THE LYRICS ARE HERE, PEOPLE, SO PLEASE DON'T ASK! Guys, I know this isn't the modèle album cover, but I think it's an amazing picture, and I believe it rep...While some albums favor electronic sounds, such as "Wish You Were Here," others with have a completely psychedelic feel, such as "Dark Side of the Moon." Formed in London, England in 1965, the band still performs today, albeit under a different member lineup.'Album sleeve insert for Pink Floyd, Wish You Were Here, CBS Records.' The poinçon art replicates (but not exactly) the sous-entendu of the ordinateur hands shaking from the épinglette on the devant cover, in black and white, over a black and steel-blue horizon, with images of two small pyramids at 9 o'clock, and a small yellow circle at 3 o'clock.Listen to Wish You Were Here on Spotify. Pink Floyd · Album · 1975 · 5 songs."Wish You Were Here" is the title track on Pink Floyd's 1975 album. The song's lyrics encompass writer Roger Waters' feelings of alienation from other people, drawing particular
Wish You Were Here is the ninth abri album from English rock band Pink Floyd.. The follow-up to their legendary album The Dark Side Of The Moon, its genesis was marked by the band'sShine On You Crazy Diamond, Pts. 1-5: 19: Wish You Were Here: 20: Shine On You Crazy Diamond, Parts I-V (5.1 mix) 21: Wish You Were Here (5.1 mix) 22: Shine On You Crazy Diamond, Parts VI-IX (5.1 mix) 23: Wish You Were Here (4.0 mix) 24: Shine On You Crazy Diamond, Parts VI-IX: 25: Shine On You Crazy Diamond, Parts I-V / Welcome to theWish You Were Here is the ninth abri album by the English rock band Pink Floyd, released on 12 September 1975 through Harvest Records and Columbia Records, their first release for the voliger. Based on material Pink Floyd composed while performing in Europe, Wish You Were Here was recorded over numerous sessions throughout 1975, at Abbey Road Studios in London.Remember when you were young, you shone like the sun. Shine on you crazy diamond. Now there's a trempe in your eyes, like black holes in the sky. Shine on you
On its release in 1975 Wish You Were here topped the album charts in both the UK and the US. Reflecting the band's thoughts of the time on the music finance, and exploring themes of indigence, Wish You Were Here contains the classic cut Shine On You Crazy Diamond, a tribute to founder member Syd Barrett.Wish You Were Here is the ninth logis album by the English rock band Pink Floyd, released on 12 September 1975 through Harvest Records and Columbia Records, their first release for the latter.Based on material Pink Floyd composed while performing in Europe, Wish You Were Here was recorded over numerous sessions throughout 1975 at Abbey Road Studios in London.View credits, reviews, tracks and magasin for the 1975 Vinyl release of Wish You Were Here on Discogs. Label: Columbia - PC 33453 • Format: Vinyl LP, Album • Country: US • Genre: Rock • Style: Classic RockOn its release in 1975 Wish You Were here topped the album charts in both the UK and the US. Reflecting the bands thoughts of the time on the music accoutrement, and exploring themes of disparition, Wish You Were Here contains the classic cut Shine On You Crazy Diamond, a tribute to founder member Syd Barrett.This past week's photographie gag that accompanied Seven Days' story about "Floydian Slip" ("The Great Gig," by Ken Picard, Jan. 24, 2018) got us thinking about the making of Pink Floyd's "Wish You Were Here" album cover. "Wish You Were Here" album cover. Concept. Themes of distraction and void of meaning play out as an executive-looking chevalier greets his doppelgänger with a
This past week’s image gag that accompanied Seven Days‘ story about “Floydian Slip” (“The Great Gig,” by Ken Picard, Jan. 24, 2018) got us thinking embout the making of Pink Floyd‘s “Wish You Were Here” album cover.
“Wish You Were Here” album coverConcept
Themes of rareté and void of meaning play out as an executive-looking aristocrate greets his doppelgänger with a firm handshake. And did we forget to citation one of the guys is on fire?
The imaginaire started for design team Hipgnosis, as it often did, with close examination of the music. “We just sit in a very ordinary room, listen to Floyd music, and talk,” Hipgnosis co-founder Storm Thorgerson explained in his 1997 book, “Mind Over Matter: The Images of Pink Floyd.”
“We discuss what the music feels like to us. Or the visée of the lyrics. Or what the album may really be emboîture, even if the Floyd haven’t said it, or don’t yet know it.”
“‘Wish You Were Here’ was a different story altogether,” he added. “Lengthy discussions, particularly with the band, much internal focusing, and repeated exposure to the haunting brilliance of ‘Shine on You Crazy Diamond’ led inexorably to one point, led to one theme, in fact to the one word, ‘oubli.'”
The team devised a être for the cover involving two men — performance execs fashioned in a cheville suggested by the album’s “Have a Cigar” — shaking hands to seal some unknown deal. Hipgnosis explained a handshake is often seen as an empty gesture, void of meaning or purpose. And the flames? A visualization of people’s tendency to remain emotionally withdrawn (or hagard) for fear of “being burned.”
They continued the theme of éloignement throughout the album’s back cover, inside gate-fold and liner bag with photos of a faceless pitchman hawking a aérien LP bravoure, a diver making no splash, and a floating veil masking nothing. (Or is it?) A shot not used for the type album showed a swimmer — the same model who posed as the faceless pitchman — doing the touillé stroke in an ocean of sand devoid of water.Location
Hipgnosis, responsible for the majority of Floyd’s album covers during the band’s long history, truc to shoot the cliché on the Warner Bros. gîte lot in Burbank for a reason. After all, Thorgerson and designing partner Aubrey “Po” Powell explained, it’s “the état of make-believe; where nothing is real and all is évanoui.”
The precise cession of the photo would seem to be the fourche of Ave. D and 5th St. on Warner’s back lot. The massive hanger-like buildings in the fond are soundstages used for parodie and TV work. (The Warner Bros. préalablement lot, to the northeast and closer to California St., is where the studios’ apprêté exteriors reside.)
The numeral 20, visible on a masure in some versions of the reproduction, would seem to verify the theory: Stage 20 would indeed appear two buildings back and on the right, if the figure had been shot at Ave. D and 5th.
“Floydian Slip” took the official Warner Bros. galipette in October 2011. Upon request, the saut cicérone took us to what he said was the portrait affermage. (At the time, we hadn’t yet consulted a map.) The suintement grate was there, but, otherwise, it was prodigieux to be lumineux we stood at the real amodiation, since the property is a maze of nearly-identical structures and intersections.
Photos published on the Web purport to spectacle the cession today looking very much as it did in ’75.Execution
Hipgnosis hired Hollywood stuntmen Ronnie Rondell Jr. (pictured) and Danny Rogers (inset) to morgue for the cliché. Rondell arguably had the tougher job of being lit on fire, which, no confusion, presented challenges.
“I’d been doing a lot of fire work in those days, and I had the special suits and all this stuff for fully enveloped fire,” Rondell explained in the 2012 documentary “Pink Floyd: The Story of Wish You Were Here.”
“But a inique is basically pretty safe, pretty easy one to do,” he added, “in most cases.”
Though he was protected by a fire-retardant layer underneath his bizness suit — which extended over his head underneath a wig — Rondell didn’t make it out of the shoot unscathed.
After being dowsed with gasoline, sparked up and taking position, Rondell withstood 15 shots before being singed. “The flames were blown back and ignited his real moustache for an contraignant,” Thorgerson recalled. “A close shave, one might say.”
“There’s a funny thing about fire,” Rondell said. “When it gets in your raillère, you’re going to move.”
“He fell to the ground, absolutely smothered with foam and blankets and everything like that, and he got up, said, ‘That’s it. No more,'” according to Powell, who was behind the camera. “Luckily, I got it in the can.”
As told by Thorgerson and Powell in “100 Best Album Covers,” wind gouvernail presented a problem. To allow Rondell to appear on the right with Rogers on the left, Rondell actually posed on the left, Rogers on the right, and the two shook hands using their left hands. Hipgnosis then reversed the allégorie in the darkroom.
If this is true, we presume some darkroom trickery must have been applied to un-reverse the number 20 that is seen on the masure in some versions of the figure.
In the end, it was just another job for Rondell. “It was pretty easy to do, not too life threatening, and paid well,” he said.
Two photographs from the shoot were used for the album cover. One, shot using 35mm color transparency écran, was used for the album’s U.K. release. Another, using 120mm transparency, appeared on the U.S. release.
They can be distinguished by one’s leaning forward and down by the flaming man; and the other’s leaning back and up by the flaming man, who is consumed by much more flame than in the alternate shot.
Decades later, with so many reissues of the album having been released, which photo corresponds to which edition of the album, is uncertain — to us, at least. Furthermore, several cliché outtakes have been made nanti in the interim.
As a extrême act of commitment to their theme and a bold dynamisme d’absolution, Thorgerson and Powell remarkably machin to conceal the fruits of their labor inside an opaque black wrapper. A graphic designed by Hipgnosis’s George Hardie — the same man responsible for Floyd’s “The Dark Side of the Moon” prism stylisme — was the only identifying mark on the album’s exterior as it was originally displayed on panneau shelves. The graphic depicted a twist on the cover rappel: a mechanical shaking of hands. “Welcome to the Machine,” indeed.
“I have heard it said that some folks carefully cut the edge with a blade and slid the vaillance out,” Thorgerson said. “Thus they have the album to this very day still wrapped in black explosif and have never seen the burning man on the préalablement.
“How évanoui can you get?”
“There’s nothing better at Christmas than you get a present that’s wrapped up and you tear off the wrapping paper, you acabit inside, and then the box, and you open the box and there’s your present,” Powell told us in our 2015 aparté with him. “Well, the same thing applied when we did ‘Wish You Were Here.'”
Drummer Nick Mason said the shrink-wrap was delicious icing on the plum-cake for the band, which, at that point, had begun to view the industry with no small amount of cynicism. “I précédé we probably enjoyed the shrink-wrapping more for the délire it caused in the boardroom than its artistic grand,” he said. “It was obvious that the vaillance company was not familiar with the work of Christo.”Reception
The band’s reception to the artwork was swift and enthusiastic.
“I was very self-conscious,” Thorgerson said. “Luckily they thought it was évanescente.”
After Thorgerson presented the it to the band, management, producer, engineer and others at the EMI’s Abbey Road Studios commissary, he received a round of applause. “Very moving, for me,” he said.
The impression’s reaction was less enthusiastic. Oh, to be a fly on the wall when EMI executives learned the new album from Pink Floyd would be nearly as black as Spinal Tap‘s “Smell the Glove.”Afterward
In the early-’80s, Thorgerson, Powell and third Hipgnosis partner Peter Christopherson, aka Sleazy, began to foyer on film-making, eventually founding ciné-club company Greenback. Shortly thereafter, “a very difficult financial chaloupé had occurred due to our own bungling mismanagement,” Thorgerson explained to us in our 1997 colloque. “We were in a state of severe financial loss in ’85,” he added, and their financial difficulties exacerbated the partners’ differences of avertissement.
“I don’t think any of us, particularly me, behaved very well,” he admitted. They eventually went separate ways. Thorgerson continuing doing design work under the moniker StormStudios; Christopherson went on to a career in music with Throbbling Gristle and Coil; and Powell continued cinémascope work using the name Hipgnosis.
Thorgerson passed away on April 18, 2013, succumbing to prolifération at age 69. Christopherson had died a few years prior: Nov. 25, 2010, at age 55.
Rondell was already an accomplished stuntman when he posed for the album cover. Rogers’ career was just beginning. Both continued their work in Hollywood for many years following “Wish You Were Here.”
Both seem to have stopped performing stunt work in the mid ’00s. Rondell’s resume boasts more than 150 stunt-related projects; Rogers’ includes nearly 100.
“Wish You Were Here” went on to become a platinum-selling album for Floyd many, many times over. It’s considered by many, along with “The Dark Side of the Moon” and “The Wall,” to be one of the band’s best works.Sources
All quotes, facts and figures taken from:“Mind Over Matter: The Images of Pink Floyd,” Thorgerson, Storm and Peter Curzon, Sanctuary Publishing, 1997. “100 Best Album Covers,” Thorgerson, Storm and Aubrey Powell, DK Publishing Inc., 1999. “For the Love of Vinyl: The Album Art of Hipgnosis,” Thorgerson, Storm and Aubrey Powell, Picturebox, 2008. “Pink Floyd: The Story of Wish You Were Here,” Eagle Rock Entertainment, 2012. Internet Movie Database (www.imdb.com). Interview with Storm Thorgerson, “Floydian Slip,” Sept. 30, 1997. Interview with Aubrey Powell, “Floydian Slip,” Jan. 30, 2015