WISH YOU WERE HERE

1. Shine on You Crazy Diamond, Parts 1-5 ... Shh listen... Yes this keyboard that comes after these fine, chiseled bells, yes the musical wind that makes vibrate, yes this overrated air that we want to listen to to dive back into our first time; yes the slow and inescapable rise that brings this diamond guitar solo, as luck would have it; this guitar that vibrates in your ears; prog rock is that, just that, the rest is unimportant. The sound slows down, drops and... and this radiant riff, in echo, this rolling, this rumbling of pads and 5 minutes have passed. We are in the place, it melts, it nods, it spurts, it buzzes, it sparkles with the fat organ of yesteryear, with the guitar that speaks to you, that suddenly neighs. Yes PINK FLOYD is truly inimitable; there is a third left just enough time to have the vocal, the chorus and its choirs for the lyrical, orgasmic, inimitable flight, yes FLOYD is unique, yes this tune is imprinted in our musical unconscious up to Dick's sax, distilling a jazzy ballad tune to the pink panther, the pinnacle at that time; the fade makes the ear prick up and helps us to shift up a gear to enter 2. Welcome to the Machine with its cinematic sound before its time; a stereo sound, roaring, dull, a sound that is also major with the acoustic guitar, with the vocal of despair, I can already see the machine to reduce human beings to mush in 'The Wall' that's for writing. A haunting, defeatist sound with the bruised keyboard; then it's a fight between David's plaintive vocal and Roger's metronomic bass, all that before Richard's keyboards come to disrupt everything. It's time to switch on and disappear into the crowd

3. Have a Cigar you've changed sides and barely installed this groovy riff, this cracking, yes I still remember listening to it on LP; the guitar is spinning, time for 'Pollux', the sound that had me glued to it, much more forward than the voice, yes that was also prog; in short it's Roy Harper who was singing, ah yes not the same voice; in short I'm talking and during this time the fade arrives, the rustling, and 4. Wish You Were Here arrives with its original cracking; a bit of cinematic, the guitar in the distance, hey it's badly recorded, I get up to turn it up... and deliverance with the arpeggio, ah this oh so famous acoustic; a common air, in the distance the violin of Stephane Grappelli; a plaintive voice and love at first sight with the childish air, captivating, too easy, not prog enough; in short a nice little stereo variation that fills the room and always gives a boost; well the wind returns, we say to ourselves that shine will return to magnify this album 5. Shine on You Crazy Diamond, Parts 6-9 with these two notes as a signal, that's it we passed the wish, and the progression enters the scene again: a bouquet of twirling notes on the edge of disco with this dull, syncopated bass, already on 'Meddle' I had already made this reflection; in short less than 5 minutes and the refrain of the shine of the beginning comes back in full face, 'come on and shine'; a few moments and the variation, funky limit, again danceable, with the bass in the EARTH, WIND & FIRE style, it grooves hard and the disco was starting to explode, so the sound engineers all having to adjust their balance like that? Well the fade for the last 4 minutes is a lot, the drum roll reassures by bringing Richard's voluptuous keyboard on snowy, cottony prog slopes with this majestic air; time unfolds before the truthful finale in fade also on a tune of 'Close Encounters of the Third Kind' ah damn with two years in advance. Well perfect what.

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