0:00:02 > 0:00:05'This programme contains some strong language.'
0:00:05 > 0:00:08The Pink FLoyd - you're going to hear them in a minute.
0:00:08 > 0:00:10# Money
0:00:10 > 0:00:13# Get away... #
0:00:15 > 0:00:19In 2005, four distinguished rock musicians
0:00:19 > 0:00:24performed together for the first time in 25 years at Live 8.
0:00:26 > 0:00:32For a precious 20 minutes, they were all once again the legendary Pink Floyd,
0:00:32 > 0:00:36a band that has spanned 40 years, pioneering everything
0:00:36 > 0:00:40from underground rock to the stadium extravaganza.
0:00:40 > 0:00:44A band that has survived tragedy, shunned celebrity
0:00:44 > 0:00:49and wrestled publicly with both its success and its audience.
0:00:53 > 0:00:59There have been five men in Pink Floyd and three of them have led the band in different decades.
0:00:59 > 0:01:03That's why the question still remains - which one's Pink?
0:01:13 > 0:01:16London, 1965.
0:01:16 > 0:01:18British pop music rules the world.
0:01:18 > 0:01:24Clubs are throbbing with electric guitars, pounding drums and would-be rock'n'roll stars.
0:01:25 > 0:01:29Three middle-class students, Rick Wright, Roger Waters and Nick Mason,
0:01:29 > 0:01:33were studying architecture at the Regent Street Polytechnic.
0:01:33 > 0:01:38They formed a band and dreamed of escaping the profession they seemed destined to inhabit.
0:01:41 > 0:01:47The group went through several permutations and names, including The Tea Set and Sigma 6,
0:01:47 > 0:01:52performing standard cover versions of American and British rhythm and blues.
0:01:52 > 0:01:54They were going nowhere.
0:02:02 > 0:02:07A childhood friend of Roger Waters since their schooldays together in Cambridge
0:02:07 > 0:02:10drifted down to London to study painting.
0:02:11 > 0:02:13His name was Syd Barrett.
0:02:14 > 0:02:20He joined Sigma 6, renamed the band The Pink Floyd Sound, and promptly became its front man.
0:02:21 > 0:02:27Syd sort of lived like he walked. He walked with a bounce.
0:02:27 > 0:02:31He came up on his toes so every step he took was like a pop.
0:02:31 > 0:02:35He had a lot of sort of Tigger in him.
0:02:36 > 0:02:40He was, as everyone says, bubbly, very attractive,
0:02:40 > 0:02:43everyone wanted to be his friend.
0:02:46 > 0:02:50Barrett was a highly original writer and musician.
0:02:51 > 0:02:55His songs had a quirky, British, pastoral edge
0:02:55 > 0:03:00and his guitar playing led the band into extended sonic explorations.
0:03:00 > 0:03:04He would do things on the guitar that no-one would ever dream of doing.
0:03:04 > 0:03:12which influenced me and made me do things on the keyboards I wouldn't... people hadn't done before.
0:03:13 > 0:03:19Technically, no, not so brilliant, but, for me, the technique is not important.
0:03:19 > 0:03:24It's the originality, and he was one of the originals.
0:03:28 > 0:03:33It is a curious thing that people can go into the music business
0:03:33 > 0:03:35with little technical ability,
0:03:35 > 0:03:39but absolute determination to show off at all costs.
0:03:39 > 0:03:44If you can actually play, it's very hard not to copy other things that you hear...
0:03:46 > 0:03:50..but we couldn't copy anything because we couldn't, you know.
0:03:53 > 0:03:56Rick was the only one who went to music school.
0:03:56 > 0:04:00Rick was the one who would always help out in arrangements.
0:04:00 > 0:04:03He was the one who used to tune Roger's bass.
0:04:03 > 0:04:06MUSIC: "Interstellar Overdrive" by Pink Floyd
0:04:13 > 0:04:20Now simply called Pink Floyd, the band found itself at the epicentre of London's underground explosion,
0:04:20 > 0:04:27playing a unique mix of original, melodic pop and freak-out music at clubs such as UFO and Middle Earth.
0:04:27 > 0:04:33Overnight, they became the house band of the underground movement, taking their audiences on a trip.
0:04:35 > 0:04:38One of the things that sets them apart is,
0:04:38 > 0:04:40so many other bands are based around blues.
0:04:40 > 0:04:45They had this avant-garde approach to...
0:04:45 > 0:04:48the long instrumental passages,
0:04:48 > 0:04:54but they always started from a brilliant pop song by Syd.
0:04:55 > 0:05:03Tinkling and bashing and scraping and making the instruments make whatever noises they would.
0:05:03 > 0:05:10After we'd be doing that for, like, ten minutes, we'd play the riff twice more and that was the end.
0:05:11 > 0:05:18You still had a tune, a song, and then you'd have an improvised bit, then you'd have a tune and a song.
0:05:18 > 0:05:22It was radical. It was very radical.
0:05:22 > 0:05:25MUSIC: "Arnold Layne" by Pink Floyd
0:05:25 > 0:05:30# Arnold Layne had a strange hobby
0:05:33 > 0:05:36# Collecting clothes
0:05:36 > 0:05:41# Moonshine, washing line
0:05:41 > 0:05:44# They suit him fine... #
0:05:44 > 0:05:49Arnold Layne, an everyday tale of a man stealing women's underwear from washing lines,
0:05:49 > 0:05:53was the first of Barrett's original songs to be recorded as a demo.
0:05:53 > 0:05:57Produced by Joe Boyd, it was touted around several companies
0:05:57 > 0:06:02before The Beatles' label, EMI, signed the band in February 1967.
0:06:12 > 0:06:17From the start, the Floyd were determined to do things their way.
0:06:20 > 0:06:26As college boys, they were already wary of the pop business and its old-school managers.
0:06:27 > 0:06:30We were always very distrustful of that whole scene.
0:06:30 > 0:06:34It was very kind of East End, camel-hair coats, you know.
0:06:34 > 0:06:38"Stick with me, son, you'll be all right,"
0:06:38 > 0:06:41and we were very wary of all that.
0:06:41 > 0:06:48I think what was so different then to now is they'd sign almost anything with long hair.
0:06:48 > 0:06:51If it turned out to be a golden retriever, so what?
0:06:51 > 0:06:57"We've signed you as a pop band. Now make albums. Lots of three-minute singles,"
0:06:57 > 0:07:00and we said, "No way!"
0:07:01 > 0:07:05We're talking about a world where Sergeant Pepper hadn't been released.
0:07:05 > 0:07:10Almost overnight, it switched from being hit singles to being albums.
0:07:10 > 0:07:12MUSIC: "Being for the Benefit of Mr Kite" by The Beatles
0:07:12 > 0:07:18In early '67, The Beatles were recording Sergeant Pepper at London's Abbey Road Studios.
0:07:21 > 0:07:25In February, the Floyd arrived at the same studios
0:07:25 > 0:07:31to record their equally momentous first album, The Piper At The Gates Of Dawn.
0:07:31 > 0:07:35# Alone in the clouds all blue... #
0:07:35 > 0:07:39This was the Summer of Love. Everything was possible.
0:07:44 > 0:07:50EMI appointed The Beatles' engineer, Norman Smith, as the Floyd's producer.
0:07:51 > 0:07:53I know he had a struggle with Syd
0:07:53 > 0:07:58because Syd would come in with his extraordinary songs and Norman would say, "That's great,
0:07:58 > 0:08:04"but we've got to put some form to it. We've got to get it into time." Syd would say, "Yes, OK,"
0:08:04 > 0:08:07and then go out and play it a different way.
0:08:10 > 0:08:15The Floyd were determined to exploit everything Smith and Abbey Road could offer,
0:08:15 > 0:08:19experimenting with new sounds and recording techniques.
0:08:19 > 0:08:22We had a tape running around microphone stands
0:08:22 > 0:08:25all the way around the control room,
0:08:25 > 0:08:29so we could get a very slow delay. It ran through three tape recorders.
0:08:29 > 0:08:35One of the advantages of Abbey Road was that there was a lot of old sort of stuff lying around.
0:08:35 > 0:08:39They probably had a spinet or a clavichord or things like that.
0:08:43 > 0:08:47While the Floyd tinkered away recording Syd's fairy-tale songs
0:08:47 > 0:08:53and the studio version of the sonic improvisations they were playing in the underground clubs,
0:08:53 > 0:08:58producer Norman Smith struggled to get another single out of Barrett.
0:09:04 > 0:09:09The band eventually decamped here, Sound Techniques in west London
0:09:09 > 0:09:15where Joe Boyd had produced Arnold Layne, to record what would become their first big hit.
0:09:15 > 0:09:17MUSIC: "See Emily Play" by Pink Floyd
0:09:17 > 0:09:20# Emily tries but misunderstands
0:09:22 > 0:09:28# She's often inclined to borrow somebody's dreams till tomorrow
0:09:28 > 0:09:31# Till tomorrow, till tomorrow... #
0:09:31 > 0:09:37Barrett invited an old friend and musician from Cambridge to come to the recording sessions.
0:09:37 > 0:09:41Guitarist and singer David Gilmour was shocked by what he found.
0:09:42 > 0:09:46In the flesh, he was a little bit strange, glazed eyes.
0:09:46 > 0:09:53For me, having not seen him for a while, it was quite alarming to see him like that.
0:09:53 > 0:09:57I didn't know how alarming, or how alarmed I should be,
0:09:57 > 0:10:02or how permanent that sort of thing was or whether that was just a moment.
0:10:02 > 0:10:05You don't really think about it.
0:10:06 > 0:10:10Barrett was becoming increasingly erratic.
0:10:10 > 0:10:14He was taking too many drugs and didn't like the limelight.
0:10:14 > 0:10:20When his song See Emily Play climbed into the Top Ten, the cracks began to appear.
0:10:22 > 0:10:26I think we did a lot more pop shows and ballrooms,
0:10:26 > 0:10:32and I think that was probably a bit more difficult for them. That was probably difficult for Syd.
0:10:32 > 0:10:34Syd didn't want to play.
0:10:34 > 0:10:39I was particularly feeling quite the same. I didn't want to really play it.
0:10:39 > 0:10:46I don't think any of the band wanted to play it. So it pissed the audiences off a lot.
0:10:46 > 0:10:49We had a few beer bottles and stuff thrown at us.
0:10:53 > 0:10:57These shows were a million miles away from Pink Floyd's underground home base
0:10:57 > 0:11:01where the band, like its audience, was lost in the light show.
0:11:10 > 0:11:15They were deliberately devoid of personality.
0:11:15 > 0:11:17They didn't talk much.
0:11:17 > 0:11:21You know, the fact they were covered with these lights all the time.
0:11:24 > 0:11:28They'd all study their instruments. Nobody looked out.
0:11:28 > 0:11:33"Are you having a good time? Yeah! Clap your hands!" All that stuff. We'd never done that.
0:11:33 > 0:11:37In fact, we did like to hide behind the lights.
0:11:37 > 0:11:41And it became a kind of, "Who are these people?"
0:11:42 > 0:11:48My memory of seeing them is walking round the stage trying to work out where the noise came from.
0:11:48 > 0:11:52What Rick and Syd played were very well blended together.
0:11:55 > 0:12:01When Barrett emerged from the shadows and into the studio lights of Top Of The Pops,
0:12:01 > 0:12:03he went into meltdown.
0:12:05 > 0:12:10The second week that we went in, Syd was very disgruntled and he started saying,
0:12:10 > 0:12:14"Why should I have to do this? John Lennon doesn't have to do this."
0:12:14 > 0:12:19I was looking at him, going, "What the fuck are you talking about?
0:12:19 > 0:12:23"This is it! This is what we've worked all these years to achieve.
0:12:23 > 0:12:30"This is the sort of pinnacle of success. And you don't want to do it? You're mad!"
0:12:30 > 0:12:34Of course, he WAS mad, but that wasn't the point.
0:12:34 > 0:12:39It was a really clear indication... I was really shocked.
0:12:40 > 0:12:43Syd was suddenly starting to get recognised,
0:12:43 > 0:12:47and he would be a scrumptious pop idol.
0:12:47 > 0:12:52Maybe he thought, "Do I really want this life? Is this what I want?"
0:12:52 > 0:12:58Maybe that's what was coming out unconsciously then in all the wacky behaviour.
0:12:58 > 0:13:03Was all the wacky behaviour a rejection of becoming a pop star?
0:13:03 > 0:13:06One day we were going off to do a gig and we went to pick him up
0:13:06 > 0:13:10and he jumped into the car and he was wearing a frock, you know.
0:13:10 > 0:13:15I said, "What are you doing, Syd?" He said, "I'm a homosexual,"
0:13:15 > 0:13:21and he went through this whole thing where he pretended to be gay for days on end.
0:13:26 > 0:13:29The Floyd was losing not only its leader,
0:13:29 > 0:13:34but also the writer responsible for much of its original material and hit singles.
0:13:35 > 0:13:40So we took a very positive view and we all went, "Agh!
0:13:40 > 0:13:42"Don't show me!"
0:13:42 > 0:13:47You know, it was denial at the ultimate level, really.
0:13:47 > 0:13:51I mean, Roger had a theory he was a schizophrenic. I don't think he was.
0:13:51 > 0:13:57But I'm still convinced he took a huge overdose of acid and destroyed his brain cells.
0:13:57 > 0:14:03He went to see Ronnie Lang and he said, "There's nothing we can do for him."
0:14:04 > 0:14:09Physically, the brain has actually been destroyed.
0:14:12 > 0:14:14So, very sad.
0:14:20 > 0:14:25No amount of English reserve could mask the fact that Barrett was now an acid casualty,
0:14:25 > 0:14:28virtually unable to perform.
0:14:28 > 0:14:32The other band members called a crisis meeting
0:14:32 > 0:14:37with managers Peter Jenner, Andrew King and Bryan Morrison.
0:14:39 > 0:14:45Peter Jenner and Andrew King were convinced that without Syd, there was no Pink Floyd.
0:14:45 > 0:14:49"You know, you solve this problem or you go back to being an architect.
0:14:49 > 0:14:52"If you don't solve this problem, it's over!"
0:14:52 > 0:14:54Panic! Panic!
0:14:54 > 0:14:57And terrible concern
0:14:57 > 0:15:03because it was also... It was a mixture of a business panic because we needed another single -
0:15:03 > 0:15:06"Syd, please, can you write another single?"
0:15:07 > 0:15:11Syd didn't know what he thought. "No, Syd's got an idea." "Really? What is it?"
0:15:11 > 0:15:15"Syd thinks you should hire two girl saxophone players,"
0:15:15 > 0:15:18and that was it, I think.
0:15:18 > 0:15:21"Oh! Well... No!"
0:15:22 > 0:15:25You know. No.
0:15:25 > 0:15:29Bryan Morrison, who was a barrow boy, said, "The name's Pink Floyd.
0:15:29 > 0:15:35"As long as we put out the Pink Floyd, no-one's going to know the difference. Which one of you is Syd?"
0:15:40 > 0:15:46It was Barratt's old Cambridge friend, David Gilmour, who was asked by the band to join Pink Floyd.
0:15:51 > 0:15:56When you're all young, thrusting, ambitious people in your early 20s,
0:15:56 > 0:16:01you have a brutality about the things you do
0:16:01 > 0:16:02that...
0:16:02 > 0:16:09you know, your ambition is driving you forward without much care for other people's feelings, to be frank.
0:16:09 > 0:16:13And you have plenty of time to feel guilty later.
0:16:17 > 0:16:21As 1967 gave way to 1968,
0:16:21 > 0:16:27Syd Barrett gave way to David Gilmour as Pink Floyd passed through a brief five-member transition.
0:16:37 > 0:16:43I think it was odd for David, it was odd for Syd, and the rest of us were a bit embarrassed about it.
0:16:43 > 0:16:47We nearly said something, that's how bad it was(!)
0:16:47 > 0:16:49I think it was difficult for David
0:16:49 > 0:16:53because when he came into the band,
0:16:53 > 0:16:58I think his role was to try and play Syd's guitar parts.
0:16:58 > 0:17:01# Ooh, ooh, ooh, ooh,
0:17:01 > 0:17:04# Ooh, ooh, ooh, ooh
0:17:04 > 0:17:07# Ooh, ooh, ooh, ooh
0:17:07 > 0:17:10# Ooh, ooh, ooh, ooh... #
0:17:10 > 0:17:13It was his band. It was him and about him.
0:17:19 > 0:17:23I think I coped with it OK. There were moments of feeling lost on stage,
0:17:23 > 0:17:28and not knowing what the hell was going on around me.
0:17:28 > 0:17:31I did spend some of my time with my back to the audience...
0:17:31 > 0:17:36sort of sliding mic-stand legs up the guitar,
0:17:36 > 0:17:39making weird noises,
0:17:39 > 0:17:42feeling rather embarrassed.
0:17:42 > 0:17:44That's not all the time.
0:17:44 > 0:17:47Quite a bit of the time it really worked and gelled
0:17:47 > 0:17:52and you started thinking, "Yeah, I'm getting what we're on about here."
0:17:54 > 0:18:00The band was now recording that difficult second album, A Saucerful Of Secrets.
0:18:03 > 0:18:05Some of the tracks were already recorded -
0:18:05 > 0:18:09I think, Set The Controls For The Heart Of The Sun, which was
0:18:09 > 0:18:13Roger's first real moment of glory,
0:18:13 > 0:18:15was already pretty well done.
0:18:15 > 0:18:19I think there's a guitar on there that Syd did and a bit of guitar that I did.
0:18:19 > 0:18:24I think that's the only moment we share on the track.
0:18:24 > 0:18:26# Little by little the night turns around... #
0:18:26 > 0:18:30One of the things that worked quite well was very rhythmic moments.
0:18:30 > 0:18:34# Counting the leaves which tremble at dawn
0:18:38 > 0:18:41# Lotuses lean on each other in yearning... #
0:18:41 > 0:18:46We did break some new ground by allowing the music to drop down,
0:18:46 > 0:18:53drop away and become this more... ethereal spacey music.
0:19:00 > 0:19:03It was deep space that now attracted the Floyd's attention,
0:19:03 > 0:19:08as it did countless millions of other hopefuls worldwide in 1969.
0:19:08 > 0:19:15'The world's TV audience, 600 million people this afternoon watched the Apollo 11 spacecraft
0:19:15 > 0:19:18'launched into a perfect blue sky above Cape Kennedy in Florida.'
0:19:18 > 0:19:25As the first men walked on the moon, Pink Floyd played along with the TV pictures for the BBC.
0:19:29 > 0:19:34We were there in the studio playing live while people were walking on the moon.
0:19:41 > 0:19:44I can't quite imagine it today,
0:19:44 > 0:19:52that behind a programme they'd have a pop group making up a jam live in the studio
0:19:52 > 0:19:54while that was going on.
0:19:54 > 0:19:56Ha! Those were the days!
0:20:07 > 0:20:10'Aircraft reports a visual with three chutes...'
0:20:10 > 0:20:12When the Floyd returned to Earth,
0:20:12 > 0:20:18they discovered that producing singles without Barrett was Mission Impossible.
0:20:20 > 0:20:23We all tried to write singles.
0:20:23 > 0:20:25Point Me At The Sky was one notable failure.
0:20:25 > 0:20:30MUSIC: "Point Me At The Sky"
0:20:36 > 0:20:38We couldn't do it.
0:20:38 > 0:20:43Eventually we just gave up and went, "We can't do that - what can we do?"
0:20:43 > 0:20:46"We'll do long things, then."
0:20:52 > 0:20:56MUSIC: "Careful With That Axe, Eugene"
0:21:02 > 0:21:05Careful With That Axe, Eugene announced a Floyd of extended,
0:21:05 > 0:21:12rock-driven soundscapes and implied narratives. A kind of space rock made by an unidentified crew,
0:21:12 > 0:21:16now journeying without a captain.
0:21:23 > 0:21:26We were fantastically insular.
0:21:26 > 0:21:32We didn't really want to be influenced by other people and things that were going on.
0:21:32 > 0:21:36We were fiercely independent of what we were doing.
0:21:40 > 0:21:45We did learn a lot about improvising and about listening to what other people were doing,
0:21:45 > 0:21:49and picking up an idea and developing it.
0:21:49 > 0:21:52ETHEREAL INSTRUMENTAL
0:22:13 > 0:22:15CRASHING
0:22:16 > 0:22:19This was the age of experimentation
0:22:19 > 0:22:23and difficult music of prepared pianos and classical pretensions,
0:22:23 > 0:22:28saucepans full of secrets, all of which the Floyd embraced.
0:22:28 > 0:22:33A lot of the time it would just be like plonky noises.
0:22:33 > 0:22:36CLUNKING
0:22:36 > 0:22:38We'd be searching for something and it didn't work.
0:22:38 > 0:22:43Ultimately, to me personally, it became rather unsatisfying.
0:22:43 > 0:22:49I think it was Roger who said, "Let's make an album without using any of our instruments."
0:22:49 > 0:22:51"Use household objects."
0:22:51 > 0:22:56So we spent days getting a pencil and a rubber band till it sounded like a bass.
0:22:56 > 0:22:59We spent weeks doing this.
0:22:59 > 0:23:07Nick would find saucepans and stuff, then deaden them to make them sound like a snare drum.
0:23:07 > 0:23:11I remember saying to Roger, "This is insane."
0:23:11 > 0:23:14MUSIC: "Atom Heart Mother"
0:23:22 > 0:23:27Atom Heart Mother was the Floyd's most ambitious experiment yet,
0:23:27 > 0:23:31a rock suite incorporating a brass band and choir.
0:23:34 > 0:23:37MUSIC: "Atom Heart Mother"
0:23:41 > 0:23:46The musicians didn't give a shit. It was basically a brass band.
0:23:46 > 0:23:51They didn't give a shit. They just wanted to have their beer and get pissed. It was very weird.
0:23:51 > 0:23:54Atom Heart Mother was like a movie soundtrack.
0:23:54 > 0:23:58It was meant to be the soundtrack to an epic movie that didn't exist.
0:24:04 > 0:24:10It was an interesting exercise but it doesn't hold an enormous amount of Pink Floyd development.
0:24:10 > 0:24:13Their fans disagreed.
0:24:13 > 0:24:18The record went to number one in the album chart in October 1970.
0:24:23 > 0:24:27But as the members sharpened their song-writing skills,
0:24:27 > 0:24:32strengthened their musical partnership and focused their experimental ambitions,
0:24:32 > 0:24:36they hit a creative peak on their next album, Meddle,
0:24:36 > 0:24:38with a little help from Seamus the dog.
0:24:38 > 0:24:39MUSIC: "Seamus"
0:24:39 > 0:24:42DOG HOWLS
0:25:12 > 0:25:16It took a while before any of us turned up songs we thought were good.
0:25:16 > 0:25:18I suppose our confidence to move
0:25:18 > 0:25:25slightly away from being quite so out there, came with time.
0:25:26 > 0:25:29MUSIC: "One Of These Days"
0:25:43 > 0:25:47The Floyd had fathered British prog rock and unwittingly,
0:25:47 > 0:25:49its self-indulgent excesses.
0:25:49 > 0:25:53But they showed exactly how it should be done with Echoes -
0:25:53 > 0:25:58a 23-minute track that made up the entire second side of the Meddle album.
0:25:59 > 0:26:03# Overhead the albatross
0:26:03 > 0:26:07# Hangs motionless upon the air... #
0:26:07 > 0:26:09The whole band worked on it together.
0:26:09 > 0:26:14# ..the rolling waves In labyrinths of coral caves... #
0:26:14 > 0:26:18Everyone would be throwing things in, seeing what worked
0:26:18 > 0:26:20and what didn't.
0:26:20 > 0:26:24# Willowing across the sands And everything... #
0:26:24 > 0:26:30All encouraging each other, all getting inspired by other people's ideas.
0:26:30 > 0:26:32It was a really collective piece of music.
0:26:36 > 0:26:37I think we found our feet.
0:26:37 > 0:26:41I think we found we can do this without Syd.
0:26:41 > 0:26:44MUSIC: "Echoes"
0:26:51 > 0:26:56Roger would be driving it more than anyone else, in its dynamic range.
0:27:00 > 0:27:07All of that work, everything we did there I look upon as serving our apprenticeship,
0:27:07 > 0:27:11before we could actually say, "Right, now we're ready.
0:27:11 > 0:27:14"Put on your apron, we're gonna make Dark Side Of The Moon."
0:27:20 > 0:27:25We'd learned how to use our chisels. And we'll do it properly this time.
0:27:26 > 0:27:30MUSIC: "Money"
0:27:35 > 0:27:38In 1973 the Floyd returned to the moon -
0:27:38 > 0:27:41but this time to its dark side.
0:27:41 > 0:27:43# Money
0:27:43 > 0:27:45# Get away
0:27:47 > 0:27:49# Get a good job with... #
0:27:49 > 0:27:54Times had changed. Sixties optimism had given way to the troubled Seventies.
0:27:56 > 0:28:01This was a world in eclipse, materialistic and authoritarian.
0:28:01 > 0:28:04'Anything is possible' had become 'nothing is possible'.
0:28:04 > 0:28:10Roger Waters' lyrics spat back at a world now peopled by us and them.
0:28:11 > 0:28:17The record sold millions and gave them their first number one album in the States.
0:28:17 > 0:28:20They had become conflated, in my mind
0:28:20 > 0:28:24with this thing which I really thought was the death of music,
0:28:24 > 0:28:27prog rock and stuff like that.
0:28:27 > 0:28:29It was over-considered,
0:28:29 > 0:28:32middle class, intellectual,
0:28:32 > 0:28:36English stuff.
0:28:36 > 0:28:39I didn't have it, uniquely amongst the planet, I have to say.
0:28:39 > 0:28:44But it's only much later I realised the scale of their achievement.
0:28:44 > 0:28:48What it is is a great record. That's what it is.
0:28:48 > 0:28:55It's absolutely one of the cardinal pillars of rock'n'roll, in my view, now.
0:28:55 > 0:28:58MUSIC: "Us And Them"
0:29:02 > 0:29:08I certainly knew, as we were making this album, that something magical is happening.
0:29:17 > 0:29:20I remember sitting at the final listening...
0:29:20 > 0:29:22all of us saying, "That is good...
0:29:22 > 0:29:24"That is very good."
0:29:24 > 0:29:29MUSIC: "On The Run"
0:29:33 > 0:29:37One of the elements that made it so successful was that the bloody record company
0:29:37 > 0:29:40pulled their finger out and got on with it.
0:29:40 > 0:29:45That initial surge and that number one in America was very important.
0:29:45 > 0:29:51It was certainly, apart from the enormously talented drumming on it, was to do with the record company
0:29:51 > 0:29:54doing their job.
0:29:54 > 0:29:59This album just shot up
0:29:59 > 0:30:04and was so enormous, we leapt into a different stratosphere.
0:30:04 > 0:30:08Part of you wants it. You want that success.
0:30:08 > 0:30:10You love it, you know.
0:30:10 > 0:30:14You want people to love you or to pretend they love you.
0:30:14 > 0:30:16It's a drug.
0:30:16 > 0:30:21Dark Side represents not only the band's biggest commercial hit,
0:30:21 > 0:30:24but also their most successful artistic collaboration.
0:30:24 > 0:30:30Four men, one band - it would never be quite the same again.
0:30:30 > 0:30:34- Are there some difficult moments? Yes.- How do you get round them?
0:30:34 > 0:30:36We pretend they're not there.
0:30:36 > 0:30:41We certainly don't face up to them in an adult way, if that's what you mean.
0:30:41 > 0:30:44We understand each other very well, we're very tolerant of each other.
0:30:44 > 0:30:47But a lot of things are unsaid as well.
0:30:47 > 0:30:51We're all from the British aristocracy, with the exception of David Gilmour.
0:30:51 > 0:30:54- And all our mothers are countesses in England.- Dukes and duchesses...
0:30:54 > 0:30:59I mean, obviously they're a gang of idiots but live and let live.
0:31:02 > 0:31:07In America a record executive puffed on his cigar and asked the group,
0:31:07 > 0:31:10"Oh, by the way, which one's Pink?"
0:31:12 > 0:31:14Roger had, by this time, become the lyricist.
0:31:14 > 0:31:22And it really was team work because David and me would write music,
0:31:22 > 0:31:29Roger would go home and write some lyrics and come back. That was how the writing was working then.
0:31:33 > 0:31:36MUSIC: "Brain Damage"
0:31:36 > 0:31:40# The lunatic is on the grass... #
0:31:45 > 0:31:49But this Pink Floyd seemed regretful and sometimes angry.
0:31:50 > 0:31:54This wasn't pop music as we'd known it but a new and surprisingly
0:31:54 > 0:31:57commercial strain of English melancholy.
0:31:59 > 0:32:03If I'm at home and I go on the piano,
0:32:03 > 0:32:05it's all very melancholic, what I play.
0:32:05 > 0:32:08I keep saying to myself I have to get out of this,
0:32:08 > 0:32:12do something more upbeat.
0:32:12 > 0:32:14David's melancholic too,
0:32:14 > 0:32:17in his guitar playing.
0:32:17 > 0:32:23Against Roger's rather flowery and political and angry lyrics. It's quite an interesting combination.
0:32:23 > 0:32:27People naturally experience unease
0:32:27 > 0:32:30about all of this.
0:32:30 > 0:32:34I think most human beings experience and think,
0:32:34 > 0:32:39"Well, on the surface all of this seems to be working,
0:32:39 > 0:32:42"but it just doesn't sit right with me."
0:32:44 > 0:32:46That's why people attach to it.
0:32:46 > 0:32:52They're attached to this work because there's a sense of relief, even if it's melancholic,
0:32:52 > 0:32:54when you go, "Oh, my God, somebody else gets it too.
0:32:54 > 0:32:57"Somebody else feels this sense of unease."
0:32:57 > 0:33:03It's Roger's phrase "quiet desperation", isn't that what he says, "it's the English way"?
0:33:03 > 0:33:05Something like that.
0:33:07 > 0:33:11Dave is quintessentially English.
0:33:11 > 0:33:15There's a reserve. And it's hard...
0:33:15 > 0:33:19to break out of it. So he doesn't. He just plays it.
0:33:19 > 0:33:22HAUNTING GUITAR
0:33:46 > 0:33:49The daunting task of following Dark Side Of The Moon
0:33:49 > 0:33:53was finally clinched back at Abbey Road Studios in 1975.
0:33:53 > 0:34:00The spectre of Syd Barrett was celebrated, if not fully laid to rest, on what would become
0:34:00 > 0:34:03their second most successful album, Wish You Were Here.
0:34:06 > 0:34:12They paid tribute to their mercurial founder in an emotionally charged anthem
0:34:12 > 0:34:16that would become an essential part of any Pink Floyd concert.
0:34:16 > 0:34:18# Remember when you were young
0:34:21 > 0:34:23# You shone like the sun
0:34:25 > 0:34:31# Shine on you crazy diamond
0:34:35 > 0:34:38# Now there's a look in your eyes
0:34:40 > 0:34:43# Like black holes in the sky
0:34:45 > 0:34:47# Shine on
0:34:47 > 0:34:51# You crazy diamond
0:34:54 > 0:34:57# You were caught in the crossfire
0:34:57 > 0:34:59# Of childhood and stardom
0:34:59 > 0:35:03# Blown on the steel breeze
0:35:04 > 0:35:06# Come on, you target
0:35:06 > 0:35:09# For faraway laughter
0:35:09 > 0:35:11# Come on, you stranger
0:35:11 > 0:35:14# You legend, you martyr
0:35:14 > 0:35:17# And shine... #
0:35:21 > 0:35:24The way in which Syd left
0:35:24 > 0:35:30and their consistent determination to link themselves to Syd,
0:35:30 > 0:35:34to talk about him, to sing about him, write songs about him
0:35:34 > 0:35:36I think it's been good karma for them.
0:35:39 > 0:35:41He's there because we all know that
0:35:41 > 0:35:46the band wouldn't have existed without him kicking it off.
0:35:47 > 0:35:52I think we also felt that, having dropped him out of the band,
0:35:52 > 0:35:54perhaps we have a bit of guilt,
0:35:54 > 0:35:59of course we should've done something better for him.
0:36:03 > 0:36:07It's funny, when Syd died last year, I realised that
0:36:07 > 0:36:11by and large, I'd already done all my grieving.
0:36:11 > 0:36:15I'd done it 20 years before, I'd been doing it.
0:36:18 > 0:36:21The Floyd had always been a multimedia band
0:36:21 > 0:36:25but the innocent DIY days of the late Sixties were long gone.
0:36:25 > 0:36:29The band now commanded huge stadiums
0:36:29 > 0:36:35and pioneered a form of rock theatre that amazed and delighted their ever-expanding audience.
0:36:35 > 0:36:40But they continued to hide behind the pyrotechnics.
0:36:43 > 0:36:46We don't exist, we're just a brand. Here we are.
0:36:46 > 0:36:50Don't put any lights on us, be distracted by these fucking flying pigs and aeroplanes.
0:36:50 > 0:36:53Just keep away from us, you're not getting near us.
0:36:53 > 0:36:57Our cosy rapport with the audience that were there,
0:36:57 > 0:37:00entirely for us, and would be quiet.
0:37:00 > 0:37:03In the quiet bits you could hear a pin drop.
0:37:03 > 0:37:08That whole thing where we felt at one with our audience changed rather.
0:37:08 > 0:37:13Rather than focusing on the individuals, what did they want to focus on? The music.
0:37:13 > 0:37:16But how do you do that to punters without boring them?
0:37:16 > 0:37:20Quite a lot of people were playing Frisbee at the back
0:37:20 > 0:37:24and you've got to try and get them to join in.
0:37:24 > 0:37:31That's the real reason for doing big things - you want everyone to enjoy the show.
0:37:31 > 0:37:36It's impossible to think or imagine that in every largish town
0:37:36 > 0:37:41there are 50,000 people who know and love your music.
0:37:41 > 0:37:44It's just not realistic to believe that.
0:37:44 > 0:37:51Dave particularly was very against doing anything. "Why can't we just stand on stage and play the songs?"
0:37:51 > 0:37:55"It'll be boring."
0:37:59 > 0:38:04Waters, the most organised, motivated and ambitious member of the group, pushed ahead
0:38:04 > 0:38:07planning ever-higher concepts and bigger extravaganzas,
0:38:07 > 0:38:11making pigs fly and Pink Floyd THE show in town.
0:38:14 > 0:38:18But his increasing disgust with society and authority
0:38:18 > 0:38:23now put him and the band in conflict with the very audiences that flocked
0:38:23 > 0:38:28to their stadium shows, which were becoming an increasingly empty spectacle.
0:38:28 > 0:38:33# Big man, pig man, ha ha... #
0:38:33 > 0:38:38You know, that was a lot of show, that Animals was really a big show.
0:38:38 > 0:38:41I became rather disenchanted with it.
0:38:41 > 0:38:44And thought that too much was lost.
0:38:44 > 0:38:49What was gained from having a large congregation of people communing together
0:38:49 > 0:38:52which is what a stadium at its best is,
0:38:52 > 0:38:58was being lost in a watering down of the way the message got across to the audience.
0:38:58 > 0:39:02I thought it was inhuman and only about money.
0:39:02 > 0:39:05# Ha ha, charade you are... #
0:39:05 > 0:39:11On the 1977 Animals tour, Waters himself conceded defeat by stadium,
0:39:11 > 0:39:16when he spat, like an older, angrier Johnny Rotten at a member of the audience.
0:39:16 > 0:39:20# You well-heeled big wheel... #
0:39:20 > 0:39:25One of the very irritating things about being
0:39:25 > 0:39:31post-show is, when it's been a bad one, and someone says,
0:39:31 > 0:39:33"That was fucking great."
0:39:33 > 0:39:37You resent them. You think, "What the fuck do you know?
0:39:37 > 0:39:39"It was crap."
0:39:39 > 0:39:44# We don't need no education... #
0:39:44 > 0:39:51Waters' personal response to the Animals incident and the dead-end of the stadium experience
0:39:51 > 0:39:54was to make physical and mental barriers,
0:39:54 > 0:39:58and his sense of alienation the subject of the Floyd's next project.
0:39:58 > 0:40:03He would rewrite the book of rock theatre on The Wall.
0:40:04 > 0:40:06If you show yourself, it's a risk.
0:40:06 > 0:40:10You take the risk of being rejected.
0:40:10 > 0:40:13If you have pretensions to being an artist of any kind,
0:40:13 > 0:40:19you have to take the risk of people rejecting you, thinking you're an arsehole.
0:40:19 > 0:40:25"That's crap." So, you may think it is, but it's me.
0:40:25 > 0:40:31# All in all, you're just a...nother brick in the wall... #
0:40:31 > 0:40:36Waters approached The Wall as a one-man construction crew.
0:40:36 > 0:40:40but his determined vision and combative leadership marginalised the other members.
0:40:40 > 0:40:46My confidence in my own lyric writing has not always been that high.
0:40:46 > 0:40:50And Roger showed a very strong desire to be the lyricist.
0:40:50 > 0:40:54We all...lazily allowed that to happen.
0:40:56 > 0:41:00I didn't have any material to offer and David didn't really, either.
0:41:00 > 0:41:05And Roger had begun to think, "I'm the writer of this band.
0:41:05 > 0:41:10"And I don't want anyone else to write. I'm going to become..."
0:41:10 > 0:41:12It was the start of that whole thing.
0:41:12 > 0:41:19So, I'm to blame for not having anything and he's to blame for not encouraging anything to come.
0:41:19 > 0:41:24"Oh, he wouldn't let us write." What?! That's just so stupid.
0:41:24 > 0:41:28I'm desperate for people to write, always,
0:41:28 > 0:41:30always, always, always.
0:41:30 > 0:41:34# Is there anybody out there? #
0:41:34 > 0:41:38The fact is Roger arrived with The Wall more or less pre-written.
0:41:38 > 0:41:41That was a hell of a different thing to Dark Side.
0:41:42 > 0:41:45# Is there anybody out there? #
0:41:50 > 0:41:55Now the indisputable leader of the band, Waters, frustrated by a lack of support,
0:41:55 > 0:41:58sacked one of its co-founding original members,
0:41:58 > 0:42:00keyboard player, Rick Wright.
0:42:00 > 0:42:04Our personal relationship broke down completely by The Wall.
0:42:04 > 0:42:06That's when I left.
0:42:06 > 0:42:10But, the interesting thing is, when I was asked to leave, I said,
0:42:10 > 0:42:15"I will but I want to finish this and I want to play live,
0:42:15 > 0:42:19"play the performances." And Roger was totally happy for me to play.
0:42:19 > 0:42:22I think the personality clash had a lot to do with it.
0:42:22 > 0:42:28And his...his belief that he was the band...
0:42:32 > 0:42:38And that the other musicians... The story goes that Nick was the next one to be thrown out by him.
0:42:39 > 0:42:44We'd reached the point where Roger questioned why he was working with these other people,
0:42:44 > 0:42:49who he felt were not really helping him do what he wanted to do.
0:42:49 > 0:42:53In fact they were criticising him, "That's not quite right, Roger."
0:43:01 > 0:43:03Regime change was in the air.
0:43:06 > 0:43:10My musical taste and abilities
0:43:10 > 0:43:14had just as much, if not more,
0:43:14 > 0:43:17to do with it all than Roger's.
0:43:17 > 0:43:25And if I allowed this dictatorship to become real and total,
0:43:25 > 0:43:28then our music would suffer.
0:43:28 > 0:43:32Because I didn't think, still don't,
0:43:32 > 0:43:37that is really Roger's main forte.
0:43:38 > 0:43:41When I was that very young guy in that band all those years ago
0:43:41 > 0:43:48I would stand in the corner, smoke cigarettes endlessly and snarl.
0:43:48 > 0:43:53I'm not as reactionary in the literal sense, as I was when I was as a young man.
0:43:53 > 0:43:59I don't immediately feel I've got to, you know,
0:43:59 > 0:44:02hurt you before you hurt me.
0:44:08 > 0:44:11The band made one more record together, The Final Cut.
0:44:11 > 0:44:15But in most respects it was a solo album from Waters.
0:44:15 > 0:44:20Soon after, he informed their record company that he was leaving,
0:44:20 > 0:44:24and declared that Pink Floyd was no more.
0:44:24 > 0:44:27# Or make 'em me
0:44:27 > 0:44:31# Or make 'em you
0:44:31 > 0:44:36# Make 'em do what you want them to... #
0:44:36 > 0:44:40This was something David Gilmour in particular refused to accept.
0:44:47 > 0:44:51I think he was very surprised when David and Nick said "OK,
0:44:51 > 0:44:56"you can leave the band, fine." He didn't expect them to say,
0:44:56 > 0:45:01"Now we'll make a Pink Floyd album, go on tour without you."
0:45:05 > 0:45:10It seemed important to me to just get on and do the best you can do.
0:45:10 > 0:45:13And...you know,
0:45:13 > 0:45:15Syd Barrett's Pink Floyd had been one Pink Floyd.
0:45:15 > 0:45:23The Pink Floyd with the four of us, Roger, Rick, Nick and I, had been another one.
0:45:23 > 0:45:26And this would be another version.
0:45:28 > 0:45:29That, I think, shocked him a bit.
0:45:29 > 0:45:32Well, not shocked him... and made him angry.
0:45:32 > 0:45:35Well, we know it made him angry because he tried to stop it.
0:45:36 > 0:45:43The argument was me, rather pompously, and I admit now, erroneously,
0:45:43 > 0:45:48suggesting that because I wasn't in the band any more
0:45:48 > 0:45:52that the brand and band name should be retired.
0:45:54 > 0:45:57So, it wasn't up to me.
0:45:58 > 0:46:05Well, it's a battle about using a name. It's a name that all of us had spent our adult lives working on,
0:46:05 > 0:46:11as anonymous as we all have been throughout that Pink Floyd history.
0:46:11 > 0:46:14I mean, after all, who's Nick Mason?
0:46:14 > 0:46:17He's the drummer with Pink Floyd.
0:46:17 > 0:46:19Um...
0:46:19 > 0:46:21Who's Rick? He's the keyboard player.
0:46:21 > 0:46:26Who's Roger? Oh, he's the guy who was in the Pink Floyd.
0:46:26 > 0:46:28You know...
0:46:28 > 0:46:30That's who they are.
0:46:30 > 0:46:34MUSIC: "Learning To Fly"
0:46:34 > 0:46:39Spurred into action, Gilmour wrote and recorded a new Floyd album,
0:46:39 > 0:46:42A Momentary Lapse Of Reason, with new collaborators.
0:46:42 > 0:46:47Released in 1987, it went on to sell 9 million copies.
0:46:47 > 0:46:54And encouraged Gilmour to tour the Floyd with Rick Wright and Nick Mason fully reinstated.
0:46:54 > 0:46:59# Into the distance A ribbon of black
0:46:59 > 0:47:03# Stretched to the point of no turning back
0:47:05 > 0:47:08# A flight of fancy... #
0:47:08 > 0:47:11When the band played live in Venice in July 1989,
0:47:11 > 0:47:15the televised event was watched around the globe.
0:47:15 > 0:47:19Pink Floyd were back, bigger than ever and with a new leader.
0:47:19 > 0:47:20# Holding me fast
0:47:20 > 0:47:24# How can I escape
0:47:24 > 0:47:28# This irresistible grasp?
0:47:28 > 0:47:32# Can't keep my eyes from the circling sky
0:47:32 > 0:47:36# Tongue-tied and twisted
0:47:36 > 0:47:39# Just an earthbound misfit, I...
0:47:51 > 0:47:54# Ice is forming on the tips... #
0:47:54 > 0:47:57Pink Floyd toured the world, as did a solo Roger Waters.
0:47:57 > 0:48:01He performed his version of The Wall in Berlin in 1990.
0:48:06 > 0:48:11Both played the band's most popular numbers while lawsuits and bad blood flowed between them.
0:48:14 > 0:48:21I remember one night playing in Cincinnati to about 2,000 people in a 6,000-seat arena.
0:48:21 > 0:48:25And they were playing to 60,000 people in a football stadium next door.
0:48:25 > 0:48:28Playing all my songs!
0:48:28 > 0:48:30You know, but...
0:48:33 > 0:48:36Erm...it was hard to take.
0:48:40 > 0:48:46The Momentary Lapse Of Reason tour restored the confidence of both Rick Wright and Nick Mason.
0:48:46 > 0:48:50Under Gilmour's leadership, the band now worked together again as a team
0:48:50 > 0:48:53for what would be the last original Pink Floyd album.
0:48:53 > 0:48:57The Division Bell began life here in 1993
0:48:57 > 0:49:02in Gilmour's floating studio, moored at Hampton Court.
0:49:10 > 0:49:17We decided to start this one, we'd all go and jam, for a week or so.
0:49:17 > 0:49:22Just start playing together and out of that came Division Bell.
0:49:22 > 0:49:27So, it was a true Floyd writing partnership again.
0:49:29 > 0:49:33Well, that sounds to me like something that needs development but it could almost be...
0:49:33 > 0:49:35I have nothing to say.
0:49:40 > 0:49:44It was a happier Pink Floyd that continued recording The Division Bell throughout 1993.
0:49:44 > 0:49:49Happy together, but nonetheless compelled to gaze once again back into their past,
0:49:49 > 0:49:52with the closing track High Hopes.
0:49:54 > 0:49:58# The grass was greener
0:50:01 > 0:50:04# The light was brighter
0:50:08 > 0:50:10# The days were sweeter
0:50:13 > 0:50:16# The nights of wonder
0:50:20 > 0:50:24# With friends surrounded... #
0:50:26 > 0:50:30When you think about how many different versions,
0:50:30 > 0:50:33different lead songwriters they've had.
0:50:33 > 0:50:37And yet...
0:50:37 > 0:50:42there's something that links it all.
0:50:42 > 0:50:47Certainly they managed to make the changes evolutionary, gradual...
0:50:47 > 0:50:53and always maintaining a certain kind of sound.
0:51:02 > 0:51:05More than a decade after The Division Bell was released,
0:51:05 > 0:51:09the Pink Floyd lawsuits had subsided and the band had been put on ice,
0:51:09 > 0:51:14Bob Geldof wanted the four surviving members of the group to reunite
0:51:14 > 0:51:16as the climax of his Live 8 event.
0:51:18 > 0:51:20A task akin to making poverty history.
0:51:24 > 0:51:27He opened negotiations with David Gilmour.
0:51:29 > 0:51:34I really don't do the hard sell cos I don't want to do it to him.
0:51:36 > 0:51:40He's desperate not to do this. I can see it, he's not gonna do it.
0:51:40 > 0:51:46And I just have to say, one, no-one in Pink Floyd's world feels
0:51:46 > 0:51:50that you guys ever said goodbye properly.
0:51:50 > 0:51:52And that's true.
0:51:52 > 0:51:54Two, it's 20 minutes.
0:51:54 > 0:51:57It's 20 minutes.
0:51:57 > 0:52:00"Ah, we're going on tour..." Spare me.
0:52:00 > 0:52:06Don't tell me that the Pink Floyd getting back together again will not seize
0:52:06 > 0:52:11the entire... That's the thing that makes this totally different.
0:52:14 > 0:52:16Gilmour said no.
0:52:16 > 0:52:21So, Geldof contacted Waters who called Gilmour,
0:52:21 > 0:52:23who called Geldof and so on.
0:52:23 > 0:52:26Eventually the four men buried the axe
0:52:26 > 0:52:31and agreed to play together just one more time as Pink Floyd.
0:52:35 > 0:52:39We had a meeting with Roger and he wanted to do other songs.
0:52:39 > 0:52:45Basically David said, "Look, they've asked Pink Floyd to play.
0:52:45 > 0:52:50"We're Pink Floyd so we're gonna do these songs, and if you'd like to play with us, that'd be great."
0:52:50 > 0:52:53So he was very humble, actually.
0:52:53 > 0:52:55He knew that, he realised that.
0:52:55 > 0:52:57But he loved it.
0:52:57 > 0:53:02# I cannot put my finger on it now
0:53:02 > 0:53:08# The child is grown The dream is gone... #
0:53:08 > 0:53:12To me, it was also very good to get back on to speaking terms,
0:53:12 > 0:53:16after all the bickering with Roger over the years,
0:53:16 > 0:53:20and us to maybe grow up a little bit...
0:53:20 > 0:53:28Become adult human beings in some sort of reasonable relationship...
0:53:28 > 0:53:30For that moment.
0:53:37 > 0:53:39Mummy! Um...
0:53:39 > 0:53:42It was, er...it was terrific.
0:53:42 > 0:53:48From the playing point of view, it was really easy and really nice,
0:53:48 > 0:53:51and fun to play together.
0:53:51 > 0:53:56For me playing with Roger...the relationship between the bass player and the drummer is special,
0:53:56 > 0:54:03you just intuitively know which mistakes we're gonna make next.
0:54:06 > 0:54:10Great to have Roger standing next to me...playing the bass.
0:54:10 > 0:54:15It did bring back memories, and a little bit of emotion.
0:54:19 > 0:54:23I think it's great that happened. I really think it was great.
0:54:23 > 0:54:28If that's the only time we get to draw a line under it, well, so be it.
0:54:28 > 0:54:33I'd like to do more of it. I thought it was really cool. It was very interesting, musically
0:54:33 > 0:54:36and emotionally and philosophically.
0:54:42 > 0:54:48This vast, numberless constituency gathered about because these four men said,
0:54:48 > 0:54:53"Enough's enough, this single thing is important enough to put aside
0:54:53 > 0:54:57"these pathetic misgivings of the past."
0:55:08 > 0:55:12There was nothing more potent or symbolic on that night than
0:55:12 > 0:55:15these four old geezers
0:55:15 > 0:55:20playing...so beautifully,
0:55:20 > 0:55:23laying their own ghosts to rest,
0:55:23 > 0:55:27and the thing is, it worked.
0:55:27 > 0:55:29There are 20 million children in school,
0:55:29 > 0:55:34now - cos of what went on all during that week.
0:55:34 > 0:55:38And emblematic of that week,
0:55:38 > 0:55:43was this signature group
0:55:43 > 0:55:46and this great moment in their lives.
0:55:46 > 0:55:49I think.
0:55:49 > 0:55:52CHEERING
0:55:52 > 0:55:55The body language was funny...
0:55:58 > 0:56:01Roger seemed, "Yeah, I'm back!"
0:56:01 > 0:56:04Sort of very pleased. And the others were kind of...
0:56:04 > 0:56:07like that a bit.
0:56:07 > 0:56:09HE LAUGHS
0:56:24 > 0:56:28We were a family, you know, and we went through a divorce.
0:56:28 > 0:56:32A marriage and we went through a divorce. And erm...
0:56:34 > 0:56:37I don't know who divorced who, but anyway...
0:56:37 > 0:56:40It didn't feel like a family.
0:56:44 > 0:56:48There are connections I feel with my mother and my brother
0:56:48 > 0:56:52that I don't feel for anybody that I was in Pink Floyd with.
0:56:52 > 0:56:57It's very like a family. You get sick of each other, the way you do in families.
0:56:57 > 0:56:59And you get this wonderful honesty...
0:56:59 > 0:57:06you know, shouting at people, telling them how useless they are and what they've done wrong.
0:57:06 > 0:57:10It's a bit like the Munsters, if you know what I mean.
0:57:10 > 0:57:14Well, there it is. You can pass your verdict as well as I can.
0:57:14 > 0:57:21My verdict is that it is a regression to childhood but after all, why not?
0:57:21 > 0:57:24MUSIC: "Eclipse"
0:58:05 > 0:58:08I would love to go out and play Floyd music again.
0:58:10 > 0:58:15Stubborn isn't the word, talking about leading a horse to water but you can't make it drink.
0:58:15 > 0:58:18Well, these horses can't even be led to the water.
0:58:18 > 0:58:22I don't think it will happen but I think... Well, you can ask Dave when you speak to him.
0:58:22 > 0:58:25I think it happens.
0:58:26 > 0:58:28# And all that is gone
0:58:28 > 0:58:31# And all that's to come
0:58:31 > 0:58:36# And everything under the sun is in tune
0:58:36 > 0:58:43# And the sun is eclipsed by the moon. #
0:58:50 > 0:58:53Subtitles by Red Bee Media Ltd
0:58:53 > 0:58:56E-mail subtitling@bbc.co.uk