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Atom heart mother chords9/22/2023 ![]() ![]() The lead part morphs from hefty low E-string riffing to vibrant scale runs. As we sail past the three-minute mark, Gilmour unchains his inner beast and stomps on his Arbiter Fuzz Face pedal. Fat Old Sun (Atom Heart Mother, 1970)Īn early example of Gilmour’s guitar dexterity, Fat Old Sun’s hypnotic acoustic arrangement works to lull the listener into a state of placid serenity, with a few delicate licks atmospherically fluttering at the edges of the mix. Consequently, Nick Mason found it a tricky one to record, and a session player had to come in to lock down the final drum track. Though it sounds softer on the ear than many other Floyd arrangements, Mother skips between a variety of odd time signatures, including 5/8 and 9/8. It’s a prime example of Gilmour’s genius for making the sophisticated sound completely effortless, and is among the most wondrous guitar moments on The Wall. The solo manoeuvres around the G, C, D chord structure with awe-inspiring grace – emphasising the root notes of each chord and guiding our ears to further chordal transitions. It’s an ideal musical footing from which to showcase a similarly restrained, yet undeniably gorgeous, Gilmour solo, which launches out of the mix at the 2:50 mark. Gradually building outwards from a fragile acoustic arrangement, Mother develops into a beautiful standout, ejecting much of The Wall’s pervasive themes of oppression and representing a tender (but cynical) nod to conventionality. Shades of Run Like Hell can still be found on Gilmour’s eponymous debut, as elements of it pepper the track Short and Sweet – just compare the intros. It’s an irresistible listen, and a notable mood-enhancer. The verse lurches us dramatically between Em, F, C and B, before we’re once again back with the feel-good jog of that central riff. With its springy, palm-muted single notes rooted in D, flashes of light illuminate this foundation via some stirring, descending chord shapes which take us on a colourful drive back to the tonic. Originating as a piece of music Gilmour had earmarked for his first solo album, Run Like Hell is a masterclass in tension and release, its tight arrangement allowing for minimal musical flourishes (the only solo here, being Richard Wright’s dazzling synth centrepiece). The rest of the song is basically as on the album, but part 1 is extended into a slow blues number.As we pace towards The Wall’s climax, the dark funk of Run Like Hell primes us to close the book on 1979’s dystopian double-album. During the middle section, the band sat down and their roadies served them tea. The song was only performed a couple of times. – rhythm/melody (bridge pickup) mild Fuzz Face – solo/picking (bridge pickup): clean signal through a Leslie The mid section of the song was extended with a long jazz inspired jam. Note: Gilmour performed Fat Old Sun with a Stratocaster as opposed to the acoustic album version. – rhythm acoustic guitar fed through a harmonizer (?) or ADT – rhythm acoustic guitar (played by Waters) He also played the violin melody (just after the intro). ![]() On the intro, David played a picking progression based on the chords and did mostly the same stuff as on the album version. On the US leg of the tour, Atom was performed with just the four piece band. Pink Floyd did a number shows with a complete brass orchestra and choir. – slide solo (neck pickup) mild Fuzz Face with echo – solo/funky part (neck pickup) mild Fuzz Face Stratocaster, bridge pickup (unless otherwise noted) – 300ms (repeat mode) with variable feedback and volume. Note: David would roll down the guitar volume knob to create overdrive sounds for rhythm parts. It’s also wise to acknowledge that technique, place and time, studio trickery and who knows what plays a role in David’s tones in addition to the equipment. This feature should therefore only be used as a guideline for your own setup and not as a gospel. David often make adjustments and may not even be consequent in how he’s using the equipment. Keep in mind that all effect settings and setups are based on pictures and video from a certain date and/or interviews and third hand transcriptions that are subject to interpretation. ![]()
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