A Momentary Lapse of Reason

Freed from the controlling influences of Waters, David Gilmour dominates this album - he wrote or co-wrote every track, took up the mantle of lead singer, and did much to prove himself the greatest guitarist in the business. One can read certain things in the album title and some of the songs (e.g., Sorrow) about the whole Pink Floyd turmoil of the previous years, but the main problem with this album is its seeming lack of a unifying theme. There is unquestionably a great deal of intensity in the words and music, but there's no real depth. To me, the whole album has an artificial feel to it - especially compared with the Waters-dominated Pink Floyd releases. There are no bad songs on this album (although some Pink Floyd fans don't think very much of The Dogs of War), but few seem to work up any real emotion. One can get a feel for this in the opening instrumental track; there may be Signs of Life in the initial sounds of plodding movement through water, but these are lost in a cacophony of artificial voices speaking unintelligibly in the background. I have to admit that I don't always understand what Gilmour and the guys are trying to do in some of these songs.

Learning to Fly is somewhat pop-oriented track that succeeds quite well, but the first real magic is to be found in the song On the Turning Away. This track about man's lack of concern for his fellow man also features some amazing guitar work by Gilmour. Gilmour's finger work basically carries the second half of the album, one rendered somewhat obscure by the long instrumental Terminal Frost and its musical A New Machine bookends. The album closes out impressively, though, with Sorrow. This is the most emotionally compelling song on the album, and it opens with David Gilmour doing what he does best.

I can see how some Pink Floyd fans don't really care for this album. It's very different from what had come before, and the song lyrics don't really compare to those written by Roger Waters. Still, this is Pink Floyd - maybe not the Pink Floyd we wish we still had, but 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.

Hang on a moment, we had had no Floyd for years then all of a sudden we have more activity than something which is very active. Roger was following his own dream world with Pros & Cons, diverging from his bleak melancholy state and to venture into something quite unusual. Now here was Gilmour and Mason with Wright in toe proving that they equally had a right to the name Pink Floyd. The legal battles continued but us fans didn't care, we had Waters and Floyd.

OK, with Waters now out of the main picture, the Floyd could continue true to what fans would expect of Gilmour/Mason/Wright: great music. First and foremost was the great music. This was there first true musical adventure since Wish You Were Here (1975). What did surprise a lot of people was Gilmour's lyrics. It was like a reincarnation of Waters. They were sad (One Slip: about an unwanted pregnancy), untrusting (Dogs Of War) and cold (Sorrow). Gilmour admitted that some of Roger had worn off on him. Thanks Roger. Could us fans love a too happy Floyd, I don't think so.

This album to me sounds like a more joyful version of Animals (without Wright's superb piano) crossed with the moodiness of Wish You Were Here. Of course there is more to this album than that but it is not a smooth as David Gilmour by Gilmour (1978) or as barren as The Final Cut (1983). Indeed this album is almost seductive in parts. Look no further than Terminal Frost with its beautiful saxophone.

A good portion of the tracks from this album found there way onto the live album Delicate Sound Of Thunder but apart from Sorrow none are improved on. Sorrow also appeared on Pulse and again this is a superior version. It is my favourite track from AMLOR.

There are several more stand out tracks which include One Slip, On The Turning Away and Yet Another Movie.

This is a great chill out album. It is best heard in the dark, then again most Floyd albums are, but I ignore my wife when she says the power should be cut off too.
Just one final note. If you were wondering who plays bass on the album, it's the legend that is TONY LEVIN.
Thanx for reading this.