No, its not a Floyd album. While clearly it took more concentration than About Face, Gilmour's
lackluster second album of two years prior, with the writers for hire approach this could never be
an inspired album.
Still, Gilmour does at times prove what he had in him. Signs of life is a legitimate introduction,
if slightly implying some cynicism (an obvious ripoff or attempt to coldly manufacture the artistic
sound of Floyd). Learning to Fly is a good pop rock song. While in its earliest stage Floyd wrote
pop rock singles regularly (after Syd they became hopelessly bad), few fans think of Floyd as a
singles band. Well, here you are. About Face had Blue Light and Townshend's All Lovers are Deranged
(then, everything Pete writes sounds like a single in the making). Still, these were not pop songs
on the level of Learning to Fly. It accomplishes its mission, but note that no member of Pink Floyd
had anything to do with it outside its performance. This was one of many mercenary operations on the
album. The Dogs of War is a fine, rocking song, I really see nothing wrong with it but many people
abhor it. The lyrics are not good, but they aren't bad. Gilmour does not try to write lyrics when he
knows they will be bad: he hires someone. One Slip sounds too light, the lyrics are irrelevant but
it is enjoyable. On the Turning Away is good, but I've never particularly liked it, lyrics are
better and the song is very genuine. Yet Another Movie is very strong, this is my second favorite
song on the album. The sequence A New Machine and Terminal Frost are very good Progressive pieces,
with excellent lyrical contribution by Gilmour, very genuine. This sequence is actually a new
contribution to Floyd, a new idea. The best track, however, is the Gilmour composed Sorrow, with
excellent Gilmour lyrics. It certainly belongs on any greatest hits list for Floyd. Even Waters said
he could use certain things on MLOR: he meant Sorrow.
The album is atmospheric and glossy. The 80s component is overwhelming, for sure. This gives the
album a nice uniqueness and rich texture however, and in some ways the darker, more serious Division
Bell seems to miss this. While both albums are foreboding and depressing (in a real, intellectual
sense) [offering nothing of the solution that Waters always leaves at the end of his albums, except
Final Cut and Wish You Were Here], they offer some small insights into the human condition which I
think anyone can appreciate.
RoyFairbank |4/5 |
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