Still, his cynical eye insures the juxtapositions work well the Falkland-conflicted Britain of The Final Cut's "Get Your Filthy Hands off My Desert" and "Southampton Dock" is neatly bookended by Amused to Death's "Bravery of Being out of Range." There's a telling musical contrast with Floyd here, too, and it's one that goes beyond the album's stellar recording techniques. And if that frame sometimes overshadows the images of Waters's solo work-well, no one said he wasn't a pragmatic entertainer. That's essentially the rationale this live collection uses to lean heavily on Waters's Pink prime, from Dark Side of the Moon through The Final Cut. The musical legacy Waters has shared with "another band" (as he sharply refers to his former Pink Floyd mates in this collection's self-penned liner notes) has served two distinctly different functions: part and parcel of the latter's nostalgia act autobiographical foundation for the former's ongoing, if decidedly egocentric, Rage at the World. Just because you were in Pink Floyd doesn't mean whatever you say has merit to it.It's nothing short of remarkable that Roger Waters has built a successful career on obsessive ruminations on alienation, megalomania, and guilty fame, largely on the backs of one of history's most long-lived arena acts. A fair feeling, but the delivery just doesn't do him any justice. This is an hour of listening to an old man ramble on about how he's not happy with the state of the world and politics. Roger Waters sounds horribly out of touch on Is This The Life We Really Want?, and though his intentions seem to be in the right place. This album just sounds horribly out of place, and the fact that for more than half of it Rogers is just rambling on about some political tirade without any concept of melody just makes it sound weak and pathetic. The message of ' Broken Bones' is also good, but the delivery is pretty awful (asking " Who gives a shit anyway?" as a rhetorical question really isn't a good tactic). ' Bird In A Gale' sounds legitimately angry and actually has energy to it, bringing the message up. There are moments on Is This The Life We Really Want? that showed promise.
How many things do you want us to smell before you get to what you want to say? ' Smell The Roses' has the same problem that 'Picture That' did - repeating things over and over again only works so well for so long. Hell, the title track ' Is This The Life What We Really Want?' rolls by for six minutes and the best he can do is call Trump a " nincompoop." Six minutes of music for that. It's becoming had to expect a strong statement from anyone regarding their feelings, though. We get that Roger Waters doesn't like Trump.
The fact that the first verse ends on the bewildering lines " Picture a leader with no fucking brains / No fucking brains, no fucking brains" AND that this is coming from a 70-year-old veteran of politically charged songs, it's all just a bit pathetic. Take a listen to ' Picture That' for a prime example: saying "picture this" with unfavorable situations for almost seven minutes really just doesn't have a profound affect. Waters really lets his position be known on this record, though, and sometimes it just sounds like he's rambling on aimlessly, grabbing on to meaning wherever he thinks he can find it. Lots of people are angry about the state of the world right now, and they have every right to be - by no means do we live in a world anywhere close to perfect. That's exactly the case with former Pink Floyd frontman Roger Waters, who sounds horribly out of touch on Is This The Life We Really Want?, his first album in over two decades. That doesn't stop some from sounding downright crazy. It's a powerful medium for all emotion and dreams. Art is one of the strongest ways to transmit a message.
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