Pink Floyd Thread
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cobl04
45:33
I thought Gilmour had a hand in that song. edit, according to wikipedia, he did. Whatever the case, one of the band's worst, if the not the very worst, songs.
liamcool
Blue Crack Addict
Good riff, though.
bono_212
Blue Crack Distributor
I knew this much discussion in the Pink Floyd thread could only mean bad times for me.
MrPryck2U
ONE love, blood, life
Really? Worst song?
I think its one of their best rockers. Of course I have fond memories from the movie when the groupies come in and blow security and the roadies for backstage passes. Good times!
cobl04
45:33
It's cock rock. They were above that. (And if it's "part of the story" that proves my point about the story taking precedence over the music)
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LemonMelon
More 5G Than Man
Young Lust has an awesome riff and is a legitimate moment of fun/humor in The Wall. There are worse songs on that album, let alone the Gilmour-led albums.
MrPryck2U
ONE love, blood, life
It's cock rock. They were above that. (And if it's "part of the story" that proves my point about the story taking precedence over the music)
Well it is cock rock. No doubt. But, it is autobiographical too. Roger's mother did tell him at one point in his life that he needed a dirty woman. Obviously, The Wall is a concept/story album. And what good rock star doesn't get his swerve on with a groupie? The story didn't take precedence over the music. It worked in conjunction with it. Did I really need to tell you that?
bono_212
Blue Crack Distributor
Wait...fuck...are you people now calling Young Lust PF's worst song?
cobl04
45:33
I am 
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bono_212
Blue Crack Distributor
Gonna go laugh myself into a fucking coma.
LemonMelon
More 5G Than Man
75% of Ummagumma is worse
lazarus
Blue Crack Supplier
All of this.
And using Young Lust's lyrics (easily the worst on The Wall) to counter this is pretty weak. It may be my least favorite song (or second worst after Vera) on the album too, but I really enjoy almost everything on there a lot.
I can't believe multiple people have nominated Sorrow as best PF song. That's just madness.
The Division Bell isn't as embarrassing and dated as AMLOR (talk about an overuse of backup singers), but it's pretty lifeless and the tunes aren't as memorable.
DaveC
Blue Crack Addict
I cannot believe I'm reading honest claims that Young Lust is a worse song than Several Species..., Seamus/Mademoiselle Nobs or The Grand Vizier's Garden Party. How high are you people?
MrPryck2U
ONE love, blood, life
Reason had a number of good songs, but DB seemed to have more of a Pink Floyd feel to it. I remember just being excited to hear new Pink Floyd. I used to listen to DB everyday leading all the way up to when I saw them on tour that Summer. The second half of the album was stronger than the first half.
cobl04
45:33
I didn't think I was alone in thinking Young Lust was a steaming pile of shit. There you go.
Vera is fucking beautiful, shut up. Better than like 60% of the record.
I'll take Several Species over Young Lust eight days a week. It's stupid as hell, obviously, but I really enjoy the way it's constructed, like a dance track. The "haaweeeehuppattaacomeeback" part is great.
I'll take Seamus over it too. Even though it's stupid little throwaway that follows that age-old blues chord progression that I don't really like. It's fun.
Although at this point I'll take the time to say that my version of Meddle goes thusly:
One of These Days
A Pillow of Winds
Fearless
Echoes
San Tropez and Seamus totally destroy the flow. I can't imagine anyone thinking that either track is better than any of the other four. Neither are outright bad, I'd say, but they're completely superfluous on the album. Most importantly - try Fearless>Echoes on for size if you haven't before and tell me it's not astonishing. The haunting Liverpool cheer into the organ pings of Echoes is just perfect.
Vera is fucking beautiful, shut up. Better than like 60% of the record.
I'll take Several Species over Young Lust eight days a week. It's stupid as hell, obviously, but I really enjoy the way it's constructed, like a dance track. The "haaweeeehuppattaacomeeback" part is great.
I'll take Seamus over it too. Even though it's stupid little throwaway that follows that age-old blues chord progression that I don't really like. It's fun.
Although at this point I'll take the time to say that my version of Meddle goes thusly:
One of These Days
A Pillow of Winds
Fearless
Echoes
San Tropez and Seamus totally destroy the flow. I can't imagine anyone thinking that either track is better than any of the other four. Neither are outright bad, I'd say, but they're completely superfluous on the album. Most importantly - try Fearless>Echoes on for size if you haven't before and tell me it's not astonishing. The haunting Liverpool cheer into the organ pings of Echoes is just perfect.
liamcool
Blue Crack Addict
Alan's Psychedelic Breakfast is Pink Floyd at their most pastoral and folky - unlike the dark psychedelia of songs like Julia Dream or Cirrus Minor or the paranoia of If and Fearless, it's major key and hopeful. It exposes a lot of the folkier influences of their music, like Pete Seeger and The Kinks, in a manner that none of the rest of their music does, and for that reason it's worthwhile.
I also think it's really disruptive and interesting to consider that AHM went to #1 in the British charts with an album concluding with a thirteen minute piece about a man having breakfast. It's probably the best display of their weird British humour on record.
I'll give you Grand Vizier's Garden Party, that's a load of shit. The Sisyphus suite has about four minutes that are more interesting than at least half of The Wall, and a whole bunch of garbage. Several Small Species is at least interesting in the method Waters used to construct it, even if the results are mostly unlistenable, as opposed to trudging through the same musical motif for the third or fourth time over boring lyrics. That said...
Yeah, I can't say I ever thought of it as anything other than a noise collage.
The Narrow Way and Grantchester Meadows are both excellent tunes that never really got a fair shake. Also, despite the sound quality, all of the live stuff on Ummagumma is tremendous, easily their best live album.
Young Lust is one of Waters' worst lyrics over a half decent riff. I don't care for the form because I fucking hate cock rock, but there is at least some notable content in that song, which means it's better than most of the filler tracks on the wall, especially on side three.
Sorrow is the only worthwhile thing on Momentary Lapse. That album is far too overproduced, and loses cohesion in terms of songwriting. But hey, that's what being in the late 80s with a fuck ton of cocaine will do to you.
Eh, I can see both sides of this. On one hand, a four song album consisting of those tracks would be incredible in terms of quality, but I think San Tropez and Seamus work well as a breather in between Fearless and Echoes. Seamus is another example of the band putting absurdity onto a record to see if they can do it, and getting away with it, and San Tropez is actually pretty important within the development of the band, as it was the first case of Waters taking complete control of a song, insisting on playing guitar on it, minimising the input of other members of the band and being the proverbial dictator within the band for the first time.
cobl04
45:33
I've heard that argument a lot, too, that they worked as a breather and without them you'd have a pretty claustrophobic album. I can see the merit in that but most of the times I listen to it I find myself skipping ahead because the quality of those four tracks is just incredible.
Good post, btw, I enjoyed reading it. It's been a long time since we've had an in-depth Floyd discussion around here and they were always really enjoyable.
Good post, btw, I enjoyed reading it. It's been a long time since we've had an in-depth Floyd discussion around here and they were always really enjoyable.
bono_212
Blue Crack Distributor
I just can't even... I already knew about Cobl's weird ass love of Vera, but seeing it beside his calling Young Lust their worst song and I'm just dumbfounded.
LemonMelon
More 5G Than Man
Don't Leave Me Now is fucking cringeworthy. Horrid vocals. That's the song I'd peg as The Wall's worst.
iron yuppie
ONE love, blood, life
That's a good point, and one that hits at my biases about Floyd a bit. Of the many, many things they did well, pastoralism isn't one of them IMO. Run alongside the back half of Led Zeppelin III, for example, the folkiness of AHM sounds downright amateurish.
iron yuppie
ONE love, blood, life
Regarding studio Ummagumma, I have a hard time seeing it as anything other then the band actively testing their audience's patience. I admire the moxy in that to an extent, but it doesn't make for a terribly rewarding listening experience.
You can see they had plenty of ability to put together songs with more replay value during that period by the existence of Embryo, which is the best track to emerge from the entire Ummagumma-AHM era.
You can see they had plenty of ability to put together songs with more replay value during that period by the existence of Embryo, which is the best track to emerge from the entire Ummagumma-AHM era.
LemonMelon
More 5G Than Man
Summer '68 and Cymbaline are the best songs of the post-Syd Barrett, pre-Meddle era. Both might honestly be top 10 for me as far as the band goes.
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iron yuppie
ONE love, blood, life
I wasn't counting More in the post above, just to be clear. If I were, Cirrus Minor is easily my favorite song of Post-Syd Pre-Meddle Floyd.
LemonMelon
More 5G Than Man
I've always had a fondness for More. A lot of blatantly obvious filler material in there, but it captures a very palpable atmosphere and sense of place. It's very good as a soundtrack. Cirrus Minor, Cymbaline, Green Is the Colour and Nile Song/Ibiza Bar stand strong on their own.
cobl04
45:33
What do people not like about it? Is it because it's short? I love the strings and the earnestness and emotion in Waters' voice. It's so lovely, particularly the second verse.
It seems The Wall fans are getting a bit testy here, so I'll just throw a couple more bombs before I talk some good. It all falls to absolute shit after Run Like Hell. The last 10 or so minutes are garbage, and that's mostly thanks to the story taking precedence over the music. The Trial is well up there in 'Pink Floyd Worst Song' discussions. How anyone could enjoy that outside of the context of the album, heck even within the context of the album, is beyond me. The "waiting ... waiting" dirge in Waiting for the Worms is horrendous. Stop and Outside the Wall are nothing, really.
But there is a lot of good on The Wall. Imagine being David Gilmour, waking up every morning and thinking to yourself, "I wrote the solos in Comfortably Numb". I mean, fuck me. An all-time all-music towering achievement. The album starts so very well, In the Flesh? fucking rules and the Brick-Happiest Days-Brick suite is fantastic. Mother is a great song that can stand on its own. One of My Turns is a great song, once it kicks in awesome two-thirds of the way in. I don't consider Don't Leave Me Now to be so bad, but it's a bit annoying coming after One of My Turns as they're essentially the same song, same structure. Hey You is another brilliant song that can stand on its own. Nobody Home is beautiful. You get another In the Flesh. (Which I'm just listening to now, and holy shit, how popular is that chord sequence that comes in after the intro? U2 used it on Love Rescue Me)
Also it's easier to shit on The Wall when you haven't heard all their albums. Maybe Ummagumma is a steaming pile of shit, I don't know, I haven't heard it. Mostly because everyone says it sucks dogs balls.
And while I take your point iyup that Floyd's attempts at folk were more amateurish than other bands of their time, A Pillow of Winds and Fearless both show that they could do it and do it well.
DaveC
Blue Crack Addict
I'm tossing Careful With That Axe Eugene into the Post-Syd Pre-Meddle ring.
The Ummagumma version is the best one, then Pompeii, then the Relics version. I love the dynamics and menacing atmosphere.
The Ummagumma version is the best one, then Pompeii, then the Relics version. I love the dynamics and menacing atmosphere.
cobl04
45:33
Don't forget Set the Controls. LCD Soundsystem referenced that in their best song.
DaveC
Blue Crack Addict
I agree that the last 10 minutes of The Wall are pretty tedious. I never listen to any of those songs anymore, I've heard it all a million times by now anyways.
This is about the only thing I would say you really need to listen to from Ummagumma, other than maybe Grantchester Meadows:
LemonMelon
More 5G Than Man
The Trial is hilarious. It's cabaret, and that might not be for everyone, but it's more likable than many give it credit for. And you know what? Yeah, it's essential to the story above all, but it ties that story together impressively for the medium. I love that we revisit the cast of characters and have one more laugh with them.
To be honest, the album had such a profound impact on me at age 13 and I've heard it so many times since that I don't think I can be objective about The Wall anymore. One thing I'm certain of though is that it's not indulgent drivel. In fact, I think Roger has a great message to tell with his story and it certainly came from an autobiographical space. I applaud him for opening himself to scrutiny and criticism through the Pink persona while placing just enough distance between himself and the protagonist to make it feel more like a twisted fable than a confession.
The great irony of The Wall, though, is that an album cautioning isolation and insularity was a pet project. This is why it will never be their greatest work. There's something sickly and thin about many of these songs, as if they're in dire need of attention from their writer. Maybe Gilmour could have warmed them up a bit the way he did with Comfortably Numb. Alas, we'll never know, but it is still a damn good record that I find engaging from start to finish. It's gruesome, allegorical and very personal.
To be honest, the album had such a profound impact on me at age 13 and I've heard it so many times since that I don't think I can be objective about The Wall anymore. One thing I'm certain of though is that it's not indulgent drivel. In fact, I think Roger has a great message to tell with his story and it certainly came from an autobiographical space. I applaud him for opening himself to scrutiny and criticism through the Pink persona while placing just enough distance between himself and the protagonist to make it feel more like a twisted fable than a confession.
The great irony of The Wall, though, is that an album cautioning isolation and insularity was a pet project. This is why it will never be their greatest work. There's something sickly and thin about many of these songs, as if they're in dire need of attention from their writer. Maybe Gilmour could have warmed them up a bit the way he did with Comfortably Numb. Alas, we'll never know, but it is still a damn good record that I find engaging from start to finish. It's gruesome, allegorical and very personal.
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