EMBRYO (Roger Waters) in « Works » (1983)

David Gilmour: vocals, acoustic guitar, electric guitar; Rick Wright: keyboards; Roger Waters: bass, gong; Nick Mason: cymbals

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BIDING MY TIME (Roger Waters) • « Relics » (1971) | Produced by Norman Smith

David Gilmour: electric rhythm and lead guitar, acoustic guitar; Rick Wright: piano, organ, trombone; Roger Waters: vocals, bass; Nick Mason: drums.

Rick Wright played trombone for the live rendition of the title.

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APPLES & ORANGES (Syd Barrett) in Single (1967) | Produced by Norman Smith

Syd Barrett: lead vocals, backing vocals, electric rhythm and lead guitar; Roger Waters: bass guitar, backing vocals; Rick Wright: backing vocals, keyboards; Nick Mason: drums, tambourines.



Nick Mason:

«We were carving two paths. The problem was that we, all of us, were still obsessed with the idea that you had to have a single to promote an LP. There’d been an enormous change with Sgt. Pepper, which suddenly indicated a new world which was about albums. Record labels embraced it, and understood it would make them a lot more money and that it was terribly important»

«Things cannot be destroyed once and for all», Record Collector.


Roger Waters:

«The last single Apples and Oranges was a big mistake and one that we won’t make again. Our managers told us that we had to release a disc sooon. So we did. The whole thing was absurd though»

«Nice new Pink», Fabulous 208, 6 April 1968


Norman Smith:

« So, they were capable, but I had a great struggle with them after Syd Barrett went funny and left. They tried very hard to write material — I remember them writing a song about apples and oranges, which I dressed up and released as a single, and that sold about six copies »

« Norman Smith and Syd Barrett», Sydbarrettpinkfloyd.com, 10 January 2014.


Syd Barrett:

«It's unlike anything we've done before. It's a new sound. Got a lot of guitar in it. It's a happy song, and it's got a touch of Christmas. It's about a girl who I saw just walking round town, in Richmond»

Cited in «Pink Floyd: Through the Eyes of the Band, Its Fans, Friends, and Foes», MacDonald.


Roger Waters:

«Apples and Oranges' was destroyed by the production. It's a fucking good song»

«A Rough Guide to Pink Floyd», Manning, 2006.


Cliff Jones:

«When staying with Lyndsey [Korner], ... [Syd] would spend much of his time simply wandering the streets window-shopping and meandering along the banks of the Thames. One day he noticed an attractive young woman doing her shopping and decided to follow her. He trailed her for hours, finally ending up at the duck pond a short bus ride away on Barned Common. Syd's recollection of this afternoon's light stalking became Apples and Oranges»
Cited in «Wish You Were Here», Cliff Jones, 1996.


Norman Smith (Producer):

« I got a new book (…) called «A rough guide to Pink Floyd» (…) and the first thing I saw was a piece where Roger said the production n Sydnis Barrett’s song Apples and Oranges had ruined a very good song. Oh well, I thought. Who cares ? Why worry ? It’s been a long time. And he might not have even said it ? Then I though: No! Wait! To hell with all that! (…) And so I just want to say something to Roger. It’s this. There may be no L’s in Waters, but there are two in ‘Bollocks’ »

« John Lennon called me «Normal» », Norman Smith, 2007. 

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ARNOLD LAYNE (Syd Barrett) in Single (1967), « Relics » (1971),  « First Singles » (1993) & « Echoes » (2000) | Produced by Joe Boyd

Syd Barrett: lead vocals, electric rhythm and lead guitar; Roger Waters: bass, backing vocals; Rick Wright: organ, backing vocals; Nick Mason: drums.


Syd Barrett:« I was at Cambridge at the time. I started to write the song. I pinched the line about «moonshine washing line» from Rog, our bass guitarist - because he has an enormous washing line in the back of his house. Then I thought, «Arnold must have a hobby», and it went on from there. "Arnold Layne" just happens to dig dressing up in women's clothing. A lot of people do - so let's face up to reality. About the only other lyric anybody could object to, is the bit about, "It takes two to know" and there's nothing "smutty" about that! ».

« Freaking out with the Pink Floyd », Melody Maker, 1st April 1967.


Roger Waters;

«Both my mother and Syd's mother had students as lodgers because there was a girl's college up the road so there was constantly great lines of bras and knickers on our washing lines.' In one curious incident, the bras and knickers that hung on the washing lines in the Barrett's garden proved irresistable to a local underwear fetishist. This character, whom Barrett would later immortalise in song as Arnold Layne, made off with many of poor nursing students' undergarments, presumably to indulge his fantasies. 'Arnold or whoever he was, had bits and pieces off our washing lines. They never caught him. He stopped doing it after a bit, when things got too hot for him»

« Lost in the Woods: Syd Barrett and the Pink Floyd », Julian Palacios, 1998


Norman Smith (Record Producer):

«I wasn't too keen actually on Arnold Layne. Joe Boyd actually did that. I wasn't too keen on that particular version. I was proven wrong, of course, because eventually that was the one that went out, but I thought we could better it. In fact, I told the boys I'd like to have another go anyway and in fact we set up this recording to do just that along with other titles of course; it was an all-night session, if I remember rightly. And that was going to be the first song but when they arrived I could see that they weren't too keen in fact to attempt a remake of "Arnold Layne" so in fact we never did start it, we never did have a go at that. So, the original one went out».

«Your mother didn’t like this», Capital Radio, 17 December 1976.


Joe Boyd (Record Producer):

« The sessions were easy and fun: record one night, mix the next ».

«Pink Floyd - the 30 greater songs», Uncut, October 2008


Nick Mason:

« This is a very unusual song. It is part of the late sixties, where suddenly songs are more than just « I’m gonna get you, babe » wanted to be an R&B band, and somehow completely distracted by writing songs like Arnold Layne, Bike and The Gnome and that very strange English way of life »

« David Gilmour Finds Life After Pink Floyd », Rolling Stone, 27 August 2015

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JULIA DREAM (Roger Waters) • Single (1968) / « Relics » (1971) | Produced by Norman Smith. 

David Gilmour: vocals, acoustic guitar, electric lead guitar; Rick Wright: Mellotron, organ, backing vocals; Roger Waters: bass guitar; Nick Mason: percussion.



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IT WOULD BE SO NICE (Richard Wright) • Single (1968)

David Gilmour: acoustic guitar, electric rhythm and lead guitar; Rick Wright: vocals, backing vocals, keyboards; Roger Waters: bass, backing vocals; Nick Mason: drums, percussion.




Nick Mason

«Fucking awful, that record, wasn't it? At that period we had no direction. We were being hustled about to make hit singles. There's so many people saying it's important you start to think it is important. It is possible on an LP to do exactly what we want to do …»

« The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece», Harris, 2006


Roger Waters

«Live bookings seem to depend on whether or not you have a record in the Top Ten. I don't like 'It Would Be So Nice.' I don't like the song or the way it's sung»

« The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece», Harris, 2006

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CANDY AND A CURRENT BUN (Syd Barrett) Single (1967) | Produced by Joe Boyd.

Syd Barrett: Lead vocals, electric guitars; Rick Wright: Farfisa organ, harmonies vocals; Roger Waters: Bass guitar, screaming; Nick Mason: Drums, spoken line.


The melody has some similarities with the song Lightin’ by Howlin’ Wolf



Nick Mason

« It was at Sound Techniques in Chelsea, John Wood engineering, Joe Boyd producing, and it was our first professional session ... I can remember walking into the control room having just having done the drums and bass and thinking, “That sounds great.” The sound was right, the balance was right, it sounded professional. Would have been done on four tracks, I think. Roger and I put the drums and bass down, maybe over two tracks. I think the way it worked was there was probably a guide track of guitar, and we would add one more instrument, like keyboards, and then bounce the three tracks onto one, losing the guitar, then we’d do the vocals and guitar separately. I can’t remember exactly how we did it but I know there would have been at least one bounce, from three to one»

« Acid Tates », Record Collector, August 2013.


Nick Mason:

«One of the first songs Syd brought to us and it became a mainstay of our repertoire early on. It was originally titled Let's Roll Another One, which is a bit like Endless River's working title: 'The Big Spliff'. It's great being 70 and still feeling coy about references to drugs. The oldest naughty boys in the school: 'Mason! Stop that!' Candy was one of the first times we came back into the control room and heard something we'd done and thought, Cor, that sounds just like a real record! People say Syd's songs sound odd and disjointed, but they seemed normal to us»

«The birth and death of Pink Floyd», Mojo, December 2014

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SEE EMILY PLAY (Syd Barrett) • Single (1967) /  « Relics » (1971) 

Syd Barrett: vocals, electric rhythm guitar, lead guitar; Rick Wright: keyboards, backing vocals; Roger Waters: bass guitar; Nick Mason: drums.


Rick Wright:

«(This is) a sort of sound that has never been heard before. What sound? Well, er, eh I mean to say, you know ah, it's difficult to say. But, it does things that people don't expect. Especially on that solo part. It builds up into a very big electronic sound. Oh and the words are very beautiful»

«Some light on the Pink Floyd», Daily Record, 21 July 1967


Syd Barrett

«A few months ago we had played a date in the North of England. I got up fairly early the morning after and then dozed off in a wood where I had gone wandering. I dreamed I saw a girl coming through the trees, shouting and dancing. I called her Emily and that was how I came to write the song See Emily play»

«Day-dream scheme», Jackie, 9 September 1967


Norman Smith (producer):

«When I heard ‘See Emily Play,’ I thought, Ah, this is the one I think can do something with for a single. So I dressed it up and put one or two effects on.  They didn’t mind whatever I was doing to it. I don’t think Syd was too keen, but by that time I’d gotten used to that, so I pressed on. Thank goodness my judgment was right. ‘See Emily Play’ got to Number Two in the charts here in England and did well, generally speaking, in Europe»

«Producer Norm Smith Discusses Pink Floyd's First Rock Milestone, «Piper at the Gates of Dawn»», Guitar World, December 2007


Richard Wright

«Although it sounds a bit gimmicky, hardly any special effects were used. Take that Hawaiian bit at the end of each verse, that was just Syd using a bottleneck through echo. The part that sounds speeded 

up, though, was speeded up! John Woods, the engineer , just upped the whole thing about an octave. On stage, we have to cut that particular bit out, but then I don't think the audience minds if our reproduction isn't 100% accurate».

Nick Mason
:

«We did it in Sound Techniques - where we'd done Arnold Layne with Joe Boyd - because Norman Smith felt we should go somewhere more relaxed. Abbey Road was fairly formal at the time. Emily shows the level of Syd's writing, but I don't think he had a vision. Initially he just had some songs and then he became a bit more mystical, then he looked at Sgt. Pepper and the whole LSD thing and then he lost interest in it. He got very [disillusioned] about being a pop star. Funnily enough, that was the sanest element [about him] at the time. Whereas we were all absolutely intent on being pop stars »

«The birth and death of Pink Floyd», Mojo, December 2014


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POINT ME AT THE SKY (Roger Waters, David Gilmour) in Single (1968) | Produced by Norman Smith

David Gilmour: vocals, electric rhythm and lead guitar, backing vocals; Roger Waters: vocals, bass, backing vocals; Rick Wright: organ, piano, vibraphone, Mellotron, backing vocals; Nick Mason: drums, maracas.

Nick Mason:

« Nous éprouvions des difficultés à trouver un single et c’est exactement ce que ces chansons indiquent. Point me at the Sky ça allait mais les arrangements avec les voix de fausset sont typiques de Norman Smith. Il voulait désespérement que l’on soit les prochains Beatles, qu’on fasse des chansons pop et qu’on passe à la télévision »

« Tout est là, et même plus », Rock & Folk, November 2016


Roger Waters:

«We all tried to write singles. 'Point Me at the Sky' was one notable failure»

«The Pink Floyd Story: Which One's Pink?», BBC TV, 2010. 


Andrew King (Band manager):

«Not their finest work»

«To Infinity... And Beyond!», Uncut, May 2019

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PAINTBOX (Richard Wright) in Single (1967) / « Relics » (1971)

Syd Barrett: acoustic guitar, rhythm and lead electric guitar; Roger Waters: bass guitar; Rick Wright: lead vocal, keyboards; Nick Mason: drums; Norman Smith: backing vocals.

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WHEN THE TIGERS BROKE FREE (Roger Waters) in Single (1982) & « The Final Cut - 20th Anniversary » (2004)

Roger Waters: Lead vocals; Michael Kamen: Bass drum; The National Philharmonic Orchestra: String, snare drums; Pontardulais Male Choir: Choir.

James Guthrie (Sound engineer & album producer):

«Roger had the sound of a Welsh Choir in his head for When the Tiger broke free and made some inquiries. We drove out early one morning to a s school in Cardiff with the Island Mobile. One or two run-throughs and they had the part down. The Pontarddulais Male Choir made such a rich sound and we were back in London the same evening with a new bed for «Tigers». Initially, there was no talk about Tigers being a simple. We had recorded it specifically for the movie. Towards the end, when the decison was made, we went back to Mayfair and i did a 'single' remix. Initially, there was no talk about Tigers being a simple. We had recorded it specifically for the movie. Towards the end, when the decision was made, we went back to Mayfair and i did a 'single' remix»

«The Final Cut - A History of Pink Floyd 1982-1983», Vernon Fitch, 2014.


Roger Waters:

« There’s a song in the movie called When The Tigers Broke Free which is about my father being killed, which had been on the original Wall demo. It was part of the piece originally but which made them uncomfortable because it tied it down to specifically “this record is about Roger Waters” rather than Pink, which was a worry, reasonably enough, I suppose »

« Interview with Roger Waters » The Inside Track with Lisa Robinson, 22 October 1984.


David Gilmour:

« Pour être honnête avec vous, cela ne m’a pas traversé l’esprit (de mettre When the Tigers broke free sur le coffret «Shine on»). Toute la période post « The Wall » et la période « The Final Cut » furent un tel cauchemar dans mon esprit que j’ai tendu à l’occulter lors de ma réflexion. cela aurait pu être une bonne idée. C’est un très bon morceau. Peut-être que Roger le mettra sur son Greatest hits ! ».

« Coverstory on Pink Floyd », Goldmine, 8 Janvier 1993. 


This song finally was officially released on the «Final Cut» album re-release on 2004.


Roger Waters:

« I think its fits very well. James Guthrie sent me a compilation of the record he’d remastered it, and I was extremely confused for a while because «Tigers …» kept coming up again and again, I said «James, what the fuck are you doing ?». He said, «No, no, no dear boy, I’ve put its in lots of differences places. You have to choose which place you think it works best». It’s great that I found a little home on an album somewhere ».

« The last days of Pink Floyd », Uncut, June 2004. 

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HEY HEY, RISE UP (David Gilmour/Andriy Khlyvnyuk/Stepan Charnetskii) in single (2022) | Produced by David Gilmour.

David Gilmour: Guitars; Nick Mason: Drums; Guy Pratt: Bass guitar; Andriy Khlyvnyuk: Vocals; Nitin Sawhney: Keyboards; Veryovka Ukrainian Folk Choir: choir.






David Gilmour:

«We, like so many, have been feeling the fury and the frustration of this vile act of an independent, peaceful democratic country being invaded and having its people murdered by one of the world's major powers. In 2015, I played a show at Koko in London in support of the Belarus Free Theatre, whose members have been imprisoned. Pussy Riot and the Ukrainian band, Boombox, were also on the bill. 

They were supposed to do their own set, but their singer Andriy had visa problems, so the rest of the band backed me for my set – we played Wish You Were Here for Andriy that night. 

Recently I read that Andriy had left his American tour with Boombox, had gone back to Ukraine, and joined up with the Territorial Defense. 

Then I saw this incredible video on Instagram, where he stands in a square in Kyiv with this beautiful gold-domed church and sings in the silence of a city with no traffic or background noise because of the war. It was a powerful moment that made me want to put it to music»

«Pink Floyd share ‘Hey Hey Rise Up’ for Ukraine, their first new song in decades», Rolling Stones, 8 April 2022


Interviewer: «David Gilmour et Nick Mason se sont joints à d’autres musiciens pour interpréter une chanson de soutien à l’Ukraine. L’avez-vous écoutée ?»

Roger Waters: «Je l’ai écoutée, oui. Je désapprouve leur démarche. Il y a un incendie, des gens meurent et cela revient à verser de l’huile sur le feu. Toute cette agitation de drapeaux bleu et jaune ne fait de bien à personne. La seule chose importante à propos de l’Ukraine en ce moment, c’est d’arrêter la guerre en cours. De l’arrêter par la diplomatie et les négociations entre Zelensky et Poutine, qui ont besoin pour cela d’un peu d’aide de la part des États-Unis et des gouvernements britannique, français, allemand, des Européens, et proba-blement de la Chine aussi. 

Pour qu’ils puissent tous dire, d’accord, c’est bon, ça suffit les combats. Voilà ce que nous devons encourager. En Occident, on ne voit rien d’autre que ce tyran maléfique de Vladimir Poutine – ce qu’il est. M

ais l’Occident n’est pas un camp merveilleux rempli d’amour pour la liberté et la démocratie»

«La rencontre - «Être du camp de la paix, c’est encourager la diplomatie», L’’Humanité dimanche, 19 May 2022

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CAREFUL WITH THAT AXE, EUGÈNE (Roger Waters,Rick Wright,Nick Mason,David Gilmour) • Single (1968) / « Relics » (1971)  | Produced by Norman Smith

David Gilmour: vocals, electric rhythm and lead guitar, vocal effects; Rick Wright: organ, vibraphone, vocal effects; Roger Waters: bass, voice and various vocal effects, gong; Nick Mason: drums.


This track was considered for the 2000 compilation «Echoes - The best of Pink Floyd» but was eventually rejected.


Nick Mason:

«It wasn't necessarily well played but it was interesting enough for people to think "Hmmm, this is good", and quite often be fooled into thinking we were rather good musicians. How we developped the idea on '... Eugène' of going from very sombre ti exploding. I have no idea. I don't think we did it deliberately. But the dynamic of having music that wasn't just full on from beginning to end was very unusual in 1968. Dynamics in rock music were not really done very much».

«To Infinity... And Beyond!», Uncut, May 2019

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