THE DIVISION BELL (1994)
Despite the presence of a few outside album contributors, this release was a huge step in appeasing the bands fans sans Waters and seems to be the last album they will ever make. Richard Wright was fully incorporated into the band and his inclusion and contributions add some much needed gravitas.
A lot of the themes on the album seem to allude to communication breakdown and /or the ability to solve problems amicably. This of course can be associated with the Waters/Floyd scenario. Although legally; well done and dusted, emotionally it had barely raised it's head from the cot.
Musically there is only one track that conjures up the many horrors of AMLOR, and that is Take It Back. Written with producer Bob Ezrin, this was obviously an attempt at a hit single. Whether this was intentional or a part of a commercial contract honouring is debateable. We can go right back to Piper to conclude that Floyd do not make music for singles charts.
Upon a thorough relisten, it is surprising how well this album stands up to previous releases. When Gilmour put's everything into his solo's, it becomes clear how simple he keeps the music, yet so emotive. Album opener 'Cluster One' and 3rd track 'Marooned' work on Gilmour's undoubted talent and still come across as great guitar lead Ambient pieces and not self indulgent wankathons.
'What Do You Want From Me' is a generic rock track enhanced by some great blues tinged guitar work and 'A Great Day For Freedom' is one of Gilmours best works vocally.
'Wearing The Inside Out' is Wright's baby and it is so welcoming to hear his vocals dominate a track. After Meddle, the public barely got a chance to hear his unmistakeable vocals and lazy Jazz tinged compositions. The tracks opening replete with saxophone is one of my favourite Floyd pieces.
'Coming Back To Life' has a catchy hook but fails to raise the hackles but follow on track 'Keep Talking' is an effective riposte and features some great guitar work.
'Lost For Words' is a fairly standard acoustic pop song that does'nt seem to be inspire musically but the albums closer 'High Hopes' again retains Floyd's fondness for Musique Concrete and is a fitting ending to the career of one the world's best ever bands. Lyrically it points to a need to be somewhere else and a release from the machine that is Pink Floyd and is resplendent in it's own melancholy.