David Gilmour - About Face
- FaceOff - עימות חזיתי
- 5 hours ago
- 3 min read
Written By: Moti Kupfer
Release date - 05.03.1978
“A gun that appears in the first act will fire in the third.” This principle became a rule of thumb explaining that every element in a story must contribute to the whole, and that the plot should not advance through surprises that were not hinted at beforehand.
Well, anyone who looked closely could already foresee the first cracks in the ship of “Pink Floyd” as early as January 1977. “The Final Cut” was almost entirely the work of Roger Waters, while the rest of the band mainly functioned as session musicians. Richard Wright and David Gilmour understood the hint and each released solo albums the following year (1978).
After the band fell into debt and created together the magnificent “The Wall”, which provided them with the oxygen they desperately needed, Waters returned to his old habits. He fired Richard Wright and brought in outside musicians to take part in “Animals”. David Gilmour, who felt a strong sense of déjà vu and ended up participating in only two tracks on the album, reportedly snapped at Waters: “When you need a guitarist, call me.”
Gilmour made up his mind that he was done with “Pink Floyd” as long as Roger Waters remained in the band. He turned his attention to creating his second solo album, “About Face”, released on March 5, 1984.
He decided to show Waters that he was capable of creating a record no less impressive, perhaps even one that could surpass “Pink Floyd.” To achieve this, he assembled a group of outstanding musicians to work with him on the album: Pino Palladino (bass), Jeff Porcaro (drums, keyboards), Steve Winwood, Jon Lord, Luis Jardim, Roy Harper and also two young and promising musicians, Sam Brown (backing vocals) and Anne Dudley, who would later become part of the avant-garde synth-pop group “Art of Noise.”
Gilmour wrote most of the songs on the album while turning to “The Who” guitarist Pete Townshend for help. Townshend wrote two songs for him, including the single “Love on the Air.” Townshend reportedly wrote the lyrics for the song in a single day, while a third composition eventually ended up on a Pete Townshend solo album.
The joint production with Bob Ezrin reveals an album full of wonderful and diverse music. Unlike the last “Pink Floyd” album, it does not attempt to construct grand lyrical rock operas but instead presents a strong and worthy collection of songs.
The change is consistent throughout the record. Each song moves in its own direction, often in unexpected yet pleasing ways. Gilmour explores sounds he likely would not have been able to pursue within the boundaries of “Pink Floyd.” The lyrics are filled with subtle references to his feud with Waters, and many of the songs reflect this conflict.
The album opens with “Until We Sleep,” a fantastic jam driven by Gilmour’s outstanding guitar work. The lyrics serve as a direct call to action, essentially urging the listener to live life to the fullest before eternal sleep arrives. “Murder” is a very dark folk-styled song whose lyrics express David Gilmour’s anger over the murder of John Lennon.
Next comes “Blue Light,” featuring a distinctly jazzy intro with Steve Winwood on piano. Gilmour sings about randomness and the way fate toys with us. The track is a classic example of a piece that could only appear on one of Gilmour’s solo albums.
Gilmour dedicated “You Know I’m Right” to Waters and to their troubled relationship. The song deals with a person who is incapable of seeing another perspective in an argument.
With “Cruise,” we encounter one of the album’s most intriguing tracks. The song is dedicated to cruise missiles stationed in Britain. Palladino’s emotionless bass and Ian Kewley’s excellent Hammond organ elevate the track, which takes a surprising turn toward reggae near its end.
The album closes with “Near the End,” featuring an interesting use of bells that enhances its lullaby-like atmosphere. The lyrics once again refer directly to Roger Waters. The song not only serves as the album’s closing track, but in its own way it also speaks about the end of the previous era of “Pink Floyd.”
For Listening: Spotify, Apple Music
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