Top 20 Pink Floyd songs

Top 20 Pink Floyd songs

Spectrum Culture ranked Pink Floyd's 20 best songs. The band has been defunct for a protracted time but is one in every of classic rock's most beloved groups. All of the songs come from the amount before Roger Waters left the band. Here are what we expect are the band’s top 20 best tracks by Spectrum Culture. the ultimate Cut is that the angriest song to ever a Pink Floyd record, and is that the most famous within the history of the band's greatest hit, "The Final Cut".

20. “When the Tigers Broke Free”

One of the band’s oft-overlooked gems, “When the Tigers Broke Free” could originally only be heard within the Wall film and is bassist and leader Roger Waters’s most direct tribute to his father Eric Fletcher Waters, who died in combat during warfare II. An orchestral piece that evokes the solemn atmosphere of WWII, its lyrics skewer English government for trivializing the lives lost in battle and treating such a significant matter mechanically, which is one reason it fits into the context of The Wall so well: It’s an on the spot parallel to Waters’s overarching theme of “another brick up the wall.”

19. “Goodbye Blue Sky”

A short, acoustic-based piece, “Goodbye Blue Sky” morphs almost impossibly from gentle, beautiful harmonic passages into chilling, harrowing darkness multiple times during its less-than-three-minute run. within the context of The Wall’s story, it’s a lament for the failure of the post-war dream, a promise that involvement in war and conflict would help solve the world’s problems and result in better society. It also stays per the message of the English government’s disregard for people who suffered due to it. Best seen together with its animated sequence from The Wall film, which juxtaposes elements of Nazism with Christianity amid a horrifying, war-torn landscape.

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18. “Set the Controls for the Heart of the Sun”

One of the band’s oft-overlooked gems, “When the Tigers Broke Free” could originally only be heard within the Wall film and is bassist and leader Roger Waters’s most direct tribute to his father Eric Fletcher Waters, who died in combat during warfare II. An orchestral piece that evokes the solemn atmosphere of WWII, its lyrics skewer English government for trivializing the lives lost in battle and treating such a significant matter mechanically, which is one reason it fits into the context of The Wall so well: It’s an on the spot parallel to Waters’s overarching theme of “another brick up the wall.”

17. “Have a Cigar”

“Have a Cigar” has the excellence of being the sole Pink Floyd song whose lead vocal is sung by someone who isn’t a member (save Clare Torry’s performance on “The Great Gig within the Sky,” though her vocal part functions as more of an instrument). The story goes that Roger Waters intended to sing it, but his voice was full of severe strain during the sessions, in order that they got English poet-singer Roy Harper to fill in. Harper’s performance dovetails beautifully with the slick, funky track that concerns the hazards of let go creative and artistic integrity when faced with monumental success—Waters’s direct response to the watershed sales of The Dark Side of the Moon. Topped with a searing guitar solo by David Gilmour, “Have a Cigar” is one in every of Pink Floyd’s most hard-driving rock tunes and emphasizes the band’s sense of swagger and groove.

16. “One of These Days”

Essentially a jam with a extremely, really psychedelic breakdown, the instrumental “One of those Days” leads off Meddle and instantly points toward the tighter, more-focused Pink Floyd that will unfold. Driven by a throbbing dual bass line courtesy of Roger Waters and David Gilmour, it'd also provide Nick Mason with a number of his most prominent drum add the live setting—as well collectively of his only vocal parts within the band’s lengthy catalog, uttering the downright evil, slowed-down threat, “One of those days I’m visiting cut you into little pieces.”


15. “Careful With That Axe, Eugene”

Never officially released on a studio album, “Careful therewith Axe, Eugene” was one in every of the primary fully collaborative pieces written by Pink Floyd after Syd Barrett’s departure. Whereas initially David Gilmour looked as if it would struggle to hone his sound because the group’s new guitarist, “Careful thereupon Axe” is one amongst the primary signs of his potential, creating an airy, ethereal atmosphere during the buildup and providing bluesy lead work during Roger Waters’ famous scream section. because it represented a band finding its feet after losing its original leader, “Careful thereupon Axe” quickly became a follower favorite and a staple of early live shows.

14. “Atom Heart Mother Suite”

Beginning with “A Saucerful of Secrets,” Pink Floyd began experimenting with a selected multi-movement, epic type of songwriting that bordered on the classical. “Atom Heart Mother” was the band’s second stab at this opus technique, this point taking its classical implications more literally, employing avant-garde composer Ron Geesin to collaborate on a 23-plus-minute song. Moving through an orchestrated, Western-sounding theme and into a haunting choir section, an ultra-funky jam section and back around to the most theme, it shows Pink Floyd at their most ambitious and musically creative up thereto point. Roger Waters and David Gilmour would later decry this suite (and its namesake album) in their later years, dismissing it as “childish” and “rubbish,” but most hardcore Floyd fans still hold “Atom Heart Mother” dear.


13. “Brain Damage / Eclipse”

Is there any album closer more climactic and emotional than the sequence of “Brain Damage” and “Eclipse?” If there's, I’ve yet to search out one. Bringing together all of the universal themes and questions raised during the course of The Dark Side of the Moon, the two-part piece details the last word danger of what can happen to the human mind when faced with all the fears and problems inherent in modern life. Not always known for being the foremost compassionate, Roger Waters offers a glimpse of that side here, with the central line “I’ll see you on the dark side of the moon” directly regarding and empathizing with Syd Barrett’s mental instability and insanity—a theme that foreshadows the next tribute to Barrett, Wish You Were Here. “Eclipse” goes on to sum up all of the items and choices that outline a person’s life, building to a shocking climax.


12. “Sheep”

“Sheep” is that the final segment of the dense, monolithic Animals and therefore the third component of Waters’s bleak Orwellian concept, where he callously divides up the mankind into dogs, pigs and sheep. Naturally, the “sheep” caste of humans are those driven by comfort and security and are often afraid to think for themselves and question authority. within the context of the song, propelled by a signature dark bass line and featuring eerie keyboard work from Wright, the sheep are manipulated by the pigs (the upper crust) to show on the dogs (the competitive, ruthless achievers of society); they eventually overwhelm and defeat them in sheer numbers. The central message is sort of clear: For the pigs, it’s all just a giant game.


11. “Speak to Me / Breathe”

The slow, faint pulse of a heartbeat that opens the sound collage “Speak to Me” and segues into “Breathe” has nearly become a cliché because of the immense stature of Dark Side, but it’s a completely appropriate opening effect for an album that so candidly examines the core of life and therefore the human condition. “Breathe,” replete with gorgeous slide guitar work from David Gilmour and keyboardist Richard Wright’s jazzy chord progressions, may be a laid-back, melancholy prelude to the madness that follows it. The song also features a number of Waters’s most straightforward, direct lyrics, encouraging the listener to not be afraid to noticeably assess their lives: “Breathe, inhale the air / Don’t be afraid to worry.”

10. “Dogs”

The 17-minute journey of “Dogs” is that the first warhorse conceptual piece of Animals, outlining Waters’s definition of 1 section of the humanity. per Waters, the dogs are the cutthroat those that need to screw over anyone and everybody to survive and achieve what they require, the implication being that it’s due to the aforementioned upper-crust “pigs” that they need to figure so hard and reduce themselves to savages to induce by. Later within the album, Waters seems to spot himself and his own group as a part of the “dog” category, as alluded to in a very lyric from Animals closer “Pigs on the Wing (Part 2)”: “So I don’t feel alone on the thanks to the stone / Now that I’ve found somewhere safe to bury my bone / And any fool knows a dog needs a home.” Musically, David Gilmour’s twin-guitar harmonies dominate the proceedings, providing a soaring, anthemic progression before the eerie synth-driven passage seeps in.

9. “The Happiest Days of Our Lives / Another Brick in the Wall (Part II)”

Often remembered solely for its line “We don’t need no education” and misconstrued as an anti-intellectual slacker anthem, the foremost commercially successful hit of Pink Floyd’s career is really more specific in meaning — it’s a part of the storyline of The Wall, after all. within the case of “Another brick up the Wall (Part II),” central character Pink faces abuse from strict, antagonistic teachers and an oppressive establishment that appears to quash out any creative thought within the minds of its students. This means, then, that Waters is de facto decrying the narrow, rigid doctrines that schools often accustomed hold tight, blaming them for bobbing up such a large amount of those who are apathetic and void of individuality. A disco-inflected tune with an easy yet effective bass groove, it’s David Gilmour’s blistering guitar solo that basically elevates “Another Brick (Part II)” into the stratosphere. Short intro “The Happiest Days of Our Lives” may be a prelude to the most theme, exploring what makes the bigoted schoolteachers the way they're.

8. “Money”

Responsible for establishing Pink Floyd as an ad force within the U.S., “Money” gave Pink Floyd their first trans-Atlantic hit (despite the actual fact that the band never officially released it as a single). “Money” is probably most acclaimed for being one among the rare pop hits that isn’t within the standard 4/4 or 6/8 time signatures: Though David Gilmour’s fierce lead guitar passage reverts to a typical time, the bulk of the song rides on a dynamic bass riff in 7/8 time, leading to a rather off-kilter but still remarkably hummable groove. Lyrically, “Money” lampoons the fashionable world’s obsession with money and could be a tongue-in-cheek look to the sad reality that cash drives the overwhelming majority of the choices and actions of mankind—ironically, this sour tackle money tense making Pink Floyd just that, and massive amounts of it too. For this reason, “Money” changed the inner chemistry of the band forever.

7. “Wish You Were Here”

Perhaps Pink Floyd’s most fragile and emotionally tragic song, “Wish You Were Here” represented a rare instance where the band wrote the lyrics first and set music to them afterward. Built around a midtempo, melancholy acoustic chord progression, the song is Waters’ most personal ode to former close friend and bandmate Syd Barrett. As Wish You Were Here the album is steeped in an existential crisis and reaction to sudden superstardom and commercial success, the song is seen as Waters’s desire to not let this sudden fame eclipse Barrett’s legacy and original vision, and also the overt regret over the band’s original leader not having the ability to be present for it—literally and metaphorically—thus making it one in all the weightiest songs of Pink Floyd’s career.

6. “Mother”

Another crucial ingredient to The Wall’s concept and a key component of the wall Pink builds around himself, “Mother” may be a sparse, understated acoustic song that solemnly recounts the negative consequences of an overbearing mother and also the sheltered upbringing that results. Waters, whose mother raised him singlehandedly, seems guilty her partially for his problems, which has led to some criticism, but there's a kernel of undeniable truth within the song. He acknowledges on the album that the adult female of The Wall “loves her baby” and has the most effective intentions, but the underside line is that such an overprotective attitude inevitably instills fear of the surface world into the impressionable mind of a baby. Since the crux of The Wall’s message is that fear builds walls, it makes for a bittersweet narrative with no easy resolution, echoed within the song’s final lament, “Mother, did it [the wall] have to be so high?” The film version is kind of different, featuring a completely orchestral, dramatic arrangement of the song.

5. “Us and Them”

Pink Floyd includes a reputation as being a “space-rock” band, a moniker that tends to confuse casual fans of Pink Floyd (and non-fans): The group gets cursed with this label not because their songs are often about space, but because a key element that drives much of their best work is an attention to aural space within the music itself. “Us and Them,” the airy, relaxed centerpiece of The Dark Side of the Moon, is one in all the most effective samples of Pink Floyd’s delicate touch and use of space, with a slow, gentle chord progression swirling atop a bass-pedal tone. The song’s power is amplified by a huge shift in dynamic from the calm, floaty verses to a thunderous chorus further as emotive saxophone work from frequent collaborator Dick Parry. The lyrics of “Us and Them” are Pink Floyd at its most philosophical, looking for meaning within the futility of conflict and asking the crucial question of whether or not humanity is capable of truly being humane.

4. “Comfortably Numb”

Throughout Pink Floyd’s catalog, David Gilmour is allowed lots of moments to let his guitar skills shine, but nowhere does he play with such visceral power and energy as during his solos on “Comfortably Numb.” Often misinterpreted as a song about heroin use or drug use normally, the song actually details The Wall antihero Pink’s moment of breakdown, where he’s pushed beyond his mental limits and slips into full-fledged insanity. Waters’s sinister vocals within the verses, because the crooked doctor who injects Pink with a drug to render him ready to play a show when the vocaliser has sunken into a hopeless state of burnout, contrast magically with Gilmour’s serene, distant vocals within the chorus. Gilmour’s guitar work that cements “Comfortably Numb” as a classic—his first solo stuffed with longing and sorrow, while the longer, darker second solo plays sort of a scorching retreat into mental collapse.

3. “Time”

Containing perhaps the best lyrics within the Floyd canon, “Time” addresses a priority deep at the center of anyone fixed in a very hectic, overwhelming life, namely the constant, nagging fear that in some unspecified time in the future they’ll come to life and find out their entire life has passed them by, stuffed with regret in the slightest degree the dreams and goals they were never able to achieve. Containing an imposing, beautifully rendered guitar solo from David Gilmour and shared vocals from Gilmour and author, “Time” toys musically with the topic of the song itself by opening with the jarring din of alarm clocks (a perfect alarm in and of itself) and a sparse, patient introductory passage. There are way too many memorable lyrical lines in “Time,” but one in all the foremost profound and affecting refers to the constant, unstoppable passage of time: “No one told you when to run / You missed the starting gun.” The official ending of “Time” may be a reprise of “Breathe.”

2. “Echoes”

A further maturation of the suite-oriented songwriting technique of “Atom Heart Mother,” “Echoes” may be a completely balanced full-band composition that features the earliest signs of Pink Floyd’s grandiose, highly conceptual art-rock that will fully bloom two years later with The Dark Side of the Moon and subsequent albums. It’s the primary song where Roger Waters begins to deal with more philosophical and universal concerns, grounded within the basic, primal connection all humans share at their core and therefore the things that interfere with it. Also notable is that the abstract midsection, featuring no real structure but rather a tapestry of instrumental effects that resemble whales, sirens and also the rumbling of a stormy sea. the most riff, built around a particular descending chromatic pattern, are recognizable to some as practically just like the most motif utilized in Andrew Lloyd Webber’s The Phantom of the Opera, which came out a full 13 years after “Echoes.” Waters has acknowledged the similarity in interviews and claims he could sue Webber for plagiarism (and he probably could), but he’s never taken the come to court—perhaps because he’s burned out from the ugly legal turmoil between himself and his former bandmates.

1. “Shine On You Crazy Diamond”

The two-part “Shine On You Crazy Diamond,” Pink Floyd’s longest song and supreme perfection of their suite-song technique, is that the band’s work of art. Deliberately written as a final tribute to the fallen Syd Barrett, whom Roger Waters never directly wrote about after Wish You Were Here, “Shine On” sums up the influence and importance Barrett had on the members’ musical vision also because the honest realization that the band could never have reached the heights that they had if he hadn’t gone insane. This underlying message makes “Shine On” a rather ambivalent and definitely bittersweet ode, an acknowledgment that Barrett’s mental breakdown was tragic yet fundamental to the band’s music and story. The suite, actually divided into nine parts, is made from a mournful guitar arpeggio courtesy of David Gilmour and covers musical terrain starting from a funk jam, a tempo-shifting saxophone solo and even a funereal dirge to shut the piece. “Shine On” also has an unsettling piece of history attached to it: As acknowledged by all the members of Pink Floyd, Barrett actually showed up within the studio while the band was recording this lament about him. it absolutely was the primary time any of them had seen him in years, and because of his drastically altered physical appearance nobody recognized him initially. once they finally realized it had been Barrett, Waters was reportedly reduced to tears. This inexplicable alignment of events can only be explained by random circumstance, but such unlikely coincidence seems eerily supernatural and oddly befitting of a musical act as colossal and astral as Pink Floyd.

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