Wish You Were Here (Immersion Box Set) – Pink Floyd
Well, I generally stay clear of expensive box sets such as this and at the time I saw that this particular box set had been substantially reduced in price since its release I did have on pre-order the John Lennon Box Set Give Me Some Truth which was due to be released on the anniversary of his birthday back in October last year.
To be honest, I am not one for compilation albums and I do not have any albums by Lennon or The Beatles in my record collection but at one point was willing to shell out the £48 for it. However, around the same time I was hunting for Pink Floyd’s 1975 album Wish You Were Here on SACD because having Dark Side Of The Moon on SACD and loving the immersive experience of the 5.1 surround mix I very much wanted it. Though the cheapest I could find it (second hand that is) was for the same price of £48 on Discogs it’s been out of print for a good while now.
One of the good things about pre-ordering anything on Amazon is that they do not take your money till they dispatch the item and I always pre-order things months in advance it gives you plenty of time to cancel your order at any time beforehand. I was not quite willing to shell out £48 on one SACD especially when I only paid £10 for the SACD of Dark Side Of The Moon many moons ago so it very much appeared that my £48 was going on the Lennon box set.
I am pretty sure the release of Lennon’s box set also got put back a week or so and it was about 3 days before its release that I stumbled across the Wish You Were Here Immersion Box Set going brand new on Amazon UK for the same price of £48.
This particular box set cost twice that when it was originally released and perhaps even a bit more and has it offered more for the buck the Lennon box set sort of went out of the window and I got this instead. I am fairly sure I made a wise choice but do these expensive box sets really give you your money’s worth? Before I go any further let’s take a look at the packaging, artwork and contents.
Packaging & Artwork…
Well as you can see the box set is quite chunky and around the same size as a vinyl album only a lot thicker to hold its contents. Box sets like this do take up a lot of media space, especially if like myself you no longer collect vinyl. Although for vinyl collectors I don’t think it would present them with a problem and it would be much easier to store.
For my own purposes, I always prefer media storage that comes with adjustable shelves to cater for CD’s, DVD’s and Blu Rays and even though box sets like this might look nice displayed in my media storage (as seen below) however, they do take up the space of around 60 to 70 CD’s.
That’s why I like the way Ian Anderson has repackaged the reissues of his Jethro Tull discography into a hardback book and I honestly believe they are the best box set anybody has come up with. They are so much easier to store (as you can see below) and can easily be stored along with your DVD collection and take up way less space. In reality, his box or book sets also come with much more than what you will find in this box set at a fraction of the price, which makes them by far the best value-for-money box set you could ever buy.
One of the biggest downfalls with any box set like this is getting at the contents inside and you do have to fiddle about a bit trying to get the lid off the box. But what makes the design of this particular box set even worse is down to them not printing the contents of the box on the back of the box itself. Instead, they have printed them onto a card (as seen below) and at times it can be a nightmare trying to line it up to get the lid back on the box. Honestly, some of these designers must have the brains of a rocking horse 😊😊😊.
As you can see in the photos above it comes with a separate printed piece of card with the contents printed onto which has been folded on the one end so you can insert it into the one side of the lid. Why they could not have printed the contents onto the back of the box is beyond me and I can only assume that less thought and attention was put into the design as they went along making it. Somewhere along the line, I am sure those behind it all are losing their MARBLES!
The box design and artwork were done at Storm Studios by Storm Thorgerson, Jerry Sweet, Lee Baker, Laura Truman and Peter Curzon. The artwork on the front of the box is known as the “Desert Man” and was said to done back in 1975 and was an outtake of one of the pieces of artwork that were intended to be used on the back of the album to which “The Diver” was used instead.
It did also appear in a Pink Floyd calendar back in 2005 and I quite like this artwork but it’s perhaps understandable why it was not used thinking of the album’s title and why “The Diver” was used instead. But then again when taking a look at both “The Burning Man” and “The Claw” that were used for the UK and US front covers of the album. I would hardly say they were fitting to the album’s title either 😊😊😊.
The Packaging Contents…
As with many box sets such as this, they come with various trinkets and things you do not really need and are not going to offer you anything extra at all in the way of value in relation to the media content. To be honest most of the contents inside this box set I have not even opened to have a closer look at but you can tell just by looking at some of the items that some of the stuff in this box set is made entirely on the cheap and would not be suitable for the purpose they were originally meant for.
As you can see (by the picture above) the inside of the box presents you with a ribbon and a piece of foam which is aimed at giving it that bit of luxury feel to it and hold everything in place. The problem is that they do tend to put too many things in the box set for it to stop many of the items from moving about inside including the discs. So don’t be surprised to see that some of the discs have come loose when you open it.
First of all, let’s take a look at some of the junk that comes in the box and there is only really one item in the picture above that is not junk and that is the very thing I brought this for in the first place which is the Blu Ray (pictured in the bottom right of the picture above). Why this was not stored with the rest of the discs in the box set is obviously another cock-up by the designers and the picture on the cardboard sleeve they have used for the cover looks diabolical. It would have looked a lot better if they used the picture on the front of the box set or the original album cover.
The rest of the items here I have not bothered with because they have no real value. For example, just by feeling the quality of the scarf, it would not keep a nats armpit warm in the winter it’s that thin it would be pointless wearing. The 9 coasters spell out “Pink Floyd” and have various Storm Thorgerson pictures on the other side of them. I know this by looking at the unboxing of the package on the tube and even though I have not opened mine you can tell by looking at them that if you were to put any drink on these coasters they would turn to paper mache in no time because they have not even been coated with any substance to make them water-resistant.
The two black envelopes contain 4 collector’s pictures on cards and 2 smaller memorabilia cards with replicas of a stage pass, and a ticket printed on them. To be honest I quite like the collector’s cards. You also get a big card with “The Diver” picture although this is much better in one of the booklets because it has a glossy finish and on the card here it looks really dull.
The final item here in this picture is a bag of marbles, 3 in total and they are just clear glass, unlike the ones that came with the other Immersion Box Sets and are less interesting. What all that is about I don’t know unless they are there to remind us that Syd lost his marbles 😊😊😊.
The box set comes with three booklets although the grey one is more of an 8-page leaflet and contains all the linear notes and production credits. I have no idea why they could not have included this information inside one of the other booklets but I suppose once again whoever designed the box set was not thinking straight and certain things had to be added later on as they were missed out in the first place.
The other two larger booklets are perhaps the only real bit of extra quality you get besides the music media on the discs in the box. The black one is a 36-page book designed by Storm Thorgerson and includes the song lyrics along with some recording information, sleeve artwork, concert ticket and poster reprints and other pics.
The white booklet is a 24-page photo book of Pink Floyd Circa “1973 – 1975”, including photographs By Jill Furmanovsky and Hipgnosis. Finally (pictured below) we have the other 4 discs which are stored right at the back of the box which is not really ideal when you consider that you have to remove all other contents in the box to get at them.
Overall, it is only the music media and perhaps a couple of books in this box set that has any real value and I rather think a lack of thought went into the design of the box set. There certainly is not a hundred pounds worth or more which was its original retail price when it was released and realistically a box set like this should have retailed for around half that price and I feel that the £48 I paid for it is about the right price point it should have retailed for.
It also lacks a lot of informative information, especially in comparison to what you get in the Jethro Tull box sets for £30 and in all honesty this box set could never compete with the Tull ones and shoddy workmanship has gone into the making of it.
The Immersion Media In Review…
Pink Floyd’s Immersion Box Set of Wish You Were Here was released on the 4th of November 2011. The music media content in the box set is spread over 5 discs and you get 2 CD’s, 2 DVD’s and a Blu Ray. Every way I look at this particular box set and its media content it’s plain to see that it was aimed to rip off surround FREAKS! such as myself. Simply because the only bonus content that had not been previously released before (besides the 5.1 mix of the original album) can be found on the second CD (only) and that was released at the same time in a 2 CD package known as the Experience Edition for around 20 bucks. So let’s now take a look at the media content.
CD’s 1 & 2.
The first disc contains a 2011 remaster of the original album which was done by James Guthrie and Joel Plante in the same year at Das Boot recording studios in California, America. As with any remaster they can be either here or there regarding any improvement over the original recording and this is perhaps an album that has been re-issued and remastered to the hilt over the years. However, I have no complaints with this recording and it does sound excellent to my ears.
The second disc is perhaps another reason to get this box set although the fact it was reissued as 2 CD package entitled “The Experience Edition” it would certainly be cheaper to get that and I honestly do recommend it as well because this is really good bonus content that I myself had never heard before. I would also say that the Experience Edition comes in a damn site better package too as you can see by the picture below.
The disc comes with 6 tracks spread over an overall playing time of 66 minutes, 49 seconds and it’s the live material contained on the first 3 tracks that I personally think are the real highlights here and the reason to get this edition. Some of the tracks have odd titles, though I am sure any Floyd fan would recognise them when they hear them. The opening 3 live tracks are all taken from the bands performance at the Empire Pool Wembley, London back in November 1974 which was before the album was released.
You get treated to a 20-minute early version of “Shine On You Crazy Diamond” and it’s perhaps not that unusual for any band to play new material live before it’s released. However, the next couple of tracks “Raving And Drooling” and “You’ve Got To Be Crazy” are very early demos of “Dogs” and “Sheep” which eventually wound up on their 1977 album Animals and these were aired well early. No doubt various bootlegs of these recordings have surfaced over the years but these recordings are quality and are really excellent bonus material to have. Both Andy Jackson and Damon Iddins were at the helm of the new mixes here and have done a CRACKING! job I will say.
The next track “Wine Glasses” is the shortest track out of the 6 and is one of the many pieces that came from The ‘Household Objects’ Project which began back in 1969 I believe. This piece was recorded at Abbey Road Studios back in 1973 and engineered by Alan Parsons and sounds more like Richard Wright playing the opening of “Shine On You Crazy Diamond” on his keyboards than actual wine glasses. The final couple of tracks were also recorded at Abbey Road back in 1975 and were engineered by Brian Humphries. You get an alternative version of “Have A Cigar” with Waters singing it and a version of “Wish You Were Here” featuring Stéphane Grappelli on violin. Overall, the second disc is a very pleasing surprise and a GREAT! addition to have.
DVD’s 1 & 2.
The first of the DVD’s is audio-only and it contains the 5.1 surround and stereo mixes of the album Wish You Were Here newly mixed by James Guthrie. You have the choice of 448kbps and 640kbps and also the choice of Dolby Digital and DTS 48KHz/24 bit for the surround mix and an LPCM stereo mix. It also includes the original Quadrophonic mix which was created by Brian Humphries and assisted by Peter James and is credited as being mastered by Peter Mew at Abbey Road Studios. It only contains the album tracks and no other bonus content.
The second DVD contains the visual bonus content to which is very short. You get the Concert Screen Films from 1975, which can be viewed while playing back in either surround sound or stereo and this section contains two snippets of “Shine On You Crazy Diamond” one that is 4 minutes, 56 seconds and the other runs for 7 minutes, 47 seconds. You also get the visuals put to “Welcome To The Machine” which I personally think is the best of the bunch here. Finally, it includes the 6-minute short film by Storm Thorgerson that was done back in the year 2000 which is in stereo only.
The Blu Ray contains the same content that is on the two DVD’s only it’s got more of a High Resolution as it’s uncompressed and comes with 96KHz/24-bit audio instead of 48KHz/24-bit. The other bonus content of the Concert Screen Films and short film are the same format as on the DVD.
Blu Ray Main Menu
DVD Main Menu
As you can see from the pictures above both the Blu Ray and DVD Menus are different with their presentation and both are animated and you get to see “The Claw” open up and join hands together with an audio clip of “Shine On” playing in the background. Even though the main menu screen does look smaller on the blu ray it is far more superior in detail and has more of a pristine HD quality look about it.
The other advantage the blu ray gives you is with how the menus function and by clicking on either “Audio” or “Visual” it simply displays the other options without having to load up to another screen as you can see in the pictures above. This Flash-like menu system has hardly any delay and is much quicker to navigate your way around.
The DVD’s navigation (as seen in the couple of pictures above) is slower and there is more delay as it loads from one screen to the other. Though it’s not a snail and both the blu ray and DVD menus have been very well designed and also animated to good effect.
The couple of pictures above shows you how all the menu options on the Blu Ray are accessible on one single screen without having to load to another screen as with the DVD. The other advantage the Blu Ray has is everything is on one disc instead of two that you have with the DVD.
Both the Blu-Ray and DVD also come with a surround setup. Although you can just as easily do that on your AV Reciever and I myself prefer to do so and often find the ones put onto discs are there to make it look like you got another added bonus.
One of the most unusual aspects of playing the album is that there are no pictures for you to look at and you are merely presented with a blank screen. Pink Floyd is a band that is generally noted for putting visuals to their music and it would have been nice to have some of Storm’s artwork to run along with the music. Although perhaps they saw it as a distraction and wanted the listener to focus more on the music. However, I have no complaints here because I do think they have gone to town with the music and how they have presented it for surround FREAKS! in particular. So, let’s now take a look at the surround mixes.
The Surround Mixes.
One of the things I love about the mixes in this box set is that it offers you two GREAT! alternative ways to listen to the album as it not only comes with a 5.1 surround mix but also the original Quad mix. That is something the SACD does not give you and where this edition really is the winner of the two. Both James Guthrie‘s 5.1 mix and Brian Humphries original Quad mix gives you a superb immersive experience and when it comes to how both mixes project across the room they really do offer you alternative ways of hearing the album.
I cannot fault any of them and they both give you the ultimate album experience in my book over the stereo mix. I also could not pick a winner out of the two and it really does give you two magical ways of listening to the album.
The Album In Review…
Pink Floyd’s 9th studio album Wish You Were Here was originally released on the 12th of September 1975. The album itself contains 5 tracks spread over an overall playing time of 44 minutes, 11 seconds and was received with mixed reviews upon its release although mostly positive and it had no problem reaching Number 1 in both the UK and US album charts. It’s sold well over 20 million copies over the years and over 6 million copies in the US alone. It also reached Number 1 in many other countries and had Platinum and Gold sales worldwide. The album is also noted to be both Richard Wright’s and David Gilmour’s favourite Floyd album.
I have to admit that coming off the back of the bands most iconic album The Dark Side of the Moon (which is my personal favourite Floyd album) the band did extremely well to follow it up and no doubt they had found their feet in the new direction they were going in by now.
Although egos between the band members were starting to crack in particular with one of its band members who thought he was in the PINK! rather than the red more so than the others so to speak. Things, however, had not quite reached a boiling point at this stage and they were not quite at loggerheads with each other, but after the tour of their previous album they were somewhat drained of ideas. Although you would not have thought so considering they played 3 new songs during that tour.
The band once again assembled in Abbey Road to record the album and spent a good 6 months from January to July 1975 working on new material for the album, the pressure had very much got to them of how they could maintain the consistency of their previous album and follow it up.
Alan Parsons was no longer interested in working with them due to him working on his own solo career and engineer Brian Humphries who they worked with earlier on the soundtrack album More was roped into to work with them.
EMI’s Abbey Road set-up was not that familiar to Humphries and on one occasion he inadvertently spoiled the backing tracks for “Shine On” which both Waters and Mason had spent hours perfecting. The entire piece had to be recorded again. In 2014 Humphries also pointed out in an interview how the band were struggling to come up with ideas and how they spent much of their time playing darts, shooting with an air rifle, also playing word games and sitting around getting drunk.
The band spent four days each week from 2:30 pm until very late in the evening working on the album. Six months was a long time to spend making the album but luckily for them eventually everything started to fall in place despite the expense and all the stress that came with it.
It was at this time that Waters had taken more or less the driving seat and that the success of their previous album had more or less turned the name of the band into a brand and a product for the music industry. The band were that well off they could have even broken up at this point of their career. They were not completely at loggerheads with one another like I mentioned but the cracks had started to seep in and appear. Things could only get worse from this point onwards and not better.
As with their previous album the band used many effects some from their “Household Objects Project” which the band set up back in 1969. For those not familiar with the project I suppose in a way it’s a bit like the BBC’s Radiophonic Workshop which was used to create sound effects by the use of many different objects. Floyd was always an experimental band and it was not unusual for them to use other sounds in their music even the sound of sausages and bacon frying in a pan as in “Alan’s Psychedelic Breakfast” from their 1970 album Atom Heart Mother.
EMS Synthi AKS
Another tool used for making sound effects that were heavily used on their previous album is the EMS Synthi AKS and once again Waters, Gilmour and Wright made good use of it for this album especially on “Welcome To The Machine“. It’s very similar to the VCS-3 and was widely used in art-rock by many bands since 1971/2. Quite often when the band were short of ideas they would turn to this particular synth and household objects to get their creative juices flowing.
Musicians & Credits…
All Tracks Written & Produced by Pink Floyd. All Lyrics by Roger Waters. Recorded between January – July 1975 at Abbey Road Studios London, England. Engineered by Brian Humphries. Assistant Engineer Peter James. Quadrophonic Mix by Brian Humphries. 5.1 Mix by James Guthrie. Artwork & Design by Storm Thorgerson, Jerry Sweet, Lee Baker, Laura Truman and Peter Curzon at Storm Studios.
David Gilmour: Vocals – Guitars – Pedal Steel Guitar – EMS Synthi AKS – Additional Bass – Glass Harmonica – Tape Effects.
Roger Waters: Vocals – Bass Guitar – EMS Synthi AKS – Additional Guitar – Glass Harmonica – Tape Effects.
Richard Wright: Hammond organ – ARP String Ensemble – Minimoog – Steinway Piano – EMS VCS 3 – Hohner Clavinet D6 – Wurlitzer – EP 200 Electric Piano – Rhodes Piano – Glass Harmonica – Backing Vocals.
Nick Mason: Drums – Percussion – Tympani – Cymballs – Tape Effects.
Dick Parry: Tenor & Baritone Saxophones (Shine On You Crazy Diamond).
Roy Harper: Lead Vocals (Have A Cigar).
Vanetta Fields & Carlena Williams: Backing Vocals.
The Album Tracks In Review…
Just like their previous album Wish You Were Here is their second album to also run along a conceptual theme written by Roger Waters and is based around the concept of absence and that is perhaps why the marbles in this box set are clear. The absence of Syd Barrett was certainly being remembered within some of the lines that were written for the albums mammoth epic opening and closing track and along with its other conceptional ideas that were penned in the words by Waters, it also has a stab at the music business in particular.
Each track is seamlessly merged to run along with one another as is the case with most concept albums though it is far from a concept story album as such nevertheless it flows along very well with its track placement. So let’s now take a look at how the album pans out as I go through the individual tracks.
Track 1. Shine On You Crazy Diamond (Parts I-V).
Originally “Shine On” was one long track just like the band played it live at the Wembley Empire Pool in 1974 and it was Waters idea to split it up for the studio album which Gilmour was not happy with as he thought it would be better for it to take up the one side of the album just as they had previously done with “Echoes” from their 1971 album Meddle. However, Gilmour was outvoted three to one and in all honesty, I think Waters had the right idea because has a 20-minute piece it can sound a bit too much of the same thing for my ears, although Dick Parry’s sax does help to break up some of its monogamous zones and it is perhaps more of an instrumental piece in relation to the little number of words that are contained in the actual song.
It’s a song that is built up very slowly and is mainly keyboard orientated although Gilmour’s notation and lines on his guitar are what really make it shine. Floyd has always had a relaxed and chilled-out style to their music and the pace this song eventually gets to roll along and could be likened to the same relaxed pace that “Us and Them” runs along from their previous album. Just like that song, it’s easy to see how Parry’s work on the sax fit in here too and he does an exceptional job on the piece.
Waters wrote the words in the way of a tribute to Syd Barrett in particular the lines “Remember when you were young, you shone like the sun” and “You reached for the secret too soon, you cried for the moon“. However, it was not entirely written about Syd and he was a symbol for all the extremes of absence. It was also by sheer coincidence that Barrett walked into the studio as the band were recording the song which I am sure most people are aware of.
The intro also uses the wine glasses (that can be heard on the second CD that comes with the box set) and the reason I said it sounded like Wright’s keyboards is that the sound of the wine glasses was multi-tracked into chords. They are nowhere as evident in the recording as what Gilmour did at his Live At Pompeii concert where he hired a guy playing wine glasses in the street to play on the intro of the song. These remnants were lifted from their incomplete studio album Household Objects.
The song is credited to Gilmour, Wright and Waters and no doubt is a Floyd classic. Waters also takes on the lead vocals and considering he has more of a talking voice he does sound like he’s singing on this one, though no doubt Gilmour’s voice and the backing singers Vanetta Fields & Carlena Williams give it more of a singing presence and help lift it up.
Track 2. Welcome To The Machine.
Like I mentioned earlier this track features extensive use of the EMS Synthi AKS and it has been put to very good use the so-called machine is the record company pushing you for your next record and another hit. The song was also used for the B-Side of their next hit single that follows it and was penned by Waters who he himself described in his own words “as a symbol of musical discovery and progress betrayed by a music industry more interested in greed and success”. Gilmour takes on the lead vocals and as always does a GRAND! job on it.
Track 3. Have A Cigar.
Another of the songs that Waters penned which also has a stab at the music industry and along with the previous track are very much the rock songs of the album. It was also released as a single and reached number 1 in the UK charts. It’s a song that features neither Gilmour nor Waters on lead vocals and they roped in Roy Harper who had been previously on tour with Pink Floyd and was the support act for many of their shows. For some reason even though Waters knew he could not sing it at the time, Gilmour quite blankly refused to sing it although I personally think he could have sung it much better than Waters simply because he is no doubt the best vocalist in the band and I even think Wright is a better singer than Waters myself. However, Harper did a CRACKING! job with it.
Track 4. Wish You Were Here.
The classic ballad song on the album to which the finale of Tchaikovsky’s Fourth Symphony can be heard amongst the radio airwaves in the intro which was recorded from Gilmour’s car radio at the time. At the time they were in the studio both violinists Stéphane Grappelli and Yehudi Menuhin were performing in another studio at Abbey Road and were invited to record a piece for the new album. Grappelli obliged whilst Menuhin stood by and watched. The recording of it is on the bonus disc and even though it was never used for the album they paid Grappelli £300 for the session. I must admit I prefer it without the violin myself and it is, without doubt, a Floyd classic and happens to be Gilmour’s favourite Floyd song.
Track 5. Shine On You Crazy Diamond (Parts VI-IX).
The album ends off very well as it runs into the final parts of “Shine On” to which I am pretty sure that the very final part was credited in the writing to Wright alone which is perhaps hardly surprising considering most of the song could have easily of been written on the keyboard. Though I will say I quite like how the band make a longer piece such as this interesting and even though there are transitions they are very subtle and smoothly done in the way of doing a variation of an existing theme and keeping it driving along with the other elements of instrumentation that comes into play. It finishes off the album in fine style.
Summary & Conclusion…
The Wish You Were Immersion Box Set by Pink Floyd is perhaps really only any value for those like myself who are Surround FREAKS! It’s far from a very well-presented box set and a lack of thought has been put into making it. It offers very little for its original price point even though it seems like you are getting a lot for your money. It’s perhaps worth the £48 I paid for it but not really anymore. Please also note that my price point rating score is based on the retail price of the box set and not its reduced price. The French words ‘Ceci n’est pas une boite‘ on the front cover of the box translates as ‘This is not a box’. I rather think that it should have said ‘This is not a good box’ 😊😊😊.
As with most of the bands box sets, they can be elaborately priced some are well over £300. It’s also worth noting that this box set is still widely available to purchase after a decade and as come down to less than half its price, it was obviously not a limited box set unless people are simply not buying it. It’s certainly not hard to obtain and it is even slightly cheaper on Amazon today than what I paid for it last year.
Pink Floyd’s 9th studio album Wish You Were Here is as solid as they come and because every track is so good it’s really impossible for me to choose a favourite track. Even my personal highlights of the album would be to stick the whole album on and play it all. The extra bonus material is also very good and both the 5.1 and Quad Mixes are superb and breathe new life back into the album. The fact that the Immersion box gives you a 5.1 and Quad mix is tempting me to buy The Dark Side Of The Moon Immersion box set for quad mix in particular.
There is no doubt that these Immersion box sets will give surround FREAKS! like myself, an excellent “Immersive” experience and this album is really brought back to life not only with its relatively new 5.1 mix but also with the original Quad mix done all those years back.
Although you will not get the “Immersive” experience with The Wall Immersion box set it does not come with any multichannel recordings at all and that is why I personally would not bother buying it. Though I have recently heard that their 1977 album Animals has finally been given at least the 5.1 treatment and will be repackaged differently.
It’s scheduled to be released at some point in 2021 and unfortunately, it’s one of those box sets where you have to buy the same thing 4 times over just to get your hands on the Blu Ray that comes with the 5.1 mix. No doubt this will retail at around the £80 – £100 mark when in reality it should cost no more than £50. It looks like the same sort of thing they did with Chris Squire’s 2017 box set of Fish Out Of Water I purchased and hopefully, at some later point they will see the sense to release a single Blu Ray Edition like they did with the Squire album. Though knowing this band its hardly likely has they do like you to sell a kidney now and then 😊😊😊.
Shines On In Surround…
The 2 CD tracklisting is as follows:
01. Shine On You Crazy Diamond (Parts I-V). 13:32.
02. Welcome To The Machine. 7:31.
03. Have A Cigar. 5:07.
04. Wish You Were Here. 5:34.
05. Shine On You Crazy Diamond (Parts VI-IX). 12:29.
01. Shine On You Crazy Diamond (Parts 1 – 6) [Live]. 20:22.
02. Raving And Drooling [Live]. 12:35.
03. You’ve Got To Be Crazy [Live]. 18:12.
04. Wine Glasses. 2:16.
05. Have A Cigar [Alternative Version]. 7:11.
06. Wish You Were Here (With Stéphane Grappelli). 6:13.
3 thoughts on “Lee Speaks About Music… #177”
It’s really exciting to look back with the help of your reviews and to realise how many iconic albums were released in the 70s. I just thought, that in the same year 1975 Led Zeppelin published “Physical Graffitti”. This time I like the band 🙂 though Pink Floyd might be not in my top ten. I am sorry to say, that “Wish you were here” is not an album I know very well and I listened to it a long time ago, so I don’t feel qualified to say something about the music. Regarding this luxury package I think you got a lot for 48GBP. I have always liked, when you get interesting bonus-content in such a box, but a thin scarf is really the last I would expect in a Pink Floyd boxset. I think bonus-items should tell a story of the band or should give you a better understanding of the band and I don’t understand, how this scarf is related to Pink Floyd or the music.
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It does seem like you get a lot for £48 however most of the trinkets are really junk and things you could not use at all. Regarding the scarf that is perhaps something more associated with football than music though quite often bands will have merchandise like T-Shirts, Caps, and many other little things including scarves.
There are so many things that could have been done better with this box set and in my opinion, it’s badly designed. For its much lower price of £48, you would think you were getting a bargain but in comparison to the box set of Alice Cooper’s latest album, Detroit Stories I also brought for £48 in all honesty this Floyd box set is a joke. This is what you get in the Cooper box set and I will describe how much better it is.
First up the main album. Floyd’s is a box set and not one album like Cooper’s but why on earth did they stick 4 out of the 5 discs at the back of the box and the blu ray in a cardboard sleeve on its own. Now let’s say the blu ray is the album, The fact that it does come in a sleeve and not a digipak means that you can not take this thing out of the box and store it on the shelves with your other albums. Well, you could but sleeves like this are that thin they would be hard to find them on the shelf against all your other CD’s.
Inside Cooper’s box, the CD comes in a proper gatefold digipak so this can be taken out of the box and stored easily with all your other CD’s.
Also so in the Cooper box it comes with a blu ray of an unreleased live concert and the blu ray is in a proper blu ray case so you can take that out of the box and easily store it with your other blu rays.
In Floyd’s box, they give you a thin scarf that would be pointless wearing cause it will never keep you warm in the winter. In the Cooper box, you get a T-Shirt of genuine quality that you can wear (although only if XL fits you as that is the size they chose to put in all of the box sets).
In the Floyd box, they give you some Coasters and these are thin cardboard and not coated and basically would fall apart if you put a drink on them. Like the scarf, they are not fit for the purpose they were intended for. Inside the Cooper box, it comes with a Covid Mask and once again this item is made of genuine quality.
Like Floyd’s box, it also comes with some other Niknaks like stickers and you also get a small metal torch that shines his eyes on the wall or wherever you want to point the torch. But still, it’s a quality item even if it only cost a couple of quid to make.
This box set of Alice Cooper’s is one of the only box sets that gives you something extra that you can use for the money and you genuinely do get a lot for your £48 even more than what you paid for. The CD would cost as much as £14. The Blu Ray another £14 – £18. The T-Shirt £20 – £25 and even a Covid Mask like this would set you back at least £10. No way are you getting this value in that Floyd box and that thing originally cost twice the price.
Any box set should offer you something more for your money not like what Floyd has done by putting cheap crap you could never use inside it to make it look like your getting value for your money. Granted not many people could afford to do what Alice Cooper did with his box set either but overall box sets should not be aimed at ripping people off and it is the media content in the Floyd box set that is aimed at ripping off surround FREAKS! like myself by them not putting the blu ray in a standalone package.
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And Pink Floyd has made more than enough money to create a decent box-set. Since I bought the last Who-album I had joined their mailing-list, but soon it turned me off how they constantly try the next T-shirt and the next special edition with unheard alternate takes. As a fan I want to get some value, when I join a mailing list, maybe a story from the past, pictures from the last tour. But it seems they are only in it for the money 🙂 That’s the matter with all the old rock-giants, they just rip off their fans. They know they are irreplacable and abuse their status.
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