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Pink Floyd - A Momentary Lapse of Reason CD (album) cover


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3 stars Before the bitter split of the band, David Gilmour commands this "new" Pink Floyd. Some good songs, some moments of almost genuine Floyd feelings but the lack of cohesion sounds louder than the virtues (I´m using a bit of Sorrow´s lyrics)
Report this review (#9175)
Posted Friday, January 2, 2004 | Review Permalink
4 stars I like this one. A good , very underrated comeback album from the Pink ones. No Roger Waters ? So what. One Slip and Sorrow carry this baby, with good seminal tracks to fill the recording. This is a record I can enjoy time and time again and I say to...give it a go.
Report this review (#9176)
Posted Wednesday, January 7, 2004 | Review Permalink
2 stars A couple of good tracks and that's yer lot mate! This is the great Pink Floyd, you know the guys that made "Dark Side of the Moon" and hailed as the gods of progressive rock with Yes and early Genesis the only real contenders. Well, I think the boys won't mind me marking them hard. This album has no soul that's all - apart from that it's fine. You can't blame it all on Roger Water's leaving though because Gilmour has done some pretty amazing stuff elsewhere without him. Every band has a lemon and this is it for the Floyd. Perhaps their human after all - a momentry lapse of reason perhaps. Excuse me if I greatly prefer one of their other exceptional 15 or so albums. Good picture on the cover though.
Report this review (#9177)
Posted Saturday, January 10, 2004 | Review Permalink
Sean Trane
Prog Folk
2 stars 2.5 stars really!!! Momentary or permanent??

A bit like its predecessor TFC, AMLOR is much maligned and controversial. Highly lauded by Floyd unconditional fans who forced themselves to love it, and hated by those who were scandalised that the name of Floyd went to a non-original member (in the light of Waters' lost court battle, Mason should've inherited the name), this album is just as much a Gilmour solo album as TFC was a Waters solo album. Obviously written hastily to prove his ownership point, Gilmour and Mason in tow were definitely not ready for a Floyd album without Waters or Wright; but instead, it (Lapse) was a pretext to a gigantic two-years-tour to capitalize and replenish bank accounts. In this regard, the picture of the all-too-content and connivingly smiling David and Nick is another punch in the face of Roger. Coming with an ambitious concept ala Waters and a no-less Waters-ian title, this album has an intriguing Hypgnosis artwork that defies reason, but was probably a little too whacked-out for credibility. On the guest list, we find Supertramp's Helliwell, returning the favour to David's collab in the epic title track of Brother Where You Bound, but Scott Page is the main sax man. .Gilmour was never a prolific (or very good) lyric writer, so he hired someone for almost half the album, like he would in all future albums of his.

Just like TFC and The Wall before it, Lapse presents most of its song in a very conventional canvas of verse & chorus, thus sending Animals and the older siblings to another galaxy. Gilmour can't help but involuntarily showing his lack of inspiration by plagiarizing himself in the opening Sign Of Life, a rewrite of Shine On You, but this can also be seen a nod to it. The album is plagued by weak songs with pedestrian rhythms like the boring Learning To Fly and the equally un-moving Dogs Of War (despite a wink to Time with the electronic alarm clock tones). Most of the songs are linked musically, thus ensuring a semblance of cohesiveness, but it is clear that Wright's chord arrangements are missing. The most atrocious floyd tracj must be the electronic-paced One Slip and the Bono/U2 ?inspired On The Turning Away, with a cheesy sing-along chorus and a fine Gilmour solo.

The flipside is slightly more substantial, starting with a rather correct Yet Another Movie, and the average instrumental and tape-effect loaded Terminal Frost, unfortunately sandwiched in cheesy and outdated (even in 87) vocoder vocals of New Machine (we prefer the Welcoming one of 75), but nothing much happens in a very static slow tempo. Sorrow is a correct closer, but again it uses this mid-to-slow pedestrian tempo (and these friggin' 80's drums, most courtesy of Carnine Appice, but this is Gimour's bravura moment of the album.

If TFC showed Waters' songwriting limitations and musical universe, AMLOR shows Gilmour's just as blatantly. Clearly this album was a bit of a rushed job songwriting-wise, thus not even giving themselves enough time to re-integrate the returning Rick Wright ? his small contributions are more than solidly underlined by a third-in-order appearance in the list of musicians, but at least this was giving the trio a bit of legitimacy. Roger is probably wondering if someone would even remember this album if it had not been released under the Floyd moniker. Personally I think this Lapse is certainly no better than Final Cut (or Roger's Hitch-Hiking and Radio Kaos for that matter) or David's very own About Face, his only other work. in the 80's. Lapse is an album that hasn't aged well, mostly due to the then-obligatory use of actual digital/numerical technologies and ranks probably a tad lower than TFC, but compared to other prog giants (Yes, Genesis, Tull and ELP), Floyd (and solo projects) has not to be ashamed of its weaker decade, despite a change of leader.

Report this review (#9185)
Posted Tuesday, February 3, 2004 | Review Permalink
5 stars this is the new face of the band, music is brighter and same good as on three prevoius 'Waters-Floyd' albums. So much air in the compositions, really big surprise that it's still very good after departure of Roger The Great. Fantastic record.
Report this review (#9166)
Posted Friday, February 27, 2004 | Review Permalink
Honorary Collaborator
4 stars This Pink Floyd album is VERY underrated! Roger Waters is NOT anymore on this album. There are 5 keyboardists including Rick Wright himself + ex-Madonna Pat Leonard, THE keyboardist on the "Amused to death" album. So, you have to expect a very keyboards and guitars oriented album.

The most impressive element on this album is the excellent echoed combination of omnipresent atmospheric & modern keyboards and delightful electric rhythmic guitars + ALMOST PERFECT guitar solos. Many ambiences are even futuristic with some EXCELLENT magestic & percussive keyboards: for an decent comparison, selected slow & modern New Age artists must be considered to describe the atmosphere involved: the best who come to my mind is Jon Jenkins' Flow album, especially the Flow track, and David Helpling's "Between the green and the blue" album, especially the Worlds track. Shall we add Supertramp's "Brother were you bound" album, especially the intro of the eponymous track. Mostly the rhythm is slow, David Gilmour's lead vocals are absolutely OUTSTANDING, and he is probably at his best here regarding the guitar solos. There are many excellent backing female vocals, similar to the Waters' ones. There are some EXCELLENT "Supertramp-esque" echoed sax parts, absolutely giving a refined urban touch to the whole. The guitar solos on "On the turning away" and "Yet another movie" are among the loudest & best ones from David Gilmour: just turn up the volume! UNBELIEVABLE! They can almost be compared with the ones on Rush's "Power windows" and Marillion's "Fugazi"! Even without Waters, there are still many subtle sounds arrangements, mainly serious talks. All the tracks are excellent.

Rating: 4.5 stars

Report this review (#9152)
Posted Wednesday, April 14, 2004 | Review Permalink
3 stars Well, one good thing I can say of this album is Roger WATERS isn't around anymore, so no more "I hate the world" type of lyrics like you find on "The Wall" and "The Final Cut". Still the band isn't really a band, although Richard WRIGHT had returned, he still hadn't got full billing, and they were still using tons of studio musicians. They even had Tony LEVIN (who was best known for playing for Peter GABRIEL and the 1980s version of KING CRIMSON) fill in for Roger WATERS in the bass department (although given this is LEVIN, he also used the Chapman Stick on this album). The album only featured pictures of David GILMOUR and Nick MASON. And basically you can better pass it off as a GILMOUR solo album (even though officially, his last solo album was "About Face" released at the beginning of 1984).

But the music, for the most part, fails to excite me. Pretty generic late '80s fare, with the big drums and digital synthesizers, in that stereotypical "big arena rock" sound. Still the band was able to fill up stadiums and arenas at this point, but by this point, many nightclubs and planetariums across America started "Pink Floyd with laser light" shows which has turned in to a real bad cliché. Yeah, a couple songs do stick out, like "Signs of Life" and "Yet Another Movie", but that's it. The rest is basically give or take.

Report this review (#9182)
Posted Thursday, May 6, 2004 | Review Permalink
Symphonic Prog Specialist
3 stars There's something special in Pink Floyd without Roger Waters, it's not the same as when he was part of the band, but they maintain their identity and classical sound. "A Momentary Lapse of Reason" is not among the best Floyd albums, but still the fan can listen it and recognize their favorite band, even if they don't like the album very much.

The base of Pink Floyd is present with David Gilmour, Nick Mason and Max Wright, plus other musicians who will be part of later Floyd albums like Jon Carin and Scott Paige. The rest of the lineup is completed by efficient musicians and living legends as Tony Levin and Carmine Appice.

The album starts with a spacey instrumental called "Signs of Life" which for a few seconds reminds of "Shine on You Crazy Diamond", but it's only a short illusion, most of the songs lack of bright and becomes boring. The problem with this song is that it leads to nowhere, has no feet or head.

"Learning to Fly" is what I call a modern classic, well-achieved atmospheric sound, excellent guitar typical feminine chorus and strong drumming. Included in most live presentations of the band. I believe this song could have made it in previous albums with success.

"Dogs of War" is another modern Pink Floyd classic, very aggressive and hard song based mostly in the unique Gilmour vocals and excelent keyboards work plus an incredible bass and drum, maybe a bit repetitive but it's strength and psychedelic keyboards makes of it a great song.

"One Slip" is one of the weakest tracks, pretends to be dynamic but ends sounding as a POP oriented tune similar to Alan Parsons in his weakest albums. Luckily is followed by "On the Turning Away", a semi ballad with the signature of David Gilmour, the acoustic guitar is very pleasant but the keyboards and correct vocals in the middle of the song produce a nostalgic feeling, the effect is completed with the electric guitar at the end, IMO the best track of the album.

"Yet another Movie/Round and Around" is another track that leads to nowhere, keyboards are terrible and don't match with the vocals, monotone and repetitive turns into a predictable and boring song, not even the frantic guitar semi solo saves "Yet Another Movie" from disaster. Don't understand why they decided to divide this song in two parts, because honestly there's no substantial difference between them. The same fate is shared by the next track "A New Machine Part One" another unlucky song.

"Terminal Frost" even though is not brilliant, is saved by the jazzy edge, sounds as a good jamming session, efficient sax and drums, good but not excellent sounds as a jamming session. Of course there's no need to describe "A New Machine Part Two" which IMO consists in 38 seconds they needed to cover with something.

The album is closed with "Sorrow", it was about time they played a better track, Gilmour is outstanding with his guitar and vocals, the song has a constant evolution that keeps the interest of the listener even when it's not one of their best.

The album is not bad, but it's very uneven, with a first half much stronger than the second, and great tracks mixed with fillers. "A Momentary Lapse of Reason" will never be considered an essential album by any fan, but it's much better than what most critics affirm.

Good for die hard fans but if you don't have it, don't worry; there are plenty of Pink Floyd albums you should buy first.

Report this review (#9183)
Posted Monday, May 24, 2004 | Review Permalink
Easy Livin
Honorary Collaborator / Retired Admin
3 stars A reasonable effort

The album Roger waters described as a "pretty fair forgery". Having left the band, and given up the custody battle for the name, he was somewhat incensed to find his former colleagues (including Rick Wright whom he had previously sacked), come up with an album which still sounded like Pink Floyd. With Gilmour in control, he (Gilmour) had clearly made a conscious effort to be as faithful as possible to the Pink Floyd discography, or at least that part of it made since he had taken over from Syd Barrett.

The accusation of forgery is however somewhat misplaced. While the sound is unmistakably that of Pink Floyd, the tracks are entirely original, diverse and interesting, something which could not be said for the later PF albums while Waters was still on board. The pictures on the album cover, and the album title itself are probably the only places where Waters accusations may be justifiable, with more than a passing nod to "Wish you were here" in both.

"A momentary lapse of reason" is not perfect by any means, neither is it the band's best work. "Signs of life" leading into "Learning to fly" is a good opener, which catches the attention and sets the scene. "One slip", and "On the turning away" are also excellent tracks, but some of the others, such as "Sorrow" and "Yet another movie" appear to be little more than fillers.

There is however a lot that is good about the album. It was a vast improvement on its immediate predecessors, and of course it kept the Pink Floyd flag flying high.

Report this review (#9184)
Posted Wednesday, May 26, 2004 | Review Permalink
James Lee
Honorary Collaborator
2 stars The great gods of progressive rock -PINK FLOYD, YES, ELP, and GENESIS- hit their lowest creative point- and highest earning potential- in the 80s (I won't include KING CRIMSON in the lineup as they managed to succeed creatively on "Discipline" and the follow-ups). To be honest, "Learning to Fly", "Dogs of War", and "One Slip" were more enjoyable pop songs than most of what circulated during their time, and somewhat adventurous within a narrow scope. However, "On the Turning Away" seems so deliberately constructed that the cynic in me can't help but picture them in a room writing it and saying, "yeah, that'll make the fools hold up their zippos". The loss of Waters was probably not the death-blow that it seemed- his creative well was almost dry by the end of the 70s anyway, as "The Wall" and "The Final Cut" proved (need more proof? his solo albums...). It is open for debate whether Gilmour and Mason (did Wright have a say in anything at this point?) actually decided to milk the FLOYD name to pay the bills or if they just wanted to continue doing what they loved as long as possible; these guys proved time and again their dedication to putting on a great tour. I had the pleasure of seeing them perform right after this album's release and it was a magnificent show- although I would have preferred to have been born earlier so I could have seen them at their peak. So at worst, this album enabled the mighty FLOYD to continue (if not progress) making music for a while, fulfilling their own decade-old prophecy: "Let me tell you the name of the game, boy; they call it riding the gravy train."
Report this review (#9189)
Posted Tuesday, June 8, 2004 | Review Permalink
2 stars Nothing was good after The Wall. Another 80's stinker from Pink Floyd. Seeing Richard Wright cast as an extra musician is an insult and the lack of roger and rick is upsetting. The album does manage to sound like a pink floyd album but it plays more like a gilmour solo album.

Signs of Life is a pointless opening track that takes up too much time of the sounds of being on a boat. There are some good guitar effects on "Sorrow" which is one of the better tracks but still this cant compare to anything before this album and the intro can go on too long and the song is just too long and boring. "Dogs of War" is very strained and annoying whilst "The New Machine (part one and two)" are just a nuicesence and clutter up the album. round and around is a disapointing tag on.

Learning to Fly would be an ok song if it didn't sound so annoyingly pop like, which is odd for a pink floyd song. One Slip and Terminal Frost have their moments along with yet another movie. These are about the only songs that manage to keep the album going. A Dreadful piece from pink floyd but arguably better than The Division Bell.

Report this review (#9190)
Posted Saturday, July 3, 2004 | Review Permalink
Chris S
Honorary Collaborator
4 stars Great comeback by Pink Floyd with the exclusion of Waters after bitter court disputes. Gilmour won that one thankfully, for Momentary Lapse of Reason and The Division Bell we are all the richer. Rick Wright only guests as well which is a shame as his influence is always greatly needed. The album though is excellent and although moving away from ' concept' it still has a strong formula. Most of the tracks are excellent, ' Signs of Life' starting off as the instrumental beauty, a formula used on Division Bell also. Check out ' One slip'' The turning away' ' Terminal frost' and the gloomy ' Sorrow'. John Carin ( keyboards) and Scott Page ( sax) play some mean riffs too.If I am not mistaken Phil Manzanera co-credits ' One slip' as well and John Halliwell of Supertramp fame helps his hand on sax too. Great album and thank God the Pink Floyd were alive and well.
Report this review (#9140)
Posted Monday, September 6, 2004 | Review Permalink
3 stars David Gilmour and Nick Mason invested their time and money to produce an album which is more accessible and "lighter" than their previous 3 albums. I started to like to hear Pink Foyd`s albums again with this album. It seems that Rick Wright arrived almost at the end of the recording of this album, so that`s why he appeared only as an additional musician. Nick Mason played a little bit of drums in this album, as Gilmour said in interviews. So, this album was made mainly by Gilmour, but it seems that he and Mason where trying to revive the old Pink Floyd sound while adding new influences from the music of the eighties. They renovated their sound without losing their identity. "On the Turning Away" is the best song. It talks about hope, something that was missing in previous albums. "Learning to Fly" maybe is poppish, but it`s good. "One Slip" sounds more like late eighties music. "The Dogs of War" has good lyrics." Gilmour`s guitars are very good in this album.
Report this review (#9141)
Posted Sunday, September 12, 2004 | Review Permalink
4 stars A Momentary Lapse of Reason was the first album I ever owned (I have a vinyl copy of this album that I've had since I was 7 years old) so naturally I feel a little bit sensitive towards the criticism this album gets. Yeah, the image of the band that made A Saucerful of Secrets, Meddle and The Dark Side of the Moon is gone, but the sound of the album still works well, since David Gilmour was the second leading force in Floyd. He was the main man behind "Wish You Were Here" and sang with precision. And he may not have been one of the founding members, but at least he had a couple of good solo albums from 1978 and 1984, and since he and Nick Mason were still getting along, he thought it would be important that Floyd fans should still have something with the name "Pink Floyd" on it. Richard Wright had been out of the band after so many disputes with Roger Waters, but he returned part-time for this album. That's why he has smaller font in the album credits and he's not pictured with Gilmour and Mason in the artwork (he is on the latest CD reissue, however).

The lead-off track, "Signs of Life," is eerily reminiscent of the keyboard intro to "Shine On You Crazy Diamond," mainly because it has an aural keyboard foreground and a bit of piercing guitar. The first sound is somebody rowing a boat on a river, and that sound goes well since the image in one's head could be one of little creatures in a lake. When the guitar steps in, a fox (or any other wild animal) has just stepped near the pond and frightened the little creatures. The guitar, on the other hand, foreshadows what's to come on the next track.

Exploding with a heavy guitar chord and some extreme percussion, "Learning To Fly" is a track based on Dave's personal experiences about learning to fly airplanes (a hobby he picked up in the early 1990's). With a chilly digital keyboard sound, some female backing vocals, electric drums and a bridge with pilot communication, this has to be the strongest track on the whole album. It's the only song from this album that gets radio play as far as I know. The track also has a some huffing and puffing probably from a synthesizer and it foreshadows the next track as well.

"The Dogs of War" is a powerful track, its title taken from a Shakespeare play. With some keyboard strings in the background, Dave explains men who love evil and will put the good to misery. A gut-wrenching guitar solo is played in the bridge and followed up with a bouncy sax solo.

After that forced listen, Dave lets our souls loose with "One Slip." "One Slip" is an atmospheric track with poetic lyrics and was also cowritten by Phil Manzanera of Roxy Music fame. Dave doesn't play much guitar on this track, but the keyboards and Chapman stick (ladies and gentlemen, Mr. Tony Levin!) give this track the force it needs.

If Genesis's "In Too Deep" was cheesy, "On The Turning Away" is a cheese omelette. Dave tries his hand at writing a love ballad (which, later in their careers, has obviously become a staple for nearly every prog band), and he almost succeeds. ALMOST! This track is more mellow compared to other famous Floyd songs and now it feels like Dave wants to make Pink Floyd his back-up band, the way Phil Collins had done with Genesis. The track is redeemed by a piercing guitar solo by Dave (and another one at the end) and a touch of organ by Little Feat's Bill Payne (who played the background keyboards on a similar ballad, Bryan Adams's "Everything I Do I Do It For You" - a better track, by the way) and it does have the energy that dominates this album.

"Yet Another Movie" is a cold, dark track with more poetic lyrics (an usual bit for a Floyd album). With the keyboardic atmosphere, the track almost sounds like it came out of Miami Vice. The instrumental follow-up, Round And Around, does little than use the previous elements.

No, "A New Machine (part 1)" has nothing to do with "Welcome To The Machine," but it is rather a very useless, practically-acapella track with garbage lyrics. The only good thing about the track is the vocal echoing and the subtle keyboards.

But it gets better! Some touching keyboards, a drum pattern, a piano fill and some guitar weeping makes up the body of a lovely instrumental track titled "Terminal Frost." How that title came about I do not know. It might be because of the mood of the track or because that's how Dave originally thought Pink Floyd would end up. The middle eighth is just as gorgeous since it has some wordless vocals and a sax solo. When it fades out, you'll have wept yourself dry just listening to the sheer brilliance of this subtle, visceral and lovely track.

Sadly, "A New Machine (part 2)" ends that gorgeous track and is once again a freeze-dried acapella. I have nothing nice to say about this track other than it is only 38 seconds long. WHAT A BREAK!

Now the album has finally come to the extremes with the last track, "Sorrow". Dave's guitar is slightly distorted and he "recites" more poetry against a subtle, powerful background. This is practically a grand finale since nearly everyone involved is now taking part in this nine-minute closer. The guitar solos on this track are very slick, polished and tight and practically dominate the last few minutes of the track. Come to think of it, the guitars actually sound like the ones on the title track of Genesis' Calling All Stations and this track almost has the feel of One Man's Fool...

Well, I'm sure my review hasn't been very helpful, but at least I've proven my point. I still listen to Momentary Lapse of Reason when I'm in the right mood and/or need a good David Gilmour fix.

Report this review (#9142)
Posted Saturday, October 23, 2004 | Review Permalink
3 stars This album has a strange force...Evidently you listen to it and you'll miss the good old times, but somehow it drags you down to listen to it again.

I agree with those who say Pink Floyd was never the same after Waters departure, and "A Momentary Lapse of Reason" proves it. At some point you become aware that Waters' lyrics are truly deep and support an important weight of the songs. Here, Gilmour tries but fails.

But this piece of work is not to be underrated. You surely will find yourself loving some of its tracks. Of course because of Gilmour's guitar. Check out "Signs of Life", "Learning to Fly", "Terminal Frost", and "Sorrow". Skip the two parts of the songs? "A New Machine".

In overall, the album has its moments but it's very far from 70's greatness.

Report this review (#9144)
Posted Wednesday, December 1, 2004 | Review Permalink
3 stars In the eighties Pink Floyd released two solo-albums. The first was The final cut which was a Roger Waters solo album, the second was A momentary lapse of reason which was a David Gilmour solo album. Waters is surely missed on this album but that doesn't mean this is a bad album, A momentary. sounds much more like a Pink Floyd Album but it isn't Pink Floyd. At this time Richard Wright wasn't even a member, played only little of the keyboard parts and did not contribute to the songwriting or lead vocals which is a pity because his influence too is surely missed. Nick Mason played the drums on some of the tracks but didn't contribute to the music either. Instead of using the skills of Mason and Wright, Gilmour invited extremely talented session musicians like John Carin, Patrick Leonard or Phil Manzanera. The result is an album which isn't a masterpiece but isn't bad either. Signs of life sounds too much like the opening part of shine on you.., there is too much sound without a song. Learning to fly is the best track of the album and shows the band has found it's keyboard driven sound again and adapt it to the eighties. The dogs of war tries to recapture the bluesy rock of money but fails. This piece of crap is one of the most horrible songs the band's ever done, today it sounds outdated with its eighties sounding keys. One slip is one of the finer moments of the album, a song with a good chorus. No wonder Phil Manzanera was the co-writer of this song, it has the roxy music touch. On the turning away is a typical David Gilmour ballad, if you like this, you should check Gilmour's second solo album out. The great guitar solo saves it from being too mellow. Next track is one of the highlights of A momentary. Yet another movie has great mysterious moods. Listening to it is like being like in a dream maybe this is where they got the idea for the great cover art. David Gilmour plays his guitar as a god, the keyboard and drum parts are marvellous. On this track you'll notice the power of a good production, Bob Ezrin did a good job. A new machine keeps the mystery feel but it's hardly a song. Not a track to be played much. Terminal frost is better but maybe it sounds too easy for a progressive rock album : a nice atmosphere and great musicianship, but again not much of a songline. This one too is saved by the big production of Bob. They told me Sorrow is a track David Gimour wrote on his own one dark evening, Gilmour couldn't pick up a better name for this one. The band is known for his great ending tracks but this time they let me down. I keep searching for the point in this. Like most of the tracks of a momentary.there's a nice structure and great guitar work but to me this just ain't good enough. To my humble opinion this album has too less highlights for a Pink Floyd album.
Report this review (#9145)
Posted Monday, December 6, 2004 | Review Permalink
3 stars PINK FLOYD, at the time of this album's release, was still reeling from the departure of Roger WATERS--a battle that had begun during The Wall and continued even past his departure, almost (but not quite) into legal wrangling. David GILMOUR, in typical style, was not going to "go down easy". With him was Nick MASON. Halfway into the album they were joined by Richard WRIGHT, who was perhaps still a bit unsteady on his feet after his coerced departure during The Wall. His presence on Momentary Lapse was more of a future promise than anything--his nearly inaudible vocals on "Sorrow" ("One world, one soul...") require a sharp ear to detect, and his keyboard contributions are somewhat few, although I do think his distinctive Hammond organ appears on a few songs. But in spite of this limitation, I still believe this album is worthy of credit.

The album may indeed have an 80's sound, but this is certainly not the 80's of "Safety Dance". To me, Momentary Lapse represents the best of that decade's possibilities--yes, the sound is "harder" than you might find before or after, but I greatly prefer this slightly edgier sound to the pureed feel of current pop music. Although thematically not as unified as its predecessors, there is a definite flow in the mood of the album, from a guardedly optimistic beginning to a hopeless, bitter end. The sound clips are well placed to augment the running themes.

To me, all of the songs on this album have a place--even the much maligned "A New Machine" songs. Really, they were never meant to serve as full songs, but as interstitial pieces, they do fine at highlighting the atmosphere of desolation that sets in at the end of the album. The second half of the album (from "Yet Another Movie" forward) is where the strongest songs are. Not only are the songs here the best (think of the fantastic "Sorrow", "Yet Another Movie", and "Terminal Frost"), but the flow of the mood is most coherent here. The first half has good tracks as well, but is slightly choppier in flow. My particular favorites on the first half are "Signs of Life" and "One Slip" ("Learning to Fly" is good but I prefer it by far on PULSE). Even the songs I did not mention are still good tracks. GILMOUR's lyric-writing is actually very good even if he doesn't show the conceptual inclinations of Roger WATERS, and his guitar playing most certainly hasn't suffered.

It may seem surprising for an ardent Richard WRIGHT fan to rate this album so highly, given his limited involvement--but even after all this time, I can't help still having a huge soft spot for this album. Besides, GILMOUR isn't half bad as a keyboardist--just as on his first solo album, it's clear he has a rather underrated talent. Yes, it is in part because of the band's difficult circumstances that I give the high rating...but even now I can't help but be impressed at how well PINK FLOYD pulled through its darkest hour. It is a fine predecessor to The Division Bell.

Report this review (#9146)
Posted Thursday, January 6, 2005 | Review Permalink
4 stars Coming right after the split, you couldn't but expect the album to receive a lot of flak from hard core Floydians who just could not imagine the band without Waters. This ensured that the album was never evaluated on its own merit but always was the target of impotent anger directed at the split. I, being a child of the 80's, was never encumbered by such considerations and hence was able to enjoy a truly brilliant album. Thankfully gone are the boring, hard-to-relate-to angst filled Waters lyrics which more often than not masked Gilmour's guitar virtuosity. "Learning to Fly" is sheer poetry! This track alongwith '...turning away' and 'Sorrow' are true 5 star material, but the rest of the album is what brings it down a notch. Here is probably where we miss Waters. Thematic construction was his speciality - although he more often than not he tended to overdo it. In summation, although this album could have done with a little tauter production, it is a must buy for anybody who is interested in serious contemplative rock. Still ranks within my Top 10 best albums of all time. Pity there is no option to give a four and a half star rating. Just makes you wonder what the band could've come up with if Gilmour had led the band with Waters' vituperation controlled from going overboard..... a six star production was a definate possibility. Who knows, Hell may Freeze Over even with these guys.
Report this review (#9151)
Posted Saturday, February 19, 2005 | Review Permalink
Cluster One
4 stars Does this album really deserve a 4 star rating?!? Absolutely! Regardless if you think this is a true FLOYD record or a Gilmour-solo album, I enjoy "A Momentary Lapse Of Reason" tremendously. Besides spawning a few hit singles, it is a very intelligent album, and it creates a certain android or robotic mood/atmosphere similar to that found on 'Welcome To The Machine'. That is what FLOYD albums often do: create a feeling, mood or atmosphere. I also like it because it doesn't sound like any other FLOYD album. Which is often why a lot of reviewers slag it. I respect their opinion.

"AMLOR" does suffer from that 'electronic, poppy, heavy synth' sound unfortunately so common in the 1980's. But, when this record is put in perspective with what else was coming out in 1987 like Madonna, Michael Jackson, Bruce Springsteen and even Roger Waters' flop "Radio KAOS", well "AMLOR" looks bloody revolutionary!

"AMLOR" is a concept album. And when seen in this light, this album should be viewed differently than it currently is. The concept centres around the post-apocalyptic world, and one newly born man's (android's?) attempt to live in it.The title "A Momentary Lapse of Reason" refers to someone's poor judgement to launch a nuclear strike. Remember, we are still smack damn in the middle of the Cold War when this piece was written...

A lot of the song titles, and lyrics support this thesis. 'Signs of Life' (Birth/Re-birth); 'Learning To Fly' (a euphenism for learning to walk or run); 'The Dogs of War' (Survival of the fittest, social Darwinism); 'One Slip' (the perils of falling in love, with another? an object? oneself?); 'On The Turning Away' (Loss and/or ignorance of the less fortunate); 'A New Machine' (android, computer reference to artificial intelligence/life similar to the movie 2001 or even ELP's 'Karnevil9: 3rd Impression'); 'Yet Another Movie' (how mankind attempts to ignore reality and immerses himself in fantasy and entertainment as a distraction); 'Terminal Frost' (the atomic winter that will set in after a nuclear holocaust); 'Sorrow' (the android and/or last man's feeling of loneliness, lack of human contact).

An excellent musical and lyrical journey, IF you keep an open mind. Not just for FLOYD fans.

Report this review (#9153)
Posted Friday, March 4, 2005 | Review Permalink
3 stars Gilmours guitar is skillful and Waters is absent, which this album proves. MLOR has its shortcomings. Yes, there are a few obedient songs but for the most part the album is flat and stale. It is withdrawn and is deprived of the musical masterpieces Floyd created in the past. Overall it is average and I classify it near the bottom of their works.
Report this review (#9155)
Posted Thursday, March 24, 2005 | Review Permalink
5 stars I'm giving Lapse five stars. Not because I think the album is under-rated (which I do) and want to skew the overall total upwards (which I don't, because I enjoy it regardless of whether others rate it a five or a zero), but because I really think it deserves a perfect score.

I listened to all kinds of music in my childhood and teenage years. With the easy availability of music through the internet today, I've gone back and listened to much of it again. My usual reaction is "I can't believe I used to like this crap!" But Pink Floyd is a delightful exception - I appreciate it more now than I did back then. I can pick out elements on Pink Floyd's music that I never consciously heard before, and they're all good.

A Momentary Lapse of Reason has all the ingredients that make Floyd such a great band - the haunting, emotional guitar on Terminal Frost and Sorrow, the poetic lyrics of Learning to Fly, the off-the-wall (no pun intended) notion of being locked in a machine for a lifetime. But it has something else that I haven't heard since The Wall - this album perfectly expresses desperation. It's as emotionally powerful as anything Pink Floyd has ever done. Listeners can feel the hope in Learning to Fly, then feel it curshed in Dogs of War. Each track is a different emotion, and if listened to in order, the whole is much greater than the sum of the parts. And in true Pink Floyd tradition, the more I listen, the more elements I am able to discover, and each of them subtly adds to the quality of the track.

I try to stay away from the Waters/Gilmour debate. I don't see Lapse as a vindication of Gilmour or the clever forgery Waters claims it is. I just see it as a great album, one with songs that penetrate into my emotions and touch a part of me other music doesn't even know exists.

Five stars, deliberately and with no apologies. Five stars all the way.

Report this review (#9156)
Posted Wednesday, March 30, 2005 | Review Permalink
1 stars if people really appreciate that music that Pink Floyd did, they would not buy this hideous excuse of an album. maybe two songs (learning to fly and sorrow) are good, but they don't even live up to expectations i had of this album. let's start with the first song, it's boring, ineffective, and poorly done. songs with lyrics, we can just kind of group those all into one description...the songwriters obviously were trying to overblow what they thought roger waters, who is the greatest songwriter in all of progressive/art rock, would write and just sort of made him seem like the guy who didn't care about what he was is some news for all of the songwriters on this album...HE CARED! im sure that he has probably heard the album and laughed when he heard the song "Dogs of War", which is probably THE worst Floyd song i have had the audacity to hear, i mean could it be more...horrible? then there are the "filler" tracks that don't necessarily need to be there at all, example a new machine pt. 1 and 2, i think GILMOUR put those in just to feel like he had taken control of the band and the music. they're boring, over-blown, and poorly written, and he said that "Vera" and "Bring the Boys Back Home" from "The Wall" were bad, but he must think this is good...please think twice before buying this...since I am a completionist and intend on having every one of their albums(I'm at 12), i bought a matter of fact, i would get an iTunes account if i were you and just download the album and not waste your money. thank you for taking the time to read my criticism.
Report this review (#9158)
Posted Saturday, April 2, 2005 | Review Permalink
2 stars The "review guidelines" says "Show respect for other reviewers and readers, the artists, and the cd and song titles", which is a ptiy since it would be great to be allowed to make up a bunch of descriptions for this album to fit after "A Momentary Lapse Of...". Anyway, this album's, awful, truly unnecesary. There are some good moments, such as "Learning To Fly", the only song here that can be considered classic. But besides that one, there are few good songs, maybe "One Slip" is one of them. This is nothing but a boring album with 80s production: if you don't like that cold, "technological" (I hope you get what I mean) sound many albums had around that time, keep away. This is nothing but cold, non-original, boring background/elevator music. "Dogs Of War" is an horrible song (although some people exagerate when criticizing it), and those "A New Machine" things are really pointless. This is nothing but a Gilmour solo album where he plays worse than in all the previous PF albums, and sings even wrose. Get "The Division Bell" instead.
Report this review (#9159)
Posted Thursday, April 21, 2005 | Review Permalink
4 stars After The Final Cut, the first solo album of Roger Waters for many people, everyone thought it was the end of Pink Floyd. And for some time it was. Waters and Wright gone, Gilmour solo. But then, after half a decade, the Floyd were back! A totally new sound, no more sad and overweight subject of Waters dark thoughts. Of course there was more room for guitarist Gilmour, who was the obvious leader. If you're used to the old Floyd, don't throw this record straight out of the window. Listen ot it a few times, and you'll probably like it. The album is generally good, but a few songs are even better. On the turning away hits exactly the right note, and you'll wish sorrow would never stop. Learning to fly is a bit to much of it really, but still good. Some people say the album is too much a collection of songs, but i disagree. It's nothing like a story as Dark Side or The Wall, but those had the minus point that they had too much weight. Lapse is much easier to listen at, and that is an exeption in Pink Floyd (exept the early stuff). Buy it, and listen to it ones a week, doctors orders!
Report this review (#9160)
Posted Sunday, April 24, 2005 | Review Permalink
4 stars In my opinion, PF were never virtuosos (with the best instrumentalists being definitely David and Richard; the rhythm section was always weaker) but they played mostly relaxed smooth music. In principle, PF used to make very simple 2-3 accord compositions and I liked them. But wherein they were revolutionary was how they dressed up their songs. Thus, they were progressive in the final production but not in composing and playing. If you unclothe all the progressive togs and themes around, what you get are just simple folk or blues songs, which is not bad too. However, I like David's solo work more. They seem cleaner to me, with more straightforward musicality. And in these two w/o-RW PF album it became obvious again that David Gilmour was an excellent song-writer, smooth guitarist and ear-pleasing vocalist....The songs are relaxed, not depressive, melodic, simply not bad and not boring. Lyrics are simpler too, with much less egocentrism than it was the case in former PF or solo works of Roger Waters. The music is of the same kind as David's solo works, but with much deeper impact of Richard Wright (also as a composer and singer again) making the final sound more magic and mysterious, e.g. as in echoes or shine on. Pleasant and enjoyable again.. I won't name the best tracks, cause there no outstanding, they are all a fine standart. I think that these two album represent the bright side of the moon within PF. I only do not understand why have been these two or three musicains so ungenerous with in their music having released one album per decade.
Report this review (#9162)
Posted Monday, April 25, 2005 | Review Permalink
2 stars An album of highs, lows, lows and more lows. The only tracks that save this from getting one star are Learning to Fly, On the Turning Away and Sorrow. Roger Waters absence can be felt in this album and some very poor 80's pop tunes do nothing to make it more Floydian. Gilmour has since admitted that it was essentially a solo album and I wish he had put his name on it rather than Pink Floyd's. If you need any proof that this is a poor album just listen to A New Machine parts 1&2. Nothing more than a filler. Avoid this album unless you're a huge fan.
Report this review (#36653)
Posted Thursday, June 16, 2005 | Review Permalink
4 stars I must say that Im really suprised how low this album is rated- every time I listen to this CD i enjoy the hell out of it- every song is solid- and has a purpose to the overall production of the album- The songs are very pretty- and the lyrics are sweet in my opinion- Pink Floyd is not my favorite band- but this is one of my favorite albums- I love it
Report this review (#37453)
Posted Friday, June 24, 2005 | Review Permalink
3 stars This album "A Momentary Lapse of Reason" is not bad I think so that everyone may say. Most is a content like solo album of David Gilmour. However, music that seems to be very Pink Floyd though understood if it listens. It is an album of tolerable finish.I like this album.
Report this review (#38262)
Posted Saturday, July 2, 2005 | Review Permalink
3 stars This one is not a "bad" album as we often see people tagging it. Unfortunately it is not as brilliant as the ones from the 70's, but it is still worthy of attention. Here we have amazing songs like "On The Turning Away", "Terminal Frost" and the opening instrumental. These three are in my opinion the highlights here. The rest ain't bad either, except for the awful "One Slip" and the two parts of "A New Machine". "Dogs of War" is not so bad as it seems in the live versions, and nowadays i like this song - but i once considered it the worst FLOYD one. "Sorrow" has an amazing guitar intro but, together with "Learning To Fly", is still a weirdly overrated track.

This is a very "trippy" album, though. I feel like i am in another world while i listen to it, which i would describe as a cold futuristic one full with androids and lacking of human warmth, and despite the coldness feel, it still has a moving beauty described on some of Gilmour's guitar solos. I'd really like to give this album 4 stars, but i can't rate this at the same level as several other 4 star albums which are much better than this ("Division Bell", for example). So, consider this a 3.5 rating.

A great trip if you listen to it with an open mind and forget all that "Pink Floyd without Waters is not Pink Floyd" sillyness.

Report this review (#40667)
Posted Thursday, July 28, 2005 | Review Permalink
2 stars 2 1/2 Stars

This is an average album, but knowing that it is from Pink Floyd, it makes it a disappointing album that shouldn't be bought except for collectors.

Roger Water's gone and wright is not in the line up. The music is often mellow, but does not sound so much like Pink Floyd. IT sounds like a solo Album of Gilmour.

1. Signs of life 4/10 : A decent but not too special Shine on you wannabe. It lacks magic, and is boring.

2. Learning to fly 6/10 : A decent bouncy pop song, with good musicianship.

3. The dogs of war 5/10 : The music sounds like welcome to the machine(dark). It also sounds dramatic and symphonic. 4. One slip 3/10 : very weak composition makes a weak track

5. On the turning away 7/10 : Easily the strongest song from the album. It talks about hope, and contains pretty acoustic guitar embellishments.

6. Yet another movie 4.5/10 : kinda boring and pointless long piece.

7. Round and round : filler

8. A new machine Part one : filler

9. Terminal frost : 5.5/10 : the guitar work is not bad at all, but it lacks in composition and hooks. 10. A new machine Part two : filler

11. Sorrow 6/10 : The slow distorted guitar intro is my favourite moment of the album, but the rest of the song drags, is mediocre, and can be called filler, or bad song writing.

So, overall ... I do not enjoy this album much, and I think I wasted my money. I warn you that this is weak Pink Floyd.

My Grade : D+

Report this review (#41919)
Posted Sunday, August 7, 2005 | Review Permalink
erik neuteboom
3 stars This was the first album from Pink Floyd without the controversial Roger Waters. I had very high expectations and bought it without reading any review. Well, this album turned out to be a rather disappointing experience because it sounded to polished and to predictable to me. Despite the very impressive list of guest musicians (from Carmine Appice to John Halliwell and Tony Levin, the music fails to generate the smallest amount of excitement that we could expect from Pink Floyd in the past. It is a very professional product, the video-clips look smooth but can't hide that Pink Floyd has turned into a machine, welcome!
Report this review (#41950)
Posted Sunday, August 7, 2005 | Review Permalink
3 stars I have always liked this album. It is surprisingly good, considering it is not the full team we were used to on earlier albums. Many of the songs are catchy, melodic, and full of wonderful Gilmourian guitar work! 'Learning To Fly', 'One Slip', 'On The Turning Away' are all good songs. 'Signs Of Life', which opens the album, is not on the same level, but is a decent way to start the record. 'Dogs Of War' is too heavy for me, but again it is not exactly a bad track. The rest of the songs are decent, if not essential, efforts, 'Terminal Frost' and 'Another Movie' being the best of them. But then comes the tremendous finale - the wonderful 'Sorrow'. This song has all the hallmarks of classic Floyd, with stunning guitar work, and an excellent, laid back, yet powerful melody. Good stuff! I personally rate this album as better than the following 'Division Bell', although many fans will prefer that album. Gilmour has done a good job here, minus Waters. Ironic that the only member of the band who didn't appear on the first album, back in 1967, has here taken on the job of leading the group. I wonder what Syd Barrett thinks of it all? Recommended to Floyd fans who are not too keen on the depressing lyrics of Waters. Funnily enough, the album this resembles most closely, to my ears, is 'Wish You Were Here'. If you like that, you should like this. Not essential, but better than expected.
Report this review (#49871)
Posted Monday, October 3, 2005 | Review Permalink
2 stars More like a 2.5? 2.6? 2.7 if I wanted to be really generous. This was the first Floyd album to come out in 6 or 7 years, picking up the shattered pieces left from the much- lamented Final Cut, in Roger's wake of destruction. Floyd now had only three members of the original five, Barret included. David Gilmour, Nick Mason, Rick Wright. Rick had been the first to leave, just in time for The Final Cut. It took some convincing, but he was back. Floyd now had a repetitive, synth-induced, 80s feel, a little harder, a little raunchier. And they had a horrible addiction to the WE-NEED-A-LONG-GUITAR-SOLO-FOR NEARLY-ALL-SONGS-syndrome. Which can be so annoying.

Signs of life: All instrumental, a little synth intro with sounds of paddles, well, paddling, and a few water drips. Then a short synth bit that directly comes from the last track, Sorrow. One of the few tracks without long, overbearing, drawn-out guitar!

Learning to Fly: Easily the best song of the album. The drum beat is good, the lyrics interesting, the main theme good. A guitar riff that mostly continues all the way through, with the same drum beat, some organ too- doesn't necessarily sound like real Wright material, but it is him. It's a good song.

The Dogs of War: It took me a while to like this one. A few strings in a loop and some sort of orchestra-hit-like synth start up with some decent bursts of organ and, of course, a long drawn out guitar bit. Repetitive. The back-up singers are all good, some great saxophone too. Goes on a bit too long, like most of the songs on the album. It's good.

One slip: One slip is like many of the recent Floyd songs, same formula. Learning to Fly, One Slip. Sorrow, High Hopes, they're all fairly similar. It's one of the better songs, though. It's listenable, it's ok. Sort of catchy.

On the Turning Away: Even more long-drawn out guitar, but it starts out softly. Gilmour's singing is certainly good. But the song lacks any real quality, it's repetitive, soft sort of rock.

Yet Another Movie: More like yet another guitar solo, yet another boring song! Man, it sucks! It sounds like a soundtrack for Beverly Hills Cop, seriously! Yuck!

New Machine pt. 1: I hate this one. All it is is Gilmour's voice messed up with some voice- enhancer synth yelling about "It's only a lifetime, only a lifetime" over and over. Talk about grating on your nerves. I change the track right away!

Terminal Frost: Borrrrrrrrrring! Long, repetitive instrumental. Synths, guitar, all of it, over and over again!

New Machine pt.2: As if one wasn't enough!

Sorrow: A decent track, in the top 3 on the CD at least. Hard guitar in a distinctive riff starts up a relatively good, catchy tune. Sounds familiar? Signs of Life had a bit of this in it. Or it could be that every Gilmour track sounds exactly the same!

Well, it's a fix for any obsessive Floyd fan, and I'm definetly a Floyd fan. That's precisely why this gets a 2.5. Good enough for fans, not much else. That spark of it being decent is why the extra .5 is there.

Report this review (#49896)
Posted Monday, October 3, 2005 | Review Permalink
2 stars Rogers is out...and David attempt to take control, and direction of the band! A good effort, but is a transition album..To be honest, PF will never be the same after this!! I still kept collecting them, but I knew their glorious days as a band were over!!
Report this review (#51642)
Posted Thursday, October 13, 2005 | Review Permalink
2 stars A David Gilmour solo album in every thing but name. there are some redeming qualitys and those qualitys are VERY good. the 3 songs that make this listenable are 1 learning to fly, this is one of my favourite pink floyd songs actually. suprisingly strong lyrics nice flow this is a listener. 2 Yet another movie. this is a medeocre peice of lyrical goodness very bizzare and acctually seems like a meddle or AHM peice. 3. the last song is the best song on the album "sorrow" starts with a haunting guitar slide followed by a typical 80s pop/rock song .its a let down lyricly but instrumintally is a good song. now for the bad.....there are some less that stellar instrumental peices but nothing in the flyd library is as inecusable as "Dogs of War and "A New Machine parts 1&2"..all in all its not darkside but it pink floyd so listne
Report this review (#52365)
Posted Wednesday, October 19, 2005 | Review Permalink
2 stars Definitively is not the best Floyd album, but it has some interesting songs like "Learning to Fly", "Dogs of War" and "One Slip"... I think that the Guilomur leadership era is not good enough but for some reason I still like this album and the others after this one: some soft space athmospheres, cheap poetic lyrics, regular solo guitars, acceptable work of Rick Wright on keyboards... an strange mixture with high and low points but, at least, it's really good to listen a friday night with a beer on one and hand and a girl on the other...
Report this review (#54445)
Posted Wednesday, November 2, 2005 | Review Permalink
3 stars People are having a tendency to claim that this is a soloalbum made by David Gilmour. It may be true that Gilmour is the brain behind most of the lyrics and material, but it do sound lik a Pik Floyd album. I would like to call it a "non Waters, still Pink Floyd proof" Suddenly they are starting the album just like in the old days, with a long fade in of a given sound effect. It's pompous, it's strong, it's Pink Floyd.
Report this review (#54452)
Posted Wednesday, November 2, 2005 | Review Permalink
1 stars As a Floyd fan, I must say I was very disappointed with this album. The keyboards are the worst thing, without any sense of what´s prog rock. David Gilmour´s guitar is the only reason for listening once a year, if so. Even Gilmour´s voice isn´t as good as it could. This is the best definition of an album "Only for completionists"
Report this review (#56048)
Posted Saturday, November 12, 2005 | Review Permalink
3 stars A welcome return after the departure of Roger Waters. It was unclear if the band would continue, and what effect the loss of the main songwriter would have. In the end the sound is still pretty much classic Floyd, if a little close to Gilmour's solo efforts. The songs are pretty good although none stand out except for Sorrow, one of the best Floyd songs ever. All in all, not a bad album, but not on a par with the 70's classics.
Report this review (#59024)
Posted Saturday, December 3, 2005 | Review Permalink
4 stars i would consider myself a completionist, but thats not to say that i think that would be the only reason i listened to this album. i heard this album after hearing most of the other floyd albums, and though i knew there had been much critism of it, i just listened for my own sake to make up my own mind, ignoring what particular people had said of it and found it an enjoyable listen. people who attack the lyrics of the album have got to remember a few key point: the efforts of a band are shown by the people in it at the time, and the reason waters left was the conflict in idea on the direction of the band. when gilmour was interviewed about this album, he said that he felt in the later water- lead days of pink floyd, there was more emphesis on the lyrics which were over shadowing the musical side of the band. Gilmours main intention with this album was to balance out lyrics and music and go back to what earlier floyd was like. when i heard the album, i felt he had achieved what he wanted to do. most critics condemning this album are the people who are convicted on the idea that waters was floyd, and dont really consider that this album was just different. floyd perfectionist would know what they think about this album, but for those people who havnt studied up on every small detail of the history of floyd, and are just looking for a nice, flowing album will find this a great listen. dont be scared off by the pedantic floydian reviewer. enjoy this album for itself.
Report this review (#63696)
Posted Sunday, January 8, 2006 | Review Permalink
4 stars Many 1-3 stars ratings for this album... Well considering that it has been released in 1987 and not in the 70s, I consider that it is a good pop/rock album. Fans of the old prog sound will be disappointed of course... For sure it sounds like a David Gilmour solo album - Nick Mason didn't contribute to the songwriting and Richard Wright isn't even mentioned as a full time member. Still I find it good.

"Signs Of Life" is a great intro - mostly keyboard oriented. "Learning To Fly" is a typical pop/rock songs aimed at the radios and the charts. "The Dogs Of War" is a darker track and it gives its full power when played live (see the "Delicate sound of thunder" version). "One Slip" is a typical pop song with a catchy melody. "On The Turning Away" is a beautiful ballad that ends with a great guitar solo - another highlight on this album. "Yet Another Movie" is the most emotional song on the album - very dark - good to listen at night or on a rainy day. "Terminal Frost" is a nice instrumental - classic Gilmour. "Sorrow" is the epic ending track - perfect to close the album. So that's eight great songs... and unfortunately two awful fillers ("A New Machine" parts I and II).

Rating: 80/100

Report this review (#68898)
Posted Thursday, February 9, 2006 | Review Permalink
2 stars An epic sweep and a main theme, have both been the hallmark of Pink Floyd's great works,and in both those departments this album is seriously lacking, and with the absence of Roger Waters, "A Momentary Lapse Of Reason" has very little impact, it lacks aggression.

The songs are okay, but as stated in previous reviews this is basically a Dave Gilmour solo album, Pink Floyd only in name, much of it is mediocre as exemplified by tracks such as "On The Turning away", "One Slip", "Yet another Movie" and "Round and Round", many of these tracks have that Gilmour soporific element about them, they can send you to sleep.

"Learning to Fly" and "Dogs of War" sound like strong tracks and both are fine, but certainly wouldn't rank anywhere near too Pink Floyds best, and in the end I would not recommend this album to either a fan of Floyd or someone new to their music, it's all very average, a lame effort.

Report this review (#72227)
Posted Saturday, March 18, 2006 | Review Permalink
5 stars I will start off by saying that this has always been my favourite Pink Floyd album ever since the age of 5.

SIGNS OF LIFE: I have heard soooo many people "bad mouth" this track, all I can say is "WHAT THE HELL IS WRONG WITH YOU?????????". This track always takes me somewhere magical, even when I listen to it now with the cool wind in my face, staring at the tress & the waters, it feels like I'm going to heaven & back. You will here some of the best chord sequences in this track ever! The keys are so dramatic sounding but in a calm way & Gilmour's guitar playing just sets the tone for the start of the album, beautiful.

LEARNING TO FLY: The best way to listen to this track is just like in the video (it's as if they read my mind) Hot beaming sunshine with a nice mild breeze hitting your face. It's such an up-lifting song. I feel best only listening to it when It's sunny, then I just breathe in & listen.

THE DOGS OF WAR: This is without a doubt Pink Floyd's most underated track ever!!!! I love this song to death! I actually think it was the first ever Floyd song I heard when I was 5. The lyrics are smart, the music is tense & gripping & the video projections (Live) just makes me think "Ha, nice one Gilmour, I agree too, these guys in suites with so called money think they're god's gift until you sang about them". The highlight of this track is definatley the tempo change in the middle section where the saxophone solo comes in. No one in the world could have seen this coming! not only is it a tempo change (out of nowhere) but it's a raunchy sax solo that I'd never heard before. Great track!

ONE SLIP: I enjoy this track but can also understand why Pink Floyd fans hate it. It's very 80's sounding & lovey dovey but I think it's got that typical Floyd sound (mainly from Rick Wright's keyboards) giving it that mysterious kind of sound too. It's another uplifter & I enjoy it, very catchy track

ON THE TURNING AWAY: From 5 years old to 20 years old (which I am now) this still is my favourite Pink Floyd song ever! I don't listen to critics or fans or reviews etc, I listen to music & David Gilmour. It's so beautiful & you can easily reflect on past childhood memories with this great track! Every time I hear the G Major keys intro I picture myself on an island at night with plenty of stars, very mild air, clam, loads of palm trees slowly blowing in the wind & the sand I lay on is like crystals of sand. The guitar solo at the end is the highlight of this song & alhtough is sounds MUCH better live on the delicate sound of thunder album, I enjoy listening to the album version just as much because it's totally EQ'd & in your face & the guitar sound is quite unique, I think there's a hint of chorus effect too.

YET ANOTHER MOVIE: Yet another track I like (no pun intended) I prefer this track on the album rather than them playing it LIVE because there's not much happening in this one, so in the studio, they made it come to life whereas live, it was more like a load of chords played with a guitar solo, pretty bland. It's a great song to listen to on a cloudy (but not dull) mild day, breathing in the air listening to the haunting keys & TV sounds too.

ROUND AND AROUND: The follow up to yet another movie, just the same, better on this album than LIVE. Even only lasting a few seconds in length, this outro is quite magical.

A NEW MACHINE (PART 1): Now if Floyd fans want to have a dig at songs, here's your chance! this is terrible. I am always open to any of Floyd's stuff but I just couldn't get my head round this one. David Gilmour provides vocals & that's it, nothing else, no guitars, no drums, nothing! I even tried liking the lyrics at least but, I remain a straight forward Floyd critic & have to say "what a pile of you know what".

TERMINAL FROST: This song is exactly what it says it is "terminal frost". I listen to this track in bed with the window open & as the breeze hits me & instantly go back in time to a time when I was happy outdoors in the breeze. Another great reflective track. With it being an instrumental, it needed to be highly listenable, & it was. David Gilmour does what he does best to make Floyd tracks stand out, he layered guitars down everywhere, tiny fills here & there, even a majestic sax fill here & there. There track really is quite beautiful for open minded people who like to reflect.

A NEW MACHINE (PART 2) Exactly the same as part 1, rubbish.

SORROW: I can see why they still use this track from this album when they play live. This track has alot of good qualities (including an obligitory Gilmour solo at the end) but It's catchy & I think David enjoy's playing it more than anyone but I've seen the band play it too, they all love this one. They get right into it at the end! This studio version sounds more electroic & cold than the live version which is a shame but I've never hated the track & love the studio version for what it stands for.

I rate this album 5 stars, it is sooooooo underated & I think Pink Floyd fans listen to myths more than music. They believe that "Syd Barrett was the god of Pink Floyd & Dark side of the moon was the best album", they should stop listening to myths & just listen to the music. It was set in the 80's but at least they didn't make it sound as poppy as RADIO KAOS by Roger Waters. If anyone sold out to the 80's decade it was him.

Report this review (#74794)
Posted Wednesday, April 12, 2006 | Review Permalink
Honorary Collaborator
3 stars In recent issue of MOJO (April 2006) the Roxy Music guitarist, Phil Manzanera - who is David Gilmour's neighbor in Sussex - categorized "A Momentary Lapse of Reason" album under the last era (out of three) of Pink Floyd where he named the category under "After The War" (with Roger, obviously). Looking at the CD sleeve this album looks like a collaborative efforts by David Gilmour and Nick Mason; Bob Ezrin is the producer. This can be considered as David's expression to the "war", saying to the public that "Pink Floyd is alive without Roger Waters".

When I purchased my first version of this album in cassette format, this album did not attract me at first spin except one track "Sorrow" which has great flow and a bit of bluesy rhythm. I could afford to listen to more than two spins, I think, and I put it in my cassette rack. I'd rather play Marillion "Misplaced Childhood" or "Clutching AT Straws" cassettes which at the time became my day-to-day menu. Yes, I was more Marillionized than being Floyded. A Momentary was to me far more inferior than any Marillion's albums at the time. I only listened to this album seriously again after I purchased the laser disc of Pink Floyd live concert video "Delicate Sound of Thunder". Watching the video reminded me to this album and I played that again. Couple of years later I upgraded into CD format.

The opening title "Signs Of Life" with its ambient sound of waters remind me to the picture of man rowing about on a silent river (segment in the Delicate Sound of Thunder video) and gives me a sense of peaceful life. There are of course still many elements of early Pink Floyd sounds on guitar, keyboard as well as sound effects. Some tracks like "Turning Away" is too poppy being considered as Floyd track. "Dogs of War" is another good thread of this album. The best track is of course "Sorrow"! If you are Pink Floyd freaks and get used to early albums you might find this album lost the soul of Pink Floyd sound in the early days. Keep on proggin' ..!

Peace on earth and mercy mild - GW

Report this review (#75760)
Posted Friday, April 21, 2006 | Review Permalink
3 stars I think it is pretty clear that David Gilmore does not have the same writing skills as Roger Waters, I innitailly liked this album, although I prefered Radio Chaos. It is an ok album by it has no soul, it was the dark mind of Roger that created the great albums of the seventies. I think it's a must in the collection , but is not comperable to the earlier works.
Report this review (#76919)
Posted Tuesday, May 2, 2006 | Review Permalink
Cygnus X-2
Honorary Collaborator
2 stars Was this album just a Momentary Lapse of Reason? This reviewer thinks so. In 1983, the internal disintegration of Pink Floyd saw the end of Roger Waters' collaborations with the group, and in the years between 1983-1987 many fans wondered what was going to happen to the group. After a pressing legal suit, David Gilmour and Nick Mason were granted use of the Pink Floyd name, much to Roger Waters' bitterness. In 1987, David Gilmour and Nick Mason released A Momentary Lapse of Reason, and it just shows that without Roger Waters Pink Floyd could not function as a group. Although Richard Wright was on the album, he wasn't granted status as a full member of the group (he was still a hired gun for the album). On this album is a slew of studio musicians, writers, lyricists, etc. who try to help Gilmour and Mason out all along the way. But from the very beginning, one can tell that this album could have used a lot of refinement, as it completely changes the Pink Floyd sound into a more commercial, arena rock approach. Not saying that this album has no strengths, though, it's just very weakl in comparison to other Floyd works.

Signs of Life is the opening instrumental, and what it mainly is is a solo spot for David Gilmour (as it a lot of the album). It's not a terribly strong instrumental, but it gets its point across and it is effective. Learning to Fly is the most popular song on the album, with an uplifiting guitar riff and a catchy chorus. Easily the best song on the album in my opinion. Dogs of War is consistently voted as the worst Pink Floyd song ever, and I can see where those who say that are coming from. Bland synths, bland vocals, bland lyrics, this song is just terribly bland, and it drags a lot. One Slip is a song about (from what I can grasp) teenage pregnancy or some unexpected pregnancy. The chorus is catchy and hooks you in. On the Turning Away is another one of the stronger songs on the album. More great guitar work from Gilmour and some nice work from Tony Levin on this track. Yet Another Movie/Round and Round is a segue track that isn't anything particularly special. Just noodling and bland/generic lyrics and vocals.

A New Machine, pt. 1 is a perfect example of filler. It has no real significance being split into two parts and it only acts as a weak intro to Terminal Frost, which is a strong instrumental which has some more great guitar work from Gilmour. A New Machine, pt. 2 is the same as part 1, bland and a perfect example of filler. Sorrow ends the album, and it begins with a lot of guitar noodling from Gilmour, more filler I feel. The song is often revered highly by fans as the best song on this album. I like the song, but I'm just not impressed by it. I really do like Tony Levin's work on it, though.

Overall, this album isn't terribly bad... but it isn't really that good. There's just a lot of weak material on this album, more weak than strong. If Gilmour had spent more time with his team of collaborators and writers refining the songs on this album, then maybe this wouldn't have been a disappointment in my eyes. A Momentary Lapse of Reason for Pink Floyd? So thinks this reviewer. 2.5/5.

Report this review (#77801)
Posted Thursday, May 11, 2006 | Review Permalink
3 stars if you are a die-hard PF fan, and are obsessed with Water's vocals and lyrics, you will hate this album. Yes, his absence is clearly evident, but what did you expect? Of course they would have a different sound when Waters left since he was the driving force behind everything up untill "Final Cut". Look at what happened to them after Syd left. To expect something like "Dark Side of the Moon" or even "The Wall" is naiive. Because so many people expect this, they end up hating the album. Look at "Saucerful of Secrets" and "More" when they were adjusting to the absence of Syd. Of course this album sounds different.

Much like the album "More" it has several weak points, but also many strong ones that reveal what would later come (The Division Bell)

Weak: Dogs of Water: possibly one of thier worst songs. Would not be bad if it was a shorter piece. The Crappy lyrics and repititive rythm make the song drag out for too long Yet Another Movie/Round and Around: Another boring song, with good lyrics but slow vocals A New Machine (1 & 2): good lyrics but it just suck in all other aspects, fortunatley both parts are short, so it manegable

Strong: Learning to Fly: I've always loved this song, mostly the lyrics and vocals but it's just a really cool song On the Turning Away: Another good song with and awesome Gilmour solo Terminal Frost: A neat insturmental, which reflects the name quite well. A little long, and not as good as "Marooned" would be an album later Sorrow: Amazing bass and cool solo. The lyrics are good too, either about depression or a post war world

More strong points than weak ones, so I'll give this album a three

Report this review (#79028)
Posted Monday, May 22, 2006 | Review Permalink
4 stars I have to say that I think I would choose this over The Wall any day of the week. I can understand all the criticism coming from the argument of the lack of Waters and the heavy 80's sound, but if you look beyond that, you'll see that this is ultimately a very satisfying venture. I say "venture", in that to truly grasp it, you must listen to it as a whole, and actually listen to it.

I've said this before, and I'll say it again: "Signs of Life" is NOT a "Shine On wannabe". I think that this, with "Sorrow", is the high point of the album, and the best hauntingly beautiful intro The Floyd has done besides "Shine On You Crazy Diamond" itself.

"Learning To Fly" is an upbeat pop-rock tune. Pleasant, with a good Gilmour solo, but not the best song to be found here.

"Dogs of War" is dark, tense, and aggressive, with yet another great Gilmour solo, though I sometimes skip this as it takes a while to get winded up.

I love the way "One Slip" begins, as well as its simple but driving beat.It's also got a catchy little bass riff after the chorus.

"On The Turning Away" may same a bit corny at first, but it's a great ballad to lighten the mood after the last two songs. However, it's that somehow very poignant change from major to minor during the monstrous solo which completes the package.

The next half starts with the dark "Yet Another Movie". By now, you've noticed that this was absolutely made in 1986, but you shouldn't let that deter you. Heavy bass and synth effects open this song, but beyond that, this is nothing new; I have to admit this is the weak one. "Round and Around" is an interesting little synth/guitar ditty tacked on the end of "Movie", providing an interesting change of pace.

A lot of people love to hate the two part "A New Machine", sung á cappella by Gilmour with a very light sound effect going with his voice. I see these as tension builders, draping you in an unsettling to prepare you for the final piece...(and they're short, too, it's not like they're 36 minutes of voices!)

"Terminal Frost" is the second instrumental (not counting "Round and Around"), and is more lead back than the rest of the material, easing the aforementioned tension one last time. Despite its slower nature (or rather, because of it), it's fully enjoyable. As the guitar and saxophone also play off each other's fade-ins and fade-outs. You can even hear some distorted voices in the background.

The second part of "Machine" is about a third as long, but again, is a good tension- builder for "Sorrow". This time, you can't escape it. It's coming...

Probably one of the best Floyd closers (that's saying something!), this has been panned for being boring and uninspired. After listening to the rest of the album, though, it's not that bad, now is it? The growling guitar intro is excellent, and matches "Signs of Life", giving the album a sense of oneness and continuity. The rest is a heavy track based on a (once again) simple but powerful beat to which Gilmour delivers some of his best lyrics. This monster slowly dies out with another extended solo from Gilmour.

As reviewer Layne stated, the whole is in fact better than the sum of the parts. Though not as direct in meaning or message as, say, Rush's Signals, is a great comeback with a broad range of emotions. It certainly better than most give it credit for.

Report this review (#79040)
Posted Monday, May 22, 2006 | Review Permalink
2 stars First a caveat: this is one fan who has never been able to sit through "The Wall" (or its unofficial sequel "The Final Cut") for more than five minutes without wincing, falling asleep, or getting pissed off at what Roger Waters did to the memory of the band once known as Pink Floyd.

But now that the dust has long since settled, I'm belatedly taking Water's side in the battle that raged around the group's convulsive separation and unexpected reformation (without him) in the mid 1980s. All ancient history, of course, but in retrospect the band should have been allowed to die of natural causes, rather than continue as the sadly resuscitated corpse on display here.

Pink Floyd was by then a shadow of its former self, reduced to David Gilmour, drummer Nick Mason, and over a dozen guest musicians (including, in a ludicrous demotion, erstwhile Floyd founder Rick Wright). With such a crowd it's no wonder the album has such a generic, corporate halo around it, not helped by an utterly impersonal production job: all spotless digital synths and thudding 1980s drum clichés. This is music designed to be played only in the biggest auditoriums on the planet, and it's a sad reflection of how far the band had traveled from those heady counterculture gigs at the Marquee Club in 1967.

What was it that made recording this album so imperative, besides as a crutch for Pink Floyd's sagging reputation? It was hardly an original effort: every other note was a pre- packaged trade on former successes. The instrumental opener "Signs of Life" (easily the best thing on the album) is an opaque re-tread of "Shine On You Crazy Diamond"; the overwrought "Dogs of War" recalls its namesake from the underrated "Animals" album; and the leaden pace of every track makes the whole package sound like a pile of leftover bricks from "The Wall".

Pink Floyd was always a band that set high standards for itself, and thus deserves the courtesy of being judged accordingly. By that measure this rebirth is at best a halfhearted abortion, living up to its long-winded title in ways the remains of the group never dreamed of. Maybe it would help to regard it more as a Dave Gilmour solo album, in much the same way that the band's previous releases had all been de facto Roger Waters solo projects likewise marketed under the Pink Floyd brand name.

In short, it's a disappointing one-star effort, only partially redeemed by the usual saving grace of Gilmour's classy guitar skills, by itself (and without his singing) enough to push this rating up another notch.

Report this review (#89604)
Posted Wednesday, September 13, 2006 | Review Permalink
[email protected]
4 stars Pink Floyd's Momentry Lapse of Reason is a vast improvement over the atrocious Final Cut by Roger Walters. Granted it was never going to be world beater of an album due to the fact that Gilmour had help writing the lryics to the songs along with the very limited influence of Wright & Mason.

However in my opinion it is still a good floyd album. Sorrow is a great effort of which which Gilmour wrote in its entireity and threw in a fantastic guitar intro for good measure along with creditable lyrics.

There are radio friendly tracks on the album such as 'One Slip' and 'Learning To Fly' which may not be progressive but are very enjoyable to listen to. One Slip is a great dance track which is always the first I select on my cd player.

Learning to Fly is a great rock track with superb smoothing vocals by Dave Gilmour. Its also very much an uplifting positive song.

Unfortunately there is a downside to this album. Tracks such as 'New Machine pts 1-2' and 'Terminal Frost' let the overall standard of the album down. New Machine is slightly annoying with Gilmour's distorted vocal and track doesnt seem to go anywhere musically and lyrically. Terminal Frost is a weak instrumental with unnessersairy saxaphone.

Round and Around is good even through it is only half a minute long and its a shame that Gilmour couldn't of done more with this track and added Rick Wrights influence into the mix in terms of keyboard.

To sum up Momentry Lapse is a very good effort and it definately worth purchasing. Listen to it with an open mind and don't try to compare it to other floyd albums as it is Gilmour floyd and not Roger Waters floyd (two totally different sounds and approaches).

Report this review (#101078)
Posted Thursday, November 30, 2006 | Review Permalink
2 stars Roger Waters left Pink Floyd at the peak of its popularity. Rick Wright also left, though he was roped back in to contribute a little to this album. After teh last few Waters-dominated albums, Gilmour now had to assume control of what is certainly the most commercailly successful prog band in history. To aid this daunting task, he recruited various musicians and songwriters to prove that Floyd could surivive without its lyricist, considered to be one of the best of all time. He got some impressive names, chief of which are probably Tony Levin and Carmine Appice, but he just couldn't pull it off. He's really the only member of Pink Floyd contributing to this record. Nick is there, though his parts are more often than not given to others. Rick showed up, but conributed nothing and barely played his instrument.

There are a few positive tracks that keep this from being a total mess. Learning To Fly and One the Turning Away are strong, and Sorrow is the best post-Waters tune bar none. It has the strongest lyrics on the album and the guitar solo is one of Gilmour's best, and that's saying something.

In the end, Lapse has a few strong tracks that can't hope to match the power of 70s Floyd. For the resulting tour, Nick and Rick would return to the fold and things looked brighter for the band, and 1994 Division Bell was quite good. This album is for devoted Floydians only.

Report this review (#103292)
Posted Friday, December 15, 2006 | Review Permalink
Mellotron Storm
3 stars Things sure got complicated after "The Wall" was released. A court case ensued and the band would be forever changed.The previous record "The Final Cut" was much like Waters' solo record. Well this album really comes off sounding like a Gilmour solo album.Touche ! I'm sure that's what Gilmour was thinking. Anyway this was recorded in 1987 which in my opinion was the worst year in Prog music history. Richard Wright would be here only as a part timer, along with a host of guest musicians. I often wondered if the title of this album was directed at Mr.Waters. Wouldn't be surprised. Anyway the pictures of Gilmour and Mason with them both smiling away in the liner notes looks so eighties and wrong.

I don't want to harp on the Roger Waters conflict but I always thought "Signs Of Life" was a strange pick for the opening song, but the fact it's a song with no lyrics may have some significance. Anyway it consists of samples of birds singing and water splashing, everything is peaceful. Synths and some guitar late in the song. "Learning To Fly" is a song that impresses me more for the lyrics then the melody. Hearing a pilot singing about flying is pretty cool. Too poppy though for my tastes. "The Dogs Of War" opens with a melody that sounds like marching armies, and the vocals are aggressive sounding because of the subject matter. "One Slip" may have an eighties feel to it but I like it. It has a spacey intro that gives way to an uptempo melody with lots of percussion.

"On The Turning Away" features amazing lyrics and a great guitar solo 3 1/2 minutes in. Talk about a meaningful song ! "Yet Another Movie" and it's instrumental partner "Round And Around" are slow paced with drums pounding and keys in the background. The guitar outbreak is good. "A New Machine Part 1" and "Part 2" features distorted vocals and subtle keys.The instrumental "Terminal Frost" has a lazy, relaxed melody of sax, keys and slowly pounding drums that develope into a fuller sound after 2 minutes, and an even fuller sound after 3 minutes. The final tune "Sorrow" has some distorted guitar in the intro and the guitar melodies are good especially later on in the song.

I saw them on tour in support of this record in Toronto where they sold out the CNE for three straight nights. I saw the second show. The first half which featured a lot of material from this album holds some good memories because of the videos up on the big screen more than the music itself. The German Shepherd dogs and the guy in the bed being chased were all so cool,The second half was marred by some sound problems during my favourite song "Us And Them".

Report this review (#105930)
Posted Friday, January 5, 2007 | Review Permalink
Honorary Collaborator
4 stars This album is often reviled, but I find it to be wonderfully inventive, awash with varied arrangements, strong performances from Gilmour and his cohorts, lots of very Floydian sound effects, and all based on a fine set of songs with plenty of attack and aggression, something that would begin to fade from his repertoire in future years. The opening three tracks are as good as anything Floyd have done, from the extended languid instrumental intro Signs Of Life through the classic Learning To Fly with its 'elephant' guitar and evocative lyric, to the much maligned The Dogs Of War. Add in album closer Sorrow and you have a set of classic modern rock songs, Pink Floyd style.

Most older fans bemoan the passing of Roger Waters, and it is clear the lyrics lack his bite and the sound has changed, but for this album Gilmour was still hungry - for success, perhaps for adulation, and to receive credit that maybe he had lacked in the past. It may have had a difficult genesis, but the result is a superb piece of modern stadium rock.

Report this review (#107980)
Posted Friday, January 19, 2007 | Review Permalink
3 stars After the disastrous "Final Cut", three members of the band could not cope any longer with the fourth one. So, exit Roger. This is a sad story but Pink Floyd has had very little personnel changes throughout the years. I guess that living and working with Roger was not possible any longer, so either he had to do the Floyd on his own or the other three would have to take over. The latter option prevailed.

The former Floyd album was a Waters'one. This is a Gilmour's one. He is now in the command. To replace Roger, Tony Levin will deliver a very good work on the bass (but not in songwritting, obviously).

"Signs Of Live" is a clone of the intro for "Shine" ? So, what ! Both are great tracks. It has the same aerial feeling. Of course, the emotional side (Syd tribute) is not present here but musically it is a good opener. "Learning To Fly" is also very pleasant : a bit harder but melodious. I quite like the chorus (good backing vocals). Altough it will be a trademark of this Floyd era it was already usual before. This is quite a traditional Floyd song : no revolution. Spacey moment, some special effets (as far as I remember such were also used in DSOTM) and a catchy voice. "The Dogs Of War" is a heavier than usual. Lots of backing vocals, an orgy of keys and a great guitar & sax solo. It lacks of melodious moments though and it is not really my fave here.

"One Slip" will be the third single released from the album and is a nice pop song. This shows significantly the change in direction. Not great a moment but just an average one. "On The Turning Away" starts mellow and acoustic, then the rythm catches up (slowly) and features great guitar from Dave (but we are used to this since "Echoes" (the track). A great song IMO and a highlight on this album. It sounds as if the band has encountered relief. They could again concentrate on their music and their fabulous shows.

The album goes on nicely : "Yet Another Movie + Round And Around" has a spacey intro and a bizarre atmosphere : it catches up around minute four. We are not reaching heaven of course with this number. Just average.

The first and useless tracks are "A New Machine-Part One & Two". Part I is one the shortest Floyd track ever (only topped by "Stop" from "The Wall" (38 seconds vs 34) ! If we add them we reach 2'24. But that's not too much of useless music. One might argue that there are very few truely memorable tracks, and that the album is rather repetitive and monotonuous which in a way is true. But this album is very consistent and solid.

"Terminal Frost" is an average instrumental with very good sax (sounds a bit like Roxy). "Sorrow" is a fabulous closing number. Harder, melodious, good backing vocals. The band is again confident in his own means (even if at this stage David is holding the Floyd almost on his own). Nick and Wright will grow back in the Floyd during the supporting tour. But that's another story.

His Royal Highness Roger is not there any longer to show disrespect (especially to Nick and Rick). This album will reach the number three spot both in the US and in the UK.

Since I have mentioned several times the word average or good; it is obvious that we are not listening to a masterpiece. But the Floyd has stopped its descent towards the inmost dephts of the void. Three stars and welcome to the new Floyd.

Report this review (#109231)
Posted Sunday, January 28, 2007 | Review Permalink

After all the argues with Roger Waters and the separation of the two strongest creative forces of the band, Pink Floyd releases this work 4 years after their last Studio Release and the absence of Roger is really visible. The album has some good points, but the magic touch of Mr. Waters is really missing, some great ideas that stay only as ideas. So let's start the review.

The Album starts with a majestic track "Signs Of Life". The ambient sounds, the characteristic sentimental playing of David Gilmour, everything makes the perfect mix to create this melody that prepares the flight.

"Learning To Fly" is a very poppy song, although the lyrics and the instrumentation is pretty good, it changed or at least it tried to get rid off the sound of the two previous albums ("The Wall" and "The Final Cut") with Roger Waters as a leader, and trying to recover the orchestration achieved on "Dark Side Of The Moon". The psychedelia is very remarked on the style of these British guys.

In "Dogs of War", a cathartic explosion takes David Gilmour's voice and gets its climatic points in the guitar solo. A very energetic sound spiced with the sax flavor which of course adds an special taste and it's the responsible of the growing of the song, and takes it back to Gilmour's voice for the closing scene. The sound of the drums is very tight carrying on all the arsenal of war. This is definitely one of the tracks that save the album.

"One Slip" pretends to continue with the experimentation on keyboards. Unfortunately, it's just a very simple intro, but without stopping the rhythm of the songs and keeps it as an excellent background and goes perfectly with the drums. The changing groove in some kind of duet between the bass with the unique Tony Levin and the guitar makes the songs sound very interesting, but at the same point the release starts to sound in my opinion very monotone, following the same formula in all the songs. In some parts the album sounds exactly the same melody or rhythm.

When the album starts to decay, appears "On The Turning Away", that brings them back, pretty much in the style of "The Wall" songs, those wonderful tracks with piano and voice, sparkled with some moody guitars and very basic drums without pretensions of starring. The guitar opens a path that instantly grabs you and invites you to an inner exploration and gloriously concludes the song.. This is one of the strongest album tracks, letting the people know who Pink Floyd is.

"Yet Another Movie/Round and Around" is the fusion of an intro theme or a simple transition track, followed by an attempt of giving more importance to the keyboards that obviously is beaten ny the invincible guitar of Mr. Gilmour. But the lack of ideas turns this album very simple and plain.

"New Machine, Pt. 1" tries to be an experimental track with some robotic voices as a chorus or background for David Gilmour. Another vain attempt because it lacks of some elements of the Pink Floyd Sound present in all their previous releases.

"Terminal Frost" has a pretty poppy but melodic, sweet and amazing starts. Once again, the mixture of the guitar and in this occasion the soprano sax brings a sense of a fresher sound from this band. A complete instrumental theme that leaves you with a great feeling, the bass arrangements are excellent and the space sound that Gilmour adds with his guitar fade outs is awesome. An outstanding job, this is by much my favorite track on the album.

"New Machine, Pt. 2" leaved me an awful sensation after the previous track, this is just a simple fill up song.

"Sorrow" is the best way to close the album and the track that finally saves the disc ofr Pink Floyd, a very solid sound and one of the classic Pink Floyd guitar riffs, the intro takes you inside the song, everything is on its right place.

In conclusion, the idea of the album has its fragile points but some of the songs really make a support for the weakest tracks. A good album, not a great one. So I'm going to give it just 3 stars.

Report this review (#109259)
Posted Sunday, January 28, 2007 | Review Permalink
3 stars Considering that it has now been two full decades since the "And then there were three" version of the mighty Pink Floyd put out this album I recently spun it through the changer and reminisced. I have to confess that I've been no more than a casual fan of PF but have always admired their success and the high quality of their work. It wasn't until I became more exposed to Gilmore's exemplary guitar playing that I started to pay better attention to the band and picked up some of their later CDs as well as giving another listen to some of their older LPs in my collection of records.

Following a duly mysterious (you know at once that you are listening to a Pink Floyd album) and aptly titled "Signs of Life" instrumental (in which Gilmore draws us in with his unmistakable tinklings on guitar) our patience is rewarded by the irresistible "Learning to Fly" in which David tells us that he's "a soul in tension that's learning to fly, condition grounded but determined to try." This is evident by glancing at the accompanying liner notes that list a virtual who's who of studio musicians (Jim Keltner, Tony Levin and Carmen Appice to name just a few) as well as seven different recording studios. In other words, a lot of calculated time and effort went into this project to show the world that they were still a force to be reckoned with sans any contribution from the charismatic Roger Waters. A menacing undertow of sound (that brings to mind the loping charge of Hannibal's elephants) characterizes "The Dogs of War" but, despite an excellent burning sax solo by Tom Scott, this song just never takes off.

"One Slip" is obviously about a serious momentary lapse of reason and the resulting guilt and remorse that follows infidelity. The lyrics are brutally honest but, more than any other song on the album, this tune unfortunately reflects the MTV neon signs of the times influence with its thinly veiled MJ "Thriller" feel and dates it terribly. Then things make a remarkable turn for the better. "On the Turning Away" redeems the whole project. It is, in every category, a brilliant song. Its call for universal and unconditional compassion is timeless and ever-relevant. Gilmore's emotion-packed solo and understated vocal performance makes this one of their best tunes ever. Big, deep drums introduce "Yet Another Movie/Round and Round" and promise great things but the song soon falls flat and never gets up again. I have never figured out what it's about, either. "A New Machine" features a very interesting vocal effect that gives me the impression of a computer left on its own that is talking to itself. This is followed by "Terminal Frost," a terrific instrumental that is an atmospheric mix of piano, guitar and saxophone. The dynamics are stunning as it ebbs and flows and it is a highlight of the disc. After a brief return to the talking PC we get to the closer, "Sorrow." David uses an earth-shaking guitar effect to get our attention for this song that seems to be directed at his no-longer-around partner with lines like "he's chained forever to a world that's departed." Even the obligatory "dry ice" moments in the middle can't stop the inertia of this rocker.

Released in 1987, this was the first release since 1983's questionable "Final Cut" fiasco that signaled the end of the Waters era. I think that David Gilmore in particular felt a real sense of purpose in proving that the band was still a formidable presence in the world of music and he did everything in his power to create a masterpiece. My feeling is that he and the group may have tried too hard. They included a few risky tracks that fell short of the runway and pulled the album down a notch or two despite the inclusion of some truly magnificent songs. That being said, I still think it is vastly better than a lot of the drivel that was being foisted upon the general public circa 1987 and deserves a place in any decent progressive rock collection. Not quite 4 stars but definitely more deserving than just 3. Let's say it's a 3.4.

Report this review (#109337)
Posted Monday, January 29, 2007 | Review Permalink
2 stars Here is the album which I occasionally forget when thinking of Pink Floyd's discography. Perhaps it is related to me being not a big fan of post Waters era, but also mainly this is a musically weak album. None of Gilmour's touchy solos does it for me; they may be good, but Floyd's music lost its spark. The amazing four is not together and the product is nothing more than a more or less pointless guitar driven album. Each time I play this album, I have to wait until the last track "Sorrow" to finally encounter something worth hearing. This one saves the album a little.

Perhaps the best thing about the album is Storm Thorgerson's artwork. But the music inside doesn't live up to it, so don't expect to high. Collectors and fans only.

Report this review (#111125)
Posted Thursday, February 8, 2007 | Review Permalink
5 stars The new incarnation of Pink Floyd is something no fan should miss, but is also essential to any prog music fan. The problem is 'A Momentary...' should rather be dubbed Art Rock, as the space/psychedelic elements are virtually non-existent here. The music is naturally dominated by singing and soloing David Gilmour. In opposition to the previous works, there are numerous parts played by studio musicians.

Nevertheless, this is the all-natural next step in the evolution of a rock band. The sound has evolved and has the 1980-ish scent, but contrary to many other albums from that period, it hasn't aged a single bit. 'Lapse' still sounds as fresh as it did back in the days it was recorded.

Report this review (#111443)
Posted Saturday, February 10, 2007 | Review Permalink
3 stars David GILMOUR and Nick, in where also I include to Richard WRIGHT a fortune since in this disc is than well-known more the participation of, because things can be listened that sound to the disc in solitaire of the same one, the this disc is a vision entirely of David GILMOUR of which it stops is PINK FLOYD is not a bad disc, because in there are things that are good, instruments of the disc are simply skillful, still that the sound rich is adorned at any moment notices the lack of the conceptualismo that imprimía Roger WATERS, engraving already with the new technologies and even with a very impressive engineering, with Dolby MR., the sound is exceptional in that cannot be lessen, if "Final The Cut" were a disc of Roger WATERS this is it of David GILMOUR, but for my he was something good but not like which it was lost with the disintegration of the band, short PINK FLOYD in 1983, this is an attempt to remove from the water something that at heart this, is not bad, but she is only for those who are fanatical of the band.
Report this review (#111564)
Posted Saturday, February 10, 2007 | Review Permalink
2 stars Despite being the most enduringly revered band of progressive rock, Pink Floyd's artistic integrity nonetheless managed to burn out after little more than a decade. Different fans will have differing views of the point at which the band peaked, 'sold out' or ran out of ideas, largely depending on whether or not they loathe Roger Waters and deify Syd Barrett, but the common consensus tends to be that 80s Pink Floyd, through creative differences, exhaustion and legal fracas, sucked. The only debate that remains is which of 'The Final Cut' or 'A Momentary Lapse of Reason' sucked the biggest.

The debate isn't a pointless one, as both albums represent polar opposites of the band's output. 'The Final Cut' was the final album to be produced under the totalitarian thumb of Roger Waters, whose creative control had been progressively spiralling out of control since 1977's 'Animals.' Bearing the unflattering subtitle 'A requiem for the post- war dream by Roger Waters, performed by Pink Floyd,' the album is most palatable when viewed as the first Waters solo effort, with a couple of nice guitar solos from David Gilmour, used very sparingly. Waters' angst-ridden departure from the band shortly thereafter, and its subsequent reformation under Gilmour, led to the third David Gilmour solo album effectively becoming Pink Floyd's 'A Momentary Lapse of Reason,' with one major difference: Gilmour was expected to tailor his songs to sound like Pink Floyd. Or, as the irritable Waters later put it, 'a pretty fair forgery, or a good copy' of the distinctive Pink Floyd sound.

A Momentary Lapse of Reason was the first Pink Floyd album for five years, and as such was inevitably destined to be a hit, whether it was critically well-received or not (for the record, it largely was not). Three hit singles fuelled a sell-out tour on which the majority of the new material was played, free as it was from the copyright blight inflicted by Waters. The material itself is largely forgettable, but not completely without merit: a couple of stand-out tracks successfully update the Pink Floyd sound to the 80s electronic scape, amidst a load of bland, tedious and intrusive noise. Pink Floyd staples such as a backing female chorus and overlong guitar solos (especially) set this up to be almost too much like an imitation, but like all Pink Floyd albums it doesn't really sound too much like anything else. The dominant tone is still dingy, slow and brooding, though not to the extent of 'The Final Cut,' but the song structure and arrangement of the album is fairly unique, and in some places noticeably radio-oriented. At the very least, this stands out from the collection.

Gilmour's incarnation of the band was perhaps doomed to failure, its structure being something of a shambles after the five-year absence, and was fortunately able to scrape together a far more consistent release with their final album in 1994, largely due to the involvement of keyboardist Richard Wright in the writing process. Wright is largely absent on this album, and is still not officially a member of the band, which consists solely of Gilmour and drummer Nick Mason, amidst a throng of gathered session musicians. Mason himself was disappointingly out of practice, meaning that even his contributions are limited and extremely ineffective, leading Gilmour to program his own drum machine to jam along to in the final song, in absence of a suitable human to provide the repetitive backing beat. As many critics note, Gilmour's lyrics pale in contrast to those of Waters, but at least that leads to an album that's less angry and bitter, and doesn't mourn for a dead daddy that the singer never even knew.

'A Momentary Lapse of Reason,' (EMI, 1987)

1. Signs of Life (instrumental) 2. Learning to Fly 3. The Dogs of War 4. One Slip 5. On the Turning Away 6. Yet Another Movie 7. Round and Around 8. A New Machine Part 1 9. Terminal Frost (instrumental) 10. A New Machine Part 2 11. Sorrow

For the first time, all songs are written by David Gilmour, though the majority were co- written with producer Bob Ezrin and session musicians - neither Mason nor Wright had any creative input. This immediately lends a sense of repetition to the album, a far cry from the rather insane juxtaposition of styles on the early Pink Floyd albums for which each member would provide a song tailored to his own speciality. Gilmour's speciality appears to lie in long, identical-sounding guitar solos and raspy vocals, which sound like he suffered from a sore throat during every stage of the recording.

The instrumental tracks are particularly noteworthy and well thought-out, the opening piece setting the scene for an intensely spacey and atmospheric album, perhaps the pinnacle of the band's achievement at truly conveying a sense of outer space in music ('Astronomy Domine' succeeds better, but for different reasons). This is aided exquisitely by the foregrounded keyboard and organ, but the use of a distorted vocal sample, what sounds like communication between NASA and a shuttle, ruins the atmosphere a little for me. It would have been more impressive to rely entirely on the music to conjure the intergalactic image, perhaps with a little help from the title, but it wouldn't be a Pink Floyd album without extensive audio sampling would it? Right, Dave? 'Signs of Life' is a great mood piece, though a little long and a bit of a 70s new- age throwback, reminiscent of Vangelis' 'Mare Tranquillatis' from the superb space-jazz record 'Albedo 0.39' (right down to the transmission sample).

The other instrumental comes in the form of 'Terminal Frost,' and is a little more like the jams a Pink Floyd fan is used to, starting softly with a piano, soon to be joined by a nice melodic guitar wail and expanding to greater density as the minutes slowly tick by. It works really well as an instrumental piece, but is hindered by its hideous bookends in the form of the pointlessly excruciating 'A New Machine' parts one and two. This represents the peak of Gilmour experimenting with ever-more-distracting ways of keeping the listener's attention, as we're subjected to around three tormenting minutes of screeching a capella, distorted through some device or other. Separating 'Terminal Frost' from these segments, which really are completely unnecessary, it's one of the better pieces the album has to offer, even if John Helliwell's sax solo is more reminiscent of a gameshow opening theme than the great contributions of Dick Parry to 'Money' and 'Shine On You Crazy Diamond' in the 70s.

Disappointingly, alternating between so many hired musicians really adds very little variety to this recording. The drums on 'One Slip' are played by Jim Keltner, but aren't that different from the machine Gilmour programmed for 'Sorrow,' or Mason's competent-but-unremarkable work on 'Learning to Fly' and others. The bass is equally reliable to the point of unoriginality, only really audible in the bass-led 'Dogs of War,' which is easily one of the weakest songs Pink Floyd ever recorded. Shattering the chilled atmosphere at such an early point in a similar way to 'A New Machine' later (though not quite as bad), this is several minutes more than necessary of Gilmour barking half-arsed politics far too close to the microphone, while intrusive organs erupt every several seconds. There's a guitar solo too, but that's really stating the obvious. It's a shame really, as the songs surrounding it are fairly enjoyable, and would work much better if the mellow atmosphere had been allowed to pervade the recording without these uncomfortable jarring moments.

First single 'Learning to Fly' would probably have remained a live staple of this 'new' Pink Floyd if it had remained active to the present day, and was an unsurprising presence on both of the live albums it released. A good, catchy and enjoyable pop-rock song, this sees Gilmour in full melodic mode (think 'Comfortably Numb') over a background of pseudo-electro instrumentation. The chorus is nice and subdued, and the solo nice and relaxed, making this another highlight of the album. It's perhaps aimed a little too directly at MTV play, in contrast to the 'art rock' indulgence of earlier albums, but that doesn't really count against it. After 'Dogs of War' has run its discordant course, the album jumps into a slightly higher gear for the U2-like 'One Slip.' Only one gear though, it's nothing radical. Probably the most positive song on here, it's also enjoyable in a poppy sort of way, even if it doesn't strictly belong on a Pink Floyd recording. Much better is the dismal 'On the Turning Away,' a slow song with a vast and booming echo, dominated by impressive acoustic guitar that interacts well with the throbbing synthesiser. This is my favourite piece of the album, succeeding far better than the closing song, though an abrupt fade as the guitar solo lasts just a little too long spoils it, as does the repetition of very 'Wall'esque riffs.

The remainder of the album is fairly dull, mainly for coming after these earlier songs have already exhausted the ideas. 'Yet Another Movie' is similar to 'On the Turning Away,' though not as good, and fades out with the fairly pointless fifty second epilogue 'Round and Around,' which might as well have been the same song. 'Sorrow' is the biggest disappointment for me, beginning with ominous and earth-shaking keyboards and melancholy vocals from Gilmour in yet another vast, empty space, before the drum machine comes in after two minutes and it just becomes a waiting game until the final guitar solo fades out after reaching the point of tedium, and I can go on with my life. The bragging title and excellent set-up lead only to a repetition of what we've already heard five or six times over the course of the previous fifty minutes, but the fault lies largely in the rubbish drum machine. Would it really have been too hard to draft in one of the hired hands to play something more interesting to close the album? As evidence, the song is improved on live recordings with Nick Mason handling the drum beat and Gilmour's indulgent solo being allowed to properly run its course, without feeling stunted and unsatisfied, as it does at the end of this mediocre release.

'A Momentary Lapse of Reason' is probably the least essential item in your Pink Floyd collection, especially as some of the best songs appear on the excellent live album 'Pulse,' as well as the rather less excellent live album 'The Delicate Sound of Thunder.' Gilmour's Pink Floyd is little more than a shambolic money-making exercise for a man whose solo career was faring only adequately, and it's a shame that 1994's 'Division Bell' is the only effort the band made in remedying this problem and maintaining their credibility. The best songs on here can be found elsewhere, while the worst ('Dogs of War' and 'A New Machine') should have remained on the cutting room floor. To address the all-so-important debate I mentioned earlier, Waters' 'The Final Cut' is probably better than 'A Momentary Lapse of Reason,' though both show a band in a decade of unmistakable decline.

The only Pink Floyd album that's probably less appealing is the studio disc of 1969's 'Ummagumma,' which is really, really terrible and even something of an embarrassment for those involved. A momentary lapse of reason by a young and stupid band, before they became old and rich and should have known better. By 1987, there were plenty of bands imitating the Pink Floyd sound and achieving far greater results than this.

Report this review (#111590)
Posted Sunday, February 11, 2007 | Review Permalink
4 stars I can't understand why so many people dislike this album, I like it very much, and I think the Floyd could still make incredible music without Roger Waters. This album is pretty much like Gilmour and his Pink Floyd friends, since Gilmour is the only member that worked on the whole album. Nick Mason hadn't wrote anything on this album, and he hadn't played drums on all of the songs, and Rick Wright was just an session musician on this album, as he shared space with Jon Carin and Patrick Leonard.

The first song is Signs of Life, which is a beautiful instrumental song. It has two parts, the first one is an keyboard solo, and the second part is an guitar solo. This song also has some obscure voices and some water sounds, which helps to create a nice atmosphere.

Learning to Fly is a more commercial song, but it's very good. The lyrics here are simple, but they have a nice meaning, of someone who is growing up.

Dogs of War is next, and it's very nice. Gilmour's vocal work is impressive, and the vocal parts looks like a synthesized blues, and there is a excellent guitar solo, and an very agressive (but nice) sax solo.

The fourth song is One Slip, which I believe it's the most commercial song in this album. But this is by no means a bad song. In fact, it's very good. The crazy beginning and the awesome chorus are the highest points on this song.

At last, we've got the first killer song on this album, On The Turning Away. This song is beautiful. It builds up until it's climax which is a guitar solo that's among gilmour's finest solos.

The next song is, in my opinion, the best song in this album, Yet Another Movie. It's a dark song, and it has an wonderful vocal and keyboard arrengement. it also has a terrific guitar solo, which is intense and darkish. This song ends with the quiet section called Round and Around, which is just, well, an ending.

A New Machine part 1 is a complete filler song, and it's horrible. this is one of Pink Floyd's lowest moments.

Terminal Frost is a inspiration-lacking song. It's basically 6 minutes of the same thing. this song has a very nice sax solo, though.

A New Machine part 2 is the same thing as part 1. Thank god it's smaller.

Sorrow is another killer song. The rough guitar entrance is a wonderful introduction for a wonderful song. The guitar solo at the ending is very nice and it closes both song and album pretty well.

Overall, this is an almost perfect album, if only A New Machine hadn't existed... but this album showed that there is life without Roger Waters

Signs of Life: 10/10, Learning to Fly 8/10, Dogs of War 9/10, One Slip 7/10, On The Turning Away 10/10, Yet Another Movie 10/10, A New Machine part 1 0/10, Terminal Frost 6/10, A New Machine part 2 0/10, Sorrow 10/10

Overall= 4 stars

Report this review (#111700)
Posted Sunday, February 11, 2007 | Review Permalink
2 stars Hmmmmm...

Kind of hard to review this album, really. I never really liked this album because it sounded "too 80s" to me. But then again, being born in 1985, I never really understood the musical landscape of that decade. Sure I have some albums from the 80s, but only a handful of them. To me, the 80s were too much about image instead of substance. In certain cases some artists made it work, while others faltered.

That being said, I'm going to review this album regardless of the era of music it was made in.

'Signs of Life', the opening track, is pretty slow and dull. Nothing much to see there. I remember when I was getting into Pink Floyd I heard 'Learning to Fly', and immediately thought "I know that song!" No doubt I'd had heard it on the radio countless times when I was very young, and probably a few more times when I was a little older. Really the only high point I see in this album is 'On the Turning Away'. It's a smooth, uplifting song.

Personally I think Dave Gilmour was simply trying to not sound like Roger Waters. Maybe if he'd had tried to stick to a more traditional sound, this album would have worked better.

Report this review (#115067)
Posted Wednesday, March 14, 2007 | Review Permalink
2 stars If "The Final Cut" was Roger Waters's solo album disguised as Pink Floyd album, than this CD is even more of a David Gilmour's solo effort than "TFC" was an effort of Waters. Why? Because even if on "The Final Cut" the music and the lyrics were entirely written by Waters, the other members (Gilmour and Mason that is) at least PLAYED on it and Gilmour even sang one or two verses. On "A Momentary Lapse Of Reason" not even this is true. First of all, Pink Floyd line up by that time had been reduced to Gilmour and Mason only (Wright was only a session musician, playing on a couple of songs) with Mason's input being only symbolic, as he felt he was out of practice at the time. Gilmour wrote all the music and hired several lyricists to write the lyrics for the album. So, except for the name, this album doesn't differ much from Gilmour's solo album from 1984 "About Face". Mediocre music, mediocre lyrics. The cold, programmed 80's sound of synthesizers and drum machines doesn't help at all either. Yes, there are couple of interesting guitar parts here and there but nothing impressive. It is not a total garbage, I prefer it over most of the stuff other classic prog bands were releasing during that period (Yes, Rush, Genesis, King Crimson etc.), but I wouldn't go as far to actually calling it "good", therefore 2 stars is a fair judgement of this album in my opinion.
Report this review (#123070)
Posted Tuesday, May 22, 2007 | Review Permalink
Honorary Collaborator
2 stars A Momentary Lapse of Judgement

Behind the poor decision to call Dave's solo career PF lies the complete vacuum of material of the level of what they were doing years prior. What you end up with is nothing more than clichés of Pink Floyd like you'd get if Clapton did Cream without Bruce, or Plant did Zeppelin without Page's vision, or Daltrey doing The Who without Townshend. I could go on all day about how ludicrous the idea of a Waters-less Floyd is, but I'll spare you.

"The Dogs of War" is a particularly awful track and throughout the album we have Dave doing his best 80s Clapton stylings with huffy vocals, recycled licks, and poor lyrics. The one bright spot here is "On the Turning Away" which for the first time elicits some authentic emotion from the vocal and gives a brief flash of Floydian majesty. The songs are pretty uninspired and even the boatload of guest stars cannot rescue this. I can't imagine how Tony Levin got himself roped into this project; I can only assume he and Dave must be close friends. "Sorrow" is without doubt the most uneventful Floyd epic to date and sounds like filler.

I have to try very hard to justify the second star here and do so only because of "On the Turning Away" and out of respect for Nick Mason. I admit a Roger bias completely as I feel he was the reason for the great 70s albums, however I am not unable to be objective. Were this a great album I would say so. It is far from a great album.

Report this review (#123524)
Posted Saturday, May 26, 2007 | Review Permalink
Crossover Team
3 stars A Momentary Lapse of Reason initially started out as David Gilmour's third solo album with recording starting in October 1986. Gilmour initially thought the material was too weak to make it a Pink Floyd project. However, by the end of 1986 he felt confident in placing it under the Pink Floyd name. Of course prior to this Gilmour, Mason, and Waters had a dispute over the band's name which eventually became settled out of court with Waters gaining exclusive rights to nearly all of The Wall album and the entire Final Cut album along with some Floydian imagery including the original "flying pig."

Gilmour attempted to make A Momentary Lapse of Reason a Pink Floyd album by adding sound effects and lacing the album with synthesizer vocal effects, among other things. Although Nick Mason was a full member, his contributions were minimal as Gilmour relied mostly on a large team of session musicians including bassist Tony Levin, keyboardist Jon Carin (who would later tour with the band), Bob Ezrin, Carmine Appice, a variety of saxophone players (including John Helliwell of Supertramp), among others. Even Richard Wright would rejoin the band, though in the role of a salaried session musician.

Gilmour's new version of Pink Floyd was an entirely new creation. Sure, you have his amazing guitar work, which for the most part is the showcase behind the band's instrumentation from this point forward. But this is a Pink Floyd brought into the 1980s and along with it all those things we loved (i.e. hated) about the 1980s. This included programmed drums and a heap of digital synthesizers. Now that doesn't mean Pink Floyd went the route of Yes or Genesis. In fact, the new 1980s version of Pink Floyd was actually quite tastefully done considering the time period. After all, 1987 saw the likes of Invisible Touch, Big Generator, and Crest of a Knave. A Momentary Lapse of Reason, though not anywhere on par with their 1970s albums, was miles above the rubbish from other prog groups of the time.

Many of the songs are of a radio-friendly nature, most of them quite simple and uncomplicated. The most notable feel one can pick out of this album are the lush, and sometimes dark atmospherics created by the digital synthesizers. Maybe overused, but effective nonetheless. A couple of the songs have a driving energy (often lacking from Waters material), such as The Dogs of War, One Slip, and the concert favorite Sorrow. Another major difference is Gilmour's lyrical style. Instead of the lengthy political diatribes of Waters, we are left with some very poetical pieces. I think of that as an improvement.

Pink Floyd will never be the same without Waters, but Waters became so dominant that it was no longer Pink Floyd. A Momentary Lapse of Reason is a departure, but I find it to be a refreshing one. Unfortunately, it doesn't fare well compared to the group's earlier masterpieces. So I'm left with concluding this to be a three star effort. Good, but not essential.

Report this review (#134294)
Posted Wednesday, August 22, 2007 | Review Permalink
2 stars After Floyd's The Final Cut, creative differences led to bassist and songwriter Roger Waters to get out of Dodge, and then the rest of the band decided to forge on without him. This is the first Pink Floyd album for almost two decades to not have Waters with a credit on it at all, and as this album, along with The Final Cut, prove the whole is stronger than the sum of the parts, as Floyd will never be the same since the split.

Now to actually review the album. I gave it two stars as 3 stars says "good, but non-essential", whilst this album is mediocre in almost every degree. Gilmour's solo work is better than this. The album consists of so many "meh" songs that really seem to meld together. I will now give the positive points of the album. "Learning to Fly", while very poppy, is a fun song and I love it.This song I recommend to any Floyd fan (if you haven't heard it on the radio or *shudder* MTV already). I also think that the cover is one of the coolest ever, especially now in the age of computer generated everything, in that they actually dragged out hundreds of hospital beds onto the shore. This is a very grand scale, and you don't really see that much hard work put into cover art anymore. That's the highlights reel.

Is it a bad album? no.

Is it a good album? no.

Will you remember it tomorrow?

Only "Learning to Fly"...

Report this review (#134297)
Posted Wednesday, August 22, 2007 | Review Permalink
3 stars First of all I would like to say that this album is great. If you are Pink Floyd die-hard you might not enjoy this album as much as just a casual fan. This album is heavier than most of the other albums. It most resembles The Division bell but I would say is much better. One problem I have is that it gets a little repetitive. Many of the songs are just too similar. I really do enjoy the heavy songs like dogs of war and learning to fly but the album just is to much of the same thing again and again. I would give this a 2.75
Report this review (#140392)
Posted Monday, September 24, 2007 | Review Permalink
Tom Ozric
3 stars During the 80's, many precious bands sacrificed quality over sales and popularity - Floyd were no exception. Having got that rather brash generalisation off my chest, 'A Momentary Lapse of Reason' is a fairly decent listen, but really adds nothing to the whole Space/Psychedelic faction of Progressive music. I remember waiting for hours, subjected to listening to, what can only be described as 'absolute pus', a local radio station announcing that they intend to play some of the new Pink Floyd album - well after waiting some time, lo and behold, here come the excerpts from the up-coming release. I was totally thrilled. They ended up playing the entire first side of the vinyl. I taped the affair and listened to it several times a day until the LP was in at the local record bar (I actually took a day off school to go and purchase it). I loved the introductory piece Signs of Life - what can only be described as a 'movie for your ears' - clever and experimental, what a comeback. The catchy pop-song 'Learning to Fly', was a commercial success, but still a quality song when compared to some of the dross that was released at the time. 'The Dogs of War' had a venomous bite to it, particularly Dave Gilmour's vocal delivery. The song is blues-based, but has a good feel to it. 'One Slip' is the slip into mainstream commercialdom for me, but I do listen to the song without being put off, it has an interesting intro. 'On the Turning Away' is somewhat anthemic, but has a great melody and Gilmour's soloing is quite impressive and enjoyable.

The songs on the 2nd side sounded a little more faithful to their reputation. 'Yet Another Movie' holds an ethereal vibe to it, and is one of the winners of the album. It segues into a little motif entitled 'Round and Around', which tops off the piece in fine form. 'A New Machine - Part 1' is just some prose that's belted out by Gilmour, albeit vocoder manipulated - same goes for 'A New Machine - Part 2', not adding up to much within the overall picture, but eclectic never-the-less. 'Terminal Frost' is a semi-lengthy instrumental track that I find is a bit dull - it features some lovely piano melodies and some fine saxophone playing, backed with some wordless female voices - nice, but somewhat middle-of-the-road. The epic of the album is the near 9 minute 'Sorrow', a fine musical extravaganza in true Floyd fashion - Gilmour's guitar intro is big, and I mean BIG !!!!!!!!! A worthwhile track to finish off the album. a big '3' for the rating of this good, but unfortunately, inessential release.

Report this review (#149674)
Posted Friday, November 9, 2007 | Review Permalink
3 stars Well, we saw in 1983 what happens when PINK FLOYD let a bitter, acerbic man mastermind an album: it becomes intolerably bleak and self-fixated. So now, four years later, we get to see what happens when a gentler, middle-aged millionaire masterminds a PINK FLOYD album. The result: gentleness, bordering on blandness. The band clearly misses ROGER WATERS, but not as much as ROGER WATERS missed the band.

This album is much more like the early 70s albums in spirit, as one would expect. Slow, spaced-out and languid, the music dominates here over lyrical vision. To be blunt, DAVID GILMOUR doesn't have a lyrical vision, and so those looking for FLOYD-with-a-message will take 'The Final Cut' over this. However, those interested in the music will plump for this. Most fans just wish the two could have been married one more time.

'Signs Of Life' reprises the opening of 'Shine On You Crazy Diamond' but without the starfield magnificence of the former: this track is definitely earth- (or water) bound. 'Learning to Fly' begins with a searing guitar, but the subject matter (literally, having flying lessons) reveals the shallowness of the subject matter at hand. To my mind it still beats yet another album about the war ... but what's this? 'Dogs of War'? Is GILMOUR trying to out-WATERS WATERS? This track is usually panned by the critics but I have no particular beef with it. 'One Slip' and 'On the Turning Away' are worthy album tracks, but not really up to post-72 PINK FLOYD.

Side Two is where the record excels. Here GILMOUR stretches his guitar fingers. 'Yet Another Movie/Round and Around', 'Terminal Frost' and 'Sorrow' were destined for a GILMOUR solo album, but are infinitely more valuable here, getting the full FLOYD treatment. 'Sorrow' in particular is a treat, the best FLOYD song since 1975 with the exception of C-Numb. A great growling guitar start, and a worthy, if overlong, solo to finish, with a meaningful song sandwiched in between.

Yes, it's as much a GILMOUR solo album as 'The Final Cut' was WATERS'. But gone is the smothering air of dominance. Instead, we see moves back towards democratisation, with the inclusion of WRIGHT (as much as his severance contract would allow). I'd love to have a machine that would somehow graft the best of this into the best of 1979-83 FLOYD and see what happens.

It comes down to this. I love PINK FLOYD as a space-rock band, not a protest art-rock band, irrespective of the brilliance of 'The Wall'.Therefore, what GILMOUR does is inherently more interesting to me than what WATERS does. This album is a fair forgery of a PINK FLOYD album indeed, as WATERS most famously put it. I'll settle for that over another war album from an angry tyrant.

Report this review (#150956)
Posted Thursday, November 15, 2007 | Review Permalink
3 stars Relatively lightweight as compared with Waters-era material, this recording nevertheless produced a number of musically listenable tracks (which is really saying something compared with the disastrous The Final Cut). This recording is certainly not a profound social or political statement, although Gilmour has his stab at it on On the Turning Away. Gilmour's vocals and guitar do not shine quite as brightly on this recording as on a number of earlier works. Overall the recording is good but not stunning. Those first learning about the band should seek out other material from the 1970s first. This recording rates three stars overall.
Report this review (#151843)
Posted Tuesday, November 20, 2007 | Review Permalink
3 stars If you want to try Pink Floyd for the first time, please don't start with this. I have a friend who doesn't much like PF, whilst this is his only album -enough said?

I remember seeing this with great surprise in a record shop in 1987, and thinking it must be some kind of compilation, because I thought that "The Final Cut" was meant to be their last album by virtue of the title. When I picked it up and looked at the track listing I thought I don't recognise any of these??

The cover fools you into a sense of well-being because it truly was a full-on great Pink Floyd album cover - and that's the best bit, because when you open it out you find these horrible cheezy 80's pop star images of Gilmour and Mason. Why Mason is there I don't know because he hardly played on the album.

But it is amazing how they did made-up all those beds - 10/10 to Storm Thorgerson!!

Anyway - now to the music, and to stop the insults. The music is actually very good in places - mostly from the great guitar work/ solos from Gilmour - but without that it wouldn't really be any good. Note the word 'solo' - it really is a Gilmour solo album, and if it was entitled that you would be happier as wouldn't be expecting 'Dark Side of the Moon' again. Although you can tell Gilmour tried really hard, and in the midst of the time trying to sound like PF but also to advance it into the 1980's was ever so difficult - so well done for trying, and as Waters recently said it least it kept the name alive - if only commercially.

It starts really well with Signs of Life - a little 'Shine on' sounding and you think it's going to follow in the footsteps of 'Wish You Were Here' - and I really like that track. Then 'Learning to Fly' seems to start well, then progresses into this yucky 80's beat, and the album loses itself for 2 or 3 tracks, and really isn't that great until "Yet another movie" which does have a great solo in it. After that it's not too bad, although much of the music is too soft and slow. The lyrics are a little embarrasing in places as well. Don't get me wrong - I do like the album, I just don't think it's that great that's all.

There is redemption at the finish/ climax with the truly great track "Sorrow". The album is worth buying just for that (even though even this track is plagued by a horrible 80's beat, the awesome guitar work from Gilmour redeems it). Thank you David for trying at least - better was to follow with the much-improved "The Division Bell" in which the horrible 80's cod funk had been removed.

"Sorrow" brings the album up to an overall good album - that and "Signs of Life" and "On the Turning Away" and "Yet Another Movie" (the rest is too 80's to bother listening to). Buy all the other PF albums first, then get this for interest at the end.

Report this review (#152607)
Posted Sunday, November 25, 2007 | Review Permalink
4 stars Why does everyone hate this album, i personally think this is a great album, okay maybe more a gilmour album then a Pink Floyd one, but still, great album

Best songs on the album are: 1. Learning to fly 2. Yet another movie 3. Round and round 4. Terminal frost 5. Sorrow

I really love the saxophone in Terminal Frost, the guitars in Sorrow are amazing imo this is a 5 star album, but i'm gonna give it a 4 star rating, it's a great addition to your collection

Report this review (#152691)
Posted Sunday, November 25, 2007 | Review Permalink
4 stars I really can't believe that this album scores a lower rating that the most dreadful of all PF albums, 'The final cut'. For me PF was totally out after having heard 'The final cut'. That was a totally non-inspired, non-melodic, poor Wall rip-off. Apparently writing that album was the only way that Waters managed to cope with a lot of frustrations. After that he recovered quite well, fortunately, and the fact that he and the rest of the band decided to play together last year on Al Gore's party was an absolute highlight in 2007.

Then back to MLOR. The album starts off quite poorly with the superfluous 'Sign of life' which to me is an all to clear example of a 'filler', how nice the effects may be. But then the quality is there, both in melody, in the keys and especially in the guitar playing. Some tracks really stand out like 'Sorrow', 'Learning to fly' and 'On the turning away'. I think they demonstrate that this band can still play remarkably well when they want, and can still play at a level that is far too high for many bands ever since. But yes, there are also some weak moments, like 'Dogs of war' (ill-advised attempt to perform a 'rock'-song?) and 'Round and round'. But as a whole the album works out very well for me and meant a return of the band I began to like after their genial 'Atom heart mother'. Too bad they also produced 'The final cut' but this album is for me a convincing comeback to the right track.

Report this review (#157661)
Posted Friday, January 4, 2008 | Review Permalink
3 stars Even though this is one of the latest albums by PF it is certainly not the last one I bought . In fact it's one of the first, I got in the band's discography relatively late. According to the averages it's one of their lesser albums but there I do not quite agree. Not that it's a masterpiece, far from it but it's a good album and there are a few releases by PF I'm not really fond of so there's my explanation.

First track, Signs of life, is a typical opening track, like a sort of introduction to what is to come. This instrumental overture is mysterious and atmospheric. Nice. 3*.

Learning to Fly is more of a vocal track, a famous one, often played on their live concerts. Good Song but not quite mindblowing I would say. 3,25*.

The Dogs of War goes on in the same style, most of the songs on this album are pretty slow and have a sort of build up, a sort of growth in them. Same with this one, most of the songs are also a bit restrained as if they never come to some spectacular explosion. This one does for a bit after 3 minutes when Gilmour starts displaying a bit of his talent. Some companionship from the sax as well. But also this one doesn't grow to great heights. 3,5*.

One Slip is sort of the title track, well at least it's the only of the 10 tracks where the title is mentioned in the lyrics to be more precise. The track is a bit flat, no significant features here, more of an average track with an atypical rhythm by the way. 3*.

Next is one of my favourite PF tracks of all time although at the same time I must admit I'm not always in the mood for it. But when I'm in the right mood I enjoy it hugely not in the least because of Gilmour's great guitar solo at the end. 4,5*.

Yet another Movie is the one with the psychedelic/space sounds in the beginning, maybe a hint to their past (early seventies) when they did this all the time. It just lasts a minute, after this another regular song, quite interesting but not great. 3,25*

After two short ones, Round and Round and A New Machine, it's time for Terminal Frost. A very nice instrumental with great saxophone amongst other fine contributions. 3,5*.

And after the last short interlude (A New Machine pt.2) the second highlight, Sorrow. Longest song of the album and an impressive composition. And also on this one the sting is in the tail with great guitar at the end. 4*.

So a nice album by this great band but nothing to go overboard about really. And two really good songs are not enough to give 4 stars for so it will have to be three.

Report this review (#159406)
Posted Monday, January 21, 2008 | Review Permalink
3 stars A lot of beautiful songs here, especially On The Turning Away, Sorrow and Learning To Fly. One Slip and Yet Another Movie/Round And Around are also very good songs. But it's too poppy and commercial, too linear to convince me. One of the weakest Floyd albums, with no doubt. Nice, but uneven.

Roger Waters is gone, Rick Wright's return, not as a member, but as a guest. The guest-list is incredible here : Carmine Appice (Cactus), Bob Ezrin, Tony Levin (Peter Gabriel), John Helliwell (Supertramp)...

For completists and hardcore fans, but do not begin to listeneing to the Floyd with this one. It's too different from the other releases, and deceiving for a first approach.

P.S. : I hate Dogs Of War.

Report this review (#164809)
Posted Monday, March 24, 2008 | Review Permalink
Queen By-Tor
Honorary Collaborator
3 stars Hardly a slip

With the departure of Roger Waters many fans would likely call the band dead in the... er... water - but this was not so for the legendary progressive band. It may have been a long hiatus since the release of their last studio album before this one, The Final Cut, and we may be knee deep in the 80s now, but this album somehow turned out quite good! The songs are not really as ''progressive'' as some people would likely have liked to have them - there's no psychedelic jams and no long suites named after newspaper headlines and cows and whatnot, but there's still many of the ingredients of classic Floyd. True, they've been rearranged and mixed around, but that doesn't mean they're not present.

Gilmour's Floyd is a completely different beast than it was under the command of bass playing songwriter Roger Waters. It also doesn't help that the 80s are upon us, but the style is wildly different. Shorter, catchier songs get heavier radio play these days than some of the other songs in the Floyd catalog (see, for example, the soft and moody Learning to Fly) but in general they still pack a heavy punch. Faster and heavier songs such as One Slip and the brooding Dogs Of War still hold the classic Floyd sound in small doses, but offer a unique look at the band while instrumentals such as the opening intro Signs Of Life and the excellent Terminal Frost offer a new side to the band that's been seemingly hidden until Gilmour had the chance to take over.

Likely the best song on the album, though, has to be the closer. This is one of the best examples of blending the 80s style that many prog bands were using (and not doing well with in most cases) as Sorrow is an excellent piece. Driven by a heavy bass and some haunting vocals Gilmour and the boys really make the best of what they've got here. This really is one that can compete with most of the other material in the band's catalog, believe it or not.

The increased use of the 80s synth and the heavy beat to the album may make it a threatening one to listen to at first - not exactly at kin with any of Floyd's other albums (including the sole album to follow it, The Division Bell), but it really does have a certain charm that some of the others don't have. Between it's interesting cover art and it's unique style this one really is a fun one to listen to.

All things considered this is not one of Floyd's best albums, but it's not one to be shrugged off either. Not for people who are not fans of the band, but people who have avoided it simply because of it's date should reconsider if they want to hear something very different by the band. In the end this one gets 3.5 New Machines out of 5. Definitely not the album to start with by the band, but certainly not one that has to wait until the completionists get around to it. Recommended to people who have an interest to what happened to prog in the 80s, and anyone who thinks that The Division Bell needed a bit of extra 'oomph'.

Report this review (#181248)
Posted Sunday, August 31, 2008 | Review Permalink
3 stars Not Roger Waters any more! And the result is the weakest Pink Floyd's album. It's not bad album at all,but in comparison with the other albums by the band it is weaker. Richard Wright is again with the band, but only as session musician. The genre is simplified in comparison with the other albums. There are some important moments about A Momentary Lapse of Reason - it is the most electronic album and the most mainstream album by Pink Floyd. It contains one very good song - Signs of Life and a few good songs - Learning to Fly, One Slip, On the Turning Away. Appropriate for those who like more pop rock sound!
Report this review (#189649)
Posted Monday, November 17, 2008 | Review Permalink
Eclectic Prog Team
3 stars In 1985, Roger Waters claimed that Pink Floyd was "a spent force." While that may still hold true for most die hard fans, the remaining members of Pink Floyd proved they could still craft highly enjoyable music, even if inconsistently and not as complex. For all intents and purposes, this album may as well have been a David Gilmour solo album, though. Rick Wright was only a paid session musician, and Nick Mason was replaced on at least two of the tracks by a drum machine, and on many other tracks, credited only with "percussion," with someone else handling the "drums." Quite a bit of the music is a place to showcase Gilmour's talent as a guitarist, and sadly, at times this can get old.

"Signs of Life" As will be the case with both David Gilmour-led Pink Floyd releases, A Momentary Lapse of Reason opens with an atmospheric instrumental, this one full of synthesizer and subtle guitar passages.

"Learning to Fly" Perhaps the most well-known song from the album (nay, post-1970s Pink Floyd) , "Learning to Fly" is great blend of progressive rock and straightforward pop. The middle section features Nick Mason speaking, as though on a radio. The lyrics are not only about literal flight, but apparently reflect Gilmour's realization that he was stepping into his former band mate's shoes as front man of such a legendary and respected band.

"The Dogs of War" The problem with this song is that it tries too hard to be menacing. The splashes of keyboard, the marching strings, the growling vocals- it all sounds a trifle too ridiculous to be effective.

"One Slip" In spite of the prolonged introduction and the 1980s pop sounding music, this is a great song and one of the best on the album. The lyrics describe a spontaneous romantic rendezvous that results in a pregnancy, ultimately referencing how one seemingly frivolous act can have monumental consequences. After the guitar suddenly fades in, the vocals begin immediately. The music is catchy and upbeat (this is the fastest song on the album).

"On the Turning Away" Like "Learning to Fly," this beautiful anthem gained a respectable amount of radio airtime. The verses progress from a capella to an all-out choir, followed by a typical David Gilmour guitar solo, this one a bit reminiscent of the second one on "Comfortably Numb."

"Yet Another Movie" This is a long, atmospheric track with a 1980's pop-rock sound and not much going for it. The vocals are bland, and the music doesn't really move anywhere. It's more of the same for nearly seven-and-a-half minutes.

"A New Machine (Part One)" Not so much a song, as an introduction to the next track, this track has David Gilmour's distorted voice singing through a Vocoder.

"Terminal Frost" Beautifully bleak, this happens to be one of my favorite instrumentals. The piano and the saxophone can impart chills. For me, this song conjures up precisely what the title describes- something cold and deadly. Nick Mason doesn't actually play on this one- what you hear is a drum machine.

"A New Machine (Part Two)" This is essentially a reprise of part one.

"Sorrow" "Sorrow" begins with a heavily distorted, loud guitar, which was recorded in an arena through a sound system. For some of the lyrics, Gilmour borrows lines from John Steinbeck's The Grapes of Wrath. There are pleasant vocal harmonies and a smooth atmospheric part in the middle. Again, there are no real drums on the track, just a drum machine, and this gives the song a really stunted feel. Nearly the last three minutes consist of additional guitar soloing.

Report this review (#189814)
Posted Tuesday, November 18, 2008 | Review Permalink
4 stars Many people seem to hate this album a lot, and I never understood why. If there's an album I don't like, it's probably the Final Cut, because it's too... I don't know. It's not progressive enough for me. I do like that album, but it's the worst Pink Floyd in my opinion.

A lot of hostility seems to be pointed towards the fact that David Gilmour wrote this album almost entirely by himself, and that it's like one of his solo albums. But to those people, I say this: Is that a bad thing? David Gilmour released some great solo albums, so there's nothing really wrong with that. It's still good, just because he's by himself doesn't mean it's not that great, although I do agree that the sound has decreased in its diversity since they were writing together. On all their best songs, if you notice, they all work together on it.

This is a fairly nice album. The album artwork is very surreal, which is always good. Some songs are just radio friendly songs like Learning to Fly and One Slip, but they're still good. The new machine songs are just fillers, but the lyrics are really poetic if you listen to them. Sorrow is a masterpiece.

Overall, it's a good album, yeah some things sound kinda dry, for instance drum machines were used on several songs, rather than Nick Mason himself.

Report this review (#197422)
Posted Monday, January 5, 2009 | Review Permalink
The Quiet One
3 stars What's Pink Floyd without Roger Waters? Well, more Floydish

A Momentary Lapse of Reason is often looked as a Gilmour solo album, which I disagree or tend to reach to a logical conclusion, in which if someone considers this as a Gilmour solo project, then why consider The Final Cut, which is written in it's entirety by Roger Waters, be Pink Floyd? Either both are Pink Floyd or both are solo albums with Pink Floyd as their moniker, don't you think?

A Momentary Lapse of Reason is also said to be light, pop, radio friendly, and so on. I can't help to disagree more, I mean songs like Signs of Life, Sorrow, Yet Another Movie, Dogs of War, I really can't hear any radio-friendly or light-hearted on those songs, on the contrary, they're pretty somber to your usual Gilmour-aspect, and I can also say that they're quite prog-esque if you don't mind the 80's sound and can deal that the Dark Side of the Moon-period is gone. I won't ommit the fact that this album does have radio-friendly songs like the popular Learning to Fly and One Slip, both up-lifting but still both carry that Floyd(at least Gilmour) touch that makes it so recognisable such as Money and Another Brick in the Wall, and definitely making up a great enjoyment.

I must also point out the great vast of musicians that participate in this album(maybe another reason for those who consider this a Gilmour solo project, which in that case I can just say that Pink Floyd needed a bass player, a saxophone play and a keyboard player, and ended up bringing quite a lot of them), which makes this album to have such a sophisticated sound like almost every Floyd album, excluding The Wall and The Final Cut.

As a conclusion I must say that A Momentary Lapse of Reason achieves to be a very good album for Pink Floyd standards, not essential, yet highly enjoyable and recomended for the Pink Floyd fan who enjoys their style of music and doesn't worry for the complexity or things of the sort. I'm really not sure what's not Floyd of this album and The Division Bell.

3.5 stars.

Report this review (#199983)
Posted Tuesday, January 20, 2009 | Review Permalink
3 stars Who says Pink Floyd needs Roger Waters? Well, I don't.

The absence of Waters does make for a stark change from The Wall and The Final Cut. For one thing, we now actually get fully instrumental tracks (the last time that happened was on DSOTM), in the forms of Signs of Life and Terminal Frost. And they happen to be a couple of mighty fine tunes.

There are numerous other highlights across the album, from the likes of Learning To Fly, On the Turning Away and Sorrow. Most other tracks are good-quality, solid numbers. Only The Dogs of War and A New Machine Parts 1 and 2 fail to meet my good listen criteria: The Dogs of War is a cringeworthy poke at Waters' anti-war songs, which exudes a very uncomfortable atmosphere and a frankly ugly saxophone solo. A New Machine parts 1 and 2 are short and rather pointless, with little musical value to them (simply Gilmour shouting/screaming slightly distorted pointless phrases such as I have always looked out from behind these eyes - well duh!). The album would have lost nothing without them, apart from a less impressive-looking tracklisting.

All that said, the album is overall very solid and largely consistent. The reason I'm giving it three stars rather than four is because of the lack of variety. Most songs follow the intro-singing-instrumental-singing-instrumental format and there is little variation in Gilmour's singing. Most of the individual songs are well-crafted pieces and would stand well by themselves, but bunching them all up on one album I would say hinders their enjoyability.

Report this review (#203392)
Posted Tuesday, February 17, 2009 | Review Permalink
2 stars Pink Floyd MK III - Or how Gilmour learned to stop worrying and love the Mid-Tempo solo...

Supposedly the big drop from the glory days of old, even more so than The Final Cut. Is it true? Maybe. The album starts off with a soft and ambient instrumental with a Mid Tempo solo that sounds like something from Meddle. Then comes the smash radio hit Learning to Fly. the sounds are still eerie and nostalgic. Gilmour has a nice voice, but it isn't up to par with Waters, which is what I felt brought so much worth to Final Cut. Still, the song has a solid and captivating melody. It feels like a Wall-era demo, really. With a nice mid-tempo solo. The hooks are fine, and the melodies are strong. It is more mood than actual song craft, though. And the spoken word part doesn't really come off too well for me. Seems unnecessary.

The Dogs of War recalls an animals demo. Yes, it seems as if Gilmour is intent on reliving the glorious Pink Floyd Past. Even with the angry vocals that have Gilmour mimicking ol' Roger. It is a shame, too, because the song is sorely lacking. It is simplistic, and is carried by basic mood, only. There is almost no cohesion, and it feels choppy. That sax solo just doesn't fit, even though I like it. With One Slip we have what feels like a Dark Side demo or outtake. The noises are plain annoying, and the ringing is a time rip off if I have ever heard one. The song itself is not much to hear, either. Rather simple, without even the mood to set it free. Almost sounds like 80's synth pop for a second. Wait, this IS 80's synth pop...with mid tempo guitar solos.

Is it me, or does On The Turning Away sound as if Gilmour is trying to mimick... Peter Gabriel? I can't help but feel that this band is just living in the progressive past. It has a warm melody, and the lyrics aren't absolute rubbish, but this leaves a lot to be desired. Living on with mood alone...

Did I forget to mention how much this guy loves those moody mid tempo solos? Yeah, they sound nice, at least. But, there are so many of them, and each one is fairly interchangeable. To be fair, quite a few of them are really good, but don't top the emotional and paced solos of long lost years. Yet Another Movie has some banal ambiance at the beginning. In all honesty, the songs lack a lot. They are riding the mood and atmosphere train straight into the mediocre inferno. And it works for them. It is all just so average and derivative. Round and Round is a seemingly pointless instrumental, but sounds good.

Terminal Frost is just repetitive and weak. That solo is nothing, and the ambiance is the same as all the other ambiance we've encountered so far. The weak synthesizer lines are boring, and the track never takes off. At least the mood is good. A New Machine is annoying, really. Those vocals and motionless synth backing are abysmal.

Record closing Sorrow is more somewhat monotone plod-rock with those ever popular mid tempo musings. The mood is the same as the mood on every song here, and the pace is the same, too. This is like one big muddy song split into multiple tracks.

It is repetitive in a negative way, the lyrics are not so great, it is derivative of past glories without expanding upon them in a meaningful way, and those mid tempo solos get old. (I never thought I would say that!) Depending on your mood, this entire album could be filler, or none of it could be. It is all so much alike.

Best Song - Learning To Fly, but not so great

Worst Song - All of it or none of it.

** Weak Stars, but feel free to boost it if you like the mood, or subtract if you don't 'cause it's all the same.

Report this review (#213456)
Posted Sunday, May 3, 2009 | Review Permalink
Symphonic Team
3 stars A great day for freedom (from Waters' creative control)!

We all know the story; Roger Waters took more and more command over Pink Floyd around the time of The Wall and his complete control culminated on the very disappointing The Final Cut until the rest of the band had enough and they split up. Momentary Lapse Of Reason is the band's comeback album and in my view a return to form. Roger Waters is no longer here and this fact was evidently very liberating for David Gilmour. This album is dominated by David Gilmour's guitars and vocals and he sounds completely rejuvenated in both departments! His vocals are strong and his guitar sound was never as distinctive and powerful as this. Also as a songwriter, Gilmour had matured a lot and he had a hand in all the songs on this album, but he is helped out by several others. Songs like On The Turning Away and Learning To Fly give a strong indication of what was to come on the excellent follow-up album The Division Bell, for which Gilmour's song writing skills would improve further.

A Momentary Lapse Of Reason is not just a comeback album after a longer absence, but a return to form after the disappointing The Wall and The Final Cut albums, and also, in a way, it is a transitional album; it is both backward-looking and forward looking at the same time. It is partly a return to the sound of Animals and Wish You Were Here, where Gilmour and keyboardist Rick Wright had a much larger influence, and partly also the birth of something brand new that would culminate with the excellent Division Bell (and the equally great live album PULSE). The titles of Dogs Of War and New Machine are probably not coincidental. Dogs Of War remind of Dogs from Animals and New Machine remind of Welcome To The Machine from Wish You Were Here.

It is a bit weird that Rick Wright is not listed as a full member of the band, but as a session musician! He finally became a full member of the band again for the Division Bell album and tour.

The title of the album possibly refers to the time when they let Roger Waters take complete control of the band. The period between Animals and The Final Cut was perhaps 'a momentary lapse of reason' on behalf of the other members?

Personally, I find A Momentary Lapse Of Reason better than many older Pink Floyd albums and a very good album in its own right with several good songs and a few excellent ones. The almost folky On The Turning Away being particularly noteworthy - one of Gilmour's finest vocal moments ever!

Report this review (#213465)
Posted Sunday, May 3, 2009 | Review Permalink
1 stars This is one hell of a dreadful record. By far and away the worst studio album ever released by Pink Floyd. The annoying thing is that I was really looking forward to hearing this as a 17 year old when it was released in the summer of 1987.

Awful lyrics combined with painfully ordinary tunes make this an ordeal to listen to. It's like waiting for a funeral to begin.

A far more appropriate title would have been 'A Momentary Collapse of Reason'. This record clearly shows the damage caused by Roger Waters departure. It just plods along in a nondescript way from beginning to end.

It's all very middle of the road and by the time we get to 'Dogs of War' I can feel my mouth filling up with sick at the sheer blandness of the tunes. Even the gatefold sleeve annoyed me with it's ridiculous pretentiousness. It's also dated really poorly compared with their 70's outings. This has 80's stamped all over it - overly produced where everything sounds squeaky clean. The only part I can listen to is the intro to 'Signs of Life' which has a nice clear recording of some bloke rowing in a boat. That's about it I'm afraid. Ugly.

Report this review (#215172)
Posted Tuesday, May 12, 2009 | Review Permalink
4 stars 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.

Report this review (#215188)
Posted Tuesday, May 12, 2009 | Review Permalink
4 stars While "The Final Cut" got criticized for being an unofficial Roger Waters aolo-album, this album got criticized for being an unofficial David Gilmour solo-album. Still, I like this album quite a lot. True, there are some fillers ("A new machine", "Round and around"), and yes, the production is to clean. But let's be honest, it was 1987, and the production of Waters' "Radio KAOS" sounded just as dreadful. But while Waters came up with the most idiotic story any concept-album has ever had, Gilmour wisely didn't come up with a concept, but instead released a collection of songs. "On the turning away" is one of the most beautiful Pink Floyd-songs ever, and over the whole album Gilmour shows he can still play some moving solos which were so sorely missed on the album before this one. And hey, even "One slip" is a relief after Waters' misanthropic stuff. Finally a song on a Floyd-album about having fun! I won't give it five stars because of the fillers mentioned before, but "A momentary lapse of reason" still deserves four stars.
Report this review (#216069)
Posted Friday, May 15, 2009 | Review Permalink
3 stars Is this a Pink Floyd album or a David Gilmour solo album ?

My take on this album is that it is a David Gilmour solo album, branded as a Pink Floyd album. There was a lot of turbulence in the Pink Floyd camp after the release of The Wall. The Final Cut was the Roger Waters solo album, branded as a Pink Floyd album. And so on... There has been books written about this so let me end this rant here.

Music wise, this album is very commercial and very 1980s. Neither Nick Mason or Richard Wright was very involved in this album. It was a David Gilmour & studio musicians project. The result is a wall of sound and a very commercial product. It is sweet, sweet and sweet. It is dominated by melodic guitar solos, long keyboard sequences, some very 1980s soundscapes and some attempts of sounding modern (that's the 1980s I am referring to). The result is excellent, bland tunes like Learning To Fly and cringe worthy tunes like Dogs Of War. On The Turning Away is Comfortably Numb, second take. This album is not a real Pink Floyd album and it has not survived the test of time. But still, it is a good album and I am not one of those who knocks it. I think it is a good album, on it's own terms.

3 stars

Report this review (#232841)
Posted Thursday, August 20, 2009 | Review Permalink
2 stars "A momentary lapse of reason" is nothing more than David Gilmour's will to carry on with Pink Floyd after Waters' decision to leave the band during the 80's. It should be considered a transitional work, since it shows pretty clearly how the post-Roger line-up was "learning to fly", trying to find a new inner balance.

From a musical point of view the album unfortunately sounds way too much 80ish, even though a bunch of great artists were involved in the recording, I mean Tony Levin and Phil Manzanera, for instance. The album contains one GREAT song "On The Turning Away", a couple of good tracks "The Dogs of War", "Learning to Fly", "One Slip" and other weak moments like the quite useless numbers "A new Machine" and "Signs of Life". There's one track on this album that I'm really confused about: "Sorrow": since I don't feel that it would be fair to consider it absolutely rubbish, but surely it presents different problems: 1. it's too 80ish 2. it suffers from what I usually call the "Post- Comfortably Numb guitar solo illness", to be more accurate: the following Pink Floyd songs are all identical from a musical structural point of view : "Sorrow", "On The Turning Away", "Coming Back To Life", "Poles Apart".

In other words they start in a quiet mood they grow up until the final climax which is the guitar solo in the end: a sort of clichè since "Comfortably Numb" adopted this kind of musical construction.

So considered this, the track sounds like a deja vu.

I tend to consider "Sorrow" as one of the most overrated PF song's way too 80ish, even though the lyrics are not so bad in the end.

Only one GREAT track on the album cannot allow me to give this album three stars, so I'd like to recommend it only to Floyd fans, since it's not that good, and to be honest, if you're a newbie, this "Momentary lapse of reason" won't help you to get a real idea of what PF are all about....

My Rating is two stars.

Report this review (#233496)
Posted Friday, August 21, 2009 | Review Permalink
4 stars David Gilmour gets a chance to captain the mighty ship Floyd. AMLoR is an album of its time in that it has an "80's" sound to it. Sequencers, keyboard washes, guitar solo's abound. The lyrics do not have the conceptual depth of PF of the late 70's albums, but there is nothing wrong with what Gilmour and his cowriters offer. Gilmour and company is correct in that Nick Mason provides no writing credits and actually barely played on the album. A missed opportunity. Rick Wright contributed even less as he rang up Gilmour late in the recording sessions and there was legal concerns of him being a member of Pink Floyd. He contributed very little as a session player.

The album starts off with "Signs of Life", a mellow instrumental with a wonderfully tongue in cheek title. The next is the MTV and radio friendly "Learning to Fly" followed by the song that routinely and unfairly gets ripped by PF fans. That is "The Dogs of War". Not a light subject matter with good vocals and guitar solo. Actually, if there is a problem with this album, it is the predictible mid tempo song with a guitar solo or two. A better balance between the keys and guitars would have been welcome.

There is alot to enjoy here. " Sorrow" , "Yet Another Movie" and "On the Turning Away" are standout tracks without a bad one in sight. The pro-Waters camp will bash AMLoR as not having the musical dynamics of glories past and lyrics not worthy of the name Pink Floyd; just as the pro-Gilmour backers will hammer the Final Cut for not being musical enough and full of The Wall leftovers. Both camps are partially correct with the two albums combined with their solo albums and including Rick Wright's, show that they were better together.

Still a very good album.

3.5 stars rounded to 4.

Report this review (#233753)
Posted Friday, August 21, 2009 | Review Permalink
Honorary Collaborator
2 stars "A Momentary Lapse of Reason" is the 13th full-length studio album by UK progressive rock act Pink Floyd. The album was released through EMI/Columbia in September 1987. Bassist Roger Waters left Pink Floyd after the release of "The Final Cut (1983)" creating quite a drama in the process but the rest of the band opted to continue recording and touring using the Pink Floyd monicker. "A Momentary Lapse of Reason" is not far from sounding like a David Gilmour solo project though and indeed the writing sessions initially started out as sessions for David Gilmour´s third solo album. David Gilmour felt that the quality of the material and the sound of said material would be better suited to be released under the Pink Floyd monicker. Drummer Nick Mason joined forces with David Gilmour and gave the project a bit more credibility. Keyboardist Richard Wright also plays on the album but only as a session musician. In addition to the three members of Pink Floyd there is a host of guest musicians contributing to "A Momentary Lapse of Reason". Prolific artists like Tony Levin (bass), Carmine Appice (drums) and Bob Ezrin (keyboards, sequencers, percussion). The latter mentioned also functions as co-producer along with David Gilmour.

"A Momentary Lapse of Reason" opens in pretty convincing style with "Signs of Life", "Learning to Fly" and "The Dogs of War", which is also a pretty decent track. Unfortunately the remaining part of the album is also only decent and very seldom does it reach the heights of the first couple of tracks. The tracks often comes off as too polished and uninspired with female soul type backing vocals, cheesy sax playing and a dominant use of eighties synth sounds. There are redeeming features on the album like David Gilmour´s excellent guitar solos and pleasant vocal delivery, but they don´t manage to pull the project enough in the right direction.

The sound production instantly gives away the fact that this is an album recorded in the eighties and in this case it´s not necessarily a good thing. The warmth of earlier releases by Pink Floyd is nowhere to be found on "A Momentary Lapse of Reason", which sounds quite soulless compared to it´s many predecessors. No body wanted Pink Floyd to be over because of Roger Waters departure from the band, but listening to "A Momentary Lapse of Reason" it´s clear to me, that he took the soul of Pink Floyd with him when he left, and that this album should probably have been released as a David Gilmour solo album. It´s definitely the weakest release in the band´s discography and a 2.5 star (50%) rating is warranted.

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Posted Monday, August 31, 2009 | Review Permalink
Prog Metal Team
4 stars This is not half as bad as some people would like you to believe. On the contrary, it's twice as good :-) For me this is the best album since Animals and the last great Floyd opus. The reason it works out so well might simply be Gilmour's personal ambition to prove how essential he was to Pink Floyd before Waters started dictating what he thought Pink Floyd was all about.

So stylistically he returned to the success formula of Wish You Were Here, adding some bluesy touches inflated to the well known glossy epic Pink Floyd proportions. But the backbone to support the pathos is there: the song writing is excellent and the dedication and intensity is very focussed.

We miss Roger Waters here - that's for sure - but on the other hand, it's infinitely better than any of Water's solo albums. Apart from the silly pop song Learning to Fly, I will defend this album as a prog masterpiece to all non-believers, armed to the teeth and without relenting!

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Posted Thursday, September 3, 2009 | Review Permalink
Marty McFly
Errors and Omissions Team
3 stars Too much bad blood here, too much envy, retribution and hate, which blindly smashes hopes. But maybe it's just "temporary", as after this, Nick and Rick would become regular buddies on gigs (famous Thunder and Pulse). Don't know why, but I don't feel so good listening this. Whereas "The Final Cut" became Roger's work, this seems to be David's. Like two small boys fighting each others for pretty girl (audience). Almost, except they create quite good music. However, where Waters was at least a little bit crazy (who knows how much), so his music wasn't so mundane (even it followed some patterns - noise/calm singing), Gilmour is more rock. And certainly influenced by 80's, even not so much. Repertoire from this album would become standard ammunition of their concerts, but is it worth of ? Mostly melodic, sometimes more pop, but there are experimental (not so much, but they are at least a little bit) pieces.

4(-) perhaps. Let's be fair. Even three plus would be maybe more sufficient. However, because of mentioned repeats on gigs, this is quite well known album, just another reason to give more.

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Posted Sunday, January 31, 2010 | Review Permalink
4 stars After Pink Floyd died at the start of the eightiest, after Roger Waters became a god in his own head, Dave Gilmour, with the other 2 members attempted to reform the ashes of this great band.

Alot of people don't like this album, but I liked it. Some people may criticise it for not sounding like Pink Floyd, but I see it as an almost Marillion like fashion, were if you didn't like their new stuff, you're probabbly a fan of their older stuff. I liked both Marillions, so I could see the angle Floyd were going for.

The album has a more spacey and free sound than their earlier stuff. Roger also criticised this album, saying that the songs were weak and the lyrics were poor, but I thought the lyrics were quite good and very descriptive.

1. Signs Of Life - A great intro, very effective and atmospheric. Some great orchestration and synths.

2. Learning To Fly - A very cathcy song. Dave's vocals are very calm and soothing and the choir in the chorus is very effective.Some great guitar work in this song.

3. The Dogs Of War - I love the post apocalyptic blues mood this song has, very different.

4. One Slip - This song has a very good chorus. Underlooked in my opinion.

5. On The Turning Away - Some great lyrics in the song. Some great instrumental sections.

6. Yet Another Movie/Round & Around - A great build up to the song. Very effective. After the first part is over, there is a great instrumental.

7. A New Machine Part 1 - Love the synth vocals and the echo of the voices.

8. Terminal Frost - Great insrumental. Very spacy and eccentric.

9. A New Machine Part 2 - More synth vocals.

10. Sorrow - A very underlooked song (although, it was on Echoes.) This song is very calming and Dave's vocals give it a dark tone. Amazing.

CONCLUSION: Very underlooked. If you are a big fan of Pink Floyd, then mabye this isn't the thing for you.

Report this review (#272519)
Posted Wednesday, March 17, 2010 | Review Permalink
1 stars This is my least favourite Pink Floyd album. But there is nothing explicitly wrong with it. It's just sort of weak on all fronts. Wait... that does qualify as something wrong. Okay, so there IS something explicitly wrong with this; everything.

The single was overplayed and unmoving. The more contemporary (for the time) tracks are not really to my taste and judging from the album's chart position, the audience of that era weren't too bothered either. The more "classic Floyd" style songs are better (I enjoy the albeit brief soloing on 'Dog's of War'). But the filler really is filler, by no stretch of the imagination: 'Sign's of Life' sounds like somebody accidentally pressed the record button whilst noodling around in the studio. And 'A New Machine' is for some unexplainable reason split into two separate tracks (it's not like it was too long; combined it only clocks in at 2:24) and these are literally JUST vocals put through some dated vocoder. Maybe I'm being harsh; the band lacked their primary songwriter here. And the first few songs do [just about] hold my attention, but the entire second half of the album feels like one very long and boring song with no feeling or expression (or compositional quality, OR lyrical interest).

I think the reasons for the lack of focus here is because there was really no band. There was David Gilmour. That's one person. Nick and Rick's contributions were minimal and most of the stuff they DID play on was actually re-recorded by better musicians or machines (apparently they could barely play anymore (so why reform?!)). Given the subsequent lack of quality anyway, I'd dread to think how bad these songs must have been before Wright and Mason were overdubbed.

This album sucks. I hold no grudges against Pink Floyd because they had plenty of legitimate reasons for why this album sucks. But it still does.

Report this review (#278409)
Posted Sunday, April 18, 2010 | Review Permalink
3 stars At the moment this album appeared, I was very expectant about it. At first I liked it very much, but with the years it has not the same attractive for me. I think that AMLOR, lacks from diversity and musically is not so strong. It has some good moments, but as a progressive piece has not much to offer. The instrumental side of the album is a bit weak, and in a small doses. The album starts with the instrumental Signs of life, rather good, specially when the keyboards gives some powerful drama to the track, but is too short. After that we get into the most known song of the album, Learning to fly. It's a really good number, addictive, with a solid support on a keyboard/guitar riff, but not a progressive one. Gilmour shines with his voice and some little electric solos. The Dogs of War is an aggressive track over an strong synth bass pattern and with some saxophone parts. One slip is the pop one, but a high quality pop. It`s a good track which brings the title to the album. On the Turning away is a non conventional ballad, but really good. The melody line is fantastic and here we can listen the first Floyd classical guitar solo. The last three tracks (I'not counting the fillers A new machine I and II), approach the album to the progressive rock, but just approach it. Yet another movie is really good track with two strong instrumental parts based on electric guitar. Terminal frost is the other instrumental, is really poor and uninspired. Finally Sorrow is a great composition by Gilmour. A strong track with superb guitar solos supported by keyboards.

It was a rebirth of the band. Wright even was not there, and Gilmour wasn`t much inspired, and he recurred to several external musicians for the songwriting. It was a good effort but not much than this. In our progressive context, is good but not essential. 3 STARS and MAYBE A BIT MORE.

The cover is great.

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Posted Tuesday, July 6, 2010 | Review Permalink
Crossover & JR/F/Canterbury Teams
3 stars 1987

We had all heard that Pink Floyd had broken up. Then we heard that they were back together. Without Roger Waters. How bad could that be? Waters was never an exceptional bass player or singer. However mediocre "The Wall" was (just wait to see my review, coming soon) and how just plain bad "The Final Cut" was, Waters' genius was in his production and songwriting.

This album, for all it's flaws, was a gift to us in those prog-starved eighties. At least there still was a Pink Floyd. It is missing that ominous feeling you get when listening to just about any other Floyd album. But if you compare it to David Gilmour's solo albums (which this almost qualifies as, since Gilmour wrote all the songs), it fares well.

The best songs to me are The Dogs Of War, with it's machine like rhythm (sure, it's not terribly original, but it comes closest to that old Floyd feeling), and Yet Another Movie. The biggest disappointment is Tony Levin's nondescript appearance. Like the Peter Gabriel albums he appears on, his playing is so low key, you hardly know it's him. Except for a couple of short, and not too flashy solos in One Slip (with Gilmour lowering himself to copying U2's The Edge's single guitar trick), it could be anyone.

Still, I like this better than the two previous Floyd albums.

Report this review (#303507)
Posted Monday, October 11, 2010 | Review Permalink
Honorary Collaborator
2 stars Roger Waters left in 1985 and assumed Floyd was finished. Apparently David Gilmour disagreed. The first post-Waters Floyd album is just as much a mess as The Final Cut, but it's a completely different kind of mess. Along with Gilmour, Mason returns. Rick Wright plays on the album but he is only a session musician here. Gilmour wrote most of the music with help from friends not in the band. Waters replacement on bass for this album is none other than Tony Levin. Bob Ezrin is in the producer's chair again.

A lot of this sounds like a Gilmour solo album. The production dates it severely; only the first two Floyd albums are more "dated" than this is. This is alright for a late 80s rock album, but for a 'Pink Floyd' album, this is terrible. As much as I don't like The Final Cut, AMLOR is worse because there are less interesting moments here. There is nothing here as good as "Not Now John" or the title cut. The only songs that stand out here are "Learning To Fly", "The Dogs Of War", "On The Turning Away" and "Sorrow".

"Signs Of Life" is a nice opening instrumental. Includes Mason talking. "Learning To Fly" has Mason talking in the middle section as well. This is the best song here but this version pales in comparrison to the one on P-U-L-S-E. "The Dogs Of War" has not much going on for the first half. Then drums come in, a guitar solo, back up vocals and sax. "Terminal Frost" is a decent instrumental. Just before halfway it gets to a good section with sax solo and back up vocals. "Sorrow" is maybe the second best song. Great guitar playing from Gilmour. Features the best use of back up singers on the album.

Mediocre songwriting mixed with very 1980s production values. At least The Division Bell was a major improvement over this. The best songs from AMLOR appear in better live versions on the Delicate and PULSE albums. Floyd's worst album but The Final Cut is not far behind. 2 stars.

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Posted Tuesday, December 14, 2010 | Review Permalink
RIO/Avant/Zeuhl,Neo & Post/Math Teams
3 stars I have been at a gig of Australian Pink Floyd. They opened the show with "Learning To Fly", an unexpected choice. What impressed me a lot is that this song was really better in their version respect to any official Pink Floyd's release of this song. Why? They played the bass as if Roger Waters was in the band.

I am a Gilmour's fan and I would have appreciated this album even if released as a Gilmour's solo as originally planned. Lot of the material was ready for Gilmour's next album when he and Mason won the lawsuit for the use of the Pink Floyd's name.

Gilmour and Mason tried to arrange the songs for a Pink Floyd album, so there's not the funky or the heavy guitar of "About Face", but the absence of Waters is evident. This album tries to go in the "missed" direction of Wish You Were Here, and this is why Waters is missed.

Also Wright is not officially back. It means that he plays in the album but he doesn't contribute to the songwriting.

No concept, then. Just a collection of songs with more attention to the music than to the lyrics. Gilmour wasn't a great lyricist until he wrote High Hopes, and even if some social obsessions are present, everything is lighter respect to the usual Waters.

Dogs of War is emblematic. It's a bluesy song that contains a reference to Animals and a not very hidden message to Roger Waters. The other big Floyd's obsession: Syd Barrett is present also in this album. In terms of lyrics there are very weak moments, like "On The Turning Away".

However the album is very well played and arranged and the sound is the Pink Floyd's sound. Of course it's not the album to start with for a newbie and it's not musch better or worse than The Final Cut. It's just "The brigth side of Pink Floyd" respect to Waters.

Good but non-essential.

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Posted Tuesday, January 11, 2011 | Review Permalink
3 stars If The Final Cut can be considered a Roger Waters album, as some do, than A Momentary Lapse of Reason can be considered a David Gilmour album. As I reject the first notion, I also reject the latter. To be sure, Gilmour dominates the proceedings here. He is the writer or co writer of all the songs, performs all the lead vocals (and lead guitar of course), and is the co producer with Bob Ezrin. There are characteristics here not found on any Gilmour solo albums, characteristics with are consciously reminiscent of prior Pink Floyd albums. The listener will be reminded of Dark Side of the Moon, Wish You Were Here, Animals, and The Wall. I think this is a deliberate attempt to maintain a unique Floyd sound. Yet there are new production values here, not the least of which are several dozen studio pros brought in to fill out the sound. Tony Levin provides the bass, and Jim Keltner is listed as a second drummer, not to mention the various percussionists brought in. No fewer than three saxophonists are utilized, and keyboard players include Ezrin himself, Bill Payne (of Little Feet fame), and Richard Wright. Wright's presence gives the album some true Floyd cred, but to be honest it is minor, as he seems to be only a special guest studio musician. No song is attributed to him in any way, but there are some passages that are distinctly his. Officially, the band is essentially Gilmour and Nick Mason. So what is with the smiling photos of them? Is the kinder, gentler Pink Floyd of the 80s? Is this a way to show us that Pink Floyd is not merely the psychotic depressions of Roger Waters?

The album opens with the keyboard heavy instrumental Signs of Life. The piece is moody and almost classical in places. This moves into the hit of the album, Learning to Fly, a strutting and catchy tune. Another strutting piece follows, The Dogs of War, but with a harder edge and more turbulent manner. I do not consider it Pink Floyd's worst song, as many seem to do. No, I reserve that (dis)honor to A New Machine, which appears later on. One Slip follows. Co-written by Phil Manzanera and Gilmour, this one features various sequencers, including the 80s style Gilmour used so often at that time. This one sounds the most like a solo Gilmour song than any of the others because of the sequencing. On the Turning Away takes an Irish folk melody to which Gilmour place some thoughtful and grand lyrics, some of his best actually, to create a true anthem. This song should be sung by thousands of people gathered together in solidarity. Yet Another Movie is one of the darker tunes on the album, both lyrically and musically, with some dramatic flourishes. So far, I like all the songs and hear nothing inherently wrong with them, but things take a serious downturn. The aforementioned A New Machine starts up. It is nothing more than Gilmour a cappella, his voice heavily processed. The song is as dreary as its lyrics. Unfortunately, this horror is given to us in two parts. Fortunately, they are separated by the album's second instrumental, Terminal Frost. One might think this would be just an excuse for Gilmour to solo, but it isn't. It is a very well constructed piece that is dominated by keys, sax, and drums. Guitar is present to be sure, but it is largely a support instrument. I usually program both parts of A New Machine out of play. Sorrow closes the album on a somber and serious note. The song begins with an ominous and threatening guitar introduction, and then moves into the main section, its ragged vocal rhythms fitting the post apocalyptic lyrics. At nearly nine minutes, it is stretched out in all it ponderous and plodding glory. The outgoing solo is extensive, leading the listener on through the menacing aural landscape before fading out to an uncertain and unseen future, which fits the theme of the song quite well.

A Momentary Lapse of Reason is not a bad album by any means, but it does not rise up to the same levels of expression and excellence as their classic albums from the 70s. Part of the reason for this is the absence of Roger Waters and the minimum involvement of Rick Wright. This is a Pink Floyd album, but one for the sober musical landscape of the 80s. It is richly and immaculately produced, each song expertly constructed with hosts of dramatic crescendos and musical progressions. A good listen, but it won't send the Prog fan into the stratosphere like some of their earlier classics. I give it a solid three stars.

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Posted Friday, February 4, 2011 | Review Permalink
4 stars A Momentary Lapse of Reason is impressive and features some excellent musical moments. This is a far cry from the incredibly written works with Roger Waters and despite what happened with the band behind the scenes, I did miss his influence initially. Having said that, it's well worth getting into this stuff. For me, there's something about this new sound. It may be ligher and more accessible than before but there's still a great deal of intensity in the words and music.

The opening instrumental track is one personal favourite. It's quite mysterious with effects of plodding movement through water giving way to some chilling keyboards. It reminds me of some moments from the "Animals" album. All of the songs on this release are really good. "Learning to Fly" is a charming song and quite uplifting. "Turning Away" has a lot of magic too, all about man's lack of concern for his fellow man. It features some amazing guitar work by Gilmour. Other favourites are the title track and the moody "Terminal "Frost". The album closes out nicely with "Sorrow". This is the most emotionally compelling song on the album, and it opens with David Gilmour doing what he does best.

As I said, this relese is very different to what had come before. It might not be the Pink Floyd many listeners love the best but it's Pink Floyd nonetheless. David Gilmour, Nick Mason, and Richard Wright revived this group when many thought it was dead and buried, and their own distinctive musical creations introduced a new generation of fans to the magic that is, was, and always will be Pink Floyd. Four solid stars.

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Posted Sunday, April 3, 2011 | Review Permalink
2 stars One of the weakest Pink Floyd albums, AND the weakest since Roger Waters jumped ship. This album never fails to bore me. I have not been able to keep my attention for the entire 51 minutes of music. Only "Learning to Fly" and "On the Turning Away" have any interest and they are commercial. What this album needed was a healthy dose of Roger Waters(Without the negativity, though) and Richard Wright (where is he?). This album sounds dated (as do many of the 1980's) and lacks the ability to hold the listener's attention. Seems like a random mixture of average David Gilmour tunes rather than a real Pink Floyd album. Their next effort, THE DIVISION BELL, was much better and more deserving of the Floyd name and reputation. 2 stars is my opinion.
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Posted Monday, May 2, 2011 | Review Permalink
4 stars Pink Floyd album from the last phase of their development. No Roger Waters, but David Guilmour is in his best form, many session musicians including famous Tony Levin and Bob Ezrin... And the result is quite impressive. In reality "A Momentary Lapse of Reason" is the album by David Guilmour Project with participance by Rick Wright and Nick Mason, but it sounds as Pink Floyd. Well, the sound is updated - electronic loops, elements of more light music, but there are some great tracks. "On the Turning Away", "Terminal Frost", "Sorrow" could be counted among Pink Floyd classic records. Atmospheric start of the album - "Signs of Life", official hit "Learning to Fly" with impressive lyrics. If you never had heard the album - listen to it. Atmosphere of Pink Floyd world is here...
Report this review (#444365)
Posted Sunday, May 8, 2011 | Review Permalink
4 stars After The Final Cut Roger Waters and David Gilmour had released solo albums and were on tour. Once that was over Roger decided that it was time for Pink Floyd to be laid to rest. Richard Wright was no longer a member and Roger was taking over. David and Nick would not allow him to do this though. So Roger went off to become a solo artist while David and Nick regrouped with Richard Wright. "A Momentary Lapse of Reason" is a great album, but it is nowhere near as great as Dark Side of the Moon to The Final Cut. It is 1987 and prog rock was changing. The classic prog bands of the 70's were now changing to a much more "pop" sound. Yes was no longer doing the great epic long tracks. Genesis was now a pop band with out Peter Gabriel. Rush was a keyboard/ electronic band doing short songs. Jethro Tull was not quite as good, and Ian's voice was changing. King Crimson was no longer that dark epic band, instead they were much more electric and doing short songs like Rush. To me Pink Floyd was the one to do the best in this terrible decade for music.

"A Momentary Lapse of Reason" is clearly David's work. The music is much more important than the lyrics, where as with Roger the lyrics were important with the music. 1. "Signs of Life": a good instrumental song that includes great sounds. Rating 5/10 2. "Learning to Fly": this is the one I hear on the radio. It is a very good song. This one has fairly good lyrics. Rating 7/10 3. "The Dogs of War": a terrific angry song that has very good music. David shows his talents at vocals. He can sing a good soft song, or an angry song like this one. Rating: 9/10 4. "One Slip": this is my second favorite off the album. The music and lyrics are great with this one. In the middle is a great bass line by Tony Levin. Rating 10/10 5. "On the Turning Away": this is the best of them all. This song is very meaningful. The lyrics are at best with this track, then it ends with great music. Rating 10/10 6. "Yet Another Movie": this one is not really my favorite. The only thing that really works with this song is the music, and only at certain spots. Rating 4.5/10 7. "Round and Round": this song goes with it's previous song. Rating 3/10 8. "A New Machine, Pt. 1": an interestin short song with Gilmour speaking with cool effects. Rating 5/10 9. "Terminal Frost": a very nice instrumental between A New Machince, Pt.1 and Pt. 2. Rating 8/10 10. "A New Machine, Pt. 2": the next part of the short song, but still very good. Rating 5/10 11. "Sorrow": the third best to me. This song has the best opening guitar track. This song shows what a great guitarist David Gilmour is, besides Comfortably Numb. Rating 10/10

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Posted Monday, June 13, 2011 | Review Permalink
4 stars i know that most folks slate A Momentary Lapse of Reason as more of solo Gilmour effort, "uninspired", tedious, cheesy and simply "not Floyd".

however, released as it was when i was not even in my teens, this was my introduction to Pink Floyd and a gateway to the vast universe of rock, progressive and otherwise. so it has held a very special place in my heart from the moment "Signs of Life" segued into "Learning to Fly" ...i was hooked!

besides, not having heard (or even heard about) Dark Side of the Moon or Animals or the anthemic Another Brick or any of the legal shennanigans between Waters and the rest of Pink Floyd..."Learning to Fly", "On The Turning Away", "Terminal Frost" and "Sorrow" were my early Floyd favourites.

no one but Floyd can quite have the nerve to come up with 4 minute intro made up almost entirely of the sound of someone rowing a boat and much less (Signs of Life), the talent to make it sound awesome.

Learning to Fly is a "modern" classic accompanied with an equally awesome video.

then, someone went to sleep and came up with 1. the utterly horrible Dogs of War and 2. the disco/ trance look-alike One Slip. the enigma of Momentary Lapse for me was "Dogs of War". to this day, i dont get this "song" - what were they thinking or trying to make of it? and the following song "One Slip" was pretty average but these two were clearly out of place on the album (on any album for that matter). i went on to discover several more "strange" anomalies charading as songs in Floyd 's history (Seamus from Meddle", The Great Gig in the Sky from Dark Side) but "Dogs of War" wins that race by a mile.

things begin to get back on track with the subtle, yet gripping On The Turning Away (with fresh vocals which Gilmour can never to justice to while playing live)

i see the next 4 songs as kind of like a suite - they flow into each other and could well have been re-worked into a 15-16 min long "epic"...

Sorrow is the crowning glory of the album with the intriguing guitar intro, the lovely (for Gilmour) lyrics and the majestic 4+ minute "outro" guitar solo...i wince every time i hear the fade out since i never want it to end (i wore out at least 3 tapes before i could afford to get the CD)

best summed up in Floyd's own words that close the album: "And silence that speaks so much louder than words, Of promises broken...

Report this review (#473436)
Posted Friday, July 1, 2011 | Review Permalink
Honorary Collaborator
3 stars This release was an event. Nominally Pink Floyd's new record after all the internal nonsense, it has many important Floyd markers-- it sounds great; it's pithy, tragically hip, and dark all at once; and it incorporates elements of past favorites as Dark Side, WYWH, Animals, and The Wall. Dave Gilmour's vocals are fine and his flowing blues chops right in the pocket yielding some real good moments.

But the individual parts don't necessarily make up a whole and there is something decidedly missing, and the empirical evidence suggests that it would be Roger Waters ("a pretty fair forgery" ?-- I'm afraid that's kind). One doesn't have to be a Waters fan to understand the 1987 issue is an excellent example of how important one band member can be, especially a mover & shaker like RW. The tension is gone, everything works smoothly, and that's a real shame. There is also a tangible lack of lyrical depth replaced by an easier, formulaic verse. I mean when you're rhyming "love" and "glove" maybe it's time for some soul-searching, if only out of courtesy. The overall impression is that of a cold, well-oiled machine: a dreadnought that could punch out all the modern, ironic spacerock you want 24 hours a day if you let it. It's not a pretty picture, and is itself consumed by the very post-apocalyptic visions it feeds upon. Worse is the feeling we're hearing an imitation, a cruel pun, New Coke.

Some didn't seem to mind in '87, basking in the light of new material from a favorite group. Others heard the quiet desperation but gave them a pass. After all, it could've been worse. The anemic single 'Learning to Fly' has Gilmour's studio-only breathiness and Jimi Hendrix guitar phrasing over the munch of an electronic percussive. Dave and the boys' synthestra encroaches, incurs, and Wagners its way through the battlements in 'Dogs of War' and "it's scary now" melodrama. 'One Slip' is promising with remnants of his About Face period, 'On the Turning Away's arm-twisting sentiment is saved by a popping guitar solo, sandstorms and incomprehensible lyrics fill-out the enormous space of 'Yet Another Movie' and the mean scurl of Dave's ax opens superfluous 'Sorrow'.

I don't begrudge Gilmour & Friends this first try (as I recall Division Bell was a bit better), but it was far from the album we wanted and needed in those lean years of the '80s, and it had the sense these three vets were occasionally phoning it in. After giving so much, they probably deserved it. I just don't know if we did. In many ways this was indeed a momentary lapse of reason, no doubt to the giddy delight of Mr. Waters.

Report this review (#509144)
Posted Thursday, August 25, 2011 | Review Permalink
Honorary Collaborator
3 stars A new era, a new beginning, a new album after Waters left the band. "A Momentary Lapse of Reason" marked a considerable change in Pink Floyd's sound, now with Gilmour as the "new leader" after all that ego-battles etc., which makes people think that this was actually a Gilmour album and not a Floyd one. Here, besides the three Floyd members (Gilmour, Wright, Mason) several musicians contributed with some songs, people such as Tony Levin or Bob Ezrin added their grain of sand.

This album was released in 1987, and the 80s sound may be evident in some passages, that is another thing I believe people don't really like from this album. This record consists on eleven songs and a total time of 50 minutes approximately, where you will listen to a new face of this iconic band, dinosaurs of progressive rock (and rock in general).

The Gilmour-oriented sound can be appreciated since the very first track, because that unique guitar is the element that catches your attention in "Signs of Life", an instrumental introduction that will lead you to probably their most successful (commercially speaking) single in the new era. "Learning to Fly" is a catchy melody which I like, but that has a clearly different sound spiced with that 80s background, placing it in as a loved/hated song between fans.

With "The Dogs of War" we can listen to a dark atmosphere, a grey and obscure tone that actually can be appreciated in the whole album. The use of backing vocals is also a constant element, used in this song as well as the most of them. "One Slip" is a nice track with good bass notes and great percussion arrangements, however it is not an outstanding or truly memorable track, of course, in my opinion.

A much better one is "On The Turning Away", which is my personal favorite here. It is a very well composed song with several cool elements, wonderful lyrics, once again cool bass lines, great changes in mood and rhythm and in general a very clever track. Later, with the "Yet Another Movie" and "Round and Around" combo we can have a nice time, with dreamy atmospheres, slow-tempo rhythms that constantly progresses.

The weakest moments on this album (and I dare say in the entire Pink Floyd discography) is that two-part-song entitled "A New Machine", which is Gilmour speaking, well singing, with a kind of robotic sound. Both parts are short, and useless in my opinion. They are separated by one track, "Terminal Frost" which is a cool instrumental song that shines on a little bit after those darker and sad moments.

Finally, "Sorrow" which objectively might be the best song of the album, saves what seemed to be a weak album ending. This track is pretty cool, full of textures and colors, emotional changes and wonderful guitar riffs. It is also the longest composition here. A Momentary Lapse of Reason is not a bad album at all, in spite of those weaker moments and the change in their musical direction, I like it and enjoy listening and even singing to their songs. It surely does not belong in my top Floyd albums, but I would not put it as their worst either. My final grade will be three stars.

Enjoy it!

Report this review (#530604)
Posted Friday, September 23, 2011 | Review Permalink
Symphonic Team
3 stars 'Momentary Lapse of Reason' is a transitional album as Pink Floyd begins a new chapter.

With Waters out after his egomaniacal 'Final Cut' abomination, which was generally Water's solo album with the stuff that didn't deserve to be on "The Wall", the next album is a real breath of fresh air. Yes, the band were becoming a lot more commercial or radio friendly and why not with the incredible success of the single 'Another Brick in the Wall Part 2'. The single was both a blessing and a curse as the band were never into radio chart success, nor was it their desire, so when success came it came swiftly and mercilessly knocked some of the wind out of the prog sails. The progressive music was taking a back seat to usher in a more AOR style and it is most notable on this release. There was no concept this time rather a bunch of songs that range from excellent to mediocre. This was a change for the better in some ways as at least the band were still capable of excellent compositions despite the massive heave ho of Waters. It begins with 'Signs of life', a slow meandering piece that reminds me somewhat of the intro to 'Shine On'. It builds slowly but is rather forgettable in comparison to other songs on the album.

'Learning to fly' is a brilliant track, my favourite on the album. It works well live also and is atmospheric with lyrics that perfectly capture the exhilaration and dangers of flight. 'The dogs of war' is a 6 minute tribute to the theme of war that the band return to on almost every album. It is certainly a powerful song that reminds me of Gary Numan's 'Call Out the Dogs' everytime. Pink Floyd have mentioned Dogs as war symbols for some time especially on "Animals" but this is their best.

'One slip' is a more poppy song demonstrating the new direction of the band and I only like it due to Gilmour's accomplished vocals but it is definitely a radio friendly sound bound to alienate old Floydians. 'On the turning away' is a slow melancholy piece that grew on me due to constant exposure on live DVDs.

'Yet another movie' is quite forgettable as are the next songs 'Round and round' and 'A new machine Part one' that are thankfully less than 2 minutes in length. 'Terminal frost is a more progressive song thanks to the structure and experimental feel. I love the stark foreboding intro and then the instrumental takes over. It is a wonderful guitar solo with soaring saxophone over a pleasant piano melody.

'A new machine Part two' is a short 38 second interlude to 'Sorrow' clocking 8:46. It boasts one of the all time great guitar intros that always is a showstopper in the live arena. The song is definitely a highlight on this album. In conclusion "Momentary Lapse of Reason" is not half as bad as some Floydians would have you believe. Granted, this is no masterpiece and comes sandwiched in between some amazing Floyd material, namely "The Wall" and "Division Bell", however it is a pleasant well performed journey with some moments of grandeur. It is innovative in places and perhaps more than anything typified the sound of the times, remembering that 1987 was a difficult year for prog bands. Many were wiped out due to the new wave influences so it is admirable that Pink Floyd were somehow able to blend in without selling out completely.

Report this review (#548670)
Posted Tuesday, October 11, 2011 | Review Permalink
2 stars Considering the bitter, seething, and at points totally inexcusable hostility that existed between the Gilmour and Waters camps which overshadowed - and was exacerbated by - the process of recording this album, you could argue that it was something of an achievement to complete and release the album in the first place. Certainly there isn't much to applaud on a musical level. A Momentary Lapse of Reason is a disjointed muddle, containing instrumental atmospheres which don't go anywhere and seem rather unsure of what atmosphere they're aiming for in the first place, interspersed with soulless pop-prog anthems like Learning to Fly.

Overall, the impression I have is of a dilettante's album: a piece which exists not because the artists behind it needed to create something to earn their daily crust, or because they had any particular artistic statement they wanted to make, but simply because they had all this cool recording equipment lying around and happened to be bored one day. Of course, the process of producing the album was much more laboured than that, but that's part of the reason it's such a disappointment: surely, after fighting so many battles and spending so many months in the studio, Gilmour, Mason and Wright should have been able to put together something a little bit more compelling than this? One for the fanboys only.

Report this review (#587379)
Posted Tuesday, December 13, 2011 | Review Permalink
2 stars A damn sight better than the dreary 'The Final Cut', though that's not saying much at all, the first post-Roger Waters Pink Floyd release would see the remaining members - guitarist-and-vocalist David Gilmour and Drummer Nick Mason - pull out all the stops in an attempt to create a new sound for the new decade. Including an army of session musicians(former Keyboardist Richard Wright and Vanilla Fudge sticksman Carmine Appice just two of the many listed on the album's lengthy list of credits) an arsenal of brand-spanking-new technology and a lighter, rock-pop veneer, 'A Momentary Lapse Of Reason' - the first Floyd studio product in almost six years - was very much a David Gilmour record produced under the lucrative Pink Floyd banner. The album would, predictably, shift tens of millions of copies across the globe, yet it's all a far cry from the outfit's 1970s peak. The large, Roger Waters-shaped hole is a factor, the absence of the bassist's acerbic lyrics and expansive song-writing that proved so important to such classic albums as 'Wish You Were Here', 'Animals' and 'The Wall' rendering much of the material rather lightweight by comparison, yet the real problem here is the fact that this is very much a product of it's time, the year 1987. Listened to with 21st century ears it all sounds very dated, with slick synthesizers, cavernous, gated-reverb drums and an earnest, over-polished production clouding the rather restrained individual tracks, though the strident, upbeat melodies of 'Learning To Fly'(a song that is, literally, about learning to fly aeroplanes) and the hazy, instrumental jazz-rock of 'Terminal Frost' do provide brief flickers of the group's old creative power. Of all the Floyd studio albums this is probably the weakest - 1994's 'The Division Bell' would provide a part-return to form - though truth be told expecting a fragmenting group from a different musical era to re-capture past glories is probably asking far too much - even for an outfit as popular as Pink Floyd. One for die-hard fans and completionists, this is an album featuring a streamlined pop-rock sound completely at odds with the group's classic, genre- defining sound of yore.


Report this review (#641252)
Posted Saturday, February 25, 2012 | Review Permalink
3 stars When I first heard this album in 1990's I didn't know Pink Floyd very well. I only had listened to Animals and DSOtM and didn't know about the Gilmour-Waters brawl at all. I decided to revisit Momentary Lapse of Reason with similar attitude and tried to listen to the music itself and not to think about the album's position in Pink Floyd history.

"Signs of Life" is a bit uninteresting intro that abruptly breaks into "Learning to Fly". The latter, on the other hand, is a fine enough song, despite its polished radio-friendliness. Then the album introduces many long, boring songs after another; big sounds full of nothing. Only "Dogs of War" and "On the Turning Away" have some feeling in them. The last piece, "Sorrow", despite its melodic dullness, is probably the best of the album. Gilmour plays wonderfully well and finally creates an atmosphere that the rest of the album has been lacking.

I have to admit that I liked this album more when I first heard it in the 1990's. It's decent enough background music, though.

Report this review (#656876)
Posted Tuesday, March 13, 2012 | Review Permalink
4 stars There are 4 songs on A Momentary Lapse of Reason that I really, really like a lot. The first song, "Signs Of Life" opens up with some very convincing atmospheric canoe sounds that really take me to a peaceful lake in the middle of nowhere, then leads into a nicely moody guitar and synth soundscape somewhat reminiscient of the beggining of "Shine On You Crazy Diamond." There are some very cool guitar tones and accents in this song. "Learning To Fly" is a very effective tale of exactly what the title says, with a very simple but fitting melody, and one of the coolest snare drums sounds ever. "One Slip..." is an interesting take on a love story, or making love, or something like that, and it has some very energetic, exciting music, inluding a great bass part from Tony Levin. "On The Turning Away" is a great world anthem with wonderful lyrics that everyone on our planet should take a listen to. The rest of the album is good, but I wouldn't put it up there with some of the band's other stuff... still good, though. "Sorrow" has some killer guitar playing, and "Terminal Frost" is as good as piece of contemporary new age as any from that time, except a little better, since it has Gilmour's leads (unless you're listening to the DYOL version, that is.) All in all, a worthwhile release that also marked a significant leap forward in David Gilmour's singing, which was by now, truly beautiful.
Report this review (#719495)
Posted Monday, April 9, 2012 | Review Permalink
5 stars A lot of Pink Floyd faithful must have found it very difficult to digest the departure of Roger Waters, and to witness the mutually destructive legal mess that ensued between Waters and the rest of the band.

I think the undeservedly low rating of AMLOR can be partially explained by the sense of resentment many people may still feel about what happened in the faraway '80s on the Planet Pink Floyd. Many folks felt and continue to feel that AMLOR was more like a solo album by Gilmour et al, as in "Geez, it's not even Pink Floyd".

It's of course true that with Waters walking out "Waters' Pink Floyd" was doomed. But before Waters' Pink Floyd there had been "Barrett Pink Floyd", which faded out after just a couple of albums. Instead of sinking into oblivion, the band hired Gilmour full-time, and went on to become one of the greatest "prog" phenomena of the 1970s, so there.

Let's judge AMLOR purely on its merits, without comparing it to what had been before or might/could have been. The Side A has some good- and some not-so-good moments, but the Side B is phenomenal. It feels like a 20+ minute long epic song, broken down into "phases", or "facets", describing something really momentous and awe-inspiring, like for example the creation of a middling galaxy :)

I treasure AMLOR as one of my favorite PF albums, sitting a little below the DSOTM and a little above the Animals. I would reiterate that I respect and appreciate the rest of the Pink Floyd's discography, but my "desert island" picks would be these three, WYWH being perhaps a distant 4th).

Five stars, gladly.

Report this review (#766457)
Posted Thursday, June 7, 2012 | Review Permalink
2 stars After the terrible mess that was the Final Cut, Gilmour and the gang reconvened to create A Momentary Lapse of Reason. This record is obviously missing Roger in terms of his contributions that graced their early and mid 70's albums, but Gilmour shows he can write music.

The album starts with 'Signs of Life' which sounds very similar to the beginning of Shine On You Crazy Diamond with the atmospheric soundscape and Gilmour's clean and pristine guitar tone.

'Learning to Fly' is a pretty popular song that managed to garner some radio play. It's enjoyable, if a bit poppy, but definitely shows that Gilmour is capable of songwriting.

'Dogs of War' is a rather aggressive tune unlike anything the Floyd has ever done. I find this to be a weak version of 'Welcome to the Machine,' but the guitar and sax solos are both great.

'One Slip' is ok, but has a hint of that 80's pop vibe I hate so much slipping through.

'On the Turning Away' is a rare ballad from Pink Floyd. It's very mellow and is really saved by the amazing guitar solo midway though.

'Yet Another Movie' is uninteresting musically, except for perhaps the short guitar solo. Both parts of 'A New Machine' are filler.

'Terminal Frost' is probably my favorite song on the album. It has a nice free-flowing jam feel with a strong jazz hint. The sax solo in this is great.

The album closes with the great 'Sorrow.' There are still some uninteresting parts, but as a whole it's a bit better than most of the rest of the album.

Overall, Momentary Lapse of Reason is a rather weak and inconsistent album. Even though it carries the Pink Floyd name, it's really a Gilmour solo album. But even then, it's a much better improvement over the lackluster Final Cut.


Report this review (#771368)
Posted Friday, June 15, 2012 | Review Permalink
3 stars Momentary laps of reason from 1987 was the first prog album I've ever heared in my life, it was in 1988 and I didn't knew who was Pink Floyd - I was only 11 years. After years and years I begun to really catchy the past prog music and who was Pink Floyd in musical history and in prog aswell. Well, maybe I'm biased here but to me this is a fairly good album, ok doesn't have the magic of the masterpices they released in the '70, but is ok and enjoyble for sure. So, Waters is long gone to pursue a solo career and Gilmour done a good job here, his guitar and voice is particulary strong, I have no complains. Pieces like Learning to fly, the beautiful sad On the turning away to me are good pieces, the rest are also ok minus A new machine part 1 and 2 who are forgetable and pointless. So, decent towards great in places, I don't find the missing links here, this is a Pink Floyd album and sounding miles away better then other albums from that period ( Invisible touch comes in mind right now) coming from a legendary prog rock band from the late 60 - early 70. 3.5 stars easy I like it no matter what other say about.
Report this review (#963507)
Posted Wednesday, May 22, 2013 | Review Permalink
4 stars A Momentary Lapse of Reason marked the change of Pink Floyd to a more subtle and atmospheric sound than all their predecessors. Yet, their music is still high quality and it contains elements of new Floyd, more use of synthesizer and old Floyd, the classic Gilmour guitar sound and percussions and sax. My favorite songs in the album are 5, the opening "Signs of Life", "Learning to Fly", "Dogs of War", "On the Turning Away" and "Sorrow". Although David Gilmour takes over the band in a perfect way, the participation of the rest of the musicians is moderate but accurate, Nick Mason and Rick Wright have good participation, Tony Levin, Carmine Appice and the rest of the band, as guest members, complement the album to make it sound very different from the others.
Report this review (#1003734)
Posted Tuesday, July 23, 2013 | Review Permalink
5 stars I absolutely adore this album. I think it's one of the best among Pink Floyd's body of work. Every song here is amazing. Partly I blame my fascination with AMLOR on the fact that it was one of the albums I played constantly being a high school student in the late 80s. It's a part of my music DNA so to speak. But you can't deny a gargantuan sound of the album, marvellous melodies, and fine lyrics. In my opinion AMLOR is the prog album of the decade. Being an alltime Waters fan, I have to admit that Gilmour managed without Roger just fine.
Report this review (#1155452)
Posted Saturday, March 29, 2014 | Review Permalink
Second Life Syndrome
5 stars I think it might be time. I know this might be shocking, but I think the prog community can finally forgive Gilmour for being a jerk. I think we can get over the fact that a non-original member of the mighty Pink Floyd was able to take over the revered name. I think we can mature as a community, people. It's time that "A Momentary Lapse of Reason" finally be given the props that it deserves as the masterpiece that it is.

I know that might be shocking. I know that might be hard to take. But this first album without Roger Waters is every bit the masterwork that "Dark Side of the Moon", "The Wall", and "Animals" are. The only Pink Floyd album that I consider better is "Wish You Were Here", and that only by a hair. I understand that I have to explain myself.

"A Momentary Lapse of Reason" features all the mood, the casual atmosphere, the hard- hitting lyrics, and the instrumental brilliance of all the Floyd albums, but with an added complexity and eclecticism that floors me. The jazziness, the atmospheric instrumental perfection, the array of instruments used: these all tell me that this album needs to be recognized. This can be seen right from the beginning, as "Learning to Fly" contains classic Floyd rhythm and leaves an immense impression. "Dogs of War" brings the melancholy negativity that Floyd has often been known for, and it brings it with style and jazz. "On the Turning Away" gives us delicate melody and the tenderness of emotion that I find in "Wish You Were Here". "Terminal Frost" is one of the best and most interesting instrumental tracks I've ever heard! I could go on and on, but I will only mention one more. "Sorrow" is possibly one of the top 10, if not top 5, Floyd songs ever recorded. From the massive drone of its guitars and its spectacular guitar solo to the funky, off-time beat and awesome bass, this track is killer.

Gilmour's guitars were never better than on this album. His mastery is everywhere, and his perfection of the guitar solo is evident. Tony Levin shines with his groovy bass and his energy. Yes, Mason even convinced me here that he is one of the greatest drummers of all time, as his deceptively simple drumming is rife with incredible intricacies and exacting signature changes. John Halliwell is phenomenal on the sax, simply fantastic. This, then, is no Gilmour solo album. It might seem like that only because Gilmour became the sole vocalist (for the most part) and his guitar work is more prominent. That's it.

Look, I understand. I don't like it when a great band splits and the seemingly "unworthy" member gets to lead the band into the future. But, as subsequent albums and the sensational "Pulse" show us, I think Gilmour was the best choice. Hindsight is 20/20, right? Could Waters have done anything more than keep travelling his downward spiral of negativity? And, in all honesty, do you think Mason really wanted to lead this legendary band? Gilmour, then, was the best thing for Floyd, and "A Momentary Lapse of Reason" is simply one of the best Floyd albums ever made.

Report this review (#1181989)
Posted Sunday, June 1, 2014 | Review Permalink
4 stars To start off my new profile, I might as well review one of my favorite prog albums of all time.

When Roger Waters left PINK FLOYD after the dreadful sales of "The Final Cut", Mason and Gilmour were left on their own to produce the next album. During the writing of his 3rd solo album, Gilmour made the decision to actually make it under the PINK FLOYD name. Mason was back on the album, and Wright was brought in as a session musician (for the first time after Waters decided to fire the bloke). Other musicians, such as Carmin Appice, John Carin, and Bob Erzin (who was later known for helping with the production of the album itself) were all on the roster as additional musicians along with some other cool people.

A huge debate over this album is the fact that a "non original member" took over from Waters after he explosively quit the band. Many people say that Mason should have taken over the band, seeing as he was on the wagon from the first album. I think being on the second studio album till present is a spectacular feat, and I would assume that would make you an original member. However, some people disagree with this, and that's okay. It's all about perspective.

As for the musicianship used after Waters left, it's astounding. Sure, cheesy saxophone can increasingly repetitive as the album goes on, but I think Gilmour's fantastic guitar work makes up for that. The heavy guitar solos in such songs as 'On The Turning Away', 'One Slip', and 'Learning to Fly' make me forget all about the sax. As for good moments with the good old brass is in my favorite song, 'Dogs of War', featuring an amazing saxophone solo. True, the sound is slightly out-dated, and hasn't aged very well. With songs like 'Terminal Frost', where the chords might have fit better back in the 70s.

Another song I would like to tackle is 'A New Machine' Parts 1&2. Whilst alot people see this as blatant filler to make up for creative lax, I think of it as a great experimental track. I always loved that psychedelic, rippling sound in the music that gave it a tone of dreary and dark (except for the nice, strong vocals). Part 2 is less enjoyable, due to it's incredibly short duration compared to part 1. I would have rathered they do something like they did with 'Pigs on the Wing', and make it a whole song when combined together, not some small tidbit of what it could really be.

As for the cons, I don't really have much. As I stated before, the aging of this album is sort of stale and disappointing compared to other albums. My least favorite track has to be 'Signs of Life'. The droning and boring quality reminds me too much of the most likely inspired- from track 'Shine On You Crazy Diamond', which I dislike as well (I hope I don't get hated on for that). It is definitely a weak opener.

Overall, I feel that many people jump on the bandwagon for hating this album instead of listening to it with an open mind, which I encourage you to do with full certainty. You might find yourself liking it.

Report this review (#1261723)
Posted Wednesday, August 27, 2014 | Review Permalink
4 stars So, the time has come to review the album on which one of the key members of Pink Floyd lost his grip and recorded an awful 80's pop album that only proved that of the two pillars of the band, he is the one lacking good musical ideas.

Oh, no, wait! This is not a "Radio KAOS" review!

I have always liked "A Momentary Lapse of Reason". Aside from the 80's production values and the number of guest musicians, I can't find anything to criticize here, really. Most of the songs are very good to great, all of them being distinctive and memorable. "Learning to Fly" and "One Slip" are the kind of pop song that would give pop a good name, if it was more common. "Yet Another Movie" and "Sorrow" are gloomy in a strangely detached way that I find very rewarding. "Signs of Life" is an effective opener that lets the listener know immediately whose album they are listening to. "Terminal Frost" might be too 80's production-wise, but still it's a very good instrumental. Even the worse tracks have their merits: the overblown "On the Turning Away" has a wonderful solo and I have even come to like "Dogs of War" a bit for what it is, a pastiche rooted in 80's themes and fobias. Oh, and I never count an abundance of good songs as a negative. Whether it's more 'prog' or 'pop' is a point that I find purely academic.

Production-wise the album isn't as 80's as you might expect. Or, most albums released around 1987 dated more badly ("Radio KAOS" being a prime example). As for the guests, as much as I like Water's bass work, can you truly count it as a drawback that an album has TONY LEVIN as the replacement? Ok, the idea of a Pink Floyd album on which only Gilmour plays a significant role is not among my favourite, but what counted is the effect, and I can't say that this album sounds less Pink Floyd than "The Final Cut". To put it differently, I doubt that if they had released an album in 1987 with Waters on, in the best of band camaraderie, it would sound significantly different than "AMLOR". Such were the times, and it always strikes me as odd that people blame Gilmour for the sound of the album (which, to reiterate, is not even its truly negative aspect). Even if he had a hand in it, Waters proved himself to be even more susceptible to the trends of the times, QED.

In short, "A Momentary Lapse of Reason" is a full-quality Pink Floyd album. It's well-written, well-played and memorable. It's one of the cases of an album disliked for what people think it should have been rather than for what it actually is.

(In all fairness, I should probably admit that I don't actually dislike "Radio KAOS". My point is that blaming everything that one might dislike about post-1985 Pink Floyd on Waters' departure as stands in contradiction to the actual evidence, i.e. the albums themselves.)

Report this review (#1461662)
Posted Thursday, September 10, 2015 | Review Permalink

A Momentary Lapse of Reason was the first post-Waters album released by Floyd and the remaining members of the band (especially Gilmour) seemed to have something to prove. The rushed effort to get the album out after the ugly breakup shows. Lapse seems to be total contrast to the previous album "The Final Cut" by being more music-oriented than lyric-driven and that is perfectly fine because the Floyd fellows are fine musicians whose work should be showcased more than Waters allowed in 1983. However, Lapse is not that showcase. What is essentially a Gilmour solo album in all but name is not the collaboration of Floyd, but an ensemble of outsiders tweaking Gilmour's work to be a Floyd album; and it was the mid-to-late 80s, so there's that too! Lapse is terribly dated because of that 80s sound ? gated drums, over-produced, very commercial and blatant MTV-style pop. It is a good album, but it pales in comparison to "real" Floyd works. Of course it was a major success, but that doesn't rescue it from being as Waters succinctly put it "a clever forgery" of Pink Floyd. It should've been credited as "David Gilmour and Friends" instead.

Track by Track: SIGNS OF LIFE : This opening instrumental is actually quite brilliant and very Floydian. It is perhaps the most Floyd-like track on the entire album. A synthesizer and guitar piece that evokes a sort of nostalgia that builds into a grand awakening. The beginning of the song uses sound effects of someone rowing a boat and it fits the mood perfectly. Splendid way to start the album!

LEARNING TO FLY : This is the most popular track on the album which receives more air time on FM radio stations than any other song from this album (even though On The Turning Away and Sorrow get a lot of play too). It is considered a classic song by the band by most every one, but not for me. Although the lyrics are quite good actually and compared to most bands of the era, this is a masterpiece, but when compared to Floyd's previous work it fails to meet the mark. Very pop, very 80s and very boring.

DOGS OF WAR : This may be the worst song in the Floyd canon. The only time I can really cringe at David Gilmour's voice is during this song. A heavier-than-most Floyd tune, but the poor lyrics, awful saxophone and Gilmour's "one world whoa whoa whoa" ? ugh. Why Dave, why? This is just a mess.

ONE SLIP : This track sounds more like U2 than Pink Floyd thanks mostly to the addition of Phil Manzanera as co-collaborator. It is upbeat, driving and catchy. I actually quite enjoy it as one of my favorites from this "Floyd" album, but ultimately it is just another pop song to cater to the MTV generation and captures nothing of the former Floyd magic. Generic. Standard. Stock. Pick an adjective.

ON THE TURNING AWAY: There is a bit of old Floyd sound in this song at times, but the sappy sing-a-long "We Are The World" vibe makes my eyes roll into the back of my skull. The constant radio play of this song doesn't help. Gilmour's voice on this track is extremely smooth and heartwarming, but the basic 80s sound (again) and the pure schlockiness (is that a word?) of it all overpowers any positive things to be said.

YET ANOTHER MOVIE/ROUND AND ROUND: If Floyd just had to fall into the 80s standard sound, this song is the way it should've been done. This track actually brings to mind Pink Floyd a bit and the dark, moody atmosphere is perfect. The only real problem with this one is that it seems so painfully slow that it lumbers along for nearly 8 minutes without much of a change-up in the music at all. Still ? it is probably the best song on the album and should be considered the 80s Floyd classic in place of "Learning To Fly" or "On The Turning Away" because it actually is reminiscent of old Floyd, albeit with an 80s vibe.

A NEW MACHINE 1 & 2: Pure filler. Really nothing to be said. Terrible keyboards and David Gilmour singing through a vocoder, but not like he did on "Animals" ? no, more like his voice on "Dogs of War" (ugh). This is just junk.

TERMINAL FROST: This is David Gilmour's soap opera theme. After the promising start (even with those irritating 80s gated drums), this guitar lead instrumental piece disintegrates into a sax-driven General Hospital feel. I guess Kenny G would be proud, but this is not Pink Floyd ? not the Floyd we all know and love.

SORROW: Quite a decent song here! Heavy, dark, brooding and the lyrics (written solely by Gilmour) are some of his best. This song is another version of what 80s Floyd should've sounded like, even though it sounds very dated (as does the entire album) due to those god-awful drums! Shades of Floyd pour in through the cracks here and save this song. Enjoyable, although the drums and pacing do make it a bit draggy and generic-sounding.

Overall: The 80s Floyd was a mess. "The Final Cut" was essentially a Waters solo album and this clunker was a Gilmour solo album. Post-Waters Floyd sounded much better 7 years later on "The Division Bell" because it was actually Floyd and not Gilmour and session musicians doing it. A Momentary Lapse of Reason is a great album made by anyone else. I would give it a 3 or 4 out of 5 as album and compared to most 80s crap, I'd rank it as one of my favorite albums of the bubblegum decade, but as a Pink Floyd effort it can only be saved by 80s nostalgia. 2/5

Report this review (#1554865)
Posted Friday, April 22, 2016 | Review Permalink
2 stars A Momentary Lapse of Reason was the first album "Pink FLoyd" released after Roger Waters left the band. David Gilmour took control of the band in Waters-like fashion and thus, this album was born. As a truly hardcore PF fan, it pains me to say that this album doesn't satisfy me. Sure, some of the tracks are absolutely outstanding - Sorrow being the best with On the Turning Away a close second, followed by Learning to Fly. Thats it, though. Once you have heard these tracks you can walk away from this album and not miss a thing. Not to discredit the album; it was influential in that it started PF on a new path towards a potentially brighter future, one not ruled and dictated by Waters. Yet, there is always something missing when I go back and relive this album. What could it possibly be? Oh yeah, it's Waters. Hes gone. Once Waters left, practically any semblance of lyric writing technique flew out the window. Richard Wright is a lyrical genius, but he only got to write a few songs Post-Waters. To make a long story short, I "like" this album to a certain extent, but as a massive PF fan and lover of Prog Rock, I cannot let this slide. It just isn't progressive. Sorry Gilmour, hopefully you do better next time. (Spoiler alert, he does better next time).

FInal Rating: 2/5

Best Track: Sorrow

Worst Track(s): A New Machine, Dogs of War, Signs of Life

Report this review (#1681938)
Posted Wednesday, January 18, 2017 | Review Permalink
3 stars 3.5: The thirteenth album by pink floyd, beginning a new era without Roger Waters, and with the appearance of Richard Wright. After the abomination of the Final Cut, Waters left and a legal dispute began. At the end, Waters resigned and get rights for use his work in the Wall and some other things. Gilmour began to make a solo record, that at the end, reuniting some group of musician and the remaining members of Pink Floyd, became in a new PF album. Musically is good it has melodic solos by Gilmour and Keyboard passages that keep you entertained, however far for the pink floyd style, the Wright contribution are few. Is a collection of songs, instead as of the concept they were doing in previous albums. The music has prog elements, however it is mixed with pop sequences, it has good moments and good songs, the Gilmour feeling is all over the place, including his wonderful voice, however the lyrics are not so deep as we are used to. I like this album, yes, it is almost a Gilmour solo work with good musicians behind, and in certain ocasions it get close to some of the characteristic pop and disco of the eighties, but in general is a good record, I considered it a good effort and aceptable work to be listened by any prog person.
Report this review (#2116446)
Posted Tuesday, January 8, 2019 | Review Permalink
3 stars The will of the fans'among which I am included'to break off Floyd's saga dissolution after the release of The Final Cut was as eager as Roger Waters' determination to put an end to the group. It seemed everything was coming to an end due to the group's internal strife.

But David Gilmour and Nick Mason were not keen to simply please Waters, and after endless legal disputes, the first post-Waters Pink Floyd album was released: A Momentary Lapse of Reason.

The disc, crowded with invited musicians, was rather dull. Nevertheless, some good songs deserve to be plucked. On the Turning Away, for instance, is a beautiful and deep ballad; Yet Another Movie has a good instrumental development; Sorrow possesses an energetic and zealous guitar-opening; Signs of Life is, in a sort of way, a tribute to the group's earlier creations. But we have to stop counting: there is nothing worth anthologizing.

The really important matter was that Pink Floyd was back. All the fans eloquently expressed their gratitude: for 2 years, all the stadiums were full of people eager the hear A Momentary Lapse of Reason.

Report this review (#2434616)
Posted Sunday, August 2, 2020 | Review Permalink
3 stars Review #15

After Roger WATERS left PINK FLOYD, Richard WRIGHT returned to it and the bloody legal fight over the band's name took place, in 1987 Pink Floyd published "A momentary lapse of reason"; an album pretty different from the BARRETT's PINK FLOYD era, WATERS-GILMOUR-WRIGHT-MASON era and WATERS-as-a-leader era, here started the age of GILMOUR.

The cover of the album is great, clearly designed by Storm THORGERSON and it seems as if this album would bring a lot of reminiscences of the 70's PINK FLOYD sound but it doesn't: it's more oriented into a Neo-Prog style that reminds bands such as IQ, PENDRAGON, MARILLION or ILLUVATAR. David GILMOUR made excellent guitar solos along with the album while Nick MASON and Richard WRIGHT were playing more in a kind of accompaniment way among with a lot of session musicians including Tony LEVIN (Peter GABRIEL, KING CRIMSON) playing bass and Chapman stick and Carmine APPICE (VANILLA FUDGE, CACTUS) playing occasional drums.

It has very good moments and songs that became big hits like "Learning to fly" and "Sorrow", songs that were well received by their fans in the tours that followed the album. Not a concept album, not a lot of space rock experimentation, and definitely not one of their best albums but still a nice piece with very interesting and changing musical passages.

Report this review (#2463909)
Posted Saturday, November 7, 2020 | Review Permalink

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