Steve Vai - Passion and Warfare 1990

Widely acclaimed as his best album, Passion and Warfare finds Steve Vai coming into his own as a composer, as well as bypassing vocals almost entirely. His style isn't quite as derivative of influences Frank Zappa and Joe Satriani as it was six years earlier on Flex-able; while some of Vai's sense of humor is still evident on tracks like the cock rock strut of "The Audience Is Listening," it is mostly replaced by a spiritual reflectiveness on ballads like "For the Love of God" and "Blue Powder" and dignified, committed rockers like "I Would Love To" and "Liberty." Vai is a more distinguished composer than most of his guitar-shredder contemporaries, and rather than simply showing off his technique, he isn't afraid to experiment or take chances in his playing. Thus, Passion and Warfare is arguably the richest and best hard rock guitar-virtuoso album of the '80s. AMG.
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Frank Zappa - You Are What You Is 1981

You Are What You Is was another of Frank Zappa's periodic post-Over-Nite Sensation efforts that concentrated on tight songwriting supported by satirical lyrics. Originally a two-record set featuring 20 songs, You Are What You Is skewered a variety of targets, from teenagers, punk rock, disco, and country music to the media, yuppies, the beauty-and-fitness industry, upper-class vice, religious hypocrisy, suicide, and the military draft -- all the trappings of Reagan-era America. Occasionally, Zappa's satirical points seem ill-thought-out, if not unnecessarily malicious; "Jumbo Go Away" is perhaps the most offensive song in Zappa's huge canon of potentially offensive songs, a tale of a whining, VD-riddled groupie who is portrayed as deserving the punch in the face she gets from an irritated musician. Despite that misstep, though, You Are What You Is is quite ambitious in scope and in general one of Zappa's most accessible later-period efforts; it's a showcase for his songwriting skills and his often acute satirical perspective, with less of the smutty humor that some listeners find off-putting. AMG.
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Peg Leg Sam featuring Louisiana Red - Early In The Morning 1996

Peg Leg Sam was a performer to be treasured, a member of what may have been the last authentic traveling medicine show, a harmonica virtuoso, and an extraordinary entertainer. Born Arthur Jackson, he acquired his nickname after a hoboing accident in 1930. His medicine show career began in 1938, and his repertoire -- finally recorded only in the early '70s -- reflected the rustic nature of the traveling show. "Peg" delivered comedy routines, bawdy toasts, and monologs; performed tricks with his harps (often playing two at once); and served up some juicy Piedmont blues (sometimes with a guitar accompanist, but most often by himself). Peg Leg Sam gave his last medicine-show performance in 1972 in North Carolina and was still in fine fettle when he started making the rounds of folk and blues festivals in his last years.
Recorded shortly before his death, this album features Peg Leg Sam with Louisiana Red performing a set of old-timey, traditional blues -- the kind of that was frequently heard at travelling medicine shows. Although it was recorded late in his career, the album captures the essence of Peg Leg Sam AMG.
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Zola Moon - Almost Crazy 1998

Female blues singer and songwriter Zola Moon was born in San Jose, CA, but her powerful song stylings might mislead listeners to guess that she was raised in the Deep South of Louisiana or Mississippi on grounds better known for producing great blues artists. She is self-taught, though she does mention numerous musical influences, ranging from B. B. King and Muddy Waters to Hank Williams and Tina Turner. Even with all of those wonderful influences, Zola Moon has worked hard to keep her sound all her own.

Zola Moon began her career in blues about 1983, in the San Francisco area. After seven years of performing, which helped her grow a large fan base, she finally released a debut album in 1990. It was titled Dangerous Love and recorded under the BareMoon Records label. Five years later, and with a new label, she finished work on an enjoyable sophomore offering, Lost in the Blues. It was followed in 1998 by Almost Crazy and then in 2000 by Earthquakes, Thunder, and Smiling Lighting. Some of the original blues tunes fans can sample on Zola Moon's albums are "Doll House," "Lucky Me," "I Look at the Fool," "Imagination," "Alley Cat," "Hollywood to the Hood," and "I Don't Think So."

Over the years Zola Moon has performed at concerts, festivals, and nightclubs, appearing with many artists, including Etta James, Junior Wells, Al Kooper, Albert Collins, and Elvin Bishop. Her band consists of longtime drummer Jerry Olson, guitarist Vince "the Silver Fox" Joy, and bassist Ron Battle. AMG,
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Louis Moholo - A South African Giant 2005

ouis Moholo comes from a musical family and is a self-taught drummer. His band the Cordettes took part in the 1962 Johannesburg Jazz Festival, where Moholo won first prize for drums. After this, Chris McGregor asked him to join the Blue Notes, replacing the original drummer. After leaving South Africa in 1964, the Blue Notes worked in France, Switzerland, and Denmark, finally settling in London. Of the original Blue Notes, Moholo is the one who had the time and the inclination to branch out further, his fantasy and musical sense as an improviser making him a very sought-after partner. Besides playing in the Blue Notes and McGregor's Brotherhood of Breath, Moholo was the driving force behind Harry Miller's Isipingo, and soon led his own groups: the unrecorded Unit, his octet Spirits Rejoice with Kenny Wheeler and Evan Parker, and his septet Viva la Black. In the '90s, he brought a band to South Africa, and the moving experience was recorded and released as Freedom Tour (Ogun, 1993). Moholo has played with Mike Osborne (Shapes, Future Music 1999), Harry Miller, Irene Schweizer (who first met the South African in Zurich in 1964), and Peter Brötzmann (The Nearer the Bone, the Sweeter the Meat, FMP). He's also worked in a guitar-percussion trio with Derek Bailey and Thebe Lipere that works better than expected; and his duo with Cecil Taylor is pure pleasure, with Moholo's soft and melodic phrasing complementing the percussive whirls of the piano. His late-'90s efforts are often based on an extraordinary interplay with Evan Parker (Bush Fire, Ogun 1997; Foxes' Fox, Emanem 1999). Moholo is often featured in the Dedication Orchestra, created to play the music of the South African exiles, and is a member of the London Improvisors Orchestra. AMG.
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Bluesiana Triangle - Bluesiana 1990

A collaboration by Dr. John (k, g, v), David Newman (sax, fl), and Art Blakey (d), the music is an above-average mixture of jazz, blues, and funk. An excellent album, AMG.
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Bluesiana Triangle - Bluesiana II 1991

Previously, Windham Hill Records released Bluesiana Triangle, a jazz trio album by drummer Art Blakey, pianist Dr. John, and reed man David "Fathead" Newman. Blakey passed away in 1990, but in the spring of 1991, Dr. John and Newman organized this second Bluesiana session, featuring trombonist Ray Anderson, drummer Will Calhoun, bassists Essiet Okon Essiet and Jay Leonhart (on different tracks), and percussionist Joe Bonadio. The resulting music again justifies the name, blues played in a funky Louisiana style with plenty of room for extended jazzy soloing. Though much of the material was written by Dr. John and he does sing occasionally, this is not a conventional Dr. John vocal album. It does contain some excellent playing, however. AMG.
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Nusrat Fateh Ali Khan - Qawwal & Party Shahbaaz 1991

Two years after the groundbreaking Shahen Shah, Nusrat returned to Peter Gabriel's Real World studio to record this set of four powerhouse pieces. Canadian guitarist and producer Michael Brook had collaborated with Nusrat on the 1990 crossover project Mustt Mustt, which created a sensation in Nusrat's native Pakistan. Brooke returns here to preside over a straight traditional recording of Nusrat's party. The notes make the point that Nusrat's immense popularity stemmed from his ability to merge separate traditions -- secular and classical, Muslim and Hindu. This set of pieces all come out of Sufi philosophic and religious tradition. But from start to finish, this session has rock & roll intensity about it. The tempos are feverishly fast, and the vocal arrangements quickly rise to vivid emotional crescendos. The improvisational passages are extended and adventurous. The lead track, "Beh Haadh Ramza Dhasdha," tells the story of a controversial Persian martyr of the tenth century, crucified for proclaiming, "I am the truth." This and the lengthy final piece revolve around a catchy refrain that anchors long, wandering forms. In contrast, the other two pieces unfold through successive permutations, ever striving into new spiritual territory. Nusrat can draw upon six centuries of musical tradition just within his own family. But here, on the qawwali star's most electrifying international release, it's clear even to the naïve listener that he's stretching the boundaries of that tradition, embracing his own present even as he honors his ancestors' past. AMG.
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Le Sacre Du Tympan - Le Retour 2005

A Jazz Big Band formed by Fred Pallem in 1998, with touches of free jazz and a bit of psychedelic! Excellent give a try!
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The Replacements - Tim 1985

Moving to a major label was inevitable for the Replacements: they garnered too much acclaim and attention after Let It Be to stay on Twin/Tone, especially as the label faced the same distribution problems that plagued many indies in the mid-'80s -- plus, the 'Mats' crosstown rivals, Hüsker Dü, made the leap to the big leagues, paving the way for their own hop over to Sire. The Replacements may have left Twin/Tone behind but they weren't quite ready to leave Minneapolis in the dust, choosing to record in their hometown with Tommy Erdelyi -- aka Tommy Ramone -- who gives the 'Mats a big, roomy sound without quite giving them gloss; compared to Let It Be, Tim is polished, but compared to many American underground rock records of the mid-'80s (including those by the Ramones), it's loose and kinetic. The production -- guitars that gained muscle, drums and vocals that gained reverb -- is the biggest surface difference, but there aren't just changes in how the Replacements sound; what they're playing is different too, as Paul Westerberg begins to turn into a self-aware songwriter. A large part of the charm of Let It Be was how it split almost evenly between ragged vulgarity and open-hearted rockers, with Westerberg's best songs betraying a startling, beguiling lack of affect. That's not quite the case with Tim, as Westerberg consciously writes alienation anthems: the rallying cry of "Bastards of Young" and the college radio love letter "Left of the Dial," songs written with a larger audience in mind -- not a popular audience, but a collection of misfits across the nation, who huddled around Westerberg's raw, twitchy loneliness on "Swingin Party" and "Here Comes a Regular," or the urgent and directionless "Hold My Life."

These songs are Westerberg at his confessional peak, but instead of undercutting this ragged emotion or hiding it away, as he did on the Twin/Tone albums, he pairs it with the exuberance of "Kiss Me on the Bus" -- an adolescent cousin to "I Will Dare" -- and channels his smart-ass comments into the terrifically cynical rockabilly shuffle "Waitress in the Sky." All this eats up so much oxygen that there's not much air left for any of the recklessness of the Twin/Tone LPs: there's no stumbling, no throwaway jokes, with even the twin rave-ups of "Dose of Thunder" and "Lay It Down Clown" straightened out, no matter how much Bob Stinson might try to pull them apart, which is perhaps the greatest indication that the Replacements were no longer the band they were just a couple years ago. Some 'Mats fans never got over this change, but something was gained in this loss: the Replacements turned into a deeper band on Tim, one that spoke, sometimes mumbled, to the hearts of losers and outcasts who lived their lives on the fringe. If Let It Be captured the spirit of the Replacements, then Tim captured their soul. AMG.
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Carolina Chocolate Drops - Genuine Negro Jig 2010

The problem with flirting with old music styles in the digital speedway of the 21st century is the curse of revivalism, a tendency to reduce contemporary stresses and pressures to a perceived better time in the safe and distant past when things were simpler, clearer, and, well, more pure. But of course it’s always now -- it’s never then or when -- and musical revivalism can suffer from a kind of strictly enforced and ultimately empty artifice. A facsimile is still a facsimile -- it can never, by definition, be the thing itself. This is the dilemma for the Carolina Chocolate Drops, a contemporary string band trio who, under the watchful eye of mentor Joe Thompson, re-create the look, feel, and sound of a 19th century black North Carolina fiddle and banjo band. Oh, and they do it well, with passion and integrity. But the problem is that it’s not that hard to find the original recordings of the old black string bands, so why re-create them? There’s the crack in the ice of music revivals. The original stuff -- this is the 21st century, after all, and the whole history of recorded music is readily available -- is still out there. Genuine Negro Jig doesn’t rise above this conundrum, but with Joe Henry’s clear, open-spaced and sparse production, it has a wonderful warmth and immediacy. The classic “Trouble in Your Mind,” even with the flashback approach and instrumentation, sounds relevant to today’s troubles. The gentle street ragtime of “Your Baby Ain’t Sweet Like Mine” would sound just fine in any era, as would the delightful romp of “Cindy Gal,” or the easy, natural blues of “Why Don’t You Do Right?” Genuine Negro Jig is perfectly recorded, balanced between the best sound this century can deliver and the rustic, throwback feel of an old-time string band in action at a picnic, dance or rent party in the '30s. That’s the accomplishment here. The next step, if the Carolina Chocolate Drops are willing to go there, is to stretch things from being a great facsimile to being a natural extension of an ongoing tradition. That’s when revival changes into evolution. AMG.
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Augustus Pablo - King Tubby Meets Rockers Uptown 1976

As any business person will tell you, the way to success is through the discovery of a niche or a previously unexploited market. Still, few business people, and even fewer musicians, would have believed that there was a market for the sound of the melodica. What next, they would have sniggered, a kazoo? Yet Augustus Pablo would take this child's toy and launch a revolution in Jamaican music. Not only was Pablo's melodica unique, it would sweep the entire island's scene and become an integral part of the music of the era. But Pablo was no one-trick pony, he was also a virtuoso keyboardist and his playing permeated the island across myriad of his own releases and as a session man for others. He was equally talented on the other side of the recording desk and his production work was as inspired as his playing.

Augustus Pablo was born Horace Swaby on June 21, 1954, in St. Andrew, Jamaica. He attended Kingston College (not a college in the American sense, but a high school), sneaking into the school's chapel with other musically inclined friends to practice on the organ. It was here at Kingston College where Swaby also made the connections that would help launch him into the music industry. Amongst his classmates was Clive Chin, whose family ran Randy's, Kingston's premier record store. The Chin clan included Herman Chin Loy, a cousin of Leslie Kong, and who started his own career in the music industry by working for his famous cousin. Like many small ethnic enclaves around the world, Jamaica's vibrant Chinese community often intermarried and thus businesses and families often intertwined. Chin Loy had struck out on his own in 1969, setting up his own record store and label, both called Aquarius. Thus in 1970, when the 15- year-old Swaby decided the time was ripe to begin his own musical career, Aquarius was his first stop. The fact that the teen was a friend of Clive Chin insured that he was given an audition, but it was his keyboard work that convinced Chin Loy to take him into the studio. The upbeat "Iggy Iggy" was the result of their first session and was credited to Augustus Pablo, a moniker Chin Loy frequently employed on his studio's instrumentals.

Over the next year, Pablo (the teen soon took the name as his own), cut several more singles for Chin Loy, "Still Yet," "The Mood," and "Snowball & Pudding," amongst them. But it was "East of the River Nile" that had the most startling impact. The instrumental featured a duet between Pablo's melodica and Glen Adam's organ, set to a seething rhythm the producer had bought from Lee Perry. Its haunting Oriental-esque melody ignited a fire on the island and launched the Far Eastern style. Minor key melodies surged from the grooves and the exotic now found a home in the Caribbean. Pablo briefly joined Mikey Chung's band, Now Generation, as keyboardist. Meanwhile, his old schoolmate Clive Chin was now working for the family business as a producer. (He had big shoes to fill, his older brother Vincent had made his mark producing such superstars as Alton Ellis and the Skatalites). Now that Clive was set up, Pablo left Now Generation and joined his friend in the studio. Their first fruits, in a round about way, was the seminal "Java." Chin was already at work with another one of their schoolfriends Dennis Wright, the song's rhythm tracks were done but Wright was having trouble with the vocals and Chin decided to leave if for the day. Then Pablo entered the studio. While waiting in the hall, he'd come up with a melody line and suggested trying it out. Chin turned the tape recorder back on, Pablo picked up his melodica, and the rest is history. "Java" was a smash and the rhythm was one of the most influential of the day, versioned almost into oblivion. It was the beginning of an incredibly successful partnership, as Chin and Pablo recorded a stream of hits. It was a busy time as aside from recording with Chin, Pablo was also cutting singles for a number of other producers. He helped another member of the Chin clan, Clive's uncle, Leonard Chin, launch his Santic label with "Pablo in Dub." Santic provided Pablo with his first opportunity to have a go at production, and he debuted with Paul Whiteman/Blackman's single "Say So." Pablo continued recording for other producers, joining Lee Perry for "Hot and Cold," linking with Gussie Clarke for "No Entry" and "Born to Dub You," cuttinh "Fat Baby" and "the Killer" for Keith Hudson, and hooking up with Bunny Lee for "The Great Pablo" and "Pablo's Desire." The latter track, a version of John Holt's "My Desire," was another smash hit.

Pablo's partnership with Lee was particularly fruitful and he cut numerous instrumental B-side version for the producer, nine of which are featured alongside their vocal or DJ A-sides, on the Ras compilation Pablo & Friends. Pablo had already come to the conclusion that no matter how big the hit nor how many sessions he played on, he would see little of the actual returns. Thus, he and his brother set up their own label, Rockers. The name was taken from the siblings sound system, which was already up and running. Over time, other imprints followed, Hot Stuff, Pablo International, Rockers International, and Message. Initially, Pablo's singles for his own label were instrumental versions of Studio One classics. "Skanking Easy," "Frozen Dub," "Don Drummond," "Pablo's Theme Song," and many more followed in re-creating songs of yore. And there's no doubt about the influence the studio's superb musicians had had on the young Swaby. Many of these song were less versions than tributes to these talented men. The U.K. label Greensleeves would bundle up many of the best self-productions from these early days for the Original Rockers compilation. Yet some of Pablo's best work was still being done with Clive Chin. In 1974, Chin and another family member, Pat Chin, oversaw Pablo's classic album Rebel Rock Reggae -- This Is Augustus Pablo. A masterpiece of mood and atmosphere, the instrumentals swing across the musical spectrum from Hollywood musicals to classic Jamaican hits. The album is actually a compilation and rounded up much of the artist's recent work for the Chin family, including his two earlier singles for Leonard. The following year, Pablo began collaborating with King Tubby, who had begun supplying Rockers with some of the label's most sublime mixes. The pair christened their partnership with Ital Dub, which was produced by Tommy Cowan and Warwick Lyn (another former employee of Leslie Kong). This album remains one of the most innovative of the decade. Fifteen years later, the U.K. label Pressure Drop gathered up alternative versions and outtakes from the Ital sessions for El Rockers, an album that sounds nearly as formidable as Ital Dub itself.

1975 also saw Pablo make an equally big splash as a producer, when Fred Locks' "Black Star Liner" became an instant hit in Jamaica and also made significant inroads in the U.K. With the single's success, Pablo now became a much sought-after producer, and worked with many of the island's greatest names. He sat behind the desk on sessions with Horace Andy, Freddie McKay, Jacob Miller, and I-Roy, amongst many others. An album's worth of his productions were showcased on 1976's King Tubby Meets Rockers Uptown album, one of the era's most legendary dub albums. Many of Rockers' releases featured phenomenal dub companions, including Africa Must Be Free by 1983 (Hugh Mandel), One Step Dub (Junior Delgado), and Eastman Dub (the companion to Tetrack's Let's Get Started). Pablo returned the favor by recording exclusive cuts for King Tubby's sound system. Over the years, both Rockers itself, as well as other labels, have released excellent compilations of the label's greatest moments. The U.K. label Greensleeves' Classic Rockers is of particular note. For rarities, check out Golden Memories, released by Rockers. Of course, Pablo was equally in demand as a session player and he appears on scores of albums from this period, playing keyboard, melodica, or both. As a musical force, he was unstoppable.

1978 brought the fabulous East of the River Nile album, which was recorded at Lee Perry's Black Ark studio. Meanwhile, Pablo took his place on the other side of the board for a trio of singles with the young singer Hugh Mandell (aka Jah Levi). This partnership then expanded and Pablo joined his young protégé on record for both the Africa Must Be Free by 1983 and Time and Place albums. However, the shift in musical tastes in the early '80s saw Pablo's flame begin to flicker. He continued recording prodigiously both behind and in front of the recording deck and released numerous singles and a number of albums. 1982 saw the appearance of Earth's Rightful Ruler; in the States, Shanachie released Rockers Meets King Tubby in a Fire House, a fine album which paired Pablo, Tubby, and Prince Jammy for a wild ride through classic rocker and cultural offerings. By 1986, the artist's star was in the ascendant again, helped by the release of his own Rising Sun album, and his production of Junior Delgado's Raggamuffin Year album and its attendant smash-hit title-track single. A phenomenal dub album of the set appeared four years later. These successes prompted Island Records to strike a deal with Rockers to distribute a number of the label's 12" singles. Although the arrangement didn't last long, it did see an international release for singles from Junior Delgado, Delroy Wilson, Carlton Hones, and a pair of Pablo's own -- "Eastern Promise" and "Sukiyaki." This inevitably led to an international tour the next year for his debut appearances outside the island, which was captured for posterity on the Live in Tokyo album. Back in Jamaica, 1987 had also seen the release of Rockers Comes East, a stunning set that created quite a stir at the time as Pablo took his own sound squarely into the digital age.

1990 brought Blowing With the Wind, which found the artist shifting direction yet again with the addition of nyahbingi drum beats and Johnny Moore's trumpet. As the decade deepened, Pablo remained a stalwart of the scene by producing a number of hit records, including such classics as Dawn Penn's "Night and Day" and Yami Bolo's sublime "Jah Made Them All" album. He also continued to release his own music, guest star on other's records, and oversee his back catalog, which remained in demand. What's truly miraculous was that Pablo managed to keep up this pace for so long. His health had always been very delicate due to a nerve disorder he suffered for much of his life. On May 18, 1999, his body finally gave out; he was only 40. However, although the artist may be gone, his legacy is in no danger of fading away. Compilations of both his own work and his productions appear with astonishing regularity, and it's difficult to find an album from the late '70s that he did not guest star on. His importance to Jamaica's music scene can be seen by the numerous stars who appeared at a tribute concert held a year after his death that included some of the island's greatest DJs, singers, and musicians. AMG.
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John Hiatt - Dirty Jeans and Mudslide Hymns 2011

Since John Hiatt and the major labels decided to go their separate ways around the turn of the century, his approach to record making has been direct and organic; most of his albums have sounded as if Hiatt and his sidemen put them together without a lot of fuss, placing the emphasis squarely on Hiatt's dependably strong material and tough, flinty vocal style. But 2011's Dirty Jeans and Mudslide Hymns is a more polished and ambitious affair than Hiatt has delivered in years. The sessions were produced by Kevin Shirley, who has previously worked with Aerosmith, the Black Crowes, Dream Theater, and Journey, and though his approach isn't especially intrusive, the sound of this record is certainly more luxurious, with the guitars sounding bigger, the drums booming a bit louder, and strings and keyboards decorating several tracks and the arrangements, gaining a greater sense of drama along the way. The latter is fitting, since the songs on Dirty Jeans have a more melodramatic tone than most of Hiatt's recent work, particularly "Damn This Town"'s tale of a shattered family, the romantic lament of "Don't Want to Leave You Now," "Down Around My Place"'s elegy to a world gone to seed, and Hiatt's belated meditation on 9/11, "When New York Had Her Heart Broke." While Hiatt's accompanists play in a strong, confident manner (especially guitarist Doug Lancio, drummer Kenneth Blevins, and Russ Pahl on pedal steel), Shirley's production tries to build atmosphere and dramatic tension out of echo and reverb, and sometimes his artful approach is a bit much, particularly since most of these numbers would certainly sound powerful with a more Spartan approach. But this delivers another 11 songs from one of America's best working tunesmiths, no small thing, and it shows Hiatt's craft is still potent, while his singing hasn't been this effective in years. In many respects, Dirty Jeans and Mudslide Hymns shows that John Hiatt is well served by a more hands-on production, though one might also imagine Kevin Shirley isn't necessarily the best person to do the job. AMG.
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Papa John Creach - Papa Blues 1992

Violinist Papa John Creach first came to the notice of rock fans when he joined Jefferson Airplane and its spin-off group, Hot Tuna, in 1970. By that time, he was already in his early fifties, a veteran of jazz and blues associations, while his fellow bandmembers were still approaching 30. Nevertheless, using an electrified violin, Creach added a new psychedelic edge to the Airplane in its final days. The band split in 1972, by which time Creach had begun to release solo albums on its custom label, Grunt. The Airplane was reorganized and relaunched as Jefferson Starship, and Creach was with it through its million-selling Red Octopus album in 1975. He continued to make solo albums through 1992, when he released Papa Blues. Papa John Creach died of heart failure in 1994 at the age of 76. AMG.
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Roger Waters - The Pros And Cons Of Hitch Hiking 1984

When dissected carefully, The Pros and Cons of Hitch Hiking becomes a fascinating conceptual voyage into the workings of the human psyche. As an abstract peering into the intricate functions of the subconscious, Waters' first solo album involves numerous dream sequences that both figuratively and symbolically unravel his struggle with marriage, fidelity, commitment, and age at the height of a midlife crisis. While the songs (titled by the times in which Waters experiences each dream) seem to lack in musical fluidity at certain points, they make up for it with ingenious symbolism and his brilliant use of stream of consciousness within a subconscious realm. Outside from the deep but sometimes patchy narrative framework, the music slightly lacks in rhythm or hooks, except for the title track that includes some attractive guitar playing via Eric Clapton. David Sanborn's saxophone is another attribute, adding some life to "Go Fishing" and "The Pros and Cons of Hitch Hiking." But it's truly the imagery and the visual design of the album that is front and center, since the importance lies in what Waters is trying to get across to the audience, decorated somewhat casually by his singing and the music. With Pink Floyd, the marriage of Waters' concepts and ideas with the talented musicianship of the rest of the band presented a complete masterpiece in both thought and music, while his solo efforts lean more toward the conceptual aspects of his work. With this in mind, The Pros and Cons of Hitch Hiking continues to showcase Waters' unprecedented knack of addressing his darkest thoughts and conceptions in a most extraordinary fashion. AMG.
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