“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. This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.
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
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. 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.
“Young Lust” is a song by Pink Floyd. It appeared on The Wall album in 1979. This song was one of several to be considered for the band’s “best of” album, Echoes: The Best of Pink Floyd.
“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” is the sixth track, along with “Round and Around” on Pink Floyd’s 1987 album, A Momentary Lapse of Reason. It features soundbites from the film, Casablanca. Apparently, it was a demo during the Final Cut sessions but Roger Waters rejected it.
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?” is a song from Pink Floyd’s 1972 album, Obscured by Clouds. The song features multi-tracked vocals by David Gilmour, 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” is the title track on Pink Floyd’s 1975 album Wish You Were Here. 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.
“When You’re In” is a track from Pink Floyd’s 1972 album Obscured by Clouds. It is entirely instrumental, 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.”
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” is a Pink Floyd song by Roger Waters, 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.
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. 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?” (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 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” is a song by Pink Floyd featured on their 1994 album, The Division Bell. 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.
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.
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”.
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?”
The song uses the miracle of walking on water as a sarcastic metaphor.
“Welcome to the Machine” is the second song on Pink Floyd’s 1975 album Wish You Were Here. 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.”