Not reviews, just thoughts!
Out of Time (R.E.M.)
After my fiasco of trying to listen to the album on a run, I grabbed it and listened to it in full a day or so later at home. I can see why people pick Automatic For the People as R.E.M.’s best album–it’s more cohesive and arguably more “mature” (it also has a better title and album art).
But Out of Time has something Automatic lacks–a sense of joyful experimentation. The band spent a lot of time experimenting in the latter half of their career, especially after drummer Bill Berry left, but a lot of it feels weird or kind of indulgent (or worse, a bit boring!)
Out of Time is a band doing new things and having a blast with it. Every member is present and fully participating–you even get two Mike Mills lead vocals (one because Michael Stipe couldn’t finish writing lyrics to “Texarkana” so Mills took over, rewrote the song, dropped any reference to Texarkana and ended up with one of the best tracks on the album).
Everyone remembers “Losing My Religion”, which centred around a mandolin, or the goofy “Shiny Happy People”–which may have had a more sinister meaning, even as the band dismissed it later as a children’s song (the video, which I’ve commented on before, is peak 90s), but the album is chock-full of what the kids call deep cuts, ranging from a rare instrumental (“Endgame”) to the eminently silly but catchy “Radio Song” in which Stipe deadpans the phrase “Hey hey hey” repeatedly. It makes excellent use of Kate Pierson of the B-52s on a couple of tracks. Even the song “Fretless”, which didn’t make the album, is great. The B-sides are A-sides.
Anyway, you should listen to it.
About Face (David Gilmour)
This was Gilmour’s second solo album, released in 1984 and when it seemed Pink Floyd was done (he would reconstitute the band without Roger Waters and release a new album three years later). Unlike his first solo effort in 1978, which has a loose, dreamy feel, About Face is What If Pink Floyd Made a Pop Album?
Gilmour has been a bit bagged on for his skill as a lyricist, but on About Face, he keeps things simple, direct–and sometimes surprisingly cheeky. My favourite example is “Cruise”, a breezy song with a soaring chorus that is, literally, about cruise missiles. Gilmour is clearly not impressed:
Saving our children, saving our land
Protecting us from things we can’t understand
Power and Glory, Justice and Right
I’m sure that you’ll help us to see the light
And the love that you radiate will keep us warm
And help us to weather the storm
“And the love that you radiate will keep us warm” is a great bit of word play.
Then:
Please don’t take what I’m saying amiss
Or misunderstand at a time such as this
Because if such close friends should ever fall out
What would there be left worth fighting about
Same for “if such close friends should ever fall out.” So cheeky.
He conscripted Pete Townsend to write three sets of lyrics and used two, the standout being “All Lovers Are Deranged”, which combines a furious guitar with lyrics both savage and droll:
You know that you don’t really fall in love
Unless you’re seventeen
The break of day will make your spirits fly
But you can’t know what it means
Unless you’re seventeen
Unlike with PF, here we get a brass section on the kicking “Blue Light” and while the album has the shadow of the Cold War hanging over it (it was 1984, after all), the whole thing remains eminently catchy and well-crafted. Apparently Gilmour was a bit dismissive of the album as being very 80s upon the release of his next solo album in 2006 (yes, 22 years later), but apart from the lyrics, it achieves a kind of timelessness as the songs swing between Gilmour’s concise acoustic strumming and him thrashing in a way he rarely did with Pink Floyd. It’s worth the nostalgia trip to see what might have been, if Pink Floyd hadn’t returned.
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