WET DREAM

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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.

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!

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...

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.

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.

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.

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.

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.