Of course he gets cred here, lots of it. For a couple of years I thought I was fighting an uphill battle here when I said I wasn't as keen on him as others are.
I think the reason we don't often out loud say here that his lyrics from Meddle to Animals are genius is because... well duh. We all know that. It's somewhat taken for granted sometimes I think. But I do not think he has consistently shown that level of quality since. The Wall and The Final Cut have smatterings of his former glory, but are also a lot more banal than his earlier work in places. The lyrics on Is This the Life We Really Want? are not much good at all. Amused to Death has its moments, but frequently emphasize shock value over actually saying anything.
The reason we're so critical of his later endeavours I think is because we have empirical evidence that he can be better than this. I genuinely think at some point, he stopped trying.
Lyrics are just a small part of what Roger is capable of. The man creates music, either directly or indirectly. Good lyrics are just a cherry on the side. They don't really matter to the soundscape. Personally I don't care one bit what he's singing about.
Lyrics are just a small part of what Roger is capable of. The man creates music, either directly or indirectly. Good lyrics are just a cherry on the side. They don't really matter to the soundscape. Personally I don't care one bit what he's singing about.
are you secretly Jon Carin?
I did not know who that was, but you bring up a good example. This guy played on both Gilmour and Waters solo albums. With Waters he delivers some sublime stuff. With Gilmour you might as well hire me to do the playing.
That's how I feel about Roger and his bitching all the time. Reminds me of so old fart yelling get of my lawn.
He's got balls and a mind of his own. Gilmour can't say the same.
Why should I care about Waters opinions? This society is increasingly celebrating people who have zero opinions. You can pick up a newspaper and that's their opinion. Lol.
flashback wrote: ↑Thu Jan 11, 2024 9:57 pm
That's how I feel about Roger and his bitching all the time. Reminds me of so old fart yelling get of my lawn.
He's got balls and a mind of his own. Gilmour can't say the same.
A New Machine (both parts) has the most sublime poetry ever, flowing like a magical ebb of art over its beautiful instrumental soundscape. AMLOR is the best album of all times.
DaveSamsonBell wrote: ↑Thu Jan 11, 2024 10:40 am
Lyrics are just a small part of what Roger is capable of. The man creates music, either directly or indirectly. Good lyrics are just a cherry on the side.
Same goes then. At some point around the beginning of the 80s, he stopped trying. I can't remember a time since The Wall where he composed something as good as the bassline for "Money" or that guitar outro of "Sheep". Even on The Wall a lot of the best musical compositions ("Comfortably Numb" and "Run Like Hell") came from Gilmour. Not to say Waters didn't do anything memorable musically on that album of course, that four note theme is used perfectly of course.
Beyond that though? The Final Cut is rarely interesting from a compositional standpoint. Amused to Death has some moments. And most of the good on Is This the Life We Really Want? are recycled from Pink Floyd's reportoire - mostly gaining new life through Godrich's production.
Again, he's capable of great music too. But he doesn't care anymore.
theaussiefloydian wrote: ↑Fri Jan 26, 2024 7:43 am
Same goes then. At some point around the beginning of the 80s, he stopped trying. I can't remember a time since The Wall where he composed something as good as the bassline for "Money" or that guitar outro of "Sheep".
But did Waters compose that guitar outro of Sheep? I don't think so. Waters very much relies on his producers. Which is, I think, also why his solo records all sound very different.
He's got balls and a mind of his own. Gilmour can't say the same.
A New Machine (both parts) has the most sublime poetry ever, flowing like a magical ebb of art over its beautiful instrumental soundscape. AMLOR is the best album of all times.
A New Machine (both parts) has the most sublime poetry ever, flowing like a magical ebb of art over its beautiful instrumental soundscape. AMLOR is the best album of all times.
This is surely a joke?
I took it as one. There's no way anyone could ever praise A New Machine
cigar73 wrote: ↑Sun Feb 11, 2024 10:15 am
This is surely a joke?
I took it as one. There's no way anyone could ever praise A New Machine
I'm the resident AMLoR defender here, but even I can't stand by "A New Machine". Utterly bizarre pair of tracks, can't imagine what they were thinking.
A New Machine (both parts) has the most sublime poetry ever, flowing like a magical ebb of art over its beautiful instrumental soundscape. AMLOR is the best album of all times.
This is surely a joke?
it is, of course, and I hope I continue considering it a joke in the future
Ashes andDiamonds07 wrote: ↑Sun Feb 11, 2024 10:43 pm
I took it as one. There's no way anyone could ever praise A New Machine
I'm the resident AMLoR defender here, but even I can't stand by "A New Machine". Utterly bizarre pair of tracks, can't imagine what they were thinking.
I was a long time AMLOR defender, but this album didn't grow well with me. Even Division Bell is not the same for me anymore, but i still enjoy it.
On the other hand, albums like More, Piper, Ummagumma have gotten more and more of my attention and love as years has passed - especially after I have discovered more of the early era through that Early Years box.
