Exclusive Interview #=..5 "His Greatest Solos 7, Transcribed! (0) with Nick Mason, Boh Ezrin & Roger Waters 83 50 08 < BeiFaal. |FEBRUARY 1851/VOL. 11NO. es oo tas am a oO 5) ZAKK WYLDE MEETS LYNYRD SKYNYRD ma Orzy Osbourne's wild man meets his heroes, L Skynyrd's Ed King and Gary Ross ing, rowdy—and exelusive—round table inter BY ALAN PAUL Bre See eo DAVID GILMOUR ‘9 celebrate the nine-CD boxed set. Shine On. P Floyel’s impeccable Took at the band's remarkable, quarter-century « BY ALAN DIPERNA caren PLUS. BOB EZRIN AND ALAN PARSONS. ineet and Dark Side Of The Mi the sonie secrets’behind Pink Fc REVIEWS Deep coon SEMENT SOUNDCHECKS, 8: Ken: amp: eatest albums. pus: ROGER WATERS AND NICK MASON A classic 1973 interview ae Be TRADING LICKS SPOTLIGHT: A PRIVATE LESSON WITH DAVID GILMOUR Pus: “COMFORTABLY NUMB.” In an exclusive private lesson, Gilmour analyzes licks behind Floyd classics like “Money.” “Wis Were Here,” and “Shine On You Crazy And a complete transcription of "Comfortably Nur BY JIMMY BROWN f) SYD BARRETT JY He founded Pink Floyd. but went insan; former bandmates went platinum, The uncer NEW EQUIPMENT. story behind Pink Floyds enigmatic original suit BY RICK KENT ) MARTY FRIEDMAN 49 Megadeth's super solo project, Secrets By BILL MILKOWSKI Caen 1959 Gibson Les Paul owned by Lynyrd Sk ) Gary Rossington. pLus: A tribute to Pink Floy¢ 3 i atnC MULTI-INSTRUMENTALIST PETER BUCK BRINGS R.E.M.'S AUTOMATIC FOR THE PEOPLE IN Le ee O es eae OLEPETER BUCK ‘tour. They won't quit heir cozy hometown of Athens, Georgi and move toL.A., London, the French Ri supposed ‘And th spicwon ship is with his beard But while they tI ni roek served rock's eardinal rule: Not Beats A Great Song. Thoughtful we what made REM. a cole tthe Eighties and a brought them mainstream recognition inthe Nineties with the breakthrough album (Ou OF Time, With their new telewse, Auto. taic For The People, REM. deliver the soads once again. I's one of those moody psyche each time you Tisten. And hey, it rocks in spots ton, Peter Buck's supple guitar work play no small role in creating and sustaining all these moods. Wheiher singer Michiel Stipe is ranting at Republicans or meeting And Kauffiman in the afterlife, Buck's got atex- 8 ture or rfl to sut the occasion. Other § tatists might find i imiting 10 work with rolific lyricist. ("Less room for solos, ea dul.”) But Buck Finds it liberating. Stipe's wordseapes are alway’ opening up new sonic vistas, virgin canvases that call fo fresh s- And colorssare what Peter Buck does best Automatic For The People is named af the motto of the boys" favorite down-home soul Food joint back in Athens. Bu REM. travelled tar from home to make their new cor, cutting tacks in New Orleans, Seat tHe, Miami, Atlanta and Bearsville. Ne York, “We just lik a new city each time we work Buck. sp Pim the kind of person who likes to pack GUITAR WORLD: Do you ha PETER BUCK; You've got 1 cisco and New Orleans. New Yor ike to work ther ian to run around in, Out of bout been in tly and Spain, Everyone likes Amsterdam becau 1d. although I'v San Fr 7 here mysell. See, I don’t smoke pot and hats half of what everyone does there: wet stoned. {Gw: There are the sex shows, BUCK: Yeah, and I don’t dig that cith Basically everyone goes there to get stoned and look at buildings GW: You look at naked cornices and las BUCK: Yeah, that firmness of architecture ew: You play a lot of acoustic guitar on written on mandolin or bourzouki, But when it eame time to record them, I just felt 1 ‘wanted to do more guitar playing. Man: dolin is really grea, but i's so distinetive hat it tends to dominate every sone it'son So songs like “Man On The Moon” and The Sidewinder Sleeps Tonite” were wri ten on bouzouki or mandolin, but the hem. [ike acoustic instruments lot, And tw play them a lot on this record. But here's lot of electric guitar buried under: GW: Since when have you been playing ‘big mandolin, you tracts Michael if 1 e mandolin, Th high pitched it doesn't really support his ay. So 1 got a bouzouki ike a guitar. F tune the bouzoukiPETER BUCK tuning that a friend taught me, I's just G. D, G, D—so most of the the chords have jus two notes in them. 1s really good for one staff Russian str. “Monty Got A avs Deal” isin that tuning. GW; So that’s the bouzouki we hear 0 there? BUCK: On “Monty” it's bouzouki. There's bouzouki and mandolin on “Man On The Moon” as well as about cight guitars ‘lot of BUCK: Only on some of the songs—like Tgnoreland,” “Try Not To Breathe" and ‘Man On The Moon.” But alt of thy are 0 intimate an inward that we tried to foverdub a little as possible, “Drive™ has nly one acoustic guitar, which was record . And! then there ‘Sweetness Follows” is just ita with ile layers of feedback eds part ofthe basic 's just one overdub: underneath, And on a fot of other songs, st played one part ‘Owe [really like your lead one on “Drive BUCK: Yeal, that’s sort of my tribute 10 Brian May. I's « Les Paul through a big Marshall, overdubbed six times in a row and picked with a coin, We thought ofits unofchestral part—kind of a Queen thing. And Brian M than English six pence, I'm sure it's some kind of three thousand- year-old coin, But T just used Jim and overdubbed the riff six or seven times. As Lrecall, se bounced all that down tanned them pretty together in the mi. ow, “T BUCK: Well it's kind of ironic, in that it's probably the least rock and roll song you ould possibly write, But the Iyries say Hey kids, rock and roll’—in a very lack- tadaisieal Say: don’t know if you want tke it cynically oF not. There's just that layer of ambiguity you usually get with us, GW: There's a sense of distance from the audience there: Michael's deadpan voice “Hey kids, Yeah, that's just us, the way we things. We wouldn't write [citing par pros the Kiss song] "Rock and roll all ty every day Think I played iti But that’s not the way we write, I person: aly never would have thought we'd ever mean, that's and in i use the words “rock and roll” in GW: Speaking of rock and roll, what was it Tike working with John Paul Jones? [The Led Zep bassist wrote string arrangements far Automatic For The People. | BUCK: It was great, Afterall the things I've read about Led Zeppelin, lexpected he'd be carrying a lot of that emotional b with him, But aot at all. He st showed up with the charts, They wete great charts, and ‘he was areal gentleman. I mean, he’s notre cent about the Fact that he was in Led Zep- pelin, But i's not his main topic of conver- sation either. After us, he did the Butthole Surfers, So ear Gow: Were you a big Led Zeppelin fan? BUCK: I auess it's hard not tobe. hate all the people that imitated them afterward. But I liked Led Zeppelin a Jot. | admired hal they could tr alo of di folk songs, big heavy metal tracks, blues naybe he's having a weird ute psychedelic songs... wasn't a huge metal fan when L was enager, but | always respected Led Zep pelin. And they sound pretty damn good in De aL) le Pee ett Cee ae ee LT Cee Seon Re Ne an PR FISHMAN Pee eet ery retrospect. Especially when you consider that all of the rock cfitics ofthe day were putting them down and calling them stupid ‘while praising al these other records that were supposed to be intellectual and cool, ind that time hasa’t treated well at all. And Led Zeppelin’s records sound really great today’ GW: Did you talk bout that with John? BUCK: Yeah, “cause | was reading this hook of [rack critic Robert Christgau's Seven ties’ rock record reviews. John looked at the book, wineed and said, “Does it men: tion Led Zeppelin at all? How'd we do” | said, “Pretty good: all B plusses and A sinuses.” And he said, "Oh man, we nev TV OMe LOT it right through the biggest, loudest Five Green Street, Woburn, MA 01801 78617 938-8850The 1993 D'Addario Player’s Calendar is PETER BUCK back by popular demand, featuring twelve ; Saree waite noly Ba more of your favorite guitarists. tom apart from day one because the kind ofa sup ind But the certainly the mos i that era, Probably band of al ime int rock band of weren't the very first heavy they certain Tov to do with defining heavy metal mu fuck: Yeull, but i's like the Beatle Sat. Pepper's. You can love Sy and hate all the assholes who pu out preten tious.abums hecanse of Se. Pepper's. Soll the guys the tight pants, with the shrieking vocals and the dumb ur "D'Addario 1993 Player's Calendar” send a $3.00 (US.) check or money order for postage and handling to: 1993 Player’s Calendar J. DiAddano & Co.,INe the most 10 that’s main the album, 1e quicter stuff. So je ended up putting on med to become all one are, techie ame ing 10 be a Beside, but we felt like it fit really well, It seemed to make ‘when we pu it into the sequen {Gwe hear you stayed ata haunted mans when you were recording down in Now Orleans? BUCK: Well everyone tells us that [pre | Daniel Lanois’ place Tasty pieces in assorted sizes and shapes. Surely a flavor tha just right for you. ih wip He aiything tha would indent me that man live ly open-mingl und. Td ave. Em If there's something see But didn't see Althou the i's 1 ig old mansion, ot GW: So unlike the Red Hot Chili Pepp fences while making your record? Tile itself is. supernatural few: What was your initia reaction 4 Miao’ Ie wooMan On The Moon? eae BUCK: [think I just fell off the chair at will bring you our |. Tn in vos tocspet ont new catalog ist class ong, because it's kind 6 ‘% We had the track f ished before weev UD) when he put those Lord, what's 0 Gurtan ProbUcrs, IN ooking on E 6424B-112th Street E. ‘Gw: What kind of guitar did you use Puyallup, WA 98373 sil asa On The Mea? (206) 845-0403 eof the new Fender Tele casters, andl I had the bridge pickupPETER BUCK ake. Lknow that in all of them I had uri the A from the high end. D. A. G, D, G, D. Ane T r rh D mand nate ning nd and BUCK: Nor Buck: You know, I did it three — Ey GSWR ENGINEE "Te Fest Bass Stems In NG, INGE = ie Wenld 1250 Seninle oid ORR a large, F460 RE an Gy sae-c002 UU”PETER BUCK ‘GW: An eleciic dulcimer? Tb 66W: Wht ar some highlights ofthis pyramid BUCK: I've gola big MesuBoogie fr tone. A bunch of old Fenders, fro ain Reserbs to Viboluses, Some of them ar Julcimer, They s uit did kh have scalloped fr semt it back and Q You forgotto scallop the iets.” That pickup. Let me rephtase that I didn’t sonal replace the pickup: somebody dd itfor me. don’t relly get out thew materials. ['m realy b Also, [think I used one of the new Strats om Rare Mt. Miracle! rthing that wasn't quite an have Strange kind of dec ‘GW: Do the lyrics shape the arrangements for REM before the lyrics itkindof sh he like. “Try Not To The Feedback atthe seordant and a little ing. So yeah, the lyri BUCK: [ ha ay from that that kind of ne il. And verter: that kind is just not what we need for the new kinds of songs we're writingEERO i Pye LEO ORO TIAN eeu UE Uk) SL CPUS era) SRE TEU Lt) LTD ACE BL / fDAVID GiILMouR AMD THE PSYCHEDELIC explosion of new troups making their debut in the charmed ‘World that was London, 1967, was qua ‘et called The Pink Floyd. In small, smoky clubs like UFO and the Roundhouse, the Toyd galvanized the London scene with their extended, free-form instrumental sams. Fle ing Hlower children grooved 1o the heady new Sounds in rooms that seem to bob and levitate as blobs of multicolored liquid light melted the walls around them, Perhaps even more than Cream and the Jimi Hendrix Experience (1wo more groups who debuted in °67) The Pink Floyd were psychedelia personified, x. however, the bi the rapidly de to contra rating mental condition brilliant-but-unstable a In 1968 The Pink Floyd their name—and they dropped Syd Barrett. Guitarist David Gilmour, an old school friend of Sys, was drafted to replace him. Unguestionably, Barrett ented The Pink Floyd, and his troubled senius would later furnish the subject mia {er for some ofthe band’s best songs. But it was David Gilmour and his lyrical guitar ‘work which provided Pink Floyd with the sonie signature that helped carry ther to ational stardom in the Seventies, the smoky clubs of their swinging London days gave way vast arenas and “When the three of us sit down and play, it sounds like Pink Floyd. There’s a very distinct value in that, which was important for me to discover. There's something there that’s bigger than any one person's ego.” —— stadiums, The Ployd’s trippy instrumental textures evolved to new levels of complex: ity, perfectly complementing their other worldly concent visuals, Pink Floyd's next big erack-up didn't ‘occur until 1985, when David Gilmour and Waters came toa bitter part '-Gilmour assumed sole lea. hand in 1987, With Waters's brooding lyrics out of the mix, searing, expansive guitar style mous the core of the band’s sound since its Flower Power days —assumed an eve These days, David Gilmour i a distin- haired English gentleman 0 becomes instantly youthful once he set uitar in his hands, To celebrate Shine On (Columbia), the new Pink Floyd boxed set, Gilmour consented to share some of his memories with Guitar World, Shine On really isa cause for celeb LLavishly packaged and loving! the box contains pristine di ings of seven entire Floyd albums 4A Saucerfel OF Secrets, Meddle, Dark Side Of The Moon, Wish You Were Here, Animals The Wall and A Momewary Lapse Of Rec son), There's also a whole dise of previo ly hard-to-find early singles, including Syd classics like “See Emily Play.” “Amold Layne.” "Candy And A Currant Bun” and Scarecrow.” Now, set your controls forthe heart of the sun and seitle hack as the ami able Mr. Gilmour conducts ti through 25 years of Floydian history ip back GUITAR WORLD: Long before Pink Floyd. you and Syd Barrett hung out together in ein Cambridge, playing guitars. Can you recall war you played or how you influenced one another? DAVID GILMOUR: We hen we picked up guitars later on, I was playing professionally in groups before Syd. So technically speaking, ! was.a litle better than Syd when we colDAVID GILMOUR We sat around learning Beatles songs, Rolling Stones songs, r&b, blues songs. in recall spending some time working on “Come On,”the first Stones B-side or what ever it was, working all that out, playing hharmonicas and stuff. He'd know some: , T'd know something and we'd just 1a people do in back rooms every Where, He then left that college and moved up to an art college in London, which is ‘when Pink Floyd then got formed GW: There's a famous story about Syd being phased out ofthe band in 1968. You were all in a van, going to a gig in Southampton, ‘GILMOUR: Not ina van, no, In a Bentley GW: Righl. And someone said, “Oh, let's rot pick up Syd tonight.” C tecall who said that? GiLmoUR: Probably Roger. Certainly not rme—I was the new boy. I was in the back. jomeone probably said, "Shall we go and pick up Sy?" And Roger probably sain conspiratorial tones}, “OR no, let's not!” ‘And off we went down to Southampton ‘We were playing with the Incredible String Band and Tyrannosaurus Rex that night ‘GW: In the carly days of Pink Floyd, did you Feel like you were just a Syd surrogate? GitmoUR: Oh, T was; to question about i PICKUP NEWS | EMG ACOUSTIC: FLASH || THE NEW STANDARD ) | Gas developed a new acon pldp tachnologs* using pao fn tht J | nas the most naturel amplifies acoustic sound you've ever hesrd. We've ‘negreed ths new pickup ito a gystam that inindes a preamp so it sounds 7 | asclean through a oomto amp as does through a mixing board j Tae adatage ofthe lates: In pop/pean tasanoingy for amstio (| quate tom EMG. Gumply Installed under the sade plokup sizes are | Beata for btn 5/32" (2MG-A898) and 1/6" CEM-AS128) si. 4 7 \ ! \ | ‘The first acoustic pickup aoe fee gn eee ote one Eee eee Beceem ann Racine eee ees oe wiviw f ‘ { reg fo ep, ora Sere ee hee it soe re sk oe ‘ il Sesame == TYG ACOUSTIC 0. 2OX 4S04/ DEPT. GW, SATA BONA, CA SE40/ 90798994 ab: LOUIS mUSCAL, MOHTREAL They wanted me to play his parts and sing his songs. Nobody else wanted to sing the and I got elected, That was my job—a far as live shows were concerned, anyway. Me and Syd played together in only five gis Pink Floyd. Or maybe four. Maybe Southampton was supposed t be the llth fone; | don’t remember. While allthis was happening, we were also trying to make the new album, A Saucer Of Seerets. But ive, wwe didn’t play the tracks from that, but vie tually all Syd’s stuff. Because there wasn't anything else to do, I was either that or back to Bo Diddley covers. “A SAUCERFUL OF SECRETS" A Saucerful Of Seerets(1968} ‘ow: Let's talk about the ttle track from A Saucerful Of Seerets. What made the band decide to take ona lengthy, abstract inst ‘mental like that? GILMOUR: That's hard to say. | had just joined the group shortly before that, I don't think the band rally knew quite where they ‘wanted to go after Syd"s departure. "A jaucerful OF Secrets” was a very impor- tant track; ¢ gave us our direction forward If you take “A Saucerful OF Secrets,” “Atom Heart Mother” [Atom Heart Moth cr, 1970], and “Echoes” [Meddle, 1971|— i lead logically w Dark Side Of The Moon, "A Saucerful” was inspired when Roger and Nick [Mason, Pink Floyd's ddrummer| began drawing weird shapes on ‘apiece of paper. We then composed music based on the structure ofthe drawing GGw: You mean you used the drawing to dia- gram the dynamics? GILMOUR: Yeah. We tried to write the ‘music around the peaks and valleys of the art, My ole, suppose, was to try and make ita bit more musical, andl to help creat balance between Formlessness and struc lure, disharmony and harmony. GW: Yours was fairly conventional hack round; your previous group, Jokers Wild, ‘was essentially a cover band. Can you recall \what your response was to this more avant ardc approach to music? ILMOUR: Well, | 3s aware of what Pink Floyd was. Fd known them all for quite « long time before then, so was expecting it to be strange and avantgarde. I don’t have any particular memory of saying, “Oh no, this is awful.” [think rather enjoyed the paces. GW: Producer Norman Smith wasn’t 100 keen on “A Saucerful OF Secrets,” was he? GILMOUR: No, Norman worked as an engi reer on the Beatles and had seen one of ‘contemporaries, George Martin, move up (0 the pinnacle of success by producing the Beatles. That was the route he wanted to take, He ried that out with us an the Pret ty Things, One of us was supposed to become the next Beatles. But you know.THE ULTIMATE PINK FLOYD Learning To Fly In this exclusive lesson, David Gilmour reveals the secrets behind | his larger-than-life sound. BY JIMMY BROWN, Daw GiuMouR isthe dean ofthe less: mere school of rock gultar. Like jazz ‘trumpeter Miles Davis, the soft-spoken Englishman speaks volumes with @ handful of notes, more than many of today's techno-shredders do. with dozens. His guitar sive s characterizes by simple, huge-sounging riffs, gutsy, welkpaced solos and rich, ambient chordal textures. Where marty rock gu tarists ty to impress their listeners with | fash and sheer speed, Gilmaur—tke Jimi Henerix—rits them over the head with an unstoppable, biggerthan-ife Sound, His Solos on such Pink Foy clas- sics as "Money," “Time” and “Comfort ‘ably Numb" cut through the sonic ar \waves lke @ laser beam through fog. Davie recently sat down with us, Strat in hand, to share some of the secrets behind his soulful, polished lead style ‘and rich chord work. His observations ‘wore Insightful and his comments —ike his solos—were simple and direct. {asked David how he gets such a wal: inglead sound. “I usually use fuzz box, a delay and @ bright eq setting,” he fopliad. “To get that kind of singing sus- tain, though, you really need to play loud—at or near the feedback thresh old, W's Just so much more fun to play when you have a good guitar sound— when bent notes slice right through you || lke a razor blade.” | One of Gilmour's biggest assets as a lead guitarist is his intuitive sense of phrasing. Rather than just spewing forth a string of licks, he'll bulld a solo by developing a few simple ideas. David equates soloing with storytelling, anc ‘often resorss to scat singing to capture || raw melodie ideas before he even picks up his guitar. “Til sometimes sing a solo onto tape, then go back and learn iton the guitar,” Gilmour revealed. “Another thing I'l do ‘tp generate some Ideas is record sever. a improvised soles over a rythm track, ‘than go back and develog certain licks— many of whieh are accidental discover- |es—and ‘ry to put It all together into some sort of cohesive statement.” ‘A prime example of Gilmour's story teling approach to soloing can be found | In Figure 4, an excerpt trom his classic “Another Brick In The Wal (Part M)" (Thecums cris Wain solo. Staying primarily within the D ‘minor pentatonic Scale, David mesmer. izes the listener with haunting, bluesy bends, dramtic sting rakes and funky sdouble-stops. Note his deliberate use of silence and melodic repetition through- ‘out. Particularly noteworthy Is the way he adorns his phrases with a natural, vvocabike vibrato, “You bend @ note, hold it then shake Itt Gilmour explained. "t's kind of lke ‘the way classically trained singers hold anote for a couple of seconds, then add Vibrato. I've always enjoyed listening to guitarists who do that well—players lke Peter Green, "A lat of young players today have ‘such awful vibrates. They're elther too rigiculousty wide or too fast and nervous ‘sounding. Someone once described Eric Clapton's vibrato as ‘cultured.’ That's {he king of vibrato I've always liked. I've never consciously analyzed it or prac- ticed! it. There's just a way that feels right to me and a way that feels wrong, ‘The excerpt llustrated in Figure 1 also serves as a great example of Glimour's signature precision bending technique, pariculary the soulul twoane-shalfstep ‘compounébendandelease in bars 10 and 14 (Phatas A and B), "This kind of bend is much easier to execute on the 2nd string than on the 4st,” David advised. Notice how he uses three fir ers to bend the string. This reinforced Fingering provides him with more strength with which to push the string and better rreunes control over the note’s pitch. Notice also In Phota B how David anchors his thumb {round the top sige ofthe fretboard, This helps keep his hand stationary as the fingers gush ageinst the string. For those who are having trouble zero- ingin on the "terget pitches" inthis com- bound bend (D, E and), try playing them = free isl first as unbert fretted notes on the 8 string at the 15th, 47th and 48th frets, ‘Roun "eoMFORTASLY NUME BRIOGE GUITAR SOLD 7 especies. Compas each bent nate 7 sais coal with its unbent equivalent to determine ee noses, pon if you're applying the ight amount of fine ger pressure when pushing the string. ‘This pitch comparison method wall hela ‘rein your eers and fingers for precision bending Another key element of Glmour’s lead style is his jucicious use of double- and ‘ple stops (two and three-note chords}, particularly those formed by barring atin. {er across the top two or three strings. David demonstrated this technique by playing @ meaty double-stop lick similar to a lead fill heard in “Shine On You (Crazy Diamond (Part I)” (Fig. 2). Instezd of playing the lick in position, he travels Uup end down the neck on the ist and 2nd strings, exploiting their bright, ‘wangy timbre and convenient barre fin- ering for playing fourths, Though he lacks any formal musical OeTHE ULTIMATE PINK FLOYD ee ee ee ee training, David has a deep, intuitive Understanding of chora/metody rela: tionships, as evidences by his brilliantly ‘constructed bridge solo in “Comfortably Numb” (Fig. 3). Notice Now he outines ‘he underiving triads without sounding methodical. “1 know all te relationships between the melody notes and the chords—what the “sweet’ notes are in the tlads and so forth—but | try not to ink about them too much.” Devid says. viously, if you're unsure what to do, playing off the chord shape is safe bet” ‘One of the keys to Gilmour's soulful, Wailing sound is his subtle manigulation ‘of the vibrato bar. Unike the hordes of whammy wankers who violently clutch ‘and jerk their bars like a child taking out her frustrations on a rag doll, Gilmour ently caresses nis. He regularly uses the bar to produce 8 natural, vocaHlike vibrato, an effect otherwise achieved by ccrefully bending and shaking a string \witn the fent hand (bend vibrato). Using the bar to shake a bent noteis especialy Useful when the bend is ahaitstep or at the top tret—two situations in which implementing an even, relaxed bend vibrato with just the left hand can be quite cffcut. ‘Most of Gilmour's Stratocasters (he ‘owns many, Including the very frst one built!) sport “sawed-off” whammys that are apgroximately half 28 long as the Standard gatden-variety vibrato bar. For ‘quick aocass, he sets the bar so that it stays more-orless parallel tothe strings. Unfortunately, the guitar we supplied David with for this lesson came equipped with @ standara fulbiength viprato ber “My bar is only about naif as long, David explained. "| have it set so thet i stays in place under my hand when I'm rot using ft. | don’t have to reach down and grab it R's ight there ready to use tniess | move it dawn’ [Photo ©) ‘One of the things that makes Gilmour's solos so unique is the fact that he's basicaly ablues guitarist play. ing in a progressive artrock context. “I started out listening to players like Lead: belly, Haulin’ Wolf and Pete Seeger, anc later moved on to B.8. King, Peter Green, Claptan ana Hendrix." David nated. These influences, particulary the last +wo, were no doubt the main inspiration behind Gilmour's psychedalic blues weit ingin his “Money” solo Dark Side Of The ‘Moon), Figure 4 is an excerpt from his first 2&-bar chorus (a standard 120° ‘inorblues form extended by staying on ‘each chord for twice a6 many beets. Using only @ hanatul of notes from the 3 minorpentatonic scale (B, D. E, Fi At, Gilmour briliantly constructs a themat:intuitive ty rola s brilliantly omfortaly e outines sounding tionships and the t25 are In tty not to avid says, pet 00. is a sate | | s soulful, | | ipulation | nordes of ly clutch aking out Gimour iy uses rocallke ieved by 2 string 2). Using specially | tepor et n which id bend can be ers the rst one | ys that 2s the pat For that strings. implied | came Jength long,” that it en i'm down | touse nakes e fact * play et I | Lead. (and een, , e last wail The n his 2bar ‘gon zis) neB | # A rath cally cohesive solo statement by milking a few nasty-sounding bends. Notice now he bullds upon his intial idea and paces himself. pausing brietly ater each Phrase as if to let the listener "digest" Itbefore moving on. David's dark, bluesy solo in “Time” (Dark Side OF The Moon) Is a master Biece of phrasing and motivic develo. ment, Figure 5 depicts his frst 16 bars, Again, notice how he paces himself throughout and builds upan his initial idea while leaping into the upper regis- ter with tenured overbends, soulful quar- ternotetriplet arpeggios and an impec- cable bar vibrato Gilmour's uncompromising quest ror a fat gultar sound carries over to his chord ‘work as well. “RUN Like Hell” (The Wai, “Breathe” (Cark Side OF The Moon) and “Welcome To The Machine” (Wish You Were Here) are but a few of the many Pink Floyd songs that feature shimmer ing. wallotsound rythm guitar tracks, Pan of Gilmour's secret in this regard lies in is wise use of open stings. Take. for example, the majestic “Wish You Were Here” riff (Fig. 6). This simple, yet compeling, rhythm figure features a warm, resonant open-gasition bassline melody beneath a hypnotic, droning chord. Notice how the chord takes on different harmonic implications 2s the Dassuline melody moves from & [EMT] to D4G/D) to A Asus), Another case in point is the instantly recognizable, spine-tingling, four-note ‘moti rom "Shine On You Crazy Diamond (Part I) (Wish You Were Here) (Fg. 7. “I stumbled upon that one by accident,” sald David. Paying ine E and G nates on the open ist and 3ra strings enables, him to sustain al four nates and explo the iwangy resonance of the open strings, This datk, haunting tone cluster formed the instrumental nucleus of what was to become an epic song in nine “movements.” An obvious autgrowth of this motiis the mysterious sounding fin- gerpicked accompaniment behind the ‘Sax solo In "Shine On You Crazy Die mond (Part ¥)" (Fg. 8) “lluse any trick I can,” Davia candialy proclaimed as he played the shimmering tkelele-ike rift shown in Figure 9. This, ‘gure, similar to a fill heard in “Breathe {Dark Side OF The Moon) is anatner | example of Gilmour's resourcetuluse ot | ‘open stings together with fetted notes In the upper fretboard region. “I'm sim ply sliding the open A? shape up an en ger[REUREE “SHEN YOU CRAZY SIAMOND PART VI" FNGERPICKED ACCOMPANIMENT octave,” David pointed out (Photo D). om "italways amazes me when some kid £ 3 Fete comes up to me and shows me how ‘| ALi fF1 played something.” Gilmour comment: | «ed. "I's usually some ridiculously com> | plicated way that 'd never even consit | ered.” As | had seen several different | transcriptions of the arpeggiated intro | | figure ftom "Hey You" (The Wai), | asked 1h) ete inlet +n aches Davia to set the record straight as to hhow he actually played it. To my surprise, the way he piays it Is completely differ ent from any ofthe transcribed versions. Davia replaced the low E string with a high E string and the A, D and G stings with thinner strings tuned one octave higher than normal (Fig. 10). Having done 1s, Ne was then able to play the arpeg- lated Em(eda3) anc Dm(eda9) charas hy the open position with minimal effort oures ‘PoUREWTUNMEFORBEGINNINGOF“HEY YOU" (Fig, 14, Photo El, © nes "| always tr to find the easiest way to play something,” Gilmour explained, I've arranged this intto figure for standard {ning for comparison (Fig. 42). Though the notes are the same, they don't ‘sound quite as briliant as they do when played David's way. The picking pattem is also more complicated. Incidentally, David used this same “high strung” tuning for the acoustic rhythm track ding the bridge section of PURE 1 HE YOU" TRO OAVIOS ORIGINAL VERSION) "Comfortably Numb” (Fg. 13). Photo F Ges ise shows him fingering the Cadd9 chord. “The nice thing about using this tuning, Is that you can abuse common treitions: of guitar playing. If, for example, you were to include the open low E string in ‘an open D chord it would ordinarily sound (dreadful, but with this tuning, It sounds | Seientememananaw a netaearninian heovenly.” ® | ‘une w-couronras.y Nuns" omDee CHORDS. (Gav's Acreneo TUNG ra au (2 - - fcc rgeeceme 1 te. por ° a ‘scription available worldwide in the Music. Sales Guitar Tablature Edition folio Pink Floyd: Moon, TRO --@1973 Hampshire House Pub | SEosaice Semmes SereWORDS AND MUSIC BY DAVID GILMOUR “TRANSCRIBED BY JIMMY BROWN AND ROGER WATERS. Bre he vse 7 oe feo fa 4 ia a age ats) gett =p GS v ee — ¢ + $ oe + snyone home? Come on now, | tear youre ening don, wel, | can esse yout pan ad gst you 5 awe A mat A 6 en? as aS 2G srs we the hb in sf bEOS : — =, + 5 + F jt : on your feet gain. Relax, Mined some information fist, justthe base ots, an you show me where thurs? eau a few AG Ent 10 wows Sa From Pink Floyd's Columbia econding The Wal Ie worldwide in the Music Sales follo Pink Foy: The Wall "9 Plak lod Music Publishers Limied Transcription also a ‘eisTRADING LICKS E There is no pain you are receding. ‘A. istant_ ship, smoke on the ork a oe = eee eee =e % Yoana so toh 2 vee Ais oe ° é E‘ps move but 1 cant hear what you saying, when 1 was a child, had a fever My. hands ‘ot just tke two balloons, Was & chi 1 caught fleeting glimpse ‘Out ot the comer of my.0ye. D A > Your 23 ors. Fat $e = $+ et = Set Now Ive got tat fesing once again, I cant explain you would not un 1 turned to look but it was gone. 1 cannot put my Anger on A oe 6 « [E]istana ra chorses eevmiTo Coda or stand, This Is not how 1 am. 1 have become comfrably I now. The ohild has grown. a GB Ceus2 oS| - Elorege terse i! 2 : A = eS Noh A Ana Pie eathaelger ya 2 ¢ Eee Pare eo Pe i HAE is: : es to_ Eee [Blanictons 1 tare become conaby numb, mutta? 8 cate os 8 went Fez vat AANA, —— = [Hlant vere on jut Ie ping, Debs me ah you may sue sd oe er 45 Bie foo! 9 Me sek (Can you stand up? {do bate its working good That Hoep you Baus? eo a Ase DS $f at Coie CH (Hie Hates Af f= = is i ri i PPELph, Presi rari “ z : + 7 ni : $ =! et + = + a =TRADING LICKS Grew Ui Ine p —— f= manna joe SAR weed OAESE DAVID GiLmouR People have their own ideas of how they Want to be. Norman was a great teacher in terms of studio ‘echniques, ftowever, We Zot along very well. Bot ance or twice he lust had to avvept the fact that We weren't i doitthe way he chaight we should, here are varying stories as 10 whether ‘not Syd ison the “Saucerful Of Secrets track {SILMOUR: No. he's not, That’ totally false. He's on three or four other tracks on the album, including "Remember A Day” and “lug Band Music” [Sea's sole composition ‘nthe Saucerful afb). les also emai bit of "Set The Controls For The Heart OF The Sun." I think I'm on “Set The Con: trols” as well 9W: Can you recall any of the techniques you used to get unusual guitar tones back ‘hen’? GILMOUR: Well, 1 the micklle section of “A Saucerful OF Sevtets.” most ofthe time the guitar as lying on the stad Hour. And unscrewed one uf the legs from mic stand...You know hove mie stands have tee steel legs about 4 foot long? I just whizzed one of those up and down the Deck—not very subtly. Anether technique. which came a bit later. i co take w sinall piece of steel and sub it trom side to side across the strings. You ust mave itand stop itin places shat sound goad. 1's something Tike an E-bow “ONE OF THESE Days: Meddle {1971} GW: Another technical point: the instru mental “One OF These Days” was born \When someone plugged a bass into a “Bin. son Eharee,” What is this device? GILMOUR: The Binson was an alian-made elay unit. I was strange because it didn’t uilize tape loops. Instead, it used a metal recording wheel. [Binson's Echoree wes basically @ wive recorder—a precursoy of Imaignetic tape. tt had six knobs: an input ‘lume, one 10 condrol the lenerh. volume ad tone of swell a three-poriton selec ‘ar knob anda 12-pasition switching knob, The selector accessed either echo (one repeat), repeat (more than one repeat oF swell (reverbs cleverly devised by feeding the outputs of the heads back to them Selves). while she switching bob accesse 12 variations of these.—Fat | You could get some wonderful delay effects that aren't attginable on anything that's been made since, “One Of These Days” evalved! from some of my experiments with the Binson 4s did “Pehives” [also fiom Medile|. One day, Roger decided to take some oF the techniques that I was developing and try them out himself on bass. And he cume up With that basic rif which we all worked on ang tried into “One OF These Days ‘THE GUITAR ALBUM OF THE YEAR! JOHN MACEY Diol tate yn IMAGINE AN OVER THE TOP GARY MOORE... An awesome technical Jisplay... An outrageous burning album by a renegade quiarist Bill Milkowski ~ Guitar World, Guitar Player, Pulse, others, GREAT... Al DiMeola ?PRODIGOUS TECHNIQUE. JOHN MACEY Ie NJe puter stunto A sara Est Const Rocher ‘Send $11.39 for this remarkable CD to: G-String Records. PO Box 559, ‘Andover, Nd 07821 ee el stars Fame: THE LEGEND LIVES ON. The Classic Pignose Battery Powered Amp has been used by ‘more pros than any other, same price as in the 70's! Same Quality. Bereta wang ge FSS SONOTEER oie muy = 770-4444 47 F Gunton Bird, Gardena C4 G0208 Meeks oe nee Eocene Se GeyoisaDAVID GILMOUR For the middle section, another pieve of technology came into play: an HH amp with vibrato, set the vibra to more-oF less the same tempo as the delay. But the slelay was in 3/4 increments ofthe heat and the vibrato went with the beat. just played the bass through it and made up that ite section, which we then stuck on to a bit of tape and edited in, The tape splices were then camouflaged with cymbal crashes. Gow: So you played the bass on that tack? GILMOUR: Yes, The opening seetion is me and Roger, On “One OL These Days.” tor ‘BASS eal” DARRYL JONES R “THESE LEGENDS AND MASTERS" ALL PLAY AND SAY...SET OF ELECTRIC GUITAR, DR HANDMADE STRINGS WILL MAKE YOU AND YOUR INSTRUMENT JEFF HEALEY ELECTRIC GUITAR STANLEY JORDAN ‘BASS, “The |pjifference Is MARCUS MILLER FEEL AND SOUND BETTER THAN EVER BEFORE some reason, we devided to do « double: track of the bass, You cun aetually hear iti you listen in stereo, The Fist bass is me. A har ater, Roger joins in on the otber side of ‘the stereo picture, We didn'Thavea spare st of strings forthe spare bass guitar. so the second bass is very dull-sounding,[fenghs] We sent rote oi to hoy'some Strings, ful candered off ose his giliend instead. ‘Gw: How did you hiton te idea af playing slide guitar om the tack? GILMOUR: I guess I was never purtculurly confident in my ability as a pure guitar player. so 1 would ir any trick in the book. Vdiulways liked lap steels, peda st ‘ACOUSTIC G" fax: (201) 894-4743 JOHN ABERCROMBIE wie: (201) 804-4744 “THE DIFFERENCE |S REAL” ‘Bass DR THE HANDMADE STRIN VICTOR BAILEY, things like that, 1 can't remember exactly ‘what | used on “One OF These Days”: may have bought a lap steel by that point, fut tnusbe used a regular guitar. When [our Tse two cheap Jensen lap steels cus tomized with Fender pickups Forside pans The lap steel on “Oue Of These Days” is tuned to an open E minor chord-—E, B, E, G.B, E, low to high, The other lap stet is Inasically tuned to an open G chord [D, G, D,G, BE. low high], Luse that for The ‘Great Gig In The Sky.” You'll notice that Thept the top string tuned to an F so that ‘could do major ae! minor chords on the Tins three stings Te ene thing 1 on'r dois reg guitar withthe thingie on your fi rover had any iaterest in that GW: “One OF These Days" is one of tho carly tabs chat erystalizd for people what Pink Floyd was all about, Did you have that sense within the band—that you'd really discoxered something? GiumoUR: Well. [ think “Echoes” isthe masterwork of the alfum—thi swe were all discovering wht Pink Floyd is about. "One OF These Days” is alittle sub- Sidiay piece that came out of the work on ‘Eghoes,” Talways loved it e's seminal. 1 suppose, yeah Tot shorter, in any 2 dottor for radio play. Meade is really the alum where all four of us were finding our Feet—the way we wanted Pink Flayd toe. ‘Meh more than on Urimagirnma or Aram Heart Mother: WT as a0 lar slide rer. Pye bask why Uammagrmna nid Atom! Heart Morheraten’| represented inthis box set GILMOUR: Well. wo just had to pick and choose the ones we felt were most mpor tant, And although Avon Heart Mosher hay some pointer an direetions aso where we would finally go, it's not as important 4s Meddle was, | would have liked to inelude versting, but we cou, because of prive constzaints. The record company fel that once the price aa box set gets up user 200 bucks, people aren't going to buy i Who am Tio argue? money" Duck Side Of The Moon [1973] GW; Let's move on to Dark Side Of The Moon. Where did the famous 7/4 time si ‘ature for "Money" come from? GILMOUR: I's Roger's rtf. Roger came in with the verses and Lyties for "Money more ar les completed, And we just made up middle sections. guitar solos and al that slulf, We also invented some now riffs —we created 344 progression forthe and made the pot in 74, was my id ak down and become uty and empty forthe second cho. tus of the sol, GGW: Were you purposely ying to getaway rom just playing & [2-bar blues on guitar?PINK FLOYD Wall Of Sound The Wail producer Bob Ezrin and Dark Side Of The Alan Parsons reveal a saucer-full of studio secrets. BY ALAN OI PERNA & BRAD TOLINSK 808 ezrin How po you reason with two guys who ‘once went to court over artistic ownership of aig niober pig? That was Bob Ezrin’s mission when he agreed to eo produce The Wall with David Giimour and Roger Waters. The legendary tensions between the two feuding Floyds came to a head during sessions for The Wal in 197: which was why E2rin was called in ‘My job was to be Henty Kissinger— to mediate between two dominant pei sonaiities,” recalls Ezrin from the $3 distance of 12 years. “Each one hhas a need to express himself in his own style, And sometimes those siyies are very afferent ‘Seasoned by sessions with Lou Reed, Alice Cooper and kiss, Ezrin was the ideal man to copproduce The Wall He first discussed the project with Roger Waters “during the Animals tour, in the back of a limousine on the way to Hamilton, Ontario, He (Waters) told me that because he felt so alienated, he had this concept of building a wall between the band and the at tence. We kicked the idea around inthe car, Honestly, | never expect ed anything to come of But soon Ezrin found himself in the thick of Pink Floyd's most ambitious recording up t time, No mere referee, he had Plenty of his own ideas for The Wail“ fought fr the introduction of the orchestra on that record—the expansion of the Fleyd’s sound to some thing that was more orchestral, theatr a)..tilmic’ is the word. This became a big issue on ‘Comfortably Numb." which Dave saw as 2 more bare-bones trac with just bass, drums and guitar, Roser sided with me. So ‘Comfortably Numb’ \s a tue collaboration—it's David's, ‘music, Roger's iyic and my orchestral chan. David Gilmour's classic guitar solo on Comfortably Numb” was cut using & combination of the guitarist's Hiwatt ‘amps and Yamaha rotating speaker cab inets, Ezrin recalls, But with Gilmour. he adds, equipment is secondary to touch You can give him a ukulele and he'll make it sound like a Stradivarius. He's truly got the best set of hands with which ve ever worked. People always ask me, How the hell did you get that astound. ing guitar Sound at the end of “Another Brick in The Wall"?" That's just Dave direct, with a litle compression, used a form of double compression: first we put the guitar through a very aggres- sive limiting amplifier, compressed that output, and overdrove it. The limiting amplifier makes it pop, and the com Pressor gives it a kind of density: the Sound of being right in your face, But stil it's nothing so involved that t would have made that part sound good if Dave's playing hadn't been so brilliant, That's his frst take too!” Ezrin was also called in to assist at the birth ofthe fist (and, 80 far, the only) Pink Floyd studio album without Roger Waters: 1987's A Momentary Lapse of Reason. Heve a different kind of artistic \ebate arose. While Glimaur was keen to strike out in new musical directions. Eatin fet a certain obligation to produce 2 record that wouldn't disappoint the expectations of long-time Flayd fans: “People are used to Pink Floyd delivering ‘atmospheric, philosophical records, with lots of effects and ear candy,” says Ezrin. “I didnt feel that a camplete over haul ofthe Pink Floyd sound or approach was called for at that time, particularly since Roger had lett, Moon engineer Given the disparate set of songs that hhad been written for the album, Ezrin ‘and Gilmour keenly felt the need to find ‘common "thread "to hald them togeth fr. They found that thread ina most unexpected place: right under their feet. Eatin and Gilmour were recording on the Guitarist’s studio boat, the Astoria, Moored on the River Thames, “Working fon that boat was the mast magical recording experience I've ever had,” says Ezrin, “Sitting every day and watching the geese fly, the school-kids rowing, and the litle old English fishermen on the bank created a kind of river atmo. sphere that permeates the whole album.” On @ more practical level, the floating studio posed a few prob- Jems when it came to engineering gultar sounds. “It’s nat a huge environment,” explains Ezrin, “S0 Wwe couldn't keen the amps in the same room with us, and we were forced to use slightly smaller amplifiers. But after playing around with them in the demo ges of the project, we found hat we really liked that sound, So @ Fender Princetan and a litle G&K amp became the backbone of Dave's guitar sound for that record. When the song °A New Machine” created the need for something slightly larger Ezrn and Gilmour responded on @ grand scale. "We actually hired a 24 track truck and a huge P.A. system {and brought them inside the L.A. Sports Arena.” the producer recalls. "We had the whole venue to ourselves, and we biped Dave's guitar racks out into the Sports arena and revecorded them in 3D. So the tracks that originally came from a teery little Gallien Krueger and a teeny ite Fender, but piped through this enormous P.A, out into a sports atena, Sound lke the Guitar From Hell” But what of the fabled big rubber pig? Well, Roger Waters claimed copyright ‘ownership ofthe oversized prop, used at Countless Pink Floyd live shows. But David Gilmour had a huge male appendage fashioned for the creature— thereby altering “its” anise character enough to get around the copyright. ‘continued on page 121DAVID GILMOUR GILMOUR: No. | just wanted 10 make a dea matic effect withthe three solos. The fir ADT'd—Adtificially Double Tracked, And the third one is actually dow ble-tracked. I think I did the firs two solos on a Fender Stratocaster, but the last one was done on a different puita Which was made by some guy in Vi ver. Ithada whole two octaves on the neck Which meant I could get up 10 notes that I couldn't play on a Stratocaster. GW: What amp did you use on that? GuLMOUR: I imagine it was a Hiwan, but Tm not too certain, I used Fender Twin Reverbs in the studio a lot, too, But I'm certain the effects consisted of a Fuzz fuzz box and the Binson echo/dela Gwe: What was [pro ‘er| Chris Thomas's role on L The Moon’ about that feeling we were left with atthe end of Dark Side—that feeling of "What do youdo when you've done everything” But Think we got over that, And for me, Wish You Were Here s the most satisfying album. [really Iove it.I mean, Prather listen to that than Dark Side OF The Moon, Because 1 think we achieved a better balance of music and lyrics on Wish You Were Here. Dark Side went a bit to far the other way —t00 ‘much into the importance ofthe lyrics. And sometimes the tunes—the vehicles for the lected, To me, one of is that sometimes, in his effort to get the words across, be uses a ess “poss Animals [1977] ‘GW: On the next Pink Floyd album, Ani: ‘mais, he song “Dogs isthe only thing not writen solely by Roger. What was your part in co-weting “Dogs” with him? ‘GILMOUR: asically wrote all the chords the main music part of it, And we wrote some other bits together at the end. {Gw: Originally it was titled “You Gotta Be Crazy." Was ita different song then GILMOUR: It was fundamentally the same song, but the Iyries changed a litte to suit the “Animaly” concept. [did one or two very nice, slightly differen, guitar solos on it that I was quite pleased with {Gw: There are those Fantastic sections with the wo-part harmony leas. GILMOUR: Three-part, in some cases: it's two-part in the melody sections, But the lastline of the first solo, Theieve, isa these Part descending augmented chord. Which is quite nice, and L was very proud of it 1 GiLMOUR: Chris Thomas came in ‘or the mixes, and his role was essentially to Stop the arguments between meand Roger aout how itshould be mixed, I wanted Dark Side to be big and swampy and wet, with reverbs and things like that. And Roger was very keen on it being a very dy album. think he was influenced a lot by Joh Lennon's first solo album [Plas Ono Band, which was very dry We argued so much that it was suggested we get a third opinion We were going to leave Christ imix iton his own, with Alan Par sons engineering. And of course fon the frst day [ found out that oger sneaked in there. So the second day F sneaked in there. And from then on, we both sat ht at Chris's shoulder. interfer But luckily, Chris was more sympathetic © my point of view than he was to Roger's. GW: Was that the first album where tension em you and Roger? GILMOUR: Ah, there's always been tension, But it wa all quite controllable tension until alter The Wail all GW: There's creative tension and then there's outright hostility ‘GILMOUR: There’s eave tension and there's total egocentric m Jomaniacal tension, if you like ‘ow: Did the prospect oF having to follow the huge success of Dark Side OF The Moon create a lot of pressure on you during the ses sions for Wise You Were Here Gitmour: Yeah, that's what the album's about, Ithink—as far as od between Roger's concemed, anyway. It's‘The care and feed ing ofa fine guitar takes more than time ft takes fine Y products created with the quar gourmet in mina Kyser and qual ounton i siring ceanerubreant est ula palsh Fine bem KYSER MUSICAL ERE ras 566 "Cin& Florida gop akentig BSN ae le Bvt! aU t Fi 33} ’ A LOT MORE TO TALK ABOUT THAN By Sto o7.Vy 1) coo reo S 3 ra F ee ‘Each new Bn talon maUe Li ee their newest toys show off what everyone else will be ben ish 9 about a few months later. You’re invited. CH EE Gt mera a rece can ae Cee een ee eee CN BESTT) DAVID GiLmouR thoughtit was very clever. Then and wiped it out and [had to re ew: On purpose? GILMOUR: By mistake, by mistake GW: What did you play om that? mps. That slight Lesie elfect mae «big difference in the sound. Giumour: Actually. very difficult, We ertise in all nd in. Ie wa hed forward GILMOUR: Somewhere in the mide, re ly. Forme, The W g satisfied with how clever wonderfully it all it, just blow. Just Whereas on all the Were Here, Dark you Tiked, nti ino the true ‘COMFORTABLY NUMB: The Wall 11979] {Gw: “Comfortably: Numb is one of your few cous son The Wall, By all reports it wasa't bor GILMOUR: Well. thersDAVID GILMOUR of that, whieh me and Re about. Fd written it when L was doing my frst solo albury [David Git ed the fom Eo key of the BT ihink Iy'the same, Then we had to ald Tue bit, because Ri t he verse ste! exact. 1 ferbiy nituh* Oui aan het was very. very simple to write, But the arguments on it were about bow should be mixed and whi wuld use, We'd done one track with Nick Mason on drums that [thought was too rough and sloppy. We had another 0 at ta Thought that the second take was better. Roger disagreed, It wa m » thing than anythin else. We really went head to hed with each ether over stich a mine thing, [probably couldn't tell dhe difference if you pu borh versions fon a record today. Bul anyway. it ‘wound up with us taking a fill out fof one version and putting it into {Gw: Have disagreements between you and Roger ever point of physical vi GILMOUR: They've threatened to But it'snever actually come to tha. (Once Roger an I had real shout in North Hollywood. We'd gone there with [prodicer| Bob Eatin [see accen 1 to ha it out over something on The Wai Num” because the only thing Ue really a probably “Comfortably ie with Roger ove ry own music. With his m wouldn't bother to argue GW: While the easier Pink Floyd records were coneept albums, Ti Walt is the First one with an out right plot. What were your feelings bout tha? GILMOUR: | Jiked Roger's stor Tine. Although T didn’t totally agree with it, you've got 10 let a chap have his vision. [just had a nt view of our relationship h our audience than Roger dd. didn’t like touring. And he Felt there was no connection between him and the audience that were in froat of him, [had a di Ferent view ait stil do, And my View of what The Wall itself is about is more jaundiced today than it was then, H appears now to be a catalogue of people Roger blames for his own failings in if, alist STEEL HEART MOTHER: Davi Gimour and his Jensen ap steel fou fucked me up this way. you fucked me up that Way GW: What about your solo on ‘Comfortably Numb"? Did that take a long time to develop: GitmouR: No. | just went out into the studio and i fi six solos. From there I just fol Towed my usual procedure, which is w Histon back to each solo and mark out bar lines, saying which bits ane good. In other words make a chart, putting ticks and erosses on different bars as | through: two ticks if it's realy good. one tick if it's good and ross if it's no go, Then | just fo low the chart. whipping one fader up. then another fader, jumping from phrase to phrase and trying make realy nice sol all the way through. That's the way we did ‘on "Comfortably Numb,” ft wasn't that dificult. But sometimes you find yourself jumping from onc note t0 another in an impossible way. Then you have to 2010 anoth place and find & transition that sounds more natura GW: When you do a comp lke that are you concerned that you"ll wind Uup with a result that's physi mpossible wo play? GiLmouR: Not if it sounels Fm perfeetly happy to puzzle the hell out of people who try to work ‘ut how it was done {Gw: For live shows. do you thet have to go and learn to play the solos from the record? GILMOUR: No, I never play live solos exactly the same way the appeared on the record. 1 tend Start with the same thing that’s 0 he album an! take off from there Every once in a while [Il remem ber bit from the record and fall back on that, Of course the solo the middle of “Comfortably Numb is worked-out, $0 | always do that the same. But | never play the main solo—the jam solo in the end: cexacily the same as the original GW: Is your system of ticks and @ crosses responsible for al you solos on record? GILMOUR: No‘ all of them. Some- j times TIl sing & solo to tape and then learn it on guitar. 1 often more melodie runs that way GW: You've got an extensive guitar collection—a world-famous collec ion. When you go to record, how much of that goes into the studio GILMOUR: Well. not much, Generally, I just use a Strator saloon Did that lop’ just fol ‘which sol and ing which words, I icks and Fount s really iol and a T just fot ine Fader jumping the way we did i Howast possible noth jon that otha wind hysically all azzle the 10 wok fou then play the lay live they {rend to that's on and fl Numb’ do that he main e en sina ks and COLDBRICKERS: Roger Waters, ick Wright, Davi Gimour nd Nick Mason Wl that’s the end of it, The ones I tend to use these days are moslemn '37 reissue Strats with EMG pickups. Apart from that, F've ota few different acoustis and slide jars. For some ofthe rhythm things, [has black Gretsch Duo ly nice ‘GW; Who are your favorite guitar players ‘GILMOUR: I'm not @ fan of many rock gui at players. Jeff Beck's my favorite damned fine player GW: You're rot keen on the modern tec: nical schools of guitar GILMOUR: No. Is probably ust sour because Fl neverbe able to doit. Eddie Van Halen has done a few things that I ike lo But for the most part. no, that ind of thin dloesntinterest me, Gitar justhappens to Sonic that sounds real the instrument Ian bestexpress my feelin oon. Fr not very fast on it, but you don't something like Jobn Dimples.” Between the have to be. You Lee Hooker doin 4 vocal lines he just hits the bottom string on the guitar that one note says itll 2 My guitar influences are people like Pete Seeger, Lewdhelly. Hank Marvin andl Jet? Beck, But there hasn't been anyone recent ly that I've been turn GGW: I's sreat to hear you acknowledge euy like Pete Sees. GILMOUR: Oh. Pe tastic hum bein Fork.” they called him at one time, [earned guitar off his Pete Seeger Teaches Guitar Seoger’s a wonderful America's Tuning Fecord, That was the fist instruction [had The first track taught you how ta tune the guitar, That was pretty importa ONE SLIP Momentary Lapse Of Reason |1987) GW: Let's move on to Pink Floyd's most recent studio album, A Momentary Lapse OF Reason, How did you hook up with Roxy Music’s Phil Manzanera to write ‘One Slip”? GILMOUR: Phil is We've known each other for years and years, sways talked about doing Something together. So I went and visited him over at his studio, and we started play people, to sce if there comfortable working with who could help tormake the load alte Fighter in doing the new Pink Floyd record without Roger, Phil hrasieally wrote the musie to “One Slip. GW: On A Momentary Lapse, how did deal with the whole issue of maintai continuity withthe old Pink Flo GILMOUR: By totally ignoring i, I didn’t bother with any of that staf I know it's somethit op in B mind: he make it sourid like Pi something | had noi hits done by me, it's und like Pink Floyd to. certain extent. Because its my voice, my guitar pl aste that are plastered all over eve Pink Floyd ever di, going hack to A felt a certain responsibility to loyal, But that's est in whatsoever cal ry thin Saucerful OF Secret GW: A Mome Feturn to the lushnes Floyd, of pre-Animals PinkLooking for the best deal on a new guitar? Call the World-Class Music Store. Sam Ash. For almost 70 years, musicians have been coming to ‘Sam Ash Music for the best deals on top-brand merchandise. Our nine superstores feature the largest inventory of musical equipment in the world. 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Te words first complete profesional PC utr “Sr isulie ets you transom sae pater ‘olick and ris... 50 yu ean standout ke 2 Val Holdsworth or Saran Sce al he important scales — made, minors, bles, chromatic et, hs chords and atpeaios isle right on your seren, na vast array of paternal positions. san transpose to ay ky, Print everthing you ele. Easy 0 foal and ran on ny 1 ‘compatble Includes die and complete manual ecncl suppor by phe ME | Ava by mai ons ll money ru if nor sai $59 pies $350 shipping and dy vs or To order or force inf: aun Topiy 1-800-477-7341 (© 1992 ScalemagiciSDG Soft Camarilo, CA DAVID GiLMouR GiLMOUR: Yes. That's what I like OF Life” for example, is actually an old demo. [had to re-record a lot of things, but the rhythm guitar chords inthe background are from a demo from way back in" 78. GW: So on A Momentary Lapse you got to follow through on ideas that, perhaps because of Roger's dominance, you didn't et to pursue earlier? ‘GILMOUR: Yeah. [ went back to this bal ance of more musie and aot quite the same preponderance of words, You do what what ‘Signs You're good at, ou see. Roger's very goad ar lyrics. Fm certainly not as practiced as him, so L wouldn't put myself up there GW: Do you feel you're coming along as a lyrics ILMOUR: I'm prouel of some of the ones redone. "Sorrow" |A Momentary Lapse] is a very good Iyrie. There are things I've done on Solo albums that I've been pretty proud of GW: Have you written anything recently ‘GILMOUR: Not finished song, no. Just jt GW: Ate there any plans for anew Pink Floyd album? GILMOUR: Well, we're mucking about in my studio a little bit. But it’s too early t0 ‘make any definite predictions as to what it will be like {9W: Do you have any plans for another solo record? GILMOUR: Not atthe moment, no, The next fone will probably be a Pink Floyd record 6%: Was Momentary Lapse a good expe. rience for you, Nick and Rick [Wright Pink Floyd's keyboardist in the sense that you assured yourselves that you could dit without Roger? GILMOUR: Yes. The album and the tour Were a rehabilitative process forall of us, 1 to hear you and Rick play [Wright was ejected ing together 4 from the band in 1979 and rejoined for A Momentary Lapse,] The guitar and key: boards worked together so sympathetical ly on a lo of these old tracks we've been GGiLmouR: Well, it's like Bob Dylan says lin My Back Pages”: was so much ol er then, I'm younger than that now.” You learn things about yourself and other peo. ple as time goes by. When the three of us sit down and play, it sounds like Pink Floyd, There's very distinct value in that, Which was important for me to discover There's something there that’s bigger than any one person's ego. @ Ae ee"Signs ly an old hing, but ckground perhaps didn’t bal he same chat what ry good criced as he ones Lapse] Tre cn prety ly? Just jot ew Pink carly to > what it Thenext ecord, expe. Pink Id do it ck play ichold You er peo Pink tha, er than, PINK FLOYD Any Colour You Like Pink Floyd singer/conceptualist/bassist Roger Waters and drummer Nick Mason separate fact from science fiction in this classic '74 interview. BY CONNOR McKNIGHT THE FoLLoWna's an excerpt from a 1974 interview with Pink Floyd's Roger Waters and Nick Mason conducted by writer Connor MeNight for Britain's shortved ZigZag magazine, ‘MeNight recalls: “An old acquaintance of mine used to meet me at various foot ball matches and he was often accom: panied by this tall geezer who didn’t say ‘much, but looked fairly familiar, After ‘about two years of nodding | eventually ‘asked him what he did for a living. ‘I'm ‘2 musician he replied. I'm in a group Called The Pink Floyd.” It was Roger Waters.” “Eventually managed to screw up su ficient effrontery to ask for a few hours of his time to answer some question. We finally agreed to meet at his house, but when we amrved we were directed 10 {a Mr. Mason's residence, which is where the interview took place.” 1216-246: What role do sound effects play inyour music? ROGER WATERS: I've always felt the dit ferentiation between sound effects and music is all a load of shit. Whether you make a sound on a guitar or a water tap Is irrelevant because it doesn’t make any difference. We started on a piece a \while ago which was carrying this to its logical extreme, where we don’t use any recognizable musical instruments at all—bottles, knives, anything at all, falling axes and stuft like that, which we will compiete at some juncture and it's ‘tuning out into @ realy nice piece, 216-zAG: What do you consider your most effective use of sound effects? WATERS: The simplest things are often the best. For example, the sound of wind at the beginning of “One Of These Days" [Meddie] is bloody effective. ick MASON: “Alan's Psychedelic Breakfast” [Atom Heart Mother is quite interesting, insofar as we've agreed that the piece ‘didn’t work, but in some ways the sound effects are the strongest parts, WATERS: We did that ina fantastic rush, didn't we? MASON: Right, It was a fantastic Idea, ‘but because of the rush it dian’t work propery. I think the sound effect in Money’ works very well. The interesting thing about that track is that when Roger wrote it, the idea to use the cash register more ‘or less came up in the first day 216-286: Pink Floyd has always been ‘associates with science fiction and space music. Are you a scifi fan? WareRS: | haraly ever read science fle tion. | used to read a lot, but only very ‘occasionally now. | suppose that the ree Son that | iked to read scence fiction was because itgive the writer the chance to reexamine some important ideas. If you remove an idea from its familiar sur Toundings it allows you to look at it in a new light. Also, some of the books offer blaody good yams, and ike a good yam. ZIG-ZAG: Hoy do you relate to the term “space rock"? WATERS: Not very much. MASON: That was a convenient tag, WATERS: Which was held over for so bloody long. We've really only recorded three tracks with science fiction refer ‘ences— “Astronomy Domine,” "Set The Controls” and “Let There Be Light.” Peo. ple listen to Dark Side OF The Moon and ‘allt “space rock,” which Is erazy. Just because it's got the word “Moon” in the title, they think the record has a science fiction theme, The other thing I've been hearing is people say is that we've gone {rom outer space to inner space, which is oat MASON: “Seucerul” had no basis in si ‘ence fiction, WATERS: The title allowed you to think ‘of anything that you wanted, and be: ‘cause it had echo, people went, “Whooo, Science fiation.” But it could've repre: ‘sented anything 21G-2AG: Writers have compared your music to specific paintings. WATERS: Our itis aren't abways imme Giately apparent, so It becomes very ‘easy to let your imagination go. MASON: People often listen to the music ‘and come up with a visualization of what itis about. And when they visualize it, ‘ey think they've discovered the secret behind it. Sometimes they even bother to write us and say, “I've got it—'ve got the answer. It's comfield, isn't it? WATERS: And when they say something like that, we tell them the truth—which Is, “If that’s what it means to you, then ‘that's wnat itis.” MASON: And they're invariably disap. pointed. WATERS: The way our music impinges ‘on your mind makes it easy to conjure up It's more difficult to visualize a dis tinct image when you isten to something by John Cage or Stockhausen, because the music Is all squeaks and bubbles. Their music has more of a hard-edged, abstract painting, There are cefinte tr ‘angles and squares in it, but it doesn’t {ve you an overall impression of the Bat tle Of Waterloo or whatever. It makes you respond in a more intellectual way. continued on page 123Laat) genius, Syd Barrett, was the primary inspiration LOT eS ogee] osi TR OM Reel) The Wall. 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LY sew ISUIPUN >Hh auauave GasSYD BARRETT While the band name lowed easily Som the lips, the band itself was note too inspie ing: their repertoire included no original material. consisting instead of tunes like ‘Louie Lowe” and “Road Runner.” both of ‘hich the early Floyd personalized by inter potsing iberal dosages of staceato "Freak ‘u." a Form of psychedelic jamming For all their limitations, the band man laged to attact some professional interest in their future. Perer Jenner, a lecturer at the London School of Feanomies and Yohn Hopkins, « par-time magazine publisher Were in the audience for one of the Pink Floyd gigs. and were impressed enough to offer them some sort of management deal. Admits Jenner: “ht was one of the fist rock events I'd seen—T did't know any thing about rock, really, Actually the Floyd then were barely semiispeo standard, now ‘hat think about i, but Lwas so impressed by the electric guitar sound, The band was Wst atthe point of breaking up, y"know. It was weird—they just thought “Oh, well ‘might as well pack it all in.” But they changed their minds." ONE OF JENNER’S first acts us @ man was to build an elaborate fight show the band’s perfomance. The next was to installa poliey of playing only original compositions This was where Syel Barret came into his own, Barrett ha ot this point composed only a few odd tunes—a nonsense song called “Etfervescing Elephant,” for exam- ple, written when he was, perhaps, 16, and he'd seta James Jovee poem called “Gold- fn Hair” 10 music. Butnothing beyond that. Fenner: “Syd was really amaaing, though. I mean, his inventiveness was quite astounding. All those songs from that ‘whole Pink Floyd phase were seriten in no more than six months, He just started and took it from thee, ‘The frst msnifestation of Barrett's song writing talents was a bizare litle classic called ““Ammold Layne.” which deaft with the ewilight wanderings of « trans Vestitejpervert figure, A sinister piece of vaguely commercial fare, it is hoth whim sical and singularly creepy, The single was binned by Radio London, which foun its general connotations a litle tuo odd for ven pirate radio standatds, The Floyd were by aow big stult in Swinging London. Viewed from hindsight, the band came on just ike naive ar-stu Gents in Byrus-siyied granny fist publicity shots are particulary laugh: Able). But the musie somehow had an edge ‘And the Barret guitar style? Jenner: “Well, he hud this technique that 1 found very pleasing. I mean, he was no guitar hero—never remotely in the class of Page or Clapton, say The Floyd cult grew as Barrett began to hit hs creative stride, His songweting can only be described as a happy mastiage of {he two ideal forms of English psychedelia ‘musical rococo freak-outsand a particular ly Bnglish style of whimsy. of the kind sssociated with limerick master Edward Lear and the man who ereated Alice In Wonderland. Lewis Carrol Pink Floyd's debut, Piper At The Gates Of Dawn [1967], was recorded atthe same time as The Beatles" Sergeant Pepper's, and the to bands occasionally niet up to check out each other's product. Paul McCartney even stepped oul to bestow his papal blessing on Piper, an album which sill stands as one ofthe best musieal mem: cries of 1967—except for “Bike,” which recks of crazy basements and psychedelic whimsy taken a litle too close to the edge, Strange things were starting to happen with the Floyd, and particularly with Bar rett, Their fst single, "See Emily Play was Top Five, which enabled Barret to more than adequately live out his pop star | (1D Roll NIchO FLEX STRINGS UISTO] | [320:-") D: Available > ee, (ae, fmm | MonsccueatyOAaatonine Nasi hh lo trspecal bs 86% isn USA (MSicowte | Only From ISTSYO BARRETT infatuation number to the hill—the Hen: dix curls, caftans and Pender Telecasters ‘wore all his forthe asking. ‘The ego problems and slight tantrums were the first signs that anything was ser ‘ously wrong with Barrer, and, gradually, the Floyd, Jenner and others in his eile, real> Sved that something deeper was going on, ‘Take the Floyd's three appearances oa Tap Of The Pops {a popular Brkish music sho} Jenner: "The first time Syd was on Top. Of The Pops, he dressed wp like pop star. “The second time, he came on in his straight THE WORLD'S — MOST FAMOUS MUSIC STORE | IS ONLY A PHONE CALL AWAY! From Buddy Rich to Jimi Hendrix to Guns N' Roses, Manny's has been the first choice of legendary musi ns for over 50 years, Now you can enjoy Manny's exceptional selection, service and support via mail order with Manny's Mailbox Music. Iorward, fairly scruffy clothes, looking rather unshaven, The third time, he came to the studio in his pop star clothes and then changed into complete rags for the actual TV spor" Teall had something to do with the fact ‘ht some time earlier, John Lennon had stated publicly that he woulda’t appear on Top Of The Pops. Syd seemed to regard Lennon as some sor af yardstick by which tw measure his own situation as a pop star. ‘Syd was always complaining that John Lennon owned a house while he only had afl.” states Peter Bares, ‘Bothere were far darker ins of ade MANNY'S Legendary Support We're the only mail-order service with an 800 Technical Support number and a staff that has hundreds of hours of manufacturers training, They can answer all your questions about the latest gear and give you smart advice on planning customized MANNY'S Legendary Service Manny's Mailbox Music in the only one that tekes trade-ins. We also take American Express! And we give you a 100% money back guarantee. Extended warranties are also available. Plus we can get you a brochure for any product in our catalog. The world's greatest setups. music stare is in the mail Manny’s Mailbox Music - 48th Street At Your Doorstep wero rae cannons acne ‘Te BROADWAY, NEW YORK NY 10018 (ADDIS? 00 POSTAGE & HANDLING QUISIDE CONTINENTAL US} 08 CALL 212-706-7250 Send us your groups pots, One willbe featured in our nox don ‘impending imbalance inthe Barrett psyche. HE Was AT that point involved in a rela ‘ionship with a gil named Lynsey. The affair ok an uncomfortably bizarre turn when the lady appeared on Peter Jenner's doorstep fairly savagely beaten up. “T-eouldn't believe it atthe time. I had this firm picture of Syd as this really gen- te guy, which is what he was, basically.” Something was defintely swry. In fat, there are numerous fairly unpleasant tales about this particular afTair (Including one where Barrett locked the gir in a room for asolid week, pushing water biscuits under the door so she wouldn't starve) which are best not dwell on, Syd's yes ofien cemented themselves into a stare that really frightened all who stood in his presences, The head would tlt bck slighlly, the eyes sould get misty and bloated. Then they would stare right at you-and right through you at the same ‘ume. One thing was painfully obvious: the bboy genius as fast becoming completely unhinged, mentally, Peshaps it was the drugs, Barret’ intake atthe time was fearsome by any standacd, and many considered his constitution to be ati fragile for such chemicals. ‘The combination of such circumstances can, of course, lead to a certain degree of brain-damage, But to truly understand the Barrett psyche, one must traverse more Freudian landscape. Many of the people familiar with Syd claimed that his break- down must be linked to specific traumas. Barrett, te youngest of eight children, was 12 years old when his father died abruptly. The impact ofthis severe oss was ‘compounded by his strong-willed mother, ‘who spoiled Syd mightily ‘Everyone is supposed to have fan when they're young —Idon'rhnow whey, but Ine cerdid"—Syd Barret, in an interview with Rolling Sione, Auturan 1971 PETER JENNER. “Ithink we tended to under rate the extent of his problem. I mean, thought that T could act as a mediator — y'know having been a sociology teacher at the L.S.E. and all that gut. “Think, though..one thing l egret now was that I made demands on Syd. He'd written “See Emily Play,” and suddenly everything haul to be seen in commercial terms. [think we may have pressured him into a state of paranoia about having 10 ‘come up with another hit single. Barett’s fragile psyche began to truly unravel when the Floyd were forced to appearon some American TV shows. Dick Clark's Bandstand was disastrous because it requiced a lip-synching job on the band’s prt and “Syd wasn’t into moving his lips that day.” continued on page 105SYD BARRETT The Pat Boone Show was quite sure: Boone actualy tied co interview Barrett on the screen, asking him particularly inane {questions and getting a truly classic eata- tonic piercing mute stare for an answer By che time the band retumed to Britain, thoy had ached « decision, While Barrett svat the Floyd's songsriterand centea fig Ure, his madness had become fat too muela to handle, He jost couldn't be communi= cated with, Their patience had not been rewarded, and so the breakaway was in the cards, But nat before a final studio session took place—a mad, anarchic affair which spawned three of Barrett's truly vital ti Tight rantings. Untormunately, only one has been released, ‘Jug Band Blues." the only Burret wack that made ito tothe band's cond slbur, Saucerful Of Seerers 1968]. tis as good an explanation as any for Syd's absence thom the test ofthe alburn ‘Y'see, even at that point, Sye_ actually knew what was happening to him,” claims Jenner, "I mean, “Jug Band Blues” 1s the ultimate self-diagnosis on a state of schizophrenia. “1's awfully considerate of you to think CMa | FRET MARKING of me here. And I'm almast obliged 10 you for mate ing ielear that I'm not here, Arai 'm wondering who could be writing thes sang Barreit acwually had Salvation Army Band troop in during the middle of the umber. The 180 unreleased songs (these ‘cantrary o popular belie. are the an une leased numbers Barter has ever recorded) ae beth vatinished creations. “Seream ‘Your Last Screans” isa masteetl splurge of blowxd-curdling lunacy ‘Seream sour last seream/Old woman with « baskei/Wave your arms madiy, mad- I/Flar tops af houses/Houses Mouses! She'll be scrubbing apples on all foursé Middle-dee-riddle with Dimpy Mrs. Deef we'll be watching elty for all hes.” ‘Also unreleased is "Vegetable Man." a demented sing-along tune Syd" recalls Jenner. “was round at my house just before le ha 19 xo to record and, because a song was needed, he just ‘wrote « description of wht he was wearing. ac che time and threw ina chorus that went ‘Vegetable man—where are you’ A nationwide tour of Great Britain fo: lowed —Jimi Hendrix. The Move, The Nive tnd Floyd, all on one package. Syd often ‘wouldn't turn up on time, and occasional tS eee TT dee dpa heapalhedeiidaa tbh pret Peri [cca ey eet) This is your oan to Hectric Ladyland 4-Channel Tube RECORDING AMP AMP EXPANDER PREAMP EXPAND YOUR STUDIO so Recording Amp, Tubsan ives you gerne tbe cuit, four dsncvechannals, on ll the tone and 0 you want Pls, the uil-in Red Sox the vert’ mst popular Cabinet Simul ls you eer without riking bass ony ime of he day osight Heguas & Vatu G fem ne KelnerGil FORTHE LITARIST THE BEST PERFORMANCES ARE BETTER With SYD BARRETT A iy aia oth | Mineo ie osrsonc The reat Hoy soiled vith The Nice (guitars David OL plyed th eta wn Be way tpl suely the two wncrowned ngs of tid reek outst Bary hae ene Nota ies omer “Hendrs had sis einen, Sy ait le ee eseence these He ws ng ot aa chise experiment, and note aly com ‘aed le hernortaanat in Tie Taye tenes sae eee it ite Seca got yet Tong back fom working wh vatus froips in Prnce, The inpheatons were Pectin irom onde withthe fvepce an then Bare sta Pastime agentes slaty warning Excope maybe 5 Row IIFRE ON in, the Whole Barrett saga ‘2026 atifle haywire. The Madenp Laughs [1974], Barres first solo album, to0% a laborious year to coniplete, Production credits voastantly changed hands—trom, Peter Jennerto Malcolm Jones (who gave up balfway through), and ultimately to Dave Gilmour and Roger Waters, By this lime Barrett's creative processes ‘refused to mesh properly nd so the results of his efforts were often jagged snd unap- prouchable, Basically they were essays in distance—of Barrett waving himsic ‘out from the haze, Or perhaps he was drowning? Ou "Dark Globe” the anguish is all 190 real "My head kissed she ground! was half the was dove. Please lifea haat ont 4 person/With Eskimo chain I tattooed my brain all the way/Wouid you miss me/O, ota’ you miss me at all? Many of the tracks. though, like “Ter rapin.” practically just lay tere on the sround, seratching themselves, They exist ‘completely’ insde their own zone ike weird insects and exotic Tish, with the listener {orved to look inside the tank atthe uetvity. In many ways, Madeap is a work of sgonius: in just as many other ways, i's a ‘ranked-up, pastacid curio. And for both those reasons it remains a ital, thorough- Iy unique album, Storm Thorgensoa: “The thing was that all those guys had to cope with Syd out of his head on Mandrax half the time. He got ‘0 “Mandied up on those sessions, his hand FOR 4, 5 and 6 STRING BASSES Waite or phone for our catalog PICKUPS bartolinti actives Box 934 LIVERMORE, CALIF. 94550 (510) 443-1037sults unap- seal vishis 2s half monty ne/Oh, Tere on the civity. ork of it's a or both rou vas that SES alog 5 ICS 7 ‘vould slip through the strings and he fall off the stool.” Barrett, his second solo album, was recorded in a much shorter space of time. Dave Gilmour was called in vo produce and he brought in Rick Wright and Humble Pie j eu = ti wired. lj pro ba bm, i Ca ‘ pT itis =Fas “Love Is On The Way”. WORDS AND MUSIC BY JASON BIELER ‘TRANSCRIBED BY JEFF McERLAIN [A)intro. 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