Waters and Gilmour Complimenting Each Other

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MOJO 1998

Dave: "He'd rarely sung leads before and he was very shy about his 
voice. I encouraged him. On occasions, he would try to persuade me to 
sing for him and I wouldn't. The truth is that our working relationship 
remained very good even through making most of The Wall. There were many
 moments when we were really talking well together and told each other 
so. We had huge rows, but they were about passionate beliefs in what we 
were doing. Roger is a very intelligent and creative person and I am 
very stubborn and pig-headed, but I think I have a good musical sense. 
Sometimes he would be willing to sacrifice all sorts of musical moments 
to get his message accross. Our roles were complementary, at least in 
theory. We recognised each other's strengths and weaknesses. We would 
prevent one another's worst excesses and indulgences."

QUESTION: Can you give me an idea of the roles that were being played in
 the recording studio? What were, perhaps, Roger's strong points that he
 brought to a song, and what things do you believe you brought to it?

DAVID GILMOUR: I think I tend to bring musicality and melodies. Roger 
was certainly a very good motivator and obviously a great lyricist. He 
was much more ruthless about musical ideas, where he'd be happy to lose 
something if it was for the greater good of making the whole album work.
 So, you know, Roger'd be happy to make a lovely sounding piece of music
 disappear into radio sound if it was benefiting the whole piece. 
Whereas, I would tend to want to retain the beauty of that music. We 
often had long bitter arguments about these things.

QUESTION: Do you, do you remember writing "Run Like Hell"?

DAVID GILMOUR: I had the music for "Run Like Hell," I guess in 1978 or 
something. It was one of two pieces that I put in into "The Wall." Bob 
Ezran was very keen that we should put them in. He liked them and we 
worked on them, and Roger wrote words for them. But it's hard to 
decipher from the very original demo. There wasn't an awful lot to it. 
There was just one guitar plunking away and that became the body of the 
song.

QUESTION: What about those voices in "Dark Side of the Moon"?

DAVID GILMOUR: Again, this is Roger's idea. He wanted to use things in 
the songs to get responses from people. We wrote a series of questions 
on cards and put them on a music stand, one question on each card, and 
got people into the studio and told them to read the first question and 
answer it. Then they could remove that card and see the next question 
and answer that, but they couldn't look through the cards so they didn't
 really know what the thread of the questions was going to be until they
 got into it. We interviewed quite a few people that way, mostly roadies
 and roadies' girlfriends, and Jerry the Irish doorman at Abbey Road. 
But we also interviewed Henry McCullough 'cause Paul McCartney and Wings
 were recording in the other studio at Abbey Road at the time. We did 
that in number three at Abbey Road, and they were in number two. We also
 had Paul and Linda McCartney interviewed but they're much too good at 
being evasive for their answers to be usable.

QUESTION: What were some of the questions?

DAVID GILMOUR: Things like, "When did you last hit someone?" and then 
the next question would be "Were you in the right?" and "Would you do it
 again if the same thing happened?" Another question like, "What does 
the dark side of the moon mean to you?" Of course, understanding that 
the "Dark Side of the Moon" was not yet the title of the album as far as
 anyone was concerned. So they were actually asking people, what does 
the other side of the moon mean? And Jerry the Irish doorman said, 
"There is no da'k side o' de moon really, it's all da'k." And stuff like
 that, when you put it into a context on the record, suddenly developed 
its own much more powerful meaning.

QUESTION: Were you happy with that?

DAVID GILMOUR: Oh that was a terrific thing to do! I mean, we've still 
got the original tapes somewhere and we should dig them out and have a 
listen to them one day just for fun to hear all the different responses 
to all the different questions by all these different people.

ROGER:

"I'm not saying I did it all, obviously Dave Gilmour's contribution to 
the making of 'The Wall' was huge. you know he's a marvelous guitarist, 
and he contributed to a number of songs in terms of their construction 
and so on and so forth. But we were not a together unit. The band was 
really difficult then."

Interview from 'Wish You Were Here - songbook', 1975

"We have quite a bit of difficulty with vocals. I have trouble with the 
quality of my voice but I don't have much difficulty keeping in tune. On
 the other hand, Roger has no problem with vocal quality but he does 
have trouble keeping in tune."- David Gilmour

(Guitar World, May 2006)

"It did seem that to be wandering around espousing this idea of 
communicating and solving problems while not talking to Gilmour was 
hypocritical."

- Sydney Morning Herald, 2007

"It [Live 8] was just... really good. I was very moved to be on stage 
with Dave, Nick and Rick that night. I felt at ease and glad to be given
 the opportunity to let bygones be bygones and to demonstrate that, 
although we've had our difficulties in the past, we are grown men who 
understand that rapprochement is possible even in the face of differeing
 points of view. It was really good to transcend all the crap and say 
"Well, **** it, let's just get up onstage. It's been a long while. We 
can agree to disagree about all the old stuff and stand up here and play
 these three of four songs and it can be fun, it can be good"."

"I just felt pleasure playing the music and hearing Rick playing his 
great keyboard parts, which, of course, we know and love so much from 
the records. It felt good. I thought that Nick played great. I thought 
everybody played great. Dave sang beautifully. It was a great feeling."Roger Waters  on Live 8

"We were so nice and modest about it all that when they told us there 
were not enough dressing-rooms and we would have to share, we said OK, 
fine. Then we found out that everyone else had their own proper, 
assigned dressing-room because they had insisted on it. We had to share 
ours with Snow Patrol, or someone. I think we should have been slightly 
more superstar-ish about it.' Don't you just love that 'or someone'?David Gilmour on Live 8

Uncut, 2003

What are your fondest memories of working/recording/touring with the Floyd and your old friend Roger?

Dave: There are too numerous to mention. We had many years which I 
enjoyed thoroughly. Doing the concerts I always enjoyed them. I know 
Roger had more difficulty than the rest of us. It's well documented with
 the huge shows who were only there for the beers so to speak

Do you see many parallels between Pink Floyd and the Beatles? Like the song writing partnership with Lennon and McCartney ?

Dave: You make that comparison with a number of different bands, I'm a 
huge fan of the Beatles, but I don't know what parallels are between us 
except we were both pretty good at what we did.

Did working with Gilmour bring out any good creative stuff you you?

Roger: Of course. You've only got to listen to the record.

- MSN Online Interviews with Dave and Roger, 2000

Dave: "Roger was obviously one of the main producers because it [The 
Wall] was his idea and he was very, very good about many things to do 
with production, like dynamics."

Dave: "Roger and I had a good working relationship. We argued a lot, 
sometimes heatedly - artistic disagreements, not an ego thing. I don't 
think we argued over who would take lead vocals, Roger was not 
over-bothered who sang - but overall we were still achieving things that
 were valid. Things like Comfortably Numb are really the last embers of 
Roger and my ability to work collaboratively together."

- Mojo, 1999

Dave: “Roger has many, many good points and many talents, but he’s a very alpha male sort of person."

Dave: “I might still have been shy then, but Roger had certainly taken 
to leaping around, thrashing his bass and gurning a bit. Then there was 
the dramatic striking of the gong and the screaming in Careful With That
 Axe. Roger had discovered letting his pain out. I know that John Lennon
 did that whole Arthur ‘Primal Scream’ Janov album, which Roger was very
 keen on, but he was screaming long before Lennon ever got to Janov.”

- Mojo, 2007

Dave: [when told by Jon Carin that he was thinking of working with Roger] "You must do it! He's a brilliant guy!"

- Q Pink Floyd Special Edition, 2004.

Roger: "Dave particularly, but Rick as well, had major, important contributions."

Roger: "He's a great guitar player."

Dave: "We all have very different personalities is the truth of the 
matter. We were all very, very happy to have a driving force like Roger 
who wanted to push for these concepts."

Dave: "It was an extraordinarily successful partnership. We had a good, 
valid working relationship right through until the period that's well 
documented after The Wall album."

Dave: "I can remember there being fantastic moments of harmoney after 
that - some of the moments during the making of Wish You Were Here... 
One inspired moment by one person would be so obvious that it would be 
picked up by another pson, and there would be genuine harmony, and I can
 say that those moments still even, for me, existed during the making of
 The Wall."

Dave: "In terms of drive and lyrical concept matters, he was the de facto leader."

Dave: "I think at that time he was finding himself as a lyric writer. He
 was realising that he could get to grips with more serious issues, some
 political and others that involved him personally. His style had 
developed and improved."

Dave: “Roger has many, many good points and many talents, but he’s a very alpha male sort of person."

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MortSahlFan Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: March 01 2018 Location: US Status: Offline Points: 2941	Post Options Post Reply Quote MortSahlFan Report Post Thanks(0) Quote Reply Topic: Waters and Gilmour Complimenting Each Other Posted: July 31 2019 at 15:24
	MOJO 1998 Dave: "He'd rarely sung leads before and he was very shy about his voice. I encouraged him. On occasions, he would try to persuade me to sing for him and I wouldn't. The truth is that our working relationship remained very good even through making most of The Wall. There were many moments when we were really talking well together and told each other so. We had huge rows, but they were about passionate beliefs in what we were doing. Roger is a very intelligent and creative person and I am very stubborn and pig-headed, but I think I have a good musical sense. Sometimes he would be willing to sacrifice all sorts of musical moments to get his message accross. Our roles were complementary, at least in theory. We recognised each other's strengths and weaknesses. We would prevent one another's worst excesses and indulgences." QUESTION: Can you give me an idea of the roles that were being played in the recording studio? What were, perhaps, Roger's strong points that he brought to a song, and what things do you believe you brought to it? DAVID GILMOUR: I think I tend to bring musicality and melodies. Roger was certainly a very good motivator and obviously a great lyricist. He was much more ruthless about musical ideas, where he'd be happy to lose something if it was for the greater good of making the whole album work. So, you know, Roger'd be happy to make a lovely sounding piece of music disappear into radio sound if it was benefiting the whole piece. Whereas, I would tend to want to retain the beauty of that music. We often had long bitter arguments about these things. QUESTION: Do you, do you remember writing "Run Like Hell"? DAVID GILMOUR: I had the music for "Run Like Hell," I guess in 1978 or something. It was one of two pieces that I put in into "The Wall." Bob Ezran was very keen that we should put them in. He liked them and we worked on them, and Roger wrote words for them. But it's hard to decipher from the very original demo. There wasn't an awful lot to it. There was just one guitar plunking away and that became the body of the song. QUESTION: What about those voices in "Dark Side of the Moon"? DAVID GILMOUR: Again, this is Roger's idea. He wanted to use things in the songs to get responses from people. We wrote a series of questions on cards and put them on a music stand, one question on each card, and got people into the studio and told them to read the first question and answer it. Then they could remove that card and see the next question and answer that, but they couldn't look through the cards so they didn't really know what the thread of the questions was going to be until they got into it. We interviewed quite a few people that way, mostly roadies and roadies' girlfriends, and Jerry the Irish doorman at Abbey Road. But we also interviewed Henry McCullough 'cause Paul McCartney and Wings were recording in the other studio at Abbey Road at the time. We did that in number three at Abbey Road, and they were in number two. We also had Paul and Linda McCartney interviewed but they're much too good at being evasive for their answers to be usable. QUESTION: What were some of the questions? DAVID GILMOUR: Things like, "When did you last hit someone?" and then the next question would be "Were you in the right?" and "Would you do it again if the same thing happened?" Another question like, "What does the dark side of the moon mean to you?" Of course, understanding that the "Dark Side of the Moon" was not yet the title of the album as far as anyone was concerned. So they were actually asking people, what does the other side of the moon mean? And Jerry the Irish doorman said, "There is no da'k side o' de moon really, it's all da'k." And stuff like that, when you put it into a context on the record, suddenly developed its own much more powerful meaning. QUESTION: Were you happy with that? DAVID GILMOUR: Oh that was a terrific thing to do! I mean, we've still got the original tapes somewhere and we should dig them out and have a listen to them one day just for fun to hear all the different responses to all the different questions by all these different people. ROGER: "I'm not saying I did it all, obviously Dave Gilmour's contribution to the making of 'The Wall' was huge. you know he's a marvelous guitarist, and he contributed to a number of songs in terms of their construction and so on and so forth. But we were not a together unit. The band was really difficult then." Interview from 'Wish You Were Here - songbook', 1975 "We have quite a bit of difficulty with vocals. I have trouble with the quality of my voice but I don't have much difficulty keeping in tune. On the other hand, Roger has no problem with vocal quality but he does have trouble keeping in tune."- David Gilmour (Guitar World, May 2006) "It did seem that to be wandering around espousing this idea of communicating and solving problems while not talking to Gilmour was hypocritical." - Sydney Morning Herald, 2007 "It [Live 8] was just... really good. I was very moved to be on stage with Dave, Nick and Rick that night. I felt at ease and glad to be given the opportunity to let bygones be bygones and to demonstrate that, although we've had our difficulties in the past, we are grown men who understand that rapprochement is possible even in the face of differeing points of view. It was really good to transcend all the crap and say "Well, ** it, let's just get up onstage. It's been a long while. We can agree to disagree about all the old stuff and stand up here and play these three of four songs and it can be fun, it can be good"." "I just felt pleasure playing the music and hearing Rick playing his great keyboard parts, which, of course, we know and love so much from the records. It felt good. I thought that Nick played great. I thought everybody played great. Dave sang beautifully. It was a great feeling."Roger Waters on Live 8 "We were so nice and modest about it all that when they told us there were not enough dressing-rooms and we would have to share, we said OK, fine. Then we found out that everyone else had their own proper, assigned dressing-room because they had insisted on it. We had to share ours with Snow Patrol, or someone. I think we should have been slightly more superstar-ish about it.' Don't you just love that 'or someone'?David Gilmour on Live 8** Uncut, 2003 What are your fondest memories of working/recording/touring with the Floyd and your old friend Roger? Dave: There are too numerous to mention. We had many years which I enjoyed thoroughly. Doing the concerts I always enjoyed them. I know Roger had more difficulty than the rest of us. It's well documented with the huge shows who were only there for the beers so to speak Do you see many parallels between Pink Floyd and the Beatles? Like the song writing partnership with Lennon and McCartney ? Dave: You make that comparison with a number of different bands, I'm a huge fan of the Beatles, but I don't know what parallels are between us except we were both pretty good at what we did. Did working with Gilmour bring out any good creative stuff you you? Roger: Of course. You've only got to listen to the record. - MSN Online Interviews with Dave and Roger, 2000 Dave: "Roger was obviously one of the main producers because it [The Wall] was his idea and he was very, very good about many things to do with production, like dynamics." Dave: "Roger and I had a good working relationship. We argued a lot, sometimes heatedly - artistic disagreements, not an ego thing. I don't think we argued over who would take lead vocals, Roger was not over-bothered who sang - but overall we were still achieving things that were valid. Things like Comfortably Numb are really the last embers of Roger and my ability to work collaboratively together." - Mojo, 1999 Dave: “Roger has many, many good points and many talents, but he’s a very alpha male sort of person." Dave: “I might still have been shy then, but Roger had certainly taken to leaping around, thrashing his bass and gurning a bit. Then there was the dramatic striking of the gong and the screaming in Careful With That Axe. Roger had discovered letting his pain out. I know that John Lennon did that whole Arthur ‘Primal Scream’ Janov album, which Roger was very keen on, but he was screaming long before Lennon ever got to Janov.” - Mojo, 2007 Dave: [when told by Jon Carin that he was thinking of working with Roger] "You must do it! He's a brilliant guy!" - Q Pink Floyd Special Edition, 2004. Roger: "Dave particularly, but Rick as well, had major, important contributions." Roger: "He's a great guitar player." Dave: "We all have very different personalities is the truth of the matter. We were all very, very happy to have a driving force like Roger who wanted to push for these concepts." Dave: "It was an extraordinarily successful partnership. We had a good, valid working relationship right through until the period that's well documented after The Wall album." Dave: "I can remember there being fantastic moments of harmoney after that - some of the moments during the making of Wish You Were Here... One inspired moment by one person would be so obvious that it would be picked up by another pson, and there would be genuine harmony, and I can say that those moments still even, for me, existed during the making of The Wall." Dave: "In terms of drive and lyrical concept matters, he was the de facto leader." Dave: "I think at that time he was finding himself as a lyric writer. He was realising that he could get to grips with more serious issues, some political and others that involved him personally. His style had developed and improved." Dave: “Roger has many, many good points and many talents, but he’s a very alpha male sort of person."
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MortSahlFan Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: March 01 2018 Location: US Status: Offline Points: 2941	Post Options Post Reply Quote MortSahlFan Report Post Thanks(0) Quote Reply Posted: July 31 2019 at 06:02
	Roger Waters Interview By Tommy Vance TV: And then you come to this track which is called "Young lust." As far as Pink the rock and roll star, and Roger Waters the writer, was there ever a young lust section of your life? RW: Well, yes, I suppose, actually, yes it did happen to me, that was like me. But I would never have said it, you see, I'd never have come out with anything like that, I was much too frightened. When I wrote this song "Young lust" the words were all quite different, it was about leaving school and wandering around town and hanging around outside porno movies and dirty bookshops and being very interested in sex, but never actually being able to get involved because of being too frightened actually. Now it's completely different, that was a function of us all working together on the record, particularly with Dave Gilmour and Bob Ezrin who, we co-produced the album together, the three of us co-produced it. "Young Lust" is a pastiche number. It reminds me very much of a song we recorded years and years ago called "The Nile Song," it's very similar, Dave sings it in a very similar way. I think he sings "Young Lust" terrific, I love the vocals. But it's meant to be a pastiche of any young rock and roll band out on the road. UNCUT May 2007: Question: For years, people have concentrated on your conflicts with Dave, but are there good memories of working with him as well? Roger Waters: Dave is a great singer. He has a very acute and sensitive ear for harmony. A lot of those double tracks and the harmonies where he sings through Dark Side... or on lots of the records - I sat back while he did that and he'd follow his instincts and produce these great harmonies. I was always somewhat in awe of that. It takes great talent to be able to do that, and it's something I really appreciate.
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MortSahlFan Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: March 01 2018 Location: US Status: Offline Points: 2941	Post Options Post Reply Quote MortSahlFan Report Post Thanks(0) Quote Reply Posted: July 30 2019 at 12:09
	1992 Roger Waters Interview I don't want to belittle Dave's contributions to "The Wall". He played some great stuff, and wrote a couple of great guitar riffs as well: 'Run Like Hell,' the intro to 'Young Lust.' Roger Waters Interview By Tommy Vance TV: And then you come to this track which is called "Young lust." As far as Pink the rock and roll star, and Roger Waters the writer, was there ever a young lust section of your life? RW: Well, yes, I suppose, actually, yes it did happen to me, that was like me. But I would never have said it, you see, I'd never have come out with anything like that, I was much too frightened. When I wrote this song "Young lust" the words were all quite different, it was about leaving school and wandering around town and hanging around outside porno movies and dirty bookshops and being very interested in sex, but never actually being able to get involved because of being too frightened actually. Now it's completely different, that was a function of us all working together on the record, particularly with Dave Gilmour and Bob Ezrin who, we co-produced the album together, the three of us co-produced it. "Young Lust" is a pastiche number. It reminds me very much of a song we recorded years and years ago called "The Nile Song," it's very similar, Dave sings it in a very similar way. I think he sings "Young Lust" terrific, I love the vocals. But it's meant to be a pastiche of any young rock and roll band out on the road. UNCUT May 2007: Question: For years, people have concentrated on your conflicts with Dave, but are there good memories of working with him as well? Roger Waters: Dave is a great singer. He has a very acute and sensitive ear for harmony. A lot of those double tracks and the harmonies where he sings through Dark Side... or on lots of the records - I sat back while he did that and he'd follow his instincts and produce these great harmonies. I was always somewhat in awe of that. It takes great talent to be able to do that, and it's something I really appreciate. Pigs Might Fly by Mark Blake wrote: p. 267-8 Renting villas near to each other, Gilmour and Waters would often drive to Super Bear together each morning. "We had some pretty major arguments during The Wall but they were artistic disagreements," Gilmour insisted later. "The intention behind The Wall was to make the best record we could. I can remember driving with Roger one morning and he said, "God, we must never stop working together, we make such a great team."
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MortSahlFan Members Profile Send Private Message Find Members Posts Add to Buddy List Reviewer page Forum Senior Member Joined: March 01 2018 Location: US Status: Offline Points: 2941	Post Options Post Reply Quote MortSahlFan Report Post Thanks(0) Quote Reply Posted: July 30 2019 at 08:10
	Regardless of where a Pink Floyd conversation exists, there always seems to be an emphasis on the criticisms, so here are examples when they complimented each other. "Young Lust" is a pastiche number. It reminds me very much of a song we recorded years and years ago called "The Nile Song," it's very similar, Dave sings it in a very similar way. I think he sings "Young Lust" terrific, I love the vocals. - Roger Interview - David Gilmour: And This Is Me... Mojo, April 2006 Q: OK, look at a really personal song, even though it's Roger's lyrics again, 'Shine On you Crazy Diamond' from Wish You Were Here (1975). A: I've always loved this song. I love the words We put some great jokes in things, little backwards messages to pander to these anoraks who hunt for things and claim malgin influences. We had vast amounts of fun doing that, but noone seemed to spot it." David Gilmour - Guardian Newspaper, UK - October 25th, 2002 "We were all very, very happy to have a driving force like Roger who wanted to push for these concepts" David Gilmour - Guitar World, 2003 Roger Waters: Dave is a great singer. He has a very acute and sensitive ear for harmony. A lot of those double tracks and the harmonies where he sings through Dark Side... or on lots of the records - I sat back while he did that and he'd follow his instincts and produce these great harmonies. I was always somewhat in awe of that. It takes great talent to be able to do that, and it's something I really appreciate.
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