Editing David Gilmour (section)

=== Pink Floyd ===
In 1967, Pink Floyd, composed of Gilmour's Cambridge schoolmates Barrett and Waters with [[Nick Mason]] and [[Richard Wright (musician)|Richard Wright]], released their debut studio album, ''[[The Piper at the Gates of Dawn]]''.{{sfn|Mason|2005|pp=87–107}} That May, Gilmour briefly returned to London in search of new equipment. During his stay, he watched Pink Floyd record "[[See Emily Play]]" and was shocked to find that Barrett, who was suffering mental health problems, did not seem to recognise him.{{sfn|Manning|2006|p=38}}

[[File:ROCK CONCERT. (FROM THE SITES EXHIBITION. FOR OTHER IMAGES IN THIS ASSIGNMENT, SEE FICHE NUMBERS 42, 97.) - NARA - 553890 (cropped).jpg|thumb|left|Gilmour (left) performing with [[Pink Floyd]] in 1973]]
In December 1967, after Gilmour had returned to England, he accepted an invitation to join Pink Floyd to cover for the increasingly erratic Barrett. They initially intended to continue with Barrett as a non-performing songwriter.<ref>{{harvnb|Mason|2005|pp=109–111}}: (primary source); {{harvnb|Povey|2008|p=47}}: (secondary source).</ref> One of the band's business partners, [[Peter Jenner]], said the plan was to have Gilmour "cover for Barrett's eccentricities".{{sfn|Schaffner|1991|p=107}} By March 1968, working with Barrett had become too difficult and he agreed to leave the band.{{sfn|Blake|2008|pp=112}} Mason later said: "After Syd, Dave was the difference between light and dark. He was absolutely into form and shape and he introduced that into the wilder numbers we'd created. We became far less difficult to enjoy, I think."<ref>{{Cite journal |date=July 1995 |title=The 30-Year Technicolor Dream |journal=[[Mojo (magazine)|Mojo]]}}</ref> In 1970, Gilmour attended the [[Isle of Wight Festival 1970|Isle of Wight Festival]] and assisted in a live mix of a [[Jimi Hendrix]] performance.<ref name="loudersound">{{cite web |last=Ewing |first=Jerry |date=12 March 2019 |title=David Gilmour: I mixed Jimi Hendrix's sound at the Isle Of Wight |url=https://www.loudersound.com/news/david-gilmour-i-mixed-jimi-hendrixs-sound-at-the-isle-of-wight |url-status=live |archive-url=https://web.archive.org/web/20230213160220/https://www.loudersound.com/news/david-gilmour-i-mixed-jimi-hendrixs-sound-at-the-isle-of-wight |archive-date=13 February 2023 |access-date=13 February 2023 |website=[[Prog (magazine)|Prog]] |publisher=}}</ref>

[[File:David Gilmour and stratocaster.jpg|thumb|upright=0.9|Gilmour performing with Pink Floyd in the mid-1970s]]
In the 1970s, Gilmour received a copy of a demo tape by the teenage songwriter [[Kate Bush]] from Ricky Hopper, a mutual friend of both families. Impressed, Gilmour paid for Bush, then 16, to record three professional demo tracks to present to record labels.<ref>{{cite news |last=Cowley |first=Jason |date=7 February 2005 |title=The Wow Factor |magazine=[[New Statesman]] |url=http://www.newstatesman.com/node/149907 |access-date=29 June 2017 |archive-date=14 December 2014 |archive-url=https://web.archive.org/web/20141214182833/http://www.newstatesman.com/node/149907 |url-status=live }}</ref><ref>''[[Rolling Stone]]'' magazine, 8 February 1990, pp&nbsp;21–2: "The Sensual Woman" by Sheila Rogers.</ref> The tape was produced by Gilmour's friend [[Andrew Powell]], who went on to produce Bush's first two studio albums, and the sound engineer [[Geoff Emerick]].<ref>{{cite journal |date=September 1990 |title=The Rightful Heir? |journal=[[Q (magazine)|Q]] |number=48}}</ref> Gilmour arranged for [[EMI Records|EMI]] executive Terry Slater to hear the tape,<ref name="Soundscape">{{cite journal |last=Kruse |first=Holly |date=November 2000 |title=Kate Bush: Enigmatic chanteuse as pop pioneer |url=http://www.icce.rug.nl/~soundscapes/DATABASES/TRA/Kate_Bush.shtml |journal=Soundscapes.info, Online Journal on Media Culture |volume=3 |issn=1567-7745 |access-date=29 June 2017 |archive-date=1 January 2009 |archive-url=https://web.archive.org/web/20090101025121/http://www.icce.rug.nl/~soundscapes/DATABASES/TRA/Kate_Bush.shtml |url-status=live }}, Originally published in {{cite journal |year=1988 |journal=Tracking: Popular Music Studies |volume=1 |issue=1 |title=Kate Bush: Enigmatic chanteuse as pop pioneer}}</ref> and he signed her.<ref>{{cite web |title=Kate Bush |url=http://www.emi-premier.co.uk/loader.html |archive-url=https://web.archive.org/web/20120226142058/http://www.emi-premier.co.uk/loader.html |archive-date=26 February 2012 |publisher=[[EMI]]}}</ref> Gilmour is credited as the executive producer on two tracks on Bush's debut studio album, ''[[The Kick Inside]]'' (1978), including her second single "[[The Man with the Child in His Eyes]]".<ref name="Mabbett-12">{{cite book |last=Miles |first=Barry |title=Pink Floyd the visual documentary |author2=Andy Mabbett |publisher=Omnibus |year=1994 |isbn=0-7119-4109-2 |edition=Updated |location=London}}</ref> He performed backing vocals on "Pull Out the Pin" on her fourth studio album, ''[[The Dreaming (album)|The Dreaming]]'' (1982),<ref name="Mabbett-12" /> and played guitar on "[[Love and Anger (song)|Love and Anger]]" and "Rocket's Tail" on her sixth, ''[[The Sensual World]]'' (1989).<ref name="Mabbett-12" /> In 1975, Gilmour played on [[Roy Harper (singer)|Roy Harper]]'s album ''[[HQ (album)|HQ]]'' (1975).<ref name="Mabbett-12" />