Dr. Octopus
Footballguy
I don’t think anyone said anything close to this.
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FBG'S TOP 100 PINK FLOYD SONGS - #01 - Comfortably Numb from The Wall (1979) (7 Viewers)
- Thread starter Anarchy99
- Start date
ericttspikes
Footballguy
I remember how acrimonious the split was and the visible legal battle over the name “Pink Floyd “. I think for me it had an effect in choosing “which one’s Pink” and I went with Roger. It was kinda cool as a fan to see his music in outdoor sheds and theaters during that time while the reformed Pink Floyd was still playing football stadiums. I really enjoyed seeing those more intimate shows.
I missed his Pro’s and Con’s tour unfortunately. Clapton helped the draw and he was playing large outdoor sheds, but for Radio K.A.O.S. I got to see that in a 4000 capacity theater and it was awesome. Drove to Chicago from Carbondale IL (SIU) and dropped acid. Incredible experience.
Roger Waters Setlist at Arie Crown Theater, Chicago
Get the Roger Waters Setlist of the concert at Arie Crown Theater, Chicago, IL, USA on November 14, 1987 from the Radio K.A.O.S. Tour and other Roger Waters Setlists for free on setlist.fm!
But for an ego maniac like Roger this had to be a tough period. From one of the biggest bands on earth to a 4k theater.
DocHolliday
Footballguy
One Slip is a pretty good song and looks to ranked appropriately here.
Dr. Octopus
Footballguy
He actually played Madison Square Garden - about 20,000 - when that tour came to these parts.
ericttspikes
Footballguy
Wow. Tickets were easy in Chicago. I heard Pro’s and Con’s had empty seats here too.
Dr. Octopus
Footballguy
He had Jim Ladd set up in the middle of the Garden floor in a radio booth set-up. He sat there with Ladd in between sets and answered questions from the audience members using a fake phone booth as if a radio call in show.
Also Paul Carrack was his keyboard player and before Waters full band came out, Carrack sat at the keyboards and played and sang “Tempted” solo.
ericttspikes
Footballguy
Yep. Same here. It was cool. Definitely was a Floyd like performance. I liked the Radio KAOS album despite the uneven reception. I wondered if it would’ve been better received if he was able to release it as a Pink Floyd album. Sonically a bit of a departure, which I actually liked, but still had a concept connecting it together. Still have my KAOS concert shirt.
Tau837
Footballguy
@Rand al Thor come on down . . .
SWIPE RIGHT / THE WHEEL OF TIME HAS LANDED ON THEE
@Just Win Baby (17 similar songs, 10 of the same Top 10)
Happy to be with this group! So far only 2 of my 25 have shown up in the countdown:
- Sorrow - FBG 51, JWB 19
- Don't Leave Me Now - FBG 78T, JWB 24
Anarchy99
Footballguy
#34-T - One Of My Turns from The Wall (1979)
Appeared On: 4 ballots (out of 33 . . . 12.1%)
Total Points: 44 points (out of 825 possible points . . . 5.3%)
Top Rankers: @BrutalPenguin @FatMax @Rand al Thor @Dan Lambskin @Pip's Invitation
Highest Ranking: 6
Band Demo, Film Version, Live Version - 1980, Berlin - 1990, New York - 2010
Live Performances:
PF: 31
RW: 225
Covers: Out Of Phase, Tommy Shaw, Worshipper, Gentle Good, William Irvine, Josh Young, Animals, Faux Lives
The song is split into three portions; a fragmented dialogue, a quiet lyrical portion, and a loud lyrical portion. As with the other songs on The Wall, One Of My Turns tells a portion of Pink's story. The album's protagonist. Pink invites a groupie into his room after learning of his wife's affair. At first when the groupie tries to get his attention, he is too busy thinking of his wife to hear her. As the groupie continues to try to get his attention, Pink explodes into a fit of violence and destroys his room. Pink lets a groupie in his hotel room. After she tries to seduce Pink, he enters a rage and destroys the hotel room, cutting his own hand after he throws a television set out his window into the road below. Pink tosses the television, and cuts his hands on glass.
In terms of the progressing narrative, Pink has now brought a groupie to his hotel room, in a halfhearted attempt to exact his revenge upon his unfaithful wife. However, he seems singularly uninterested in her, and sits watching television as she looks around the room. His mind is on the pain he feels - which rapidly erupts into an insane explosion of anger, in which he violently trashes his hotel in traditional rock star style, causing the groupie to make a quick and fearful exit.
Roger: "One of My Turns is supposed to be Pink's response to a lot of aggravation in his life... he's just splitting up with his wife, and in response he takes another girl up to his hotel room. He's had it now, he's definitely a bit 'yippee' now, and One of My Turns is just, you know, him coming in and he can't relate to this girl either, that's why he just turns on the TV, they come into the room and she starts going on about all the things he's got and all that he does is just turn on the TV and sit there, and he won't talk to her."
This incident is based on another real-life event, this time not involving Roger, but the famed English folk singer Roy Harper. At the Knebworth concert premiere of Wish You Were Here on 5 July 1975, Harper, getting ready to go on, discovered his stage costume had disappeared. He threw a destructive tantrum in the Floyd's van, in which he cut himself badly. This 'temperamental artiste' scenario became the inspiration for this song.
Dave: "I got a rhythm player in on One of My Turns because I couldn't think of a good part to play. Lee Ritenour played that part on the last half of that..."
In the stage show at this point, the building of the actual wall is nearing completion; for this song and the next, Roger appears in a fabricated 'hotel room' set into the wall itself, about 20 feet up. Large windows look out onto the audience, and during the course of his 'turn,' Roger flings various objects out to the floor below.
The Wall's producer Bob Ezrin thought of the album as a theatrical experience, and he cites this song as an example of that vision. He told Rolling Stone: "My vision for it was informed by the LP of the 1966 film A Man For All Seasons - all the dialogue, music and sound effects. I used to put it on and close my eyes - it was an eyelid movie."
In the film, the scene where Pink hurts his hand while destroying the Venetian blinds was not faked. Bob Geldof did indeed cut his hand and he can be seen looking at it for a brief second, but director Alan Parker decided not to stop filming until the scene was over, despite Geldof's injury. In the next scene, the viewer can see a towel or shirt wrapped around Geldof's injured hand. Also, according to Parker's DVD commentary, actress Jenny Wright was informed that Geldof (as Pink) would yell at her and chase her during the scene; however the director, in order to get an authentic reaction from the actress, did not tell her that Geldof would also throw a wine bottle at her at the start of his enraged outburst. Wright said she was not told that a food cart, which just missed her by a few inches, would be thrown at her.
Vulture Ranking (out of 165 songs): 127
Ultimate Classic Rock Ranking (out of 167 songs): 105
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 44
Billboard Ranking (out of 50 songs): 49
Vulture Ranking (127 out of 165 songs): In Waters’s conception of The Wall, and it’s not a terrible one, Pink has put an emotional wall up around himself. I like the idea, because it’s hard; back then, “the Wall” was symbolic of the Soviet Union. I liked how Waters wrested the symbol away and tried to make a statement about personal isolation. Anyway, here, Pink gets a groupie and proceeds to get a little weird.
UCR Ranking (105 out of 167 songs): The song highlights the manic depression of main character Pink by moving from a blurry drone to a full rock track as if switching on a light. Waters’ strident vocal matches Pink’s unhinged temper in a manner that splits the difference between annoying and arresting (unlike lesser portions of The Wall, when it’s just the former – or better songs, when it’s simply the latter).
Billboard Ranking (49 out of 50 songs): Careful with that axe, Roger! The Pink Floyd front man’s screaming-in-a-hotel-room voice would well wear out its welcome by the time he left the band a half-decade later — if not by the end of The Wall‘s 81 minutes — but the first time it tears through one of the album’s more sedate-seeming tracks (“Would you like to learn to fly?/ WOULD YA LIKE TO SEE ME TRY??”), it’s legitimately unnerving.
One Of My Turns starts us on a run of 6 of 8 songs from The Wall. Up next, a song called The Show from the original The Pros And Cons Of Hitchhiking.
Appeared On: 4 ballots (out of 33 . . . 12.1%)
Total Points: 44 points (out of 825 possible points . . . 5.3%)
Top Rankers: @BrutalPenguin @FatMax @Rand al Thor @Dan Lambskin @Pip's Invitation
Highest Ranking: 6
Band Demo, Film Version, Live Version - 1980, Berlin - 1990, New York - 2010
Live Performances:
PF: 31
RW: 225
Covers: Out Of Phase, Tommy Shaw, Worshipper, Gentle Good, William Irvine, Josh Young, Animals, Faux Lives
The song is split into three portions; a fragmented dialogue, a quiet lyrical portion, and a loud lyrical portion. As with the other songs on The Wall, One Of My Turns tells a portion of Pink's story. The album's protagonist. Pink invites a groupie into his room after learning of his wife's affair. At first when the groupie tries to get his attention, he is too busy thinking of his wife to hear her. As the groupie continues to try to get his attention, Pink explodes into a fit of violence and destroys his room. Pink lets a groupie in his hotel room. After she tries to seduce Pink, he enters a rage and destroys the hotel room, cutting his own hand after he throws a television set out his window into the road below. Pink tosses the television, and cuts his hands on glass.
In terms of the progressing narrative, Pink has now brought a groupie to his hotel room, in a halfhearted attempt to exact his revenge upon his unfaithful wife. However, he seems singularly uninterested in her, and sits watching television as she looks around the room. His mind is on the pain he feels - which rapidly erupts into an insane explosion of anger, in which he violently trashes his hotel in traditional rock star style, causing the groupie to make a quick and fearful exit.
Roger: "One of My Turns is supposed to be Pink's response to a lot of aggravation in his life... he's just splitting up with his wife, and in response he takes another girl up to his hotel room. He's had it now, he's definitely a bit 'yippee' now, and One of My Turns is just, you know, him coming in and he can't relate to this girl either, that's why he just turns on the TV, they come into the room and she starts going on about all the things he's got and all that he does is just turn on the TV and sit there, and he won't talk to her."
This incident is based on another real-life event, this time not involving Roger, but the famed English folk singer Roy Harper. At the Knebworth concert premiere of Wish You Were Here on 5 July 1975, Harper, getting ready to go on, discovered his stage costume had disappeared. He threw a destructive tantrum in the Floyd's van, in which he cut himself badly. This 'temperamental artiste' scenario became the inspiration for this song.
Dave: "I got a rhythm player in on One of My Turns because I couldn't think of a good part to play. Lee Ritenour played that part on the last half of that..."
In the stage show at this point, the building of the actual wall is nearing completion; for this song and the next, Roger appears in a fabricated 'hotel room' set into the wall itself, about 20 feet up. Large windows look out onto the audience, and during the course of his 'turn,' Roger flings various objects out to the floor below.
The Wall's producer Bob Ezrin thought of the album as a theatrical experience, and he cites this song as an example of that vision. He told Rolling Stone: "My vision for it was informed by the LP of the 1966 film A Man For All Seasons - all the dialogue, music and sound effects. I used to put it on and close my eyes - it was an eyelid movie."
In the film, the scene where Pink hurts his hand while destroying the Venetian blinds was not faked. Bob Geldof did indeed cut his hand and he can be seen looking at it for a brief second, but director Alan Parker decided not to stop filming until the scene was over, despite Geldof's injury. In the next scene, the viewer can see a towel or shirt wrapped around Geldof's injured hand. Also, according to Parker's DVD commentary, actress Jenny Wright was informed that Geldof (as Pink) would yell at her and chase her during the scene; however the director, in order to get an authentic reaction from the actress, did not tell her that Geldof would also throw a wine bottle at her at the start of his enraged outburst. Wright said she was not told that a food cart, which just missed her by a few inches, would be thrown at her.
Vulture Ranking (out of 165 songs): 127
Ultimate Classic Rock Ranking (out of 167 songs): 105
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 44
Billboard Ranking (out of 50 songs): 49
Vulture Ranking (127 out of 165 songs): In Waters’s conception of The Wall, and it’s not a terrible one, Pink has put an emotional wall up around himself. I like the idea, because it’s hard; back then, “the Wall” was symbolic of the Soviet Union. I liked how Waters wrested the symbol away and tried to make a statement about personal isolation. Anyway, here, Pink gets a groupie and proceeds to get a little weird.
UCR Ranking (105 out of 167 songs): The song highlights the manic depression of main character Pink by moving from a blurry drone to a full rock track as if switching on a light. Waters’ strident vocal matches Pink’s unhinged temper in a manner that splits the difference between annoying and arresting (unlike lesser portions of The Wall, when it’s just the former – or better songs, when it’s simply the latter).
Billboard Ranking (49 out of 50 songs): Careful with that axe, Roger! The Pink Floyd front man’s screaming-in-a-hotel-room voice would well wear out its welcome by the time he left the band a half-decade later — if not by the end of The Wall‘s 81 minutes — but the first time it tears through one of the album’s more sedate-seeming tracks (“Would you like to learn to fly?/ WOULD YA LIKE TO SEE ME TRY??”), it’s legitimately unnerving.
One Of My Turns starts us on a run of 6 of 8 songs from The Wall. Up next, a song called The Show from the original The Pros And Cons Of Hitchhiking.
Last edited:
Anarchy99
Footballguy
My favorite pizza topping is pepperoni. I also enjoy the occasional sausage or meatball pie. Just because I prefer pepperoni doesn't mean I have disdain for other pizza toppings.
FatMax
Member
I knew I'd have this higher than everyone else .... turns out I was wrong. I had it at #7. It's another one of those songs that have a more personal connection, and thus a lot higher on my list than most.
And while I'm firmly on Team Gilmour when it comes to PF lead singers, this song is a perfect example of the kind of stuff that Gilmour just can't do as well. It needs Waters manic shrill to convey the message.
Anarchy99
Footballguy
Trying to figure out if you . . .
- Have groupies
- Keep an axe in your bedroom
- Often go ballistic and destroy everything in a room
If the answer to any of those is yes . . . I want to party with you, cowboy.
FatMax
Member
- Have groupies?
Yes, but these days it's just my wife and two cats. But I can assure you that all of them are very enamored with me.
- Keep an axe in your bedroom?
Actually, I keep it in the suitcase, so really, it can be anywhere. Right now, it on a shelf in the garage.
- Often go ballistic and destroy everything in a room
No, but I did destroy my backyard moving sprinklers around last week. It was crazy.
Yes, but these days it's just my wife and two cats. But I can assure you that all of them are very enamored with me.
- Keep an axe in your bedroom?
Actually, I keep it in the suitcase, so really, it can be anywhere. Right now, it on a shelf in the garage.
- Often go ballistic and destroy everything in a room
No, but I did destroy my backyard moving sprinklers around last week. It was crazy.
Anarchy99
Footballguy
All time album rankings . . .
ShortLIst's Top 65 Albums
#1 - DSOTM
#5 - WYWH
Digital Dream Door Top 300
#7 - DSOTM
#66 - The Wall
#204 - WYWH
Pop Vortex Top 100
#17 - DSOTM
#36 - The Wall
#62 - WYWH
Rolling Stone Top 500
#55 - DSOTM
#129 - The Wall
#253 - TPATGOD
#264 - WYWH
Stacker Top 100
#2 - DSOTM
#8 - WYWH
#24 - The Wall
#37 - Animals
List Challenges Top 200
#1 - DSOTM
#29 - The Wall
#35 - WYWH
#106 - Animals
#156 - Meddle
#180 - AMLOR
Colin Larkin Top 1000
#8 - DSOTM
#31 - WYWH
#46 - The Wall
#138 - TPATGOD
#260 - Meddle
#495 - TDB
#508 - Animals
#849 - TFC
#887 - ASFOS
ShortLIst's Top 65 Albums
#1 - DSOTM
#5 - WYWH
Digital Dream Door Top 300
#7 - DSOTM
#66 - The Wall
#204 - WYWH
Pop Vortex Top 100
#17 - DSOTM
#36 - The Wall
#62 - WYWH
Rolling Stone Top 500
#55 - DSOTM
#129 - The Wall
#253 - TPATGOD
#264 - WYWH
Stacker Top 100
#2 - DSOTM
#8 - WYWH
#24 - The Wall
#37 - Animals
List Challenges Top 200
#1 - DSOTM
#29 - The Wall
#35 - WYWH
#106 - Animals
#156 - Meddle
#180 - AMLOR
Colin Larkin Top 1000
#8 - DSOTM
#31 - WYWH
#46 - The Wall
#138 - TPATGOD
#260 - Meddle
#495 - TDB
#508 - Animals
#849 - TFC
#887 - ASFOS
timschochet
Footballguy
I haven’t really had a chance to look at this thread until now. But as a casual fan (basically I’ve listened to the 4 albums considered their best by most people, plus the 80s hits), the truth is I don’t recognize most of these songs by title. The only one that stands out to me so far is “Goodbye Cruel World”, which I like very much and would probably be relatively high for me (though there would only be about 30 songs on my entire list.)
So I guess what I’m trying to say is I’m looking forward to the top 30!
So I guess what I’m trying to say is I’m looking forward to the top 30!
Ghost Rider
Footballguy
One of My Turns is incredible, but I view it like I do songs like The Thin Ice or The Trial: fantastic within the context of The Wall, but not individual songs I ever reach for on their own. Thus, I did not rank One of My Turns, but I love it.
Anarchy99
Footballguy
#41 - In The Flesh? / In The Flesh from The Wall (1979)
Appeared On: 7 ballots (out of 33 . . . 21.2%)
Total Points: 46 points (out of 825 possible points . . . 5.6%)
Top Rankers: @Anarchy99 @Desert_Power @DocHolliday @jabarony @Ridgeback
Highest Ranking: 12
The Show?
The Show
In The Flesh? (Movie Version)
In The Flesh (Movie Version)
In The Flesh? (Restored Version)
In The Flesh? (Restored Movie Version)
In The Flesh (Restored Movie Version)
In The Flesh? - Berlin (With The Scorpions)
In The Flesh - Berlin (With The Scorpions)
In The Flesh? (Live 1981)
In The Flesh (Live 1981)
Live Performances:
PF: 31
RW: 225 (Montreal - 1987-11-06 (In The Flesh / Have A Cigar, Pigs / Wish You Were Here, Mother)
Covers: Dream Theater, Foo Fighters, Shaun Guerin, Psychotic Waltz, Adrian Belew, Melvins, One Ring Zero, Wilful Dream, Primus
Roger wanted the song to parody mindless stadium rock. "We needed a beginning, so I went into a room with a bass guitar and went, 'I need something that's really stupid-sounding. Really loud, monolithic, dumb.' I've grown rather fond of that riff." Elements from the song Death Disco from the original demo Bricks In The Wall, were incorporated into the In The Flesh track. The title of the song comes from the band's 1977 tour of the same name.
In The Flesh wasn't intended for the album and was added later. It was from The Pros & Cons of Hitch Hiking. RW:"When we were recording The Wall, I needed a melody suddenly because it was developing as a theatrical idea. I thought, “hang on a minute, there’s one in The Pros and Cons.” You could take it out of its quiet self and treat it very monolithically and bombastically and it would sound completely different and might work. I tried it and it did work in its new context. But for me it never lost its identity as this quiet, dreamy tune that was the beginning of Pros and Cons.
Roger first developed the idea that walls between people lead to feelings of hatred and intolerance at the final show of the In the Flesh tour. He realized the wall between himself and his audience was creating these feelings inside him. "Here is the story, I've just remembered: Montreal 1977, Olympic Stadium, 80,000 people, the last gig of the tour; I became so upset during the show I spat at some guy in the front row. He was shouting and screaming, having a wonderful time, pushing against the barrier, and what he wanted was a good riot. What I wanted was to do a good show. I got so upset in the end that I spat at him, which is a very nasty thing to do. The idea is these kinds of fascist feelings develop from isolation." Roger explained the context of the narrative of Pink's character: "This is him having a go at the audience, all the minorities in the audience. The obnoxiousness of In the Flesh—and it is meant to be obnoxious—this is the end result of that much isolation and decay. The fascist sequence was an attack on parts of myself I disapprove of."
The film version was re-recorded with Bob Geldof and a brass band and choir. Bob went to Dave's house to record the vocals and sang the song with a heavy Irish country accent. Dave was horrified. Bob sang it correctly, prompting a instant response over the studio monitor: "You *******!"
For those that lucky enough to have seen Roger on his 1987 K.A.O.S. On The Road tour, he performed In The Flesh as part of a 5-song medley in the first half of the set. For me, easily the best 21-minutes of Waters as a solo act out there (see above). IMO, he accomplished something that is very difficult . . . changing the arrangement of the songs while leaving the spirit and foundation of the songs intact. In The Flesh features more drums at a faster pace than the original . . . and things just rake off from there. Have A Cigar also gets a fresh coat of paint with Paul Carrack on vocals, and lead guitarist Jay Stapley punches things up. In this rare case, I like these new, fresh versions from the Floyd canon a lot.
Vulture Ranking (out of 165 songs): 83 + 56
Ultimate Classic Rock Ranking (out of 167 songs): 30 + 87
Louder Ranking (out of 50 songs): 45
WMGK Ranking (out of 40 songs): 16
Ranker Ranking (out of 132 songs): 23 + 32
Billboard Ranking (out of 50 songs): 28
Vulture Ranking (83 + 56 out of 165 songs): It’s bombastic, screechily voiced, filled with a leaden humor, and ridden with angular and overwhelming theatrical dynamics — just like the work it’s the intro to. You can hear the mournful accordion from the work’s last track, Outside the Wall, and the words “… we came in?”, which complete the last words you hear on the album, “Isn’t this where…” / / / / / Pink’s disintegration is complete. He’s reborn into something like a fascist leader, and we head into the climax. The equation of rock star as fascist dictator doesn’t really work for me. I’ve seen more rock shows than most people, and I’ve never seen one where the relationship of the crowd to the performer was anything like a political rally in the sense that they were on the verge of being robots who could be directed to do some terrible thing by the big bad rock star on stage. It’s possible that from Waters’s perspective, standing up on a huge stage seeing his most fervent fans in the first few rows (which is all most stars can see), maybe the kids looked like sheep. I don’t think Waters was writing a “pity the poor rock star” epic. But I will say that, since his name isn’t David Bowie or Ian Hunter, I’m not all that interested in what he has to say.
UCR Ranking (30 + 87 out of 167 songs): An overture as brutal as this rock opera deserves, and more exciting than most of what is to come. Power chords, skyscraper organ, gunslinger guitar and martial drum fills. At the center is Pink, heralding the start of his depressing story with maniacal glee and shouting stage directions, which include dive-bombing the audience. An explosive entrance, to say the least. / / / / / Despite signaling a key moment in The Wall’s story-line (an off-kilter Pink thinks he’s a dictator at a fascist rally), the second iteration is less potent, partially because of extended running time means a loss of urgency. Waters may be in character as he discriminates against members of the audience, but it’s beyond the realm of believability that a PF fan is castigated for smoking a joint.
Louder Ranking (45 out of 50 songs):It’s certainly an explosive start to the album, all crashing keyboard power chords and blazing guitars. The original riff was taken from what would become Waters’ solo album The Pros And Cons Of Hitchhiking, which he had written concurrently with The Wall. When performed live, backing musicians made to look like Floyd performed the song, as the “surrogate band” mentioned in the lyrics.
WMGK Ranking (16 out of 40 songs): Pink is a major rock star, he’s performing for a huge crowd… but he’s not really “there.” Part of Waters’ inspiration was how distant he felt from audiences on the Animals tour. He tells the audience if they want to find out “what’s behind these cold eyes, you’ll just have to claw your way through this disguise.” Later there’s a different version that comes as Pink is hallucinating and sees himself as a fascist dictator. It’s even more chilling today to hear him barking racist epithets.
Billboard Ranking (28 out of 50 songs): “Though it hardly ended up one of its most famous tracks, In the Flesh? is the best kickoff The Wall could’ve asked for, Waters-as-Pink literally shouting stage directions as he cues the album’s grand production, with Gilmour’s soaring riffs and Wright’s glowing organs giving him all the backing he could possibly need from the pit. By song’s end, the dive-bombers are humming, the babies are crying, and the audience is silently screaming from the rafters.
Up next . . . we kick off the Top 40 with The Travel Sequence.
Appeared On: 7 ballots (out of 33 . . . 21.2%)
Total Points: 46 points (out of 825 possible points . . . 5.6%)
Top Rankers: @Anarchy99 @Desert_Power @DocHolliday @jabarony @Ridgeback
Highest Ranking: 12
The Show?
The Show
In The Flesh? (Movie Version)
In The Flesh (Movie Version)
In The Flesh? (Restored Version)
In The Flesh? (Restored Movie Version)
In The Flesh (Restored Movie Version)
In The Flesh? - Berlin (With The Scorpions)
In The Flesh - Berlin (With The Scorpions)
In The Flesh? (Live 1981)
In The Flesh (Live 1981)
Live Performances:
PF: 31
RW: 225 (Montreal - 1987-11-06 (In The Flesh / Have A Cigar, Pigs / Wish You Were Here, Mother)
Covers: Dream Theater, Foo Fighters, Shaun Guerin, Psychotic Waltz, Adrian Belew, Melvins, One Ring Zero, Wilful Dream, Primus
Roger wanted the song to parody mindless stadium rock. "We needed a beginning, so I went into a room with a bass guitar and went, 'I need something that's really stupid-sounding. Really loud, monolithic, dumb.' I've grown rather fond of that riff." Elements from the song Death Disco from the original demo Bricks In The Wall, were incorporated into the In The Flesh track. The title of the song comes from the band's 1977 tour of the same name.
In The Flesh wasn't intended for the album and was added later. It was from The Pros & Cons of Hitch Hiking. RW:"When we were recording The Wall, I needed a melody suddenly because it was developing as a theatrical idea. I thought, “hang on a minute, there’s one in The Pros and Cons.” You could take it out of its quiet self and treat it very monolithically and bombastically and it would sound completely different and might work. I tried it and it did work in its new context. But for me it never lost its identity as this quiet, dreamy tune that was the beginning of Pros and Cons.
Roger first developed the idea that walls between people lead to feelings of hatred and intolerance at the final show of the In the Flesh tour. He realized the wall between himself and his audience was creating these feelings inside him. "Here is the story, I've just remembered: Montreal 1977, Olympic Stadium, 80,000 people, the last gig of the tour; I became so upset during the show I spat at some guy in the front row. He was shouting and screaming, having a wonderful time, pushing against the barrier, and what he wanted was a good riot. What I wanted was to do a good show. I got so upset in the end that I spat at him, which is a very nasty thing to do. The idea is these kinds of fascist feelings develop from isolation." Roger explained the context of the narrative of Pink's character: "This is him having a go at the audience, all the minorities in the audience. The obnoxiousness of In the Flesh—and it is meant to be obnoxious—this is the end result of that much isolation and decay. The fascist sequence was an attack on parts of myself I disapprove of."
The film version was re-recorded with Bob Geldof and a brass band and choir. Bob went to Dave's house to record the vocals and sang the song with a heavy Irish country accent. Dave was horrified. Bob sang it correctly, prompting a instant response over the studio monitor: "You *******!"
For those that lucky enough to have seen Roger on his 1987 K.A.O.S. On The Road tour, he performed In The Flesh as part of a 5-song medley in the first half of the set. For me, easily the best 21-minutes of Waters as a solo act out there (see above). IMO, he accomplished something that is very difficult . . . changing the arrangement of the songs while leaving the spirit and foundation of the songs intact. In The Flesh features more drums at a faster pace than the original . . . and things just rake off from there. Have A Cigar also gets a fresh coat of paint with Paul Carrack on vocals, and lead guitarist Jay Stapley punches things up. In this rare case, I like these new, fresh versions from the Floyd canon a lot.
Vulture Ranking (out of 165 songs): 83 + 56
Ultimate Classic Rock Ranking (out of 167 songs): 30 + 87
Louder Ranking (out of 50 songs): 45
WMGK Ranking (out of 40 songs): 16
Ranker Ranking (out of 132 songs): 23 + 32
Billboard Ranking (out of 50 songs): 28
Vulture Ranking (83 + 56 out of 165 songs): It’s bombastic, screechily voiced, filled with a leaden humor, and ridden with angular and overwhelming theatrical dynamics — just like the work it’s the intro to. You can hear the mournful accordion from the work’s last track, Outside the Wall, and the words “… we came in?”, which complete the last words you hear on the album, “Isn’t this where…” / / / / / Pink’s disintegration is complete. He’s reborn into something like a fascist leader, and we head into the climax. The equation of rock star as fascist dictator doesn’t really work for me. I’ve seen more rock shows than most people, and I’ve never seen one where the relationship of the crowd to the performer was anything like a political rally in the sense that they were on the verge of being robots who could be directed to do some terrible thing by the big bad rock star on stage. It’s possible that from Waters’s perspective, standing up on a huge stage seeing his most fervent fans in the first few rows (which is all most stars can see), maybe the kids looked like sheep. I don’t think Waters was writing a “pity the poor rock star” epic. But I will say that, since his name isn’t David Bowie or Ian Hunter, I’m not all that interested in what he has to say.
UCR Ranking (30 + 87 out of 167 songs): An overture as brutal as this rock opera deserves, and more exciting than most of what is to come. Power chords, skyscraper organ, gunslinger guitar and martial drum fills. At the center is Pink, heralding the start of his depressing story with maniacal glee and shouting stage directions, which include dive-bombing the audience. An explosive entrance, to say the least. / / / / / Despite signaling a key moment in The Wall’s story-line (an off-kilter Pink thinks he’s a dictator at a fascist rally), the second iteration is less potent, partially because of extended running time means a loss of urgency. Waters may be in character as he discriminates against members of the audience, but it’s beyond the realm of believability that a PF fan is castigated for smoking a joint.
Louder Ranking (45 out of 50 songs):It’s certainly an explosive start to the album, all crashing keyboard power chords and blazing guitars. The original riff was taken from what would become Waters’ solo album The Pros And Cons Of Hitchhiking, which he had written concurrently with The Wall. When performed live, backing musicians made to look like Floyd performed the song, as the “surrogate band” mentioned in the lyrics.
WMGK Ranking (16 out of 40 songs): Pink is a major rock star, he’s performing for a huge crowd… but he’s not really “there.” Part of Waters’ inspiration was how distant he felt from audiences on the Animals tour. He tells the audience if they want to find out “what’s behind these cold eyes, you’ll just have to claw your way through this disguise.” Later there’s a different version that comes as Pink is hallucinating and sees himself as a fascist dictator. It’s even more chilling today to hear him barking racist epithets.
Billboard Ranking (28 out of 50 songs): “Though it hardly ended up one of its most famous tracks, In the Flesh? is the best kickoff The Wall could’ve asked for, Waters-as-Pink literally shouting stage directions as he cues the album’s grand production, with Gilmour’s soaring riffs and Wright’s glowing organs giving him all the backing he could possibly need from the pit. By song’s end, the dive-bombers are humming, the babies are crying, and the audience is silently screaming from the rafters.
Up next . . . we kick off the Top 40 with The Travel Sequence.
Dan Lambskin
Footballguy
I like these, just couldn’t make room for them
Bottomfeeder Sports
Footballguy
This innocuous little assertion from whatever reviewer bothered me. And I assume I'm preaching to the choir but, I can think of numerous ways that this is beyond wrong. Okay Pink is a baby in Thin Ice and the narrative of his early days begins. But Pink's problems, his first bricks predate his birth and even his conception. And the imagery from the movie of question for In the Flesh? certainly suggests the journey from conception to birth. It isn't just some random concert performance from an adult pink decades later. It's the beginning of Pink, sort of.
Beyond representing the "beginning" of Pink, the album starts off with a Big Bang. Seems pretty obviously symbolic of a beginning to me. Except it, the album doesn't actually begin here. It begins with "...we came in". Which everyone in this thread knows is a continuation from the "Isn't this where..." at the end of the album. Which ultimately there isn't a beginning, nor an end for the story but just one continuous cycle. Pink was handed bricks before he was born, before he was conceived, before his parents, etc., etc. Just like the Big Bang might start this universe going until it ultimately collapses (at least per one theory) and then starts all over again, and again. (ETA: Then again, some place this concert as being after the wall comes down.)
So sure, for many I'm picking nits, but ...
As for the version that isn't a question. I once got promoted into a position which required attending this monthly meeting. The person who ran this meeting would say stupid stuff like if you are late for a meeting you must sing. At a company wide meeting. I said okay, if I'm ever late I'm singing Pink Floyd's "In the Flesh". She had no idea what that would mean. I told her that lyrics were readily available on the internet these days, check it out. Should go over well. Never heard that threat again.
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Galileo
Footballguy
Here are a few excerpts noting the negative criticism regarding the couple songs from AMLOR we have revealed so far. And don't get me wrong, I am not suggesting people aren't entitled to their opinion...have at it. I am just pointing out I did not realize it...
About Dogs of War...
One Slip...
General...
FatMax
Member
You quoted me here and that is absolutely what I believe about Dogs, but does not represent what I think about AMLOR in totality. Heck, I have one song from that album in my top 5 and another around 15. AMLOR is a top 20 album for me overall.
... but if it didn't have Dogs, it might be top 15.
Dr. Octopus
Footballguy
Ok - but that’s still not close to what you said and it’s about context.
zamboni
Footballguy
If that song title joke is considered criticism of AMLOR, I don’t know what to tell you.
DocHolliday
Footballguy
Love this song and it just missed the cut.
Pip's Invitation
Footballguy
My rank: 24
It's helped by being the soundtrack of one of the best scenes in The Wall movie, but the sheer intensity of the performance is the main reason why it's one of my favorite Floyd songs. The slow part with Waters airing Pink's grievances builds up an incredible amount of tension, which explodes when the tempo picks up about 2 minutes in. The last minute and a half has some spectacular Gilmour solos and some of the album's most memorable lyrics, many of which have already been quoted in previous posts. The ending "why are you running awaaaaaaaaaaaay" is the perfect expression of Pink's self-created isolation -- ie, the building of the wall.
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Dan Lambskin
Footballguy
“Wanna take a bath”
Pip's Invitation
Footballguy
I just really like the "loud, monolithic, dumb" riff.
zamboni
Footballguy
It’s a great tune - I just have a tough time disassociating it with “Don’t Leave Me Now”, which is a big reason I didn’t pick much at all from The Wall.
Rand al Thor
Footballguy
I had this on my list also at 16. Not sure if that changes any of your stats or rankings, but just throwing that out there. This song has one of my favorite lyrics in any of the PF songs with the "cold as a razor blade, tight as a tourniquet, dry as a funeral drum" line.
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Anarchy99
Footballguy
It jumps up One Of My Turns to #34-T and pushes a different song backwards (which I will have to do next instead).
Anarchy99
Footballguy
#42-T - Fat Old Sun from Atom Heart Mother (1970)
Appeared On: 6 ballots (out of 33 . . . 18.2%)
Total Points: 44 points (out of 825 possible points . . . 5.3%)
Top Rankers: @zamboni @jabarony @BroncoFreak_2K3 @worrierking @Dr. Octopus @Mt. Man
Highest Ranking: 9
Montreux - 1970, Sheffield - 1970, BBC - 1971, Meltdown - 2001, Remember That Night, Pompeii, Gdansk, London - 2019 (Last Performance)
Live Performances:
PF: 84
DG'S PF: 1
DG: 79
Covers: Ox, Bunky Moon, Fleesh, Atom Heart Mother, Surface Tension, Alec Taylor, Storie Grubb
We say sayonara to Atom Heart Mother. Gilmour plays every instrument on this song except for keyboards, which were played by Richard Wright. Fat Old Sun is best described as a pastoral, a hymn of praise to the countryside, with a gentle, incisive melody and lyric. Gilmour: "I've always liked the song, one of the first I ever wrote. I tried to persuade the rest of the Pink Floyd guys that it should go on the Echoes: The Best Of Pink Floyd album but they weren't having it. I played the drums on the original recording but the drums are so bad.
Evensong church bells open this acoustic reverie directly inspired by Roger's Grantchester Meadows. Apparently, that piece was sufficient to inspire Dave to write his second lyrical song ever, and the first of his own free will (see Ummagumma). The lyric here is certainly not brilliant, but it was a step forward for Dave to write it at all. This is the second of three Pink Floyd songs about Cambridge, the home town of Roger, Dave, and Syd, gently evoking the pastoral moods of the beautiful countryside. The last verse fades into an electric guitar solo, perhaps the best part of the song (certainly the most memorable). Dave sings in a high register which many have noted is very like the voice of the Kinks' Ray Davies, leading some to believe he might have borrowed ideas from their song Lazy Old Sun.
Dave: "Maybe I ripped it off subconsciously. Who knows? They've never sued me. One sometimes gets the feeling about something that maybe one pinched it from someone; you can't figure out where on earth it's from. The added coincidence is that there were only one or two tape libraries around: the EMI Abbey Road library and one or two others, which mostly had the same sound effects. It can make a magical difference in a track if you put some bit of real atmosphere in the background, like church bells. Usually, you'd go find the bells, and it's the only set on tape that anyone can use. You'd often recognize exactly the same bit of birdsong on different records from that period."
This song was performed live in a greatly expanded form (often exceeding fourteen minutes), both before and after the album's release. Live, Fat Old Sun transformed from a ballad into a jam, leading off from the solo after the last refrain. Extended jams would follow, with free-form drumming, organ solos and revised chord progressions based on the "Sing To Me" chorus.
"Fat Old Sun" was performed live by Pink Floyd from 1970–71 on the Atom Heart Mother World Tour. On stage, the song was transformed from a folk ballad into an extended progressive rock jam, leading off from the blues rock solo after the last refrain. Extended jams would usually follow, including free-form drumming, organ solos and revised chord progressions based on the "Sing to me" vocal line.
More recently, it was adopted by Gilmour and performed acoustically in the 2001/02 shows, minus the electric guitar solo. When the Floyd's manager, Steve O'Rourke, died in 2003, Gilmour, Wright and Mason reformed to play Fat Old Sun and The Great Gig In The Sky at O'Rourke's funeral. Early during the tour in support of Gilmour's On An Island album in 2006, the song returned to the set list. This incarnation was composed of the lyrics followed by the concert's backing singers repeating the "sing to me" chorus, then a bluesy version of the guitar solo closer to the length of the album version (the 2006 incarnation clocked in at around seven minutes). A performance from the Royal Albert Hall is featured on Remember That Night. It is also featured on Live in Gdansk and Live In Pompeii. Gilmour also performed the song at Richard Thompson's 70th birthday concert in 2019.
Vulture Ranking (out of 165 songs): 85
Ultimate Classic Rock Ranking (out of 167 songs): 38
Louder Ranking (out of 50 songs): 44
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 50
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (85 out of 165 songs): David Gilmour’s contribution to the second side of AHM. His voice had never been recorded so weakly, and let’s remember that he was supposed to be a singer, and later showed he was one. The acoustic strumming at the beginning made it sound like what it was, a forced duty.
UCR Ranking (38 out of 167 songs): For his solo contribution to Floyd’s 1970 LP, Gilmour penned a tribute to the clear, calm wonders of the countryside. The nature-focused poetry is nice, and David’s high voice is angelic, but Fat Old Sun really takes off when the words end and Gilmour’s guitar takes over. His ascending, fizzing lines shoot out of the stratosphere to his sunny subject, who has a great gig in the sky. But, unlike Icarus, the guitarist returns safely from his journey.
Louder Ranking (44 out of 50 songs): Gilmour was convinced this Atom Heart Mother highlight had already been written, but he was wrong – it just felt like you’d known it all your life. “It’s one of those songs where the whole thing fell together very easily, I remember thinking at the time, ‘What have I ripped this off? I’m sure it’s by the Kinks or someone’. But since whenever it was – ’68, ’69 – no one has ever yet said, ‘It’s exactly like this.’ it’s a nice lyric, I’m very happy with that.”
Appeared On: 6 ballots (out of 33 . . . 18.2%)
Total Points: 44 points (out of 825 possible points . . . 5.3%)
Top Rankers: @zamboni @jabarony @BroncoFreak_2K3 @worrierking @Dr. Octopus @Mt. Man
Highest Ranking: 9
Montreux - 1970, Sheffield - 1970, BBC - 1971, Meltdown - 2001, Remember That Night, Pompeii, Gdansk, London - 2019 (Last Performance)
Live Performances:
PF: 84
DG'S PF: 1
DG: 79
Covers: Ox, Bunky Moon, Fleesh, Atom Heart Mother, Surface Tension, Alec Taylor, Storie Grubb
We say sayonara to Atom Heart Mother. Gilmour plays every instrument on this song except for keyboards, which were played by Richard Wright. Fat Old Sun is best described as a pastoral, a hymn of praise to the countryside, with a gentle, incisive melody and lyric. Gilmour: "I've always liked the song, one of the first I ever wrote. I tried to persuade the rest of the Pink Floyd guys that it should go on the Echoes: The Best Of Pink Floyd album but they weren't having it. I played the drums on the original recording but the drums are so bad.
Evensong church bells open this acoustic reverie directly inspired by Roger's Grantchester Meadows. Apparently, that piece was sufficient to inspire Dave to write his second lyrical song ever, and the first of his own free will (see Ummagumma). The lyric here is certainly not brilliant, but it was a step forward for Dave to write it at all. This is the second of three Pink Floyd songs about Cambridge, the home town of Roger, Dave, and Syd, gently evoking the pastoral moods of the beautiful countryside. The last verse fades into an electric guitar solo, perhaps the best part of the song (certainly the most memorable). Dave sings in a high register which many have noted is very like the voice of the Kinks' Ray Davies, leading some to believe he might have borrowed ideas from their song Lazy Old Sun.
Dave: "Maybe I ripped it off subconsciously. Who knows? They've never sued me. One sometimes gets the feeling about something that maybe one pinched it from someone; you can't figure out where on earth it's from. The added coincidence is that there were only one or two tape libraries around: the EMI Abbey Road library and one or two others, which mostly had the same sound effects. It can make a magical difference in a track if you put some bit of real atmosphere in the background, like church bells. Usually, you'd go find the bells, and it's the only set on tape that anyone can use. You'd often recognize exactly the same bit of birdsong on different records from that period."
This song was performed live in a greatly expanded form (often exceeding fourteen minutes), both before and after the album's release. Live, Fat Old Sun transformed from a ballad into a jam, leading off from the solo after the last refrain. Extended jams would follow, with free-form drumming, organ solos and revised chord progressions based on the "Sing To Me" chorus.
"Fat Old Sun" was performed live by Pink Floyd from 1970–71 on the Atom Heart Mother World Tour. On stage, the song was transformed from a folk ballad into an extended progressive rock jam, leading off from the blues rock solo after the last refrain. Extended jams would usually follow, including free-form drumming, organ solos and revised chord progressions based on the "Sing to me" vocal line.
More recently, it was adopted by Gilmour and performed acoustically in the 2001/02 shows, minus the electric guitar solo. When the Floyd's manager, Steve O'Rourke, died in 2003, Gilmour, Wright and Mason reformed to play Fat Old Sun and The Great Gig In The Sky at O'Rourke's funeral. Early during the tour in support of Gilmour's On An Island album in 2006, the song returned to the set list. This incarnation was composed of the lyrics followed by the concert's backing singers repeating the "sing to me" chorus, then a bluesy version of the guitar solo closer to the length of the album version (the 2006 incarnation clocked in at around seven minutes). A performance from the Royal Albert Hall is featured on Remember That Night. It is also featured on Live in Gdansk and Live In Pompeii. Gilmour also performed the song at Richard Thompson's 70th birthday concert in 2019.
Vulture Ranking (out of 165 songs): 85
Ultimate Classic Rock Ranking (out of 167 songs): 38
Louder Ranking (out of 50 songs): 44
WMGK Ranking (out of 40 songs): NR
Ranker Ranking (out of 132 songs): 50
Billboard Ranking (out of 50 songs): NR
Vulture Ranking (85 out of 165 songs): David Gilmour’s contribution to the second side of AHM. His voice had never been recorded so weakly, and let’s remember that he was supposed to be a singer, and later showed he was one. The acoustic strumming at the beginning made it sound like what it was, a forced duty.
UCR Ranking (38 out of 167 songs): For his solo contribution to Floyd’s 1970 LP, Gilmour penned a tribute to the clear, calm wonders of the countryside. The nature-focused poetry is nice, and David’s high voice is angelic, but Fat Old Sun really takes off when the words end and Gilmour’s guitar takes over. His ascending, fizzing lines shoot out of the stratosphere to his sunny subject, who has a great gig in the sky. But, unlike Icarus, the guitarist returns safely from his journey.
Louder Ranking (44 out of 50 songs): Gilmour was convinced this Atom Heart Mother highlight had already been written, but he was wrong – it just felt like you’d known it all your life. “It’s one of those songs where the whole thing fell together very easily, I remember thinking at the time, ‘What have I ripped this off? I’m sure it’s by the Kinks or someone’. But since whenever it was – ’68, ’69 – no one has ever yet said, ‘It’s exactly like this.’ it’s a nice lyric, I’m very happy with that.”
zamboni
Footballguy
I was the highest ranked on this. Just love the pastoral nature of the song that drifts into yet another one of Dave’s very best solos. I think that Gdańsk live version posted is the best of all the versions, even the studio one - do yourself a favor and watch/listen if you haven’t seen it.
Ghost Rider
Footballguy
I like this song, but I don't love it. It has definitely gotten more love from the online Floyd fanbase after David featured it on one of his tours earlier this century.
Anarchy99
Footballguy
#40 - On The Run from The Dark Side Of The Moon (1973)
Appeared On: 4 ballots (out of 33 . . . 18.2%)
Total Points: 47 points (out of 825 possible points . . . 5.7%)
Top Rankers: @Grace Under Pressure @BassNBrew @lardonastick @Ghost Rider
Highest Ranking: 10
The Travel Sequence (1970 Demo)
The Travel Sequence (Studio Version)
The Making Of
The Travel Sequence (First Performance - 1972)
The Travel Sequence (Live 1972)
The Travel Sequence (Live 1972)
On The Run (London - Live 1974)
On The Run (Los Angeles - Live 1975)
On The Run (Miami - Live 1987)
On The Run (Delicate Sound Of Thunder)
On The Run (London - 1994)
Live Performances:
PF: 172
DG'S PF: 207
RW: 121
Covers: Din, Squirrels, Dream Theater, Larry Fast, Poor Man's Whiskey
We welcome @lardonastick to the countdown, the last person to make an appearance. We also venture to uncharted territory with our first entry from DSOTM. The keyboard which can be heard throughout the song is only 5 notes being repeated at a high speed. This song deals with the pressures of travel, which Rick Wright said would often bring fear of death. The NBA's Chicago Bulls uses On The Run for visiting-team player introductions. When the band performed this in concert, a model airplane would fly from one end of the arena to the other crashing in a brilliant explosion.
When DSOTM was performed in 1972 (before the album was released), it went under the title The Travel Sequence and was, instead of a complex electronic instrumental, a more simple guitar jam, without the use of synthesizers and other electronic instruments. The album was originally entitled Eclipse and then Dark Side Of The Moon – A Piece For Assorted Lunatics. The now iconic album cover was originally to have an image of the Silver Surfer instead. Proceeds from the DSOTM album were used to fund the film Monty Python & the Holy Grail.
At 27 seconds into the piece, the sound of a female voice on a loudspeaker can be heard. Some think it to be an airport public address system, saying "Get your tickets and your passports at the ready, we make a brief stop at customs and then we begin. Now boarding flight 215 to Rome from Colorado Fields." The talking continues for nearly thirty seconds, but some of it cannot be heard because a helicopter like noise is played over it. In the beginning of the song, we hear something similar to a whispering voice saying: "On the run" repeatedly. It's the sound of a Leslie speaker without any sound played though it. At 1:54, Roger the Hat, a Pink Floyd roadie, says: "Live for today, gone tomorrow. That's me", then laughs. The laughter on the CD version sounds markedly different to the laughter on the record.
DG: "On the Run originally was a different thing, if you've heard one of those bootlegs, you might have heard a different version of it than is on Dark Side of the Moon. We had a sort of guitar passage, but it wasn't very good. We'd just got this new synthesizer, and in the lid there was a little sequencer thing. I was playing with the sequencer device attachment, and came up with this sound, which is the basic sound of it. Roger sort of heard it, came over and started playing with it, too. Then he actually put in the notes that we made...it was his sequence, that "de-di-doo-de-di-dil"- -whatever it was. He made that little sequence up, but I had got the actual original sound and I actually was the one doing the controlling on the take that we used. Then we chucked all sorts of things over the top of it afterwards. There were endless, interesting possibilities for that little device. We’d always considered ourselves as being a bit electronic. I always had an obsession with finding sounds that would turn something into 3D.”
Engineer Alan Parsons: “Everything you hear on that track, apart from the sound effects, was done live. It was all coming out of the synth. Even the hi-hit over the top of it was done on that synth. There was no means of synchronizing any two performances – that's why it was live. Even on the road, before a show, they would have to punch in the notes of the sequence manually, very slowly, then speed it up on playback to give the fast, sequenced effect you hear on the record." (I believe @BroncoFreak_2K3 is friends with Alan Parsons. Maybe he has some tidbits or stories about the recording of DSOTM that he could share?)
Vulture Ranking (out of 165 songs): 18
UCR Ranking (out of 167 songs): 55
Louder Ranking (out of 50 songs): 49
WMGK Ranking (out of 40 songs): 13
Ranker Ranking (out of 132 songs): 46
Billboard Ranking (out of 50 songs): 50
Vulture Ranking (18 out of 165 songs): After “Breathe in the Air” came this delectable sound collage. Note the sequencer programming; a simple melody is programmed in and then distorted and manipulated (here, obviously, sped up, among other things). It’s one of the earliest examples of the uses of this eerie and powerful new tool, which various companies were making and with which Pete Townshend and Brian Eno, among others, had been experimenting. The brilliant synth wizard Richard Wright programmed the notes and transformed them into this spectacular — just joking. It was actually Waters and Gilmour. The pair does a great job of not just using the effects to wow listeners, though they do that, but also subordinating them into the meaning needed by the song, presumably the demands and vicissitudes of modern life, right down to being chased by helicopters. Among other things, you could make the argument it’s an important step on the way to ambient, and Dark Side would not be the album it is if this track were absent.
UCR Ranking (55 out of 167 songs): Just because it’s not one of Dark Side’s all-stars doesn’t mean that this travel sequence isn’t fascinating. On the Run is a headphone experience of the highest order, in which crazy laughter, frantic footsteps, whooshing cars and crashing planes are all twirled – like strands of spaghetti – around the back-and-forth of an eight-note synthesizer loop.
Louder Ranking (49 out of 50 songs): In complete contrast to preceding track, Breathe, this is Pink Floyd getting sonically way out there. An instrumental that builds on a sequenced synth pattern, it’s allegedly a musical interpretation of keyboardist Richard Wright's acknowledged fear of flying. It certainly has to ability to give you the sweats, and is probably best left alone if you’re in an advanced state of paranoia.
WMGK Ranking (13 out of 40 songs): (Considered part of Speak To Me and Breathe.)
Billboard Ranking (50 out of 50 songs): A fascinatingly ahead of its time interstitial: On the Run basically feels like interstellar chase music, or a decade-early soundtrack for the action scenes in TRON, or Flight of the Bumblebee as imagined by Giorgio Moroder. Not much song here to speak of, exactly, but the number of doors-of-perception this must’ve opened for music fans in the early ’70s is hard to fathom.
Back to the first album next.
Appeared On: 4 ballots (out of 33 . . . 18.2%)
Total Points: 47 points (out of 825 possible points . . . 5.7%)
Top Rankers: @Grace Under Pressure @BassNBrew @lardonastick @Ghost Rider
Highest Ranking: 10
The Travel Sequence (1970 Demo)
The Travel Sequence (Studio Version)
The Making Of
The Travel Sequence (First Performance - 1972)
The Travel Sequence (Live 1972)
The Travel Sequence (Live 1972)
On The Run (London - Live 1974)
On The Run (Los Angeles - Live 1975)
On The Run (Miami - Live 1987)
On The Run (Delicate Sound Of Thunder)
On The Run (London - 1994)
Live Performances:
PF: 172
DG'S PF: 207
RW: 121
Covers: Din, Squirrels, Dream Theater, Larry Fast, Poor Man's Whiskey
We welcome @lardonastick to the countdown, the last person to make an appearance. We also venture to uncharted territory with our first entry from DSOTM. The keyboard which can be heard throughout the song is only 5 notes being repeated at a high speed. This song deals with the pressures of travel, which Rick Wright said would often bring fear of death. The NBA's Chicago Bulls uses On The Run for visiting-team player introductions. When the band performed this in concert, a model airplane would fly from one end of the arena to the other crashing in a brilliant explosion.
When DSOTM was performed in 1972 (before the album was released), it went under the title The Travel Sequence and was, instead of a complex electronic instrumental, a more simple guitar jam, without the use of synthesizers and other electronic instruments. The album was originally entitled Eclipse and then Dark Side Of The Moon – A Piece For Assorted Lunatics. The now iconic album cover was originally to have an image of the Silver Surfer instead. Proceeds from the DSOTM album were used to fund the film Monty Python & the Holy Grail.
At 27 seconds into the piece, the sound of a female voice on a loudspeaker can be heard. Some think it to be an airport public address system, saying "Get your tickets and your passports at the ready, we make a brief stop at customs and then we begin. Now boarding flight 215 to Rome from Colorado Fields." The talking continues for nearly thirty seconds, but some of it cannot be heard because a helicopter like noise is played over it. In the beginning of the song, we hear something similar to a whispering voice saying: "On the run" repeatedly. It's the sound of a Leslie speaker without any sound played though it. At 1:54, Roger the Hat, a Pink Floyd roadie, says: "Live for today, gone tomorrow. That's me", then laughs. The laughter on the CD version sounds markedly different to the laughter on the record.
DG: "On the Run originally was a different thing, if you've heard one of those bootlegs, you might have heard a different version of it than is on Dark Side of the Moon. We had a sort of guitar passage, but it wasn't very good. We'd just got this new synthesizer, and in the lid there was a little sequencer thing. I was playing with the sequencer device attachment, and came up with this sound, which is the basic sound of it. Roger sort of heard it, came over and started playing with it, too. Then he actually put in the notes that we made...it was his sequence, that "de-di-doo-de-di-dil"- -whatever it was. He made that little sequence up, but I had got the actual original sound and I actually was the one doing the controlling on the take that we used. Then we chucked all sorts of things over the top of it afterwards. There were endless, interesting possibilities for that little device. We’d always considered ourselves as being a bit electronic. I always had an obsession with finding sounds that would turn something into 3D.”
Engineer Alan Parsons: “Everything you hear on that track, apart from the sound effects, was done live. It was all coming out of the synth. Even the hi-hit over the top of it was done on that synth. There was no means of synchronizing any two performances – that's why it was live. Even on the road, before a show, they would have to punch in the notes of the sequence manually, very slowly, then speed it up on playback to give the fast, sequenced effect you hear on the record." (I believe @BroncoFreak_2K3 is friends with Alan Parsons. Maybe he has some tidbits or stories about the recording of DSOTM that he could share?)
Vulture Ranking (out of 165 songs): 18
UCR Ranking (out of 167 songs): 55
Louder Ranking (out of 50 songs): 49
WMGK Ranking (out of 40 songs): 13
Ranker Ranking (out of 132 songs): 46
Billboard Ranking (out of 50 songs): 50
Vulture Ranking (18 out of 165 songs): After “Breathe in the Air” came this delectable sound collage. Note the sequencer programming; a simple melody is programmed in and then distorted and manipulated (here, obviously, sped up, among other things). It’s one of the earliest examples of the uses of this eerie and powerful new tool, which various companies were making and with which Pete Townshend and Brian Eno, among others, had been experimenting. The brilliant synth wizard Richard Wright programmed the notes and transformed them into this spectacular — just joking. It was actually Waters and Gilmour. The pair does a great job of not just using the effects to wow listeners, though they do that, but also subordinating them into the meaning needed by the song, presumably the demands and vicissitudes of modern life, right down to being chased by helicopters. Among other things, you could make the argument it’s an important step on the way to ambient, and Dark Side would not be the album it is if this track were absent.
UCR Ranking (55 out of 167 songs): Just because it’s not one of Dark Side’s all-stars doesn’t mean that this travel sequence isn’t fascinating. On the Run is a headphone experience of the highest order, in which crazy laughter, frantic footsteps, whooshing cars and crashing planes are all twirled – like strands of spaghetti – around the back-and-forth of an eight-note synthesizer loop.
Louder Ranking (49 out of 50 songs): In complete contrast to preceding track, Breathe, this is Pink Floyd getting sonically way out there. An instrumental that builds on a sequenced synth pattern, it’s allegedly a musical interpretation of keyboardist Richard Wright's acknowledged fear of flying. It certainly has to ability to give you the sweats, and is probably best left alone if you’re in an advanced state of paranoia.
WMGK Ranking (13 out of 40 songs): (Considered part of Speak To Me and Breathe.)
Billboard Ranking (50 out of 50 songs): A fascinatingly ahead of its time interstitial: On the Run basically feels like interstellar chase music, or a decade-early soundtrack for the action scenes in TRON, or Flight of the Bumblebee as imagined by Giorgio Moroder. Not much song here to speak of, exactly, but the number of doors-of-perception this must’ve opened for music fans in the early ’70s is hard to fathom.
Back to the first album next.
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Dwayne Hoover
Footballguy
Called the first DSOTM. I knew there were some On the Run freaks in here
Leroy Hoard
Footballguy
There was an Alan Parsons song that reminds my of On The Run but I can't remember the specific song, maybe on I Robot?
BassNBrew
Footballguy
Huge Bulls fan here influenced my ranking..
Chicago Bulls Intro 1987-1994 "On the run" by Pink Floyd & "Sirius" by The Alan Parsons Project
Full player intro for visitors and home team -Video Upload powered by https://www.TunesToTube.com
www.youtube.com
Pip's Invitation
Footballguy
The I, Robot instrumentals all bear some resemblance to the DSOTM instrumentals.
Their most famous instrumental is Sirius on Eye in the Sky, which the Bulls would use as intro music in the Jordan era.
jabarony
Footballguy
I like On The Run, but I wouldn't vote for it. A few have mentioned certain Wall songs as being dependent on their places in the album. I view this song the same way.
I've also not been aware of The Travel Sequences. I do like those versions linked versions.
Anarchy99
Footballguy
#38-T - Interstellar Overdrive from The Pipers At The Gates Of Dawn (1967)
Appeared On: 6 ballots (out of 33 . . . 18.2%)
Total Points: 49 points (out of 825 possible points . . . 5.9%)
Top Rankers: @jabarony @BassNBrew @Pip's Invitation @Dr. Octopus @ericttspikes
Highest Ranking: 13
Live Performances:
PF: 135
NM: 104 (Live At The Roundhouse)
Covers: Pearl Jam, Teenage Fanclub, Camper Van Beethoven, Melvins, Spiral Realms, Waco Bros, Kylesa, T-Rex, Hawkwind
Interstellar Overdrive was the most popular and frequently-played song of the early Floyd, in which they justified to some degree their reputation as innovators of sound effects, feedback, and improvisation. It is the second song on our countdown to earn Top 50 rankings from all the ranking sources (the first being Arnold Layne). The main riff throughout the tune was adapted from the guitar riff from Love's remake of My Little Red Book. Waters has said the song was also partly inspired by the theme of the show Steptoe & Son.
Another true classic from the early Floyd, and possibly the first group composition. Norman 'Hurricane' Smith, previously the engineer for the Beatles until his promotion to producer, was assigned to the band as their record producer by EMI in order to "keep a firm hand on the recording sessions," as "one of the boys in the group, and some of the people around them, seemed a bit strange." Remembering the first day at the studio, Smith commented: "I opened the door and nearly s*** myself ... by Christ it was loud. I had certainly never heard anything quite like it before." He also commented about working with Syd: "It was a pretty difficult job actually with Syd, because I think Syd used music as a statement being made at a given time that meant if you came back 5 minutes later to do another take, you probably wouldn't get the same performance. You probably wouldn't get the same tune." Rick Wright: "In the old days we used to do a hell of a lot of improvising, and some numbers we'd do for half an hour. Interstellar Overdrive has a theme but that's it and you can go wherever you like in between."
Like the Paul Butterfield Blues Band's slightly earlier song East-West, Interstellar Overdrive was one of the very first psychedelic instrumental improvisations recorded by a rock band. It was seen as Pink Floyd's first foray into space rock (along with Astronomy Domine), although band members would later disparage this term. Despite its encapsulation of their concert repertoire under the leadership of guitarist and composer Syd Barrett, the long, improvisational, free-form structure of the piece is not particularly reflective of the group's recorded output. Drummer Nick Mason stated that live versions of the song featured many sections that didn't appear on the album, and would last more than 20 minutes. During the band's days playing in residence at London underground clubs such as the UFO (Underground Freak Out), the song usually opened their show.
Every performance of the song varied in length and composition . . . from three minutes to over 30 minutes and all points in-between. In 1969, Frank Zappa joined the band onstage at the Actuel Festival in Amougies, Belgium, to perform a long loose version of the song. Although Zappa himself later had no recollection of the performance, Floyd drummer Mason praised him, saying, "Zappa is really one of those rare musicians that can play with us. The little he did in Amougies was terribly correct."
Vulture Ranking (out of 165 songs): 20
UCR Ranking (out of 167 songs): 31
Louder Ranking (out of 50 songs): 31
WMGK Ranking (out of 40 songs): 19
Ranker Ranking (out of 132 songs): 36
Billboard Ranking (out of 50 songs): 5
Vulture Ranking (20 out of 165 songs): Here’s the thing about Syd Barrett; besides those goofy personal compositions, he had a way with the Big Rock Song, too, and the band could actually show up when he needed them to. The first two minutes of Interstellar Overdrive are as good as it gets. The bass is great. The various guitar tracks are great. But the last six or seven minutes are rough going, and the physical tape-cut back to the main riff at the end of the song is done incompetently. Barrett, meanwhile, was growing more erratic. A film clip, now available on YouTube, shows him wandering around a garden on acid. But the rest of his life was getting darker. He beat up a girlfriend or two, or would manage to lock himself in a bathroom and be unable to get out.
UCR Ranking (31 out of 167 songs): What a mess this could have been. Studio versions of improvisational stage pieces rarely maintain the magic of the moment, but the early Floyd nailed this near-10-minute rendition of their stage favorite freak-out. Starting with that great chromatic progression, “Interstellar Overdrive” then goes wherever it damn well pleases, following Barrett’s metallic screech for a while or dwelling on a bass melody Waters was still working out or hanging with Wright’s keyboard fanfare for a spell. It’s a trip, in all meanings of the word.
Louder Ranking (31 out of 50 songs): When TPATGOD, was hard to square Pink Floyd’s debut album with the free-form, acid-laced freak-outs that had made the band’s name on the London club scene. With Abbey Road sessions produced by Norman Smith – a sometime jazz man who openly admitted that psychedelia “didn’t interest me” – Syd Barrett’s ragged chaos had been cut, buffed and tamed into a more palatable brand of art-pop. Born from that happy accident, Interstellar Overdrive became a live staple, opening the Floyd’s UFO club sets, where it would frequently sprawl into a half-hour odyssey. Arriving at Abbey Road, the band set out to bottle that visceral live approach, playing at volumes that reportedly destroyed four microphones. As staff engineer Peter Bown recalled: “I opened the door and nearly s*** myself. By Christ, it was loud. I thought: ‘How the f*** are we going to get this on tape?’”
WMGK Ranking (19 out of 40 songs): Co-written by Syd Barrett, Roger Waters, Richard Wright and Nick Mason, it’s a mind-blowing jam, and it was surely even more mind-blowing in 1967. Call it what you want: psychedelic rock, experimental rock, progressive rock, it’s an amazing song and a great reminder that not all of Floyd’s classics came after David Gilmour joined the band (and he’d be the first to co-sign that statement).
Billboard Ranking (5 out of 50 songs): Yeah, the band’s outer-space allegiance may have been historically overstated, but when their debut album has two songs as good as “Astronomy Domine” and this, could you really blame us for doing so? Interstellar is the instrumental opus of the Syd era, a nearly-ten-minute expansion of Barrett’s all-time grungiest riff, with a mind-melting mid-song breakdown of meowing guitars and chirping organs, that hisses back to life with a (dated, but still decently psychedelic) stereo-panning riff reprise. Only Sister Ray managed to get quite this dark or deep in ’67, and the fact that the band was able to achieve such stratospheric later-career success without ever straying too far from this experimental, instrumental core is the true testament to the group’s collective genius.
I hope you peeps like The Wall, because we have lots of selections from that album in the immediate future. Up next, someone's Top 5 selection . . . featuring the classical guitar pickings of David Jon Gilmour. (I may not share his guitar playing abilities . . . but I do share his first and second name . . .even spelled the same way.)
Appeared On: 6 ballots (out of 33 . . . 18.2%)
Total Points: 49 points (out of 825 possible points . . . 5.9%)
Top Rankers: @jabarony @BassNBrew @Pip's Invitation @Dr. Octopus @ericttspikes
Highest Ranking: 13
Live Performances:
PF: 135
NM: 104 (Live At The Roundhouse)
Covers: Pearl Jam, Teenage Fanclub, Camper Van Beethoven, Melvins, Spiral Realms, Waco Bros, Kylesa, T-Rex, Hawkwind
Interstellar Overdrive was the most popular and frequently-played song of the early Floyd, in which they justified to some degree their reputation as innovators of sound effects, feedback, and improvisation. It is the second song on our countdown to earn Top 50 rankings from all the ranking sources (the first being Arnold Layne). The main riff throughout the tune was adapted from the guitar riff from Love's remake of My Little Red Book. Waters has said the song was also partly inspired by the theme of the show Steptoe & Son.
Another true classic from the early Floyd, and possibly the first group composition. Norman 'Hurricane' Smith, previously the engineer for the Beatles until his promotion to producer, was assigned to the band as their record producer by EMI in order to "keep a firm hand on the recording sessions," as "one of the boys in the group, and some of the people around them, seemed a bit strange." Remembering the first day at the studio, Smith commented: "I opened the door and nearly s*** myself ... by Christ it was loud. I had certainly never heard anything quite like it before." He also commented about working with Syd: "It was a pretty difficult job actually with Syd, because I think Syd used music as a statement being made at a given time that meant if you came back 5 minutes later to do another take, you probably wouldn't get the same performance. You probably wouldn't get the same tune." Rick Wright: "In the old days we used to do a hell of a lot of improvising, and some numbers we'd do for half an hour. Interstellar Overdrive has a theme but that's it and you can go wherever you like in between."
Like the Paul Butterfield Blues Band's slightly earlier song East-West, Interstellar Overdrive was one of the very first psychedelic instrumental improvisations recorded by a rock band. It was seen as Pink Floyd's first foray into space rock (along with Astronomy Domine), although band members would later disparage this term. Despite its encapsulation of their concert repertoire under the leadership of guitarist and composer Syd Barrett, the long, improvisational, free-form structure of the piece is not particularly reflective of the group's recorded output. Drummer Nick Mason stated that live versions of the song featured many sections that didn't appear on the album, and would last more than 20 minutes. During the band's days playing in residence at London underground clubs such as the UFO (Underground Freak Out), the song usually opened their show.
Every performance of the song varied in length and composition . . . from three minutes to over 30 minutes and all points in-between. In 1969, Frank Zappa joined the band onstage at the Actuel Festival in Amougies, Belgium, to perform a long loose version of the song. Although Zappa himself later had no recollection of the performance, Floyd drummer Mason praised him, saying, "Zappa is really one of those rare musicians that can play with us. The little he did in Amougies was terribly correct."
Vulture Ranking (out of 165 songs): 20
UCR Ranking (out of 167 songs): 31
Louder Ranking (out of 50 songs): 31
WMGK Ranking (out of 40 songs): 19
Ranker Ranking (out of 132 songs): 36
Billboard Ranking (out of 50 songs): 5
Vulture Ranking (20 out of 165 songs): Here’s the thing about Syd Barrett; besides those goofy personal compositions, he had a way with the Big Rock Song, too, and the band could actually show up when he needed them to. The first two minutes of Interstellar Overdrive are as good as it gets. The bass is great. The various guitar tracks are great. But the last six or seven minutes are rough going, and the physical tape-cut back to the main riff at the end of the song is done incompetently. Barrett, meanwhile, was growing more erratic. A film clip, now available on YouTube, shows him wandering around a garden on acid. But the rest of his life was getting darker. He beat up a girlfriend or two, or would manage to lock himself in a bathroom and be unable to get out.
UCR Ranking (31 out of 167 songs): What a mess this could have been. Studio versions of improvisational stage pieces rarely maintain the magic of the moment, but the early Floyd nailed this near-10-minute rendition of their stage favorite freak-out. Starting with that great chromatic progression, “Interstellar Overdrive” then goes wherever it damn well pleases, following Barrett’s metallic screech for a while or dwelling on a bass melody Waters was still working out or hanging with Wright’s keyboard fanfare for a spell. It’s a trip, in all meanings of the word.
Louder Ranking (31 out of 50 songs): When TPATGOD, was hard to square Pink Floyd’s debut album with the free-form, acid-laced freak-outs that had made the band’s name on the London club scene. With Abbey Road sessions produced by Norman Smith – a sometime jazz man who openly admitted that psychedelia “didn’t interest me” – Syd Barrett’s ragged chaos had been cut, buffed and tamed into a more palatable brand of art-pop. Born from that happy accident, Interstellar Overdrive became a live staple, opening the Floyd’s UFO club sets, where it would frequently sprawl into a half-hour odyssey. Arriving at Abbey Road, the band set out to bottle that visceral live approach, playing at volumes that reportedly destroyed four microphones. As staff engineer Peter Bown recalled: “I opened the door and nearly s*** myself. By Christ, it was loud. I thought: ‘How the f*** are we going to get this on tape?’”
WMGK Ranking (19 out of 40 songs): Co-written by Syd Barrett, Roger Waters, Richard Wright and Nick Mason, it’s a mind-blowing jam, and it was surely even more mind-blowing in 1967. Call it what you want: psychedelic rock, experimental rock, progressive rock, it’s an amazing song and a great reminder that not all of Floyd’s classics came after David Gilmour joined the band (and he’d be the first to co-sign that statement).
Billboard Ranking (5 out of 50 songs): Yeah, the band’s outer-space allegiance may have been historically overstated, but when their debut album has two songs as good as “Astronomy Domine” and this, could you really blame us for doing so? Interstellar is the instrumental opus of the Syd era, a nearly-ten-minute expansion of Barrett’s all-time grungiest riff, with a mind-melting mid-song breakdown of meowing guitars and chirping organs, that hisses back to life with a (dated, but still decently psychedelic) stereo-panning riff reprise. Only Sister Ray managed to get quite this dark or deep in ’67, and the fact that the band was able to achieve such stratospheric later-career success without ever straying too far from this experimental, instrumental core is the true testament to the group’s collective genius.
I hope you peeps like The Wall, because we have lots of selections from that album in the immediate future. Up next, someone's Top 5 selection . . . featuring the classical guitar pickings of David Jon Gilmour. (I may not share his guitar playing abilities . . . but I do share his first and second name . . .even spelled the same way.)
Ghost Rider
Footballguy
On the Run, like every other song on Dark Side, is amazing. Easy to overlook when ranking individual songs due to the big dogs on that record are more noteworthy on their own, all of which I am sure are still to come, but I had no pauses about putting On the Run on my list.
Interstellar Overdrive has a good riff, but I find the song to be a mess, and that chirpy guitar part in the middle makes my ears bleed. I am happy to never hear this again.
Interstellar Overdrive has a good riff, but I find the song to be a mess, and that chirpy guitar part in the middle makes my ears bleed. I am happy to never hear this again.
Dr. Octopus
Footballguy
I’ll admit Interstellar Overdrive loses its way a bit in the middle but the groove is just so good and so different.
FatMax
Member
This is getting better as we are moving higher. Before, I was interested to see when my more obscure picks would pop up, and how many others liked them too. Also, learned some stuff I was less familiar with. But now, from here on out, most everything will be music that we all know well. It's just a matter of ranking them. Side note: I'll be happy to let you know the correct PF song rankings after this is over ...
@Anarchy99 - thank you again for putting this together. I know it's a lot of work, but this is really fun, and your work is appreciated.
@Anarchy99 - thank you again for putting this together. I know it's a lot of work, but this is really fun, and your work is appreciated.
Tau837
Footballguy
Pip's Invitation
Footballguy
My rank: 16
My favorite Syd-era song. A psychedelic classic, inspired heavily by the aforementioned East-West and The Byrds' Eight Miles High. The first part is almost Who-like in its intensity and the freaky part in the middle creates the template which much of their experimental pre-DSOTM material followed, culminating with parts of Echoes. Particularly, we don't get Careful With That Axe, Eugene without this. You can also hear the main riff of Let There Be More Light being teased here. The final minute returns to the main theme and then a deconstruction of it. We have heard plenty of stuff like this by 2023, but in 1967, this was highly innovative territory.
Pip's Invitation
Footballguy
Until the guitar solo at the end, it really does sound like The Kinks. That's a good thing.
It's one hell of a sonic trip and my first or second thought if someone asks "what does DSOTM sound like?"
BassNBrew
Footballguy
I had it at #14 but you're right about that chirp. In hindsight I probably over ranked it.
BassNBrew
Footballguy
For those that haven't explored David's cover links...check this out. I'm not sure what is happening here.
www.youtube.com
Poor Man's Whiskey - High Sierra 2010 - On the Run
Poor Man's Whiskey performs the song 'On the Run' from their Darkside of the Moonshine for the Thursday late night with Cornmeal at the High Sierra Music Fes...
www.youtube.com
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