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PINK FLOYD

Psychedelic/Space Rock • United Kingdom


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

One of the biggest bands of all time

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

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

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

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

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

The strain, however, was beginning to tell on Barrett, and a fragile mental state, exacerbated by LSD, led to him becoming almost semi-detached from the band and wider reality. The situation became such that the band, at the end of 1967, drafted in David GILMOUR ...
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The Dark Side of the MoonThe Dark Side of the Moon
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Pink Floyd: The Wall (25th Anniversary Deluxe Edition)Pink Floyd: The Wall (25th Anniversary Deluxe Edition)
Multiple Formats · AC-3 · Dolby
Sony Legacy 2005
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The WallThe Wall
Legacy 2016
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Wish You Were HereWish You Were Here
Pink Floyd Records 2016
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Pink Floyd - PulsePink Floyd - Pulse
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AnimalsAnimals
Pink Floyd Records 2016
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The Dark Side Of The Moon - The Wall - Pink Floyd 2 CD Album BundlingThe Dark Side Of The Moon - The Wall - Pink Floyd 2 CD Album Bundling
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Various
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The Division Bell (Limited Edition 25th Anniversary Translucent Blue Vinyl)The Division Bell (Limited Edition 25th Anniversary Translucent Blue Vinyl)
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MeddleMeddle
Legacy 2016
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Echoes: The Best of Pink FloydEchoes: The Best of Pink Floyd
Legacy 2016
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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)

3.87 | 1913 ratings
The Piper At The Gates Of Dawn
1967
3.66 | 1666 ratings
A Saucerful Of Secrets
1968
3.15 | 1270 ratings
More (OST)
1969
3.48 | 1625 ratings
Ummagumma
1969
3.89 | 2114 ratings
Atom Heart Mother
1970
4.29 | 3005 ratings
Meddle
1971
3.38 | 1478 ratings
Obscured By Clouds
1972
4.60 | 4146 ratings
Dark Side Of The Moon
1973
4.63 | 3950 ratings
Wish You Were Here
1975
4.52 | 3539 ratings
Animals
1977
4.09 | 2834 ratings
The Wall
1979
3.18 | 1731 ratings
The Final Cut
1983
3.06 | 1625 ratings
A Momentary Lapse Of Reason
1987
3.74 | 1922 ratings
The Division Bell
1994
3.34 | 741 ratings
The Endless River
2014

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

3.38 | 538 ratings
Delicate Sound Of Thunder
1988
3.94 | 734 ratings
P-U-L-S-E
1995
2.85 | 160 ratings
Live 66-67
1999
4.11 | 477 ratings
Is There Anybody Out There?
2000

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

4.77 | 498 ratings
Live At Pompeii
1981
4.10 | 533 ratings
The Wall (The Movie)
1982
3.64 | 172 ratings
In Concert - Delicate Sound Of Thunder
1989
3.02 | 54 ratings
La Carrera Panamericana
1992
4.43 | 521 ratings
P-U-L-S-E
1995
3.10 | 91 ratings
London - Live 66-67
1999
4.58 | 628 ratings
Live At Pompeii (The Director's Cut)
2003
4.07 | 174 ratings
Classic Albums: The Dark Side Of The Moon
2003
2.92 | 53 ratings
Inside Pink Floyd
2003
3.30 | 65 ratings
The Pink Floyd & Syd Barrett Story
2003
2.41 | 32 ratings
Inside Pink Floyd Volume 2 - A Critical Review 1975 - 1996
2005
2.27 | 17 ratings
The Ultimate Review
2005
2.00 | 20 ratings
The World's Greatest Albums - Atom Heart Mother
2005
2.48 | 20 ratings
Rock Milestones Pink Floyd's Wish You Were Here
2005
1.97 | 20 ratings
Reflections And Echoes
2006
2.73 | 21 ratings
Rock Milestones Pink Floyd's The Piper At The Gates of Dawn
2006
1.36 | 22 ratings
Rock Milestones: Ummagumma
2006
2.09 | 14 ratings
Music Box Biographical Collection
2006
2.30 | 18 ratings
The Dark Side - Interviews
2006
2.17 | 15 ratings
Total Rock Review
2006
2.46 | 18 ratings
Meddle: A Classic Album Under Review
2007
3.11 | 18 ratings
Retrospectives
2007
2.00 | 14 ratings
The Early Pink Floyd - A Review And Critique
2008
2.14 | 13 ratings
Comfortably Numb
2008
3.00 | 19 ratings
A Technicolor Dream
2008
3.57 | 27 ratings
Live Anthology
2008
1.85 | 18 ratings
The Great Gig In The Sky: The Album By Album Guide
2008
3.96 | 81 ratings
The Story of Wish You Were Here
2012

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

2.13 | 37 ratings
The Best Of The Pink Floyd
1970
3.58 | 358 ratings
Relics
1971
3.23 | 116 ratings
A Nice Pair
1973
2.70 | 62 ratings
Masters Of Rock Vol. 1
1974
2.20 | 201 ratings
A Collection Of Great Dance Songs
1981
2.19 | 145 ratings
Works
1983
0.00 | 0 ratings
Hits
1983
3.48 | 92 ratings
Shine On
1992
3.71 | 109 ratings
The Early Singles
1992
4.50 | 8 ratings
The Dark Side Of The Moon (Twentieth Anniversary Edition)
1993
3.09 | 70 ratings
1967: The First Three Singles
1997
3.44 | 251 ratings
Echoes - The Best Of Pink Floyd
2001
4.04 | 82 ratings
Oh By The Way...
2007
2.82 | 58 ratings
A Foot In The Door: The Best Of Pink Floyd
2011
4.42 | 74 ratings
Discovery
2011
4.72 | 133 ratings
The Dark Side Of The Moon - Experience Edition
2011
4.58 | 125 ratings
The Dark Side Of The Moon - Immersion Edition
2011
4.71 | 145 ratings
Wish You Were Here - Experience Edition
2011
4.44 | 112 ratings
Wish You Were Here - Immersion Edition
2011
4.27 | 83 ratings
The Wall - Experience Edition
2011
1.91 | 57 ratings
The Wall Singles
2011
3.79 | 96 ratings
The Wall - Immersion Edition
2012
4.20 | 44 ratings
The Division Bell (20th Anniversary Deluxe Box)
2014
3.77 | 47 ratings
The Early Years 1967-1972 Creation
2016

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

3.82 | 80 ratings
Arnold Layne
1967
3.45 | 91 ratings
See Emily Play
1967
2.93 | 56 ratings
Apples And Oranges
1967
2.62 | 63 ratings
Tonite Let's All Make Love In London
1967
3.61 | 28 ratings
Flaming
1967
3.35 | 42 ratings
It Would Be So Nice
1968
3.70 | 42 ratings
Point Me at the Sky
1968
2.88 | 40 ratings
The Nile Song
1969
3.83 | 73 ratings
One Of These Days
1971
4.32 | 13 ratings
Free Four
1972
4.33 | 9 ratings
Free Four / Absolutely Curtains
1972
3.79 | 85 ratings
Money
1973
3.59 | 76 ratings
Time
1973
3.65 | 69 ratings
Have a Cigar
1975
5.00 | 1 ratings
Pigs on the Wing / Sheep
1977
5.00 | 1 ratings
Pigs (Three Different Ones)
1977
3.83 | 72 ratings
Comfortably Numb
1979
3.64 | 77 ratings
Another Brick In The Wall
1979
3.44 | 61 ratings
Run Like Hell
1980
3.26 | 54 ratings
When the Tigers Broke Free
1982
1.93 | 51 ratings
Not Now John/The Hero's Return (Part 2)
1983
2.52 | 62 ratings
Learning To Fly (promo single)
1987
3.07 | 53 ratings
On the Turning Away
1987
2.98 | 36 ratings
One Slip
1988
2.95 | 19 ratings
A Momentary Lapse Of Reason Official Tour CD
1988
2.90 | 23 ratings
Shine On - Selections From The Box
1992
3.21 | 71 ratings
High Hopes/ Keep Talking (single)
1994
3.38 | 59 ratings
Take It Back
1994
3.63 | 8 ratings
Interview Disc
1995
4.13 | 46 ratings
Louder Than Words
2014
2.70 | 16 ratings
Pink Floyd 1965 - Their First Recordings
2015

PINK FLOYD Reviews


Showing last 10 reviews only
 Wish You Were Here by PINK FLOYD album cover Studio Album, 1975
4.63 | 3950 ratings

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Wish You Were Here
Pink Floyd Psychedelic/Space Rock

Review by jamesbaldwin
Prog Reviewer

5 stars After the commercial boom of "The Dark Side Of The Moon", Pink Floyd returned to produce progressive music dilated, liquid, sleepy, following the intuition they had with "Atom Heart Mother". In this case, the album doesn't have an entire-sided suite, but cleverly, a mini-suite that repeats itself without too many variations at the beginning and end of the Lp. It's the famous "Shine On You Crazy Diamond", an atmospheric suite, slow, very evocative, almost ambient-music, based on Wright's keyboards.

The first part of the suite is the highlight of the album, it opens with a carpet of synths that grows up the volume slowly, and explodes when Gilmour's guitar arrives, which touches a first climax of the piece; then returns a moment dominated by the sleepy synth played by Wright, and then kick off a more aggressive piece of guitar, after which Waters' voice arrives, doubled, because it is not suitable for such a solemn and epic piece. The musical score is actually very simple, it's a melodic rock song, linear, verse-chorus, with an epic breath. Pink Floyd's masterpiece is in transforming it through production into a suite, dilating its melodic lines to the maximum, and making them play alternately by Wright and Gilmour, then by waters singing, to conclude with a splendid sax solo (the faithful Dick Parry). Rating 9+.

"Welcome to the Machine" impresses with the use of synths and tape effects percussively, so much so that drums are in fact lacking, accompanied by acoustic guitar. Wonderful singing by Gilmour. Again, the melody is quite simple, and the masterpiece is once again in the sonic guise that PF give to the song in terms of arrangement and futuristic sound. The music is slow and dilated. synths have hardly been played in such a "total" way, able to fill the whole piece with sound, melody and rhythm, without needing anything else, and making it rock. In closing, Pink Floyd cheat, and invent machine noises and crowd sound just to prolong the piece and the side. Rating 8.

Side B opens with "Have a Cigar", which has a great beginning, between bass spin and synths and guitars, which immediately creates an epic and at the same time obsessive climate. The voice of folksinger Roy Harper gives the song an intensity that is lacking in the band's vocalists. With this track continues the criticism of the music industry that, together with the nostalgia of Syd Barrett, constitutes the conceptual node of the album (all the lyrics are written by Waters). The song is powerful and well- crafted, but it lacks a melodic variation, since it stays all the time on the same tone, and only Gilmour's solo avoids making it repetitive. Finally, it is fortunately truncated suddenly (otherwise it would have been long- Rating 8.

"Wish You Were Here" is perhaps Pink Floyd's most famous song, and it's again a simple song, even undeveloped, linear, because it lacks a chorus, and after the rhythmic progression of two verses returns to the basic chords. What makes it beautiful is the hypnotic tour of the guitar and the strength of the singer (Gilmour) that then resumes in a very powerful and energetic way, but in fact soon fades into the background music, leaving the feeling that Pink Floyd haven't found a way to add more sung pieces to the music. The piece ends by fading, while at the same time you hear a loud wind noise with which the second part of SOYCD begins. Rating 8+.

"Shine on You Crazy Diamond" reprise also lasting around 13 minutes. The beginning has a choral progression that is missing at the first part and that becomes quite rhyme and aggressive, then comes the guitar round that leads to the sung part, quite similar to that of the first part, but here they repeat only once verse and chorus , so that the music is not too photocopy of the first part, and so begins variation on the theme, in fact a choral instrumental jam, led by Wright, the dominator of the album, then comes the initial melody, then the track fade away. Rating 7,5/8.

The album has the remarkable merit of maintaining from beginning to end a solemn, epic, and at the same time vaguely obsessive and threatening atmosphere, with a music that further dilates the melody working on the arrangement and that has plucking, progressions more exciting, where voice and music reach a good climax. Overall, it also results in a sometimes long-lived work, and containing relatively little musical material, which is repeated and amplified and dilated and subjected to variations to arrive at a satisfactory album duration. It is a masterpiece of production, sound and arrangement, more than a masterpiece of creativity, but nevertheless it remains a real masterpiece, also because studied in detail and without any really weak moment.

Rating album: 9+ (average 8,25). Real masterpiece. Five Stars.

 Dark Side Of The Moon by PINK FLOYD album cover Studio Album, 1973
4.60 | 4146 ratings

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Dark Side Of The Moon
Pink Floyd Psychedelic/Space Rock

Review by jamesbaldwin
Prog Reviewer

4 stars In 1973 Pink Floyd made their bestseller by releasing an album that gave up the progressive-rock suite on a facade and single pop songs on the other (the pattern of Atom Heart Mother and Meddle), in order to record a time continuum of songs alternating with noises, in fact, sometimes the songs are the development of some noises, as in the case of the most famous: "Time", whose rhythm starts from the ticking of the clocks, and "Money", whose rhythm starts from the case of a store.

With a modern and commercial sound, Pink Floyd churns out only 4 great songs, of medium to long duration, with an additional 6 short fillers, which try to give a homogeneous frame to the project. It is a cunning, an operation more of facade than substance, because from a musical point of view the album has nothing revolutionary, apart from the combination of music and noises of real life, never exploited so intelligently and widespread. Pink Floyd invent a new album format, and ultimately develop the idea of Sgt Pepper by The Beatles. The conception of the record is revolutionary, the music is not, the music is commercial, already heard but... beautiful, original, and flows pleasantly.

The first 7'45'' are filled with an introduction of noises and music (Speak To Me, Breathe) and a sound trick (On The Run) quite ruffian, but ultimately boring: in fact it's not music. Rating 6.5. You have to wait for the watch cuckoo to hear music really worthy of that name, and we are already in the eighth minute of the record when Time starts, and this is a great song, with Wright and Gilmour alternating on the singing and a marvellous solo on the guitar by Gilmour. Rating 8.5.

Mixed with the ending of Time begins the piano ballad The Great Gig in The Sky, very suggestive, without lyrics but with the voice by Clare Torry that fills it with both soul and sensuality, it is another disjointed song, as well as the whole first side apart from Time , it almost feels like PFs make entertainment music while waiting to make music seriously. Rating 8.

Side B opens with Money, a very original Waters song (sung by Gilmour), with a sly rhythm that repeats throughout the duration of the piece and a fantastic instrumental deadlift with the sax played by Dick Parry. The sound is now more and more ruffian but at the same time elegant and inspired. Rating 8+. Blurring Money, the relaxed ballad Us and Them begins, sung again by Gilmour in alternation with Wright, and with the presence of the saxophone as the previous one. The chorus of the song has a magnificent progression that, combined with the instrumental piece, make it the best piece on the album. Rating 8,5/9- Pink Floyd does not renounce the habit of putting noises and spoken words even inside the piece.

The great ballad fades into Any Colour You Like dominated by Wright's synths, which give life to an instrumental piece, which then switches to keyboards, rather suscipated and excited, but basically uninspired, until the guitars and the voice of Waters come, and Waters sings Brain Damage , which contains the phrase: "I see you on the dark side of the Moon." The song is another languid ballad, which improves in the singing progression with soulful voices in the background, then forcibly Waters sings Echoes, with the purpose of finishing the narration of the lyrics. Rating 7+.

These three final pieces, as well as the three opening pieces, are fillers, their quality is lower than that of the four main songs, and leave the listener with the impression that the album has slipped away without leaving a big mark, except at certain moments of the four major songs, as if music announced a sound event that then won't arrive and everything ended waiting. That's why I listen very willingly and easily The Dark Side Of The Moon, and I get pleasure, but it is an elusive pleasure, which only in a few, few points I feel intense and deep, otherwise seems superficial to me, and in fact I have little left. For me this album is a masterpiece for how it is conceived, for its conceptual and commercial form, but it is an almost masterpiece for the music that contains.

Medium quality of the songs: 7,875. Rating 8.5/9, Four (and a half) stars.

 Meddle by PINK FLOYD album cover Studio Album, 1971
4.29 | 3005 ratings

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Meddle
Pink Floyd Psychedelic/Space Rock

Review by jamesbaldwin
Prog Reviewer

3 stars The wind, then a hypnotic bass ride that rumbles on one channel, then another bass turn on the other, keyboards that pass like blades, drums and electric guitar and here's the epochal beginning of the first song of Meddle ("One Of These Days"), which uses keyboards in a futuristic way , then picks up rhythm, with a very nice progression, until the final rush after the short spoken section (Mason). Vote 8+.

The second song is quite different as arrangement (largely acoustic, guitar without drums) and as a mood: it is a restless folk with a good melody but that does not develop and finally tends to be monotonous. Rating 7+.

The third, Fearless, with that guitar riff that repeats, alternates folk acoustic verses, very relaxed, similar in mood to the previous piece, with stage choirs, which give a sense of particular estrangement, but still well toned to the music. Vote 7.5.

Then comes the turn of Saint Tropez, a retro jazzy, swing, like McCartney's songs, cute, perhaps too long, could be the soundtrack to one of Woody Allen's films. Rating 7+.

Seamus is a funny, almost western song with dogs acting as laced coyotes. Rating 6.5.

The first side, after the promising start, beautiful and innovative, leans on a modest retro acoustic folk- jazz. Average: 7,35-

The suite "Echoes (23:27)" fills side B. It's more rock than Atom Heart Mother, in fact is completely played by the band, without strings or brasses. In my opinion after a very good beginning, grit, it become too lazy and repetitive in the instrumental part. Then, comes a desert landscape, we hear wind and howling coyotes, very suggestive moment, almost soundtrack of a film, echoes and sound of birds of prey screeching n the distance. Then, come back the vocals (wright) and the rhythm. with guitar and drums and then finish the song lazily. Very good suite for some atmospheres, but not a masterpiece. Rating 8+.

Meddle has the same structure as Atom Heart Mother (suite occupying one front, easy listening songs on the other), only that the facades are reversed and in general the quality of the suite is slightly lower, while that of the songs significantly lower. It's a more than discreet but decidedly non-innovative album (apart One Of These Days), which repeats a formula filling it with more traditional folk and rock content, with modest results in the case of folk songs.

Rating 7,5/8. Three Stars.

 Atom Heart Mother by PINK FLOYD album cover Studio Album, 1970
3.89 | 2114 ratings

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Atom Heart Mother
Pink Floyd Psychedelic/Space Rock

Review by jamesbaldwin
Prog Reviewer

5 stars "Atom Heart Mother" is an epochal Lp in the discography of Pink Floyd because it enshrines the transition from psychedelia to progressive itself, with a formula studied at the table that includes a suite of an entire facade and a series of pop songs easy listening on the other, in so to get to the time with the emerging musical fashion, the progressive rock, and keeping in mind the commercial matter.

In fact, Pink Floyd will be by far the best-selling of the progressive era, and together with Genesis the only ones able to survive the era of punk and to know how to stay on the market even in the Eighties.

This compromise between progressive sound and commercial sound, with a legacy of psychedelia, remains evident in the songs of "Atom Heart Mother", creating a rarefied, liquid, narcoleptic atmosphere, typical of the suite on side 1. This great musical piece (almost 24 minutes, divided in 6 movements) is played in a classical-avant-garde style, and orchestrated by Ron Geesin with Philip Jones Brass Ensemble and John Alldis Choir. The beginning is very solemn, with the brass ensemble playing the main motif of the suite (comparable to the Promenade of Pictures At An Exibition by EL&P) amid various noises, then begins the first track, keyboards and cello, then bass guitar and drums, then brasses and bass, in a progression that reaches the climax towards the fifth minute and a half, when the choir arrives, predominantly female: melodically perhaps the best moment of the suite and the whole album (and anticipates the woman's voice of "The Great Gig In The Sky" , TDSOTM). This suite cannot be considered instrumental for the decisive contribution of choirs. Around 10'15' comes a clearly psychedelic piece, keyboards and guitar that evolves into a choral piece where again the vocal input with onomatopoietic sounds is fundamental, and that resolves to the fifteenth minute with the repetition of the main theme, which, as it has rightly pointed out the Italian-American historian of music Scaruffi, it is more sleepy than martial. The suite picks up with a decidedly psychedelic, hallucinatory piece, perhaps the moment that more than any other ties the LP to the past of the Sixties, then at the eighteenth minute the music has a pause where previous musical motifs come back, as at make a summary of what explored up to that point, but a cacophonous summary, until the main musical theme with brasses resurfaces, for the third time. At this point the suite could end (we are at 19'45'') instead Pink Floyd prefer to repeat themselves by returning to the initial theme with the cello and then to devote themselves in an instrumental progression and end in an orchestral manner with a sound orgasm at the time threatening and solemn. A masterpiece of contemporary music. Rating 9+.

SIDE B. "If" is a melodic folk song, which opens the second side continuing the sleepy tone of the suite. The melody and arrangement are tender, fluffy, as is Waters's singing, and the piece does not have a chourus, it repeats the same chords to the end, with a slight progression in the arrangement, which sees electric guitar, piano and percussion arrive, in so as to avoid getting bored, and in fact the piece closes just when an additional verse would have been too repetitive. The beauty of the song is all in the melody and arrangement. Rating 7.5/8.

Wright's piece is by far the gem of the second side and perhaps the entire album because it concentrates in 5 1/2 minutes the beauty of the 24-minute suite. This piano ballad with Sixties inflections and instrumental moments with sensational brass, reminiscent of the suite, is from a compositional point of view much more elaborate than the other pieces but at the same time is also the most spontaneous and flowing song. Also beautiful is the melancholy piece of voice and piano after the brass. Rating 9.5

Gilmour's "Fat Old Sun" is languid and vaguely psychedelic, and again the tone of music and voice is soporific (the effect of drugs is felt). The song continues the tender melody of Waters, with the difference that here the music has more space to develop, after a very verbose beginning, sporting a beautiful solo on Gilmour's electric guitar. It also turns out that the melody is not as beautiful as If's. Rating 8.

And, in the end, here's to you the weakest point of the album, "Alan's Psychedelic Breakfast (12:56)", in three movements, unfortunately, up to 13 minutes. It's Mason's turn, which he thinks to do avant- garde puts a piece of "concrete music" with the noises of Alan's breakfast, from the match to the stove to the burning eggs, to him that swallows you do not know what, with his voice that says amenity. In between there are three instrumental pieces, ballads largely piano and melodic (the first and the third, while the second is a track folk led by acoustic guitar), almost worthy of Wright and not at all ugly, indeed quite beautiful, especially the third. Only that the idea repeated three times is quite long, it should have made only two movements. Yesterday it was avant-garde, today it's a dated piece. Rating 7

After a first side that represents one of the avant-gardes of the 1970 progressive (rating 9,25), follows a second melodic side, inferior musically (and little prog) especially in the finale, which also suffers from the lack of a proper vocalist, but which nevertheless presents another masterpiece and that you listen to in a sliding way and with pleasure from start to finish and with an average quality of 8.13. Masterpiece of prog rock.

Rating album 9+. Five Stars.

 Ummagumma by PINK FLOYD album cover Studio Album, 1969
3.48 | 1625 ratings

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Ummagumma
Pink Floyd Psychedelic/Space Rock

Review by Alexlifeson2019

1 stars 37/100

An incoherent mess

Let me first start by saying I do enjoy the live side, but I put most of the weight of my rating on the studio side. The live side is very good. I enjoy every song and I think that the performances are all fantastic. Careful with That Axe, Eugene Is a very interesting song due to its infectious groove and psychedelic madness. It's interesting that they first released the live recording of this track and never released it on an official studio album. Now the studio side on the other hand is absolutely terrible. I would say that the only thing worth listening to from this side is part 3 of The Narrow Way which is brilliant due to David Gilmour's incredible songwriting and performance. The other tracks are trippy and weird in all the worst ways and for the most part are completely unlistenable. Overall, Ummagumma is easily the worst Pink Floyd album despite having a good set of live tracks.

Favorite Tracks: The Narrow Way (part 3), Careful with That Axe, Eugene (live)

Least Favorite Track: Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict

 More (OST) by PINK FLOYD album cover Studio Album, 1969
3.15 | 1270 ratings

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More (OST)
Pink Floyd Psychedelic/Space Rock

Review by Alexlifeson2019

2 stars 49/100

More actually means less

Pink Floyd's first soundtrack album is certainly not one of the band's finest hours when it comes to songwriting. While the band's first two albums weren't great albums, they had plenty of experimentation and exploration to make them appealing and memorable. More on the other hand rarely experiments and leaves the listener wanting "more" for most of its 45 minute runtime. The album does start pretty strong with the atmosphere of Cirrus Minor and the hard rocking nature of The Nile Song, but completely loses me up until the halfway point with the album's best song Cymbaline. At this point in the album it is probably wise to stop as the second side is filled with short instrumental fillers that make it a chore to listen to. Overall, this is one of Floyd's weakest albums that showed a band that had completely lost direction after the loss of its founding member Syd Barrett. It's not a complete failure as it does have three good songs, but those are about all that's worth listening to from this record.

Favorite Tracks: Cymbaline, Cirrus Minor, The Nile Song

Least Favorite Track: Quicksilver

 A Saucerful Of Secrets by PINK FLOYD album cover Studio Album, 1968
3.66 | 1666 ratings

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A Saucerful Of Secrets
Pink Floyd Psychedelic/Space Rock

Review by Alexlifeson2019

3 stars 75/100

A more focused effort that mostly drops the psychedelic pop

From the outset of the opening track I immediately noticed a significant improvement in Pink Floyd's songwriting. While many consider the band's first album to be their peak in pure psychedelic rock, I actually prefer this record. It's consistently good until the last song Jugband Blues which leaves a sour taste in my mouth every time I listen to it due to the return of Syd's strange accessible psychedelic pop that plagued side two of the band's first album. Here on Saucerful you mostly find focused experimental psychedelic rock tunes like the attention grabbing opener Let There Be More Light or the atmospheric Set the Controls for the Heart of the Sun. If you really want to dive into the craziness of this album look no further than the nearly twelve minute title track that is both brilliant and terrifying. Overall, A Saucerful of Secrets has plenty to offer fans of psychedelic rock and is an improvement over the band's debut album. I wouldn't say that it's a great record though but it's certainly a good one.

Favorite Tracks: Let There Be More Light, A Saucerful of Secrets, Set the Controls for the Heart of the Sun

Least Favorite Track: Jugband Blues

 The Piper At The Gates Of Dawn by PINK FLOYD album cover Studio Album, 1967
3.87 | 1913 ratings

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

Review by Alexlifeson2019

3 stars 68/100

A far cry from Floyd's classic era

I must say that Floyd's debut album is a very intriguing one. While it certainly does have its weaker moments in which it loses its identity during cutesy trippy pop tunes like Bike, Scarecrow, and Gnome, it also has just as many great moments. Whether that's due to its strange but mostly effective experimentation or its brilliant performances. This album really is a perfect representation of Syd Barrett's mind with its lack of structure and diversity from track to track. The album is at its best though when it sticks with its space rock approach on songs like Astronomy Domine and Interstellar Overdrive, but when it gets away from this, the album gets a little messy and suffers an identity crisis. I recommend this album for psychedelic rock fans, but if you're expecting this to be like the band's later masterworks like Dark Side of the Moon or Wish You Were Here you'll probably come away in disappointment as Floyd sounds nothing like they do on those albums.

Recommended Tracks: Astronomy Domine, Interstellar Overdrive, Lucifer Sam, Matilda Mother

 Live At Pompeii by PINK FLOYD album cover DVD/Video, 1981
4.77 | 498 ratings

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Live At Pompeii
Pink Floyd Psychedelic/Space Rock

Review by Warthur
Prog Reviewer

5 stars Let's face it: most Pink Floyd fans are going to want to have some version of the Pompeii material to hand. Drawn from A Saucerful of Secrets and Meddle (with Atom Heart Mother notable by its absence), it's an excellent snapshot of the band right before they went into full-on hyperdrive with Dark Side of the Moon. Whereas the live disc from Ummagumma does a good job of capturing the full-on spacey nature of the band's style, the cleaner production here showcases the level to which they'd brought their technical skills. The best-sounding version is probably the recently- released one from the Early Years boxes.
 Ummagumma by PINK FLOYD album cover Studio Album, 1969
3.48 | 1625 ratings

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Ummagumma
Pink Floyd Psychedelic/Space Rock

Review by patrickq

3 stars I have a feeling that my take on Ummagumma is going to mirror that of many other reviewers. In short, the live disc is pretty great, and the studio disc is pretty poor.

The idea of a double-album with one live and one studio LP predated Ummagumma in the form of Wheels of Fire, the 1968 Cream released which spawned "White Room." Similarly-formatted albums over the next few years included (Untitled) (the Byrds, 1970) Eat a Peach (Allman Brothers, 1972), and Some Time In New York City (John Lennon, Yoko Ono, Elephant's Memory, 1972). There was also Live-Evil, a 1971 Miles Davis double album on which live and studio recordings were intermixed.

But whereas the Allman Brothers, Byrds, and Cream albums are still considered classics today, the reputation of Ummagumma is closer to that of Some Time in New York City.

My complaint is not that Ummagumma should've been condensed into a single album. Choosing and reassembling the best 50% of Tales from Topographic Oceans might have made for a much better album, but most of the best 50% of Ummagumma is already on one LP. Who knows, maybe with a magician like Teo Macero in charge, something like a Live-Evil might have been possible with Ummagumma; in fact, earlier in 1969, on Uncle Meat, Frank Zappa had already demonstrated some of the possibilities of using tape editing to assemble a single musical work from both live and studio sources. But short of that, my solution to the Ummagumma problem would be to decouple the live album from the studio album.

The live half of Ummagumma would be a four-star album, in my opinion. It's a fine example of the kind of prog excess that would inspire Spinal Tap, but I enjoy it anyway. Or most of it; I could do without the screaming o "Careful With That Axe." Although I acknowledge that guitarist David Gilmour was probably the only seriously talented instrumentalist on stage, both the drumming and the keyboard-guitar interplay are very good. The bass lines are also good when they're audible.

The best track on the live album is "Astronomy Domine," although both songs on Side Two are nearly as good. On the studio album, "Narrow Way" stands out as the closest to the quality of the live material. But each of the five studio songs comes across as half-baked experimentation for the sake of experimentation. The band and/or the record label must have realized that tens of thousands of consumers would purchase this either the live or studio LPs immediately and ask questions later, but to play it safe, they bundled them to make sure anyone who bought one had to pay for both.

But it's art, and it's what Pink Floyd wanted to be in the fall of 1969.

I've never been much of a Floyd fan. I enjoyed their 1980s singles, from "Another Brick in the Wall" to "Learning to Fly." I also appreciate Animals and Wish You We're Here. Ummagumma is really nothing like any of that, but the live disk is every bit as good as anything I've heard from this group.

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

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