David gilmour

How does it feel listening khổng lồ a song? In this longer blog piece, Classic Album Sundays" Alan Dixon examines Pink Floyd"s "Wish You Were Here".

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Creating an contrast of the old và new, a gentle synthesizer can now be heard, a signal of futurity, a sign of things to lớn come from the bvà, the old blues based Syd Barret sound would be replaced by the more modern, contemporary direction of lead song writer Roger Waters. The mid seventies were an extremely fast paced time for music, ‘Wish You Were Here’ often feels like a longing for time gone by.

The music begins lớn peak at three minutes fifteen seconds, dynamically the sound feels louder và surrounds the listener without feeling oppressive sầu, it also rises slightly in tempo as we head into the chorus, the vocal delivery is slightly ahead of the pulse & the intonement slightly higher in pitch, the LSD has worn off và we are now heading inkhổng lồ a more sober state, the band feel lượt thích they are now in control of the sound, creating a feeling of forward movement and the listener feels lượt thích they are being raised out of the slump, no longer being held and caressed, but standing up with a feeling of freedom.

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This feeling doesn’t last long however, after only one time through the chorus, it is gone, without return. The tuy vậy now moves bachồng to lớn the previous section of solo acoustic guitar, but the childlượt thích vocals are louder & delivered with more confidence, the synthesizer is higher in the mix and up an octave sầu, creating a rise for the listener, the mood is lighted somewhat, the tuy vậy feels like it is reaching it’s climax.

At this point it feels lượt thích we will return to the chorus but bởi not, this creates a strange feeling of unresolved tension, a need for a release that is never satisfied, we are left with a feeling of wanting more, maybe this was also Pink Floyd’s feeling of the moment, they had accomplished all they had mix out khổng lồ accomplish, but somehow were still unhappy. The tuy vậy ends by fading into wind lượt thích sound effects, the music subsides và a feeling of nothingness returns as the high pitched swirling sound effect takes over, the bvà become lost in their own world, as if missing from the present they created. Maybe they wished they were here, Syd Barrett was here, or maybe just anybody toàn thân was here for them.

Alan Dixon

BibliographyJohn Shepherd. (1991). Music và Male Hegemony . In: John Shepherd Music as Social Text. Cambridge: Polity. 152-173.Richard Dyer. “In Defence of Disco” Gay Left Issue 8 1979: 20-23. Print.Susan McClary. (1994). Same As It Ever Was. In: Rose,Tricia and Ross, Andrew Microphone Fiends: Youth Music và Youth Culture. London: Routledge. 29-39.Listen: Pink Floyd ‘The Wall’ Musical Lead-Up Playlist