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Could I have egg, sausage, chips and beans, and a tea?
Listen.
What?
- I'll tell you one thing. - What?
- Shall I tell you one thing? - Tell us one thing, Rog.
This is nothing like our supper usually is.
That's true.
Usually we're chatting away, enjoying ourselves.
That's a fact.
Could I have a glass of milk, please?
- What? - No.
Why not?
- Whose is that? - Hooray.
How do you know this isn't yours?
It hasn't got peas.
Well, this has got ham on it.
That's what you ordered. You ordered tomatoes.
- Is this your milk? - Yes.
- Can I drink it? - No.
No. You can have a sip.
Thanks, man.
When's the shop opening?
I don't think equipment could take over.
We do rely on it a lot.
We couldn't do what we do, as we do it, without it.
We could still do
a good, entertaining musical show without it
but those things are down to how you control them
and whether you're controlling them
not the other way round.
There's a danger that we could become slaves of all our equipment.
In the past, we have.
But what we're trying to do is to sort it all out.
So that we're not.
It's a question of using the tools that are available
when they're available.
More and more now
there's all kinds of electronic goodies which are available
for people like us to use, if we can be bothered.
And we can be bothered.
It's all extensions of what's coming out of our heads.
You've got to have it inside your head
to be able to get it out at all.
The equipment isn't actually
thinking of what to do any of the time.
It couldn't control itself.
Can I put this down?
It's just on...
It's just on the first note.
Hang on. Say that again.
Can I put this down?
Just a second, we're just...
I've still got to try and put on the other track.
Stay cool.
Turn the volume down.
It would be interesting to see what four people could do
if given the equipment
who didn't know anything about it
and told to get on with it and do something.
It would be an interesting experiment.
I think we'd come off better.
It's like saying, give a man a Les Paul guitar
and he becomes Eric Clapton.
And it's not true.
Give a man an amplifier and a synthesizer
and he doesn't become whoever.
He doesn't become us.
Come and hear it.
I will.
Chris, can you get me a milk, please?
Could you get me a fruit pie and cream?
You sure you don't want the one with crust?
And not a corner piece.
I'd like some tea...
I'd like some pie and not the crust.
I don't care what bit I get.
Three apple pies.
One without a crust.
Ooh, I like a bit of crust!
Rick, are you doing a run down from D to the B,
before the singing starts in the middle eight?
- Aren't you doing that one? - Should I?
- Yes. - Okay.
Yes... That's the one!
Sure you don't want this one?
Why, because it's got ice cream on it?
No, it's the crust.
- Steve's got one. - So boring, man!
Christopher, can you do something for me?
Could you get another apple pie?
With ice cream and no crust.
Can I have an apple pie without a crust?
Just the middle piece.
Pardon?
All we've got now is the round apple pies.
Only got the round apple pies now, Nick.
What do you want to do about it?
Go on.
Complain to St Joseph Lockwood.
Do you want one?
- No, thank you, Christopher. - No thank you.
- Tea? - Rather none than round.
- Tea. - Chris, tea?
Would you say you've made a lot of money working with the Floyd?
Depends who you compare it to, really.
Say, before working with them, yourself?
Oh, yeah.
Before working with them, I was...
on a very paltry amount of earnings.
I mean breadline. Breadline and less.
When the great economic collapse happens
it'll happen across the board.
I don't think rock and roll will go first.
The market now in rock and roll
is expanding at a phenomenal rate.
People are constantly saying rock's dying.
Every six months somebody says it
with enormous conviction.
It's not going to happen.
Unfortunately, really we mark a sort of era.
We're in danger of becoming a relic of the past.
For some people, we represent their childhood of 1967
The underground in London...
...the free concert in Hyde Park and so on.
It's an image we'd like to dispel, I think.
It was very heavy a few years ago
but it's not so bad since.
I still think most people think of us
as a very drug-orientated group.
Of course we're not.
You can trust us.
All that media stuff is all very irrelevant.
If people come to a concert and don't like it
they don't come again.
Are you trying to shake this image off?
Well, we're not exactly...
It's not that we're trying to shake an image off.
We're doing other things.
Because we want to do other things.
Have you altered your tone controls, Dave?
No.
You altered your volume controls?
I don't think so.
What's different?
- Didn't sound quite as toppy. - What?
Didn't sound quite as toppy.
- It didn't sound as toppy? - No.
- It must have been as toppy. - Okay.
The only thing it could have been is less toppy.
More toppy, rather.
All right, we all know that you're God Almighty, Roger.
That isn't an answer.
Simple as gravy.
Steve, you're good at your job
but you could never produce a record.
- It's silly of you to try. - No, rubbish!
I don't think that's true.
If you take a crappy enough group
with only twelve songs...
That's not what we're talking about.
You're talking about producing works of art
or Pink Floyd records.
That's only 0.01 percent of the market.
There's plenty of other crap going on.
No, we're not talking about that.
We're talking about a record producer
as somebody who's in charge of a recording session.
In order to be in charge of that
you need to have a minimal...
Well, not minimal, you need an extensive knowledge
of what the equipment is about and what music is about
and what rock and roll's about.
Steve knows what rock 'n' roll is about
he's no idea what the equipment's about
and he's got very little idea
in terms of technicalities, what the music's about.
He knows what he likes.
Plenty of people have produced records on that basis
very successful records.
Who?
In the finished article
the only thing that's important is whether it moves you or not.
Nothing else is important at all.
I can't get over the sibilance of the vocals on Obscured By Clouds.
I never play that record.
You're obviously in the wrong business.
That was a bad cut.
That's nothing to do with the production of the album.
That was a bad cut.
If you listen to the second string of pressings,
you'll find the sibilance isn't there.
If you can still hear a sibilance on the second string of pressings
you've got an extremely overactive imagination.
Because there isn't any.
We have pretty good arguments, yes.
- You manage to get over them? - Yes, we're pretty durable.
We do have infighting, but you mean without actually exploding?
We share the same sense of humour.
We lust after money to some extent.
And we have a lot of interest in what we're doing together.
We can still combine our interests.
That's when the thing breaks down,
when maybe just one person finds that
what he's doing doesn't interest him
or he feels he could do something better by himself.
We did have some very difficult times, like a few years ago,
but we've managed to avoid the things
that really get people too touchy.
These days.
- The worst things go unsaid? - Yeah.
You mentioned money as a main drive?
Only jovially.
Naturally, four less money-minded people
would be hard to find.
Feedback, John.
Don't worry about that.
Christ! What would rock and roll be without feedback?
Can we run back and drop in?
Yeah. Just turn it down a bit.
I didn't really make a specific mistake.
- Turn it down? - Yeah, my guitar's too loud.
- Do you want to hear the other one? - No.