Saturday, February 14, 2015

The Obverse

At other times, it's the obverse: reviews that fawn over manure. Rolling Stone once again plays a feature role:

Rating: 5 Stars 
"This may be art rock's crowning masterpiece, but it is also something more. With The Final Cut, Pink Floyd caps its career in classic form, and leader Roger Waters - for whom the group has long since become little more than a pseudonym - finally steps out from behind the "Wall" where last we left him...Dismissed in the past as a mere misogynist, a ranting crank, Waters here finds his focus at last, and with it a new humanity. And with the departure of keyboardist Richard Wright and his synthesizers - and the advent of a new "holophonic" recording technique - the music has taken on deep, mahogany-hued tones, mainly provided by piano, harmonium and real strings. The effect of these internal shifts is all the more exhilarating for being totally unexpected. By comparison, in almost every way, The Wall was only a warm-up." (Kurt Loder, 4/14/83)

Only Love Beach, Emerson, Lake and Palmer's final disgrace, is held with less esteem (rightly so). The Final Cut is a self-absorbed and agonizing forty minutes that seem like outtakes from The Wall

R.E.M.'s Love Beach is Monster, an award winner as the album you can most readily find in the cut out bin, yet RS gave it four out of five stars stating, "What's truly impressive about Monster is the way R.E.M. make an album with such potentially grave subject matter so much fun." Instead, Monster is like the hangover after all the fun is over. Just a bad album in general. R.E.M. were media darlings and this is what that gets you in the end.