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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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Pink Floyd: The Wall (25th Anniversary Deluxe Edition)Pink Floyd: The Wall (25th Anniversary Deluxe Edition)
Multiple Formats · AC-3 · Widescreen
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The WallThe Wall
Remastered
Capitol Records 2011
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$9.98 (used)
The Dark Side of the MoonThe Dark Side of the Moon
Pink Floyd Records 2016
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Cre/ation- The Early Years 1967-1972Cre/ation- The Early Years 1967-1972
Pink Floyd Records 2016
Audio CD$15.00
Pink Floyd - PulsePink Floyd - Pulse
Multiple Formats
Sony Legacy 2006
DVD$12.46
$7.20 (used)
MeddleMeddle
Legacy 2016
Vinyl$27.98
The WallThe Wall
Legacy 2016
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Wish You Were HereWish You Were Here
Capitol Records 2011
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$7.97 (used)
Obscured by CloudsObscured by Clouds
Legacy 2016
Vinyl$27.98
Atom Heart MotherAtom Heart Mother
Legacy 2016
Vinyl$27.98
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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)

3.88 | 1681 ratings
The Piper At The Gates Of Dawn
1967
3.66 | 1451 ratings
A Saucerful Of Secrets
1968
3.16 | 1094 ratings
More
1969
3.49 | 1418 ratings
Ummagumma
1969
3.88 | 1866 ratings
Atom Heart Mother
1970
4.31 | 2611 ratings
Meddle
1971
3.38 | 1281 ratings
Obscured By Clouds
1972
4.60 | 3658 ratings
Dark Side Of The Moon
1973
4.62 | 3476 ratings
Wish You Were Here
1975
4.52 | 3094 ratings
Animals
1977
4.06 | 2501 ratings
The Wall
1979
3.17 | 1535 ratings
The Final Cut
1983
3.05 | 1432 ratings
A Momentary Lapse Of Reason
1987
3.73 | 1693 ratings
The Division Bell
1994
3.38 | 548 ratings
The Endless River
2014

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

3.30 | 475 ratings
Delicate Sound Of Thunder
1988
3.95 | 655 ratings
P-U-L-S-E
1995
2.85 | 140 ratings
Live 66-67
1999
4.08 | 430 ratings
Is There Anybody Out There?
2000

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

4.76 | 439 ratings
Live At Pompeii
1981
4.09 | 492 ratings
The Wall (The Movie)
1982
3.63 | 160 ratings
In Concert - Delicate Sound Of Thunder
1989
3.12 | 48 ratings
La Carrera Panamericana
1992
4.42 | 483 ratings
P-U-L-S-E
1995
3.09 | 82 ratings
London - Live 66-67
1999
4.57 | 583 ratings
Live At Pompeii (The Director's Cut)
2003
4.07 | 162 ratings
Classic Albums: The Dark Side Of The Moon
2003
2.95 | 47 ratings
Inside Pink Floyd
2003
3.32 | 62 ratings
The Pink Floyd & Syd Barrett Story
2003
2.46 | 26 ratings
Inside Pink Floyd Volume 2 - A Critical Review 1975 - 1996
2005
2.43 | 14 ratings
The Ultimate Review
2005
2.07 | 18 ratings
The World's Greatest Albums - Atom Heart Mother
2005
2.55 | 16 ratings
Rock Milestones Pink Floyd's Wish You Were Here
2005
2.08 | 17 ratings
Reflections And Echoes
2006
2.82 | 17 ratings
Rock Milestones Pink Floyd's The Piper At The Gates of Dawn
2006
1.38 | 19 ratings
Rock Milestones: Ummagumma
2006
2.20 | 11 ratings
Music Box Biographical Collection
2006
2.46 | 15 ratings
The Dark Side - Interviews
2006
2.33 | 12 ratings
Total Rock Review
2006
2.52 | 16 ratings
Meddle: A Classic Album Under Review
2007
3.19 | 15 ratings
Retrospectives
2007
2.10 | 12 ratings
The Early Pink Floyd - A Review And Critique
2008
2.25 | 11 ratings
Comfortably Numb
2008
3.06 | 15 ratings
A Technicolor Dream
2008
3.67 | 24 ratings
Live Anthology
2008
1.89 | 16 ratings
The Great Gig In The Sky: The Album By Album Guide
2008
4.00 | 71 ratings
The Story of Wish You Were Here
2012

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

2.12 | 35 ratings
The Best Of The Pink Floyd
1970
3.56 | 325 ratings
Relics
1971
3.19 | 100 ratings
A Nice Pair
1973
2.70 | 56 ratings
Masters Of Rock Vol. 1
1974
2.17 | 179 ratings
A Collection Of Great Dance Songs
1981
2.17 | 126 ratings
Works
1983
3.45 | 80 ratings
Shine On
1992
3.68 | 92 ratings
The Early Singles
1992
3.06 | 61 ratings
1967: The First Three Singles
1997
3.42 | 231 ratings
Echoes - The Best Of Pink Floyd
2001
4.05 | 75 ratings
Oh By The Way...
2007
2.82 | 49 ratings
A Foot In The Door: The Best Of Pink Floyd
2011
4.48 | 63 ratings
Discovery
2011
4.75 | 115 ratings
The Dark Side Of The Moon - Experience Edition
2011
4.58 | 102 ratings
The Dark Side Of The Moon - Immersion Edition
2011
4.73 | 119 ratings
Wish You Were Here - Experience Edition
2011
4.45 | 92 ratings
Wish You Were Here - Immersion Edition
2011
4.23 | 64 ratings
The Wall - Experience Edition
2011
1.91 | 53 ratings
The Wall Singles
2011
3.81 | 82 ratings
The Wall - Immersion Edition
2012
4.21 | 29 ratings
The Division Bell (20th Anniversary Deluxe Box)
2014

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

3.76 | 69 ratings
Arnold Layne
1967
3.40 | 81 ratings
See Emily Play
1967
2.86 | 51 ratings
Apples And Oranges
1967
2.59 | 57 ratings
Tonite Let's All Make Love In London
1967
3.58 | 24 ratings
Flaming
1967
3.20 | 36 ratings
It Would Be So Nice
1968
3.64 | 39 ratings
Point Me at the Sky
1968
2.83 | 37 ratings
The Nile Song
1969
3.81 | 70 ratings
One Of These Days
1971
4.44 | 9 ratings
Free Four
1972
4.43 | 7 ratings
Free Four / Absolutely Curtains
1972
3.77 | 79 ratings
Money
1973
3.58 | 72 ratings
Time
1973
3.64 | 66 ratings
Have a Cigar
1975
3.80 | 69 ratings
Comfortably Numb
1979
3.55 | 71 ratings
Another Brick In The Wall
1979
3.42 | 59 ratings
Run Like Hell
1980
3.25 | 52 ratings
When the Tigers Broke Free
1982
1.91 | 50 ratings
Not Now John/The Hero's Return (Part 2)
1983
2.47 | 58 ratings
Learning To Fly (promo single)
1987
3.04 | 49 ratings
On the Turning Away
1987
2.96 | 34 ratings
One Slip
1988
2.95 | 19 ratings
A Momentary Lapse Of Reason Official Tour CD
1988
2.90 | 23 ratings
Shine On - Selections From The Box
1992
3.19 | 68 ratings
High Hopes/ Keep Talking (single)
1994
3.37 | 56 ratings
Take It Back
1994
3.43 | 7 ratings
Interview Disc
1995
4.02 | 40 ratings
Louder Than Words
2014
2.36 | 5 ratings
Pink Floyd 1965 - Their First Recordings
2015

PINK FLOYD Reviews


Showing last 10 reviews only
 Dark Side Of The Moon by PINK FLOYD album cover Studio Album, 1973
4.60 | 3658 ratings

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Dark Side Of The Moon
Pink Floyd Psychedelic/Space Rock

Review by The Jester

5 stars It was the March of 1973. A record with no information on the cover was placed on the record shops shelves, which was meant to be one of the most popular and successful Rock albums of all times! It was the Dark Side of the Moon by Pink Floyd. Entering the 70's, Pink Floyd decided to leave behind their psychedelic period, in order to follow a more Progressive "path". This "path" begun with the album 'Atom heart Mother', followed my 'Meddle'; but the real turning point in their career was 'the Dark Side of the Moon'. The album was produced by Alan Parson (who later formed The Alan Parson's Project). The latest technological equipment of the time was used for the recordings, mixed with some really brilliant ideas; having as a result this fantastic album. The Dark Side of the moon is considered as a concept album, having as main themes the people's greed, the passage of time and mental illnesses; as a tribute to Syd Barret's mental state.The album became a huge success immediately, and still holds an unbelievable record. It remained in the Billboard Top 100 LP chart for 741 weeks! That means from 1973 until 1988, longer than any other album in history of music. With sales over 50.000.000 records, is one of the most successful albums in the history of music. Two 'hit' songs came out of this album; Time and Money. But further than those two songs, the whole album is filled with beautiful melodies, (the Great gig in the Sky, Us and Them), while in other parts the band members are obviously experimenting with the abilities of the synthesizers and consoles they had in the studio. (On the Run). It is interesting to mention that Pink Floyd used to play whole parts of the - unknown then - Dark Side of the Moon in concerts almost a year before its release, just to see the reactions of the audience. (It was not the first time they did that. They had tried the same, before the release of Atom heart Mother). The Dark Side of the Moon is certainly one of the greatest albums in the history of music, recorded by one of the greatest bands in Rock music. 5.0 Stars.
 The Division Bell by PINK FLOYD album cover Studio Album, 1994
3.73 | 1693 ratings

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The Division Bell
Pink Floyd Psychedelic/Space Rock

Review by aglasshouse

5 stars Not one for long goodbyes...

This was a bit of a doozy coming back to it after a long time. It isn't like any other Pink Floyd album; everything has changed. The remaining band members have changed in attitude since Momentary Lapse of Reason in '87.

For one, there isn't as much gung-hoe enthusiasm that they had on the last album. The Division Bell is a collection of bittersweet melodies, containing more soul than spirit. What do I mean by that? I myself tend to hear "spirit" when listening to a band's early attempts at pleasing themselves and their audience with their enthusiastic naivete. When I refer to soul in this case, soul is the tunes wrought by a time-weathered band in their death throes, with full knowledge that this album they make is their last. Lyrics are more blatant and on the nose than they used to be, lacking much of the poetic fuzz that was prominent on their greatest of albums. They speak of their destructive relationship with former bassist Roger Waters, mainly from the viewpoint of David Gilmour. These range from 'What Do You Want From Me', about Gilmour's experience with Roger Waters' rash stinginess with his musical direction, to the pseudo-upbeat retrospective on his childish behavior on 'Lost For Words', replete with the sounds of a boxing match halfway through.

There is also a newfound maturity that is present on The Division Bell. These men are old men, hallowed by the years gone by, and have given up on the artsy experimentation that everyone had adored them for. I wouldn't go a step to say that this is a ballsy because there is an air of self-inflection rather than an eagerness to please their audience, but I wouldn't necessarily call it uncaring. The music is smooth and clean cut, with much of the formality you see in other bands' last moments (a good parallel is with Rush's Clockwork Angels"). The guitars are played pretty safe with humble chord progressions, Wright's solemn piano and ambient keyboard is a mark that will be forever etched into is insurmountable legacy, and Nick Mason goes back to basics with some simple fills (With honorable mentions to Guy Pratt on bass). The moments where Gilmour seems to shine best is with the acoustic, where he has always found his element. The pure organic quality he harnesses has brought emotion to me several times in the past, and certainly does here.

What I said before may or may not have been a turn off for you hardcore fans, but fear not, this album does not forget some pizzazz. 'What Do You Want From Me' features a funky, almost sassy bass line that is always great to hear. 'Take It Back' is a bit of an ode to Momentary's style, if you're into that (I am). The closer 'High Hopes' not only is a throwback to 'Fat Old Sun''s opening of bells but also features lovely highfaluting composition I know droves of Floyd fans love.

I know this review might have been a long one but The Division Bell deserves it. This is not only one of the best Floyd albums, it is one of the best finales I've ever heard. Critic or bystander, experience of this first-hand is truly the only way to do it. Thank you Pink Floyd for the years of enjoyment.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.38 | 548 ratings

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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 | 1681 ratings

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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
3.38 | 548 ratings

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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 | 1535 ratings

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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 | 3476 ratings

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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
3.38 | 548 ratings

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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 | 1432 ratings

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A Momentary Lapse Of Reason
Pink Floyd Psychedelic/Space Rock

Review by TrannonG

2 stars A MOMENTARY LAPSE OF REASON IS JUST THAT

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 | 3476 ratings

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Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by TrannonG

3 stars WISH YOU WERE HERE IS NOT A MASTERPIECE.

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.

Overall:

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

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

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