On December 26th, at 9am UK time (and repeated at 9:30pm the same day), BBC Radio 4's Soul Music programme will focus on Pink Floyd's Shine On You Crazy Diamond. The series looks at pieces of music with a powerful emotional impact, and this show will include David recalling the day that Syd Barrett unexpectedly appeared at Abbey Road Studios when the Floyd were recording Wish You Were Here. Other contributors will also discuss what makes the song so special for them. After broadcast, the programme will be available as a podcast on the BBC Sounds app, or via https://www.bbc.co.uk/programmes/b008mj7p (where you can also listen to the broadcast live online).
#TBT Théâtre Antique d'Orange, France - Sept 2015 (📷 http://instagram.com/pollysamson_official)
#TBT David x 3 in São Paulo, December 2015 (📷 http://instagram.com/pollysamson_official)
To celebrate this weekend's National Album Day in the UK, a poll has been launched to choose the best album sleeve from the past 70 years, with Rattle That Lock one of the nominees. To vote, click http://bit.ly/voteRTL To coincide, a touring exhibition of some of the sleeves, including Rattle That Lock, opened on Monday, October 8th, at London's Waterloo railway station. The exhibition moves to Manchester's Piccadilly station from October 22nd, then Glasgow Central from November 6th.
Many thanks to the thousands of you who sent in questions about Live At Pompeii, to celebrate the first anniversary of the release of the live film / album (which came out a year ago today)! Here are some answers: (📷: Polly Samson) Q: Dear David, please try to describe the vibe of the place. It is something mystically for you there? A kind of a connection with the past and the soul of a sleepy volcano? Tudor Runcanu (via Facebook) A: The connections with the past are powerful at Pompeii. You feel that you are walking in the footsteps of the people who came to entertain and be entertained so many years ago. There are other places in Italy, Greece, Turkey and the Middle East where you have this feeling, but nowhere do you feel closer to it than in Pompeii. -- Q. Your solo on In Any Tongue that particular night was epic. I saw you at Madison square garden on that tour and thought your guitar playing was phenomenal and better than ever. Does it require more practice or get harder to stay creative as one gets older? John Simonds (via Facebook) A. I don’t really practice. The process of making an album and rehearsing for a tour is all the practice that I do. I like a guitar solo to have a recognisable start to get both myself and the audience into the groove and, depending on how creative and fluent I am feeling on any one night, that will then dictate how free I feel to wander off into new territory. -- Q. Can you offer a little insight into what you're thinking or looking for when building a set list for a show? Scott Wallen (via Facebook) A. There are many things to take into account when working on a setlist. You want the rhythms and the keys not to be too similar, you must consider the meanings of the songs as they follow one another, you need to balance the newer songs that people know less well against the old favourites and you need to build towards a climax at the end. It is very tricky to get it right and a lot of thought goes into it. I hope that you approved. -- Q. Mr. Glimour. Loved the DVD. Just a quick gear question I am a bit of a guitar nerd.) We all know about the iconic Black Strat, but I was wondering about that well worn Tele. I have heard there is a vintage Broadcaster pickup in the bridge, but is the guitar wired as a Broadcaster or as a straight up Tele? 🤔 Cheers! Edward Blakemore (via Facebook) A. The old Tele that I call The Workmate started out, before I had it, as an Esquire. It had had a neck pick-up added before I had it which I later changed for a Strat neck pick-up. The bridge pick-up is the one that was on it when I got it, not sure quite what it is and I confess that I don’t know what the difference between a Broadcaster’s and a Tele’s wiring is. -- Q. How strong was the urge to take your shirt off like in 1972? Ed Hydock (via Facebook) A. I had a glance at myself in the bathroom mirror and thought ‘Nah'. -- Q. Did you play with any of the guitars you used in the first Pompeii in 1971? @telecasttro (via Instagram) A. Yes, I played the Black Strat at both. -- Q. What did you do before you went on stage that night? Do you have any rituals? @raygultomWhat (via Instagram) A. I don’t have any rituals, just a few vocal warm up exercises. -- Q. Hi David, I'm from Iran. You are my love. Why do not you sing Echoes in Italy? @hadiravanshad24 (via Instagram) A. Echoes for me is so much about the interplay between Rick and myself that after he died in 2008 I decided not to play it any more. -- Q. Which one do you think was best. The original or the revisit.....? @sjd0105 (via Twitter) A. It’s impossible to compare the results of the two performances. They are so different. Back in 1971 we were making a film mostly in daylight. It involved doing a performance of a song, often several times, until the director was satisfied that he had all the shots he needed – a lot of time was spent sitting around doing nothing. Also, there was no audience. In 2016 we were playing live at night, playing as well as we could to a lovely enthusiastic audience. The atmosphere was very different. 2016 was much more enjoyable. -- Q. If you could whisper some advice to your younger self in Pompeii, based on all your experiences between the two Pompeii gigs, what would it be? @musicandwords (via Twitter) A. Keep your shirt on… -- Q. Does this bookend a career? Or are there plans for a new album or future tour? @nicksthatoneguy (via Twitter) A. I have no immediate plans for an album or a tour, but that doesn’t mean that I’ve retired.
This Saturday marks one year since the release of Live at Pompeii, and David has agreed to answer your questions about the live film / album and the concert itself. If there's something you'd love to ask him about Live at Pompeii, then please post your question in the comments below. We'll pick some of our favourites and then post David's answers here!
We are very happy to announce that Polly Samson has been made a Fellow of the Royal Society of Literature. For nearly 200 years, the RSL has celebrated and nurtured all that is best in British literature, past and present. Polly’s current fellows include Margaret Atwood, Martin Amis and Rose Tremain. Fellows are given a choice of pens with which to sign the register from TS Eliot, Lord Byron and George Eliot. Polly signed using a pen that once belonged to one of Britain’s greatest ever poets, Lord Byron.