RICHARD WRIGHT

I'm assigning this album is a "4" because, where it lacks consistency, it fully reimburses us with originality. Rather than plod through, rating each individual song as is sometimes the custom, I am to give this work an overall boost by any means necessary: the current low overall rating in the 2's is unfair, misaligned, and needs fixing. That is, this work must get a boost from someone, somehow.

"Cuts Like a Diamond" and "Seems We Were Dreaming" carry the day all by themselves. Here I did a similar thing with albums such as Apricity (a few spectacular original songs); and Glass Hammer's "If the Sun" (probably the least original but nevertheless spectacular. A part simply overwhelms the whole.

As the story goes, Wright was bullied, otherwise he would have been even more prolific. Wright was 25% of Pink Floyd. Is there more to say?

If you feel this review lacks depth, let me know and I'll try to explain why the few gems are five-star gems by updating the same gems which I think can be done exactly once. Otherwise, if you like Floyd, buy it!!! The full weight of it can be heard in vinyl! Crank up those two vinyl tunes and see what I mean!

As many already know, Richard Wright was one of the original founders of Pink Floyd and was one of their members through most of their history, the only exception when Roger Waters decided kick him out of the band as a regular member before "The Wall" would be released. He nevertheless worked as a "paid musician" and ended up being the only one to make a profit from the "The Wall" tour. Between the release of Pink Floyd's "Animals" and "The Wall", the band was seeing some of it's greatest success up to that point, yet the individuals of the band were not getting together very well. During this time, both David Gilmour and Richard Wright decided to both release individual solo albums. "Wet Dreams" is Wright's solo album that resulted from this.

Many reviewers here have considered "Wet Dreams" to be the long-lost Pink Floyd album. Even though it is a decent enough album, it definitely is not a Pink Floyd album. It is obvious that is a Richard Wright album however as his stamp is all over it, it's just what you would expect from Wright without his band mates input. There are 4 vocal tracks 6 instrumental, the songs mostly being fairly accessible light prog. The songs are quite easy to listen to, but don't necessarily stand out as anything as ground breaking as what the entire band had put out. The closest Pink Floyd album I could compare it to is "Obscured By Clouds", but even then, it's not a close comparison.

The line up of studio musicians is pretty impressive with includes Mel Collins on several tracks and guitarist Snowy White who had past connections with Wright through Pink Floyd. And, in the end, you end up with an okay album of good songs. To me, there seems to be a sense of nervousness to the music that could have come about because of his first official outing on his own. This is evidenced in Wright's 2nd solo album "Broken China" released in 1996 as I consider it a much better and mature album which better reflects his musical talents in both performance and songwriting. "Wet Dreams" however is a good album that could be enjoyed by both Pink Floyd fans and newcomers alike, but not quite up to what we all know is Wright's actual potential. It's good, but not quite great.

This is my favourite Pink Floyd Solo album. Better than On a island by Gilmour and better than amused to death by waters.

I thinks wright here achieved perfect balance betwen the music and the concept. Whille On a island sound like Pink floyd but is weak as a concept and lyrics, Broken China is strong as a concept. While amused to deah is weak for the music part some time, Broken chine is strong for the music part.

What i am trying to say here is that Broken China capture the very essence of a PF record while having is own personnality. I am really impressed by how strong some track are (runaway, black cloud. far from the harbour wall, reaching for the rail, breakthroug) etc.

The excecution is aslo brillant. Broken China is a concept album about depression and you can feel the despair and the dark atmosphere for all the album expect the last track (this one represent the end of the depression.)

You need to listen to this album, ist not on spotify neither on youtube but ist the most prog and complex album of all solo member.

RICHARD WRIGHT (1943-2008) is of course best-known as the legendary keyboard maestro with Pink Floyd. He's appeared on all but one of Pink Floyd's albums, including a posthumous appearance on "The Endless River" (2014), which was released six years after his untimely death from cancer at the age of 65. The only Pink Floyd album Richard Wright didn't appear on was "The Final Cut" (1983), which was really a Roger Waters solo album in all but name. This album, Wet Dream (1978), was the first of two solo albums, with his second album "Broken China", following 18 years later in 1996. Wright also released a New Wave album as one half of a short-lived duo called Zee in 1984. The band line up for the "Wet Dream" album consisted of Richard Wright (vocals, keyboards), Mel Collins (saxophones, flute), Snowy White (guitars), Larry Steele (bass guitar) & Reg Isidore (drums & percussion). All ten songs on the album were written by Richard Wright and the album cover design was by Hipgnosis. The album passed by virtually unnoticed at the time of its release in the late 1970's, but it's now gaining some well- deserved recognition, thanks to Prog Archives, You Tube, and the Internet. Let's plunge into a "Wet Dream" now and see what this rediscovered album with the rather risque title has to offer.

Many of the songs on the album have a watery theme, hence the title "Wet Dream", and so we begin with "Mediterranean Sea", an instrumental opening number which has all of the musical elements we've come to know and love over the years from Pink Floyd. There's the pleasing sound of a piano and synth combined together in perfect harmony and a gorgeous saxophone solo from Mel Collins (of King Crimson fame). It's as close to the sound of Pink Floyd as you can get without actually BEING Pink Floyd. This beautiful piece of music wouldn't have seemed out of place on the classic "Dark Side of the Moon" album. We hear the sound of Richard Wright singing solo for the first time on Song No. 2 "Against the Odds" - no relation to the Phil Collins song of the same name. The song is another pleasingly harmonious and melodious song that would be worthy of a place on any Pink Floyd album. In time-honoured tradition, where the singer wears his heart on his sleeve, it's a romantic ballad about love's mysterious ways and the sad break-up of a relationship. We're used to hearing the sound of Richard Wright's harmonising vocals on many of Pink Floyd's albums, but this is where he gets the chance to take centre-stage and really stretch his vocal chords. He sounds pretty good too as a lead vocalist for someone who's better known as a keyboard player. Returning to a watery theme again for "Cat's Cruise", another Floyd-esque instrumental number with a wonderful and mellifluous saxophone solo. Just bask in the glow of this beautifully warm piece of music and imagine yourself out on deck in the sunshine on a sea cruise. It's the kind of feel-good music that's enough to brighten up anyone's day. Sailing onwards now, we come to "Summer Elegy", an uplifting and euphonious piano number that floats over you like a warm breeze. Despite the uplifting and inspirational feel to the music, the lyrics tell a different story:- "Something's gotta give, We can't carry on like this, One year on and more, Unsure where do we go from here?, Many nights and many days I've spent with you, Talking about what we should do, I can't say, Nothing's clear to me no more." ..... Yes, it's another sad tale of love gone sour. To close out Side One, comes "Waves", another watery-themed instrumental number. It's a magical piece of music combining keyboards and saxophone in true Pink Floyd fashion. This soothing and sophisticated melody will leave you feeling like you're sailing on the crest of a wave.

Sailing onto Side Two now and we arrive at our "Holiday" destination, the longest song on the album, running at just over 6 minutes long. "Holiday" is a powerful and passionately uplifting ballad with these heartfelt lyrics:- "It was meant to be a holiday, Building castles by the sea, Another way to live for you and me, Time to pause, Consider what we've done, The wind is blowing, So come, Let's take a holiday." ..... It's a song guaranteed to pull at the heartstrings, and if this song doesn't move you, then you must be a statue. The curiously titled "Mad Yannis Dance" is up next. I've no idea what it's about as it's another instrumental piece. It's not particularly mad and you can't dance to it, but it's a pleasant-sounding number all the same, sounding like a slow plodding march. We're into funky Jazz-Rock territory with "Drop in from the Top", a lively instrumental piece with an upbeat feel to it, which leads us into "Pink's Song", another emotionally appealing ballad. This sad song continues the theme of a broken relationship with these touching lyrics:- "Patiently, you watched us play parts you'd seen before, Even then, We sometimes asked, Would you keep us all?, Caught between the tangled web, You helped set us free, Sadly, then, you lost yourself, so you had to leave." ..... It sounds like Richard Wright is writing from personal experience, straight from the heart, with those heart-wrenching and melancholic lyrics. And so, we come to the end of our wonderful musical cruise now with a lively and Jazzy instrumental number, "Funky Deux", and funky it is too!

Richard Wright has really struck gold with this masterful album of uplifting and emotionally appealing tunes. It's bound to appeal to fans of Pink Floyd, as the album has basically the same Floyd-esque sound we've come to know and love over the last five decades, the only difference being that this album has more of a Jazzy feel to it. Prepare to set sail on the musical cruise of a lifetime with "Wet Dream", a maritime delight from beginning to end. This music is just sublime!

4.5: The first solo album by Richard Wright, the legendary Keyboardist of Pink Floyd. I always thought that he was one of the most underrated members of any legend prog band, however in all of his album his sounds was always crucial. Talking about this album, is one of the best records I have heard of any of the member of PF. All of the lyrics are written by him, except for one that is along with his first wife. Musically, is the best of all solo members albums of PF in terms of quality and composition, it was very good made, it is so varied and complex and includes different kind of sound, most of them proggy and jazzy, and most of the song are instrumentals. The guitar also made a great job and helps to make it better too. The lyrics are not so deep, but they are good in general. Vocally, although i liked him a lot in his previous participations in PF, and liked the way he sings, I dont considered it to have an outstanding voice, but almost all the album is instrumental so it is not a problem. Drop In from Top is the most PF seemingly song that you are going to find in this one, but there are a lot excellent moments. Finally, A excellent addition to any prog collection and the best, most elaborated and prog effort of any of the solo record of any PF member in terms of music.

3.75: the last solo effort by Wright . The lyrics are based in his then-wife Mildred's battle with depression, and consistently good in most of the parts. Musically, is a mostly and instrument album. I liked far from the hardbound wall, reaching for the rail, Along the Shoreline(L), Breakthrough, runaways,Unfair Ground, satellite, Woman of Custom(L) As I commented in the previous album, although I like his voice, I feel like he needs to improvise more the way of he sing to deliver different tones. it sound more like space electronic record, sometimes it remind us the Wish you were here era, however I would like to have more improvisation, because it doesnt evolve into something spectacular, although it is good in general. In fact It actually feels like a Floyd record, however not as good as them. Finally, at the end is an excellent addition to any prog collection having a really good moments, with some other not as good but in general a good record.

I have spent many, many hours listening to this work. I keep coming back to it... It often reaches 60 plus plays on my old Winamp player before the latter crashes and resets. The album is Richard Wright's first album after his expulsion from Pink Floyd during the Wall Sessions for (at least) chronic absenteeism. Here Wright helms a then cutting edge Fairlight CMI (computer musical instrument), a computerized synthesizer and sampler. All sounds are created by sampling, and the songs were usually constructed from a synth wash. The Fairlight was nearly ubiquitous on recordings in this era (1983-1985). It's rival was the similar sounding Synclavier, such as that used extensively by Frank Zappa. I love the Fairlight sound, which is warm and unique and cannot be duplicated by modern programming. Here it is put to good use, and Wright sounds surprisingly adept. I don't take him to be a compositional or instrumental genius. The album is a roughly New Wave album with some dark ambient touches and is a little proggy. Wright enlists Dave Harris, a New Wave artist, to write the lyrics and sing. Harris has what must have been an intentionally Wrightish quality to his voice, so much so that one could mistake the two, though Harris is a better singer overall. Wright imitated his style, as well, during his Broken China album, narrowing even further the difference in their voices. Wright is there somewhere in backing vocals, but is not wholly audible at any point. Just as well, Harris wrote all the lyrics, as Wright writes very poor lyrics, as demonstrated on his previous outing (Wet Dream). Curious, as he sometimes had something going in the early years of Floyd (Summer '68, for example?). Wright wrote all the backing tracks.

THE MUSIC

1. Confusion

This is a very listenable pop song with a driving rhythm, crashing synths, brass samples and passionate vocals. The lyrics are mainly meaningless, but quite good as a collage. I listen to this song all the time. The single version adds some heavy handed Owner of the Heartish embellishments.

2. Voices

A little plodding, not so different from something that might fit on Momentary Lapse of Reason. Synthesized rhythm section heavy with beautiful textures. Lyrics a little insipid. Reverted radio chatter here and there. Quite repetitive.

3. Private Person

Very Fairlight typical song, with funky little samples getting a little over the top. Wright keeps it entertaining with building hooks and some synth runs. Contemplative Harris vocals and lyrics well suited to the song. Pretty funky and compelling.

4. Strange Rhythm

Begins and continues intermittently with a near-obnoxious Fairlight loop from a voice sample. Gets a little discoey. Some funky guitar sounds from a real guitar, a buried solo amid brass samples. A weak track. Off kilter.

5. Cuts Like A Diamond

This is generally considered the best song on the album and is, with realistic sounding or at least realistically programmed drum samples/drum machine. A lot of good guitar work more up front this time. Sounds like a kind of throwaway Pink Floyd song. The fairlight is more subdued and its a very natural sounding song. The loud 80s drums are very effective here.

6. By Touching.

Begins with an annoying sample that reappears at times, not unlike Strange Rhythm. Getting more conventional here. Guitar makes another effective appearance. Goes for a funky vibe. Not as entertaining as most of the previous tracks.

7. How Do You Do It?

Perhaps most pop song so far. Has a twisted dance beat. Interesting bass sounds. What I imagine is an actual keyboard solo is great in the middle. Then a little guitar solo with some scat singing over it. Not altogether bad.

8. Seems We Were Dreaming

This is a little like Cuts Like A Diamond. Slow, with some brass samples prominent at the beginning. Starts to jam halfway with some Hammond like playing coming in. Then slows down again.

This album is patchy and the lyrics and vocals can wear on one. It is often repetitive. However, it is very entertaining and highly accessible. It is very much of its time however that makes it very unique. There are a lot of ambitious all-Fairlight albums conceived this way and none are as good as this one.

Progressive rock reached a peak during the 70's, where experimentation was part of what people listened to over and over in previous and emerging bands. Those bands made a living out of it; and the introduction of the synthetizer, disco music, and of course, punk music forced many bands to modify their style and experiment in a different and modern way. The end of the 70's and the early 80's saw the rise of the new wave. A style which concentrated most of their sound on the ones produced by the synthetiser and supporting that sound with softer voices, electric drums and, less important guitars. Progressive had "died" long ago as mainstream music; new wave was the way to survive.

I lived my childhood in the 80's, so I was very used to the mainstream sounds; I enjoyed listening to Depeche Mode, Level 42, Kajagoogoo, U2, Duran Duran, OMD, etc. Yet, amidst those bands I discovered Pink Floyd, Yes, Camel, Moody Blues ... of course, with their 80's productions. Thanks to it I became interested in their music which was, in a certain way, a bit different to the others; little by little, I started to discover at a very young age what Progressive music was.

I don't blame Richard Wright for attempting this experiment with former Fashion's singer and guitarist Dee Harris. It was a way to survive in that period. The album per se, is not bad at all. On the contrary (thanks to what I mention above), I really enjoyed the album from beginning to end, it reminded me of so many bands like Talking Heads, King Crimson, Japan and Camel, all of them progressive, all of them with similar productions in the 80's.

Ok, ok ... it is not a progressive album, but it is a wonderful new wave album created by a classic progressive musician (Richard Wright) and a post-punk, new romantic one (Dee Harris), that's what I call experimentation.

In December 1996 I went to a record shop and I saw this album there. But it was until this year that I could listen to it. I read in the web some interviews done with Wright when this album was released in 1996. He said that the songs in this album were composed with the conceptual theme of a person which is afflicted with clinical depression. He said then in those interviews that the person which inspired this album was "a friend", but later it was known that this friend was really his then wife who suffered from depression. The songs in the album relate with lyrics and sometimes with only instrumental music the experiences that this person suffered and which led her to depression.They also relate this person`s healing process until her recovery from this condition.

I really expected a very "dark" and "depressing" album. Maybe that was the main reason to not buy this album in 1996 when I saw it in the record shop. But Wright`s talent really helped him to make a very good album full of musical moods and atmospheres, using a lot of the then new digital keyboards. But maybe the most important thing in this album was the empathy that Wright showed musically and lyrically for this person`s personal history and how he also experienced the process of this condition with this person. For me, it was a very good gesture done by Wright for his then wife.

Well. This album is not as bad as I expected it to be. This is a short- lived collaboration by Dave Harris, a singer and musician from a band called FASHION (a Neo-Romantic band which I have never listened to) who in 1983 recorded this album (which was released in 1984) under the band`s name ZEE with Richard Wright. I think that this album sounds more influenced by the Neo- Romantic musical style from the 80s than from Wright`s sound from PINK FLOYD. Sometimes it sounds more like an album from the early TEARS FOR FEARS band. In fact, the recording engineer and co- producer of this album (Tim Palmer) worked a lot with TEARS FOR FEARS during several years. I have to say that I liked TEARS FOR FEARS when they released their very good album titled "The Seeds of Love" in 1989 (and it was after I liked this album that I later "tolerated" to listen to their previous music and I even still liked some of it). But before that, I really didn`t like their music and much less their looks which reflected very well the fashions dictated by the Neo-Romantic and Synth -Pop musical styles which were very successful fads in those years (sorry, but it is the truth; I never liked the music , the looks and the fashions from some bands from the eighties). Anyway, by using the Fairlight CMI a lot in this album,this album reflects all the "ingredients" which made it a very typical album from the eighties, with now very dated synth sounds and programmed drums. Maybe the best moments in this album are the few ones on which one really can listen a bit from Wright`s musical influences (like in "Voices", which maybe is the best song in this album) and in other slow and "dark" songs like "Cuts Like a Diamond", a song which even includes a good lead guitar part played by Harris which sounds a bit like it was played by David Gilmour. "Voices" particularly sounds a bit inluenced by CAMEL, a band which at that time released their "Stationary Traveller" album, which, despite being a good album, also has some of the "ingredients" from a very typical 80s album, with similar keyboard sounds and programmed drums. I don`t know why Wright recorded this album. Maybe it was only to fill his previous recording contract with PINK FLOYD`s record label, or maybe because he needed the job for financial reasons. Anyway, Wright in later years considered this album as a "experimental mistake", and he even did not mention it in an interview done in 1994 by the now-defunct "Vox" magazine in the U.K. (done at the time PINK FLOYD was on their "The Division Bell" tour), when Wright was asked what he did before re-joining the band in 1986-87. This album is not as bad as I expected it to be...but it is more for collectors / fans only.So, it is more a "rarity" now which fortunately I could listen to thanks to someone who uploaded it in youtube. An album which sounds and looks (in some publicity photos by Harris and Wright) like Wright was very much "out of place" in a band and an album like this.

A last note: I found in the web that this album was released on CD in the Netherlands, and it seems that it never was released in the U.S. in any format.