Long­time Floyd bas­sist GUY PRATT on the art of David Gil­mour.

Mojo (UK) - - The 50 Greatest Pink Floyd Songs -

“With the ex­cep­tion of Robert Palmer, I’ve never met any­one with such an in­nate grasp of how mu­sic works and what goes with what. There’s this lu­di­crous majesty to his sound. It was Syd’s use of the Bin­son echo that started him off, and he em­u­lated Syd’s style, but where that tool­kit took him was some­where com­pletely dif­fer­ent to where Syd would have gone. I’ve stood next to David when he kicks off the solo to Com­fort­ably Numb about 500 times, and the last time, at the Al­bert Hall, the hairs still stood up on the back of my neck. The solo changes and there are two or three bits I get an­noyed if he doesn’t play them. But the ex­e­cu­tion is noth­ing to him; it’s all about the sound. He’ll try end­less com­bi­na­tions of ped­als and amps un­til he finds the sound he wants. He needs to hear what he wants to do what he wants. The one de­lay set­ting he in­vented on The Wall was re­spon­si­ble for U2’s en­tire ca­reer; I won­der if The Edge has ever thanked him for that oc­tave triplet? Yet when The Divi­sion Bell came out, a re­viewer ac­cused him on the song Take It Back of play­ing U2-type gui­tar!” As told to Mat Snow

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