• Delicate Sound of Thunder 25th anniversary


    This November marks the 25th anniversary for Pink Floyd’s Delicate Sound of Thunder. Loved by some and hated by others the live album is a great testimonial of a strong comeback and David’s late 80s tones. Let’s dig into the history and sound of this album!

    Delicate Sound of Thunder was recorded over five nights in August 1988 at Nassau Coliseum (NY, USA). The album was released on CD, LP and cassette (remember those?) November 22 1988. As live albums mostly go it was no huge success but rather a nice souvenir for the fans. The release also saw Pink Floyd’s first filmed (not counting Live at Pompeii) concert being released on VHS.

    Abandoned live album

    The initial plans were to release the live album and film a year earlier. In early November 1987, a show in Atlanta, USA was recorded and filmed but after seeing the result the band decided they needed more time to find their old form. It was a vice decision as the bootleg version of the show reveals a band that was clearly out of shape and sounded rather bad. Some of the songs however, ended up as official B-sides and single versions, including On the Turning Away and One Slip. Watch the concert here.

    The setlist at the time featured the whole Momentary Lapse of Reason album but A New Machine (part 1 & 2) and Terminal Frost was omitted completely due to time constrictions. Signs of Life and One Slip was included on the VHS version but not the album.

    Pink Floyd VS Roger Waters

    blog_dsot_davidgilmourDelicate Sound of Thunder is very much a statement and a clear message that Pink Floyd is alive and well without Roger Waters. Prior to the tour, Gilmour and Mason won the rights to carry on with the band and name and while Waters toured smaller venues with his Radio Kaos, Pink Floyd played the stadium next door. Gilmour and Mason had a lot at stake, including their houses, and the success with Momentary and the tour was a matter of to be or not to be.

    Some of the old Floyd tunes, including Comfortably Numb, was performed similar to how they sounded during the 1984 About Face tour. David was now in charge and he was free to do whatever he wanted with the material. They also featured additional musicians on stage, which again was very much in line with David’s 1984 tour but also because Nick and Rick was too much out of shape to handle their own parts. They soon got comfortable with performing live again though and by 1988 and the recording of Delicate Sound of Thunder, they was very much in charge of the drums and keyboards respectively.

    Delicate VS Pulse

    Delicate Sound of Thunder was one of my first encounters with Pink Floyd. I was twelve at the time and a die hard Kiss fan. I knew some of their songs from before but this was my first full length album. I remember thinking “this can’t possibly be a live recording… it’s just too perfect!” An experienced observation by a twelve year old perhaps but I was already used to shitty Kiss bootlegs and new how bad a band could sound.

    blog_delicate_stageDelicate Sound of Thunder is no doubt a dated recording. It’s got the 80s sound all over it and the reverb drenched and gated drums sound a bit silly. Still, there’s something haunting and mysterious about it. Perhaps I’m a bit biased and still that twelve year old every time I listen to it but it’s something more than just a live recording. It’s an illusion of a larger than life show and band.

    But isn’t Pulse a way better live album? Well, if you ask me, I have to answer both yes and no. The sound on Pulse is better – it’s not nearly as dated – and it’s also a better performance. They sound more relaxed and comfortable with being on stage and with the material. David’s guitar tones and playing is overall better. Still, I think songs like On the Turning Away from Delicate feature one of David’s finest solos and tones. Yet Another Movie sounds insanely huge (one of my all time favourite Floyd tunes) and Us and Them is perhaps one of the most beautiful versions I’ve heard. Sure, PULSE is an overall better album but Delicate has some very special moments.

    David’s tone

    A lot of fans really hate David’s 80s tones and Delicate in particular. Perhaps it’s because they’re the ones that resemble his 70s tones the least. The whole 1987-90 tour was a transition period in terms of his rig from being typically 80s to a more vintage approach, perhaps to better replicate his old tones.

    The initial 1987 setup was surprisingly basic, consisting of only a handful of pedals and the Fender Twin heads. There are few reliable sources from this era but David used the Boss HM2 and Mesa Boogie MkIII head combo which was the main setup for the Momentary album and Big Muff ram’s head for lead tones. All of the overdrive tones were done with just the Mesa – possibly boosted by a TC booster.

    David's 1987 touring rig. Although the rig featured a few more effects during the late 1988 part of the tour and the recording of Delicate Sound of Thunder, he mostly used the same pedals and effects.

    David’s 1987 touring rig. Although the rig featured a few more effects during the late 1988 part of the tour and the recording of Delicate Sound of Thunder, he mostly used the same pedals and effects as shown here.

    By 1988, the Fender Twin heads were replaced by Hiwatt DR103s although these had the preamp stage bypassed and the old Alembic F2b preamp, which was based on a Fender Dual Showman circuit, acted as the main preamp for the rig. The tones were still based on the 1987 setup but a few more pedals were added to expand the tonal variety. See the full list of pedals, guitars and amps in the David Gilmour Gear Guide.

    The essence of David’s Delicate tones is reallty the Fender Strat, with the EMG SA pickups featuring the SPC and EXG active tone controls. During the first months of the tour in 1987 David preferred the cream coloured 1983 ’57 reissue that he’d used for most of the About Face tour. However and apparently because he didn’t care for the colour, by 1988 he favoured the red – a relationship that would last for two decades. Like most guitarists in the 80s David also based all his sounds heavily on chorus and the Boss CE2. This however was the only modulation he used for the tour.

    Replicating David’s Delicate tones

    David’s 1988 stage rig was fairly simple and he only used a couple of effects for each song (most of the pedals were duplicates set up for different applications). Although any guitar would do the job it’s difficult to get authentic tones without a Stratocaster and the EMG DG20 pickups. That slightly processed tone and mid range boost is all over the album. See the Buyer’s Gear Guide – Guitars for some tips on suitable models. Amp wise, you could go with a clean and bright sounding Fender like the Twin or Deluxe but a Hiwatt or something similar, like the Laney Cub series for your bedroom, hits the mark.

    Effectswise you would need a Big Muff for most of the lead tones. You could go for a RAT, especially if your amp’s having a hard time dealing with Muffs, but only a Big Muff will get you those smooth and sustained tones on On the Turning Away, Sorrow, Comfortably Numb etc. David used the ram’s head and a Pete Cornish P2 and I recommend either a ram’s head, like the Electronic Pig Hoof or a P2/Sovtek-ish one like the TopTone DG1, Blackout Effectors Musket or, for the tight budget, the stock EHX Bass Muff.

    For overdrives I recommend something transparent, yet fairly bright and aggressive, like the Boss BD2 or the Fulltone OCD. Pedals like the Powerboost (and similar clones) would sound too vintage and the Tube Driver a bit too soft and tube-ish, although it does do the job.

    To top it off for the right flavour, you really need to drench everything with analog chorus. If you can’t get your hands on the original Boss CE2, then check out the BYOC Analog Chorus, CostaLab Chorus Lab or, for the tight budget, the Mooer Chorus Ensemble.

    You’ll need a digital delay for those pristine and accurate repeats. David used the TC Electronics TC-2290 system for most of the songs and the current TC Nova Delay allows you cover all the settings you need with multiple presets. Check out the budget version, the TC Repeater and the Boss DD20 as well. If you want something a bit more basic and pedal board friendly, then check out the excellent TC Flashback or simply a Boss DD3/7.

    Last, a compressor is optional but David did employ the Boss CS2 for most of his tones. Its smooth and transparent compression adds sustain to your leads and warmth to the cleans.

    It’s always fun to look back at these albums and realize that they’ve become a huge part of your life. That’s the beauty of music and it’s incredibly inspiring. Please feel free to share your thoughts about Delicate Sound of Thunder with us!

49 Responsesso far.

  1. Erik says:

    My fav “Comfortably Numb solo”. That being said what in the world is Gilmour doing/using in the CN solo at 7:38 – 8:05. Has driven me crazy for years. Anyone know ?

  2. Lionheart says:

    Thanks Björn for an excellent and very informative article! A question regarding the wonderful solo in Comfortably Numb.

    Is the solo a combination of parts from several nights at Nassau Coliseum? Or just from one night/the exact solo as it happened? If so which concert? Is an audience recording available so one can compare?

    • Bjorn says:

      They recorded 5 nights so I’m sure at least some of the solos are cut and paste from different nights, although I’m not sure if that applies to CN. I haven’t really collected the 80s era bootlegs so I’m not sure what’s available.

      • slbjonny says:

        The Comfortably Numb version is from 23rd August, the solo was edited (cutted) but the performance is from that day entirely! You can check out on Youtube and listen yourself!

  3. pickpink says:

    I like how songs from Momentary were played, but older ones not so much. The only rendition of classic that I like is Comf numb. I think Pulse performance of the older stuff was much more accurate and closer to the original. DSOT missed many details of the studio recordings. Mostly, I don’t like how keyboards were almost missed out, also drums are annoying a bit. But this album brings nostalgia all the time, because just as you I’ve started with it when I was young.

  4. shane says:

    There is no love or hate relationships, if you ‘hate’ anything Gilmour or Floyd related, you’re just a douche :), just my 5 cents

    [Hmmm… Not sure if being uncritical is a healthy way to look at art and music… – Bjorn]

  5. Cailean Wilson says:

    Sorrow is my favourite Floyd track and the dsot my favourite era for it. I think you have been looking at my rig!!!! lol which goes Red Strat EMG-
    Pigtronix Philosopher’s Tone-Dave9Rock GM1- SUF CWM-Mooer Black secret(Rat)-Boss MT2-Mooer Hustle Drive(OCD)-Boss GE7-Mooer Trelicopter-Mooer Orange 90-Mooer Electric Lady-Mooer Ensemble King(CE2)-TC Flashback(2290)-Hiwatt

    A budget setup I grant you, but covers a lot of ground,and has several of the pedals you mentioned only misses a Ram Muff really to take the sounds through from Animals to Gdansk, but no board space.

    [Nice rig! – Bjorn]

  6. Denis says:

    Hi Bjorn, very much off topic here… The is a picture in the gallery section by Raphael (second row, 13th line down, picture is on left to the one that has a strat on top of guitar case with name PINK FLOYD LONDON). Do you have any idea what are does tubes with key notes (keyboard like) on them? Is it an instrument? Thanks, love your site.

    [Seems like some synth or bass pedals. Roland perhaps or Moog. A lot of bands, including Pink Floyd, Genesis, Yes etc, used these in the 70s to create drone sounds. – Bjorn]

  7. Daniel Krause says:

    Hi Bjorn,

    Very nice article. I’ve always been a fan of this album.
    I like the vibe it has. You can hear mistakes, which I like…it’s live…we all make mistakes, right? ;-) It somehow has this raw feeling to it and it sounds huge! Like you said…Yet another movie…soo big! Love that track too.
    PULSE was a great album, but I tend to listen to DSOT much more often.

    Have a good one tonight…and watch the fingers if you’re gonna play with fireworks!
    Don’t want to cancel the trip to the Airbag show ;-)

    Cheers from Holland

    [I’ll be careful… promise :) Happy new year! – Bjorn]

  8. Alex says:

    Hi Bjorn,

    Any idea what tracks David used the Mesa head & Boss HM2 on?

    Thanks, Great Site!

    [Most of the About Face and Momentary albums. For Delicate it’s a bit hard to tell as he could have used the Muff but my guess is On the Turning Away and possibly the solos on Sorrow. – Bjorn]

  9. Hans-Peter says:


    on December 31. German Television 3SAT broadcasted parts from “A Delicate Sound of Thunder”.

    merry christmas & and happy new year!

  10. David says:

    hello there bjorn! well christmas are ahead and i have some plans for it hehe… First i am building a handmade tele from Animals-Wall period, which pickups would fit better for that era? Second, i´m a very big fan of the animals and David Gilmour´78 tones so i really thought of getting a DiMarz. FS-1 on my strat, the question is, Will i still nail those Pompeii, Dark Side and Wish You “gilmourish” sound with it? because if not i´ll stick to my fenders CS´69 for now. well Third and last, like always, im having a hard time trying to find a Proper Colorsound Powerboost clone, so Which one of these three would you recommend? 1: handmade Tube Driver clone (same as the BK except paying for the trademark LOL) 2: Mooer Flex Boost. 3: Mooer Pure Boost. (if you know a better and easily obtainable clone make me know!!) Bjorn thanks for your support like always. and later, if i can, i´ll share more tracks that i record.

    [Hi David! Some nice vintage low output pickups would fit the Animals Tele nicely. Personally I prefer something slightly hotter and got some custom wounds at around 7.2k. There are lots of models to choose from but I’d keep away for those that are too mild and too hot. In regards to the booster, I really don’t think you can get closer to the original Colorsound and David’s overdrive tones on Animals that with the Buffalo Powerbooster. Spot on! – Bjorn]

  11. Keith says:

    Hey Bjorn, and the whole Gilmourish community, I think y’all may be wondering if I’m dead, due to the lack of my constant posts. Just a post to say I’m alive, and very well, just very busy getting ready for Christmas, and the launch of Uncle Ebb’s Guitar Company next month. Also wanted to mention the Castledine V2, which is based mostly on tbe 1973 Violet Ram’s head Muff, with a great ear doing his best to duplicate what he hears in David’s #1 Muff. I will be receiving #1 of a small 15 pedal initial run sometime this week, along with his ’66-’67 Italian made Vox Wah clone drop in kit, modded with a reversing switch, that also turns a Fuzz friendly output buffer off when in “Seagull” mode. Castledine is an artist with a great ear, and is the builder of the 18 volt Original Colorsound Power Boost Reissue. He is IMO a pure genius when it comes to Wahs, and any vintage Fuzz, and from the looks of it, and opinions from Marc Skreddy, and others, has built a very nice pedal, judging from his technical information, and photos of the beautiful circuit work. So, I think that sufficiently long enough to make up for my absence. Please check out the Castledine guitar effects website to see his stock line up, and links to talk custom orders, as the V2 was originally a custom order by Will Bowden, who turned the project over to me, and Stu was humble enough to give me final say on the name, graphics, and knobs, and it’s a beautiful Muff, inside and out. A clip will be forthcoming!
    Peace on earth, goodwill to all. Merry Christmas, Keith the “POSTECUTIONER”

  12. Juan Manuel says:

    Much thanks Bjorn for sharing!! I found your answer very detailed, i knew very few from this particular period about David´s gear. I totally agree about the eq facts, the mid range is very particular in this period. As i posted before, what attracts me the most about this live record is David´s playing and soloing. His phrasing is amazing!!
    Great great site! Greetings!!

    [Cheers, Juan! – Bjorn]

  13. Freddie says:

    Hi Bjorn! I’m just wondering which delay would be good for the Dark Side Of The Moon/Pompeii time period. My price range is around £150. Thank you. :)

    Also, just curious, is there going to be a buyers gear guide for pedals?
    Thanks again.

    [Check out the MXR Carbon Copy, MojoHand Recoil or, if your budget allows it, the Catalinbread Echorec. – Bjorn]

  14. Derek says:

    Wow. Anxiously waiting the release of Momentary, I was strongly shocked. I had a hard time to appreciate the work. My references were Live at Pompei, Dark Side, Meddle, Wish etc… The modern sound, 80’s, was disappointing.
    Still went to the shows, bought the records and got to widen my horizons.
    Funny to hear that it was the door to Floyd music for many since I could not at that time realize how good it was.

  15. David says:

    Hello Bjorn!!! well at last the wait gave off and i finally wanted to share with you some recording i made, but be aware that i am an amateur recorder so i do not have the patience to come up with something reeeally good, but come on listen to them and tell me your opinion.
    (both recordings were made with your backing tracks, thanks for that :D) i made this with my simple home setup: fender strat-Zoom G1XN-Vintage Deluxe Electric Mistress-Vox AC15 all tube.

    [Thanks a lot for sharing, David! Nice tone and playing! – Bjorn]

  16. Siddharth says:

    ‘Money’ from ‘delicate sound of thunder’ was kicka–…The best possible version if Money actually…

  17. swedemats says:

    I think Time is a very good version on this album, raw and powerful as they had something to prove again.

  18. Mark Gardiner says:

    I always thought the Red Strat looked a slightly different on that Atlanta video…it may just be the lighting but it looks like it has a different (black) string tree….maybe a Graphtec one?

    [Hard to tell. It’s the same guitar as used on the Division Bell tour, the red #1, but he might have done some minor mods to it. – Bjorn]

  19. Juan Manuel says:

    Wow! Great memories…i don’t know how you feel about it but i think that David’s tones on this particular period are just impossible to recreate. You can sense that there´s a Big Muff in his lead tones, but it doesn’t sound like one. His tones are pretty sharp and bright but with lots of bass as well. And chorus…those were the 80’s…beautiful. I love PULSE as well, but his distorted sound in the 80’s was unique.
    In PULSE you can hear that there’s a lot going on, for example, when you listen to Sorrow or Comfortably Numb. The best sounding Gilmour. But i feel that in the 80´s his playing was outstanding and pretty cool phrasings can be heard on his solos. He was in really good shape! It was the sessions period, right? It was a good exercise for him it seems!
    Excellent site and articles!! Greatings from Argentina!

    [His lead tones on Delicate is mostly the Muff with a GE7 and chorus but he also used the Alembic preamp, which added a bit of that Fender flavour. It’s also about how the amps were mic’ed and how the tones were fed through the PA system. Sounds like they went for a edgier tone with less lower mid range but a considerable amount of boost around 1k-3kHz. Some of the tones, like On the Turning Away is the Boss HM2, which has a lot more high end and presence compared to the Muff. On PULSE, he mostly used the Sovtek Big Muff, which has a much darker tone and lots of mid range. The rotating speakers, which he didn’t use on Delicate, also makes the sound softer. This time they also went for a more mellow tone with more mid range than before and a warmer ambience on the whole mix. – Bjorn]

  20. Joshj says:

    This album holds a very special place in my heart. It was me and my now wife’s soundtrack when we were just dating. Seeing someone play that kind of music with so many watts behind it..just …man, awsome. I mean its not like other bands of the 80s, who just played loud and fast. This was single, haunting notes being blasted out to a audience of thousands. As David once said,”Its as if you could lean back and the sound would keep you from falling”. This performance, to me, is the epitomy of that idea. And ever since I saw it, I dreamed of playing a guitar with that kind of power behind it. So powerfull that it wasnt nessecary to play a million notes a second or to slam meaningless power chords in order to sound huge. Those songs are celestial in every sense of the word. Hey Bjorn, I was wondering what songs/stuff david would use the boss Hm2. I just wanna get an idea of how he made it sound…Thanks for writing an article of my favorite Floyd Album of all time. People who dislike this era are missing the point. david took the technology of the time, and made it his own. They used those tools alot better then anyone else at the time, In my opinion.

    [Thanks for sharing, Josh! I think David mainly used the Muff and the HM2 for only a couple of songs including On the Turning Away and Terminal Frost… as he did on Momentary. He might have ditched the HM2 all together as the tour progressed though… – Bjorn]

  21. Gabriel says:

    Hi Bjorn! Great article!

    As you said, Delicate is a “love it- hate it” affair. For me it’s both, I used to hate it sometimes but now I’ve learned to find the beauty on it.
    I discovered Pink Floyd when I was 8 or 9 years old, one of the shows of the Momentary tour was broadcasted live on the entire globe (I believe now that it was the Venice concert, but I’m not so sure, 20 years of beer drinkin killed some memories) and it was a new world for me.
    As time passed by and get to know the earlier work of the band I started to hate Momentary and Delicate. The live album sounds uninspired at moments, mostly on the old songs like ABITW, Money, Time and Run Like Hell.
    But as you said, it was a very important business for the band, they were trying to get rid of Roger’s ghost and some of them were totally out of shape. That’s why I think Bell and Pulse stand up way higher.
    And the 80’s thing… well, the album has the “80’s curse” all over it. I believe that none of the 60’s-70’s artist could handle that infamous decade, they had no idea what to do, and that affected their music and even thier image. That’s something that my brother-in-law and I like to call the “Rock-in-jacket” era. What the hell was that trend of everyone wearing black jackets over white t-shirts and sports???? David, Roger, Clapton, Collins, everyone suffered that curse named Rock-in-jacket.
    But after all it’s a nice picture of what the band had to struggle to endure in a world that was totally different. The albums are not that bad, and they are a part of our lives, and as I’m growing older I’m starting to look back at those days quite a lot.


    [Thanks for sharing, Gabriel! – Bjorn]

  22. guitatronik says:

    Hi Bjorn,

    Thanks for reminding me of this album. I must obtain the CD version. It was my first encounter with Pink Floyd as well!

    I might sound weird but for me this is so much better than Pulse. It might get even weirder if I admit, that I hate Pulse all the way and consider it the worse Floyd’s album (well, maybe apart from “The Final Cut”). It bores me as hell and sounds like a polished, unengaging elevator music. At the same time DSoT is fun, crisp, dark, haunting (very accurate epithet!), one of the kind. But I generally don’t have any aversion towards the 80’s sound, so maybe that’s the reason.


    [Hi Piotr! Well, as I don’t really agree with PULSE being a shitty album (and certainly not Final Cut!!!!!) I see your point. Delicate has a nerve and the overall sound, as I’ve mentioned in the feature, seems to fit the music better than on PULSE. I love David’s PULSE tones and there are some very nice versions of some of the songs but it’s a more traditional live album compared to Delicate and more polished and mixed, I guess. – Bjorn]

  23. Fernando says:


    Yes I do.

  24. Oliver says:


    I think you are talking about Rachel Fury as one of the three background singers, right? I felt in love with her …

    Rachel was screaming like the best Muff of all times during Great Gig…. :) Probably an idea to name a new Muff clone?



    [LOL! I hope she doesn’t read this :) – Bjorn]

  25. Scooter says:

    Hi Bjorn great article can’t believe it’s been that long ago
    I got to see the MLOR tour twice once indoors an once outdoor stadium both were great shows however sonically the indoor venue was one of the best I’ve ever heard live David’s sound was awesome indoors
    I also saw the Pulse tour twice both shows were outstanding also. What great memories I’m so glad That Gilmour /PinkFloyd did these tours as I missed seeing the other original lineup in the 70’s tours ( had a chance to see 77 tour but my boss said if I took off work to go I was fired in retrospect I should gave quit and gone anyway ) ;(

  26. Gareth says:

    Hi Bjorn,

    When DSOTM had its 40th anniversery there was some amazing live material released in those “emmersion” sets.. I have got to ask the question because of all people you would be the best to ask.. Do you think its wishful thinking to think something similar may be released for Animals or WYWH 40th anniversaries?…. I still can’t believe that one of the biggest bands in the world didn’t have some decent (above the bootleg benchmark) professionally recorded/mastered live albums of that 74-78 period and some decent footage! Would love to see something from the in the flesh tour in high definition like pompei was!!

    [There was live material on the WYWH immersion box – a few songs from the Wembley 1974 show with early versions of Shine On, Dogs etc. There was no tour to support WYWH so what you have are the early DSotM versions and of course the 1977 versions as they performed the whole album on the 1977 tour. The initial plans for the Floyd remasters was to release a bunch of live material but they ditched those plans. Possibly due to rights but I’m sure it would have both cost and taken too much time to remaster all of the bootlegs. I think the 1977 Munich show was supposed to be featured on Animals, which indicates that the band has some sources. Still, I don’t think they have much and certainly not many left over songs. – Bjorn]

  27. Andy Mckay says:

    Hi Bjorn,

    I confess DSoT has languished somewhere near the back of my PF collection, but it certainly deserves a re-listen, perhaps tonight?
    The beer is cold, the pre-amp gently warmed, as I slip the precious vinyl from it’s protective sleeve…


    Best wishes mate, oh and TGSoE is epic! Thank the band for signing. :@)

    [Thanks Andy! – Bjorn]

  28. Matteo says:

    Hi Bjorn,

    Your comment: “Perhaps I’m a bit biased and still that twelve year old every time I listen to it but it’s something more than just a live recording. It’s an illusion of a larger than life show and band.”
    is exactly what I feel about “Is There Anybody Out There, The Wall Live 1980-81”; the potential to set a mood and become an experience, rather than simply a live record. Probably this is due to the nature of the wall show, anyhow I find it quite magical and it’s a serious contender for my personal favourite Floyd live album. Not to mention those swirly Mistress + RA200 tones from David…you get my drift ;)
    For different reasons I enjoy much more listening to “Is there anybody…” than to the original studio record. And that also could be due to the nature of the wall show, it needs the audience and the live context to work completely.

    Anyway talking about Delicate Sound of Thunder is a record I’m not so familiar with, from what I’ve heard I find it more genuine than Pulse, which is great, but so overprocessed and, (don’t kill me people) sterile in some points, having something like a “live in the studio” feeling.
    I know, I know, Shine On is killer and so is Comfortably Numb (I was literally widemouthed the first time I saw the mirror flower thing with the waving part of the solos raging around earls court) and it definitely has lots of other awesome parts.

    We need to make clear that for sure Pulse has better material on it. You get the whole dark side of the moon set and songs like High Hopes and great tunes from Division bell, which are so much interesting than the 80’s stuff on Momentary Lapse (not a big fan).

    PS. do you think they will ever release a live dvd for “Is there anybody out there?”, that would be great! :D

    See ya


    [Tehy filmed a few shows in 1981 for the intent of using some of the material in the Wall movie but obviously they abandoned that. The material is there and most of it has been released on bootlegs. Not sure the quality is good enough for a full DVD but who knows. – Bjorn]

  29. Fernando says:

    Thank you Bjorn. I think that Delicate Sound of Thunder introduced Pink Floyd to a new generation of fans. Notwithstanding that some parts are notoriously edited (On the Turning Away, Comfortably Numb and Run Like Hell), it was, for me, 13 at the time, the best live album ever. Also the VHS version elevated the “Red Strat” to its legendary status, and my personal favorite, although I rather the sound of the Black Strat. Also the “flirting” between David Gilmour and Rachel Fury (gotta love her) during Money is priceless!!!. Bjorn, any recommendation to get the tone of the Money solos?

    Delicate Sound of Thunder may sound a little bit dated, nevertheless I would love to see an official DVD/Bue Ray release, with the full performances of the shows of that era.

    [Rachel Fury… I think David used the ram’s head Big Muff for Money. Hard to tell for sure but I think it’s a Muff you’re hearing possibly boosted by a TC booster and/or GE7. Add a bit of analog chorus and delay and you’re there. – Bjorn]

  30. Bender Rodriguez says:

    I had 17. To me Pink Floyd was a dark band, and a darker album (the wall), wich i,ve never listened complete. A mate , in highschool’s canteen played the cassette, WYWH, and it caught me until today. I looked to the picture in the credits, David Gilmour, looked like Sonny Crocket !:-) whith that red guitar, those laser lights…then i started to listen PF, from late to the early. Anything beated me so as first notes of WYWH and solo on Comfortably numb.
    well done Bjorn!

    [Thanks for sharing! – Bjorn]

  31. xvince1 says:

    “Still, there’s something haunting and mysterious about it.”

    “Yet Another Movie sounds insanely huge (one of my all time favourite Floyd tunes)”

    Just a massive thank’s for that… ;-)

    [Yes, about time Yet Another Movie gets some praise! – Bjorn]

  32. Luca says:

    It’s a jump back in ’88 that brought me to the day I decided to start playing guitar! I was 14 teen and a friend of mine gave me two audio cassette (yes I remember that stuff well!) dubbed from the vynil of DST that I keep at my parent’s house till today… My father bought me the cheapest classic guitar for a very beginner in the music shop near my home. When in the summer of 1989 the television broadcast the PF show in Venice (it was 15th july 1989). I made the decision, I need an electric guitar! The show was impressive on the lagoon with the lights and the guitar that screamed, on the turning away, learning to fly were my favourite songs for years!!

    Great article as always, Bjorn!


    [Thanks for sharing! – Bjorn]

  33. Kenny says:

    Blu Ray Please! Wonderful!

  34. Joseph says:

    Delicate Sound of Thunder was also very special to me, growing up. When David hits that first Bminor chord at the beginning of Comfortably Numb, I always get goosebumps! His tone is simply fantastic.

  35. Alan says:

    You hit the nail on the head with this article! I especially agree with the comment of exactly how 80’s the album is (even the swooping cameras!) but it is indeed a good album! Great article Bjorn!

    [Thanks! – Bjorn]

  36. Antonio says:

    I really love the tone of delicate sounds of thunder, it drove me in a fantastic world of inspiration, power of expression, and perfection I never heard before. The tecnicians surely made their part of work, but it remains for me a reference point in the world of live music.
    A rare pearl

    Bye bye

  37. Brad Roller says:

    Ironic you did this article because I have been using my red strat with EMGs mega a lot here lately! I don’t remember the first time I seen Delicate Sound Of Thunder because my dad has always been a huge Floyd fan and fan of Gilmour in general so I was watching delicate before I could remember. I do remember being very young, dad turning the living room lights off, turning the t.v . All the way up and watching it all the way through! They tell me when I was very little I would play along with Gilmour with a little acoustic guitar lol I knew I wanted to be just like him! So if it weren’t for delicate sound of thunder I wouldn’t be playing guitar. It’s deff. A favorite of mine! Who would have thought a little family all the way on a country dirt road in Alabama would jam out to Pink Floyd all the time haha people can’t believe I don’t listen to country music I just tell them I listen to REAL music cause my family raised me right haha! Sorry for this long story but this is why delicate is so special to me! It’s amazing music and the time with my mom and dad as a kid makes it even better! I just wish they had it on DVD! Well that’s my story Bjorn! I really liked this article btw! God bless!! Btw I wonder why Gilmour didn’t employ any rotary speakers on delicate? Not his taste at the time I guess!

    [Thanks for sharing, Brad! – Bjorn]

  38. Alan Day says:

    Hi Bjorn
    It doesn’t seem that long ago eh? I quite like the fact that DG constantly changed his tone – if anything it proves the point that HOW you play is more important than WHAT you play. I have to agree that “On the turning away” had a great solo and a wonderful sound. Personally I like to use a Fuzz Face followed by a Colorsound Overdriver ’cause I like the clarity (both mine are home built and tweaked) but every now and then I will put up with the noise and punch in the Civil War to play “Sorrow”!

  39. Phil says:


    Great article. DSOT was my first Floyd live album, and therefore It has a large emotional attachment for me. Whilst I agree that Pulse is the better overall album, DSOT has more raw energy and I rather like the 80’s sound in a nostalgic way! For me, the only thing Pulse has over it is the side 2/DSOtM set. For a live “greatest hits” collection I actually prefer DSOT.

  40. gdkzen says:


    Great article as always.

    I became a Gilmour devotee at roughly the same time as you did. My primary experience (tonally speaking), however, was The Wall. Regardless, I am, and remain, a big fan of the tones on Delicate Sound Of Thunder. You really can’t take anything away from his tone on “Time”. It’s simply white-hot.

    So much of the criticism towards Gilmour was rooted in disdain from those in the Waters camp at the time. Given that most of that acrimony is “water under the bridge”, I think that it’s time for people to give credit where it is due. Indeed, their earlier MLR performances were lackluster, but you can’t take anything away from the performances captured on DST. They hadn’t played together for years. Wright and Mason had basically left the music business. It takes time to get back on-form.

    It seems that Gilmour chose the EMG pickups for the sake of the amount of electronics in their stage show. They produced the least noisy sound. His addition of the two preamp circuits not only put some aggression into these pickups, but also expanded the tonal range of the Stratocaster. I still think “The Red Strat” is one of the great Strat customizations of all time. There is very little that this guitar could not handle.

    This is one of the great live guitar recordings. I hadn’t played guitar for eight years when I saw the DST video. When I saw that “Time” solo, I had to run out and buy a Stratocaster! Hat’s off to you and your article, and to David for getting me to go back to the guitar!

    [Thanks for sharing! – Bjorn]

  41. Keith says:

    Well, WOW,25YEARS! Has gone by like a flash, I saw them on that tour at RFK stadium in Washinton DC, and again in ’94 at the same venue. The 94 show, while I wasn’t crazy about the setlist of either show, as I didn’t know any of the material post The Wall, was a better show overall than ’88, I can’t believe you were 12, haha, I was 12 when Dark Side of the Moon came out! Still, regardless of not knowing most of the material in ’88, and not having seen the band since Tampa in ’77, it was a blast just seeing 3 of my favorite musicians, and a stage full of people I’d never heard of, who were all incredibly talented. As with most zhows I saw back then, my memories are a tad foggy( wonder why,hehe), but remember that it was overall, an excellent experience, and that I was so happy to be seeing one of my guitar heros, my favorite keyboardist to walk the earth, and one hell of a great drummer again. However, I do remember enjoying the ’94 show more, and well, what can I say about being lucky, and barely old enough to have witnessed the spectacle in Tampa in ’77, that was the ANIMALS tour. As wasted and young as I was, I remember every second of that show. WOW, 25 years? Really? Gee I’m getting younger every day, ha-ha!
    Peace, old fart Keith

    [Thanks for sharing, Keith! God how I envy you that 77 show… LOL! – Bjorn]

  42. Roger Sartori says:

    That’s my first encounter to Pink Floyd sound too. Actually not the Delicate album but the Momentary album. On the turning away was playing at the radio that time and I really loved it. It made me search for other songs and I found the Delicate cassete. Love at first time. Since then and gradually I found all other PF albums and tones. But Delicate in particular lives in my heart, always. It was my teenage era, for God’s sake! Love is in the air and also is PINK FLOYD!

  43. Duane says:

    I totally agree with pretty much everything you said on here. I was 13 when it came out and I still love most of the songs on there, mainly the Momentary Lapse stuff. Yet Another Movie is my favorite cut from the album, everything sounds so massive and powerful on it, and I also liked the version of Run Like Hell on there. I thought the drums were simply more powerful and you can hear Gilmour’s guitar a bit easier than on the Pulse version, where I felt the keyboard was too overwhelming on the main riff. Also I wish they had included a version of Welcome to the Machine as I thought the version for that tour was done well. Fun article.

    • Paulo says:

      to be perfectly honest.. I think Gilmour and Mason Totally Nail Every Song on the album #delicatesoundofthunder is Gilmour at his greatest .👆

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