ROGER WATERS

This "musical" document is quite close to the below average Roger part from "Ummagumma". I am of course biased by this album since I was almost born with it and I never could stand the studio outtakes.

The problem with this first solo album, is that there aren't any thrilling songs nor parts. Just a succession of lousy (very short) items. One song reaches the four minutes mark!

The whole of the stuff represented here does sound more as a soundtrack. But not a great one at all. I am looking at some good moments here, but I honestly can't find one. Pure boredom and unskilled songs.

At times, some of the early Floyd is gaining your senses but for such a very short period of time that is it is almost useless. Can you imagine that there are some twenty-two tracks available for forty minutes of "music".

Very few colleagues commented this "work". I guess that there is a reason for it. I don't like this album at all. There is no creativity, no emotional part, and no superb instrumental section. Actually, there is nothing in here. Only a painful succession of VERY short and weird useless musical moments.

One star.

When listening to the solo albums that Gilmour and Waters released in 1984, two conclusions can be made. The first is that while both are blues-rock at heart, they couldn't possibly be more different, the second being that none of both licked the heels of anything Floyd.

Waters continues the extreme quiet-loud, whisper-shout dynamics of The Final Cut and reveals that he has lost any remaining song writing skills he once had. Also his voice has lost all dynamics, tone and melodious qualities. It has become a grating listen, as can be witnessed on the finale of the odious kitsch of Go Fishing.

The music remains interesting for about 5 minutes, the first two tracks still promise a daring album of the level of the Final Cut, but the 40 minutes that follow don't bring anything new to this mix of mid-paced blues clichés, recitative drivel and tasteless gospel/soul background vocals. The well known single The Pros & Cons of Hitchhiking is the only sequence with a bit of melody and probably the ultimate bottom point of anything baring Waters' name.

This album has never gotten more then 5 spins over the 25 years since it was released. When listening to it for this review I've been desperately searching for a reason to give it more then 1 stars but I haven't found any. Even with a mediocre album like Aboutface, Gilmour wins the first round against Waters with ease.

Not the brightest record from Waters, honestly there are a couple of bootlegs from this time that where much better recorded, yet there are some good moments, the problem is the bad quality of Roger's vocals, specially on songs that he didn't originally sang, amazingly he's the man when we are talking about Comfortably Numb, no dubts about that.

What is a real pain for me is Doyle Bramhall II on guitars. He's such an exhibitionist and never get things right. Just look at Comfrotably Numb again, Roger Waters vocals are pretty good here, but Doyle kills the solos. The first one is acceptable, nothing like Gilmour, but somehow ends up handling it, the problem is the secong where he starts failing notes, and the end result is not good at all.

Jon Carin is a good vocalist, always have been, but the addition of the female singers along with others behind him doesn't help at all, by the contrary. If for one side we get finally some Animals songs officially recorded, the songs are somewhat putted randomly, at least for me it doens't make much sense the tracklist. Don't expect Pink Floyd quality, but comparing it to the Wall Live in Berlin this is much better.

They wanted to bring down the wall, and they did it.

I don't blame Roger directly here, but the people that joined him... oh, my... they killed every single song. If you want to hear The Wall go to the original studio record, or the live record Is There Anybody out there?, or even the Movie which I didn't care that much.

Getting back to Roger, when it comes to his performance it was ok, but the others... well, what the hell did I expected? We have people like the Scorpions and Cindy Lauper, so its not really surprising that they failed to reach a high quality concert.

Amazingly his best album to date, but not really the kind of thing I would expect, or anyone would expect from him.

Some nice classical stuff here, it may not be the kind of music that his usual fans may like, but its great material, yet not necessarily progressive.

Even in this type of album I expected more form him, enjoyable, but not for everyone. It's yet a strange record to add to a progressive rock collection, so don't count as a essential thing. But remember, if you someway enjoy classical music take a look, you may like it, and it comes from someone that nobody expected.

Not good, not good at all, I call it Tommy version 2. The story its the same from the one that came from The Who, the music is definitely as close as what they did, and to be honest I don't like Tommy that much.

Anyway, there is something here that reminds me from The Final Cut, the creation of a song for Single only function. On the Final Cut was Not Now John, here we have Radiowaves, which is a lot worst.

I think this proves that Roger is quite smart when it comes to do concept albums, but rock operas, was just The Wall. And you can notice the 80's sound all over this, which only makes it worst, on rare occasions it may sound good, not here.

I also believe that this was released as some last attempt to fight the A Momentary Lapse of Reason from his ex-bandmates, and looking at thinks this way, RADIO KAOS failed.

The best rock album from Waters, and essentially thats it, yet it's not that bright. Eric Clapton guitar is a great help, but the first problem starts with the notes, they are repeated over and over again from the beginning to the end of the album, you may find some magic from Clapton work, and some occasional strong and violent effects.

The concept is great but thats as far as it goes, the music is not anything to compare or to Pink Floyd. Looking at this I'm someway proud that they preferred The Wall to this. The conclusion is this, listen to a song, if you really like what you heard, you are gonna love this, if in the other side you ain't really impressed, it's not going to be much better that that.

Fun idea, but basically thats it, the music ain't that great. Some really good effects, but thats it. It may be funny once in your entire life to hear this, but let's be honest it's not the kind of album that would be a great buy.

Maybe I'm being to harsh, it may be my own fault that I really don't like soundtracks, and this being a soundtrack doesn't help at all. I believe that it's probably great to see the movie with this sound. Yet, not really the kind of material you should listen.

As I'm seeing it looks like a little overrated, yet it has occasional nice moments, anyway the name says it all, don't expect to find anything "rocky" in this.

The difference between the commercially successful Pink Floyd live albums and Water's In The Flesh is huge. Not only does the setlist reflect other sides of Floyd, also the production choices are entirely different. Considering this is also recorded by an 11 members counting band, the sound is still quite organic. Nothing like the overblown pathos of Gilmour's take on the Floyd material, but his guitar playing is very much missed here.

Actually, the guitar playing is one of the two worst aspects of this album. Even with 3 guitar players in the band, they stumble clumsily through the material and manage to get all life, tone, feel and sensuality out of Gilmour's original solos. It's a clear proof that Gilmour's so-called easy guitar parts aren't all that easy to render in the end.

A second disappointment are the vocals. Waters hadn't got much of a voice at all in the last 20 years and making up for that by those cliché female soul choirs all over the live performances isn't the brightest idea that both Waters and Gilmour ever had.

Finally, the sluggish pace and lifeless playing kicks any remaining life out of this music. But there is some good news as well. Jon Carin proves to be an excellent vocalist and he does an amazing performance on Dogs. Also Welcome to The Machine comes in a new and refreshing arrangement and Set The Controls For The Heart Of The Sun is simply essential. Of course, this eastern tinged gem had always been one of my Floyd favourites. The version here deviates a lot from the original but still does it justice. The songs from Dark Side of The Moon don't work at all for me without Gilmour's vocals and guitar.

I've never cared much for Waters' solo albums and the material here can't convince neither, though It's A Miracle and Each Small Candle have their moments.

For Pink Floyd fans, and count me in for sure, you will need to hear this album and maybe see the DVD at least once. I wish you a good public library to fulfil that need.

Not bad album, but having it is only heavy fans interest. In fact, Waters plays mostly well known Pink Floyd songs ( ok, and few own songs from solo albums, but its are even less interesting there). Sound is uninspired and down tempo. Main instrument sounding is acoustic guitar.

Yes, any Pink Floyd fan will hear there almost all his beloved songs. But nothing new or different at all. The musicians are all competent, but not innovative. And there is not drive at all!

I think it is interestning for heavy PF/Waters fans to hear that one of greatest rock musicians is still in quite good form, and plays live his great songs. But all of them are better when played but Pink Floyd ( in studio or live). And his solo songs ( which are mainly of heavy fans interest in studio version) don't sound better there as well. Even musicians participated ( as Fairweather Low and Snowy White) added nothing special or new to album's music.

For me, this album is a monument ( in form of recorded live sound) Roger Waters build to himself at the possibly end of his great career. Listenable, but would be interesting for heavy fans only.