CK Retro Review: A Momentary Lapse Of Reason by Pink FloydPosted: January 21, 2014
If there were any doubt about the contrast between the two leaders of Pink Floyd, David Gilmour drives it home on 1987’s A Momentary Lapse Of Reason, the first Pink Floyd project following the departure of Roger Waters from the band. As much of a Gilmour solo album if not more than The Final Cut was Waters’ baby, the album eschews, for the most part wordiness and concepts in favor of the instrumental flights of fancy that were once the band’s calling card. The change in strategy works for half the album before it bogs down in the latter stages.
9. “Yet Another Movie/Round And Round”- Imagine Phil Collins-era Genesis at their fussiest but without the moments of hammy humor or poppy catchiness and you’ve pretty much got the idea of what this slog delivers, even with studio aces Tony Levin and Jim Keltner helping out.
8. “Terminal Frost”- If you’re looking for tasteful if passsionless soundtrack material, then you’ve come to the right place. But you actually bought a Pink Floyd record, so you’re probably quite disappointed with this.
7. “The Dogs Of War”- The one song on the album where the lyrics sort of take center stage is as unsmiling and strident as anything Waters ever spat. It’s not quite eloquent enough to carry that kind of weight.
6. “A New Machine”- The vocoder effect on Gilmour’s voice with the lack of any real instrumentation behind it is a striking effect, but that’s all that’s really here. The two parts of this track are positioned as the bread of a sandwich for which “Terminal Frost” is the meat, making this one of the most askew and forgettable song suites the band has ever attempted.
5. “Sorrow”- It’s got some great playing for Gilmour as well as some lyrics from him that, while a bit busy, are good enough to get by. Still, the whole thing never rises above the moody, airless atmosphere it maintains, making it a closing track that fails to ignite.
4. “Signs Of Life”- Gilmour conjures a “Shine On You Crazy Diamond” throwback vibe on this opening instrumental, which is well-sequenced before the crashing opening of “Learning To Fly.” Rick Wright makes his return to the band with some synthesizer work on the track.
3. “One Slip”- There is a kind of sterile professionalism that was very much of the time that dogs this track a bit, and the lyrics, which seem to be a meditation on the perils of impetuous romance, get clunky here and there. Still, the sweeping chorus cures a lot of ills, and the pinball sound effects at the start are a fun touch.
2. “Learning To Fly”- If there’s a slight quibble with this hit, it’s that the questing, aerial tone of the lyrics doesn’t quite jibe with the lurching rhythm. Only in the final verse, with Gilmour’s voice made to sound disembodied, does that kind of dreamy feel infiltrate the track. Still, this is a focused, well-produced rock song (great backing vocals in the chorus, by the way) that nods to the band’s spirit of experimentation but still stays accessible throughout. And, say what you will about the lyrical content elsewhere on the album, but the words here, inspired by Gilmour’s flying lessons, are excellent.
1. “On The Turning Away”- Writing a message ballad is always tricky business, since things can get sappy real quick. But Gilmour, who wrote the music and got an assist on the lyrics from Anthony Moore, avoids that trap by keeping things balanced between dour realism and tentative hope. The melody is one of the loveliest in the band’s catalog, while the words are humbly poetic and subtly stirring. Gilmour gets the chance for an extended solo rip at the end, all fiery anguish and unchecked emotion. Probably the best song released under the Pink Floyd banner after Waters’ exit.
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