Ticket 2 Ride

After Roger Waters took over Pink Floyd with Animals (1977), David Gilmour release his first solo album, appropriately named, David Gilmour (1978), and Richard Wright followed with Wet Dream, also in 1978. All three are incredible musical works of art. Meanwhile, Nick Mason was off racing cars.

Animals, the last prog-sounding work from Pink Floyd, was almost entirely written by Waters, as one of his musical concepts. The album was remixed in 2018, but not released until 2022, held hostage by a battle between Waters and Gilmour over a narrative Waters wanted included in the release.

As I’ve written before, Animals is not one of my favorite Pink Floyd albums, it’s been a bit obtuse and difficult for me to connect with. Still, I preordered a copy of the remained edition. I’m trying to be more open-minded in my gray years.

I can’t say that I love Animals, but I have a new appreciation for it. The concept of humans as animals, I get, I just not think is up to other Pink Floyd thematic works. Waters borrowed from George Orwell to infuse his own fear corrupt capitalism, destroying the human spirit to line the pockets of the corporate and political bosses. Waters deserves credit for taking aim at what he saw as the coming of an Orwellian society of workers under the oppressive boot of the ruling bosses.

It’s the music that wins me over. It’s tough, ballsy progressive-rock, showing off the fantastic musical connection between Waters, Wright, Gilmour and Mason. Sadly, this would mark the last great work by the four. The Wall would be more of a Waters effort, having wrestled full control of the band, firing Wright, and bringing in other musicians to work on the album with co-producer Bob Ezrin. Gilmour again had only a couple of writing credits and Mason did not play on all of the songs.

Animals, the 2018 remixed version (the album has undergone past remastering) is like a rainbow, the musical colors each very vibrant and showcased, each instrument allowed to shine and be heard as an independent, yet an integrated tapestry. Modern recording technology allows the tracks to be separated from the murky mix and strengthened. Think of the cover of Dark Side of the Moon, the light passing through the prism and the colors shining free in all their glory. Remixing is like that.

Reviews admit the clearer, three-dimensional sound, and bringing certain sound up in the mix. Criticisms seem aimed at a certain dynamic that existed in the original mix that somehow extenuated the dark and murky texture of Waters’ concept. To provide more enhanced clarity lightened the mood. Interesting perspective. Oh well.

Hidden in the music are many wonderful keyboard textures by Wright that are much clearer now. The sonic beats of Mason also have depth and clarity. Gilmour’s guitar has more bite and each bend of the strings is like a wailing siren piercing the distance. The various sound effects are much clearer as well. Waters should be happy that his lyrics are more dynamic and biting. By the way, which one is Pink?

Gilmour’s first solo album is a set of darker, guitar-oriented rock, closer to what Jeff Beck, Robin Trower, Alvin Lee and other purveyors of British-blues had been doing in the early 1970s. The songs are brooding and musically thematic in their melancholy soundscape, shorter and more accessible than most of the songs on Animals.

Gilmore recruited his ex-Jokers Wild band mates Rick Wills and Willie Wilson to record the basic tracks in France. Gilmour penned or co-written all nine songs. By the way, “Mihalis”, is the lead-off song on the album, one of three instrumentals of the nine songs. Gilmour is not the lyricist of Waters’ ability, and Gilmour would use many writing partners, including his future wife, novelist Polly Sampson.

Musically, there is a lot of the Pink Floyd element in these songs. Without out usual Floyd production, these are lean, mean sounding songs.

In the beginning of Pink Floyd, the main songwriters were Syd Barrett and Richard Wright. Pushed to the background, Wright’s keyboards were always a strength of the band, even though Gilmour and predominantly Waters took over the songwriting.

Wet Dream is, like David Gilmour, a quieter, more downbeat affair, than the bombast of Animals. Wright has an airiness in his gentle vocals, similar to Gilmour, but not nearly as dynamic. This quality accentuates the jazz-like nature of Wet Dream’s songs.

There are ten songs, all written by Wright, one was co-written with his then-wife. Six of the ten are instrumentals. Mel Collins and Snowy White, Pink Floyd sidemen, are core members of Wright’s band. The musicianship on the album is outstanding, especially Collins’ sax, and White’s very ethereal guitar playing.

I love this album, it is contemplative and reflective, beautiful in the way early Pink Floyd creative quirky, dreamlike musical paintings. Is this progressive-rock, jazz-fusion or ambient music? Who cares, it’s beautiful and enticing.

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In the final analysis, I recommend all three albums. Each is a reflection of its maker, and each offers something unique. Animals is not just for old Pink Floyd fans, aside from the incredible new sound, it shows a phenomenal group of musicians at the top of their game. The two solo albums might only be of interest to hardcore fans, which is sad it true, both have some amazing musical moments. And yes, I’m an old fan.