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Pink Floyd Founding Member | Nick Mason | Talks at Google

Jun 26, 2021
Male Host: Hi, I'm Nick Dedina. I'm with Music, Google Music Group. And we're here today with Nick Mason. Who has done so much in his career besides working with the likes of Robert Wyatt and Nick Mason: The Damned. Nick: The Damned, which is big on my list. He has also been the longest serving

member

of Pink Floyd and I would say he was probably the original

member

of the band. And he has been their drummer. He is an amazing musician. And, really wanting to talk to him. And welcome. Nick Mason: Thank you. Male Host: So, I know we just had the first batch of Pink Floyd remasters.
pink floyd founding member nick mason talks at google
We have to jump there. And we also have The Wall coming out. Nick Mason: Mm-hm. Male host: What was it like to not only go through your, you know, your history with the band and all the music that you made, but also go through the vaults and hear all these things that you probably didn't know or didn't remember? Nick Mason: Well, a fascinating exercise. Inevitably. Because that is absolutely true. You forget about the notes that were made. And it's extraordinary in a way that there's anything left. Because the tendency was to just throw things away that way, if there were sketches or if there were notes on paper.
pink floyd founding member nick mason talks at google

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pink floyd founding member nick mason talks at google...

You just think, in that moment, you think that the only thing that matters is the finished product. The finished album. And so, actually, a much more interesting exercise than I think we ever thought. Male presenter: So guys, I know you really started working with some of the people before Pink Floyd. It was even officially a band. But one of the surprises for me was listening to the first sessions with Syd Barrett and it didn't seem like it took that long for his talent to be exposed. Those were really good, really strong stuff. Nick Mason: I think some writers, some, someone like Syd was a natural talent.
pink floyd founding member nick mason talks at google
The interesting thing is, in a way, that if you look at Roger's first song. In "Piper at the Gates of Dawn." "Doctor, Doctor" I mean, no disrespect, but it's not a great song. But with app, within another album, his set of writing controls were much more complex songs. That really worked. But it's that thing that some people just get it that way, other people have to work for it. Male Host: So I always thought you guys were these muses. You know them just, you really picked up your instruments and played. And we had talked a little bit before, with The Damned.
pink floyd founding member nick mason talks at google
And the punk. But you were a bit, is what you did. And you really had competition that just went up. Nick Mason: The last of the gifted amateurs is what I would say. Male Host: Yeah. Nick Mason: I mean, because I would say, we, I think it's one of the interesting differences between then and now. It's that time, at that time there was no one to teach you how to play electric guitar or rock drums or anything like that. You heard something you heard on the radio. And you thought, "How did they do that?" You know.
Whereas now, certainly, my experience with my kids is that in school they can go and take classes and they can actually pass grades listening to Jimi Hendrix songs. It is wonderful. But it takes me to a new level of musicianship, I think today. Which, me, has to, I love it. I think it's great. Male Host: But there's that balance between your craft and your creativity, and— Nick Mason: Yeah, yeah. Like naive painting or something. In a way, well, again, it's interesting how often classical players are terribly inhibited by their training. And very rarely can he go out and improvise.
And there are a good number of great players who have wanted to improvise and have not been able to. I mean, this is maybe one of my favorite stories about the whole experience of doing these, these edits recently. But the best one was when we were working on "Wish You Were Here." We were playing the track and Yehudi Menuhin and Stephane Grapelli were working in the studio. I think we were in Studio 3 on Abbey Road, then Studio 2. And they came just to see what we were doing. And we invite you to play. And Stephane Grapelli just came in and knocked something out.
And that's one of the items that's in the package. And Yehudi would have liked very much to have played, but he was too uneasy at the prospect of improvising. And in a way, I would say it's sad. But that is perhaps the price you pay for being the virtuoso. Male announcer: That's one of the real treasures of that. Nick Mason: Mm-hmm. Male presenter: Is that, not just your job? I don't know if they sat down, if they sat down with him and told him what the song was about. Nick Mason: God no. Male Host: And what was the lyrics about?
Nick Mason: Absolutely not. Never. Male Host: But his solo really fits the mood and stretches. He does what he's supposed to do solo. Nick Mason: Yes. Absolutely. Male Host: It spins the emotion of the piece so beautifully. Nick Mason: Now you just responded by listening to the track. Male presenter: So I want to invite someone like him to play with you. I guess, it shows from Pink Floyd's work, you guys have had a great interest in music. Not just, you know, the kind of neat subdivisions of the music. What did you listen to growing up? And how did you finally get to drums?
Nick Mason: Uh, well, I think we've all heard of, I mean, the beginnings of rock and roll. Which would have been Elvis and Bill Haley and so on. I mean, they, it was, well, I can remember the first rock and roll I heard on the radio, you, the BBC just didn't play it. It was Radio Luxembourg, one hour on a Friday night. It's called "Rocking to Dreamland", I think. It was a very, very small thing in Europe anyway. And so I think that we, which inevitably was the main influence. But I think we probably all listen to, well, maybe a broader range of music.
Certainly quite a lot of classical music. But also jazz. I tried jazz. And then all the things from the be-bop era. Certainly in my case. I had, and still very much like, all kinds of Charlie Parker, Miles Davis, etc. Male presenter: And this led to you, I mean you were one of the first bands really and especially the first British bands, where it wasn't something you had to do. Or you felt it was your choice. You had come from very interesting families. Your father has done a very interesting job. And you, instead, decided to, you know, play music.
And it started as a joke, or? Nick Mason: Yeah, I guess the issue is, well, sociology, if you prefer. I guess we were part of that change where rock and roll started coming from the middle classes and not anywhere else. And before that it had been kind of a working-class concept. And then, I guess the early '60s. And certainly, I'm talking about the UK always here. What actually happened was that art schools started featuring bands. And that includes a band called The Pretty Things, which was one of the first. But the Beatles certainly had an art school element to them.
And certainly, and the Rolling Stones were sort of a college band rather than the kind of off-railway working class that had been the early English rock scene. Male Host: Yeah, I read something with Mick Jones from "The Clash." Where he said that he went to art school because he wanted to be in a rock and roll band. And he didn't know how to do it and that's where he heard you did it. Nick Mason: Male Host: And he said that as a result of that, he got a great art education. And I used that for the sleeves and the costumes.
Nick Mason: Yeah. Well, I have to say it because, I mean, we weren't an art school. We were the school of architecture. And it was an absolutely brilliant workout. I mean, first of all, it was kind of a government funded initiative. That's when they gave us a scholarship to go. Architecture is a very long course. So you have a kind of good seven years. If it was going to take a while to learn some of those drum patterns. And also in our case it led to many other spinoffs in terms of people we worked with later who weren't necessarily musicians but became lighting designers, set designers.
The best known of all is Mark Fisher. Who made the original designs for The Wall and the working mechanics of The Wall. And he fell and everything else. Mark was a contemporary of ours. He was at the AA, which was the other architecture school in London. Male Host: So that's another item that you guys brought in was, I mean, I think maybe Alice Cooper later. You, there's the element of your music and then there's the element of your life, the performance, which has certainly evolved over the years. Nick Mason: Uh, yeah. Male presenter: Was he conscious or...?
Nick Mason: I'm just making the Alice Cooper connection and thinking about snakes. We never really did snakes. I'm sorry. What— Male Host: No, but there was a, I don't know if it was part of the British underground scene, but there always seemed to be your stage shows, there was more to your stage shows than— Nick Mason: Well, I think that was, yes, that was again, that was connected with the element of architecture. Because there was, we had a part-time professor who spent half the time at Hornsey College of Art and half the time on Regent Street.
And he was working in Hornsey, with sound and light workshops. The idea of ​​these light shows is the kind of potential for the upcoming paintings hanging on the walls. And we went and provided music for this. This exercise in Hornsey. And this didn't come out of our school at all, oddly enough. And that was about being in the right place, at the right time. I mean, I think most bands need, I think all bands really need that mix. I mean how good you are or how bad you must be, in the right place at the right time.
You know, two years ago, it wouldn't have happened. Two years later it would not have happened. Male Host: So what's the movie? It's a wonderful movie huh, "Blowup?" Nick Mason: Oh yeah. Male Presenter: Explosion. I mean, looking at that as an American now, I think it's supposed to be very glamorous and you realize that London is still coming out of a war. There are still like bomb sites in the movie and it's a bit shabby. But I always use that as a kind of thing that maybe it's the world that Pink Floyd was involved in. EITHER?
Nick Mason: I think, well, we were a bit, we were like the mid-'60s, I guess. Now, I think we were in this new, I mean, it was the London Underground. But it was also that change where young people were really making money. And this was the big change. I mean, until England came out of all that post-war, until then, young people were apprentices. I mean it was the kind of thought, sort of. And all of a sudden they had this thing with these particular, I mean, before us, young photographers and all that kind of old-fashioned stuff.
As well as the music. It was quite a broad brush. And it was, you know, in the '60s. We were all really worried about what we were going to do with all our free time. Male presenter: That's one of the differences between Britain and America at the time. It just seems to be the amount of money the consumer had or the cost of materials. But I think one consequence of that was that, at the time, Britain was more singles-oriented and America was more LP-oriented. Nick Mason: Yeah, I mean, no, again, I can only, my background is England.
And the pivotal moment was really Sergeant Pepper and that was back, because that was the moment where album sales surpassed single sales. And that was a complete change. And again, that's it, that goes back to what I was saying before. We were in the right place, at the right time. Because the way we work really suited the concept of working on an album basis rather than a single basis. I mean, our early recordings were absolutely geared towards the idea that we had to have the hit single. Male presenter: And that's weird, a little bit, it's coming, because, I have no idea, I mean 200 million, 300 million albums for Pink Floyd?
Which is phenomenal. But you guys have never been perceived as a singles band. An LP band. But at first, maybe you— Nick Mason: At first we were. We decided we were an album band when we couldn't sell the singles. Male presenter: Well, how was that transition? I know you brought an old member. And then you brought in David Gilmore. When Syd Barrett was starting to have issues or issues with the band. How was that and what did you see in David Gilmore to invite him on board? Nick Mason: Um, what did we see in David? Well, that's quite a multiple question.
Uh, in no particular order. Well, I always like to say that we really wanted the best guitar player available. But he wasn't, so we chose David. But that's being unkind. But no, David was perfect. Partly because of his great voice. Great guitarist. And actually no job at the time. In fact, we thought that he was possibly too good for us, I think. But at the time he was driving a van for Ossie Clark. Sothey work or why they don't work is almost impossible really. Male Host: And then when the kind of punk explosion happened, um, I always think it's kind of funny that Pink Floyd is considered the darkest band imaginable, and you guys put out "Animals." Nick Mason: Mm-hmm.
Male Host: Which was, I mean, the punk scene comes off light and airy compared to that album. Nick Mason: Male Host: I mean, was that it? Nick Mason: Yeah, well, we've been reflecting a bit on "Animals" and whether it was influenced by punk. And I suspect it was to some extent. I think there was, even we were acknowledging that there was this kind of progressive rock, punk-rock, it was all kind of overdone and everyone was building bigger and bigger stages. And it wasn't really the way everyone wanted to go. So there was an element of that influence.
And the fact that we were absolutely ridiculed is the wrong word, but attacked by the punk kind of movement. How to be this kind of old past. And there was this feeling of, "Well, we better respond to this." But it was actually part of a change in the way we record as well. Because for this album we would build our own recording studio. And it wasn't in Abbey Road. It was a much simpler and much more basic recording setup. And I think that also played a role. Male Host: So, I think it was a little bit after "Animals" that you worked with The Damned.
So here's a punk band. I don't know if it's just Captain Sensitive who always names Pink Floyd the highest, he just totally adores them. If it was the influence of him or the whole band, but how was that? Going from being some sort of stadium hero to working with them. Nick Mason: Well, I loved it. I think I got more out of it than them. Because as so often happens, well, the truth is that The Damned had approached our publisher. Because they really wanted Syd to produce his record. And that was not going to happen. So they said, "Well, Syd's not available.
We've got an old drummer who'll do it." And so I was really interested, but unfortunately the band was in the middle of having a musical difference. And so there was a great division. In the middle, I think there was Brian and Dave Vanian on one side and the Captain and Rat on the other. So I spent quite a bit of time waiting for them to finish a fight before we could go ahead and do anything. But I loved this business of making the record in a week or so. And I would tell the Captain, after three takers, he would say "I think that's really good.
Why don't we do another one?" And he was like "Naaaah. Why? Naaaah. That's good." And I loved that. I mean, you actually end up with the kind of energy you never get from doing 27 takes and 40 overdubs. Male Presenter: So when they moved into The Wall, which I don't know about in Britain, anyway, but at that point it probably became even bigger than "Dark Side Of The Moon." I mean, we had, we were, I took a yellow school bus. And you'd have 50 American kids singing that on AM radio. Nick Mason: Male Host: But was there a difference in the band dynamic when the album came out?
Nick Mason: No, well, there was by the time the album was finished. But I think when we started, it was pretty much, we were in a relatively good place. As long as it was different, it was different. Because Roger had actually produced demos of the whole thing. It was a complete concept rather than bits and pieces. And even together. And so we really knew what it was going to be. We all agreed that this was what we wanted to do. And so it was good. Then we got into kind of a mess because we moved to France pretty quickly when we found out that we had lost a lot of money and the IRS would possibly come and take our houses and cars and everything else.
We thought it was a very bad idea. So we headed to France. Which in another sense was a good thing. Because it meant that we suddenly had to focus on what we were doing. I think we could have taken another year to record it if we had done it in England. Between doing all the other things we were doing at the time. But a lot of the recordings on "The Wall" were really good and exciting. Because we brought in all these other people to get involved and help out. We had James Guthrie doing sound. We had Bob Ezrin helping with production.
And later we had Michael Kamen doing the string arrangements. So working with all these people was fantastic. And we were working in the south of France, which is never a bad thing. Compared to London anyway. Um, so everything was pretty good. It started to fragment much more along the line. When there were disagreements between Roger and Rick in particular about when we were going to work and when we weren't or whatever. And then it all blew up just as we were finishing the record. But the actual process of making a lot of the record was, I won't say easy.
But he was perfectly civilized. Male Host: It's, that's a record that seems to speak to teenagers, and yet it is, and to American teenagers. But it's so much, almost all your work, it's such an English record. And it seems to be, it's almost like the more specific you are, the more universal you are. Because it seems to be such a singular story and affects everyone else. How did you guys feel any pressure about that being your story? Or did you just feel like you're in a band? Nick Mason: No, I think that's interesting. I think back to this thing about Roger playing the demo.
In fact, he played us two demos. He played the "The Wall" demo and the "Hitchhiker" demo. And we actually all responded to "The Wall" instead of "Hitchhiker" and felt like he was speaking to us. Plus it was very autobiographical in certain ways. Very strong elements of very specific moments in Roger's life. But I think we felt that they also had moments that hit us. Particularly. So it was very easy to be involved in the whole thing. And get involved in it, from that point of view. Male presenter: And it was that other one, I know that the tour at that time was only considered this, that is, a true show.
Which--. Nick Mason: It was crazy. That's what it was. Because it was a show that could never make money. It was absolutely done as sort of a part of a bigger plan, of course. Which was to make the show and then finally film it. And then that changed at the end with the way it all went. Well, the way it all turned out. Now I think if you ask Roger now. I think Roger wouldn't necessarily have chosen to let it go the way it did. He was a bit overcome by the fact that when we shot some of the London shows, he still didn't do what was really required.
And we ended up casting Alan Parker, who was a bit of an original. I don't think he really wanted the job, but he felt that he really had to take it. And so he ended up directing it and making it much more like a feature film. Male presenter: Which was also very successful. All those game gates, and there was a time with Pink Floyd where you guys were so popular week after week, month after month, year after year, that you really changed the charts in America Nick Mason: Announcer masculine: basically to put out Pink Floyd records because you were preventing other bands from getting exposure.
Nick Mason: Very American. Get rid of those bloody Europeans that come here. Yes, there were a number of pretty nice things. I still think, I think there was some altercation between the record company and the billboard. They would not accept the extra publicity. So they never gave us more than a gold record. Instead of a platinum too. Something like that. But I don't think it's something we lose much sleep over. No. Male Host: And then the final cut, which I know was a controversial record. with the band It's one of those albums, I think in the same way as the existential themes of "Dark Side of the Moon", there is no time for them.
That album, with the kind of debt crisis we're going through. The wars we are going through. He's quiet, suddenly he's talking to people again. In a, you know, in a way that, especially in America, didn't happen during the beginning of Thatcherism and all that. Nick Mason: Yeah, in many ways it was quite a political record. I think it was, well, Roger always describes it. He likes her, but he will admit that he is flawed. Which I think is a very good way of putting it. But it has one or two rather interesting side aspects. One of which is something that I've always regretted in a way, that we used some new technology in that.
Some quad tech. Developed by a guy named Hugo Zuccarelli. I think his name was. And it was this kind of absolutely mind-blowing quadraphonic stuff. That only required a stereo microphone. It actually had, I say, a "human head." It was not a real human head. But he modeled a human head with all the ear canals. And it was incredibly good in terms of surround sound. I mean, I still remember it. Sitting there and listening to this. And we never got this technology right on the disc. But it was kind of a secondary aspect of the thing itself.
But having been involved in a lot of the sound effects that we used on the record, a lot of sounds, Doppler effect, traffic and things like airplanes and so on. It's something I'm really sorry about that we were never able to design the record itself. Male Host: So when you guys carried on as Pink Floyd without Roger Waters, and then just one last question before you open it up to audience members. Nick Mason: Mm-hmm. Male presenter: But how was it? It was really nice to see them do the Live Aid presentation and together. And for a very appropriate cause.
Did that, all that acting fix some fences? EITHER? Nick Mason: Oh yeah. No, it was a very good thing to do. And well, it was a brilliant thing to do really. Because I was playing for all the right reasons. It showed that we could be vaguely adults. And I was able to tell my kids, "Look, look, we're not that bad." No, it was great. And I think everyone came away with the right feelings from that. Male Presenter: That's wonderful. Nick Mason: But no, we're not announcing a new Pink Floyd tape. Male presenter: Well, just bless. One more thing before opening to the crowd.
I was at a Super Bowl game last night and I mentioned that I'd be talking to you, and I was expecting some exclamations about Pink Floyd, and instead my friend, Matt, got really excited and ran over to his bookshelf and pulled out these copies. from Octane magazine. Nick Mason: Male presenter: That he stays because he really likes your articles. Nick Mason: Oh, excellent. And I have to say that one of the things that came out of all of this was that I found that I really enjoyed writing. And I started working on, well, it would have been in '94, I guess.
At the end of the tour. And I started working on doing a kind of autobiography, the history of the band. Which took a while to work out what was acceptable to others or not. And people were like, "How did you feel about that?" And I tend to say that the book has been almost universally acclaimed, and when I say "almost universally," there are three people who don't like it. Male presenter: It's a very funny book. And a really beautiful book. Nick Mason: Thank you. But like I say, I ended up really enjoying the business of writing.
And he ended up doing quite a bit of auto journalism as well. Fun. Male Presenter: Well, thank you. Do we have any questions? Man #1: Hi Nick. Nick Mason: Hello. Man #1: Oh. Then, in the late '90s, the news broke that there was probably some kind of sync between "Dark Side of the Moon" and "Wizard of Oz." And then he was famously quoted as saying, "We purposely didn't sync it up with The Wizard of Oz, we put it in The Sound of Music." Nick Mason: Yeah. Not me, sorry, sorry. Man #1: I just wanted to know, is there really an intention to sync "A Dark Side of the Moon" and "Wizard of Oz"?
Or is it a coincidence? Or something that, you know, some stoned kid just read too much? Nick Mason: Well, the thing is, it was very strange. Judy Garland walked into the studio and said, "I've got this idea for a record." And she just walked out of there. No, it's just one of those peculiar things. I mean, I think anyone who works with film, film, whatever, and music knows how easily you can really put things together. What's weird is this business of weird signals working. But I have a feeling you could do the same with The Wall and Spartacus.
And you know, it depends on how much time you have. I mean, if you really have that kind of time. I don't know, I think I might suggest you do something else with it. Man #1: Thank you. Man #2: How important was Alan Parsons as a creative influence on Dark Side? Nick Mason: Um, Alan was, well, he was, I think the great thing about Dark Side is that instead of trying to assign very specific amounts of importance, it's just saying, the reason why, one of the reasons Why Dark Side has worked so well is because there were so many people doing good things.
I mean, I think we would all say that we were very lucky to have Alan. He was the best of that kind of Abbey Road system. Almost. Where he had worked his way through the system so he was a truly accomplished engineer. But he was also familiar with all thetechnology that was happening at the time. There was certainly a producer element to it. As he conclusively demonstrated with the Alan Parsons Project. You know, I mean, it was again, it's just that kind of real life. We assumed that Alan would be designing our next record. And of course, when we told him this good news, he said, "Well, actually, now I want to be a producer.
Thank you very much." And he went and did the project. So we kind of grew on each other. But we were very lucky to have him. And without a doubt, it plays a very important role. Just like Chris Thomas. Like many of Abbey Road's unsung heroes. The guys in white coats who came and fixed things and came and played with things to make them work. You know, I'm thinking again, he's related to the Beatles when they discovered phasing and flanger and so on. It wasn't just George Martin or the Beatles themselves. There would be guys there who would make stuff up.
I mean, when we were recording Piper, there was a guy named Bernard Speight. that he was an engineer. He was just the engineering department. But he built for us the part of the original quadraphonic hand. And you know, that just came because there. Because they had all the parts and pieces in the workshop. And because we talk about him. And it's those kinds of things that add tremendously to what you're doing. And of course they never get the medal or the due recognition. Man #2: Thank you. Man #3: Hi Nick. Is this on? Oh there. I went to the Animals concert at Anaheim Stadium where it rained just before the concert started.
And apparently the sun came out and there was a double rainbow over the stage. And it looks like you guys left early just to take advantage of the double rainbow. At least, it seemed so to us. It was true? Or is it just a coincidence? Nick Mason: Can you remind me what you were taking at the time? Man #3: It seemed like it was scheduled for eight o'clock and you guys came out at about five to eight and there were a couple of— Nick Mason: We might as well have done it, I mean, if we've learned anything, it's to take advantage of the time when you can.
Because my gosh, we've done some shows in really terrible situations. And no, there is something wonderful when it works. When the weather is nice and he's outdoors or whatever. It's always special. It's great. Man #3: Thank you. Man #4: Yeah, I was curious, to what extent or perhaps rather in what way psychedelic experiences were relevant as inspiration for your music. Nick Mason: I think almost beyond measure. I think actually what happened with, we were really scared, well, sour in any way about Syd's experiences. Because no one knows for sure, but it certainly seemed like part of Syd's brand of psychosis was brought on by overuse of LSD.
And I think that put us on rum and blackcurrant for quite a while before we decided to go experiment elsewhere. And certainly for the earlier records, I think to a very small extent. Man #5: You are a band that has many covers of some of your songs. Especially "Comfortably Numb". I'm curious if you've heard any of them and if you like hearing reinterpretations. Or if it's painful to hear someone else's version of your stuff? Nick Mason: Um, I actually love reinterpretations. I mean, "Dub Side of the Moon." The Scissor Sisters, Eric Pritts. Even Luther Wright and the errors.
Anyone familiar with? For anyone who doesn't know, Luther Wright and the Wrong's country western. They have done "The Wall" as a complete piece in country western style. I mean, that's something. Actually, I'm much more ambivalent about tribute bands. Because for me, music has always been about doing something your way. And kind of a creative side of it. And it bothers me a little that people copy all the mistakes I've made. You know that's something you just think "No, no, do it your way." And they are, and I have to say that some of them are absolutely brilliant.
The most impressive of all has to be, I think, the Australian Pink Floyd. That they have separated, having had musical differences. You know, you thought they had seen it coming. Man #6: Hey, can you tell us about Live In Pompeii? Nick Mason: He lives in Pompeii. Interesting because when it was suggested, we didn't have, we weren't that interested. I mean it seemed like a really good idea. I mean, but now, to have a record of that show done that way, that's something I think I should be really thankful for. We hadn't thought about it at all. It was Adrian Maben the director.
Who decided. I had this idea to use the amphitheater and so on. But the funny thing was, I think what really worked was that we didn't have the complications of doing an actual live show. So we can cut. And filming, moving the cameras and everything else. But it still had a live feel. That I think all the dust and the open air gave it. We couldn't have done it in a studio. But the outdoor element turned it into something else. I love it. Of course I also love it because apparently when they were filming "One of These Days" there's a lot going on, for people who have seen the movie there's a lot of drum tracking with me playing.
And apparently they lost some rolls of film that the others were playing. So it's a bit of a battery function. Man #7: I've always been intrigued by "Money" and every time I hear it I imagine the moment the band is sitting together and someone walks up and says, "I know we're going to do a song in seven four times. And release it to the public." Can you give us any idea about that moment? And these strange time signatures and? Nick Mason: I think it was Roger playing the guitar. And this idea occurs to me. And really, I'm not sure he realized if it was seven or whatever.
But I think it was just a kind of idea. And for some reason, even I, no, even I, felt like it was a good idea. And I've never been in a way, certainly in that period, I've never dealt with anything more than four four. So it was, there was a pretty steep learning curve. But it was kind of an interesting idea just to play with. And then what Roger and I worked on, some tape loops. To really do the original type of the beginning of the song. The rhythm track almost to the beginning of the song.
And it has, it's just one of those things where after you've played it enough times you're like, oh yeah, now it's six, perfectly comfortable. But it was very strange when we used to play it live and people would occasionally try to dance to it. Man #7: Did you have any problems with record executives? Saying, you know-- Nick Mason: Not about that. I mean. I think for many years there have always been times when the record company had problems with something we wanted to do. Actually, they've had more problems and there are probably record people here who know full well that what we did to make our lives a lot easier was introduce them to Storm Thorgerson.
And Storm and Hipgnosis made life a lot more difficult, I think, for the record company than the music side. Male Host: Well everyone, let's give a nice thank you to Nick Mason. Nick Mason: Thank you.

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