ну пусть Maxim делает перевод немецких, а мы тем временем сделаем полные английские... :)

Вот откорректированный мною вариант главы Money. Сравните со своим, если где не согласны и вам слышится другое - укажите. А вообще получилось неплохо, давайте оставшиеся 3 главы сделаем таким же образом, только сперва присылайте мне на мыло ypal at mail.ru, а я откорректирую, сведу нераспознанные места к минимуму и опубликую здесь... Идет?


Money chapter

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

(Money playing – demo by Roger Waters)

RW: 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…

(Money played by Roger Waters)

And there’s a very kind of transatlantic, bluesy sort of twang to it all. Listening to the original demo – it’s not like that at all, it's all very kind of prissy and very English.

David Fricke: The one thing about Money that I think people forget is that it's got the weirdest...it's one of the biggest hits with the weirdest 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 Cambridge.

NM: Dick was... was sort of a part of the Cambridge mafia.

DG: I didn't know any other sax players and then was probably too nervous to /*ask him – if he’d turn off*/…

NM: He was terrific.

DG: Well Dick did his sax solo in the 7/8 time. And then we sort of sat and worked out a different sequence for the guitar solo, probably to make my life easier so I didn't have to think about the timing.

RWr: I love the fact that it does change. /*Let me say that*/ lots of things happened on Dark Side Of The Moon are kind of magical... without us intentionally making them happen. It just happened. And I think that’s one of the great things about Money is that it does change time signatures.

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

SOLO

DF: Money is an amazing single because it's about the very thing that it became - it's about success.

DG: Something certainly did the trick and it moved us up into a super league, 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: You don't know what you're in it for anymore. You know, you’re in it to achieve massive success and 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 next?

RW: It’s 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 of what went on after we’d achieved... the goal.

DG: I mean that obviously informed what turned out to be the next album quiet deeply - Wish you were here – because we weren’t, most of us most of the time.

DF: They were a platinum monster and it's not a lot of fun.
(The Violent Sequence playing)

DG: Sort of amazing to me now that we had that piece of music in 1969 when we recorded the music for Zabriskie Point. And throughout, I guess, Atom Heart Mother, the Obscured By Clouds album, the Meddle album we didn't dig it out and use it, such a lovely piece of music.

RWr: Antonioni didn't really know what he wanted.

NM: He needed desperately to have control. So even if you did the right thing and it was
perfect he couldn't bear to accept it because there wasn't a choice.

RW: All he really wanted was Careful With That Axe, Eugene.

RWr: I think we were all 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 felt*/ a bit tired or whatever, I just started the chord sequence. At the time I think everyone thought: this is really good.

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

RW: “It’s beautiful, but is too sad”, you know, “It makes me think of church”.

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

Продолжаю главы из bonus material:

Brain Damage
-----------------

There’s a tendency within most societies to try to force everybody into a particular regimen and to stop people walking on the grass. It’s something about, I suppose, about that particular lyric, it’s something about the idea of producing grass and then not letting anybody enjoy it. You know, let’s make a beautiful lawn and then not let anybody walk on it, or play on it, or kick a ball about on it, or do anything on it. And in a way it’s the idea of actually the desire to walk on the grass being mad – it’s something wrong about that. And I… and the piece of grass that I had in my mind, you see, it’s a… there’s a big square lump of grass between King’s College Chapel and the river Cam in Cambridge, which – I don’t know why – but that’s actually the bit of grass I was thinking about when I was writing that thing; which is a very “Keep off!” bit.

(Brain Damage played by Waters)

The choruses of the song are about saying to the audience… I know, this all feels a bit whacky from time to time, and it does sound, it does to me. I have trouble making sense of all this. We all make mistakes, we’re all human. You can’t expect to be perfect, or behave perfectly, or whatever, but… if through your own… if through your efforts – if you like, your own internal efforts – you can give the empathetic side of your nature a better chance in its battle against the devil within you /*or over you*/ – then so be it. And that is a struggle that we can all engage in every day of our lives.

Вот только что посидели с  tinchем, посравнивали.  ypal - отменно!


Конечно, идет. Правда, пока мой диск улетел в Москву, но к концу недели обещает прибыть.

Переписал я как-то несколько фрагментов из немецкиех субттитров, показавшихся мне особенно интересными. Едва ли они здесь сейчас нужны, но всё-таки закидываю. Может быть, Максиму как-то поможет...

Роджер рассказывает про интродукцию «Time»:

Als ich mir es vor einiger Zeit
fur eine Tournee anhorte
Um zu sehen welche songs ich davon spielen wurde
erwischte ich mich beim intro von ’’Time’’ dabei
dass ich die ganze Zeit dachte:
Jetzt geht es... Oh, doch nicht.
Dann wird es sich jetzt verandern.
Aber es ist einfach endios (последнее слово мог написать неточно. Листок был сложен и буквы стёрлись!).
Es scheint, dass das Stuck mit dem Rotatum
ewig weiter gent, das find ich fabelhaft.
Aber zwanzig Jahre spater
Erschien es sehr mutig um die Dinge einfach
laufen zu lassen und stundenlang zu improvisieren
Um es zu zulassen, dass es in seinem
eigenen Rhythmus weitergent
Damit du dich nicht gezwungen fuhlst dich zu
verandern, oder die Aufmerksamkeit
festzuhalten oder so was ahnliches.

Эти слова даже и не помню кому принадлежат :

Roger spitzte seine Ohren und sagte, dass es gut klang.
Damas haben wir gemein sam daran herumgebastelt.

Гилмор сидит за микшерским пультом и рассказывает про «On the Run»:

Wir fugten Ton einer Gitarre hinzu, verkehrt herum, mit ’’Echos’’ die mit einem Mikrofonstander bespief wird und das saust von Links nach Rechts im Stereo.

Опять же не помню чьи слова:

Es verleiht meiner Gefuhle auf
einfache Weise Ausdruck
Und ich glaube, dass ich denke, dass Musik
in gewissem mabe durch diesen personliche
Betroffenheit angetrieben wird.

Роджер:

Ich denke, dass Harmonie von Dave und Rick hier sehr gut wirkt.
Ihre Stimmen gleichen einander und wie
die stimmen ineinander ubergehen ist
ein starker faktor in «Dark Side»

Автор забыт:

Es verleiht meiner Gefuhle
auf einfache Weise Ausdruck.
Und ich glaube, dass ich denke,
dass Musik in gewissem Mabe
durch diesen personliche Betroffenheit
angetrieben wird.

Сомнительная помощь... Понимаю...

Zuli, tinch, где вы? Жду версий... Между тем, публикую бонусные главы... По-прежнему ищу помощи в скобках /*...*/


Money bonus chapter

RW: I made up the rhythm tape in a shed at the bottom of the garden. My wife then was a potter, and she had a pottery studio at the bottom of the garden, I had a little music studio next to it. And she had a big metal mixing bowl for mixing up clay. And so I went: oh I know how to make the rhythm for this. And I had a Revox A77, I only had two-track machines at the time. And so I got a microphone out and put it by the mixing bowl and threw a handful of coins in it – right, that’s one /*notice*/, – and tossed some paper – right, that’s another one. And I searched around for a sound of a cash register or something… So it’s in 7/8?– ok, so I cut up seven pieces of tape of those sound effects exactly the same length, and spliced them together and stuck in the Revox going round the mike stand, the whole bit like that, and pressed the button, and that was it.

AP: We actually made the loop onto a four-track tape which /*…*/… the seven different sounds could actually walk around the room. Although it’s not perfect because it’s a /*7 and about or 8 and about*/, so it doesn’t make you quite around the room on the 8-feet which isn’t there. But you could probably say that this was one of the first times that a band ever played to a loop. I can’t think even /*…*/ any instance of this. They were here in /*that*/ headphones, they just counted that off and played in sync with this. And then like on the record I faded it out once the band had started playing.

DG: We start off with the bass guitar – that is… And then double-track it with this guitar – which is like this. And then we’re bringing the tremolo guitar – that one, let’s take that one on the mix. And then there’s two more that are doing sort of off-beat things – that’s this one and this one. And they sort of filter across with Rick’s keyboards – that are here. Let’s bring all this /*stuff in*/.

AP: So this is going to be the vocal without any processing on it at all. And then I can add in a /*delay*/ to spring that to life a little bit more. And then some reverb which will give us some space. Here comes the guitar solo.

DG: Played them and learned and double-tracked – as precisely as one can do it – on left and right for the first of these sort of three guitar solos.

AP: Two performances double-tracked. And all the effects again there David was generating himself.

RW: And this sounds like me.

AP: This is when I cut it right now. It goes absolutely to nothing as /*…*/ it is no delays, no reverb – just virgin sounds.

CT: I mean, their idea of right coming down to where it’s dry, I mean, that was already there on the rough mix that I had of the stuff. First, I just wanted to build it up for /*mixed stuff*/ bigger. Another was by tracking it by /*the use of*/ more echo.

DG: So this is the third one that goes into the double-tracked one, which is this one on its own. And when it’s – by the means of trickery – ADT’d, you get… sort of it. It’s the same one and that’s sort of very slightly delayed. And this is ‘cause this got – that note, /*as well as*/ two others – it’s too high for my Stratocasters, so I used that Lewis guitar, I’ll show you.

RW: As we know, money is a real addiction for most of us. That was one of the things for me personally about Dark Side Of The Moon when it finally became successful was at that point: I had to decide really whether there really was a socialist or not. Because if you’ve suddenly got a few quid, you’ve got to decide if you can hang on to it, whether you put it in the bank or whatever you do with it – it will be invested by somebody, so you have to decide whether to become a capitalist or not.

Us And Them bonus chapter

RWr: All that was basically the same as doing Zabriskie Point. Why I liked it was because it’s all on the pedal D, so all accords actually… ‘Cause it could have gone… I mean, that’s basically the same chords, but instead of being…well, that was a D to a B-minor, and then A, and then… But I just liked it, just sort of rolling along. So all these chords relate to the D. I love that chord, I don’t know why, I just… But it wouldn’t work if I’d go up to an A. But that’s what music is all about. So that was that, and then I think though that was the sequence that came to the studio, and then we wanted a chorus. And I just wrote the 3 chords which is: “cried from the rear…”. That was written in the studio. Of the songs that Roger and I have written together, I would say, that for me is my favourite.

Breathe bonus chapter

(Gilmour playing Breathe)

Time bonus chapter

RW: When I went back and listened to it a few years ago when I was going on the road and I was trying to decide what songs to play off it. And things like the introduction of Time – my brain kept saying: now it’s gonna… oh, it goes round again… ok, now it’s gonna change… oh no, it… and it’s… it’s interminable, you know, it just seems the rotatum bit, it seems to go on forever and ever and ever. And it’s great, I like it, you know, but it’s a… there was a… what would have seemed 20 years later like a bravery in allowing stuff just to sit there and sort of /*vamp for*/ what seems like hour after hour and just to allow it to, you know, have /*its own ...*/ to not to feel that you’ve got to change or keep people’s interest or suddenly have some different kind of information going on… And it was good…

Chris Thomas bonus chapter

AP: Chris Thomas obviously was a well-known producer even then, even in the early 70s. The band felt they needed a fresh /*…*/, which was probably justifiable, I thought. Chris and I, I think, worked pretty well together.

CT: Suddenly somebody who wasn’t an engineer was sort of coming in, and say: “now, can we compress the guitar on this, and can we compress that, and more echo on that”, and /*all there’s to it*/. And I think, to this day… if you actually say it like: “is there anything /*or one thing*/ is…” you know… “is there anything you’re unhappy about on the record?” It’s always like: “well, I didn’t want compression…”, “I don’t like the compression on it…”

AP: We occasionally disagreed on compression and a number of issues like that, but essentially I think he helped the process along, helped make it into a better record.

CT: You know, a lot of work had gone into it up to that point. It was a question of finishing the record off. It wasn’t one of these ones: “well I would fix it in a mix”, unlike those loads and loads of stuff to sort out – it wasn’t that at all. It’d been very… it’d been carefully planned.

NM: Chris was an inspired choice, because having made the album we really did get a /*bolt*/ down into the mixing.

RW: Maybe Dave and I were beginning to argue about things. Well, I’m not sure, that may not be true.

DG: He came in for just the mix sessions and helped to find a compromise between the way Roger saw it and the way I saw it.

RWr: Dave, Roger, me and Nick – all had different ideas about how to mix, whether it’s how loud the voice-overs are, whether… how much reverb be on the drums, and levels of vocals. There were violent disagreements, but we couldn’t agree.

CT: That’s a perfectly valid thing to argue about; that’s got nothing to do with any argument if one person wants it on way, one person wants it another way. I mean, obviously again, /*…much*/ that’s the reason why they wanted somebody else to come in to sort of shine a light onto, you know, what’s gonna be the best way.

RW: I think we’ve just run out of energy, you know. And I remember going to listen to the mix after he’d done a mix, and it was usually if it’s not… I don’t… it was kind of unlike I would have mixed it – much softer and more kind of homogenous.

В последних бонус-главах текста оказалось весьма мало. Когда соберу всё в один файл, выложу ссылку. А пока вот:

Gilmour’s Guitars-Breathe

DG: For me, I mean, several guitar parts layered on top of each other: a basic rhythm part and some stuff on the pedal steel.

(Gilmour playing the basic part)

DG: That would be the sort of basic guitar part done with the whole band playing, and then layering all of other instruments. And at least two tracks on the pedal steel, I think. The first part basically is just that one… And after this there is one added on, that is…


Gilmour’s Guitars-The Great Gig In The Sky

There’s the basically the same part on – at the beginning anyway – on The Great Gig In The Sky, which…


Gilmour’s Guitars-Us And Them

(Gilmour playing Us And Them)


Gerry Has The Last Word

There is no dark side in the Moon really. Matter of fact, it’s all dark. The only thing that makes it look alight is the Sun.

??? А нельзя это что ли прислать мне и на сайт выложить?

Кстати, диск теперь у меня, попробую разобраться с невыясненными местами.

привет Zuli, как дела со снятием оставшихся глав? У меня пока нет времени :(
Кстати, где можно посмотреть список имеющихся у Вас бутлегов, вдруг найдется чем обменяться?

У меня пока тоже самое :( Ремонты - злой рок нашего сайта :)

Все остальное - письмом.

А время будет индексированно?

нет.
хочешь - займись, народ тебя не забудет :)))

Глава 9, пока сыровата, помогайте кто может:


9. Us And Them

RW: The lyrics are so direct and linear: those fundamental issues of whether or not the human race is capable of being humane. What’s good about the writing of this song, from my point of view, is the leaving of the gaps for the repeat echo.

(Us and Them playing)

AP: It's kind of strange hearing it without it... without the echoes in it.

(Us and Them playing)

RW: I find myself with instrumentalists over the years working with people having very-very often as a producer in my capacity for producing records having to say to people: now leave the whole, now just play for half a bar and then leave a bar and a half free, empty. And that’s kind of what that song is, that's the way it works.

DF: The simplicity of Floyd is really almost hard to talk about because it is so simple. Nick Mason playing very slowly, you know, exact, without a lot of overly freely percussion flourishes. Richard's touch on piano, on organ – very gentle, very soft, but also exact, and just hitting the notes right. It was always about leaving space.

(Us and Them playing)

RW: I think, Dave and Rick – their harmony vocals on it are really very affecting. Funny enough, they have similar voices, both their voices are a big factor in Dark Side Of The Moon the way they /*planned*/.

AP: That’s Dave and Rick together. Then Rick /*does another part … lower that he did*/. And then the girls are also joining in.

?: "I mean, they're not gunna kill ya, so if you give 'em a quick short, sharp, shock, they don't do it again. Dig it? I mean he got off lightly, 'cos I could've given him a thrashing - I only hit him once! It was only a difference of right and wrong, ain’t it? I mean good manners don't cost nothing, do they, eh?"

RW: It seemed to me really important… I can’t… I’ve no idea why to have voices on this thing. And so the only thing that was clever about it at all was how to do it so not to have an interview.

NM: Devised probably in the canteen and done later that evening.

RW: So I wrote a bunch of cards with the questions on them.

RS: I think what the voices did on the record was they actually brought out the dark side, they were in a way the dark side of the record.

NM: First, we used a number of people who worked in the studio with us, so we used 3 or 4 of our road crew.

Chris Adamson: “I ain’t frightened of dying at all, ‘cause when you gotta go – you gotta go”.

DG: Irish /*…*/ Gerry: “Why should I be frightened of dying? There’s no reason for it, you gotta go some time”.

NM: “Wings” were recording in here at the same time so we actually used Paul and Linda, Henry McCullough: “I don’t know, I was really drunk at the time”.

DG: It’s the people who are not used to being interviewed, who come up with the stuff.

RW: I think they started off with “what’s your favorite color?” and “your favorite food?” And when none of which was just to get people there… and then they went into “when was the last time you were violent?” This was the good bit: “when was the last time you were violent?” And then you’d take… you’d answer it and take the next card, the next card said “were you in the right?”

“Yeah, heh heh, I was in the right”
“Yes, absolutely in the right”
“I certainly was in the right”
“Yeah, I was definitely in the right, that geezer was cruising for a bruising”

NM: And this remarkable roadie called Roger the Hat: “If I participate in this fucking effort, I’ll /*…*/ get my gold disc at the end of it, imagine that, ahhh!

CT: They were trying to track him down to do the cards. By the time they got all of them, somebody… the cards had gone missing, I don’t know where they’d gone. So Roger Waters actually /*didn’t that doing it*/, he actually did that one as an interview.

RW: So, /*…you think you came*/ mad, Roger?
Roger the Hat: /*…*/

кто-нибудь может разъяснить смысл фразы Дэвида Фрика, в самом конце первой главы Introduction:
DF: Once Syd was out of the picture, the Floyd just went glacial; they just let it all spread out.

что это значит "с уходом Сида флойды заледенели (потеряли страсть), просто позволили всему этому распространяться" ?

Сид ушел, остальные потеряли пыл и пустили все на самотек.

я так думаю

они потеряли страсть, но продолжали делать свое дело и дело даже продолжило развиваться, т.к. имело к этому потенциал (кинетическая энергия, энерция), но эти чуваки к этому уже особых усилий не прилагали...

это если говорить умно :)

В конце-концов - на DVD есть субтитры на аглицком?