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Pink Floyd are a British rock band noted for progressive rock music, philosophical lyrics, classical rock compositions, sonic experimentation, innovative cover art and elaborate live shows. One of rock music's most successful and influential acts, the group has sold an estimated 73.5 million albums in the U.S., and over 200 million albums worldwide.

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Waters rejoined the band on 2 July 2005 at the London Live 8 concert, playing to Pink Floyd's biggest audience ever. In [[February fuckbeen ruled out by either Mason or Gilmour.

Band history

===Syd Barrett-led era: 1965-1968op Pink Floyd evolved from an earlier band, formed in 1964, which was at various times called Sigma 6, The Meggadeaths, The Screaming Abdabs, and The Abdabs. When this band split up, some fuckity fuck fuck fuck Set, and were joined shortly thereafter by guitarist Syd Barrett, who became the band's primary vocalist as well. When Tea Set found itself on the same bill as another band with the same name, Barrett came up with an alternate name on the spur of the moment, choosing The Pink Floyd Sound (after two blues musicians, Pink Anderson and Floyd Council). For a time after this they oscillated between 'Tea Set' and 'The Pink Floyd Sound', with the latter name eventually winning out. The word Sound was dropped fairly quickly, but the definite article was still used occasionally for several years afterward, up to about the time of the More soundtrack. In the early days, the band covered rhythm and blues staples such as "Louie, Louie", but gained notoriety for psychedelic interpretations, with extended improvised sections and 'spaced out' solos.

The heavily jazz-oriented Klose left the band to become a photographer shortly before Pink Floyd started recording, leaving an otherwise stable lineup with Barrett on lead guitar, Waters on bass guitar, Mason on drums and Wright switching to keyboards. Barrett started writing his own songs, influenced by American Great Music and British psychedelic rock with his own brand of whimsical humour. Pink Floyd became a favourite in the underground movement, playing at such prominent venues as the UFO club, the Marquee Club and the Roundhouse. As their popularity increased, the band members formed Blackhill Enterprises in October 1966, a six-way business partnership with their managers, Peter Jenner and Andrew King, issuing the singles "Arnold Layne" (Audio file "Arnold_Layne.ogg" not found) in March 1967 and "See Emily Play" in June 1967. "Arnold Layne" reached number 20 in the UK singles chart, and "See Emily Play" reached number 6, granting the band its first TV appearance on Top of the Pops in July 1967.

Released in August 1967, the band's debut album, The Piper at the Gates of Dawn, is today considered to be a prime example of British psychedelic music, and was generally well-received by critics at the time. The album's tracks, predominantly written by Barrett, showcase poetic lyrics and an eclectic mixture of music, from the avant-garde free-form piece "Interstellar Overdrive" (Audio file "Interstellar_Overdrive.ogg" not found) to whimsical songs such as "The Scarecrow", inspired by the Fenlands, a rural region north of Cambridge (Barrett, Gilmour and Waters's home town). Lyrics were entirely surreal and often referred to folklore, such as "The Gnome" (Audio file "The_Gnome.ogg" not found). The music reflected newer technologies in electronics through its prominent use of stereo panning and electric keyboards. The album was a hit in the UK where it peaked at #6, but did not get much attention in North America, reaching #131 in the U.S. During this period, the band toured with Jimi Hendrix, which helped to increase its popularity.

Barrett's decline

As the band became more and more popular, the stresses of life on the road and a significant intake of psychedelic drugs took their toll on Barrett, whose mental health had been deteriorating for several months. While Barrett's behaviour has often been attributed to his drug use, there are many who think that a pre-existing condition, possibly schizophrenia or Asperger syndrome, was equally to blame, and that the drug use simply aggravated the problem. In January 1968, guitarist David Gilmour joined the band to carry out Syd's playing and singing duties. With Barrett's behaviour becoming less and less predictable, and his almost constant use of LSD, he became very unstable, often staring into space while the rest of the band performed. During some performances, he would simply strum one chord for the duration of a concert, or simply begin detuning his guitar. The band's live shows became increasingly ramshackle until, eventually, the other band members simply stopped taking him to the concerts. It was originally hoped that Syd would write for the band with Gilmour performing live, but Barrett's increasingly difficult compositions, such as "Have You Got It Yet?", which changed melodies and chord progression with every take, eventually made the rest of the band give up on this arrangement. Once Barrett's departure was formalized in April 1968, producers Jenner and King decided to remain with him, and the six-way Blackhill partnership was dissolved. The band adopted Steve O'Rourke as manager, and he remained with Pink Floyd until his death in 2003.

Finding their feet: 1968-1970

Musically, this period was one of experimentation for the band. Gilmour, Waters and Wright each contributed material that had its own voice and sound, giving this material less consistency than the Barrett-dominated early years or the more polished, collaborative sound of later years. Waters mostly wrote low-key, jazzy melodies with dominant bass lines and complex, symbolic lyrics, Gilmour focused on guitar-driven blues jams, and Wright preferred melodic psychedelic keyboard-heavy numbers. Unlike Waters, Gilmour and Wright preferred tracks that had simple lyrics or that were purely instrumental. Some of the band's most experimental music is from this period, such as "A Saucerful of Secrets", consisting largely of feedback and atonal screeches and loops, "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict" (Audio file "Several_Species.ogg" not found), which is a series of sped-up voice samples resembling rodents chattering that reaches its climax in an incomprehensible Scottish dialect monologue, and "Careful with That Axe, Eugene" (performed under different names during this period), a very Waters-driven song with a bass and keyboard-heavy jam culminating in crashing drums and Waters's primal screams.

Whilst Barrett had written the bulk of the first album, only one Barrett composition, the Piper outtake "Jugband Blues", appeared on the second Floyd album. A Saucerful of Secrets was released in June 1968, reaching #9 in the UK and becoming the only Pink Floyd album not to chart in the U.S. Somewhat uneven due to Barrett's departure, the album still contained much of his psychedelic sound combined with the more experimental music that would be fully showcased on Ummagumma. Hints of the epic, lengthy songs to come are in its centrepiece, the 12-minute title track (Audio file "A_Saucerful_of_Secrets.ogg" not found), but the album was poorly received by critics at the time, although critics today tend to be kinder to the album in the context of their body of work. Future Floyd albums would expand upon the idea of long, sprawling compositions, offering more focused songwriting with each subsequent release.

Pink Floyd was then recruited by director Barbet Schroeder to produce a soundtrack for his film, More, which premiered in May 1969. The music was released as a Floyd album in its own right, Music From the Film More, in July 1969; the album achieved another #9 finish in the UK, and peaked at #153 in the U.S. The band would use this and future soundtrack recording sessions to produce work that may not have fit into the idea of what would appear on a proper Pink Floyd LP; many of the tracks on More (as fans usually call it) were acoustic folk songs, although critics tend to find the collection of the film's music patchy and uneven. Two of these songs, "Green Is the Colour" (Audio file "Green_is_the_Colour.ogg" not found) and "Cymbaline", became fixtures in the band's live sets for a time, as can be heard in the many available bootleg recordings from this period. The latter was also the first Pink Floyd song to deal with Roger Waters's cynical attitude toward the music industry explicitly. The rest of the album consisted of incidental music with a few heavier rock songs thrown in, such as "The Nile Song" (Audio file "The_Nile_Song.ogg" not found).

The next record, the double album Ummagumma, was a mix of live recordings and unchecked studio experimentation by the band members, with each member recording half a side of a vinyl record as a solo project (Mason's first wife makes an uncredited contribution as a flutist). Though the album was realised as solo outings and a live set, it was originally intended as a purely avant-garde mixture of sounds from "found" instruments. The subsequent difficulties in recording and lack of group organization led to the shelving of the project. The title is slang for sexual procreation, and reflects the attitude of the band at the time, as frustrations in the studio followed them throughout these sessions. Wildly experimental on the studio disc (except for Waters's pure folk "Grantchester Meadows"), with atonal and jarring piano pieces ("Sysyphus" (Audio file "Sysyphus_Part_II.ogg" not found)), meandering folk guitar ("The Narrow Way") and large percussion solos, the live disc featured excellent performances of some of their most popular psychedelic-era compositions and caused critics to receive the album more positively than the previous two albums. With fans, the album was Pink Floyd's most popular release yet, hitting UK #5 and making the U.S. charts at #74.

1970's Atom Heart Mother, the band's first recording with an orchestra, was a collaboration with avant-garde composer Ron Geesin. One side of the album consisted of the title piece, a 23-minute long rock-orchestral suite (Audio file "Atom_Heart_Mother.ogg" not found). The second side featured one song from each of the band's then-current vocalists (Roger Waters's folk-rock "If", David Gilmour's bluesy "Fat Old Sun" (Audio file "Fat_Old_Sun.ogg" not found) and Rick Wright's psychedelic "Summer '68"). Another lengthy piece, "Alan's Psychedelic Breakfast", was a sound collage of a man cooking and eating breakfast and his thoughts on the matter, linked with instrumentals. The use of incidental sound effects and voice samples would thereafter be an important part of the band's sound. While Atom Heart Mother was considered a huge step back for the band at the time and is still considered one of its most inaccessible albums, it had the best chart performance for the band so far, reaching #1 in the UK and #55 in the U.S., although it has since been described by Gilmour as "a load of rubbish" and Waters as suitable for "throw in the dustbin and never listened to by anyone ever again." The album was another transitional piece for the group, hinting at future musical territory such as "Echoes" in its ambitious title track. The popularity of the album allowed Pink Floyd to embark on its first full U.S. tour. Before releasing its next original album, the band released a compilation album, Relics, which contained several early singles and B-sides, along with one original song (Waters's jazzy "Biding My Time").

Breakthrough era: 1971-1975

This is the period in which the Floyd shed its association with the "psychedelic" scene (and its association with Barrett) and became a distinctive band that is difficult to classify. The divergent styles of Gilmour, Waters and Wright (Mason's writing contributions to the group were minimal) were merged into a unique sound. It contains what many consider to be two of the band's masterpiece albums, The Dark Side of the Moon and Wish You Were Here. The sound became polished and collaborative, with the philosophic lyrics and distinctive bass lines of Waters combining with the unique blues guitar style of Gilmour and Wright's light keyboard melodies. Gilmour was the dominant vocalist throughout this period, and female choirs became a notable part of the band's style. The sometimes atonal and harsh sound exhibited in the band's earlier years gave way to a very smooth, mellow and soothing sound. The influence of Atom Heart Mother 's orchestral stylings was felt through the prominence of Dick Parry's mellow saxophone contributions. The epic, lengthy compositions reached their zenith with "Echoes", from Meddle; although "Shine On You Crazy Diamond" exceeded it in total length, it was split in two pieces as the opening and closing of Wish You Were Here. This period was not only the beginning but the end of the truly collaborative era of the band; after 1975 Waters's influence became more dominant musically as well as lyrically. Wright's last credited composition and last lead vocal on a studio album until 1994's The Division Bell were in this period, and Gilmour would never share credits as prominently again until Waters left the band in 1985. The last ties with Barrett were severed in musical, as well as literal, fashion with Wish You Were Here, whose epic track "Shine On You Crazy Diamond" was written both as a tribute and elegy to their friend.

The band's sound was considerably more focused on Meddle (1971), with the 23-minute epic "Echoes" (Audio file "Echoes.ogg" not found) taking up the second side of the LP. "Echoes" is a smooth progressive rock song with extended guitar and keyboard solos and a long segue in the middle consisting largely of synthesized whalesong produced on guitar, along with samples of seagull cries, described by Waters as a "sonic poem". Meddle was considered by Nick Mason to be "the first real Pink Floyd album. It introduced the idea of a theme that can be returned to." The album had the sound and style of the succeeding breakthrough-era Pink Floyd albums but stripped away the orchestra that was prominent in Atom Heart Mother. Meddle also included the atmospheric "One of These Days" (Audio file "One_of_These_Days.ogg" not found), a concert favourite, with Nick Mason's menacing one-line vocal, "One of these days, I'm going to cut you into little pieces," driving, bluesy slide guitar echoing Duane Allman's style, and a melody that at one point segues into a throbbing synthetic pulse quoting the theme tune of the cult classic science fiction television show Doctor Who. The mellow feeling of the next three albums is very present on "Fearless", and this track displays a country influence, as does the prominent pedal steel guitar of "A Pillow of Winds". The latter is one of the Floyd's very few love songs. Waters's role as lead songwriter began to take form, with his jazzy "San Tropez" brought to the band practically completed. It was greeted both by critics and fans enthusiastically, and Pink Floyd was rewarded with a #3 chart peak in the UK for Meddle; it reached #70 in U.S.. It remains one of their most well-regarded efforts.

Obscured by Clouds was released in 1972 as the soundtrack to the film La Vallee, another art house film by Barbet Schroeder. This was the band's first U.S. Top 50 album (where it hit #46), hitting #6 at in the UK. While Mason described the album years later as "sensational", it is less well-regarded by critics. The lyrics of "Free Four" (Audio file "Free_Four.ogg" not found), the first Pink Floyd song to achieve significant airplay in the U.S., introduced Waters's ruminations on his father's death in World War II which would figure in subsequent albums. Two other songs on the album, "Wots...uh, the Deal" and "Childhood's End", also hint at themes used in later albums, the former focusing on loneliness and desperation which would come to full fruit in the Roger Waters-led era, and the latter hinting much at the next album, fixated on life, death and the passage of time. "Childhood's End", inspired by the Arthur C. Clarke book of the same name, was also Gilmour's last lyrical contribution for 15 years. The album was, to an extent, stylistically different from the preceding Meddle, with the songs generally being shorter, often taking a somewhat pastoral approach compared to the atmospheric use of sound effects and keyboard on sections of Meddle, and sometimes even running into folk-rock, blues-rock and piano-driven soft rock ("Burning Bridges", "The Gold It's in the..." (Audio file "The_Gold_It's_in_The.ogg" not found) and "Stay" being the best examples for each).

The release of Pink Floyd's massively successful 1973 album, The Dark Side of the Moon, was a watershed moment in the band's popularity. Pink Floyd had stopped issuing singles after 1968's "Point Me At The Sky" and was never a hit-single-driven group, but The Dark Side of the Moon featured a U.S. Top 20 single ("Money"). The album became the band's first #1 on U.S. charts, a huge improvement over its previous recordings. The critically-acclaimed album stayed on the Billboard Top 200 for an unprecedented 741 weeks (including 591 consecutive weeks from 1976 to 1988), establishing a world record and making it one of the top-selling albums of all time. It also remained 301 weeks on UK charts, despite never rising higher than #2 there, and is highly praised critically. Saxophone is an important part of the album's sound, as the band's jazz influences became more prominent, and female backing vocals play a key role. Straight rock songs such as "Money" and "Time" (Audio file "Time.ogg" not found) were alongside the mellow pedal steel guitar sounds of Meddle in songs like "Breathe", and "On the Run" (Audio file "Pf-dsotm-ontherun.ogg" not found) is composed entirely on a synthesizer. Incidental sound effects and snatches of conversation play a large part, many taken from interviews around the studio. The album described the different pressures applying in everyday life. The concept (conceived by Waters and Mason in the latter's kitchen) proved a powerful catalyst for the band and together they drew up a list of themes, several of which would be revisited by Waters on later albums, such as "Us and Them"'s (Audio file "Us_and_Them.ogg" not found) musings on violence and the futility of war, and the themes of insanity and neurosis discussed in "Brain Damage". The album's complicated and precise sound engineering by Alan Parsons set new standards for sound fidelity; this trait became a recognizable aspect of the band's sound and played a part in the lasting chart success of the album, as audiophiles constantly replaced their worn-out copies.

It was during this period that the band released the first of its films, Live at Pompeii. Director Adrian Maben's film featured footage of the band's 1971 performance at an amphitheater in Pompeii with no audience present (only the film crew and stage staff). A later version of Live at Pompeii labelled "director's cut" was released on DVD which had each song interspersed with interviews and behind-the-scenes footage of the band in the studio recording The Dark Side of the Moon. Seeking to capitalize on its newfound fame, the band also released a compilation album, A Nice Pair, which was a double album consisting of The Piper at the Gates of Dawn and A Saucerful of Secrets.

Wish You Were Here, released in 1975, carries an abstract theme of absence: absence of any humanity within the music industry and, most poignantly, the absence of Syd Barrett. Well-known for its popular title track, the album includes the largely instrumental, nine-part Shine On You Crazy Diamond (Audio file "Shine_On_You_Crazy_Diamond.ogg" not found), a tribute to Barrett in which the lyrics deal explicitly with the aftermath of his breakdown. Many of the musical influences in the past were brought together, using quiet, atmospheric keyboards, blues guitar pieces, extended saxophone solos (by Dick Parry), jazz fusion and aggressive slide guitar in its different linked parts, culminating in a funeral dirge played with synthesized horn. The remaining tracks on the album, "Welcome to the Machine" and "Have a Cigar" (Audio file "Have_a_Cigar.ogg" not found), harshly criticize the music industry, the latter being sung by British folk singer Roy Harper. It was the first Pink Floyd album to reach #1 on both the UK and the U.S. charts, and is as enthusiastically praised critically as The Dark Side of the Moon. In a famous anecdote about the recording of Wish You Were Here, a heavyset man with a completely shaved head and eyebrows wandered into the studio while the band was recording "Shine On You Crazy Diamond". The band could not recognize him for some time, when suddenly one of them realized it was Syd Barrett. He was greeted enthusiastically by the band but subsequently slipped away during the impromptu party. It was the last time the band saw him. While he could not recall which song they were working on when Syd showed up, David Gilmour recently confirmed that it did happen, as did Nick Mason in his 2004 band autobiography. Barrett's shaved eyebrows would later make an appearance in the movie Pink Floyd: The Wall.

Roger Waters-led era: 1976-1985

During this era, Waters asserted more and more control over the band. Wright's influence is almost absent, and he was fired from the band during the recording of The Wall. Much of the music during this period takes a back seat to the lyrics, which explore Waters's feelings about his father's death in World War II and his increasingly cynical attitude towards politics and political figures such as Margaret Thatcher and Mary Whitehouse. The music, still polished, became somewhat less atmospheric but was otherwise similar to the previous era's. Guitars became more prominent at the expense of keyboard work and saxophone, with the latter being entirely absent from two of this era's three albums. A full orchestra, something which had not been used on any previous Floyd album except Atom Heart Mother, played a significant role on The Wall and, especially, The Final Cut.

By January 1977, and the release of Animals (UK #2, U.S. #3), the band's music came under increasing criticism from some quarters in the new punk rock sphere as being too flabby and pretentious, having lost its way from the simplicity of early rock and roll. Animals was, however, considerably more guitar-driven than the previous albums, due to either the influence of the burgeoning punk-rock movement or the fact that the album was recorded at Pink Floyd's new (and somewhat incomplete) Britannia Row Studios. The album was also the first to not have a single songwriting credit for Rick Wright. Animals again contained lengthy songs tied to a theme, this time taken in part from George Orwell's Animal Farm, using "Pigs" (Audio file "Pigs_(Three_Different_Ones).ogg" not found), "Dogs" (Audio file "Dogs.ogg" not found) and "Sheep" as metaphors for members of contemporary society. Despite the increased guitar influence, keyboards and synthesizers still play an important part, but the saxophone and female vocal work that defined much of the previous two albums' sound is absent. The result is a more hard-rock sound. Many critics did not respond well to the album, however, finding it "tedious" and "bleak", although some celebrated it for those very reasons. For the cover artwork, a giant inflatable pig was commissioned and floated over London's Battersea Power Station. However, the wind made the pig balloon difficult to control, and in the end it was necessary to matte a photo of the pig balloon onto the album cover. The pig nevertheless became one of the enduring symbols of Pink Floyd, and inflatable pigs were a staple of the band's live shows from then on.

1979's epic rock opera, The Wall, conceived mainly by Waters, developed themes of loneliness and failure of communication, inspired by Waters's feelings of having constructed a metaphoric wall between himself and his audience. This album gave Pink Floyd renewed acclaim and another chart-topping single with "Another Brick in the Wall (Part 2)". The Wall also included the future concert staples "Comfortably Numb" (Audio file "Comfortably_Numb.ogg" not found) and "Run Like Hell", with the former in particular becoming a cornerstone of album-oriented rock and classic-rock radio playlists as well as one of the group's best-known songs. The album was co-produced by Bob Ezrin, a friend of Waters who shared songwriting credits on "The Trial" and from whom the band distanced themselves after fighting with him over several different issues. Even more than during the Animals sessions, Waters was increasingly asserting his artistic influence and leadership over the band, prompting frequent conflicts with the other members. The music had become distinctly more hard-rock, although the large orchestrations on some tracks still recalled the early 1970s, and there are a few quieter songs such as "Hey You" and "Nobody Home". Wright's influence was absent, and he was fired from the band during recording, returning on a fixed wage for the album's live concerts. Ironically, Wright was the only member of Pink Floyd to make any money from the Wall shows, the rest having to cover the extensive costs.

Despite never hitting #1 in the UK (it made it to #3), The Wall spent 15 weeks atop the U.S. charts during 1980. Critics praised it, and it sold well over 30 million copies worldwide and is often regarded as the best-selling double album ever, as well as being the third-best selling album of all time in the U.S and the best selling album of the 1970s. It has been certified 23x platinum by the RIAA, for sales of 11.5 million copies in U.S. alone. The huge commercial success of The Wall made Pink Floyd the only artist since the Beatles to have the best-selling albums of two years (1973 and 1980) in less than a decade.

fuck re-release of The Final Cut was released with the single "When the Tigers Broke Free" added. The 30th-Anniversary SACD reissue of Wish You Were Here is due later in 2006. Waters and Wright are reported to be working on solo albums; David Gilmour released his first solo record since 1984's About Face, called On an Island, on 6 March 2006, and began a tour of small concert venues in Europe and the U.S. in support of the album a few days later, with Richard Wright as part of the band.

Nick Mason's book, Inside Out: A Personal History of Pink Floyd was published in 2004 in Europe and 2005 in the U.S.. Mason made public promotional appearances in a few European and American cities, giving interviews and meeting fans at book signings. Some fans claimed that he said he wished he were on a tour with the band rather than on a book tour. There has been talk of Roger Waters doing a Broadway musical version of The Wall, with extra music to be written by Waters. The Broadway version will feature all of the music written by Waters but it is not known whether the songs co-written by Gilmour ("Young Lust", "Comfortably Numb", and "Run Like Hell") will feature.

Future directions

On 2 July 2005, Roger Waters rejoined David Gilmour, Nick Mason, and Rick Wright for a one-off performance at the London Live 8 concert. Many fans expressed the hope that the band's Live 8 appearance would lead to a reunion tour, and a record-breaking US$ 250 million deal for a world tour is said to have been offered to the band. However, the band has made it very clear that there are no such plans. In the weeks after the show, the rifts that separated the members during the breakup seemed to have healed for the most part. Gilmour confirmed that he and Waters were on "pretty amicable terms" and that they communicated via e-mail after the concert. Mason said that the band would be willing to perform for a concert "that would support Israeli-Palestinian peace efforts." Waters has offered what some see as conflicting comments on the issue, first saying, "Never say never I mean, under sort of similar circumstances, or in some way, we might do things again" when questioned on the prospects of another performance. However in an interview in Rolling Stone, Waters appeared less optimistic: "I decided that if anything came up in rehearsals — any difference of opinion — I would just roll over. And I did...I didn't mind rolling over for one day, but I couldn't roll over for a whole fucking tour". However, in an October 2005 interview with Word Magazine, Waters stated he "really loved" playing with the band again and he held out some possibility of the band re-forming again. "I hope we do it again. If some other opportunity arose, I could even imagine us doing Dark Side of the Moon again - you know, if there was a special occasion. It would be good to hear it again". Also, Waters mentioned in a BBC Radio 2 interview in September 2005 the possibility of a reunion album with Gilmour, Mason and Wright.

In the week after Live 8, there was a revival of interest in Pink Floyd. According to record store chain HMV, sales of Echoes: The Best of Pink Floyd went up, in the following week, by 1343%, while Amazon.co.uk reported increases in sales of The Wall at 3600%, Wish You Were Here at 2000%, Dark Side of the Moon at 1400% and Animals at 1000%. David Gilmour subsequently declared that he would donate all profits from this post Live 8 boom in sales to charity, and urged that all the other performing artists and their record companies should do the same.

On 16 November 2005 Pink Floyd was inducted into the UK Music Hall of Fame, by Pete Townshend. Gilmour and Mason attended in person, explaining that Wright was in hospital following eye surgery, and Waters appeared on a video screen, from Rome. It was stated that the chance of a reunion album is practically nil, and that any future concerts would be in the same vein as Live 8. This was contradicted on 25 November 2005, when Waters stated that he was willing to play with Pink Floyd again as long as other members agreed.

On 31 January 2006, David Gilmour issued a joint statement on behalf of the group stating that they have no plans to reunite. On 3 February 2006, Gilmour stated in an interview in the Italian newspaper La Repubblica that he is finished with Pink Floyd, as he wishes to focus on his solo projects and personal life. He said:

I think I've had enough. I am 60. I don’t want to work much anymore. It’s an important part of my life, I have had enormous satisfactions, but now it’s enough. It’s much more comfortable to work on my own.Cite error: The <ref> tag has too many names (see the help page).

He mentions that he agreed to play Live 8 with Waters for three reasons: to support the cause, to make peace with Waters, and knowing he would regret not taking part. There is no mention of the La Repubblica interview on either David Gilmour's or Pink Floyd's official websites, nor has Pink Floyd's management made any statement indicating that Pink Floyd is through.

Shortly afterwards, on 20 February 2006, Gilmour responded to Billboard's question about reuniting with "Who knows? I have no plans at all to do that. My plans are to do my concerts and put my record out," and he is very clear that his future concerns revolve around raising his children. On March 6th, Gilmour clarified the statement, saying that he is open to the idea of appearances such as Live 8, but made it clear that he is now a solo artist as far as albums and tours are concerned. He feels the Live 8 reunion was more a closure than a new beginning for Pink Floyd, but Waters is interested in further work with the band and wishes to take them on tour and perform Dark Side of the Moon.

On 27 February 2006 Roger Waters told the French magazine Le Nouvel Observateur that Mason would be joining him for his planned 14 July 2006 performance of The Dark Side of the Moon on his 2006 Europe/U.S. tour, and that he invited Wright along as well. Wright declined the invitation to focus on solo projects.

The images of Pink Floyd

Nearly as famous as Floyd's music is the artwork that comes with it. Throughout the band's career, this aspect was mainly provided by photographer and graphic artist Storm Thorgerson and his graphic studio Hipgnosis ("hip" gnosis or hypnosis). Many of these images have acquired fame in their own right; notably the cover depicting a man shaking the hand of his burning alter-ego for Wish You Were Here and the refracting prism for Dark Side of the Moon. The cover of Meddle underlined the band's ideas about the visualization of sound with its close-up of a human ear accompanied by visible sound waves.

Thorgerson was involved in the artwork for every album except The Piper at the Gates of Dawn, the front cover of which was a photograph by Vic Singh and the back cover a drawing by Barrett; The Wall, for which the band employed Gerald Scarfe; and The Final Cut, which was designed by Waters himself, using photography made by his then brother-in-law, Willie Christie. Only the covers for The Piper at the Gates of Dawn, A Saucerful of Secrets, and Ummagumma include images of the band members themselves. Roger Waters explained this on a video/DVD on the making of Dark Side of the Moon: "We always wanted to kind of... not be on our covers ourselves; not have pictures".

Live performances

Main article: Pink Floyd live performances

Pink Floyd is renowned for its lavish stage shows, combining over-the-top visual experiences with music to create a show in which the performers themselves are almost secondary.

Discography

Main article: Pink Floyd discography

Studio Albums

• 1967: The Piper at the Gates of Dawn
• 1968: A Saucerful of Secrets
• 1969: Music From the Film More
• 1969: Ummagumma
• 1970: Atom Heart Mother
• 1971: Meddle
• 1972: Obscured by Clouds
• 1973: Dark Side of the Moon
• 1975: Wish You Were Here
• 1977: Animals
• 1979: The Wall
• 1983: The Final Cut
• 1987: A Momentary Lapse of Reason
• 1994: The Division Bell

Top 20 singles

• 1967: "Arnold Layne" / "Candy and a Currant Bun" (#20 UK)
• 1967: "See Emily Play" / "The Scarecrow" (#6 UK, #134 U.S.)
• 1973: "Money" / "Any Colour You Like" (#13 U.S.)
• 1979: "Another Brick in the Wall (Part 2)" / "One of My Turns" (#1 UK, #1 U.S.)

(Chart numbers taken from Schaffner, p. 320-321)

Additional song samples

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Band members

Official Pink Floyd members

• Syd Barrett (1965-1968)
• David Gilmour (1968-present)
• Bob Klose (1965)
• Nick Mason (1965-present)
• Roger Waters (1965-1985)
• Richard Wright (1965-1981, 1987-present)

Notable or frequent contributors

Note that these are not official members of Pink Floyd, but musicians who have made significant studio or live contributions:

• Sam Brown - backing vocals
• Jon Carin - keyboards and vocals
• Bob Ezrin - production, keyboards and composition
• Ron Geesin - orchestration and composition
• Roy Harper - guest lead vocal
• Michael Kamen - orchestration and keyboards
• Carol Kenyon - backing vocals
• Dick Parry - saxophone
• Guy Pratt - bass guitar and vocals
• Tim Renwick - guitars
• Clare Torry - guest lead vocal and backing vocals
• Gary Wallis - percussion
• Snowy White - guitars

See also

• List of rock instrumentals
• List of songs over fifteen minutes in length
• List of best-selling music artists - World's top-selling music artists chart.

External links

Official sites

• Pink Floyd's UK site
• Pink Floyd's U.S. site
• Roger Waters official site
• David Gilmour official site
• Denis O'Regan - Official site of the photographer whose work appeared on The Division Bell and P*U*L*S*E

Other links

• Another Link on the Wall - A large collection of fan sites, news resources and other external links, updated regularly.

References

• Fitch, Vernon. The Pink Floyd Encyclopedia (3rd edition), 2005. ISBN 1-894959-24-8
• Jones, Cliff. Another Brick in the Wall: The Stories Behind Every Pink Floyd Song, 1996. ISBN 0553067338
• Mason, Nick. Inside Out: A Personal History of Pink Floyd, 2004. ISBN 0297843877 (followed in 2005 by the paperback edition (ISBN 0753819066) which features an updated section on the band's Live 8 reunion)
• Miles, Barry. Pink Floyd: A Illustrated Documentary, 1982. ISBN 0399410015
• Palacios, Julian. Lost in the Woods: Syd Barrett and the Pink Floyd, 2001. ISBN 0-7522-2328-3
• Schaffner, Nicholas. Saucerful of Secrets: The Pink Floyd Odyssey, 1991. ISBN 0517576082
• Various authors. "The Amazing Pudding", 1982-1992. (a fanzine)

Notes

1. ^ RIAA, retrieved April 22, 2006 Cite error: The named reference "RIAA" was defined multiple times with different content (see the help page).
2. About.com, retrieved 9 February 2006
3. ^ "Die Welt" interview, 6 February 2006 Cite error: The named reference "Die Welt" was defined multiple times with different content (see the help page).
4. ^ Billboard interview, 20 February 2006 Cite error: The named reference "Billboard" was defined multiple times with different content (see the help page).
5. Schaffner, p. 25
6. Mason, p. 30
7. Schaffner, p. 30
8. ^ Schaffner, p. 320-321
9. ^ AMG, retrieved 16 February 2006
10. ^ Rolling Stone, 26 October 1968
11. ^ Pink Floyd & Co. discography, retrieved 15 February 2006
12. "The Observer", 6 October 2002
13. Schaffner, p. 105
14. ^ Schaffner, p. 107-108
15. Schaffner, p. 146
16. BBC Music profile, retrieved 9 February 2005
17. Rolling Stone, 2 December 1970
18. Schaffner, p. 154
19. Schaffner, p. 164
20. BBC..Later with Jools Holland, transcript retrieved here 16 April 2006
21. Schaffner, p. 163
22. Rolling Stone, 6 January 1972
23. ^ Schaffner, p. 167
24. ^ Schaffner, p. 183
25. Rolling Stone, 21 January 1997
26. Schaffner, p. 171
27. Schaffner, p. 323
28. David Gilmour interview, "Q Magazine", June 1999
29. "La Repubblica", 3 February 2006, translation here
30. Schaffner, p. 209
31. Rolling Stone, 24 March 1977
32. batterseapowerstation.org.uk, retrieved 11 February 2006
33. Schaffner, p. 321
34. Schaffner, p. 229
35. Schaffner, p. 236
36. Rolling Stone, 7 February 1980
37. BBC News, 5 August 2004
38. BBC News, 5 July 2005
39. ultimateGuitar.com, 25 November 2005
40. Pink Floyd's official site, retrieved 9 February 2006
41. USA Today, 6 March 2006
42. Guitar World, April 2006
43. Nouvel Obs, 27 February 2006, translation here
44. Report of Meeting with Pink Floyd's Management, retrieved 12 April 2006

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