Chords for David Gilmour Talks About Wish You Were Here

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You make The Dark Side of the Moon, you realized all your wildest dreams, fame, fortune,
one of the biggest selling records of all time, one of the greatest albums of all time.
And then you go into Make Wish You Were Here.
_ _ What was the mood of the band then?
Were you all thinking, oh this is great, we've got it down, we know exactly what we're doing,
all engines full steam ahead?
No, very much not like that.
_ We were clueless for a long time.
We were faffing about blindly trying to find a way forward.
And _ _ that _ sort of _ _ blindly wandering about not knowing what the fuck we were doing
was what helped to create what came, you know, with Shine On You Crazy Diamond
and the whole of that Wish You Were Here album.
And that started quite painfully.
It was difficult and we didn't know what we were doing. _ _
But by the time we were adding in those _ _ other songs,
Welcome to the Machine, Have a Cigar, we were working on all cylinders I would say by then.
So how did that album come about?
What _ songs came first?
We worked in this rehearsal room in King's Cross in London,
shitty little hole, _ the black hole of Calcutta.
And in that room we came up with what became Shine On You Crazy Diamond,
_ Dogs and Sheep from the Animals album.
Those three pieces were what we had worked up and were working on. _
And Roger, particularly when he got to the studio,
wanted to drop the one that became Dogs, which was called You Gotta Be Crazy at the time,
_ and the one that became Sheep.
And I didn't want that to happen and we had some arguing about that for a while,
but _ he was right and I was wrong.
Not the first time.
_ And _ we went on with Shine On You Crazy Diamond, split it in two,
_ to open and close the album.
Seemed to work.
The famous cover of the two businessmen shaking hands and one of them's getting burned,
and that was the album.
Did the band _ give Storm any specific direction?
Storm came in, as he would, on every album and spent time with us while we were recording
and would talk to us about what the album was about and what we were trying to get to.
And as the sort of theme _ of the album _ was absence, _ _ Storm went away and thought about absence.
And so you have a person swimming with an absence of water,
and a body in a suit with an absence of the body,
and a person diving into water with an absence of splash.
If you wouldn't mind playing those four magical notes. _ _
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[E] _ _ _ _ _ [G] _ when I first heard Welcome to the Machine as a young man, _
I thought you were really singing for me, for all of us.
I wondered, perchance, if you _ were also singing maybe a little bit for yourselves.
Did you feel you were perhaps trapped in your own machine?
Yeah, I think you'd have to ask Roger, really, but I would say yes.
And we were just the year before, two years before, hit the big time, if you like,
_ _ with Dark Side of the Moon.
And that meant having a lot more contact with the machinery of _ the rock and roll business,
with meeting all the people involved with it, like your good self,
and some people _ a lot less salubrious.
_ _ And we had become a much bigger business,
and their eyes were opening up,
and you could see _ some wanting to participate in our good fortune look in people's eyes.
So much of Wish You Were Here is theatre of the mind.
In Have a Cigar, the music gets gobbled up, a swish comes,
then all of a sudden it gets tiny.
Maybe we're thinking it's coming out of a transistor radio.
In _ Welcome to the Machine, the music goes into an elevator. _
What's the process of _ those kinds of theatre of the mind effects?
Does somebody just say, ah, I've got it, let's make the music go into an elevator?
Yeah, that sort of thing.
How do we make, _ with a recording desk and a couple of little old synthesizers and stuff,
how do you make that sound?
And you have to throw yourself, your imagination, into creating.
Because it doesn't sound like an elevator, really.
It's making noises that make you think it sounds like an elevator, but it's not.
There's sort of low tones on the synthesizer going,
_ _ but elevators don't make that going up noise.
It's an auditory trick.
But it's not remotely accurate.
_ But it works.
But accuracy wouldn't work.
How did you _ _ come across the _ music for the song Wish You Were Here?
It's such a lovely piece.
Had you had that before this time?
I bought a 12-string guitar off a guy I know.
I think I'd recently bought it off him.
And I was strumming it in the control room of number three at Abbey Road. _
And that just sort of started coming out.
That da-da-da-da-da-da riff. _ _ _
And a bit like the beginning of Shine On with those four notes. _
_ _ I started mildly obsessing with this riff that was slowly developing.
And again, people's ears, Roger's ears, pricked up.
And he said, what's that?
Where's that come from? _ _
_ And I had a terrible habit of _ playing _ bits of songs by other people that were good.
And Roger would say, yeah, that's great.
Let's use that.
And I'd say, can't.
This belongs to someone else. _ _
_ [N] _ _ So he got a little nervous about asking sometimes.
And I think he was a bit nervous about asking in case that came from something else by someone else.
Is it fair to say that your guitar skills went up another notch?
Not on the recording of the beginning of Wish You Were Here. _
Every time I listen to the actual original recording, I think, God, I should have really done that a little bit better.
But I mean, the idea was that it was like a _ guitar playing on the radio. _ _
_ And someone in their room at home, in their bedroom or something, listening to it and joining in.
So the other guitar was kind of supposed to be a kid at home joining in with the guitar he's listening to on the radio.
_ And therefore, it wasn't supposed to be too slick.
And it wasn't. _ _ _