1 00:00:15,476 --> 00:00:15,956 Speaker 1: Pushkin. 2 00:00:20,156 --> 00:00:22,436 Speaker 2: It's no exaggeration when I say David Gilmour is one 3 00:00:22,476 --> 00:00:26,076 Speaker 2: of the most influential guitarists in rock history. Since joining 4 00:00:26,076 --> 00:00:28,916 Speaker 2: Pink Floyd in nineteen sixty seven, his songwriting, vocals and 5 00:00:28,956 --> 00:00:32,676 Speaker 2: distinctive guitar approach have helped shaped classic albums like Metal 6 00:00:33,116 --> 00:00:36,276 Speaker 2: Which You would Hear, Animals in a Momentary Lapse of Reason, 7 00:00:36,436 --> 00:00:40,116 Speaker 2: amongst many others. In nineteen seventy eight he began releasing 8 00:00:40,156 --> 00:00:42,476 Speaker 2: solo work, and over the past four decades has recorded 9 00:00:42,516 --> 00:00:45,756 Speaker 2: five solo albums, his last few albums starting with On 10 00:00:45,796 --> 00:00:47,796 Speaker 2: An Island in two thousand and six, on Too Ritter 11 00:00:47,796 --> 00:00:50,716 Speaker 2: Out Locke in twenty fifteen, All Feel of a Piece, 12 00:00:50,876 --> 00:00:53,956 Speaker 2: including his latest twenty twenty four's Luck and Strange, which 13 00:00:53,996 --> 00:00:56,156 Speaker 2: is also his third album to reach number one on 14 00:00:56,196 --> 00:00:59,956 Speaker 2: the UK album's charter. As usual, his latest album features 15 00:01:00,036 --> 00:01:03,196 Speaker 2: lyrics by his wife and longtime collaborator, Polly Sampson, but 16 00:01:03,316 --> 00:01:07,116 Speaker 2: this time also features substantial contributions from his children. One 17 00:01:07,196 --> 00:01:10,916 Speaker 2: of those collaborations with Roman and Gilmore is Astounding and 18 00:01:10,996 --> 00:01:13,596 Speaker 2: it was jaw dropping in live performance, which you can 19 00:01:13,676 --> 00:01:15,676 Speaker 2: now see for yourself with the release of the live 20 00:01:15,796 --> 00:01:19,196 Speaker 2: concert David Gilmour at the Circus Maximus and listening. With 21 00:01:19,236 --> 00:01:21,756 Speaker 2: the release of the Luck and Strange concerts now available 22 00:01:21,796 --> 00:01:24,836 Speaker 2: wherever you get your music. On today's episode, I was 23 00:01:24,916 --> 00:01:27,596 Speaker 2: offered thirty minutes or so on Zoom with David Gilmore 24 00:01:27,796 --> 00:01:29,356 Speaker 2: and how could you say no to a quick chat 25 00:01:29,436 --> 00:01:32,276 Speaker 2: with the Hero. I spoke with Gilmour about writing songs 26 00:01:32,316 --> 00:01:34,676 Speaker 2: with Polly, the experience of mastering his latest album on 27 00:01:34,756 --> 00:01:37,276 Speaker 2: a houseboat, and why he can never truly recreate a 28 00:01:37,316 --> 00:01:42,716 Speaker 2: guitar solo even when playing it. No for no, this 29 00:01:43,036 --> 00:01:52,516 Speaker 2: is broken record, real musicians, real conversations. Here's my conversation 30 00:01:52,716 --> 00:01:57,196 Speaker 2: with David Gilmore. I justin great to meet you. Say, 31 00:01:57,756 --> 00:02:00,476 Speaker 2: are you coming from your studio on the riverboat or 32 00:02:01,036 --> 00:02:04,156 Speaker 2: from home one of my vast collection of studios. 33 00:02:04,556 --> 00:02:07,676 Speaker 1: This is just a little room in the house, got it. 34 00:02:08,476 --> 00:02:10,956 Speaker 2: When I spoke with Townsend, I was from a river 35 00:02:11,036 --> 00:02:13,236 Speaker 2: boat or from a boat of some sort as well, 36 00:02:13,316 --> 00:02:14,356 Speaker 2: and so I wasn't sure. 37 00:02:14,596 --> 00:02:16,476 Speaker 1: He was on a boat. Was he He was on 38 00:02:16,556 --> 00:02:19,036 Speaker 1: a boat. His studio boats just down the river from 39 00:02:19,076 --> 00:02:21,556 Speaker 1: my studio boat. Have you checked it out? 40 00:02:22,076 --> 00:02:26,076 Speaker 3: Yeah, I've been in it several many times over. Yeah, 41 00:02:26,116 --> 00:02:28,756 Speaker 3: I haven't been there for a long time. It's got 42 00:02:28,876 --> 00:02:31,996 Speaker 3: to be a little precarious. No recording on a boat 43 00:02:32,476 --> 00:02:33,836 Speaker 3: or less than you would imagine. 44 00:02:34,356 --> 00:02:36,796 Speaker 1: Less than you would imagine. It all works pretty well. 45 00:02:36,836 --> 00:02:41,036 Speaker 1: I mean mine is sort of moored very securely. It's 46 00:02:41,076 --> 00:02:43,796 Speaker 1: got a big poster at each end, and if the 47 00:02:43,916 --> 00:02:47,036 Speaker 1: river level goes up, it just slides up and down 48 00:02:47,076 --> 00:02:50,116 Speaker 1: the post perfectly. And the other great thing, of course, 49 00:02:51,676 --> 00:02:53,996 Speaker 1: the thing that you get on a boat is that 50 00:02:54,156 --> 00:02:58,556 Speaker 1: the road that's just nearby, there's no rumble. All that 51 00:02:58,796 --> 00:03:03,876 Speaker 1: traffic noise if you're floating doesn't happen. It doesn't reverberate 52 00:03:03,956 --> 00:03:06,036 Speaker 1: over it to you. It doesn't go through the ground, 53 00:03:06,196 --> 00:03:09,316 Speaker 1: you know, like in most buildings, there's always a bit 54 00:03:09,356 --> 00:03:10,676 Speaker 1: of rumble from something. 55 00:03:11,596 --> 00:03:15,836 Speaker 2: Was it you got the boat and became inspired to 56 00:03:17,036 --> 00:03:19,236 Speaker 2: create on it, or was it just was it a 57 00:03:19,316 --> 00:03:21,756 Speaker 2: novel idea you had and thought, okay, let me buy 58 00:03:21,796 --> 00:03:22,756 Speaker 2: a boat and convert it. 59 00:03:22,876 --> 00:03:25,036 Speaker 1: What was the How did it come to be? I 60 00:03:25,156 --> 00:03:28,876 Speaker 1: was driving down the road, being driven in fact, and 61 00:03:29,116 --> 00:03:32,236 Speaker 1: I won't tell you why, and I just saw this 62 00:03:32,516 --> 00:03:36,356 Speaker 1: metal and glass thing over a wall, and I got 63 00:03:36,796 --> 00:03:39,196 Speaker 1: everyone's driving me to pull over, and we looked down 64 00:03:39,276 --> 00:03:42,596 Speaker 1: there and we saw this beautiful boat moored up against 65 00:03:42,676 --> 00:03:48,636 Speaker 1: the bank and I thought, that's gorgeous, lovely, And literally 66 00:03:48,796 --> 00:03:52,196 Speaker 1: the next week I was in the dentist's waiting room 67 00:03:52,956 --> 00:03:56,116 Speaker 1: and picked up a magazine and there it was for 68 00:03:56,276 --> 00:04:00,596 Speaker 1: sale in that magazine. And that was in nineteen eighty six, 69 00:04:01,036 --> 00:04:04,436 Speaker 1: eighty six, okay, And I rang up and said can 70 00:04:04,476 --> 00:04:06,436 Speaker 1: I see it? And I put in an offer the 71 00:04:06,516 --> 00:04:11,316 Speaker 1: same day. That's pretty furtuitous, And initially I didn't even 72 00:04:12,196 --> 00:04:14,236 Speaker 1: know that I was going to make it into a studio. 73 00:04:15,516 --> 00:04:18,796 Speaker 1: What of the new album Looking Strange was done on there? 74 00:04:19,796 --> 00:04:24,916 Speaker 1: The mixing. It's got a very big, lovely control room 75 00:04:25,396 --> 00:04:28,596 Speaker 1: and we did the mixing on there, and we set 76 00:04:28,716 --> 00:04:32,996 Speaker 1: up a Dolby Atmos mix room in another room at 77 00:04:33,036 --> 00:04:34,436 Speaker 1: the other end of the boat, so we could be 78 00:04:34,556 --> 00:04:39,116 Speaker 1: running two things at once. So all the mixing pretty 79 00:04:39,196 --> 00:04:41,956 Speaker 1: much and all the Dolby Atmos mixes were done in there, 80 00:04:43,076 --> 00:04:46,956 Speaker 1: and the other things we went off to various recording studios. 81 00:04:47,716 --> 00:04:51,996 Speaker 1: I have a studio myself in Brighton which works very well, 82 00:04:52,156 --> 00:04:56,076 Speaker 1: and we did some in another studio in Brighton called Salvation, 83 00:04:56,996 --> 00:04:59,116 Speaker 1: and we also did a lot of the stuff the 84 00:04:59,196 --> 00:05:03,436 Speaker 1: basic tracks with Steve Gadd and the other guys at 85 00:05:03,916 --> 00:05:07,996 Speaker 1: Mark Knopflith Studio in British Grog in London. Incredible. 86 00:05:08,476 --> 00:05:11,076 Speaker 2: I saw one the shows at the Hollywood Bowl last 87 00:05:11,156 --> 00:05:16,156 Speaker 2: October and it exceeded expecting. I had not seen you 88 00:05:16,316 --> 00:05:20,116 Speaker 2: in the past. Somehow it deluded me, and it was amazing, 89 00:05:20,276 --> 00:05:26,196 Speaker 2: and your band was phenomenal, like a brilliant and I 90 00:05:26,236 --> 00:05:28,076 Speaker 2: didn't know Phil. I didn't know Phil, and Gaines was 91 00:05:28,196 --> 00:05:28,716 Speaker 2: playing with you. 92 00:05:28,836 --> 00:05:31,436 Speaker 1: That was like a joy to see. And well, I've 93 00:05:31,516 --> 00:05:35,796 Speaker 1: known I've known Greg since the sort of middle till 94 00:05:35,836 --> 00:05:38,836 Speaker 1: late eighties when he was out on the road with 95 00:05:38,916 --> 00:05:40,836 Speaker 1: Michael Jackson and I was up on the road with 96 00:05:40,916 --> 00:05:44,676 Speaker 1: Pink Floyd and we got quite friendly, and I've always 97 00:05:44,756 --> 00:05:48,036 Speaker 1: wanted to find a time where he could join up 98 00:05:48,116 --> 00:05:51,756 Speaker 1: with my band, which he did actually in two thy 99 00:05:52,076 --> 00:05:55,836 Speaker 1: sixteen for a whole leg of the last leg of 100 00:05:55,956 --> 00:05:59,356 Speaker 1: my tw twenty fifteen sixteen to and I got him 101 00:05:59,396 --> 00:06:00,156 Speaker 1: back in this time. 102 00:06:01,716 --> 00:06:04,436 Speaker 2: A lot of people tend to not meet up with 103 00:06:04,676 --> 00:06:07,476 Speaker 2: other musicians because they're on the road or you know, 104 00:06:07,596 --> 00:06:10,876 Speaker 2: friendships sort of saying some sort of stasis because you're 105 00:06:10,876 --> 00:06:12,476 Speaker 2: out on the rst. So how did you how did 106 00:06:12,516 --> 00:06:16,996 Speaker 2: that Pink Floyd Michael Jackson wound up in concentric circles. 107 00:06:17,356 --> 00:06:22,276 Speaker 1: Well. Strangely enough, in nineteen eighty seven, Michael Jackson's tour 108 00:06:22,396 --> 00:06:26,636 Speaker 1: and ar tour was sort of following each other around, 109 00:06:26,916 --> 00:06:30,236 Speaker 1: you know, and we'd be you know, He'd be in 110 00:06:30,316 --> 00:06:32,436 Speaker 1: one city and we'd be in the same city three 111 00:06:32,516 --> 00:06:35,236 Speaker 1: days later, and they had a day or two oft 112 00:06:35,276 --> 00:06:39,036 Speaker 1: in between, so would just bump into people who were, 113 00:06:39,116 --> 00:06:42,596 Speaker 1: you know, and and I I think I first met 114 00:06:42,716 --> 00:06:47,476 Speaker 1: up with Greg in Paris when Michael and Pint Floyd 115 00:06:47,556 --> 00:06:49,916 Speaker 1: were all playing there within two or three days with 116 00:06:49,996 --> 00:06:53,356 Speaker 1: each other, and we just met up. What did you 117 00:06:53,436 --> 00:06:57,316 Speaker 1: make of their show? Brilliant show? But I saw that. 118 00:06:57,516 --> 00:06:59,916 Speaker 1: I mean I didn't see that show at that time, 119 00:07:00,436 --> 00:07:02,796 Speaker 1: and I saw it in the States I think probably 120 00:07:02,916 --> 00:07:05,836 Speaker 1: the next year or a few months later, when we 121 00:07:05,996 --> 00:07:09,756 Speaker 1: met up again and Greg invited us to one those shows. 122 00:07:09,796 --> 00:07:12,476 Speaker 1: So we legend Michael Jackson. 123 00:07:13,076 --> 00:07:16,756 Speaker 2: Did Greg and Richard Bright have any sort of connection? 124 00:07:16,916 --> 00:07:18,756 Speaker 2: Both pretty incredible players. 125 00:07:19,516 --> 00:07:22,596 Speaker 1: I don't think. I don't think I really properly met 126 00:07:22,676 --> 00:07:23,916 Speaker 1: I'm not sure to be honest. 127 00:07:24,396 --> 00:07:26,876 Speaker 2: Okay, well, I brought that. I brought up that because 128 00:07:27,636 --> 00:07:30,956 Speaker 2: we're talking about looking strange. You know, you have Steve 129 00:07:31,116 --> 00:07:34,716 Speaker 2: Gadd on the record and so many other also incredible 130 00:07:34,716 --> 00:07:38,996 Speaker 2: players on the record. How do you decide who could 131 00:07:39,036 --> 00:07:43,476 Speaker 2: fit for any particular song when you're going to record something. 132 00:07:44,556 --> 00:07:48,156 Speaker 1: Well, we started off we'd booked five days I think, 133 00:07:48,276 --> 00:07:52,476 Speaker 1: with Steve Gadd, who's the best, you know, the absolute 134 00:07:52,556 --> 00:07:56,996 Speaker 1: best drummer in the world. And I'd never worked with 135 00:07:57,076 --> 00:07:59,836 Speaker 1: him before. I'd met him a few times, but I 136 00:08:00,876 --> 00:08:04,396 Speaker 1: always wanted to, and I managed to get five days 137 00:08:04,436 --> 00:08:06,596 Speaker 1: of his time, and he flew over to London, and 138 00:08:07,636 --> 00:08:11,156 Speaker 1: and I had booked for the studio, and I got 139 00:08:11,156 --> 00:08:15,236 Speaker 1: the other guys in there, and we had some songs 140 00:08:15,276 --> 00:08:19,036 Speaker 1: we wanted to try, and we spent a very intense 141 00:08:19,116 --> 00:08:24,116 Speaker 1: week working on putting down those songs with Steve, with 142 00:08:24,556 --> 00:08:30,636 Speaker 1: Rob Gentry on keys and Guy Pratt playing the bass, 143 00:08:30,796 --> 00:08:33,556 Speaker 1: and yeah, what what songs did you do in those 144 00:08:33,956 --> 00:08:44,076 Speaker 1: those in those five days we did sings and Piper's Call, Darkened, 145 00:08:44,116 --> 00:08:50,276 Speaker 1: Velvet Nights, Scattered, what else? I mean, most of the 146 00:08:50,396 --> 00:08:53,956 Speaker 1: songs actually we got the basic tracks down. One or 147 00:08:53,996 --> 00:08:59,396 Speaker 1: two more we did a single Spark and one other 148 00:08:59,796 --> 00:09:04,276 Speaker 1: with Adam Betts on drums and Tom Herbert on bass, 149 00:09:05,436 --> 00:09:10,716 Speaker 1: and can't I remember now tried to remember all the 150 00:09:11,156 --> 00:09:14,516 Speaker 1: all the songs and the moments that final we had 151 00:09:14,596 --> 00:09:15,956 Speaker 1: and putting those tracks down. 152 00:09:16,996 --> 00:09:19,596 Speaker 2: Was it that session or was it any particular session 153 00:09:19,636 --> 00:09:23,196 Speaker 2: if not that one that sort of clarified what you 154 00:09:23,356 --> 00:09:26,796 Speaker 2: were doing or clarified that in fact, you were actually 155 00:09:27,196 --> 00:09:29,196 Speaker 2: had something that could become an album. 156 00:09:30,156 --> 00:09:32,116 Speaker 1: And we were going in there. We knew we could 157 00:09:32,156 --> 00:09:34,556 Speaker 1: hang out an album. We knew where we were going. 158 00:09:35,156 --> 00:09:41,476 Speaker 1: We had Charlie Andrew as a producer, co producing with me, 159 00:09:42,236 --> 00:09:45,276 Speaker 1: and an engineer that he brought to the project called 160 00:09:45,316 --> 00:09:51,836 Speaker 1: Matt Glasby, who was just brilliant, brilliant and knew things 161 00:09:51,876 --> 00:09:55,636 Speaker 1: about pro tools and the recording process that I didn't 162 00:09:55,676 --> 00:09:59,676 Speaker 1: even imagine were possible. Yeah, and so yeah, Charlie Andrew 163 00:09:59,796 --> 00:10:04,476 Speaker 1: was pushing us forward and telling us how he saw 164 00:10:04,836 --> 00:10:08,876 Speaker 1: the way things might be and between us, Yeah, we 165 00:10:09,236 --> 00:10:11,276 Speaker 1: a lot done very quickly at that point. 166 00:10:12,276 --> 00:10:14,596 Speaker 2: You know, at this point you've gone in the studio, 167 00:10:14,716 --> 00:10:17,516 Speaker 2: made a lot of records. What does working with the 168 00:10:17,556 --> 00:10:21,556 Speaker 2: producer bring to a project that would in otherwise? 169 00:10:22,756 --> 00:10:27,956 Speaker 1: You know, you want someone there to help and to 170 00:10:28,156 --> 00:10:33,076 Speaker 1: push and to agree when it's something to agree with 171 00:10:33,196 --> 00:10:35,916 Speaker 1: and disagree when it's something to disagree with, which is 172 00:10:36,596 --> 00:10:41,356 Speaker 1: just as important, and to push the whole process forwards 173 00:10:42,116 --> 00:10:45,316 Speaker 1: and frankly take a lot of the weight off, you know, 174 00:10:46,036 --> 00:10:50,116 Speaker 1: the side of the process which is producing, which I 175 00:10:50,236 --> 00:10:53,916 Speaker 1: have done myself as well. But it's exhausting. I mean, 176 00:10:53,956 --> 00:10:57,876 Speaker 1: it's still quite exhausting when there's a producer there because 177 00:10:57,876 --> 00:11:01,556 Speaker 1: you but he is going to address things from a 178 00:11:01,916 --> 00:11:04,316 Speaker 1: slightly different angle, and he's going to make you think 179 00:11:04,356 --> 00:11:07,796 Speaker 1: about things and rethink about things, and he's going to 180 00:11:08,796 --> 00:11:11,956 Speaker 1: he's a snappy's fingers. I say, let's go, let's go. 181 00:11:12,236 --> 00:11:15,556 Speaker 2: You know, is it hard because this is your first 182 00:11:15,596 --> 00:11:18,916 Speaker 2: record with with Charlie, you've done a couple or two 183 00:11:19,036 --> 00:11:22,036 Speaker 2: or three with film Men's Era before. Is it hard 184 00:11:22,116 --> 00:11:26,516 Speaker 2: when you're working with it? Somebody knew to find how 185 00:11:26,636 --> 00:11:29,916 Speaker 2: to be disagreeable in the moments what you need. 186 00:11:29,916 --> 00:11:34,316 Speaker 1: To be well, you know, No, I've done, as you say, 187 00:11:34,356 --> 00:11:38,916 Speaker 1: a couple with film Mensonario, who's my great friend. Eytime 188 00:11:38,996 --> 00:11:45,676 Speaker 1: moves on. I felt we needed a new direction, not direction, 189 00:11:45,836 --> 00:11:51,196 Speaker 1: but just a new mind on it, a new opinion 190 00:11:51,996 --> 00:11:57,356 Speaker 1: on it. And my co collaborator, co writer who happens 191 00:11:57,396 --> 00:12:00,676 Speaker 1: to be my wife, Polly did a lot of research 192 00:12:01,076 --> 00:12:04,036 Speaker 1: because we were spending a lot of time talking about 193 00:12:04,796 --> 00:12:06,996 Speaker 1: which of the people that I had worked before we 194 00:12:07,116 --> 00:12:12,716 Speaker 1: might work with again, and thinking of who else we 195 00:12:12,836 --> 00:12:18,236 Speaker 1: could go to, who is new And Polly found an 196 00:12:18,316 --> 00:12:21,796 Speaker 1: album by a band called Old Jay and she liked 197 00:12:21,836 --> 00:12:24,276 Speaker 1: the sound and she had listened to this and we 198 00:12:24,556 --> 00:12:29,316 Speaker 1: liked it both. And Charlie was the producer, so we 199 00:12:29,436 --> 00:12:33,076 Speaker 1: had a good look at him from far and then 200 00:12:33,116 --> 00:12:37,596 Speaker 1: asked him to come down and meet up. So that's 201 00:12:37,676 --> 00:12:39,796 Speaker 1: where it all started, you. 202 00:12:39,836 --> 00:12:41,876 Speaker 2: Know, because it is you know, kind of it could 203 00:12:41,916 --> 00:12:45,196 Speaker 2: become fraight rather easily, you know, to your point. You 204 00:12:45,276 --> 00:12:48,356 Speaker 2: have to agree when it makes sense and disagree when 205 00:12:48,876 --> 00:12:51,116 Speaker 2: you know something needs to maybe move forward or something's 206 00:12:51,156 --> 00:12:54,276 Speaker 2: not working, or you know, just find some sort of 207 00:12:54,316 --> 00:12:58,276 Speaker 2: common ground. Is it difficult to forge a new working 208 00:12:58,356 --> 00:13:01,116 Speaker 2: relationship with with with someone like that or is it 209 00:13:01,316 --> 00:13:02,116 Speaker 2: is it easy? 210 00:13:02,636 --> 00:13:07,036 Speaker 1: Well, Charlie Andrew, as it has been widely said, you know, 211 00:13:07,196 --> 00:13:12,276 Speaker 1: didn't really know me all my music or Pink Floyd's music, 212 00:13:13,756 --> 00:13:18,836 Speaker 1: and he comes from a different sort of era of music, 213 00:13:19,796 --> 00:13:24,516 Speaker 1: and that sort of thing is invaluable. You want to 214 00:13:24,636 --> 00:13:30,356 Speaker 1: be pushed and you want him to if it's wrong 215 00:13:30,756 --> 00:13:33,196 Speaker 1: to tell you so. And it's one of the dangers 216 00:13:33,276 --> 00:13:37,556 Speaker 1: of having a fair amount of success that people get 217 00:13:37,796 --> 00:13:42,836 Speaker 1: very frightened of disagreeing with you with the one in 218 00:13:43,196 --> 00:13:46,996 Speaker 1: my position. And one of the lovely things about Charlie 219 00:13:47,116 --> 00:13:51,196 Speaker 1: is he had no such fear and just came straight 220 00:13:51,316 --> 00:13:54,156 Speaker 1: out with the questions and the disagreements, if there were any, 221 00:13:54,676 --> 00:13:59,476 Speaker 1: remarkably few, actually, it has to be said, but on 222 00:13:59,596 --> 00:14:03,956 Speaker 1: one or two occasions we changed the direction of things 223 00:14:04,036 --> 00:14:07,356 Speaker 1: around quite a bit, and it was all for the good. 224 00:14:08,756 --> 00:14:11,636 Speaker 1: Sometimes you need to kick out the backside, you need 225 00:14:11,756 --> 00:14:15,556 Speaker 1: to look at things from a different pangle, and he 226 00:14:15,756 --> 00:14:18,276 Speaker 1: was very, very good at that. That's great. 227 00:14:18,916 --> 00:14:21,916 Speaker 2: You mentioned that you you collaborate quite often with your wife, 228 00:14:21,956 --> 00:14:25,756 Speaker 2: who's incredible writer. You also had your daughter on this 229 00:14:25,876 --> 00:14:28,356 Speaker 2: project and on the tour with you, and she's obviously 230 00:14:28,516 --> 00:14:30,716 Speaker 2: now in the movie, the concert film you guys are 231 00:14:30,716 --> 00:14:31,196 Speaker 2: putting out. 232 00:14:31,996 --> 00:14:32,556 Speaker 1: Tell me about that. 233 00:14:32,636 --> 00:14:35,036 Speaker 2: I mean, the first time you guys did anything, at 234 00:14:35,116 --> 00:14:37,556 Speaker 2: least publicly, was was the Ghost song? 235 00:14:37,636 --> 00:14:41,276 Speaker 4: Right, yes, yes, I've said ghost yeah, yeah, Well the 236 00:14:41,356 --> 00:14:46,076 Speaker 4: yes I have Ghost song came about because of Polly's book, 237 00:14:46,596 --> 00:14:50,636 Speaker 4: because she writes novels and she had written a novel 238 00:14:50,716 --> 00:14:53,636 Speaker 4: based on an island in the Greek Island, and. 239 00:14:55,596 --> 00:15:00,756 Speaker 1: When it got to the release of that book was 240 00:15:00,796 --> 00:15:03,916 Speaker 1: when COVID started and we were suddenly locked down, and 241 00:15:03,996 --> 00:15:06,916 Speaker 1: we had some events lined up that she was going 242 00:15:06,956 --> 00:15:09,036 Speaker 1: to go and do readings and quite q and as 243 00:15:09,236 --> 00:15:12,316 Speaker 1: and all those things, and they all got canceled. And 244 00:15:13,196 --> 00:15:16,516 Speaker 1: Chris Salmon, who works in this on something, said why 245 00:15:16,596 --> 00:15:20,396 Speaker 1: don't you just do it online? You know, this is 246 00:15:20,476 --> 00:15:23,396 Speaker 1: what people do these days. So he rigged up a 247 00:15:23,436 --> 00:15:27,556 Speaker 1: little studio online and we had a little set, a 248 00:15:27,636 --> 00:15:29,516 Speaker 1: little set that we were going to take out to 249 00:15:29,636 --> 00:15:32,876 Speaker 1: places which was on the front of a Greek cafe, 250 00:15:33,516 --> 00:15:36,596 Speaker 1: and we put that up in a barn and plugged 251 00:15:36,636 --> 00:15:39,676 Speaker 1: a microphone into a laptop like this and did the 252 00:15:39,796 --> 00:15:45,796 Speaker 1: first one. I didn't have an engineer or a soundman 253 00:15:46,036 --> 00:15:49,396 Speaker 1: or a lifsman or a cameraman. It was just me 254 00:15:49,676 --> 00:15:52,676 Speaker 1: sort of pressing in the buttons and getting checking that 255 00:15:52,796 --> 00:15:55,556 Speaker 1: it was actually going up, and then sitting back down 256 00:15:55,636 --> 00:15:58,636 Speaker 1: and doing the whole thing with a couple of glasses 257 00:15:58,716 --> 00:16:02,116 Speaker 1: of wine. We're each week as we went on, because 258 00:16:02,116 --> 00:16:04,876 Speaker 1: we kept it going for quite a while, every Thursday 259 00:16:04,956 --> 00:16:08,076 Speaker 1: night and had a great time and Polly's book was 260 00:16:08,276 --> 00:16:11,796 Speaker 1: based on the Street Island in the year nineteen sixty 261 00:16:12,076 --> 00:16:17,396 Speaker 1: when there were as an English and Australian and other 262 00:16:17,516 --> 00:16:22,156 Speaker 1: countries contingent of artists and writers, one of whom was 263 00:16:22,236 --> 00:16:26,636 Speaker 1: Leonard Cohen, who has a small role in Polly's book. 264 00:16:27,356 --> 00:16:30,636 Speaker 1: So one of the things we did was to do 265 00:16:30,796 --> 00:16:35,436 Speaker 1: some Leonard Cohen songs as part of these lockdown sessions. 266 00:16:35,476 --> 00:16:37,916 Speaker 1: We call them the Von Trapped sessions because we were 267 00:16:37,996 --> 00:16:43,556 Speaker 1: trapped and they got quite an audience. And one of 268 00:16:43,636 --> 00:16:45,996 Speaker 1: the songs we did was a new song I wrote 269 00:16:46,276 --> 00:16:50,836 Speaker 1: called with Polly of course, Polly's Lovely Words. She did 270 00:16:50,876 --> 00:16:54,276 Speaker 1: an audiobook as well, which she read herself, and we 271 00:16:54,356 --> 00:16:58,516 Speaker 1: thought it'd be good to do a bit of music, 272 00:16:58,636 --> 00:17:02,036 Speaker 1: incidental music here and there to emphasize what's going on 273 00:17:02,196 --> 00:17:03,956 Speaker 1: in the book, which is not the usual way of 274 00:17:04,036 --> 00:17:07,076 Speaker 1: doing an audio, but it's usually just the words that 275 00:17:07,716 --> 00:17:09,796 Speaker 1: I wrote a few little bits, and in one of 276 00:17:09,876 --> 00:17:14,356 Speaker 1: those things basically was yes I have ghost So yeah. 277 00:17:14,476 --> 00:17:19,036 Speaker 1: So Rony just came on and played her harp and 278 00:17:19,196 --> 00:17:22,596 Speaker 1: sang on that song and on everything else we did, 279 00:17:22,716 --> 00:17:26,796 Speaker 1: and just showed us what a great voice, how well 280 00:17:26,916 --> 00:17:30,476 Speaker 1: her voice blended with mine and that was a treat. 281 00:17:31,396 --> 00:17:34,796 Speaker 1: So when we got to this album and Polly suggested 282 00:17:34,876 --> 00:17:38,756 Speaker 1: we do this song called Between two Points from them 283 00:17:38,756 --> 00:17:42,876 Speaker 1: more Goldfield Brothers who got Romany to sing that, and 284 00:17:44,236 --> 00:17:47,236 Speaker 1: we thought she'd just come along and be a guest 285 00:17:47,796 --> 00:17:50,236 Speaker 1: for the one song on some shows, But as soon 286 00:17:50,276 --> 00:17:53,756 Speaker 1: as we got into rhearsals, she just kicked into gear 287 00:17:54,876 --> 00:17:58,916 Speaker 1: and it became very quickly obviously that she was going 288 00:17:58,956 --> 00:18:01,916 Speaker 1: to be coming on the whole tour and being part 289 00:18:01,956 --> 00:18:05,876 Speaker 1: of our vocal section all too play instruments as well. 290 00:18:06,076 --> 00:18:10,876 Speaker 1: In fact, funnily enough, the four girls women who were 291 00:18:11,036 --> 00:18:16,876 Speaker 1: on my tour have formed their own band themselves, which 292 00:18:16,956 --> 00:18:20,676 Speaker 1: they call Marshall Gilmore Webbs, and they've been doing shows 293 00:18:20,716 --> 00:18:24,596 Speaker 1: in London and they're great, so we're hoping that's take 294 00:18:24,676 --> 00:18:26,516 Speaker 1: on some legs. 295 00:18:27,156 --> 00:18:29,556 Speaker 2: When I saw that they had formed that that group, 296 00:18:29,876 --> 00:18:32,116 Speaker 2: it didn't shock because when I didn't shock me because 297 00:18:32,276 --> 00:18:35,836 Speaker 2: they were like their section when they do great against 298 00:18:35,876 --> 00:18:40,996 Speaker 2: this guy is I mean, it's phenomenal, and the chemistry 299 00:18:41,076 --> 00:18:42,796 Speaker 2: between them is like palpable. 300 00:18:43,196 --> 00:18:47,436 Speaker 1: Yeah, Chastry is great. Louise Marshall is just a beautiful 301 00:18:47,516 --> 00:18:51,436 Speaker 1: piano player, and you know Hattie on the Heart and 302 00:18:51,556 --> 00:18:53,796 Speaker 1: Romany on the Heart and Who when he plays guitar 303 00:18:54,276 --> 00:18:57,276 Speaker 1: and Charlie Webb plays guitar and ukulele, and they will 304 00:18:57,596 --> 00:19:01,876 Speaker 1: be percussion when required. They are a band while and 305 00:19:01,876 --> 00:19:04,356 Speaker 1: they're in they accompany themselves on these shows. They've been 306 00:19:04,396 --> 00:19:09,516 Speaker 1: doing us and they played their enormous part in all 307 00:19:09,916 --> 00:19:12,276 Speaker 1: the music, all the songs that we were doing on 308 00:19:12,356 --> 00:19:12,636 Speaker 1: the tour. 309 00:19:13,716 --> 00:19:16,556 Speaker 2: When something's really like clicking like that and you're seeing 310 00:19:17,636 --> 00:19:21,876 Speaker 2: that chemistry exists within your group, is that inspiring to you? 311 00:19:22,036 --> 00:19:22,276 Speaker 1: Does that? 312 00:19:23,476 --> 00:19:27,436 Speaker 2: I mean, you've been around counts, played with so many people, 313 00:19:27,796 --> 00:19:30,076 Speaker 2: but I mean that that did feel like a pretty 314 00:19:30,156 --> 00:19:33,116 Speaker 2: special group you put together there that was really clicking 315 00:19:33,156 --> 00:19:33,916 Speaker 2: on all cylinders. 316 00:19:34,436 --> 00:19:38,276 Speaker 1: It was really fantastic. These people are really good. They 317 00:19:39,316 --> 00:19:43,156 Speaker 1: they feel emboldened to add their own things, you know, 318 00:19:43,316 --> 00:19:46,996 Speaker 1: to be more experimental with the way that we're doing things. 319 00:19:47,076 --> 00:19:50,996 Speaker 1: I mean, obviously, if I want to, I can always 320 00:19:50,996 --> 00:19:53,396 Speaker 1: say after we've done something to someone, maybe we will 321 00:19:53,516 --> 00:19:55,396 Speaker 1: ring that back next time. I didn't think I really 322 00:19:55,476 --> 00:19:58,236 Speaker 1: had to do that at all, you know. And Roman 323 00:19:58,396 --> 00:20:04,956 Speaker 1: is enthusiasm on stage and brilliance and she just g 324 00:20:05,316 --> 00:20:08,476 Speaker 1: the whole band up into being a little bit more 325 00:20:08,596 --> 00:20:15,276 Speaker 1: extra and and exciting. So I can only thank her 326 00:20:15,356 --> 00:20:19,156 Speaker 1: and everyone else for what they gave to me in 327 00:20:19,316 --> 00:20:20,596 Speaker 1: that toll thing. 328 00:20:21,516 --> 00:20:25,036 Speaker 2: Yeah, we'll be back with more from David Gilmour after 329 00:20:25,116 --> 00:20:31,356 Speaker 2: the break. I want to ask about the opening. I mean, 330 00:20:31,676 --> 00:20:35,796 Speaker 2: to your point about pulling things back a bit. I 331 00:20:35,916 --> 00:20:40,516 Speaker 2: was curious about two things, as it relates to your 332 00:20:40,556 --> 00:20:43,556 Speaker 2: own plane. When when you're doing something live, particularly this tour, 333 00:20:43,956 --> 00:20:47,236 Speaker 2: you open up with five Am, which is an incredible, 334 00:20:47,596 --> 00:20:52,596 Speaker 2: you know, really beautiful guitar song. When I saw you 335 00:20:52,636 --> 00:20:55,556 Speaker 2: guys at the Bowl, it was the most freezing fridgid 336 00:20:55,756 --> 00:21:00,476 Speaker 2: night ever and I felt almost nervous as you guys started, 337 00:21:00,516 --> 00:21:01,916 Speaker 2: because I was like, I don't know if I could 338 00:21:01,956 --> 00:21:06,676 Speaker 2: get my fingers working this in this sort of environment. 339 00:21:07,956 --> 00:21:10,196 Speaker 2: So so I guess I'm you're interested in both. How 340 00:21:10,356 --> 00:21:12,956 Speaker 2: do you on this how did you on this tour 341 00:21:13,476 --> 00:21:18,396 Speaker 2: gear up to open that way? And then my next 342 00:21:18,556 --> 00:21:20,836 Speaker 2: question I'll ask next is but it's how do you 343 00:21:20,916 --> 00:21:24,716 Speaker 2: pull yourself back throughout a gig when you feel yourself 344 00:21:24,836 --> 00:21:27,876 Speaker 2: maybe if drifting too far one direction or another, are 345 00:21:27,876 --> 00:21:28,436 Speaker 2: doing too much. 346 00:21:29,916 --> 00:21:32,556 Speaker 1: I don't know. I mean, I have a desire to 347 00:21:32,716 --> 00:21:37,836 Speaker 1: get to set a mood before one gets into the 348 00:21:38,796 --> 00:21:41,276 Speaker 1: into the meat of the whole thing. I just want 349 00:21:41,356 --> 00:21:47,356 Speaker 1: to quieten the audience down, get them into a more 350 00:21:47,556 --> 00:21:52,916 Speaker 1: pensive and before bringing them back up into the excitement 351 00:21:53,076 --> 00:21:56,236 Speaker 1: of the moments that you're going to try and get 352 00:21:56,276 --> 00:22:00,396 Speaker 1: to later. It's hard to describe. And as for pulling 353 00:22:00,436 --> 00:22:04,196 Speaker 1: myself back, and don't really try to pull myself back too. 354 00:22:04,276 --> 00:22:06,676 Speaker 1: What I'm more trying to push myself forward. 355 00:22:07,716 --> 00:22:11,556 Speaker 2: Is there an internal monologue you're having with yourself during. 356 00:22:11,356 --> 00:22:16,316 Speaker 1: A show constant? Yes, about is this going the way 357 00:22:16,796 --> 00:22:18,956 Speaker 1: that I wanted to? Is it going to lead on 358 00:22:19,156 --> 00:22:22,716 Speaker 1: into the next thing in the most perfect way? Again, 359 00:22:23,796 --> 00:22:26,676 Speaker 1: tough to explain how how those processes work. 360 00:22:27,796 --> 00:22:30,756 Speaker 2: Yeah, I mean, is it more? I can't imagine you're 361 00:22:30,876 --> 00:22:33,076 Speaker 2: you're able to put into words in those moments on 362 00:22:33,156 --> 00:22:35,876 Speaker 2: stage exactly what might not be working or exactly what 363 00:22:36,076 --> 00:22:38,476 Speaker 2: you want to happen next to lead to the next thing. 364 00:22:39,116 --> 00:22:40,756 Speaker 2: But it must exist as a feeling in you right 365 00:22:40,796 --> 00:22:41,876 Speaker 2: that you recognize, Yes. 366 00:22:42,116 --> 00:22:44,836 Speaker 1: It is really just a feeling, and you know, just 367 00:22:45,916 --> 00:22:51,076 Speaker 1: moving on into the next moment and hoping that everything 368 00:22:51,196 --> 00:22:53,156 Speaker 1: will stay as wonderful as it is. 369 00:22:54,556 --> 00:22:56,436 Speaker 2: You know, I was trying to think about as I 370 00:22:56,516 --> 00:22:58,836 Speaker 2: was listening to to all your stuff again like kind 371 00:22:58,876 --> 00:23:01,556 Speaker 2: of what you know, not to just just to try 372 00:23:01,596 --> 00:23:04,196 Speaker 2: to get a sense of like my bearings of like 373 00:23:04,356 --> 00:23:07,316 Speaker 2: what the kind of like if there's anything close to 374 00:23:07,476 --> 00:23:10,156 Speaker 2: what you do and the closest I Again, this is 375 00:23:10,236 --> 00:23:13,156 Speaker 2: not to like butter you up or anything, but you know, 376 00:23:13,196 --> 00:23:15,356 Speaker 2: it's like it's almost like, you know, the way Miles 377 00:23:15,476 --> 00:23:20,276 Speaker 2: Davis approached music or played, where it's this both you're 378 00:23:20,316 --> 00:23:24,676 Speaker 2: able to craft and write these really beautiful lines but 379 00:23:24,756 --> 00:23:29,516 Speaker 2: then also do a fair amount of improvising but tastefully. 380 00:23:30,316 --> 00:23:34,356 Speaker 2: How have you honed those two skills? Like how do 381 00:23:34,436 --> 00:23:39,916 Speaker 2: you hone both crafting beautiful melodic lines but then also 382 00:23:40,476 --> 00:23:43,756 Speaker 2: going out and sometimes taking those to other places. 383 00:23:44,836 --> 00:23:49,796 Speaker 1: Gosh, you ask tricky questions and you know, I'm just 384 00:23:50,196 --> 00:23:55,996 Speaker 1: hunting for magic and emotion And that is the same 385 00:23:56,196 --> 00:24:00,276 Speaker 1: process in the studio as it is on stage, you know. 386 00:24:00,516 --> 00:24:04,356 Speaker 1: But then you've got all the opportunities in the world 387 00:24:04,436 --> 00:24:07,396 Speaker 1: to go back and perfect things in the studio and 388 00:24:07,596 --> 00:24:13,556 Speaker 1: work until you think things are as you know, as 389 00:24:13,636 --> 00:24:16,476 Speaker 1: good as you're going to get them. But that is 390 00:24:16,556 --> 00:24:21,236 Speaker 1: then a decision and it's made and you've got there 391 00:24:21,516 --> 00:24:25,636 Speaker 1: and then when you get onto a stage, you can 392 00:24:26,996 --> 00:24:29,596 Speaker 1: use that as your template, but then just kind of 393 00:24:29,676 --> 00:24:32,316 Speaker 1: forget about it and just go off anywhere you want 394 00:24:32,356 --> 00:24:37,636 Speaker 1: to at any time and feel free to just play. 395 00:24:37,756 --> 00:24:41,356 Speaker 1: I mean, I've never well I did on this album 396 00:24:41,556 --> 00:24:46,076 Speaker 1: on one track, maybe two tracks, actually learning one of 397 00:24:46,156 --> 00:24:49,236 Speaker 1: my guitar sert's or a record. Never done it in 398 00:24:49,316 --> 00:24:51,276 Speaker 1: the past, you know, I never did it with comfortably 399 00:24:51,396 --> 00:24:54,996 Speaker 1: enim or any of those things. But you know, you've 400 00:24:55,076 --> 00:24:58,956 Speaker 1: got a template of how the solo's going to start, 401 00:24:59,316 --> 00:25:03,916 Speaker 1: and then your mind comes back to other lines you've 402 00:25:03,996 --> 00:25:05,836 Speaker 1: done and might be a line on the record, but 403 00:25:07,116 --> 00:25:12,236 Speaker 1: not a consistent solo from beginning to end. I leave 404 00:25:12,316 --> 00:25:17,716 Speaker 1: that to other people. But luckily I can just leave 405 00:25:17,796 --> 00:25:20,676 Speaker 1: that and be me, and that is that is a 406 00:25:20,756 --> 00:25:21,276 Speaker 1: great joy. 407 00:25:22,556 --> 00:25:25,316 Speaker 2: Have you found there's a way to practice improvisation for 408 00:25:25,436 --> 00:25:27,596 Speaker 2: you or do you have to work yourself to a 409 00:25:27,716 --> 00:25:30,956 Speaker 2: place to be able to freely improvise, or are you 410 00:25:31,316 --> 00:25:31,676 Speaker 2: sort of. 411 00:25:31,836 --> 00:25:34,516 Speaker 1: Just is that just how you are, that you're always 412 00:25:34,556 --> 00:25:36,916 Speaker 1: sort of that's just how I am. I mean, some 413 00:25:37,116 --> 00:25:41,036 Speaker 1: of some of the solos in the studios are pretty 414 00:25:41,116 --> 00:25:44,436 Speaker 1: much one take things that you just have to find 415 00:25:44,516 --> 00:25:48,556 Speaker 1: the right moment and just play it. And some of 416 00:25:48,636 --> 00:25:52,916 Speaker 1: them are put together in all sorts of different ways. 417 00:25:52,956 --> 00:25:56,476 Speaker 1: Sometimes you know, you do one, then you do another, 418 00:25:56,596 --> 00:25:59,956 Speaker 1: and then you find good bits on different tracks and 419 00:26:00,116 --> 00:26:05,436 Speaker 1: join them all together. Sometimes you sing a solo. Sometimes 420 00:26:05,516 --> 00:26:11,956 Speaker 1: I get the microphone and sing, and because your voice 421 00:26:11,996 --> 00:26:15,756 Speaker 1: can leap in leaps that are unusually you might not 422 00:26:15,996 --> 00:26:18,636 Speaker 1: quite get to on the guitar, then you kind of 423 00:26:18,836 --> 00:26:22,356 Speaker 1: learn them. There's a hundred different ways, and I still 424 00:26:22,436 --> 00:26:28,436 Speaker 1: haven't quite worked out one proper way of getting to that. 425 00:26:29,796 --> 00:26:34,996 Speaker 1: But once they're done and they've embedded themselves in your brain, 426 00:26:36,276 --> 00:26:40,156 Speaker 1: it's then a joy to play them live and to 427 00:26:40,276 --> 00:26:42,396 Speaker 1: be able to depart from them knowing that you can 428 00:26:42,476 --> 00:26:46,476 Speaker 1: find your way back into something that is both new 429 00:26:46,596 --> 00:26:48,156 Speaker 1: but familiar at the same time. 430 00:26:48,876 --> 00:26:51,356 Speaker 2: Yeah, the singing is that is quite like I guess, 431 00:26:51,396 --> 00:26:54,836 Speaker 2: like a jazz player, you know, like an ascopeters along 432 00:26:54,956 --> 00:26:57,716 Speaker 2: and you know you can. I think that that is 433 00:26:57,796 --> 00:27:00,836 Speaker 2: an interesting way of sort of imagining how to approach 434 00:27:00,876 --> 00:27:05,996 Speaker 2: your instrument. Yeah, what made you want to learn note 435 00:27:06,116 --> 00:27:08,276 Speaker 2: perfect or close to note perfect a couple of the 436 00:27:08,316 --> 00:27:10,996 Speaker 2: solos on this particular record If you haven't done that before, 437 00:27:11,676 --> 00:27:13,436 Speaker 2: and there was I. 438 00:27:13,476 --> 00:27:17,036 Speaker 1: Think between two points was one of the moments where 439 00:27:17,796 --> 00:27:21,116 Speaker 1: I was in my studio room a bit like this, 440 00:27:21,396 --> 00:27:24,156 Speaker 1: and I plugged the gut through a little box called 441 00:27:24,156 --> 00:27:29,756 Speaker 1: a zoom and that went straight to tape. And I 442 00:27:29,836 --> 00:27:33,156 Speaker 1: don't know how this works or how it happened, but 443 00:27:33,276 --> 00:27:35,396 Speaker 1: I felt I would write in the zone. And I 444 00:27:35,556 --> 00:27:40,076 Speaker 1: just played a solo once that was it and left 445 00:27:40,116 --> 00:27:42,556 Speaker 1: it on there, and I thought I really ought to 446 00:27:42,636 --> 00:27:44,596 Speaker 1: go back and do that, plug it through a proper 447 00:27:44,676 --> 00:27:46,756 Speaker 1: amp in a studio and do that, but I never 448 00:27:46,876 --> 00:27:50,276 Speaker 1: did that, and the one recorded with my little zoom 449 00:27:50,396 --> 00:27:53,876 Speaker 1: here replugged out through an amp in the studio later 450 00:27:54,276 --> 00:27:56,476 Speaker 1: was the final one. And I liked that solo so 451 00:27:56,636 --> 00:28:01,596 Speaker 1: much I thought I had nailed it. Didn't want to 452 00:28:01,676 --> 00:28:05,076 Speaker 1: sound overconfident, but I thought I'd nailed it, and I thought, well, 453 00:28:05,236 --> 00:28:09,916 Speaker 1: it's worth playing that one almost note from them when 454 00:28:09,956 --> 00:28:12,036 Speaker 1: I'm doing it live, so I do actually learn it. 455 00:28:13,476 --> 00:28:16,036 Speaker 1: And it's quite hard to learn and get them did right. 456 00:28:17,756 --> 00:28:19,836 Speaker 1: And I've better. I know it is I've tried. 457 00:28:20,316 --> 00:28:22,356 Speaker 2: I've tried getting your solos note perfect before it's and 458 00:28:22,436 --> 00:28:26,156 Speaker 2: that's not easy. You know that idea of like, well 459 00:28:26,156 --> 00:28:27,916 Speaker 2: I should maybe I should record that better. I probably 460 00:28:27,956 --> 00:28:29,036 Speaker 2: could do that better if I put it, if I 461 00:28:29,116 --> 00:28:31,716 Speaker 2: go to a proper studio, or I use this amp, 462 00:28:31,836 --> 00:28:35,236 Speaker 2: or I like this particular sound if as a listener, 463 00:28:35,396 --> 00:28:38,596 Speaker 2: just as a listener and a fan, it feels like that's. 464 00:28:38,636 --> 00:28:41,356 Speaker 1: A tricky decision to make so many great I mean, I'm. 465 00:28:41,196 --> 00:28:44,356 Speaker 2: Thinking when you said that made me think of you know, 466 00:28:44,476 --> 00:28:47,396 Speaker 2: I guess the guitar line on like satisfaction for instance, 467 00:28:47,476 --> 00:28:49,436 Speaker 2: right like Keith put that down as like a demo 468 00:28:49,596 --> 00:28:53,596 Speaker 2: for horns. But then it's like, yeah, wait, why change that? 469 00:28:53,916 --> 00:28:56,956 Speaker 2: You know, And those kinds of decisions. 470 00:28:56,636 --> 00:28:58,676 Speaker 1: Are if it's a perfect that invested it, but you know, 471 00:28:58,796 --> 00:29:05,316 Speaker 1: the the it's you've got to stick with when something 472 00:29:05,436 --> 00:29:10,956 Speaker 1: is right, and if there's something not perfect about the sound, 473 00:29:11,996 --> 00:29:16,876 Speaker 1: that's kind of secondary. I just think I could have 474 00:29:16,996 --> 00:29:20,396 Speaker 1: learnt that solo, which I eventually did anyway, and just 475 00:29:20,516 --> 00:29:24,956 Speaker 1: played it again for the record, but you'd always think 476 00:29:25,956 --> 00:29:32,396 Speaker 1: something about the phrasing or the way the tremula was working, 477 00:29:32,596 --> 00:29:37,236 Speaker 1: and the way this and that was not quite perfect. 478 00:29:37,476 --> 00:29:39,796 Speaker 1: I did it once on the Animals Out years and 479 00:29:39,916 --> 00:29:44,156 Speaker 1: years ago on on Dogs, where I did a solo 480 00:29:44,956 --> 00:29:50,116 Speaker 1: and for some reason it got a raised but I 481 00:29:50,276 --> 00:29:53,996 Speaker 1: had a stereo mix that I'd taken home because I 482 00:29:54,036 --> 00:29:57,196 Speaker 1: thought that's nice, really nice, so I could learn it 483 00:29:57,316 --> 00:30:00,156 Speaker 1: off that, and then I redid it. But I never 484 00:30:00,316 --> 00:30:02,796 Speaker 1: thought that I got it quite as good again, you know, 485 00:30:03,196 --> 00:30:06,036 Speaker 1: even though it's sort of note for note perfect, But 486 00:30:06,916 --> 00:30:10,996 Speaker 1: how can you describe that, that difference between note for 487 00:30:11,116 --> 00:30:16,156 Speaker 1: note perfect and original note for note perfect? You can't explain. 488 00:30:16,596 --> 00:30:19,236 Speaker 2: Yeah, missing a touch, missing a feeling, missing, just something 489 00:30:19,276 --> 00:30:21,396 Speaker 2: that's not quite which is why I guess for you, 490 00:30:21,396 --> 00:30:24,956 Speaker 2: you don't find it necessarily worth it always to recreate 491 00:30:25,036 --> 00:30:28,276 Speaker 2: those things, you know, How do you go about I 492 00:30:28,396 --> 00:30:32,556 Speaker 2: was curious how you decide on a set list? You know, 493 00:30:32,756 --> 00:30:36,636 Speaker 2: you have such a deep catalog. There's things like, you know, 494 00:30:37,436 --> 00:30:39,236 Speaker 2: there's no way out of here right that I'm sure 495 00:30:39,276 --> 00:30:40,356 Speaker 2: you haven't played in a long time. 496 00:30:40,916 --> 00:30:43,996 Speaker 1: Yeah, that I bet people would love to hear. Yeah. 497 00:30:44,796 --> 00:30:49,276 Speaker 2: Do you it is it more you in your band 498 00:30:49,476 --> 00:30:51,476 Speaker 2: or just you picking things out? Do you consider what 499 00:30:51,556 --> 00:30:55,876 Speaker 2: the audience like? How do you decide what a set list. 500 00:30:55,996 --> 00:30:58,196 Speaker 1: Or should be? Well, we had a big list of 501 00:30:58,636 --> 00:31:03,756 Speaker 1: everything that was reasonably possible, and that included all of 502 00:31:03,836 --> 00:31:08,916 Speaker 1: the new album, and and given that I want to 503 00:31:08,996 --> 00:31:12,876 Speaker 1: do some older songs, some from the seventies Pink Floyd. 504 00:31:13,436 --> 00:31:17,116 Speaker 1: Here are some from the eighties and nineties Pink Floyd era. 505 00:31:18,036 --> 00:31:20,356 Speaker 1: And we wrote all those songs down, a lot of them. 506 00:31:20,396 --> 00:31:24,436 Speaker 1: And you know, you just can't do everything. And in fact, 507 00:31:25,796 --> 00:31:28,036 Speaker 1: Polly kept saying to me, have you got your set 508 00:31:28,156 --> 00:31:31,396 Speaker 1: list yet? And I say, getting to it, getting to it, 509 00:31:32,556 --> 00:31:35,996 Speaker 1: and she say, have you got your set this yet? 510 00:31:36,876 --> 00:31:40,276 Speaker 1: I'm getting there. I'm getting there. And I said, one day, 511 00:31:40,316 --> 00:31:42,036 Speaker 1: have you got a set list? And she said, yep, 512 00:31:42,676 --> 00:31:47,476 Speaker 1: here he is, and pretty much her sett list is 513 00:31:47,516 --> 00:31:47,956 Speaker 1: what we did. 514 00:31:48,916 --> 00:31:53,636 Speaker 2: That's great, that's that's useful to have a decisive decision maker. 515 00:31:53,396 --> 00:31:56,836 Speaker 1: In the family. Yeah, it so it is. 516 00:31:57,196 --> 00:32:01,636 Speaker 2: I'm so lucky when you say all reasonable songs are 517 00:32:01,756 --> 00:32:05,116 Speaker 2: on the table. That qualifier reasonable, what is that? 518 00:32:05,276 --> 00:32:08,796 Speaker 1: And entail for you? Well, you know there are you 519 00:32:08,876 --> 00:32:12,036 Speaker 1: can I can play through my David Gilmour album from 520 00:32:12,076 --> 00:32:15,236 Speaker 1: seventy eight and my About Face album and I really 521 00:32:15,436 --> 00:32:18,316 Speaker 1: like them, but they feel like another lifetime to me. 522 00:32:18,556 --> 00:32:22,076 Speaker 1: I haven't managed to go back to either of those 523 00:32:22,116 --> 00:32:25,436 Speaker 1: two albums, although there's great tracks on there. But you 524 00:32:25,516 --> 00:32:28,996 Speaker 1: can only do so so much. And I suppose I 525 00:32:29,156 --> 00:32:32,356 Speaker 1: was thinking to some extent if they're that old, I 526 00:32:32,396 --> 00:32:38,676 Speaker 1: should be doing more from the pleasing the audience aspect, 527 00:32:38,796 --> 00:32:42,516 Speaker 1: from the pink Floyd eras of the day. You know, 528 00:32:43,316 --> 00:32:46,636 Speaker 1: it's a it's a tough question, but I hope we 529 00:32:46,756 --> 00:32:47,396 Speaker 1: got a good. 530 00:32:47,356 --> 00:32:50,676 Speaker 2: Balance when you do revis well, I think you did 531 00:32:51,076 --> 00:32:54,596 Speaker 2: by the way I mean, like the the blend the show, 532 00:32:54,716 --> 00:32:59,156 Speaker 2: from the way the show rises and falls was quite spectacular. 533 00:32:59,276 --> 00:33:03,236 Speaker 2: And there are plenty of crowd pleasing moments for the 534 00:33:03,316 --> 00:33:05,956 Speaker 2: lay person, you know, who might just be coming to 535 00:33:05,996 --> 00:33:09,596 Speaker 2: you fresh and stuff that people you know like, you know, 536 00:33:09,676 --> 00:33:11,396 Speaker 2: stuff from your last couple of albums, and I think, 537 00:33:11,516 --> 00:33:12,876 Speaker 2: you know, people do want to hear and that are 538 00:33:13,396 --> 00:33:14,996 Speaker 2: you play beautifully and it's great. 539 00:33:15,836 --> 00:33:18,116 Speaker 1: Well I felt on the tour, you know, I never 540 00:33:18,236 --> 00:33:22,556 Speaker 1: felt that there was a moment when the audience were 541 00:33:23,316 --> 00:33:27,556 Speaker 1: sort of sitting back, sort of griddling their thumbs, going, 542 00:33:27,716 --> 00:33:31,996 Speaker 1: what's you know, play something that we know a bit more? 543 00:33:32,116 --> 00:33:35,836 Speaker 1: You know, I never forgot that, and I always got 544 00:33:35,916 --> 00:33:39,236 Speaker 1: to the end of each of the newer songs and 545 00:33:39,596 --> 00:33:44,996 Speaker 1: thought that seemed to go really well from my standpoint 546 00:33:45,036 --> 00:33:47,516 Speaker 1: in the band's sound by and the audience standpoint. So 547 00:33:49,596 --> 00:33:50,916 Speaker 1: you can't want for more than that. 548 00:33:52,516 --> 00:33:54,796 Speaker 2: One last break and We'll be back with David Gilmour. 549 00:33:57,196 --> 00:33:59,196 Speaker 2: Everyone you know at the show I was at was 550 00:33:59,276 --> 00:34:02,996 Speaker 2: thoroughly engaged, and you know, like I do think sometimes 551 00:34:03,916 --> 00:34:07,636 Speaker 2: the audience is willing to go where the artist is 552 00:34:07,716 --> 00:34:10,876 Speaker 2: confident taking them. You know, like I saw Dylan three 553 00:34:10,996 --> 00:34:14,836 Speaker 2: years ago for the umpteenth time, and its entire set 554 00:34:14,996 --> 00:34:18,396 Speaker 2: save for two songs were his last album, Rob and 555 00:34:18,476 --> 00:34:19,196 Speaker 2: Rowdy Ways. 556 00:34:20,196 --> 00:34:20,796 Speaker 1: It was amazing. 557 00:34:21,076 --> 00:34:24,236 Speaker 2: Honest, I wouldn't have wanted anything else. I don't at 558 00:34:24,276 --> 00:34:26,756 Speaker 2: this point, why do I need to hear? You know 559 00:34:26,876 --> 00:34:28,716 Speaker 2: how fifty one for the eightieth time. 560 00:34:28,756 --> 00:34:29,956 Speaker 1: You know, it's like it was. 561 00:34:30,036 --> 00:34:33,476 Speaker 2: Really interesting that he was as bought in on that 562 00:34:33,556 --> 00:34:35,876 Speaker 2: album as he was. He would just play every song 563 00:34:35,996 --> 00:34:39,756 Speaker 2: from it, you know, and you know, similar with with you. 564 00:34:39,916 --> 00:34:42,236 Speaker 2: It's like, you know, to your point, you could go through, 565 00:34:42,316 --> 00:34:44,196 Speaker 2: play the first Gilmore album, you could play the second, 566 00:34:44,756 --> 00:34:46,996 Speaker 2: you go back and do some voids, but it's like 567 00:34:47,676 --> 00:34:49,436 Speaker 2: it really felt like you were bought in. It felt 568 00:34:49,516 --> 00:34:52,516 Speaker 2: like the set list showed that too. It it just 569 00:34:52,596 --> 00:34:56,836 Speaker 2: showed that it was more about crafting a not a 570 00:34:56,916 --> 00:34:59,356 Speaker 2: narrative maybe, but you know, beginning, middle and end and 571 00:34:59,916 --> 00:35:01,036 Speaker 2: having these moments in between. 572 00:35:01,956 --> 00:35:05,356 Speaker 1: That's trying to get some narrative into it. It's odd 573 00:35:05,436 --> 00:35:06,356 Speaker 1: to what it's all about. 574 00:35:07,356 --> 00:35:09,156 Speaker 2: And I said that, but actually there is, yeah, and 575 00:35:09,396 --> 00:35:12,876 Speaker 2: there is some one one of them power. One of 576 00:35:12,956 --> 00:35:16,116 Speaker 2: the really powerful moments of the show, and I think 577 00:35:16,156 --> 00:35:18,516 Speaker 2: it comes through in the movie too, is when you 578 00:35:18,636 --> 00:35:23,276 Speaker 2: do in any tongue, how did you arrive at the 579 00:35:23,916 --> 00:35:25,636 Speaker 2: and maybe I'll let you explain, because don't think I'll 580 00:35:25,676 --> 00:35:28,476 Speaker 2: do a justice. How did you arrive at that stage? 581 00:35:28,556 --> 00:35:29,716 Speaker 2: Presentation for that song? 582 00:35:30,916 --> 00:35:36,996 Speaker 1: Well, that's a lovely song and it's very it feels 583 00:35:37,116 --> 00:35:39,996 Speaker 1: very current right at the moment with words by Polly 584 00:35:40,396 --> 00:35:46,396 Speaker 1: brilliant and the video film is by an LA guy 585 00:35:46,516 --> 00:35:50,436 Speaker 1: called Danny Mdden. It's a brilliant piece of video. But 586 00:35:50,836 --> 00:35:55,636 Speaker 1: he did it for himself and he won a competition 587 00:35:56,756 --> 00:36:00,116 Speaker 1: and we had gone to him. A guy who does 588 00:36:00,156 --> 00:36:05,836 Speaker 1: a lot of artwork Will Repel, saw that and we 589 00:36:05,996 --> 00:36:08,916 Speaker 1: got him to do a video for another song from 590 00:36:09,156 --> 00:36:12,156 Speaker 1: All that look called the Girl in the Yellow Dress. 591 00:36:13,436 --> 00:36:17,396 Speaker 1: He did a beautiful video for that, but when we 592 00:36:17,596 --> 00:36:21,476 Speaker 1: saw this one he had already done it. Just well 593 00:36:21,596 --> 00:36:24,076 Speaker 1: that this would be so good for in any time. 594 00:36:24,236 --> 00:36:26,036 Speaker 1: You said, could we have that one as well, So 595 00:36:26,436 --> 00:36:30,356 Speaker 1: he said, take it, and it's as if it was 596 00:36:30,476 --> 00:36:35,476 Speaker 1: made for that song, but it actually wasn't. That they 597 00:36:35,636 --> 00:36:38,596 Speaker 1: marry together perfectly. It's shocking. 598 00:36:38,596 --> 00:36:40,276 Speaker 2: It's almost shocking that it wasn't made for that song 599 00:36:40,316 --> 00:36:43,036 Speaker 2: because they do marry beautifully, and it's interesting that that 600 00:36:43,116 --> 00:36:45,476 Speaker 2: really is. Then when you think about it the stage presentation, 601 00:36:45,556 --> 00:36:48,836 Speaker 2: we think about the trajectory of the song. It's a 602 00:36:48,876 --> 00:36:51,876 Speaker 2: collaboration between you know, your wife, Polly with those words 603 00:36:52,916 --> 00:36:55,196 Speaker 2: marrying beautifully with your music married. 604 00:36:55,316 --> 00:36:56,996 Speaker 1: So it's just that's a really. 605 00:36:56,876 --> 00:37:02,436 Speaker 2: Interesting sort of triumphic collaborative thing that's happening. How did 606 00:37:02,476 --> 00:37:04,836 Speaker 2: that song come together? Was it her words first? 607 00:37:04,956 --> 00:37:07,596 Speaker 1: Were you writing the music? And then she was in 608 00:37:07,676 --> 00:37:11,116 Speaker 1: spy because it is quite quite a powerful song. No, 609 00:37:11,436 --> 00:37:14,996 Speaker 1: I wrote the music first, and I don't remember quite 610 00:37:14,996 --> 00:37:18,876 Speaker 1: when I wrote it on the piano, and she came 611 00:37:19,036 --> 00:37:24,156 Speaker 1: up with that idea for that narrative and it's brilliant, 612 00:37:24,236 --> 00:37:30,116 Speaker 1: and all those pieces just came together separately and joined 613 00:37:30,156 --> 00:37:35,996 Speaker 1: together to create that thing Danny's video another thing together. 614 00:37:36,636 --> 00:37:40,956 Speaker 2: Yeah, are you able to say, you know, working with Polly, 615 00:37:41,036 --> 00:37:43,236 Speaker 2: are you able to say, I don't know if that 616 00:37:43,356 --> 00:37:45,996 Speaker 2: one quite works for this, maybe we'd try something different. 617 00:37:47,076 --> 00:37:51,076 Speaker 1: I don't really have to. I mean I would, we felt, 618 00:37:51,116 --> 00:37:55,076 Speaker 1: but I mean we've been writing songs together since nineteen 619 00:37:55,196 --> 00:38:00,996 Speaker 1: ninety four, and you know she has she takes a 620 00:38:01,076 --> 00:38:03,356 Speaker 1: big part in all of it, you know, and you 621 00:38:03,436 --> 00:38:07,116 Speaker 1: know she's there for most of the sessions. And you know, 622 00:38:07,276 --> 00:38:11,596 Speaker 1: back in the early days of Division Bill, she wouldn't 623 00:38:11,596 --> 00:38:14,876 Speaker 1: be at the sessions, but I take my day's work 624 00:38:14,956 --> 00:38:17,676 Speaker 1: home with me and play it on my speakers and 625 00:38:18,396 --> 00:38:22,276 Speaker 1: say what do you think? And she'd always have very good, 626 00:38:22,516 --> 00:38:26,636 Speaker 1: pertinent ideas about what we were doing. So you could 627 00:38:26,636 --> 00:38:28,956 Speaker 1: say she's a record producer as well. To some extent. 628 00:38:30,036 --> 00:38:33,316 Speaker 2: Were you playing that album for her in order for 629 00:38:33,396 --> 00:38:34,836 Speaker 2: her to write something or were you just playing it? 630 00:38:34,876 --> 00:38:38,236 Speaker 1: And then that started to happen. Actually, you're working, you're 631 00:38:38,316 --> 00:38:41,676 Speaker 1: working all day, and you're focusing on certain things, and 632 00:38:41,876 --> 00:38:46,436 Speaker 1: you can you can go home and have a glass 633 00:38:46,476 --> 00:38:51,476 Speaker 1: of wine and sit down and listen with a different perspective. 634 00:38:51,676 --> 00:38:54,156 Speaker 1: You know, you left the work there and now it's 635 00:38:55,076 --> 00:38:59,236 Speaker 1: you're enjoying some of the pleasure in it, but also 636 00:39:00,716 --> 00:39:07,036 Speaker 1: looking at it more externally and finding things that could 637 00:39:07,476 --> 00:39:10,476 Speaker 1: be better or could be slightly changed, and Polly was 638 00:39:10,916 --> 00:39:14,916 Speaker 1: enormously and always has been valuable. You know what. 639 00:39:15,116 --> 00:39:17,356 Speaker 2: The album came out of the year or so ago, 640 00:39:17,916 --> 00:39:20,196 Speaker 2: and I listened to it a few times before I 641 00:39:20,316 --> 00:39:24,076 Speaker 2: realized one of the liner notes and realized that the 642 00:39:24,196 --> 00:39:28,956 Speaker 2: title track came from a jam you did with Richard 643 00:39:28,996 --> 00:39:31,716 Speaker 2: Wright from Pink Floyd back in two thousand and seven. 644 00:39:32,596 --> 00:39:34,436 Speaker 2: Can you tell me the story of that, like why 645 00:39:34,636 --> 00:39:38,476 Speaker 2: you guys got together then, how you rediscovered this jam? 646 00:39:38,596 --> 00:39:42,876 Speaker 1: And well we did. We toured in twenty fifteen and 647 00:39:43,156 --> 00:39:48,556 Speaker 1: twenty sixteen on the back of the album back then, 648 00:39:49,556 --> 00:39:53,356 Speaker 1: and the band was so sort of cooking and hot 649 00:39:53,516 --> 00:39:57,156 Speaker 1: and great at the time, different bent and now mostly 650 00:39:58,276 --> 00:40:00,956 Speaker 1: that I thought it'd be good for us to re 651 00:40:01,196 --> 00:40:05,596 Speaker 1: gather together in a rule and put some ideas down. 652 00:40:05,676 --> 00:40:08,876 Speaker 1: And I had lots of bits of snippets of music 653 00:40:10,356 --> 00:40:14,796 Speaker 1: in my mind, and so we took the core band, 654 00:40:15,116 --> 00:40:17,676 Speaker 1: not quite all of the band, but most of the band. 655 00:40:17,796 --> 00:40:20,556 Speaker 1: And you know, when I'm working like that in the studio, 656 00:40:20,836 --> 00:40:25,156 Speaker 1: I'm usually the only guitar player on stage. Live, you 657 00:40:25,276 --> 00:40:28,156 Speaker 1: need someone to do some of the other parts and 658 00:40:28,276 --> 00:40:31,396 Speaker 1: do all the other bits. And when you've got Rick 659 00:40:31,756 --> 00:40:35,076 Speaker 1: Richard right as your keyboard player. You don't need the 660 00:40:35,196 --> 00:40:41,876 Speaker 1: other guy around for that. So and we gathered together 661 00:40:41,996 --> 00:40:47,036 Speaker 1: in a barn, greatly holes between the planks and the walls, 662 00:40:47,156 --> 00:40:52,916 Speaker 1: and howling January and February wind coming through. We were freezing. 663 00:40:54,036 --> 00:40:57,316 Speaker 1: We kept having to put bits of material up over 664 00:40:57,436 --> 00:41:00,436 Speaker 1: the cracks and put heaters on them and try and 665 00:41:00,516 --> 00:41:02,756 Speaker 1: get it going. But I think on the first morning, 666 00:41:03,756 --> 00:41:07,556 Speaker 1: first Monday morning of that, I started playing a little 667 00:41:08,756 --> 00:41:13,476 Speaker 1: riff and everyone was doing other things and thinking about this, 668 00:41:13,636 --> 00:41:17,916 Speaker 1: and they're all and gradually they hear, and gradually they 669 00:41:18,116 --> 00:41:21,916 Speaker 1: join in, and then they play that thing. It's only 670 00:41:22,116 --> 00:41:25,356 Speaker 1: just the one thing that's no court changes, is just 671 00:41:25,516 --> 00:41:28,556 Speaker 1: the basic riff, and that goes on for about twenty minutes. 672 00:41:28,836 --> 00:41:32,836 Speaker 1: In fact, we've put the original jam on the album 673 00:41:33,116 --> 00:41:37,516 Speaker 1: so that if anyone wants to find it, they can 674 00:41:37,716 --> 00:41:42,956 Speaker 1: hear where it started and where it went to. You know, 675 00:41:43,076 --> 00:41:46,116 Speaker 1: I had to hack it apart in pro tools and 676 00:41:46,556 --> 00:41:50,996 Speaker 1: write new sections using the same drums for the choruses 677 00:41:51,076 --> 00:41:55,156 Speaker 1: and the bridges, and yeah, and Rick's playing on it 678 00:41:55,356 --> 00:41:58,356 Speaker 1: is just nostalgic and lovely. 679 00:41:59,036 --> 00:42:01,756 Speaker 2: So was the idea to, you know, maybe to do 680 00:42:01,796 --> 00:42:06,636 Speaker 2: another Floyd album at that time or now no, I don't. 681 00:42:06,676 --> 00:42:09,956 Speaker 1: I think I was beyond thinking about doing another Floyd 682 00:42:09,996 --> 00:42:14,516 Speaker 1: album at that time. We just finished Rattle at Lock 683 00:42:14,596 --> 00:42:16,396 Speaker 1: album and tour and that whole thing that's up. But 684 00:42:16,516 --> 00:42:18,796 Speaker 1: you know, these things to our process that take three 685 00:42:18,876 --> 00:42:24,236 Speaker 1: or four years, and so I was just while the 686 00:42:24,356 --> 00:42:29,556 Speaker 1: band was felt like we were playing together, like glued together, 687 00:42:30,676 --> 00:42:33,676 Speaker 1: and because of the all the giegs we've done together, 688 00:42:34,076 --> 00:42:35,916 Speaker 1: we thought we'd do this, and we did. There's a 689 00:42:35,996 --> 00:42:39,036 Speaker 1: lot of stuff they're not much of which I've used, 690 00:42:39,596 --> 00:42:41,596 Speaker 1: you know. That's the only one of those that I've 691 00:42:41,636 --> 00:42:45,076 Speaker 1: actually properly used. Yeah, I have to have to let 692 00:42:45,156 --> 00:42:45,276 Speaker 1: you go. 693 00:42:45,396 --> 00:42:48,396 Speaker 2: But just just to clarify, because I mean, Rick passed 694 00:42:48,436 --> 00:42:49,676 Speaker 2: before that album. 695 00:42:50,236 --> 00:42:53,756 Speaker 1: On an Island album and tour two thousand and six, 696 00:42:54,156 --> 00:42:56,596 Speaker 1: it was in January two thousand and seven that we 697 00:42:56,916 --> 00:43:00,276 Speaker 1: had got together and played all this stuff, all these 698 00:43:00,436 --> 00:43:04,716 Speaker 1: all these other tracks and ideas for about a week 699 00:43:05,396 --> 00:43:09,796 Speaker 1: in a barn, and it took twenty years to get 700 00:43:09,836 --> 00:43:13,636 Speaker 1: back to that track. So Kneally, glad you did it. 701 00:43:13,716 --> 00:43:17,156 Speaker 2: Sounds sounds great on the album, sounds amazing live too. 702 00:43:18,036 --> 00:43:20,876 Speaker 2: Thanks so much. I'm really really honor talking to you. 703 00:43:21,596 --> 00:43:22,516 Speaker 1: Thank you guy much. In d. 704 00:43:25,116 --> 00:43:27,236 Speaker 2: An episode description, you'll find a link to a playlist 705 00:43:27,276 --> 00:43:29,876 Speaker 2: of our favorite songs featuring David Gilmour along with his 706 00:43:29,956 --> 00:43:32,996 Speaker 2: newest album, Luck and Strange. Be sure to check out 707 00:43:32,996 --> 00:43:35,636 Speaker 2: YouTube dot com slash Broken Record Podcast to see all 708 00:43:35,716 --> 00:43:38,876 Speaker 2: of our video interviews, and be sure to follow us 709 00:43:38,916 --> 00:43:41,676 Speaker 2: on Instagram at the Broken Record Pod. You can follow 710 00:43:41,756 --> 00:43:44,796 Speaker 2: us on Twitter at Broken Record. Broken Records produced and 711 00:43:44,916 --> 00:43:47,516 Speaker 2: edited by Leah Rose with marketing help from Eric Sandler 712 00:43:47,556 --> 00:43:51,596 Speaker 2: and Jordan McMillan. Our engineer is Ben Holladay. Broken Record 713 00:43:51,676 --> 00:43:54,316 Speaker 2: is production of Pushkin Industries. If you love this show 714 00:43:54,476 --> 00:43:58,156 Speaker 2: and others from Pushkin, consider subscribing to Pushkin Plus. Pushkin 715 00:43:58,196 --> 00:44:00,956 Speaker 2: Plus is a podcast subscription that offers bonus content and 716 00:44:01,036 --> 00:44:03,596 Speaker 2: ad free listening for four ninety nine a month. Look 717 00:44:03,636 --> 00:44:06,876 Speaker 2: for Pushkin Plus on Apple podcast subscriptions, and if you 718 00:44:06,996 --> 00:44:09,116 Speaker 2: like this show, please remember to share, rate and review 719 00:44:09,116 --> 00:44:12,036 Speaker 2: you listen your podcast app are theme music expY Canny Beats, 720 00:44:12,196 --> 00:44:13,156 Speaker 2: I'm justin Richmond 721 00:44:19,676 --> 00:44:19,996 Speaker 1: M HM.