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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 Valle" ("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
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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 | 1663 ratings
The Piper At The Gates Of Dawn
1967
3.66 | 1437 ratings
A Saucerful Of Secrets
1968
3.16 | 1078 ratings
More
1969
3.49 | 1402 ratings
Ummagumma
1969
3.87 | 1849 ratings
Atom Heart Mother
1970
4.31 | 2583 ratings
Meddle
1971
3.38 | 1266 ratings
Obscured By Clouds
1972
4.60 | 3630 ratings
Dark Side Of The Moon
1973
4.62 | 3447 ratings
Wish You Were Here
1975
4.52 | 3065 ratings
Animals
1977
4.06 | 2477 ratings
The Wall
1979
3.17 | 1518 ratings
The Final Cut
1983
3.06 | 1416 ratings
A Momentary Lapse Of Reason
1987
3.73 | 1677 ratings
The Division Bell
1994
3.40 | 533 ratings
The Endless River
2014

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

3.30 | 464 ratings
Delicate Sound Of Thunder
1988
3.96 | 642 ratings
P-U-L-S-E
1995
2.86 | 134 ratings
Live 66-67
1999
4.08 | 420 ratings
Is There Anybody Out There?
2000

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

4.76 | 431 ratings
Live At Pompeii
1981
4.09 | 485 ratings
The Wall (The Movie)
1982
3.62 | 157 ratings
In Concert - Delicate Sound Of Thunder
1989
3.12 | 48 ratings
La Carrera Panamericana
1992
4.42 | 477 ratings
P-U-L-S-E
1995
3.10 | 81 ratings
London - Live 66-67
1999
4.57 | 578 ratings
Live At Pompeii (The Director's Cut)
2003
4.07 | 161 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
2.51 | 15 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
1.39 | 18 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 | 322 ratings
Relics
1971
3.19 | 99 ratings
A Nice Pair
1973
2.70 | 56 ratings
Masters Of Rock Vol. 1
1974
2.17 | 177 ratings
A Collection Of Great Dance Songs
1981
2.17 | 125 ratings
Works
1983
3.45 | 80 ratings
Shine On
1992
3.68 | 91 ratings
The Early Singles
1992
3.06 | 60 ratings
1967: The First Three Singles
1997
3.42 | 230 ratings
Echoes - The Best Of Pink Floyd
2001
4.05 | 74 ratings
Oh By The Way...
2007
2.82 | 48 ratings
A Foot In The Door: The Best Of Pink Floyd
2011
4.50 | 62 ratings
Discovery
2011
4.75 | 114 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 | 117 ratings
Wish You Were Here - Experience Edition
2011
4.44 | 91 ratings
Wish You Were Here - Immersion Edition
2011
4.21 | 63 ratings
The Wall - Experience Edition
2011
1.87 | 52 ratings
The Wall Singles
2011
3.79 | 81 ratings
The Wall - Immersion Edition
2012
4.21 | 28 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 | 68 ratings
Arnold Layne
1967
3.41 | 80 ratings
See Emily Play
1967
2.86 | 50 ratings
Apples And Oranges
1967
2.59 | 56 ratings
Tonite Let's All Make Love In London
1967
3.58 | 24 ratings
Flaming
1967
3.22 | 35 ratings
It Would Be So Nice
1968
3.64 | 38 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 | 78 ratings
Money
1973
3.57 | 72 ratings
Time
1973
3.64 | 66 ratings
Have a Cigar
1975
3.80 | 69 ratings
Comfortably Numb
1979
3.54 | 71 ratings
Another Brick In The Wall
1979
3.41 | 59 ratings
Run Like Hell
1980
3.24 | 52 ratings
When the Tigers Broke Free
1982
1.90 | 50 ratings
Not Now John/The Hero's Return (Part 2)
1983
2.47 | 58 ratings
Learning To Fly (promo single)
1987
3.03 | 49 ratings
On the Turning Away
1987
2.96 | 34 ratings
One Slip
1988
2.89 | 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
4.04 | 39 ratings
Louder Than Words
2014
2.36 | 5 ratings
Pink Floyd 1965 - Their First Recordings
2015

PINK FLOYD Reviews


Showing last 10 reviews only
 The Piper At The Gates Of Dawn by PINK FLOYD album cover Studio Album, 1967
3.88 | 1663 ratings

BUY
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
3.40 | 533 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 | 1518 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 | 3447 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
3.40 | 533 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.
 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.62 | 3447 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 (la "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

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.87 | 1849 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by VianaProghead

4 stars Review N 66

"Atom Heart Mother" is the fifth studio album of Pink Floyd and was released in 1970 by Harvest and EMI Records in the UK and Harvest and Capitol Records in USA. It was recorded at the Abbey Road Studios in London. This was the first Pink Floyd's album to be specially mixed for the quadraphonic sound as well as the conventional stereo sound. The quadraphonic mix was also released in a compatible format with the stereo record players.

The art cover of the album was designed by Hipgnosis and it was the first not to feature the band's name on the cover or contain any photographs of the group anywhere. It would be a trend mark for the group. The album's cover is one of the most enigmatic of all in the music history. The most famous bovine of the rock appears on the album's cover. The cow, named Lulubelle III was photographed in a rural farm in the English countryside by Storm Thorgerson, who is an English famous graphic designer known for his works for rock bands like Pink Floyd, 10cc, Dream Theatre, The Mars Volta and The Cranberries. He said that his work was inspired by Andy Warhol's famous "cow-wallpaper". Curiously, the record company paid to the property owner about a thousand pounds for the image rights of the animal. And even more curious, the property became a tourist attraction, and Lulubelle III a celebrity in the show business world.

"Atom Heart Mother" has five tracks. We can divide the album into two distinct musical parts. The first and the last tracks are the lengthiest and the collective musical workings of the group, and the third, fourth and fifth tracks are the individual workings by the band's members. "Atom Heart Mother" was the first recording of the band with a full orchestra in collaboration with the avant-garde composer Ron Geesin. The first track is the title track "Atom Heart Mother". It was written by David Gilmour, Roger Waters, Richard Wright, Nick Mason and Ron Geesin and it's the lengthiest track on the album that occupies the entire side A of the vinyl disc. It's a piece of music divided into six parts: "Father's Shout", "Breast Milky", "Mother Fore", "Funky Dung", "Mind Your Throats Please" and "Remergence", and is totally orchestrated. This is, for me, an excellent, very interesting and original instrumental piece of music where the connection of their music with the orchestra is very good. It's probably the lengthiest instrumental track made by them. The second track "If" written by Waters is a simply and beautiful ballad about self analysis. It's a very melodic, pleasant and relaxing song almost all played on acoustic guitar. The third track "Summer'68" written by Wright is about a one night stand and the return to his habitual life. It's also a beautiful song, and is, in my humble opinion, more complex and interesting than "If" is. On the song we have the contrast of the soft piano with the bombastic trumpet. It's the more energetic track on the album which makes practically impossible to listen to the song without singing it. The fourth track "Fat Old Sun" written by Gilmour is a typical Gilmour's song. It's a very peaceful and beautiful ballad that almost makes us fly due to the music and the voice of Gilmour. It's also a very relaxing song that makes us stop doing what we are doing and just do nothing while the song doesn't end. The fifth track "Alan's Psychedelic Breakfast" written by Gilmour, Waters, Wright and Mason is the other lengthiest instrumental piece of music on the album and is divided into three parts: "Rise And Shine", "Sunny Side Up" and "Morning Glory". The track has sound effects and dialogues between each part. The dialogue and the sound effects are made by the then roadie Alan Stiles, a Pink Floyd roadie who appeared on the back cover of "Ummagumma", preparing, discussing and eating his breakfast. Sincerely, this is a very funny piece of music with some good instrumental moments but, as the name suggests, it's very psychedelic and can't be compared to the rest of the album. However, to my taste, it's an excellent instrumental track.

Conclusion: "Atom Heart Mother" is the best studio album released by Pink Floyd until that date. However, I know this isn't a consensual opinion. Many prefer their debut. Despite the unfavourable opinions about the album of the two band's leaders Waters and Gilmour, I think this is a very important transitional album for the group. We can say that "Atom Heart Mother" is an album with many progressive features and that will be the turning point in the band's music. These clearly musical changes would culminate on their next studio album and first masterpiece "Meddle" released in 1971. "Atom Heart Mother" can be considered a true classic Pink Floyd's album. From its epics and calming tracks, to its memorable and original Thogerson's cover of Lulubelle III, it should be recognized as a great album, by any Pink Floyd fan and critic. However, as a transitional album, like "A Saucerfull Of Secrets" was, I wouldn't recommend it, to anyone looking to be introduced to the Pink Floyd's music. "The Dark Side Of The Moon" or "Wish You Were Here" are the right places to start, but "Atom Heart Mother" remains, definitely, a must for all Pink Floyd's musical collections.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Meddle by PINK FLOYD album cover Studio Album, 1971
4.31 | 2583 ratings

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Meddle
Pink Floyd Psychedelic/Space Rock

Review by VianaProghead

5 stars Review N 62

This is my fifth review of a Pink Floyd's album. The others are their eighth, ninth and tenth studio albums "The Dark Side Of The Moon", "Wish You Were Here" and "Animals" which were released in 1973, 1975 and 1977 respectively, and their third live album "Live 66-67" released in 1999. Now it comes the time of "Meddle". "Meddle" is their sixth studio album and was released in 1971. The album was recorded at a series of locations around London, including the Abbey Road Studios, and at several occasions between January and August of 1971. "Meddle" reached gold record in 1973 and platinum and double platinum in 1994.

"Meddle" has six tracks. The first track "One Of These Days" written by David Gilmour, Nick Mason, Roger Waters and Richard Wright is an instrumental piece of music that can be considered the first song that would mark the future sound of the band. It became the final expression of the Pink Floyd's trademark, and it also features the traditional double-tracked bass guitars played by Gilmour and Waters. The second track "A Pillow Of Winds" written by Gilmour and Waters is an acoustic song, calm and something different from the usual characteristics songs performed by the band. The song also features slide guitar work by Gilmour. It's a very nice and relaxing acoustic piece of music that has the ability, if we close our eyes, to make us dreaming and painting a picture in our own way. The third track "Fearless" also written by Gilmour and Waters follows the logic of the two previous songs and also begins to change the usual musical atmosphere of the album, creating a real vivacious sound. Waters plays all the acoustic guitar parts on the studio recordings and all the strange and intricate guitar work presented on this track is performed by Gilmour. The fourth track "San Tropez" written by Waters is one of the two smallest and weakest songs on the album. The song reflects an idealized vision of Waters of what a day in San Tropez might be like. It's the only song on the album sung by him. On the song, Waters plays the acoustic guitar and the track also includes a Gilmour's short slide guitar solo and an extended Wright's piano solo work too. Despite being a good ballad, this song is somewhat dislocated from the rest of the musical context of the album. The fifth track "Seamus" written by Gilmour, Mason, Waters and Wright is the other smallest and weakest song on the album. It's a blues song about Seamus, the Gilmour's dog. It's sung by Gilmour and in the bottom of it we can hear the dog barking, as if he sang along with its owner. Fortunately, it's the smallest song on the album. Sincerely, besides having one of the most bad and absurd lyrics I've ever heard, it's also, in my humble opinion, completely dislocated from the rest of the musical context of the album. Finally, we have the last but not the least, the sixth track "Echoes". It represents the great masterpiece of the album and was written by Gilmour, Mason, Waters and Wright. This is one of the best known tracks from the group and it's also the third lengthiest song from the group with 23:29, behind "Atom Heart Mother" with 23:44 and the nine parts of "Shine On You Crazy Diamond" with 26:01. This song would become the great discovery of Pink Floyd and would also become their secret key which allowed them to find their real musical roots. It represents the new real starting point of Pink Floyd and made that this was the band that would appear two years later with their great trilogy, "The Dark Side Of The Moon", "Wish You Were Here" and "Animals". This is the only reason why I give 5 stars to this album.

Conclusion: In my humble opinion, Pink Floyd released five studio masterpieces, "Meddle", "The Dark Side Of The Moon", "Wish You Were Here", "Animals" and their eleventh studio album "The Wall" released in 1979. However, there are slight differences between them. While "The Dark Side Of The Moon", "Wish You Were Here" and "Animals" are three absolute masterpieces, "Meddle" and "The Wall" are also masterpieces but with inferior value, but for different reasons. About "Meddle", if instead of "San Tropez" and "Seamus" had two other better songs, it would be certainly a better album. About "The Wall", I will explain my personal point of view when I do make the review of it. "Meddle" was the album that started the turning point of the band's sound, which became more evolved and original. "Meddle" launched the roots of what would be the trademark of their music, which would influence so many bands of so different styles of music, all over the time, and even today. "Meddle" launched the band, particularly through "The Dark Side Of The Moon", to the world of fame and stardom, beyond the realm of the progressive rock, having reached a so high level, that we can say that no more other progressive band reached, until now. Finally, I'll leave you with a phrase of Gilmour that, in my humble opinion, defines the importance that "Meddle" had for the group: "Meddle" are among of my favourite Pink Floyd albums. For me, it was the beginning of the walk of Pink Floyd".

Prog is my Ferrari. Jem Godfrey (Frost*)

 Meddle by PINK FLOYD album cover Studio Album, 1971
4.31 | 2583 ratings

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Meddle
Pink Floyd Psychedelic/Space Rock

Review by DDPascalDD

4 stars Meddle is for many people the greatest album before Pink Floyd made their breakthrough internationally (with Dark Side Of The Moon), including me. It has a great mysterious and slightly dark/psychedelic ambience over the whole album - well, almost the whole album, it also shows the new style Pink Floyd introduces, a more calm and relaxing feeling. Let's look at the tracks and find out why it's so appreciated by prog fans.

We start off with a very repetitious track, which is a bit of a downside to this track in my opinion. Therefore I can't tell you a lot more about it. What I do have to say is that it introduces the album and it's overall feeling quite well.

The next, "A Pillow Of Winds" is a calming, very listenable Floydian song. It starts out pretty happy, but it gets more mysterious as the song progresses. Gilmours voice suits this song perfectly I think, the song has an own personality and Gilmour is an unmissable element.

"Fearless" is a track which is a little more happy, but it also sounds quite relaxed. Ok, this sets you in a fine mood, but it's a bit boring though, too few interesting things to listen too; almost like it was very late at night and they thus almost fell asleep playing this. Oh yeah and by the way, we like Liverpool.

The first time I heard "San Tropez", I couldn't help thinking if this is truly composed by Pink Floyd, as it's very different. A fine song though, it sets you in a certain, notable mood. Somtimes it seems like if every song on the first side of the LP is made to prepare you for the masterpiece "Echoes". So does the next song "Seamus", making you really long for something different, something psychedelic...

There, we get what we want; and it compensates the first half of the album. Starting very mysterious and melodic, we go through a lot of nice chord progressions, we see the rise of something, but what the song really is about, is totally up to you. The lyrics are so beautiful, lyric, and meaningful and cohese, but it's hard to say exactly what it's about. A way to prove that this song is truly terrific is covering this song on piano, then you'll see the beauty of the harmonic structures and all the effort there must have been put into this piece. Also you hear so many influences and styles mixed, it's one of the most eclectic pieces Pink Floyd have composed. And although we go through a lot of different "rooms" (sounds), as I always like to say, it all flows very naturally. Because it's so eclectic, it suits perfectly as a bridge between the dark/psychedelic Floyd phase and the more symphonic/classic prog phase. Oh, by the way you must have heard Rick playing this (especcially the intro) as played live in Gdańsk. It's the last tour he did and he did it just outstanding.

It's very difficult to rate this album, as there is such a big difference between the first half of the album and "Echoes". All in all it will be 4 stars for me.

 The Piper At The Gates Of Dawn by PINK FLOYD album cover Studio Album, 1967
3.88 | 1663 ratings

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

Review by PoolmanProgger

3 stars The Piper at the Gates of Dawn is a confusing album for many Floyd fans who, like me, discovered this album after listening and re-listening to such gems as Dark Side of the Moon, Wish You Were Here, Animals, The Wall, Meddle and the like. Piper showcases the dark mind of Syd Barrett. Piper is easily the band's most psychedelic release, but there are still plenty of moments where the band showcases the musical chops they'd later be known for. For example, "Astronomy Domine" has a constant progression that is similar to the group's distinctive style. "Pow R. Toc H." is an amazing instrumental, maybe the best song on the album. It's a very dark song at the beginning, with many "Oi's" and psychedelic guitar stylings, but soon fleshes out and becomes something beautiful. "Interstellar Overdrive" has become a favorite among Floyd fans, and has been covered by many groups, most notably Camper Van Beethoven's faithful rendition, and Pearl Jam has even been known to open up their concerts with the first two minutes of the track. "Overdrive" starts off as a psychedelic romp, but soon delves deep into the dark recesses of many a bad acid trip. DO NOT listen to this song if you are faint of heart. Other songs which foreshadow the band's future progressive nature are "Flaming" and "Take Up Thy Stethoscope and Walk", two songs which explore new musical territory (remember, this is 1967) and can be quite terrifying for those who expect every Pink Floyd song to sound like something off of Dark Side of the Moon.

The other unmentioned songs are basically straight psychedelic rock, and offer an insight into the twisted, sick mind of Syd Barrett. "Lucifer Sam" and "Matilda Mother" are actually quite charming once you warm up to them, while "Scarecrow" and "The Gnome" are two more cutesy numbers, "Scarecrow" with some standout percussion to boot and some surreal lyrics from Barrett. But the real heartbreaker among this bunch is "Bike". "Bike" starts out as another one of Barrett's cutesy psychedelic pop songs, with the catchy refrain of "You're the Kind of Girl of Fits Into My World. I Will Give You Anything, Anything, If You Want Things" sung amidst verses about a borrowed (stolen?) bike, a cloak (?), a mouse without a house named Gerald, a bunch of gingerbread men, and a room to play records in. Cute. Then, we hear Syd Barrett's mind exploding. Yes, there is literally an explosion, followed by lots of clanging, bells, doors slamming and other strange noises. After this, the song ends with a terrifying quacking played on a loop that will forever haunt your dreams.

Syd Barrett was a sick, twisted genius. He was writing these songs while tripping on acid, and his level of self-awareness in his songwriting is alarming. It was as if he KNEW he was losing his sanity and he was making fun of himself. The lyrics of "Scarecrow" especially give me a shiver up my spine, as he compares himself to a scarecrow. What a horrible thought! Here is a man who knew that he was on a path of self-destruction, and he was resigned to it. Simply chilling! Perhaps Barrett's best example of the awareness of his condition and his increasing paranoia of those around him would be "Jugband Blues", his lone contribution on A Saucerful of Secrets, their next album. If you want to know what I'm talking about, just listen to the song yourself. It's one of the saddest pieces of music I've ever heard.

The Piper at the Gates of Dawn will forever be an enigma in the Pink Floyd canon, a true outlier among its contemporaries. This is due to the presence of the domineering genius of Syd Barrett. When Barrett would lose his sanity shortly after the release of this album, the band would start taking off in a new musical direction, although it would take quite a few albums to finally shake off Barrett's omnipresence. Barrett is a tragic figure, one who would haunt the band the rest of their storied career. Piper is Barrett's only contribution as Pink Floyd's frontman, and it's a haunting album indeed. It's not a classic, as many suggest, but it's a worthwhile listen, one that ever Pink FLoyd fan should get a chance to listen to.

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

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