PINK FLOYD - WISH YOU WERE HERE

Llançament: 12 de setembre de 1975

"Wish You Were Here" és la cançó que dóna títol al novè àlbum de Pink Floyd, el següent després de l’èxit de “The Dark Side Of The Moon”. La cançó rexumeix l'atmosfera a l'estudi durant la gravació de l'àlbum, expressant la sensació de Roger Waters que la banda s'havia desconnectat mentalment i no estava plenament compromesa amb les sessions. Waters va suggerir amb humor que la cançó es podria haver titular "Wish We Were Here", per reflectir el sentiment de desig d'un esforç col·laboratiu més present i compromès.

"Wish You Were Here" explora el tema de la desconnexió que molta gent experimenta al llarg de la vida. La cançó serveix com a comentari sobre diverses formes de retirada, ja sigui física, mental o emocional, mentre les persones es relacionen amb el món. La principal inspiració per a la cançó va ser Syd Barrett, cofundador de Pink Floyd, i la seva lluita amb l'esquizofrènia. Roger Waters va crear la cançó basant-se en un poema que va escriure sobre el descens de Barrett a una realitat fraccionada. En una entrevista del 2022 al Joe Rogan Experience, Waters va aclarir que "Wish You Were Here" era parcialment sobre Barrett, expressant un desig sincer per la seva presència. Waters va atribuir el declivi de Barrett a factors més enllà de l'ús d'LSD, suggerint que l'esquizofrènia podria haver començat a amenaçar -lo abans de l’ús de les drogues. Presenciar com Barrett es desfeia mentre la banda guanyava fama, Waters va recordar moments punxant a com una conversa a les portes de Capitol Records a Los Angeles, on es manifestava la ment desconnectada de Barrett. El cost emocional del declivi de Barrett va portar Waters a prendre el control de la composició de cançons mentre la banda afrontava la pèrdua del seu principal compositor.

"Wish You Were Here" destaca com una rara col·laboració entre els compositors principals de Pink Floyd, Roger Waters i David Gilmour, que normalment treballaven independentment. Gilmour va iniciar el procés amb el riff d'obertura, tocant-lo a un ritme més ràpid a l'estudi. Quan Waters ho va escoltar, va suggerir frenar-lo. Aquest intercanvi inicial va establir la base per al seu esforç conjunt, ambdós músics contribuint a la lletra tant per la tornada com per als versos. Waters va assumir la tasca de finalitzar la lletra, resultant en una creació col·laborativa que es va convertir en una peça significativa i perdurable per a Pink Floyd.

"Wish You Were Here" és una composició que entrellaça temes en detalls auditius. El so inicial reminiscent d'una ràdio AM a la distància serveix com una metàfora de la suposada separació entre l'oient i la música, reforçant el tema principal de la cançó sobre la desconnexió. Cap a la conclusió, la inclusió d'un violí interpretat per Stephane Grappelli, un músic de jazz francès que enregistrava a prop, augmenta la profunditat emocional de la peça.

La portada de l'àlbum complementa aquesta temàtica amb elements visuals com la salutació entre empresaris, un d'ells en flames, simbolitzant tractes de negocis poc sincers. Cada imatge dins de l'artwork transmet una sensació d'absència, com el bussejador que apareix sense fer esclafir l'aigua.

A més, elements auditius deliberats com una petita tos al segon 26 i un xiscle al segon 31 contribueixen a l'experiència immersiva de la cançó. Aquests detalls creen amb habilitat l'ambient d'un home que toca la guitarra mentre escolta la ràdio, afegint capes a la narrativa i millorant el viatge sonor global.

La reunió de la formació clàssica de Pink Floyd al Live 8 el 2005 va ser un moment commovedor, especialment durant la seva interpretació de "Wish You Were Here". Roger Waters i David Gilmour, amb guitarres acústiques, van transmetre un missatge potent a l'audiència de Hyde Park. Waters, en particular, va destacar la temàtica de la cançó afirmant: "Ho estem fent per tots els que no són aquí", amb una referència destacada a Syd Barrett, afegint una capa de ressonància emocional a l'iconic tema.

PINK FLOYD - WISH YOU WERE HERE

Released: September 12, 1975

"Wish You Were Here" serves as the title track for Pink Floyd's ninth album, succeeding The Dark Side Of The Moon. The song encapsulates the atmosphere in the studio during the album's recording, expressing Roger Waters' sense that the band had mentally disengaged and wasn't fully committed to the sessions. Waters humorously suggested that the song could have been titled "Wish We Were Here," reflecting the sentiment of yearning for a more present and engaged collaborative effort.

"Wish You Were Here" delves into the theme of detachment that many people experience in navigating life. The song serves as a commentary on various forms of withdrawal—be it physical, mental, or emotional—as individuals cope with the world. The primary inspiration for the song was Pink Floyd's co-founder, Syd Barrett, and his struggle with schizophrenia. Roger Waters crafted the song based on a poem he wrote about Barrett's descent into a fractured reality. In a 2022 interview on the Joe Rogan Experience, Waters clarified that "Wish You Were Here" was partially about Barrett, expressing a genuine desire for his presence. Waters attributed Barrett's decline to factors beyond just LSD use, suggesting that schizophrenia may have already been looming. Witnessing Barrett unravel as the band gained fame, Waters recalled poignant moments like a conversation outside Capitol Records in Los Angeles, where Barrett's disjointed mind was evident. The emotional toll of Barrett's decline prompted Waters to take control of songwriting as the band faced the loss of their primary songwriter.

"Wish You Were Here" stands out as a rare collaboration between Pink Floyd's primary songwriters, Roger Waters and David Gilmour, who typically worked independently. Gilmour initiated the process with the opening riff, playing it at a faster pace in the studio. When Waters heard it, he suggested slowing it down. This initial exchange laid the foundation for their joint efforts, with both musicians contributing to the music for both the chorus and verses. Waters took on the task of crafting the lyrics, resulting in a collaborative creation that became a significant and enduring piece for Pink Floyd.

"Wish You Were Here" is a composition that intricately weaves thematic elements into its audio details. The initial sound reminiscent of an AM radio from a distance serves as a metaphor for the perceived gap between the listener and the music, reinforcing the song's overarching theme of detachment. Towards the conclusion, the inclusion of a violin played by Stephane Grappelli, a French jazz musician recording nearby, enhances the emotional depth of the piece.

The album cover complements this theme with visuals like the handshake between businessmen, one ablaze, symbolizing insincere business dealings. Each image within the artwork carries a sense of absence, such as the diver depicted without making a splash.

Moreover, deliberate auditory elements like a small cough at the 26th second and a sniff at the 31st second contribute to the song's immersive experience. These details skillfully craft the ambiance of a man playing along with his guitar while listening to the radio, adding layers to the narrative and enhancing the overall sonic journey.

The Live 8 reunion of the classic Pink Floyd lineup in 2005 was a poignant moment, especially during their performance of "Wish You Were Here." Roger Waters and David Gilmour, armed with acoustic guitars, conveyed a powerful message to the Hyde Park audience. Waters, in particular, emphasized the song's subject matter by stating, "We're doing this for everyone who's not here," with a pointed reference to Syd Barrett, adding a layer of emotional resonance to the iconic track.

 

PINK FLOYD - HAVE A CIGAR / WELCOME TO THE MACHINE

HAVE A CIGAR

Released: November 1975 

"Have a Cigar" is the third track on Pink Floyd's 1975 album “Wish You Were Here”. The song serves as Roger Waters' satirical critique of the music industry and its exploitation of artists. The lyrics sarcastically depict the insincere and indifferent attitude of record executives, emphasizing their profit-driven motives and lack of genuine interest in the musicians themselves. The repeated line "We call it riding the gravy train" underscores the cynical view of the industry as a money-making endeavor, with little concern for the artists' well-being. The decision to have Roy Harper, a folk-rock singer, provide lead vocals adds a layer of irony, as it emphasizes the disconnection between the executives and the artists they supposedly represent.

Roy Harper's involvement in providing lead vocals for "Have a Cigar" stemmed from Roger Waters' vocal strain during the recording of "Shine On You Crazy Diamond." As David Gilmour was not comfortable singing the song, they turned to their friend Harper, who was conveniently recording nearby. Gilmour's recollection highlights the initial resistance to Harper's suggestion, but ultimately, his rendition brought a distinct quality to the track. It's interesting to note the dynamic and reactions within the band regarding Roy Harper's contribution to the song.

"Have a Cigar" serves as a satirical take on record company executives and their clichéd interactions with new bands. Fueled by Pink Floyd's frustration with the music industry, Roger Waters crafted lyrics that encapsulated the insincerities and empty promises often encountered. The iconic line "By the way, which one's Pink?" reflects the band's exasperation with the industry's lack of understanding of their identity. This track, added late in the album's production, became a fitting commentary on the band's relationship with the record company, portrayed on the back cover with an image of a soulless salesman offering Pink Floyd albums in a desert.

"Have a Cigar" stands out on the album for its more straightforward and rock-oriented approach. Unlike the other tracks that either fade in or seamlessly transition, this song starts abruptly with a churning riff on electric guitar and bass. The rock texture is further enriched by additional guitar, electric piano, and synthesizer parts. The track features a guitar solo and concludes with a distinctive moment where the music is interrupted by a synthesizer filter-sweep sound effect, followed by a reduction in volume to an AM radio-like quality. The song concludes with the sound of a radio being tuned off-station, serving as a transition to the title track, "Wish You Were Here."

WELCOME TO THE MACHINE

Released: September 13, 1975

"Welcome to the Machine" serves as the second track on Pink Floyd's 1975 album "Wish You Were Here." Written by bassist Roger Waters, the song delves into the theme of the music industry's control over artists, particularly reflecting on the impact on Pink Floyd founder Syd Barrett's mental health. The lyrics and music highlight the pervasive influence of record producers and managers, portraying the world as a machine dictating what the band and individuals like Syd Barrett should do to achieve success. The album as a whole explores the factors contributing to Syd Barrett's breakdown and his absence from the band.

The animated music video for "Welcome to the Machine," created by Gerald Scarfe, served as a backdrop film during Pink Floyd's 1977 In the Flesh tour. The imaginative video features a giant mechanical Horned Toad, transitioning into a desolate industrial cityscape with eerie and surreal elements. The scenes include a cracked cylinder oozing blood, an unfolding cuboid, girders with decayed corpses and rats, and a tower morphing into a screaming form. A notable sequence involves a head decomposing into a skull, and the video concludes with a monolith surviving a sea of blood, ascending into space, and fitting into a massive floating object. The visuals complement the synthesized sound of the track, providing a vivid and symbolic representation of the song's themes.

 

PINK FLOYD - RUN LIKE HELL

Publicada: abril de 1980

Llistes: EUA: #53

"Run Like Hell" és una cançó de l'àlbum "The Wall" que destaca com la darrera col·laboració original entre David Gilmour i Roger Waters sota la bandera de Pink Floyd, convertint-la en una peça significativa dins de la història de la banda. La fusió dels ritmes inspirats en la música disco i el característic treball de guitarra de Gilmour afegeix un sabor únic al repertori de Pink Floyd. El fet que compti amb les contribucions dels quatre membres clàssics de l'era de Floyd enforteix encara més la seva importància històrica. Els ritmes enèrgics i la lletra evocadora creen una barreja captivadora que demostra la capacitat de la banda per oferir tant música fascinant com narratives que fan reflexionar.

"Run Like Hell" juga un paper crucial en la narrativa de The Wall, retratant un punt d'inflexió en la caiguda a la bogeria i la tirania del protagonista, Pink. La cançó serveix com una poderosa al·legoria, establint paral·lelismes amb esdeveniments històrics, especialment la tràgica Kristallnacht durant el règim d'Hitler. Aquesta connexió millora l'impacte de la cançó, retratant les fosques conseqüències del poder sense control i la demagògia.

L'habilitat de Pink Floyd per teixir narracions complexes a la seva música, abordant temes històrics i socials, fa que "Run Like Hell" esdevingui una peça commovedora i que porta a la reflexió. La disposició de la banda a aprofundir en temes incòmodes mostra el seu compromís a l'hora de crear experiències musicals immersives i desafiants per al seu públic.

Les restriccions dels discs de vinil sovint obligaven els artistes a prendre decisions difícils sobre la durada de les cançons. En el cas de "Run Like Hell", la versió original era més llarga, però va haver de ser retallada per ajustar-se a l'espai disponible a l'àlbum The Wall. La menció de David Gilmour que la cançó va ser "trossejada" reflecteix els reptes de condensar composicions musicals sense perdre la seva essència. La possibilitat de publicar una versió estesa depenia de la col·laboració entre Roger Waters i David Gilmour, cosa que va ser improbable donades les seves diferències passades i la negativa de Waters a treballar amb Gilmour de nou.

L'artista Gerald Scarfe va crear el símbol dels dos martells creuats que apareix com el logotip de Pink a la pel·lícula The Wall. Quan feia animació per a la pel·lícula, volia tenir un exèrcit de martells marxant però no sabia com fer que un martell marxés. Després va adonar-se que dos martells junts donaven la il·lusió de dues cames, així que va utilitzar aquest mètode en l'animació i va néixer el símbol dels "martells creuats".

PINK FLOYD - RUN LIKE HELL

Released: April 1980

Charted:  US: #53 

"Run Like Hell" is a song from “The Wall” album, that stands out as the final original collaboration between David Gilmour and Roger Waters under the Pink Floyd banner, making it a significant piece within the band's history. The song's fusion of disco-inspired rhythms and Gilmour's distinctive guitar work adds a unique flavor to Pink Floyd's repertoire. The fact that it features contributions from all four classic-era Floyd members further enhances its historical significance. The energetic beats and haunting lyrics create a captivating blend that showcases the band's ability to deliver both compelling music and thought-provoking narratives.

"Run Like Hell" plays a crucial role in The Wall's narrative, portraying a turning point in Pink's descent into madness and tyranny. The song serves as a powerful allegory, drawing parallels to historical events, particularly the infamous Kristallnacht during Hitler's regime. This connection enhances the song's impact, depicting the dark consequences of unchecked power and demagoguery.

Pink Floyd's ability to weave complex narratives into their music, tackling historical and societal themes, sets "Run Like Hell" apart as a poignant and thought-provoking piece. The band's willingness to delve into uncomfortable subject matter showcases their commitment to creating immersive and challenging musical experiences for their audience.

The constraints of vinyl records often led to artists making tough choices about song lengths. In the case of "Run Like Hell," the original version was longer, but it had to be trimmed to fit the available space on The Wall album. David Gilmour's mention of the song being "chopped to bits" reflects the challenges of condensing musical compositions without losing their essence. The prospect of releasing an extended version would depend on the collaboration between Roger Waters and David Gilmour, which seems unlikely given their past differences and Waters' reluctance to work with Gilmour again.

The artist Gerald Scarfe came up with the symbol of the two hammers crossed that appears as Pink's logo in the movie The Wall. When he was doing animation for the film, he wanted to have an army of hammers marching but couldn't figure out how to make a hammer march. He then realized that two hammers together give the illusion of two legs, so he used that method in the animation and the "crossed hammer" symbol was born.