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Under Construction, Part Four

The worms have fled

Finishing up our examination of Under Construction

Rating system

As we progress through the songs, I will rate the development of the music, lyrics and take a stab at guessing from which period the recording originates. Roger's acoustic recordings will be labeled with 1 asterisk (*); the early studio work will be labeled with 2 and the later studio work will be labeled with 3.

Music:
1 = Very early development; rough or unlistenable
2 = Rough, but developed
3 = Close to finished version
4 = Identical to the finished version

Lyrics:
1 = No lyrics
2 = Early development; different or sketchy sounding
3 = Polished lyrics, but different from finished version
4 = Close or identical to the finished version

For me, the fourth quarter of Under Construction (what becomes side four of the The Wall) is the most interesting segment of the work in progress. The interest does not come from the more obvious sources (drastically different lyrics or unexpected instrumenation and arrangements) since most of the songs on this section are close to their final version. Also, this section doesn't contain any of the stunning surprises of the previous section which boasts two unreleased songs.

Despite that, it is the section with the most interesting tidbits.

What is often written off as filler by fans, here, becomes the most fascinating moment in the entire album. The song in question, "The Show Must Go On," proves itself to be the most glaring crack in the outer shell of Floyd secrecy and gives us the most tantalizing glimpse into the Floyd studio process.

Why? Give it a listen and you will quickly notice that you're hearing the product of two distinct recordings stitched together haphazardly in the studio. One take of the song appears to be from later studio recording sessions with the full band. I say "later" because it does sound, to my ears, to be musically the same recording, although I could be wrong about that. The take is fully developed with vocals and instrumentation worked out.

The other take can be assumed to be Roger's early recordings, the ones of him strumming an acoustic. At the line "Am I really unsure," the song cuts jarringly from the full band to Roger's recording, suddenly reducing the song to an acoustic and vocal take (and not a very well recorded one at that!) The contrast is startling.

The song continues along, jumping back into the full band take with Gilmour's vocals on the line "it was just a mistake."

The lyrics are a wonder. The mention of the Rising Sun is curious and, obviously, points to some of the fabled bits and pieces that were excised from The Wall and later resurfaced (albeit in a different form) on The Final Cut.

More interesting to me is the mention of "the worms." I've always suspected that some work from Animals spilled over into early production on The Wall and this leads me further toward that suspicion. The songs on The Wall that mention the worms were originally (as evidenced here) planned to run together on the same side. (And if "Run Like Hell" seems a bit intrusive, remember that it was added later in the process.)

So, here we have three songs that mention the worms. We already knew about "Waiting for the Worms" (of course) and "The Trial" ("Worm, your Honour") and the final version of "Hey You." Now we can add "The Show Must Go On" to that list. And on top of that, we now know that the worm concept dates from very early on in the creation of The Wall. It's hard not to imagine the worms as a concept left over from Animals that wormed its way (sorry) into the Roger's new project.

The rest of this section is pretty unremarkable. Much of the music is in place and lyrics have been, for the most part, hammered into shape. The presence of yet another instrumental ("Run Like Hell") shows that this was (as has already been confirmed by the band) a later addition to the album. "The Trial" exists here in skeletal form, primarily piano and vocals. "In The Flesh" has been fleshed out. I tend to think that this portion of the album contains the songs that were in the works early on as they seem to be further along than the rest of the album.

So, let's continue the song-by-song examination.

bbb-wip-cover.gif
Wall in Progress (alternate title) cover art

Hey You | music: 3 / lyrics: 3 / **

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

    Hey you,
    Out there on your own
    Sitting naked by the phone
    Would you touch me?
    Hey you,
    With your ear against the wall
    Waiting for someone to call out
    Would you touch me?
    Hey you,
    Would you like me to carry the stone?
    Open your heart
    I'm calling your home

    Hey you,
    Out there in the cold
    Getting lonely
    Getting old
    Can you feel me?
    Hey you,
    Waiting in the line
    Do you worry all the time?
    Can you feel me?
    Hey you,
    Don't help them to bury the light
    Don't give in
    Without a fight

    (guitar solo)

    But it was only fantasy
    The wall was too high as you can see
    No matter how he tried he could not break free
    Of the chain

    Hey you,
    Out there on the road
    Always doing what you're told
    Can you help me?
    Hey you,
    Out there beyond the wall
    Breaking bottles in the hall
    Can you help me?
    Hey you,
    Don't tell me there's no hope at all
    Together we stand
    Divided we fall (we fall... we fall... we fall...)

Appearing here after "Comfortably Numb" (as confirmed by stories of the evolution of The Wall) this early version of "Hey You" bears remarkable similarity to the final version of the song. Much of the structure of the song is firmly in place and most of the lyrics are close to the final version. Despite that, I suspect we're hearing a different take on Under Construction. While most of the song details and arrangement are clearly worked out, the recording sounds different.

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Under Construction cover art

The song starts with the familiar guitar arpeggios accompanied by the electric piano and fretless bass, although the latter, which is the signature sound of "Hey You," has not been worked out here. The intro, therefore, is considerably shorter. (Curiously, later in the song where the fretless bass part reappears after the solo and bridge, we hear a fretted bass playing this part.)

Unlike the final version, Roger sings all the lyrics. Roger does a great job with the delivery, but "Hey You" is not a "Roger" song and you can hear how it suffers here from the lack of Gilmour's vocals.

The guitar solo is truncated in this version. Lacking the slow build-up on the four-note theme, it jumps shockingly into what we now know as the middle of the guitar solo where Gilmour's lead lines take off and start soaring over the song. There are a few barely noticeable edits here and there.

The Show Must Go On | music: 3 / lyrics: 3 / * & ***

    Ooh-ooh-ooh-ohh
    Ooh-ooh-ooh-ohh
    Ooh-ooh-ooh-ohh
    Ooh Ma
    Ooh Pa

    I must be slowing down

    Ooh Ma
    Ooh Pa

    Am I really on show (unsure)?
    Wide-eyed in the spotlight
    Fuck me
    What a nightmare
    Who's there?
    Have they all gone?

    It's okay
    Now you're in luck
    The worms have fled
    The Rising Sun
    Their evil power
    Is on the wane
    Forget the past
    And start again

    It was just a mistake
    I didn't mean to let them
    Take away my soul
    Am I too old?
    Is it too late?

    Ooh Ma
    Ooh Pa
    I must be slowing down
    Ooh Ma
    Ooh Pa
    I must be slowing down
    Ooh Ma

Footstep sound effects lead into the opening of what I consider to be the most remarkable track on the album. It contains reference to the worms as well as jumping from later studio work to Roger's early acoustic recordings. (See the article intro for more on this.)

According to the "official" lyrics found online and in the liner notes to Under Construction, Roger is singing "their evil power is on the way." I disagree. It sounds like "wane" to me, which rhymes with the following line and makes more sense in context.

An odd yet-to-be-cut reference to Japan is orphaned here. It hints at The Final Cut which contains lyrics that were removed from The Wall.

There is an annoyingly sloppy cut at the end with the vocals cutting out just before the song dies abruptly.

In The Flesh | music: - / lyrics: - / ***

    So you thought you
    Might like to
    Go to the show
    To feel the warm thrill of confusion
    That space cadet glow
    I've got some bad news for you sunshine
    Pink isn't well
    He stayed back at the hotel
    And they sent us along
    As a surrogate band
    We're gonna find out where you fans really stand

    Are there any pooves in the theatre tonight?
    Get 'em up against the wall
    There's one in the spotlight
    He don't look right to me
    Get 'im up against the wall
    And that one looks Jewish
    And that one's a coon
    Who let all this riff-raff
    Into the room?
    There's one smoking a joint
    And another with spots
    If I had my way
    I'd have all of you shot

"In The Flesh" is the same recording, musically, to the version ("In The Flesh?") that kicks off the album. (Yes, you anal-retentives out there can rejoice--I played them simultaneously to prove the point.) The apparent differences here are entirely studio sleight of hand. "In The Flesh?" cuts back into the intro after one verse whereas this version continues with second verse, going through the main riff and the big finish as expected. This suggests to me that this version was recorded first and the other created from it. There are signs of further refinement since "In The Flesh?" was spun off however.

The additions and differences are subtle. There are some genuinely creepy falsetto voices during the pre-verse arpeggios. These falsettos gave way eventually to Beach Boys-esque harmonies on the final version, but I'm not sure that was such a wise decision ultimately. The voices here evoke a loneliness and desperation that one-ups the final version. It's puzzling that such an effective vocal wasn't used.

Roger's vocal takes are different on the first verses despite lyrical similarity. Also, there is a very cool but subtle synth part that enters on "bad news for you sunshine" that isn't on the final version (too bad.) There is also a descending synth part during "that one doesn't look right to me" which also never made the final version (too bad again--both of these synth parts are small but add a lot to the feel of the music.)

The song resolves to the heavy outro without an apparent edit like the first version and continues to its arena rock big finish without the fade-out of "In The Flesh?" As with The Wall, we hear an audience cheering at the end.

Run Like Hell | music: 3 / lyrics: 1 / ***

    (Instrumental)

Another moment for you Floyd/karaoke fans to celebrate. With the exception of the missing vocals and synth solo, this is almost identical to the final recording so it practically demands that you belt out the odious lyrics as the vocal-less verses come crashing down around your ears.

This is definitely the take we hear on the album, although the guitars sound somewhat flat, like there may be a missing overdub, but it's hard to judge. The delay that is so distinctive on the final version is definitely quieter here. However, the tone of the main guitar playing the chords sounds thin as if missing something but that could be chalked up to studio work (equalization, effects, etc.) that has yet to be applied.

One pleasant surprise is that you can hear the piano part much more clearly. Although it's just blunt block chords being pounded to the beat, the instrument has rarely sounded so menacing. It's too bad it's so hard to hear in the final version.

The bass part is remarkably well developed. Given that this is a Gilmour composition, I suspect it's Gilmour on the bass as well.

The car chase sound effects and Roger's scream are both missing during the long instrumental break, although I swear I can hear a faint something-or-other just on the edge of my perception. It's possible that an early batch of sound effects is there, but has been dropped down to a low volume for this mix. (It's also possible that I'm hallucinating, so what the hell!)

Waiting For The Worms | music: 3 / lyrics: 3 / ***

    "Ooooh! Ack-ack!"

    You cannot reach me now
    No matter how you try
    Goodbye cruel world
    It's over
    Walk on by

    Sitting in a bunker
    Here behind my wall
    Ooooh-ahhhh!
    Waiting for the worms to come

    In perfect isolation
    Here behind my wall
    Waiting for the worms to come

    Waiting! To cut out the deadwood
    Waiting! To clean up the city
    Waiting! To follow the worms
    Waiting! To put on a black shirt
    Waiting! To weed out the weaklings
    Waiting! To smash in their windows and kick in their doors
    Waiting! For the final solution to strengthen the strain
    Waiting! To turn on the showers and fire the ovens
    Waiting! For the Queens and the Coons and the Reds and Jews
    Waiting! To follow the worms

    Did you want to see (Would you like to see...)
    Britannia rule again? (...us rule again?)
    My friend
    Ooooh-ahhhh!
    All you have to do is follow the worms

    Would you like to send (Would you like...)
    Our colored cousins home again? (...to send them home again?)
    My friend
    Ooooh-ahhhh!
    All you need to do is follow the worms

    ("Hammer! Hammer! Hammer!")

Stop | music: 4 / lyrics: 4 / ***

    Stop!
    I wanna go home
    Take off my uniform and leave the show
    I'm waiting in this cell because I have to know
    (have to know... have to know... have to know...)
    Have I been guilty all this time?
    (time... time... time...)

Short and sweet and not much to be said beyond that. The song is close to the final version, sounding like the take we hear on the album with a different take on the vocals.

The Trial | music: 3 / lyrics: 4 / ***

    Good morning, Worm, Your Honor
    The Crown will plainly show the prisoner
    Who now stands before you
    Was caught red-handed showing feelings
    Showing feelings of an almost human nature
    This will not do

    I always said he'd come to no good
    In the end, Your Honor
    If they'd let me have my way
    I could have flayed him into shape
    But my hands were tied
    The bleeding hearts and artists
    Let him get away with murder
    Let me hammer him today!

    ("Hammer! Hammer! Hammer! Hammer!")

    Crazy... toys in the attic
    I am crazy
    Truly gone fishing

    They must have taken my marbles away

    Crazy... toys in the attic
    He is crazy

    You little shit
    You're in it
    Now I hope they throw away the key
    You should have talked to me
    More often than you did-- but no
    You had to go your own way
    Have you broken any homes up lately?
    Just five minutes, Worm, Your Honor
    Him and me alone

    Baa-aabe!
    Come to Mama, baby
    Let me hold you in my arms
    M'Lud I never wanted him to
    Get in any trouble
    Why'd he have to go and leave me?
    Worm, Your Honor, let me take him home

    Crazy... over the rainbow
    I am crazy
    Bars in the window

    There must have been a door there in the wall
    When I came in

    Crazy... over the rainbow
    He is crazy

    The evidence before the court is incontrovertible
    There's no need for the jury to retire
    In all my years of judging
    I have never heard before
    Of someone more deserving
    The full penalty of law
    But, my friends, he has
    Revealed his deepest fear
    I sentence him to be
    Exposed before his peers

    Tear down the wall!

    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down--

This version of "The Trial" starts with a footstep sound effect and a piano--and that's all. No orchestration yet. No sound effects of squeaky doors (although we do hear Roger cough and sniff just before the first line of lyrics.) The arrangment is skeletal at this stage, and yet the song is fully developed.

There are only a few minor variants on the lyrics. The vocal take shows some differences from the album version and some similarities. Moments sound identical to the final version (the teacher verse for example) while others sound decidedly different (the mother verse.) I suspect the final version was comped from multiple takes.

It sounds like the piano part heard on Under Construction made the final cut. Even though the song is clearly in early stages of recording, the piano part is played flawlessly.

We hear whispered chanting standing in for crowds shouting "Hammer!" and "Tear down the wall!"

Toward the close of the song, when Roger assumes the role of the judge, we hear a single, familiar guitar line enter riffing on the four-note theme that pervades the album. Again, there are no other final touches to the ending of the song. The shouting crowds are reduced to whispers. Roger's judge vocals have not yet taken on their demonically low-sounding qualities. The explosion of the wall coming down jumps out from behind a hard edit and sounds like it was taken from a second-rate sound effects library.

Outside The Wall | music: 3 / lyrics: 3 / **


    All alone or in twos
    The ones who really love you
    Walk up and down outside the wall

    Some side-by-side
    Some in Indian file
    The bleeding hearts and the artists
    Walk on by

    And when they've given you their all
    Some stagger and fall
    After all it's not easy
    Banging your heart against
    Some mad bugger's wall

Like "Stop," "Outside the Wall" is short and sweet and mostly complete, mostly what we hear on the album. There is the curious addition of a drum playing a heartbeat pattern throughout. For whatever reason, this did not make the final album (possibly Roger disliked plagiarizing himself.)

There are slight differences in a couple lines of lyrics. There is the mysteriously obscure sounding lyrics after "Some side-by-side" that is written up in the "official" lyrics as "Some of them going in file." Neither Roger's vocals nor the backing vocals sounded like they're singing that so I set out to resolve the mystery. The best I could make out initially was "Someone in ian file" from Roger (which of course makes no sense) and "Some beginning in file" from the backing vocals (again making little sense.) The mystery persisted. I came to the hasty conclusion that it was "someone leading in file."

However, after repeatedly listening to that line, I finally caught it as "Some in Indian file." It made no sense to me until I looked up the rarely used term "Indian file" which means "single file." I'd never heard the term before, but it made sense. Mystery solved.

So there we are. Under Construction deconstructed. I hope you've found this series enjoyable and enlightenting or that it has provoked some thoughts about this early working version of The Wall. Feel free to share your insights with us.

The reconstructed lyrics

One more thing. I've always been somewhat detail-oriented (that's a polite way of saying uptight, by the way) about Pink Floyd. I like seeing lyrics transcribed correctly in particular which means that I take issue with the lyrics that are commonly found on the Web and in the liner notes for Under Construction. The lyrics as transcribed presently contain numerous inconsistencies and mistakes. (I intend no offense to whoever it was out there who transcribed them. It was obviously a big job and not all of the vocal passages are clear.) To rectify this, I have been making my own transcription of the lyrics, borrowing from the previous transcription whenever possible, and would like to reprint them in their entirety here. Feel free to copy and post at will (or you can download a text file of the lyrics.) And please, for the sake of us hopelessly detail-oriented folks: if you are one of the numerous sites out there that has posted these lyrics, replace what you have with this corrected version. Please.


Lyrics for Under Construction

An early working version of The Wall

By Roger Waters


In The Flesh

     So ya thought ya might like to
     Go to the show
     To feel the warm thrill of confusion
     That space cadet glow
     I got some bad news for you sunshine
     Pink isn't well
     He's at home in his bed
     And they sent us along
     We're the surrogate band
     We're going to find out where you fans really stand


The Thin Ice

     Mama loves her baby
     And daddy loves you too
     And the sea may look warm to you babe
     The sky may look blue
     Ooh-ooh-ooh, babe
     Ooh-ooh-ooh, baby blue
     Ooh-ooh-ooh-ooh ooh-ooh babe
     He's going away
     If you should go skating, boy
     On the thin ice of modern life
     Dragging behind you a house and a car
     And a trunk full of things for the wife
     And don't be surprised when a crack in the ice
     Appears under your feet
     You slip out of your depth
     And out of your mind
     With your fear flowing out behind you
     As you claw the thin ice
     Goodbye... goodbye!


Another Brick In the Wall, Part One

     Daddy's gone across the ocean
     Leaving all her memories
     And an aftertaste of raw emotion
     Daddy what you leave behind for me?
     Daddy what you leave behind for me?
     All in all just another brick in the wall
     All in all you're just another brick in the wall


The Happiest Days of our Lives

     When we grew up and went to school
     There was a certain teacher
     Who would hurt the children any way he could
     By pouring his derision
     Upon anything they did
     Exposing every weakness
     However carefully hidden by the kids
     But in the town it was well known
     When he got home at night
     His psychopathic wife would crush him
     Within inches of his life


Another Brick in the Wall, Part Two

     We don't need your education
     We don't need your crowd control
     Your dark sarcasm in the classroom
     Teacher leave the kids alone
     All in all you're just another brick in the wall
     All in all you're just another brick in the wall


Mother

    Mother, do you think they'll drop the bomb?
    Mother, do you think they'll like this song?
    Mother, do you think they'll try to break my balls?
    Oooh... ah
    Mother, should I build a wall?

    Mother, do you think she's good enough... for me?
    Mother, do you think she's dangerous... for me?
    Mother, will she tear your little boy apart?
    Oooh... ah
    Mother, will she break my heart?

    Hush now baby baby, don't you cry
    Mama's gonna make all of your nightmares come true
    Mama's gonna put all of her fears into you
    Mama's gonna keep you right here under her wing
    She won't let you fly but she might let you sing
    Mama will keep baby cozy and warm
    Oooh, babe (babe, babe, babe, ooh babe)
    Oooh, baby
    Oooh, babe
    Of course Mama'll help you build the wall

    Oooh, babe, don't you cry
    Mama's gonna check out your girlfriends for you
    Mama won't let anyone dirty get through
    Mama's gonna burn all of your pornography
    She'll watch what you hear and she'll watch what you see
    Mamma will keep baby healthy and clean
    Oooh, babe
    Oo-ooh, babe
    Oooh, babe
    Mother's gonna clean up all your dreams

    Mother, did it need to be so high?


Goodbye Blue Sky

    (sfx: clock ticking)

    Oo-oo-oo-ooh...
    Oo-oo-oo-ooh...
    Oo-oo-oo-ooh...

    Did, did, did, did you see the frightened ones?
    Did, did, did, did you hear the falling bombs?
    Did, did, did, did you ever wonder
    why we had to run for shelter
    When the promise of a brave new world
    Unfurled beneath the clear blue sky?

    Oo-oo-oo-ooh...
    Oo-oo-oo-ooh...

    Did, did, did, did you see the frightened ones?
    Did, did, did, did you hear the falling (bombs?)*
    Did, did, did, did you ever wonder
    why we had to run for shelter
    When the promise of a brave new world
    Unfurled beneath the clear blue sky?

    Goodbye blue sky
    Goodbye blue sky
    Goodbye

    [*assumed. Tape cuts out.]


Empty Spaces, Part One

    What shall we use to fill the empty spaces
    Where she used to walk?
    How shall we fill the final places?
    How shall we complete the wall?


Young Lust

    (Instrumental)


One Of My Turns

Groupie: "Oh my god! What a fabulous room! Gee, are these all your guitars? Wow! Look at that view. Can I just sit here for a while and take it in? Wow! Are you real? Real? [Lyrics begin.] Gee this little tape recorder is really neat. Is this Japanese? Hey, what's in here? Did your group ever come to this town before because I don't remember seeing you around here? Shall we get something to eat? Are you hungry? Are you hungry? Shall I order something on the telephone? Gee, you don't talk very much, do you? You English boys are so quiet. Are you feeling okay? Would you like me to get you something? Are you sure you're feeling okay? Would you like me to get you a glass of water? You don't look very well at all."
    
    Day after day
    Love turns gray
    Like the skin of a dying man
    Night after night
    We pretend it's all right
    But you have grown older
    And I have grown colder
    And nothing is very much fun anymore
    And I can feel
    One of my turns coming on
    I feel
    Cold as a razor blade
    Tight as a tourniquet
    Dry as a funeral drum

    Run to the bathroom
    In the suitcase on the left
    You'll find my felling axe
    Don't look so frightened
    This is just a passing phase
    Just one of my bad days
    ("Thank you!")
    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 call the cops?
    Do you think it's time I stopped?
    Why are you running awaaaaaaaaaaay?


Don't Leave Me Now

    Oooh, babe!
    Don't leave me now
    Don't say it's the end of the road
    Remember the flowers I sent
    I need you, babe
    To put through the shredder in front of my friends
    Oh, babe!
    Don't leave me now
    How could you go
    When you know how I need you (need you, need you...)
    To beat to a pulp on a Saturday night?
    Oh, babe!
    Don't leave me now
    How could you treat me this way?
    Running away
    Oooh, babe!
    Why are you running away?
    Oooh, babe...
    Oooh, babe...
    Oooh, babe...
    Oo-oo-oo-oh....


Empty Spaces, Part Two

    "Wee-ooh!"
    What shall we use to fill the empty spaces
    Where she used to walk?
    How shall we fill the final places?
    How shall we complete the wall?


What Shall We Do Now?

    Shall we buy a new guitar?
    Shall we drive a more powerful car?
    Shall we work right through the night?
    Shall we get into fights?
    Leave the lights on?
    Drop bombs in the East?
    Contract diseases
    Bury treasure
    Store up
    Lights on
    Drop bombs in the East
    Contract diseases
    Bury treasure
    Store up
    Lights on
    Drop bombs in the East
    Contract diseases
    Bury treasure
    Store up leisure
    But never relax at all
    With our backs to the wall
    With our backs to the wall
    With our backs to the wall
    With our backs to the wall
    With our backs to the wall
    With our backs to the wall
    With our backs to the wall
    Backs to the wall
    Backs to the-- (cuts off)


Another Brick In The Wall, Part Three

    I don't need your tongue to cut me
    I don't need no drugs to calm me
    I don't need your arms around me
    Don't think I need anything at all
    Don't think I need anything at all
    All in all you were
    Just another brick in the wall
    All in all you were
    All just bricks in the wall


Goodbye Cruel World

    Goodbye cruel world
    I'm leaving you today
    Goodbye, goodbye, goodbye
    Goodbye cruel world
    There's nothing you can take from me
    Goodbye, goodbye, goodbye


Is There Anybody Out There? (Part 1)

    (Instrumental)


Vera

    Does anybody here remember Vera Lynn?
    Remember how she said that
    We would meet again
    Some sunny day?
    Vera! Vera!
    What has become of you?
    Does anybody else in here
    Feel the way I do?


Bring The Boys Back Home

    Bring the boys back home
    (spoken, as if imitating drums: "Choo-chika-choo-do!")
    Bring the boys back home
    ("Choo-chika-choom!")
    Don't leave the children on their own (oh... own) no more
    ("Choom-chika-choom!")
    Bring the boys back home!


Is There Anybody Out There? (Part 2)

    Is there anybody out there?
    Is there anybody out there?
    Is there anybody out there on your own
    Naked by the telephone ("Cha! Cha!")
    Casually leaning on the wall
    To stop you falling
    Waiting for the call


    Or the footsteps in the hall
    The knock on the door
    Cannot stem the sensation
    Of seemingly endless free fall


Is There Anybody Out There? (Part 3)

    Oooh, ahhh
    Is there anyone out there?
    Is there anyone out there?
    Is there anyone out there?
    Oooh, ahhh
    Is there anyone out there?
    Is there anyone out there?
    Is there anyone out there?
    Do you sometimes get lonely at night?
    Oooh... are you out there tonight?
    Is there anyone out there?
    Is there anyone out there?
    Is there anyone out there?


Comfortably Numb

    Hello...
    Is there anybody in there?
    Is anybody bleeding?
    Is there anyone at home?
    Come on...
    I know you're hiding
    I could hear you screaming when your neighbors
    Called me on the phone

    Listen...
    I am a physician
    And I can handle your condition
    Like a magician
    If you show me where it hurts

    (spoken, sounds like Roger in the studio: "Leave it alone.")

    There is no pain
    You are receding
    A distant ship
    Smoke on the horizon
    You are only coming through in waves
    Your lips move but I can't hear you're saying
    When I was a child I had a fever
    My hands felt just like two balloons
    Now I've got that feeling once again
    I can't explain, you would not understand
    This is not how I am
    I have become comfortably numb

    (guitar solo)

    I have become comfortably numb

    Wake up (light up)...
    Pull yourself together
    Get out and meet new people
    I'm sure they'll understand
    Come on...
    Put away the shotgun
    Yeah, have another blue one
    Have your fingertips gone numb?
    Goodbye, goodbye
    Try and see the bright side
    Listen to some punk groups
    Rock and roll
    Go out and see some shows

    (guitar solo)

    Go out and see some shows
    Goodbye! Goodbye! Goodbye!
    Bye! (Put up?) Bye!


Hey You

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

    Hey you,
    Out there on your own
    Sitting naked by the phone
    Would you touch me?
    Hey you,
    With your ear against the wall
    Waiting for someone to call out
    Would you touch me?
    Hey you,
    Would you like me to carry the stone?
    Open your heart
    I'm calling your home

    Hey you,
    Out there in the cold
    Getting lonely
    Getting old
    Can you feel me?
    Hey you,
    Waiting in the line
    Do you worry all the time?
    Can you feel me?
    Hey you,
    Don't help them to bury the light
    Don't give in
    Without a fight

    (guitar solo)

    But it was only fantasy
    The wall was too high as you can see
    No matter how he tried he could not break free
    Of the chain

    Hey you,
    Out there on the road
    Always doing what you're told
    Can you help me?
    Hey you,
    Out there beyond the wall
    Breaking bottles in the hall
    Can you help me?
    Hey you,
    Don't tell me there's no hope at all
    Together we stand
    Divided we fall (we fall... we fall... we fall...)


The Show Must Go On

    Ooh-ooh-ooh-ohh
    Ooh-ooh-ooh-ohh
    Ooh-ooh-ooh-ohh
    Ooh Ma
    Ooh Pa

    I must be slowing down

    Ooh Ma
    Ooh Pa

    Am I really on show (unsure)?
    Wide-eyed in the spotlight
    Fuck me
    What a nightmare
    Who's there?
    Have they all gone?

    It's okay
    Now you're in luck
    The worms have fled
    The Rising Sun
    Their evil power
    Is on the wane
    Forget the past
    And start again

    It was just a mistake
    I didn't mean to let them
    Take away my soul
    Am I too old?
    Is it too late?

    Ooh Ma
    Ooh Pa
    I must be slowing down
    Ooh Ma
    Ooh Pa
    I must be slowing down
    Ooh Ma


In The Flesh

    So you thought you
    Might like to
    Go to the show
    To feel the warm thrill of confusion
    That space cadet glow
    I've got some bad news for you sunshine
    Pink isn't well
    He stayed back at the hotel
    And they sent us along
    As a surrogate band
    We're gonna find out where you fans really stand

    Are there any pooves in the theatre tonight?
    Get 'em up against the wall
    There's one in the spotlight
    He don't look right to me
    Get 'im up against the wall
    And that one looks Jewish
    And that one's a coon
    Who let all this riff-raff
    Into the room?
    There's one smoking a joint
    And another with spots
    If I had my way
    I'd have all of you shot


Run Like Hell

    (Instrumental)


Waiting For The Worms

    "Ooooh! Ack-ack!"

    You cannot reach me now
    No matter how you try
    Goodbye cruel world
    It's over
    Walk on by

    Sitting in a bunker
    Here behind my wall
    Ooooh-ahhhh!
    Waiting for the worms to come

    In perfect isolation
    Here behind my wall
    Waiting for the worms to come

    Waiting! To cut out the deadwood
    Waiting! To clean up the city
    Waiting! To follow the worms
    Waiting! To put on a black shirt
    Waiting! To weed out the weaklings
    Waiting! To smash in their windows and kick in their doors
    Waiting! For the final solution to strengthen the strain
    Waiting! To turn on the showers and fire the ovens
    Waiting! For the Queens and the Coons and the Reds and Jews
    Waiting! To follow the worms

    Did you want to see (Would you like to see...)
    Britannia rule again? (...us rule again?)
    My friend
    Ooooh-ahhhh!
    All you have to do is follow the worms

    Would you like to send (Would you like...)
    Our colored cousins home again? (...to send them home again?)
    My friend
    Ooooh-ahhhh!
    All you need to do is follow the worms

    ("Hammer! Hammer! Hammer!")


Stop

    Stop!
    I wanna go home
    Take off my uniform and leave the show
    I'm waiting in this cell because I have to know
    (have to know... have to know... have to know...)
    Have I been guilty all this time?
    (time... time... time...)


The Trial

    Good morning, Worm, Your Honor
    The Crown will plainly show the prisoner
    Who now stands before you
    Was caught red-handed showing feelings
    Showing feelings of an almost human nature
    This will not do

    I always said he'd come to no good
    In the end, Your Honor
    If they'd let me have my way
    I could have flayed him into shape
    But my hands were tied
    The bleeding hearts and artists
    Let him get away with murder
    Let me hammer him today!

    ("Hammer! Hammer! Hammer! Hammer!")

    Crazy... toys in the attic
    I am crazy
    Truly gone fishing

    They must have taken my marbles away

    Crazy... toys in the attic
    He is crazy

    You little shit
    You're in it
    Now I hope they throw away the key
    You should have talked to me
    More often than you did-- but no
    You had to go your own way
    Have you broken any homes up lately?
    Just five minutes, Worm, Your Honor
    Him and me alone

    Baa-aabe!
    Come to Mama, baby
    Let me hold you in my arms
    M'Lud I never wanted him to
    Get in any trouble
    Why'd he have to go and leave me?
    Worm, Your Honor, let me take him home

    Crazy... over the rainbow
    I am crazy
    Bars in the window

    There must have been a door there in the wall
    When I came in

    Crazy... over the rainbow
    He is crazy

    The evidence before the court is incontrovertible
    There's no need for the jury to retire
    In all my years of judging
    I have never heard before
    Of someone more deserving
    The full penalty of law
    But, my friends, he has
    Revealed his deepest fear
    I sentence him to be
    Exposed before his peers

    Tear down the wall!

    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down the wall!
    Tear down--


Outside The Wall

    All alone or in twos
    The ones who really love you
    Walk up and down outside the wall

    Some side-by-side
    Some in Indian file
    The bleeding hearts and the artists
    Walk on by

    And when they've given you their all
    Some stagger and fall
    After all it's not easy
    Banging your heart against
    Some mad bugger's wall