WET DREAM

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.

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