Talk:The Happiest Days of Our Lives

Train

I totally disagree with the sound effect being a train on the album. Yes, it's a train in the movie, but it can be nothing else than an helicopter on every other version : in fact, Waters is even seen in an helicopter on The Wall in Berlin ! Xave 20:28, 7 December 2005 (UTC)

Absolutely! Waters has said in several interviews it was a helicopter; in fact he lent the tape to Kate Bush when her engineers couldn't get the same sort of sound for her single "Experiment IV."

Oh hell, I'll just fix the article. Daniel Case 05:34, 26 January 2006 (UTC)

The last time I read this article, the bit about Kate's "Experiment IV" was axed from the article due to lack of a source. Surely there's a source out there about this! I've been coming across this trivia item in books since before there was an Internet.

--Ben Culture (talk) 22:15, 25 August 2012 (UTC)

P.S. I love me some Kate Bush!

I'll write this...

Many people think that this song is Another Brick Part II. I'll write that, 'k?--Editor510 ^{drop us a line, mate} 08:15, 22 June 2008 (UTC)

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Radio Playing

I know for a fact that some radio stations play this song and Another Brick in the Wall Part 2 immediately afterward due to the seque. I noticed on the article is that a citation is needed for this, but what sort of citation could be used to corroborate this? —Preceding unsigned comment added by 76.11.8.109 (talk) 22:00, 16 April 2011 (UTC)

No, no citation is necessary for that. Seems to me, MOST airings of "Another Brick In The Wall Part 2" are preceeded by "Happiest" and, half the time, "Part 1" before that, as well! I can't recall ever hearing the single edit on the radio (it's available on A Collection of Great Dance Songs; it has a simple guitar-strumming intro). Why would anyone challenge this assertion? Someone's just being prickly. If the citeneeded is still there you should feel free to remove it.

--Ben Culture (talk) 22:40, 20 June 2012 (UTC)

The transition to "Another Brick in the Wall Part 2"

The last bar of this song cuts to "Another Brick" about 1/16-note early--which is not true on live performances. It's probably an editing error, or has to do with the length of the "Waters scream" which also is heard on "Careful with that Axe, Eugene", "Run Like Hell", and Waters' "Radio Waves". It might also be noted that different CD's make the split between the songs at different places--some (like mine) at the beginning of the scream, others near the end (just about at the beginning of the first lyric of "Another Brick").RobertGustafson (talk) 04:03, 24 February 2012 (UTC)

I'm sorry, but I removed the following from the article. I assume it was you who wrote this:

Due to the smooth transition from this song to "Another Brick in the Wall, Part II", it might give the listener the impression that this song is part of "Another Brick". (The latter song cuts in about 1/4-beat [1/16-note] early; live versions of the suite, however, transition evenly.)

I've been listening to The Wall for a good 25 years, and I'm a well-trained musician, and I simply hear no such thing. When I read this claim about "Brick" starting a sixteenth-note early, I got out the CD (The "Experience Edition", if it matters), and listened to the transition about five times. Then I listened to the transition in the live album Is There Anybody Out There by way of comparison (which wasn't helpful, because, in that version, the drums and bass stop altogether for the final two measures, and we just hear the singers holding their notes over the C chord). I've satisfied myself that the transition on the studio album version is close to perfect in 4/4. It's not perfect-perfect, but by no means is it as early as an entire sixteenth note. I mean it, I sat tapping on my leg and singing "ONE-ee-and-ee, TWO-ee-and-ee, THREE-ee-and-ee, FOUR-ee-and-ee", and it worked. Every time.

Having said this, there's no need for an argument. Anything that comes down to one Wikipedian saying to another, "Gee, I don't hear that", doesn't belong in the article anyway. It's akin to original research. It's something your ears are telling you, that other ears disagree with. Put it this way: the sheet music says it's 4/4 all the way through. You'd need a significant citation if you're going to say the sheet music is wrong.

I didn't enjoy removing the statements. If I believed such a thing, and had noticed it all by myself, I would be very eager to get it into the article. Unfortunately, it seems clear to me you're just mistaken, and without a source to back it up, it shouldn't be in the article.

--Ben Culture (talk) 16:43, 14 June 2012 (UTC)

Just a semi-related comment, on the subject of being a sixteenth-note early, one good example of that in Pink Floyd's music is in "Pigs (Three Different Ones)". In the middle, the instrumental section goes Em to D eight times, then C to B♭ eight times, and then back to the Em, but the bass and drum hit the E a full sixteenth-note ahead of the next measure, when the guitar comes back in. Then, after doing Em and D eight times again, it's C to Bb only six times, followed by B natural. I mention this merely as an indication that I know my Pink Floyd stuff.

--Ben Culture (talk) 16:56, 14 June 2012 (UTC)

Composition: Cut parenthetical about "Run Like Hell".

I removed a bit in parentheses about how Roger also screams in a similar way during "Run Like Hell". I didn't think it was a true and notable reprise -- not like, for example, when David Gilmour's echoing "stone... stone..." from the lyric "dragged down by the stone" in "Dogs" gets reprised during the instrumental middle section of "Sheep". Roger screams a lot, going back to 1967's "Pow R. Toc H." (some truly hideous noises up front!) and '68's "Careful with That Axe, Eugene". On The Wall, I don't think it's the exact scream copied to both songs, is it?

If somebody insists on putting it back in, I'm not gonna remove it again. But I really don't think it's of any importance.

--Ben Culture (talk) 10:47, 3 September 2012 (UTC)