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DVD The Dark Side... ( - 70)

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ypal   24.12.2004 13:38
DVD The Dark Side Of The Moon, , , - 6 ... /*... */ , , , . - , . : ypal at mail.ru
.

 

ypal   24.12.2004 13:39
RW: Dark Side Of The Moon was an expression of political, philosophical, humanitarian empathy that was desperate to get out.

(Us and Them playing)

RWr: Dark Side, I think I felt like the whole band were working together. It was a very creative time. We were very open as well

RW: I think because we still had a common goal which was to become rich and famous.

(Money playing)

DG: The ideas that Roger was exploring apply to every new generation. They still have very much the same relevance as they had.

(Brain Damage playing)

NM: I think one of the successes of Dark Side is the fact that actually its very rich: theres a there are a lot of songs, a lot of ideas all compressed onto the one record.

DG: I can clearly remember that moment of sitting and listening to the whole record all the way through and thinking: my God, weve really done something fantastic here

(Eclipse playing)

Bhaskar Menon (former Capitol Records chairman): I think it has the all-time record, constantly on the charts for nearly 750 weeks, about 14 years.

Nigel Williamson (Journalist): It was a huge album, and huge not just in terms of its sales, but in terms of its influence. This was where underground music, progressive rock, whatever, really went mainstream.

Robert Sandall (Journalist and Broadcaster): It was a record that had lots of traditional pop values, you could sing along to these songs, but it also was a kind of thing that took you places if you wanted to listen to it in a darkened room.

David Fricke (Senior Editor Rolling Stone Magazine): It may very will be the ultimate concept record, because the concept is there, the songs are there, the spaces and the music are there, but it doesnt take away any of the imagination.

RW: After Syd went crazy in 68 and Dave joined we were, all of us, searching, fumbling around, looking for what are we gonna do now?, because here was the guy who starts producing all these songs, and was the sort of heartbeats of the band.

Storm Thorgerson (Album Sleeve Design): Syd casts a long and /*loud*/ shadow of events. I think that the band was very impressive to keep going, actually, after loss of their main creative drive, I mean it was the first time you choose, isnt it, I mean you wouldnt sit around say ok lets /**/ song writer.

NW: After Syd had gone the music became more kind of soundscapes than songs.

RW: You have to watch your strengths, and it was a very good thing that we could not write singles, we might not have done some of the very interesting work that we did.

DF: Once Syd was out of the picture, the Floyd just went glacial; they just let it all spread out.

(Set the controls playing)

DF: When I saw the Floyd for the first time it was the summer of 68, it was actually their first American tour with David Gilmour, and they were just extraordinary, you know, it was Let there be more light, Set the controls for the heart of the sun, it was total space rock.

DG: I started fully out of love with that some of that psychedelic noodling stuff.

RWr: We were still then playing a lot of instrumental work, if you like, and that would be half the album.

RW: But we were always searching for a direction.

DG: fighting a little bit between wanting to push boundaries back a little bit and move forward in an experimental way, but also to retain melody. When you get to Meddle, quite clearly Echoes shows the direction that we were moving in.

RW: The rest of Meddle as I recall was songs, and so in the flip side was a 20-minute piece a) and so was a construct, and b) it was the beginning of all the writing about other people.

(Echoes playing: strangers passing in the street, by chance two separate glances meet, and I am you and what I see is me)

RW: It was the beginning of empathy, if you like, you know, two strangers passing in the street, by chance two passing glances meet, and I am you and what I see is me is a sort of thread that has gone through everything for me ever since then and had a big eruption in Dark Side.

NW: You have to remember the context of the time. This was the height of glam rock: there was, you know, Marc Bolan, and T.Rex, and David Bowie with Ziggy Stardust peddling there, sort of pop fantasies, and the Floyd came along with an album that was about these weighty themes.

DF: He created a story, he created a basically a theater piece about what it was like to live in the modern world.

NM: All four of us were there, and there was a discussion about putting the album together and making it into this themed, thisI mean what is now called a concept, album.

RW: There are a number of things that impinge upon an individual to the colour his view of existence. There are pressures that are capable of pushing you one direction or another, and heres some of them and whether they push you towards insanity, death, empathy, greed, whatever, - theres something about the new /**/ view of that physics that might be interesting and may be there could be this is what this record is about

NM: There was one of those really good moments that most bands do experience where everyone is on sight, and everyone likes the idea, and theres some sort of agreement as to, more or less, whos going to do what.
DG: Dark Side Of The Moon started in a rehearsal room in Bermondsey I think that belongs a warehouse that belongs to The Rolling Stones where we did some sort of jammy writing, whatever you want to call it.

RW: Not sure how much writing happened there. You know, lets play in E minor or in A for an hour or two, oh that sounds all right, that will take up 5 minutes.

 

ypal   24.12.2004 13:41
BREATHE chapter

DG: A lot of the musical ideas just came up just sort of jamming away in these rehearsal rooms /*obviously*/ the lyrics Roger brought in

RWr: because he had things to say. And it was the first time he wrote all the lyrics

DG: Roger was all sorts of a pushing, driving force

RS: The way Dark Side Of The Moon articulates some sense of early adults disenchantment is absolutely timeless

RW: Ive listened to it again recently, and it always amazes me that I c that I got away with it really, cause it was so /*lower-sixth-t*/, and you know uhm breathe, breathe in the air, dont be afraid to care. /**/ I think within the context of the music and within the context of the pieces at whole: people are prepared to accept that simple exultation to be prepared to stand your ground and attempt to live your life in an authentic way.

(DG playing first chords)

RWr: I came from jazz basically I love it thats my favorite thats my inspiration. And the interesting thing about this song is, I told you about jazz, is this certain chord which is that is totally down to a chord I had heard on /*actually*/ Miles Davis album Kind of Blue, which is a that chord!.. that chord I just loved! And when were doing Breathe, we got to G I got to G and howd you get to E again? Well, again, normally you go but uhm I remember this chord and I remember working it out at home listening to the record, and I just thought

RWr: Dave was brilliant at double tracking vocals. And we could do machines, but it is a difference.

AP: Theres also a harmony part And thats it how its sung Back to the band!.. Theres two organ parts which come in now They had been performing this work on as Eclipse for a few months I think, before actually even coming in to Abbey Road to start the first recordings

DG: which meant that the performances were pretty tight and not so hard to get.

RW: When youre working in a band and youre performing something, it willy-nilly it develops and changes

 

ypal   24.12.2004 13:41
On The Run chapter

In pre-bootlegging days this of course was a far more effective and better way of doing things, because you went in the studio and rehearsed up.

Wed been playing it live that way for quite some time as a sort of guitar jam, that sort of a piece. I think we were none of us that happy with it as a piece, and when we also had this synthesizer

this Synth EA which had a little built-in keyboard and had a sequencer it was the first sequencer I think

I just plugged this up and started playing one sequence on it, and Roger immediately pricked up his ears and said that sounded good, and came up, and we started mocking with it together and he put in a new sequence of notes, and all developed out of that

A series of notes played in slowly triggering a noise generator and oscillators, and then just speed it up, you know

Youve got it basically

And that, of course, immediately sounded much more exciting than what we were currently doing.

They were the first band to really go out and try to sort of make music off the future.

We were doing a lot of things with tape loops and curious sounds and sound effects

There wasnt something in 1972 when they put that album together. But thats basically what they were doing. They were in a sense they were giving you a preview of the sound pictures of the future.

You know, there are some very very clever and /*honey*/ listenable pieces of sonic experimentation.

So this is the main synthesizer, it has the high-/**/ element built-in. Then we treated with filters and with other oscillators to get this sort of /*vibrator*/ noise. And were bringing this guitar, its a backwards guitar with echoes /**/, its been played with a mike stand leg, just sliding up That was left-to-right across the stereo. And theres these synthesizers, Morph synths, which are creating sort of futuristic vehicle noises, which you take the pitch down a little bit, and pan it at the same time That creates an artificial Doppler sound, like /**/ ambulance is whizzing past you Bringing some footsteps and some heartbeats Extra tension As you see theres an awful lot going on this track

This section in particular, The Travel Section or On The Run section I think was pretty complicated A lot of hands on deck

You do always want to put more things on than you had tracks for So tracks would very suddenly change from one thing to a different thing

All of us were on the desk, I think /*as on the */

But thats the way it was, because we didnt have automation in those days

A mix in those days was a performance, every bit as much as doing a gig.

Its one thing actually that weve kind of lost in the modern age.

Very very well-engineered, it was also very very carefully constructed. /**/ you know everything was well-recorded.

Dark Side was really the first proper engineering job Id been given with the Floyd. So there was pretty much putting on the deep end.

It was very great musically as well.

He also came up with a couple of good ideas.

I was commissioned to record some clocks for sound effects, record for the very early days of quadrophony.

And when we were doing Time he suggested we might like to have these clocks.

My memory of it is just this room full of tapes rolling around, because it was without any sort of computer help, everything had to be done manually.

Getting all the clocks to chime at the right time - that was a process of just finding a particular moment on the multi-track tape where all the chiming would happen, and then back-timing the quarter-inch originals which contained each of the clocks

And then the very critical thing tapes starting at specific moments, which was all done with hand signs and stop-watches.


 

ypal   24.12.2004 13:42
Time chapter

(Time playing)

We got the girls making their first appearance here Thats un-processed And we actually put this effect called a frequency translation on, which made them sound like this Heres the solo

This one was probably taking some shape live before we ever got to doing it, but usually in the studio on this sort of thing you just have a player over it and see what comes, and its usually and mostly the first tape is the best one, and you find yourself repeating yourself thereafter.

The 1970s was the era of the guitar. And he had that sort of very bluesy sound but then also he had that other sound, that sort of spacey, very crystalline, almost ethereal quality.

I suddenly realized then that year that life was already happening. /**/ cause my mother was so obsessed with education and the idea that childhood and adolescence and well, everything was about preparing for a life that was going to start later. And I suddenly realized that life wasnt going to start later, that it is you know, it starts at dot and it happens all the time, and then at any point you can grasp the reins and start guiding your own destiny. And that was a big revelation to me, I mean, it came as quite a shock.

One of the greatest lines I think on Dark Side Of The Moon is Rogers line about hanging on in quiet desperation is the English way, which is a sort of line you could imagine - I dont know - Evelyn Waugh or Somerset Maugham or someone writing as an observation on the English character. And I think that character does /*permiate*/ the whole record, and indeed the whole of Pink Floyds career.

(Gilmour playing Breathe Reprise)

It expresses my feelings about things very simply. And I think that musically and I think that the music is /**/ driven by that emotional commitment.

The band basically wanted another 4 or 5 minutes of music, and we thought it could be an instrumental.

I think I just as I always have done is I sat at the piano and I and those first two chords came.

Us And Them and The Great Gig In The Sky, you know, are fabulous chord sequences, are really truly wonderful pieces of music.

 

Zuli   24.12.2004 15:19
- , . , , , .

- , ?

, , !

 

ypal   28.12.2004 13:24
The Great Gig In The Sky chapter

Ive no idea whose idea it was to get somebody as a female singer and but Alan Parsons knew Clare Torry and had been working with her, and said why dont you try her

/*She*/ went in there and improvised over. Yeah, that was amazing, that was fantastic! But that was a /*moreover*/ mixing.

We knew what we wanted, not exactly musically, but we knew that we wanted someone to just improvise over this piece. So we directed her /**/: think about death, think about horror, think whatever, and just go and sing. And my memory is, that she went out in the studio and did it very very quickly, and then came back in and said: Im really sorry about this, very embarrassed. And we in fact were sitting in the studio saying: This is wonderful.

And of course its absolutely brilliant, both Ricks piano and organ work, and Clares singing is just incredibly moving.

In the very end of this, I remember, we increased the echo slowly.

We always wanted to kind of not be on our covers ourselves, not have pictures.

It is probably the most recognized album cover of all time.

Its something that you can sit and look at for a long time without getting fed up with it.

The prism is the logo that absolutely defines the record.

Dark Side Of The Moon prism design comes from 3 basic ingredients, one of which is the light show that the band put on /*...*/ and to represent; and also one of the use of the lyrics which was, I think, about ambition and greed; and the third it was an answer to Rick Wright who said that he wanted something

simple and bold, and dramatic

The presentation, as we call it, of the design to the band was a very brief affair.

He just brought in 3 or 4 ideas

I do remember instantly seeing the pyramid

They came in and they looked around, and they went: mmm, that one!

Everyone immediately went: Terrific! Great! Lets do that.

/*..*/ did choose it so quickly and so easily is, I just think it is somehow very /*fitting*/, I mean, its hard to imagine it without it, isnt it really?

The story in America /**/of disaster that really we hadnt sold records. And like all good artists the first thing you do is blame the record company. But in this particular case I think we might get a few more people to agree that they hadnt performed properly. And so there was a /**/ man called Bhaskar Menon who was absolutely terrific. And he decided he was going to make this work and he was going to make the American company sell this record. And he did!
We devised a marketing campaign for this, which was far more extensive than anything that the company had ever done. It was an album that came after virtually a year of touring. There was a tremendous amount of credible press. /**/ by the stem without a single got this album tremendous sales, close to about a million albums /**/ at stage, which was quite remarkable. And I knew that the time would come when we would have to get on to the next stage, to get to the next category or level of audience. We really would need some single-like material.

They always say, you know, you need a hit single and we had a sort of hit single with Money.

 ypal 04.01.2005 20:03.

 

ypal   28.12.2004 13:26
... , :)))

 

Zuli   28.12.2004 13:28
, . :(
:)

 

ypal   28.12.2004 13:34
: Everyone immediately went: Terrific! Great! Lets do that.

 

ypal   05.01.2005 16:59
DVD The Dark Side Of The Moon. - bonus material: , 2 . - "you know", . - .


Waters World View

My world view is very similar now: we are the products, I think, of our /**/. My theory is that after you hit five or six years old, not a lot changes fundamentally. And the pain that we experience, or the joy or the love or the whatever, the experiences that we have as young children, I think, stay with us forever. And they are they provide us with the rational shapes /**/ lives. I simply think thats true of me, and I have the same feelings now. And in a way thats why I couldnt still realize Ive been listening to Dark Side Of The Moon recently simply because James Guthrie hes been mixing, making a 5.1 mix of it and so Ive had to go and listen to it, and so lets say what I think. And one thing I thought the first time I sat there in the chair and all the stuff was going around me, was how those fundamental issues of whether or not the human race is capable of being humane are still right now /*faces*/ 30 years later. Now that within in the perspective of history /*what am I saying, what a*/ fucking stupid thing to say Of course they are, its only 30 years, its like a phhzzt its a nanosecond, its a nothing, its a relatively this little bit of history that we live in. We tend to we make a lot of it because were here and were watching, and it means a lot to us because were alive at the moment. But we wont be in a few years time. And since well continue /*with*/ the fundamental question thats facing us all is whether or not were capable of dealing with the whole question of us and them, I think, thats my personal and I But thats something that I always had I had that bit when I was a teenager, when I was the chairman of the YCND in Cambridge when I was 15 years old or whatever. I think its basically if youve been given, I think, the gift of having that perspective you dont lose it. And I suspect its quite hard if you are fundamentally inclined to be a member of the Ku Klux Klan to shrug that off in later years as well; I think its likely that you go on wanting to lynch people forever. You know, I maybe not, maybe I shouldnt say that, maybe there is an optimistic side of me that thinks that feels that not just individuals but hierarchies, authorities are capable of rehabilitation. Wouldnt it be wonderful to think that G.W.Bush was capable of transcending his background and becoming a person who could understand broader and more fundamental issues of human contact than that kind of sheriff thing that hes got going for him. Which is all that Dark Side Of The Moon is about.


 

ypal   05.01.2005 17:02
Waters On RocknRoll

Everybody who goes into rocknroll wants to make a mark of some kind as a demonstration of rebellion, or because they cant think of any other way to make a lot of money, or because they want to pull girls, or whatever. Theres no purity in the motivation for rocknroll. However, those people that are successful in it, normally have - /*and that last a bit*/ - normally have some other axe to grind, which is in some way fundamentally connected to the experience of many others, otherwise we wouldnt buy their records. We I wouldnt go and buy Neil Youngs records unless I felt a fundamental attachment to his preoccupations with love and life and liberty and so and so forth. And the same way with any of my other heroes: Lennon or Dylan or whoever.
However, I dont think any of us in rocknroll are solely motivated by the noble desire to share our wisdom with the rest of mankind. I think wed do something else if that was the primary motivation.


 

Zuli   06.01.2005 17:55
ypal> - .

- , - - - .

ypal> theres something about the new /**/ view of that physics

newtonian

ypal> lets /**/ song writer

. - , (. "larguer").

ypal> /*lower-sixth-t*/

. - puberal - .

ypal> All of us were on the desk, I think /*as on the */

All of us were on the desk, our fingers on the faders

ypal> /*vibrator*/

vibrato - .

ypal> echoes /**/

par-dessus - - upon of this

ypal> /*permiate*/

. - empreint - empreindre - .

ypal> /**/ cause my mother

I think it's cause

ypal> /*..*/ did choose it so quickly and so easily is

. - , .

 

Zuli   06.01.2005 17:56
, ? , - , .

 

tinch   07.01.2005 12:54
Money chapter

===============

Money playing - by Roger Waters

RW: No I wouldn't if remember writing Money as a so very blusy thing. I can't sing upper in that register

Money playing - by Roger Waters

It's a very kind of transatlantic you know a very blusy sort of /****/ Listening to the original demo is not like that at all It's all very kind of /*prussy*/ and very english

David Fricke - Rolling Stone Magazine:

The one thing about Money that i think people forget is that it's got the wierdest...it's one of the biggest hits with the wierdest time signature.

DG:
Very unusual 7/8 time. Good riff.

Money playing.

DG:

I'd played in a band with Dick when we were a sort of teenagers in ambrige

NM
Dick was... was a soul part of the ambrige mafia


DG
I didn't know other sax players and // ask him to // offer

NM
He was terrific

DG

Well Dick did his saxo in 7/8 time. and then we /*turned to certain worked out*/ a different sequence for the guitar solo.
Probably to make my life easier so that i didn't have to think about the timing.

Rwr
I love the fact that it does change. I mean since lots of things happen on Dark Side to me are a kind of magical... without us intentionaly making them happen. It just happened. And i think that one of the greatest things about Money is that it does change the time signiatures.

DF (cool guy)
And that's the thing he goes back into 4/4 and all of a sudden - man, it's rock city!

SOLO

DF (bed guy)
Money is an amasing single becouse it's about the very thing it's became - it's about success.

DG
Something certanly did the trick and it moved us up in the superleague i suppose you might say which brought with it some great joy,
some pride and some problems.

RWr
Of course it changed our life and we were now a big rock-n-roll band playing at stadiums.

DG (tounguetied twisted guy)
You don't know you're in for anymore. You know you //earned (aimed or learned)// to achieve massive success to get rich and famous
and all these other things that go along with it. And when they're all suddenly done you're going... mhm huh well... why... what's next?

RW
As not to say we didn't do some good work, but the good work we did was actually all about a lot of the negative aspects //in// we went on after we achieved... the goal.

DG
I mean it obviously informed what turned out to be the next album quiet deeply - Wish you were here couse we were not //ourselves most of the/// time.

DF
They were a platinum monster and it's not a lot of fun.

>Us, us, us and them, them,them :)))) Who knows who is who and who are them... :*(

ZP music playing

DG
The most amasing to me now that we had that piece of music at 1969 when we recorded the music for ZPoint. And thruout I guess Atom
heart mother, Obscured by clouds album, Meddle album we didn't dig it out and use it, such a lovely piece of music.

NM
Antoniony didn't really know what he wanted. He needed desperately //*// of control. So even if you did the right thing and it was
perfect he couldn't //bet// to accept it becouse there wasn't to choice.

RW
All he really wanted was Carefull with that Axe Eugene.

RWr
I think we were getting a bit frustrated of what does he want. I think I was just sitting in the studio and I was seeing the piano and I happened to have that Violent Sequence up and I was watching it and perhaps I feel a bit tired whatever I just started to record the sequence. At the time everyone thought it was really good.

DG
When we thought we'd really got something brilliant for his movie Antoniony would say...

RW
"It is beautiful, but is it too sad? It makes me think of church."

DG
It was obviously waiting to be reborn in this album.

 

Zuli   07.01.2005 14:50
. :)

tinch> RW
tinch> "It is beautiful, but is it too sad? It makes me think of church."

! , ! :)


 

ypal   08.01.2005 23:55
... ... :
You know, I would have remembered writing Money as a sort of very bluesy thing. I can't sing that up in that register of that... ...

1. : "you know", y'no, No.
2. - ... , : "...I wouldn't if remember..." - - , -... :)

, , .... :))) , ...

 

ypal   09.01.2005 00:03
Zuli, , ... . , ... - , ...
, . ! , , , ...

 

ypal   09.01.2005 00:54
Money chapter, ...

, -: sort of
...

 

Zuli   09.01.2005 10:47
ypal> ... ...
ypal> 2. - ...

, /*...*/

ypal> Money chapter, ...

.  Maxim , ...

 

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