Continued from page 24
Furthermore, Nick Mason has played
new drum parts in place of drum
machines or session musicians Jim Keltner
and Carmine Appice.
The aim is less about the revisionist
history and more about enhancing the bal-
ance among the three principal players for
a sound that is genuinely Pink Floyd. It
seems far more pure, for example, than
George Lucas’ endless tweaks to the first
Star Wars film. Few fans are likely to be
disappointed with more actual Pink Floyd
in their Pink Floyd, after all. “Learning to
Fly” has more shimmer from Wright’s
Hammond organ. The remix also beefs up
the song’s lush background vocals and
gives more vibe and impact to Gilmour’s
lead vocal. Mason’s new drumming gives
the meticulously crafted studio effort dur-
ing “The Dogs of War,” a more human
touch, while Wright’s magnified presence
heightens the oppressive atmosphere of
impending doom. The sublime “On the
Turning Away” is similarly transformed.
The song is more organic with increased
Gospel organ and vocal presence, and it
benefits mainly from the identifiable
sound of Mason’s fills. The results do
indeed sound more like the band named
on the album cover. There is more clarity
and tension in the sounds of faded youth
and broken promises in the forlorn album-
closer “Sorrow.”
The Later Years: 1987-2019 is a stunning
set offering sensory overload for fans of
Pink Floyd’s third act led by David
Gilmour, with a wealth of dazzling visuals
and intoxicating musicianship.
– Jeff Elbel
9
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VARIOUS ARTISTS
Country Music - A Film By
Ken Burns
The Soundtrack
(Legacy)
Ken Burns’ eight-episodic documen-
tary COUNTRY MUSIC – A Film By Ken
Burns has once again left his viewers with
wishing there was more. This makes the
five-disc/68-page “deluxe box edition” of
COUNTRY MUSIC ...(The Soundtrack) the
perfect souvenir to a personal stroll along
a 100-year-old singularly American cultur-
al path—with the essays/photos most
likely to elicit the “Gee…” and the selec-
tion of 105 songs the “I wish…” responses
respectively. That aside, the musical choic-
es presented by this collection offer up a
none-too-shabby primer to the genre from
its earliest roots to the start of the previous
decade that even the most avid country
fan should respect. But in doing so, there
are precious few surprises—the 12-year-
old Brenda Lee belting “Jambalaya (On
the Bayou)” and two previously unre-
leased radio broadcasts of Hank Williams
classics “I Saw the Light” and "Hey, Good
Lookin.'" Multiple recordings from select
artists (The Carter Family, Jimmy Rogers,
Dolly Parton, Johnny Cash) reflect the out-
size impact each has had, short shrift is
given a number artists, and one glaring
omission (e.g., Garth Brooks) in this
“soundtrack” who enjoyed more screen
time in Burns’ film and have had just as
much impact to the country family and
industry. Of course, there’s no end to the
quibbling, all-sweeping projects such as
these engender. And while a lot of the
film’s essential and consistent nuances
(most importantly the shared roots in both
black/white secular/religious music tra-
ditions) fall by the wayside, this
Soundtrack nevertheless still serves as a
safe, assured “instant library” of country
essentials in a box.
--David C. Eldredge
8
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