really expanded my playing beyond it, because
I’m very content to do what I do. But, funnily
enough, the original Pink Floyd gig was actually
very based in blues when you broke it down.
I mean, I could play my sort of guitar in Pink
Floyd and it wasn’t out of place. And so I was
really pleased when I was invited to be their first
augmenting guitar player in 1976. I hadn’t really
heard Pink Floyd, because if it wasn’t blues, I
didn’t listen to it. So when they sent me the
albums to listen to, I was pleasantly surprised.
David Gilmour played some really nice guitar and
I thought, “Oh, I can fit in here quite nicely. And
I think I did. It worked out okay. In a way, things
were the same with Thin Lizzy—there’s a lot of
harmony guitar work in there, but it’s really mostly blues licks. That was good fun. I very much
enjoyed playing the harmony guitar with Scott
Gorham. It was a great band with great songs.
How does working with Roger Waters these
days compare to playing with Pink Floyd
three decades ago?
Musically, it’s very much the same as the origi-
nal Wall. And it’s quite strange, really, because
that was 30 years ago and I’m still playing the
same songs. But the songs have a freshness to
me—they never get boring. I’ve heard them
so many times, and I still look forward to play-
ing them, because even if you have to do the
same licks every night, you can still try to get
them a little bit sweeter, a little bit more on
the button, a little bit nicer. There’s always a
little sort of contest there—just try and make
it a bit better ever night. I quite enjoy that.
When I originally played with Pink Floyd,
David Gilmour was very generous, always giv-
ing me solos. When I listen to some of the
things I did to start with, I hear that I just went
for my thing in my solos and didn’t really think
about what the song needed. And I must have
disappointed a lot of people, because they
knew all of the original solos. So nowadays
I’ve tempered my approach and think a bit
more about the context.
What did you do to prepare for this Wall tour?
I just got out the album and listened through,
and it all came back to me. Until we started
rehearsing, we didn’t know who was going to
play what, especially among the guitarists. We
had to shuffle it around a bit, so we each had
a reasonable amount to do. Apart from that, it
was all fairly straightforward.
What has been like working with guitarists
Dave Kilminster and G.E. Smith on the tour?
Dave Kilminster is a great musician. He notated all of Dave Gilmour’s solos and learned
them intimately. I really enjoy listening to him
nail the solos each night. I’ve never notated
anything, by the way. I’ve done a lot of bluffing
in my time, and I’ve learned to bluff really well.
That or I’ve learned to sidestep really well.
G.E.’s great, too. I didn’t know G.E. before this
tour, and he’s a fine guitar player. He’s what I
call a real musician—he plays all sorts of things
and is into all sorts of music. He’s great to be
on the road with. He’s got so many stories,
and I really enjoy listening to his solos in the
show, as well. The thing is, because the show’s
so structured and we have our separate parts,
we don’t play off of each other very much. But
Dave, G.E., and I do listen to, appreciate, and
complement each other.
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