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PINK FLOYD

Psychedelic/Space Rock • United Kingdom


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Pink Floyd biography
PINK FLOYD can be considered as one of the leading bands in progressive rock from the seventies, together with YES and GENESIS. Their first line-up consisted of guitarist Syd BARRETT, bassist-singer Roger WATERS (who left the band in 1983), drummer Nick MASON and keyboardist Rick WRIGHT. Their early material was mostly written and sung by BARRETT, at that time the central figure of the group. The first album "The Piper At The Gates Of Dawn" of 1967 contains come catchy pop songs, together with more experimental and longer instrumental pieces. They even reached the Top-20 in England with the song "Arnold LAYNE". In the beginning of 1968, guitarist David GILMOUR joined the band to replace BARRETT in live performances. But BARRETT had to leave the group because of mental instability. In 1970 the band recorded some songs for the cult movie Zabriskie Point including an alternative version of 'Careful With That Axe, Eugene'.

PINK FLOYD became even more successful, whilst playing psychedelic progressive rock with a touch of classical music. 1971 saw the release of "Meddle" (a clever mix of short mellow jazzy tunes and lengthy experimentaltracks) and the soundtrack for the film "La Vallée" ("Obscured By Clouds") was released in 1972. But their most successful album was definitely "Dark Side Of The Moon" (1973), cosmic rock produced by an excellent sound engineer Alan PARSONS. This album is a milestone in progressive rock, great songwriting with lots of special effects and including saxophone and great female vocals. The successor "Wish You Were Here" included the well-known epic song "Shine On You Crazy Diamond". "Animals" is a dark and underrated gem, featuring scathing lyrical accounts on humanity.

End 70's, Roger WATERS influenced both musical and lyrical the albums of the band. In 1979, they released "The Wall", a double album rock opera. After the release of "The Final Cut" in 1983 the band split up for a while. PINK FLOYD released a few albums afterwards without Roger WATERS, but they never reached their previous status. "Echoes", The Best of Pink Floyd, was released in 2001. To celebrate this 30th anniversary a new version of "Dark Side Of The Moon" has been released. This release is a must have for all music lovers young and old. Highly Recommended!

(Claude Bpl)

See also: Zabriskie Point - Original Soundtrack

Pink Floyd official website

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Dark Side Of The MoonDark Side Of The Moon
Parlophone 2011
Vinyl$23.20
$20.49 (used)
The Endless River (CD+Blu-ray Casebook Edition)The Endless River (CD+Blu-ray Casebook Edition)
Box set
Columbia 2014
Audio CD$25.23
$16.99 (used)
Wish You Were HereWish You Were Here
Capitol Records 2011
Audio CD$8.69
$7.55 (used)
THE WALLTHE WALL
Parlophone 2011
Audio CD$14.10
$12.00 (used)
The Divison BellThe Divison Bell
Parlophone 2011
Audio CD$8.46
$12.34 (used)
AnimalsAnimals
Parlophone 2011
Audio CD$8.74
$9.99 (used)
MeddleMeddle
Parlophone 2011
Audio CD$8.54
$8.55 (used)
The WallThe Wall
Remastered
Capitol Records 2011
Audio CD$12.98
$9.09 (used)
Echoes: The Best of Pink FloydEchoes: The Best of Pink Floyd
Parlophone 2001
Audio CD$13.22
$1.47 (used)
Momentary Lapse Of ReasonMomentary Lapse Of Reason
Parlophone 2011
Audio CD$8.74
$5.55 (used)
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PINK FLOYD shows & tickets


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PINK FLOYD discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PINK FLOYD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.89 | 1541 ratings
The Piper At The Gates Of Dawn
1967
3.66 | 1331 ratings
A Saucerful Of Secrets
1968
3.15 | 993 ratings
More
1969
3.48 | 1293 ratings
Ummagumma
1969
3.85 | 1694 ratings
Atom Heart Mother
1970
4.31 | 2373 ratings
Meddle
1971
3.37 | 1167 ratings
Obscured By Clouds
1972
4.59 | 3335 ratings
Dark Side Of The Moon
1973
4.62 | 3153 ratings
Wish You Were Here
1975
4.52 | 2812 ratings
Animals
1977
4.05 | 2285 ratings
The Wall
1979
3.16 | 1400 ratings
The Final Cut
1983
3.05 | 1298 ratings
A Momentary Lapse Of Reason
1987
3.73 | 1548 ratings
The Division Bell
1994
3.44 | 406 ratings
The Endless River
2014

PINK FLOYD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.27 | 426 ratings
Delicate Sound Of Thunder
1988
3.94 | 599 ratings
P-U-L-S-E
1995
2.85 | 119 ratings
Live 66-67
1999
4.07 | 389 ratings
Is There Anybody Out There?
2000

PINK FLOYD Videos (DVD, Blu-ray, VHS etc)

4.76 | 397 ratings
Live At Pompeii
1981
4.07 | 446 ratings
The Wall (The Movie)
1982
3.61 | 143 ratings
In Concert - Delicate Sound Of Thunder
1989
3.06 | 38 ratings
La Carrera Panamericana
1992
4.41 | 443 ratings
P-U-L-S-E
1995
3.06 | 71 ratings
London - Live 66-67
1999
4.57 | 543 ratings
Live At Pompeii (The Director's Cut)
2003
4.05 | 150 ratings
Classic Albums: The Dark Side Of The Moon
2003
2.89 | 41 ratings
Inside Pink Floyd
2003
3.28 | 58 ratings
The Pink Floyd & Syd Barrett Story
2003
2.33 | 23 ratings
Inside Pink Floyd Volume 2 - A Critical Review 1975 - 1996
2005
2.05 | 11 ratings
The Ultimate Review
2005
1.84 | 16 ratings
The World's Greatest Albums - Atom Heart Mother
2005
2.45 | 14 ratings
Rock Milestones Pink Floyd's Wish You Were Here
2005
1.83 | 15 ratings
Reflections And Echoes
2006
2.77 | 16 ratings
Rock Milestones Pink Floyd's The Piper At The Gates of Dawn
2006
1.33 | 17 ratings
Rock Milestones: Ummagumma
2006
2.10 | 10 ratings
Music Box Biographical Collection
2006
2.35 | 14 ratings
The Dark Side - Interviews
2006
2.20 | 11 ratings
Total Rock Review
2006
2.43 | 14 ratings
Meddle: A Classic Album Under Review
2007
3.14 | 14 ratings
Retrospectives
2007
1.95 | 11 ratings
The Early Pink Floyd - A Review And Critique
2008
2.11 | 10 ratings
Comfortably Numb
2008
3.00 | 13 ratings
A Technicolor Dream
2008
3.64 | 23 ratings
Live Anthology
2008
1.81 | 15 ratings
The Great Gig In The Sky: The Album By Album Guide
2008
3.98 | 65 ratings
The Story of Wish You Were Here
2012

PINK FLOYD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.06 | 31 ratings
The Best Of The Pink Floyd
1970
3.54 | 295 ratings
Relics
1971
3.10 | 89 ratings
A Nice Pair
1973
2.68 | 55 ratings
Masters Of Rock Vol. 1
1974
2.11 | 162 ratings
A Collection Of Great Dance Songs
1981
2.16 | 120 ratings
Works
1983
3.43 | 72 ratings
Shine On
1992
3.68 | 84 ratings
The Early Singles
1992
3.03 | 53 ratings
1967: The First Three Singles
1997
3.40 | 209 ratings
Echoes - The Best Of Pink Floyd
2001
4.04 | 68 ratings
Oh By The Way...
2007
2.77 | 43 ratings
A Foot In The Door: The Best Of Pink Floyd
2011
4.49 | 54 ratings
Discovery
2011
4.74 | 101 ratings
The Dark Side Of The Moon - Experience Edition
2011
4.55 | 90 ratings
The Dark Side Of The Moon - Immersion Edition
2011
4.71 | 103 ratings
Wish You Were Here - Experience Edition
2011
4.36 | 78 ratings
Wish You Were Here - Immersion Edition
2011
4.20 | 50 ratings
The Wall - Experience Edition
2011
1.71 | 47 ratings
The Wall Singles
2011
3.79 | 72 ratings
The Wall - Immersion Edition
2012
4.12 | 17 ratings
The Division Bell (20th Anniversary Deluxe Box)
2014

PINK FLOYD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

3.75 | 62 ratings
Arnold Layne
1967
3.37 | 72 ratings
See Emily Play
1967
2.84 | 45 ratings
Apples And Oranges
1967
2.58 | 54 ratings
Tonite Let's All Make Love In London
1967
3.57 | 23 ratings
Flaming
1967
3.25 | 31 ratings
It Would Be So Nice
1968
3.62 | 36 ratings
Point Me at the Sky
1968
2.81 | 34 ratings
The Nile Song
1969
3.76 | 64 ratings
One Of These Days
1971
4.43 | 5 ratings
Free Four
1972
4.00 | 3 ratings
Free Four / Absolutely Curtains
1972
3.71 | 71 ratings
Money
1973
3.50 | 65 ratings
Time
1973
3.61 | 61 ratings
Have a Cigar
1975
3.76 | 65 ratings
Comfortably Numb
1979
3.51 | 67 ratings
Another Brick In The Wall
1979
3.38 | 57 ratings
Run Like Hell
1980
3.21 | 50 ratings
When the Tigers Broke Free
1982
1.87 | 47 ratings
Not Now John/The Hero's Return (Part 2)
1983
2.45 | 55 ratings
Learning To Fly (promo single)
1987
3.01 | 46 ratings
On the Turning Away
1987
2.94 | 31 ratings
One Slip
1988
2.94 | 18 ratings
A Momentary Lapse Of Reason Official Tour CD
1988
2.90 | 23 ratings
Shine On - Selections From The Box
1992
3.15 | 64 ratings
High Hopes/ Keep Talking (single)
1994
3.35 | 50 ratings
Take It Back
1994
3.43 | 7 ratings
Interview Disc
1995
4.00 | 34 ratings
Louder Than Words
2014

PINK FLOYD Reviews


Showing last 10 reviews only
 Inside Pink Floyd by PINK FLOYD album cover DVD/Video, 2003
2.89 | 41 ratings

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Inside Pink Floyd
Pink Floyd Psychedelic/Space Rock

Review by AtomicCrimsonRush
Special Collaborator Symphonic Team

3 stars The inside series of DVDs are a compelling snapshot of prog history for the progressive rock fan. It is worth noting that there are a series of "Inside" DVDs available, including Van der Graaf Generator, Yes, Supertramp, Emerson Lake and Palmer, Genesis and of course "Inside Pink Floyd". Each DVD is in Dolby digital 5.1 and DTS so the sound is incomparable.

The Inside series is an independent critical review featuring rare archive footage much of which has been previously unavailable on DVD. Pink Floyd clips from the Barret era are here focussing on Piper at the Gates of Dawn for much of the program. It is a rare treat to see Waters and Gilmour together In the Dark Side of The Moon era too. We hear from band members about the recording process and I was surprised to see performances from More and Obscured by Clouds that are rare indeed.

Musicologists of varying backgrounds critically assess the music to discover the essence of the band. It is a very brief look at the band as are all of these DVDs of the "Inside" series, clocking just over one hour in length. Therefore it is more of a taster for those new to Pink Floyd or for those who just want to look back at the golden years of this quintessential prog rock band.

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 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.44 | 406 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Mellotron Storm
Prog Reviewer

3 stars I have never been so conflicted about getting an album as I was with this one. The positives were the fact that this is a tribute of sorts to Richard Wright and that it's mostly instrumental but the negatives for me were that the tunes are mostly out-takes from The Division Bell sessions as i'm just not into PINK FLOYD without Roger Waters being involved. Well obviously I picked the cd up with three bonus tracks that for some strange reason are better than the proper album songs(in my opinion). This comes just as advertised as it's very ambient and pleasant overall with mostly shorter tracks that blend into each other. There are lots of guests helping out including plenty of strings and backing vocals. Two guest bass players help Gilmour out in that department with Waters not being asked to be involved.

"Things Left Unsaid" feature spoken words and a spacey atmosphere with the guitar crying out and plenty of organ runs. "It's What We Do" is similar to track one as it's quite spacey but we get some sax here reminding me of "Wish You Were Here". "Ebb And Flow" is mostly keys and guitar while "Sum" has this cool sounding organ before the song kicks into gear 1 1/2 minutes in. "Skins" is just that, a song where Mason is the focus. "Unsung" is almost "Echoes"-like while "Anisina" is just too normal sounding and one I just can't get into. "The Lost Art Of Conversation" is spacey with laid back piano melodies. "On Noodle Street" is mellow with a beat and a spacey atmosphere.

"Night Light" is spacey with no beat while "Allions-Y (1)" is another ambient and spacey piece with a beat. "Autumn '68" is one of my favourites with the organ floating beautifully in the background. "Allions-Y (2)" reminds me of nineties CAMEL, especially the guitar. "Talkin' Hawkin'" has these spacey guitar expressions as spoken words arrive 1 1/2 minutes in. it turns calm late. "Calling" is dark and somewhat experimental but the sun comes out later on as it brightens. "Eyes To Pearls" is another favourite of mine. Picked guitar and atmosphere early on and the drums remind me of "A Saucerful Of Secrets". "Surfacing" has this uplifting sound to it that I enjoy. "Louder Than Words" is pleasant and a vocal track.

This is all very familiar and safe and in my opinion 3.5 stars is the perfect rating. A nice companion to "The Division Bell" and certainly if your a big fan of that album you need to pick this up, the rest of you might be disappointed.

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 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.44 | 406 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by DrömmarenAdrian

3 stars Pink Floyd is a band I like more than I appreciate and "The Endless River" is an album I appreciate more than I like. I have not really wanted to get into this band's music of some reasons. Perhaps it's because they are so popular by average people. However, Pink Floyd is a perfect reserve I know I should love if I wanted. I am also quite sure it will be a day like that! Atom Heart Mother, Meddle, Dark side of the moon and Wish you were here are magical masterpieces and they are also the only records of them I have heard. Now have the band though quit with "The Endless River" which becomes their fifteenth studio album. Even the cover shouts out farewell.

The music is almost entirely instrumental and was recorded some years ago and features David Gilmour, Nick Mason and Richard Wright together with a bunch of talented guests. Eighteen tracks amongst which the majority are short and atmospheric. On a harmonic and lovely keyboard sound wall are put the confident drums and the typical lyrical guitar which this band is so famous for. The music is slow and it doesn't happen a lot but I must confess it's really pleasant to listen to. Many tracks are a bit too ambient for me but it's still very nice to hear the typical Pink Floyd sound on a 2014 release. My favourite parts are "Louder than words"(10/10) the only song with vocals, and how I wish all songs would have been as good as this. The last song from this band could be one of the classic songs as well. The song has similarities with "Wish you were here" for example. "Sum", "Anisina" and "Allons-y2"(8/10) are amazing tracks with wonderful melodies and fine guitars. "Surfacing"(7/19) is a great opening act for the final track and "Allons-y1"(7/10) makes me feel very satisfied too. All of the other tracks would I rate 5-6/10 and I could easily say that this album is decent from the beginning to the end.

This farewell from this great band thought contains too few masterworks and too many fillers, even if the fillers are quite good. I appreciate that the band made this conclusion and think that the future will give it a more fair judgement. My rating ends at 3.19 which meens three stars. Best song: "Louder than words"

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 The Final Cut by PINK FLOYD album cover Studio Album, 1983
3.16 | 1400 ratings

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The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by danyboy

2 stars Okay, here is my first Pink Floyd review as I work my way through their large collection. "The Final Cut" seems to be a real splitter among Pink Floyd fans. Some seem to hate it and give a saving grace for few songs. This may not be the best Pink Floyd ever did, but it has it's charms its own way. "Your Possible Pasts "- this is the only song i could add my mix tape. It has a real good old days feel to it (kinda like The Animals) "The Final Cut" is very clear that a follow up to "The Wall", in fact it could well have formed a third for that album. The music follows a strict pattern throughout, with alternating slow, soft and loud passages, only "Not now John", which is very an unsuccessful one, breaking the mould slightly. David Gilmour gets to throw in the occasional guitar solo, such as on "The Final Cut", but in all the album seems like one boring long track. This is obvious one of Waters poor solo album that the Pink Floyd name should not have been put on this album.

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 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.44 | 406 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by tarkus1980
Prog Reviewer

2 stars Yo dawg I herd you like "Marooned" so I marooned you in an album full of "Marooned"

I get the temptation to rate this album higher than I would, and perhaps even significantly so. During the sessions for The Division Bell, the Gilmour/Wright/Mason trio recorded a large chunk of instrumental material together, and Wright recorded some snippets on his own that weren't worked into full-band material at the time. Some consideration had been made in the aftermath of The Division Bell of collecting this material and releasing an hour-long instrumental album (tentatively titled The Big Spliff), but the band ultimately decided against it, and this material was shelved. Many years later, after Wright passed away, Gilmour and Mason found themselves feeling nostalgic about their final recording sessions with Wright, and they decided to revisit some of that material. Wright's parts were left mostly undisturbed (though there was some supplemental keyboard work added after the fact), but Gilmour and Mason reworked and added many of their own parts, and they also brought in a good number of session musicians to flesh it out. A curious and potentially intriguing aspect of the material is that, aside from a single new song at the end ("Louder Than Words," which is basically a slower version of "Lost for Words"), the album is entirely instrumental (aside from a couple of sampled vocals here and there), and the instrumental approach often hearkens back as much to the band's pre-DSOTM days as it does to the band's classic period. With the album's strong emphasis on the musical (as opposed to lyrical, which so often has been the main point of emphasis for people in their treatment of the band) legacy of the band, and especially with its emphasis on Rick Wright, it seems like this could work as a nice elegy for the band, and could justify reviving the band's catalogue after it lay dormant for 20 years.

Well, I tried, but I just can't buy into the need for this album to exist. It would be one thing for the various instrumental passages to have some echoes of the band's past, but these passages often mimic the band's history so closely that they sound less like actual music and more like elaborate warmup exercises to help get the band into the right mindset for the material that it would actually record. Among others, this album contains passages that sound like alternate early versions of the following: "Shine on You Crazy Diamond," "Welcome to the Machine," "One of These Days," "A Saucerful of Secrets," "Us and Them," "Comfortably Numb," "Keep Talking" (Stephen Hawking makes another guest appearance) , "Another Brick in the Wall Pt. 2," and "High Hopes." The thing is, the band did something very similar on The Division Bell, and I didn't mind it as much there: whether the band wants to admit it now, it's become pretty clear through the years that the purpose of much of The Division Bell was analogous to the purpose of much of Wish You Were Here, and all of the various stylistic cribs on that album made sense. Here, without any clear conceptual framing, the album ends up sounding like a series of unfinished fragments superglued together and justified as "atmospheric," and while I'm somebody who tries to give atmosphere the benefit of the doubt, I can't do it in this case. That said, there is an interpretation for this album that I found can give it a little more weight and cohesion: the album could be heard as Pink Floyd on its death bed and seeing/hearing its life flash before its eyes, with all of its various musical memories flickering by before giving way to oblivion. Hearing the album this way doesn't exactly save it for me, but it can make it a little more palatable. That said, even with this interpretation in mind, I still can't get all the way beyond the slight creepiness factor of Gilmour and Co. playing karaoke over a bunch of keyboard parts that Wright wouldn't be able to tweak in response to their suggestions; it's the closest thing in the world of art rock that I can think of to using Fred Astaire to sell vacuum cleaners.

Still, while I find the album unnecessary and a bit of a put-on, there's still something mildly intoxicating about hearing Gilmour and Wright (I'm ignoring Mason because he doesn't distinguish himself; I'd be shocked if that's actually him playing on "Skins," for instance) interacting (in a manner of speaking) one more time, even if it's in the context of second-rate imitations of the band's glory days. I should also note that the album works better as a series of extended suites (split up in the way the LP version splits the material across four sides) than as a series of tracks (often very short) that only stick around long enough to noodle a bit but not long enough to make a great impression. I'd rather listen to this than A Momentary Lapse of Reason (which has some genuinely good material but also a good chunk of material that's much worse than anything here), but if I want to listen to something that reminds me of the glory years of Pink Floyd, then I'll listen to something from the glory years of Pink Floyd.

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 A Saucerful Of Secrets by PINK FLOYD album cover Studio Album, 1968
3.66 | 1331 ratings

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A Saucerful Of Secrets
Pink Floyd Psychedelic/Space Rock

Review by Prog Sothoth
Collaborator Prog Metal Team

5 stars Even after decades, A Saucerful of Secrets remains my favorite Pink Floyd album. I'm not saying it's their best, but it resonates with me the most and the strange aura hovering over this thing is purely authentic. A band in turmoil, with its leader losing his mind and a second guitarist and longtime friend of the leader moving in while other members contribute more writing in the process while dealing with a chaotic situation. The album is like a document of this dark and stressful period of the band, atmospheric with a fog overlaying everything. I love it.

The murky production provides a strong element of eeriness to the whole album, even transmogrifying a piece of whimsy like "Corporal Clegg" into something strange with a weird undertone. The way the tune ends, after the kazoo gang finishes, confusion and chaotic noise ending with what sounds like a siren before abrupt nothingness. It's the first of Water's fixation on war, and takes a satirical approach rather than a serious tone. The kazoo's are part of this satire, but without them we're dealing with some pretty nifty acid rock to my ears.

"Let There Be More Light" is a strong opener with it's desperate kicking bass-line leading into unabashed psychedelic space rock with some cool guitars closing the song. "Set The Controls For the Heart of the Sun" is the most well-known of this batch, featuring all five members in that rarest of moments, creating what clearly sounds like a strong influence on the emerging krautrock scene. Tribal drums, repetitive motifs and a loose jam-like feel with gloomy overtones, it's quite a little adventure and remains as one of their most haunting offerings.

The two Wright penned numbers are noteworthy as well. Songs about childhood memories and the loss of innocence, the production does wonders for these two buggers, imbibing the pastoral instrumentation with the aforementioned fog, turning a song like "See-Saw" into an almost ghostly thing. I always picture some 19th century playground with a see-saw moving up and down on its own...like some pulpy gothic tale. It's lyrically interesting as well, with possible references to Syd's childhood sweetheart, as she was getting married around the time this song was penned. Speaking of Syd, his slide guitar playing during "Remember a Day" adds a sense of creepiness to what would otherwise be a pleasant enough tune (minus the production which "drears" things up a bit) with some kickin' drumwork.

The title track is in three parts, with the first part being ominous and foreboding, the second being wild and, in a way, just plain nuts, and the third being tranquil. It really is like some kind of strange flying saucer ride. Quite experimental, and sometimes I'm just not in the mood for it, but it's still hard to skip and I eventually get sucked in each time.

"Jugband Blues", in my opinion, is the most haunting of them all and one of the band's best songs as it describes a man losing touch with reality, his friends and those he loves in such a personal way that's uncanny and even heart-wrenching. There's a sense of resignment to Syd's losing battle with dementia as he sings this tune, and even the jaunty sections are disturbing. I dig the use of the Salvation Army Band as well, contributing first with a written piece, then towards the song's end, the big-band music returns like some monstrous calamity as if their instruments had been swiped and performed by escaped sanitarium dwellers. A perfect depiction of a mind before and after the breaking point. The song and the album conclude with Syd's distant voice and soft guitar strumming, a perfect, sorrowful yet enigmatic conclusion.

This album to me has a personal vibe that's completely earnest in approach, as it doesn't feel calculated. Hell, the band weren't even sure what they were doing at times or whether they should even continue to exist, giving this release an unusual sense of urgency and uncertainty while still providing lots of good ole' trippiness. It's dark though, maybe their darkest, and works in a different way than their celebrated 70's heyday stuff, as it's not about the dark side of things, but a representation of people in a dark place trying to find their way out.

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 The Final Cut by PINK FLOYD album cover Studio Album, 1983
3.16 | 1400 ratings

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The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by TCat
Prog Reviewer

3 stars I wouldn't call this a terrible album, but it's not a great album either, especially considering the fact that it is Pink Floyd. They have done so much better, even after Roger Water's removed his ego from the room. The problem is not the fact that he had the most say over this album and it's not the fact that the band had lost any vision or anything like that. The problem was that everyone was having a hard time working together as a cohesive unit because there were so many disagreements. Water's got his way for the most part with this album. He wanted to use the songs that were rejected from "The Wall" album for this album and Gilmour couldn't figure out how the songs would work now when they wouldn't work before.

But the album got put together and released, and at least they did a good job of making a consistent album, probably a little too consistent. Waters wrote the music this time and, even though there is evidence of genius here, it's missing a certain something. I think a lot of people could agree with this. What was missing was Gilmour's talent for developing melodies which is what is missing on this album. There is not a lot of development in the songs. I mean, I've listened to this album a lot and there are still only a few parts that stand out or that are recognizable. The music just isn't memorable enough because of the lack of development here. The band only works best when all parts of it are working, and they weren't working well together during the recording of this album.

As I said, there are memorable songs on the album, namely "Fletcher Memorial Home", "Not Now John", and "The Gunner's Dream". These songs would have been better on "The Wall" which had a lot more variety and better use of dynamic, both of which are lacking here. Of course, there is a lot of dynamic here, but it's not used very well like on their previous albums. Regarding variety, most of the songs here follow the same structure and are sometimes quite lifeless and forgettable. There may be other bands that would be praised for music like this, but so much more was expected from the likes of Pink Floyd, so yes they do get judged harshly for this album.

All I know is this album doesn't really do a lot for me because there is so much more that could have gone into it. Except for a few parts, there just isn't the sincerity and heart that was evident in other albums. Even though it is well polished and well produced, I still consider it one of their lesser efforts which I can only consider one other Pink Floyd album that is a lesser effort which is the soundtrack from "More", but at least that one has variety. So, I can only call this one good, but not essential. There are so many other PF albums that are worlds better than this and I can think of a lot of 4 star albums that outshine this one, so I have to stick with 3 stars here.

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 Dark Side Of The Moon by PINK FLOYD album cover Studio Album, 1973
4.59 | 3335 ratings

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Dark Side Of The Moon
Pink Floyd Psychedelic/Space Rock

Review by Losimba

3 stars Most people here give this album 5 stars and I can see where you come from. 20 years ago, when I bought the CD, I liked it, too, and mostly for the same reasons you all do. But with the time and the sheer mass of other prog and less prog albums I stumbled over its magic has seriously waned.

True, the concept of the album was very original at the time of recording. True, there are still excellent songs and elements on the album. Take the cash register intro of Money, the bells in Time or the lyrics of Us And Them, still one of my favourite Pink Floyd songs. I also love the last two songs, Brain Damage and Eclipse, though I prefer them connected to one CD track like on the brilliant bootleg Pigs On The Swing. Any Colour You Like shows the full scale of David Gilmour's skill as a lead guitarist. But the rest is not very convincing. The bare rhythm style of On The Run has been heard before on Tangerine Dream albums, while the biggest problem for me is The Great Gig In The Sky. The instrumental part may be ok, but this lead moaning is definitely the worst Pink Floyd have ever written and recorded. I simply can't stand this element and especially not as a lead "vocal".

Without this I could settle for something like 3.8, but it is included so the good elements can't save the rating beyond a 3.1 and 3 stars.

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 A Saucerful Of Secrets by PINK FLOYD album cover Studio Album, 1968
3.66 | 1331 ratings

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A Saucerful Of Secrets
Pink Floyd Psychedelic/Space Rock

Review by siLLy puPPy
Collaborator PSIKE Team

4 stars After a debut album dominated by frontman Syd Barrett, PINK FLOYD's second release A SAUCERFUL OF SECRETS remains unique, mysterious and strange in not only their own discography but in musical history as well. First of all, it was created in the midst of Barrett's emotional breakdown which left the band to fend for itself and literally reinvent itself in the process. It is very much a transitional album that ushered in David Gilmour while still having Barrett on board. The result of all this turmoil makes this album feel like a grab bag of different sounds and moods and if you approach this as such instead of a full-fledged album that is coherent in nature then you might appreciate it more. It also has the only track in the band's career that features all five members of the band's history on "Set Controls For The Heart Of The Sun" where both Barrett and Gilmour cross paths for a brief moment in time to create a fleeting musical experience.

Like the debut "Pipers At The Gates Of Dawn" this one was a slow burner and didn't really hit me upon first listen but i continued to listen to it because a few tracks stuck out more than others. Like much progressive music it needs to incubate in your subconscious before unleashing its magic. Such is the case with this album as well. This album overall is still very much rooted in the very popular 60s psychedelic pop / rock scene but as with most PINK FLOYD music it has an extra oomph and panache that adds small almost imperceivable layers of sophistication to its final mix.

The tracks vary widely on this one ranging from the upbeat guitar riff oriented intro with psych organ which breaks into the mid tempo lugubriousness "Let There Be More Light" which flows perfectly into the following "Remember A Day" with its cool guitar slide action and piano followed by a groovy 60s riff in tandem with the intro about mourning and loss. "Set The Controls..." is unique in that it has some seriously rolling drum action that accompanies its downer effect. The out of place tracks of "Corporal Klegg" and "Jugband Blues" kinda go together in that they are more upbeat and semi-folky with kazoos and bring 30s Dixieland jazz bands to mind more than anything 60s but for me the true treasure of this album is the space-age bizarre title track that to this day still gives me shivers when i hear it. It really feels like a close encounter of some kind where the aliens are beaming down a musical pattern to help humans decipher certain patterns in the universe aiding us in avoiding self-destruction.

As stated, this album is really a mess if taken as an album, but as a collection of single tracks i have REALLY grown to like this. This dystopian in nature album perfectly coincides with that of the world in 1968 when astrologically and culturally the world was going through a serious upheaval in every possible way. In the world of popular music it was no different as evidenced by this strange second album by PINK FLOYD that couldn't have been created by sheer planning. Despite loving their 70s output i really find myself gravitating towards their 60s albums more often. Even though i wasn't around to experience the glorious 60s in their heyday nothing transports me there more quickly than a sonic exposure to a PINK FLOYD album in their full psychedelic regalia. An acquired taste for sure but if you do indeed get a hankering for such a sound then this album takes you on a wilder ride than even their debut which i find to be a much more consistent experience.

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 The Piper At The Gates Of Dawn by PINK FLOYD album cover Studio Album, 1967
3.89 | 1541 ratings

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The Piper At The Gates Of Dawn
Pink Floyd Psychedelic/Space Rock

Review by aglasshouse

2 stars London's 1967 psychedelic scene was mostly inspired by the uprising of the Beatles' music during the decade. Knowing this, many bands were quick to jump on the wagon before the music became less popular. Thus, they pulled out their joints and bongs and hit the records as fast as they could. One of these more successful bands was undoubtedly The Pink Floyd, a group of young, 20-year old Englishmen burst onto the psychedelica charts. George Waters from Surrey, Roger Barrett from Cambridge, Nicholas Mason from Birmingham, and Richard Wright from Middlesex were all heartily ready to dive into the nonsensical genre of psychedelic and space rock.

Many people consider that Pink Floyd's debut is what undoubtedly brought progressive rock into life, not to mention revolutionizing it's own genre. And I must say I agree. Sure, the album does have many elements that were used in later progressive works, but psychedelic rock wasn't a new subject for many people. Artists like Jimi Hendrix and Simon Dupree and the Big Sound (which would later become Gentle Giant) both had distinct marks on the genre itself, but Hendrix died promptly in 1970 and The Big Sound were declared as a straight pop band until they reformed in the same year. So even though those artists did help the popularity of the genre, psychedelica itself didn't become crazy popular until the late 60's. And sure, Floyd helped mold that genre as well as strongly influence future space rock bands like Eloy, but that doesn't mean that this album was particularly good.

I've never fancied music that attacks my eardrums. I've found it painful, but I know a lot of people can see it as art. Well, you can also see that Piero Manzoni's 1961 piece 'Artist's Shit' was also artistically sound, but that doesn't make it spectacular. Let's get to the tracks. There's the ever-famous 'Astronomy Domine' heading off the list, with it's wonky sound effects and space rock vibe. I've never much liked this song, I always preferred 'Interstellar Overdrive' over it, and I consider it a much better piece of music as well as being more structured. 'Lucifer Sam' is a pretty average song, but mostly just a mediocre doodling track that I guess I wouldn't mind listening to on most occasions. Then there are the abysmal songs, like 'Pow R. Toc H.', 'Flaming', and 'Chapter 24'. Although they are clearly trippy jams, they aren't really that great as music. In fact, they're pretty bothersome. They go nowhere, as well as being downright silly lyrical and vocal-wise. 'Matilda Mother' is a cool song, probably my favorite, with its ominous sound and dark melodies. It is mixed in with some psychedelic ramblings, but that's good in this case because it's well-balanced. The album ends with the sound-symphony of 'Bike'. It isn't really well structured at all, and falls apart really quickly. The end with the bike sounds is more of an excuse to end the album than a good finisher.

Overall, this album is bad. Maybe good for prog-historian's sake, but I don't like it in any way other than that.

I do not recommend this album.

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