7.6 | / 10 |
Users | 4.8 | |
Reviewer | 4.5 | |
Overall | 4.5 |
Disc 1 / CD 1: Album<br> Disc 2 / CD 2: Bonus tracks<br> Disc 3 / DVD 1: Two surround mixes and stereo mix<br> Disc 4 / DVD 2: Various video content<br> Disc 5 / BD: The two DVDs combined with HD audio and video, minus one surround mix (quad mix)<br>
Starring: Roger Waters, David Gilmour, Nick Mason, Richard Wright (II)Music | 100% |
Video codec: MPEG-4 AVC
Video resolution: 1080i
Aspect ratio: 1.33:1
Original aspect ratio: 1.33:1
English: LPCM 5.1 (96kHz, 24-bit)
English: LPCM 2.0 (96kHz, 24-bit)
English: LPCM 4.0 (96kHz, 24-bit)
None
50GB Blu-ray Disc
Five-disc set (1 BD, 2 DVDs, 2 CDs)
Region A (B, C untested)
Movie | 4.0 | |
Video | 2.5 | |
Audio | 5.0 | |
Extras | 5.0 | |
Overall | 4.5 |
The music business has a well known propensity for chewing up artists and spitting them out at the first sign of market weakness. For a lot of artists, that tends to be their second album, the so-called infamous “sophomore slump” where the sensation caused by an individual’s or band’s premiere effort is considered yesterday’s news, a stale headline and a sound that’s already been heard. I personally have several friends here in my hometown of Portland who experienced huge chart success with either singles or albums and then saw their labels basically shrug and say “Too bad for you” when lightning didn’t strike twice. But what is a band to do once they’re already well established with several albums to their credit and have just released what is easily their biggest hit in their already long career, a hit of such immense proportions that it’s still on the charts years later and has already been acclaimed as one of the all time classics of modern rock? That was the dilemma facing Pink Floyd after the release of Dark Side of the Moon, an album as iconic in its own way as The Beatles’ Sgt. Pepper or White Album, and which instantly catapulted Floyd into the very top echelons of the modern rock scene. How can you possibly follow up an album of that import and impact, especially when your band is suffering from a certain amount of post traumatic stress disorder caused not just by the unimaginable success which required constant touring, but also the public mental breakdown of one of the band’s founding members? Somehow Pink Floyd managed to put the expectations aside, to concentrate solely on the music, and though Wish You Were Here, their follow up (two years later) to Dark Side of the Moon wasn’t met with the same critical rapturous acclaim that their 1973 effort was, it’s since become recognized as a classic in its own right, though one in very substantial ways quite different from Dar Side of the Moon. This is a more introspective and meandering album in its own way, which is not to say it’s not focused and cohesive. Roger Waters perhaps hit unexpected heights with his writing for this album, and while his lyrics addressing everything from the isolation of a modern rock star to the music industry itself were telling, often distressingly self-confessional, it may be the music separated from the words, and in fact the long instrumental interludes, that remains the most evocative elements of Wish You Were Here now close to 40 years (wow!) after its initial release.
Though this is ostensibly an audio release, as with Dark Side of the Moon, there are a few video elements on this release as well, all presented encoded via AVC and for the most part in 1080i (see the main body of the review for complete details). There's nothing spectacular about the video presentation (it is, after all, made up almost entirely of still frames), but it's really interesting from a historical perspective.
Once again there's almost an embarrassment of riches with regard to the audio options on this release, but the one that's probably going to be of most interest to longtime fans of this album will no doubt be the previously unreleased 5.1 surround mix done in 2009 and presented here in 96/24. As innovative as Dark Side of the Moon was in terms of discrete stereo effects and even its own quad mix, it simply pales in comparison to Wish You Were Here. Obviously Pink Floyd was trying to introduce even more extreme uses of discrete channelization, even in their stereo mix (which receives a stellar remaster here, sounding better than ever), which features one great panning sequence after another, as well as long stretches where just one channel is being utilized. The 5.1 mix ups the ante considerably, so that now for instance on the opening of "Welcome to the Machine," instead of just right to left panning, we get intense surround activity that moves forward and backward through the soundfield. The lovely guitar arpeggios which enter at around 1:00 also are more widely splayed front to back, even as they still are clearly on the left and then the right. There's also a clearer separation between that pulsing bass as it moves back and forth between the channels. The sampling at the head of "Wish You Were Here" also sounds fantastic in 5.1, still clearly skewed right, but now subtly surrounding the listener from both front and back. The center channel also is impeccably utilized, clearly separate from the side channels, when the guitar makes its entrance at around the one minute mark. That haunting wind sound that starts out "Shine On You Crazy Diamond Parts 6- 9" also pans madly around the soundfield in the new 5.1 mix, enveloping the listener in what might be a sonic recreation of the madness enveloping Syd Barrett. The old 1975 Quad mix by comparison sound noticeably more "crowded" in terms of central placement, with a tendency to simply splay all sounds equally around the four channels with occasional nice discrete channel utilization to perk up the proceedings. While there's nothing wrong per se with the Quad mix, and it is undeniably immersive, my hunch is most fans are easily going to repeatedly opt for the newer 5.1 mix, which also has the benefit of much improved low end.
As with the two other EMI sets reviewed here recently, The Dark Side Of The Moon and Aqualung, we're operating under the assumption that anything other than the Blu-ray itself is a supplement. This set includes (items with asterisks have been previously released, those without asterisks are previously unreleased):
I was probably like a lot of Floyd fans who considered Wish You Were Here an okay, if frankly kind of lackluster, follow-up to Dark Side of the Moon. Consider myself corrected. Listening to the new 5.1 mix of this album reconnected me with the fact of just how innovative Pink Floyd was, not just in terms of songcraft and extended song forms, but in the pure techniques of recording and mixing (obviously with some help from their engineers). This album is a riot of invention that only gains luster in high res audio and a 5.1 mix. While this may not have the iconic import, or maybe even the intrinsic quality, of Dark Side of the Moon, it's a brilliant album which sounds absolutely magnificent on the new Blu-ray. Some of the boxed set's contents are a bit questionable, and so some may want to wait to see if EMI decides to release a standalone BD of just that content. But for the obsessive compulsive completist fan, while this is yet another pretty spendy set from EMI, it comes Highly recommended.
Immersion Edition
1973-2011
2007
2014
2012
Blu-ray Audio | 40th Anniversary | Limited Super Deluxe Boxset | Half-Speed Mastered DMM 180g LPs
1981
2007
2010
2011
2015
2014
2009
1981
Blu-ray Audio
1971
2013
2010
2011
2005
2011
2009
2010