Shades of Run Like Hell can still be found on Gilmour’s eponymous debut, as elements of it pepper the track Short and Sweet – just compare the intros. It’s an irresistible listen, and a notable mood-enhancer. The verse lurches us dramatically between Em, F, C and B, before we’re once again back with the feel-good jog of that central riff. With its springy, palm-muted single notes rooted in D, flashes of light illuminate this foundation via some stirring, descending chord shapes which take us on a colourful drive back to the tonic. Originating as a piece of music Gilmour had earmarked for his first solo album, Run Like Hell is a masterclass in tension and release, its tight arrangement allowing for minimal musical flourishes (the only solo here, being Richard Wright’s dazzling synth centrepiece). As we pace towards The Wall’s climax, the dark funk of Run Like Hell primes us to close the book on 1979’s dystopian double-album.
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