Speak to Me and Breathe Live at the Rainbow Theatre, Finsbury Park, London, UK on February 17, 1972…

sick remix by minnesota…

“Set the Controls for the Heart of the Sun” is a song by British rock band Pink Floyd and is featured on their second album A Saucerful of Secrets (1968). It was written by Roger Waters and features a drum part by Nick Mason played with timpani mallets. The song was regularly performed between 1967 and 1973 and can be heard on the live record of the 1969 album Ummagumma and seen in the 1972 movie Pink Floyd: Live at Pompeii. It also appears on the compilation album Echoes: The Best of Pink Floyd which was released in 2001. Lyrics : Little by little the night turns around Counting the leaves which tremble at dawn Lotuses lean on each other in yearning Under the eaves the swallow is resting Set the controls for the heart of the sun Over the mountain watching the watcher Breaking the darkness Waking the grapevine one inch of love is one inch of shadow Love is the shadow that ripens the wine Set the controls for the heart of the sun The heart of the sun The heart of the sun The heart of the sun The heart of the sun The heart of the sun The heart of the sun The heart of the sun Witness the man who raves at the wall Making the shape of his question to Heaven Whether the sun will fall in the evening Will he remember the lesson of giving Set the controls for the heart of the sun The heart of the sun The heart of the sun The heart of the sun The heart of the sun The heart of the sun The heart of the sun…

“Echoes” is a song by Pink Floyd including lengthy instrumental passages, sound effects, and musical improvisation. Written in 1970 by all four members of the group (credited as Roger Waters, Richard Wright, Nick Mason, David Gilmour on the original release), “Echoes” provides the extended finale to Pink Floyd’s album Meddle. The track has a running time of 23:31 and takes up the entire second side of the vinyl recording. It also appears in shortened form as the fifth track on the compilation album which took its name, Echoes: The Best of Pink Floyd. “Echoes” is the third-longest song in Pink Floyd’s catalogue, after “Atom Heart Mother” (23:44) and the combined segments of “Shine On You Crazy Diamond” (26:01). Unlike those pieces, it is not explicitly divided into separate parts; however, the composition was originally assembled from separate fragments, and was later split in two parts to serve as both the opening and closing numbers in the band’s film Live at Pompeii. Lyrics : Overhead the albatross hangs motionless upon the air And deep beneath the rolling waves In labyrinths of coral caves The echo of a distant tide Comes willowing across the sand And everything is green and submarine. And no-one called us to the land And no-one knows the wheres or whys But something stirs and something tries And starts to climb towards the light Strangers passing in the street By chance two separate glances meet And I am you and what I see is me And do I take you by the hand And lead ……

After finally figuring out all the parts by ear (with some help figuring out the chords from my new friend Bob) I decided to make a techno rendition of the first track of Dark Side of the Moon, using audio from FreeSoundProject.com. It was exciting to make, and I hope you enjoy my interpretation. Song by Z-3 Artwork by Z-3 Audio provided by klankbeeld, crazyguywithcomputer, toiletrolltube, and Benboncan This song contains material from TheFreeSoundProject.com and is, therefore, subject to their rules and regulations. This song may not be commercially distributed under these conditions. For more, visit the link below:

The song is dynamically loud, and features the once subtle bass line, now much louder, to express Pink’s rage. It is also the shortest ‘part’ of “Another Brick In The Wall”. Lyrics : I don’t need no arms around me And I dont need no drugs to calm me. I have seen the writing on the wall. Don’t think I need anything at all. No! Don’t think I’ll need anything at all. All in all it was all just bricks in the wall. All in all you were all just bricks in the wall….

In the album version of The Wall, “Another Brick in the Wall (Part 2)” segues from “The Happiest Days of Our Lives”, with Roger Waters’ signature scream. The song has strong drums, a well-known bass line and distinctive guitar parts in the background with a smooth, yet edgy guitar solo. The song also features a group of school children for lead vocals in the second verse: as the song ends, the sounds of a school yard are heard, along with the teacher (portrayed as a Scotsman) who continues to lord it over the children’s lives by shouting such things as “Wrong! Do it again!” which somehow sounds mocking, and “If you don’t eat yer meat, you can’t have any pudding! How can you have any pudding if you don’t eat yer meat?!”, and “You! Yes! You behind the bikesheds! Stand still, laddie!”, all of it dissolving into the dull drone of a phone ringing and ending with a deep sigh. Lyrics : We don’t need no education We dont need no thought control No dark sarcasm in the classroom Teachers leave them kids alone Hey! Teachers! Leave them kids alone! All in all it’s just another brick in the wall. All in all you’re just another brick in the wall. We don’t need no education We dont need no thought control No dark sarcasm in the classroom Teachers leave them kids alone Hey! Teachers! Leave them kids alone! All in all it’s just another brick in the wall. All in all you’re just another brick in the wall. “Wrong, Do it again!” “If you don’t eat yer meat, you can’t have any pudding. How can ……

Pink invites a groupie into his room after learning of his wife’s affair. At first when the groupie tries to get his attention, he is too busy thinking of his wife to hear her, and the song is largely a description of his failed relationship with his wife. A TV can be heard in the background, the dialog mixed in with the groupie’s conversation. As the groupie continues to try to get his attention, Pink explodes into a fit of violence and destroys his room which drives the groupie away. Lyrically, the explosion of violence toward the groupie is a metaphor for fear-based explosions of anger at his wife. At the end of the song Pink puts on a darkly sarcastic tone and starts nonchalantly telling the groupie about his “favourite axe” (in this case, axe means guitar – perhaps a reference to the early Pink Floyd song “Careful with that Axe, Eugene”) and asks her “would you like something to eat”, a reference to the groupie helping herself to a glass of water. As the groupie flees the room he screams “Why are you running away?”, feeling pity for himself. Lyrics : Day after day, love turns gray Like the skin of a dying man. Night after night, we pretend its all right But I have grown older and You have grown colder and Nothing is very much fun any more. And I can feel one of my turns coming on. I feel cold as a razor blade, Tight as a tourniquet, Dry as a funeral drum. Run to the bedroom, In the suitcase on the left You’ll find my favorite axe. Don’t look so frightened This is ……

The first addition to my complete a cappella rendition of Dark Side of the Moon. Enjoy!…

Dogs are used to represent megalomaniacal businessmen who destroy themselves and those around them by obsessing over their egos and their careers. A number of comparisons are made and metaphors used to show how close these businessmen are with dogs, for example “Got to be able to pick out the easy meat with your eyes closed” the meat representing deals and opportunities for the businessmen. It is a long, increasingly haunting song at over seventeen minutes. The final verse explores a number of aspects of business life and how it compares to dogs, for example taking chances and being “trained not to spit in the fan”, losing their individuality “broken by trained personnel”, obeying their superiors “fitted with collar and chain”, getting treats for good behaviour “given a pat on the back”, being better than everyone else “breaking away from the pack” and getting to know everyone but spending less time with family “only a stranger at home”. Every line of this verse begins with the word “Who”, which prompted comparison to Allen Ginsberg’s poem “Howl”. This song and the use of the word “Who” at the beginning of every line of the final verse also illustrates the influence that Roy Harper had on the band. Roy Harper had used this technique on the song “The Lord’s Prayer” from his 1973 Lifemask album. Harper sang over 90 lines of a verse beginning with the words “whose” and “who”. Roy Harper also sang on the song “Have a Cigar” from the Wish You Were Here album. The song ……