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