From today, I’ll be publishing them, along with his answers.
Thanks to everyone who submitted the following for consideration, and special thanks to Phil for being so obliging with his time.
There’s no update on the cinemas involved in the world premiere of ‘Remember That Night: David Gilmour Live at The Royal Albert Hall’, so please don’t ask. As soon as I have anything new, the information will be here.
I don’t expect to have the complete list for the United States until the middle of the week at least.
How did the ‘On an Island’ creative process work? Did you and David jam together a lot, or did you work individually, layering on each other’s material? (GianLuca)
No jamming. A period of layering on material, then trying out tracks with different configurations of musicians.
You were able to develop your “conceptual thinking and with the making of little soundscapes” once the title for the album was decided. How did David (and Polly) arrive at the title for the album? (Ken F)
Not sure, but it worked brilliantly and the title track is one of my favourites, especially the amazing harmonies of Crosby and Nash with David.
I would be interested to know how you managed to whittle down the “150 pieces, enough for three albums” that David supplied you with, to a produce a manageable amount of tracks to conceive ‘On an Island’? (Ronny)
How long have you got? It’s the subject of a dissertation at Oxford… mine! Just joking. A lot of listening, patience, development and green pea soup.
Could you give us one or two examples of which direction an ‘On an Island’ track(s) could have gone in were it not for your influence during the album research/demo-ing/recording? (Angelo Ortiz)
Good question, but impossible to answer. We’re all delighted with how it came out.
If you could change anything on the album, what would it be? (Paul Sexton)
I’m one of the producers. NOTHING, of course. You can’t get better than a Number One album and a platinum disc!