Pink Floyd / Mind Over Matter 1967 – 1994
1967 - 1973
01 Pow R. Toc H / Piper At The Gates Of Dawn August 1967
02 Interstellar Overdrive / Piper At The Gates Of Dawn August 1967
03 Scream Thy Last Scream / Originally Unreleased Recorded August 1967
04 Apples And Oranges / Single A Side November 1967
05 Julia Dream / Single B Side April 1968
06 Set The Controls For The Heart Of The Sun / A Saucerful Of Secrets June 1968
07 Point Me At The Sky / Single A Side December 1968
08 Careful With That Axe Eugene / Single B Side December 1968
09 Cirrus Minor / More July 1969
10 The Nile Song / More July 1969
11 The Narrow Way Pt III / Ummagumma November 1969
12 Summer ’68 / Atom Heart Mother October 1970
13 One Of These Days / Meddle November 1970
14 Childhood’s End / Obscured By Clouds June 1972
15 Speak To Me - Breath / Dark Side Of The Moon March 1973
16 On The Run / Dark Side Of The Moon March 1973
17 Time / Dark Side Of The Moon March 1973
1973 – 1994
01 Us And Them / Dark Side Of The Moon March 1973
02 Brain Damage / Dark Side Of The Moon March 1973
03 Eclipse / Dark Side Of The Moon March 1973
04 Shine On You Crazy Diamond Pts 1 – 5 / Wish You Were Here September 1975
05 Wish You Were Here / Wish You Were Here September 1975
06 Pigs / Animals January 1977
07 The Thin Ice / The Wall December 1979
08 Another Brick In The Wall Pt 2 / The Wall December 1979
09 Hey You / The Wall December 1979
10 Comfortably Numb / The Wall December 1979
11 Not Now John / The Final Cut March 1983
12 Learning To Fly / A Momentary Lapse Of Reason September 1987
13 High Hopes / The Division Bell April 1994
Ever wondered why ‘Pink Floyd’ is such an enduringly potent insult, such an instantly discrediting reference point. Johnny Rotten may have famously scrawled ‘I hate’ on his newly ripped and torn T shirt (but why did he own one in the first place, I always wondered?), yet of all the pre-76 dinosaurs, Roger Waters and Co. were arguably the most anonymous, the least decadent, corrupt and aesthetically bankrupt. Wish You Were Here (1975) contained anti record biz sentiments that anticipated punk and carried with it the ghost of Syd Barrett, while Animals and The Wall are as bleakly no escapist and apocalyptic in their view of seventies society as anything from the post punk vanguard. A lot of early punks would play Pink Floyd faves right next to The Stooges or New York Dolls because they were always included in the scope of oddball influences. But it was always and only the Syd Barrett records. God forbid anyone ever mention anything after. Ofcourse, those records remain utterly loveable, full of childlike wonder and sadness, reflecting the delicate yet ultimately doomed balancing act of their creator.
In our house though, we loved all of the Floyd, my old man being the instigator of our enthusiasm. Equipped with brushed aluminium hi-fi separates, and big ‘cans’ he was a self confessed stereo buff and read in Hi-Fi monthly how Dark Side Of The Moon was an audiophiles wet dream. And indeed it was, with its cutting edge production and the dynamic ebb and flow of the music. I doubt he bothered or even listened to Waters ruminations on money, madness and death but then nor did we a couple of years later when Dark Side Of The Moon’s laid back vibe and cosmic charms proved the ultimate soundtrack to spliffing up.
Strangely, for the disaffected Waters, Dark Side Of The Moon proved the beginning of the end, but for me it was just the start. Relics, an early, cheapo compilation was my first Floyd purchase, opening the doorway to Syd who was endlessly appealing mainly because he was no longer there. However, the songs that remained with me from Relics were not Syd’s, but rather ‘Julia Dream’ and ‘Cirrus Minor’, both written by Waters, both English country garden and both very, very middleclass. And that is why ‘Pink Floyd’ is such a potent insult.
Middleclass has never been a very rock’n’roll thing to be. Despite the fact that Britain’s art school bohemian nexus has been rock’s crucible since birth, rock rebels like to present themselves as working class heroes. Musicians that are unabashedly middle class, tend to be sneered at as being somehow inauthentic. In the case of Pink Floyd, their middleclass background wasn’t just an incidental fact, it was integral to their music, informing it through the genteel glide that typified their trademark sound and glacial delivery, both of which were coolly, infinitely, removed from the Sturm-und-Drang end of rock.
Enigma was another factor of the Floyds appeal. Mystery or the intangible can be a part of even the most disposable pop song but never more so than in the work of the Floyd. As early psychedelicists they took us off into outer space, to inner space and back to the nursery. As early seventies proggy’s they experimented on five, still largely unheard albums and soundtracks (including Atom Heart Mother and its infamous cow sleeve), before going deeper into the unknown and propagating a pastoral wooziness that was far from earthbound. Yet even when they did come back to earth, addressing tangible, real concerns on Dark Side Of The Moon, the sense of mystery remained undimmed. Its that cultivated vagueness that still fascinates listeners, and just like Radiohead, leaves room for endless re-listens and reinterpretations. Infact, even at their most personal and politically direct, on The Wall and The Final Cut (where Waters vented his fury over his fathers death and the war mongering Thatcher), The Floyd remained enigmatic, distant and almost disembodied. They possessed neither the intimate soul baring of singer songwriters, nor the sloganeering of trendy politico’s. When Dave Gilmour took over the Floyd franchise after Waters departure, the bland forgeries he produced still evoked that enigma, albeit through memories of imagination rather than imagination itself. That sense of the intangible was integral to Pink Floyd, something mysterious, fascinating but elusive. There but not there. Wish you were here!