Bis (2025)

21/08/2025

Roger Waters & David Gilmour | Pink Floyd 😘🤩🥸

21/08/2025

David Gilmour Polly Samson, Romany 😘🤩🥸

21/08/2025

David Gilmour 😘🤩🥸

21/08/2025

Late Fleetwood Mac founder Peter Green and Pink Floyd's David Gilmour unite on a newly released version of "Need Your Love So Bad," the blues and R&B classic that Green's band covered in 1968.

The waltzing song, originally recorded by Little Willie John in 1955, features a home-recorded vocal that Green tracked in 1968 with a tape recorder. Producer Laurie Latham helped envision a new musical arrangement around his voice, including an acoustic strum, steel guitar and a signature Gilmour guitar solo.

Green, who died peacefully in his sleep in July 2020, heard and approved of the reimagined version. You can hear the track below.

The revamped "Need Your Love So Bad" is one of two songs connected to The Albatross Man, an upcoming book chronicling Green's life and career. The other tune is a new version of Fleetwood Mac's "Man of the World" featuring drummer Mick Fleetwood and Metallica guitarist Kirk Hammett. (The latter tracked his parts at Abbey Road in January 2020, using Green's famous "Greeny" guitar.)

"For the past four years Peter worked directly with Rufus Publications to produce a huge, illustrated visual book of his life and career," the book's publisher explained in a statement. "Mark Smith at Rufus has been traveling down to Canvey Island on a regular basis to talk to Peter about his life, look through his personal archive and discuss his love for fishing, drawing and listening to a wide range of music on a daily basis. During this time a book of rare images, memorabilia, lyrics and notes from his time in Fleetwood Mac has been assembled with Peter having full control over the book's direction and details."

The project is out on Oct. 29 (what would have been Green's 75th birthday), with pre-orders available now.

In February 2020, Gilmour took part in an all-star Green tribute concert that also featured Hammett, Neil Finn, Noel Gallagher, Billy Gibbons, John Mayall, Christine McVie, Jeremy Spencer, Zak Starkey, Pete Townshend, Steven Tyler and Bill Wyman. Gilmour played steel guitar on Fleetwood Mac's "Albatross," and a recently issued video of that version previews an upcoming full-length concert film.😘🤩🥸

21/08/2025

David Gilmour review – colossal sound still has power to thrill

The new songs aren’t disagreeable, but none match the stately grace of the Pink Floyd numbers, which rumble over the hall like giant waves

It’s the great round screen above the stage that does it. It triggers in veterans of Pink Floyd-related shows an instant tribal recall, filled with visions of flying clocks, prisms and crashing Spitfires. Already, you’re primed. Plenty of bands have history, but only a few have their own myth system of symbols, themes and visual language.

It lends a necessary boost to the homeopathic Floyd of David Gilmour’s new album, Rattle That Lock; not at all disagreeable, but reliant for a purely psychological effect on the memory of its elements. That vast, hefty, glossy, string-bending sound is his to dispense as he pleases. But it is, for instance, the remarkable warzone animation to which In Any Tongue serves as a soundtrack that gives the song power.

The Floyd numbers themselves, though ... if you ever thrilled to them, you will now, as they rumble over the hall like giant waves. Nothing aches with loss like Wish You Were Here. Nothing rivals the stately, elegiac grace of Shine On You Crazy Diamond (Parts I-V), aptly prefaced by way of tribute with Astronomy Domine, a Syd Barrett song on which Gilmour didn’t originally play. The gliding nursery-rhyme remonstrance Us and Them has a force lacking in many more complex protests at inequality. And Run Like Hell, evoking fascist mobs in the street, is simply the most evil-sounding disco-rock tune ever recorded, which makes those happy conga lines in the aisles slightly incongruous.

It is all, as ever, note-perfect, each tune a colossal version of its studio self, which is why the Floyd songs inevitably tower over the somewhat sluggish others. The exception is the climactic Comfortably Numb, on which David Crosby sings the verses alongside Graham Nash. The slight variation prompts one to wonder how great this music might be if it ever got messy. But it is surely many decades too late for that now – and the immaculate version has familiar joys of its own. 😘🤩🥸

21/08/2025

Steve Lukather gives his opinion on Pink Floyd’s David Gilmour

Toto guitarist Steve Lukather gave his opinion on Pink Floyd guitarist and singer David Gilmour in an interview with Joe Bonamassa. The musician also talked about seeing Roger Waters concert in Los Angeles.

Steve Lukather gives his opinion on Pink Floyd’s David Gilmour:
“I got to see Roger Waters at Coliseum [in Los Angeles, CA] – 80,000 people, to see the biggest version of ‘The Wall’ that’s ever been done. I was honored to work with Roger on [1992’s] ‘Amused to Death.'”

“And I know a lot of the same crew and stuff like that. Because I know the legendary David Gilmour, one of my all-time favorite guys – he’s a buddy of mine too. I met him through Jeff Porcaro, we stayed pals. He’s still one of my favorite guitar players of all time. And everybody, all of a sudden, it comes on, it’s like, ‘Wow!’

“I’m sitting at the sound desk, I’m in the most ultimate spot, I took my daughter and her boyfriend – who’s now her husband – and we sat there and watched this show. I turned around and looked, and I tripped the sound mixer, and he comes on, and it’s just amazing. I look up, and there’s 80,000 people watching this through their fu***ng phone.”
It’s probably more or less that – I don’t know, I never counted them all. At the end of my book, there’s a discography with a lot of s**t in it. They did the research. I stopped doing sessions like 25 years ago.”

“I mean, I’ll show up and do a guest appearance, but the days of getting calls and not knowing what you’re gonna do, who you’re gonna play with, what style of music it was gonna be, what the song was, there’s no demos at rehearsals, you have to show up every day with a trick bag full of s**t and you better deliver or you won’t get the calls again, that’s what we did every day. You get no credit for that, it’s just that I used too many effects in the fu***ng video that I did years ago. [Laughs] 😘🤩🥸

21/08/2025

Dave Mustaine’s opinion on Pink Floyd and David Gilmour

Born in La Mesa, California back in 1961, Dave Mustaine is one of the godfathers of Thrash Metal music, being part of the early days of Metallica and then founding his own band Megadeth, that became one of the music influential from the music genre. Even though the musician plays heavy music he has a broad musical taste and already gave his opinion on many other famous bands and one of them was Pink Floyd.

What is Dave Mustaine’s opinion on Pink Floyd and David Gilmour
Dave Mustaine not only likes Pink Floyd and David Gilmour, he even said that the British guitarist has the greatest guitar tone one of all time. He said during a conversation with Total Guitar back in 2019: “If someone could go up and get a big fat scoop of what heaven tastes like, that’s David Gilmour’s playing right there. I can’t put it any other way; it just feels so otherworldly. He can take one note and turn it into an experience. You’re not listening, you’re experiencing his solos. Pink Floyd were always different, for their tones, solos and note choices.”

In the same interview he said that there a lot of guitar riffs he wishes to have written. According to him one of them could “Money” from Pink Floyd’s 1973 album “The Dark Side Of The Moon”. “Again there are tons. Like all the clever ones Pink Floyd were coming out with. Which are worth their weight in gold. ‘Money’ is great. Crazy and hard to keep track of. But you could go up to anyone and sing them that melody and they’ll know it!” Dave Mustaine said. He also stated talking wit Premier Guitar in 2016 that he thinks that David Gilmour can do more with one note than most of the guitar shredders can with many notes.

Megadeth recorded at David Gilmour’s house
Curiously, Megadeth once recorded at a studio in David Gilmour’s house. That happened between 2006 and 2007 when they group was recording the album “United Abominations” (2007) at SARM Hook End Studios in the United Kingdom. He recalled that experience in a conversation with Edmonton Journal in 2008.

“There wasn’t a magical vibe it wasn’t like I went in there and started writing ‘Money’ or something like that. I think even more significant was the fact that I’d rented John Bonham‘s drum kit for Shawn (Drover) to play on. Yeah, it’s great to be in David Gilmour’s house. But, my God, we had John Bonham’s drum kit. That’s massive,” Dave Mustaine said.

Dave Mustaine chose the cover of Pink Floyd’s “Wish You Were Here” as his favorite artwork of all time
When asked by Metal Hammer in 2022 to pick his favorite artwork in history, Mustaine chose the classic Pink Floyd album “Wish You Were Here” (1975). “That’s real easy. I’d have to say Pink Floyd’s Wish You Were Here, with the dudes shaking hands and the guy is lit on fire. Storm Thorgersen is an amazing artist. So much so that we used a guy named Hugh Syme, who was a protégé of his, for “Countdown To Extinction” and “Youthanasia”,” Dave Mustaine said.

The Megadeth albums mentioned by Mustaine are two of the most successful albums of his band. They had hits like “Symphony of Destruction”, “Sweating Bullets”, “Countdown to Extinction”, “A Tout le Monde” and “Train of Consequences”.

The first album that Dave Mustaine listened from beginning to end on headphones was “Dark Side Of The Moon”

In an interview with Reverb back in 2019 (Transcribed by Rock and Roll Garage) he answered some funny questions and one of them was: which album he would play if he had just colonized the moon. The musician chose Pink Floyd’s “Dark Side Of The Moon” and recalled that it was the first album that he listened to from beginning to end on headphones.

“Pink Floyd, of course. ‘Dark Side Of The Moon’. (It was) the first record I’ve listened from beginning to end on headphones. I had gotten digital headphones for the first time. Those little Sony’s. To me the heavens had opened and the angels were like (singing). Because you know, you are listening to that record and the production on that is just mind-blowing,” Dave Mustaine said.

Pink Floyd was inducted into the Rock and Roll Hall Of Fame in 1996 by Billy Corgan from Smashing Pumpkins. They are one of the best-selling bands of all time with more than 250 million records sold worldei. 😘🤩🥸

21/08/2025

When Pink Floyd’s David Gilmour revealed his own favorite guitar solos

Pink Floyd guitarist and singer David Gilmour is considered to be one of the best of all time. The musician created many incredible songs with legendary guitar solos. In an interview with Guitar Classics back in 1985 he revealed some of his own favorite guitar solos.

When Pink Floyd’s David Gilmour revealed his own favorite guitar solos:
“Both solos on “Comfortably Numb” are pretty good. Also the solos on “Dogs” from the “Animals” album I kept on because they’re different and slightly outside my usual scope. I like what I did on the instrumental “Raise My Rent” from the first solo album. That was sort of an excuse to go on a 12-bar blues.”

You do a fair amount of instrumentals. Could they have been songs if lyrics were written for them?
ARTICLESWhen Pink Floyd’s David Gilmour revealed his own favorite guitar solos
ByRafael PolcaroPublished on 03/05/2021
ShareShare
Pink Floyd guitarist and singer David Gilmour is considered to be one of the best of all time. The musician created many incredible songs with legendary guitar solos. In an interview with Guitar Classics back in 1985 he revealed some of his own favorite guitar solos.

When Pink Floyd’s David Gilmour revealed his own favorite guitar solos:
“Both solos on “Comfortably Numb” are pretty good. Also the solos on “Dogs” from the “Animals” album I kept on because they’re different and slightly outside my usual scope. I like what I did on the instrumental “Raise My Rent” from the first solo album. That was sort of an excuse to go on a 12-bar blues.”

You do a fair amount of instrumentals. Could they have been songs if lyrics were written for them?
David Gilmour -
“I guess they could have been. I don’t know. They’re an excuse for me to play guitar. It’s all music. For me music is very lyric-dominated these days. I love lyrics and I love songs. But I also like listening to a good instrumental and a good piece of playing on any instrument. A beautiful chord sequence can be very provocative and emotional.”

Do the songs take on their full life in composing, on record, or in concert?

“It’s in all three of those things and different in each of them. I love them all equally in different ways. So when you’re performing you’re not going for perfection. I don’t care if I make mistakes. Trying to capture life, imagination and sparkle and put them onto tape is a difficult and demanding job.”

“It takes months of painstaking work for me. But when you’ve done twelve vocal parts yourself and mixed them with a block of harmonies and guitar solos and gotten all that perfection. It’s wonderful to listen back and have it sound fantastic. So I’m not interested in that live ’cause it’s impossible. You can only be one person on the stage. And you can be an orchestra by yourself in the studio.”

David Gilmour’s favorite Pink Floyd songs

In an interview with Billboard back in 2006, the guitarist and singer revealed some of his favorite songs of the band, listing the ones that stand the test of time. “Shine On You Crazy Diamond” and “Wish You Were Here” are standout tracks. “Comfortably Numb” is another one. “High Hopes” from “The Division Bell” is one of my favorite all-time Pink Floyd tracks. “The Great Gig in the Sky,” “Echoes,” there’s lot of them,” David Gilmour said. 😘🤩🥸

21/08/2025

David Gilmour talks on Roger Waters

David Gilmour talks about a number of topics with World Cafe host David Dye. Gilmour discusses Pink Floyd’s original concerts at the theater at Pompeii back in 1971 and talks on Roger Waters.
" He forced his way to become that central figure," Waters, for his part, claimed he was pushed into the role of creative taskmaster due to the diminishing input of his (to his mind) less talented bandmates. "There was no point in Gilmour, Mason or Wright trying to write lyrics," he countered in Rolling Stone. "Because they'll never be as good as mine. Gilmour's lyrics are very third-rate."
“Dave and I are not mates, we never were and I doubt we ever will be,” he says. “Which is fine, there’s no reason why we should be.” (Roger Waters)
During the interview has been brought up Roger Waters’ current tour and Gilmour made it clear he won’t be attending an Us + Them Tour stop any time soon, “He and I aren’t getting on famously right at the moment. I don’t think I’ll be going.” David did stand up for Roger’s right to insert politics into his music and performances. “I’m not as driven to push as powerfully in that direction as Roger is, but I’m all for it. I think Roger and I have earned our position on this planet to go and do exactly what we feel like doing. If people don’t like it, they don’t have to go,” Gilmour said.

Gilmour revealed he can’t seem himself doing another tour without having more new music to promote. the guitarist says in the video. “There are several songs which are close to being complete, which didn’t make it onto this album. I can’t see myself doing another tour without making another album first. That takes me a while. It took 10 years last time. I’m really hoping that, without making any promises, it won’t take ten years this time, that I will get back in and start working again. Following that, yeah, I’ll be out again.”
The global success of The Wall only widened the divisions. On the accompanying tour, Waters stayed at separate hotels, and rarely spoke with his bandmates offstage. As work began on a follow-up, 1983's The Final Cut, a less-than-enthusiastic Gilmour feared that the album was padded with rejects from The Wall. The conflicts grew increasingly hostile, and Gilmour's name was ultimately removed from the album's production credits.

RELATED Roger Waters Reveals What Gilmour Told Him To Leave Pink Floyd
When Waters decided to pursue solo endeavors in December 1985, he attempted to dissolve Pink Floyd in his wake, labeling it "a spent force creatively." Gilmour disagreed, forging ahead with Wright and Mason to record a new album as Pink Floyd. An irate Waters took legal action to bar Gilmour and the rest of his former colleagues from using the band's name – and the famed inflatable pig mascot during live performances.

Gilmour won the court battle but the war waged in the court of public opinion. The remaining Floyd members characterized their former bassist as a vindictive egomaniac, while Waters portrayed his Gilmour and Co. as coasting on the back of his genius. When the scaled-down Floyd released A Momentary Lapse of Reason in 1987, Waters dismissed it as "a very facile but quite clever forgery." 😘🤩🥸

21/08/2025

Session Bassist Recalls What He 'Got Wrong' When Playing in Pink Floyd, Recalls How David Gilmour Reacted to His Bass Lines

Legendary bassist Guy Pratt, known for working with some of the biggest names in the music industry over the years, looked back on collaborating with Pink Floyd and David Gilmour.

Pratt joined Pink Floyd as a session and touring member. Most notably, he's present on "Pulse," which is arguably one of the biggest live albums of all time. Of course, he was also there on "The Division Bell" as well as 2014's "The Endless River." Nonetheless, taking a spot that once belonged to Roger Waters, and coming in after Tony Levin, must have been a daunting task.
In a recent interview, Pratt reflected on his time with Pink Floyd. Asked how he actually met David Gilmour in the first place, he replied (transcribed by Ultimate Guitar):

"I first imposed David's attention because I was playing for Dream Academy, Nick Laird-Clowes band. I've played on some demos which I think David then went on and produced, and it's got because Nick Laird-Clowes."

Guy also recalled supporting David Gilmour live and how he actually got in touch with him through Nick. He also "started bumping into him in places." However, he then went on a vacation and, after coming back, there were tons of voice messages from Gilmour. He explained:

"And I got back and there are all these messages from David, saying, 'I'm doing this Amnesty International gig with Kate Bush. You want to come play with me?' And then like, 'Hi, Guy! I really want you for this gig.', and 'Hi, Guy! The gig is tomorrow.', and then 'Okay. Sorry, Guy...' And I'm just like, 'Oh no! That was my one chance and I blow it!'"

"But then not long after that, I saw it in Q magazine, which is brand new, it just come out, and there was this thing about them doing an album. I was like, 'Oh, that's interesting.' Then I got a call from David out of the blue and he was in LA.

"And this actually set the scene for my relationship with David for the next 40 years. He just said, 'Hello Guy. So I don't know if you've seen but we are putting Pink Floyd back together and going on the road. So I've got two questions. One, would you be interested? And would you be available? It's 13 months?' So I'm like, 'I think I could muster some interest, David. Yes. Yeah, yeah, I'm available.'"

During the chat, Pratt was also asked about how he approached stepping into this role. But despite being an absolute professional, Guy admits that he initially "got it all wrong":

"I got it all wrong. I was playing all the wrong basses. I was too in my own. You know, it was the '80s, the '80s were about bass players. I was one of those kids. Playing bass was all about putting your stamp on stuff. And as much as I tried, it took me a long time."
"Which I think in a lot of cases kind of worked. A lot of the stuff I hated. I've kind of reappraised all this at times, especially when during lockdown when I did the series of YouTube videos 'Lockdown Licks'. There was all this stuff that I hated and have been so embarrassed about for years, like the slap break in 'Another Brick in the Wall', and my bass solo in 'Money'. It turns out, the people are incredibly fond of them and attached to them. So that's actually really, really nice."

During the interview, Pratt also looked back on the recording process of "The Division Bell," Pink Floyd's 1994 album. While discussing it, he recalled how Gilmour would react to some of the bass lines that he suggested:

"I mean, often I come up with a line, and David would go, 'That's nice, but get rid of that. Get rid of that...Get rid of that, and get rid of that...' And then you know, he's right... I mean, it's Pink Floyd. They know how it works." 😘🤩🥸

21/08/2025

Alan Parsons Says Pink Floyd Members Were 'Critical of Each Other' in Studio, Reacts to the Current 'Rift' Between Them
"If David Gilmour had produced an incredible guitar solo on something, Roger might say, 'I think that might be all right, David. Thank you.'"
Iconic producer and engineer Alan Parsons recalled what it was like to work with Pink Floyd on their legendary album "The Dark Side of the Moon" and how the band members handled the whole process.

It's no secret that "The Dark Side of the Moon" is one of the most influential albums of all time. Although the band was credited for the production, all of these incredible songs wouldn't have sounded the way they did without Parsons, who was the engineer for this process at the legendary Abbey Road studio. His talents and skills would also shine in The Alan Parsons Project.

Appearing in a recent interview with Rick Beato, Parsons looked back on the making of "The Dark Side of the Moon," offering (transcribed by Ultimate Guitar):

"We'd do two weeks at a time, two-three weeks at a time. And I was actually going out with the band to do their front-of-house, to do their live sound. And I was still doing other sessions at Abbey Road for other people, but I worked very hard to make sure that I never missed a Pink Floyd session because… Didn't want to share the credit with anybody else."
And who would want to share the credits for such a landmark project? Going more into the matter, Beato asked Alan how they recorded David Gilmour's guitars, to which he replied:

"As far as David Gilmour's guitar overdubs, we did most of it actually in the studio. He'd be out there with the headphones on. But on occasion, we ran a long cable into the into the control room."

When you have such an ambitious band, it's probably no surprise to know that the interpersonal relationships were, at least a little bit, strained. While it's obviously common to be critical of each other's work, Alan says that the positive reinforcement may not have been so pronounced.

"They were all critical of each other's performances and not afraid to say," he continued. "If David Gilmour had produced an incredible guitar solo on something, Roger might say, 'I think that might be all right, David. Thank you.' [Laughs] Pretty, sort of low-key 'congratulations.'"
Nonetheless, Alan says that everything is in order and that, overall, the process was pretty enjoyable. At the same time, he laments the current situation where Roger Waters and David Gilmour aren't exactly on speaking terms. During the interview, Alan said:

"They all got on really well. Making 'Dark Side' was a joy. I mean, everybody was into what they were doing. Everybody was friendly. It's terribly sad that the rift exists between them now."
😘🤩🥸

21/08/2025

During a conversation with Vinyl Writer Music, former AC/DC drummer Chris Slade looked back on his 1984-1986 tenure in The Firm, the supergroup project of Led Zeppelin guitarist Jimmy Page and Bad Company singer Paul Rodgers that also featured Tony Franklin on bass.

You can check out the group's 1985 self-titled debut album, which features the "Radioactive" single, here via Amazon.

Asked how The Firm offer came to be, Slade replied:

"I got a call one lunchtime, and it's like, 'Hello, David Gilmour here.' I went, 'Oh, come on, Fred. I know it's you; you're messing me around.' He goes, 'No, no. It's Dave Gilmour.' I went, 'Oh! Hello, Dave. How do you do?'

"And he said, 'I'm putting a tour together, and I'd like you to play drums.' I went, 'Wow, that's fantastic. But you know, I'm working with Mick Ralphs.' And he said, 'Oh, yeah. That's fine because Mick's doing it as well.'

"So, I said yes to that back in 1984. I think that was - actually it was '83 - because I said to my Mrs., 'OK, we'll go down to the pub and celebrate. I'm going out with Gilmour in a few months.'

"I came back from the pub, the phone rings, and it's like, 'Hello, it's Jimmy Page here.'

"I said, 'Fred, I know it's you now, mate...' 'No, no, no. It really is Jimmy Page.' I went, 'Wow, I can't believe this.' And he said, 'Paul Rodgers and myself are putting a band together, and we'd like for you to play drums.'

"I went, 'Wow, you won't believe it, Jimmy, but an hour ago, I said to David Gilmour that I'll go on the road with him.' He said, 'Oh, how long is that going to take?' Initially, it was going to be three months; it was a three-month tour, and apparently, he was already booked.

"I said, 'It's gonna take three months.' And Page goes, 'Oh, that's OK; we'll wait.' I looked at the phone incredulously. That tour changed from three months to a year. I kept ringing Jim and saying, 'Ah, Jim, they put another month on. Ah, they put another two months on.'

"And he went, 'Oh, well, let us know,' which I did. In the end, they ended up waiting a whole year for me to come off the road with Gilmour. So, that was really something; that was a red-letter day. I can't remember the date, but I marked it in my calendar at the time."
Obviously, Jimmy is revered as one of the greatest guitar players in music history. However, from a bandmate perspective, what was it like working with him on the project?
"Oh, it was great; he's a really nice guy. Believe it or not, he has no pretensions. I never saw him throw a wobbler, as we say in Britain unless it was professional.

"Yes, he would throw a professional wobbler — in other words - things aren't set up right, or there's some sort of glitch with the sound. But never personally. He was great to work with."

The band's rhythm section was incredibly cohesive. You and Tony complimented each other immensely.
"It was tremendous. He's a great player. Of course, he played fretless, which makes a big difference; it's more lyrical and melodic. But Tony is absolutely fantastic. He'd been working with Roy Harper before that, but he hadn't done a lot.

"We keep in touch now and again. He lives in California and I used to live in California; we were quite close to each other.

"I used to see him at the NAMM show all the time, but I haven't been to one of those for about five years. We used to hang out together as well; we would to go to bars together on the time off. It was a really good relationship." 😘🤩🥸

Bis

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

21/08/2025

Address

Website

Alerts

Shortcuts

Share