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PINK FLOYD

Psychedelic/Space Rock • United Kingdom


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

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

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

(Claude Bpl)

See also: Zabriskie Point - Original Soundtrack

Pink Floyd official website

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The Dark Side of the MoonThe Dark Side of the Moon
Legacy 2016
Vinyl$18.52
$18.51 (used)
The Early Years, 1967-1972, Cre/ationThe Early Years, 1967-1972, Cre/ation
Legacy 2016
Audio CD$10.91
$10.91 (used)
The WallThe Wall
Legacy 2016
Vinyl$27.78
$38.99 (used)
AnimalsAnimals
Legacy 2016
Vinyl$21.46
$30.00 (used)
Pink Floyd: The Wall (25th Anniversary Deluxe Edition)Pink Floyd: The Wall (25th Anniversary Deluxe Edition)
Multiple Formats · AC-3 · Widescreen
Sony Legacy 2005
DVD$10.00
$7.98 (used)
Wish You Were HereWish You Were Here
Legacy 2016
Vinyl$18.52
$38.78 (used)
The WallThe Wall
Remastered
Capitol Records 2011
Audio CD$8.94
$13.53 (used)
Pink Floyd - PulsePink Floyd - Pulse
Multiple Formats
Sony Legacy 2006
DVD$12.23
$7.38 (used)
Wish You Were HereWish You Were Here
Pink Floyd Records 2016
Audio CD$5.68
$5.67 (used)
The Endless River (CD+Blu-ray Casebook Edition)The Endless River (CD+Blu-ray Casebook Edition)
Box set
Columbia 2014
Audio CD$4.14
$5.19 (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)

3.89 | 1709 ratings
The Piper At The Gates Of Dawn
1967
3.66 | 1477 ratings
A Saucerful Of Secrets
1968
3.16 | 1117 ratings
More
1969
3.49 | 1441 ratings
Ummagumma
1969
3.87 | 1892 ratings
Atom Heart Mother
1970
4.31 | 2664 ratings
Meddle
1971
3.38 | 1307 ratings
Obscured By Clouds
1972
4.60 | 3719 ratings
Dark Side Of The Moon
1973
4.62 | 3531 ratings
Wish You Were Here
1975
4.52 | 3145 ratings
Animals
1977
4.07 | 2541 ratings
The Wall
1979
3.17 | 1556 ratings
The Final Cut
1983
3.05 | 1456 ratings
A Momentary Lapse Of Reason
1987
3.73 | 1718 ratings
The Division Bell
1994
3.39 | 575 ratings
The Endless River
2014

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

3.31 | 482 ratings
Delicate Sound Of Thunder
1988
3.94 | 666 ratings
P-U-L-S-E
1995
2.85 | 141 ratings
Live 66-67
1999
4.08 | 434 ratings
Is There Anybody Out There?
2000

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

4.76 | 446 ratings
Live At Pompeii
1981
4.09 | 500 ratings
The Wall (The Movie)
1982
3.64 | 162 ratings
In Concert - Delicate Sound Of Thunder
1989
3.12 | 49 ratings
La Carrera Panamericana
1992
4.42 | 488 ratings
P-U-L-S-E
1995
3.09 | 82 ratings
London - Live 66-67
1999
4.57 | 587 ratings
Live At Pompeii (The Director's Cut)
2003
4.08 | 163 ratings
Classic Albums: The Dark Side Of The Moon
2003
2.96 | 48 ratings
Inside Pink Floyd
2003
3.33 | 63 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
2.58 | 17 ratings
Rock Milestones Pink Floyd's Wish You Were Here
2005
2.08 | 17 ratings
Reflections And Echoes
2006
2.85 | 18 ratings
Rock Milestones Pink Floyd's The Piper At The Gates of Dawn
2006
1.38 | 19 ratings
Rock Milestones: Ummagumma
2006
2.20 | 11 ratings
Music Box Biographical Collection
2006
2.46 | 15 ratings
The Dark Side - Interviews
2006
2.33 | 12 ratings
Total Rock Review
2006
2.52 | 16 ratings
Meddle: A Classic Album Under Review
2007
3.20 | 16 ratings
Retrospectives
2007
2.10 | 12 ratings
The Early Pink Floyd - A Review And Critique
2008
2.25 | 11 ratings
Comfortably Numb
2008
3.09 | 16 ratings
A Technicolor Dream
2008
3.68 | 25 ratings
Live Anthology
2008
1.89 | 16 ratings
The Great Gig In The Sky: The Album By Album Guide
2008
4.01 | 72 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 | 328 ratings
Relics
1971
3.19 | 102 ratings
A Nice Pair
1973
2.70 | 56 ratings
Masters Of Rock Vol. 1
1974
2.17 | 182 ratings
A Collection Of Great Dance Songs
1981
2.18 | 128 ratings
Works
1983
3.47 | 82 ratings
Shine On
1992
3.68 | 93 ratings
The Early Singles
1992
5.00 | 2 ratings
The Dark Side Of The Moon (Twentieth Anniversary Edition)
1993
3.06 | 61 ratings
1967: The First Three Singles
1997
3.43 | 235 ratings
Echoes - The Best Of Pink Floyd
2001
4.06 | 76 ratings
Oh By The Way...
2007
2.82 | 49 ratings
A Foot In The Door: The Best Of Pink Floyd
2011
4.49 | 65 ratings
Discovery
2011
4.75 | 117 ratings
The Dark Side Of The Moon - Experience Edition
2011
4.60 | 106 ratings
The Dark Side Of The Moon - Immersion Edition
2011
4.74 | 123 ratings
Wish You Were Here - Experience Edition
2011
4.45 | 93 ratings
Wish You Were Here - Immersion Edition
2011
4.26 | 68 ratings
The Wall - Experience Edition
2011
1.91 | 53 ratings
The Wall Singles
2011
3.83 | 83 ratings
The Wall - Immersion Edition
2012
4.29 | 31 ratings
The Division Bell (20th Anniversary Deluxe Box)
2014
4.17 | 6 ratings
The Early Years 1967-1972 Creation
2016

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

3.76 | 69 ratings
Arnold Layne
1967
3.41 | 82 ratings
See Emily Play
1967
2.86 | 51 ratings
Apples And Oranges
1967
2.59 | 57 ratings
Tonite Let's All Make Love In London
1967
3.56 | 25 ratings
Flaming
1967
3.20 | 36 ratings
It Would Be So Nice
1968
3.64 | 39 ratings
Point Me at the Sky
1968
2.83 | 37 ratings
The Nile Song
1969
3.81 | 70 ratings
One Of These Days
1971
4.44 | 9 ratings
Free Four
1972
4.43 | 7 ratings
Free Four / Absolutely Curtains
1972
3.77 | 79 ratings
Money
1973
3.58 | 72 ratings
Time
1973
3.64 | 66 ratings
Have a Cigar
1975
3.80 | 69 ratings
Comfortably Numb
1979
3.56 | 72 ratings
Another Brick In The Wall
1979
3.42 | 59 ratings
Run Like Hell
1980
3.25 | 52 ratings
When the Tigers Broke Free
1982
1.91 | 50 ratings
Not Now John/The Hero's Return (Part 2)
1983
2.48 | 59 ratings
Learning To Fly (promo single)
1987
3.04 | 49 ratings
On the Turning Away
1987
2.96 | 34 ratings
One Slip
1988
2.95 | 19 ratings
A Momentary Lapse Of Reason Official Tour CD
1988
2.90 | 23 ratings
Shine On - Selections From The Box
1992
3.20 | 69 ratings
High Hopes/ Keep Talking (single)
1994
3.37 | 56 ratings
Take It Back
1994
3.43 | 7 ratings
Interview Disc
1995
4.02 | 42 ratings
Louder Than Words
2014
2.41 | 6 ratings
Pink Floyd 1965 - Their First Recordings
2015

PINK FLOYD Reviews


Showing last 10 reviews only
 Meddle by PINK FLOYD album cover Studio Album, 1971
4.31 | 2664 ratings

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Meddle
Pink Floyd Psychedelic/Space Rock

Review by ProgMirage1974

4 stars REVIEW #7 - "Meddle" by Pink Floyd (1971)

Following their album "Atom Heart Mother", Pink Floyd was in a dilemma where they really did not know where to go. The previous album was a largely experimental work, but there was no concrete harmony between the songs to create a cohesive album. Nevertheless, the band attempted to correct this issue by recording a new album. Using various recording techniques, and overcoming creative roadblocks, songs began to flow and the album was recorded amidst the band's touring schedule. Upon release, it was a hit in the UK, and is considering to be a great step in the right direction for the band. The cover of the album, once again designed by Hipgnosis, is of an ear underwater (it was originally supposed to be a close up of a baboon's anus, but the band vetoed that idea).

The album opens up with an avant-garde piece titled "One of These Days" (4/5); the lone single to be released from the album. Centered around a bass line, played by two bass guitars (Waters, Gilmour) it is mostly instrumental. After a lengthy build-up, we hear the distorted voice of drummer Nick Mason say "One of these days I'm going to cut you into little pieces" before the song hits a groovy tempo, eventually faded out by the sound of wind to segue into the next song "A Pillow of Winds" (4/5); an acoustic soft song (about Mahjong) reminiscent of the shorter tracks on their previous album. This one however is far better in comparison, attaining a dreamy tone with Gilmour's soft spoken vocals. Next up is the track "Fearless" (3/5); most notable for featuring the anthem of Liverpool F.C. "You'll Never Walk Alone" as a sound effect among the music, then "San Tropez" (5/5); another soft track like the second track on the album, yet a bit groovier. Based on the French town along the Mediterranean Sea, it captures the calm dreamy tone very well. The final song on side one is the humorous "Seamus" (1/5), a bluesy song with the constant annoying sound of a dog barking in the background. Overall this first side is really good - the softer tracks are very strong, while the opener has a solid build up and a great tone thereafter. The only disappointing facet here is that closing track - one of the more annoying songs I have ever heard, and is frankly just not in place on the album. At best, this should have been a B-side, and it unfortunately drags the entire first side down as it ends, leaving the listener confused as to how the album started off so promising, but ended so oddly.

Side two is what this album is famous for. With one track, it is the legendary twenty-three minute masterpiece "Echoes" (5/5). Opening with a trademark pinging noise created by keyboardist Richard Wright after playing a single piano note through a Leslie speaker, the music unfolds, propelling the listener into a different world, as the first verse of lyrics establishes a surreal ocean setting. The second verse is less clear; possibly having something to do about we as humans are interconnected. Following these lyrics we guitar a solid guitar solo as the tense atmosphere gives way to a groovy tempo change before leveling off completely into nothingness. Now with the listener somewhere deep in interstellar space, the music comes back very slowly as you are sent back to the world of the song. Another set of lyrics follows before the song closes slowly and with grandeur. The journey ends as the pinging from the beginning returns, book-ending the song perfectly. One of the greatest prog rock songs, and arguably the best epic to come from Pink Floyd, this song is a must-listen. Whether it be under the stars, or as you are falling asleep, this song has the rare ability to separate you from reality and bring you into a different world. The entire first side does not matter when put in comparison with this song - you could take ELP's "Love Beach" and make it the first side and this album would still be great.

"Meddle" would kickstart Pink Floyd's slow but monumental climb to fame. Emerging from the dilemma of direction put forth by "Atom Heart Mother", the band received acclaim for the album - most notably for "Echoes". Later that year, the band would record a live "movie" of the band playing in the deserted town of Pompeii in Italy with both "One of These Days" and "Echoes" featured (the version of "Echoes" on Live at Pompeii is amazing - I highly recommend you listen to it if you have not already). Reaching #3 on the album charts in the UK, it only reached #70 in the US due to poor advertising. Definitely one of the seminal works by the band, the first side is not recommended listening, but the album is worth listening to (and enduring "Seamus") for "Echoes." This album certainly would have scored higher if it had a stronger first side, but receives a good score nonetheless.

OVERALL: 4.0/5 (B-)

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.39 | 575 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Trollheart

3 stars Sailing down the Endless River: Riding the gravy train, a momentary lapse of reason or Crazy diamonds still shining on?

Posthumous albums are always a little hard to take. Usually released by a label after the death of the artiste, they have a certain creepy quality, as you realise you're listening to the words and/or music of a man, woman or band who are no longer alive. Although still with us, the corpse of Pink Floyd has been floating down the (endless) river for some time now, just waiting for someone to fish it out and give it the decent burial it deserves. There are those (and they are many and vociferous) who will tell you that Floyd died when founder and creative light Roger Waters left them in an acrimonious split in 1985, and indeed even before that, The Wall was 99% his vision and his project and the final album to feature him, The Final Cut, featured so little input from the other two members (and none at all from Richard Wright) that it may as well have been his solo album in all but name. Shortly after that he left the band to pursue that solo career, and Pink Floyd were considered all but dead.

But I'm one of the few (hah!) that enjoyed the two non-Waters Floyd albums that followed his departure, and while 1987's A Momentary Lapse of Reason and 1991's The Division Bell can't in fairness hold a candle to albums like Wish You Were Here, Animals or Dark Side of the Moon, I thought they were pretty cool. I've always been one of those who refuse to cry "Band X is no use without singer Y!" I went through the trauma of Fish parting ways with Marillion, got used to Genesis without Gabriel and enjoyed an Ozzy-less Sabbath. To me, a band is more than just a singer or a frontman, and those who whine that the band will never be the same without the main vocalist and/or creator/founder are I think doing that band a great disservice. And so it was that I was prepared to accept Floyd after Waters, and though it was odd to hear the songs without his distinctive, tortured voice, I thought Gilmour did a decent job. But when the final notes faded away on "High hopes" as The Division Bell came to an end, I, like probably everybody else, believed we were hearing the very last music ever to be released by this band which was now a shadow of its former self. With the death of Richard Wright in 2008, I mourned and thought well that is definitely it: they can't come back now. It's over.

But it isn't over.

Or is it? When news broke of a "new" Pink Floyd album there was of course a flurry of expectations and my own emotions went from disbelief to joy to finally settle on suspicion as the details began to filter through. Not so much a new album then as a collection of studio outtakes and cutting-room floor debris from the sessions for the last "proper" Floyd album. But the obvious question came up: if this material was not deemed good enough to find its way onto The Division Bell, why was it now thought suitable for release? What had changed? All right, the story goes that much of the music that appears on The Endless River was composed by Wright, and Gilmour and Mason wanted to create a sort of tribute to him, and that's all right as far as it goes. But to announce it as a new album? Was that not pushing it ever so slightly?

My comments above echo (though I had and have not read it) a comment Gilmour made in the book Comfortably numb: the inside story of Pink Floyd when speaking of the making of The Final Cut. He asked, "if these songs (the ones being considered for The Final Cut which had been part of the sessions for The Wall but had not made it) were not good enough for The Wall, why are they good enough now?" Indeed, David. Indeed. A question we must all have been asking.

So are they? Good I mean. It's a perfectly valid question: if, when making what should have been their final album, Gilmour, Wright and Mason discarded these pieces of music (can't really call them songs) then why should they be considered acceptable not only to be released now, twenty years later, but to form the basis of a so-called "new" Pink Floyd album? Have the guys suddenly realised they were after all better than they believed they were in 1994, or is it really just that they want to honour their fallen bandmate by presenting to the world music he wrote but which never saw the light of day, until now?

Or, indeed, as many have hinted and I have to also ask, is this new album, the last ever from Pink Floyd -and we have that officially: no Eagles Hell Freezes Over ambiguity here! - nothing more than an exercise in cynicism and money-grabbing, a last chance to make some cash off the hard-pressed fans in this troubled economy? And if so, shouldn't the remaining members of Pink Floyd hang their heads in shame, having already broken records by releasing arguably the biggest attempt to rip fans off with their Immersion boxsets, each of which contained approximately SIX discs PER ALBUM and cost in the region of 100 EURO EACH! Sure, nobody put a gun to anyone's head and forced them to buy the sets, but if, as a diehard Floyd fan, you had to have these, then even for the main albums you're looking at shelling out over a THOUSAND Euro! That's bigtime rip-off in anyone's book, I don't care what you say.

So if, as one of these diehard fans, you outlaid the money on these sets in 2011, what would you expect from a new Pink Floyd album? I'd venture to say it would not be rehashed, re-recorded half songs that were not deemed good enough for the recording of The Division Bell. But that's what you get, and as this is your final ever chance to hear new (!) Pink Floyd music, do you buy the album and take a chance, or refuse to be the instrument by which Dave Gilmour buys a new house or Nick Mason adds to his classic car collection? This is Pink Floyd's final ever album, their swan song, but is it one worth hearing? Or to put it another way, in the words of a guy I used to know, is this The Endless River or The Endless Pension? After all this waffle, and after two decades, it's time to find out.

The first thing I'm struck by, despite the album's filching of the last few words of "High hopes", is the echoes (hah, again!) of 1987's A Momentary Lapse of Reason. That album began with the sound of a man rowing, and here on the cover of this album we see ... a man rowing. Well, punting, but it's very close. So the themes of rivers has been something flowing (sorry, sorry) through the post-Waters Floyd, has it? Well, no not really. Other than those two songs, which reference waters (ah, I know: sorry, I couldn't resist!) there's no real connection, but when you look incidentally at the track listing for both albums there are song titles there, many of which could refer to this album and its release: "What do you want from me?" might be an idea of Gilmour's frustration at some of the reviews of the album, though if he's surprised at its reception then he should not be. "Poles apart"? Sure. "High hopes", certainly, though probably in vain. Not to mention "Coming back to life" and, er, "Lost for words". As for A Momentary Lapse of Reason? Well "A new machine" is a possible link, as is "Yet another movie", but in reality I think the closing track from that album sums up a lot of feelings about the direction this has gone. Yeah, "Sorrow" more or less covers it.

But in all this analysis and all these clever, self-congratulatory comments, has the music itself become lost, relegated to the sidelines, a bit player destined to be overlooked as critics argue back and forth about the merits of releasing an album of basically extra tracks from a twenty-year-old recording session? Well not here anyway. Grab a set of oars, make sure your lifejacket is inflated, and take your seasick pills if you need them, cos we're climbing on board and we're going in.

Well, ambient they said it would be and ambient is definitely the feeling as "Things left unsaid" opens with a spacey keyboard and spoken words, sort of putting me in mind of the start of Dark Side, then one big bouncy echoey drumbeat before the keys go into a melody that this time reminds me of "Signs of life" from Momentary Lapse. Gilmour's guitar comes in then, moaning and crying like a violin as the spacey atmospheric soundscape continues to pulse behind him, but it's now clear that, as ever, Gilmour is in charge and standing in the spotlight. In much the same way as, in the beginning, "Shine on you crazy diamond" rode on Wright's keyboard, but once Gilmour broke in he took the tune over, so too here he stands astride the piece like an undeniable colossus. Some really nice organ from the ghostly fingers of Wright before we're pulled into "It's what we do". Gilmour has said that this album is not for "the itunes, download-a-song generation" and needs to be listened to in one sitting, and you can see the intention there as the music all drifts together, one piece flowing seamlessly into the next, so that it's almost like one long symphony. However, it's hard to forgive the second track being basically the closing section of "Shine on" polished (sorry) up and extended. I do love the song - who doesn't? - but this is something of a cop-out. If these are unused tunes from the Division Bell sessions, why is such old material here? There are echoes of "Welcome to the machine" too, particularly in Gilmour's chords. It drifts right back to the "Shine on" theme though, and as the piece comes to an end you're really waiting for Gilmour to sing "Remember when you were young"...

It's great music, there's no doubt about that. It's just that it is, generally, music we've heard before, and many years ago in most cases. "Ebb and flow" sounds very close to the last few moments of "Shine on, part VI" stretched out to an unnecessary and in some cases unsustainable two minutes almost, and while there are lovely organ and synth touches from Wright, as well as of course superb piano, it's a bit of a non-event. More looking back to "Signs of life" then for "Sums", throwing in some effects used in "Welcome to the machine" with some shimmery keyboard before finally we get a proper attack from Gilmour as his guitar screams in fury at having been held back so long, but again it's "Welcome" all over again. It's a great guitar piece, sure, and it reminds us what a god Gilmour is, but have the idol's feet turned to clay? There's nothing very new or innovative here. In fact, I'm surprised to say that we're now four tracks in and I don't hear anything resembling any track from The Divsion Bell, nothing that could have been considered for that album, as this is supposed to be.

Quickly then we pass into "Skins", where Mason gets to unleash his expertise on the sticks, almost a drum solo with Gilmour adding little flourishes here and there. Only just over two and a half minutes but my least favourite on the album so far. As Vim said in Bad News, can't stand drum solos. Then with more "Shine on" descending keys we're into "Unsung", a mere minute of almost trancey keyboard with guitar screeching over it, reminiscent of The Wall I feel, until "Anisina" closes out the first disc, sounding to me unaccountably like Alan Parsons Project's "Time". Weird. Very piano driven, nice tune, and at least it doesn't sound like any previous Floyd recording. The first one I've actually enjoyed on the album. Sounds like it has sax on it too: yeah, definitely sax, courtesy of Israeli jazz hornman Gilad Atzmon. Very stirring and dramatic.

Of the seven tracks that follow (side three), six are less than two minutes and three, weirdly, are exactly 1:43. Not only that, but they're the first three. "The lost art of conversation" has a deep, luscious synth and Gilmour's high- pitched guitar, but then settles down to allow Wright's sumptuous piano to drive it. It is however only getting going when it's over, and "On Noodle Street" carries the tune into a sort of Knopfleresque slow boogie, with Gilmour coming much more to the fore and Guy Pratt filling in really well for Waters on bass, as he has done for some time now. Electric piano from Wright comes in before "Night light" returns the spotlight to the man on the frets, and again we're back shining on, you crazy diamond, with a slight, almost Genesisesque twist in the melody. "Allons-y (1) gives us "Run like Hell" revisited, with Gilmour cranking up the guitar and the tempo, Mason's drumming much more animated and the organ from Wright pretty much pushed into the background. It's derivative, incredibly and annoyingly so, but at least it kicks the album up the arse and gives you something to tap your fingers to, if not shake your head. In other words, it lifts the album out of the quiet, soporific torpor it has been sliding into and delivers something of a punch from an entity that seemed almost asleep. An almost Bach-like organ takes "Autumn '68", slowing things back down with a feeling of Pink Floyd meets Vangelis before we move into "Allons-y (2)", which builds a lush soundscape on the synth, then kicks up into another memorable Floyd piece, kind of more "Run like Hell" really. Then we have the pretty godawful (and terribly titled) "Talkin' Hawking", which is essentially the spoken parts from "Keep talking" extended, backed with a slow organ melody, the first appearance of those iconic Pink Floyd female backing vocals so associated with Waters and used quite sparingly after he departed. Nice guitar work certainly, but I could do without the Professor droning on. I didn't like it on "Keep talking" and I certainly don't like the extended version. It's also very badly mixed, as Glimour's guitar and indeed Mason's drumming often overpower the spoken parts, making it hard to make out what is being said, which is pretty ironic for a song so titled.

And so we move into the final part of the album, or "side four", with a strange little ambient beginning to "Calling", then some moaning guitar and thick bass before the keys rise into the mix and an almost Arabic passage takes the tune. More nice understated piano, then guitar rises like some beast out of the depths. As the piece nears its end it drops back to soft piano, choral vocals and slow, echoey drumming and takes us into "Eyes to pearls", a definite vehicle for the strumming guitar work of Gilmour, but very ? and I mean very - close in melody to Marillion's "Berlin". Spooky. Rushing, crashing percussion washes over the tune and carries us away, and we find ourselves "Surfacing", with acoustic guitar and more "Shine on" closing parts, with echoes of "Your possible pasts" there if you listen for them closely enough, or are as anal as I am.

There is some lovely interplay between Gilmour and Wright here though, and I'd probably class this as my second favourite, one of the longer tracks at just shy of three minutes. Personally, I think both in title, mood and music this would have been the perfect track to end the album on, but this is seen as a new Pink Floyd album after all, the last one ever, and the record companies will have their pound of flesh ("We're just knocked out/ We heard about the sellout") meaning that the instrumental nature of the album has to be destroyed by a vocal song. Now while I really like "Louder than words", it comes as something of a jarring experience after nearly forty minutes of pure music. Gilmour still has it as a vocalist though, and it's a good song, it's just a pity it's so transparently written as an attempt to hit the singles charts. One final sellout before you go, lads?

So what's the verdict? Well I'll get to that in just a moment. But first I'd like to reiterate what I said above in the actual review, and that is that I don't hear anything here that could have ended up on The Division Bell, other than maybe the closer. For me, this sounds more like unused material from everything from Dark Side of the Moon to The Wall. I find it hard to believe that in 1994, working on what was to be their final proper album, Gilmour, Wright and Mason were thinking about and writing in the style of music they had produced two decades earlier. Far from making me want to revisit The Divison Bell, it's more Wish You Were Here that's playing in my mind, and that the album I want to listen to now. Famed as the band who put the experiment in musical experimentation, it seems unlikely they would still be stuck in that old 1973 groove. But the music here mostly reflects that, to me anyway. If someone had given me this on disc, told me it was unused material from a session for an album and asked me to guess which album, I'd be going for Wish You Were Here with maybe Dark Side as a possibility. I would never in a million years have guessed it was from the recording sessions for The Division Bell.

The music is really great, but with Pink Floyd really great is not good enough, and given that this is to be their final album, I think they really shortchanged the fans here. If they really wanted to put out one more record before disappearing "far away, across the field", then they should, in my opinion, have written something totally new, something that would stand to them and that would have made a fitting tribute and end to their forty years in the music business. Pink Floyd almost single-handedly invented the idea of crossing from psychedelic to progressive rock, and for them to bring the curtain down in such a, well, uninspiring way is a real disappointment.

Of course, I had to some degree made up my mind about this album before listening to it: the idea of "a load of stuff that wasn't used now being put out" did not sit well with me, and it felt like the remaining members of Floyd were scraping the bottom of the barrel and slapping it on a disc, hoping to sell it rather than throw it out. To be fair, had they done this and then offered the album for download totally free, that might not have been so bad - we have these tracks, we didn't think they were that good but you might like them so here you go - but they expect people to pay for these, and in fact there are two versions of the album, a deluxe one with two extra tracks plus bonus videos, which no doubt costs more, is really a little over the top I feel. So to again return to Dark Side, they're giving none away.

But I must say I do like the music. It does wander and meander, somewhat like the river in the title, and ideas seem to be half-formed, in some cases just getting going when they're over, in others more or less staggering along, kind of lost and unable to find their way back. Some of it certainly deserves the title of the ninth track, "On Noodle Street", as it is pointless jamming and experimenting. It's almost, in some ways, like the tuneup before the show, except that this is the show! But some of the music is really good, just a pity it doesn't go anywhere. I see why Gilmour says it needs to be listened to in one sitting, though for me one was definitely enough.

He says this is the last Floyd album, that there'll be no more. Well that's no surprise. With the passing of Richard Wright and the Satan-skating-to-work possibility of Waters ever rejoining, another Pink Floyd album is about as likely as a new Beatles one. Which is why the news that there was a new one was initially greeted with much skepticism, then excitement, then disappointment when we learned what the "new" album consisted of. It is I feel a little harsh of Gilmour (and let's be honest: Floyd has been Gilmour for quite a while now) to end his career on this somewhat sour and commercial note. For a band who struggled to make it, then became bigger than most other bands and passed into music history, it's a sad end I feel and something of a middle finger to the fans. I thought Roger Waters was the one who had contempt for his followers?

In the end though, what I write here will not change your opinion. If you like The Endless River then you'll like it and if you hate it you'll hate it. Me? I think it's okay; certainly has its moments but they're a little too far spaced out among the wide variety of tracks here to make any real impact on me. As an album, and purely taking it on track numbers, it's good value at 18 tracks, though the whole thing only clocks in at a total of just over fifty-five minutes. For a double album that's pretty short, and for an album that rings down the curtain on forty-five years of music it's hardly inspiring.

It's even hard to see this as a Pink Floyd album, as much of the time it really does not sound like them. Floyd had instrumental tracks sure, but they were never what anyone would call ambient: their instrumentals had a hard, bitter edge. Think "Any colour you like", "Marooned" or even the instrumental majority of "Shine on." There's an anger there, a sense of frustration, of loss and of exasperation. I don't hear that here. It sounds more like Floyd have settled nicely into their retirement and are happy to sit back and watch the grass grow, happy that there are no lunatics on it anymore.

This could have been so much more. But for what it is, I have to give them credit. It is very good. Mostly. But they're kind of standing on the shoulders of giants, even if those giants are their own previous albums, and you wonder what would have happened had they not had that elevation? Perhaps they might have faded away, slowly losing relevance in a world that contains too many kids now who ask "Pink who?" Still, they would have had retained some of their integrity, I feel. Many people slated The Division Bell, but I enjoyed it, and I think it could have been the proper swan song for Floyd.

But I suppose the important thing for Gilmour and Mason is that The Endless River will supply them with an endless amount of retirement money, and serve to finance their solo careers, or whatever they choose to do in a post-Floyd world. I don't begrudge them their retirement, I just wish they could have bowed out more gracefully, instead of kow-towing to the corporate shills and leaving us with a rather unsettling line from Dark Side to perhaps encompass their feelings towards their fans as they wave goodbye from the tinted windows of their private jet: "I'm all right Jack, keep your hands off my stack!"

Bon voyage, boys. May the endless river help you to forget when you used to swim against the tide, and not go with the flow.

What would Syd think of it all, I wonder? Or, to paraphrase progressive rock icons Van der Graaf Generator, whatever would Roger have said?

 P-U-L-S-E  by PINK FLOYD album cover Live, 1995
3.94 | 666 ratings

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P-U-L-S-E
Pink Floyd Psychedelic/Space Rock

Review by Matti
Prog Reviewer

3 stars Tonight I'm going to see a show of Pink Floyd music, and the name of the Finnish tribute band happens to be PULSE! That's why I chose to make this review. In fact, the DVD of the same name and contents is quite dear to me (and naturally I've reviewed it already), whereas the CD version of P-U-L-S-E means next to nothing to me personally. But just for the heck I'll give my unnecessary thoughts focussing on the set list.

This nearly 2½-hour show is from the time when Division Bell was new (and when there certainly wasn't to be expected any collaboration between the Gilmour-led band and Roger Waters...). So it's pretty understandable how much Division Bell material there is in the set list. It is a stronger album than A Momentary Lapse of Reason (1987), but now I realize I actually haven't listened to either of them for ages as complete albums, even if both would contain some interesting material excluded from this concert. When watching the DVD, songs such as 'What Do You Want from Me' and 'Coming Back to Life', not to speak of the rather worn-out hit 'Learning to Fly' from the earlier album, tend to bore me. 'Keep Talking' is very effective as a live number, and 'A Great Day for Freedom' and 'High Hopes' truly deserve to be included. The Lapse song 'Sorrow', stretched here to ten minutes, is a strong choice too.

On the 2nd disc, The Dark Side of the Moon is performed completely. Count me among those who prefer this live version over the original 1973 album, sonically speaking. Of course on some places Roger's vocals are missed, but the large line-up does its best to compensate that. The rest of the set is a relatively thin and narrow selection, concerning the whole Pink Floyd discography. Apart from the obvious Wish You Were Here and The Wall outings, there is 'Astronomy Domine' from the 1967 debut. This is a brave and respectable move from Gilmour, who even wasn't yet in the band back then. It certainly works!

It's hard for me to evaluate this as a live CD. The set list has its pros and CONS, and the possibilities of what COULD have been included also is vast. The performances are well crafted and often perhaps a bit clinical. Three lame stars.

 The Wall by PINK FLOYD album cover Studio Album, 1979
4.07 | 2541 ratings

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The Wall
Pink Floyd Psychedelic/Space Rock

Review by VianaProghead

5 stars Review Nº 94

"The Wall" is the eleventh studio album of Pink Floyd. It's a conceptual album released as a double album in 1979. It was performed live with elaborated effects and adapted to the film "Pink Floyd The Wall". It was also played live in Berlin, Germany, on 21 July 1990, to commemorate the fall of the Berlin Wall and to raise funds for the World War For The Memorial Fund For Disaster Relief. A live album and a video of this concert were also commercially released.

Hailed by critics and fans as one of the best Pink Floyd albums, along with "The Dark Side Of The Moon", "Wish You Were Here" and "Animals", it's also known as a classic rock album and their songs have inspired many contemporary rock musicians all over the world, even in our days.

As with their previous three studio albums, "The Dark Side Of The Moon", "Wish You Were Here" and "Animals" released in 1973, 1975 and 1977, respectively, "The Wall" is also a conceptual album. This time it deals with personal isolation. The creation of the album was a personal Waters' bet. The inspiration for Waters appeared during the "In The Flesh Tour", also known as the "Animals Tour", the live tour of "Animals" in 1977. Water's frustration with some spectators became so acute that he began to imagine building a wall between the performers and the audience. The story is a rock opera centred on the character of Pink, who is largely based in Waters' life. As the character Pink, Waters also lost his father during World War II. The album is also modelled by the decline of the band's original leader Syd Barrett. For instance, the album includes some references to Barrett, including "Nobody Home", which hints at his condition during the Pink Floyd's abortive US live tour of 1967. The story portrays fictionalized the life of an anti-hero Pink, which is mistreated by the society since the early days of his life. Suffocated by his mother and oppressed at school, he builds a wall in his consciousness to isolate him from the society and takes refuge in a fantasy world created by him. During a hallucination caused by drugs, Pink becomes a fascist dictator only to have his conscience rebel put it in court, where his inner judge ordering him to have his own wall down and he opens to the outside world.

All songs were written and composed by Waters, except "Young Lust", "Comfortably Numb" and "Run Like Hell" which were written and composed by David Gilmour and Waters and "The Trial" which was written and composed by Bob Ezrin and Waters. Due to be a conceptual album, the music flows together harmoniously. All the instrumentation on the album is lovely and the sound changes from track to track gently. Some songs are quite heavy and angry, while others are sad. All of the songs are worth a listen to and they never get boring, too long or repetitive. Despite some morbidity of most of the material on the album, there are some very beautiful and now classic tunes like "Another Brick In The Wall", "Hey You" and most notably "Comfortably Numb" with the Gilmour's searing guitar solo. It has become the single track that most defines Pink Floyd. This album showcases many different musical types. So, the sound of "The Wall" ranges from bluesy to hard, beautiful filled solos by Gilmour and very nice vocals by Waters that goes so well with the main character, Pink. However, for the most part it's a progressive hard rock opera.

During the recordings of the album, Richard Wright left the band but continued to play in the concerts of "The Wall" live tour as a salaried musician. He was forced to resign from Pink Floyd by Waters. He only returned to Pink Floyd after Waters have left the group, first as a session musician but later he returned as a truly band's member. After the legal battle over who had rights to use the name Pink Floyd, the band won the legal rights to use Pink Floyd's name and Waters won the legal rights to "The Wall". So, his name is most associated with this album, now.

Conclusion: "The Wall" is the most ambitious, difficult, challenging, complex and powerful conceptual album released by Pink Floyd and one of the most ambitious projects ever made, by any band. We can make some parallelism with two other studio albums released by two other great bands, Yes and Genesis. I mean "Tales From Topographic Oceans" and especially "The Lamb Lies Down On Broadway" which was also mentioned for being produced as a possible film project by filmmaker William Friedkin. Sincerely, I don't consider this album less progressive, too pretentious, too ambitious, too megalomaniac and also too commercial as some consider. Pink Floyd isn't guilty of being a famous progressive band and some songs from the album have passed very often on many radio stations. So, I think this is a great album from the band and is also unfortunately their last masterpiece. Sincerely and in my humble opinion, all of us who are unconditional fans of the progressive rock music should be proud for a progressive band like Pink Floyd and a progressive album like "The Wall" are so well known around the world, even in our days.

Prog is my Ferrari. Jem Godfrey (Frost*)

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.87 | 1892 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by ProgMirage1974

3 stars REVIEW #4 - "Atom Heart Mother" by Pink Floyd

Having been recording music for movie soundtracks for the last year, Pink Floyd, after finishing work for the soundtrack to the film "Zabriskie Point", set off to recording a new album; their first conventional studio album since 1968's "A Saucerful of Secrets" - an example of space rock, psychedelia, and proto-prog. This new album, titled "Atom Heart Mother" after a newspaper headline the band saw, can be considered the first true prog rock album by the band, now devoid of the influence of ex-vocalist Syd Barrett. A very experimental album, its iconic cover of a cow in the middle of a field by Hipgnosis is the first Floyd album to not feature the band's name on the front or back (a feature present on every Floyd album up to their 1983 album "The Final Cut") but rather inside the gatefold.

The entire first side is a twenty-three minute long instrumental track - the "Atom Heart Mother Suite" (4/5). Certainly ambitious considering it's by far the band's longest song to date, and features a full orchestra (the band hired full orchestras to be present at live shows for the song) to add to the very strong sound of the track. Composed of various instrumental sessions that the band had experimented with up to that point and designed to sound like the soundtrack to a western, it is split into six parts of extended jam. It is key to note that the band absolutely resents this song, deeming it "absolute rubbish" in retrospect. Although I cannot bring myself to discard this track as terrible, it is certainly redundant in some parts. Fortunately the melody with the brass sounds epic with the haunting choir, and spares the song from being even more pointless drivel than the band already claim it has. Even more interestingly, film director Stanley Kubrick requested the band's permission to use the song on his now-critically acclaimed film "A Clockwork Orange", but was denied by the band. Certainly a great piece of Floyd trivia, but this song is blown out of the water by the group's other epics, and is more of an extended growing pain in the band's quest for stardom.

The second side is a collection of light acoustic tracks with another experimental piece at the end. Leading off this side is a light Roger Waters-penned song called "If" (2/5) which, despite being a soothing tune, simply does not stand out to me and is rather a forgettable piece of folk. We do see here the future lyrical genius of the Floyd bassist, where he would eventually tackle dark imagery and psychology, effectively taking the band over for a period. Keyboardist Richard Wright pens the following track, "Summer '68" (3/5) that follows the tone of the previous song - this time featuring horns and a larger emphasis on the piano. With a more comfortable sound and a good melody, this is a slight improvement over Waters' track, but it does have a rather annoying middle part, and is still forgettable. A sequel would appear on the band's final album - dedicated to the now-late Wright; an obscure homage to the band's roots. The last of the three light songs is "Fat Old Sun" (5/5), an absolute gem by guitarist David Gilmour. With light-hearted lyrics pertaining to childhood happiness and play, and a very melodramatic tone, this song puts the listener in another dimension, especially the song's hauntingly beautiful ending guitar solo that fades the song out. This song has recently been implemented into Gilmour's live shows as a solo artist - once again a homage to the band's early material which is easily forgotten under their masterpiece albums that would come later and propel them into legendary status. The final track of the album is the thirteen-minute "Alan's Psychedelic Breakfast" (4/5); a very abstract song that is essentially Floyd roadie Alan Styles eating breakfast with some overdubbed music. One of the oddest songs out there, and a true example of how interesting music was at the start of the seventies, this song amuses me greatly, and it holds a spot on my prog playlist for the sole purpose of confusing people when it plays to my more pop-inclined friends. That being said, this piece is split into three parts, with random dialogue by Styles interspersing the song. At live shows, the band would even cook bacon on stage in order to replicate the sound on the album. I would give this song a five, but it is a perfect example of the band's lack of direction at the time - a criticism by the band later on.

Pink Floyd's music would continue to mature after this album was released. To me, this is a great example of a band that is still trying to find its sound. There are a few bright spots on this album - "Fat Old Sun" is worth listening to this album alone, but parts of the first song are epic, and the closing track is comically random. It is however, one of the less impressive pieces in the Floyd catalogue, and narrowly misses a 2-star rating thanks to the aforementioned Gilmour track. The band unfortunately does trash this album ravenously, claiming it's one of their worst, but many fans of the band see this album as a gem, which is reasonable. Definitely an interesting album if you are a fan of extended instrumental music, psychedelia, and lighter acoustic songs, or if you simply want to explore Pink Floyd's earlier stuff.

OVERALL: 3.6/5 (C-)

 Animals by PINK FLOYD album cover Studio Album, 1977
4.52 | 3145 ratings

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Animals
Pink Floyd Psychedelic/Space Rock

Review by Nogger

5 stars I've long been the anti-Floyd spokesperson, primarily because of oversaturation on popular radio and because of all the Stoner wastoids in high school and college that bragged about tripping to The Wall.

Upon entering middle age I've decided to try and leave my stubborn attitudes behind, including retrying some of the bands and albums I'd filed as dreck over the years.

From this, I've added a few masterpieces and several solid spins to my collection, and Animals is right at the top of the list. I'm not as keen yet on wish you were here, dark side, or meddle (although the tune Fearless is one I'd long enjoyed). I'd classify this as highly structured space rock with emphasis on rock. The singer (waters or gilmour I'm guessing, shows you how little I've paid attention to them) let's out a pure rock and roll "whooo"!!! at the beginning of Pigs, something that fits the mood perfectly and a surprise for me. This crew is ultra tight and focused, and the concept holds water. I'm glad I took another look at Floyd and am extra glad I hadn't heard animals on classic rock radio.

Five stars plus, a crowning jewel of the progressive rock golden period.

 Dark Side Of The Moon by PINK FLOYD album cover Studio Album, 1973
4.60 | 3719 ratings

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Dark Side Of The Moon
Pink Floyd Psychedelic/Space Rock

Review by Mitzieboo

5 stars Dark side of the moon is my favourite album of all time. Us and them is timeless, lyrically mesmerising. Money is just as meaningful now as it was over 40 years ago. The vocals on the Great Gig in the sky by Clare Torry are superb. I can't say how many times I've listened to this a album over the years, I get the same wonderful feelings every time. We all get different things and different feelings from music. Classic tracks such as Breath, US and Them and of course Money are ageless. They have travelled through the generations and survived. It still remains one of the biggest selling albums of all time.
 Animals by PINK FLOYD album cover Studio Album, 1977
4.52 | 3145 ratings

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Animals
Pink Floyd Psychedelic/Space Rock

Review by Magnum Vaeltaja
Collaborator Eclectic Prog Team

4 stars If you've scrolled this far down on the album's page, then you've probably already read the entire Pink Floyd band biography as well as the allegorical and sociopolitical/philosophical/whatever significance of the album's lyrics countless times. So I'm going to skip over that preamble and cut to the chase with the music.

"Animals", as we all know, represents a shift into much darker territory that Pink Floyd's earlier spacey musings had seldom touched. Whether this was a response to the punk movement or a reflection on English society at the time, I think it was a well- needed change. Floyd's previous releases, "Dark Side" and "Wish You Were Here", while containing some strong music, were on the whole very monochromatic and, frankly, sterile. This is not the case with "Animals". For the first time in a while, Pink Floyd has actually decided to expand past their typical tepid productions and create an album that rocks.

The meat of this album, of course, is contained in the three long pieces. Let it be said that "Dogs" is a masterpiece. Containing a very quick opening by Pink Floyd standards, it is here that Floyd realize how essential tension and release are to creating cathartic music. And man does it work. Ranging from tense ostinato-ed verses that give a sense of paranoia to spacey psychedelic interludes to more straightforward rock-oriented sections, the change of pace in "Dogs" is paramount at setting up Gilmour's best solo of his career, played not just once over the course of the song, but twice. Yes, that vast, expansive, Floydian wall of guitar sound that we all know and love, but this time accentuated so much more when put in the proper context. One other strength of "Animals" worth noting is that the use of sound effects is very effective. While dogs barking and pigs snorting could come across as a complete corn-ball cliche, on "Animals" they actually blend very well into the overall sound, heightening the atmosphere of the album.

There are only two real points of contention on this album as far as I'm concerned. The first is the inconsequential "Pigs On The Wing" pieces, which are not terrible, but certainly not necessary. The second is the tendency for "Pigs (Three Different Ones)" to overstay its welcome a tad with its very repetitive riff. While the song contains some very strong moments, such as one of Gilmour's most explosive solos closer to the end, it's enough for me to demote "Animals" from full masterpiece status.

Minor flaws aside, this barnyard triptych is one of Pink Floyd's best offerings. It's also worthy of the title "Pink Floyd for those who don't like Pink Floyd". 4 solid stars.

 The Endless River by PINK FLOYD album cover Studio Album, 2014
3.39 | 575 ratings

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The Endless River
Pink Floyd Psychedelic/Space Rock

Review by Neu!mann
Prog Reviewer

4 stars After hearing recent albums by the surviving original giants of Progressive Rock (Yes, King Crimson, post-Tull Ian Anderson), it's not hard to become discouraged by the geriatric lack of passion in their twilight efforts. Thankfully the same can't be said for this posthumous elegy from the late Pink Floyd. If you have to revisit the past, this is how to do it: with valedictory grace, and hardly any nostalgia despite the obvious deference to a long musical legacy.

The album was assembled around hours of leftover scraps and fragments from the 1994 "Division Bell" sessions, all held together with synthetic glue supplied by the late Richard Wright. But it doesn't sound at all artificial or anachronistic, thanks to the sensitive, affectionate editing of the scattered parts into a more cohesive sum. There's even a casual, half-realized concept behind it: the all-too human need for real communication, something not always apparent in the band's own troubled history.

It's actually more subtext than theme, expressed through the individual track titles ("Things Left Unsaid", "The Lost Art of Communication"), and of course in the bittersweet beauty of the music itself, mostly organized into atmospheric, ambient soundscapes, with occasional mid-tempo rock interludes in classic Floyd vernacular. Except for the curtain-closer "Louder Than Words", the album is entirely instrumental: a rare thing for this group, and entirely appropriate to the unspoken focus.

Roger Waters of course wasn't involved in the project, beyond a predictably testy comment on his Facebook page. I wouldn't be surprised if he considered it a purely mercenary exploitation of a dead comrade's memory, and maybe he has a point. But Pink Floyd has always drawn inspiration from its ghosts, beginning with Syd and now including Richard.

It will never be remembered as the long-lost Floyd album that never was. But as a belated postscript it adds a welcome coda on the otherwise unresolved non-ending to a turbulent musical career. Three-plus stars, rounded up for closing the door gently on the way out.

 Dark Side Of The Moon by PINK FLOYD album cover Studio Album, 1973
4.60 | 3719 ratings

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Dark Side Of The Moon
Pink Floyd Psychedelic/Space Rock

Review by The Jester

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