My 1001 Albums Journey

Pet Sounds is the best pop album of all time. You’ve probably heard that take before. You may have also heard different versions of it: Pet Sounds is the most beautiful pop album of all time, Pet Sounds is the best produced pop album of all time, and I’d disagree with that, that’s a stretch, at least for me. But I do think the original take is correct, that Pet Sounds is indeed the best pop album of all time, at least from the ones I’ve heard. There’s just something to this album that can never be replicated. Maybe it’s the jumbly sound of the mix, maybe it’s Brian’s vocals, maybe it’s his lyricism, maybe it’s the vocal layering, maybe it’s the instrument layering. I really couldn’t tell you. I can’t think of any way to transition this into a track-by-track but Wouldn’t it be nice to be the most adorable song I’ve ever heard? One of the few (mostly) happy songs on the album, Wouldn’t It Be Nice, is genuinely just fun. I absolutely adore songs written about stuff like this, young love. As somebody who pulls all the bitches, I can really relate to it. With that, the lyrics are so fucking good. They’re not coated in metaphor, they’re not stuck together with filler, it’s just fantastic straight-to-the-point line after fantastic straight-to-the-point line. I went to look at the lyrics to try to pick out a specific example but each line is just so damn good. A guy in a relationship that’s “too young” for true love, too young to get married, and wishing (or waiting) for the day you and your lover can be married. A day you don’t have to fear about breaking up (well, divorce exists). The pure innocence coming from the track is adorable, and it’s amplified by basic childish ways to say things like “maybe if we think and wish and hope and pray.” Also things like “we could be married, and then we’d be happy,” it’s such a normal phrase but it’s not just something you’d say to a girl if you didn’t want her to think you were an immature loser, but that’s the point, it IS immature. I love how the final chorus is kind of tension-building and then it just says fuck that, we should talk about it. The “but wouldn’t it be nice?” (“But” sometimes being replaced with “oh”) ending the choruses and bridge are just so cute, and I’m sure I don’t need to talk about it too much, but yeah the actual music is sick. Perfectly catchy melodies, things starting and stopping and perfect moments, the lush harmonies, the call-and-responses, the vocal styles, it’s basically perfect. Pet Sounds is really a grower, and songs like You Don’t Believe in Me are good examples of why. Compared to other albums coming out from this time, it’s actually pretty weird so if you’re expecting something like Revolver or Abbey Road, you’re gonna be pretty disappointed. Going into this track from Wouldn’t It Be Nice? while still expecting it to be cheery is gonna make it honestly sound kind of terrifying. But then you start humming the cryyyy to yourself, and then the verses, and then you know the whole song, and it’s gorgeous. The track builds but it still sounds perfectly full before building. And it’s not like when it does build, it’s too much, it actually feels better, like an orgasm. Brian’s vocal performance and his lyrics are perfectly looking at immature things that the narrator has done in a mature way. The lyrics are devastatingly beautiful: “I can’t help how I act when you’re not here with me, I try hard to be strong, but sometimes, I fail myself.” It feels like he’s genuinely begging you to explain why you still believe in him. There’s so many wind instruments playing things that feel a little off, which works perfectly in the song’s favor, and there’s of course the “me” note in the chorus. The last part where the harmonies are just repeating “cry” is obviously beautiful and if you haven’t heard it before, I would recommend doing it immediately. That’s Not Me, in my opinion, is the most devastating track on the album, but without the lyrics, I would think this song is about horses and trees and life and shit. Heck, you could probably think it was about that until you hear the line “I went through all kinds of changes, took a look at myself, and said that’s not me.” I used to not be extremely into this track, but I love it now. The melody is fantastic, the instrumental is fantastic, the backing vocals are fantastic, everything about it is just amazing. And obviously, there’s the repeated mantra at the end of the song, that is just literally everything: “I once had a dream so I packed up and split for the city, I soon found out that my lonely life wasn’t so pretty.” How the lyrics feel so personal to Brian but still relatable to the listener is just beyond me. I can totally see why somebody would find Pet Sounds annoying and Don’t Talk is the perfect example. Like half of the song is just falsetto. Anyway, this song is fucking amazing and gorgeous and perfect. I love the stereo mix of Pet Sounds so fucking much because it makes some of the songs feel more full, yes, but I feel like if the vocals weren’t panned like how they are on this track, it’d sound sort of off? The melody is gorgeous, the bass is loud as fuck but what it’s playing is great, and the hi-hat(?) just repeating really makes it feel more dense. The lyrics are a little basic (“We could live forever tonight”), sure, but that doesn’t stop them from being pretty. I really like “don’t talk, close your eyes and be still,” it’s so calming and almost reassuring. The last “listen” during the bridge is the perfect segue for those aweing strings to come in, I love it. It varies from time-to-time, but currently if I had to choose a favorite song on the album, it’d be I’m Waiting for the Day. The way it blends this lush, but still kind of hollow instrumentation and that gorgeous melody with an upbeat, fun, cute, catchy banger is absolutely beyond me. Straight off the bat, things snap into this chaotic, bouncy beat and a flute melody, which after TEN SECONDS, drops into this beautiful verse with these genuinely amazing lyrics. The chorus perfectly attaches to the verse like a puzzle piece that you can barely even notice the switch, the only thing that really changes is some of the instruments get louder and the, I think, oboe stops playing the same thing as the lead melody. Then, Brian says “I’m waiting for the day when you can love again” and we go BACK to the sound from the beginning. This one part would hit so much differently if even ONE aspect of it was changed, even one of the notes were changed, if one of the instruments were removed, if the vocal style was slightly different. It is done so intelligently well that it is almost incomprehensible. Immediately, after the switch-up, we’re thrown into the second verse, WITH the upbeat instrumental. It just flows so goddamn well. I think the lyrics on the first verse are a little better than the ones on the second verse but the lyrics on the second verse are so much more memorable and meaningful to me (and they’re beautiful ofc) so you need to read them: “I kissed your lips and when your face looked sad It made me think about him and that you still loved him so Baby, don't you know that pretty soon, I made you feel glad That you belonged to me and love began to show?” And then things drop AGAIN into the chorus, this so calming but feels so human, using phrases like “I guess” to get it to work that way. And then things are amped up AGAIN for an instrumental break with some backing vocals and then they drop AGAIN for ANOTHER chorus. Brian adds more falsetto to his voice to acknowledge the change from the previous chorus while balancing it with the in-the-moment aspect. The chorus ends and this layer of strings is placed beneath it, ending the track. But no. No, the track doesn’t end. Because things get bouncy AGAIN. And this point, it’s a fucking trampoline with how fun it is. It’s not these beautifully crafted lines, but these genuine statements and that honesty makes it beautiful even if it wasn’t trying to be. I’m immediately stressing out over what to say for the instrumental tracks, like this one, Let’s Go Away for a While, considering how much I’ve been dickriding the lyrics. I think it’s a gorgeous track, don’t get me wrong, but I really don’t know what to say about it. Okay wait. I really like the balance of the instruments being used. I was going to mention which ones are being used most, basically like leads, but I really couldn’t pinpoint a specific one. The glockenspiel gets its moment, the saxophone does too, the strings, the bass, the drums, it’s just so much. And it’s gorgeous, can’t forget that. I really love the little string flair at 0:34 seconds in, it makes the track really memorable. That’s it. Adding not only a cover, but a cover about being on a boat, to an album like this is a risky move, but Sloop John B does not disappoint because it’s honestly one of my favorite tracks on it. Sure, the lyrics are really fucking stupid, but it’s so damn fun, and there’s still a genuine attempt to make a great track. Throughout the track, the band switches through singers, specifically Brian and Mike Love, which works because I mean duh they’re on a boat with a bunch of people, but Mike’s voice just perfectly blends with the rest of the song. While Brian’s voice is childish, I would say Mike’s is even MORE childish, at least on this track, and for a song like this, it works perfectly. Heck, the vibe of the whole song is childish. Literally everything the beat is doing feels like baby steps: it’s either very slowly banging the snare or playing a basic beat (it does something a little weirder in the third verse but I lowk don’t care abt it). I think there’s a kalimba in the mix, maybe that high instrument is something else, but either way those are literally elementary music class instruments. There’s high instruments like flutes or piccolos, but also lower instruments which still feel surprisingly childish as well. I think there’s a bari sax panned to the left, but it’s almost stupid, playing staccato. The part where all of the instruments drop and the chorus sings different things, just to be transitioned into literally the same thing with that high-ass “hoist up the John B-” is just so unnecessary but so fun, I love it. As much as I could argue how overrated of a song God Only Knows is, I still can’t deny how GOOD of a song it is because it is fucking gorgeous. Every instrument is brought in so cleanly that you can barely even tell. The french horn, then the bass. And then, it drops where this really weird melody is being sung. The end of that melody finishes up the first verse, and it’s repeated for the second verse, which is coated with a layer of strings which REALLY adds to it for some reason. Maybe it’s because the bass gets a little louder too. The verse EASILY has the best lyricism of the whole track, mixing what could be interpreted as desperate and sad with something loving; he’s saying if he lived without this girl, the world wouldn’t have anymore meaning. Sure, it might sound cliché in theory, but the way Brian bounces around sounding cliché and still being able to make a lyric that sounds fresh is crazy: “The world could show nothing to me, so what good could living do me?” After some sort of short instrumental interlude, the vocals come back but not singing words, which weirdly makes them feel a bit more lush. Until the babababababas which can be seen as kind of funny but they’ve grown on me so it’s fine. The third verse actually opens up with what is usually the last line of the verses (could also just be called the refrain): “God only knows what I’d be without you” and I’m pretty sure it’s actually sung higher than it usually is here? For the last section of the song, it’s really just the phrase repeated over and over again, but it makes the most of it. Everything drops at the beginning, but it adds more and more instruments and layers so at first, you can barely even notice that it’s repeating the same stuff. And then, after the build-up, it simply fades out, which I’m pretty sure was just a normal thing in the 60’s but it still works. I guess it’s kinda like drinking something, the longer you drink it, the more it starts to go down, and then you stop drinking it and the taste slowly stops. That’s the best metaphor I’ve got for that. Besides the instrumental tracks, I Know There’s an Answer is honestly my least favorite on the album. Not saying it’s a bad song, I’m sure the rest of this paragraph is only gonna be praise for it, but it’s just personally the least memorable for me. Actually, even including the instrumental tracks, I’d say Let’s Go Away for a While is more memorable than it (Pet Sounds, not so much). Anyway, the baritone sax breaking the looped instrumental, which then adds a tambourine was a great move. It makes things flow way better, which this song is great at, transitioning into the chorus from the verse. During the chorus, these absolutely gorgeous percussive hits are just going fucking off, same with Brian’s vocals. The lyrics are really great too. Speaking of the lyrics, if you just showed me the lyrics to the chorus alongside the lyrics to the chorus on the demo (“hang on to your ego, hang on but I know that you’re gonna lose the fight”), I would honestly probably pick the demo, but the lyrics in that were chosen honestly perfectly fit the rest of the song. Yet another reason why this album is basically perfect, everything is done to its max. If you listen to the demo, literally titled “Hang On to Your Ego,” you will hear just teeny tiny errors or things that weren’t added yet, like some harmonies, which make it feel just a LITTLE less beautiful. In the original song, there’s NONE of that, which goes to show the amount of effort this had to have taken. And then, the chorus casually transitions to the second verse, so smooth that you can barely even tell there was a transition (which btw I love this tactic of not being able to tell the first chorus from the second verse). Then, there’s a bari sax solo. I’ve said enough about the bari sax solo. Then, it basically just repeats the pre-chorus, the chorus, and then there’s some pretty flutes, and then the instrumental loop from the beginning comes in, with some added stuff, boom: end of song. It’s a cool moment, yeah, but there’s not much to really add to it. Going back to this song a few times for this, though, made me realize how good the lyricism was, and how good the actual song was too, so I will honestly probably come back to this a lot more. I know I totally just said that I’m Waiting for the Day is the best song on the album, but honestly, Here Today might be one of my favorite songs to come out of the 60’s (</3). Even before I let Pet Sounds grow on me, Here Today was one of my favorite songs from the 60’s. It was the first song on the album, and from the Beach Boys’ entire discography, that I fell in love with. Right off the bat, we’re hit with AMAZING lyrical content. I see it as almost a contradiction of Wouldn’t It Be Nice?, maybe a grown person telling a young kid that falling in love is a mistake and to slow down, almost mocking them. It also perfectly encapsulated a time in my life when I needed it, so thanks, Beach Boys. The music of the first verse starts off quiet, but then it adds a layer of harmonies and low brass, which does help add texture to the song, but THEN, it adds more. The percussion is playing quicker and more aggressively, almost like it’s freaking out. When this happens, the lyrics also change from an acknowledgement to a warning, which I just talked about. And that really helps with the instrumental context. With these two extra layers, things fall into this sad moment, where the narrator speaks from experience, talking about how much love hurts. The only instruments in this section are what I believe is an organ and a bass, so it’s pretty fucking stripped back, ESPECIALLY for fucking Pet Sounds. Then, the bass does this weird little thing I can’t really explain, but it’s basically a transition. The vocals pull another I’m Waiting for the Day too, lowering themselves for a smooth switch. And smooth it is, because the layer of low brass and harmonies and the percussion come back in another warning: “Love is here today, and it’s gone tomorrow, it’s here and gone so fast.” The second verse starts with almost dark humor. It’s honestly a really sad line, but it’s still sort of funny: “Right now, you think that she’s perfection, this time is really an exception.” Then, at the end of the verse, we got a PLOT TWIST. In a song, a plot twist. The narrator tries to explain why they’re being so harsh, and in doing so, admits that they were the person that they’re talking to’s girlfriend’s ex. Yeah, the narrator is warning their girlfriend’s next partner. Now, it could seem like they’re trying to scare the new partner. But maybe, the narrator is being genuine, that the girlfriend broke his heart, and she’ll break his too. During the second pre-chorus, the narrator changes the lyrics talking about how “it” will make you feel bad to how “she” will make you feel bad, which makes it even more sad. And then the happy-go-lucky instrumental comes back though, so it’s aight. Then, the instrumental almost flashes, while the bass plays this thing that I can almost describe as a DJ scratch sound effect, you know what I mean? It sounds nothing like that, sure, but it almost feels related. Then, the instrumental goes off with a snare almost call-in-response, to which it stops, and then the back and forth with the organ and the bass start again, repeating the instrumental from the pre-chorus, without the pre-chorus. Which is great, because directly after, it opens up the actual chorus. It works so buttery smooth that it’s hard to explain it, so if you haven’t heard the song already, please do. It’s worth it, it’s amazing. Brian Wilson is the only person who could make the line “sometimes I feel very sad” actually sad, which he does on I Just Wasn’t Made for These Times. The song starts immediately, no intro or anything. And the lyrics are immediately depressing, talking about trying to find a place in life that’s right. In classic Beach Boys fashion, things get a little faster for only about two lines. They also do this tactic that I LOVE here, where you sing a note, move up to a higher note, and quickly move back down (“I wish they could”). It’s gorgeous. Then, things slow down but there’s more instruments added, so it doesn’t feel unnecessary. That moves to the chorus, which is that line I mentioned earlier repeated, and one added line: “I guess I just wasn’t made for these times.” This line is so poignant because of how human it is. Brian could have just said “I wasn’t made for these times,” and it’d be fine, but he added the human instinct of trying to downplay things and it works so damn well. The second verse is my favorite one lyrically, just because of how depressing it is, but it still manages to be relatable. He’s talking about “every” time he gets the inspiration, like this happens a lot. It’s like a loop, and it’s sad to see. After the second chorus, the woodwinds copy the melody to the first line of the verse, and then a theremin is introduced. Yeah, a theremin. It’s surprisingly not cheesy too. I don’t really think it was the best instrument that could have been used, but it still blends in well, and the solo’s short enough that I don’t really care all too much. Surprisingly enough, this is probably my first time actually listening to Pet Sounds (the track) in detail, and I’m finding so many little details I love. I’m pretty sure that main percussion instrument is a ratchet and I may be incorrect, but I THINK that lead instrument is a guitar? They blend in surprisingly well with the orchestral instrumentation that I don’t even process it. At 1:38 in, there’s this brief part with a percussion instrument that I’m barely even recognizing for the first time right now, but I LOVE it. But what instrument is that?? It works so well. The song is a little too short, considering it’s not even the shortest track on the album (that’s Let’s Go Away for a While, which uses its runtime really well), but it works well for the flow of the album, and it’s just fucking good. Caroline, No was my final piece of evidence to little old me’s “Pet Sounds is the first horror album” theory, and it’s honestly a WAY better reason than You Still Believe in Me imo. Mainly because of the chorus, it’s REALLY unfulfilling, but that’s a good thing. It’s supposed to feel empty, unfinished. This is added onto with how the third verse doesn’t switch into anything, but an absolutely gorgeous flute section just playing the verse melody, which fades out (eventually guiding us towards literal pet sounds). Imagine at the beginning of the track, the two percussion instruments are actually a hi-hat and a snare, right? And it’s hi-hat, hi-hat, snare, repeat. WHAT is that snare, dude?? It’s so ominous, I love it. The two things I THINK it is are either claves or a woodblock–I’m leaning towards claves–but either way, it’s pretty fucking perfect. And the delay on it, too, oh my GOD?? I love how Brian just uses any instrument ever. The lyrics are SO sad too, obviously talking about someone that’s changed that said that they’d never changed. It’s kind of funny too, because the first line is “where did your long hair go?” so it technically could be interpreted as him freaking out that his friend cut her hair because it never really adds any other metaphors like that. It’s obviously not about hair though. That’s it. That’s my Pet Sounds review. I Uhh Love you <3 Favs: Here Today, I’m Waiting for the Day, Wouldn’t It Be Nice? Least fav: Pet Sounds RIP Brian Wilson EDIT: There might be better pop albums actually

who who im an owl

Pink Floyd's second best. Close to their best, but not their best. Second best if you must. This album's incredible. Opening up the first track, you get a fade-in, which I feel like I so underappreciated because they're one of the best ways to start an album. Then, the guitar is introduced. The notes are a bit all over the place but they still manage to be somehow pretty memorable. It's kind of pretty. Then, the iconic riff comes in. It's so empty, like something's missing, like you're speaking to a ghost and it's saying something you can't understand. Then the beat comes in makes it weirdly upbeat. It's not happy, though, it's more mysterious. The riff even changes every now and then to even more ominous notes. Then, ANOTHER guitar starts a solo, and it flows so well with everything else happening. It's also kind of mysterious, like you're looking for something, but then it goes fucking off. Kind of frustrated, kind of like you're searching for something, or someone. Quickly, things calm down and the beat, bass, and guitar loop a basic instrumental while a synthesizer gives a spooky yet empty melody. And that's exactly what that part is: empty. And then, boom fucking guitar solo again. It has the same sort of mysterious vibe to it. It's weird, like, you can bob your head to it but then if you really pay attention, it's kind of horrifying. Then, the vocals come in. I will admit, the vocals are a little bit lackluster, at least the impact of them is. When the "SHINE ON YOU CRAAAAAAZY DIIIIIIAMOND" part happens, it sounds like it's trying to be reminiscent of the Us and Them but it feels a little empty. Not in the way I've been talking about it either, just weirdly empty. I do want to give massive props to the lyricism here though because they're fucking gorgeous: "You were caught in the crossfire of childhood and stardom Blown on the steel breeze Come on, you target for faraway laughter Come on, you stranger, you legend, you martyr And shine" They're simple and there's not many layers besides that second line, but it works. It's not supposed to connect with everyone, it is about who the song was written about and that's it. I also really like "Well, you wore out your welcome with random precision." I could give a couple of other examples, but that'd go on for too long and not really add anything. I'm not the greatest fan of the saxophone part at the end. I usually like when Pink Floyd adds a saxophone to their song if it fits well, but here I fear it just doesn't. I guess the first part is fine, but--and I may be wrong-- I believe they switch types of saxophones a bit through the solo. I think it either changes from a tenor to an alto or a bari to a tenor. I don't know for sure though, I'm no expert about saxophones, it's not like I play the instrument. Actually, I do play the instrument, it's like right behind me, but that's besides the point. The guitar and the synthesizers are sick as hell on Welcome to the Machine; goosebumps. Not really, people who say they get goosebumps from music are kind of stupid, but you get what I mean. I guess the vocals are a bit out of range to the point where it would probably hurt at least a little bit, and the lyrics are definitely layered but not the best layers I guess. Like sucking on a monkey brain-flavored lollipop so you can get to the gum in the middle. Not really worth it. "What did you dream? It's alright, we told you what to dream." Sure, maybe my meaning would be a little more vague, but I could definitely write something like that and then look back at it as "pretty mediocre." There are some good bits, and I like the storytelling but they aren't nearly as good as some of the other lines on the album. The instrumental part after the first verse, which I think also happens after the second one (update: it doesn't), where everything is building and building is just absolutely fucking crazy. It feels something like you're quickly trying to escape something extremely dangerous, or meeting up with an evil you slowly realize is dangerous. Have a Cigar is a masterpiece in its field because of how goofy, yet extremely biting it is. The synths introduced harmonizing with the guitar is catchy but changes things up every now and then, which fits the "fuck the industry" idea. Try singing this song how you imagine the character singing this song would sing it. Did you sing in a lower voice than your usual voice? Did you sing like your alcoholic uncle talking about his fourth wife that divorced him and smoking a ciggie around a campfire? Now listen to the song. Boom, it's just that. The vocals are exact, almost too perfectly fitting that it sounds like a mockery. And the lyrics are fantastic too, they're so over-the-top, you can tell they're mocking the industry rather than sympathizing with it without even thinking. Like I never thought someone could think otherwise until I wrote that sentence. Of course, I have to give a nod to one of the all-time greats: "The band is just fantastic, that is really what I think Oh, by the way, which one's Pink?" Now comes easily the best song on the album and what's a good contender for best song in the Pink Floyd catalogue (Dogs and Great Gig in the Sky are other good choices) and what's even a good contender for best song ever. Which, funny story: when I first listened to this album, that was my third time listening to this song. And I still couldn't find the appeal. I wasn't a Pink Floyd fan on the first listen, which makes sense, but the second time, I enjoyed most of their music and the third, I was basically becoming a fan. Reason why: the melody. It's gotten trapped in my mind a couple times since but it's very much not a "catchy" melody. It goes all over the place, up down down up down up down down blah blah blah, and it adds to the rawness. The instrumental is detailed so perfectly, the piano plays at the perfect time, the guitar and the snare fit perfectly hand-in-hand, everything about the instrumental is genuinely perfect. The lyricism is top-notch too. You know, I made a Reddit post trying to figure out the lyrics to Wish You Were Here once. Okay I copied what I said and put it on a Doc: https://docs.google.com/document/d/118W_jHs0RHheZiCZn7P4zLEDGffiMCG2d-BB8gOttOE/edit?usp=sharing Back to the lyrics. They're fucking fabulous. Dense, textured, yummy. "Did they get you to trade your heroes for ghosts?" is a good example of a 10/10 which is insane considering it's nowhere near the best lyric on the song. Argument can be made over what the best lyric on the song is, but personally for me, it's easily the first line of the chorus: "How I wish, how I wish you were here." It's direct, but it's raw. It's heartbreaking. It makes you think of someone YOU miss. It makes you remember things, it makes you regret things, and it makes you bawl your eyes for hours in the corner by yourself. Then, of course, the rest of the chorus is beautifully crafted lyrically as well. Each line on that part is just so fucking gorgeous that I can't do it the justice it deserves, so just go read them if you haven't already. And read them thoughtfully. I will add this, though, I do love the circle back to the start of the chorus, "...wish you were here." It feels like a desperate plea. It feels so full of hope, yet hopeless at the same time. Genuinely one of the best songs I think I've ever and will ever listen to in my life. And I didn't even get the chance to fully digest it on the first listen. Or second. Or third. Until like maybe the ninth or tenth idk. Admittedly, this song is the one on the album I come back to the least, Shine On You Crazy Diamond 6-9. If I had to guess, I've probably listened to it somewhere from 5-9 times. Wait. 6-9 times. And it's not the song's fault, I think it's a great song still. It just doesn't move me the same way 1-5 does. The latter half of the sixth part is basically a jam-out section, which isn't the only one on this song. It's kind of similar to the first track, where it's very fun at times but weirdly on edge. Like running from the cops on foot. Actually, maybe that's not fun. I don't know, I've never tried. That's not the point. The guitars and bass goes off and the beat is repetitive but works well. Then, another guitar (or just a guitar, I think the leads in the upbeat part are guitars but they may be synths) comes in and introduces the same riff right before the vocals in 1-5. And it's smooth. Really smooth actually. Kind of reminds me of Two-Headed Boy Pt. 2's (by Neutral Milk Hotel) transition, except that one's 10x smoother. And that's exactly what it does, welcome the vocals. If I had to choose between this vocal part and the first one, I would honestly choose the first one pretty fast. The first one has way better lyricism and vocal execution, but I do still enjoy this one. And then the waiting room music time. Hell fucking yeah. No notes on this part really but that the playing is lively and fun. You don't like fun? Fuck off, you fucking pussy. And now, the last part, similar to the intro of the album but different melody-wise. And honestly, yeah, this part is way better than the intro. I don't know if I would consider it melancholic, but it feels a bit uneasy. It's kind of gorgeous now that I'm really paying attention to it. Anyway, yeah that's my review on Wish You Were Here by Pink Floyd. Now fuck off you fucking loser. Favs: Wish You Were Here, Have a Cigar, Shine On You Crazy Diamond, Pts. 1-5 Least fav: Welcome to the Machine EDIT: 4>5 certain moments grew on me

TOO LONG.