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Grant Eull on his covers for the Wall

Run Like Hell

When I started contributing to Basement Sketches the group had just completed doing The Beatles Revolver album from top to bottom. So when the idea for doing another top to bottom record was suggested I was extremely excited. Pink Floyd The Wall was not a heavy rotation record for me, but Run Like Hell was my introduction song to this band and the album has grown on me over the years. In high school I was heavy into delay guitar and still love the texture it brings so I was super happy when the song selection came out for the group because I was given the chance to record that song. I dug out my RE-20 Roland Space Echo delay and had an absolute blast re-learning the song again. 

In The Flesh?

I was selected to attempt the album's song 1 -  In the Flesh? and I started to get very nervous about programing the drums as it’s a critical part and very “fill” specific. As you know now part of the fun of this project is challenging myself to “mimc” as best possible with my limited skills and studio gear. Anyway, I mentioned my concern to my good friend Randy Kramer and he offer to play them on his home drum kit and get me his recording. This collaboration process with other person and another home studio was a first for me. We established a tempo and I sent him my guitar takes over a symbol click, he then sent back an incredible performance that really lifts the energy of the tune. Searching for the sound effects on this one was a blast and I am super happy with the end result. Enjoy.

Bill Fricke on his many covers for the Wall

What an epic undertaking by all of the members. This should be incredible.

I kept pretty much to the original songs, sound effects and the like. Had a ton of fun doing it.

Happiest Days/Another Brick 2 - I wanted a break in the middle to avoid copying the entire thing. I did, however,  have to learn the iconic guitar solo.  It’s canon.  I don’t have the bending skills that Gilmour has.  Thank you YouTube guitarists for your tutorials.

The Show Must Go On - Pretty much a straight copy. Love the harmonies too much to mess with them.

The Trial - Following the format, but made it a little more oompah and darker.  It was fun finding the sound effects for the beginning and end.

Outside the Wall - Trying to sound like someone preparing breakfast (light homage to “Alan’s Psychedelic Breakfast”) while listening to the radio news and a little song afterward.  I had to throw in a mention of the “secret message” from the original album.  

Andrew Charon on his cover of Empty Spaces

I was excited to have been given the song "Empty Spaces" to cover for Basement Sketches Project 16. I remember in the late 80's, when I was in highschool, trying to figure out how to play the song backwards on my turntable to decipher the mysterious backwards message...how to I disconnect the belt on my turntable so I can play the record in reverse without totally destroying it. And in the movie there is a mystery song piggybacking off of Empty Spaces ("What Shall We Do Now?" ) that wasn't on the album so I really wanted to incorporate it into my track. As for my process, I wanted to get more use out of my new Telecaster this time around and mess around with Garageband. I think it was a bit wacky as I recorded the guitar clean and added effects later but I think it worked out ok. I wanted to do something heavier and continue to experiment with mellow to intense. I had a blast with this one.

Tal Tahir on his cover of Hey You

Turned this into a 165 BPM techno banger. The "worms" make sonic cameos throughout. The vocals were recorded on an iPhone thru Bluetooth into Logic and layered 5 times over. Side note: Wild to think this masterpiece was created all because Roger Waters pouted about his fans not paying attention to his songs in just the right way. God what a wanker!

Noah Warren on his covers of Waiting for the Worm and Stop

This was recorded over a span of three Covid exposure scares, so I thought I'd use that to my advantage. I thought this was due end of April so I really put in a lot of effort earlier in the run and then saw I had more time, so I took a break to let it fester. I experimented with some drum loops that I added at the last minute and re-recorded lots of different elements before it got to a version I was willing to turn in. There's much I'm not crazy about, but I am happy with my impression of fascism.

During the crescendo, I looped my voice when I had a sinus infection (which I thought was Covid) so my windpipe was making these creaks and wheezes that are kind of scary. It sounds like an animal being tortured. Also, the nonsense being spoken through the loudspeaker is the news from Garrison Keillor's Lake Woebegon: Where all the women are strong, the men are good-looking and the children are above average.