"I really missed playing, seeing all of David's gear and everything," recalls Lee on the gig that reinvigorated his passion for performing. When he saw David again a year later, his plan to perform early Floyd with Nick Mason was hatched, with Guy's response an encouraging, "It's a really good idea, but I don't think he'll go for it."
"I went off for about a month and I thought, 'He didn't actually say no'," continues Lee, "so I went back to Guy and said, 'I really want to get the idea to him' and he said, 'Write it out properly and I'll get it to him,' and I did – and here we are."
Are you long-time a Floyd fan?
"I was brought up listening to Floyd, really. My parents brought me up listening to The Allman Brothers Band, Deep Purple, loads of Floyd, Led Zeppelin and all that 70s guitar-y stuff.They took me to see The Wall at Earls Court, I must have been eight and it rubbed off on me. When you're eight and you see a guy standing on top of a wall playing a guitar solo, you walk away remembering it. I was massively into David.
"My father is a cinematographer and he did a video for Pink Floyd. He used to work with Storm Thorgerson and there was this guy called Arthur Max who is now the production designer on big movies, like he does all of Ridley Scott's things, but he used to work with my dad and he actually was the Floyd's lighting designer; he came up with the idea of the round screen. So I've always had sort of random Floyd connections, which didn't worry me about getting to Nick and having him say no."
What sort of gear are you using?
"I've got a Gurus Optivalve compressor – it's got a tube in it – which I actually only use with an old Marshall Guv'nor pedal for the Syd stuff. Obviously Syd was going through a Selmer amp and the Guv'nor with that compressor got me the closest to it. I've got another of their pedals called a Sexydrive, which is an overdrive pedal. There's a guy in the Czech Republic, the company is called Electronic Orange and his name is Jan [Horínek], and there's a thing called a Bananaboost, basically a clone of an old Colorsound boost. I got a Big Muff clone from him, which gives me a dirty muff sound, and I use that on One Of These Days.
"Also I've got a Catalinbread Karma Suture and we've got a song called The Nile Song that has a kind of overblown speaker sound and I was stacking two germaniums but it was getting a bit out of control. The Karma Suture is based on something called a Harmonic Percolator and that gives me a really good sound.
"Amp-wise I've got a Hi-Tone DG50, which is a Hiwatt clone. It's a fantastic amp – for this, it's absolutely perfect. The cab is called an Eclipse [4x12], after Dark Side Of The Moon,perhaps; it's got clones of Crescendo speakers inside it and it kind of looks like David's Starfinder cabinets."
What about guitars?
"I've got two Fender Strats. One's got a Grover Nut on it that raises the action so it's quite high, like a lap steel. I'm getting Tom Gray to make me a T-Style, I think it's called the Admiral model, for when we go out later in the year. I was just going to play the whole thing on a Strat, but when all my gear was in the UK being built into a 'board by GigRig, I had my Telecaster here in France and I plugged into my Guv'nor and went, 'Oh, god – that's the sound!' So I had to rejig everything.
"You really do need a Tele. In fact the reason that I've got so many delays and overdrives is that I'm painfully aware that David only played through one Binson – or maybe two – and a Fuzz Face, but we are covering everything from 1967 to 72 and all the tracks have got different settings and I can't stand bending down and changing settings in between songs. Especially for the analogue delays – I think one of the Boonars is for only 30 seconds of music, but it's integral." ■