• Rattle That Lock (single) review

    Rattle That Lock

    Rattle That Lock is the first single and the title track from David Gilmour’s new solo album – his fourth since the debut in 1978. If the song is representable for the whole album, we’re in for something fresh and new from Gilmour. Here are my thoughts about what we’ve heard and seen so far.

    In the newly released EPK (electronic press kit), David talks about how he got the inspiration for the song while visiting the Aix-en-Provence railway station in France, where he heard a jingle (by Michaël Boumendil) being played over the PA system before each announcement. David recorded the four notes on his iPhone and sampled it for the song. Polly, David’s wife, wrote the lyrics inspired by John Milton’s classic, Paradise Lost (1667).

    The guitars

    The song is surprisingly stripped for guitars. Not at all what I’d expect after On an Island and Endless River. A clean strum throughout. Bits of overdrive fills here and there and the two solos.

    I must be honest and say that the solos sounds uninspired and rushed and something he probably would have done for a guest appearance. I love the tone and I also love that he’s not afraid to place it high in the mix but there’s nothing interesting about the solo. Still I’m not sure what he could have done different, given the nature of the song.

    In the EPK we see Gilmour in his Medina studio tweaking an elaborate pedal rack and playing his old “workmate” ’55 Fender Esquire. This footage is obviously fake – recorded for the EPK and not from the actual recording of the song (you can hear David using a pick, while he is using his fingers to pluck the strings).

    Still, it’s fair to assume that he indeed used the same guitar for the actual recording. It sure sounds like a Tele being used (although the outtro solo could be a Strat – is there a term arm being used?).

    Hard to tell what amp he might have employed. His studio feature a wide range of Fender amps, Alessandro, Magnatone and Hiwatts. He could have used any of these. I’m guessing maybe a Hiwatt SA212 as there is lost of presence and mids in his tone. It’s only my guess, though.

    It sounds very much like a Tube Driver on the two solos and possibly the overdrive fills as well. It’s a fairly bright tone, indicating that the bass and treble controls are set high and possibly the volume as well, to drive the amp without having to use too much gain. There’s also a hint of delay added to the solo.

    I’m also pretty sure that I hear the Yamaha RA200 rotary amp. There is a vague airy modulation surrounding both the overdriven rhythms guitars on the chorus and the solos – very similar to what you hear throughout Endless River.

    The production

    To me, Rattle That Lock sounds like Chris Rea meets Jimmy Nail, a dash of Bryan Ferry, with a bit of 80s Gilmour thrown in. It’s no doubt that David wanted to write and produce something different and maybe his new studio has inspired some new untypical ideas? I can also hear a lot of Manzanera in the production, with hints towards both his solo work and later Roxy Music.

    The drums are no doubt heavily compressed to give the song a more distinct beat and that radio flavour. This is also underlined by the loud vocals and the way the chorus spreads out from the tight verse. According to Gilmour, it’s supposed to be an uptempo pop oriented song – “I felt like dancing” he says, explaining why he liked the jingle he heard on the train station. In that sense, I think he has succeeded and he might even have a minor hit. Especially on UK radio.

    David seen using the '55 Fender Esquire while playing the leads on Rattle That Lock.

    David seen using the ’55 Fender Esquire while playing the leads on Rattle That Lock.

    Whether Rattle That Lock will be a hit among the fans I’m not sure. It’s certainly not as iconic or monumental as On an Island or High Hopes.

    I think it’s an exquisite production. Hopefully, the rest of the album will sound equally well. On an Island is a great album but like Division Bell, I think the production is dull and flat and they don’t stand the test of time.

    A solo album is a very personal statement. This is not Pink Floyd and David doesn’t have to follow any established rules or expectations. As a musician I definitely see the value of and need to do something that represent who you are at that moment in time.

    David Gilmour - Rattle That Lock

    David’s pedal rack pictured in his new recording studio, Medina.

    On an Island had ties back to Division Bell but it also represented the new and older Gilmour who wanted to pay tribute to both his inspirations and friends. Rattle That Lock could, and probably will, be equally representative of who David Gilmour is today and where he is musically. As hard as might be to acknowledge, artists do move on. David Gilmour is also confident enough to not give a damn what people, or his fans, thinks of his music, which I only see as a good thing.

    And the album artwork? Don’t like it. Seems too photoshoped and dramatic. His music fits a more modest image and I actually like the single cover better, of him and the Black Strat. Reminds me of the cover for his 1978 album.

    Conclusion

    Rattle That Lock was a surprise. I’m not disappointed – I really didn’t have any expectations – but I’m not overly excited either. Lovely production, tone and voice but it’s not a song that speaks to me or my taste of music. A bit average but I can hear David having fun and enjoying himself. Perhaps more so than on On an Island.

    Rattle That Lock is co-produced by David Gilmour and Phil Manzanera and recorded in David’s new studio, Medina (Hove, UK) and at Astoria, David’s house boat on the River Thames.

    The album will be released on September 18th available in five different formats, including vinyl and digital download. See Brain Damage for details on the formats, preorders and details on the announced 2016 US mini-tour.

    Please feel free to use the comments field below and share your thoughts about Rattle That Lock and the new David Gilmour album!

109 Responsesso far.

  1. Ben Randolph says:

    Thank you for this well thought out assessment. Overall, I like it. Gilmour’s guitar work is tasteful as always and I like his tone with the Tele. I agree that the whole thing has a rather dated sounding production. If I didn’t know this was a new release, I’d think it was from the second half of the 80s. I can see that this single is getting decidedly mixed reviews from fans, but I’m sure the album itself will be great as always.

  2. Anmol says:

    Hey bjorn,
    A part of agrees with you. I mean artists are human too. They too soft focuses, move on to different things, new things. But let’s not forget, artists like david gilmour. Who lived, seen and shaped a good half a century have residual thoughts and inspiration from the times they have seen, loved through. We are on a journey with them if we choose to follow them. Plus his wife has a huge influence or input in his work now. He creates music around her lyrics getting inspired from surroundings and then melting his own thoughts and style into it. That’s why it doesn’t matter to me, if he is doing something musically my undivided attention goes to him. I am a fan.

    • Wox says:

      Hey, that’s a good point about Polly’s input. I agree with you, that she has a huge influence on DG’s work since TDB and it’s growing ever more.
      Good or bad? I don’t know……..

  3. Jeff F. says:

    I feel the same as you Bjorn, it’s a catchy tune but doesn’t blow me away. To me it actually sounds more David Bowie than David Gilmour.

  4. Craig Allen says:

    Thoughtful analysis as always, Bjørn. I think that this song is quite catchy, and unlike anything David has done in a long time, if ever. My feeling is that this song is probably not representative of the rest of the album, and that – as a lead single – is meant to be more widely accepted by the public and casual fans than the sort of soaring, more guitar-driven songs that we may hear on the rest of the album. Having said that, I could be completely wrong!

    • Pasqual says:

      I hope you’re right! I like the song but i hope that the rest of the album is more guitarisch…
      The first solo sounds very predictable which is not necessarily a bad thing but and i don’t like the sound. I prefer the second solo, soundwise and the way it progresses. Anyway, i’ve pre-ordered the album anyway;)

  5. Sam says:

    Funny, I thought the solos were the best part! To each his own. On An Island sounded a lot like Pink Floyd to me (Rick being there may have had something to do with it) and this song doesn’t, as you pointed out. Dry-ish guitars, a tight groove, not bathed in Delay. Should be interesting to see what the rest of the album has.

  6. Dimitris says:

    I think David is deeply associated with the atmospheric guitar work with Floyd, among fans. So much, that his new work seems unfamiliar.
    I would, myself, like his new stuff to be something like the old we all have loved, but, as you said, artists move on. Also David has stated that the Floyd days are gone for him, maybe in that sense his writing goes in this direction.
    But, I like this fresh for Gilmour standards stuff! It’s a pretty straightforward, dry, quite emotional though! And this thing, from where he gets inspirations… A jingle that makes him want to dance, while feeling, that he needs to escape from something in his life. Interesting, at least.
    I would pefer a simpler artwork too, though it points the meaning.
    I think it will worth!

  7. Look forward to the album and the concert next spring !!

  8. I agree with your sentiments, Bjorn. An interesting departure – not my favorite thing I’ve ever heard from him, but it has my attention. I was fascinated to hear his voice on this – it has finally aged.

    You’re right that the first solo is clearly the tele. To me, the end solo immediately sounded like the gold top with P90s and Bigsby. Could be.

  9. I agree with most of it. The first time I’ve heard the promo I was like “is this a joke?!”.
    It really sounds like a radio bluesy rock song from 1986, and it surprised me quite a lot. I was expecting something more “gilmourish”, soft and tender but bluesy. I found it funny. The single cover is photoshopped a lot (look at David’s eyes) but nice and intimate. The album cover looks more like a book cover (Polly, you are always too much in there).
    We’ll see the rest of the album, I saw there are 3 instrumental songs, I think (and hope) there will be music again.
    See you in Arena di Verona, David my God.

  10. Mats says:

    Seems like the voices have phaser effect on the ooh ooh section on the middle.

  11. Brad Roller says:

    I like this song. Very catchy! Is that a tube driver?? It also sounded like the Helios fuzz. If that’s the tube driver he really has it cranked. Sounded fuzzy to me. And I agree I hear some rotary too! Very very light though, almost how comfortably numb.

    • Bjorn says:

      Hard to tell what it is. Sounds like a Tube Driver to me but we know he’s got a lot of pedals in that studio and it doesn’t seem that he’s using his Cornish board for the sessions. Could be a fuzz. Could be the Effectrode Tube Drive?

  12. Alessandro says:

    Hi Bjorn!
    I agree on the fact that David is doing the music he likes at the moment and, as he said, when you have success, record companies do not interfere with what you do.

    I had much more pleasure listening to his first solo album but I am not an artist do I was not surprised when I caught myself stuck in 78 trying to reproduce those sounds…but for him I guess this was done with the mood and inspiration of that moment and this came out naturally, therefore I think that it would make no sense for him trying to get that moment back. He is more looking forward :)

    Thank you your greet postings and take care!
    Alessandro

  13. Wox says:

    I can’t here an Rea in it, but the Ferry connection is quite obvious. The song is in some way uplifting and the Vocals sound fresh and “younger” as on OAI.
    The timbre of the Tele is nice and crunchy. The notes in the solo are not very substantial, but complementing the mood of the song.
    I like the cover. It’s a good execution of the album’s title. But there are too much birds imo.
    All in all it’s quite catchy.
    I hope that the album will also have a few bits of proggy moments on it…….(just wishing)

    Greetings Wox

  14. Duane Davis says:

    Thanks Bjorn, was waiting to see what your thought on this would be. I echo most of your opinions especially about the leads cause even though it kills me to say it that first solo is kinda weak and I can’t think of the last time I thought that about any of his guitar work. The outro solo though had some catchy spots that I enjoyed.

    It took me a few listens (like it normally takes me with Floyd type material) to get into it but I did like it once I did. I’ve never gotten to hear that jingle he sampled and I kinda got the same feeling he did, it’s been stuck in my head since I heard it now lol.

    Again thanks for the article, great to hear your thoughts as always. Gilmourish has practically been the bible for me as I went about restarting my rig ang gear. Great reading not only for Gilmour fans but really anyone wanting to find great ways to get brilliant tone.

  15. clydetune@hotmail.com says:

    A bit disappointed. The use of cowbell is disturbingly comedic and the guitar leads are rather lacking in composure, as was the case on Endless River. What happened to the meticulous crafting he was known for? What I don’t understand is Dave’s over reliance on his wife’s lyrics. They are very amateur. Dave has seemingly convinced himself that his own lyrics are no good enough? Why! Fat Old Sun, Childhood’s End, most of DG 1978, Sorrow.. his own writings are far superior to that of Polly’s, in my opinion.

    • Joe Clifford says:

      Totally agree about Dave’s lyrics. I’ve argued (on a blog I write) how much I enjoy Gilmour’s lyrics. In many ways I like his the most of any in Pink Floyd, just because you can tell how hard they are for him to write, and some beautiful moments come of that. On About Face: “Thinking that we’re getting older and wider when we’re just getting old”? Kills me! He’s a very competent lyricist, who just happened to play in a band with one of the best of all time. I wish he’s write more.

  16. Patrick says:

    The song reminds me of something the Fixx would do. Saved by Zero. It sounds good.

  17. Gary Jarvis says:

    Bjorn I enjoyed this review. I feel the same way. David is the reason I picked up the guitar in 1987. I’ve enjoyed the diversity in his music over the years. This first single was a bit of a surprise really. The tune is starting to sound pretty good to me. Really look forward to the album as I’m certain it will be full of what we all live about Sir Gilmour!!
    Keep up the awesome work Bjorn! Really enjoy this site for years now. Cheers my friend!

  18. Bern Merchant says:

    Thanks Bjorn – very interesting to read your review, and you’re right about how we should realise that artists “move on”. I pretty much agree with your assessment, though I think I may have been a little more disappointed when I first heard the clip a few days ago. Having said, that, I’ll give the full album a good listen when it comes out, of course. And your words are a good corrective too, in how it’s easy to listen to Gilmour expecting another Pink Floyd album. I have to remember that it’s probably most fair to Glimour to listen to this without expecting another On An Island (or Dark Side Of The Moon!) … Anyway, thanks for keeping us all in touch with Gilmour’s material.

  19. crimson says:

    Don’t like it. Sounds like David Byrn or 80’s Roxy Music. If there wasn’t David Gilmour doing this no one would pay attention to that song. The artwork is terrible.

  20. Maksim says:

    I respect David… he wanted to create different sound as a musician. But, this song is not a hit. It’s a simple pop song. I hope to hear gilmourish songs and his unique guitar sound in the album.

  21. Thank you again Bjorn for your comments and insight, I agree with you. I never like new recording first time, I have to listen a few times, I think this will grow on me but not one I would want to play. There is I think too much Phil influence, maybe that is what the problem is, he is always around. I cannot see that David would change radically from his Floyd back ground but he has, now whether that is him or some out side influence I do not know but maybe the rest of the album will be better. Having said that it is growing on me, at first I did not believe it was David singing, sounded so different. I agree with others that maybe Polly’s lyrics do not help as David’s have always been better in the past. Anyway that is just my opinion. Ha. Ha.

  22. crimson says:

    Polly should never have taken the place of Roger. Her lyrics are not that great. Even David’s have been much more better.

  23. Brian says:

    Thank heavens it’s not more endless drivel. This sounds fresh and the guitars are great! All those mentioned and more, I even hear a bit of Robert Cray in there!

  24. JohnM says:

    One song doesn’t make or break an album. “Rattle that Lock” isn’t a bad tune–it IS catchy; it’s just not what we (the fans, and IMO) are used to or expecting. Musicians that have been around very long have normally found “something” that resonates with a group of people. There are a lot of reasons why but invariably, they will keep trying to break away from that “something” and move forward as artists–and ultimately wind up at least confusing their fans. Personally, I think the real challenge is in moving forward and exploring the new without completely displacing the old. I’m open to the new, but hoping I’m not completely confused when I hear the rest of the album.

  25. Tanguy says:

    Björn, you probably can’t figure how sounds this track for french people… The sample used by David generaly means there’s trouble on the train line, so you will be late, the station will be crowded and everybody upset… Very disturbing for a Gilmour fan !

  26. Don says:

    It’s looks like Gilmour aiming for weddings and bar mitzvahs :)

  27. Thanks so much for sharing your insights, Bjorn. I am not a musician so I can’t analyze the merits of the song as you have so masterfully here, but I agree with your overall opinion of it. It sounds to my ears like late-’80s Clapton. I was in my early 20s then so I am nostalgic for that era’s musical sound, but I was expecting more of a move forward, I guess.

    All that aside, it’s wonderful to have any new Gilmour to listen to and I am hopeful he gets more progressive on the album. I’m definitely looking forward to it, and to the new Airbag album as well. Loved Lullabies in a Car Crash. Thanks for making great music and sharing so much of your process with us.

  28. I hate to say it but the guitar work aside, if David didn’t have millions and millions these lyrics would be obscure. I think Polly may be a good novelist (I haven’t read a book of hers) but so many things that take her input are cringe-worthy. I defended “dis eachother on site” for a while, but now with this out in the air “YOU GOTTA DO IT”, I just can’t anymore. The lyrical content is uninteresting and cringeworthy, and I wish David would just choose random phrases at this point rather than get across this middle-aged woman type self-help/story nonsense.

    • DefJef says:

      ‘Let’s get to it’ for heaven’s sake. Mind you Roger’s done some clunkers too, particularly when asked to write a hit. I give you ‘Not Now John’s “Hang on John, I’ve got to get on with this. Don’t know what it is, but it fits on here like s-s-s. Come at the end of the shift, we’ll go and get pissed…” etc. Singles hey? Tsk.

  29. Huy Tran says:

    Long time no see Bjorn.

    Didn’t like the song. I remember Steve Vai said that you should do what is natural to you. If you try to be mainstream or pop you will be struggling because you are competing against those that said genre is natural to them. I fully understand a musician wanting to do whatever he wants and having the clout to do so and cut the record.

    It just irks me if there is anyone suggesting to those that don’t like it; that we are being closed minded or not giving it a chance because it is different from Gilmour’s usual stuff. I can’t speak for anyone else, but personally, I don’t like it because it isn’t good. Still very keen on hearing the rest of the album though.

    I also would like to touch on the criticisms of Polly. I actually enjoy her writing on songs like High Hopes. I believe she also wrote much of the lyrics in On an Island, an album which I absolutely love. She isn’t a bad writer by any stretch. What I did gather from seeing the EPK interview with Polly is that she seems to be quite self-serving.

    If I was to speculate (and this is completely without facts with a dash of pot stirring), it feels that her previous lyrical efforts were to help David’s vision come to life. That the lyrics and music were intertwined to create art.

    In the interview it almost seems as if she wants to make a statement on this record and that the lyrics aren’t the extension of David’s feelings and thoughts but more of a statement from Polly herself.

  30. Maksim says:

    I agree with Patrick…Phil said before: “I think it sounds fantastic, people will be very happy.” Unfortunately, he was right…

  31. KEITH says:

    It reminds me of the one hit by ’80s band,” The Fixx”, “One Thing or Another” for some reason. I certainly hope the rest of the album is from this century!!!!

    Peace, KEITH

  32. clydetune@hotmail.com says:

    “Make the moves you can do”
    “This thing we do”
    “Gotta do it”
    Getting worse and worse, just awful, ‘cringeworthy’ is being generous. Too bad Polly never had the humility to say to David “I shouldn’t write lyrics for you, I have no place. You can do it better by yourself” – an understanding, unselfish wife would encourage her husband, not overtake his art, especially with such brazenly awful writing. And/Or if only David would stand up to her and reject her input. And/Or ring up Anthony Moore or Nick-Laird Clowes. Surely David can see that quality is more important than being a slave to his wife? It is embarrassing his legacy.

    • Brad Roller says:

      I agree. I think David writes fairly good lyrics him self. His first solo album was great. But maybe David likes the way polly writes? I seem to recall though, David saying that Polly told him he expressed himself better through just the guitar. That sounds a bit manipulative to me.

      • Woz says:

        I might be wrong, but I seem to recall it was the other way around – David telling Polly that. I do wish she wouldn’t write for him though. Her lyrics are occasionally good, usually bad. Rhyming “these times together” with “rain or shine, stormy weather” is just one of her crimes, a disproportionate number of which are bundled up in just that one song.

        • DefJef says:

          “Faces of stone that watched from the dark
          As the wind swirled around and you took my arm in the park”

          I had a children’s rhyming book called ‘Clarke in the Park’ in which it gets dark and some dogs bark…and he meets his friend called Mark. I wonder if that’s where the inspiration is flowing from. I’m surprised the opportunity to shoehorn David’s brother into the lyric was missed. Shoddy.

  33. Rene says:

    Hey Bjorn,
    The song made me think of the 80s when dave gilmour releases about face…also a pop rock like album meant to make him a guitar rockstar on his own….His background is more rhytm and blues so Its him we hear..:0) the sound we expect is the floyd sound and is not really fair i think. On an island had some nice songs ( not all) but music is a matter of taste…discussing it does not make sense. I am looking forward for the new album..lets wait and see/ hear. David played an important role in my musical life ( little does he know ha ha) …so he will stay in my heart anyway . Thanks again fo all your effort…hope to hear and see you soon again in holland with airbag of solo ( great solo album by the way

    Regards,
    Rene

  34. ruodi says:

    “To me, Rattle That Lock sounds like Chris Rea meets Jimmy Nail, a dash of Bryan Ferry, with a bit of 80s Gilmour thrown in.”

    Exactly! And, to me, that´s a good thing! – I´ve always liked Gilmour´s tight-sounding “About Face” a lot and could not stand “Another Endless Division Island at Night” album.

    Nevertheless: Im pretty sure that “Rattle that Lock” is just what “This Heaven” was for “On An Island”. [Should type some intellectual final phrase in here.]

  35. hey, on the studio footage we can see a black strat with a rosewood neck. back to old days ?

  36. Simon says:

    I’m surprised by the negative comments!

    I think it’s a great groove, and David’s vocals are terrific. Very excited to hear the new record.

  37. Fred says:

    I usually wait and listen to the whole album. But I went ahead and listened to this. After reading some comments I was really worried. But it grew on me during the first listen (if that makes sense). It does remind me of Talking Heads somewhat and that is OK. Great guitar tones, and vocals. Can’t wait to hear the rest. And to catch a show!!!

  38. Brian says:

    Gone are the days of Bands “breaking into” recording studios during the night, because the drummer happens to know one of the engineers. That spontaneity and urgency gave us more brilliant songs than all the Pro-Tools sessions ever conceived, which is a shame. Bowie’s recent musical offerings (dirges) are the result of meticulous planning and recording seminars and more Pro-Tools sessions than you could shake a fist at. I don’t know what Gilmour’s approach is, but “Rattle that Lock” sounds like it could have been recorded in a day, it has an unfinished quality – like all good art. Bowie’s “Jean Genie” was recorded in a Nashville studio in two takes while the band were on tour in the US. If you listen closely it even contains a guitar error. Bring it back!

    One thing, and I agree with Bjorn – Compression. That’s probably more to do with bloody corporate Pro-Tools snake oil salesmen “engies” and their insistence on the latest corporate Waves or UAD packages. There was little or no Compression on DSOTM, in fact it was all Dynamic. My analog ears don’t like that ITB compression, they pop. In fact, your ears do a good job at compressing audio.

    • Bjorn says:

      Good points. I don’t know what desk David’s currently using but I think the approach is that he’s using Pro Tools and roots everything through an analog or semi ananlog desk. That makes a huge difference from just doing everything digital. You get much of the warmth and natural compression but have the freedom of digital. That being said, using Pro Tools or whatever, plugins etc also means that you have endless options and it’s easy to get tempted to use all those options. Whether that makes the music better I’m not sure. There’s something about the spontaneity you get from recording on to tape and limiting yourself to a band setup and few takes.

      • KEITH says:

        If I had unlimited funds, and were building a studio it would be all analog. I’ve never heard a digital recording that has the warmth of an analog recording. If you listen to LA Grange on a well kept Record, and then the digital remastered version, it’s immediately clear how much better the analog version sounds, especially when the drums come in. They sound like two entirely different recordings. I use that as an example because it was the first time I heard how much difference there is. I guess there’s some room in the studio for digital signal processing, but the human ear doesn’t seem to enjoy PERFECT, it seems to cry out for a bit of imperfection. It’s like the difference between programmed drum tracks. If they’re quantized, it’s obvious that it’s a machine, but if the time has microseconds of varience, you can’t tell it’s not the real thing. I know this has nothing to do with this thread, but it is in response to the above post delving into the digital vs. analog question. I’m an old analog man awash in a sea of 1s and 0s!

        Peace y’all, KEITH

        • Bjorn says:

          The old ZZ Top remasters were done in the late 80s or early 90s, weren’t they? At that point, everyone loved the digital reverb and drum machines. A lot has happened since then and I think that, if done right, with the right tools, you’d have a hard time hearing a difference between a digital and analog recording if you were listening to a vinyl. Trouble with analog, is that it’s very expensive even to rent a studio that has a Studer tape machine and a fully analog desk, with all the analog processing tools you’d need. You’d also need to find a technician or a producer than can not only operate the machines but also have experience and know-how, when it comes to producing analog, which today seems to be a nearly forgotten art.

          • KEITH says:

            True, analog gear is hard to find thses days, but the last album I was on was in 1997, and recorded on a Teac 2″ 16 track machine, and I don’t remember the board, but it was analog, with automated faders, last of the great analog boards. All but one album I’ve played on was totally analog, but that last one was mastered to DAT. We did do one more live recording, and it was recorded on 2 linked 8 track ADATs, and I must admit it was probably among the best recordings I’ve played on. However, as you say. Trees Hombres was remastered in the early days of CD, and it’s cone a long way since then, but I still think I can tell the difference on mainly the vocal, and drum tracks, but wouldn’t bet on it! Haha. Digital has come a long way in putting the warmth back, but I still love ANALOG!!!
            PEACE, KEITH

            • Bjorn says:

              Thanks for sharing, Keith :) My solo album was done with a bit of both. I used tube preamps and copressors on all the vocals, guitars and drums. We mixed it in Logic and QBase and mastered it on tape. Pretty happy with the result but I wonder how it would have sounded if we’d done it 100% analog.

  39. Mikael says:

    The more is listen to the song, the more I like it. After a few times you can hear the Gilmourish trademark in the sound.
    And to be honest: if I was David I would probably also want to do things less overwhelming and more simple after playng huge sounds for decades. But as I’m not him, I’ll stick to my flanger and Big Muff. You can’t get enough of how they sound, hehe.

  40. erniestrat says:

    Come on Folks, what a bunch of negative comments!

    Please try to separate facts and opinions.
    The artwork, wether you like it or not, isn’t photo shopped but painted.
    The sound of Gilmour’s guitar (again like it or not) is more stripped back and raw.
    There’s no Pro Tools “Plug in” compression in Rattle that Lock because it wouldn’t make sense; he’s got analog compressors in his studio… He uses Pro Tools for editing, etc.
    Compression is all over DSOTM, actually Alan Parsons argued about the compression during the production.
    Most likeley DG still uses his favourite analog Neve console desk for mixing (yes Neve like Sound City Studios).
    And, … f*ck statements like: Polly’s bad influances, Phil hanging around too much and Rick not involved anymore… Most likely, these people are the driving force for Gilmour of writing new songs (at the age of almost 70).

    My opinion:
    The artwork may work well, if printed on the same material like On An Island or Endless River (not on gloss paper)…
    The track Rattle that Lock sounds fine to me, Great lyrics and well produced.
    The solo itself suits the mood of the song and sounds very vintage to me, the second solo actually remembers me to his first solo album.
    As an artist, Gilmour is trying to re-invent his music and keep it fresh. ).
    It’s either Rattle that Lock or nothing… What do we want?

    • Bjorn says:

      Good points. Gilmour or not, what’s important to me is that the music reflects some enthusiasm and creativity. I like On an Island, but I think parts of the album sound forced. Rattle That Lock is not my cup of tea but I hear that he’s having fun. It will be interesting to hear the rest of the album.

  41. Jamie Wood says:

    I thought it sounded good, he seemed to be having fun with it! I’ll leave my judgement of the new music until the 5th of september when I see him at the Brighton Centre for the preview show!!!! :)

  42. Huy Tran says:

    I find it interesting to hear that people, even if they don’t like the song, like that David is enjoying himself. I guess the site is Gilmourish and we are all fans and like to see our idol in a good place.

    What I found interesting when I thought about all this, is that a lot of the records I love are born out of anguish and struggle. This is also true of many artist’s greatest albums. Bowie, Fleetwood Mac, arguably Pink Floyd, Back in Black (with the sad passing of Bon and emergence of Brian) to name a few.

    I’m not sure whether there is genuine mystique surrounding art created by artists who are struggling and in turmoil, or it’s human nature to like the drama and believe the art is better than it is.

    I wonder what everyone else thinks. Do you find that you happen to like the music or albums made by artist/groups when they are down in the dumps compared to when they are happy and everything is going fine?

    • Bjorn says:

      Perhaps there is some truth in that great art often comes from artists struggling but how about Atom Heart, Meddle? Floyd were a happy band at that point. What about Rubber Soul or Revolver? There are no rules when it comes to art. The danger, however, is that there is a fine line between constructive and destructive misery. A lot of artists, including Bowie, Peter Green, Waters etc have crossed that line. Perhaps Gilmour doesn’t have anything left to prove but do one always need to prove something? None of his solo albums are great pieces of art, at least not in the same vein as Dark Side, WYWH, Animals etc but I can hear, at least on some of the material, an artist that enjoy what he’s doing. That, to me, is just as inspiring as hearing Wall or Final Cut, which clearly comes from a disturbed mind…

  43. Lorenzo says:

    Hi Bjorn,
    let’s face reality we all would like to hear the next “Comfortably Numb” -like solo, but there won’t be any, anymore. David is a wealthy and famous musician in his 70s with less and less voice (you can clearly hear it) and with nothing to prove to the world. However I like the song, yes it’s a bit Chris Rea but the solos are nice although the final one could last a little longer. Let’s put it this way David is 69 now and he took 9 years to write another album, let’s accept what he still has to give us because i strongly doubt there will be another by the time he is 78 (happy to prove I was wrong here).
    Amen.
    Cheers
    Lorenzo

    • Mikael says:

      Somehow I think that David succeded in “re-writing” Comfortably Numb when recording On the turning away.
      Great song, beautiful melody and a mind-blowing solo.
      Just wondering why this piece of art is so underrated.

      • Lorenzo says:

        Well, not exactly the same thing, but yes the feeling is definitely as close as it can gets to Comfortably Numb, remember though, we are talking about year 1987, only 8 years away from the original thing…

      • DefJef says:

        Listen out for In Any Tongue on the new album. It starts just like a live version of Comfortably Numb and blisters away at the end just like it too. I end up singing the lyrics to Comfortably Numb when this track comes on and I can imagine a live audience getting quite excited when the opening chord is played in the belief they are about to hear they’re favourite Floyd track and then settle back into their seats when they realise their clanging error.

  44. Pete W. says:

    David Gilmour has given so much for so long a time, that he can pretty much do what he wants at this point. (In my opinion).
    The fact that he still finds things to inspire him to record, rather than sit back and just enjoy life, is good enough for me.
    Honestly, I wouldn’t be bothered if he released an album about how he prepares for a nap, as long as there is some guitar on it.

  45. Jérôme Labbé says:

    There is no doubt in my mind that David Gilmour is a musical genius, not so much of a lyrisist, his strenght is in his music. In that, he is the master. I have loved everything he has done except About face and that song. That was awful.

  46. Roger Sartori says:

    Well, I agree with you, Bjorn. It’s a good song but not what we expected from Gilmour. You say it right: it’s a radio song! Don’t like the guitar solos either. But it’s only one song we heard. Maybe there will be other more exciting songs on the album. Let’s wait for it. Apparently, mr. Gilmour would have lost his vibe?! I don’t know…

  47. Kris says:

    I think it’s decent, I think it’s a little generic for Gilmour and I’d expect there to be other tracks I’d enjoy a lot more, or at least I hope.

    In saying that he should just do what he wants to do, and he will. Even if it does upset the dim witted who buy his solo records and expect some sort of replication of the Pink Floyd sound. I personally would rather he contributed his own lyrics, I don’t really think Polly’s lyrics have enough about them to justify her doing all the lyrical content, that’s just me though.

    Bjorn are you attending any of his forthcoming concerts?

  48. Piotr says:

    Hey, that’s an awesome track IMO. Very catchy and lively. I’ve been expecting something toned down, meditative and drowning in reverb. And here we’ve got a joyful pop song. Sounds like a music of a younger man. Like it’s David from 80’s again. Unexpected!

    I agree that solos and cover art are mediocre, though.

  49. You’re spot on with this review Bjorn. Meandering solos with no hook. Great pop song and production. I like it though !! I hope there’s some heavier stuff on the album. Would love to hear some animals type solos. Not holding my breath though. More mellowed out now. 👍🏼👍🏼👍🏼 me too though …

  50. Crimson says:

    I listend to that song for about ten times because i was hoping it gets better – but it gets worse. The first Gilmour/Floyd song that I really don’t want to hear more often. It bothers me. Would be a great feature to publish the cd without that song ;-)

  51. Steve says:

    I like it! There is just something very new and refreshing about it. Of course maybe just my age and having grown up with the Floyd since, well WAY BACK. Well done Mr. Gilmour! I look forward to listening to the entire album. By the way $400.00 per ticket Damn guess I won’t be sharing that experience with my kids. At least they have had the chance to see B.B. and Bob Dylan.

    Peace
    Steve

  52. Steve says:

    Artist need to grow and reach out to new heights. Only our Muse can keep us moving in new directions. I am glad to see that David is still feeling that passion to explore new area’s. Good for him. I mean at this point he could certainly rest on his past accomplishments but, I applaud him for reaching out for something new. Who knows what this may bring in the future. His talents only get better and more refined with age. So many others slip into a nostalgia act while David explores new horizons. He owes us nothing. If this is a new musical adventure I for one am looking forward to it!

    Peace
    Steve

  53. Woz says:

    I like the song – it’s catchy and upbeat. Polly has turned in some rubbish lyrics for David (Louder Than Words…) but these are towards the better end of her spectrum. Sadly the two solos feel a little tossed off, without any effort on David’s part. Much like the Louder Than Words solo. It’s Gilmour-by-numbers, basic licks such as he might trot out if dragged unexpectedly onto a stage and handed a guitar to guest spot on a song without any rehearsal. And that’s the big disappointment for me, because I love David especially for his beautiful, melodic, inimitable solos.

    Considering that the most recent solos I’ve heard by David (LTW and RTL) have been a bit naff, I’m terrified that he’s losing his creative powers. I hope the rest of the album proves me totally wrong.

    Compare those two tracks to the solos in “On An Island”, “The Blue”, “Take A Breath” or “It’s What We Do” (which, on The Endless River appears to be a newly recorded take of the original 1993 solo which can be heard on Youtube). It’s hard not to feel a little underwhelmed by the lead work on LTW and RTL.

  54. Tom H says:

    I have to agree with those that say it’s very poppy and generic. More Polly lyrics, background singers, etc. The sound sampling is just kind of strange. I don’t really like it much, unfortunately!

    The one thing I do like is the guitar tone, it’s back to a bit more raw of a sound. You can get a feel for the fingerwork, and there is some nice ghosting there. I just wish there was more “hook” in the solos. On An Island had a good one. But my favorite song on that album was actually Red Sky At Night, because I thought he played it just like he plays a good guitar part. Lots of atmosphere, and his famous bends and warbles somehow coming out better in a sax part than his current guitar work.

    I’m hoping for some better songs throughout the album. This particular one seems like a strange choice for a first release and album title. Either way I’m going to one of the NY shows, and look forward to seeing him for live for the first (and hopefully not last) time!

  55. Rich Stubbings says:

    As a Floyd fan from the get-go end of 60s I have to say that in my ears Dave is incapable of doing anything wrong. As you say he has reached that enviable stage where he can do what he damn well pleases and it will always sound good. All discussion about production and quality of solos is just splitting hairs (and he doesn’t have many of those left to split). The song grabbed me by my short and curly ones from the jingle to the chains. My respect for him as a musician and humble superstar has just skyrocketed! Can’t wait for the new Album!

  56. Woz says:

    Oh sure, I agree to an extent with what you say. But David has set his own bar so damn high that when something seems like it hasn’t quite made it over, many of us feel a bit of disappointment. New Gilmour solos are a rare event – we always hope to have our socks knocked off.

  57. Kent says:

    I lived in France for 8 years. Hearing that SNCF 4-note riff again and again feels downright bizarre. I had to check to see if I had started the correct video.
    The rest of the song is pretty middle-of-the-road. I don’t find it inspiring upon first listening. The man has earned the right to do whatever he damn well pleases at this point, but I also have the right of not listening.

  58. Mateusz says:

    Have you listened to the “5AM” teaser on YT? For me it sounds amazing.

    “Rattle That Lock” reminds me some ’80s music with a lot of pop flavor. This SNCF sample annoys me a little. Solos are predictible. In my opinion first solo suits that song more than the second one. I think that “R.T.L.” is intended to be the radio single…

    Anyway – it’s his album and, as we know David, it’s not made to be a commercial success but it’s the reflection of his current emotions.

    “On An Island” is very “laid back” album. It reminds me of lying on the greek harbour in the middle of the night. I expect “Rattle That Lock” to be more powerful, energetic.

    I also want to recommend to you polish band “Delikatesy” (http://www.delikatesy2013.pl), especially their album “3/2013″. I think it’s great progressive piece of music with interesting and intriguing production. If you want a copy of their album I can send one to you ;-)

  59. Mario Haussmann says:

    David is a God. Period. This tune is a “Take a Breath” sort of thing to me, what makes perfectly sense as a single… radio friendly but still very substancial… the album will be secondary to me, I looove all of the live stuff; this is what David stands for in my eyes. Hopefully we will have a new live album of the tour!!!
    I’ve actually cried when I could get tickets for my wife and me (Oberhausen, Germany)!!!
    We shouldn’t measure in any way whatever David is ever doing, whe should thank the universe for bringing him on stage once more. A dream comes true. Enjoy

  60. Rafael says:

    By the board picture it seems to me Dave has a Seymour Duncan Twin Tube pedal on his board now.

  61. Crimson says:

    I must admit that I am not a person who glorifies every litte piece of Gilmours work (btw. Long time ago Durans LeBon said that fans are very strange because he could even fart on stage and they would cheer in enthusiasm).

    David is not god. David is an old man who did some great work long time ago. But i was disappointed listening to some parts of OAI and the pre-released tracks from Rattle That Lock (title-song, today, a boat lies waiting).

    And I am very happy not have bought a ticket for his upcoming tour. If you look at the set-list from Brighton … Wish You Were Here, Money, Us And Them, High Hopes, Shine On You Crazy Diamond, Sorrow, Run Like Hell, Time, Breathe (reprise), Comfortably Numb mixed with some new songs.
    How often did we hear those songs on original cd, followed by live-cd, followed by next live-cd, … I don’t want to hear them again anymore.

    Why are there no surprising songs (like the highlight of last tour – Echoes (which Gilmour can’t play anymore because of Wrights death) or Fat Old Sun).

    Sure, he has an incredible sound – like hundreds of other guitar players too. Sorry, but I think the times and pieces, why we like Gilmour so much, have been long time ago.

    • Gabe (boonexy) says:

      Alright, you can have your opinion, but once you got like “like hundreds of other guitarists sound” it was clear you have no clue what you are saying. It’s true its a good thing you didn’t buy a ticket, it sounds like your ear couldn’t distinguish a cats meow from a dog bark. I agree the list you mentioned is unsurprising, but what David does different every time with those songs is the point, and being that it’s impossible almost to see this guy, delivering that list is obvious. I’m sorry but you seem to be completely ignorant to circumstance, or even the pink Floyd canon in general. “Did some good stuff a long time ago” is one of the most stupid characterizations of a career as unique as his I have ever heard. So yes, you are right, you shouldnt be at any of his concerts.

      • Jon Brook says:

        Agree 100% ..oi Crimson ya troll ..lets here your fantastic guitar playing…

      • Crimson says:

        Oops. Did I offend you? What I wanted to say is that there are a lot of good guitar players out there and a lot of them have a good sound too. Not just Mr. Gilmour.

        And yes, i do not adore Gilmour. He is and has always been a good musician – but he is not god. And for me his (I know, Floyds …) best pieces have been atom heart mother, meddle, obscured by clouds, dark side and wish you were here.

        • No offense taken, just thought I should give you a wake-up call on your terrible ear and music critiquing skills.

          • Bjorn says:

            OK, guys… thanks a lot for commenting on this thread. Obviously a lot of different opinions and feelings towards David’s new songs but let’s try to keep it civil. Thanks! – Bjorn

        • Pete W. says:

          Ya know, Everybody is entitled to their opinion, and that cool and all, but…. You come onto a website dedicated to Gilmour and his guitar playing, and make that comment. That is a classic troll move.
          (and here I am stupidly playing along.)

    • Woz says:

      Crimson, I respect your right to an opinion, any opinion. But you turn up on a site that’s dedicated to the glorification of David Gilmour, populated by people who worship the ground he stands on, and proceed to tell us that he’s not worthy? You’re sailing pretty close to the troll wind, my friend.

      • Crimson says:

        Sorry, but I never said that Mr. Gilmour is a bad musician or something like that. I just wanted to note that I don’t think that his late work is as good as the pieces he did before. A song like RTL or The Girl in the Yellow Dress would not get any attention if it would not have been done by the voice and guitar of pink floyd. And I did not say that he has a bad sound. Of course it is good. But today a lot of guitar players have a specific good sound, Mark Knopfler for example or Severin Trogbacher. I even think that a p90-Gibson sounds incredible played through an old bassman with no additional pedals.

        • So what? People that suck at guitar have a “specific sound”. You aren’t saying anything of any substance. You are in a severe minority with your opinion, which you are entitled to, as I am entitled to say is nonsensical.

          • Crimson says:

            Ob boy. I think you don’t want to understand. No, you just don’t understand.
            Maybe I have bad ears. Maybe my taste in music is bad – but to my ears RTL (title track), Today and The Girl In the Yellow Dress are just pieces of shit. And I am not the only one who thinks that way.
            Maybe my english is not as good as yours … but it is you who isn’t saying anything of any substance. Maybe you think you are the only authority in good music but …

  62. Jon Brook says:

    QUOTE “Why are there no surprising songs (like the highlight of last tour – Echoes (which Gilmour can’t play anymore because of Wrights death) or Fat Old Sun).”

    Fat Old Sun WAS played at Brighton??

    • Crimson says:

      Indeed. But Fat Old Sun was a surprising song (not played live for a long time) on last tour. There would be so many other songs.

    • stéphane says:

      Hi,
      Yes Fat Old Sun was played in Brighton with a good new arrangement just before the solo. As usual, the guitar solo was amazing.
      I was in the concert, it was great for me because it was played in an auditorium with a fantastic sound, I was at the 12th row, front of the stage and I never could have thought that one day, I could have seen his fingers on his guitar so easily live, it was magical.
      The set list has divided some fans, if I hadn’t seen the show, I could have said ‘No regret because no surprise …’ but I can say now that It’s completely the opposite, the live concerts are hopeful.

  63. Steve says:

    I saw him in 2006, at Radio City, with Rick. THAT was the tour to see. Small venue, Echoes, amen. Goodnight!

  64. tomas says:

    Hi everybody, Im quite a big fan of DG music, especially i love his solo albums from 1978 and 2006 …and a lot of Pinkfloyd songs too, of course….have a kind of black strat at home, trying to learn some of his solos etc … :-) ….unfortunatelly …..what i,ve heard from RTL album ….the title track and Today …….easily …dont like it much …both with sound close to some mainstream hits! where is his magic guitar? ….where are those specific music arranges making his previous music different from lots of that crap we can hear fourty times a day on a radio ….? … hope the whole album and some time will give us (or just me?) an answer …….i remember releasing On an Island in 2006, immediately went to buy a CD….but when I heard that strange and aseptic sound I just was dissapointed and decided not to buy (and still dont like it).. ……like when guys just spent too much time in the studio, too much of echoes, choirs, everything ….3 years later I saw DVD on an island from albert hall …..and it was like a bomb to me …..just fantastic, what a sound!!! ……..so I still believe there is chance for RTL album :-) …. cheers, tomas, prague

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