WET DREAM

Absolutely the most underrated album from any Floyd member for many years. God knows why? This in essence could almost be a Floyd album all on it's own. Incredible to think that also Gilmour's first solo album was also hatched at this time, Wet Dream has great contributions from Snowy White on guitar, Mel Collins on Sax, Juliette Wright with lyrics but most of all Rick Wright himself. the album is richly laden in deep textures of prog, jazz and just plain old Floydian styles. 'Against all Odds' questions the deep emotion behind relationships and their subesequent break ups. 'Waves' a perfect instrumental with stunning sax from Mel Collins. ' Summer Elegy ' for me perhaps the most slick Floyd style sing along. Let's face it when Rick Wright sings well there is probably not a better vocalist from Pink Floyd. Apologies Waters and co.' Drop in from the top' and ' Funky Deux' are excellent jazzy funk rockers and it's classics like these that introduced me to jazz/fusion in the first place. No poor songs on this album. A solid five stars for the most consumate of professionals and his first perfect solo album.

Almost a fourth star really but 3,5 surely!

If there is one thing I never could understand , it is how Waters could say that Wright was not contributing to Floyd and he was doing absolutely nothing. This album is the proof that this was not so. And one of the better solo album among all Floyd alumni.

This album is full of really great moody tracks with cool ambiances and calm grooves. It is here that Rick finally shows that he can sing as well as Gilmour and Waters, but the better tracks are the instrumental ones (more than 50%). I also believe that a good combination of tracks from this one and Gilmour' s first solo might have made a great Floyd album, and maybe that was Waters 's problem : he wanted his stuff and his only . He took almost all of Animals and the Wall for him - how democratic in a band .

The only remark I can make is that one could almost mistake this album for an Allan Parsons Project album of that very same era (I robot or Pyramids) , but this is hardly a negative remark. Anyway well worth a spin !

WOW! Here is another unknown Floydian aspect to be discovered! This record is pop jazzy, sentimental and melancholic, with a definite piano ballad tendency. It sounds easy, accessible and rather catchy. The lead vocals are quite good. There are many excellent loud saxophones parts played by the marvelous Mel Collins. There are beautiful acoustic guitar parts and some very good guitar solos. What from PINK FLOYD does sound like this? Well, let's say the beginning of "Great jig in the sky" and "Us and them" (just slightly). Actually all the tracks are very good.

One of the most underrated LPs of the 70s, with a strange flavour of melancholy (as in some "Atom Heart Mother" songs) but very brilliantly composed and directed, with a luxurious cover and concept. It seems Wright could have been a great Top Ten composers and singer without Floyds, also. He is so far from the paranoic sides of waters and bluesy Gilmour, creating a small and honest little masterpiece.

In my opinion, Richard Wright was a very important musician in PINK FLOYD. The sound of the band was very influenced in the late 60s-mid 70s by his style of playing the keyboards, his songwriting contributions, and his vocals. Unfortunately, Roger Waters took the control of the band by 1976, and the rest of the musicians were bored, I think. In 1978, Richard Wright and David Gilmour recorded solo albums after the "Animals" album and tour of 1977. This "Wet Dream" album is very good in some parts, and in other parts it is repetitive, but it has some good songs. This album was out of print for a long time, until I found it on CD in 1994. It was released on CD by One Way Records, a label which "rescued" and re-issued some good old out of print albums (I don`t know if the label still exists). The recording of this album is very good, and all the musicians played very good. My favourite songs from this album are "Cat Cruise" and "Waves", two instrumental pieces with synthesizers and saxes, with sound atmospheres created by Wright`s keyboards which show Wright`s influence in the sound of Pink Floyd. Some parts of "Mediterranean C" are similar to some parts of Waters`"In the Flesh" from Pink Floyd`s "The Wall" album. I don`t think that Wright copied Waters, as "The Wall" album wasn`t still recorded then.In this album, there are some influences from Jazz-Rock and even Funk music ("Drop in from the Top", "Funky Deux"). The lyrics for "Pink`s song" were written by Juliette Wright, his then wife, and it seems that these lyrics ask Pink Floyd to let Wright leave Pink Floyd, in my opinion (the CD notes credits his wife as the writter of the lyrics for "Against the Odds", but I have found several websites and books about Pink Floyd that say it is wrong). This "Wet Dream" album is interesting in general, but I don`t give it a 5 stars rating because it has some boring parts.But I prefer this album more than the Pink Floyd`s "Animals" and "The Wall" albums." "Wet Dream" is not as "dark" as those Pink Floyd albums, and it has more variety in the music style of the songs.

Most importantly: do not let the title scare you! It's the only double-entendre on the entire album. What you'll find instead is an introspective journey into the world of RICK WRIGHT in 1978. As the control of bassist ROGER WATERS over PINK FLOYD became stronger and stronger, WRIGHT decided to record a solo album upon which he was free to do what he wished. Much different from the harsh, accusatory tone that PINK FLOYD's music was now taking on (after Animals), Wet Dream is based more on a light sort of jazz styling. At first, it may seem to have nothing in common with PINK FLOYD's work. WRIGHT's work is not often at the forefront of the band, but rather a subtle undercurrent artfully designed to support the other band members' contributions. However, compare tracks such as "Funky Deux" to the latter parts of "Shine On You Crazy Diamond", and it suddenly becomes quite clear how similar Wet Dream actually is to PINK FLOYD. While this album is not as clearly prog as PINK FLOYD (which costs it a star here), I still think it is quite worthy of buying by prog fans.

In a way, I suppose the title is quite ironic...this is actually some of the most thoroughly sensual music I have ever heard. By "sensual", I mean the amazing way in which it calls upon the five senses as one listens to the music. Many of the songs have a sailing theme, and as you listen--you are THERE. You can almost feel the boat rock underneath you, the wind through your hair, even smell the salt of the ocean as you listen to superb instrumentals such as "Mediterranean C", "Cat Cruise", and "Waves". Others are sensually evocative in a different way; catchy tunes like "Drop in from the Top" and "Funky Deux" will make just about anyone want to get on their feet and dance, or at least tap out the rhythm on their desk!

The lyrics are mostly written by WRIGHT himself. They may seem simplistic in light of PINK FLOYD's lyrics (which were often written by bassist ROGER WATERS), and WRIGHT seems in retrospect to be a bit embarrassed of it. However--he should not be. Perhaps it's even the simplicity in and of itself that makes them come across as so heartfelt. You can almost envision him as he writes them. You can really hear how weary he is of the conflicts he's having to deal with at the time, and how much he wishes for escape. He envisions his time spent sailing; the enthusiasm in his voice in "Holiday" as he sings, "Sail on--there's no other way I'd rather be!" is absolutely infectious. Conversely, in the last song upon which he sings--"Pink's Song"--the sadness and resignation brought me to tears..."Give me time so I can breathe--give me time to be at ease." It seems like an eerie foreshadowing of his temporary departure from the FLOYD following The Wall tour. Perhaps these aren't the lyrics to Dark Side of the Moon...but I think it doesn't matter. The effect works, making for a wonderful glimpse into the heart one of PINK FLOYD's most underrated members.

Sadly, this album has gone out of print, but if you get a chance to snap it up on eBay, be sure to do so!

Really quite a little gem,which I wasn't aware of until visiting your site.just goes to show that Rick Wright was much more than a sideman within the Floyd ranks.You can just throw this in anytime & listen,much more enjoyable than getting walloped over the head continuosly by Waters negativeness.By the way it does sound ucannily like Floyd & the production is quite good considering it was recorded in 1978.Cheers Rick for a very worthy listen !

I would give this album 4.5 stars. In my 20's, I was a huge fan of Pink Floyd. Then I had a friend, a very knowledgeable meloman. He used to ask me: "Have you heard the best Pinl Floyd ever?" I guessed he was assuming "Dark Side..." or "Animals". I was wrong: he was implying "Wet Dream" by Rick Wright. After listening to the album for the very first time, I was completely amased! This is indeed one of the finest albums made by whomever from Pink Floyd line-up. Music for true phylosophers... Highly recommended!

3.5 stars really

A long lost FLOYD album? Probably not... But RICK WRIGHT's first solo album is a great addition to anyone' s prog collection, and is an Absolute Must for FLOYD fans! If ever it was doubted what Rick was capable and responsible for in the FLOYD, one only needs to listen to "Wet Dream". He is a unique composer and an excellent vocalist in his own right.

Out-of-print and hard to find, this album was released in 1978 in between FLOYD's "Animals" and "The Wall", and concurrently with DAVID GILMOUR's eponymous debut album. One has to wonder what would have happened if Rick had been more assertive and pushed his musical ideas upon the band during this time period, instead of being the 'non-contributor' that he eventually was in FLOYD from 1977-1979.

Jazzrock and some funk influences permeate this easy-listening album (in a good way!) and leave the listener with an optimistic, pastoral, and yet melancholic feeling. Sailing themes are omnipresent, both in the song titles, musical feel, and CD artwork (as usual, done by Storm's Hipgnosis). Rick after all, is/was a huge fan of sailing.

Highlights include the introspective 'Pink's Song' and 'Drop In From the Top' (check out the instrumental 'chorus' from this song, so very catchy! Could easily have been a FLOYD tune), as well as the competent guitar work of Snowy White.

Only negative aspect of the album is that maybe there is too much sax present for some mainstream proggers...

I bought this album in vinyl in 1978, and finally found a CD in 2005.Rick is a cornerstone of Pink Floyd! The jazzy undertones mixed in with the rock and the free flowing melodies makes for a very good album to be listened to with good headphones. I have not found anything negative about this album, every Floyd fan I have met likes this album.

"Wet Dream" + "David Gilmour", both from 1978, are a very "nice pair"... Both in the same mood of "Animals" by Floyd (1977). More than an album of "rests" from the Floyd sessions, this lovely and smooth album shows that the brain was not Waters alone. Pity that Wright doesn't continued his solo adventure until '96. If his ideas were more often valorised, probably Pink Floyd would not became so rough. Here you can find sonorities from TSOTM, WYWH or Animals, and also find the creative power of Richard Wright, and the provenience of some smooth sonority of the 70´s Floyd.

This disc tastes Floydiano clearly I have inclusively very amused is a disc for which they look for to listen to things with flavor PINK FLOYD but that they refuse to see the extinction of the same one, without a doubt a sample that makes see the origin of certain sounds that we related to the band, but clear that nonsingle that if not that also shows to its personality and a strange vision to us of an almost unknown being, recommendable single for collectors and for whom they yearn for the lost thing.

Not a drop of Waters in sight

Discounting his solo section on "Ummagumma" (which is probably a wise thing to do!), this was Rick Wright's first official solo outing. The album was recorded in early 1978, thus placing it between "Animals" and "The Wall" in the history of Pink Floyd. Apart from an obligatory bassist and drummer, Wright calls upon long serving Pink Floyd second guitarist Snowy White and saxophonist Mel Collins to support his keyboards and vocals. He composes all the songs himself, assisted by his wife Juliette on "Against the odds", and even takes on the role of producer. There is a "water" (not Waters!!) theme to a lot of the album, much of the song writing appearing to have been done while Rick was on holiday.

The album opens serenely with "Mediterranean C". which serves to introduce the band. Rick plays downbeat piano along the lines of the softer part of "Great gig in the sky" while Collins and White are given an early solo spot each. Rick also adds some excellent synthesiser to this instrumental. "Against the odds" features Wright's fine vocals for the first time, the reflective nature of the song perhaps having been an inspiration for Phil Collins similarly titled song ("Against all odds"). These opening tracks set the mood for much of the album which follows, Rick preferring to opt for the softly melodic ("Us and them") type songs more than the upbeat ("Money") sort. Indeed, the sax solo on the second instrumental, "Cat cruise", sounds very much like an extension of "Us and them". This wonderfully developed piece builds from the slow start through some great guitar and synth to a climactic ending.

"Summer elegy" sounds like "The great gig in the sky" with a vocal line. The floating guitar has the same sound, as does the melodic piano. "Waves" is primarily a sax orientated instrumental, with Rick proving lush keyboard layers for Mel Collins to improvise upon. "Holiday" continues the reflective mood with Rick's distinctive piano style once again strongly in evidence. "Mad Yannis dance" is a sort of interlude piece with a "Zorba's dance" style. "Drop in from the top" allows Snowy White another chance to display his guitar prowess, the overall sound being distinctly Gilmour like.

Collins moves to flute for "Pink's song" and thus adds some fine colours to this otherwise simple song. The album closes with "Funky deux" which does indeed have a funky beat the piece sounding remarkably like an Alan Parsons Project instrumental.

Rick's contribution to "The wall" may have been negligible at best. "Wet dream" however clearly signals that when he was doing something which inspired him, he still had the capability and creative energy to produce something special. This is a superb album which will appeal to those who crave for more of the type of music Pink Floyd made in their "DSOTM" and "WYWH" days.

Between Pink Floyd's release of Animals in 1977 and The Wall in late 1979, both David Gilmour and Richard Wright worked on their first solo albums. Gilmour's sold fairly well and had some minor chart success. Wright's didn't fare so well, even though it was the more "Floydian" sounding of the two. One could easily debate about which was the better of the two, but I'm sure most listeners will agree that they were both composed and performed exceptionally well for debut solo albums.

Unlike Gilmour's solo project which focuses more on his guitar work, Wright's solo album is more focused on the composition than his keyboard work. The songs resemble a lot of the musical pieces he contributed to Pink Floyd albums prior to The Dark Side of the Moon. In addition there are several instrumentals scattered throughout the album, all very exceptionally well done. As mentioned before, Wright composes his songs in a very Floydian-like fashion indicating that he is heavily influenced by his parent band's style, or perhaps, he has more to do with the Pink Floyd sound than most fans and critics believe. One could argue both ways, but I suspect it's more of the latter. He also chose a guitarist that does a fare impression of Gilmour, Snowy White, and includes the talents of saxophonist Mel Collins. These add to the Floydian-like texture that Wright weaves throughout this album. Furthermore, Wright's voice is perfectly suited for Floydian compositions and he shines here. It's a shame he didn't perform vocals more often in post-Dark Side albums.

In the end, the best way to describe Richard Wright's Wet Dream is imagining that Waters never had the idea of the Dark Side of the Moon and the band continued to make albums like Obscured by Clouds and the shorter material on Echoes and Atom Heart Mother. Wet Dream would sound like a perfect successor to Obscured by Clouds, but much better composed. Although Wet Dream is considered an obscure acquisition by some, it's definitely in the four-star realm of ratings for me. A very worthwhile purchase and an essential must-have for Pink Floyd fans.

For the Floydheads out there, this record represents a major departure from the trippy material of the earlier Floyd and the caustic and biting Waters' crafted material of the mid 70s into the 80s. This record, which is modestly underrated, represents a nice snapshot of Richard Wright, whose contributions to Pink Floyd over time have, in contrast, been grossly underrated. Wright, whose keyboard stylings have never been flashy or even technically brilliant, nevertheless, so long as the man at the creative controls allows, consistently has been a master of texture and atmosphere. It is quite clear, when listening to this record, that this is a man who was searching for a voice. Having been beaten down for too long, Wright's voice and the lyrical ideas tell of a large degree of weariness and melancholy. The voice is sad, tentative and shy, much like that of a person whose sense of self worth has been dealt a serious blow by habitual and repetitive abuse by others. While the lyrical performance is a bit underinspiring, the mood is clear. The music, like the best of his material with Floyd, is brooding and pensive. Mel Collins, formerly of King Crimson and Camel, lends a major hand in setting a bluesy/soft jazz tone on this record and his play is superb. Snowy White supplies a few very good moments on guitar. The rhythm section is good but not extraordinary. Wright's play on the keys is tasteful and restrained . For those looking for psychedelic or space rock, or even a profound musical statement, it won't be found here. Despite this, Wet Dream is an exceedlingly listenable record of material that could probably be best characterized as a soft jazz fusion. Much of the music is slower in tempo but excellently executed. If you are looking for long drawn out overindulgent organ or synthesizer material, you won't find it here it. What you will find is a lot of calming and mellow keyboarding and some excellent session work. Overall, the material is well written and arranged.

Here is an album that may only be marginally 'Progressive', but should engage prog-heads regardless. As most of us know, Rick Wright is/was the keyboardist for PINK FLOYD. During 1978 (for tax reasons, apparently) Rick cut this solo album, and as it is, inspiration took him by storm. This was shortly after the success of Floyd's 'Wish You Were Here' and a most amazing album in 'Animals'. For now, Rick employed a rhythm section from, I think, Robin Trower's backing band (Reg Isadore on Drums and Larry Steele on Bass), along with Guitar ace Snowy White (trailing in the wake of David Gilmour) and Sax virtuoso Mel Collins, presented the world with an album full of beautiful music, mainly instrumental, and because of the tastefulness, worked out to be a bit of a winner. I recall getting a lot of 'unofficial' cassettes whilst on holiday in Bali, during 1985/86, and they tacked on side 1 of the 'Wet Dream' album, along with the 'Animals' album. This made an impact on me as I thought these songs were better than any Floyd. I can only confess that the tracks featured here are of incredible quality, and worthy of checking out. There is nary a weak moment throughout, and, Mel Collins' sax performance is glowing, (possibly) better than anything he achieved before (even whilst in Crimso). If you enjoy Floyd's 'Wish You Were Here', then you most likely will appreciate 'Wet Dream'. Maybe a little laid-back, but high quality and extremely enjoyable music without question.

It's always good to listen to the music of a wise man.

RICK WRIGHT knew he was being eased out of PINK FLOYD. Not only that, he knew exactly what the FLOYD would lose with his absence. So he bottled essence of Wright and poured it all over this album, wise man that he was, so there could never be any doubt of WATERS' palpable guilt at ignoring his skills and potential contribution. How much better, I ask myself, would albums like 'Animals' and 'The Wall' have been with the lyrical beauty of this man's composition and keyboard skills, let alone his smooth, unpretentious vocals?

To be honest, that's the prime function of this album: a document to remind us what we lost. In and of itself, it is a collection of interesting light jazz-rock of the sort he made for 'Obscured by Clouds', the kind of music that mixed well with GILMOUR and WATERS' sharper, edgier music. There's nothing here that characterised the post-73 PINK FLOYD, so don't come here looking for epics like 'Dogs' or 'Shine On'. Instead, think 'Mudmen' or 'Summer '68'.

Wisely, WRIGHT chooses to sing on less than half the songs. His voice is simple to the point of tediousness at times, and needs the production values made famous by PINK FLOYD to bring out the best in his phrasing and tone. So we have solid rhythm sections providing the foundation for saxophone, guitar and piano solos that are always skilful, always interesting and at times moving. But there's nothing here approaching progressive gold, in my view.

Wise man that he was, RICK WRIGHT didn't push the boundaries of his talent here. There's none of the frenetic overstretching that lost WATERS his voice and his audience. Instead, 'Wet Dream' is an album to sink into, allowing yourself to be borne away on subtle variations.

A once-in-a-while listen.

Richard Gone now, but what a legacy he left behind, I don't Normally do reviews my typing skills suck and my punctuation not what it should be, but on this sad day seems fitting to give a few Words about this most Wonderful Record , its not Cd its a RECORD an album big and shiny and black with Lovely Yellow Harvest Label in the middle, Never did like the cover much not one of Hipgnosis better efforts but oh the Music, the Music is sublime. It was 1978 Harlequin Records was tinny little shop down a drafty Lane but they always a good stock in, Barry the Hat use to throw open the doors and Blast all the latest Prog down the drafty Lane you could here it in the wind, One day there was this voice drifting down that Lane at first i didnt recognize that voice but as i got closer , Hey That Richard Wright that is , Sweet Must be his new album , Got the Shop and shore enough Barry giving his Neighbors a taste of Our Richard , i fell in Love with this record right then right there and ive loved ever since since , i guess you could say it is Rather understated Record , but i think that what i love about it, Richard Soft Vocals are just beautiful and his Playing is just His No One else sounded quite like Our Richard .

There are good supporting players on this Record to, Snowy White guitar is Rather good and in all right places and not to over bearing , Mell Collins On Sax and Flute again top Musician on the Top of his Game , Not Only did Fall in love with this Lovly Record but i also fell in Love to It , she was Lovly Girl all Red Curly Hair and Hippy cloths , We use Lie on the floor together and Put this On , then One day she was Gone, but not this Record it stayed and has always been there. So this Record has always been Special to me, Because its a Special Record . Always Been my Favorite solo Floyd Album along with Gimour first Solo album to, i don't think Floyd(After Roger Split) ever made a Record themselves as good Those two albums Holiday and Against the Odds Such Wonderful Vocals , So i have Cherished this record now for 28 years.Rather sad Now Sitting here listening to It. RIP Richard and THANK YOU

The under appreciated Richard Wright produced a vastly under appreciated album called Wet Dream, while Pink Floyd was between Animals and The Wall. The songs here are reflective, never rushed, with vocals on about half of the tracks. One can recognize that this is the keyboardist from PF, but you never get the impression that its a knock off of the parent group. The songs are written and sung by him and you will never get him mixed up with Roger Waters in their style of writing. Jazzy, proggy, slightly popish rock backed up by omnipresent sax man, Mel Collins, with Floyd friend Snowy White on guitar and Larry Steele and Reg Isadore combining to make a very solid rhythm section. While not the greatest keyboardist or vocalist, Mr. Wright has a sound that is very unique to himself. I find it very captivating.

Almost a 5 in my book as there is not a bad track here. Fellow Floyd mate David Gilmour produced his self titled solo at about the same time and it did respectably on the charts while Wet Dream sank into oblivion. Don't let the sales figures influence you, if you can find this out of print cd, buy it.

Rest in Peace Richard. Your contributions to Pink Floyd and your solo work, while under appreciated by most, will be greatly missed by many.

As many of us, I am thinking more of Rick these days. It is true that I never considered him as he ought to be and things have to be put into perspective here. Now more than ever.

First of all, his song writing capabilities should have been better recognized while he was a permanent member of the huge band we (almost) all love. Not only did he contribute to several great songs from the band, but in his first solo album Wet Dream he just confirmed this.

Mediterranean C which is the opening track is truly superb. But it is only the first of many songs in which Mel Collins appear as a fantastic asset.

There are also truly Floydian accents like Against The Odds in here; but this is no wonder I guess. Lyrics are quite explicit:

I don't want to talk no more tonight. We've gone through this before. Now we ask for more. Seems to me we can't escape at all. Words have no meaning. To hold such a feeling. Can there be a way out of here. I don't know. Why we go on so. I don't want to fight no more tonight. Every time's the same. Both of us to blame. I don't want to talk no more tonight...

Another one is the beautiful and melodic Summer Elegy. On the soft side of course, but really catchy. It is actually on par with the superb Waves which features some fantastic sax again from Mel.

Rick was very clever while he hired Snowy White to hold the guitar on this album: he is just remarkable. Just listen to the passionate and melodic Drop in from the Top.

Pink's Song is one of the emotional one from this album: an obvious wink to dear old friend Waters: Patiently, you watched us play parts you'd seen before. Even then, we sometimes asked: would you keep us for? Sadly, then, you lost yourself. So you had to leave.

The only filler of the album is the closing instrumental Funky Deux. But apart from this one, the album is pretty enjoyable all its way through. I will sentimentally raise my rating from a seven out of ten to four stars.

I just wonder why Rick has been catalogued as a Prog Related artist on this site.

The lost Pink Floyd album of 78

After the release of the album Dark Side of the Moon, the band Pink Floyd finally took its most successful formation, with Roger Waters in control of the band in almost every aspect of it. Due to that control, Waters outshone most band members, if not all of them, as far as writing the music and the lyrics goes, for at least three Floyd albums (Animals, The Wall, The Final Cut and a little bit in Wish you Were Here), what made two band members release two solo albums, being Richard Wright's Wet Dream one of them and the other David Gilmore's David Gilmore album.

I usually say that this album is the lost Pink Floyd album because Wet Dream sounds a lot like a Pink Floyd album from the early 70's, a period when the band had a more democratic writing process, when all the band members contributed for the songs and for the album in general. However, this album has two big difference from the other Pink Floyd albums: it's atmosphere is MUCH lighter and brighter, contrasting greatly with Floyd's dark and gloomy mood, and it has a much broader usage of saxes and flutes than Pink Floyd, making it stand out from the other albums Rick Wright had done so far.

As far as the style of music goes, i think that the album sits comfortably between The Dark Side of the Moon, Wish you were here and Meddle, since you can notice Wright's style of composition from those three albums in Wet Dream. However, since there are no other composers, except from Wright himself, the music in Wet Dream flows somehow differently from the usual Pink Floyd music.

The highlights go to Mediterannean C, Cat Cruise, Waves, Mad yannis Dance and Funky Deux.

Grade and Final Thoughts

Though being a very good album, Wet Dream does not exceeds its floydian counterparts in the quality department. However, it is still a terrific album, and deserves recognition and a fair grade. On a side note, i really wonder why Richard Wright put such an unusual name in his album, which relates to nocturnal emissions. . . But anyway, 4 stars it is then.

01. Mediterannean C Richard Strong of the songs have always been simple to piano, but sensational in terms of melody. And here in the introduction to the disk that you have. Then a beautiful array of synthesizers and beautiful saxophone of Mel Collins, remember what the sound of Floyd, but we are talking about one of the guys who helped build this sound right? Although the melodies used by Rick here has a melancholic tone used by the different Floyd. The guitars are very well orchestrated by Snowy White (no, he is not the opinion of Gilmour despite much).

02. Against The Odds A lovely guitar melody begins with the piano. The charming voice of Richard always first appears, it is strange at the beginning of Pink Floyd he always did so many voice, the star of a few Wright was disappearing in the band). Belo chorus, charming, unassuming, quiet and serene. If the disc was not produced by itself I would say that Richard had been Alan Parsons, as the timbre of battery it is certainly the same as the boy was wearing the band.

03. Cat Cruise Truncated, full of melodies reverse and full of tension, as is usually a soundtrack. The presence of the saxophone has only lead to more melancholic music. The bottom of Larry Steele is always discreet and 'escort' the melodies.

04. Summer Elegy Virtually the disc is composed of pianos, and this reminds me a little Summer Of'68 (think it was good that even the intention) .. Sensational double the vocals, as only he could do, and did very well, is not a great singer but a great melodist and has a very nice voice .. The land always remind me pretty much the style of Gilmour, which only makes me more encucado and he was sure that even if the guitars recorded this disc. And speaking about it, if not the timbre of the battery of feet together I swear that it is actually Reg Isadore Nick Mason, too, because the style is exactly the same. I have a huge impression that the guys have a force that, while Roger wrote The Wall and The Pros And Cons Of Hitch Hiking.

05. Waves A 'q' of ELO here, some sounds the boxes, a phrasing of a saxophone and bass bacana always very well played by Mel. Most of the track is controlled by the sax and the keyboards in the background, which has always been an ability to Richard, the work song and not just by him, is what the music for and not what he wants. This is sensational.

06. Holiday A very beautiful ballad that tells the story of a day / a weekend off, away from all the filth and doideiras in the world, two in a distant and beautiful world. Two souls swimming in an aquarium. A beautiful passage of the guitar solos and synthesizers are united only an agreement to return for Mr. Wright, his vocal melodies and sad. It is almost an invitation unforgettable, who loves going out with / like and get away a little. End repeated until the message is understood, with an unexpected and very cool solo at the end.

07. Mad Yannis Dance The layers of keyboard is increasing little by little, with the guitar melody in a hypnotic way, a little synthesizer and bass and join the same melody, a guitar and a percussion always painfully little to the bottom, also mark the saxophone presence. A waltz strange, this is it!

08. Drop In From The Top A groove, with Hammonds raised and full of 'land guitarrísticos'. More of a jam session same studio. Still does not have good melodies' behind the cameras.

09. Pink's Song Do not know from where came the idea of 'A Song Of Pink', but if it was not inspiring muse of Roger I do not know anything. The voice once again has the stamp of quality Wright, the guy has a good taste and both are simple melodies but an unparalleled beauty. This track is a mixture of sadness and beauty, with a further contribution of flutes of Mel.

10. Funky Deux How could no longer be, as well as the name suggests, a 'funk session', this time having enough space as the style calls for the low Larry Steele appear. Indeed it is a psychedelic funk full of keyboards and to fund some good HAMMONDS. And a ton of good and heavy soils of saxophone and guitar. A jam of mind 'lively' end it in style.

Most of the disc is instrumental, but not one of those instrumental full of musicians and a very righteous touch of soul, what we have here is instrumental in the line 'New Age', calm and beautiful songs with melodic passages and sad.

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Floating against the current

As many reviewers have pointed out before me, this album is very Pink Floydian in its sound and feeling. Particularly, it sounds like Dark Side Of The Moon - especially the more mellow, piano dominated parts of that album as well as its sax solos. At the time when this album was released, Pink Floyd - under the leadership of Roger Waters - were going in something of a New-Wave direction, looking towards the 80's. This current culminated with albums like The Wall and The Final Cut. Wright, on the other hand, opted for going in the opposite direction, looking back towards the 60's and adopting an (updated) psychedelic sound.

Wet Dream is a very fitting title of this album since the music is indeed both 'floating' and 'dreamy'. It is also very laid-back and jazzy in about the same way that the music of Supertramp is jazzy. Keyboards, guitars and saxes are the dominant lead instruments. The primary keyboard instrument is the piano. Wright's vocals are perhaps not very strong, but there is nothing wrong with his voice.

Overall, this music is rather inoffensive and too laid-back to be of great interest to me. Still, in my opinion this album is actually better than many Pink Floyd albums, even better than some of the most highly regarded Pink Floyd albums! But, then again, I was never a very big fan of that band.

Good, but non-essential album. Recommended for fans of Pink Floyd.

Wow.... just discovered this.... like unearthing lost treasure. Anyone into Pink Floyd MUST hear this, although sadly it's hard to get hold of.

Perhaps because Richard Wright is no longer with us I find it quite a moving process listening through and also because it is such a melancholic album with many of the about relationship break down. This theme is prescient as the album was made around the time at which Richard's days in Pink Floyd were numbered, given the dominance of the band by Roger Waters.

However, this album confirms to me how important Richard Wright was to the classic sound of Pink Floyd... never a virtuoso player, his musical personality is there in the 'feel' of his playing, in those wonderful elegiac 'Great Gig'-like chord progressions, and in his distinctive vocals.

The whole album is a laid back affair with instrumentals and songs interspersed more or less evenly throughout. The production is beautiful and the playing by Mel Collins and Snowy White is absolutely exemplary.

Wonderful stuff...

Rick Wright's , Pink Floyd keyboard player debut solo album . Believe me, in fact it is almost lost Pink Floyd album ( somewhere around "WYWH"and "DSOTM" period).

Album contains midtempo epic songs,which sound as very Pink Floyd music! Rick Wright sings in similar to Waters manner, and plays keyboards in very PF style. Snowy White adds great guitar line and solos, when Mel Collins plays excellent sax. In total, the music is very Floydian, melodic, based on keyboards, but rich in guitar,sax and drumming.

Yes, after some listening you can note, that music is a bit more melodic, lighter, not as dark ( in fact -not dark at all), with some jazzy arrangements. So - a bit different from original Floyd music, but potentially could be their another album. And you feel mostly Waters absence ( mainly in sound and record atmosphere).

I think that album is nearest Floydian work of all ex-PF members solo albums ever, and strongly recommended to all classic period PF fans.

The 4-star rating is for Floyd fans (which I am one). For the casual listener or non-Floyd fans, I'd rate it at most a 3 star album.

For Floyd fans, you'll find this album is a kind of light, easy-listening version of Floyd - and while that might not sound very appetising, I do mean it in the best sense. Snowy White does a nice Gilmour imitation, and Mel Collins' work will remind many of a certain Dick Parry. Wright's keyboard and synth work are in the "Shine On You Crazy Diamond" vein.

As other reviewers have noted, the best songs on this album are the instrumentals. While I find the vocal tunes to be pleasant (my nod goes to "Holiday" as the best vocal song), I really wish Wright had saved the vocal numbers for another album.

As much as I enjoy this album (and have been listening to it quite often of late), it also frustrates me. Listening to it, I can't help but feel it was kind of tossed off quickly, without the kind of care and attention that Floyd usually went into when making albums. I wish that Wright had spent more time in the studio, and had been intent on making a major statement. The album could also have used Gilmour's touch on the guitar (not the soloing Gilmour of THE WALL, but the Gilmour of DARK SIDE and WISH YOU WERE HERE, adding varying layers of rhythm work and other overdubs). Whereas Floyd tunes had 3 or 4 different guitars on a tune, Wright's album usually only has White's one. The album also could have been mixed better.

Pleasant album, and one that seems, with a little more work, not too far away from having been a major Floyd album. sigh.

I confess , at the time ,i've been a little bit disapointed by RICK first album but i's because i was hoping him to play some more kind of things as CIRRUS MINOR ,or SAUCERFULL but listenings after listenings this record turned very friendly and became essential to me .It displays the RICK part through the FLOYD alchemy .The melodies for instance, have the RICK'touch; listening to that album you know he was the one that brought the tunes fur US AND THEM and that he was a big part in ECHOES with DAVID .no one must forget that wonderfull song called SUMMER 68, this record is my paintbox and ...... well it's a song by RICK too .I MISS YOU RICK . What would looklike a new album with DAVID , ROGER and NICK ? no one will ever know ! so sad !

I can't believe to have missed reviewing this album until now. It's the second Floyd solo that I have purchased and probably the one that I like most. In 1978 Roger Waters' ego was reaching his top. The band was working on Animals and there was probably too few space for other band members' creativity. In particular Pink's Song is prophetic of what was about to happen "I must go here on my way, Let me go I cannot stay..."

From a musical point of view this can be considered the missed Pink Floyd album, more than Gilmour's debut, this is full of the Floyd spirit before Dark Side of the Moon and features the bluesman Snowy White at guitar, the guy who played Gilmour on the stage of The Wall.

"Mediterranean C" is not a great opener. It's a good instrumental and is functional to introduce the main concept about escaping from the normal life that is better exploited in "Holiday". What's wrong is the keyboard sound chosen for this song that is a bit too flat

"Against The Odds" is a great song, instead. The classical guitar of Snowy white is the distinctive element of the song and the final solo is simple but extremely effective. This is my personal favourite.

"Cat Cruise" is an instrumental with the Wright's trademark. It reminds to his work on Obscured by Clouds with a bit of the piano thrill of The Great Gig in The Sky. Everything completed by Mel Collins' sax.

The melodic piano intro, still in the style of Great Gig but with a touch of country is another great "pop" song on which Rick's voice fits very well. "Summer Elegy" is just a bit too pop, but the Snowy White's Gibson creates a fantastric solo without being too Gilmourian.

The side A is closed by "Waves". A repetitive melody based on minor chords, reminder in some ways of Bridges Burning, with a jazzy solo by Mel Collins. Probably the darkest moment of the album.

"Holyday" is the top track. I have always found amazing the initial passages from F- , Gb , Gb- B. The piano sounds like on the Great Gig and the chorus "Sail Alone across the sea..." speaks of winds, waves and freedom. One of the best songs ever written by Wright.

"Mad Yannis Dance" is like the Dervish Dance. It gives me the impression of a circular movement, but it's not compulsive like the Dervish. It's slow and dark instead.This instrumental gives Mel Collins the opportunity of another good sax solo.

"Drop In From The Top" is a strange thing: It's the kind of bluesy instrumental track of which David Gilmour's debut is full. Of course Snowy White places a fantastic riff on it.

I have already mentione "Pink's Song". It's slow and sad. If I'm not wrong on the vinyl cover Linda Wright is credited for the lyrics. Here Mel plays a flute solo.

The album is closed by "Funky Deux". An instrumental driven by a very rhythmic bass line. A good closer but maybe a little misplaced on this album, I mean "out of the concept". There's not a true concept, effectively. The songs on this album share just some "feelings" and Funky Deux is different at this level. The only "cold" track on a very warm album. However there's room for another great sax performance.

4 stars for PA standards, 5 for my heart.

I love the work of Richard Wright. When he is with Pink Floyd. Much as I've tried--and I bought Mr. Wright's solo albums when they first came out and gave them many listens--they do not, IMHO, achieve the heights that he and his bandmates were able to gain. It is often the case that an individual is not as powerful as he is in a collective (Tony Banks and Steve Howe come to mind). It is also common that the ideas of the solo artist are not as grand and grandiose as he is able to come up with in a collaborative environment. (One man's mind can be an awfully strange and foreign place!) The album is not bad just not great. The performances of contributors like Mel Collins and "Snowy White" are fine (especially some of Mel's sax solos--and I normally don't like sax), and Richard's singing voice is fine (as good as many of the Neo and solo artists coming out today) but the songs just lack that specialness. It feels like listening to a Mike Rutherford album: Nice, pleasant, but innocuous and, unfortunately, forgettable. Of the three of Richard's solo albums that I own I probably like this one best, but not by much.

Best song: the Mel Collins show piece, "Waves" (4:20) (9/10).

What a lovely album from the late great Richard Wright. As should be aware, Pink Floyd wouldn't have been the much loved Pink Floyd without this man's amazing compositions, as well as his creative moods and tones from the keyboards. Indeed, this effort has many of the typical soulful and deep moments which fans enjoyed on the softer Floyd albums, they are related mostly to "Wish You Were Here". The instrumentals "Mediterranean C", "Cat Cruise" and "Waves" are some examples and they are nothing short of beautiful, much lighter than the dark themes that the Floyd were working on in late 70's... "Animals" and "The Wall" of course. Some compositions on this album are very sensitive and expressive, especially "Against The Odds" and the touches from Snowy White's guitar and Mel Collin's sax make them all the more fantastic. As a whole, it makes for a fine chill-out experience, while also containing a good mixture of styles, from pop, soft-rock, jazz and funk. Highly recommended

4.5 STARS REALLY

Gilmour said once that when people listened the song Wearing the inside out from the album Division Bell, they said "oh, that voice...!", and that is, that voice is just very very floydian. Wright always was IMO a very important part of Pink Floyd, without him, the best Floyd (DSOM and WYWH) couldn't be what it was. And here, Wright emerges with all his creativity, prolonguing his intermittens additions to the band works, now in a whole album. Wet Dream is just amazing, full of prog elements, in the vein of Shine on you crazy diamond Wright's sections, or Us & Them or Great gig in the sky piano patterns. His voice is really captivating and all the album transmits a quite and peacefull atmopsphere, like to sail in the Mediterranean Sea (or Meditarranean C), as he used to do in those times. The opening Mediterranean C, is an outstanding instrumental based on piano and keyboards, simply great. There are two soft songs in which Wright sings perfectly, Against the odds and Summer Elegy. The first one with piano and acoustic guitars an the second is one of the highlights. Based in a piano work it has a superb electric guitar solo, very floydian. The album has in addtion, some almost jazzy taste, for example in the instrumental Drop in front the top, with many Hammond's sections. The sax, by the well known Mel Collins, is an integral part of the album too. The instrumental Waves, just means this, as if you are transporting by the waves of the sea. Holyday, is another good song. The rest is great too. Maybe some of the last tracks, or the instrumental Mad Yanis dance are in an inferior level. Almost a masterpiece.

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

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

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

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

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

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

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

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