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Album Art for Pink Floydã¢ââ¢s Wish You Were Here

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1975 studio album past Pink Floyd

Wish Yous Were Hither
An image of two men dressed in dark grey business attire standing in the grounds of a Hollywood film studio, facing each other and shaking hands. The man on the right's hair and clothes are on fire, but he seems oblivious to the fact. The upper right edge of the photograph appears singed.

Standard artwork for most releases. Cover by Hipgnosis
Studio album by

Pinkish Floyd
Released 12 September 1975
Recorded 13 January – 28 July 1975[1]
Studio Abbey Route, London
Genre
  • Progressive rock[2]
  • art rock[iii]
Length 44:eleven
Label Harvest (Uk)
Columbia (U.s.a.)
Producer Pinkish Floyd
Pink Floyd chronology
The Dark Side of the Moon
(1973) 		Wish You Were Hither
(1975) 		Animals
(1977)
Additional cover
The circle sticker at the right-centre position shows two machines clasped together, resembling a handshake. The whole circle is divided into four quarters in different colours. The pink quarter, located on upper-left, has the sun shining and "PINK FLOYD" in big font; below the band name is "WISH YOU WERE HERE" in small font. The yellow quarter at lower-left displays sand dunes. The blue quarter at upper-right shows blue skies. The green quarter at lower-right displays green- or teal-coloured water.

Banner used for 1970s vinyl releases packaged in black shrink wrap, 1970s tape releases, 1980s European CD re-releases, and slipcase of 2010s vinyl re-release
Singles from Wish Y'all Were Here
  1. "Take a Cigar" / "Welcome to the Car (US) or Smooth On You Crazy Diamond (Part I) (Italia & France)"
    Released: 15 November 1975
Audio
"Anthology" playlist on YouTube

Wish Yous Were Here is the ninth studio album past the English rock band Pink Floyd, released on 12 September 1975 through Harvest Records and Columbia Records, their first release for the latter. Based on material Pink Floyd composed while performing in Europe, Wish Yous Were Here was recorded over numerous sessions throughout 1975 at Abbey Route Studios in London.

The album'southward themes include criticism of the music business, alienation, and a tribute to founding fellow member Syd Barrett, who had left seven years before due to his deteriorating mental wellness; Barrett coincidentally visited the band during the album's production. Like their previous tape, The Dark Side of the Moon (1973), Pink Floyd used studio furnishings and synthesisers. Guest singers included Roy Harper, who provided the lead vocals on "Have a Cigar", and Venetta Fields, who added backing vocals to "Polish On You Crazy Diamond". To promote the album, the band released the double A-side single "Have a Cigar" / "Welcome to the Machine".

On its release, Wish Y'all Were Here received mixed reviews from critics, who institute its music uninspiring and inferior to their previous piece of work. It has retrospectively received critical acclaim, hailed as one of the greatest albums of all time, and was cited by keyboardist Richard Wright and guitarist David Gilmour every bit their favourite Pink Floyd album. Information technology reached number one in the Usa and U.k., and Harvest's parent company, EMI, was unable to keep upward with the demand. Since then, the record has sold over xx million copies.

Background [edit]

During 1974, Pinkish Floyd sketched out three new compositions, "Raving and Drooling" (which would become "Sheep"), "You Gotta Be Crazy" (which would become "Dogs") and "Shine On You Crazy Diamond".[nb i] [4] These songs were performed during a series of concerts in France and England, the ring's start tour since 1973's The Dark Side of the Moon. As Pink Floyd had never employed a publicist and kept themselves distant from the printing, their human relationship with the media began to sour. Mason said afterwards that a critical NME review by Syd Barrett devotee Nick Kent may have had influence in keeping the band together, as they returned to the studio in the offset week of 1975.[5]

Concept [edit]

Wish You lot Were Hither is Floyd's second album with a conceptual theme and with lyrics entirely by Roger Waters. It reflects his feeling that the camaraderie that had served the band was, by then, largely absent.[6] The album begins with a long instrumental preamble and segues into the lyrics for "Shine On Y'all Crazy Diamond", a tribute to Syd Barrett, whose mental breakdown had forced him to go out the group seven years earlier.[7] Barrett is fondly recalled with lines such every bit "Remember when you were young, you shone like the sun" and "You reached for the secret too shortly, y'all cried for the moon".[viii]

Wish Yous Were Here is also a critique of the music business. "Shine On" crosses seamlessly into "Welcome to the Machine", a song that begins with an opening door (described by Waters as a symbol of musical discovery and progress betrayed by a music industry more interested in greed and success) and ends with a political party, the latter epitomising "the lack of contact and real feelings between people". Similarly, "Accept a Cigar" scorns record manufacture "fat-cats" with the lyrics repeating a stream of cliches heard by rising newcomers in the industry, and including the question "by the way, which ane'southward Pink?" asked of the ring on at to the lowest degree one occasion.[ix] The lyrics of the next song, "Wish You Were Here", relate both to Barrett's condition and to the dichotomy of Waters' character, with greed and ambition battling with compassion and idealism.[10]

"I had some criticisms of Night Side of the Moon…" noted David Gilmour. "One or ii of the vehicles carrying the ideas were not equally strong as the ideas that they carried. I idea we should try and work harder on marrying the idea and the vehicle that carried it, so that they both had an equal magic… It's something I was personally pushing when we made Wish Yous Were Here."[11]

Recording [edit]

A number of cars are parked in the asphalt car-park of a two-storey white building. The building appears once to have been detached, but a two-storey extension is apparent, on the right side of the building. The ground floor contains three large sash windows, each with a small metal railing around the sill. The first floor contains four shorter sash windows. The decorative stonework around the windows and main entrance has been painted grey. Two chimney stacks are visible on the roof, at opposite ends. The staircase entrance to the building is bordered by metal railings. To the left of the image, a much larger brick building can be seen in the distance.

Alan Parsons, EMI staff engineer for Pinkish Floyd's previous studio album, The Nighttime Side of the Moon, declined to proceed working with them. The group had worked with engineer Brian Humphries on More, recorded at Pye Studios,[12] and once more in 1974 when he replaced an inexperienced concert engineer.[13] Humphries was therefore the natural choice to work on the ring's new material, although, existence a stranger to EMI's Abbey Road gear up-up, he encountered some early difficulties. On 1 occasion, Humphries inadvertently spoiled the backing tracks for "Shine On", a piece that Waters and drummer Nick Stonemason had spent many hours perfecting, with repeat. The entire piece had to exist re-recorded.[9] [14] [fifteen]

The sessions for Wish Yous Were Here at Abbey Route'southward Studio Three[16] lasted from Jan until July 1975, recording on four days each week from two:xxx pm until very late in the evening.[17] The group establish it difficult at first to devise any new material, especially equally the success of The Dark Side of the Moon had left all four physically and emotionally drained. Keyboardist Richard Wright subsequently described these sessions as "falling within a difficult period", and Waters recalled them equally "torturous".[eighteen] Stonemason constitute the process of multi-rail recording drawn-out and tedious,[nineteen] while Gilmour was more than interested in improving the ring'due south existing material. Gilmour was too becoming increasingly frustrated with Mason, whose failing marriage had brought on a full general malaise and sense of apathy, both of which interfered with his drumming.[18]

It was a very hard menstruum I have to say. All your childhood dreams had been sort of realised and we had the biggest selling records in the world and all the things y'all got into it for. The girls and the money and the fame and all that stuff information technology was all ... everything had sort of come our way and you had to reassess what you were in information technology for thereafter, and it was a pretty disruptive and sort of empty time for a while. —David Gilmour[15]

Humphries gave his betoken of view regarding these struggled sessions in a 2014 interview: "At that place were days when nosotros didn't do anything. I don't think they knew what they wanted to do. We had a dartboard and an air rifle and we'd play these word games, sit around, become boozer, go abode and return the next day. That'due south all we were doing until of a sudden everything started falling into place."[17]

After several weeks, Waters began to visualise some other concept.[18] The 3 new compositions from 1974's tour were at least a starting betoken for a new album, and "Shine On You Crazy Diamond" seemed a reasonable choice as a centrepiece for the new piece of work. Mostly an instrumental twenty-minute-plus slice similar to "Echoes", the opening 4-note guitar phrase reminded Waters of the lingering ghost of old band-member Syd Barrett.[xx] Gilmour had composed the phrase entirely by accident, but was encouraged by Waters' positive response.[21] Waters wanted to dissever "Shine On You Crazy Diamond", and sandwich 2 new songs between its two halves. Gilmour disagreed, but was outvoted iii to one.[22] "Welcome to the Car" and "Have a Cigar" were barely veiled attacks on the music business, their lyrics working neatly with "Smoothen On" to provide an apt summary of the rise and fall of Barrett;[23] "Because I wanted to get equally shut equally possible to what I felt ... that sort of indefinable, inevitable melancholy about the disappearance of Syd."[twenty] "Raving and Drooling" and "You've Got To Be Crazy" had no place in the new concept, and were set bated until the following anthology, 1977's Animals.[6]

Syd Barrett'south visit [edit]

On 5 June 1975, on the eve of Pink Floyd'south second US tour that yr, Gilmour married his first wife, Ginger.[nb ii] That day, the band were completing the mix of "Shine On You lot Crazy Diamond"[nb three] when an overweight man with shaven head and eyebrows entered, conveying a plastic bag. Waters did not recognise him.[7] Gilmour presumed he was an EMI staff fellow member.[21] Wright presumed he was a friend of Waters, only realised it was Barrett.[24] Mason also failed to recognise him and was "horrified" when Gilmour identified him. In Mason'south Pinkish Floyd memoir Inside Out, he recalled Barrett's conversation as "desultory and non entirely sensible".[25] Cover artist Storm Thorgerson reflected on Barrett's presence: "Two or three people cried. He sat circular and talked for a bit but he wasn't actually there."[26]

Waters was reportedly reduced to tears by the sight of his erstwhile bandmate. When fellow visitor Andrew King asked how Barrett had gained then much weight, Barrett said he had a large refrigerator in his kitchen and had been eating lots of pork chops. He mentioned that he was ready to help with the recording, but while listening to the mix of "Shine On", showed no signs of understanding its relevance to him. Barrett joined Gilmour's wedding reception in the EMI canteen, only left without saying goodbye. Apart from Waters seeing Barrett buying sweets in Harrods a couple of years afterwards, it was the last fourth dimension any member of the band saw him alive. Barrett's appearance may have influenced the final version of "Shine On Yous Crazy Diamond"; a subtle refrain performed past Wright from "See Emily Play" is audible towards the end.[25] Waters said subsequently: "'Shine On' is not actually about Syd—he's just a symbol for all the extremes of absence some people have to indulge in because information technology's the simply way they tin cope with how fucking sad it is, modern life, to withdraw completely. I found that terribly sad."[27]

Instrumentation [edit]

As with The Nighttime Side of the Moon, the band used synthesizers such as the Ems VCS 3 (on "Welcome to the Machine"), just softened with Gilmour's audio-visual guitar, and percussion from Mason.[ix] The offset of "Smoothen On" contains remnants from a previous just incomplete studio recording by the band known as "Household Objects". Wine glasses had been filled with varying amounts of fluid, and recordings were made of a wet finger circling the edge of each glass. These recordings were multi-tracked into chords.[vi]

Jazz violinist Stéphane Grappelli and classical violinist Yehudi Menuhin were performing in another studio in the edifice, and were invited to record a piece for the new anthology. Menuhin watched as Grappelli played on the song "Wish You Were Here"; however, the ring afterwards decided his contribution was unsuitable and, until 2011, information technology was believed that the slice had been wiped.[28] [29] Information technology turns out his playing was included on the album, but and so low in the concluding mix that the band presumed information technology would be insulting to credit him.[30] He was paid £300 for his contribution (equivalent to £2,600 in 2022).[31] [32] Saxophonist Dick Parry, who had performed on The Night Side of the Moon, performed on "Smooth On You Crazy Diamond".[33] The opening confined of "Wish You Were Here" were recorded from Gilmour's car radio, with somebody turning the punch (the classical music heard is the finale of Tchaikovsky'south Fourth Symphony).[34]

Vocals [edit]

Recording sessions had twice been interrupted by The states tours (one in Apr and the other in June 1975),[35] and the final sessions, which occurred after the band's operation at Knebworth, proved specially troublesome for Waters.[22] He struggled to record the vocals for "Have a Cigar", requiring several takes to perform an acceptable version. His problems stemmed in role from the stresses placed upon his voice while recording the lead vocals of "Shine On You Crazy Diamond". Gilmour was asked to sing in his place,[28] just declined, and eventually colleague and friend Roy Harper was asked to stand in. Harper was recording his ain album in another of Abbey Road'south studios, and Gilmour had already performed some guitar licks for him. Waters after regretted the decision, believing he should have performed the song.[36] The Blackberries recorded backing vocals for "Shine On Yous Crazy Diamond".[33]

Touring [edit]

The band played much of Wish You Were Hither on v July 1975 at the Knebworth music festival. Roy Harper, performing at the aforementioned result, on discovering that his phase costume was missing, proceeded to destroy one of Pink Floyd'southward vans, injuring himself in the process. This delayed the normal setup procedure of the band'due south sound system. Every bit a pair of World State of war 2 Supermarine Spitfire had been booked to fly over the crowd during their archway, the band were not able to filibuster their set. The event was that a power supply problem pushed Wright's keyboards completely out of tune, damaging the band's performance. At one point he left the phase, but the band were able to continue with a less sensitive keyboard, a pianoforte and a simpler calorie-free show. Post-obit a brief intermission, they returned to perform The Dark Side of the Moon, merely critics displeased nigh being denied access backstage savaged the performance.[37] [38]

Packaging [edit]

Bordering an asphalt road, receding into the distance, are two rows of large beige coloured buildings. Another beige building blocks the horizon, above which mountains are visible in the distance. The sky is blue with no clouds. Several cars are parked outside the buildings. Near the photographer, at a large open entrance to one building, the word STOP has been painted in white on the road. Next to it, a fire hydrant is visible, in front of which the words FIRE LANE are painted on the road.

Function of the Warner Bros. studio complex in California, where the cover image was photographed

A rock formation rises from the surface of a calm lake. In the distance, the horizon is filled with hills. The sky is blue with clouds The rocks appear grey in colour.

Wish You Were Hither was sold in one of the more elaborate packages to back-trail a Pinkish Floyd album. Storm Thorgerson had accompanied the band on their 1974 bout and had given serious thought to the meaning of the lyrics, somewhen deciding that the songs were, in general, concerned with "unfulfilled presence", rather than Barrett's illness.[39] This theme of absenteeism was reflected in the ideas produced by his long hours spent brainstorming with the band. Thorgerson had noted that Roxy Music's Country Life was sold in an opaque dark-green cellophane sleeve – censoring the cover image – and he copied the idea, concealing the artwork for Wish Yous Were Here in a black-coloured shrink-wrap (therefore making the album fine art "absent-minded"). The concept behind "Welcome to the Automobile" and "Accept a Cigar" suggested the use of a handshake (an often empty gesture), and George Hardie designed a sticker containing the anthology's logo of two mechanical hands engaged in a handshake, to exist placed on the opaque sleeve (the mechanical handshake logo would also appear on the labels of the vinyl album this time in a black and bluish groundwork).[40] [41]

The anthology's embrace images were photographed by Aubrey "Po" Powell, Storm's partner at the design studio Hipgnosis, and inspired by the idea that people tend to conceal their true feelings, for fear of "getting burned", and thus 2 businessmen were pictured shaking hands, i man on fire. "Getting burned" was also a common phrase in the music manufacture, used often by artists denied royalty payments. Two stuntmen were used (Ronnie Rondell and Danny Rogers), one dressed in a fireproof suit covered by a business suit. His head was protected by a hood, underneath a wig. The photo was taken at Warner Bros. Studios in California, known at the time every bit The Burbank Studios.[twoscore] [41] Initially the wind was blowing in the wrong management, and the flames were forced into Rondell's face, burning his moustache. The two stuntmen changed positions, and the image was later reversed.[42]

The album'southward back comprehend depicts a faceless "Floyd salesman", in Thorgerson's words, "selling his soul" in the desert (shot in the Yuma Desert in California again past Aubrey "Po" Powell). The absence of wrists and ankles signifies his presence as an "empty adjust". The inner sleeve shows a veil concealing a nude woman in a windswept Norfolk grove, and a splash-less diver at Mono Lake – titled Monosee (the German translation of Mono Lake) on the liner notes – in California (once again emphasising the theme of absence).[40] [41] The decision to shroud the comprehend in black plastic was not popular with the band's US record company, Columbia Records, who insisted that it be changed (they were over-ruled). EMI were less concerned;[42] [43] the band were reportedly extremely happy with the terminate product, and when presented with a pre-production mockup, they accustomed it with a spontaneous round of applause.[twoscore]

Release [edit]

The album was released on 12 September 1975 in the UK, and on the following day in the United states of america.[44] Information technology was Pink Floyd's first album with Columbia Records, an affiliate of CBS; the ring and their managing director Steve O'Rourke had been dissatisfied with the efforts of EMI's United states characterization Capitol Records.[45] The ring remained with EMI'south Harvest Records in Europe.[46]

In Britain, with 250,000 accelerate sales,[47] the anthology debuted at number three[48] and reached number one the following calendar week.[49] [nb 4] Demand was such that EMI informed retailers that only 50 per cent of their orders would be fulfilled.[47] With 900,000 advance orders (the largest for any Columbia release)[50] it reached number one on the US Billboard chart in its second week. Wish You Were Hither was Pink Floyd's fastest-selling album ever.[47] The album was certified Silver and Gold (60,000 and 100,000 sales respectively) in the United kingdom of great britain and northern ireland on 1 August 1975, and Aureate in the United states of america on 17 September 1975. Information technology was certified six times platinum on 16 May 1997,[51] and by 2004 had sold an estimated 20 1000000 copies worldwide.[41] "Accept a Cigar" was chosen by Columbia as their offset single,[9] with "Welcome to the Machine" on the B-side in the US.[nb 5] The album was a commercial hit in Europe, topping Dutch, English and Spanish charts – in Kingdom of spain, the anthology remained at number one for 20 weeks.

Critical reception [edit]

Retrospective professional reviews
Review scores
Source Rating
AllMusic [53]
Blender [54]
Christgau'due south Record Guide A–[55]
Encyclopedia of Pop Music [56]
The Peachy Stone Discography 10/x[57]
Music Story [57]
MusicHound Rock 5/5[58]
Tape Collector [59]
The Rolling Stone Album Guide [lx]
Tom Hull – on the Web A[61]

On release, the album received mixed reviews. Ben Edmunds wrote in Rolling Stone that the band's "lackadaisical demeanor" leaves the subject of Barrett "unrealised; they give such a matter-of-fact reading of the goddamn matter that they might as well be singing almost Roger Waters's brother-in-police getting a parking ticket." Edmunds concluded the band is "devoid" of the "sincere passion for their 'fine art'" that contemporary space rock acts purportedly have.[62] Melody Maker 's reviewer wrote: "From whichever direction one approaches Wish You Were Hither, it even so sounds unconvincing in its ponderous sincerity and displays a disquisitional lack of imagination in all departments."[44] A positive review came from Robert Christgau in The Village Voice: "The music is not simply simple and attractive, with the synthesizer used mostly for texture and the guitar breaks for annotate, but it actually achieves some of the symphonic nobility (and cross-referencing) that The Dark Side of the Moon simulated so ponderously."[63] Years later, he reflected farther on the record: "My favorite Pink Floyd album has always been Wish You Were Here, and you know why? It has soul, that's why – it's Roger Waters's lament for Syd, not my idea of a tragic hero but as long as he's Roger's that doesn't matter."[64]

Wish You Were Here has since been frequently regarded every bit one of the greatest albums of all time, and is generally ranked as one of the greatest progressive rock albums. According to Acclaimed Music it is the 212th nigh historic album in popular music history.[65] In 2003, it was ranked at number 209 on Rolling Stone'southward list of the 500 greatest albums of all time,[66] ranked at number 211 in a 2012 revised list,[67] and ranked at number 264 in a 2020 revised list.[68] In 2015, it was chosen as the fourth-greatest progressive rock album by Rolling Stone.[2] In 2014, British stone magazine Louder ranked it as the seventh-greatest progressive rock anthology of all fourth dimension.[69] In 1998, Q readers voted Wish You Were Here the 34th-greatest anthology of all time.[seventy] In 2000, the same magazine placed information technology at number 43 in its list of the 100 Greatest British Albums Always.[71] In 2000 information technology was voted number 38 in Colin Larkin's All Time Peak m Albums.[72] In 2007, i of Germany's largest public radio stations, WDR two, asked its listeners to vote for the 200 best albums of all fourth dimension. Wish You Were Hither was voted number one.[73] In 2004, Wish You Were Here was ranked number 36 on Pitchfork Media'southward listing of the Pinnacle 100 albums of the 1970s.[74] IGN rated Wish You Were Here every bit the 8th-greatest archetype rock album,[75] and Ultimate Classic Rock placed Wish You Were Here second all-time in its list of "Worst to Best Pink Floyd Albums".[76]

Despite the bug during production, the album remained Wright's favourite: "It'south an album I can mind to for pleasure, and there aren't many Floyd albums that I can."[seven] [77] Gilmour shares this view: "I for one would take to say that it is my favourite album, the Wish You Were Here album. The finish result of all that, whatever it was, definitely has left me an album I tin live with very very happily. I like it very much."[15]

Reissues and remastering [edit]

Wish You Were Here has been remastered and re-released on several formats. In the UK and US the album was re-issued in quadraphonic using the SQ format in 1976,[nb 6] and in 1980 a special Hi-Fi Today audiophile print was released in the Uk.[nb vii] It was released on CD in Japan in October 1982,[nb 8] in the U.s. in 1983, and in the Britain in 1985,[nb nine] and once more as a remastered CD with new artwork in 1994.[nb 10] In the US, Columbia's CBS Mastersound label released a half-speed mastered audiophile LP in 1981,[nb eleven] and in 1994 Sony Mastersound released a 24-carat gilded-plated CD, remastered using Super Bit Mapping, with the original artwork from the LP in both longbox and jewel instance forms, the latter with a cardboard slipcover.[nb 12] [41] The anthology was included as part of the box set Smoothen On,[78] and five years after Columbia Records released an updated remastered CD, 17 seconds longer than the EMI remasters from 1994, giving a running time of 44:28.[41]

The label was a recreation of the original motorcar handshake logo, with a blackness and blue groundwork.[nb 13] The album was subsequently re-released in 2000 for its 25th anniversary, on the Capitol Records label in the US.[nb 14] [41] The album was re-released and remixed in 2011 in multiple editions every bit part of the Why Pink Floyd...? reissue campaign. The Wish You Were Here – Immersion Box Set includes the new stereo digital remaster (2011) past James Guthrie on CD, an unreleased 5.1 Surround Mix (2009) past James Guthrie on DVD and Blu-ray, a Quad Mix (which had been released merely on vinyl LP and viii-runway tape) on DVD, equally well as the original stereo mix (1975) on DVD and Blu-ray.[nb fifteen] This entrada likewise featured the 2011 stereo remaster on 180g heavyweight vinyl,[nb xvi] as well every bit the 2011 stereo remaster and the 5.1 surroundings sound mix (2009) as a hybrid Super Sound CD (SACD). In 2016, the 180g vinyl was re-released on the band'south ain Pink Floyd Records label (with distribution past Warner Music and Sony Music) this fourth dimension remastered by James Guthrie, Joel Plante and Bernie Grundman.

Track list [edit]

All lyrics are written by Roger Waters.

Side 1
No. Title Music Lead vocals Length
i. "Smooth On Y'all Crazy Diamond" (Parts I–Five)
  • David Gilmour
  • Richard Wright
  • Roger Waters
 Waters xiii:32
ii. "Welcome to the Machine" Waters Gilmour 7:28
Full length: 21:00
Side 2
No. Title Music Atomic number 82 vocals Length
i. "Have a Cigar" (featuring Roy Harper) Waters Harper 5:08
2. "Wish You Were Hither"
  • Waters
  • Gilmour
 Gilmour v:35
3. "Shine On You Crazy Diamond" (Parts Half-dozen–Nine)
  • Wright
  • Gilmour
  • Waters
  • (Parts VI–Viii)
    Wright (Part Nine)
Waters 12:28
Total length: 23:11
Columbia Records 1st, 2d, 3rd, and fourth event cassette releases

Side One

No. Title Length
one. "Shine On You Crazy Diamond: Role I; Role Ii; Part Three; Part IV; Office V" 13:32
ii. "Welcome To The Machine" seven:28
Full length: 21:00

Side Ii

No. Title Length
one. "Take A Cigar" 5:08
2. "Wish Yous Were Hither" five:35
iii. "Smooth On You Crazy Diamond: Part VI; Office 7; Part Eight; Role IX" 12:28
Total length: 23:eleven
1982 Japanese CD Reissue
No. Title Length
one. "Shine On You Crazy Diamond (Parts I-V) – Welcome To The Auto" 21:03
2. "Have A Cigar – Wish You Were Hither – Shine On You Crazy Diamond (Parts VI-IX)" 23:x
Total length: 44:thirteen

Personnel [edit]

Pink Floyd [edit]

  • David Gilmour – vocals, guitars, pedal steel guitar, EMS Synthi AKS, additional bass, drinking glass harmonica, record effects
  • Roger Waters – vocals, bass guitar, EMS VCS 3, additional guitar, glass harmonica, tape effects
  • Nick Stonemason – drums, percussion, timpani, cymbals, tape effects
  • Richard Wright – Hammond organ, ARP String Ensemble, Minimoog, Steinway piano, Ems VCS 3, Hohner Clavinet D6, Wurlitzer EP-200 electric piano, Rhodes piano, glass harmonica, bankroll vocals

Boosted musicians [edit]

  • Dick Parry – tenor and baritone saxophone on "Smooth On You Crazy Diamond"[79]
  • Roy Harper – lead vocals on "Have a Cigar"[eighty]
  • Venetta Fields – backing vocals
  • Carlena Williams – bankroll vocals

Production [edit]

  • Brian Humphries – engineering
  • Peter James – technology, banana engineering
  • Bernie Caulder
  • Phil Taylor – additional photography (remaster)
  • Hipgnosis – pattern, photography
  • Peter Christopherson, Jeff Smith, Howard Bartrop and Richard Manning – design assistants
  • George Hardie – graphics
  • Jill Furmanovsky – boosted photography (remaster)
  • Doug Sax, James Guthrie – 1992 remastering at The Mastering Lab[81]
  • James Guthrie, Joel Plante – 2011 remastering at das boot recording[82]

Charts [edit]

Certifications and sales [edit]

References [edit]

Informational notes

  1. ^ The first 2 would subsequently be renamed "Sheep" and "Dogs", and reappear on Animals.
  2. ^ In that location seems to be some confusion about the date that Barrett turned up, and Gilmour's wedding. Blake (2008) writes that Gilmour's wedding was on seven July, the date also given past Ginger in "The Pinkish Floyd FAQ", but that witnesses swore they saw Barrett at his reception at Abbey Road. Other authors merits that the reception and Barrett's visit were on 5 June.
  3. ^ Nick Mason has expressed uncertainty over this.[16]
  4. ^ In his group biography, Nicholas Schaffner wrote "In America, the album hit number i in its second week on the Billboard charts; in Britain—where information technology went directly to the top on the strength of a quarter-million's accelerate sales..." [emphasis added][47]
  5. ^ EMI Capitol 72438–58885[52]
  6. ^ EMI Harvest Q4 SHVL 814 (United kingdom), Columbia PCQ 33453 (US)
  7. ^ EMI Harvest SHVL 814
  8. ^ CBS/Sony 35DP 4
  9. ^ Columbia CK 33453 (U.s.a.), EMI CDP 7460352 (U.k.)
  10. ^ EMI CD EMD 1062
  11. ^ Columbia HC 33453
  12. ^ Columbia CK 53753
  13. ^ Columbia CK 64405
  14. ^ Capitol 72438297502
  15. ^ Capitol 509990294352
  16. ^ Capitol 5099902988016

Citations

  1. ^ Guesdon, Jean-Michel (2017). Pinkish Floyd All The Songs. Running Press.
  2. ^ a b "50 Greatest Prog Rock Albums of All Time". Rolling Stone. 17 June 2015. Retrieved 28 July 2016.
  3. ^ Pink Floyd. Spin. 2002. p. 78.
  4. ^ Schaffner 1991, p. 178
  5. ^ Schaffner 1991, pp. 178–184
  6. ^ a b c Mason 2005, p. 204
  7. ^ a b c The Pink Floyd and Syd Barrett Story (DVD), BBC, 2003
  8. ^ Di Perna 2002, p. 23
  9. ^ a b c d Schaffner 1991, p. 187
  10. ^ Schaffner 1991, p. 188
  11. ^ Fielder, Hugh: "Sinking the pink"; Archetype Rock #48, Christmas 2002, p59
  12. ^ Stonemason 2005, pp. 134, 200
  13. ^ Bricklayer 2005, p. 200
  14. ^ Bricklayer 2005, pp. 202–203
  15. ^ a b c In the Studio with Redbeard, Barbarosa Ltd. Productions, 1992, archived from the original on 14 December 2010
  16. ^ a b Bricklayer 2005, p. 208
  17. ^ a b Buskin, Richard (December 2014). "Pinkish Floyd 'Polish On Yous Crazy Diamond'". Audio on Sound . Retrieved 24 April 2016.
  18. ^ a b c Schaffner 1991, pp. 184–185
  19. ^ Bricklayer 2005, p. 202
  20. ^ a b Schaffner 1991, p. 184
  21. ^ a b Watkinson & Anderson 2001, p. 119
  22. ^ a b Povey 2007, p. 190
  23. ^ Schaffner 1991, pp. 185–186
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Bibliography

  • Blake, Mark (2008), Comfortably Numb—The Inside Story of Pink Floyd, Da Capo, ISBN978-0-306-81752-vi
  • Blake, Marker (2011), Pigs Might Fly-The Inside Story of Pink Floyd, Aurum Printing, ISBN978-1-845-13748-9
  • Di Perna, Alan (2002), Guitar World Presents Pink Floyd, Hal Leonard Corporation, ISBN0-634-03286-0
  • Harris, John (2006), The Nighttime Side of the Moon (three ed.), Harper Perennial, ISBN978-0-00-779090-6
  • Bricklayer, Nick (2005), Philip Dodd (ed.), Inside Out: A Personal History of Pinkish Floyd (Paperback ed.), Phoenix, ISBN0-7538-1906-six
  • Povey, Glenn (2007), Echoes, Mind Caput Publishing, ISBN978-0-9554624-0-v
  • Schaffner, Nicholas (1991), Saucerful of Secrets (ane ed.), London: Sidgwick & Jackson, ISBN0-283-06127-eight
  • Watkinson, Mike; Anderson, Pete (2001), Crazy diamond: Syd Barrett & the dawn of Pink Floyd (Illustrated ed.), Coach Press, ISBN0-7119-8835-8

Further reading [edit]

  • Reising, Russell (2005). Speak to Me. Ashgate Publishing. ISBN0-7546-4019-1.
  • For a boob tube documentary on the album, meet The Story Of Wish You Were Here, Eagle Rock, 25 June 2012

External links [edit]

  • Official Pinkish Floyd website
  • Wish You lot Were Here at Discogs (list of releases)

johnsonjuld1967.blogspot.com

Source: https://en.wikipedia.org/wiki/Wish_You_Were_Here_(Pink_Floyd_album)

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