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Rock - Released September 29, 2017 | Columbia

In 2015, David Gilmour decided to undertake a series of concerts in the world’s oldest venues. A year later, the guitarist from Pink Floyd becomes the first artist since the gladiators in 79 AD to give a concert before an audience in Pompeii’s amphitheater! It was a trip back to the Italian city for him, as he had already performed there in 1971 during the shooting of Adrian Maben’s movie Pink Floyd: Live At Pompeii… In the shadow of the Vesuvius, David Gilmour plays in the more than legendary venue on July 7th and 8th, 2016 and revisits songs that have always been there his whole life, in solo as well as with Floyd. And let’s not forget the new interpretations of The Great Gig In The Sky from the album Dark Side Of The Moon, rarely performed in solo by Gilmour. © CM/Qobuz
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Rock - Released September 18, 2015 | Columbia

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Rock - Released September 18, 2015 | Columbia

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Jazz - Released March 6, 2006 | Parlophone UK

To think that David Gilmour waited 22 years to record his third solo album is a pretty solid indicator that he's not the kind of bloke to merely cash in on his name. After all, he's the guy who sold his house for four million English pounds and gave the money to charity. Perhaps now that the Pink Floyd reunion happened and he and Roger Waters are at least civil to one another, the Floyd enigma can finally find its way into the annals of history and rock legend. This catches listeners up to On an Island. Those desiring something edgy and dramatic will have to wait. Gilmour wrote six of these ten tunes with his wife, Polly Samson, who also plays a bit of piano and sings. Musically, On An Island is mostly a laid-back, utterly elegant English record. It has the feel of taking place between twilight and dawn. There are a few rumblers to upset the overall balance of tranquility and stillness, like flashes of heat lightning across the dark skies; they add dimension and a quiet power to these proceedings. Produced by Gilmour, Phil Manzanera (who appears on keyboards), and Chris Thomas, the album features guest spots from the likes of Richard Wright, Robert Wyatt, B.J. Cole, Floyd/Sly Stone drummer Andy Newmark, Georgie Fame, David Crosby and Graham Nash, Jools Holland, Willie Wilson, and many others. The set opens with "Castellorizon," a moody showcase with Gilmour's guitars backed by the orchestral arrangements of Zbigniew Preisner as conducted by Robert Zeigler. Preisner's arrangements throughout are wonderful and not quite as dark as one might expect, given his track record. Atmospheric and dramatic, it offers a lovely if off impression of the album. The title track, which follows, is all breezy strummed chords, keyboards by Wright, and dreamy vocals with Gilmour backed by Crosby and Nash. It's a slow, textured, and spacy love song. "The Blue" follows suit; it too is so utterly full of air that one can hear the wind rustling through the palms. Wright's backing vocals lend a slight PF "Echoes" slant (as does the Hammond organ); the instrumentation just shimmers, hovers, and floats the track along. There are rockers here, though -- "Take a Breath" features chunky razor-wire chords, Leszek Mozdzer's piano, and Manzanera's synth work winding around one another, and the mood is wonderfully plodding, dramatic, and futuristically "heavy." On the gauzy wee-hours instrumental "Red Sky at Night," Gilmour plays sax as well as guitars, and it gives way to "This Heaven," a bluesy stroller that's given deluxe organ treatment by Fame. There's a delightfully nocturnal feel that makes the track feel a bit sinister, but really it's the sound of eros making itself heard, and Gilmour contributes a biting solo and fills amid the drum samples and strings. Wyatt appears on the back-porch spacehead soundtrack-like tripnotica of "Then I Close My Eyes." His and Gilmour's wordless voices slip under and around the considerable space between instruments -- which include Wyatt on cornet and percussion as well as Cole playing a Weissenborn guitar, Caroline Dale's cello, a pair of harmonicas, and of course Gilmour's high-register blues twang. The set ends on a gentle note in "Where We Start" -- so much so that it may make some scratch their heads and wonder where the cranky, diffident Gilmour has wandered off to, but others will be drawn into this seductive, romantic new place where musical subtlety, spacious textures, and quietly lyrical optimism hold sway. © Thom Jurek /TiVo
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Rock - Released July 14, 2008 | Parlophone UK

David Gilmour's Live in Gdansk was recorded and filmed in 2006 at the Polish city's shipyards, the very same historic location where Lech Walesa's Solidarity movement began its populist assault on the country's repressive Soviet-installed regime in 1980. By all accounts of the time it was a truly awesome multimedia spectacle. But there are strange and sad ironies that accompany this release as well. For starters, it was released in the U.K. exactly a week after the death of Richard Wright, Gilmour's longtime bandmate in Pink Floyd, and his keyboardist here. Secondly, it appears during a period of increased tension between Russia and the United States over the latter's proposed missile defense system to be placed in Poland (by the U.S.) and the country's membership in NATO. But there is nothing bittersweet about the music to be found on this double-disc package (one of six different packages that document the event and the tour -- apparently nobody told Gilmour the recording industry was in an economic crisis). On this version, two and a half hours document the entire concert. Gilmour's band -- Wright, Roxy Music guitarist Phil Manzanera, keyboardist Jon Carin, bassist Guy Pratt, drummer Steve DiStanislao, and saxophonist Dick Parry -- is accompanied by the Baltic Philharmonic Symphony Orchestra, including its 40-piece string section, conducted by Zbigniew Preisner (who did the arrangements on Gilmour's On an Island album). While cynics can debate the pretentious of this date forever, everyone else can enjoy an utterly engaging, entertaining, and sometimes emotionally moving performance of Gilmour's entire On an Island album and a boxful of Pink Floyd hits to boot. The first disc begins with Floyd's Dark Side of the Moon suite of "Speak to Me," "Breathe," and "Time," and comes to a close with the reprise of the opening track. With the orchestra accompanying the band, the dreaminess and spaciness of the original music miraculously comes through, and Gilmour is in fine voice as well. The rest of disc one is taken up by an almost totally in-sequence performance of On an Island. The live version of the album rocks more, perhaps because of the steady presence of Manzanera, who adds extra punch to Gilmour's airy bluesy one on guitar. This is especially true on "Take a Breath," when his crunchy, crackling power chords come off like something from his own Diamond Head album; his solo against the counterpoint of the orchestra makes it one of the set's true rockist highlights. Disc two is comprised entirely of performances of Pink Floyd tunes from albums as diverse as Atom Heart Mother ("Fat Old Sun"), Wish You Were Here ("Shine on You Crazy Diamond" and its title track), The Piper at the Gates of Dawn ("Astronomy Domine"), Meddle ("Echoes"), The Wall("Comfortably Numb"), and The Division Bell ("A Great Day for Freedom"). The performances are not terribly spontaneous in part because of the orchestral arrangements, but they are flawless (again, Manzanera's presence adds some real muscle) and, given the sheer quality of the sound, they have plenty of presence and warmth despite being recorded in front of a concert audience. This set may be strictly for Gilmour and Pink Floyd fans, but as such, for all its packaging pomp (it's green though: carbon-neutral cardboard wallets for all the different packages), it feels like something historic and beautifully considered as well as executed. It would have been amazing to be in that audience. © Thom Jurek /TiVo
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Rock - Released August 14, 2006 | Parlophone UK

By the time of David Gilmour's solo debut, he had not only established himself several times over as an underrated, powerful guitarist in Pink Floyd, but as a remarkably emotional singer, his soothing approach perfectly suited to such songs as "Wish You Were Here." The self-titled album, recorded with journeyman bassist Rick Wills and Sutherland Brothers drummer Willie Wilson, later to be part of the touring Floyd lineup for its Wall dates, isn't a deathless collection of music in comparison to Gilmour's group heights, but is a reasonably pleasant listen nonetheless. Certainly it's much more approachable than Animals, released earlier that year, eschewing epics for relatively shorter, reflective numbers. While Gilmour wrote the vast majority of the songs himself, the most successful number was co-written with Unicorn member Ken Baker: "There's No Way Out of Here," an agreeably dreamy, wistful song featuring an attractive acoustic slide guitar/harmonica hook. That it sounds a bit like a Pink Floyd outtake certainly doesn't hurt, but one figures Roger Waters would have tried for some heavily barbed lyrics to offset the melancholy. Throughout the album Gilmour sounds like he's having some jamming fun with his compatriots in his own particular blues-meets-the Home Counties style, adding keyboard overdubs here and there (his efforts are passable, but it's understandable why he's known for his guitar work first and foremost). Numbers of note include "Cry From the Street," with its fully rocked-out conclusion, the sweetly sad "So Far Away," one of his best vocal showcases, and the concluding "I Can't Breathe Anymore," capturing the recurrent Pink Floyd theme of isolation quite well. While one would be hard-pressed to hum a memorable melody outside of "There's No Way Out of Here," it's still a good enough experience for those who enjoy his work. © Ned Raggett /TiVo
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Rock - Released July 3, 2020 | Legacy Recordings

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Rock - Released August 6, 1984 | Parlophone UK

David Gilmour released his second solo venture in 1984, following the apparent dissolution of Pink Floyd. He had released a record on his own in 1978, but About Face is much more accessible. Gilmour has a stellar band backing him, including Jeff Porcaro (drums), Pino Palladino (bass), and Anne Dudley (synthesizer). The songs on About Face show a pop sensibility that Pink Floyd rarely was concerned with achieving. Although the album didn't attract the attention of a Floyd release, several cuts did manage to get airplay. "Until We Sleep" is rife with shimmering synthesizers and cavernous drums, and "Blue Light" was a minor pop hit, with Gilmour's trademark delay-drenched guitar giving way to a driving, horn-laced rocker. Pete Townshend wrote two of the tracks: "Love on the Air" and the propulsive "All Lovers Are Deranged." Of course, there's more than enough of Gilmour's fluid guitar playing to satisfy, including the gorgeous "Murder," a gentle acoustic track that explodes with some fiery organ by Steve Winwood and concludes with a fierce coda. About Face is well-honed rock album that is riveting from beginning to end. © Tom Demalon /TiVo
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Rock - Released September 18, 2015 | Columbia

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Pop - Released July 14, 2008 | Parlophone UK

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Rock - Released September 8, 2017 | Columbia

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Pop - Released August 31, 2007 | Parlophone UK

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Rock - Released December 22, 2006 | Parlophone UK

This limited-edition single finds Pink Floyd singer/guitarist David Gilmour honoring two of his fallen former bandmates. It contains his live versions of two songs associated with Floyd founder Syd Barrett, from a 2006 Barrett tribute concert at Royal Albert Hall. On the Barrett-era Floyd tune "Arnold Layne" Gilmour is joined by David Bowie and Floyd keyboardist Richard Wright; Gilmour also tackles the Barrett solo tune "Dark Globe." Sadly, this single also wound up memorializing Wright, who died months before its release. © TiVo
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Rock - Released September 4, 2015 | Columbia

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Rock - Released June 2, 2006 | Parlophone UK

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Rock - Released March 3, 2006 | Parlophone UK

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Rock - Released July 21, 2017 | Columbia

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Rock - Released June 2, 2006 | Parlophone UK

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Rock - Released May 19, 2006 | Parlophone UK