Re: Pink Floyd-The Division Bell Full Album Zip
Berry Spitsberg
After a six year silence, only interrupted by a sub-par live album but aptly called Delicate Sounds Of Thunder (their thunder was certainly not powerful on stage as shown in that double "thing") and some soundtrack in the Carrera Panamericana they'd participated in, it was Radio Silence from them. And then came the early 93 Britannia Row (their studio, built before Animals) sessions and this last effort (most likely this will be the last "real" Floyd album has Gilmour has shown little interest in reviving the group since their Live 8 reunion. Coming with another superb Thorgerson artwork, with those two head statues making only one face representing the album's theme (this too light to call it a concept) of a dialogue between the two parts of the face. All this sounds like the former greatness of Floyd will likely return, but alas, this is doesn't last a close analysis of the album. First, the fact that they needed a vast amount of guest beyond the understandable Pratt on bass and the return of Parry on sax: Carin & Ezrin on keys, Renwick on Guitar, Wallis on drums & percs?. Did they really need that??Unfortunately TDB has not survived the test of time after the initial enthusiasm of fans, critics and casuals alike had shown. While somewhat better than AMLOR (which was little more than an uninspired Gilmour solo album ala About Face), TDB benefits from the superb would-be titled track High Hopes (which indeed does just that, raise our hopes ? a bit too much) and two good instrumentals, but for the rest of the album, the improvement is slightly more than a marginal one, despite the return of Rick Wright in the songwriting dept. He and Gilmour share the credits on five tracks and he signs one on his own, on which he sings lead vocals, but the partnership, while hitting the spot sporadically, didn't return to their former greatness. Gilmour (and Wright) has again delegated most of the lyrics to an outsider, this time his new wife, and was not well-advised. I'm sure a certain ex-member (no names, please) would've loved to do it and done a fantastic job. TDB opens with a correct 6-mins instrumental intro Cluster One of the album, which is reminiscent of the AMLOR opener, which indeed waters (pun not intended at first) the mouth with Mason's tape effects and a Gilmourian guitar solo hinting at Shine On You's intro. This segues directly to a very average What Do You Want From Me, a track stylistically close to AMLOR's general soundscape and is little more than a standard chorus-verse formatted song, which will happen a few more times throughout this album, notably on the near-atrocious U2-esque Take It Back or the promising intro of Coming Back To Life, which sounds like it's coming from The Wall's side B but marred by a boring beat. However there are some more Floydian-sounding tracks like the 7-mins Poles Apart with an interesting middle section. Unfortunately, A Great Day For Freedom is a relatively wheezy and over sentimental track that could've used a kick in the arse to wake up, despite correct lyrics about Eastern Europe's then-newly found freedom. Rick Wright's Wearing The Inside Out is a welcome change from Gilmour writing paw, but I wouldn't call it an album highlight, displaying too much fragility, lacking energy and overstaying its welcome by a full two minutes. But its main merit is to bring back some more classic Floyd soundscapes, but that track is a good preview of Rick's upcoming solo album Broken China. Elsewhere, Keep Talking has an interesting Wrightian touch (sonically close to Wearing The Inside Out), and his inspired choice of keyboards certainly hit the spot as do the Gilmour's guitar parts and Mason's finally inspired drumming. Even if The Wall was not Gilmour's oeuvre, tracks like Lost For Words or Coming Back To Life sound much like the few tracks he did contribute. So far, I haven't been very positive with this album, but let's face it, only one third stands out, another third is average, and the last third is sub-par; but I am saving the good stuff for last. Just like the opening instrumental, Marooned is another instant hit with nostalgic Floydheads, and indeed the alchemy between Wright's aerial keyboards and Gilmour's slide guitar dies hit the spot almost as if the classic 70's are just around the bend. And then we're left with the closing mini-epic High Hopes, which will unknowingly become Floyd's superb finale to Floyd's legacy. In many ways, this track recalls in many ways Comfortably Numb, with Gilmour's finally inspired singing, even if much of the magic comes from that delicious bell tolling sound, but Floyd does everything right here and have not been this close to perfection since The Wall. Indeed, Floyd's overall oeuvre does find a near-semblance of legitimacy, because three of the four actors are present, but unfortunately their stronger quarter is direly and dearly missing them. But if it wasn't for this album's outstanding High Hopes finale and two instrumentals restoring the magic of their classic era, I'm not sure that this album will stand the test of time, as nearly a decade has gone by, and I view this album very differently from my original enthusiastic reception. Generally this album is over-rated, especially by those that a bit blindly are wishing Floyd's return to greatness. social review comments Review Permalink
Posted Tuesday, February 3, 2004 Review this album Report (Review #9217)
This was the actual "Final cut" (so far anyway), and found the Floyd going out very much on a high. Roger Waters accusations of "Momentary lapse of reason" being a "pretty fair forgery" bears little credibility here, the album sounding unique and inspired. There are of course many of the usual Pink Floyd trademarks, such as the soft, slow atmospheric opening, and David Gilmour's distinctive guitar. Clearly a lot of time was spent both on the songwriting and the production, the quality of both being exceptional. There are no up tempo rock songs in the vein of "Money" for example, most of the tracks being of a similar, more relaxed pace. The closest they come to letting go is on the heavier "Coming back to life". Highlights include "What do you want from me", where Gilmour's sudden vocal key change transforms the track beautifully. "Poles Apart" also has a great mood change midway, as the drums introduce an brief upping of the pace. The final track, "High Hopes" builds seductively from an almost funereal start through uplifting choruses to a climax of one of Gilmour's best solos on any PF album. The track fades to the sound of a single bell, before an unnecessary coda involving a small child on a telephone. There's not a weak track on the album, but as with any work worthy of longer term appreciation it does demand a number of listens, not to mention an open mind, to be fully appreciated. To my mind, "The division bell" bears comparison with "Dark side of the moon", both in terms of structure and sound, and of the overall quality.The "David Gilmour in concert" solo DVD contains some wonderful, largely acoustic, re-workings of a selection of the tracks.For those outwith the UK the "Division Bell" is rung in the Houses of Parliament to alert members to attend a vote. social review comments Review Permalink
Posted Friday, March 26, 2004 Review this album Report (Review #9208)
Marrooned and Cluster One are ok instrumentals but are too inconsistant and end up dragging the album down. High Hopes is probably the best work here but even that can get old fast. Whether or not pink floyd need roger waters on the album, they aren't as good without him. Keep Talking is annoying with the choir and stephen hawkings voice interupting a call and response style chorus. The Division Bell is a nice idea but it strains to carry on the pink floyd legacy. If the band had ended with the wall they would have a flawless discography and would have been even truer legends.Sadly this is the only album i need to finish my collection and it should only be purchasedfor the collectors. social review comments Review Permalink
Posted Saturday, July 3, 2004 Review this album Report (Review #9234)
My favorite track "Marooned" (5:28) was my chief reason to buy the CD and it exploresDavid Gilmour guitar virtuosity, excellent composition and sustained time signaturesthat can only be filled-up with a patient guitar player like Gilmour. It is augmented bygreat piano touch. Unfortunately, I have never heard this track played live. "A GreatDay for Freedom" (4:18) is a nice song but I tend to get bored listening this a bit poppytrack. With Dick Parry's sax at the opening combined with soft howling guitar, "Wearingthe Inside Out" (6:48) brings our musical experience in a cool way; relax . I like theguitar fills at the background. "Take It Back "(6:12) is a straight forward and free flowsmooth music with some nice guitar solo in the middle. "Coming Back to Life" (6:19) was initially not the kind of track that I favor until Iwatched Gilmour's DVD (In Concert) and I could then appreciate better. Fortunately, Ilike the guitar solo part which is played "rough" (unusual for Gilmour, actually). "KeepTalking" (6:11) is a good upbeat tempo and ambient song with great sound mixing andunique vocals. "Lost for Words" (5:14) is for just "so and so" as it does not truly createany emotion for me. It goes just like that - it's like an oxygen flowing into my ears.Nothing happen at all man!"High Hopes" ??? Yeah . it's the pinnacle, I think. I did appreciate this track betterafter I watched my laser disc on P-U-L-S-E. I really love the melody and the nuance -especially when I watched the video where big balloon moves slowly in a dark setting.What a great shot, really. The song start with a nuanced bell songs augmented with avery simple piano touch followed with great low register notes Gilmour voice .Beyond the horizon of the place we lived when we were youngIn a world of magnets and miraclesOur thoughts strayed constantly and without boundaryThe ringing of the division bell had begunAlong the Long Road and on down the CausewayDo they still meet there by the CutThere was a ragged band that followed in our footstepsRunning before time took our dreams awayLeaving the myriad small creatures trying to tie us to the groundTo a life consumed by slow decayThe grass was greenerThe light was brighterWith friends surroundedThe night of wonderOverall, it's an excellent addition to any prog music collection. Keep onproggin' ..!Progressively yours, GW social review comments Review Permalink
Posted Monday, July 25, 2005 Review this album Report (Review #40318)