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Gilmour mentions that he is satisfied with the success of Pink Floyd and that it would be 'fake' to reunite with the members following the split. Nick Mason also mentions that Roger Walter does not respect Gilmour because of his views that writing music is more important than playing.

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Author: Scott Colothan Published 11th Mar 2021
Last updated 11th Mar 2021

David Gilmour has categorically ruled out Pink Floyd ever reuniting again, saying the legendary rock band are "done."

In a recent interview with Guitar Player magazine, 75-year-old Gilmour said Pink Floyd has "run its course" and he doesn't want return to performing stadium concerts with Roger Waters and Nick Mason.

Asked if he will play with Pink Floyd again, Gilmour said: "No. I'm done with it. I've had a life in Pink Floyd for quite a lot of years, and quite a few of those years at the beginning, with Roger. And those years in what is now considered to be our heyday were 95 percent musically fulfilling and joyous and full of fun and laughter. And I certainly don't want to let the other five percent colour my view of what was a long and fantastic time together. But it has run its course, we are done, and it would be fakery to go back and do it again."

He continued: "To do it without Rick (Wright) would just be wrong. I'm all for Roger doing whatever he wants to do and enjoying himself and getting the joy he must have had out of those Wall shows. I'm at peace with all of these things. But I absolutely don't want to go back. I don't want to go and play stadiums. I'm free to do exactly what I want to do and how I want to do it."

Two years ago, drummer Nick Mason, who has successfully been touring with Nick Mason's Saucerful of Secrets in recent years, said he was "ready" for a Pink Floyd reunion.

However, Mason warned fans not to hold their breath, citing David Gilmour and Roger Waters' notoriously turbulent relationship.

"I think the problem is Roger doesn't really respect David," Mason explained. "He feels that writing is everything, and that guitar playing and the singing are something that, I won't say anyone can do, but that everything should be judged on the writing rather than the playing."

Also citing Gilmour's decision to continue with Pink Floyd in 1985 after Water quit as a primary source of the friction, Nick added: "I think it rankles with Roger that he made a sort of error in a way that he left the band assuming that without him it would fold.

"It's a constant irritation, really, that he's still going back to it. I'm hesitant to get too stuck into this one, just because it's between the two of them rather than me. I actually get along with both of them, and I think it's really disappointing that these rather elderly gentlemen are still at loggerheads."

The division between the two ex-band mates surfaced again last year when Waters berated Gilmour in a video message on YouTube for allegedly banning him from Pink Floyd's website and social media platforms.

In the video, Waters thanked fans for their positive reaction to a version of Pink Floyd classic 'Mother' he recorded during lockdown.

He then added: "It does bring up the question of why is this video not available on a website that calls itself the Pink Floyd website?

"Well, the answer to that is because nothing from me is on the website. I am banned by David Gilmour from the website. About a year ago, I convened a sort of Camp David for the surviving members of Pink Floyd at a hotel at the airport in London, where I proposed all kinds of measures to get past this awful impasse that we have and predicament that we find ourselves in. It bore no fruit, I'm sorry to say."

The cover stars of famous rock albums revealed:
Listen to Planet Rock on DAB nationwide, on our free app, online, via your smart speaker ("Play Planet Rock") and on Freesat, Sky, and Virgin Media TV.

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David Gilmour rules out Pink Floyd reunion: 'We are done'

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Author: Scott Colothan Published 11th Mar 2021Last updated 11th Mar 2021 David Gilmour has categorically ruled out Pink Floyd ever reuniting again, saying the legendary rock band are "done." In a recent interview with Guitar Player magazine, 75-year-old Gilmour said Pink Floyd has "run its course" and he doesn't want return to performing stadium concerts with Roger Waters and Nick Mason.

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The impact of the line 'We don't need no education' in 'Another Brick in the Wall, Pt 2'

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The impact of the line 'We don't need no education' in 'Another Brick in the Wall, Pt 2'

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The song was a protest against the supposed 'educational oppression'. It is argued to be going against the government-initiated form of education and that it is not needed. This is the case despite the double negative of ''don't'' and ''no'', perhaps meaning that a different type of education is required. However, due to the message of the song, some countries have banned it from being played on the radio (eg South Africa).

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The Pink Floyd Legacy is one of the greatest Pink Floyd tribute bands of all time, covering the band's history. It consists of the lead singer Durga McBroom, who has also achieved work outside Pink Floyd such as Kate Bush, Billy Idol, James and Steve Hackett, and Blue Pearl (her own band). She appeared in the final concert of David Gilmour's tour in 2001.

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Since her debut with the band at the Omni Arena in November 1987, launching the Momentary Lapse of Reason tour, she was the only backing vocalist to appear consistently on all of their live shows up to the final concert of The Division Bell Tour, as well as David Gilmour's solo tour in 2001. These performances were captured on the accompanying live albums The Delicate Sound of Thunder and Pulse and she also went on to record the studio albums A Momentary Lapse of Reason, The Division Bell and The Endless River.

Outside of her work with Pink Floyd she has also recorded with Kate Bush, Billy Idol, James and Steve Hackett, as well as her own chart-topping band Blue Pearl.

Durga is accompanied on vocals by Dedi Madden who, as a guitarist, singer and songwriter has worked with Zero 7, Sia, Tricky, Bob Geldof and Roger Waters.

The stage is completed with a stunning eight-piece band, supported by a professional production team, that has played to hundreds of thousands of Pink Floyd fans across the world; from the United Kingdom to Poland and Germany, from Russia to Kazakhstan and Belarus.

Pink Floyd Legacy will take you back through the entire history of the band, from the early halcyon days of Syd Barrett, to Roger Water's conceptual masterpieces, to David Gilmour's anthemic guitar solos.

So join Durga, Dedi and the band as they perform some of the most memorable songs ever written against a stunning light and video show.

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Since her debut with the band at the Omni Arena in November 1987, launching the Momentary Lapse of Reason tour, she was the only backing vocalist to appear consistently on all of their live shows up to the final concert of The Division Bell Tour, as well as David Gilmour's solo tour in 2001.

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https://youtu.be/kJC-cFKP770

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Understanding Pink Floyd's Wish You Were Here

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An article discussing the legacy of Pink Floyd’s most successful and influential album, ‘Dark Side of the Moon’

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"The Dark Side of The Moon," is one of the best albums of all time. This album was the Pink Floyd's eighth studio album, it was released on March 1973. This album is an amazing spectacle of the bands ability.

This album explores themes of greed, mental illness, conflict, death and time. The band used snippets of interviews of their road crew and philosophical quotes in the album. The theme of mental illness was explored because of former member Syd Barrett whose mental state was deteriorating according to the other members.

This album is glorious, showing a change in the band; they went from "psychedelic noodling" to more experimental rock. They are well known for their progressive rock and trying to do things to make themselves unique.

The best songs on this album are the two songs chosen for promotion "Money," "Us and Them" and the song 'The Great Gig in the Sky". These songs are great on their own, but each one exemplifies a theme that the album represents.

"Money" is all about greed and consumerism, playing the sound of cash registers and coins falling. The style of this song is bluesy, starting with dry sounds (no echoes or reverb), but towards the end during the guitar solo, the band turned all dynamics up, producing wet sounds (echoes and reverb). The sound effects heard throughout the song were made to give a "walk around the room," vibe.

"Us and Them" is about the isolation of the depressed, using simple dichotomies (conflicts) for personal relationships. The song goes along with "Money," with some slower blues styles, but the opening gives off feelings of a church when walking in the door.

'The Great Gig in The Sky" is the final song on the first side of the album and is symbolic of death. The wordless vocals were sung by guest singer Clare Torry. The sounds that Torry make give listeners chills, as if she were just another instrument on the track. The band interviewed people about life and death, some snippets were used like "I never said I was frightened by death," said Patricia Watts, their road manager's wife.

The overall feeling of this album is depressing, taking all these themes and combining them into one amazing album. The second side starts nice and smooth, but soon continues to slow down and bring the main ideas of each song out through the lyrics.

The sounds this band have created were ahead of their time and were very experimental. This album could have been a major flop if not handled correctly, but it was handled wonderfully by the band and studio engineer, Alan Parsons.

This album is timeless, it can be listened to over and over again. This band is one of the greatest in rock history, they are the inspiration behind so many bands and artists. The vocals, music, and meanings all come together to create a masterpiece that shook the foundations of rock for generations.

Fast Facts

This album was recorded at Abbey Road Studios in London in two sessions

Clare Torry didn't know her vocals were used until she saw the album in the store, saw her name in the credits and purchased it.

Torry was only paid £30 for her performance.

"Dark Side of The Moon," went Platinum 15 times in the United States and 14 times in the United Kingdom.

This album pairs up perfectly with "The Wizard of Oz," and makes a pairing fans call "The Dark Side of Oz," or "The Wizard of Floyd".

Dark Side of the Moon

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The long lasting legacy of Pink Floyd's 'Dark Side of the Moon'

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"The Dark Side of The Moon," is one of the best albums of all time. This album was the Pink Floyd's eighth studio album, it was released on March 1973. This album is an amazing spectacle of the bands ability. This album explores themes of greed, mental illness, conflict, death and time.

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In 2011, EMI reissued all of Pink Floyd’s albums - this magazine article rates and assesses each one.

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EMI just reissued all 14 albums from Pink Floyd, and we asked writer Stephen M. Deusner to take a look back through the entire four-decade catalog, album-by-album.

Perhaps the most intriguing aspect of this new series of Pink Floyd reissues, which covers every major album over a nearly 40-year period, is the emphasis on the very odd trajectory of the group, which started out and ended up in very different places. Long before they became the bloated juggernaut that restaged The Wall every other year, they were an ambitious London quartet trying to free themselves from rock's blues-based strictures. The Piper at the Gates of Dawn, their 1967 debut, aspires somewhat self-consciously to art, which is just another way to say the band sought something more than just hormonal release in rock 'n' roll.

Of course, that could be said of every band from that decade, but by exploring musique concrete and psychedelia, Pink Floyd juxtaposed headlong jams like "Lucifer Sam" with Syd Barrett's odd pastorals about gnomes and scarecrows. The nursery rhyme images and sing-song melodies jamb up against the noisy discursions of "Interstellar Overdrive," yet the band-in particular, founding frontman Barrett, who wrote all but one of the tunes here-treat them all as those they emanate from the same troubled brain. That makes Piper less a rock album than a happening, and as such it's good when it's on the verge of freaking out and even better when they indulge that urge. As the line-up shifted and Barrett succumbed to an actual mental breakdown, Pink Floyd would rarely flirt so promiscuously with real chaos as they did on this auspicious debut.

Syd Barrett was the creative force on Pink Floyd's debut, but in the year between Piper and their follow-up in 1968, he was demoted to a merely ancillary member, writing only one song and playing on only a few tracks. New member David Gilmour took over guitar duties, and Roger Waters stepped forward as the band's primary songwriter. You can hear his influence immediately on "Let There Be More Light," the shapeshifting opener whose ominous chorus foretells the demonstrative and dramatic heft of Dark Side of the Moon and The Wall. Even better is "Set the Controls for the Heart of the Sun," a tense incantation whose power derives from its understatement. The song constantly threatens to explode into interstellar overdrive, but never does; it's all the more effective for being so insistently coiled. That change in dynamic suggests a much more confident and capable band, yet the various aspects of Saucerful of Secrets never quiet gel the way they do on Piper. It's a transitional album, made by a band developing at an ambitious rate yet still trying to figure out exactly what this adjusted line-up can do.

To follow up A Saucerful of Secrets, Pink Floyd recorded a soundtrack to the first film by Barbet Schroeder, 1969's More, about recent university grads hitchhiking through Europe and experimenting with heroin. It's essentially a picaresque, which suits the band surprisingly well: While Pink Floyd isn't the most grounded band, this soundtrack makes for a good road-trip mixtape, as the shifts in style suggest new locales and the headlong instrumentals evoke the forward momentum of travel. There's a greater emphasis on acoustic folk tunes like "Cirrus Minor" and "Cymbaline," although instrumentals like "Main Theme" and "More Blues" are by this point in their career beginning to sound redundant.

Still, More might sound better with, well, more. These reissues are all incredibly stingy with bonus materials, boasting only upgraded packaging and a new remaster that improves only minimally on the 1990s master. While that may preserve the original album sequencing, it makes this particular reissue sound like a missed opportunity. Several of these songs appeared in the film in slightly altered versions, and there were two songs that didn't make the final soundtrack. Including those tracks and subsequent live performances might have diminished the scattershot quality of More and given some important insight into Pink Floyd's creative process. Rather than rehabbing or recontextualizing the band's third album, this edition simply lets it flail.

Nobody ever mistook Pink Floyd for modest, but their fourth album is rock excess of the worst kind. Ummagumma is a double, of course, with the first disc comprised of live cuts recorded in Birmingham and Manchester and the second devoted to one composition from each member. The live material represents a typical setlist from the late '60s and therefore bears some historical curiosity. They draw out "Set the Controls for the Heart of the Sun" nicely, toying with that understated tension as they race toward their destination, but of these four tracks, only "Careful With That Axe, Eugene" sounds truly definitive, although that has the benefit of being a previously unrecorded live staple.

Roger Waters and David Gilmour have spent 40 years playing this 1970 album down, labeling it pompous, overblown, embarrassing-a low point in the band's creative history. They're not exactly wrong, but they're not exactly right either. Yes, the album stretches its six-part title track across an entire LP side, and yes, that suite meanders wildly and seemingly without purpose, as though they're making it up as they go along but getting distracted almost constantly. But "Atom Heart Mother"-all six movements-at the very least shows the band developing and entertaining new ideas, consciously moving away from the space rock label they'd been saddled with. In this case, they cast an orchestra and a choir as the leads, and the horn fanfare and choral harmonies hint at the even more ambitious arrangements throughout that decade.

The second half borrows the least productive idea from Ummagumma and divides songwriting duties among the band. The results are somewhat better, though, and almost uniformly folksy. In particular, Waters' "If" stands among his best compositions, and with his low vocals and Richard Wright's breezy piano, the song actually brings to mind Nick Drake's first two records (trivia: Drake's producer, Joe Boyd, also helmed Pink Floyd's first single, "Arnold Layne," in 1967). Oddly, Pink Floyd never made a full psych-folk album in the vein of "If" and Gilmour's "Fat Old Sun," which becomes even more of a shame when they end Atom Heart Mother with "Alan's Psychedelic Breakfast," a cut-and-paste assemblage of sounds that never coalesces into much of anything.

Even those experiments are couched in what is now an unmistakable Pink Floyd: simultaneously heavy and weightless, leaden and spry, spacey and earthy. All those contradictions come to bear on "Childhood's End" and "Mudmen," as Richard Wright's piano moors the song to earth even as David Gilmour's guitar arcs ever higher skyward. Obscured still sounds a bit patchwork, but every song sounds like it comes from the same band, and while they couldn't have known it at the time, these songs sound like rehearsals for the biggest album of Pink Floyd's career.

It's difficult to overstate the importance of Pink Floyd's eighth album not only in terms of the band's career but in the history of British rock. Dark Side of the Moon raised them from the prog ghetto and lodged them squarely into the mainstream; whereas once the members had been rock artists, now they were rock stars, and they would try to balance the two for the rest of their careers-often with great results, often not. Likewise, Dark Side cemented an era of excess in the early 1970s, which would prompt the back-to-basics rebellion first of pub rock and then of punk rock. Yet, even forty years later these songs still manage to transcend their genre and era and capture the imagination of subsequent generations of listeners even when they're not cued up to The Wizard of Oz.

Its popularity is certainly no accident. The album represents a mighty step forward for the band, not only in realizing certain sounds but in conceiving an album as a strictly unified whole wherein every note and noise contributes to the impact of the whole. In that regard, it makes good on the promise of both Schroeder soundtracks in the way it uses music to evoke the visual and explain the narrative-in this case, a growing alienation from contemporary consumerist society. Mapping such madness, "Time" and "Brain Damage" retain their disgust and longing; they cut loose like never before on "Money," and "Us & Them" is Pink Floyd at their anti-gravity best. Even instrumentals like "On the Run" and "Any Colour You Like" have more purpose than they might have in the past, as essential to the shape of Dark Side of the Moon as any of the vocal-driven songs. For the first time in the band's career, everything flows and nothing is wasted.

Nothing except this opportunity, that is. Despite the high rating above, the reissue strategy for this album seems both awkward and excessive. The 1xCD version includes only the remastered album, and the 2xCD Experience Edition adds a live disc recorded in 1974. Playing the album in its entirety, Pink Floyd notch a great performance, but don't take enough liberties with the album to show how malleable the music could be. It's more a historical document than a revelatory bootleg. And finally, the six-disc Immersion Edition includes that live disc, a collection of demos, a live DVD, and a DVD of alternate mixes by prog legend Alan Parsons and Jim Guthrie (who remastered the catalog for this series). For a band so often accused of overindulgence, this edition is truly monumental-just not in a good way.

Wish You Were Here really ought to be a more divisive record. Not only is it split into two multi-part suites separated by a few bitter anti-industry rants, but it moves away from the full-band enormity of Dark Side of the Moon and puts a heavy emphasis on Richard Wright's synths. As a follow-up to one of the definitive albums of the decade, it sounds risky-less reliant on concept than on simple faith that these songs will build into something meaningful and worthwhile.

Do they ever. Reportedly inspired by Syd Barrett's mental breakdown and by the band's growing disgust with the music industry, these songs flow together gracefully and naturally, tied together by Wright's keyboard textures and David Gilmour's agile lead guitar. They set the tone on opener "Shine On You Crazy Diamond (Parts I-V)," which takes nearly nine minutes to build and resolve before Waters sings his first line. Closing out the album, "Shine On You Crazy Diamond (Parts VI-IX)" changes shape fluidly and without fuss, ending on a particularly somber note.

Perhaps more crucially, the personal subject matter humanizes Waters as a singer and lyricist. Previously, he threatened to become the very thing he railed against on songs like "Money"-the wealthy rock star, entrenched in the establishment and foisting his beliefs on his audience-but Barrett softens him considerably and allows him to get outside of himself. On "Welcome to the Machine," he sings with a palpable desperation, as if he's walled himself up in this sad world and doesn't know how to get himself out. Ultimately, there's a spiritual generosity on Wish You Were Here, a solemnity that gives the music the weight of real tragedy. It may always live in the shadow of Dark Side, but this is Pink Floyd at their most humane, their most poignant, their most effortlessly affecting.

Especially after Wish You Were Here, which was inspired by former frontman Syd Barrett's mental collapse, Animals sounds almost defensively conceptual. It's reportedly based on George Orwell's Animal Farm, which makes a perfect filter for some of Roger Waters' most cynical lyrics. The seventeen-minute "Dogs" is almost ugly in its bitterness, but at least there's a fine synth solo by Richard Wright and some fine guitar fanfares by David Gilmour. And "Sheep" contains one of Pink Floyd's most patently ridiculous moments: a self-serious recitation of the Lord's Prayer. When Waters incants "He converteth me to lamb cutlets," the whole album folds in on itself. What works on the pages of a book doesn't necessarily translate to an arena stage.

As the '70s bore on, Pink Floyd had more and more problems related to its unprecedented success: squabbles between band members, squabbles between band members' wives and girlfriends, Wright's painful divorce, and a new generation of punks targeting the band as bloated and pretentious. It's not surprise, then, that Animals is such a distracted album, despite the inspired playing by Wright and Gilmour. These songs sound exploratory, less like the spiritual quests of their early psychedelic material and more like a rough draft. Pink Floyd are trying to figure out exactly what they want to say, but Animals sounds like a statement album without much of a statement.

Great album art, though.

For decades, The Wall has been a dorm-room staple inspiring amateur theorists and pot-addled deconstructionists to decipher its strange narrative and pull apart its metaphors brick by brick. Its continued popularity is odd, however, considering the album is Roger Waters at his most solipsistic and self-pitying. Exploring the horrible problems facing wealthy rock stars, The Wall too often sounds like a laundry list of those who've wronged him over the years: his dead father, his overbearing mother, his strict teachers, his wife, even the fans who bought records and went wild at shows. He's hardly a sympathetic protagonist, especially since he's so hostile and condescending toward his own audience.

So much of The Wall is bloated and preposterous, from the joyless screed of "Another Brick in the Wall (Part Two)" to the blindly Oedipal "Mother." The fourth side takes the album to histrionic heights, as Waters stages his own trial before a wormlike judiciary and nearly kills the rock opera as an art form stone dead. Still, there are some truly inspired songs hiding on this double album: "Goodbye Blue Sky" sounds like someone's last lonely breath, and "Comfortably Number" evokes a narcotized state with no showy gimmickry, just David Gilmour's guitar tracers and Water's anti-gravity melody. But such moments are strangled by the overwrought concept and execution. For all its baroque self-absorption, there's almost no self-searching on The Wall.

"What have we done, Maggie... what have we done to England?" That's Roger Waters singing on "The Post War Dream," the opening volley on Pink Floyd's twelfth album, The Final Cut. "Maggie" is, of course, Margaret Thatcher, who-along with Reagan, Haig, Brezhnev, and a "the ghost of Nixon"-had led England astray. Reportedly inspired by the country's involvement in the Falkland Wars, it's the most overtly political statement in the band's career, which lends the song an immediacy that, strangely, hasn't diminished twenty-eight years later.

If it all comes back to that father-shaped hole in Waters' psyche, then at least The Final Cut has a greater emotional impact than The Wall, mostly because he is so much more willing to get outside of himself and see the world through someone else's eyes, which pitches the album at a very human level. Waters may still be wallowing, but ultimately he knows there's so much power in a man-even a rock star-gauging the measure of human life: "Was it for this that Daddy died?" That question lingers even after the music fades.

Following their 1983 flop The Final Cut, the members of Pink Floyd clashed more than they collaborated, recording a number of largely forgotten solo albums and fighting in the high court over the use of the band name. Waters left the group and sued the other members to keep them recording and touring as Pink Floyd. He lost, and David Gilmour assumed the role of frontman, brought in lyricist Anthony Moore, and a squadron of session musicians for 1987's A Momentary Lapse of Reason. In retrospect, should we blame the courts?

Lapse is a slog: bloated, pompous, joyless, undeserving of the Pink Floyd label. Even failures like Ummagumma and Atom Heart Mother sound spirited and adventurous by comparison. Where once their din was subversive, these songs show a band that has become a lumbering, small-brained dinosaur. With no outlandish theme to shape the album or give weight to the lyrics, Lapse sounds big yet empty, like that pig balloon flying over their concerts. "The Dogs of War" only mimics the thumping blues rock of previous album, so it plays less as a rousing anthem than as a weak rebuke to Waters' anti-war concept albums. "On the Turning Away" could have been a lovely hymn in the manner of "Wish You Were Here," but instead it's overburdened with synths, a gospel choir, and a tedious guitar solo. Nearly twenty-five years later, Lapse has aged the most gracelessly of all the Pink Floyd release. It sounds like an incredibly expensive 80s album, and all the remastering in the world can't help that.

The lack of an overarching concept-some big, bizarre them to tie everything together-doomed Pink Floyd's first album without founding member and main idea man Roger Waters. Seven years after A Momentary Lapse of Reason begat the band its most expensive flop, self-appointed frontman David Gilmour finally devised a good concept for an album, and that concept is, Screw you, Roger Waters. Most of these songs re-examine the psychic toll of the endless squabbles over the Pink Floyd name and catalog, and at times the recrimination curdles into petty bitterness for being so one-sided. Mostly, however, it gives The Division Bell its considerable bite, and while Gilmour no doubt intends his lyrics to be extremely serious, there's no small amount of campy cattiness: "Did you know... it was all going to go so wrong for you?" he gloats on "Poles Apart." "And did you see it was all going to be so right for me?"

The Division Bell may boast a heightened dynamic between its remaining members, but it still comes across as open-ended and unresolved. Gilmour's hostility toward his former bandmate leads to no firm conclusion, no great realization about the nature of their relationship. In other words, it doesn't sound like a final chapter, but a midpoint in an ongoing story. Looking back, it's surprising that the band has subsisted on subpar live albums and reissues over the past seventeen years, and that paltry output makes this Why Pink Floyd? series all the more disappointing. The band has such a large archive of rarities, outtakes, and unreleased rarities that bootlegs of excellent quality easily outnumber their studio albums. Hopefully, these stingy editions won't cap the life of Pink Floyd but enable a deeper exploration of their catalog, which remains as vital today as ever.

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assessing a legacy: why pink floyd? reissue series

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Assessing a Legacy: Why Pink Floyd? Reissue Series

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EMI just reissued all 14 albums from Pink Floyd, and we asked writer Stephen M. Deusner to take a look back through the entire four-decade catalog, album-by-album. Perhaps the most intriguing aspect of this new series of Pink Floyd reissues, which covers every major album over a nearly 40-year period, is the emphasis on the very odd trajectory of the group, which started out and ended up in very different places.

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Miles Cyrus’ cover of ‘Comfortably Numb’

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Miles Cyrus’ cover of ‘Comfortably Numb’

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https://youtu.be/JNOWcoImDQQ

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Miley Cyrus - Comfortably Numb (Pink Floyd Cover)

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Lasers became a staple of Pink Floyd's concerts since The Dark Side of the Moon tour in 1974.

The Pink Floyd Laser Spectacular pays homage to this. Audience members attend shows to listen to Pink Floyd's recordings and watch lasers in an attempt to experience a Pink Floyd concert.

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Enjoy this short video with scenes from our Austin, Texas show.

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Hipgnosis was an English art design firm formed by Storm Thogerson, Aubrey Powell, and later joined by Peter Christopherson.

The firm had a long working relationship with Pink Floyd creating iconic albums covers e.g. 'Wish You Were Here' and 'Animals'. They gained international prominence after their cover for 'Dark Side of the Moon' and worked for bands such as Genesis and Led Zeppelin.

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The complete, definitive and never-before-published catalogue of Hipgnosis, Vinyl * Album * Cover * Art finally does justice to the work of the most important design collective in music history, which, according to Roddy Bogawa, director of the documentary Taken by Storm (2011), 'designed half your record collection'. Founded in 1967 by Storm Thorgerson, Aubrey 'Po' Powell and Peter Christopherson, Hipgnosis gained legendary status in graphic design, transforming the look of album art forever and winning five Grammy nominations for package design. Their revolutionary cover art moved away from the conventional group shots favoured by record companies of the day, resulting in the ground-breaking, often surreal designs which define the albums of many of the biggest names in the history of popular music: 10cc, AC/DC, Black Sabbath, Peter Gabriel, The Police, Genesis, Led Zeppelin, Pink Floyd, Paul McCartney, Robert Plant, Syd Barrett, Throbbing Gristle, T. Rex, Wings, Yes and XTC, to name but a few. Arranged chronologically, Vinyl * Album * Cover * Art features stunning reproductions of every single Hipgnosis cover - 372 in total - coupled with detailed information by Po and Storm Thorgerson on the artworks and the compelling stories behind their creation. Additional contributions by Peter Gabriel, Marcus Bradbury, and Pentagram's Harry Pearce provide engrossing insights into the way these incredible artworks came into being; place the covers in context; and reflect on their enduring impact on album design. A highly accessible stand-alone volume, Vinyl * Album * Cover * Art will also make the perfect pop partner to the groundbreaking Hipgnosis | Portraits (2014) with its rare revelations and behind-the-scenes photography.

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Vinyl . Album . Cover . Art: The Complete Hipgnosis Catalogue

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Buy Vinyl . Album . Cover . Art: The Complete Hipgnosis Catalogue 01 by Powell, Aubrey (ISBN: 9780500519325) from Amazon's Book Store. Everyday low prices and free delivery on eligible orders.

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Scissor Sisters cover of 'Comfortably Numb'

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Scissor Sisters cover of 'Comfortably Numb'

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A 2017 exhibition which provided an audio-visual journey of 50 years of Pink Floyd.

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V&A · Pink Floyd: Their Mortal Remains - Exhibition at South Kensington

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The first international retrospective of one of the world's most iconic and influential bands

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'One of the defining forces behind 1960s psychedelia, Pink Floyd became one of the most influential and successful groups of all time. The Rock and Roll Hall of Fame cites them “as the architects of two major music movements – psychedelic space-rock and blues-based progressive rock”. The band’s lyrics are described as offering “biting political, social and emotional commentary”.'

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The Victoria & Albert Museum's David Bowie exhibition in 2013 became the fastest to sell out in the museum's history. Now curators are planning a celebration of another musical institution, Pink Floyd - in collaboration with surviving members of the band.

One of the defining forces behind 1960s psychedelia, Pink Floyd became one of the most influential and successful groups of all time. The Rock and Roll Hall of Fame cites them "as the architects of two major music movements - psychedelic space-rock and blues-based progressive rock". The band's lyrics are described as offering "biting political, social and emotional commentary".

Formed in 1965, Pink Floyd featured lead vocalist and guitarist Roger "Syd" Barrett, bassist Roger Waters, drummer Nick Mason and keyboard player Rick Wright. Guitarist David Gilmour joined shortly before Barrett's departure in 1968. Barrett and Wright died in 2006 and 2008 respectively. The group sold more than 250 million albums, with The Dark Side of the Moon and The Wall acknowledged as classics.

The V&A's tribute will emphasise the groundbreaking originality of the band's live concerts. Pioneering psychedelic light shows, spectacular special effects and elaborate stage constructions included a model plane that flew over the audience before crashing into the stage. For the concert production of The Wall, animations were projected on to a wall of cardboard bricks built between the band and audience.

Their album covers are now considered among the most influential ever created. The museum will showcase original artwork by their designers and photographers.

Pink Floyd in their early days. Photograph: Michael Ochs Archives/Redfern

Hipgnosis, the experimental design company co-founded by Aubrey Powell and Storm Thorgerson in 1968, created the rainbow-through-a-prism graphic for The Dark Side of the Moon, which became one of the most recognisable LP covers, playing a part in sales exceeding 40 million copies.

The exhibition will also pay tribute to the genius of Barrett, who taught himself guitar - mostly by playing along to records - and reached the heights of rock stardom, only to become a casualty of the late-1960s fascination with LSD. The Dark Side of the Moon is said to have been partly inspired by Barrett's mental-health struggles.

Last month Royal Mail issued 10 stamps to celebrate the band's worldwide influence, an honour previously granted to the Beatles. In 2014, the group released their final album, The Endless River. In an interview with Classic Rock magazine last year, Gilmour said that, after almost half a century together, there were no plans to reunite. He said that Pink Floyd had "run its course" and it would be "fakery" to reform with his two surviving bandmates.

Some of the ground work for the V&A show has already been done. In 2014, a Pink Floyd retrospective organised by one of Italy's biggest music promoters was abandoned following a reported dispute over fees and intellectual property rights. A worldwide tour of hundreds of exhibits, including designs and recordings, had been planned. A giant inflatable pig, featured on the cover of Animals, and the stage sculpture of The Wall are among artefacts that are now likely to come to the V&A instead.

The museum will also include Pink Floyd in its major autumn exhibition: You Say You Want A Revolution? Records & Rebels 1966-70, which will explore the wide-reaching social and cultural changes that followed the austerity of the postwar years. London's Carnaby Street will be portrayed as part of a "1960s streetscape", along with the UFO nightclub on Tottenham Court Road, where Pink Floyd made their name.

The Revolution exhibition will also highlight figures such as Vidal Sassoon, who revolutionised hairdressing in the 1960s, creating geometric styles that came to define the decade. Stylists at a Sassoon Sunday Salon will offer haircuts to visitors.

SHADES OF PINK

1965 Formed by Syd Barrett, Nick Mason, Roger Waters and Richard Wright, later to be joined by David Gilmour in 1967.

1968 Barrett leaves due to mental health issues.

1973 The Dark Side of the Moon is released. It has since sold 45m copies.

1979 Double album The Wall is released, with single Another Brick in the Wall reaching number one for five weeks.

1985 Waters leaves, saying the band no longer exists without him. He goes to court to try to prevent his former bandmates from performing as Pink Floyd, but eventually loses his case.

2014 The band's final album, The Endless River, is released, winning a Grammy.

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Pink Floyd's psychedelic revolution will rock the V&A

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The Victoria & Albert Museum's David Bowie exhibition in 2013 became the fastest to sell out in the museum's history. Now curators are planning a celebration of another musical institution, Pink Floyd - in collaboration with surviving members of the band.