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Rock - Released November 7, 2011 | Pink Floyd Records

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Rock - Released September 15, 1975 | Pink Floyd Records

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Pink Floyd followed the commercial breakthrough of Dark Side of the Moon with Wish You Were Here, a loose concept album about and dedicated to their founding member Syd Barrett. The record unfolds gradually, as the jazzy textures of "Shine on You Crazy Diamond" reveal its melodic motif, and in its leisurely pace, the album shows itself to be a warmer record than its predecessor. Musically, it's arguably even more impressive, showcasing the group's interplay and David Gilmour's solos in particular. And while it's short on actual songs, the long, winding soundscapes are constantly enthralling. © Stephen Thomas Erlewine /TiVo
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Rock - Released November 5, 1971 | Pink Floyd Records

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Rock - Released January 23, 1977 | Pink Floyd Records

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With pigs, dogs and sheep, Pink Floyd’s Animals is a nod towards George Orwell’s classic Animal Farm. Of course, both works are only about one species in the end: Homosapiens. Released in January 1977, the album puts society under the microscope and dissects the ugliness and brutality of human nature. The record came at a time of huge social unrest in England: class tensions were on the rise, unemployment was skyrocketing and racial divide had hit a high-water mark. Anger was in the air and it bled into every corner of Animals.Lyrically speaking, this record holds some of the most unyielding, sardonic and iconoclastic poetry that Waters has ever penned. On the 17-minute epic Dogs we are introduced to the predatory businessmen - the cut-throat corporate stooges who will flash you an easy smile and then stab you in the back. Amid dog barks and relentless guitar strums, David Gilmour unleashes some of the finest solos of his career. They’re bluesy, progressive and brilliantly harrowing. Next up is Pigs (Three Different Ones) which details the ruthless, totalitarian leaders who perpetuate injustice and oppression while maintaining a grip on power. Once again, the instrumentals are dark with dystopian synths, driving bass lines and menacing pig snorts played on a talk box. The lyrics describe three swinish leaders. One of the ‘pigs’ is the morality watchdog Mary Whitehouse while the “f***ed up old hag” who “radiates cold shards of broken glass” alludes to Margaret Thatcher (the leader of the opposition at the time and a target in other Pink Floyd songs). Down at the bottom of the pecking order are the meek, mindless and unquestioning herds of Sheep. Opening with an understated doodle from Richard Wright on the keys, Waters’ stretched-out vocals crossfade into synths, giving the song that warped, hallucinatory feel that the Floyd do so well. Sheep contains a revised version of Psalm 23, continuing the traditional “The Lord is my shepherd” with classic Pink Floyd cynicism: “he maketh me to hang on hooks in high places and converteth me to lamb cutlets”.The album is book-ended by two glimmers of hope in an otherwise bleak world, marking the band’s first love songs. Originally composed as a single track and later split in two, the message on Pigs On The Wing is clear: love thy neighbour, care for each other, because that’s what makes life worth living amid all the bulls**t. An album – and message - that’s just as relevant today as it was in the 70s. © Abi Church/Qobuz
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Rock - Released March 21, 1983 | Pink Floyd Records

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Four years separate this album from its predecessor The Wall which placed Pink Floyd at the height of its success. A well named Final Cut (a requiem for the post war dream), which will be the last disc with Roger Waters, solitary author of this concept-album which he interprets in its almost entirety — and the only one where keyboardist Richard Wright does not appear. Like a first solo opus? No doubt... His grandiloquence, put at the service of a frenzied anti-militarism (England and Argentina then clashed in the Falklands), is reminiscent of The Wall of which he reworked certain compositions that were discarded at the time. The result is an essay, lyrical at will.
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Rock - Released October 2, 1970 | Pink Floyd Records

Hi-Res Distinctions The Qobuz Ideal Discography
Appearing after the sprawling, unfocused double-album set Ummagumma, Atom Heart Mother may boast more focus, even a concept, yet that doesn't mean it's more accessible. If anything, this is the most impenetrable album Pink Floyd released while on Harvest, which also makes it one of the most interesting of the era. Still, it may be an acquired taste even for fans, especially since it kicks off with a side-long, 23-minute extended orchestral piece that may not seem to head anywhere, but is often intriguing, more in what it suggests than what it achieves. Then, on the second side, Roger Waters, David Gilmour, and Rick Wright have a song apiece, winding up with the group composition "Alan's Psychedelic Breakfast" wrapping it up. Of these, Waters begins developing the voice that made him the group's lead songwriter during their classic era with "If," while Wright has an appealingly mannered, very English psychedelic fantasia on "Summer 68," and Gilmour's "Fat Old Sun" meanders quietly before ending with a guitar workout that leaves no impression. "Alan's Psychedelic Breakfast," the 12-minute opus that ends the album, does the same thing, floating for several minutes before ending on a drawn-out jam that finally gets the piece moving. So, there are interesting moments scattered throughout the record, and the work that initially seems so impenetrable winds up being Atom Heart Mother's strongest moment. That it lasts an entire side illustrates that Pink Floyd was getting better with the larger picture instead of the details, since the second side just winds up falling off the tracks, no matter how many good moments there are. This lack of focus means Atom Heart Mother will largely be for cultists, but its unevenness means there's also a lot to cherish here. © Stephen Thomas Erlewine /TiVo
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Rock - Released August 5, 1967 | Pink Floyd Records

Hi-Res Distinctions The Qobuz Ideal Discography
The title of Pink Floyd's debut album is taken from a chapter in Syd Barrett's favorite children's book, The Wind in the Willows, and the lyrical imagery of The Piper at the Gates of Dawn is indeed full of colorful, childlike, distinctly British whimsy, albeit filtered through the perceptive lens of LSD. Barrett's catchy, melodic acid pop songs are balanced with longer, more experimental pieces showcasing the group's instrumental freak-outs, often using themes of space travel as metaphors for hallucinogenic experiences -- "Astronomy Domine" is a poppier number in this vein, but tracks like "Interstellar Overdrive" are some of the earliest forays into what has been tagged space rock. But even though Barrett's lyrics and melodies are mostly playful and humorous, the band's music doesn't always bear out those sentiments -- in addition to Rick Wright's eerie organ work, dissonance, chromaticism, weird noises, and vocal sound effects are all employed at various instances, giving the impression of chaos and confusion lurking beneath the bright surface. The Piper at the Gates of Dawn successfully captures both sides of psychedelic experimentation -- the pleasures of expanding one's mind and perception, and an underlying threat of mental disorder and even lunacy; this duality makes Piper all the more compelling in light of Barrett's subsequent breakdown, and ranks it as one of the best psychedelic albums of all time. © Steve Huey /TiVo
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Rock - Released October 25, 1969 | Pink Floyd Records

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Released on 7th November, 1969, Pink Floyd’s fourth album Ummagumma is a disorienting head trip of an album: one part live recordings, the other a bizarre, psychedelic and rather cinematic collection of solo experiments. The first disc’s purely instrumental concerts stem from Birmingham’s Mothers Club and Manchester’s College of Commerce and were recorded earlier that year. The sound is raw and crude, offering a glimpse of Pink Floyd’s early days on stage. By the time Nick Wright’s ominous piano opens the curtain on the second disc, it’s clear the mood has changed from spaced-out jams to a kind of freaky folk opera. The band members’ rotating positions on the album cover (designed by their long-term collaborators Hipgnosis) give you a clue as to what’s in store: each artist had half an album side to compose their own work without any input from the others. The four-part Sysyphus by Nick Wright is intense and progressive, packed with an array of synths, organs and pianos. Roger Waters’ Grantchester Meadows and Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict contains bird songs and warped voice samples played both forwards and backwards at varying speeds, crafting a lyrical world that’s peaceful and unnerving in equal measure. When David Gilmour takes the reins for The Narrow Way we’re treated to a meandering stream of vocals, guitar strums and solos that flow neither this way nor that. For the album closer, The Grand Vizier’s Garden Party by Nick Mason starts off as an introductory flute piece (played by his wife) before galloping head-first into a looping frenzy of beats and distortions. Initially viewed as a success, the group look back on this record as “pretentious”. In an interview, Nick Mason commented “in hindsight, it rather proves that we were better when we worked together than when we worked as individuals. There are nice moments and odd good bits but as an album it’s pretty fragmented…”. It’s not an easy listen, but then it’s not trying to be. If it’s sheer psychedelia you’re after, look no further than Ummagumma. © Abi Church/Qobuz
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Rock - Released July 27, 1969 | Pink Floyd Records

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Rock - Released June 3, 1972 | Pink Floyd Records

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Obscured by Clouds is the soundtrack to the Barbet Schroeder film La Vallée, and it plays that way. Of course, it's possible to make the argument that Pink Floyd's music of the early '70s usually played as mood music, similar to film music, but it had structure and a progression. Here, the instrumentals float pleasantly, filled with interesting textures, yet they never seem to have much of a purpose. Often, they seem quite tied to their time, either in their spaciness or in the pastoral folkiness, two qualities that are better brought out on the full-fledged songs interspersed throughout the record. Typified by "Burning Bridges" and "Wot's...uh the Deal," these songs explore some of the same musical ground as those on Atom Heart Mother and Meddle, yet they are more concise and have a stronger structure. But the real noteworthy numbers are the surprisingly heavy blues-rocker "The Gold It's in The...," which, as good as it is, is trumped by the stately, ominous "Childhood's End" and the jaunty pop tune "Free Four," two songs whose obsessions with life, death, and the past clearly point toward Dark Side of the Moon. ("Childhood's End" also suggests Dark Side in its tone and arrangement.) As startlingly advanced as these last two songs are, they're not enough to push the rest of Obscured by Clouds past seeming just like a soundtrack, yet these tunes, blended with the sensibility of Meddle, suggest what Pink Floyd was about to develop into. © Stephen Thomas Erlewine /TiVo
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Rock - Released June 29, 1968 | Pink Floyd Records

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A transitional album on which the band moved from Syd Barrett's relatively concise and vivid songs to spacy, ethereal material with lengthy instrumental passages. Barrett's influence is still felt (he actually did manage to contribute one track, the jovial "Jugband Blues"), and much of the material retains a gentle, fairy-tale ambience. "Remember a Day" and "See Saw" are highlights; on "Set the Controls for the Heart of the Sun," "Let There Be More Light," and the lengthy instrumental title track, the band begin to map out the dark and repetitive pulses that would characterize their next few records. © Richie Unterberger /TiVo
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Rock - Released September 26, 2011 | Pink Floyd Records

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The second post-Roger Waters Pink Floyd album is less forced and more of a group effort than A Momentary Lapse of Reason -- keyboard player Richard Wright is back to full bandmember status and has co-writing credits on five of the 11 songs, even getting lead vocals on "Wearing the Inside Out." Some of David Gilmour's lyrics (co-written by Polly Samson and Nick Laird-Clowes of the Dream Academy) might be directed at Waters, notably "Lost for Words" and "A Great Day for Freedom," with its references to "the wall" coming down, although the more specific subject is the Berlin Wall and the fall of Communism. In any case, there is a vindictive, accusatory tone to songs such as "What Do You Want From Me" and "Poles Apart," and the overarching theme, from the album title to the graphics to the "I-you" pronouns in most of the lyrics, has to do with dichotomies and distinctions, with "I" always having the upper hand. Musically, Gilmour, Nick Mason, and Wright have largely turned the clock back to the pre-Dark Side of the Moon Floyd, with slow tempos, sustained keyboard chords, and guitar solos with a lot of echo. © William Ruhlmann /TiVo
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Rock - Released April 23, 2001 | Pink Floyd Records

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Anyone who knew anything about Pink Floyd knew that a dance band they were not, so this profit-taking, holiday-season compilation, courtesy of Columbia Records, was intended ironically. Arguably the quintessential album band, Pink Floyd is not well served by compilations, especially one on which four parts of "Shine on You Crazy Diamond" are edited together and there's a re-recording of "Money." Stick to the full-length versions. © William Ruhlmann /TiVo
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Rock - Released February 26, 1996 | Pink Floyd Records

Hi-Res Distinctions Stereophile: Record To Die For
Since Relics is a compilation and not a regular studio album, it tends to be overlooked when thought of as one of Pink Floyd's better releases. It might not be regarded as a classic psychedelic masterpiece in the manner of The Piper at the Gates of Dawn, and it certainly won't ever achieve the multiple platinum status of Dark Side of the Moon, but it's a pretty good place to start with the band's early catalog. Originally issued in 1971, Relics culls from the band's first five singles (two A-sides and three B-sides, including the non-album pop classics "See Emily Play" and "Arnold Layne") and picks album material that capitalizes on the band's versatility while making it a thoroughly palatable listen. From Piper, you get the goofy childishness of "Bike" and the mesmerizing "Interstellar Overdrive," one of the band's trademark instrumental freak-outs; "The Nile Song," taken from the More soundtrack, is one of the heaviest songs the band recorded. A little bit of everything that made early Pink Floyd can be found here. Without a doubt, the disc is an essential part of the band's discography, not to be disregarded due to its overlap with studio album material. © Andy Kellman /TiVo