Dwayne Hoover
Footballguy
How can I play spoiler, I don't know the order?
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FBG'S TOP 100 PINK FLOYD SONGS - #01 - Comfortably Numb from The Wall (1979) (1 Viewer)
- Thread starter Anarchy99
- Start date
Pip's Invitation
Footballguy
I have 10 songs on my list yet to be revealed.
1.
2.
3.
4.
5.
6. Shine on You Crazy Diamond parts VI-IX (FBG #16)
7.
8. Sheep (FBG #20)
9.
10. Money (FBG #19)
11. The Nile Song (FBG T#71)
12. Ibiza Bar (FBG #70)
13.
14. The Gold It's in the... (FBG #75)
15. Any Colour You Like (FBG #28)
16. Interstellar Overdrive (FBG T#38)
17. High Hopes (FBG #27)
18. Careful With That Axe, Eugene (FBG #50)
19. Fearless (FBG #21)
20. Cymbaline (FBG T#55)
21.
22. See Emily Play (FBG T#31)
23.
24. One of My Turns (FBG T#34)
25. Summer '68 (FBG #62)
1.
2.
3.
4.
5.
6. Shine on You Crazy Diamond parts VI-IX (FBG #16)
7.
8. Sheep (FBG #20)
9.
10. Money (FBG #19)
11. The Nile Song (FBG T#71)
12. Ibiza Bar (FBG #70)
13.
14. The Gold It's in the... (FBG #75)
15. Any Colour You Like (FBG #28)
16. Interstellar Overdrive (FBG T#38)
17. High Hopes (FBG #27)
18. Careful With That Axe, Eugene (FBG #50)
19. Fearless (FBG #21)
20. Cymbaline (FBG T#55)
21.
22. See Emily Play (FBG T#31)
23.
24. One of My Turns (FBG T#34)
25. Summer '68 (FBG #62)
Anarchy99
Footballguy
#12 - Echoes from Meddle (1971)
Appeared On: 22 ballots (out of 33 . . . 66.7%)
Total Points: 328 points (out of 825 possible points . . . 38.5%)
Top Rankers: @zamboni @Pip's Invitation @Joe Schmo @New Binky the Doormat @BroncoFreak_2K3 @Mookie Gizzy @Rand al Thor
Highest Rankings: 1, 2, 2, 4, 5, 5, 5
In Studio, Rehearsal, Alternate Version, Pompeii, BBC, 38 minute version - 1971, Chicago - 1972, New York - 1973, London - 1974, Los Angeles - 1975, DSOT, Remember That Night, Abbey Road, Gdansk, Acoustic
Live Performances: PF: 240, DG'S PF: 12, DG: 33, NM: 85
Covers: Alien Sex Fiend, Dream Theater, Daal, Jason Wilbur, Gov't Mule, Qui, Solar Project, Ween
The song started out as Nothing, Parts 1–24. Some pieces featured band members playing a recording without any idea what the rest of the group had or were going to play, while others simply had vague notes such as "first two minutes romantic, next two up-tempo". Not all of the pieces were used for the finished track, and outtakes included saying a phrase backwards, so it would sound correct yet strange when the tape was reversed. Subsequent tapes of work in progress were labelled The Son of Nothing and The Return of the Son of Nothing, said to be a joke about comic books and Godzilla-type movie sequels. RW proposed that the band call its new piece We Won The Double in celebration of Arsenal's 1971 victory, and during a 1972 tour of Germany he jovially introduced as Looking Through The Knothole in Granny's Wooden Leg and The March Of The Dam Busters. It was the first song recorded for Meddle,
RW said he was attempting to describe "The potential that human beings have for recognizing each other's humanity and responding to it, with empathy rather than antipathy."
DG: “At the end of Echoes is this kind of guitar orchestra going on, about 4 different parts all joining together to create a sound. I still think that is wonderful. We went in and played, anytime that anyone had any sort of rough idea for something we would put it down. It was a specific attempt to sort of do something by a slightly different method. By the end, we listened back and we'd got 36 different bits and pieces that sometimes cross-related and sometimes didn't. Echoes was made up from them that. Basically we're the laziest group ever. Other groups would be quite horrified if they saw how we really waste our recording time.
NM: "The constructing of Echoes is rather similar to Atom Heart Mother in terms of it running through various movements. But the movements are so different that I don't feel we've had to milk AHM to produce Echoes. There are similarities between ATM and Meddle. There are various things in the construction that have a PF flavor, but are also very dangerous PF clichés. One is the possible tendency to get stuck into a sort of slow four tempo. And the other thing is to take a melody line and flog it to death. Maybe we'll play it once slow and quiet, the next time a bit harder and the third time really heavy, which tends to come a little bit into Meddle and in AHM, but it's slightly more forgivable with the choir and orchestra 'cause it's nice building on an orchestra and bringing in extra brass and playing more complex lines."
Wright explained: "The whole piano thing at the beginning and the chord structure is mine, so I had a large part in writing that. But it's credited to other people of course. Roger obviously wrote the lyrics." Wright revealed that the wind section after the song's intro was RW's with a slide on his bass. Also DG's seagull sound was a mistake. He explained about the latter: "One of the roadies had plugged his wah wah pedal in back to front, which created this huge wall of feedback. He played around with that and created this beautiful sound."
Vulture Ranking (out of 165 songs): 6
UCR Ranking (out of 167 songs): 8
Louder Ranking (out of 50 songs): 4
WMGK Ranking (out of 40 songs): 22
Ranker Ranking (out of 132 songs): 7
Billboard Ranking (out of 50 songs): 25
Vulture Ranking (6 out of 165 songs): Meddle had the forceful (and let’s not forget energetic) One of These Days, and this 23-and-a-half-minute excursion. The song begins with a set of now-famous pings, before some fairly pretty group vocals and an actual guitar riff or two. Lyrically, we start out with the albatross hanging motionless upon the air, a neat trick, and things go south from there words-wise, but no matter. Later, the pings come back, leading into quite a keyboard fanfare by Wright. It’s hard to argue with this long yet tasteful and (that word again) forceful epic. I’m upping this over the Animals jams, even though this is not as well produced, for historical value. The band could have followed the Echoes mold, which might have ended up embarrassing the band because, given their instrumental limitations, they were in a sense cashing a check they couldn’t cash. Instead, they took a left turn and we got Dark Side — by which I mean actual songs, conception, brilliant production, all of it. The Pompeii version is highly recommended.
UCR Ranking (8 out of 167 songs): The band spreads way, way, way out on this extended epic. It’s not the duration of Echoes that’s noteworthy, only that the extra running time allows for such a wealth of noises and ideas. If the early, psychedelic Floyd stuff was “space rock,” this is “deep sea rock,” and just as enchanting. Wright creates a submarine-like “ping” while DGilmour dreams up a pod of whales by plugging a wah-wah pedal in backwards. Mason guides the ever-changing song, and Waters writes of wind, water and, more importantly, humanity. The band believed this mix of outward-looking lyricism and dynamic sounds was the stepping stone to full album suites, like Dark Side. (And, if you agree with Waters, the song’s descending chord motif led to Andrew Lloyd Webber’s Phantom of the Opera.)
Louder Ranking (4 out of 50 songs): With Syd departed, PF was gripped by an identity crisis. DG described Echoes as “the point at which we found our focus”, but this mojo-restoring track didn’t come easy. The band made a critical breakthrough, debuting The Return Of The Son Of Nothing, pulling structure from the madness, and returning with Echoes. “When they came back,” engineer John Leckie said. “They’d got it into shape because they’d been playing it live. It was conceived as one big thing, bits in various sections, so it was recorded that way.” Credited to all four members, this sprawling work represented PF at their most collaborative. RW supplied some of his most evocative lyrics. Mason came up “with a lot of the crazier ideas”, while DG’s guitar work was dazzling, morphing from the hanging notes of the introduction to the shrieks of the mid-section. Mason would later complain that Echoes “sounds a bit overlong”. True, this was certainly a colossal work, taking up the entire second side. But every measure of this opus was solid gold. Expansive, otherworldly and brimming with atmosphere, it represented the gearshift away from the Barrett era, and gave the band the creative confidence that would take them into the stadium league.
WMGK Ranking (22 out of 40 songs): Here’s one you probably haven’t heard on the radio: Echoes is 23 minutes and took up all of Side 2. While most jams that go that long feel a bit over-indulgent, Echoes is a trip that you’ll want to take over and over, depending on your mood.
Billboard Ranking (25 out of 50 songs): Not the first strap-yourself-in-folks PF song by any means — Atom Heart Mother ran about ten seconds longer. Still, Meddle closer Echoes feels like a eureka moment for the band, the first time they’d had a central motif (that monster proto-Phantom of the Opera riff) strong enough to build ten-plus minutes of music around, and the first time they’d matched it with an ambient breakdown section (the whale-sounds middle) that was compelling enough in its own right to wade through until the hook’s return. It might not captivate for all 23-plus minutes, but it came impressively close, an early demonstration of a band on the verge of one of the most limitless musical runs in rock history.
Appeared On: 22 ballots (out of 33 . . . 66.7%)
Total Points: 328 points (out of 825 possible points . . . 38.5%)
Top Rankers: @zamboni @Pip's Invitation @Joe Schmo @New Binky the Doormat @BroncoFreak_2K3 @Mookie Gizzy @Rand al Thor
Highest Rankings: 1, 2, 2, 4, 5, 5, 5
In Studio, Rehearsal, Alternate Version, Pompeii, BBC, 38 minute version - 1971, Chicago - 1972, New York - 1973, London - 1974, Los Angeles - 1975, DSOT, Remember That Night, Abbey Road, Gdansk, Acoustic
Live Performances: PF: 240, DG'S PF: 12, DG: 33, NM: 85
Covers: Alien Sex Fiend, Dream Theater, Daal, Jason Wilbur, Gov't Mule, Qui, Solar Project, Ween
The song started out as Nothing, Parts 1–24. Some pieces featured band members playing a recording without any idea what the rest of the group had or were going to play, while others simply had vague notes such as "first two minutes romantic, next two up-tempo". Not all of the pieces were used for the finished track, and outtakes included saying a phrase backwards, so it would sound correct yet strange when the tape was reversed. Subsequent tapes of work in progress were labelled The Son of Nothing and The Return of the Son of Nothing, said to be a joke about comic books and Godzilla-type movie sequels. RW proposed that the band call its new piece We Won The Double in celebration of Arsenal's 1971 victory, and during a 1972 tour of Germany he jovially introduced as Looking Through The Knothole in Granny's Wooden Leg and The March Of The Dam Busters. It was the first song recorded for Meddle,
RW said he was attempting to describe "The potential that human beings have for recognizing each other's humanity and responding to it, with empathy rather than antipathy."
DG: “At the end of Echoes is this kind of guitar orchestra going on, about 4 different parts all joining together to create a sound. I still think that is wonderful. We went in and played, anytime that anyone had any sort of rough idea for something we would put it down. It was a specific attempt to sort of do something by a slightly different method. By the end, we listened back and we'd got 36 different bits and pieces that sometimes cross-related and sometimes didn't. Echoes was made up from them that. Basically we're the laziest group ever. Other groups would be quite horrified if they saw how we really waste our recording time.
NM: "The constructing of Echoes is rather similar to Atom Heart Mother in terms of it running through various movements. But the movements are so different that I don't feel we've had to milk AHM to produce Echoes. There are similarities between ATM and Meddle. There are various things in the construction that have a PF flavor, but are also very dangerous PF clichés. One is the possible tendency to get stuck into a sort of slow four tempo. And the other thing is to take a melody line and flog it to death. Maybe we'll play it once slow and quiet, the next time a bit harder and the third time really heavy, which tends to come a little bit into Meddle and in AHM, but it's slightly more forgivable with the choir and orchestra 'cause it's nice building on an orchestra and bringing in extra brass and playing more complex lines."
Wright explained: "The whole piano thing at the beginning and the chord structure is mine, so I had a large part in writing that. But it's credited to other people of course. Roger obviously wrote the lyrics." Wright revealed that the wind section after the song's intro was RW's with a slide on his bass. Also DG's seagull sound was a mistake. He explained about the latter: "One of the roadies had plugged his wah wah pedal in back to front, which created this huge wall of feedback. He played around with that and created this beautiful sound."
Vulture Ranking (out of 165 songs): 6
UCR Ranking (out of 167 songs): 8
Louder Ranking (out of 50 songs): 4
WMGK Ranking (out of 40 songs): 22
Ranker Ranking (out of 132 songs): 7
Billboard Ranking (out of 50 songs): 25
Vulture Ranking (6 out of 165 songs): Meddle had the forceful (and let’s not forget energetic) One of These Days, and this 23-and-a-half-minute excursion. The song begins with a set of now-famous pings, before some fairly pretty group vocals and an actual guitar riff or two. Lyrically, we start out with the albatross hanging motionless upon the air, a neat trick, and things go south from there words-wise, but no matter. Later, the pings come back, leading into quite a keyboard fanfare by Wright. It’s hard to argue with this long yet tasteful and (that word again) forceful epic. I’m upping this over the Animals jams, even though this is not as well produced, for historical value. The band could have followed the Echoes mold, which might have ended up embarrassing the band because, given their instrumental limitations, they were in a sense cashing a check they couldn’t cash. Instead, they took a left turn and we got Dark Side — by which I mean actual songs, conception, brilliant production, all of it. The Pompeii version is highly recommended.
UCR Ranking (8 out of 167 songs): The band spreads way, way, way out on this extended epic. It’s not the duration of Echoes that’s noteworthy, only that the extra running time allows for such a wealth of noises and ideas. If the early, psychedelic Floyd stuff was “space rock,” this is “deep sea rock,” and just as enchanting. Wright creates a submarine-like “ping” while DGilmour dreams up a pod of whales by plugging a wah-wah pedal in backwards. Mason guides the ever-changing song, and Waters writes of wind, water and, more importantly, humanity. The band believed this mix of outward-looking lyricism and dynamic sounds was the stepping stone to full album suites, like Dark Side. (And, if you agree with Waters, the song’s descending chord motif led to Andrew Lloyd Webber’s Phantom of the Opera.)
Louder Ranking (4 out of 50 songs): With Syd departed, PF was gripped by an identity crisis. DG described Echoes as “the point at which we found our focus”, but this mojo-restoring track didn’t come easy. The band made a critical breakthrough, debuting The Return Of The Son Of Nothing, pulling structure from the madness, and returning with Echoes. “When they came back,” engineer John Leckie said. “They’d got it into shape because they’d been playing it live. It was conceived as one big thing, bits in various sections, so it was recorded that way.” Credited to all four members, this sprawling work represented PF at their most collaborative. RW supplied some of his most evocative lyrics. Mason came up “with a lot of the crazier ideas”, while DG’s guitar work was dazzling, morphing from the hanging notes of the introduction to the shrieks of the mid-section. Mason would later complain that Echoes “sounds a bit overlong”. True, this was certainly a colossal work, taking up the entire second side. But every measure of this opus was solid gold. Expansive, otherworldly and brimming with atmosphere, it represented the gearshift away from the Barrett era, and gave the band the creative confidence that would take them into the stadium league.
WMGK Ranking (22 out of 40 songs): Here’s one you probably haven’t heard on the radio: Echoes is 23 minutes and took up all of Side 2. While most jams that go that long feel a bit over-indulgent, Echoes is a trip that you’ll want to take over and over, depending on your mood.
Billboard Ranking (25 out of 50 songs): Not the first strap-yourself-in-folks PF song by any means — Atom Heart Mother ran about ten seconds longer. Still, Meddle closer Echoes feels like a eureka moment for the band, the first time they’d had a central motif (that monster proto-Phantom of the Opera riff) strong enough to build ten-plus minutes of music around, and the first time they’d matched it with an ambient breakdown section (the whale-sounds middle) that was compelling enough in its own right to wade through until the hook’s return. It might not captivate for all 23-plus minutes, but it came impressively close, an early demonstration of a band on the verge of one of the most limitless musical runs in rock history.
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Tau837
Footballguy
For one thing, you could at least use the spoiler tag.
Dwayne Hoover
Footballguy
Sorry if I spoiled the last 12 songs somehow. I have no idea of the final order, thought we all knew what they would be. Maybe I misjudged that part.
I think we guessed at the end of the LZ countdown.
I think we guessed at the end of the LZ countdown.
Pip's Invitation
Footballguy
My rank: 2
Amazingly, the first time I heard this was in a live performance. DG's PF opened their set with this when I saw them on 9/19/87 (one of the last concerts at JFK Stadium in Philly, site of Live Aid, which was condemned a few months later). I did not have Meddle and given its length had never heard Echoes on the radio. But my friends and I deduced pretty quickly what this had to be. We didn't quite know what to make of it and nor did much of the rest of the crowd, which was probably why it was removed from the setlist a few shows later. Once I got Meddle, however, Echoes quickly became one of my favorites. It's an extremely inventive and evocative work, trying all kinds of experiments but never killing the momentum of the song while doing so. The vocal sections are gorgeous, the guitar work is sublime and the "funky section" that lasts from about 7:00 to about 11:30 is one of the most thrilling passages any band ever laid down. And the Pompeii version is AMAZING.
I'm a little surprised that one-third of us did not have this on our lists, but I get that the length can be intimidating for some.
Dean Ween of Ween would occasionally convene some of his friends to perform this at his hometown bar in suburban Philly. Here is one of those versions: https://www.youtube.com/watch?v=KryqdWzpRSg
Yo Mama
Footballguy
As we get closer to the top ten, I just want echo (wink wink) everyone’s appreciation for all the work you’re doing @Anarchy99
The song/band info has been incredible and all the links and other info must take a lot of time to pull together.
This has been a really fun and informative thread. Thanks!
The song/band info has been incredible and all the links and other info must take a lot of time to pull together.
This has been a really fun and informative thread. Thanks!
FatMax
Member
Absolutely. It can't be overstated.
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Tau837
Footballguy
FatMax
Member
Regarding Echos .... it's not on my list. (Boo! Hiss! Throw rotten apples!)
If the list were expanded to 30, Echos would be there. But even then, it wouldn't be because I love it. I really, really appreciate it. That's the best way I can describe it. You can hear elements of of the next five albums littered throughout. It feel like this is a jam where the band really started to figure out who they were. I've always felt that way, so it's a little amusing to read @Anarchy99 writeup, because that's kinda what it was. For me, it's just a little scattered, and I feel like they brought it all together much better down the road. SOYCD is a great example of what I'm talking about. It's like a teenage PIcasso ... you can see it, and you know it's brilliant ... but just wait a few years. Probably a crappy analogy, but its the best I got.
If the list were expanded to 30, Echos would be there. But even then, it wouldn't be because I love it. I really, really appreciate it. That's the best way I can describe it. You can hear elements of of the next five albums littered throughout. It feel like this is a jam where the band really started to figure out who they were. I've always felt that way, so it's a little amusing to read @Anarchy99 writeup, because that's kinda what it was. For me, it's just a little scattered, and I feel like they brought it all together much better down the road. SOYCD is a great example of what I'm talking about. It's like a teenage PIcasso ... you can see it, and you know it's brilliant ... but just wait a few years. Probably a crappy analogy, but its the best I got.
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zamboni
Footballguy
Yes, colour me shocked that Echoes fell this far down (it was #1 with a bullet for me), but I understand that size/length matters to many. And yes, that original Pompeii version is what instantly made this my favorite Floyd tune the first time I saw it.
Leroy Hoard
Footballguy
I just want to echo what's already been said, great song. Also one of the few I like better live (Pompeii) than the original studio version (which I already liked before).
Ghost Rider
Footballguy
Echoes was the one I mentioned that was 25th on my list until the decision was made for Shine On... to be two songs, which knocked it off my list. Either way, it might have been too high for me. Great song for sure, but was it was never one I listened to often, even in my biggest Floyd fandom days when they dominated my CD player. It has always been one of those songs that is awesome to just crank like once a year, not listen to regularly.
Desert_Power
Footballguy
He's got to be crazy. Gotta have a real need.
FatMax
Member
I'm fine with it. And I think you're right ... the final 12 (or 11 at this point) are no secret. That said I think your order is waaaaaaaaaaay off. Waaaaaaaaaaaaaaaaaaaaay.
I think your #3 is coming next. Like you though, I have no way of knowing that.
jabarony
Footballguy
Just watched the Pompeii film performance again of Echoes. The 5:36-11:10 mark is just insane.
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I thought this looked familiar!
zamboni
Footballguy
Yup - love the Beasties homage there. We should have gotten Mike D’s and Ad-Rock’s votes here (RIP MCA). I’m sure they would have helped push Echoes higher.Just watched the Pompeii film performance again of Echoes. The 5:36-11:10 mark is just insane.
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I thought this looked familiar!
ETA: some may have seen it, but if you ever make it to the actual Pompeii site, there’s a great PF memorabilia display in the coliseum there
ericttspikes
Footballguy
Saw the Beasties in a club on the Check Your Head tour in 92. Still blown away. The venue put seats out for some reason, and the everyone on the floor folded them up, passed them back and chucked them in a big pile in back. Before the show, the Beasties got into a fight with openers House of Pain, lol. Think they got bounced from the tour shortly after that. One of the best shows I've ever seen. Will never forget it.Just watched the Pompeii film performance again of Echoes. The 5:36-11:10 mark is just insane.
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I thought this looked familiar!
Dr. Octopus
Footballguy
I saw the Beasties on that tour with Rollins Band opening back to back nights at Roseland Ballroom in NYC. Great shows.Saw the Beasties in a club on the Check Your Head tour in 92. Still blown away. The venue put seats out for some reason, and the everyone on the floor folded them up, passed them back and chucked them in a big pile in back. Before the show, the Beasties got into a fight with openers House of Pain, lol. Think they got bounced from the tour shortly after that. One of the best shows I've ever seen. Will never forget it.Just watched the Pompeii film performance again of Echoes. The 5:36-11:10 mark is just insane.
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I thought this looked familiar!
Anarchy99
Footballguy
#11 - Pigs (Three Different Ones) from Animals (1977)
Appeared On: 25 ballots (out of 33 . . . 75.8%)
Total Points: 348 points (out of 825 possible points . . . 42.2%)
Top Rankers: @Anarchy99 @zamboni @Mt. Man @Desert_Power @Dwayne Hoover @Dan Lambskin @Ridgeback @BrutalPenguin
Highest Rankings: 3, 5
Alternate Version, 2018 Remix, Oakland - 1977, New York - 1977, Berlin - 1977, Montreal - 1987, Mexico City - 2016, Amsterdam - 2018
Live Performances: PF: 55, RW: 200
Covers: James LaBrie, Ruby The Hatchet, Les Claypool, Sara Ardizzoni, Experience Group, Joe Russo's Almost Dead, Yonder Mountain String Band, Atomic Bitchwax
Back to the farm. I ranked this third, which I don't remember doing and can't fully explain. I like the song, but probably not third most.
Pigs (Three Different Ones) paints very unflattering portraits of modern figures, each of them laughed to scorn. The first verse refers to no one in particular, but rather businessmen in general. The second verse indirectly refers to the opposition leader at that time, Margaret Thatcher, although she's never mentioned by name or title. The lyrics' offensiveness to Thatcher is subtle, stating that she is "good fun with a hand gun;" better-defined obscenities are prevalent when it refers to her as a "bus-stop rat bag" and "effed-up old hag".
The third mentions Mary Whitehouse by name, painting her as a prudish, sexually repressed "house-proud town mouse". Whitehouse headed the National Viewers and Listeners Association, one of the most ardent campaigners for censorship of radio and television in England. This contributed to Whitehouse's negative image of PF, who she thought was immorally promoting sex and drugs. Some people misconstrued "Hey You Whitehouse" as "Hey You White House" as in taking a shot at the U.S. political climate and accused PF of being anti-American. Apparently during this part of the song, some of the original words were censored by the band or its management before the final mix was recorded for release. Consequently we do not hear the words used to describe Whitehouse in detail - just a few "grunts" and the words previously mentioned.
Whitehouse was a conservative activist who was infamous for acts of protest and for her extensive campaigns against ‘filth’ in British TV and radio, films, and music. A leading campaigner, she organized hundreds of letter-writing campaigns, delivered thousands of speeches, and even met powerful individuals including the prime minister to protest what she dubbed the ‘permissive society’ of the age.”
RW: "She was everywhere pontificating on TV. Interfering in everybody's life, making a nuisance of herself and trying to drag English society back to an age of Victorian propriety. Everybody in the United States assumed it was an attack on the president, on Washington, on the White House."
While playing on the 1977 tour, Waters shouted a different number for each concert. This purportedly had the purpose of identifying specific shows for bootlegs. A giant, inflatable pig became part of PF's live show, where it was brought out for this song.
The pig became a point of contention when the band toured without RW in 1987. They used a new inflatable pig that was altered to have huge male genitalia. The band claimed they did it because Waters had the original idea for the pig and they did not want him to sue for copyright infringement. Roger Waters used an inflatable pig when he performed at the 2008 Coachella festival, this time the pig was emblazoned with the word "Obama" as Waters wanted to support the US presidential candidate. When Waters performed this song, the pig was released on cue, but broke free and floated away. Festival organizers offered lifetime passes and $10,000 cash for the pig's safe return. In was found a few miles away in two plastic heaps by some surprised homeowners in La Quinta.
Vulture Ranking (out of 165 songs): 31
UCR Ranking (out of 167 songs): 9
Louder Ranking (out of 50 songs):11
WMGK Ranking (out of 40 songs): 10
Ranker Ranking (out of 132 songs): 20
Billboard Ranking (out of 50 songs): 33
Vulture Ranking (31 out of 165 songs): After 16 minutes of dogs, we get 11 or so of pigs, with the pig sounds right there at the beginning. The sound is open, but I wouldn’t call it spacious. The keyboards set an eerie scene, and Gilmour’s initial guitar riff is arresting. The feel becomes almost mechanical, but without the grandeur of Welcome to the Machine. But RW is back on vocal duties with that sarcastic, pinched tone, and with this set of lyrics it’s a little rough going. In case you were wondering, the pigs are then-rising star Margaret Thatcher and a Jerry Falwell–type British activist named Mary Whitehouse. DG works it on out in the closing minutes of this 11-plus-minute track.
UCR Ranking (9 out of 167 songs): With a repeating hook worthy of becoming an Eric Cartman outcry (“Ha ha! Charade you are!”) and a sneering sentiment from Waters, “Pigs” is all sharp corners and razor edges. Everything is wielded like a weapon, from shards of rhythm guitar, jabbing cowbell, slashing piano slides and, certainly, the vocal delivery by Waters, who spits poison-tipped needles through gritted teeth at the powers that be. In its instrumental break, the song's underbelly is softer, but darker. Gilmour breaks out a snorting talk box and the rest of the band gets caught in a hypnotic swirl that suggests the disorienting distractions that, in Waters’ view, allow the greedy ruling class to maintain status. You can think about all that nasty business, or just groove along to the jutting rhythm, one of Waters’ most beguiling efforts.
Louder Ranking (11 out of 50 songs): On an album that railed against everything, Pigs (Three Different Ones) looked at figures representing all the worst elements of the establishment; the ‘dragged down by the stone’ businessman from Dogs reappears; a ‘ratbag’ that Waters had spotted at a bus stop near the band’s Britannia Row Studios, who may or may not be Margaret Thatcher, the then-leader of the opposition Conservative Party; and finally, the unloved moral watchdog Mary Whitehouse, the head of the National Viewers and Listeners’ Association.
WMGK Ranking (10 out of 40 songs): Pigs represent the top of the social ladder: the businessmen (or women) with wealth and power. RW laughs at them, but he can’t deny that they run things. This song inspired one of PF’s most well-known stage effects: their giant inflatable pig that they’d fly over the audience. They even used it the late ‘80s and ‘90s after Waters was no longer in the band and they stopped playing songs from Animals.
Billboard Ranking (33 out of 50 songs): Maybe not quite enough musical and lyrical ideas to sustain 11:25 — takes a long time to even get past the “Ha-ha, charade you are!” refrain — but a worthy sequel to the slop-funk chug of the previous album’s Have a Cigar, and the only PF song to maximize the potential of the most ’70s of all instruments, the cowbell. Would you believe RW resorts to Donald Trump imagery when he plays the song live now?
Up next . . . we finally get to the Top 10. We get things started with the song David Gilmour called "the most collaborative effort of anything we ever did."
Appeared On: 25 ballots (out of 33 . . . 75.8%)
Total Points: 348 points (out of 825 possible points . . . 42.2%)
Top Rankers: @Anarchy99 @zamboni @Mt. Man @Desert_Power @Dwayne Hoover @Dan Lambskin @Ridgeback @BrutalPenguin
Highest Rankings: 3, 5
Alternate Version, 2018 Remix, Oakland - 1977, New York - 1977, Berlin - 1977, Montreal - 1987, Mexico City - 2016, Amsterdam - 2018
Live Performances: PF: 55, RW: 200
Covers: James LaBrie, Ruby The Hatchet, Les Claypool, Sara Ardizzoni, Experience Group, Joe Russo's Almost Dead, Yonder Mountain String Band, Atomic Bitchwax
Back to the farm. I ranked this third, which I don't remember doing and can't fully explain. I like the song, but probably not third most.
Pigs (Three Different Ones) paints very unflattering portraits of modern figures, each of them laughed to scorn. The first verse refers to no one in particular, but rather businessmen in general. The second verse indirectly refers to the opposition leader at that time, Margaret Thatcher, although she's never mentioned by name or title. The lyrics' offensiveness to Thatcher is subtle, stating that she is "good fun with a hand gun;" better-defined obscenities are prevalent when it refers to her as a "bus-stop rat bag" and "effed-up old hag".
The third mentions Mary Whitehouse by name, painting her as a prudish, sexually repressed "house-proud town mouse". Whitehouse headed the National Viewers and Listeners Association, one of the most ardent campaigners for censorship of radio and television in England. This contributed to Whitehouse's negative image of PF, who she thought was immorally promoting sex and drugs. Some people misconstrued "Hey You Whitehouse" as "Hey You White House" as in taking a shot at the U.S. political climate and accused PF of being anti-American. Apparently during this part of the song, some of the original words were censored by the band or its management before the final mix was recorded for release. Consequently we do not hear the words used to describe Whitehouse in detail - just a few "grunts" and the words previously mentioned.
Whitehouse was a conservative activist who was infamous for acts of protest and for her extensive campaigns against ‘filth’ in British TV and radio, films, and music. A leading campaigner, she organized hundreds of letter-writing campaigns, delivered thousands of speeches, and even met powerful individuals including the prime minister to protest what she dubbed the ‘permissive society’ of the age.”
RW: "She was everywhere pontificating on TV. Interfering in everybody's life, making a nuisance of herself and trying to drag English society back to an age of Victorian propriety. Everybody in the United States assumed it was an attack on the president, on Washington, on the White House."
While playing on the 1977 tour, Waters shouted a different number for each concert. This purportedly had the purpose of identifying specific shows for bootlegs. A giant, inflatable pig became part of PF's live show, where it was brought out for this song.
The pig became a point of contention when the band toured without RW in 1987. They used a new inflatable pig that was altered to have huge male genitalia. The band claimed they did it because Waters had the original idea for the pig and they did not want him to sue for copyright infringement. Roger Waters used an inflatable pig when he performed at the 2008 Coachella festival, this time the pig was emblazoned with the word "Obama" as Waters wanted to support the US presidential candidate. When Waters performed this song, the pig was released on cue, but broke free and floated away. Festival organizers offered lifetime passes and $10,000 cash for the pig's safe return. In was found a few miles away in two plastic heaps by some surprised homeowners in La Quinta.
Vulture Ranking (out of 165 songs): 31
UCR Ranking (out of 167 songs): 9
Louder Ranking (out of 50 songs):11
WMGK Ranking (out of 40 songs): 10
Ranker Ranking (out of 132 songs): 20
Billboard Ranking (out of 50 songs): 33
Vulture Ranking (31 out of 165 songs): After 16 minutes of dogs, we get 11 or so of pigs, with the pig sounds right there at the beginning. The sound is open, but I wouldn’t call it spacious. The keyboards set an eerie scene, and Gilmour’s initial guitar riff is arresting. The feel becomes almost mechanical, but without the grandeur of Welcome to the Machine. But RW is back on vocal duties with that sarcastic, pinched tone, and with this set of lyrics it’s a little rough going. In case you were wondering, the pigs are then-rising star Margaret Thatcher and a Jerry Falwell–type British activist named Mary Whitehouse. DG works it on out in the closing minutes of this 11-plus-minute track.
UCR Ranking (9 out of 167 songs): With a repeating hook worthy of becoming an Eric Cartman outcry (“Ha ha! Charade you are!”) and a sneering sentiment from Waters, “Pigs” is all sharp corners and razor edges. Everything is wielded like a weapon, from shards of rhythm guitar, jabbing cowbell, slashing piano slides and, certainly, the vocal delivery by Waters, who spits poison-tipped needles through gritted teeth at the powers that be. In its instrumental break, the song's underbelly is softer, but darker. Gilmour breaks out a snorting talk box and the rest of the band gets caught in a hypnotic swirl that suggests the disorienting distractions that, in Waters’ view, allow the greedy ruling class to maintain status. You can think about all that nasty business, or just groove along to the jutting rhythm, one of Waters’ most beguiling efforts.
Louder Ranking (11 out of 50 songs): On an album that railed against everything, Pigs (Three Different Ones) looked at figures representing all the worst elements of the establishment; the ‘dragged down by the stone’ businessman from Dogs reappears; a ‘ratbag’ that Waters had spotted at a bus stop near the band’s Britannia Row Studios, who may or may not be Margaret Thatcher, the then-leader of the opposition Conservative Party; and finally, the unloved moral watchdog Mary Whitehouse, the head of the National Viewers and Listeners’ Association.
WMGK Ranking (10 out of 40 songs): Pigs represent the top of the social ladder: the businessmen (or women) with wealth and power. RW laughs at them, but he can’t deny that they run things. This song inspired one of PF’s most well-known stage effects: their giant inflatable pig that they’d fly over the audience. They even used it the late ‘80s and ‘90s after Waters was no longer in the band and they stopped playing songs from Animals.
Billboard Ranking (33 out of 50 songs): Maybe not quite enough musical and lyrical ideas to sustain 11:25 — takes a long time to even get past the “Ha-ha, charade you are!” refrain — but a worthy sequel to the slop-funk chug of the previous album’s Have a Cigar, and the only PF song to maximize the potential of the most ’70s of all instruments, the cowbell. Would you believe RW resorts to Donald Trump imagery when he plays the song live now?
Up next . . . we finally get to the Top 10. We get things started with the song David Gilmour called "the most collaborative effort of anything we ever did."
ericttspikes
Footballguy
Really like the JRAD cover. I hadn't heard that before. Thanks.
FatMax
Member
#9 on my list, but could have been a touch higher. Its my favorite song on an album full of very strong tunes, so that's saying something. And my opinion is always right, so I've got that going for me as well.
For years I also assumed that Waters was taking a shot at the US President in the third stanza, but that didn't negatively affect my opinion. And let's be honest, no matter what your political views are, our government has quite honestly earned some scorn at various times over the years.
zamboni
Footballguy
Using a pig as a symbol - or even an avatar - is classless.
Dwayne Hoover
Footballguy
Another Pigs cover from a band Ive been digging lately
Eggy
youtu.be
Eggy
Eggy | Full Show | The Warehouse | Fairfield, CT | 1.15.22
Eggy performs at The Warehouse in Fairfield, CT on January 15, 2022.Set One:Sweaters For Strawmen (0:00:00)City Lights (0:05:41)Casa De Mel [Brad Goodall] (0...
youtu.be
PIK95
Footballguy
JRAD is probably my third favorite band. They do a cool Atlantic City. 10/3/15 is the goat show imo. Atlantic City>I Know You Rider was one highlight of many. Opened with Born Cross Eyed.
jabarony
Footballguy
I have zero Animals on my list.
I don't hate it. It just never stuck with me.
That being said, if I knew about the Pigs on the Wing combined song before Anarchy's write-up, it would have made my list for sure.
Ghost Rider
Footballguy
I have always liked Pigs (Three Different Animals), but never loved it. The lyrics are awesome and the music is stellar (middle section is killer, guitar solo at the end slays), but the vocal melodies have always sounded a bit clunky to me. I just have a tough time connecting to Roger's delivery. It has grown on me a bit over the years to where I like it more now than I did in the 90s, but it still wouldn't come close to making my top 25.
Yo Mama
Footballguy
My rankings with only ten left
1 -
2 -
3 -
4 -
5 -
6 - Speak to Me / Breathe - FBG 18
7 -
8 -
9 - Sheep - FBG 20
10 - Goodbye Blue Sky - FBG 29
11 -
12 - One Slip - FBG 42
13 - Hey You - FBG 13
14 -
15 - Dogs of War - FBG 49
16 - Pigs (Three Different Ones) - FBG 11
17 -
18 - Shine On You Crazy Diamond VI-IX - FBG 16
19 - Money - FBG 19
20 - Young Lust - FBG 24
21 - Another Brick in the Wall pt 2 - FBG 17
22 - Mother - FBG 15
23 - Learning to Fly - FBG 26
24 - On the Turning Away - FBG 22
25 - Echoes - FBG 12
Two of my picks were ranked the same as consensus (13 and 19).
Eight of my picks are within five spots of consensus (13, 16, 18, 19, 20, 21, 23, 24).
All ten of the remaining songs are on my list.
1 -
2 -
3 -
4 -
5 -
6 - Speak to Me / Breathe - FBG 18
7 -
8 -
9 - Sheep - FBG 20
10 - Goodbye Blue Sky - FBG 29
11 -
12 - One Slip - FBG 42
13 - Hey You - FBG 13
14 -
15 - Dogs of War - FBG 49
16 - Pigs (Three Different Ones) - FBG 11
17 -
18 - Shine On You Crazy Diamond VI-IX - FBG 16
19 - Money - FBG 19
20 - Young Lust - FBG 24
21 - Another Brick in the Wall pt 2 - FBG 17
22 - Mother - FBG 15
23 - Learning to Fly - FBG 26
24 - On the Turning Away - FBG 22
25 - Echoes - FBG 12
Two of my picks were ranked the same as consensus (13 and 19).
Eight of my picks are within five spots of consensus (13, 16, 18, 19, 20, 21, 23, 24).
All ten of the remaining songs are on my list.
Ridgeback
Footballguy
I saw Rogers shortly after Trump was elected, and seeing this live, with all the visuals was something else. Like we had the perfect president deserving of this song. Here's a clip from the same tour - Pigs
#9 on my list, but could have been a touch higher. Its my favorite song on an album full of very strong tunes, so that's saying something. And my opinion is always right, so I've got that going for me as well.
For years I also assumed that Waters was taking a shot at the US President in the third stanza, but that didn't negatively affect my opinion. And let's be honest, no matter what your political views are, our government has quite honestly earned some scorn at various times over the years.
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Ridgeback
Footballguy
Both are stellar. I had Pigs at #7 and Dogs at #8.
zamboni
Footballguy
Definitely need another less political song here stat.
Anarchy99
Footballguy
#10 - One Of These Days from Meddle (1971)
Appeared On: 26 ballots (out of 33 . . . 78.8%)
Total Points: 357 points (out of 825 possible points . . . 43.3%)
Top Rankers: @worrierking @DocHolliday @Yo Mama @Pip's Invitation @New Binky the Doormat
Highest Rankings: 4, 4, 5
Demo #1, Demo #2, French Windows (Short FIlm), BBC - 1971, Pompeii, Washington - 1971, Zurich - 1972, Boblingen - 1972, Sapporo - 1972, DSOT, Pulse, Pompeii - 2016, Amsterdam - 2018, NM Version
Live Performances: PF: 162, DG'S PF: 307, RW: 161, DG: 18, NM: 157
Covers: Metallica, Blue Man Group, Brit Floyd, Dream Theater, Vespero, Gov't Mule, Velocihamster, Domkraft, Haldolium
We wave goodbye to the Meddle album, leaving only songs from 4 albums. DG has stated that he considers the song the most collaborative piece ever produced by the group. At one point, the song was called One Of These Days I'm Going To Cut You Into Little Pieces. The single spoken line in this song is a rare vocal contribution by Nick Mason. The title and 'lyrics' to this song were created by Roger. When asked just who it was that he wanted to cut into little pieces, he replied it had been an English disc jockey named Jimmy Young. During this period, Roger was in the habit of cutting tapes of Young’s show into little pieces — and then reassembling them in a nonsensical order to play at PF shows.
The song benefited from the atmosphere of experimentalism that was prevailing at the time. Roger was messing about with an echo unit when he discovered the sound. At the time, PF was intrigued by minimalist composers who were experimenting with electronic patterns. They used a pattern this type of pattern throughout the song. The riff was first created by DG on guitar with effects, then RW had the idea of using bass instead of guitar, so they recorded the song on two different bass guitars.
DG: "It evolved from some of my experiments with the delay unit. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. And he came up with that basic riff that we all worked on. The opening section is me and Roger. For some reason, we decided to do a double track of the bass. You can actually hear it if you listen in stereo. The first bass is me. A bar later, Roger joins in on the other side of the stereo picture. We didn't have a spare set of strings for the spare bass guitar, so the second bass is very dull sounding. We sent a roadie out to buy some strings, but he wandered off to see his girlfriend instead. For the middle section, another piece of technology came into play: an amp with vibrato. I set the vibrato to more or less the same tempo as the delay. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. The tape splices were then camouflaged with cymbal crashes."
The only vocal was spoken by drummer Nick Mason, and was digitally warped to give it an evil sound to it. Mason said he liked how it sounded when it was all finished up. The final addition, which made the piece complete, was the howling wind at the beginning and end of the song, adding to the sinister atmosphere of terror. Roger: "The simplest things are often the best. For example, the sound of wind at the beginning of One of These Days is bloody effective." The song was released as a single in some countries but failed to chart.
Vulture Ranking (out of 165 songs): 19
UCR Ranking (out of 167 songs): 10
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): 24
Ranker Ranking (out of 132 songs): 21
Billboard Ranking (out of 50 songs): 6
Vulture Ranking (19 out of 165 songs): Meddle is a poorly produced record, but this — credited to all four members of the band — is another signature PF song, one that boasts sounds that no other band was producing. The band finally revisits the elemental force Barrett found on Interstellar Overdrive and Astronomy Dominé; harnessing that to an electronically altered piano noise makes this a high point of ’70s progressive rock. Gilmour steps up, too. It’s big and focused, grand and rocking.
UCR Ranking (10 out of 167 songs): Meddle’s first track turns Nick Mason into a monster, employing studio wizardry to make the song’s sole vocal line (“One of these days I’m going to cut you into little pieces”) more garbled and upsetting. But all the Floyd members sound like monsters on this big, bold instrumental, with its twin galloping basses from Waters and Gilmour, lightning strike organ whooshes by Wright and cellar-door batterings from Mason. After Nick’s threat, David kicks it into overdrive, burning down the highway on long stretches of rampaging guitar lines that squeal out past the vanishing point. One of These Days is relentless.
WMGK Ranking (24 out of 40 songs): Another rare group co-composition, it’s mostly instrumental… other than Mason’s only vocal for Floyd. He yells, “One of these days, I’m going to cut you into little pieces!” through some wild tape effects. Waters and Gilmour both play bass guitars, giving a creepy effect, and DG also adds slide guitars.
Billboard Ranking (6 out of 50 songs): The true starting gun for ’70s Floyd, a spectral voyage into the great art-rock unknown, entirely instrumental except for a heavily altered “One of these days I’m going to cut you into little pieces” bellow from drummer Mason. One heavily delayed, single-note bass riff shouldn’t be nearly enough to build a song this mighty around, but that kind of studio ingenuity would prove the group’s greatest weapon in the decade going forward — and here, the band surrounds the anti-hook with sweeping wind noises, growling guitars, extraterrestrial organs, racing drums and reversed percussion until it poses as much of a threat as Mason’s garbled title intro.
Appeared On: 26 ballots (out of 33 . . . 78.8%)
Total Points: 357 points (out of 825 possible points . . . 43.3%)
Top Rankers: @worrierking @DocHolliday @Yo Mama @Pip's Invitation @New Binky the Doormat
Highest Rankings: 4, 4, 5
Demo #1, Demo #2, French Windows (Short FIlm), BBC - 1971, Pompeii, Washington - 1971, Zurich - 1972, Boblingen - 1972, Sapporo - 1972, DSOT, Pulse, Pompeii - 2016, Amsterdam - 2018, NM Version
Live Performances: PF: 162, DG'S PF: 307, RW: 161, DG: 18, NM: 157
Covers: Metallica, Blue Man Group, Brit Floyd, Dream Theater, Vespero, Gov't Mule, Velocihamster, Domkraft, Haldolium
We wave goodbye to the Meddle album, leaving only songs from 4 albums. DG has stated that he considers the song the most collaborative piece ever produced by the group. At one point, the song was called One Of These Days I'm Going To Cut You Into Little Pieces. The single spoken line in this song is a rare vocal contribution by Nick Mason. The title and 'lyrics' to this song were created by Roger. When asked just who it was that he wanted to cut into little pieces, he replied it had been an English disc jockey named Jimmy Young. During this period, Roger was in the habit of cutting tapes of Young’s show into little pieces — and then reassembling them in a nonsensical order to play at PF shows.
The song benefited from the atmosphere of experimentalism that was prevailing at the time. Roger was messing about with an echo unit when he discovered the sound. At the time, PF was intrigued by minimalist composers who were experimenting with electronic patterns. They used a pattern this type of pattern throughout the song. The riff was first created by DG on guitar with effects, then RW had the idea of using bass instead of guitar, so they recorded the song on two different bass guitars.
DG: "It evolved from some of my experiments with the delay unit. One day, Roger decided to take some of the techniques that I was developing and try them out himself on bass. And he came up with that basic riff that we all worked on. The opening section is me and Roger. For some reason, we decided to do a double track of the bass. You can actually hear it if you listen in stereo. The first bass is me. A bar later, Roger joins in on the other side of the stereo picture. We didn't have a spare set of strings for the spare bass guitar, so the second bass is very dull sounding. We sent a roadie out to buy some strings, but he wandered off to see his girlfriend instead. For the middle section, another piece of technology came into play: an amp with vibrato. I set the vibrato to more or less the same tempo as the delay. I just played the bass through it and made up that little section, which we then stuck on to a bit of tape and edited in. The tape splices were then camouflaged with cymbal crashes."
The only vocal was spoken by drummer Nick Mason, and was digitally warped to give it an evil sound to it. Mason said he liked how it sounded when it was all finished up. The final addition, which made the piece complete, was the howling wind at the beginning and end of the song, adding to the sinister atmosphere of terror. Roger: "The simplest things are often the best. For example, the sound of wind at the beginning of One of These Days is bloody effective." The song was released as a single in some countries but failed to chart.
Vulture Ranking (out of 165 songs): 19
UCR Ranking (out of 167 songs): 10
Louder Ranking (out of 50 songs): NR
WMGK Ranking (out of 40 songs): 24
Ranker Ranking (out of 132 songs): 21
Billboard Ranking (out of 50 songs): 6
Vulture Ranking (19 out of 165 songs): Meddle is a poorly produced record, but this — credited to all four members of the band — is another signature PF song, one that boasts sounds that no other band was producing. The band finally revisits the elemental force Barrett found on Interstellar Overdrive and Astronomy Dominé; harnessing that to an electronically altered piano noise makes this a high point of ’70s progressive rock. Gilmour steps up, too. It’s big and focused, grand and rocking.
UCR Ranking (10 out of 167 songs): Meddle’s first track turns Nick Mason into a monster, employing studio wizardry to make the song’s sole vocal line (“One of these days I’m going to cut you into little pieces”) more garbled and upsetting. But all the Floyd members sound like monsters on this big, bold instrumental, with its twin galloping basses from Waters and Gilmour, lightning strike organ whooshes by Wright and cellar-door batterings from Mason. After Nick’s threat, David kicks it into overdrive, burning down the highway on long stretches of rampaging guitar lines that squeal out past the vanishing point. One of These Days is relentless.
WMGK Ranking (24 out of 40 songs): Another rare group co-composition, it’s mostly instrumental… other than Mason’s only vocal for Floyd. He yells, “One of these days, I’m going to cut you into little pieces!” through some wild tape effects. Waters and Gilmour both play bass guitars, giving a creepy effect, and DG also adds slide guitars.
Billboard Ranking (6 out of 50 songs): The true starting gun for ’70s Floyd, a spectral voyage into the great art-rock unknown, entirely instrumental except for a heavily altered “One of these days I’m going to cut you into little pieces” bellow from drummer Mason. One heavily delayed, single-note bass riff shouldn’t be nearly enough to build a song this mighty around, but that kind of studio ingenuity would prove the group’s greatest weapon in the decade going forward — and here, the band surrounds the anti-hook with sweeping wind noises, growling guitars, extraterrestrial organs, racing drums and reversed percussion until it poses as much of a threat as Mason’s garbled title intro.
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zamboni
Footballguy
That Vulture dude needs to be cut into little pieces.
Dr. Octopus
Footballguy
A Dead cover band is your third favorite band?
zamboni
Footballguy
On an unrelated note, not sure if anyone has seen this recent NY Times article about the aforementioned Dark Side of The Rainbow.
Haven't read it yet, but it's on my list to do so. The link may be behind a pay wall - if so and you're interested, I'll try to copy it manually.
Haven't read it yet, but it's on my list to do so. The link may be behind a pay wall - if so and you're interested, I'll try to copy it manually.
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PIK95
Footballguy
Maybe second now.
Ghost Rider
Footballguy
I ranked One of These Days 18th off the strength of the live versions on the post-Roger tours. The version from the original
Delicate Sound of Thunder is my go-to. Just awesome. Studio version is good, but lacks the warmth and charm of those later live versions.
Delicate Sound of Thunder is my go-to. Just awesome. Studio version is good, but lacks the warmth and charm of those later live versions.
Leroy Hoard
Footballguy
One of these days ..
Dwayne Hoover
Footballguy
Well there it is.
I saw the Metallica cover and was very psyched because I had never seen that before. Then I watched it, what a letdown
zamboni
Footballguy
They could have done a much bigger/better cover, but I respect any band that shows that kind of admiration for Floyd.
Anarchy99
Footballguy
They can't all be winners. Like many other bands, Metallica has some good covers but a lot that fall flat or don't quite work. This one was a dud. In general, I am not finding a lot of known / established bands taking a shot at many Floyd songs. For starters, the chances of it doing justice to the original are slim. And whatever anyone does isn't going to be better than the original. Very few bands have a guitarist anywhere in the league of DG (or a vocalist that sounds like him). IMO, lesser-known bands that try to put a different spin on things have the best chance of success in the cover category.
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zamboni
Footballguy
Yup - the best covers are almost always among the PF cover bands that spend countless effort at recreating the sound (Brit Floyd, Aussie Floyd, The Machine, etc.). Everyone else is pretty much dabbling in Floyd, mostly to little success. Although the Claypool Lennon Delirium posted way upthread can sure bring it.
Anarchy99
Footballguy
Here's the thing. The professional PF cover bands do a decent job sounding similar to the real enchilada. I've seen some of them and enjoyed their concerts. They are talented musicians, and the concerts provided a "this is what a PF concert would have looked and sounded like". Props to them for that. But the rest of the time, why on earth would I pick to listen to them? I would just play the actual PF tracks. Some of the newer bands or jam bands have some interesting takes on the originals, so I think I like those better than the PF cover bands just recreating the originals. Some of the covers have been epic fails and just plan terrible, but I can at least get a laugh from them.
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