It is reasonable for me to state that the overwhelming purpose of this little website of mine is to promote independent artists, a lovely eclectic mix who create intelligent music often as a labour of love and fighting against the tide of the corporate culture that is all pervading.
Mr David Gilmour is not one of these artists. Quite frankly, as a recording artist of not far short of sixty years now, and a member of perhaps the biggest progressive rock band of them all, he would likely not give two hoots whether my opinion of his music were good, or bad, and I am certainly enough of a realist to know that my musings on his fifth solo album, Luck and Strange, will not make a blind bit of material difference to his sales.
Having said that, I do still regard myself as primarily a fan of quality music, not a “professional” reviewer, and I have everything this superlative, legendary, musician has put out, and I have been writing about his music for several years now, and this, therefore, was both an essential purchase and target of my keyboard musings.
So, let us first get one thing out of the way, the slightly negative bit, if you will. The press puff surrounding this release quoth the great man himself “the finest recording I have released since Dark Side of the Moon”. Well, this is a mighty fine album, a joy to listen to, but it is not, I am afraid, superior to WYWH, Animals. The Wall – you get my drift, and I rather wish that a modest man at heart had not allowed the PR machine to spout such cobblers.
This album is a grower. When I first heard it, I expressed an opinion to fellow Progzilla Radio presenters that I wasn’t overly impressed. I am glad I persisted, and I believe you will be too if you have not yet taken the step of investing in this product.
We have nine “regular” tracks on the album, plus “bonus” tracks.
Black Cat is a typically atmospheric short intro to the main album. A classic spacey feel of late Floyd, which could have appeared on either AMLOR or TDB.
The title track follows. Again, to these ears, this could easily have appeared on TDB, a nice blues infused number. The guitar playing is supreme, and, indeed, this is a comment which deservedly bears repeating throughout the work. On this, there are some signs in places of the legendary voice struggling to hit the higher notes of yore. Lyrically, Gilmour, and his lyricist wife Polly Samson, want it all to go on and on, so this is the initial interesting meditation on mortality, the overarching theme of this fine album. As it develops, it is very catchy, and really very good, and old Floyd heads will treasure the twinkling contribution from the late, great, Richard Wright, this from a jam session.
The Piper’s Call is the first single released, and is embedded below for you. It is a slow burner, building in intensity as it goes along. The road to hell is paved with gold – is this a commentary on his incredible wealth and its potential impact in the hereafter? Certainly, that wealth has massively increased with the recent sale of rights to Sony. The drums work on this is exceptionally strong, and the Gilmour solo as it closes is stunning.
A Single Spark is a dreamy track which takes me back to his work around Meddle & Ummagumma period Floyd, namely understated blues psychedelia. There are some lovely choral voices. This is music to drink and relax to. The guitar solo is dreamy.
Vita Brevis translates as Short Life, and, in the context of the universe, it is. Something which clearly, then, builds on the overarching theme of mortality. Romany Gilmour, David & Polly’s daughter, who we shall hear of more, plays the harp on a beautifully concise meditation.
So, turning to Romany, Between Two Points, a song adapted by Gilmour from the original written by The Montgolfier Brothers, features her on lead vocals. She and the song have been rightly lauded. It is clearly a strong contender for track of the year on this and every other considered review site. Her voice is simply beautiful, and hers is the magic on this album. A stunning performance, this is embedded below. The guitar solo oozes with emotion. Dad is clearly proud of his girl, and the performance rises to that emotion.
Dark & Velvet Nights is a harsher, heavier classic rock infused song, and I love the Hammond which provides a distinctly dirty feel to proceedings, before we get a very sad passage with the orchestral sounds before the pace picks up again, an urgent intensity to the symphonic rock, the percussion especially blunt. Exceptional, something which will be listened to for many years in this household.
Sings is a melodic love song, Gilmour singing of wanting to stop time, news, life rushing forward, and simply bathe in the love of his life. He and Samson clearly adore each other, and it is a truly healthy, passionate adoration. The song is classic Gilmour, a very touching song of the type that Waters would be incapable of writing, certainly now, if ever.
Scattered is a longer track. It has a ponderous start, developing into a jazz infused orchestral piece. Gilmour’s voice is beautiful, with some classy acoustic guitar work which is again very reminiscent of TDB. Was it written in that period? The electric guitar then takes precedence, a deeply brooding solo fusing elements of classic and latter Floyd. Definitely one for the fans!
There are a couple of bonus tracks on the CD, and regular readers know I rarely comment in detail on these. I fail to see why they are not simply tracks on the original release, but Yes, I Have Ghosts is worthy of discussion with a Romany harp and singing a gorgeous duet with her dad. It really is lovely, the violin adding so much to the song’s texture. A mournful piece reminiscing, and it is interesting that he refers to not all his ghosts being dead. A reference to a certain Rog?
As I indicated at the top of this review, this will do well whatever I say, but it is a fine album, and if it does turn out to be his swansong (although he is promising another “immediate release” following the ongoing tour), it is a fine way to finish.
This year, we have been blessed by superior releases by both Jon Anderson & Gilmour.
Not a bad old life, is it?