Once again, I've pulled together this handful of reviews going over the five solo albums by Pink Floyd guitarist David Gilmour. It's an interesting set of albums, as it took a while for him to find a voice that wasn't just Floyd-adjacent, but I think he got there, in the end. Being more of a musician than a writer, he relied on others to help write the lyrics, but his iconic guitar playing is the main reason to listen to these anyways (as if you didn't know that already). Consider this a companion piece to my Pink Floyd retrospective and enjoy all my reviews of this iconic guitarist's discography.
(originally reviewed March 10, 2023)
Sometime after the release of Animals, David felt like he wanted to do something on his own, and the result is his first solo album. Understandably, it sounds like a 70s version of A Momentary Lapse of Reason and The Division Bell. While he does get some help with drums and bass, and brings in the classic female singers on a few songs, it's very much Gilmour's show, and that's perfectly fine by me, as I've always loved his guitar playing.
To say that it sounds like Pink Floyd might feel redundant, but there is a difference here that can only be described as a more content tone. Gone is the tension and anxiety of Animals and The Wall, in favor of something that's more chilled and laid back, with maybe a dash of aloofness. However, that describes Gilmour to a T, if I'm being honest. So perhaps there aren't any surprises, but what isn't there does help elevate this album as feeling more than just some Pink Floyd b-sides. It just kinda grooves along pretty easily. The synthesizer-heavy "Deafinitely" is probably the closest to classic Pink Floyd the album gets.
Of course, Gilmour is on point with is playing. There are plenty of blues riffs and licks all over, and his solos are as iconic and beautiful as ever. The album definitely leans into the blues as a whole, as there are bits of harmonica and jazzy organ in there, creating a great mood across the album. I liked the instrumentals "Mihalis" and "Raise My Rent," and "Short and Sweet" was a nice, reverb-heavy jam. While I have listened to On An Island, I found that to be a little too chill, and comparing it to Gilmour's debut, I like the debut more, as it still has a stronger blues-rock backbone to it. While it may not be as grandiose as the material he would be best known for, it's still a very solid album that I enjoyed all the way through.
(originally reviewed May 15, 2024)
After enjoying Gilmour's first solo album for being pretty chill, I expected more of the same with his second. Wrapping up the tense Final Cut sessions, he wanted to pull together a bunch of talent for his next effort, eventually tapping into the talents of Pete Townsend of the Who and Jon Lord of Deep Purple. The result, however, is something very 80s, like somewhere between Bryan Adams and Dire Straits.
To be clear, this is still Gilmour, with his guitar licks and vocal harmonies, but the songwriting goes for more of an 80s movie soundtrack vibe, mixing in walls of synths and some funk sections here and there. It definitely feels like David wanted to branch out and explore some other ideas instead of the moody epic art rock he had been doing. While the results are certainly varied, they're definitely not boring, as the songs shift around in tone. From the hard rockin' of "All Lovers are Deranged" to the cinematic flair of songs like "Until We Sleep," and "You Know I'm Right." Meanwhile, "Blue Light" gets very funky, "Cruise" throws in some reggae at the end, and "Murder" brings back the Pink Floyd vibes, starting as a folky acoustic ballad only to build into something like the angry side of "Comfortably Numb." Unfortunately, "Let's Get Metaphysical" features no Olivia Newton John, but is another cinematic piece as Gilmour plays a slow, melodic solo over a piano and some strings.
In short, it's a weird album with some interesting stuff. Perhaps this effort in more diverse music helped expand Gilmour's songwriting, as I can certainly hear how this evolves into the sound we got on A Momentary Lapse of Reason. I may have to listen to it a few more times to really decide how I feel about it, but it certainly has plenty worth listening to.
(originally reviewed March 14, 2019, revised March 11, 2026)
Despite being a big Pink Floyd fan, I admit that I hadn’t really bothered much with the solo work of any of its members before starting this blog. Of the members of Pink Floyd, I would be most interested in David Gilmour’s solo work, so I decided to give On An Island a shot, as I’d heard good things about it.
As expected, I got a set of some nice, mellow bluesy pieces, full of nostalgic moods and textures. However, I noticed there wasn’t any of the Floyd’s melancholy or bittersweetness, with this one settling in to something more calm and leisurely. It does have its darker moments, but they are often swept away by the breezy, almost pastoral vibes. I personally enjoyed the cinematic feel of the instrumental tracks "Castellorizon" and "Red Sky at Night," while I think "Take a Breath" is probably the best song on the album, with it's near-whispered chorus.
I don’t know if there is anything really mind-blowing here, but I do think I need to give a few more spins before I can really collect all of its pieces. It’s certainly nice to hear Gilmour play his seemingly effortless licks, but the song-writing doesn’t seem to be as strong as the playing. Still, there is plenty of atmospheric production, making this an album that's easy to have on in the backround.
(originally reviewed August 31, 2024)
With a new album coming out next month, I figured I should catch up on this legendary guitarist's solo discography. I've already reviewed his first three albums, so this is the last one left. While On An Island was very chill and pastoral, Rattle That Lock goes for a darker tone.
We're not in Pink Floyd territory (though bits will feel that way with his guitar solos and some of the layering of strings and synths), as this definitely feels like a more personal darkness. The songs end up feeling a bit long with all these slow tempos, but if you can get into the somber headspace it's creating, the time flies pretty quickly. While Gilmour's solos are still beautiful, emotional, and majestic, his voice sounds a little rougher this time around, but he makes it work. The songwriting is interesting as well, leaning often into cinematic ambiance and some jazzy sections here and there.
The album also flows well, but the songs shake things up here and there. I did connect with some of the emotions on "In Any Tongue," and I felt that "A Boat Lies Waiting" is the closest to his previous album. "Dancing Right In Front of Me," gave me some Dire Straits vibes, and the instrumental "Beauty" starts off pretty ambient before getting into some Pink Floyd territory, and I liked both halves. "Today" was a jarring shift, going from a church hymn to this 80s alt pop thing. It made me think it should have been on About Face instead of this album, given how upbeat it was. Overall, I enjoyed a lot of this, and might considering it my favorite of his solo stuff (though I'd have to listen to the others more to really say). It's a shame I didn't listen to this when it came out, as I did know about it, but I guess hearing it now means I get to share my thoughts with you here, for what they're worth. Anyway, I certainly recommend this one as I think it's very accessible and easy to get into.
(originally reviewed September 30, 2024)
So we finally have the latest from this guitar legend. There's been some talk from him about maybe moving beyond Pink Floyd, and getting a producer who has no interesting in respecting Gilmour's past. However, I don't think he can really escape it, especially with an album like this. Once again, David takes us through another bluesy journey, this time with an emphasis on themes of aging and mortality.
Those looking for Pink Floyd vibes will certainly find them here and there. The title track, which features a recording from Rick Wright as a basis, feels like it could have come off of The Division Bell, and "Scattered" references some of the band's 70s ideas, including a heart beat and that reverby piano from "Echoes." As for the rest, the album tends to drift between his last two. "The Piper's Call," "Sings" and "Yes, I Have Ghosts" feel like a folky variation on the songs from On An Island, while some of the darkness of Rattle That Lock shows up on "A Single Spark" and "Dark and Velvet Nights." The latter one actually gets pretty funky. If there's one that maybe feels like an odd duck out, it's "Between Two Points," which is sung by David's daughter Romany. It's an interesting song, but the production feels much more modern, like a contemporary pop song. I didn't mind it, but folks who like their Gilmour material to feel classic may find it jarring.
Of course, Gilmour hasn't lost a step in his guitar work. He still has his tasty licks and legato-style solos, so fans will get their fill for sure. However, I feel like this album was more focused on the song-writing than the solos, and I think it makes the album feel a little more whole. I don't know if I can really compare it to his other albums too well; I'd have to really dig in deep to compare. However, on it's own, it's a solid album that shows how well Gilmour is aging, despite what the lyrics might imply.
So there it is. It's a bit of an awkward discography, as it's hard not to consider them in context of Pink Floyd's history. Still, because there are so few, each one feels like a treat, especially considering the significant gaps between them. Of course, I'm always game for more of his delicate and emotional guitar work, which means he doesn't really have a bad album, in my opinion. However, when talking about a rock star who has been through so much, it's hard to know what the future will hold. Does he have another album in him, or will he join Rick Wright and Syd Barrett in "The Great Gig in the Sky"? Until then, we at least have a solid, if curious, set of albums that I think compare well to Floyd's without feeling like cheap imitations.
No comments:
Post a Comment