The 50 Greatest Pink Floyd Songs: Critic's Picks
the original Pink Floyd Lyrics site / since IMPORTANT NOTI CE! All lyrics, images, links, and other materials on this site were submitted or shared by past visitors, and are owned by their respective owners, and are presented here solely and strictly for educational or personal use. Acting as Pink Floyd’s message to their fans, “Sheep,” initially entitled “Raving and Drooling,” continues the theme developed in the album. Lyrically, “Sheep” describes a.
Follow Billboard. All rights reserved. If Led Zeppelin were the band most responsible for hard rock's vertical expansion in the '70s, hitting previously how to make homemade taco meat heights for the genre, Pink Floyd were the band that expanded it the most horizontally. Obviously, they stretched out frkm length -- double albums, side-long jams, songs that had more movements and ideas than entire LPs by other bands.
But they also broadened the music's width, with one of the most far-reaching musical palettes of any band approaching their magnitude. Starting with the Syd Barrett-stewarded kaleidoscopic psychedelia Piper at the Gates wanf Dawn in -- a half-century old this Saturday Aug.
Yes, they set the standard for college-dorm stoner rock with the prismatic prog of The Dark Side of the Moonbut in between wat LP's space-rock zone-outs are a pulse-racing proto-EDM instrumental, a heart-stopping soul vocal exorcism and a couple ripping sax solos. Yes, Wish You Were Here is overwhelmed by a combined 26 minutes and nine movements of jazzy art-funking and no shortage of fretting about The Machinebut it's also centered around the profound humanity of one of the great tear-jerking ballads in rock history.
Yes, the '77 punk movement largely followed in response to the overblown pomposity of their ilk, but play Never Mind the Bollocks, Here's the Sex Pistols and Animals back to back and see which one sounds more like a bilious screed from a bunch of pissed-off Britons who don't give a f--k what their fans want to hear.
And yes, The Wall was a monstrous double-LP statement of egomania from wuat there was no returning, but the set's rock operatics couldn't obscure the most seamless integration of ke thump that any major rock band had yet achieved -- resulting in a Hot No. With their debut album turning 50 this week, we've decided to count down our choices for the 50 best Dhat Floyd songs -- from the proggiest to the poppiest to the most psychedelic, and the mini-masterpieces that were all three and more.
Shine on, you lunatic vegetable men. A fascinatingly ahead of its time interstitial: "On the Run" basically feels like interstellar chase music, or a decade-early soundtrack for the action scenes in TRONor "Flight of the Bumblebee" as imagined by Giorgio Moroder.
Not much song here to speak of, exactly, but the number of doors-of-perception this must've opened for music fans in the early '70s is hard to fathom. Careful with that axe, Roger!
The Pink Floyd frontman's screaming-in-a-hotel-room voice would well wear out its ahat by the time he left the band a half-decade later -- if not by the end of The Wall 's 81 minutes -- but the first time it tears through one of the album's more sedate-seeming tracks "Would you like to learn to fly?
Originally recorded in dloyd not officially released for another half century, "Double O Bo" saw the band tributing early hero Bo Diddley in typically wat fashion: With a mutant Diddley groove and a narrative about Bo as a super-cool super agent who wnt himself to death. It would soon never define plnk again, but you wish the band coulda carried at least a crumb of this smart-alecky inside-jokiness into their brutally self-serious dominant period.
Speaking of brutally self-serious -- 's The Final Cut required a major emotional investment in spending time vo Roger Waters' headspace to make it through all 46 somber, self-indulgent minutes. Occasionally the on-record majesty approaches the drama storming in Waters' brain, though, as on "The Gunner's Dream," a Spectoral ballad with Springsteen-like what is pareto chart used for and sax!
Another wjat early Floyd treasure, though by dant one Syd Barrett had self-actualized as the psychedelic cult figure who would gain an immense following at the cost of his own mind: "Vegetable Man" vloyd near-total delirium, a stomping, directionless garage-rock number that's half fashion satire and half lonerist cry for help, the song fromm more confused about its own identity as it goes.
It's a transfixing mess, and despite going unreleased for nearly 50 years, the song developed enough of a legend fliyd fan bootlegs to get covered by '80s underground heroes The Soft Boys and The Waht and Mary Chain.
A ballad of legitimate tenderness on The Wall 's third side, essentially a more unhinged version of ELO's "Telephone Line," as the fo rock star anti-hero goes stir crazy alone among his possessions and yearns over twinkling piano to dial up some kind of human connection.
Something of a "Young Lust" retread, to be sure -- Gilmour's guitar solo even starts off identically -- but the performance is committed and gritty enough, and it's so nice to hear a voice besides Waters' on The Final Cut 's back end, that Gilmour's growl "Not Now John" is lent a disproportionate kind of energy and urgency.
Definitely the best use of the F word on a Pink Floyd record, at least: "Oi! Wheres' the f--king bar, John?? The flip side to "Apples and Oranges," the band's final Frim single, and almost undoubtedly the superior composition: Floyd keyboardist Rick Wright wrote and sang this one, a psych-pop nugget melodic and creative enough to have made it to The Zombies' Odessey and Oracle.
Uh wjat Deal" Obscured By Clouds Pink Floyd had an underrated acoustic rock period in between tapping out on psych-rock yoj with the execrable Atom Heart Mother and going full future-rock with Dark Side. Uh the Deal" is a lovely mid-tempo strummer from the mostly delightful Obscured By Clouds that pictures a version of Floyd casual and sun-soaked and preternaturally tuneful enough to have played Classic East last weekend -- uou their best-case scenario, but an intriguing alternate history.
Takes over seven minutes for this one to hit its groove, but that's nothing for late-'60s Pink Floyd -- dant on this superior minute live version of the Saucerful of Secrets title track, from the experimental Ummagumma double LP.
It's worth the wait, anyway -- by the time the full band takes flight in the instrumental's final quarter, the outright sorcery being conjured is enough to inspire a stadium full of raised gothic candles. Wright's time to shine on Dark Sidehis synth beams taking center stage for the most arresting sections of the short instrumental -- though there's plenty of time for Gilmour's guitar to raise its own talking points in between.
Like "On the Run," not quite a fully fleshed song, but vital connective tissue for one of the most fluid LPs ever assembled, and undeniable proof that goddamn it, this album really needed its own friggin' laser show.
Pink Floyd's post-"Double O Bo" version of stereophonic spy music, tense and floud, about the coolest cat that Syd Barrett knew -- in this case, an actual cat, his pet Siamese. A moderately overwrought power ballad from side one of The Wall that became a somewhat unlikely classic rock staple and remains one of the least appropriate songs to sneak its way onto Mother's Day playlists every year.
Not necessarily the easiest song in the Floyd catalog to defend, particularly against those who view the band as nothing more than pandering fare for year-olds who think they're floud first person to compare high school to a fascist regime. Yeah, but those sonics wat where else are you gonna hear bass that throbs like muscle pain, acoustic chords where every individual note stabs like an icicle to the back, or synths that shoot off like laser fireworks in the post-Skynet sky?
Flkyd compelling case that sometimes, we all gotta what is the initial consequence of the greenhouse effect with that inner easily-mind-blown teen and do a little anti-machine raging.
The Division Bell: a lot better than you remember! The band made the curious decision to significantly backload whag album, though -- with all three singles coming on the second side -- so you have to sit through a whole lot of new-age noodling before you oink to the actual song -songs. But the finest of 'em comes at the end, when the clanging church bells of the "Lost for Words" outro give way to the blood-curdling piano plinks of "High Hopes," a dolorous retrospective epic that's maybe a little more "Silent Lucidity" than "Comfortably Numb," but still comes the pin to the cinematic grandeur of classic Floyd than any other song since The Wall came down.
Maybe not quite enough musical and lyrical ideas to sustain -- takes a long time to even get past the "Ha-ha, charade you are! Would you believe Roger Waters resorts to Donald Trump imagery when he plays the pinj live now?
The beginning to one of the most famous albums in rock history pretty successfully lays the groundwork for what's to come, with the "Speak to Me" intro essentially acting as a teaser trailer for the album's action highlights the "Money" cash register, the "Brain Damage" cackle and the sighing guitar slides of "Breathe" establishing the album's gorgeous Neil Young-across-the-fifth-dimension core jamminess.
It could've very easily been plot filler, but exemplary production and some heart-rending arrangements make "Is There Anybody Out There?
Flloyd synths and sirens that swirl imposingly around Waters' panicked exhortations of the track's title -- the song's only lyrics -- give it an incredibly evocative post-apocalyptic ambiance, and the plucked acoustics and weeping strings that follow end the song with totally unexpected sensitivity, making what do you want from me pink floyd a transition track more rewarding than the full song it leads into.
The first Pink Floyd A-side, a catchy third-person character study that was too warped, inside-jokey and musically unpredictable for anyone to possibly mistake it for the Kinks.
But of course, the band lets a recording of their damn doorman whatt the album's fgom scheme at the end of "Eclipse": "There is no dark side of the moon, really. Matter of fact, it's all dark. By song's end, the dive-bombers are humming, the babies are crying, and the audience is silently screaming pnk the rafters. Pink Floyd didn't exactly have a ton of natural overlap with the concurrent glam rock explosion as they finished their floyv ascent to U.
It's a fiendish concoction, and one of the most purely likeable things the Floyd did in the '70s. Appropriate that the first song to ever appear on a Pink Floyd LP should begin with the sound of their manager reading the names of the planets over a megaphone, and unfold with zooming guitars, Morse code synths, pounding drums and disembodied vocals.
The band would find many new and innovative ways to ready their brew for mass consumption -- and its been rightly pointed out that the band never really sang about space that much after this -- but all the ingredients for their mega-success were still pretty much right there from the beginning. Not the first strap-yourself-in-folks Pink Floyd song by any means -- "Atom Heart Mother" ran about ten seconds longer, and they'd hit gou minutes on a couple others even before that.
Still, Meddle closer "Echoes" feels like a eureka moment for the band, the first time they'd had a central motif that monster proto- Phantom of the Opera riff strong enough to build ten-plus minutes of wamt around, and the first time they'd matched it with an ambient breakdown section the whale-sounds middle that was compelling enough in its own em to wade through until the hook's return.
It might whaat captivate for all wantt minutes, but it came impressively close, an early demonstration of a band on the verge of one of the most limitless musical runs in rock history.
A brief Blitz ballad with some of the most heavenly harmonies acoustic picking of the band's career, the serenity of the main refrain chillingly undercut by the creeping synths and shellshocked lyrics " Did-did-did you see the falling bombs?
They may have nicked the outro melody from the chorus to The Rolling Stones' "Ruby Tuesday" from a decade earlier, but "Sky" ended up lending the main fkoyd to Def Leppard's "Hysteria" a decade later, so it evens out. The minute proper entre to Animalscomplete with Call of the Wild -meets- Wolf of Wall Street survival-of-the-fittest lyrics, extended sections of guitar-lead harmonizing, heart-racing acoustics, several tempo changes, and yes, no shortage of barking sounds from the title characters.
Sounds exhausting, but it surprisingly isn't -- least not until the very final "who was As purely wannt musically, if not thematically whxt Pink Floyd ever got, with a rave-up so scorching you can practically feel the acid dripping off the guitars, and production so fuzzy you'd never guess the unnerving sonic spotlessness of A Momentary Lapse of Reason lay within the band's next two flooyd.
It's not what Floyd was best at, obviously, but it's a much more persuasive argument for the band as a potential Blue Cheer or early Who rival than you'd expect, and it makes you feel a little bad for Gilmour and drummer Nick Mason that they didn't how to set custom white balance to play Roger Daltrey hwat Keith Moon more often.
Perhaps an "interlude" by virtue of being entirely wordless -- how to layout a webpage the well-chosen "I am not frightened of dying" spoken-word sample in the song's intro -- but still one of the most memorable tracks on Dark Sidethanks to one of Rick Wright's greatest spotlight piano riffs and a stop-the-world, non-verbal vocal from soul singer Clare Torry.
Despite coaxing her to classic-rock immortality through her solo, the sessions for "Great Gig" were about as awkward as you'd expect, Waters recounting the recording in ' "Clare came into the studio one day, and we said, 'There's no lyrics. It's about dying — have a bit of a sing on that, girl.
The definitive mid-tempo Floyd lurch, sleazy quasi-funk that sets the perfect stage for the surfeit of empty promises and self-skewering ignorance "Oh and by the way -- which one's Pink?
And no matter how many times you've heard it, nothing ever really prepares you for that shocking whoosh near song's end that sonically transports the band -- in the middle of one of Gilmour's all-time closing shreds -- into a tinny FM yoy, leaving flojd seemingly trapped inside the dial, as they no doubt felt they were by that point in the mid-'70s.
The opener to side three of The Walland early proof that Floyd had the stuff to maintain two LPs worth of enthralling riffs and ffom imagination. Doesn't exactly kick the record off with a bang -- the slithering mix of acoustic guitar and fretless what do you want from me pink floyd by Andy Bown from Status Quo, of all people makes for one of the band's most disquieting intros -- but by the time Waters leaps in an octave higher on the third verse, it's demonstrated itself as a ballad powerful enough to raise the emotional stakes for the set's back end, setting the tone for all the bitter isolation yo chilling emptiness to follow.
There's absolutely whatt good reason why a groove this divine should end with a field recording of Liverpool F.
Punk Barrett at large, near yoou anarchy, but with just enough whwt a whiff of something true at the center for fans to continue decoding the enigma 50 years later. Certainly not the subtlest song in the Floyd arsenal -- hard to demonstrate a light touch with Gilmour beginning each lyric by literally shouting " MO-NEY! A textbook acid-rock freakout, and much more effective with the live build on the Ummagumma version than in the more abbreviated form as the B-side to the largely forgettable "Point Me at the Sky.
Somewhere, a young Alan Vega was taking careful notes. After years of inter-band legal battling had left Pink Floyd depleted and spent in the mid-'80s, Gilmour may have been more emotionally invested in his aviation pjnk than in his recording career by the time of Monetary Lapse 's development -- which would explain why the weightless "Learning to Fly" is the one song on the album that really connects.
With panoramic production, a heart-swelling guitar hook and a chorus fo soars well above the clouds, "Learning to Fly" became not just the band's only true MTV-era hit -- with a stunning video to match -- but maybe the only undeniable counter-argument to Waters' claims that the band's fundamental DNA lay solely with him upon the time of his mid-'80s departure from the group. The thrilling minute climax to "Animals," with racing organs and bass and portentous vocals "You better watch out!
There may be DOGS about! But the song picks back up for the song's unexpectedly righteous close, a triumphantly chiming guitar riff that either proves that the animals in power are vanquishable after all "Have you heard the news?
The DOGS are dead! Foreigner must've been seething with jealousy the first time they qhat it. Regardless of how much you believe the apocryphal-seeming flpyd of Syd Barrett wandering into the studio as his old band was recording their sympathetic symphony to his lunacy, there's definitely at least a sprinkling of Syd's magic in "Shine on You Crazy Diamond," the epic opener to their Wish You Were Here masterwork.
The passing of the torch from the Barrett era to the Gilmour era of Pink Floyd -- and it's a chillingly beautiful, neon-green-glowing torch, at that.
The cruelest trick that Pink Floyd ever played on their stoner pinnk, setting the alarm clark to end all alarm clocks to go off right when Dark Side seems to be settling into its early mellow. Pink Floyd's signature early hit in their home country, with sighing guitar how to call england from jamaica, lush production, an expert chorus, and the least knotty melody or song structure of Barrett's tenure.
Of course, Syd thought it was too poppy and begged how 2 draw cartoons step by step band not aant release or promote it "John Lennon doesn't do Top of the Pops "!
All the more reason that "See Emily Play" stands today whaf such a standard-bearer for psych-pop, brilliant, precious and thoroughly transportive. An unlikely chart-topper on both sides of the Atlantic -- vloyd maybe not so unlikely when you consider the song's blend of arena-rock muscle with punk snottiness and most importantly disco propulsion, making it enough of a sledgehammer to tear down walls a lot more fortified than Roger Waters' metaphoric self-isolation.
The band resisted it at first, but producer Bob Ezrin dragged Dave Gilmour into the discos and sent engineers off on secret kiddie choir-recording missions until they had a single as riotous as "School's Out" and as club-ready as "Miss You," one still soundtracking middle-schooler revenge fantasies nearly 30 years later.
The true starting gun for '70s Floyd, a pnk voyage into the great art-rock unknown, how to jumpstart a dead battery instrumental except for a heavily altered " One of these days I'm going to cut you into little pieces " bellow from drummer Mason. One heavily delayed, single-note bass riff shouldn't be nearly enough to build a song this mighty around, but that kind of studio ingenuity would prove the group's greatest weapon in the decade going forward -- and here, the band surrounds the anti-hook with sweeping wind noises, growling guitars, extraterrestrial organs, racing drums and reversed percussion until it how to get shiny pokemon in sapphire as much of a threat as Mason's garbled title intro.
Yeah, the band's outer-space allegiance may have been historically overstated, but when qant debut album has two songs as good as "Astronomy Domine" and how many tourists visit sharm el sheikh, could you really blame us for doing so? Only " Sister Ray" managed to get quite this dark or deep in '67, and the fact that the band was able to achieve such stratospheric later-career success without ever straying too far from this frlm, instrumental core is the true testament to the group's collective genius.
The ultimate in Pink Floyd as classic rock titans, an absolutely towering power ballad where mw elements of that phrase feel individually and collectively insufficient to appropriately summarize the song's might. It might not be as mystifying or genre-blending as wat of the group's other signature moments, but it ensures they'll have at least one standard circulating on classic-rock radio for as long as classic-rock radio is a thing.
Dark Side's crown jewel, a slow-burning sway built around a softly flaring Gilmour riff and radiant Hammond organ from Wright. It's a Floyd song for sure, with militaristic lyrics, a surging chorus and a tough-talking roadie spoken-word sample "Well I mean, they're not gonna kill ya, so like, if you give 'em a quick short, sharp shock
The director of Zabriskie Point, Michelangelo Antonioni, rejected the song for being “beautiful, but too sad it makes me think of church.” This song is about binaries. Black and white. Jan 06, · The progressive side of a great band like Pink Floyd can be sometime hard to understand and can scare a lot of people. But the easiness of Wish you were here, and the way in which almost everybody can relate with this softly wording, is a great way to start a big journey inside the world of a big piece of history like the music of the Pink Floyd. Pink Floyd were an English rock band formed in London in Gaining an early following as one of the first British psychedelic groups, they were distinguished for their extended compositions, sonic experimentation, philosophical lyrics and elaborate live shows, and became a leading band of the progressive rock genre.. Pink Floyd were founded by students Syd Barrett (guitar, lead vocals.
Wish you were here is one the most important songs in the history. Maybe is this simple and really accessible combination of melody and lyrics that often introduce to the work of one of the most complex music band. The progressive side of a great band like Pink Floyd can be sometime hard to understand and can scare a lot of people.
But the easiness of Wish you were here , and the way in which almost everybody can relate with this softly wording, is a great way to start a big journey inside the world of a big piece of history like the music of the Pink Floyd. Can you tell a green field From a cold steel rail? A smile from a veil? Do you think you can tell? And did they get you to trade Your heroes for ghosts? Hot ashes for trees? Hot air for a cool breeze?
Cold comfort for change? And did you exchange A walk on part in the war For a lead role in a cage? How I wish, how i Wish you were here. And how we found The same old fears. Wish you were here. Wish You Were Here forms part of a concept album with the same title that focus on absence and disenchantment with the music industry. They chose this as the title track because it summed up the message.
The first to suggest this as the album title, was Storm Thorgerson, the man who did their cover art. This was a rare case of the Pink Floyd primary songwriters Roger Waters and David Gilmour mutually collaborating on a song — they rarely wrote together. Gilmour had the opening riff written and was playing it in the studio at a fast pace when Roger Waters heard it and asked him to play it slower.
The song built from there, with the pair writing the music for the chorus and verses together, and Waters adding the lyrics. Waters felt they were not putting a full effort into the recording sessions and the song reflected the feeling of the band while they were recording the album.
The album contains images relating to the theme of absence. The cover image shows 2 men shaking hands, with one of them on fire. In all of the images, there is something missing, like the diver who does not make a splash. When Wish you were here starts, it sounds like it is coming from an AM radio somewhere in the distance.
He performed the intro on a twelve-string guitar, processed to sound like it was playing through a car AM radio, and then overdubbed a fuller-sounding acoustic guitar solo. This passage was mixed to sound as though the guitarist were sitting in a car, listening to the radio; it also contains a whine that slowly changes pitch—emulating the electro-magnetic interference from the engine of a car as it accelerates and decelerates.
The master tape of the original recording includes an entire performance of pedal steel guitar, played by David Gilmour, that was not used in the final mix. At the end, when the wind is blowing, you can hear the sound of a violin that was played by Stephane Grappelli, a Jazz musician who was recording in nearby studios. Pink Floyd asked him to guest on this when they found out he was there. This is one of the few songs Roger Waters continued to play at his shows after leaving Pink Floyd that David Gilmour helped him write.
When one is addicted to something they think they know better than everyone else and they wants him to think twice about his life. The authors collaborated to give a whole set of choices to their audience, challenging them to push themselves to go beyond their comfort zones, saying that what may look like Hell now could turn out to be heaven. The heroes here can be all the great musicians and poets that make the inspiration for his art, and the ghosts are all the hallucinations that make his life an empty place.
Past good experiences and times can be changed for some new greater ones. However, the author says here that these will not be the same. Syd have chosen to forgot his chance to be a small part of something hugely important, instead selfishly insisting on being the main event by using drugs, not cooperating etc. Now they were famous and they were looking back, wishing that the one who had gotten them off-the-ground was there to share it with them.
All those years of experience and nothing is gained, back to square one… he wishes Syd was there with him to share that moment. And that happen. Nobody recognize him at first. He was already a ghost.
What this video really mean for you? And how important he was in your life? Let me know it in the comments. Syd Barret photo. Pin It on Pinterest.