Pink Floyd Ilustrado: 2015 David Gilmour & Friends

2015 David Gilmour & Friends

Publicación: 15 de octubre.

Una producción de 23 Ears para Mojo Magazine.
Meddled por David Henderson.
Saucerful of Secrets por Rahima Ahmed.
Fotografías de artistas por Kevin Westenberg, Eleanor Stills, Kscope, Edward Bishop, Madfish, Alfred Benge.
En el CD de fotografía de Kevin Westenberg.

Tracklist:

01 Don't Dig Here.
(Graham Nash, James Raymond, Russell Kunkel) 6:09
- David Crosby & Graham Nash.
02 Everybody's Been Burned.
(David Crosby) 3:25
- Ulver.
03 Sacred Days.
(Phil Manzanera) 3:56
- Phil Manzanera.
04 Here, There And Everywhere.
(John Winston Lennon, Paul James McCartney) 3:12
- David & Joe Gilmour.
05 When Your Life Is Your Own.
(David Courtney) 5:10
- David Courtney.
06 The Levels.
(Ben Watt) 3:43
- Ben Watt.
07 Lazarus.
(Steven Wilson) 3:55
- Steven Wilson.
08 Forest.
(Alfrede Benge, Robert Wyatt) 7:53
- Robert Wyatt.
09 Åkt Dit.
(Gustav Ejstes) 2:58
- Dungen.
10 Nevada.
(Richard Barbieri) 5:07
- Richard Barbieri.
11 The Interoper.
(BJ Cole, Dominic Glynn) 6:09
- BJ Cole.
12 Moon Quake 6.
(Alex Paterson, Thomas Fehlmann) 4:20
- The Orb.
13 Changa Masala.
(Ed Wynn) 6:00
- Orzic Tentacles.
14 Old Man Going.
(Taylor, Alder, May, Waller, Povey) 5:21
- The Pretty Things.

Mojo Magazine Octubre 2015 #263.

Compact Disc - Edición U.K:

Portada.

Disco.

Interior.

Sticker.

David Gilmour:

Notas:

Don't Dig Here.

- David Crosby & Graham Nash.

“David’s a very adept guy in the studio,” says David Crosby of recording with Gilmour. Both Crosby and Graham Nash guested on David’s last album, On An Island, and later played with him live. They’re back for more on Rattle That Lock, adding their harmonies to the beauteous A Boat Lies Waiting. This lush tune from 2004’s self-titled double album deals with ecological issues that Crosby and Nash have championed.

Everybody's Been Burned.

- Ulver.

After Cros’s appearance on Track 1, we delve further into his history with this glorious cover of a classic tune by his pre-CSNY outfit, The Byrds. Swedish experimental collective Ulver’s take is such that you would be forgiven for thinking it was Gilmour’s reading of the tune. Ulver’s admiration for late period Floyd was demonstrated when, in 2009, they contributed a unique version of Another Brick In The Wall (Part 1) on MOJO’s The Wall Rebuilt compilation.

Sacred Days.

- Phil Manzanera.

“I was a grovelling teenage Pink Floyd fan,” admits guitarist Phil Manzanera. A key part of the team that helped Gilmour assemble On An Island, the Roxy Music man reprises his co-producer role on Rattle That Lock and plays on many of the tracks. His latest solo LP, The Sound Of Blue, is wondrous, but this track – with Gilmour on guitar and Robert Wyatt on drums – hails from 6PM, his aptly titled sixth solo set.

Here, There And Everywhere.

- David & Joe Gilmour.

“I really wish I had been in The Beatles,” says Gilmour. “[They] taught me how to play guitar, I learnt everything. The bass parts, the lead, the rhythm, everything. They were fantastic.” That love is manifested on a wonderfully harmony-fi lled cover of the 1966 Revolver original that he recorded in his studio with his son Joe. Boasting a warm, sweeping arrangement, the track also includes a beautifully crafted solo so typical of the man’s understated elegance.

When Your Life Is Your Own.

- David Courtney.

By the mid ’70s songwriter/producer David Courtney was on a hot streak having masterminded the career of Leo Sayer and worked with Roger Daltrey and Adam Faith. His 1975 solo album, First Day, was a lavish affair reflecting his love of Dylan and Bowie – the influence of the latter evident on this epic. Gilmour hot-footed it to the studio from Wembley after a Pink Floyd show to add his contribution to this wistful excursion.

The Levels.

- Ben Watt.

A chance meeting in London led to former Everything But The Girl guitarist/songwriter Ben Watt being invited to Gilmour’s studio to hear some demos. At the time Watt was working on his second LP, Hendra, and invited Gilmour to add pedal guitar to this reflective track. Footage of the two filmed in Gilmour’s Brighton studio reveals further the warmth and ease of the duo’s fine collaboration.

Lazarus.

- Steven Wilson.

“I’d rather hear David Gilmour play one note and break my heart than hear Joe Satriani play 300 and not touch me at all,” said British songwriter/producer Steve Wilson in a recent interview. His opinion reflects his increasingly emotive approach to music during the past three decades. Building on Pink Floyd’s Anglican sound, Lazarus is a fine example of elegant, modern day progressive rock.

Forest.

- Robert Wyatt.

“In the studio I felt like a rabbit in the headlights but David was very graceful about it,” says Robert Wyatt of his appearance on Then I Close My Eyes from Gilmour’s On An Island, on which he plays cornet. Wyatt resumes cornet duties on Rattle That Lock’s The Girl In The Yellow Dress. The pair’s friendship is also evident on this finely-crafted tune from Robert’s magnificent 2003 album, Cuckooland which features Gilmour’s guitar.

Åkt Dit.

- Dungen.

Often compared to early Floyd, Swedish outfit Dungen also recall the adventurism of Robert Wyatt’s former band, The Soft Machine. Formed in Stockholm in 1999, they’ve perfected a rolling, jazz-flecked, prog-psych ’70s groove across seven fine albums, the latest of which, Allas Sak, contains this fine tune sung, as ever, in their native tongue. The enveloping textures typify the warmth that lives in Dungen’s music, a fine Softs-like saxophone solo driving the tune to its end.

Nevada.

- Richard Barbieri.

During eight years spent in Japan from 1974-82, it wasn’t obvious that keyboard player Richard Barbieri counted Pink Floyd’s The Dark Side Of The Moon among his desert discs. Listen back to some of the textures he created back in those days, however, and the Floyd influence emerges. Equally, too, is the work of Brian Eno. Barbieri’s more recent work with Porcupine Tree has confirmed his progressive attitude, as has his solo work. The beauteous and gliding Nevada underlines as much.

The Interoper.

- BJ Cole.

The world’s greatest living steel guitar player, Enfield-born BJ Cole has left his mark on innumerable albums ranging from Elton John’s Madman Across The Water to Björk’s Post. His dobro resonator was pressed into service by Gilmour on Then I Close My Eyes from On An Island, but Cole continues to make his own impressive solo records, rich in ambience and texture. The Interloper – recorded back in 2004 – offers a glimpse of his tasteful, lyrical style, as well as the mischief in his playing.

Moon Quake 6.

- The Orb.

Providing the link between electronic dance music and Pink Floyd’s more ambient textures, it was almost inevitable that The Orb would end up working with David Gilmour. Indeed, Alex Paterson and Gilmour enlisted producer Youth for 2010’s Metallic Spheres, an uplifting, complex affair of two pieces both exceeding 20 minutes each. The Orb’s own career has continued, including the recently released Moonbuilding 2703 AD from which Moon Quake 6 is taken. It suggests a party in space – and we’re all invited.

Changa Masala.

- Orzic Tentacles.

Formed at the 1983 Stonehenge Free Festival, Ozric Tentacles have carved a singular path in British music for the last three decades, creating music on their own terms and expanding their sonic palette endlessly. More Gong influenced than by Pink Floyd, there is something in this jubilant tune that recalls the more scrambled and synth-driven moments on Dark Side. Equally, the textures and vocals are wildly reminiscent of a certain je ne sais Orb-ness. The result is both enthralling and utterly uplifting.

Old Man Going.

- The Pretty Things.

“The Pretty Things made the Stones look lame,” said David Gilmour a few years ago. Back in 1998, he joined the British R&B stalwarts at Abbey Road to guest on a performance of their famed 1968 rock opera, S.F. Sorrow, which had been produced by Norman ‘Hurricane’ Smith, who’d worked on Floyd’s The Piper At The Gates Of Dawn. Old Man Going captures Gilmour digging into the grinding riff to fi ne effect, ending this bespoke set.