Post by jptheprofessor on Jul 13, 2006 22:21:39 GMT -5
DAVID GILMOUR – ON AN ISLAND (Columbia) There seems to be a calming, atmospheric consistency to almost everything David Gilmour has done to date, from his contributions to Pink Floyd’s legend to his own solo material. So it shouldn’t be a surprise that Gilmour’s third solo album and first in 22 years, On An Island, is another laid-back, mellowed-out affair on the surface. There’s no agitated Roger Waters counterpoint here, and listeners entering this album expecting the drama of Dark Side Of The Moon or The Wall might hastily dismiss this set as a yawner. But repeat listens to the album will reveal several things. First, this is a more tranquil and pleasant affair than Gilmour’s other two solo albums, and certainly more upbeat than his last outing with Pink Floyd, 1994’s The Division Bell. There’s a more romantic tone to the album, with Gilmour’s wife, Polly Samson, assisting with lyrics and piano. The overall mood of the album is serene and ethereal. Second, Gilmour reveals musicianship beyond just guitar; also playing keys, trumpet, saxophone, bass, cumbus (a Middle Eastern instrument similar to a banjo) and percussion. The presence of a number of guests, including Phil Manzanera on keys, Georgie Fame and Pink Floyd bandmate Richard Wright on Hammond organ, Jools Holland on piano, David Crosby and Graham Nash on backing vocals, plus occasional strings, fills and fleshes out the album’s sound, and gives depth and elegance to the mix. And third, at least a few embedded tensions reveal themselves after repeat listens. Gilmour still knows how to use serenity to set up for his stormier guitar solo displays, demonstrated best on the title track “On An Island.” “Take A Breath” shows a sharper edge, its rougher guitar chords even hinting at early Pipers At The Gates Of Dawn-era Pink Floyd. Also curious is the blues-driven workout “This Heaven,” displaying a different side of Gilmour’s musical personality. The variety of musicianship and the fleshed-out arrangements make this an interesting album in spots; however, the melodies are often not strong enough to sustain the listener through the dominant ethereal and dreamy-sounding passages. And the moments of tension and edginess are a little too sparse to effectively interrupt the album’s prevalent slumber. On An Island shows us a content David Gilmour defining his current serene musical mood. But ultimately, the album shows us that Gilmour is still most compelling when he is forced out of the comfort zone, and Pink Floyd connoisseurs will again miss the push and pull tension between Gilmour and Roger Waters that defined Floyd’s most legendary works.