Showing posts with label David Gilmour. Show all posts
Showing posts with label David Gilmour. Show all posts

Thursday, April 3, 2025

David Gilmour-Luck And Strange (2024)

In 2024, legendary Pink Floyd guitarist David Gilmour surprised everyone by releasing a new album, his fifth solo effort, following "Rattle That Lock", released nine years prior. At this point, this iconic musician has nothing left to prove or impress; his legendary past speaks for itself, having crafted some of the best albums of the 20th century with his Pink Floyd bandmates. This time, he presents a relaxed and atmospheric work, with soft, melancholic sounds. Among the highlights of this new album is the title track, a mini-epic recorded many years earlier with his late Pink Floyd bandmate, Richard Wright, which undoubtedly represents the album's most progressive moment. The rest of the album comprises a collection of sophisticated and refined songs, some of which feature the angelic voice of David's daughter, Romany, a perfect complement to her father's melodic guitar lines.

Tuesday, May 1, 2018

David Gilmour-About Face (1984)

Once Roger Waters' relationship with the rest of Pink Floyd ended after the album "The Final Cut", guitarist David Gilmour focused his efforts on creating his second solo album. Far removed from Waters' political or social activism, Gilmour concentrated solely on showcasing his musical talent without engaging with his former bandmate's controversial messages. "About Face" reveals the musical sensibility of an excellent guitarist in an accessible and thoroughly enjoyable work. Melancholic atmospheres set the overall tone of the album, as exemplified by the emotive "Out Of The Blue" and the radiant "Love On The Air", where he receives invaluable assistance from Steve Winwood on keyboards. Winwood, along with other prominent musicians such as Jon Lord, Jeff Porcaro, Bob Ezrin, Roy Harper, Ray Cooper, Pino Palladino, and Michael Kamen, comprises the extensive list of guest musicians on the album's recording. The nods to his main band are present in the progressive "Blue Light" and "Near the End", while the more predictable eighties-inspired "Until We Sleep" and "All Lovers Are Deranged", put a worthy conclusion to an effort that is more appealing and less pretentious for the average listener than the vindictive schemes of the brilliant but irascible Roger Waters.