Echoes FAQ v4.6

The very first time they played it was on 20 January, 1972, at The Dome, Brighton; though they had to stop at the opening sound effects of "Money" due to technical problems. They played all but "Eclipse" the next night -- "Eclipse" had yet to be written. In its place, they played a instrumental jazzy song. Roger didn't feel this was a dramatic enough finale, however, and wrote "Eclipse" for the Bristol show in early February (the 5th, according to Miles). The Bristol show was then the first time the whole "album" was performed.

("Album" in quotes because early performances were substantially different from DSotM as it was eventually recorded and released. Early renditions of Dark Side had a jam version of "On the Run" (instead of the synthesizers), a slower version of "Time," and a vocal-less, organ-based "Great Gig in the Sky" with a tape of preachers running in the background.)

One of two things. It could be an accidental tape anomaly that the Floyd never noticed when they recorded the song, or they did, but it was so faint that they didn't care anymore, or perhaps it happened long after the tape was finished and the master just got damaged. In any event, if you listen very closely to the end of the song, you can hear the last low note sort of "burp" a bit.

Others have argued that Pink Floyd are too much of a "purist" in terms of their work and would never have allowed a glitch like that to be distributed without having some reason. What that reason is, however, is anybody's guess.

Nobody knows. But everyone seems to have heard it at one time... If you listen to the very very end of "Eclipse", and turn your volume up very very high, you will very very faintly hear some music. This has been pointed out several times, but nobody has ever been able to pinpoint exactly what the song is. Some think it's a Beatles song, others, classical music. And why is it there? A studio trick? Or just sound bleeding through from another studio? Truth is, we'll probably never know...

Apparently, however, the original "Black Label" Harvest CD does *not* have this music. Curiouser and curiouser....

People. Lots of people. Just like you and me (sort of). What the band did was this: they prepared a bunch of questions, questions like "When was the last time you thumped someone?" "Why are you frightened of dying?" and "Were you in the right?" Then they took people off the streets, out of other recording sessions, and from within the Abbey Road staff, sat them down in front of a microphone, and handed them a random card, instructing them to say whatever comes to mind. Answers like "I've been mad for fucking years, absolutely years" and "I don't know [if I was in the right], I was really drunk at the time" made it on to the album.

Most of the voices are completely anonymous, but the "stoned laughter" (along with the "short, sharp, shock" bit) from "Brain Damage" are from roadie "Roger the Hat," and the Irish Doorman to Abbey Road is the man saying that "there is no dark side of the moon, really...as a matter of fact it's all dark." Paul and Linda McCartney are among those who were asked questions, but whose answers were not used (they sounded too ordinary and unspontaneous).

From the Shine On book:

"The idea of the prism came from a series of conversations with the band, especially with Roger and Rick. Roger spoke about the pressures of touring, the madness of ambition...and the triangle is a symbol of ambition. Rick wanted something more graphic, less pictorial, something, as he put it, more stylish than before. Floyd's lighting show was regarded as very powerful and the prism seemed a good way to refer to that, and be more graphic at the same time."

And, regarding the pyramids:

"A larger physical representation of the triangle was the pyramid...perhaps it could be seen as a testament to madness, more 'vaulting abmition.'"

No. It doesn't. Absolutely not. And if you are convinced that it does, then, sorry, you're wrong. My apologies for the stern answer -- this has been a topic of debate just a few times too many for me.

At about 3:32 into the song, there is a background voice. It's of a woman, and the what she says is "I never said I was frightened of dying." Presumably, the question she'd been asked was "Why are you frightened of dying?" and this holds for the other voices on that song, as well. A common mis-interpretation of this phrase is "If you can hear this whisper, you're dying." But that's not it...

That's because they're different! The versions on that album are not from the regular DSotM mix, but rather from the quadraphonic mix. This makes sense when you consider that Works was an American release, from Capitol, and that Capitol's first DSotM CD was taken directly from the quadraphonic LP master. Anyway, the only real difference is in the voices of "Roger the Hat," the roadie who supplied a lot of voices to the album. In the regular mix, he talks a bit in the background of the song, in the quad mix, he just laughs (and laughs and laughs...).

Also, some people have said that the version of "Set The Controls for the Heart of the Sun" sounds much clearer on Works than on ASOS.

Yes. In 1974, Pink Floyd were approached by a French soft-drink company that produced a bitter lemon drink called "Gini." The idea was that the Floyd would appear in some magazine ads for the company, and the company would in turn help the band with the tour, resulting in cheaper tickets for the fans, and more money for the band. What could be better?

However, this was ten years before such corporate sponsorship would become commonplace, and fans reacted badly to the advertisements, as did the band. Waters wrote a song about selling his soul in the desert (called "Bitter Love," or "How Do You Feel?"), and the band donated the money Gini paid them to charity.

Rick Wright also sanctioned the use of a rerecording of "The Great Gig in the Sky" in an advertisement for a headache pain-relief pill, Nurofen. The Floyd were not involved in the rerecording, but Clare Torry again did the vocal.

Most recently, in late 1993 they entered into two promotional agreements to support The Division Bell tour. The first involved a Labatt's ICE beer commerical, which showed the "Division Belle" airship, and promoted the Canadian leg of the tour. The other was with Volkswagen, in support of the European portion of the tour. In return for financial support, Pink Floyd agreed to lend its name to a specially modified VW Golf III (or Golf-based Cabriolet). In shades of "bitter love," though, Gilmour says he came to feel uncomfortable with the agreement -- done basically for money -- and that he wouldn't do such a sponsorship agreement again. And, as with the band's Gini experience, all the money in the VW deal went to charity.

[Taken in part from an article in Record Collector magazine]:
In the early 1980s, when the compact disc first appeared, the CDs themselves were imported from Japan, which was at that time the only country with the facilities to manufacture the new format. Initial British issues of Dark Side, Wish You Were Here, Meddle and The Wall had "Made in Japan" on the discs themselves, while the inserts stated the country of origin as the U.K.

These early discs -- which are said to be superior to standard UK/US issues (excepting The Wall, which had several problems) -- can easily be distinguished because they have an all-black label side with silver lettering. These Japanese-manufactured CDs are now highly prized by hardcore collectors, both for their vastly superior sound quality and for their rarity. Expect to pay around #20 [20 UK pounds] or so for copies.

Several changes in the Dark Side song crediting have occurred in some recent releases of the song cycle (Shine On and the audio versions of Pulse). These are:

Song	Original Credits	New Credits
Speak to Me	Mason	Mason, Waters
On the Run	Gilmour, Waters	Gilmour, Waters, Wright
The Great Gig in the Sky	Wright	Wright, Waters

It's interesting that these changes occur on Shine On and the Pulse audio releases, but not the videos of DSoT or Pulse, nor the EMI remaster or the XX Anniversary DSotM CD. I can't imagine that Storm and company aren't aware of these discrepancies, though I suppose it's possible. But assuming there is a reason for them...what is it?

The best I can come up with -- and I freely admit this is quite a stretch -- is that, for the audio recordings, it's a part of the agreement between the current Floyd and Roger Waters. The reasoning involved would be that Waters was understandably reluctant to have songs he felt strongly involved with used to promote something which he felt was illegitimnate. So when DSotM or its component songs are used in conjunction with -- and thus used as a sales incentive for -- post-Waters Floyd material, the current Floyd agreed to give Waters credit for several songs that he did a marginal but still significant amount of work on.

The Wright credit would then be a kind of "if you get credit for your role on this, Rick should get credit for his role on that" thing. And when the albums are sold on their own, as the XX Anniversary CD or normal remaster, the original crediting holds. Finally, the video recordings fall under a seperate copyright, so this doesn't apply to them, and they use the original credits as well.

This theory would also give an explanation for the differences in the tracking of "Speak to Me" and "Breathe" on the various releases. On Shine On and Pulse they're tracked seperately; on the XX CD, they're together. Let me stress again, though, that this is all just speculation on my part -- it has no basis other than the fact that it matches the circumstances, and I can't think of anything else that does...

The EMI remastered versions of DSotM have an added "bridge" between "The Great Gig in the Sky" and "Money" that all other releases lack. Being first released on vinyl, there was always a gap between the two songs caused by the album break; this gap was perpetuated on the cassette and original CD versions. When James Guthrie, Doug Sax and Alan Parsons went to remaster the album, they also added in a new cross-fade to make the transition flow more smoothly.

(It's worth noting here the obvious but sometimes overlooked fact that all the older albums were created and recorded for vinyl. "Money" wasn't just in the middle of DSotM, for example -- it was the start of the second side of the LP.)

Following the success of Dark Side of the Moon, the Floyd were in something of a quandry as to what to do next. One idea they had was to try to create an entire album using only sounds produced by common household objects. The Floyd used a number of recording sessions in the latter months of 1973 to experiment with such unconventional instruments as wine bottles, aerosol spray cans, rubber bands, tape, and others.

In the end, they managed to get three songs recorded before giving up on the project as "a bit daft." However, some bits and pieces (such as wine glass sounds) are rumored to have been used in the beginning of SOYCD.

"Shine On" was originally supposed to be a side-long composition, but it grew to more than a side (it's about 30 min. long), and the band decided that it'd work better with the three other songs in the middle. In any event, the song is divided into nine parts, but naturally it's rather difficult to tell where they start and end. Here is something, pulled from Guitar magazine by Chris Walsh, that should help figure them out:

Part I

Gilmour soloing, orchestra-like keyboard chords, some synth horn.

Part II

Begins with "Syd's Theme", the four note (Dah DAH dah DAH...) riff that is repeated throughout this part of the song. (3:35)

Part III

Rick's synth horn solo. (6:29)

Part IV

Vocal section. (8:42)

Part V

Sax solo. (11:10)

Part VI

Odd-sounding synth, then goes into some decent lap steel by Gilmour.

Part VII

Second vocal section. (4:52)

Part VIII

Rather jazzy synths. (6:04)

Part IX

Closing funeral dirge-like synth horn solo. (9:09)

There is also an alternate scheme, given by the WYWH piano songbook. In this arrangement, the first five parts are as follows:

Part I

Rick's opening synth solo

Part II

Dave's first solo (the soft one)

Part III

"Syd's Theme"

Part IV

Rick's synth horn solo, followed by a Dave solo

Part V

Roger's vocals, and sax solo

This seems a little odd to me, and music books aren't noted for their accuracy. On the other hand, neither is Gilmour's memory ;) At any rate, going by Dave's indexing, the CoGDS version consists of parts I, II, IV and VII. The DSoT version, by either scheme, consists of parts I - V.

Below are excerpts from the interview with David Gilmour:

"Side one begins with "Shine On, You Crazy Diamond", the ambitious nine-part epic song cycle. 'Part I' commences with an opening orchestra prelude...." "David Gilmour's blues-infected guitar voice enters (at 2:09) in response to the horn line, as if to officially announce the sound of Pink Floyd."... "A strong thematic idea, affectionately dubbed 'Syd's Theme', is played at 3:35 and signals the beginning of 'Part II'."... "In 'Part III' (6:29), a hint of the funeral mood of the coda is heard in the somber horn melody of the next blues transformation - now a slow straightforward Gm blues 12-bar..." "'Shine On, You Crazy Diamond, Part IV' contains the classic vocal sound of the cycle (8:42)."... "At 11:10, a model jazz sax solo, by guest perfomer Dick Parry, is brought in, improvising over the drone of 'Syd's Theme', signalling a transition to 'Shine On, You Crazy Diamond, Part V'"... "The overlapping synth noise is a segue back to 'Shine On, You Crazy Diamond, Part VI.'"... "By 2:32, the slide guitar dominates [Part VI] and delivers two dramatic choruses of portamento bottleneck lines over the new 12/8 shuffle feel, setting up the move to 'Part VII'. Here, a recap of the guitar melody from 'Part IV' acts as a retransition [into the vocal theme]"... "In 'Part VIII', a fingerpicked arpeggio variant of 'Syd's Theme' is heard (6:04) over a sustaining synth tone. This creates a transitionto a new mood (6:30), a strutting Gm jazz/funk groove.."... "The last section (coda), 'Part IX', is introduced by a synth pedal point, which grows in volume as the previous goove dissipates. A slow 4/4 funeral march (9:08) becomes the parting musical eulogy to Syd."

Roy Harper is a "street singer" from England, popular in the 1970's. Waters didn't like the way he was singing "Have a Cigar," and Harper was in another studio at the time making an album. So, they brought Harper in, and had him sing it. Though Waters said that Harper did "very well," he also now feels it would have been better to keep the song within the band.

Harper performed with the band at their 1975 Knebworth concert (which was the last performance of Dark Side of the Moon with Roger Waters). Upon discovering that his stage costume had been stolen, he threw a tantrum, ripping upholstry and breaking the windows of one of the tour vans. During this he cut his band badly -- an incident which inspired the hotel-ravaging scene in "The Wall."

A bit more information, courtesy of Scott Lindsey:

Harper is much more a song-writer than a musician, in the same way Bob Dylan is. He's been recording since the late '60's and has released about 18 or so albums, including the duo effort with Page, "What Ever Happened to Jugula?" which also featured Gilmour. Like Dylan, he doesn't have the greatest voice, but it is somewhat unique, albeit not as recognizable as Dylan's. Much of his released material is simply vocal with acoustic guitar. He's very British and at times very political -- very much the cynic. His music isn't for just anyone and for some is an accquired taste. What some find "pointed" others find "grating."

Harper also helped out David Gilmour on his first solo album, helping to write and sing "Short and Sweet" (and Gilmour has worked extensively on Harper's albums). He appears on Gilmour's live tour video. He is also the subject of a Led Zeppelin song, "Hats Off to Roy Harper," from their third album.

There's a Roy Harper mailing list, called "stormcock." You can subscribe by sending a message containing the line

subscribe stormcock

Yep; when they were photographing the cover for Animals. They did the photography on two different days. The first day was kind of dark and dismal, and the pig simply wouldn't float (not enough helium or something like that). So they all "took some photographs, had some champagne, and went home." The next day was a beautiful day with nary a cloud in the sky, and the pig floated up fine. In fact, it floated too well--it broke away from its mooring and reached a height of nearly 10,000 feet before heading back down to Earth, scaring quite a few pilots in the process.

The cover of Animals is a combination of the two photographs -- the dismal power station from the previous day, and the floating pig from the day it flew away. The film for "Pigs (3 Different Ones)" used on the tour was taken that second day.

Animals. Sort of. They were setting the album up to be released on the US 8-track tape (remember those?) and needed a bit of music to bridge the two versions of "Pigs on the Wing." He was "available" at the time, and recorded a short guitar solo.

8-tracks had (as you might guess) 8 tracks; or 4 stereo tracks. This meant that albums had to be divided up into four roughly equal parts. There's some confusion as to how the tape was arranged (there may be more than one version), but one arrangement was as follows, according to owner Donald Scheidt:

Track 1: Dogs (part of the song...)
Track 2: Dogs (...rest of the song), PotW1-solo-PotW2
Track 3: Pigs (Three Different Ones)
Track 4: Sheep

Anyway, regardless of how the Animals 8-track was arranged, we have it on good authority that this is the only Floyd album on which Snowy White appeared. He has also appeared with the Floyd in a couple of tours.

[The only place I know of to find the studio version of this piece of music, other than the 8-track itself, is on the Total Eclipse roio. He also played it on the "In the Flesh" tour, after PotW2.]

Yep. On the lyrics sheet (and also the on-line files, I believe), one of the last few lines of the song reads something like:

Who was given a seat in the stand

But the line that is sung is:

Who was given a pat on the back

Why is it different? Who knows. Maybe it was changed by Waters at the last minute, and they never bothered to change the lyrics sheet. At any rate, it's corrected in the lyric book for the Shine On set.

Pink Floyd toured in 1974 with the following new songs: "Shine On You Crazy Diamond," "You Gotta Be Crazy," and "Raving and Drooling" -- on the early '75 tour, they added "Have a Cigar" and split "Shine On" into two sections. These last two were later recorded and released in late 1975 on WYWH, but the other two were shelved until they reappeared in 1977, modified, on Animals.

Here are the lyrics as they sounded in 1975, taken from a tour program:
[thanks to Tom Hood and Bruce Hammerle]

Raving And Drooling

Raving and drooling I fell on his neck with a scream
He had a whole lotta terminal shock in his eyes
Thats what you get for pretending the rest are not real
Bubbling and snapping at far away flies
He will zig zag his way back through
Memories of boredom and pain

How does it feel to be empty and angry and spaced
Split up the middle between the illusion of
Safety in numbers and the fist in your face

Gotta Be Crazy

You gotta be crazy, you gotta be mean
You gotta keep your kids and your car clean
you gotta keep climbing, you gotta keep fit
You gotta keep smiling, you gotta eat shit

You gotta be small to be a big shot
You gotta eat meat to stay at the top
You gotta be trusted, gotta tell lies
You gotta be able to narrow your eyes

You gotta believe the've gotta believe you
You gotta appear easy to see through
Gotta be sure you look good on T.V.
Gotta resemble a human being

You gotta one eye over your shoulder
Gonna get harder as you get older
Gotta fly south and hide in the sand
Gotta forget your gonna get cancer

And when you loose control, you'll reap the harvest you have sown
And as the fear grows, the bad blood slows and turns to stone
And it's too late too lose the weight you used to need to throw around
So have a good drown as you go down alone
Dragged down the by the stone

Gotta be sure, you gotta be quick
Gotta divide the tame from the sick
Gotta keep some of us docile and fit
You gotta keep everyone burying this shit

I gotta admit to a lot of confusion
Pain in the head is the child of collusion
Gotta resist the creeping malaise
You gotta believe in the way you out of the maze
But you, you just keep on pretending
You can tell a sucker from a friend
But you still raise the knife to Stranger, lover, friend and foe alike

Who was born in a house full of pain
Who was sent out to play on his own
Who was raised on a diet of shame
Who was trained not to spit in the fan
Who was told what to by the man
Who was broken by trained personnel
Who was fitted with bridle and bit
Who was given a seat in the stand
Who was forcing his way to the rails
Who was offered a place on the board
Who was only a stranger at home
Who was ground down in the end
Who was found dead on the phone
Who was dragged down by the stone

NOTE: The lyrics to both songs underwent constant changes as they were performed. Thus the versions on your RoIO of choice may be somewhat different; lyrics for the versions of the songs on the popular RoIO "Total Eclipse" can be found at ftp.halcyon.com, in the "lyrics" directory. Note also that early versions of "Shine On" went through numerous small changes before reaching their recorded form.

In "Pigs (3 Different Ones)," there's a line

Hey you, Whitehouse Ha Ha, charade you are

This isn't referring to the White House in Washington, but instead refers to Mary Whitehouse, a British "moral majority" type person. At one point she was head of the National Viewers and Listeners Association, which campaigns for broad national moral standards in radio and TV.

• Los Angeles, California 7-13 February 1980
  (During the first performance the curtain caught on fire from pyrotechnics used early in the show.)
• New York, New York 24-28 February 1980
• London, England 4-9 August 1980
• Dortmund, Germany 13-20 February 1981
• London, England 13-17 June 1981

This is one of several cases when a lyric was written for the album, printed on the lyric sheets of the initial LPs, but then not used on the album. Why did it happen here? I don't know -- maybe for space reasons. But they used the verse in concert, and here it is:

Do I have to stand up
Wild eyed in the spotlight
What a nightmare Why!
Don't I turn and run

And then the "there must be some mistake..." line begins.

"Hey You" was originally going to be in the Wall film, and pictures from the shot footage can even be found in the picture book of the film (with lyrics), but it was left out. The following is taken from the "Behind The Wall" interview with Roger Waters and Ray White. It was recorded (7/19/90), the week before Roger's Berlin Wall concert.

White

Were you pleased with the movie? I was kind of disappointed with the movie.

Waters

So was I. I sat with Alan Parker when we fin... and we had a.... It was a nightmare making it. We just screamed and screamed at each other, particularly through the editing of the thing. Then, then I dubbed it with James Guthrie reel by reel and as we got to the end of each reel we would look at the reel and go "Hey, that's not bad you know. It's a little bit busy, but it's okay." But then when we put all 13 reels together and sat and watched it, I felt my heart going lower and lower and lower and sank into my boots. I found it almost unwatchable. Which is why I think it's so successful on video; 'cause you don't have to watch the whole thing. You can watch your favorite bits or you can fast forward or you can... and you don't have to sit there and be bombarded with this unremitting assault on the senses, like you had to in the cinema.

White

In a huge... with a huge screen and big sound system.

Waters

Yea, with all that boom boom up and so um.... In fact when we finished works on these 13 reels I potted off to the bar and Alan came through and we stood in the garden and both felt very depressed. We were hardly speaking when Stanley said "What d'ya think?" and I said "We've got to cut out reel 7." and he went "Okay... What else." and uh....

White

What was reel 7?

Waters

Hey you. Just threw it away. The thing was just too long and too... and on it's own it's great. It's been destroyed unfort- unately; I tried to find it and ah about 6 months ago. It was all kinds of stuff with lines of um British Bobbies in riot gear and uh you know. There was lots and lots of rioting. Which was very prophetic. This was 3 years before the Brixton riots which was the first time their new riot gear was used.

"Tigers" is a song written for the Wall film about the British invasion of Anzio, Italy during WWII. The Allies established a bridgehead, but were unable to expand it. There were several German counter-attacks, one of them, on Feb 16th, 1944, against the area where the Royal Fuseliers Company C was stationed (a "Tiger," incidentally, is a type of German tank).

Roger Waters' father, Eric Fletcher Waters (to whom The Final Cut was dedicated) died in that invasion, so it is partialy (if not wholly) autobiographical. The song was split into two parts in the movie, and released as a single. The single came in a special picture gatefold sleeve, had the movie version of "Bring The Boys Back Home" as a B-side, and featured the note "Taken from the album The Final Cut" (which, of course, never featured the song).

The soft gibberish you can hear in the background here is a backwards message. When you play it backwards, you hear:

"Congratulations. You have just discovered the secret message. Please send your answer to Old Pink, care of the Funny Farm, Chalfont"

and, in the background, after that, even softer:

"Roger, Carolyn's on the phone!" [pause] "Okay."

Questions about the various background voices during the Wall are among the most frequently asked of all FAQs (and among the most annoying ;). The following interpretations are culled from the album, movie, concert RoIOs, special shows (including the Berlin '90 show and the Walden Woods benefit that Roger was part of), and various interviews.

Note the word choice: interpretations. The interpretations presented here are those that seem to be the most popular whenever we engage in Lyric War 47, and are the ones that seem to have the best evidence in their favor. This does not mean that your interpretation is wrong simply because it differs from what is suggested here. What it does mean, however, is that I and a great many other people would appreciate it if you would refrain from starting the next Lyric War just so you can have your say. It won't resolve anything and it's just not worth it...

At the very very very end of The Wall, very quietly, is said "Isn't this where..." and at the very beginning, "...we came in?" It has been pointed out that this kind of makes The Wall a complete musical "cycle," right down to the note.

"Lights! Roll the sound effects! Action!"
"Drop it! Drop it on 'em! Drop it on them!!!!!"

The first line is a certainty, based on a Wall-era interview with Waters (the one done by Tommy Vance). The second is more controvertial, but based on the following two facts:

• In the original plot idea for the Wall movie, there was to be a segment where the audience was bombed (the parallels of concerts and war being one of the many themes of The Wall.)
• The diving plane sound that follows these words was specifically identified by Waters (in the above interview) as being that of a bomber.

"You! Yes, you! Stand still laddy!"

Another common interpretation is "Stand still will ye!" At the Walden Woods benefit concert where Roger performed the song, it is fairly clear it is "laddy."

"You! Yes, you behind the bikesheds! Stand still laddy!"

This one causes a lot of controversy, particularly among people who don't understand the reference to bikesheds. "Behind the bikesheds" is a common British phrase for those things at school that take place outside the view of teachers. Stuff like smoking, drinking, a bit of ummagumma, etc.

Other suggestions have been "bedstead", "bikestand", and others. But again, the Walden Woods show is pretty decisive on this. (And what would a bedstead be doing in a school...?)

"Look mummy, there's an aeroplane up in the sky"

There are all sorts of other interpretations here, the most common being "small plane" and "no plane." Given the context, "aeroplane" makes the most sense (especially if you've seen the movie).

"Shut up!"
"I've got a little black book with me poems in"

"Ein, zwei, drei ... alle!" (One, two, three ... altogether)

"We're {waiting to succeed} and going to convene outside Brixton Town Hall where we're going to be..."

"The Worms will convene outside Brixton Bus Station. We'll be moving along at about 12 o'clock down Stockwell Road {...} {Abbot's Road} {...} twelve minutes to three we'll be moving along Lambeth Road towards Vauxhall Bridge. Now when we get to the other side of Vauxhall Bridge we're in Westminster {Borough} area. It's quite possible we may encounter some {Jew Boys} by the way we go. {...}"

Some of this I'm sure of, again based on the Tommy Vance interview. Other parts just make sense from the context.

"Go on Judge! Shit on him!"

Defecate being a more polite synonym for "shit."

Originally, The Wall was supposed to include the song "What Shall We Do Now?," but this was cut because of time limitations. The change was made so late in the game that the album sleeves had already been printed, including the lyrics and the original order.

"What Shall We Do Now?" was to come right after "Goodbye Blue Sky," followed with "Empty Spaces" showing up later (before ABitW 3) as a sort of reprise. Also, on side 3 of the album, they had planned to place "Hey You" after "Comfortably Numb," but that too was changed at the last minute.

This song appears at the beginning of the film "The Wall" (while slowly tracking down along the floor of the hotel corridor), and was sung by Vera Lynn, who was a popular singer during World War II.

The Little Boy Who Santa Claus Forgot

Christmas comes but once a year
for every girl and boy.
The laughter and the joy
they find in each new toy
I'll tell you of a little boy
who lives across the way
The little fella's Christmas
is just another day

He's the little boy that Santa Clause forgot
And goodness knows he didn't want a lot
He sent a note to Sanda
for some ??????? and a drum
His broken little heart
when he found that none had come.

A RoIO (The Film) of the movie also includes at the end of side three another song sung by Vera Lynn, "We'll Meet Again." This is the song that Waters was alluding to in "Vera," and goes something like this:

We'll meet again,
Don't know where,
Don't know when,
But I know we'll meet again,
Some sunny day.

The song also appeared at the very end of the movie "Dr. Strangelove," when the world was being destroyed by the "Doomsday Machine."

When Pink is sitting in the bathroom stall, he sings, of course, "Stop." However, before he sings that, he sings scraps of other songs he has been working on, reading them from his songbook. These later became parts of "Your Possible Pasts" from The Final Cut and "The Moment of Clarity" from Pros and Cons of Hitchhiking.

Here is what he's singing:

The way it used to be?
Do you think we should have been closer?

I put out my hand
Just to touch your soft hair
To make sure in the darkness
That you were still there
And I have to admit
I was just a little afraid
Of the ones living under
Their dirty old macks
And the ones who were pointing
The guns in their backs

Nope. It's never been released, in spite of the fact that the movie includes the note "Soundtrack available on Columbia records and tapes" near the end of the credits. There have been a couple RoIOs of the soundtrack, (some very professional looking) but your best bet would be to buy the Hi-Fi videotape of the film (or get the new LaserDisc, and you'll have a digital copy of the soundtrack!)

So there is. The line sung on the album as

"Is it just a waste of time?"

in the movie is sung

"Am I really dying?"

Interestingly, the written lyrics in some early Wall LPs (and Harvest CDs) have this change as well. In other words, the original lyric was apparently the "Am I really dying" line, which was changed at the last minute to "Is it just a waste of time" for the album, and then changed back to "...dying" for the movie. In between, at some live shows, it was sung "What a crazy time" (see, for example, Brick by Brick).

During the sessions for The Wall, Richard Wright was basically forced out of Pink Floyd. One story holds that Waters had even gone so far as to threaten to destroy all the working tapes if Wright didn't leave. Another quotes David Gilmour as saying that Wright wasn't contributing much of anything, and hadn't been for a couple years, partially due to something of "a bad cocaine habit." He did play with the band on The Wall tour, but not as a full member of the band. Being paid on a wage, he was the only "member" of Pink Floyd to actually make money on that tour (yes, the Floyd "lost their shirts" on that tour -- it was so phenomenally expensive to put on, and they did so few shows that they couldn't recoup their investment. The rest of the band were "investors," as it were, but Wright's role was the same as that of the roadies -- fixed dollar amount per night or somesuch. So he didn't get reamed like everyone else).