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Yes All Lovers are Deranged. I never listened it back untill I found it on spotofy. I was lucky I had a cassette recorder at that time. And I was the only in my circle of friends who had it, wow! When the host said that Jeff Porcaro did the arrangements I thought to myself, this is gotta be good. What a masterpiece it was. I think Dave should try to play it again live. Dreadful album. Dave ran back to the Floyd brand after this flop.

I have always liked this album a lot. Dave has always taken his music seriously, and this album seems like he was able to just let loose a little.

Being a lifelong guitar player I've always been drawn to David's inimitable style and technique on the instrument but I find his unique vocal delivery equally magnetic. I'm one of those who actually found a lot to admire about the post-Waters version of Pink Floyd and I attribute much of my attraction to the dominant presence of Gilmour on that reinvigorated lineup's two studio offerings. There's something quite comfortable and effortlessly enjoyable about how David goes about his business, adding a touch of class to everything he's a part of whether it's a cameo appearance on a Supertramp album or a solo project like this one.

I realize that many proggers despise "About Face" and I truly understand why they feel that way but I don't know that Gilmour could've manufactured anything better considering the bipolar state of mind music was in during that time period. He did the best he could in the dire circumstances he and other middle-aged progmen found themselves in and one should keep an open conscience when listening to it in the 21st century.

Case in point is the curtain-raiser, "Until We Sleep. It has no hook of note, no discernable lyric content and, unfortunately, it pollutes the atmosphere the remainder of the tracks have to breathe in. Try not to condemn the whole album by the shortcomings of the first tune, thereby giving up on it too early.

There's a few diamonds to be found in the roughage and the first of those is "Murder. I like the sharp edge that perches on Gilmour's voice when he's mad. The track then slips into a jogging shuffle wherein he takes out his frustration on his trusty axe. It's a cathartic experience. That makes it sound more anemic than it is because, in its defense, David lets the number flow and evolve naturally without forcing the issue.

It has a slight British Country flavor that's charming in a quaint sort of way and it fits Pete Townshend's heartbroken lyrics appropriately. He fails miserably. Speaking of Winwood, his growling Hammond organ ride is the sole bright spot but it's not worth sitting through the entire tune to hear.

Skip ahead. As I said, David has his moments of grandeur and "Out of the Blue" is one of them. A beautiful ballad incorporating an involved orchestral score that majestically colors the verses, he expands the scope to massive depths on the bridge and that gesture makes me want to forgive him for his earlier trespasses.

The lyrics bring to mind how the ancient Greeks must've felt about their fickle deities. Another treat comes when Gilmour gets jiggy with the whammy bar at the end. He darn near snaps the thing off. Someone Lets Get Metaphysical - David Gilmour - About Face (Vinyl talked him out of that blunder because the intriguing orchestral injections are cool and his fierce guitar lead is excellent. My apologies, David, but I call 'em as I see 'em.

My advice? Stop the soprano crap. Yet his grossest misstep Lets Get Metaphysical - David Gilmour - About Face (Vinyl this platter is "Cruise," a puttering tugboat of a song that has no rudder but plenty of stupid lyrics. One of his kids? A button on his steering wheel? Even though he beefs up the choruses to make it seem like something is happening he was grasping at straws when he went Jamaican reggae at the end.

That ever-safe but boring ploy so popular in the 80s did nothing for me then and it never will. I take it as a blatant affront. He should be ashamed. Thank heavens he goes out with some dignity! The last two tracks save this album from eternal ridicule. The instrumental "Let's Get Metaphysical" clever moniker, that begins with a splendid symphony pouring its heart out, then Gilmour's guitar comes streaking into the concert hall like a shaft of sunlight igniting the hovering dust.

This stunning piece detonates like peals of thunder but eventually settles onto a serene meadow. The aptly- titled "Near the End" is a case of David's typical melancholy working like magic and the tune's haunting aura foreshadows the soon-to-be-resurrected LP Floyd sound. When Gilmour lets his prog monster reign over his creativity as he does here one can get lost in his dense, drifting synthetic clouds and allow oneself to be serenaded by deep, cavernous oohs and ahhs, a pleasure I never get tired of.

It's also a delight to hear how he switches from acoustic guitar to electric without a seam during the extended fadeout solo. I only wish the rest of "About Face" was this satisfying. The 80s didn't do anyone except hairspray and pet rock manufacturers any favors and this particular guitar hero was no exception. The bratty New Wave generation had no respect for prog rock and insisted on changing things for the sake of change, preferring to be optically amused rather than aurally challenged and it led music into an abyss that it is only now starting to crawl out of.

Figuring out what the confused common folk cared to hear was a wild shot in the dark and poor David was flying blind without a compass. Even he admits that he didn't have a clue when he made this record and it shows. I guess I should be amazed that it's not a total disgrace. For the glimpses of brilliance he displays I am grateful, giving it the lowest rung of the 3 star rating. The album is dated to the 80s and this is its weakness, but I have to say that technically speaking it has been one of the best releaases in the 80s.

Also a remarkable exhibition at Rockpalast featuring the Mike Oldfield's percussionist should be available somewhere. The opener is just a rock song on which Gilmour's guitar is the only thing that reminds to the Pink Floyd's sound.

More similar to what Gilmour was doing in other's albums like Bryan Ferry's Boys and Girls during that time. Far from things like Fat Old Sun, but not bad at all. Ok, we can forget Gilmour as lyricist, but the song is good and Palladino's fretkess bass a mode in the 80s makes a good work. Surely not a track to be skipped. A good pop song. The funky of "Blue Light", the hit single from the album seems distant from Pink Floyd at a first impact, but if you think to things like Run Like Hell this is not so far.

Side B starts as Side A. This I think is the best track of the album. Closer to the sounds of Gilmour's solo debut. The coda is the only concession that any Pink Floyd member has ever done to the Reggae music.

Also this was typical of the 80s, but the result is not too bad, specially thanks to Jeff Porcaro's work on the drums. I'm used to consider the last two tracks as just one. This song is about growing old. The same theme of songs like "Free Four" or "Time" with an acoustic guitar that reminds to Roger Waters It's possible that this song was written before the breakdown following The Final Cut.

This album is not a masterpiece but is well played by very skilled musicians. The songs are musically not bad, even though the arrangements are deeply inside the 80s and we Album) know that before High Hopes Gilmour was not famous for his poetry. I have to say that I still listen to it sometimes. It represents an anticipation of the future Pink Floyd's works. Effectively A Momentary Leapse of Reason is made of songs that David had written for his next planned solo album.

But we, Pink Floyd fans, at least the reasonable ones, will agree that both contributed to the band sucess don't you ever forget the great Richard Wright. Not the individual pieces. Hidden categories: Use dmy dates from October Use British English from June Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers Articles with MusicBrainz release group identifiers.

Namespaces Article Talk. Views Read Edit View LP. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version. Wikimedia Commons. David Gilmour About Face On an Island Pete Townshend. Germany Media Control Charts [14]. Norway VG-lista [15]. Sweden Sverigetopplistan [16]. Switzerland Swiss Hitparade [17]. US Billboard [18]. The Billboard Hot [19]. Or something like that. I've even half thought of doing a single-CD comp of the best tunes from each of these two albums, alternating songs from each album.

Never got around to it, though -- maybe someday. It amazes me that Gilmour felt he needed outside help on the lyrics for that album when he did a pretty good job by himself on About Face save the two Townshend songs, of course. KymDec 20, Location: Portland, OR. PennypackerDec 20, Location: The Berkshires of New England. What's the preferred CD version for those that like this album?

SimonSaysCakeDec 20, Location: Leeuwarden, Netherlands. SytzeDec 20, Location: Irvine, CA. Location: NH. I haven't actually listened to About Face in years but I remember that the live versions I heard from Gilmour's tour were more impressive than what came about in the studio. Perhaps I'll revisit this album over the weekend.

Barnabas CollinsDec 20, ScramMan2 likes this. Location: Milton, Canada. I'm waiting for the "Blue Light"-Free edition!

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