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发信人: Akira (仲意碘酒加伤口的感觉.......), 信区: Rock
标  题: 滚石杂志对此专辑的评价(转载)
发信站: 荔园晨风BBS站 (Sat Oct 27 15:07:00 2001), 转信

Review of The Division Bell (Rolling Stone)

Review of The Division Bell (Rolling Stone)
By TOM GRAVES,
Rolling Stone
-------------------------------------------------------------------

Is this still really Pink Floyd? That seems to be the question, as it
has been since Roger Waters left the band in 1985 to dip deeper into the
sci-fi soup. Waters has since missed no opportunity to slag his
former band mates as incompetent fakes. He would suggest that he was
Pink Floyd, although judging from his overwrought, concept burdened solo
albums, that notion should be put to rest.

The debate on the current Floyd centers on the band's use of hired guns,
songwriting professionals brought in to shore up a sound that otherwise
might not be Pink Floyd enough. What makes this criticism superfluous
is that much of the great music of rock & roll has been written, or
augmented, by outside talents. For every Lennon-McCartney or Prince,
there have been 10 examples like Leiber and Stoller, Jimmy Jam and Terry
Lewis, Holland-Dozier-Holland or Phil Spector. It should concern no one
too much that in the absence of Roger Waters, who had been Pink Floyd's
chief songwriter, the band sought outside help.

What is of concern is whether the music of the post-Waters Pink Floyd
stands up to the band's best work – The Dark Side of the Moon, Wish You
Were Here, Animals, The Wall and Meddle. Unfortunately, A Momentary
Lapse of Reason (1987) and the live Delicate Sound of Thunder (1988)
were only sporadically successful at achieving the stunning aural
power of Pink Floyd's previous work. Their new album, The Division Bell,
ironically enough, seems to cry out for someone with an overriding zeal
and passion – in short, a nettlesome, overbearing visionary like Roger
Waters.

The Division Bell is a quieter, more atmospheric and contemplative
Pink Floyd, with lyrics so opaque and inert one cannot hope to plumb
their meaning. Of course, no Pink Floyd album would be complete
without a concept, and The Division Bell seems to be about that old
standby failure to communicate. Even through the vagueness of the
lyrics, one gets the feeling the band is firing broadsides at Waters. On
"Lost for Words," for example, David Gilmour sings: "So I open my
door to my enemies/And I ask could we wipe the slate clean/But they tell
me to please go fuck myself/You know you just can't win." And so the
war continues.

The album also gives off the uncomfortable whiff of middle-age and
graying sensibilities. Gilmour, who has become Pink Floyd's de facto
leader, in particular seems bored or dispirited. His guitar solos were
once the band's centerpieces, as articulate, melodic and well-defined as
any in rock. No longer. He now has settled into rambling, indistinct
asides that are as forgettable as they used to be indelible. Only on
"What Do You Want From Me" does Gilmour sound like he cares.

Another problem with the album is its length. At more than an hour, it
is too long and quickly exhausts its few fresh ideas. The band seems
to be padding at every opportunity. Consequently, The Division Bell will
satisfy only the most ravenous Pink Floyd fan.

Standing almost in mockery of the swipes the band members have taken
at one another is the new three-disc box set Crazy Diamond, which
collects the decidedly eccentric post-Floyd musings of original member
Syd Barrett. Barrett, as all Floyd devotees know, was booted from the
band in 1968 during the making of A Saucerful of Secrets as he
deteriorated mentally from excessive intake of LSD. In 1969 and 1970, he
was encouraged by Gilmour and Waters, among others, to return to the
studio. The erratic results were released over a period of time as The
Madcap Laughs, Barrett and Opel.

Barrett has become the focus of a ghoulish cult that apparently relishes
the disintegration palpable on the tracks included on Crazy Diamond.
The fact is, Barrett was of dubious talent from the get-go, although his
singles with Pink Floyd, "Arnold Layne" and "See Emily Play," broke the
band onto the British charts. Out of Barrett's entire 70-or-so song
oeuvre, only a handful of tracks – all done with Pink Floyd – are
standouts.

Crazy Diamond (the title was taken from Pink Floyd's outstanding tribute
to Barrett, "Shine On You Crazy Diamond") painfully documents Barrett's
disappearance into the lysergic mist. At best, the songs collected hold
a morbid fascination; at worst, they are little more than whimsical
ditherings. Barrett collectors are completists by nature, and this set
adds more than a dozen bonus tracks, some of which are hilariously
off-kilter. The booklet offers no insight or update on Barrett's
condition.

The album Barrett is by far the most focused and spirited of the three
discs, but only a fellow acid jockey or hale adventurer could possibly
sit through all 58 tracks. Perhaps expectations for the set would be
more realistic if it were retitled, something along the line of, say,
Crazy Zirconium. (RS 684)

--
   2001年6月8日凌晨，区别于绘画的透视法，我发明了“时间透视法”，我想
去申请专利，考虑到他们会把我当成傻子，于是我放弃。
   关于它的论文，我以后会公布，以后再说。
   可以这样加上一句了，总共是：AKIRA（1980～2001），诗人、动画家、导演、发
明家。生活过、恋爱过、沉默过。
Akira:连做梦我也希望自己已是动画家.Http://Ravener.yeah.net路行梦还远......

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