Phoenix, IED's 'Q' quotes

[Wieland Willker <willker@chemie.uni-bremen.de>]

Can someone please look up the Q-interview with D. Gilmour????
Ca. Sept. 1990???

Date: Wed, 10 Oct 90 14:18:58 EDT 
From: Andrew B Marvick <abm4@cunixd.cc.columbia.edu> 
Subject: Demos, the Gilmour sessions

Apparently in the interview with Gilmour in Q recently, G. mentions that
when  he originally encountered Kate's songs, they were in the form of a
very poor-quality  home demo recording. (These must have been the "two
hundred" or so--at least  there must have been a lot by that time: early
1973.) He says that the tape recorder  was not good. So he paid to have
Kate go into a studio and re-record some fifty  songs over again (again,
apparently, solo with her own piano accompaniment-- not, it  seems, with
Gilmour and his musician friends at Gilmour's house). These must have  been
done during the spring of 1973, as far as IED can tell. 
(Then, in the summer of 1973, Gilmour invited Kate to his house where they
recorded group sessions with Gilmour's friends, performing somewhere
between  ten and twenty of Kate's songs, including the version we all know
of Passing  Through Air as well as the version we know part of of Maybe.
Finally, after the  initial solo demos failed to produce a contract for
Kate, Gilmour paid to have three of  her songs re-recorded in a proper
studio with a full contingent of musicians. These  tracks were the versions
of Saxophone Song and The Man With the Child in His  Eyes which are found
on the album, The Kick Inside ; as well as a second band  version of Maybe
--not the version we know the excerpt from.) 
With this news of a second early solo-piano session, paid for by Gilmour
and  conducted under studio conditions, we have at last a plausible
explanation of the  Cathy Demos. Surely these are the spring 1973
recordings which Gilmour subsidized,  before going on to produce the
Passing Through Air sessions later in '73, and the  Saxophone Song sessions
in '75. The sound quality of the Cathy Demos is very high,  and (at least
as heard on the EPs and, IED gathers, on the new If You Could See Me  Fly
CD) there is virtually no tape hiss.