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PINK FLOYD THE WALL eBOOK MARTIN GEYER DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM ORIGINAL PINK FLOYD THE WALL eBOOK VON MARTIN GEYER THE WALL – LIVE PERFORMANCE VERSION

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Page 1: Pink Floyd The Wall eBook Sonderseiten - martin-geyer.de · PDF filepink floyd the wall ebook martin geyer diese seiten sind zusÄtzliche informationen zum original pink floyd the

PINK FLOYD THE WALLeBOOK M

AR

TIN

GEY

ER

DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM

ORIGINAL PINK FLOYD THE WALL eBOOKVON MARTIN GEYER

THE WALL – LIVE PERFORMANCE VERSION

Page 2: Pink Floyd The Wall eBook Sonderseiten - martin-geyer.de · PDF filepink floyd the wall ebook martin geyer diese seiten sind zusÄtzliche informationen zum original pink floyd the

PINK FLOYD THE WALLeBOOK M

AR

TIN

GEY

ER

DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM

ORIGINAL PINK FLOYD THE WALL eBOOKVON MARTIN GEYER

THE WALL – LIVE PERFORMANCE VERSIONNachfolgend wird ein frühes Manuskript von Roger Waters inhaltlich wiedergegeben, in dem er seine Ideen zum Ablauf der ‘The Wall‘-Liveshows skizziert. Nicht alles, was hier angesprochen oder geplant wird, wurde später in den Live-Shows auch realisiert. Während der Proben wurden viele Änderungen vorgenommen. Trotzdem ließt sich dieses Dokument als eine Art ‘Ablaufplan‘.

Interessant ist in diesem Zusammenhang wie wenig Roger Waters dem Zufall überlässt. Selbst die Musik, die vor den Shows leise aus den Lautsprechern erklang während sich das Publikum einfand, Geräuscheinspielungen in den Waschräumen und der Ablauf der Pause ist nach diesem Manuskript streng genommen ein Teil der Show.

Einige Texte wurden für die Live-Aufführung von ‘TheWall‘ leicht abgeändert.

The Wall – Live Performance Version

The Show – First Half

Preliminaries.

In the streets surrounding the venue we will place buskers playing tunes from the show to the punters as they arrive and queue.

Inside the stadium, scattered, there will be aural tricks and jokes, e.g., locked road boxes with taped laughter issuing.

The teacher's voice shouting in lavatories, “You there! Put that away and get back inside this minute.”

Monotonous piped selling of “Britro Brick-a-Brac.” “BritroBrick Co. proudly present Brick Sunglasses. Do you have trouble looking blank? Be the first one on your block to develop wall eyes with Britro Brick Shades.”

For an hour before the show starts, throughout the venue, we will run a tape of tunes, all with some connection with the war. The Green Beret, Vera Lynn's Hits from the Blitz, Don't Take Your Love to Town, Glenn Miller, assorted Dylan, Over the Sea to Sky, et al, finishing up with We'll Meet Again.

At the end of We'll Meet Again an M.C. will come forward in a tuxedo and announce:

“Ladies and gentlemen, here they are, the one and only, the unbelievable PINK FLOYD.

We crash into “WELCOME.”

The front lighting truss should probably be in position at this time.

The surrogate band should be masked, and over the vamp after, “Through this Disguise,” Roger shouts, “LIGHTS” and tight spots pan over the audience. And then he shouts, “ROLL SOUND EFFECTS” and the sound of bombers approaches from the rear of the auditorium, getting monstrously loud by the end of the vamp.

The bomb is heard falling, and we do a loud stage ending but freeze instead of hitting the final chord. The bomb does not explode. A momentary silence is followed by the sound of a new-born baby crying. The lights on the band fade as the truss is raised.

Note on the building of the wall. The wall is constructed by a team of uniformed “Britro Brick Company” employees. They should start adding to the structure as it exists at the beginning of the show as soon as the house lights fade.

Page 3: Pink Floyd The Wall eBook Sonderseiten - martin-geyer.de · PDF filepink floyd the wall ebook martin geyer diese seiten sind zusÄtzliche informationen zum original pink floyd the

PINK FLOYD THE WALLeBOOK M

AR

TIN

GEY

ER

DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM

ORIGINAL PINK FLOYD THE WALL eBOOKVON MARTIN GEYER

THE WALL – LIVE PERFORMANCE VERSIONIn the Flesh

So yaThought yaMight like to go to the showTo feel the warm thrill of confusionThat space cadet glowTell me is something eluding you sunshine?Is this not what you expected to see?If you’d like to find out what's behind these cold eyes?You'll just have to claw your way through this Disguise.

In Black we remove our disguises, and in soft-glows reappear as normal to perform “The Thin Ice,” which Dave sings, red lit, from the lamps on the screen. The screen could have a horizon and drifting smoke over a dark background.

Nick, and possibly Rick too, should be on a movable podium.

The Beach Boys and Girls sing and are visible, but in a position behind the line of the wall, so that they get walled in, pretty damn quick.

The Thin Ice

Mamma loves her babyAnd daddy loves you tooAnd the sea may look warm to you babeAnd the sky may look blueBut Oooh babeOooh baby blueOooh babeIf you should go skatingOn the thin ice of modern lifeDragging behind you the silent reproachOf a million tear stained eyesDon't be surprised when a crack in the iceAppears under your feetYou slip out of your depth and out of your mindWith your fear flowing out behind youAs you claw the thin ice.

Page 4: Pink Floyd The Wall eBook Sonderseiten - martin-geyer.de · PDF filepink floyd the wall ebook martin geyer diese seiten sind zusÄtzliche informationen zum original pink floyd the

PINK FLOYD THE WALLeBOOK M

AR

TIN

GEY

ER

DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM

ORIGINAL PINK FLOYD THE WALL eBOOKVON MARTIN GEYER

THE WALL – LIVE PERFORMANCE VERSIONAnother Brick Part I

Roger sings, “Daddy's flown...”

On this tune a second guitarist joins in so that at the end of it Dave can switch to his pastoral soloing without the rhythm disappearing.

In the quad we will establish a pastoral scene with children moving about. By using multitrack tape, maybe a 16 track testcam, we can locate tinkling streams, individual birds, wind in the trees, and things like that.

Another Brick in the Wall Part 1

Daddy's gone across the oceanLeaving just a memoryA snapshot in the family albumDaddy, what else did you leave for meDaddy, what d‘ya leave behind for meAll in all it was just a brick in the wallAll in all it was all just the bricks in the wall.

The teacher interrupts the pastoral scene by,

a) inflating with an enormous rumbling like a gathering storm and,

b) by shouting, “Stand still laddie. Yes, you there,” etc.

The schoolmaster inflatible should hang like a marionette, and his voice must come from a point source where he is hanging. He should be lit as he speaks.

The teacher's wife begins to inflate behind him during the verses of “The Happiest Days,” which Roger will sing, joined by the Beach Boys and Girls on their thrashing section after, “Within Inches of their Lives,” the wife will hopefully over-power the teacher in some visual manner. Maybe by jerking him up and down.

ANOTHER BRICK 2

We lose the inflatibles, the Beach Boys and Girls are now walled in, and the focus is back on Ole Pink who is narrating.

(Note.: if the inflatibles ever get the elbow we could project Gerry's drawings of the teacher and his wife over this section.)

At the end of Another Brick 2 –We maintain the rhythm and introduce a drone, the voice loops of the teacher reappear, and maybe he could have U. eyes and raise his head again at this point. The drone fades leaving voice loops, maybe mother as well as teacher. “If you don't eat your meat” etc. We need to evoke adolescence.

The Happiest Days of our Lives

When we grew up and went to schoolThere were certain teachers who wouldHurt the children anyway they couldBy pouring their derisionUpon anything we didExposing every weaknessHowever carefully hidden by the kidsBut in the town it was well knownWhen they got home at night their fat andPsychopathic wives would thrash themWithin inches of their lives.

Another Brick in the Wall part 2

We don't need no educationWe don't need no thought controlNo dark sarcasm in the class-roomTeacher leave the kids aloneHey teachers leave the kids aloneAll in all it's just another brick in the wallAll in all you're just another brick in the wall.

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PINK FLOYD THE WALLeBOOK M

AR

TIN

GEY

ER

DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM

ORIGINAL PINK FLOYD THE WALL eBOOKVON MARTIN GEYER

THE WALL – LIVE PERFORMANCE VERSIONAs Dave and the Beach Boys and Girls start “Goodbye Blue Sky,” we fade up a pastoral scene on the circular screen into which we very slowly track starting on the instrumental verse. Occasionally birds fly up, clouds move, etc.

We arrive at a point deep in the picture when the intro to the empty spaces starts.

Inflatable mother, dimly lit, centrally positioned.Mother song is self-explanatory. The bombers return at the end of the Mother song.

Goodbye Blue Sky

OooooooooooooooooohDid you see the frightened onesDid you hear the falling bombsDid you ever wonderWhy we had to run for shelterWhen the promise of a brave new worldUnfurled beneath a clear blue skyOooooooooooooooooohDid you see the frightened onesDid you hear the falling bombsThe flames are all long goneBut the pain lingers onGoodbye Blue SkyGoodbye Blue SkyGoodbye

At the beginning of the intro to “What Shall We Do Now?” the flowers come up on the screen. The band need not be kit. The first real threat of the male flower should be in sync with the first C in this tune. The animation, which should be about three minutes long, finishes, maybe on a wasteland over which we track as the vocal starts. Maybe we could use the sea of blood from “Wish You Were Here” here.

What shall we do now?

What shall we use to fill the empty spacesWhere the waves of hunger gnawShall we set out across this sea of facesIn search of more and more applauseShall we buy a new guitarShall we drive a more powerful carShall we work straight through the nightShall we get into fightsLeave the lights onDrop bombsDo towns of the EastContract diseasesBury bonesBreak up homesSend flowers by phoneTake to drinkGo to shrinksGive up meatRarely sleepKeep people as petsTrain dogs Race ratsFill the attic with cashBury treasureStore up leisureBut never relax at allWith our backs to the wall

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PINK FLOYD THE WALLeBOOK M

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THE WALL – LIVE PERFORMANCE VERSIONYoung Lust

Up to this paint the lighting should be low key, blushes and tight spots on people's faces. At the start of “Young Lust” the lighting should all brighten to suggest a move away from narrative towards performance.

The Beach Boys and Girls can start to move about, if they are still visible. The bank should lurch forward. The cherry pickers appear for the first time maybe decorated with rows of flashing light bulbs a la fairground.

Taudry use of the screen would be good. Lots of dirty girls (the stripper from Dark Side of the Moon maybe).

General note: Let's cannibalise anything useful from our old shows.

At the end of “Young Lust” the band retreats again during long vamp out with the guitar solo wandering round the wall.

As the band fade, in the quad the walking away from the gig sound effects occur followed by the ringing sounds and a playlet of a Dear John telephone conversation is heard.

By this point the wall has been built across the stage to form an arch through which we can retreat. Maybe the arch could be pyramid shaped.

Young Lust

I am just a new boyStranger in this townWhere are all the good timesWho's gonna show this stranger around?Ooooooooh I need a dirty womanOoooooooh I need a dirty girlWill some cold woman in this desert landMake me feel like a real manTake this rock & roll refugeeOoooh baby set me freeOoooooooh I need a dirty womanOoooooooh I need a dirty girl.

The playlet should continue all the way to the motel until we get to the groupie’s monologue on “One Of My Turns.”

During the monologue an extreme close-up of the girl's lips should fill the screen synced exactly to the speech. The band is playing mainly from behind the line of the wall, though still slightly visible they are slowly being bricked in.

One of My Turns

Day after day love turns grayLike the skin of a dying manNight after night, we pretend it's all rightBut I have grown older andYou have grown colder andNothing is very much fun anymore.

And I can feel one of my turns coming onI feel, cold as a razor bladeTight as a tourniquetDry as a funeral drumRun to the bedroom, in the suitcase on the leftYou'll find my favorite axeDon't look so frightenedThis is just a passing phaseOne of my bad days.Would you like to watch TV?Or get between the sheets?Or contemplate the silent freeway?Would you like something to eat?Would you like to learn to fly?Would you like to see me try?Would you like to call the cops?Do you think it's time I stopped?Why are you running away?

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PINK FLOYD THE WALLeBOOK M

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ORIGINAL PINK FLOYD THE WALL eBOOKVON MARTIN GEYER

THE WALL – LIVE PERFORMANCE VERSIONDon’t Leave Me Now

During the song all the inflatibles are visibly breathing in time to the pneumatic click track. Roger stands isolated, lit intimately at front of stage. The inflatibles, as before, are huge shadowy figures looming in the background.

Don´t leave me now

Ooooh BabeDon't leave me now.Don't say it's the end of the roadRemember the flowers I sentI need you BabeTo put through the shredderIn front of my friendsOooh BabeDon't leave me nowHow could you go?When you know how I need you,To beat to a pulp on a Saturday nightOooh BabeDon't leave me nowHow can you treat me this wayRunning awayI need you babeOoooooh Babe

Empty Spaces

What shall we use to fill the emptySpace where we used to talkHow shall I find the final placesHow shall I complete the wall?

Backs To The Wall

Some sort of wide-angle slide projection system should be hidden under the hood at the front of the stage. Four projectors covering the entire width of the wall and controlled backstage or in the stairwell. A matte, graduating slide show can be developed where slide I would include one picture, slide II two pictures, etc.

Each slide fills in one more square carrying one of the images mentioned in the list, old band pictures, old pictures of Syd Bear-it, pictures of places we've done tours, pictures of cars, pictures of guitars, pictures of TV's, all that kind of stuff until the entire wall is filled with images from the past.

Throughout “Another Brick III:”

The images remain on the wall.

But during “Goodbye Cruel World” they slowly fade, and a bright light source back-lights Roger seated, or maybe even Iving down, singing “Goodbye Cruel World” behind the last remaining hole in the wall. The last brick is placed over the last line of the song.

Another Brick in the Wall Part 3

I don't need no walls around meI don't need no drugs to calm meI have seen the writing on the wallDon't think I need anything at allNo don't think I‘ll need anything at allAll in All it was all just bricks in the wallAll in All you were all just bricks in the wall

Goodbye Cruel World

Goodbye, cruel worldI'm leaving you todayGoodbye, goodbye, goodbyeGoodbye all you peopleThere's nothing you can sayTo make me change my mind.Goodbye.

INTERVAL

An announcement should be made - low key - to the effect that there will be a brief intermission and then ...in the best mercenary tradition of Rock 'n' Roll, wholesale flogging of merchandise begins. The wall could be used to project drive-in-cinema style animation denoting length of time remaining in interval and representing graphically some of the items for sale. Hawkers should travel the aisles selling bricks, wailed-up glasses, articles of clothing, autographs, etc. in the coarsest, most aggressive style.

The end of the interval is established by the sounding of a drone and the dimming of the house lights.

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PINK FLOYD THE WALLeBOOK M

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DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM

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THE WALL – LIVE PERFORMANCE VERSIONTHE SHOW – Second Half

Houselights are down. A drone in A minor starts, and, as the ???? establish the auditorium as the hotel room a quad sound picture.

Ole Pink is slumped in the living room of the suite, the T.V. is on.

The groupie is in the bathroom. She brings him in a glass of water, which he throws against the wall. Then she starts.

“That's it, you are a weird man, you're nothing but a big baby.” He doesn't reply. She says, “Listen, if you don't tell me I'm leaving,” and she exists establishing the door of the hotel room which is at the stage end of the auditorium.

Hey You

Is sung over the top of the wall. Whilst “Hey You” is being sung, Roadies are setting up for the show in front of the wall an the apron. Big piles of speakers, the new drum kit. The Beach Boys and Girls get ready, for the show must go on.

Hey You!

Hey you! out there in the cold,Getting lonely, getting old, can you feel meHey you! standing in the aislesWith itchy feet and fading smile, can you feel meHey you! don't help them to bury the lightDon't give in without a fight

Hey you! out there on your ownSitting naked by the phone, would you touch meHey you! with your ear against the wallWaiting for someone to call out, would you touch meHey you! would you help me to carry the stoneOpen your heart, I'm coming home.

But it was only fantasyThe wall was too high, as you can seeNo matter how he tried he could not break freeAnd the worms ate into his brainHey you! out there on the roadDoing what you're told, can you help me

Hey you! out there beyond the wallBreaking bottles in the hall, can you help meHey you! don't tell me there's no hope at allTogether we stand, divided we fall.

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PINK FLOYD THE WALLeBOOK M

AR

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GEY

ER

DIESE SEITEN SIND ZUSÄTZLICHE INFORMATIONEN ZUM

ORIGINAL PINK FLOYD THE WALL eBOOKVON MARTIN GEYER

THE WALL – LIVE PERFORMANCE VERSIONThe T.V. goes on and on and on and on. Old Pink gets up wanders round then he starts demolishing the room finishing up by picking up the T.V. and throwing it through the window. Heavy glass breakage, and we hear the freeway outside. Old Pink is breathing heavily from the exertion. And over the sound of the breathing “Nobody Home” begins.

Is there anybody out there?Is there anybody out there?

Nobody Home

I‘ve got a little black book with poems inI‘ve got a bag with a toothbrush and a comb inWhen I'm a good dog they sometimes throw me a boneinI got elastic bands keeping my shoes onGot those swollen hand bluesGot thirteen channels of shit on the T.V. to choose from

I‘ve got electric lightAnd I‘ve got second sightI‘ve got amazing powers of observationAnd that is how I knowWhen I try to get throughOn the telephone to youThere'll be nobody homeI‘ve got the obligatory Hendrix permAnd the inevitable pinhole burnsAll down the front of my favourite satin shirtI‘ve got nicotine stains on my fingersI‘ve got a silver spoon on a chainI‘ve got a grand piano to prop up my mortal remainsI've got wild staring eyesI‘ve got a strong urge to flyBut I‘ve go nowhere to fly toOooh Babe when I pick up the phoneThere's still nobody homeI‘ve got a pair of Gohills BootsAnd I‘ve got fading roots

We performing our good picture of a hotel suite throughout Old Pink’s rambling on about Vera Lynn et al. From time to time there should be banging on the door. Occasionally he may try to make a phone call. Musically this section is still unresolved, but it should be very whirly, lots of spinning music superimposed over the static room picture. Memories coming back. All performed in darkness.

Vera

Does anybody here remember Vera LynnRemember how she said thatWe would meet againSome sunny day.

Vera! Vera!What has become of youDoes anybody else in herefeel the way I do?

Bring the Boys back home

Bring the Boys back homeBring the Boys back homeDon’t leave the children on their ownBring the Boys back home.

Comfortably Numb

The door gets broken down. The Doctor's voice insinuates from the stage.Now we have light for the first time fading up onto the whole wall. It in monochrome and just gets brighter and brighter all the way through the Doctor's song.

Comfortably Numb

HelloIs there anybody in thereJust nod if you can hear meIs there anyone homeCome on nowI hear you're feeling downI can ease your painAnd get you on your feet againRelaxI‘ll need some information firstJust the basic factsCan you show me where it hurtsThere is no pain, you are recedingA distant ship smoke on the horizonYou are only coming through in wavesYour lips move but I can't hear what you're sayingWhen I was a child I had a feverMy hands felt just like two balloonsNow I‘ve got that feeling once againI can't explain, you would not understandThis is not how I amI have become comfortably numb.

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PINK FLOYD THE WALLeBOOK M

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THE WALL – LIVE PERFORMANCE VERSIONO.K.Just a little pin prickThey'll be no more ...Aaaaaaaah!But you may feel a little sickCan you stand up?I do believe it's working, goodThat'll keep you going through the showCome on it's time to goThere is no pain you are recedingA distant ship smoke on the horizonYou are only coming through in wavesYour lips move but I can't hear what you're sayingWhen I was a child I caught a fleeting glimpseOut of the corner of my eyeI turned to look but it was goneI cannot put my finger on it nowThe child is grownThe dream is goneAnd I have becomeComfortably numb

The Show Must Go On

Back to black, but with the auditorium reverting to Ole Pink's immediate surroundings. But this time we want to try and create a sense of movement.

The back to blackness should really piss the audience off creating the right kind of tense aggressive vibes for the show to work against.

The Show Must Go On

Oooh Ma, Ooooh Pa Does the show have to go onOooh Pa take me hometake me home, take me homeOooh Ma let me golet me go, let me goDo I have to stand upWild eyed in the spotlightWhat a nightmare, Why!Don’t I turn and run.There must be some mistakeI never meant to let themTake away my soulAm I too old is it too lateOooh Ma Oooh PaWhere has the feeling gone?Oooh Ma Oooh PaWill I remember the songsThe show must go on.

Over the last chord of “The Show Must Go On” the audience chanting, PINK FLOYD - PINK FLOYD, fades up, gets very loud, plenty of amp testing noices. The same M.C. as in the beginning appears, holds up his hands, the chant stops and in the comparative quiet he makes the same announcement as he did at the beginning. Maybe the M.C should have become weirder visually.

The show starts very loud, very brash, very cheap, very theatrical (set Fleming loose on this bit).

The group now are dressed in their surrogate band disguise and have developed shadowy accomplices who also play the music. The idea is split personality --is Ole Pink the real group or the shadows?

Another description could be, a drug induced state of literally being beside oneself.

When the leader is haranging the audience we hit specific people with very tight, bright spots. Flash pots on the end of the chorus after, “I'd have all of you shot.”

The Show

So yaThought yaMight like to Go to the showTo feel the warm thrill of confusionThat space cadet glowI‘ve got some bad news for you sunshinePink isn't well he stayed back at the hotelAnd they‘ve sent us along as a surrogate bandAnd we're going to find out where you fansReally standAre there any queers in the theatre tonightGet 'em up against the wallThere‘s one in the spotlightHe don't look right to meGet him up against the wallThat one looks jewishAnd that one's a coonWho let all this riffraff into the roomThere's one smoking a joint and another with spotsIf I had my wayI'd have all of you shot.

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THE WALL – LIVE PERFORMANCE VERSIONRun Like Hell

Continues in the same vein. Though we can help ourselves by using the quad for false audience reaction, more chanting, maybe getting confused between Hammer, Hammer, Hammer and PINK FLOYD, PINK FLOYD.

Run Like Hell

You better run like hellYou better make your face up inYour favourite disguiseWith your button down lips and yourRoller blind eyesWith your empty smileAnd your hungry heartFeel the bile rising from your guilty pastWith your nerves in tattersWhen the cockleshell shattersAnd the hammers batterDown your doorYou better run like hellYou better run all dayAnd run all nightAnd keep your dirty feelingsDeep inside. And if youTake your girlfriendOut tonightYou better park the carWell out of sight'Cos if they catch you in the back seatTrying to pick her locksThey're gonna send you back to motherIn a cardboard boxYou better run

In the break before “Waiting for the Worms” the sound of marching feet comes up in the quad in sync with the chanting. This song is treated the same as “The Show' and “Run Like Hell” except that in the lines “Sitting in a bunker …” etc. it should be tight spots on whoever is singing these lines. Maybe he could also wander away from his shadow. Maybe a large semi-animated Union Jack could be projected from the “Britannia Rule” line on. The hammer animation should start as the last “follow the worms” line is sung.

This section is now illuminated by a sequence of Nuremberg proportion, hammer rallies. It's worth considering Teutonic architecture as backgrounds.

Waiting for the Worms

Ooooh You cannot reach me nowOoooh No matter how you tryGoodbye cruel world it's overWalk on bySitting in a bunker here behind my wallWaiting for the worms to comeIn perfect isolation here behind my wallWaiting for the worms to comeWaiting to cut out the deadwoodWaiting to clean up the cityWaiting to follow the wormsWaiting to put on a black shirtWaiting to weed out the weaklingsWaiting to smash in their windowsAnd kick in their doorsWaiting for the final solutionTo strengthen the strainWaiting to follow the wormsWaiting to turn on the showersAnd fire the ovensWaiting for the queers and the coonsAnd the Reds and the JewsWaiting to follow the wormsWould you like to see BritanniaRule again my friendAll you have to do is follow the wormsWould you like to send our coloured cousinsHome again my friendAll you need to do is follow the worms

Stop

Animation fades / this little song is sung from behind a real barred window high up in the wall.

Stop

StopI wanna go homeTake off this uniformAnd leave the showAnd I'm waiting in this cellBecause I have to knowHave I been guilty all this time

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THE WALL – LIVE PERFORMANCE VERSIONThe animation on the trial scene should open on the cell door opening to reveal the hammer jailers, who have come to take us to the trial.

The trial will all be on tape except for the fuzz guitars over the judgement. (So Mike and Bill, ya don'ta hava no worry from lip sync ja!).

Anyway it all goes divi brooke bond. Mad Scarfe running the full gambol of life on earth as we know it -- could be subtitled, “A day in the life of Hildergard, the worm crusher.” Und den de wall come crashing down and crush everyone. Und never mind the stains.

The Trial

Good morning worm your honourThe crown will plainly showThe prisoner who now stands before youWas caught red handed showing feelingsShowing feelings of an almost human natureShame on himThis will not doCall the schoolmasterI always said he'd come to no goodIn the end your honourIf they'd let me have my way I couldHave flayed him into shapeBut my hands were tiedThe bleeding hearts and artistsLet him get away with murderLet me hammer him todayCrazy toys in the attic I am crazyThey must have taken my marbles awayCall the defendant‘s wifeYou little shit you're in it nowI hope they throw away the keyYou should have talked to me more oftenThan you did, but no you had to Go your own way have you broken anyHomes up lately„Just five minutes Worm your honourHim and me alone“

BabeCome to mother baby, let me hold youIn my armsM‘lad I never wanted him to Get in any troubleWhy'd he ever have to leave meWorm your honour let me take him home.Crazy over the rainbow. I am crazyBars in the windowThere must have been a door there in the wallWhen I came inCrazy over the rainbow he is crazyThe evidence before the court isIncontravertible, there's no need forThe jury to retireIn all my years of judgingI have never heard before ofSomeone more deservingThe full penalty of lawThe way you made them sufferYour exquisite wife and motherFills me with the urge to defecateBut my friend, you have revealed yourDeepest fearI sentence you to be exposed beforeYour peersTear down the wall