Radio K•A•O•S
By Roger Waters
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Track listing
Show track credits
- 1 Radio Waves 4:58
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backing vocals
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backing vocals
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backing vocals
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backing vocals
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Steve Langerbacking vocals
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Vicky Brownbacking vocals
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- 2 Who Needs Information? 5:55
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tenor saxophone, horn arrangements
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backing vocals
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backing vocals
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backing vocals
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Steve Langerbacking vocals
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Vicky Brownbacking vocals
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trumpet
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trombone
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- 3 Me or Him? 5:23
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shakuhachi
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backing vocals
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producer
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- 4 The Powers That Be 4:36
- with Paul Carrack (vocal)
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tenor saxophone, horn arrangements
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drums
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synthesizer
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Hammond organ
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backing vocals
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backing vocals
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backing vocals
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Steve Langerbacking vocals
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Vicky Brownbacking vocals
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trumpet
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trombone
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producer
- 5 Sunset Strip 4:45
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horn arrangements
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tenor saxophone
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backing vocals
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trumpet
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trombone
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- 6 Home 6:00
- with Clare Torry (vocal)
- 7 Four Minutes 4:00
- with Clare Torry (vocal)
- 8 The Tide Is Turning (After Live Aid) 5:46
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backing vocals
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- Total length: 41:23
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17 Issues
- Release view [combined information for all issues]
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Radio K•A•O•S [p]
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Radio K•A•O•S 33 rpm
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Radio K•A•O•S 33 rpm
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Radio K•A•O•S 33 rpm
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Radio K•A•O•S 33 rpm
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Radio K•A•O•S 33 rpm1987 Vinyl LP LSEMI 11170
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Radio K•A•O•S Remastered
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Radio K•A•O•S CD Sized Album Replica, Remastered
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Radio K•A•O•S CD Sized Album Replica, Limited Edition
48 Reviews
A bit of a dodgy album production-wise, and the while the concept and ideas, and lyrics are great, the songs don't pan out to much. The best songs from the the album were left off - especially "Molly's Song" - a heart-retching beautiful song that's would have made the album. Also "Going to live in LA" and "Get Back to Radio" are good and can be found around the place somewhere.
Published
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1
Radio Waves
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2
Who Needs Information?
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3
Me or Him?
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4
The Powers That Be
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5
Sunset Strip
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6
Home
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7
Four Minutes
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8
The Tide Is Turning (After Live Aid)
The story is convoluted and doesn't make a hell of a lot of sense, but its entertaining. It revolves around Billy, a disabled, wheel chair bound welsh man who's twin brother Benny, a welsh coal miner, lost his job, and in a moment of desperate anger, kills a taxi driver when he throws a cinder block off a bridge. benny is sent to prison and we never hear from him again and billy is forced to spend his days with his uncle Dave state side in L.A. while there he develops the ability to speak using the radio waves from a cordless phone, he then contacts Jim, who runs an independent radio station, known as Radio K.A.O.S. anyways he is angered by the twin conservative assault of "Maggie" Thatcher and Ronald Reagen and decides to stage a show of force by instigating WWIII. Spin your head around that! Its really funny though how rogers blends this absurd story into actually listenable radio worthy singles.
The main faults I can find with this album is, its pretty dated, (not an actual problem with me, but the backing vocalists and synths feel at times cheesy) its not entirely long in my opinion and im sure alot of people will agree the concept may or may not have panned out well on a double album, and the story doesn't really drive home on certain songs or make it realistic enough to really suspend disbelief, but if those flaws can be overlooked its actually really enjoyable! If anything this album definitely proves that rogers is a genius in his own cynical way. Recommended if your the curious Floydian who enjoys their later albums!
Published
wtf I love the 80s!
Roger Waters gives us a big ol spoonful of 80s AOR with his 2nd endeavor post-Floyd. It's ok, with heavy use of hooks and choruses to try and keep the listener attentive (much like on the radio, haha.) but falls flat of it's mission fast
Also, wtf, a story point where the world gets blown up? In a Roger Waters album? Who would've thought.
Published
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1
Radio Waves
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2
Who Needs Information?
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3
Me or Him?
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4
The Powers That Be
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5
Sunset Strip
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6
Home
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7
Four Minutes
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8
The Tide Is Turning (After Live Aid)
And I could just describe the whole album that way. It’s the most stereotypically 80’s album of all time, and that makes basically every criticism of it valid.
That being said… I fuckin loved it as a kid. It is now not even close to as good as before, but I still get a kick out of it.
Corny production, corny lyrics, corny 80’s AOR synth instrumentals, and yet I like it for that. Kinda. A lot of it does fucking blow, like how “Me or Him” just meanders for its entire runtime and does absolutely nothing interesting, but then there’s something like the hook on “Who Needs Information” which I think is great.
Typical Roger Waters political rants here and there, though. Especially at the end of “Home” where I’d rather he get back to making the song instead of going “bang bang shoot shoot” (actual quote).
Also this is the 50th review for the album.
Published
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Few acts frustrate me as much as Roger Waters. Regardless of popular opinion trying to diminish their standing, I really liked both Pink Floyd albums on which he wrestled creative control from the rest of the band, and nothing they have released in their post-Waters years have come anywhere near close to what they achieved while he was their creative dictator. I am currently working through Waters solo albums during the same period and I was surprised and disappointed to conclude that The Pros and Cons of Hitch Hiking was not anywhere near close to what he achieved while he was Pink Floyd’s creative dictator. As much as I dislike David Gilmour's very safe and calculated approach to Pink Floyd, it’s evident that Waters needed him as much as he needed Waters, even if they did detest each other by the mid-80s.
I did not hold out much hope for Radio K.A.O.S., given that the general consensus, and Water’s own opinion, was that it was a horrible mess of 80s rock production and lumpy concept that was impossible to decipher without the album’s sleevenotes. The fact that it was released barely three months before Gilmour cynically released his new solo album out under the Pink Floyd name smacked of petty one-upmanship, which in one sense was utterly childish, but on the other is probably one of the most Roger Waters’ things I’ve ever heard.
Due to it being released as a Pink Floyd album, the utterly tepid A Momentary Lapse of Reason sold massively and the accompanying world tour was a huge money spinner for Gilmour and drummer Nick Mason (who apparently was barely involved in the studio album). Hell, why not have Richard Wright play the keyboards on the tour as a salaried band member too, just to rub salt into Waters’ wounds? By contrast, Radio K.A.O.S. pretty much bombed, barely scraping into the top 20 of the album chart.
Even now Radio K.A.O.S. retains its reputation as the least regarded Roger Waters solo album, though it probably only underlines what a contrary sod I am that I actually believe that it was a solid improvement on The Pros and Cons of Hitch Hiking. Yes, the concept is lumpy and convoluted, but the same could be said for all the albums with a narrative that Roger Waters had oversight of, except maybe The Wall. Hell, it’s almost become his calling card down the decades. The thing is, given its convoluted narrative, the 80s rock production genuinely works, as its narrative is bound to stuff that happened in the 80s, and the call-in radio formats of the time. If it had been given a less period-bound production and soundscape, it simply wouldn’t have worked. For all its flaws, Radio K.A.O.S. works for me in a way that the utterly sterile A Momentary Lapse of Reason doesn’t. Waters does his best work when he’s on his high horse and he has something to grumble about. That’s why albums like Animals, The Wall, The Final Cut and Radio K.A.O.S. work, and it’s why albums like on The Pros and Cons of Hitch Hiking and A Momentary Lapse of Reason don’t. Grumpy Waters is engaging Waters. A Roger Waters album on which he isn’t grumpy will fail to hit the mark in the same way that a Pink Floyd album without Waters will miss the mark.
As I work my way chronologically through Roger Waters’ solo albums, Radio K.A.O.S. has restored my faith in it being a vaguely worthwhile exercise after its predecessor almost derailed the attempt at the first time of asking. As I listen to his albums, Waters comes across as generally unlikeable and a bit difficult, but at least he doesn’t try and hide that fact. I have to admit that his recent stance on global issues has done little to paint him in a sympathetic light, and I wouldn’t go out of my way to talk to him in a pub any more than I would any of his former Pink Floyd bandmates, I have to say that its what Waters brought to the table that has kept me returning to Pink Floyd down the decades, and its here on display throughout Radio K.A.O.S. too.
I did not hold out much hope for Radio K.A.O.S., given that the general consensus, and Water’s own opinion, was that it was a horrible mess of 80s rock production and lumpy concept that was impossible to decipher without the album’s sleevenotes. The fact that it was released barely three months before Gilmour cynically released his new solo album out under the Pink Floyd name smacked of petty one-upmanship, which in one sense was utterly childish, but on the other is probably one of the most Roger Waters’ things I’ve ever heard.
Due to it being released as a Pink Floyd album, the utterly tepid A Momentary Lapse of Reason sold massively and the accompanying world tour was a huge money spinner for Gilmour and drummer Nick Mason (who apparently was barely involved in the studio album). Hell, why not have Richard Wright play the keyboards on the tour as a salaried band member too, just to rub salt into Waters’ wounds? By contrast, Radio K.A.O.S. pretty much bombed, barely scraping into the top 20 of the album chart.
Even now Radio K.A.O.S. retains its reputation as the least regarded Roger Waters solo album, though it probably only underlines what a contrary sod I am that I actually believe that it was a solid improvement on The Pros and Cons of Hitch Hiking. Yes, the concept is lumpy and convoluted, but the same could be said for all the albums with a narrative that Roger Waters had oversight of, except maybe The Wall. Hell, it’s almost become his calling card down the decades. The thing is, given its convoluted narrative, the 80s rock production genuinely works, as its narrative is bound to stuff that happened in the 80s, and the call-in radio formats of the time. If it had been given a less period-bound production and soundscape, it simply wouldn’t have worked. For all its flaws, Radio K.A.O.S. works for me in a way that the utterly sterile A Momentary Lapse of Reason doesn’t. Waters does his best work when he’s on his high horse and he has something to grumble about. That’s why albums like Animals, The Wall, The Final Cut and Radio K.A.O.S. work, and it’s why albums like on The Pros and Cons of Hitch Hiking and A Momentary Lapse of Reason don’t. Grumpy Waters is engaging Waters. A Roger Waters album on which he isn’t grumpy will fail to hit the mark in the same way that a Pink Floyd album without Waters will miss the mark.
As I work my way chronologically through Roger Waters’ solo albums, Radio K.A.O.S. has restored my faith in it being a vaguely worthwhile exercise after its predecessor almost derailed the attempt at the first time of asking. As I listen to his albums, Waters comes across as generally unlikeable and a bit difficult, but at least he doesn’t try and hide that fact. I have to admit that his recent stance on global issues has done little to paint him in a sympathetic light, and I wouldn’t go out of my way to talk to him in a pub any more than I would any of his former Pink Floyd bandmates, I have to say that its what Waters brought to the table that has kept me returning to Pink Floyd down the decades, and its here on display throughout Radio K.A.O.S. too.
Published
Ugh
This album is historical by giving us a full second of Roger Waters going macho metal when he burps "Ugh" during Who Needs InformationPublished
Professional genius Roger Waters gives us the obligatory '60's/70's rock star updates sound for the 80's with nightmarish results' album. This album is pants on head insane, and if you ever wanted to prove that concept albums were pretentious, incoherent nonsense, this one would do nicely. Roger's protagonist is disabled, can hear radio waves 'in his head', moves to America after his brother is jailed, meets Jim Ladd, fakes a nuclear armageddon, but ultimately humanity is redeemed via the magic and sweeping majesty of Live Aid, which featured Nik Kershaw and REO Speedwagon on the bill (and D. Gilmour). I feel stupid even trying to describe the plot. Roger's usual obsessions are all here - war is legal insanity, technology is making us stupid, everyone is stupid except him, etc. But, this album is soaked in horrifying 80's production - it's all fake drums, synthesizers, and squealing sax solos. The gatefold contains the story, which is an astonishing piece of rambling verbiage. The short story was not his forte. Jim Ladd contribues unfunny and annoying dialogue to the record. Wasn't he in some controversy years later?
Roger Waters remains my hero, so I don't care about the inherent stupidity of this silly record. It has the distinction of being the one album that Roger himself has described as having 'fucked up', and considering that he rates his career a 10/10 in all other contexts, this rare moment of humility is something to enjoy. I love it so much - I could probably recite the entire thing in my sleep. I bought it in high school and played it over and over and over again. It's like a pair of comfy, pretentious, rambling shoes that nobody should ever take seriously. 'Radio Waves' is a genuinely great song, and 'The Tide Is Turning' is really beautiful, considering it's about Roger watching Live Aid. Why does he sing in an American accent throughout this album? Some mysteries are best left unsolved. This is by far his weakest solo album - but I don't care, because I love him to an irrational degree, and I hope that when I die, it is piped into my coffin for all of eternity.
Roger Waters remains my hero, so I don't care about the inherent stupidity of this silly record. It has the distinction of being the one album that Roger himself has described as having 'fucked up', and considering that he rates his career a 10/10 in all other contexts, this rare moment of humility is something to enjoy. I love it so much - I could probably recite the entire thing in my sleep. I bought it in high school and played it over and over and over again. It's like a pair of comfy, pretentious, rambling shoes that nobody should ever take seriously. 'Radio Waves' is a genuinely great song, and 'The Tide Is Turning' is really beautiful, considering it's about Roger watching Live Aid. Why does he sing in an American accent throughout this album? Some mysteries are best left unsolved. This is by far his weakest solo album - but I don't care, because I love him to an irrational degree, and I hope that when I die, it is piped into my coffin for all of eternity.
Published
Whatever you think of the music here, or the admittedly rather silly concept...you have to hand it to waters for actually spotting which way the wind was blowing in the world politically and at least trying to express it - he knows capitalism is a busted flush and the media and establishment are deeply in hock to them and for their survival. He deserves a lot of credit for keeping that message out there.
'The final cut' looks at the subject from an even bleaker, more personal perspective...the death of the UK post war consensus.
'Radio KAOS' isn't a particularly enjoyable record (although 'tide is turning' and 'who needs information?' are both worthwhile), the overbearing production choices kind of holds it back.... but it does show that out of all the top level rock stars from the 60s he was the one who's heart remained firmly in the right place
'The final cut' looks at the subject from an even bleaker, more personal perspective...the death of the UK post war consensus.
'Radio KAOS' isn't a particularly enjoyable record (although 'tide is turning' and 'who needs information?' are both worthwhile), the overbearing production choices kind of holds it back.... but it does show that out of all the top level rock stars from the 60s he was the one who's heart remained firmly in the right place
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