Did Early Pink Floyd Fans Dislike David Gilmour's Vocals Before Dark Side of the Moon?
There seems to be a common misunderstanding that early Pink Floyd fans disliked David Gilmour's vocals, especially prior to the iconic album Dark Side of the Moon. However, I have never heard someone express a dislike for his early vocal performances. This raises an interesting question: why did some early fans have a preference for the era when Pink Floyd still included Syd Barrett as a member? Let's explore this further by comparing the vocal styles of David Gilmour and Syd Barrett.
Similarities in Vocal Styles: David Gilmour and Roger Daltrey
The early 1970s were a period of significant vocal transformation for David Gilmour. This transformation was not unique to him; it paralleled similar changes in Roger Daltrey of The Who. Both singers exhibited a high and angelic vocal register during their early recordings.
David Gilmour: Early Vocals
In 1968, David Gilmour released a song called "Julia Dream," showcasing his high and angelic voice. Similarly, in 1970, the track "Fat Old Sun" displayed the same vocal characteristics. Even in the mid-1970s, songs like "The Gold It's in the…" (1972) showed a hesitance in transitioning between high and low registers, indicating a vocal transformation was on the horizon.
Roger Daltrey: Early Vocals
Roger Daltrey's early voice was comparable, with high-angelic vocals heard in songs like "Mary Ann with the Shaky Hand" (1967) and "I'm Free" (1969). However, Daltrey's transition to a more rock-oriented vocal style was less abrupt compared to Gilmour's.
Vocal Transformation: From High Pitch to Rock Oriented
Starting with Dark Side of the Moon (1973), David Gilmour's vocal range shifted entirely. The album marked a significant departure from his earlier angelic tones, favoring a more rock-oriented, powerful, and "chalky" sound. This transformation was noticeable, and Gilmour himself had to alter his vocal technique to maintain his range, as seen in the recording of "Welcome to the Machine" (1975), which required the use of Varispeed technology.
Adaptations in Later Albums
By the time Pink Floyd released The Wall (1979), Gilmour's vocal range had expanded again, offering more variety. Even in "Comfortably Numb," where he sings a lot of the lead vocals, he occasionally brings out his high voice, showcasing the full spectrum of his vocal range.
Perceived Issues During Transition
It is true that David Gilmour faced some challenges during the vocal transition period between 1971 and 1972. His voice shifted from the high, angelic tones to a more powerful and rock-oriented style. This transition period caused some inconsistencies in his performance, but overall, his vocal range continued to expand and improve.
Comparison with Syd Barrett
The presence of Syd Barrett in Pink Floyd during the early 1960s undoubtedly had an impact on the band's sound. While Barrett's psychedelic and unique approach to singing made a lasting impression, his departure in 1968 left a void that Gilmour and the band had to fill. Fans often romanticize Barrett's pre-Dark Side of the Moon era, attributing a certain charm to the imperfections in his vocals.
From a technical standpoint, comparing Gilmour and Barrett's vocal styles reveals that Gilmour's transition to a more sophisticated and powerful voice was primarily about maintaining the integrity of Pink Floyd's evolving sound. Barrett's style, while innovative, was not as consistent or powerful, which may have contributed to early fans' preference for Gilmour's voice once Barrett was no longer with the band.
Conclusion
In summary, while there is a lingering belief that early Pink Floyd fans disliked David Gilmour's vocals before Dark Side of the Moon, this is not entirely accurate. The vocal transformation that Gilmour underwent was significant but natural for an evolving artist. His voice changed to better suit the band's changing sound and to maintain the musical standards of Pink Floyd. Syd Barrett's unique vocal style remains a cherished part of Pink Floyd's legacy, but it was Gilmour's robust and adaptable voice that defined the band's later sound.