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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
On The Run (Eclipse)
On The Run 6:00
(written by Gilmour, Waters)
Instrumental
An entirely different piece of music from what ended up on the album, this version of On the Run has none of the made-up-in-the-studio synth tracks, but instead is a more traditional rock 'n' roll number, featuring a driving bluesy chord sequence, strong percussion, and a piano solo from Rick. A very good piece that would not sound out of place in a contemporary alternative rock club, this is one the few examples of two totally different Pink Floyd songs with the same title. This On the Run is over two minutes longer than the version which would eventually turn up on the album.
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 Gilmour, Waters)
Instrumental
An entirely different piece of music from what ended up on the album, this version of On the Run has none of the made-up-in-the-studio synth tracks, but instead is a more traditional rock 'n' roll number, featuring a driving bluesy chord sequence, strong percussion, and a piano solo from Rick. A very good piece that would not sound out of place in a contemporary alternative rock club, this is one the few examples of two totally different Pink Floyd songs with the same title. This On the Run is over two minutes longer than the version which would eventually turn up on the album.
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
Money (Eclipse)
Money 7:50
(written by Roger Waters)
Lyrics:
(See Money from Dark Side of the Moon for sung lyrics.)
Lead vocals: Dave Gilmour
Backing vocals: Roger Waters
Very similar in many ways to the later album cut, this Money lasts a bit longer and has some variations in the bass line and the way the lyrics are sung. Dave clips the vocals a bit, not sustaining them as he later would. This early version featured a extended solo from Rick as well as Dave.
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 Money from Dark Side of the Moon for sung lyrics.)
Lead vocals: Dave Gilmour
Backing vocals: Roger Waters
Very similar in many ways to the later album cut, this Money lasts a bit longer and has some variations in the bass line and the way the lyrics are sung. Dave clips the vocals a bit, not sustaining them as he later would. This early version featured a extended solo from Rick as well as Dave.
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
Signs Of Life (Delicate Sound of Thunder video)
Signs Of Life 3:29
(written by Gilmour, Ezrin)
Instrumental
Featuring original film footage directed by Storm Thorgerson and starring Langley Iddens, the young actor who also appeared on the front cover of A Momentary Lapse of Reason.
(written by Gilmour, Ezrin)
Instrumental
Featuring original film footage directed by Storm Thorgerson and starring Langley Iddens, the young actor who also appeared on the front cover of A Momentary Lapse of Reason.
One Slip (Delicate Sound of Thunder video)
One Slip 5:40
(written by Gilmour, Manzanera)
Lyrics:
(See One Slip from Momentary Lapse of Reason for sung lyrics.)
This song (the first of two encore tunes) also includes a Guy Pratt bass solo and Scott Page on guitar.
(written by Gilmour, Manzanera)
Lyrics:
(See One Slip from Momentary Lapse of Reason for sung lyrics.)
This song (the first of two encore tunes) also includes a Guy Pratt bass solo and Scott Page on guitar.
On The Run (Delicate Sound of Thunder video)
On The Run 1:57*
(written by Gilmour, Waters)
Instrumental
The entire song is played with film footage, again featuring Langley Iddens. Iddens is seen in a hospital bed of the sort from the cover of Momentary, hurtling through an airport and down the corridors of a mental hospital, flashing back and forth between the two, and eventually taking off (still on the bed) from the airport runway. At this point the piece concludes with a giant inflatable bed crashing into the stage and exploding.
* Time listed includes the explosion.
(written by Gilmour, Waters)
Instrumental
The entire song is played with film footage, again featuring Langley Iddens. Iddens is seen in a hospital bed of the sort from the cover of Momentary, hurtling through an airport and down the corridors of a mental hospital, flashing back and forth between the two, and eventually taking off (still on the bed) from the airport runway. At this point the piece concludes with a giant inflatable bed crashing into the stage and exploding.
* Time listed includes the explosion.
The Great Gig in the Sky (Delicate Sound of Thunder video)
The Great Gig in the Sky 4:39
(written by Richard Wright)
Instrumental
This song is dominated by footage taken from the concert at Versailles, France. The giant inflatable pig can be seen hovering over the palace, while spectacular fireworks explode all around it. In this piece, backing vocalists Margret Taylor, Durga McBroom, and Rachel Fury are all given the opportunity to take the lead, replacing Clare Torry's part on the original album.
(written by Richard Wright)
Instrumental
This song is dominated by footage taken from the concert at Versailles, France. The giant inflatable pig can be seen hovering over the palace, while spectacular fireworks explode all around it. In this piece, backing vocalists Margret Taylor, Durga McBroom, and Rachel Fury are all given the opportunity to take the lead, replacing Clare Torry's part on the original album.
Set The Controls For The Heart Of The Sun (Live in Pompeii)
Set The Controls For The Heart Of The Sun 10:17
Lyrics:
(See Set the Controls for the Heart of the Sun from Saucerful of Secrets. The lyrics are identical except verse three, line one:)
Witness the man who raves at the wall
Third Interlude 7:02
In the studio, making of Brain Damage. Dave listens to playback and works on lead guitar ideas.
The lunatic is on the grass (2x)
Remember games, and daisy chains and laughs
Got to keep the loonies on the path
The lunatic is the hall
The lunatics are in my hall
The paper holds their folded faces to the floor
Around the supper table after eating:
Steve O’Rourke: “All right, I mean we all know that you’re God almighty, Roger. That isn’t an answer.”
Roger: “Steve, you’re jolly good at your job, but there’s no way you could ever produce a record, so it’s silly of you to try.”
Steve: “No. Rubbish.”
Voice (OOV): “I don’t think that’s true. I mean, if you take a crappy enough group and they’ve only got 12 songs...”
Roger: "That's not what we're talking about."
Voice (OOV): “Oh, well you’re talking about producing works of art or whatever, or Pink Floyd records...”
Roger: “Oooh! No we’re not.”
Voice (OOV): “...I mean, that’s only about .01% of the market, there’s plenty of other crap going on.”
Roger: "No we're not. We're not talking about that at all. We're talking about a record producer is somebody who’s in charge of a recording session. And in order to be in charge of a recording session, you need to have a kind of minim– well, not minimal, you need to have a fairly extensive knowledge of what the equipment’s about and music is about and what rock ‘n’ roll’s about. Well, Steve knows what rock ‘n’ roll’s about, he’s got no idea what the equipment’s about, and he’s got very little idea, in terms of the kind of technicalities, what the music's about. He knows what he likes."
Voice (OOV): “Plenty of people have produced records on that basis, very successful records.”
Roger: "Whom? Whom?"
Back into the studio briefly:
And if the cloud bursts thunder in your ear
(continues under discussions)
Roger: "In the finished article, the only thing that is important is whether it moves you or not, there’s nothing else that’s important at all."
Voice (OOV): “I can’t get over the sibilance of the vocals on Obscured by Clouds. I never play that record.”
Voice (OOV): “You’re obviously in the wrong business.”
Roger: "Oh, well that was a bad cut, that’s got nothing to do with the production of the album. That was a bad cut. And if you listen to the second strings of pressings, you’ll find that that sibilance isn’t there.”
Voice (OOV): “I’ve got a second string pressing. Nick Marks gave me...”
Roger: “Well, if you can still hear sibilance on the second string of pressings, you’ve got an extremely overactive imagination, ‘cause there isn’t any.”
Interviews:
Dave: "We have some pretty good arguments from time to time, yes.”
Interviewer: “You manage to get over them.”
Dave: “Yep. We’re pretty durable."
Nick: "We do have in-fighting. But you mean without actually exploding. We share the same sense of humor to some extent. We lust after money to some extent. And we have a lot of interest in what we’re doing together. We can still combine our interests. I think that’s really when the thing breaks down, is when maybe just one person finds that what he’s doing doesn’t interest him, or he feels he could do something better by himself.”
Dave: "We did have some very difficult times, a few years ago. But we seem to have managed to avoid the things that really get people too touchy. These days.”
Interviewer: “The worst things go unsaid.”
Dave: “Mmm. Yeah."
Interviewer: “You mentioned lust for money as being one of the main drives.”
Nick: "Only jokingly. Naturally, four less money-minded people would be hard to find. [sic]"
The above interviews are interspersed with Dave experimenting with lead guitar ideas for Brain Damage in the studio. The guitar is much heavier than that which was eventually used on the album.
In the studio:
Dave: “Feedback, John.”
Voice (OOV): “Don’t worry ‘bout that. Christ, where would rock ‘n’ roll be without feedback?”
-way the key
And there’s someone in my head but it’s not me
And if the cloud bursts thunder in your ear
You shout and no-one
Roger: "-we run back and drop in a bit."
Dave: “Yeah, you can if you like, just turn it down a bit. I didn’t really make a specific mistake, but ah...”
Roger: "Turn it down."
Dave: “Yeah, I can’t, my guitar’s too loud. Yeah.”
To the floor
And every day, the paperboy brings more
And if the dam breaks open many years too soon
And if there is no room upon the hill
And if your head explodes with dark forbodings too
I’ll see you on the dark side of the moon
The lunatic is in my head (2x)
You raise the blade, you make the change
You rearrange me till I’m sane
TRACK LISTING
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Lyrics:
(See Set the Controls for the Heart of the Sun from Saucerful of Secrets. The lyrics are identical except verse three, line one:)
Witness the man who raves at the wall
Third Interlude 7:02
In the studio, making of Brain Damage. Dave listens to playback and works on lead guitar ideas.
The lunatic is on the grass (2x)
Remember games, and daisy chains and laughs
Got to keep the loonies on the path
The lunatic is the hall
The lunatics are in my hall
The paper holds their folded faces to the floor
Around the supper table after eating:
Steve O’Rourke: “All right, I mean we all know that you’re God almighty, Roger. That isn’t an answer.”
Roger: “Steve, you’re jolly good at your job, but there’s no way you could ever produce a record, so it’s silly of you to try.”
Steve: “No. Rubbish.”
Voice (OOV): “I don’t think that’s true. I mean, if you take a crappy enough group and they’ve only got 12 songs...”
Roger: "That's not what we're talking about."
Voice (OOV): “Oh, well you’re talking about producing works of art or whatever, or Pink Floyd records...”
Roger: “Oooh! No we’re not.”
Voice (OOV): “...I mean, that’s only about .01% of the market, there’s plenty of other crap going on.”
Roger: "No we're not. We're not talking about that at all. We're talking about a record producer is somebody who’s in charge of a recording session. And in order to be in charge of a recording session, you need to have a kind of minim– well, not minimal, you need to have a fairly extensive knowledge of what the equipment’s about and music is about and what rock ‘n’ roll’s about. Well, Steve knows what rock ‘n’ roll’s about, he’s got no idea what the equipment’s about, and he’s got very little idea, in terms of the kind of technicalities, what the music's about. He knows what he likes."
Voice (OOV): “Plenty of people have produced records on that basis, very successful records.”
Roger: "Whom? Whom?"
Back into the studio briefly:
And if the cloud bursts thunder in your ear
(continues under discussions)
Roger: "In the finished article, the only thing that is important is whether it moves you or not, there’s nothing else that’s important at all."
Voice (OOV): “I can’t get over the sibilance of the vocals on Obscured by Clouds. I never play that record.”
Voice (OOV): “You’re obviously in the wrong business.”
Roger: "Oh, well that was a bad cut, that’s got nothing to do with the production of the album. That was a bad cut. And if you listen to the second strings of pressings, you’ll find that that sibilance isn’t there.”
Voice (OOV): “I’ve got a second string pressing. Nick Marks gave me...”
Roger: “Well, if you can still hear sibilance on the second string of pressings, you’ve got an extremely overactive imagination, ‘cause there isn’t any.”
Interviews:
Dave: "We have some pretty good arguments from time to time, yes.”
Interviewer: “You manage to get over them.”
Dave: “Yep. We’re pretty durable."
Nick: "We do have in-fighting. But you mean without actually exploding. We share the same sense of humor to some extent. We lust after money to some extent. And we have a lot of interest in what we’re doing together. We can still combine our interests. I think that’s really when the thing breaks down, is when maybe just one person finds that what he’s doing doesn’t interest him, or he feels he could do something better by himself.”
Dave: "We did have some very difficult times, a few years ago. But we seem to have managed to avoid the things that really get people too touchy. These days.”
Interviewer: “The worst things go unsaid.”
Dave: “Mmm. Yeah."
Interviewer: “You mentioned lust for money as being one of the main drives.”
Nick: "Only jokingly. Naturally, four less money-minded people would be hard to find. [sic]"
The above interviews are interspersed with Dave experimenting with lead guitar ideas for Brain Damage in the studio. The guitar is much heavier than that which was eventually used on the album.
In the studio:
Dave: “Feedback, John.”
Voice (OOV): “Don’t worry ‘bout that. Christ, where would rock ‘n’ roll be without feedback?”
-way the key
And there’s someone in my head but it’s not me
And if the cloud bursts thunder in your ear
You shout and no-one
Roger: "-we run back and drop in a bit."
Dave: “Yeah, you can if you like, just turn it down a bit. I didn’t really make a specific mistake, but ah...”
Roger: "Turn it down."
Dave: “Yeah, I can’t, my guitar’s too loud. Yeah.”
To the floor
And every day, the paperboy brings more
And if the dam breaks open many years too soon
And if there is no room upon the hill
And if your head explodes with dark forbodings too
I’ll see you on the dark side of the moon
The lunatic is in my head (2x)
You raise the blade, you make the change
You rearrange me till I’m sane
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
A Saucerful Of Secrets (Live in Pompeii)
A Saucerful Of Secrets 10:07
Instrumental
During the Syncopated Pandemonium (part B) section, Nick plays a repeating drum pattern at amazing speeds, while Roger bashes on large cymbals and a huge gong, Dave plays with feedback effects on his guitar, and Rick bangs on his piano keyboard totally at random. For parts C and D, Rick switches to synth, and Roger to bass. Dave sings the lead vocals in part D.
Second Interlude 7:23
Starting off with studio shots of Rick playing a piano piece, we then cut to more supper scenes and then back to the studio for the making of Us and Them. With the sax and lyrics (sans echo) already recorded, Rick plays around with piano ideas very similar to what turned up on the finished album. Then back to even more dinner scenes, followed by interviews and brief shots of the making of Eclipse. Rick plays piano, an otherwise unrecorded but nonetheless good upbeat jazz-type piece.
First supper scene:
Nick: "Could you get me a fruit pie and cream. And not a corner, please."
Voice (OOV): "I'd like some tea, please."
Nick: "I'd like some pie, and not the crust!"
Voice (OOV): "I don't care what bit I get."
Voice (OOV): “Three apple pies.”
Nick: "One without crust."
Voice (OOV): “Oo, I like crust.”
Us and Them sessions:
Dave: "Rick, are you doing a run down from D to the B before the actual singing starts in the middle eight?Daa-aaa da da. Aren’t you doing that one?”
Rick: “Shall I do it?” (Plays three chords.)
Dave: "That's the one."
Us and them
And after all, we're only ordinary men
Me and you
Second supper scene:
Nick: "Could you go out there and get another apple pie. With cream, and no crust."
Interviews:
Interviewer: “Would you say that you’ve made a lot of money working with the Floyd?”
Dave: "Depends who you compare it to, really."
Interviewer: “Before working with them, yourself.”
Dave: "Oh yeah. Before working with them, I was on a very very paltry sort of amount of earnings. I mean, breadline. Breadline and less."
Roger: "When the great economic collapse happens, it's gonna happen right across the board. I don’t think rock ’n’ roll will go first. The market at the moment in rock ‘n’ roll is expanding at a phenomenal rate. People are constantly saying rock's dying. You know, every six months somebody says it, with enormous conviction. It's not gonna happen."
Shots of the making of Eclipse. Roger listens to the playback (with lyrics) and works on the bass.
All that you touch
And all that you see
All that you taste
All you feel
And all that you love
And all that you hate
(continues under interviews:)
Nick: "Unfortunately, really, we mark a sort of era. We’re in danger of becoming a relic of the past. For some people, we represent their childhood of 1967: the underground in London, the free concert in Hyde Park and so on."
Dave: "It's an image we'd like to dispel. I think it was very heavy a few years ago, it’s not so bad since, but I still think that most people think of us as a very drug-orientated group. Course we’re not. (Smile) You can trust us."
Roger: "All that media stuff is all very irrelevant. If people come to a concert and they don’t like it, they don't come again."
Interviewer: “And are you trying to shake this image off?”
Nick: "Well, we're not exactly hum haw... it’s not that we’re trying to shake an image off, but we’re doing other things. Cause we want to do other things."
The second interlude ends with Rick at the piano again, working on Us and Them:
'Haven't you heard, it's a battle of words'
The poster bearer cried
'Listen, son,' said the man with the gun
'There's room for you inside'
TRACK LISTING
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Instrumental
During the Syncopated Pandemonium (part B) section, Nick plays a repeating drum pattern at amazing speeds, while Roger bashes on large cymbals and a huge gong, Dave plays with feedback effects on his guitar, and Rick bangs on his piano keyboard totally at random. For parts C and D, Rick switches to synth, and Roger to bass. Dave sings the lead vocals in part D.
Second Interlude 7:23
Starting off with studio shots of Rick playing a piano piece, we then cut to more supper scenes and then back to the studio for the making of Us and Them. With the sax and lyrics (sans echo) already recorded, Rick plays around with piano ideas very similar to what turned up on the finished album. Then back to even more dinner scenes, followed by interviews and brief shots of the making of Eclipse. Rick plays piano, an otherwise unrecorded but nonetheless good upbeat jazz-type piece.
First supper scene:
Nick: "Could you get me a fruit pie and cream. And not a corner, please."
Voice (OOV): "I'd like some tea, please."
Nick: "I'd like some pie, and not the crust!"
Voice (OOV): "I don't care what bit I get."
Voice (OOV): “Three apple pies.”
Nick: "One without crust."
Voice (OOV): “Oo, I like crust.”
Us and Them sessions:
Dave: "Rick, are you doing a run down from D to the B before the actual singing starts in the middle eight?Daa-aaa da da. Aren’t you doing that one?”
Rick: “Shall I do it?” (Plays three chords.)
Dave: "That's the one."
Us and them
And after all, we're only ordinary men
Me and you
Second supper scene:
Nick: "Could you go out there and get another apple pie. With cream, and no crust."
Interviews:
Interviewer: “Would you say that you’ve made a lot of money working with the Floyd?”
Dave: "Depends who you compare it to, really."
Interviewer: “Before working with them, yourself.”
Dave: "Oh yeah. Before working with them, I was on a very very paltry sort of amount of earnings. I mean, breadline. Breadline and less."
Roger: "When the great economic collapse happens, it's gonna happen right across the board. I don’t think rock ’n’ roll will go first. The market at the moment in rock ‘n’ roll is expanding at a phenomenal rate. People are constantly saying rock's dying. You know, every six months somebody says it, with enormous conviction. It's not gonna happen."
Shots of the making of Eclipse. Roger listens to the playback (with lyrics) and works on the bass.
All that you touch
And all that you see
All that you taste
All you feel
And all that you love
And all that you hate
(continues under interviews:)
Nick: "Unfortunately, really, we mark a sort of era. We’re in danger of becoming a relic of the past. For some people, we represent their childhood of 1967: the underground in London, the free concert in Hyde Park and so on."
Dave: "It's an image we'd like to dispel. I think it was very heavy a few years ago, it’s not so bad since, but I still think that most people think of us as a very drug-orientated group. Course we’re not. (Smile) You can trust us."
Roger: "All that media stuff is all very irrelevant. If people come to a concert and they don’t like it, they don't come again."
Interviewer: “And are you trying to shake this image off?”
Nick: "Well, we're not exactly hum haw... it’s not that we’re trying to shake an image off, but we’re doing other things. Cause we want to do other things."
The second interlude ends with Rick at the piano again, working on Us and Them:
'Haven't you heard, it's a battle of words'
The poster bearer cried
'Listen, son,' said the man with the gun
'There's room for you inside'
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Pompeii (Main Theme)
Pompeii (Main Theme) 1:51
Instrumental
Played over the opening credits and great shots of the ruins of Pompeii. This piece incorporates the heartbeat from Dark Side of the Moon as well as other sound effects, probably using the VCS3 as with Speak to Me and On the Run in Dark Side of the Moon. Also audible are cymbal sounds similar to the beginning of A Saucerful of Secrets.
TRACK LISTING
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Instrumental
Played over the opening credits and great shots of the ruins of Pompeii. This piece incorporates the heartbeat from Dark Side of the Moon as well as other sound effects, probably using the VCS3 as with Speak to Me and On the Run in Dark Side of the Moon. Also audible are cymbal sounds similar to the beginning of A Saucerful of Secrets.
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
One Of These Days I'm Going To Cut You Into Little Pieces (Live in Pompeii)
One Of These Days I'm Going To Cut You Into Little Pieces 5:44
Lyrics:
One of these days I'm going to cut you into little pieces
Nick drums so furiously during this performance that he actually manages to fling one of his drumsticks into the air, and grabs another one without ever missing a beat.
TRACK LISTING
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Lyrics:
One of these days I'm going to cut you into little pieces
Nick drums so furiously during this performance that he actually manages to fling one of his drumsticks into the air, and grabs another one without ever missing a beat.
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Echoes part II
Echoes part II 13:15
Lyrics:
(See Echoes on Meddle, verse three)
TRACK LISTING
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Lyrics:
(See Echoes on Meddle, verse three)
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Echoes part I
Echoes part I 11:53
Lyrics:
(See Echoes on Meddle, verses one and two. The lyrics are identical, except verse one, lines eight and
nine:)
Something stirs, and something tries
Starts to climb towards the light
(And verse two, line nine:)
Someth... ne speaks and no one tries
No one speaks and no one tries
Dave does lead vocals on this version of the song, while Rick does the harmony vocal. You can almost hear the snip of the editing room scissors as the song cuts from the post-vocal guitar-dominated section to the bassy funky section (of course the camera cuts ahead as well). On the 18th line, Dave starts to sing 'something' by mistake and then corrects himself in time to sing the last half syllable of 'one.' Since Echoes is divided into two sections, previously unheard music marks the exit from the first part and the entry into the second part.
First Interlude 6:05
Band and roadies at supper:
Roger: "This is nothing like our supper usually is..."
Voice (OOV): "This is true. This is true."
Roger: "...usually we're chatting away, enjoying ourselves."
Roger plays with the VCS3 synthesiser. Additional shots of the band at supper:
Dave: "Is this your milk, Rick?"
Rick: "Yeah."
Dave: "Can I drink it?"
Rick: "No. You can have a sip."
More VCS3 shots, followed by interviews:
Dave Gilmour: "I don't think the equipment could take over. We do rely on it a lot. I mean, we couldn't dowhat we do, as we do it, without it. We could still do a good, entertaining musical show, I suppose, without it. But all those things are down to how you control them. And whether you are controlling them, and not the other way round."
Nick Mason: "There's a danger that we could become slaves of all our equipment, and in the past we havebeen. But what we're trying to do is to sort it all out. So that we're not."
Roger Waters: "It's just a question of using the tools that are available, when they're available. And moreand more now, there's all kinds of electronic goodies which are available for people like us to use, if we canbe bothered. And we can be bothered."
Dave Gilmour: "I mean it's all extensions of what's coming out of our heads. I mean, you’ve got to remember you’ve got to have it inside your head to be able to get it out at all anyway. The equipment isn't actually thinking of what to do any of the time. It couldn't control itself."
Shots in the studio at Abbey Road. These (and all of the studio scenes) were shot in June, during the making of Dark Side, while all the live stuff at Pompeii and the dinner scenes were shot during the May dates.
Interviews:
Dave Gilmour: "It would be interesting to see exactly what four people could do, if just given the equipment, who didn’t know anything about it, really. And just told them to get on with it, and do something. It’d be aninteresting experiment. I think we'd come off better."
Roger Waters: "It's like saying, give a man a Les Paul guitar and he becomes Eric Clapton. And it's not true. And give a man an amplifier and a synthesiser and he doesn't become, whoever, you know, he doesn't become us."
A version of On the Run is heard. Lasting about two minutes, it is substantially different from the album version. No sound effects, such as the voices and laughter, have been added yet.
TRACK LISTING
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Lyrics:
(See Echoes on Meddle, verses one and two. The lyrics are identical, except verse one, lines eight and
nine:)
Something stirs, and something tries
Starts to climb towards the light
(And verse two, line nine:)
Someth... ne speaks and no one tries
No one speaks and no one tries
Dave does lead vocals on this version of the song, while Rick does the harmony vocal. You can almost hear the snip of the editing room scissors as the song cuts from the post-vocal guitar-dominated section to the bassy funky section (of course the camera cuts ahead as well). On the 18th line, Dave starts to sing 'something' by mistake and then corrects himself in time to sing the last half syllable of 'one.' Since Echoes is divided into two sections, previously unheard music marks the exit from the first part and the entry into the second part.
First Interlude 6:05
Band and roadies at supper:
Roger: "This is nothing like our supper usually is..."
Voice (OOV): "This is true. This is true."
Roger: "...usually we're chatting away, enjoying ourselves."
Roger plays with the VCS3 synthesiser. Additional shots of the band at supper:
Dave: "Is this your milk, Rick?"
Rick: "Yeah."
Dave: "Can I drink it?"
Rick: "No. You can have a sip."
More VCS3 shots, followed by interviews:
Dave Gilmour: "I don't think the equipment could take over. We do rely on it a lot. I mean, we couldn't dowhat we do, as we do it, without it. We could still do a good, entertaining musical show, I suppose, without it. But all those things are down to how you control them. And whether you are controlling them, and not the other way round."
Nick Mason: "There's a danger that we could become slaves of all our equipment, and in the past we havebeen. But what we're trying to do is to sort it all out. So that we're not."
Roger Waters: "It's just a question of using the tools that are available, when they're available. And moreand more now, there's all kinds of electronic goodies which are available for people like us to use, if we canbe bothered. And we can be bothered."
Dave Gilmour: "I mean it's all extensions of what's coming out of our heads. I mean, you’ve got to remember you’ve got to have it inside your head to be able to get it out at all anyway. The equipment isn't actually thinking of what to do any of the time. It couldn't control itself."
Shots in the studio at Abbey Road. These (and all of the studio scenes) were shot in June, during the making of Dark Side, while all the live stuff at Pompeii and the dinner scenes were shot during the May dates.
Interviews:
Dave Gilmour: "It would be interesting to see exactly what four people could do, if just given the equipment, who didn’t know anything about it, really. And just told them to get on with it, and do something. It’d be aninteresting experiment. I think we'd come off better."
Roger Waters: "It's like saying, give a man a Les Paul guitar and he becomes Eric Clapton. And it's not true. And give a man an amplifier and a synthesiser and he doesn't become, whoever, you know, he doesn't become us."
A version of On the Run is heard. Lasting about two minutes, it is substantially different from the album version. No sound effects, such as the voices and laughter, have been added yet.
Pompeii (Main Theme)
Echoes part I
Careful with that Axe, Eugene
Saucerful of Secrets, A
One of These Days I'm Going To Cut You Into Little Pieces
Set the Controls for the Heart of the Sun
Mademoiselle Nobs
Echoes part II
Outside the Wall (Wall film)
Outside the Wall 4:04
(written by Roger Waters)
Lyrics:
(See Outside the Wall from the Wall album. The lyrics are identical, with the addition of:)
When they've given you their all
Some stagger and fall
After all it's not easy
Another song entirely re-recorded for the film. Roger sings the melody line (as opposed to the album, in which he speaks, with background vocals), with an extended instrumental so the song covers the entire credits, with a short lyrical reprise at the end.
The denouement of the film depicts the rubble left after the explosion of the wall as a metaphor for the aftermath of the devastation caused by one human being's personal hell. And, of course, it is left to the children to clean up. One small boy dismantles a Molotov cocktail, in naive disgust at the smell, and the film ends.
TRACK LISTING
Overture/Prelude
When the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
(written by Roger Waters)
Lyrics:
(See Outside the Wall from the Wall album. The lyrics are identical, with the addition of:)
When they've given you their all
Some stagger and fall
After all it's not easy
Another song entirely re-recorded for the film. Roger sings the melody line (as opposed to the album, in which he speaks, with background vocals), with an extended instrumental so the song covers the entire credits, with a short lyrical reprise at the end.
The denouement of the film depicts the rubble left after the explosion of the wall as a metaphor for the aftermath of the devastation caused by one human being's personal hell. And, of course, it is left to the children to clean up. One small boy dismantles a Molotov cocktail, in naive disgust at the smell, and the film ends.
TRACK LISTING
Overture/PreludeWhen the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
The Trial (Wall film)
The Trial 5:41
(written by Waters, Ezrin)
Lyrics:
(See Trial, The from the Wall album for sung lyrics.)
The trial scene, brought vividly to life by Gerald Scarfe's animations, takes place within Pink's mind. Scarfe's drawings are constantly changing and metamorphosizing: the wife becomes a scorpion and the judge, who begins as a worm, ends up bringing new meaning to the word 'asshole' — he is one, literally as well as figuratively. We also see the teacher as a marionette, held and controlled by his wife, perched high upon the wall.
And so Pink tears down his mental and emotional walls, according to his own self-sentence. In the final scene, the wall built specially for the film was destroyed by a powerful air cannon, created for a recent James Bond film. However, we do not see the physical form of Pink any more, and we are left to wonder what became of him in the end.
TRACK LISTING
Overture/Prelude
When the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
(written by Waters, Ezrin)
Lyrics:
(See Trial, The from the Wall album for sung lyrics.)
The trial scene, brought vividly to life by Gerald Scarfe's animations, takes place within Pink's mind. Scarfe's drawings are constantly changing and metamorphosizing: the wife becomes a scorpion and the judge, who begins as a worm, ends up bringing new meaning to the word 'asshole' — he is one, literally as well as figuratively. We also see the teacher as a marionette, held and controlled by his wife, perched high upon the wall.
And so Pink tears down his mental and emotional walls, according to his own self-sentence. In the final scene, the wall built specially for the film was destroyed by a powerful air cannon, created for a recent James Bond film. However, we do not see the physical form of Pink any more, and we are left to wonder what became of him in the end.
TRACK LISTING
Overture/PreludeWhen the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
Run Like Hell (Wall film)
Run Like Hell 2:27
(written by Gilmour, Waters)
Lyrics:
(See Run Like Hell from the Wall album for sung lyrics.)
A remixed version of the album track, this song is fully two minutes shorter.
Choreographer Gillian Gregory coached the skinhead crowd in their movements.
Alan Parker: "I remember my feelings as the assembled skinheads dutifully performed their fascist 'dance' for the first time to the playback tapes, complete with choreographed sieg heils, donning their pink masks and so wiping out their personalities and taking away their individuality as they became anonymous, acting as one in an unthinking, programmed, mechanical mass. At the end of the piece, on stage, Bob goaded them into action with his crossed arms 'hammer' salute. This they followed with a zombie-like precision, perfected on the terraces of West Ham and Millwall." [Dallas 127]
West Ham, located east of London, is an area rife with members of the Nazi National Front — coincidentally enough, the West Ham football club uses the hammer as its symbol. Packed into two of the most upsetting minutes in film, this sequence also featured the Hammer Guard brutally destroying a Pakistani cafe and home in Brixton (actually filmed near King's Cross station), a subject all too relevant to the European Community at a time when Germany is rocked by race riots. The sequence also includes footage of the Guard breaking up two interracial lovers and beating the black male senseless while others rape his white girlfriend as punishment for her 'crimes.' Any thinking and caring person must be repulsed by these scenes, but they were felt necessary to convey the full horror of what Roger's music spent so much energy condemning — and consequently they became a justification for said condemnation, if any was needed.
Alan Parker: "The rape scene was the most repugnant of all, and any amount of jokes didn't detract from the unpleasant vicarious involvement you have as filmmakers. On the final cut we kept the scene down to a minimum, as some of the shots were a little too much for us to take in rushes, let alone an audience in a cinema." [Dallas 128]
Alan Parker: "[The Run Like Hell sequence was] probably the ugliest I'd ever directed." [Dallas 128]
TRACK LISTING
Overture/Prelude
When the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
(written by Gilmour, Waters)
Lyrics:
(See Run Like Hell from the Wall album for sung lyrics.)
A remixed version of the album track, this song is fully two minutes shorter.
Choreographer Gillian Gregory coached the skinhead crowd in their movements.
Alan Parker: "I remember my feelings as the assembled skinheads dutifully performed their fascist 'dance' for the first time to the playback tapes, complete with choreographed sieg heils, donning their pink masks and so wiping out their personalities and taking away their individuality as they became anonymous, acting as one in an unthinking, programmed, mechanical mass. At the end of the piece, on stage, Bob goaded them into action with his crossed arms 'hammer' salute. This they followed with a zombie-like precision, perfected on the terraces of West Ham and Millwall." [Dallas 127]
West Ham, located east of London, is an area rife with members of the Nazi National Front — coincidentally enough, the West Ham football club uses the hammer as its symbol. Packed into two of the most upsetting minutes in film, this sequence also featured the Hammer Guard brutally destroying a Pakistani cafe and home in Brixton (actually filmed near King's Cross station), a subject all too relevant to the European Community at a time when Germany is rocked by race riots. The sequence also includes footage of the Guard breaking up two interracial lovers and beating the black male senseless while others rape his white girlfriend as punishment for her 'crimes.' Any thinking and caring person must be repulsed by these scenes, but they were felt necessary to convey the full horror of what Roger's music spent so much energy condemning — and consequently they became a justification for said condemnation, if any was needed.
Alan Parker: "The rape scene was the most repugnant of all, and any amount of jokes didn't detract from the unpleasant vicarious involvement you have as filmmakers. On the final cut we kept the scene down to a minimum, as some of the shots were a little too much for us to take in rushes, let alone an audience in a cinema." [Dallas 128]
Alan Parker: "[The Run Like Hell sequence was] probably the ugliest I'd ever directed." [Dallas 128]
TRACK LISTING
Overture/PreludeWhen the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
Vera (Wall film)
Vera 1:19
(written by Roger Waters)
Lyrics:
(See Vera from the Wall album.)
The surreal dream-like fantasy continues, and Young Pink finds his way to a railway platform, where the 'boys' are just returning from the war to greet their wives and families. But nowhere among the happy, smiling faces does Young Pink see his own father. The song leads directly into Bring the Boys Back Home.
TRACK LISTING
Overture/Prelude
When the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
(written by Roger Waters)
Lyrics:
(See Vera from the Wall album.)
The surreal dream-like fantasy continues, and Young Pink finds his way to a railway platform, where the 'boys' are just returning from the war to greet their wives and families. But nowhere among the happy, smiling faces does Young Pink see his own father. The song leads directly into Bring the Boys Back Home.
TRACK LISTING
Overture/PreludeWhen the Tigers Broke Free Part 1
In the Flesh?
Thin Ice, The
Another Brick in the Wall part 1
When the Tigers Broke Free Part 2
Goodbye Blue Sky
Happiest Days of Our Lives, The
Another Brick in the Wall part 2
Mother
What Shall We Do Now?
Young Lust
One of My Turns
Don't Leave Me Now
Another Brick in the Wall part 3
Goodbye Cruel World
Is There Anybody Out There?
Nobody Home
Vera
Bring the Boys Back Home
Comfortably Numb
In the Flesh
Run Like Hell
Waiting for the Worms
Stop
Trial, The
Outside the Wall
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