Pink Floyd

PinkFloyd
FromWikipedia,thefreeencyclopedia
PinkFloydwereanEnglishrockbandformedinLondon.Theyachievedinternational
acclaimwiththeirprogressiveandpsychedelicmusic.Distinguishedbytheiruseof
philosophicallyrics,sonicexperimentation,extendedcompositionsandelaboratelive
shows,theyareoneofthemostcommerciallysuccessfulandmusicallyinfluentialgroupsin
thehistoryofpopularmusic.
PinkFloydwerefoundedin1965bystudentsSydBarrett,NickMason,RogerWaters,and
RichardWright.TheygainedpopularityperforminginLondon'sundergroundmusicscene
duringthelate1960s,andunderBarrett'sleadershipreleasedtwochartingsinglesanda
successfuldebutalbum,ThePiperattheGatesofDawn(1967).DavidGilmourjoinedasa
fifthmemberinDecember1967BarrettleftthebandinApril1968duetodeteriorating
mentalhealthexacerbatedbydruguse.Watersbecametheband'sprimarylyricistand,by
themid1970s,theirdominantsongwriter,devisingtheconceptsbehindtheircriticallyand
commerciallysuccessfulalbumsTheDarkSideoftheMoon(1973),WishYouWereHere
(1975),Animals(1977),TheWall(1979)andTheFinalCut(1983).
WrightleftPinkFloydin1979,followedbyWatersin1985,declaringita"spentforce".
GilmourandMasoncontinuedasPinkFloydWrightrejoinedthemasasessionmusician
and,later,abandmember.Thethreeproducedtwomorealbums,AMomentaryLapseof
Reason(1987)andTheDivisionBell(1994),andtoureduntil1994.Afternearlytwo
decadesofacrimony,PinkFloydreunitedwithWatersin2005foraperformanceatthe
globalawarenesseventLive8,butGilmourandWatershavesincestatedtheyhavenoplans
toreuniteasabandagain.Barrettdiedin2006andWrightin2008.ThefinalPinkFloyd
studioalbum,TheEndlessRiver,recordedwithoutWatersandbasedonmaterialrecordedin
19931994,wasreleasedinNovember2014.
PinkFloydwereinductedintotheUSRockandRollHallofFamein1996,andtheUK
MusicHallofFamein2005.By2013,thebandhadsoldmorethan250millionrecords
worldwide,including75millioncertifiedunitsintheUnitedStates.
Contents
PinkFloyd
PinkFloydinJanuary1968,fromtheonlyknown
photoshootofallfivemembers.Clockwisefrom
bottom:Gilmour,Mason,Barrett,Waters,Wright
Backgroundinformation
Origin
London,England
Genres
Progressiverock,psychedelicrock,art
rock,bluesrock
Years
active
19651994,20122014
Labels
EMIColumbia,Harvest,Capitol,
Columbia,EMI,Parlophone
(oneoffreunion:2005)
Website pinkfloyd.com(http://pinkfloyd.com)
Past
NickMason
Contents
members
RogerWaters
RichardWright
1196367:earlyyears
1.1Formation
1.2SigningwithEMI
1.3ThePiperattheGatesofDawn
2196877:transitionandinternationalsuccess
2.1GilmourreplacesBarrett
2.2ASaucerfulofSecrets
2.3Ummagumma,AtomHeartMother,andMeddle
2.4TheDarkSideoftheMoon
2.5WishYouWereHere
2.6Animals
3197885:Watersledera
3.1TheWall
3.2TheFinalCut
3.3"Aspentforce"andWaters'departure
4198695:Gilmourledera
4.1AMomentaryLapseofReason
4.2TheDivisionBell
52005present:reunion,deathsandfinalalbum
5.1Live8reunion
5.2DeathsofBarrettandWright
5.3Furtherperformancesandrereleases
5.4TheEndlessRiver
6Musicianship
6.1Genres
SydBarrett
DavidGilmour
6.2Gilmour'sguitarwork
6.3Sonicexperimentation
6.4Filmscores
6.5Liveperformances
7Lyricalthemes
7.1Disillusionment,absence,andnonbeing
7.2Exploitationandoppression
7.3Alienation,war,andinsanity
8Recognitionandinfluence
9Discography
10Tours
11Seealso
12Notes
13References
14Sources
15Furtherreading
16Externallinks
196367:earlyyears
Formation
RogerWatersmetdrummerNickMasonwhiletheywerebothstudyingarchitectureattheLondonPolytechnicatRegentStreet.[1]Theyfirst
playedmusictogetherinagroupformedbyKeithNobleandCliveMetcalfewithNoble'ssisterSheilagh.KeyboardistRichardWright,a
fellowarchitecturestudent,joinedlaterthatyear,andthegroupbecameasextetnamedSigma6,thefirstbandtoincludeWaters,whowasat
thistimeplayingleadguitarWright,whoatfirstplayedrhythmguitarsincetherewasrarelyanavailablekeyboardandMasonon
drums.[2][nb1]Thebandstartedperformingduringprivatefunctions,whilerehearsinginatearoominthebasementoftheRegentStreet
Polytechnic.TheyperformedsongsbyTheSearchersandmaterialwrittenbytheirmanagerandsongwriter,fellowstudentKenChapman.[4]
InSeptember1963,WatersandMasonmovedintoaflatat39StanhopeGardens,nearCrouchEndLondon,ownedbyMikeLeonard,apart
timetutoratthenearbyHornseyCollegeofArtandtheRegentStreetPolytechnic.[5][nb2]Masonmovedoutafterthe1964academicyear,and
guitaristBobKlosemovedinduringSeptember1964,promptingWaters'switchtobass.[6][nb3]Sigma6wentthroughanumberofother
transitorynames,includingtheMeggadeaths,theAbdabsandtheScreamingAbdabs,Leonard'sLodgers,andtheSpectrumFivebefore
settlingontheTeaSet.[7][nb4]In1964,asMetcalfeandNoblelefttoformtheirownband,guitaristSydBarrettjoinedKloseandWatersat
StanhopeGardens.[11]Barrett,twoyearsyounger,hadmovedtoLondonin1962tostudyattheCamberwellCollegeofArt.[12]Watersand
BarrettwerechildhoodfriendsWatershadoftenvisitedBarrettandwatchedhimplayguitaratBarrett'smother'shouse.[13]Masonsaidabout
Barrett:"Inaperiodwheneveryonewasbeingcoolinaveryadolescent,selfconsciousway,Sydwasunfashionablyoutgoingmyenduring
memoryofourfirstencounteristhefactthathebotheredtocomeupandintroducehimselftome."[14]
NobleandMetcalfelefttheTeaSetinlate1963,andKloseintroducedthebandtosingerChrisDennis,atechnicianwiththeRoyalAirForce
(RAF).[15]InDecember1964,theymanagedtosecuretheirfirstrecordingtime,atastudioinWestHampstead,throughoneofWright's
friends,wholetthemusesomedowntimeforfree.Wright,whowastakingabreakfromhisstudies,didnotparticipateinthesession.[16][nb5]
WhentheRAFassignedDennisapostinBahraininearly1965,Barrettbecametheband'sfrontman.[17][nb6]Laterthatyear,theybecamethe
residentbandattheCountdownClub,nearKensingtonHighStreetinLondon,wherefromlatenightuntilearlymorningtheyplayedthreesets
ofninetyminuteseach.Duringthisperiod,spurredbythegroup'sneedtoextendtheirsetsinordertominimisesongrepetition,camethe
band's"realisationthatsongscouldbeextendedwithlengthysolos",wroteMason.[18]Afterpressurefromhisparentsandadvicefromhis
collegetutors,Klosequitthebandinmid1965andBarretttookoveronleadguitar.[19]ThegroupfirstreferredtothemselvesasthePink
FloydSoundinlate1965.Barrettcreatedthenameonthespurofthemomentwhenhediscoveredthatanotherband,alsocalledtheTeaSet,
weretoperformatoneoftheirgigs.[20]ThenameisderivedfromthegivennamesoftwobluesmusicianswhosePiedmontbluesrecords
Barretthadinhiscollection,PinkAndersonandFloydCouncil.[21]
By1966,thegroup'srepertoireconsistedmainlyofrhythmandbluessongsandtheyhadbeguntoreceivepaidbookings,includingonefora
performanceattheMarqueeClubinMarch1966,wherePeterJennernoticedthem.AlecturerattheLondonSchoolofEconomics,Jennerwas
impressedbythesoniceffectsBarrettandWrightcreated,andwithhisbusinesspartnerandfriendAndrewKing,hebecametheirmanager.[22]
ThepairhadlittleexperienceinthemusicindustryandusedKing'sinheritedmoneytosetupBlackhillEnterprises,purchasingabout1,000
worthofnewinstrumentsandequipmentfortheband.ItwasaroundthistimethatJennersuggestedtheydropthe"Sound"partoftheirband
name,thusbecomingthePinkFloyd.[23][nb7]UnderJennerandKing'sguidance,thegroupbecamepartofLondon'sundergroundmusicscene,
playingatvenuesincludingAllSaintsHallandtheMarquee.[25]WhileperformingattheCountdownClub,thebandhadexperimentedwith
longinstrumentalexcursions,andtheybegantoexpanduponthesewithrudimentarybutvisuallyeffectivelightshows,projectedbycoloured
slidesanddomesticlights.[26]JennerandKing'ssocialconnectionshelpedgainthebandprominentcoverageintheFinancialTimesandan
articleinTheSundayTimeswhichstated:"AtthelaunchingofthenewmagazineITtheothernightapopgroupcalledthePinkFloydplayed
throbbingmusicwhileaseriesofbizarrecolouredshapesflashedonahugescreenbehindthem...apparentlyverypsychedelic."[27]
In1966,theystrengthenedtheirbusinessrelationshipwithBlackhillEnterprises,becomingequalpartnerswithJennerandKingandtheband
memberseachholdingaonesixthshare.[23]Bylate1966,theirsetincludedfewerR&BstandardsandmoreBarrettoriginals,manyofwhich
wouldbeincludedontheirfirstalbum.[28]Whiletheyhadsignificantlyincreasedthefrequencyoftheirperformances,thebandwerenot
widelyacceptedatthetime.FollowingaperformanceataCatholicyouthclub,theownerrefusedtopaythem,claimingthattheirperformance
wasn'tmusic.[29]Whentheirmanagementfiledsuitinasmallclaimscourtagainsttheowneroftheyouthorganisation,alocalmagistrate
upheldtheowner'sdecision.However,theyweremuchbetterreceivedattheUFOClubinLondon,whereasmallfanbasebegantobuildup
aroundtheband.[30]Barrett'sperformanceswereenthusiastic,"leapingaround...madness...improvisation...[inspired]togetpasthis
limitationsandintoareasthatwere...veryinteresting.Whichnoneoftheotherscoulddo",wrotebiographerNicholasSchaffner.[31]
SigningwithEMI
In1967,PinkFloydbegantoattracttheattentionofthemainstreammusicindustry.[32][nb8]Whileinnegotiationswithrecordcompanies,IT
cofounderandUFOclubmanagerJoeBoydandPinkFloyd'sbookingagentBryanMorrisonarrangedforandfundedtherecordingofsome
songsatSoundTechniquesinWestHampstead.Includedwerethestandouttrack"ArnoldLayne"and"CandyandaCurrantBun"asitsB
side,bothofwhichtheyrecordedon29January1967.[34][nb9]ThreedayslaterPinkFloydsignedwithEMI,receivinga5,000advance.EMI
releasedtheband'sfirstsingle,"ArnoldLayne",on10March1967,onitsColumbialabel.[36][nb10]Thesong'sreferencestocrossdressingled
toabanbyseveralradiostationshowever,somecreativemanipulationbytheretailerswhosuppliedsalesfigurestothemusicbusinessmeant
thatthesinglepeakedintheUKatnumber20.[37]
EMIColumbiareleasedPinkFloyd'ssecondsingle,"SeeEmilyPlay",on16June1967.Itfaredslightlybetterthan"ArnoldLayne",peaking
atnumber6intheUK.[38]TheyperformedontheBBC'sLookoftheWeek,whereWatersandBarrett,eruditeandengaging,facedtough
questioningfromHansKeller.[39]TheyappearedontheBBC'sTopofthePops,animmenselypopularprogrammethatcontroversially
requiredartiststomimetheirsingingandplaying.[40]ThoughPinkFloydreturnedfortwomoreperformances,bythethird,Barretthadbegun
tounravel,anditwasaroundthistimethatthebandfirstnoticedsignificantchangesinhisbehaviour.[41]Byearly1967,hewasregularlyusing
LSD,andMasondescribedhimas"completelydistancedfromeverythinggoingon".[42]
ThePiperattheGatesofDawn
MorrisonandEMIproducerNormanSmithnegotiatedPinkFloyd'sfirstrecordingcontract,andaspartofthedeal,thebandagreedtorecord
theirfirstalbumatEMIStudiosinLondon.[43][nb11]Masonrecalledthatthesessionsweretroublefree.Smithdisagreed,statingthatBarrett
wasunresponsivetohissuggestionsandconstructivecriticism.[45]EMIColumbiareleasedThePiperattheGatesofDawninAugust1967.
Thealbumpeakedatnumber6,spending14weeksontheUKcharts.[46]PinkFloydcontinuedtodrawlargecrowdsattheUFOClub
however,Barrett'smentalbreakdownwasbythencausingseriousconcern.Thegroupinitiallyhopedthathiserraticbehaviourwouldbea
passingphase,butsomewerelessoptimistic,includingJennerandhisassistant,JuneChild,whocommented:"Ifound[Barrett]inthedressing
roomandhewasso...gone.RogerWatersandIgothimonhisfeet,[and]wegothimouttothestage...ThebandstartedtoplayandSydjust
stoodthere.Hehadhisguitararoundhisneckandhisarmsjusthangingdown."[47]
ForcedtocancelPinkFloyd'sappearanceattheprestigiousNationalJazzandBluesFestival,aswellasseveralothershows,Kinginformed
themusicpressthatBarrettwassufferingfromnervousexhaustion.[48]WatersarrangedameetingwithpsychiatristR.D.Laing,andthough
WaterspersonallydroveBarretttotheappointment,Barrettrefusedtocomeoutofthecar.[49]AstayinFormenterawithSamHutt,adoctor
wellestablishedintheundergroundmusicscene,ledtonovisibleimprovement.ThebandfollowedafewconcertdatesinEuropeduring
SeptemberwiththeirfirsttouroftheUSinOctober.[50][nb12]AstheUStourwenton,Barrett'sconditiongrewsteadilyworse.[52]During
appearancesontheDickClarkandPatBooneshowsinNovember,Barrettconfoundedhishostsbynotrespondingtoquestionsandstaringoff
intospace.Herefusedtomovehislipswhenitcametimetomime"SeeEmilyPlay"onBoone'sshow.Aftertheseembarrassingepisodes,
KingendedtheirUSvisitandimmediatelysentthemhometoLondon.[53][nb13]Soonaftertheirreturn,theysupportedJimiHendrixduringa
tourofEnglandhowever,Barrett'sdepressionworsenedasthetourcontinued,reachingacrisispointinDecember,whenthebandresponded
byaddinganewmembertotheirlineup.[55][nb14]
196877:transitionandinternationalsuccess
GilmourreplacesBarrett
InDecember1967,thegroupaddedguitaristDavidGilmourasthefifthmemberofPinkFloyd.[58][nb15]GilmouralreadyknewBarrett,having
studiedwithhimatCambridgeTechintheearly1960s.[13]Thetwohadperformedatlunchtimestogetherwithguitarsandharmonicas,and
laterhitchhikedandbuskedtheirwayaroundthesouthofFrance.[60]In1965,whileamemberofJoker'sWild,GilmourhadwatchedtheTea
Set.[61]Morrison'sassistant,SteveO'Rourke,setGilmourupinaroomatO'Rourke'shousewithasalaryof30perweek,andinJanuary
1968,BlackhillEnterprisesannouncedGilmourastheband'snewestmemberthesecondguitaristanditsfifthmember,thebandintendingto
continuewithBarrettasanonperformingsongwriter.[62]Jennercommented:"TheideawasthatDavewould...coverfor[Barrett's]
eccentricitiesandwhenthatgottobenotworkable,Sydwasjustgoingtowrite.Justtotrytokeephiminvolved".[63][nb16]Inanexpressionof
hisfrustration,Barrett,whowasexpectedtowriteadditionalhitsinglestofollowup"ArnoldLayne"and"SeeEmilyPlay",insteadplayedthe
band's"HaveYouGotItYet?",intentionallychangingthestructureoneachperformancesoastomakethesongimpossibletofollowand
learn.[58]InaJanuary1968photoshootofthefivemanPinkFloyd,thephotographsshowBarrettlookingdetachedfromtheothers,staring
intothedistance.[65]
WorkingwithBarretteventuallyprovedtoodifficult,andmatterscametoaheadinJanuarywhileenroutetoaperformanceinSouthampton
whenabandmemberaskediftheyshouldcollectBarrett.AccordingtoGilmour,theanswerwas"Nah,let'snotbother",signallingtheendof
Barrett'stenurewithPinkFloyd.[66][nb17]Waterslateradmitted,"Hewasourfriend,butmostofthetimewenowwantedtostranglehim".[68]
InearlyMarch1968,PinkFloydmetwithbusinesspartnersJennerandKingtodiscusstheband'sfutureBarrettagreedtoleave.[69]
JennerandKingbelievedBarretttobethecreativegeniusoftheband,anddecidedtorepresenthimandendtheirrelationshipwithPink
Floyd.[70]MorrisonthensoldhisbusinesstoNEMSEnterprises,andO'Rourkebecametheband'spersonalmanager.[71]Blackhillannounced
Barrett'sdepartureon6April1968.[72][nb18]AfterBarrett'sdeparture,theburdenoflyricalcompositionandcreativedirectionfellmostlyon
Waters.[74]Initially,GilmourmimedtoBarrett'svoiceonthegroup'sEuropeanTVappearanceshowever,whileplayingontheuniversity
circuit,theyavoidedBarrettsongsinfavourofWatersandWrightmaterialsuchas"ItWouldBeSoNice"and"CarefulwithThatAxe,
Eugene".[75]
ASaucerfulofSecrets
In1968,PinkFloydreturnedtoAbbeyRoadStudiostorecordtheirsecondalbum,ASaucerfulofSecrets.
TheLPincludedBarrett'sfinalcontributiontotheirdiscography,"JugbandBlues".Watersbegantodevelop
hisownsongwriting,contributing"SettheControlsfortheHeartoftheSun","LetThereBeMoreLight"and
"CorporalClegg".Wrightcomposed"SeeSaw"and"RememberaDay".Smithencouragedthemtoself
producetheirmusic,andtheyrecordeddemosofnewmaterialattheirhouses.WithSmith'sinstructionat
AbbeyRoad,theylearnedhowtousetherecordingstudiotorealisetheirartisticvision.However,Smith
remainedunconvincedbytheirmusic,andwhenMasonstruggledtoperformhisdrumparton"Remembera
Day",Smithsteppedinashisreplacement.[76]WrightrecalledSmith'sattitudeaboutthesessions,"Norman
gaveuponthesecondalbum...hewasforeversayingthingslike,'Youcan'tdotwentyminutesofthis
ridiculousnoise.'"[77]AsneitherWatersnorMasoncouldreadmusic,toillustratethestructureofthealbum's
titletrack,theyinventedtheirownsystemofnotation.Gilmourlaterdescribedtheirmethodaslooking"like
anarchitecturaldiagram".[78]
ThepsychedelicartworkforA
SaucerfulofSecretswasthe
firstofmanyPinkFloyd
coversdesignedbyHipgnosis.
ReleasedinJune1968,thealbumfeaturedapsychedeliccoverdesignedbyStormThorgersonandAubrey
PowellofHipgnosis.ThefirstofseveralPinkFloydalbumcoversdesignedbyHipgnosis,itwasthesecond
timethatEMIpermittedoneoftheirgroupstocontractdesignersforanalbumjacket.[79]Thereleasepeakedatnumber9,spending11weeks
ontheUKchart.[46]RecordMirrorgavethealbumanoverallfavourablereview,buturgedlistenersto"forgetitasbackgroundmusictoa
party".[78]JohnPeeldescribedaliveperformanceofthetitletrackas"likeareligiousexperience",whileNMEdescribedthesongas"longand
boring...[with]littletowarrantitsmonotonousdirection".[77][nb19]Onthedayafterthealbum'sUKrelease,PinkFloydperformedatthefirst
everfreeconcertinHydePark.[81]InJuly1968,theyreturnedtotheUSforasecondvisit.AccompaniedbytheSoftMachineandtheWho,it
markedPinkFloyd'sfirstsignificanttour.[82]InDecemberofthatyear,theyreleased"PointMeattheSky"nomoresuccessfulthanthetwo
singlestheyhadreleasedsince"SeeEmilyPlay",itwouldbetheband'slastuntiltheir1973release,"Money".[83]
Ummagumma,AtomHeartMother,andMeddle
Ummagummarepresentedadeparturefromtheirpreviouswork.ReleasedasadoubleLPonEMI'sHarvestlabel,
thefirsttwosidescontainedliveperformancesrecordedatManchesterCollegeofCommerceandMothers,aclubin
Birmingham.ThesecondLPcontainedasingleexperimentalcontributionfromeachbandmember.[84]
Ummagummareceivedpositivereviewsuponitsrelease,inNovember1969.[85]Thealbumpeakedatnumber5,
spending21weeksontheUKchart.[46]
InOctober1970,PinkFloydreleasedAtomHeartMother.[86][nb20]AnearlyversionpremiredinFrancein
January,butdisagreementsoverthemixpromptedthehiringofRonGeesintoworkoutthesoundissues.Geesin
workedtoimprovethescore,butwithlittlecreativeinputfromtheband,productionwastroublesome.Geesin
eventuallycompletedtheprojectwiththeaidofJohnAlldis,whowasthedirectorofthechoirhiredtoperformon
therecord.Smithearnedanexecutiveproducercredit,andthealbummarkedhisfinalofficialcontributiontothe
Watersperformingwith
PinkFloydatLeeds
band'sdiscography.Gilmoursaiditwas"Aneatwayofsayingthathedidn't...doanything".[88]Waterswascritical
Universityin1970
ofAtomHeartMother,claimingthathewouldpreferifitwere"thrownintothedustbinandneverlistenedtoby
anyoneeveragain."[89]Gilmourwasequallydismissiveofthealbumandoncedescribeditas"aloadofrubbish",
stating:"Ithinkwewerescrapingthebarrelabitatthatperiod."[89]PinkFloyd'sfirstnumber1album,AtomHeartMotherwashugely
successfulinBritain,spending18weeksontheUKchart.[46]ItpremiredattheBathFestivalon27June1970.[90]
PinkFloydtouredextensivelyacrossAmericaandEuropein1970.[91][nb21]In1971,PinkFloydtooksecondplaceinareader'spoll,inMelody
Maker,andforthefirsttimeweremakingaprofit.MasonandWrightbecamefathersandboughthomesinLondonwhileGilmour,stillsingle,
movedtoa19thcenturyfarminEssex.WatersinstalledahomerecordingstudioathishouseinIslingtoninaconvertedtoolshedattheback
ofhisgarden.[92]
InJanuary1971,upontheirreturnfromtouringAtomHeartMother,PinkFloydbeganworkingonnewmaterial.[93]Lackingacentraltheme,
theyattemptedseveralunproductiveexperimentsengineerJohnLeckiedescribedthesessionsasoftenbeginningintheafternoonandending
earlythenextmorning,"duringwhichtimenothingwouldget[accomplished].Therewasnorecordcompanycontactwhatsoever,exceptwhen
theirlabelmanagerwouldshowupnowandagainwithacoupleofbottlesofwineandacoupleofjoints."[94]Thebandspentlongperiods
workingonbasicsounds,oraguitarriff.TheyalsospentseveraldaysatAirStudios,attemptingtocreatemusicusingavarietyofhousehold
objects,aprojectwhichwouldberevisitedbetweenTheDarkSideoftheMoonandWishYouWereHere.[95]
ReleasedinOctober1971,"MeddlenotonlyconfirmsleadguitaristDavidGilmour'semergenceasarealshapingforcewiththegroup,itstates
forcefullyandaccuratelythatthegroupiswellintothegrowthtrackagain"wroteJean
CharlesCostaofRollingStone.[96][nb22][nb23]NMEcalledMeddle"anexceptionallygood
album",singlingout"Echoes"asthe"ZenithwhichtheFloydhavebeenstrivingfor."[100]
However,MelodyMaker'sMichaelWattsfounditunderwhelming,callingthealbum"a
soundtracktoanonexistentmovie",andshruggingoffPinkFloydas"somuchsoundand
fury,signifyingnothing."[101]MeddleisatransitionalalbumbetweentheBarrett
influencedgroupofthelate1960sandtheemergingPinkFloyd.[102]TheLPpeakedat
PinkFloydin1971
number3,spending82weeksontheUKchart.[46]
TheDarkSideoftheMoon
PinkFloydrecordedTheDarkSideoftheMoonbetweenMay1972andJanuary1973,withEMIstaffengineer
AlanParsonsatAbbeyRoad.Thetitleisanallusiontolunacyratherthanastronomy.[103]Thebandhadcomposed
andrefinedthematerialonDarkSidewhiletouringtheUK,Japan,NorthAmericaandEurope.[104]Producer
ChrisThomasassistedParsons.[105]Hipgnosisdesignedthealbum'spackaging,whichincludedGeorgeHardie's
iconicrefractingprismdesignonthecover.[106]Thorgerson'sDarkSidealbumcoverfeaturesabeamofwhite
light,representingunity,passingthroughaprism,whichrepresentssociety.Theresultingrefractedbeamof
colouredlightsymbolisesunitydiffracted,leavinganabsenceofunity.[107]Watersisthesoleauthorofthe
album'slyrics.[108]
Theiconicartworkfor
TheDarkSideofthe
Moonwasdesignedby
HipgnosisandGeorge
Hardie.
ReleasedinMarch1973,theLPbecameaninstantchartsuccessintheUKandthroughoutWesternEurope,
earninganenthusiasticresponsefromcritics.[109]EachmemberofPinkFloydexceptWrightboycottedthepress
releaseofTheDarkSideoftheMoonbecauseaquadraphonicmixhadnotyetbeencompleted,andtheyfelt
presentingthealbumthroughapoorqualitystereoPAsystemwasinsufficient.[110]MelodyMaker
'
sRoy
Hollingworthdescribedsideoneas"utterlyconfused...[and]difficulttofollow",butpraisedsidetwo,writing:
"Thesongs,thesounds...[and]therhythmsweresolid...[the]saxophonehittheair,thebandrockedandrolled".[111]RollingStone
'
sLoyd
[112]
Grossmandescribeditas"afinealbumwithatexturalandconceptualrichnessthatnotonlyinvites,butdemandsinvolvement."
PinkFloydin1973
ThroughoutMarch1973,TheDarkSideoftheMoonfeaturedaspartofPinkFloyd'sUStour.[113]The
albumisoneofthemostcommerciallysuccessfulrockalbumsofalltimeaUSnumber1,itremained
ontheBillboardchartformorethanfourteenyears,sellingmorethan40millioncopiesworldwide.[114]
InBritain,thealbumpeakedatnumber2,spending364weeksontheUKchart.[46]DarkSideisthe
world'ssecondbestsellingalbum,andthetwentyfirstbestsellingalbumofalltimeintheUS.[115]The
successofthealbumbroughtenormouswealthtothemembersofPinkFloyd.WatersandWright
boughtlargecountryhouseswhileMasonbecameacollectorofexpensivecars.[116]Disenchantedwith
theirUSrecordcompany,CapitolRecords,PinkFloydandO'Rourkenegotiatedanewcontractwith
ColumbiaRecords,whogavethemareportedadvanceof$1,000,000,whichisworthapproximately
$5,000,000today.InEurope,theycontinuedtoberepresentedbyHarvestRecords.[117]
WishYouWereHere
AfteratouroftheUKperformingDarkSide,PinkFloydreturnedtothestudioinJanuary1975andbeganworkontheirninthstudioalbum,
WishYouWereHere.[118]Parsonsdeclinedanoffertocontinueworkingwiththem,becomingsuccessfulinhisownrightwiththeAlan
ParsonsProject,andsothebandturnedtoBrianHumphries.[119]Initially,theyfounditdifficulttocomposenewmaterialthesuccessofThe
DarkSideoftheMoonhadleftPinkFloydphysicallyandemotionallydrained.Wrightlaterdescribedtheseearlysessionsas"fallingwithina
difficultperiod"andWatersfoundthem"torturous".[120]Gilmourwasmoreinterestedinimprovingtheband'sexistingmaterial.Mason's
failingmarriagelefthiminageneralmalaiseandwithasenseofapathy,bothofwhichinterferedwithhisdrumming.[120]
Despitethelackofcreativedirection,Watersbegantovisualiseanewconceptafterseveralweeks.[120]During1974,PinkFloydhadsketched
outthreeoriginalcompositionsandhadperformedthemataseriesofconcertsinEurope.[121]Thesecompositionsbecamethestartingpoint
foranewalbumwhoseopeningfournoteguitarphrase,composedpurelybychancebyGilmour,remindedWatersofBarrett.[122]Thesongs
providedafittingsummaryoftheriseandfalloftheirformerbandmate.[123]Waterscommented:"BecauseIwantedtogetascloseaspossible
towhatIfelt...[that]indefinable,inevitablemelancholyaboutthedisappearanceofSyd."[124]
WhilePinkFloydwereworkingonthealbum,Barrettmadeanimpromptuvisittothestudio,duringwhichThorgersonrecalledthathe"sat
roundandtalkedforabit,buthewasn'treallythere."[125]Hehadchangedsignificantlyinappearance,somuchsothatthebanddidnot
initiallyrecognisehim.Waterswasreportedlydeeplyupsetbytheexperience.[126][nb24]MostofWishYouWereHerepremieredon5July
1975,atanopenairmusicfestivalatKnebworth.ReleasedinSeptember,itreachednumberoneinboththeUKandtheUS.[128]
Animals
In1975,PinkFloydboughtathreestoreygroupofchurchhallsat35BritanniaRowinIslington,and
beganconvertingthebuildingintoarecordingstudioandstoragespace.[129]In1976,theyrecorded
theirtenthalbum,Animals,intheirnewlyfinished24trackstudio.[130]TheconceptofAnimals
originatedwithWaters,looselybasedonGeorgeOrwell'spoliticalfable,AnimalFarm.Thealbum's
lyricsdescribeddifferentclassesofsocietyasdogs,pigs,andsheep.[131][nb25]Hipgnosisreceivedcredit
forthepackagingofAnimalshowever,Watersdesignedthefinalconcept,choosinganimageofthe
ageingBatterseaPowerStation,overwhichtheysuperimposedanimageofapig.[133][nb26]
Thedivisionofroyaltieswasasourceofconflictbetweenbandmembers,whoearnedroyaltiesona
BatterseaPowerStationfeaturesin
persongbasis.AlthoughGilmourwaslargelyresponsiblefor"Dogs",whichtookupalmosttheentire
thecoverimageforAnimals
firstsideofthealbum,hereceivedlessthanWaters,whocontributedthemuchshortertwopart"Pigs
ontheWing".[136]Wrightcommented:"ItwaspartlymyfaultbecauseIdidn'tpushmymaterial...but
Davedidhavesomethingtooffer,andonlymanagedtogetacoupleofthingsonthere."[137]Masonrecalled:"Rogerwasinfullflowwiththe
ideas,buthewasreallykeepingDavedown,andfrustratinghimdeliberately."[137][nb27]Gilmour,distractedbythebirthofhisfirstchild,
contributedlittleelsetowardthealbum.Similarly,neitherMasonnorWrightcontributedmuchtowardAnimalsWrighthadmaritalproblems,
andhisrelationshipwithWaterswasalsosuffering.[139]AnimalsisthefirstPinkFloydalbumthatdoesnotincludeawritingcreditforWright,
whocommented:"Animals...wasn'tafunrecordtomake...thiswaswhenRogerreallystartedtobelievethathewasthesolewriterforthe
band...thatitwasonlybecauseofhimthat[we]werestillgoing...whenhestartedtodevelophisegotrips,thepersonhewouldhavehis
conflictswithwouldbeme."[139]
ReleasedinJanuary1977,thealbumpeakedontheUKchartatnumbertwo,andtheUSchartatnumberthree.[140]NMEdescribedthealbum
as"oneofthemostextreme,relentless,harrowinganddownrighticonoclastichunksofmusic",andMelodyMaker
'
sKarlDallascalledit"[an]
uncomfortabletasteofrealityinamediumthathasbecomeinrecentyears,increasinglysoporific".[141]
Theyperformedmuchofthealbum'smaterialduringtheir"IntheFlesh"tour,PinkFloyd'sfirstexperienceplayinglargestadiums,thesizeof
whichcauseduneaseintheband.[142]Watersbeganarrivingateachvenuealone,departingimmediatelyaftertheperformance.Onone
occasion,WrightflewbacktoEngland,threateningtoleavetheband.[143]AttheMontrealOlympicStadium,agroupofnoisyandenthusiastic
fansinthefrontrowoftheaudienceirritatedWaterssomuchthathespatatoneofthem.[144][nb28]Theendofthetourmarkedalowpointfor
Gilmour,whofeltthatthebandachievedthesuccesstheyhadsought,withnothingleftforthemtoaccomplish.[145]
197885:Watersledera
TheWall
InJuly1978,amidafinancialturmoilcausedbynegligentinvestments,Waterspresentedthegroupwithtwooriginalideasfortheirnext
album.Thefirstwasa90minutedemowiththeworkingtitleBricksintheWall,andtheotherwouldlaterbecomeWaters'firstsoloalbum,
TheProsandConsofHitchHiking.AlthoughbothMasonandGilmourwereinitiallycautious,theychosetheformertobetheirnext
album.[146][nb29]BobEzrincoproduced,andhewroteafortypagescriptforthenewalbum.[148]Ezrinbasedthestoryonthecentralfigureof
PinkagestaltcharacterinspiredbyWaters'childhoodexperiences,themostnotableofwhichwasthedeathofhisfatherinWorldWarII.
ThisfirstmetaphoricalbrickledtomoreproblemsPinkwouldbecomedrugaddledanddepressedbythemusicindustry,eventually
transformingintoamegalomaniac,adevelopmentinspiredpartlybythedeclineofSydBarrett.Attheendofthealbum,theincreasingly
fascistaudiencewouldwatchasPinktoredownthewall,onceagainbecomingaregularandcaringperson.[149][nb30]
DuringtherecordingofTheWall,Waters,GilmourandMasonbecameincreasinglydissatisfiedwithWright'slackofcontributiontothe
album.[152]GilmoursaidthatWright"hadn'tcontributedanythingofanyvaluewhatsoevertothealbumhedidvery,verylittle"andthatis
whyhe"gottheboot".[153]AccordingtoMason,"Rick'scontributionwastoturnupandsitinonthesessionswithoutdoinganything,just
'beingaproducer'."[154]Waterscommented:"[Wright]wasnotpreparedtocooperateinmakingtherecord...[and]itwasagreedby
everybody...either[he]canhavealongbattleor[he]canagreeto...finishmakingthealbum,keep[his]fullshare...butattheendofit[he
would]leavequietly.Rickagreed."[155][nb31]
AlthoughPinkFloydhadnotreleasedasinglesince1973's"Money","AnotherBrickintheWall(PartII)"supportedthealbum,toppingthe
chartsintheUSandtheUK.[158]Releasedon30November1979,TheWalltoppedtheBillboardchartintheUSforfifteenweeks,reaching
numberthreeintheUK.[159]TheWallranksnumberthreeontheRIAA'slistofthealltimeTop100albums,with23millioncertifiedunits
soldintheUS.[160]Thecoverisoneoftheirmostminimalistdesigns,withastarkwhitebrickwall,andnotrademarkorbandname.Itwas
alsotheirfirstalbumcoversinceThePiperattheGatesofDawnnotdesignedbyHipgnosis.[161]
GeraldScarfeproducedaseriesofanimationsforthesubsequentliveshows,TheWallTour.Healsocommissionedtheconstructionoflarge
inflatablepuppetsrepresentingcharactersfromthestorylineincludingthe"Mother",the"Exwife"andthe"Schoolmaster".PinkFloydused
thepuppetsduringtheirperformancesofthealbum.[162]RelationshipswithinthebandwereatanalltimelowtheirfourWinnebagosparked
inacircle,thedoorsfacingawayfromthecentre.Watersusedhisownvehicletoarriveatthevenueandstayedindifferenthotelsfromthe
restoftheband.Wrightreturnedasapaidmusicianandwastheonlyoneofthefourtoprofitfromtheventure,whichlostabout$600,000.[163]
TheWallconceptalsospawnedafilm,theoriginalideaforwhichwastobeacombinationofliveconcertfootageandanimatedscenes.
However,theconcertfootageprovedimpracticaltofilm.AlanParkeragreedtodirectandtookadifferentapproach.Theanimatedsequences
wouldremain,butsceneswouldbeactedbyprofessionalactorswithnodialogue.Waterswasscreentested,butquicklydiscardedandthey
askedBobGeldoftoaccepttheroleofPink.Geldofwasinitiallydismissive,condemningTheWall
'
sstorylineas"bollocks".[164]Eventually
wonoverbytheprospectofparticipationinasignificantfilmandreceivingalargepaymentforhiswork,Geldofagreed.[165][nb32]Screenedat
theCannesFilmFestivalinMay1982,PinkFloydTheWallpremiredintheUKinJuly1982.[166][nb33]
TheFinalCut
In1982,Waterssuggestedanewmusicalprojectfortheband,withtheworkingtitleSpareBricks,originallyconceivedasthesoundtrack
albumforPinkFloydTheWallhowever,withtheonsetoftheFalklandsWar,Waterschangedartisticdirectionandbeganwritingnew
material.WaterssawMargaretThatcher'sresponsetotheinvasionoftheFalklandsasjingoisticandunnecessary,andhededicatedthenew
albumtohislatefather.ImmediatelytherewereargumentsbetweenWatersandGilmour,whofeltthatthealbumshouldincludeallnew
material,ratherthanrecyclinganumberofsongspassedoverforTheWall.WatersfeltthatGilmourhadcontributedlittletotheband'slyrical
repertoire.[167]MichaelKamen,acontributortotheorchestralarrangementsofTheWall,mediatedbetweenthetwo,alsoperformingtherole
traditionallyoccupiedbythethenabsentWright.[168][nb34]Thetensionwithinthebandgrew.WatersandGilmourworkedindependently
however,Gilmourbegantofeelthestrain,sometimesbarelymaintaininghiscomposure.Afterafinalconfrontation,Gilmour'sname
disappearedfromthecreditlist,reflectingwhatWatersfeltwashislackofsongwritingcontributions.[170][nb35]
ThoughMason'smusicalcontributionswereminimal,hestayedbusyrecordingsoundeffectsforanexperimentalHolophonicsystemtobe
usedonthealbum.Withmaritalproblemsofhisown,heremainedadistantfigure.PinkFloyddidnotuseThorgersonforthecoverdesign,
Waterschoosingtodesignthecoverhimself.[171][nb36]ReleasedinMarch1983,TheFinalCutwentstraighttonumberoneintheUKand
numbersixintheUS.[172]Waterswroteallthelyrics,aswellasallthemusiconthealbum.[173]Gilmourdidnothaveanymaterialreadyfor
thealbumandaskedWaterstodelaytherecordinguntilhecouldwritesomesongs,butWatersrefused.[174]Gilmourlatercommented,"I'm
certainlyguiltyattimesofbeinglazy...buthewasn'trightaboutwantingtoputsomedufftracksonTheFinalCut."[174][nb37]RollingStone
magazinegavethealbumfivestars,withKurtLodercallingit"asuperlativeachievement...artrock'scrowningmasterpiece".[176][nb38]Loder
viewedTheFinalCutas"essentiallyaRogerWaterssoloalbum".[178]
"Aspentforce"andWaters'departure
Gilmourhadrecordedhissecondsoloalbum,AboutFace,in1984,andheusedittoexpresshisfeelingsaboutavarietyoftopicsfromthe
murderofJohnLennontohisrelationshipwithWaters.HelaterstatedthatheusedthealbumtodistancehimselffromPinkFloyd.Soon
afterwards,Watersbegantouringhisfirstsoloalbum,TheProsandConsofHitchHiking.[179]WrightformedZeewithDaveHarrisand
recordedIdentity,whichwentalmostunnoticeduponitsrelease.[180][nb39]Masonreleasedhissecondsoloalbum,Profiles,inAugust
1985.[181]
FollowingthereleaseofTheProsandConsofHitchHiking,WaterspubliclyinsistedthatPinkFloydwouldnotreunite.Hecontacted
O'Rourketodiscusssettlingfutureroyaltypayments.O'RourkefeltobligedtoinformMasonandGilmour,andthisangeredWaters,who
wantedtodismisshimastheband'smanager.WatersterminatedhismanagementcontractwithO'RourkeandemployedPeterRudgeto
managehisaffairs.[181][nb40]WaterswrotetoEMIandColumbiaannouncinghehadlefttheband,andaskedthemtoreleasehimfromhis
contractualobligations.GilmourbelievedthatWaterslefttohastenthedemiseofPinkFloyd.Waterslaterstatedthat,bynotmakingnew
albums,PinkFloydwouldbeinbreachofcontractwhichwouldsuggestthatroyaltypaymentswouldbesuspendedandthattheotherband
membershadforcedhimfromthegroupbythreateningtosuehim.WatersthenwenttotheHighCourtinanefforttodissolvethebandand
preventtheuseofthePinkFloydname,declaringPinkFloyd"aspentforcecreatively."[183]Whenhislawyersdiscoveredthatthepartnership
hadneverbeenformallyconfirmed,WatersreturnedtotheHighCourtinanattempttoobtainavetooverfurtheruseoftheband'sname.
GilmourrespondedbyissuingacarefullywordedpressreleaseaffirmingthatPinkFloydwouldcontinuetoexist.HelatertoldTheSunday
Times:"RogerisadoginthemangerandI'mgoingtofighthim".[184]
198695:Gilmourledera
AMomentaryLapseofReason
In1987,GilmourbeganrecruitingmusiciansforwhatwouldbecomePinkFloyd'sfirstalbumwithout
Waters,AMomentaryLapseofReason.[185][nb41]TherewerelegalobstaclestoWright'sreadmittance
tothebandhowever,afterameetinginHampsteadPinkFloydinvitedWrighttoparticipateinthe
comingsessions.[186]GilmourlaterstatedthatWright'spresence,"wouldmakeusstrongerlegallyand
musically"PinkFloydemployedhimasapaidmusicianwithweeklyearningsof$11,000.[187]
RecordingsessionsforthealbumbeganonGilmour'shouseboat,theAstoria,mooredalongtheRiver
Thames.[188][nb42]Gilmourworkedwithseveralsongwriters,includingEricStewartandRoger
McGough,eventuallychoosingAnthonyMooretowritethealbum'slyrics.[190]Gilmourwouldlater
admitthattheprojectwasdifficultwithoutWaters'creativedirection.[191]Mason,concernedthathe
wastoooutofpracticetoperformonthealbum,madeuseofsessionmusicianstocompletemanyof
thedrumparts.Heinsteadbusiedhimselfwiththealbum'ssoundeffects.[192][nb43]
TheAstoriarecordingstudio
ThealbumwasreleasedinSeptember1987.StormThorgerson,whosecreativeinputwasabsentfromTheWallandTheFinalCut,designed
thealbumcover.[195]InordertodrivehomethepointthatWatershadlefttheband,theyincludedagroupphotographontheinsidecover,the
firstsinceMeddle.[196][nb44]ThealbumwentstraighttonumberthreeintheUKandtheUS.[198]Waterscommented:"Ithinkit'sfacile,buta
quitecleverforgery...Thesongsarepooringeneral...[and]Gilmour'slyricsarethirdrate."[199]AlthoughGilmourinitiallyviewedthealbum
asareturntotheband'stopform,Wrightdisagreed,stating:"Roger'scriticismsarefair.It'snotabandalbumatall."[200]QMagazine
describedthealbumasessentiallyaGilmoursoloeffort.[201]
WatersattemptedtosubverttheMomentaryLackofReasontourbycontactingpromotersintheUSandthreateningtosuethemiftheyused
thePinkFloydname.GilmourandMasonfundedthestartupcostswithMasonusinghisFerrari250GTOascollateral.[202]Earlyrehearsals
fortheupcomingtourwerechaotic,withMasonandWrightentirelyoutofpractice.Realisinghehadtakenontoomuchwork,Gilmourasked
BobEzrintoassistthem.AsPinkFloydtouredthroughoutNorthAmerica,Waters'RadioK.A.O.S.tourwasonoccasion,closeby,thoughin
muchsmallervenuesthanthosehostinghisformerband'sperformances.Watersissuedawritforcopyrightfeesfortheband'suseoftheflying
pig.PinkFloydrespondedbyattachingalargesetofmalegenitaliatoitsundersidetodistinguishitfromWaters'design.[203]Theparties
reachedalegalagreementon23DecemberMasonandGilmourretainedtherighttousethePinkFloydnameinperpetuityandWaters
receivedexclusiverightsto,amongotherthings,TheWall.[204]
TheDivisionBell
ForseveralyearsPinkFloydhadbusiedthemselveswithpersonalpursuits,suchasfilmingandcompetinginthe
LaCarreraPanamericanaandrecordingasoundtrackforafilmbasedontheevent.[205][nb45]InJanuary1993,
theybeganworkingonanewalbum,returningtoBritanniaRowStudios,whereforseveraldays,Gilmour,
MasonandWrightworkedcollaboratively,adlibbingmaterial.Afterabouttwoweeks,thebandhadenough
ideastobegincreatingsongs.EzrinreturnedtocoproducethealbumandproductionmovedtotheAstoria,
wherefromFebruarytoMay1993,theyworkedonabouttwentyfiveideas.[207]
Contractually,Wrightwasnotamemberofthebandhecommented:"ItcameclosetoapointwhereIwasn't
goingtodothealbum".[208]However,heearnedfivecowritingcreditsonthealbum,hisfirstonaPinkFloyd
ThealbumartworkforThe
albumsince1975'sWishYouWereHere.[208]AnothersongwritercreditedonthealbumwasGilmour'sfuture
DivisionBell,designedby
wife,PollySamson.Shehelpedhimwriteseveraltracks,including,"HighHopes",acollaborativearrangement
StormThorgerson,was
which,thoughinitiallytense,"pulledthewholealbumtogether"commentedEzrin.[209]TheyhiredMichael
intendedtorepresentthe
Kamentoarrangethealbum'sorchestralpartsDickParryandChrisThomasalsoreturned.[210]WriterDouglas
absenceofBarrettand
[211][nb46]
Watersfromtheband.
AdamsprovidedthealbumtitleandThorgersonthecoverartwork.
Thorgersondrewinspirationforthe
albumcoverfromtheMoaimonolithsofEasterIslandtwoopposingfacesforminganimpliedthirdfaceabout
whichhecommented:"theabsentfacetheghostofPinkFloyd'spast,SydandRoger".[213]Eagertoavoid
competingagainstotheralbumreleases,ashadhappenedwithAMomentaryLapse,PinkFloydsetadeadlineofApril1994,atwhichpoint
theywouldresumetouring.[214]Thealbumreachednumber1inboththeUKandtheUS.[115]Itspent51weeksontheUKchart.[46]
PinkFloydspentmorethantwoweeksrehearsinginahangaratNortonAirForceBaseinSanBernardino,California,beforeopeningon29
March1994,inMiami,withanalmostidenticalroadcrewtothatusedfortheirMomentaryLapseofReasontour.[215]Theyplayedavarietyof
PinkFloydfavourites,andlaterchangedtheirsetlisttoincludeTheDarkSideoftheMooninitsentirety.[216][nb47]Thetourendedon29
October1994,withthefinalperformanceofthelastPinkFloydtoursofar.[217][nb48]
2005present:reunion,deathsandfinalalbum
Live8reunion
On2July2005,Waters,Gilmour,MasonandWrightperformedtogetherasPinkFloydforthefirst
timeinmorethan24years,attheLive8concertinLondon'sHydePark.[219]OrganiserBobGeldof
arrangedthereunion,havingcalledMasonearlierintheyeartoexplorethepossibilityoftheirreuniting
fortheevent.GeldofaskedGilmour,whoturneddowntheoffer,andthenaskedMasontointercedeon
hisbehalf.Masondeclined,butcontactedWaterswhowasimmediatelyenthusiastic.Watersthen
calledGeldoftodiscusstheevent,scheduledtotakeplaceinonemonth.AbouttwoweekslaterWaters
calledGilmour,theirfirstconversationintwoyears,andthenextdaythelatteragreed.Gilmourthen
contactedWrightwhoimmediatelyagreed.Intheirstatementtothepress,theystressedthe
unimportanceoftheband'sproblemsinthecontextoftheLive8event.[110]
Waters(right)rejoinedhisformer
TheyplannedtheirsetlistattheConnaughtHotelinLondon,followedbythreedaysofrehearsalsat
bandmatesatLive8
BlackIslandStudios.[110]Thesessionswereproblematic,withminordisagreementsoverthestyleand
paceofthesongstheywerepractisingtherunningorderdecidedontheeveoftheevent.[220]Atthe
beginningoftheirperformance,Waterstoldtheaudience:"[Itis]quiteemotional,standingupherewiththesethreeguysafteralltheseyears,
standingtobecountedwiththerestofyou...we'redoingthisforeveryonewho'snothere,andparticularlyofcourseforSyd."[221]Attheend,
Gilmourthankedtheaudienceandstartedtowalkoffthestage.Watersthencalledhimback,andthebandsharedagrouphug.Imagesofthat
hugwereafavouriteamongSundaynewspapersafterLive8.[222][nb49]Waterscommentedontheiralmosttwentyyearsofanimosity:"Idon't
thinkanyofuscameoutoftheyearsfrom1985withanycredit...Itwasabad,negativetime,andIregretmypartinthatnegativity."[224]
ThoughPinkFloydturneddownacontractworth136millionforafinaltour,Watersdidnotruleoutmoreperformances,suggestingitought
tobeforacharityeventonly.[222]However,GilmourtoldtheAssociatedPressthatareunionwouldnothappen,stating:"The[Live8]
rehearsalsconvincedme[that]itwasn'tsomethingIwantedtobedoingalotof...Therehavebeenallsortsoffarewellmomentsinpeople's
livesandcareerswhichtheyhavethenrescinded,butIthinkIcanfairlycategoricallysaythattherewon'tbeatouroranalbumagainthatI
takepartin.Itisn'ttodowithanimosityoranythinglikethat.It'sjust...I'vebeenthere,I'vedoneit."[225]InFebruary2006,Gilmourwas
interviewedbyGinoCastaldofromtheItaliannewspaperLaRepubblicatheresultingarticledeclared:"Patienceforfansinmourning.The
newsisofficial.PinkFloydthebrandisdissolved,finished,definitelydeceased."[226]WhenaskedaboutthefutureofPinkFloyd,Gilmour
responded:"Theband?It'sover...I'vehadenough.I'm60yearsold...[and]itismuchmorecomfortabletoworkonmyown."[226]Sincethen,
bothGilmourandWatershaverepeatedlyinsistedthattheyhavenoplanstoreunitewiththesurvivingformermembers.[227][nb50]
DeathsofBarrettandWright
Barrettdiedon7July2006,athishomeinCambridge,aged60.[229]HisfamilyinterredhimatCambridgeCrematoriumon18July2006no
PinkFloydmembersattended.AfterBarrett'sdeath,Wrightcommented:"ThebandareverynaturallyupsetandsadtohearofSydBarrett's
death.Sydwastheguidinglightoftheearlybandlineupandleavesalegacywhichcontinuestoinspire."[229]AlthoughBarretthadfadedinto
obscurityovertheprevious35years,thenationalpresspraisedhimforhiscontributionstomusic.[230][nb51]On10May2007,Waters,
Gilmour,WrightandMasonperformedduringaBarretttributeconcertattheBarbicanCentreinLondon.Gilmour,WrightandMason
performedtheBarrettcompositions,"Bike"and"ArnoldLayne",andWatersperformedasoloversionofhissong"FlickeringFlame".[232]
Wrightdiedofanundisclosedformofcanceron15September2008,aged65.[233]Hissurvivingformerbandmatespraisedhimforhis
influenceonthesoundofPinkFloyd.[234]
Furtherperformancesandrereleases
On10July2010,WatersandGilmourperformedtogetheratacharityeventfortheHopingFoundation.Theevent,whichraisedmoneyfor
Palestinianchildren,tookplaceatKiddingtonHallinOxfordshire,England,wheretheyplayedtoanaudienceofapproximately200.[235]In
returnforWaters'appearanceattheevent,Gilmouragreedtoperform"ComfortablyNumb"atoneofWaters'upcomingperformancesofThe
Wall.[236][nb52]On12May2011,atTheO2ArenainLondon,GilmourhonouredhiscommitmenttoWaters.Gilmoursangthefirstandsecond
chorusandplayedthetwoguitarsolos.Neartheendoftheshow,afterthewallhadfallendown,Waterssaidtothecrowd:"Sonowweknow
tonightwasthenightwhenDaviddidmetheenormoushonourofcomingtoplay'ComfortablyNumb'.So,pleasewelcomeDavidGilmour!...
Byastrangeandextraordinary,happycoincidence,thereisanotherremnantofouroldbandheretonight.PleasewelcomeMr.NickMasonto
thestage!"[238]GilmourandMason,withrespectivelyamandolinandatambourine,joinedWatersandtherestofhisbandfor"Outsidethe
Wall".[238][nb53]
On26September2011,PinkFloydandEMIlaunchedanexhaustiverereleasecampaignunderthetitleWhyPinkFloyd...?,reissuingthe
band'sbackcatalogueinnewlyremasteredversions,including"Experience"and"Immersion"multidiscmultiformateditions.JamesGuthrie,
coproducerofTheWall,remasteredthealbums.[240]
TheEndlessRiver
In2012,GilmourandMasondecidedtorevisitrecordingsmadewithWright,mainlyduringthe
DivisionBellsessions,tocreateanewPinkFloydalbum.Theyrecruitedsessionmusicianstohelp
recordnewpartsand"generallyharnessstudiotechnology".[241]Masondescribedthealbumasatribute
toWright:"Ithinkthisrecordisagoodwayofrecognisingalotofwhathedoesandhowhisplaying
wasattheheartofthePinkFloydsound.Listeningbacktothesessions,itreallybroughthometome
whataspecialplayerhewas."[242]Waterswasnotinvolved.[243]
SamsonannouncedTheEndlessRiverinJuly2014onTwitter.[244]DetailswereannouncedonPink
AdvertisingforTheEndlessRiverin
Floyd'swebsiteon7July,describingitas"mainlyambient"andinstrumentalmusic.[245]Itwas
Southbank,London
released7November2014itisthesecondPinkFloydalbumdistributedbyParlophonefollowingthe
releaseofthe20thanniversaryeditionsofTheDivisionBellearlierin2014.[246]Itbecamethemost
preorderedalbumofalltimeonAmazonUK,[247]anddebutedatnumberoneinseveralcountries.[248][248][249]Thevinyleditionwasthe
fastestsellingUKvinylreleaseof2014andthefastestsellingsince1997.[250]Thealbumreceivedmixedreviews.[251]
GilmourstatedthatTheEndlessRiverisPinkFloyd'slastalbum,saying:"Ithinkwehavesuccessfullycommandeeredthebestofwhatthereis
...It'sashame,butthisistheend."[252]Therewasnotourtosupportthealbum,asGilmoursaiditwas"kindofimpossible"without
Wright.[253][254]
Musicianship
Genres
ConsideredoneoftheUK'sfirstpsychedelicmusicgroups,PinkFloydbegantheircareeratthevanguardofLondon'sundergroundmusic
scene.Somecategorisetheirworkfromthateraasaspacerock.[255][nb54]AccordingtoRollingStone:"By1967,theyhaddevelopedan
unmistakablypsychedelicsound,performinglong,loudsuitelikecompositionsthattouchedonhardrock,blues,country,folk,andelectronic
music."[258]Releasedin1968,thesong"CarefulwithThatAxe,Eugene"helpedgalvanisetheirreputationasanartrockgroup.[75]Criticsalso
describethemasanacidrockband.[259]Bythelate1960s,thepresshadbeguntolabeltheirmusicprogressiverock.[260]O'NeillSurber
commentsonthemusicofPinkFloyd:
RarelywillyoufindFloyddishingupcatchyhooks,tunesshortenoughforairplay,orpredictablethreechordbluesprogressions
andneverwillyoufindthemspendingmuchtimeontheusualpoppablumofromance,partying,orselfhype.Theirsonic
universeisexpansive,intense,andchallenging...Wheremostotherbandsneatlyfitthesongstothemusic,thetwoformingasort
ofautonomousandseamlesswholecompletewithmemorablehooks,PinkFloydtendstosetlyricswithinabroadersoundscape
thatoftenseemstohavealifeofitsown...PinkFloydemploysextended,standaloneinstrumentalswhicharenevermere
vehiclesforshowingoffvirtuosobutareplannedandintegralpartsoftheperformance.[261]
In1968,WrightcommentedonPinkFloyd'ssonicreputation:"It'shardtoseewhywewerecastasthefirstBritishpsychedelicgroup.We
neversawourselvesthatway...werealisedthatwewere,afterall,onlyplayingforfun...tiedtonoparticularformofmusic,wecoulddo
whateverwewanted...theemphasis...[is]firmlyonspontaneityandimprovisation."[262]Watersgavealessenthusiasticassessmentofthe
band'searlysound:"Therewasn'tanything'grand'aboutit.Wewerelaughable.Wewereuseless.Wecouldn'tplayatallsowehadtodo
somethingstupidand'experimental'...Sydwasagenius,butIwouldn'twanttogobacktoplaying"InterstellarOverdrive"forhoursand
hours."[263]Unconstrainedbyconventionalpopformats,PinkFloydwereinnovatorsofprogressiverockduringthe1970sandambientmusic
duringthe1980s.[264]
Gilmour'sguitarwork
CriticAlandiPernapraisedGilmour'sguitarworkasanintegralelementofPinkFloyd'ssound.[265]Rolling
StonerankedGilmournumber14intheir"100GreatestGuitaristsofAllTime"listanddiPernadescribed
himasthemostimportantguitaristofthe1970s,callinghim"themissinglinkbetweenHendrixandVan
Halen."[266]In2006,Gilmourcommentedonhisplayingtechnique:"[My]fingersmakeadistinctive
sound...[they]aren'tveryfast,butIthinkIaminstantlyrecognisable...ThewayIplaymelodiesis
connectedtothingslikeHankMarvinandtheShadows".[267]Gilmour'sabilitytousefewernotesthanmost
toexpresshimselfwithoutsacrificingstrengthorbeautydrewafavourablecomparisontojazztrumpeter
MilesDavis.[268]
"WhileWaterswasFloyd's
lyricistandconceptualist,
Gilmourwastheband'svoice
anditsmaininstrumental
focus."[265]
AlandiPerna,inGuitar
World,May2006
In2006,GuitarWorldwriterJimmyBrowndescribedGilmour'sguitarstyleas"characterisedbysimple,hugesoundingriffsgutsy,well
pacedsolosandrich,ambientchordaltextures."[268]AccordingtoBrown,Gilmour'ssoloson"Money","Time"and"ComfortablyNumb"
"cutthroughthemixlikealaserbeamthroughfog."[268]Browndescribedthe"Time"soloas"amasterpieceofphrasingandmotivic
development...Gilmourpaceshimselfthroughoutandbuildsuponhisinitialideabyleapingintotheupperregisterwithgutwrenchingone
andonehalfstep'overbends',soulfultripletarpeggiosandatypicallyimpeccablebarvibrato."[269]BrowndescribedGilmour'ssenseof
phrasingasintuitive,singlingitoutasperhapshisbestassetasaleadguitarist.Gilmourexplainedhowheachievedhissignaturetone:"I
usuallyuseafuzzbox,adelayandabrightEQsetting...[toget]singingsustain...youneedtoplayloudatornearthefeedbackthreshold.
It'sjustsomuchmorefuntoplay...whenbentnotesslicerightthroughyoulikearazorblade."[268]
Sonicexperimentation
Throughouttheircareer,PinkFloydexperimentedwiththeirsound.Theirsecondsingle,"SeeEmilyPlay"premieredattheQueenElizabeth
HallinLondon,on12May1967.Duringtheperformance,thegroupfirstusedanearlyquadraphonicdevicecalledanAzimuthCo
ordinator.[270]Thedeviceenabledthecontroller,usuallyWright,tomanipulatetheband'samplifiedsound,combinedwithrecordedtapes,
projectingthesounds270degreesaroundavenue,achievingasonicswirlingeffect.[271]In1972,theypurchasedacustombuiltPAwhich
featuredanupgradedfourchannel,360degreesystem.[272]
WatersexperimentedwiththeEMSSynthiAandVCS3synthesisersonPinkFloydpiecessuchas"OntheRun","WelcometotheMachine",
and"IntheFlesh?".[273]HeusedaBinsonEchorec2echoeffectonhisbassguitartrackfor"OneofTheseDays".[274]
PinkFloydusedinnovativesoundeffectsandstateoftheartaudiorecordingtechnologyduringtherecordingofTheFinalCut.Mason's
contributionstothealbumwerealmostentirelylimitedtoworkwiththeexperimentalHolophonicsystem,anaudioprocessingtechniqueused
tosimulateathreedimensionaleffect.Thesystemusedaconventionalstereotapetoproduceaneffectthatseemedtomovethesoundaround
thelistener'sheadwhentheywerewearingheadphones.Theprocessenabledanengineertosimulatemovingthesoundtobehind,aboveor
besidethelistener'sears.[275]
Filmscores
PinkFloydalsocomposedseveralfilmscores,startingin1968,withTheCommittee.[276]In1969,theyrecordedthescoreforBarbet
Schroeder'sfilmMore.Thesoundtrackprovedbeneficialnotonlydiditpaywellbut,alongwithASaucerfulofSecrets,thematerialthey
createdbecamepartoftheirliveshowsforsometimethereafter.[277]WhilecomposingthesoundtrackfordirectorMichelangeloAntonioni's
filmZabriskiePoint,thebandstayedataluxuryhotelinRomeforalmostamonth.Watersclaimedthat,withoutAntonioni'sconstantchanges
tothemusic,theywouldhavecompletedtheworkinlessthanaweek.Eventuallyheusedonlythreeoftheirrecordings.Oneofthepieces
turneddownbyAntonioni,called"TheViolentSequence",laterbecame"UsandThem",includedon1973'sTheDarkSideoftheMoon.[278]
In1971,thebandagainworkedwithSchroederonthefilmLaValle,forwhichtheyreleasedasoundtrackalbumcalledObscuredbyClouds.
TheycomposedthematerialinaboutaweekattheChteaud'HrouvillenearParis,anduponitsrelease,itbecamePinkFloyd'sfirstalbumto
breakintothetop50ontheUSBillboardchart.[279]
Liveperformances
Regardedaspioneersoflivemusicperformanceandrenownedfortheirlavishstageshows,PinkFloyd
alsosethighstandardsinsoundquality,makinguseofinnovativesoundeffectsandquadraphonic
speakersystems.[280]Fromtheirearliestdays,theyemployedvisualeffectstoaccompanytheir
psychedelicrockmusicwhileperformingatvenuessuchastheUFOClubinLondon.[30]Theirslide
andlightshowwasoneofthefirstinBritishrock,andithelpedthembecamepopularamongLondon's
underground.[258]
TocelebratethelaunchoftheLondonFreeSchool'smagazineInternationalTimesin1966,they
performedinfrontof2,000peopleattheopeningoftheRoundhouse,attendedbycelebritiesincluding
AliveperformanceofTheDarkSide
PaulMcCartneyandMarianneFaithfull.[281]Inmid1966,roadmanagerPeterWynneWillsonjoined
oftheMoonatEarlsCourt,shortly
theirroadcrew,andupdatedtheband'slightingrigwithsomeinnovativeideasincludingtheuseof
afteritsreleasein1973:(lr)
polarisers,mirrorsandstretchedcondoms.[282]AftertheirrecorddealwithEMI,PinkFloydpurchased
Gilmour,Mason,DickParry,Waters
aFordTransitvan,thenconsideredextravagantbandtransportation.[283]On29April1967,they
headlinedanallnighteventcalledThe14HourTechnicolourDreamattheAlexandraPalace,London.
PinkFloydarrivedatthefestivalataroundthreeo'clockinthemorningafteralongjourneybyvanandferryfromtheNetherlands,takingthe
stagejustasthesunwasbeginningtorise.[284][nb55]InJuly1969,precipitatedbytheirspacerelatedmusicandlyrics,theytookpartinthelive
BBCtelevisioncoverageoftheApollo11moonlanding,performinganinstrumentalpiecewhichtheycalled"Moonhead".[286]
InNovember1974,theyemployedforthefirsttimethelargecircularscreenthatwouldbecomeastapleoftheirliveshows.[287]In1977,they
employedtheuseofalargeinflatablefloatingpignamed"Algie".Filledwithheliumandpropane,Algie,whilefloatingabovetheaudience,
wouldexplodewithaloudnoiseduringtheIntheFleshTour.[288]Thebehaviouroftheaudienceduringthetour,aswellasthelargesizeof
thevenues,provedastronginfluenceontheirconceptalbumTheWall.ThesubsequentTheWallTourfeatureda40feet(12m)highwall,
builtfromcardboardbricks,constructedbetweenthebandandtheaudience.Theyprojectedanimationsontothewall,whilegapsallowedthe
audiencetoviewvariousscenesfromthestory.Theycommissionedthecreationofseveralgiantinflatablestorepresentcharactersfromthe
story.[289]Onestrikingfeatureofthetourwastheperformanceof"ComfortablyNumb".WhileWaterssanghisopeningverse,indarkness,
Gilmourwaitedforhiscueontopofthewall.Whenitcame,brightblueandwhitelightswouldsuddenlyrevealhim.Gilmourstoodona
flightcaseoncastors,aninsecuresetupsupportedfrombehindbyatechnician.AlargehydraulicplatformsupportedbothGilmourandthe
tech.[290]
DuringtheDivisionBellTour,anunknownpersonusingthenamePubliuspostedamessageonaninternetnewsgroupinvitingfanstosolvea
riddlesupposedlyconcealedinthenewalbum.WhitelightsinfrontofthestageatthePinkFloydconcertinEastRutherfordspelledoutthe
wordsEnigmaPublius.DuringatelevisedconcertatEarlsCourton20October1994,someoneprojectedtheword"enigma"inlargeletterson
tothebackdropofthestage.MasonlateracknowledgedthattheirrecordcompanyhadinstigatedthePubliusEnigmamystery,ratherthanthe
band.[216]
Lyricalthemes
MarkedbyWaters'philosophicallyrics,RollingStonedescribedPinkFloydas"purveyorsofadistinctivelydarkvision".[259]AuthorJere
O'NeillSurberwrote:"theirinterestsaretruthandillusion,lifeanddeath,timeandspace,causalityandchance,compassionand
indifference."[291]WatersidentifiedempathyasacentralthemeinthelyricsofPinkFloyd.[292]AuthorGeorgeReischdescribedMeddle
'
s
psychedelicopus,"Echoes",as"builtaroundthecoreideaofgenuinecommunication,sympathy,andcollaborationwithothers."[293]Despite
havingbeenlabeled"thegloomiestmaninrock",authorDeenaWeinsteindescribedWatersasanexistentialist,dismissingtheunfavourable
monikerastheresultofmisinterpretationbymusiccritics.[294]
Disillusionment,absence,andnonbeing
Waters'lyricstoWishYouWereHere
'
s"HaveaCigar"dealwithaperceivedlackofsincerityonthepartofmusicindustry
[295]
representatives.
Thesongillustratesadysfunctionaldynamicbetweenthebandandarecordlabelexecutivewhocongratulatesthegroup
ontheircurrentsalessuccess,implyingthattheyareonthesameteamwhilerevealingthatheerroneouslybelieves"Pink"isthenameofone
ofthebandmembers.[296]AccordingtoauthorDavidDetmer,thealbum'slyricsdealwiththe"dehumanizingaspectsoftheworldof
commerce",asituationtheartistmustendureinordertoreachtheiraudience.[297]
AbsenceasalyricalthemeiscommoninthemusicofPinkFloyd.ExamplesincludetheabsenceofBarrettafter1968,andthatofWaters'
father,whodiedduringtheSecondWorldWar.Waters'lyricsalsoexploredunrealizedpoliticalgoalsandunsuccessfulendeavors.Theirfilm
score,ObscuredbyClouds,dealtwiththelossofyouthfulexuberancethatsometimescomeswithaging.[298]LongtimePinkFloydalbum
coverdesigner,StormThorgerson,describedthelyricsofWishYouWereHere:"Theideaofpresencewithheld,ofthewaysthatpeople
pretendtobepresentwhiletheirmindsarereallyelsewhere,andthedevicesandmotivationsemployedpsychologicallybypeopletosuppress
thefullforceoftheirpresence,eventuallyboileddowntoasingletheme,absence:Theabsenceofaperson,theabsenceofafeeling."[299][nb56]
Waterscommented:"it'saboutnoneofusreallybeingthere...[it]shouldhavebeencalledWishWeWereHere".[300]
O'NeillSurberexploredthelyricsofPinkFloydanddeclaredtheissueofnonbeingacommonthemeintheirmusic.[291][nb57]Watersinvoked
nonbeingornonexistenceinTheWall,withthelyricsto"ComfortablyNumb":"Icaughtafleetingglimpse,outofthecornerofmyeye.I
turnedtolook,butitwasgone,Icannotputmyfingeronitnow,thechildisgrown,thedreamisgone."[298]Barrettreferredtononbeingin
hisfinalcontributiontotheband'scatalogue,"JugbandBlues":"I'mmostobligedtoyouformakingitclearthatI'mnothere."[298]
Exploitationandoppression
AuthorPatrickCroskerydescribedAnimalsasauniqueblendofthe"powerfulsoundsandsuggestivethemes"ofDarkSidewithTheWall
'
s
[302]
[302]
portrayalofartisticalienation.
Hedrewaparallelbetweenthealbum'spoliticalthemesandthatofOrwell'sAnimalFarm.
Animals
beginswithathoughtexperiment,whichasks:"Ifyoudidn'tcarewhathappenedtome.AndIdidn'tcareforyou",thendevelopsabeastfable
basedonanthropomorphizedcharactersusingmusictoreflecttheindividualstatesofmindofeach.Thelyricsultimatelypaintapictureof
dystopia,theinevitableresultofaworlddevoidofempathyandcompassion,answeringthequestionposedintheopeninglines.[303]
Thealbum'scharactersincludethe"Dogs",representingferventcapitalists,the"Pigs",symbolizingpoliticalcorruption,andthe"Sheep",who
representtheexploited.[304]Croskerydescribedthe"Sheep"asbeingina"stateofdelusioncreatedbyamisleadingculturalidentity",afalse
consciousness.[305]The"Dog",inhistirelesspursuitofselfinterestandsuccess,endsupdepressedandalonewithnoonetotrust,utterly
lackingemotionalsatisfactionafteralifeofexploitation.[306]WatersusedMaryWhitehouseasanexampleofa"Pig"beingsomeonewhoin
hisestimation,usedthepowerofthegovernmenttoimposehervaluesonsociety.[307]Atthealbum'sconclusion,Watersreturnstoempathy
withthelyricalstatement:"YouknowthatIcarewhathappenstoyou.AndIknowthatyoucareformetoo."[308]However,healso
acknowledgesthatthe"Pigs"areacontinuingthreatandrevealsthatheisa"Dog"whorequiresshelter,suggestingtheneedforabalance
betweenstate,commerceandcommunity,versusanongoingbattlebetweenthem.[309]
Alienation,war,andinsanity
O'NeillSurbercomparedthelyricsofDarkSide
'
s"BrainDamage"withKarlMarx
'
stheoryofself
alienation"there'ssomeoneinmyhead,butit'snotme."[311][nb58]ThelyricstoWishYouWere
Here
'
s"WelcometotheMachine"suggestwhatMarxcalledthealienationofthethingthesong's
protagonistpreoccupiedwithmaterialpossessionstothepointthathebecomesestrangedfrom
himselfandothers.[311]Allusionstothealienationofman'sspeciesbeingcanbefoundinAnimals
the"Dog"reducedtolivinginstinctivelyasanonhuman.[312]The"Dogs"becomealienatedfrom
themselvestotheextentthattheyjustifytheirlackofintegrityasa"necessaryanddefensible"
positionin"acutthroatworldwithnoroomforempathyormoralprinciple"wroteDetmer.[313]
AlienationfromothersisaconsistentthemeinthelyricsofPinkFloyd,anditisacoreelementof
TheWall.[311]
"WhenIsay,'I'llseeyouonthedark
sideofthemoon'...whatImean[is]...
Ifyoufeelthatyou'retheonlyone...
thatyouseemcrazy[because]youthink
everythingiscrazy,you'renot
alone."[310]
Waters,quotedinHarris,2005
War,viewedasthemostsevereconsequenceofthemanifestationofalienationfromothers,isalsoacoreelementofTheWall,andarecurring
themeintheband'smusic.[314]Waters'fatherdiedincombatduringtheSecondWorldWar,andhislyricsoftenalludedtothecostofwar,
includingthosefrom"CorporalClegg"(1968),"FreeFour"(1972),"UsandThem"(1973),"WhentheTigersBrokeFree"and"TheFletcher
MemorialHome"fromTheFinalCut(1983),analbumdedicatedtohislatefatherandsubtitledARequiemforthePostwarDream.[315]The
themesandcompositionofTheWallexpressWaters'upbringinginanEnglishsocietydepletedofmenaftertheSecondWorldWar,a
conditionthatnegativelyaffectedhispersonalrelationshipswithwomen.[316]
Waters'lyricstoTheDarkSideoftheMoondealtwiththepressuresofmodernlifeandhowthosepressurescansometimescauseinsanity.[317]
Heviewedthealbum'sexplicationofmentalillnessasilluminatingauniversalcondition.[318]However,Watersalsowantedthealbumto
communicatepositivity,callingit"anexhortation...toembracethepositiveandrejectthenegative."[319]ReischdescribedTheWallas"less
abouttheexperienceofmadnessthanthehabits,institutions,andsocialstructuresthatcreateorcausemadness."[320]TheWall
'
sprotagonist,
Pink,isunabletodealwiththecircumstancesofhislife,andovercomebyfeelingsofguilt,slowlycloseshimselfofffromtheoutsideworld
insideabarrierofhisownmaking.Afterhecompleteshisestrangementfromtheworld,Pinkrealisesthatheis"crazy,overtherainbow".[321]
Hethenconsidersthepossibilitythathisconditionmaybehisownfault:"haveIbeenguiltyallthistime?"[321]Realizinghisgreatestfear,
Pinkbelievesthathehasleteveryonedown,hisoverbearingmotherwiselychoosingtosmotherhim,theteachersrightlycriticisinghispoetic
aspirations,andhiswifejustifiedinleavinghim.Hethenstandstrialfor"showingfeelingsofanalmosthumannature",furtherexacerbating
hisalienationofspeciesbeing.[322]AswiththewritingsofphilosopherMichelFoucault,Waters'lyricssuggestPink'sinsanityisaproductof
modernlife,theelementsofwhich,"custom,codependancies,andpsychopathologies",contributetohisangst,accordingtoReisch.[323]
Recognitionandinfluence
PinkFloydareoneofthemostcommerciallysuccessfulandinfluentialrockbandsofalltime.[324]They
havesoldmorethan250millionrecordsworldwide,including75millioncertifiedunitsintheUnited
States,and37.9millionalbumssoldintheUSsince1993.[325]TheSundayTimesRichList,Music
Millionaires2013(UK),rankedWatersatnumber12withanestimatedfortuneof150million,Gilmour
atnumber27with85millionandMasonatnumber37with50million.[326]
In2004,MSNBCrankedPinkFloydnumber8ontheirlistof"The10BestRockBandsEver".[327]
RollingStonerankedthemnumber51ontheirlistof"The100GreatestArtistsofAllTime".[328]Qnamed
PinkFloydasthebiggestbandofalltime.[329]VH1rankedthemnumber18inthelistofthe"100Greatest
ArtistsofAllTime".[330]ColinLarkinrankedPinkFloydnumber3inhislistofthe'Top50ArtistsofAll
Time',arankingbasedonthecumulativevotesforeachartist'salbumsincludedinhisAllTimeTop1000
Albums.[331]
Clockwise(fromtopleft):Waters,
Gilmour,WrightandMason
PinkFloydhavewonseveralawards,includinga"BestEngineeredNonClassicalAlbum"Grammyin1980forTheWall,andaBAFTA
awardfor"BestOriginalSong"in1982for"AnotherBrickintheWall(Part2)"fromTheWallfilm.[332]In1995,theywonaGrammyforbest
"RockInstrumentalPerformance"for"Marooned".[333]In2008,KingCarlXVIGustafofSwedenpresentedPinkFloydwiththePolarMusic
PrizefortheircontributiontomodernmusicWatersandMasonattendedtheceremonyandacceptedtheaward.[334]Theywereinductedinto
theRockandRollHallofFamein1996,theUKMusicHallofFamein2005,andtheHitParadeHallofFamein2010.[335]
ThemusicofPinkFloydinfluencednumerousartistsDavidBowiecalledBarrettasignificantinspiration,andTheEdgeofU2boughthisfirst
delaypedalafterhearingtheopeningguitarchordsto"Dogs"fromAnimals.[336]OtherbandswhocitePinkFloydasaninfluenceinclude
Queen,Tool,Radiohead,Kraftwerk,Marillion,Queensrche,NineInchNails,theOrbandtheSmashingPumpkins.[337]
PinkFloydwerealsoadmirersoftheMontyPythoncomedygroup,andhelpedfinancetheir1975filmMontyPythonandtheHolyGrail.[338]
Discography
Studioalbums
ThePiperattheGatesofDawn(1967)
ASaucerfulofSecrets(1968)
More(1969)
Ummagumma(1969)
AtomHeartMother(1970)
Meddle(1971)
ObscuredbyClouds(1972)
TheDarkSideoftheMoon(1973)
WishYouWereHere(1975)
Animals(1977)
TheWall(1979)
TheFinalCut(1983)
AMomentaryLapseofReason(1987)
TheDivisionBell(1994)
TheEndlessRiver(2014)
Tours
PinkFloydWorldTour(1968)
TheManandTheJourneyTour(1969)
AtomHeartMotherWorldTour(1970)
MeddleTour(1971)
DarkSideoftheMoonTour(197273)
FrenchSummerTour(1974)
BritishWinterTour(1974)
WishYouWereHereTour(1975)
IntheFleshTour(1977)
TheWallTour(198081)
AMomentaryLapseofReasonTour(198790)
TheDivisionBellTour(1994)
Seealso
ListofPinkFloydbandmembers
Notes
1. Wrightstudiedarchitectureuntil1963,whenhebeganstudyingmusicatLondon'sRoyalCollegeofMusic.[3]
2. Leonarddesignedlightmachines,whichusedelectricmotorstospinperforateddiscs,castingpatternsoflightsonthewalls.Thesewouldbe
demonstratedinanearlyeditionofTomorrow'sWorld.Forabrieftime,Leonardplayedkeyboardwiththemusingthefrontroomofhisflatfor
rehearsals.[5]
3. WrightalsobrieflylivedatLeonard's.[6]
4. PoveyspelleditMeggadeathsbutBlakespelleditMegadeaths.[8]ArchitecturalAbdabsissometimessuggestedasanothervariationPoveydismissesit
asamisreadingofaheadlineabouttheAbdabs(http://sigma6.livejournal.com/850.html)inthePolytechnic'sstudentnewspaper.[9]PoveyusedtheTea
asamisreadingofaheadlineabouttheAbdabs(http://sigma6.livejournal.com/850.html)inthePolytechnic'sstudentnewspaper.[9]PoveyusedtheTea
SetthroughoutwhereasBlake'sclaimofthealternativespelling,theTSet,remainsunsubstantiated.[10]
5. Thefoursongsessionbecametheband'sfirstdemoandincludedtheR&Bclassic"I'maKingBee",andthreeSydBarrettoriginals,"Butterfly","Lucy
Leave"and"DoubleOBo",asongMasondescribedas"BoDiddleymeetsthe007theme".[16]
6. AccordingtoPovey,by1964thegroupbegancallingitselftheAbdabs.[6]
7. Soonafter,someonestoletheequipment,andthegroupresortedtopurchasingnewgearonapaymentplan.[24]
8. Theydroppedthedefinitearticlefromtheband'snameatsomepointinearly1967.[33]
9. Previoustothissession,on11and12January,theyrecordedalongtakeof"InterstellarOverdrive".[34]Sometimearoundthesessionson29January,
theyproducedashortmusicfilmfor"ArnoldLayne"inSussex.[35]
10. Shaffnerdescribedthe5,000advanceasgeneroushowever,Poveysuggesteditwasaninadequateagreementwhichrequiredthatthemoneybe
disbursedoverfiveyears.[34]
11. AtEMI,PinkFloydexperimentedwithmusiqueconcrteandwatchedtheBeatlesrecord"LovelyRita".[44]
12. Blackhill'slateapplicationforworkpermitsforcedPinkFloydtocancelseveraloftheUSdates.[51]
13. PinkFloydreleasedthesingle"ApplesandOranges"inNovember1967intheUK.[54]
14. Barrett'sabsenceonmorethanoneoccasionforcedthebandtobookDavidO'Listashisreplacement.[56]WynneWillsonlefthispositionaslighting
directorandassistedtheguitaristwithhisdailyactivities.[57]
15. Inlate1967,BarrettsuggestedaddingfournewmembersinthewordsofWaters:"twofreakshe'dmetsomewhere.Oneofthemplayedthebanjo,the
otherthesaxophone...[and]acoupleofchicksingers".[59]
16. OneofGilmour'sfirsttaskswastomimeBarrett'sguitarplayingonan"ApplesandOranges"promotionalfilm.[64]
17. MasonisunsurewhichmemberofPinkFloydsaid"let'snotbother".[67]
18. Forashortperiodafter,Barrettturnedupatoccasionalperformances,apparentlyconfusedabouthisstandingwiththeband.[73]
19. ThorgersonhadattendedCambridgeshireHighSchoolforBoyswithWatersandBarrett.[80]
20. ThebandrecordedtheirpreviousLPsusingafourtracksystemAtomHeartMotherwastheirfirstalbumrecordedonaneighttrackmachine.[87]
21. Atheftoftheband'sequipment,worthabout$40,000,afteraMay1970showattheWarehouseinNewOrleans,nearlycrippledtheirfinances.
However,hoursafterthebandnotifiedtheFBItheyhadrecoveredmostofthestolenequipment.
22. PoveystatesthattheUKreleasedatewas5November,butPinkFloyd'sofficialwebsitestates13November.AllsourcesagreeontheUSreleasedateof
30October.[97]
23. Meddle
'
sproductionconsistedofsessionsspreadoverseveralmonthsthebandrecordedinthefirsthalfofApril,butinthelatterhalfplayedat
DoncasterandNorwichbeforereturningtorecordattheendofthemonth.InMay,theysplittheirtimebetweensessionsatAbbeyRoad,rehearsalsand
concertsacrossGreatBritain.TheyspentJuneandJulyperformingatvenuesacrossEurope,andAugustinthefareastandAustralia,returningto
EuropeinSeptember.[98]InOctober,theymadetheconcertfilmPinkFloyd:LiveatPompeii,beforetouringtheUSinNovember.[99]
24. Immediatelyafterthesession,BarrettattendedaprepartyheldforGilmour'supcomingfirstwedding,buteventuallyleftwithoutsayinggoodbyeand
noneofthebandmemberseversawhimagain,apartfromaruninbetweenWatersandBarrettacoupleofyearslater.[127]Theinspirationbehindthe
coverimage,designedbyThorgerson,istheideathatpeopletendtoconcealtheirtruefeelingsforfearof"gettingburned",wrotePinkFloydbiographer
GlenPovey.Therefore,itfeaturestwobusinessmenshownshakinghandsoneofthemisonfire.[128]
25. BrianHumphriesengineeredthealbum,whichwascompletedinDecember1976.[132]
26. Thebandcommissioneda30feet(9.1m)pigshapedballoonandphotographybeganon2December.Inclementweatherdelayedfilming,andtheballoon
brokefreeofitsmooringsinstrongwinds.IteventuallylandedinKent,wherealocalfarmerrecoveredit,reportedlyfuriousthatithadfrightenedhis
cows.[134]Thedifficultshoothadresumedbeforetheydecidedtosuperimposetheimageofthepigontothephotographofthepowerstation.[135]
27. "PigsontheWing"containedreferencestoWaters'romanticrelationshipwithCarolyneAnneChristie.ChristieandRockScully,managerofthe
GratefulDead,weremarriedatthetime.Waters'marriagetoJudyhadproducednochildren,buthebecameafatherwithChristieinNovember
1976.[138]
28. Waterswasnottheonlypersondepressedbyplayinginlargevenues,asGilmourrefusedtoperformtheband'susualtwelvebarbluesencorethat
night.[143]
29. In1976,PinkFloydhadbecomeinvolvedwithfinancialadvisersNortonWarburgGroup(NWG).NWGbecametheband'scollectingagentsand
handledallfinancialplanning,foranannualfeeofabout300,000.NWGinvestedbetween1.6millionand3.3millionoftheband'smoneyinhigh
riskventurecapitalschemes,primarilytoreducetheirexposuretoUKtaxes.Itsoonbecameapparentthatthebandwerestilllosingmoney.Notonlydid
NWGinvestinfailingbusinesses,theyalsoleftthebandliablefortaxbillsashighas83percentoftheirincome.Thebandeventuallyterminatedtheir
relationshipwithNWGanddemandedthereturnofanyfundsnotyetinvested,whichatthattimeamountedto860,000theyreceivedonly
740,000.[147]PinkFloydeventuallysuedNWGfor1M,accusingthemoffraudandnegligence.NWGcollapsedin1981:AndrewWarburgfledto
SpainWaterbrookpurchasedNortonWarburgInvestments,andmanyofitsholdingssoldatasignificantloss.AndrewWarburgbeganservingathree
yearjailsentenceuponhisreturntotheUKin1987.[147]
30. JamesGuthriereplacedengineerBrianHumphries,emotionallydrainedbyhisfiveyearswiththeband,fortherecordingofthealbum.[150]InMarch
1979,theband'sdirefinancialsituationdemandedthattheyleavetheUKforayear,ormoreandrecordingmovedtotheSuperBearStudiosnear
Nice.[151]
31. AlthoughWright'snamedidnotappearanywhereonthefinishedalbum,PinkFloydemployedhimasapaidmusicianontheirsubsequentTheWall
tour.[156]TowardtheendofTheWallsessions,MasonleftthefinalmixtoWaters,Gilmour,EzrinandGuthrie,travellingtoNewYorktorecordhis
debutsoloalbum,NickMason'sFictitiousSports.[157]
32. WaterstookasixweekleaveduringfilmingandreturnedtofindthatParkerhadusedhisartisticlicensetomodifypartsofthefilmtohisliking.Waters
becameincensedthetwofought,andParkerthreatenedtowalkout.GilmoururgedWaterstoreconsiderhisstance,remindingthebassistthatheandthe
otherbandmemberswereshareholdersanddirectorsandcouldoutvotehimonsuchdecisions.[165]
otherbandmemberswereshareholdersanddirectorsandcouldoutvotehimonsuchdecisions.[165]
33. PinkFloydcreatedamodifiedsoundtrackforsomeofthefilm'ssongs.[165]
34. Recordingtookplaceineightstudios,includingGilmour'shomestudioatHookendManorandWaters'homestudioatEastSheen.[169]
35. Duringthesessions,WaterslosthistemperandbeganrantingatKamenwho,outoffrustrationduringonerecordingsession,hadstartedrepeatedly
writing"IMustNotFuckSheep"onanotepadinthestudio'scontrolroom.[168]
36. Waterscommissionedhisbrotherinlaw,WillieChristie,totakephotographsforthealbumcover.[171]
37. ThoughGilmour'snamedidnotappearontheproductioncredits,heretainedhispayasmusicianandproducer.[175]
38. Releasedasasingle,"NotNowJohn",withitschorusof"Fuckallthat"bowdlerisedto"Stuffallthat"MelodyMakerdeclaredit"amilestoneinthe
historyofawfulness".[177]
39. Wrightwasalsointhemidstofadifficultdivorceandlatersaidthatthealbumwas,"madeatatimeinmylifewhenIwaslost."[180]
40. WaterswentontorecordthesoundtrackforWhentheWindBlows,aswellashissecondsoloalbum,RadioK.A.O.S..[182]
41. ArtistssuchasJonCarinandPhilManzaneraworkedonthealbum,joinedbyBobEzrin.[185]
42. AndyJacksonengineeredthealbum.[189]
43. InadeparturefrompreviousPinkFloydalbums,theyrecordedAMomentaryLapseofReasonusinga32channelMitsubishidigitalrecorderusing
MIDIsynchronisationwiththeaidofanAppleMacintoshcomputer.[193]RecordinglatermovedtoMayfairStudiosandthentoLosAngeles.[194]
44. Wright'snameappearsonlyonthecreditlist.[197]
45. GilmourdivorcedhiswifeGingerandMasonmarriedactressAnnetteLynton.[206]
46. Thorgersonalsoprovidedsixnewpiecesoffilmfortheupcomingtour.[212]
47. WatersdeclinedtheirinvitationtojointhemasthetourreachedEurope.[217]
48. In1995,PinkFloydreleasedthelivealbum,Pulse,andanaccompanyingconcertvideo.[218]
49. Intheweekfollowingtheirperformance,therewasaresurgenceofcommercialinterestinPinkFloyd'smusic,whenaccordingtoHMV,salesof
Echoes:TheBestofPinkFloydrosemorethanonethousandpercent,whileAmazon.comreportedasignificantincreaseinsalesofTheWall.[223]
Gilmoursubsequentlydeclaredthathewouldgivehisshareofprofitsfromthissalesboosttocharity,urgingotherassociatedartistsandrecord
companiestodothesame.[223]
50. In2006,GilmourbeganatourofsmallconcertvenueswithcontributionsfromWrightandothermusiciansfromthepostWatersPinkFloydtours.
Gilmour,Wright,andMason'sencoreperformanceof"WishYouWereHere"and"ComfortablyNumb"markedtheonlyappearancebyPinkFloyd
sinceLive8asof2012.[228]
51. Barrettleftmorethan1.25Minhiswill,tobedividedamonghisimmediatefamily,whothenauctionedsomeofhispossessionsandartwork.[231]
52. On4January2011,PinkFloydsignedafiveyearrecorddealwithEMI,endingthelegaldisputeregardingthedistributionoftheircatalogue.They
successfullydefendedtheirvisiontosupporttheiralbumsascohesiveunitsversusindividualtracks.[237]
successfullydefendedtheirvisiontosupporttheiralbumsascohesiveunitsversusindividualtracks.
53. ItwasthefirsttimesinceLive8thatthethreemensharedastageandthefirsttimethatthelineupfromTheFinalCutappearedinconcert.[239]
54. Inearly1965,PinkFloydauditionedforITV'sReadySteadyGo!,whichMasondescribedas"thedefinitivemusicshowoftheday".[256]Despite
soundingwhatMasonconsidered"tooradicalforthegeneralviewer",theyearnedacallbackforasecondaudition,withthecaveatthattheyplay
materialmorefamiliartothejudgestheydidnotearnanappearanceontheshow.[257]Alsoin1965,theyauditionedfortheMelodyMakerBeat
Contest,losingtotheeventualnationalwinners.[257]
55. RoadmanagerPeterWattsjoinedthembeforetouringEuropein1968.[285]
56. Thorgerson'sdesignforWishYouWereHere
'
scoverincludedfoursides,countingtheinnerjacket,whichrepresentedfourabsencesrelatedtothe
classicalcategoriesofsubstance:earth,air,fireandwater.HisDarkSidealbumcoverfeaturesabeamofwhitelight,representingunity,passingthrough
aprism,whichrepresentssociety.Theresultingrefractedbeamofcolouredlightsymbolizesunitydiffracted,leavinganabsenceofunity.[107]Absence
isakeyelementintheexistentialismofAlbertCamus,whodefinedabsurdityastheabsenceofaresponsetotheindividual'sneedforunity.[107]
57. PhilosophyoriginatedfromtheGreekpoet,Parmenides,whowroteapoeminwhichtheprotagonisttakesacosmicchariotrideguidedbyagoddesswho
showshimthatthereareonlytwopathsinlife,being,whichleadstotruth,andnonbeing,whichleadstoconfusionanddiscontent.Thegoddessalso
toldParmenides:"thoughtandbeingareone".[301]
58. Marxconsideredinsanitytheultimateformofselfalienation.[311]
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Sources
Blake,Mark(2008).ComfortablyNumbTheInsideStoryofPinkFloyd(http://books.google.com/?id=hKXhLoWCPQ8C&lpg=PP1&dq).DaCapo
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Bronson,Fred(1992).Weiler,Fred,ed.TheBillboardBookofNumberOneHits(http://books.google.com/books?id=PgGqNrqfrsoC&dq).Billboard
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Brown,Jimmy(May2006)."SorcererFullofSecrets".GuitarWorld27(5).
diPerna,Alan(May2006)."ShineOn".GuitarWorld27(5).
diPerna,Alan(2002)."MysteriousWays".InKitts,JeffTolinski,Brad.GuitarWorldPresents:PinkFloyd(http://books.google.com/books?
id=nQ1f7Vasrv8C&dq).HalLeonard.ISBN9780754667087.
Croskery,Patrick(2007)."PigsTrainingDogstoExploitSheep:AnimalsasaBeastFableDystopia".InReisch,GeorgeA.PinkFloydandPhilosophy:
CarefulwiththatAxiom,Eugene!(http://books.google.com/books?id=qxlBF7G5tjcC&dq).OpenCourt.ISBN9780812696363.
Detmer,David(2007)."DraggedDownbytheStone:PinkFloyd,Alienation,andthePressuresofLife".InReisch,GeorgeA.PinkFloydand
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Fitch,VernonMahon,Richard(2006).ComfortablyNumbAHistoryof"TheWall"PinkFloyd19781981(1sted.).PFAPublishing,Inc.ISBN978
0977736607.
GeorgeWarren,Holly,ed.(2001).TheRollingStoneEncyclopediaofRock&Roll(2005revisedandupdateded.).Fireside.ISBN9780743292016.
Harris,John(2005).TheDarkSideoftheMoon(FirstHardcovered.).DaCapo.ISBN9780306813429.
Hibbert,Tom(1996)[1971]."WhothehelldoesRogerWatersthinkheis?".InMacDonald,Bruno.PinkFloyd:Throughtheeyesoftheband,itsfans
andfoes(http://books.google.com/books?id=b7J3K2snuhAC&dq).DaCapo.ISBN9780306807800.
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Kitts,JeffTolinski,Brad,eds.(2002).GuitarWorldPresents:PinkFloyd(http://books.google.com/books?id=nQ1f7Vasrv8C&dq).HalLeonard.
ISBN9780754667087.
Mabbett,Andy(1995).ThecompleteguidetothemusicofPinkFloyd(1stUKpaperbacked.).OmnibusPress.ISBN9780711943018.
Manning,Toby(2006).TheRoughGuidetoPinkFloyd(Firsted.).RoughGuides.ISBN9781843535751.
Mason,Nick(2005)[2004].Dodd,Philip,ed.InsideOutAPersonalHistoryofPinkFloyd(Paperbacked.).Phoenix.ISBN9780753819067.
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HeadPublishing.ISBN9780955462412.
Reisch,GeorgeA(2007)."TheWormsandtheWall:MichaelFoucaultonSydBarrett".InReisch,GeorgeA.PinkFloydandPhilosophy:Carefulwith
thatAxiom,Eugene!(http://books.google.com/books?id=qxlBF7G5tjcC&dq).OpenCourt.ISBN9780812696363.
Roberts,David,ed.(2005).BritishHitSingles&Albums(18ed.).GuinnessWorldRecordsLimited.ISBN9781904994008.
Rosen,Craig(1996).Lukas,Paul,ed.TheBillboardBookofNumberOneAlbums.Billboard.ISBN9780823075867.
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Scarfe,Gerald(2010).TheMakingofPinkFloyd:TheWall(1stUSpaperbacked.).DaCapoPress.ISBN9780306819971.
Simmons,Sylvie(December1999)."PinkFloyd:TheMakingofTheWall".MojoMagazine(EmapMetro)73.
O'NeillSurber,Jere(2007)."WishYouWereHere(ButYouAren't):PinkFloydandNonBeing".InReisch,GeorgeA.PinkFloydandPhilosophy:
CarefulwiththatAxiom,Eugene!(http://books.google.com/books?id=qxlBF7G5tjcC&dq).OpenCourt.ISBN9780812696363.
Watkinson,MikeAnderson,Pete(2001).CrazyDiamond:SydBarrett&theDawnofPinkFloyd(http://books.google.com/?id=kPJlLjf4OogC)(First
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Watts,Michael(1996)[1971]."Pink'smuddledMeddle".InMacDonald,Bruno.PinkFloyd:throughtheeyesof...theband,itsfans,friends,andfoes.
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Weinstein,Deena(2007)."RogerWaters:ArtistoftheAbsurd".InReisch,GeorgeA.PinkFloydandPhilosophy:CarefulwiththatAxiom,Eugene!
(http://books.google.com/books?id=qxlBF7G5tjcC&dq).OpenCourt.ISBN9780812696363.
Furtherreading
Bench,JeffO'Brien,Daniel(2004).PinkFloyd'sTheWall:IntheStudio,OnStageandOnScreen(FirstUKpaperbacked.).ReynoldsandHearn.
ISBN9781903111826.
Hearn,Marcus(2012).PinkFloyd.TitanBooks.ISBN9780857686640.
Jones,Cliff(1996).AnotherBrickintheWall:TheStoriesBehindEveryPinkFloydSong.ISBN9780553067330.
Mabbett,Andy(2010).PinkFloydTheMusicandtheMystery.OmnibusPress.ISBN9781849383707.
Mabbett,AndyMiles(1988).PinkFloyd:25thAnniversaryEdition(VisualDocumentary).ISBN9780711941090.
Miles,Barry(2007).PinkFloyd.OmnibusPress.ISBN9781846094446.
Miles,Barry(2007).PinkFloyd.OmnibusPress.ISBN9781846094446.
Palacios,Julian(2001).LostintheWoods:SydBarrettandthePinkFloyd.ISBN9780752223285.
Povey,GlenRussell,Ian(1997).PinkFloyd:intheflesh,thecompleteperformancehistory(http://books.google.com/books?id=KrOPQni4yTsC&dq)
(1stUSpaperbacked.).St.Martin'sPress.ISBN9780955462405.
Reising,Russell(2005).SpeaktoMe.AshgatePublishing,Ltd.ISBN9780754640196.
Ruhlmann,William(2004).BreakingRecords.Routledge.ISBN9780415943055.
Ruhlmann,William(1993).PinkFloyd.Smithmark.ISBN9780831769123.
Snider,Charles(2008).TheStrawberryBricksGuidetoProgressiveRock.StrawberryBricks.ISBN9780615175669.
Documentaries
CreateSpace(2009).PinkFloyd:Meddle(Streamingvideo).SexyIntellectual.ASINB002J4V9RI(https://www.amazon.com/dp/B002J4V9RI).
JohnEdginton(Director)(2012).PinkFloyd:TheStoryofWishYouWereHere(Colour,NTSC,DVD).EagleRockEntertainment.
ASINB007X6ZRMA(https://www.amazon.com/dp/B007X6ZRMA).
MatthewLongfellow(Director)(2003).ClassicAlbums:TheMakingofTheDarkSideoftheMoon(Colour,Dolby,NTSC,DVD).EagleRock
Entertainment.ASINB0000AOV85(https://www.amazon.com/dp/B0000AOV85).
PinkFloyd(2007).PinkFloydThenAndNow(Colour,NTSCDVD).Pride.ASINB007EQQX04(https://www.amazon.com/dp/B007EQQX04).
PinkFloyd(2010).PinkFloydWhateverHappenedToPinkFloyd?(Colour,NTSC,DVD).SexyIntellectual.ASINB004D0AMN8
(https://www.amazon.com/dp/B004D0AMN8).
Externallinks
PinkFloyd'sofficialwebsite(http://www.pinkfloyd.com/)
PinkFloydcompanies(https://opencorporates.com/corporate_groupings/Pink%20Floyd)grouped
atOpenCorporates
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