WISH YOU WERE HERE

How do you follow-up a global masterpiece like Dark Side? You change the rules. If Dark Side is about the uncatharted madness caused as a result of living in an insane world, Wish You Were Here is about the added madness that ensues as a result of having the world embrace that uncatharted madness on such an absurd scale. If WYWH is a "tribute to Syd Barrett," it is so because Barrett saw that insanity first. But WYWH is also a scathing remonstration of the music industry - a deliberate, mocking attempt to "bite the hand that feeds." And the album succeeds on both levels, as well as, most importantly, on the compositional and musical levels. Not only did Shine On and Wish You Were Here become anthems on a global scale, but the sales of Ovation guitars went through the roof when everyone old enough to play a guitar began playing these songs at every acid-laced party in the world. Floyd was not interested in "topping" themselves after Dark Side; they were simply interested in expressing new thoughts and feelings - and in that they succeeded brilliantly.

Wish I'd Been There

How does one follow the success of DSOTM without making a carbon copy of the successful album? Well, you reinvent yourself completely, something that Floyd constantly did throughout their first two decades: you'd be hard pressed to find two albums that are similar until their early-80's breakdown. This is not to say that the genesis of this album was an easy one, contrarily to Dark Side's. Indeed by early 74, three tracks had been written, including Raving And Drooling (future Sheep) and You Gotta Be Crazy (future Dogs) and what would become the Crazy diamond suite. As often the case with Floyd, all three tracks had been tested live during their tours, but in January 75, the group went in the studio to record the future album. But in the middle of the recording sessions, Waters will toss out the Raving and Gotta Be pieces, keeping the Crazy Diamond pieces that will become the new backbone. From this new blueprint, the general line of the album will be absence and an attack on the music industry.

The absence part is a bit of an autobiographical theme, with Syd Barrett's ghost appearing a second time (see my review of Dark Side's Brain Damage), further accredited by the interested party's impromptu visit, by the Floyd members not really recognizing him (so the legend has it), but it also about Floyd own emptiness in recent tours and laborious (as if they were elsewhere) studio sessions. The attack on the musical industry theme is grafted on that Syd theme (since the former is the culprit in Syd's fall) and would be the centre of the album, the Crazy Diamonds book-ending it. Musically this album is a bit of a return to pre-Dark Side with long instrumental passages, at least in the suite.

The first instalment of Shine On You is built mostly on four guitar notes, but the first longest-ever note (lasting over two minutes) is the superb starting point, courtesy of Wright. Indeed this first long sustained chord slowly emerging from the naught, where there is no harmony, no rhythm and no obvious melody, even if joined later on by feeble chimes and faraway strings, playing a sort of unnoticeable counter-melody, thus creating warmth where only cold should reign, but it fails to play the note that is now being urged by the piece of music. The second movement sees more action, with Rick recalling some previous chords or slowly introducing new motifs and although there is still no rhythm (Nick was probably calling a cab for Syd to go home ;o)))), harmonically the piece is now orgasmic; even if the feel of absence is growing as tensions increase with no relief in sight, although you sense it must come.

And it does come with the third movement, but not the one you expect and from where you expected it: Gilmour's four notes weigh in heavily at the start of the third movement, but the emptiness remains, masterfully maintained by Rick Wright's left hand remaining stuck on that lengthy chord. By the fourth guitar ostinato, Waters and Mason are now in the studio (they've just finished waving goodbye to Syd) and the tracks is now in full swing (enhanced by the previous interminable silence), but still no relief in sight. The superb two verses (no chorus) of the fourth movement come in just in time to enhance the track's grandioseness, and it's now so obvious that the song is aimed at Syd that the melodrama brings shivers in your spine. With the climax now past us, the track closes on a superb downward spiral, highlighted by Parry's sax and segueing with no interruption into the Welcoming Machine. Mechanical noises (like a sas opening) are leading a slow repetitive guitar strum on a slow heavy drum-less rhythm (Nick was checking up on his new Jaguar) alternating 3/4 and 4/4 behind Wright's Moog. Water's sad and melancholic lyrics in Crazy Diamond are now changing to a caustic and acid observation of the RnR dream, and the track ends in industrial noises.

The flipside is no less acidic with friend Roy Harper taking the role of the music industry tycoon over an RnB-type of song where Waters' bass leads the way. The tone changes abruptly (almost un-Floyd-like) through a radio know twisting session and out comes the title track where Gilmour illustrate Water's awesome letter to Syd, while Wright's piano underlines it subtly, while Nick was phoning Syd to see if he got home fine. Waters again ponders if what happened to Syd would not happen to the rest of the band. As the track melts into not-so-gentle wind sounds, we are blown back to the Crazy Diamond second part of the epic, not as transcendental as the first bloc, but often quoting some of its better moments, including another poignant verse well placed in the centre of the piece and a short visit to Emily (Bye bye, Syd).

This is the first major Floyd studio release that did not come in a gatefold, but the Hypgnosis artwork is no less superb with plenty to ponder including the four elements of life (fire > the white frame burning, air > the bent frame of the red scarf in forest, water > the leak on the lyrics side of the inner sleeve and Earth > the crack in the frame through which sand seeps out in the back of the album), but the outside sleeve is clearly meant to highlight the music industry highlight. The album came in a black plastic bag with a sticker representing a stylised handshake as a spacecraft over those four elements and a fascinating diving postcard.

Although not as initially successful as its predecessor, WYWH certainly ended up equalling it in the heart of fans, progheads generally preferring it to Dark Side. Among the three Floyd creators, this is where they worked best together and shared the workload evenly, (Nick serving tea to the visitors ;o))) and where Floydis at the top of their game.

As for that Immersion boxset of 2011 The WYWH immersion series boxset is a rather disappointing one, especially for the steep price asked? Indeed, outside a way too huge/wide box taking double the shelf space it needs, the two big books are relatively average in interest. From the five discs, only three maximum are of interest, sionce the other two are using up the same material in different format (CD; DVD-A and Blue-Ray), which augments the price uselessly. First of all, I don't hear much difference between the original mix and this remaster or the previous one, and whatever difference there is doesn't justify the steep investment in this boxset, unless you're really in the 4.0 or 5.1 remasters. Actually the more interesting disc is the bonus material, including the live stuff: the full Crazy Diamond (minus the Dick Parry saxophone section, plus the early versions of Dogs and Sheeps. From the alternate takes, the Roy Harper-less Cigar also features a much longer Gilmour solo at the end, and the Stephane Grapelli version of the title track are very enjoyable. Pity the band had to botch up the ultimate version of this second disc by discovering a few months after the boxset's release an alternate take of the second movement of Crazy Diamond, where Wright plays the grand piano. This Immersion "thingie" is a rare case where we might j-have wished for real work-in-progress version of the album tracks. As for the video content, one can only wonder why they didn't include all of the track's screen concert animations, provided they exist or that they are in exploitable shape. As for the Thorgeson animation bit, he's thankfully much better at making still pictures than computer animations. Soooo, while I wouldn't really call this expensive box a rip-off, only the second disc (with the usually expandable bonus tracks) is of any interest, thus making the "thing" very dispensible and totally unessential.

My high school days were full of PINK FLOYD and "Wish You Were Here" played a big role and still remains one of my all time most beloved albums. What a great introduction! And what a great ending! "Wish You Were Here" is really an epic album which blends all the right elements mixing blues and psychedelia with that classic PINK FLOYD space atmosphere. Without a question the opening to "Shine On You Crazy Diamond" has to be one of the most memorable openings of all time. This album also features Roy Harper on vocals on "Have A Cigar" which is also one of my all time favorite PINK FLOYD numbers. This is essential music and is a definite statement and one of the all time classics.

They start getting some poppy elements emerge here: otherwise this trend had already been put in evidence by some critics (but it was also their fortune) inside their previous and commercial album such as "Dark Side of the Moon"... a memorable example of the skillful sound engineering by ALAN PARSONS, anyway!! But coming to the present issue, this is probably their most successful and famous album, along with the top sold out and already mentioned above "The Dark Side of the Moon". The mini-suite "Shine On Your Crazy Diamond" alone (this latter track being the most important reference for a lot of "New-Progressive" bands like PENDRAGON) is well worth checking out, but also the rest, except on a few easier songs, is quite memorable.

"Wish you were here" is probably the most progressive of the Pink Floyd albums. Compared to the previous "Dark side of the moon", a tremendous change occurred: the keyboards are very floating, atmospheric and more modern here, although there are still organ textures. The guitar sounds are much more elaborated, sometimes having beautiful & fresh echo, like on "Shine on your crazy diamond part 1". The guitar solos sound is generally better crafted, more numerous, even sometimes sounding a bit bluesy. Dick Parry's sax is at its best: just enjoy his endless solo on "Shine on your crazy diamond part 1", terminating with a subtle fading echo effect: DELIGHTFUL! The overall rhythm is VERY slow, thus allowing the listener to fully enjoy each note played. Roger Waters is partly the lead singer. There are less special sounds here: mostly on "Welcome to the machine", AMAZINGLY sounding like the Tangerine Dream's "Force Majeure" album: at the end, you embark in a transporter and you are deported into a crowdy animated room!

On the other side, there are unfortunately 2 less good tracks: "Have a cigar" and "Wish you were here": "Have a cigar", not bad at all, is more rhythmic, less atmospheric, and it more sounds like the rhythmic mood on the "Animals" album. The very popular "Wish you were here" track, full of acoustic guitars, not progressive at all, makes a real contrast here with the other tracks: it is so popular that many people use to play it with an acoustic guitar during summer nights, in front of a fireplace. The last track, "Shine on your crazy diamond part 2", is something like a pleasant variation of the part 1. There are very serious, slow, loud, melodic and floating keyboards, punchy clavinet parts and strident guitar solos: the keyboards of the last part remind me the Tangerine Dream's Tangram album. Minus 0.5 star for the 2 more ordinary tracks mentioned above.

Rating: 4.5 stars

"It could be made into a monster if we all pull together as a team"

Pink Floyd were smart with this album. Given the overwhelming success of its predecessor, they could easily have tried to create "Dark side of the moon, 2". Instead they chose to move on, while simultaneously reverting to a more progressive approach.

"Shine on you crazy diamond" dominates the album, lasting over 26 minutes in total. The track is nominally made up of 9 sections, but in reality there are 2, which bookend the other three tracks. The lyrics of "Shine on.." are a tribute to former band member Syd Barrett, who, according to the band, coincidently wandered into the studio during the recording sessions. The track is far less lyrical than much of "Dark Side of the moon" being much closer to previous works such as "Echoes". There's more in the way of instrumental passages here, Gilmour's guitar work being afforded the space to flow freely. There's also some lovely sax on the second half.

"Welcome to the machine" has loads of electronic sounds and effects, and is vaguely reminiscent of ELP's "Karn Evil 9, part 3" The track has a heavy, hypnotic beat, behind aggressive vocals, making for a superb contrast to the opening "Shine on you Crazy Diamond".

"Have a Cigar" features the legendary Roy ("When an old cricketer leaves the crease") Harper on vocals. It's a lighter, mildly amusing track which offers a cynical take on the record industry Once again the song contrasts well with the previous, heavier piece. The lyric "The band is just fantastic, that is really what I think, by the way, which one's "Pink"?" is a superb parody of a record company executive's ignorance.

The mood softens further for the acoustic title track, which would have fitted in well on "Meddle" or "Atom Heart Mother". This is Oasis' "Wonderwall", recorded decades before the Oasis track was. The song merges nicely into the second half of "Shine on you Crazy Diamond". While this is a recognisable reprise of the opening track, it differs markedly, breaking loose midway through, with Gilmour's guitar fronting a rising of the pace prior to the wind down ending.

While "Wish you were here" does indeed recall Pink Floyd's progressive roots, it's much tighter and less experimental than their Psychedelic era works. "Dark Side of the Moon" is rightly recognised as one of the best albums ever made by anyone, but I find this album to be even more enjoyable.

Wish You Were Here was dedicated to SYD BARRETT, PINK's leader in absentia. Arguably, so was "The Dark Side of the Moon". Not surprisingly, both albums build aural dreamscapes that present themes of alienation, paranoia, controlling forces and eventual escape. The notable difference is the loss of engineer Alan Parsons; without him, the gauzy sound becomes a bit more crystallized, while the "voices in your head" subside. The album is wrapped within parts 1 through 9 of "Shine On You Crazy Diamond", a direct address to SYD's mental state at the time that features musical commentary from Gilmour's blues-based guitar, Wright's swirling keyboards and guest DICK PARRY's saxophone. The songs in between are some of the band's best: "Welcome to the Machine" and "Have a Cigar" (sung by guest eccentric ROY HARPER) reveal that rock stars are processed product, and "Wish You Were Here" is the poignant sigh that comes with this realization. Again, Waters is able to communicate a full story (of sorts) in a single album, remarkably without loading the songs down with narrative.

While it's not the landmark effort of "Dark Side" (and what followup could be?), "Wish You Were Here" is classic PINK FLOYD from beginning to end.

A decent, but non-essential offering from the Floydian boys. Dark Side Of The Moon is, of course, their best, even if it is hyped up too much. But this was, in comparison, disappointing. Nowhere near as smooth as Dark Side. Quite rough, and surprisingly tuneless in parts. Almost sounds out of tune here and there, in fact. And yes, I was there at the time, as people like to say. My mate bought this when it came out, and I gave it a listen. Glad I did, as it saved me buying it myself. Although, a few years ago, another friend got me the cd for Xmas. Don't get me wrong, it is certainly worth a listen, but it was at this point that Floyd starting getting 'ideas' about themselves and began taking years between albums. Also, the album is too short, even for seventies standards. However, I would still say have a listen and make up your own minds. Not Bad!

The only PINK FLOYD concert I ever attended was during their tour to support "Momentary Lapse" (Before then, I was too young; afterwards, I didn't really see any point). I and my bandmates, and respective girlfriends, got a late start because we were slow packing up our instruments from a typically sloppy performance that afternoon at a 'battle of the bands' across town. When we finally got to the show (Carrier Dome, Syracuse NY, 1987), we were afraid we'd missed the opening and were feeling very rushed and worn out. Suddenly, as we were picking our way through the crowds in the halls, the first sweeping synth notes of "Shine on you Crazy Diamond" faded in. There was a silence from the crowd, and then a frenzy to get to the seats. Anyway, whenever I hear the opening to the album, I get nostalgic for those times. I think it is the single most perfect beginning to any album (one that I want to really LISTEN to, not just put on while I'm doing something else) and it draws me in every time. The album itself is an astonishing evolution from "Dark Side", even more so than that album was from it's predecessors. The clarity of the production allows you to hear everything that is happening; from beginning to end, never blending into a 'wash of sound' the way previous releases had (sometimes in a good way, sometimes not). There are fewer musical ideas here, the band instead concentrating on improvising around a few central ideas- a tactic that worked here much better than on "The Wall", but like every band under the sun, single albums always seem to turn out better than doubles. The overall sound here is more synthetic, with the good old VCS3 getting a workout- and not just for weird sounds this time. Gilmour's guitar sounds less spacey and more bluesy on this album, providing an organic counterpoint that keeps everything from seeming too synthetic (except, appropriately, on "Welcome to the Machine"). The vocal harmonies are tighter, and a bit more impassioned; Roy Harper sounds right at home in the band on "Have a Cigar" (in fact, I always assumed it was Gilmour the first few times I heard it, before reading the credits). Was it planned out or just ironic in hindsight that in a work about Barrett's self-imposed exile from reality they employed the vocals of another musical 'crazy'? The title track has been played countless times (on the radio, but also by legions of guitar players, including me) and yet is so perfect a song that I never get tired of it (again, unlike "The Wall"). Then they dive back into the main theme, getting a little funkier with it, eventually transforming into a slow, sad, spacey jam, and then the album concludes as it began: a sweeping synth sound, but this time in a major key to dispel some of the dark mood. I hate to say it's not my favorite PF album- there's way too much competition- but it is a flawlessly realized and completely satisfying experience from start to finish.

Perhaps the ultimate prog album of all time..How many albums can follow the calibre of it's predecessor as in this case DSOTM and still come up trumps. Shine on you crazy Diamond( All parts) definitely their finest creative suite and WYWH the title track equally as brilliant. It is hard to say more about this work of art except I do not think that even appreciators of Mozart, Bach and future generations will in many years from now ever cease to wonder about the strength and magnitude of this masterpiece. And we were lucky enough to know it in the flesh( no pun intended). Rick Wright had a lot of creative licence on this album and the rich depth of atmospheres, time, yearnings send waves of emotion from start to finish. Pink Floyd's finest 45 minutes- No contest.

Pink Floyd finally got around to giving Syd Barrett his farewell tribute even if it was 7 years after he left. Wish You Were Here is probably better than Dark Side of the Moon in my opinion but for those who love DSOTM then it is the best album after that one. This album probably relates to Meddle, Animals and DSOTM well because it has the same amount of musical skill and wonderous solos, basslines, progressions, the works.

Shine on you crazy Diamond is an Epic piece that could have been a side long piece but instead was split in half (part one being the intro and part two being the outro). This was revisited in the follow up, Animals with Pigs on the Wing. This pays off and is an interesting thing to do and allows more space of the vinyls, i pressume. Shine on You crazy Diamond is a prog rock anthem and really shows off the almost impossible task of bettering Dark Side of the Moon. The synth, piano and mellow guitar intro is classic and plays for just the right time so that it doesn't get boring and at the same time provides the ultimate build up to a guitar solo if there ever was one. The solo arrives, and it shakes the foundations of your speakers and your mind, and you sit back and let it flow through your veins and you think "oh my god! this is the best thing i've ever heard". I feel very lucky to be here to appreciate this and so should anyone else. If you're not a fan of prog rock then this will probably change your mind.

The soloage continues and progressess loudly and powerfully into some of gilmour's most powerful and emotional vocals ever which can bring a tear to your eyes. The lyrics, of course, relating to syd "you piper, you prisoner". These lyrics may be seen as a step down as they are not about dark stuff like in DSOTM, animals or the wall but the way they create the perfect tribute to Syd makes up for this, its nice to let the lads have a happier one for a change.

Wish You Were Here also see's a little less psychadelia as the band seem to have been growing out of it since atom heart mother, still these are stoner anthems and trippy but its nice to see the band evolving into more meaningful music and lyrics. The piano, bass, drums are all brilliant as you can expect and fit in well (even if they are a bit toned down from the likes of the 60's stuff). Dick Parry is back to deliver excellent sax pieces on both parts of the album.

And we have now reached "Welcome to the Machine". A really evil piece by the floyd but brilliant none-the-less. The fun and games are over here and the dull vocals, lyrics and droning guitars may get repetitive but it builds up tension and anguish that keeps the song going and is surprisingly one of the stand out tracks on the album. This may be incorparted into the mechanical handshake logo on the album cover. "Have a Cigar" is also a beastly effort and features Roy Harper on vocals. This song is an attack at media in music and how the band are against selling out. The lyrics achieve this perfectly and there is a dark irony in having Roy sing on this track. But hats off to him, he does the job well.

The title track is an odd one but is one of the most beautiful pieces gimour has ever written. It moves slowly yet progresses slyly and features only a few lines of tear embracing lyrics. Very moving and emotional. This song can also be related to syd. Ironicly the band were wishing syd was here at the same time as syd sneaked into to watch them record the album but the boys didnt even recognise him. This album ends where Shine on left of. A masterpiece and probably the most musically propelling piece the floyd have ever done. This has to be the best follow up to a masterpiece ever. and it doesn't stop there. I bet Syd was proud.

I think it's time I gave this album another chance. Last time I dismissed it because I was biased against it, and this time I want to clear it all up. This is as good or better than "Dark Side of the Moon", at least.

"Shine on You Crazy Diamond" starts with a quiet synth buildup, heralded by a strange "falling star" effect in the background. The keyboard drone builds up, and a synth horn effect enters and creates an ominous, foggy, mystic effect. Then a few upper strings on a guitar are plucked, and the synth readjusts, becoming a bass of sorts. Then Part One of this nine-part song ends with the synth slowly fading, then a single riff appears ambiently out of the silence. It is repeated, and soon the drums begin to rise until the music hits a point, and a world seems to open up as the band comes in. Part Two continues the slow rock feel of Part One, but the guitar is more prominent. Then the guitar fades, and the synth horn again takes over for Part Three. It creates a melancholy, ambient feel, and leads into Part Four, where the vocals begin.

The lyrics are essentially about Syd BARRETT, the former frontman of PINK FLOYD who went crazy from LSD use and holed himself up in his house in England. They can be applied to other things, however. When this part ends, Part Five begins and the saxophone joins. This part fades out into the monotonous drone of a machine, and a buzz heralds the arrival of "Welcome to the Machine."

This song is mainly acoustic, with the mechanical drone of keyboards accompanying. The lyrics greet a newcomer to the music world (or adult life itself, they can be taken either way). The song is great, and a keyboard solo enters around the middle for a haunting mechanical feel. Then the tape clicks, and is sped up and fades out. Just when you think it's over, the sound of a crowd of people begins and heralds the end of the first side (as it would have been on an LP).

The excellent song "Have a Cigar" is next. It features a repeated, catchy riff, while staying strangely progressive. This song is again about the music world, and the lyricss are the record label guy talking to a newcomer artist. He is full of fluff, only concerned with milking the money from the poor musician. Then this song is sucked into oblivion, with only a faint, crackling rumble in its place. Then it seems as though a record is replaced, and the silent beginning of the title track, er, begins. It has a longing feel, and seems to be played through a radio at first. But it is soon joined by a closer-to-us lead guitar. They soon join and mourn over the separation between people.

This entire album is about absenses in life. The first (and last) song in this album is about the absense of Syd, the second song is about the absense of free will, the third is about the absense of conscience or soul, and the title track is about absense of relationships, of feeling.

This song is swept away by wind, and then a progressing riff enters to push into Part Six of "Shine On". A synth horn enters as well. It steadily builds, then is joined by the lyrics for Part Seven. Part Eight then enters in a funky sort of way and then Part Nine fades the whole thing out much like Part One did, but in reverse.

Overall, this album seems to appeal more to those who didn't like "The Wall" or "Dark Side." It is somewhat more commercial, more accessible. Somehow it does this and also stays prog without becoming pop prog (like RUSH's "Moving Pictures"). I recommend it to those who are fans of FLOYD, or those who didn't really like "Dark Side" that much.

It's irrelevant to review this album with an aim to give recommendation whether to buy or not to buy this album as this one is really classic and definitely PROG! Shame on you if you browse around this page but you have not got this masterpiece album in your collection. Unless ... you are really really new prog lover, I understand. In this case, don't read this review, just BUY the CD! You will hardly regret this seminal work of PF.

"Shine On You Crazy Diamond - pt. 1" starts with an ambient music in a very slow tempo, demonstrating soft guitar solo 'ala Gilmour. This kind of music is perfect to enjoy while sipping a cup coffee. Really cool intro. The more you spin the CD, your intensity for loving this track will grow tremendously. That's wat I experienced: the first time I listened to this track when the album was released, I could not bear to wait the music really "in" as the intro is too long. Having experienced a nice and long intro, the music flows smoothly by the token of simple guitar fills by Gilmour. What a great shot when all instruments enter to perform a great track; followed by clear vocal line "Rember when you're young....".

I remember that the first time I bought the album dated back 1975, I returned it to the record shop. You know why? It's because of the sound produced at the end of "Shine ...part 1" which look like a recording problem due to wrinkled analog tape. Poor me. In fact, the part is an excellent opening for 2nd track "Welcome to the Machine" which is heavy with keyboard sound production and efects. There are acoustic guitar work though. But it's not exploited as solo guitar. Keyboard is really the king in this track. Acoustic guitar is only used to accentuate the song.

"Have A Cigar" is another great track. It has medium beat and stunning melody and encouraging lyrics such as "the band is just fantastic ..". The other important point of this track is some smart creation by the band on touchy and memorable lyrics as "ANd did we tell you the name of the game, Boy?" ... uuughhhh what a great pitch man! Gilmour guitar work at the interlude is really fascinating, combined with keyboard sound. Again the music stop suddenly with an unpredictable sound that looks like a wrinkled analog tape. In fact, due to this part finally I returned the album to the local store because I thought it was a factory defect.

The title track has a fabulous mixing for acoustic and electric guitar. "So ..so you think you can tell / heaven from hell?" This piece of lyrics has become so popular to my local prog community where we keep telling each other on what album that we're listening to at particular time, thru mobile phone.

I don't think I need to explore the last track "Shine On .. part 2" which is at the same quality as opening track. One think I need to mention is the sound of wind at desert reminds me the cover of CAMEL "Rajaz". Overall, I appreciate this album very highly as it has a very strong composition, excellent melody and great musicianship. Last but VERY IMPORTANT is the band creation of sound effects - it's AMAZING! Luckily .. we have the new generation of sound engineering. Who is he? Steven Wilson of PORCUPINE TREE! He's a great producer. - Rating 5/5. Gatot Widayanto, Indonesia.

Separately from several of the past works and evidently overshadowed by the impact caused by "Dark Side of the Moon", this 1975 production is clearly the most unidirectional PINK FLOYD album since it follows a straight perfectly drawn line from beginning to end. And by "unidirectional" I don't speak of monotonousness and plainness, au contraire, it is that certain air of unattractiveness that makes it even more appealing to the common listener. While looking through this never-ending list of reviews and critics set upon this magnificent album, all what's to be done is to pop the CD in the stereo and let the magic begin. "Wish You Were Here" isn't only one of the most representative latter half of the seventies memorabilia, it is indeed the kind of recording that separates lasciviousness from idleness; it tells apart musical contemporaneity from old-fashioned formulas reinvented over and over again; and most importantly, it drives the way to endless comfort and enjoyment.

The first thing that caught my attention right away, besides David GILMOUR's refined guitar execution; were the lyrics written for this album. Astonishing and breathtaking. Unpretentious, clean, emotive, meaningful. what can I say, for the first time I felt that passionate approach to the band, inexplicable even on the "Dark Side of the Moon" and "Meddle" levels. Secondly, the delicate, mind-blowing touch by Dick PARRY. That special issue certainly deserves a separate review, but since my contribution here is limited to "a review a piece", I'll leave that out for another occasion. Thus, all those components I just underlined for you, combined with Roger WATERS' lyricism, give a very evocative result. There's no possible way to narrow this album down to a precise description, as you have read me trying and struggling to do so; so that's up to you to describe. You name it, "Wish Your Were Here" has got it.

Obviously to me, as you have noticed; the album emanates such mysticism and power unrevealed by the band at this point, turning this experience so new, so unique, that claims for unspoken recognition. "Shine On You Crazy Diamond" is definitely a subdivision to what's been considered "conceptual" so far those times within prog world and established considerable parameters of comparison. The nine episode suite resembles that epical PINK FLOYD touch already represented in previous recordings, demonstrating the band wasn't bottled up in one single progressive formula. Unarguably, it is the most signifying track out of the entire record, is it indeed the proof of the altitudes from where PINK FLOYD was able to dive and then fly back across the sky in a matter of heartbeats. As described up above, guitar displaying by David GILMOUR is provocatively remarkable and unrepeatable. Keyboards intromissions by Rick WRIGHT are inscriptively precise, very well crafted and organized, a necessary piece to understand the mere intention of the album in its entireness. For complimentary effects, I'll just refer to "Shine On You Crazy Diamond" as enticingly perfect.

The songs in between, are indispensable as well to completely enjoy the experience. "Welcome to the Machine" evokes the irrational, psychedelic dash of experimentation performed throughout "Dark Side of the Moon", with the erratic noises and the delightfully sardonic lyrics. When moving on to "Have a Cigar", the mood perceived in the air turns kinda funky and dysfunctional (figuratively speaking), where WATERS plainly sings (along Roy HARPER) the story about the band's first experience with a record company manager ever. The lyrics here are indisputably rhetorical, showing us there's more to this world full of crap and luxury, where constant self-searching bring us back to where we started from. Revealingly amusing, this lyrical composition lets us see through another deeper side of PINK FLOYD.

"Wish You Were Here". The self-titled song is definitely one of the most recognizable not only for the fans, but for the audiences worldwide. I understand it is also one of the easiest songs to play on guitar, but since I'm not a guitarist, I'll just have to believe the word on street and be faithful to those bohemian gatherings were the song is always played for my unstoppable enjoyment. A beautiful song indeed, where inner feelings constantly dwell to find a way out of misery, sorrow and obscurity, just to reach out for the understanding and the emotiveness. David GILMOUR leading the vocals is simply great, showing off his well educated skills that happen to be undeniably outstanding. More than bringing you to tears, this piece will take you to unrevealing heights where you can only let go of everything and die for a fugacious moment that will bring you back to life itself. A geniality made music.

So, what are you all doing here still reading? Go dust this album off, slide it out its case and pop it in the stereo. If you're one of the few that sadly haven't gotten it yet, what are you waiting for? Go, fly, run or whatever you gotta do to have it. Until the day I cease to exist, I will love this album. Indisputably, the whole five stars.

In 1975 Pink Floyd was still a band made by contributions by all musicians to the final product. This is a good album, with Roger Waters maybe still thinking that the band was a band and not that he was the band, as on later albums. The lyrics are interesting, but musically the album is not as interesting to me as "The Dark Side of the Moon". Roy Harper sang "Have a Cigar" because Roger Waters thought that his voice wasn`t very good, so they invited Harper to sing. The best songs are "Shine on you crazy diamond" and "Wish you were here". Roger Waters is a very intelligent lyricist. This was their last album on which Rick Wright contributed to the songwriting until "The Division Bell".

I recognize that part of what I have to say will be unpopular--but I would like to start off by saying that I do have a high respect for this album, even though there are two significant flaws that I can't just ignore. With that out of the way, I'd like to say that this album is a fantastic listen on headphones, especially for those who enjoy rich and varied keyboard work. RICK WRIGHT shines here, and if you enjoy his work, you're in for a treat. Minimoog, Rhodes, Clavinet, all the way to good old fashioned acoustic piano--it's all here.

First, I'd like to say that "Welcome to the Machine" is totally flawless. Although extremely unnerving (especially the final part, to any of you who live in areas where there is a tornado siren!), the machine-effects are a wonderful opening and closing to the song, as well as providing an eerie bassline throughout. The chord structures are quite innovative here, helping to set the oppressive mood, and is it possible to say enough about the synthesiser effects? The delay just makes it sound all the more impressive. One has to wonder if (given the beginning friction in the band) RICK WRIGHT perhaps should have had a credit on this song. Of course, ROGER WATERS does earn a credit honestly--the excellent lyrics reflect the ensnarement of the young victim (SYD BARRETT) in the world of stardom, a role for which he is completely unprepared.

This theme is continued well into "Have a Cigar", a much more traditional rock number that has, perhaps, even better lyrics. Given the continued disintegration of the music industry in the 21st century, this song seems just as current...the only difference would be that instead, the slimeball record executive (sung excellently by Roy Harper, the only non-Floydian ever to lead on a PF song with the exception of Clare Torry) would be creating a "star" out of a no-talent hack, rather than by abusing a talented band like the FLOYD. David Gilmour is really in his groove here, and when it comes to the missing credit on this song, I'd put my bets on him--it seems like he had a lot to contribute here.

"Shine On You Crazy Diamond" is both the location of the most wonderful work on the entire album, and one of the most significant (to me) flaws. I should first say that everyone's playing is superb here, but most especially the guitar and keys. Every note is gorgeous. Parts 6-9 in particular are an absolute keyboards extravaganza. Almost every conceivable sort of keyboard gets in there, and even the bassline is almost totally taken over by a keyboard--that stacatto sound is a Clavinet. In fact, it's my suspicion that everything from 6:30 forward on the second half of SOYCD was almost entirely written by RICK WRIGHT. (If you're interested in more of his laid-back, jazzy approach, so underused by the FLOYD, I suggest trying to track down a copy of his first solo album, entitled Wet Dream. You won't regret it.)

The one trouble with SOYCD, in my opinion, is the vocals. Part of my bias may be due to the fact that I'm more used to the versions sung by DAVID GILMOUR (both the PULSE and David Gilmour in Concert versions). It just seems to me that ROGER WATERS is far too snide for a song that calls for a more wistful, melancholy touch--this is a remembrance of someone absent from their lives, not a bitter-at-the-world song like "Pigs", and WATERS does not seem to (at this particular point in his career) be able to adapt successfully to it. The other--and in my opinion much more serious--flaw on this album has to do with the studio version of "Wish You Were Here". I simply can't stand to listen to it most of the time. While the song premise is good--pleasant chords and melody, and effective lyrics, I think the problem is in the mixing. The song is simply too dry in the studio version...the vocals sound so tinny that you'd think the "radio" section never stopped, and the acoustic guitar also lacks a certain warmth. Furthermore, I think this is a song that desperately needs the intimacy that a live performance can offer. Yes, I do understand that this coldness may be due to the intended "theme of absence" in the album, but this version is still not my preference.

While it hurts to give an album with so many impressive parts this rating, I still have to do it in the interests of honesty. These aren't the kind of flaws I find myself able to "acquire a taste for", as I ended up doing for the SYMPHONY X masterpiece V: The New Mythology Suite in a matter of only a few months. Years have passed and my opinion has not moved an inch.

However, I must say to you--this IS a must in any respectable record collection along with The Dark Side of the Moon. Especially if you are at all an audiophile or keyboard enthusiast, don't pass this up!

Look up the word under 'Essential' in the Oxford English Dictionary. You will find a picture of the "Wish You Were Here" album cover.

Besides being the favourite album in the FLOYD catalogue of both Gilmour and Wright, it is PINK FLOYD at their apex. The possible adjectives to describe this seminal piece of music are endless: exquisite, nostalgic, cynical, satirical, heartfelt, futuristic, progressive and most importantly melancholic.

More often than not, when you ask a FLOYD fan what their most valued album is, "WYWH" will be their response.

Why are you even bothering to read a review on "Wish You Were Here"? If you don't already know, own and love this album, you are probably deaf; or dead.

You know how there are good albums, there are masterpieces and then there are those very rare ones, the perfect ones? Well, this is one of them, a perfect album. PERFECT! You can´t get better than this, I just can't see how that would be possible. By far the most balanced one also, Waters and Gilmour never had so much chemistry (which is a very weird thing to say, as they were about to break up while recording this one). From the epic and atmospheric Shine on you crazy diamond, which has one of the best build ups ever, I loooooooooove that keys intro, so simple and yet so effective; to Waters first step into total negativity and madness that is Welcome to the machine, to the rockier and ironic Have a cigar, to the most beautiful song ever recorded by them Wish you were here. this is perfect from start to finish. Really a good idea to divide Shine on, a smart move. Waters as always shines as a lyricist and the rest of the band plays some of their best stuff. is there something I have not said yet? Ah yes; IT´S PERFECT!

I guess this album has a theme of remembering now late Syd Barrett, or at least the lyrics of "Shine on You Crazy Diamond part one" and "Wish You Were Here" are in my opinion related with this theme. These are also the best songs on this album for me. "Welcome to The Machine" and "Have A Cigar" are also ok, but not musically very interesting I fear. The good elements of this album make it still very recommendable purchase. The songs are placed on the album in similar manner as on King Crimson's "Larks' Tongues in Aspic" record, as the big main composition is divided to two sections, and they surround the more casual songs by opening and closing the album. The best personal memory about this album for me relates to an event, when I escaped a stupid party via taxi, and the first track was being played from the nocturnal radio channel - I approved from the driver's request to boost the volume to the top.

Should have gotten 5 stars for the "Shine On" tracks alone, a masterful release from Pink Floyd though DSOTM still beats it by an inch. However, some of Pink Floyd's finest moments are to be found here, notably on the "Shine on" tracks, as well as the chilling "Welcome to the Machine". Although the title track is a bit overplayed there's very little to dislike here and this one stands as on the the best PF albums and definitely one of the best prog-rock albums from the 70's.

Yeah, this is pretty much the greatest album of all time. I often joke about it, because I also consider Dark Side of the Moon as the greatest album of all time. If people ask me what the greatest album ever is (and my opinion on ths changes constantly, like every other prog lover) I might say Dark Side of the Moon. If they ask me about Wish You Were Here, I say its better than DSOTM. Although it doesn't make sense on the surface, it does once you analyze it. History has treated DSOTM amazingly. History has made it the greatest album of all time. WYWH, in reality, is better than DSOTM, but Dark Side is still somewhat considered the greatest album of all time.

Shine On You Crazy Diamond Part One: Epic masterpiece. Trademark Floyd, slowly feeding you genius in the form of music. Could be the greatest song of all time, but it becomes rivaled by other songs on this very album later on.

Welcome to the Machine: Insanely good. Not just good. Insanely good. Can't describe it with words. "Welcome, my son.... welcome... to the machine"

Have a Cigar: Basically the only upbeat song on the album, if you can call it upbeat. It has one of my favorite riffs, and the intro is one of my favorites, don't ask me why. Again, words fail me.

Wish You Were Here: This song transcends music. Simple little song, but a masterpiece beyond all other music. I once saw someone call it overrated, I nearly flipped out. This song is basically as good a song as you can find, ever.

Shine On... Part Two: Continuation of masterpiece in Part One. Bass intro is incredible. Also, the "funeral march" at the end is perfect. Not usually the type of thing I'll like, but somehow Floyd pulls it off perfectly, like they always do.

My words and praise cannot convey one-one hundredth of what this album is really like. For those who don't know, it is dedicated to Syd Barrett, the original founder of the band who went insane from drugs in 1968 and left the band. He "flamed out", just like the cover portrays (which is one of my favorite covers also.) Basically, it is necessary to your existence to own this album. That's basically the bottom line. If you don't, then something is terribly wrong. That's how important this album truly is. If you don't own it, do 2 things. 1) Wonder why you wasted your time reading this review when you could have been buying this album, and 2) Go buy this album. 5/5.

Ram on.

I've only just purchased this album but I can't really argue with the comments that have been made by many.Great album.For me this was the last Pink Floyd album where all members made a significant and important contribution.Rick Wrights keyboard playing is exceptional while Mason lays down solid patterns on the drums.Dave Gilmour for his part is a superb player with plenty of control and soul in his playing and of course Waters lyrics and singing adds a dose of grittiness to the proceedings that stops the whole thing from being bland.The songs are all brilliant.Shine On You Crazy Diamond acts like 'book ends' for the album which in itself is a vey neat idea.One of those great strap on the headphones albums if ever there was.Solid 5 stars.

Easily my favorite Pink Floyd album. Every track on this album is solid gold, and there is no filler. There is phenomenal playing by every member on this album, especially David Gilmour and Richard Wright. The lyrics are also top notch, the album being a complaint against the record industry, as well as an ode to their lost member, the "Crazy Diamond' Syd Barrett.

The album opens quietly with synths for a minute or 2, the opener being Shine on You Crazy Diamond Part 1. Then David Gilmour and his immaculate guitar tone come in. Giving one of the most well-known guitar solos, as well as a hell of an effort, then suddenly a haunting riff comes into your headphones. The song quickly picks up, and Gilmour continues his incredibly tasteful and beautiful guitar solo. When the vocals come in, you are suddenly swept away into the lush landscapes of Pink Floyd. After 13 minutes, a beautiful guitar solo, and a beautiful saxophone solo from Dick Perry, Shine on You Crazy Diamond comes to an end. The next track, Welcome to the Machine, is a darker tune, with great acoustic guitars, and a great Rick Wright synthesizer solo. The next track is Have a Cigar, my absolute favorite Pink Floyd song. With a groovable tune, a great vocal line by Roy Harper, and an out of this world David Gilmour guitar solo, this is one of the more underrated songs in the entire Pink Floyd catalogue. The next song, Wish You Were Here, is another acoustic piece, with David Gilmour showing us again why he is considered one of the greatest guitarists in Progressive Rock. The finale to this album, Shine On You Crazy Diamond Part 2, is another epic tune in the same vein as Part One, although this one picks up faster. Great playing overall by everybody on this track.

Overall, this album is a crowning jewel in progressive rock. I give my highest recommendation.

This is my first introduction to Pink Floyd -- and progressive rock at the same time. It was back in mid-1970s. I bought it along with Deep Purple's "Made in Japan" cassette version. The first time I listened to it, right there at the track "Shine on You Crazy Diamond Pts. 1-5, I was like, "Man, this is a music from heaven."

Though it starts with a very leisurely pace, "Shine on..." is a showcase of the band's proficient in building a long yet thrilling soundscapes over a basically short tune. They manage to gradually reveal the magic of the song, which has to do with the theme about their founding member -- Syd Barrett. Gilmour's solo is a killer work, highly melodic and perfectly executed, while the other members' contributions unmistakably elevate the interaction between them to a higher, pleasurable place.

As amazing as "Shine on...", "Welcome to the Machine", "Have a Cigar" and "Wish You Were Here" consecutively deliver varied moods which are crafted masterfully based on whimsical lyrics and hook melodies and sound effects. Again, the interplay of Gilmour's guitar works and the other members' instruments play important parts here.

It's been more than 30 years now and my expectation of discovering new sensation is always fulfilled every time I listen to it. Without any doubt, I rate this album as the greatest Pink Floyd ever released. It's definitely an all-time classic within progressive rock territory.

This album is a masterpiece! I think of it as the artistic peak of Pink Floyd's musical career. It is a tribute to their ex-member 'syd barret'

Sine on You Crazy Diamond I 10/10 : Well, this song is so legendary, and the guitar is so beautiful that I love it. The song starts very slow like octavarium or Sky moves sideways. It then gets going after the famous 4-note guitar riff and the vocals start. The chorus is incredibly good! The song ends with a sax solo.

Welcome to the Machine : 9.5/10 : A very dark song with ambient noises and a loud acoustic guitar strumming. Gilmour's voice is at its best here, and Wright plays my favourite keyboard solos too.

Have a Cigar : 7.5/10 : the weakest song of the album. But that does not mean it is not good. The funky guitar/bass creats a great rhythm, and the synth riff is impossible to dislike.

Wish You Were Here : 10/10 : Probably my favourite pop song of all times and one of the main reasons I picked up the guitar. the intro is so simple with G chords, and slow solos, but sometimes simplicity can be good too. The verses/choruses and their lyrics are what made this song so popular ... the chord progression is simple, but it works!

Shine on You Crazy Diamond II : 8.5/10 : Well, while it is a good finisher for the album, I do not find it as strong as the first part. It still contains very solid musicianship all around and I love it.

If you are browsing this site and don't have this album, what are you waiting for? It is an essential purchase of not only prog rock, but rock history as a whole

My Grade : A

Wish you were here.... Too Many people thinks that this album is overrated, some foolish says that the only good song here is wish you were here, but believe me, they are all wrong, and without fear to mistake me, I can assure them to all this is a masterpiece of pink floyd, and of the progressive rock, any proglover should have it, and is not sufficient with having it, but one must enjoy it. My favourite pink floyd song i can found herei, and its divided into two parts, is an epic and all a classic, song that was dedicated to the great Syd barrett, already all we know well his history.

Shine on you crazy diamond, without place to doubts is a representative song of the band, when we listen their name, immediately arrives us at the mind a powerful wow, a "what a beautiful song", because really is it, as much lyricist as musically and emotionally, here we find us with a lot of changes of humor but at the same time all they are yunited, we find a perfect sound,a perfect harmony, a mellancolic sound, silent that little to it goes enlarging, we find the necessary elements to pass over10 minutes of beautiful sound and beautiful music. one of the floyd´s characteristic is the sound of the sax, Dick Parry has a great sound, when the his music entry in the middle of the song is really marvelous, a different style gives him and an beautiful atmospere.

Welcome to the macihine (you can find it here in mp3), is for me the less significant and less pretty of the album, the start transports us immediately to think about some machine to which we are entering, and during all the song has a peculiar sound that maintains us listening it to the end.

Have a cigar, song that by unique and rare occasion is sung for a not member of the band, thing that does it very special still, but is a voice that remains him very well, and maybe with another voice not serious the same thing, is a song very complex musically speaking, the bass and the atmosphere are awesome.

Wish you were here, all a symbol, the sentimental side of the band, probably along with another brick in the wall part 2, is the only song of pink floyd that an ordinary person knows, really is not the complex song and well carried out, but if is a beauty, who not this hymn is known, who does not sing it, obviously dedicated too to Syd Barrett, an excellent song, in fact, just where should go, in the track 4.

Closing the album we found the continuation of the opening song and with the same name, shine on you crazy diamond, second part, maybe the darkest of the two, the less recognized but similarly beautiful, with the same escene, and the same depth of the first part, what a better way of finishing a masterpiece, that with a masterpiece. Without anymore to say, only that who doesnt has listened never this albm, run and do it.

On balance, probably Pink Floyd's most consistent album OVERALL but I think that PARTS of other albums are even better. There are no fillers or silly experimentation here, just 3 great and 2 good tracks. Welcome to the Machine, Have a Cigar and Wish you were Here are superb, their comparative simplicity adding to their effectiveness. Shine On parts 1 and 2 do not inspire in the same way (maybe a tribute to someone I don't rate at all colours my view?) but it's still good. Floyd are not instrumental virtuosos like Genesis or Yes but their compositions are often excellent. Here they don't quite hit the highest heights but the album is still worth buying. Not quite a masterpiece but very close. 4.5 stars and well worth buying.

Should I really say anything, Vol. II?

This masterpiece of emotional and atmospheric music is my all time fav Floyd album and is the peak of progressive rock music and more... Wright especially shines here with his keyboards and synths, but all the band was in their top form. If possible I would give it 5,5 stars! Probably the last true masterpiece of the classic 1970s popular prog rock giants (aka "dinosauruses").

This was the first album I ever heard whilst wearing a new fangled invention called headphones.What a trip!!! Shine on was PHENOMENAL and transported me to a desert wasteland where Dave Gilmour and Rick Wright were laying down tasteful melodies that captured and fuelled my imagination.There are NO bad tracks on this album.Welcome to the Machine defies description but i will try.AWESOME.This album is timeless and should be sent across the universe to prove that their IS intelligent life out here.The best prog album ever.Ever.

The masterpiece of all masterpieces....the best album of all times.....

PINK FLOYD were enlightened on 1975. After making a huge earthquake on the world of music with their second best work, Dark Side of the Moon, and reaching the mainstream as succesful rock stars, they created their true magum-opus, which contains the most beautiful melodies you'll ever hear in music and some of the most intelligent lyrics ever composed by Waters, homaging Syd and atacking the hungry-for- money music executives who use the artists to fill their pockets wildly.

Wish You Were Here is carried with emotion from start to finish. PINK FLOYD was a prog band not interested on show instrumental virtuosity (like YES or EL&P), instead they decided to experiment what they could do making beautiful melodies but not overusing technique, they only let the emotion flow using all the resources they had to make their sound more well crafted. This worked perfectly on their golden Meddle - Animals era, their search for new textures on music made all the albums from this era sound very different from each other, and all of them were absolute masterpieces. They could have maintained the formula from Dark Side of the Moon, since it opened the doors of success for them, but again they decided to change the pace of their music, and this time to a more mellow tone based even more on emotion. In fact the only thing they kept from their last albums was the experimental factor, discovering new ways of complementing music by adding the classic sound effects (this time with machines, radio passages, falling star sounds - instead of clocks, cash machines or airplanes) and the epic structure from Meddle, with a magum opus giant track dividing the room with shorter songs that are also very good. But here we don't have things like "San Tropez" or "Seamus". This time things are going perfect, there's no "throwaways" or "weaker songs". Each minute here is used as if it was the last one they had to show their talents, and when i say "their" i DO mean "their", because this is also the last album that Roger Waters considers himself a member of the band and not "the band", so everyone still contributes here. Rick with his magical synths playing and atmospheric effects, Dave driving passionate guitar solos and vocals and Roger with his lyrics smart as always and with some more appealing subjects than the following "the world sucks" ones found on the next FLOYDIAN era, or "Watersian" which is the more adequate word to define it.

With a falling star the album opens with "Shine On I - IV". Part 1 contains some of the most moving melodies Rick and Dave ever put together. Both shine more than gold here, and both'em release passionate solos until Part 2 kicks in to show who is the best guitarist ever. With Syd's theme being played tears will probably come from your eyes since this is one of the most celestial things to ever come from a prog band. Now, suppose the tears haven't arrived yet. Maybe your eyes are saving it for Part 3, which is even more beautiful (if that's possible!) than the last two ones of the groundshaking epic. I'm not ashamed to say that even after three years of playing this part over and over i still feel moved by this third part at the point of having my eyes wet when i listen to that keyboard solo. Heaven! Just it...pure heaven! The vocals arrive and Roger works hard on his voice carrying emotion with beautiful lyrics, and then we have a sax solo courtesy of Dick Parry on the fifth part, leading to some werid machine noises.... Beep! "Welcome to the Machine" and its mechanical cold ambience appear. How can such a "cold" song have such a moving melody impresses me to no end, only the FLOYD could do something like this. It's a very unique progressive number, with a great acoustic guitar solo at the middle that is the second climax of the album (the first would be the ending of part 2 and part 3). Following the same kind of lyrics on "Have a Cigar" we have Gilmour's bluesy guitar and Roy Harper screaming the fakeness of the music executive intentions all in perfect shape. Fading in a radio sound, the title track that non-floyd fans think it is a love song (ouch) arrives in a long acoustic intro with another homage to Syd Barrett inside more touchy lyrics. Poetry and acoustic music at their best. Ending with some winds Shine On returns with its sixth part, the more upbeat one in a superb slide guitar work. Roger comes to sing more lines and then the trip goes to a funky territory, where saxes and synths domain before an ending piano - synth solo showing Rick putting his soul on those keys. The albums ends then, gloriously as it started.

Whoa, after all these 44 minutes of heaven music you'll be gasping for air, such emotion and creativity were never found on any other music album, PINK FLOYD successfully reached their peak, and made this solid masterpiece that will remain admired and inspiring on future generations for centuries from now, you bet!

This is the best of prog music, the best of music in general in fact and you can't consider yourself a music listener if you haven't listened to this beauty before. Well, if you haven't then what are you waiting for? There's always one neat copy of this on your nearest record store, just move and buy it! This is accessible music, and everyone should appreciate this (everyone who has a mature musical taste and is not limited to stupid three minutes long pop songs containing uninspired lyrics about how he or she loves his chick/guy, of course).

The supreme one of the six stars rating crew (formed by Foxtrot and Conquest of Paradise).

Wonderful that they didn't sustain the household objects idea!

A real MASTERPIECE, probably the best Pink Floyd album. It's a pity that this fabulous work is sometimes underrated when compared with previous and more known DSotM but WYWH is better and shall be placed among the 10 top progressive albums ever.

All that pretentiousness and affectation observed in DSotM gave room to a more mature and balanced approach either for the songs themselves or the band musicianship that are superb.

The songs: 1&5) Shine on you crazy diamond (pts. 1 & 2) - touching, meaningful, excellent.

2) Welcome to the machine - some effects remind us early Floyd's songs, others seem to prepare us for the future; singing is fantastic, just like the ever-present synth, giving the impression we are really inside some kind of engine.

3) Have a cigar - a good track, although the less-strong in the album, but still worthy and interesting.

4) Wish you were here - perhaps the song that people will remember PF in the distant future - or even remember as a whole the last quarter of the XXth century. A hymn.

Nothing more 'I think I can tell' and the final rating is obvious: 5 stars.

Wish You Were Here

Truly a masterpiece album, even though it was released more then 30 years ago. The greatness of this album also reflected by the high appreciation from the listeners, despite the experience with Pink Floyd's music. This really happens to me, considering I'm somewhat new to Pink Floyd. Actually, about 4 or 5 years ago, my dad introduced me to Pink Floyd, The Dark Side Of The Moon album. However, as a kid, I was not really into progressive rock, but now I can appreciate it much more than that.

It is somewhat hard for me to give a high rating for this album, because probably you would think that I give a high rating because of "the Pink Floyd's album" rather than "the album I like".

So, Wish You Were Here was released in 1975, and is Pink Floyd's ninth studio album (if I counted correctly :) ), just after another great album, Dark Side Of The Moon. At that time, the personnel of Pink Floyd were Roger Waters, David Gilmour, Nick Mason and Richard Wright. This album is considered as one of the best album in progressive rock world, and of course, among Pink Floyd's album. It is just amazing, that other progressive rock band, Marillion, which is hugely influenced by Pink Floyd, has an album called also Wish You Were Here with a same concept cover album with slightly difference.

Probably my two favorite tracks are Shine On You Crazy Diamond part 1 and Wish You Were Here. Shine On You Crazy Diamond is a really cool and nice song, with a sax sound in the end of the song, creating an even nicer element. I read on many articles, this song originally was a tribute to Syd Barrett (R.I.P). There is a story about the recording of this track. When they (Waters, Gilmour, Mason and Wright) recorded this track, Syd Barret came and sat very close to Gilmour. However, they didn't recognize him because he was very different, probably because of the drug addictions and the studio was full with tears. "Remember when you were young, you shone like the sun. Shine on you crazy diamond".

Welcome To The Machine is a "darker" song than Shine On You Crazy Diamond pt.1. The overall song is pretty monotone, like verse, chorus, solo, verse, chorus, sort of things. However, the solo parts are just "strange", but great, very progressive, well deserved 5 stars, especially the last solo.

Have A Cigar has the best guitar rhythm and solo among all other songs on the album. The rhythm is just groovy and very dynamic, along with the drum parts. One great thing is, the keyboard part often synchronized with guitar part, very good indeed. As a progressive metal listener, I would say that the guitar solo is not that "virtuoso", but techniques are not everything, as long as the feeling is great and fit the song. A truly amazing song.

Another great song, "How I wish, how I wish you were here.", The music is just very simple, compared to other songs on the album, an acoustic guitar, simple drum riffs and keyboard as a background sound. These simple things create a profound song, which has very deep feeling.

Shine On You Crazy Diamond pt.2 has more instrumental part, but with the same structure as the first part. The instrumental part in the end of the song is kinda divided into two; the first part is more jazzy and groovy with dynamics music. The second part is more "cool" and slow, a great way to end the album. Oh, one thing about the first instrumental part I told you, the bass riffs are just very cool, just great.

So, 5 stars is what this album deserved. Just like I said before, I'm somewhat new to older progressive rock, but then this album has made a hug impact on me that I start to love older prog as much as newer prog.

Keep On Proggin' In the Free World.

My only complaint about this album is that I wish it were longer. It's such an awesome time for Floyd, and I want more from it. However, I wouldnt have wanted them to sacrifice quality for quantity.

This album has stood the test of time, and that's reason enough for it to be a masterpiece. However, let's look past the obvious factors and focus on the little things. The music is very simple, however, its the choice of notes and the placement that makes everything here so awesome. It's the volume swells and dips, the soundscapes that are created. The atmosphere is mysterious and uplifting at times, despite the sadder nature of the album.

The band's pinnacle release, and one of the most important in the history of music in general. A must have.

I think a lot has already been said about Wish you were here and a lot of it superlative. Yeah, this is probably one of the few Floyd albums that has a blemishless image. Meddle is condemned for the inclusion of Seamus in the album. Dark Side is considered to be overproduced, apparently hiding a lack of real virtuoisty. Animals is criticized for being too bleak and The Wall is so obsessed with the grand concept, that... duh... where's the music, Roger? But music lovers have only glowing tributes to offer for WYWH. Really, is it that much better than the rest of the band's 70s work? Hmmmm.... I don't think there's any need to analyse the songs any further. So much has been said about them already. Here's my opinion on the album. This is not exactly what I expect from Pink Floyd. The lyrical content, particularly of Shine On, brings them more to the level of other rock bands out there. Most people like WYWH precisely because of the immensely personal emotions boiling over in Shine On I & II and the title cut. That's precisely the problem for me. No doubt the songs are well-written, but it's all too personalised, focussing over and over on Barret. The premise of DSOTM and Animals is much wider, covering life and humanity as a whole. Where WYWH approaches the broader outlook of those albums is in Welcome to the machine and Have a cigar. They have the requisite bite and Watersian irony that I look forward to. Especially considering Waters's later lyrical work, he doesn't, to my ears, sound too convincing delivering a mournful tribute to ex-band member and beacon Barret. It just gets a little too cheesy in the end. The only thing that saves the Shine On epic(s) is the wonderful solos by Gilmour and Wright, and of course, Dick Parry on the saxophone. Particularly, in Shine On-II, Wright has a whale of a time. But, then, if you've already heard the shining masterpiece from Meddle - Echos - this isn't exactly that exciting. In the final analysis, WYWH lacks the brilliant combination of variety and uniformity so finely crafted in DSOTM. It also lacks the moody intensity of Animals or The Wall. As for Piper at the gates..., its appeal is too far removed from the 70s Floyd work to be discussed with them. If this is the first Floyd album you'll buy, this is the ideal one for you, unless you already have exalted expectations from the band. This is not likely to evoke sharply divided reactions from fans and critics alike, and so it hasn't, because this is a mellow and mature Floyd, with their stomachs full and Waters not yet filling entire albums with his gloomy worldview. But if I would have to point out one album with which Floyd set the world on fire, this would most certainly not be the one.

Almost everything has already been said and written about this album, so I'll keep it brief. This is probably one of the most influential albums in progressive music ever and it is my personal favourite Pink Floyd album together with "Dark Side Of The Moon". It's difficult to argue which one of those two albums is better, if there is one?

After the 1973 release DSOTM everybody was afraid that PINK FLOYD would never be able to top this album. With the 1975 album "WHISH YOU WERE HERE" they have proven us wrong! Luckily they were not trying to make "DSOTM 2", but rather they took a quite different approach with the delicate lengthy epic tracks "Shine On You Crazy Diamond" about their previous band member SYD BARRETT. The initials of the words "Shine", "You" & "Diamond" stand for SYD. And obviously "Whish You Were Here" goes out to SYD as well.

Once again; I cannot possibly chose one favourite between DSOTM and WYWH. Therefore I give them both 5 firm stars. A masterpiece of progressive music!

Many Prog lovers favourite Floyd album, and I agree it is music of a very high quality, but for me it is just a touch too laid back, too polished and 'perfect'. Certainly, the sprawling homage to Syd - Shine On You Crazy Diamond - is an amazing creation and an all time classic [though not actually a personal favourite], and Wish You Were Here is a perennial crowd pleaser, but I need something with a little more guts and bite to really set me off. The musicanship here is stunning, Gilmour's acoustic phrasing on the title track especially showing an amazing attention to detail. Overall, this album has a similar mellowness akin to the much later Division Bell, and mellow doesn't sustain me quite enough over a whole album. Brilliant stuff but they did better.

After such a masterpiece in rock history, such a commercial success (over 40 millions albums sold so far - 2006), no one could believe that the Floyd could supersede DSOTM. I did not quite know what I was going to discover with WYWH.

So far the Floyd had produced quite a lot of average to good albums with terrible moments : "Ummagumma" studio album, "AHM" 's second side and "Meddle" 's first one.

At that time (in 1975 - no Internet) I had not the luxury of some later fans that could discover this album long time after its release, having read so many reviews and then make their choice to purchase the album. I really had no clue about what I was going to discover. So, here we go.

"Shine on You Crazy Diamond" : first of all, it refers, again, about craziness (after "Brain Damage" on DSOTM) and is an ode to Syd. He will attend some studio sessions while the Floyd were recording this track. Dave asked "Who is this guy ?" to one of the band personnel. He had not recognize Syd, although they were friends from school time ! (none of the band did so, thinking that this person was an undertaker). The track "Wish You Were Here" is dedicated to him. It is very much inspired by him and his great influence on the band.

"Shine on You" is split into two on the album due to the lack of space (although I'm a bit sceptic about that : second side of "Selling England", for instance, reaches more than 28 minutes, so this track could have fit onto one side perfectly. Anyway when I listen to it now, I put both tracks one after the other and listen to the whole piece as being one. During some concerts of that era (prior to the release of the album), only available on bootlegs like "Cruel But Fair " in L.A. and "Black Holes In The Sky" at Wembley, they will perform the whole track in a row. This is how I prefer it.

It is one of very best Floyd song ever written. A fantastic spacey intro, great guitar and superb key moments. A LOT of feeling (remember it refers to Syd : "You were caught in the crossfire of childhood and stardom, blown on the steel breeze").

A magical moment. I will probably ask to have this one be played on my burial ceremony (but I'm not in a hurry, the later the better). A personal detail : I used to play a CD when I go to sleep / wake up and usually change frequently (every week or so). For more than a month now, I play "Shine" part I to V at night, and wake up with Part VI to IX. What a glorious way to start / finish a day.

"Welcome to the Machine" is another fabulous Floyd song. Not commercial like "Money" of course and absent from any Floyd compil : this might be a proof of excellence though. Heaven is at hand (I would be inspired to also get that one for my burial party) !

At this time of review (December 3rd, 2006), I will go and attend a concert from one of the most fantastic Floyd cover band I know : "The Machine". On this tour tour they will play the whole of "The Wall" and "Wish You Were Here". I expect a gorgeous evening. I'll tell you more after the concert.

...Since I post this review after editing it more than six weeks after, I can tell you that it was quite an emotional moment for me to have this wonderful album rendered live again. Some might argue about cover bands but when they reach such level of quality I can only say "Bravo" (which I did by the way).

"Have a Cigar" is alo a very good track. A famous line of the song, but maybe this fact is not known by everbody (althoug it is true), says : "Which One Is Pink" ? and refers to an American record executive having the band in front of him and asking this stupid question.

The title track was the one with which the whole album started.

Dave will say : "The whole thing started out of that first guitar thing, that "ding -ding- ding-ding." I was just in the studio rehearsal room during one day and playing with the guitar and those notes started coming out, just a little motif on the guitar. I played it a few times, and I put some DDL's and other effects on it and started playing again and it sort of pinged out and sounded nice and I said "oh, that's really great." Roger really got off on it, he got exactly the same from it as I was getting from it. I don't know quite how it happened, but those sort of things happen. That was like the start of, gave us the start for making the whole record."

To me the reference to Syd is obvious, but I did not find a confirmation for this, so maybe I am imagining ... It is a very pathetic song, full of tenderness and emotion.

So : "What have we found ? The same old fears, wish you were here" !

In Britain, the album hit number one in its second week on the charts. EMI could not supply the unprecedented demand. Even with its pressing plants working overtime, the company had to inform retailers that only fifty percent of each order could be filled. At the time, "Wish You Were Here" was the fastest-selling of all Pink Floyd albums, topping record charts the world over.

The "supporting" tour which finsihed BEFORE the album release, was an absolute success. In The US, within hours, all of the dates were sold out, breaking all records. Concerts at the L.A. Sports Arena, sold all of the 67,000 tickets (four concerts) in a single day. An additional show sold out within hours.

Five stars of course and the absolutely all time best album of the Floyd IMO. Not a single poor nor average track. Unprecedended (even DSOTM got his "On The Run" one).

More surrealistic than a Claude Monet acid trip, this cover just absolutely amazed me. The idea of mixings two different concepts, fire and life (the human) made for such an interesting contrast that this turned out to be one of the greatest album covers to grace the world. Enough about the cover though, there is actually music to talk about here.

Side 1 starts off with the Floyd song virtually everybody and their brother knows about, "Shine On You Crazy Diamond, Parts I-V". This is everybody at Pink Floyd headquarters' big tribute song to their fallen (only mentally at the time) original guitarist, madman genius Syd Barrett. Each instrument only goes for as long as the human ears allow it go for here, and because of this everything stays fresh and interesting. Just as you think Gilmour's soft tones might bore you, he either kicks it up a notch or Roger Waters will bring some new bass beats into the equation to spice it up and keep the listener interested. The lyrics here? Oh man don't even get me started. They are an absolute touch of mastery, some of the greatest stuff ever to be put on paper. "Welcome To The Machine" is the often much overlooked second A-side song, and I really feel that it does not get the recognition it deserves. Most people just brush it off as "The song that comes after Shine On", but it really is a complex and mysterious piece in itself. A deep and dark mixture of "Dark Side" inspired psychedelia full of twisted lyrics and noise effects, this is not a song you can miss.

Side 2 is considerably weaker, in my opinion. However, considerably weaker means nothing because this is still a stand-out album. "Have a Cigar" is really breaks the trippy, psychedelic flow that they had going through the A-side. Roy Harper sings this tale about the dysfunctional record industry, and it is a much more straight-forward rock n' roll song which doesn't really blend with the atmosphere they have worked so hard to create up to this point. The one thing I do like, however, is the fade out of "Have a Cigar" into the radio opening of "Wish You Were Here". "Wish You Were Here" is a really simple piece of music, but it is touching and heartbreaking at the same time. One of the first songs I ever played on guitar, this song will stay with me forever not only in that view, but because it such an excellent song considering lyrics and musicianship. The second half of "Shine on You Crazy Diamond", which is parts VI-IX, acts as the outro/closer to the album. Not quite as good as the first half of the suite, this one lacks the energy and passion that the first half used so strongly. I wouldn't mind seeing them switch positions on the album, as this would be a better opener than closer.

One of the first experimental concept albums I have ever come across that doesn't have any random instrumentation or "noodling". The synths are on fire here, and Gilmour shines on Waters' lyrics. A true 5 star album right here, this completely eclipses "Dark Side of the Moon".

Shine on Syd, Shine on.

How do you follow-up the greatest album ever made ? Well most bands would cave under that pressure but FLOYD creates an album that many (not me) consider to be even better than "Dark Side Of The Moon". It's interesting reading the behind the scenes stuff as they made this album because they went into Abbey Road Studios in January of 1975 having already come up with the track "Shine On You Crazy Diamond" during rehearsals along with two other songs. But like the "Meddle" sessions the band had hit a wall.The ideas that the band were bouncing off of each other weren't working. Roger then suggested they dump the other two tracks from rehearsals (they would end up showing up on "Animals") and bridge the first and second halves of "Shine On..." with material that related in some way to the state they were in at the time. Gilmour disagreed but Nick and Richard said why not. Roger suggested the band members just unburden themselves as it were of what was bothering them. While they did this he took notes. Waters then came up with the lyrics. Like "Dark Side Of The Moon" he wrote all the lyrics for "Wish You Were Here".

On June 5th during the final session this overweight uninvited guest showed up with his head and eyebrows shaven. He was slow speaking and none of the band knew it was Syd for several minutes. Storm Thorgerson who was there relates : "...two or three people cried. He sat around and talked for a bit, but he really wasn't there". Roger was especially hit hard by what Syd had become.That was the last contact the band had with him.This event only makes the lyrics that Waters wrote previous to this even more special in my opinion.The cover art reflects the idea of two business men shaking hands on a deal with the one being burned as soon as he makes the deal.This is a picture of the record industry that FLOYD was apart of and yet despised as seen on those two tracks "Welcome To The Machine" and "Have A Cigar". It makes me laugh to wonder what the big-wigs at Columbia thought of "Welcome To The Machine" a song that is cold and mechanical about the music industry who are more concerned about making money then they are about distributing creative, quality music. Or the song "Have A Cigar" that is again about the music industry's greed and lack of morals. Not even knowing the bands or musicians, as put so well by the line "Oh by the way, which ones Pink ?" You have to love the scathing lyrics of Roger Waters, he sure knows how to rant. And it's very cool to hear Roy Harper sing on this track.

"Shine On You Crazy Diamond" parts one and two, as well as the song "Wish You Were Here" are about former band mate Syd Barret and are all amazing songs. I would say "Wish You Were Here" is one of the greatest songs ever recorded. I'm glad the band invited Dick Parry back to play sax on "Shine On You Crazy Diamond", he did such a good job on this song as well as on "Dark Side Of The Moon". Lastly, the guitar work of David Gilmour is outstanding as usual, especially on the first song "Shine On You Crazy Diamond" and "Have A Cigar". Gilmour suddenly becomes a guitar hero on this album. Also the use of synths is way more prominant than they ever have been on previous FLOYD albums.

I've never been a huge fan of "Welcome To The Machine" or "Have A Cigar" although I appreciate them. Still they keep me from calling this a masterpiece.

Next to Genesis's The Lamb and King Crimson's In The Court, Pink Floyd's Wish You Were Here holds a special place in my heart. How lucky I was to grow up at the sound of these records ! Anyway, this is an absolute masterpiece and I very rarely use this word. If you really want to have an insight in prog rock, well you simply must at least have listened to this album, or better still, buy it. As far as I'm concerned this is Pink Floyd's best. The introduction to Shine on you crazy diamond has perhaps Gilmour's best guitar solo played over a delicate layer of synths. Have you ever tried to sing or whistle a guitar solo ? Well, this is one to remember for more than a lifetime. The use of synthesizers on Welcome to the Machine down to the acoustic guitar on the eponymous title that you can try to play on your guitar at a campfire, all the tracks are to be remembered. And give your kids a favour : make them listen to this album. They'll thank you for it.

This is one of those classics that requires little review. Everyone has heard this and everyone loves it. The emotional and masterfully told story of the band and their true leader, Syd.

By this time, there was significant infighting going on within the group. They were creatively drained and not sure which way to turn after the phenomenon of Dark Side. Gilmour was unhappy with Mason who was having marriage problems and thus in a funk, and Roger and Dave were squabbling about the material. Gilmour wanted to lay down Shine On and two of Roger's other ideas (which later ended up on Animals) and split. But Roger wanted to further develop the themes of Shine On into other more appropriate new material and take time to get it right. Thankfully for us, he won the battle and Welcome, Cigar, and WYWH became the rest of this album. In June of '75, Barrett walked into Abbey Road as the group were finishing Shine On and brought Waters to tears at seeing his condition. He stayed a while chatting with people and left without saying goodbye. The Floyd never saw Syd again. Syd severed his ties to his past and would live his later years in Cambridge happily painting away and gardening.

"Shine On You Crazy Diamond" is one of the musical highlights of the Floyd, nothing but pure beauty as far as you can hear. Gilmour is flawless and Wright isn't too bad either. The other songs are less successful than the epic piece but all in all there is no denying this link in the string of Floyd classics. The title song is a nice acoustic number with great lyrics. Essential though not quite a masterpiece in my view.

After the surprisingly enormous success of "Dark Side of the Moon", Pink Floyd had the courage and music sensibility to embrace new horizons, yet building another sophisticated, intense piece of music. Their great achievement was to build, from relatively simple orchestrated music, compositions which could intriguingly irradiate so much passion, so much dose of sensibility, this time in the boundaries of the metaphysical, the introspective, in a way rarely seen in music - a secret which hides in its elegant sequence of textures, and in the deepness of a tribute to a beloved friend, Syd Barrett.

The album is guided and, should I say, almost worth it only by the main song "Shine on You Crazy Diamond" - a long and compelling suite, divided in two movements, relying in dense textured atmospheres, majestic organs, heartbreaking guitars and saxophones. The spacey, thrilling and dramatic "Welcome to the Machine" presents a imaginary perfect world for him, while the hit "Wish You Were Here" shows a anguish and final goodbye, after the traces of joyfulness hidden in the memories revived in "Have a Cigar".

"Wish You Were Here" shines Pink Floyd's art at their peak. It is perhaps their most intense and dramatic work, an imposing memorable album which would touch generations, from decade to decade. Masterpiece.

An amazing album, An amazing prog album?

Dont get me wrong this is the one album you need if your a Floyd freak, but I dont believe it should be number three on a PROG album chart. For an album with five songs, with two of which are in no way prog, I have trouble thinking of it cracking the top twenty.

If I were to rat this album soley on how good it sounded, I would give it a five. On a rating for how progressive it is I will give it a three.

Shine on you crazy diamond- Your Typical Floyd epic with some lovely synth and guitar for the first five minuetes until it explodes into a blistering guitar solo. Then Waters' meloncholic tone it down for just two versus and two chorus' to go into a great sax solo.

Welcome to the machine- My favirote track on the album! Starts with some kind of machine giving us a very strange beat, then goes into a drop D acoustic guitar and great lyrics. Saving the best for last, Rick Wright Go's into a huge solo rivaling Wakeman or Emerson. His best solo to date.

Have a cigar- now to start the non-proginess. Not only is this song not progressive, Waters dosent even sing in it! I find that quite rediculus for a five song album (unless it were an instrumental). We do get saved by a very nice Gilmore solo at the end.

Wish you were here- Most people learn smoke on the water as thier first guitar song, but not Floyd fans! They learn the gorgeous wish you were here ballad first three notes. Even if this song is not prog, it is beautiful in everyway.

Shine on you crazy diamond part two- Crbon copy of the first one, but a little more aggressive and a weird jazzy elec. piano jam towards the end.

Overall good, but think about it. Does a five song album, with only three of those being prog, really belong in a top five spot on a PROG website?

Ok, I just don't get it. Pink Floyd released two true masterpieces in Dark Side of the Moon and The Wall. Animals is almost as good, and would probably be a third masterpiece if Pigs (Three Different Ones) had been as good as Dogs and Sheep. So why is everybody so high on Wish You Were Here?

Sure, Shine On You Crazy Diamond is very, very good. And yes, Wish You Were Here is probably the best thing that Floyd has ever done that didn't make onto TDSOTM or The Wall. But what about Have A Cigar? It's ok, but I'd hardly call it a classic Floyd track. The same goes for Welcome to the Machine.

I'm giving this three stars. I want to be clear that Animals (which I would give four stars) is definitely superior to this disc.

Instead of adding yet another simple description of the music and my appreciation for it to the long row of reviews, I thought about doing something different. So, instead of just rambling on about the musical content, I opted for bringing you an insider's view on the magnificent artwork of this seminal progressive rock album.

After the success of Dark Side it was quite difficult knowing what to do next. We had suggested seven different roughs for "Dark Side". In the case of Wish You Were Here we only suggested one, but it was a very complicated one. The basic theme derived from Shine On You Crazy Diamond, especially from Dave's haunting guitar chords, and Roger's lyrics. This theme was the sense of absence, of not being present in a relationship or conversation. This absence related to Syd Barrett, in more ways than one, and to the band's own difficulties in being there at the time making music, or in being a band at all - "Dark Side" was an even harder act for them to follow. All the pictures refer to absence in one form or another. The burning man is absent metaphorically - too frightened to be present, lest he be burned. The diver is absent physically, because his trace, or rather his splash, is missing. The "handshake" on the sticker is as much an empty gesture as a genuine greeting. The title "Wish You Were Here" then becomes relevant, and from the title came the post-card included in the original vinyl packaging. Could the design be one thing for the shops and another thing to the customer? Once you had bought the record there was no sense in being subjected to the same criteria of design and advertising as you would in the shop. At home there's no need to grab attention, or to be crassly provocative. So the cover was wrapped in a black plastic shrink wrap - one could not actually see what the design was. Since the theme of the album was absence, then the design in itself is absent, ie not visible. The idea was that when you got home you were supposed to peel off the black shrink wrap like undoing a present, and throw it away. One suspects that lot of people slit the plastic down the side with a scalpel in order to preserve the colourful sticker but still get the record out (there's no pleasing some folk). The actual shooting of the cover was rather dramatic in itself. The man diving into the lake, lake Mono in California, was a yoga expert who performed a handstand in a metal bucket frame. He held his breath for a long time so that the ripples caused by the commotion of getting into the diving position in the first place would die more or less away. He only had to do it 60 times, but then it is art, innit? We tried to say the same thing to the man we set on fire, but he didn't think that was very funny. Although he was wearing an asbestos suit and an asbestos wig, when we set him alight he was unfortunately facing the wrong way as regards to the wind. The wind caught the flames and blew them back into his face, burning his moustache severely. We had, in fact, to get him to turn the other way and shake hands with his left hand and then reverse the photo in the final print, which does give it a slightly strange quality. Art by misadventure.

in Pink Floyd Shine On - A Book to accompany the CD Box Set, 1992 Pink Floyd Music

About the music, well, that mostly goes without saying. Wish You Were Here and the first half of Shine On You Crazy Diamond are long-time radio friendly tunes. My favorite, however, are the less recognizable tracks. Despite being the only song in the album deserving of a videoclip, Welcome to the Machine, with its dark ambience and use of electronics, remains the obscurer track, along with the spacier and funkier bits on the second half of Shine On.. The bluesy Roy Harper/Gilmour guitar-driven Have a Cigar remains one of the fiercest criticisms to the music industry. One of the 70's Pink Floyd masterpieces, this album, with its sonic diversity but constantly progressive attitude, wether to rock, blues, or experimental electronics, is a guaranteed must have for the prog-head, and it will always have something of interest that will make you want you rediscover it time and time again.

Following the massive success of Dark Side of the Moon, the pressure was on for Pink Floyd to deliver another hit. They did this in spades with Wish You Were Here, which is a semi-conceptual album that takes a look at their fallen leader Syd Barrett. The result is is classic of prog rock that stands the test of time as well as the other Floyd classics. Gilmour is the star of this album, as he plays some of the most unique and beautiful gitar you'll ever hear.

The album opens with the first half of "Shine On You Crazy Diamond." It builds ridiculously slowly over a few minutes of near silence before Gilmour pierces the heavens with his guitar. Waters' lyrics are touching and fond, but his vocals give the song a bit of a bite, expressing perhaps some hidden anger at how Barrett abandoned the band. The second half is equally as awe-inspiring, with more incredible guitar and keyboards and great lyrics. However, it has a more laid back and fades out with the same ethereal beauty in which t entered. "Welcome to the Machine" is a downright flawless track with great sound effects with dark lyrics that sound like the foundation for the album Animals. "Have a Cigar" is a great look into the music industry's exploitation of artists. Had it been played in a different style, it could have een a defining punk song. the title track is a beautiful ballad that takes the fondness of Shine On and removes the bitterness, leaving only a soft memorium for Syd.

WYWH is remarkable in that it actually manages to live up to the expectations following such a ridiculously successful album, and at times even betters it. No fan of prog oreven rock in general can be without this seminal release.

Grade: A

How do you follow-up a multi-million selling masterpiece like the Dark Side of the Moon? Easy. You make another masterpiece. And you make it even better. Which is exactly what Pink Floyd did. Wish You Were Here is considered by many, myself included, as the crowning achievement for Pink Floyd. True, it didn't sell as much as the Dark Side of the Moon, but it still sold a huge number of records. And that's always an achievement for a prog band, regardless of time period.

On Wish You Were Here, Pink Floyd continued with a conceptual album, this time dealing with the insanity of success in the rock business. Instead of a bunch of short tracks, this time they created a nine-part, mostly instrumental epic, and split it into two halves with three shorter pieces in between. Richard Wright played a more forward role with many lush synthesizers giving the band it's first truly symphonic prog album, though of course with the bluesy psychedelic touches still present. The nine-part Shine on You Crazy Diamond was a tribute to the band's original lead singer, Syd Barrett (who mysteriously showed up at the recording sessions for this album unannounced, overweight and with a shaved head). Welcome to the Machine is also an amazing song and of course the title track, a concert favorite many years after this was released. Roy Harper also does a wonderful performance as a guest vocalist on Have a Cigar.

Wish You Were Here featured the group at its best, musically and compositionally. The melodies, though often sad, are some of the most beautiful ever recorded. This is an absolute must-have and is one of the top 10 greatest progressive rock albums ever released. And yes, it is much, much better than their classic Dark Side of the Moon. Five stars.

In my humble opinion Wish you were here is overrated, it's a fantastic album and one Pink Floyd's finest however I just don't see enough substance in it to justify calling it one of, if not the greatest prog album of all time.

'Shine on you crazy diamond' is a majestic song - truly a masterpiece I love every minute of it, probably Pink Floyd's greatest song and one of the best songs going round to be honest, it's just the rest of the album that lets me down. I find 'welcome to the machine' to be on the whole boring and to be honest quite abrasive (being a death metal fan I don't say that lightly either). 'Have a cigar' likewise bores me, it's easily the weakest song on the album and is quite a generic floyd song, it sounds like it belongs on the wall with the whole generic classic rock bluesy thing, don't get me wrong it's not an entirely bad song but it's not a really interesting one either. Wish you were here is a great pop song however in the context of a progressive rock album it's filler, it really doesn't belong.

In summary 'shine on you crazy diamond' is what this album is about for me, the other 3 songs aren't particularly progressive or interesting in comparison they are fairly straight forward rock songs, not to say they are bad but in relative terms however this is prog archives and I feel I should be judging this album on it's progressive merits. 4 stars mainly because 'shine on you crazy diamond' takes up most of the time on this album.

For a long time I considered the famous maintrack of 25 minutes by Pink Floyd one of the best if not the best prog composition ever. Of course it is but unfortunately I always had a sort of dislike for the vocal aspect of the song. I don't like the chorus, the rest of the masterpiece is of course absolutely terrific but it's the reason the song will never be my absolute number one. The title track that is considered a supersong by many is not one of my favourites. I think it's a bit dull, nothing special. Welcome to the machine is much more to my liking. A special song that really gives you a machine feeling thanks to the beginning. But my very pearl of this album is Have a cigar. This song is still regularly to be heard on dutch radio and when I hear the start of it I enthusiastically long for the final 2 minutes of the song, one of the best guitar solos ever by mr. Gilmour. Brilliant !!

All in all of course a great classic this album but I have to give it 4*

There was a time in my early adulthood when a social gathering of any size would include Pink Floyd by rote. It was always Dark Side of the Moon, or . By my recollection the former was outplayed by the latter by about 2 to 1, and will forever live in the "will not go out of my way to listen to" department. While not a favorite, Wish You Were Here managed to not suffer the same overplay fate.

The album's staying power is in large part due to the campfire anthem title track. Everyone knows the words and its super easy to play on guitar. And we all have that smoker friend who will even simulate the cigarette light-up sequence during the intro. Ultimately, it isn't so much a listening tune as much as a playing tune. The acoustic earthiness of that song is contrasted by the borderline funk rock Have a Cigar, which is a music industry/business op-ed that would be otherwise forgettable if not for the aforementioned repetition of play this album received. The most enjoyable portions of the album are the bookend psychedelic-ambiance laced renditions of Shine on You Crazy Diamond, and Welcome to the Machine which is a fade in from the first half of Shine on You Crazy Diamond. The big selling point of these pieces is they are among a very small list of "passive listening" pieces that I can sleep to. Not interesting enough that I have to pay attention, but not an unpleasant noise that draws negative attention. The droning keyboard intro with soft-toned guitar solo is a nice fade to sleep.

While Pink Floyd has been relegated to 3rd or 4th tier in my listening choices, only Meddle is more likely to be played now than . It is still rare however, and has thus not held any standard of greatness. Good music, just not essential.

Not quite as powerful to me as "Dark Side" (largely due, I think, to the abundant gaps of bland air between the good stuff) which is, nonetheless, an undeniably powerful and enjoyable listen; my choice for second best Floyd album despite the fact that "Wish You Were Here" is probably more complex and cerebral than "Dark Side".

After the artistic and commercial success of Dark Side Of The Moon, Floyd somehow followed it up with another masterpiece. Now, I'm sure everyone has probably already heard this by the time they're on the site (if not, what are you waiting for? Head for vendor of choice and buy this album), so I'm going to keep this fairly brief.

Wish You Were Here is an album which is quite unlike any other I own. The playing and composition is extremely individual, the lyrics are inspired and unique, and the cover art and style is every bit a match for Dark Side Of The Moon.

Shine On You Crazy Diamond sounds 123% better in the dark, where its surrealism and beauty seem most unique, but regardless of the time of day, it's still the best thing on the album, possibly the best thing Floyd did. An atmospheric extravaganza, with lush, near-religious and heartmelting keys, gentle, liquid percussion and the peak of Gilmour's soulful and bluesy guitar coming together to form an entity of wandering, dreamy and bleak character before the jarring soul of Sid's Theme (an unmistakeable four-note entity) bursts into the vivid dream, chased on by the vibrant life of Waters and Mason and some colourful Gilmour soloing. Wright's keys take a gospel-like significance, building carefully in power as the blazing guitar reaches its climax. A guitar throb adds some extra weight to rhythm section, which is punctuated with some breathless and understated escapes from Mason and Waters. As this atmosphere reaches its zenith, a churchlike organ meets with Gilmour's unforgettable vocal, reinforced with immaculately arranged backing vocals (the way they slowly, individually develop and drop off is breathtaking) and guitar and some perfect bass swells are overshadowed only by the sheer surrealistic beauty of Waters' lyrics. As the vocal part, brief, yet memorable, fades away, a clean, but nonetheless sweltering sax (courtesy of Dick Parry) acts as an unmistakeable voice over the bright, gripping, four-note-based Gilmour theme, and as Wright's glimmering keyboards bring the song down to its conclusion, the sax goes into a maddened life of its own, growing faster and more demanding. Both beautiful and saddening, a true masterpiece.

While we're on this one, a small comment on what virtuosity is wouldn't be out of order. Virtuosity is really not just about technique and speed, and the two lead players on this maybe show that. It takes more talent, in my view, to come up with and bring out the character of themes such as Sid's theme or the lilting accompaniment to the sax than to accomplish any number of cool-sounding riffs or solos... these guitar parts are absolute gold, and this song alone establishes David Gilmour in the upper echelons of the guitar world. Equally, if not more, impressive, is the late Rick Wright's playing on this song. I've yet to hear another song which uses keys quite like this: the subtle, yet insistent effect of the carefully treated organs, the dripping, mystical, clear synths and the cleansing layers of more blanketing synthesisers are put together in a completely unique way, with Wright drawing as much effect out of a change in volume, a modulating pedal or a slight difference in tone as any other organist could draw out of a monstrous riff. Personally, I think this qualifies as virtuosity and great playing as much as any of the Dream Theater, Yes, Mahavishnu Orchestra technical fireworks.

A menacing thrumming and short bursts of precisely-planned feedback bring up the insistent mechanical bass pulse of Welcome To The Machine, potentially the world's most avant-garde ballad, introducing the detached, cold and aggressive guitar strumming for mere seconds before the electronic spaciness completely takes over the soul of the song, bringing up the guitar's effect throughout the verses. The guitar returns for the chorus, but any warmth is, rather unusually, provided through desperate keys and the escapades of the bass and near-orchestral drum rolls. Wright pulls off a remarkably individual synthesiser part. The vocals are savage here, and the lyrics match in biting aggression and demand (Welcome my son, welcome to the machine/what did you dream? It's alright, we told you what to dream), here about a disillusion with the music business and even the continual commercial, generic side of music (shown by the coldness of the vocals and the guitar as opposed to the surprising relative warmth of the conventionally more emotionless instrumentation). Simply an incredibly clever and intelligent piece of music, and I have to admit, I didn't get it at first... but nonetheless I liked it... accessible, and yet clear, clear evidence that the experimental, psychedelic and creative Floyd that gave us numbers like A Saucerful Of Secrets or One Of These Days was still around in 1975. And also an interesting thing to bring up when people say Animals was the most prog Floyd album... is prog about complexity... not really, it's about creating tunes which are completely experimental, unique and creative and then making them sound good... this is such a tune.

In stark contrast, the ironically commercialised, sleazy and satyrical style of Have A Cigar shows off the writing side of Pink Floyd. A grabbing little guitar part runs through, with some jazzy Wright e-piano flourishes running through and another swirling Wright synth over the groovy rhythm section. The guitar part is deceptively fast and mobile within the context of its neat riff, and the song has a pretty much perfect pop dynamic combined with a cynically experimental edge and some strained guitar soloing hidden in the piece. A biting set of lyrics adds to the music biz bashing begun in Welcome To The Machine, and Roy Harper's rather good voice belts them out with a vindictive sleaze to match the. The song fades away slowly with a classy bit of bluesy soloing, as well one of Roger Waters' better bass parts. The hilarious, and very well-timed, radio-style fading, acts as a sort of link between this and the follower, and is evidence of Floyd's ability to write two great songs, individually capable singles, and yet link them in a way that makes the album so much more than just the sum of the parts.

Some sound effects lead onto the follower, the immensely and justly acclaimed Wish You Were Here. No gimmicks, other than the slightly reduced volume of the backing guitar, just a soulful acoustic, folky strumming, clear, and completely moving vocals, one of the best sets of lyrics Roger Waters ever wrote ('how I wish, how I wish you were here/we're just two lost souls swimming in a fish bowl, year after year'), and completely memorable piano and synth touches from Wright. Swirling winds lead from this lament back to the the surreal wonderland of Shine On You Crazy Diamond (pts. 6-9). Just about a perfect example of memorable songwriting, and the guitar solo is unique in style.

Jaunty guitar and bass, and throbbing percussion continue the atmosphere of the song, with haunting, interlinked lead synth parts replacing the background organs of pts. 1-5. The gripping guitars and swirling synths provide the jam with increasingly assertive impetus, while Waters and Mason groove along in their own way. As Gilmour returns to the guitar part which marked the vocal section of pts. 1-5, another reverent organ completes the return of the 'essence' of the song (for want of a better word). Another mystical verse, this time replete with Gilmour soloing in between the notes, leads off into another atmosphere-drenched, if rather upbeat, jam, complete with some very collected e-piano, an extremely cool funk riff from Wright or Gilmour (not sure which) and some solid bass and guitar filling out the optimistic madness of the piece. Wright and Mason lead off the whole thing into its majestic, crowning conclusion, with the clear piano chords conveying a real feeling of glory and triumph, counterbalanced by a final melancholy, sax-like synth. Just as impressive as the first part of the song, but it needs a little more time to really sink in and to be thought of as a continuation of it.

So, there you have it. Another rewrite. An essential masterpiece of progressive rock, because it really sounds like nothing else out there, a brilliantly written and very experimental album masquerading as two jams and three 'accessible' songs, and something that you should really treasure as an album if you've any taste for atmosphere or great guitar. Floyd were still on form for this one. And, because I don't say this enough, David Gilmour had a great voice, and Roger Waters was an amazing lyricist.

Rating: Five Stars. Simply incredible. Favourite Track: Still Shine On You Crazy Diamond (pts. 1-5), but Welcome To The Machine has grown on me exponentially since I wrote my first review here... of this album.

An album of vast sounds and small perfections.

After their wildly successful 'Dark Side of the Moon', PINK FLOYD had achieved what they'd set out to do. According to NICK MASON, 1974 became a year of wasted experiments and increasing band frustrations, and by early 1975 the band had little to offer but tension and three long songs they'd played live (Nick Mason, Inside Out). These were not the ideal circumstances to produce arguably the most respected album on this site.

In my opinion PINK FLOYD had run out of things to say, and had begun to lose the will to say them. That's why this album's concept harks back to the days of SYD BARRETT and his intense creativity. 'Wish You Were Here' is an album expressing the band's wish that someone could give them the creative spark they needed. This is not a promising position from which to record an album, and the problem was only exacerbated by the addition of the anti-music business sub-plot. This is the favourite topic of any band who makes it big and becomes alienated from reality: their own world reduces down to tours, hotel rooms and contracts, underlined by the disappointment that great success doesn't automatically translate to great wealth. Remember that 'Dark Side Of The Moon' took many years to sell its extraordinary numbers, so by early 1975 there was hype and growing chart success but no millions.

'Wish You Were Here' is an album about 'absence', according to ROGER WATERS. In my view, it is about the absence of inspiration and reward, not just the absence of SYD.

So why, given these handicaps, is it so good? Because with this album PINK FLOYD perfect the space-rock sound, a universe in breadth but with incredible attention given to the smallest detail. This is nowhere more clearly demonstrated than in the first four minutes of the album. 'Shine On You Crazy Diamond Part 1' is essentially one chord, but essentially defines space-rock. RICK WRIGHT's keyboard is perfect: wonderful tone and infinite depth, gradually expanding to dominate the speakers. How does one chord do this? First, it is supplemented by a legion of small perfections, little sounds that contrast with the enormous chord in the way that stars stud the great void. Juicy little tinkles, creaks and later precise guitar notes - leading to one of the most sublime and simple moments in rock: the guitar from 2:10 leads us to a majestic chord change at 2:23 - it's as though the starfields shift and we get a glimpse into another universe. Yes, this is only music, but this is what space-rock is supposed to do: engage the imagination and send the soul soaring beyond human limitations of body and vision. Truly, this is majestic music. Given the 'absence' of vocals (deliberately there are no vocals for a full eight and a half minutes, part of the 'absence' theme), at this point what does it matter what theme the album is about? It's all about the music, and the music is majestic. Part 1 fades, and GILMOUR introduces perhaps one of the most famous four-note phrases in music.

And we're off, into faster and slower sections, solos of beauty, all played at a deliberate pace. I'm not a fan of the vocals. WATERS wasn't the best choice, though by this time it appears as though WATERS wasn't giving anyone a choice: he had begun to insist on doing his own vocals, apparently later regretting not doing 'Have a Cigar'. But the track is not about the vocals. The most powerful solo is, with typical FLOYD genius, not given to GILMOUR at all, but is passed on to DICK PARRY's saxophone to bring the opener to a satisfying conclusion ... to be resumed later.

'Welcome to the Machine' hasn't aged well. It's a relatively early synth-based track, and sounds somewhat dated to modern ears, but at the time it was sensational. The combination of the pulsing synths and cold vocals evoke the music machine, and for once WATERS' sarcasm works well. We are treated to FLOYD's obligatory sound effects, perhaps a little cheesy but fascinating to a teenager spinning the disc for the first time. The album, like all in this period, is a series of musical ideas tied together by sounds, segues and solos (the three S's of PINK FLOYD), with more of an emphasis on the latter two than on the tighter and more idea-rich 'Dark Side of the Moon'. We could have done without the sound effects here.

'Have a Cigar' continues the anti-music industry theme, but more important than either this or ROY HARPER's vocals, contains one of GILMOUR's most stunning guitar solos. He's given his head, and this really does hum. It gives the album the punch it needs, and is placed perfectly to lead (bizarrely and with one of the band's most inspired segues) into PINK FLOYD's best ballad, the simple, beautiful title track. Simple - look at the chords - beautiful - look how they put them together.

And so to the second half of 'Shine On You Crazy Diamond' and more GILMOUR pyrotechnics, prefaced by an excellent rumbling trademark WATERS bassline and some WRIGHT magic. Of all the solos GILMOUR's ever played, I rate this one, played on the slide guitar, as perhaps the best he's ever done, for sheer emotion and over-the-top histrionics. What a moment when he harmonises with himself! The inevitable fall from this great height is perfectly sculpted and entirely intentional: after a 'Funky Dung/Echoes/Any Colour You Like' funk section, the last minutes of the song, and the album, slowly fade into silence in the most melancholy fashion. I can remember being somewhat disappointed at this tame ending, but now it seems entirely justified, given the poignancy of the main theme.

Composition is king, nowhere more eloquently demonstrated than on this album. PINK FLOYD may have not had much to say, but that absence is so wonderfully sculpted into a soaring soundscape that defines the space-rock genre. This is an absolutely essential record.

An overrated album, not by far their best, like is praised all the time here. Is so much great music to descover from the '70's that is hard for me to listen more than twice a year this album. Is not a bad album, that is no doubt but to me is almost boring. Shine one crazy diamond part I is stunning very smooth and is clear that the members are very talented, but Have a cigar is a mediocre piece, the other tracks are so so. This album has an istorical importance to many , no doubt Pink Floyd is one of the major influence in music, but to me is an overrated band, that doesn't mean i under appreciate thier talent and creativity throgh the years. So a 3 star album for me, the next one Animals is much better and is my favourite Floyd album.

Pink Floyd's 'Wish You Were Here' should be one of the Prog-Lover's listening Utopia's. Countless reviews are made here at the archives, so, short and sweet, darn near everything is perfect, Guitar solos - touching and mournful, Keyboards (Mini-Moogs, Hammond, String Synth, Piano, Clavinet) are put to good use, in a most inspired way, and the Drums are played tastefully by Nick Mason, a fairly simplistic drummer, but ever so tasteful. Roger Waters Bass-lines are perfect for the compositions here, especially when he utilises over-dubs and flanging effects ; exactly what is needed to bring the rhythm to life. A most profound, classy, accessible and memorable listening experience. 5 Star, no less !!

For those who don't (or can't) fully appreciate the sadly diminishing art of making a complete album of well-thought-out and immaculately-executed music and lyrics I present as evidence this masterpiece by Pink Floyd. Taken and experienced as individual songs these tunes may be no more memorable than any number of FM radio staples echoing endlessly from the 70s but when listened to as a wholly intertwined concept the result is nothing short of overwhelming. No wonder it is so revered in the kingdom of progressive rock.

"Shine On You Crazy Diamond (Part 1)" slowly dawns like the gradual rising of a full moon on a cold winter night as David Gilmour and Richard Wright paint an intimate palette before a tolling, bell-like quintet of haunting guitar notes defines the mood and ushers in the rest of the band to perform the greatest prog rock blues song of all time. David's deftly phrased and tasteful licks are a delight to behold as they leisurely go about setting the sober tone of the piece. However, when Roger Waters' inimitable vocals come in all subtlety is abandoned and a full chorus enters en masse to back his wistful singing and words that cut like a knife. Obviously aimed at AWOL group founder Syd Barrett, his rueful lyrics cry out like a brother's anguish. "Remember when you were young/you shone like the sun," he recalls, but then adds "you reached for the secret too soon/you cried for the moon." Helplessly we can only sympathize from afar as Roger pleads for his dear friend to return. "Come on you raver/you seer of visions/come on you painter/you piper/you prisoner/and shine!" he calls out in vain. As if in response and out of nowhere appears the refreshing saxophone of guest Dick Parry to provide a shred of hope in the end.

How appropriate to go from the soulful, natural sound of a sax to the industrial, synthesized noises of a faceless mechanism at the start of "Welcome to the Machine." In the first of a one-two punch describing the fallout resulting from the instant elevation of the group from cult status to worldwide superstars due to the indescribable success of "Dark Side of the Moon," Waters doesn't hold back his bitterness. Wright performs his best keyboard work ever as he weaves a tight tapestry of synthesizers while Gilmour's full 12-string acoustic guitar strums provide depth and a glimpse of humanity to the proceedings. Roger warns us to be careful of what we strive for because we may not like what we get. "You dreamed of a big star/he played a mean guitar/he always ate in the steak bar/he loved to drive in his Jaguar/so welcome to the machine," he mourns as he contemplates his empty rewards. The tune finishes abruptly and without emotion as if the machine has said "Okay, enough of that," followed by surreal, canned crowd sounds.

But the biggest dose of stark reality comes in the form of "Have a Cigar," Waters' scathing indictment of the mogul-run, greed-propelled and bloated record biz of the seventies. Here David's piercing, staccato guitar jabs are at once unnerving and intriguing as they drive home the anger and frustration spewing out of their predicament. After years and years of being treated like strange, bohemian vagabonds they are suddenly being honored like royalty simply because they made the bigwigs millions of bucks and the transparent hypocrisy of those bosses is disgusting. In the words of the fat cats, "We're just knocked out/we heard about the sell out/you gotta get an album out/you owe it to the people/we're so happy we can hardly count!" Waters relates while spitting out bile. "Everybody else is just green/have you seen the chart?/it's a hell of a start/it could be made into a monster/if we all pull together as a team." It's crystal clear that the band wants no ticket to ride on their gravy train but signed contracts have a way of binding regardless of personal preference and therein lies the rub. Symbolically, the ever-present "machine" cruelly sucks all the life and color out of the song at the end. It's a devastating effect.

Nostalgia for a simpler time is portrayed by the sound of someone twisting the dial of an old AM radio, setting the table for some of the most heartbreaking lyrics in all progdom with "Wish You Were Here." Roger's brilliant poetry about the human condition melded with his remorse over losing touch with his lost compatriot Syd is stunning and poignant. "Did they get you to trade your heroes for ghosts?/hot ashes for trees?/hot air for cool breeze?/cold comfort for change?" he asks plaintively. For those who think that there's no good words to be found in progressive music I offer this tune as proof positive that there are. You just have to know where to look. The music here is basic and unadorned, as it should be, and drifts away into an artificial wind. Magnificence.

"Shine On You Crazy Diamond (Part 2)" begins with an angry, menacing aura befitting the atmosphere of things expressed so far. Then Gilmour breaks the tension with screaming attacks from his lap steel guitar that are as aggressive and irate as punching a hole in the studio wall. The next thing you know, though, you've got dem ol' cosmic blues again as Roger warbles optimistically "We'll bask in the shadow/of yesterday's triumph/and sail on the steel breeze" as if Barrett's unlikely return would solve everything. "Come on you boy-child/you winner and loser/come on you miner for truth and delusion/and shine!" What a tragedy. But Waters' heartache is juxtaposed by incredible music as Wright's floating Rhodes piano brings in a jazzy feel to the jam-out section that follows. Then, just as you think the moon has set over the horizon, a gorgeous synthesized flute resurrects and leads you into a reassuring coda of sound that is moving and wonderful. Bravo.

While other prog groups have made albums that are arguably just as good, there's no denying that this inspired creation deserves to hover at or near the top of the "best" list for all time to come. It comes as close to perfection as feasible on many levels but, in the end, it is simply a joy to spin and absorb as a whole.

I always had some trouble with Pink Floyd, although I posses their entire discography, I am reluctant to describe myself as a fan. My mixed emotions started at this very point - the album considered a masterpiece by many.

I do not think it's a five star material, but the album is good. Very good. Great. I'm not subtracting the little star(s) from the masterpiece of progressive rock status because I don't think the album is terribly progressive or complex, no; to the hell with that. Have A Cigar and Welcome To The Machine are extraordinary songs. Wish You Were Here is a decent rock song, although not my cup of tea. What about the two main themes? How much are they shining?

The opening one is fine (radio-overplayed though), the closing one is anything but memorable. Of course, similar themes could be re-visited in a conceptual, progressive, serious piece, but this one smells like a filler (not entirely but still).

So much for the songs. What about the album in general? The sound, the atmospheres and Everything Else?

There's that progressiveness issue with the Floyd. Oh How I Hate It, But I Must Push It. You see, as a rock band, they're one of the best (and rightly so, greatest) rock bands in the world. As a prog rock band, they suck giant King Kong's balls while not being worthy to tune the instrument that belongs to ______________(enter your favourite non-Floyd prog artist here).

What kind of stupid statement is that?

Oh boy, it's getting messy. I'm not pushing the childish thing how much X is or is not bearing the tag Y. After all: 1) the majority will disagree with me and b) it's entirely and exclusively MY problem. I am the one who is not able to shift the mood and the impressions that I am perceiving while listening to WYWH (and many other PF albums). That doesn't mean I'm not enjoying it, though. But they were always so INCLINING towards something more that turned out to be only my expectation. Take the keyboards for example: this is Floyd's peak in the career. Putney is so expressive, it could be gorgeous and nasty at the same time! (Putney is an alias for a VCS synthesizer.) But however, something is hollow. At the moments, oh I dare, boring. I won't say what should be added; Pink Floyd have no substitute. But they're not fulfilling my needs with 100 out of 100. Not on this album.

Well I am now to give my honest opinion: this album ain't really worth the hype in my eyes, I just don't get why it's treated to such glory. Having said that, it is an excellent album. But Floyd have made much better in their career, i.e. Meddle, Dark Side and Animals. Here's a track by track with my honest opinions in consideration:

1. Shine on you crazy diamond (Part 1) - This is without a doubt on of my favourite ever Pink Floyd songs. It is just so perfect! The progression is yet to be topped with such skill, and it warms my heart to oven temperature when the vocals come in. Emotional lyrics also add that extra bit, with some fantastic solos and backing vocals. A wonderful start. 10/10

2. Welcome to the machine - This is where it falls down. I lost interest in this track within about the second minute, making it the weakest track on the album. Personally, I hate it with a passion. 1/10

3. Have a cigar - Now they are back on track. A great classic rock song with an extremely addictive keyboard riff as the main theme. The lyrics are also great as well. 9/10

4. Wish you were here - Boring. I am one to appreciate melody as well, but to me this track just has no colour at all. Then again, I never really was a fan of acoustic numbers. 2/10

5. Shine on you crazy diamond (Part 2) - Now we are talking. Best track on the album, I needn't say much about this track, apart from the fact it's just as brilliant as the first. 10/10

No doubt about it, this is a good album. But i can humbly say that I don't think it's worthy of the Masterpiece title. I hope I didn't offend anyone, but thats how it is.

Overall rating: 32/50 = 3 stars - Good, but non-essential

Welcome... to the Pink Floyd Machine...

The first Pink Floyd album I would ever come to own is, and will forever be, my personal favorite by the group. Not the first album I'd heard by the group, this was still the most memorable. From the opening note on the first track I was absolutely hooked. Why? It's darkness and sheer rockability makes it easily accessible to someone such as myself who got into prog through groups like Rush and Dream Theater. Five excellent compositions fill this album with never a dull moment, all losely linked by crazy scenes going on in the ''silence'' between tracks and greatly linked through theme. After Dark Side Of The Moon the pressure was on the band to produce something on the same level and the band simply wished that their old mastermind, Syd Barrett, was still there. Hence the tracks 1, 2, 4 and 5 with the middle song being about the impending success.

Like Dark Side of the Moon, I will never forget the first time I listened to this album. After buying it in a record store which would close down two years later I threw it into the cd player in my mother's car (I didn't have my own yet) on my way to drop my brother off where his band was playing a small gig the next town over. It was a dark night, the highway lit only by the ominous orange street lamps as the first notes of SHINE ON began to play. I was mesmerized... and the rest of the 20 minute drive was filled with complete joy as the crappy speakers pumped out this incredible music. On my way home I would let the album start over again (something I rarely did at that time) just to get the most of this fantastic music.

[okay, onto the actual music]

While it would be completely redundant to break down the album song by song I can still make a few comments about each track. SHINE ON YOU CRAZY DIAMOND in it's 25-something minute entirety bookends the album as it's divided into two pieces. Commercially accessible space rock at its best, this winding epic is the stuff of dreams. A bit of lyrics in the middle of fantastic noodling make this track completely indispensable. WELCOME TO THE MACHINE is where the really hard rock sets in. A concept in itself about the life of a successful rocker, this dark and brooding track is always a favorite. Next up is the track that is often seen as the weakest composition on the album. Really it's just less progressive and more strait forward rock, but HAVE A CIGAR is an excellent track none the less. WISH YOU WERE HERE, the title track, is a terribly emotional ballad for the missing Mr. Barrett. Easy to relate to and very well performed, this is one of Floyd's better known tracks... and for a reason.

Other than saying that it's excellent and you should own it there's not much else to say about the album. It's Floyd at their peak, and most proggers would agree that they exceeded expectations laid on them even after an album like Dark Side of the Moon. On the ironic side of things, apparently an overweight and unrecognizable Syd Barrett would actually show up during the recording process... and would never be seen by the band again afterwards.

One of THE essential prog rock albums as proven by this site and other critics abound. 5 stars... why don't you own this album? Recommended for all.

This is one of those albums where I’ve never quite understood how it came to be so revered among progheads (and potheads, but on that count the attraction is a bit more apparent). This one hit me mid- stride, sandwiched between the pubescent awakening that ‘Dark Side of the Moon’ brought and the multimedia teenage experience of a hundred midnight movie showings of ‘The Wall’. Compared to these ‘Wish You Were Here’ struck me in my teen years as sort of a mellow psych album with punk lyrical sentiments. It was probably better than the majority of prog albums released that year. But I was a young teenager and frankly Patti Smith’s ‘Horses’ and even Queen’s ‘A Night at the Opera’ blew me away a lot more than this one did at the time, and I have to say that it hasn’t aged as well as Dark Side or even ‘Animals’ (although neither did Patti Smith, but that’s another story). Just my opinion, but it’s my review so that’s the opinion that matters at the moment.

All the stoned kids were totally tripped out on the long, meandering saxophone and lazy keyboard forays, but for me Gilmour’s guitar work wasn’t nearly as amazing as on Dark Side. For the most part he was just playing a rather unexceptional form of the blues behind Waters’ tortured vocals lamenting whatever his problem was back then. And his weird, almost country lead-in to the title track seemed really out-of-place then and even now.

The fact seemed to escape most listeners that the nearly forty-five minute album contained only about 600 words of vocals (this review is longer than that), and the instrumental parts made up more than a half-hour of the music. This would be okay if the music were really complex or stimulating, but really the band seemed to have made this record simply to give potheads something to listen to while they cleaned their stash on the album cover. I wonder how many original pressings have tar stains and roach burns on their back covers?

It probably didn’t help that I had the 8-track version though, which was exceptionally muddled with tape hiss and had those annoying fadeouts and head clicks that appeared right in the middle of songs for every track. It’s really amazing those damn things lasted as long as they did, and it’s hard to feel too sorry for the music industry considering the hundreds of millions of dollars they made off that archaic technology.

The other odd thing is that my favorite track (“Have a Cigar”) wasn’t even sung by a member of the band. That always seemed very strange to me for a band that really didn’t have a history of that sort of thing. But then again, that one had a track click in the middle of it too and it wasn’t until I saw a vinyl version much later that I realized the end of track two and the beginning of track three were supposed to be one song. Makes a lot more sense when you here the thing on CD now.

But when EMI remastered the thing I bought it like everyone else, although mostly just because I didn’t have the 8-track anymore (or my original Submariner issue #1 or my Joe Namath football card) thanks to my parents’ ambitious summer garage sales. I’ve played the CD a number of times the past few weeks – not sure why, just for nostalgia’s sake I suppose, but it still doesn’t do much for me. Maybe some day I’ll throw it on and some faded memory will come around like a flashback and get me all excited, but I doubt it. I certainly understand people who grew up on Floyd would put this one up their on their favorites list if they find themselves reminiscing about memories of when they discovered it, but for me there’s no way this is a five star album. I’d almost give it four stars because it’s as good as other albums I’ve given four stars to. But then again the bar should be a lot higher for these guys because of what they showed they were capable of back then, and seven months in the studio should have been enough time for them to put together something that would knock my tonsils into my toes. But this album doesn’t do that, so I’ll go with three stars and just assume I must have missed something somewhere along the way. Oh well.

peace

Pink Floyd are different than most of the other well-known prog rock bands because their music sounds much simpler than the other prog stalwarts. Yet, Pink Floyd always found ways to put subtle complexities in their music, whether you could pick it out or not. WISH YOU WERE HERE is an apex in Pink Floyd's classic string of albums, and it's not hard to hear why.

''Shine On You Crazy Diamond'' is essentially one idea that is varied in nine movements. Most of the differences involve dynamic changes or a different instrument would solo. Part I is nothing more than a drone, but it's worth sitting through to hear the remaining eight sections. Other than that, Waters's vocals are painful to sit through and the music can sound sedated. But the funky jams of Parts VI and VIII are too good to pass up.

Three other songs complete WISH YOU WERE HERE. They're all shorter and easier to digest aside from the creepy, eerie ''Welcome to the Machine''. The title track is a slightly weak acoustic ballad and ''Have a Cigar'' is a rather unusual funk-rock track, and I say unusual because it's on a Pink Floyd album (with Roy Harper on lead vocals).

It's a softer, simpler approach to progressive rock that is an excellent springboard for those unsure if they like prog rock.

I heard the old man tell his tale!

When WISH YOU WERE HERE came out, its predecessor had already acquired classic status, and critics moaned that Pink Floyd's new album was not on the same exalted level. If you look at today's Progarchives ratings, WISH YOU WERE HERE has reached an amazing level of popularity. Still, I think I'll go along with those early critics and state that, purely as a collection of songs, WISH YOU WERE HERE is much less distinguished than THE DARK SIDE OF THE MOON.

Sure, 'Welcome to the Machine' and 'Have a Cigar' are fine, cynical tunes, but they lack both the urgency and the formal perfection of the vocal tracks on THE DARK SIDE. Songs like 'Time' or 'Us and Them' could only have been written and performed by the Floyd at their best. 'Machine' and 'Cigar' could have come from any half-decent band. Even the vocal parts of 'Shine On You Crazy Diamond' (well-intended though they may be) sound more forced, less spontaneous and less majestic than their counterparts on THE DARK SIDE.

What we are left with is the title tune, 'Wish You Were Here' itself, one of the most moving songs in the entire Pink Floyd canon; and the album's instrumental bits. Dave Gilmour's guitar solos are superb: some of the most beautiful and most influential in prog; and I have always loved Dick Parry's sax solo. Rick Wright's contributions on keyboards are less distinguished. I must admit I rarely play this album until the end.

So what shall we say? An essential masterpiece? Not quite. Non-essential? No, that's too harsh; this is definitely an album you need to know. In spite of its flaws, let's give WISH YOU WERE HERE four stars.

oh...Wish You Were Here!I think the favourite album of Richard Wright and David Gilmour is one of the things that turn the music into magic.It's not just perfect in musical terms,but it's unique.The musical structure is completely different from everything I've heard.It's only little close to some others Pink Floyd's albums.It's also the last work that all four members contribute to the album significant...and it's seen!The technical and lyrical aspects of the album are of highest standard.The genres' mixture of blues,space,electronic converted the album to progressive monster of all time.I think everyone can feel the spirit of the missing genius - Syd Barrett!

This is probably PINK FLOYD's most acclaimed album here on PA. I think it's a masterpiece, but a flawed one.

And the flaw, in my view, is that the record, while stupendous when heard all at once, can seem a little bit fractured when individual songs are selected, especially in the case of the two parts of "Shine on You Crazy Diamond". I'll explain myself near the end.

On the other hand, the music is still magnificent, with moments of real magic, in part thanks to the even freer guitar of David Gilmour, which now has more time to take us to other realities with its constant amazing solos. In general, the psychedelic factor has been taken up a notch, with a song like "Welcome to the Machine" that is a complete exercise in atmospherics and mental-alienation, with little-or-no rock in it but a lot of electronic sounds.

At the same time, PINK FLOYD dares to include a proper radio-friendly track this time around. "Money" and everything in "Dark Side of the Moon" became popular in spite of its odd-time signature or ultra- psychedelic sound; here, the title-track is just ready, was born to be a hit.

"Shine on you Crazy Diamond - Part 1" (9.5/10) is a fantastic track, featuring some of the greatest guitar work by Gilmour. I particularly love the fact that the actual sung-part of the song arrives very late into it, preceded by some of the best music in all prog, in an opening that would be imitated countless times, but as I've said before in PINK FLOYD reviews, never equaled.

"Welcome to the Machine" (9.5/10) is another brilliant track. As noticed earlier, the rock element is all but missing here, replaced by a musical tale of a world which is a machine, where feelings are dead and cold iron is thriving; a very narcotic track, is one of the best of its kind.

"Have a cigar" (9/10) used to be my least-favorite but now I can see the great music on it. The riff that gives the track its main shape is pure psychedelic bliss, all the way through its irregular ending notes. The vocals by Harper fit the PINK FLOYD style perfectly. Fantastic song.

"Wish you were here" (8/10) is the best-known track in the album and, with the exception of "Another Brick in the Wall Pt II", in all PINK FLOYD. I think it's a good melodic track but it's nothing to really write home about. Maybe it's the fact that I've heard so many awful (and not awful) bands cover this track that I've realized how mundane it can really be. The guitar work as always shines, but I've heard better songs in this style before. If anything, at least it fits in this ever-changing record semi-nicely.

"Shine on you Crazy Diamond - Part 2" (8.5/10) The conclusion to the saga is not as successful as the beginning. One of the best things about the first part was the gradual build-up towards the vocal part; in part 2 everything happens more quickly and with less effect.

And there's where I find a flaw in this record. If one listens to it from start to finish, everything clicks, "Part 1" and "Part 2" make absolute sense and its original, unique positioning in the album fit perfectly. Many bands, again, have created epics divided in two parts with this same approach: the first part at the beginning of the record, the second one at the end. And, for a change, I think that in this case some bands have actually improved upon a structure that PINK FLOYD built, because here in "Wish you Were Here" it gets difficult to appreciate any of the two tracks (especially the second one) without listening to the entire album first. As individual songs, especially "Part 2" doesn't work. I know: art-rock albums are meant to be appreciated as a whole, but then again, this is the very-rare case where others seem to have perfected the job.

This is not a major complain, though, and while I'd say that the average rating of the album is a little bit lower than that of "Dark Side of the Moon", some of the best moments in "Wish you Were Here" reach actually higher places, and it's just impossible to deny it the status as a masterpiece, worthy of 5 stars.

Enduring, masterful, powerful, unforgettable.

Wish You Were Here is one of the greatest prog albums of 1975 which seems to be the pinnacle for the golden era of prog, culminating in the artists best work. PF had released their master work DSOTM that stormed the prog world and remains one of the finest albums in the history of rock. How do you follow up on this success? A conceptual album with one of the most endearing songs of the PF canon and one of the most celebrated album covers of all time - Wish You Were Here.

These albums have left an indelible thumbprint for other artists to try and emulate. Wish You Were Here accomplished the monumental task of following up DSOTM with an incredible lengthy introduction preparing the listener for what is to come. The tranquility conveyed on "Shine On" is astounding and so aptly performed live with exquisite visual imagery. The track opens with a patient, ambience created by sounds of a peaceful stream, a rowing boat, and the distinct keyboard talents of Wright. The music takes us downstream as we enter Syd Barret's jaded conscious thoughts, echoed by the band members themselves. The track is an ode to the twisted genius of Syd and moves through several sections as a multi movement suite orchestrated to perfection. The echoing guitar represents a four octave motif that Floydians have grown to adore. Its pure beauty is complimented when Gilmour chimes in "Remember when you were young..." The fragmentation of the beat midway through alludes to the fragmented status of the group since Barret's departure. Indeed this is a beatific paean to the troubled artist who recently travelled to "the great gig in the sky".

"Welcome to the Machine" begins with the mechanized droning of a factory machine, and seems to be a more blatant stab at autocratic society than anything on "Animals" or "the Wall" where humans are forced to obey only to be grinded out as mincemeat; mindless autonomyns. The theme is simple and runs through most PF albums: Absence of a band member has led to success but at what price? The music business is likened to a meat processor, similar to the one in "The Wall" movie. They are grinded out under the pressure of the education system. In "Machine" the music industry processes and manufactures rock artists for their own means, but when they have fulfilled their purpose, the naïve artists are chewed up and spat out to make room for 'the next big thing'. The golden mechanized glove on the cover echoes this thought. The man catches alight as he shakes hands now that his deal with the devil has doomed him to extinction. PF kept attempting to rebel against the golden handshake of the music business, still somehow retaining millions of record sales. This is an achievement in itself. "Have a Cigar" continues this cynical examination of the music business; full of clichés and innuendos, the lyrics stab at the way the industry elevates artists to drain every cent out of them only to destroy them at the first sign of individual innovation. The rotting carcass of the music artist is left in a smoldering heap so that the new talent can rise out of the ashes in its place. PF likely felt like this after the success of DSOTM - suddenly a band that was shunned is sought after by every label. Thankfully PF refused to sell out on this album and it still managed to carve a place on the charts for a number of weeks.

Part of the reason for its success is the single "Wish You Were Here" with one of the most played, most recognized acoustic intros ever. The lyrics are as beautiful as the arrangement. Waters calls to the positive side of his dark nature. There are 2 sides to human nature.

The album closes with another segment of "Shine On" bringing the album full circle. The journey is complete making way for "Animals".

Wish You Were Here is a wonderful album that tends to grow on you with every listen. The album cemented PF's reputation of masters of the prog genre. No PF or prog fan should be without it - it is simply a masterpiece!

People keep saying that Dark Side of the Moon is the best Pink Floyd album, but I'm really confused why. It's better than the modern day crap, but compared to Wish You Were Here, no comparison. Dark Side is ruined in some parts because of the sound effects, and even just the music doesn't compare. The opening to the album is the first part of the epic Shine on you Crazy Diamond, and the opening guitar and keyboard solo is one of the best openings ever. The next song is a very Space Rock song Welcome to the Machine. It then progresses into the hard-rocker Have A Cigar. The song contains great singing and I love David Gilmour's sound on this song. We then go into the title track Wish You Were Here. It's a great acoustic song that has a great guitar solo. Last comes the closing to the first track. It's a little repetitive, but is nonetheless, a great finisher to a great album.

I consider this to be one of the most overrated albums of all time. It's a good effort, with solid songs, and for once, Rick Wright gets to "shine," but I simply fail to see what many people see in this album. The first and fifth tracks epitomize tedium, even though I do enjoy them. In addition, there is nothing especially noteworthy about the three middle songs. The conceptual purpose of the album is twofold: It criticizes the money machine that is the record industry, and it pays tribute to former member Syd Barrett.

"Shine On You Crazy Diamond, Pts. 1-5" For four minutes straight, the first part of a monstrous composition features dense synthesizer and Gilmour bending away at his strings. Gilmour then plays the main riff of the piece. That main riff consists of only four notes, but what a great four notes they are. His bluesy guitar work dominates the song- the singing doesn't come in until after almost nine minutes have elapsed. The vocal work, to include both the tune and lyrics, is the highlight of this album. There is a raunchy saxophone solo, during which Mason changes up the beat.

"Welcome to the Machine" Mechanical noises govern the introduction to this, just before Gilmour strums his acoustic and the singing begins. The music is full of ominous strings, but Wright engages in a rare mini-Moog performance. Overall, the music pumps along mechanically, which works well artistically, but can make it an uncomfortable listen.

"Have a Cigar" This one is driven by dirty guitar, over-the-top synthesizer, and some creative vocal work. Wright mentioned once in an interview that, while the question, "Which one's Pink" sounds like a lame joke, it was a fairly common question. The lyrics are a scathing (and ironic) parody of the record industry. At the end, the lengthy guitar solo suddenly sounds like it's being played on an old transistor radio.

"Wish You Were Here" The segue from the previous song consists of Gilmour changing stations on his car radio. The signature guitar riff is made to sound like it is coming from the radio, and Gilmour's acoustic guitar soloing sounds like someone playing along to it. While, strictly speaking, not progressive rock (it's more of a campfire song, really), this is one of my favorite Pink Floyd pieces. Waters stated in 1975 that this was the only song where the lyrics ever came first in the songwriting process; given the lyric-swamped albums that would come during Waters's dominance of Pink Floyd, I can't help but wonder if this was the last.

"Shine On You Crazy Diamond, Pts. 6-9" The wind noises that drowned out the title track segue into the second half of this musical leviathan. Wright treats us to a wonderful synthesizer performance (I really like his tone here), and just as Mason changes up the beat again, Gilmour goes into a steel guitar solo. The lead instruments scream together for a while before things calm down, and Gilmour plays the vocal melody. After the vocals return, Wright dabbles in some electric piano and clavinet. The song is not unpleasant, but like the first five parts, linger on and just become monotonous.

Good but heavily overrated

This is another fine album by Pink Floyd but I think it is heavily overrated. I also think that it is not truly a progressive rock album. It was with their next album, Animals, that Pink Floyd would create their first true Prog album. Wish You Were Here is just a very good Psychedelic Rock album. I say this because, though they experiment with different sounds, I think that they do not break away from conventional song structures. Sure, Shine On You Crazy Diamond is very long but it is basically a very long intro followed by a not too unconventional song. Good though it is. Have A Cigar, on the other hand, is a song I have never really been able to enjoy I'm afraid.

Overall, I think this is a good album that you should have in your collection. But it is hardly a masterpiece of progressive music.

This is my review of Pink Floyd's 1975 album Wish You Were Here.

Pink Floyd is probably my all-time favorite band, David's stunning guitar playing, Roger's dark and powerful lyrics, Rick's smooth Keyboard and piano playing, and Nick's typical Floydish drums. The 1973 album Dark Side Of The Moon, probably their best known work, was to me, though being a great album, a bit overrated. The 1975 release Wish You Were Here was just as Dark Side a big hit, millions of copies have been sold. Though Dark Side in the end seems to have got more succes, Wish You Were Here is in my opinion way better. Dark Side Of The Moon was made of relatively short and pretty accesible songs such as Money and Time. Wish You Were Here is made up of only 5 songs, which are harder to get into than most of Dark Side's songs. In this review, I will review each song on it's own, starting of with the first track on the album, Shine On You Crazy Diamond (Parts I-II-III-IV-V).

Shine On You Crazy Diamond (Parts I-II-IIV-IV-V): A pretty calm start of the album. This song is together with the title track dedicated to founder Syd Barett. The songs starts of with a quiet, eery synth, wich after a while turns into the first guitar solo of the song. David's guitar playing in this song is amazing, the cool, clean guitar really characterises the song. After the first solo there is the famous four note riff, which you will never forget again once you've heard it. After David's second and third solo's part V starts. The fifth part of the song is made up of a lyrical part and a saxophone solo based on the 4 note riff. The opener of WYWH is fantastic, I have barely heard music that could compete against this amazing piece.

Welcome To The Machine: From Shine on we go to Welcome to the machine, probably the darkest song of the album. This song, together with the next one is about record companies. the power of this song, aside from the lyrics, are in Rick's synth. The last minutes of the song are filled with a powerful synth solo. Welcome To The Machine is a great song, though I can't really compare it to the songs of this album such as Shine On, The real outstanding Floyd songs.

Have A Cigar: Another song about record companies. Have A Cigar is the fastest song of the album, it's also much more accesible than the first two songs, but that doesn't mean it's not a good song. Have A Cigar has been my favorite Pink Floyd song for a long while, the funky riff, the great vocals of Roy Harper and David's guitar solo make this song one of the band's best.

Wish You Were Here: Another Song about Syd Barett,which just as Have A Cigar is a pretty accesible song. I find this one the least good song of the album, it's just not as powerful and epic as the other ones. The song is basically made up out of some chords, with 2 solo's by David Gilmour. The lyrics are pretty good and really show how much the band members miss Syd. All by All not as good compared to the other songs from the album, but still a very nice one.

Shine On You Crazy Diamond (Parts VI-VII-IIX-IX): The Final song of the album. Starts of with some synth wich turns into a slide guitar solo. The slide guitar solo is a very epic one, wich does really brings me shivers. After the solo there are some vocals, not as strong as in part V of Shine On, they also are much shorter than in part V. The rest of the song is pretty much based on Rick's keyboard playing. The minutes this is done are not very exciting, after a while it will get a little bit boring. The Final track is pretty good, though most of the album is better than this.

I find WYWH the best of Pink Floyd, it's definately worth buying!

Aside from Richard Wright's awesome work (when he's allowed to), a great saxophone solo at the end of "Shine on You Crazy Diamond (Part One)" (when the song finally gets going), the awesome pedal steel work in the first half of "(Part Two)", the usual interesting, somewhat-clever Pink Floyd incidental, background, and song-spacing noises, and some occasional nice acoustic guitar strums, this album never gets its act together until it's on it's way out. The best song, "Welcome to the Machine" is dissed while, for some god-only-knows reason, the very plain and unexceptional musics of "Have a Cigar" ("By the way, which one's Pink?") and "Wish You Were Here" are universally lauded as rock classics! Where is the progressive gold in this tired Eagles-meets-Lynyrd Skynyrd stuff? While I played this album to death for a couple of months when it first came out, I haven't listened to it since (until right now)-I haven't wanted to. IM(not so humble)O, this album ranks behind Animals, Dark Side of the Moon, The Wall, and Meddle. I believe that, were it not for the maudlin mega-hype for poor Mr. Barrett, this album would never get the kind of reverence it does. Barrett a pitiable genius? Perhaps, but then, if this is the case the Todd (Rundgren) really is God! Robert Wyatt is the Son of, and Steve Wilson and Robert Fripp are taking turns as the Holy Spirit! High three, rounded to four.

Monolithic Classic of All Rock (Including Prog)

With Wish You Were Here, Pink Floyd did something that few bands have been able to achieve - follow up a perfect, monstrously popular album with contrasting, but still perfect follow-up. While only three songs and a split multi-part epic, this album has no low points, no lulls, no filler. Each song is distinct from the other, but still work together as a coherent whole. This album marks the end of the first David Gilmour - led era, and already Roger Waters is having a larger role in the band than he did before. But in their loving tribute to their fallen brother Syd Barrett, the band really came together to produce a unified sound that they would never quite achieve again.

The epic Shine On You Crazy Diamond is everything you want in space rock, a huge atmospheric creation that transports the listener to another world before building to an explosive chorus. Welcome to the Machine is a menacing keyboard tune showing Waters' growing snarling sarcastic style. The classic title tune is a strummed acoustic break from the intensity. Have a Cigar is a lighter strike at the industry featuring spot on vocals by Roy Harper. In some ways, the album is more like Meddle than Dark Side of the Moon in composition (with Shine analogous to Echoes and WYWH analagous to Fearless). In that way, it feels more like a classic Floyd album than Dark Side or the Wall that are almost stand-alone works.

Probably everyone on this site already has this album memorized. This review serves mainly to speak my opinions that: 1. There can be no doubt this album is a masterpiece. 2. At the same time, it's probably not one of the top 5 or even top 10 Progressive albums, as there are simply other more deserving albums that simultaneously pushed the envelope farther while possessing the same level of excellence. 3. Everyone should simply own the album and then my opinion won't matter so much. It's certainly essential rock n' roll, essential prog, Floyd at their prime, some of their most iconic single songs, and belongs in any serious fan's library.

I was surprised that I haven't yet write a review about this magnificent piece of prog music. And since there is already over 700 other people who did, what could I add besides my own opinion and my personal vision of things? At the time it was realeased I remember the critics were not nice. The expectations where enormous, since Dark Side Of The Moon was both a landmark album and sold in phenomenal numbers, becoming one of the ten bestselling albums in rock history. How can you top that?

Answer: you can't. You just move on. And PF did just that. Wish You Were Here was an excellent work in a time everybody was expecting something even more groundbreaking than its precedor. Which was foolish, of course (some press calling it a 'poor' copy fo TDSOTM was not only insulting, but ludicrous). With hindsight we can see that this was a transitional CD, where Roger Waters cynical visons of the real world were beginning to take over the previous lyrics about echoes, time and general lunacy. The music was more solid even if the central piece was something that could easily have been a part of The Dark Side Of The Moon: Shine On You Crazy Diamond is definitly their link with their gloro\ious past as much as Welcome To The Machine and Have A Cigar were a hint of what was to come.

Seen today I still think this is a fantastic job for a band under such big pressures from the public and press,. Besides they changed labels what surely did not help to quiet things down. There are some fantastic guitar work from David Gilmour and some of the most proeminent keyboards ever done by Rick Wright (unfortunatly he would never again have so much room in a PF record). With a superb production job for the time and a very interesting and puzziling cover, this is a record every prog fan of the 70's should have.

Not really a masterpiece, but great anyway. 4 stars.

'Wish You Were Here' - Pink Floyd (7/10)

Pink Floyd have always been a band that the progressive music world has held in high esteem. Having released such amazing and dynamic works like 'The Wall' and 'Animals,' they are a band that has certainly won my respect and admiration. Of their substantial handful of albums that are lauded as being some of the best in the world however, 'Wish You Were Here' is the one album that leaves me scratching my head.

If there's any point I want to pull across for this review, it's how 'Wish You Were Here' certainly does not deserve the praise it receives from fans across the globe. It's not bad at all; it's a very relaxing and spaced out album that gives the listener a nice vessel of relaxation. But the album feels very one-tracked in the sort of vibe it gives.

Don't get me wrong, 'Wish You Were Here' is a masterpiece for what it is. As for as the composition, performance and production goes, nothing could really be improved without changing the album altogether. What robs it of it's extra star is the fact that I don't enjoy as much as I should an 'essential' album, and my life wouldn't be much different if I didn't have it in my collection.

'The Wall' spanned a great spectrum of sound, feeling and emotion, with a great concept to boot. 'Animals' was a very dynamic effort, with a fantastic climax and an even better concept. 'Dark Side Of The Moon' took me a while to appreciate, but it's overall cohesion and sense of 'darkness' won me over in the end. 'Wish You Were Here' is an album that's good for a few listens, but the sheer sameness of the album (without the same cohesion of 'Dark Side') really seems to wound the lasting appeal.

'Shine On You Crazy Diamond' is an homage to one of the true geniuses of the psychedelic movement, Syd Barrett. The two parts of the composition make up the bulk of the album, and it's definately represents what the album is all out; space and atmosphere. There is a great saxophone solo here, but nothing that really knocks me off my feet. This song, while being a sonically pleasant track (and the strongest work here) more times than not, the track reverts to sounding like the 'Blade Runner' theme music of Vanellis.

'Wish You Were Here,' the title track is overplayed, but a very well written song. The other remaining tracks 'Have A Cigar' and 'Welcome To The Machine' have nothing special about them, and while they are better than mere filler, they don't move me in any real way.

Three stars isn't a bad rating necessarily, it still means 'good' but simply non-essential as well. I think that fits this album. It's a good album, great if you like the 'jam sound' of it all, but while it is a work of masters, it's not essential, at least in my books.

"Wish You Were Here" is the 9th full-length studio album by UK progressive rock act Pink Floyd. The album was released through Harvest/EMI in September 1975. After the huge commercial and artistic success of their last album "Dark Side of the Moon (1973)", Pink Floyd released an album that in many ways are different from "Dark Side of the Moon" but also have some similarities with that album. In keeping with it´s predecessor "Wish You Were Here" features a couple of guest appearances. Roy Harper sings lead on "Have a Cigar", The Blackberries sings choir vocals, and Dick Parry plays saxophone on "Shine On You Crazy Diamond Parts 6 - 9"

The pairing of progressive rock experimentation and more commercial inclined pop sensibility that was initiated on "Dark Side of the Moon" continues on "Wish You Were Here". If you take a song like the title track, it´s basically a more clever version of a commercial pop tune. If on the other hand you take the grand 13:40 minutes long opening track "Shine On You Crazy Diamond Part One" you´ll find plenty of progressive moments, so "Wish You Were Here" features a bit of both worlds. Both mentioned tracks are by the way gorgeous and represent Pink Floyd when they are strongest. The eerie synth laden "Welcome to the Machine" also falls into that catagory. Part two of "Shine On You Crazy Diamond" which closes the album is great too but the Roy Harper led blues rock song "Have a Cigar" could have been more interesting to my ears.

"Wish You Were Here" overall features some great vocals and instrumental performances. In those years Pink Floyd really understood how to soothe the listener´s ears with laidback and pleasant yet still intricate sounds. I´d mention David Gilmour´s guitar soloes as an example of that. They are incredibly well played and provides great emotional impact, but everything else being played are also well balanced.

The sound production is near perfect. Clean, powerful and pleasant on the ears. It might be lacking a bit of organic warmth in places compared to previous releases but it´s still a greatly enjoyable production. "Wish You Were Here" is all in all another high quality release by Pink Floyd. It´s not perfect in my opinion, but still spectacular enough to warrant a 4 - 4.5 star (85%) rating.

With this album the band again focused heavily on the high-fi production sound - in which it excels. Pink Floyd took a great leap in modernizing their sound and preparing themselves for performing a stadion size version of progressive rock. The album is mostly dominated by slow-paced symphonic bluesrock in which the great melodic guitar leads by David Gilmour often take center stage. The middle tracks have a spacey electric feel and simple song structures as not to bother the listener with the by that time already decaying progressive rock appreciation. 'Wish You Were here' is a largely acoustic campfire song that has never particularly appealed to me. To me this album mostly sounds like radio friendly 'classic rock' (albeit quite tasteful) and calling it a progressive masterpiece wouldn't make much sense. Compared to the wildly creative avant-prog of 'Atom Heart Mother' or the 'Live at Pompeii' film this does very little to me.

This used to be another favourite of my teenage years, but it's one of those albums that hasn't grown on me all that well. Of course there are flashes of brilliance, but for the first time, some latent flaws of the Pink Floyd formula become visible.

All instrumental sections of the album are amazing, but they sound less involved then on previous albums. Pink Floyd have lost their edge a bit here. Maybe the focus was too much on the mix and production of the album and less on the actual playing, which might have resulted in the rather clinical sound and detached musicianship. With Animals they rectified this completely.

Another thing that doesn't sit entirely well with me is the actual songs, or should I say the vocals. The chorus of Shine On hasn't a really strong melody and is one of Pink Floyd's few sentimental moments. Given the average rating, I do realize of course that I might be one of the few people on earth who thinks like that.

Also Welcome To The Machine is more convincing for Richard Wright's ground-breaking synth playing then for Roger Waters rather strained vocal. Have A Cigar is a fun but forgettable track and Pink Floyd's campfire moment Wish You Were Here is one that I always skip. On part two of Shine On this album comes alive again. The first 5 minutes are pure magic. The continuation after the short verse and chorus is quite good as well.

Had this been from any other band I would have rated this 4 stars without much further debate, but given this is Pink Floyd I need to round it down to 3 stars in order to keep a bit of perspective on how good their masterpieces Umma Gumma Live, Meddle, Animals and DSOTM are for me.

I'm sad that some people, even they'll never admit it, voted "against" (which means 3 stars here) Pink Floyd, just because it's overrated album. Being it some other group, releasing just this album, they would give more. Or at least that's how I see it. I'll not name, no no.

So what to say about actual music ? That everything fits (PF's stereotype), it has original ideas (you can find them on most of PF's albums), dark lyrics (another cliché of PF), possible Waters influence (even we'll never find out exact percentage of his reign), long concept-like tracks (well, haven't you heard this one before ?) and some other factors that makes successful Pink Floyd music. I've waited, waited and was rewarded by "Shine" main theme, if we can use this term. Welcome's weirdness and interesting last 50 seconds. Yes, these "sounds" can be considered as interesting, as we're somehow released from dark satanic magic ritual music that can cause severe mental problems on more labile individuals. Let's have a cigarette, oh, I mean cigar is somehow flagship of their, even sometimes repeating itself (which annoys a little bit). Nicely transits into Wish You Were Here, I don't have to talk about this one, do I ? It's beautiful in a more ways than just one, even fails on prog side. In this case, and I'm saying it for the first time in my life, "To the hell with prog for this time". Don't quote me here (I know you will anyway). I can just recommend youtube video with changing pictures to this song, it's nice piece of work. And last track, together with first one makes solid piece. When you shut down your brain during "empty" scenes (because they're sparse - I mean beginning's wind for example), you get strong body of music that lives, very persuasively to be honest.

5(-), But I don't care about repeating of schemes. Because ideas are new, music is great and pompously big (you can feel how full the music is) and it all works perfectly, so no one gets hurt, everyone's happy, we are live happily ever after and the work is done. Interesting enough to note, wikipedia provides very detail info on whole album and Shine track (different layers, where stats what etc).

minus point because of "emptty" parts that works far worse than in case of "Echoes" song.

UPDATE: The four-star review below contains more negative points than positive ones. Let me state that really I love this album, along with those surrounding it, but it is overrated to a degree, and far too serious (in fact, the only song which you're alowed to break wind during is 'Have a Cigar'). Nice production though.....

REVIEW: Dark Side was amazing. Here there is less to explore. The content of 'WYWH' is as high- quality as any resepctable follow up, but there simply isn't enough of it to keep me AS interested as I am in 'DSOTM'. The music on this album seems to be very "careful". I get the impression when I listen to it, that the band spent more time refining, filtering and producing, than actually creating. All the material seems to be so carefully chosen; they've omitted anything which could be seen as inferior (or superior) to 'Dark Side'. And there is very little product left at the end of this process.

'Wish You Were Here' has half as many songs as it's predeccessor, and despite actually being longer, it feels much shorter after a complete listen. Yes, the five songs are very good quality, but they aren't expanded upon, they are barely progressive, and there's just generally less to explore. And the production is so perfect, that there's just no colour anymore. It's bland. It's white, like the cover. 'Dark Side's cover was black, but with a splash of rainbow. 'WYWH' could benefit aethestically and musically from such a makeover. I'm not saying it's bad, but simply processed.

'Shine on...' is of course, a wonderfully atmospheric suite of light and dark. But in relation to my earlier point, these hues are all shades of the same colour. Strip the entire 26 minutes down and what you see is (as somebody else mentioned in a review) and extended piece of blues. Obviously blues is great, and Pink Floyd are arguably the best band to carry the style from the Black-American roots of it's past, into the spacey, electronic world of the future. But given it's domination of the album, I think the time could have been used more effectively. Sure, the improvisational sections are cosmic, but save those for live gigs- lets see more songwriting in the studio. The title track is as advertised and the other two deal with the "machine" that is the music industry. Which leads to my next minor issue with this 'not-so-great masterpiece'. The album has TWO concepts: the theme of loss, deprivation, seperation, etc, and the theme of the music industry, record executives and commercialisation. Does Roger Waters prove his point with these concepts? Yes. Are these concepts explored to their full potential? No. Had each one been dedicated to an entire album, there would be much more scope for lyrics, repeated themes, different viewpoints, and a whole other bunch of musical goodies that AREN'T present here. The surrounding albums, 'DSOTM' and 'Animals' both deal with one single concept and explore it from different angles, creating many more musical opportunities (even 'The Wall' does this). But 'WYWH' half-heartedly touches upon two unrelated concepts, and reveals them through music which is continuously strong, but rarely interesting.

I give this album four stars because it's safely within the realms of post 'Dark Side' Floyd and it's on the right side of the Wall. But within this category, it is the weakest.

Everything is in perfect balance on this LP. Roger Water's passion and sarcastic barbs are counterbalanced by David Gilmour's melodious guitar and smooth vocals, Richard Wright's spacey and dreamy keyboards, and Nick Mason's tasteful drumming.

Gilmour composed the short note sequence that would be expanded to become "Shine on Your Crazy Diamond" parts 1 and 2. Instead of recording and presenting the extended suite 'straight through' like they had done with the song "Echoes", Waters proposed splitting it into two sections, using each section as a bookend for a few additional songs to fit the concept and round out the album. Gilmour initially didn't warm to the idea but was out-voted 3 to 1. This is yeat another illustration of - at least musically if not lyrically - a healthy measure of creative equanimity in the band's decision making process.

It seems odd to think back to when this album was released. At the time, I considered myself somewhat contrarian for rating it better than their previous release "Dark Side of the Moon". Years later, David Gilmour and Richard Wright both marked "Wish You Were Here" as their favorite of all the Pink Floyd albums. I'm pleasantly surprised to discover how many masterpiece (5 star) ratings have been registered by Prog Fans in the PA community.

We've all heard it, we all have it, and most of us love it. Unlike most other prog classics, these descriptors also apply to most classic rockers too--a reflection of the relative simplicity, emotion, and quality of Wish You Were Here.

I have always loved David Gilmour's contributions to the band, and not surprisingly, his favorite Floyd album is the same as mine. It's full, it's heartfelt, and it's simple enough to just put on and doze off to. Or you can focus on Gilmour's fantastic guitar, Waters' poignant lyrics, or Wright's wonderfully understated keys and soundscapes. (Waters' bass and Mason's drums are also there, but they add very little). Special mention must be made to the first Shine On movement, which was usually my favorite tune to crank up on the family stereo system when I was home alone as a kid, and which also influenced me to take up the saxophone as a middle-schooler (well, that and Springsteen's Thunder Road!).

Whatever mood I'm in, Wish You Were Here never disappoints. It may not be the greatest prog--whatever your definition of that may be--but it sure is a fantastic progressive album.

After the tremendous success of Dark Side Of The Moon one would assume that Pink Floyd would try to replicate its themes to create an even bolder statement of a record. This scenario wasn't all too unlikely considering that the band did just that when they followed up Atom Heart Mother with Meddle. Fortunately, Pink Floyd had a few new tricks up their sleeve.

The album that we got looked more like a polished combination of the song format explored on Meddle and the conceptual themes of Dark Side Of The Moon. The lengthy piece titled Shine On You Crazy Diamond was split up in two parts that opened and closed the album and thus became a natural continuation of the previous exploration of the long track format. This epic might not reach the majestic realms of Echoes due to its more direct compositional style but it's easily the next best 10+ minute track that the band had conceived over the years.

The middle section of Wish You Were Here, featuring Welcome To The Machine and Have A Cigar, comes off sounding too polished and almost excessively mechanical to my ears. I'm also not so keen on the extended intro/outro sections that only seemed to get longer and longer with every new track. I realize that, when used in the right way, this effect can make the composition feel more smooth and fluent but I always though that Pink Floyd tended to overuse it to the point where it all became more of a gimmick than an enhancement of the sound. Unlike the two stale predecessors, the album's title track gives a perfectly executed intro section which doesn't rely on effects but instead gets its momentum from the prolonged acoustic guitar interplay intro. Originally I didn't care much for this little song but my opinion completely changed after seeing Roger Waters perform it on his In the Flesh Tour back in 2001. Nowadays it's an obligatory acoustic number that both Waters and Gilmour are almost obliged to perform on almost every set-list and its message gets more important with every passing year.

Even if the performances feel almost excessively polished on Wish You Were Here, which can be explained by the high pressure put on the band to follow up Dark Side Of The Moon, it still has the chops in the compositional department and can be called one of my favorite albums by Pink Floyd. A great album by an excellent band that deserves an addition to any prog rock music collection.

***** star songs: Shine On You Crazy Diamond, Pts. 1-5 (13:40) Wish You Were Here (5:34)

**** star songs: Welcome To The Machine (7:31) Have A Cigar (5:08) Shine On You Crazy Diamond, Pts. 6-9 (12:31)

This is another perfect album by Pink Floyd. Every song is just brilliant. All four band members once again were working together to create this masterpiece. Richard Wright in particular stands out more than ever with his tasteful and perfectly toned keyboard passages. David Gilmour plays some of his best guitar solos ever. Of course, they had quite an inspiration in Syd Barrett, the once brilliant leader of the band, at the time of the recording of this album almost unrecognizable even to his former bandmates (look it up).

The major piece, encompassing most of the album is the nine-part Shine On You Crazy Diamond, a slow, but extremely powerful homage to Barrett, written by Roger Waters, Wright and Gilmour. A shortened version of the song still gets airplay, as do each of the other short, but perfect songs.

Rolling Stone said this was number 209 of the top 500 albums of all time. It shows how little they know. Those idiots had The Sex Pistols at number 41.

Both DSOTM and Animals are far superior to this, IMO. Here is where you start to hear this band slowly fall apart. By the time WYWH was being recorded, the band members were starting to drift away from each other. Waters was beginning to be an egomaniac; Wright was starting to be uninterested and a coke-head; Mason seemed to be more interested in cars than music; and Gilmour just wanted to play guitar, man. Both Wright and Gilmour claim this as their favourite Floyd album. All the members hate the more inconsistent but better overall Atom Heart Mother. Silly bastards, who are they to judge their own music?

Everybody knows how this album's concept is about Syd Barrett. Most Floyd fans are aware that Syd even showed up in the studio when they were recording it. Few know that Syd also visited the band when they were recording Atom Heart Mother as well. Trivia rocks! On this album Mason only uses one kick/bass drum. He was one of the first rock drummers to use a double-bass drumkit. On WYWH he could have been replaced by a drum machine. Like DSOTM there is some sax and female backup vocals. The sax playing here is awful. It sounds like an intrusion, it doesn't compliment the music at all. The female vocals are almost pointless and don't add anything like they do on DSOTM.

The lyrics may be some of Waters' best, like the classic line: "The band is just fantastic, that is really what I think/Oh by the way, which one's Pink?" But the music is some of the most uninteresting they had done up to this point. Most of the time they sound like they are on auto-pilot. Just going through the motions. Before this album they attempted to make an album called Household Objects. All the instruments would be...household objects. That concept sounds more interesting than almost anything here. At the beginning of "Shine On" you can hear some wine glasses recorded for the aborted album.

On DSOTM they only used one synthesizer: the EMS Synthi-AKS. Most of the time it was Gilmour and Waters, not Wright playing it. On WYWH that synth is still used(mostly for sound effects), but they had added MiniMoog and ARP Solina. On "Have A Cigar" Wright has the most unique keyboard mix for a Floyd song: Wurlitzer, clavinet and Solina. You never heard him sound funkier. "Welcome To The Machine" is not a very strong song, but it is one of the proggier moments here and the synth playing is good. I like the stereo panning here. I never really cared for the first half of "Shine On". Very dull and boring for the most part. The only parts I like are the guitar and synth solos after the drums kick in. The 4- note guitar part known as "Syd's Theme" is alright the first hundred times you hear it.

The title track here is perhaps the first evidence of the band attempting to "sell out". The lyrics might tie in with the Syd theme, but from a musical point of view it seems as out of place here as the "Pigs On A Wing" tracks are on Animals. It's a nice enough song but it's not prog and Floyd have done many better shorter songs. Roy Harper sings on "Have A Cigar" and apart from his vocals and Wright's playing, this song never interested me much. Gilmour has a few nice solos but he's done much better on other albums. I like the radio seque between "Cigar" and "Wish".

Parts VI-IX of "Shine" have always been my favourite part of the album. Even here I hate the actual vocal parts. The instrumental parts are superb and are the proggiest moments on the album. Well played and sounds great. Animals has stronger music while DSOTM has better production. A good album but nothing more. 3 stars.

So, you create a commercial monster, change the rules of rock, have all sorts of people laud you as the greatest musical happening since Wolfgang Mozart (all of which happened after DSOTM). What do you do next?

The greatest compliment you can pay to Pink Floyd is that they resisted the temptation to create a direct sequel to DSOTM. Instead, they came up with an album which feels and sounds wholly different, is far more symphonic, and also lays to rest the ghosts they had carried with Syd, not just by the way they said goodbye and paid tribute to him on the album, but also finally put aside all psychedelic rock to a very straightforward symphonic collection of songs.

David Gilmour has long stated that he regards this as the band's finest moment, and it is also the highest rated Floyd album on this site. It is, without a shadow of a doubt, an absolute classic, and a very important album in the annals of rock music, not merely progressive rock. Roger Waters revisits his major theme of madness, but also very cleverly integrates this into a none too subtle rant against the record companies (and EMI in particular). In hindsight, it is clear that the massive commercial success of DSOTM, and the wealth that this brought to the son of a Communist Party activist, provided extremely mixed blessings. I would also wager that many of the record company executives listening to this at the time just before release probably didn't have the wit to appreciate that it was they who were being confronted in such a brazen fashion.

It is also a very clever album in terms of its music. That massive chord change five minutes into Shine On, the exemplary sax solo by Dick Parry, and the (then) groundbreaking special musical effects, particularly on Welcome To The Machine. They also manage to create quite possibly the most laid back and understated rock anthem of all time in the title track, proving yet again that, in most cases, simplicity was as, if not more, effective than long and complex time signatures from their peers.

It is not, though, to these ears, the epitome of Pink Floyd in the studio. That would wait for the follow up and The Wall in my opinion. The Wright keyboard mid section in Welcome To The Machine sounds slightly dated now. In addition, Have A Cigar, whilst lyrically scathing and hilarious, does have a touch of the record filler attached to it. These are, though, minor quibbles. The symphonic suite that is Shine On is nigh on perfect, and the band never sounded as good musically as they did on this, and the Gilmour riff on the second part has, rightly, been lauded as one of the finest of all time.

I would award this 4.5 stars if I could on the site. I will, for the purposes of this review, round it down to 4 stars, if only because I feel that its immediate predecessor and two sequels are utter masterpieces, whilst this just, only just, falls short.

As I said on my DSOTM review, though, I can't see how anybody reading this hasn't already got it.

I've seen David Gilmour saying in an intervies that he was playing an A7- chord when he played by mistake the most famous 4-notes sequence after the opening of Beethoven 5th symphony.

During a session of the studio rehearsals of Dark Side they saw a fat man with no hair looking at them from out of the studio glass window at Abbey Road. Only after he left they realised that he was Syd Barrett. This is the episode at the base of Wish You Were Here.

The rest is well known by everybody, also the non-proggers, so I will write just few more lines.

Shine on You Crazy Diamond was intended as a single track that was split in two because of its length. The first recorded version that I have found on a rarities boxset had rumours of rain, winds and thuinders in the background for all the about 30 minutes of the suite. Regardless this noise that's not too disturbing, having the opportunity to listen to the whole suite in one shot enhances the experience. It occupies more than half of the album and is with no doubts a five-stars track.

"Welcome to the Machine" is one of the most politically influenced songs of Roger Waters. He took something from Chaplin's Modern Times, the rest comes from his socialist origins. Add a touch of musical genius in the composition and the effort of the whole band.

"Have A Cigar" with its rock opening is an invective against the star system, something that has surely contributed in making Syd's disturbs more severe. It can be a bit irritating but it was not unusual for them at that time being asked "Who of you is Pink?"

Even with the mute singing at the end of the song and the incredibly famous acoustic guitar intro (5-notes this time) this song is for me the weakest moment of the album. I suspect that's so famous because it's very easy to play with one or two acoustic guitars, and in a period when no more people was owning a "stereo" at home, this fact contributed to make it very famous. Not a bad song, of course, but not so concrete as the rest.

An album on which a song like Wish you were here is the weakest moment can't be rated less than the maximum. From here starts the 3rd period of Pink Floyd's music, as I think lthat Dark Side is the closure of the second. The story says that it was when the "Spaces between friends" started to be too wide to be filled. Just a couple of albums more and the story of broken relationships will lead Pink Floyd to a temporary end.

A milestone for this reason, too.

In 1975 the progressive movement was still at its peak. Hundreds and hundreds of progressive albums were being released all over the world, falling to the ground like gifts at Christmas. Yet 99% remained buried beneath the oppressive snows of FM radio, which was, unless you were hooked into the coolest friends or had an esoteric subscription and unlimited funds, the only channel for dissemination of serious rock music. "Wish You Were Here" was a great album made almost ordinary by the type of overexposure even an OCD and, yes, lonely, young teenager wouldn't shower on his pet turtles, bowling alley, pool hall, local baseball team, or oblivious romantic interest. It was under those conditions that Exhibit A lost any and all of its mystique.

There are those who will cry foul. After all, surely this is not PINK FLOYD's fault. The music must be judged on its own merits and its ultimate influence. The "Shine On" suite that brackets the disk is its most enduring aspect, but even then long stretches of aimless light blues could only mesmerize via monotony. The three shorter tracks are all good to very good, but the synthesizers in the ominous "Welcome to the Machine" outlast their invitation by whole minutes, and the faux balladry of "Wish You were Here" is pleasant enough but also rather ordinary. The true survivor here is "Have a Cigar", if mostly because it is so much more inventive than the horrid "Money" on the previous album. In fact, WYWH's biggest success is how it improved on DSOTM at a time when PINK FLOYD really didn't have to. Aural fatigue aside, this stands as a far superior collection even if there is nothing as good as "Time" herein. But it's all academic. The price of popularity is the loss of the very underground appeal that made them so popular in the first place, and the revelation that the last new sentiment coaxed out when listening to WYWH occurred in about 1979, give or take.

Is it only the hype, the fact that so many FLOYD fans only came to progressive rock via this group, and can't discuss any aspect of prog without mentioning this group, and feel like any group influenced by FLOYD is extraneous, that trumps positive associations? Not only, for it is also the absence of positive associations in the music itself. FLOYD at its most popular never even paid lip service to optimism, which, while admirable in one sense and possibly explaining their mass popularity in another, denigrates their work in comparison to more multidimensional groups that followed. With their influence, the bountiful prog world got its own wish. 3.5 stars rounded down.

Ever since Pink Floyd came into my life it's all been about music that took me away and astounded me, made me inquisitive and inspired my own art and most importantly they taught me to look for music I enjoy, to not be held back by boundaries such as genres and subgenres but to explore wherever my heart led me. And upon hearing this album again, how can Pink Floyd not be the cause?

Wish You Were Here was the second Pink Floyd album I ever bought (one of the first albums I ever bought actually) and it came after I was heavily addicted to and amazed by Dark Side of the Moon. There was a long gap between those two album because I felt that that was the epitome of music, that it couldn't get any better. I was right, nothing I've heard has been better than finally "getting" Dark Side but Wish You Were Here definitely made me more adventurous in the music I bought. I no longer cared about track length or whether the structure of the song was simple and various other amateur details, I just cared about how the music made me feel and Pink Floyd never disappointed. They filled me with emotion I had never felt while listening to music before and it made me proud to find something I truly loved. Pink Floyd made me who I am today.

Now, everything that could possibly be said about this album has already been said (just look at the number of reviews!) and pretty much everyone gets just what this album accomplished, it took music to levels that had never been seen before, not even of Dark Side of the Moon. The music on this record is magical, the lyrics are a thing of beauty and the combined product is an amazing listening experience.

A masterpiece in every possible way, one of the albums that changed my view of music.

How do you follow up a classic best-seller album like 'Dark Side Of The Moon'? With 'Wish You Were Here' of course! Whilst the former album is widely recognised as group's magnum opus, I personally think that this album is the best Pink Floyd ever cut. If I was on a desert island, and had to choose my top 5 albums to listen to for the rest of my life, 'Wish You Were Here' would certainly be one of them.

There are many reasons why I prefer this album to the rest of the PF catalogue, but the most important reason is the inclusion of the 26-minute 9-part suite that is Shine On You Crazy Diamond which is split in half over the two sides of the record, forming both the intro and outro to the album. The first half is dominated by Gilmour's sublime guitar soloing, which is one of the most memorable this reviewer has ever heard. Both halves of the suite are simultaneously beautiful and powerful, and undeniably brilliant pieces of music. If you ever need to introduce somebody to the idea of longer songs, this would be a good place to start them.

Another reason I love this album is because of its simplicity. There are just five tracks on this album, allowing each one to stand out in its own way. Of course, each track here is a classic, and show the band at their musical peak. In my opinion, the weakest track on the album is Welcome to the Machine, with its distinctly electric artificial sound. Playing this track at full volume seems to help though. Have A Cigar is a funky track with a great main riff. I particularly like how the track fades as if being played on the radio at the end. The album's title track, Wish You Were Here lives through its cryptic lyrics, and beautiful acoustic sound. A classic song if there ever was one.

Everything about this album spells brilliance. Quite simply put, this is a transcendental album which will endure for decades to come. I could listen to Shine On over and over and never get bored. The next album, 'Animals', would show the band's progressive peak, but to me 'Wish You Were Here' is far and away their best album.

Wish You Were Here is a great album; of that, there is no doubt. What's really interesting is the way it manages to be so good despite there being so much wrong with it. Shine On You Crazy Diamond is a heartfelt ode to Syd Barrett which far from being emotive is cold and mechanical - though in a chillingly beautiful way - burying any genuine feeling felt by the band members under layers of synthesisers. Out of context, I can't bear the title track, but as the one shot of warmth in the middle of the emotional desert of the music industry (as represented by Welcome to the Machine and Have a Cigar) and the isolation of schizophrenia (as represented by Shine On), it makes perfect sense. Although the withdrawn and alienating nature of the album probably inspired the punk "I Hate Pink Floyd" movement - the punks always being more drawn to direct and emotionally vivid music - it's also a powerful portrait of the numbing effect of time, distance, and just plain awkwardness on human relations. Five astars.

I read a review of this classic album the other day, and was taken aback. The reviewer only gave this album 4 stars, so I had to revisit it. Anything less than 5 stars, though, will not do for me. This album might be my favorite from PF, as I love the themes, synth, and grooves present here.

I think one of my favorite tracks overall from PF is Welcome to the Machine. It grinds and pulsates with a rhythm that is almost alive. The synth is incredible here, and makes me wonder how this track ever gets played on "classic rock" stations. If it weren't PF, they wouldn't accept it. Have a Cigar gets a bad rap sometimes, but I'm not sure why. It has a great rocking groove with some subtle arrangements within an awesome signature and song structure. This track is nothing short of genius.

Overall, there isn't even a slightly weak track on this album. Shine On You Crazy Diamond is purposeful yet soothing. Wish You Were Here is well-known, but doesn't suffer from that status a bit. Taken as a whole, this album is powerful both musically and thematically. I can't rate this any lower than 5 stars.

Review Nº 4

This is my first review of a Pink Floyd's album. Pink Floyd was a group who kept the same line up all over the years with David Gilmour (vocals and guitars), Richard Wright (backing vocals and keyboards), Roger Waters (vocals and bass guitar) and Nick Mason (drums and percussion) until their eleventh studio album "The Wall", released in 1979. The only exception was their debut studio album "The Piper At The Gates Of Dawn" released in 1967. On that album the guitarist was Syd Barrett, one of the founder members of the group, who left the band because his mental instability caused by LSD. He was substituted by Gilmour, a very close friend of him.

My first contact with this album was in the middle of the 70's, through my schoolmate friends who lent me it. The music has some floating musical atmosphere, which brings us a state of a great peace of mind.

"Wish You Were Here" is their ninth studio album and was released in 1975. It was inspired by the material they have composed while they were touring across Europe. It was recorded over numerous sessions at the famous London's Abbey Road Studios, the studio where The Beatles recorded almost all their albums.

"Wish You Were Here" is my favourite musical work from the band, and it's also their darkest, nostalgic and melancholic piece of music. It occupies also one of the four first places on Progarchives for so many times with "Selling England By The Pound" of Genesis, "Close To The Edge" of Yes and "Thick As A Brick" of Jethro Tull.

"Wish You Were Here" has five tracks. "Shine On You Crazy Diamond" is a composition divided into nine parts. The original intention was to write a song to complete one side of a vinyl disc. However, the song grew so much that it had to be separated into two tracks and it was used to open and close the album. So, parts one to five were included on track one and parts six to nine were included on track five. So, the first track of the album "Shine On You Crazy Diamond (Parts I-V)" was written by Gilmour, Wright and Waters and represents a Pink Floyd tribute to their former guitarist Barrett. This is a great opening piece of music for the album with an undeniably melancholic mood and which perfectly well documents the musical talent of the band. It seeks to reflect Syd's perspective of the world and how it affected the group. The second track "Welcome To The Machine" written by Waters explores the band's negativity and disillusion with the music industry, as a factory with the perspective of make money instead of being a forum of artistic expression, and in general with the world as a whole of an industrialized society. This is a very dark and distressful song that shows an excellent and very interesting musical atmosphere created by the group. The third track "Have A Cigar" written by Waters represents another critic to the music industry. The music is sung by Roy Harper who coincidentally was also recording an album in the Abbey Road studios when the group was recording the album. Roger Waters, who initially wished to sing the song, didn't do that, and David Gilmour refused to sing it. This is a song that brings a different tone to the album and where the music is also excellent and its melody became extremely memorable. The fourth track is the title track song "Wish You Were Here" and was written by Gilmour and Waters. This composition is once more a tribute to Barrett, but it can also been interpreted as a feeling of a person who misses another. This is the simplest song on the album and it's the most beautiful too. It's mostly an acoustic song that features some of the most memorable musical and vocal moments on the album. The fifth track "Shine On You Crazy Diamond (Parts VI-IX)" was written by Gilmour, Wright and Waters and represents the second part of the Pink Floyd's tribute to Barrett. It returns to the musical elements of the first track, adding some more new elements in its musical texture and structure. The music is extremely beautiful and brings the perfect feeling to finish it in a superior way.

Conclusion: As we could see before, this is an album essentially about and dedicated to their founding member Syd Barrett and the farewell tribute by the group to their first leader. However, it represents more than this. It's also a critic to the music industry, such as the hypocrisy of make money essentially with commercial music without the minimum quality level. For me, it's very impressive that the band has made another masterpiece, and has even exceeded their absolutely incredible previous studio album "The Dark Side Of The Moon", released in 1973. Even Wright and Gilmour have declared that "Wish You Were Here" is their favourite Pink Floyd's album. "Wish You Were Here" is often overlooked when compared with "The Dark Side Of The Moon" and it's even often left behind when put up against Pink Floyd's classic albums such as "The Piper At The Gates Of Dawn". I can't agree with that. This is one of the best Pink Floyd's albums and it always was my favourite album of them.

Prog is my Ferrari. Jem Godfrey (Frost*)

When you can recognize every single song off a certain album without even looking at the cd, or a computer or not even mentioning the band Pink Floyd, you know that certain album is something special.

This album doesn't move. It just plods along at its own pace, and doesn't care if you get it or don't. As in, it's an album that's signature Floyd. Of course, I can't ignore "Shine On", it's filled with ambient soundscapes, awesome solos and laid back jams that I could just listen to on repeat forever. The composition is fantastic, the sound quality is perfect. It's just a euphoric bliss of ooey, gooey, Floyd-y bliss.

I never really took to "Welcome To The Machine". This windy backdrop that sets the tone for the whole song creates a fantastic effect, and it's a fantastic composition, each little piece working the way it should. I just never found myself being a fan of it to listen to. I don't know why, but there's nothing about it that keeps me coming back. I respect it immensely, I just don't rock out to it.

"Have A Cigar" is quite the opposite. It's another jam, filled with grooves and guitar solos that really do have a psychedelic quality to them, and while "Wish You Were Here" isn't like "Have A Cigar" at all, it's still laid-back and a very pleasant song to listen to, a relaxing acoustic driven track to just let your problems fall to the wayside.

To me, Wish You Were Here is one of the most complete albums is the sense that it has an identity that's evident in each and every track on the album, but also has a sound unique from any other album in the band's repertoire. Sure, "Shine On" shares many qualities to that of "Echoes", but if I asked you to remember one or the other of the top of your head, "Shine On" would probably come through first. Perhaps for no particular reason, it just may be that it's written in such a way that was actually catchy and memorable, without you even knowing it.

Perhaps that's why "Welcome To The Machine" also works on this album. To me, it initially looks like a misfit on this small setlist, but when you listen to it, there's just an innate reaction to sing along with "Welcome, my son". There's an odd catchiness to the choruses and verses that seemed to solidify its dominance on classic rock radio stations. Apart from part 2 of "Shine On", I've heard all these songs on the radio.

That to me is the majesty of this disc. It's an album that continues to strike a chord and sing-along mentality to listeners, even while maintaining a signature Floydian sound and even still, trying to push the boundries of musical technique and sound into the world of music ("Welcome To The Machine", the radio samples on "Wish You Were Here"). That to me covers all the bases of a truly great album. It seems to have something for everyone.

That is, unless you don't like Pink Floyd. Then that's your problem, son, you're just missing out.

When I heard "Dark Side of the Moon" for the first time after my love of progressive rock was already firmly established, to say I was underwhelmed by one of the supposed "greatest albums of all time" is a bit of an understatement. "Wish You Were Here" fares better however, and I can genuinely say that I enjoy this album. Most of it, anyway.

I've said this in my Pink Floyd reviews before: Pink Floyd attracts two main demographics, those new to progressive music and people so stoned that they make Cheech and Chong blush. And it makes sense why the band is so appealing, their music is very well-produced, subdued and generally very accessible. And that is exactly what "Wish You Were Here" offers. In a sense, it's like the stereotypical Pink Floyd album. The tempo never picks up above 80 or 90 BPM, if that, and all the songs are either about Syd Barrett or how Roger Waters thinks "the man" is out to get him. But how good is the music itself?

If you're a Pink Floyd fan, you're clearly going to love everything on here; that's a fact. But if you're like me and don't have any particular attachment to the band's sound or story, the quality is a bit more wavering throughout. The three shorter middle tracks, "Welcome To The Machine", "Have A Cigar" and "Wish You Were Here" are all absolute snore-fests. There's nothing here that you haven't already heard on the first side of "Meddle"; tedious, melancholy songs where the lyrics stand out a lot more than their instrumental accompaniment.

"Shine On", on the other hand, is a different story. Both parts are excellent, but not because "Shine On" is a prog chef d'oeuvre, but rather because it's a wonderfully done blues song. A slow blues epic, both halves of the song are sparse and slow-building in typical Floyd fashion, but interestingly enough the slow tempo works very well to produce tension. Even though it's almost 10 minutes before the vocals even enter, it really doesn't feel like so long because the instrumental parts work very well complementing and working off of each other. A wonderfully executed song if I do say so myself!

So with half of the album being marvelous and the other being mediocre, I'd say that "Wish You Were Here" averages out to about a 3 star album. A must-have for Pink Floyd fans and an inoffensive buy for the rest of us.

This is a classic recipe that has a modern twist. Complex in flavors but straightforward in presentation, this clean, elegant dish will appeal to a surprising variety of guests from moms to colleagues and serves four to six people. You will need a processor.

2 lbs. electric bass foundation, coarsely sliced

1 1/2 lbs. blues guitar, electric & acoustic (you'll need both), thinly sliced

1 lb. assorted keys, electric & acoustic, diced (again, don't skimp on either, it'll come in handy later)

1/2 lb. traps, acoustic, finely chopped

1/2 lb. vox, smoked and finely chopped

1 small satchel of assorted harmonics

3 Tbsp olive oil

2 Tbsp sea salt

1 Tbsp fresh ground black pepper

a 6 oz. package of fettuccine or wide egg noodles, cooked in 1 gallon water until tender but firm

Heat a charcoal or wood-burning grill to medium, and preheat oven to 400 degrees. Trim as much fat as possible from the bass and guitars, rub with 2 tbsp olive oil, 1 tbsp salt, 1/2 tbsp black pepper. Lay pieces on grill and cook till medium rare, turning pieces once to get a nice sear. Remove to serving tray and let rest covered in foil. Place the assorted keys, smoked vox, traps, and harmonics in a wide nonstick pan with the remaining oil and salt & pepper on grill, sauteing till browned and tender. Add whatever bass & guitar juices have accumulated to saute pan, cook for a minute, then puree in processor till smooth. Pour mixture over bass & guitars to cover and place in hot oven for ten minutes. Remove and serve over fettuccine or egg noodles.

This album has been reviewed so many times. How do you say something new about this that hasn't already been said? How do you review an album that almost everyone is familiar with? How do you say anything critical about something as perfect as this album? I don't even know where to begin to talk about an album that I have listened to so much, that I know every single note by every instrument involved, every word that is sung and every single effect used. And I can listen to it again, even now, and still love every second of it, that it hasn't lost any effect on me. The album is timeless, amazing and there still is nothing else like it out there.

If you are on this site, and you still haven't heard this album or you have not formed your own opinion, then I say you have some work to do. Don't read this review until you at least listen to the album. Then come back and read it and make your own decision as to if it is or isn't one of the most amazing things you ever heard. Then come back and see what I think about it.

I am going to review this album now.

It's amazing. It's perfect. 6 stars on a rating scale of 1 to 5 where 5 = Essential and 6 = Perfection That's all!

After the commercial boom of "The Dark Side Of The Moon", Pink Floyd returned to produce progressive music dilated, liquid, sleepy, following the intuition they had with "Atom Heart Mother". In this case, the album doesn't have an entire-sided suite, but cleverly, a mini-suite that repeats itself without too many variations at the beginning and end of the Lp. It's the famous "Shine On You Crazy Diamond", an atmospheric suite, slow, very evocative, almost ambient-music, based on Wright's keyboards.

The first part of the suite is the highlight of the album, it opens with a carpet of synths that grows up the volume slowly, and explodes when Gilmour's guitar arrives, which touches a first climax of the piece; then returns a moment dominated by the sleepy synth played by Wright, and then kick off a more aggressive piece of guitar, after which Waters' voice arrives, doubled, because it is not suitable for such a solemn and epic piece. The musical score is actually very simple, it's a melodic rock song, linear, verse-chorus, with an epic breath. Pink Floyd's masterpiece is in transforming it through production into a suite, dilating its melodic lines to the maximum, and making them play alternately by Wright and Gilmour, then by waters singing, to conclude with a splendid sax solo (the faithful Dick Parry). Rating 9+.

"Welcome to the Machine" impresses with the use of synths and tape effects percussively, so much so that drums are in fact lacking, accompanied by acoustic guitar. Wonderful singing by Gilmour. Again, the melody is quite simple, and the masterpiece is once again in the sonic guise that PF give to the song in terms of arrangement and futuristic sound. The music is slow and dilated. synths have hardly been played in such a "total" way, able to fill the whole piece with sound, melody and rhythm, without needing anything else, and making it rock. In closing, Pink Floyd cheat, and invent machine noises and crowd sound just to prolong the piece and the side. Rating 8.

Side B opens with "Have a Cigar", which has a great beginning, between bass spin and synths and guitars, which immediately creates an epic and at the same time obsessive climate. The voice of folksinger Roy Harper gives the song an intensity that is lacking in the band's vocalists. With this track continues the criticism of the music industry that, together with the nostalgia of Syd Barrett, constitutes the conceptual node of the album (all the lyrics are written by Waters). The song is powerful and well- crafted, but it lacks a melodic variation, since it stays all the time on the same tone, and only Gilmour's solo avoids making it repetitive. Finally, it is fortunately truncated suddenly (otherwise it would have been long- Rating 8.

"Wish You Were Here" is perhaps Pink Floyd's most famous song, and it's again a simple song, even undeveloped, linear, because it lacks a chorus, and after the rhythmic progression of two verses returns to the basic chords. What makes it beautiful is the hypnotic tour of the guitar and the strength of the singer (Gilmour) that then resumes in a very powerful and energetic way, but in fact soon fades into the background music, leaving the feeling that Pink Floyd haven't found a way to add more sung pieces to the music. The piece ends by fading, while at the same time you hear a loud wind noise with which the second part of SOYCD begins. Rating 8+.

"Shine on You Crazy Diamond" reprise also lasting around 13 minutes. The beginning has a choral progression that is missing at the first part and that becomes quite rhyme and aggressive, then comes the guitar round that leads to the sung part, quite similar to that of the first part, but here they repeat only once verse and chorus , so that the music is not too photocopy of the first part, and so begins variation on the theme, in fact a choral instrumental jam, led by Wright, the dominator of the album, then comes the initial melody, then the track fade away. Rating 7,5/8.

The album has the remarkable merit of maintaining from beginning to end a solemn, epic, and at the same time vaguely obsessive and threatening atmosphere, with a music that further dilates the melody working on the arrangement and that has plucking, progressions more exciting, where voice and music reach a good climax. Overall, it also results in a sometimes long-lived work, and containing relatively little musical material, which is repeated and amplified and dilated and subjected to variations to arrive at a satisfactory album duration. It is a masterpiece of production, sound and arrangement, more than a masterpiece of creativity, but nevertheless it remains a real masterpiece, also because studied in detail and without any really weak moment.

Rating album: 9+ (average 8,25). Real masterpiece. Five Stars.

After the worldwide success of the Dark Side At The Moon, Roger Waters and his bandmates had the challenging task of recording a next album with the eyes of the press and their fans from all over the world on top of them. To make things a little more complicated, the relationship between the members of the band was worn out by differences in how they should approach the direction of their music. However, despite all the problems that surrounded them, they manage to structure a new progressive masterpiece, Wish You Were Here.

The album begins with Shine On You Crazy Diamond, a separate two-part piece, one on each side of the album and the main theme of Wish You Were Here. It is a heartfelt tribute to the founding brain of the Syd Barret group, in which we see the permanent reference to the friend who, as a result of his altered mental state, could no longer accompany them. Sadness and melancholy are the theme of the song, which begins with a long and deep introduction by David Gilmour on the guitar, with subsequent intense atmospheres that would be maintained throughout the song. Undoubtedly one of the best Pink Floyd compositions of all time. It is followed by Welcome To The Machine, a criticism of the music industry given its interest more in business than in artistic expressions and Have a Cigar with a similar theme, with Roy Harpper (also a musician) as its singer. Both Waters and Gilmour believe today that it was a mistake, not because of Harper, but because either of them could have done it. Below we find one of the most accomplished rock ballads of all time, the beautiful Wish You Were, where again the references to Barret are repeated. A composition steeped in nostalgia and a must in the group's repertoire. The album concludes with the second part of Shine On You Crazy Diamond, less dense than the first, but just as powerful.

Essential work in the discography of Pink Floyd and the genre.