Customer Reviews

On an Island

5 star:		(191)
4 star:		(106)
3 star:		(38)
2 star:		(54)
1 star:		(42)

 

 

David Gilmour really deserves credit for his "On An Island" album, released today. The man clearly doesn't give a damn about following any trends, and I say more power to him. The album does indeed sound very Floyd-ish, which Gilmour himself admits, but it's not merely some toothless rehash of past glories, and the production values here are really excellent (the album was produced by Gilmour, Phil Manzanera, and Chris Thomas). And Gilmour's in excellent voice too, sounding as though he's barely aged a day in the past 20 years. You needn't have any worries about this being a "modernized", high-tech disaster--the album sounds more like something that was recorded in 1980 than in the 2000s, and I really mean that as a compliment.

I think it's off the mark and misleading to bluntly say that Gilmour has "gone adult contemporary" with this album--that might get certain people thinking he's chosen a bland synthesizer-heavy approach. Quite the contrary, synthesizer is only used for a light sprinkling of effects on the title track, and synths are nowhere to be heard on songs such as "The Blue" and "Where We Start"--instead, David favors real piano, real electric piano, and especially real Hammond organ (which all three of these have), and that plays a huge role in them sounding so wonderfully organic.

Yes, this is a VERY low volume album, but for the most part, it's very appealing, not just thanks to the production, but also because the songwriting is generally at a really high level. Frankly, I think you could throw the same kind of praise at much of the Floyd's work--"Wish You Were Here", great album as it is, never rocks very hard at all.

Most of the lyrics here were written by Gilmour's wife Polly Samson, and although they occasionally lean towards the sickly-sweet end of things, as on "Smile", they're hardly as embarassing as some of the reviewers make them out to be. And ultimately, Gilmour makes up for it with the music. The title track is sumptuous--it sounds kind of like an acoustic modification of Floyd's "Breathe", featuring superb guitar work, live orchestration, and vocal harmonies from Crosby & Nash that really take the song to the next level (Richard Wright plays the Hammond on this track as well). The super-mellow "The Blue" has a wonderfully serene, blissful feel to it, with gentle harmonica and a remarkably effective back-and-forth piano line, and Gilmour's extended soloing, even if he overdoes those swooping sounds a bit, is still really really nice, with extremely impressive tone. The relatively short instrumental "Red Sky At Night" is an intriguing change of pace, with Gilmour switching over to saxophone, and to excellent effect--he brings the same kind of unique feeling to his sax soloing as he does to his emotional guitar leads. "A Pocketful Of Stones" is also a really fine ballad, with Gilmour's vocal making the most of the wonderful lilting melodicism on the verses. "This Heaven" adds a welcome diversity to the proceedings, shuffling along nicely and containing a nice bluesy acoustic riff. "Smile", like I said, is kind of on the sugary side, but the acoustic slide guitar work, Gilmour's somewhat jazz-tinged lead vocal, and the sheer tunefulness give it much appeal.

Gilmour's previous solo album, 1984's "About Face", ends with the song "Near The End", and he ends "On An Island" with "Where We Start" which seems like a sequel to the former song. "Where We Start" is the one non-instrumental track on the album that Gilmour wrote entirely himself. Yes, the lyrics leave a little to be desired, but the song has an undeniably soothing and reflective feel, somewhat melancholy and yet with hope for what's still to come, a trademark Gilmour touch. It makes for a highly fitting finale to the album.

As for the few remaining tracks... "Castellorizon", the obligatory album-opening instrumental, starts off as a sound collage before Gilmour starts wailing away backed by a full orchestra--it's certainly more enjoyable than the somewhat similar "Let's Get Metaphysical" from his "About Face" album, but it's still pretty forgettable. Likewise, the instrumental "Then I Close My Eyes" is okayish, but pretty dull. The one track that particularly sticks out like a sore thumb and that you're better off skipping happens to be the album's hardest-rocking song--"Take A Breath" has annoying, repetitive spoken chanting, plus it's sorely lacking in terms of melody and catchiness; it considerably hurts the overall flow of the album, and it suggests that Gilmour isn't sure how to rock out effectively anymore, making it easy to see why the album is so ballad-heavy.

All in all, I can't see anyone who loves '72-'75-era Floyd or Gilmour's previous solo work not taking a strong liking to "On An Island". I'm well aware that this album is taking quite a beating from a lot of so-called professional critics, and I can't help but suspect it's partly because of the album's mellow tone and a lack of patience on their part to really *listen*. Maybe some folks were hoping Gilmour would push the envelope more, and I'll admit I do understand the feeling that if an artist just cranks out an album that sounds like a copy of earlier work, there's no point to it. That said, this is an album for diehard David Gilmour/ mid-'70s Floyd fans who have listened to those records religiously and want something familiar, yet new, and for an artist of Gilmour's age and stature, it's understandable that he'd put out a record to fit that bill, and the fact that the result sounds this fresh and effective, it not only justifies the exercise, it actually provides an additional demonstration of just how deep Gilmour's talent is. It also underlines that this is clearly the album he wanted to make, and I give him a lot of credit for following his instincts.

(P.S. My copy of "On An Island" includes a bonus disc featuring the laidback bluesy instrumental "Island Jam"--it's a nice little bonus. On the downside, the book-style packaging of the album is marred by the vulnerable foam rubber piece that's meant to hold the CD--you may very well end up needing a separate case to hold the disc itself.)

"On An Island" features the type of music that Pink Floyd and David Gilmour fans have come to expect from the man--there's lots of moody, atmospheric playing, Gilmour's memorable raspy vocals and some of the best material he's written in years. Collaborating with guitarist/songwriter Phil Manzanera of Roxy Music and veteran producer Chris Thomas (The Pretenders), Gilmour has crafted an atmospheric album full of hazy instrumentals and songs that may not rock out the way fans are used to but are still filled with passion and emotion. By the way, if you decide not to buy this locally some retail outlets are offering a bonus disc that includes an additional song. How does this compare to his other solo albums? Well each one represented a different decade in Gilmour's life so they are all quite different and difficult to compare but the quality of the songwriting is top notch here as on those. This effort is a little more focused than his first ("David Gilmour") and a little less commercial than his second ("About Face").

Written solo and in collaboration with Polly Samson (a journalist and writer who wrote some of the lyrics for "The Division Bell" as well as Mrs. Gilmour)providing words on most of the tracks "On An Island" features a wide variety of memorable guest players (Floyd's Richard Wright, David Crosby & Graham Nash on backing vocals, Jools Holland formerly of Squeeze, Robert Wyatt and--surprisingly--guitarist Phil Manzanera playing keyboards). I'll be the first to admit that Samson isn't Waters as a lyricist but her words are servicable for the songs and occasionally inspired (hence the four stars and not five). The production by Gilmour, Manzanera and Thomas is atmospheric providing the perfect sonic backdrop for Gilmour to do what he does best--play and sing.

"On An Island" does allows Gilmour to experiment a bit as well with the material but what's most interesting as how emotionally direct the songs are. Clearly no man's an island and that's true of Gilmour as well--he works well with his collaborators building a sonic home on this solo album. The album does have flaws for example the pacing is a bit turgid at times and truly it would have helped to have a solid hard rock number here to break through the haze on the album but overall it's a terrific effort and a worthy follow up to his work leading Floyd and solo efforts. It's a shame we had to wait for so long Gilmour to assert himself on record again but it was well worth the wait. David, don't make us wait another decad! Oh, by the way, happy birthday!

This is the first David Gilmour album I've purchased - being more of a Pink Floyd fan, but having owned this album for a week now; I can confirm OAI in my opinion is excellent. Yes, it's generally fairly slow paced, but that doesn't make it bad. The people who seem to think Gilmour can't produce a decent song without Roger Waters are in the main, totally blinkered to the waters style of writing. This isn't a Waters or a Floyd album. OAI sounds just great the way it is. Waters penned lyrics would be totally daft on such a beautiful set of musical tracks as these, tracks that all relate to Gilmour's past. Polly may have added most of the lyrics but the music is all Gilmour's - and the music came first.

Gilmour has finally been released from the burden of Floyd to produce music the way he wants to, and that makes OAI a pure pleasure to listen to. It still has the Floyd sound in places - how could it not. But this is a David Gilmour album. Slow sensual songs with wonderful guitar peaks in all the right places. The whole album works wonderfully as a single musical piece, but made up of many different musical styles. Highly recommended to anyone that likes mellow, thought provoking music.

This review was written without any `Robotic loyalty'. Everyone's entitled to an opinion, not just the people who expected something different, and then come back to knock OAI because it doesn't sound like a 29 year old Pink Floyd album that they'd all been wishing for. OAI is David Gilmour, not Pink Floyd.

I have been a floyd fan for most of my life. The sublime experiences I have had with their albums over the years have touched my life and, in some dark times, have given voice to my fear and rage and awe and yearning, etc.

But, here I am... in the middle of life and I don't feel quite so much fear or quite so much rage. I'm concerned with companionship and family and kind of looking in front of me and looking in back of me with some apprehension, a little sadness and, dare I write it, gratitude and hope.

I have grown so much through and with Floyd. Why are fans so bothered by what is being termed: adult contemporary musak. It is still beautifully produced and worked with the woman he loves. This is about love.

No, of course it is not "Wish You Were Here" or "Meddle" or "The Wall". But then again, nothing every really will be, including anything the long-suffering Mr. Waters might come up with.

I for one am happy for the Gilmores. I would feel very sorry for Dave and his family if he were still producing that beautiful but pained sort of music. Angst is for the young. A sense of well-being and peace is what we all hope to attain. That is what this album is. Music for the middle-of-life.

BTW, I get uncomfortable when rock-stars refuse to shed their 20-year-old selves. I mean, really life is about personal growth and evolution. Dig a little deeper and you might find that this is a fine album, indeed.

Lighten up on the guy and his wife. He really doesn't "owe" us anything. As part of Floyd, he's given me more than I can ever thank him for.

Thank you, David...

Reviewgium - Volume I, issue XII

Pink Floyd mainman David Gilmour returns with his third solo album, his first in over twenty years. Light a candle in the dark, lay back, let go of all your worries and burdens, and go to a place where life's hassles melt away and nothing matters except for the moment you are in. Full of pleasant soundscapes, textured instrumentation, and excellent vocal harmonies, On an Island can take you there if you just let it.

The album starts with the atmospheric soundscape "Castellorizon," overlain with a melodic guitar solo and orchestration that flows gently into the title track, a harmonious triumph featuring guest appearances by David Crosby and Graham Nash. The elation continues on in the mystifying song "The Blue," which contains some truly melting lap steel soloing. The pace picks up a bit with "Take a Breath," with its simple yet entrancing acoustic guitar riff, giving an edge of adventure to this isolated getaway. "Red Sky at Night" is a saxophone-led segue that leads you placcidly into "This Heaven," a song which adds an element of fun and enjoyment to the journey. After you've had your fill of bread and wine with that someone special, sit back on your patio and let the pristine night air of "Then I Close My Eyes" and "Smile" take you even deeper into that carefree paradise you have found. "A Pocketful of Stones" is my definite favorite track. It starts off simple with an airy orchestration, easy piano melody and vocal line, but Gilmour's vocals just really reach a whole other level right about at the three-minute mark, and the song ends with a perfectly-placed guitar solo, making this one of the most gorgeous songs that has graced my ears in quite a while. As we know, good things do not last forever, but the final track "Where We Start" kind of gives you the spark of hope that maybe...just maybe...this will last forever. Maybe everything will be all right in the world. "We walk ourselves weary, just you and I, there's just this moment..."

I'll get right to the point: David Gilmour sounds just as good vocally and on the guitar as he did 30 years ago. His vocals and guitarwork on this album just further the long-running fact that he is one of the greatest rock musicians that has ever been. Although the album may slightly remind one of Pink Floyd at times, it is obviously not as dark, gloomy, or mysterious. As opposed to the music typical of x-bandmate Roger Waters, who always seems to have a message to relay, there is no deep meaning or philosophy to anything in On and Island. And none is needed: it delivers exactly what it promises. There is also a special edition with a bonus song called "Island Jam" which is pretty much just that: an instrumental jam based on the other music of the album. It is a good compliment to the album, but not entirely necessary if you cannot find it. I recommend this album to anyone and everyone. Even to those people who think that everything about music needs to be complex and contain a deep message of some kind. Take a vacation from that for once, and enjoy the stripped-down beauty of this musical paradise. Light a candle in the dark, lay back, let go...

It's been at least ten years since David Gilmour has done a formal recording. I am not one to criticize an artist who takes their time between recordings. Lets face it; David has nothing to prove here. This album is the answer to the question "were do we go from here" Gilmour style. I am actually glad that Gilmour presented this as a solo album. I grow tired of the whole Roger Waters drama. Pink Floyd reunited for live 8, what else can you ask for or expect from them.

The music on this album is reflective, often simple, dreamy, mature and very laid back. Glamour's voice sounds as good as ever. His guitar work here glows and shimmers especially on the solos for "The Blue", "On an Island", and the tender "Were we start". Gilmour deserves more credit than just being considered a great improviser. His guitar works does more than just improvise, he also creates wonderful melodies that are as long as they are creative. He never sounds lost, or even makes the slightest mistake in his solos whether it be a note that wasn't bent quite enough, a slide that didn't land correctly, or an idea void of expression or feeling. I would have given it five stars but I do agree with some other reviews that this could be too laid back at times, and is missing that one rocked out tune with a more up beat tempo and harder driving material.

As for all of the other critics, Pink Floyd will most likely never tour or record again. So judging this album purely on that is just a mistake. Don't buy this album just because you like Pink Floyd. Buy it because you like David Gilmour, who was the musical side of Pink Floyd. Gilmour has done what great musicians do, move on, and do it his way. The sleeper has awakened after so many years, or is he still dreaming? Either way the effect is sublime.

Life is change. Some things seem to remain constant, but only because of our limited human perspective. People age. Some aspects of life appear rather constant, others shift as we grow older. Musicians and other artists are in a peculiar position of having those changes under more public scrutiny than most. When a piece of work moves someone with power and force, the impact is so breathtaking, so overwhelming, even life-changing that they want to experience that moment of awakening again and again. And so some will always want to freeze the artist in time, demanding that they replicate their favorite work over and over out of a desire to experience the same powerful feeling again and again.
Such is the fate of David Gilmour and his solo work. With the release of "On An Island," the cry goes out "It's not Pink Floyd!" "It's terrible," "He's lost it!" "He's over the hill!" But this reaction is not actually valid artistic criticism, but a reflection of the disappointed listener's desire to have "The Wall" or "Wish You Were Here" come out for the first time again, triggering that same feeling they experienced when they first encountered these masterworks. Gilmour is not an machine, despite the desire of some to freeze him in a past time and have every guitar solo to tear their heads and hearts like "Comfortably Numb." He's a person who lives, loves, learns and changes like all of us. The mature listener knows how to change and accept change, growing with the musician, hearing each new work with a "beginner's mind," to borrow a concept from Zen. The mature listener is able to hear the aspects of the artist's sound that are so unique and instantly identifiable, yet are also able to hear the greatness in the inevitable new aspects of their favorite's creativity and art. David Gilmour is not a slave of the public, nor is he an automaton who rewrites the same formulaic song over and over again.
Nor is he Roger Waters.
I suspect that the criticism that "On An Island" isn't Pink Floyd simply reflects a preference for Waters' work, for the hard-edged, bitter cynicism that permeates so much of his work, and which I have enjoyed myself. The out of hand dismissal of the excellent work on "A Momentary Lapse Of Reason" and "The Division Bell,"as well as on Gilmour's first two solo efforts, suggests that the complainers should be following the career of Waters' post-Floyd work if that is what they prefer.
Yes, David has aged and, in some respects, mellowed, but the genius has not dimmed, it now illuminates the parts of his life experiences he wants to share, which are, after all, the only real source of inspiration and artistic creativity. "On An Island" is a beautiful work of maturity and insight. Gilmour hasn't lost a thing. On the contrary, he's placed his creativity in the service of the perspectives and insights he's gained in life; perspectives that rarely come except with age and wisdom. True, with the exception of "Where We Start," the lyrics are courtesy of his wife, Polly Samson, but their marriage has extended well beyond their personal lives and into their art producing a fine union of words and music. Perhaps you have to experience this kind of togetherness to fully appreciate their combined artistry, but I think not. The real question is whether the words and music form an artistic whole, and they certainly do just that on this wonderful "solo" effort. (Is any work that employs the artistic contributions of others ever truly "solo"?) Do Polly's lyrics have the searing cynical power of Waters'? Certainly not. But why should they? Should we dismiss the poetry of Emily Dickinson because she wasn't a Roger Waters? Certainly not. And why even go there in the first place since the human condition can't be contained in the work of any single writer - even Roger's. Even Shakespeare's, although he probably came closer than anyone. There's room in the world for beauty, loveliness, even sentimentality and tenderness, all of which are exhibited here.
How sad for those who want only raging cynicism or anger, rather than being open to experience all that life has to offer. How sad to only want hard rock and never experience the wonders of a string quartet or a folk ballad. Yes, the overall tone of "On An Island" is slower and more mellow than some previous Gilmour compositions (though "Take A Breath" should certainly remind us that David hasn't forgotten that life produces some harder edges in a person than others). And, as in so much of the classic Pink Floyd material, there are the self-referencing melodic lines and lyrics. "The Blue" suggests the Pink Floyd of "Meddle" while the opening phrasing of the title track easily yields a memory of "Shine On You Crazy Diamond" and even begins with the same word: "Remember." The ambient sounds of children, the city and nature harken to view the same elements of earlier works in a new light of age and maturity.
David has done fine work here and we should be thankful that he's out there still making music for those who can grow with him.

If you're a fan of David Gilmour's voice and guitar playing, particularly of the Meddle.Ummagumma period, this album will fit you like a comfortable old shoe or a pair of sweatpants on a lazy Sunday morning. There's no edge to this, nothing shocking, nothing rocking. Its a pleasant, proper and classy recording and its entirely fitting for a legend who turned 60 years old. Its meant for an older, mellower audience, I think...perhaps the 40 and up crowd...people who probably still remember what original songs were and what recordings were like when people actually played instruments on them. Simply put, this is the new old fogey music, and guess what....if you like it, you're probably one of em. (I am.)

4 stars? I give this 4 stars because:

1) "On An Island" is a pink floyd song, even if it isn't.

2) "Pocket Full of Stones" is one of the most amazing mellow ballad songs I've heard in a while. It's somber yet not depressing somehow, even though it's classic 'place in this life' songwriting like DSOTM

3) "Take A Deep Breath" isn't very good.

4) Blue is good, except the whammy pedal is kind of distracting.

5) Listening to this album makes me want to float away on a cloud...

6) The repeated use of island / water imagery gets me inside, perhaps because I spent 20 summers on a small island in Lake Huron in northern Michigan and because it's a part of how I am...

7) "Red Sky at Night" has sax in it. Music today needs more saxophone.

Conclusion: If you want something mellow, laden with classic over-bent blues guitar from David Gilmour, without hard rock tinges and with some shocking Pink Floydisms (well, not really shocking), buy this album.

I have to admit that I was suprised when I first heard the album because my expectations led me to expected a certain sound. This CD does NOT sound like post-Animals Floyd or even like About Face. If that's what you expect, you'll be disappointed. However, if you let go of those expectations and just listen to the music, I think you'll fall in love with it. I did. This is by far the most intimate and personal album done by anyone associated with the Floyd and the music is truly beautiful. The album is warm, mellow, and serene. It has amazing orchestration. David's voice sounds incredible, and the guitar work, although less bombastic than usual, is still brilliant.

In summary, I think that this is a great CD, but one has to be open to entirely new sound coming from one of Floyd's leaders.