12 Pink Floyd songs that capture the band perfectly

As a lifelong fan and admirer of Pink Floyd, I find myself constantly enchanted by their unique blend of musicality, conceptual depth, and emotional resonance. The band has been an integral part of my life’s soundtrack, providing solace, inspiration, and an escape from the mundane.

There have been three main iterations or phases of Pink Floyd throughout their five-decade musical career, as different artists held control at various points. During certain periods, multiple band members contributed creatively, often equally.

Initially, under the leadership of founding member Syd Barrett on both guitar and vocals, they only managed to complete one full album and part of another, as well as several early tracks that didn’t make it onto albums at first. This was a time marked by psychedelic experimentation, with a blend of pop music that was distinctly influenced by Barrett’s style.

However, Barrett grappled with mental health problems and substance abuse, causing an early exit from the band. In his stead, David Gilmour was introduced as the new guitarist. Despite their exploration of extended song durations, unconventional arrangements, and unusual instruments, the influence of Barrett remained evident within the group.

12 definitive songs that perfectly capture Pink Floyd

As one of the bandmates, for a while, we were all engaged in mapping out our new musical journey. However, over time, it was bassist Roger Waters who emerged as the primary voice leading us forward. The tunes started to take a more structured form, yet they retained their experimental essence. Moreover, the lyrics evolved to become sharper and politically charged. By the end of Roger’s tenure in the early ’80s, it felt like Pink Floyd had transformed into Roger Waters’ backup ensemble.

Initially, Waters departed and Gilmour stepped up, initially releasing an album that functioned more like a solo project. However, over time, there was a sort of reunion. Although Gilmour wasn’t as prolific in songwriting as Waters, he, along with his wife Polly Samson, contributed significantly to the band’s work. In 1994, they produced an appropriate conclusion, which marked thirty years since the band first appeared on the scene.

Twenty years after keyboardist Richard Wright’s passing, there came one last album, titled “The Endless River.” This album was created using previous recordings to emphasize Wright’s significant contribution to the band. While it is an authentic Pink Floyd album, I wouldn’t advise newcomers to start with it, as it’s predominantly instrumental and atmospheric, catering more to those who appreciate a refined palate.

Additionally, they unveiled numerous live albums and compilation records during their journey, some of which are truly outstanding. Pink Floyd was known for their theatrical performances, although no live album fully conveys that live atmosphere, recordings such as “Pulse” or the semi-concert film “Live at Pompeii” offer a glimpse into their unique performance style.

Perhaps there were multiple incarnations of the Floyds, with Syd Floyd, Roger Floyd, and David Floyd being three well-known ones. However, it’s also possible that there were four, five, or even more members in this complex band of musicians. In a sense, there could be an endless number of Floyds.

If present, each one shares a spiritual bond – a connection that traces back to Syd Barrett’s initial vision of exploration. This exploration involved the use of powerful guitar and captivating keyboard sounds for experimentation. Genres such as folk, jazz, blues, and psychedelia were all fair game. No matter the form they took, they consistently created music that was distinctively Pink Floyd.

Absolutely, there were instances where they excelled significantly and others where it wasn’t as impressive. We’re going to spotlight twelve outstanding examples from their entire career span instead, giving a slight emphasis to the early works due to my personal preference, but rest assured, I won’t overlook some fantastic compositions that emerged later on.

I’ll mainly stick to one song per album, as there are times when I think I could include all five songs from “Wish You Were Here” (or even four or thirteen tracks, based on counting methods) and consider that enough.

Although I’ll advise you upfront, I may break this rule at least once while we converse. Let’s get that clear first. Now, let me share with you a dozen of Pink Floyd’s most iconic tunes, presented in the order they were created.

“Astronomy Domine” from The Piper at the Gates of Dawn (UK release, 1967)

Prior to the release of their debut album in 1967, Pink Floyd had already garnered success with several singles. Upon listening to this first album, one was immediately immersed in an array of space-like sounds from the very beginning. Over time, a melody began to take shape amidst the chaos, and it turned out to be “Astronomy Domine.” This track showcased a harmonious duet between Barrett and Wright, offering a more tender vocal performance than expected.

Occasionally, Barrett’s guitar melodies meander, Waters’ bass resonates with an echo, and Wright’s organ takes center stage. Meanwhile, Barrett’s lyrics, often selected for their sound over their meaning, blend seamlessly into the symphony of music.

When you turned the record over, you discovered another side featuring an elaborate journey into what’s now called “space rock,” highlighted by the nearly ten-minute track “Interstellar Overdrive.” Known for its daring excursions into free jazz and other realms, this song was perfect for live performances and often stood out in concerts. On the other hand, the more compact “Astronomy Domine” works better as a studio recording.

“See Emily Play” from The Piper at the Gates of Dawn (US release, 1967)

Upon the US debut of “Piper,” approximately a few months following its UK premiere, certain tracks such as “Astronomy Domine” and a few others were conspicuously absent. Instead, there was an earlier single from that year, “See Emily Play,” which was included. This song carried a similar trippy and psychedelic vibe found in Floyd’s most space-oriented compositions. However, it also exhibited more traditional single characteristics with a memorable pop tune and lyrics that were prominently featured in the mix for clearer comprehension.

Here, Syd Barrett demonstrates his peak performance, drawing inspiration from San Francisco’s flower power folk-rock scene while infusing it with his distinctive pop music vision. Barrett showcases his guitar skills, incorporating slides, but it’s also the first strong indication of what Richard Wright was truly capable of. Wright’s organ work is prominent throughout, playing both melodic passages and fills.

Suddenly, it appeared as though he was improvising on a harpsichord. “See Emily Play” turned out to be a significant success for the band, paving the way for them. However, this triumph seemed to take a toll on Barrett, with detrimental consequences. For many early Floyd fans, “Emily” holds a mixed emotion, as it highlights both Barrett’s incredible abilities and the fact that his remarkable potential didn’t reach its fullest extent.

“Set the Controls for the Heart of the Sun” from A Saucerful of Secrets (1968)

Syd Barrett contributed to some parts of Pink Floyd’s second album, but his worsening mental health situation became increasingly evident. David Gilmour stepped up to handle much of the guitar work, and bassist Roger Waters started taking on more songwriting and vocal duties. This shift is particularly noticeable on side one of the album. “Set the Controls for the Heart of the Sun” was an early demonstration of Waters’ potential talent in this regard.

As a gamer, I’d say, “In this game, we’re not just solo players; it’s all about teamwork. The music, much like an epic quest, draws from ancient Chinese poetry and fantasy novels. Nick Mason, our drummer, lays down a snakelike rhythm that takes center stage. Instead of using regular sticks, he opts for timpani mallets to achieve a muffled, pulsating sound that suits the song’s quiet intensity perfectly. Meanwhile, Rick Wright’s keyboards dance around, but they’re not as wild and free-spirited as on some of Syd Barrett’s pop tunes – they’re more restrained, adding depth without overpowering the overall vibe.”

The reserved nature of the album, “Saucerful of Secrets,” didn’t receive much praise from the rock media at the time, as they often dismissed it. Looking back, however, it was a band grappling with the realization that their leader was slipping away, and they needed to find a new approach to their music. Remarkably, they managed to adapt quite successfully, as we now know.

“Arnold Layne” from Relics (1971)

“Initially, ‘Arnold Layne’ wasn’t part of any Pink Floyd album when it was first released in 1967, predating ‘See Emily Play’. However, it wasn’t until four years later, following the release of five studio albums, that this song found its place on the compilation Relics.”

“Pink Floyd’s song ‘Arnold Layne’ can be considered their most straightforward composition before they started incorporating melodic acoustic tracks in their later, elaborate 1970s albums. Notably, it is quite brief, barely reaching the three-minute mark. Richard Wright plays a single keyboard, his distinctive Farfisa organ being the main instrument. Syd Barrett’s guitar parts are more subdued and the vocals take center stage in the mix.”

Even so, this remains Pink Floyd, a band unlike many others in 1967. That organ stands out distinctly. And the lyrics, focusing on a uniquely British pervert with an unusual fondness for laundering stolen women’s undergarments, were not common topics in pop songs. By 2006, when David Gilmour had Richard Wright and guest David Bowie perform the song at the Royal Albert Hall, it had become a cherished piece of nostalgia.

“Echoes” from Meddle (1971)

Floyd’s fourth album, titled “Ummagumma“, has its devoted followers. Following Pink Floyd member Syd Barrett’s departure, it started to chart a more unique course that would eventually blossom in the future. However, “Ummagumma” can also be seen as an eclectic mix of various musical ideas, much like throwing everything from the kitchen sink into the mix.

Two albums after that, on “Meddle”, the band became more defined about their direction. The expansive, improvised track “Echoes” served as a signal. It takes up the entire second half of the album, extending well beyond the 20-minute threshold. This piece showcased every aspect and member of the band at that time.

Similar to many tracks on the album Meddle, the songwriting was attributed to all four band members. Gilmour and Wright alternately lead as the primary musical force, while Waters and Mason form the solid foundation they soar over. The lyrics, penned by Waters, intermittently appear much like the different instruments.

Following approximately eleven intense minutes of psychedelic rock, there’s a shift towards a significantly more atmospheric part, where Mason coaxes eerie sounds from his keys, fitting for a sci-fi horror movie soundtrack. A short while later, we transition into another segment, and Waters’ bass introduces a jazzier exploration that leads us back to the song’s lyrics, in a verse that hints at the innovative songs that would emerge over the next few years.

“Wot’s … Uh the Deal?” from Obscured by Clouds (1972)

As a die-hard Pink Floyd enthusiast, I must admit that the grandeur of “Echoes” casts a long shadow, and “What is… The Deal?” seems almost domesticated in comparison, even a touch conventional for some fans. Yet, it beautifully demonstrates the band’s unique ability to craft softer, sentimental melodies while maintaining their signature trippy ambiance.

The second album, titled “Obscured by Clouds“, was one of two soundtrack collections created by the band for Barbet Schroeder’s films. These albums are not as connected to their more unified works that were specifically designed as standalone albums rather than soundtracks. However, “Obscured…” and a previous soundtrack album titled “More” both contain some notable moments.

“What’s Going On…Exactly?” showcases Gilmour singing and strumming an acoustic guitar, with Wright providing a more conventional piano melody. Waters penned the lyrics, and in some aspects, this previews the heartfelt acoustic pieces that would be interspersed throughout their upcoming albums. Although not as complex as they could be or eventually were, this track represents the sweetest Pink Floyd would ever sound.

“Time” from Dark Side of the Moon (1973)

There’s a strong argument to be made that the album “Dark Side of the Moon” stands as one of the most impactful records from the rock & roll era, even though it may not be the best or the most influential. What makes it significant is its unique blend of experimental music with what was quickly gaining popularity in mainstream culture.

As a devoted fan, I can’t help but marvel at the enduring success of Pink Floyd’s “Dark Side of the Moon.” It seems that Billboard reserved a perpetual spot for it on their charts because it consistently refused to drop below the top 200. This durability underscores the fact that while personal taste may vary, there are few who can deny the appeal of this iconic album. The musicianship is unparalleled, with Gilmour delivering a stunning performance throughout. The songs, the product of a collaborative effort, are remarkably tight yet expansive, demonstrating the timeless brilliance of Pink Floyd’s artistry.

The song “Time” fits perfectly into this context, as it didn’t come out as a standalone single but encapsulates where the band stood at that moment. The ringing alarm clocks marking the start of the song are another demonstration of the musicians’ quest for sounds that set a particular mood. By then, they had mastered the art of seamlessly blending these sounds, more so than in “Astronomy Domine.” Roger Waters’ lyrics in this piece stand out as some of his best work to date. It is both heartfelt and powerful, making it a unique blend that only Pink Floyd was able to pull off effectively at the time.

“Money” from Dark Side of the Moon (1973)

Absolutely, you’ve got me! I was referring to two tunes from DSOTM, and I believe the album merits an additional choice. Unlike “Time,” this one was actually released as a single. From the instant a rhythmic sequence of cash registers filled the airwaves, we knew it wasn’t ordinary. When Waters’ distinctive bassline subtly enters, we comprehend that those cash registers aren’t just sound effects – they are an additional instrument.

Instead of being deeply moving like “Time,” this song didn’t carry that emotional weight. However, it introduced the angrier and more confrontational side of Roger Waters, a persona that would endure throughout the 1970s and beyond. The lyrics, such as “Money – Get back – I’m all right Jack keep your hands off my stack – Money – It’s a hit – Don’t give me that do-goody-good bulls**t,” clearly conveyed this tone. David Gilmour, the lead vocalist, delivered an excellent guitar solo, but in this track, he was matched by the impressive saxophone solo of session musician Dick Parry.

1. For Floyd, “Time on the Moon” marked his initial international success, making it to the charts in America, Australia, France, and Germany. As for me, neither “Time” nor “Money” are my top picks from DSOTM. Instead, I prefer the combined closing tracks – “Brain Damage” and “Eclipse,” which essentially form one long song. However, “Time” and “Money” are standout tunes that helped establish Pink Floyd as a powerhouse in the rock music scene. By this point, they had moved away from their psychedelic roots to become one of the world’s best rock bands.

“Shine on You Crazy Diamond” from Wish You Were Here (1975)

Pink Floyd’s spirit from their early days with Syd Barrett was never truly laid to rest. In 1975, they confronted this spectral presence head-on through their album “Wish You Were Here.” A few songs directly addressed the music industry itself in a critical and sharp manner. The opening track, which echoed again at the album’s conclusion, was a commentary on their founding member.

As a devoted fan, I’d rephrase it as: “I believe Waters penned the lyrics and took the lead vocals. The song is lyrically outstanding. From the very beginning – ‘Remember when you were young – You shone like the sun – Shine on you crazy diamond,’ it feels like Waters is honoring a tragic genius. Later, he sings ‘You reached for the secret too soon – You cried for the moon – Shine on you crazy diamond – You wore out your welcome with random precision – rode on the steel wheel – Come on you raver, you seer of visions – Come on you painter, you piper, you prisoner, and shine,’ which seems to depict a person who was ahead of their time, visionary, creative, yet tormented.”

Furthermore, the poetry is stirring, but the music surpasses it, most notably at the album’s end where a 12-minute symphony of sound brings everything together powerfully.

“Dogs” from Animals (1977)

During an extraordinary series of comedic film productions encompassing “The Gold Rush,” “City Lights,” and “Modern Times,” Charlie Chaplin created a movie titled “The Circus.” Despite its troubled production and initial rejection by critics in the late ’20s, this masterpiece is now often compared to the other outstanding films surrounding it.

In simpler terms, “Animals” could be described as the masterpiece of Pink Floyd during their heyday, much like a circus. The songs were prolonged and the metaphors were rather straightforward. Despite this, there was no single standout track, with the exception of the tender acoustic piece “Pigs on the Wing,” which was as enchanting as any song in 1977. Beyond “Pigs on the Wing,” the album consists of three lengthy songs. The longest and arguably best is “Dogs.”

The music transforms from intense hard rock to soothing acoustic folk, showcasing Gilmour’s most bluesy guitar performances. It also features Waters’ penetrating lyrics. For a full seventeen minutes, it maintains its momentum and intensity without faltering. You can dissect the song’s structure in great detail, with chord progressions, rhythm changes, and every shift carefully outlined. While other rock songs have been analyzed similarly, this one leaves no doubt about something significant.

Pink Floyd’s music significantly elevated rock and roll compositions to a level worthy of in-depth analysis, which was traditionally reserved for classical and jazz music. One standout example is their song “Dogs”. While it may be subject to scholarly dissection, at its core, it’s an exceptional piece of rock music.

“Comfortably Numb” from The Wall (1979)

It’s no secret that Roger Waters had tension with the other band members in the late ’70s, as many bands experience disputes and eventual splits due to such strain. The same fate befell Pink Floyd as they moved into the ’80s. “The Wall,” which was primarily Roger’s creation, was a complex work that not all band members supported. However, they found a way to collaborate despite their differences, resulting in the release of one of their most innovative concept albums.

It’s almost unfair to pick a song from The Wall. It is a coherent progression of 26 tracks that tell a mostly coherent story. It did contain Pink Floyd’s biggest hit single – “Another Brick in the Wall, Pt. 2” – but there is not a single track that doesn’t lose a little something when pulled out of its place in line. “Comfortable Numb” which arrives at a crucial moment at the end of side three of the double album, may be the best stand-alone song, but even it is better in context.

A significant portion of “The Wall” showcases Roger Waters at his most bitter, but it’s delightful to discover the tender side he can express as well. This doesn’t mean that “Comfortably Numb” is even a hint soft-hearted; instead, it carries a tough, sentimental tone – an acknowledgment of the artist’s place within the corporate system.

Through his recent albums, Waters has been exploring this theme, and here, it finds its fitting resolution – he’s found peace in his part. However, Gilmour’s intense, whirling guitar solo hints that the battle might not be completely won yet. Frankly, “Comfortably Numb” is a tough choice to beat “Mother” on this album, but it certainly delivers.

“High Hopes” from The Division Bell (1994)

Between “The Wall” and “The Division Bell,” Pink Floyd produced two albums: “The Final Cut,” which was primarily a solo project by Roger Waters, marking his last significant contribution before he left under somewhat contentious terms; and “A Momentary Lapse of Reason,” released four years later by David Gilmour, with limited participation from Richard Wright and Nick Mason. Both albums garner fan support, and I find “The Gunners Dream” and “One Slip” to be powerful songs. However, I don’t believe they can rival the greatness of Pink Floyd’s early music.

The Division Bell tells a unique tale, leaning more towards a collective band effort rather than relying heavily on Roger Waters’ profound lyrics (and indeed, it lacked those at times, which I believe is an undeniable fact). However, despite this absence, the album still gave birth to several robust tracks. “High Hopes,” the closing number, could easily have been a product of Pink Floyd’s golden age. It possesses the grandeur – the emotive instrumentation – and the wide range of musical expression, from dark and gothic tones to the subtle Latin guitar riffs in the middle, that were signature elements of Pink Floyd’s finest creations.

20 years ago, I found myself reminiscing about Pink Floyd as Gilmour paid homage to Wright posthumously – a tribute album, if you will, following the release of what was technically their final album, “The Division Bell.” However, it’s the nine-minute closing track “High Hopes” that truly encapsulates the essence of one of rock & roll’s most significant acts and serves as a more fitting farewell.

2024-08-30 13:02