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The highest note he hit on the lap steel and slide solo was a B♭ 6, followed by a reprise of the guitar solo from Part IV (which was played by White live on Pink Floyd's 1977 tour so Gilmour could switch back to his Fender Stratocaster).
"Seamus" is the fifth song on Pink Floyd's 1971 album Meddle. The group performs it in the style of country blues, with vocals, an acoustic slide guitar in an open D tuning, and piano. [1] [2] The song is named after the Border Collie [3] Seamus (belonging to Humble Pie leader Steve Marriott) who howls throughout the 2:15 piece. [4]
Pink Floyd are an English rock band who recorded material for fifteen studio albums, three soundtrack albums, three live albums, eight compilation albums, four box sets, as well as material that, to this day, remains unreleased during their five decade career. There are currently 222 songs on this list.
This soft acoustic love song [4] may be quite uncharacteristic of the Pink Floyd's previous and future material. Guitarist David Gilmour composed the chord sequence using an open E tuning (EBEG#BE), played in a series of arpeggios, composed the melody and maybe part of the lyrics (along with Roger Waters). [4]
The song, written and sung by Wright, was recorded during two different sessions. During the first session (May 1967), Wright's vocals, piano, and Farfisa organ were recorded and during the second session (October 1967) Syd Barrett's acoustic and slide guitar as well as the bass and drum sections were recorded at De Lane Lea Studios in London.
The track was one of only two Pink Floyd compositions credited as being co-written by someone outside the band prior to 1987 (not counting Clare Torry's contribution to "The Great Gig in the Sky", for which she was retroactively credited, following a settlement with Pink Floyd). [4] The other song is "The Trial", from the 1979 album The Wall ...
Pink Floyd would again use this technique on the bass line for "Sheep". This riff was first created by David Gilmour on guitar with effects, then Roger Waters had the idea of using bass instead of guitar, so they recorded the song on two different bass guitars. The piece is in B minor, occasionally alternating with an A major chord.
The bass and guitar figure heard during the verses, G to A, is similar to the one in "Waiting for the Worms", a song that appears much later in the album. During the transition to " Another Brick in the Wall, Pt. 2 ", the key shifts from D minor to the relative major , F major, with dramatic drum rolls and harmony vocals.