Your Possible Pasts

“Your Possible Pasts” (mislabeled as “Your Impossible Pasts” on a radio promo single) is a song from Pink Floyd’s 1983 album The Final Cut.[1][2] This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

The song, like many others on The Final Cut, is a rewritten version of a song rejected for The Wall, originally to be used in Spare Bricks (an early version of The Final Cut that was an extension of The Wall.) Guitarist David Gilmour objected to the use of these previously rejected tracks, as he believed that they weren’t good enough for release.

[Roger Waters] wasn’t right about wanting to put some duff tracks on The Final Cut. I said to Roger, “If these songs weren’t good enough for The Wall, why are they good enough now?”
— David Gilmour[4]

Despite not appearing on The Wall album, the lyrics of the chorus did appear in the film for said album, Pink Floyd – The Wall, where the lyrics were read by the main character, Pink, in-between the songs “Waiting for the Worms” and “Stop”.

“Your Possible Pasts” also appeared on a 12-inch promotional single entitled “Selections From The Final Cut”, with “The Final Cut” on the B-side.[5][6] However, despite not being released as a commercial single, the song did receive significant radio play, resulting in the song hitting number 8 on the Billboard Mainstream Rock chart in America.[7]

Young Lust (song)

“Young Lust” is a song by Pink Floyd.[2] It appeared on The Wall album in 1979.[2] This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

“Young Lust” is a blues-inflected hard rock number in E minor, approximately 3 minutes, 25 seconds in length. The lead vocals in the song are sung by David Gilmour, with background vocals from Roger Waters during the chorus. The lyrics are about a “rock and roll refugee” seeking casual sex to relieve the tedium of touring. It is one of the few Pink Floyd songs in which Gilmour plays the bass in the original studio version.

On the album, the preceding song, “Empty Spaces”, ends with an abrupt transition into “Young Lust”.

The guitar lick at the end of the second verse (“Oooh, baby set me free”) has been played live at the end of the final solo in “Learning to Fly.”

Yet Another Movie

“Yet Another Movie” is the sixth track, along with “Round and Around” on Pink Floyd’s 1987 album, A Momentary Lapse of Reason.[1][2] It features soundbites from the film, Casablanca. Apparently, it was a demo during the Final Cut sessions but Roger Waters rejected it.[3]

The piece was performed at every show in Pink Floyd’s 1987–1989 tours as the fourth piece in the first set of the show (falling between “Learning to Fly” and “Round and Around”) and was featured on the live album Delicate Sound of Thunder. The lap steel guitar that appears at the end of the studio version of “Yet Another Movie” was replaced by a normal guitar solo played at a lower octave on the live performances of the track. On Delicate Sound of Thunder and the 2011 remaster of A Momentary Lapse of Reason, the band separated “Yet Another Movie” from “Round and Around” into different tracks.

Wot’s… Uh the Deal?

“Wot’s… Uh the Deal?” is a song from Pink Floyd’s 1972 album, Obscured by Clouds.[1][2] The song features multi-tracked vocals by David Gilmour,[3] and lyrics by Roger Waters of which describe taking advantage of certain opportunities life gives and how they affect a person later on. The title is taken from the song’s lyrics “Flash the readies, Wot’s…Uh the Deal” and is reported to be a phrase by roadie Chris Adamson. David Gilmour performed it at several shows on his 2006 On an Island tour and it appears on the live DVD and BD, Remember That Night (2007) and on the vinyl version of his live album Live in Gdansk. It was also made available to download for people who bought the deluxe edition or iTunes edition.

Wish You Were Here (Pink Floyd song)

“Wish You Were Here” is the title track on Pink Floyd’s 1975 album Wish You Were Here.[1][2] Its lyrics encompass Roger Waters’ feelings of alienation from other people and his distrust for the music industry. Like most of the album, it refers to former Pink Floyd member Syd Barrett and his breakdown. David Gilmour and Waters collaborated to write the music, and Gilmour sang the lead vocal. On June 14, 2013, the song was released as an unofficial promotional single on Spotify and when fans streamed it one million times, which happened after only four days, the rest of the band’s catalogue was released.

In 2011, the song was ranked No. 324 on Rolling Stone’s list of the 500 Greatest Songs of All Time.[3]

When You’re In

“When You’re In” is a track from Pink Floyd’s 1972 album Obscured by Clouds.[1][2] It is entirely instrumental,[3] with a repetitive guitar riff repeating until the piece fades out. The title is a reference to a phrase by former Pink Floyd crew member, Chris Adamson, who would respond to when asked about a repair: “I’m in. And when you’re in, you’re in.”[4]

This song, along with “Obscured by Clouds”, was played live in late 1972 and usually opened shows on the 1973 The Dark Side of the Moon tour. The live performances were often an extended version which allowed David Gilmour to perform a guitar solo and Richard Wright to add a Hammond organ and Minimoog solo.

The song has been covered by Swedish band Tiamat on their 1994 EP Gaia.

When the Tigers Broke Free

“When the Tigers Broke Free” is a Pink Floyd song by Roger Waters,[1][2] describing the death of his father, Eric Fletcher Waters, in the Battle of Anzio (codenamed Operation Shingle) during the Italian Campaign of the Second World War.[3]

The song was written at the same time as The Wall, hence its copyright date of 1979, and was originally intended to be part of that album, but was rejected by the other members of the band on the grounds that it was too personal.[4] It was subsequently recorded and included in the movie version of The Wall and first released as a separate track on a 7″ single on 26 July 1982 (running 2:55), before appearing in The Wall film. The 7″ was labelled “Taken from the album The Final Cut” but was not included on that album until the 2004 CD reissue.

What Shall We Do Now?

“What Shall We Do Now?” (working title “Backs to the Wall”) is a song by Pink Floyd, written by Roger Waters.

It was originally intended to be on their 1979 album The Wall, and appeared in demo versions of The Wall, but was omitted[1] due to the time restraints of the vinyl format. In its place is a much shorter song, titled “Empty Spaces”, which segues directly into “Young Lust”. This was a last-minute decision; the album’s sleeve notes still feature the song in its track listing, and include its lyrics.

What Do You Want from Me (Pink Floyd song)

“What Do You Want from Me” is a song by Pink Floyd featured on their 1994 album, The Division Bell.[1][2] It was composed by Richard Wright, David Gilmour, and his then-girlfriend and subsequent wife Polly Samson. A live version from Pulse was released as a single in Canada, reaching #28 in the Canadian Top Singles charts.[3]

The song is a slow, yet rocking ballad. It has a drum roll introduction, followed by a keyboard solo and then a guitar solo. David Gilmour has agreed with an interviewer that it is a “straight Chicago blues tune”, while mentioning he is still a blues fan.[4]
In an interview, David Gilmour was asked if the song returned to the theme of alienation from the audience. He responded by saying that it “actually had more to do with personal relationships but drifted into wider territory”.[5]
There is also speculation that the lyrics are a message to Floyd fans from Gilmour expressing how he feels the fans are always wanting more and more from the band, such as “Should I sing until I can’t sing anymore? Play these strings ’til my fingers are raw?”, “You’re so hard to please”, (and song title) “What do you want from me?”[citation needed]
The song uses the miracle of walking on water as a sarcastic metaphor.[6]

Welcome to the Machine

“Welcome to the Machine” is the second song on Pink Floyd’s 1975 album Wish You Were Here.[1][2] Penned by bassist Roger Waters, it is notable for its use of heavily processed synthesizers and acoustic guitars, as well as a wide range of tape effects.

The song describes the band’s disillusionment with the music industry as a money-making machine rather than a forum of artistic expression. The plot centers on an aspiring musician getting signed by a seedy executive to the music industry (the “Machine”). The voice predicts all of his seemingly rebellious ideas (“You bought a guitar to punish your ma / You didn’t like school / And you know you’re nobody’s fool”). His illusions of personal identity are further crushed with lines such as “What did you dream? / It’s all right, we told you what to dream.”[citation needed]

Wearing the Inside Out

“Wearing the Inside Out” is a song from Pink Floyd’s 1994 album, The Division Bell.[1][2] It is the first Pink Floyd song since “Time” from The Dark Side of the Moon where Richard Wright sings lead, as well as his final lead vocal on a Pink Floyd album. Additionally, it is the only song on the album for which David Gilmour receives no writing credit, and the only Pink Floyd song post-Dark Side to credit neither Roger Waters nor Gilmour.

The song had the working title “Evrika”. Two videos of the band working on this demo version can be seen on the DVD/BD included in The Endless River deluxe edition and as part of the iTunes deluxe edition.

Waiting for the Worms

“Waiting for the Worms” (working title “Follow the Worms”) is a song from the 1979 Pink Floyd album The Wall.[1][2] It is preceded by “Run Like Hell” and followed by “Stop”.

At this point in the concept album, protagonist Pink has lost hope (“You cannot reach me now”) and his thinking has decayed, bringing to mind the “worms”. In his hallucination, he is a fascist dictator, fomenting racist outrage and violence, as begun in the preceding song, “Run Like Hell”. The count-in is Eins, zwei, drei, Alle — German for “one, two, three, everybody”. In the beginning and end the crowd chants “Hammer”, a recurring representation of fascism and violence in The Wall.

The song is a slow, leaden march in G Major, begun with David Gilmour and Roger Waters alternating calm and strident voices, respectively. Waters takes over with an extended vamp on A minor, musically similar to the album’s earlier “The Happiest Days of Our Lives”. Through a megaphone, he barks strident, racist invective (“Waiting to put on a black shirt . . . for the queens and the coons and the reds and the Jews”). After an extended rant, Gilmour’s calmer voice returns, chuckling warmly with the promise that his followers will “see Britannia rule again” and “send our coloured cousins home again,” with Waters concluding “All you need to do is follow the worms!”

Finally, the song plunges into a minor-key musical theme — root, major second, minor third, major second—that has recurred throughout the album, as the main theme to “Another Brick in the Wall”, the instrumental section of “Hey You”, and will be heard in the album’s climax, “The Trial”. The riff is repeated in E minor, with E minor and D Major chords played atop it on keyboards. From the megaphone, Waters’s bigoted rant lapses into incomprehensibility, while the music and the crowd’s chanting grows louder. Finally, the song abruptly halts with a shout of “Stop!” (which segues into the next song on the album, “Stop”).

Vera (song)

“Vera” is a song by Pink Floyd which appears on their 1979 album, The Wall.[1][2]

The title is a reference to Vera Lynn, a British singer who came to prominence during World War II with her popular song “We’ll Meet Again”. The reference is ironic, as Roger Waters (and his fictional character “Pink”) would not meet his father, lost in the war. The lyric “Vera, what has become of you?” suggests that Vera Lynn herself, like her promise, vanished.
Another interpretation is that the song is about “Pink” losing all faith. This is supported by the fact that “Vera”, in Russian, means “Faith”. It is unknown if Waters did this on purpose or not.
The opening dialogue (“Where the hell are you, Simon?”) and the sound effects are from the 1969 film The Battle of Britain.

Vegetable Man

“Vegetable Man” is a psychedelic rock song written by Syd Barrett and recorded by his band Pink Floyd in 1967. Although considered for the band’s third single or for inclusion on their second album A Saucerful of Secrets, it has not been officially released.

Cover versions of the song have been released by The Soft Boys and The Jesus and Mary Chain.

The song was recorded from 9–11 October 1967.[1] The first take ends with 15 seconds of laughter from the band,[2] while a different take is a faster-paced jam of the song.[3] The song was an attempt to record a follow-up single to “See Emily Play”,[2][4] as well as the beginning of sessions for the album which would eventually become A Saucerful of Secrets. Among the songs considered were “Paint Box”, “Scream Thy Last Scream”, “Jugband Blues” and “Apples and Oranges”. “Vegetable Man” was scheduled for release, as the B-side to “Scream Thy Last Scream”, but cancelled and both tracks remained unreleased until 2016.[5][6] Eventually, “Apples and Oranges” was chosen for the single release instead, with “Paint Box” as the B-side and “Jugband Blues” appearing on their next album A Saucerful of Secrets. The band played “Vegetable Man” live for a BBC radio broadcast on 20 December 1967,.[7][8]
Peter Jenner wanted the song released: “I always thought they should be put out, so I let my copies be heard. I knew that Roger would never let them out, or Dave. They somehow felt they were a bit indecent, like putting out nude pictures of a famous actress: it just wasn’t cricket. But I thought they were good songs and great pieces of art. They’re disturbing, and not a lot of fun, but they’re some of Syd’s finest work – though God knows, I wouldn’t wish anyone to go through what he’s gone through to get to those songs. They’re like Van Gogh.”[9] Producer Malcolm Jones (who produced Barrett’s The Madcap Laughs solo album) had remixed this song and “Scream Thy Last Scream”,[10] for inclusion on the Barrett rarities album Opel (1988), however the band blocked its inclusion.[11][12]

Us and Them (song)

“Us and Them” is a song by English progressive rock band Pink Floyd on their 1973 album The Dark Side of the Moon. The music was written by Roger Waters and Richard Wright with lyrics by Waters. It is sung by David Gilmour, with harmonies by Wright. The song is 7 minutes, 51 seconds in length, making it the longest on the album.

“Us and Them” was released as the second single from The Dark Side of the Moon in the United States, peaking at No. 72 on the Cash Box Top 100 Singles chart in March 1974.[1] The single peaked at No. 85 in the Canadian chart.[2]

Up the Khyber

“Up the Khyber” is a piece of instrumental music by the British rock band Pink Floyd. It was written by their drummer Nick Mason, and keyboardist Richard Wright.[1][2]

The piece is an extended drum solo with added hectic piano playing, haunting organ lines, and unusual tape effects. It is approximately 2 minutes and 12 seconds long, and first appeared on Pink Floyd’s Soundtrack from the Film More. It is the only Pink Floyd song credited to Mason/Wright.

The title is a rude joke since ‘Khyber’ is Cockney rhyming slang in which ‘Khyber Pass’ means ‘arse’.[3] It may also allude to the 1968 film Carry On… Up the Khyber.

Unknown Song

“Unknown Song” is an instrumental track written and recorded by the British progressive rock group Pink Floyd.[1] It has been released only on a bonus disc included in the 1997 re-release of the soundtrack to Michelangelo Antonioni’s movie Zabriskie Point.

The track is simple and consists of melodies that were used later; the riff that starts to play at 1:54 is a faster tempo version of the “Mother Fore” section of “Atom Heart Mother Suite”. The main melody played by acoustic 12-string guitar throughout the song is somewhat typical to the band’s later style – “A Pillow of Winds” or even “Brain Damage” can be heard as followers of the song’s melodies.[citation needed]

“Unknown Song” is sometimes called “Rain in the Country” or “Country Rain” on bootleg recordings.[2] A similar piece entitled “Baby Blue Shuffle in D Major” appeared in a 2 December 1968 BBC radio broadcast and shared melodies with part one of “The Narrow Way” from Ummagumma, but it may have been rather a different – or even the same – take of “Unknown Song”.[citation needed]

Two Suns in the Sunset

“Two Suns in the Sunset” is the closing track on Pink Floyd’s 1983 concept album The Final Cut, and Roger Waters’ final chronological contribution to the band, before leaving in 1985.[1][2]

Partway through the song, the lyric “the sun is in the east, even though the day is done” refers to the glowing fireball of a nuclear explosion.[3]

Session drummer Andy Newmark plays drums on this song, as Pink Floyd drummer Nick Mason was unable to perform the song, due to its complex time signature changes. The song begins and ends in 9/8 time, while the majority of the song is in 4/4 (or “common time”), and it is punctuated with added measures of 7/8 and 3/8. Adding to the complexity, the main theme of the rhythm guitar has chords changing emphatically in dotted eighth notes, so three eighth-note beats are divided equally in two. This is not unlike what “Mother”, from the previous Pink Floyd album, The Wall, does, and on that song, Mason relinquished the drumming duties, in that case to Jeff Porcaro.[4][5][6]

The Trial (song)

“The Trial” (working title “Trial by Puppet”) is a track from Pink Floyd’s 1979 rock opera/concept album The Wall.[1][2] Written by Roger Waters and Bob Ezrin, it marks the climax of the album and film.

The song centres on the main character, Pink, who having lived a life filled with emotional trauma and substance abuse has reached a critical psychological break. “The Trial” is the fulcrum on which Pink’s mental state balances. In the song, Pink is charged with “showing feelings…of an almost human nature.” This means that Pink has committed a crime against himself by actually attempting to interact with his fellow human beings. Through the course of the song, he is confronted by the primary influences of his life (who have been introduced over the course of the album): an abusive schoolmaster, his wife, and his overprotective mother. Pink’s subconscious struggle for sanity is overseen by a new character, “The Judge.” In Pink Floyd The Wall, and the concert animations, the Judge is a giant worm for most of the song until his verse, at which point he transforms into a giant pair of buttocks (bigger than the marching hammers in “Waiting for the Worms”). A prosecutor conducts the early portions, which consist of the antagonists explaining their actions, intercut with Pink’s refrain, “Crazy/Toys in the attic, I am crazy.” The culmination of the trial is the judge’s sentence for Pink “to be exposed before your peers” whereupon he orders Pink to “Tear down the wall!”

As Waters sings the dialogue for each character he transitions into different accents including: upper-class British dialect (the prosecutor and judge), Scottish accent (the schoolmaster) and Northern English accent (Pink’s mother). For the character of Pink’s wife he used his normal voice on the album and the original 1980-81 tour. However, in his solo 2010-13 tour of The Wall he portrays the wife with a distinctively French accent.

This and the following song, “Outside the Wall,” are the only two songs on the album which the story is seen from an outsider’s perspective, most notably through the three antagonists of “The Trial,” even though it is all in Pink’s mind.[citation needed] The song ends with the sound of a wall being demolished amid chants of “Tear down the wall!”, marking the destruction of Pink’s metaphorical wall.

Time (Pink Floyd song)

“Time” is the fourth track from the English progressive rock band Pink Floyd’s 1973 album The Dark Side of the Moon, and the only song on the album credited to all four members of the band, though the lyrics were written by Roger Waters. It is the final Pink Floyd song credited to all four members and the last to feature Richard Wright on lead vocals until “Wearing the Inside Out” on The Division Bell. This song is about how time can slip by, but many people do not realise it until it is too late. Roger Waters got the idea when he realised he was no longer preparing for anything in life, but was right in the middle of it. He has described this realisation taking place at ages 28 and 29 in various interviews.[2] It is noted for its long introductory passage of clocks chiming and alarms ringing, recorded as a quadrophonic test by Alan Parsons, not specifically for the album.[3]

The Thin Ice

“The Thin Ice” is a song by Pink Floyd,[1] released on The Wall in 1979.[2]

The song, which is two minutes and 30 seconds in length, begins with the sound of an infant crying. The main body of the song is a 50s progression, with time signature in 6/8, commonly heard in doo-wop songs such as “Stand by Me”, progressing from C Major to A minor, then F Major to G Major, played softly on piano and synthesiser. The first half of the lyrics are sung by David Gilmour in a gentle tone, beginning with “Mama loves her baby”, and a refrain of “Ooh babe, ooh, baby blue”. A bass guitar creates a dissonant effect mid-song, when it plays an F♯ against an A minor, the major sixth of the chord, and the augmented fourth of the key. Then Roger Waters takes over the lead vocal. The piano becomes staccato, as the lyric takes on a warning tone, with Waters singing “If you should go skating/On the thin ice of modern life….”

As the lyrics end, the diatonic sense of C Major is abandoned, as the melody heard earlier (E, D, F, E, and A) becomes stripped to a simple power chord riff, played loud by distorted guitars, with brief soloing. The song ends on a sustained C Major chord, but through crossfading with the next song on the album, “Another Brick in the Wall, Part 1”, a D minor chord is interpolated, contributing to uneasiness intimated by the lyrics.[3][4]

Take Up Thy Stethoscope and Walk

“Take Up Thy Stethoscope and Walk” is a song by British psychedelic rock band Pink Floyd, from their 1967 debut album, The Piper at the Gates of Dawn.[1][2]

This song was Roger Waters’ debut songwriting credit, continually building in speed until the end and featuring frantic guitar playing by Syd Barrett and manic keyboard parts by Richard Wright. The song’s title is a reference to John 5:8—”Jesus saith unto him, Rise, take up thy bed, and walk”. Its morbid lyrics are quite unlike anything else on the album, the rest of which was penned by Barrett, but is characteristic of much of Waters’ work; the clinical motif would recur in compositions like “Free Four” and “Comfortably Numb”. Similarly, “Sheep”, contains more Biblical quotations adapted by Waters to fit the song.

The song parallels the title track to Waters’ 1992 solo album Amused to Death by beginning with the phrase “Doctor, Doctor.”

Take It Back

“Take It Back” is a song by the progressive rock group Pink Floyd, released as the seventh track on their 1994 album, The Division Bell.[1][2] It was also released as a single on 16 May 1994, the first from the album, and Pink Floyd’s first for seven years. The music for the song was written by guitarist David Gilmour and album co-producer Bob Ezrin, with lyrics by Gilmour, his wife Polly Samson and Nick Laird-Clowes.


Ummagumma is the fourth album by the English progressive rock band Pink Floyd. It is a double album and was released on 25 October 1969 by Harvest Records in the UK and by Capitol Records internationally. The first disc consists of live recordings from concerts at Mothers Club in Birmingham and the College of Commerce in Manchester that contained part of their normal set list of the time, while the second contains solo compositions by each member of the band recorded at the Abbey Road studio.[4][5] The artwork was designed by regular Floyd collaborators Hipgnosis and features a number of pictures of the band combined to give a Droste effect.

Although the album was well received at the time of release, and was a top five hit in the UK album charts, it has since been looked upon unfavourably by the band, who have expressed negative opinions about it in interviews. Nevertheless, the album has been reissued on CD several times, along with the rest of their catalogue.

Stay (Pink Floyd song)

“Stay” is a song from Pink Floyd’s 1972 album Obscured by Clouds.[1][2] It is known for being one of the album’s particularly slow-moving, lyrical songs.[3] The song was also issued as the B-side of “Free Four”.[4]

The lyrics, written by Roger Waters and sung by Richard Wright,[5] vacillate between frustration and indifference felt towards a casual sex partner (perhaps a groupie).[6]
The instrumentation is mostly Wright’s piano and Waters’ bass guitar, with a solo and other ornamental touches from guitarist David Gilmour making heavy use of a clean wah-wah pedal.[7]

The main musical theme and verse of the song stay on a pedal point of G in the bass, while the chords above it change in a typical I-IV-V progression (G, C, and D major). The D major over the G bass results in the appearance of a G major seventh chord, evoking a “melancholy” or “bittersweet” feeling. The chorus modulates to the parallel minor, with a chord change of G minor to C major, a common progression in Wright’s compositions. (See “Pow R. Toc H.”, the “Funky Dung” section of the “Atom Heart Mother” suite, or “The Great Gig in the Sky”.) This chord change evokes a ii-V-I progression that is left unfinished.[8]

Speak to Me

“Speak to Me” is the first track[nb 1] on British progressive rock band Pink Floyd’s 1973 album, The Dark Side of the Moon, on which it forms an overture.[1][2] Nick Mason receives a rare solo writing credit for the track; Roger Waters subsequently claimed this was a “gift” to Mason, one which Waters came to regret after his acrimonious departure from the band.[3][4] A live version is included on Pulse.

The song itself is a sound collage, which features no lyrics (although it contains parts of the conversation tapes that Pink Floyd recorded, as well a short snippet of Clare Torry’s vocal performance on “The Great Gig in the Sky”), and consists of a series of sound effects. It leads into the first performance piece on the album, “Breathe”. As a result, they are usually played together on the radio, and most later re-releases merge the two songs together.[5]

Sorrow (Pink Floyd song)

“Sorrow” is a song by the English progressive rock band Pink Floyd. Written by the band’s singer and guitarist David Gilmour, it is the closing track on their thirteenth studio album, A Momentary Lapse of Reason, released in 1987.[1][2]

The piece was written and composed by singer and guitarist David Gilmour. Gilmour has stated that although lyrics are not his strong point, the song is one of his strongest lyrical efforts,[citation needed] even though the opening lines were appropriated from John Steinbeck’s The Grapes of Wrath.[3]
Sorrow was a poem I’d written as a lyric before I wrote music to it, which is rare for me.
— David Gilmour[4]
Drummer Nick Mason has since stated that the song was almost entirely written by David Gilmour alone over the space of one weekend on his houseboat Astoria. When he returned from the weekend, only “some spit and polish”, according to Mason, was needed. Gilmour has also mentioned that the solo at the end of “Sorrow” was done on the boat, his guitar going through a small Gallien-Krueger amplifier.[4] As on many tracks from the album, Gilmour played a Steinberger GL “headless” guitar on this song.[5] The guitar intro was recorded inside Los Angeles Memorial Sports Arena and piped through Pink Floyd’s large sound system, yielding an extremely deep, cavernous sound. The drum machine on the song was programmed by David Gilmour — no real drums were used.

Signs of Life (instrumental)

“Signs of Life” is the opening track on A Momentary Lapse of Reason,[1][2] the first Pink Floyd album headed by David Gilmour, in the absence of ex-member Roger Waters.

It is an instrumental piece, although in the version featured on A Momentary Lapse of Reason, the electronically processed voice of drummer Nick Mason can be heard for a few seconds reciting two verses of an unknown poem. The screen film used to accompany the song during concert performances featured Langley Iddins, caretaker of David Gilmour’s Astoria houseboat-studio, rowing through “Grantchester Meadows”.

The piece is Pink Floyd’s first instrumental piece (excluding the live-only “The Last Few Bricks”) since 1973’s “Any Colour You Like”, from The Dark Side of the Moon, although it could be argued that since “Shine On You Crazy Diamond” (from Wish You Were Here) is split into pieces, parts I, II, III, V, VI, VIII, and IX count as instrumentals.

The song segues directly into “Learning to Fly”, although the segue is a lot more audible in the live performances from the Momentary Lapse tour.

The Show Must Go On (Pink Floyd song)

“The Show Must Go On” (working titles “Who’s Sorry Now”, “(It’s) Never Too Late”) is a song by English rock band Pink Floyd, from their 1979 album The Wall.[1][2] It was written by Roger Waters and sung by David Gilmour.[2]

Roger Waters wanted to create a “Beach Boys” type sound for the backing vocals, and got Bruce Johnston to come and help create it, but this was only after the Beach Boys themselves were approached to provide the backing vocals and had agreed, only to cancel at the last possible moment (the morning of the session, 2 October 1979). The song also closely resembles chord patterns found in “Mother”, “In the Flesh”, and “Waiting for the Worms”.

The track does not appear in the 1982 film version of The Wall[2] nor in Waters’ post-Pink Floyd 1990 concert The Wall – Live in Berlin.[2] It also has an extra verse that was cut from the studio album, but nevertheless appears on its sleeve.

Shine On You Crazy Diamond

“Shine On You Crazy Diamond” is a nine-part Pink Floyd composition written by David Gilmour, Roger Waters, and Rick Wright. It appeared on Pink Floyd’s 1975 concept album Wish You Were Here.

The song was conceived and written as a tribute and remembrance to their former band member Syd Barrett, and the work was first performed on their 1974 French tour, and recorded for their 1975 concept album Wish You Were Here. It was intended to be a side-long composition (like “Atom Heart Mother” and “Echoes”), but was ultimately split into two sections and used to bookend the album, with new material composed that was more relevant to the album, and to the situation in which the band found themselves.[3]

Set the Controls for the Heart of the Sun

“Set the Controls for the Heart of the Sun” is a song by the English rock band Pink Floyd. It appeared on their second album, A Saucerful of Secrets (1968).[3] It was written by Roger Waters[3] and features a drum part by Nick Mason played with timpani mallets. The track was planned for release as a single, with “Scream Thy Last Scream”, on 8 September, before it was vetoed by the band’s record company, EMI.[4] The song was regularly performed between 1967 and 1973[3] and can be heard on the live disc of the 1969 album Ummagumma[3] and seen in the 1972 movie Pink Floyd: Live at Pompeii.[3] It also appears on the 2001 compilation album Echoes: The Best of Pink Floyd.[5] It is the only song recorded by Pink Floyd to feature material from all five band members, as there are several different guitar parts recorded by both David Gilmour and Syd Barrett.

See-Saw (song)

“See-Saw” is a song from Pink Floyd’s 1968 album A Saucerful of Secrets. It tells of a strangely troubled brother-sister relationship.[1][2]

It is the third Pink Floyd song written solely by Richard Wright, the second on the album as such, and features Wright on lead vocals and piano, Farfisa organ, xylophone and mellotron. On the recording sheet, the song is listed as “The Most Boring Song I’ve Ever Heard Bar Two”.[3] David Gilmour uses a wah-wah pedal on his electric guitar and possibly contributes backing vocals.

See Emily Play

“See Emily Play” is a song by English progressive rock band Pink Floyd, released as their second single in June 1967.[2][3] Written by original frontman Syd Barrett and recorded on 23 May 1967, it featured “The Scarecrow” as its B-side. Though it was initially released as a non-album single, the song appeared on the American edition of their debut album The Piper at the Gates of Dawn (1967).
“See Emily Play” is included in The Rock and Roll Hall of Fame’s 500 Songs that Shaped Rock and Roll list and reached No. 6 in the United Kingdom singles chart.[4] As of 2015, the song has never been mixed to stereo, so the US album version was rechannelled and all subsequent reissues have been in mono.

Seamus (song)

“Seamus” is the fifth song on Pink Floyd’s 1971 album Meddle, and uses a blues chord progression in an open D tuning.[1][2] The song is named after the Collie dog (belonging to Humble Pie leader Steve Marriott) who performed howling ‘vocals’ on the album version of the track.[3]

Film director Adrian Maben captured Pink Floyd’s only live performance of “Seamus” (in a greatly altered form, excluding lyrics, and retitled “Mademoiselle Nobs”) in his film Pink Floyd: Live at Pompeii. To recreate the song, David Gilmour played harmonica instead of singing and Roger Waters played one of Gilmour’s Stratocaster guitars. A female Borzoi (Russian Wolfhound) named Nobs, which belonged to Madona Bouglione (the daughter of circus director Joseph Bouglione), was brought to the studio to provide howling accompaniment as Seamus did in the album version. There is also an audible bass guitar in this recording, likely overdubbed during mixing of the film soundtrack at another studio.[4]

Scream Thy Last Scream

“Scream Thy Last Scream” is an unreleased song by Pink Floyd, written by frontman Syd Barrett and was scheduled to be the band’s next single.[1][2][3]

The song is slated to be released on the The Early Years 1965-1972 box set in November 2016, which will be its first official release.

Only two takes are complete.[1] It was recorded in the same sessions as “Set the Controls for the Heart of the Sun”, on 7–8 August 1967.[4][5][2]

The Scarecrow (song)

“The Scarecrow” is a song by Pink Floyd on their 1967 debut album The Piper at the Gates of Dawn,[1][2] though it first appeared as the B-side of their second single “See Emily Play” (as “Scarecrow”) two months before. It was written by Syd Barrett and recorded in March 1967. This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

The song contains nascent existentialist themes, as Barrett compares his own existence to that of the scarecrow, who, while “sadder” is also “resigned to his fate”. Such thematic content would later become a mainstay of the band’s lyrical imagery. The song contains a baroque, psychedelic folk instrumental section consisting of 12-string acoustic guitar and cello. Reflecting the experimental nature of many of the band’s early psychedelic pieces, all instruments are panned to the extreme left hand and right hand sides of the stereo, with two vocal lines, one spoken and one sung. The US single (Tower 356) was released by Tower Records three times between July 1967 and late 1968. Each time it failed to duplicate its UK success.

A Saucerful of Secrets (song)

“A Saucerful of Secrets” is a multi-part instrumental composition by progressive rock band Pink Floyd from their 1968 album of the same name. It is nearly 12 minutes long and was composed by Roger Waters, Richard Wright, Nick Mason and David Gilmour. The track is an experimental, avant-garde piece featuring guitar feedback, a percussion solo section and wordless vocals.

“A Saucerful of Secrets” was titled “The Massed Gadgets of Hercules” in its earliest performance and became a Pink Floyd live staple from 1968 to 1972. A live version of the track is available on their 1969 double album Ummagumma,[2] and an alternative version is seen and heard in the film Pink Floyd: Live at Pompeii,[3] which was performed at director Adrian Maben’s request, as he thought it would be a good addition to the film.[4]
The band felt we achieved something with the title track of A Saucerful of Secrets (1968). I can’t say as I fully understood what was going on when it was being made, with Roger sitting around drawing little diagrams on bits of paper. But throughout the following period I tried to add what I knew of harmony and bring it slightly more mainstream, if you like. And the way they worked certainly educated me. We passed on all our individual desires, talents and knowledge to each other.
— David Gilmour[5]
Live performances of the song differed significantly from the studio version. The closely miked cymbal sound that starts the piece was instead performed as a two-note drone on the bass. For the “Syncopated Pandemonium” section, Richard Wright usually had to be content with playing his Farfisa organ instead of pounding a grand piano with his fists as on the studio recording (the version on Pompeii being a notable exception). The “Celestial Voices” section started with just organ as per the studio version, but gradually added drums, bass, guitar and wordless vocals, provided by David Gilmour.
The Japanese release of this song was simply titled 神秘 (shinpi?), which translates as “Mystery”. The album A Saucerful of Secrets itself also carried this title.
The song was Gilmour’s first songwriting credit with Pink Floyd. On the original vinyl and early CD issues, his name was misspelled as “Gilmore”.[6][7][8] This was corrected with the remastered version released in 1994.[9]

San Tropez (song)

“San Tropez” is the title of the fourth track from the album Meddle by the band Pink Floyd.[1][2] This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

Unlike the other tracks on Meddle, “San Tropez” was not written collaboratively; instead, Roger Waters wrote the piece himself and brought it into the studio already finished. It is the only track on Meddle not co-written by David Gilmour. This song is about a place called Saint-Tropez, a commune of the Var département in southern France located on the French Riviera. The song reflects an idealised vision of what a day in Saint-Tropez might be like.[4]

Run Like Hell

“Run Like Hell” is a song by the English progressive rock band Pink Floyd, written by David Gilmour and Roger Waters. It appears on the album The Wall. It was released as a single in 1980,[1][2] reaching #15 in the Canadian singles chart [3] as well as #18 in Sweden.[4]

The song is written from the narrative point of view of antihero Pink, an alienated and bitter rock star, during a hallucination in which he becomes a fascist dictator and turns a concert audience into an angry mob. The lyrics are explicitly threatening, directed at the listener, one with an “empty smile” and “hungry heart”, “dirty feelings” and a “guilty past”, “nerves in tatters” as “hammers batter down your door.” Even the act of sexual intercourse is doomed, for “if they catch you in the back seat trying to pick her locks”, the results will be fatal. Although the lyric “You better run like hell” appears twice in the liner notes, the title is never actually sung; each verse simply concludes with “You better run”.

Remember a Day

“Remember a Day” is a song by the British psychedelic rock band Pink Floyd, and is on their second album, A Saucerful of Secrets (1968).[2][3] It was performed live only twice; as an encore in May 1968, and forty years later, in September 2008, by David Gilmour in memory of Rick Wright. The dreamy, poetic lyrics are about nostalgia for the lost paradise of early childhood.[4]

The song, written and sung by Wright, was recorded in October 1967 at De Lane Lea Studios in London. The sessions also produced “Jugband Blues”, “Vegetable Man”, “In the Beechwoods” and “John Latham”.[5]
Syd Barrett plays the slide guitar. Andrew King, Pink Floyd’s manager, recalls: “I remember De Lane Lea… we did ‘Vegetable Man’ there… and ‘Remember a Day’, which Syd does a guitar solo on.”
“I was self-taught and my only group was Pink Floyd. I was not featured on ‘Corporal Clegg’ but did play on another track written by Richard Wright. I forget the title but it had a steel guitar in the background. There have been complications regarding the LP but it is now almost finished and should be issued by EMI in a few months. I now spend most of my time writing.” — Syd Barrett, 1968.
During the sessions for the song, the band’s drummer Nick Mason became agitated that he could not come up with the right drum part. Producer Norman Smith, however, knew what he wanted with the drums, so he played the part himself.[6]

Quicksilver (instrumental)

“Quicksilver” is an avant-garde instrumental by Pink Floyd from their album Soundtrack from the Film More.[1][2]

It appeared in shortened form in the live suite The Man and The Journey, where it was entitled “Sleep”. The studio album version of the piece runs 7 minutes 13 seconds, about 3 minutes longer than The Man and The Journey version. The song consists of eerie sound effects psychedelics and other musique concrète techniques, hallmarks of the early Pink Floyd sound. The song’s title comes from the alternative name for the element mercury, with which the film’s two main characters are playing at the time.

Pow R. Toc H.

“Pow R. Toc H.” is an instrumental, with vocal effects, by Pink Floyd on their 1967 album The Piper at the Gates of Dawn.[3][4] In addition to the vocal effects, the piano is a prominent instrument in this piece.

Toc H. was the army signallers’ code for “TH,” representing Talbot House, a club where officers and enlisted men were equals. It later became an interdenominational Christian fellowship organization serving the community.

According to Nick Mason, the original four members of Pink Floyd (Syd Barrett, Roger Waters, Richard Wright and Mason) were present at Abbey Road Studios and watched The Beatles recording “Lovely Rita” from Sgt. Pepper’s Lonely Hearts Club Band.[5] Voice effects and noises similar to those used in “Lovely Rita” could be heard in “Pow R. Toc H.,” recorded next door during the same period.

In the song, Syd Barrett displays an early example of beatboxing. Roger Waters also uses the “scream” he would later use in “Careful With That Axe, Eugene.”

Poles Apart

“Poles Apart” is a song by Pink Floyd from the band’s 1994 album, The Division Bell.

The lyrics speak to ex-bandmate Syd Barrett in the first verse, and Roger Waters in the second, according to co-writer Polly Samson.[1] As such, the second verse begins with the words Hey you, the title of a Waters-penned song from Pink Floyd’s earlier album, The Wall.

Point Me at the Sky

“Point Me at the Sky” is the fifth United Kingdom single by the British band Pink Floyd, released on 17 December 1968.[1][2] The song was an early collaboration by bassist Roger Waters and guitarist David Gilmour.[3] The single was not released in the United States, but it was in Canada as well as in Japan, and some European countries.

The vocals on the verse of the song are sung by Gilmour, and the bridge vocals are shared between Gilmour and Waters. Musically, the song starts out quietly and then becomes a heavy piece of psychedelic rock.

Promotional U.K. copies and many foreign releases mistakenly printed the title “Point Me to the Sky” on the label and or sleeve.

A Pillow of Winds

“A Pillow of Winds” is the second track from Pink Floyd’s 1971 album Meddle.[1][2]

This soft acoustic love song[3] may be quite uncharacteristic of the band’s previous and future material. Guitarist David Gilmour composed the chord sequence, played in a series of arpeggios, and Roger Waters wrote the melody and lyrics.[3] This song also features slide guitar work by Gilmour, as well as a fretless bass,[3] played by Waters. The song begins and ends in the key of E major, with a darker middle section (following the lyric, “and the candle dies”) in the parallel minor, E minor. Both the E major and E minor chords feature the ninth, making this song one of many Pink Floyd songs to feature a prominent E minor added ninth chord, “Em(add9)”. Throughout most of the song, the bass line remains on E as a pedal point, creating a drone. A chord named “G#m/E” is more accurately called an E major seventh chord, “Emaj7”, and a “Bm/E” is just as equally named an “E7sus2”. In the instrumental interlude, however, the chords change completely to A minor and B minor chords, leaving the E bass drone for a time before returning to E major.[4]

According to Nick Mason, the song’s title originates from a possible hand in the game of mahjong, with which the band had become enamoured while touring.[5]

The song’s lyrics refer to an eiderdown, better known in the U.S. as a comforter. Two other known Pink Floyd songs make reference to an eiderdown, Syd Barrett’s “Flaming” and Waters’s “Julia Dream”.

Pigs on the Wing

“Pigs on the Wing” is a two-part song by progressive rock band Pink Floyd from their 1977 concept album Animals, opening and closing the album.[1] According to various interviews, it was written by Roger Waters as a declaration of love to his new wife Lady Carolyne Christie. This song is significantly different from the other three songs on the album, “Dogs”, “Pigs”, and “Sheep” in that the other songs are dark, whereas this one is lighter-themed, as well as also being much shorter in duration at under a minute and a half while the others are over 10 minutes in length.[1]

Pigs (Three Different Ones)

“Pigs (Three Different Ones)” is a song from Pink Floyd’s 1977 album Animals. In the album’s three parts, “Dogs”, “Pigs” and “Sheep”, pigs represent the people whom Roger Waters considers to be at the top of the social ladder, the ones with wealth and power; they also manipulate the rest of society and encourage them to be viciously competitive and cutthroat, so the pigs can remain powerful. Although it was not made available for commercial purchase, promotional copies were released in Brazil, albeit in an edited form of only four minutes and five seconds in length.[1]

Party Sequence

“Party Sequence” is the seventh track by English progressive rock band Pink Floyd on their third album, More.[1][2]

The song is a short instrumental credited to all band members, and consists of a sequence of tribal percussion, and a penny whistle playing the melody to “Seabirds”, a song that Pink Floyd recorded for the More film, but was left off the soundtrack album.

Paint Box (song)

“Paint Box” is a song by the psychedelic rock band Pink Floyd, written and sung by keyboardist Richard Wright.[2][3] It was first released in 1967 as the B-side to the single “Apples and Oranges”.

Musical features of the song include its long drum fills by Nick Mason, and a piano solo by Wright, which is panned around the stereo spectrum. Wright also doubles on tack piano in addition to the ordinary acoustic piano.

The song’s lyrics begin with “Last night I had too much to drink / Sitting in a club with so many fools”, and feature an ambivalent chorus: “I open the door to an empty room / Then I forget”.

The song is the first of many Pink Floyd songs to prominently feature an E minor added ninth chord.[4] This chord would become a signature aspect of their better-known material: It opens The Dark Side of the Moon with “Breathe”.[5] It is prominent in “Welcome to the Machine” from Wish You Were Here, where it alternates with a C Major seventh chord for most of the song.[6] “Dogs” from Animals centers around the chord as played on down-tuned guitars, resulting in a concert pitch of D minor ninth.[7][8] It appeared again in “Hey You” and “Vera” from The Wall.[9] It would appear in no less than four songs from The Final Cut: “Your Possible Pasts”; “The Hero’s Return”; “The Gunner’s Dream”; and “The Fletcher Memorial Home”.[10]

Outside the Wall (song)

“Outside the Wall” (working titles “Bleeding Hearts”, “The Buskers”)[1][2] is a song written by Roger Waters. It appeared on the 1979 Pink Floyd album, The Wall.[3][4]

This song is meant as a dénouement to the album. The story ends with “The Trial”, in which a “judge” decrees, “Tear down the wall!”. An explosion is heard to signify the wall’s destruction, and “Outside the Wall” quietly begins. It is not explicitly stated what happens to Pink, the protagonist, after the dismantling of his psychological “wall”. At the end, the song cuts off abruptly, as the man says “Isn’t this where…”

The song is the quietest on the album. It is a diatonic song in C Major, and is 1:41 in length. In the original demo version of this song, a harmonica was used in place of the clarinet heard on the album version.

One Slip

“One Slip” is a song from Pink Floyd’s 1987 album A Momentary Lapse of Reason.[1][2]

The album gets its title from a line of this song’s lyrics. The song was co-written by David Gilmour and Roxy Music guitarist Phil Manzanera, who later co-produced Gilmour’s On an Island album and played rhythm guitar on the subsequent tour.

It was first released as the B-side to “Learning to Fly”. It was then re-released as the third single from the album in the UK where it was a minor hit and was the fourth single from the album in the US where it did well on the Billboard Mainstream Rock Tracks chart.

The track was the final song from the album played live when it was the first encore on the Momentary Lapse of Reason tour from 1987–89. The band resurrected the track on one show on their 1994 The Division Bell tour when the band performed it in Oakland, California.

One of These Days (instrumental)

“One of These Days” is the opening track from Pink Floyd’s 1971 album Meddle.[2][3] The composition is instrumental except for a spoken line from drummer Nick Mason, “One of these days I’m going to cut you into little pieces.” It features double-tracked bass guitars played by David Gilmour and Roger Waters,[3] with each bass hard panned into one channel of stereo. Gilmour’s bass sound is quite muted and dull. According to Gilmour, this is because that particular instrument had old strings on it, and the roadie they had sent to get new strings for it wandered off to see his girlfriend instead.[4]

One of the Few

“One of the Few” is a song by the British progressive rock band Pink Floyd.[1] It was released as the third track on The Final Cut album in 1983.[2] The song is 1 minute and 12 seconds long. It features a ticking clock in the background and a steady drumbeat. The melody features most of the D minor scale.[3] The lyrics describe a war veteran’s return from the battlefield to pursue teaching. The ticking clock continues to the next track, “The Hero’s Return”, which is sung from the veteran’s perspective. This is one of the rejected songs from The Wall and its working title was “Teach”.

The lyrics “Make ’em laugh, Make ’em cry” in the third and final verse of the song is reprised in the third verse of “Not Now John” which is the twelfth track of the album The Final Cut.

One of My Turns

“One of My Turns” is a song by Pink Floyd.[1] It appears on The Wall album in 1979, and was released as a B-side on the single of “Another Brick in the Wall (Part 2)”.[2]

The song is split into distinct segments: a groupie (Trudy Young) performs a monologue (“Oh my God, what a fabulous room!”) while a television plays, under which a synthesizer makes atonal noises, which eventually resolve into a quiet song in C major in 3/4 time (“Day after day / Love turns gray / Like the skin of a dying man.”). Finally, the song abruptly leaps into a hard rock song in B-flat major. The song features some of Waters’ most strenuous recorded vocal workouts, with him ending at a relatively high A above middle C.[3]

On the Turning Away

“On the Turning Away” is a song from Pink Floyd’s 1987 album, A Momentary Lapse of Reason.[1][2] The song was a staple of live shows from the 1987-89 world tours in support of A Momentary Lapse of Reason and was one of the songs in rotation during the 1994 tour in support of The Division Bell. The song was resurrected by David Gilmour on his 2006 On an Island Tour for one night only. Live recordings exist on Delicate Sound of Thunder (1988) and Live in Gdansk (2008).

On the Run (instrumental)

“On the Run” is the third track[nb 1] from British progressive rock band Pink Floyd’s 1973 album, The Dark Side of the Moon.[1][2] It is an instrumental piece performed on an EMS synthesizer (Synthi AKS). It deals with the pressures of travel, which, according to Richard Wright, would often bring fear of death.

This piece was created by entering an 8-note sequence into a Synthi AKS synthesiser made by the British synthesiser manufacturer EMS and speeding it up, with an added white noise generator creating the hi-hat sound. The band then added backwards guitar parts, created by dragging a microphone stand down the fretboard, reversing the tape, and panning left to right. There are also other Synthi and VCS 3 synthesizer parts, made to sound like a vehicle passing, giving a Doppler effect. The 8 sixteenth notes sequence (E2 G2 A2 G2 D3 C3 D3 E3) is played at a tempo of 165 BPM, while both filter frequency and resonance are modulated. Near the end, the only guitar part is heard: a chord over the explosion of the presumed aircraft, which gradually fades, segueing into the chiming clocks introduction of the following track “Time”.

Obscured by Clouds (instrumental)

“Obscured By Clouds” is the opening and title track to Pink Floyd’s 1972 album Obscured by Clouds.[1][2]

It is entirely instrumental. The song starts with the persistent key of an EMS VCS 3, then becomes accompanied by drums and David Gilmour on guitar until the end. “Obscured by Clouds” then segues into the next song on the album, “When You’re In”.

These two songs were performed together live in late 1972 and usually opened shows on the 1973 Dark Side of the Moon tour. The live versions had a longer intro before the drums come in, with Gilmour’s slide guitar and some bass playing by Roger Waters. At the appearance of “When You’re In”, an extended jam similar to “Echoes” occurs. This jam lasts until Gilmour plays a solo, which is followed by the return of the EMS VCS 3 drone that starts “Obscured by Clouds”. The song ends with a reprise of the “When You’re In” theme.

Not Now John

“Not Now John” is a song by the progressive rock band Pink Floyd, written by Roger Waters. It appears on the album The Final Cut.[1][2] The track is the only one on the album featuring the vocals of David Gilmour, found in the verses, with Roger Waters singing the refrains and interludes, and was the only single released from the album. It reached No. 30 in the UK Singles Chart.

Nobody Home

“Nobody Home” is a song from the Pink Floyd album The Wall.[1][2] This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

“Nobody Home” was written late into the development of The Wall after an argument between the band and Roger Waters. David Gilmour said that the song “came along when we were well into the thing [The Wall] and he’d [Waters] gone off in a sulk the night before and came in the next day with something fantastic.”[4]

The Nile Song

“The Nile Song” is the second song from Pink Floyd’s 1969 album, Soundtrack from the Film More.[5][6] Released as a single in 1969 (only in France, Japan and New Zealand),[7] it was written by Roger Waters and sung by David Gilmour. It is similar to another song on the album Ibiza Bar.

Andy Kellman of Allmusic describes “The Nile Song” as “one of the heaviest songs the band recorded”.[8] The chord progression is a series of modulations, beginning at A, and then rising a whole step with each repeat, cycling through six different keys, returning to the starting point of A, and continuing the pattern as the song fades out.[9]

A New Machine

“A New Machine”, parts 1 and 2 are songs from Pink Floyd’s 1987 album, A Momentary Lapse of Reason.[1][2]

They serve as bookends to the instrumental track “Terminal Frost”, and feature David Gilmour’s voice, electrically distorted, through a vocoder and a rising synth note. The narrator seems to express weariness with a lifetime spent in the one body, waiting for the moment of death, but seeks consolation in the fact that this “waiting” will eventually end.

“A New Machine has a sound I’ve never heard anyone do. The noise gates, the Vocoders, opened up something new which to me seemed like a wonderful sound effect that no one had done before; it’s innovation of a sort.”
— David Gilmour, [3]
The two songs were the first Pink Floyd songs to be credited solely to David Gilmour since “Childhood’s End”, from their 1972 album Obscured by Clouds.

The Narrow Way

“The Narrow Way” is a section on the studio half of Pink Floyd’s fourth album Ummagumma.[1] It is a three-part song written and performed entirely by David Gilmour, using multiple overdubs to play all the instruments himself.

Part one of the song was called “Baby Blue Shuffle in D minor” when played by the band in a BBC broadcast on 2 December 1968;[2] it also strongly resembles the tracks “Rain in the Country (take 1)” and “Unknown Song” recorded (but eventually not used) for the soundtrack of Michelangelo Antonioni’s film Zabriskie Point in November/December 1969. This portion features layered acoustic guitar with some spacey effects overtop.

Part two features an electric guitar and percussion which modulate heavily at the end, forming a drone that leads into part three.

Part three of the song features Gilmour’s only vocal contribution to the studio part of the album.[3] It is the first Pink Floyd song to feature lyrics by Gilmour. This final part was incorporated into The Man and the Journey by the full band on their 1969 tour.

Mudmen (instrumental)

“Mudmen” is an instrumental track from Pink Floyd’s 1972 album Obscured by Clouds.[1][2]

The tune is similar to that of the third track on the same album (“Burning Bridges”) but develops the themes and leitmotifs of the tune further, with the time signature changed from 6/8 to 4/4. It is the only piece credited to Wright/Gilmour until “Cluster One” from their 1994 album The Division Bell.

Mother (Pink Floyd song)

“Mother” is a song by Pink Floyd.[1] It appears on The Wall album, released in 1979.[2] This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

“Mother” is 5:35 in length. The majority of the song is in G Major, though the chorus is predominantly a plagal cadence in C Major. The song is notable for its varied use of time signatures, such as 5/8 and 9/8.[4] Pink Floyd drummer Nick Mason found these time-signature changes difficult to learn, and, with the band recording on a very tight schedule, ceded the drumming duties to session drummer Jeff Porcaro.[5]

The song begins quietly with solo voice and a single acoustic guitar, and gradually expands its instrumentation to include, by the song’s end, reed organ, piano, drums, electric bass, and electric guitar. The song has a minimal introduction, consisting only of a sharp inhalation and rapid exhalation before the first verses are sung by Roger Waters. With exceptions (as noted above), the majority of the verses are in 4/4, or “common time”.[citation needed]

David Gilmour sings a chorus in 12/8 (or “compound quadruple meter”), in a narrative response to the first set of lyrics. Then a guitar solo follows. Waters sings another verse, which is once more followed by Gilmour’s chorus (with different lyrics). Finally, the song concludes with an arrangement stripped back down to one acoustic guitar and Waters’s voice, and a ritardando in which Waters sings, “Mother did it need to be so high?”, a reference to the metaphorical wall constructed by the character Pink. The song ends on the subdominant, C Major, which may create an “unfinished” or “dissatisfying” feeling.[citation needed]

Waters explained to Mojo magazine that the song is about, “The idea that we can be controlled by our parents’ views on things like sex. The single mother of boys, particularly, can make sex harder than it needs to be.”[6]

Following 9/11, this song was one of many (including another Pink Floyd song, “Run Like Hell”) to be included in the Clear Channel memorandum of songs with “questionable lyrics” which were generally not aired by Clear Channel radio stations.[7]

More Blues

“More Blues” is the tenth track on Pink Floyd’s 1969 album, More.[1][2] It is an instrumental blues track that runs two minutes and twelve seconds long. “More Blues” is credited to the entire band.

The band would also occasionally play 12-bar blues improvisations live from 1970–72, and notably as the final encore of their performance in Montreal in 1977 (the last show of the In the Flesh Tour) with Floyd’s touring guitarist Snowy White playing lead guitar in David Gilmour’s place after Gilmour left the stage disgruntled.

Money (Pink Floyd song)

“Money” is a song by the English progressive rock band Pink Floyd from their 1973 album The Dark Side of the Moon. Written by Roger Waters, it opened side two of the LP.

Released as a single, it became the band’s first hit in the US, reaching No. 10 in Cash Box magazine and No. 13 on the Billboard Hot 100. “Money” is noted for its unusual 7/4–4/4 time signature, and the tape loop of money-related sound effects (such as a ringing cash register and a jingle of coins) that is heard periodically throughout the song, including on its own at the beginning.

Matilda Mother

“Matilda Mother” is a song by British psychedelic rock band Pink Floyd, featured on their 1967 debut album, The Piper at the Gates of Dawn.[1][2] Written by Syd Barrett, it is sung mostly by Richard Wright with Barrett joining in on choruses and singing the whole last verse. It was the first song recorded for the album.

The lyrics quote fragments of fairy tales as read from a book to the singer by his mother (“read(ing) the scribbly black”, referring to writing in a book as a child sees it), and in the chorus he implores her to “tell me more”.[3] “Matilda Mother” represents a common theme in Barrett’s work: his nostalgia for childhood and awareness that it could not be regained.[4]
The song begins with an unusual bass and organ interlude. Roger Waters repeatedly plays the B on the 16th fret of the G-string by varying the lower note from D to F# on the D string. Unlike many older beat and pop songs, the guitar rarely plays chords, and most unusually for Western music, Wright provides an organ solo in the F# Phrygian dominant scale with a natural sixth instead of its typical flatted counterpart. The song ends with a simple E mixolydian-based waltz with wordless vocal harmonies of Wright and Barrett.[citation needed]
Barrett originally wrote the song around verses from Hilaire Belloc’s Cautionary Tales,[5] in which a series of naughty children, including Matilda, receive their (often gruesome) comeuppance. He was forced to rewrite[6] and re-record the track when Belloc’s estate unexpectedly denied permission to use these lyrics.[7]

Marooned (instrumental)

“Marooned” is an instrumental track on Pink Floyd’s 1994 album, The Division Bell;[1] the track won a Grammy Award in 1995.[2]

The piece was written by Richard Wright and David Gilmour.[1] It has sounds that describe the setting as an island, such as the sounds of seagulls and waves crashing on the shore. It was composed while jamming aboard the Astoria in early 1993. The high-pitch guitar sounds on the track came from a Whammy pedal which makes the guitar sound an octave higher,[3] also known as a pitch shifter. Also in the background can be heard the wailing guitar effects from the original recording of the Pink Floyd song “Echoes”, which were redubbed onto this song by Gilmour for increased textural effect.

David Gilmour has mentioned that “pretty much” all of “Marooned” is improvised and that he “probably took three or four passes at it and took the best bits out of each”.[3]

Main Theme

“Main Theme” is an instrumental track by English progressive rock band Pink Floyd on their third album, More.[2][3] The track is played at the beginning of the film, when Stefan is waiting for someone to pick him up along a road to Paris.

The track begins with a panning gong that lasts as a drone sound for the whole piece; at 0:30 the Farfisa organ starts a progression of modal chords, that fades at 1:12 into a drum-bass iterative sequence, similar to, but slower than, the one featured at the opening of “Let There Be More Light”. The organ played through a wah-wah pedal (1:20) plays a progression of background notes over the drum-bass line, while the untreated organ plays the main melodic notes (2:10). The slide guitar plays from the middle of the piece onward. The CD writing credit omits Mason.

Lucifer Sam

“Lucifer Sam” is a song by British psychedelic rock band Pink Floyd, featured on their 1967 debut album The Piper at the Gates of Dawn.

The song is built around a descending riff, with the dominant instrument being composer Syd Barrett’s electric guitar, fed through an echo machine; the resultant sound has been likened to a “sinister” Duane Eddy.[1] This is augmented by bowed bass and increasingly agitated organ and percussion effects.[2]

Though the lyric frequently refers to Lucifer Sam as a cat, some speculation has arisen as to whether this was in fact 1960s slang (“a hip cat”) for a man, real or imagined, in some type of relationship with Barrett’s then-girlfriend, Jenny Spires (referred to in the song as “Jennifer Gentle”).[2] However, Sam was simply Barrett’s Siamese cat (and is referred to as such in the first line: “Lucifer Sam, Siam cat”); the track was originally called “Percy the Rat Catcher” during the recording sessions, which took place during April – June 1967.[3]

Louder than Words (Pink Floyd song)

“Louder than Words” is a song written by David Gilmour and Polly Samson. The song, featuring lyrics written by Samson to accompany a composition by Gilmour, was originally recorded by British rock band Pink Floyd as the closing track of their fifteenth studio album, The Endless River. The track, which had its roots in the 1993 sessions for the band’s previous studio album, The Division Bell, features a posthumous appearance by former keyboardist and founding member of Pink Floyd, Richard Wright, and an appearance by electronic string quartet Escala. “Louder than Words” is the only song on the album with lyrics, sung by lead vocalist Gilmour.[2]

The track was released to US mainstream rock radio on 14 October 2014, serving as the first release in promotion of The Endless River.

Lost for Words (Pink Floyd song)

“Lost for Words” is a song recorded by English rock band Pink Floyd, written by guitarist and lead singer David Gilmour and his spouse Polly Samson for the band’s fourteenth studio album, The Division Bell. It appears as the penultimate track on the album. The lyrics, mostly penned by Samson, are a bitterly sarcastic reflection on Gilmour’s then-strained relationship with former bandmate Roger Waters[citation needed]. The second-to-last line, “But they tell me to please go fuck myself”, is just the fourth instance of the word “fuck” being used in a Pink Floyd lyric within the band’s official discography and, indeed, just the sixth instance of a Pink Floyd lyric using any profanity at all (the other ones being “I’ve got thirteen channels of shit on the TV to choose from” in “Nobody Home” from their 1979 album The Wall, “You little shit” in “The Trial”, also from The Wall, “Oh don’t talk with me/Please just fuck with me” in “Candy and a Currant Bun”, the B-side to Pink Floyd’s first single, Arnold Layne, “You fucked up old hag” in “Pigs (Three Different Ones)”, a song from the 1977 album Animals, “Don’t give me that do goody good bullshit” in “Money”, a song on the 1973 album “The Dark Side of the Moon”, and the repeated line “Fuck all that” in “Not Now John”, from 1983’s The Final Cut). The song was released to US rock radio the week of the album’s release,[1] succeeding “Keep Talking”, the previous promotional release, released the week before. The song reached #53 in the Canadian singles chart.[2]

Let There Be More Light

“Let There Be More Light” is the opening track on Pink Floyd’s second album A Saucerful of Secrets.[1][2] It was also released in edited form as the fourth American single by the group.[3]

The song is written by Roger Waters. It begins with an iterative bass line before the vocals start. The first, gentler vocals are performed by Rick Wright with Waters whispering, and the following, harder refrain is sung by David Gilmour. The last two minutes of the song mark the first appearance of a guitar solo by Gilmour on a Pink Floyd album.

Learning to Fly (Pink Floyd song)

“Learning to Fly” is a song by the English progressive rock band Pink Floyd, written by David Gilmour, Anthony Moore, Bob Ezrin, and Jon Carin. It was the first single from the band’s thirteenth studio album A Momentary Lapse of Reason.[1][2] It reached number 70 on the U.S. Billboard Hot 100 chart and number 1 on the Billboard Album Rock Tracks chart in September, 1987, remaining three consecutive weeks at the top position in the autumn of the same year. Meanwhile, the song failed to chart on the official U.K. top 40 singles charts.[3][4]

The Last Few Bricks

“The Last Few Bricks” is an instrumental bridge/medley used by Pink Floyd and Roger Waters at The Wall live shows, between “Another Brick in the Wall (Part III)” and “Goodbye Cruel World”.

It was composed specifically for the purpose of allowing the bricklayer roadies more time to finish constructing the wall, to seal off the stage almost completely, before Waters appeared in the last one-brick-wide space in the wall to sing “Goodbye Cruel World”, and end the first part of the show.

The piece doesn’t have a strict composition, varying from venue to venue, but it usually contained themes from “The Happiest Days of Our Lives”, “Don’t Leave Me Now”, “Young Lust”, “Empty Spaces” / “What Shall We Do Now?”, and occasionally, when the bricklayers were running especially late, a jam (in the jazzier style of the earlier, improv-oriented Floyd) similar to “Any Colour You Like” (D minor to G major), was played. The themes from “Don’t Leave Me Now” and “Young Lust” were transposed down a whole step, so, like much of the album, “The Last Few Bricks” is in D minor — which leads to a “brightening” effect, when “Goodbye Cruel World” begins in the parallel key of D major.

Keep Talking

“Keep Talking” is a song from Pink Floyd’s 1994 album, The Division Bell.

Written by David Gilmour, Richard Wright and Polly Samson, it was sung by Gilmour and also features samples of Stephen Hawking’s electronic voice, taken from a BT television advertisement (this same commercial would be sampled again in “Talkin’ Hawkin'” from Pink Floyd’s next and final studio album, The Endless River).[1] Gilmour chose to use the speech after crying to the commercial, which he described as “the most powerful piece of television advertising that I’ve ever seen in my life.”[2] The song also makes some use of the talk box guitar effect.

Julia Dream

“Julia Dream” is the B-side of the Pink Floyd single “It Would Be So Nice”.[1][2] The song was the first to be recorded by the band with lead vocals by David Gilmour.[citation needed]

Written by bassist Roger Waters, “Julia Dream” is characterised by the slow tempo, the airy, ambient Mellotron sounds from keyboardist Rick Wright and lush chorus vocals.

The song’s lyrics include reference to an eiderdown, an item also mentioned in two other known Pink Floyd songs – Syd Barrett’s “Flaming” and Gilmour/Waters’s “A Pillow of Winds”.

The song was later included on several compilation albums: The Best of Pink Floyd, Relics, and The Early Singles disc which was included in the Shine On box set.

Jugband Blues

“Jugband Blues” is a song by the English psychedelic rock band Pink Floyd, and is featured on their second album, A Saucerful of Secrets, released in 1968.[1][2] Written by Syd Barrett, it was his sole compositional contribution to the album, as well as his last published for the band. Barrett and Pink Floyd’s management wanted the song to be released as a single, but were vetoed by the rest of the band and producer Norman Smith. “Jugband Blues” is directed towards anyone within Barrett’s proximity.[3] A video was filmed for the song for the Central Office of Information.

It Would Be So Nice

“It Would Be So Nice” is a 1968 song by the rock band, Pink Floyd, written by the keyboard player/singer Richard Wright.[2][3] It was the fourth single released by the group. The song was left out of the 1971 collection Relics and, prior to the release of The Early Singles in 1992 with the box set Shine On, it was only available on the Masters of Rock compilation and the famous bootleg Dark Side of the Moo. Its B-side, “Julia Dream”, was written by the bass guitarist Roger Waters (who was gradually transitioning into his eventual role as the predominant songwriter and vocalist)[4] and was also re-released on The Early Singles.

Is There Anybody Out There?

“Is There Anybody Out There?” is a song from the Pink Floyd album, The Wall.[1][2]

The first half of the piece has the same concept of “Hey You”, being a distress call from Pink. Musically, it’s a droning bass synthesizer with various sound effects layered on top, and a repeating chorus of “Is there anybody out there?”. The shrill siren-like sound effect used during this song is also used in an earlier Pink Floyd work, “Echoes”. The noise was originally used as a sort of whale call for the deep-water-based “Echoes”, and is created by David Gilmour using a wah-wah pedal with the cables reversed.

The second half of the song is an instrumental classical guitar solo. Interestingly, it is not widely known who played it: In several interviews, David Gilmour has said that he tried to perform it, and was not satisfied with the final result (“I could play it with a leather pick but couldn’t play it properly fingerstyle”).[3] Accordingly, session musician Joe DiBlasi[4] was brought in by Michael Kamen to play with the rest of the orchestra. He was ultimately wrongly credited as “Ron DiBlasi” on the album sleeve because Roger Waters only remembered that it was a three-letter name; Ron was the closest name he could remember to Joe when creating the record.

Interstellar Overdrive

“Interstellar Overdrive” is an instrumental psychedelic rock song written and performed by Pink Floyd. The song was written in 1966, and is listed on their debut album, The Piper at the Gates of Dawn, released in 1967, clocking in at almost ten minutes in length.[4][5]

The song originated when guitarist Syd Barrett heard the band’s manager Peter Jenner humming a song, which Barrett tried to interpret by playing it on his guitar. Musically sharing the same theme with “Astronomy Domine”, the piece was recorded in several takes between March and April 1967. An earlier, longer recording of the song can be heard on the soundtrack to the film Tonite Lets All Make Love in London, which was recorded at Sound Technique Studios in early 1967, and was released in the same year. Other versions of the track appear on various bootleg recordings. The piece has been covered by acts such as T. Rex, Pearl Jam, Hawkwind, the Melvins, and Simon House.

In the Flesh (Pink Floyd song)

“In the Flesh” (working title “The Show”) is a song by English progressive rock band Pink Floyd.[1] It appears on their 1979 album The Wall.[2]

The introduction of the song features the same explosive organ sequence heard in the introduction to “In the Flesh?”. Following this, the song then moves into a slightly quieter choir chorus, before the lyrical section. The end of the song features another organ sequence, and the song fades out to the chanting of “Pink! Floyd! Pink! Floyd!”.

If (Pink Floyd song)

“If” is a song by Pink Floyd on their 1970 album Atom Heart Mother.[1][2] This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

Written and sung by Roger Waters, like “Grantchester Meadows” before it, “If” carries on a pastoral and folky approach,[4][5] but instead deals with introspection.[6] The song is in the key of E Major.

The song was performed live at a John Peel session on 16 July 1970, at BBC’s Paris Theatre, London. During that performance, Richard Wright plays both organ and bass. Waters did perform it numerous times on his solo tours,[5] during the 1984/85 ‘Pros and Cons’ tour, and in support of Radio K.A.O.S. in 1987. For these solo tours, “If” was expanded with additional lyrics and chord sequences.

Ibiza Bar

“Ibiza Bar” is a song by English rock band Pink Floyd, featured on their third album, More.[1][2]

The song opens with a rhythm guitar riff notably similar to that of “The Nile Song”. However, unlike that track, “Ibiza Bar” does not change keys, staying with a verse of E and D major chords, and a chorus resolving to A major. The chorus could be said to modulate, via a series of chords based on accidentals, all major: A to C, G to B-flat, and F back to A. David Gilmour’s lead guitar parts use a good deal of echo. This and “The Nile Song” are among the few flirtations the band made with a heavier sound, along with “The Gold It’s in the…” from Obscured by Clouds and “Young Lust” from The Wall.

High Hopes (Pink Floyd song)

“High Hopes” is the eleventh and final track from the 1994 Pink Floyd album The Division Bell, composed by David Gilmour with lyrics by Gilmour and Polly Samson. Its lyrics speak of the things one may have gained and lost in life, written from Gilmour’s autobiographic perspective. Gilmour has said that the song is more about his early days, and leaving his hometown behind, than about the seeds of division supposedly planted in Pink Floyd’s early days.[1] Douglas Adams, a friend of Gilmour, chose the album title from one verse in this song. Live versions are featured on Pulse, Remember That Night and Live in Gdańsk. On Echoes: The Best of Pink Floyd, a somewhat shortened version of the song segues into Syd Barrett’s “Bike”. The segue is accomplished by cutting from the church bell at the end of “High Hopes” to a new bicycle bell sound effect before “Bike” begins. A 7-inch vinyl version of the single was released on a transparent record.

The final couplet from the song (“The endless river/Forever and ever”) recalls a line from the band’s second single, “See Emily Play”, from 1967, (“Float on a river/Forever and ever”)[2] and inspired the name of their final studio album, The Endless River, released in 2014.[3]

Hey You (Pink Floyd song)

“Hey You” is a song by Pink Floyd.[1] It appears on The Wall album (1979).[2] It starts the second disc of the double album. This song, along with “The Show Must Go On”, was edited out of the film for fear on the part of the filmmakers that the film was running too long; however, a rough version is available as an extra on the 25th Anniversary Edition DVD.

The Hero’s Return

“The Hero’s Return” is a song by Pink Floyd from their 1983 album, The Final Cut.[1][2]

The song was one of the tracks included on The Final Cut that had been previously rejected from their previous album, The Wall (Then titled “Teacher, Teacher”). Guitarist David Gilmour was opposed to this recycling of songs, believing that if they “weren’t good enough for The Wall, why are they good enough now?”[3]

Like many other tracks on The Final Cut, “The Hero’s Return” featured anti-war lyrics. The lyrics of “The Hero’s Return” are almost entirely rewritten from its “Teacher, Teacher” demo version.

“The Hero’s Return”, featuring an extra verse that was not on the album version, was re-titled “The Hero’s Return (Parts 1 and 2)” to be released as the B-side of “Not Now John”, also from The Final Cut, in 1983. Also, despite not being released as an A-side to a single, “The Hero’s Return” charted at #31 on the Billboard Mainstream Rock chart in America.[4]

Heart Beat, Pig Meat

“Heart Beat, Pig Meat” is an instrumental song by progressive rock band Pink Floyd from the soundtrack to the film Zabriskie Point.[1][2]

The song revolves around a repetitive rhythm with keyboard improvisations on top of it. Throughout the song, various orchestral clips and random clips of people talking can be heard, as well as the sound of feet running.

Have a Cigar

“Have a Cigar” is the third track on Pink Floyd’s 1975 album Wish You Were Here.[1][2] It follows “Welcome to the Machine” and on the original LP opened side two. In some markets, the song was issued as a single.

English folk singer Roy Harper provided lead vocals on the song. It was one of only two Pink Floyd recordings to feature guest lead vocals, the other being “The Great Gig in the Sky” with Clare Torry, though the latter piece featured no lyrics.


The Happiest Days of Our Lives

“The Happiest Days of Our Lives” is a song by Pink Floyd.[1] It appeared on The Wall album in 1979.[2]

The song is approximately 1 minute, 46 seconds in length, beginning with 24 seconds of a helicopter sound effect; followed by the schoolmaster shouting (in a helicopter) “You! Yes, you! Stand still, laddie!”, performed by Roger Waters. Waters’s lead vocal is treated with a reverse echo. The lead instrument is the electric guitar with an added delay effect, playing roots (mostly D, G, and A over a melody in D minor). The bass and guitar figure heard during the verses, G to A, is similar to the one in “Waiting for the Worms”, heard much later in the album. During the transition to “Another Brick in the Wall, Part II”, the key shifts from D minor to the relative major, F major, with dramatic drum rolls and harmony vocals.

On the album, “The Happiest Days of Our Lives” segues into “Another Brick in the Wall, Part II” with a loud, high-pitched scream by Roger Waters. Because of this segue, many radio stations play one right after the other, and subsequent Pink Floyd compilation albums (both Echoes and A Foot in the Door) use this song as the extended intro to Another Brick in the Wall.

In the film based on the album, the sound at the beginning of the song is depicted as coming from a train entering a large tunnel, rather than a helicopter heard on the album. According to Gerald Scarfe, there was supposed to be a puppet of the teacher at the end of the tunnel in the film. Alan Parker made shots of it, but it didn’t work out, so they used Alex McAvoy, who played the schoolteacher, to do the scene instead. Before the cut in the middle for the Schoolmaster to mock Pink, somewhat quiet hysterical laughter is heard, extremely similar to the Schoolmaster’s voice.

The Gunner’s Dream

“The Gunner’s Dream” is a song from Pink Floyd’s 1983 album The Final Cut.[1][2] This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.[3] The song tells the story and thoughts of an airman gunner as he falls to his death during a raid, dreaming of a safe world in the future, without war. It is one of the four songs on the video version of the album The Final Cut Video EP. In his lyrics, Waters references real-life events including the then very recent Hyde Park and Regent’s Park bombings, and takes the refrain “some corner of a foreign field” from Rupert Brooke’s poem The Soldier.

Green Is the Colour

“Green Is the Colour” is a track on Pink Floyd’s 1969 Soundtrack from the Film More.[1][2] It was composed and written by Roger Waters and sung by David Gilmour. A tin whistle is heard in the song, played by drummer Nick Mason’s then-wife Lindy.[3]

Live arrangements of the song were performed as a full electric band piece and at a slower tempo. Richard Wright built a calm sheen of warbling organ sound throughout, which created a more natural segue into the piece that always immediately followed it, “Careful with That Axe, Eugene”. David Gilmour also sang a scat vocal over his guitar solo during the outro. In a live intro to the song from 1970, Roger Waters states that the song is “about being on Ibiza”[4] the setting of the film, More.

In The Man and The Journey suite, the song was retitled “The Beginning” in “The Journey” half of the show. It was played as a medley with “Beset by the Creatures of the Deep”, which was a retitling of “Careful with That Axe, Eugene”.

The song was a regular part of the band’s shows from early 1969 through 1970, then less common in 1971. It was played for the last time during their short tour of Japan and Australia in August 1971.

It is in the key of G major.

The Great Gig in the Sky

“The Great Gig in the Sky” is the fifth track[nb 1] on The Dark Side of the Moon, the 1973 album by the English progressive rock band Pink Floyd. The song features music by Richard Wright and non-lexical vocals by Clare Torry.

The song began life as a Richard Wright chord progression, known variously as “The Mortality Sequence” or “The Religion Song”. During 1972 it was performed live as a simple organ instrumental, accompanied by spoken-word samples from the Bible and snippets of speeches by Malcolm Muggeridge, a British writer known for his conservative religious views. When the band came to record Dark Side in 1973, the lead instrument had been switched to a piano. Various sound effects were tried over the track, including recordings of NASA astronauts communicating on space missions, but none were satisfactory. Finally, a couple of weeks before the album was due to be finished, the band thought of having a female singer “wail” over the music.[2]

A Great Day for Freedom

“A Great Day for Freedom” is a song by Pink Floyd from their 1994 album, The Division Bell.[1][2]

The song, originally titled “In Shades of Grey”, addresses the great hopes following the fall of the Berlin Wall and the disappointment that followed. David Gilmour stated:

“There was a wonderful moment of optimism when the Wall came down – the release of Eastern Europe from the non-democratic side of the socialist system. But what they have now doesn’t seem to be much better. Again, I’m fairly pessimistic about it all. I sort of wish and live in hope, but I tend to think that history moves at a much slower pace than we think it does. I feel that real change takes a long, long time.”[3]

Despite Gilmour’s statements to the contrary, the lyrics have often been read as a reflection on the bitter and estranged partnership Gilmour had with former bandmate Roger Waters, who was the driving force behind the band’s album The Wall. By this interpretation, the “Great Day for Freedom” would be the day Waters left the band, giving the other members freedom to determine the band’s future direction. Gilmour commented on this reading: “I’m quite happy for people to interpret The Division Bell any way they like. But maybe a note of caution should be sounded because you can read too much into it. ‘A Great Day for Freedom’, for example, has got nothing to do with Roger or his ‘wall’. It just doesn’t. What else can I say?”[4]

Grantchester Meadows (song)

“Grantchester Meadows” is the second track from the studio disc of the experimental Pink Floyd album Ummagumma.[1] It was written and performed entirely by Roger Waters. The song features his lyrics accompanied by an acoustic guitar played by Waters himself, while a tape loop of a skylark chirps in the background throughout the entire song.[2] At approximately 4:13, the sound of a honking goose is temporarily introduced, followed by the sound of it taking off. This song was one of several to be considered for but ultimately excluded from the band’s “best of” album, Echoes: The Best of Pink Floyd.[3]

The Grand Vizier’s Garden Party

“The Grand Vizier’s Garden Party” is a three-part instrumental from Pink Floyd’s Ummagumma album.[1] The name refers to the Grand Vizier of the Ottoman Empire, who was the first minister of the Sultan.[2]

All three parts are written by Nick Mason[3] following the structure of the album in which each band member made his own composition. Like the majority of songs on the album, it is a highly experimental track and is divided into parts: “Entrance”, “Entertainment” and “Exit”.

“Entrance” (Part 1) consists of a short flute melody, followed by a drum roll and cymbal, comprising the first minute. “Entertainment” (Part 2) follows, containing a variety of percussion, including the standard kit and timpani. It begins with various tape loops and percussive sounds, including cymbals, snare and tom drums. This is followed by an ambient piece played on a mellotron, with reversed percussion in the background. A drone is made out of a heavily reverbed timpani, followed by tape loops of drum rolls on the different parts of the drum kit and a drum solo. The final portion, “Exit” (Part 3), concludes the piece with several flutes in harmony for the final 40 seconds. Parts 1 and 3 were arranged by Ron Geesin and played by the flautist Lindy Mason, then Nick Mason’s wife.[2]

“Entertainment” was one of the many tracks which were played at some point or another in the concert piece The Man and the Journey under the name “Doing It!” Others included “Syncopated Pandemonium”, “Up the Khyber”, “Party Sequence” and “Skins”, as all of these prominently feature drums.

Goodbye Cruel World (Pink Floyd song)

“Goodbye Cruel World” is a song by Pink Floyd. It appears on their 1979 double album, The Wall.

A quiet song, the Prophet-5 analog synthesizer provides the D major chord sequence: D, G, D, A, D, while the bass guitar plays the root notes and their octaves.[1] A similar bass riff was used in the earlier Pink Floyd songs “Careful with That Axe, Eugene” and the fade-out of “See Emily Play”.[2] Notably, the final instance of the word “goodbye” is spoken as the music is cut, causing the final “goodbye” to appear somewhat despairing, as well as identifying the listener with Pink as he cuts all ties to the outside world.[original research?]

Goodbye Blue Sky

“Goodbye Blue Sky” is a song by Pink Floyd.[1] It appeared on their 1979 double album, The Wall.[2]

In a brief prologue, a skylark is heard chirping. The sound of approaching bombers catches the attention of a child (voiced by a young Harry Waters), who states, “Look mummy, there’s an aeroplane up in the sky”.

The lyrics go on to describe the memory of the Blitz: Did you see the frightened ones? Did you hear the falling bombs? Did you ever wonder why we had to run for shelter when the promise of a brave new world unfurled beneath a clear blue sky?
In the film version, this segment is animated by Gerald Scarfe. It shows a white dove (which begins as live action) flying peacefully up only to suddenly explode gorily, torn apart by a black Nazi eagle (Reichsadler). This swoops over the countryside, then grabs at the earth with its claws, ripping up a huge section and flying off leaving a trail of blood. It glides over England and it gives birth to a monster in the wake of its shadow, which then transforms into a machine that is an undefeated warlord releasing airplanes. Next, naked, gas-masked people (the frightened ones) are seen running about on all fours and hiding from The Blitz. Finally, a Union Jack that fragments, turning into a bleeding cross, the Nazi eagle crashed and the dove flies right out of it. The blood runs into the gutter and a drain. Unlike the album, this comes in after “When the Tigers Broke Free” and before “The Happiest Days of Our Lives”.

The Gold It’s in the…

“The Gold It’s in the…” is a song by the English rock band Pink Floyd, written by Roger Waters and David Gilmour and released on the band’s 1972 album Obscured by Clouds. It features an upbeat tempo, uncommon for Pink Floyd, and is one of their few songs that does not feature any keyboards or synthesizers, hence the absence of Rick Wright. It was a B-side to the song “Free Four” on the single released in Italy[1] On the US single, the B-side for Free Four was “Stay”.[2]

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