Oh, By the Way
PINK FLOYD
(Capitol/EMI)
Pink Floyd holds a special place in the rock 'n' roll pantheon, making it more than deserving of this lavish box set, which includes all 14 of its studio albums. The band is as hip and universally appreciated now as in its halcyon days. The baby boomers who purchased Dark Side of the Moon when it first made British space-rock an international phenomenon probably still listen to the album — that is, unless their teenage sons or daughters have swiped it.
Despite being inactive for more than a decade (save for a brief set at the London Live 8 benefit in 2005 and solo projects), Pink Floyd remains a rite of passage for alienated adolescents — especially young men — across the world.
Anyone skeptical of Pink Floyd's generation-spanning mass appeal need only look at Roger Waters' performance last year at Tampa's Ford Amphitheatre. He sold out the 20,000-capacity venue and attracted a crowd largely consisting of people born after the 1979 release of The Wall. These 20-somethings not only shelled out big bucks to see one of Pink Floyd's primary members, they sang along to most of his lyrics.
But how do you approach the Pink Floyd canon? Dark Side ('73), Wish You Were Here ('75) and The Wall are likely the best choices to whet the appetites of neophytes. These discs offer a bleak, solipsistic view of the world while simultaneously transporting listeners away from their own grim realities. It's gloomy-but-grabby stuff that those of us who were seduced by it at an impressionable age have never been fully able to dismiss.
After repeated listens to Pink Floyd's three most popular albums, the freshly indoctrinated fan must then make difficult choices. Acquire the band's entire mid-1970s and early-'80s releases that find Waters mostly at the helm? Dip into the Syd Barrett-led psychedelic period of the late '60s? How about the David Gilmour-led era that put a couple new Floyd songs on the radio in '94?
Oh, By the Way proves ideal for those fresh fans who have decided it's time to simply consume it all — or for those veteran enthusiasts seeking to complete their Pink Floyd collection via the most handsome and comprehensive way available. The CDs are packaged in individual mini-replicas of the original vinyl jackets and include facsimiles of the initial liner notes. The box is stylishly decorated by longtime Floyd design whiz Storm Thorgerson and is compact enough to display on the mantle or tote in an overnight bag.
One quibble: Considering the breadth of Oh, By the Way, it would have been nice if EMI had added a disc loaded with Floyd's early-era B-sides, outtakes and maybe a few live cuts from the band's various incarnations over the years. 4.5 stars —Wade Tatangelo
Keep Your Eyes Ahead
THE HELIO SEQUENCE
(Sub Pop)
The Helio Sequence's latest pairs clever, intimate lyrics with evocative sonics that complement rather than distract from Brandon Summers' open, plaintive singing. The singer/songwriter/guitarist puts his vocals up front, artfully expressing heartsickness and other forms of disappointment over subtle drumming, ethereal synthesizers and underwater guitar washes. The longstanding duo of Summers and percussionist/keyboardist Benjamin Weikel judiciously sprinkle the tracks with ambient noises that gracefully add texture. I could complain about the album's sameness from song to song, but I find it compelling how each track flows seamlessly into the next — the melancholy (but never quite depressed) mood sustained throughout. The disc opens with its most memorable track, "Lately," on which Summers protests that he really doesn't miss the lover who's no longer in his life. Not a new trope, but Summers' treatment is quite poignant. Release date: Jan. 29. 3.5 stars —WT
Blues Twilight
RICHARD BOULGER
(b-1)
There's a legion of dedicated jazz musicians out there, blowing under the radar, making formidable music that, unfortunately, very few people ever hear. Add to their number Richard Boulger, a New York-based trumpeter/composer who's a new, and welcome, name to me. Blues Twilight is an artfully executed set of original tunes that calls to mind a lot of the usual touchstones — '60s Miles, Art Blakey's Messengers, a dollop of Coltrane. What the music lacks in originality it makes up for in the telepathic interaction of the players and Boulger's brassy, forceful solos. His tunes find an engaging balance between sophistication and accessibility. This guy deserves an ear. Jazz aficionados should lend him one. Or two. (richardboulger.com) 3.5 stars —Eric Snider
This article appears in Jan 23-29, 2008.