Dez Record Guides: Pink Floyd

Space Rock, Psychedelia, Progressive Rock, Classic Rock...however you want to categorize them at different stages of their career, the enigmatic Pink Floyd has made a huge mark on rock and roll. One of the most successful purveyors of the "concept album" (in fact, a majority of their records are at least loosely conceptual), they certainly had ambition. And mostly the talent to pull it off, featuring three visionary musicians at different times. There was cult figure/acid casualty Syd Barrett, dystopia-obsessed conceptualist Roger Waters and one of the great melodic guitarists, David Gilmour. Richard Wright often gets forgotten in the mix, but he made crucial contributions as well and his majestic keyboards held it all together. (And Nick Mason played some unremarkable drums, although he has the distinction of being the only member to have played on every one of their albums).

The Piper at the Gates of Dawn (1967) *****
Is this the greatest psychedelic record ever made? It is definitely in the conversation. The only record to feature brilliant cult figure Syd Barrett (he has only one song on the sophomore effort), TPATGOD is Barrett's lasting legacy, and its strengths reflect his creative genius and descent into mental illness simultaneously. That is key to TPATGOD's success, its childlike lyrics from Barrett are underpinned by an off kilter psychedelic musical backdrop that is exciting but that also has an undercurrent of unease and darkness.

London '66/'67 (EP) (1966/1967/1995) ***
This EP contains two lengthy, tripped out psychedelic jams that were recorded but not used for a film that was made to depict trippy late-60's London. Mainly for Barrett completists, it is as close as you will probably get to hearing the Barrett-era's legendary spaced-out live shows.

Saucerful of Secrets (1968) ***
SOS is a triumph in that it is any good at all. Actually, it is quite good in spots. Imagine being Waters, Wright and Mason after TPATGOD put you on the forefront of the psychedelic vanguard, and then your visionary bandleader/lyricist/guitarist/lead singer (Syd Barrett) goes loony and cannot function anymore. First, you get lucky in picking up a new guitarist who can also share the singing load by the name of David Gilmour. That was certainly fortunate. It is also fortunate that Waters was able to step forward in the lyrics department, and all of the band members (save Mason) proved to be able songwriters. They were trying to keep their original Pink Floyd sound sans Barrett's indispensable help, but some of these songs do stand out, especially the spooky "Set the Controls For the Heart of the Sun" and "Remember a Day." Barrett was still ostensibly in the band, but he was only able to contribute one song, the farewell "Jugband Blues."

'More' (soundtrack) (1969) **
Soundtrack to a forgotten film that begins a pretty unfocused period for Pink Floyd, a period of floundering where they needed a post-Barrett sound but hadn't really found it yet.

Ummagumma (part live, part studio) (1969) **
Tough to rate, because the live record in this double is quite good and worthwhile, while the studio record is one of my least favorite stretches of music I've ever heard from a band that I otherwise really like. The live portion is four extended tunes that maintain a creepy psychedelic mood with exciting improvisation. The studio is a self-indulgent mess, where each of the band members is given half a side for their own solo experimentation. Most of it is damn near unlistenable.

Atom Heart Mother (1970) *1/2
The last entry in this rather unfocused early period, even the band dismisses this record. I had a student two years ago who swore by AHM, and we had many a discussion where he tried to convince me of the hidden brilliance therein and I tried to explain how crappy this record is. At least I had the band themselves on my side of the argument. While there are a couple of good tunes here ("Summer '68" and "If" are the standouts), it is dominated by two extended pieces. The sidelong title track features sections with such titles as 'Breast Milky' and 'Funky Dung.' Closer "Alan's Psychedelic Breakfast" is 13 minutes of sound effects.

Relics (compilation) (1971) ****
A somewhat randomly selected compilation. While it misses some important tracks, it is primarily valuable because for a long time it was the only place to get some of the brilliant Syd Barrett single-only releases, like "Arnold Layne" (the cross dressing tale that started it all) and "See Emily Play," which is one of the great psychedelic singles of the 60's. There are also some album tracks and great b-sides here. So while not a definitive compilation of the era, it remains a fantastic listen in its own right.

Meddle (1971) *****
The classic Pink Floyd sound starts here. Something clicked and they finally found a post-Syd Barrett identity. Somewhat overshadowed by Dark Side of the Moon, Meddle is a revelation once you listen to it. Part of what I enjoy about it is that there are some lighter moments that are few and far between from here on out where Roger Waters dominates the lyrics and concepts. "Seamus" is a rare Floyd blues about one of the band members' dog, and "San Tropaz" is a cheeky cocktail jazz number. "One of These Days" is as hard driving as Floyd gets, and "Fearless" should have become one of their better known numbers. But the record really rests on the 23 minute "Echoes," which stands as their greatest achievement. All of the elements are in place: the languid pace, killer melodic guitar from Gilmour, dark lyrics from Waters and enveloping and enticing mood that is set and maintained for an entire album side.

Obscured By Clouds (soundtrack) (1972) **
Soundtrack from an obscure French film. Some of this is good, but it does sound like a soundtrack. "Free Four" was a catchy single, and the title track is cool mood music.

Dark Side of the Moon (1973) *****
Not much I can add that hasn't already been said on this one. A landmark in progressive rock and rock music in general, remaining on the charts for 741 weeks (that's 1973-1988), what is perhaps most impressive about this seamless hunk of space rock is that it still sounds fresh and interesting, although you have probably heard it several hundred times.

ABOVE: The Dark Side of the Rainbow. Pink Floyd fans have long known about the supposed synchronicity between the film 'The Wizard of Oz' and DSOTM. Google it and find where to exactly start it, but the idea is that if you watch the film with the volume down and instead listen to DSOTM, they line up for fantastic effect. I tried it with a friend of mine once, and it was pretty cool in parts. "Great Gig in the Sky" works great with the tornado scene, and the munchkins do appear to be dancing to the beat of "Money." People have compiled long lists of where they supposedly correspond both musically and lyrically. The band has said it is purely coincidental.

Wish You Were Here (1975) *****
A loose concept album about Syd Barrett and the cold machine of the music industry in general, Rick Wright and David Gilmour both cited this as their favorite Floyd record. Opening with the majestic ode to Barrett featuring some of Gilmour's most lyrical playing, "Shine On You Crazy Diamond," the record then moves into typically bitter Waters territory with "Welcome To the Machine" and "Have a Cigar," which makes reference to the supposedly true story of some record company suit who met the band and asked the question, "so, which one's Pink?" The title track may be their prettiest and most heartfelt song. Another story that has been oft told about these sessions is that an unrecognizable Syd dropped by the studio to pay a visit to his former comrades. He was completely out of it and unaware that they happened to be making a record about him.

Animals (1977) ****
The peak of Roger Waters's nihilism and dystopian lyrical visions, Animals does indeed paint a bleak picture of society, dividing the people into Orwellian categories, with song titles like "Dogs," "Pigs" and "Sheep." As usual it is Gilmour and Wright's musical contributions that save the record and balance Waters's lyrical darkness with some musical warmth (a key balance in all of the best post-Barrett Floyd).

The Wall (1979) ****
Is Anybody Out There?: The Wall Live 1980-81 (live) (1980-81/2000) ****
The Wall and The Final Cut have Waters dominating the band. The Wall is his bitter ruminations on isolation and rock star madness, with the symbol of a wall separating the lonely rock star and his audience (as well as some stuff on fascist politics). To his credit, Waters makes it work, but much of the music serves the primary purpose of moving the concept forward vs. working as standalone rock music. That being said, the real songs rank amongst their best ("Another Brick in the Wall, Pt. II," "Mother," "Goodbye Blue Skies," "Young Lust," "Hey You," "Comfortably Numb" and "Run Like Hell"), and it is also notable that most of the great songs were co-written with Gilmour. "Comfortably Numb" may be their most famous song, and it fittingly is also one of their best and shows the band's qualities in the most favorable light. With Waters singing/talking the verses and Gilmour taking the majestic choruses, as well as some of Gilmour's most inspired playing, it is Pink Floyd in a nutshell. I personally prefer the live ITAOT version of The Wall, it's got a bit more muscle, and it is fun to hear Waters actually have to deal with the live audience that the record shows so much disdain for. His sarcastic exhortations at the beginning of "Run Like Hell" are worth the price of admission, as he barks like a mad dictator..."Clap your hands! Come on! Have a good time!! Enjoy yourselves!!"...he sounds anything but inviting.

The Final Cut (1983) ***
Waters takes a strand of The Wall and runs with it on what he intended to be Floyd's final record (Gilmour and co. had other ideas, though). With minimal participation from the others (Wright had left/been kicked out, and Gilmour and Mason acted as little more than session men), this is for all intents and purposes a Waters solo record. With little melody or variation, the lyrics are clearly the focus, as Waters sings about his father's death in World War II, and then takes on Thatcher's England and anti-war matters in general. Not for the casual fan, but it was never meant to be. Very interesting, but you have to have patience and give it attention. After TFC Waters called Floyd "a spent force" and declared its demise. David Gilmour did not agree...

ABOVE: One of the concepts that failed was a project they were going to call Household Objects. As the name suggests, they were going to make an entire album using only kitchen and household items for instruments. After months of experimentation, they dropped it, as Gilmour glibbly remarked, they decided that they could get the sounds they wanted better with, you know, guitars, keyboards and stuff.

A Momentary Lapse of Reason (1987) **
Delicate Sound of Thunder (live) (1988) ***
The Division Bell (1994) ***
Pulse (live) (1995) **
The Endless River (1993/2014) **
To Waters's angry surprise, Gilmour decided to continue on without him. Hence one of the most bitter and public band spats commenced, with barbs exchanged in the press and Waters's unsuccessful lawsuit to prevent the other three from touring and recording under the Pink Floyd banner. As TFC was really a Roger Waters solo record, A Momentary Lapse of Reason was really a solo David Gilmour project, with Gilmour later admitting that he included Mason and Wright more to bolster his legal claim to the Pink Floyd name in the face of Waters's lawsuit vs. using their musical input. I've got a soft spot for AMLOR, but I also have to admit that it is not very good (although "Learning To Fly" is a fantastic single). Gilmour has also been candid about the fact that AMLOR suffers lyrically from Waters's absence, and that is indeed its primary weakness. Division Bell is quite a bit better and has the loose concept of communication to hold it together, but more crucially it is more of a band record, with Rick Wright especially more of a full participant, co-writing five tunes with Gilmour and even taking the lead vocal on the excellent "Wearing the Inside Out." It got lukewarm reviews on release, but has gained a substantial cult following over the years. If you are a fan of Gilmour's guitar playing, every track features some tasty cuts of Gilmour guitar. The live records aren't so much bad as pointless.

Selected Compilations:
A Collection of Great Dance Songs (compilations) (1981) ** is most notable for its wonderfully ironic title (and cover), but it is far from definitive and fairly useless. Echoes: The Best of Pink Floyd (compilation) (2001) ***** is a fantastic double disc collection, and actually takes on a character of its own with its thematic, non-chronological track listing, as well as some creative editing. If you want a more manageable single disc collection, I guess The Best of Pink Floyd: A Foot in the Door (compilation) (2011) **** does the trick, but remember that they are so concept oriented, that it is extremely difficult to effectively distill them into a compilation. Note that in 2011, they remastered their catalogue (again) and re-released their records, with DSOTM, WYWH and The Wall also being released in deluxe sets with loads of extras.

Bottom Line: Piper at the Gates of Dawn is must have psychedelia, as are some of their early Syd Barrett singles (get "See Emily Play" somehow, some way). 1971-79 Pink Floyd is one of the most impressive streaks of any rock band and is all pretty essential stuff.