David Gilmour

yeah

And David Gilmour.

I mean, everybody in the band is just making its almost borderline horror.

If

You know, give a little... a little bit of the beginning of the origin story.

You get David Gilmour singing as the voice of the mother who comforts Baby Blue with a lullaby.

But as is consistent throughout all of this album and a lot of Pink Floyd's work, there's some ominous undertones.

The sea may look warm and the sky may look blue, But that leaves us expecting to hear the butt, and we don't really get that until we have this tonal shift by Roger Waters coming in with some more biting vocals that replace David's.

So number 40 is the Adam Hart Mother Suite from the album of the same name in 1970.

Since recording A Saucer Full of Secrets and performing The Man and the Journey Suite in 69, the band had dreamed of writing a long work in several movements, and the first band member to get down to work was...

David Gilmour.

So at the end of 69, he composed an epic theme that reminded him a little of the music for The Magnificent Seven, which is a 1960 film.

I love this idea of the band as each other's spectators, especially knowing that, you know, there were various different tensions between them at different points.

And going back to that theme of distortion, it strikes me there's that wonderful moment where David Gilmour is listening to some critique in the studio where he's playing, and he comes out with this great line, where would rock and roll be without feedback? And it's about the distortion where that's being...

a suggestion that that should be reduced, and he's just embracing it and saying, no, no, no, this is the sound that we're going for.

And I think it fits into exactly what you're saying about the interactivity, the immersive side.

And so, yeah, it's just another way that they point to the, or that we can see the play between, yes, image formats, but also sound formats, sound recording formats, different kinds of instruments, different sound sources, and how that fits with the metaphors of reception and archaeology that are embedded in Pompeii.

I had a somewhat related thought, which is that I love this tension in filmmaking between the sort of archival aspects fixed version of it, and yet the fact that this particular film has had so many new cuts.

But I also wondered about the human and embodied dimension, because on the one hand, I know that apparently David Gilmour refuses to play Echoes since Richard Wright's death.

And so there's a few lines from Echoes that is so... kind of on brand for this i wondered if it would be nice for somebody just to read those about the deep beneath the rolling waves in labyrinths of coral caves the echo of a distant time comes willowing across the sand but you know

It's not great, but there's a couple of good tracks on it.

And one of them is Not Now John, which is like a rockin' tune, which Roger Waters wrote, but David Gilmour sings lead on it.

But if you recall...

Pink Floyd toward the end, especially there was a whole washes of sound, soundscapes, lots of dialogue, lots of noise.

But now with the aid of the Internet and websites like Genius.com, I finally know.

So there's a part not now, John, where there's like a vamp.

like I say, David Gilmour sings lead, but there's like a vamp where you hear Roger Waters doing like an absurd Cockney accent and like a choir, like going shoop, shoop over him.

You can't really hear what he says.

It's not like I knew that running up that hill song.

And I know, I know about her connection to David Gilmour.

You basically sort of kickstarted her entire career.

career per se but i have to admit and it's not it's not as if i've heard her stuff and was like not interested it's just for whatever reason that's one of those avenues i've never explored so what was it in her production that sort of resonated he explained

But those two solos are it, man.

That to me is pure David Gilmour.

I told you before I saw them live and totally straight.

Go figure, Pink Floyd straight.

Slave to Love was one of Brian Ferry's most successful singles.

His backing band included Pink Floyd's David Gilmour, Dire Straits keyboardist Guy Fletcher, and Sting's drummer Omar Hakeem.

Cabbage Patch Kids, remember those ugly feckers? Big shoulder pads, stone-washed denim, acid-washed denim, some of the things that happened in the 80s.

But for the next couple of weeks, Radio Without Pictures continues to focus on the music.

okay

so it's two complimenting guitar solos i love both solos but the whole part just said oh my god this is like this is david gilmore playground this whole you know just the whole chord progression so you know it's what really just naturally came out you know and i have like the My solo is sort of the pensive, agonizing one.

And Joe's has got the angry one that comes in second, you know, say comfortably numb.

The first solo has got that pensive beauty, darkness to it.