Which is better: the acoustic side of the Floyd, or the electric side?
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Acoustic reveals the band's soul  To rabid fans and casual listeners alike, the name 'Pink Floyd' might conjure up images of spectacular live shows, with lasers, lights, a huge screen, and quadraphonic sound. Indeed, for their entire history, Pink Floyd has been synonymous with amazing display of light and sound. Some of the deepest identifying characteristics of the band? Rick Wright's long drawn-out organ chords or David Gilmour's soaring solos--these practically define electric rock. But there's another side of the band that also goes back to their earliest days. Pink Floyd is also an awesome acoustic band. Huh? Acoustic Floyd? Yep. The band have always had a phenomenal dynamic range (compare the quiet parts of The Wall to the loud noise all those clock chimes made the first time you played Dark Side and turned the volume all the way up to hear them ticking) and the acoustic side of the band is the counterbalance to their hard-edged electronic side. It's nothing less than the very soul of the band. Consider Animals. "Dogs," "Pigs," and "Sheep" are three great songs. But what envelopes them, opening and closing the album? A simple acoustic love song, "Pigs on the Wing, Parts 1 and 2," which closes an otherwise venomous album on a positive note. In fact, it was during the quiet acoustic "Pigs on the Wing 2" from Montreal, July 6, 1977, that Roger Waters lost his cool at fireworks going off, and stopped the song to announce, "Aww, for fuck's sake, stop letting off fireworks and shouting and screaming, I'm trying to sing a song. I mean, I don't care, if you don't want to hear it, you know, fuck you. I'm sure there's a lot of people who do want to hear it... I'm trying to sing a song that some people want to listen to. I want to listen to it." This just emphasizes the importance of the quiet, acoustic numbers. Yell and scream during "Money," but don't do it during "Pigs on the Wing." Later in that same show, Waters would spit on a fan, and that would be the catalyst for the band's next album. After Syd Barrett left the band, one of Waters' earliest songs was the acoustic "If". The tune is simple and easy to play, but the lyrics have themes that Waters would continue to explore: insanity and loneliness. When Atom Heart Mother was released, Waters didn't dominate the band the way he would in the Seventies, but "If" foreshadows things to come. It's one of the few older songs that he included on his solo tours in the 80s. Of course, Waters wasn't the only band member writing acoustic music for Atom Heart Mother. Gilmour's "Fat Old Sun," an early favorite, was a staple of Pink Floyd concerts until being dropped in 1972. (My favorite is the 14-minute version recorded at the Paris Theater and broadcast on the BBC in 1971). The very next album, Meddle, strings together four breezy songs that provide some of my favorite listening experiences and memories. In college, when I still listened to Meddle on vinyl, I had a stereo on a shelf above my bed, and I used to lie down with my head between the speakers, put on Side 1, and close my eyes. Some consider songs like "A Pillow of Winds" or "Seamus" filler, but perhaps that's because they are overshadowed by what was Side 2 back in the days of albums: "Echoes." "Echoes," is truly deserving of its great reputation, but don't overlook those glittering gems that precede it. "Fearless" continues the trajectory of "If" and "Fat Old Sun," and "Seamus" illustrates that the roots of much of the Floyd's work lie in the blues. Even in tracks that are not predominantly acoustic, certain acoustic instruments can set a mood or tone effectively. The piano in "The Great Gig in the Sky," for example, is different from the songs preceding it on The Dark Side of the Moon, and closes the first half of the album gently. On side 2, Dick Parry was brought in to play sax on "Us and Them." It provides just the right mellow tone, and broadened the band's sound. It was important enough to the sound that the band called on him to join them on tour. The band's early work isn't the only place we find strong acoustic moments. Consider "Mother" or "Goodbye Blue Sky" on The Wall. "Hey You" was moved at the last minute to provide the right opening for disc two of the album. That's followed by the lovely classical guitar piece that closes "Is There Anybody Out There?" the quiet piano of "Nobody Home," and the subtle acoustic guitar and strings on "Vera." The beginning of disc two of The Wall is a world away from Dark Side's pure synthesizer piece, "On the Run." I have, of course, saved the best, and perhaps most obvious, for last: "Wish You Were Here". If someone were to try to pick just one Pink Floyd song and label it the best thing they've ever done, "Wish You Were Here," would make the short list of contenders. How many of us who play guitar list it as the first song we learned to play? Played on two acoustic guitars around a campfire, there's nothing quite as beautiful or moving. Perhaps comparing Pink Floyd's electric sound to their acoustic sound is a pointless task--like comparing apples and oranges. Both have their place. But Pink Floyd isn't often thought of as a great acoustic band, which is a shame, because to think of them only in terms of light shows or synthesizers overlooks some of their best moments. |
Acoustic just doesn't cut it.  I bought a new car a couple weeks ago. Well, actually a used car, but it's new to me. And it's not just a car... it's a Lamborghini. A Lamborghini Countach to be more specific. A red Lamborghini Countach with a white leather interior and an Alpine stereo system that makes the whole car shake when I kick out "One of These Days". For years this has been my dream car. And for years I've been stashing cash away in a private savings account that even my wife didn't know about, just so I could make this dream a reality. When you mention the name Lamborghini to people, all kinds of images pop into their heads. Fast cars. Expensive cars. Beautiful cars. People have strong preconceptions and expectations of Lamborghinis. Even Roger Waters recognized the mystique of the Lamborghini on The Pros and Cons of Hitchhiking: And when she turned sweeter Lamborghini has become the pinnacle of sports car ownership. My Lamborghini sits in my garage. I had my garage rebuilt just for this car. Fresh concrete with floor drains to handle any runoff so my Lamborghini doesn't have to sit in puddles. I had special lighting installed above the car so the paint won't fade. And I even had a new garage door installed that's insulated and seals tight so that the environmental controls I had installed will keep the garage at just the right temperature and humidity level to perfectly preserve my new baby. I actually got a hell of a deal on my Lamborghini. Even though it's used (just 15,000 miles on this puppy), it would regularly sell for around $100,000. But I only paid $60,000. Great deal, wasn't it? Why only $60,000? Well, you see, my Lamborghini doesn't have an engine. So what if I can't take it out for a drive? It's still a Lamborghini. So what if it's just an empty shell of what it could be? It's still a Lamborghini. So what if others might think less of it because it's not complete? It's still a Lamborghini. The other day I heard someone talking about Pink Floyd as an acoustic band. "Pink Floyd unplugged," they called it. Hrrrrmmph. How can they do "On the Run" without electronic synthesizers? How can they do the haunting keyboards that lead into "Sheep" in an acoustic version? For that matter, what would become of the entire album Animals if Pink Floyd were unplugged? What about Gilmour's soaring guitar solos? What about most of the Pink Floyd catalog that defines who Pink Floyd is and what their music sounds like? Sure there's an occasional acoustic tune in there. But that's the key: occasional. I don't want to knock Pink Floyd's attempts at an occasional acoustic piece. In many instances, the inclusion of an acoustic tune--or even just a short acoustic section in an otherwise electric song--is a nice touch. It's similar to having a nice glass of Cabernet Sauvignon with a fine piece of beef. The beef is what the meal is all about, and the wine serves as a nice complement. But even without the wine, the beef is still what the meal is all about. For example, the inclusion of "Wish You Were Here" on the album of the same name serves as a nice break to a sometimes-overwhelming dose of Floydian Electronic Magic. It's so easy to get caught up in sailing on the steel breeze that "Wish You Were Here" serves as a welcome tether, helping you keep grounded in the fact that the members of Pink Floyd are, after all, only human. Now consider The Dark Side of the Moon, the album that is by and large considered Pink Floyd's masterpiece. How much of that is acoustic? None. Hmmm. Pink Floyd's defining album is entirely devoid of acoustic pieces. Need I say more? Well, since you've come along this far with me, I am going to say more. Consider the acoustic pieces that are considered 'clunkers'. "See Saw", anyone? How about "Jugband Blues"? Would you really want to go to a Pink Floyd Unplugged performance and hear these two jewels played? How do think the casual Pink Floyd fan would respond? Without the various forms of electronics they so effectively employ, Pink Floyd just wouldn't be the same. Yeah, they would still be Pink Floyd, but they'd be just an empty shell of what they could be. They would still be Pink Floyd, but I'm sure most people would think less of them because they're not complete. People have strong preconceptions and expectations of Pink Floyd. They expect incredible soaring guitar solos. They expect beautiful soundscapes constructed of synthesized sounds, prerecorded tape loops, and haunting keyboards. Take all of that away, and what are you left with? You might as well buy a Lamborghini with no engine. |
Pink Floyd's greatest acoustic guitar moments
Myself, I don't particularly like "unplugged" music, but, as far as I'm concerned, no one does it better than Pink Floyd, David Gilmour's recent live excursions into the genre included. For a band that's not particularly known for their "acoustic moments," there is an abundance of goosebump-inducing, classic acoustic passages to choose from.
We all have our favorites. This list is just one fan's opinion of Pink Floyd's top ten greatest acoustic guitar Moments. Oddly enough, this list does not and cannot include any song from one of the greatest albums in the history of rock and roll, The Dark Side of the Moon. Pink Floyd's crowning achievement and there are no acoustic guitars anywhere on the record.
So let's get right to it.
10. "Is There Anybody Out There?" from Is There Anybody Out There? The Wall Live
David's acoustic lead here, with help from Snowy White, in a live setting is simply bone-chilling. The atmosphere is one of grim foreboding, and the acoustic guitar matches that tone perfectly. To see David playing this through a hole in the wall from dead center floor seats was one of my personal greatest concert-going moments.
9. "Near The End" from About Face
One of the best acoustic leads I've ever heard. Utterly spectacular. The changeover to electric guitar is seamless--if you're not paying attention you may miss it. Too bad it fades out way too soon.
8. "Welcome To The Machine" as performed live by Pink Floyd in 1987
An absolutely stunning version with David on acoustic guitar. An absolute shame it's not included on Delicate Sound of Thunder. In my humble opinion, this version blows away any live version from 1977 and is the one song from the post-Waters Floyd in which Roger is not missed one iota.
7. "Mother" from The Wall
This one ranks right up there as far as acoustic Floyd classics go and no list is complete without it. I'd have to call this one Roger's greatest moment on acoustic guitar. Yes, David's electric bridge is what raises the goosebumps, but Roger's acoustic guitar sets the tone and is played to perfection.
6. "Fat Old Sun" as performed live by David Gilmour at the Royal Albert Hall, June 22, 2001
So much to choose from in this concert alone. David's acoustic performance of this Floyd classic is spine-tingling, and hearing this takes you back 30 years. Granted it doesn't have the extended electric jam, but this soft acoustic version is my favorite moment from these recent concerts and easily ranks on this list.
Honorable Mentions |
"Fearless" from Meddle |
5. "Goodbye Blue Sky" from The Wall
One of the most hauntingly beautiful songs I've ever heard, made especially so by the acoustic guitar. The acoustic guitar segue into Empty Spaces is wondrous.
4. "Grantchester Meadows" as performed April 29, 1970, at KQED studios in San Francisco.
What a treat to see David and Roger both playing acoustic guitars and singing together. Ahhh... the good old days.
3. "Wish You Were Here" from Wish You Were Here
Probably the most classic Floyd acoustic moment ever. A list such as this one without "Wish You Were Here" in the top 3 is a sham.
2. "Wot's... Uh the Deal" from Obscured By Clouds
An amazingly beautiful and underrated song from Floyd's most underrated album. The vocal harmonizing is as good as it gets, and the acoustic guitar is perfection. This song is so good, I won't fall for the common mistake of underrating it.
1. "Dogs" from Animals
I'd have to say the finest Floydian acoustic moment is David Gilmour on acoustic guitar for the opening to "Dogs". Dave's smooth voice singing some of Roger's most biting lyrics over that acoustic guitar moving at breakneck speed, and Rick's watery keys slipping in underneath, could very well be Floyd's finest moment period. This is sonic perfection. And though the ending to "Dogs" certainly isn't acoustic, it is one of the most memorable endings to any rock song anywhere, anytime.
News Flash: the Floyd is finished, and there's nothing we can do about it.
In case you haven't noticed, Pink Floyd is not touring this summer. It's been eight long years since the 'boys' have done anything meaningful as a band.
Sure, since 1994, we have gotten a 20-year old live recording (Is There Anybody Out There: The Wall Live) and a greatest hits album (Echoes: The Best of Pink Floyd). But really, have we gotten anything new at all?
Since Pink Floyd is not touring, that would explain why David Gilmour is not returning my phone calls. That's right boys and girls, I have been trying to reach Dave (er... David) to ask him if I can take Tim Renwick's place playing guitar on the next Pink Floyd tour.
So far, no dice. Nothing. The phone rings, nobody picks up. The only time someone did pick up, something about a 'court order' was mentioned.
Alas, my dream is dead. I won't tour with Pink Floyd. Not because I'm not any good. I mean, I've been playing since December, and how hard is it to play Pink Floyd music if you aren't the lead guitar player?
This has nothing to do with that. This has to do with age. David Gilmour feels he's too old to be a rock star. God bless him. Pete Townshend continues on, but only because The Who didn't make enough money in the '70s to "crawl away and die," as he said recently.
Even in 1994, we got every indication that this was going to be it for the Floyd. David Gilmour quoted Mr. Townshend in an interview early on in the tour when he said, "When Pete Townshend said he hoped he'd die before he got old, that was in the infancy of rock'n'roll, although that statement wasn't purely to do with music. But the general feeling in those early years was that it was a young man's business because it was a young business. Now, to me, it's a there-are-no-rules type of business, so I guess I'd have to say that we'll carry on until we don't feel like carrying on any longer."
Apparently that time has come now. Pink Floyd is no longer.
But that's ok, because David Gilmour owes me nothing. Fans today act like the Floyd owes them something. I saw them perform The Dark Side of The Moon at Giants Stadium in 1994. What more could I want?
Maybe a phone call?