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What Is the Cover Art for Wish You Were Here

Written By Thursday, 5 May 2022 Add Comment Edit

1975 studio anthology by Pinkish Floyd

Wish Yous Were Here
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

Pink Floyd
Released 12 September 1975
Recorded 13 January – 28 July 1975[ane]
Studio Abbey Route, London
Genre
  • Progressive rock[2]
  • art rock[3]
Length 44:11
Label Harvest (United kingdom)
Columbia (US)
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 blackness shrink wrap, 1970s record releases, 1980s European CD re-releases, and slipcase of 2010s vinyl re-release
Singles from Wish You lot Were Here
  1. "Take a Cigar" / "Welcome to the Motorcar (US) or Shine On You lot Crazy Diamond (Part I) (Italy & French republic)"
    Released: xv November 1975
Audio
"Album" playlist on YouTube

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

The album's themes include criticism of the music business, breach, and a tribute to founding fellow member Syd Barrett, who had left seven years earlier due to his deteriorating mental health; Barrett coincidentally visited the band during the album's product. Similar their previous tape, The Night Side of the Moon (1973), Pink Floyd used studio effects and synthesisers. Guest singers included Roy Harper, who provided the lead vocals on "Have a Cigar", and Venetta Fields, who added backing vocals to "Smoothen 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 You Were Here received mixed reviews from critics, who found its music uninspiring and inferior to their previous work. It has retrospectively received disquisitional acclaim, hailed as one of the greatest albums of all fourth dimension, and was cited by keyboardist Richard Wright and guitarist David Gilmour as their favourite Pink Floyd album. It reached number ane in the US and Great britain, 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, Pink Floyd sketched out three new compositions, "Raving and Drooling" (which would become "Sheep"), "Y'all Gotta Be Crazy" (which would get "Dogs") and "Shine On Y'all Crazy Diamond".[nb 1] [4] These songs were performed during a series of concerts in France and England, the ring'south first tour since 1973's The Dark Side of the Moon. As Pinkish Floyd had never employed a publicist and kept themselves distant from the press, their relationship with the media began to sour. Mason said after that a disquisitional 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 first calendar week of 1975.[5]

Concept [edit]

Wish Yous Were Here is Floyd's second anthology with a conceptual theme and with lyrics entirely past Roger Waters. It reflects his feeling that the camaraderie that had served the band was, by so, largely absent.[half-dozen] The anthology begins with a long instrumental preamble and segues into the lyrics for "Shine On Yous Crazy Diamond", a tribute to Syd Barrett, whose mental breakdown had forced him to exit the group seven years earlier.[seven] Barrett is fondly recalled with lines such as "Remember when you were immature, you lot shone like the sunday" and "You lot reached for the secret too soon, you cried for the moon".[8]

Wish Y'all Were Here is also a critique of the music business. "Shine On" crosses seamlessly into "Welcome to the Machine", a vocal that begins with an opening door (described by Waters every bit a symbol of musical discovery and progress betrayed by a music industry more than interested in greed and success) and ends with a party, the latter epitomising "the lack of contact and existent feelings between people". Similarly, "Have a Cigar" scorns tape manufacture "fat-cats" with the lyrics repeating a stream of cliches heard by rising newcomers in the industry, and including the question "past the way, which one's Pink?" asked of the band on at least one occasion.[ix] The lyrics of the next song, "Wish You lot Were Here", chronicle both to Barrett'due south status and to the dichotomy of Waters' character, with greed and ambition battling with compassion and idealism.[10]

"I had some criticisms of Dark Side of the Moon…" noted David Gilmour. "I or two of the vehicles carrying the ideas were non every bit strong as the ideas that they carried. I thought we should endeavor and work harder on marrying the thought and the vehicle that carried information technology, and so that they both had an equal magic… It'southward something I was personally pushing when we made Wish You lot Were Here."[eleven]

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 Pink Floyd's previous studio anthology, The Dark Side of the Moon, declined to go along working with them. The group had worked with engineer Brian Humphries on More than, recorded at Pye Studios,[12] and again in 1974 when he replaced an inexperienced concert engineer.[13] Humphries was therefore the natural choice to work on the band'due south new material, although, beingness a stranger to EMI's Abbey Road set-up, he encountered some early on difficulties. On one occasion, Humphries inadvertently spoiled the backing tracks for "Shine On", a piece that Waters and drummer Nick Mason had spent many hours perfecting, with echo. The entire piece had to exist re-recorded.[9] [fourteen] [15]

The sessions for Wish Y'all Were Here at Abbey Road's Studio Iii[16] lasted from Jan until July 1975, recording on four days each week from ii:30 pm until very late in the evening.[17] The group plant it difficult at first to devise any new fabric, peculiarly as the success of The Dark Side of the Moon had left all 4 physically and emotionally drained. Keyboardist Richard Wright later described these sessions as "falling within a difficult flow", and Waters recalled them equally "torturous".[eighteen] Mason institute the procedure of multi-track recording drawn-out and tedious,[19] while Gilmour was more than interested in improving the band'due south existing fabric. Gilmour was likewise becoming increasingly frustrated with Mason, whose declining marriage had brought on a general malaise and sense of apathy, both of which interfered with his drumming.[eighteen]

It was a very difficult period 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 yous got into it for. The girls and the money and the fame and all that stuff it was all ... everything had sort of come our mode and you had to reassess what you were in it for thereafter, and it was a pretty confusing and sort of empty fourth dimension for a while. —David Gilmour[fifteen]

Humphries gave his point of view regarding these struggled sessions in a 2014 interview: "At that place were days when we didn't do annihilation. I don't think they knew what they wanted to do. We had a dartboard and an air rifle and we'd play these give-and-take games, sit effectually, get drunk, go home and return the adjacent day. That's all we were doing until suddenly everything started falling into place."[17]

Later on several weeks, Waters began to visualise another concept.[eighteen] The iii new compositions from 1974's tour were at least a starting point for a new anthology, and "Shine On You Crazy Diamond" seemed a reasonable choice equally a centrepiece for the new work. Mostly an instrumental 20-minute-plus slice similar to "Echoes", the opening 4-note guitar phrase reminded Waters of the lingering ghost of former band-member Syd Barrett.[20] Gilmour had composed the phrase entirely by blow, but was encouraged past Waters' positive response.[21] Waters wanted to split up "Smoothen On You Crazy Diamond", and sandwich ii new songs betwixt its ii halves. Gilmour disagreed, but was outvoted three to one.[22] "Welcome to the Motorcar" and "Have a Cigar" were barely veiled attacks on the music business, their lyrics working neatly with "Polish On" to provide an apt summary of the rise and autumn of Barrett;[23] "Because I wanted to get equally shut equally possible to what I felt ... that sort of indefinable, inevitable melancholy well-nigh the disappearance of Syd."[xx] "Raving and Drooling" and "You've Got To Be Crazy" had no place in the new concept, and were gear up bated until the following anthology, 1977'south Animals.[6]

Syd Barrett'southward visit [edit]

On 5 June 1975, on the eve of Pink Floyd's 2d U.s.a. tour that year, Gilmour married his offset wife, Ginger.[nb ii] That solar day, the band were completing the mix of "Shine On You Crazy Diamond"[nb iii] when an overweight man with shaven head and eyebrows entered, carrying a plastic bag. Waters did non recognise him.[vii] Gilmour presumed he was an EMI staff member.[21] Wright presumed he was a friend of Waters, but realised information technology was Barrett.[24] Mason also failed to recognise him and was "horrified" when Gilmour identified him. In Mason's Pink Floyd memoir Inside Out, he recalled Barrett's conversation as "sporadic and not entirely sensible".[25] Cover artist Tempest Thorgerson reflected on Barrett's presence: "Two or three people cried. He sat round and talked for a scrap but he wasn't really there."[26]

Waters was reportedly reduced to tears past the sight of his former 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 assist with the recording, just while listening to the mix of "Shine On", showed no signs of agreement its relevance to him. Barrett joined Gilmour'southward wedding reception in the EMI canteen, but left without proverb goodbye. Apart from Waters seeing Barrett buying sweets in Harrods a couple of years later, it was the last time any member of the band saw him alive. Barrett'south appearance may have influenced the final version of "Smooth On You Crazy Diamond"; a subtle refrain performed by Wright from "Run into Emily Play" is aural towards the end.[25] Waters said after: "'Shine On' is not really about Syd—he's only a symbol for all the extremes of absence some people accept to indulge in because information technology'south the only way they can cope with how fucking distressing it is, modern life, to withdraw completely. I constitute that terribly lamentable."[27]

Instrumentation [edit]

Every bit with The Dark Side of the Moon, the band used synthesizers such every bit the EMS VCS 3 (on "Welcome to the Machine"), simply softened with Gilmour's acoustic guitar, and percussion from Mason.[9] The beginning of "Shine On" contains remnants from a previous but incomplete studio recording past the band known equally "Household Objects". Wine glasses had been filled with varying amounts of fluid, and recordings were made of a moisture finger circling the edge of each drinking glass. These recordings were multi-tracked into chords.[half dozen]

Jazz violinist Stéphane Grappelli and classical violinist Yehudi Menuhin were performing in another studio in the edifice, and were invited to tape a slice for the new album. Menuhin watched as Grappelli played on the song "Wish Y'all Were Here"; all the same, the band later decided his contribution was unsuitable and, until 2011, it was believed that the piece had been wiped.[28] [29] It turns out his playing was included on the album, but so low in the concluding mix that the band presumed it would exist insulting to credit him.[xxx] He was paid £300 for his contribution (equivalent to £ii,600 in 2022).[31] [32] Saxophonist Dick Parry, who had performed on The Dark Side of the Moon, performed on "Shine On You Crazy Diamond".[33] The opening bars of "Wish You Were Here" were recorded from Gilmour's car radio, with somebody turning the dial (the classical music heard is the finale of Tchaikovsky'south Fourth Symphony).[34]

Vocals [edit]

Recording sessions had twice been interrupted by US tours (ane in April and the other in June 1975),[35] and the final sessions, which occurred afterward the band'south performance at Knebworth, proved particularly 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 part from the stresses placed upon his voice while recording the lead vocals of "Shine On You lot Crazy Diamond". Gilmour was asked to sing in his place,[28] but declined, and somewhen colleague and friend Roy Harper was asked to stand up in. Harper was recording his own album in another of Abbey Route's studios, and Gilmour had already performed some guitar licks for him. Waters later regretted the conclusion, believing he should take performed the vocal.[36] The Blackberries recorded backing vocals for "Shine On You Crazy Diamond".[33]

Touring [edit]

The band played much of Wish You Were Here on 5 July 1975 at the Knebworth music festival. Roy Harper, performing at the aforementioned issue, on discovering that his stage costume was missing, proceeded to destroy ane of Pink Floyd'southward vans, injuring himself in the procedure. This delayed the normal setup process of the ring'south audio system. Equally a pair of World War II Supermarine Spitfire had been booked to wing over the crowd during their archway, the band were not able to filibuster their set up. The effect was that a power supply trouble pushed Wright's keyboards completely out of melody, dissentious the band'southward performance. At one point he left the phase, only the band were able to continue with a less sensitive keyboard, a piano and a simpler light show. Following a brief interruption, they returned to perform The Night Side of the Moon, merely critics displeased about being denied admission backstage savaged the functioning.[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.

Part 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 Y'all Were Here was sold in one of the more elaborate packages to back-trail a Pink Floyd anthology. Storm Thorgerson had accompanied the band on their 1974 tour and had given serious idea to the meaning of the lyrics, eventually deciding that the songs were, in general, concerned with "unfulfilled presence", rather than Barrett's illness.[39] This theme of absence 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 You lot Were Here in a black-coloured shrink-wrap (therefore making the album fine art "absent"). The concept behind "Welcome to the Machine" and "Have a Cigar" suggested the apply of a handshake (an oft empty gesture), and George Hardie designed a sticker containing the anthology'southward logo of two mechanical hands engaged in a handshake, to be 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 album'south cover images were photographed past Aubrey "Po" Powell, Storm's partner at the design studio Hipgnosis, and inspired past the idea that people tend to muffle their true feelings, for fear of "getting burned", and thus 2 businessmen were pictured shaking hands, 1 man on fire. "Getting burned" was also a mutual phrase in the music manufacture, used oftentimes by artists denied royalty payments. 2 stuntmen were used (Ronnie Rondell and Danny Rogers), one dressed in a fireproof adjust covered by a business organisation conform. His head was protected by a hood, underneath a wig. The photograph was taken at Warner Bros. Studios in California, known at the fourth dimension every bit The Burbank Studios.[twoscore] [41] Initially the current of air was blowing in the wrong direction, and the flames were forced into Rondell's face, burning his moustache. The two stuntmen inverse positions, and the image was afterward reversed.[42]

The album'south dorsum encompass depicts a faceless "Floyd salesman", in Thorgerson'south words, "selling his soul" in the desert (shot in the Yuma Desert in California again by Aubrey "Po" Powell). The absence of wrists and ankles signifies his presence as an "empty suit". 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 language translation of Mono Lake) on the liner notes – in California (again emphasising the theme of absence).[forty] [41] The decision to shroud the cover in black plastic was not popular with the band's United states of america 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 stop product, and when presented with a pre-production mockup, they accepted it with a spontaneous round of adulation.[40]

Release [edit]

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

In Britain, with 250,000 advance sales,[47] the album debuted at number three[48] and reached number 1 the following week.[49] [nb 4] Demand was such that EMI informed retailers that merely 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 Yous Were Here was Pink Floyd's fastest-selling anthology always.[47] The album was certified Silver and Golden (60,000 and 100,000 sales respectively) in the UK on 1 August 1975, and Gold in the Us on 17 September 1975. Information technology was certified six times platinum on 16 May 1997,[51] and by 2004 had sold an estimated xx million copies worldwide.[41] "Accept a Cigar" was chosen past Columbia as their showtime single,[9] with "Welcome to the Machine" on the B-side in the Usa.[nb 5] The album was a commercial hit in Europe, topping Dutch, English and Castilian charts – in Spain, the anthology remained at number one for xx weeks.

Critical reception [edit]

Retrospective professional reviews
Review scores
Source Rating
AllMusic [53]
Blender [54]
Christgau's Tape Guide A–[55]
Encyclopedia of Popular Music [56]
The Great Rock Discography x/10[57]
Music Story [57]
MusicHound Rock v/5[58]
Tape Collector [59]
The Rolling Stone Album Guide [60]
Tom Hull – on the Spider 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 thing that they might likewise exist singing near Roger Waters's brother-in-law getting a parking ticket." Edmunds ended the band is "devoid" of the "sincere passion for their 'fine art'" that contemporary space rock acts purportedly take.[62] Melody Maker 's reviewer wrote: "From whichever management i approaches Wish You Were Here, it still 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 non only elementary and bonny, with the synthesizer used generally for texture and the guitar breaks for comment, only it actually achieves some of the symphonic dignity (and cross-referencing) that The Dark Side of the Moon simulated so ponderously."[63] Years later, he reflected further on the record: "My favorite Pinkish Floyd album has always been Wish You Were Here, and y'all know why? It has soul, that's why – information technology'south Roger Waters's lament for Syd, not my idea of a tragic hero merely as long every bit he's Roger'southward that doesn't matter."[64]

Wish Yous Were Hither has since been frequently regarded as one of the greatest albums of all time, and is more often than not ranked equally one of the greatest progressive rock albums. According to Acclaimed Music it is the 212th most historic album in popular music history.[65] In 2003, it was ranked at number 209 on Rolling Stone's list of the 500 greatest albums of all fourth dimension,[66] ranked at number 211 in a 2012 revised listing,[67] and ranked at number 264 in a 2020 revised listing.[68] In 2015, it was chosen as the fourth-greatest progressive stone anthology by Rolling Stone.[2] In 2014, British rock magazine Louder ranked it as the seventh-greatest progressive rock album of all time.[69] In 1998, Q readers voted Wish You Were Here the 34th-greatest album of all time.[70] In 2000, the same magazine placed it at number 43 in its listing of the 100 Greatest British Albums Ever.[71] In 2000 it was voted number 38 in Colin Larkin'due south All Time Top 1000 Albums.[72] In 2007, one of Germany's largest public radio stations, WDR 2, asked its listeners to vote for the 200 best albums of all time. Wish Yous Were Here was voted number 1.[73] In 2004, Wish You Were Here was ranked number 36 on Pitchfork Media's list of the Pinnacle 100 albums of the 1970s.[74] IGN rated Wish You lot Were Here as the eighth-greatest classic rock album,[75] and Ultimate Classic Stone placed Wish You Were Here second best in its list of "Worst to Best Pink Floyd Albums".[76]

Despite the problems during production, the album remained Wright's favourite: "Information technology'southward an album I can mind to for pleasure, and at that place aren't many Floyd albums that I can."[7] [77] Gilmour shares this view: "I for one would have to say that it is my favourite album, the Wish You Were Hither album. The end 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."[fifteen]

Reissues and remastering [edit]

Wish You Were Hither 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 half dozen] and in 1980 a special Hello-Fi Today audiophile print was released in the UK.[nb 7] It was released on CD in Japan in Oct 1982,[nb 8] in the US in 1983, and in the UK in 1985,[nb 9] and again as a remastered CD with new artwork in 1994.[nb 10] In the US, Columbia's CBS Mastersound characterization released a half-speed mastered audiophile LP in 1981,[nb 11] and in 1994 Sony Mastersound released a 24-carat golden-plated CD, remastered using Super Bit Mapping, with the original artwork from the LP in both longbox and jewel case forms, the latter with a cardboard slipcover.[nb 12] [41] The anthology was included as function of the box set Shine On,[78] and five years later 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 machine handshake logo, with a black and blue background.[nb xiii] The anthology was subsequently re-released in 2000 for its 25th ceremony, on the Capitol Records label in the The states.[nb 14] [41] The album was re-released and remixed in 2011 in multiple editions as part of the Why Pink Floyd...? reissue campaign. The Wish You Were Here – Immersion Box Ready includes the new stereo digital remaster (2011) past James Guthrie on CD, an unreleased 5.one Environment Mix (2009) by James Guthrie on DVD and Blu-ray, a Quad Mix (which had been released only on vinyl LP and 8-track tape) on DVD, also as the original stereo mix (1975) on DVD and Blu-ray.[nb xv] This campaign likewise featured the 2011 stereo remaster on 180g heavyweight vinyl,[nb 16] too as the 2011 stereo remaster and the 5.one environment audio mix (2009) as a hybrid Super Audio CD (SACD). In 2016, the 180g vinyl was re-released on the ring's own Pinkish Floyd Records label (with distribution by Warner Music and Sony Music) this time remastered by James Guthrie, Joel Plante and Bernie Grundman.

Track listing [edit]

All lyrics are written by Roger Waters.

Side i
No. Title Music Lead vocals Length
ane. "Smooth On Yous Crazy Diamond" (Parts I–V)
  • David Gilmour
  • Richard Wright
  • Roger Waters
 Waters 13:32
2. "Welcome to the Machine" Waters Gilmour 7:28
Full length: 21:00
Side 2
No. Title Music Pb vocals Length
ane. "Have a Cigar" (featuring Roy Harper) Waters Harper 5:08
two. "Wish You Were Here"
  • Waters
  • Gilmour
 Gilmour 5:35
3. "Shine On You Crazy Diamond" (Parts Vi–Ix)
  • Wright
  • Gilmour
  • Waters
  • (Parts Vi–8)
    Wright (Part 9)
Waters 12:28
Total length: 23:11
Columbia Records 1st, 2nd, 3rd, and 4th consequence cassette releases

Side One

No. Title Length
1. "Shine On You Crazy Diamond: Part I; Role II; Part Iii; Part IV; Part V" 13:32
2. "Welcome To The Machine" vii:28
Total length: 21:00

Side Two

No. Title Length
1. "Take A Cigar" 5:08
2. "Wish You Were Here" five:35
3. "Shine On You Crazy Diamond: Part VI; Role 7; Part VIII; Office IX" 12:28
Total length: 23:11
1982 Japanese CD Reissue
No. Title Length
one. "Smoothen On You Crazy Diamond (Parts I-V) – Welcome To The Motorcar" 21:03
ii. "Have A Cigar – Wish You lot Were Hither – Shine On Y'all Crazy Diamond (Parts Six-9)" 23:10
Full length: 44:xiii

Personnel [edit]

Pinkish Floyd [edit]

  • David Gilmour – vocals, guitars, pedal steel guitar, EMS Synthi AKS, additional bass, glass harmonica, tape effects
  • Roger Waters – vocals, bass guitar, European monetary system VCS three, additional guitar, glass harmonica, tape effects
  • Nick Mason – drums, percussion, timpani, cymbals, record effects
  • Richard Wright – Hammond organ, ARP Cord Ensemble, Minimoog, Steinway piano, EMS VCS 3, Hohner Clavinet D6, Wurlitzer EP-200 electric pianoforte, Rhodes pianoforte, glass harmonica, backing vocals

Additional musicians [edit]

  • Dick Parry – tenor and baritone saxophone on "Smooth On You lot Crazy Diamond"[79]
  • Roy Harper – atomic number 82 vocals on "Accept a Cigar"[80]
  • Venetta Fields – bankroll vocals
  • Carlena Williams – backing vocals

Production [edit]

  • Brian Humphries – engineering
  • Peter James – engineering, assistant engineering
  • Bernie Caulder
  • Phil Taylor – additional photography (remaster)
  • Hipgnosis – design, photography
  • Peter Christopherson, Jeff Smith, Howard Bartrop and Richard Manning – pattern assistants
  • George Hardie – graphics
  • Jill Furmanovsky – additional 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 offset two would later exist renamed "Sheep" and "Dogs", and reappear on Animals.
  2. ^ There seems to exist some confusion virtually the date that Barrett turned up, and Gilmour'due south nuptials. Blake (2008) writes that Gilmour's wedding was on vii July, the date also given by Ginger in "The Pinkish Floyd FAQ", but that witnesses swore they saw Barrett at his reception at Abbey Road. Other authors claim that the reception and Barrett's visit were on 5 June.
  3. ^ Nick Mason has expressed doubt over this.[16]
  4. ^ In his group biography, Nicholas Schaffner wrote "In America, the album hit number one in its second week on the Billboard charts; in Britain—where information technology went directly to the top on the force of a quarter-meg'south advance sales..." [emphasis added][47]
  5. ^ EMI Capitol 72438–58885[52]
  6. ^ EMI Harvest Q4 SHVL 814 (Great britain), Columbia PCQ 33453 (U.s.a.)
  7. ^ EMI Harvest SHVL 814
  8. ^ CBS/Sony 35DP 4
  9. ^ Columbia CK 33453 (U.s.a.), EMI CDP 7460352 (UK)
  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 Stone 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 Stonemason 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 pinkish"; Classic Stone #48, Christmas 2002, p59
  12. ^ Mason 2005, pp. 134, 200
  13. ^ Stonemason 2005, p. 200
  14. ^ Mason 2005, pp. 202–203
  15. ^ a b c In the Studio with Redbeard, Barbarosa Ltd. Productions, 1992, archived from the original on xiv Dec 2010
  16. ^ a b Mason 2005, p. 208
  17. ^ a b Buskin, Richard (December 2014). "Pinkish Floyd 'Shine On You Crazy Diamond'". Sound on Audio . 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
  24. ^ Schaffner 1991, p. 189
  25. ^ a b Mason 2005, pp. 206–208
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Bibliography

  • Blake, Mark (2008), Comfortably Numb—The Within Story of Pinkish Floyd, Da Capo, ISBN978-0-306-81752-half-dozen
  • Blake, Mark (2011), Pigs Might Fly-The Inside Story of Pink Floyd, Aurum Press, ISBN978-1-845-13748-ix
  • Di Perna, Alan (2002), Guitar World Presents Pink Floyd, Hal Leonard Corporation, ISBN0-634-03286-0
  • Harris, John (2006), The Dark Side of the Moon (three ed.), Harper Perennial, ISBN978-0-00-779090-six
  • Mason, Nick (2005), Philip Dodd (ed.), Within Out: A Personal History of Pink Floyd (Paperback ed.), Phoenix, ISBN0-7538-1906-6
  • Povey, Glenn (2007), Echoes, Mind Head Publishing, ISBN978-0-9554624-0-5
  • Schaffner, Nicholas (1991), Saucerful of Secrets (1 ed.), London: Sidgwick & Jackson, ISBN0-283-06127-8
  • Watkinson, Mike; Anderson, Pete (2001), Crazy diamond: Syd Barrett & the dawn of Pink Floyd (Illustrated ed.), Charabanc Printing, ISBN0-7119-8835-8

Further reading [edit]

  • Reising, Russell (2005). Speak to Me. Ashgate Publishing. ISBN0-7546-4019-1.
  • For a television documentary on the album, run across The Story Of Wish Y'all Were Here, Eagle Stone, 25 June 2012

External links [edit]

  • Official Pink Floyd website
  • Wish You Were Hither at Discogs (list of releases)

rohrnighty1959.blogspot.com

Source: https://en.wikipedia.org/wiki/Wish_You_Were_Here_(Pink_Floyd_album)#:~:text=The%20album's%20cover%20images%20were,hands%2C%20one%20man%20on%20fire.

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