Поскольку никто так и не нашел в сети титров к DVD The Dark Side Of The Moon, позвольте выложить то, что я снял тут немножко, на свой неважный слух - первые 6 глав диска... В скобках типа /*... */ находятся собрания фонем, которые я не смог распознать вообще, либо привел то, что слышится мне. Очень прошу всех приближенных к английскому-разговорному подключаться, помогать с нераспознанными местами. Пишите здесь и на мыло: ypal at mail.ru
Любые поправки в любых местах приветствуются и обсуждаются.

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 it’s very rich: there’s 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, we’ve 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 doesn’t 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, isn’t it, I mean you wouldn’t sit around say ok let’s /*…*/ 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”, this…I 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 here’s some of them… and… whether they push you towards insanity, death, empathy, greed, whatever, - there’s 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 there’s some sort of agreement as to, more or less, who’s 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, let’s play in E minor or in A for an hour or two, oh that sounds all right, that will take up 5 minutes.

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 adult’s disenchantment is absolutely timeless…

RW: I’ve 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, don’t 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… that’s my favorite… that’s 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 we’re doing “Breathe”, we got to G – I got to G – and how’d 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: There’s also a harmony part… And that’s it how it’s sung… Back to the band!.. There’s 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 you’re working in a band and you’re performing something, it… willy-nilly it develops and changes…

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.

We’d 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…

You’ve 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 wasn’t something in 1972 when they put that album together. But that’s 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 we’re bringing this guitar, it’s a backwards guitar with echoes /*…*/, it’s been played with a mike stand leg, just sliding up… That was left-to-right across the stereo. And there’s these synthesizers, Morph synth’s, 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 there’s 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 that’s the way it was, because we didn’t have automation in those days…

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

It’s one thing actually that we’ve 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 I’d 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.

Time chapter

(Time playing)

We got the girls making their first appearance here… That’s un-processed… And we actually put this effect called a frequency translation on, which made them sound like this… Here’s 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 it’s 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 wasn’t 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 Roger’s line about “hanging on in quiet desperation is the English way”, which is a sort of line you could imagine - I don’t 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 Floyd’s 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.

Я за праздники постараюсь тоже кое-что снять на слух, подключу еще одного человека. Еще есть надежда, что французские субтитры, которые есть у меня на диске, помогут.

А тем временем может кто-нибудь возмется за перевод того, что имеется?

Обещаю, что уже готовый материал найдет свое место на сайте с перечислением всех, кто принимал участие в данном непосильном труде!

The Great Gig In The Sky chapter

I’ve 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 don’t 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: “I’m really sorry about this, very embarrassed”. And we in fact were sitting in the studio saying: “This is wonderful.

And of course it’s absolutely brilliant, both Rick’s piano and organ work, and Clare’s 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.

It’s 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! Let’s do that”.

/*……………..*/ did choose it so quickly and so easily is, I just think it is somehow very /*fitting*/, I mean, it’s hard to imagine it without it, isn’t it really?

The story in America /*…*/of disaster that really we hadn’t 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 hadn’t 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.

Отредактировано пользователем  ypal 04.01.2005 20:03.

хуже всего идет Торгерсон... глотает половину фонем, сссобака :)))

Да, я тоже обратила внимание. :(
А Уотерс просто много говорит :)

поправил предложение: Everyone immediately went: “Terrific! Great! Let’s do that”.

Продолжаю публиковать главы из DVD The Dark Side Of The Moon. На этот раз - из раздела bonus material: интервью с Роджером, 2 темы. Я решил опускать из текста его любимое слово-паразит "you know", которое изобилует в его речи и является по сути просто запятой. По-прежнему прошу помощи в нераспознанных местах.


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 that’s true of me, and I have the same feelings now. And in a way that’s why I couldn’t still realize… I’ve been listening to Dark Side Of The Moon recently simply because James Guthrie – he’s been mixing, making a 5.1 mix of it – and so I’ve had to go and listen to it, and so let’s 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, it’s only 30 years, it’s like a phhzzt… it’s a nanosecond, it’s a nothing, it’s a relatively… this little bit of history that we live in. We tend to… we make a lot of it because we’re here and we’re watching, and it means a lot to us because we’re alive at the moment. But we won’t be in a few years’ time. And since we’ll continue /*with*/ the fundamental question that’s facing us all is whether or not we’re capable of dealing with the whole question of us and them, I think, that’s my personal… and I… But that’s 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 it’s basically… if you’ve been given, I think, the gift of having that perspective – you don’t lose it. And I suspect it’s 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 it’s likely that you go on wanting to lynch people – forever. You know, I – maybe not, maybe I shouldn’t 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. Wouldn’t 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 he’s got going for him. Which is all that Dark Side Of The Moon is about.

Waters On Rock’n’Roll

Everybody who goes into rock’n’roll wants to make a mark of some kind as a demonstration of rebellion, or because they can’t think of any other way to make a lot of money, or because they want to pull girls, or whatever. There’s no purity in the motivation for rock’n’roll. 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 wouldn’t buy their records. We… I wouldn’t go and buy Neil Young’s 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 don’t think any of us in rock’n’roll are solely motivated by the noble desire to share our wisdom with the rest of mankind. I think we’d do something else if that was the primary motivation.

Кое-что удалось услышать, кое-где пересказываю смысл из французских субтитров - может наведет на какие-то догадки.


newtonian


По титрам с фр. - смысл в том, что они не стали бы самостоятельно бросать своего автора текстов (исп. слово "larguer").


На фр. слово - puberal - достигший половой зрелости.


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


vibrato - муз. термин


par-dessus - сверху - похоже по звучанию на upon of this


С фр. - empreint - empreindre - оставлять отпечаток.


I think it's cause


Во фр. титрах смысл идет такой - поскольку они его выбрали так быстро и просто, значит это хороший дизайн.

А вообще если конечная цель сделать перевод этого дела на русский, то не проще ли сразу с титров переводить? Конечно, кое-что в титрах упущено, но и на слух ведь не все распознается.

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

Журналист в очках 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 Сambrige

NM
Dick was... was a soul part of the Сambrige 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.


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.

Просим прощения за некоторую вольность в комментариях. Мы не нарочно :)


Мой любимый момент! Ах, как РУ это говорит! :)

нда... повеселились вы в первом же предложении... Вот например как его слышу я:
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... Прошу сравнить его с вашим вариантом...

1. Снова предупреждаю: у Уотерса очень много вставок "you know", которое произносится очень коротко как y'no, прошу не путать с No.
2. Грамматику все-таки не сбрасывайте со счетов... Ну сами посудите, ну что такое у вас: "...I wouldn't if remember..." Они же все-таки по-английски говорят, а не по-каракалпакски... :)

ладно, не буду критиковать, а то еще обидится кто.... :))) Дерзайте, а я займусь бонус материалом...

Zuli, спасибо за подсказки, переслушаю на досуге... Мне также помогает жена с немецкими субтитрами. Беда в том, что как раз нераспознанные места в большинстве случаев просто отсуствуют в немецких субтитрах напрочь... А вот похоже что французские-то лучше сделаны, чем немецкие...
А вы говорите, мол делай сразу перевод на русский. Хе! Я очень согласен с Гоблином, который хает непрофессиональные переводы, в которых порой смысл не просто теряется, а ставится с ног на голову...

у меня очень много правок к вашему тексту Money chapter, вышлю позже днем...

кстати да, у Гилмора и Мейсона тоже есть слово-паразит: sort of
Особенно у Гилмора...

Согласна, надо было ставить в /*...*/


Окей. Но вообще  Maxim говорит, что начинает уже делать перевод немецких субтитров...