David Gilmour - On A Island (2006)

On an Island is the third solo album by David Gilmour, best known as a lead vocalist and guitarist for Pink Floyd. It was released in the United Kingdom on 6 March 2006, Gilmour's 60th birthday, and in the U.S. the following day. It is Gilmour's first new solo album in 22 years. The song "Castellorizon" received a Grammy Award nomination for best rock instrumental.

The album has achieved platinum status in Canada, selling over 100,000 copies in the first month of its release, and sold over 1 million copies worldwide.

David Gilmour’s solo career hasn’t exactly been creatively restless; this is but the third album by the Pink Floyd guitarist, and first in 18 years. But that seemingly lackadaisical career ethos hasn’t prevented Gilmour from producing some of his finest work here, an album whose soaring, lyrical guitar lines will be familiar to Floyd fans, yet one also blessed by often surprising nuances and delicate musical textures. Gilmour’s Division Bell collaborator Polly Samson is credited with most of the writing, helping conjure a moody, texturally rich "island" that’s as much musical as it is personally and lyrically metaphorical. "Castellorizon," the impressionistic opening instrumental collage, presages much of what’s to come in subtle ways, with Gilmour’s emotionally-charged guitar lines climbing into realms usually staked out by contemporary Jeff Beck.

Gilmour’s choice of collaborators is equally compelling, from the evocative orchestrations of Polish classical modernist Zbigniew Preisner and expected contributions from Floyd (Richard Wright and proto-Pink mate Rado "Bob" Klose) to a host of guest turns that span both decades and styles: Georgie Fame, Phil Manzanera, Jools Holland, Caroline Dale and Robert Wyatt. The title track is graced by the stately harmonies of David Crosby and Graham Nash while the instrumental "Then I Close My Eyes" spins a hypnotic, bayou-meets-boho ethos where Dale’s gentle cello lines meet the melancholy cornet flourishes of Wyatt to challenge the very notions of genre itself. "This Heaven" finds Gilmour in unexpected R&B territory, weaving playful riffs with ‘60s London scenester Fame’s Hammond organ and finding its lyrical spirituality in simple, personal intimacy, a subtext that wafts through the upbeat airiness of "The Blue" to the spare "Smile," spinning a surprisingly romantic elegy that co! mes satisfyingly full circle on the closing "Where We Start." No man may be an island, but Gilmour has nonetheless crafted a rewarding artistic oasis on this, his finest and most gently personal album. -- Jerry McCulley.

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