{"id":53657,"date":"2025-12-11T17:21:31","date_gmt":"2025-12-11T17:21:31","guid":{"rendered":"https:\/\/musicianvoice.com\/index.php\/2025\/12\/11\/pink-floyds-wish-you-were-here-50-review\/"},"modified":"2025-12-11T17:21:31","modified_gmt":"2025-12-11T17:21:31","slug":"pink-floyds-wish-you-were-here-50-review","status":"publish","type":"post","link":"https:\/\/musicianvoice.com\/index.php\/2025\/12\/11\/pink-floyds-wish-you-were-here-50-review\/","title":{"rendered":"Pink Floyd&#8217;s &#8216;Wish You Were Here 50&#8217;: Review"},"content":{"rendered":"<p> <br \/>\n<\/p>\n<div>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tRemember when you were young? <a href=\"https:\/\/www.rollingstone.com\/t\/pink-floyd\/\" id=\"auto-tag_pink-floyd\" data-tag=\"pink-floyd\">Pink Floyd<\/a>\u2018s members (with <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/pink-floyd-nick-mason-talks-saucerful-of-secrets-tour-763130\/\">the exception of drummer Nick Mason<\/a>) don\u2019t seem to relish the thought, but those opening lyrics to \u201cShine On You Crazy Diamond\u201d perfectly evoke the spirit of Pink Floyd\u2019s 50th anniversary box set, a 360-degree retrospective of the tip of the band\u2019s pyramid. It\u2019s a time capsule anthologizing one of the strangest times in the quartet\u2019s lives.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tHalf a century removed from its conception, it\u2019s easy to forget how much pressure the band felt to follow up their breakthrough, <em>The<\/em> <em>Dark Side of the Moon<\/em>, with anything half as good. <a href=\"https:\/\/www.rollingstone.com\/t\/david-gilmour\/\" id=\"auto-tag_david-gilmour\" data-tag=\"david-gilmour\">David Gilmour<\/a> once said the band felt \u201ccreatively trapped\u201d at the time. But they nevertheless rallied to compose a record filled with legends and martyrs and miners for truth and delusion all caught in the group\u2019s kaleidoscopic swirls of fuzzy synths and post-blues guitar.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe new <em>Wish<\/em> compendium includes nearly all the bonus material from the band\u2019s 2011 \u201cImmersion Edition\u201d box set, but the band\u2019s new deal with Sony has shaken loose early mixes of songs, a few demos, alternate versions of songs and a newly official bootleg recording of one of the band\u2019s 1975 Los Angeles concerts. There aren\u2019t any major revelations \u2014 it\u2019s already a perfect album; it couldn\u2019t be more perfect \u2014 but it\u2019s a holistic look at a time when the quartet functioned in near harmony and it enriches the experience of listening to the original album.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tFifty years later, the studio LP still shines brighter thematically and musically than <em>Dark Side<\/em> as well as the two albums that followed it. <a href=\"https:\/\/www.rollingstone.com\/t\/roger-waters\/\" id=\"auto-tag_roger-waters\" data-tag=\"roger-waters\">Roger Waters<\/a>\u2018 lyrics remain cynical \u2014 criticizing societal conformity (\u201cWelcome to the Machine\u201d), the record industry (\u201cHave a Cigar\u201d), and the vapidity of humanity as a whole (the title track) \u2014 but there are glimmers of hope and humor within that no wall could confine. The \u201cShine On\u201d suite still sparkles with Gilmour\u2019s cosmic B-flat-F-G-E motif (a monogram as memorable as NBC\u2019s G.E. chimes), Wright\u2019s ethereal, sometimes funky synth lines, and of course Waters\u2019 poetic ode on the madness of Syd Barrett.<\/p>\n<section class=\"brands-most-popular \/\/ editors-pick-module lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tEditor\u2019s picks<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\t\u201cWelcome to the Machine\u201d would be Pink Floyd\u2019s dreariest song \u2014 with Waters hectoring lines like \u201cWe told you what to dream\u201d over Wright\u2019s root-canal synth drilling \u2014 if they hadn\u2019t done <em>The Wall<\/em>, but buying a guitar \u201cto punish your mom\u201d is still funny. \u201cHave a Cigar\u201d proves that when you stare into the machine, the machine stares back with a winking lampoon of music biz dealmaking thanks to guest vocalist Roy Harper\u2019s smarmy delivery and a particularly funky jam at the end. And finally \u201cWish You Were Here\u201d remains the band\u2019s best and most affecting ballad, a meditation on not being present and trading heroes for ghosts and making legends of the musicians. It\u2019s Waters\u2019 greatest lyrical feat. The band members all got songwriting credits on this LP except for auto enthusiast Mason who was driving his Jag-yoo-ar, showing how they all worked together.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Pink Floyd  - Shine On You Crazy Diamond (Pts. 1-9, New Stereo Mix \/ Official Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/Pd-qu_ErkbE?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe bonus material provides a lot of \u201cwhat if\u201d questions, showing different directions the band could have taken with the album. It begins with three outtakes previously released on the Immersion set: \u201cWine Glasses,\u201d Gilmour\u2019s first sketch of \u201cShine On\u201d with a drone supplied by a finger on a wine glass, a version of \u201cHave a Cigar\u201d with Waters sneering the lyrics (Harper\u2019s performance is better), and a gorgeous rendition of \u201cWish You Were Here\u201d with a violin solo by jazz virtuoso St\u00e9phane Grappelli, who was recording in the same studio. The last track feels almost too beautiful for the song; Gilmour\u2019s hummed guitar solo that closes out the studio version captures the loneliness of Waters\u2019 lyrics better.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe previously unreleased bonus material begins with a 19-minute rough mix of an instrumental rehearsal of \u201cShine On\u201d that shows what the song could have been as a full suite. It kicks off around Part II and features Gilmour\u2019s brilliant improvisation and Waters\u2019 funky bass line in Part V which transitions into Part VI, making it one of the rare recordings connecting the opus into a complete thought. Originally, the song was to take up one side of an LP, like \u201cAtom Heart Mother\u201d and \u201cEchoes\u201d had. (The flip side would\u2019ve been early versions of <em>Animals\u2019<\/em> \u201cDogs\u201d and \u201cSheep\u201d.) Since Waters decided to snap it in half and write \u201cMachine\u201d and \u201cCigar\u201d to round out the album\u2019s themes of societal disaffection, they effectively mutilated the segue into a work of art.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tRelated Content<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tOn this rehearsal, though, the transition works beautifully, like an alternate universe version of the track, which unfortunately fades out right when they funk their way into Parliament territory with Wright even playing Bernie Worrell-like interstellar noodling. (A later bonus cut in the box set combines the album versions of each half, but the segue still feels unnatural since they didn\u2019t actually record it as such.)<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWaters\u2019 demo of \u201cThe Machine Song\u201d sounds hushed and claustrophobic the way his <em>Wall<\/em> demos sounded in that record\u2019s Immersion box set. He projects a more disillusioned tone than the angry one on \u201cWelcome to the Machine\u201d and the lyrics aren\u2019t as cutting. You didn\u2019t buy a guitar to punish your mom this time; you bought it to \u201cworry\u201d her. The sputtering and crashing synth sounds are present, though, showing his vision of industrial rock arrived fully formed. The version listed as \u201cDemo #2, Revisited\u201d sounds more band-ready, with wah-wah guitar and icy synths, but overall the tone is more resigned and relaxed. It\u2019s still more machine than rage, and it feels more like art-rock than anything that would fly in a stadium.<\/p>\n<figure class=\"wp-block-embed is-type-video is-provider-youtube wp-block-embed-youtube\">\n<div class=\"wp-block-embed__wrapper\">\n<p><iframe loading=\"lazy\" title=\"Pink Floyd - The Machine Song (Demo #2 Revisited - Official Lyric Video)\" width=\"1200\" height=\"675\" src=\"https:\/\/www.youtube.com\/embed\/cY3rPlOsATc?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<\/div>\n<\/figure>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe two versions of \u201cWish You Were Here\u201d included among the outtakes show how Gilmour, specifically, developed the song. The \u201cTake 1\u201d recording has a pronounced acoustic guitar solo at the top with different contours from the album version, and he sounds more tentative delivering Waters\u2019 lyrics, even trying out a different rhythm for the parting \u201cwish you were here\u201d refrain. Without the fuzzy radio effects or the big, contemplative guitar solo at the end, it feels more like a campfire cowboy song the Eagles might have recorded than the poignant statement they ultimately arrived at. The \u201cpedal steel instrumental mix\u201d is just that: It\u2019s the album version with Gilmour playing angelic country-rock guitar throughout. It sounds angelic in this form, like end-credits music, and it somehow carries the same emotional weight as the vocal version, a rare feat.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe concert recording \u2014 captured on April 26, 1975, nearly half a year before the album was released \u2014 at the Los Angeles Sports Arena by <a href=\"https:\/\/www.rollingstone.com\/music\/music-features\/wish-you-were-box-set-bootlegger-1235469966\/\">an ingenious bootlegger<\/a>, sounds about as good as a stereo tape capturing live quadrophonic sound could. It\u2019s disappointing Pink Floyd didn\u2019t have the foresight to record or film their concerts, which paved the way for today\u2019s stadium spectacles with lights, film, and surround-sound effects, especially since <a href=\"https:\/\/www.rollingstone.com\/music\/music-lists\/50-greatest-live-albums-of-all-time-173246\/\">live albums<\/a> were big business in the Seventies. This recording, if it sounded professional, would be even better than any of the big live albums of the era because it presents the band as they truly were, with no re-recording in the studio later to patch up mistakes.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe set list begins with the early versions of the <em>Animals<\/em> songs, titled \u201cRaving and Drooling\u201d and \u201cYou\u2019ve Got to Be Crazy\u201d then and bearing worse lyrics (like Gilmour singing \u201cyou\u2019ve gotta keep on smiling, take another shit\u201d in the latter). Wright\u2019s keys drone on like a bumblebee throughout the former. It must have taken a lot of patience, ardor, and drugs to be an audience member sitting through 25 minutes of music that wouldn\u2019t officially come out for two more years. But as Waters says at the top of \u201cCrazy,\u201d \u201cYou\u2019ll either get it or you won\u2019t.\u201d Either way, the band performed the songs with gusto.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tNext they play the \u201cShine On\u201d suite, now split in half with \u201cHave a Cigar\u201d in the middle. When you listen to the studio versions of these songs you never really think, \u201cHow did four people pull off this densely textured music live?\u201d So it\u2019s curious to spot which guitar and keyboard parts Gilmour and Wright jettisoned from \u201cShine On.\u201d<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tWhen the first half ends with Wright playing a heavenly high note, an audience member shouts \u201cno\u201d or \u201cwhoa\u201d but either way, his disbelief or amazement are rewarded with Gilmour playing the \u201cCigar\u201d riff with more muscular grit than the album version. Live, the song is almost like a heavy-metal funk song in the way it swings and lopes in equal measure. Waters sings lead with Gilmour doubling him in a lower register, singing a more staccato \u201cwhich one\u2019s Pink\u201d than Harper, and it doesn\u2019t feel as good until Gilmour improvises an impressive blues solo far removed from the album version.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThis time, Gilmour\u2019s murky guitar guides the song back into \u201cShine On.\u201d Wright\u2019s keys sound thinner and cheaper than the studio version in this take but he saves the day at the end with a powerful fanfare to close the suite. This half of the set ends with Waters chiding the security at the venue, telling them to sit down and enjoy the show when the band returns.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAnd of course everyone there likely enjoyed the second half of the concert since it was <em>The Dark Side of the Moon<\/em> in full. It\u2019s all looser than the album version. Gilmour jams a little on \u201cBreathe (In the Air),\u201d and comes up a different solo, sighing more than usual, on \u201cTime.\u201d \u201cThe Great Gig in the Sky\u201d sounds jazzier than the album version with backing singers the Blackberries harmonizing what Clare Torry recorded with the band. On \u201cUs and Them,\u201d each singer trades vocals round robin to emulate the studio version\u2019s echo. \u201cAny Colour You Like\u201d stretches a corpulent eight and a half minutes live, and the set ends with a euphoric rendition \u201cEclipse.\u201d Hearing Gilmour warmly harmonize the lyrics with Waters make it a contender for the best, most cathartic concert closer of any band of the era. \u2026 And then they came back and played all 22 majestic minutes of \u201cEchoes,\u201d with a Dick Parry sax solo for good measure, as a finale. All you can do is wish you were there because you probably weren\u2019t.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tThe vinyl edition of the box set (which we\u2019re reviewing here) includes a 12-inch with two live recordings from the \u201cImmersion\u201d box set, a rare, 20-minute, uninterrupted \u201cShine On You Crazy Diamond\u201d and 18-minute \u201cYou\u2019ve Got to Be Crazy,\u201d captured at London\u2019s Wembley in 1974. (Missing is the 12-minute \u201cRaving and Drooling,\u201d probably because it wouldn\u2019t fit.) There\u2019s also a Blu-ray with various mixes of the album (original stereo, Atmos, 5.1 Surround, Seventies quad) and the animations the group used live, replica Japanese \u201cHave a Cigar\u201d 7-inch, a replica poster, and an amusing tour program, which was sort of a <em>Zap Comix<\/em> affair spotlighting each member, including one frame of Waters receiving a nude massage and another of Wright flanked by topless groupies.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tSony, which <a href=\"https:\/\/www.rollingstone.com\/music\/music-news\/pink-floyd-sell-music-catalog-sony-1235101941\/\">bought the rights to Pink Floyd\u2019s catalogue<\/a> last year for $400 million, put a lot of effort into making the collection worthwhile to maximize its ROI and to please fans. The packaging looks incredible, and unlike some reissues where the album art appears Xeroxed, Hipgnosis\u2019 imagery in the reproduction LP looks crisp. The hardcover book includes outtakes from photo shoots (you can finally see the real face of the surrealistic Invisible Man on the back cover) and a couple of rare shots of Syd Barrett when he visited the studio during recording. The outer packaging even mimics the black cellophane (and robots shaking hands sticker) that enveloped the original LP.<\/p>\n<section class=\"brands-most-popular \/\/ recirculation-modules trending-in-article lrv-u-margin-tb-2 lrv-u-border-a-2 u-box-shadow-5-5 lrv-u-padding-lr-1 a-span1 u-padding-b-1@tablet u-overflow-hidden\">\n<h2 id=\"section-heading\" class=\"c-heading larva  lrv-u-text-align-center u-border-color-black a-font-theme-primary-xxs lrv-u-color-black lrv-u-text-transform-uppercase u-letter-spacing-0063 lrv-u-padding-t-050 u-padding-b-0375@tablet lrv-u-padding-b-050@mobile-max lrv-u-border-b-2\">\n<p>\t\tTrending Stories<\/p>\n<\/h2>\n<\/section>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tAt the time of its release, the band was starting to fracture interpersonally, not that it was apparent in the music. Those chasms would widen dramatically over the next decade, leading to Waters\u2019 exit and Gilmour\u2019s control of the band. But for a few months in 1975, all four members worked in unison to create a masterpiece and perform concerts that became legendary, thanks to bootlegs like the one here. <em>Wish You Were Here<\/em> is Pink Floyd\u2019s most humanistic album, and thanks to this box set you can now feel the way they all tapped into the same spirit and developed it into one of their finest moments.<\/p>\n<p class=\"paragraph larva \/\/ lrv-u-line-height-copy  lrv-a-font-body-l   \">\n\tListening to the box set, you remember when they were young: They were heroes and ghosts, legends and martyrs, and, by the way, they were all \u201cPink.\u201d<\/p>\n<\/div>\n<p><br \/>\n<br \/><a href=\"https:\/\/www.rollingstone.com\/music\/music-album-reviews\/pink-floyd-wish-you-were-here-50th-anniversary-box-review-1235482511\/\">Source link <\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Remember when you were young? Pink Floyd\u2018s members (with the exception of drummer Nick Mason) don\u2019t seem to relish the thought, but those opening&#8230;<\/p>\n","protected":false},"author":5,"featured_media":53658,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[36],"tags":[],"class_list":["post-53657","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-pop","article","has-excerpt","has-avatar","has-author","has-date","has-comment-count","has-category-meta","has-read-more","thumbnail-"],"_links":{"self":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/53657","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/users\/5"}],"replies":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/comments?post=53657"}],"version-history":[{"count":0,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/posts\/53657\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media\/53658"}],"wp:attachment":[{"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/media?parent=53657"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/categories?post=53657"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/musicianvoice.com\/index.php\/wp-json\/wp\/v2\/tags?post=53657"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}