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Review of Pink Floyd's "Wish You Were Here"

© Nick Bendel

Wish You Were Here (1975) is the eighth work from the collection of the prolific and legendary British act Pink Floyd. It is also notable in that it is the follow up to the phenomenally successful Dark Side of the Moon (1973).

Those familiar with the band will certainly be able to recognize this album. It has all of the Pink Floyd trademarks- long instrumentals, unexpected lyrics, compulsive guitar and drumming and searching vocals- which all combine to produce a sound that is both stunningly unique and fascinatingly self-indulgent. And, paradoxically, while this sound (and music) is easily identified as being a product of the 70s, it is also typical of Pink Floyd that it somehow evokes the future, a future that is melancholic and yet also hopeful. If all this is confusing then this is typical Pink Floyd, a musical paradox.

All of these features can be seen in ‘Shine On You Crazy Diamond’, which confusingly both opens and closes the album. The first track encompasses Parts I-V, while the final cut is Parts VI-IX. The first track lasts for 13:35 minutes and includes an introduction of 8:43 minutes, while the final track has a duration of 12:30 minutes with an introduction of five minutes. Along with the two lengthy introductions are also two lengthy instrumental conclusions. Altogether, it is probably fair to guess that 75% of the 26:05 minutes devoted to ‘Shine On You Crazy Diamond’ is devoid of vocals. Apart from making confusing reading, all this demonstrates that Pink Floyd do not limit themselves to typical musical structures or conventions. They have their own rules and their own way of doing things. This is why Pink Floyd are the legendary band they are and why their music has an indescribable aura about it.

Having said all that, it is important not to let hyperbole get in the way of dispassionate judgment. All these idiosyncrasies are fascinating, but they must not obscure the one criteria on which all true artists ought to be based- is the music actually good (as opposed to merely cool, or atmospheric)? ‘Shine On You Crazy Diamond’ in many ways is representative of the album as a whole in that one must give it mixed praise. The song is good when the band actually get round to singing. For the other twenty minutes, or so, tedium, rather than enjoyment or anticipation, is the primary emotion. What should be a good song is ruined by self-indulgence. Similarly, what should be a good album is marred by too many instances of experimentation and uniqueness for their own sake. Thus, when one asks that ultimate question- is the music actually good- the answer can only be one of mixed praise.

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