Wright Demo)". John Fahey was flown to Rome to record some music for the movie, but that was not used.* [9] However, a portion of his Dance of Death was used in the film.* [3] Antonioni visited the band The Doors while they were recording their album L.A. Woman and thought about putting them in the soundtrack. The Doors recorded the song “L'America”for Zabriskie Point but it was not used.

Most of the supporting roles were played by a professional cast, including, notably, Rod Taylor,* [7] along with G.D. Spradlin, in one of his first feature film roles, following many appearances on US national television. Paul Fix, a friend and acting coach of John Wayne who had appeared in many of Wayne's films, played the owner of a roadhouse in the Mojave desert. Kathleen Cleaver, a member of the Black Panthers and wife of Eldridge Cleaver, appeared in the documentary-like student meeting scene at 14.4.4 the opening of the film.

Reception

Shooting began in July 1968 in Los Angeles, much of it on location in the wider southern downtown area. Exteriors of the art deco Richfield Tower were shown in a few scenes shot shortly before its demolition in November of that year. Various college campus scenes, excluding the scene of the student meeting, were filmed on location at Contra Costa Community College in San Pablo, California. The production then moved to location shooting near Phoenix and from there to Death Valley.* [8] Early movie industry publicity reports claimed Antonioni would gather 10,000 extras in the desert, for the filming of the lovemaking scene but this never happened. The scene was filmed with dust-covered and highly choreographed actors from The Open Theatre. The United States Department of Justice investigated whether this violated the Mann Act (which forbade the taking of women across state lines for sexual purposes); however, no sex was filmed and no state lines were crossed for that segment of the production, given that Death Valley is in California.* [6]* [8] During filming, Antonioni was quoted as criticizing the US film industry for financially wasteful production practices, which he found “almost immoral”and compared to the more thrifty approach of Italian studios.* [8] Music

Decades after its widely panned 1970 release, Zabriskie Point garnered critical praise for its cinematography. Halprin and Frechette can barely be seen in the left of this scene filmed at Zabriskie Point

Following prolonged publicity and controversy in North America throughout its production, Zabriskie Point was released in February 1970, almost four years after Antonioni began pre-production and over a year and a half after shooting began. The film was panned by most critics and other published commentators of all political stripes, as were the performances of Frechette and Halprin. The New York Times reviewer Vincent Canby called Zabriskie Point“a noble artistic impulse short-circuited in a foreign land.”* [5] Roger Ebert echoed Canby, saying:“The director who made Monica Vitti seem so incredibly alone is incapable, in 'Zabriskie Point,' of making his young characters seem even slightly together. Their voices are empty; they have no resonance as human beings. They don't play to each other, but to vague narcissistic conceptions of themselves. They wouldn't even meet were it not for a preposterous Hollywood coincidence.”* [10]

The soundtrack to Zabriskie Point included music from Pink Floyd, The Youngbloods, The Kaleidoscope, Jerry Garcia, Patti Page, Grateful Dead, the Rolling Stones and The counterculture audience MGM hoped to draw had John Fahey. Roy Orbison sang the theme song, over the shifted by then. The film was ignored by moviegoers and credits, called “So Young”. taken altogether the outcome was a notorious box office

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bomb. Production expenses were at least $7,000,000, and only $900,000 was made in the domestic release. It has also been described as “the worst film ever made by a director of genius”but it “is still absolutely watchable because of the magic of Antonioni's eye”.* [11] Over 20 years after the film's release, Rolling Stone editor David Fricke wrote that "Zabriskie Point was one of the most extraordinary disasters in modern cinematic history.”* [12] It was the only film Antonioni ever directed in the United States, where in 1994 he was given the Honorary Academy Award “in recognition of his place as one of the cinema's master visual stylists.”Following early 21st-century screenings of pristine wide-screen prints and a later DVD release, Zabriskie Point at last garnered some critical praise, mostly for the stark beauty of its cinematography and innovative use of music in the soundtrack, but outlooks on the film were still mixed. Director Stéphane Sednaoui referenced the film in his video for "Today" by The Smashing Pumpkins, where an icecream salesman steals his employer's ice-cream van, escapes to the desert, and colourfully paints the van while couples kiss in the desert.* [13]

14.4.5

See also

• Zabriskie Point (album)

14.4.6

Notes

[1] 513,312 admissions (France)* [2]

14.4.7

References

[1] “Box office / business for Zabriskie Point (1970)". IMDb. Retrieved 18 October 2011. [2] 1970 French box office figures at Box Office Story [3] Smith, Matt. “Zabriskie Point”. Brattle Theatre Film Notes. Brattle Film Foundation. Retrieved 19 September 2012. [4] Chatman, Seymour, and Paul Duncan. (2004). Michelangelo Antonioni: The Complete Films. Koln: Taschen. p. 118. ISBN 3-8228-3089-5. [5] Canby, Vincent, Screen: Antonioni's 'Zabriskie Point', The New York Times, 10 February 1970, retrieved 2 February 2010

[10] “Zabriskiie Point.” Chicago Sun-Times. [11] Peter Craven, “Uneasy moments from master of angst” , The Age, A2, 17 May 2008, p. 20 [12] Fricke, David, zabriskie point, phinnweb.org, retrieved 3 February 2010 [13] Commentary for “Today”music video. The Smashing Pumpkins 1991–2000: Greatest Hits Video Collection (Virgin Records, 2001)

14.4.8 External links • Zabriskie Point at the Internet Movie Database • Zabriskie Point at AllMovie • Zabriskie Point @ pHinnWeb • Return to Zabriskie Point: The Mark Frechette and Daria Halprin Story at Confessions of a Pop Culture Addict

14.5 La Vallée (film) For other uses, see La Vallée (disambiguation). La Vallée is a 1972 French film written and directed by Barbet Schroeder. The film stars Bulle Ogier as Viviane, a woman who goes on a strange and accidental voyage of self-discovery through the New Guinea bush. Pink Floyd recorded an album, Obscured by Clouds, as the soundtrack to the film. After recording had finished, the band fell out with the film company, prompting them to release the soundtrack album as Obscured by Clouds, rather than La Vallée. In response, the film was retitled La Vallée (Obscured by Clouds) on its release.* [1] The actress credit “Monique Giraudy”is actually an alias of Miquette Giraudy, a longtime vocalist and synthesizer player who went on to play in progressive rock/space rock band Gong with her partner Steve Hillage, and later formed the electronic group System 7 with Hillage.

14.5.1 Synopsis

Viviane (Ogier), the wife of the French consul in Melbourne, joins a group of explorers in search of a mysterious hidden valley in the bush of New Guinea, where [7] Stephen Vagg, Rod Taylor: An Aussie in Hollywood, Bear she hopes to find the feathers of an extremely rare exotic bird. Along the way through the dense jungles of Manor Media 2010 p144 Papua New Guinea and on the peak of Mount Giluwe, [8] chainedandperfumed.wordpress.com, Making Zabriskie she and the small group of explorers make contact with Point, 17 November 2009, retrieved 29 January 2010 the Mapuga tribe, one of the most isolated groups of hu[9] Fahey, John (2000). How Bluegrass Music Destroyed My man beings on earth, who inspire them to explore their Life. Chicago: Drag City. ISBN 0-965-61832-3. own humanity, unfettered by their own subjective ideas [6] moviecrazed.com, Out of the past, retrieved 2 February 2010

14.6. PINK FLOYD: LIVE AT POMPEII of“civilization”. The search becomes a search for a paradise said to exist within a valley marked as “obscured by cloud”on the only map of the area available dated as surveyed in 1969.

14.5.2

Trivia

Footage from La Vallée was incorporated into the horror film Hell of the Living Dead.

355 The film has subsequently been released on video numerous times, and in 2003 a “Director's Cut”DVD appeared which combines the original footage from 1971 with more contemporary shots of space and the area around Pompeii, assembled by Maben. A number of notable bands have taken inspiration from the film in creating their own videos, or filming concerts without an audience.

14.6.1 Background 14.5.3

Cast

• Bulle Ogier: Viviane • Jean-Pierre Kalfon: Gaëtan • Valérie Lagrange: Hermine • Michael Gothard: Olivier • Jérôme Beauvarlet: Yann • Miquette Giraudy ('credited as Monique Giraudy'): Monique • The Mapuga Tribe and its Chiefs

The amphitheatre at Pompeii where most of the footage was filmed.

Pink Floyd had already experimented with filming outside the context of a standard rock concert, most no[1] Mason, Nick (2004). “There Is No Dark Side”. Inside tably an hour-long performance in KQED TV studios in Out: A Personal History of Pink Floyd (New ed.). Widen- April 1970.* [2] Adrian Maben had become interested in feld & Nicolson. p. 164. ISBN 0-297-84387-7. combining art with Pink Floyd's music,* [3] and during 1971, he attempted to contact the band's manager, Steve O'Rourke, to discuss the possibilities of making a film to 14.5.5 External links achieve this aim. After his original plan of mixing the band with assorted paintings had been rejected, Maben • La Vallée at the Internet Movie Database went on holiday to Naples in the early summer. • Interview with Barbet Schroeder and additional info During a visit to Pompeii, he lost his passport, and went back to the amphitheatre he had visited earlier in the day in order to find it. Walking around the deserted ruins, he 14.6 Pink Floyd: Live at Pompeii thought the silence and natural ambient sounds present would make a good backdrop for the music. He also felt Pink Floyd: Live at Pompeii is a 1972 concert that filming the band without an audience would be a good documentary film featuring the English progressive rock reaction to earlier films such as Woodstock and Gimme films paid equal attention to performers group Pink Floyd performing at the ancient Roman am- Shelter, where the * [3] Through his contacts at the University and audiences. phitheatre in Pompeii, Italy, directed by Adrian Maben. of Naples, Maben managed to persuade the local authorAlthough the band are playing a typical live set from this ities to close the amphitheatre for six days that October point in their career, the film is notable for having no au* [4] for filming. dience.

14.5.4

References

The main footage in and around the amphitheatre was filmed over four days in October 1971, using the band's regular touring equipment, including studio-quality 24track recorders. Additional footage filmed in a Paris television studio that December made up the original 1972 release. The film was then re-released in 1974 with additional studio material of the band working on The Dark Side of the Moon, and interviews at Abbey Road Studios.

14.6.2 Filming Pompeii The performances of "Echoes", "A Saucerful of Secrets", and "One of These Days" were filmed from 4 to 7 October 1971.* [5] O'Rourke delivered a demo to Maben in order

356

CHAPTER 14. VIDEOGRAPHY

Richard Wright's Farfisa Compact Duo is featured prominently on several songs in the film, particularly Set the Controls ... and Echoes Part II. This shot of a Roman mosaic appeared at the start of Careful With That Axe, Eugene

for him to prepare for the various shots required, which he finally managed to do the night before filming started. The choice of material was primarily the band's, but while Maben realised it was important to include material from Meddle, he was also keen to include "Careful with That Axe, Eugene"* [6] and“A Saucerful of Secrets”, as he felt they would be good numbers to film.* [4] “Intro Song” was an early version of "Speak to Me" from The Dark Side of the Moon. The band insisted on playing live, and brought their regular touring gear with them. Their roadie, Peter Watts, suggested that their 24-track recorder would produce a sound tantamount to that of a studio recording. In addition, it transpired that the natural echo of the amphitheatre also provided good acoustics for the recording.* [6] The equipment was carried by truck from London, and took three days to reach Pompeii. When it arrived, it was discovered there was insufficient power to drive the equipment correctly, which blew every time it was plugged in. This issue plagued filming for several days, and was finally resolved by running a lengthy cable from the local town hall.* [4] The first section of footage to be filmed were montage shots of the band walking around Boscoreale, mixed with shots of mud,* [3] which can be seen at various points in “Echoes”and “Careful with That Axe, Eugene”. For the live performances, the band recorded portions of the songs in sections, which were later spliced together. After each take, they listened to the playback on headphones. Maben closed all the entrances to the amphitheatre, but a few children managed to sneak in, and were allowed to watch the filming quietly from a distance.* [6]

guished by the absence of Richard Wright's beard. To fit in with the theme of the earlier work in Pompeii, the filming around Boscoreale, along with stock footage of waterfalls and lava and various shots of Roman mosaics and drawings from the Naples National Archaeological Museum were added into the Paris footage. Maben also filmed additional front projection footage for insertion into the Pompeii performances. While both the director and the band were disappointed with this footage, due to a lack of time and money, there was no alternative left but to use it.* [6] During the filming in Paris, the band spontaneously suggested they would like to film a short blues with a howling dog, in the style of Seamus from Meddle. Maben knew Madonna Bouglione, daughter of circus director Joseph Bouglione, who was known to walk about Paris with a dog called Nobs. Accordingly, Nobs was invited into the studio, where the footage was filmed.* [6] Maben subsequently did some of the editing of the final cut at home, due to financial constraints. He regretted doing this, as he felt it was important to separate his work and home life, but, at the time, he had no choice.* [8]

14.6.3 Release history “Are you happy with the filming?" “What do you mean, happy?" “Well do you think it's interesting?" “What do you mean, interesting?" ̶Roger Waters, being interviewed by Adrian Maben in 1972, * [8]

The original release, running for one hour, only featured the live footage. The film was scheduled for a special Paris premiere at London's Rainbow Theatre, on 25 November 1972. It was cancelled at the last minute by the theThe remaining songs were filmed in Studio Europasonor, atre's owner, Rank Strand.* [3] His eventual explanation Paris, from 13–20 December* [3]* [7] and can be distin- was that the film didn't have a certificate from the British

14.6. PINK FLOYD: LIVE AT POMPEII

357

14.6.4 Reception

Director Adrian Maben was particularly impressed with the various panoramic shots of Pompeii that appear in the film.* [6]

Board of Film Censors and they wouldn't allow the Rainbow Theatre, which was a music venue, to be a venue for showing a film and thus could be seen to be in competition with their other established cinemas.* [7] Maben was concerned that one of the problems with the film was that it was too short.* [8] In early 1973, Maben was fly fishing with Waters, and suggested the possibility of improving the film by watching them at work in a recording studio. Subsequently, Maben was invited with a small crew using a single 35 mm camera to Abbey Road Studios to film supposed recording sessions of The Dark Side of the Moon, as well as interviews conducted offcamera by Maben, and footage of the band eating and talking at the studio cafeteria. Maben was particularly happy about this footage, feeling it captured the spontaneous humour of the band.* [6] This version premiered on 21 August 1974, and ran for 80 minutes.* [9] The recording sessions were actually staged for the film,* [10] as the recording of the album had been completed when these sessions were filmed in January 1973 and the band was mixing the album at the time. The film wasn't financially successful according to Mason,* [11] though Maben disagrees,* [6] and suffered particularly from being overshadowed by the release of The Dark Side of the Moon* [3] not long after the original theatrical showing. It was released on various home video formats several times.* [12] In 2003, the director's cut version of the film was released, running for 92 minutes. In addition to the concert and interview footage, it includes more overlaid imagery including footage from the Apollo space program and computer-generated images of space and Pompeii, and overall has a busier, “updated”feel. The original 1.37:1 aspect footage is cropped to 1.78:1 in this version. The DVD also contains the original one-hour cut in its original aspect ratio as a bonus, a collection of black-andwhite footage of the band in Paris filmed by Maben in 1972, and an extensive interview with the director.

Maben used shots of several mosaics and paintings from the archives of the National Archaeological Museum of Naples in Set The Controls, such as this young couple. (Portrait of Paquius Proculo)

Maben was particularly pleased with positive reviews that came out of the film's showing at the Edinburgh International Film Festival, but was disappointed to hear one New York critic describe it“like the size of an ant crawling around the great treasures of Pompeii.”* [8] Billboard magazine was not enthusiastic about the 1974 re-release, thinking it looked dated, and stated that the film was “dull, unimaginative and hokey, and does not do justice to the Pink Floyd Vision”.* [13] However, more recent reviews have been favourable. Billboard reviewed a video release in 1984, and on this occasion, Faye Zuckerman, while not particularly keen on the footage in the Abbey Road canteen, stated it was “vastly superior to most other concert movies”.* [14] Reviewing the Director's Cut DVD, Richie Unterberger said the film had “first-rate cinematography”and was“undeniably impressive”,* [15] while Peter Marsh, reviewing for the BBC, stated it was “my favourite concert film of all time”, though his opinions of the new computer generated imagery were mixed.* [16]

14.6.5 Outtakes Due to the lack of time in filming, no tracks were filmed that were unreleased, but several alternative shots and outtakes were held in the Archives du Film du Bois D'Arcy near Paris. At some point, an employee of the owners, MHF Productions, decided this footage was of no value and incinerated all 548 cans of the original 35 mm negatives.* [4]* [8] Maben was particularly frustrated

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about the lack of additional shots for “One of These 2003 director's cut Days,”which is primarily a Mason solo-piece in the re1.“Echoes, Part 1"/"On the Run”(studio footage) (unleased version.* [6] Mason recalls the reason for that is credited) (from Meddle/The Dark Side of the Moon, that the reel of film featuring the other members was lost 1971/1973) attempting to assemble the original cut.* [11]

14.6.6

Track listing

1972 original film 1.“Intro Song” 2. "Echoes, Part 1" (from Meddle, 1971) 3. "Careful with That Axe, Eugene" (from Point Me At The Sky, B-side, 1968)

2.“Careful with That Axe, Eugene”(from Point Me At The Sky, B-side, 1968) 3.“A Saucerful of Secrets”(from A Saucerful of Secrets, 1968) 4.“Us and Them”(studio footage) (from The Dark Side of the Moon, 1973) 5.“One of These Days”(from Meddle, 1971) 6.“Mademoiselle Nobs”(from Meddle, 1971)

4. "A Saucerful of Secrets" (from A Saucerful of Secrets, 1968)

7.“Brain Damage”(studio footage) (from The Dark Side of the Moon, 1973)

5. "One of These Days I'm Going to Cut You into Little Pieces" (from Meddle, 1971)

8.“Set the Controls for the Heart of the Sun”(from A Saucerful of Secrets, 1968)

6. "Set the Controls for the Heart of the Sun" (from A Saucerful of Secrets, 1968)

9.“Echoes, Part 2”(from Meddle, 1971) Also Known as:

7. "Mademoiselle Nobs" (from Meddle, 1971) 8.“Echoes, Part 2”(from Meddle, 1971)

• Echoes: Pink Floyd (US) • Pink Floyd in Pompeii (Belgium)

1974 theatrical version

14.6.7 Credits

Featured on VHS, CED Selectavision and Laserdisc releases. Pink Floyd 1.“Intro Song” 2.“Echoes, Part 1”(from Meddle, 1971) 3. "On the Run" (studio footage) (from The Dark Side of the Moon, 1973)

• David Gilmour: lead guitar, slide guitar, harmonica on “Mademoiselle Nobs”, vocals on “Echoes”, “Careful with That Axe, Eugene”and“A Saucerful of Secrets”, additional vocals on“Set the Controls for the Heart of the Sun”

5.“A Saucerful of Secrets”(from A Saucerful of Secrets, 1968)

• Roger Waters: bass guitar, rhythm guitar on“Mademoiselle Nobs”, gong, cymbals, vocals on “Careful with That Axe, Eugene”and “Set the Controls for the Heart of the Sun”, additional keyboards on “Echoes”

6. "Us and Them" (studio footage) (from The Dark Side of the Moon, 1973)

• Richard Wright: Hammond organ, Farfisa Compact Duo organ, piano, vocals on “Echoes”

7.“One of These Days”(from Meddle, 1971)

• Nick Mason: drums, percussion, vocal phrase on “One of These Days I'm Going to Cut You into Little Pieces”

4.“Careful with That Axe, Eugene”(from Point Me At The Sky, B-side, 1968)

8.“Set the Controls for the Heart of the Sun”(from A Saucerful of Secrets, 1968)

9. "Brain Damage" (studio footage) (from The Dark Based on an idea and Directed by Adrian Maben Side of the Moon, 1973) • Cinematography: Willy Kurant, Gabor Pogany 10. "Mademoiselle Nobs" (from Meddle, 1971) • Camera: Claude Agostini, Jaques Boumendil, Henri 11.“Echoes, Part 2”(from Meddle, 1971) Czap, Gérard Hameline

14.6. PINK FLOYD: LIVE AT POMPEII • Sound: Charles Rauchet, Peter Watts • Script: Marie-Noel Zurstrassen • Road Managers: Chris Adamson, Robert Richardson, Brian Scott • Production Directors: Marc Laurore, Leonardo Pescarolo, Hans Thorner

359

14.6.9 References [1] “Pink Floyd à Pompèi”. British Film Institute. London. Retrieved 12 September 2012. [2] Povey 2006, p. 131. [3] Manning 2006, p. 68.

• Editor: José Pinheiro

[4] “Interview with Adrian Maben by Paul Powell Jr, Matt Johns and Storm Thorgerson”. Brain Damage. 2003. Retrieved 7 September 2012.

• Assistant Editor: Marie-Claire Perret

[5] Povey 2006, p. 174.

• Mixer: Paul Berthault • Special Effects: Michel Francois, Michel Y Gouf

[6] Adrian Maben (2003). Pink Floyd: Live at Pompeii: Director's Cut (DVD). Universal Music & Video Distribution.

• Post Production: Auditel, Eclair, Europasonor

[7] Povey 2006, p. 125.

• Special thanks to : Professor Carputi (University of Naples), Haroun Tazieff, Soprintendenza alle Antichità della Provincia di Napoli

[8] “In Depth Analysis and interview with Adrian Maben”. Brain Damage. Retrieved 10 September 2012.

• Associate Producers: Moritz

Michele Arnaud, Reiner

• Executive Producer: Steve O'Rourke

14.6.8

Legacy

The hip hop group the Beastie Boys made a music video for their song "Gratitude" that appears to be a homage to the film. Shot by David Perez in New Zealand,* [9] in addition to copying its directorial style of slow horizontal tracking shots, overhead shots of the drums, close up shots of the bass and multiple shots of guitar filling the screen, the video shows a number of speaker cabinets that the group managed to purchase, still labelled “Pink Floyd, London”. The video ends with a message that reads, “This video is dedicated to the memory of all the people who died at Pompeii.”* [17] The Beastie Boys claimed in interviews that the song and the video came about due to their desire to progress from being a straightforward hip hop group and add vintage instruments to their repertoire.* [9]

[9] “Live at Pompeii: In-Depth Analysis, part one”. Brain Damage. Retrieved 10 September 2012. [10] Mabbett 2010. [11] Mason 2004, p. 177. [12] “Pink Floyd - Live at Pompeii [VHS]". Amazon. Retrieved 7 September 2012. [13] Old British Pink Floyd Flick - Not One Of Season's Best. Billboard. 31 August 1974. Retrieved 10 September 2012. [14] Video Reviews. Billboard. 21 July 1984. Retrieved 10 September 2012. [15] Unterberger, Richie. DVD review at AllMusic. Retrieved 10 September 2012. [16] Marsh, Peter. “BBC Review”. BBC Music. Retrieved 10 September 2012. [17] “Gratitude: Official music video”. EMI. Retrieved 7 September 2012. [18] “Korn's Blog”. Korn Official MySpace Channel. 8 July 2010. Retrieved 7 September 2012. [19] Pierre Perrone (18 August 2012).“Prog - a genre that still

has a firm grip on the British psyche”. The Independent. The rock band Korn filmed a similar show, Korn Live: Retrieved 7 September 2012. The Encounter, in June 2010 to promote their ninth studio album, Korn III: Remember Who You Are. The show took [20] “Interview with Radiohead”. Q Magazine. June 1997. place in a crop circle in Bakersfield, California, and had Retrieved 10 September 2012. no audience beyond the crew workers.* [18]

Radiohead were noted for being fans of the film and reg14.6.10 Sources ularly watched it when on tour.* [19] According to bassist Colin Greenwood, his brother Jonny made the whole • Mabbett, Andy (2010). Pink Floyd: The Music band watch the film, saying “now this is how we should and The Mystery. New York City: Omnibus Press. do videos,”Colin, however was critical of the direction, ISBN 978-1-84938-370-7. which he described as“Dave Gilmour sitting on his arse • Manning, Toby (2006). The Rough Guide to Pink playing guitar and Roger Waters with long greasy hair, Floyd (1st ed.). New York City: Rough Guides. sandals and dusty flares, staggers over and picks up this ISBN 978-1-84353-575-1. big beater and whacks this gong. Ridiculous.”* [20]

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• Mason, Nick (2004). Inside Out: A Personal History fate. Pink is also negatively affected by his overprotective of Pink Floyd. London: Weidenfeld & Nicolson. mother. ISBN 978-0-297-84387-0. As an adult, Pink eventually marries, but he and his wife • Povey, Glenn (2007). Echoes: The Complete History soon grow apart. While he is in the United States on tour, of Pink Floyd. Chesham: Mind Head Publishing. Pink learns that his wife is having an affair. He turns to a willing groupie, whom he brings back to his hotel room ISBN 978-0-9554624-0-5. only to trash it in a fit of violence, terrifying the groupie out of the apartment.

14.6.11

External links

Pink slowly begins to lose his mind to metaphorical “worms”. He shaves off all of his body hair and his • Pink Floyd: Live at Pompeii at the Internet Movie eyebrows and, while watching The Dam Busters on teleDatabase vision, morphs into his neo-fascist alter-ego. Pink's manager, along with the hotel manager and some paramedics, discover Pink and inject him with drugs to enable him to perform. 14.7 Pink Floyd – The Wall Pink fantasises that he is a dictator and his concert is a For the Pink Floyd album, see The Wall. For other Neo-Nazi rally. His followers proceed to attack ethnic works related to the Pink Floyd album, see Wall (disam- minorities, and Pink holds a rally in suburban London, singing "Waiting for the Worms". The scene is intercut biguation)#Music. with images of animated marching hammers that goosestep across ruins. Pink screams "Stop!" and takes refuge Pink Floyd – The Wall is a 1982 British livein the toilets at the concert venue, reciting poems. action/animated musical film directed by Alan Parker based on the 1979 Pink Floyd album The Wall about a In a climactic animated sequence, Pink, depicted as a confined rocker who's driven into insanity and constructs small, almost inanimate rag doll, is on trial, and his sena wall to be protected from the world around him. The tence is “to be exposed before [his] peers.”The judge screenplay was written by Pink Floyd vocalist and bassist gives the order to “tear down the wall”. Following a Roger Waters. The film is highly metaphorical and is prolonged silence, the wall is smashed. rich in symbolic imagery and sound. It features very little Several children are seen cleaning up a pile of debris after dialogue and is mainly driven by the music of Pink Floyd. an earlier riot, with a freeze-frame on one of the children The film contains fifteen minutes of elaborate anima- emptying a Molotov cocktail. tion sequences by the political cartoonist and illustrator Gerald Scarfe. It was the seventh animated feature to be 14.7.2 Cast presented in Dolby Stereo. • Bob Geldof as Floyd Pinkerton (Pink)

14.7.1

Plot

Pink, the protagonist, is a rock star, one of several reasons behind his apparent depressive and detached emotional state. He is first seen in an unkempt hotel room, motionless and expressionless, watching television. The opening music is the Vera Lynn recording of "The Little Boy that Santa Claus Forgot". It is revealed that Pink's father, a British soldier, was killed in action while defending the Anzio bridgehead during World War II, in Pink's infancy. In a flashback, Pink is a young English boy growing up in the early 1950s. Throughout his childhood, Pink longs for a father figure. He discovers a scroll from“kind old King George”and other relics from his father's military service and death. At school, he is humiliated for writing poems in class (the poem being Pink Floyd's "Money"). After the teacher reads the poem out loud, "Another Brick in the Wall Part 2”is played, and children are shown in a surrealistically oppressive school system, falling into a meat grinder. The children then rise in rebellion and destroy the school, carrying the Teacher away to an unknown

• Kevin McKeon as Young Pink • David Bingham as Little Pink • Christine Hargreaves as Pink's mother • Eleanor David as Pink's wife • Alex McAvoy as Teacher • Bob Hoskins as Rock-and-roll manager • Michael Ensign as Hotel manager • James Laurenson as J.A. Pinkerton (Pink's father) • Jenny Wright as American groupie • Margery Mason as Teacher's wife • Ellis Dale as English doctor • James Hazeldine as Lover • Ray Mort as Playground father

14.7. PINK FLOYD – THE WALL

361

• Robert Bridges as American doctor

Michael Seresin, a cinematographer.* [9] Waters began work on the film's screenplay after studying scriptwriting • Joanne Whalley, Nell Campbell, Emma Longfellow, books. He and Scarfe produced a special-edition book and Lorna Barton as Groupies containing the screenplay and art to pitch the project to investors. While the book depicted Waters in the role of Pink, after screen tests, he was removed from the starring 14.7.3 Production role* [10] and replaced with punk musician and frontman of the Boomtown Rats, Bob Geldof.* [7] In Behind the Concept Wall, both Waters and Geldof later admitted to a story In mid-1970s, as Pink Floyd gained mainstream fame, during casting where Geldof and his manager took a taxi Waters began feeling increasingly alienated from their au- to an airport, and Geldof's manager pitched the role to the singer, who continued to reject the offer and express diences: his contempt for the project throughout the fare, unaware that the taxi driver was Waters' brother, who promptly Audiences at those vast concerts are there proceeded to tell Waters about Geldof's opinion. for an excitement which, I think, has to do with the love of success. When a band or a person becomes an idol, it can have to do with the success that that person manifests, not the quality of work he produces. You don't become a fanatic because somebody's work is good, you become a fanatic to be touched vicariously by their glamour and fame. Stars̶film stars, rock 'n' roll stars̶represent, in myth anyway, the life as we'd all like to live it. They seem at the The iconic “marching hammers” very centre of life. And that's why audiences still spend large sums of money at concerts Since Waters was no longer in the starring role, it no where they are a long, long way from the stage, longer made sense for the feature to include Pink Floyd where they are often very uncomfortable, and footage, so the live film aspect was dropped.* [11] The where the sound is often very bad.* [3] footage culled from the five Wall concerts at Earl's Court Waters was also dismayed by the “executive approach” from 13–17 June 1981 that were held specifically for , which was only about success, not even attempting to filming was deemed unusable also for technical reasons get acquainted with the actual persons of whom the band as the fast Panavision lenses needed for the low light levwas comprised (addressed in an earlier song from Wish els turned out to have insufficient resolution for the movie You Were Here, "Have a Cigar"). The concept of the wall, screen. Complex parts such as "Hey You" still had not * along with the decision to name the lead character“Pink” been properly shot by the end of the live shows. [12] , partly grew out of that approach, combined with the is- Parker also managed to convince Waters and Scarfe that sue of the growing alienation between the band and their the concert footage was too theatrical and that it would fans.* [4] This symbolised a new era for rock bands, as jar with the animation and stage live action. After the Pink Floyd “explored (... ) the hard realities of 'be- concert footage was dropped, Seresin left the project ing where we are'", drawing upon existentialists, namely and Parker became the only director connected to The Wall.* [13] Jean-Paul Sartre.* [5] Development

Filming

Even before the original Pink Floyd album was recorded, a film was intended to be made from it.* [6] However, the concept of the film was intended to be live footage from the album's tour, with Scarfe's animation and extra scenes.* [7] The film was going to star Waters himself.* [7] EMI did not intend to make the film, as they did not understand the concept.* [8]

During production, while filming the destruction of a hotel room, Geldof suffered a cut to his hand as he pulled away the venetian blinds. The footage remains in the film. Also, it was discovered while filming the pool scenes that Geldof did not know how to swim. Interiors were shot at Pinewood Studios, and it was suggested that they suspend Geldof in Christopher Reeve's clear cast used for the Superman flying sequences, but his frame was too small by comparison; it was then decided to make a smaller rig that was a more acceptable fit, and he simply lay on his back.* [14]

Director Alan Parker, a Pink Floyd fan, asked EMI whether The Wall could be adapted to film. EMI suggested that Parker talk to Waters, who had asked Parker to direct the film. Parker instead suggested that he produce it and give the directing task to Gerald Scarfe and The war scenes were shot on Saunton Sands in North De-

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von, which was also featured on the cover of Pink Floyd's its creators two British Academy Awards; 'Best Sound' A Momentary Lapse of Reason six years later.* [15] for James Guthrie, Eddy Joseph, Clive Winter, Graham Hartstone & Nicholas Le Messurier;* [21] and 'Best Original Song' for Waters.* [21]

14.7.4

Release

The film was shown“out of competition”during the 1982 Cannes Film Festival.* [16] The premiere at Cannes was amazing – the midnight screening. They took down two truckloads of audio equipment from the recording studios so it would sound better than normal. It was one of the last films to be shown in the old Palais which was pretty run down and the sound was so loud it peeled the paint off the walls. It was like snow – it all started to shower down and everyone had dandruff at the end. I remember seeing Terry Semel there, who at the time was head of Warner Brothers, sitting next to Steven Spielberg. They were only five rows ahead of me and I'm sure I saw Steven Spielberg mouthing to him at the end when the lights came up, 'what the fuck was that?' And Semel turned to me and then bowed respectfully. 'What the fuck was that?,' indeed. It was like nothing anyone had ever seen before – a weird fusion of live-action, story-telling and of the surreal. Alan Parker* [17]

The film received generally positive reviews. Reviewing The Wall on their television programme At the Movies in 1982, film critics Roger Ebert and Gene Siskel gave the film “two thumbs up”. Ebert described The Wall as “a stunning vision of self-destruction”and “one of the most horrifying musicals of all time ... but the movie is effective. The music is strong and true, the images are like sledge hammers, and for once, the rock and roll hero isn't just a spoiled narcissist, but a real, suffering image of all the despair of this nuclear age. This is a real good movie.” Siskel was more reserved in his judgement, stating that he felt that the film's imagery was too repetitive. However, he admitted that the “central image”of the fascist rally sequence “will stay with me for an awful long time.”In February 2010, Roger Ebert added The Wall to his list of “great movies,”describing the film as“without question the best of all serious fiction films devoted to rock. Seeing it now in more timid times, it looks more daring than it did in 1982, when I saw it at Cannes ... It's disquieting and depressing and very good.”* [20] It was chosen for opening night of Ebertfest 2010. While Rotten Tomatoes ranked the film with a critics review of 72% rating (of 17 reviews), the community of the website ranked the film with an 88% (out of 375 reviews). Danny Peary wrote that the“picture is unrelentingly downbeat and at times repulsive ... but I don't find it unwatchable – which is more than I could say if Ken Russell had directed this. The cinematography by Peter Bizou is extremely impressive and a few of the individual scenes have undeniable power.”* [22]

The film's official premiere was at the Empire, Leicester Square* [18] in London, on 14 July 1982. It was attended by Waters and fellow Pink Floyd members David Gilmour and Nick Mason, but not Richard Wright,* [18] who was no longer a member of the band. It was also attended by various celebrities including Geldof, Scarfe, Paula Yates, Pete Townshend, Sting, Roger Taylor, James Waters has expressed deep reservations about the film, Hunt, Lulu and Andy Summers.* [19] saying that the filming had been “a very unnerving and unpleasant experience ... we all fell out in a big way.”As for the film itself, he said: “I found it was so unremitCritical reception ting in its onslaught upon the senses, that it didn't give me, anyway, as an audience, a chance to get involved with it,” So it's difficult, painful and despairing, and its three most although he had nothing but praise for Geldof's perforimportant artists came away from it with bad feelings. mance.* [23] Parker, who frequently clashed with Waters Why would anybody want to see it? Perhaps because and Gerald Scarfe, described the filming as “one of the filming this material could not possibly have been a happy most miserable experiences of my creative life.”* [24] experience for anyone̶not if it's taken seriously. David Gilmour stated (on the "In the Studio with RedRoger Ebert* [20] beard" episodes of The Wall, A Momentary Lapse of Reason and On an Island) that the conflict between him and The film opened with a limited release on 6 August 1982 Waters started with the making of the film. Gilmour also and entered at No. 28 of the US box office charts despite stated on the documentary Behind The Wall (which was only playing in one theatre on its first weekend, gross- aired on the BBC in the UK and VH1 in the US) that“the ing over $68,000, a rare feat even by today's standards. movie was the less successful telling of The Wall story as The film then spent just over a month below the top 20 opposed to the album and concert versions.” while still in the top 30. The film later expanded to over 600 theatres on 10 September, achieving No. 3 at the box office charts, below E.T. the Extra-Terrestrial, and An Officer and a Gentleman. The film eventually earned $22 million before closing in early 1983.* [2] It earned

Although the symbol of the crossed hammers was a creation of the film and not related to any real racist group, it was adopted by white supremacist group the Hammerskins in the late 1980s.* [25]

14.7. PINK FLOYD – THE WALL

14.7.5

Documentary

363

[7] J.C. Maçek III (5 September 2012).“The Cinematic Experience of Roger Waters' 'The Wall Live'". PopMatters.

A documentary was produced about the making of Pink Floyd – The Wall entitled The Other Side of the Wall that [8] Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 244. includes interviews with Parker, Scarfe, and clips of Waters, originally aired on MTV in 1982. A second docu- [9] Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. mentary about the film was produced in 1999 entitled Retpp. 244–245. rospective that includes interviews with Waters, Parker, Scarfe, and other members of the film's production team. [10] Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. Both are featured on The Wall DVD as extras. pp. 245–246.

14.7.6

Soundtrack

Song changes from album:

[11] Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 246. [12] Pink Floyd's The Wall, page 83

The only songs from the album not used in the film are [13] Pink Floyd's The Wall, page 105 “Hey You”and "The Show Must Go On". “Hey You” was deleted as Waters and Parker felt the footage was too [14] Geldof, Bob. Is That It?. Weidenfeld & Nicolson. repetitive (eighty percent of the footage appears in montage sequences elsewhere)* [24] but available to view as in [15] Strom Thorgerson and Peter Curzon. Mind Over Matter: The Images of Pink Floyd. page 102. ISBN 1-86074-206worn black and white work print form as a bonus feature 8. * on the DVD release under the name “Reel 13”. [29] A soundtrack album from Columbia Records was listed in the film's end credits, but only a single containing“When the Tigers Broke Free”and the rerecorded “Bring the Boys Back Home”was released.“When the Tigers Broke Free”later became a bonus track on the band's 1983 album The Final Cut, an album Waters intended as an extension to The Wall. Guitarist David Gilmour, however, dismissed the album as a collection of songs that had been rejected for The Wall project, but were being recycled. The song, in the edit used for the single, also appears on the 2001 compilation album Echoes: The Best of Pink Floyd.

[16]“Festival de Cannes – From 16 to 27 may 2012”. Festivalcannes.com. Retrieved 7 January 2012.

14.7.7

Chart positions

[21]“Past Winners and Nominees – Film – Awards”. BAFTA. Retrieved 26 December 2010.

14.7.8

References

[22] Danny Peary, Guide for the Film Fanatic (Simon & Schuster, 1986) p.331

[1] Jack L. Film Reviews: Pink Floyd The Wall. Retrieved 1 January 2014. [2] Box Office Information for Pink Floyd – The Wall. Box Office Mojo. Retrieved 1 January 2014. [3] Curtis, James M. (1987). Rock Eras: Interpretations of Music and Society, 1954–1984. Popular Press. p. 283. ISBN 0-87972-369-6. [4] Reisch, George A. (2007). Pink Floyd and Philosophy: Careful With That Axiom, Eugene!. Open Court Publishing Company. pp. 76–77. ISBN 0-8126-9636-0. Retrieved 10 July 2013. [5] Reisch, George A. (2009). Radiohead and philosophy. Open Court Publishing Company. p. 60. ISBN 0-81269700-6. Retrieved 10 July 2013. [6] Schaffner, Nicholas. Saucerful of Secrets. Dell Publishing. p. 225.

[17] Scarfe, Gerald. The Making of Pink Floyd: The Wall. Da Capo Press. p. 216. [18] Mabbett, Andy (2010). Pink Floyd – The Music and the Mystery. London: Omnibus,. ISBN 978-1-84938-370-7. [19] Miles, Barry; Andy Mabbett (1994). Pink Floyd the visual documentary ([Updated ed.] ed.). London :: Omnibus,. ISBN 0-7119-4109-2. [20] “Pink Floyd: The Wall (1982)". Chicago Sun-Times.

[23] Pink Floyd's The Wall, page 129 [24] Pink Floyd's The Wall, page 118 [25] “The Hammerskin Nation”. Extremism in America. AntiDefamation League. 2005. Retrieved 8 September 2011. [26] Bench, Jeff (2004). Pink Floyd's The Wall. Richmond, Surrey, UK: Reynolds and Hearn,. pp. 107–110p. ISBN 1-903111-82-X. [27] Pink Floyd: The Wall (1980 Pink Floyd Music Publishers Ltd., London, England, ISBN 0-7119-1031-6 [USA ISBN 0-8256-1076-1]) [28] Pink Floyd: The Final Cut (1983 Pink Floyd Music Publishers Ltd., London, England.) [29] Pink Floyd's The Wall, page 128

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14.7.9

CHAPTER 14. VIDEOGRAPHY

External links

song begins. "The Fletcher Memorial Home" features dictators and politicians walking around in an asylum. • A Complete Analysis of Pink Floyd – The Wall by These politicians include Thatcher, Winston Churchill, Bret Urick Napoleon Bonaparte and Adolf Hitler, among others. The war veteran walks up to them, pulls out the gun seen • Pink Floyd – The Wall at the Internet Movie earlier and shoots them. Just after, he walks over to the Database window of the asylum and sees them well and alive inside. The film ends. • Pink Floyd – The Wall at AllMovie • Pink Floyd – The Wall at Box Office Mojo • Pink Floyd – The Wall at Rotten Tomatoes • Original screenplay by Roger Waters

14.8.3 Music videos 1. "The Gunner's Dream" (introduction) 2. "The Final Cut"

14.8 The Final Cut (1983 film)

3. "Not Now John"

4. "The Fletcher Memorial Home" The Final Cut is a 19-minute film by Pink Floyd and is based on their 1983 album of the same name.* [1] It was shot in 1982 and features actors who are not named in the 14.8.4 References credits.

14.8.1

History

[1] Mabbett, Andy (2010). Pink Floyd - The Music and the Mystery. London: Omnibus Press. ISBN 9781849383707.

Directed by Waters' brother-in-law, Willie Christie (who 14.8.5 also designed the album cover and art).* [1]

14.8.2

Storyline

The film is shown through the eyes of a World War II veteran, played by Alex McAvoy who appeared in Pink Floyd's 1982 movie, The Wall as the teacher.* [1] The film starts out with the introduction of the album, switching through various radio stations. However rather than "The Post War Dream" (as on the album), "The Gunner's Dream" fades in, skipping four tracks. This shows the veteran driving down an empty motorway. As he passes under a bridge, he sees a war veteran standing on the bridge. He stops the car and runs back to look. The camera focuses on a piece of graffiti reading“Go on Maggie” , a reference to the prime minister at the time, Margaret Thatcher. Instead of a veteran, there is a woman standing smirking at him. The scene changes to a home scene where he watches television with his wife. He enters the kitchen and pulls out a pistol. The smirking woman is then seen walking past their house. The song changes and "The Final Cut" now plays. Footage of Waters singing the song, his face hidden by a shadow except for his mouth, to a psychiatrist is intercut with stock footage. The next song is “Not Now John”. Footage of a young Japanese man walking around a factory is intercut with footage of other workers and geishas. At the end of the video the old war veteran runs to try and save the Japanese man from dying. The old man is seen back in his living room watching television. The video of "Not Now John" is seen on the television. He changes the channel and the next

External links

• Pink Floyd: The Final Cut at the Internet Movie Database

14.9 Delicate Sound of Thunder (film) Delicate Sound of Thunder is a Pink Floyd concert video taken from A Momentary Lapse of Reason Tour. It was largely filmed during the concerts running from 19 August 1988 through 23 August 1988 at the Nassau Coliseum in Uniondale, New York, with some additional footage from 21–22 June 1988 at the Place d'Armes of the Château de Versailles, Versailles, France (used to provide the performance of "The Great Gig in the Sky". Note that the Versailles show was only used for some of the video footage. The audio is from Nassau). It was released on VHS and Laserdisc formats. It has never been officially released on DVD. Each song in common with the CD release uses the same performance (except "Run Like Hell" and "On the Turning Away", the latter of which has a different guitar solo at the end) with the audience a little higher in the mix. The remaining three songs̶"Signs of Life", "On the Run", and "One Slip" ̶all come from Nassau as well. The two tracks from the A Momentary Lapse of Reason LP were recorded on 23 August 1988, while “On the Run”was recorded on 19 August 1988. The determining factor in figuring out which of the remaining songs was from which night was

14.10. LA CARRERA PANAMERICANA

365

the clothing differences, most notably which tie was be- 14.9.3 Personnel ing worn by Jon Carin. • David Gilmour - guitars, vocals

14.9.1

• Nick Mason - drums

Track listing

1. "Shine On You Crazy Diamond (Part I)" (Waters/Wright/Gilmour)

• Richard Wright - keyboards, vocals with

2. "Signs of Life" (Gilmour/Ezrin) 3. "Learning to Fly" (Gilmour/Moore/Ezrin/Carin)

• Tim Renwick - guitars, vocals

4. "Sorrow" (Gilmour)

• Jon Carin - keyboards, programming, vocals

5. "The Dogs of War" (Gilmour/Moore)

• Scott Page - saxophones

6. "On the Turning Away" (Gilmour/Moore)

• Guy Pratt - bass, vocals

7. "One of These (Gilmour/Mason/Waters/Wright)

Days"

• Gary Wallis - percussion, additional keyboards on “Comfortably Numb”

8. "Time" (Mason/Waters/Wright/Gilmour)

• Margaret Taylor - backing vocals

9. "On the Run" (Gilmour/Waters)

• Rachel Fury - backing vocals

10. "The Great Gig in the Sky" (Wright)

• Durga McBroom - backing vocals

11. "Wish You Were Here" (Waters/Gilmour) 12. "Us and Them" (Waters/Wright) 13. "Money" (Waters) NTSC version only 14. "Comfortably Numb" (Gilmour/Waters) 15. "One Slip" (Gilmour/Manzanera)

14.9.4 External links • Review by Robert Christgau, Video Review, August 1989 • Delicate Sound of Thunder at the Internet Movie Database

16. "Run Like Hell" (Gilmour/Waters) 17.“Shine On You Crazy Diamond (Parts II-V)" (audio only) (end credits)

14.9.2

14.10 La Carrera Panamericana

Songs omitted from the Film

The following songs which were part of the 1988 set were not included in the film: • "Yet Another Movie" * • "Round and Around" * • "A New Machine" • "Terminal Frost" • "Welcome to the Machine" • "Money" (PAL version) * • "Another Brick in the Wall (Part 2)" * Songs with asterisk (*) are included in the album version.

David Gilmour in a break during the “Carrera Panamericana” , in San Luis Potosí, Mexico

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La Carrera Panamericana is a 1992 video of the Carrera 14.10.3 References Panamericana automobile race in Mexico. The film was directed by Ian McArthur,* [1] it included a soundtrack [1] Manning, Toby (2006). “Floyd on Film”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. entirely of music by the band Pink Floyd, as the band's 266. ISBN 1-84353-575-0. guitarist David Gilmour, drummer Nick Mason and manager Steve O'Rourke competed in the race in 1991. [2] Manning, Toby (2006). “Which One's Pink?". The Rough Guide to Pink Floyd (1st ed.). London: Rough During the course of the race Gilmour crashed,* [1] and Guides. p. 141. ISBN 1-84353-575-0. while he was unharmed, Steve O'Rourke (his map-reader * and Pink Floyd's manager) suffered a broken leg. [2] Mason finished sixth overall with his co-driver, English auto 14.10.4 External links racer Valentine Lindsay.

14.10.1

Music

The music is a combination of previously released Pink Floyd material (re-edited into a soundtrack) and material composed for the video. The tracks composed for the video are the first studio recordings made after Richard Wright re-joined the band in 1988. The new studio recordings were produced by Gilmour. The songs “Pan Am Shuffle”and “Carrera Slow Blues”are notable as the first tracks co-written by Wright since 1975's Wish You Were Here, as well as the first co-written by Mason since 1973's The Dark Side of the Moon.* [1]

• La Carrera Panamericana at the Internet Movie Database

14.11 Pulse (1995 film) For the concert album, see Pulse (Pink Floyd album). Pulse (stylised as P•U•L•S•E) is a Pink Floyd concert video taken from the 20 October 1994 concert at Earls Court, London, England in The Division Bell Tour. It was originally released on VHS* [1] and Laserdisc* [2] in 1995.

A soundtrack album was not released, but the tracks are There was considerable delay in the release of the DVD available on the A Tree Full of Secrets bootleg recording. edition of Pulse, with new features announced with each setback. The cause of the delays was reputed to be the continued modifications and additions to produce a high14.10.2 Track listing quality release. The previous planned release date of 22 September 2005 for the two-disc DVD set was changed Previously recorded to 10 July 2006 for the UK and Europe, and 11 July 2006 everywhere else. • "Signs of Life" (Gilmour/Ezrin) - 4:24 • "Yet Another Movie" (Gilmour/Leonard) - 6:13 • "Sorrow" (Gilmour) - 8:46 • "One Slip" (Gilmour/Manzanera) - 5:08

14.11.1 DVD track listing Concert Disc One:

Original material 1. "Shine On You Crazy Diamond" (Concert version) New material was recorded at Olympic Studios in November 1991.* [2]

2. "Learning to Fly" 3. "High Hopes"

• "Run Like Hell (live)" (Gilmour/Waters) - 0:49 •“Country Theme”(Gilmour) - 2:01 •“Small Theme”(Gilmour) - 7:23 •“Big Theme”(Gilmour) - 4:10 •“Carrera Slow Blues”(Gilmour/Wright/Mason) 2:20 •“Mexico '78”(Gilmour) - 4:05 •“Pan Am Shuffle”(Gilmour/Wright/Mason) - 8:09

4. "Take It Back" 5. "Coming Back to Life" 6. "Sorrow" 7. "Keep Talking" 8. "Another Brick in the Wall (Part 2)" 9. "One of These Days" Disc Two:

14.11. PULSE (1995 FILM)

367

1. "Speak to Me"

(c)“Money”(Alien) (d)“The Great Gig in the Sky”(animation) (e)“Us and Them”(1994)

2. "Breathe" 3. "On the Run" 4. "Time" 5. "The Great Gig in the Sky"

Music videos: “Learning to Fly”and “Take It Back” Behind the Scenes Footage: “Say Goodbye to Life as We Know It”

7. "Us and Them"

Rock and Roll Hall of Fame Induction Ceremony, USA 1996, including“Wish You Were Here”with Billy Corgan

8. "Any Colour You Like"

Other:

6. "Money"

9. "Brain Damage"

1. Photo gallery

10. "Eclipse"

2. Cover art

11. "Wish You Were Here"

3. Pulse TV advertisement [1995]

12. "Comfortably Numb"

4. Tour maps

13. "Run Like Hell"

5. Itinerary 6. Stage plans

Special features Bootlegging the Bootleggers:

14.11.2 VHS track listing 1. "Shine on You Crazy Diamond"

1. "What Do You Want from Me"

2. "Learning to Fly"

2. "On the Turning Away"

3. "High Hopes"

3. "Poles Apart"

4. "Take It Back"

4. "Marooned"

5. "Coming Back to Life" 6. "Sorrow"

Screen films:

7. "Keep Talking"

1.“Shine On You Crazy Diamond”

8. "Another Brick in the Wall (Part 2)"

2.“Learning to Fly”

9. "One of These Days"

3.“High Hopes” 4.“Speak to Me”(graphic) 5.“On the Run” 6.“Time”(1994) 7.“The Great Gig in the Sky”(wave) 8.“Money”(1987) 9.“Us and Them”(1987)

10. "Speak to Me" 11. "Breathe" 12. "On the Run" 13. "Time" 14. "The Great Gig in the Sky" 15. "Money" 16. "Us and Them" 17. "Any Colour You Like"

10.“Brain Damage”

18. "Brain Damage"

11.“Eclipse”

19. "Eclipse"

12. Alternate versions:

20. "Wish You Were Here"

(a)“Speak to Me”(1987)

21. "Comfortably Numb"

(b)“Time”(Ian Eames)

22. "Run Like Hell"

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14.11.3

CHAPTER 14. VIDEOGRAPHY

Laserdisc track listing

The 1995 Sony laserdisc featured the concert spread out over 3 sides of a two-disc set. For purposes of space and continuity, Another Brick in the Wall (Part 2) and One of These Days were moved to the beginning of side 3. This permitted the complete performance of The Dark Side of the Moon on side 2 without interruption. 1. "Shine on You Crazy Diamond"

14.11.5 Personnel • David Gilmour – guitars, lap steel guitar, talk box, vocals • Nick Mason – drums, gong • Richard Wright – keyboards, vocals with

2. "Learning to Fly"

• Sam Brown – backing vocals

3. "High Hopes"

• Jon Carin – keyboards, vocals, programming

4. "Take It Back" 5. "Coming Back to Life" 6. "Sorrow" 7. "Keep Talking" 8. "Speak to Me" 9. "Breathe" 10. "On the Run"

• Claudia Fontaine – backing vocals • Durga McBroom – backing vocals • Dick Parry – saxophones • Guy Pratt – bass, vocals • Tim Renwick – guitars, backing vocals • Gary Wallis – percussion

11. "Time" 12. "The Great Gig in the Sky" 13. "Money" 14. "Us and Them" 15. "Any Colour You Like" 16. "Brain Damage" 17. "Eclipse" 18. "Another Brick in the Wall (Part 2)" 19. "One of These Days" 20. "Wish You Were Here" 21. "Comfortably Numb" 22. "Run Like Hell"

14.11.4

Editing Out the Publius Enigma

The DVD release saw some re-edited footage of the original 1995 release. During The Division Bell tour the word(s) “Enigma”or "Publius Enigma" would be visible on part of the stage (sometimes it would be written in lights, or on the back screen). These were connected to the Enigma competition surrounding the album and tour. On 20 October 1994, during“Another Brick in the Wall (Part 2)" the screen displayed the word“Enigma”instead of “E=MC2 " which is what was shown at other shows, this is shown on the original 1995 release. The DVD, however, has an altered back-drop displaying“E=MC2 ", although if the DVD is paused at the correct moment the word “Enigma”is still visible.

14.11.6 Certifications 14.11.7 Notes and references [1] Fitch, Vernon. “Pink Floyd Archives – U.S. Pink Floyd VHS Videotapes”. The Pink Floyd Archives. Retrieved 17 May 2012. [2] “LaserDisc Database – Pink Floyd: Pulse (1994) [M2V 50121]". LaserDisc Database. Retrieved 17 May 2012. [3] “ARIA Charts – Accreditations – 2008 DVDs”. Australian Recording Industry Association. Retrieved 27 December 2012. [4] “Austrian video certifications – Pink Floyd – Pulse” (in German). IFPI Austria. Retrieved 27 December 2012. Enter Pink Floyd in the field Interpret. Enter Pulse in the field Titel. Select DVD in the field Format. Click Suchen [5] “Brazilian video certifications – Pink Floyd – Pulse” (in Portuguese). Associação Brasileira dos Produtores de Discos. Retrieved 27 December 2012. [6]“Canadian video certifications – Pink Floyd – P.U.L.S.E.” . Music Canada. Retrieved 27 December 2012. [7] “Danish video certifications – Pink Floyd – Pulse”. Hitlisten. IFPI Denmark. Retrieved 27 December 2012. [8] The first web page presents the sales figures, the second presents the certification limits: • “Pink Floyd” (in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 27 December 2012. • “Kultalevyjen myöntämisrajat”(in Finnish). Musiikkituottajat – IFPI Finland. Retrieved 27 December 2012.

14.13. CLASSIC ALBUMS: PINK FLOYD – THE MAKING OF THE DARK SIDE OF THE MOON

[9] “French video certifications – Pink Floyd – Pulse” (in French). Syndicat National de l'Édition Phonographique. Retrieved 27 December 2012.

369

14.12.1 Plot

The focus of the film is Syd Barrett, the lead vocalist and [10] “Gold-/Platin-Datenbank (Pink Floyd; 'Pulse')" (in Ger- guitarist of the early Pink Floyd, who created their unique man). Bundesverband Musikindustrie. Retrieved 27 De- psychedelic sound and most of the band's early songs, including the singles "Arnold Layne" and "See Emily Play" cember 2012. and much of their first album The Piper at the Gates of [11] “Latest Gold / Platinum DVDs”. Radioscope. Archived Dawn. from the original on 24 July 2011.

[12] “Polish video certifications – Pink Floyd – Pulse” (in Polish). Polish Producers of Audio and Video (ZPAV). Retrieved 27 December 2012.

Barrett's name passed into rock folklore when he was kicked out of Pink Floyd in 1968 and, after two solo albums, disappeared from music altogether amid rumours of a drug-induced breakdown.

[13] “Top 30 Music DVDs”. Associação Fonográfica Portuguesa (in Portuguese). Archived from the original on 4 June 2012.

The Pink Floyd and Syd Barrett Story has contributions from Humble Pie drummer Jerry Shirley (who played on Syd Barrett's two solo albums The Madcap Laughs [14] “Top 20 DVD 07_04”. PROMUSICAE (in Spanish). and Barrett as well as Syd's final London concert on 6 Retrieved 27 December 2012. June 1970 with David Gilmour, when Barrett abruptly left the stage after playing only four numbers), bassist [15] “The Official Swiss Charts and Music Community: Awards (Pink Floyd; 'P.U.L.S.E.')". Hung Medien. Re- Jack Monck who played at Syd's last ever public concert in 1972 at the Cambridge Corn Exchange, producer Joe trieved 27 December 2012. Boyd who produced“Arnold Layne”, photographer Mick [16]“British video certifications – Pink Floyd – Pulse”. British Rock who photographed Barrett for The Madcap Laughs Phonographic Industry. Retrieved 27 December 2012. cover, and artist Duggie Fields who shared an apartment Enter Pulse in the field Keywords. Select Title in the field in London's Earls Court with Barrett in 1968 and witSearch by. Select DVD in the field By Format. Select Platnessed his changing mental state at close hand. inum in the field By Award. Click Search

According to his sister, Barrett watched the documentary

[17] “American video certifications – Pink Floyd – Pulse”. when it was broadcast on the BBC. He apparently found it Recording Industry Association of America. Retrieved 27 “too loud”, although he did enjoy seeing Mike Leonard, December 2012. If necessary, click Advanced, then click who he referred to as his “teacher”. He also enjoyed Format, then select Video Longform, then click SEARCH

hearing “See Emily Play”again.* [1]

14.11.8

External links

• Pulse at the Internet Movie Database

14.12.2 References [1] Willis, Tim (6 October 2002). “You shone like the sun” . The Observer (London). Retrieved 17 July 2012.

14.12 The Pink Floyd and Syd Barrett Story 14.12.3 External links The Pink Floyd and Syd Barrett Story is a documentary released on DVD on 24 March 2003, produced by Otmoor Productions in 2001 as part of the BBC's Omnibus series and originally called Syd Barrett: Crazy Diamond (in the US, a slightly modified version aired as the last episode of VH1's Legends series in January 2002). Directed by John Edginton, the film includes interviews with all the Pink Floyd members - Roger Waters, David Gilmour, Nick Mason and Richard Wright - plus the “fifth Pink Floyd”, Bob Klose, who left the band in 1965, getting their points of view on the original band founder Syd Barrett. The film includes rare early television appearances of Pink Floyd, and home movies.

• The Pink Floyd and Syd Barrett Story at the Internet Movie Database

14.13 Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon

Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon is a direct-to-video documentary about the making of The Dark Side of the Moon album by Pink Floyd.* [1] It is part of the Classic Albums series, In 2006 a new“definitive edition DVD”was produced in released by Isis Productions/Eagle Rock Entertainment. the UK and Europe in which the full unedited interviews All four members of the lineup that made the album conducted by the director with Pink Floyd are now made David Gilmour, Nick Mason, Roger Waters and Richard Wright - appear, albeit in separate interviews at various available, alongside the original documentary.

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CHAPTER 14. VIDEOGRAPHY

locations.* [1] It also features interviews with the album's engineer Alan Parsons, two music journalists, the former chairman of their record label and Storm Thorgerson.

14.13.1

Selected Extra Features

The DVD's extras include:* [1] • Solo acoustic versions of "Brain Damage" and "Money" performed by Roger Waters • Solo acoustic performance of "Breathe" by David Gilmour • Original demo recording of "Time" and “Money” • Additional interviews with band members

14.13.2

References

[1] Mabbett, Andy (2010). Pink Floyd - The Music and the Mystery. London: Omnibus. ISBN 9781849383707.

• Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon DVD.

14.13.3

External links

• Classic Albums: Pink Floyd – The Making of The Dark Side of the Moon at the Internet Movie Database

Chapter 15

Tours 15.1 Pink Floyd live performances

and you--you create a type of mood.' ̶David Gilmour, * [1]

The light show

Pink Floyd's reunion, performing at Live 8 in London, July 2005

Pink Floyd were among the first bands to use a dedicated travelling light show in conjunction with their performances. During the Barrett era, dynamic liquid light shows were projected onto enormous screens behind the band while they played, and the band also incorporated large numbers of strobe lights, which were controlled manually by an engineer. This had the effect of totally obscuring the band itself, except for their shadows, which Barrett took advantage of: he would hold his arms up during parts where he was not required to play, making his shadow grow, shrink and undulate, adding to the visual spectacle. They developed many of these lighting techniques through their fortuitous early association with light artist Mike Leonard.

Pink Floyd were pioneers in the live music experience, renowned for their lavish stage shows that combine intense visual experiences with music to create a show in which the performers themselves are almost secondary. Pink Floyd's combination of music and visuals set the standard for rock musicians. As well as visuals, Pink Floyd set standards in sound quality with innovative use When psychedelia fell out of fashion from about 1970 onof sound effects and panning quadrophonic speaker syswards, elevated platforms of the type conventionally used tems. for roof maintenance in high buildings were brought on tour and filled with lighting equipment to be raised and lowered during performances. Following Roger Waters' 15.1.1 Special effects departure in 1984, the Pink Floyd light show reached Besides the music, arguably the most important and cer- a dazzling pinnacle. Marc Brickman, the group's lighttainly the most elaborate part to any Pink Floyd live show ing designer, utilized hundreds of automated intelligent lighting fixtures and lasers, which were state-of-the-art is the special effects. at the time. By the 1994 Division Bell tour, the band was using extremely powerful, isotope-splitting copper'Yes, we did all sorts of strange things, vapour lasers. These gold-coloured lasers were worth you know, for live concerts as well, we used over $120,000 a piece and previously had only been used to make up tapes for the audience to come in in nuclear research and high speed photography.* [2] by. We had one half-hour long tape, which we'd play for the half an hour the audience was coming in just before we started our show, and things like that. Just tapes of bird noises in quad--quadraphonic sound, you know, with birds singing, and pheasants taking off in the distance, and swans taking off from water, a tractor driving down one side of the room, and an airplane going over the top, and all these things carrying on, all just from just different sound effects records, you just stick them in

A large circular projection panel dubbed “Mr Screen” first made an appearance during performances of Dark Side of the Moon in 1974 and became a staple thereafter. Specially recorded films and animations were projected onto it, and for 1977“In the Flesh”and 1980–1981“The Wall Live”tours, coloured spotlights were fixed around the rim, an effect which reached its zenith with the dancing patterns of multi-coloured lights in the A Momentary Lapse of Reason and Division Bell tours. In the latter, the screen could be retracted behind the stage when not 371

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required, and was tilted horizontally with its peripheral projected onto the wall itself (these animations were later lights focused onto the stage into a single spotlight during integrated into the film Pink Floyd: The Wall). At the fithe final guitar solo in "Comfortably Numb". nale of the concert, the wall was demolished amidst sound Several generations of giant glitter balls began with the effects and a spectacular light show. Dark Side of the Moon tour. By the Division Bell tour, the ball had evolved into a globe 4.9 metres in diameter, 15.1.2 Major tours and concerts which rose from the mixing station to a height of 21.3 metres before opening into an array of petals 7.3 metres wide • September 30, 1966 - The All Saints Church Hall during the final guitar solo of“Comfortably Numb”,* [3] Concert - International Times Benefit Show revealing a 12 kilowatt Phobeus HMI lamp inside.* [2] • April 29–30, 1967 - The 14 Hour Technicolour Dream concerts Props and pyrotechnics

• May 12, 1967 - Games For May concert

Thanks to stage architect/designer Mark Fisher, Pink Floyd's tours became a staple in the industry because of their outstanding special and scenic effects. Pyrotechnics (such as exploding flashpots, an exploding gong and fireworks) and dry ice were used extensively throughout Pink Floyd's career. In 1973's tour to promote The Dark Side of the Moon, a large scale model plane flew over the audience and crashed onto the stage with a spectacular explosion, an effect repeated at the start of The Wall and the Division Bell shows. During shows to promote A Momentary Lapse of Reason, a similar effect was achieved with a flying bed.

• November 4–12, 1967 - First US Tour

Over-sized helium balloons were first introduced during the Dark Side of the Moon tours, but in 1975, this element began to play a central part of the live show. For the US leg of the 1975 tour, a pyramid shaped dirigible was floated above the stage. It proved unstable in windy conditions and blew into the crowd, which tore it into pieces for souvenirs.* [4] The trademark giant pig was brought in for Animals in 1977,* [5] floating over the audience, as well as a grotesque 'Nuclear Family', a refrigerator filled with snakes, a television and a Cadillac. In some shows, an envelope of propane gas was put inside the pig, causing it to explode. The inflatables reached their peak in 1980–1981 during The Wall shows, in which several of the characters from the album were brought to life in the form of fully mobile, giant string puppets with menacing spotlights for eyes, taking the traditional balloons to a new level. The characters were designed by the notable satirical artist, Gerald Scarfe.* [6]

• October - November 1971 - Meddle Tour

• June 29, 1968 - Midsummer High Weekend concert • February - December 1968 - Pink Floyd World Tour 1968 • May - September 1969 - The Man and The Journey Tour • June 27, 1970 - Bath Festival concert • September 1970 - October 1971 - Atom Heart Mother World Tour

• January 1972 - November 1973 - Dark Side of the Moon Tour • June 1974 - French Summer Tour • November - December 1974 - British Winter Tour • April - July 1975 - Wish You Were Here Tour • January - July 1977 - In The Flesh Tour promoting Animals • February 1980 - June 1981 - The Wall 1980–1981 (Is There Anybody Out There? The Wall Live 198081) • September 1987 - August 1988 - A Momentary Lapse of Reason Tour (as documented by Delicate Sound of Thunder)

Special effects reached a new and outrageous level during these Wall shows.* [7] For example, a 160-foot (49 • May 1989 - July 1989 - Another Lapse Tour m) long, 35-foot (11 m) high wall made from 340 white • June 30, 1990 - Knebworth Festival concert bricks was built between the audience and the band during the first half of the show.* [6] The final brick was • March - October 1994 - The Division Bell Tour (as placed as Roger Waters sang “goodbye”at the end of documented by Pulse) the song “Goodbye Cruel World”. For the second half of the show, the band was largely invisible, except for a • July 2005 - Live 8 concert hole in the wall that simulated a hotel room where Roger • May 10, 2007 - Syd Barrett Tribute Concert Waters “acted out”the story of Pink, and an appearance by David Gilmour on top of the wall to perform the climactic guitar solo in “Comfortably Numb”. Other Comprehensive details of all of Pink Floyd's live appearparts of the story were told by Gerald Scarfe animations ances can be found at The Pink Floyd Archives.

15.1. PINK FLOYD LIVE PERFORMANCES

15.1.3

373

Performance history highlights

sic show Top of the Pops in July 1967 for three weeks after their second single "See Emily Play" reached #6 on the UK charts. By this time Syd Barrett's behavior Barrett era had become somewhat unpredictable. On one occasion, the increasingly difficult Barrett remarked that if John The earliest shows for what is considered to be “Pink Lennon didn't have to appear on Top of the Pops neither Floyd”occurred in 1965 and included Bob Klose as a did he.* [8] Consequently, their management company, member of the band, which at the time played mainly Blackhill Enterprises, convinced the band to cancel all R&B covers. Klose left the band after 1965. The reof their August shows and go to Spain to recuperate. maining four members played very small (generally no more than 50 people), mostly unadvertised shows at the Increasingly, throughout the summer and into the fall of Marquee Club in London through June 1966. The set list 1967, copious drug use (especially LSD) and pressure by continued to include R&B, but some original psychedelia the record company to constantly write new hit songs continued to take a toll on Barrett's mental state. He bewas also being introduced. came unable to make a meaningful contribution to the On 30 September 1966, Pink Floyd were invited to play group on stage, playing his guitar incoherently and someAll Saint's Church Hall to raise money for the nascent times not playing at all. By the time of the band's first International Times newspaper, and quickly became the tour of the US in early November 1967, his condition “house band”. At these shows, the band began its use of was plainly showing. He stared blankly into space on visual effects and gradually stopped covering R&B. Word their 4 November American Bandstand performance, listof these shows quickly spread in the London underground lessly strummed and barely managed to mime the vocals culture and soon the band became very well-attended and to “Apples and Oranges”. On 5 November, things got developed a cult following. On 23 December 1966, the worse: they appeared on The Pat Boone Show and Syd sat first of the "International Times" associated gigs to be in stubborn silence, refusing to answer any question put held at the legendary UFO Club was performed. Mainto him. He also refused to mime to “See Emily Play": stream interest about the counter-culture was increasing Waters was forced to mime the track instead (Waters conand a very small portion of their 20 January 1967 show firmed this on the VH1's Legends: Pink Floyd episode). at the UFO Club was broadcast as part of Granada TV's After the 22 December show, the rest of band quietly put documentary entitled It's So Far Out, It's Straight Down, out word that they were in need of a guitarist. which constitutes the first audial or visual record of the Although both Jeff Beck and Davy O'List were considband live. ered, it was David Gilmour, then unobligated, who was Pink Floyd were among the 30 bands that played "The 14 brought on to augment Syd as need arose during live Hour Technicolour Dream" benefit gig organised for the shows. For the first four shows of 1968, Pink Floyd was “International Times”legal defence fund and held at the a five-man live act again. When they were on the way Alexandra Palace in London on the eve of 30 April 1967. to their show at Southampton University on 26 January Some of the other bands who played were The Who, The 1968, they decided not to pick up Syd. Move, The Pretty Things, Soft Machine, Tomorrow and The Creation. Notables in attendance included musician John Lennon, artist John Dunbar, actor Michael Caine, Transition and experimentation artist and musician Yoko Ono, actress Julie Christie, musician Mick Jagger and artist David Hockney. Although See: Pink Floyd European Tour 1968 both the BBC and filmmaker Peter Whitehead filmed portions of the event, there is no known footage of Pink A typical 1968 set list would include some of the following: Floyd. On 12 May 1967, Pink Floyd performed at Queen Elizabeth Hall in London a concert entitled Games For May. At this show, they debuted a multi-speaker pan pot system controlled by joystick from the stage that allowed them to move sound to anywhere a speaker had been set up. This precursor to their later “Azimuth Coordinator” unfortunately was stolen after the show. After their debut single, "Arnold Layne", charted well in the UK, the band was invited to perform on the BBC2 music show The Look of the Week on 14 May 1967. The setlist for the broadcast consisted of "Pow R. Toc H." and "Astronomy Domine". This was their first British television appearance. Pink Floyd were invited to appear on the BBC2 mu-

• "Astronomy Domine" • "Interstellar Overdrive" • "Set the Controls for the Heart of the Sun" • "Pow R. Toc H." • "Let There Be More Light" • "The Massed Gadgets of Hercules" (first performed on 23 May 1968, renamed "A Saucerful of Secrets" ) • "Flaming"

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• "Keep Smiling People" (a prototype version of "Careful with That Axe, Eugene") Although their management company Blackhill Enterprises parted ways with them over their decision about Syd Barrett on 29 June 1968, Pink Floyd headlined the first free Hyde Park concert organized by Blackhill. Others performing were Tyrannosaurus Rex, Roy Harper and Jethro Tull. 'The one in '68 was wonderful because it was much more a picnic in the park than a mini-Woodstock. A lovely day. It was important for us too because it reminded us of our, uh, roots -- whether spurious or not. They *were* our roots -- not personally, but as an enterprise. We were the house band.' ̶Nick Mason, * [9]

A second tour of the US during July and August 1968 (see A Saucerful of Secrets US Tour) was launched to tie into the release of their second album, A Saucerful of Secrets. Increasingly throughout 1968 and 1969, shows consisted of post-Barrett compositions, with notable exceptions being "Astronomy Domine" and "Interstellar Overdrive", both of which were performed into the 1970s. Their audiences changed during this time as well: while Barrettera crowds consisted mainly of hippies who would dance in time with the music, they now drew more “intellectual”crowd, who would sit and remain quiet until the last note of a song was played.* [10] By early 1969, most of their excess earnings were funneled into upgrading their sound equipment rather than maintaining a permanent light show. If visuals were to be used at all, they had to be provided by the venue or the local promoter.* [10]

• "Careful with That Axe, Eugene" The shows at Mothers, Birmingham on 27 April 1969 and the College of Commerce, Manchester on 2 May 1969 were recorded for the live part of the Ummagumma album. One source also claims that the show at Bromley Technical College on 26 April 1969 was also recorded for the album.* [11] On 14 April 1969, at Royal Festival Hall, they debuted their new pan pot 360 degree sound system dubbed the “Azimuth Coordinator”. This show, named“More Furious Madness from the Massed Gadgets of Auximenes” , consisted of two experimental“suites”,“The Man”and “The Journey”. Most of the songs were either renamed earlier material or under a different name than they would eventually be released. A UK tour of occurred during May and June 1969 culminating in the show dubbed“The Final Lunacy”at Royal Albert Hall on 26 June 1969. Considered one of the most experimental concerts by Pink Floyd, it featured a crew member dressed as a gorilla, a cannon that fired, and band members sawing wood on the stage. At the finale of“The Journey”suite the band was joined on stage by the brass section of the Royal Philharmonic and the ladies of the Ealing Central Amateur Choir, and at the very end a huge pink smoke bomb was let off.* [12] An additional complete performance of “The Man/The Journey”occurred at the Concertgebouw, Amsterdam on 17 September and was taped and later broadcast by Dutch radio station Hilversum 3. Portions of the suites were being performed as late as early 1970. The “Atom Heart Mother”era

A typical 1970 set list would include some of the followA typical 1969 set list would include some of the follow- ing: ing: • "Astronomy Domine" See: The Man And The Journey Tour • "The Man/The Journey" • "Astronomy Domine" • "Interstellar Overdrive"

• "Interstellar Overdrive" • "Set the Controls for the Heart of the Sun" • "A Saucerful of Secrets" • "Cymbaline"

• "Set the Controls for the Heart of the Sun"

• "Green is the Colour"

• "Pow R. Toc H."

• "Main Theme" (rarely played)

• "Let There Be More Light"

• "Careful with That Axe, Eugene"

• "A Saucerful of Secrets"

• "Sysyphus" pts. 1-4 (rarely played)

• "Cymbaline"

• "Grantchester Meadows"

• "Green is the Colour"

• "Embryo"

• "Main Theme" (rarely played)

• "The Violent Sequence" (rarely played)

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• "Atom Heart Mother"

For a great recording of some of their material from this period check out the Fillmore West show in San • "Fat Old Sun" (beginning in September) Francisco, California on 29 April 1970 on Wolfgang's Vault. This show includes material from Ummagumma • "Alan's Psychedelic Breakfast" (only played a few and Atom Heart Mother. This was a short tour since their times in December) equipment got stolen a few weeks after this show and they canceled the rest of their tour. Early in 1970, Pink Floyd performed at gigs a piece from their film soundtrack for Michelangelo Antonioni's film Early performances of “Echoes” Zabriskie Point referred to as “The Violent Sequence”. This was the musical basis for "Us and Them", from their A typical 1971 set list would include some of the followDark Side of the Moon album. Lacking only the lyrics, ing: it is identical to the final song and is the earliest part of the seminal album to have been performed live. The song • "Astronomy Domine" "Embryo" was also a part of the live repertoire around this • "Interstellar Overdrive" time, but was never to appear on a studio album, until the compilation album Works. • "Set the Controls for the Heart of the Sun" On 18 January 1970 (possibly 17 January 1970), the band • "A Saucerful of Secrets" began performing a then untitled instrumental piece, which would eventually become the title track to their next album Atom Heart Mother. At this point, it had no orchestra or choir accompaniment. The song officially debuted at the Bath Festival, Somerset England on 27 June 1970 under the title "The Amazing Pudding" (later the name of a Pink Floyd fanzine) and for the first time with orchestra and choir accompaniment.

• "Cymbaline" • "Green Is the Colour" • "Careful with That Axe, Eugene" • "Embryo"

• "Atom Heart Mother" Announced as "The Atom Heart Mother" by legendary British broadcaster John Peel on his BBC Radio 1 show • "Fat Old Sun" “Peel's Sunday Concert”on 16 July 1970, a name sug• "Echoes" gested by him to the band,* [13] it was also announced as “The Atomic Heart Mother”two days later at the Hyde • "One of These Days" (beginning in late September Park free concert.* [14] Partly because of the difficulties / early October) of finding and hiring local orchestras and choirs, the band often played what is referred to as the“small band”ver- January 1971 saw the band working on a track in the stusion of the song when they performed it live. dio of then unconnected parts whose working title was Pink Floyd also appeared at a Free festival In Canterbury either “Nothing ̶Parts 1 to 24”* [17] or “Nothing on August 31 which was filmed. This was the end leg Parts 1–36”.* [18] This song made its live debut under of the Medicine Ball Caravan tour organised by Warner the working title “Return of the Son of Nothing”on 22 Brothers, which was later made into a film of the same April 1971 at Norwich, England and like "Atom Heart name. It appears that the Pink Floyd footage was not in- Mother" before it, it was a work in progress. This was cluded in the movie but spectators report that Atom Heart later to be released as "Echoes" on the album Meddle. Mother was part of the set that was recorded.* [15] The Although announced as “Echoes”on 6 August 1971 at audience must have been one of the smallest to see Pink Hakone, Japan,* [19] the song was still performed with Floyd at this era, only 1500 were present as the festival the additional lyrics at later August gigs. The show on was not widely promoted. 18 September 1971 at Montreux, Switzerland and subseIn contrast, over 500,000 people witnessed their show at Fête de L'Humanité, Paris on 12 September 1970, their largest crowd ever. Filmed by French TV, the show was never broadcast.* [16]

quent shows do not have the additional lyrics. In 1972, during a German tour, Waters sardonically introduced Echoes as“Looking Through the Knotholes in Granny's Wooden Leg”(a Goon Show reference) on one occasion and "The March of the Dam Busters" on another. On another occasion, during a live radio broadcast, Waters had instructed the DJ to announce“One of These Days” to the home audience as “A poignant appraisal of the contemporary social situation.”

Experimental on the album Atom Heart Mother, the song "Alan's Psychedelic Breakfast" was performed at a few gigs in December 1970. “Breakfast”being made was part of the song. The first part of this lasted around four minutes. The second part of“breakfast”preparation was around a minute followed by a 3-minute tape of British After the band's Crystal Palace Garden Party perforDJ Jimmy Young, whom the band disliked. mance (London, 15 May 1971), it was discovered that

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the sheer volume of the gig caused the nearby pond's en- Occasionally, multiple song encores were performed, tire fauna to die. The band was subsequently pressured to adding: compensate for the ecological damage.* [20] •“Blues” Eclipse - A Piece for Assorted Lunatics Main article: Dark Side of the Moon Tour A typical 1972 set list included: First Set: • "Breathe in the Air" • "The Travel Sequence" • "Time" • "Home Again" • "The Mortality Sequence" (aka “Religion”) • "Money" • "The Violent Sequence" • "Scat" • "Lunatic" • "Eclipse" Second Set: • "One of These Days" • "Set the Controls for the Heart of the Sun" (or as an encore) • "Careful with That Axe, Eugene" (or as an encore) • "Echoes" (or as an encore)

Playing 98 shows (the most until 1994), 1972 was the last time Pink Floyd varied their set lists each night on a tour until their final one. Songs played in the second set and encore were swapped constantly, and the band even varied the number of songs played in the encore from the usual one, to two or three. 1972 saw Pink Floyd debut the performance of a not just a song (like on previous tours), but an entire album prior to its release. The original title was Eclipse (A Piece for Assorted Lunatics), then The Dark Side of the Moon A Piece for Assorted Lunatics, the name under which it made its press debut in February 1972 at London's Rainbow Theatre. The title changed for the first part of the US tour to Eclipse (A Piece for Assorted Lunatics) during April and May before reverting to Dark Side of the Moon - A Piece for Assorted Lunatics in September for the second part of the US tour* [21] and finally released in 1973 under the title of Dark Side of the Moon. One of the two shows at The Dome, Brighton, England on 28 June and 29 June was filmed by Peter Clifton for inclusion on his film Sounds of the City. Clips of these appear occasionally on television and the performance of "Careful with That Axe, Eugene" is on the various artists video Superstars in Concert.* [22] In November 1972, during the middle of the European leg of their 1972 world tour and again in January 1973, Pink Floyd performed with the Roland Petit Ballet. The portion of the setlist for which the ballet was choreographed was "One of These Days", “Careful with That Axe, Eugene”, "Obscured by Clouds", "When You're In" and “Echoes”. Dark Side of the Moon

• "Atom Heart Mother" (rarely, last performance on 22 May 1972) • "A Saucerful of Secrets" (rarely in second set, usually as an encore) • "Childhood's End" (rarely, introduced in November 1972) Encore: Rotated one of these three songs: • "A Saucerful of Secrets" (last performance on 23 September 1972)

Dark Side of the Moon, Earls Court, 1973

An early 1973 set list (until mid-March) included: • "Set the Controls for the Heart of the Sun" (or in First Set: second set) • "Echoes" (or in second set)

• "Echoes"

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377

• "Obscured by Clouds"/"When You're In" (The two we'd been playing to 10,000 seaters where, in the quiet songs incorporated into a longer piece with a jam- passages, you could hear a pin drop.”* [24] They could ming guitar & keyboard section in the middle) now sell out stadiums. • "Childhood's End" (rarely) • "Careful with That Axe, Eugene" Second Set: The Dark Side of the Moon entire album Encore: • "One of These Days"

On 4 November 1973, Pink Floyd played two shows at London's Rainbow Theatre to benefit musician Robert Wyatt formerly the drummer of Soft Machine, a band they'd played with in their UFO Club days. Wyatt fell from a fourth floor window in June 1973, breaking his back and making him a paraplegic. The set list for these two shows were: Main Set: Dark Side of the Moon entire album Encore:

For remainder of 1973 (except 4 November), the set list included:

• "Obscured by Clouds"

First Set:

• "When You're In"

• "Obscured by Clouds" • "When You're In" • "Set the Controls for the Heart of the Sun" • "Careful with That Axe, Eugene" • "Echoes" Second Set: The Dark Side of the Moon entire album Encore: • "One of These Days"

1974 Tours Main article: Pink Floyd 1974 tours A French Summer Tour set list would include all of the following: • "Raving and Drooling" • "Shine On You Crazy Diamond" • "Echoes" • Dark Side of the Moon (Entire album)

In 1973, the band moved Dark Side of the Moon to the Encore (one of the following): second set (where it would reside through 1975), and • "Careful With That Axe, Eugene" played the album version of the piece, notably the revamped versions of“On the Run”and“The Great Gig in • "One of These Days" the Sky.”1973 saw Pink Floyd go on two relatively short tours of the US, one in March to coincide with the release of The Dark Side of the Moon and a later one in June. A British Summer Tour set list included all of the followSandwiched between them were two nights at London's ing: Earl's Court on 18 May and 19 May where they debuted •“Shine On You Crazy Diamond” the special effect of a plane crashing into the stage at the end of the song“On the Run”.* [23] This was also the first •“Raving and Drooling” year that the band took additional musicians on tour with them, unlike the earlier performances of “Atom Heart • "You've Got to be Crazy" Mother”where the band would often hire local musicians. • Dark Side of the Moon (Entire album) Because of the overwhelming chart success of both The Dark Side of the Moon, which reached #1 in the US in late April, #2 in the UK, and the US-released single Encore: “Money”, the nature of Pink Floyd's audiences changed •“Echoes” in June 1973. David Gilmour said of the change “It was “Money”that made the difference rather than The Dark Side of the Moon. It gave us a much larger follow- These early versions of“Shine On You Crazy Diamond”, ing, for which we should be thankful. ... People at the “Raving and Drooling”&“You've Got to be Crazy”were front shouting, “Play Money! Gimme something I can released as part of the Wish You Were Here Experience shake my ass to!" We had to get used to it, but previously and Immersion sets.

378 1975 North America Tour & Knebworth '75 Main article: Wish You Were Here Tour A typical 1975 set would include all of the following: •“Shine On You Crazy Diamond (Parts I-V)" •“Have a Cigar” •“Shine On You Crazy Diamond (Parts VI-IX)" •“Raving and Drooling” •“You've Got to be Crazy” • Dark Side of the Moon (entire album) Encore: •“Echoes”

CHAPTER 15. TOURS • "Careful with That Axe, Eugene" (performed once in Oakland, California) • "More Blues" (performed once in Montreal, Quebec, Canada) The 1977 In the Flesh Tour was the last time Pink Floyd performed a major worldwide tour with Roger Waters. The tour featured the famous character inflatables puppets (designed by Mark Fisher and Andrew Sanders), and also featured a pyrotechnic “waterfall”and one of the biggest and most elaborate stages to date, including umbrella-like canopies that would raise from the stage to protect the band from the elements.;* [25] Pink Floyd's market strategy for the In the Flesh Tour was very aggressive, filling pages of The New York Times and Billboard magazine. To promote their four-night run at Madison Square Garden in New York City, there was a Pink Floyd parade on 6th Avenue featuring pigs and sheep.* [26]

The Animals Tour was the first tour since their 1972 tour that Pink Floyd didn't use female backing singers. The In 1975, the band launched a short tour that ended two musicians that augmented the band for the tour was sax months prior to the release of Wish You Were Here, which player Dick Parry (occasionally playing keyboards too out eventually sold out stadiums and arenas across America. of view of the audience) and guitarist Snowy White (who The last gig of the tour was as the headliner of 1975 would also help out on bass guitar on some of the songs). Knebworth Festival, which also featured The Steve Miller In the first half of the show, Pink Floyd played all of the Band, Captain Beefheart and Roy Harper (who joined Animals album in a slightly different sequence to the alPink Floyd on the stage to sing“Have a Cigar”). It was bum starting with“Sheep”then“Pigs On the Wing (Part the second Knebworth Festival, which featured artists 1)", “Dogs”, “Pigs On the Wing (Part 2) and “Pigs such as The Rolling Stones, Led Zeppelin, Genesis and (Three Different Ones)". During “Pigs (Three DifferFrank Zappa between 1974 and 1979. ent Ones)", Waters would shout the number of the conDespite some technical problems, the band managed cert on the tour, such as “1-5!" for the fifteenth show. to perform a remarkable concert, which as well as the The second half of the show consisted of the Wish You usual special effects featured a fly-past by a pair of Were Here album in its exact running order (“Shine On Spitfires. This was supposed to synchronise with the start You Crazy Diamond (Parts 1-5)",“Welcome to the Maof 'Breathe' but the band had tuning difficulties and the chine”,“Have a Cigar”,“Wish You Were Here”and planes flew over before the start of the set. Knebworth “Shine On You Crazy Diamond (Parts 6-9)"). The enwas the last time the band would perform“Echoes”and cores would usually consist of either “Money”or “Us the entire Dark Side of the Moon with Roger Waters. and Them”from Dark Side of the Moon or both. At the Oakland, California show on 9 May they played "Careful with That Axe, Eugene" as a third encore; it was the last In the Flesh time it was ever performed live. The final night of the tour on 6 July at Montreal's Olympic Stadium had a third Main article: In the Flesh Tour encore of "More Blues" which saw David Gilmour sit out the final encore as he was unhappy with the band's performance that night. Snowy White played a bluesy guitar A typical 1977 set list would include the following: solo with the rest of Pink Floyd in Gilmour's place. • Animals (entire album) • Wish You Were Here (entire album) Encore: • "Money" • "Us and Them"

During the tour, Waters began to exhibit increasingly aggressive behaviour, and would often yell abusively at disruptive audiences who wouldn't stop yelling and screaming during the quieter numbers.* [26] In the New York shows they had to use local workers as lighting technicians because of union problems with their own crew. They had several difficulties with the workers; for example, Waters once had to beckon one of the spotlights to move higher when it only illuminated his lower legs and feet while he

15.1. PINK FLOYD LIVE PERFORMANCES was singing. The Montreal show, 6 July 1977, the final performance of the tour, ended with Pink Floyd performing a blues jam as the roadies dismantled the instruments in front of the insatiable audience, who refused to let the band leave the stadium. A small riot at the front of the stage followed the band's eventual exit. That night, Waters spat in the face of a disruptive fan; The Wall grew out of Waters' thoughts about this incident, particularly his growing awareness that stardom had alienated him from his audience.* [27] There were few shows on the tour that went smoothly. One example was at their Boston performance at Boston Garden on June 27, 1977 when Waters jokingly said “we're going to take a PIG break, back in 20 minutes” . Then said the final good night in a jovial manner “The perfect end to the perfect day, good night and God bless” . Another good performance came on May 9, 1977, in Oakland California. Throughout the show, the band played flawlessly while the audience remained attentive to the music. During“Have a Cigar,”Waters and Gilmour can be heard laughing as they sing part of the opening line. This was also the last time the band played “Careful With That Axe, Eugene”live.

379 future rock spectacles must be measured.

The show was designed by Mark Fisher with Art Direction by Gerald Scarfe. The Wall concert was only performed a handful of times each in four cities: Los Angeles, Uniondale (Long Island), Dortmund, and London (at Earl's Court). The primary 'tour' occurred in 1980, but the band performed eight shows at Dortmund (14–20 February 1981) and five more shows at Earl's Court (13–17 June) for filming, with the intention of integrating the shows into the upcoming movie. The resulting footage was deemed substandard and scrapped; years later, Roger Waters has given conflicted answers on the status of the concert films stating from“trying to locate this footage for historical purposes but was unsuccessful and considers it to be lost forever” to “I have all of the film but am reluctant to release”. There are several unofficial videos of the entire live show in circulation and some footage is shown on the Behind the Wall documentary.

Although the Animals album had not been as commercially successful as the previous two, the band managed to sell out arenas and stadiums in America and Europe, setting scale and attendance records. In Chicago, the band played to an estimated audience of 95,000; in Cleveland and Montreal, they set attendance records for those venues by playing to over 80,000 people.

Gilmour and Mason attempted to convince Waters to expand the show for a more lucrative, large-scale stadium tour, but because of the nature of the material (one of the primary themes is the distance between an artist and his audience) Waters balked at this. In fact, Waters had reportedly been offered a guaranteed US$ 1 million for each additional stadium concert, but declined the offer, insisting that such a tour would be hypocritical.

The Wall live

These shows are documented on the album Is There Anybody Out There? The Wall Live 1980-81.

Main article: The Wall Tour

Waters recreated the Wall show in Berlin in 1990, alongside the ruins of the Berlin Wall, and was joined by a number of guest artists (including Bryan Adams, Scorpions, Van Morrison, The Band, Tim Curry, Cyndi Lauper, Sinéad O'Connor, Marianne Faithfull, Joni Mitchell, Ute Lemper and Thomas Dolby). This concert was even bigger than the previous ones, as Waters built a 550-foot (170 m) long and 82-foot (25 m) high wall.* [28] The size of the theatrical features of The Wall were increased to cater for a sold-out audience of 200,000 people and of another estimated 500 million, in 35 countries, watching on television. After the concert began, the gates were opened and an estimated 300,000 to 500,000 people were able to watch the concert. This show is available on The Wall Live in Berlin album and DVD.

The 1980/1981 set lists comprised the entire album, The Wall. Pink Floyd mounted its most elaborate stage show in conjunction with the tour of The Wall. A band of session musicians played the first song, wearing rubber face masks taken from the real band members, then backed up the band for the remainder of the show. Most notable was the giant wall constructed between band and audience. The costs of the tour were estimated to have reached US$ 1.5 million even before the first performance. The New York Times stated in its 2 March 1980 edition that: The 'Wall' show remains a milestone in rock history though and there's no point in denying it. Never again will one be able to accept the technical clumsiness, distorted sound and meagre visuals of most arena rock concerts as inevitable”and concluded that “the 'Wall' show will be the touchstone against which all

Roger staged another tour of The Wall in 2010 saying of the story “it has occurred to me that maybe the story of my fear and loss with its concomitant inevitable residue of ridicule, shame and punishment, provides an allegory for broader concerns.: Nationalism, racism, sexism, religion, Whatever! All these issues and ʻisms are driven by the same fears that drove my young life.”

380 A Momentary Lapse of Reason Main article: A Momentary Lapse of Reason Tour

CHAPTER 15. TOURS signed airships.* [29] The arch-shaped stage was designed by Mark Fisher with lighting by Marc Brickman. Three stages leapfrogged around North America and Europe, each 180 feet (55 m) long and featuring a 130-foot (40 m) arch modelled on the Hollywood Bowl. All in all, the tour required 700 tons of steel carried by 53 articulated trucks, a crew of 161 people and an initial investment of US$ 4 million plus US$ 25 million of running costs just to stage. This tour played to 5.5 million people in 68 cities; each concert gathered an average 45,000 audience. At the end of the year, the Division Bell Tour was announced as the biggest tour ever, with worldwide gross of over £150 million (about US$ 250 million). In the U.S. alone, it grossed US$ 103.5 million from 59 concerts. However, this record was short-lived; less than a year later, The Rolling Stones' Voodoo Lounge Tour (like the Division Bell Tour, also sponsored in part by Volkswagen) finished with a worldwide gross of over US$ 300 million. The Stones and U2 (with their Vertigo Tour) remain the only acts ever to achieve a higher worldwide gross from a tour, even when adjusting for inflation.

After the release of A Momentary Lapse of Reason in 1987, Pink Floyd embarked on an 11-week tour to promote the album. The two remaining members of the band, David Gilmour and Nick Mason, along with Richard Wright, had just won a legal battle against Roger Waters and the future of the group was uncertain. Having the success of The Wall shows to live up to, the concerts' special effects were more impressive than ever. The initial“promotional tour”was extended, and finally lasted almost two years, ending in 1989 after playing around 200 concerts to about 5.5 million people in total, including 3 dates at Madison Square Garden (5–7 October 1987) and 2 nights at Wembley Stadium (5–6 August 1988). The tour took Pink Floyd to various exotic locations they had never played before such as shows in the forecourt of the Palace of Versailles, Moscow's Olympic Stadium, and Venice, despite fears and protests that the sound would damage the latter city's foundations. These shows are documented by the Pulse album and These shows are documented by the Delicate Sound of DVD. Thunder album and video. Pink Floyd was the second highest grossing act of 1987 and the highest grossing of 1988 in the U.S. Financially, Pink Floyd was the biggest act of these two years combined, grossing almost US$ 60 million from touring, about the same as U2 and Michael Jackson, their closest rivals, combined. Worldwide, the band grossed around US$ 135 million.

Post-Pulse era 1996: Rock and Roll Hall of Fame performance In 1996, Gilmour and Wright performed "Wish You Were Here" with Billy Corgan (of The Smashing Pumpkins fame) at their Rock and Roll Hall of Fame induction.

The tour marked the first time that the band played in Russia, Norway, Spain, New Zealand and was the first 2001: David Gilmour & Nick Mason statements time that had played in Australia since 1973. about Pink Floyd touring again in the future In an A further concert was held at the Knebworth Festival in interview with BBC Radio 2 in October, 2001, Gilmour 1990, a charity event that also featured other Silver Clef implied that the Echoes: The Best of Pink Floyd compilaAward winners. Pink Floyd was the last act to play, to an tion (released in November 2001) “probably”signaled audience of 125,000. During this gig Clare Torry sang the end of the band. “You never know exactly what the backing vocals making it the second and last time she future (holds)", Gilmour said. “I'm not going to slam did so. Vicki and Sam Brown also attended as backing any doors too firmly, but I don't see myself doing any vocalists, as well as Candy Dulfer with saxophone solo. more of that, and I certainly don't see myself going out The £60,000 firework display that ended the concert was on a big Floyd tour again.”A few days later in an inentirely financed by the band. terview with Launch.com, Nick Mason contradicted the statement, saying“I don't feel I've retired yet. You know, if everyone wanted to, we could certainly still do someThe Division Bell thing. I've spent 30 years waiting for the planets to align. I'm quite used to it.” Main article: The Division Bell Tour The Division Bell Tour in 1994 was promoted by Canadian concert impresario Michael Cohl and became the highest-grossing tour in rock music history to that date, with the band playing the entirety of The Dark Side of the Moon in some shows, for the first time since 1975.

2002: David Gilmour in Concert DVD release David Gilmour released a solo concert DVD called David Gilmour in Concert in November 2002 which was compiled from shows on 22 June 2001 and 17 January 2002 at The Royal Festival Hall in London. Richard Wright, The concerts featured even more impressive special ef- Robert Wyatt, and Bob Geldof (Pink in The Wall film) fects than the previous tour, including two custom de- make guest appearances.

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381

2003: Steve O'Rourke's funeral performance Longtime manager Steve O'Rourke died on 30 October 2003. Gilmour, Mason and Wright performed “Fat Old Sun”and “The Great Gig in the Sky”at his funeral at Chichester Cathedral, contrary to reports in the media claiming they played “Wish You Were Here”.

the band shared a group hug that became one of the most famous pictures of Live 8. As they proceeded to walk off, Nick Mason threw his drumsticks into the audience. With Wright's subsequent death, in September 2008, this was to be the final concert to feature all four bandmates playing together.

2005: Live 8 performance On 2 July 2005 Pink Floyd performed at the London Live 8 concert with Roger Waters rejoining David Gilmour, Nick Mason and Richard Wright. It was the quartet's first performance together in over 24 years ̶the band's last show with Waters was at Earls Court in London on 17 June 1981.

2007: Syd Barrett tribute concert On 10 May 2007 the sans-Waters Pink Floyd (presented as Rick Wright, David Gilmour and Nick Mason) took part in a Syd Barrett tribute concert in London performing Arnold Layne, and Roger Waters performed Flickering Flame.

Gilmour announced the Live 8 reunion on 12 June 2005:

15.1.4 Backing musicians See: Pink Floyd Live Backing Musicians

The band's set consisted of "Speak to Me/Breathe/Breathe (Reprise)", "Money", "Wish You Were Here", and "Comfortably Numb". As on the original recordings, Gilmour sang the lead vocals on “Breathe”and“Money”, and shared them with Waters on“Comfortably Numb”. For“Wish You Were Here” , Waters sung half of the verse's lyrics, unlike the original recording. When Waters was not singing, he was often enthusiastically mouthing the lyrics off-microphone. During the guitar introduction of “Wish You Were Here”, Waters said:

Because of the increasingly complex nature of Pink Floyd's music, more and more musicians besides the band were required on stage to recreate sounds achieved in the studio. Some performances of Atom Heart Mother featured an entire orchestra and choir, reputedly a nightmare to bring on tour. Less 'weighty' contributions from other musicians followed. In 1973 Dick Parry provided saxophone for Dark Side of the Moon and reprised this for live performances in every subsequent tour except those promoting The Wall and A Momentary Lapse of Reason, the latter in which Scott Page provided sax. For 1977's Animals promotion, Snowy White was brought in as an additional guitarist. He returned for The Wall shows along with a complete “surrogate band”consisting of Peter Wood (keyboards), Willie Wilson (drums) and Andy Bown (bass). Andy Roberts replaced White for the 1981 shows. For the A Momentary Lapse of Reason and Division Bell tours, Jon Carin (whom David Gilmour had met at Live Aid playing in Bryan Ferry's backing band) provided additional synthesizers and keyboards, Guy Pratt replaced Roger Waters on bass, Tim Renwick provided additional guitar and Gary Wallis additional percussion. Several backing vocalists, (the most notable of whom are Clare Torry, Sam Brown, Durga McBroom and Carol Kenyon) have accompanied the band on and off from Dark Side of the Moon onwards. During their performance at Live 8, Pink Floyd used Tim Renwick, Jon Carin, Dick Parry and Carol Kenyon.

They were augmented by guitarist/bassist Tim Renwick (guitarist on Roger Waters' 1984 solo tour, who has since become Pink Floyd's backing guitarist on stage); keyboardist/lap steel guitarist/backup vocalist Jon Carin (Pink Floyd's backing keyboardist from 1987 onward who performed on the 1999–2000 North American leg of Waters'“In the Flesh”tour, his 2006–2008“Dark Side of the Moon Live”tour, his 2010–2011“The Wall”tour and David Gilmour's 2006 On an Island tour); saxophonist Dick Parry during“Money”(who played on the original recordings of“Money”, "Us and Them", and“Shine on You Crazy Diamond”); and backing singer Carol Kenyon during“Comfortably Numb”. During“Breathe”, on the screen behind them, film of the iconic pig from the Animals album was shown flying over Battersea Power Station (itself visible on the horizon in television broadcasts 15.1.5 References of the performance), and during“Money”, a shot of The Dark Side of the Moon record being played was shown. • Fitch, Vernon. The Pink Floyd Encyclopedia, 2005, During “Comfortably Numb”, the three giant screens ISBN 1-894959-24-8 showed the Pink Floyd Wall (from the cover of The Wall), and during the final guitar solo, the words "Make Poverty • Mason, Nick. Inside Out: A Personal History of Pink History" were written on the wall. Floyd, 2004. ISBN 0-297-84387-7 At the end, after the last song had been played, Gilmour • Schaffner, Nicholas. Saucerful of Secrets: The Pink said “thank you very much, good night”and started to Floyd Odyssey, 1991. ISBN 0-517-57608-2 walk off the stage. Waters called him back, however, and

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• Povey, Glenn and Russell, Ian. Pink Floyd: In 15.1.7 External links The Flesh: the complete performance history, 1997. ISBN 0-312-19175-8 • Mark Fisher's Pink Floyd gallery

15.1.6

Notes

[1] Kendall, Charlie (1984).“Shades of Pink - The Definitive Pink Floyd Profile”. The Source Radio Show. Retrieved 2011-07-26. [2] Lighting Dimensions, September 1994, retrieved from here on 10 February 2006 [3] http://www.stufish.com/pink-floyd/the-division-bell/ reality.html

15.2 Pink Floyd World Tour 1968 Pink Floyd World Tour 1968 was a Pink Floyd world tour spanning February to December 1968 in which the group visited Europe and North America.

15.2.1 History

[4] 1984 interview on “The Source” [5] [6] [7] [8] [9] [10] [11] [12]

The tour began with difficulty as the band's lead guitarist, song writer Syd Barrett left the band http://www.stufish.com/pink-floyd/animals/reality.html vocalist and primary in April 1968.* [1] Despite leaving in April, Barrett had Schaffner, p. 241 only played in the band in January this year, when they were briefly a five-piece with the addition of guitarist http://www.stufish.com/pink-floyd/the-wall/reality.html David Gilmour, but he soon replaced Barrett entirely.* [2] Watts, M. (27 March 1971). “The Madcap Laughs”. As the main frontman, Barrett had initially been a central part of live performances, although bassist Roger WaMelody Maker. ters was able to steer the band through a potentially diffiPhil Sutcliffe (July 1995). “The 30 Year Technicolor cult series of live concerts based mainly on the European Dream”. Mojo Magazine. Retrieved 2011-07-23. mainland. Many of these performances took place at multi-artist music festivals in Europe, although the band Povey and Russell p. 55-57 were starting to establish a successful university circuit Povey and Russell p. 72 around the UK. In these venues, the band were greeted with respect and during some performances the audience Povey and Russell p. 75 would remain silent until the very last note was played.

[13] Povey and Russell p 83 [14] Povey and Russell p. 95 [15] alembic sound webpage history [16] Povey and Russell p. 96 [17] Povey and Russell p. 85 [18] Fitch p. 93 [19] Echoes FAQ, retrieved 7 July 2006 [20] http://www.brain-damage.co.uk/live-at-pompeii/ in-depth-analysis-part-two.html [21] Fitch p. 77 [22] Povey and Russell p. 122 [23] Fitch p. 227 [24] Mojo Magazine, March 1998, p 78 [25] Schaffner, p. 216-217 [26] Schaffner, p. 218 [27] Schaffner, p. 219 [28] Schaffner, p. 308 [29] VOLA Archive, retrieved 22 March 2006

The tour began on 17 February at the Patronaatsgebouw, Netherlands and ran until a final performance in the Netherlands on the 28 December. The tour was fitted in and around recording commitments and the band did not perform consistently during this period. After Barrett's departure, many of his songs were gradually dropped from the band's set lists, but some compositions that the band had performed with Barrett remained in their repertoire until 1971, notably "Interstellar Overdrive" and "Astronomy Domine". The latter track was doubled in length with an additional organ solo and repeated verses.* [3] "Set the Controls for the Heart of the Sun" had been performed in late 1967 with Barrett, but the band increasingly extended it to feature more guitar and organ work. This song would be played at almost every Pink Floyd concert until 1972.* [4] In 1968, the gong also became a characteristic part of the band's live show following its introduction at the "Games for May" concert in 1967. The Waters-led piece "Careful with That Axe, Eugene", which was introduced in early 1968 under the titles“Murderistic Women”* [5] and“Keep Smiling People”,* [6] would develop into a major part of the band's live shows up until 1973. The song was gradually extended as the year progressed, with initial performances lasting only four minutes and then growing to reach 8 minutes and

15.3. THE MAN AND THE JOURNEY TOUR

383

more. At the latter end of 1968, Waters' vocalizations 15.2.5 and climactic screams became a focal point of this piece. Another increasingly regular addition to Pink Floyd performances was “The Massed Gadgets of Hercules": an early, shorter version of "A Saucerful of Secrets". Like “Eugene”, the song was gradually extended from 6 minutes up until around 11 minutes as Gilmour took the wordless vocal on the closing“Celestial Voices”section of the song.

15.2.2

Tour dates

15.2.3

Set list

A typical set list would include some of the following: 1. "Astronomy Domine" 2. "Interstellar Overdrive" 3. "Set the Controls for the Heart of the Sun" 4. "Pow R. Toc H."

References

[1] Schaffner, Nicholas (2005).“Prologue – Wish You Were Here” . Saucerful of Secrets: The Pink Floyd Odyssey (New ed.). London: Helter Skelter. p. 15. ISBN 1-905139-098. [2] Manning, Toby (2006).“The Underground”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 45. ISBN 1-84353-575-0. [3] Manning, Toby (2006). “The Albums”. The Rough Guide to Pink Floyd (1st ed.). London: Rough Guides. p. 160. ISBN 1-84353-575-0. [4] Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd. London: Omnibus,. ISBN 0-7119-4301X. [5] Hodges, Nick and Priston, Ian (1999), Embryo: A Pink Floyd Chronology 1966–1971. Cherry Red Books, p. 126. [6] “RoIO CD: Keep Smiling People”. Pf-roio.de. Retrieved 16 September 2012.

• Brain Damage.co.uk

5. "Let There Be More Light" 6.“The Massed Gadgets of Hercules”(first performed on the 23 May 1968, renamed "A Saucerful of Secrets")

15.3 The Man and The Journey Tour

7. "Flaming"

The Man and The Journey tour was an informal 8.“Keep Smiling People”(a prototype version of (mostly English) concert tour of a few dates by Pink Floyd during which the conceptual music piece "The Man and "Careful with That Axe, Eugene") The Journey" was played. It started on 14 April 1969 and ended on 24 September 1969. Other songs 1. "Remember a Day" (played only once on 6 May 15.3.1 1968)

History

2. "It Would Be So Nice" (played only once on 11 May 15.3.2 1968)

Tour dates

15.3.3 Set one

3. "Matilda Mother" (played only once on 26 July 1968) A typical“The Man and the Journey tour”set list would include :

15.2.4

Tour band

• David Gilmour – guitar, vocals • Roger Waters – bass, vocals • Rick Wright – keyboards, vocals • Nick Mason – drums Additional musicians • Roy Harper – cymbals on“A Saucerful of Secrets” at Hyde Park 29 June

1. "Daybreak, Pt. I" 2.“Work” 3.“Teatime” 4. "Afternoon" 5.“Doing It!" 6. "Sleep" 7. "Nightmare" 8.“Daybreak Pt. II”

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CHAPTER 15. TOURS

Set two

1. "The Beginning" 2. "Beset By Creatures of the Deep" 3. "The Narrow Way" 4. "The Pink Jungle" 5. "The Labyrinths of Auximines"

15.4.1 History Early in 1970, Pink Floyd performed at gigs a piece from their film soundtrack for Michelangelo Antonioni's film Zabriskie Point referred to as “The Violent Sequence”. This was the musical basis for "Us and Them", from their Dark Side of the Moon album. Lacking only the lyrics, it is identical to the final song* [1] and is the earliest part of the seminal album to have been performed live. The song "Embryo" was also a part of the live repertoire around this time, but was never to appear on a studio album until the compilation album Works.

6.“Behold the Temple of Light”

On 17 January 1970, the band began performing a then untitled instrumental piece, which would eventually be7. "The End of the Beginning" come the title track to their next album Atom Heart Mother. At this point, it had no orchestra or choir accompaniment. This is the first time they performed a song live Encores (when played) : in an unfinished form as a work in progress, something they continued to do until 1975. The song officially de1. "Interstellar Overdrive" (on 24 May in Sheffield) buted at the Bath Festival, Somerset England on 27 June 1970 under the title "The Amazing Pudding" (later the 2. "Set the Controls for the Heart of the Sun" (on 22 name of a Pink Floyd fanzine) and for the first time with and 26 June in Manchester) orchestra and choir accompaniment. Announced as "The Atom Heart Mother" by legendary British broadcaster John Peel on his BBC Radio 1 show 15.3.5 Tour band “Peel's Sunday Concert”on 16 July 1970, a name suggested by him to the band,* [2] it was also announced as • David Gilmour - electric and acoustic guitars, per- “The Atomic Heart Mother”two days later at the Hyde cussion, vocals Park free concert.* [3] Partly due to the difficulties of finding and hiring local orchestras and choirs, the band • Roger Waters - bass guitar, acoustic guitar, percus- often played what is referred to as the“small band”version, vocals sion of the song when they performed it live. • Richard Wright - organ, piano, mellotron, vibra- Pink Floyd also appeared at a free festival In Canterbury on August 31, which was filmed. This was the end leg phone, vocals of the Medicine Ball Caravan tour organised by Warner Brothers, which was later made into a film of the same • Nick Mason – drums, percussion name. It appears that the Pink Floyd footage was not included in the movie but spectators report that Atom Heart Mother was part of the set that was recorded.* [4] The au15.3.6 See also dience must have been one of the smallest to see Pink Floyd at this era, only 1500 were present as the festival • Pink Floyd live performances was not widely promoted.

15.4 Atom Heart Mother World Tour

In contrast, over 500,000 people witnessed their show at Fête de L'Humanité, Paris on 12 September 1970, their largest crowd ever. Filmed by French TV, the show was never broadcast.* [5] Experimental on the album Atom Heart Mother, the song "Alan's Psychedelic Breakfast" was performed at a few gigs in December 1970. “Breakfast”being made was part of the song. The first part of this lasted around four minutes. The second part of“breakfast”preparation was around a minute followed by a 3-minute tape of British DJ Jimmy Young, whom the band disliked. The song lasted a little over 24 minutes.* [1]

The Atom Heart Mother World Tour was an international concert tour by Pink Floyd. It commenced during September 1970 and ended during October 1971. It marked the first time the band visited countries such as Japan and Australia. Intended to promote their new album Atom Heart Mother, the band hired local orchestras and choirs on some dates to perform the title piece while performing it in a four-piece arrangement on other occa- This tour is also notable for it being the last time Pink Floyd ever performed in Scotland. sions.

15.5. MEDDLE TOUR

15.4.2

Tour band

• David Gilmour - guitar, vocals • Roger Waters - bass, acoustic guitar, vocals • Richard Wright - keyboards, vibraphone, vocals • Nick Mason – drums, percussion

385

15.4.4 Tour dates 15.4.5 References [1] Unofficial audience recordings [2] Povey and Russell p 83 [3] Povey and Russell p. 95

Additional musicians: • Local orchestras and choirs, on some dates

15.4.3

Set list

A typical 1970 set list would include some of the following: • "Astronomy Domine" • "Interstellar Overdrive" • "Set the Controls for the Heart of the Sun" • "A Saucerful of Secrets" • "Cymbaline" • "Green Is the Colour" • "Quicksilver" • "Main Theme" • "Careful with That Axe, Eugene" • "Sysyphus", pts. 1–4 • "Moonhead" (only played twice) • "Grantchester Meadows" • "Embryo"

[4] alembic sound webpage history [5] Povey and Russell p. 96

15.4.6 External links • Brain Damage.co.uk • Pink Floyd Archives

15.5 Meddle Tour The 1971 Meddle tour was a short concert tour by British band Pink Floyd. Commenced on October 1971 and ended on November of that year. It was intended to promote their new album Meddle in the United States, although some of the album material had been played months before the album release, a common practice by the band. The set list was varied, playing material from many of their previous albums, some of them never played again by the band.

15.5.1 Set list A typical set list during this stage of 1971 would include most of the following:

• "The Violent Sequence"

• "Embryo"

• "Heart Beat, Pig Meat"

• "Fat Old Sun"

• "Atom Heart Mother"

• "Set the Controls for the Heart of the Sun"

• "Fat Old Sun" • "Alan's Psychedelic Breakfast" • "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" (partially) • "Corrosion" • "More Blues"

• "Atom Heart Mother" • "One of These Days" • "Careful with That Axe, Eugene" • "Cymbaline" • "Echoes"

• "One of These Days" (only played once)

• "A Saucerful of Secrets" (occasional)

• "Echoes"

• "Blues" (occasional)

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15.5.2

CHAPTER 15. TOURS

Tour band

• David Gilmour – guitar, vocals • Roger Waters – bass, vocals • Richard Wright – keyboards, vocals • Nick Mason – drums

15.5.3

Tour dates

15.5.4

References

15.5.5

External links

• Brain Damage.co.uk • Pink Floyd Archives

"Time" was played at a slower speed and the first half of the verses were sung by Gilmour and Wright together. The line“Lying supine in the sunshine”was sung instead of “Tired of lying in the sunshine,”even in shows after the album's release. "The Great Gig in the Sky", whose working title was“Religion”or “The Mortality Sequence”, consisted at the debut in January of synthesized organ and various tapes of“preachers”either preaching or reading from such passages as from Chapter 5, Verse 13 of Ephesians, a book of the Bible, or reciting The Lord's Prayer. Starting in September, the music of the song as per the album was performed, without vocals. A portion of the song contained the aforementioned“preacher”tape recording of Ephesians, at much lower volume, and it was performed this way for the rest of the year. "Money" began with a longer introduction on the bass, and the saxophone solo was instead played on the electric piano.

• KPPC-FM INTERVIEW of NICK MASON and "Us and Them" during 1972 lacked the saxophone solos RICK WRIGHT on October 16, 1971 as found on the album and featured an organ solo instead.

15.6 Dark Side of the Moon Tour The Dark Side of the Moon Tour was a concert tour by British rock band Pink Floyd in 1972 and 1973 in support of their album The Dark Side of the Moon. There were two separate legs promoting Dark Side of the Moon, one in 1972 before the album's release and another in 1973 after its release.

15.6.1

At the debut, the song "Eclipse" was nothing more than lyricless extension of "Brain Damage" that devolved into various odd sounds. The version with lyrics and music as found on the album debuted at Bristol on 5 February. Finally, none of the spoken word pieces as found on the album were done during 1972. The show at the Brighton Dome on 29 June was filmed by Peter Clifton for inclusion on his film Sounds of the City. Clips of these appear occasionally on television and the performance of "Careful with That Axe, Eugene" is on the various artists video Superstars in Concert.

History

The visuals for the tour were created by the Timeless Films company run by Independent British animator Ian 1972 Dark Side of the Moon Tour Ernes, who produced the 1973 short film French Windows, using backing music by the band* [1] as well as an Playing 93 shows in 1972, the most until 1994, Pink animated film, featuring animated ballet dancers, for the Floyd debuted the live performance before its release song “Careful with That Axe, Eugene”. not of a song but a whole album. The original title was Eclipse, then Dark Side of the Moon - A Piece for Assorted Lunatics, the name under which it made its press debut 1972 & 1973 Roland Petit Ballet shows in February 1972 at London's Rainbow Theatre. The title changed for the first part of the US tour to Eclipse (A In November 1972, during the middle of the European Piece for Assorted Lunatics) during April and May before leg of their 1972 world tour and again in January 1973, reverting to Dark Side of the Moon - A Piece for Assorted Pink Floyd performed with the Roland Petit Ballet. The Lunatics in September for the second part of the US tour set list for which their portion of the ballet was choreand finally released in 1973 under the title of The Dark ographed to was "One of These Days", "Careful with That Side of the Moon. Axe, Eugene", "Obscured by Clouds", "When You're In" Remarkably, at its first full live performance at Guildhall, and "Echoes". Portsmouth, England on 21 January 1972, most of the album was in the form it would be when released 14 months 1973 Dark Side of the Moon Tour later. The significant differences include: "On the Run", whose working title was “The Travel Se- 1973 saw Pink Floyd go on two relatively short tours of quence”, was a guitar and drum jam and would remain the US, one in March to coincide with the release of Dark Side of the Moon and a later one in June. Sandwiched so for the rest of the year's performances.

15.6. DARK SIDE OF THE MOON TOUR

387 • "Speak to Me" • "Breathe" • "On the Run" • "Time" • "The Great Gig in the Sky" • "Money" • "Us and Them" • "Any Colour You Like"

Pink Floyd performing Dark Side of the Moon at Earl's Court Arena in 1973

• "Brain Damage" • "Eclipse"

between them were two nights at London's Earl's Court on 18 May and 19 May where they debuted the special effect Set Two: of a plane crashing into the stage at the end of the song “On the Run”. This was also the first year that the band • "One of These Days" took additional musicians on tour with them, unlike the • "Careful with That Axe, Eugene" earlier performances of“Atom Heart Mother”where the band would often hire local musicians. Dick Parry would • "Echoes" join Pink Floyd during Money and Us and Them and a backing chorus of three or four women. Clare Torry sung • "Set the Controls for the Heart of the Sun" backing vocals during the Robert Wyatt benefit concerts, • "A Saucerful of Secrets" (occasional, until 22 she wouldn't do this again until 1990 at the Knebworth September 1972* [2]) Festival. Due to the overwhelming chart success of both Dark Side of the Moon, which reached #1 in the US in late April, #2 in the UK, and the US-released single“Money”, the nature of Pink Floyd's audiences changed in June 1973. They used to play at theaters and auditoriums but in this tour they played at Stadiums and large arenas.

• "Blues" (occasional) • "Atom Heart Mother" (on very few occasions until 22 May 1972* [3]) • "Childhood's End" (occasional, starting 1 December 1972)

On 4 November 1973, Pink Floyd played two shows at London's Rainbow Theatre to benefit musician Robert A typical set list for the 1972 & 1973 Roland Petit Wyatt formerly the drummer of Soft Machine, a band Ballet shows they'd played with in their UFO Club days. While at a birthday party for Gilli Smyth of Gong and Lady June • "One of These Days" on 1 June, Wyatt fell from a fourth story bathroom window, breaking his back and leaving him paraplegic. The • "Careful with That Axe, Eugene" concerts raised a reported £10,000 for Wyatt. • "Obscured by Clouds" On 22 June 1973, in Buffalo, New York, USA, during the performance, a spectator fell off the upper level deck • "When You're In" seating and killed the person that he/she landed on. The • "Echoes" person that fell was injured but did survive.

15.6.2

Tour dates

Dark Side of the Moon Tour

15.6.3

Setlist

A typical 1972 set list for the tour Set One:

A typical 1973 set list for the tour Set One: • "Obscured By Clouds" • "When You're In" • "Set the Controls for the Heart of the Sun" (replaced with "Childhood's End" until 10 March 1973* [4])

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CHAPTER 15. TOURS

•“Careful with That Axe, Eugene” •“Echoes”(served as the opening number during the first few weeks in March) Set Two: •“Speak to Me” •“Breathe”

15.6.5 References [1] Heavy Metal, Vol. 4, No. 7, 1980 [2] Rosenberg, Jon (July 1990) [1988]. A Journey Through Time and Space with Pink Floyd (book) (2nd ed.). T.D. p. 41. [3] Rosenberg 1990, p. 39 [4] Rosenberg 1990, p. 42-45 [5] Rosenberg 1990, p. 45

•“On the Run” •“Time” •“The Great Gig in the Sky” •“Money” •“Us and Them” •“Any Colour You Like”

•“Echoes: The Complete History of Pink Floyd” (MInd Head Publishing - March 2007 - 368 p.) by Glenn Povey • Brain Damage.co.uk • http://pinkfloydarchives.com/TourDate.htm#1973

15.7 Pink Floyd 1974 tours

•“Brain Damage” •“Eclipse” Encore: • "Seamus" (probably in 23 March 1973 only) •“One of These Days”

15.6.4

Tour band

• David Gilmour - vocals, guitar

15.7.1 1974 French Summer Tour Pink Floyd's 1974 French Summer Tour, was a short concert tour by Pink Floyd during the summer of 1974 in France. The tour commenced on 18 June 1974 and concluded on 26 June 1974. The first date of the tour was recorded by France's Europe 1 radio, with segments broadcast later in the year. The French 1974 tour featured the debut of "Shine On" (with the two halves played as one, as on the British 1974 tour) and "Raving and Drooling". The French tour was the first time Floyd used their circular screen.

• Roger Waters - bass, vocals

Tour dates

• Richard Wright - keyboards, vocals

Set list

• Nick Mason - drums

First Set:

Additional musicians: • Dick Parry - saxophone (joined for the second part of the 1973 tour, from 18 May 1973 onward* [5])

1.“Shine On”(at the time, this was a work in progress that would later be retitled "Shine On You Crazy Diamond")

2.“Raving and Drooling”(early version of "Sheep") • Black Grass (Nawasa Crowder, Mary Ann Lindsey, Phyllis Lindsey) - backing vocals (during the March Second Set: and May gigs) • Blackberries (Billy Barnum, Venetta Fields, Clydie King) - backing vocals (during the October gigs)

1. "Speak to Me" (extended tape)

• Vicki Brown, Liza Strike, and Clare Torry - backing vocals (during the two shows «A Benefit For Robert Wyatt» on 4 November 1973)

3. "On the Run"

2. "Breathe"

4. "Time"

15.8. WISH YOU WERE HERE TOUR

389

5. "The Great Gig in the Sky"

8.“Any Colour You Like”

6. "Money"

9.“Brain Damage”

7. "Us and Them"

10.“Eclipse”

8. "Any Colour You Like" 9. "Brain Damage"

Encore:

10. "Eclipse" 1.“Echoes” Encore: 1. "Echoes" (18–22 June) 2. "One of These Days” (24–26 June)

15.7.2

1974 British Winter Tour

15.7.3 Tour band • David Gilmour - guitar, vocals • Roger Waters - bass, vocals

• Richard Wright - keyboards, vocals Pink Floydʼs British Winter Tour '74, was a short concert tour by Pink Floyd during the winter of 1974 • Nick Mason - drums in the United Kingdom. The 16th November show was recorded by BBC Radio One and later broadcast on the Alan Freeman Show on 11 January 1975, minus the en- Additional musicians: core. This recording is included in the Dark Side of the Moon and Wish You Were Here box sets, except for • Dick Parry - saxophone “Echoes”which remains unreleased. The 1974 British tour featured the debut of "You Gotta Be Crazy".

• The Blackberries (Venetta Fields & Carlena Williams) - backing vocals

Tour dates

15.7.4 References Set list First Set: 1.“Shine On You Crazy Diamond”(at the time, this was a work in progress; moved to 3rd position starting on 17/11/1974) 2.“Raving and Drooling”(early version of "Sheep") 3.“You've Got to Be Crazy”(early version of "Dogs") Second Set: 1.“Speak to Me”(extended tape) 2.“Breathe” 3.“On the Run” 4.“Time” 5.“The Great Gig in the Sky” 6.“Money” 7.“Us and Them”

• Brain Damage.co.uk

15.8 Wish You Were Here Tour The North American Tour, also referred to as the Wish You Were Here Tour, was a concert tour by the British progressive rock band Pink Floyd in 1975 in support of their forthcoming album Wish You Were Here. The tour was divided in two legs in the United States, West Coast and East Coast, and a gig in the UK at the Knebworth Festival. On this tour debuted the song "Have a Cigar" and the "Shine on You Crazy Diamond" suite was divided in two parts with “Have a Cigar”between. The last gig of the tour was as the headliner of 1975 Knebworth Festival, which also featured Steve Miller Band, Captain Beefheart and Roy Harper (who joined Pink Floyd on the stage to sing“Have a Cigar”). Knebworth was the last time the band would perform "Echoes" and the entire Dark Side of the Moon album with Roger Waters.

390

15.8.1

CHAPTER 15. TOURS

Tour band

• David Gilmour - vocals, guitar • Roger Waters - bass, vocals

The tour featured large inflatable puppets, as well as a pyrotechnic “waterfall”, and one of the biggest and most elaborate stages to date, including umbrella-like canopies that would raise from the stage to protect the band from the elements.* [1]

• Richard Wright - keyboards, vocals • Nick Mason - drums

15.9.1 History

Additional musicians:

Pink Floyd's market strategy for the In the Flesh Tour was very aggressive, filling pages of The New York Times and Billboard magazine. To promote their four-night run • Dick Parry - saxophone at Madison Square Garden in New York City, there was • The Blackberries (Venetta Fields & Carlena a Pink Floyd parade on 6th Avenue featuring pigs and Williams) - backing vocals sheep.* [2]

This was the first tour since their 1973 tour that Pink Floyd didn't use female backing singers. The musicians 15.8.2 Set list that augmented the band for the tour were sax player Dick Parry (who occasionally played keyboards out of view of Part one the audience) and guitarist Snowy White, who also played •“Raving and Drooling”(early version of "Sheep") bass on “Sheep”, “Pigs (Three Different Ones)" and “Welcome To the Machine”while Waters played electric •“You've Got to Be Crazy”(early version of "Dogs") guitar on “Sheep”and “Pigs”and acoustic guitar on “Welcome to the Machine”. • "Shine On You Crazy Diamond (Parts I-V)" In the first half of the show, the band played all of the • "Have a Cigar" Animals album in a slightly different sequence to the album, starting with "Sheep" then "Pigs on the Wing •“Shine On You Crazy Diamond (Parts VI-IX)" (in (Part I)", "Dogs", "Pigs on the Wing (Part II)" and "Pigs Milwaukee, Wisconsin, it was dropped) (Three Different Ones)". Pyrotechnics were used in many venues, like sheep shells(video on youtube) and Part two huge inflated pig used for album cover shoot and jet fly over in Cleveland. During“Pigs (Three Different Ones)", Waters would shout the number of the concert on the • Dark Side of the Moon (entire album) tour (such as “1-5!" for the fifteenth show) so recordings of the shows would be easy to distinguish from each Encore other. The second half of the show comprised the Wish You Were Here album in its exact running order ("Shine • "Echoes" On You Crazy Diamond (Parts I–V)", "Welcome to the Machine", "Have a Cigar", "Wish You Were Here" and "Shine On You Crazy Diamond (Parts VI–IX)"). This 15.8.3 Tour dates was the first time“Welcome to the Machine”and“Wish You Were Here”were played live, with the latter being 15.8.4 References played differently than the studio album. It featured an extended guitar solo, a reprise of the second verse and • Brain Damage.co.uk Richard Wright closing out the song with a piano solo. The encores were "Money" and often "Us and Them" from The Dark Side of the Moon. At the Oakland, Cal15.9 In the Flesh Tour ifornia show on 9 May they played "Careful with That Axe, Eugene" as a third encore, the first time it had been This article is about the Pink Floyd tour. For the Roger played since 1974 and the last time it was ever performed. Waters solo tour, see In the Flesh (tour). For the 2010 The final night of the tour on 6 July at Montreal's Olympic tour by Utada, see Utada: In The Flesh 2010. Stadium had a third encore of "More Blues" which saw David Gilmour sit out the final encore as he was unhappy The In the Flesh Tour, also known as the Animals with the band's performance that night. Snowy White Tour, was a concert tour by the English rock band Pink played a bluesy guitar solo with the rest of Pink Floyd Floyd in support of their album Animals. It was divided in Gilmour's place. in two legs, one in Europe and another in North America. During the tour Waters began to exhibit increasingly ag-

15.9. IN THE FLESH TOUR

391

gressive behaviour, and would often yell abusively at dis- 15.9.3 Set list ruptive audiences who wouldn't stop yelling and screaming during the quieter numbers.* [2] In the New York A typical 1977 set list would include the following: shows they had to use local workers as lighting technicians Set I - Animals: due to union problems with their own crew. They had several difficulties with the workers; for example, Waters 1. "Sheep" once had to beckon one of the spotlights to move higher when it only illuminated his lower legs and feet while he 2. "Pigs on the Wing (Part I)" was singing. 3. "Dogs" The Montreal show, 6 July 1977, the final performance of the tour, ended with Pink Floyd performing a blues 4. "Pigs on the Wing (Part II)" jam as the roadies dismantled the instruments in front of the insatiable audience who refused to let the band leave 5. "Pigs (Three Different Ones)" the stadium. A small riot at the front of the stage followed the band's eventual exit. Earlier that night, Waters spat in the face of a disruptive fan;* [3] The Wall grew out Set II - Wish You Were Here: of Waters' thoughts about this incident, particularly his growing awareness that stardom had alienated him from 1. "Shine On You Crazy Diamond (Parts I–V)" his audience.* [4] 2. "Welcome to the Machine" Although the Animals album had not been as commercially successful as the previous two, the band man3. "Have a Cigar" aged to sell out arenas and stadiums in America and Europe, setting scale and attendance records. In Chicago, 4. "Wish You Were Here" the band played to an estimated audience of 95,000; in Cleveland and Montreal, they set attendance records for 5. "Shine On You Crazy Diamond (Parts VI–IX)" those venues by playing to over 80,000 people. Encore 1:

15.9.2

Tour band 1. "Money"

• David Gilmour - lead electric guitars (except as 2. "Us and Them" (added to February) noted); lap steel guitar on “Shine On You Crazy Diamond (Part VI)"; lead and backing vocals; bass guitar on “Pigs On the Wing (Part 2)" (second US Encore 2: leg only) • Roger Waters - bass guitar (except where noted); lead and backing vocals; electric guitar on“Sheep” and “Pigs"; acoustic guitar on “Pigs On the Wing (Parts 1 and 2)" and “Welcome to the Machine” • Richard Wright - keyboards; backing vocals • Nick Mason - drums; percussion Additional musicians: • Snowy White - guitars (lead on “Pigs On the Wing (Part 2)",“Have a Cigar”and“Shine On You Crazy Diamond (link from Part VI to Part VII, dual lead on Part VIII and harmony lead Part IX); backing vocals; bass guitar on “Sheep”, “Pigs (Three Different Ones)" and “Welcome to the Machine” • Dick Parry - saxophones, backing keyboards

1. "Careful with That Axe, Eugene" (performed once in 9 May 1977 Oakland, California) 2. "Blues" (with Snowy White) (performed once in 6 July 1977 Montreal, Quebec)

15.9.4 Tour dates 15.9.5 References [1] Schaffner, p. 216-217 [2] Schaffner, p. 218 [3] Maben, Adrian (Director) (April 18, 2000). Pink Flod Shine On: Interviews (VHS). Frantic Films. ISBN 6305855730. [4] Schaffner, p. 219

• Brain Damage.co.uk

392

15.10 The Wall Tour

CHAPTER 15. TOURS

The Wall concert was only performed 31 times in four cities: Los Angeles (7 shows), New York (5), Dortmund Not to be confused with Roger Waters' The Wall Live (8) and London (11). The primary 'tour' consisted of 18 shows in LA, New York and London in 1980, but the (2010-2013). band performed a further eight shows in Dortmund (13– 20 February 1981) and five more shows at Earl's Court The Wall Tour was a concert tour by the English (13–17 June) for filming, with the intention of integrating progressive rock band Pink Floyd throughout 1980–1981 the shows into the upcoming movie. in support of their concept album The Wall.* [1] The London shows are documented on the album Is There The tour was relatively small compared to previous tours Anybody Out There? The Wall Live 1980-81. for a major release, with only 31 shows in total. The tour was notable for its extensive use of stage theatrics, most Gilmour and Mason attempted to convince Waters to exnotably a giant wall constructed across the stage to con- pand the show for a more lucrative, large-scale stadium vey the sense of alienation present in both the album, and tour, but because of the nature of the material (one of the Roger Waters personal feelings at the time.* [1] The con- primary themes is the distance between an artist and his cert tour was Pink Floyd's last with the Waters-Gilmour- audience) Waters balked at this. Wright-Mason line-up (albeit with Wright as a salaried musician rather than a full member, having been fired 15.10.2 Concert film during the sessions for the album), as bassist Roger Waters left the group following a court battle between him The idea to include live concert footage of any significant and the band. length for The Wall film was dropped shortly before the final shows took place.* [1] There are conflicting statements regarding the professionally filmed footage. It had been 15.10.1 History widely believed that 'the wrong type of film' had been The costs of the tour were estimated to have reached US$ used and the results were dark and murky. Mark Fisher, 1.5 million even before the first performance. The New partly responsible for designing the show said the footage was: 'very dark and horrible and boring and should be York Times stated in its 2 March 1980 edition that:* [2] burned'.* [4] Alan Parker himself said: '[the filming of the shows were] five blown opportunities'.* [5] These rumours 'The 'Wall' show remains a milestone in were partially scotched when the Channel 4 documenrock history though and there's no point in tary 'Behind the Wall' (2000) used perfectly clear footage denying it. Never again will one be able to acfrom the 1981 concerts. 27 February and 9 August 1980 cept the technical clumsiness, distorted sound concerts were shot on videotape. David Gilmour has and meagre visuals of most arena rock concerts stated in an interview that only three tracks were captured as inevitable”and concluded that “the 'Wall' on film:* [6] show will be the touchstone against which all future rock spectacles must be measured. About 20 minutes were shot – for example, Nick Mason explained:* [3] “Hey You”, where the camera was behind the wall focusing on us, then it went up and over The problem, really, with the show is that it the wall onto the audience. That's a great bit of wasn't a touring show, so it had to be set up, and footage. But only three tracks were filmed. left, and taken down again. There were a lot of light operators and stage operators and wall Roger Waters said on an episode of In the Studio with builders. Because of the amount of stuff that Redbeard which devoted two parts to the making of The went up and down, floated across, did this, did Wall that“the London shows in 1980/81 were filmed and that, there were a lot of operators, rather than he had all of the footage and was thinking of putting it just people putting stuff up. And, of course we together to be released. However felt extremely reluctant had lots of semis, as I believe you call them, beto release the concerts on the video cassette format”. He cause of the special lighting pods that we used also would have to refer to the shows as a document of which needed, each one needs a trailer unit to what went on. hold it. And the special stage, because of the In the December 2009 issue of 'Mojo', Roger Waters way the stage was actually used, there was a revealed that he had 'discovered a whole load of new sort of structural bracing piece for the building footage of The Wall shows' and was busy 'editing it'. of the wall. So it was all special equipment, I He explained that he assumed the cameramen decided to mean it was absurdly expensive. It's not someshoot more than they were asked to as they had the camthing other people will do, generally, because eras and 'nobody [seemed] bothered'. It is presumed that it's just so expensive to put on, it's simply not this footage is 35mm film.* [7]In “The Rolling Stone” feasible. But it was great to have done it once.

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393

magazine, Waters expresses that the footage would“un- 15.10.4 Set list doubtedly”be released to the public. The 1980/1981 set lists comprised the entire album, The During Waters' tour of The Wall in 2010 footage of WaWall. The songs that did not make it onto the album, ters performing his vocal parts in "Mother", labelled as “What Shall We Do Now?", as well as an extra verse in being filmed in Earls Court in 1980, was projected onto “The Show Must Go On”, and the then untitled “The the incomplete wall. Last Few Bricks”, were also played. DVD of“The Wall Immersion Box Set”includes the professionally shot 35mm footage of “The Happiest Days of Our Lives”at Earls Court on June 13th, 1981. The Set one footage seen on the bootleg “Divided We Fall”by Har1. "In the Flesh?" vested DVD is from August 9th, 1980”.* [8] 2. "The Thin Ice"

15.10.3

Tour band

Pink Floyd:

3. "Another Brick in the Wall (Part I)" 4. "The Happiest Days of Our Lives" 5. "Another Brick in the Wall (Part II)"

• David Gilmour – electric and acoustic guitars, vocals, mandolin on“Outside the Wall”, musical director

6. "Mother"

• Nick Mason – drums, percussion, acoustic guitar on “Outside the Wall”

8. "Empty Spaces"

• Roger Waters – bass guitar, vocals, acoustic guitar on “Mother”, clarinet on “Outside the Wall”

7. "Goodbye Blue Sky"

9. "What Shall We Do Now?" 10. "Young Lust" 11. "One of My Turns"

with: • Richard Wright – piano, organ, synthesiser, accordion on “Outside The Wall”

12. "Don't Leave Me Now" 13. "Another Brick in the Wall (Part III)" 14. "The Last Few Bricks"

• Andy Bown – bass guitar, acoustic guitar on “Outside the Wall”

15. "Goodbye Cruel World"

• Joe Chemay – backing vocals

Set two

• Stan Farber – backing vocals

1. "Hey You"

• Jim Haas – backing vocals

2. "Is There Anybody Out There?"

• John Joyce – backing vocals

3. "Nobody Home"

• Andy Roberts – guitars (1981 shows)

4. "Vera"

• Snowy White – guitars (1980 shows)

5. "Bring the Boys Back Home"

• Willie Wilson – drums, percussion

6. "Comfortably Numb"

• Peter Wood – keyboards, acoustic guitar on “Outside the Wall”

7. "The Show Must Go On"

• Gary Yudman – MC (New York and London)

8. "In the Flesh" 9. "Run Like Hell"

• Cynthia Fox – MC (Los Angeles)

10. "Waiting for the Worms"

• Jim Ladd- MC (Los Angeles)

11. "Stop"

• Ace Young – MC (Los Angeles)

12. "The Trial"

• Willi Thomczyk – MC (Dortmund)

13. "Outside the Wall"

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CHAPTER 15. TOURS

15.10.5

Tour dates

15.10.6

References

[1] J.C. Maçek III (5 September 2012).“The Cinematic Experience of Roger Waters' 'The Wall Live'". PopMatters. [2] Rockwell, John (2 March 1980). “Pink Floyd's Great 'Wall'". The New York Times. [3] Kendall, Charlie (1984). “Shades of Pink – The Definitive Pink Floyd Profile”. The Source Radio Show. Retrieved 27 July 2011. [4] “Interview with Mark Fisher”. pinkfloyd-co.com. Retrieved 11 March 2012. [5] “The Wall tours”. pinkfloydonline.com. Retrieved 11 March 2012. [6] Record Collector, March 2000 [7] Mojo, Issue 193. [8] “Pink Floyd – The Wall 2012 Immersion box set”. braindamage.co.uk. 20 January 2012. Retrieved 11 March 2012.

15.10.7

External links

• Pinkfloydz.com

15.11 A Momentary Lapse of Reason Tour A Momentary Lapse of Reason Tour was a concert tour by the British rock band Pink Floyd from 1987–1989 in support of their album A Momentary Lapse of Reason. The tour was the band's first since The Wall Tour in 1981, and also the first without the bandʼ s original bassist Roger Waters. Furthermore, it was also the first tour in 10 years where people seeing Pink Floyd were treated to any other music besides The Wall album. The band reprised the set-list and stage show of this tour for their performance at Knebworth Park in 1990.

15.11.1

History

Initially, there was a great deal of uncertainty around the tour. Pink Floyd had not played live since 1981, and had not embarked on a full-fledged tour since 1977. Roger Waters left the band in 1985, believing the band would not continue. However, Gilmour and Mason decided to continue as Pink Floyd. Waters threatened legal action against Gilmour and Mason, as well as any promoters who promoted shows as “Pink Floyd.”However, by the end of 1987, with the success of the album and first stages of

the tour, the new lineup had established itself commercially, and the band reached a settlement with Waters in December. Having the success of The Wall shows to live up to, the concerts' special effects were more impressive than ever. The initial “promotional tour”was extended, and finally lasted almost two years, ending in 1989 after playing around 197 concerts to about 5.5 million people in total, including 3 dates at Madison Square Garden (5–7 October 1987) and 2 nights at Wembley Stadium (5–6 August 1988). The tour took Pink Floyd to various exotic locations they had never played before such as shows in the forecourt of the Palace of Versailles, Moscow's Olympic Stadium, and Venice, despite fears and protests that the sound would damage the latter city's foundations. The tour marked the first time that the band played in Russia, Norway, Spain and New Zealand, and was the first time they had played in Australia since 1971 and Japan since 1972. Pink Floyd was the second highest grossing act of 1987 and the highest grossing of 1988 in the U.S. Financially, Pink Floyd was the biggest act of these two years combined, grossing almost US$ 60 million from touring, about the same as U2 and Michael Jackson, their closest rivals, combined. Worldwide, the band grossed around US$ 135 million. A further concert was held at the Knebworth Festival in 1990, a charity event that also featured other Silver Clef Award winners. Pink Floyd was the last act to play, to an audience of 125,000. During this gig Clare Torry joined Vicki and Sam Brown in providing backing vocals, Candy Dulfer contributing saxophone solos. The £60,000 firework display that ended the concert was entirely financed by the band. These shows are documented by the Delicate Sound of Thunder album and video, and Live at Knebworth '90 video.

15.11.2 Tour band • David Gilmour - lead vocals, guitars, keyboards on “A New Machine” • Nick Mason – drums • Richard Wright – organs, piano, synthesisers, vocals Additional musicians: • Jon Carin – keyboards, sound effects, vocals • Scott Page – saxophones, guitar • Guy Pratt – bass guitar, vocals • Tim Renwick – guitars, backing vocals • Gary Wallis – percussion

15.11. A MOMENTARY LAPSE OF REASON TOUR

395

• Rachel Fury, Durga McBroom - backing vocals

1. "One of These Days"

• Margret Taylor – backing vocals (during the 198788 dates)

2. "Time" (omitting “Breathe (Reprise)")

• Lorelei McBroom - backing vocals (at The Omni shows 1987 and the 1989 dates)

3. "On the Run" (performed on all dates except Japan shows where it was replaced by “The Great Gig in the Sky”)

• Roberta Freeman - backing vocals (at The Omni shows 1987)

4. "The Great Gig in the Sky" (added to the set in 2 March 1988)

Knebworth Festival additional musicians: 5. "Wish You Were Here" • Guy Pratt – bass guitar, vocals

6. "Welcome to the Machine"

• Jon Carin – keyboards, vocals • Tim Renwick – guitar, backing vocals

7. "Us and Them"

• Gary Wallis – percussion

8. "Money"

• Durga McBroom, Sam Brown, Vicki Brown, Clare Torry - backing vocals

9. "Another Brick in the Wall (Part 2)"

• Candy Dulfer - saxophone

10. "Comfortably Numb" Encore:

15.11.3

Set list

Tour

1. "One Slip" (performed on all dates except in 19 September 1987)

The first set mainly consist of songs from A Momentary Lapse of Reason and the second of hits and older songs.

2. "Run Like Hell"

First Set: 1. "Shine On You Crazy Diamond (Parts 1-5)" replaced "Echoes" after only 11 shows. 2. "Signs of Life" 3. "Learning to Fly" 4. "Yet Another Movie"/"Round and Around”(moved to this position after 6 performances. It was originally performed after “The Dogs of War”.) 5. "A New Machine (Part 1)"

Second Encore: 1.“Shine On You Crazy Diamond (Parts 1-5)" (This was only performed at a few of the Canadian dates and the Cleveland Municipal Stadium's first show in 1987 and was under-rehearsed. It was also performed in a second, unplanned, encore at the Philadelphia show at JFK Stadium.)

Knebworth Park 1990

6. "Terminal Frost"

1.“Shine On You Crazy Diamond (Parts 1-5)"

7. "A New Machine (Part 2)"“A ( New Machine”[both parts] &“Terminal Frost”were sometimes left out of sets)

2.“Sorrow”

8. "Sorrow"

3.“Wish You Were Here” 4.“The Great Gig in the Sky”

9. "The Dogs of War" 5.“Money” 10. "On the Turning Away" (ended the first half of the show)

6.“Comfortably Numb”

Second set:

7.“Run Like Hell”

396

CHAPTER 15. TOURS

Grand Canal, Venice - Live TV Concert This was a special performance, for live Italian TV and was also broadcast worldwide. Due to time restrictions of live TV some songs were left out and others shortened in places. 'The Venice show was great fun, but it was very tense and nerve-wracking. We had a specific length of show to do; the satellite broadcasting meant we had to get it absolutely precise. We had the list of songs, and we'd shortened them, which we'd never done before. I had a big clock with a red digital read-out on the floor in front of me, and had the start time of each number on a piece of paper. If we were coming near the start time of the next number, I just had to wrap up the one we were on. We had a really good time, but the city authorities who had agreed to provide the services of security, toilets, food, completely reneged on everything they were supposed to do, and then tried to blame all the subsequent problems on us.' ̶David Gilmour, * [1]

15.11.5 References [1] “The Rightful Heir?". Q Magazine #48. September 1990. Retrieved 2011-07-23.

15.11.6 External links • Brain Damage.co.uk • Pink Floyd Archives

15.12 The Division Bell Tour The Division Bell Tour was a concert tour by the English rock band Pink Floyd in 1994 to support their album The Division Bell. It turned out to be the final Pink Floyd tour, although members of the band have continued to perform the band's songs on solo tours. In 1995 the band released the live album Pulse to commemorate the tour.

15.12.1 History 1.“Shine On You Crazy Diamond”(Part 1 intro only) The Division Bell Tour in 1994 was promoted by Canadian concert impresario Michael Cohl and became 2.“Learning to Fly” the highest-grossing tour in rock music history to that date, with the band playing the entirety of Dark Side of 3.“Yet Another Movie” the Moon in some shows, for the first time since 1975. 4.“Round and Around” While preparing for the tour, Pink Floyd spent most of March rehearsing in a hangar at Norton Air Force Base 5.“Sorrow”(shortened outro) in California.* [1] 6.“The Dogs of War” The concerts featured even more impressive special effects than the previous tour, including two custom de7.“On the Turning Away” signed airships.* [2] Three stages leapfrogged around North America and Europe, each 180 feet (55 m) long 8.“Time” and featuring a 130-foot (40 m) arch resembling the 9.“The Great Gig in the Sky” Hollywood Bowl venue. All in all, the tour required 700 tons of steel carried by 53 articulated trucks, a crew of 10.“Wish You Were Here” 161 people and an initial investment of US$ 4 million 11.“Money”(shorter than had previously been per- plus US$ 25 million of running costs just to stage. This formed on the tour) tour played to 5.5 million people in 68 cities; each concert gathered an average 45,000 audience. At the end 12.“Another Brick in the Wall (Part 2)" of the year, the Division Bell Tour was announced as the biggest tour ever, with worldwide gross of over £150 13.“Comfortably Numb” million (about US$ 250 million). In the U.S. alone, it 14.“Run Like Hell” grossed US$103.5 million from 59 concerts. However, this record was short-lived; less than a year later, The Rolling Stones' Voodoo Lounge Tour (like the Division 15.11.4 Tour dates Bell Tour, also sponsored in part by Volkswagen) finished * Festivals and other miscellaneous performances A with a worldwide gross of over US$ 300 million. The Rolling Stones, AC/DC, Metallica, U2, The Police, Bon This concert was part of Day on the Green Jovi, Roger Waters and Madonna remain the only acts * B This concert was part of The Silver Clef Award Win- ever to achieve a higher worldwide gross from a tour, even ners Concert when adjusting for inflation.

15.12. THE DIVISION BELL TOUR

397

15.12.3 Sets There were two typical sets used throughout the tour. The first was used all tour, and the second was introduced on 15 July at the Pontiac Silverdome, and rotated with the first typical set list for the remainder of the tour. Typical set list one: First set:

A Volkswagen Golf Pink Floyd Edition

The tour was sponsored in Europe by Volkswagen, which also issued a commemorative version of its top-selling car, the "Golf Pink Floyd”, one of which was given as a prize at each concert. It was a standard Golf with Pink Floyd decals and a premium stereo, and had Volkswagen's most environmentally friendly engine, at Gilmour's insistence.* [3] The special edition, originally scheduled for a 1996 release, was cancelled. These shows are documented by the Pulse album and DVD.

1. "Astronomy Domine" (in Europe would sometimes open the second set) 2. "Learning to Fly" 3. "What Do You Want from Me?" 4. "On the Turning Away" (played as the main set since San Diego concert) 5. Song(s) from The Division Bell (Any one, or occasionally two, of "A Great Day for Freedom" [39x], "Poles Apart" [24x], "Coming Back to Life" [43x], and "Lost for Words" [8x])

6. "Sorrow" The final concert of the tour on 29 October 1994 turned out to be the final full-length Pink Floyd performance, 7. "Take It Back" and the last time Pink Floyd played live before their one8. "Keep Talking" off 18-minute reunion with Roger Waters at Live 8 on 2 July 2005. Their performance at Giants Stadium in East 9. "One of These Days" Rutherford, New Jersey on July 18th 1994 would also go on to be the last ever Pink Floyd concert in North AmerSecond set: ica.

15.12.2

Tour band

1. "Shine On You Crazy Diamond" (Parts 1-5 & 7) (in Europe would sometimes open the first set)

• David Gilmour – guitars, lead vocals, lap steel guitar

2. "Speak to Me"

• Nick Mason – drums, percussion

3. "Breathe"

• Richard Wright – keyboards, secondary vocals, backing vocals

4. "Time" 5. "High Hopes"

Additional musicians: • Jon Carin – keyboards, secondary vocals, backing vocals • Guy Pratt – bass, secondary vocals, backing vocals

6. "Wish You Were Here" 7. "Another Brick in the Wall (Part 2)" 8. "The Great Gig in the Sky" 9. "Us and Them"

• Gary Wallis – percussion, additional drums (played and programmed)

10. "Money"

• Tim Renwick – guitars, backing vocals

11. "Comfortably Numb"

• Dick Parry – saxophones • Sam Brown – backing vocals

Encore:

• Claudia Fontaine – backing vocals

1. "Hey You"

• Durga McBroom – backing vocals

2. "Run Like Hell"

398 Typical set list two: First set: 1.“Shine On You Crazy Diamond”(Parts 1-5 & 7) 2.“Learning to Fly” 3.“High Hopes”(replaced by“Wish You Were Here” for 4 September performance)

CHAPTER 15. TOURS • "One Slip" (only played 1 time [Oakland 22]) - between “The Great Gig in the Sky”and “Us and Them”(“Wish You Were Here”was instead played after “Us and Them”at this show) • "Marooned" (only played in Oslo, Norway [2 times]) - before “Run Like Hell”

15.12.4 Tour dates

4.“Take It Back”(replaced by “Lost for Words”for There was going to be a concert on 12 October in Earls 19 October performance) Court, London, but due to a lot of stands collapsing and 5.“Coming Back to Life”(replaced by“A Great Day injuries, it had to be canceled. for Freedom”for 19 October performance) 6.“Sorrow” 7.“Keep Talking” 8.“Another Brick in the Wall (Part 2)" 9.“One of These Days” Second set: 1.“Speak to Me” 2.“Breathe” 3. "On the Run" 4.“Time” 5.“The Great Gig in the Sky” 6.“Money” 7.“Us and Them” 8. "Any Colour You Like" 9. "Brain Damage" 10. "Eclipse" Encore: 1.“Wish You Were Here”(replaced by“High Hopes” for 4 September performance) 2.“Comfortably Numb” 3.“Run Like Hell” The songs included in the sets, that were not played regularly were: • "On the Turning Away" (only played once, in Houston, Texas during the first set. This show was cut short due to thunderstorms. The band aborted during “Money”, returning to the stage to perform “Run Like Hell”only to abort again, ending the show.)

15.12.5 External links • Division Bell Tour setlists • Pink Floyd Drums: The Division Bell Tour Drums

15.12.6 References [1] Pink Floyd Official Site timeline [2] VOLA Archive. Retrieved 22 March 2006 [3] The Spiegel-Translation

Chapter 16

Related articles 16.1 The Amazing Pudding

[9] Mabbett, Andy (2010). Pink Floyd - The Music and the Mystery. London: Omnibus. ISBN 978-1-84938-370-7.

The Amazing Pudding was a Pink Floyd and Roger Wa- [10] MacDonald, Bruno (1996). Pink Floyd through the eyes of ters fan magazine* [1] (with frequent discussion of the - the band, its fans, friends and foes. London: Sidgwick other band members' solo careers, including that of Syd & Jackson. ISBN 0-283-06273-8. Barrett), established by Ivor Trueman and edited and published, variously, by him (issues 1–17),* [2]* [3] Andy [11] “Pink Floyd Hall of Fame Induction”. Retrieved 9 April 2014. Mabbett (issues 2–60),* [1]* [4] Bruno MacDonald (issues 24–60),* [1]* [5] and Dave Walker (issues 13–60),* [1]* [6] [12] Manning, Toby (2006). “Set the Controls”. The Rough for ten years (and 60 issues).* [1] Guide to Pink Floyd (1st ed.). London: Rough Guides. p. Mabbett (three times)* [7]* [8]* [9] and MacDonald* [10] each went on to write books on the band, and Mabbett wrote the section on Pink Floyd in the official programme for the 1996 induction of the band into the U.S. Rock and Roll Hall of Fame.* [11] The name 'The Amazing Pudding' was a working title for Pink Floyd's 1970 Atom Heart Mother suite.* [12]

62. ISBN 1-84353-575-0.

16.2 Andrew Jackson (recording engineer)

Andrew Brook “Andy”Jackson is a British recording Trueman also published the Syd Barrett magazine, Opel, engineer best known for his work with the British probefore founding Delerium Records. gressive rock band Pink Floyd. He is also the owner and operator of Tube Mastering, a private studio specializing in recorded music mastering.* [1]

16.1.1

References

[1] Mabbett, Andy; Macdonald, Bruno; Walker, Dave (1993). The Amazing Pudding (60). ISSN 0951-8304.

16.2.1 Career

Originally trained in the profession by producer/engineer James Guthrie at Utopia Studios and serving as his assistant for several years, Jackson began work as an enMabbett, Andy; Walker, Dave. The Amazing Pudding gineer for Pink Floyd in 1980, assisting in the recording (18). ISSN 0951-8304. of the performances of The Wall at Earls Court.* [2] As Guthrie's assistant once more he then worked on the film Mabbett, Andy; Trueman, Ivor; (1983). The Amazing soundtrack recordings for Pink Floyd The Wall and the Pudding (02). ISSN 0951-8304. studio album The Final Cut. Once Guthrie relocated to Mabbett, Andy; Macdonald, Bruno; Walker, Dave. The Los Angeles, Jackson became the band's primary engineer beginning with A Momentary Lapse of Reason and Amazing Pudding (24). ISSN 0951-8304. then The Division Bell plus the material recorded for the Mabbett, Andy; Trueman, Ivor; Walker, Dave. The soundtrack to the band's 1992 auto racing documentary Amazing Pudding (13). ISSN 0951-8304. film La Carrera Panamericana. He was also the Front of House engineer on the band's 1994 world tour. His curMiles, Barry; Mabbett, Andy (1994). Pink Floyd the virent primary responsibility is as the Senior Engineer for sual documentary ([Updated ed.] ed.). London: OmDavid Gilmour's studio, Astoria and has worked on all of nibus. ISBN 0-7119-4109-2. Gilmour's recordings/multimedia projects as an engineer Mabbett, Andy (1995). The Complete Guide to the Music and/or co-producer since 1984. He was also the engineer of Pink Floyd. London: Omnibus. ISBN 0-7119-4301-X. on Roger Waters' first solo album The Pros and Cons of

[2] Trueman, Ivor (1983). The Amazing Pudding (01). ISSN 0951-8304. [3]

[4]

[5]

[6]

[7]

[8]

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Hitchhiking and worked Front of House on Waters' 1984 tour.* [3] Jackson (in collaboration with engineer Damon Iddings) has remastered the majority of the bonus features material on the Immersion editions of The Dark Side of the Moon and Wish You Were Here for the Why Pink Floyd...? reissue campaign. In addition to his work with Pink Floyd, Jackson has also worked with artists such as Heatwave, Strawbs, The Boomtown Rats (most notably mixed their hit "I Don't Like Mondays"), Incredible Kidda Band and goth rock group Fields of the Nephilim and recorded a solo album, Obvious, which was released in 2001. He is also a guitar player in the live band version of The Eden House. Astoria Houseboat from the river He currently combines his continuing work through his own company, Tube Mastering.* [4] moored on the River Thames near Hampton, Middlesex. Gilmour purchased the boat in 1986, because he “spent half of [his] life in recording studios with no windows, 16.2.2 Awards no light, but on the boat there are many windows, with * Jackson is a two-time nominee for the Grammy Award beautiful scenery on the outside”. [1] for Best Engineered Album for A Momentary Lapse of Reason and The Division Bell.* [5]

16.3.1 Early history

16.2.3

References

The boat was built in 1911 for impresario Fred Karno, who wanted to have the best houseboat on the river. He [1] http://andyjacksonmusic.com/biography/ designed it so that there could be an entire 90-piece or* [2] Bailey, Craig. “Interviews Andy Jackson”. Floydian chestra playing on deck. [2] Slip. Retrieved 17 December 2000. [3] “Andy Jackson new album: budding video makers wanted!". Brain-Damage. Retrieved 16 August 2014. |first1= missing |last1= in Authors list (help)

16.3.2 Gilmour era

I just happened to find this beautiful boat that was built [4] “Grammy-nominated Pink Floyd engineer Andy Jackson as a houseboat and was very cheap, so I bought it. And has confirmed he is to release his fourth solo album on then only afterward did I think I could maybe use it to November 3.”. NJProgHouse. Retrieved 30 September record. The control room is a 30-foot by 20-foot room. 2014. It's a very comfortable working environment--- three bed[5] “Pink Floyd's Grammy Nominated Producer, Andy Jack- rooms, kitchen, bathroom, a big lounge. It's 90 feet long. son to release solo album on Esoteric Antenna”. Cherry Red. Retrieved 23 October 2014.

16.2.4

External links

̶David Gilmour* [3] “ ”

• Tube mastering • Interview with “Floydian Slip”host Craig Bailey, Parts of each of the last three Pink Floyd studio albums, A Momentary Lapse of Reason, The Division Bell, and December 2000 The Endless River, were recorded on the boat, as were • Andrew Jackson video interview on David parts of Gilmour's most recent solo album, On an Island. Gilmour's studio boat It was also used for mixing the Pink Floyd live albums Delicate Sound of Thunder and Pulse as well as the Pulse film, Gilmour's Remember That Night DVD and his 2008 live album, Live in Gdańsk. 16.3 Astoria (recording studio) Bob Ezrin has mentioned, however, that the floating stuAstoria is a grand houseboat, adapted as a recording stu- dio posed a few problems when it came to engineering dio by its owner, Pink Floyd guitarist David Gilmour. It is guitar sounds for A Momentary Lapse of Reason:

16.4. AUSTRALIAN PINK FLOYD SHOW It's not a huge environment (...) So we couldn't keep the amps in the same room with us, and we were forced to use slightly smaller amplifiers. But after playing around with them in the demo stages of the project, we found that we really like the sound. So a Fender Princeton and a little G&K amp became the backbone of Dave's guitar sound for that record. ̶Bob Ezrin, * [4]

A video of Andrew Jackson, sitting at the mixing console of the Astoria Studio, is available online.* [5]

401

[4] “Alan Parsons & Bob Ezrin: Pink Floyd, Wall of Sound - Guitar World - Feb 1993”. Pinkfloydfan.net. 1993-0129. Retrieved 2011-11-02. [5] “Andy Jackson - legendary Pink Floyd recording engineer feature at Astoria Studios”. Recordproduction.com. Retrieved 2011-11-02. [6] Tape Op Magazine #46 (Mar/Apr 2005)

Coordinates: 51°24′42.91″N 51.4119194°N 0.3581000°W

0°21′29.16″W

/

16.4 Australian Pink Floyd Show

Dara Ó Briain, Griff Rhys Jones and Rory McGrath vis- The Australian Pink Floyd Show, more frequently reited the Astoria while on a trip down the Thames for the ferred to as the Australian Pink Floyd, are a Pink Floyd tribute band formed in 1988 in Adelaide, South Australia. BBC television programme Three Men in a Boat. Their live shows attempt to recreate the look, feel, and sound of Pink Floyd's later world tours,* [1] employing Equipment visual aids such as lasers, inflatables and a large display panel similar to Mr Screen. The Australian Pink Floyd According to an interview with Phil Taylor (Gilmour's Show play venues worldwide. guitar technician),* [6] the Astoria was originally equipped with a DDA AMR 24 mixer console and UREI 813 studio main monitors with Phase Linear amps. The UREI 813s were replaced around 1990 by ATC main monitors. Customized ATC SCM150ASL active speakers are used for the main left and right channels with a standard ATC SCM150ASL active speaker used as the centre channel. The centre channel sits above an ATC SCM0.1-15 subwoofer. The surround monitors are two ATC SCM50ASLs. A variety of near-field monitor speakers are used including Yamaha NS-10s and Auratones depending on who happens to be working at the studio. The acoustic design was done with the assistance of Nick Whitaker, an independent acoustician, and much of the equipment was recommended by James Guthrie The Australian Pink Floyd Show in Barcelona (2009) and Andrew Jackson. Nowadays the Astoria includes a Neve 88R mixing console, as well as three Studer The band are noted for replicating the nuances of Pink A827 multi-tracks and Ampex ATR-100 tape recorders, Floyd's work.* [2] The guitar rig of Steve Mac closely rewhich were modified by Tim de Paravicini, Esoteric sembles David Gilmour's set-up, and includes elements Audio Research's (EAR) founder. The conversion to a custom-produced by Pete Cornish, who has worked exstudio also required 23 kilometres of cables, which were tensively with Gilmour.* [3] The band associates itself sourced from Van den Hul cables of Holland. There with individuals who have worked with Pink Floyd over are various compressors from Pye and EAR 660 tube the years, including Colin Norfield (who has worked designs, as well as EAR 825s for EQ. as a sound engineer for David Gilmour in his solo career and for Pink Floyd during their 1994 Division Bell Tour)* [4]* [5] and Clive Brooks – Nick Mason's long16.3.3 References time drum technician. [1] “Three men in a boat feat. David Gilmour”. YouTube. 2009-07-04. Retrieved 2011-11-02. [2] “National Register of Historic Vessels”. Nationalhistoricships.org.uk. Retrieved 2011-11-02. [3] “David Gilmour: Careful with that axe - Musician, Aug 1992”. Pinkfloydfan.net. Retrieved 2011-11-02.

The show includes a round screen with intelligent lights arranged around its perimeter. During a concert, movies and animations are displayed on-screen, complementing the band's light show. Inflatables (such as the pig used by Pink Floyd during the Division Bell Tour, and Skippy – the band's own giant pink kangaroo and named after the Australian TV series Skippy The Bush Kangaroo) are frequently employed in the band's shows.* [6]

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Band members

Though various musicians have come and gone over the years, the Australian Pink Floyd Show continues to base itself around its three 'longest-serving' members : Steve Mac, Colin Wilson and Jason Sawford. The current line up consists of:

In 2005, the band released a CD of their renditions of Animals and Wish You Were Here at the Liverpool Pops Festival. In the same year the band undertook a two-week tour of South America consisting of dates in Mexico City, Buenos Aires, and Brazil. A documentary about the group was shot at the Bell Centre in Montreal, Quebec and broadcast in North America on the Discovery Channel in 2007.* [12]

• Steve Mac – guitar, vocals (1988–present) • Colin Wilson – bass guitar, vocals (1993–present) • Jason Sawford – keyboards (1988–present) • Paul Bonney – drums (1998–present) • David Domminney Fowler – guitar, vocals (2010– present) • Alex McNamara – vocals (2010 – present) • Mike Kidson – saxophones (2003–2008, present) • Lorelei McBroom – backing vocals (2011–present) • Emily Lynn – backing vocals (2010–present) • Lara Smiles – backing vocals (2010–present)

16.4.2

History

Jason Sawford performing at Teatro do Bourbon County in 2007

In 2007, the band performed at several major European Music Festivals, including the Sweden Rock Festival, the Malta Jazz Festival,* [13] the Arrow Rock Festival, Rock Werchter, and Festival do Sudoeste. A DVD of the band performing at the Royal Albert Hall in London in 2007 was released later that year.

In September 2007, the group commenced its longest ever continuous tour of the Americas, performing for the first time in Panama, Venezuela, and Chile. In the same In 1994, David Gilmour attended an Australian Pink month a performance of the show in Buenos Aires was Floyd Show performance at the Fairfield Halls in aired on Argentine national television as part of the Pepsi Croydon.* [7] He subsequently invited the band to attend music festival* [14] the end-of-tour, after-show party for The Division Bell tour at Earls Court Exhibition Centre in London.* [8] 1988-2000

The Australian Pink Floyd are the only Pink Floyd tribute act to play for a member of Pink Floyd; in 1996, they performed at David Gilmour's 50th birthday party. In 1995, the band appeared on Irish national television, performing "Young Lust" on the chat show Kenny Live.* [9] In 1998, the band played Glastonbury performing on the acoustic stage.* [10] 2000-2010 In 2004, the band performed The Dark Side of the Moon at the King's Dock, Liverpool. The performance was recorded and released as a DVD the same year. This was released as a 2-DVD set with the full concert on disc one and bonuses on disc two. Also in 2004, the band commenced a major tour of the United States, Canada, Germany, and Italy, including a show in Switzerland. The Liverpool Pops DVD (and more recently the 2004 Royal Albert Hall performance) has been aired on television in the United States.* [11]

Screen and inflatable pig used by the band in their 2008 shows

February 2008 saw the group commence their “Best of The Wall”tour in a five-week tour of Europe, performing in Spain,* [15] Luxembourg, Poland, Norway, and (for the first time) the Czech Republic and Israel. The group performed at the Isle of Wight Festival in June 2008,* [16] were the headline act of the last night of Guilfest 2008, and in August of the same year made their

16.4. AUSTRALIAN PINK FLOYD SHOW

403

first appearance at the Lokerse Feesten* [17] in Lokeren, Anaheim, Lorelei was joined by her sister Durga McBBelgium. room – who also sang for Pink Floyd on the Momentary Division Bell tours – to sing The Great Gig in The band played their first shows in the Ukraine and Lapse and * the Sky. [20] Slovakia in September 2008. A complete production of The Wall, incorporating new animation based on the original Gerald Scarfe imagery, was performed for the first time by the band during their 2008 North American tours. The production continued throughout the 2009 European tour, which included dates in the United Kingdom, Germany, Poland, the Czech Republic, Italy, Switzerland, Norway, Denmark, Sweden, France, Spain, Portugal and, for the first time, Serbia.

In 2012, the Australian Pink Floyd completed their Exposed in the Light tour. Lorelei McBroom rejoined the group for both the European and North American segments of the tour. * [21]

In 2013, the band toured Europe with their Eclipsed By The Moon tour, celebrating the 40th anniversary of Dark Side of the Moon.* [22] In July 2013 the band played in front of the Lovell Telescope at Jodrell Bank in Eng* The summer of 2009 saw the group perform for the first land. [23] time in Austria at the Lovely Days Festival in Wiesen, and the Castle Clam Classic Rock Festival in Klam. In 16.4.3 References the same month they were the closing act of the Bospop festival in the Netherlands. [1] Petridis, Alexis.“The copycats who got the cream”, The Early 2010 saw the band commence its longest ever tour of Europe, playing in Croatia for the first time. Since 2010

Guardian, 18 May 2007; on the tribute scene including interview with keyboardist of The Australian Pink Floyd Show. [2] Green, Thomas H (29 April 2009).“The Australian Pink Floyd Show: shine on, you crazy Aussies”. Telegraph. Archived from the original on 1 June 2010. Retrieved 19 May 2010. [3] “PETE CORNISH Client List”. Petecornish.co.uk. Retrieved 2 January 2011. [4] Cunningham, Mark (7 May 1997).“Welcome to the Machine – the story of Pink Floyd's live sound: part 3”. Sound on Stage. Retrieved 29 May 2014. [5] david gilmour [6] The Australian Pink Floyd Show @ M.E.N. Arena – Live Reviews – Music – Entertainment – Manchester Evening News

The band playing "The Dark Side of the Moon" in front of the Lovell Telescope at Jodrell Bank.

In 2010, new management was appointed and David Domminney Fowler and Alex McNamara were recruited.

[7] “David Gilmour / Pink Floyd interview dotmusic January 2002”. Pink-floyd.org. Retrieved 2 January 2011. [8] Thompson, Geoff. “Tribute to the masters”, The Sun, 13 April 2007. [9] The broadcast is featured on their TAPFS-Live at Liverpool DVD, which was recorded at the Liverpool Pops Festival in 2004.

2011 saw the introduction of 3D stereoscopic projection and quadrophonic sound into the band's performances. The Australian Pink Floyd are the first ever band to im- [10] “Glastonbury Festival 1998 – Bands”. Efestivals.co.uk. 22 June 1998. Retrieved 2 January 2011. plement stereographic 3D into a tour.* [18] Performing in June 2011 at the Hampton Court Palace [11] “TPT e-newsletter”. Tpt.blogs.com. Retrieved 2 January 2011. Festival in London, the band were joined by Guy Pratt, long-time session bass player for Pink Floyd, for a rendi- [12] Discovery Channel CA (link broken as of 17 November tion of Run Like Hell.* [19] 2008) For the North American segment of their 2011 tour, [13] “LineUP 2007: Malta Jazz Festival”. Maltajazzfest.com. the band added Lorelei McBroom as a backing vocalist 11 June 2007. Retrieved 2 January 2011. in place of Bianca Glynn. Lorelei had previously performed live with Pink Floyd on the Momentary Lapse [14] “Pepsi Music 2007, Buenos Aires –". Last.fm. Retrieved of Reason tour, between 1988 and 1989. At a show in 2 January 2011.

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[15] Amor, Pablo. “Pink Floyd Is Actually Australian < Events”. PopMatters. Retrieved 2 January 2011. [16] “The Official Isle of Wight Festival 2008 Line-Up”. Isleofwightfestival.com. Archived from the original on 23 November 2010. Retrieved 2 January 2011. [17] “Lokerse Feesten: Home”. Lokersefeesten.be. Retrieved 2 January 2011.

system was operated by operating two joysticks, which allowed an audio signal to be panned between up to six loudspeakers placed around the hall. The Azimuth Co-ordinator was operated by keyboardist Richard Wright. As he operated the joystick, the source of the sound moved from speaker to speaker around the auditorium. With the controls in the central position, the sound output would be equal in all speakers.

[18] Alistair Foster (2011-01-19). “Pink Floyd cover band take technology out of cinema and into concert hall”. ThisisLondon.co.uk. London Evening Standard. Retrieved 2014-06-07.

It was constructed by a technical engineer Bernard Speight at EMIʼs Abbey Road Studios. The original was stolen after the first concert in Queen Elizabeth Hall in London, England. A second was built for the concert at [19] “Pink Floyd surprise at Hampton Court Palace concert” the Royal Festival Hall in London on 14 April 1969. It . Richmond and Twickenham Times. 2011-06-16. Re- had two pan pots and four channels. trieved 2014-06-07.

[20] http://www.aussiefloyd.com/news/ pink-floyd-singers-joined-the-aussie-floyd-for-1-night

Lost for many years it has now been found under the aegis of Londonʼs Victoria and Albert Museum, displayed as part of their Theatre Collections gallery * [1] since March 2009.

[21] http://www.aussiefloyd.com/news/ confirmed-pink-floyd-backing-vocalist-lorelei-mcbroom-will-join-/ [22] “Photo Galleries”. AussieFloyd.com. 2014-05-27. Retrieved 2014-06-07. [23] “Jodrell Bank gigs held to entice 'scientists of the future'". BBC News. Retrieved 8 July 2013.

16.4.4

External links

16.5.1 References [1] “pink floyd”. Archived from the original on 21 August 2009. Retrieved 2009-08-14.

• The New Musical Express Book of Rock, 1975, Star Books, ISBN 0-352-30074-4

• Official website

16.5 Azimuth Co-ordinator

16.5.2 External links • Pink Floyd's Azimuth Co-ordinator on show at V&A Museum • 12 May 1967: Pink Floyd Astounds With 'Sound in the Round' • V & A Museum Object No. S.294-1980, Sound equipment, Azimuth co-ordinator

16.6 Back Against the Wall Azimuth Co-ordinator used by Pink Floyd, made by Bernard Speight, 1969 (Victoria & Albert Museum, London)

This article is about the album by Billy Sherwood. For the song by Cage the Elephant, see Back Against the The Azimuth Co-ordinator was the first panning con- Wall (song). trol for a quadraphonic sound system, at that time a new concept. Pink Floyd became the first band to use it in Back Against the Wall is an album released in 2005 their early shows. by Billy Sherwood in collaboration with a number of The Azimuth Co-ordinator uses four rotary rheostats housed in a large box. The rheostats were converted from their standard 270 degrees rotation to operate over the narrower 90 degree range imposed by the physical constraints of the control lever with the box top aperture. The

(mostly) progressive rock artists as a tribute to Pink Floyd's album The Wall. A sequel, also organised by Sherwood, was released the next year: Return to the Dark Side of the Moon was a tribute to Pink Floyd's The Dark Side of the Moon.

16.6. BACK AGAINST THE WALL

16.6.1

Track listing

All tracks by Roger Waters except noted. All credits adapted from Discogs.* [1] Disc one 1. "In the Flesh? (3:19)" • Adrian Belew (of Frank Zappa, King Crimson, Talking Heads) - Lead Vocal • Alan White (Yes) - Drums • Keith Emerson (The Nice, Emerson, Lake & Palmer) - Organ • Gary Green (Gentle Giant) - Guitars • John Giblin (Peter Gabriel, Simple Minds, David Sylvian, Kate Bush) - Bass • Billy Sherwood (Yes) - Keyboards, Vocals • Michael Sherwood - Vocals 2. "The Thin Ice (2:29)" • Ian Anderson (Jethro Tull) - Vocals, Flute • Tony Levin (King Crimson, Peter Gabriel, Liquid Tension Experiment) - Bass • Gary Green - Guitars • Jay Schellen (Asia) - Drums • Billy Sherwood - Keyboards, Backing Vocals 3. "Another Brick in the Wall Part I (3:14)" • Steve Morse (Deep Purple, Dixie Dregs) Lead Guitar • Billy Sherwood - Vocals, Keyboards, Electric Guitars, Bass 4. "The Happiest Days of Our Lives (1:43)" • Billy Sherwood - Vocals, Keyboards, Guitars, Bass • Vinnie Colaiuta (Frank Zappa, Sting, Herbie Hancock, Jeff Beck) - Drums 5. "Another Brick in the Wall Part II (4:02)" • Fee Waybill (The Tubes) - Lead Vocals • Ronnie Montrose - Lead Guitar • Mike Porcaro (Toto) - Bass • Alex Ligertwood (Average White Band, Santana) and David Glen Eisley (misspelled as “Glenn”) (Giuffria) - Backing Vocals • Greg Bissonette (Steve Vai, David Lee Roth, Joe Satriani) - Drums • Billy Sherwood - Keyboards • The Milikan Musical Theatre Children's Choir conducted by Leo Krubsack

405 6. "Mother (5:58)" • John Wetton (Family, King Crimson, Roxy Music, Uriah Heep, UK, Wishbone Ash, Asia) - Vocals, Bass • Adrian Belew - Lead Guitar • Alan White - Drums • Billy Sherwood - Acoustic and Electric Guitars 7. "Goodbye Blue Sky (2:44)" • Steve Howe (Yes, Asia) - Acoustic Guitars • Billy Sherwood - Vocals, Keyboards • Del Palmer (Kate Bush) - Bass 8. "Empty Spaces (2:08)" • Billy Sherwood - Vocals, Keyboards • Robby Krieger (The Doors) - Guitars 9. "Young Lust (4:18)" (written by Waters and David Gilmour)

• Glenn Hughes (Deep Purple, Trapeze, Hughes/Thrall, Black Sabbath) - Vocals • Elliot Easton (The Cars) - Lead Guitar • Tony Franklin (The Firm, David Gilmour, Kate Bush, Whitesnake, Blue Murder, Roy Harper) - Bass • Aynsley Dunbar (Frank Zappa, Lou Reed, Jefferson Starship, Jeff Beck, David Bowie, Whitesnake, Sammy Hagar, UFO, Journey) Drums • Bob Kulick (Kiss, Lou Reed) - Electric Guitar • Billy Sherwood - Keyboards 10. "One of My Turns (3:35)" • • • •

Tommy Shaw (Styx) - Lead Vocal Larry Fast (Peter Gabriel) - Keyboards Jay Schellen - Drums John Giblin - Bass

11. "Don't Leave Me Now (4:08)" • • • • •

Tommy Shaw - Lead Vocal Robby Krieger - Guitars Jay Schellen - Drums Billy Sherwood - Bass Geoff Downes (Yes, Asia) - Keyboards

12. "Another Brick in the Wall Part III (1:39)" • • • •

Steve Lukather (Toto) - Lead Vocal Tony Levin - Bass Jay Schellen - Drums Steve Porcaro (Toto) - Keyboards

13. "Goodbye Cruel World (1:00)" • Billy Sherwood - Vocals, Keyboards • Tony Levin - Bass

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Disc two 1. "Hey You (4:43)" • John Wetton - Lead Vocal, Bass

• Billy Sherwood - Lead Vocal • Keith Emerson - Keyboards • Vinnie Colaiuta - Drums

• Steve Lukather - Lead Guitar

• Gary Green - Guitars

• Tommy Shaw - Acoustic Guitar

• John Giblin - Bass

• Alan White - Drums

• Michael Sherwood - Backing Vocals

• Gary Green - Electric Guitars • Geoff Downes - Keyboards • Billy Sherwood - Vocals 2. "Is There Anybody Out There? (2:39)" • Adrian Belew - Acoustic Guitars • Billy Sherwood - Lead Vocal, Keyboards, Bass • Ian Anderson - Flute • Michael Sherwood - Backing Vocals 3. "Nobody Home (3:11)" • Rick Wakeman (The Strawbs, Yes) - Piano • Billy Sherwood - Lead Vocal, Orchestral Keyboards 4. "Vera (1:22)"

9. "Run Like Hell (5:09)" (written by Waters, Gilmour) • Jason Scheff (misspelled on some pressings as “Chefe”) (Chicago) - Vocals, Bass • Dweezil Zappa (Zappa Plays Zappa) - Lead Guitar • Tony Kaye (Yes) - Keyboard Solo • Aynsley Dunbar - Drums • Bob Kulick - Electric Guitars • Billy Sherwood - Keyboards 10. "Waiting for the Worms (3:59)" • Billy Sherwood - Lead Vocal, Guitars, Keyboards

• Tommy Shaw - Lead Vocal

• Tony Levin - Bass, Stick

• Steve Howe - Acoustic Guitars

• Vinnie Colaiuta - Drums

• Billy Sherwood - Keyboards, Bass

• Keith Emerson - Organ Solo

5. "Bring the Boys Back Home (1:04)" • Billy Sherwood - Lead Vocal, Orchestral Keyboards • Jay Schellen - Snare Drum, Percussion, Backing Vocals • Michael Sherwood - Backing Vocals 6. "Comfortably Numb (6:51)" (written by Waters, Gilmour)

• Chris Squire (Yes) - Lead Vocal, Bass • Alan White - Drums • Billy Sherwood - Lead Vocal, Guitars, Keyboards • Jordan Berliant - Additional Acoustic Guitars 7. "The Show Must Go On (1:39)"

• Jim Ladd - Ranting and Raving • Michael Sherwood - Backing Vocals 11. "Stop (0:33)" • Billy Sherwood - Lead Vocals, Piano 12. "The Trial (5:19)" (written by Waters and Bob Ezrin) • Malcolm McDowell - Lead Vocal • Billy Sherwood - Orchestral Keyboards, Vocals 13. "Outside the Wall (1:46)" (featuring spoken interlude of Isn't This Where We Came In? by Billy Sherwood)

• Billy Sherwood - Vocals, Keyboards

• Adrian Belew - Lead Vocal

• Jim Ladd - Narration

• Vinnie Colaiuta - Drums

• Michael Sherwood and Jay Schellen - Vocals

• Billy Sherwood - Vocals, Keyboards, Guitars, Bass • Michael Sherwood - Backing Vocals 8. "In the Flesh (4:19)"

16.6.2 References [1] Back Against the Wall at Discogs

16.8. BLACKHILL ENTERPRISES

16.7 Beyond the Wildwood Beyond the Wildwood – A Tribute to Syd Barrett is a tribute album consisting of music written by Pink Floyd's original guitarist, vocalist and primary songwriter Syd Barrett.* [1] The musicians performing on the album are British and American indie rock artists. The songs featured come from Pink Floyd's singles; the albums The Piper at the Gates of Dawn and A Saucerful of Secrets; and Barrett's two solo albums: The Madcap Laughs and Barrett. Although Barrett's productive recording career had only lasted from 1967 though 1970,* [2] his music had a great influence on the development of psychedelic rock, alternative rock and indie rock music.* [3]

16.7.1

Track listing

All songs written by Syd Barrett, except where noted. Side one 1.“No Good Trying”– The Mock Turtles – 3:31 2. "Octopus" – Plasticland – 3:30 3. "Arnold Layne" – SS-20 – 3:05 4. "Matilda Mother" – Paul Roland – 2:55

407

16.7.2 References [1] “Syd Barrett > Overview”, Allmusic (Rovi Corporation), retrieved 13 July 2012 [2] “Syd Barrett > Credits”, Allmusic (Rovi Corporation), retrieved 13 July 2012 [3] Harris, John (12 July 2006). “Barrett's influence”. Guardian News and Media Limited. Retrieved 13 July 2012.

16.8 Blackhill Enterprises Blackhill Enterprises was a rock music management company, founded as a partnership by the four original members of Pink Floyd (Syd Barrett, Nick Mason, Roger Waters and Richard Wright), with Peter Jenner and Andrew King.* [1] Blackhill were the organisers of the first Hyde Park free concerts. After Syd Barrett left Pink Floyd, the partnership was dissolved, and Jenner and King continued Blackhill to manage Barrett.* [1] Following Blackhill's eventual dissolution, both Jenner and King continued to work in music management.* [1] They also managed:

5.“Long Cold Look”– Fit and Limo – 2:18 6.“Long Gone”– The Shamen – 3:47

• Marc Bolan (who met his wife, June Child, while she was working as Blackhill's secretary)* [1]

7.“If the Sun Don't Shine (Adaptation of Jugband Blues)" – Opal – 4:35

• Edgar Broughton Band

Side two 1. "Baby Lemonade" – The Ashes in the Morning – 3:17 2.“Wolfpack”– The Lobster Quadrille – 3:04 3.“Golden Hair”(Barrett/Joyce) – The Paint Set – 1:58 4.“No Man's Land”– Tropicana Fishtank – 3:51 5. "Apples and Oranges" – Television Personalities – 3:14 6.“Two of a Kind”– The Soup Dragons – 2:51 7. "Scream Thy Last Scream" – The Green Telescope – 4:40

• The Clash* [1] • Ian Dury • Roy Harper* [1] • Alberto Y Lost Trios Paranoias • Kevin Ayers

16.8.1 References [1] Mabbett, Andy (2010). Pink Floyd - The Music and the Mystery. London: Omnibus Press. ISBN 978-1-84938370-7.

16.9 The Bleeding Heart Band

CD bonus tracks 1. "See Emily Play" – The Chemistry Set – 3:12 2.“Rats”– What Noise – 4:50 3.“Gigolo Aunt”– Death of Samantha – 5:31

The Bleeding Heart Band was the name Roger Waters gave his backing band for a brief period of his post-Pink Floyd solo career.* [1] Although Waters released The Pros and Cons of Hitch Hiking in 1984,* [1] and toured as a solo artist promoting

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that album (with an unnamed supporting band), he was 16.9.2 The Wall, Berlin 1990 still a member of Pink Floyd, and did not leave the group When The Wall was performed in Berlin in 1990 to until late 1985. raise money for the charity Memorial Fund for DisasHis first music as an ex-member of Pink Floyd was sevter Relief,* [1] the show featured an enormous number eral contributions to the soundtrack to When the Wind of international artists, as well as Roger Waters and The Blows.* [1] It was for this soundtrack album that the band Bleeding Heart Band, which acted as the house band for * moniker“The Bleeding Heart Band”first appeared. [1] the evening, and provided the music for the extra vocalists.* [1]

16.9.1

Personnel

The original personnel, from the soundtrack to When the Wind Blows:* [2] • Roger Waters: Bass guitar, acoustic guitar, vocals

The Bleeding Heart Band also had a few extra members, such as Rick DiFonzo on guitar, and Peter Wood on keyboards.* [1] Also present was the vocal quartet of Joe Chemay, Jim Farber, Jim Haas, and John Joyce, reprising their role from the studio album and the Pink Floyd Wall performances.* [1] Whether the four were considered official members of The Bleeding Heart Band is unknown.

• Jay Stapley: Guitar. • Snowy White: Guitar.

16.9.3 Later years

• John Gordon: Bass guitar.

Seemingly, the Wall performance in 1990 was The Bleeding Heart Band's last hurrah. For whatever reason, since 1999's In the Flesh tour, Roger Waters has abandoned the Bleeding Heart Band name, even though several of the members (such as Broad, Fairweather-Low, or backing vocalist Katie Kissoon) are part of his current unnamed band. For his The Wall Live tour, Roger introduced them as the Bleeding Heart Band once again.

• Matt Irving: Keyboards, organ. • Nick Glennie-Smith: Piano, organ. • John Linwood: Linn programming • Freddie Krc: Drums, percussion. • Mel Collins: Saxophone. • Clare Torry: Vocals • Paul Carrack: Keyboards, vocals The band's membership would change variously as Waters went on to record the Radio K.A.O.S. album, and then mount the tour. • Roger Waters - vocals, bass guitar and acoustic guitar. • Andy Fairweather-Low - Guitar, bass guitar and backing vocals.

16.9.4 References [1] Mabbett, Andy (2010). Pink Floyd - The Music and the Mystery. London: Omnibus. ISBN 9781849383707. [2] “Various - When The Wind Blows - Original Motion Picture Soundtrack at Discogs”. Discogs.com.

16.9.5 External links • The Wall Live in Berlin • Peter Wood Info • Info on The Wall in Berlin

• Jay Stapley - Lead guitar and backing vocals.

• Trivia from IMDB

• Paul Carrack - keyboards and vocals.

• The Bleeding Heart Band discography at Discogs

• Graham Broad - drums and percussion. • Mel Collins - Saxophone.

16.10 Jon Carin

Jon Carin (born October 21, 1964, in New York City, New York) is a producer, artist and musician best known for his association with Pink Floyd, and more specifically • Katie Kissoon - Backing vocals. its guitarist David Gilmour and former member Roger • Clare Torry - lead vocals on “The Great Gig in the Waters. In the early 1980s, he gained fame as the frontSky”on just two shows of the tour. man for the new wave band Industry. During his time • Doreen Chanter - Backing vocals.

16.10. JON CARIN

409

with Industry, the band had a breakthrough hit single with Furs frontman Richard Butler's 2006 solo album called "State of the Nation" in 1983 and was followed by the Richard Butler on Koch Records that was dedicated to successful album Stranger to Stranger. his father, Dr. Arthur A. Carin. Carin played all of the instruments on the album, and produced and engineered the album as well.

16.10.1

Biography

As a teenager, Jon Carin started his professional musical career for the band Industry as their lead singer, keyboardist and songwriter. In 1983, he was asked by Industry's producer Rhett Davies to work with Bryan Ferry for his Boys and Girls album. Later in 1985, he joined Bryan Ferry at Live Aid to perform and met Pink Floyd guitarist David Gilmour. That year, Jon Carin would collaborate as musician and writer for Pink Floyd's A Momentary Lapse of Reason album as a keyboardist and programmer. He is a writer for hit song "Learning to Fly" from that album, their first hit song since the departure of Roger Waters. He participated in the support tour for the album and appeared on the 1988 Pink Floyd double live album, Delicate Sound of Thunder. In 1992, Carin participated for the recording of the soundtrack for La Carrera Panamericana. In 1994, Jon Carin played keyboards, synthesizers, arranged and programmed for Pink Floyd's The Division Bell album. He also participated on The Division Bell support tour and was featured on the Pulse CD and DVD.

Carin performed on keyboards, guitar and lead vocals with Roger Waters at the “Live Earth: The Concert for a Climate in Crisis”event on July 7, 2007 at Giants Stadium in New Jersey. He was also one of the performers on the Syd Barrett Tribute at the Barbican in London, performing with Roger Waters, the members of Pink Floyd (billed as Rick Wright, David Gilmour and Nick Mason) and Captain Sensible. He has also programmed the sounds for The Rascals reunion shows in Port Chester, NY at the Capitol Theatre in December, 2012. Carin performed with Roger Waters and Eddie Vedder for the 12 12 12 : Hurricane Sandy benefit concert. He performed with Roger Waters tour The Wall Live on keyboards, guitars and Lap Steel and programming He is now in performing in Kate Bush's Before The Dawn concert series at Hammersmith Apollo, 26 August – 1 October 2014 at the Hammersmith Apollo, her first live shows in 35 years. The tickets sold out in 15 minutes.[92][122]

Carin performed with the Who, playing Quadrophenia in its entirety in the summer of 1996, at London's Hyde 16.10.2 Selected discography Park; this led on to an extensive tour throughout much of 1996/97. On August 16, 1998 he produced and played Industry keyboards and drums for Pete Townshend for a concert to raise money for the Maryville Academy. In 1999, a • State of the Nation (EP) CD of this concert was released that Carin produced. • Stranger to Stranger Throughout the summers of the late 1990s and early 2000s (decade), he was on tour with former Pink Floyd bassist Roger Waters for his In the Flesh tour. This makes Pink Floyd him one of few musicians who has played with both Roger Waters and Pink Floyd after Waters' departure from the • A Momentary Lapse of Reason band. In October 2001, he performed with the Who at The Concert for New York City, a tribute concert to the • Delicate Sound of Thunder lives lost on September 11. In January 2002, a recording • Knebworth '90 of the tribute was released on CD and DVD. He performed with Pink Floyd at their reunion with Roger Waters on July 2, 2005 for Live 8 at Hyde Park. In 2005, A 3-disc DVD recording of the Who's 1996 performance of Quadrophenia was released. He played with David Gilmour in the 2006 tour in support of On an Island. From June 2006, he played on Roger Waters The Dark Side of the Moon Live tour, with dates in 2007 and 2008. Carin has worked with Amnesty International, Greenpeace, 4 Seasons of Hope for fundraising events playing with Seal, Elvis Costello, the Chieftains, Spinal Tap, and many others. He produced, wrote and arranged the Psychedelic

• La Carrera Panamericana (soundtrack for the film) • Shine On • The Division Bell • Pulse • Echoes: The Best of Pink Floyd • Oh, By The Way • The Best of Pink Floyd: A Foot in the Door • The Endless River

410 Roger Waters

CHAPTER 16. RELATED ARTICLES Bryan Ferry

• In the Flesh Live

• Boys and Girls

• Flickering Flame: The Solo Years Vol. 1

• Live Aid

• Live Earth

• More Than This: the Best of Bryan Ferry & Roxy Music

• 12-12-12: The Concert for Sandy Relief Soul Asylum David Gilmour • On an Island (Bonus DVD with AOL Sessions and Albert Hall footage)

• Candy From A Stranger • Black Gold: The Best of Soul Asylum

• Remember That Night: Live at Royal Albert Hall The Psychedelic Furs (DVD) • Live in Gdańsk

• Midnight To Midnight • Pretty In Pink

The Who • The Concert for New York City [Disc 2, tracks 2–4] (2001) • Amazing Journey: The Story of The Who [Track 14] (2008) • Tommy and Quadrophenia Live Pete Townshend

• All Of This And Nothing Gipsy Kings • Compas David Broza • Night Dawn, The Unpublished Poetry of Townes Van Zandt

• A Benefit for Maryville Academy • Lifehouse

Taylor Barton • Spiritual Gangster

Richard Butler • Richard Butler

Fields of the Nephilim • Elizium

Trashmonk • Mona Lisa Overdrive

Kashmir • The Good Life

Dream Academy • A Different Kind Of Weather

16.10.3 References

• Somewhere in the Sun... Best of the Dream Academy 16.10.4 Martha Wainwright • Martha Wainwright

External links

• Official website • Brain Damage UK Interview August 2007 by Arash Danesh

16.12. DON COLEMAN (MUSICIAN)

411

16.11 Carolyne Christie

[2] Mabbett, Andy (2010). Pink Floyd - The Music and the Mystery. London: Omnibus. ISBN 9781849383707.

Carolyne Anne Christie (born 27 December 1946* [1]) is a member of the English aristocracy, known for having been married to Rock Scully, manager of The Grateful Dead, and later to Roger Waters of Pink Floyd, who wrote songs about her. Her son Harry Waters is also a successful musician.

16.11.1

Family

[3] “Desert Island Discs, Roger Waters”. BBC Radio 4. 29 May 2011. Retrieved 29 May 2011. [4] Mosley, Charles, ed. (2003). Burke's Peerage, Baronetage & Knightage (107 ed.). [5] Fitch, Vernon (2005). The Pink Floyd Encyclopedia (Third ed.). Collector's Guide Publishing, Inc. ISBN 9781-894959-24-7. [6] Miles, Barry; Mabbett, Andy (1994).

Pink Floyd -

Christie's parents were Hector Lorenzo Christie and The Visual Documentary. London: Omnibus. ISBN Lady Jean Agatha Dundas.* [1] Her mother's father was 0711941092. Lawrence John Lumley Dundas, 2nd Marquess of Zetland and so she is niece to Lawrence Aldred Mervyn Dundas, 3rd Marquess of Zetland,* [2] and a cousin to both 16.12 Don Coleman (musician) Mark Dundas, 4th Marquess of Zetland and Lord David Dundas. She has a brother, Willie Christie.* [2] Through Don Coleman is a Canadian vocalist, songwriter, lyricist, Harry, she has grandchildren.* [3] performer and AC/DC tribute frontman.

16.11.2

Early marriages

16.12.1 Biography *

Christie married John Julian Reynolds in 1966; [4] however they divorced in 1970.* [4] She married Robert Don Coleman is a Canadian musician whose songs have “Rock”Scully in 1974, but they separated the following received air play on broadcast radio stations in more than year.* [4] Sources gave different dates for these divorces. 126 countries. A prolific songwriter, he has penned more than 500 songs in many styles ranging from bluegrass to country to light rock to hard rock and blues.

16.11.3

Roger Waters

He has been arguably labeled Canada's Premiere AC/DC Tribute Vocalist by his peers for his skills as an AC/DC Tribute Frontman/Performer and competed against more than 100 competitors in 2005 at the Hard Rock Cafe (Toronto) in the “Ultimate Jam”competition where he won the “Top Male Vocalist”award with his rendition of the AC/DC song “Back in Black”.* [1]

After her divorce from Scully, Christie married Roger Waters, the bass player of the English rock band Pink Floyd.;* [2]* [5] this was his second marriage.* [2] Their wedding cake was a gift from her friend, Sarah Ferguson, later Duchess of York.* [6] They had two children, Harry (born 16 November 1976* [4]), a keyboard player in his father's band as well as other bands,* [2] and India Rose His song release titled “Women, Whiskey & (born 25 April 1978* [4]), a model,* [2] before divorcing Rock'n'Roll”, a song that celebrates the life & spirit of Bon Scott, is featured on AC/DC's official in 1992.* [5] website. The song has aired on commercial FM radio The two-part song "Pigs on the Wing" on Pink stations in Australia, Canada, United States, Germany Floyd's Animals album is a love song from Waters for and in a total of 30 countries.* [2] “Women, Whiskey Christie,* [2] and a hidden message in the song "Empty & Rock'n'Roll”has also appeared on a CD compilation Spaces", on the follow-up album The Wall, refers to Rock 4 Life PSC Partners Seeking a Cure a non-profit her.* [2] It was Christie's suggestion that Bob Ezrin be organization that helps fund researchers seeking grants asked to produce the latter album.* [2] for the study of Primary sclerosing cholangitis. Waters employed Christie's brother Willie to take pho- Coleman's self produced video called “Rock'n'Roll tographs for the cover of his last album with Pink Floyd, Train, A Timeless Classic”was chosen Top 10 in the The Final Cut,* [2] and to direct the accompanying short world by the band AC/DC in their“Give It All You Got” film.* [2] contest and was recognized on AC/DC's official website. This video was filmed at the famed Hillsborough Railroad Museum utilizing vintage rail cars and a velocipede.

16.11.4

References

[1] Pine, L. G. (1952). Burke's Genealogical and Heraldic History of the Landed Gentry (17 ed.). London: Burke's Peerage Ltd.

His 2009 release titled “Loud Hard Fast & Wild,”a song that honors the life of singer/songwriter Buzz Shearman was recognized by Moxy's official website. “Loud Hard Fast & Wild”was then adopted by the NHL's

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CHAPTER 16. RELATED ARTICLES

Carolina Hurricanes and is now played at all of their home Steve Bigas of Porcelain Records. games.* [3] Don Coleman appears on the AC/DC Rock'n'Roll Train Coleman also performs as lead vocalist front man with Millennium Tribute CD with his two songs; Women, Loaded Dice, “Atlantic Canada's Premiere Tribute To Whiskey & Rock'n'Roll (celebrating the life & spirit of Classic Rock”who have performed on the same bill as Bon Scott) & Loud, Hard, Fast & Wild (reprise) featuring classic rock acts The Headpins, Helix, Harlequin, and Earl Johnson (Moxy) on lead guitar, alongside members Nazareth. of Guns N' Roses, Alice Cooper, Megadeth & AC/DC In March 2009 Coleman released the song “Note For on this worldwide CD release. Note”(in memory of Jeff Healey) which has aired on 200 plus broadcast radio stations across North America on the House of Blues Radio Show with DJ/host Dan Aykroyd of Blues Brothers fame and on numerous broadcast radio stations in other regions of the world. The song “Note For Note”is approved by the Jeff Healey”estate.

Don Coleman performed at the Sgt. Mark Gallagher Charity Ball at the Delta Beausejour Hotel in Moncton, New Brunswick, Canada in October 2011 with the band “Loaded Dice”. The Premier of New Brunswick and many dignitaries attended the event that helped raise much needed funds for the Mark Gallagher vocational In November 2009 Coleman released “Willie & Way- school project to help less-fortunate people in Haiti. lon”, an ode to Willie Nelson and Waylon Jennings, and In 2013 September, Don Coleman released the song and “The Highwaymen”, which pays tribute to their legendary music video called“Gordon”– The Tribute Song To Gorcharacter and their extensive contribution to country mu- don Lightfoot. Gordon Lightfoot responded with a handsic. written letter endorsing the song. All proceeds from the sale of the song via ITunes and the Two Disc CD/DVD In December 2009, Don Coleman released the song “Loud, Hard, Fast & Wild (reprise)" as an inspiration to Edition will be donated to “MusiCounts, Canada's music education charity.”The story is being well received by everyone to be the very best they can be. the print media and radio stations in Canada, with numerIn April 2010, he released the song “Bluegrass Grows” ous radio stations airing the song and multiple newspaper featuring New Brunswick Country Music Hall of Fame articles covering the story. inductee Eddy Poirier as a celebration of the change of season from spring to summer and the importance of The Gordon Lightfoot 75th Birthday Celebration in Orillia, Ontario, Canada on November 17, 2013. A weekfriendship. end long event that featured Don Coleman performing his Don Coleman spearheaded a campaign on the east coast song“Gordon”– The Tribute Song To Gordon Lightfoot of Canada to have Jeff Healey, Canada's blues ambas- – Endorsed by Gordon Lightfoot – All Proceeds from sale sador to the world, nominated for “Canada's Walk of to “MusiCounts, Canada's music education charity”at Fame”. Coleman was interviewed on 94.9FM The Rock the Mariposa Market and was interviewed by CTV News in Oshawa, Ontario on the morning show and also inter- in Canada. viewed by CTV News, as well as, appearing in a video with Alan Frew of Glass Tiger and Ed Pilling, founding member of the band Fludd, along with other musicians 16.12.2 Charity work and friends. Jeff Healey's wife Cristie also appeared in the video honouring her husband and the Canada's Walk Coleman is well known in his native Canada for his work of Fame campaign. with various charities from his current home town of * In October 2010 Coleman released a new song titled Moncton, NB [4] most notably Moncton Headstart Inc, “Three Hanks”which pays tribute to the three genera- which helps less-fortunate families in Eastern Canada. tions of the Hank Williams family. The song was se- The song “Headstart”, written and composed by Colelected by author Susan Masino as the perfect match for man and performed by Muzicians' Union, is the official * her new book release about the Hank Williams family ti- theme song for the non-profit organization. [5] The song tled A Family Tradition in which the song“Three Hanks” peaked at # 12 on the Top 25 Singles chart at CJSE-FM and has received airplay on numerous stations in Canada, has been acknowledged. including New Brunswick's Classic Rock C-103. In December 2010, Coleman released the song titled “Cloud Nine”, which he has dedicated to HRH Prince He has also performed to help raise funds for non-profit William and Catherine Middleton. The song has been organizations like the“Get on the Bus”campaign,“Kids acknowledged in a written letter response from Bucking- for Kids With Cancer”, as well as for the world-renowned ham Palace in England by HRH Prince William, who has Hospital for Sick Children at the Rock For Sicks Kids sent “his warmest thanks and best wishes”... for the Event at Rock'n'Roll Heaven in Toronto, Canada (March CD (Cloud Nine)... in connection with his engagement to 2009). Miss Catherine Middleton. He sincerely appreciated the He organized and performed at The Small Band-Aid kind thought.“Cloud Nine”was produced by Grammy & Charity Concert event (May 2009). A musical event for Juno (Taj Mahal, Bass Is Base) award-winning producer the Friends of The Moncton Hospital Foundation features

16.12. DON COLEMAN (MUSICIAN) Don Coleman with blind musician Shelby Murray performing Note For Note (in memory of Jeff Healey). The event which was organized by Don Coleman raised more than $2,000 for high-tech equipment for the Friends of The Moncton Hospital Foundation. The Small Band-Aid Concert DVD continues to raise further funds for the hospital.

413 ous radio stations airing the song and multiple newspaper articles covering the story.

Coleman's new band that features Blind Pianist “Shelby Murray”is called Unforeseen.“Unforeseen”performed as the headlining act, to raise funds for the Moncton Boys & Girls Club on June 1st, 2014 at the Moncton Press Club.“Unforeseen”also helped raised funds for the CavHe performed in September 2009 with his AC/DC trib- alier Horseback Riding Club, that helps disabled people ute band T'N'T at The Ontario Rocks event for charity in enhance their lives, through their live performance at a Niagara Falls, Canada that raised funds for ovarian and fundraising event at the Cocoa Room in Riverview, NB breast cancer research. in November 2015. Coleman recently performed at the Canadian Cancer Society event called the “Relay For Life”on June 11, 16.12.3 References 2010 to help raise funds for cancer research with the band “Loaded Dice”which is a “Tribute To Classic Rock. [1] “AC/DC tribute vocalist”. Bread“n”Molasses Magazine. He was also the event organizer for the “Cana- [2] “International Artist”. Brave Words Metal News. dian Humanitarian Relief Organization Charity Concert” (November 2010) at Saxby's Pub in Riverview, NB, [3] “The (other) hockey song.”. Brunswick News Inc. Canada. [4] “Press Release Charities”. Times & Transcript. In January 2011, Don Coleman helped spearhead a [5] “Press Release Headstart”. Canadian press. project with the Canadian Cancer Society titled “Join The Fight”. “Join The Fight”is a music compilation • Carolina's (NHL) Canadian Anthem – Toronto Star CD featuring award-winning artists and the brightest new Newspaper stars to emerge from the New Brunswick music scene. This compilation CD includes songs from award-winning • Loud Hard Fast & Wild – Here Magazine songwriters Ken Tobias, George Belliveau & Matt Ander• Small Band-Aid Charity Concert – Times & Transen. The CD will be released in March 2011 and 100% script Newspaper of the proceeds generated from the CD will benefit the Canadian Cancer Society. • Small Band-Aid Charity Concert – Times & TranDon Coleman organized a charity concert to raise script Newspaper Follow-Up funds for the “SickKids Foundation”of the Toronto • Rockstar Weekly Magazine Show Review July 2010 Hospital for Sick Children, with his former promoter Michael Bridges (Southern Cross Gypsy Promotions). • CBC Television Canada Interview His AC/DC tribute band, “Don Coleman with T'N'T” headlined at The Rockpile Club in Toronto, on May 15, • Castrol Radical Speed Sport April 2010 – Times & 2011 . The concert included very Special guests: MultiTranscript Newspaper ple Juno Award-Winning Artist “Liberty Silver”, Mul• Times & Transcript Newspaper/Canadian Cancer tiple Award-Winning Artist “Michael Pickett”, CanaSociety Fundraiser dian Country Music Hall of Fame inductees and eight time Juno award winners “The Good Brothers”, along • Times & Transcript Newspaper/Headstart Song with:“Firesound”,“Sharp Dressed Men”, and bagpiper Soars In California, USA “James Kennedy”. The benefit concert raised $2,000 for • Times & Transcript Newspaper Don Coleman “SickKids Foundation”. Hometown Hero Article Nov. 2010 Fundraising Concert for the “Open Hands”Food Bank on June 29, 2012 in Moncton, NB, Canada, Appearing as • Times & Transcript Newspaper Don Coleman Gives special guest vocalist with Los Angeles based rock band Back To Our Community March 2011 “Nero Zero”. • Times & Transcript Newspaper Don Coleman OrIn 2013 September, Don Coleman released the song and ganizes Canadian Cancer Society CD – 100% Of music video called“Gordon”– The Tribute Song To GorProceeds To Charity March 2011 don Lightfoot. Gordon Lightfoot responded with a hand• Times & Transcript Newspaper Don Coleman written letter endorsing the song. All proceeds from the Organizes Concert For SickKids Foundation and sale of the song via ITunes and the Two Disc CD/DVD Raises $2,000 for the charity Edition will be donated to “MusiCounts, Canada's music education charity.”The story is being well received by • Don Coleman Performs at Sgt. Mark Gallagher the print media and radio stations in Canada, with numerCharity Ball with “Loaded Dice”. October 2011

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16.12.4

CHAPTER 16. RELATED ARTICLES

External links

• Don Coleman Official Website

16.13 Dark Side of the Rainbow Dark Side of the Rainbow – also known as Dark Side of Oz or The Wizard of Floyd – refers to the pairing of the 1973 Pink Floyd album The Dark Side of the Moon with the visual portion of the 1939 film The Wizard of Oz.”* [1] This produces moments where the film and the album appear to correspond with each other. The title of the music video mashup-like experience comes from a combination of the album title, the album cover, and the film's song "Over the Rainbow". Band members and others involved in the making of the album state that any relationship between the two works of art is merely a coincidence.* [2]

an example of synchronicity, defined by the psychologist Carl Jung as a phenomenon in which coincidental events “seem related but are not explained by conventional mechanisms of causality.”* [6] Detractors argue that the phenomenon is the result of the mind's tendency to think it recognizes patterns amid disorder by discarding data that does not fit.* [7] Psychologists refer to this tendency as apophenia, or confirmation bias. In this theory, a Dark Side of the Rainbow enthusiast will focus on matching moments while ignoring the greater number of instances where the film and the album do not correspond.

16.13.3 Coincidence versus intent

Pink Floyd band members have repeatedly said that the reputed phenomenon is coincidence. In an interview for the 25th anniversary of the album, guitarist/vocalist David Gilmour denied the album was intentionally written to be synchronized with the film, saying “Some guy with too much time on his hands had this idea of com16.13.1 History bining Wizard of Oz with Dark Side of the Moon.”* [8] On an MTV special about Pink Floyd in 2002, the band In August 1995, the Fort Wayne (Indiana) Journal dismissed any relationship between the album and the Gazette published the first mainstream media article* [3] movie, saying there were no means of reproducing the about the "synchronicity,”citing the Usenet discussion film in the studio at the time they recorded the album. group alt.music.pink-floyd. Soon afterward, several fans began creating websites in which they touted the expe- Dark Side of the Moon audio engineer Alan Parsons in rience and tried to comprehensively catalogue the corre- 2003 dismissed the supposed effect: sponding moments. A second wave of awareness began in It was an American radio guy who pointed April 1997, when Boston radio DJ George Taylor Morris it out to me. It's such a non-starter, a comdiscussed Dark Side of the Rainbow on the air, leading plete load of eyewash. I tried it for the first to further mainstream media articles and a segment on time about two years ago. One of my fiancée's MTV news.* [2] kids had a copy of the video, and I thought I In July 2000, the cable channel Turner Classic Movies had to see what it was all about. I was very disaired a version of Oz with the Dark Side album as an alappointed. The only thing I noticed was that * ternate soundtrack. [4] Turner Entertainment has owned the line“balanced on the biggest wave”came the rights to the film since 1986. up when Dorothy was kind of tightrope walking along a fence. One of the things any audio professional will tell you is that the scope 16.13.2 Synchronicity for the drift between the video and the record is enormous; it could be anything up to twenty There are various approaches regarding when to start synseconds by the time the record's finished. And chronizing The Dark Side of the Moon audio with the film. anyway, if you play any record with the sound Several involve the MGM lion as the cue. Most suggest turned down on the TV, you will find things that the third roar, while some prefer the second or first. Othwork.* [9] ers suggest starting the album not immediately after the lion's roar, but after the lion fades to black̶exactly when the film begins. Viewing recommendations include re- Pink Floyd drummer Nick Mason teasingly told MTV in ducing the film's audio and using captions or subtitles to 1997, “It's absolute nonsense. It has nothing to do with The Wizard of Oz. It was all based on The Sound of Mufollow the dialogue and plot.* [5] sic.”* [10] The iconic dispersive prism of the album's cover purportedly reflects the movie's transition from black-andwhite Kansas to Technicolor Oz; further examples in- 16.13.4 Technical considerations clude music changes at dramatic moments, and thematic alignments such as the scarecrow dance during “Brain Film critic Richard Roeper published his assessment of Damage”. This synergy effect has been described as the phenomenon, which he referred to as “Dark Side of

16.13. DARK SIDE OF THE RAINBOW Oz”. Roeper concluded that while the band may have had the resources and technical know-how to produce an alternative film soundtrack, undergoing such an endeavor would have been highly impractical. Roeper also noted the technical issue of the roughly 43-minute Dark Side of the Moon being short compared to the 101-minute Wizard of Oz.* [11] In the book Inside Out: A Personal History of Pink Floyd, Nick Mason noted that the band was becoming proficient at creating movie soundtracks by the time they started the recording of The Dark Side of the Moon, and that they even interrupted their work on the album so they could score yet another film. He explained the technical process that Pink Floyd used to score movies when he wrote about the recording of the 1972 Obscured by Clouds movie soundtrack: After the success of More, we had agreed to do another sound track for Barbet Schroeder. His new film was called La Vallée and we travelled over to France to record the music in the last week of February... We did the recording with the same method we had employed for More, following a rough cut of the film, using stopwatches for specific cues and creating interlinking musical moods that would be crossfaded to suit the final version... The recording time was extremely tight. We only had two weeks to record the soundtrack with a short amount of time afterwards to turn it into an album.

16.13.5

415 of Oz”.* [15] Canadian dance music artist Rich Aucoin's second album Ephemeral (to be released in September 2014 in North America) is an adaptation of the themes of the novella The Little Prince and is meant to synch up to the 1979 short Claymation film of the same name, along the lines of Dark Side of the Moon and The Wizard of Oz.* [16]

16.13.6 In popular culture In February 2003, the reggae cover-band group Easy Star All-Stars released a cover album of The Dark Side of the Moon entitled Dub Side of the Moon which features instructions on how to synchronize the record with The Wizard of Oz In The Muppets' Wizard of Oz (2005), Pepe the King Prawn (as Toto) says, “Those of you who have Dark Side of the Moon, press play now.”* [17] In The Angry Video Game Nerd's 2008 episode on the video game adaptation of The Wizard of Oz, all the episode's events are deliberately synced up to Pink Floyd's The Dark Side of the Moon if one plays the first four songs of the album in sync to this episode, a reference to the connection between the album and the 1939 film.* [18] In the 2010 How I Met Your Mother episode "Blitzgiving", Marshall and Ted mention a time they watched The Wizard of Oz while listening to The Dark Side of the Moon, which inspires them to do the same thing with Apocalypse Now and “Weird Al”Yankovic's Greatest Hits.

Variations on the theme

In the Trailer Park Boys episode“Give Peace a Chance,” Bubbles mentions a synchronized showing of“Dark Side The fame of Dark Side of the Rainbow has prompted of the Moon”and“The Wizard of Oz”occurring while some to search for synchronicities among other albums he and the boys were in prison. or films. The lengthy Pink Floyd song "Echoes" from the 1971 album Meddle has been paired with “Jupiter and Another reference appeared in the Supernatural episode Beyond the Infinite,”the fourth act in the 1968 film 2001: "Dream a Little Dream of Me". Dean asks Sam if they A Space Odyssey. Again the correspondences are primar- should “dim the lights and sync up Wizard of Oz and prompting Dean ily formal/structural and not grounded in the content of Dark Side of the Moon". Sam asks why, * to wonder what Sam did in college. [19] the lyrics. Both the track and the sequence are approxiIn the 2002 Family Guy episode "Stuck Together, Torn mately 23 minutes.* [12] Comedian Matt Herzau claims that the Pixar film WALL- Apart", Mort Goldman states “We like to watch old E syncs up with Pink Floyd's rock opera The Wall, which movies while listening to "Hotel California" to see if it he has called “Another Brick in the WALL-E”, after synchs up in a significant way. And so far, no, nothing the album's three-part song "Another Brick in the Wall.” has.” *

[13]* [14] Another popular Pink Floyd movie sync pairs The Wall with Disney's 1951 animated Alice in Wonderland. In connection with Alice, another Floyd-related album syncs up with that film - Syd Barrett's solo album The Madcap Laughs.

In a 2000 episode of Family Guy, "The Story on Page One", Meg Griffin tells Luke Perry that "Dark Side of the Moon totally syncs up with the Wizard of Oz", to which Perry replies,“You know, Shannen Doherty told me that once, but I thought she was just being a bitch.”

“Their Satanic Majesties Baby Shower Gift Registry”by comedy duo The Martin Duprass reportedly“syncs up to Episode 13, Season 4, of Star Trek: The Next Generation the way Dark Side of the Moon syncs up to The Wizard

In a 2014 Drum Corps International show, performed by the Colts, Dark Side of the Rainbow is portrayed as a world in which the Scarecrow rules Oz after Dorothy has left.

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In the 2012 film Fun Size, the main character (Victoria 16.14 Ian Emes Justice) decides to dress as Dorothy for a high school Halloween party after listening to The Dark Side of the Ian Ronald Emes (born 17 August 1949;* [1] is a British Moon. The film briefly includes a visual clip of the album animator* [2]* [3] and film director, from Handsworth, in its record form. Birmingham, England,* [1] known for his work with Pink Floyd,* [2]* [4] who have used his animated films as backprojections in concert* [2] and released them as extras 16.13.7 References on their DVDs.* [2] He now lives in London,* [5] is married* [1] and a father.* [1] Notes [1] Dark Side of the Rainbow / Dark Side of Oz / The Wizard of Oz | All Pink Floyd Fan Network [2] MTV News Online - The Pink Floyd / Wizard of Oz Connection - 05.30.1997 [3] “RB SAVAGE's Home Page>>>>>>> T H E M E S S A G E