Roger Waters: so often portrayed as the miserable one who talked his way out of Pink Floyd. Therefore, this double live album is his chance to set the record straight so to speak by putting his Floyd compositions alongside his solo work to form a grand, unified whole. Does it work? Sort of.
There's no doubt a lot of the material is top-drawer stuff - material from 'The Wall' (including the ubiquitous 'Another Brick In The Wall'), 'Dark Side Of The Moon' (notably Waters' attack on consumerism, 'Money') and 'Wish You Were Here' (including a fine 'Shine On You Crazy Diamond').
The problems stem from Waters' solo material, a lot of which is overblown, rambling pontification on the state of the world set to music. Setting it alongside the Floyd material only highlights the lack of editing that being out of a band environment seemingly leads to. Particularly unimpressive are his attacks on Margaret Thatcher and the Falklands ('Southampton Dock') and the closing new track 'Every Small Candle'.
Another point that irks is Waters' insistence in the liner notes that these shows are recorded in small, confined venues. OK, admittedly they have roofs, but the likes of the MGM in Las Vegas is hardly akin to the local pub. And, anyway, this is big, grandiose music designed to be played in large sports arenas and stadiums.
So, while it is great to hear his dark prog masterpiece, 'Set The Controls For The Heart Of The Sun', this is the antithesis of what Waters probably set out to do. It's vast, hollow music and certainly does nothing to prove that he did the right thing by leaving Messrs Gilmour and co.
