1. "Signs of Life" (instrumental, with spoken vocals by Nick Mason) Gilmour, Ezrin 4:24	play
2. "Learning to Fly" Gilmour, Moore, Ezrin, Carin 4:53
3. "The Dogs of War" Gilmour, Moore 6:05
4. "One Slip" Gilmour, Manzanera 5:10
5. "On the Turning Away" Gilmour, Moore 5:42
6. "Yet Another Movie" / "Round and Around" (instrumental) Gilmour, Leonard / Gilmour 7:28
7. "A New Machine (Part 1)" Gilmour 1:46		play
8. "Terminal Frost" (instrumental) Gilmour 6:17
9. "A New Machine (Part 2)" Gilmour 0:38
10. "Sorrow" Gilmour 8:46

Pink Floyd:
    David Gilmour – vocals, guitars, keyboards, sequencers
    Nick Mason – drums, percussion, drum machine, sound effects

Additional musicians:
    Richard Wright – keyboards, backing vocals
    Bob Ezrin – keyboards, percussion, sequencers
    Tony Levin – bass guitar, Chapman Stick
    Jim Keltner – drums, percussion
    Steve Forman – percussion
    Jon Carin – keyboards
    Tom Scott – alto saxophone, soprano saxophone
    Scott Page – tenor saxophone
    Carmine Appice – drums
    Patrick Leonard – synthesisers
    Bill Payne – Hammond organ
    Michael Landau – guitar
    John Helliwell – saxophone (credited as "John Halliwell")
    Darlene Koldenhaven – backing vocals
    Carmen Twillie – backing vocals
    Phyllis St. James – backing vocals
    Donnie Gerrard – backing vocals

This Pink Floyd album is VERY underrated! Roger Waters is NOT anymore on this album. There are 5 keyboardists including Rick Wright himself + ex-Madonna Pat Leonard, THE keyboardist on the "Amused to death" album. So, you have to expect a very keyboards and guitars oriented album.

The most impressive element on this album is the excellent echoed combination of omnipresent atmospheric & modern keyboards and delightful electric rhythmic guitars + ALMOST PERFECT guitar solos. Many ambiences are even futuristic with some EXCELLENT magestic & percussive keyboards: for an decent comparison, selected slow & modern New Age artists must be considered to describe the atmosphere involved: the best who come to my mind is Jon Jenkins' Flow album, especially the Flow track, and David Helpling's "Between the green and the blue" album, especially the Worlds track. Shall we add Supertramp's "Brother were you bound" album, especially the intro of the eponymous track. Mostly the rhythm is slow, David Gilmour's lead vocals are absolutely OUTSTANDING, and he is probably at his best here regarding the guitar solos. There are many excellent backing female vocals, similar to the Waters' ones. There are some EXCELLENT "Supertramp-esque" echoed sax parts, absolutely giving a refined urban touch to the whole. The guitar solos on "On the turning away" and "Yet another movie" are among the loudest & best ones from David Gilmour: just turn up the volume! UNBELIEVABLE! They can almost be compared with the ones on Rush's "Power windows" and Marillion's "Fugazi"! Even without Waters, there are still many subtle sounds arrangements, mainly serious talks. All the tracks are excellent. ---greenback, progarchives.com

Roger Waters zawiesił działalność Pink Floyd po wydaniu "The Final Cut" i poświęcił się karierze solowej. Sytuację postanowił wykorzystać David Gilmour, który namówił Nicka Masona i Ricka Wrighta do wskrzeszenia zespołu. Sprzeciw Watersa, twierdzącego Pink Floyd to ja!, zakończony procesem o prawa do nazwy, niestety nic nie dał. Niestety, bo szybko stało się jasne, że nowe wcielenie zespołu ma niewiele, poza szyldem, wspólnego z jego wcześniejszą działalnością. To tak naprawdę solowa działalność Gilmoura, z minimalnym wkładem Masona i Wrighta (ten drugi zresztą początkowo był tylko współpracownikiem, a nie członkiem), których w nagraniach często wyręczali muzycy sesyjni - wśród których pojawili się m.in. uznani perkusiści Carmine Appice i Jim Keltner.

"A Momentary Lapse of Reason", pierwszy album odrodzonego "Pink Floyd", dobitnie pokazuje, że Gilmour nie miał zamiaru kontynuować twórczych poszukiwań zespołu. Zamiast tego śmiało podąża w stronę ówczesnego rockowego mainstreamu. Utwory w rodzaju singlowych "Learning to Fly" i "One Slip" rażą prostotą i banalnymi melodiami, skrojonymi pod stacje radiowe, a także swoim wygładzonym, syntetycznym brzmieniem. Nieco lepiej wypada trzeci singiel, balladowy "On the Turning Away" - również daleki stylistycznie od wcześniejszych dokonań sygnowanych tą nazwą, ale za to wyróżniający się ładną, nieco szkocką melodią. Pozostałe nagrania nie mają aż tak bardzo komercyjnego charakteru, co nie znaczy, że są bardziej ambitne. Raczej zwyczajnie nudne ("The Dogs of War", "Yet Another Movie", "Terminal Frost" i wszystkie miniaturowe przerywniki). Nieco ciekawiej robi się tylko w finałowym "Sorrow", choć raczej dzięki dobrej melodii i solówkom Gilmoura, niż próbie stworzenie czegoś bardziej progresywnego.

Tytuł "A Momentary Lapse of Reason" można przetłumaczyć na język polski jako "Chwilowa utrata rozumu". Cóż, trudno o lepsze podsumowanie tego albumu. Reaktywowanie Pink Floyd i nagranie pod tym szyldem czegoś takiego, zdecydowanie nie było mądrym pomysłem. ---Paweł Pałasz, pablosreviews.blogspot.com

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01. Pigs On The Wing (Part One) (R.Waters) - 1:24
02. Dogs (D.Gilmour - R.Waters) - 17:03
03. Pigs (Three Different Ones) (R.Waters) - 11:28
04. Sheep (R.Waters) - 10:18                       play
05. Pigs On The Wing (Part Two) (R.Waters) - 1:24

Personnel:
- David Gilmour - guitars, bass guitar, vocals, talk box, synthesizer, 
lead vocals on the first half of "Dogs"
- Nick Mason - drums, percussion
- Roger Waters - bass, lead vocals on remaining songs, acoustic and rhythm guitar
- Richard Wright - Hammond organ, Wurlitzer electric piano, Fender Rhodes electric piano, 
Hohner Clavinet, Yamaha grand piano, ARP Solina String Machine, ARP synthesizer, 
Minimoog, backing vocals

Of all of the classic-era Pink Floyd albums, Animals is the strangest and darkest, a record that's hard to initially embrace yet winds up yielding as many rewards as its equally nihilistic successor, The Wall. It isn't that Roger Waters dismisses the human race as either pigs, dogs, or sheep, it's that he's constructed an album whose music is as bleak and bitter as that world view. Arriving after the warm-spirited (albeit melancholy) Wish You Were Here, the shift in tone comes as a bit of a surprise, and there are even less proper songs here than on either Wish or Dark Side. Animals is all extended pieces, yet it never drifts -- it slowly, ominously works its way toward its destination. For an album that so clearly is Waters', David Gilmour's guitar dominates thoroughly, with Richard Wright's keyboards rarely rising above a mood-setting background (such as on the intro to "Sheep"). This gives the music, on occasion, immediacy and actually heightens the dark mood by giving it muscle. It also makes Animals as accessible as it possibly could be, since it surges with bold blues-rock guitar lines and hypnotic space rock textures. Through it all, though, the utter blackness of Waters' spirit holds true, and since there are no vocal hooks or melodies, everything rests on the mood, the near-nihilistic lyrics, and Gilmour's guitar. These are the kinds of things that satisfy cultists, and it will reward their attention -- there's just no way in for casual listeners. ---Stephen Thomas Erlewine, AllMusic Review

Zaczyna się delikatnie, pięknie i nastrojowo. Od podzielonego na dwie części Pigs On The Wing, miłosnego wyznania Watersa (skierowanego ku Carolyn Christie – drugiej żonie muzyka). Dalej jest już jednak dużo ciemniej. Trzy długie kompozycje, osobliwy Folwark zwierzęcy autorstwa Rogera Watersa (a nie George’a Orwella), w którym basista Pink Floyd przyrównuje nasz ludzki świat właśnie do świata psów (Dogs), świń (Pigs) i owiec (Sheep). Muzycznie oczywiście nadal mamy stary dobry Pink Floyd. Skłaniający się ku większym formom, urzekający dźwiękowymi smaczkami (efektowne odgłosy zwierząt w odpowiednich utworach to oczywiście pinkfloydowa norma). Z prawdziwych skarbów należałoby wymienić wspaniałą gitarową grę Gilmoura w Dogs. W Pigs urzeka przede wszystkim początek: ten delikatny organowy motyw, sekwencja basu i jakby od niechcenia grany gitarowy akompaniament. W dalszej części mamy trochę jamowania i to, co Gilmour wyprawia z pomocą zabawki, którą ktoś kiedyś nazwał voice box (dobry też był w tym Peter Frampton). Z kolei w Sheep po jazzującym fortepianowym wstępie Wrighta robi się już bardziej ostro, hałaśliwie, po prostu rockowo. Można chyba nawet powiedzieć, że jest to muzyczna zapowiedź The Wall i utworu Run Like Hell... ---terazmuzyka.pl

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01. Atom Heart Mother (Mason, Gilmour, Waters, Wright, Ron Geesin) - 23:36 including:
a). Father's Shout
b). Breast Milky
c). Mother Fore
d). Funky Dung
e). Mind Your Throats, Please
f). Remergence
02. If (Waters) - 4:25
03. Summer '68 (Wright) - 5:27            play
04. Fat Old Sun (Gilmour) - 5:22
05. Alan's Psychedelic Breakfast (Waters, Mason, Gilmour, Wright) - 13:00 including:
a). Rise and Shine
b). Sunny Side Up
c). Morning Glory

Personnel:
- David Gilmour – guitars; bass guitar, drums and vocals on "Fat Old Sun"
- Nick Mason – drums, percussion, tape editing, tape collage, additional engineering on "Alan's Psychedelic Breakfast"
- Roger Waters – bass, acoustic guitar on "If", tape effects, tape collage, vocals on "If"
- Richard Wright – keyboards, piano, orchestration, vocals on "Summer '68"
+
- Abbey Road Session Pops Orchestra – brass and orchestral sections
- John Alldis Choir – vocals
- Philip Jones Brass Ensemble – brass
- Alan Stiles – voice on "Alan's Psychedelic Breakfast"

Appearing after the sprawling, unfocused double-album set Ummagumma, Atom Heart Mother may boast more focus, even a concept, yet that doesn't mean it's more accessible. If anything, this is the most impenetrable album Pink Floyd released while on Harvest, which also makes it one of the most interesting of the era. Still, it may be an acquired taste even for fans, especially since it kicks off with a side-long, 23-minute extended orchestral piece that may not seem to head anywhere, but is often intriguing, more in what it suggests than what it achieves. Then, on the second side, Roger Waters, David Gilmour, and Rick Wright have a song apiece, winding up with the group composition "Alan's Psychedelic Breakfast" wrapping it up. Of these, Waters begins developing the voice that made him the group's lead songwriter during their classic era with "If," while Wright has an appealingly mannered, very English psychedelic fantasia on "Summer 68," and Gilmour's "Fat Old Sun" meanders quietly before ending with a guitar workout that leaves no impression. "Alan's Psychedelic Breakfast," the 12-minute opus that ends the album, does the same thing, floating for several minutes before ending on a drawn-out jam that finally gets the piece moving. So, there are interesting moments scattered throughout the record, and the work that initially seems so impenetrable winds up being Atom Heart Mother's strongest moment. That it lasts an entire side illustrates that Pink Floyd was getting better with the larger picture instead of the details, since the second side just winds up falling off the tracks, no matter how many good moments there are. This lack of focus means Atom Heart Mother will largely be for cultists, but its unevenness means there's also a lot to cherish here. ---Stephen Thomas Erlewine, AllMusic Review

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CD 1
1. Shine On You Crazy Diamond, Pts. 1-5 (David Gilmour/Rick Wright/Roger Waters)
2. Learning to Fly (David Gilmour/Anthony Moore/Bob Ezrin/Jon Carin)       play
3. Yet Another Movie (David Gilmour/Patrick Leonard)
4. Round and Around (David Gilmour)
5. Sorrow (David Gilmour)
6. The Dogs of War (David Gilmour/Anthony Moore)
7. On the Turning Away (David Gilmour/Anthony Moore)

CD 2
1. One of These Days (David Gilmour/Rick Wright/Nick Mason/Roger Waters)
2. Time (David Gilmour/Rick Wright/Nick Mason/Roger Waters)
3. Wish You Were Here (David Gilmour/Roger Waters)                        play
4. Us and Them (Rick Wright/Roger Waters)
5. Money (Roger Waters)
6. Another Brick in the Wall (Part 2) (Roger Waters)
7. Comfortably Numb (David Gilmour/Roger Waters)
8. Run Like Hell (David Gilmour/Roger Waters)

Personnel

Pink Floyd:
* David Gilmour – guitars, lead vocals
* Nick Mason – drums, percussion
* Richard Wright – keyboards, backing vocals, lead vocals on "Time" & "Comfortably Numb".

Guests:
* Jon Carin – keyboards, backing vocals, lead vocals on "Comfortably Numb"
* Rachel Fury – backing vocals
* Durga McBroom – backing vocals
* Scott Page – saxophones, guitar
* Guy Pratt – bass guitar, backing vocals, lead vocals on "Comfortably Numb" and "Run Like Hell"
* Tim Renwick – guitars, backing vocals
* Margret Taylor – backing vocals
* Gary Wallis – percussion, keyboards on "Comfortably Numb"

In one respect, it's hard to fault David Gilmour for retooling Pink Floyd as a neo-oldies act with Momentary Lapse of Reason, since Roger Waters took the band over the brink with his obsessive, nonmusical The Final Cut. Fans were eager for an album that sounded like classic Floyd, which is what Momentary Lapse was. But what they really thirsted for was a live spectacle from Floyd, where they could hear the old tunes and see all the old stunts. That's what they got on the 1987/1988 Pink Floyd world tour, which is documented on the double-disc set The Delicate Sound of Thunder. Gilmour's reunited Floyd was intent on recreating the sound and feel of classic Floyd, so it shouldn't come as a surprise that the oldies feel like the classic records, only with Gilmour taking each vocal. He and Floyd deliver well, but this is a recreation that makes less sense on record than it did on-stage, where the nostalgia was justified. Here, it feels passable but never compelling. This is professional, competent, and, often, even enjoyable music, yet, like many souvenirs, it never once feels necessary. ---tephen Thomas Erlewine, AllMusic Review

„Delicate Sound Of Thunder” to dwupłytowa pamiątka po rocznej trasie koncertowej promującej album „A Momentary Lapse Of Reason”. Pierwotnie na płycie miały znaleźć się nagrania z Omni Coliseum w Atlancie, z listopada 1987; ostatecznie na płytę trafiły fragmenty pięciu finałowych koncertów trasy, z sierpnia 1988, w Nassau Coliseum w Nowym Jorku.

Jako dokument koncertowy, płyta wypada całkiem interesująco. Pierwsza część koncertu to „Shine On” na otwarcie plus spora część promowanego właśnie „Lapse”; druga połowa to zespołowa klasyka z lat 70. – wiadomo, nieśmiertelne „One Of These Days”, „Money”, „Time”, „Wish You Were Here”, „Comfortably Numb”, „Run Like Hell” – znakomicie sprawdzające się jako finał koncertu. Całość wypada profesjonalnie, bez większych potknięć (choć po głosie Gilmoura słychać, że to już końcówka rocznej, wyczerpującej trasy), ale i bez większych rewelacji: jedynie do czysto watersowskich „Money” i „Another Brick In The Wall Part Two” zakrada się sceniczne szaleństwo, w sumie jedynie tu pojawia się większa dawka spontanicznego, żywiołowego grania. Pozostałe nagrania wypadają w sumie podobnie do płytowych oryginałów.

W sumie: dobra pamiątka koncertowa, która przy słuchaniu zapewni wiele pozytywnych emocji. David w solówkach tradycyjnie już krzesze iskry ze swojego Fendera (zwłaszcza w „Sorrow” i „Comfortably Numb”); efektownie wypadają duety wokalne z Wrightem (który od tej trasy na powrót stał się pełnoprawnym muzykiem Pink Floyd) w „Time” i nowym nabytkiem w zespole – basistą Guyem Prattem (Tony Levin, z uwagi na wcześniejsze zobowiązania, nie mógł ruszyć z Pink Floyd w trasę koncertową) w „Run Like Hell”. Drugi perkusista Gary Wallis ma okienko dla siebie w „Learning To Fly”, gdzie efektownie popisuje się na porozwieszanych instrumentach perkusyjnych (co ładnie widać na dokumentującym trasę filmie – włącznie z popisowym numerem pt. uderzanie w wysoko zawieszone talerze perkusyjne z efektownego wyskoku).

Właśnie. Wcześniejsze rejestracje koncertowe Pink Floyd – pierwsza część „Ummagummy” i koncert w Pompejach – świetnie broniły się w wersji audio; natomiast oficjalne, pełnowymiarowe wydawnictwa live z późniejszych lat zdecydowanie bardziej bronią się w wersji do oglądania (wiadomo – nadmuchiwane świnie, samoloty, lustrzana kula). Stąd „Delicate Sound Of Thunder” to dobra, ciekawa płyta koncertowa – i niestety nic więcej. Częściej wraca się do wersji z obrazem. ---Piotr „Strzyż” Strzyżowski, artrock.pl

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CD 1
01.In The Flesh - The Wall
02.One Of These Days - Meddle
03.The Happiest Days of Our Lives - The Wall
04.Another Brick in the Wall, Pt. 2 - The Wall
05.The Fletcher Memorial Home - Final Cut
06.Comfortably Numb - The Wall
07.Us and Them - The Dark Side of the Moon
08.Final Cut - Final CutThe
09.Money - The Dark Side of the Moon
10.Time - The Dark Side of the Moon
11.Run Like Hell - The Wall
12.Sheep - Echoes
13.Echoes - Echoes

CD 2
01.Shine on You Crazy Diamond, Pts. 1-5 - Wish You Were Here
02.The Hero's Return - Final Cut
03.Hey You - The Wall
04.Wish You Were Here - Wish You Were Here
05.Mother - The Wall
06.The Gunners Dream - Final Cut
07.The Great Gig in the Sky - The Dark Side of the Moon
08.Young Lust - The Wall
09.Have a Cigar - Wish You Were Here
10.What Do You Want from Me - The Division Bell
11.On The Turning Away - A Momentary Lapse Of Reason
12.Take It Back - The Division Bell
13.Learning To Fly - A Momentary Lapse Of Reason
14.High Hopes - The Division Bell

Future Pink Floyd members Roger Waters, David Gilmour and Syd Barrett were schoolmates in Cambridge, England. And although the latter two played guitar together casually for years—in fact, both were busted busking during a sojourn to San Tropez—their respective tenures in Pink Floyd barely overlapped.

In fact, Gilmour replaced his long-time friend in the band in 1968: Barrett sadly was a casualty of the era's LSD experimentation, a brilliant songwriter and performer whose unstable behavior was becoming a detriment to the group. He eventually released several solo albums and then retreated from the public eye.

Still, both configurations of Pink Floyd did wonders to advance rock music. The Barrett-era group specialized in zonked-out space rock with shuddering psychedelic overtones and ominous grooves—and had immersive, powerful concerts to match.

Post-Barrett, Pink Floyd kept the unease, menace and guitar drone from their psychedelic era, but paired it with conceptual rigor and influences from hard and progressive rock. With 1973's Dark Side Of The Moon and 1979's The Wall, the band created two of the most ambitious—and best-selling—albums of all time.

Pink Floyd's roots were far humbler. In 1965, Barrett and Waters met drummer Nick Mason and keyboardist Richard Wright and formed a band. With Barrett at the creative helm, 1967's The Piper At The Gates of Dawn and 1968's A Saucerful Of Secrets reflected the burgeoning London psychedelic scene, where Pink Floyd had taken up residence at the Marquee Club and other hip enclaves and events. Yet despite the band's reputation for trippy sprawl, Barrett also had an ear for pop: In fact, the compact, non-album singles "See Emily Play" and "Arnold Layne" were both U.K. hits.

In the immediate wake of Barrett's departure, Pink Floyd kept up their meandering psychedelic ways on 1969's Ummagumma and 1970's obtuse Atom Heart Mother. 1971's Meddle was a turning point, however, where the hallmarks of the band's commercially successful sound—free-floating guitars suspended in more ambient, keyboard-burnished arrangements—first coalesced.

Pink Floyd hit their stride on 1973's The Dark Side Of The Moon. A somber meditation on mortality, capitalism and madness, the album was at turns both defiant and emotionally bereft—polar opposites exemplified by the sleazy blues of "Money" and the saxophone- and piano-augmented emotional dirge "Us and Them." The LP became one of the defining records of the '70s (if not classic rock in general) and stayed on the Billboard album charts for nearly 15 years.

Dark Side Of The Moon's album artwork—a ray of light refracted through a pyramid-shaped prism to reveal a rainbow—also became one of the most recognizable LP covers ever. Pink Floyd's visuals and musical presentations always went hand-in-hand, with dazzling light shows and elaborate stage constructions becoming a staple of their live concerts.

1975's Wish You Were Here was preoccupied with emotional (and physical) distance and alienation, and spawned more classic songs—including the acoustic guitar-driven title track and an extended elegy to Barrett, "Shine On You Crazy Diamond." 1977's Animals was more gnarled and progressive, which set the stage for the Waters-penned 1979 magnum opus, The Wall. Incredibly, this double album—featuring the No. 1 hit "Another Brick In The Wall, Pt. 2" and the soaring, dream-like "Comfortably Numb"—topped Dark Side Of The Moon in terms of sales and influence.

A concept record driven by the emotional imprisonment and isolation of a character named Pink, The Wall describes a dystopian society oppressed by war, brainwashing education, the government, entertainment and even personal demons. To underscore the themes, Pink Floyd's concerts in support of The Wall featured a literal wall built in front of them as they performed the album—a dramatic spectacle that brought even more popularity.

After The Wall, growing fissures within the band became insurmountable. Wright had taken a diminished role prior to the album, while Waters left the group and broke up Pink Floyd after 1983's The Final Cut.

A series of contentious legal battles followed, which eventually cleared the way for a Gilmour-led iteration of Pink Floyd which also featured Mason and Wright. This lineup produced 1987's Momentary Lapse of Reason—an LP containing the sterling "Learning To Fly"—and 1994's The Division Bell.

Gilmour, Mason, Waters and Wright did reunite in 2005 for a 20-minute set at Live 8. Sadly, Barrett died in 2006, and Wright died of cancer in 2008. The latter's passing especially affected Gilmour—and after 2012's The Endless River, Pink Floyd was effectively put to rest.

In recent times, Roger Waters has also revived The Wall for live tours. That led to Mason and Gilmour popping up (the latter literally, above the built wall) to perform "Comfortably Numb" at a 2011 London gig. Still, each member is content to do their own thing musically—which works out well since Pink Floyd's legacy is alive and well in countless modern bands, from the Flaming Lips to Spiritualized. ---rockhall.com

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1-1 	Shine On You Crazy Diamond 	22:17
1-2 	Raving And Drooling 	15:16
1-3 	You Gotta Be Crazy 	18:30

Dark Side Of The Moon 	(31:39) 
2-1a 	Money 	8:42
2-1b 	Us And Them 	8:35
2-1c 	Any Colour You Like 	8:39
2-1d 	Brain Damage 	3:56
2-1e 	Eclipse 	1:43
2-2 	Echoes 	24:43

Empire Pool, Wembley, London, England, November 16, 1974

This soundboard recording shows how experienced the sound engineers at a Pink Floyd concert really took live sound to another dimension anybody who has been to a concert where quadraphonic sound was used can testify to it's miraculous resonance it is a shame that it is too expensive to be of any use in home audio equipment..a loss to music.

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01. One Of These Days
02. A Pillow Of Winds
03. Fearless
04. San Tropez
05. Seamus
06. Echoes

Roger Waters – bass guitar, rhythm guitar on "(3), lead vocals and guitars on (4)
David Gilmour – lead guitar, bass guitar on (1), lead vocals on (2), (3), (5) and (6), harmonica on (5)
Richard Wright – piano, Hammond Organ, Farfisa Organ, vocals on (6)
Nick Mason – drums, percussion, vocal phrase on (1)
Seamus the Dog – vocals on (5)

Atom Heart Mother, for all its glories, was an acquired taste, and Pink Floyd wisely decided to trim back its orchestral excesses for its follow-up, Meddle. Opening with a deliberately surging "One of These Days," Meddle spends most of its time with sonic textures and elongated compositions, most notably on its epic closer, "Echoes." If there aren't pop songs in the classic sense (even on the level of the group's contributions to Ummagumma), there is a uniform tone, ranging from the pastoral "A Pillow of Winds" to "Fearless," with its insistent refrain hinting at latter-day Floyd. Pink Floyd were nothing if not masters of texture, and Meddle is one of their greatest excursions into little details, pointing the way to the measured brilliance of Dark Side of the Moon and the entire Roger Waters era. Here, David Gilmour exerts a slightly larger influence, at least based on lead vocals, but it's not all sweetness and light -- even if its lilting rhythms are welcome, "San Tropez" feels out of place with the rest of Meddle. Still, the album is one of the Floyd's most consistent explorations of mood, especially from their time at Harvest, and it stands as the strongest record they released between Syd's departure and Dark Side. ---Stephen Thomas Erlewine, AllMusic Review

Meddle represents the birth of Pink Floyd as we now know them today. After flailing somewhat after Syd Barrett's departure in 1968, they had a surprise hit in 1970 with Atom Heart Mother, an album comprised of a difficult side-long suite, backed with individual group pieces. In many respects, Meddle, released a little over a year later, is the same again, only with much, much, better tunes and less clutter.

Everything about Meddle is allowed to breathe and grow. Rocking opener "One Of These Days" rises out of nearly a minute of wind effects; "Fearless" delivers its slightly stoned punch over six minutes. Even the throwaway track, "Seamus", with the howling of Steve Marriott's dog over David Gilmour's blues, has a lazy charm which undermines the intelligence and ambition of the remainder of the record.

Originally titled "Return Of The Son Of Nothing", the side-long piece, "Echoes" dominates the entire work. It has a majestic grace, filling every one of its 23 minutes with the sophisticated mystery that came to define everything about Pink Floyd; slightly obscure; extremely special. Starting with a sonar pulse, the song – with one of Roger Waters' finest lyrics – leisurely unfolds before climaxing with a funk workout; after another four minutes it dissolves to atmospherics before finally returning to the main theme. This is everything right about progressive rock; engaging, intelligent and compelling.

By the time the group began to hone this innovation and vision into bite-sized chunks on their next two albums, they were to become very big indeed. ---Daryl Easlea, BBC Review

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Live At Montreux Jazz Festival 18th September 1971

01 Echoes (00:00 - 23:45)
02 Careful With That Axe, Eugene (23:46 - 35:24)
03 Set The Controls For The Heart Of The Sun (35:25 - 49:28)
04 Cymbaline (49:28 - 58:04)
05 Atom Heart Mother (58:05 - 91:47)
06 A Saucerful Of Secrets (91:48 - 111:46)

20th October 1994 London Earls Court

01 Speak To Me (00:00 - 02:30)
02 Breathe (02:31 - 05:06)
03 On The Run (05:07 - 08:4)
04 Time (08:41 - 15:38)
05 The Great Gig In The Sky (15:39 - 21:29)
06 Money (21:30 - 30:08)
07 Us And Them (30:09 - 37:21)
08 Any Colour You Like (37:22 - 40:40)
09 Brain Damage (40:41 - 44:31)
10 Eclipse (44:32 - 47:09)
11 Wish You Were Here (47:10 - 53:38)
12 Comfortably Numb (53:39 - 63:07)
13 Run Like Hell (63:08 - 71:43)

David Gilmore – guitar, vocals
Roger Waters – bass, vocals
Nick Mason – percussion
Richard Wright - keyboards

Pink Floyd is renowned for their lavish stageClassic Pink Floyd line-up, early 70s shows, combining over-the-top visual experiences with their music to create a show in which the performers themselves are almost secondary. In their early days, Pink Floyd were among the first bands to use a dedicated traveling light show in conjunction with their performances, projecting slides, film clips, pyrotechnics (exploding flashpots and the exploding gong and fireworks) and psychedelic patterns onto a large circular screen (dubbed “Mr. Screen”). --- pinkfloydonline.com

Montreux 1971. I would like to see Echoes live at least once in my life, and with the exception of Pompeii, this is the best version I've ever heard. Set rounds out with my older favourites - A Saucerful..., Careful With That Axe Eugene, Set the Controls for the Heart of the Sun, Atom Heart Mother. And I'd also like to know just what the hell was in the Cymbaline film (running, doors slamming). Well behaved audience. ---brain-damage.co.uk

London 1994. The group reunited in 1994 for another world tour. The Division Bell tour was much shorter, lasting less than a year, but was even more elaborate. --- pinkfloydonline.com

Before the show, a roadie appears on stage to announce that the show is going live to 60 million people via satellite. Maybe that's why the searchlights outside were actually moving for the first time.

This night's show provides the best first set so far and DSOTM is immensely moving. Clearly the satellite transmission has the boys going, although David is even briefer than usual in his comments to the audience. He's obviously a shy lad. The three were very jolly when taking their applause at the end. Dave and Rick embraced, then Rick and Nick. Can there be that much friction between them? I have my doubts. --- Chris Job, brain-damage.co.uk

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01. Obscured By Clouds (Waters, Gilmour) - 3:05
02. When You're In (Waters, Gilmour, Mason, Wright) - 2:20
03. Burning Bridges (Wright, Waters) - 3:23
04. The Gold It's In The... (Waters, Gilmour) - 3:00
05. Wot's... Uh The Deal (Waters, Gilmour) - 5:02
06. Mudmen (Wright, Gilmour) - 4:14
07. Childhood's End (Gilmour) - 4:29
08. Free Four (Wright, Waters) - 4:08
09. Stay (Wright, Waters) - 4:01
10. Absolutely Curtains (Waters, Gilmour, Wright, Mason) - 5:51

Personnel:
- David Gilmour – guitars, vocals, VCS3
- Roger Waters – bass guitar, vocals, VCS3
- Richard Wright – keyboards, vocals, VCS3
- Nick Mason – drums, percussion

+Mapuga tribe – vocals on "Absolutely Curtains" 

Obscured by Clouds is the soundtrack to the Barbet Schroeder film La Vallée, and it plays that way. Of course, it's possible to make the argument that Pink Floyd's music of the early '70s usually played as mood music, similar to film music, but it had structure and a progression. Here, the instrumentals float pleasantly, filled with interesting textures, yet they never seem to have much of a purpose. Often, they seem quite tied to their time, either in their spaciness or in the pastoral folkiness, two qualities that are better brought out on the full-fledged songs interspersed throughout the record. Typified by "Burning Bridges" and "Wot's...uh the Deal," these songs explore some of the same musical ground as those on Atom Heart Mother and Meddle, yet they are more concise and have a stronger structure. But the real noteworthy numbers are the surprisingly heavy blues-rocker "The Gold It's in The...," which, as good as it is, is trumped by the stately, ominous "Childhood's End" and the jaunty pop tune "Free Four," two songs whose obsessions with life, death, and the past clearly point toward Dark Side of the Moon. ("Childhood's End" also suggests Dark Side in its tone and arrangement.) As startlingly advanced as these last two songs are, they're not enough to push the rest of Obscured by Clouds past seeming just like a soundtrack, yet these tunes, blended with the sensibility of Meddle, suggest what Pink Floyd was about to develop into. ---Stephen Thomas Erlewine, allmusic.com

The title of Pink Floyd's debut album is taken from a chapter in Syd Barrett's favorite children's book, The Wind in the Willows, and the lyrical imagery of The Piper at the Gates of Dawn is indeed full of colorful, childlike, distinctly British whimsy, albeit filtered through the perceptive lens of LSD. Barrett's catchy, melodic acid pop songs are balanced with longer, more experimental pieces showcasing the group's instrumental freak-outs, often using themes of space travel as metaphors for hallucinogenic experiences -- "Astronomy Domine" is a poppier number in this vein, but tracks like "Interstellar Overdrive" are some of the earliest forays into what has been tagged space rock. But even though Barrett's lyrics and melodies are mostly playful and humorous, the band's music doesn't always bear out those sentiments -- in addition to Rick Wright's eerie organ work, dissonance, chromaticism, weird noises, and vocal sound effects are all employed at various instances, giving the impression of chaos and confusion lurking beneath the bright surface. The Piper at the Gates of Dawn successfully captures both sides of psychedelic experimentation -- the pleasures of expanding one's mind and perception, and an underlying threat of mental disorder and even lunacy; this duality makes Piper all the more compelling in light of Barrett's subsequent breakdown, and ranks it as one of the best psychedelic albums of all time. ---Steve Huey, allmusic.com

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Paris Theatre,London,UK 16th July 1970

01. Embryo
02. Green Is The Colour
03. Careful With That-Axe Eugene
04. If
05. Atom Heart Mother

Piper Club,Rome,Italy First European International Pop Festival 6 Th May 1968

06. Astronomy Domine
07. Set The Controls For The Heart Of The Sun
08. Instellar Overdrive

Line Up:
* Syd Barrett - vocals, guitar
* Roger Waters – bass guitar, vocals
* Richard Wright – farfisa and hammond organs, piano, vocals
* Nick Mason – drums, percussion

This CD features a BBC soundboard recording of the Floyds performance of Atom Heart Mother at the Paris Theatre in London on July 16th, 1970 with a full choir and brass ensemble. Also Performed at the same location are track 1-4 (Embryo, Green is the colour, careful with that axe eugene, if) The material is taken from 2005 FM re-broadcasts and appears here in the best ever sound quality. Three bonus tracks are taken from The Piper Club in Rome at the First International Pop Festival on May 6th, 1968 and features performances of Astronomy Domine, Set The Controls For The Heart Of The Sun and Interstellar Overdrive. ---amazon.co.uk

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