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VINIL Universal Records Roger Waters - Amused To Death (2015 re-release)

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This 2015 2 LP 200-gram vinyl edition of Amused To Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters' 2010-2013 "The Wall Live" tour and movie.

Prezentare generala VINIL Universal Records Roger Waters - Amused To Death (2015 re-release)

This 2015 2 LP 200-gram vinyl edition of Amused To Death features remastered audio completed by longtime Roger Waters / Pink Floyd collaborator and co-producer, James Guthrie, and has been pressed at Quality Record Pressings. The cover and gatefold art has been updated for 2015 by Sean Evans, the creative director of Waters' 2010-2013 "The Wall Live" tour and movie.



[ AllMusic ] War is Roger Waters' great muse, the impetus for so much of his work, including the semi-autobiographical 1979 opus The Wall. The Final Cut, his last album with Pink Floyd, functioned as an explicit sequel to The Wall, but 1992's Amused to Death acts as something of a coda, a work where Waters revisits his obsessions -- both musical and lyrical -- and ties them together with the masterful touch of a mature artist. Certainly, Waters' narrative of a society filtering all manners of ugliness through a television screen isn't as sci-fi silly as that of its immediate predecessor Radio K.A.O.S., but a greater point in its favor is that it's a richer affair than that stiff, synthesized relic of the late '80s. Working with Patrick Leonard -- a veteran collaborator of Madonna's who also dabbled with the latter-day David Gilmour-led Pink Floyd -- Waters gives Amused to Death forward momentum, an aspect conspicuously absent from the still, meditative The Final Cut and Pros and Cons of Hitchhiking, both of which seemed to be comprised of song poems. The tunes on Amused aren't quite hooky or melodic but they do have structure, as does the production by Waters, Leonard, and Nick Griffiths. The tapestry of found sounds, choirs, televisions, washes of organ, lonely acoustic guitars, and blues leads by Jeff Beck does recall Floyd at their '70s peak, but Amused to Death sounds grander and more expansive; it's a creature of the CD age, using up every one of its available 72 minutes. At this length, it's a mere ten minutes shorter than The Wall, and although it can sometimes feel indulgent, it never feels excessive. Unlike the other two Waters solo albums -- or The Final Cut, which is a Waters project masquerading as a Floyd album -- Amused to Death feels cohesive and complete as an anti-war rock opera. If it winds up being Waters' last original rock album, so be it: it is a masterpiece in the sense that it brings together all of his obsessions in one grand, but not unwieldy, package.

 

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[ Classic Rock Review ] For what turned out to be his final solo studio album (to date, 20 years and counting), Roger Waters composed a complex (and often confused) concept album called Amused to Death. The title came from a book by author Neil Postman, which explored the history of the media and the concept (although cloudy) is of aliens arriving after the extinction of humans and finding all our skeletons sitting around television sets and trying to work out why it was that our end came before its time. They come to the conclusion that we “amused ourselves to death”. While the album follows the same calm, storytelling, musically rich template of Waters’ two previous solo efforts, this album seems to be the most directly influenced by that material of Waters’ former band, Pink Floyd. In fact, there appears to be some direct sampling from Pink Floyd songs “Take Up Thy Stethoscope and Walk”, “Echoes” and “Shine On You Crazy Diamond”.

Lyrically, the album is brimming with hate on a variety of subjects from capitalism to America to religion to war to television to Stanley Kubrick to Andrew Lloyd Weber. Waters makes a few good points on these varied subjects, with the better use of sarcasm in these instances. However, the logic of the vast rants on Amused to Death is convoluted, such as when Waters somehow ties Chiang Kai-shek and the Chinese Nationalists (deposed in 1949) to the slaughter at Tienanmen Square 40 years later by the very Communists that deposed them. He also applies moral relativism to the “Germans killing the Jews” and the “Jews killing the Arabs”. But the greatest offense may just be the mere fact that so much of the lyrical material seems dated and irrelevant, unlike past efforts which seem timeless and relevant to any era. Just take the example of Waters harping on television habits from his perspective at the dawn of the Internet age. A futurist, Mr. Waters is not.

Conversely, the album is superb musically. Waters’ enlisted legendary guitarist Jeff Beck to play lead guitar and a whole host of talent to provide additional music and vocal support. Amused to Death is mixed in QSound, a virtual surround sound, which enhances the spatial feel of the audio along with the various sound effects sprinkled throughout the album. The quality of production by Waters, Nick Griffiths, and Patrick Leonard is simply superb and makes this album worthwhile for any audiophile even if you like nothing else.



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