Product Description

After a long protracted legal battle over the rights to thePink Floyd name, David Gilmour, Nick Mason and Richard Wright released 1987's A MOMENTARY LAPSE OF REASON despite RogerWaters' protests. Retaining collaborators from Floyd's past(producer Bob Ezrin), this Gilmour-led version of the band crafted a number of songs that were as cerebral and introspective as anything Floyd had done in the past. The first single, "Learning To Fly", served as the unofficial anthem for this latest chapter of Pink Floyd.
The Andy McKay/Gilmour-penned "One Slip" uses the requisite bells and whistles along with Tony Levin's impressive stick solo to guarantee it a prominent place in the band's canon. "The Dogs of War" and "On The Turning Away" are perfect commentaries on the conservative mindset shaping the '80s at the time. The former is anominous screed composed at a time when the Cold War was still a reality whereas the latter is a sad swipe against the self-absorption of the Me Decade.

Track Listing

1. Signs Of Life
2. Learning To Fly
3. Dogs Of War
4. One Slip
5. On The Turning Away
6. Yet Another Movie
7. Round And Around
8. New Machine
9. Terminal Frost
10. New Machine (1)
11. Sorrow

Product Details

• Amazon Sales Rank: #1731 in Music
• Released on: 1987-09-07
• Number of discs: 1

Customer Reviews

Get real and get a life.
So Roger Waters threw the toys out of the pram and spat out his dummy. Who the hell cares? He went on to have a successful solo career and jolly good luck to him.

But to then say, oh well Pink Floyd is no longer in existence and this is a Gilmour solo album, under the name of Pink Floyd, is frankly infantile. This is David Gilmour, Nick Mason and Rick Wright and they are as much the essence of Pink Floyd as Roger Waters ever was. Oh and by the way if Roger Waters was so damn sure that Floyd could not exist without him, why did he take such trouble to exclude Rick Wright and draw up legal papers preventing him from ever rejoining the group? Perhaps because he recognised, as anyone with a semblence of wits should, that great groups are not simply the product of one individual. The Floyd survived Syd Barrett and they sure as hell survived Roger Waters.

This album is an excellent illustration of what Floyd had been waiting for, the digital revolution, the chance to present themselves as they wished to be heard. No tape hiss, no pops and clicks, just pure sonic genius.

The song writing of Gilmour has always been underrated and played second best to the obsessive drive of Roger Waters. But here for the first time he is given room to breathe and experiment.

I own copies of all of Pink Floyds studio albums and several live ones. They vary enormously in sound and in intent, but the quality of musicianship and attraction of each, although unique in and of themselves is farely constant. 'A Momentary Lapse of Reason' is up there with the groups best work to date.

Long live Pink Floyd.

Great album but not a timeless classic
I listened to this two evenings ago for the first time in 15 years and it sounded absolutely amazing. The sounds are diverse and and full of interest and I was on tenderhooks for the next thing coming along. On another listen last night the heavy 80's influence was all too apparant, especially the lyrics to some of the songs, if you are allergic to dairy products (cheese) then be careful. Their albums prior to this reflected the era they were made in, but there was/is a timeless quality too - Wish You Were Here will always be a masterpiece. For this album there is too much influence from the era of recording, too much immitation of the Floyd sound and not enough aloofness from everything else which is the true hallmark of Pink Floyd.

dated production let down good songs
Waters had left, and the remaining two Floyds (aided by Rick Wright) carried on in a controversial move that kept lawyers and journalists busy for most of the Eighties. "Momentary Lapse" suffers from a dated production, but contains a fine collection of songs that accurately re-create the Floyd sound of the seventies with mystical, aspirational imagery, sweeping solos, majestic and atmospheric keyboard parts, and understated, unfussy drumming from Mason. Aided and abetted by 17 session musicians, one could argue this isn't the Floyd but a solo Gilmour album under the Floyd tag - though quite how this would differ from the equally bloated "Wall" and "Final Cut" (and their respectively singular vision that makes them practically Waters solo records) I don't know