![]() So, I was going along with the whole organisation of the show up to a point, and then after that point, I was not. ![]() I’ve got very mixed feelings about Atom Heart Mother in the first place! The relationship, and the combination, and all that. Because there’s all sorts of… it’s politics, you get into silly games, and I haven’t got the energy for games… If Nick had thought – and in fact I was in touch with him, as I was asking him questions about a couple of photographs – he’d have said ‘Can I come and bang a skin?’ but he didn’t, and I wasn’t going to go around inviting people. ![]() You’d better keep it low key… it’s your gig, Ron ‘.Īnd I didn’t approach anyone else. And then quite soon after that he said ‘No, it may be best just to… I’ll just come and do it. But early on, when I was talking with David, he said ‘Well, Rick might fancy to turn out’. Why don’t you just do the second night, do the two nights?’. And then later, another time, when I went down there… I put quite a lot of effort into this, going down there to see him, draining the teapot, I said, ‘Listen David, it’s really awkward – it would be nice to know that we’ve got a show and who’s doing it. It was really David Gilmour’s guitar and chords, and Rick Wright’s keys, so I thought the obvious one was David Gilmour, and also I had an open offer to go for a mug of tea, when I was at the University of Portsmouth as Senior Research Fellow in Sound, and I was going down that way and I could have popped in any time. I imagine that he’d been responsible for the musique concrète section – the cavalry charge, the motorbike, and the other bits and pieces – but as far as the musical composition goes he very much took a back seat on that. There might have been a couple of simple bass lines, and that was that. Well, going back to the original selling points of the show, to the committee, many of whom would not have heard of Pink Floyd (‘Which one’s Pink?’ etc ) early on the message came to me: ‘Do you think you could get anyone involved?’Īnd I thought, well, certainly I’m not talking to Roger and anyway he had fuck all to do with the composition in the first place. She turned out great, and we’re very good friends and we’re going to work on new things… The Brass Ensemble were top end Royal College of Music students, and they were all coming up for exams as well, as it happens, but they all seemed to manage, more or less! Caroline Dale (cello) was David Gilmour’s recommendation, because he’d worked with her. The Festival just said ‘Yes, fine, we’ll get them over’. It just happened that I was in Florence about two or three years ago, and they were in that area doing a gig, and they played the non-orchestral version of AHM and they sounded good, they sounded pretty tight, and knew the piece. How did it come about that you used the Italian band, Mun Floyd? He sort of slided this thing in: ‘What are you doing these days? How about’… We identified a conductor (Mark Forkgen), who just happened to have a choir which was perfect because we were wondering whether to have a children’s choir. So how did the 38th anniversary of AHM come to be celebrated (in June this year) at the Chelsea Festival?Ī friend of mine knew a millionaire who is on the committee, or the Board of Trustees of the Chelsea Festival and the millionaire said to a friend of mine last June, ‘Can you think of anything high profile that might work for next year?’ This chap said, ‘Well, there’s Ron, and Atom Heart Mother, and he might be able to get a Floyd along, or two of Floyd along, or something…’ He invited me out for a pint a couple of weeks after that.
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