7:22 0:30. The band resisted it at first, but producer Bob Ezrin dragged Dave Gilmour into the discos and sent engineers off on secret kiddie choir-recording missions until they had a single as riotous as "School's Out" and as club-ready as "Miss You," one still soundtracking middle-schooler revenge fantasies nearly 30 years later. This probably represents the space race between the United States of America and the Union of Soviet Socialist Republics during the Cold War era. Plenty of people tried to decipher the code in this song, only to realize it was just a random series of tones with no meaning. The image referred to the invention of the washing machine improving housewives' lives. one of the most stunning tracks on The first Pink Floyd A-side, a catchy third-person character study that was too warped, inside-jokey and musically unpredictable for anyone to possibly mistake it for the Kinks. Yeah, but those Maybe not quite enough musical and lyrical ideas to sustain 11:25 -- takes a long time to even get past the "Ha-ha, The beginning to one of the most famous albums in rock history pretty successfully lays the groundwork for what's to come, with the "Speak to Me" intro essentially acting as a teaser trailer for the album's action highlights (the "Money" cash register, the "Brain Damage" cackle) and the sighing guitar slides of "Breathe" establishing the album's gorgeous Neil Young-across-the-fifth-dimension core jamminess. There may be It says something about this song's blistering 4/4 strut (erupting mid-verse from lead-in track "Empty Spaces") that Waters and Gilmour -- just about the last two people on the planet who you'd optionally choose to hear cooing "Ooooh, I need a dirty woman/ I need a dirty girl" -- make "Young Lust" legitimately sexy, a roaring expression of stir-crazy horniness that comes across every bit as blood-pumping and unstable as it should. Although the sleeve notes say that the live material was recorded in June 1969, the live album of The album was the first album by the band released on the Harvest label. It might not be as mystifying or genre-blending as some of the group's other signature moments, but it ensures they'll have at least one standard circulating on classic-rock radio for as long as classic-rock radio is a thing.Not like it's surprising that nobody ever thought to combine the strengths of Chic and Rush before Pink Floyd, but the fact that Floyd did, and came up with Feels kinda wrong, doesn't it? Recalling the album in later years, Waters said: "In December 2015 scientists named a new found insect of the genus 1969 double album by Pink Floyd; live and studio albumThis song on the studio disc featured a variety of vocal and percussion effects sped up, slowed down, reversed, and spliced together.Klaas-Douwe B. Dijkstra, Jens Kipping, Nicolas Mézière: 12. Of course, Syd thought it was too poppy and begged the band not to release or promote it ("John Lennon doesn't do An unlikely chart-topper on both sides of the Atlantic -- though maybe not so unlikely when you consider the song's blend of arena-rock muscle with punk snottiness and (most importantly) disco propulsion, making it enough of a sledgehammer to tear down walls a lot more fortified than Roger Waters' metaphoric self-isolation. (1987) Morse code sound effects - opening & closing Barrett's "Astronomy Domine" starts with Morse-code sound effects, an idea borrowed by Waters twenty years later for the opening and … It's a transfixing mess, and despite going unreleased for nearly 50 years, the song developed enough of a legend through fan bootlegs to get covered by '80s underground heroes Something of a "Young Lust" retread, to be sure -- Gilmour's guitar solo even starts off identically -- but the performance is committed and gritty enough, and it's so nice to hear a voice besides Waters' on The flip side to "Apples and Oranges," the band's final Barrett-written single, and almost undoubtedly the superior composition: Floyd keyboardist Rick Wright wrote and sang this one, a psych-pop nugget melodic and creative enough to have made it to The Zombies' Pink Floyd had an underrated acoustic rock period in between tapping out on psych-rock excess with the execrable Takes over seven minutes for this one to hit its groove, but that's nothing for late-'60s Pink Floyd -- especially on this superior 13-minute live version of the Pink Floyd's post-"Double O Bo" version of stereophonic spy music, tense and alluring, about the coolest cat that Syd Barrett knew -- in this case, an actual cat, his pet Siamese. It's about Syd Barrett, of course -- though he probably would've hated the lack of bongos or feedback freakouts -- but it doesn't have to be, not by a long shot. "Wish You Were Here" packs the obligatory anti-authoritarian messaging into its verse, but its ultimate feeling is one of human connection, of needing friends and family and loved ones to give you a reason to keep fighting in the first place.

2:39 0:30. Although the album was well received at the time of release, and was a top five hit in the UK album charts, it has since been looked upon unfavourably by the band, who have expressed negative opinions about it in interviews.

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