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DAVID GILMOUR

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David Gilmour biography
David GILMOUR was born in Cambridge, 6 March 1946. He began playing guitar at a young age, often jamming and playing with his high school friend Syd BARRETT. His first band called JOKERS WILD was formed in 1965, but they recorded just one album, of which about 100 copies were made. It wasn't until 1968 when he was asked to join PINK FLOYD that fame would find him. When the increasingly erratic behavior BARRETT displayed got him kicked out, GILMOUR became the group's sole guitar player. While he didn't write much of their material, his amazing guitar playing was huge in forging what would go on to be known as the definitive PINK FLOYD sound. He took control of PINK FLOYD in 1987 after singer/songwriter/bass player Roger WATERS quit, releasing two studio albums (1987's "A Momentary Lapse of Reason" and 1994's "The Division Bell"). His solo albums came in the form of 1978's self-titled record, recorded while WATERS was away from the band writing two concept albums which would go on to become "The Wall" and "The Pros and Cons of Hitch Hiking", and 1984's "About Face", recorded at a time when everyone figured PINK FLOYD had broken up, and featuring songs co-written by WHO mastermind Pete TOWNSHEND. Neither gained much attention though, which played a part in his revival of PINK FLOYD.

The self-titled is a good, albiet straightforawrd blues-rock album, and "About Face" is more of a pop-rock record with an (annoyingly) 80s feel. The s/t is the better of the two, although neither are really fantastic. They won't nessecarily appeal to FLOYD fans either, as they are quite lacking the magic that makes his work with the band so great. Anyone who really admires his guitar work will enjoy them to at least an extent though.

GILMOUR's solo work is unremarkable despite it's merrits, and while fans of his guitar playing should give it a listen, don't expect to be blown away.

: : : Bryan Adair, CANADA : : :

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Remastered
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David Gilmour: Remember That Night - Live from the Royal Albert HallDavid Gilmour: Remember That Night - Live from the Royal Albert Hall
Multiple Formats
Sony Legacy 2007
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Live in GdańskLive in Gdańsk
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About FaceAbout Face
Remastered
Sony Legacy 2006
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$4.20 (used)
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DAVID GILMOUR discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

DAVID GILMOUR top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.50 | 256 ratings
David Gilmour
1978
2.82 | 226 ratings
About Face
1984
3.54 | 343 ratings
On An Island
2006
3.03 | 63 ratings
The Orb & David Gilmour - Metallic Spheres
2010
3.27 | 136 ratings
Rattle That Lock
2015

DAVID GILMOUR Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.17 | 144 ratings
Live in Gdańsk
2008
2.84 | 13 ratings
London 1984
2009

DAVID GILMOUR Videos (DVD, Blu-ray, VHS etc)

3.17 | 15 ratings
Pink Floyd's David Gilmour (VHS)
1984
3.84 | 96 ratings
David Gilmour In Concert
2002
4.13 | 121 ratings
Remember That Night: Live At The Royal Albert Hall (DVD)
2007

DAVID GILMOUR Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

DAVID GILMOUR Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

4.00 | 2 ratings
There's No Way Out Of Here
1978
2.50 | 2 ratings
Love On The Air
1984
2.13 | 7 ratings
Blue Light (promo 12" single)
1984
1.44 | 6 ratings
All Lovers are Deranged/Blue Light
1984
3.59 | 20 ratings
Arnold Layne
2006
3.83 | 6 ratings
On An Island
2006
3.33 | 3 ratings
Smile
2006
3.67 | 3 ratings
Wot's...Uh the Deal?
2008
0.00 | 0 ratings
Rattle That Lock
2015

DAVID GILMOUR Reviews


Showing last 10 reviews only
 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Review by The Grand Vizier

3 stars RATTLE THAT LOCK, the latest album from David Gilmour, demonstrates that the ex-Floyd guitar player has firmly established himself apart from his former band, and feels free to do what he pleases. He doesn't seem to be bothered whether he sounds 'floydian' enough or not, though he works very hard to sound as David Gilmour is expected to. He, therefore, seems to care about his songwriting much more than about overall concept, and is focused on bringing each tune to blossom, rather than on attempts to take its development as far as possible in order to extract and exhaust its potential. The loose idea behind the album is that these songs bring about a pack of thoughts and feelings someone would live through in one day.

Three instrumentals aside, there is only one song on this album that feels like a Pink Floyd number: 'In Any Tongue'. This song is the longest track of the album and has a rather complex structure with an understated intro (whistling), and a reverse of the tune on choruses similar to 'Comfortably Numb'; it alters several times between forte and piano with each shift carefully prepared and executed. The final guitar solo resembles that of 'Comfortably Numb' and 'On The Turning Away', but does not repeat either of them; it fades out soon after its climax. Fade out is typical for this album and there is no crossfading or connecting sound effects, as if Gilmour wanted to highlight this is not Pink Floyd. These fadeouts, nevertheless, all seem to be timely and could hardly leave a listener unsatisfied, as it often happened to me when I was listening to A MOMENTARY LAPSE OF REASON. Overall, this blues-based power ballad is blessed by the kind of personal touch that makes Gilmour's late output so appealing.

Although it embodies the grace of Pink Floyd sound, 'In Any Tongue' is not the only song in the album that rocks. Starting as a lullaby, 'Today' suddenly turns into a heavy pop number, based on soulful blues harmonies. The tune celebrates a day that has not been wasted; a day that had gained its meaning; a day that brought change and thus deserves our cheers. Such a mix of rocking pop and soul was first attempted on ABOUT FACE ('All Lovers Are Deranged'), but it seems Gilmour has finally found the correct formula, and the tune shines against all odds.

The mood of other tracks is much lighter; each of them, nonetheless, possesses a distinct character. The title track is a catchy pop tune, equipped with lyrics full of unexpectedly dark and foreboding allusions. It opens with a railway station jingle but grows to sound insistent and almost menacing during the brief choir section, before returning back to the bitten track. All this can make one's dream about a journey across the hell of a big city plagued with stress and depression - let's get through it.

While the aforementioned songs differ in mood, they somehow belong to Gilmour's usual range of songwriting. 'Faces of Stone', 'Dancing Right In Front of Me' and 'The Girl In the Yellow Dress', come, on the contrary, as a surprise. The first two could have been performed by Leonard Cohen or Joe Cocker, while the third is pure jazz. All of them are crafted with care and contribute to the diversity of the album; Gilmour himself has written words for the first two, leaving the rest of the lyricist duties on the album to Polly Samson. These three songs share a nostalgic mood; their tone - deeply personal - contrasts that of 'Today', 'In Any Tongue' and the title track, each making a powerful statement.

The four remaining songs are Gilmour's signature 'watercolours' with transparent keys and heavenly guitars. The opener, the closer and two 'spacers' fill the album with light and air, ease strong emotions and let the whole thing drift with the flow. The day begins in the quiet harmony at '5am'; the closing tune 'And Then...' is a more reassuring variation on the same theme. Beauty contains an easily recognisable quote from 'A Boat Lies Waiting'; the voice of Richard Wright, heard half way into the latter, in turn, invokes the ghost of THE ENDLESS RIVER.

One can notice that while the 'concept' of the album is pretty loose, its structure is clearly tight. Six conventional songs, grouped in three pairs (each containing a statement of a more universal nature and a personal reflection), are enveloped with four 'meditations', bookending the album like twilight of dawn and dusk 'bookends' a day.

This structure is not just a whimsy; it helps to keep a diverse album focused on its main theme - the power of nostalgia. It seems, nostalgia has been a driving force behind Gilmour's creativity since long ago (WISH YOU WERE HERE or, maybe, 'Fat Old Sun' and 'Childhood's End') - something he himself stated in 'High Hopes'. Whenever he looks for substance that makes our presence real and vest one's life with its own value, he tends to borrow it from the past. Exploring this trail, he has to keep it very personal, even when he makes a statement on broader matters.

To conclude, Rattle That Lock is not a style-defining prog rock opus. If you feel that observations of the lone man with a guitar travelling on his flying Island around Solaris are important for you, go for it. If you simply don't mind some tuneful blues fun, you probably won't regret killing an hour in the company of David Gilmour. If, nonetheless, you are not in the mood for compromise, and won't take anything but a slightly amended version of The Wall (which is not necessary a bad thing)... than I would suggest waiting for the next Roger Waters album :)

 David Gilmour by GILMOUR, DAVID album cover Studio Album, 1978
3.50 | 256 ratings

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Review by uduwudu

4 stars So many years on and I can't help but think this album has stood the test of time, positive and negative views. Of course heard through the ears of someone who has not grown up and lived the sound of Floyd and anyone associated with that band may have a different view.

A very song oriented album, Short and Sweet co written with Roy Harper who with DG guesting recorded it on his fine album The Unknown Soldier. Oddly perhaps I prefer this one but that's just me.

His old band mates from Jokers Wild join DG in some things that are often PF oriented. Its Deafintely seems like a cousin of One Of These Days - check the bass rhythm.

No great concept album every number is it's own little masterpiece with a lot of the details in the finely tuned and intricate performances. The album rocks quite energetically for a voice and guitar that emerged from one of the most glacially mobile bands ever.

The music is rock, unlike most who think this is bluesy perhaps only in some textures such as the lap steel guitar but this is one of those interesting albums that do not pander to a fashion or style but expresses the author's musical and lyrical views in the context with which he is most comfortable; a series of varied styled rock numbers.

Some think this may be the "lost" PF album. Well as much as I love this it's not really. It could have been had Roger been present to apply the over riding concept as well as the intricate narratives that allow his lyrics to flow logically from point to point. Rather this is an indication of what Pink Floyd may have been like without Roger Waters - pre-Momentary Lapse.

Reviewer context alert - I really like most things Pink Floyd (Final Cut and Momentary Lapse and Piper all emphasize the Pink Floyd of the moment - not the listener's view of what should constitute Pink Floyd). I also like most solo albums but only rate Dark Side as the PF album with the most perception and direction (WYWH may be my favourite though). The Wall is utterly brilliant but does not have the generality that allowed Dark Side it's mainstream accessibility.

David Gilmour has a collection of songs that well express his music and the sort of lyrical concerns that discard religion and reflect the cynicism of the late '70s times (not that those times have changed much) but also reflects a determination to succeed "with or without god o his side" - the underlying self determination both resilient and understated.

He nearly toured the album (I wish those rehearsals and studio performances found on the Net would be compiled properly) but Roger Waters had Pros And Cons and The Wall in demo form and required Floyd to get together and choose.one. And pull together as a team. David did.

If you are into Floyd you' probably really like this for what it is, a fine collection of songs with his guitar sounds and styles wrapping it all up. Nice melodic vocals - his voice would get harder sounding in later years. In a way this is winter to Obscured By Clouds' summer.

If this is ignored by radio then that is their fault and problem. A fine album of excellent accomplishment that is always welcome.

Three stars for a DSOTM / Wall only fan, four for Pink Floyd fans and if you are a nut about DG of course it gets five stars. The negative views will make themselves known. Fine album, much loved.

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Review by King Manuel

4 stars I waited a while before I bought this album as I did not really enjoy "On and Island" that much and the mixed reviews also did not encourage me. Then after listening to the title track I got more curious and I bought it spontaneously seeing it in a record store. This one IMO is better than his last solo work (On an Island), his collaboration with the Orb (metallic Spheres), on par with his first solo album and nearly as good (but different although here and there parallels shine through) as the final Pink Floyd album (The Endless River).

Mr Gilmour does not reinvent himself (except maybe on the jazzy track "The Girl in the yellow dress" which is somewhat misplaced on the album) but delivers a slightly melancholic album with great atmosphere and strong melodies. . Highlights for me are the catchy and grooving title track, the powerful " In any tongue" and the atmospheric "Beauty. Anyone who enjoyed the last three Pink Floyd outputs and David Gilmour's solo work will surely not be disappointed.

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Review by Progkid

4 stars The Master Is Back!

This is a typical David Gilmour Styled Album. Great atmospheres, soothing instrumentals and tasty guitar licks. He shows that he's passion for music hasn't even gone down a bit with passion age. The lyrics are well written and are personal. Some people don't like this album because its too accessible and "poppy" this is wrong, While it may be not an PF album and is accessible but its not bad or poppy.

5.A.M- The album opens with 5AM which is a typical DG instrumental and is a good track that sets up the mood for this album with atmosphere and guitar sounds

2. Rattle That Lock - This is an upbeat track that I didn't like it at first but it grew on me. The guitar at the end is great

3.Faces Of Stone - Another great track with well written lyrics. David's voice sounds lovely on this track and is one of my personal favorites

4. A Boat Lies Waiting - This is haunting..and beautiful. Love the piano at the start. Maybe this track is a tribute to the late Rick Wright. the lyrics are sad and laments at the lament of someone

5. Dancing Right In Front Of Me - I don't like this track... maybe it'll grow on me like others did but I doubt see that happening . The only positive thing for me is the guitar at the end. If this was a short song maybe I would have liked it but it goes on for too long

6. In Any Tongue- Quite Pink Floydish with its bass and drum sound and the dark mood. I wonder why people say the guitar sound in this album isn't nice and emotional? it works for me, another good solo by David in here, but this track too suffers from being overly long

7. Beauty - Atmospheric Instrumental quite reminds you of the division bell era. Over all a good track

8.The Girl In The Yellow Dress- David with the saxophone and a jazz number! quite a welcome change in this album and is a good track, even people who don't like most of this album like this song, just jazzy an beautiful

9.Today- My least fav track and a low point on the album, I generally skip this track . I don't know what else to say about this except that it is long too (5:55)

10.And Then...- This closes the album in style. This is another instrumental by David Gilmour and my favorite from this album. Lovely guitar , the best from this album

Conclusion- While it may not be a masterpiece but it is worth checking out especially for the Floyd fans. Some tracks suffer from being too long and carries on forever but that's the only low point on this album other than that, its a solid and well written album. Don't write this off as being poppy or unlistenable, try it once. While it may not be his best effort but its better than The Endless River

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Rattle That Lock
David Gilmour Prog Related

Review by crashandridemusic

3 stars It took several listens for me before I started to form an opinion of "Rattle That Lock." First of all, as masterfully as each song is played by Gilmour and company, I was craving a more thorough connection between each song, with one leading into the next. Second, I felt this album was much slower than its predecessors, heavily influenced instead by jazz arrangements than anything else. This is evidenced by songs like "The Girl In The Yellow Dress" and "A Boat Lies Waiting," even utilizing common instruments like a standup bass and piano. At least "On An Island" had more memorable moments of rock music influences, urging his audience to stand up and clap. "Rattle That Lock," on the other hand, is a much more intimate album, setting more of a scene in a lounge than anywhere else. I do not feel the urge to "rock out" with this album, but feel I should take my seat. Finally, the title track "Rattle That Lock" is by far the worst song on the album. Having that song released as its single months ago made me feel even less excited for the release, tricking me to believe the whole album would sound like that song.

Have I angered enough diehard fans yet? Well, put your pitchforks away, because I still enjoyed this album overall. It just took me a little longer than I was anticipated, which I feel will be the same sentiments of most people who listen to this album. Gilmour yet again proves he is the master, adding another album full of clean doodling to his repertoire. There are enough sections and instruments spread throughout the album that the listener is able to pick out something new with every listen. Whether it's a subtle piano or guitar fill, "Rattle That Lock" will reveal many different arrangements and techniques as you listen more and more. The overall tone of the album is reminiscent, as if recalling his entire life in the span of fifty minutes. With the help of his wife and poet Polly Samson, much of the album acts as glimpse into the life of David Gilmour. With the melancholic soundscape and monologue of "A Boat Lie Waiting," to the fire crackling at the album's closing moments, you cannot help but feel we have been sitting in on a fireplace discussion of the man's life. That sentimental delivery makes "Rattle That Lock" a unique experience.

(On a side note, that instrumental outro to "And Then?"? Who here could listen to an album of David Gilmour simply dabbling on the guitar for fifty straight minutes? I sure can. How beautiful.)

There are two great songs on this album: "Dancing Right In Front Of Me" and "Today." The lighter intro to "Dancing Right In Front Of Me" toys with the listener, but is broken up by the deep rhythm guitar in the song's chorus. There's even an amusing piano pattering in the bridge section. In fact, this song particularly reminds me of Steve Hackett's "Wolflight" in its approach, and is probably the reason I enjoyed this song so much. The song "Today" is the closest thing to a Pink Floyd sound since? well, Pink Floyd. With a choral introduction, the album quickly shifts to an "A Momentary Lapse Of Reason" sounding, very 80's synthesizer-backed arrangement with plenty of female backing vocals. I think for that reason alone I really enjoyed this song. If you want to trick your kids into thinking they were listening to Pink Floyd, I'd definitely play this song.

After enough listens to merit a critique, I had one concluding thought when listening to "Rattle That Lock": I wish Pink Floyd was still a band. David Gilmour provides some good tunes to listen to with this album, being his first release in almost a decade. Unfortunately, it still lacks that "oomph" that made him a star. Just as when I listen to a Roger Waters' solo albums, I cannot help but feel that although they are both very talented musicians, they both made each other even better when together. So as I hope David Gilmour wasn't lying when he said Pink Floyd are officially over, I will have to listen to the numerous almost-masterpieces of post-Pink Floyd musicians.

Taken from crashandridemusic.com

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Rattle That Lock
David Gilmour Prog Related

Review by octopus-4
Special Collaborator RIO/Avant/Zeuhl Team

2 stars One word reviews are not allowed, otherwise I would have written "disappointing". I'm sorry, but Sir David has not satisfied my tastes for the first time in his long career. Listening to the sample of Rattle That Lock released on his site few months ago I was expecting at least an album as good as About Face, but what we have is mainly discontinuity. I hate fading out finals of songs, and almost all the tracks fade out. The few spare guitar riffs seem to have no feeling, and that "feeling" was one of the best Gilmour's characteristics. Ok, there's some good. The Girl In Yellow Dress is as good as unexpected. A jazz song but it could have been Sting....well, not so bad (I don't like Sting). Good but outplaced. A full jazz album would have had its reasons, but this song is totally isolated from the context. If you decide to go for the version with the extra contents, please avoid the disco mix of "Rattle that Lock". It's absolutely the worst thing I have ever listened from Sir David....well, not really listened because I didn't resist for the whole length. If few years ago he did some interesting approaches to electronic and disco mixes in the very good album with The Orb, this mix is a total rubbish, also because the title track is poppy but not bad. The rest of the album has good moments here and there, so that it won't be a total waste of money, but this is not what I would expect from an artist like him. If this will be (I hope not) the last output of his career, there could have been dozens of better ways to close it. Just few words about the sax. We can appreciate that this is not David Gilmour's best instrument, but he plays it quite well and the work done on the mentioned "Yellow Girl" is one of the few highlights of the album. There's some good guitar "as we expect" in the opening and in the closing tracks, so it's not an album to throw directly in the bin. It's just that from David Gilmour I would have expected very much more
 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Rattle That Lock
David Gilmour Prog Related

Review by Aussie-Byrd-Brother
Special Collaborator Rock Progressivo Italiano Team

4 stars With finally laying prog juggernaut Pink Floyd to rest to the tears of a billion and one rock fans around the world, former front-man and guitarist David Gilmour now positions himself to commit fully to a more low-key yet very worthwhile solo career. 2015's `Rattle That Lock, coming nine years after his previous sedate work `On An Island', has the musician offering ten tracks full of variety and inspiration, and despite mention from the man himself of a loose concept about "thoughts and feelings that all of us have in the course of a single day", it's more a collection of tunes peppered with similarly gentle observations and reflective thoughts that tie them together. Do not get confused - this is not much of a progressive rock album, and there's only a few sections here and there that remind of his former band, but it is a highly intelligent, reflective and melodic mix of blues, mellow contemplative rock, folk and light jazz. Oddly, despite often being melancholic and pensive, it also occasionally presents more upbeat and up-tempo pieces than might be normally expected of the artist, and it's a joy to hear David's voice sounding more relaxed, warm and freed than ever before.

Opening instrumental (yes, there are three of them on this disc, prog freaks!) `5 A.M' is a drift of ambient synths, delicate orchestration and Gilmour's heartbreaking guitar ruminations. The title track `Rattle That Lock' is an instantly enjoyable foot-tapping up- tempo bluesy strut with a great raspy lead vocal, a catchy melody and nice murmuring bass throughout, then ghostly pindrop piano and groaning accordion wafts through the despondent `Faces of Stone'. In just over four and half minutes, `A Boat Lies Waiting' calls to mind different eras of Pink Floyd - Gilmour's carefully weeping slide guitar intro harkens back to `The Division Bell', the murkier and beautifully wounded piano over field recordings of nature that follows instantly reminds of Richard Wright and the `Ummagumma' period, then uplifting soulful group harmonies from guests David Crosby and Graham Nash lift the piece to the heavens. The bluesy `Dancing Right in Front of Me' closes the first side and saunters from playful to downcast with lovely jazzy interludes.

Floyd fans will love the heavy guitars, dark lyric and brooding mood of `In Any Tongue', where the steady plodding drums would make you think the Nick Mason of the later Floyd albums had dropped by. Instrumental `Beauty' dashes through a range of ideas, initially opening with ambient synth drones, call and respond piano and guitar contemplations and careful percussion rises before picking up into tempo and taking flight with slow-burn guitar solos, and it's probably the closest the album comes to a progressive rock moment. Ex- Soft Machine founder Robert Wyatt guests on sultry and laid-back old-time jazz saunter `The Girl in the Yellow Dress', and his cornet soloing makes for a very evocative and memorable diversion. After opening with an unexpected gospel vocal arrangement, the surprising `Today' reveals itself to be a sleek up-tempo subtly grooving Peter Gabriel- esque pop/rocker, with ex-Pink Floyd player Guy Pratt's thick bass snaking between slinking New Wave 80's King Crimson-era metallic guitar jangling. Instrumental closer `And Then...' is a thoughtful guitar, electric piano and orchestral come-down to close the album in a tasteful manner that would have felt right at home on Pink Floyd's `The Division Bell'.

It's a relief to find Gilmour emerging with far more than simply his dignity intact here, if anything he sounds inspired and excited that the pressure of `that band' is past him now, leaving him free to offer more personal and approachable music without sacrificing intelligence and sophistication. The album is hardly some tired old man going through the motions, or worse, a collection of useless cover versions like so many `oldies' acts offer these days, and it's not a `guitarists solo album', with Gilmour resorting to endlessly dropping epic guitar solos as may have been expected of him. David has delivered a smart work full of rich variety, and `Rattle That Lock' might not only be more interesting than the surprise but welcome and reliable Pink Floyd swansong `The Endless River', but it could perhaps be his most satisfying and varied solo release to date.

Four stars for a mighty fine rock album from one of the most influential and important musicians in progressive rock.

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Rattle That Lock
David Gilmour Prog Related

Review by Imperial Zeppelin

2 stars Even with me being a big Pink Floyd fan, I never cared much for David Gilmour's solo material (or any solo albums from the other members for that matter) and this album here isn't changing my opinion. That is mainly because this album isn't really anything different from what we have seen from David. He seems to be comfortable with what he's doing and is not willing to change up his sound and shift it into different directions. We have the typical mellow rock music accompanied by atmospheric instrumentation cantered around Gilmour's bluesy guitar backed with a group of vocalists and Polly Samson's lyrics. As someone who isn't quite fond of this sort of style is particular, this album gets tiresome very quickly for me. I don't feel like I get the emotional impact the album is trying to impose. It doesn't really feel any different than On an Island. Although that one had Richard Wright on it so we had a bit of that Division Bell era Pink Floyd sound which I'm actually fond of in a way. I think On an Island is a mellower and a more laid-back album than this one. Rattle That Lock seems to be a bit darker, but still nothing darker than what we have seen from the Floyd.

Some of the standout moments on this album like the track Faces of Stone, which features one of the best guitar solos on this album. Speaking of guitar solos, this album has let me down with the solos. I mean where are my heart-piercing solos? The solos are there, but they are just not doing it for me. David has loads of better solos than these. Another nice track is the jazzy The Girl in the Yellow Dress which has Robert Wyatt playing the cornet. It felt like a pleasant surprise on the album, and it was a good change of pace. The track also features a certain Bob Klose which was the lead guitarist of the band that would later be Pink Floyd. The closing instrumental is not that bad too, much better than the other two instrumentals that landed on the album.

All in all, this album does not have much that hasn't been heard before. If you liked On an Island, there's a big chance you'd like this album too. If you don't like On an Island, however, don't even bother with this one.

Also, that album art is absolutely horrible. For Reals. We miss you Storm, we really do.

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Rattle That Lock
David Gilmour Prog Related

Review by jude111

1 stars I was so disappointed in The Endless River that I had high hopes (pardon the pun) for Gilmour's new album, figuring he must be saving the good stuff for that album. But while The Endless River had 2 tracks that I enjoy (It's What We Do, Louder Than Words - both of which are nonetheless woefully under-developed), Rattle That Lock has nothing here. When the title track first dropped, I couldn't believe how bad it was. (The disco "dub" version is so much worse; it's not "dub" at all, and it's not nearly as funky as it thinks it is; too bad they couldn't get Daft Punk to do a remix, they could've properly funked it up.) The next single, "Today," is even worse. The opening and closing tracks, which are the same song - basically, Dave playing simple chords on an acoustic guitar, then soloing over it - are truly embarrassing. I've done stuff like that, but I'd never let the world hear it.

And so it goes, from one awful and misguided song to another. Even a "jazz" track! Seriously?!? Fine to do it live (like when Gilmour sang that Bizet opera and "Hushabye Mountain" on the excellent DVD "David Gilmour in Concert"), but something like that should never appear on a proper studio album. Let's just say that "The Girl in the Yellow Dress" shan't be entering the jazz canon. I don't expect Cassandra Wilson or Dee Dee Bridgewater to add it to their repertoire, and the reputations of jazz songwriters like Irving Berlin, the Gershwins, Cole Porter, Howard Arlen et al are quite safe. (As for the video for that track, I highly recommend heading to Youtube and checking out the "clip officiel" video to the jazzy track La Seine by Vanessa Paradis & M. The difference in quality should be immediately apparent.)

The only track that I consider to have had potential is "A Boat Lies Waiting," but unfortunately it never goes beyond its two chords; and just when you expect it to get going, it ends. "Faces of Stone" is basically "Murder," but played in a minor key. Same basic chords (D minor now instead of D, to Am instead of C), same basic strumming patterns. Just not as interesting vocal wise or musically. "In Any Tongue" will immediately remind most of "Comfortably Numb." But as with "Faces of Stone," it's not even in the same league. "Dancing Right in Front of Me" joins other embarrassing references to "dancing," such as "A Collection of Great Dance Songs" and the opening lyrics to "Until We Sleep" ("Dance.... to the movement of the stars"). It's just that I've never danced to Floyd or Gilmour, and I don't know anyone who ever has. Frankly, when I want to dance, the last thing I'd ever think of putting on is something by Gilmour, Floyd, or Waters. The word "dance" should never be included in a lyric or song title by Gilmour or Floyd. I thought that much was obvious long before now...

People who loved tracks like Blue Light and Love On the Air might enjoy this album. But while every previous Gilmour album had several fine moments (There's No Way Out of Here, Murder, On an Island, etc.), there's not a single track on this new album that will enter the Floyd-family canon. Honestly, if you love Gilmour-era Floyd and On an Island (an album which I quite like), you're better off getting Dave Kerzner's recent album New World instead, which not only channels Floyd's sound, but also has amazing fully-developed songs with the kind of beautiful melodies that Gilmour, Camel, and Octoberon-era Barclay James Harvest used to write. I spent around a month or more with Rattle That Lock, trying to find something to like (but failing); I don't anticipate ever listening to it again.

[I keep writing reviews like this, then deleting them, because it's quite painful, and I do love Gilmour so. I think that's why even now, only 2 or 3 people have bothered to review the album. For the rest, it's just too... painful.]

 Rattle That Lock by GILMOUR, DAVID album cover Studio Album, 2015
3.27 | 136 ratings

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Rattle That Lock
David Gilmour Prog Related

Review by SteveG

3 stars Some things, aside from scotch, do age well.

Rattle that lock is the forth solo album from renowned Floyd guitarist David Gilmour. And folks, it's not bad. Not bad at all.

Everyone by now should know the bombastic single and title track and I'm happy to say that Rattle That Lock is not representative of the album's other songs. Most of the tunes are in a slow tempo blues groove and display some of Gilmour's best guitar work outside of Pink Floyd. The Endless River sessions must have rejuvenated Gilmour's drive and this album does contain some signature Floydian motifs such as background dialogue and the now familiar opening 'Fanfare' of an instrumental Gilmour launching the album with a bluesy/jazzy guitar opener underpinned with Rick Wright like synths called 5:AM before Gilmour and company launch into the title track proper.

After the funk of Rattle That Lock dies off, David sings convincingly on Faces of Stone and A Boat Lies Waiting, two of three songs that sound like they could be cuts off his last album On An Island, in that Mrs. Gilmour has penned some more "bless this day" lyrics to go along with these mid tempo songs. The main difference is that David actually sounds enthusiastic about these songs and shows it with terrific guitar playing with vocals that actually have life in them.

Dancing Right In Front of Me returns Gilmour to a blues shuffle which is broken up nicely on the following song In Any Tongue. An anti war themed number that lacks the gravitas of lyrics penned by Roger Waters, but shows off Gilmour's majestic electric leads on the song's coda that rivals some of his finest moments with Pink Floyd and are the album's highlight.

Beauty is another instrumental that features Gilmour again on pedal steel with more Floyd like guitar riffs and tone with synths and piano again underpinning the song. Gilmour still conjures up more wonderfully melodic lines and clearly shows that his nearly seventy yeas of age have only added to his abilities to compose tasteful licks.

The Girl In The Yellow Dress is a corny jazz pastiche that comes complete with brushed drums, steamy sax and lounge lizard keys courtesy of Jules Holland. It's the album's low point.

Today is another Polly Sampson "bless this day" song with the word day actually in the lyrics this time. Gilmour lays down a funky bass groove that's almost irresistible along with soulful female vocals, that really saves this tune from being another boring castoff from On An Island.

The album closer is another instrumental with a wistful longing quality that again show's off Gilmour at his best. One great ascending guitar note after another until the song dissolves in a wash of acoustic guitar notes and the only sound left is that of a crackling fire.

In the canon of Gilmour solo works, I rank this third after his self titled debut and the follower About Face, but place it ten steps further up the hill than On An Island. If anyone was expecting something new an exciting from Gilmour, well, that's being a bit optimistic, to say the least. Is this album essential for Gilmour and Floyd fans? I think not, but you could do worse as it's better than The Endless River by leaps and bounds. 3.5 stars, actually, due to the album's punchier production than On An Island.

Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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