Roger Waters

Waters' first after the (temporary) demise of Floyd came a year after The Final Cut, and, with a conceptual thread and Gilmour-ish guitarwork courtesy of Eric Clapton, Pros & Cons looked, sounded and felt like a new Pink Floyd record. The dialogue underneath the music and plot shifts cued by sound effects and explosive guitar moves were the very apex of what people thought you could do with rock music in 1984. While another tale of a rich guy's midlife crisis may not have been so necessary and also may not have aged so well, the sonic aspects of the album are irrefutable.

Roger Waters' first official solo album will be of sustained interest mainly to postanalytic
Pink Floyd fetishists and other highly evolved neurotics who persist in seeking spiritual
significance amid the flotsam of English art rock. I can't imagine that anyone else will sit
more than once through this strangely static, faintly hideous record, on which Waters'
customary bile is, for the first time, diluted with musical bilge. Essentially, The Pr... More >