Feb. 1, 1980
Paramount Studios, Los Angeles, California, USA
Transcribed by Angus Mair
Following One Of My Turns:
Roger: We don't have any click track or count in the cans, James,
which makes it difficult. Go back to the top of that breathing tape, and
sort it out... Stop! STOP BUILDING THE WALL!! Please, thank you.
Roger: We haven't got any click track in the cans. Sort yourself
out, James, and then tell us when you're ready. Also, erm, Steve and
Gerry and anybody else. It feels now from what's going up out here as if
this would be... the best place for me to come out here, not before, i.e.
on the words 'Why are you running away.' There's gonna be a platform
across here so that I can step down to that level there, and then go
across here and sit down.
Roger: James - could you speak to us? Why we're not getting any
click tracks. This is not good enough. The punters will not like this,
James. Compared with this, how the drums sound is totally irrelevant.
Roger: Is there somebody on the headset at the desk? Cos there
should be, always. As we all know. It's taking a long time to get an
answer. OK. When we carry on, we're going to go into the end of the tune
we've just been playing. For Graham, particularly, because I'm gonna be
back in here, and when we get to 'why are you running away' that's when
I'm gonna come down into the middle here and saunter down onto there.
But I don't think you should put any spotlights on until the next song
starts cos there's plenty of light to see.
Roger: Hello James. Yes, hello. Yes, it is... well, as soon as it's
sorted out you tell us and we'll go back into the end of the other song
and do that cross--
Roger: Hello? Hello, James, answer me. Now, please. How long is
this gonna take? Cos if it's gonna take more than a few minutes, we're
gonna carry on without the click track. This is... well, send it then,
and we'll check it. Send it NOW!
Roger: Yeah, DON'T KEEP BUILDING the Wall, you're CHEATING, you
Wall builders. Stop! You must STOP when we stop, otherwise we have no
idea what's going on. You must stop doing anything at all, otherwise it's,
you know, you don't know anything.
Halfway through Hey You:
Roger: (singing): "But it was only fantasy... "
The rest of band misses the change and stops.
Roger: Hello? What's the problem? Dave?
Roger: Can you tell us why you stopped?
Dave: I didn't. Nick did.
Roger: And why did Nick stop?
Dave: I have no idea why he stopped - he thought everyone else
stopped. Ask him!
Roger: Let's carry on. Play the last 4 bars of that and we'll
carry on ... We must never stop. If we stop we might disappear. That's
better, Graham. Obviously you need to spread more, but with 8, you'll be
able to spread that all the way across.
Dave: Stage left, the keyboard player's side, we need a tiny bit
of light, please, Graham. Not this side. That's stage r-- stage left,
that is. We want stage right. No, you want stage right. We want the
keyboard side, whatever side that is.
Roger: Stage ... left.
Lighting guy: Dave?
Lighting guy: He hasn't got it on the board.
Roger: (humored) Sorry about this ladies and gentlemen.
Dave: (irritated) How about some of the ones round the screen? Can
some of the bottom ones on the right hand side of the screen from the
front be lit? Oh, someone stand over there with a torch. Carry on.
The band plays end of solo again and make the change successfully.
After Hey You:
Roger: Don't start the tape, James. Don't start any tapes. This is
my fault cos I wasn't in the right place at the right time. But I will
be, in a minute. Thank you. How do I get up there?
Roger: Can you play the end of that again, Dave? Play that last
verse again. No sparks. Play the last verse again. Please. No, OK, if
you're set up for the next thing, forget it. I'll do it on my own.
Roger: 'Together we stand...' Hang on a minute, I haven't got it
in me back pocket. 'Together we stand, divided we fall.' Whoops. Just
pulled the knob off the telly trying to turn the fucking thing on. Erm.
I've no idea how it fucking works, how am I supposed to.... How can I
see which is the on button? Oh I see, there's a remote control. Ah! What's
that button I've just pulled off it? It came off somewhere. I don't know
what it is.
Roger: OK, just turn that light on so you can see what it looks
like when the telly goes on. 'Together we stand, divided we fall.' (click)
Roger: In future when we do rehearsals, can we turn the lights out
round the side of the, you know, round the bottom. OK. James, you can
make your own mind up when you want to start. No, hang on a minute, cos
like this TV isn't making any noise.
TV starts making noise--this is Bob Hope being interviewed on some TV
show, details can be found in Jon Rosenberg's book.
Roger: Right, we don't have anything to prop this up with at the
moment, but that's... sort of what it may be like. OK. Just... just WAIT
a minute James, I'm gonna prop this mike up properly in front of this
TV, and we'll do that cue all over again, cos it's very simple, and we
should just get it right NOW. All we need is one six inch strip of
gaffer's tape for now. That's all, nothing else. 1-2, 1-2... can you
bring this mike up? 1-2. That's better! OK, we're gonna do that again.
Fine, Robbie, thank you.
Roger: 'Together we stand, divided we fall, we fall...' this
should give time for the thing to open up cos it should be shut when we
say 'we fall.' Mind you, it'd be nice to have some MUSICAL ACCOMPANIMENT
to this, RICK, or Pete. Some drawn out E minor chord or something. And
then, if the TV mike is up.... (TV mike comes up.)
Roger: While this is happening, Rick, you can just be bringing up
an A minor chord, so that when James starts the 'Is There Anybody Out
There?' tape, like NOW... it'll blend. This isn't a terribly good TV.