Reply #43: Wright, and wrong [View All]

My main argument about Wright's contributions making Floyd great was about the albums leading up to "The Final Cut", more than the ones since. Wright is brilliant on "Meddle" - 'Echoes' is as much his piece as it is Gilmour's. And of course, the powerful trio of DSOTM, WYWH, and "Animals" are his last great works. I admit Wright phoned in much of the later stuff, and Jon Lord was a good choice as the keyboardist on Gilmour's "About Face", which is still the best Floyd solo album, edging out "Pros & Cons" by a hair (Clapton sounds turgid and bored, but then he has been that way since Duane Allman punked his ass on the "Layla" album).

I am going with Rabrrrrrr's thesis here: Water and Gilmour are both great, and better together than separately. I remember arguing with Waters partisans in high school (for me, this was when "The Final Cut", "Pros", and "About Face" all came out) and they just couldn't admit their hero had run his course with mining Syd's memory and his father's death for what it was worth. Hell, Gilmour's lyrics on "About Face" are a damn sight better than anything Waters did on his next 2 albums. It's all there: The anti-Thatcherism, the arms race, the intimations of mortality, and even two Pete Townshend contributions for good measure.

For the record, I am neither a Gilmour or Wright partisan. Or even a Syd Barret (RIP, genius) partisan. I am a Pink Floyd partisan, in all their many dimensions and facets.