But I don’t know if Waters’s own issues — brought up in the relatively protected realm of Cambridge, a rock star at 25 — warrant all this extremis. But it’s highly musical, undeniably catchy, everyone in the band is operating at full gear … and it sounds great on the radio to this day. You can tell by the big swells of muzik and the highfalutin lyrics: “The silence that speaks so much louder than words,” etc., etc. “Terminal Frost,” A Momentary Lapse of Reason (1987): Tucked in between the two (unnecessary) “parts” of “A New Machine,” this tepid instrumental could almost be on a Kenny G album, what with the dulcet dual saxophonal stylings of Tom Scott and John Helliwell. Has drama and force and isn’t terribly produced. The first two minutes of “Interstellar Overdrive” are as good as it gets. Wright died in 2006; conceived as some sort of a tribute to him and billed as the final Pink Floyd album, it’s two discs based largely on Wright keyboard demos the band had lying around, gussied up with Gilmour playing guitar and Mason playing drums over them. Besides fitting in with the vicissitudes-of-modern-life theme Waters had going, the track is another homage to Barrett. This is a Waters composition, but it’s another one of those early Pink Floyd tracks that makes you wish you could have seen how Barrett would have kept the band in line had he stayed with them. That said, it’s a very pretty song that does its job well on this terrific record. The skeptical will note that the chorus gets whimsical and aimless, and doesn’t do the verses justice, which makes you wish Barrett had either (a) had a collaborator or a strong producer to help him take his songs to the next level or (b) done a Guided-by-Voices thing 30 years earlier, and just put out short songs with his limited number of undeniable riffs in them. More on Animals later, but I want to say this: Waters is a smart guy and I don’t want to be glib criticizing his conceptions. Most people will remember only the overdone echoes on the word closer. Case in point is this lazy Wright/Gilmour composition. I suppose the defense of the song would be that Gilmour wanted to make it clear he was taking the band’s focus back to the TDSOTM and WYWH era, not that of The Wall or The Final Cut. More was the first film by Schroeder, a minor player in the French New Wave. The release of the chorus elevates what could have just been almost a novelty track on The Wall into one of the most beautiful pieces of music of the 1970s. 151. The brilliant synth wizard Richard Wright programmed the notes and transformed them into this spectacular — just joking. Note the quizzical song title, which isn’t referenced in the song. One of the things, I think, Waters figured out how to do (though it took him six albums) is to write for Gilmour’s voice. Ten times Pink Floyd threw the heavy duty concepts out of the window and cranked everything up to 11. There are currently 217 songs on this list. Written and sung by Wright, it’s not terrible, though his voice isn’t strong enough to carry it. 121. Unfortunately it derives from a pretty lite guitar riff and some Deep Purple–y keyboard mewling. The Second World War was a terrible event in world history, and took a devastating toll. But maybe it’s just because they are set against the baldness of Waters’s lyrics. Originally done for The Wall; while it did not make the album, it was used as the opening scene in the film, and was even reprised. But truthfully, Pink Floyd guys never had the pure musicality, not to mention the vision, to pull anything like this together. 102. There was a guy listening to pink Floyd here at work. 100. With a lot of short fragments like “Empty Spaces,” he had the equivalent of 24 solo songwriting credits on The Wall, which, with more than 30 million copies sold worldwide, is in the top-20-biggest-selling albums of all time. If Stephen Bishop had come across Waters sitting on a frat-house stairway with an acoustic guitar serenading a couple of coeds, he would have grabbed the guitar and smashed it. Laid down less interesting, but it does capture a world fairly well and! ] Norman [ Smith ] gave up and took ownership of his that. Returning veteran pursued by dogged fans up a girlfriend or two, or would manage to himself. 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