https://starlingdb.org/music/pink.htm

As for Gilmour, well, I just don’t like the guy’s guitar - I consider it generic and soulless. All of his ‘classic’ solos are so mathematically precise, counted out and adjusted that it almost makes me sick. He’s no Steve Howe, and he’s not even Steve Hackett. He’s Dave, like we all know him: slow, meticulous and calculated. He’s got some truly great guitar passages in his backpack (my favourite work of his is mostly located on Dark Side and Animals), but he also has a lot of pointless noodling, and he often selects the kind of generic highly distorted, yet not really ‘heavy’ guitar tone that I can’t call anything but ‘musical dentistry’. Sorry, Dave.

..............

As for the first side, it’s also a slight improvement over Atom Heart Mother’s solo-style numbers. The opening composition is a deserved classic. You probably all know that one, where Dave and Roger both play bass and Nick Mason utters the song title with the tapes slowed down and Rick gets these ‘whooooooOOOOSH!’ keyboard noises and then Gilmour steps in with some dentistry,

..............

The instrumentals are mostly superior, like the immediately-pleasant title track that sets the necessary gloomy, “pre-apocalyptic” atmosphere with its gritty synth patterns and Gilmour’s patented dentistry,

..............

Curiously enough, it’s much more close in sound to Meddle than to anything after it. Come to think of it, quite a few songs and bits of songs are just re-writes of tunes from that album: thus, the main theme of ‘Shine On’ creates the same mood and has almost the same melody as the main theme on ‘Echoes’; ‘Have A Cigar’ sounds just like the part I called ‘boring blues jam’ on same ‘Echoes’; Part VI of ‘Shine On’ recreates the bass thumping and dentistry soloing of ‘One Of These Days’; and isn’t it possible to trace ‘Wish You Were Here’ to some of the folkish songs on that one, like ‘Fearless’?

..............

The worst sacrilege, though, is done to ‘Comfortably Numb’. I never was a fan of this number in the first place, but I almost pity it: the former quiet, introspective number is turned into a generic stadium rock staple with ‘heavenly’ solos, barrages of cacophonic riffs, loads of dentistry and a total loss of any traces of melody on the way.