Talk:Run Like Hell

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Waters not playing it during post Pink Floyd concerts?[edit]

Waters seems to have an aversion to playing 'Run Like Hell' in his concerts (except for the Berlin Wall performance) - perhaps because Gilmour wrote the music (I have heard a few reasons). I don't feel that I know enough about the subject to add this to the article but if someone more knowledgable does perhaps it can be added. —Preceding unsigned comment added by Ericpol (talk • contribs) 17:57, 1 May 2008 (UTC)[reply]

Good call, not putting that in the article. Actually, I would expect it has as much to do with the difficulty of singing the song by himself (he managed in Berlin, but it didn't sound particularly good). If you listen closely, Waters's concert selections have a lot to do with what he can or can't sing nowadays, or whether he's comfortable using prerecorded vocals (which he obviously does in some cases, but would be inappropriate in others). But this is conjecture on my part, as much as your observation was yours. Of course, Waters has performed the song for his Wall concerts since you posted your comment. Knocked it down from D to C, too. So you know the vocals were genuine at some point, although I suspect it's still prerecorded, not a fresh performance for each show. I can't put that in the article, either.
Well, aren't I chatty today, responding to four-year-old messages. . . .
--Ben Culture (talk) 05:44, 13 September 2012 (UTC)[reply]

Disco[edit]

This is the only time "the band would dabble in the disco genre"? How about Another Brick in the Wall II? ForeignWindowFrame (talk) 09:40, 23 August 2009 (UTC)[reply]

I find it irksome and unfair that these two songs are at all characterized as "disco". It's a tight, catchy tempo; that's all. Where are the syrupy strings? Where are the falsettoes? The overt references to sex? The exhortations to move, get up, clap your hands, dance? It's just the damn tempo, and they were absolutely brilliant to do it that way. Fortunately, it appears all references to disco were wisely removed from the article.
--Ben Culture (talk) 05:47, 13 September 2012 (UTC)[reply]

Run Like Hell[edit]

"Although the lyrics "You better run" appear several times in the liner notes, they are never actually heard in the song."

"You better run" is heard several times in the song. I thing you're referring to the lyrics "Run Like Hell" never being sung in this particular song. I'm going to change it -- please, anyone let me know if you object. —Preceding unsigned comment added by 72.226.78.94 (talk) 16:55, 29 August 2009 (UTC)[reply]

Uh,...[edit]

I hid the "panting and screaming" credit for Roger Waters, in case it actually is a credit in the liner notes, but I don't find that "Panting and Screaming" should be an individual credit. It goes with vocals. The Doomsday Machine! (Blastoff!) 21:12, 26 August 2010 (UTC)[reply]

I agree, but it appears others do not. --Ben Culture (talk) 05:48, 13 September 2012 (UTC)[reply]

Musical details, with additional reference.[edit]

The "Lyrics and Music" section already had some musical specifics (the key of the intro vs. that of the verse), as well as a few errors (mistaking the guitar's delay'd open-D string for a bass on this and "ABITW,Pt.1"). I added some more specifics (names of all the chords that occur in the verse, the odd details of the second, less-noticeable guitar), and, even though a good transcription book was already cited, I added my own source -- an issue of Guitar World.

I have seen less-complicated but questionable names for two of the verse chords. They were "Em/F5" and "Em/B5". That explains them, but I don't believe it's kosher, musicologically speaking, to name them that. Slashes are really only used for bass notes, not dyads. Yes, they are power chords underneath the open-string triad of E minor, it's true, but there are real names for these chords! They are, of course (say it with me!) Fmaj7sus2(♯11) and Bsus4(♭6). I have gone with those names while explaining that they are, indeed, simple power chords underneath the E minor triad. I hope I did so clearly and without too much fuss.

Oh, and when I say "second guitar" -- Yes, I'm sure it was more like, the fifth and sixth doubled guitar on the actual recording, but for analysis or performance purposes, you really can consolidate the guitars into two, as long as they've both got that exact delay setting, creating repeats of the root, underneath the strumming of the upper strings, and you alternate at the right times. I've watched Gilmour (on his About Face tour) do the whole open-D pedal tone while aping Pete Townshend's "Substitute" chord riff. (Boy, aren't you glad I didn't put that in the article!)

--Ben Culture (talk) 06:22, 13 September 2012 (UTC)[reply]
I just reverted an edit in which the Fmaj7sus2(♯11) chord was renamed Fmaj9(♯11). Here is the problem with that name: There is no third, no A or A♭. When there's no third, and there is a second (in this case, G), it is a suspended second, or "sus2" chord.
Also, the revert refers to a Cmaj7 as a "C major seventh" so readers can go look at the definiton of such a chord. If I had to refer to the chord a second time, I would certaintly use "Cmaj7", but for a one-time reference there is nothing wrong with spelling out the words.
I hope this clarifies everything, and results in an agreement.
--Ben Culture (talk) 13:33, 23 September 2012 (UTC)[reply]

Covers[edit]

Rivethead did a cover of Run Like Hell on their Sept. 01 2009 EP release All Your Covers Are Belong to Us. — Preceding unsigned comment added by 74.46.227.148 (talk) 17:26, 24 September 2012 (UTC)[reply]

Delay times[edit]

The article references a dotted 8th note delay. David Gilmour has stated in interviews that he uses two delays to create a triplet effect. You can either use two 1/4 note delays; one at 380ms and the other at 507ms approx to create the triplet or you can simply use a 1/4 triplet delay. Dotted 8ths are more The Edge's style. — Preceding unsigned comment added by 124.187.111.86 (talk) 13:27, 17 November 2012 (UTC)[reply]

This is one of those instances when Gilmour has made less-than-technically-correct statements. There are no triplets. The delay effect is set so that simply playing quarter notes will generate echoes in the eighth-sixteenth-sixteenth, eighth-sixteenth-sixteenth pattern that drives the song. (I don't get into discussing milliseconds, as opposed to the musical effect that the setting has, regardless of the tempo the song is played at.) The pattern of the strum on the D, A, and G chords is close to, but not, quarter-note triplets. When Guitar World transcribed the song (cited in the article), they articulated it in a combination of dotted eighths and tied-over sixteenths (and I find those guitar magazines are usually a LOT more accurate than the "piano, vocals and guitar chords" books bands put out). So, all in all, a dotted-eighth-note setting is accurate. But if the feedback is set to produce three or more dotted-eighth notes, it's going to sound quite similar to quarter-note triplets, so you really can't blame Gilmour for calling it that.
--Ben Culture (talk) 00:31, 9 October 2013 (UTC)[reply]

Roger Waters, Andy Bown, and the mysterious "Gilmour bass line"[edit]

In the section "Live performances", in the "Roger Waters" sub-section, our article currently states:

In Roger Waters' The Wall concert in Berlin in 1990, he made no speech and sang all the lines alone. During the concert in Berlin, Waters didn't play the bass guitar during the song, but during the 1980 tours he played the Gilmour bass line (which is composed almost entirely of four quarter notes per bar, with very few eighth-note variations, and only the root of each chord).

The only thing wrong with that is, it isn't true. If you go to YouTube and watch "Pink Floyd: The Wall LIVE 13/16", you will see that both Andy Bown (the "surrogate" or "shadow" Roger Waters) AND the real Roger Waters are playing bass. Bown is the one playing the bass line from the record (four quarter notes per bar, roots only, lowest possible root) while Roger is playing variations and improvisations. During the "emptied out" section following the synth solo, you'll see Roger getting into a repetitive high-note riff while Bown pounds out his one-two-three-four in drop-D tuning.

Oh, and why on Earth somebody referred to this as "the Gilmour bass line" is a mystery to me. It's so absurdly simple, there is no reason to assume Roger didn't play it on the studio version.

--Ben Culture (talk) 06:18, 7 November 2013 (UTC)[reply]

According to the source used in the article (Fitch/Mahon), Gilmour played bass in the studio. 88.87.207.145 (talk) 09:14, 31 May 2015 (UTC)[reply]

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Who played bass on the track?[edit]

The intro text says that Waters played bass, but in personnel section it says that Gilmour played bass, and so does the article on The Wall. What is the truth?

Merijn2 (talk) 20:13, 26 September 2023 (UTC)[reply]

"Run like Hell" rather than "Run Like Hell"[edit]

"Like" is a preposition in Wikipedia title case so shouldn't it be lowercased? Loafhouse (talk) 17:58, 21 November 2023 (UTC)[reply]

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