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Old 05-31-2008, 11:10 AM   #61 (permalink)
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Originally Posted by Rainard Jalen View Post
It turns you into a dopey, lethargic, lazy, unambitious fool. It also does have a negative effect on memory and anybody who claims anything to the contrary is a plain liar and just making excuses for their own lazy, lousy lifestyle. Alcohol abuse has even worse consequences.
Thats just a blanket statement that is only true a fraction of the time.

But otherwise, very nice reviews on The Wall (think you could have given it a little more credit, i do not feel its nearly as bloated) and Final Cut.

I look forward to more.
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Old 06-04-2008, 06:01 PM   #62 (permalink)
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A MOMENTARY LAPSE OF REASON (1987)


Pink Floyd with Waters ended officially in 1985, soon after The Final Cut. However; Gilmour, along with drummer Nick Mason forged ahead defiantly to keep the PF name. This they were eventually granted with Waters owning certain rights such as the bulk of The Wall material, Animals flying pig etc and the remainder reverting to the original name.

Initially, there was to be another Gilmour solo album but as the material was worked upon, it was deemed good enough to become PF product. Who decided this then? although there are a few great moments, it is barely recognisable from PF of old.

The album has so many outside collaborators on the album that is nearly an insult to call it a PF album. With over six writers involved, it smacks of commercialism. Indeed many of Masons drum parts are performed by session musicians and/or programmed. The inclusion of Richard Wright is merely a token gesture, with his status being no more than a session musician.

Album opener Signs Of Life (apt title) is an ambient piece and a great teaser. Maybe we have a good album after all! Alas-no! Learning To Fly is an embarassing pop rock tune that is so far removed from the Floyd it is laughable. Faux Blues riff follower Dogs of War (despite some great sax work) is yet another nail in the coffin and feels completely manufactured. By the time we get to One Slip, it is time to throw the towel in. This is possibly Floyd's worse tune ever and would stink on a Foreigner album.

Luckily this is where things change slightly. On The Turning Away has echoes of that classic Floyd sound. There is some nice acoustic work and it builds a nice atmosphere. Unfortunately it is spoilt by some completely uneccessary choir backing vocals, that turn it into tune of the week. A first real blast of a Gilmour solo redeems the track a little.

Yet Another Movie stops the rot and emerges as one of the better post-Waters tracks. Excellent sound effects and a slow build up ensures us that Gilmour can still write big atmospheric tunes when he wants to. A solo Gilmour writen track that shows glimpses of where the Floyd could go. Mini-instumental add on Round And Around is a track that I would loved to have heard in a longer form.

The instrumental A Terminal Frost is bookended by a vocoder heavy voice track split into two: A New Machine (1 and 2) and whilst the intention for ANM is admirable. It comes across as heavy handed and A Terminal Frost becomes just another Ambient rock instrumental.

Sorrow is definitely a redeeming feature of the album. Dark, brooding, lyrically apt and full of simple, yet emotive motifs that make up the Floyd's sound. Sorrow could have been a portent of a band willing to travel upon a slightly different plane....

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Old 06-08-2008, 06:01 PM   #63 (permalink)
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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.

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Old 06-09-2008, 01:33 PM   #64 (permalink)
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I have to admit some of my uses of the English language after 12 am comes across as a load of old tripe: 'resplendent in it's own melancholy'. Dear me.
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Old 06-09-2008, 09:29 PM   #65 (permalink)
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I have to admit some of my uses of the English language after 12 am comes across as a load of old tripe: 'resplendent in it's own melancholy'. Dear me.
Yea, i had to stop reading while i took my anger out on something else.
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Old 06-10-2008, 01:17 PM   #66 (permalink)
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Lee, I've listened to Piper At the Gates of Dawn, Animals, Dark Side of the Moon and Wish You Were Here. I think I liked Piper best, though I also liked Wish You Were Here alot which one should I get next?
Meddle or The Wall.
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Old 06-13-2008, 02:11 PM   #67 (permalink)
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Live, compilations and solo albums are next to be reviewed.
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Old 06-13-2008, 02:28 PM   #68 (permalink)
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This is my favourite Pink Floyd clip from 1967.



I wish the TV presenters on music programmes today were allowed to slag off the bands while smoking a fag.
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Old 06-13-2008, 03:50 PM   #69 (permalink)
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I wonder what that guy thought of Hendrix...
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Old 06-25-2008, 05:35 PM   #70 (permalink)
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SYD BARRETT-THE MADCAP LAUGHS



A simple sypnosis of this album could be summed up in the track 'No Good Trying'. A simple slice of late 60's psychedelia that has all the hall marks of a Barrett composition: Classic Pop structure, obscure lyrics and English eccentricity. Listen again. There are so many time changes in the track it is nothing short of a miracle that it made it to the end. (Barrett reportedly changed tempo, lyrics and motifs at random).

Rescued at Dead End Street by Gilmour and Waters, Madcap Laughs remains a stunningly brilliant slice of music from an era that was recovering physically and mentally from the excess of 60's idealism.

You want hooks, melodies and classic lyrics? Not here I'm afraid. Only an album that reminds us all that music is at it's most quixotic when it is unpredicatable. Madcap Laughs hold's up extremely well and it is not easy to appreciate Barretts contribution to British Singer/Songwriters both past and present.

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