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All 1. 65 Pink Floyd Songs Ranked, From Worst to Best. Pink Floyd may be the only rock band that can credibly be compared to both the Beatles and Spinal Tap. Its mid- ’7. 0s sonic triumphs — including The Dark Side of the Moonand Wish You Were Here— are both aural delights and meaningful works of art whose message is conveyed through sound. The members of the band — Roger Waters, David Gilmour, Nick Mason, and Richard Wright — approached their work seriously and blew minds in the process.
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And it’s possible this perennially popular band has had its popularity underestimated. Over the years, I’ve become extremely impressed with an amateur music- industry analyst who lives in France, Guillaume Vieira. He obsessively collects worldwide sales data. Not sales claims; sales data.
You can read his 5. Pink Floyd sales data here. The upshot: Pink Floyd has sold more albums worldwide than the Beatles. Floyd recorded over a longer period, of course, but both groups have released about the same number of albums, and had about the same span of decades to sell their work to new generations — and in new configurations. And yet . Much of the rest of it was filled by wildly veering musical approaches, big misfires, aesthetic excesses, pratfalls, and wide- ranging acts of buffoonery you wouldn’t find surprising in a This Is Spinal Tap outtake reel. Anyway, this month marks the 5.
Times entertainment news from Hollywood including event coverage, celebrity gossip and deals. View photo galleries, read TV and movie reviews and more. All 165 Pink Floyd Songs, Ranked From Worst to Best So, you think you can tell Meddle from The Division Bell?
The Piper at the Gates of Dawn. Few Pink Floyd fans can read those words, taken from a chapter heading of The Wind in the Willows by the band’s fey original leader, Syd Barrett, without a twinge of sadness. If you’re not familiar with Barrett’s tragic tale, read on. The list that follows ranks all of the band’s officially released studio work, from the worst song to the best. In its massive confusion, this accounting — which, whether we like it or not, hangs above our cultural world, as the band itself might have put it, motionless upon the air, like an albatross — is a testament to the good humor of the gods of rock, which now and again smile upon otherwise unemployable, gangly British nitwits.
The first was a goofy and absurdist pop- rock band, led by one Syd Barrett, whose contributions were limited basically to a couple of singles and one album, The Piper at the Gates of Dawn; more on him anon. The second Pink Floyd had its origins before Barrett joined, and then reached full pretentious flower after his departure; this aggregation was one of the founders of progressive rock, a psychedelic, space- rock- y, quasi- improvisational ensemble; it proffered a whole bunch of those multipart suites and played around with atonal bashings and funny sound effects in soi- disant psychedelic happenings in Swinging London, most of it of little or no aesthetic interest this many years on. The third Pink Floyd is the one we know and love; the organic unit that created Meddle, The Dark Side of the Moon,and Wish You Were Here. You could make the argument that this phase soon evolved into a different, fourth version of the band, which saw a domineering Waters taking control and producing increasingly what were essentially Roger Waters solo albums, starting with Animals, going through The Wall and The Final Cut, and then proceeding into his solo career. Pink Floyd Phase 5 was the band that continued after Waters left, and would have been an enormous joke were it not for its record sales (big) and tour grosses (even bigger). The story is that Wright and Gilmour hashed out scores of instrumental tracks from which they picked promising tunes for their first Waters- less album. They’d had more than a decade to come up with new songs.
This made the cut? It was a watershed moment in the group’s career: Bassist Roger Waters, whose expanding vision and growing songwriting talents had given the band The Dark Side of the Moon, Wish You Were Here, Animals,and The Wall, had become (by all accounts including his own) a hellacious asshole — he’d even insisted that the band fire its original keyboardist, Richard Wright, during the recording of The Wall. After The Final Cut, Waters himself left the band, and announced that Pink Floyd was over. Right about then, the two remaining members, guitarist David Gilmour and drummer Nick Mason, realized that they controlled the name of one of the biggest entities in rock — and that, with that prick Waters gone, the conditions of actually being in that band had just improved remarkably. As for this song, to end the dreary song cycle of The Final Cut — subtitled “Requiem for the Post- War Dream by Roger Waters” — Waters rolls out a nuclear holocaust, a kablooey ex machina, and sings about it in a pinched little whiny voice that is an aesthetic holocaust just by itself. Speaking of disasters, Rolling Stone gave this overwrought, self- important, and almost unlistenable album five stars.
For the record, “Atom Heart Mother” doesn’t mean anything; it was taken from a newspaper headline. And the cow on the cover is a similar piece of absurdism. It’s just a cow. All that you can forgive. But this nonsense begins with faintly recorded horns as an intro into a six- part not- so- magnum opus. Are there passages that are vaguely interesting? Yes, but nothing to excuse the excessive length.
These days the term “progressive rock” is generally used to denote ’7. In the mid- to- late ’6.
Nice (which featured Keith Emerson, later of Emerson, Lake & Palmer), the Soft Machine, and Pink Floyd, who were basically just poking around with what was possible. There was even a time Fleetwood Mac, originally a blues band, was a considered a prog- rock outfit.) But truthfully, Pink Floyd guys never had the pure musicality, not to mention the vision, to pull anything like this together. About nine minutes in, in the part that I think is called “Mother Fore,” a stentorian choir comes in. It’s possibly the band’s most Spinal Tap–y moment.
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And in the next section, “Funky Dung,” the band lays down some hot grooves. It’s a two- disc set; the first disc has extended live versions of the band at its most space- rockin’est. The rest of the album was divided between the four band members, each of whom was given about 1.
This was part of Waters’s contribution. I would like to dock it a dozen notches for the surpassingly stupid title. The thing is, it’s actually a fairly accurate representation of what you get, which is the five minutes of chirrups and squeaks, along with the unidentified ravings of some maniac in a heavy Scottish accent.
In Pigs Might Fly, the best biography of the band, author Mark Blake says that Waters passed up a chance to have the band’s music in A Clockwork Orange. For their album of the same title, the band took their soundtrack music and added a few more songs. Toc H.,” The Piper at the Gates of Dawn (1. A very early experiment in sound- sculpturing from the band’s first album, with all sort of rollicking vocal effects, including crunches, hoots, and warblings, all while a patient bass and a decent jazzy piano line try, unsuccessfully, to hold it all together.
It seems to go on for an eternity, but when you check it seems only four- and- a- half minutes have passed — but they are trying ones indeed. The band, thinking they were onto a hot groove, had to be persuaded to reduce its length in the studio. There’s then another minute of guitar noodling from David Gilmour, in order to ditto. Wright and Gilmour really get into it — so much so that they forget to include an actual song.
Nothing ever happens. And the noodling isn’t that good. This single (the band, like many of its British counterparts at the time, released singles that didn’t appear on any of its proper albums), written by Roger Waters, has the distinction of being one of the worst singles by a major band ever released. If Stephen Bishop had come across Waters sitting on a frat- house stairway with an acoustic guitar serenading a couple of coeds, he would have grabbed the guitar and smashed it. The Wall was Waters’s magnum opus and highly biographical.