How is that Gilmour solo record?
I need to listen to it more for a better reply, but here's my initial impression (and mind you, this comes from when I first heard it, which actually was right about the time it was released. I had it on CD, but mailed that to my bro', so he could hear it, and consequently, I haven't listened to it in a while, actually).
I can just imagine a bunch of people out there complaining that it sounds as exciting as the elevator muzak piped into an old folk's home. And I think David is an old folk, I mean, he is getting on, as they say. And I think he's mature enough to know better than to try and impress the young folks.
The results are a slightly mixed blessing, but I have a feeling that with repeat listens, this album should go down in history like the finest of wines. Number one, it is the smoothest, most exquisitely produced sounding music I've heard in a while, my "first favorite" track by far is the title track - which begins at Track 2, after the equally -exquisite intro (a typically Gilmouresque preface to the album proper).
The album really is a smooth and soothing recording, and the only time it ever "lifts" out of that mellow context is on (I think it was) Track 4, "Take A Breath", which suffers exactly from the old "trying to cop on the post- Floydian sound of AMLOR and TDB": he would have done better by fully avoiding this, imo.
See, the album shines most when it actually does depart completely from the bombast of post-Floyd, and settles into the beautifully mellifluous tones of strictly post-Gilmouresque sweetness. Had he chosen to eschew tossing us even one single Floyd-bone, the album would've improved.
The title track is a masterpiece of post-rockish collaboration, featuring none other than David Crosby and Graham Nash on vocals. What you have here is that rarest of rock treasures, "Crosby Gilmour & Nash", or (when you get down to it), Crosby Floyd & Nash, which is something of a treat (I must say). The album is chock-full of truly beautiful guitar passages that no other human currently alive can touch.
So, I don't know what to tell ya man. The thing is, it's alternately squeamishly-boring to the point that some might feel it can serve no purpose other than to put you to sleep; while on the other hand, some might counter -- Is this such a bad thing?
I mean, we'll put on an Eno album of ambience and not complain about it, right ? So why can't Gilmour produce a soporific album to chill to during "down time" -?
So I can totally relate with those who might outright hate it; but I like to take it in stride as a collection of smoothly produced mellow tunes played with exquisite professionalism, from the most emotive guitarist this side of Santana.
Decidedly NOT an album you'd put on at a party - -but what Floyd album is, I ask-? (The answer: none. PF is as much a party-killer as the new Gilmour, shouldn't come as a surprise)
Bottom line: I think it's very good, indeed. And I really look forward to re-discovering it in a far more intimate context, now that I have it on vinyl, as it should be.
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P.S.
The vinyl gatefold itself is simply beautiful. A total throwback to mid-70s ethics and style. Like it emerged from a time-warp, sent from a pocket in space from 1972 - say, right after Meddle but before DSOTM was released. If and when one is prepared to fully let go of their youth-crazed excesses in music-appreciation, I would wager this album is a keeper for one's twilight years. Extremely soothing and pleasant to listen to, if a tad maudlin and overtly sentimental at times. It's just, those qualities are precisely its strengths.
