Hey You is a song by the english band Pink Floyd, published in 1979. It's part of the double album The Wall and it is the song that opens the second disc. It was not included in the film Pink Floyd The Wall for reasons of space, but a sketched version of the video is included in the extras of the DVD published on the occasion of the 25th anniversary of the album's release. Although it has not found space in the film, it is one of the most famous songs of the band.
Hey You is one of the best known songs in which the technique ofhi-string in granting the guitar (the sixth string, that is the low mi, is brought two octaves above, while the la, the king and the sol one octave above and the si and the mi sing remain unchanged).
The song starts with an arpeggio of acoustic guitar. Shortly after they enter, in sequence: the bass fretless, an electric piano Fender Rhodes, the voice and, at the end of the first stanza, the battery.
After the second stanza, the guitar solo begins. Both the guitar and the bass here follow the almost military rhythm of Another Brick in the Wall, but after a few seconds the guitar unties itself from this riff and follows a completely "wild" part, in opposition to the rigid theme that acts as a rhythm section.
The second part of the song has the same structure as the first one. Before the beginning of the second part, a particular effect of the synthesizer is introduced that reminds of the swarming of insects (not clear) It is at this point that we find a first quotation of the passage Echoes (the second quote is in the passage Is There Anybody Out There?): a high note of "effected" piano that simulates a sonar; is the beginning of the suite that occupies the entire B side of the album Meddle.
The song is inspired by the concept that The Wall was conceived: to express the desperation and loneliness that a peer can suffer (whether it's Pink, the listener or both).(1)
It is present in the soundtrack of the film I'm leaving with the crowds
As in the other songs on the album the point of view expressed in the song is that of the protagonist, Pink.
He understands that he was wrong to shut himself up and tries to regain some contact with the outside world. However much you try, however, the wall prevents your requests for help from being received, and the more you call, the more your tone is filled with despair.
The song represents the point of passage from the isolation from the reality of the protagonist to the moment in which he embraces the movement fascist dei Wermi (The Worms), which can be considered a personification of madness, as in the penultimate song of the second disc, The Trial, the judge is a worm that at the end of the trial ("The Trial", precisely) condemns Pink to come out of his psychological wall, (the last verse of the song "Tear down the wall" means "break down the wall "), so the same entities that built the wall are now ordering its demolition; this interpretation is referred to in the verse of Hey You which says "and the worms ate into his brain" which literally means "and the worms ate in his brain", metaphorical language that can be interpreted with the fact that Pink goes mad after erecting the wall, which is a further reminder of the life of the forgotten Syd Barrett(citation needed), one of the founding members of the band, who, having also heavily abused of drugs during his life, he lost his mental health and had to leave the band, which he will remember many times during his career, dedicating to him in 1975 also the album Wish You Were Here.
Among the extras on the DVD of the film Pink Floyd The Wall published for the 25th anniversary of the release of the album, the video of Hey You. The video begins with Pink (Bob Geldof) that desperately tries to get out of the wall he has just finished building; immediately after the scene changes, framing Pink's fans at his concert, which have pale and pale faces. These are the people who "stand in the passage with tired feet and a smile that goes off" (standing in the aisles with itchy feet and fading smiles) that Pink is trying to reach beyond the wall.
In the next frame you can see hospital beds and, in the next one, two empty chairs in a white room. An inert Pink appears on the left chair, while his wife appears shortly after, naked, in the chair on the right. After turning her head to look for her husband's gaze, which however remains still, the woman disappears. The scene changes when the electric guitar solo begins, showing sequences that alternate rapidly.
You see people spilling and destroying cars and boys throwing stones, sticks and molotov cocktail in police cars. Once the solo is over, the scene changes. Again a frantic succession of sequences: a hand trying to break a window, a mass of worms, a man on a hospital bed being subjected to electroshock, a woman screaming, a clash between Pink fans and the police.
The movie ends with the scene that opened it, Pink trying to get out of the wall, but finally, exhausted, he gives up.