New Roger Waters album "Is This The Life We Really Want?" - June 2, 2017

I think this is a great record-really concise and affecting.

 

Yes, my personal feeling is that Roger did not care much about this new album. At least, he was certainly not as invested as he used to be in the past (whether with Pink Floyd or in solo). To me, that's a big step backward, and we can clearly hear it on this new album, which has by far the least RW's album sounding, traditionally depicted with rich layers and a large amoun of dynamics and details. His last effort is rather monotonous, and quite frankly, there are some lazy moments such as the last trio of songs, which should have been easily combined into a 5 min piece with more depth and richness.

On his last interview with RollingStone this is what he said:

RS: There is a leanness to the writing – almost chant-like lyrics, like the repetitive pattern of "Picture That" – set in a theatrical-rock production.

RW: "Is This the Life We Really Want?" is interesting because I was working with musicians I had never met, because they were friends of Nigel [Godrich]'s – [drummer] Joey Waronker, [guitarist-keyboardists] Gus Seyffert and Jonathan Wilson. It was the early days of being around the studio with them. We were feeling our way around one another, Nigel and I. I would say things like "We should try things at half-speed" or "double-speed." And at one point, Nigel said to me, "Well, are you going to play?" Play what? "Play the bass." Why? [Laughs] It turned into a bit of a thing. "Why don't you play with the band now?" We wrote down a simple chord chart and, rather grumpily, I stuck it on my knee. "Oh, give me the ****ing bass." We started playing. We played through it once. And that is the take. "Picture That" was slightly different, more of a process. But "Is This the Life We Really Want?" was one take. That is actually part of a poem I wrote in 2008, ranting and raving about things.

source: Roger Waters on Political 'Runaway Train' That Inspired New Album

I was actually not surprised to read that type of interview, it rather shows how poorly involved Roger was into this project (musically, I doubt he did much), but more importantly, some of his new songs on ITTLWRW sound more like demos (Deja Vu being the track which shows more thorough work in the production), the title track was recorded in one take, that's insane! No wonder why I felt let down with the production of that album. I always found that title track to be horrendous (never found it appealing both musically and lyrically)

 

The problem is though for all the production values -dynamics and details as you call them on say Amused To Death-the songs weren't up to scratch. They are on the new album.

 

Just The Ballad of Bill Hubbard destroyed the 54 min of music on this new record. And soundwise, the productions of Pros and Cons and ATD are way more refined than that of ITTLWRW. No question about that!

 

I question that.

 

I think we will agree to disagree on that.

 

I don't agree.

 

Bird on a Wire is the one baffling track on this album for me. Sometimes I have no use for it while tolerating it on other listens. Occasionally I even like it!

The rest of the album (minus Track 1, sounding like a broken record here when I say that's a mandatory skip for me) is stellar.

I really don't see why everything needs to be pitted/ranked against Waters' other work. Or if it is, the other work doesn't necessarily need to be disparaged. I think Amused to Death is brilliant. It's completely separate from this album...which is also brilliant.

 

I loved the album the first time I heard it. It's utterly fab.

It's a different sonic texture from what's gone before. I think it works very well.

 

Musically I think this is Waters' strongest solo work. This album would be getting more acclaim if it wasn't so political in nature.

 

I respectfully disagree. Amused to Death is a monster of an album from start to finish. It's Roger at his best and most creative, imo.

 

I listened to this again last week after owning it for 3 months from release date and while I was on the fence about how great the quality of the material is, since hearing it again, it's definitely a good and solid record for Roger. There's a Floyd-ish sound throughout most of the album, which I don't feel is a bad thing; perhaps somewhat of an homage and reflection, but it enhances the material in a positive manner. Key cuts for me are: The Last Refugee, Picture That, Broken Bones, the title cut, Bird in a Gale and Smell the Roses. I don't play Waters' solo albums frequently as his style requires undivided attention; there's a certain penetrating depth and mood that I have to prepare for, but once I'm in it, it's always a worthwhile choice. I'd put this up against Amused to Death as one of his peak albums.

 

Just given the current climate, I think the political aspect is part of why it's gotten as much as exposure as it has.

 

The vinyl spin is unworldly. I listen to Rogers political spin on things but I don't let it ruin the listen of the album.

 

Agreed. That new album is not even near it. At best it took them a few months to put the whole thing together in studio, then, they moved on with the new tour. I believe a lot was recorded between Indio (October 2016) and February-March 2017 in LA (using Jonathan Wilson's studio).

I really do not understand the hype of that album. Sonically it is plain boring. No harmonics and lyrically certainly not his finests moment either. Lyrics are just too direct, with a lost touch of sarcasm.

 

Hey Dave Gilmour had put out a new album, so Roger had to counter it.

 

You're bound and determined to bludgeon those of us who are fans of the album until we, en masse, cry uncle and confess that ITTLWRW is a travesty. It ain't gonna happen no matter which line of attack you take.

The lyrics are brilliant. An extremely strong aspect of the album so can't understand why you'd attack that. Personally, I don't think you have a leg to stand on.

 

I must not have any taste. This is my favorite RW album.

 

Apart from some Rogers lyrics raging about the usual this and that , some of the other non overtly angry tracks are full of poignancy and emotion , it's really heartfelt stuff , there's a lot of emotion invested in it.

I don't think there's anyone who can touch Roger for how he delivers his lyrics , his enunciation and the timing of his delivery is what set him apart ,as a vocalist , and puts him in a league of his own.

 

Roger shows some old time lyrical magic with ITTLWRW. In some ways it reminds me of The Wall lyrically that cold ominous vibe. IMHO

 

I disagree with pretty much everything you've said about it. It's a brilliant album in every way.

 

What's funny is when someone writes something negative about that album, more than 10 messages follow to say the opposite (as some needed reinsurance)

 

That's what happens in a discussion or, more specifically, a rebuttal. Personally, I'm happy to see others support my viewpoint that Waters' lyrics are superb. Which is my position in opposition to your opinion on the lyrics.

Yep, I still think you're off base on that point.

 

Just a bit off topic...
Been listening to Super Tramp's Crime of the Century recently, it kind of shocked me just how Floyd it is, particularly "The Wall", almost unnervingly so in some places. This cant be just me can it ??