In a brief prologue, birds are heard chirping peacefully. The sound of approaching bombers catches the attention of a child (voiced by a young Harry Waters), who states, “Look mummy, there’s an aeroplane up in the sky”. The lyrics go on to describe the memory of the Blitz: Did you see the frightened ones? Did you hear the falling bombs? Did you ever wonder why we had to run for shelter when the promise of a brave new world unfurled beneath a clear blue sky?… The flames are all long gone but the pain lingers on. Goodbye, blue sky. Lyrics : Look mummy, there’s an aeroplane up in the sky” Did-did-did-did-you see the frightened ones? Did-did-did-did-you hear the falling bombs? Did-did-did-did-you ever wonder why we had to run for shelter When the promise of a brave new world Unfurled beneath a clear blue sky? Did-did-did-did-you see the frightened ones? Did-did-did-did-you hear the falling bombs? The flames are all long gone, but the pain lingers on. Goodbye, blue sky Goodbye, blue sky. Goodbye. “The 11:15 from Newcastle is now approaching” “The 11:18 arrival….”…

As with other songs on The Wall, “Empty Spaces” tells a segment of the story of Pink, the album’s protagonist. Pink is now grown up and married, but he and his wife are having relationship problems because of his distance due to his halfway built ‘wall’. Pink wonders what he should use to complete its construction. Lyrics : Empty Spaces What shall we use to fill the empty spaces Where waves of hunger roar? Shall we set out across this sea of faces In search of more and on applause? What Shall we do Now? Shall we buy a new guitar? Shall we drive a more powerful car? Shall we work straight through the night? Shall we get into fights? Leave the lights on? Drop bombs? Do tours of the east? Contract disease? Bury bones? Break up homes? Send flowers by phone? Take to drink? Go to shrinks? Give up meat? Rarely sleep? Keep people as pets? Train dogs? Raise rats? Fill the attic with cash? Bury treasure? Store up leisure? But never relax at all With our backs to the wall Backs to the Wall…

“Brain Damage” is the ninth track (or eighth, depending on the album release) from British progressive rock band Pink Floyd’s 1973 album, The Dark Side of the Moon. It was sung by Roger Waters. David Gilmour took over as lead vocalist when the band performed it live on the band’s 1994 tour (as can be seen on Pulse). The band originally called this track “Lunatic” during live performances and recording sessions. The song is often mistakenly labeled “Dark Side of the Moon” alongside “Eclipse” because the two run together and are commonly played together on the radio, giving the impression that they are one song. The incorrect title is derived from a recurring lyric in “Brain Damage” (“I’ll see you on the dark side of the moon”) and the title of the album….

“Shine On You Crazy Diamond” is a nine-part Pink Floyd composition written by Roger Waters, Richard Wright, and David Gilmour. The song is a tribute to former band member Syd Barrett, although it was not originally explicitly written with him in mind. It was first performed on their 1974 French tour. It was recorded for the 1975 concept album Wish You Were Here. The song was intended to be a side-long composition like “Atom Heart Mother” and “Echoes”, but was ultimately split into two parts and used to bookend the album. According to David Gilmour and Nick Mason on the Wish You Were Here episode of In the Studio with Redbeard, the band recorded a satisfactory take of “Shine On You Crazy Diamond”, but because of a new mixing console which was installed at Abbey Road Studios, it needed to be re-recorded because excessive ‘bleed’ from other instruments could be heard on the drum tracks. We originally did the backing track over the course of several days, but we came to the conclusion that it just wasn’t good enough. So we did it again in one day flat and got it a lot better. Unfortunately nobody understood the desk properly and when we played it back we found that someone had switched the echo returns from monitors to tracks one and two. That affected the tom-toms and guitars and keyboards which were playing along at the time. There was no way of saving it, so we just had to do it yet again. ??”David Gilmour, An Interview with David Gilmour by Gary Cooper With the invention of ……

Pink Floyd members talk about the making of the great gig in the sky….

Pink Floyd: Live at Pompeii is a 1972 film featuring Pink Floyd performing six songs in the ancient Roman amphitheatre in Pompeii, Italy. It was directed by Adrian Maben and recorded in the month of October using studio-quality 24-track recorders without a live audience. The performances of “Echoes,” “A Saucerful of Secrets,” and “One of These Days” were filmed from October 4, 1971 to October 7, 1971. The remaining songs were filmed in a Paris studio, along with additional front projection footage for insertion into the Pompeii performances. The sequences in Paris were filmed in late 1971/early 1972, and can be distinguished by the absence of Richard Wright’s beard. This version was released in cinemas in September 1972 and is also included on the DVD edition as an extra feature. In August 1974, another version was released combining the original film with supposed recording sessions of The Dark Side of the Moon at Abbey Road Studios. These sessions were actually staged for the film, as the recording of the album had been completed when these sessions were filmed in January 1973 and the band was mixing the album at the time….

The composition uses many progressive and unconventional musical effects. The ping sound heard at the beginning of the song was created as the result of an experiment at the very beginning of the Meddle sessions. It was produced through amplifying a grand piano and sending the signal through a Leslie rotating speaker. The key at the beginning is C-sharp minor with the chorus in D-flat major. At six minutes in, a funk progression in the tonic minor begins. Gilmour used the slide for certain sound effects on the studio recording, and for the introduction in live performances from 1971 to 1975. A throbbing wind-like sound is created by Waters vibrating the strings of his bass guitar with a steel slide and feeding the signal through a Binson Echorec. The high pitched electronic ‘screams’, resembling a distorted seagull song, were discovered by Gilmour when the cables were accidentally reversed to his wah pedal. After observing the song being created, Nick Mason, noted, “The guitar sound in the middle section of ‘Echoes’ was created inadvertently by David plugging in a wah-wah pedal back to front. Sometimes great effects are the results of this kind of pure serendipity, and we were always prepared to see if something might work on a track. The grounding we’d received from Ron Geesin in going beyond the manual had left its mark.” “Echoes” in CoolEdit 2000, showing the dynamics of the work The “choral” sounding segment in the middle of the song was created by placing two tape ……

lyrics: Nobody knows where you are, How near or how far. Shine on you crazy diamond. Pile on many more layers And I’ll be joining you there. Shine on you crazy diamond. And we’ll bask in the shadow Of yesterday’s triumph, And sail on the steel breeze. Come on you boy child, You winner and loser, Come on you miner for truth and delusion, and shine! DISCLAIMER: I do not own this picture. It belongs to “elataquedelmothman.blogspot.com They have all the rights to the picture. I do not have the rights of the music in this video. I bought the remastered album, Wish You Were Here© by Pink Floyd™ of Columbia Records© and Harvest/EMI©. All credit to them, I do not claim this to be my own original material….

Live alla Rocca di Noale del 25 Agosto 2009

Live alla Rocca di Noale del 25 Agosto 2009