Pink Floyd - Piper at the Gates of Dawn CD

Piper at the Gates of Dawn buy CD music Lyricist: Roger Waters. Personnel: David Gilmour (vocals, guitar); Richard Wright (vocals, keyboards); Roger Waters (vocals, bass guitar); Nick Mason (percussion); Doris Troy, Lesley Duncan, Liza Strike, Barry St. John (background vocals). Recording information: Abbey Road Studios, London (06/1972-01/1973). Photographers: Storm Thorgerson; Tony May.

Piper at the Gates of Dawn CD music Digitally remastered by Doug Sax (The Mastering Lab, Los Angeles, California). Recorded at Britannia Row Studios, London, England. Personnel: David Gilmour (vocals, guitar); Roger Waters (vocals, bass guitar); Richard Wright (keyboards); Nick Mason (drums). Recording information: Britannia Row Studios, London (1976). Photographers: Aubrey Powell; Rob Brimson; Nick Tucker; Bob Ellis; Howard Bartrop; Peter Christopherson; Colin Jones. Pink Floyd: David Gilmour (vocals, guitar); Richard Wright (vocals, keyboards); Roger Waters (vocals, bass); Nick Mason (drums).

Piper at the Gates of Dawn songs Digitally remastered by Doug Sax (The Mastering Lab, Los Angeles, California). The breakthrough success of Dark Side of the Moon made Wish You Were Here a crucial follow-up in strictly commercial terms. Further pressure came from it being Pink Floyd's first recording for a new label, Columbia. Yet the demands on the band only provided Roger Waters more fodder for his lyrics, which glanced at the band's roots as well as their new responsibilities. The mechanized throb of a VCS3 synthesizer, fed through a repeat-echo unit, signals the opening bars of "Welcome to the Machine," a diatribe against an industry more concerned with money than creative music-making. "Have a Cigar" further establishes Waters' contempt by bringing in singer Roy Harper to play the role of a "faceless suit," who none-too-innocently asks, "Which one's Pink?" The remaining songs indirectly look back to the first casualty of Pink Floyd's growing fame, the group's founder, Syd Barrett. The 20-minute-plus "Shine on You Crazy Diamond" has its roots in earlier pieces like "Atom Heart Mother Suite" and "Echoes." But rather than just another Floydian soundscape, its lyrics make it a paean to Barrett's genius and a requiem for his subsequent breakdown. The first five of the song's nine movements open the album with sax player Dick Parry wailing as effectively as he did on Dark Side of the Moon. The final four sections, which close the album, form a reprise that starts with the sound of wind and David Gilmour's guitar screaming and crying. The band then settles into a laid-back jam that ends with Richard Wright's billowing synth delicately fading out. The title track deals also with Barrett, as well as the tension the idealist Waters was feeling in battling the greed that surrounded the band's success. The themes of disillusionment planted throughout Wish You Were Here would eventually sprout full-blown on The Wall. Recorded at Abbey Road Studios, London, England from January-July 1975. Lyricist: Roger Waters. Personnel: David Gilmour (vocals, guitar); Richard Wright (vocals, piano, keyboards); Roger Waters (vocals, bass guitar); Nick Mason (drums); Venetta Fields, Carlena Williams (background vocals). Recording information: Abbey Road Studios (01/1975-07/1975). Pink Floyd: David Gilmour (vocals, guitar); Richard Wright (vocals, keyboards, VCS3 syntheszier); Roger Waters (vocals, bass); Nick Mason (drums). Additional personnel: Roy Harper (vocals); Dick Parry (saxophone); Venetta Fields, Carlena Williams (background vocals).

Piper at the Gates of Dawn album for sale MEDDLE was the first album to hint at the musical identity that would define Pink Floyd in the mid- to late-'70s. Whereas prior releases like UMMAGUMMA and ATOM HEART MOTHER announced the presence of new singer/guitarist/songwriter David Gilmour, MEDDLE represents the band's Gilmour-influenced evolution toward a sleek, epic, spacey sound. In "Echoes," an ambitious 23-minute soundscape, the pinging of a synthesizer greets the listener before Gilmour's warm, open guitar and gentle crooning gives way to a repetitious, workmanlike rhythm. From here, the music fades into an abyss of whale calls and eerie sonic reverberations. Elsewhere, Floyd dabbles with straightforward cocktail-hour jazz ("San Tropez") and a twisted slow blues ("Seamus"). But it is "One of These Days," MEDDLE's opening track and lone radio staple, that truly previews things to come. Roger Waters's bass, played through a Binson echo unit, establishes the song's manically hypnotic groove, as Richard Wright's synthesizer bursts in and out, Nick Mason's off-kilter drum fills get tossed around, and Gilmour's guitar dive-bombs through it all. These varied sound effects, packaged in a song that clocked in at less than six minutes, were a precedent for the masterpiece that was two years away: DARK SIDE OF THE MOON. Composer: Pink Floyd. Personnel: David Gilmour (vocals, guitar); Richard Wright (vocals, keyboards); Roger Waters (vocals, bass guitar); Nick Mason (percussion). Recording information: Abbey Road (1971); AIR Studios (1971); Emi Studios (1971); Morgan Studios, London (1971).

Piper at the Gates of Dawn CD music The last in Pink Floyd's series of 1970s film-inspired works, OBSCURED BY CLOUDS, like much of the band's music, has a cinematic feel. In retrospect, however, the album sounds like a warm-up for--or even a collection of high-quality outtakes from--Floyd's next and greatest record, DARK SIDE OF THE MOON. The opening title track is the sort of proto-ambient music that Pink Floyd helped pioneer and, with its spooky slide guitar, sounds uncannily like some of Eno's work with U2. After another instrumental, the album takes a more traditional, song-based turn and the next seven tunes cover a dizzyingly diverse array of styles. There is stomping, Grand Funk Railroad-style hard rock and gentle ballads like "Stay" and "Burning Bridges" (which recalls Hendrix's "Little Wing"). "Childhood's End," a funky psychedelic number, sounds like a work-in-progress version of DARK SIDE's "Time." David Gilmour, especially, is on top form. Whether creating Robert Fripp-esque soundscapes or blistering Clapton-style blues solos, Gilmour always plays for the song, effortlessly walking the thin line between guitar hero and ensemble musician. Throughout, the band weaves a beautiful, yet decidedly un-flashy, tapestry of sound that makes for a subtle, varied, and ultimately essential Pink Floyd album. Personnel: David Gilmour (vocals, guitar, slide guitar); Richard Wright (vocals, keyboards); Roger Waters (vocals, bass guitar); Nick Mason (vocals, drums). Photographer: Angus MacRay.

Piper at the Gates of Dawn buy CD music Pink Floyd's second album is a hesitant transition from the baroque acid whimsy of PIPER AT THE GATES OF DAWN into the futuristic space rock the group would refine through DARK SIDE OF THE MOON. Recorded as Syd Barrett was messily leaving the band (Barrett contributes one track, the cacophonous "Jugband Blues," though rumors persist that he plays on at least a couple of others), the album finds the remaining members, including new guitarist Dave Gilmour, exploring their new roles in public. Keyboardist Richard Wright contributes two lovely, pastoral tracks, "Remember a Day" and "See Saw," that echo Barrett's familiar childlike whimsy, while bassist Roger Waters's contributions, along with the band-composed 12-minute title track, map out the pulsating throb and lengthy instrumental sections that would soon become Floyd's sonic trademark. Another key track is the satiric "Corporal Clegg," Waters' first exploration of antiwar themes. Recorded at EMI Studios, London, England. Personnel: David Gilmour, Syd Barrett (vocals, guitar); Richard Wright (vocals, piano, organ); Roger Waters (vocals); Nick Mason (percussion). Recording information: Abbey Road (01/1968-04/1968); Emi Studios (01/1968-04/1968). Photographer: Hipgnosis. Pink Floyd: Syd Barrett, David Gilmour (vocals, guitar); Roger Waters (vocals, bass); Richard Wright (keyboards); Nick Mason (drums).