CLUSTER ONE (Richard Wright, David Gilmour) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: electric lead guitar, programming; Rick Wright: piano, synthesizers; Nick Mason: drums; Gary Wallis: Percussion.

Andy Jackson (Sound engineer, producer):

«When we first started collecting the jam material together we divided it up into three categories, which were acoustic, blues and cosmic. And bits we glued together we called clusters. And the instrumentals, because they never had any reason to take on a new title, they just stayed with their old titles for a long time. ‘Cluster One’ was always ‘Cluster One’ and it just stuck. Bob Ezrin, posted a note on the message board on the Net or CompuServe saying ‘Anybody got any space noises?’ And somebody wrote back! This guy who goes and stands on the top of Mount Washington, I think, in thunder storms holding this great big metal antennae! Recording the electromagnetic stuff! And it is the sound of electromagnetic noise from the solar wind. I mean, it just sounds like a lot of crackles to me and you. But that’s what it is»

«Andy Jackson, Pink Floyd’s sound engineer, interviewed by Craig Bailey», December 2000

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WHAT DO YOU WANT FROM ME ? (David Gilmour, Richard Wright, Polly Samson) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: Lead vocals, electric rhythm and lead guitar; Rick Wright: Hammond organ, synthesizers, wah-wah Fender Rhodes electric piano, backing vocals; Nick Mason: drums; Guy Pratt: bass guitar; Sam Brown, Durga McBroom, Carol Kenyon, Jackie Sheridan, Rebecca Leigh-White: backing vocals


This song borrows the main riff of Raise my rent from the first Gilmour’s solo album!

As you look around this room tonight

Settle in your seat and dim the lights

Do you want my blood? Do you want my tears?

What do you want?

(What do you want from me?)

Should I sing until I can’t sing anymore?

Play these strings 'til my fingers are raw?


You're so hard to please

What do you want from me?


Do you think that I know something you don’t know?

(What do you want from me?)

If I don’t promise you the answers, would you go?

(What do you want from me?)

Should I stand out in the rain?

Do you want me to make a daisy chain for you?


I’m not the one you need

What do you want from me?


You can have anything you want

You can drift, you can dream, even walk on water

Anything you want

You can own everything you see

Sell your soul for complete control, is that really what you need?

You can lose yourself this night

See inside, there is nothing to hide

Turn and face the light


What do you want from me?

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POLES APART (David Gilmour, Polly Samson, Nick Laird-Clowes) • « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: Vocals, Gibson J200 acoustic guitar, lead electric guitar; Rick Wright: organ, keyboards; Nick Mason: drums; Jon Carin: keyboards; Guy Pratt: bass guitar.

David Gilmour: 

«One day, I was on holiday in Greece and I had an acoustic guitar with me. I just decided to tune the bottom string down to D, and continued to experiment until I arrived at that tuning. Then I mucked around a bit and ‘Poles Apart’ fell out of it a few minutes later»

« Interview by Brad Tolinski», Guitar World, September 1994.


Nick Laird-Clowes:

«Polly, he and I would drink a bottle or two of wine, listen and make notes (…) We tries everything. We did cut-ups; we stayed up insanely late and got very merry doing it. If I wrote four consecutive lines, I got a co-write. For Poles Apart, I asked him about Syd and he said ‘I never thought he’d lose that light in his eyes’. That’s where it started. He said ‘Great, you’re written your first song on a Pink Floyd record. What year were you born ?’ Then he went down to the cellar o get a bottle»

« Coming back to life», Uncut, September 2015


Polly Samson:

« It’s about Syd in the first verse and Roger in the second »

«Here we go …», Q Magazine, November 1994.

Did you know

It was all going to go so wrong for you?

And did you see

It was all going to be so right for me?

Why did we tell you then

You were always the golden boy then

And that you'd never lose that light in your eyes?


Hey you

Did you ever realize what you'd become?

And did you see

That it wasn't only me you were running from?

Did you know all the time but it

Never bothered you anyway?

Leading the blind while I stared out the steel in your eyes

The rain fell slow

Down on all the roofs of uncertainty

I thought of you

And the years and all the sadness fell away from me

And did you know?

(Did you know, did you know, did you know)

(Did you know, did you know, did you know)

(Did you know, did you)

I never thought that you'd lose that light in your eyes

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MAROONED (Richard Wright, David Gilmour) • « The Division Bell » (1994) & « Echoes - The Best of Pink Floyd » (2000) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: guitars, programming; Richard Wright: Kurzweil synthesisers, piano, Hammond organ; Nick Mason: drums; Jon Carin: additional keyboards; Guy Pratt: bass guitar.



Interviewer: «What can you tell me about The Division Bell’s guitar instrumental ‘Marooned’ ?»

Gilmour: «It’s amazing how far I can bend those notes, isn’t it ? [laughs]» 

interviewer: «I’ll say. How do you achieve those wild, octave-wide, bends?»

Gilmour: «A Digitech Whammy Pedal. It’s a great little unit, but I haven’t even begun to explore half the things it does. The fact that it allows you to bend a note a full octave is quite shocking. It’s so odd»

interviewer: «You seem to use the effect very naturally--I almost didn’t notice it at first. Did you practice with it a lot before you recorded ‘Marooned’ ?»

Gilmour: «No. [laughs] I think we basically wrote the first version of it the day I got the pedal. I still don’t think I use it very effectively, but it’s a very good pedal»

interviewer: «How much of ‘Marooned’ is improvised ?»

Gilmour: «Pretty much all of it. I probably took three or four passes at it and took the best bits out of each»

«Sound of silence», Guitar World, September 1994


Jon Carin:

«The first 30 seconds of the song is just me alone, playing an ambient piece I wrote for a record I was making at the time that happened to be in the same key, but, of course, didn’t come out - instead ending up on a Pink Floyd record»

«Jon Carin Facebook page», 10 July 2021.

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A GREAT DAY FOR FREEDOM (David Gilmour, Polly Samson) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: Lead vocals, vocal harmonies, Gibson J-200 rhythm guitar, 1955 Gibson Les Paul Goldtop electric lead guitar, nylon-string classical guitar; Richard Wright: piano, synthesizer; Nick Mason: drums, tambourine; Jon Carin: Prophet-5 synthesizer; Gary Wallis: Percussion; Guy Pratt: Bass guitar; Michael Kamen: orchestral arrangement.


David Gilmour:

«A Great Day for Freedom is specifically about the tumbling down of the Iron Curtain, the divide between east and west, but it’s a rather cynical view of the glorious dream that we thought it would be, 

and the rather ugly reality that it’s become»

« Interview with Karl Dallas», Karl Dallas Archive Website, May 1995

On the day the Wall came down

They threw the locks onto the ground

And with glasses high, we raised a cry

For freedom had arrived

And on the day the Wall came down

The ship of fools had finally run aground

Promises lit up the night like paper doves in flight


I dreamed you had left my side

No warmth, not even pride remained

And even though you needed me

It was clear that I could not do a thing for you

Now life devalues day by day

As friends and neighbours turn away

And there’s a change that even with regret cannot be undone

Now frontiers shift like desert sands

While nations wash their bloodied hands

Of loyalty, of history in shades of grey


I woke to the sound of drums

The music played, the morning sun streamed in

I turned and I looked at you

And all but the bitter residues slipped away, slipped away

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WEARING THE INSIDE OUT (Richard Wright, Anthony Moore) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: Fender Stratocaster lead guitar, vocal harmonies; Rick Wright: Lead vocals, Hammond B3 Organ, piano; Nick Mason: drums; Bob Ezrin: keyboards(?); Dick Parry: Tenor saxophone; Jon Carin: keyboards(?); Guy Pratt: Bass guitar; Gary Wallis: Percussion; Sam Brown, Durga McBroom, Carol Kenyon, Jackie Sheridan, Rebecca Leigh-White: Backing vocals.

Richard Wright:

« I’d rehearsed it with Anthony Moore who wrote the lyrics but I basically hadn’t really sung for twenty years. I did one take, and Bob Ezrin said «Okay, that’s it», which I couldn’t believe. I went in and listened to it, and yes, it is nearly it. We worked on it a bit. But it’s a song that really suits my voice. I don’t have a versatile voice. I’m not a Dave »

«»In the Studio with Redbeard», inthestudio Website, 15 March 1994


David Gilmour

«Rick's got a very good voice, you know. He's got an instantly recognizable voice, you know. You can't miss Rick's voice and, I've always wanted to use it, but you've got to find the right place, the right vehicle for him, and this is substantially his song. Anthony Moore was working with us again on this album, and he came up with the idea for that one, and Rick sang it. What can I say, it's, it's very nice, very lovely piece. And it's, and um, everyone who listens to it, you know that I know in listening to it, goes «Oh God, it's that voice, it's that voice, that used to be, you know, used to be a part of the Pink Floyd sound, and hasn't been so much lately», and it's, it's kind of a thrill for people»

Unknow Radio interview, March 1994


David Gilmour:

« The only one we could think of that would be really appropriate for sax was Wearing the Inside Out so we put him on it. Boom, he’s got that tone. It’s fantastic. You can recognize it straight away. »

«Questions and Answers with David Gilmour» Pink-Floyd.org, June 1994.


David Gilmour:

« Funnily enough, I never really liked the guitar solo on the out. Everyone else said they did like it, but I wanted to dump it and do something else on there, ’cos I thought, ‘God, I’ve got too many damn guitar solos again. They’re all over the bloody record.’ I didn’t think that one was so good, but lots of people like it, I guess. It’s grown on me a bit »

« Questions and Answers with David Gilmour » Pink-Floyd.org, June 1994.


In 2020, Guy Pratt claims he wrote some parts of this song


Guy Pratt:

«So I just came up with this and I got a piece of the song, just not a credit though; so it's cool»

«Guy Pratt Lockdown Licks Ep 4», Youtube, 19 April 2020


From morning to night, I stayed out of sight

Didn’t recognise I’d become—no more than alive

I’d barely survive—in a word, overrun


[Chorus: Richard Wright, Sam Brown, Durga McBroom & Carol Kenyon]

Won’t hear a sound (He’s curled into the corner)

From my mouth (But still the screen is flickering)

I’ve spent too long (With an endless stream of garbage to)

On the inside out (…curse the place)

My skin is cold (In a sea of random images)

To the human touch (The self-destructing animal)

This bleeding heart’s (Waiting for the waves to break)

Not beating much


I murmured a vow of silence and now

I don’t even hear when I think aloud

Extinguished by light, I turn on the night

Wear its darkness with an empty smile

I’m creeping back to life

My nervous system all awry

I’m wearing the inside out


Look at him now, he’s paler somehow

But he’s coming around

He’s starting to choke, it’s been so long since he spoke

Well, he can have the words right from my mouth


And with these words—I can see

Clear through the clouds—that covered me

Just give it time—then speak my name

Now we can hear—ourselves again


I’m holding out (He’s standing on the threshold)

For the day (Caught in fiery anger)

When all the clouds (And hurled into the furnace he’ll)

Have blown away (…curse the place)

I’m with you now (He’s torn in all directions)

Can speak your name (And still the screen is flickering)

Now we can hear (Waiting for the flames to break)

Ourselves again

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TAKE IT BACK including « Ring around the Rosie » (David Gilmour, Bob Ezrin, Polly Samson, Nick Laird-Clowes) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: vocals, Gibson J-200 acoustic guitar (with EBow), Fender Stratocaster electric rhythm guitar, programming; Rick Wright: Hammond organ, Farfisa organ; 

Nick Mason: Drums, percussion; Bob Ezrin: keyboards, percussion; Jon Carin: keyboards, programming; Guy Pratt: Bass guitar; Tim Renwick: electric rhythm guitar; Gary Wallis: percussion; Sam Brown, Durga McBroom, Carol Kenyon, Jackie Sheridan, Rebecca Leigh-White: backing vocals.


Where were you

When I was burned and broken?

While the days slipped by from my window, watching

And where were you

When I was hurt and I was helpless?

‘Cause the things you say

And the things you do surround me

While you were hanging yourself on someone else’s words

Dying to believe in what you heard

I was staring straight into the shining sun

Lost in thought and lost in time

While the seeds of life

And the seeds of change were planted

Outside, the rain fell dark and slow

While I pondered on this dangerous but irresistible pastime


I took a heavenly ride through our silence

I knew the moment had arrived for killing the past

And coming back to life

David Gilmour:

« Take It Back, on the album, is more about ecological issues than anything else. They’re hard to do well. They’re hard not to sound sort of preachy, these things, and to get a correct balance that you’re happy with and can remain fairly proud of is very tricky, so I don’t do that much of it, but there’s been things involved with ecological and world political issues on every record I’ve ever made, I think. But they’re not that obvious, necessarily»

« Interview with Karl Dallas», Karl Dallas Archive Website, May 1995

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COMING BACK TO LIFE (David Gilmour) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: Lead vocals, guitars; Richard Wright: Kurzweil synthesisers, Hammond organ; Nick Mason: drums, percussion; Guy Pratt: bass guitar.

Where were you

When I was burned and broken?

While the days slipped by from my window, watching

And where were you

When I was hurt and I was helpless?

‘Cause the things you say

And the things you do surround me

While you were hanging yourself on someone else’s words

Dying to believe in what you heard

I was staring straight into the shining sun

Lost in thought and lost in time

While the seeds of life

And the seeds of change were planted

Outside, the rain fell dark and slow

While I pondered on this dangerous but irresistible pastime


I took a heavenly ride through our silence

I knew the moment had arrived for killing the past

And coming back to life

I took a heavenly ride through our silence

I knew the waiting had begun

And headed straight into the shining sun

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KEEP TALKING (David Gilmour, Richard Wright, Polly Samson) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: Lead vocals, acoustic guitar (loop), Heil Sound Talk Box, electric rhythm and lead guitar, programming; Rick Wright: keyboards; Nick Mason: drums; Bob Ezrin: keyboards(?), programming(?); Jon Carin: keyboards(?), programming(?); Guy Pratt: bass; Tim Renwick: electric rhythm guitar (?); Gary Wallis: percussion; Sam Brown, Durga McBroom, Carol Kenyon, Jackie Sheridan, Rebecca Leigh-White: Backing vocals.

Sound FX: Stephen Hawking’s voice from the 1993 « British Telecom » advert.


David Gilmour:

«Well, I guess I experiment more than I think I do. I had a Zoom [effects box] in my control room one day and I was mucking about with something. Suddenly, I thought I should stick the E-bow on the strings and see what would happen. It sounded great, so we started writing a little duet for the E-bowed acoustic guitar [a Gibson J-200] and a keyboard. We never finished the piece, but Jon Carin [keyboardist] decided to sample the E-bowed guitar part. We kept the sample and ended up using it as a loop on Take It Back, and again on Keep Talking»

«Sound of silence», Guitar World, September 1994

« For millions of years, mankind lived just like the animals

Then something happened which unleashed the power of our imagination

We learned to talk »


There’s a silence surrounding me

I can’t seem to think straight

I’ll sit in the corner and no one can bother me

I think I should speak now (Why won’t you talk to me?)

I can’t seem to speak now (You never talk to me)

My words won’t come out right (What are you thinking?)

I feel like I’m drowning (What are you feeling?)

I’m feeling weak now (Why won’t you talk to me?)

But I can’t show my weakness (You never talk to me)

I sometimes wonder (What are you thinking?)

Where do we go from here (What are you feeling?)

« It doesn’t have to be like this

All we need to do is make sure we keep talking »


(Why won’t you talk to me?) I feel like I’m drowning

(You never talk to me) You know I can’t breathe now

(What are you thinking?) We’re going nowhere

(What are you feeling?) We’re going nowhere

(Why won’t you talk to me?)

(You never talk to me)

(What are you thinking?)

(Where do we go from here?)


« It doesn’t have to be like this

All we need to do is make sure we keep talking »

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LOST FOR WORDS (David Gilmour, Polly Samson) in « The Division Bell » (1994) | Produced by David Gilmour & Bob Ezrin.

David Gilmour: Lead vocals, Gibson J-200 acoustic guitar, electric guitar, bass guitar; Rick Wright: Piano, Hammond organ; Nick Mason: drums, tambourine.

Sound FX: Extracts from « Champion » movie (1949).

Jon Carin:

«Here’s a song that I arranged on the Division Bell record. The way it was done was I laid down a demo by myself of the song on multitrack including the intro synths, drums, piano, harmonium, B3 organ, the distorted sampled electric guitar sustained sound in the middle sanction etc … Then on top, the lead vocals & acoustic guitars were done, then the bass, then real drums, all superimposed on my demo»

«Jon Carin’s Facebook page» statement, 4 February 2022 

I was spending my time in the doldrums

I was caught in a cauldron of hate

I felt persecuted and paralysed

I thought that everything else would just wait

While you are wasting your time on your enemies

Engulfed in a fever of spite

Beyond your tunnel vision reality fades

Like shadows into the night

To martyr yourself to caution

Is not gonna help at all

‘Cause there’ll be no safety in numbers

When the right one walks out of the door

« Ladies and gentlemen!

The winner

By a knockout »


Can you see your days blighted by darkness?

Is it true you beat your fists on the floor?

Stuck in a world of isolation

While the ivy grows over the door

So I open my door to my enemies

And I ask "Could we wipe the slate clean?"

But they tell me to please go fuck myself

You know you just can’t win

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HIGH HOPES (David Gilmour, Polly Samson) in « The Division Bell » (1994)

David Gilmour: lead and backing vocals, bass guitar, classical guitar and lap steel guitar; Richard Wright: Kurzweil synthesisers; Nick Mason: drums, church bell, tambourine; Jon Carin: piano; Michael Kamen: Orchestrations; Edward Shearmur: Orchestrations

Sound FX: RETROUVER




David Gilmour:

«The song originated from a phrase that my girlfriend suggested, about how time brings you down. Oddly, the line that she gave me wasn’t really important. There was just something in it that sparked me into think¬ ing about my childhood and my life in Cambridge, England. So, if you like, the first thing that got written for the album was much more personal than I’ve tended to be. And I suppose it set the scene for what was to follow».

« Sound of silence », Guitar World, September 1994.


Bob Ezrin (Album producer):

« It’s the best track on the record. It is all David. It knitted together the album. It’s a monochrome, high-contrast musical painting, surrounded by a few little colourful elements, that form a wrapper around it. But the essence of the song is very stark. It’s peculiarly English. And when the Floyd are being English, they are at their best. Sometimes they are almost Dickensian. So is this »

« Pink Floyd: The Ultimate Music Guide», Uncut Magazine, April 2015


David Gilmour:

«I knew I had a killer, all-time great Floyd song»

«The lost art of conversation», Podcast, November 2019

Beyond the horizon of the place we lived when we were young

In a world of magnets and miracles

Our thoughts strayed constantly and without boundary

The ringing of the division bell had begun

Along the Long Road and on down the Causeway

Do they still meet there by the Cut

There was a ragged band that followed in our footsteps

Running before time took our dreams away

Leaving the myriad small creatures trying to tie us to the ground

To a life consumed by slow decay


The grass was greener

The light was brighter

With friends surrounded

The nights of wonder


Looking beyond the embers of bridges glowing behind us

To a glimpse of how green it was on the other side

Steps taken forwards but sleepwalking back again

Dragged by the force of some inner tide

At a higher altitude with flag unfurled

We reached the dizzy heights of that dreamed of world

Encumbered forever by desire and ambition

There's a hunger still unsatisfied

Our weary eyes still stray to the horizon

Though down this road we've been so many times


The grass was greener

The light was brighter

The taste was sweeter

The nights of wonder

With friends surrounded

The dawn mist glowing

The water flowing

The endless river

For ever and ever


« Hello?

- Yeah?"

- Is that Charlie?

- Yes

- Hello, Charlie

- Great"

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