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PINK FLOYD

Psychedelic/Space Rock • United Kingdom


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Pink Floyd picture
Pink Floyd biography
Formed in 1965 in London, UK - Disbanded in 1994 - Reunited with different formation on several ocasions

One of the biggest bands of all time

Of all the bands who come under the progressive rock banner, Pink Floyd are, arguably, the act most recognisable in the wider music community to music lovers of all genres. Yet, as revealed famously by Nick Mason in an old interview, even at the height of their fame, they could walk down any street, and passers-by would not have recognised a member of one of the most commercially successful acts in music history.

The band were formed in London in 1965, the original members being Roger (known as Syd) BARRETT on vocals and lead guitar, Nick MASON on drums, Roger WATERS on bass guitar and vocals, and Rick WRIGHT on keyboards.

The London of the late 1960's was a melting pot of live acts and varying musical genres, and the band gained a cult following amongst the underground psychedelic crowd of the time. This expanded into a more public consciousness with a residency at the famous UFO Club, with a hypnotic light show and pulsating, often indescribable, sounds. This led to television appearances, most famously an interview and live performance on BBC The Look of the Week, with a rather bemused classical performer Hans Keller in tow. Waters was famously asked just why everything had to be so loud?!

This popularity led to the band signing to EMI, who in 1967 released two hit singles, See Emily Play, which attracted controversy regarding its cross-dressing themes, and Arnold Layne. They charted in the UK at 20 and 6 respectively.

The debut album which followed, Piper At The Gates Of Dawn, is universally recognised as being hugely influential in rock music, beyond the narrow confines of psychedelia. It peaked at number 6 in the UK album charts in 1967, and the band continued to play not only their residency, but also increasing numbers of national gigs and festivals.

The strain, however, was beginning to tell on Barrett, and a fragile mental state, exacerbated by LSD, led to him becoming almost semi-detached from the band and wider reality. The situation became such that the band, at the end of 1967, drafted in David GILMOUR ...
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PINK FLOYD Videos (YouTube and more)


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The Dark Side of the MoonThe Dark Side of the Moon
Legacy 2016
$26.81
$22.88 (used)
Pink Floyd: The Wall (25th Anniversary Deluxe Edition)Pink Floyd: The Wall (25th Anniversary Deluxe Edition)
Multiple Formats · AC-3 · Dolby
Sony Legacy 2005
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The WallThe Wall
Legacy 2016
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Wish You Were HereWish You Were Here
Pink Floyd Records 2016
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The Best of Pink Floyd: A Foot in the DoorThe Best of Pink Floyd: A Foot in the Door
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AnimalsAnimals
Pink Floyd Records 2016
$11.35
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Pink Floyd - PulsePink Floyd - Pulse
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Echoes: The Best of Pink FloydEchoes: The Best of Pink Floyd
Legacy 2016
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The Division BellThe Division Bell
Pink Floyd Records 2016
$11.41
$10.00 (used)
Pulse (Live)Pulse (Live)
Legacy 2018
$80.19
$64.62 (used)
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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 | 1859 ratings
The Piper At The Gates Of Dawn
1967
3.66 | 1620 ratings
A Saucerful Of Secrets
1968
3.15 | 1231 ratings
More (OST)
1969
3.48 | 1573 ratings
Ummagumma
1969
3.88 | 2055 ratings
Atom Heart Mother
1970
4.30 | 2904 ratings
Meddle
1971
3.37 | 1429 ratings
Obscured By Clouds
1972
4.60 | 4012 ratings
Dark Side Of The Moon
1973
4.62 | 3816 ratings
Wish You Were Here
1975
4.52 | 3423 ratings
Animals
1977
4.08 | 2746 ratings
The Wall
1979
3.18 | 1682 ratings
The Final Cut
1983
3.05 | 1582 ratings
A Momentary Lapse Of Reason
1987
3.74 | 1867 ratings
The Division Bell
1994
3.34 | 707 ratings
The Endless River
2014

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

3.33 | 523 ratings
Delicate Sound Of Thunder
1988
3.93 | 715 ratings
P-U-L-S-E
1995
2.83 | 157 ratings
Live 66-67
1999
4.11 | 467 ratings
Is There Anybody Out There?
2000

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

4.76 | 481 ratings
Live At Pompeii
1981
4.10 | 529 ratings
The Wall (The Movie)
1982
3.64 | 170 ratings
In Concert - Delicate Sound Of Thunder
1989
3.05 | 53 ratings
La Carrera Panamericana
1992
4.43 | 513 ratings
P-U-L-S-E
1995
3.08 | 89 ratings
London - Live 66-67
1999
4.58 | 615 ratings
Live At Pompeii (The Director's Cut)
2003
4.07 | 174 ratings
Classic Albums: The Dark Side Of The Moon
2003
2.92 | 53 ratings
Inside Pink Floyd
2003
3.30 | 65 ratings
The Pink Floyd & Syd Barrett Story
2003
2.41 | 32 ratings
Inside Pink Floyd Volume 2 - A Critical Review 1975 - 1996
2005
2.27 | 17 ratings
The Ultimate Review
2005
2.00 | 20 ratings
The World's Greatest Albums - Atom Heart Mother
2005
2.48 | 20 ratings
Rock Milestones Pink Floyd's Wish You Were Here
2005
1.97 | 20 ratings
Reflections And Echoes
2006
2.73 | 21 ratings
Rock Milestones Pink Floyd's The Piper At The Gates of Dawn
2006
1.36 | 22 ratings
Rock Milestones: Ummagumma
2006
2.09 | 14 ratings
Music Box Biographical Collection
2006
2.30 | 18 ratings
The Dark Side - Interviews
2006
2.17 | 15 ratings
Total Rock Review
2006
2.46 | 18 ratings
Meddle: A Classic Album Under Review
2007
3.11 | 18 ratings
Retrospectives
2007
2.00 | 14 ratings
The Early Pink Floyd - A Review And Critique
2008
2.14 | 13 ratings
Comfortably Numb
2008
3.00 | 19 ratings
A Technicolor Dream
2008
3.57 | 27 ratings
Live Anthology
2008
1.85 | 18 ratings
The Great Gig In The Sky: The Album By Album Guide
2008
3.96 | 81 ratings
The Story of Wish You Were Here
2012

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

2.13 | 37 ratings
The Best Of The Pink Floyd
1970
3.57 | 354 ratings
Relics
1971
3.21 | 113 ratings
A Nice Pair
1973
2.70 | 62 ratings
Masters Of Rock Vol. 1
1974
2.20 | 198 ratings
A Collection Of Great Dance Songs
1981
2.20 | 142 ratings
Works
1983
3.48 | 91 ratings
Shine On
1992
3.69 | 104 ratings
The Early Singles
1992
4.50 | 8 ratings
The Dark Side Of The Moon (Twentieth Anniversary Edition)
1993
3.08 | 68 ratings
1967: The First Three Singles
1997
3.44 | 248 ratings
Echoes - The Best Of Pink Floyd
2001
4.04 | 82 ratings
Oh By The Way...
2007
2.81 | 57 ratings
A Foot In The Door: The Best Of Pink Floyd
2011
4.42 | 74 ratings
Discovery
2011
4.71 | 130 ratings
The Dark Side Of The Moon - Experience Edition
2011
4.58 | 123 ratings
The Dark Side Of The Moon - Immersion Edition
2011
4.70 | 141 ratings
Wish You Were Here - Experience Edition
2011
4.43 | 110 ratings
Wish You Were Here - Immersion Edition
2011
4.26 | 82 ratings
The Wall - Experience Edition
2011
1.91 | 57 ratings
The Wall Singles
2011
3.78 | 95 ratings
The Wall - Immersion Edition
2012
4.20 | 44 ratings
The Division Bell (20th Anniversary Deluxe Box)
2014
3.74 | 40 ratings
The Early Years 1967-1972 Creation
2016

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

3.81 | 78 ratings
Arnold Layne
1967
3.43 | 89 ratings
See Emily Play
1967
2.91 | 55 ratings
Apples And Oranges
1967
2.61 | 62 ratings
Tonite Let's All Make Love In London
1967
3.61 | 28 ratings
Flaming
1967
3.35 | 42 ratings
It Would Be So Nice
1968
3.68 | 41 ratings
Point Me at the Sky
1968
2.87 | 39 ratings
The Nile Song
1969
3.83 | 73 ratings
One Of These Days
1971
4.33 | 12 ratings
Free Four
1972
4.33 | 9 ratings
Free Four / Absolutely Curtains
1972
3.78 | 83 ratings
Money
1973
3.60 | 75 ratings
Time
1973
3.63 | 68 ratings
Have a Cigar
1975
3.83 | 72 ratings
Comfortably Numb
1979
3.63 | 76 ratings
Another Brick In The Wall
1979
3.44 | 61 ratings
Run Like Hell
1980
3.26 | 54 ratings
When the Tigers Broke Free
1982
1.91 | 50 ratings
Not Now John/The Hero's Return (Part 2)
1983
2.52 | 62 ratings
Learning To Fly (promo single)
1987
3.07 | 52 ratings
On the Turning Away
1987
2.98 | 35 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
3.21 | 70 ratings
High Hopes/ Keep Talking (single)
1994
3.38 | 59 ratings
Take It Back
1994
3.63 | 8 ratings
Interview Disc
1995
3.96 | 45 ratings
Louder Than Words
2014
2.65 | 15 ratings
Pink Floyd 1965 - Their First Recordings
2015

PINK FLOYD Reviews


Showing last 10 reviews only
 Is There Anybody Out There?  by PINK FLOYD album cover Live, 2000
4.11 | 467 ratings

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Is There Anybody Out There?
Pink Floyd Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

5 stars My opinion of the studio album of The Wall has wavered back and forth over the years, but on hearing Is There Anybody Out There? I am greatly impressed, and I actually prefer this to the studio version of the album.

A big part of this is because, as is well-known, The Wall is an album that was formulated around an idea for a stage show. Whilst the visual aspect of this obviously can't translate into an audio-only format, and whilst admittedly this set is somewhat Frankensteined together (though absolutely seamlessly) from a range of of shows, it nonetheless seems to benefit somewhat from the concert contexts.

You have concert-only inclusions like the band rudely interrupting the MC both times for In The Flesh?/In The Flesh, or Roger's in-character patter preceding Run Like Hell ("This is for all the WEAK PEOPLE in the audience!!!") which really adds to that section of the narrative. You also get some tracks that, whilst they didn't make the cut for the main album, also feel like natural parts of it - The Last Few Bricks is a little jam restating some themes from disc 1 to cover for the completion of the onstage wall, whilst What Shall We Do Now? adds a much extra dimension to the character of Pink at just the right time.

(To unpack that more: What Shall We Do Now? comes right before Young Lust and One of My Turns, and in that context makes really helps contextualise those two songs; the song effectively marks the beginning of a manic phase of Pink's bipolar disorder, during which he's able to momentarily draw people in - Young Lust - before he drives them away again - One of These Turns. The triptych of songs really does provide a very accurate depiction of the way this particular disorder affects people and as such I feel that cutting What Shall We Do Now? - and thus robbing the other two songs of some of their context - was a serious mistake.)

Most of all, though, you get a harder, more rock-oriented take on the album material, combined with some more scope for improvising and the like - there's some jamming during Another Brick In the Wall Pt. 2 which takes it well away from its disco-influenced studio rendition, for instance.

On the whole, I consider this the definitive edition of the album. Others might propose tweaked running orders or additions here and there - fans of the film love to try to crowbar in When The Tigers Broke Free into the Wall's running order, for instance, but it feels more appropriate to The Final Cut anyway and the early parts of The Wall don't really need more griping about a father that Pink never really knew in the first place.

On the other hand, Is There Anybody Out There? presents The Wall in, as closely as an audio format can, the context it was supposed to be heard in, with all of its constituent parts restored. If you like The Wall at all, you're in for a treat - and if you're on the fence about the studio album you might find that this answers a lot of your issues with it.

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.88 | 2055 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by TCat
Prog Reviewer

4 stars "Atom Heart Mother" was the transitory album for Pink Floyd, bridging the gap between their experimental and more straight forward, progressive stages. Through the album, you still hear echoes of their past psychedelic and experimental music, but you also hear hints of where the band was going. To make it even more of a fitting bridge, Alan Parsons had a part in the making of this album and "Dark Side of the Moon". Being Pink Floyd, this album has been reviewed so many times, but it is probably the most misunderstood of the albums.

It starts off with the full sided title suite made up of 6 sections, each with individual names. The suite is credited to all members of the band and also Ron Geesen, who was responsible for orchestrating and putting the entire suite into one complete "rock symphony". Most of the themes and material in the suite were written and considered for inclusion in the "Zabriskie Point" soundtrack, but after the falling out between the band and the makers of the movie, the material not used for the movie was taken by the band to improve and expand on. The music was put together and handed over to Ron to turn into an epic production, adding orchestral instruments and choral arrangements. There are really no lyrics, and the vocals are all wordless. There has been plenty of people that have broken the suite down on this site and also elsewhere on the internet, so I'm not going to go into that now. But overall, it is quite a cinematic and stately composition. It is very progressive with returning themes, changing meters, moods and tones. It really does belong in PF's greatest achievements, even if it is a little more rough than later albums, that only adds to the charm.

Where the "Atom Heart Mother" Suite was written by the entire band, the next 3 tracks were written by individual members. "If" was written by Roger Waters and is a folksy and mostly acoustic song, pastoral in feel, and with great lyrics. "Rick Wright" contributed "Summer '68", which is a fuller production which includes a brass section at the end. David Gilmour contributed "Fat Old Sun" which is more psychedelic feeling with an organ and acoustic guitar with other treated sounds. Since he had less song writing experience, he was made to stay in the studio until he came up with a song. The song gets louder at the end as an electric guitar drowns out the vocals. Nick Mason's contribution was the final song, another suite. Even though this was credited to the band, Mason was the primary writer, but it was based on an idea by Waters. It is a three part composition and consists of a rather minimal recording of Alan Styles, a PF roadie, having breakfast. Each part starts and ends with sounds of Alan preparing and eating breakfast, while the middle sections are mostly acoustic improvisations. The overall song lasts 12 minutes. This track seems like a waste of time when you first listen to it, but the more you hear it, the more psychedelic it becomes and the more you appreciate it.

I don't want to go into much more detail that that since there is already a lot of information written about this album. Some people appreciate it and others do not. The thing to remember is that this was an important album in PF's growing stage and would signal the amazing pieces of work that band would produce later. Both this album and Meddle work to bridge the two major eras of PF's music. Personally, I like and appreciate the album, but I don't think it is quite deserving of 5 stars like a lot of their other albums even some that came before this one. I do agree that it is an excellent prog album however, and can easily give it 4 stars. Not my favorite, but great nonetheless. Others may think it's better than that, and others may not like it at all. It is one that the jury is always undecided on.

 The Wall by PINK FLOYD album cover Studio Album, 1979
4.08 | 2746 ratings

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The Wall
Pink Floyd Psychedelic/Space Rock

Review by SonomaComa1999

5 stars REVIEW #17 - "The Wall" by Pink Floyd (1979). 08/29/2018

A quick foreword; I was personally surprised to see that this album has received such divided opinions among the ProgArchives community. I was also surprised to see this album come up on the random review generator; I did not expect to have the liberty to review such a well-known album so early.

The year 1979 was perhaps one of the darkest years for progressive rock. The rise of punk rock in the years 1976 and 1977 had finally manifested in the popular embracement of simpler, less complex music that was more commercially friendly. Furthermore, it seemed that all the creative juices for the titans of prog had been used up; King Crimson had disbanded five years earlier in 1974, leaving bands such as Yes and Genesis to take a more mainstream approach to their music, or in the case of ELP, wither up altogether. However, one prog band proved to stand the test of time, that being Pink Floyd. Created in 1967, the band had already established itself as one of the most successful musical acts of all time following the critical success of their 1973 album "The Dark Side of the Moon." Ever since the year 1971, the band had been relentlessly churning out classic albums, from "Meddle" to 1975's "Wish you Were Here." Pink Floyd is an anomaly in prog history; not only did they survive the punk rock revolution, but they excelled amidst it - how was this so?

Pink Floyd's success through the years 1977 to 1979 couldn't have been achieved if it weren't for bassist Roger Waters taking over creative control of the band. Waters, while not being a spectacular bassist like a Chris Squire or Geddy Lee, was able to formulate a style of music that emulated the angsty and iconoclastic elements of punk rock, while retaining the musical complexity and depth of prog rock. 1977's "Animals" featured a concept based on a counter- cultural interpretation of George Orwell's "Animal Farm" and is considered one of the greatest prog albums of all time on this site. However, its successor "The Wall" was able to break its way into the mainstream the same way "Dark Side" did, and today is considered to be one of Pink Floyd's most seminal albums. Like "Animals", "The Wall" is a concept album, composed almost entirely by Waters, and contains allusions to the bassist's own personal struggles. This album came at a time where the band was on the verge of implosion; blink and you might miss the contributions by keyboardist Richard Wright and drummer Nick Mason, and while guitarist David Gilmour is responsible for some of the album's incredible guitar solos, "The Wall" can almost be considered a Roger Waters solo album.

In order to understand "The Wall" we have to learn more about the background of Roger Waters. Born in 1943 during the Second World War, his father would be killed only five months after his birth during the Allied Invasion of Sicily at Anzio. The loss of Waters' father plays an important role in the story of "The Wall"; but for the next theme we have to enter the present day; the year is 1977 and the band is finishing up the arduous "In the Flesh" world tour in Montreal. Tensions between the members of the band were already beginning to deteriorate, and during the final show Waters would spit at a group of fans in the front rows that were being annoying. Waters ultimately wished that he could build "a wall" between the audience and himself, as he was tired of the fame he and the rest of the band had carried on their backs since 1973. Finally, the final theme of "The Wall" has to do with the life of a rock star; we all know that rock musicians have a tendency to dabble in vices such as drugs and non-monogamous sexual intercourse, well Waters had not only found it difficult with the constant temptation of vice, but also the infidelity of his girlfriend. All of these very sensitive topics are conveyed to the listener on the album through the story of the protagonist Pink. Out of all the progressive rock concept albums, "The Wall" may be one of the most personal, as Pink is basically a pseudonym for Roger Waters, and the bassist was extremely nervous regarding how he thought the public was going to respond to such a personal and sensitive story. Imagine having to discuss your personal issues with a psychiatrist, but instead of one person it is millions of critical rock fans.

I know this is a rather long introduction, but I feel the need to address the album's rating on ProgArchives. It by no means stands up to "Dark Side", "Wish you Were Here" or "Animals" when it comes to overall rating, and most of the subpar reviews seem to be coming from people who view the album as not being progressive enough. There is a level of truth to this, with many of the song's seminal tracks have commercial undertones on them, but even then you have to understand that in the year 1979 progressive rock was essentially dead. While there were other prog bands that released commercially successful albums (think Yes's "90125" or Genesis's s/t album) Pink Floyd's music still retains rock and roll elements, instead of ditching them for synthpop or new wave. Furthermore, I consider the lyrical subject matter of "The Wall" to be very progressive, and therefore I consider this album to be a progressive rock album. Some may disagree with me, but I respectfully disagree with them in turn.

Anyhow we start off with a succinctly mellow English introduction before thrusting ourselves into the opening track "In the Flesh?". Musically you cannot ask for a better way to kick off an album; soaring guitar riffs and a maelstrom of crashing sounds as well as the formal introduction of our concept in the form of some sort of narrator announcing the story of Pink through a speech. Ending on the crashing sounds of the Ju-87 Stuka's Jericho trumpets, the tempo immediately grows low as we start off with Pink's early life in "The Thin Ice." Gilmour performs vocals alongside Waters to a very simple musical structure through a flashback, meaning that the story starts in media res. This piece is concluded by a short solo before falling off into "Another Brick in the Wall (Part 1)" where the lyrics turn to Pink's father going to war and his subsequent death; the parallels to the story of Roger Waters become evident, and the wall begins to be formed in Pink's head. The Wall isn't a physical barrier, but rather a mental barrier that isolates the character of Pink from the rest of the world; isolation is a key theme in this concept. The sound of a helicopter completes the transition into "The Happiest Days of Our Lives" where Pink's struggles with conformity at school begin to be elaborated upon. An interlude, it connects us to the commercially successful single track "Another Brick in the Wall (Part 2)" which is probably the most recognizable track to come off the album. Played to a rather menial disco beat at the request of record execs, the themes of conformity and iconoclasm make themselves known as a chorus of English schoolchildren demand they don't need education or thought control among other things. One character in the story that functions as an antagonist is the school teacher, who enacts strict policies and acts very unkind towards the students. This song's theme and catchiness allowed it to top the singles charts in several countries, namely in both the USA and UK, immediately fulfilling Columbia's desire for the album to be profitable, for which they were skeptical when Waters presented the album to them. We get a simple yet cool guitar solo by Gilmour to conclude the piece, before going into the acoustic "Mother" where we delve deeper into incredibly personal themes. Pink's mother is another antagonist in the story, as she is very controlling as many mothers may be. Pink asks his mother for advice on everything from social issues to political issues yet she demands that he be shielded from anything challenging or "dirty" as he goes through his teenage years. In effect, she is helping Pink build his wall that would isolate him from society. Musically this track features a good amount of challenging time signature changes, and ends on a rather abrupt note to make way for the second side of the first LP (note that "The Wall" is a double LP.)

On the flip side, we start off with the chirping of birds and the sound of an airplane to signal the beginning of "Goodbye Blue Sky", one of the few tracks on the album to be entirely composed by Gilmour and features some mellow acoustic parts and chant. On the movie version of the album which was released later in 1982, this song is coupled with the incredible animations of Gerald Scarfe, who apart from designing the iconic gatefold cover art on the LP, also drew incredibly detailed and evocative cartoons that wonderfully portray the dark themes of the album. The Wall is now being built, and Pink is portrayed as a very vulnerable rag-doll, completely at the mercy of the carnage forming around him. In the animations we get allusions to Nazism and other dark elements of our society; many of these will be revisited later. "Empty Spaces" starts off with a backtracked message; Waters is known for doing these, namely on Floyd's 1968 album "A Saucerful of Secrets" where he hid a message on one of the longer instrumentals which asked the listener if the band was being "avant-garde enough". On the movie version, this track, which is a very long build-up representative of Pink's descent into madness, features great animation by Scarfe, and segues directly into "Young Lust" which returns us to the commercially-accessible dance rock style we heard earlier on "Part 2". This time, the themes of sexual hedonism are on hand, and Pink finds himself dabbling in vices now that he is an adult and a burgeoning rock star. The concepts of sex and drugs are generally sensitive topics in rock, mainly because they are practices that generally end bad for musicians, especially the latter. "Lust" is one of the more rocking tunes and features a nice Gilmour guitar solo before fading off into a telephone call where Pink learns that his wife has been cheating on him while he was on tour. This is an allusion to the infidelity of Waters's real-life girlfriend, and Pink's rage is expressed on the next track "One of My Turns" where he unleashes his anger on a female groupie following the revelation that his wife was cheating on him. This is personally one of my favorite tracks on the album given its synth- heavy intro and subsequent build up; the lyrics are deeply evocative and convey the personal anger of Pink to the listener very well, especially after the long-awaited breakdown into a more rocking motif. Waters makes reference to an axe (maybe the axe from "Careful with that Axe, Eugene"); in some places on the album you can see allusions to Pink Floyd history outside of the usual concept of Syd which was explored deeply on the "Wish you Were Here" album. We move onto "Don't Leave Me Now" where the concept of the affair continues to be used; at this point I am a little bit ready to move on, and the very long buildup on this track did not help my case. Eventually the band gets back into gear and breaks out once again, but one problem with the album at this point is the general amount of filler and interlude tracks which ultimately take a little bit away from the experience. Simply seems like a case of having too much material for one LP, but not enough for two. Anyhow, "Another Brick in the Wall (Part 3)" is a more aggressive take on the previous two parts, symbolizing the progressive descent into rage by Pink. All the vices, fame, and emotional despair have brought Pink to his breaking point, and in "Goodbye Cruel World" he finally isolates himself behind his wall to conclude the first LP.

The second LP opens up with the wonderful "Hey You", another single track which performed very well. Like "Part 2" and "Young Lust" you can still hear this song given airplay on classic rock radio stations. While this track, which I consider to be one of the album's highlights, was cut from the final edition of the movie, it was re-added in subsequent reissues after it hit theaters. At this point, Pink has regretted building the wall, and was to assimilate back into society. However, it seems that once the wall has been built, there is no taking it down, and Pink has essentially doomed himself to being cut off from others. Interestingly enough, Waters does not play bass on this track; however, the bulk of the music is based on the guitars and vocals, so this is sort of Gilmour's track even though it was not written by him. The vocal bridge works very well on this tune to supplement the guitar solo, and eventually Waters takes over on the final verse to take us out and into an intercalary track called "Is There Anybody Out There?" where Pink calls out to anyone who may be around in the midst of his isolation, but no response is heard. Among the hazy synth, you may hear sounds that remind you of the band's 1971 epic "Echoes"; blink and you may have missed it, but the iconic opening ping from that sound did appear in "Hey You" around the three minute mark. More examples of Waters incorporating old elements of Pink Floyd into this album. This piece is finished off by an acoustic guitar solo that brings us into the beautiful "Nobody Home" which is probably one of the most emotional parts of the album. It references the case of former Pink Floyd frontman Syd Barrett, and was one of the final pieces to be added to "The Wall" at the request of producer Bob Ezrin. While throw-ins usually fall flat, Waters shines as he does a great job describing the fragile mental state of not just the character Pink, but also that of Barrett, who by this time had faded into obscurity. Some of the lyrics also refer to keyboardist Richard Wright and his cocaine addiction at the time; overall, this is one of my favorite tracks on the album. I have to be in the right mood to listen to the follow up "Vera" which of course is based on Vera Lynn who released the song "We'll Meet Again" during the Second World War. Waters uses the song as a way to create a connection between the subject matter in that song and his relationship with his father that he never met. Of course this parallels Pink's story, and offers another example of recollection for the protagonist during his bout of isolation. Another short interlude in "Bring the Boys Back Home" continues on the theme of warfare; in the movie it is paired with a wonderful track called "When the Tigers Broke Free" which unfortunately isn't included on the album, but it's basically an extended build-up to the part that we do get on the album, complete with a drum beat and a frantic chorus. Of course, all these little filler tracks build up to the finale of side three, that being the esteemed "Comfortably Numb" which I'm sure most people are familiar with. At this point, Pink is so disconnected from reality that he has to be given drugs in order to perform his concerts. This was originally a leftover demo piece created by Gilmour, but it was modified to fit into the album with great effect. What is most important about this track are the two guitar solos, the second being perhaps one of Gilmour's best. Pink Floyd was so successful thanks to Gilmour's musical ability and Waters's creative genius. When those two elements come together is when we get the band's best music; if there is too much Gilmour, we get musically proficient yet directionless albums like "Momentary Lapse of Reason" or "The Division Bell" while if we get too much Waters (in this case this album is an example) we get great lyrics and themes, but the music is simply lacking. Here on this track, there isn't much else to be said. It comes together and we get a masterpiece - the second solo is one of my favorite musical moments of all time.

We're almost to the end. This has been a long review indeed, but I feel an album like this is worthy of my time and an extended analysis. "The Show Must Go On" indeed, and we begin side four with another short piece that opens up with harmonized vocals. Originally the Beach Boys were gonna do this part, but they cancelled on the day the album was recorded. At this point in the story we are getting closer to finally rejoining where the album originally started, and indeed we hear a reprise of "In the Flesh" this time without the "?". While at the beginning it may seem like a carbon copy of the opening track, the lyrics now portray Pink speaking out to a crowd on stage. He has embraced dictatorial tendencies; typically those who may feel powerless or disenfranchised tend to sympathize and identify with dictators, and here Pink is doing just that. He singles out homosexuals, drug users, and even Jews in the audience to be attacked by the rabid mob. This of course is all a hallucination in Pink's mind; the Dictator is another character. There is a hammer logo that is used extensively in the movie and in the album's gatefold cover; this in many ways relates to the Nazi swastika as we see many parallels between the Dictator and Adolf Hitler. Once the lyrics are all done, we get the same guitar solo as before but this time we segue into "Run Like Hell", a cool lounge-style rock track which has garnered acclaim and is even still played on classic rock radio (at least my local radio station). Pink continues to have fantasies of oppressing the marginalized; at this point in the album we get a lot of political references. In the movie, they hired a skinhead group to play the part of a mob as Pink leads his men to attack those who he singled out in the previous song, as well as raid diners and attack interracial couples. The bass is especially prominent in this piece, and is probably my favorite bassline off the album. Once again, bass parts are performed by Gilmour, and we even here Waters's trademark primal scream before the music fades off into the sound of marching to indicate the beginning of "Waiting for the Worms" where Pink continues his acts of violence. He demands his followers attack homosexuals, Jews, communists, and people of color, promising the return of the British Empire and the deportation of non-whites. Of course, Waters is a self-avowed socialist, and has been largely critical of political happenings in the modern day as many nations have seen an increased interest in nationalism that have stirred opinions similar to those of Pink in "The Wall". I suppose in many ways, this album can be seen in the actions of a group in addition to that of an individual. Musically this is another hit for me, as we get some radically intense vocal passages that really build up the tension and creates a furor. An intense chant finishes off this one and abruptly ends with "Stop" where Pink finally gets fed up with his fascist tendencies, and segues into "The Trial" which serves as the concept's final climax. All of the characters from earlier in the album in addition to a judge hold Pink on trial as he is forced to face the consequences of his actions. It is the first time that Pink does not narrate the story to us, but rather through the antagonists. This is another very emotional song among the vitriol from the antagonists until the Judge enters in and things instantly intensify as he demands that Pink's wall be "torn down" and as we hear the sound of the wall coming down, the album is closed out by "Outside the Wall" which serves as a bit of an epilogue to the concept. I prefer the movie version which is orchestral as opposed to the mellow album version which makes use of the original opening motif and a children's chorus, but it is a fine ending to what has certainly been a wild ride.

Pink Floyd's "The Wall" is perhaps one of the most famous albums in prog history. Pink Floyd had a knack for shaping the genre on a grand level, and this album signifies the end of the band's golden age. From here on the band would grow so controlled by Waters that it would eventually result in the exodus of Wright and the dissolution of the band. Following a brutal battle in court, Gilmour would eventually win rights to the band's name and continue on with Mason (and Wright on a supporting level), with Waters never returning. "The Wall" represents the magnum opus of the musical work of Roger Waters as a person; for this album his story will forever be immortalized in music history. While there is much debate as to whether this is truly "progressive" album, I still think that this is an essential work of the genre, even if it has its imperfections. The concept is perhaps the best in rock history, and has the ability to relate to any listener who may be dealing with depression or extended isolation. I don't think there is any question whether this album deserves five stars or not, but rather how high of a rating it gets from me. "The Wall" has its imperfections; as I mentioned earlier there is a lot of filler that has to be removed in order to extract the gems; something that seems to always afflict double albums. Beyond that there is a commercial element to this album; those who want the same atmosphere provided here in addition to more progressive music should seek out the band's 1977 "Animals" album. However, this album is in my top five for albums to introduce a new listener to progressive rock; it's very accessible and has a very well-defined concept. Finally, to cap off this extensive review, I give "The Wall" a five-star (92% A-) review; essential to the genre, especially the 1977-1981 years, and every listener of the genre should at least give it a full listen at some point.

 Another Brick In The Wall by PINK FLOYD album cover Singles/EPs/Fan Club/Promo, 1979
3.63 | 76 ratings

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Another Brick In The Wall
Pink Floyd Psychedelic/Space Rock

Review by TenYearsAfter

4 stars

'The connection between Alice Cooper and Pink Floyd'

The first time I listened to 2-LP The Wall (early December 1979) I was confused, and disappointed: an interesting rock opera idea, mindblowing FOC graphics by Gerald Scarfe, but no epics, no long instrumentals and a cascades of dark lyrics. I couldn't get into the music and some tracks even disturbed me: the disco beat in Run Like Hell and especially the poppy overtones in Another Brick In The Wall Part 2. But 9 months later I was heading towards Earls Court in London, to witness Pink Floyd performing The Wall. On the boat one of the many Pink Floyd fans started to play Another Brick In The Wall Part 2 on his guitar and soon we were all singing 'We don't need no education. We don't need no thought control.' Wow, that was a great atmosphere!

The story of Another Brick In The Wall Part 2 started during the Animals tour in 1977, when Roger Waters told Bob Ezrin (producer for Alice Cooper, Lou Reed and Kiss) about the concept of The Wall. Bob Ezrin: 'It was Roger his wife Christie who approached me about doing The Wall. She had worked with me on an Alice Cooper project. The idea was, because this was so much Roger's own project and not a group effort, he needed a kind of referee between him and the rest of the band ' someone who could help him realize his vision and deal with the rest of the band without creating problems between him and them. '

After their meeting in 1977 Roger played Bob a demo that was essentially a 90-minute-long song. 'It started and just kept going. At that point, it didn't have any sort of commercial potential. In fact, it wasn't even organize-able in its form, but it was the genesis of a great idea.' Although Waters decreed there would be no singles on the album, Ezrin knew Another Brick In The Wall Part 2 was a hit the first time he heard it.

1. Another Brick In The Wall part 2 : The foundation of this composition is a pumping bass, a tight drum beat and catchy rhythm guitar. The magic comes from Roger his cynical voice, singing the provocative lyrics, the kids chorus and Gilmour his subtle and sensitive guitar solo, slowly fading away in the end. This is topped by a captivating video clip featuring the children, and the marching hammers, emphasizing the contrast between the innocence and happiness of children and the manipulation and destruction of adults.

The first version of the song had no kids on it. It was just one verse, one chorus, and out. Ezrin told the band, 'That's too short. We need it as a single. It's a smash, and we have to have it. Having done School's Out, I knew the effect of kids, If you want to touch people, most people respond to the sound of a child, for whatever reason. Whether it's children laughing or children crying, that seems to be more touching than hearing the very same thing coming out of the mouth of an adult. In all the cases where I've used kids, it's been for dramatic effect. And particularly in anything that has to do with school! I played it for Roger as a surprise, and the grin on his face was unbelievable. From that point on, not only did he get it, but I think he probably believed it was his idea in the first place!'

As Greek philosopher Aristotle said 'The whole is greater than the sum of its parts': this song is more than the sum of the music, the lyrics, the graphics, the videoclip, so much more and thanks to the genius triumvirat Roger Waters, Bob Ezrin and Gerald Scarfe I finally discovered it!

By the way, Another Brick In The Wall Part 2 turned out to be the huge hit single that Bob Ezrin had foreseen, but how ironical that Roger during The Wall behaved like the nasty and brutal teacher he was singing about!

2. One Of My Turns : This compelling song starts with the ultimate contrasting moods of the groupie her lust and Pink his depressed words, with melancholical keyboards. Then an agressive explosion by Pink, verbally and fysically, with a tight beat and fiery rock guitar. The final words of Pink are 'Why are you running away?', heartbreaking loneliness and despair, Pink seems to slide in a negative spiral of self-destruction (immediately I had to think about Syd Barrett and his infamous turns, due to his battle with the mentally desintegrating schizophrenia - my personal view - but overshadowed by heavy drugs abuse). A very impressive track with strong, pretty emotional vocals from Roger and intense raw guitar work from David, it matches perfectly with the agressive climate.

 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.62 | 3816 ratings

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Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by TCat
Prog Reviewer

5 stars This album has been reviewed so many times. How do you say something new about this that hasn't already been said? How do you review an album that almost everyone is familiar with? How do you say anything critical about something as perfect as this album? I don't even know where to begin to talk about an album that I have listened to so much, that I know every single note by every instrument involved, every word that is sung and every single effect used. And I can listen to it again, even now, and still love every second of it, that it hasn't lost any effect on me. The album is timeless, amazing and there still is nothing else like it out there.

If you are on this site, and you still haven't heard this album or you have not formed your own opinion, then I say you have some work to do. Don't read this review until you at least listen to the album. Then come back and read it and make your own decision as to if it is or isn't one of the most amazing things you ever heard. Then come back and see what I think about it.

I am going to review this album now.

It's amazing. It's perfect. 6 stars on a rating scale of 1 to 5 where 5 = Essential and 6 = Perfection That's all!

 Animals by PINK FLOYD album cover Studio Album, 1977
4.52 | 3423 ratings

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Animals
Pink Floyd Psychedelic/Space Rock

Review by TCat
Prog Reviewer

5 stars So, looking through my reviews, I was shocked to see that I haven't reviewed this album yet. I love pretty much all of Pink Floyd's albums, but I have to say that this is my favorite of all of them. Out of the 5 tracks, 3 of them are epic, progressive pieces. There have already been a lot of reviews for this album, so a lot of what I can say about it has already been said. It is a very strong social/political album, inspired by the book 'Animal Farm' written by George Orwell. In it, there are 3 types of animals, Dogs, Pigs and Sheep. In the songs, businessmen, millionaires, the clergy, politicians, religious organizations and follower, and so on are targeted and compared to these animals. The messages in these songs seem to be more and more timely as the years roll on, and listening to the lyrics will convince you that they apply now more than ever.

Most people on Prog Archives have heard and love this album. But for the layman, the songs are broken down as 3 long, epic songs bookended by two short tracks which are parts 1 and 2 of a mostly acoustic song called 'Pigs on the Wing'. Both parts are relatively short. However, on the 8-track edition, this song was place on the 1st track and was not separated in 2 parts. It also had an electric guitar solo which is not heard on any other format. The solo was performed by Snowy White, who was part of Al Stewart's band. Snowy White apparently had recorded other solos, and the band was considering bringing him in as a regular member. Unfortunately, the tracks that had White's solos were lost and so he recorded this solo which was only used on the 8-track edition.

After Part 1 of 'Pigs on the Wing', 'Dogs' takes up all of the rest of the first side of the album. At over 17 minutes, this is probably the best song, even out of all of Floyd's amazing music, that the group ever made. I find those 17 minutes fly by before you know it. The track is composed of several rhythm changes, different musical themes, many different moods and so on. Yet it holds together so well. Everything on this song, and on this album for that matter, just gels so well together. There is absolutely no feeling of disjointedness on this album. This track is so daring, so innovative and just amazing. So many reviewers have broken it down, so I don't see the point in doing it all again. Most people that are reading this have already heard these songs and know how they are, but if you haven't, then the best way to experience it is to listen for yourself.

Next comes 'Pigs (Three Different Ones'. This track takes up half of the 2nd side and instantly starts with an infectious guitar hook. This one doesn't change as much as 'Dogs' but it has several moods changes and returns to the main theme by the end of the song. I love the vocal processing that is used on this track as it invokes so many different moods and feelings. This one is overall harder than 'Dogs', with some great keyboard and guitar solos. The giant pig balloon on the cover ties into this track. The balloon was actually made by the same company that made the Led Zeppelin balloon. It was used as a publicity stunt to advertise the record, but it broke free of its moorings, scared a few pilots and citizens, and landed in a farmer's field disturbing his livestock. That field later was bought by an orange man who built a hotel on top of it.

Okay so maybe I took some dramatic license for that last statement. But wouldn't that be quite the coincidence?

The next track takes up most of the rest of the 2nd side and is called 'Sheep'. This one specifically targets religion and the sheep are the followers of those organizations. Everyone knows of the processed voice reciting a changed version of the famous 'The Lord is My Shepherd' psalm. Several churches condemned the album because of this and actually told their congregations not to buy it. This has more of an improvised feel to it as far as the instrumental breaks go.

Of course, the last track is the short 2nd part of 'Pigs on the Wing' which is similar to the 1st part with a different verse.

All three songs feature the sound effects of the various animals that the songs are made for. These effects are also processed to sound different and add a lot of atmosphere to the entire album. The sounds are accompanied, when the appear in the songs, by softer, yet eerie breaks to make things sound ominous, threatening and mysterious. The singing, musicianship, production, instrumentals, sound effects, everything about this album is just perfect. Everything fits in its place. The construction of the songs is amazing. I honestly can't say enough about this. But it goes beyond words. The best way to experience this album is to listen to it.

Of course, this is an essential prog masterpiece and deserves every one of the 5 stars. In my own personal rating system, it gets that rare extra star, 6 stars, that denotes a perfect album. Definitely one of my 'deserted island' albums.

 Works by PINK FLOYD album cover Boxset/Compilation, 1983
2.20 | 142 ratings

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Works
Pink Floyd Psychedelic/Space Rock

Review by TCat
Prog Reviewer

2 stars It seems that people have been confused about this collection, wondering why such a strange assortment of Pink Floyd songs would be put together on one album. I hope to be able to shed a little light on the reasoning behind this collection, not to change anyone's opinion of it, just to show why this odd assortment of songs from PF's discography would be culled together this way.

It does seem strange that anyone would pick out these tracks because they are so different from one another. The first thing you need to remember is this was not intended to be a greatest hits collection. It was an attempt for PF's old record label in America, Capitol records, to bring attention to PF's back catalogue, and to have an album that would compete with what was then their newest release, 'The Final Cut'. They even added some rare tracks to make the collection more attractive to collectors. The collection has a wide assortment of PF's styles through the years, from psychedelia space rock to 'Dark Side of the Moon'. They purposefully refrained from adding any easily obtainable songs because they wanted to offer something that would entice people to get their older albums. The best way to help you determine if this is worth looking for is doing a track by track analysis. So here we go:

We start off with 'One of These Days' which is a mostly instrumental track from the album 'Meddle'. The version on this collection was a new remix. For the most part, there isn't anything really different that I can detect on this version.

Next comes 'Arnold Layne', an early single featuring Syd Barrett on vocals. This song was not available on any regular studio album, but it did appear on a few greatest hits collections that were somewhat hard to find. It was recorded in Duophonic stereo and sounds crisper than the original. Other than that, there is no difference from the original.

'Fearless' is also from the album 'Meddle' and is one of my favorite PF tracks. It is mostly acoustic, but turns psychedelic towards the end when there is a rendition of 'You'll Never Walk Alone' as sung by an audience at a soccer game. The only difference from the original is this version crossfades into'

''Brain Damage' originally from 'Dark Side of the Moon'. This is an alternate version of the original song which was unique to this collection. There are some things that are mixed more to the front that were not as noticeable on the original, and those really familiar with this track will notice things they probably didn't hear before. The spoken word passages are also at a louder volume so they stand out more. It is strange, however, to hear it crossfaded from 'Fearless' because stylistically, these are completely different songs.

'Eclipse' follows, just like it did on 'DSotM', but this version is also an alternate version. The same things apply to this one as they did to 'Brain Damage'. The ending spoken word passage at the end is easier to hear along with the beating heart.

Next we come to 'Set the Controls for the Heart of the Sun' This one is taken from 'Saucerful of Secrets' and is included to introduce new listeners to the older sounds of PF. I can hear no difference between this and the original.

'See Emily Play' is another song taken from a single which was never included on a regular album, but only on rare collections. Syd Barrett also provides vocals on this one. This was quite a draw for this collection when it was released. This is also recorded in Duophonic stereo. This track crossfades into'

'Several Species of Small Furry Animals'' which is taken from 'Ummagumma'. This is a strange track, which I really like, which consists of wordless vocals that have been processed to sound exactly like the title. Mike Patton fans would appreciate this track. I do notice some better mixing on this track, but not much is different.

'Free Four' is from the 'Obscured By Clouds' soundtrack which could have been out of print when this collection was released. I don't detect anything different from the original on this one.

'Embryo' is the final track. Prior to this collection, it was only available on a very rare various artist collection. It is an outtake from the 'Ummagumma' sessions, and was put on the collection to attract the collectors. Currently, it is available on several different collections that have better track listings than this collection.

So, there it is. The collection was put together to give what was the new album at the time, competition, to introduce people to the back catalogue so that consumers would purchase more PF albums under the Capitol label, and to provide a few tracks that were unique to this collection. Nowdays, it's more of a curiosity than anything and there are much better collections where you can get those tracks that were rare back then. I give this a low rating, because it is mostly made obsolete by other collections and because these tracks are so much better when they are heard on their original albums alongside other tracks that were not so shockingly different. The low rating, however, has nothing to do with the quality of Pink Floyd's music, to me, I find treasures in all of their albums. But I would rather hear them the way they were intended, they just feel more in place on their original albums. Only completionists and collectors need to get this one, unless you find it cheap somewhere.

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.88 | 2055 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by Luqueasaur

3 stars Not the g-spot yet: 6/10

Don't get me wrong, ATOM HEART MOTHER is far from a bad album. But as far as I'm concerned about PINK FLOYD, expecting psychedelia and outwordly synth-driven grooviness, it's too tasteless. The psychedelic parts are weak and particularly immature as the band was musically directionless. As many before me pointed out, that statement is true; they really hadn't much of a clue on how to proceed with their career when they recorded and released ATOM HEART MOTHER. While Atom Heart Mother stands as a memorable orchestral piece with influences of rock music, the other tracks not only have absolutely NOTHING to do with it but are also shadowed by its grandiosity. In terms of size, as it's a twenty-minutes-long song, and in terms of quality, as their songwriting is lackluster, in counterpart to the maturity of the mammoth symphony. Summer '68 is mildly exceptional, as it retains somewhat the quality of the title track. In the end, that was a fair experiment to PINK FLOYD, as it would help them to choose their musical path. But that's ATOM HEART MOTHER's legacy: an album of transitory characteristics that I honestly believe only fans will really dig it. Don't get me wrong, I don't think it is objectively bad, it's just that it's not good enough to be actively recommendable to non-lovers of PF. So forgive me, my beautiful twenty-fours-minutes-long suite, but I can't be really any more merciful than this.

 It Would Be So Nice by PINK FLOYD album cover Singles/EPs/Fan Club/Promo, 1968
3.35 | 42 ratings

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It Would Be So Nice
Pink Floyd Psychedelic/Space Rock

Review by Luqueasaur

4 stars Lighthearted & lushly melancholic and psychedelic: 8/10

I found Julia Dream randomly on YouTube and gave it a listen. Upon learning it was a single - not being featured on any album, how sad - I decided to give a look to the "entirety" of this excerpt from early PINK FLOYD. Assuming this has only seven minutes, I'll spare the needless contextual details.

It Would Be So Nice is a lighthearted track distinctively sounding like THE BEATLES' plainness, with at best some mildly psychedelic twist to it. The chorus does feature some subversion on the simplicity of the entire song, though. It's enjoyable, but not much memorable at all.

Julia Dream, however, is pretty different, featuring a lush, distorted Mellotron background - IN THE COURT OF THE CRIMSON KING with an, even more, psychedelic touch - and reverbed & delayed calm vocals. The small midsection features some random experimental effects as the saddened acoustics and Mellotron play alongside, and the outro, some brutally disorienting screeching effects. It's a sweet, mellow, but heart-wrenching song. Like watching a young child passing away peacefully - for as much we're glad they have no pain, we're grieving over their death. I found it a spectacular demonstration of psychedelia at its state-of-art form.

The first track is rather uninteresting, whereas the second is highly recommendable. "It Would Be So Nice" lowered the overall score... should "Julia Dream" be released as single, perhaps I would have given it five stars. Well, it's a matter of taste, really - I loved it. But I think PINK FLOYD fans - and psychedelic rock fans in general - will highly enjoy it as well.

 The Early Years 1967-1972 Creation by PINK FLOYD album cover Boxset/Compilation, 2016
3.74 | 40 ratings

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The Early Years 1967-1972 Creation
Pink Floyd Psychedelic/Space Rock

Review by AZF

5 stars Although I made myself a plan to save up from my job to buy each disc, having my job finish with no choice but to use my savings to survive instead! I really wish this double CD had been released a few weeks earlier than the box set. As it would have charted in the album charts instead of being counted with the lower sales of the box. This is a better compilation than either Echoes and even Relics. (Yes, even better than the Australian edition of Relics!) Although nothing from the EP from 1965, Syd is better served by the chronological order if the first disc. I don't like the different lyrics for "Matilda Mother" but the jam the band go into at the end is a never before revealed insight into how the Pink Floyd sounded live. Although In The Beechwoods does sound dated and tied to its decade, it plays into an alternate "What if?..." for "A Saucerful Of Secrets" album tracklisting. It's also kinder to Rick Wright through Paintbox. The BBC sessions show a fearless but transitional band marching towards the more developed later 70's sound. The Zabriskie Point material are less dated, but still sound perfect for soundtracks. Embryo live was on a bootleg, "Pink Is The Pig" I used to have, so it's good to hear. The most played track for me is the version of "Atom Heart Mother" in a four piece arrangement that was sadly dropped from their live sets when it would have stood alongside Shine On You Crazy Diamond and Dark Side Of The Moon. The final three tracks are great picks from one of my favourite albums, "Obscured By Clouds". Although I wish "Mudmen" had been included.

If this was released instead of the box, it would have sold a lot better than it did. It isn't a Fans Only purchase. It's an exhilarating story of how a band began, changed and developed into the killing machine Pink Floyd became. As a compilation it's their most honest. No altered tracklisting to disguise highs and lows of the band. Cre/ation is an essential a purchase to the curious and new fans as it is buying Dark Side Of The Moon.

5

Thanks to ProgLucky for the artist addition. and to Lazland (w/ Quinino help) for the last updates

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