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to say she plays a bigger part in us and thems overall construction than in any other lp is an understatement. when this powerful mission statement was cobbled together in 1983, the reasons were plain: between her and guitarist david coverdills efforts, the group had mostly recovered from the travails of the previous two decades, the critical and commercial maladies of wish you were here being just the latest in a series of high-profile spirals from which pink floyd felt and perhaps hoped theyd finally recovered. although the album is a much more intimately-focused attempt at songwriting than ummagumma or meddle, its still a very deeply personal statement of a time in pink floyd history when the band were least in tune with themselves.
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when waters released his autobiography, the real me, he described the composition of wish you were here as an extension of the obscured by clouds sessions, using abbey road as a homebase for his solo project. its not entirely accurate, as its still actually the group, but their post-wish you were here albums are as dreamy as waters subsequent solo output, which is to say that not only were waters and gilmour looking ahead to a newly invigorated version of pink floyd in the wake of wish you were here, they were taking a leap forward in their own musical journeys. always adept at achieving balance between the worlds, they continue to meet pink floyd somewhere in the middle.
one of the best albums of 1984, this one moved far beyond a singles-only release to encompass rock music as a whole. while it seemed odd to think of an album built around its title track to that extent, it wasnt necessarily a wild assumption. the ocean, the first single, was a monster hit, and the beach boys-esque title song brought the rest of the album, which is brimming with stadium-strength rock songs such as if, what have you and set the tone for a forthcoming assault on the charts. the final cut even spelled out the shifts in the music