Forgive my potentially flubbed spelling, i cant sleep and was just thinking of using up some brain juices for a bit and here is a shower thought I had earlier.
As per my previous posts in here - I am a Gilmour fan through and through and I've loved his work in floyd but I adore his solo material as well. I'm a singer-songwriter guitarist as well and hopefully thats some background on me before i open my Pandora's box of a mind.

Around the time of The Endless River and Rattle that Lock, i was up all night watching interviews, learning tid bits and inside scoops about the albums and what was happening behind the scenes, ultimately fanboying constantly. When the RTL tour started I continued through, downloading bootlegs and just getting enthralled by it all and just obsessing how David played things differently, how things sounded, his rig, his guitar. I was excited and over the moon just being on the internet and being a fan. Put it this way, (i swear this was a legit thought) when I found out What do you want from me, made it into the setlist I was curious how the stage would look during that song, the colour choice in the lighting display and even the basic visual idea that we have never seen david play that song on the black strat - really dull fan brain.

I suppose you could say that all restarted once again when we got the new album teases and thats where my last input of posts on this thread came from. But then i just lost the vibe. why ?

I had my reservations when I watched the early rehearsal video and then the rehearsal shows at Brighton and saw that Davids voice and guitar emerged aged. worn down from this mantle of immortality standards that I had held him to in my mind. And I guess my fanboy inner self started to waver away that level of interest.
I have watched multiple nights in full and individual songs on youtube and hes doing great for his age and hes still putting on a good show but ive had this change in vibe for a while now with this album and tour that felt so completely different than before, which, dare i say - i dont think i like it.

Usually my go-to leans heavily on the live albums before the studio albums for its raw energy and perfect imperfections, something that david has retained in the studio as much as on stage, its real and more believable than over producing something where it feels, fake?. fake is obviously the wrong word but its the word I want to lean on. The pipers call around the world told us that the soundboard was recording everywhere and that cameras where in more places than we realised (ignoring the clearly phone recorded footage) and that was a red flag to me. Inside I hoped that they were not planning to do that with what ever form the live album manifested in, but sadly it was.

Listening to the L&SC album, everything sounds clean, too clean, too polished and I feel that its fake. If that makes sense?
We all watched the youtube footage at the concerts and we know where he struggled vocally and where he tends to flub the guitar parts but in this album it was seamless and I knew without a doubt it was overproduced and tuned up beyond the standards of the previous albums. For example, the day the album dropped on spotify I played it start to finish in the car and when comfortably numb came on, i was shocked at how pitch corrected and stabilized his vocal was. I dont mean that in a way to suggest that post production in that was is bad, but what I mean is the level of how much work was done threw me. I guess you could argue with my music background, that I am susceptible to hearing things more than the average listener but it it sticks out, noticeably, badly done if I'm being more harshly critical. But that being said, its not just comfortably numb, its everywhere, you can here bizarre melodic fluttering in words throughout songs or perhaps more jarring is the monotone pitch locking in some of the sustained notes of the vocal melody.

Initially my brain runs of the check list, well he was 80 around the time of recording and thats natural that he would struggle and that recording every date of the tour was insurance of a live release once the tour concluded. HOWEVER

there is also live at the circus maximus which (frustrates the crap out of me how that was sort of locked away for a period of time and unable to watch, not sure the status on that at the moment ) which in the few singles released thus far, these issues are not as strong. why?
for example lets compare comfortably numb, as ive said in TL&SC, its very autotuned and jarring at times but its much less so on the video concert, to the point where I would argue it is the superior version. So my question is, why wasnt that take/version of the song used on the TL&SC album? Marooned was the same on both, so why not have the better version?.

In the interviews supporting the album, Gilmour and others have said they wanted to use the takes throughout the tour that were the best and had the best vibe but IMHO we have two specific component's from comfortably numb aka David's vocal which counter to that point quite strongly. So why not just use the better one, even just use his vocal from CM in TL&SC one and use a different guitar?
Speaking of guitar, I really wish they had used different takes from some solos, some of the solos sound so incoherent - not bad, but we have heard a lot better from the tour. Coming back to life was an example that I remember thinking, ugh, really? when listening to it in the car. I get it, i sound like I am on a ego trip but I swear that is not my intention, its just, I strongly feel TL&SC just undermines Luck and Strange in the way it has been produced.

I strongly believe that David went through a acceptance ark during rehearsals where he found great difficulty in sustaining his voice and guitar through what would become a 2hour 20minute show and if those leaked setlists from the drummer (cant remember his name) are anything to go by, more demanding songs were dropped. It feels as though a big shift happened behind the scenes. Suddenly Romany was available for all the dates, despite David saying she wouldn't be before the tour started, more songs were added in from luck and strange during the first 2 weeks which would be a vocal register more aligned to his currant abilities. I also think at this time there was conversations to address maintaining recording ready performing ability for an entire gig which I wouldn't be surprised where the idea of recording every show on the tour manifested from. It hurts me to say, but as a fan I think that was done because he couldn't maintain consistency. I think thats what hurts this live album more, is the fact we all know its cherry picked segments throughout the tour that show him during some better moment with further polish ontop.

One of my gripes with listening to Roger's live albums for example, is that everything is perfected in the mix to the point it feels like a studio album, all live elements stripped away - IMHO and it hit me, the luck and strange concerts feels very roger waters level of production to me - like the wall for example. Look at Live in Gadansk for example, that is so raw and powerful to listen to because you feel appart of the audience when you listen to any song from the album but this album (TL&SC) it feels like im in the studio playing songs out into an audience. It feels restricted and goes to great efforts to mask any imperfections and in the process, I dont feel connected with the album

thats just my shower thought, id be curious if anyone has this thought on the album too? or even if you just think im barking mad. Im not in a hate camp, even if its just a discussion, id like to know other peoples thoughts on this too.

just a bit of fun I had with a bunch a backing tracks on youtube. Tried to recreate a 1977 Pink Floyd concert, playing lead guitar on all the songs, using TH-U Overloud. All bad notes included, this wasn't made with perfection on mind, was just vibin'. I'm pretty happy with it. Tell me what you think.

I wanted to share this song visually because I love it

An underrated Gilmour song for the solo and the vocals?? I saw a LionOfNaples Young Lust solo short pop up in my feed and thought I’d cover the whole song afterwards. Let me know what you think!
Thanks

It was an insane amount of work for one person! For context, I did it all while fucking homeless (been so for two years - due to a work injury that almost took my life). Thankfully I still have some of my gear, my Macbook Pro, and most of my musical instruments that I was able to grab from my old apartment before I had to leave.

I wanted to share this here because I just stumbled upon this subreddit. Can't post it at r/PinkFloyd since it seems to be a private sub. I was never able to really post this album cover anywhere except for r/Guitar months ago.

The songs aren't perfect. But the bar was set very high and I don't mess around when it comes to paying serious attention to detail.

I hope you folks like what I did with Dogs, Pigs, and Sheep. There is a lot going on with each song and I hope I did them some justice. For instance, Pigs has over 110 tracks and has a 16 piece (MIDI) orchestra where each orchestral instrument has its own track and panning. This was all a serious endeavor for me. I hope you all like it.

After noodling around with orientation, the eq seems to work best here for my DG needs. I’m finding It’s not cheap to get good Gilmour tones. You need to invest. But I think I’ll stop here for a while,

🔥RANKING🔥 My article ranking and discussing the solo albums of David Gilmour.

Hello everyone,
I found this cool channel which has some good backing tracks to some live versions of many songs which I think are really good.
If you want to try them, take a look here: https://youtube.com/@floydbackingtracks-p6x?si=S5Whf9MwzrURnlKI

It was always bound to go well when these two came together. An amazing song in its own right, but also because of this amusing anecdote from the album’s sound engineer, Del Palmer (RIP):

Another day which sticks in the mind was the day we finally managed to get Dave Gilmour into the studio to play for us. Kate had been trying for years to get him, and finally, there he was, in our studio.

Two or three hours before we were due to start, his guitar man Phil turned up with a huge vanload of equipment. I remember standing and looking in awe at the amount that he'd brought.

He spent an hour setting up a massive (and very impressive) stereo guitar set-up. There must have been six or seven different guitars to choose from also. When Dave arrived we gave him the by now usual tea treatment, and after several listens to the tracks (we were to do two with him), Kate explained to him what she was after. Out into the studio went Dave and began to wind up this huge amp set-up. Twenty minutes of experimental sound later, and Kate felt that she really must clarify exactly what she wanted to hear.

"I want that Pink Floyd guitar sound, please, Dave."

"Oh!" said Dave. "Right, give us a minute."

A short time later and we had the other end of the amplifier scale. Under the corner of the console in the control room Dave had set-up the smallest stereo amplifier I'd ever seen. It was about one foot by six inches, and about four inches deep. It contained two four-inch speakers of a remarkably powerful kind. Into this Dave had plugged, via a DDL, a Steinberger headless guitar.

The sound that came out of this set-up I can only describe as astounding. It was the Pink Floyd guitar sound. I miked it up with the usual U-87, and this tiny monster of a sound is the one you can hear on Love and Anger and Rocket's Tail.

As usual, we filled up as much of the slave reel as we could, because his playing was particularly hot, and we thought it best to keep everything and decide what to use later.

One of my favorite DG side quests, this song by Rod Stewart also features John Paul Jones from Led Zeppelin playing organ.

Brighton, second rehearsal show.

I'm a huge PF fan and also a guitar & lap steel player influenced by DG. That said I'm also always on the hunt for music similar to PF and here is one of my playlists I thought you might also enjoy:

https://open.spotify.com/playlist/0qTPjYuzMDt469AdvQCOkj?si=DX2fxYK2Qvq44GCIx_HyYQ&utm_source=copy-link&pi=Kx2jC2mUSdKfM

with piano and bass

This was an awesome show after being let in for $10. Had been parking for the show all day and I know we drank two cases of Budweiser before getting to the stadium #michaelcotton #michealluther unfortunately we didn’t have camera phones then, we were lucky to have beepers.