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on April 7, 2017
Very good!
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on July 21, 2017
Must admit I like the cover graphic, but inside you have Roger Waters and Eric Clapton - what more could you ask for!!?
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on July 7, 2017
Roger Waters, comme le vin, Plus ils vieillissent plus c'est épatant!
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on June 5, 2008
Right before Roger Waters left Pink Floyd, he released The Pros and Cons of Hitch Hiking. The album was originally supposed to be a Pink Floyd album, but it got shelved in favor of The Wall. 5 years later, Roger releases it under his own name.

How to describe the music and lyrics. It sounds much like The Final Cut but more "rocking" if you should say. Roger's lyrics are usually very deep and meaningful, but the lyrics to this album can be read like a book. I'll try to explain the plot of the album:

There's a man who is dreaming about driving around country with two hitch hikers in the back seat. As he keeps driving he keeps having sexual fantasies about the female passenger. He then awakens and his wife threatens to leave him. He then suggests that to save their marriage they move to his wife's native land, but she soon cheats on him and the man leaves her for good and he then goes out on his own again. He get's picked up by a trucker and tells his story about his marriage and the trucker feels sorry for them. They then stop at a truck stop and there is a waitress there who is kind to him and he then begins to feel better about himself. After that he wakes up to see that it was all a dream, and then he looks over at his wife and tells her that he loves her.

There's more to the story than that, but I tried my best at explaining it. It's a very bizarre album to say the least, but if you appreciate Roger Waters like I do you'll realise the masterpiece this album truly is. Eric Clapton plays guitar aswell to add to it! I usually give a run down of the songs but it's hard to explain them, you'll have to hear it for yourself.
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on June 20, 2004
Roger Waters released his second solo album The Pros and Cons of Hitchhiking in April of 1984. The album was recorded between February and December of 1983 at Roger's home studio and featured assistance from the legendary Eric Clapton on guitar, the late Michael Kamen on piano and orchestrations, Roxy Music drummer Andy Newmark and jazz great David Sanborn on saxophones. Roger Waters takes the concept album to new heights on this masterpiece. Each of the 12 tracks marks the a scene of a surreal dream (nightmare?). Along the journey, Waters(whom wrote, sang, played bass and rhythm guitar and produced with Michael Kamen) deals with murderous Arabs in Germany(Arabs With Knives and West German Skies), a sexual encounter(Sexual Revolution), mundane family life(The Remains of Our Love and Go Fishing). He also encounters bikers, truckers, housewives, Shane and Yoko Ono(all mentioned in the title cut) and strangers(the album's best cut, Every Stranger's Eyes). The album is balanced with great doses of Slowhand's playing, the late Kamen's orchestrations and Waters' lyrics. To date, this is the only Waters solo album to go Gold in the US and peaked at #31 here in the US. However, notwithstanding sales figures, this album is a great solo disc. Highly recommended!
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on March 23, 1999
As if we didn't have enough proof of Waters' hatred of women from his work with Pink Floyd (who have done quite well without him), this album makes it conclusive. It was a complete waste of money and time!
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on May 26, 2004
No one can tell a story in music like Roger Waters. To him the lyrics are everything, and the music is there to support those lyrics. This can be heard throughout the "The Pros and Cons of Hitchhiking" as Waters' voice take precedence over everything else. This album was originally brought before Pink Floyd with another project to vote upon which to do. They picked "The Wall" instead, which was probably a smart choice. Although not quite Floyd quality, the album is actually surprising good, although it was outranked by David Gilmour's "About Face", which probably added to the strain on their relationship.
I won't even pretend to understand the story Waters' is trying to tell on this album, but I assume it follows some Hunter S. Thompson vision of wacked-out reality through dreams. What I do understand is that Waters' pulled out the stops to make this album successful by hiring Eric Clapton to handle the guitar work, and David Sanborn for sax. It is without doubt that Clapton carried this album further into mainstream acceptance than merit alone. Likewise, when Waters' allows Clapton free rein, the songs are good. "Running Shoes" rocks heavily, and "For the First Time Today, Part 2" (the first one) Clapton plays with a bluesy feel, which carries into "Sexual Revolution". The title track is the highlight of the album.
Although this album pales compared to Waters' "Radio K.A.O.S." it is still better than his other studio albums. Clapton has some great licks throughout the album, and Waters' has some great lyrics in here as well. Waters' ability to compose music around his story is amazing, and none can match his talent. I may not understand the story, and the music alone may not be overly noteworthy, but when combined it is a formula that works. A must have for Floyd fans.
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on July 27, 1999
I've noticed the other reviews on this page are either 5 stars, by people who have taken the time to get inside this album and appreciate it; or 1 or 2 stars, such as the person who asked "Maybe i just don't get the deep meaning buried within the pointless tunes, but then why should we have to work hard?" The answer is that Roger's music contains and expresses so much that it simply CAN'T be chopped up and served as a bunch of 3-minute catchy tunes. If that's what you want you can just turn the radio to any random station and listen to the mainstream drivel dominating the airwaves. Roger Waters is one of the few remaining artists who dare to put some real thought and feeling into music, and the music dares to make the listener think as well. The playing on this record is first-rate (how could it not be with Eric Clapton in the lead?) and the sounds are woven together masterfully to wrap you up in the story. It's interesting to see how some pieces of "The Wall" show up as well: the end of "Dunroamin, Duncarin, Dunlivin" is taken from "In the Flesh," and the melody from "Mother" shows up at the beginning and end of the album. Sure the album has some faults; at one point during "Go Fishing" I thought "Ok Roger you can stop screaming." His voice has never been his strongest point, but most of the time he still makes it work. If you still have an open mind about music then "Pros&Cons" is worth checking out. It's not something for every occasion, but perfect when you're in just the right mood.
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Pros: By listening to Waters' lyrics, and how he sets them to his particular kind of music (less melodic, more aural--or even metaphysical, but not in a Shirley MacLaine kinda way!), you really get a glimpse inside the mind of a truly, truly intelligent male, a special kind of animal who can come up with lyrics on a higher level than...oh, I don't know, "Livin' La Vida Loca," perhaps?--more so than Robert "Baby-Baby-BABY!" Plant, who often just throws in a groan or grunt to sound sexy and fill in the lyrical gaps in that particular song (I feel this way, even if I am a sort of Zeppelin freak). Waters, in "Pros & Cons," achieves what he achieved in his work with Pink: he strives to say something different and distinct from that of others in the rock world, and he hits his target (somewhat--more on that later). More importantly, whether or not the lyrics are always at their best, he forces you to THINK about what he's putting across, and not just "headbang" and/or play air-guitar to it. Remember: rock music isn't supposed to comfort or console--it's supposed to be dangerous; it's supposed to take risks, and take the listener to a place he/she wouldn't otherwise go to.
Con: Now, I should preface this by saying I am, indeed, a Pink Floyd fan. But, as much as I loved "Dark Side" and "The Wall," these works are like "Pros & Cons"--they are not without their faults. The works, in general, can be a little long, a little too wordy--and it is for that latter reason, in particular, why I can't rate "Pros & Cons" any higher. Again, it's a good album (good, for the reason that it's DIFFERENT), but it does suffer in its lugubriousness. I strongly feel that if Waters had tried polishing the lyrics a little more, he could have achieved just as good an effect, if not a better one--the same goes for most of his work w/ Pink. As it is, there ARE little nuggets of true lyrical genius in "Pros & Cons," but they often mired in a muddle of irritating stream-of-consciousness jargon--then again, could THAT be what Waters wanted to achieve?...So, should you buy this album? Let's put it this way: Those who say you're not going to "get" it if you don't "get" Pink, are being rather overly protective of their status as aficionados of a cult favorite; in other words, they're PinkHeads, like Zeppelin fans are LedHeads, and Grateful Dead fans are DeadHeads--they feel they're the only ones, and they want to KEEP it that way. I, myself, didn't "get" Pink before I bought it--'cause I NEVER HEARD THEM BEFORE. So I gave them a try. Same holds for Waters, solo, as well as for ANY artist. Besides, each album any artist puts out should be considered on its own merits, away from any work which may have come before or after it. 'Nuff said.
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on January 24, 2003
Roger Waters drops Gimour, Wright, and Mason and picks up right where he left off after the Final Cut...almost. Pink Floyd's 70s releases had a very dark and serious overtones to them. Waters quickly changes that which his purple and red album cover complete with a naked female hitchhiker on the front. This album has a fairly different feel to it than the Final Cut, however, that is the album is most resembles. Waters takes us on a journey through his sleeping and waking moments in a dissorienting, confusing, yet highly enjoyable manner. The lyrics, as to be expected, are top notch. Waters vocals (which I personally find to be incredible) are just that, incredible. Eric Clapton sits in and provides some quality guitar work as well. Waters continues to use his 'trademark' ambient sounds on this album (tvs, radios, people talking, cars, trucks). It really all fits together nicely. The trick to this album is getting caught up in Waters' emotional storm. You can really feel what he means if you allow yourself to. I'll admit, I have to be in a certain mood to listen to this album. There are parts that if you listen to them by themself are very 'flat'. This album is best listened to in its entirety. In fact thats really the only way to enjoy it. Its not something you want to listen to if you're trying to get pumped up or motivated to do something. If you can't tell, I really admire Roger Waters and think that he is one of the 3 greatest 'rock' songwriters of all time. This album is just another great example of his genious. It's not Dark Side, its not Animals, its not The Wall, but it should be appreciated for what it is. I'm always looking for interesting, stimulating, new, different things to listen to and this certainly fits the bill. "Come on she said, 'Why don't you give it a try?'"
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