David Gilmour
About Face
Play About Face
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MOG Editorial Review
Rather than continue to dabble in abstract rock as he did with Pink Floyd, David Gilmour refreshingly set out in a newer, poppier direction when he went solo on 1984's About Face. Qualifying as his first true post-Floyd record, Gilmour crafts a maximal sound peppered with bits of new wave and arena rock throughout, with the sprawling "Murder" among many tracks showcasing his ability to change with the times. Still, it wouldn't quite be a David Gilmour-penned record if there weren't a few subtle hints of weirdness throughout, and cuts like "Let's Get Metaphysical" still manage to deliver the goods even as the sound itself felt like an accessible breath of fresh air.
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AMG Review of About Face
Tom Demalon
All Music GuideDavid Gilmour released his second solo venture in 1984, following the apparent dissolution of Pink Floyd. He had released a record on his own in 1978, but About Face is much more accessible. Gilmour has a stellar band backing him, including Jeff Porcaro (drums), Pino Palladino (bass), and Anne Dudley (synthesizer). The songs on About Face show a pop sensibility that Pink Floyd rarely was concerned with achieving. Although the album didn't attract the attention of a Floyd release, several cuts did manage to get airplay. "Until We Sleep" is rife with shimmering synthesizers and cavernous drums, and "Blue Light" was a minor pop hit, with Gilmour's trademark delay-drenched guitar giving way to a driving, horn-laced rocker. Pete Townshend wrote two of the tracks: "Love on the Air" and the propulsive "All Lovers Are Deranged." Of course, there's more than enough of Gilmour's fluid guitar playing to satisfy, including the gorgeous "Murder," a gentle acoustic track that explodes with some fiery organ by Steve Winwood and concludes with a fierce coda. About Face is well-honed rock album that is riveting from beginning to end.








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