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. I don’t know if this is as good as “Happy Jack.” I don’t know if it’s as good as “In the Year 2525.” 20. 148. Waters’s junk heap of dumb musical ideas marries wan Beatle-isms to wacky rhythms, a circusy break, and sideways lurches into psychedelia, all recorded poorly and overlaid with a dreadful set of lyrics. On a pair of albums with no shortage of long, challenging songs, Coma stands out as perhaps the most challenging and definitely the longest. The title track is the second-longest song the Floyd have ever recorded, clocking in at 23 minutes and 44 seconds. Note the quizzical song title, which isn’t referenced in the song. “Marooned,” The Division Bell (1994): Marooned is how you feel listening to this pallid, five-minute-and-thirty-second guitar solo. “Mother,” The Wall (1979): Nick Mason supposedly couldn’t play the drums on this, and one of the lunks from Toto was brought in. He was portly and quiet, with his pants belted high over his stomach, his head and eyebrows shaved. The song is credited to Gilmour, a guy from Dream Academy (which had the hit “Life in a Northern Town”), and one Polly Samson, Gilmour’s then-fiancée, playing the part of Jeanine Pettibone. (The band was never on the cover of Rolling Stone until a piece about the breakup … which was published in 1987, years after it all happened.) 81. “Wot’s … Uh the Deal,” Obscured by Clouds (1972): Another good example of just how disparate the music was that the band was making in the early 1970s. It’s a perfect mediocre song to fill out six-plus minutes on a mediocre album. Sounds intriguing!”. Or something. This was farmed out to London, where a subproducer recorded a group of schoolkids — without asking the school’s, or the kids’ parents’, permission. There’s a wonderful black-and-white video to accompany it, too. This is not a dynamic player. 65. 116: Pink Floyd Opening Lyrics. 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. Comfortably Numb. Question: What was the longest song ever recorded and how long […] It is an honest intro, however: It’s bombastic, screechily voiced, filled with a leaden humor, and ridden with angular and overwhelming theatrical dynamics — just like the work it’s the intro to. https://www.loudersound.com/features/the-50-greatest-pink-floyd-songs-ever This is a plainly electronic album, but much of what we hear sounds human, organic. Ten times Pink Floyd threw the heavy duty concepts out of the window and cranked everything up to 11. “Another Brick in the Wall (Part 2)” The Wall (1979): Pigs Might Fly says that Ezrin is the guy who came up with the idea of turning a dirgey song fragment into what was essentially a disco mix; over Waters’s objections he stretched out the material they had as much as possible over a thumping beat — and said it was a single. Now let’s look at Animals’ “Dogs,” which is credited to Waters/Gilmour, and lasts for 16 minutes. But as the last track of the record it’s pretty lame. 101. Unsuspecting viewers wouldn’t know that this is a Syd Barrett reference: During the recording of Wish You Were Here, a strange man manifested himself in the control room at Abbey Road. The upshot: Pink Floyd has sold more albums worldwide than the Beatles. “Atom Heart Mother,” Atom Heart Mother (1970): This was the band’s fifth album. The first two minutes of “Interstellar Overdrive” are as good as it gets. 79. Accordingly, they represented two separate tracks on the album when it came to songwriting (or “publishing” or “mechanical” royalties) separate from the royalties the band as a whole made from the record. “Time,” The Dark Side of the Moon (1973): It’s a rough call, but this is probably the worst actual song on Dark Side. (Harper himself never cashed in on the track either; it’s not on any of his live albums.) The record is clear that Barrett the person and Barrett the inspiration remained on the minds of all the Pink Floyd band members for the rest of his life and beyond. He was 21 years old, and he created a half-dozen interesting songs, and had what was by most accounts a sparkling personality and a palpable charisma, too. 66. And docked another 20 for the fucking irony. Gilmour plays some wrenching guitar, but it doesn’t seem like his heart is in it. They gained popularity for their spacey/psychedelic rock music coupled with philosophical lyrics initially and have sold 200 million albums worldwide. There’s the clank of a cash register. This was an unaccountable pop hit in the United States. Enter an answer into the box Quiz by sabbey97. 17. The beginning here is as dramatic as anything Pete Townshend was coming up with at the time. (Pink Floyd didn’t do tight. Dark Side was certified 15 times platinum in 1998 — after everyone rebought copies of it on CD — and has sold about 23 million copies in the U.S. to date. “Poles Apart,” The Division Bell (1994): This is a song about being “poles apart”! The tune is a juicy and credible bit of garage rock, with some silky guitar and a rumbling below. The Beatles' Songs by Any Word 18; Metallica Songs 16; Another Brick In The Wall (Literally) 11 'Comfortably Numb' Lyrics 6; Pink Floyd Songs 4; Son of a Preacher Man Clicky-oke 3; U2 Songs 2; Weird Al Yankovic Songs 2; The Beatles: Song/Album Match 2; Like a Rolling Stone Clicky-oke 1 This is accompanied by some appropriate and long-overdue actual rock at the end — Gilmour pulls a great-sounding guitar sound out of his ass — and you can even hear Mason breaking a sweat. But listen closer. After the band had to leave him behind, Gilmour and Waters patiently assisted him trying to get a solo album together; this would be The Madcap Laughs, interesting but overrated. A film clip, now available on YouTube, shows him wandering around a garden on acid. “The Dogs of War” is about mercenaries. Anyway, here, Pink gets a groupie and proceeds to get a little weird. “Bring the Boys Back Home,” The Wall (1979): Just a chorus, really; this fragment from the soundtrack to The Wall should probably be part of the “Vera” sequence. Another Brick in the Wall, Pt. “Wish You Were Here,” Wish You Were Here (1975): Again, you see a good but troubled band put aside the fights, collaborate on a good song, and then record it in a way that makes the sound of it still timeless, more than 40 years on. Dee. With a lot of short fragments like “Empty Spaces,” he had the equivalent of 24 solo songwriting credits on The Wall, which, with more than 30 million copies sold worldwide, is in the top-20-biggest-selling albums of all time. One more thing. Waters bought into it. You can read his 51 pages of Pink Floyd sales data here. “Run Like Hell,” The Wall (1979): A highly credible song, from the sharp guitar attack to, for once, an appropriate setting for Waters’s cartoony voice. The group evolved into pioneers of progressive rock and symphonic music. Top 10 Worst Cover Songs. Top 5 longest Pink Floyd videos Freemanbros. Not a subtle endeavor, but I’m not going to criticize it. There’s a production sheen, sure, and some sound effects. It’s a rock band. They’d done what they’d set out to do, and now was the time to let Waters know they were through with his Great Artiste act. “That cat’s something I can’t explain” — another imagistic Barrett vision that for some reason stays with you. “See-Saw,” A Saucerful of Secrets (1968): Just what we needed, a pastoral, gossamer bit of wispy melody and fairy-tale vocalizing. Top 10 Paramore Songs. (Think of “Anyone for Tennis,” on Cream’s Wheels of Fire.). Wright, supposedly the band’s secret musical weapon, rarely produced an actual good, you know, song. The band supposedly bridled at their music being described as “space rock,” but what the hell else is this? 162. And it’s possible this perennially popular band has had its popularity underestimated. Yeah, it’s a suite; yeah, it’s whimsical; and yeah, you want to slap Jon Anderson. Top 10 Iconic Rock Songs. — urged Gilmour to dig deep in his singing, and helped him to find something soft and vulnerable in his vocals. 68. It was awesome. The 10 heaviest Pink Floyd songs. This is a fairly lame effort; you can practically feel Wright trying to put something together with the (limited) tools he’d been given. 103. The kind thing to say is that the band was still trying to find its voice. The first two tracks of Piper are groovy indeed. (A massive hit single.). “Astronomy Dominé (live),” Ummagumma (1969): It’s good to have these early live artifacts; they allow the songs to come alive in a way they wouldn’t as studio recordings alone, and live, after all, is how Pink Floyd made its bones. This is a love song. 99. The Salvation Army band or whatever it is is fine, but the Beatles had already done stuff like that and the recording of course can’t compare. As I’ve said before I respect Waters’s attempts to make coherent works about things, a stark contrast to what a lot of bands were doing in the 1970s, outside of punk I mean. Amazingly, the band hired Wright back as a session player for the shows. 104. The ending Sweeney Todd–like whistle works fabulously. Odd that during the recording process no one suggested they be improved. 89. While TDSOTM is often called a song cycle, in my mind it’s the first side where that is unquestionably the case. Sung passionately by Gilmour and Wright on the chorus, it’s an authentic protest song that raises questions for those on both sides, marking a place and a time like few other songs. Listen close to the beginning, and you can hear the mournful accordion from the work’s last track, “Outside the Wall,” and the words “… we came in?”, which complete the last words you hear on the album, “Isn’t this where…” 82. “The Post-War Dream,” The Final Cut (1983): After some scratchy radio-dial turning, à la “Wish You Were Here,” we get the intro to Waters’s dreary post-Wall indulgence. It’s too bad Waters didn’t work more closely with producers or engineers to bring more vocals like this into the mix on his work moving forward. You’ve Broken Selena’s Sacred Heart for the Last Time in New ‘De Una Vez’ Video. Top 10 Greatest Pink Floyd Songs. “Comfortably Numb,” The Wall (1979): More than anything else, there is a wistful melody here in the chorus, and the band lets it sink in, and go on as long as it needs to, tension rising each step of the way — another rare instance when you want something Pink Floyd is doing not to end. “A two-record rock opera about an unhappy rock star rather like yourself, you say? “Interstellar Overdrive,” The Piper at the Gates of Dawn (1967): Here’s the thing about Syd Barrett; besides those goofy personal compositions, he had a way with the Big Rock Song, too, and the band could actually show up when he needed them to. It’s another one of the default, mid-tempo, mid-register Gilmour numbers. 48. 114. And even in non-reversed English that’s not a particularly cutting statement. 123. 91. 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. The bands that made “epic” and art form – Pink Floyd, Jethro Tull, Mike Oldfield, Genesis, Yes, Frank Zappa, The Doors etc – are all old acts. I call him Gerald / He’s getting rather old, but he’s a good mouse.” Verses stop and go, speed up and slow down; the meter of the song is unclear and once in a while everything stops for a burst of something like white noise. “Childhood’s End,” Obscured by Clouds (1972): A Gilmour track some of whose sound would be repurposed for “Time” on TDSOTM. Can you join me in it? All that said, this is a fairly personal and knowing look at the ridiculous rock-star lifestyle, unsparing of both Rogers himself and what he’d been seeing over the previous dozen years, with what seems to be a TV droning in the background, a nice touch. The Wall was Waters’s magnum opus and highly biographical. If Terry had been given just one cent per disc sold, the 2004 settlement would have been worth some $400,000 — presumably out of Wright’s pocket. “Don’t Leave Me Now,” The Wall (1979): A nicely de-romanticized love plaint from Pink. 74. 80. They don't need no thought control. It contained the LP side-long Echoes, to many the perfect encapsulation of all Floyd’s disparate elements. 73. “Round and Around” is aimless even by the standards of A Momentary Lapse of Reason, the band’s first post-Waters album. Maybe some expert in improvised avant-garde jazz can disagree, but it seems a bit random and forced to me. 63. The rest of the album was divided between the four band members, each of whom was given about 15 minutes to play around in his own musical sandbox. “Learning to Fly,” A Momentary Lapse of Reason (1987): I hate this song for the same reason I hate “Owner of a Lonely Heart” or Permanent Vacation: It’s an overproduced, fraudulent piece of commercial crap designed to distract people from the fact that, while the name of the band on the label hasn’t changed, the creative people behind the music have. “The Final Cut,” The Final Cut (1983): Like The Wall, The Final Cut tells a story. Besides fitting in with the vicissitudes-of-modern-life theme Waters had going, the track is another homage to Barrett. More on Animals later, but I want to say this: Waters is a smart guy and I don’t want to be glib criticizing his conceptions. His sarcasm on Wish You Were Here was somewhat tempered by the loving nature of the title song and “Shine On” — not to mention having Roy Harper sing on “Have a Cigar.” But by the time of Animals, there’s something off here; his vocal is highly unsubtle, and he’s too obviously relishing in the images. 25. (Foreign rates vary, of course, but he probably got more than that at least in Europe, where songwriters get 10 percent of the wholesale price.) He gets into some wild stuff and then runs off to Ibiza with a female friend. Gilmour’s not at his best when he’s writing his own lyrics: “And then as the sail is hoist / You find your eyes are growing moist.”, 118. And then he starts playing guitar! I suppose the defense of the song would be that Gilmour wanted to make it clear he was taking the band’s focus back to the TDSOTM and WYWH era, not that of The Wall or The Final Cut. The Beatles' Songs by Any Word 23 'Comfortably Numb' Lyrics 4; Metallica Songs 2; Pink Floyd Songs 2; Longest Beatles Songs 2; Son of a Preacher Man Clicky-oke 2; U2 Songs 1 It’s about a male French college student who goes to Paris on an adventure. 64. Asked to wail, wail she did. Now, Gilmour is not an extravagant student of sounds, and he never creates an otherworldly moment; compare this, unquestionably his greatest work on record, with say, Steve Howe’s “Going for the One.” There’s really no comparison. “If,” Atom Heart Mother (1970): More of Pink Floyd’s incoherent aesthetics. A good part of The Wall is labored; Ezrin and Waters had given themselves an impossible job. “Meek and obedient / You follow the leader.” (We get it, Rog. In the film, of course, this is where director Parker and animator Gerald Scarfe turn it up to 11, as Pink’s fascist visions continue.