1
00:00:01,068 --> 00:00:25,551
Classic Albums :
PINK FLOYD -
The Dark Side Of The Moon DVD
2
00:00:40,232 --> 00:00:42,902
"Dark Side Of The Moon"
was an expression of
3
00:00:43,027 --> 00:00:46,155
political, philosophical,
humanitarian empathy
4
00:00:46,364 --> 00:00:48,866
that was desperate to get out.
5
00:01:10,346 --> 00:01:13,641
Dark Side, I think... I felt like
the whole band were working together.
6
00:01:13,766 --> 00:01:17,270
It was a very creative time.
We were very open as well...
7
00:01:17,645 --> 00:01:20,189
...I think because
we still had a common goal
8
00:01:20,523 --> 00:01:25,027
which was to become rich and famous.
9
00:01:36,080 --> 00:01:39,542
The ideas that Roger was exploring
10
00:01:39,667 --> 00:01:43,421
apply to every new generation.
11
00:01:43,462 --> 00:01:48,843
They still have very much
the same relevance as they had.
12
00:02:02,189 --> 00:02:05,318
I think one of the successes
of Dark Side is the fact
13
00:02:05,443 --> 00:02:09,155
that actually it's very rich:
there's a... there are a lot of songs,
14
00:02:09,280 --> 00:02:12,700
a lot of ideas all compressed
onto the one record.
15
00:02:12,909 --> 00:02:16,662
I can clearly remember that moment
16
00:02:16,704 --> 00:02:20,124
of sitting and listening to the
whole mix all the way through...
17
00:02:20,249 --> 00:02:26,213
and thinking: my God, we've really...
done something fantastic here...
18
00:02:44,982 --> 00:02:47,026
I think it has the all-time record,
19
00:02:47,151 --> 00:02:52,823
constantly on the charts for nearly
750 weeks, about 14 years.
20
00:02:52,990 --> 00:02:54,992
It was a huge album,
21
00:02:55,076 --> 00:02:58,871
and huge not just in terms of its sales,
but in terms of its influence.
22
00:02:59,080 --> 00:03:02,124
This was where underground music,
23
00:03:02,208 --> 00:03:06,087
progressive rock, whatever,
really went mainstream.
24
00:03:06,170 --> 00:03:08,839
It was a record that had
lots of traditional pop values,
25
00:03:08,923 --> 00:03:10,633
you could sing along to these songs, but
26
00:03:10,716 --> 00:03:13,177
it also was a kind of thing
that took you places
27
00:03:13,261 --> 00:03:15,429
if you wanted to listen to it
in a darkened room.
28
00:03:15,513 --> 00:03:17,431
It may very will be
the ultimate concept record,
29
00:03:17,515 --> 00:03:20,601
because the concept is there,
the songs are there,
30
00:03:20,685 --> 00:03:22,687
the spaces and the music are there,
31
00:03:22,770 --> 00:03:26,190
but it doesn't take away
any of the imagination.
32
00:03:32,113 --> 00:03:36,826
After Syd went crazy in '68
and Dave joined
33
00:03:37,118 --> 00:03:41,330
we were, all of us, searching,
fumbling around,
34
00:03:41,455 --> 00:03:43,207
looking for...
"what are we gonna do now?",
35
00:03:43,332 --> 00:03:48,921
because here was the guy who
starts producing all these songs,
36
00:03:49,046 --> 00:03:52,800
and was the sort of
heartbeats of the band.
37
00:03:53,092 --> 00:03:55,303
Syd casts a long and large
shadow of events.
38
00:03:55,428 --> 00:03:57,500
I think that the band was
very impressive to keep going,
39
00:03:57,550 --> 00:04:00,500
actually, after loss of their
main creative drive,
40
00:04:00,510 --> 00:04:03,629
I mean it's not something
you choose, isn't it,
41
00:04:03,644 --> 00:04:06,480
I mean you wouldn't sit around say,
ok, let's get rid of our songwriter.
42
00:04:06,897 --> 00:04:12,445
After Syd had gone the music became
more kind of soundscapes than songs.
43
00:04:12,778 --> 00:04:14,822
You have to work to your strengths,
44
00:04:14,947 --> 00:04:19,118
and it was a very good thing
that we could not write singles,
45
00:04:19,327 --> 00:04:22,246
we might not have done some of the
interesting work that we did.
46
00:04:22,496 --> 00:04:28,169
Once Syd was out of the picture,
the Floyd just went glacial;
47
00:04:28,336 --> 00:04:32,048
they just let it all spread out.
48
00:04:41,682 --> 00:04:44,685
When I saw the Floyd for the first time
it was the summer of '68,
49
00:04:44,810 --> 00:04:47,813
it was actually their first American
tour with David Gilmour,
50
00:04:48,064 --> 00:04:52,401
and they were just extraordinary,
you know, it was
51
00:04:52,568 --> 00:04:55,529
"Let There Be More Light",
"Set the Controls for the Heart of the Sun",
52
00:04:55,655 --> 00:04:59,408
it was total space rock.
53
00:05:06,374 --> 00:05:10,378
I started fully out of love with
54
00:05:10,461 --> 00:05:15,007
that... some of that
psychedelic noodling stuff.
55
00:05:15,132 --> 00:05:19,762
We were still then playing a lot of
instrumental work, if you like,
56
00:05:19,929 --> 00:05:21,764
and that would be half the album.
57
00:05:21,889 --> 00:05:24,016
But we were always
searching for a direction.
58
00:05:24,183 --> 00:05:25,810
Fighting a little bit between
59
00:05:26,018 --> 00:05:31,023
wanting to push boundaries
back a little bit
60
00:05:31,232 --> 00:05:35,111
and move forward in an experimental way,
61
00:05:35,236 --> 00:05:38,030
but also to retain melody.
62
00:05:38,239 --> 00:05:44,161
When you get to "Meddle",
quite clearly "Echoes"
63
00:05:44,287 --> 00:05:49,208
shows the direction
that we were moving in.
64
00:05:49,375 --> 00:05:52,378
The rest of "Meddle"
as I recall was songs,
65
00:05:53,212 --> 00:05:57,466
and so, you know, the flip side
was a 20-minute piece
66
00:05:57,592 --> 00:06:03,264
a) and so was a construct, and
67
00:06:03,556 --> 00:06:10,730
b) it was the beginning of
all the writing about other people.
68
00:06:11,147 --> 00:06:14,692
# Strangers passing in the street,
69
00:06:14,942 --> 00:06:18,446
# by chance two separate glances meet,
70
00:06:18,779 --> 00:06:25,161
# and I am you and what I see is me
71
00:06:25,286 --> 00:06:29,373
It was the beginning of empathy,
if you like, you know,
72
00:06:29,582 --> 00:06:32,793
"two strangers passing in the street,
by chance two passing glances meet,
73
00:06:32,877 --> 00:06:35,046
and I am you and what I see is me"
74
00:06:35,171 --> 00:06:38,633
is a sort of thread that has gone through
everything for me ever since then...
75
00:06:39,133 --> 00:06:46,474
... and had a big eruption in Dark Side.
76
00:06:46,641 --> 00:06:49,644
You have to remember
the context of the time.
77
00:06:49,769 --> 00:06:53,940
This was the height
of glam rock: there was,
78
00:06:54,106 --> 00:06:56,943
you know, Marc Bolan, and T.Rex,
and David Bowie with
79
00:06:57,109 --> 00:07:00,988
Ziggy Stardust peddling there,
sort of pop fantasies,
80
00:07:01,239 --> 00:07:04,742
and the Floyd came along with an album
that was about these weighty themes.
81
00:07:05,034 --> 00:07:09,163
He created a story, he created a...
basically a theater piece
82
00:07:09,330 --> 00:07:11,916
about what it was like
to live in the modern world.
83
00:07:12,250 --> 00:07:15,378
All four of us were there,
and there was a discussion about
84
00:07:15,544 --> 00:07:20,132
putting the album together
and making it into this "themed",
85
00:07:20,299 --> 00:07:23,010
this... I mean what is now
called a "concept", album.
86
00:07:23,344 --> 00:07:26,847
There are a number of things
that impinge upon an individual
87
00:07:27,014 --> 00:07:30,810
that colour his view of existence.
88
00:07:31,018 --> 00:07:34,613
There are pressures that are capable of
pushing you one direction or another,
89
00:07:34,692 --> 00:07:41,404
and these are some of them... and...
whether they push you towards
90
00:07:41,821 --> 00:07:46,867
insanity, death, empathy,
greed, whatever
91
00:07:49,328 --> 00:07:56,085
there's something about the
Newtonian view of that physics
92
00:07:56,544 --> 00:07:59,463
that might be interesting and
maybe there could be...
93
00:08:00,006 --> 00:08:02,026
this is what this record is about...
94
00:08:02,065 --> 00:08:04,556
It was one of those
really good moments
95
00:08:04,585 --> 00:08:07,439
that most bands do experience
where everyone is on sight,
96
00:08:07,494 --> 00:08:11,684
and everyone likes the idea, and there's
some sort of agreement as to
97
00:08:12,059 --> 00:08:13,894
more or less who's going to do what.
98
00:08:14,228 --> 00:08:17,356
Dark Side Of The Moon started in
a rehearsal room in Bermondsey
99
00:08:17,481 --> 00:08:20,526
I think, that belongs... a warehouse
that belongs to The Rolling Stones
100
00:08:20,735 --> 00:08:26,741
where we did some... sort of jammy writing,
whatever you want to call it.
101
00:08:27,408 --> 00:08:30,161
I'm not sure how much
writing happened there.
102
00:08:30,828 --> 00:08:34,081
You know, let's play in E minor
or A for an hour or two,
103
00:08:34,415 --> 00:08:38,127
oh that sounds all right,
that will take up 5 minutes.
104
00:08:57,313 --> 00:09:00,024
A lot of the musical ideas just came up
105
00:09:00,274 --> 00:09:03,527
just to ... of jamming away
in these rehearsal rooms...
106
00:09:03,694 --> 00:09:05,905
obviously the lyrics Roger brought in...
107
00:09:06,113 --> 00:09:07,782
...because he had things to say.
108
00:09:07,949 --> 00:09:10,785
And it was the first time
he wrote all the lyrics...
109
00:09:10,952 --> 00:09:13,913
Roger was our sort of pushing,
driving force...
110
00:09:14,080 --> 00:09:16,749
The way "Dark Side Of The Moon"
articulates some sense of
111
00:09:17,041 --> 00:09:21,087
early adult's disenchantment
is absolutely timeless...
112
00:09:21,504 --> 00:09:25,383
I listened to it again recently,
and it always amazes me
113
00:09:26,342 --> 00:09:30,429
that I got away with it really,
'cause it was a sort of
114
00:09:30,680 --> 00:09:36,477
lower-sixth,
and... you know... uhm...
115
00:09:36,769 --> 00:09:38,814
"breathe, breathe in the air,
don't be afraid to care".
116
00:09:38,849 --> 00:09:40,775
In fact, I think, within
the context of the music
117
00:09:40,900 --> 00:09:43,926
and within the context
of the piece as a whole,
118
00:09:43,985 --> 00:09:49,073
people are prepared
to accept that simple exhortation,
119
00:09:49,365 --> 00:09:51,909
to be prepared to stand your ground and
120
00:09:52,201 --> 00:09:56,414
attempt to live your
life in an authentic way.
121
00:10:18,728 --> 00:10:23,394
I came from jazz basically... I love it...
122
00:10:23,418 --> 00:10:26,878
That's my favorite...
that's my inspiration.
123
00:10:26,927 --> 00:10:30,781
And the interesting thing about
this song is, we're talking about jazz,
124
00:10:31,032 --> 00:10:35,369
is a certain chord... which is...
125
00:10:38,039 --> 00:10:42,209
that is totally down to a chord
I had heard on actually
126
00:10:42,585 --> 00:10:45,463
Miles Davis album "Kind of Blue",
127
00:10:45,796 --> 00:10:51,010
which is a... that chord!..
that chord I just loved!
128
00:10:51,719 --> 00:10:54,055
And when we're doing "Breathe",
129
00:10:54,263 --> 00:10:58,392
we got to G - I got to G -
and how'd you get to E again?
130
00:10:59,310 --> 00:11:04,357
Well, again, normally you go...
131
00:11:05,316 --> 00:11:09,111
but... uhm... I remember
this chord and I remember
132
00:11:09,445 --> 00:11:12,448
working it out at home listening
to the record, and I just thought...
133
00:11:29,298 --> 00:11:32,218
Dave was brilliant
at double tracking vocals.
134
00:11:32,635 --> 00:11:36,931
And we could do it with machines,
but there's a difference.
135
00:11:45,064 --> 00:11:47,287
There's also a harmony part...
136
00:11:49,052 --> 00:11:51,221
That's it on its own...
137
00:12:00,663 --> 00:12:02,290
Back to the band!
138
00:12:03,124 --> 00:12:06,627
There's two organ parts
which come in now...
139
00:12:13,676 --> 00:12:16,679
They had been performing
this work known as "Eclipse"
140
00:12:17,096 --> 00:12:22,602
for a few months I think, before actually
even coming in to Abbey Road
141
00:12:22,768 --> 00:12:24,395
to start the first recordings...
142
00:12:24,770 --> 00:12:30,860
...which meant that the performances
were pretty tight and not so hard to get.
143
00:12:31,152 --> 00:12:33,613
When you're working in a band
and you're performing something
144
00:12:33,779 --> 00:12:38,409
...willy-nilly, it develops and changes...
145
00:13:02,224 --> 00:13:04,352
In pre-bootlegging days
this of course was
146
00:13:04,518 --> 00:13:06,979
a far more effective and better
way of doing things,
147
00:13:07,188 --> 00:13:10,024
because you went into the studio
rehearsed up.
148
00:13:21,869 --> 00:13:24,330
We'd been playing it live that way
for quite some time,
149
00:13:24,580 --> 00:13:27,041
as a sort of guitar jam
sort of a piece.
150
00:13:27,333 --> 00:13:30,253
I think we were none of us
that happy with it as a piece,
151
00:13:30,419 --> 00:13:34,090
and when we also had this synthesizer...
152
00:13:34,298 --> 00:13:36,926
...this Synth EA which
had a little built-in keyboard
153
00:13:37,093 --> 00:13:39,887
and had a sequencer...
it was the first sequencer I think...
154
00:13:40,388 --> 00:13:43,683
...I just plugged this up and
started playing one sequence on it,
155
00:13:43,849 --> 00:13:47,228
and Roger immediately pricked up his ears
and thought that sounded good,
156
00:13:47,770 --> 00:13:51,190
and came out, and we started
mucking with it together...
157
00:13:51,357 --> 00:13:57,405
and he put in a new sequence of notes,
and it all developed out of that...
158
00:13:57,572 --> 00:14:01,742
A series of notes played in slowly...
159
00:14:02,326 --> 00:14:05,621
triggering a noise generator
and oscillators,
160
00:14:05,871 --> 00:14:10,042
and then just speed it up, you know...
161
00:14:14,547 --> 00:14:16,799
There you've got it basically...
162
00:14:21,554 --> 00:14:23,389
And that, of course, immediately sounded
163
00:14:23,556 --> 00:14:26,892
much more exciting and near
what we were currently doing.
164
00:14:27,310 --> 00:14:29,729
They were the first band
to really go out
165
00:14:29,979 --> 00:14:32,398
and try to sort of make
music off the future.
166
00:14:32,648 --> 00:14:34,275
We were doing a lot of things
with tape loops
167
00:14:34,567 --> 00:14:36,235
and curious sounds and sound effects...
168
00:14:36,485 --> 00:14:39,155
There wasn't something in 1972
when they put that album together.
169
00:14:39,405 --> 00:14:41,157
But that's basically what
they were doing.
170
00:14:41,324 --> 00:14:43,492
They were... in a sense they were
giving you a preview
171
00:14:43,743 --> 00:14:46,120
of the sound pictures of the future.
172
00:14:46,287 --> 00:14:48,459
You know, there are some
very very clever
173
00:14:48,509 --> 00:14:54,337
and highly listenable pieces
of sonic experimentation.
174
00:14:55,004 --> 00:14:58,883
So this is the main synthesizer,
it has the high-hat element built-in.
175
00:14:59,050 --> 00:15:01,469
Then we treat it with filters and with
176
00:15:01,552 --> 00:15:04,639
other oscillators to give it
that sort of vibrato noise.
177
00:15:04,764 --> 00:15:08,684
And we're bringing this guitar,
it's a backwards guitar with echoes...,
178
00:15:08,809 --> 00:15:12,271
it's been played with a mike
stand leg, just sliding up...
179
00:15:13,314 --> 00:15:19,862
That was left-to-right across the stereo.
And there's these synthesizers,
180
00:15:19,987 --> 00:15:24,659
Morph synth's, which are creating
sort of futuristic vehicle noises,
181
00:15:24,742 --> 00:15:28,955
which you take the pitch down a little bit,
and pan it at the same time...
182
00:15:29,080 --> 00:15:31,290
That creates an artificial
Doppler sound,
183
00:15:31,499 --> 00:15:34,168
what looks like ambulance
is whizzing past you...
184
00:15:34,335 --> 00:15:40,258
bringing some footsteps...
and some heartbeats for extra tension...
185
00:15:40,508 --> 00:15:44,178
As you see there's an awful
lot going on in this track...
186
00:15:55,773 --> 00:15:57,233
This section in particular,
187
00:15:57,441 --> 00:15:59,694
"The Travel" section,
the "On The Run" section,
188
00:15:59,860 --> 00:16:02,905
I think was pretty complicated.
189
00:16:03,072 --> 00:16:05,284
A lot of hands on deck...
190
00:16:05,318 --> 00:16:08,828
You'd always want to put more things on
than you had tracks for...
191
00:16:09,537 --> 00:16:13,043
So tracks would very suddenly change
from one thing to a different thing.
192
00:16:13,092 --> 00:16:15,251
All of us were on the desk,
193
00:16:15,418 --> 00:16:17,169
with our fingers on the faders...
194
00:16:17,336 --> 00:16:18,671
But that's the way it was, because
195
00:16:18,796 --> 00:16:20,548
we didn't have automation
in those days...
196
00:16:20,673 --> 00:16:23,259
A mix in those days was a performance,
197
00:16:23,426 --> 00:16:25,606
every bit as much as doing a gig.
198
00:16:25,649 --> 00:16:27,221
It's one thing actually that
199
00:16:27,305 --> 00:16:30,224
we've kind of lost in the modern age.
200
00:16:44,906 --> 00:16:46,824
Very very well-engineered,
201
00:16:47,074 --> 00:16:49,827
it was also very very
carefully constructed.
202
00:16:50,036 --> 00:16:53,581
So there was no sort of... you know,
everything was well-recorded.
203
00:16:53,998 --> 00:16:55,708
Dark Side was really the first
204
00:16:55,875 --> 00:16:58,812
proper engineering job
I'd been given with the Floyd.
205
00:16:58,861 --> 00:17:01,346
So I was pretty much
put into the deep end.
206
00:17:01,385 --> 00:17:03,466
He was very good musically as well.
207
00:17:03,716 --> 00:17:07,178
He also came up with
a couple of good ideas.
208
00:17:07,553 --> 00:17:11,682
I was commissioned to record
some clocks for sound effects,
209
00:17:11,974 --> 00:17:15,603
record for the very early
days of quadrophony.
210
00:17:15,937 --> 00:17:18,898
And when we were doing "Time"
211
00:17:19,190 --> 00:17:21,776
he suggested we might like
to have these clocks.
212
00:17:22,026 --> 00:17:25,863
My memory of it is just this room
full of tapes rolling around,
213
00:17:26,030 --> 00:17:31,160
because it was without
any sort of computer help,
214
00:17:31,369 --> 00:17:33,537
everything had to be done manually.
215
00:17:33,913 --> 00:17:38,292
Getting all the clocks to chime
at the right time - that was a process
216
00:17:38,459 --> 00:17:43,214
of just finding a particular moment
on the multi-track tape
217
00:17:43,422 --> 00:17:45,508
where all the chiming
would happen, and then
218
00:17:45,633 --> 00:17:48,344
back-timing the quarter-inch originals
219
00:17:48,511 --> 00:17:50,721
which contained each of the clocks...
220
00:17:50,846 --> 00:17:54,642
And then the very critical thing of
tapes starting at a specific moment,
221
00:17:54,767 --> 00:17:59,313
which was all done with hand
signs and stop-watches.
222
00:18:28,718 --> 00:18:33,264
We got the girls making
their first appearance here...
223
00:18:35,683 --> 00:18:40,104
That's un-processed...
224
00:18:43,482 --> 00:18:47,987
And we actually put this effect
called a frequency translation on,
225
00:18:48,195 --> 00:18:51,616
which made them sound like this...
226
00:18:57,788 --> 00:19:01,375
Here is the solo...
227
00:19:28,778 --> 00:19:31,364
This one had probably
taken some shape live
228
00:19:31,530 --> 00:19:33,282
before we ever got to do it,
229
00:19:33,449 --> 00:19:35,743
but usually in the studio
on this sort of thing
230
00:19:37,411 --> 00:19:40,706
you just have a player over
it and see what comes,
231
00:19:40,873 --> 00:19:44,126
and it's usually and mostly
the first take that's the best one,
232
00:19:44,252 --> 00:19:47,213
and you find yourself
repeating yourself thereafter.
233
00:20:02,353 --> 00:20:05,773
The 1970s was the era of the guitar.
234
00:20:06,023 --> 00:20:11,237
And he had that sort
of very "bluesy" sound
235
00:20:11,445 --> 00:20:13,656
but then also he had that other sound,
236
00:20:13,906 --> 00:20:19,495
that sort of spacey, very crystalline,
almost ethereal quality.
237
00:20:52,570 --> 00:20:57,867
I suddenly realized then that year
that life was already happening.
238
00:20:58,326 --> 00:21:02,038
I think it's 'cause my mother was
so obsessed with education
239
00:21:02,204 --> 00:21:05,458
and the idea that childhood
and adolescence and...
240
00:21:05,833 --> 00:21:11,088
well, everything was about preparing
for a life that was going to start later.
241
00:21:11,923 --> 00:21:16,802
And I suddenly realized that life
wasn't going to start later,
242
00:21:16,969 --> 00:21:21,766
that it is... you know, it starts at dot
and it happens all the time, and then...
243
00:21:22,433 --> 00:21:28,940
at any point you can grasp the reins
and start guiding your own destiny.
244
00:21:29,106 --> 00:21:33,069
And that was a big revelation to me,
I mean, it came as quite a shock.
245
00:21:55,591 --> 00:21:58,094
One of the greatest lines I think
on "Dark Side Of The Moon"
246
00:21:58,302 --> 00:22:02,556
is Roger's line about "hanging on in quiet
desperation is the English way",
247
00:22:02,765 --> 00:22:05,935
which is a sort of line
you could imagine - I don't know -
248
00:22:06,060 --> 00:22:08,854
Evelyn Waugh or Somerset Maugham
or someone writing
249
00:22:09,021 --> 00:22:11,732
as an observation on
the English character.
250
00:22:11,899 --> 00:22:15,861
And I think that character does
permeate the whole record,
251
00:22:16,070 --> 00:22:19,657
and indeed the whole
of Pink Floyd's career.
252
00:23:14,128 --> 00:23:18,466
It expresses my feelings
about things very simply.
253
00:23:18,633 --> 00:23:23,512
And I think that musically...
254
00:23:24,347 --> 00:23:28,643
I think that the music is to some extent
255
00:23:28,851 --> 00:23:33,773
driven by that emotional commitment.
256
00:23:33,940 --> 00:23:38,736
The band basically wanted another
4 or 5 minutes of music,
257
00:23:38,945 --> 00:23:41,822
and we thought it could be
an instrumental.
258
00:23:41,989 --> 00:23:45,243
I think I just - as I always have done
- is I sat at the piano...
259
00:23:45,368 --> 00:23:48,829
and I... and those first
two chords came.
260
00:23:48,996 --> 00:23:51,290
"Us And Them" and
"The Great Gig In The Sky",
261
00:23:51,499 --> 00:23:53,334
you know, are fabulous chord sequences,
262
00:23:53,542 --> 00:23:57,088
are really truly wonderful
pieces of music.
263
00:25:43,945 --> 00:25:47,490
I've no idea whose idea it was
to get somebody as a female singer and...
264
00:25:47,657 --> 00:25:51,702
but Alan Parsons knew Clare Torry
and had been working with her,
265
00:25:51,953 --> 00:25:53,079
and said why don't you try her...
266
00:25:53,246 --> 00:25:55,289
She just went in there
and improvised over it.
267
00:25:55,414 --> 00:25:57,291
Yeah, that was amazing,
that was fantastic!
268
00:25:57,458 --> 00:25:58,918
But that was done while
we were mixing.
269
00:25:59,210 --> 00:26:02,046
We knew what we wanted,
not exactly musically,
270
00:26:02,171 --> 00:26:04,215
but we knew that we wanted
someone to just
271
00:26:04,423 --> 00:26:08,970
improvise over this piece.
So we directed her,
272
00:26:09,136 --> 00:26:11,514
we said, well, "think about death,
think about horror,
273
00:26:11,639 --> 00:26:14,183
think whatever, and just go and sing".
274
00:26:14,559 --> 00:26:18,312
And my memory is,
that she went out in the studio
275
00:26:18,479 --> 00:26:22,608
and did it very very quickly,
and then came back in and said:
276
00:26:22,775 --> 00:26:26,112
"I'm really sorry about this",
very embarrassed.
277
00:26:26,237 --> 00:26:29,699
And we in fact were sitting in the studio
saying: "This is wonderful".
278
00:26:29,949 --> 00:26:32,618
And of course it's absolutely brilliant,
279
00:26:32,785 --> 00:26:36,038
both Rick's piano and organ work,
280
00:26:36,163 --> 00:26:42,295
and Clare's singing is just
incredibly moving.
281
00:26:53,389 --> 00:26:56,017
At the very end of this, I remember,
282
00:26:56,225 --> 00:26:59,437
we increased the echo slowly.
283
00:27:36,557 --> 00:27:38,893
We always wanted to kind of
284
00:27:39,101 --> 00:27:42,480
not be on our covers ourselves,
not have pictures.
285
00:27:42,647 --> 00:27:45,983
It is probably the most recognizable
album cover of all time.
286
00:27:46,108 --> 00:27:48,069
It's something that
you can sit and look at
287
00:27:48,152 --> 00:27:50,071
for a long time without
getting fed up with it.
288
00:27:50,196 --> 00:27:54,367
The prism is the logo that absolutely
defines the record.
289
00:27:54,492 --> 00:27:58,788
Dark Side Of The Moon prism design
comes from 3 basic ingredients,
290
00:27:58,913 --> 00:28:00,873
one of which is the light show
291
00:28:01,040 --> 00:28:04,252
that the band put on tour
trying to represent that, also
292
00:28:04,460 --> 00:28:07,755
one of the themes of the lyrics
which was, I think,
293
00:28:07,880 --> 00:28:10,675
about ambition and greed; and the third
294
00:28:10,800 --> 00:28:12,510
it was an answer to Rick Wright
295
00:28:12,718 --> 00:28:14,136
who said that he wanted something...
296
00:28:14,262 --> 00:28:16,931
...simple and bold, and dramatic...
297
00:28:17,056 --> 00:28:18,808
The presentation, as we call it,
298
00:28:19,016 --> 00:28:23,604
of the design to the band
was a fairly brief affair.
299
00:28:23,980 --> 00:28:26,732
He just brought in 3 or 4 ideas...
300
00:28:26,941 --> 00:28:29,777
I do remember instantly
seeing the pyramid...
301
00:28:29,902 --> 00:28:31,654
They came in and they looked around,
302
00:28:31,821 --> 00:28:33,906
and they went: "mmm, that one!"
303
00:28:34,073 --> 00:28:35,575
Everyone immediately went:
304
00:28:35,700 --> 00:28:38,536
"Terrific! Great! Let's do that".
305
00:28:38,911 --> 00:28:42,164
As epitomized by their ability to
choose it so quickly and so easily,
306
00:28:42,290 --> 00:28:44,000
I just think it is somehow very fitting,
307
00:28:44,250 --> 00:28:46,377
I mean, it's hard to imagine it
without it, isn't it really?
308
00:28:57,267 --> 00:29:00,808
The story in America had been
a disaster that
309
00:29:00,885 --> 00:29:05,021
really we hadn't sold records.
And like all good artists
310
00:29:05,271 --> 00:29:07,607
the first thing you do is blame
the record company.
311
00:29:08,357 --> 00:29:11,913
But in this particular case, I think
we might get a few more people to agree
312
00:29:11,957 --> 00:29:14,739
that they hadn't performed properly.
313
00:29:15,197 --> 00:29:18,159
And so there was... they brought in
a man called Bhaskar Menon,
314
00:29:18,451 --> 00:29:19,827
who was absolutely terrific.
315
00:29:19,952 --> 00:29:21,829
And he decided he was going
to make this work
316
00:29:21,996 --> 00:29:24,457
and he was going to make
the American company
317
00:29:24,790 --> 00:29:28,127
sell this record. And he did!
318
00:29:28,586 --> 00:29:32,048
We devised a marketing campaign
for this, which was
319
00:29:32,423 --> 00:29:36,510
far more extensive than anything
that the company had ever done.
320
00:29:36,677 --> 00:29:41,057
It was an album that came after
virtually a year of touring.
321
00:29:41,390 --> 00:29:45,728
There was a tremendous amount
of credible press.
322
00:29:45,937 --> 00:29:50,775
We had, by this time, without a single,
got this album tremendous sales,
323
00:29:50,983 --> 00:29:53,361
close to about a million albums
by that stage,
324
00:29:53,486 --> 00:29:55,112
which was quite remarkable.
325
00:29:55,446 --> 00:29:57,365
And I knew that the time
would come when
326
00:29:57,698 --> 00:30:00,993
we would have to get on
to the next stage,
327
00:30:01,160 --> 00:30:04,205
to get to the next category
or level of audience.
328
00:30:04,580 --> 00:30:08,292
We really would need some
single-like material.
329
00:30:08,459 --> 00:30:12,546
They always say, you know,
you need a hit single
330
00:30:12,672 --> 00:30:15,049
and we had a sort of hit
single with Money.
331
00:30:35,611 --> 00:30:38,155
You know, I would have remembered
332
00:30:38,489 --> 00:30:43,160
writing Money as a sort of
very "bluesy" thing.
333
00:30:43,411 --> 00:30:46,455
I can't sing it up in
that register of that...
334
00:31:19,196 --> 00:31:21,782
And there's a very kind
of transatlantic,
335
00:31:21,908 --> 00:31:25,536
bluesy sort of twang to it all.
Listening to the original demo,
336
00:31:25,703 --> 00:31:30,333
it's not like that at all, it's all
very kind of prissy and very English.
337
00:31:30,416 --> 00:31:31,959
The one thing about Money that
338
00:31:32,084 --> 00:31:35,713
I think people forget is that
it's got the weirdest...
339
00:31:35,796 --> 00:31:38,633
it's one of the biggest hits
with the weirdest time signature.
340
00:31:38,925 --> 00:31:44,347
Very unusual 7/8 time. Good riff.
341
00:32:40,528 --> 00:32:43,072
I'd played in a band with Dick
when we were
342
00:32:43,239 --> 00:32:45,950
sort of teenagers in Cambridge.
343
00:32:46,075 --> 00:32:47,076
Dick was...
344
00:32:47,159 --> 00:32:48,869
was sort of a part of
the Cambridge mafia.
345
00:32:52,790 --> 00:32:55,668
I didn't know any other sax players
and probably
346
00:32:55,876 --> 00:32:58,588
too nervous to ask anyone
that we'd heard of.
347
00:32:58,838 --> 00:33:00,631
He was terrific.
348
00:33:00,756 --> 00:33:03,968
Well, Dick did his sax
solo in the 7/8 time.
349
00:33:04,218 --> 00:33:06,512
And then we sort of sat and worked out
350
00:33:06,679 --> 00:33:09,515
a different sequence for the guitar solo,
351
00:33:09,724 --> 00:33:11,809
probably to make my life easier
352
00:33:11,976 --> 00:33:13,644
so I didn't have to think
about the timing.
353
00:33:13,853 --> 00:33:16,355
I love the fact that it does change.
354
00:33:16,564 --> 00:33:20,610
Lots of things happen on Dark Side
that for me are kind of magical...
355
00:33:20,776 --> 00:33:23,529
without us intentionally
making them happen.
356
00:33:23,905 --> 00:33:27,074
It just happened. And I think that's
one of the great things
357
00:33:27,158 --> 00:33:29,869
about Money is that it does
change time signatures.
358
00:33:30,077 --> 00:33:32,371
And that's the thing:
he goes back into the 4/4
359
00:33:32,496 --> 00:33:35,041
and all of a sudden
- man, it's rock city!
360
00:34:18,084 --> 00:34:20,419
Money is an amazing
single because it's about
361
00:34:20,544 --> 00:34:23,965
the very thing that it became -
it's about success.
362
00:34:24,090 --> 00:34:26,050
Something certainly did the trick and it
363
00:34:26,175 --> 00:34:30,513
moved us up into a super league,
I suppose you might say,
364
00:34:30,721 --> 00:34:41,107
which brought with it some great joy,
some pride and some... problems.
365
00:34:41,274 --> 00:34:44,402
Of course it changed
our life and we were now
366
00:34:44,569 --> 00:34:47,530
a big rock-n-roll band
playing in stadiums.
367
00:34:47,655 --> 00:34:49,991
You don't know what
you're in it for anymore.
368
00:34:50,157 --> 00:34:53,160
You know, you're in it to achieve
massive success and
369
00:34:53,369 --> 00:34:57,623
get rich and famous and all these
other things that go along with it.
370
00:34:57,707 --> 00:35:00,918
And when they're all suddenly done
371
00:35:01,085 --> 00:35:04,839
you're going... mhm huh well...
why... what next?
372
00:35:04,964 --> 00:35:07,008
It's not to say we didn't do
some good work,
373
00:35:07,133 --> 00:35:10,094
but the good work we did
was actually all about
374
00:35:10,219 --> 00:35:14,348
a lot of the negative aspects of
what went on after we'd achieved...
375
00:35:14,974 --> 00:35:18,144
...the goal.
376
00:35:18,644 --> 00:35:20,396
I mean that obviously informed what
377
00:35:20,521 --> 00:35:23,733
turned out to be the next
album quiet deeply
378
00:35:24,525 --> 00:35:27,111
"Wish You Were Here"
- because we weren't,
379
00:35:27,194 --> 00:35:28,863
most of us most of the time.
380
00:35:29,238 --> 00:35:30,698
They were a platinum monster
381
00:35:30,865 --> 00:35:34,368
and it's not a lot of fun.
382
00:35:43,961 --> 00:35:47,924
Sort of amazing to me now that
we had that piece of music
383
00:35:48,132 --> 00:35:53,012
in 1969 when we recorded
the music for Zabriskie Point.
384
00:35:53,179 --> 00:35:56,224
And throughout, I guess,
Atom Heart Mother,
385
00:35:56,474 --> 00:35:59,727
the "Obscured By Clouds" album,
the "Meddle" album
386
00:35:59,894 --> 00:36:03,648
we didn't dig it out and use it,
such a lovely piece of music.
387
00:36:14,492 --> 00:36:17,328
Antonioni didn't really
know what he wanted.
388
00:36:17,536 --> 00:36:19,622
He needed desperately to have control.
389
00:36:19,789 --> 00:36:22,917
So even if you did the right
thing and it was perfect
390
00:36:23,084 --> 00:36:26,254
he couldn't bear to accept it
because there wasn't a choice.
391
00:36:26,545 --> 00:36:28,130
All he really wanted was
392
00:36:28,256 --> 00:36:29,715
"Careful With That Axe, Eugene."
393
00:36:29,882 --> 00:36:32,885
I think we were all getting a bit
frustrated of "what does he want?".
394
00:36:32,969 --> 00:36:35,721
I think I was just sitting
in the studio and
395
00:36:35,805 --> 00:36:37,557
I was seeing the piano and I happened
396
00:36:37,640 --> 00:36:40,184
to have that Violent Sequence up
397
00:36:40,351 --> 00:36:44,564
and I was watching it and
perhaps I felt a bit tired or whatever,
398
00:36:44,772 --> 00:36:47,692
I just started the chord sequence.
399
00:36:47,775 --> 00:36:51,529
At the time I think everyone thought:
this is really good.
400
00:36:51,821 --> 00:36:56,784
When we thought we'd really got
something brilliant for his movie,
401
00:36:57,910 --> 00:37:01,455
Antonioni would say...
402
00:37:01,622 --> 00:37:05,376
"It's beautiful, but is too sad",
you know,
403
00:37:05,543 --> 00:37:07,461
"It makes me think of church".
404
00:37:07,628 --> 00:37:12,550
It was obviously waiting to be
reborn in this album.
405
00:37:19,432 --> 00:37:22,268
The lyrics are so direct and linear:
406
00:37:22,435 --> 00:37:26,022
those fundamental issues
of whether or not
407
00:37:26,147 --> 00:37:29,775
the human race is capable
of being humane.
408
00:37:32,028 --> 00:37:34,447
What's good about the writing of
this song, from my point of view,
409
00:37:34,572 --> 00:37:38,451
is the leaving of the gaps
for the repeat echo.
410
00:37:47,168 --> 00:37:51,007
It's kind of strange hearing it without
the echoes in it.
411
00:38:12,985 --> 00:38:18,324
I find myself with instrumentalists
over the years working with people
412
00:38:18,574 --> 00:38:22,828
having very-very often
as a producer in my capacity
413
00:38:23,037 --> 00:38:25,581
for producing records having
to say to people:
414
00:38:26,457 --> 00:38:30,503
now leave the whole, now just
play for half a bar
415
00:38:30,670 --> 00:38:34,340
and then leave a bar
and a half free, empty.
416
00:38:34,674 --> 00:38:39,053
And that's kind of what that song is,
that's the way it works.
417
00:38:39,061 --> 00:38:42,098
The simplicity of Floyd is really
almost hard to talk about
418
00:38:42,223 --> 00:38:48,020
because it is so simple.
Nick Mason playing very slowly, you know,
419
00:38:48,229 --> 00:38:56,946
exact, without a lot of overly
freely percussion flourishes.
420
00:38:57,738 --> 00:39:01,284
Richard's touch on piano,
on organ - very gentle,
421
00:39:01,367 --> 00:39:07,123
very soft, but also exact,
and just hitting the notes right.
422
00:39:07,248 --> 00:39:09,917
It was always about leaving space.
423
00:39:30,897 --> 00:39:32,690
I think, Dave and Rick -
424
00:39:32,815 --> 00:39:35,401
their harmony vocals on it
are really very affecting.
425
00:39:35,484 --> 00:39:37,778
Funny enough, they have similar voices,
426
00:39:37,862 --> 00:39:40,323
both their voices are a big factor in
Dark Side Of The Moon
427
00:39:40,406 --> 00:39:43,618
the way they blend.
428
00:39:47,288 --> 00:39:49,332
That's Dave and Rick together.
429
00:39:49,498 --> 00:39:52,752
Then Rick does another part
below that, which you can hear now.
430
00:39:54,045 --> 00:39:56,756
And then the girls are also joining in.
431
00:40:25,660 --> 00:40:27,912
"I mean, they're not gonna kill ya,
432
00:40:27,995 --> 00:40:31,040
so if you give 'em a quick
short sharp shock
433
00:40:31,249 --> 00:40:34,293
they don't do it again. Dig it?
I mean he got off lightly,
434
00:40:34,418 --> 00:40:37,421
'cos I could've given him a thrashing.
I only hit him once!
435
00:40:37,505 --> 00:40:39,298
It was only a difference
of right and wrong, ain't it?
436
00:40:39,465 --> 00:40:42,009
I mean good manners don't cost nothing,
do they, eh?"
437
00:40:42,426 --> 00:40:45,721
It seemed to me
really important... I can't...
438
00:40:45,805 --> 00:40:50,226
I've no idea why to have
voices on this thing.
439
00:40:50,351 --> 00:40:52,687
And so the only thing that
was clever about it at all
440
00:40:52,690 --> 00:40:56,065
was how to do it,
so not to have an interview.
441
00:40:56,274 --> 00:40:58,359
Devised probably in the canteen
442
00:40:58,526 --> 00:41:01,821
and done later that evening.
443
00:41:02,029 --> 00:41:03,864
So I wrote a bunch of cards
444
00:41:04,073 --> 00:41:05,825
with the questions on them.
445
00:41:05,992 --> 00:41:07,994
I think what the voices
did on the record was
446
00:41:08,119 --> 00:41:10,288
they actually brought out the dark side,
447
00:41:10,454 --> 00:41:12,290
they were in a way
the dark side of the record.
448
00:41:12,707 --> 00:41:14,417
First, we used a number of people
449
00:41:14,542 --> 00:41:16,294
who worked in the studio with us,
450
00:41:16,460 --> 00:41:18,754
so we used 3 or 4 of our road crew.
451
00:41:18,921 --> 00:41:20,965
I ain't frightened of dying at all,
452
00:41:21,215 --> 00:41:23,134
'cause when you gotta go - you gotta go
453
00:41:23,634 --> 00:41:25,219
Irish doorman Gerry:
454
00:41:25,344 --> 00:41:27,513
"Why should I be frightened of dying?
455
00:41:27,805 --> 00:41:30,349
There's no reason for it,
you gotta go some time".
456
00:41:30,766 --> 00:41:32,643
"Wings" were recording
in here at the same time
457
00:41:32,727 --> 00:41:35,104
so we actually used Paul and Linda,
Henry McCullough:
458
00:41:35,187 --> 00:41:37,481
"I don't know, I was really
drunk at the time".
459
00:41:37,982 --> 00:41:41,152
It's the people who are
not used to being interviewed,
460
00:41:41,277 --> 00:41:42,737
who come up with the stuff.
461
00:41:42,862 --> 00:41:44,238
I think they started off with
462
00:41:44,363 --> 00:41:48,367
"what's your favorite color?",
and "your favorite food?"
463
00:41:48,492 --> 00:41:50,786
And when none of which
was just to get people there...
464
00:41:50,953 --> 00:41:53,372
and then they went into
"when was the last time you were violent?"
465
00:41:53,497 --> 00:41:56,584
This was the good bit:
"when was the last time you were violent?"
466
00:41:56,751 --> 00:42:00,796
and then you'd take...
you'd answer it and take the next card,
467
00:42:00,922 --> 00:42:02,965
the next card said:
"were you in the right?"
468
00:42:03,132 --> 00:42:05,843
"Yeah, heh heh, I was in the right"
469
00:42:05,968 --> 00:42:08,179
"Yes, absolutely in the right!"
470
00:42:08,262 --> 00:42:10,181
"I certainly was in the right!"
471
00:42:10,306 --> 00:42:11,682
"Yeah, I was definitely in the right,
472
00:42:11,807 --> 00:42:13,267
that geezer was cruising for a bruising"
473
00:42:13,517 --> 00:42:16,896
And this remarkable roadie
called Roger the Hat
474
00:42:17,021 --> 00:42:20,741
"If I participate in this fucking effort,
I'm gonna get
475
00:42:20,766 --> 00:42:23,861
my gold disc at the end of it,
imagine that, ahhh!"
476
00:42:24,946 --> 00:42:27,615
They were trying to track
him down to do the cards.
477
00:42:27,865 --> 00:42:29,659
By the time they got hold
of him, somebody...
478
00:42:29,867 --> 00:42:32,161
the cards had gone missing,
I don't know where they'd gone.
479
00:42:32,662 --> 00:42:35,456
So Roger Waters actually
ended up doing it...
480
00:42:35,539 --> 00:42:37,291
he actually did do
that one as an interview.
481
00:42:38,084 --> 00:42:42,088
So, do you ever think
you're going mad, Roger?
482
00:42:42,255 --> 00:42:47,218
And, I once reached a state in my life
where I was completely convinced
483
00:42:47,343 --> 00:42:50,721
that I had gone over the brinkle,
but that’s why I care to call it...
484
00:43:04,694 --> 00:43:07,530
It was obviously a bit
to do with Syd, and
485
00:43:08,239 --> 00:43:14,370
I think it's about defending
the notion of being different.
486
00:45:20,663 --> 00:45:23,249
The fundamental question
that's facing us all is
487
00:45:23,332 --> 00:45:26,919
whether or not we're capable of dealing
488
00:45:27,086 --> 00:45:28,963
with the whole question of "Us and Them"
489
00:45:29,171 --> 00:45:31,591
What he was feeling as an individual
490
00:45:31,966 --> 00:45:36,512
mirrored almost exactly
what a lot of other people
491
00:45:36,679 --> 00:45:38,472
were feeling at the time
of their own lives.
492
00:45:38,639 --> 00:45:40,016
There's no question in my mind that
493
00:45:40,141 --> 00:45:41,767
Dark Side of the Moon was one
of the most important
494
00:45:41,893 --> 00:45:44,270
artistic statements of the
last fifty years probably.
495
00:45:44,520 --> 00:45:48,149
It touched very many
people all over the world
496
00:45:48,274 --> 00:45:51,777
in ways that could not simply
be put down to the fact that:
497
00:45:51,903 --> 00:45:54,572
"oh, the nice tunes" and
"oh, I like that bit at the end"
498
00:45:54,655 --> 00:45:56,782
I mean, this was a complete experience.
499
00:45:56,908 --> 00:45:59,035
It was actually a really grim time,
500
00:45:59,201 --> 00:46:05,750
and he wrote a very grim record
but did it with music
501
00:46:05,875 --> 00:46:10,546
that was extremely uplifting and
compelling and bewitching
502
00:46:10,713 --> 00:46:14,300
I think it was a very, very
happy and creative
503
00:46:14,467 --> 00:46:17,094
and enjoyable time
when we made this album.
504
00:46:17,261 --> 00:46:21,057
It was probably the most focused
moment in our career
505
00:46:21,224 --> 00:46:24,560
in terms of all of us working
together as a band.
506
00:46:24,685 --> 00:46:30,233
I'd love to have been a person
who could sit back with his headphones on,
507
00:46:30,566 --> 00:46:34,779
listen to that the whole way
through for the first time,
508
00:46:34,904 --> 00:46:38,157
I mean I had never had this experience,
509
00:46:38,616 --> 00:46:40,435
but it would've been nice.
510
00:46:40,436 --> 00:46:42,050
The thing that's often
missed is the fact
511
00:46:42,096 --> 00:46:45,081
that basically people
respond to it
512
00:46:45,248 --> 00:46:48,400
on an emotional level, and that's what
makes great records.
513
00:46:48,500 --> 00:46:51,295
It is driven by emotion,
514
00:46:51,545 --> 00:46:53,881
there's nothing plastic
about it, you know,
515
00:46:54,006 --> 00:46:57,009
there is nothing contrived about it,
516
00:46:57,093 --> 00:46:59,630
and, I think that's
what has given it its...
517
00:46:59,665 --> 00:47:03,766
or maybe one of the things
that's given it its longevity.
518
00:48:17,632 --> 00:48:21,302
But that's not to say that potential for
the sun to shine does not exist, you know,
519
00:48:21,510 --> 00:48:23,888
walk down the path towards the light
520
00:48:24,055 --> 00:48:26,682
rather than walking to the darkness.
521
00:48:27,183 --> 00:48:29,227
There is no dark side
on the moon really,
522
00:48:29,602 --> 00:48:32,355
matter of fact it's all dark...
523
00:48:34,602 --> 00:48:39,400
Text written down by YPAL
Subtitled by TFR
524
00:48:39,602 --> 00:48:43,687
If You find errors please report
them all to tfr@inbox.lv
525
00:48:43,688 --> 00:48:47,688
Corrected by Fry