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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

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Pink Floyd: The Wall (25th Anniversary Deluxe Edition)Pink Floyd: The Wall (25th Anniversary Deluxe Edition)
Multiple Formats · AC-3 · Widescreen
Sony Legacy 2005
$11.19 (used)
The Dark Side of the MoonThe Dark Side of the Moon
Pink Floyd Records 2016
Audio CD$7.19
$7.90 (used)
The WallThe Wall
Capitol Records 2011
Audio CD$11.25
$11.27 (used)
Pink Floyd - PulsePink Floyd - Pulse
Multiple Formats
Sony Legacy 2006
$7.99 (used)
Wish You Were HereWish You Were Here
Capitol Records 2011
Audio CD$8.50
$6.00 (used)
The Piper at the Gates of Dawn (2016 Version)The Piper at the Gates of Dawn (2016 Version)
Legacy 2016
$21.59 (used)
The Endless RiverThe Endless River
Columbia 2014
Audio CD$3.74
$6.79 (used)
The Best of Pink Floyd - A Foot In The DoorThe Best of Pink Floyd - A Foot In The Door
Capitol Records 2011
Audio CD$6.59
$4.99 (used)
Sony Legacy 1995
Audio CD$11.72
$6.69 (used)
Parlophone 2011
Audio CD$15.79
$11.16 (used)
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PINK FLOYD discography

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

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

3.88 | 1672 ratings
The Piper At The Gates Of Dawn
3.66 | 1443 ratings
A Saucerful Of Secrets
3.16 | 1085 ratings
3.49 | 1411 ratings
3.87 | 1857 ratings
Atom Heart Mother
4.31 | 2600 ratings
3.38 | 1274 ratings
Obscured By Clouds
4.60 | 3646 ratings
Dark Side Of The Moon
4.62 | 3465 ratings
Wish You Were Here
4.52 | 3081 ratings
4.06 | 2488 ratings
The Wall
3.17 | 1527 ratings
The Final Cut
3.05 | 1425 ratings
A Momentary Lapse Of Reason
3.73 | 1684 ratings
The Division Bell
3.39 | 541 ratings
The Endless River

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

3.30 | 470 ratings
Delicate Sound Of Thunder
3.95 | 649 ratings
2.85 | 137 ratings
Live 66-67
4.07 | 427 ratings
Is There Anybody Out There?

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

4.76 | 433 ratings
Live At Pompeii
4.08 | 488 ratings
The Wall (The Movie)
3.63 | 158 ratings
In Concert - Delicate Sound Of Thunder
3.12 | 48 ratings
La Carrera Panamericana
4.42 | 479 ratings
3.10 | 81 ratings
London - Live 66-67
4.57 | 581 ratings
Live At Pompeii (The Director's Cut)
4.07 | 161 ratings
Classic Albums: The Dark Side Of The Moon
2.95 | 47 ratings
Inside Pink Floyd
3.32 | 62 ratings
The Pink Floyd & Syd Barrett Story
2.46 | 26 ratings
Inside Pink Floyd Volume 2 - A Critical Review 1975 - 1996
2.43 | 14 ratings
The Ultimate Review
2.07 | 18 ratings
The World's Greatest Albums - Atom Heart Mother
2.55 | 16 ratings
Rock Milestones Pink Floyd's Wish You Were Here
2.08 | 17 ratings
Reflections And Echoes
2.82 | 17 ratings
Rock Milestones Pink Floyd's The Piper At The Gates of Dawn
1.39 | 18 ratings
Rock Milestones: Ummagumma
2.20 | 11 ratings
Music Box Biographical Collection
2.46 | 15 ratings
The Dark Side - Interviews
2.33 | 12 ratings
Total Rock Review
2.52 | 16 ratings
Meddle: A Classic Album Under Review
3.19 | 15 ratings
2.10 | 12 ratings
The Early Pink Floyd - A Review And Critique
2.25 | 11 ratings
Comfortably Numb
3.06 | 15 ratings
A Technicolor Dream
3.67 | 24 ratings
Live Anthology
1.89 | 16 ratings
The Great Gig In The Sky: The Album By Album Guide
4.00 | 71 ratings
The Story of Wish You Were Here

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

2.12 | 35 ratings
The Best Of The Pink Floyd
3.56 | 323 ratings
3.19 | 99 ratings
A Nice Pair
2.70 | 56 ratings
Masters Of Rock Vol. 1
2.17 | 178 ratings
A Collection Of Great Dance Songs
2.17 | 126 ratings
3.45 | 80 ratings
Shine On
3.68 | 91 ratings
The Early Singles
3.06 | 60 ratings
1967: The First Three Singles
3.42 | 231 ratings
Echoes - The Best Of Pink Floyd
4.05 | 75 ratings
Oh By The Way...
2.82 | 48 ratings
A Foot In The Door: The Best Of Pink Floyd
4.48 | 63 ratings
4.75 | 114 ratings
The Dark Side Of The Moon - Experience Edition
4.58 | 102 ratings
The Dark Side Of The Moon - Immersion Edition
4.73 | 118 ratings
Wish You Were Here - Experience Edition
4.44 | 91 ratings
Wish You Were Here - Immersion Edition
4.21 | 63 ratings
The Wall - Experience Edition
1.88 | 52 ratings
The Wall Singles
3.79 | 81 ratings
The Wall - Immersion Edition
4.21 | 28 ratings
The Division Bell (20th Anniversary Deluxe Box)

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

3.76 | 68 ratings
Arnold Layne
3.41 | 80 ratings
See Emily Play
2.86 | 50 ratings
Apples And Oranges
2.59 | 56 ratings
Tonite Let's All Make Love In London
3.58 | 24 ratings
3.22 | 35 ratings
It Would Be So Nice
3.64 | 38 ratings
Point Me at the Sky
2.83 | 37 ratings
The Nile Song
3.81 | 70 ratings
One Of These Days
4.44 | 9 ratings
Free Four
4.43 | 7 ratings
Free Four / Absolutely Curtains
3.77 | 78 ratings
3.57 | 72 ratings
3.64 | 66 ratings
Have a Cigar
3.80 | 69 ratings
Comfortably Numb
3.54 | 71 ratings
Another Brick In The Wall
3.41 | 59 ratings
Run Like Hell
3.24 | 52 ratings
When the Tigers Broke Free
1.90 | 50 ratings
Not Now John/The Hero's Return (Part 2)
2.47 | 58 ratings
Learning To Fly (promo single)
3.03 | 49 ratings
On the Turning Away
2.96 | 34 ratings
One Slip
2.89 | 19 ratings
A Momentary Lapse Of Reason Official Tour CD
2.90 | 23 ratings
Shine On - Selections From The Box
3.19 | 68 ratings
High Hopes/ Keep Talking (single)
3.37 | 56 ratings
Take It Back
3.43 | 7 ratings
Interview Disc
4.04 | 39 ratings
Louder Than Words
2.36 | 5 ratings
Pink Floyd 1965 - Their First Recordings


Showing last 10 reviews only
 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.39 | 541 ratings

The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Guillermo
Prog Reviewer

3 stars I think that the first time (I could be wrong) that there were albums done with the aim to "re-join" deceased members of bands with the surviving members of their former bands using recordings was THE DOORS's album titled "American Prayer" (1978), which in fact was an album credited to "JIM MORRISON - Music by THE DOORS". That album was done with pre-recorded tapes with Morrison reciting his poetry and with the rest of the surviving members of the band composing and adding new music to the poetry some years later. It was a job which took them a lot of months and it was done with a lot of care thanks to very good editing and production. At that time there were not computer softwares or digital recordings that could be used to do it. Many years later, in 1994-95 the surviving members of THE BEATLES used demo recordings recorded in the late seventies by JOHN LENNON and with the use of digital recording and computer softwares added their instruments and vocals to the demos, creating two very good songs ("Free as a Bird" and "Real Love") to be released as "new Beatles's songs" for their "Anthology" Vols. 1 and 2 albums, respectively. Later, in 1995, QUEEN released their "Made in Heaven" album with the surviving members of the band adding their instruments and vocals to FREDDIE MERCURY's pre-recorded vocals and piano. I can't remember now other examples of this kind of albums or songs. But in 2014 PINK FLOYD announced that they were completing an album of outakes recorded during the recording sessions of their "The Division Bell" album from 1994. These outakes were previously recorded with the late RICK WRIGHT in 1993. They even talked on interviews about these unreleased otutakes at the time their "The Division Bell" album was released. There were plans to release them on an album one day, but it never happened until some years later after Wright died in 2008.

Finally, this previously unreleased material was released in November 2014. The idea (as David Gilmour and Nick Mason said) was to release it in this "The Endless River" album as a tribute to the late Rick Wright, as a way to finally acknowledge his musical contributions to the band, and as a way to finally end the band's history.

There were several hours of unreleased material, but the band selected the best material and finally edited it and completed it to be released on an album. The job was hard but it maybe was easier to be done thanks to the use of more modern technology (computer softwares).

This album is mainly an instrumental music album, with only one song having lyrics ("Louder than Words", with music by Gilmour and lyrics by Polly Samson, Gilmour's wife). The instrumental music is mostly taken from which sounds like instrumental jams, editing them and adding other instruments as overdubs. As other reviews say, it is an album with ambient music which sometimes sounds more like New Age music in some parts, with a lot of keyboards atmospheres by Wright and atmospheric guitars by Gilmour. Some of this music sounds very similar to previously released material of the band in other albums. But in other parts the band sounds really "inspired". The album sounds like a continuous piece of music from the beginning to the end. "Louder than Words" brings the album to a very good end, with lyrics, and being sung by Gilmour. But one really wishes that they could have recorded more songs with lyrics and vocals and not mostly instrumental music. I also think that sometimes this instrumental music sounds like soundtrack music for films. As Gilmour said, this album was done more with the idea to be listened to using headphones and let the imagination of the listener fly.

As a final musical tribute to the late RICK WRIGHT and as a last musical statement from PINK FLOYD as a band, this album was a good idea. But I prefer other albums like "The Divison Bell" or even "A Momentary Lapse of Reason". Some parts of "The Endless River" obviously sound more related to "The Divison Bell" or even to some of their albums from the early to mid seventies, and even related to Rick Wright's "Broken China" solo album from 1996. Wright in interviews done in 1996 to promote his "Broken China" solo album said that he was not totally satisfied with the way "The Division Bell" album was done, and that was one of the reasons he recorded his solo album in 1996. So, maybe "The Endless River" was done by Gilmour and Mason as a way to show more of Wright's influences to the band's sound.

"The Endless River" is not an easy listening experience for me. But it is a good album, anyway, very well recorded, mixed and produced.

 The Piper At The Gates Of Dawn by PINK FLOYD album cover Studio Album, 1967
3.88 | 1672 ratings

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

Review by Atavachron
Special Collaborator Honorary Collaborator

4 stars

Have you got it yet?

If not, the joke's on you. Andy Kaufman, the lunatic genius who was far more interested in baffling people than making them laugh, knew the power of the put-on. Kaufman's was the deep practical joke; the art of the bluff. Of course in Andy's case he didn't much care if you understood that or not. He was having too much fun. So was Roger Keith Barrett.

There are other comparisons to 'Syd' Barrett. Brian Wilson comes to mind, but though also an innovative composer who shone bright in the 1960s and fell ~ possibly due to psychological imbalances and/or pharmaceutical substances ~ Wilson kept doing music and eventually returned with a run of very nice releases. And he's still alive. There's Lenny Bruce, mad comic scientist seemingly too outrageous for his own time whose politically incorrect material was so startling and corrosive that it killed him, forging a style of spontaneous story-telling that is still the foundation for most modern standup comedy.

Each came from middle class families, all gravitated toward the performing arts. But it is Andy Kaufman and his commitment to the joke's-on-you who reminds me most of Syd Barrett. Kaufman understood the price of unusual talent, was willing to pay it, and that brilliance is often accompanied by a kind of delirium. Or in literary terms, "Originality demands a degree of lunacy". In Syd Barrett's case, that's putting it mildly. Sadly we don't know with much clarity what Barrett's state of mind was when he died even though he was one of the most looked into and sought-after rock artists. After his midwifery of psychedelic pioneers Pink Floyd he recorded a couple solo records, withdrew from music, lived on royalties in hotels, and eventually moved to his mom's place in Cambridge. He became an avid gardener, painted abstracts, lived as quietly as he could, and died in 2006 of pancreatic cancer. And when we hear of his seclusion; Friends who'd given up or were long gone; His father's death when he was 15 (who had gotten him into music); Deep fear of injury or illness that could bring an important creative project crashing to a halt, our collective heart breaks and we want to give him a big hug.

Yet to my surprise, instead of the evasive, erratic, difficult artiste I'd surely expected, Mr. Barrett was open, interested and relaxed during our conversation in a modest motel room of gray drapes, imitation wood furniture, a mattress that'd seen better days and a funk that hung in the air like old cigarette smoke & coffee. Barrett's long jawline, thick brows, piercing brown eyes, stubble, and vintage paisley blouse did not betray his sixty years. "Have you got it yet?" he asked as I was fumbling with notes. "Yes, thanks for waiting" I finally said taking a deep breath and hunching on a lime-green Ottoman.

A - It's my understanding a person is very much the same after death, but you seem not at all the disconnected or sporadic person your legend suggests -

Syd - Yes well that's probably true, but it's been ten years and time has its influence. I was more dead when I was alive (smiles thinly).

A - Can you elaborate on that?

Syd - I don't think so, no, sorry. I'm not trying to be rude, you understand, that's just the best way to say it.

A - Sure. The innovations you brought to electric guitar, modern rock composing and presentation ended up being enormous. But the childlike qualities that you drew on from your love of fairytales, books like The Wind in the Willows, Cautionary Tales for Children, and The Little Grey Men are also quite clear.

Syd - Yes that's quite right. It was childlike and that was the point; that's what was interesting. The timing was right and I suppose a bunch of others dug it too. I couldn't play like Jeff Beck and had no interest in trying. It was about finding something so unexpected, so original and hard for another band to recreate, that it would stand out like a sore thumb. I mean in a good way (laughs).

A - The value of truly original work.

Syd - Well yes but it had to be in context-- I mean you can't just go out there and rub a vase across a guitar neck through an effect and expect people to come back. There has to be a measure of melodic content.

A - Talk about "melodic content" in reference to The Pink Floyd's early music.

Syd - People aren't sheep. They know what they like and respond to it, so if a lot of people get excited when you play a Blues or Surf number that goes screwy halfway through but don't get so excited when it's just all screwy, you have to pay attention to that. Or not be asked back by the club. On the other hand there were no rules to what we were doing, or at least we thought so, and we were trying to walk that line.

A - You consider yourself a songwriter?

Syd - Not a very good one.

A - Why is that?

Syd - (long pause) When you become dissatisfied with your own work it becomes an impossibility. I couldn't force myself to be excited by things I'd already exhausted. That's why the band's music changed so much between the first and second albums. No one could just stand still, not in that band, not me or Roger or Dave or anyone. Music was allowed to be fluid then, and there was great hunger to liquidate and expand. To grow.

A - That almost sounds like a CEO describing a corporation.

Syd - Yeah. That's what it became. But I don't blame those guys for taking it there. Sometimes you either move forward or die.

A - I wanted to discuss The Piper at the Gates of Dawn. Let's just jump in to 'Astronomy Domine', one of the most startling intros in rock history. The radioed voice, Morse signal, strange vocals, but still with some beat and, as you say, melody. The LP charted for fourteen weeks in Britain and peaked at #6. Pretty good for such an unique piece of work. How do you explain the immediate appeal 'Astronomy Domine' had?

Syd - I don't, except to say enough people, young people, were ready for something different. As different as Jackson Pollock was to modern art.

A - And 'Lucifer Sam' you must admit is pretty raw.

Syd - Yeah but in '67 that riff cooked. It cooked-up well. And then Matilda was the clincher, I think.

A - The "clincher"? How so?

Syd - It was a real tune. We could stack-up against the bigger bands with this one. Good to have in the pocket. Showed we could sing, sort of, and put together a decent bit. * Have you got it yet? *

A - The interview? Not quite, I'd like to get through as many of the cuts as possible, if that's alright?

Syd - Right.

A - How would you describe 'Flaming'.

Syd - A party tune.

A - Okay, and 'Pow R. Toc H.' ?

Syd - We were trying to break through, to break out, you know? This shows the jazz influence, but really our improvisational side. Unfortunately 'Stethoscope' was a cock-up.

A - 'Interstellar Overdrive' was a group composition, how did that manifest itself?; The process.

[* At this point Barrett began staring off into space. I indulged him, and waited.]

Syd - The process? Was there a process? I don't know . . .

A - 'The Gnome'; a Beatles influence?

Syd - Not really, more a generally British one. I preferred the Stones.

A - And a dose or two?

Syd - Marginally, but you must know I didn't often drop in the studio, too much to do. Have you ever tried to play a guitar while flying on acid? Can't be done with any degree of intention. 'Chapter 24' was more in a hallucinogenic vein. You can hear the impact this song had on everyone back then. Even the Monkees (laughter). 'Scarecrow' less so, more of a textural departure. One of my favorites on the LP.

A - Which leads us to one of my favorites, closing cut 'Bike'. The bizarre lyric, and the de-tuned bar room piano. Gingerbread men, lusty ambitions, the metalworks & duck calls at the end, all of it. Neat track.

Syd - Thank you. Now, have you got it yet?

A - Yes I think so.

Syd - Lovely seeing and talking with you.

A - Many thanks, Mr. Barrett.

My subject walked outside to a car that was idled at the curb. The man driving looked familiar, doughy with a shaved head, blank expression, and an army field jacket. As my interviewee got inside the car, he and the man behind the wheel glanced at each other and grinned. Then I realized who the driver was. No mistaking him. It was Syd Barrett.

Yes, Syd, I got it. Finally.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.39 | 541 ratings

The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Legionnary

3 stars the last...

Above all,talk about the sales of this album, the success he has had. Its clear that Pink Floyd, a band created in 1965, succeeded 50 years after its creation to be at the forefront of the ranking of the number of sales all over Europe,in the UK of course, but also in France, Germany and many other country. I'm not sure thats can be true for Justin Bieber or Lady Gaga in 50 years. To the wise...

First, all of the songs on this album is that all that have not been chosen for the album "the division bell"! Therefore, in theory, if these pieces were not chosen for the previous album is that they were considered less good!This album is out in a the little brother of "the division bell".

"One noodle street" has a jazzy side very nice, it's my favorite song, "Taking Hawking" is quite surprising, with the voice of Hawking found in "Keep talking" from the previous album, finally note the bells of "high hopes" for the album "the Division Bell" that can be heard at the end of "Surfacing", there have not much to say unfortunately... The other titles are very flat and uninteresting, the problem is that it does not take off ... For an hour we expect a piece shalt we leave the planet Earth, but nothing at all ,its very frustrating. I think this is partly due to the length of the songs, in fact the 17 that make up this album, 11 have a length of about 2 minutes! Pink Floyd is still known to be one of the few groups have produced a title that takes a vinyl face (Echoes-Meddle). Those like me who like Pink Floyd among others for the solos of David Gilmour will be disappointed because there have not. Except perhaps on "It's what we do", the second song on the album which is also one of the only good songs on it . It reminds me somehow to a medley of several songs of the two previous albums .

I take the risk of repeating myself but 17 instrumental tracks, it's too much too ... Only "Louder than words" is the only song sung, in this case by Gilmour.

The Endless River is 3 stars no more, no less. The album is not bad, its listenable, but for a band like Pink Floyd we still expect better.

 The Final Cut by PINK FLOYD album cover Studio Album, 1983
3.17 | 1527 ratings

The Final Cut
Pink Floyd Psychedelic/Space Rock

Review by Scorpius

4 stars Too me, this is Pink Floyd's most underrated album. This is due to the fact that is was released after the commercial hit "The Wall", which caused this album to just fly under the radar. The concept explores themes such as a post-war dream that wasn't achieved (The Post-War Dream), political ignorance of war (Not Now John), alcoholism and death (Southhampton Dock and Paranoid eyes), and most importantly, the impossible dream of a world without war (Gunners Dream). The combination of the concept, Roger waters emotional and biting lyrics and his connection to war, and the great musicianship displayed here make this album a hidden gem of the Pink Floyd discography. Definitely a great addition to an already great discography.
 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.62 | 3465 ratings

Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by Atavachron
Special Collaborator Honorary Collaborator

5 stars This is a classic recipe that has a modern twist. Complex in flavors but straightforward in presentation, this clean, elegant dish will appeal to a surprising variety of guests from moms to colleagues and serves four to six people. You will need a processor.

2 lbs. electric bass foundation, coarsely sliced

1 1/2 lbs. blues guitar, electric & acoustic (you'll need both), thinly sliced

1 lb. assorted keys, electric & acoustic, diced (again, don't skimp on either, it'll come in handy later)

1/2 lb. traps, acoustic, finely chopped

1/2 lb. vox, smoked and finely chopped

1 small satchel of assorted harmonics

3 Tbsp olive oil

2 Tbsp sea salt

1 Tbsp fresh ground black pepper

a 6 oz. package of fettuccine or wide egg noodles, cooked in 1 gallon water until tender but firm

Heat a charcoal or wood-burning grill to medium, and preheat oven to 400 degrees. Trim as much fat as possible from the bass and guitars, rub with 2 tbsp olive oil, 1 tbsp salt, 1/2 tbsp black pepper. Lay pieces on grill and cook till medium rare, turning pieces once to get a nice sear. Remove to serving tray and let rest covered in foil. Place the assorted keys, smoked vox, traps, and harmonics in a wide nonstick pan with the remaining oil and salt & pepper on grill, sauteing till browned and tender. Add whatever bass & guitar juices have accumulated to saute pan, cook for a minute, then puree in processor till smooth. Pour mixture over bass & guitars to cover and place in hot oven for ten minutes. Remove and serve over fettuccine or egg noodles.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.39 | 541 ratings

The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Alucard
Special Collaborator Honorary Collaborator

3 stars I listened to the record on a long bus ride on a streaming platform ( btw a nice record for Long bus rides.) I didn't expect much of the record and must say I was rather nicely surprised in terms of bus ride music. Still while listening to the record I had a couple of thoughts coming to my mind. Pink Floyd is maybe the prog band which sold the most records in prog history so far. Dark Side and Wish you were here have become the standard for stereo equipment and Pink Floyd has become a household name for people that don't care for or even know what Prog is. Endless River consists of outtakes from the Division Bell (1994) and is at the same time a homage to the late Pink Floyd Keyboarder Rick Wright. Most bands, if they have the occasion, add their outtakes as bonus tracks or release eventually a bonus CD. Pink Floyd releases them as a regular cd because'. remember the dog, yes because they can and obviously because it's a NEW Pink Floyd record. So product wise: great cover, great production and over the top it sounds like 'classic' Pink Floyd, you have the classic David Gilmour signature guitar sound plus some classic Wright keyboard sounds. And that's about it. It's actually quite close to the instrumental parts of Wish You Were Here plus one song sung by Gilmour, which isn't especially well written. Outtakes' Under the line it's really difficult to judge this record; it's on one side exactly what you would expect from a classic Pink Floyd record and at the same time more like a bygone flagrant from past days like the smell of a perfume that lingers for some time in an empty room.
 A Momentary Lapse Of Reason by PINK FLOYD album cover Studio Album, 1987
3.05 | 1425 ratings

A Momentary Lapse Of Reason
Pink Floyd Psychedelic/Space Rock

Review by TrannonG


A Momentary Lapse of Reason was the first post-Waters album released by Floyd and the remaining members of the band (especially Gilmour) seemed to have something to prove. The rushed effort to get the album out after the ugly breakup shows. Lapse seems to be total contrast to the previous album "The Final Cut" by being more music-oriented than lyric-driven and that is perfectly fine because the Floyd fellows are fine musicians whose work should be showcased more than Waters allowed in 1983. However, Lapse is not that showcase. What is essentially a Gilmour solo album in all but name is not the collaboration of Floyd, but an ensemble of outsiders tweaking Gilmour's work to be a Floyd album; and it was the mid-to-late 80s, so there's that too! Lapse is terribly dated because of that 80s sound ? gated drums, over-produced, very commercial and blatant MTV-style pop. It is a good album, but it pales in comparison to "real" Floyd works. Of course it was a major success, but that doesn't rescue it from being as Waters succinctly put it "a clever forgery" of Pink Floyd. It should've been credited as "David Gilmour and Friends" instead.

Track by Track: SIGNS OF LIFE : This opening instrumental is actually quite brilliant and very Floydian. It is perhaps the most Floyd-like track on the entire album. A synthesizer and guitar piece that evokes a sort of nostalgia that builds into a grand awakening. The beginning of the song uses sound effects of someone rowing a boat and it fits the mood perfectly. Splendid way to start the album!

LEARNING TO FLY : This is the most popular track on the album which receives more air time on FM radio stations than any other song from this album (even though On The Turning Away and Sorrow get a lot of play too). It is considered a classic song by the band by most every one, but not for me. Although the lyrics are quite good actually and compared to most bands of the era, this is a masterpiece, but when compared to Floyd's previous work it fails to meet the mark. Very pop, very 80s and very boring.

DOGS OF WAR : This may be the worst song in the Floyd canon. The only time I can really cringe at David Gilmour's voice is during this song. A heavier-than-most Floyd tune, but the poor lyrics, awful saxophone and Gilmour's "one world whoa whoa whoa" ? ugh. Why Dave, why? This is just a mess.

ONE SLIP : This track sounds more like U2 than Pink Floyd thanks mostly to the addition of Phil Manzanera as co-collaborator. It is upbeat, driving and catchy. I actually quite enjoy it as one of my favorites from this "Floyd" album, but ultimately it is just another pop song to cater to the MTV generation and captures nothing of the former Floyd magic. Generic. Standard. Stock. Pick an adjective.

ON THE TURNING AWAY: There is a bit of old Floyd sound in this song at times, but the sappy sing-a-long "We Are The World" vibe makes my eyes roll into the back of my skull. The constant radio play of this song doesn't help. Gilmour's voice on this track is extremely smooth and heartwarming, but the basic 80s sound (again) and the pure schlockiness (is that a word?) of it all overpowers any positive things to be said.

YET ANOTHER MOVIE/ROUND AND ROUND: If Floyd just had to fall into the 80s standard sound, this song is the way it should've been done. This track actually brings to mind Pink Floyd a bit and the dark, moody atmosphere is perfect. The only real problem with this one is that it seems so painfully slow that it lumbers along for nearly 8 minutes without much of a change-up in the music at all. Still ? it is probably the best song on the album and should be considered the 80s Floyd classic in place of "Learning To Fly" or "On The Turning Away" because it actually is reminiscent of old Floyd, albeit with an 80s vibe.

A NEW MACHINE 1 & 2: Pure filler. Really nothing to be said. Terrible keyboards and David Gilmour singing through a vocoder, but not like he did on "Animals" ? no, more like his voice on "Dogs of War" (ugh). This is just junk.

TERMINAL FROST: This is David Gilmour's soap opera theme. After the promising start (even with those irritating 80s gated drums), this guitar lead instrumental piece disintegrates into a sax-driven General Hospital feel. I guess Kenny G would be proud, but this is not Pink Floyd ? not the Floyd we all know and love.

SORROW: Quite a decent song here! Heavy, dark, brooding and the lyrics (written solely by Gilmour) are some of his best. This song is another version of what 80s Floyd should've sounded like, even though it sounds very dated (as does the entire album) due to those god-awful drums! Shades of Floyd pour in through the cracks here and save this song. Enjoyable, although the drums and pacing do make it a bit draggy and generic-sounding.

Overall: The 80s Floyd was a mess. "The Final Cut" was essentially a Waters solo album and this clunker was a Gilmour solo album. Post-Waters Floyd sounded much better 7 years later on "The Division Bell" because it was actually Floyd and not Gilmour and session musicians doing it. A Momentary Lapse of Reason is a great album made by anyone else. I would give it a 3 or 4 out of 5 as album and compared to most 80s crap, I'd rank it as one of my favorite albums of the bubblegum decade, but as a Pink Floyd effort it can only be saved by 80s nostalgia. 2/5

 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.62 | 3465 ratings

Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by TrannonG


Wish You Were Here followed up the divine Dark Side of The Moon, so it had huge shoes to fill, but the ratings and fanfare this album has really baffles me. I don't consider WYWH to be the greatest Floyd album and I sure don't consider it a "masterpiece" like DSOTM or even Animals. What WYWH does is take the Floyd into a new direction with influence from DSOTM, Meddle and even Atom Heart Mother, but it doesn't really progress on those efforts. If anything it seems to be a sort of rehashing of certain elements of Pink Floyd's canon. For most artists, WYWH would be their magnum opus, but for Pink Floyd it is, unfortunately, a mediocre offering.

Track by Track:

SHINE ON YOU CRAZY DIAMOND I-V : After an extraneous build-up of synth and some Gilmour blues guitar soloing, the all-too-famous four note motif is struck and the song takes off. For some reason this excitement quickly plateaus when the singing begins and it becomes a bit of a standard track. It is very ambient, sleepy and somewhat dry-sounding. The guitar parts add a sort of liquid to keep it from becoming too desert-like. Powerful lyrics, intense build-up, flat singing and then followed up with the horns. Ugh. Once Floyd attached itself to the saxophone and soulful background singers it continued with this element (which sometimes works and sometimes does not work) for the remainder of its existence (even Waters' solo efforts seem to be dominated by female singers wailing about while he merely talks lyrics to repetitious minimalist background music). Substitute the sax for Dave's playing or Rick's soloing (as in Parts VI-IX) and you got a much better track.

WELCOME TO THE MACHINE : A lazier experimental song full of drones and sweeps that sound very mechanical (not that that is a bad thing, it is "The Machine," right? ). This track features some of Waters' anti-establishment, anti-greed lyrics (done much better on "Money" and "Pigs"). Although this is experimental, the Floyd experimented a lot better on other albums prior to WYWH, and there isn't much more to say here other than the feel of the song and Wright's keyboard savvy saves it from being a complete wash, but still this one falls short when compared to earlier experimental tracks and later keyboard/synth efforts by Wright (such as "Dogs" or "Sheep").

HAVE A CIGAR : What you have here is Pink Floyd's standard funk-blues track (åla "Childhood's End". "Time" and later "What Do You Want From Me?" and done much better with "Time" and "Pigs"). Although the legendary Roy Harper sings the lyrics, and the way the lyrics attach to the meter make it a very cool song - one of my favorites - it is still just a very mediocre Floyd song in comparison to a few of the aforementioned "funk-blues" tracks. Still, this track is one of the saviors of the album, for sure.

WISH YOU WERE HERE : Ah ? here we come to the old campfire sing-a-long favorite acoustic "Kumbaya" pop song that seems to be a karaoke favorite of all the drunks at a party, or the one song every amateur guitarist starts playing to get everyone to acknowledge he knows about Pink Floyd. Skip to the next track, please. To me, WYWH is not even their best acoustic song. It is boring, weak and way overrated - a hat-grabber for me.

SHINE ON YOU CRAZY DIAMOND VI-IX : The best part of the entire album and by far the most interesting. This piece takes the lush soundscape of Part 1-5 and every positive thing about the first part and develops it even further. It is darker, seems to give us a vision of what is to come with "Sheep" and parts of "The Wall", but even features elements of funk and there is one part that sounds almost like The Doors joined in the fray and ends with, what seems to me to be, a nod to "Atom Heart Mother." This is one of Floyd's greatest efforts - classic Floyd and saves the album from being a bit of a clunker.


This album has some divine moments, beautiful and haunting elements that evoke a cold nostalgia; it has stand-out tracks like "Shine On" (especially VI-IX) and "Have A Cigar," but the remainder of the album leaves much to be desired. Floyd often said that they were empty creatively after DSOTM and I think it shows here much more than most people would like to admit. 3/5

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.87 | 1857 ratings

Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by TrannonG


Atom Heart Mother was the album that followed in the footsteps and ultimately surpassed the eclectic Ummagumma. The term "underrated" can't seriously be used for an album that went to #1, but "undervalued" is definitely a word that could describe this 1970 progressive classic. Floyd continued to experiment with "real music" (see: Rick Wright's comment in my Ummagumma review) going even further by adding an orchestra to the mix to create a truly rock suite. The AHM Suite may be frowned upon by members of Floyd and some critics, but it is a superb piece of progressive symphonic rock and the highlight of the entire album. The remainder of the AHM album featured another soft, poignant piece by Waters (If), a throwback to psychedelic pop (Summer '68), a classic Floydian track used to this day by David Gilmour in his solo shows (Fat Old Sun) and the penultimate collage of musique concrete created by the band (complete with theatrical performance in live shows), Alan's Psychedelic Breakfast.

Track by Track: ATOM HEART MOTHER : Picking up where they left off with Ummagumma, Floyd kept on the unconventional path of art rock endeavors with this incredible symphonic rock suite. Bringing on board the progressive composer Ron Geesin, the Floyd's simple "Western theme" was given an otherworldly turbo boost by Geesin's orchestrated composition. Divided in movements (like classical music), the 23-plus minute epic begins with "Father's Shout" featuring Rick Wright's organ and a sweeping brass section that sounds remotely similar to an intro for a 1960s TV Western and is the main theme of the entire piece. The following sections all range from around 3-5 minutes in length with "Breast Milky" beginning with a cello solo and developing further with the full band (Floyd) coming in strong and ending with a choir that segues into "Mother Fore", a ghostly dramatic choir section that climaxes before softly giving way to classic Floydian funk-rock (which they would bring back on Echoes) called "Funky Dung". The next movement of the suite called "Mind Your Throats, Please" is itself sectioned into two parts: one that is mostly reminiscent of the middle section of "Interstellar Overdrive" with experimental sound collage and effects followed by a sort of reprise to the main theme from part 1 with "Remergence". This soundscape is pure adventure from beginning to end!

IF : Immediately following the "pomp and circumstance" of the Atom Heart Mother suite, this song takes the listener into a complete 180 u-turn with its extremely soft arpeggio guitar and Waters' reflective vocals. "If" could be described as a pastoral introspective song that is truly the genesis of Waters' lyrical genius. So much so, that Waters has even showcased the song on some solo tours.

SUMMER '68 ? : Ah, here Rick Wright takes a back a couple of years to the Summer of '68 (literally). This song is a piece of nostalgic pop psychedelia that brings to mind "Remember A Day" or "It Would Be So Nice" before Floyd took the progressive rock mantle and ran with it. Although it is indeed a bit of throwback, it fits quite nicely with the morning quality of the second side of this album due to Wright's liberal use of the Hammond organ.

FAT OLD SUN : This may be David Gilmour's best song of the classic Floyd line up. "Fat Old Sun" is a sort of sequel to Waters' "Grantchester Meadows" and, in my opinion, is far superior to it. The lazy feel of the song with Gilmour's laid back guitar and smooth falsetto vocals creates an atmosphere much more relaxing than "Grantchester" or "If", and even when the rock guitar solo takes off it still carries that vibe while becoming one of Gilmour's pure rock n' roll showcases at the same time. Variety, tenderness, reflection giving way to the soaring guitar solo makes "Fat Old Sun" one the best tracks on the album, and in the Floyd canon. David Gilmour brought this song "out of retirement" on his 2001 Royal Albert Hall show and kept it in his solo repertoire ever since ? and for good reason ? it is pure Floydian bliss.

ALAN'S PSYCHEDELIC BREAKFAST: My bias my show here, but I adore this innovative little sound collage of effects and noodling. This piece of musique concrete was showcased just a few times on the AHM tour, complete with the band cooking breakfast and enjoying a bit of theater performance onstage. The man featured in the song, Alan Styles, was a roadie of the Floyd's and his mumbling while preparing breakfast corresponds nicely with the morning music offered here by Roger, David, Nick and Rick. Like AHM, it is sectioned into parts. "Rise and Shine" (part one) is a jolly piano piece backed by organ, light percussion, bass and steel guitar that sounds almost faintly familiar to something by Francis Poulenc. The next movement, "Sunny Side Up" was strictly a Gilmour guitar piece creating an early misty morning atmosphere that segues nicely into the finale "Morning Glory" which brings back the entire band and is, by far, the best section of the track with Waters' bass dominating and leading the charge into a new Floydian era.

Overall: This album is definitely undervalued. It is a clear progressive work of genius and it is really ashamed it doesn't receive the kudos it deserves for pioneering in the Prog Rock movement of the 1970s and taking Pink Floyd into the direction that would lead them to super stardom. I think in hindsight this album took its rightful place at the top of the charts in 1970, and it should now be regarded as not only a little appreciated effort, but an essential piece of progressive music. 5/5

 Ummagumma by PINK FLOYD album cover Studio Album, 1969
3.49 | 1411 ratings

Pink Floyd Psychedelic/Space Rock

Review by TrannonG


Ummagumma, to me, was the beginning of what I call "the experimental Floyd era" that began in 1969. Sure Floyd experimented prior to this album with jams like Interstellar Overdrive and A Saucerful of Secrets, but they expanded those efforts and honed in on them with precision on Ummagumma. Three things that make Ummagumma different (and special) are 1) Along with Atom Heart Mother, it is their most exploratory effort into the realms of the avant-garde, and yet, 2) unlike any album before it, Ummagumma was also a live album featuring extended versions of previously released songs and some of Floyd's main concert staples at the time. Finally, 3) it is a double-album that gives you the best of Floyd's psychedelic showmanship on Disc 1 and their most far-out journey into the depths of progressive music on Disc 2.

Track by Track: (Disc 1 - The Live Side) ASTRONOMY DOMINE : The opening track to their very first album, a Syd Barrett tune, opens the Live Side with David Gilmour taking on the role of Barrett. With the exception of bootlegs, the only version we have to compare it to with Barrett is the studio version and that's not really a good comparison. The studio version is cleaned up, polished and a lot less atmospheric than the live. It is comparing (dare I say it) apples and oranges! The Gilmour version of this song isn't really that much different from Barrett's original with the exception of the pacing and more haunting atmosphere Gilmour brings to the table. It is said that Interstellar Overdrive was supposed to be on this album, and I would really have preferred it to this song. Meh.

CAREFUL WITH THAT AXE, EUGENE : Personally one of my favorite Floyd tracks of all-time, this version is definitely one of the best. Previously released as a studio B-side in 1968, CWTAE became a concert staple and fleshed out to become creepier and much more powerful than the almost-silly studio version. Although I prefer the Pompeii version of this song, there is really nothing left to want from Ummagumma's version here. The tense build-up, Gilmour's haunting wordless vocals, Roger's incredible spine-chilling scream and the bombastic drumming by Nick Mason (some of his best), is underscored by Rick Wright's creeping and sweeping keys. The buildup is extended but perfectly timed, and the blistering guitar soloing by Gilmour while the band is crushing it is as heavy as Floyd gets. It is raw, hypnotic, extremely dark and demonstrates the variety of Floyd all in one instrumental.

SET THE CONTROLS ? : This Roger Waters favorite became a concert staple like CWTAE in nearly all of the Floyd's late 60s and early 70s shows (and even Waters' solo concerts in the 80s and 2000s). The song is relatively unchanged from the studio version with the exception of being extended and (again) the pacing was a bit slower to add more atmosphere. This track has a ritualistic feel to it due to Waters' mantra-like, repetitive chanting of lyrics, Wright's "Middle Eastern" adventuring on the keys and Mason's tribal drumming. Gilmour chimes in some experimental guitar soloing and the combination of all the musicians' efforts creates a hypnotic trance into some otherworldly realm.

A SAUCERFUL OF SECRETS : One of the very first structured, experimental tracks after Syd Barrett left. Created by Waters and Mason's architectural mapping, this song may sound improvised or even like the band just randomly playing around with sounds at some points, but it is a very organized piece of music. The studio version sounds a lot more structured than the live version and is, in my opinion, a different animal. Although it is one of the creepiest Floyd songs this side of CWTAE, there isn't much difference between this version and the studio with the exception of Gilmour's moaning vocals during the finale (which I prefer to the studio versions' "voices" track used). Again, this one isn't as good as the Pompeii version, but it is a slight improvement over the studio version. Lots of guitar experimentation from Gilmour, haunting keys from Wright, more Mason's tribal drumming and Waters going insane on a gong! Beautiful!

(Disc 2 - The Studio Side) SYSYPHUS I-IV : With each member receiving space on Side 2 to experiment individually, this Rick Wright effort was his attempt at making what he called "real music" (probably meaning classically-influenced) and it comes out extremely interesting, if not coming up a bit short perhaps. The track has four parts with part one coming in heavy, straight-forward ominously like a heavier classical piece from Orff or Wagner. The foreboding strings call to mind at times Gustav Holst's Mars suite, while the Mellotron underpinning brings to mind King Crimson. This very warlike first section segues into a hauntingly beautiful classical piano piece that seems to be not unlike something you might here from Grieg, until Wright begins to break it down into some very Penderecki-like atonal playing that brings to mind a mental breakdown. Part 2 than falls into part 3 which sounds like metal scraps falling out of the back of truck or something. It is a very industrial and a bit too "experimental" for my taste. Finally part 4 brings us out of the metallic tornado into a very eerie soundscape that reminds me of something you may hear on a "Tales From The Darkside" episode. An unsettling sort of midday, "something is not right" vibe that clarifies itself later in the piece to prove you right, before it follows up with a reprise of Part 1's bombast.

GRANTCHESTER MEADOWS: Waters' offering begins with this pleasant pastoral track. Opening with the chirping birds reminiscent of Cirrus Minor, the light acoustic guitar and Waters' soft singing takes the listener to a very pleasant stroll through the countryside after coming through Wright's nightmare world. The double-tracked vocals, continuous atmospheric birdsong and the sticky acoustic song gives this song a relaxing, yet tense feel at the same time because you don't know what will come at anytime. Is Pink Floyd really allowing us to breathe again or will the hammer come down at any minute? Fortunately, it never does, but a swatting does take place when it seems a pesky fly enters the environment.

SEVERAL SPECIES ? : Ok ? the full title is "Several Species of Small Furry Animals Gathered Together In a Cave and Grooving With a Pict." Whew! I wonder if Waters just meant to be funny or pretentious or pretentiously funny? Either way, this avant-garde piece is strictly loops that sound like little creatures squeaking and squalling, cave-like ambience and Waters eventually ranting and raving in some thick Scottish accent about who knows what. It is the strangest and, by far, the most far-out piece of work that Pink Floyd has ever released. It needs to be heard to be believed.

THE NARROW WAY I - III: Ah, leave it to David Gilmour to bring us back to some Floydian normality (if such a thing exists), The Narrow Way is divided into three sections with the first being Gilmour playing some sort of acoustic jig-along stuff while dissonant effects seem to create an alien presence involved. Part 2 comes in and takes into darker territory with a raga guitar repetition being underscored by some insanely spooking experimentation reminding us of the place we were in Wright's Sisyphus piece at times. Finally Part 3 is probably the closest we come to even remotely getting a taste of the classic Floyd sound on this entire disc. The off-putting chord strums create a distant, detached feel that eventually seeps into a "real song" complete with words, standard playing of guitar, piano and eventually bass and drum ? a group effort to complete this piece allows us to feel that we know Pink Floyd again.

THE GRAND VIZIER'S GARDEN PARTY: This is not the best or most favored track on Ummagumma, but I feel it is highly underrated. Divided into three parts like The Narrow Way, the first and last sections are essentially the same thing ? Mason's wife, Lindy, playing a very pleasant piece on the flute. This rather simple, but enjoyable tune bookends Mason's real effort ? part 2 which features some experimental drumming and looping done by Mason that is actually very progressive and quite impressive. Grand Vizier's Garden Party is often referred to as the weakest effort on the album (and that may be the case), but it is not really a bad effort at all.

Overall: This album is definitely Pink Floyd's darkest album followed by Animals and The Wall later on, but it is also their most adventurous effort ever put to record. This is truly the beginning of the progressive era for Floyd that led to later masterpieces. Ummagumma is far removed from previous Floyd albums and takes it to another level. Although dismissed by band members now and many critics, Ummagumma is a milestone for Pink Floyd and progressive music in general. It is way ahead of its time, but still dated a bit in parts. It is the Floyd at the peak of their curiosity about music and sound. It deserves multiple listens and the appreciation will grow. 4/5

Thanks to ProgLucky for the artist addition. and to NotAProghead for the last updates

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