(U-WIRE) SYRACUSE, N.Y. – “The Voice and Guitar of Pink Floyd,” a title given by Sony Music Entertainment, was probably the single most important element in changing and developing Floyd’s music in the post-Syd Barrett era. Among guitarists, David Gilmour is revered for his slow-moving solos, silky-smooth tone and graceful, bluesy bends. Without having to think about Pink Floyd since 1994 (and more than a decade before that), On an Island should have been a coming-out party for Gilmour. Instead, it is just another lackluster LP that leaves listeners longing for a Pink Floyd reunion album. Live 8 just wasn’t enough.
With each song clocking in at an average of 42 beats per minute, a solid 30 beats per minute below the average heartbeat, it might be Sony’s safest bet to hook up Gilmour with his very own defibrillator. Pink Floyd’s songs were never comparable to say, Slayer, but if Gilmour wants to appeal to audiences outside geriatric hospitals, he should think about teaming with Rick Rubin and kicking it up a notch. For listeners who want a quick fix, however, try recording a snippet of “Take a Breath,” the album’s lone “upbeat” song, with a YakBak (find one on eBay). Play it back on the highest speed, and it might sound something like AC/DC — for better or for worse.
Although Gilmour turned 60 years young Monday, he still knows how to play the guitar. During his solo on “The Blue,” Gilmour subtly shifts notes up and down the range of his guitar, recalling tiny traces from “Shine on You Crazy Diamond.” The album doesn’t have enough of this. If Gilmour released 50 minutes of solo guitar, Pink Floyd fans would be in a hot sweat, salivating and yearning for more by the end of it. Why not run with what he does best, Sony?
An artist of Gilmour’s caliber likely has complete creative control of what goes on his album and what doesn’t, but I’m sure he recorded this release with high hopes of it selling. Even with 16 years to write them, the lack of memorable melodies and lyrical vocal lines is disheartening. Not that Sony should’ve given into the Santana formula, but try getting Kanye West in here for one track — it might not be of “Gold Digger” quality, but “Heard ‘Em Say,” minimally. In reality, Gilmour’s guitar lines likely would’ve sounded better on the song than Adam Levine.
There are really only two standout tracks on Island. To a fault, they are the first two full-length songs on the record. The cathartic quality of the third track, “Take a Breath,” hints to the audience the excitement of the album is finished. Each piece from then on is monotonous and indistinguishable from the one before it. The final song, “Where We Start,” perhaps fittingly, sounds identical to where the album started.
The album as a whole is best suited for background music for students looking for something mellow to listen to while studying. It is becoming apparent, after his third try, one can only count on David Gilmour’s solo work for two or three noteworthy songs. Nonetheless, even a casual Gilmour fan can appreciate this guitar and vocal work throughout On An Island, even without the help of Kanye West.
