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Pink Floyd
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Pink Floyd
Pink Floyd in January 1968, from one of the only known photoshoots of all five members. Clockwise from bottom: Gilmour, Mason, Barrett, Waters, Wright
Background information
Origin
London, England
Genres
Progressive rock
art rock
psychedelic rock
Years active
1965–1995
2005
2012–2014
Labels
EMI Columbia
Tower
Harvest
Capitol
Columbia
Sony Music
EMI
Parlophone
Website
pinkfloyd.com
Past members
Nick Mason
Roger Waters
Richard Wright
Syd Barrett
David Gilmour
Pink Floyd were an English rock band formed in London in 1965. They achieved international acclaim with their progressive and psychedelic music. Distinguished by their use of philosophical lyrics, sonic experimentation, extended compositions, and elaborate live shows, they are one of the most commercially successful and influential groups in popular music history.
Pink Floyd were founded by students Syd Barrett on guitar and lead vocals, Nick Mason on drums, Roger Waters on bass and vocals, and Richard Wright on keyboards and vocals. They gained popularity performing in London's underground music scene during the late 1960s, and under Barrett's leadership released two charting singles and a successful debut album, The Piper at the Gates of Dawn (1967). Guitarist and vocalist David Gilmour joined in December 1967; Barrett left in April 1968 due to deteriorating mental health. Waters became the band's primary lyricist and conceptual leader, devising the concepts behind their albums The Dark Side of the Moon (1973), Wish You Were Here (1975), Animals (1977), The Wall (1979) and The Final Cut (1983). The Dark Side of the Moon and The Wall became two of the best-selling albums of all time.
Following creative tensions, Wright left Pink Floyd in 1979, followed by Waters in 1985. Gilmour and Mason continued as Pink Floyd; Wright rejoined them as a session musician and, later, band member. The three produced two more albums—A Momentary Lapse of Reason (1987) and The Division Bell (1994)—and toured through 1994. After nearly two decades of enmity, Gilmour, Wright, and Mason reunited with Waters in 2005 to perform as Pink Floyd in London as part of the global awareness event Live 8; Gilmour and Waters later stated they had no further plans to reunite the band. Barrett died in 2006, and Wright in 2008. The final Pink Floyd studio album, The Endless River (2014), was recorded without Waters and based almost entirely on unreleased material.
Pink Floyd were inducted into the American Rock and Roll Hall of Fame in 1996 and the UK Music Hall of Fame in 2005. By 2013, the band had sold more than 250 million records worldwide.
Contents
1 History
1.1 1963–1967: Early years
1.1.1 Formation
1.1.2 Signing with EMI
1.1.3 The Piper at the Gates of Dawn
1.2 1967–1978: Transition and international success
1.2.1 Replacement of Barrett by Gilmour
1.2.2 A Saucerful of Secrets
1.2.3 Ummagumma, Atom Heart Mother, and Meddle
1.2.4 The Dark Side of the Moon
1.2.5 Wish You Were Here
1.2.6 Animals
1.3 1978–1985: Waters-led era
1.3.1 The Wall
1.3.2 The Final Cut
1.3.3 "A spent force", Waters' departure and legal battles
1.4 1985–1994: Gilmour-led era
1.4.1 A Momentary Lapse of Reason
1.4.2 The Division Bell
1.5 2005–2016: Reunion, deaths, and final album
1.5.1 Live 8 reunion
1.5.2 Deaths of Barrett and Wright
1.5.3 Further performances and re-releases
1.5.4 The Endless River
2 Musicianship
2.1 Genres
2.2 Gilmour's guitar work
2.3 Sonic experimentation
2.4 Film scores
2.5 Live performances
3 Lyrical themes
3.1 Disillusionment, absence, and non-being
3.2 Exploitation and oppression
3.3 Alienation, war, and insanity
4 Recognition and influence
5 Members
6 Discography
7 Tours
8 Notes
9 References
10 Sources
11 Further reading
11.1 Documentaries
12 External links
History
1963–1967: Early years
Formation
Roger Waters and Nick Mason met while studying architecture at the London Polytechnic at Regent Street.[1] They first played music together in a group formed by Keith Noble and Clive Metcalfe with Noble's sister Sheilagh. Richard Wright, a fellow architecture student,[nb 1] joined later that year, and the group became a sextet, Sigma 6. Waters played lead guitar, Mason drums, and Wright rhythm guitar (since there was rarely an available keyboard).[3] The band performed at private functions and rehearsed in a tearoom in the basement of the Regent Street Polytechnic. They performed songs by the Searchers and material written by their manager and songwriter, fellow student Ken Chapman.[4]
In September 1963, Waters and Mason moved into a flat at 39 Stanhope Gardens near Crouch End in London, owned by Mike Leonard, a part-time tutor at the nearby Hornsey College of Art and the Regent Street Polytechnic.[5][nb 2] Mason moved out after the 1964 academic year, and guitarist Bob Klose moved in during September 1964, prompting Waters' switch to bass.[6][nb 3] Sigma 6 went through several names, including the Meggadeaths, the Abdabs and the Screaming Abdabs, Leonard's Lodgers, and the Spectrum Five, before settling on the Tea Set.[7][nb 4] In 1964, as Metcalfe and Noble left to form their own band, guitarist Syd Barrett joined Klose and Waters at Stanhope Gardens.[11] Barrett, two years younger, had moved to London in 1962 to study at the Camberwell College of Arts.[12] Waters and Barrett were childhood friends; Waters had often visited Barrett and watched him play guitar at Barrett's mother's house.[13] Mason said about Barrett: "In a period when everyone was being cool in a very adolescent, self-conscious way, Syd was unfashionably outgoing; my enduring memory of our first encounter is the fact that he bothered to come up and introduce himself to me."[14]
Noble and Metcalfe left the Tea Set in late 1963, and Klose introduced the band to singer Chris Dennis, a technician with the Royal Air Force (RAF).[15] In December 1964, they secured their first recording time, at a studio in West Hampstead, through one of Wright's friends, who let them use some down time free. Wright, who was taking a break from his studies, did not participate in the session.[16][nb 5] When the RAF assigned Dennis a post in Bahrain in early 1965, Barrett became the band's frontman.[17][nb 6] Later that year, they became the resident band at the Countdown Club near Kensington High Street in London, where from late night until early morning they played three sets of 90 minutes each. During this period, spurred by the group's need to extend their sets to minimise song repetition, the band realised that songs could be extended with lengthy solos', wrote Mason.[18] After pressure from his parents and advice from his college tutors, Klose quit the band in mid-1965 and Barrett took over lead guitar.[19] The group first referred to themselves as the Pink Floyd Sound in late 1965. Barrett created the name on the spur of the moment when he discovered that another band, also called the Tea Set, were to perform at one of their gigs.[20] The name is derived from the given names of two blues musicians whose Piedmont blues records Barrett had in his collection, Pink Anderson and Floyd Council.[21]
By 1966, the group's repertoire consisted mainly of rhythm and blues songs and they had begun to receive paid bookings, including a performance at the Marquee Club in March 1966, where Peter Jenner, a lecturer at the London School of Economics, noticed them. Jenner was impressed by the sonic effects Barrett and Wright created, and with his business partner and friend Andrew King became their manager.[22] The pair had little experience in the music industry and used King's inheritance to set up Blackhill Enterprises, purchasing about £1,000 (equivalent to £17,100 in 2016[23]) worth of new instruments and equipment for the band.[nb 7] It was around this time that Jenner suggested they drop the "Sound" part of their band name, thus becoming the Pink Floyd.[25] Under Jenner and King's guidance, the group became part of London's underground music scene, playing at venues including All Saints Hall and the Marquee.[26] While performing at the Countdown Club, the band had experimented with long instrumental excursions, and they began to expand them with rudimentary but effective light shows, projected by coloured slides and domestic lights.[27] Jenner and King's social connections helped gain the band prominent coverage in the Financial Times and an article in the Sunday Times which stated: "At the launching of the new magazine IT the other night a pop group called the Pink Floyd played throbbing music while a series of bizarre coloured shapes flashed on a huge screen behind them ... apparently very psychedelic."[28]
In 1966, the band strengthened their business relationship with Blackhill Enterprises, becoming equal partners with Jenner and King and the band members each holding a one-sixth share.[25] By late 1966, their set included fewer R&B standards and more Barrett originals, many of which would be included on their first album.[29] While they had significantly increased the frequency of their performances, the band were still not widely accepted. Following a performance at a Catholic youth club, the owner refused to pay them, claiming that their performance was not music.[30] When their management filed suit in a small claims court against the owner of the youth organisation, a local magistrate upheld the owner's decision. The band was much better received at the UFO Club in London, where they began to build a fan base.[31] Barrett's performances were enthusiastic, "leaping around ... madness ... improvisation ... [inspired] to get past his limitations and into areas that were ... very interesting. Which none of the others could do", wrote biographer Nicholas Schaffner.[32]
Signing with EMI
In 1967, Pink Floyd began to attract the attention of the music industry.[33][nb 8] While in negotiations with record companies, IT co-founder and UFO club manager Joe Boyd and Pink Floyd's booking agent Bryan Morrison arranged and funded a recording session at Sound Techniques in West Hampstead. Three days later, Pink Floyd signed with EMI, receiving a £5,000 advance (equivalent to £83,300 in 2016[23]). EMI released the band's first single, "Arnold Layne", with the B-side "Candy and a Currant Bun", on 10 March 1967 on its Columbia label.[35][nb 9] Both tracks were recorded on 29 January 1967.[36][nb 10] "Arnold Layne"'s references to cross-dressing led to a ban by several radio stations; however, creative manipulation by the retailers who supplied sales figures to the music business meant that the single peaked in the UK at number 20.[38]
EMI-Columbia released Pink Floyd's second single, "See Emily Play", on 16 June 1967. It fared slightly better than "Arnold Layne", peaking at number 6 in the UK.[39] The band performed on the BBC's Look of the Week, where Waters and Barrett, erudite and engaging, faced tough questioning from Hans Keller.[40] They appeared on the BBC's Top of the Pops, a popular programme that controversially required artists to mime their singing and playing.[41] Though Pink Floyd returned for two more performances, by the third, Barrett had begun to unravel, and it was around this time that the band first noticed significant changes in his behaviour.[42] By early 1967, he was regularly using LSD, and Mason described him as "completely distanced from everything going on".[43]
The Piper at the Gates of Dawn
Main article: The Piper at the Gates of Dawn
Morrison and EMI producer Norman Smith negotiated Pink Floyd's first recording contract, and as part of the deal, the band agreed to record their first album at EMI Studios in London.[44][nb 11] Mason recalled that the sessions were trouble-free. Smith disagreed, stating that Barrett was unresponsive to his suggestions and constructive criticism.[46] EMI-Columbia released The Piper at the Gates of Dawn in August 1967. The album peaked at number 6, spending 14 weeks on the UK charts.[47] One month later, it was released under the Tower Records label.[48] Pink Floyd continued to draw large crowds at the UFO Club; however, Barrett's mental breakdown was by then causing serious concern. The group initially hoped that his erratic behaviour would be a passing phase, but some were less optimistic, including Jenner and his assistant, June Child, who commented: "I found [Barrett] in the dressing room and he was so ... gone. Roger Waters and I got him on his feet, [and] we got him out to the stage ... The band started to play and Syd just stood there. He had his guitar around his neck and his arms just hanging down".[49]
Forced to cancel Pink Floyd's appearance at the prestigious National Jazz and Blues Festival, as well as several other shows, King informed the music press that Barrett was suffering from nervous exhaustion.[50] Waters arranged a meeting with psychiatrist R. D. Laing, and though Waters personally drove Barrett to the appointment, Barrett refused to come out of the car.[51] A stay in Formentera with Sam Hutt, a doctor well established in the underground music scene, led to no visible improvement. The band followed a few concert dates in Europe during September with their first tour of the US in October.[52][nb 12] As the US tour went on, Barrett's condition grew steadily worse.[54] During appearances on the Dick Clark and Pat Boone shows in November, Barrett confounded his hosts by not responding to questions and staring off into space. He refused to move his lips when it came time to mime "See Emily Play" on Boone's show. After these embarrassing episodes, King ended their US visit and immediately sent them home to London.[55][nb 13] Soon after their return, they supported Jimi Hendrix during a tour of England; however, Barrett's depression worsened as the tour continued, reaching a crisis point in December, when the band responded by adding a new member to their line-up.[57][nb 14]
1967–1978: Transition and international success
Replacement of Barrett by Gilmour
In December 1967, the group added guitarist David Gilmour as the fifth member of Pink Floyd.[60][nb 15] Gilmour already knew Barrett, having studied with him at Cambridge Tech in the early 1960s.[13] The two had performed at lunchtimes together with guitars and harmonicas, and later hitch-hiked and busked their way around the south of France.[62] In 1965, while a member of Joker's Wild, Gilmour had watched the Tea Set.[63] Morrison's assistant, Steve O'Rourke, set Gilmour up in a room at O'Rourke's house with a salary of £30 per week (equivalent to £500 in 2016[23]), and in January 1968, Blackhill Enterprises announced Gilmour as the band's newest member; the second guitarist and its fifth member, the band intending to continue with Barrett as a nonperforming songwriter.[64] Jenner commented: "The idea was that Dave would ... cover for [Barrett's] eccentricities and when that got to be not workable, Syd was just going to write. Just to try to keep him involved".[65][nb 16] In an expression of his frustration, Barrett, who was expected to write additional hit singles to follow up "Arnold Layne" and "See Emily Play", instead introduced "Have You Got It Yet?" to the band, intentionally changing the structure on each performance so as to make the song impossible to follow and learn.[60] In a January 1968 photo-shoot of the five-man Pink Floyd, the photographs show Barrett looking detached from the others, staring into the distance.[67]
Working with Barrett eventually proved too difficult, and matters came to a conclusion in January while en route to a performance in Southampton when a band member asked if they should collect Barrett. According to Gilmour, the answer was "Nah, let's not bother", signalling the end of Barrett's tenure with Pink Floyd.[68][nb 17] Waters later admitted, "He was our friend, but most of the time we now wanted to strangle him".[70] In early March 1968, Pink Floyd met with business partners Jenner and King to discuss the band's future; Barrett agreed to leave.[71]
Jenner and King believed Barrett to be the creative genius of the band, and decided to represent him and end their relationship with Pink Floyd.[72] Morrison then sold his business to NEMS Enterprises, and O'Rourke became the band's personal manager.[73] Blackhill announced Barrett's departure on 6 April 1968.[74][nb 18] After Barrett's departure, the burden of lyrical composition and creative direction fell mostly on Waters.[76] Initially, Gilmour mimed to Barrett's voice on the group's European TV appearances; however, while playing on the university circuit, they avoided Barrett songs in favour of Waters and Wright material such as "It Would Be So Nice" and "Careful with That Axe, Eugene".[77]
A Saucerful of Secrets
Main article: A Saucerful of Secrets
The psychedelic artwork for A Saucerful of Secrets was the first of many Pink Floyd covers designed by Hipgnosis
In 1968, Pink Floyd returned to Abbey Road Studios to record their second album, A Saucerful of Secrets. The album included Barrett's final contribution to their discography, "Jugband Blues". Waters began to develop his own songwriting, contributing "Set the Controls for the Heart of the Sun", "Let There Be More Light" and "Corporal Clegg". Wright composed "See-Saw" and "Remember a Day". Norman Smith encouraged them to self-produce their music, and they recorded demos of new material at their houses. With Smith's instruction at Abbey Road, they learned how to use the recording studio to realise their artistic vision. However, Smith remained unconvinced by their music, and when Mason struggled to perform his drum part on "Remember a Day", Smith stepped in as his replacement.[78] Wright recalled Smith's attitude about the sessions, "Norman gave up on the second album ... he was forever saying things like, 'You can't do twenty minutes of this ridiculous noise'".[79] As neither Waters nor Mason could read music, to illustrate the structure of the album's title track, they invented their own system of notation. Gilmour later described their method as looking "like an architectural diagram".[80]
Released in June 1968, the album featured a psychedelic cover designed by Storm Thorgerson and Aubrey Powell of Hipgnosis. The first of several Pink Floyd album covers designed by Hipgnosis, it was the second time that EMI permitted one of their groups to contract designers for an album jacket.[81] The release peaked at number 9, spending 11 weeks on the UK chart.[47] Record Mirror gave the album an overall favourable review, but urged listeners to "forget it as background music to a party".[80] John Peel described a live performance of the title track as "like a religious experience", while NME described the song as "long and boring ... [with] little to warrant its monotonous direction".[79][nb 19] On the day after the album's UK release, Pink Floyd performed at the first ever free concert in Hyde Park.[83] In July 1968, they returned to the US for a second visit. Accompanied by the Soft Machine and the Who, it marked Pink Floyd's first significant tour.[84] In December of that year, they released "Point Me at the Sky"; no more successful than the two singles they had released since "See Emily Play", it would be the band's last until their 1973 release, "Money".[85]
Ummagumma, Atom Heart Mother, and Meddle
Main articles: Ummagumma, Atom Heart Mother, and Meddle
Waters performing with Pink Floyd at Leeds University in 1970
Ummagumma represented a departure from their previous work. Released as a double-LP on EMI's Harvest label, the first two sides contained live performances recorded at Manchester College of Commerce and Mothers, a club in Birmingham. The second LP contained a single experimental contribution from each band member.[86] Ummagumma received positive reviews upon its release, in November 1969.[87] The album peaked at number 5, spending 21 weeks on the UK chart.[47]
In October 1970, Pink Floyd released Atom Heart Mother.[88][nb 20] An early version premièred in France in January, but disagreements over the mix prompted the hiring of Ron Geesin to work out the sound issues. Geesin worked to improve the score, but with little creative input from the band, production was troublesome. Geesin eventually completed the project with the aid of John Alldis, who was the director of the choir hired to perform on the record. Smith earned an executive producer credit, and the album marked his final official contribution to the band's discography. Gilmour said it was "A neat way of saying that he didn't ... do anything".[90] Waters was critical of Atom Heart Mother, claiming that he would prefer if it were "thrown into the dustbin and never listened to by anyone ever again".[91] Gilmour was equally dismissive of the album and once described it as "a load of rubbish", stating: "I think we were scraping the barrel a bit at that period".[91] Pink Floyd's first number 1 album, Atom Heart Mother was hugely successful in Britain, spending 18 weeks on the UK chart.[47] It premièred at the Bath Festival on 27 June 1970.[92]
Pink Floyd toured extensively across America and Europe in 1970.[93][nb 21] In 1971, Pink Floyd took second place in a reader's poll, in Melody Maker, and for the first time were making a profit. Mason and Wright became fathers and bought homes in London while Gilmour, still single, moved to a 19th-century farm in Essex. Waters installed a home recording studio at his house in Islington in a converted toolshed at the back of his garden.[94]
Pink Floyd in 1971; this picture was used on the inside cover of the album Meddle
In January 1971, upon their return from touring Atom Heart Mother, Pink Floyd began working on new material.[95] Lacking a central theme, they attempted several unproductive experiments; engineer John Leckie described the sessions as often beginning in the afternoon and ending early the next morning, "during which time nothing would get [accomplished]. There was no record company contact whatsoever, except when their label manager would show up now and again with a couple of bottles of wine and a couple of joints".[96] The band spent long periods working on basic sounds, or a guitar riff. They also spent several days at Air Studios, attempting to create music using a variety of household objects, a project which would be revisited between The Dark Side of the Moon and Wish You Were Here.[97]
Released in October 1971, "Meddle not only confirms lead guitarist David Gilmour's emergence as a real shaping force with the group, it states forcefully and accurately that the group is well into the growth track again", wrote Jean-Charles Costa of Rolling Stone.[98][nb 22][nb 23] NME called Meddle "an exceptionally good album", singling out "Echoes" as the "Zenith which the Floyd have been striving for".[102] However, Melody Maker's Michael Watts found it underwhelming, calling the album "a soundtrack to a non-existent movie", and shrugging off Pink Floyd as "so much sound and fury, signifying nothing".[103] Meddle is a transitional album between the Barrett-influenced group of the late 1960s and the emerging Pink Floyd.[104] The LP peaked at number 3, spending 82 weeks on the UK chart.[47]
The Dark Side of the Moon
Main article: The Dark Side of the Moon
The iconic artwork for The Dark Side of the Moon was designed by Hipgnosis and George Hardie.
Pink Floyd recorded The Dark Side of the Moon between May 1972 and January 1973, with EMI staff engineer Alan Parsons at Abbey Road. The title is an allusion to lunacy rather than astronomy.[105] The band had composed and refined the material on Dark Side while touring the UK, Japan, North America and Europe.[106] Producer Chris Thomas assisted Parsons.[107] Hipgnosis designed the album's packaging, which included George Hardie's iconic refracting prism design on the cover.[108] Thorgerson's Dark Side album cover features a beam of white light, representing unity, passing through a prism, which represents society. The resulting refracted beam of coloured light symbolises unity diffracted, leaving an absence of unity.[109] Waters is the sole author of the album's lyrics.[110]
Pink Floyd performing on their early 1973 US tour, shortly before the release of The Dark Side of the Moon
Released in March 1973, the LP became an instant chart success in the UK and throughout Western Europe, earning an enthusiastic response from critics.[111] Each member of Pink Floyd except Wright boycotted the press release of The Dark Side of the Moon because a quadraphonic mix had not yet been completed, and they felt presenting the album through a poor-quality stereo PA system was insufficient.[112] Melody Maker's Roy Hollingworth described side one as "utterly confused ... [and] difficult to follow", but praised side two, writing: "The songs, the sounds ... [and] the rhythms were solid ... [the] saxophone hit the air, the band rocked and rolled".[113] Rolling Stone's Loyd Grossman described it as "a fine album with a textural and conceptual richness that not only invites, but demands involvement."[114]
Throughout March 1973, The Dark Side of the Moon featured as part of Pink Floyd's US tour.[115] The album is one of the most commercially successful rock albums of all time; a US number 1, it remained on the Billboard chart for more than fourteen years, selling more than 45 million copies worldwide.[116] In Britain, the album peaked at number 2, spending 364 weeks on the UK chart.[47] Dark Side is the world's third best-selling album, and the twenty-first best-selling album of all time in the US.[117] [118] The success of the album brought enormous wealth to the members of Pink Floyd. Waters and Wright bought large country houses while Mason became a collector of expensive cars.[119] Disenchanted with their US record company, Capitol Records, Pink Floyd and O'Rourke negotiated a new contract with Columbia Records, who gave them a reported advance of $1,000,000 (US$4,962,213 in 2017 dollars[120]). In Europe, they continued to be represented by Harvest Records.[121]
Wish You Were Here
Main article: Wish You Were Here (Pink Floyd album)
After a tour of the UK performing Dark Side, Pink Floyd returned to the studio in January 1975 and began work on their ninth studio album, Wish You Were Here.[122] Parsons declined an offer to continue working with them, becoming successful in his own right with the Alan Parsons Project, and so the band turned to Brian Humphries.[123] Initially, they found it difficult to compose new material; the success of The Dark Side of the Moon had left Pink Floyd physically and emotionally drained. Wright later described these early sessions as "falling within a difficult period" and Waters found them "tortuous".[124] Gilmour was more interested in improving the band's existing material. Mason's failing marriage left him in a general malaise and with a sense of apathy, both of which interfered with his drumming.[124]
Despite the lack of creative direction, Waters began to visualise a new concept after several weeks.[124] During 1974, Pink Floyd had sketched out three original compositions and had performed them at a series of concerts in Europe.[125] These compositions became the starting point for a new album whose opening four-note guitar phrase, composed purely by chance by Gilmour, reminded Waters of Barrett.[126] The songs provided a fitting summary of the rise and fall of their former bandmate.[127] Waters commented: "Because I wanted to get as close as possible to what I felt ... [that] indefinable, inevitable melancholy about the disappearance of Syd."[128]
While Pink Floyd were working on the album, Barrett made an impromptu visit to the studio, during which Thorgerson recalled that he "sat round and talked for a bit, but he wasn't really there."[129] He had changed significantly in appearance, so much so that the band did not initially recognise him. Waters was reportedly deeply upset by the experience.[130][nb 24] Most of Wish You Were Here premiered on 5 July 1975, at an open-air music festival at Knebworth. Released in September, it reached number one in both the UK and the US.[132]
Animals
Main article: Animals (Pink Floyd album)
Battersea Power Station features in the cover image for Animals
In 1975, Pink Floyd bought a three-storey group of church halls at 35 Britannia Row in Islington and began converting the building into a recording studio and storage space.[133] In 1976, they recorded their tenth album, Animals, in their newly finished 24-track studio.[134] The concept of Animals originated with Waters, loosely based on George Orwell's political fable, Animal Farm. The album's lyrics described different classes of society as dogs, pigs, and sheep.[135][nb 25] Hipgnosis received credit for the packaging of Animals; however, Waters designed the final concept, choosing an image of the ageing Battersea Power Station, over which they superimposed an image of a pig.[137][nb 26]
The division of royalties was a source of conflict between band members, who earned royalties on a per-song basis. Although Gilmour was largely responsible for "Dogs", which took up almost the entire first side of the album, he received less than Waters, who contributed the much shorter two-part "Pigs on the Wing".[140] Wright commented: "It was partly my fault because I didn't push my material ... but Dave did have something to offer, and only managed to get a couple of things on there."[141] Mason recalled: "Roger was in full flow with the ideas, but he was really keeping Dave down, and frustrating him deliberately."[141][nb 27] Gilmour, distracted by the birth of his first child, contributed little else toward the album. Similarly, neither Mason nor Wright contributed much toward Animals; Wright had marital problems, and his relationship with Waters was also suffering.[143] Animals is the first Pink Floyd album that does not include a writing credit for Wright, who commented: "Animals... wasn't a fun record to make ... this was when Roger really started to believe that he was the sole writer for the band ... that it was only because of him that [we] were still going ... when he started to develop his ego trips, the person he would have his conflicts with would be me."[143]
Released in January 1977, the album peaked on the UK chart at number two, and the US chart at number three.[144] NME described the album as "one of the most extreme, relentless, harrowing and downright iconoclastic hunks of music", and Melody Maker's Karl Dallas called it "[an] uncomfortable taste of reality in a medium that has become in recent years, increasingly soporific".[145]
Pink Floyd performed much of the album's material during their "In the Flesh" tour. It was the band's first experience playing large stadiums, whose size caused unease in the band.[146] Waters began arriving at each venue alone, departing immediately after the performance. On one occasion, Wright flew back to England, threatening to leave the band.[147] At the Montreal Olympic Stadium, a group of noisy and enthusiastic fans in the front row of the audience irritated Waters so much that he spat at one of them.[148][nb 28] The end of the tour marked a low point for Gilmour, who felt that the band achieved the success they had sought, with nothing left for them to accomplish.[149]
1978–1985: Waters-led era
The Wall
Main articles: The Wall and Pink Floyd – The Wall
In July 1978, amid a financial crisis caused by negligent investments, Waters presented the group with two original ideas for their next album. The first was a 90-minute demo with the working title Bricks in the Wall, and the other would later become Waters' first solo album, The Pros and Cons of Hitch Hiking. Although both Mason and Gilmour were initially cautious, they chose the former to be their next album.[150][nb 29] Bob Ezrin co-produced, and he wrote a forty-page script for the new album.[152] Ezrin based the story on the central figure of Pink—a gestalt character inspired by Waters' childhood experiences, the most notable of which was the death of his father in World War II. This first metaphorical brick led to more problems; Pink would become drug-addled and depressed by the music industry, eventually transforming into a megalomaniac, a development inspired partly by the decline of Syd Barrett. At the end of the album, the increasingly fascist audience would watch as Pink tore down the wall, once again becoming a regular and caring person.[153][nb 30]
During the recording of The Wall, Waters, Gilmour and Mason became increasingly dissatisfied with Wright's lack of contribution to the album.[156] Gilmour said that Wright "hadn't contributed anything of any value whatsoever to the album—he did very, very little" and this was why he "got the boot".[157] According to Mason, "Rick's contribution was to turn up and sit in on the sessions without doing anything, just 'being a producer'."[158] Waters commented: "[Wright] was not prepared to cooperate in making the record ... [and] it was agreed by everybody ... either [he] can have a long battle or [he] can agree to ... finish making the album, keep [his] full share ... but at the end of it [he would] leave quietly. Rick agreed."[159][nb 31]
The album was supported by "Another Brick in the Wall (Part II)", Pink Floyd's first single since "Money", which topped the charts in the US and the UK.[162] Released on 30 November 1979, The Wall topped the Billboard chart in the US for fifteen weeks, reaching number three in the UK.[163] The Wall ranks number three on the RIAA's list of the all-time Top 100 albums, with 23 million certified units sold in the US.[164] The cover is one of their most minimalist designs, with a stark white brick wall, and no trademark or band name. It was also their first album cover since The Piper at the Gates of Dawn not designed by Hipgnosis.[165]
Gerald Scarfe produced a series of animations for the subsequent live shows, The Wall Tour. He also commissioned the construction of large inflatable puppets representing characters from the storyline including the "Mother", the "Ex-wife" and the "Schoolmaster". Pink Floyd used the puppets during their performances of the album.[166] Relationships within the band were at an all-time low; their four Winnebagos parked in a circle, the doors facing away from the centre. Waters used his own vehicle to arrive at the venue and stayed in different hotels from the rest of the band. Wright returned as a paid musician and was the only one of the four to profit from the venture, which lost about $600,000 (US$1,615,081 in 2017 dollars[120]).[167]
The Wall concept also spawned a film, the original idea for which was to be a combination of live concert footage and animated scenes. However, the concert footage proved impractical to film. Alan Parker agreed to direct and took a different approach. The animated sequences would remain, but scenes would be acted by professional actors with no dialogue. Waters was screen-tested, but quickly discarded and they asked Bob Geldof to accept the role of Pink. Geldof was initially dismissive, condemning The Wall's storyline as "bollocks".[168] Eventually won over by the prospect of participation in a significant film and receiving a large payment for his work, Geldof agreed.[169][nb 32] Screened at the Cannes Film Festival in May 1982, Pink Floyd – The Wall premièred in the UK in July 1982.[170][nb 33]
The Final Cut
Main article: The Final Cut (album)
In 1982, Waters suggested a new musical project with the working title Spare Bricks, originally conceived as the soundtrack album for Pink Floyd – The Wall. With the onset of the Falklands War, Waters changed direction and began writing new material. He saw Margaret Thatcher's response to the invasion of the Falklands as jingoistic and unnecessary, and dedicated the album to his late father. Immediately arguments arose between Waters and Gilmour, who felt that the album should include all new material, rather than recycle songs passed over for The Wall. Waters felt that Gilmour had contributed little to the band's lyrical repertoire.[171] Michael Kamen, a contributor to the orchestral arrangements of The Wall, mediated between the two, also performing the role traditionally occupied by the then-absent Wright.[172][nb 34] The tension within the band grew. Waters and Gilmour worked independently; however, Gilmour began to feel the strain, sometimes barely maintaining his composure. After a final confrontation, Gilmour's name disappeared from the credit list, reflecting what Waters felt was his lack of songwriting contributions.[174][nb 35]
Though Mason's musical contributions were minimal, he stayed busy recording sound effects for an experimental Holophonic system to be used on the album. With marital problems of his own, he remained a distant figure. Pink Floyd did not use Thorgerson for the cover design, Waters choosing to design the cover himself.[175][nb 36] Released in March 1983, The Final Cut went straight to number one in the UK and number six in the US.[176] Waters wrote all the lyrics, as well as all the music on the album.[177] Gilmour did not have any material ready for the album and asked Waters to delay the recording until he could write some songs, but Waters refused.[178] Gilmour later commented: "I'm certainly guilty at times of being lazy ... but he wasn't right about wanting to put some duff tracks on The Final Cut."[178][nb 37] Rolling Stone magazine gave the album five stars, with Kurt Loder calling it "a superlative achievement ... art rock's crowning masterpiece".[180][nb 38] Loder viewed The Final Cut as "essentially a Roger Waters solo album".[182]
"A spent force", Waters' departure and legal battles
Gilmour recorded his second solo album, About Face, in 1984, and used it to express his feelings about a variety of topics, from the murder of John Lennon to his relationship with Waters. He later stated that he used the album to distance himself from Pink Floyd. Soon afterwards, Waters began touring his first solo album, The Pros and Cons of Hitch Hiking.[183] Wright formed Zee with Dave Harris and recorded Identity, which went almost unnoticed upon its release.[184][nb 39] Mason released his second solo album, Profiles, in August 1985.[185]
Following the release of The Pros and Cons of Hitch Hiking, Waters publicly insisted that Pink Floyd would not reunite. He contacted O'Rourke to discuss settling future royalty payments. O'Rourke felt obliged to inform Mason and Gilmour, which angered Waters, who wanted to dismiss him as the band's manager. He terminated his management contract with O'Rourke and employed Peter Rudge to manage his affairs.[185][nb 40] Waters wrote to EMI and Columbia announcing he had left the band, and asked them to release him from his contractual obligations. Gilmour believed that Waters left to hasten the demise of Pink Floyd. Waters later stated that, by not making new albums, Pink Floyd would be in breach of contract—which would suggest that royalty payments would be suspended—and that the other band members had forced him from the group by threatening to sue him. He then went to the High Court in an effort to dissolve the band and prevent the use of the Pink Floyd name, declaring Pink Floyd "a spent force creatively."[187] When his lawyers discovered that the partnership had never been formally confirmed, Waters returned to the High Court in an attempt to obtain a veto over further use of the band's name. Gilmour responded by issuing a carefully worded press release affirming that Pink Floyd would continue to exist. He later told The Sunday Times: "Roger is a dog in the manger and I'm going to fight him."[188] In 2013, Waters stated that he regretted the lawsuit, saying: "I was wrong. Of course I was."[189]
1985–1994: Gilmour-led era
A Momentary Lapse of Reason
Main article: A Momentary Lapse of Reason
The Astoria recording studio
In 1986, Gilmour began recruiting musicians for what would become Pink Floyd's first album without Waters, A Momentary Lapse of Reason.[190][nb 41] There were legal obstacles to Wright's re-admittance to the band, but after a meeting in Hampstead, Pink Floyd invited Wright to participate in the coming sessions.[191] Gilmour later stated that Wright's presence "would make us stronger legally and musically", and Pink Floyd employed him as a musician with weekly earnings of $11,000.[192] Recording sessions began on Gilmour's houseboat, the Astoria, moored along the River Thames.[193][nb 42] Gilmour worked with several songwriters, including Eric Stewart and Roger McGough, eventually choosing Anthony Moore to write the album's lyrics.[195] Gilmour would later admit that the project was difficult without Waters' creative direction.[196] Mason, concerned that he was too out-of-practice to perform on the album, made use of session musicians to complete many of the drum parts. He instead busied himself with the album's sound effects.[197][nb 43]
A Momentary Lapse of Reason was released in September 1987. Storm Thorgerson, whose creative input was absent from The Wall and The Final Cut, designed the album cover.[200] To drive home that Waters had left the band, they included a group photograph on the inside cover, the first since Meddle.[201][nb 44] The album went straight to number three in the UK and the US.[203] Waters commented: "I think it's facile, but a quite clever forgery ... The songs are poor in general ... [and] Gilmour's lyrics are third-rate."[204] Although Gilmour initially viewed the album as a return to the band's top form, Wright disagreed, stating: "Roger's criticisms are fair. It's not a band album at all."[205] Q Magazine described the album as essentially a Gilmour solo album.[206]
Waters attempted to subvert the Momentary Lapse of Reason tour by contacting promoters in the US and threatening to sue them if they used the Pink Floyd name. Gilmour and Mason funded the start-up costs with Mason using his Ferrari 250 GTO as collateral.[207] Early rehearsals for the upcoming tour were chaotic, with Mason and Wright entirely out of practice. Realising he had taken on too much work, Gilmour asked Ezrin to assist them. As Pink Floyd toured North America, Waters' Radio K.A.O.S. tour was on occasion, close by, though in much smaller venues than those hosting his former band's performances. Waters issued a writ for copyright fees for the band's use of the flying pig. Pink Floyd responded by attaching a large set of male genitalia to its underside to distinguish it from Waters' design.[208] The parties reached a legal agreement on 23 December; Mason and Gilmour retained the right to use the Pink Floyd name in perpetuity and Waters received exclusive rights to, among other things, The Wall.[209]
The Division Bell
Main article: The Division Bell
The album artwork for The Division Bell, designed by Storm Thorgerson, was intended to represent the absence of Barrett and Waters from the band.
For several years Pink Floyd had busied themselves with personal pursuits, such as filming and competing in the La Carrera Panamericana and recording a soundtrack for a film based on the event.[210][nb 45] In January 1993, they began working on a new album, returning to Britannia Row Studios, where for several days, Gilmour, Mason and Wright worked collaboratively, improvising material. After about two weeks, the band had enough ideas to begin creating songs. Ezrin returned to co-produce the album and production moved to the Astoria, where from February to May 1993, they worked on about 25 ideas.[212]
Contractually, Wright was not a member of the band, and said "It came close to a point where I wasn't going to do the album."[213] However, he earned five co-writing credits on the album, his first on a Pink Floyd album since 1975's Wish You Were Here.[213] Another songwriter credited on the album was Gilmour's future wife, Polly Samson. She helped him write several tracks, including, "High Hopes", a collaborative arrangement which, though initially tense, "pulled the whole album together," according to Ezrin.[214] They hired Michael Kamen to arrange the album's orchestral parts; Dick Parry and Chris Thomas also returned.[215] Writer Douglas Adams provided the album title and Thorgerson the cover artwork.[216][nb 46] Thorgerson drew inspiration for the album cover from the Moai monoliths of Easter Island; two opposing faces forming an implied third face about which he commented: "the absent face—the ghost of Pink Floyd's past, Syd and Roger".[218] Eager to avoid competing against other album releases, as had happened with A Momentary Lapse, Pink Floyd set a deadline of April 1994, at which point they would resume touring.[219] The album reached number 1 in both the UK and the US.[118] It spent 51 weeks on the UK chart.[47]
Pink Floyd spent more than two weeks rehearsing in a hangar at Norton Air Force Base in San Bernardino, California, before opening on 29 March 1994, in Miami, with an almost identical road crew to that used for their Momentary Lapse of Reason tour.[220] They played a variety of Pink Floyd favourites, and later changed their setlist to include The Dark Side of the Moon in its entirety.[221][nb 47] The tour, Pink Floyd's last, ended on 29 October 1994.[222][nb 48]
2005–2016: Reunion, deaths, and final album
Live 8 reunion
Waters (right) rejoined his former bandmates at Live 8.
On 2 July 2005, Waters, Gilmour, Mason and Wright performed together as Pink Floyd for the first time in more than 24 years, at the Live 8 concert in Hyde Park, London.[224] The reunion was arranged by Live 8 organiser Bob Geldof; after Gilmour declined the offer, Geldof asked Mason, who contacted Waters. About two weeks later, Waters called Gilmour, their first conversation in two years, and the next day Gilmour agreed. In a statement to the press, the band stressed the unimportance of their problems in the context of the Live 8 event.[112]
They planned their setlist at the Connaught Hotel in London, followed by three days of rehearsals at Black Island Studios.[112] The sessions were problematic, with disagreements over the style and pace of the songs they were practising; the running order was decided on the eve of the event.[225] At the beginning of their performance of "Wish You Were Here", Waters told the audience: "[It is] quite emotional, standing up here with these three guys after all these years, standing to be counted with the rest of you ... we're doing this for everyone who's not here, and particularly of course for Syd."[226] At the end, Gilmour thanked the audience and started to walk off the stage. Waters called him back, and the band shared a group hug. Images of the hug were a favourite among Sunday newspapers after Live 8.[227][nb 49] Waters said of their almost 20 years of animosity: "I don't think any of us came out of the years from 1985 with any credit ... It was a bad, negative time, and I regret my part in that negativity."[229]
Though Pink Floyd turned down a contract worth £136 million for a final tour, Waters did not rule out more performances, suggesting it ought to be for a charity event only.[227] However, Gilmour told the Associated Press that a reunion would not happen: "The [Live 8] rehearsals convinced me [that] it wasn't something I wanted to be doing a lot of ... There have been all sorts of farewell moments in people's lives and careers which they have then rescinded, but I think I can fairly categorically say that there won't be a tour or an album again that I take part in. It isn't to do with animosity or anything like that. It's just ... I've been there, I've done it."[230] In February 2006, Gilmour was interviewed by Gino Castaldo from the Italian newspaper La Repubblica, which declared: "Patience for fans in mourning. The news is official. Pink Floyd the brand is dissolved, finished, definitely deceased."[231] Asked about the future of Pink Floyd, Gilmour responded: "It's over ... I've had enough. I'm 60 years old ...it is much more comfortable to work on my own."[231] Gilmour and Waters repeatedly said that they had no plans to reunite with the former members.[232][nb 50]
Deaths of Barrett and Wright
Barrett died on 7 July 2006, at his home in Cambridge, aged 60.[234] His family interred him at Cambridge Crematorium on 18 July 2006; no Pink Floyd members attended. Wright commented: "The band are very naturally upset and sad to hear of Syd Barrett's death. Syd was the guiding light of the early band line-up and leaves a legacy which continues to inspire."[234] Although Barrett had faded into obscurity over the previous 35 years, the national press praised him for his contributions to music.[235][nb 51] On 10 May 2007, Waters, Gilmour, Wright and Mason performed at the Barrett tribute concert "Madcap's Last Laugh" at the Barbican Centre in London. Gilmour, Wright and Mason performed the Barrett compositions, "Bike" and "Arnold Layne", and Waters performed a solo version of his song "Flickering Flame".[237]
Wright died of an undisclosed form of cancer on 15 September 2008, aged 65.[238] His former bandmates paid tributes to his life and work; Gilmour said: "In the welter of arguments about who or what was Pink Floyd, Rick's enormous input was frequently forgotten. He was gentle, unassuming and private but his soulful voice and playing were vital, magical components of our most recognised Pink Floyd sound."[239] A week after Wright's death, Gilmour performed "Remember a Day" from A Saucerful of Secrets, written and originally sung by Wright, in tribute to him.[240] Keyboardist Keith Emerson released a statement praising Wright as the "backbone" of Pink Floyd.[241]
Further performances and re-releases
On 10 July 2010, Waters and Gilmour performed together at a charity event for the Hoping Foundation. The event, which raised money for Palestinian children, took place at Kiddington Hall in Oxfordshire, England, with an audience of approximately 200.[242] In return for Waters' appearance at the event, Gilmour performed "Comfortably Numb" at Waters' performance of The Wall[243][nb 52] at the London O2 Arena on 12 May 2011, singing the choruses and playing the two guitar solos. Mason also joined, playing tambourine for "Outside the Wall" with Gilmour on mandolin.[245][nb 53]
On 26 September 2011, Pink Floyd and EMI launched an exhaustive re-release campaign under the title Why Pink Floyd...?, reissuing the band's back catalogue in newly remastered versions, including "Experience" and "Immersion" multi-disc multi-format editions. The albums were remastered by James Guthrie, co-producer of The Wall.[247] In November 2015, Pink Floyd released a limited edition EP, 1965: Their First Recordings, comprising six songs recorded prior to The Piper at the Gates of Dawn.[248]
The Endless River
Main article: The Endless River
Advertising for The Endless River in South Bank, London
In 2012, Gilmour and Mason decided to revisit recordings made with Wright, mainly during the Division Bell sessions, to create a new Pink Floyd album. They recruited session musicians to help record new parts and "generally harness studio technology".[249] Waters was not involved.[250] Mason described the album as a tribute to Wright: "I think this record is a good way of recognising a lot of what he does and how his playing was at the heart of the Pink Floyd sound. Listening back to the sessions, it really brought home to me what a special player he was."[251]
The Endless River was released 7 November 2014, the second Pink Floyd album distributed by Parlophone following the release of the 20th anniversary editions of The Division Bell earlier in 2014.[252] Though it received mixed reviews,[253] it became the most pre-ordered album of all time on Amazon UK,[254] and debuted at number one in several countries.[255][256] The vinyl edition was the fastest-selling UK vinyl release of 2014 and the fastest-selling since 1997.[257]
Gilmour stated that The Endless River is Pink Floyd's last album, saying: "I think we have successfully commandeered the best of what there is ... It's a shame, but this is the end."[258] There was no tour to support the album, as Gilmour felt it was "kind of impossible" without Wright.[259][260] In August 2015, Gilmour reiterated that Pink Floyd were "done" and that to reunite without Wright "would just be wrong".[261] In November 2016, Pink Floyd released a boxset, The Early Years 1965–1972, comprising outtakes, live recordings, remixes and films from the band's early career.[262]
Musicianship
Genres
Considered one of the UK's first psychedelic music groups, Pink Floyd began their career at the vanguard of London's underground music scene. Some categorise their work from that era as space rock.[263][nb 54] According to Rolling Stone: "By 1967, they had developed an unmistakably psychedelic sound, performing long, loud suitelike compositions that touched on hard rock, blues, country, folk, and electronic music."[266] Released in 1968, the song "Careful with That Axe, Eugene" helped galvanise their reputation as an art rock group.[77] Other genres attributed to the band are experimental rock,[267] acid rock,[268] proto-prog,[269] experimental pop (while under Barrett).[270][citation not found] and psychedelic pop,[271][citation not found] By the late 1960s, the press had begun to label their music progressive rock.[272] O'Neill Surber comments on the music of Pink Floyd:
Rarely will you find Floyd dishing up catchy hooks, tunes short enough for air-play, or predictable three-chord blues progressions; and never will you find them spending much time on the usual pop album of romance, partying, or self-hype. Their sonic universe is expansive, intense, and challenging ... Where most other bands neatly fit the songs to the music, the two forming a sort of autonomous and seamless whole complete with memorable hooks, Pink Floyd tends to set lyrics within a broader soundscape that often seems to have a life of its own ... Pink Floyd employs extended, stand-alone instrumentals which are never mere vehicles for showing off virtuoso but are planned and integral parts of the performance.[273]
In 1968, Wright commented on Pink Floyd's sonic reputation: "It's hard to see why we were cast as the first British psychedelic group. We never saw ourselves that way ... we realised that we were, after all, only playing for fun ... tied to no particular form of music, we could do whatever we wanted ... the emphasis ... [is] firmly on spontaneity and improvisation."[274] Waters gave a less enthusiastic assessment of the band's early sound: "There wasn't anything 'grand' about it. We were laughable. We were useless. We couldn't play at all so we had to do something stupid and 'experimental'... Syd was a genius, but I wouldn't want to go back to playing "Interstellar Overdrive" for hours and hours."[275] Unconstrained by conventional pop formats, Pink Floyd were innovators of progressive rock during the 1970s and ambient music during the 1980s.[276]
Gilmour's guitar work
Main article: David Gilmour
"While Waters was Floyd's lyricist and conceptualist, Gilmour was the band's voice and its main instrumental focus."[277]
—Alan di Perna, in Guitar World, May 2006
Rolling Stone critic Alan di Perna praised Gilmour's guitar work as an integral to Pink Floyd's sound,[277] and described him as the most important guitarist of the 1970s, "the missing link between Hendrix and Van Halen".[278] Rolling Stone ranked Gilmour number 14 in their list of "100 Greatest Guitarists of All Time".[278] In 2006, Gilmour said of his technique: "[My] fingers make a distinctive sound ... [they] aren't very fast, but I think I am instantly recognisable ... The way I play melodies is connected to things like Hank Marvin and the Shadows".[279] Gilmour's ability to use fewer notes than most to express himself without sacrificing strength or beauty drew a favourable comparison to jazz trumpeter Miles Davis.[280]
In 2006, Guitar World writer Jimmy Brown described Gilmour's guitar style as "characterised by simple, huge-sounding riffs; gutsy, well-paced solos; and rich, ambient chordal textures."[280] According to Brown, Gilmour's solos on "Money", "Time" and "Comfortably Numb" "cut through the mix like a laser beam through fog."[280] Brown described the "Time" solo as "a masterpiece of phrasing and motivic development ... Gilmour paces himself throughout and builds upon his initial idea by leaping into the upper register with gut-wrenching one-and-one-half-step 'over bends', soulful triplet arpeggios and a typically impeccable bar vibrato."[281] Brown described Gilmour's phrasing as intuitive, singling it out as perhaps his best asset as a lead guitarist. Gilmour explained how he achieved his signature tone: "I usually use a fuzz box, a delay and a bright EQ setting ... [to get] singing sustain ... you need to play loud — at or near the feedback threshold. It's just so much more fun to play ... when bent notes slice right through you like a razor blade."[280]
Sonic experimentation
Throughout their career, Pink Floyd experimented with their sound. Their second single, "See Emily Play" premiered at the Queen Elizabeth Hall in London, on 12 May 1967. During the performance, the group first used an early quadraphonic device called an Azimuth Co-ordinator.[282] The device enabled the controller, usually Wright, to manipulate the band's amplified sound, combined with recorded tapes, projecting the sounds 270 degrees around a venue, achieving a sonic swirling effect.[283] In 1972, they purchased a custom-built PA which featured an upgraded four-channel, 360-degree system.[284]
Waters experimented with the EMS Synthi A and VCS 3 synthesisers on Pink Floyd pieces such as "On the Run", "Welcome to the Machine", and "In the Flesh?".[285] He used a Binson Echorec 2 delay effect on his bass-guitar track for "One of These Days".[286]
Pink Floyd used innovative sound effects and state of the art audio recording technology during the recording of The Final Cut. Mason's contributions to the album were almost entirely limited to work with the experimental Holophonic system, an audio processing technique used to simulate a three-dimensional effect. The system used a conventional stereo tape to produce an effect that seemed to move the sound around the listener's head when they were wearing headphones. The process enabled an engineer to simulate moving the sound to behind, above or beside the listener's ears.[287]
Film scores
Pink Floyd also composed several film scores, starting in 1968, with The Committee.[288] In 1969, they recorded the score for Barbet Schroeder's film More. The soundtrack proved beneficial: not only did it pay well but, along with A Saucerful of Secrets, the material they created became part of their live shows for some time thereafter.[289] While composing the soundtrack for director Michelangelo Antonioni's film Zabriskie Point, the band stayed at a luxury hotel in Rome for almost a month. Waters claimed that, without Antonioni's constant changes to the music, they would have completed the work in less than a week. Eventually he used only three of their recordings. One of the pieces turned down by Antonioni, called "The Violent Sequence", later became "Us and Them", included on 1973's The Dark Side of the Moon.[290] In 1971, the band again worked with Schroeder on the film La Vallée, for which they released a soundtrack album called Obscured by Clouds. They composed the material in about a week at the Château d'Hérouville near Paris, and upon its release, it became Pink Floyd's first album to break into the top 50 on the US Billboard chart.[291]
Live performances
Main article: Pink Floyd live performances
A live performance of The Dark Side of the Moon at Earls Court, shortly after its release in 1973: (l-r) Gilmour, Mason, Dick Parry, Waters
Regarded as pioneers of live music performance and renowned for their lavish stage shows, Pink Floyd also set high standards in sound quality, making use of innovative sound effects and quadraphonic speaker systems.[292] From their earliest days, they employed visual effects to accompany their psychedelic rock music while performing at venues such as the UFO Club in London.[31] Their slide-and-light show was one of the first in British rock, and it helped them become popular among London's underground.[266]
To celebrate the launch of the London Free School's magazine International Times in 1966, they performed in front of 2,000 people at the opening of the Roundhouse, attended by celebrities including Paul McCartney and Marianne Faithfull.[293] In mid-1966, road manager Peter Wynne-Willson joined their road crew, and updated the band's lighting rig with some innovative ideas including the use of polarisers, mirrors and stretched condoms.[294] After their record deal with EMI, Pink Floyd purchased a Ford Transit van, then considered extravagant band transportation.[295] On 29 April 1967, they headlined an all-night event called The 14 Hour Technicolour Dream at the Alexandra Palace, London. Pink Floyd arrived at the festival at around three o'clock in the morning after a long journey by van and ferry from the Netherlands, taking the stage just as the sun was beginning to rise.[296][nb 55] In July 1969, precipitated by their space-related music and lyrics, they took part in the live BBC television coverage of the Apollo 11 moon landing, performing an instrumental piece which they called "Moonhead".[298]
In November 1974, they employed for the first time the large circular screen that would become a staple of their live shows.[299] In 1977, they employed the use of a large inflatable floating pig named "Algie". Filled with helium and propane, Algie, while floating above the audience, would explode with a loud noise during the In the Flesh Tour.[300] The behaviour of the audience during the tour, as well as the large size of the venues, proved a strong influence on their concept album The Wall. The subsequent The Wall Tour featured a 40 feet (12 m) high wall, built from cardboard bricks, constructed between the band and the audience. They projected animations onto the wall, while gaps allowed the audience to view various scenes from the story. They commissioned the creation of several giant inflatables to represent characters from the story.[301] One striking feature of the tour was the performance of "Comfortably Numb". While Waters sang his opening verse, in darkness, Gilmour waited for his cue on top of the wall. When it came, bright blue and white lights would suddenly reveal him. Gilmour stood on a flightcase on castors, an insecure setup supported from behind by a technician. A large hydraulic platform supported both Gilmour and the tech.[302]
During the Division Bell Tour, an unknown person using the name Publius posted a message on an internet newsgroup inviting fans to solve a riddle supposedly concealed in the new album. White lights in front of the stage at the Pink Floyd concert in East Rutherford spelled out the words Enigma Publius. During a televised concert at Earls Court on 20 October 1994, someone projected the word "enigma" in large letters on to the backdrop of the stage. Mason later acknowledged that their record company had instigated the Publius Enigma mystery, rather than the band.[221]
Lyrical themes
Marked by Waters' philosophical lyrics, Rolling Stone described Pink Floyd as "purveyors of a distinctively dark vision".[268] Author Jere O'Neill Surber wrote: "their interests are truth and illusion, life and death, time and space, causality and chance, compassion and indifference."[303] Waters identified empathy as a central theme in the lyrics of Pink Floyd.[304] Author George Reisch described Meddle's psychedelic opus, "Echoes", as "built around the core idea of genuine communication, sympathy, and collaboration with others."[305] Despite having been labelled "the gloomiest man in rock", author Deena Weinstein described Waters as an existentialist, dismissing the unfavourable moniker as the result of misinterpretation by music critics.[306]
Disillusionment, absence, and non-being
Waters' lyrics to Wish You Were Here's "Have a Cigar" deal with a perceived lack of sincerity on the part of music industry representatives.[307] The song illustrates a dysfunctional dynamic between the band and a record label executive who congratulates the group on their current sales success, implying that they are on the same team while revealing that he erroneously believes "Pink" is the name of one of the band members.[308] According to author David Detmer, the album's lyrics deal with the "dehumanising aspects of the world of commerce", a situation the artist must endure to reach their audience.[309]
Absence as a lyrical theme is common in the music of Pink Floyd. Examples include the absence of Barrett after 1968, and that of Waters' father, who died during the Second World War. Waters' lyrics also explored unrealised political goals and unsuccessful endeavours. Their film score, Obscured by Clouds, dealt with the loss of youthful exuberance that sometimes comes with ageing.[310] Longtime Pink Floyd album cover designer, Storm Thorgerson, described the lyrics of Wish You Were Here: "The idea of presence withheld, of the ways that people pretend to be present while their minds are really elsewhere, and the devices and motivations employed psychologically by people to suppress the full force of their presence, eventually boiled down to a single theme, absence: The absence of a person, the absence of a feeling."[311][nb 56] Waters commented: "it's about none of us really being there ... [it] should have been called Wish We Were Here".[312]
O'Neill Surber explored the lyrics of Pink Floyd and declared the issue of non-being a common theme in their music.[303][nb 57] Waters invoked non-being or non-existence in The Wall, with the lyrics to "Comfortably Numb": "I caught a fleeting glimpse, out of the corner of my eye. I turned to look, but it was gone, I cannot put my finger on it now, the child is grown, the dream is gone."[310] Barrett referred to non-being in his final contribution to the band's catalogue, "Jugband Blues": "I'm most obliged to you for making it clear that I'm not here."[310]
Exploitation and oppression
Author Patrick Croskery described Animals as a unique blend of the "powerful sounds and suggestive themes" of Dark Side with The Wall's portrayal of artistic alienation.[314] He drew a parallel between the album's political themes and that of Orwell's Animal Farm.[314] Animals begins with a thought experiment, which asks: "If you didn't care what happened to me. And I didn't care for you", then develops a beast fable based on anthropomorphised characters using music to reflect the individual states of mind of each. The lyrics ultimately paint a picture of dystopia, the inevitable result of a world devoid of empathy and compassion, answering the question posed in the opening lines.[315]
The album's characters include the "Dogs", representing fervent capitalists, the "Pigs", symbolising political corruption, and the "Sheep", who represent the exploited.[316] Croskery described the "Sheep" as being in a "state of delusion created by a misleading cultural identity", a false consciousness.[317] The "Dog", in his tireless pursuit of self-interest and success, ends up depressed and alone with no one to trust, utterly lacking emotional satisfaction after a life of exploitation.[318] Waters used Mary Whitehouse as an example of a "Pig"; being someone who in his estimation, used the power of the government to impose her values on society.[319] At the album's conclusion, Waters returns to empathy with the lyrical statement: "You know that I care what happens to you. And I know that you care for me too."[320] However, he also acknowledges that the "Pigs" are a continuing threat and reveals that he is a "Dog" who requires shelter, suggesting the need for a balance between state, commerce and community, versus an ongoing battle between them.[321]
Alienation, war, and insanity
"When I say, 'I'll see you on the dark side of the moon'... what I mean [is] ... If you feel that you're the only one ... that you seem crazy [because] you think everything is crazy, you're not alone."[322]
—Waters, quoted in Harris, 2005
O'Neill Surber compared the lyrics of Dark Side of the Moon's "Brain Damage" with Karl Marx's theory of self-alienation; "there's someone in my head, but it's not me."[323][nb 58] The lyrics to Wish You Were Here's "Welcome to the Machine" suggest what Marx called the alienation of the thing; the song's protagonist preoccupied with material possessions to the point that he becomes estranged from himself and others.[323] Allusions to the alienation of man's species being can be found in Animals; the "Dog" reduced to living instinctively as a non-human.[324] The "Dogs" become alienated from themselves to the extent that they justify their lack of integrity as a "necessary and defensible" position in "a cutthroat world with no room for empathy or moral principle" wrote Detmer.[325] Alienation from others is a consistent theme in the lyrics of Pink Floyd, and it is a core element of The Wall.[323]
War, viewed as the most severe consequence of the manifestation of alienation from others, is also a core element of The Wall, and a recurring theme in the band's music.[326] Waters' father died in combat during the Second World War, and his lyrics often alluded to the cost of war, including those from "Corporal Clegg" (1968), "Free Four" (1972), "Us and Them" (1973), "When the Tigers Broke Free" and "The Fletcher Memorial Home" from The Final Cut (1983), an album dedicated to his late father and subtitled A Requiem for the Postwar Dream.[327] The themes and composition of The Wall express Waters' upbringing in an English society depleted of men after the Second World War, a condition that negatively affected his personal relationships with women.[328]
Waters' lyrics to The Dark Side of the Moon dealt with the pressures of modern life and how those pressures can sometimes cause insanity.[329] He viewed the album's explication of mental illness as illuminating a universal condition.[330] However, Waters also wanted the album to communicate positivity, calling it "an exhortation ... to embrace the positive and reject the negative."[331] Reisch described The Wall as "less about the experience of madness than the habits, institutions, and social structures that create or cause madness."[332] The Wall's protagonist, Pink, is unable to deal with the circumstances of his life, and overcome by feelings of guilt, slowly closes himself off from the outside world inside a barrier of his own making. After he completes his estrangement from the world, Pink realises that he is "crazy, over the rainbow".[333] He then considers the possibility that his condition may be his own fault: "have I been guilty all this time?"[333] Realising his greatest fear, Pink believes that he has let everyone down, his overbearing mother wisely choosing to smother him, the teachers rightly criticising his poetic aspirations, and his wife justified in leaving him. He then stands trial for "showing feelings of an almost human nature", further exacerbating his alienation of species being.[334] As with the writings of philosopher Michel Foucault, Waters' lyrics suggest Pink's insanity is a product of modern life, the elements of which, "custom, codependancies, and psychopathologies", contribute to his angst, according to Reisch.[335]
Recognition and influence
Clockwise (from top left): Waters, Gilmour, Wright and Mason
Pink Floyd are one of the most commercially successful and influential rock bands of all time.[336] They have sold more than 250 million records worldwide, including 75 million certified units in the United States, and 37.9 million albums sold in the US since 1993.[337] The Sunday Times Rich List, Music Millionaires 2013 (UK), ranked Waters at number 12 with an estimated fortune of £150 million, Gilmour at number 27 with £85 million and Mason at number 37 with £50 million.[338]
In 2004, MSNBC ranked Pink Floyd number 8 on their list of "The 10 Best Rock Bands Ever".[339] Rolling Stone ranked them number 51 on their list of "The 100 Greatest Artists of All Time".[340] Q named Pink Floyd as the biggest band of all time.[341] VH1 ranked them number 18 in the list of the "100 Greatest Artists of All Time".[342] Colin Larkin ranked Pink Floyd number 3 in his list of the 'Top 50 Artists of All Time', a ranking based on the cumulative votes for each artist's albums included in his All Time Top 1000 Albums.[343]
Pink Floyd have won several awards. In 1981 audio engineer James Guthrie won the Grammy Award for "Best Engineered Non-Classical Album" for The Wall, and Roger Waters won the British Academy of Film and Television Arts award for "Best Original Song Written for a Film" in 1983 for "Another Brick in the Wall" from The Wall film.[344] In 1995, Pink Floyd won the Grammy for "Best Rock Instrumental Performance" for "Marooned".[345] In 2008, King Carl XVI Gustaf of Sweden presented Pink Floyd with the Polar Music Prize for their contribution to modern music; Waters and Mason attended the ceremony and accepted the award.[346] They were inducted into the Rock and Roll Hall of Fame in 1996, the UK Music Hall of Fame in 2005, and the Hit Parade Hall of Fame in 2010.[347]
Pink Floyd's The Wall exhibit at the Rock and Roll Hall of Fame
The music of Pink Floyd influenced numerous artists; David Bowie called Barrett a significant inspiration, and The Edge of U2 bought his first delay pedal after hearing the opening guitar chords to "Dogs" from Animals.[348] Other bands and artists who cite them as an influence include Queen, Tool, Radiohead, Steven Wilson, Kraftwerk, Marillion, Queensrÿche, Nine Inch Nails, the Orb and the Smashing Pumpkins.[349] Pink Floyd were an influence on the neo-progressive rock subgenre which emerged in the 1980s.[350]
Pink Floyd were also admirers of the Monty Python comedy group. They helped to finance their 1975 film Monty Python and the Holy Grail.[351]
In 2016, a major retrospective of the band's work was announced to take place at the Victoria and Albert Museum in London the following year to mark the 50th anniversary of their first single.[352] The audio-visual exhibition, titled Their Mortal Remains, featuring analysis of the album cover art, conceptual props from the stage shows and photographs from Nick Mason's personal archive, opened in May 2017;[353][354] due to its popularity, it was extended for two weeks beyond its original closing date of 1 October.[355]
Members
Main article: List of Pink Floyd band members
Roger Waters – bass, vocals, rhythm guitar (1965–1985, 2005)
David Gilmour – lead and rhythm guitars, vocals, bass, keyboards (1967–1995, 2005, 2012–2014)
Nick Mason – drums, percussion, vocals (1965–1995, 2005, 2012–2014)
Richard Wright – keyboards, piano, organ, vocals (1965–1979, 1987–1995, 2005)
Syd Barrett – lead and rhythm guitars, vocals (1965–1968)
Discography
Main article: Pink Floyd discography
Studio albums
The Piper at the Gates of Dawn (1967)
A Saucerful of Secrets (1968)
More (1969)
Ummagumma (1969)
Atom Heart Mother (1970)
Meddle (1971)
Obscured by Clouds (1972)
The Dark Side of the Moon (1973)
Wish You Were Here (1975)
Animals (1977)
The Wall (1979)
The Final Cut (1983)
A Momentary Lapse of Reason (1987)
The Division Bell (1994)
The Endless River (2014)
Tours
Main article: Pink Floyd live performances
Pink Floyd World Tour (1968)
The Man and The Journey Tour (1969)
Atom Heart Mother World Tour (1970)
Meddle Tour (1971)
Dark Side of the Moon Tour (1972–73)
French Summer Tour (1974)
British Winter Tour (1974)
Wish You Were Here Tour (1975)
In the Flesh Tour (1977)
The Wall Tour (1980–81)
A Momentary Lapse of Reason Tour (1987–90)
The Division Bell Tour (1994)
Book: Pink Floyd
Pink Floyd portal
Notes
Jump up ^ Wright studied architecture until 1963, when he began studying music at London's Royal College of Music.[2]
Jump up ^ Leonard designed light machines, which used electric motors to spin perforated discs, casting patterns of lights on the walls. These would be demonstrated in an early edition of Tomorrow's World. For a brief time, Leonard played keyboard with them using the front room of his flat for rehearsals.[5]
Jump up ^ Wright also briefly lived at Leonard's.[6]
Jump up ^ Povey spelled it Meggadeaths but Blake spelled it Megadeaths.[8] Architectural Abdabs is sometimes suggested as another variation; Povey dismisses it as a misreading of a headline about the Abdabs in the Polytechnic's student newspaper.[9] Povey used the Tea Set throughout whereas Blake's claim of the alternative spelling, the T-Set, remains unsubstantiated.[10]
Jump up ^ The four-song session became the band's first demo and included the R&B classic "I'm a King Bee" (original of bluesman Slime Harpo, and three Syd Barrett originals, "Butterfly", "Lucy Leave" and "Double O Bo", a song Mason described as "Bo Diddley meets the 007 theme".[16]
Jump up ^ According to Povey, by 1964 the group began calling itself the Abdabs.[6]
Jump up ^ Soon after, someone stole the equipment, and the group resorted to purchasing new gear on a payment plan.[24]
Jump up ^ They dropped the definite article from the band's name at some point in early 1967.[34]
Jump up ^ Schaffner described the £5,000 advance as generous; however, Povey suggested it was an inadequate agreement which required that the money be disbursed over five years.[36]
Jump up ^ Previous to this session, on 11 and 12 January, they recorded a long take of "Interstellar Overdrive".[36] Sometime around the sessions on 29 January, they produced a short music film for "Arnold Layne" in Sussex.[37]
Jump up ^ At EMI, Pink Floyd experimented with musique concrète and watched the Beatles record "Lovely Rita".[45]
Jump up ^ Blackhill's late application for work permits forced Pink Floyd to cancel several of the US dates.[53]
Jump up ^ Pink Floyd released the single "Apples and Oranges" in November 1967 in the UK.[56]
Jump up ^ Barrett's absence on more than one occasion forced the band to book David O'List as his replacement.[58] Wynne-Willson left his position as lighting director and assisted the guitarist with his daily activities.[59]
Jump up ^ In late 1967, Barrett suggested adding four new members; in the words of Waters: "two freaks he'd met somewhere. One of them played the banjo, the other the saxophone ... [and] a couple of chick singers".[61]
Jump up ^ One of Gilmour's first tasks was to mime Barrett's guitar playing on an "Apples and Oranges" promotional film.[66]
Jump up ^ Mason is unsure which member of Pink Floyd said "let's not bother".[69]
Jump up ^ For a short period after, Barrett turned up at occasional performances, apparently confused about his standing with the band.[75]
Jump up ^ Thorgerson had attended Cambridgeshire High School for Boys with Waters and Barrett.[82]
Jump up ^ The band recorded their previous LPs using a four-track system; Atom Heart Mother was their first album recorded on an eight-track machine.[89]
Jump up ^ A theft of the band's equipment, worth about $40,000, after a May 1970 show at the Warehouse in New Orleans, nearly crippled their finances. However, hours after the band notified the FBI they had recovered most of the stolen equipment.
Jump up ^ Povey states that the UK release date was 5 November, but Pink Floyd's official website states 13 November. All sources agree on the US release date of 30 October.[99]
Jump up ^ Meddle's production consisted of sessions spread over several months; the band recorded in the first half of April, but in the latter half played at Doncaster and Norwich before returning to record at the end of the month. In May, they split their time between sessions at Abbey Road, rehearsals and concerts across Great Britain. They spent June and July performing at venues across Europe, and August in the far east and Australia, returning to Europe in September.[100] In October, they made the concert film Pink Floyd: Live at Pompeii, before touring the US in November.[101]
Jump up ^ Immediately after the session, Barrett attended a pre-party held for Gilmour's upcoming first wedding, but eventually left without saying goodbye and none of the band members ever saw him again, apart from a run-in between Waters and Barrett a couple of years later.[131] The inspiration behind the cover image, designed by Thorgerson, is the idea that people tend to conceal their true feelings for fear of "getting burned", wrote Pink Floyd biographer Glen Povey. Therefore, it features two businessmen shown shaking hands; one of them is on fire.[132]
Jump up ^ Brian Humphries engineered the album, which was completed in December 1976.[136]
Jump up ^ The band commissioned a 30 feet (9.1 m) pig-shaped balloon and photography began on 2 December. Inclement weather delayed filming, and the balloon broke free of its moorings in strong winds. It eventually landed in Kent, where a local farmer recovered it, reportedly furious that it had frightened his cows.[138] The difficult shoot had resumed before they decided to superimpose the image of the pig onto the photograph of the power station.[139]
Jump up ^ "Pigs on the Wing" contained references to Waters' romantic relationship with Carolyne Anne Christie. Christie and Rock Scully, manager of the Grateful Dead, were married at the time. Waters' marriage to Judy had produced no children, but he became a father with Christie in November 1976.[142]
Jump up ^ Waters was not the only person depressed by playing in large venues, as Gilmour refused to perform the band's usual encore that night.[147]
Jump up ^ In 1976, Pink Floyd had become involved with financial advisers Norton Warburg Group (NWG). NWG became the band's collecting agents and handled all financial planning, for an annual fee of about £300,000 (equivalent to £1,579,500 in 2016[23]). NWG invested between £1.6 million and £3.3 million of the band's money in high-risk venture capital schemes, primarily to reduce their exposure to UK taxes. It soon became apparent that the band were still losing money. Not only did NWG invest in failing businesses, they also left the band liable for tax bills as high as 83 per cent of their income. The band eventually terminated their relationship with NWG and demanded the return of any funds not yet invested, which at that time amounted to £860,000; they received only £740,000.[151] Pink Floyd eventually sued NWG for £1M, accusing them of fraud and negligence. NWG collapsed in 1981: Andrew Warburg fled to Spain; Waterbrook purchased Norton Warburg Investments, and many of its holdings sold at a significant loss. Andrew Warburg began serving a three-year jail sentence upon his return to the UK in 1987.[151]
Jump up ^ James Guthrie replaced engineer Brian Humphries, emotionally drained by his five years with the band, for the recording of the album.[154] In March 1979, the band's dire financial situation demanded that they leave the UK for a year, or more and recording moved to the Super Bear Studios near Nice.[155]
Jump up ^ Although Wright's name did not appear anywhere on the finished album, Pink Floyd employed him as a paid musician on their subsequent The Wall tour.[160] Towards the end of The Wall sessions, Mason left the final mix to Waters, Gilmour, Ezrin and Guthrie, travelling to New York to record his debut solo album, Nick Mason's Fictitious Sports.[161]
Jump up ^ Waters took a six-week leave during filming and returned to find that Parker had used his artistic license to modify parts of the film to his liking. Waters became incensed; the two fought, and Parker threatened to walk out. Gilmour urged Waters to reconsider his stance, reminding the bassist that he and the other band members were shareholders and directors and could outvote him on such decisions.[169]
Jump up ^ Pink Floyd created a modified soundtrack for some of the film's songs.[169]
Jump up ^ Recording took place in eight studios, including Gilmour's home studio at Hookend Manor and Waters' home studio at East Sheen.[173]
Jump up ^ During the sessions, Waters lost his temper and began ranting at Kamen who, out of frustration during one recording session, had started repeatedly writing "I Must Not Fuck Sheep" on a notepad in the studio's control room.[172]
Jump up ^ Waters commissioned his brother-in-law, Willie Christie, to take photographs for the album cover.[175]
Jump up ^ Though Gilmour's name did not appear on the production credits, he retained his pay as musician and producer.[179]
Jump up ^ Released as a single, "Not Now John", with its chorus of "Fuck all that" bowdlerised to "Stuff all that"; Melody Maker declared it "a milestone in the history of awfulness".[181]
Jump up ^ Wright was also in the midst of a difficult divorce and later said that the album was, "made at a time in my life when I was lost."[184]
Jump up ^ Waters went on to record the soundtrack for When the Wind Blows, as well as his second solo album, Radio K.A.O.S..[186]
Jump up ^ Artists such as Jon Carin and Phil Manzanera worked on the album, joined by Bob Ezrin.[190]
Jump up ^ Andy Jackson engineered the album.[194]
Jump up ^ In a departure from previous Pink Floyd albums, they recorded A Momentary Lapse of Reason using a 32-channel Mitsubishi digital recorder using MIDI synchronisation with the aid of an Apple Macintosh computer.[198] Recording later moved to Mayfair Studios and then to Los Angeles.[199]
Jump up ^ Wright's name appears only on the credit list.[202]
Jump up ^ Gilmour divorced his wife Ginger and Mason married actress Annette Lynton.[211]
Jump up ^ Thorgerson also provided six new pieces of film for the upcoming tour.[217]
Jump up ^ Waters declined their invitation to join them as the tour reached Europe.[222]
Jump up ^ In 1995, Pink Floyd released the live album, Pulse, and an accompanying concert video.[223]
Jump up ^ In the week following their performance, there was a resurgence of commercial interest in Pink Floyd's music, when according to HMV, sales of Echoes: The Best of Pink Floyd rose more than one thousand per cent, while Amazon.com reported a significant increase in sales of The Wall.[228] Gilmour subsequently declared that he would give his share of profits from this sales boost to charity, urging other associated artists and record companies to do the same.[228]
Jump up ^ In 2006, Gilmour began a tour of small concert venues with contributions from Wright and other musicians from the post-Waters Pink Floyd tours. Gilmour, Wright, and Mason's encore performance of "Wish You Were Here" and "Comfortably Numb" marked the only appearance by Pink Floyd since Live 8 as of 2012[update].[233]
Jump up ^ Barrett left more than £1.25M in his will, to be divided among his immediate family, who then auctioned some of his possessions and artwork.[236]
Jump up ^ On 4 January 2011, Pink Floyd signed a five-year record deal with EMI, ending the legal dispute regarding the distribution of their catalogue. They successfully defended their vision to support their albums as cohesive units versus individual tracks.[244]
Jump up ^ It was the first time since Live 8 that the three men shared a stage and the first time that the line-up from The Final Cut appeared in concert.[246]
Jump up ^ In early 1965, Pink Floyd auditioned for ITV's Ready Steady Go!, which Mason described as "the definitive music show of the day".[264] Despite sounding what Mason considered "too radical for the general viewer", they earned a callback for a second audition, with the caveat that they play material more familiar to the judges; they did not earn an appearance on the show.[265] Also in 1965, they auditioned for the Melody Maker Beat Contest, losing to the eventual national winners.[265]
Jump up ^ Road manager Peter Watts joined them before touring Europe in 1968.[297]
Jump up ^ Thorgerson's design for Wish You Were Here's cover included four sides, counting the inner jacket, which represented four absences related to the classical categories of substance: earth, air, fire and water. His Dark Side album cover features a beam of white light, representing unity, passing through a prism, which represents society. The resulting refracted beam of coloured light symbolises unity diffracted, leaving an absence of unity.[109] Absence is a key element in the existentialism of Albert Camus, who defined absurdity as the absence of a response to the individual's need for unity.[109]
Jump up ^ Philosophy originated from the Greek poet, Parmenides, who wrote a poem in which the protagonist takes a cosmic chariot ride guided by a goddess who shows him that there are only two paths in life, being, which leads to truth, and non-being, which leads to confusion and discontent. The goddess also told Parmenides: "thought and being are one".[313]
Jump up ^ Marx considered insanity the ultimate form of self-alienation.[323]
References
Jump up ^ Blake 2008, pp. 37–38: Mason meeting Waters while studying architecture at the London Polytechnic; Fitch 2005, p. 335: Waters meeting Mason while studying architecture at the London Polytechnic.
Jump up ^ Blake 2008, pp. 39–40.
Jump up ^ Blake 2008, pp. 39–40: Wright was also an architecture student when he joined Sigma 6; Povey 2008, pp. 13–14: The formation of Sigma 6; Schaffner 1991, p. 27: Instrumental line-up of Sigma 6: Waters (lead guitar), Wright (rhythm guitar) and Mason (drums).
Jump up ^ Blake 2008, pp. 38–39.
^ Jump up to: a b Mason 2005, pp. 24–26.
^ Jump up to: a b c Povey 2008, p. 14.
Jump up ^ Povey 2008, pp. 13–18.
Jump up ^ Blake 2008, p. 39: Megadeaths; Povey 2008, p. 13: Meggadeaths.
Jump up ^ Povey 2008, pp. 14–15.
Jump up ^ Blake 2008, pp. 43–44: The T-Set as an alternate spelling; Povey 2008, pp. 28–29: The Tea Set used throughout.
Jump up ^ Blake 2008, p. 41.
Jump up ^ Povey 2008, p. 13.
^ Jump up to: a b Schaffner 1991, pp. 22–23.
Jump up ^ Mason 2005, p. 27.
Jump up ^ Blake 2008, pp. 42–44.
^ Jump up to: a b Mason 2005, pp. 29–30.
Jump up ^ Povey 2008, p. 19.
Jump up ^ Mason 2005, p. 30.
Jump up ^ Blake 2008, pp. 44–45: Klose quit the band in mid 1965 and Barrett took over on lead guitar (secondary source); Mason 2005, p. 32: Klose quit the band in mid 1965 (primary source).
Jump up ^ Povey 2008, pp. 18–19.
Jump up ^ Mason 2005, pp. 33–37: The origin of the band name Pink Floyd (primary source); Povey 2008, pp. 18–19: The origin of the band name Pink Floyd (secondary source).
Jump up ^ Mason 2005, pp. 33–37: Jenner was impressed by Barrett and Wright; Schaffner 1991, p. 17: Jenner and King became Pink Floyd's business managers.
^ Jump up to: a b c d UK Retail Price Index inflation figures are based on data from Clark, Gregory (2017). "The Annual RPI and Average Earnings for Britain, 1209 to Present (New Series)". MeasuringWorth. Retrieved 6 November 2017.
Jump up ^ Schaffner 1991, p. 32.
^ Jump up to: a b Schaffner 1991, pp. 32–33.
Jump up ^ Mason 2005, pp. 50–51.
Jump up ^ Mason 2005, pp. 46–49: (primary source); Schaffner 1991, p. 34: (secondary source).
Jump up ^ Mason 2005, pp. 52–53: Jenner and King's connections helped gain the band important coverage; Schaffner 1991, p. 44: "apparently very psychedelic"
Jump up ^ Mason 2005, p. 49.
Jump up ^ Mason 2005, p. 54.
^ Jump up to: a b Mason 2005, pp. 54–58.
Jump up ^ Schaffner 1991, p. 49.
Jump up ^ di Perna 2002, p. 29: Pink Floyd as a spack rock band; Povey 2008, p. 37: The music industry began to take notice of Pink Floyd.
Jump up ^ Blake 2008, p. 79.
Jump up ^ Povey 2008, p. 342: Release date for "Arnold Layne"; Schaffner 1991, pp. 54–55: Signing with EMI.
^ Jump up to: a b c Povey 2008, p. 37.
Jump up ^ Mason 2005, pp. 59–63.
Jump up ^ Mason 2005, pp. 84–85.
Jump up ^ Povey 2008, p. 342.
Jump up ^ Blake 2008, pp. 86–87.
Jump up ^ Mason 2005, pp. 86–87.
Jump up ^ Povey 2008, p. 43.
Jump up ^ Mason 2005, p. 82: Barrett was "completely distanced from everything going on"; Schaffner 1991, p. 51: Barrett's increasing LSD use starting early 1967.
Jump up ^ Mason 2005, pp. 87–88: Smith negotiated Pink Floyd's first record contract; Schaffner 1991, p. 55: Morrison negotiated Pink Floyd's first contract and in it they agreed to record their first album at EMI Studios.
Jump up ^ Blake 2008, p. 85.
Jump up ^ Mason 2005, pp. 92–93.
^ Jump up to: a b c d e f g Roberts 2005, p. 391.
Jump up ^ Cavanagh, John (2003). The Piper at the Gates of Dawn. New York [u.a.]: Continuum. pp. 55–56. ISBN 978-0-8264-1497-7.
Jump up ^ Mason 2005, p. 95: "The band started to play and Syd just stood there"; Schaffner 1991, p. 36: June Child was Blackhill's assistant and secretary.
Jump up ^ Povey 2008, p. 67.
Jump up ^ Blake 2008, p. 123.
Jump up ^ Povey 2008, pp. 67–71.
Jump up ^ Povey 2008, p. 69.
Jump up ^ Schaffner 1991, pp. 88–90.
Jump up ^ Schaffner 1991, pp. 91–92.
Jump up ^ Povey 2008, p. 72.
Jump up ^ Mason 2005, pp. 95–105: Barrett's mental deterioration and Pink Floyd's first US tour (primary source); Schaffner 1991, pp. 91–94: Barrett's mental deterioration and Pink Floyd's first US tour (secondary source).
Jump up ^ Fitch 2005, p. 224.
Jump up ^ Blake 2008, p. 102.
^ Jump up to: a b Povey 2008, p. 47.
Jump up ^ Blake 2008, p. 110.
Jump up ^ Mason 2005, p. 28.
Jump up ^ Mason 2005, p. 34.
Jump up ^ Blake 2008, pp. 110–111: "the band intending to continue with Barrett"; Mason 2005, pp. 109–111: O'Rourke set Gilmour up in O'Rourke's home; Schaffner 1991, p. 104: Gilmour was officially announced as a new member of Pink Floyd.
Jump up ^ Schaffner 1991, p. 107.
Jump up ^ Schaffner 1991, p. 104.
Jump up ^ Palacios, Julian (2010). Syd Barrett and Pink Floyd: Dark Globe. Plexus. p. 317. ISBN 978-0-85965-431-9.
Jump up ^ Povey 2008, p. 78.
Jump up ^ Mason 2005, p. 111.
Jump up ^ Blake 2008, p. 112.
Jump up ^ Blake 2008, pp. 90–113: (secondary source); Mason 2005, pp. 78–105: (primary source).
Jump up ^ Povey 2008, pp. 78–80.
Jump up ^ Mason 2005, pp. 112–114, 127–131: On O'Rourke becoming the band's manager.
Jump up ^ Schaffner 1991, pp. 107–108.
Jump up ^ Blake 2008, pp. 112–114.
Jump up ^ Blake 2008, pp. 3, 9, 113, 156, 242, 279, 320, 398: After Barrett's departure, the burden of lyrical composition and creative direction fell mostly on Waters.
^ Jump up to: a b di Perna 2002, p. 13.
Jump up ^ Blake 2008, pp. 116–117.
^ Jump up to: a b Blake 2008, p. 117.
^ Jump up to: a b Blake 2008, p. 118.
Jump up ^ Roberts, James (1 November 1997). "Hipgnotic Suggestion" (37). Frieze. Retrieved 12 September 2012. Throughout the 70s many of the more successful rock bands adopted similarly abstract imagery, in particular Led Zeppelin (the album IV, 1971, dispensed with their name and the title of the record entirely) and Pink Floyd, who, following the Beatles, were only the second band to be allowed by EMI to use an outside designer.
Jump up ^ Fitch 2005, p. 311.
Jump up ^ Povey 2008, p. 84.
Jump up ^ Mason 2005, pp. 127–131.
Jump up ^ Harris 2005, p. 168: (secondary source); Mason 2005, pp. 133–135: (primary source).
Jump up ^ Povey 2008, pp. 87–89.
Jump up ^ Povey 2008, pp. 135–136.
Jump up ^ Povey 2008, p. 344.
Jump up ^ Schaffner 1991, p. 154.
Jump up ^ Blake 2008, p. 148.
^ Jump up to: a b Schaffner 1991, p. 144.
Jump up ^ Schaffner 1991, pp. 140–147.
Jump up ^ Povey 2008, pp. 128–140.
Jump up ^ Schaffner 1991, pp. 150–151.
Jump up ^ Povey 2008, p. 122.
Jump up ^ Harris 2005, p. 71: "a couple of bottles of wine and a couple of joints"; Mason 2005, p. 153: Lacking a central theme they experimented.
Jump up ^ Harris 2005, p. 72.
Jump up ^ For "Meddle not only confirms lead guitarist David Gilmour's emergence" see: Costa, Jean-Charles (6 January 1972). "Pink Floyd: Meddle". Rolling Stone. Archived from the original on 4 January 2008. Retrieved 19 August 2009. ; Povey 2008, p. 150: The release dates for Meddle.
Jump up ^ Povey 2008, p. 150: A 5 November UK release date for Meddle; For a 13 November UK release date for Meddle see: "Pink Floyd – Echoes (click Echoes image link)". pinkfloyd.com. Retrieved 22 August 2009.
Jump up ^ Mason 2005, p. 157: (primary source); Povey 2008, pp. 142–144: (secondary source)
Jump up ^ Povey 2008, pp. 155: Touring the US in November; 174: Pink Floyd: Live at Pompeii.
Jump up ^ Schaffner 1991, p. 155.
Jump up ^ Watts 1996, pp. 56–57.
Jump up ^ "Review of Pink Floyd – Meddle". BBC Music. Retrieved 5 August 2012.
Jump up ^ Harris 2005, pp. 103–104: Recording schedule for Dark Side; Harris 2005, p. 104: Alan Parsons as an engineer on Dark Side; Schaffner 1991, p. 159: The Dark Side of the Moon as an allusion to lunacy, rather than astronomy.
Jump up ^ Povey 2008, pp. 164–173.
Jump up ^ Harris 2005, pp. 140–141: (secondary source); Mason 2005, p. 177: (primary source).
Jump up ^ Harris 2005, p. 151.
^ Jump up to: a b c Weinstein 2007, p. 86.
Jump up ^ Harris 2005, pp. 12–13, 88–89.
Jump up ^ Schaffner 1991, p. 166.
^ Jump up to: a b c Povey 2008, p. 160.
Jump up ^ Hollingworth, Roy (1973). "Historical info – 1973 review, Melody Maker". pinkfloyd.com. Retrieved 28 May 2011.
Jump up ^ Grossman, Lloyd (24 May 1973). "Dark Side of the Moon Review". Rolling Stone. Archived from the original on 18 June 2008. Retrieved 7 August 2009.
Jump up ^ Schaffner 1991, pp. 166–167.
Jump up ^ For Billboard chart history see: Titus, Christa; Waddell, Ray (2005). "Floyd's 'Dark Side' Celebrates Chart Milestone". Billboard. Retrieved 12 August 2012. ; for sales figures see: Smirke, Richard (March 16, 2013). "Pink Floyd, 'The Dark Side of the Moon' At 40: Classic Track-By-Track Review". Billboard. Retrieved June 22, 2016. ; Povey 2008, p. 345: A US number 1.
Jump up ^ "AC/DC's 'Back In Black' at 35: Classic Track-by-Track Album Review".
^ Jump up to: a b Povey 2008, p. 345.
Jump up ^ Harris 2005, pp. 172–173.
^ Jump up to: a b Federal Reserve Bank of Minneapolis Community Development Project. "Consumer Price Index (estimate) 1800–". Federal Reserve Bank of Minneapolis. Retrieved January 2, 2018.
Jump up ^ Schaffner 1991, p. 173.
Jump up ^ Povey 2008, p. 184.
Jump up ^ Mason 2005, pp. 177: Parsons declined an offer to continue working with Pink Floyd, 200: Pink Floyd hired Humphries.
^ Jump up to: a b c Schaffner 1991, pp. 184–185.
Jump up ^ Schaffner 1991, pp. 178–184.
Jump up ^ Schaffner 1991, p. 184: The motif reminded Waters of Barrett; Watkinson & Anderson 2001, p. 119: Gilmour composed the motif entirely by accident.
Jump up ^ Schaffner 1991, pp. 185–186.
Jump up ^ Schaffner 1991, p. 184.
Jump up ^ Watkinson & Anderson 2001, p. 120.
Jump up ^ Blake 2008, p. 231.
Jump up ^ Schaffner 1991, pp. 189–190.
^ Jump up to: a b Povey 2008, p. 346.
Jump up ^ Blake 2008, p. 236.
Jump up ^ Povey 2008, p. 200.
Jump up ^ Blake 2008, pp. 241–242.
Jump up ^ Mason 2005, pp. 218–220.
Jump up ^ Blake 2008, pp. 245–246: (secondary source); Mason 2005, pp. 223–225: (primary source).
Jump up ^ Blake 2008, p. 246.
Jump up ^ Blake 2008, p. 246: (secondary source); Mason 2005, pp. 223–225: (primary source).
Jump up ^ Blake 2008, pp. 242–245.
^ Jump up to: a b Blake 2008, p. 242.
Jump up ^ Blake 2008, pp. 244–245.
^ Jump up to: a b Blake 2008, pp. 242–243.
Jump up ^ Povey 2008, p. 347.
Jump up ^ Blake 2008, p. 247.
Jump up ^ Blake 2008, pp. 252–253.
^ Jump up to: a b Mason 2005, pp. 235–236.
Jump up ^ Povey 2008, p. 207.
Jump up ^ Mason 2005, p. 230.
Jump up ^ Blake 2008, pp. 258–259.
^ Jump up to: a b Schaffner 1991, pp. 206–208.
Jump up ^ Blake 2008, p. 260.
Jump up ^ Blake 2008, pp. 260–261.
Jump up ^ Mason 2005, p. 238.
Jump up ^ Mason 2005, pp. 240–242: (primary source); Schaffner 1991, p. 213: (secondary source).
Jump up ^ Simmons 1999, pp. 76–95.
Jump up ^ Schaffner 1991, p. 219: That's why Wright "got the boot"; Simmons 1999, pp. 86–88: Wright, "hadn't contributed anything of any value".
Jump up ^ Mason 2005, p. 246.
Jump up ^ Simmons 1999, p. 88.
Jump up ^ Blake 2008, pp. 269: Wright's name did not appear on the album, 285–286: Wright as a paid musician during the tour.
Jump up ^ Mason 2005, p. 249.
Jump up ^ Bronson 1992, p. 523: Peak US chart position for "Another Brick in the Wall (Part II)"; Roberts 2005, p. 391: Peak UK chart position for "Another Brick in the Wall (Part II)".
Jump up ^ Roberts 2005, p. 391: Peak UK chart position for The Wall; Rosen 1996, p. 246: Peak US chart position for The Wall.
Jump up ^ "RIAA's Top 100 Albums". Recording Industry Association of America. Retrieved 21 August 2012.
Jump up ^ Blake 2008, p. 279.
Jump up ^ Scarfe 2010, pp. 91–115.
Jump up ^ Blake 2008, pp. 285–286.
Jump up ^ Blake 2008, p. 289.
^ Jump up to: a b c Blake 2008, pp. 288–292.
Jump up ^ Povey 2008, p. 229.
Jump up ^ Blake 2008, pp. 294–295.
^ Jump up to: a b Blake 2008, pp. 296–298.
Jump up ^ Blake 2008, pp. 296–298: (secondary source); Mason 2005, p. 268: (primary source)
Jump up ^ Blake 2008, pp. 295–298: (secondary source); Mason 2005, p. 268: (primary source)
^ Jump up to: a b Blake 2008, p. 299.
Jump up ^ Blake 2008, p. 300: Peak US chart position for The Final Cut; Roberts 2005, p. 391: Peak UK chart position for The Final Cut.
Jump up ^ Blake 2008, p. 294: (secondary source); Mason 2005, p. 265: (primary source).
^ Jump up to: a b Blake 2008, p. 295.
Jump up ^ Blake 2008, pp. 294–300: (secondary source); Mason 2005, pp. 269–270: (primary source).
Jump up ^ Schaffner 1991, p. 243.
Jump up ^ Blake 2008, p. 300.
Jump up ^ Loder, Kurt (14 April 1983). "Pink Floyd—The Final Cut". Rolling Stone. Archived from the original on 22 June 2008. Retrieved 4 September 2009.
Jump up ^ Blake 2008, pp. 302–309.
^ Jump up to: a b Blake 2008, pp. 309–311.
^ Jump up to: a b Blake 2008, pp. 311–313.
Jump up ^ Schaffner 1991, pp. 263–266.
Jump up ^ Blake 2008, pp. 311–313: O'Rourke's involvement in the settlement; Povey 2008, p. 240: "a spent force".
Jump up ^ Schaffner 1991, p. 271.
Jump up ^ "Pink Floyd star Roger Waters regrets suing band". BBC News. 19 September 2013. Retrieved 10 March 2016.
^ Jump up to: a b Schaffner 1991, pp. 264–268.
Jump up ^ Blake 2008, pp. 316–317.
Jump up ^ Manning 2006, p. 134: Pink Floyd employed Wright as a paid musician with weekly earnings of $11,000; Schaffner 1991, p. 269: "would make us stronger legally and musically".
Jump up ^ Blake 2008, p. 318.
Jump up ^ Fitch 2005, p. 158.
Jump up ^ Mason 2005, pp. 284–285.
Jump up ^ Blake 2008, p. 320.
Jump up ^ Mason 2005, p. 287.
Jump up ^ Mason 2005, p. 287: (primary sources); Schaffner 1991, pp. 268–269: (secondary source).
Jump up ^ Blake 2008, p. 321.
Jump up ^ Schaffner 1991, p. 273.
Jump up ^ Blake 2008, p. 166.
Jump up ^ Blake 2008, p. 366.
Jump up ^ Povey 2008, p. 349.
Jump up ^ Blake 2008, p. 328.
Jump up ^ Blake 2008, p. 327.
Jump up ^ Blake 2008, pp. 326–327.
Jump up ^ Blake 2008, p. 322.
Jump up ^ Schaffner 1991, p. 277.
Jump up ^ Blake 2008, pp. 329–335.
Jump up ^ Mason 2005, pp. 311–313.
Jump up ^ Blake 2008, p. 352.
Jump up ^ Mason 2005, pp. 314–321.
^ Jump up to: a b Blake 2008, p. 355.
Jump up ^ Blake 2008, p. 356.
Jump up ^ Blake 2008, pp. 356–357: (secondary source); Mason 2005, pp. 314–321: (primary source).
Jump up ^ Blake 2008, p. 359.
Jump up ^ Mason 2005, p. 322.
Jump up ^ Blake 2008, pp. 357–358.
Jump up ^ Mason 2005, p. 319.
Jump up ^ Mason 2005, p. 330: Momentary Lapse of Reason tour crew was almost identical to the Division Bell tour crew; Povey 2008, p. 270: Rehearsing for over two weeks at Norton Air Force Base before opening in Miami.
^ Jump up to: a b Blake 2008, pp. 363–367.
^ Jump up to: a b Blake 2008, p. 367.
Jump up ^ Povey 2008, pp. 264, 285, 351–352: Pulse.
Jump up ^ Mason 2005, p. 342: (primary source); Povey 2008, p. 237: (secondary source).
Jump up ^ Blake 2008, pp. 380–384: (secondary source); Mason 2005, pp. 335–339: (primary source).
Jump up ^ Povey 2008, p. 287.
^ Jump up to: a b Blake 2008, p. 386.
^ Jump up to: a b "Donate Live 8 profit says Gilmour". BBC News. 5 July 2005. Retrieved 2 August 2012.
Jump up ^ Blake 2008, p. 395.
Jump up ^ "Gilmour says no Pink Floyd reunion". NBC News. 9 September 2008. Retrieved 2 August 2012.
^ Jump up to: a b Castaldo, Gino (3 February 2006). "The requiem of David Gilmour: Pink Floyd gone?". La Repubblica (in Italian).
Jump up ^ Kielty, Martin (7 January 2013). "Pink Floyd was over in 1985 says Waters". Classic Rock Magazine. Archived from the original on 3 December 2013. ; "Pink Floyd star: Reunion unlikely". Toronto Sun. wenn.com. 28 September 2011. Retrieved 1 December 2013.
Jump up ^ Blake 2008, pp. 387–389.
^ Jump up to: a b Pareles, Jon (12 July 2006). "Syd Barrett, a Founder of Pink Floyd And Psychedelic Rock Pioneer, Dies at 60". The New York Times. Retrieved 7 September 2009.
Jump up ^ Blake 2008, pp. 390–391.
Jump up ^ Blake 2008, p. 394.
Jump up ^ Youngs, Ian (11 May 2007). "Floyd play at Barrett tribute gig". BBC News. Retrieved 3 August 2013.
Jump up ^ Booth, Robert (16 September 2008). "Pink Floyd's Richard Wright dies". The Guardian. Retrieved 7 September 2009.
Jump up ^ "Floyd Founder Wright dies at 65". BBC News. 15 September 2008. Retrieved 2 August 2012.
Jump up ^ "David Gilmour Performs Pink Floyd's "Remember a Day" in Tribute to Rick Wright — Video". 2015-09-15. Retrieved 2016-08-03.
Jump up ^ "Official Keith Emerson Website - Richard Wright Tribute by Keith Emerson". www.keithemerson.com. Retrieved 2016-08-03.
Jump up ^ Bychawski, Adam (11 July 2010). "Pink Floyd's Roger Waters and David Gilmour reunite for charity gig: Duo play together for Hoping Foundation". NME. Retrieved 2 August 2012.
Jump up ^ Barth, Chris (15 July 2010). "Roger Waters Reunites With David Gilmour for 'Wall' Tour". Rolling Stone. Retrieved 1 August 2010.
Jump up ^ "Pink Floyd end EMI legal dispute". BBC News. 4 January 2011. Retrieved 5 January 2011.
Jump up ^ Todd, Ben (13 May 2011). "Pink Floyd legends Roger Waters and Dave Gilmour reunite in front of 14,000 delirious fans at O2 Arena". Daily Mail. Retrieved 2 August 2012.
Jump up ^ "Pink Floyd Reunite at Roger Waters Show in London". Rolling Stone. 12 May 2011. Retrieved 12 May 2011.
Jump up ^ "Why Pink Floyd?, Pink Floyd & EMI 2011 remastered campaign". Whypinkfloyd.com. 2011. Retrieved 27 May 2011.
Jump up ^ Kreps, Daniel (2 December 2015). "Pink Floyd Release Rare '1965: Their First Recordings' EP". Rolling Stone. Retrieved 6 December 2015.
Jump up ^ Roseb, Craig (9 October 2014). "Pink Floyd Returns With First New Song From Final Album The Endless River". Yahoo! Music. Retrieved 14 November 2014.
Jump up ^ Maloney, Devon (5 July 2014). "New Pink Floyd Album 'The Endless River' Out in October". Billboard. Retrieved 18 September 2014.
Jump up ^ Roberts, Randall (22 September 2014). "Pink Floyd offers release date, cover art for album 'The Endless River'". Los Angeles Times. Tribune Publishing. Retrieved 22 September 2014.
Jump up ^ "The Endless River: Amazon.co.uk: Music". Amazon.co.uk. Amazon.com, Inc. Retrieved 22 September 2014.
Jump up ^ "Reviews for The Endless River by Pink Floyd". Metacritic. CBS Interactive. Retrieved 5 November 2014.
Jump up ^ Kharpal, Arjun (10 November 2014). "Pink Floyd album becomes most pre-ordered on Amazon". CNBC. Retrieved 14 November 2014.
Jump up ^ Moss, Liv (16 November 2014). "Pink Floyd score first Number 1 album in nearly 20 years!". Official Charts Company. Retrieved 16 November 2014.
Jump up ^ "Pink Floyd score first Number 1 album in nearly 20 years!". localuknews.co.uk. 17 November 2014. Archived from the original on 25 December 2014. Retrieved 17 November 2014.
Jump up ^ Lee, Dave (27 November 2014). "Vinyl record sales hit 18-year high". BBC News. Retrieved 27 November 2014.
Jump up ^ Everitt, Matt (9 October 2014). "Shaun Keaveny, with a Pink Floyd Exclusive, Pink Floyd Talk to 6 Music's Matt Everitt". BBC.
Jump up ^ Greene, Andy (29 October 2014). "David Gilmour: There's No Room in My Life for Pink Floyd". Rolling Stone. Retrieved 9 November 2014.
Jump up ^ "David Gilmour's New Album "Coming Along Very Well..." in 2015". Neptune Pink Floyd. 29 October 2014. Retrieved 9 November 2014.
Jump up ^ "Pink Floyd are 'done', says Dave Gilmour". The Guardian. 14 August 2015.
Jump up ^ "Pink Floyd Detail Massive 27-Disc 'Early Years' Box Set". Rolling Stone. July 28, 2016. Retrieved July 29, 2016.
Jump up ^ di Perna 2002, p. 29: Pink Floyd as a space rock act; Povey 2008, p. 86: Pink Floyd as one of the UK's first psychedelic music groups.
Jump up ^ Mason 2005, p. 31.
^ Jump up to: a b Mason 2005, pp. 31–32.
^ Jump up to: a b George-Warren 2001, p. 761.
Jump up ^ Greene, Doyle (2016). Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era. McFarland. p. 158. ISBN 978-1-4766-2403-7.
^ Jump up to: a b George-Warren 2001, p. 760.
Jump up ^ Greene, Doyle (2016). Rock, Counterculture and the Avant-Garde, 1966–1970: How the Beatles, Frank Zappa and the Velvet Underground Defined an Era. McFarland. p. 182. ISBN 978-1-4766-2403-7.
Jump up ^ Chapman 2012, p. 113.
Jump up ^ DeRogatis 2006, p. xvi.
Jump up ^ Povey 2008, p. 85.
Jump up ^ O'Neill Surber 2007, pp. 192–199.
Jump up ^ Fitch 2001, p. 45.
Jump up ^ Hibbert 1996, p. 147.
Jump up ^ George-Warren 2001, pp. 760–761.
^ Jump up to: a b di Perna 2006, p. 59.
^ Jump up to: a b di Perna 2006, p. 58: "the missing link"; For Rolling Stone's "100 Greatest Guitarists" list see: "100 Greatest Guitarists of All Time: 51) David Gilmour". Rolling Stone. Retrieved 2 August 2012.
Jump up ^ di Perna 2006, pp. 58–59.
^ Jump up to: a b c d Brown 2006, p. 62.
Jump up ^ Brown 2006, p. 66.
Jump up ^ Blake 2008, p. 86.
Jump up ^ Blake 2008, p. 134.
Jump up ^ Blake 2008, p. 178.
Jump up ^ Mason 2005, p. 169: Synthesiser use in "On the Run"; Fitch 2005, p. 324: Synthesiser use on "Welcome to the Machine"; Fitch & Mahon 2006, p. 71: Synthesiser use on "In the Flesh?".
Jump up ^ Mabbett 1995, p. 39.
Jump up ^ Blake 2008, pp. 297–298.
Jump up ^ Mason 2005, pp. 133–135.
Jump up ^ Schaffner 1991, p. 128.
Jump up ^ Schaffner 1991, pp. 135–136.
Jump up ^ Schaffner 1991, pp. 156–157.
Jump up ^ Calore, Michael (12 May 2009). "12 May 1967: Pink Floyd Astounds With 'Sound in the Round'". Wired. Retrieved 2 August 2012.
Jump up ^ Schaffner 1991, pp. 42–43.
Jump up ^ Fitch 2005, pp. 359–360: Peter Wynne-Willson; Mason 2005, pp. 78–79: Wynne-Willson updated the band's lighting rig with some innovative ideas.
Jump up ^ Mason 2005, p. 70.
Jump up ^ Povey 2008, p. 58.
Jump up ^ Mason 2005, pp. 115–119.
Jump up ^ Povey 2008, pp. 87: The television audience, 111: Pink Floyd performed a piece titled "Moonhead".
Jump up ^ Povey 2008, p. 183.
Jump up ^ Fitch 2005, p. 241.
Jump up ^ Blake 2008, pp. 280–282.
Jump up ^ Blake 2008, pp. 284–285.
^ Jump up to: a b O'Neill Surber 2007, p. 192.
Jump up ^ Croskery 2007, p. 36.
Jump up ^ Reisch 2007, p. 268.
Jump up ^ Weinstein 2007, pp. 81–82.
Jump up ^ Fitch 2005, p. 133.
Jump up ^ Detmer 2007, p. 77.
Jump up ^ Detmer 2007, p. 75.
^ Jump up to: a b c O'Neill Surber 2007, p. 197.
Jump up ^ Thorgerson, Storm (1978). The Work of Hipgnosis – Walk Away Reneé. A & W. p. 148. ISBN 978-0-89104-105-4.
Jump up ^ Weinstein 2007, p. 90.
Jump up ^ O'Neill Surber 2007, p. 191.
^ Jump up to: a b Croskery 2007, p. 35.
Jump up ^ Croskery 2007, pp. 35–36.
Jump up ^ Croskery 2007, pp. 37–40.
Jump up ^ Croskery 2007, p. 40.
Jump up ^ Croskery 2007, pp. 37–38.
Jump up ^ Croskery 2007, p. 39.
Jump up ^ Croskery 2007, p. 41.
Jump up ^ Croskery 2007, pp. 41–42.
Jump up ^ Harris 2005, p. 89.
^ Jump up to: a b c d O'Neill Surber 2007, p. 195.
Jump up ^ O'Neill Surber 2007, p. 196.
Jump up ^ Detmer 2007, p. 73.
Jump up ^ O'Neill Surber 2007, pp. 195–196.
Jump up ^ Blake 2008, p. 294: The Final Cut dedicated to Waters' late father; George-Warren 2001, p. 761: A Requiem for the Postwar Dream.
Jump up ^ Blake 2008, pp. 294–295: The influence of WWII on The Wall, 351: An English society depleted of men after WWII.
Jump up ^ Blake 2008, pp. 194–195.
Jump up ^ Weinstein 2007, p. 85.
Jump up ^ Harris 2005, p. 81.
Jump up ^ Reisch 2007, p. 257.
^ Jump up to: a b Reisch 2007, p. 263.
Jump up ^ Reisch 2007, pp. 263–264.
Jump up ^ Reisch 2007, pp. 258–264.
Jump up ^ "Rock & Roll Hall of Fame: Pink Floyd biography". Rock and Roll Hall of Fame. Retrieved 2 August 2012.
Jump up ^ For 250 million records sold see: "Pink Floyd Reunion Tops Fans' Wish List in Music Choice Survey". Bloomberg Television. 26 September 2007. Archived from the original on 12 August 2013. Retrieved 2 August 2012. ; For 75 million RIAA-certified units sold see: "Top Selling Artists". Recording Industry Association of America. Retrieved 2 August 2012. ; For 37.9 million albums sold since 1993 see: "The Nielsen Company & Billboard's 2012 Music Industry Report". Business Wire. 4 January 2013. Retrieved 10 May 2014.
Jump up ^ "Sunday Times Rich List 2013: Music Millionaires". 2013. Retrieved 23 November 2013.
Jump up ^ Olsen, Eric (3 March 2004). "The 10 best rock bands ever: A purely subjective list of the groups that changed music forever". today.com. Retrieved 2 August 2012.
Jump up ^ "100 Greatest Artists: 51) Pink Floyd". Rolling Stone. Retrieved 2 August 2012.
Jump up ^ Barnes, Anthony (3 October 2004). "Q: Which is biggest band of all time? A: And readers say..." The Independent. London. Retrieved 2 August 2012.
Jump up ^ For VH1's "100 Greatest Artists of All Time" see: Juzwiak, Rich (10 August 2010). "Who Will Come Out On Top Of VH1's 100 Greatest Artists Of All Time?". VH1. Retrieved 23 August 2012.
Jump up ^ Larkin, Colin (1998). All Time Top 1000 Albums: The World's Most Authoritative Guide to the Perfect Record Collection. Virgin. p. 281. ISBN 978-0-7535-0258-7.
Jump up ^ Povey 2008, p. 348: Grammy award for The Wall; For the 1982 BAFTA awards see: "BAFTA: Awards Database". BAFTA. 1982. Retrieved 2 August 2012.
Jump up ^ "And the Winners Are ..." The New York Times. 2 March 1995. Retrieved 2 August 2012.
Jump up ^ Nordstrom, Louise (21 May 2008). "Pink Floyd wins Polar Music Prize". USA Today. Retrieved 7 October 2010.
Jump up ^ Povey 2008, p. 286: Rock and Roll Hall of Fame induction; Povey 2008, p. 287: The UK Hall of Fame induction; For the Hit Parade Hall of Fame induction see: "Pink Floyd – 2010 Inductee". Hit Parade Hall of Fame. Archived from the original on 12 November 2012. Retrieved 2 August 2012.
Jump up ^ For Bowie naming Barrett an inspiration see: Bychawski, Adam (11 July 2006). "David Bowie pays tribute to Syd Barrett". NME. Retrieved 13 October 2009. ; For Edge buying his first delay pedal see: McCormick, Neil (editor) (2006). U2 by U2. HarperCollins. p. 102. ISBN 978-0-00-719668-5. CS1 maint: Extra text: authors list (link)
Jump up ^ For Queen citing Pink Floyd as an influence see: Sutcillfe, Phil (2009). Queen: The Ultimate Illustrated History of the Crown Kings of Rock. Voyageur Press. p. 17. ISBN 978-0-7603-3719-6. ; For Kraftwerk see: Queenan, Joe (22 February 2008). "Vorsprung durch Techno". The Guardian. Retrieved 31 August 2012. ; For Marillion see: Thore, Kim (27 August 2009). "Steve Rothery Interview". All Access Magazine. Retrieved 24 March 2014. ; For Tool see: The 50 Greatest Bands. Spin. February 2002. p. 78. Retrieved 31 August 2012. ; Manning 2006, p. 288: Queensryche, the Orb, Nemrud, the Smashing Pumpkins; 289: Radiohead; Kitts & Tolinski 2002, p. 126: For Nine Inch Nails see the back cover; For Steven Wilson, see: Masters, Tim (6 September 2012). "Genesis honoured at Progressive Music awards". BBC. Retrieved 30 December 2017.
Jump up ^ "Pop/Rock » Art-Rock/Experimental » Neo-Prog". AllMusic. Retrieved 28 July 2015.
Jump up ^ Johnson, Steve (6 May 2009). "Cue the coconuts: 'Holy Grail' gallops on". Chicago Tribune. Retrieved 30 November 2014.
Jump up ^ "Pink Floyd exhibition announced for Victoria and Albert Museum". BBC News. 31 August 2016. Retrieved 1 October 2017.
Jump up ^ "V&A - Pink Floyd: Their Mortal Remains". Victoria and Albert Museum. Retrieved 7 October 2017.
Jump up ^ "Ambitious, fascinating and faceless - just like Pink Floyd themselves: Their Mortal Remains, V&A, review". The Daily Telegraph. 7 May 2018. Retrieved 7 October 2017.
Jump up ^ "Pink Floyd exhibition set to become V&A's most visited music show". The Guardian. 30 August 2017. Retrieved 7 October 2017.
Sources
Blake, Mark (2008). Comfortably Numb: The Inside Story of Pink Floyd. Da Capo Press. ISBN 978-0-306-81752-6.
Bronson, Fred (1992). Weiler, Fred, ed. The Billboard Book of Number One Hits. Billboard Books (3rd revised ed.). ISBN 978-0-8230-8298-8.
Brown, Jimmy (May 2006). "Sorcerer Full of Secrets". Guitar World. 27 (5).
di Perna, Alan (May 2006). "Shine On". Guitar World. 27 (5).
di Perna, Alan (2002). "Mysterious Ways". In Kitts, Jeff; Tolinski, Brad. Guitar World Presents: Pink Floyd. Hal Leonard. ISBN 978-0-7546-6708-7.
Croskery, Patrick (2007). "Pigs Training Dogs to Exploit Sheep: Animals as a Beast Fable Dystopia". In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.
Detmer, David (2007). "Dragged Down by the Stone: Pink Floyd, Alienation, and the Pressures of Life". In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.
Fitch, Vernon (2005). The Pink Floyd Encyclopedia (Third ed.). Collector's Guide Publishing. ISBN 978-1-894959-24-7.
Fitch, Vernon (2001). Pink Floyd: The Press Reports 1966–1983. Collector's Guide Publishing Inc. ISBN 978-1-896522-72-2.
Fitch, Vernon; Mahon, Richard (2006). Comfortably Numb: A History of "The Wall", Pink Floyd, 1978–1981 (1st ed.). PFA Publishing, Inc. ISBN 978-0-9777366-0-7.
George-Warren, Holly, ed. (2001). The Rolling Stone Encyclopedia of Rock & Roll (2005 revised and updated ed.). Fireside. ISBN 978-0-7432-9201-6.
Harris, John (2005). The Dark Side of the Moon (First Hardcover ed.). Da Capo. ISBN 978-0-306-81342-9.
Hibbert, Tom (1996) [1971]. "Who the hell does Roger Waters think he is?". In MacDonald, Bruno. Pink Floyd: Through the Eyes of the Band, Its Fans and Foes. Da Capo. ISBN 978-0-306-80780-0.
Kitts, Jeff; Tolinski, Brad, eds. (2002). Guitar World Presents: Pink Floyd. Hal Leonard. ISBN 978-0-7546-6708-7.
Mabbett, Andy (1995). The Complete Guide to the Music of Pink Floyd (1st UK paperback ed.). Omnibus Press. ISBN 978-0-7119-4301-8.
Manning, Toby (2006). The Rough Guide to Pink Floyd (First ed.). Rough Guides. ISBN 978-1-84353-575-1.
Mason, Nick (2005) [2004]. Dodd, Philip, ed. Inside Out: A Personal History of Pink Floyd (Paperback ed.). Phoenix. ISBN 978-0-7538-1906-7.
Povey, Glenn (2008) [2007]. Echoes: The Complete History of Pink Floyd. Mind Head Publishing. ISBN 978-0-9554624-1-2.
Reisch, George A (2007). "The Worms and the Wall: Michael Foucault on Syd Barrett". In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.
Roberts, David, ed. (2005). British Hit Singles & Albums (18 ed.). Guinness World Records Limited. ISBN 978-1-904994-00-8.
Rosen, Craig (1996). Lukas, Paul, ed. The Billboard Book of Number One Albums. Billboard. ISBN 978-0-8230-7586-7.
Schaffner, Nicholas (1991). Saucerful of Secrets (First ed.). Sidgwick & Jackson. ISBN 978-0-283-06127-1.
Scarfe, Gerald (2010). The Making of Pink Floyd: The Wall (1st US paperback ed.). Da Capo Press. ISBN 978-0-306-81997-1.
Simmons, Sylvie (December 1999). "Pink Floyd: The Making of The Wall". Mojo Magazine. Emap Metro. 73.
O'Neill Surber, Jere (2007). "Wish You Were Here (But You Aren't): Pink Floyd and Non-Being". In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.
Watkinson, Mike; Anderson, Pete (2001). Crazy Diamond: Syd Barrett & the Dawn of Pink Floyd (First ed.). Omnibus Press. ISBN 978-0-7119-2397-3.
Watts, Michael (1996) [1971]. "Pink's muddled Meddle". In MacDonald, Bruno. Pink Floyd: Through the Eyes of the Band, Its Fans and Foes. Da Capo Press. ISBN 978-0-306-80780-0.
Weinstein, Deena (2007). "Roger Waters: Artist of the Absurd". In Reisch, George A. Pink Floyd and Philosophy: Careful with that Axiom, Eugene!. Open Court. ISBN 978-0-8126-9636-3.
Further reading
Bench, Jeff; O'Brien, Daniel (2004). Pink Floyd's The Wall: In the Studio, on Stage and on Screen (First UK paperback ed.). Reynolds and Hearn. ISBN 978-1-903111-82-6.
Hearn, Marcus (2012). Pink Floyd. Titan Books. ISBN 978-0-85768-664-0.
Jones, Cliff (1996). Another Brick in the Wall: The Stories Behind Every Pink Floyd Song. ISBN 978-0-553-06733-0.
Mabbett, Andy (2010). Pink Floyd: The Music and the Mystery. Omnibus Press. ISBN 978-1-84938-370-7.
Mabbett, Andy; Miles (1988). Pink Floyd: 25th Anniversary Edition (Visual Documentary). ISBN 978-0-7119-4109-0.
Miles, Barry (2007). Pink Floyd. Omnibus Press. ISBN 978-1-84609-444-6.
Palacios, Julian (2001). Lost in the Woods: Syd Barrett and the Pink Floyd. ISBN 978-0-7522-2328-5.
Povey, Glen; Russell, Ian (1997). Pink Floyd: In the Flesh: The Complete Performance History (1st US paperback ed.). St. Martin's Press. ISBN 978-0-9554624-0-5.
Reising, Russell (2005). Speak to Me. Ashgate Publishing, Ltd. ISBN 978-0-7546-4019-6.
Ruhlmann, William (2004). Breaking Records. Routledge. ISBN 978-0-415-94305-5.
Ruhlmann, William (1993). Pink Floyd. Smithmark. ISBN 978-0-8317-6912-3.
Snider, Charles (2008). The Strawberry Bricks Guide to Progressive Rock. Strawberry Bricks. ISBN 978-0-615-17566-9.
Documentaries
CreateSpace (2009). Pink Floyd: Meddle (Streaming video). Sexy Intellectual. ASIN B002J4V9RI.
John Edginton (Director) (2012). Pink Floyd: The Story of Wish You Were Here (Colour, NTSC, DVD). Eagle Rock Entertainment. ASIN B007X6ZRMA.
Matthew Longfellow (Director) (2003). Classic Albums: The Making of The Dark Side of the Moon (Colour, Dolby, NTSC, DVD). Eagle Rock Entertainment. ASIN B0000AOV85.
Pink Floyd (2007). Pink Floyd – Then and Now (Colour, NTSC DVD). Pride. ASIN B007EQQX04.
Pink Floyd (2010). Pink Floyd – Whatever Happened to Pink Floyd? (Colour, NTSC, DVD). Sexy Intellectual. ASIN B004D0AMN8.
External links
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Pink Floyd
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Ummagumma
Atom Heart Mother
Meddle
Obscured by Clouds
The Dark Side of the Moon
Wish You Were Here
Animals
The Wall
The Final Cut
A Momentary Lapse of Reason
The Division Bell
The Endless River
Live albums
Ummagumma
Delicate Sound of Thunder
Pulse
Is There Anybody Out There? The Wall Live 1980–81
Singles
"Arnold Layne" / "Candy and a Currant Bun"
"See Emily Play" / "The Scarecrow"
"Flaming" / "The Gnome" (US)
"Apples and Oranges" / "Paint Box" (UK)
"It Would Be So Nice" / "Julia Dream"
"Let There Be More Light" / "Remember a Day" (US)
"Point Me at the Sky" / "Careful with That Axe, Eugene" (UK)
"One of These Days" / "Fearless" (US)
"Free Four"
"Money" / "Any Colour You Like" (US)
"Time" / "Us and Them" (US)
"Have a Cigar" / "Welcome to the Machine" (US) or "Shine On You Crazy Diamond Part I" (Europe)
"Another Brick in the Wall (Part II)" / "One of My Turns"
"Run Like Hell" / "Don't Leave Me Now" (Europe/some US) or "Comfortably Numb" (later US)
"Comfortably Numb" / "Hey You" (US)
"Pink Floyd The Wall - Music From The Film" ("When the Tigers Broke Free" / "Bring the Boys Back Home")
"Not Now John" / "The Hero's Return (Parts 1 and 2)"
"Learning to Fly" / "Terminal Frost" and/or "One Slip"
"On the Turning Away" / "Run Like Hell (live)" (UK)
"One Slip" / "Terminal Frost" / "The Dogs of War" (UK)
"Take It Back" / "Astronomy Domine (live)" (US)
"High Hopes" / "Keep Talking" / "Marooned"
"Wish You Were Here (Live)" / "Coming Back to Life (live) / "Keep Talking (live)" (UK)
"Louder than Words"
Compilations
The Best of the Pink Floyd / Masters of Rock
Relics
A Nice Pair
A Collection of Great Dance Songs
Works
1967: The First Three Singles
Echoes: The Best of Pink Floyd
The Best of Pink Floyd: A Foot in the Door
1965: Their First Recordings
Box sets
Shine On
Oh, by the Way
Discovery
The Early Years 1965–1972
Films
Concerts
London '66–'67
Live at Pompeii
Delicate Sound of Thunder
Pulse
Narratives
The Wall
The Final Cut
Documentaries
The Pink Floyd and Syd Barrett Story
London '66–'67
The Story of Wish You Were Here
Soundtracks
San Francisco
The Committee
Tonite Lets All Make Love in London
More
Zabriskie Point
Obscured by Clouds
Pink Floyd – The Wall
La Carrera Panamericana
Tours
World Tour 1968
The Man and The Journey Tour
Atom Heart Mother World Tour
Meddle Tour
Dark Side of the Moon Tour
1974
Wish You Were Here Tour
In the Flesh
The Wall Tour
A Momentary Lapse of Reason Tour
The Division Bell Tour
Related media
and tributes
19367 Pink Floyd
The Amazing Pudding
The Australian Pink Floyd Show
Barn Jams
Brit Floyd
The Dark Side of the Moo
"Grantchester Meadows"
"Embryo"
Inside Out: A Personal History of Pink Floyd
The Man and The Journey
Music from The Body
Nick Mason's Saucerful of Secrets
Pinkfloydia
"Proper Education"
Synalpheus pinkfloydi
Umma gumma
Their Mortal Remains
Other topics
Discography
Videography
Song list
Unreleased material
Members
Bootleg recordings
Pink Floyd live performances
The 14 Hour Technicolor Dream
Azimuth Co-ordinator
Blackhill Enterprises
Britannia Row Studios
Dark Side of the Rainbow
EMS Synthi A
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Midsummer High Weekend
Pink Floyd pigs
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Why Pink Floyd...?
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People
Stephen Abrams
Nicholas Albery
Tariq Ali
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Syd Barrett
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Caroline Coon
Felix Dennis
Robin Farquharson
Mick Farren
Duggie Fields
Germaine Greer
Hapshash and the Coloured Coat
Lee Harris
Jim Haynes
Wally Hope
John 'Hoppy' Hopkins
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Peter Jenner & Andrew King
Mike Lesser
Tom McGrath
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Sue Miles
Richard Neville
Jeff Nuttall
Neil Oram
John Peel
Aubrey Powell
Sid Rawle
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Storm Thorgerson
Steve Peregrin Took
Alexander Trocchi
Heathcote Williams
Ubi Dwyer
Publications
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Brighton Voice
Children of Albion: Poetry of the Underground in Britain
The Black Dwarf
Friends
Gandalf's Garden
Gay News
Ink
International Times
Muther Grumble
The Mersey Sound
Oz
Schoolkids Oz
Peace News
Seed - The Journal of Organic Living
Spare Rib
Undercurrents
Bands
AMM
Arthur Brown
Bonzo Dog Doo-Dah Band
Edgar Broughton Band
Delivery
The Deviants
Fairport Convention
Family
Gong
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Pink Fairies
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Pretty Things
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Quintessence
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Events
Games for May
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Phun City
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Granny Takes a Trip
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Release
Seed Macrobiotic Restaurant
UFO Club
See also
British Poetry Revival
Counterculture
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show
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Performers
David Bowie
Gladys Knight & the Pips
William Guest, Gladys Knight, Merald "Bubba" Knight, Edward Patten
Jefferson Airplane
Marty Balin, Jack Casady, Spencer Dryden, Paul Kantner, Jorma Kaukonen, Grace Slick
Little Willie John
Pink Floyd
Syd Barrett, David Gilmour, Nick Mason, Roger Waters, Rick Wright
The Shirelles
Doris Kenner-Jackson, Addie Harris, Beverly Lee, Shirley Owens
The Velvet Underground
John Cale, Sterling Morrison, Lou Reed, Maureen Tucker
Early influences
Pete Seeger
Non-performers
(Ahmet Ertegun Award)
Tom Donahue
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Laureates of the Polar Music Prize
1990s
Paul McCartney / the Baltic states (1992)
Dizzy Gillespie / Witold Lutosławski (1993)
Quincy Jones / Nikolaus Harnoncourt (1994)
Elton John / Mstislav Rostropovich (1995)
Joni Mitchell / Pierre Boulez (1996)
Bruce Springsteen / Eric Ericson (1997)
Ray Charles / Ravi Shankar (1998)
Stevie Wonder / Iannis Xenakis (1999)
2000s
Bob Dylan / Isaac Stern (2000)
Burt Bacharach / Robert Moog / Karlheinz Stockhausen (2001)
Miriam Makeba / Sofia Gubaidulina (2002)
Keith Jarrett (2003)
B.B. King / György Ligeti (2004)
Gilberto Gil / Dietrich Fischer-Dieskau (2005)
Led Zeppelin / Valery Gergiev (2006)
Sonny Rollins / Steve Reich (2007)
Pink Floyd / Renée Fleming (2008)
Peter Gabriel / José Antonio Abreu / El Sistema (2009)
2010s
Björk / Ennio Morricone (2010)
Kronos Quartet / Patti Smith (2011)
Paul Simon / Yo-Yo Ma (2012)
Youssou N'Dour / Kaija Saariaho (2013)
Chuck Berry / Peter Sellars (2014)
Emmylou Harris / Evelyn Glennie (2015)
Max Martin / Cecilia Bartoli (2016)
Sting / Wayne Shorter (2017)
Metallica / Afghanistan National Institute of Music (2018)
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Nick Mason
Solo albums
Fictitious Sports (1981)
Collaborations
Profiles (1985)
White of the Eye (1987)
See also
Middlewick House
Pink Floyd
Inside Out: A Personal History of Pink Floyd
Nick Mason's Saucerful of Secrets
show
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Roger Waters
Studio albums
The Pros and Cons of Hitch Hiking (1984)
Radio K.A.O.S. (1987)
Amused to Death (1992)
Is This the Life We Really Want? (2017)
Soundtracks
Music from The Body (1970)
When the Wind Blows (1986)
Live albums
The Wall – Live in Berlin (1990)
In the Flesh – Live (2000)
Roger Waters: The Wall (2015)
Operas
Ça Ira (2005)
Another Brick in the Wall: The Opera (2017)
Compilations
Flickering Flame: The Solo Years Volume 1 (2002)
Singles
"The Pros and Cons of Hitch Hiking"
"Radio Waves"
"Sunset Strip"
"The Tide Is Turning"
"What God Wants, Part I"
"To Kill the Child/Leaving Beirut"
"Hello (I Love You)"
"We Shall Overcome"
"Smell the Roses"
"Déjà Vu"
"The Last Refugee"
"Wait for Her"
Films
The Wall – Live in Berlin
In the Flesh – Live
Roger Waters: The Wall
Tours
The Pros and Cons of Hitch Hiking Tour
Radio K.A.O.S. Tour
In the Flesh Tour
The Dark Side of the Moon Live
The Wall Live
Us + Them Tour
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articles
Discography
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Harry Waters
Pink Floyd
The Bleeding Heart Band
Carolyne Christie
Judith Trim
Inflatable pigs
The Madcap Laughs
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show
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Richard Wright
Solo albums
Wet Dream (1978)
Broken China (1996)
Collaborations
Barrett (1970)
Identity (1984)
David Gilmour in Concert (2002)
On an Island (2006)
Remember That Night (2007)
Live in Gdańsk (2008)
Related articles
Pink Floyd
The Endless River
Barn Jams
Farfisa
Kurzweil Music Systems
Mellotron
Fender Rhodes
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VCS3
Steinway
ARP String Ensemble
Prophet-5
Clavinet
Hammond organ
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Syd Barrett
Studio albums
The Madcap Laughs (1970)
Barrett (1970)
Radio sessions albums
Peel Sessions (1987)
The Radio One Sessions (2004)
Compilation albums
Syd Barrett (1974)
Opel (1988)
Octopus: The Best of Syd Barrett (1992)
Crazy Diamond (1993)
Wouldn't You Miss Me? (2001)
An Introduction to Syd Barrett (2010)
Songs and singles
"Baby Lemonade"
"Bob Dylan Blues"
"Dark Globe"
"Here I Go"
"Milky Way"
"Octopus"
"Terrapin"
Related articles
Discography
Song list
List of songs about or referencing Syd Barrett
Pink Floyd
Stars
Beyond the Wildwood
Joy of a Toy
"Singing a Song in the Morning"
Max Barrett
Book
Category
show
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David Gilmour
Studio albums
David Gilmour (1978)
About Face (1984)
On an Island (2006)
Metallic Spheres (2010, with The Orb)
Rattle That Lock (2015)
Live albums
Live in Gdańsk (2008)
Live at Pompeii (2017)
Singles
"There's No Way Out of Here"
"Blue Light"
"Love on the Air"
"On an Island"
"Smile"
"Arnold Layne" (live)
"Chicago – Change the World"
"Rattle That Lock"
"Rattle That Lock (live)"
Videos and DVDs
David Gilmour Live 1984
David Gilmour in Concert
Remember That Night
Live in Gdańsk
Live at Pompeii
Concert tours
About Face Tour
On an Island Tour
Rattle That Lock Tour
Guest appearances
Back to the Egg
Boys and Girls
Brother Where You Bound
Count Three & Pray
The Dreaming
Flowers in the Dirt
Headline News
HQ
No More Lonely Nights
Once
Run Devil Run
The Sensual World
So Red the Rose
The Unknown Soldier
White City: A Novel
Related articles
Discography
Pink Floyd
Barn Jams
Roger Waters
Deep End
Jokers Wild
The Law
Ginger Gilmour
Polly Samson
Astoria
Hookend Recording Studios
Roy Harper
The Black Strat
The Madcap Laughs
Barrett
Two Weeks in September
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WorldCat Identities
BNE: XX254199
BNF: cb139058178 (data)
GND: 1214989-5
ISNI: 0000 0001 0939 7559
LCCN: n82000561
MusicBrainz: 83d91898-7763-47d7-b03b-b92132375c47
NDL: 00297643
NKC: kn20020506004
NLA: 36222524
SELIBR: 220711
SUDOC: 027590577
VIAF: 120713567
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