Pink Floyd
Biography
Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly tinkered with electronics and all manner of special effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale that their music has taken on almost classical, operatic quality, in both sound and words. Despite their astral image, the group was brought down to earth in the 1980s by decidedly mundane power struggles over leadership and, ultimately, ownership of the band's very name. After that time, they were little more than a dinosaur act, capable of filling stadiums and topping the charts, but offering little more than a spectacular recreation of their most successful formulas. Their latter-day staleness cannot disguise the fact that, for the first decade or so of their existence, they were one of the most innovative groups around, in concert and (especially) in the studio.
While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they started as a very different sort of psychedelic band. Soon after they first began playing together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett, the gifted genius who would write and sing most of their early material. The Cambridge native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink Floyd were much more conventional than the act into which they would evolve, concentrating on the rock and R&B material that were so common to the repertoires of mid-'60s British bands.
Pink Floyd quickly began to experiment, however, stretching out songs with wild instrumental freak-out passages incorporating feedback; electronic screeches; and unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball bearings up and down guitar strings. In 1966, they began to pick up a following in the London underground; on-stage, they began to incorporate light shows to add to the psychedelic effect. Most importantly, Syd Barrett began to compose pop-psychedelic gems that combined unusual psychedelic arrangements (particularly in the haunting guitar and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world with a sense of poetic, childlike wonder.
The group landed a recording contract with EMI in early 1967 and made the Top 20 with a brilliant debut single, "Arnold Layne," a sympathetic, comic vignette about a transvestite. The follow-up, the kaleidoscopic "See Emily Play," made the Top Ten. The debut album, The Piper at the Gates of Dawn, also released in 1967, may have been the greatest British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barrett's songs, the album was a charming fun house of driving, mysterious rockers ("Lucifer Sam"); odd character sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with lengthy instrumental passages ("Astronomy Domine," "Interstellar Overdrive," "Pow R Toch") that mapped out their fascination with space travel. The record was not only like no other at the time; it was like no other that Pink Floyd would make, colored as it was by a vision that was far more humorous, pop-friendly, and lighthearted than those of their subsequent epics.
The reason Pink Floyd never made a similar album was that Piper was the only one to be recorded under Barrett's leadership. Around mid-1967, the prodigy began showing increasingly alarming signs of mental instability. Barrett would go catatonic on-stage, playing music that had little to do with the material, or not playing at all. An American tour had to be cut short when he was barely able to function at all, let alone play the pop star game. Dependent upon Barrett for most of their vision and material, the rest of the group was nevertheless finding him impossible to work with, live or in the studio.
Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also from Cambridge, was brought in as a fifth member. The idea was that Gilmour would enable the Floyd to continue as a live outfit; Barrett would still be able to write and contribute to the records. That couldn't work either, and within a few months Barrett was out of the group. Pink Floyd's management, looking at the wreckage of a band that was now without its lead guitarist, lead singer, and primary songwriter, decided to abandon the group and manage Barrett as a solo act.
Such calamities would have proven insurmountable for 99 out of 100 bands in similar predicaments. Incredibly, Pink Floyd would regroup and not only maintain their popularity, but eventually become even more successful. It was early in the game yet, after all; the first album had made the British Top Ten, but the group was still virtually unknown in America, where the loss of Syd Barrett meant nothing to the media. Gilmour was an excellent guitarist, and the band proved capable of writing enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 follow-up to Piper at the Gates of Dawn, A Saucerful of Secrets, made the British Top Ten, using Barrett's vision as an obvious blueprint, but taking a more formal, somber, and quasi-classical tone, especially in the long instrumental parts. Barrett, for his part, would go on to make a couple of interesting solo records before his mental problems instigated a retreat into oblivion.
Over the next four years, Pink Floyd would continue to polish their brand of experimental rock, which married psychedelia with ever-grander arrangements on a Wagnerian operatic scale. Hidden underneath the pulsing, reverberant organs and guitars and insistently restated themes were subtle blues and pop influences that kept the material accessible to a wide audience. Abandoning the singles market, they concentrated on album-length works, and built a huge following in the progressive rock underground with constant touring in both Europe and North America. While LPs like Ummagumma (divided into live recordings and experimental outings by each member of the band), Atom Heart Mother (a collaboration with composer Ron Geesin), and More... (a film soundtrack) were erratic, each contained some extremely effective music.
By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the group, one could argue, never did match the brilliance of that somewhat anomalous 1967 debut. Meddle (1971) sharpened the band's sprawling epics into something more accessible, and polished the science fiction ambience that the group had been exploring ever since 1968. Nothing, however, prepared Pink Floyd or their audience for the massive mainstream success of their 1973 album, Dark Side of the Moon, which made their brand of cosmic rock even more approachable with state-of-the-art production; more focused songwriting; an army of well-time stereophonic sound effects; and touches of saxophone and soulful female backup vocals.
Dark Side of the Moon finally broke Pink Floyd as superstars in the United States, where it made number one. More astonishingly, it made them one of the biggest-selling acts of all time. Dark Side of the Moon spent an incomprehensible 741 weeks on the Billboard album chart. Additionally, the primarily instrumental textures of the songs helped make Dark Side of the Moon easily translatable on an international level, and the record became (and still is) one of the most popular rock albums worldwide.
It was also an extremely hard act to follow, although the follow-up, Wish You Were Here (1975), also made number one, highlighted by a tribute of sorts to the long-departed Barrett, "Shine On You Crazy Diamond." Dark Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the cold sterility of modern life; Wish You Were Here and Animals (1977) developed these morose themes even more explicitly. By this time Waters was taking a firm hand over Pink Floyd's lyrical and musical vision, which was consolidated by The Wall (1979).
The bleak, overambitious double concept album concerned itself with the material and emotional walls modern humans build around themselves for survival. The Wall was a huge success (even by Pink Floyd's standards), in part because the music was losing some of its heavy-duty electronic textures in favor of more approachable pop elements. Although Pink Floyd had rarely even released singles since the late '60s, one of the tracks, "Another Brick in the Wall," became a transatlantic number one. The band had been launching increasingly elaborate stage shows throughout the '70s, but the touring production of The Wall, featuring a construction of an actual wall during the band's performance, was the most excessive yet.
In the 1980s, the group began to unravel. Each of the four had done some side and solo projects in the past; more troublingly, Waters was asserting control of the band's musical and lyrical identity. That wouldn't have been such a problem had The Final Cut (1983) been such an unimpressive effort, with little of the electronic innovation so typical of their previous work. Shortly afterward, the band split up -- for a while. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had lost full membership status entirely); Waters lost, leaving a Roger-less Pink Floyd to get a Top Five album with Momentary Lapse of Reason in 1987. In an irony that was nothing less than cosmic, about 20 years after Pink Floyd shed their original leader to resume their career with great commercial success, they would do the same again to his successor. Waters released ambitious solo albums to nothing more than moderate sales and attention, while he watched his former colleagues (with Wright back in tow) rescale the charts.
Pink Floyd still had a huge fan base, but there's little that's noteworthy about their post-Waters output. They knew their formula, could execute it on a grand scale, and could count on millions of customers -- many of them unborn when Dark Side of the Moon came out, and unaware that Syd Barrett was ever a member -- to buy their records and see their sporadic tours. The Division Bell, their first studio album in seven years, topped the charts in 1994 without making any impact on the current rock scene, except in a marketing sense. Ditto for the live Pulse album, recorded during a typically elaborately staged 1994 tour, which included a concert version of The Dark Side of the Moon in its entirety. Waters' solo career sputtered along, highlighted by a solo recreation of The Wall, performed at the site of the former Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the public eye except as a sort of archetype for the fallen genius. ~ Richie Unterberger, All Music Guide
Selected Discography

Echoes: The Best Of Pink Floyd
2001

The Division Bell
1994

Delicate Sound Of Thunder (Live)
1988

A Momentary Lapse Of Reason
1987

The Final Cut
1983

The Wall
1979

Animals
1977

Wish You Were Here
1975

The Dark Side Of The Moon
1973

Obscured By Clouds
1972

Meddle
1971

Atom Heart Mother
1970

Ummagumma
1969

Music From The Film More
1969

A Saucerful Of Secrets
1968
pink floyd is possiblely the best of the psychadelic bands of all time . even in the 80s and 90s they where great . who ever wrote the band description on here needs to really listen to division bell . its a great albulm and the shows they performed were some of the best ever not the work of dinosaurs
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Best concert experience all time: saw Pink Floyd at Mile High stadium back in the 90's. Right as I walked in there was a group of police keeping the crowd from trampling some dude passed out face down in his own vomit. Dude got so messed up he didn't even make it to the opening band. It was then that I realized I was in for something really special.
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I grew up with Pink Floyd (thanks Dad!). I was born in 1981, so I had plenty of time to enjoy the music and build up a real appreciation for it. To this day, I am still a big fan of The Wall.
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I love Pink Floyd. Undoubtedly one of my all-time favorite bands. I do prefer the post Barret songs, but I love all of Pink Floyd, really.
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It's a preference which, I want to dedicate to this profile against the secret
terror and the number from that B**CH that,could not chain that neither one dol lard BILL from the national economy with the Sept.11/2001 attack continuation l ooking for and remaining on division line against our nation...hon o r s : "The Wall". by Pink Floyd >ticher< let the kids alone!! |
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whoever say Floyd was no good till after Syd died needs to do their homework.... . S y d only just recently died a few years ago.
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their song "In The Flesh" was banned because it was "racist".
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..."one could argue" that! I'd say it's sadistically brilliant for making anyone that listens to it want or even try to kill themselves.
Anyway, besides the whole Syd Barrett thing, Pink Floyd is probably my favorite band. |
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shaun dwyer....Are you a complete idiot or something? Gilmour used to be IN Pink Floyd. That's why he can play their songs at his concerts. He wrote a lot of their best tracks, even though he didn't write most of the songs. Roger Waters is great, too (I personally like Gilmour better).
The band became much better after Syd Barrett died (no offense Syd). "...one could argue, never did match the brilliance of that somewhat anomalous 1967 debut." REALLY? That hunk of crap? I don't even know how "o |
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One of THE GREATEST ROCK BANDS EVER!!!!!!!! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
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i just saw live in berlin
freakin mind blowing how many fans were there! i would of loved to have seen them live.... |
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Pink Floyd tickets 1973 Cow Palace S.F. $10.00 one hit of four way windowpane $2.50 a lifetime of memories PRICELESS!!! ! !
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"It's a shame that egos had to bring them down."
Isn't that how it normally works for humans? |
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For me there are gems on pretty much all of their works. It's a shame that egos had to bring them down.
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To have an appreciation for Pink Floyd is to have an appreciation for the beauty of sound. Listen to all of their works with an open mind. Some are more likeable than others. To only listen to the "Big 3" (Dark Side of the Moon, Wish You Were Here and The Wall) is a bit limiting. But by no means is it "one size fits all". Some like the very early stuff, some don't...some like the later stuff, some think it's a cheap knock-off, but it's really all about the beauty of sound.
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Wow, that last statement is just about as ignorant as a statement can be.
Do you even listen to your own Floyd station? Do you realize that you have a number of thumbed up songs on there that were written by Gilmour? You even have several of Gilmour's solo works on it. Why say something if it has no basis in fact? Remember, it is better to keep your mouth shut and have everybody think you a fool than to open it and remove all doubt. |
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Roger Waters made the band a success, he wrote all lyrics (deep). Gilmour is a cheap copy TRYING to sound like Pink Floyd.
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NOTHING comes close to these guys. NOTHING.<--- - - - -
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To say that Hendrix never got the dues owed him is like saying that Hitler was a bit pushy. All I ever heard about growing up through the 60' & 70's was how great Hendrix was. It got to the point that I hated and denounced him just because of the hype.
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Nothing trippy-er than a Floyd 3-D Laser Light Show!!! .....so when is ROSTER MCCABE gonna have a 3-D Laser Light Show?! ha that would be amazing..... g o t my glasses ready B}
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thank you for the comment on Hendrix he never really got the dues owed him.
if you have never heard Ummagumma, i suggest you do |
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I highly doubt that in the few months between the release of Are You Experienced and The Piper at the Gates of Dawn there was much influencing of musical styles between the two, anthony.
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I find it sort of funny that the only way they could create this music is if they are on some kind of drug. Now that I think about it, all visionaries were on something( Hendrix, Pink Floyd, The Doors). Hendrix definitely was much more visionary than anyone else though. Without his redefining of the electric guitar and its sonic capabilities , there never would of been any Pink Floyd. so go listen to some Hendrix.
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Somehow this entry fails to mention that Syd Barret lost his mind to acid... or that Pink Floyd's launch into psychedelic pre-eminence came as leader's of tripping shows. Great Britain's Grateful Dead. Their story doesn't make sense without it.
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if i were given an ultimatum of choosing only one band to listen to for the remainder of my life..... pink floyd
pf has helped me to understand "how it was, how it is, and how it is going to be... top notch... |
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Pink Floyd has been my since bak in the 60s when i first started listing to them. Their music has always sent my mind whirling.Som e t h i n g about their music did mezmerize me and even now that iam in my early 70s it still does that thing to my head which has always h.ard to put into words.I can listen to them all day .
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Pandora does a good job, overall, but there are other electronic "space rock" bands that haven't been mentioned, like Hawkwind and Tangerine Dream ( the earlier stuff ). What makes Pink Floyd special is that they write great tunes. You can hum PF. And should :)
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welcome to machine blows my mind each and every time
a saucerful of secrets and ummagumma are my top albums from pink floyd... |
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