PINK FLOYD

godrich otm

If I Had Been God is the Roger Watersiest title ever

If I Had Been Syd more like.

Just learned that Gilmour's super bloozy solo on Another Brick in the Wall 2 was played not on a Strat but a Les Paul Goldtop with P90s, using the neck pickup. I was surprised.

Huh!

http://www.gilmourish.com/wp-content/uploads/2010/01/davidsgear_lespaulgoldtop.jpg

https://www.youtube.com/watch?v=MTmZJ4euPes

there's an entire book about 'the story of' gilmour's black strat btw

i guess this sorta rules
http://www.recordstoreday.com/SpecialRelease/9433
A previously unreleased 14:57 minute recording from 1966, released in mono at 33 1/3 for Record Store Day.

hmm i wonder if that's the cool punky one on the Syd Barrett Tapes bootleg

"The original recording was made at the Thomson studio in Hemel Hempstead, Hertfordshire in November, 1966, before the Floyd signed to EMI."
Made for the San Francisco film. Great version.

https://www.youtube.com/watch?v=3VeKjx2w0hw

Do they mean 'Previously Unreleased' on vinyl? Because if that's the full Tonite, Let's All Make Love In London version (which it feels like it is), it's been out in mono on CDs for years.

XP Hmmm...

For those who've never had the pleasure

https://www.youtube.com/watch?v=qAyN-8rwINA

Oh it's the Tonight Let's All... version? That thing fucking rules.

according to the press release it's the 10/31/66 thompson studio demo for "San Francisco" -- the London version is from a couple months later I think ...

yeeshkul of course has a definitive listing

Interstellar Overdrive - Known Versions

01 1966-10-31 Thompson Private Recorders for SAN FRANCISCO
02 1967-01-11 Sounds Techniques Studios for TONITE…
03 1967-01-27 Granada TV Doc Underground Scene
04 1967-March/June Abbey Road, TPatGoD MONO
05 1967-March/June Abbey Road, TPatGoD STEREO
06 1967-03-16/17 Abbey Road, 40th Anniversary Take 6
07 1967-11-13 Oude-Ahoy Hallen
08 1968-05-06 First European International Pop Festival, Palazzo Dello Sport, EUR
09 1968-05-23 Paradiso Early Show
10 1968-07-27 Shrine Exposition Hall
11 1968-12-02 Top Gear Show
12 1968-12-28 Flight to Lowlands Paradise II, Margriethaal-Jaarbeurs
13 1969-03-27 St James Hall
14 1969-04-14 Royal Festival Hall
15 1969-05-02 Manchester College Of Commerce
16 1969-05-09 University Of Southampton
17 1969-08-08 Plumpton Racetrack
18 1969-08-09 Paradiso
19 1969-10-11 Grugahalle
20 1969-10-25 Mont de L'Enclus
21 1969-12-06 Afan Indoor Sports Centre
22 1970-02-28 Refectory Hall, Leeds University
23 1970-03-12 Auditorium Maximus
24 1970-03-13 Konzert Saal, Technische Universitat
25 1970-03-14 Meistersinger Halle
26 1970-03-15 Niedersachsenhalle
27 1970-03-20 Akademiska Foreningens, Stora Sal
28 1970-04-22 Capitol Theater
29 1970-04-29 Fillmore West
30 1970-05-01 Civic Auditorium
31 1970-06-28 Kraalinge Bos
32 1970-07-12 Soerser Stadium
33 1970-09-26 The Electric Factory
34 1970-10-23 Civic Auditorium
35 1970-11-22 Altes Casino

ok it's the hard punky one I was thinking of. Cool!

yeah, rules

damn, are those really all the recorded versions of interstellar overdrive? short list. (no it isn't- stockholm hadn't surfaced at that point.) so, so many of them are awesome. electric factory, amougies, bbc '68 - all RULE

there's a solo syd demo too right? i made a mix of a bunch of 'em at some point ...

lol there's a solo syd demo???

ha, maybe i'm making that up ...?

heard this shit in Dr. Strange last weekend.

'Hey You' just came up on shuffle play and it reminded me that Gilmour was actually quite a nifty fretless bass player... oh, what could have been if he'd taken the instrument up full-time, he could have given Mick Karn a run for his money.

Years back I did some work with Guy Pr@tt and I asked him 'so, is it *really* true that Gilmour played the good bass stuff on the records?' he just laughed and looked at me like I was crazy for even asking.

I would include Piper and Pompeii "Echoes" among "the good bass stuff," and always thought it was a shame that Waters never really kept at it -- he was on the verge of developing a unique voice on the instrument.

I think his playing was pretty good up until about 1970/71. Never really noticed it thereafter.

The way you see him hacking away at the Money bassline on an acoustic guitar on the making of DSOTM documentary suggests to me that he's got no feel whatsoever for the instrument.

I would include Piper and Pompeii "Echoes" among "the good bass stuff," and always thought it was a shame that Waters never really kept at it -- he was on the verge of developing a unique voice on the instrument.

― Montgomery Burns' Jazz (Tarfumes The Escape Goat)

fred frith's bass playing in naked city was really influenced by roger waters, i've heard.

Was listening to the Stockholm 67 recording and thinking waters sounded awesome -- but it's more of an elemental thing overall ...

Fretless solo on Murder, from About Face, too.

That's not Pino Palladino?

Years back I did some work with Guy Pr@tt and I asked him 'so, is it *really* true that Gilmour played the good bass stuff on the records?' he just laughed and looked at me like I was crazy for even asking.

― MaresNest, Saturday, March 25, 2017 10:17 AM (twelve hours ago) Bookmark Flag Post Permalink

He did the bulk of the good singing on the records too. The rest of the good singing, of course, being done by Rick Wright.

from what i understand he was responsible for the large majority of the good guitar playing as well

to be fair gilmour did his share of bad singing as well.

Definitely did most pouting.

Funny that the member of Floyd responsible for most of its good singing, bass playing, and guitar playing managed to parlay these superior skills into Floyd's worst record.

And their best! WYWH :)

Always felt Waters had the ideas and the aesthetics, Gilmour had the skills, Mason the sense of humor, and Wright the soul. Clearly, as Floyd began to get more "serious" you can see how much Wright and especially Mason get marginalized in the late 70's.

Pushing Wright increasingly into the margins post-Wish You Were Here was a huge mistake. I think his keyboard playing is still superb on Animals, but I begin to miss his voice. I miss his keyboard playing on The Wall and The Final Cut. It's true that Waters was great with concepts and song ideas, but I think he went a little too far in forcing his "vision" upon the band on The Wall and The Final Cut to the point where it smothered the identity of the band. Animals, as much as Waters dominated on that record, is the last "true" Floyd record for me, in that you can still hear all the band members working together to create that Pink Floyd sound that they honed together over a number of years following Syd's departure. After that, it was Waters (plus backing band) or Gilmour (plus backing band) and the bands identity was lost.

Turrican OTM

Yup, egos and immaturity ruined them. So sad a band that good for that long allowed that sort of nonsense to tear them apart.

The Wall is further proof that cocaine is a heluva drug.

excellent point, never thought of The Wall as a coke album but it def is, now that I think about it there's some similarities to Tusk - band fracturing, huge expectations based on 70's blockbuster followups, artistic sprawl... but FM pulled it together in the end and stayed more or less cohesive.

(by "pulled it together in the end", I mean "released a few more albums that didn't sound like one member's solo project")

Pushing Wright increasingly into the margins post-Wish You Were Here was a huge mistake.

I thought Wright stopped contributing because he decided he'd rather spend time with his family. Gilmour complained about Wright's lack of input as much as Waters. And after Animals, Waters presented the band with both The Pros & Cons of Hitchhiking and The Wall, and the band chose to go with The Wall -- it was surely Waters being kind of a dominant jerk, but the others (by their own admission) weren't exactly overflowing with ideas of their own.

i thought it was Pros and Cons vs Final Cut?

Then they should have taken a break or gone on hiatus.

In July 1978 the band reconvened at Britannia Row Studios, where Waters presented two new ideas for concept albums. The first was a 90-minute demo with the working title Bricks in the Wall.[13] The second, a project about a man's dreams across one night that dealt with marriage, sex, and the pros and cons of monogamy and family life versus promiscuity.[14] The first option was chosen by the group for the new Pink Floyd project and the second idea eventually became Waters's first solo effort, a concept album titled The Pros and Cons of Hitch Hiking.[13]

The Final Cut was, in Gilmour's view, little more than The Wall leftovers -- "If these songs weren't good enough for The Wall, why are they good enough now?"