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Friday, April 2, 2010
Wednesday, March 31, 2010
The Roland Petit Ballet
The Roland Petit Ballet
Performed live in Marseilles 25 November 1972
* Unrecorded
OVERVIEW
Also performed in Paris 13 January and 3 February 1973, the Ballet consisted of live instrumental versions of Careful With That Axe, Eugene, Echoes, One of These Days, and Obscured by Clouds. The concept was originally devised in fall of 1970, developed that winter and occasionally over the next two years, until it was finalised and rehearsed 30-31 October, 1 and 20-25 November 1972.
Dave Gilmour: "Pretty amazing! Something nobody in our field has ever done..." [Schaffner 158]
The original idea for the ballet was to do a version of Marcel Proust's Remembrance of Things Past — Pink Floyd went out and bought Proust's works to study.
Nick Mason: "But nobody read anything. David did worst, he only read the first 18 pages." [Miles]
Roger Waters: "I read the second volume of Swann's Way and when I got to the end of it I thought, 'Fuck this, I'm not reading anymore. I can't handle it.' It just went too slowly for me." [Miles]
Later Petit changed his idea to 'A Thousand and One Arabian Nights'...
Nick Mason: "Proust has been knocked on the head." [Miles] "Originally he was going to do a complete program: a piece by Zinakist, a piece by us, and a new production of Carmen. I think he has now decided to do just two pieces — Zinakist's and ours — which has meant doubling the length of the thing we are going to do." [Miles]
Nick Mason [February 1972]: "We haven't started work on it yet. We've had innumerable discussions, a number of lunches, a number of dinners, very high powered meetings; and I think we've got the sort of storyline for it. The idea is Roland Petit's and I think he is settled on the ideas he wants to use for the thing so I think we're going to get started. Ballet is a little like film actually. The more information you have to start with, the easier it becomes to write. The difficulty about doing albums is that you are so totally open. It's very difficult to get started." [Miles]
Later, in July 1973, Roger and Nick look back on the experience...
Roger Waters: "The ballet never happened. First of all it was Proust then it was Aladdin, then it was something else. We had this great lunch one day [4 December 1970]: me, Nick and Steve [O'Rourke]. We went to have lunch with [Rudolph] Nureyev, Roman Polanski, Roland Petit and some film producer or other. What a laugh! It was to talk about the projected idea of us doing the music, and Roland choreographing it, and Rudy being the star, and Roman Polanski directing the film and making this fantastic ballet film. It was all a complete joke because nobody had any idea of what they wanted to do."
Interviewer: "Didn't you smell a rat?
Roger: "I smelt a few poofs! Nobody had any idea — it was incredible."
Nick Mason: "It went on for two years, this idea of doing a ballet, with no one coming up with any ideas. Us not setting aside any time because there was nothing specific, until in a desperate moment Roland devised a ballet to some existing music which I think was a good idea. [Referring to the winter '72-'73 performances] It's looked upon a bit sourly now."
Roger Waters [still on about the 4 Dec lunch]: "We sat around this table until someone thumped the table and said, 'What's the idea then?' and everyone just sat there drinking this wine and getting more and more pissed, with more and more poovery going on 'round the table, until someone suggested Frankenstein and Nureyev started getting a bit worried, didn't he? They talked about Frankenstein for a bit — I was just sitting there enjoying the meat and the vibes, saying nothing, keeping well schtuck."
Nick: "Yes, with Roland's hand upon your knee!"
Roger: "And when Polanski was drunk enough he started to suggest that we make the blue movie to end all blue movies and then it all petered out into cognac and coffee and then we jumped into our cars and split. God knows what happened after we left, Nick." [Miles]
Dave Gilmour: "In fact we did that ballet for a whole week in France. Roland Petit choreographed to some of our older material . . . but it's too restricting for us. I mean, I can't play and count bars at the same time. We had to have someone sitting on stage with us with a piece of paper telling us what bar we were playing..." [Miles]
Performed live in Marseilles 25 November 1972
* Unrecorded
OVERVIEW
Also performed in Paris 13 January and 3 February 1973, the Ballet consisted of live instrumental versions of Careful With That Axe, Eugene, Echoes, One of These Days, and Obscured by Clouds. The concept was originally devised in fall of 1970, developed that winter and occasionally over the next two years, until it was finalised and rehearsed 30-31 October, 1 and 20-25 November 1972.
Dave Gilmour: "Pretty amazing! Something nobody in our field has ever done..." [Schaffner 158]
The original idea for the ballet was to do a version of Marcel Proust's Remembrance of Things Past — Pink Floyd went out and bought Proust's works to study.
Nick Mason: "But nobody read anything. David did worst, he only read the first 18 pages." [Miles]
Roger Waters: "I read the second volume of Swann's Way and when I got to the end of it I thought, 'Fuck this, I'm not reading anymore. I can't handle it.' It just went too slowly for me." [Miles]
Later Petit changed his idea to 'A Thousand and One Arabian Nights'...
Nick Mason: "Proust has been knocked on the head." [Miles] "Originally he was going to do a complete program: a piece by Zinakist, a piece by us, and a new production of Carmen. I think he has now decided to do just two pieces — Zinakist's and ours — which has meant doubling the length of the thing we are going to do." [Miles]
Nick Mason [February 1972]: "We haven't started work on it yet. We've had innumerable discussions, a number of lunches, a number of dinners, very high powered meetings; and I think we've got the sort of storyline for it. The idea is Roland Petit's and I think he is settled on the ideas he wants to use for the thing so I think we're going to get started. Ballet is a little like film actually. The more information you have to start with, the easier it becomes to write. The difficulty about doing albums is that you are so totally open. It's very difficult to get started." [Miles]
Later, in July 1973, Roger and Nick look back on the experience...
Roger Waters: "The ballet never happened. First of all it was Proust then it was Aladdin, then it was something else. We had this great lunch one day [4 December 1970]: me, Nick and Steve [O'Rourke]. We went to have lunch with [Rudolph] Nureyev, Roman Polanski, Roland Petit and some film producer or other. What a laugh! It was to talk about the projected idea of us doing the music, and Roland choreographing it, and Rudy being the star, and Roman Polanski directing the film and making this fantastic ballet film. It was all a complete joke because nobody had any idea of what they wanted to do." Interviewer: "Didn't you smell a rat?
Roger: "I smelt a few poofs! Nobody had any idea — it was incredible."
Nick Mason: "It went on for two years, this idea of doing a ballet, with no one coming up with any ideas. Us not setting aside any time because there was nothing specific, until in a desperate moment Roland devised a ballet to some existing music which I think was a good idea. [Referring to the winter '72-'73 performances] It's looked upon a bit sourly now."
Roger Waters [still on about the 4 Dec lunch]: "We sat around this table until someone thumped the table and said, 'What's the idea then?' and everyone just sat there drinking this wine and getting more and more pissed, with more and more poovery going on 'round the table, until someone suggested Frankenstein and Nureyev started getting a bit worried, didn't he? They talked about Frankenstein for a bit — I was just sitting there enjoying the meat and the vibes, saying nothing, keeping well schtuck."
Nick: "Yes, with Roland's hand upon your knee!"
Roger: "And when Polanski was drunk enough he started to suggest that we make the blue movie to end all blue movies and then it all petered out into cognac and coffee and then we jumped into our cars and split. God knows what happened after we left, Nick." [Miles]
Dave Gilmour: "In fact we did that ballet for a whole week in France. Roland Petit choreographed to some of our older material . . . but it's too restricting for us. I mean, I can't play and count bars at the same time. We had to have someone sitting on stage with us with a piece of paper telling us what bar we were playing..." [Miles]
Saturday, March 27, 2010
The Dark Side Of The Moon (song)
The Dark Side Of The Moon 5:46
(written by Roger Waters)
Lyrics:
(See Brain Damage under The Dark Side of the Moon album entry, except for verse two, line two:)
The lunatic is in the hall
Lead vocals: Roger Waters (verses one, two, and four), David Gilmour and Roger Waters (verses three and five)
The song that would become Brain Damage is very similar to its later incarnation, with the exception that it is two minutes longer, due to the fact that it concluded the song cycle Eclipse at its premiere performance. The final song of the piece (also called Eclipse) had not yet been written, although it would appear in time for the official premiere of the cycle on 17 February 1972.
The concluding two minutes feature a variety of bizarre sound effects, including elements from earlier in the song cycle, such as voices from Ecclesiastes and the 'ticking' from Time. At the end, an interminable variegated tone slowly fades to nothing.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
(written by Roger Waters)
Lyrics:
(See Brain Damage under The Dark Side of the Moon album entry, except for verse two, line two:)
The lunatic is in the hall
Lead vocals: Roger Waters (verses one, two, and four), David Gilmour and Roger Waters (verses three and five)
The song that would become Brain Damage is very similar to its later incarnation, with the exception that it is two minutes longer, due to the fact that it concluded the song cycle Eclipse at its premiere performance. The final song of the piece (also called Eclipse) had not yet been written, although it would appear in time for the official premiere of the cycle on 17 February 1972.The concluding two minutes feature a variety of bizarre sound effects, including elements from earlier in the song cycle, such as voices from Ecclesiastes and the 'ticking' from Time. At the end, an interminable variegated tone slowly fades to nothing.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
One Slip (La Carrera Panamericana)
One Slip 6:54
(written by Gilmour, Manzanera)
Lyrics:
(See One Slip from Momentary Lapse of Reason, with the addition of a repeat of the last verse and chorus.)
The album cut, re-edited so that it is nearly two minutes longer than the original: the last verse and chorus repeat before the song finally fades out.
More race shots after black and white footage of the original 50's races.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
(written by Gilmour, Manzanera)
Lyrics:
(See One Slip from Momentary Lapse of Reason, with the addition of a repeat of the last verse and chorus.)
The album cut, re-edited so that it is nearly two minutes longer than the original: the last verse and chorus repeat before the song finally fades out.
More race shots after black and white footage of the original 50's races.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
Yet Another Movie (La Carrera Panamericana)
Yet Another Movie 3:25
(written by Gilmour, Leonard)
Lyrics:
(The song is edited into an instrumental, including all the spoken words but none of the sung lyrics
from the cut off A Momentary Lapse of Reason.)
An edit of the album cut.
The race begins during this song.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
(written by Gilmour, Leonard)
Lyrics:
(The song is edited into an instrumental, including all the spoken words but none of the sung lyrics
from the cut off A Momentary Lapse of Reason.)
An edit of the album cut.
The race begins during this song.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
A Saucerful Of Secrets (Ummagumma)
A Saucerful Of Secrets 12:29
(written by Waters, Wright, Mason, Gilmour)
a) Something Else 3:24?
b) Syncopated Pandemonium 3:05?
c) Storm Signal
d) Celestial Voices
All four parts instrumental.
Lead vocals: Dave Gilmour
The Ummagumma version of A Saucerful of Secrets divided the piece up into four titled parts. The live version seemed much more wildly improvisational than the recorded take, with Dave getting into things more (as opposed to his original reaction, that this piece wasn't 'what music's all about') with crazy guitar feedback effects very imaginatively produced. Something Else, then, is the experimental opening section, Syncopated Pandemonium the manic section with the repeating drum pattern, Storm Signal the short prelude to the Celestial Voices section, which includes the ecclesiastical organ. But Voices, instead of staying quiet and mournful, brings in Nick's drums as a major factor and incorporates a remarkable wordless vocal from Dave instead of the original choir, and generally turns into an uplifting rock piece instead of a requiem.
This is not a truly live take, as part of the recording is taken from the 27 April Mother's gig, and part from the 2 May Manchester concert. Rick comments.
Rick Wright: "We all believed it was going to be one of the best things we'd ever put onto record — which I think it was at that time... Parts of Saucerful on Ummagumma came from the Birmingham gig, which we put together with the Manchester stuff... but the stuff on the album isn't half as good as we can play."
TRACK LISTING
Disc One
Astronomy Domine
Careful with that Axe, Eugene
Set the Controls for the Heart of the Sun
Saucerful of Secrets, A
Disc Two
Sysyphus
Grantchester Meadows
Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict
Narrow Way (parts I-III), The
Grand Vizier's Garden Party (Parts I-III), The
(written by Waters, Wright, Mason, Gilmour)
a) Something Else 3:24?
b) Syncopated Pandemonium 3:05?
c) Storm Signal
d) Celestial Voices
All four parts instrumental.
Lead vocals: Dave Gilmour
The Ummagumma version of A Saucerful of Secrets divided the piece up into four titled parts. The live version seemed much more wildly improvisational than the recorded take, with Dave getting into things more (as opposed to his original reaction, that this piece wasn't 'what music's all about') with crazy guitar feedback effects very imaginatively produced. Something Else, then, is the experimental opening section, Syncopated Pandemonium the manic section with the repeating drum pattern, Storm Signal the short prelude to the Celestial Voices section, which includes the ecclesiastical organ. But Voices, instead of staying quiet and mournful, brings in Nick's drums as a major factor and incorporates a remarkable wordless vocal from Dave instead of the original choir, and generally turns into an uplifting rock piece instead of a requiem.
This is not a truly live take, as part of the recording is taken from the 27 April Mother's gig, and part from the 2 May Manchester concert. Rick comments.
Rick Wright: "We all believed it was going to be one of the best things we'd ever put onto record — which I think it was at that time... Parts of Saucerful on Ummagumma came from the Birmingham gig, which we put together with the Manchester stuff... but the stuff on the album isn't half as good as we can play."
TRACK LISTING
Disc OneAstronomy Domine
Careful with that Axe, Eugene
Set the Controls for the Heart of the Sun
Saucerful of Secrets, A
Disc Two
Sysyphus
Grantchester Meadows
Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict
Narrow Way (parts I-III), The
Grand Vizier's Garden Party (Parts I-III), The
Set The Controls For The Heart Of The Sun (Ummagumma)
Set The Controls For The Heart Of The Sun 9:21
(written by Roger Waters)
Lyrics:
(See Set the Controls for the Heart of the Sun from Saucerful of Secrets. The lyrics are exactly the same except for verse two, line three:)
And one inch of love is one inch of shadow
(And verse three, line one:)
Witness the man who raves at the wall
Lead vocals: Roger Waters
Another piece that has gone through noticeable development since the original version was recorded. Nick's cymbal roll opens the piece, and his drumming plays a much greater role in the overall song. Nick uses muffled drumsticks, and his fills add a lot to the song. The piece reaches a much higher climax than on the original, and the guitar is much more pronounced. The extended instrumental section before the third verse also includes an 'effects' section, with Dave creating strange ascending and descending feedback-type patterns with his guitar. There are also a couple of lyric changes.
Roger Waters: "Our lyrics aren't always immediately apparent, so it becomes very easy to let your imagination go."
Nick Mason: "People often listen to the music and come up with a visualization of what it is about. And when they visualize it, they think they've discovered the secret behind it. Sometimes they even bother to write us and say, 'I've got it — I've got the answer. It's cornfields, isn't it?'"
Roger Waters: "And when they say something like that, we tell them the truth — which is, 'If that's what itmeans to you, then that's what it is."
TRACK LISTING
Disc One
Astronomy Domine
Careful with that Axe, Eugene
Set the Controls for the Heart of the Sun
Saucerful of Secrets, A
Disc Two
Sysyphus
Grantchester Meadows
Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict
Narrow Way (parts I-III), The
Grand Vizier's Garden Party (Parts I-III), The
(written by Roger Waters)
Lyrics:
(See Set the Controls for the Heart of the Sun from Saucerful of Secrets. The lyrics are exactly the same except for verse two, line three:)
And one inch of love is one inch of shadow
(And verse three, line one:)
Witness the man who raves at the wall
Lead vocals: Roger Waters
Another piece that has gone through noticeable development since the original version was recorded. Nick's cymbal roll opens the piece, and his drumming plays a much greater role in the overall song. Nick uses muffled drumsticks, and his fills add a lot to the song. The piece reaches a much higher climax than on the original, and the guitar is much more pronounced. The extended instrumental section before the third verse also includes an 'effects' section, with Dave creating strange ascending and descending feedback-type patterns with his guitar. There are also a couple of lyric changes.
Roger Waters: "Our lyrics aren't always immediately apparent, so it becomes very easy to let your imagination go."
Nick Mason: "People often listen to the music and come up with a visualization of what it is about. And when they visualize it, they think they've discovered the secret behind it. Sometimes they even bother to write us and say, 'I've got it — I've got the answer. It's cornfields, isn't it?'"
Roger Waters: "And when they say something like that, we tell them the truth — which is, 'If that's what itmeans to you, then that's what it is."
TRACK LISTING
Disc OneAstronomy Domine
Careful with that Axe, Eugene
Set the Controls for the Heart of the Sun
Saucerful of Secrets, A
Disc Two
Sysyphus
Grantchester Meadows
Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict
Narrow Way (parts I-III), The
Grand Vizier's Garden Party (Parts I-III), The
Sorrow (La Carrera Panamericana)
Sorrow 4:32
(written by David Gilmour)
Lyrics:
His blood has frozen and curdled with fright
His knees have trembled and given way in the night
His hand has weakened at the moment of truth
His step has faltered
An edit of the album cut.
Many racing shots.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
(written by David Gilmour)
Lyrics:
His blood has frozen and curdled with fright
His knees have trembled and given way in the night
His hand has weakened at the moment of truth
His step has faltered
An edit of the album cut.
Many racing shots.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
Signs of Life (La Carrera Panamericana)
Signs of Life 3:48
(written by Gilmour, Ezrin)
Lyrics:
(See Signs of Life from Momentary Lapse of Reason.)
An edit of the album cut, this version starts halfway through the song (with the guitar) and plays to the end, then goes back to the beginning.
The first leg has been completed, and the cars are being repaired all night during this song.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
(written by Gilmour, Ezrin)
Lyrics:
(See Signs of Life from Momentary Lapse of Reason.)
An edit of the album cut, this version starts halfway through the song (with the guitar) and plays to the end, then goes back to the beginning.
The first leg has been completed, and the cars are being repaired all night during this song.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
Run Like Hell (La Carrera Panamericana)
Run Like Hell 3:26
(written by Gilmour, Waters)
Lyrics:
Run! (8x)
Run! (14x)
This a new version of the tune, being very similar to but not the same as the version from Delicate Sound of Thunder.
This is the backing music for the opening shots of Mexican people and places, as well as some initial racing shots.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
(written by Gilmour, Waters)
Lyrics:
Run! (8x)
Run! (14x)
This a new version of the tune, being very similar to but not the same as the version from Delicate Sound of Thunder.
This is the backing music for the opening shots of Mexican people and places, as well as some initial racing shots.
TRACK LISTING
Run Like Hell
Pan Am Shuffle
Yet Another Movie
Sorrow
Signs of Life
Country Theme
Mexico '78
Big Theme
One Slip
Small Theme
Carrera Slow Blues
Pan Am Shuffle
The Narrow Way (The Journey)
The Narrow Way 4:57
(written by David Gilmour)
Lyrics:
(See The Narrow Way, part III on Ummagumma. The lyrics are identical, except for the fifth verse:)
Toss your thoughts back many years
To a time when there was life with every morning
Perhaps a day will come
When the light will be as bright as on that morning
Lead vocals: Dave Gilmour
This song, in the context of the Journey Suite, seems to imply passage through a threshold of some kind. One certainly gets a sense of the hero venturing more deeply into the land of the enemy, and the farther he (or she) goes, the more impossible it becomes to turn back. Perhaps finding a friendly house along the way, the temptation to 'rest [his] aching limbs for a little bit' in a sense becomes another enemy to conquer — the desire to give up. But the hero closes his ears and eyes to these temptations, and travels on into the land where mystery swells and creatures crawl. The mythic narrative imagery of this song is rich when viewed in this context.
This song would be recorded in June of 1969 as The Narrow Way Part III for Ummagumma. The live version was substantially rougher, as the piece was still in the process of developing. Dave never was sure of the lyrics for the fifth verse, as these seemed to change with every performance.
TRACK LISTING
The Man
Daybreak
Work
Doing It
Sleep
Nightmare
Daybreak part two
The Journey
Beginning, The
Beset by the Creatures of the Deep
Narrow Way, The
Pink Jungle, The
Labyrinths of Auximenes, The
Behold the Temple of Light
End of the Beginning, The
(written by David Gilmour)
Lyrics:
(See The Narrow Way, part III on Ummagumma. The lyrics are identical, except for the fifth verse:)
Toss your thoughts back many years
To a time when there was life with every morning
Perhaps a day will come
When the light will be as bright as on that morning
Lead vocals: Dave Gilmour
This song, in the context of the Journey Suite, seems to imply passage through a threshold of some kind. One certainly gets a sense of the hero venturing more deeply into the land of the enemy, and the farther he (or she) goes, the more impossible it becomes to turn back. Perhaps finding a friendly house along the way, the temptation to 'rest [his] aching limbs for a little bit' in a sense becomes another enemy to conquer — the desire to give up. But the hero closes his ears and eyes to these temptations, and travels on into the land where mystery swells and creatures crawl. The mythic narrative imagery of this song is rich when viewed in this context.
This song would be recorded in June of 1969 as The Narrow Way Part III for Ummagumma. The live version was substantially rougher, as the piece was still in the process of developing. Dave never was sure of the lyrics for the fifth verse, as these seemed to change with every performance.
TRACK LISTING
The Man
Daybreak
Work
Doing It
Sleep
Nightmare
Daybreak part two
The Journey
Beginning, The
Beset by the Creatures of the Deep
Narrow Way, The
Pink Jungle, The
Labyrinths of Auximenes, The
Behold the Temple of Light
End of the Beginning, The
Friday, March 26, 2010
Run Like Hell (Live) (single)
Run Like Hell (Live)
Live recording in 5 November 1987
* Released on single B-side 24 November 1987
Production
Written by Waters, Gilmour
Recorded live in Atlanta, Georgia, USA
Lyrics:
(See Run Like Hell from the Wall album for sung lyrics.)
Lead vocals: David Gilmour
A live re-recording of the Wall track in a concert on the Momentary tour. Also released on CD single.
Live recording in 5 November 1987
* Released on single B-side 24 November 1987
Production
Written by Waters, Gilmour
Recorded live in Atlanta, Georgia, USA
Lyrics:
(See Run Like Hell from the Wall album for sung lyrics.)
Lead vocals: David Gilmour
A live re-recording of the Wall track in a concert on the Momentary tour. Also released on CD single.
On The Turning Away (Live) (single)
On The Turning Away (Live)
Live recording 5 November 1987
* Released on CD single 24 November 1987
Production
Written by Gilmour, Moore
Recorded live in Atlanta, Georgia, USA
Lyrics:
(See On the Turning Away from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
A live version of the album track, released on the On the Turning Away CD single only.
Live recording 5 November 1987
* Released on CD single 24 November 1987
Production
Written by Gilmour, Moore
Recorded live in Atlanta, Georgia, USA
Lyrics:
(See On the Turning Away from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
A live version of the album track, released on the On the Turning Away CD single only.
On The Turning Away (single)
On The Turning Away
Studio recording 1986/7
* Released on single 24 November 1987
Production
Written by Gilmour, Moore
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Art direction by Storm Thorgerson
Lyrics:
(See On the Turning Away from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
This is the album version with minimal editing. Also released on CD single.
Studio recording 1986/7
* Released on single 24 November 1987
Production
Written by Gilmour, Moore
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Art direction by Storm Thorgerson
Lyrics:
(See On the Turning Away from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
This is the album version with minimal editing. Also released on CD single.
Terminal Frost (single)
Terminal Frost
Studio recording 1987
* Released on CD single 7 September 1987
Production
Written by David Gilmour
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Lyrics:
(See Terminal Frost from Momentary Lapse of Reason.)
This is the album version with minimal editing. This was released on the CD single of Learning to Fly only.
Studio recording 1987
* Released on CD single 7 September 1987
Production
Written by David Gilmour
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Lyrics:
(See Terminal Frost from Momentary Lapse of Reason.)
This is the album version with minimal editing. This was released on the CD single of Learning to Fly only.
One Slip (single)
One Slip
Studio recording 1987
* Released on single B-side 7 September 1987
Production
Written by Gilmour, Manzanera
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Releases
UK: EMI EM 26 (B-side)
US: Columbia 38-07363 (B-side)
Lyrics:
(See One Slip from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
This is the album version with minimal editing. Also released on CD single.
Studio recording 1987
* Released on single B-side 7 September 1987
Production
Written by Gilmour, Manzanera
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Releases
UK: EMI EM 26 (B-side)
US: Columbia 38-07363 (B-side)
Lyrics:
(See One Slip from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
This is the album version with minimal editing. Also released on CD single.
Learning To Fly (single)
Learning To Fly
Studio recording 1986
* Released on single 7 September 1987
Production
Written by Gilmour, Moore, Ezrin, Carin
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Art direction by Storm Thorgerson
Releases
UK: EMI EM 26
US: Columbia 38-07363 Reached #70 on the US charts
Lyrics:
(See Learning to Fly from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
This is the album version with minimal editing. Also released on CD single.
Studio recording 1986
* Released on single 7 September 1987
Production
Written by Gilmour, Moore, Ezrin, Carin
Produced by Bob Ezrin & David Gilmour
Recording and mixing engineered by Andrew Jackson
Art direction by Storm Thorgerson
Releases
UK: EMI EM 26
US: Columbia 38-07363 Reached #70 on the US charts
Lyrics:
(See Learning to Fly from Momentary Lapse of Reason for sung lyrics.)
Lead vocals: David Gilmour
This is the album version with minimal editing. Also released on CD single.
Us And Them (Eclipse)
Us And Them 8:07
(written by Waters, Wright)
Lyrics:
(See Us and Them on Dark Side of the Moon for sung lyrics.)
Lead vocals: Roger Waters and David Gilmour (first four lines of each verse), David Gilmour and Richard Wright (last four lines of each verse)
This song is very similar to the album cut, but lacks the now-familiar echo on the vocals, and is generally rougher than its later counterpart. The backing vocal melody line is also different.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
(written by Waters, Wright)
Lyrics:
(See Us and Them on Dark Side of the Moon for sung lyrics.)
Lead vocals: Roger Waters and David Gilmour (first four lines of each verse), David Gilmour and Richard Wright (last four lines of each verse)
This song is very similar to the album cut, but lacks the now-familiar echo on the vocals, and is generally rougher than its later counterpart. The backing vocal melody line is also different.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
Time (Eclipse)
Time (including Breathe Reprise) 7:36
(written by Mason, Waters, Wright, Gilmour)
Lyrics:
Ticking away the moments that make up a dull day
Fritter and waste the hours in an off-hand way
Staying home to watch for rain
And you are young and life is long, and there is time to kill today
And then one day you find ten years have got behind you
No one told you when to run, you missed the starting gun
(The rest of the lyrics in the song are identical to verses three and four on the album version.)
Breathe Reprise 1:06
(Lyrics are identical to the album version.)
Lead vocals on Time: Richard Wright and David Gilmour (except verse one, line three and verse three, lines one and two: Richard Wright only)
Lead vocals on Breathe Reprise: David Gilmour
Time here is similar to the album version, but noticeably slower and lacking the same energy and punch. Dave strums the chords slowly, creating an almost arpeggio sound, here as well as elsewhere in the song cycle (such as on Breathe). The cacophony of clocks from the beginning of the album cut are not present here; instead the song starts with Nick's rototoms representing the ticking of a clock.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
(written by Mason, Waters, Wright, Gilmour)
Lyrics:
Ticking away the moments that make up a dull day
Fritter and waste the hours in an off-hand way
Staying home to watch for rain
And you are young and life is long, and there is time to kill today
And then one day you find ten years have got behind you
No one told you when to run, you missed the starting gun
(The rest of the lyrics in the song are identical to verses three and four on the album version.)
Breathe Reprise 1:06
(Lyrics are identical to the album version.)
Lead vocals on Time: Richard Wright and David Gilmour (except verse one, line three and verse three, lines one and two: Richard Wright only)
Lead vocals on Breathe Reprise: David Gilmour
Time here is similar to the album version, but noticeably slower and lacking the same energy and punch. Dave strums the chords slowly, creating an almost arpeggio sound, here as well as elsewhere in the song cycle (such as on Breathe). The cacophony of clocks from the beginning of the album cut are not present here; instead the song starts with Nick's rototoms representing the ticking of a clock.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
Speak To Me (Eclipse)
Speak To Me 2:08
(written by Nick Mason)
Instrumental
The original version of Speak to Me was not quite as sophisticated as its later counterpart, consisting of the now familiar heartbeat and various sounds floating in the background, including cows mooing (echoes of Atom Heart Mother), and a few synth chords. This piece was played from a tape in concert, and could last anywhere from one minute up to ten or more while the band finished setting up and got ready to play.
Apparently some visual effect heralded the end of the piece and the beginning of the rest of the set, as on an early bootleg recording of this show an audience member near the microphone can be heard to exclaim in amazement, 'Christ, mate, look at that! Brilliant!'
This method of opening a concert by playing various sound effects in quadrophonic sound before the show proper began continued long after Eclipse/Dark Side was no longer being performed, and indeed into the present day.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
(written by Nick Mason)
Instrumental
The original version of Speak to Me was not quite as sophisticated as its later counterpart, consisting of the now familiar heartbeat and various sounds floating in the background, including cows mooing (echoes of Atom Heart Mother), and a few synth chords. This piece was played from a tape in concert, and could last anywhere from one minute up to ten or more while the band finished setting up and got ready to play.
Apparently some visual effect heralded the end of the piece and the beginning of the rest of the set, as on an early bootleg recording of this show an audience member near the microphone can be heard to exclaim in amazement, 'Christ, mate, look at that! Brilliant!'
This method of opening a concert by playing various sound effects in quadrophonic sound before the show proper began continued long after Eclipse/Dark Side was no longer being performed, and indeed into the present day.
TRACK LISTING
Speak to Me
Breathe
On the Run
Time incl Breathe Reprise
Ecclesiastes
Money
Us and Them
Any Colour You Like
Dark Side of the Moon, The
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