CD Review March '07 - Roger Waters


jiujitsu_jesus
Registered User
Joined: 12/19/05
Posts: 2,171
jiujitsu_jesus
Registered User
Joined: 12/19/05
Posts: 2,171
03/01/2007 6:56 am
ROGER WATERS: "AMUSED TO DEATH"
(Sony, 1992)



Roger Waters has never been known for making "safe" music. The former Pink Floyd bassist and co-vocalist has made potent, radical artistic and socio-political statements with every one of his works, from Floyd's early innovative psychedelic experiment A Saucerful of Secrets to their intense rock opuses Dark Side of the Moon, Animals and The Wall. His 1992 solo album, Amused to Death is no exception. This is the second time in a row that I have reviewed a CD that is more than ten years old; and yet, listening to it, one could be forgiven for thinking that it was written yesterday, so relevant and well-crafted are the lyrics. This album, like all of Waters' work, is colossal, in scope, sound, and impact.

This record is, like the previously mentioned Floyd classics, an ambitious and far-reaching concept album, with lyrics and music to suit. Opening with the astonishing instrumental "The Ballad of Bill Hubbard", it launches into an enthralling commentary on religion, war and consumerism, and attempts to depict the Newtonian relationship between them a la Dark Side of the Moon. In the telling of this tale, we see a master lyricist at work. Waters moves from melancholic contemplation ("Watching TV", "Three Wishes") to seething, sardonic scorn ("It's A Miracle", "Too Much Rope", "Perfect Sense Parts I and II"... well, most of the rest of the album) and all shades in between, all the while conjuring vivid imagery that haunts and provokes.

The actual music of the album, a synthesis of gloomy modern prog and newer-Clapton-style R&B, is certainly not everyone's cup of tea; but it's hard to deny its atmospheric quality and power. Furthermore, a guest vocal from Don Henley, excellent keyboard playing by producer Patrick Leonard, and guitar work contributed by the likes of Jeff Beck and Steve Lukather ought to keep musician listeners well and truly satisfied. On top of this, Waters adds occasional guitar and bass parts, and delivers his astonishing lyrics in his trademark expressive murmur.

And yet, the album's greatest strength - the fact that it is by no means "safe" - is also, doubtless, it's greatest liability. Be warned that Waters' lyrics are unapologetically provocative and cutting - I myself was a little unsettled by his approach to religion ("What God Wants" parts I-III) and the military ("The Bravery of Being Out of Range"). However, Waters also balances this out with many valid lyrical points and observations.

Amused to Death will challenge and disturb, and it is certainly not for everyone. My advice, however, is to give it a try, if only to admire Waters' songwriting prowess; in the end, you may, like me, find it to be one of the most astonishing albums you've heard in a long time.
"It's all folk music... I ain't never heard no horse sing!"
- Attributed variously to Leadbelly and Louis Armstrong

If at first you don't succeed, you are obviously not Chuck Norris.

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