After the release of Animals and the subsequent “In the Flesh” tour in 1977, Pink Floyd took some time off, during which both David Gilmour and Richard Wright made solo albums. In support of his self-titled debut, Gilmour went on his first North American promotional tour, which included this radio interview from the King Biscuit archives.

00:00 – Why he made David Gilmour 00:52 – Potential for playing songs from the record with Pink Floyd 01:26 – Concerns (or lack thereof) with reactions to the album 02:16 – Not thinking of Pink Floyd when making the album 02:50 – The immediacy of the record 03:14 – The other players on the album (Joker’s Wild) 03:33 – “Mihalis” (formerly “Instrumental in C”); using printing deadlines to come up with song titles 04:45 – “Short and Sweet” 05:10 – “I Can’t Breathe Anymore” 05:45 – Compositional responsibilities in Pink Floyd 06:32 – Making something direct with Dark Side of the Moon 07:32 – Alan Parsons’ limited role on Dark Side 07:44 – Animals as a concept album 08:40 – The work put in to presenting material in a live setting 09:36 – Thoughts on Led Zeppelin 10:20 – Possibility to tour for the new album, depending on plans for Pink Floyd 11:19 – Reason for taking so much time between Pink Floyd albums 12:49 – Talking a little bit about Syd Barrett; “Shine on You Crazy Diamond” 13:52 – Themes of madness and lunacy in Pink Floyd and solo songs 15:23 – Not listening to music; not naming guitarists that he likes 16:19 – David’s guitar collection; Tony Zemaitis 17:07 – What he’ll be doing in 1993

As a part of appearing on the World of Rock radio show hosted by Scott Muni, artists had to play DJ, introducing songs (either their own or their influences’) to be aired. While the focus here is on DeYoung’s 1989 solo effort, Boomchild, he also provides some great stories behind Styx classics such as “Beneath the Moon,” “Come Sail Away,” and “Lady.” Also included here is a recounting of the original meeting between DeYoung and the Panozzo brothers.

00:00 – Introduction by Scott Muni 00:20 – Confirming that Dennis is at the piano 00:43 – Meaning of the album and track title Boomchild 02:26 – First time Styx members met 03:24 – The Beatles on Ed Sullivan 03:57 – Writing songs influenced by The Beatles 04:31 – “Boomchild” 04:45 – “Beneath the Moon” / Roseland (not the ballroom) 05:34 – “Harry’s Hands” 06:40 – “Come Sail Away” 07:50 – Styx reunion rumors / the right reasons 09:26 – Touring in support of Boomchild 10:55 – “The Best Of Times” 12:23 – “Lady” 13:53 – Outro

Power Station came about during a hiatus for Duran Duran, when bassist John Taylor and guitarist Andy Taylor decided to pursue a heavier rock sound than the other offshoot, Arcadia. Rounded out with esteemed session drummer Tony Thompson and Robert Palmer performing vocal duties, it was one of the chicest, albeit short-lived, supergroups of the 1980’s.

This press conference was recorded in New York City with local radio personalities Shadow Stevens, Lisa Robinson, and Scott Shannon, and was hosted so that the band could announce that, since no one had summer plans, they would be putting on a U.S. tour. Besides talking about getting the album and tour together, the most interesting tidbit is the preliminary plan to hold that summer’s Live Aid concert at Shea Stadium in New York. It is also wort noting that at this point, Robert Palmer still seemed ready to tour with the group. In actuality, Michael Des Barres replaced him because, in order to take advantage of the name recognition he received through Power Station, he recorded Riptide over the summer.

00:15 – A surprise tour / coordinating schedules 01:18 – Differences between Duran Duran and Power Station 02:07 – Intro to “Communication” 02:35 – “Getting away with murder” / only works because they get along 03:36 – “The perfect rock group”? 04:32 – Opening acts for the tour: Spandau Ballet, Go West, Paul Young 05:30 – Tony: more satisfying to be in a group 06:05 – Material to be performed on the tour 07:15 – Robert: finally being recognized on a larger scale 08:25 – Plans for a live recording 08:41 – Live Aid