0:00:02 > 0:00:09This programme contains some strong language.
0:00:12 > 0:00:16# How I wish How I wish you were here
0:00:18 > 0:00:22# We're just two lost souls Swimming in a fish bowl
0:00:22 > 0:00:26# Year after year
0:00:27 > 0:00:30# Running over the same old ground
0:00:30 > 0:00:33# What have we found?
0:00:33 > 0:00:36# The same old fears
0:00:36 > 0:00:38# Wish you were here. #
0:01:34 > 0:01:36It did stem from those first four notes
0:01:36 > 0:01:41that popped out of the guitar one day in King's Cross.
0:01:45 > 0:01:49Somehow, those notes evoked a song about Syd
0:01:49 > 0:01:56and his disappearance, absence, if you like, in Roger.
0:01:56 > 0:01:58It's my homage to Syd
0:01:58 > 0:02:05and my heartfelt expression of my sadness and...
0:02:05 > 0:02:09But also my admiration for the talent, and my sadness
0:02:09 > 0:02:11for the loss of the friend.
0:02:11 > 0:02:15# You were caught in the crossfire
0:02:15 > 0:02:17# Of childhood and stardom
0:02:18 > 0:02:21# Blown on the steel breeze. #
0:02:23 > 0:02:29I think the song is brilliant in its sort of evocation of what
0:02:29 > 0:02:33Roger obviously felt about Syd, and certainly, it matches mine.
0:02:33 > 0:02:37I think what was so important was to not try
0:02:37 > 0:02:38and write him out of history.
0:02:38 > 0:02:41# Come on, you stranger
0:02:41 > 0:02:43# You legend, you martyr
0:02:43 > 0:02:46# And shine! #
0:03:04 > 0:03:07There are no generalities, really, in that song.
0:03:07 > 0:03:10It's not about, "All the crazy diamonds", it's about Syd.
0:03:10 > 0:03:13THEY VOCALIZE AND EMIT NOISES
0:03:23 > 0:03:26When I first saw the Floyd, I remember...
0:03:26 > 0:03:28I mean, the first thing you noticed was the lights,
0:03:28 > 0:03:32because nobody was doing that then. At least I hadn't seen it.
0:03:32 > 0:03:36But Syd really started to shine.
0:03:36 > 0:03:39You know, you couldn't really take your eyes off him,
0:03:39 > 0:03:43even in the murk and the purple and green blobs, you know,
0:03:43 > 0:03:46the bright-eyed Syd and his singing and his guitar playing
0:03:46 > 0:03:48kind of jumped out at you.
0:03:48 > 0:03:53# Blinding signs flap Flicker, flicker, flicker
0:03:53 > 0:03:57# Blam... Pow! Pow!
0:03:57 > 0:04:01# Da, da-da, da, da-da, da-da
0:04:01 > 0:04:02# Da-da, da-da
0:04:02 > 0:04:07# Ooooh! #
0:04:07 > 0:04:10By the time I was working with them in the studio,
0:04:10 > 0:04:14it was clear that the real creative shape of the group emanated
0:04:14 > 0:04:16from Syd, although,
0:04:16 > 0:04:19you know, it certainly wasn't Syd and backing group.
0:04:32 > 0:04:36Syd was a very wonderful chap.
0:04:36 > 0:04:38Very, very witty. Very, very sharp.
0:04:38 > 0:04:45You know, he was out-going, charming, wonderful, friendly.
0:04:45 > 0:04:48You name it. I mean, a wonderful man.
0:04:48 > 0:04:52He was one of the gang, I guess you'd say.
0:04:52 > 0:04:55A good friend. Funny.
0:04:55 > 0:04:58Rather annoying, though - he was good looking
0:04:58 > 0:05:00and played guitar and could paint,
0:05:00 > 0:05:02and always had nice girlfriends.
0:05:04 > 0:05:07No-one that you ever really would have imagined
0:05:07 > 0:05:11would wind up the way he did wind up.
0:05:18 > 0:05:20# Remember when you were young
0:05:23 > 0:05:25# You shone like the sun
0:05:27 > 0:05:33# Shine on, you crazy diamond. #
0:05:53 > 0:05:58# Little by little The night turns around
0:06:02 > 0:06:06# Counting the leaves Which tremble at dawn
0:06:06 > 0:06:10# Ah, aaah, ah, aaah, ah
0:06:10 > 0:06:14# Ah, aaah, ah, aaah, ah
0:06:14 > 0:06:18# Set the controls For the heart of the sun
0:06:22 > 0:06:24# Heart of the sun
0:06:26 > 0:06:28# Heart of the sun. #
0:06:35 > 0:06:37In this post Dark Side Of The Moon period,
0:06:37 > 0:06:40we were all having to assess
0:06:40 > 0:06:44what we were in this business for,
0:06:44 > 0:06:49why we were doing it, whether we were artists or business people.
0:06:49 > 0:06:53Having achieved the sort of success
0:06:53 > 0:06:59and money out of it all that...
0:06:59 > 0:07:04that could fulfil anyone's wildest teenage dreams,
0:07:04 > 0:07:08why we would still want to continue to do it.
0:07:08 > 0:07:12Yeah, I remember the disappointment of Top Of The Pops
0:07:12 > 0:07:14or having the first hit single or whatever.
0:07:14 > 0:07:17It's not as world-shaking
0:07:17 > 0:07:20and changing as perhaps you expect it to be.
0:07:21 > 0:07:25So maybe, you know, because of the enormous success
0:07:25 > 0:07:27of Dark Side, there was still that sense of,
0:07:27 > 0:07:32"Well, this hasn't made us feel enormously different or satisfied."
0:07:33 > 0:07:37Roger, I think, has sometimes said that he thinks
0:07:37 > 0:07:40that we were kind of finished at that point,
0:07:40 > 0:07:42and he may have been right.
0:07:45 > 0:07:47I think we were at a watershed then,
0:07:47 > 0:07:49and we could easily have split up then.
0:07:49 > 0:07:51And we didn't, because we were frightened
0:07:51 > 0:07:55of the great out there, beyond the umbrella
0:07:55 > 0:08:01of this extraordinarily powerful and valuable trade name - Pink Floyd.
0:08:15 > 0:08:18It was the first song they played, and it was like, "Whoa,"
0:08:18 > 0:08:20it was like singing about Syd Barrett.
0:08:28 > 0:08:33The band that was known for their musicality,
0:08:33 > 0:08:36they weren't doing their music justice.
0:08:36 > 0:08:40Do you recall there was a famous review by Nick Kent?
0:08:40 > 0:08:42How could I forget?
0:08:42 > 0:08:44I kind of over-reacted, obviously.
0:08:44 > 0:08:46I mean, I feel now that I over-reacted,
0:08:46 > 0:08:49but at the same time, they partly deserved it.
0:08:49 > 0:08:51It was a bad gig.
0:08:51 > 0:08:53It was, it was shambolic.
0:08:53 > 0:08:59I mean it was...it lacked enthusiasm and it lacked a sort of purpose,
0:08:59 > 0:09:01a sense of purpose, and I don't really know why.
0:09:01 > 0:09:07From my perspective now, to look back upon how I felt then,
0:09:07 > 0:09:13scared as I was of my own shadow, you know,
0:09:13 > 0:09:16never mind my relationship with audiences,
0:09:16 > 0:09:20and there were real concerns about not making any contact
0:09:20 > 0:09:24with the audience during much of that tour of England
0:09:24 > 0:09:26that we did in 1974.
0:09:26 > 0:09:32And we didn't. We were... we were very disconnected.
0:09:34 > 0:09:39If we weren't giving 100%, we couldn't quite sort out why not.
0:09:39 > 0:09:42You know, there was an element of frustration
0:09:42 > 0:09:45in having someone tell us that.
0:09:45 > 0:09:50I think we probably knew it and couldn't quite sort of deal with it.
0:09:53 > 0:09:56That review would have been one of the things which would have -
0:09:56 > 0:10:02once we'd got over our initial ire - we would have taken on board
0:10:02 > 0:10:05and realised that there was more than a germ of truth in it.
0:10:22 > 0:10:25I was asked to record the Floyd at what was then called
0:10:25 > 0:10:28the Empire Pool, which is now the Wembley Arena,
0:10:28 > 0:10:32and when I saw the Floyd before they went on, they said,
0:10:32 > 0:10:37"Oh, do us a favour, will you go and sit with our sound engineer?"
0:10:37 > 0:10:38And I said, "OK."
0:10:38 > 0:10:41How long is it since you've been here, Brian?
0:10:41 > 0:10:4330 years.
0:10:45 > 0:10:46And anyhow,
0:10:46 > 0:10:48I went back in the interval and they said
0:10:48 > 0:10:52"Well, what do you think?" And I said, "It's rubbish."
0:10:52 > 0:10:55Because I'd been used to working with smaller groups
0:10:55 > 0:11:00on smaller mixing desks, and theirs was massive.
0:11:01 > 0:11:03So anyway, cut a long story short,
0:11:03 > 0:11:07next thing I knew, I was doing the next night at the Empire Pool.
0:11:12 > 0:11:14Oh, God, this does take me back.
0:11:14 > 0:11:17And then I ended up doing the rest of the British tour.
0:11:18 > 0:11:20Somebody better just run through this.
0:11:20 > 0:11:25And then, as I say, then came Wish You Were Here.
0:11:25 > 0:11:27There were a lot of days where we didn't do anything,
0:11:27 > 0:11:30while they were thinking about ideas.
0:11:30 > 0:11:34The reality was that we were struggling with making the follow-up
0:11:34 > 0:11:38to Dark Side, and we rushed back in to the studio to do that.
0:11:39 > 0:11:44You know, we put ourselves under a sort of ridiculous pressure,
0:11:44 > 0:11:46in a way, trying to make a record from nothing.
0:11:47 > 0:11:49It was disengagement.
0:11:49 > 0:11:54It was not being willing to apply yourself sufficiently.
0:11:54 > 0:11:58A lot of moments where any one of us might have been much more
0:11:58 > 0:12:03interested in thinking about what they were doing that weekend.
0:12:05 > 0:12:09It became a case of two would be in the studio and two were running
0:12:09 > 0:12:14late or, as it was always known, they were out playing squash.
0:12:15 > 0:12:21And then we had the dartboard with the air rifle.
0:12:22 > 0:12:27The concentrated activity was rather diluted,
0:12:27 > 0:12:30and I'm sure for a...
0:12:31 > 0:12:34..a very pushing, driving sort of person
0:12:34 > 0:12:37like Roger, it was more frustrating than it was for anyone else,
0:12:37 > 0:12:40although considerably frustrating for all of us, I suspect.
0:12:40 > 0:12:45When I'm in the studio, I'm there to do something,
0:12:45 > 0:12:49otherwise I'd rather be somewhere else, frankly.
0:12:49 > 0:12:50So I'm there to work.
0:13:02 > 0:13:05Well, you know, there's the legendary argument
0:13:05 > 0:13:08that I must have had with the rest of them about...
0:13:10 > 0:13:13..my thought at the time that it would be better to use
0:13:13 > 0:13:17the other two tracks as well that we had been working on.
0:13:17 > 0:13:21I had to fight David for a bit, as he acknowledges completely,
0:13:21 > 0:13:22you know.
0:13:22 > 0:13:25We had a completely different idea about it,
0:13:25 > 0:13:28and that was a...that was a fight that I won.
0:13:29 > 0:13:36Dave saw a record that had those two songs and Shine On,
0:13:36 > 0:13:39and it felt cobbled together to me.
0:13:39 > 0:13:42It didn't feel like real.
0:13:42 > 0:13:45And so at some point in that process, yeah,
0:13:45 > 0:13:49I came up with the idea of, "No, this has to be thematic,"
0:13:49 > 0:13:52and that's the way I expressed it.
0:13:55 > 0:13:58This will make this a more coherent work,
0:13:58 > 0:14:00and because it's more coherent,
0:14:00 > 0:14:03it will be better than if we just throw all the songs
0:14:03 > 0:14:07we've been working on together and go boom, there you are, that's it.
0:14:07 > 0:14:10There's one song that's about Syd, but the rest of it isn't.
0:14:10 > 0:14:16It's a much more universal expression of my feelings
0:14:16 > 0:14:18about absence...
0:14:20 > 0:14:23..because I felt that we weren't really there,
0:14:23 > 0:14:25we were very absent.
0:14:38 > 0:14:39I remembered it.
0:14:44 > 0:14:47# Come in here, dear boy Have a cigar
0:14:47 > 0:14:48# You're gonna go far. #
0:14:48 > 0:14:51"Come in here and have a cigar,"
0:14:51 > 0:14:55you know, and become a star and become immortal.
0:14:55 > 0:14:57# You're gonna make it if you try
0:14:57 > 0:14:58# They're gonna love you. #
0:14:58 > 0:15:03You become part of the whole buying and selling machine.
0:15:03 > 0:15:04It's high.
0:15:04 > 0:15:09I would need to do a number of vocal exercises before I attempted that.
0:15:09 > 0:15:14I think the lyrics so much sum up the recording business.
0:15:19 > 0:15:21Rock 'n' roll, man.
0:15:21 > 0:15:25# Come in here, dear boy Have a cigar
0:15:25 > 0:15:28# You're gonna go far. #
0:15:28 > 0:15:32The record companies were... they were all-powerful, in a way.
0:15:32 > 0:15:35No-one worked without a record deal in those days,
0:15:35 > 0:15:37so they had a lot of power.
0:15:40 > 0:15:43You're not longer really an individual any more,
0:15:43 > 0:15:45you're just...you're a cipher,
0:15:45 > 0:15:48you're playing a part, you're a puppet.
0:15:48 > 0:15:50You're not your own man.
0:15:50 > 0:15:53# The weather's just fantastic That is really what I think
0:15:53 > 0:15:57# Oh, by the way Which one's Pink? #
0:15:58 > 0:16:00By the way, which one is Pink?
0:16:00 > 0:16:01Which one's Pink?
0:16:01 > 0:16:03Which one's Pink?
0:16:03 > 0:16:08# And did we tell you The name of the game, boy?
0:16:08 > 0:16:12# We call it Riding the gravy train. #
0:16:12 > 0:16:17It was felt that Syd's madness had partly come about
0:16:17 > 0:16:21through the demands of the record industry.
0:16:21 > 0:16:23"You've had a hit, now I want you to do another hit."
0:16:23 > 0:16:25"I want you another hit, and I want another hit."
0:16:25 > 0:16:28"And that's not as good as your last hit."
0:16:28 > 0:16:30"That's not as good as your last record," you know,
0:16:30 > 0:16:33"And I want you to do a bigger show and have more lights
0:16:33 > 0:16:34"and more people."
0:16:34 > 0:16:36I mean, it's...
0:16:36 > 0:16:38"Hey, all I wanted to do is to play a guitar
0:16:38 > 0:16:42"and write a song, and suddenly I'm in the middle of all this."
0:16:42 > 0:16:46The star thing doesn't make... doesn't make you happy, you know.
0:16:46 > 0:16:50That, the star thing, can make you want to withdraw from society.
0:16:50 > 0:16:54# It's awfully considerate of you To think of me here
0:16:54 > 0:17:00# And I'm most obliged to you For making it clear
0:17:00 > 0:17:02# That I'm not here. #
0:17:02 > 0:17:04Well, you could argue that Syd was burned by the music business,
0:17:04 > 0:17:07but actually, he was probably burned more by us.
0:17:07 > 0:17:09# And I never knew the moon... #
0:17:09 > 0:17:12Syd had sort of gone off the idea of doing Top Of The Pops,
0:17:12 > 0:17:14and being sort of commercial.
0:17:14 > 0:17:16# ..shoes and brought me here. #
0:17:16 > 0:17:19I think it wasn't the record company putting the pressure on, it was us
0:17:19 > 0:17:23putting the pressure on, because that's the way we wanted to go.
0:17:23 > 0:17:26# I don't care If the sun doesn't shine
0:17:26 > 0:17:31# And I don't care If nothing is mine
0:17:31 > 0:17:36# And I don't care If I'm nervous with you
0:17:36 > 0:17:40# I'll do my loving in the winter. #
0:17:46 > 0:17:49# Come in here, dear boy Have a cigar
0:17:49 > 0:17:51# You're gonna go far
0:17:51 > 0:17:53# Fly high... #
0:17:53 > 0:17:54With Have A Cigar,
0:17:54 > 0:17:58both of them knew that neither of them could sing it.
0:17:58 > 0:18:03I always thought that Dave's voice was not deep enough.
0:18:03 > 0:18:07# I've always had a deep respect I mean that most sincerely. #
0:18:07 > 0:18:08Yeah, that's Dave.
0:18:10 > 0:18:14# I think the band's fantastic That is really what I think
0:18:14 > 0:18:17# By the way, which one's Pink? #
0:18:17 > 0:18:18That's Roger.
0:18:18 > 0:18:22They wanted the ferocity which Roger gives on other tracks.
0:18:22 > 0:18:25At the time, he just felt that he hadn't got it.
0:18:28 > 0:18:31"Come in here, dear boy, have a cigar.
0:18:31 > 0:18:34"You're gonna go far."
0:18:34 > 0:18:39We used to do quite a lot of shows where Roy would be on the bill.
0:18:39 > 0:18:41A good guy to have around.
0:18:41 > 0:18:47I was in Studio 2 and they were in Studio 3.
0:18:47 > 0:18:49I think Roy was actually rather...
0:18:51 > 0:18:54..lacking in momentum himself.
0:18:54 > 0:18:55I think we were...
0:18:55 > 0:18:58It didn't only seem to affect Pink Floyd.
0:18:58 > 0:19:01Roger was really struggling with it,
0:19:01 > 0:19:04and then Dave... then they both tried.
0:19:04 > 0:19:07There was a lot of arguing about how we were going to do it
0:19:07 > 0:19:09and how we were going to make it work.
0:19:09 > 0:19:11At one point Roy, who was in the room, piped up and said...
0:19:11 > 0:19:15I just said, "I'll do it, if you like, for a price."
0:19:15 > 0:19:21# I've always had a deep respect and I mean that most sincerely
0:19:21 > 0:19:24I mean, Roy really put his heart in this.
0:19:24 > 0:19:27I mean, I can picture him now...
0:19:27 > 0:19:29# Which one's Pink? #
0:19:29 > 0:19:32..putting his heart and soul in to it,
0:19:32 > 0:19:34as if his life depended on it.
0:19:34 > 0:19:38# You gotta get an album out You owe it to the people
0:19:38 > 0:19:41# We're so happy We can hardly count. #
0:19:41 > 0:19:42I mean, the lyrics...
0:19:44 > 0:19:47If I'd have written those lyrics, I'd feel well pleased.
0:19:47 > 0:19:53# And did we tell you The name of the game, boy?
0:19:53 > 0:19:57# We call it Riding the gravy train. #
0:19:57 > 0:20:00It was played millions of times around the world as a single.
0:20:00 > 0:20:04That was my vocals on a... You know, really...
0:20:04 > 0:20:08a kind of a number one selling single.
0:20:08 > 0:20:10Everybody thought it was Roger.
0:20:12 > 0:20:14I was a bit peed off about that.
0:20:14 > 0:20:17I think if I'd sung it, it would be more vulnerable
0:20:17 > 0:20:19and less cynical than the way he did it.
0:20:19 > 0:20:22But that's not the way Roy sings.
0:20:22 > 0:20:28He went off and did it and did a great job, and thank you very much.
0:20:30 > 0:20:32I don't think Roger liked his version terribly much,
0:20:32 > 0:20:35but I think his version is the perfect version.
0:20:35 > 0:20:38He was singing a sort of parody, anyway...
0:20:41 > 0:20:45..which I don't like. I never liked it.
0:20:45 > 0:20:50The worst of it is that sometimes when I'm doing,
0:20:50 > 0:20:53you know, when I'm doing a gig...
0:20:54 > 0:20:59..there's some wag'll shout, "Have A Cigar", you know.
0:20:59 > 0:21:01I regret it, and that's not
0:21:01 > 0:21:04cos I've got anything against Roy, I haven't, you know.
0:21:04 > 0:21:05And, um...
0:21:07 > 0:21:12I think if I'd persevered with it, I would have done it better.
0:21:12 > 0:21:16# Come in here, dear boy Have a cigar
0:21:16 > 0:21:19# You're gonna go far
0:21:19 > 0:21:22# You're gonna fly high
0:21:22 > 0:21:25# You're never gonna die You're gonna make it if you try
0:21:25 > 0:21:28# They're gonna love you. #
0:21:36 > 0:21:37I was so unbelievably thrilled
0:21:37 > 0:21:41to be there, and I was just very young,
0:21:41 > 0:21:42I was just about 21.
0:21:42 > 0:21:44There is actually a rather nice picture of me
0:21:44 > 0:21:48that Nick Mason took, and it sort of sums up, because I just look
0:21:48 > 0:21:49wide-eyed and,
0:21:49 > 0:21:52you know, thrilled is the only word, I think.
0:21:52 > 0:21:54I'd baked some fairy cakes,
0:21:54 > 0:21:57and I thought it would be a good idea to bring them to the studio.
0:21:57 > 0:22:01There's this wonderful sequence of Roger proving that he did
0:22:01 > 0:22:03enjoy the cake.
0:22:03 > 0:22:06I think that Nick took these pictures,
0:22:06 > 0:22:10because I can't imagine that I had the courage to sort of,
0:22:10 > 0:22:13you know, take them, but perhaps I did.
0:22:16 > 0:22:19Roger is in the driving seat in these pictures,
0:22:19 > 0:22:23as far as the studio's concerned, and perhaps that position is hard.
0:22:23 > 0:22:25But, actually, it's probably better
0:22:25 > 0:22:28if just one person is in the driving seat.
0:22:28 > 0:22:31Roger, actually, you know, kept a tight hold on the helm,
0:22:31 > 0:22:34and that's what he - that's what he did.
0:22:34 > 0:22:37And, you know, you can't gainsay that,
0:22:37 > 0:22:41because the records, you know, the records were very good.
0:22:50 > 0:22:52Dark Side was just a such a sort of thing.
0:22:52 > 0:22:55All the pieces fell into place,
0:22:55 > 0:22:56or as Nick Mason says,
0:22:56 > 0:22:58"The drumming did it."
0:22:58 > 0:23:02So I think that that was quite hard to deal with.
0:23:02 > 0:23:04What do you do next? What do you do to top it?
0:23:04 > 0:23:05What do you do to be different?
0:23:07 > 0:23:09Well, I couldn't draw,
0:23:09 > 0:23:12so fantasy pictures were out.
0:23:12 > 0:23:16I couldn't paint, so artsy fartsy was out.
0:23:16 > 0:23:20I wasn't a graphic designer, and also, I was not interested
0:23:20 > 0:23:25in band pictures, because I found them a bit dull, you know, a group
0:23:25 > 0:23:29of four musicians who play guitar, drums and bass or keyboards
0:23:29 > 0:23:33would seem to me to be four musicians. They could be anybody.
0:23:33 > 0:23:39We always felt that representing the music was the order of the day.
0:23:39 > 0:23:42I know, it sounds radical, even revolutionary!
0:23:42 > 0:23:46So in order to represent the music, one didn't really want to be limited
0:23:46 > 0:23:51in the great palette of art and life to a picture of four geezers.
0:23:51 > 0:23:57We'd mostly, in those days, left it to Storm to come up with
0:23:57 > 0:24:02things which we would give him a desultory two minutes
0:24:02 > 0:24:08of our mixing time, to say that one, maybe, that one, not that, not that.
0:24:08 > 0:24:12They were recording at Abbey Road, and I remember going there,
0:24:12 > 0:24:14and I remember I was very...
0:24:14 > 0:24:17I was very nervous in doing the presentation.
0:24:17 > 0:24:21He came up with these - this, you know, from the lyrics,
0:24:21 > 0:24:26from this theme of absence, and it just seemed like a very good idea.
0:24:26 > 0:24:29I remember getting a little round of applause.
0:24:29 > 0:24:31I was most gratified, I can tell you.
0:24:31 > 0:24:35Storm, actually, is probably one of the most argumentative people
0:24:35 > 0:24:37you could ever meet.
0:24:37 > 0:24:40Roger and Storm would have these intense conversations
0:24:40 > 0:24:43over fine wines and so on.
0:24:43 > 0:24:47Storm and Roger were two great intellects and, you know,
0:24:47 > 0:24:51there was sparks flying in their brains, those two.
0:24:51 > 0:24:56I got very pre-occupied with four, with the number four.
0:24:56 > 0:25:00There were four words in the title, four members of the band,
0:25:00 > 0:25:04and four elements to life - air, fire, water and earth.
0:25:04 > 0:25:07So the first thing that was done was a postcard.
0:25:07 > 0:25:10The postcard said "Wish You Were Here."
0:25:10 > 0:25:14Po found this fantastic location, called Lake Mono,
0:25:14 > 0:25:16which is such an amazing location
0:25:16 > 0:25:19that you could just about photograph a plastic duck in it
0:25:19 > 0:25:20and you'd like it.
0:25:20 > 0:25:23We always thought there was an element of Storm loving to find
0:25:23 > 0:25:26the most expensive, distant location in the world
0:25:26 > 0:25:31so he could go off and have a little jolly for a few days at our expense.
0:25:31 > 0:25:33This guy is doing a yoga position
0:25:33 > 0:25:36in a yoga chair locked into the mud,
0:25:36 > 0:25:38poor man, with a breathing apparatus on.
0:25:38 > 0:25:41And he had to hold his breath so I didn't get any bubbles.
0:25:41 > 0:25:44That's all shot for real. That's not airbrushed or cut or anything.
0:25:44 > 0:25:48That was a moment in time on a magical evening,
0:25:48 > 0:25:49with amazing light.
0:25:49 > 0:25:51Did that take a long time to set up, that shot?
0:25:51 > 0:25:54A fucking long time.
0:25:54 > 0:25:56This shot was a pain in the arse.
0:26:17 > 0:26:19I came to the notice of Pink Floyd,
0:26:19 > 0:26:22because I made a film in Los Angeles for the BBC.
0:26:22 > 0:26:25I thought that I would do a kind of a visual diary
0:26:25 > 0:26:27of Americana at that time.
0:26:28 > 0:26:30So I drew everything that I could think of at the time,
0:26:30 > 0:26:33like Black Power, Playboy magazine, Mickey Mouse.
0:26:33 > 0:26:35Hi, guys.
0:26:38 > 0:26:42There was a fantastic Mickey Mouse sequence, where Mickey
0:26:42 > 0:26:45goes from being the mouse to being a sort of drug crazed mouse.
0:26:51 > 0:26:54HE SIGHS
0:26:54 > 0:26:57Hey, man. That was far out, man.
0:26:57 > 0:27:00Mickey's such a clean living guy, and there he was...
0:27:02 > 0:27:04..on drugs.
0:27:04 > 0:27:07I thought it was absolutely brilliant, and I just thought
0:27:07 > 0:27:09this, we could really...
0:27:09 > 0:27:11It'd be great to work with someone who produced
0:27:11 > 0:27:13something like this.
0:27:13 > 0:27:17And I took it to Roger and showed Roger and Roger loved it.
0:27:17 > 0:27:22It was very awkward, like all relationships at the beginning,
0:27:22 > 0:27:23because they wanted one thing from me,
0:27:23 > 0:27:25and I wasn't coming up with the goods, I felt.
0:27:25 > 0:27:28When I say this to Roger today, he says, "Oh, I don't remember that."
0:27:28 > 0:27:31I just remember it was an enormous relief
0:27:31 > 0:27:35after a lot of the flailing around visually
0:27:35 > 0:27:37that we'd done with Dark Side Of The Moon.
0:27:40 > 0:27:45I think the Sandman is a particularly great image.
0:27:47 > 0:27:51You know, the fact that we're all bits of sand that can blow away,
0:27:51 > 0:27:53I think it's just an idea I had, really.
0:27:53 > 0:27:58I wanted to do the impermanence of life or whatever, you know.
0:27:58 > 0:28:03It all sounds rather... pretentious crap, really.
0:28:23 > 0:28:27The beginning of the record sounds very melancholy,
0:28:27 > 0:28:30and is very melancholy and is melancholy music.
0:28:32 > 0:28:33Sort of blues,
0:28:33 > 0:28:37it's a sort of G Minor blues that whole first six or seven minutes.
0:28:41 > 0:28:48We obviously found a mood that we wanted to not exactly jam to,
0:28:48 > 0:28:51but play around with and find something within.
0:28:54 > 0:28:57And we were never too afraid of leaving quite a long period
0:28:57 > 0:29:01of time instrumental before vocals came in.
0:29:28 > 0:29:33You see, at the time, it was a case of let's see what works.
0:29:36 > 0:29:39So then, hence, the wine glass tape came out.
0:29:45 > 0:29:48The wine glasses were recorded for an album
0:29:48 > 0:29:52they were going to make called Household Objects,
0:29:52 > 0:29:54which we had on a loop
0:29:54 > 0:29:59and then Rick then built up the sound
0:29:59 > 0:30:01with synthesisers and organ.
0:30:11 > 0:30:15They wanted a big sound, so the guitar was recorded
0:30:15 > 0:30:17in a different studio,
0:30:17 > 0:30:19so hence the click track.
0:30:22 > 0:30:26He put his amplifiers and speakers down in studio one...
0:30:27 > 0:30:32..being a classical music studio, and then mic'd it from a distance.
0:30:33 > 0:30:36I think it comes across on the album.
0:30:40 > 0:30:43You could picture it being played out somewhere in an auditorium.
0:30:52 > 0:30:55This will be Rick featured on the end of Shine On,
0:30:55 > 0:30:57where he really came in to his element.
0:31:01 > 0:31:05You have a Hammond organ on there, you have grand piano...
0:31:07 > 0:31:12..plus the other synthesised instruments he plays.
0:31:25 > 0:31:28I can't remember exactly what synthesiser that was,
0:31:28 > 0:31:35but this is Richard's...trademark.
0:31:38 > 0:31:42He's a great piano player,
0:31:42 > 0:31:47and does highlight, I think, his classical training.
0:31:49 > 0:31:53And I think if he'd had another 20 minutes, you would have heard
0:31:53 > 0:31:57probably like a Rick Wright concerto.
0:32:02 > 0:32:07And at the very end, where he does the tribute to Syd Barrett,
0:32:07 > 0:32:13I don't remember if that was just Rick thinking of that
0:32:13 > 0:32:16at the spur of the moment.
0:32:16 > 0:32:19That was a nice... a nice touching thing.
0:32:28 > 0:32:31He was kind of a crazy diamond,
0:32:31 > 0:32:34and all the things it says about him
0:32:34 > 0:32:39in those brilliant lines are very, very accurate, you know.
0:32:41 > 0:32:43"You wore out your welcome with random precision",
0:32:43 > 0:32:45was certainly a part of him.
0:32:45 > 0:32:51# Well, you wore out your welcome With random precision
0:32:51 > 0:32:56# Rode on the steel breeze
0:32:56 > 0:32:59# Come on, you raver,
0:32:59 > 0:33:02# You seer of visions
0:33:02 > 0:33:05# Come on, you painter, you piper
0:33:05 > 0:33:09# You prisoner, and shine! #
0:33:11 > 0:33:15My memory is that we were recording a Radio One show
0:33:15 > 0:33:16at the BBC...
0:33:18 > 0:33:20..and Syd didn't turn up.
0:33:20 > 0:33:21And I think it was a Friday.
0:33:22 > 0:33:24And no-one could find him.
0:33:24 > 0:33:27So we basically waited and waited, and I think
0:33:27 > 0:33:30we had to cancel the recording, or we tried to do some without him,
0:33:30 > 0:33:33I'm not sure, and then the managers went off trying to find him.
0:33:35 > 0:33:38And when they found Syd, which I think was a Sunday or Monday,
0:33:38 > 0:33:42they told us, "Well, something's happened to Syd."
0:33:44 > 0:33:47And something had happened to him, total difference.
0:33:47 > 0:33:50And I remember him being right like this, and looking in his eyes,
0:33:50 > 0:33:51and it was just like...
0:33:51 > 0:33:53HE MAKES CLICKING NOISE
0:33:53 > 0:33:56..somebody had turned the lights out, you know,
0:33:56 > 0:33:57he just looked so blank.
0:33:59 > 0:34:03He was a living with a whole sort of community of people who were
0:34:03 > 0:34:07very much believing acid can release you and, you know,
0:34:07 > 0:34:10get to the truth and all that stuff,
0:34:10 > 0:34:14and...he took too much.
0:34:14 > 0:34:17And he went up on stage
0:34:17 > 0:34:21and he just stood there for long stretches
0:34:21 > 0:34:25and he'd play the guitar for a bit and then he'd stop.
0:34:25 > 0:34:28He had done so much damage, because acid, that's what it does to you.
0:34:28 > 0:34:31Too much acid will literally fry your brains.
0:34:31 > 0:34:35# Nobody knows where you are
0:34:38 > 0:34:41# How near or how far
0:34:43 > 0:34:49# Shine on, you crazy diamond. #
0:34:52 > 0:34:57We were unable to help Syd and probably, I won't say deliberately,
0:34:57 > 0:35:01but had our own interests at heart, and so consequently
0:35:01 > 0:35:06probably tried to hold on to him for far longer than we should have done.
0:35:08 > 0:35:10Syd left the band in 1968.
0:35:10 > 0:35:16Syd was only around for that one record, it was a tiny piece.
0:35:16 > 0:35:19It was a very important piece, it was the opening piece
0:35:19 > 0:35:22of the Pink Floyd Story, and it may well be that Pink Floyd
0:35:22 > 0:35:25would never have started and would have never carried on
0:35:25 > 0:35:28and nothing would have happened. We will never know.
0:35:28 > 0:35:34He was a real hindrance to the band in many ways.
0:35:34 > 0:35:39Having said that, we simply wouldn't have got to where we got to.
0:35:39 > 0:35:41There would be no Dark Side Of The Moon if Syd
0:35:41 > 0:35:46hadn't been around to take us on that first major step.
0:36:00 > 0:36:03I found it so upsetting working with Syd in those days.
0:36:03 > 0:36:07It was like trying to...seeing someone sort of drowning
0:36:07 > 0:36:10and trying to pull them out, but they kept on slip...you know,
0:36:10 > 0:36:12the hand slipped away all the time.
0:36:12 > 0:36:15We were hoping that it would be therapeutic for him
0:36:15 > 0:36:18and might help him come back.
0:36:18 > 0:36:21Trying...it was like trying to bring him back.
0:36:21 > 0:36:23"Come back, Syd, come back."
0:36:30 > 0:36:33And there was never likely to be any way back, and that is...
0:36:36 > 0:36:40..quite awful to think about.
0:36:40 > 0:36:45GUITAR MUSIC
0:37:04 > 0:37:08# You reached for the secret too soon
0:37:11 > 0:37:14# You cried for the moon
0:37:15 > 0:37:20# Shine on you crazy diamond. #
0:37:21 > 0:37:23And of course, they loved their ooohs,
0:37:23 > 0:37:24so we just oooh'd them,
0:37:24 > 0:37:27saying, "Shine on, you crazy diamond," and just oooh'd
0:37:27 > 0:37:29the rest of the way. They loved ooohs.
0:37:32 > 0:37:36Carlena and Venetta, being Americans and soulful,
0:37:36 > 0:37:37was a wonderful contrast
0:37:37 > 0:37:40between the sort of Britishness of Pink Floyd.
0:37:42 > 0:37:44I didn't know them from a bar of soap,
0:37:44 > 0:37:47and I didn't like their music in the beginning.
0:37:47 > 0:37:50It was all in a minor key, it was all very low,
0:37:50 > 0:37:54and everything was oohs and ahhs. Who are these people?
0:37:54 > 0:37:59I thought Motown was meticulous, but this was the most meticulous
0:37:59 > 0:38:03four musicians that I had ever seen work before.
0:38:03 > 0:38:07And something told me in my head, "Venetta,
0:38:07 > 0:38:10"you're here for a reason, you must enjoy this music,
0:38:10 > 0:38:13"you must get on with this music, cos you're here,
0:38:13 > 0:38:15"there's something for you to learn."
0:38:15 > 0:38:20They managed to do their job without getting involved in the band
0:38:20 > 0:38:24politics, so those two were very good at just..
0:38:24 > 0:38:28You know, we might be all furious with each other
0:38:28 > 0:38:31about something or other and having some great row
0:38:31 > 0:38:35at the dinner table or in the car on the way to the show or whatever,
0:38:35 > 0:38:38and they'd just be very, very relaxed and just get on with it.
0:38:38 > 0:38:40And they always sang beautifully.
0:38:40 > 0:38:45One of my fondest, fondest memories of being with Pink Floyd
0:38:45 > 0:38:48recording Shine On You Crazy Diamond,
0:38:48 > 0:38:52because that was the only thing that we got to actually record with them,
0:38:52 > 0:38:55as opposed to singing-performing Dark Side Of The Moon.
0:38:55 > 0:38:58So that was the great thing about it, we actually got on a record.
0:38:58 > 0:39:04# Shine on, you crazy diamond. #
0:39:14 > 0:39:16Welcome To The Machine.
0:39:16 > 0:39:20They just wanted bits of ad-hoc animation bunged into the show
0:39:20 > 0:39:22willy nilly. And, of course,
0:39:22 > 0:39:26I had my little team of animators who are strictly trained to work
0:39:26 > 0:39:30to a track, and without a track, they don't know what to do.
0:39:30 > 0:39:32And I used to go and tell Roger this,
0:39:32 > 0:39:37and he said, "It doesn't matter about a track, just let them do something."
0:39:39 > 0:39:43I assume he made all that spherical stuff having heard
0:39:43 > 0:39:48the VCS3 throbbing at the beginning of Welcome To The Machine.
0:39:50 > 0:39:52Boom, boom, boom, boom... All of that stuff.
0:39:52 > 0:39:55HE CLICKS AND WHIRS
0:39:57 > 0:40:02When it came to Welcome To The Machine,
0:40:02 > 0:40:07I think Roger was really getting into his synthesisers.
0:40:08 > 0:40:11So, hence you have all these different effects.
0:40:15 > 0:40:20I mean, some of these noises are, to me, just futuristic.
0:40:22 > 0:40:25I loved that machine.
0:40:25 > 0:40:28I used it a lot back in the day.
0:40:28 > 0:40:33I've still got one. It's still good for wind and explosions.
0:40:33 > 0:40:37THROBBING
0:40:37 > 0:40:39See, and the throb
0:40:39 > 0:40:45is basically what Roger would have played on bass.
0:40:47 > 0:40:50He adds to it later on with the real bass.
0:40:50 > 0:40:54THROBBING AND BASS
0:40:56 > 0:40:59The only real instruments that really are on there are
0:40:59 > 0:41:00Dave's acoustics.
0:41:00 > 0:41:02'One, two, three, four...'
0:41:02 > 0:41:05GUITAR
0:41:07 > 0:41:10DRUMS
0:41:12 > 0:41:15To add a bit more to the aggression of the song,
0:41:15 > 0:41:19the timps and cymbals were added.
0:41:26 > 0:41:29It just sounded like a very angry song to me, always did.
0:41:29 > 0:41:30Very angry.
0:41:30 > 0:41:34That somebody was getting something out of their system.
0:41:34 > 0:41:37# Welcome, my son
0:41:38 > 0:41:43# Welcome to the machine
0:41:48 > 0:41:51# Where have you been?
0:41:53 > 0:41:56# It's all right We know where you've been
0:41:59 > 0:42:03This particular creature I created,
0:42:03 > 0:42:05I remember showing it to the gang,
0:42:05 > 0:42:08who sort of went along with everything I said at that point,
0:42:08 > 0:42:11they didn't sort of correct anything.
0:42:11 > 0:42:13Roger, particularly, has this idea that
0:42:13 > 0:42:16if you hire an artist,
0:42:16 > 0:42:18you don't try and change what that artist does,
0:42:18 > 0:42:20you hire an artist for what he does.
0:42:20 > 0:42:26Gerry has a very similar kind of...bolshie attitude
0:42:26 > 0:42:31towards all status quo and all the powers that be that I do.
0:42:31 > 0:42:37# So, welcome...
0:42:37 > 0:42:40# To the machine. #
0:42:40 > 0:42:43And the sea of blood that comes towards us
0:42:43 > 0:42:46and crashes through the steel towers.
0:42:46 > 0:42:47God knows what it's about.
0:42:47 > 0:42:52But I thought it was a very kind of a strong image, a sea of blood.
0:42:52 > 0:42:58I did really add piece by piece the animation, so when I'd done
0:42:58 > 0:43:02the sea of blood, Roger probably said we need it a bit longer.
0:43:07 > 0:43:11So then the sea of blood had to turn into hands, praying,
0:43:11 > 0:43:13grasping hands,
0:43:13 > 0:43:16hopeless lost kind of hands, I suppose,
0:43:16 > 0:43:19searching for some god or some reason to it all.
0:43:23 > 0:43:25You could say that Welcome To The Machine
0:43:25 > 0:43:28is only about my experience in the music industry...
0:43:30 > 0:43:33It's not, it's about all of our experience
0:43:33 > 0:43:36in the face of that monstrous,
0:43:36 > 0:43:40grinding thing that chews us up and spits us out.
0:43:48 > 0:43:52In the meetings that Storm and I had, one of the topics
0:43:52 > 0:43:55was somebody getting burnt in the business, you know,
0:43:55 > 0:43:59which was an expression at the time. "Man, I've been burned."
0:43:59 > 0:44:05You know, so, what more logical, kind of, concept, if you like,
0:44:05 > 0:44:08would be than two men shaking hands and one of them is getting burnt?
0:44:08 > 0:44:12And we both went, "Yeah!" Maybe because it was so outrageous.
0:44:12 > 0:44:15And these are the days before computers,
0:44:15 > 0:44:17so it meant setting a man on fire, which we did.
0:44:17 > 0:44:20Yeah, it wasn't very difficult. Issuing orders from the bunker,
0:44:20 > 0:44:22it's really easy. "Over the top, men."
0:44:27 > 0:44:32Anyway, that was done for real in a studio lot in Hollywood.
0:44:32 > 0:44:36What could be more absent than a studio lot?
0:44:38 > 0:44:42I believe it was a Warner Brothers lot.
0:44:42 > 0:44:43I was doing a lot
0:44:43 > 0:44:45of fire work in those days,
0:44:45 > 0:44:47and I had the special suits
0:44:47 > 0:44:49and all this stuff
0:44:49 > 0:44:52for full envelop fire, but a partial is basically,
0:44:52 > 0:44:57you know, a pretty safe, pretty easy one to do.
0:44:57 > 0:44:59And... In most cases.
0:44:59 > 0:45:04He had a team of...20 people around him with fire extinguishers,
0:45:04 > 0:45:06ready to deal with any emergency.
0:45:06 > 0:45:09The effects man will step out
0:45:09 > 0:45:12and he's got a wand about that long with a fire on the end of it,
0:45:12 > 0:45:16and they go, "We're ready, action, and he just touches the three
0:45:16 > 0:45:20or four spots like that, steps out, everything is burning,
0:45:20 > 0:45:25and it's a still picture, so shake...shaking hands -
0:45:25 > 0:45:27nothing to it.
0:45:27 > 0:45:31And after I had shot about, I suppose, 15 shots,
0:45:31 > 0:45:34and 15 times for somebody to catch fire is rather a lot,
0:45:34 > 0:45:35suddenly a gust of breeze came up.
0:45:35 > 0:45:38And the fire whipped round his face.
0:45:38 > 0:45:41There's a funny thing about fire - when it gets in your face
0:45:41 > 0:45:45you're going to move, that's just part of the thing.
0:45:45 > 0:45:48And once it blew it around, I turned as fast as I could.
0:45:48 > 0:45:52He fell to the ground, absolutely smothered with foam
0:45:52 > 0:45:55and blankets and everything like that. He got up and he said,
0:45:55 > 0:45:56"That's it, no more."
0:45:56 > 0:45:59Luckily, I got it in the can.
0:45:59 > 0:46:01And here we see his foot leaving frame.
0:46:01 > 0:46:05And that's a sort of surreal image of absence in itself, you know?
0:46:05 > 0:46:07But that's real absence.
0:46:07 > 0:46:09Out of frame, out of sight, you know?
0:46:09 > 0:46:10And you just kept shooting?
0:46:10 > 0:46:12I just kept shooting, yeah.
0:46:12 > 0:46:14I mean, I had to get this shot and it had to be right.
0:46:14 > 0:46:20So, you know, I didn't have time to be concerned with his singed body.
0:46:20 > 0:46:23You know, if they want somebody burning and they're going to pay me,
0:46:23 > 0:46:27I don't care if they have an artist drawing the fire.
0:46:33 > 0:46:37When developing a theme of absence,
0:46:37 > 0:46:39it seemed therefore appropriate that in the end,
0:46:39 > 0:46:40the cover should be absent.
0:46:40 > 0:46:44The...um... Got it here.
0:46:44 > 0:46:46The...um...
0:46:46 > 0:46:50This is the end piece, or the end part of the puzzle.
0:46:50 > 0:46:52Anyway, the record company, especially in America,
0:46:52 > 0:46:54went complete apeshit.
0:46:54 > 0:46:57"You mean wrap Wish You Were Here in black opaque shrink wrap
0:46:57 > 0:47:00"so you can't see it? Are you completely fucking mad?"
0:47:00 > 0:47:03But you had to have a sticker that said what it was,
0:47:03 > 0:47:06otherwise the factory wouldn't pack it properly,
0:47:06 > 0:47:08let alone the fans buy it.
0:47:09 > 0:47:13I hear stories that there are some aficionados...
0:47:14 > 0:47:18..who have had...who have had Wish You Were Here for many a year now,
0:47:18 > 0:47:22and have carefully slit the opaque vinyl shrink wrap
0:47:22 > 0:47:25and extracted the record
0:47:25 > 0:47:28and actually haven't seen the cover in 35 years.
0:47:28 > 0:47:32Brilliant. That's really absent.
0:47:44 > 0:47:48Well, that's the one I can remember quite clearly.
0:47:51 > 0:47:54That was me strumming a 12 string guitar,
0:47:54 > 0:47:57which I'd recently purchased from a guy I know,
0:47:57 > 0:48:00and coming up with, you know, the opening riff
0:48:00 > 0:48:01of Wish You Were Here.
0:48:04 > 0:48:06And again, like...
0:48:06 > 0:48:09like the four notes at the beginning of Shine On You Crazy Diamond,
0:48:09 > 0:48:11other people start going, "Hey,
0:48:11 > 0:48:13"that's good, you've got something there."
0:48:19 > 0:48:22And I said to him, "What's that you're playing? That's really nice."
0:48:22 > 0:48:24And he played it.
0:48:24 > 0:48:27And I said, "That's really good.
0:48:28 > 0:48:30"Maybe I should try and do something with it."
0:48:30 > 0:48:36I think Roger and I then worked on writing the verses
0:48:36 > 0:48:40and putting those chords in to the... in to the whole thing, and Roger...
0:48:43 > 0:48:46..did those brilliant words, and there we were.
0:48:46 > 0:48:50# Did they get you to trade your heroes for ghosts
0:48:52 > 0:48:54# Hot ashes for trees
0:48:56 > 0:48:58# Hot air for a cool breeze
0:48:59 > 0:49:01# Cold comfort for change
0:49:02 > 0:49:05# And did you exchange
0:49:05 > 0:49:08# A walk on part in the war
0:49:08 > 0:49:11# For a lead role in a cage? #
0:49:20 > 0:49:25That collaboration between David and I, I think is, you know,
0:49:25 > 0:49:29really good. All bits of it are really, really good.
0:49:29 > 0:49:31So I'm very happy about it.
0:49:41 > 0:49:45# So, so you think you can tell
0:49:47 > 0:49:50# Heaven from hell
0:49:51 > 0:49:54# Blue skies from pain
0:49:55 > 0:49:57# Can you tell a green field
0:49:58 > 0:50:01# From a cold, steel rail?
0:50:02 > 0:50:05# A smile from a veil?
0:50:05 > 0:50:08# Do you think you can tell? #
0:50:08 > 0:50:11I think most of the songs that I've ever written
0:50:11 > 0:50:14all pose similar questions.
0:50:14 > 0:50:20Can you free yourself enough to be able to experience the reality
0:50:20 > 0:50:23of life as it goes on before you
0:50:23 > 0:50:28and with you, and as you go on as part of it or not?
0:50:28 > 0:50:35Because if you can't, you stand on square one until you die.
0:50:35 > 0:50:38And I know that may sound like bullshit,
0:50:38 > 0:50:41but that's what the song is about.
0:50:43 > 0:50:46# How I wish How I wish you were here
0:50:49 > 0:50:53# We're just two lost souls Swimming in a fish bowl
0:50:53 > 0:50:55# Year after year
0:50:57 > 0:51:01# Running over the same old ground
0:51:01 > 0:51:02# What have we found?
0:51:02 > 0:51:05# The same old fears
0:51:05 > 0:51:08# Wish you were here. #
0:51:09 > 0:51:12All the songs are encouraging me,
0:51:12 > 0:51:15I guess I write them for me,
0:51:15 > 0:51:18and it's to encourage myself...
0:51:19 > 0:51:24..not to accept a lead role in a cage...
0:51:26 > 0:51:29..but to go on demanding of myself
0:51:29 > 0:51:33that I keep auditioning
0:51:33 > 0:51:38for the walk on part in the war, because that's where I want to be.
0:51:38 > 0:51:40I want to be in the trenches.
0:51:40 > 0:51:43I don't want to be at headquarters or I don't want to be sitting
0:51:43 > 0:51:46in a hotel somewhere.
0:51:46 > 0:51:50I want to be... I want to be engaged...
0:51:51 > 0:51:54..probably, I might say,
0:51:54 > 0:51:58in a way that my father would approve of.
0:52:06 > 0:52:10It's a very simple sort of country song, if you like.
0:52:10 > 0:52:13It's still... Because of its resonance
0:52:13 > 0:52:17and the emotional weight it carries,
0:52:17 > 0:52:21it is one of our best songs.
0:52:24 > 0:52:28People do attach to it lots of internal feelings that they may have,
0:52:28 > 0:52:33and they may not be entirely sure what it's about, and neither am I.
0:52:33 > 0:52:36I mean, I'm only telling you what it's about for me.
0:52:37 > 0:52:40But there's no reason why other people shouldn't put
0:52:40 > 0:52:45other interpretations on it, which could be just as valid.
0:52:49 > 0:52:51Although Shine On You Crazy Diamond
0:52:51 > 0:52:54is the one that is specifically about Syd, and Wish You Were Here
0:52:54 > 0:52:57has a broader remit...
0:52:58 > 0:53:01..I can't sing it without thinking about Syd.
0:53:14 > 0:53:18My memory is that I came in to the studio
0:53:18 > 0:53:23and there was this guy standing there in a Gabardine raincoat,
0:53:23 > 0:53:28and a large, large bloke, and I had no idea who it was.
0:53:28 > 0:53:31And surprisingly, no-one's saying, "Who's that person?
0:53:31 > 0:53:35"What's he doing wandering around all our gear in the studio?"
0:53:35 > 0:53:39And then...then him coming in to the control room and standing around,
0:53:39 > 0:53:46and how remarkable, how long it was before anyone actually woke up.
0:53:46 > 0:53:52Finally, I think it was David who said, "Nick, do you recognise him?"
0:53:53 > 0:53:58And I looked and I think I either shrugged my shoulders
0:53:58 > 0:54:01or at some point Dave sort of put me out of my misery
0:54:01 > 0:54:04and said, "It's Syd".
0:54:04 > 0:54:06And we just sort of stood there,
0:54:06 > 0:54:09or sat there and just were shell-shocked, basically.
0:54:10 > 0:54:14And then until somebody thought of something to say to him.
0:54:16 > 0:54:21And then we were all unbelievably shocked at his appearance.
0:54:22 > 0:54:25I mean, I didn't recognise him, I didn't know it was him.
0:54:25 > 0:54:26But it was pretty...
0:54:29 > 0:54:31..pretty affecting, really.
0:54:31 > 0:54:33I mean, Roger and Dave cried.
0:54:34 > 0:54:38You know, this slim, elegant...
0:54:40 > 0:54:44..if bedraggled and dazed person that I had last seen, had turned
0:54:44 > 0:54:50rather balloon shaped, and had no eyebrows and not much hair, and...
0:55:01 > 0:55:04And there is the photograph of him in the studio at the time,
0:55:04 > 0:55:09and if you looked at Syd in early '67
0:55:09 > 0:55:12and Syd then, it was so different.
0:55:15 > 0:55:19It was a great loss and, you know...
0:55:21 > 0:55:26..imagining what he would have gone on to do is...
0:55:26 > 0:55:29Speculating on that, if you like, is...
0:55:29 > 0:55:32He could have become so great.
0:56:14 > 0:56:18It's actually kind of nice standing up here with these three guys
0:56:18 > 0:56:21after all these years.
0:56:22 > 0:56:25Standing to be counted with the rest of you.
0:56:27 > 0:56:31Anyway, we're doing this for everyone who's not here,
0:56:31 > 0:56:33but particularly, of course, for Syd.
0:56:38 > 0:56:42HE INTONES
0:56:42 > 0:56:46To me, it's about the most complete album, in some ways,
0:56:46 > 0:56:53and we all know how difficult it was to get to that point,
0:56:53 > 0:56:55and the problems we had.
0:56:59 > 0:57:04It's full of grief and anger, but also full of love.
0:57:05 > 0:57:12You've got to see beyond the grief and anger to the possibilities of love.
0:57:15 > 0:57:19APPLAUSE
0:57:19 > 0:57:20Thank you.