Pink Floyd: Difference between revisions

Content deleted Content added

Inline

Revision as of 20:58, 9 November 2006

Pink Floyd are an English rock band noted for philosophical lyrics, classical rock compositions, sonic experimentation, innovative cover art, and elaborate live shows. One of rock music's most successful and influential acts, the group has sold over 200 million albums worldwide,^[1]^[2] and an estimated 73.5 million albums in the United States alone.^[3]

Pink Floyd had modest success in the late 1960s as a psychedelic band led by the late Syd Barrett. Barrett's increasingly erratic behaviour forced his colleagues to augment and eventually replace him with guitarist and singer David Gilmour. After Barret's departure, singer and bass player Roger Waters gradually became the band's leader and main songwriter. This incarnation of the band recorded several elaborate concept albums, achieving worldwide success with 1973's The Dark Side of the Moon, 1975's Wish You Were Here, 1977's Animals, and 1979's The Wall, among the best-selling, most critically acclaimed, and enduringly popular albums in rock music history. In 1985, Waters declared Pink Floyd defunct, but the remaining members (now led by Gilmour) continued recording and touring under the name, enjoying great commercial success and eventually reaching a settlement with Waters.

Waters performed with the band for the first time in 24 years, on 2 July 2005 at the London Live 8 concert, playing to Pink Floyd's biggest audience ever. On 3 February 2006, Gilmour gave an interview to the Italian newspaper La Repubblica which indicated the band would no longer tour or produce any new material,^[4] although various members still plan on producing solo or collaborative material. The possibility of an appearance similar to Live 8 has not been ruled out by either Mason^[5] or Gilmour.^[6]

There gay

The Images of Pink Floyd

File:WishYouWereHere.jpg

Rolling Stone Magazine has called the cover art for Wish You Were Here one of the best album covers ever created.

Nearly as famous as Floyd's music is the artwork that comes with it. Throughout the band's career, this aspect was mainly provided by photographer and graphic artist Storm Thorgerson and his graphic studio Hipgnosis (hip gnosis or hypnosis). Many of these images have acquired fame in their own right, most notably the cover depicting a man shaking the hand of his burning alter-ego for Wish You Were Here and the refracting prism for Dark Side of the Moon. The cover of Meddle underlined the band's ideas about the visualization of sound with its close-up of a pigs ear underwater.

Thorgerson was involved in the artwork for every album except the compilation album Relics, which was illustrated by Mason, The Piper at the Gates of Dawn, the front cover of which was a photograph by Vic Singh and the back cover a drawing by Barrett; The Wall, for which the band employed Gerald Scarfe; and The Final Cut, which was designed by Waters himself, using photography made by his then brother-in-law, Willie Christie. Only the covers for The Piper at the Gates of Dawn, A Saucerful of Secrets, and Ummagumma include images of the band members themselves, although concert photos and images of the band members sometimes appeared on inner gatefolds and inserts. Roger Waters explained this on a video/DVD on the making of Dark Side of the Moon: "We always wanted to kind of... not be on our covers ourselves; not have pictures".

Live performances

Main article: Pink Floyd live performances

Pink Floyd are renowned for their lavish stage shows, combining over-the-top visual experiences with music to create a show in which the performers themselves are almost secondary. They have always resisted the temptation of a large screen portraying band members because they "don't really do very much," preferring instead to show music videos to run alongside the songs.

Discography

Main article: Pink Floyd discography

Studio albums

File:PinkFloyd-album-piperatthegatesofdawn.jpg	August 5, 1967	The Piper at the Gates of Dawn
File:PinkFloyd-album-saucerfulofsecrets.jpg	June 29, 1968	A Saucerful of Secrets
	July 27, 1969	Music from the Film More
File:PinkFloyd-album-ummagummastudio.jpg	October 25, 1969	Ummagumma
	October 10, 1970	Atom Heart Mother
	October 30, 1971	Meddle
	June 3, 1972	Obscured by Clouds
File:Dsotm.jpg	March 23, 1973	The Dark Side of the Moon
File:WishYouWereHere.jpg	September 15, 1975	Wish You Were Here
	January 23, 1977	Animals
File:PinkfloydThewallcover.jpg	November 30, 1979	The Wall
File:Thefinalcutcover.jpg	March 23, 1983	The Final Cut
File:Lapse-l.jpg	September 7, 1987	A Momentary Lapse of Reason
File:Pink floyd the division bell front.jpg	March 30, 1994	The Division Bell

Top 20 singles^[7]

1967: "Arnold Layne"; / "Candy and a Currant Bun" (#20 UK)
1967: "See Emily Play" / "The Scarecrow" (#6 UK, #134 U.S.)
1973: "Money" / "Any Colour You Like" (#13 U.S.)
1979: "Another Brick in the Wall (Part II)" / "One of My Turns" (#1 UK, #1 U.S.)

Additional song samples

Template:Multi-listen start Template:Multi-listen item Template:Multi-listen item

Template:Multi-listen item Template:Multi-listen item Template:Multi-listen item Template:Multi-listen item Template:Multi-listen end

Band members

Official Pink Floyd members

Syd Barrett — Lead vocals, lead guitar (1965–1968) (Deceased 2006)
David Gilmour — Lead guitar, lead vocals (1968–present)
Bob Klose - Lead guitar (1965)
Nick Mason — Drums, Percussion, vocals on Corporal Clegg and One of These Days (1965–present)
Roger Waters — Lead vocals, bass guitar (1965–1985)
Richard Wright — Keyboards, vocals (1965–1981, 1987–present)

Notable or frequent contributors

Note that these are not official members of Pink Floyd, but musicians who have made significant studio or live contributions:

Sam Brown — backing vocals
Jon Carin — keyboards, vocals, and composition
Bob Ezrin — production, keyboards and composition
Ron Geesin — orchestration and composition
Roy Harper — guest lead vocal
Michael Kamen — orchestration and keyboards
Carol Kenyon — backing vocals
Dick Parry — saxophone
Guy Pratt — bass guitar and vocals
Tim Renwick — guitars
Clare Torry — guest lead vocal and backing vocals
Gary Wallis — percussion
Snowy White — guitars
Durga McBroom - backing vocals

References

Fitch, Vernon. The Pink Floyd Encyclopedia (3rd edition), 2005. ISBN 1-894959-24-8
Jones, Cliff. Another Brick in the Wall: The Stories Behind Every Pink Floyd Song, 1996. ISBN 0-553-06733-8
Mason, Nick. Inside Out: A Personal History of Pink Floyd, 2004. ISBN 0-297-84387-7 (followed in 2005 by the paperback edition (ISBN 0-7538-1906-6) which features an updated section on the band's Live 8 reunion)
Miles, Barry. Pink Floyd: A Illustrated Documentary, 1982. ISBN 0-399-41001-5
Palacios, Julian. Lost in the Woods: Syd Barrett and the Pink Floyd, 2001. ISBN 0-7522-2328-3
Schaffner, Nicholas. Saucerful of Secrets: The Pink Floyd Odyssey, 1991. ISBN 0-517-57608-2
Various authors. "The Amazing Pudding", 1982–1992. (a fanzine)

Notes

^ About.com, retrieved 7 October 2006
^ Newsfromrussia.com, retrieved 7 October 2006
^ RIAA, retrieved 22 April 2006
^ La Repubblica, 3 February 2006, translation here
^ Die Welt, 6 February 2006
^ Billboard, 20 February 2006
^ Cite error: The named reference Schaffner 320-321 was invoked but never defined (see the help page).

External links

Official sites

Pink Floyd's UK site
Pink Floyd's U.S. site
Roger Waters official site
David Gilmour official site
Denis O'Regan - Official site of the photographer whose work appeared on The Division Bell and P*U*L*S*E
Storm Thorgerson - Website of the artist who created most of Pink Floyd's album covers.

@@ Line 20: / Line 20: @@
 Waters performed with the band for the first time in 24 years, on [[2 July]] [[2005]] at the [[Live 8 concert, London|London Live 8 concert]], playing to Pink Floyd's biggest audience ever. On [[3 February]] [[2006]], Gilmour gave an interview to the Italian newspaper ''[[La Repubblica]]'' which indicated the band would no longer tour or produce any new material,<ref name="La Repubblica">''[http://www.repubblica.it/2006/b/sezioni/spettacoli_e_cultura/gilmo/gilmo/gilmo.html La Repubblica]'', [[3 February]] [[2006]], translation [http://www.brain-damage.co.uk/old/news/0602061.html here]</ref> although various members still plan on producing solo or collaborative material. The possibility of an appearance similar to [[Live 8]] has not been ruled out by either Mason<ref name="Die Welt">''[http://www.brain-damage.co.uk/old/interviews/nm050206.html Die Welt]'', [[6 February]] [[2006]]</ref> or Gilmour.<ref name="Billboard">''[http://news.yahoo.com/s/nm/20060221/music_nm/gilmour_dc;_ylt=AnmJ0VFoWO0dIx5sIMpus1VxFb8C;_ylu=X3oDMTA5aHJvMDdwBHNlYwN5bmNhdA-- Billboard]'', [[20 February]] [[2006]]</ref>
+There gay
-==Band history==
-===Syd Barrett-led era: 1965–1968===
-Pink Floyd evolved from an earlier band, formed in 1964, which was at various times called [[Sigma 6]], The Megga Deaths, [[The Screaming Abdabs]], and The Abdabs.  When this band split up, some members — guitarists [[Bob Klose]], and [[Roger Waters]], [[drummer]] [[Nick Mason]], and [[wind instrument]] player [[Richard Wright (musician)|Rick Wright]] — formed a new band called Tea Set, and were joined shortly thereafter by guitarist [[Syd Barrett]], who became the band's primary vocalist as well.<ref>Schaffner, p. 25</ref>  When Tea Set found themselves on the same bill as another band with the same name, Barrett came up with an alternative name on the spur of the moment, choosing '''The Pink Floyd Sound''' (after his two [[cat]]s Pink and Floyd, which in turn were [[namesake|named after]] two [[blues]] musicians, [[Pink Anderson]] and [[Floyd Council]]).<ref>Mason, p. 30</ref><ref>[http://www.uncut.co.uk Uncut], September 2006, p. 54]</ref> For a time after this they oscillated between 'Tea Set' and 'The Pink Floyd Sound', with the latter name eventually winning out. The word ''Sound'' was dropped fairly quickly, but the definite article ('the') was still used occasionally for several years afterward, up to about the time of [[Music From the Film More|the ''More'' soundtrack]]. In the early days, the band [[cover version|cover]]ed [[rhythm and blues]] staples such as "[[Louie, Louie]]," but gained notoriety for psychedelic interpretations, with extended improvised sections and 'spaced out' solos.  Syd may be considered to have played a huge role in the forming of the band, but his efforts were only put forward towards one album.
-[[Image:PinkFloyd-album-piperatthegatesofdawn.jpg|thumb|210px|left|''[[The Piper at the Gates of Dawn]]'' (1967)]]
-The heavily [[jazz]]-oriented Klose left the band to become a [[photographer]] shortly before Pink Floyd started recording, leaving an otherwise stable lineup with Barrett on [[guitar]] and [[lead vocals]], Waters on [[bass guitar]] and [[vocals|secondary vocals]], Mason on  [[drums]] and percussion, and Wright switching to [[keyboard instrument|keyboards]] and [[vocals|secondary vocals]]. Barrett started writing his own songs, influenced by [[United States|American]] and [[United Kingdom|British]] [[psychedelic rock]] with his own brand of whimsical humour. Pink Floyd became a favourite in the [[underground culture|underground]] movement, playing at such prominent venues as the [[UFO Club|UFO club]], the [[Marquee Club]] and [[the Roundhouse]]. As their popularity increased, the band members formed [[Blackhill Enterprises]] in October 1966, a six-way business partnership with their managers, [[Peter Jenner]] and Andrew King,<ref>Schaffner, p. 30</ref> issuing the singles "[[Arnold Layne]]" ({{audio| Arnold_Layne.ogg|sample}}) in March 1967 and "[[See Emily Play]]" in June 1967. "Arnold Layne" reached number 20 in the [[UK Singles Chart]], and "See Emily Play" reached number 6,<ref name="Schaffner 320-321">Schaffner, p. 320-321</ref> granting the band its first TV appearance on ''[[Top of the Pops]]'' in July 1967.
-Released in August 1967, the band's debut album, ''[[The Piper at the Gates of Dawn]]'', is today considered to be a prime example of British psychedelic music,<ref name="AMG Reviews">{{cite web | url=http://www.allmusic.com/cg/amg.dll?p=amg&sql=11:5juk6j7h71t0~T2 | title=allmusic (((Pink Floyd > Discography > Main Albums))) | accessdate=2006-02-16}}</ref> and was generally well-received by critics at the time. It is now viewed as one of the better debut albums by many critics.  <ref name="Rollingstone">''Rolling Stone'', [[26 October]] [[1968]]</ref> The album's tracks, predominantly written by Barrett, showcase poetic lyrics and an eclectic mixture of music, from the avant-garde free-form piece "[[Interstellar Overdrive]]" ({{audio-nohelp|Interstellar_Overdrive.ogg|sample}}) to whimsical songs such as "[[The Scarecrow (Pink Floyd song)|The Scarecrow]]," inspired by the [[The Fens|Fenlands]], a rural region north of [[Cambridge]] (Barrett, Gilmour and Waters's home town). Lyrics were entirely surreal and often referred to folklore, such as "The Gnome" ({{audio-nohelp|The_Gnome.ogg|sample}}). The music reflected newer technologies in electronics through its prominent use of stereo panning and electric keyboards. The album was a hit in the UK where it peaked at #6, but did not get much attention in North America, reaching #131 in the U.S.<ref name="Pink Floyd & Co">[http://pinkfloyd-co.com/disco/disc_idx.html Pink Floyd & Co. discography], retrieved [[15 February]] [[2006]]</ref> During this period, the band toured with [[Jimi Hendrix]], which helped to increase its popularity.
-====Barrett's decline====
-As the band became more and more popular, the stresses of life on the road and a significant intake of [[psychedelic drugs]] took their toll on Barrett, whose mental health had been deteriorating for several months. Barrett's strange behaviour has often been attributed to his drug use<ref>''[http://observer.guardian.co.uk/magazine/story/0,11913,804928,00.html The Observer]'', [[6 October]] [[2002]]</ref>. In January 1968, guitarist [[David Gilmour]] joined the band to carry out Barrett's playing and singing duties.
-With Barrett's behaviour becoming less and less predictable, and his almost constant use of [[LSD]], he became very unstable, often staring into space while the rest of the band performed. During some performances, he would just strum one chord for the duration of a concert, or randomly begin detuning his guitar.<ref>Schaffner, p. 105</ref> The band's live shows became increasingly ramshackle until, eventually, the other band members simply stopped taking him to the concerts. It was originally hoped that Barrett would [[Songwriter|write]] for the band with Gilmour performing live, but Barrett's increasingly difficult compositions, such as "Have You Got It Yet?", which changed melodies and chord progression with every take, eventually made the rest of the band give up on this arrangement.<ref name="Schaffner 107–108">Schaffner, p. 107–108</ref> Once Barrett's departure was formalised in April 1968, producers Jenner and King decided to remain with him, and the six-way Blackhill partnership was dissolved.<ref name="Schaffner 107–108" /> The band adopted [[Steve O'Rourke]] as manager, and he remained with Pink Floyd until his death in 2003.
-After recording two solo albums (''[[The Madcap Laughs]]'' and ''[[Barrett (album)|Barrett]]'') in 1970 (co-produced by and sometimes featuring Gilmour, Waters and Wright) to moderate success, Barrett slipped into seclusion. Again going by his given name, Roger, he lived a quiet life in his native Cambridge for more than 35 years. Barrett died at his home on [[7 July]] [[2006]].
-===Finding their feet: 1968–1970===
-Musically, this period was one of experimentation for the band. Gilmour, Waters and Wright each contributed material that had its own voice and sound, giving this material less consistency than the Barrett-dominated early years or the more polished, collaborative sound of later years. Whilst Barrett was the [[lead singer]] during his era, Gilmour, Waters and Wright (who had been [[vocalist|secondary vocalists]] during the Syd Barrett era) split lead vocal duties, each usually singing the songs they would write. Waters mostly wrote low-key, jazzy melodies with dominant bass lines and complex, symbolic lyrics, Gilmour focused on guitar-driven blues jams, and Wright preferred melodic psychedelic keyboard-heavy numbers. Unlike Waters, Gilmour and Wright preferred tracks that had simple lyrics or that were purely instrumental.  Some of the band's most experimental music is from this period, such as "[[A Saucerful of Secrets (song)|A Saucerful of Secrets]]," consisting largely of noises, feedback, percussions, oscillators and tape loops, "[[Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict]]" ({{audio|Several_Species.ogg|sample}}), which is a series of sped-up voice tape-samples resembling rodents and birds chattering that reaches its climax in a Scottish dialect monologue (largely difficult to understand apart from its final words: "And the wind cried, 'Mary.' Thank you."), and "[[Careful with That Axe, Eugene]]" (performed under different names during this period), a very Waters-driven song with a bass and keyboard-heavy jam culminating in crashing drums and Waters' primal screams.
-[[Image:PinkFloyd-album-saucerfulofsecrets.jpg|thumb|left|''[[A Saucerful of Secrets]]'' (1968)]]
-Whilst Barrett had written the bulk of the first album, only one Barrett composition, the ''Piper'' outtake "[[Jugband Blues]]," appeared on the second Floyd album. ''[[A Saucerful of Secrets]]'' was released in June 1968, reaching #9 in the UK and becoming the only Pink Floyd album not to chart in the U.S.<ref name="Pink Floyd & Co" /> Somewhat uneven due to Barrett's departure, the album still contained much of his psychedelic sound combined with the more experimental music that would be fully showcased on ''Ummagumma''.  Hints of the epic, lengthy songs to come are in its centrepiece, the 12-minute [[A Saucerful of Secrets (song)|title track]] ({{audio-nohelp| A_Saucerful_of_Secrets.ogg|sample}}), but the album was poorly received by critics at the time,<ref name="Rollingstone" /> although critics today tend to be kinder to the album in the context of their body of work.<ref name="AMG Reviews" /> Future Pink Floyd albums would expand upon the idea of long, sprawling compositions, offering more focused songwriting with each subsequent release.
-[[Image:MoreCover.jpg|thumb|right|''[[Music From the Film More|More]]'' (1969)]]
-Pink Floyd were then recruited by director [[Barbet Schroeder]] to produce a soundtrack for his film, ''[[More (film)|More]]'', which premiered in May 1969. The music was released as a Floyd album in its own right, ''[[Music From the Film More]]'', in July 1969; the album achieved another #9 finish in the UK, and peaked at #153 in the U.S.<ref name="Pink Floyd & Co" />  The band would use this and future soundtrack recording sessions to produce work that may not have fit into the idea of what would appear on a proper Pink Floyd LP; many of the tracks on ''More'' (as fans usually call it) were acoustic [[folk music|folk]] songs, although critics tend to find the collection of the film's music patchy and uneven.<ref name="AMG Reviews" /> Two of these songs, "[[Green Is the Colour]]" ({{audio-nohelp|Green_is_the_Colour.ogg|sample}}) and "[[Cymbaline]]," became fixtures in the band's live sets for a time and were a part of their live ''[[The Man and the Journey|The Man/The Journey]]'' suite, as can be heard in the many available bootleg recordings from this period. "Cymbaline" was also the first Pink Floyd song to deal with Roger Waters' cynical attitude toward the music industry explicitly. The rest of the album consisted of avant-garde incidental pieces from the score (some of which were also part of "The Man/The Journey") with a few heavier rock songs thrown in, such as "[[The Nile Song]]" ({{audio-nohelp|The_Nile_Song.ogg|sample}}).
-[[Image:PinkFloyd-album-ummagummastudio.jpg|thumb|left|''[[Ummagumma]]'' (1969)]]
-The next record, the double album ''[[Ummagumma]]'', was a mix of live recordings and unchecked studio experimentation by the band members, with each member recording half a side of a vinyl record as a solo project (Mason's first wife makes an uncredited contribution as a [[flautist]]).<ref>Schaffner, p. 146</ref> Though the album was realised as solo outings and a live set, it was originally intended as a purely avant-garde mixture of sounds from "found" instruments. The subsequent difficulties in recording and lack of group organization led to the shelving of the project. The title is [[Cambridge]] slang for sexual intercourse<ref>[http://www.bbc.co.uk/music/profiles/pinkfloyd.shtml BBC Music profile], retrieved [[9 February]] [[2005]]</ref> and reflects the attitude of the band at the time, as frustrations in the studio followed them throughout these sessions. The band was wildly experimental on the studio disc, which featured Waters' pure folk "[[Grantchester Meadows (song)|Grantchester Meadows]]," an atonal and jarring piano piece ("[[Sysyphus]]" ({{audio-nohelp|Sysyphus_Part_II.ogg|sample}})), meandering progressive rock textures ("[[The Narrow Way, parts 1-3|The Narrow Way]]") and large percussion solos ("The Grand Vizier's Garden Party"). Large portions of the studio disc were previously played in their live "The Man/The Journey" concept piece. The live disc featured acclaimed performances of some of their most popular psychedelic-era compositions and caused critics to receive the album more positively than the previous two albums.<ref name="AMG Reviews" /> With fans, the album was Pink Floyd's most popular release yet, hitting UK #5 and making the U.S. charts at #74.<ref name="Pink Floyd & Co" />
-[[Image:AtomHeartMotherCover.jpeg|thumb|right|''[[Atom Heart Mother]]'' (1970)]]
-'s ''[[Atom Heart Mother]]'', the band's first recording with an orchestra, was a collaboration with [[avant-garde]] composer [[Ron Geesin]].  One side of the album consisted of the [[Atom Heart Mother (suite)|title piece]], a 23-minute long [[symphonic rock|rock-orchestral]] suite ({{audio-nohelp|Atom_Heart_Mother.ogg|sample}}).  The second side featured one song from each of the band's then-current vocalists (Roger Waters' folk-rock "[[If (Pink Floyd song)|If]]," David Gilmour's bluesy "[[Fat Old Sun]]" ({{audio-nohelp|Fat_Old_Sun.ogg|sample}}) and Rick Wright's nostalgic "[[Summer '68]]").  Another lengthy piece, "[[Alan's Psychedelic Breakfast]]," was a sound collage of a man cooking and eating breakfast and his thoughts on the matter, linked with instrumentals. The use of incidental sound effects and voice samples would thereafter be an important part of the band's sound. While ''Atom Heart Mother'' was considered a huge step back for the band at the time<ref>''Rolling Stone,'' [[2 December]] [[1970]]</ref> and is still considered one of its most inaccessible albums,<ref name="AMG Reviews" /> it had the best chart performance for the band so far, reaching #1 in the UK and #55 in the U.S.,<ref name="Pink Floyd & Co" /> although it has since been described by Gilmour as "a load of rubbish" and Waters as suitable for "throwing in the dustbin and never [being] listened to by anyone ever again."<ref>Schaffner, p. 154</ref> The album was another transitional piece for the group, hinting at future musical territory such as "Echoes" in its ambitious title track. The popularity of the album allowed Pink Floyd to embark on its first full U.S. tour. Before releasing its next original album, the band released a compilation album, ''[[Relics (Pink Floyd album)|Relics]],'' which contained several early singles and B-sides, along with one original song (Waters' jazzy "[[Biding My Time]]," part of "The Man/The Journey" recorded during the ''Ummagumma'' sessions). They also contributed to the soundtrack of ''[[Zabriskie Point (film)|Zabriskie Point]]'', though many of their contributions were eventually discarded by director [[Michelangelo Antonioni]].
-===Breakthrough era: 1971–1975===
-[[Image:Pink_Floyd_classic.jpg||thumb|250px|left|"Classic" Pink Floyd line-up, early 70s. From left to right: Wright, Gilmour, Mason, Waters.]]
-This is the period in which Pink Floyd shed their association with the "psychedelic" scene (and its association with Barrett) and became a distinctive band who are difficult to classify. The divergent styles of their primary songwriters, Gilmour, Waters, and Wright, merged into a unique sound. This era contains what many consider to be two of the band's masterpiece albums, ''[[The Dark Side of the Moon]]'' and ''[[Wish You Were Here (album)|Wish You Were Here]]''. The sound became polished and collaborative, with the philosophic lyrics and distinctive bass lines of Waters combining with the unique blues guitar style of Gilmour and Wright's light keyboard melodies.  Gilmour was the dominant vocalist throughout this period, and female choirs and [[Dick Parry]]'s saxophone contributions became a notable part of the band's style. The sometimes atonal and harsh sound exhibited in the band's earlier years gave way to a very smooth, mellow and soothing sound, and the band's epic, lengthy compositions reached their zenith with "Echoes." This period was not only the beginning but the end of the truly collaborative era of the band; after 1975 Waters' influence became more dominant musically as well as lyrically. Wright's last credited composition and last lead vocal on a studio album until 1994's ''[[The Division Bell]]'' were in this period ([[Shine On You Crazy Diamond]] and [[Time (song)|Time]] respectively), and Gilmour's writing credits sharply declined in frequency until Waters left the band in 1985, though he continued to perform lead vocals and write songs throughout the whole time. The last ties with Barrett were severed in musical, as well as literal, fashion with ''Wish You Were Here'', whose epic track "[[Shine On You Crazy Diamond]]" was written both as a tribute and elegy to their friend.
-[[Image:MeddleCover.jpeg|thumb|right|''[[Meddle]]'' (1971)]]
-The band's sound was considerably more focused on ''[[Meddle]]'' (1971), with the 23-minute epic "[[Echoes (Pink Floyd song)|Echoes]]" ({{audio|Echoes.ogg|sample}}) taking up the second side of the LP. "Echoes" is a smooth progressive rock song with extended guitar and keyboard solos and a long segue in the middle consisting largely of synthesised [[whalesong]] produced on guitar, along with samples of seagull cries, described by Waters as a "sonic poem".<ref>Schaffner, p. 164</ref> ''Meddle'' was considered by Nick Mason to be "the first real Pink Floyd album. It introduced the idea of a theme that can be returned to."<ref>''BBC..Later with Jools Holland'', transcript retrieved [http://www.pink-floyd.org/artint/nmbbcj.htm here] [[16 April]] [[2006]]</ref> The album had the sound and style of the succeeding breakthrough-era Pink Floyd albums but stripped away the orchestra that was prominent in ''[[Atom Heart Mother]]''.<ref>Schaffner, p. 163</ref> ''Meddle'' also included the atmospheric "[[One of These Days]]" ({{audio-nohelp|One_of_These_Days.ogg|sample}}), a concert favourite featuring Nick Mason's menacing one-line vocal ("One of these days, I'm going to cut you into little pieces"), distorted and [[blues]]y [[slide guitar]], and a melody that at one point segues into a throbbing synthetic pulse quoting the theme tune of the cult classic [[science fiction]] [[television]] show ''[[Doctor Who]]''. The mellow feeling of the next three albums is very present on "[[Fearless (song)|Fearless]]," and this track displays a [[country music|country]] influence, as does the prominent [[pedal steel]] guitar on "[[A Pillow of Winds]]." The latter track is one of the Floyd's very few [[Steel-string guitar|acoustic]] love songs. Waters' role as lead songwriter began to take form, with his jazzy "[[San Tropez (song)|San Tropez]]" brought to the band practically completed. ''Meddle'' was greeted both by critics<ref>''Rolling Stone'', [[6 January]] [[1972]]</ref> and fans enthusiastically, and Pink Floyd were rewarded with a #3 album chart peak in the UK; it only reached #70 in U.S. charts.<ref name="Pink Floyd & Co" /> According to Nick Mason, this was partly because [[Capitol Records]] had not provided the album with enough publicity support in the U.S.<ref>Mason, p. 182</ref> Today, ''Meddle'' remains one of their most well-regarded efforts.<ref name="AMG Reviews" />
-[[Image:Obs.jpg|thumb|left|''[[Obscured By Clouds]]'' (1972)]]
-''[[Obscured by Clouds]]'' was released in 1972 as the [[soundtrack]] to the film ''La Vallee'', another [[art film|art house film]] by Barbet Schroeder.  This was the band's first U.S. Top 50 album (where it hit #46), hitting at #6 in the UK<ref name="Pink Floyd & Co" /> While Mason described the album years later as "sensational,"<ref name="Schaffner 167">Schaffner, p. 167</ref> it is less well-regarded by critics.<ref name="AMG Reviews" /> The lyrics of "Free Four" ({{audio-nohelp|Free_Four.ogg|sample}}), the first Pink Floyd song to achieve significant airplay in the U.S., introduced Waters' ruminations on his father's death in World War II which would figure in subsequent albums. Two other songs on the album, "Wots...uh, the Deal" and "Childhood's End," also hint at themes used in later albums, the former focusing on loneliness and desperation which would come to full fruit in the Roger Waters-led era, and the latter hinting much at the next album, fixated on life, death and the passage of time. "Childhood's End," inspired by the [[Arthur C. Clarke]] book of the same name, was also Gilmour's last lyrical contribution for 15 years.<ref name="Schaffner 167" /> The album was, to an extent, stylistically different from the preceding ''Meddle'', with the songs generally being shorter, often taking a somewhat pastoral approach compared to the atmospheric use of sound effects and keyboard on sections of ''Meddle'', and sometimes even running into [[folk-rock]], [[blues-rock]] and [[piano]]-driven [[soft rock]] ("Burning Bridges," "The Gold It's in the..." ({{audio-nohelp|The_Gold_It's_in_The.ogg|sample}}) and "Stay" being the best examples for each).
-[[Image:Dsotm.jpg|thumb|right|''[[The Dark Side of the Moon]]'' (1973)]]
-The release of Pink Floyd's massively successful 1973 album, ''[[The Dark Side of the Moon]]'', was a watershed moment in the band's popularity. Pink Floyd had stopped issuing singles after 1968's "[[Point Me at the Sky]]" and was never a hit-single-driven group, but ''The Dark Side of the Moon'' featured a U.S. Top 20 single ("[[Money (Pink Floyd song)|Money]]").<ref name="Schaffner 320-321" /> The album became the band's first #1 on U.S. charts<ref name="Pink Floyd & Co" /> and, as of [[October]] [[2006]], is one of the biggest-selling albums in U.S. history, with more than 15 million units sold<ref name="RIAA">[http://www.riaa.com/gp/bestsellers/topalbums.asp], retrieved [[3 July]] [[2006]]</ref>, and one of the [[List of best-selling albums worldwide|best-selling albums worldwide]], with more than 40 million  copies sold<ref name="Pink Floyd & Co" />. The critically-acclaimed album stayed on the Billboard Top 200 for an unprecedented 741 weeks (including 591 consecutive weeks from 1976 to 1988),<ref name="Schaffner 183">Schaffner, p. 183</ref> establishing a world record. It also remained 301 weeks on UK charts, despite never rising higher than #2 there,<ref name="Pink Floyd & Co" /> and is highly praised by critics.<ref>''Rolling Stone'', [[21 January]] [[1997]]</ref>
-Saxophone forms an important part of the album's sound, exposing the band's [[jazz]] influences, and female backing vocals play a key role in helping to diversify the album's texture. For example, straight rock songs such as "Money" and "[[Time (Pink Floyd song)|Time]]" ({{audio-nohelp|Time.ogg|sample}}) are placed on either side of mellow pedal steel guitar sounds (reminiscent of ''Meddle'') in "[[Breathe (Reprise)]]" and female vocal-laden song "[[The Great Gig in the Sky]]" (with [[Clare Torry]] on lead vocal), while minimalist instrumental "[[On the Run (Pink Floyd song)|On the Run]]" ({{audio-nohelp|Pf-dsotm-ontherun.ogg|sample}}) is performed almost entirely on a single synthesiser. Incidental sound effects and snippets of interviews feature alongside the music, many of them taped in the studio. Waters' interviews started out with questions like "What is your favorite color?" in an attempt to get the person comfortable. He would then ask, "When was the last time you were violent? Were you in the right?" The latter answer was played on the album. Other interviews would ask, "Are you afraid of dying?" The album's lyrics and sound attempt to describe the different pressures that everyday life places upon human beings. This concept (conceived by Waters in a band meeting around Mason's kitchen table)<ref>Schaffner, p. 171</ref> proved a powerful catalyst for the band and together they drew up a list of themes, several of which would be revisited by Waters on later albums, such as "[[Us and Them]]"'s ({{audio-nohelp|Us_and_Them.ogg|sample}}) musings on violence and the futility of war, and the themes of [[insanity]] and [[neurosis]] discussed in "[[Brain Damage (song)|Brain Damage]]." The album's complicated and precise [[audio engineering|sound engineering]] by [[Alan Parsons]] set new standards for sound fidelity; this trait became a recognisable aspect of the band's sound and played a part in the lasting chart success of the album, as audiophiles constantly replaced their worn-out copies.<ref name="Schaffner 183" />
-Seeking to capitalise on its newfound fame, the band also released a compilation album, ''[[A Nice Pair]]'', which was a [[gatefold]] repackaging of ''The Piper at the Gates of Dawn'' and ''A Saucerful of Secrets''. It was also during this period that director Adrian Maben released the first Pink Floyd concert film, ''[[Pink Floyd: Live at Pompeii|Live at Pompeii]]''. The original theatrical cut featured footage of the band performing in 1971 at an amphitheater in [[Pompeii]] with no audience present except the film crew and stage staff. Maben also recorded interviews and behind-the-scenes glimpses of the band during recording sessions for ''The Dark Side of the Moon'' at [[Abbey Road Studios]]; although the timeline of events indicate the recording sessions may have been staged after the recording, they provide a glimpse into the processes involved in producing the album. This footage was incorporated in later video releases of ''Live at Pompeii''.
-[[Image:WishYouWereHere.jpg|thumb|left|''[[Wish You Were Here (album)|Wish You Were Here]]'' (1975)]]
-''[[Wish You Were Here (album)|Wish You Were Here]]'', released in 1975, carries an abstract theme of absence: absence of any humanity within the music industry and, most poignantly, the absence of [[Syd Barrett]]. Well-known for its popular [[Wish You Were Here (1975 song)|title track]], the album includes the largely instrumental, nine-part song suite "[[Shine On You Crazy Diamond]]" ({{audio-nohelp|Shine_On_You_Crazy_Diamond.ogg|sample}}), a tribute to Barrett in which the lyrics deal explicitly with the aftermath of his breakdown. Many of the musical influences in the band's past were brought together — atmospheric keyboards, blues guitar pieces, extended saxophone solos (by [[Dick Parry]]), jazz fusion workouts and aggressive slide guitar — in the suite's different linked parts, culminating in a funeral dirge played with synthesised horn and ending with a musical quote from their early single "[[See Emily Play]]" as a final nod to Barrett's early leadership of the band.<ref>Mason, p. 213</ref> The remaining tracks on the album, "[[Welcome to the Machine]]" and "[[Have a Cigar]]" ({{audio-nohelp|Have_a_Cigar.ogg|sample}}), harshly criticise the music industry; the latter is sung by British folk singer [[Roy Harper]]. It was the first Pink Floyd album to reach #1 on both the UK and the U.S. charts,<ref>Schaffner, p. 323</ref> and critics praise it just as enthusiastically as ''The Dark Side of the Moon''.<ref name="AMG Reviews" />
-In a famous anecdote, a heavyset man, his head and eyebrows completely shaved, wandered into the studio while the band was mixing "Shine On You Crazy Diamond." The band could not recognise him for some time, when suddenly one of them realised it was [[Syd Barrett]]. On being asked how he had put on so much weight, he retorted "I have a fridge full of pork chops"<ref>Miles, Pink Floyd unofficial biography </ref>. He was greeted enthusiastically by the band but subsequently slipped away during the impromptu party for David Gilmour's wedding (which was also on that day).<ref>[http://www.neptunepinkfloyd.co.uk/wiki/index.php/Total_Guitar_1996 "Shine On!"], ''Total Guitar'', September 1996</ref> It was the last time any of the other band members saw him.<ref>[http://www.pinkfloyd-co.com/band/interviews/djg/djgcash.html David Gilmour interview], ";Q Magazine", June 1999</ref> Gilmour recently confirmed this story, although he could not recall which song they were working on when Barrett showed up.<ref name="La Repubblica" /> Barrett's eyebrow-shaving tendencies would later be revisited in the movie ''[[Pink Floyd The Wall (film)|Pink Floyd: The Wall]]''.
-===Roger Waters-led era: 1976–1985===
-During this era, Waters asserted more and more control over Pink Floyd's output. Wright's influence became largely inconsequential, and he was fired from the band during the recording of ''[[The Wall]]''. Much of the music from this period is considered secondary to the lyrics, which explore Waters' feelings about his father's death in [[World War II]] and his increasingly cynical attitude towards political figures such as [[Margaret Thatcher]] and [[Mary Whitehouse]]. Although still finely nuanced, the music grew more guitar-based at the expense of keyboards and saxophone, both of which became (at best) part of the music's background texture along with the obligatory sound effects. A full orchestra (even larger than the brass ensemble from ''Atom Heart Mother'') plays a significant role on ''The Wall'' and especially ''The Final Cut''.
-[[Image:Pink Floyd-Animals-Frontal.jpg|thumb|right|''[[Animals (album)|Animals]]'' (1977)]]
-By January 1977, and the release of ''[[Animals (album)|Animals]]'' (UK #2, U.S. #3),<ref name="Pink Floyd & Co" /> the band's music came under increasing criticism from some quarters in the new [[punk rock]] sphere as being too flabby and pretentious, having lost its way from the simplicity of early [[rock and roll]].<ref>Schaffner, p. 209</ref> ''Animals'' was, however, considerably more basic-sounding than the previous albums, due to either the influence of the burgeoning punk-rock movement or the fact that the album was recorded at Pink Floyd's new (and somewhat incomplete) [[Britannia Row Studios]]. The album was also the first to not have a single songwriting credit for Rick Wright.  ''Animals'' again contained lengthy songs tied to a theme, this time taken in part from [[George Orwell]]'s ''[[Animal Farm]]'', which used "[[Pigs (Three Different Ones)|Pigs]]" ({{audio|Pigs_(Three_Different_Ones).ogg|sample}}), "[[Dogs (song)|Dogs]]" ({{audio-nohelp|Dogs.ogg|sample}}) and "[[Sheep (song)|Sheep]]" as metaphors for members of contemporary society. Despite the prominence of guitar, keyboards and synthesisers still play an important role on ''Animals'', but the saxophone and female vocal work that defined much of the previous two albums' sound is absent. The result is a more hard-rock effort overall, bookended by two parts of a quiet [[Steel-string guitar|acoustic]] piece. Many critics did not respond well to the album, finding it "tedious" and "bleak,"<ref>''Rolling Stone'', [[24 March]] [[1977]]</ref> although some celebrated it for almost those very reasons.<ref name="AMG Reviews" /> For the cover artwork, a [[Pink Floyd pig|giant inflatable pig]] was commissioned to float between the chimney towers of London's [[Battersea Power Station]]. However, the wind made the pig balloon difficult to control,<ref>[http://www.batterseapowerstation.org.uk/floyd.html batterseapowerstation.org.uk], retrieved [[11 February]] [[2006]]</ref> and in the end it was necessary to [[Matte (filmmaking)|matte]] a photo of the pig balloon onto the album cover. The pig nevertheless became one of the enduring symbols of Pink Floyd, and inflatable pigs were a staple of the band's [[Pink Floyd live performances|live shows]] from then on.
-[[Image:PinkfloydThewallcover.jpg|thumb|175px|left|''[[The Wall]]'' (1979)]]
-'s epic [[rock opera]] ''[[The Wall]]'', conceived by Waters, dealt with the themes of loneliness and failed communication, which were expressed by the metaphor of a wall built between a rock artist and his audience. This album gave Pink Floyd renewed acclaim and another chart-topping single with "[[Another Brick in the Wall|Another Brick in the Wall (Part 2)]]."<ref name="Schaffner 320-321" /> ''The Wall'' also included the future concert staples "[[Comfortably Numb]]" ({{audio-nohelp|Comfortably_Numb.ogg|sample}}) and "[[Run Like Hell]]," with the former in particular becoming a cornerstone of [[album-oriented rock]] and [[Classical rock|classic-rock]] radio playlists as well as one of the group's best-known songs.
-The album was co-produced by [[Bob Ezrin]], a friend of Waters who shared songwriting credits on "[[The Trial (song)|The Trial]]" and from whom Waters later distanced himself after Ezrin "shot his mouth off to the press."<ref>Schaffner, p. 243</ref> Even more than during the ''Animals'' sessions, Waters was asserting his artistic influence and leadership over the band, which prompted increased conflicts with the other members. The music had become distinctly more hard-rock, although the large orchestrations on some tracks recalled an earlier period, and there are a few quieter songs interspersed throughout (such as "[[Goodbye Blue Sky]]", "[[Nobody Home]]", and "[[Vera (song)|Vera]]"). Wright's influence was completely minimalized, and he was fired from the band during recording, only returning on a fixed wage for the live shows in support of the album. Ironically, Wright was the only member of Pink Floyd to make any money from the ''Wall'' concerts, the rest covering the extensive cost overruns of their most spectacular concerts yet.<ref>Schaffner, p. 236</ref>
-Despite never hitting #1 in the UK (it reached #3), ''The Wall'' spent 15 weeks atop the U.S. charts during 1980.<ref name="Pink Floyd & Co" /> Critics praised it,<ref>''Rolling Stone'', [[7 February]] [[1980]]</ref> and it has sold over 30 million copies worldwide. It has been certified 23x platinum by the RIAA, for sales of 11.5 million copies in U.S. alone.<ref name="RIAA" /> The huge commercial success of ''The Wall'' made Pink Floyd the only artists since the Beatles to have the best-selling albums of two years (1973 and 1980) in less than a decade.
-[[Image:Pinkfloydwall.jpg|thumb|left|A promotion poster for the film version of ''[[The Wall (film)|The Wall]]'' (1983)]]
-A film entitled ''[[Pink Floyd The Wall (film)|Pink Floyd: The Wall]]'' was released in 1982, incorporating almost all of the music from the album. The film, written by Waters and directed by [[Alan Parker]], starred [[Boomtown Rats]] founder [[Bob Geldof]] and featured animation by noted British artist and cartoonist [[Gerald Scarfe]]. Film critic [[Leonard Maltin]] referred to the movie as "the world's longest rock video, and certainly the most depressing", but it grossed over US$14 million at the North American box office.<ref>[http://www.the-numbers.com/movies/1982/0PFTW.html The Numbers], retrieved [[13 February]] [[2006]]</ref> A song which first appeared in the movie, "[[When the Tigers Broke Free]]," was released as a single on a limited basis. This song was finally made widely available on the compilation album ''[[Echoes: The Best of Pink Floyd]]'' and the re-release of ''[[The Final Cut (album)|The Final Cut]]''. Also in the film is the song "[[What Shall We Do Now?]]", which was cut out of the original album due to the time constraints of [[gramophone records|vinyl records]]. The only songs from the album not used were "[[Hey You]]" and "[[The Show Must Go On (Pink Floyd song)|The Show Must Go On]]."
-[[Image:Thefinalcutcover.jpg|thumb|150px|right|''[[The Final Cut (album)|The Final Cut]]'' (1983)]]
-Their 1983 studio album, ''[[The Final Cut (album)|The Final Cut]]'', was dedicated by Waters to his father, Eric Fletcher Waters. Even darker in tone than ''The Wall'', this album re-examined many previous themes, while also addressing then-current events, including Waters' anger at Britain's participation in the [[Falklands War]], the blame for which he laid squarely at the feet of political leaders ("[[The Fletcher Memorial Home]]" ({{audio-nohelp|The_Fletcher_Memorial_Home.ogg|sample}})). It concludes with a cynical and frightening glimpse at the possibility of [[nuclear war]] ("[[Two Suns in the Sunset]]"). [[Michael Kamen]] and [[Andy Bown]] contributed keyboard work in lieu of Richard Wright, whose departure had not been formally announced before the album's release.
-Though technically a Pink Floyd album, the LP's front cover displayed no words, only the back cover reading: "''The Final Cut'' - A requiem for the post-war dream by Roger Waters, performed by Pink Floyd: Roger Waters, David Gilmour, Nick Mason". Roger Waters received the sole songwriting credit for the entire record, which became a prototype in sound and form for later Waters solo projects. Waters has since said that he offered to release the record as a solo album, but the rest of the band rejected this idea. However, in his book 'Inside Out,' drummer Nick Mason says that no such discussions ever took place. Gilmour reportedly asked Waters to hold back the release of the album so that he could write enough material to contribute, but this request was refused. The music's tone is largely similar to ''The Wall'''s but somewhat quieter and softer, resembling songs like "Nobody Home" more than "Another Brick in the Wall (Part 2)." It is also more repetitive, with certain [[leitmotifs]] cropping up continually. Only moderately successful with fans by Floyd's standards (UK #1, U.S. #6),<ref name="Pink Floyd & Co" /> but reasonably well-received by critics<ref>''Rolling Stone'', [[14 April]] [[1983]]</ref>, the album yielded one minor radio hit, "[[Not Now John]]," the only hard-rock song on the album (and the only one partially sung by Gilmour). The arguments between Waters and Gilmour at this stage were rumoured to be so bad that they were supposedly never seen in the recording studio simultaneously, and Gilmour's co-producer credit was dropped from the album sleeve (though he received attendant royalties).<ref>Schaffner, p. 257</ref> There was no tour for the album, although parts of it have since been performed live by Waters on his subsequent solo tours.
-[[Image:PinkFloyd-album-works.jpg|thumb|left|[[Works (Pink Floyd album)|''Works'']] (1983)]]
-After ''The Final Cut'' [[Capitol Records]] released the compilation ''[[Works (Pink Floyd album)|Works]]'', which made the 1970 Waters track "Embryo" available for the first time on a Pink Floyd album, although the track had been released on the 1970 [[Various Artists|VA]] compilation ''Picnic - A Breath of Fresh Air'' on the [[Harvest Records]] label.<ref>[http://www.progarchives.com/Progressive_rock_discography_CD.asp?cd_id=9560 Prog Archives.com discography], retrieved [[12 July]] [[2006]]</ref> The band members then went their separate ways and spent time working on individual projects. Gilmour was the first to complete his solo album, releasing ''[[About Face (album)|About Face]]'' in March 1984. Wright joined forces with Dave Harris of [[Fashion (band)|Fashion]] to form a new band, [[Zee (band)|Zee]], which released the experimental album ''[[Identity (album)|Identity]]'' a month after Gilmour's project. In May 1984, Waters released ''[[The Pros and Cons of Hitch Hiking]]'', a [[concept album]] once proposed as a Pink Floyd project. A year after his bandmates' projects, Mason released the album ''[[Profiles]]'', a collaboration with Rick Fenn of [[10cc]] which featured guest appearances by Gilmour and [[UFO (band)|UFO]] keyboardist Danny Peyronel.
-===David Gilmour-led era: 1987–1995===
-Waters announced in December of 1985 that he was departing Pink Floyd, describing the band as "a spent force creatively," but in 1986 Gilmour and Mason began recording a new Pink Floyd album. At the same time, Roger Waters was working on his second solo album, entitled ''[[Radio K.A.O.S.]]'' (1987). A bitter legal dispute ensued with Waters claiming that the name "Pink Floyd" should have been put to rest, but Gilmour and Mason upheld their conviction that they had the legal right to continue as "Pink Floyd." The suit was eventually settled out of court.<ref>Schaffner, p. 297</ref>
-[[Image:Lapse-l.jpg|thumb|right|''[[A Momentary Lapse of Reason]]'' (1987)]]
-After considering and rejecting many other titles, the new album was released as ''[[A Momentary Lapse of Reason]]'' (UK #3, U.S. #3).<ref name="Pink Floyd & Co" /> Without Waters, who had been the band's dominant songwriter for a decade, the band sought the help of outside writers. As Pink Floyd had never done this before (except for the orchestral contributions of Geesin and Ezrin), this move received much criticism. Ezrin, who had renewed his friendship with Gilmour in 1983 (as Ezrin co-produced Gilmour's About Face album), served as co-producer as well as being one of these writers.<ref>Schaffner, p. 289</ref> Richard Wright also returned, at first as a salaried employee during the final recording sessions, and then officially rejoining the band after the subsequent tour.
-Gilmour later admitted that Mason had hardly played on the album. Because of Mason and Wright's limited contributions, some critics say that ''A Momentary Lapse of Reason'' should really be regarded as a Gilmour solo effort, in much the same way that ''The Final Cut'' might be regarded as a Waters album.<ref name="AMG Reviews" />
-A year later, the band released a double live album and a concert video taken from its 1988 [[Long Island]] [[Pink Floyd live performances|shows]], entitled ''[[Delicate Sound of Thunder]]'', and later recorded some instrumentals for a classic-car racing film ''[[La Carrera Panamericana]]'', set in Mexico and featuring Gilmour and Mason as participating drivers. During the race Gilmour and manager Steve O'Rourke (acting as his map-reader) crashed. O'Rourke suffered a broken leg, but Gilmour walked away with just some bruises. The instrumentals are notable for including the first Floyd material co-written by Wright since 1975, as well as the only Floyd material co-written by Mason since ''Dark Side of the Moon''.
-saw the [[box set]] release of ''[[Shine On (Pink Floyd)|Shine On]]''.  The 9-disc set included re-releases of the studio albums ''[[A Saucerful of Secrets]]'', ''[[Meddle]]'', ''[[The Dark Side of the Moon]]'', ''[[Wish You Were Here (album)|Wish You Were Here]]'', ''[[Animals (album)|Animals]]'', ''[[The Wall]]'', and ''[[A Momentary Lapse of Reason]]''.  A bonus disc entitled ''The Pink Floyd Early Singles'' was also included.  The set's packaging featured a case allowing the albums to stand vertically together, with the side-by-side spines displaying an image of the ''Dark Side of the Moon'' cover. The circular text of each CD includes the almost illegible words "The Big Bong Theory". The year also saw the release of Roger Waters' solo album ''[[Amused to Death]]''.
-[[Image:Pink floyd the division bell front.jpg|thumb|right|''[[The Division Bell]]'' (1994)]]
-The band's next recording was the 1994 release, ''[[The Division Bell]]'', which was much more of a group effort than ''Momentary Lapse'' had been, with Wright now reinstated as a full and contributing band member and figuring prominently in the writing credits. The album was received more favourably by critics and fans alike than ''Lapse'' had been<ref>[http://www.allmusic.com/cg/amg.dll?p=amg&sql=10:4z320r8ar48b AMG], retrieved [[15 February]] [[2006]]</ref>, but was still heavily criticised as tired and formulaic.<ref>Rolling Stone, [[16 June]] [[1994]]</ref> It was the second Pink Floyd album to reach #1 on both the UK and U.S. charts.<ref name="Pink Floyd & Co" />
-''The Division Bell'' was another concept album, in some ways representing Gilmour's take on the same themes Waters had tackled with ''The Wall''. The title was suggested to Gilmour by his friend [[Douglas Adams]]. Many of the lyrics were co-written by [[Polly Samson]], Gilmour's girlfriend at the time, whom he married shortly after the album's release. Besides Samson, the album featured most of the musicians who had joined the ''A Momentary Lapse of Reason'' tour, as well as saxophonist [[Dick Parry]], a contributor to the mid-70s Floyd albums. Anthony Moore, who had co-written the lyrics for several songs on the previous album, penned the lyrics for a tune by Wright, "Wearing the Inside Out" ({{audio|Wearing_the_Inside_Out.ogg|sample}}), Wright's first lead vocal on a Pink Floyd record since ''Dark Side of the Moon''. Wright and Moore's writing collaboration continued on nearly every song on Wright's 1996 solo album, ''[[Broken China]]''.
-===Solo work and more: 1995–present===
-[[Image:Pulse.jpg|thumb|left|''[[P*U*L*S*E]]'' (1995)]]
-Pink Floyd have not released any new studio material or toured since 1994's ''The Division Bell''. The band released a live album entitled ''[[P-U-L-S-E|P*U*L*S*E]]'' in 1995. It hit #1 in U.S. and featured songs recorded in London, Rome, Hanover and Modena on ''The Division Bell'' tour in 1994.<ref name="Pink Floyd & Co" /> VHS and Laserdisc versions of the concert at [[Earls Court Exhibition Centre|Earl's Court]] in London [[20 October]] [[1994]], one of a record-breaking 14 consecutive shows, were also released, and a [[P*U*L*S*E (film)|DVD edition]] was released on [[10 July]] [[2006]].<ref>[http://www.amazon.co.uk/gp/product/B0007QS1VW/026-7718591-8829242?v=glance&n=283926 Amazon.co.uk], retrieved [[4 July]] [[2006]]</ref>  A live recording of ''The Wall'' was released in 2000, compiled from the 1980–1981 London concerts, entitled ''[[Is There Anybody Out There? The Wall Live 1980–81]]''. It hit #1 on Billboard Internet Album Sales chart, and reached #19 on U.S. charts.<ref name="Pink Floyd & Co" /> A newly-remastered two-disc set of the Floyd's best-known tracks entitled ''[[Echoes: The Best of Pink Floyd|Echoes]]'' was released in 2001. Gilmour, Mason, Waters and Wright all collaborated on the editing, sequencing, and song selection of the included tracks. Minor controversy was caused due to the songs segueing into one another non-chronologically, presenting the material out of the context of the original albums. Some of the tracks, such as "[[Echoes (Pink Floyd song)|Echoes]]," "[[Shine On You Crazy Diamond]]," "[[Marooned (song)|Marooned]]," and "High Hopes" have had substantial sections removed from them. The album reached #2 on U.S. charts.<ref name="Pink Floyd & Co" />  In 2003, a 30th-Anniversary [[SACD]] reissue of ''The Dark Side of the Moon'', featuring high resolution surround sound, was released with new artwork on the front cover. ''The Dark Side of the Moon'' was also re-released on vinyl as a 180-gram, virgin vinyl pressing in 2003. The vinyl re-release included all the original posters and stickers from the album's initial release, plus a new 30th anniversary poster. In 2004 a remastered re-release of ''The Final Cut'' was released with the single "When the Tigers Broke Free" added. The 30th-Anniversary SACD reissue of ''Wish You Were Here'' is in the works, with no release date announced.<ref>[http://www.brain-damage.co.uk/old/news/0507202.html brain-damage.co.uk], [[20 July]] [[2005]], retrieved [[10 July]] [[2006]]</ref>
-Nick Mason's book, ''[[Inside Out: A Personal History of Pink Floyd]]'' was published in 2004 in Europe and 2005 in the U.S. Mason made public promotional appearances in a few European and American cities, giving interviews and meeting fans at book signings.  Some fans claimed that he said he wished he were on a tour with the band rather than on a book tour.
-Longtime Pink Floyd manager Steve O'Rourke passed away on [[October 30]], [[2003]]. As a result, the legal incarnation of the band - David Gilmour, Nick Mason and Rick Wright - reunited at his funeral and performed "Fat Old Sun" and "The Great Gig in the Sky" at the [[Chichester Cathedral]] in tribute.
-Two years later, on [[2 July]] [[2005]], the trio reunited once again for a one-off performance at the [[Live 8 concert, London|London Live 8 concert]], the sequel to [[Live Aid]]. This time, however they were joined by their estranged bassist Roger Waters - the first time all 4 band members were on stage together in 24 years. The band performed a four-song set consisting of "[[Speak to Me]]/[[Breathe (Pink Floyd song)|Breathe]]/[[Breathe (Reprise)]]," "[[Money (song)|Money]]," "[[Wish You Were Here (song)|Wish You Were Here]]," and "[[Comfortably Numb]]", with both Gilmour and Waters sharing lead vocal duties. At the end, after the last song had been played, Gilmour said "thank you very much, good night" and started to walk off the stage. Waters called him back, however, and the band shared a group hug that became one of the most famous pictures of Live 8.
-In the week after [[Live 8]], there was a revival of interest in Pink Floyd.  According to record store chain [[HMV]], sales of ''[[Echoes: The Best of Pink Floyd]]'' went up, in the following week, by 1343%, while [http://www.amazon.co.uk Amazon.co.uk] reported increases in sales of ''[[The Wall]]'' at 3600%, ''[[Wish You Were Here (album)|Wish You Were Here]]'' at 2000%, ''[[The Dark Side of the Moon]]'' at 1400% and ''[[Animals (album)|Animals]]'' at 1000%. David Gilmour subsequently declared that he would donate all profits from this post-[[Live 8]] boom in sales to charity,<ref>[http://news.bbc.co.uk/2/hi/entertainment/4651309.stm BBC News], [[5 July]] [[2005]]</ref> and urged that all the other performing artists and their record companies should do the same.
-On [[26 September]] [[2005]], Roger Waters released his French opera, ''[[Ça Ira]]'', and on [[16 November]] [[2005]] Pink Floyd were inducted into the [[UK Music Hall of Fame]] by [[Pete Townshend]]. Gilmour and Mason attended in person, explaining that Wright was in hospital following eye surgery, and Waters appeared on a video screen, from [[Rome]].
-David Gilmour released his first solo record since 1984's ''[[About Face (album)|About Face]]'', called ''[[On an Island]]'', on [[6 March]] [[2006]] (his 60th birthday), and began a tour of small concert venues in Europe, Canada and the U.S. in support of the album a few days later, with Richard Wright as part of the band. On [[17 April]] [[2006]] Gilmour and Wright treated their [[Oakland, California]] audience to an historic performance of Pink Floyd's first single, "Arnold Layne". On [[31 May]] [[2006]], Nick Mason joined David Gilmour and Rick Wright to perform "Wish You Were Here" and "Comfortably Numb" during Gilmour's final concert at Royal Albert Hall. The concert (along with the 29 and 30 May performances) was recorded for a DVD release later this year.<ref>[http://davidgilmour.musicblog.co.uk/archives/2006/05/ Gilmour blog archives]</ref>  Waters was also invited to perform, but final rehearsals for his [[Roger Waters - The Dark Side of the Moon Live (2006 tour)|2006 Europe/U.S. tour]] required him to decline.<ref>[http://www.rogerwaters2006.com/popupvideopressjuinuk.html Video Interview with Nick Mason]</ref>
-Mason joined Waters for some dates on his tour, and Waters invited Wright along as well.<ref>''[http://www.nouvelobs.com Nouvel Obs]'', [[27 February]] [[2006]], translation [http://brain-damage.co.uk/old/news/0603022.html here]</ref><ref>[http://www.brain-damage.co.uk/news/0607021.html braindamage.co.uk], retrieved [[4 July]] [[2006]]</ref> Wright declined the invitation to focus on solo projects.<ref>[http://www.pinkfloydz.com/pfmapril2006.htm Report of Meeting with Pink Floyd's Management], retrieved [[12 April]] [[2006]]</ref>
-====Future directions====
-Many fans expressed hope that the band's [[Pink Floyd live performances#Live 8, 2005|Live 8 appearance]] would lead to a reunion tour, and a record-breaking US$250 million deal for a world tour was offered,<ref name="La Repubblica" /> but the band have made it clear that there are no such plans. In the weeks after the show, the rifts that separated the members during the breakup seem to have mostly healed. Gilmour confirmed that he and Waters are on "pretty amicable terms" and that they communicated via e-mail after the concert.<ref>[[Music Week]], [[16 July]] [[2005]], retrieved [http://www.brain-damage.co.uk/old/news/0507132.html here] on [[9 July]] [[2006]]</ref> Waters has offered conflicting comments on the issue, with statements as varied as "I couldn't roll over for a whole fucking tour"<ref>''[http://www.rollingstone.com/artists/rogerwaters/articles/story/7504168/roger_waters Rolling Stone]'', [[28 July]] [[2005]], retrieved [[9 July]] [[2006]]</ref> and "I hope we do it again,"<ref>''Word Magazine'', October 2005</ref> although most recent comments seem to indicate his desire to play together again, but not for a whole tour, but an event similar to Live 8.<ref>''[[Guitar World]]'', April 2006</ref><ref>[http://www.ultimate-guitar.com/news/general_music_news/pink_floyd_to_reunite.html ultimateGuitar.com], [[25 November]] [[2005]]</ref>
-On [[31 January]] [[2006]], David Gilmour issued a joint statement on behalf of the group stating that they have no plans to reunite, putting to rest rumours from several media outlets.<ref>[http://web.archive.org/web/20050317013907/http://www.pinkfloyd.com/home/20.html Pink Floyd's official site], retrieved [[9 February]] [[2006]]</ref> On [[3 February]] [[2006]], Gilmour stated in an interview in the Italian newspaper ''[[La Repubblica]]'' that he is finished with Pink Floyd and wishes to focus on solo projects and his family. He mentions that he agreed to play Live 8 with Waters to support the cause, to make peace with Waters, and knowing he would regret not taking part.<ref name="La Repubblica" /> He contradicts the "finished with Pink Floyd" sentiment somewhat in interviews with ''[[Billboard (magazine)|Billboard]]''<ref name="Billboard" /> and ''[[USA Today]]'',<ref>[http://www.usatoday.com/life/music/news/2006-03-08-gilmour_x.htm ''USA Today''], [[6 March]] [[2006]]</ref> which along with Mason's statement that the band would be willing to perform for a concert "that would support Israeli-Palestinian peace efforts"<ref name="Die Welt" /> and his optimism that Gilmour and Waters will put their differences aside and reunite one day,<ref>[http://www.ultimate-guitar.com/news/general_music_news/nick_mason_pink_floyd_reunion_will_happen.html ultimateGuitar.com], retrieved [[14 June]] [[2006]]</ref> as well as Wright's desire to play with the band again,<ref>''[[The Independent]]'', [[7 July]] [[2006]], retrieved [http://www.brain-damage.co.uk/old/news/0607021.html here] [[10 July]] [[2006]]</ref> makes it possible the band could make appearances similar to Live 8 in the future, although large-scale touring or new studio material is unlikely.
-Waters and Wright are both reported to be working on solo albums, and there has been talk of Roger Waters doing a [[Broadway theatre|Broadway]] musical version of ''The Wall'', with extra music to be written by Waters.<ref>[http://news.bbc.co.uk/1/hi/entertainment/arts/3539908.stm BBC News], [[5 August]] [[2004]]</ref> Waters is also embarking on his US/European tour [[Roger Waters - The Dark Side Of The Moon Live|The Dark Side Of The Moon Live Tour]], which consists of Pink Floyd's most famous songs and of course, [[The Dark Side of the Moon]].
-will see the 40th anniversary of Pink Floyd's signing to EMI and the 40th anniversary of the release of their first three singles "Arnold Layne", "See Emily Play" and "Apples and Oranges" and their debut album The Piper at the Gates of Dawn. Pink Floyd's longtime album cover designer Storm Thorgerson states that he hopes "the band will do something for its 40th anniversary".
 ==The Images of Pink Floyd==

Pink Floyd: Difference between revisions

Revision as of 20:58, 9 November 2006

The Images of Pink Floyd

Live performances