Artist: Pink Floyd Genre(s):
Trance
Trance: Psychedelic
Rock
Other
Rock: Hard-Rock
Electronic
Rock: Electronic
Avantgarde
Rock: Progressive
Discography:
A Momentary Lapse Of Reason (Ltd Edition Trance Remix) Year: 2006
Tracks: 8
Delicate Sound Of Thunder (CD 2) Year: 2005
Tracks: 8
Delicate Sound Of Thunder (CD 1) Year: 2005
Tracks: 7
Atom Heart Mother Year: 2005
Tracks: 5
The Pearl Of Pink Floyd Year: 2004
Tracks: 8
Pink Floyd Remixes Year: 2004
Tracks: 10
Pigs and Pyramids Year: 2003
Tracks: 11
The Wall (Cd1) Year: 2001
Tracks: 13
Echoes: The Best Of Pink Floyd (CD 2) Year: 2001
Tracks: 13
Echoes: The Best Of Pink Floyd (CD 1) Year: 2001
Tracks: 13
Echoes: The Best of Pink Floyd Year: 2001
Tracks: 26
Animals Year: 2001
Tracks: 5
A Saucerful Of Secrets Year: 2001
Tracks: 7
Wish You Were Here - Mixed Year: 2000
Tracks: 5
Is There Anybody Out There (CD 2) Year: 2000
Tracks: 14
Is There Anybody Out There (CD 1) Year: 2000
Tracks: 16
Pulse (Cd2) Year: 1995
Tracks: 13
Pulse (Cd1) Year: 1995
Tracks: 11
The Division Bell Year: 1994
Tracks: 11
The Early Singles (1967-1968) Year: 1992
Tracks: 10
Ummagumma Year: 1990
Tracks: 2
The Delicate Sound Of Thunder (Cd2) Year: 1988
Tracks: 8
The Delicate Sound Of Thunder (Cd1) Year: 1988
Tracks: 7
Delicate Sound of Thunder (Live) Year: 1988
Tracks: 14
Delicate Sound Of Thunder Year: 1988
Tracks: 26
A Momentary Lapse Of Reason Year: 1987
Tracks: 10
Works (1968-1973) Year: 1983
Tracks: 10
Works Year: 1983
Tracks: 10
The Final Cut Year: 1983
Tracks: 12
The Final Cutting Year: 1982
Tracks: 13
Collection Of Great Dance Songs Year: 1981
Tracks: 6
A Collection Of Great Dance Songs Year: 1981
Tracks: 6
A Collection Of Great Dance So Year: 1981
Tracks: 6
Wallpower (28 Feb 1980, Nassau) Year: 1980
Tracks: 26
The Wall (cd2) Year: 1979
Tracks: 13
Under Construction Year: 1978
Tracks: 28
Madison Square Garden Year: 1977
Tracks: 2
In The Flesh - CD2 Year: 1977
Tracks: 7
In The Flesh - CD1 Year: 1977
Tracks: 6
Azimuth Coordinator 2 - CD2 Year: 1977
Tracks: 6
Azimuth Coordinator 2 - CD1 Year: 1977
Tracks: 7
Animals (Live) Year: 1977
Tracks: 5
Wish You Were Here Year: 1975
Tracks: 5
The Late Great Millard Tapes - CD3 Year: 1975
Tracks: 2
The Late Great Millard Tapes - CD2 - DARK SIDE OF THE MOON Year: 1975
Tracks: 10
The Late Great Millard Tapes - CD1 Year: 1975
Tracks: 9
Dark Side Of The Moon (Live for BBC) Year: 1974
Tracks: 10
Brain Damage (1974-11-16) Year: 1974
Tracks: 10
Remergence Year: 1973
Tracks: 6
Dark Side Of The Moon Year: 1973
Tracks: 10
Winterland 1972 - CD3 Year: 1972
Tracks: 3
Winterland 1972 - CD2 Year: 1972
Tracks: 11
Winterland 1972 - CD1 Year: 1972
Tracks: 13
The Dome, Brighton, Uk Dsom Rehearsals (1972-01-20) Year: 1972
Tracks: 12
Staying Home To Watch The Rain CD1 Year: 1972
Tracks: 9
Obscured By Clouds Year: 1972
Tracks: 10
Eclipse - A Piece For Assorted Lunatics Rev A CD1 Year: 1972
Tracks: 13
Relics Year: 1971
Tracks: 11
Meddle Year: 1971
Tracks: 6
Bytes Of The Talisman Year: 1971
Tracks: 6
Zabriskie Point Cd2 Year: 1970
Tracks: 8
Zabriskie Point CD1 Year: 1970
Tracks: 11
Interstellar Encore (1970-04-29) Year: 1970
Tracks: 5
Zabriskie Point - The Sessions CD1 Year: 1969
Tracks: 16
Zabriskie Point - The Sessio.. Year: 1969
Tracks: 11
Unmamaqumma Year: 1969
Tracks: 12
Ummagumma (Studio) Year: 1969
Tracks: 12
Ummagumma (Live) Year: 1969
Tracks: 4
The Massed Gadgets Of Auximenes Year: 1969
Tracks: 11
More Year: 1969
Tracks: 13
Complete Concertgebouw 1969 CD1 Year: 1969
Tracks: 9
Early Singles Year: 1968
Tracks: 10
The Piper At The Gates Of Dawn Year: 1967
Tracks: 11
Unknown Live Bootleg Year:
Tracks: 9
Mixes Year:
Tracks: 25
Meddle (Trance Remix) Year:
Tracks: 6
Live and Rare, CD2 Year:
Tracks: 17
Live and Rare, CD1 Year:
Tracks: 19
BBC Concert Classic 1970-1971 Year:
Tracks: 7
Atom Heart Mother - Limited Edition Trance Remix Year:
Tracks: 5
Animals (Limited Edition Trance Remix) Year:
Tracks: 5
A Clear View (live ) Year:
Tracks: 8
Pink Floyd is the pM space tilt band. Since the mid-'60s, their medicine unrelentingly tinkered with electronics and all personal manner of exceptional effects to push pop formats to their outer limits. At the same time they wrestled with lyrical themes and concepts of such massive scale leaf that their music has taken on almost classical, operatic character, in both well-grounded and words. Despite their astral effigy, the grouping was brought down to earthly concern in the 1980s by in spades unremarkable power struggles over leadership and, in the end, possession of the band's very name. After that time, they were little more than than a dinosaur represent, capable of filling stadiums and topping the charts, but offering niggling more than a spectacular diversion of their nearly successful formulas. Their latter-day staleness cannot camouflage the fact that, for the first-class honours degree decade or so of their cosmos, they were one of the to the highest degree forward-looking groups about, in concert and (specially) in the studio apartment.
Patch Pink Floyd ar largely known for their grandiose construct albums of the 1970s, they started as a selfsame different sorting of psychedelic band. Soon later they start began playing unitedly in the mid-'60s, they felled seam firmly under the leadership of track guitar player Syd Barrett, the gifted genius wHO would write and sing to the highest degree of their early material. The Cambridge aboriginal shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick Mason (drums). The name Pink Floyd, on the face of it so far-out, was really derived from the first-class honours degree names of deuce ancient bluesmen (Pink Anderson and Floyd Council). And at first-class honours degree, Pink Floyd were a great deal more than conventional than the act into which they would evolve, concentrating on the john Rock and R&B material that were so common to the repertoires of mid-'60s British bands.
Garden pink Floyd quickly began to experiment, still, stretching out songs with barbaric instrumental disorientation passages incorporating feedback; electronic screeches; and strange, eery sounds created by garish amplification, reverb, and such tricks as sliding clump bearings up and down guitar strings. In 1966, they began to clean up a following in the London metro; onstage, they began to incorporate light shows to add together to the psychedelic effect. Most importantly, Syd Barrett began to draw up pop-psychedelic gems that combined unusual psychedelic arrangements (specially in the persistent guitar and celestial organ licks) with catchy melodies and sharp lyrics that viewed the macrocosm with a good sense of poetic, wide-eyed marvel.
The mathematical group landed a recording squeeze with EMI in early 1967 and made the Top 20 with a bright debut single, "Arnold Layne," a harmonic, amusing vignette about a cross-dresser. The follow-up, the kaleidoscopical "See Emily Play," made the Top Ten. The debut record album,
The Piper at the Gates of Dawn, besides released in 1967, may hold been the sterling British psychedelic record album other than
Sgt. Pepper's. Dominated about wholly by Barrett's songs, the album was a charming fun family of driving, mystifying rockers ("Devil Sam"); left part sketches ("The Gnome"); childhood flashbacks ("Bike," "Matilda Mother"); and freakier pieces with drawn-out instrumental passages ("Uranology Domine," "Interstellar Overdrive," "Prisoner of war R Toch") that mapped extinct their captivation with blank travel. The record was non only when like no other at the time; it was wish no other that Pink Floyd would make, one-sided as it was by a visual modality that was far more humourous, pop-friendly, and lighthearted than those of their subsequent epics.
The reasonableness Pink Floyd never made a like album was that
Genus Piper was the just i to be recorded under Barrett's leadership. Around mid-1967, the prodigy began viewing more and more alarming signs of mental unbalance. Barrett would go catatonic onstage, playing music that had slight to do with the material, or not playing at all. An American term of enlistment had to be cut myopic when he was scantily capable to single-valued function at all, permit unequalled play the pop star secret plan. Dependent upon Barrett for about of their visual sensation and material, the pillow of the grouping was all the same finding him impossible to work with, live or in the studio apartment.
Around the source of 1968, guitar player Dave Gilmour, a ally of the band wHO was besides from Cambridge, was brought in as a fifth member. The mind was that Gilmour would enable the Floyd to continue as a live turnout; Barrett would still be able to write and chip in to the records. That couldn't work either, and within a few months Barrett was extinct of the grouping. Pink Floyd's management, looking at at the wreckage of a band that was now without its lead guitarist, lead vocalizer, and primary ballad maker, decided to give up the radical and wield Barrett as a solo represent.
Such calamities would have proven unsurmountable for 99 out of hundred bands in like predicaments. Incredibly, Pink Floyd would regroup and non only when maintain their popularity, just finally get even more successful. It was early in the biz yet, after all; the starting time album had made the British Top Ten, merely the grouping was noneffervescent virtually unknown in America, where the red of Syd Barrett meant nix to the media. Gilmour was an first-class guitar player, and the band proved subject of written material enough original material to generate further ambitious albums, Waters eventually emerging as the dominant composer. The 1968 followup to
Genus Piper at the Gates of Dawn,
A Saucerful of Secrets, made the British Top Ten, victimization Barrett's imagination as an obvious blueprint, only taking a more formal, sombre, and quasi-classical whole step, especially in the long instrumental parts. Barrett, for his constituent, would go on to do a couple of interesting solo records earlier his mental problems instigated a retreat into limbo.
Over the following quadruplet long time, Pink Floyd would cover to polish their make of experimental careen, which married psychedelia with ever-grander arrangements on a Wagnerian operatic musical scale. Hidden underneath the impulse, reverberant variety meat and guitars and insistently restated themes were pernicious blues and pop influences that kept the material accessible to a broad consultation. Abandoning the singles marketplace, they concentrated on album-length works, and reinforced a huge following in the progressive john Rock subway with invariant touring in both Europe and North America. While LPs like
Ummagumma (shared out into live recordings and experimental outings by each member of the band),
Molecule Heart Mother (a coaction with composer Ron Geesin), and
More than... (a film soundtrack) were erratic, each contained some passing effective euphony.
By the early '70s, Syd Barrett was a fading or nonexistent memory for most of Pink Floyd's fans, although the grouping, one could fence, never did match the brilliance of that more or less anomalous 1967 debut.
Tamper (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 steel of cosmic rock fifty-fifty more approachable with state of the art production; more focused songwriting; an army of well-time stereophonic heavy personal effects; and touches of saxophone and soulful female backing vocals.
Dark Side of the Moon eventually bust Pink Floyd as superstars in the United States, where it made number one. More amazingly, it made them one of the biggest-selling acts of the Apostles of all clock time.
Dark Side of the Moon spent an uncomprehensible 741 weeks on the Billboard record album chart. Additionally, the in the main instrumental textures of the songs helped make
Dark Side of the Moon easy transmutable on an international grade, and the record became (and smooth is) one of the to the highest degree popular rock albums worldwide.
It was also an exceedingly grueling act to follow, although the follow-up,
Wish You Were Here (1975), as well made number one and only, highlighted by a tribute of sorts to the long-departed Barrett, "Beam On You Crazy Diamond."
Black Side of the Moon had been dominated by lyrical themes of insecurity, fear, and the stale asepsis of modern life;
Wish You Were Here and
Animals (1977) developed these moody themes fifty-fifty more explicitly. By this meter Waters was taking a steady hand over Pink Floyd's lyrical and melodic vision, which was consolidated by
The Wall (1979).
The black, overambitious double concept album implicated itself with the corporeal and worked up walls modern humans build around themselves for survival of the fittest.
The Wall was a immense succeeder (fifty-fifty by Pink Floyd's standards), in constituent 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 more and more elaborate point shows throughout the '70s, simply the touring production of
The Wall, featuring a construction of an actual wall during the band's functioning, was the nearly undue yet.
In the 1980s, the radical began to unknot. Each of the four-spot had done some position and solo projects in the past; more troublingly, Waters was declaratory control of the band's musical and lyrical identity. That wouldn't take been such a trouble had
The Final Cut (1983) been such an unimpressive crusade, with slight of the electronic foundation so typical of their old work. Shortly after, the ring split up -- for a patch. In 1986, Waters was suing Gilmour and Mason to dissolve the group's partnership (Wright had preoccupied total membership condition all); Waters mixed-up, going away a Roger-less Pink Floyd to get a Top Five album with
Momentaneous Lapse of Reason in 1987. In an irony that was null less than cosmic, nearly 20 days after Pink Floyd moult their original leader to take up their life history with great commercial success, they would do the like once again to his replacement. Waters released ambitious solo albums to null more than temper sales and attention, patch he watched his late colleagues (with Wright back in tow) rescale the charts.
Pink Floyd soundless had a vast winnow alkali, but there's little that's noteworthy close to their post-Waters yield. They knew their rule, could do it on a distinguished scale, and could count on millions of customers -- many of them unborn when
Non-white Side of the Moon came out, and unaware that Syd Barrett was ever a member -- to buy their records and see to it their sporadic tours.
The Division Bell, their number one studio album in seven years, topped the charts in 1994 without fashioning whatsoever encroachment on the electric current john Rock scene, exclude in a marketing sense. Ditto for the alive
Heartbeat album, recorded during a typically in an elaborate way arranged 1994 circuit, which included a concert version of
The Dark Side of the Moon in its integrality. Waters' solo career sputtered along, highlighted by a solo recreation of
The Wall, performed at the site of the one-time Berlin Wall in 1990, and released as an album. Syd Barrett continued to be completely removed from the public eye demur as a sort of pilot for the fallen genius.
