Nothing high-energy, but the overlaid sounds and the keening emotion of the keyboards allow this odd track to hold its own with its fellows. Though this song is featured on Top Ten Pink Floyd Songs, I feel it has rightly earned its place here (coming in at our second longest song). You might think it was unlikely that there were better tracks that were somehow overlooked; you would be right. Note the sequencer programming; a simple melody is programmed in and then distorted and manipulated (here, obviously, sped up, among other things). That said, it’s a very merry tale of a guy who goes around stealing women’s undergarments (I’m sorry, “pinching knickers””) off his neighbors’ clotheslines. “He completely disappeared into himself,” a friend said. Oozing soundscapes, laid down on keyboards by Richard Wright; a dramatic and meaningful guitar workout, from Gilmour; one of Waters’s most sincere set of lyrics and certainly a notably vocal performance — and all recorded with a humanizing warmth. There are a lot of hard-rock classics from the late 1970s and early 1980s; hard to think of one that can touch the production schema here, possibly Waters and Ezrin’s finest moment. I don’t know if this is as good as “Happy Jack.” I don’t know if it’s as good as “In the Year 2525.” 20. Accordingly, they represented two separate tracks on the album when it came to songwriting (or “publishing” or “mechanical” royalties) separate from the royalties the band as a whole made from the record. But the last six or seven minutes are rough going, and the physical tape-cut back to the main riff at the end of the song is done incompetently. “Summer ’68,” Atom Heart Mother (1970): A nice tune by Richard Wright, apparently about a groupie, also has the sweet melodic feel of an early-’70s one-hit wonder, though one-hit wonders are generally economically arranged and produced well, and this is an early Pink Floyd track, so neither of those two things are true. Wright would later write a couple or three good songs — one of them a significant track on TDSOTM. And you’re no Syd Barrett. The song begins with a set of now-famous pings, before some fairly pretty group vocals and an actual guitar riff or two. A weird vocal, machine-y thing. There’s a touch or two of drama, and a not-all-that-interesting funny guitar noise. “Crying Song,” More (1969): A pretty, if forgettable, Waters song from the More soundtrack. 105. The keyboards set an eerie scene, and Gilmour’s initial guitar riff is arresting. Radically constructed; and the intro and outro — into “Brain Damage” — are brilliant. “Take Up Thy Stethoscope and Walk,” The Piper at the Gates of Dawn (1967): Fairly rocking — a little Kinks-y, and little Who-y, and even some early space-rock-y sounds from Barrett, highly derivative of “Eight Miles High” but fine even so. Get every new post on this blog delivered to your Inbox. The following the top 10 songs of the band. I don’t have the time or the mental energy to chart the disparate tonal and geopolitical shifts in this short, 16-line intro. 156. Lots of fanfares here, shifts in tone and melody, and a gay flugelhorn solo, which no one — no one — had asked for. Edit: Here is the link to the Pink Floyd thread. Someone — Waters? Things never get boring — there’s even a terrific blues solo. Seriously if you voted this … Note that Wright has a songwriting credit here, but I bet it was the chorus. “Absolutely Curtains,” Obscured by Clouds (1972): The final track of the band’s last album before it started getting good. “Comfortably Numb,” The Wall (1979): More than anything else, there is a wistful melody here in the chorus, and the band lets it sink in, and go on as long as it needs to, tension rising each step of the way — another rare instance when you want something Pink Floyd is doing not to end. But that didn’t stop the thing from selling 4 million units in the U.S. and lots, lots more overseas. The musical world it’s constructed in, and the persona of the singer, are substantively different from what Pink Floyd had been doing previously. “Dramatic Theme,” More (1969): Just what it says. The band, thinking they were onto a hot groove, had to be persuaded to reduce its length in the studio. 23. Question: What was the longest song ever recorded and how long […] The bass is great. “Julia Dream,” single (1968): After Barrett left the band, Floyd foundered. On the label of the original release, “Speak to Me” (the fragment that begins the album) and “Breathe in the Air” were designated parts one and two of the first song, indicating a clear narrative of the chaos of a birth and then this exultant order to breathe — and by extension live. “Bike,” The Piper at the Gates of Dawn (1967): I think this is Barrett’s most touching song. Pink Floyd The Piper at the Gates of Dawn (1967) Matilda Mother Though Piper at the Gates of Dawn is far from Pink Floyd's best album, and is even farther from being their most cohesive or least choppy, it has its gems. He was forever saying things like, ‘You can’t do twenty minutes of this ridiculous noise.’” Ah, but they could. 36. And in any case any such attempt would be fraud, because it was not that band anymore, as the outside songwriters attested. It’s ambitious and probably a bit misconceived, but with many powerful moments. But he had no business writing 15-minute on-record epics. Your Prince Patrick Dempsey Returns for the Upcoming Disney+. It’s a great iconic image. Question: What was the longest song ever recorded and how long […] At the same time, these goofballs were working on The Dark Side of the Moon! Time Song % Correct; 23:32: Echoes: 97%. The two little “Pigs on the Wing” snippets on Animals — basically the same song with different words, 90 seconds each, nothing more than Waters playing a casual acoustic guitar and singing — are credited to Waters alone as songwriter. What this song is really about, however, is songwriting royalties. That’s fine, but then you have to point out that there’s a reason it would have ended up on a solo album: It wasn’t good enough to be on a Floyd release. 65. “Flaming,” The Piper at the Gates of Dawn (1967):  Eiderdown and unicorns. “The Narrow Way,” Ummagumma (1969): This was Gilmour’s contribution to Ummagumma, in three parts. “Wearing the Inside Out,” The Division Bell (1994): Another insubstantial, forgettable track on Division Bell. Much of the rest of it was filled by wildly veering musical approaches, big misfires, aesthetic excesses, pratfalls, and wide-ranging acts of buffoonery you wouldn’t find surprising in a This Is Spinal Tap outtake reel. “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving With a Pict,” Ummagumma (1969): Ummagumma, the group’s fourth LP, was the nadir of Pink Floyd Phase 2, from the doltish title on down. 110: Countries in which Pink Floyd Played Concerts. The upshot: Pink Floyd has sold more albums worldwide than the Beatles. And if that’s not enough, the whole song is accompanied by a track of dogs howling. Docked ten notches for its excessively dreary (8:45!!) The lyrics are all about “ancient bonds” and “gilded cages.” In one sense, maybe this isn’t any worse than an embarrassment like Crimson’s “Moonchild,” but those guys had real chops. Gilmour said good-bye to Waters but kept the name and successfully beat back Waters’s legal challenges. It’s unquestionably a major song, its hints of chaos and even danger a landmark in the development of psychedelic rock. “The Gold It’s in the …” Obscured by Clouds (1972): Heavens! Pink Floyd may be the only rock band that can credibly be compared to both the Beatles and Spinal Tap. But I don’t understand the narrator’s voice here. “Astronomy Dominé (live),” Ummagumma (1969): It’s good to have these early live artifacts; they allow the songs to come alive in a way they wouldn’t as studio recordings alone, and live, after all, is how Pink Floyd made its bones. That conflict, forgotten now, started when the dictator running Argentina occupied some British-held islands in the South Atlantic, mostly to ramp up patriotic fervor on the home front. Part Cassandra convulsed at the state of a world that she had predicted, part mother crying over her earth, part lover lost, part human facing fate. We can see from the start this will be a much less subtle (!) Part two has some intoned vocalizings. It actually works lyrically — it’s a pretty knowing acknowledgment of the cost to the people around those who have put the wall up. 106. As a studio recording it feels pointless. “Marooned,” The Division Bell (1994): Marooned is how you feel listening to this pallid, five-minute-and-thirty-second guitar solo. “The Gunner’s Dream,” The Final Cut (1983):  This song, coming toward the end of what was the first side of The Final Cut, is where you throw up your hands. To top it all off, Gilmour led the band into the era of the modern high-end rock tour — and grossed about $400 million in the decade after Waters left, enough money to make even Waters’s songwriting royalties look small. Wright and Gilmour really get into it — so much so that they forget to include an actual song. (Not sure who told Syd “domine” needed an accent, though.) 107. This is the last song on the first side, a raggedy, kind of acoustic number, mumbled, with terrible sound. I'm very surprised no one has done this one yet. Freemanbros 6,496 views. “Wot’s … Uh the Deal,” Obscured by Clouds (1972): Another good example of just how disparate the music was that the band was making in the early 1970s. “The Trial,” The Wall (1979): Waters finally goes full-on Joel Grey — or is it Angela Lansbury? “Set the Controls for the Heart of the Sun,” A Saucerful of Secrets (1968): One of Roger Waters’s early markers. The various guitar tracks are great. Stories differ as to why. 100: Pink Floyd Albums. Top 10 Ancient Gadgets. Nice to hear Gilmour working it on out. Even leaving aside the plainly spectacular “Money,” look at how Waters’s’ game has improved from start to finish on Dark Side; he’s got solo credit on both tracks, and both, particularly in their undeniable melodies, are high points in ’70s art rock/progressive rock/space rock or whatever you want to call it. And the side ends with an orgasmic rise to heaven (or maybe just to orgasm) with “The Great Gig in the Sky.” Speaking of label arcana, the original title of The Dark Side of the Moon included the initial “The,” but it has sometimes disappeared in later releases. Or something. Loading ... Top 5 shortest Pink Floyd songs - Duration: 4:32. This was part of Waters’s contribution. 112. 4. ‘Paint Box’ One thing that Wright was able to do better than most of his counterparts in the band was expertly producing work bathed in the art of subtlety. His big, climactic line, “Or is it just a crazy dream,” delivered in a porcine squeal, is just this side of painful. You get the sense it wasn’t easy for him, but it paid off here; his careful enunciation paradoxically gives “Brain Damage” some of its delicacy and otherworldliness, and yet it’s plain enough to fit in with the everyman cast of the rest of the album. 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