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Pink Floyd  

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Pink Floyd, still giving me goose bumps 40 years later and about to release a new album.

I have patiently waited 20 years to receive news from afar that we will once again be blessed with the next chapter of music from the eternal Pink Floyd and to say that I feel a fair amount of anticipation and excitement regarding the immanent release of their new album “The Endless River” in October 2014 is an understatement of epic proportions.

Having met at college in 1965 Syd Barrett, Nick Mason, Roger Waters & Richard Wright formed Pink Floyd and thankfully adding into their mix in 1967 the ever present front man David Gilmour (who in my opinion actually is “gods own guitarist”) and whatever your views regarding the politics that led to the eventual split from the band of Roger Waters, the music that both sides have gone on to produce either solo or as Pink Floyd I for one have been left begging and pleading for more.

When my cosmic melodic intervention occurred and I was exposed for the first time to the stirring sounds of Pink Floyd I was hanging out with my best friend, it was a scorching summer day in Sydney in 1974 and I was sitting in the back of her boyfriend’s 308 Sandman Panel Van with a few other mates winding down Mona Vale Road in Sydney’s eastern suburbs on our way to Warriewood Beach. The tail gate was open and the curtains were dancing in the humid air that was wrapping around the van kissing our faces as we looked out staring at the gum trees and native flora going by that was abundant on both sides of the road leading to the beach back then.

As we drove through the summer heat the tape deck proudly displayed on the dashboard came to life and it was in that moment that I heard the first spectacular musical notes of “Dark Side of the Moon” seducing me through the speakers that had been lovingly wired in and hanging in the back of the van. I remember suddenly feeling a realisation that I was being transformed experiencing the initial dose of “Floyd” goose bumps and the ensuing release from the mind numbing ordinary and as I came to life I knew then I would never again return to how I was before tasting those first delicious musical morsels of that album that consequently stayed in the charts for a monumental 741 weeks between 1973 and 1988.

When I saw my beloved Pink Floyd in 1988 at the Sydney Entertainment Centre after lining up at 5am to get tickets weeks before, I had found myself bleary eyed and third in line from the box office window when I secured seats 16 rows back from the stage and on the night in the midst of the other unwavering fans I took my seat nervously awaiting the arrival of the musical gods and goddesses who were about to gift us with one of the most profound live musical experiences I would ever have and one that is still unmatched to this day.

As the lights dimmed the moment had finally arrived and my idols walked onto the stage in all their glorious splendour assuming their positions and composing themselves as if they knew they were about to blow us away. When those first magical notes rang out almost instantaneously the floor began vibrating and as the music made its way up through my body it exploded out of the top of my head when I jumped to my feet as the arena erupted and it was clear we were hearing the unmistakable beginning sounds of “Shine on you Crazy Diamond”.

Not knowing where to look first, I felt myself being transformed as the music washed over me holding me in a place of uncertainty and wondering once again if I would be reborn and delivered by the musical perfection that was blossoming and unfolding like a spring flower bearing its brilliant soul to the world. I made a conscious decision to drink in every single moment that night as I gazed in disbelief at the Dalek like machines rising from the stage shooting their laser beams in time with the music across the audience before disappearing again as the band bathed in the soft mist of the smoke of the psychedelic atmosphere that is the genius of Pink Floyd.

I could happily have left at the end of the first song that night satisfied that I had lived a live music experience that nothing would ever come close to or better in my life time but get better it did with each perfect note that poured out one after the other taking me to a higher plane with every glorious heavenly song that was played but those moments were fleetingly tainted with a heavy feeling in the back of my mind that I would never experience this again and I couldn’t bear the thought of it ending.

And so I have waited for news of their return and whether or not I live to see them in the flesh again in whatever form they have morphed into with the sad passing of the late great Richard Wright in 2008 remains to be seen and in the meantime I have kept the hunger at bay with my records, tapes, CD’s, DVD’s and IPod still getting those goose bumps and soon I will be drinking from the psychedelic sounds of the “Endless River” but until then rock and roll on October!!.

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Pink Floyd don’t really need introducing, do they? The Dark Side of the Moon is the second biggest-selling record in history, they pioneered progressive rock as we know it today, and are unquestionably one of the most influential musical groups in history. We are talking about a band, here, who are so big that one of their tribute acts - The Australian Pink Floyd Show - play arenas themselves. In 1994, they played their final tour dates in support of their final album to date, The Division Bell, which certainly showed no sign of them slowing down commercially; it remained on the UK charts for fifty-one weeks. Ten years after the departure of Roger Waters, though, their creativity was beginning to fizzle out. After ten years of dormancy, they were persuaded to reform - Rogers included - for Live 8, and played a stunning set that opened with ‘Breathe’ and ended on an extended version of ‘Comfortably Numb’. It would prove to be their final ever show, too, with keyboardist Richard Wright passing away in 2008. Later this year, however, they’ll release one last album, The Endless River, based on material from 1994 sessions that were tentatively known as The Big Spliff; there’s always the possibility that Dave Gilmour and Nick Mason will mark its release on stage.

It's very unlikely that they will perform live again but one can be optimistic. I saw them in 1994 and without doubt, it was one of the highlights of the year for me. They played a number of nights at Earls Court in London. Unfortunately, one night some of the seating collapsed and there were possibly some injuries, I wasn't there that night. The line up was obviously (as any fan would know) without Syd Barrett! Also, Roger Waters had already left the band. The visual aspects of the concert including the flying pigs, the aeroplane moving diagonally across the roof of the venue, the circular screen showing various films, some rather manic, were mesmorising, but without doubt it was the music and Dave Gilmour's singing that was the best part of the show.

Fans were well pleased with all the favourites that were included like Money, Comfortably Numb, etc. A truly awesome night of music.

Do you Remember the woman in white in Bournemouth july 2019, behind the church.❤️

I love your songs since i was young.

Your blues eyes...

Your smile...

Your voice....amazing to meat you this day!

God is great!

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This Day in 1968 Pink Floyd Kick Off First North American Tour

• General News
• Last updated: 8 Jul 2022, 17:41:12
• Published: 8 Jul 2022, 17:00:00
• Written by: Asal Shah
• Photography by: Michael Ochs Archives
• Categories: General News Tagged: Pink Floyd Pink Floyd World Tour 1968

Fifty-four years have passed since classic rock legends Pink Floyd embarked on their very first North American Tour. The outing was part of their 1968 World Tour where they visited Europe before heading to the States.

1968 was a pivotal year for PF, as their former lead singer Syd Barrett left the band officially in April, and stopped playing with them as early as January. The tour kicked off in Europe in February and David Gilmour became the main frontman, dropping most of Barrett's songs from the setlist.

On July 8th, PF headed to North America for their first tour. It kicked off in Chicago at the short-lived Electric Theater. We don't have the setlist details but other setlists from the tour tell us that PF was still performing two Barrett-composed tracks: "Interstellar Overdrive" and "Astronomy Domine."

According to our setlist archives, they also would weave in "A Saucerful of Secrets," "Set Controls for the Heart of the Sun," "Flaming," "Matilda Mother," "Let There Be More Light," "Remember a Day," "Careful with That Axe, Eugene," "Pow R. Toc H.," and "Paintbox" - All very early era PF songs you'd rarely hear in their later years with the exception of "Astronomy Domine."

Another rare performance they would do on the tour was an early, shorter version of "A Saucerful of Secrets," called "The Massed Gadgets of Hercules." This was also the year they included a large gong as part of the shows on the tour.

The North American leg lasted over a month, wrapping up on August 24th in Torrance, California.

While Pink Floyd haven't performed together in over a decade, David Gilmour and Roger Waters continue to perform PF songs as solo artists.

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Most played songs.

• Money ( 537 )
• Us and Them ( 498 )
• Time ( 480 )
• One of These Days ( 467 )
• Shine On You Crazy Diamond (Parts I-V) ( 413 )

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8,301 people have seen Pink Floyd live.

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A tour to the Dark Side: how Pink Floyd built their biggest album on the road

In early 1972 Pink Floyd were lacking direction. A year later they emerged from Abbey Road with an album that would overshadow everything they had done before

In November 1971, Pink Floyd returned from a five-week US tour and took stock before making plans for the following year. Their latest album, Meddle , had been released earlier that month. 

It was dominated by the side-long epic Echoes that they had laboriously pieced together over the course of recording sessions during the first half of the year. Starting with an accidental ‘ping’ as Rick Wright set up his keyboards in the Abbey Road studio, the piece had the less-than-optimistic working title Nothing , which had gradually progressed to Son Of Nothing and then Return Of The Son Of Nothing . 

Nonetheless, the band were satisfied with the final piece. And it had gone down well when they premiered it at the first Crystal Palace Garden Party, in May 71, an event they headlined over the Faces and Mountain. PA company WEM had supplied a 2,600-Watt sound system for the Hollywood Bowl-style stage, with new bass bins, parabolic reflectors and horn speakers that it was said had stunned and killed most of the fish in the lake that separated the stage from the audience. 

The fish had also been harassed by a 40ft inflatable octopus that rose up during the finale of A Saucerful Of Secrets , another lengthy instrumental, amid billowing clouds of coloured smoke. 

All of which served to distract from Pink Floyd’s perceived lack of personality. Which didn’t bother the faithful, who were perfectly happy to sit on the grass, roll a few and soak up the carefully constructed dynamics of Floyd’s soundscapes and whatever visual effects the band threw in for good measure. 

It bothered the rock press, though, who were in thrall to the gladiatorial excesses of bands like the Rolling Stones , Led Zeppelin , ELP , The Who , Jethro Tull and Yes as they barnstormed their way around America. In contrast, Pink Floyd’s studied anonymity, their growth by stealth out of the underground movement of the late 60s, their refusal to wave their willies around on or off stage, was almost an affront. 

But the press had to be a bit circumspect. A recent Melody Maker readers’ poll had put Floyd second behind ELP in a list of favourite British bands. It would be unwise for any hip rock journo to pour too much scorn on Floyd and risk alienating their readers. 

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Their previous album, Atom Heart Mother , featuring another side-long epic, had reached No.1, and even though the highest chart positions were currently being monopolised by the flamboyance of Zep’s Four Symbols , ELP’s Pictures At An Exhibition , Rod Stewart’s Every Picture Tells A Story , John Lennon ’s Imagine and T.Rex ’s Electric Warrior , Meddle was clearly going to sell a lot of copies.

So the music press had to suck it up and run quotes from drummer Nick Mason stating that: “One of the worst possible beliefs is that pop stars know more about life than anyone else. The thing to do is to move people, to really turn them on, to subject them to a fantastic experience and stretch their imagination.” 

He wasn’t even sure that there was definite course of progress in their music. 

“People see continuations and progressions, but it’s not apparent to us. We just get an idea for something and then we try and do it.” 

Pink Floyd’s big idea from their deliberations was to write a batch of songs ahead of a planned British tour in January 1972 so that they could be road tested and refined before they came to record them for the follow-up to Echoes. They were aware that while they were getting the big epic tracks right, the other side of the album was more hit-and-miss. They talked about developing a common theme that might link the songs together – something around the stresses and strains of modern life. 

“At the start we only had vague ideas about madness being a theme,” Rick Wright told one interviewer. “We rehearsed a lot, just putting down ideas. And then in the next rehearsal we used them. It flowed really well. There was a strong thing in it that made it easier to do.” 

“As a concept it was pretty loose,” Mason recalls. “It grew out of group discussions about the pressures of real life like travel or money. But then Roger [Waters] broadened it out into a meditation on the causes of insanity.” 

The band set up in a dingy warehouse in South Bermondsey in London owned by the Rolling Stones , before relocating to a friendlier rehearsal space in West Hampstead, and spent three weeks knocking the songs into shape. They reached back to previous albums to find ideas that had been overlooked or rejected for whatever reason. 

Breathe was taken from an unused idea for a soundtrack Waters had worked on with avant garde composer Ron Geesin for a film called The Body ; Brain Damage was left over from Meddle ; Us And Them was salvaged from recording sessions for the soundtrack to the film Zabriskie Point ; On The Run grew out of a jam by Wright and David Gilmour; The Great Gig In The Sky was a Wright piano solo to which they added some pre-recorded tapes of The Lord’s Prayer and of philosopher Malcolm Muggeridge in full rant. 

Money , on the other hand, was a brand new song. And according to Mason, “when Roger wrote it, it more or less came together on the first day."

Waters took charge of writing the lyrics for the songs, describing them as “more literal in concept, not as abstract as the things we’ve done before”. The band even came up with a collective title, Dark Side Of The Moon , before discovering that British blues-rock band Medicine Head had just released an album with that title. Instead they retitled the songs Eclipse , although ironically the song of that title did not emerge until later.

Three days before the tour was due to start, the band transferred to London’s Rainbow Theatre where they worked up a full show using the nine tons of sound and lighting equipment that they were now carrying around with them. Significantly, they had a new lighting director, Arthur Max, who they had lured over from the New York venue the Fillmore East. 

Most major bands were now using lights and a little dry ice to enhance their shows. But Pink Floyd were operating in a different league. Their lighting was more innovative, and they used special effects like magnesium flares and mirror-balls to highlight the more dramatic moments, all of which required careful co-ordination. 

The Eclipse suite of songs made up the first half of the show, while the second half featured Echoes, Set The Controls For The Heart Of The Sun and One Of These Days , with Careful With That Axe, Eugene for an encore. But it was apparent from the technical glitches on the first date of the tour, in Brighton, that they hadn’t given themselves enough time to get the show up to scratch. This included setting up a row of speakers at the back of the hall and creating a quadraphonic sound system that could literally send sounds spinning round the venue. 

It was taking the road crew six hours to set up all the equipment and another four hours to take it all down afterwards. A power cut after half an hour meant that the Manchester show a few days later had to be abandoned and rescheduled. It wasn’t as if Pink Floyd weren’t giving their road crew plenty of respect. Promoters booking the band were confronted by a six-page rider to the contract, starting with the specifications for the stage in order for it to carry the weight of the equipment. 

The venue had to be available from 8am on the day of the show and there had to be two separate power sources for the sound and the lights to prevent any interference that could send the keyboards out of tune. The promoter also had to supply 16 ‘humpers’ to help move the equipment in and out of the venue, and a threecourse meal would be served to the crew at an agreed time – “a sit-down meal with waitress service”. Coffee, tea and soft drinks should be available throughout the day. 

In contrast, the band’s own requirements were pretty modest. By the time the band returned to the Rainbow for a four-night set of shows at the end of the tour they felt emboldened to invite the press along. The Sunday Times reported: “It looks like hell. The set is dominated by three silver towers of light that hiccough eerie shades of red, green and blue across the stage. Smoke haze from flares that have erupted and died drifts everywhere. A harsh white light bleaches the faces of the musicians to bone. 

“If all this sounds like The Inferno, you would be partly right. The ambition of the Floyd’s artistic intention is now vast. Yet at the heart of all the multi-media intensity they have an uncanny feeling for the melancholy of our times. In their own terms, Floyd strikingly succeed. They are dramatists supreme.” 

The Financial Times weighed in with: “If anyone else attempted such a visual and aural assault it would be a disaster. The Floyd have the furthest frontiers of pop music to themselves.”

The new songs were performed roughly in the order that they would eventually appear on the new album. Breathe was largely complete. On The Run was driven along by a driving, bluesy riff from Gilmour, but while Wright supplied an approximation of the ‘whirring helicopter’ sound effect, aided and abetted by Mason’s rapid tom-tom beats, there were none of the more potent sounds that Wright would create on the EMS Synthi-A synthesiser once they got the song into the studio, this time enhanced by Mason’s heavily treated hi-hat. 

Time was played considerably slower than it would eventually be on the record, and without the distinctive sound of the Rototoms (metal-rimmed drums with no shell, tuned by rotation) that Mason found lying around the studio. And The Great Gig In The Sky was a meditative piano solo from Wright with some contrasting synthesiser sounds added in the middle along with the pre-recorded voices, but none of Clare Torry’s histrionic vocals that would transform the track when she was brought into the studio to wail and howl her legendary contribution near the end of the recording sessions. 

The suite of songs originally ended with Brain Damage and its allusion to Pink Floyd’s missing person: founder member Syd Barrett – ‘ The lunatic is on the grass ’ and the final line ‘ I’ll see you on the dark side of the Moon ’ which explains why they were so pissed off with Medicine Head for beating then to the album title. But Waters always felt that it needed another ending, and eventually came up with Eclipse which completed the whole thing.

In an interview around the time of the tour, Mason was asked why the band hadn’t toured Britain in more than a year, and he confessed that he felt embarrassed to be on stage still playing Set The Controls and Careful With That Axe, Eugene four years on. 

“The audience are more likely to trap us in a morass of old numbers,” he said. “They are divided between getting bored with old numbers and reliving their childhood or reliving their golden era of psychedelia or even just wanting to hear what it was all about. These are okay reasons for wanting to hear something, but they’re not very valid for us. At the moment we are writing some great new stuff, so I’m happy.” 

He was also convinced that performing the songs live before recording them had a lot going for it: “It’s a hell of a good way to develop a record. You get really familiar with it. You learn what you like about the pieces and what you don’t like. And it’s quite interesting for the audience to hear a piece developed. If people saw the show four times it would have been very different each time."

Rick Wright felt that playing new songs was sometimes preferable to trying to play some of their earlier songs live: “We have had difficulties,” he confessed, “for example with Alan’s Psychedelic Breakfast . We tried playing it on a British tour and it didn’t work at all so we had to give it up. None of us really liked doing it anyway. It’s rather pretentious and it doesn’t really do anything. We did a similar thing at the Roundhouse that was spontaneous and worked much better – frying bacon on stage and Roger throwing potatoes about. Maybe Alan’s Psychedelic Breakfast is just a weak number.” 

When the tour was finished, rather than taking a break the band had a prearranged project to record a soundtrack album for a film by director Barbet Schroeder called La Vallee , aka Obscured By Clouds , and spent two weeks recording at the ‘Honky Chateau’ outside Paris. They then loaded up their gear and flew to Japan where they played a series of shows, followed by one in Australia. After that it was back to America in April for a three-week tour up the EastCoast. 

The schedule included two nights at New York’s prestigious if somewhat staid Carnegie Hall, and a couple of critics took a similarly stodgy point of view, complaining that the music was being swamped by the extravagant stage effects and light show. Others went too far in the opposite direction, hailing the return of psychedelia and the spirit of 1967. Pink Floyd shrugged; they could have sold out a week at the Carnegie Hall.

By now the new songs were sounding settled, and they entered EMI’s Abbey Road Studios at the beginning of June 1972 to begin recording them. Their familiarity with the songs meant they got the basic tracks down within a month, but the overdubs and mixing would take longer as they inched their way slowly towards perfection. 

They took July and August off, not having had a proper break for a year and a half, and in September were back on another US tour, this time on the West Coast, which gave them the chance to impress the chic Hollywood Bowl audience with an array of mirror-ball tricks, a battery of searchlights scouring the night sky, flames rising from cauldrons at the back of the stage, and a flaming gong. 

Now that the recording process was under way there were fewer changes to the songs as they toured. Wright confirmed that “at the beginning the songs changed quite a lot, but once they’d been recorded they pretty much stayed the same”. The band were already starting to think about how to present The Dark Side Of The Moon (they had reappropriated the title after the Medicine Head album had disappeared without trace) once it became the main part of their show.

In October they were back in the studio. But they were back out on the road for some European shows the following month, and were then distracted by being invited to write some music for French choreographer Roland Petit’s ballet company. It was a typically fuzzy early-70s artistic endeavour, with the ballet being based on Marcel Proust’s novel Remembrance Of Thing Past . Then it was going to be based on Aladdin . Then A Thousand And One Nights . 

Ballet superstar Rudolf Nureyev was going to dance in it, and Roman Polanski was going to film it. But it fell apart after a boozy lunch when Polanski suggested making a pornographic ballet and Nureyev nervously pulled out. In the end Petit agreed to use some existing Pink Floyd music, and Pink Floyd agreed to perform it live in Paris in January, just as they were finishing the (inevitably fraught) mixing sessions for The Dark Side Of The Moon . After that they went back to the Rainbow Theatre to prepare for another US tour, this time with The Dark Side Of The Moon as the main attraction. 

The week that the album was released, Pink Floyd played New York’s illustrious Radio City Music Hall, and pulled out all the stops. One reviewer wrote: “The midnight show had a real buzz. The audience consisted of Summer Of Love survivors, new rock glitterati and Andy Warhol. The lights dimmed at 1.30am and clouds of pink steam came through the vents as Floyd emerged on a platform elevator through the floor at the rear of the stage playing Obscured By Clouds . A trio of lighting towers with a reflecting dish on the central one bathed the band in shades of red light as the elevated platform attained its full height before sliding forward towards the cheering audience – all the work of Arthur Max, the band’s lighting designer and self-proclaimed ‘fifth Floyd’. 

“ Set The Controls For The Heart Of The Sun was performed in a firestorm as yellow and orange smoke rose and strobe sparks showered off the drum kit. At the climax of the song Roger lunged into a giant gong that burst into flame. 

“After the intermission the house lights dimmed as a huge, floodlit balloon moon hovered overhead and the hall reverberated to the throb of a heartbeat. At the end of On The Run an aircraft was launched from the back of the hall, crashing on to the stage in an explosion of smoke. The hall was then transformed into a panorama of clocks and watches for Time. The band added sax player Dick Parry and a female duo of backing singers to recreate the album."

Pink Floyd had given themselves a tough act to follow, and they had a couple of shows lined up at London’s Earls Court in May. The omens were not good; a David Bowie concert there earlier that month had been roundly castigated for its poor sound and cold atmosphere. 

Floyd began with Set The Controls For The Heart Of The Sun and Careful With That Axe, Eugene . One review described dry ice “tumbling down like a waterfall” during Echoes . After the interval they played The Dark Side Of The Moon . “It started with the stage littered with landing beacons and searchlights looking for an aircraft which eventually appeared and flew slowly over the audience, crashing onto the stage in a fireball. Later on they fired a salvo of rockets from the stage which flew up wires and into the audience. 

"After ten minutes of wild applause at the end another half a dozen rockets signalled the return of the band who played One Of These Days as an encore. As the audience emptied into the night, searchlights positioned on the roof of Earls Court scanned the night sky.” 

In June ’73 they were back in the US, this time focusing on the Midwest, which was a new market for them. But it was not a particularly happy experience. They were used to being heard in relative quiet as the audience absorbed the spectacle, but here the audiences greeted them as conquering rock heroes and came to whoop and holler. As David Gilmour put it: “We were used to all these reverent fans who’d come and you could hear a pin drop. We’d try to get really quiet, particularly at the beginning of Echoes that has these tinkling notes, trying to create a beautiful atmosphere, and these kids would just be shouting for Money . And Roger didn’t like it one bit.” 

They took a break for the summer, returning for European shows in October and then playing a London show at the Rainbow Theatre in early November as a benefit for Robert Wyatt , the former Soft Machine drummer who’d been paralysed by a fall. They crammed as many of their special effects as they could into the theatre. The reviews noted the “huge balloon suspended over the audience with pictures of the moon projected on it. The concert ended with a ball of mirrors hanging over the stage reflecting thousands of needles of light into the audience and emitting coloured fog at suitable times.” 

And that was the last anyone saw or heard from Pink Floyd for nearly a year. Not that they were idle in the meantime. They’d begun the near-impossible task of following up The Dark Side Of The Moon with the madcap idea of recording an album using only non-musical instruments – wine bottles, rubber bands, sellotape, whatever.

When they came to their senses, they set about writing some new songs that they could hone into shape live, just like they had before. They lined up their first British tour for two and a half years, and bought a huge circular screen to set up behind the band and made some films to project on to it while they played The Dark Side Of The Moon . 

The six-week UK tour started in early November, with the first half of the shows consisting of three lengthy new songs: Shine On You Crazy Diamond, Raving And Drooling and You’ve Gotta Be Crazy . (The latter two would not make the next album, Wish You Were Here , but would surface on the one after, Animals , as Sheep and Dogs .) The entire The Dark Side Of The Moon took up the second half of the shows, with Echoes as a more than generous encore. 

Promoters and hall managers noted how well-behaved the fans were. It took them awhile to cotton on to the fact that a stoned audience is generally more peaceable than a drunken crowd. What most people expected would be the last full live performance of The Dark Side Of The Moon took place at the Knebworth festival in July 1975. Pink Floyd had already played two US tours that year, and their road crew had arrived back frazzled and with scarcely a week to repair and revive the equipment before the show. 

The band had arranged for two Spitfires to buzz the 100,000 or so spectators at the beginning of the show. But a communication breakdown resulted in the aircraft approaching the festival site early, as the road crew were still tinkering with the equipment and the ambitious outdoor quadraphonic sound system, and the band had to run on stage to be ready to play the opening chords of Shine On You Crazy Diamond as the noise from the Spitfires died away. 

They played the rest of the Wish You Were Here album, which would be released in a couple of months, before playing the whole of The Dark Side Of The Moon , complete with films of cash registers, tumbling coins and piled-up copies of the album, along with just about every special effect they had at their disposal. They encored with Echoes . 

But of course it wasn’t the last performance of Dark Side . Floyd revived the complete album for their 1994 tour, which produced the live album Pulse released the following year. Roger Waters played it on tour in 2006. And if you fancy blasting it out of your window one balmy evening this summer you’ll probably find half a dozen people outside nodding along. It doesn’t look like its ever going to go away. 

David Gilmour remains adamant that playing the songs live before recording them was a vital factor in Dark Side ’s success. “You couldn’t do that now, of course,” he says, “you’d be bootlegged out of existence. But when we went into the studio we all knew the material. The playing was very good, the music, the cover and the concept all came together. And it was the first time we’d had great lyrics. I thought it was a very complicated album when we made it, but when you listen to it now it’s really very simple."

Hugh Fielder has been writing about music for 47 years. Actually 58 if you include the essay he wrote about the Rolling Stones in exchange for taking time off school to see them at the Ipswich Gaumont in 1964. He was news editor of Sounds magazine from 1975 to 1992 and editor of Tower Records Top magazine from 1992 to 2001. Since then he has been freelance. He has interviewed the great, the good and the not so good and written books about some of them. His favourite possession is a piece of columnar basalt he brought back from Iceland.

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• A Momentary Lapse of Reason cover shoot interview with David Gilmour and Storm Thorgerson
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• A Momentary Lapse of Reason – Album Cover Photo Shoot
• The Division Bell heads album cover photography (Ely, Cambridgeshire, UK)
• The Endless River film By Ian Emes* Stereo PCM (48/16) 5.1 Dolby Digital (48/16), 5.1 dts (48/16) SIDE 1      Things Left Unsaid      It’s What We Do      Ebb and Flow SIDE 2      Sum      Skins      Unsung      Anisina SIDE 3      The Lost Art of Conversation      On Noodle Street      Night Light      Allons-y (1)      Autumn ’68      Allons-y (2)      Talkin’ Hawkin’ SIDE 4      Calling      Eyes to Pearls      Surfacing      Louder Than Words

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• Comfortably Numb (Live at Knebworth 1990) [2019 Mix] (previously unreleased)
• Sorrow (2019 Remix) (new A Momentary lapse of Reason 2019 mix)
• Learning To Fly (Live, Delicate Sound Of Thunder) [2019 Remix] (new 2019 mix)
• High Hopes (Early Version) [Unreleased 1994 Recording] (previously unreleased)
• On The Turning Away (2019 Remix) (new A Momentary lapse of Reason 2019 mix)
• Wish You Were Here (Live at Knebworth 1990) [2019 Mix] (previously unreleased)
• Run Like Hell (Live, Delicate Sound Of Thunder) [2019 Remix] (new 2019 mix)
• Pink Floyd - High Hopes (Early Version, Unreleased 1994 Recording)
• Pink Floyd - Wish You Were Here (Live At Knebworth 1990)

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Pink Floyd’s Nick Mason Shares New 2022 North American Tour Dates

Nick Mason performing with Saucerful of Secrets in 2018 (Photo: Jill Furmanovsky; used with permission)

Pink Floyd co-founder and drummer Nick Mason has announced the rescheduled dates of his North American tour with his band, Saucerful of Secrets. The dates, now scheduled for the fall, had been planned to begin in mid-January but were postponed citing “uncertainty surrounding the Covid pandemic.” The North American tour, with the band performing early Floyd classics, now begins on Sept. 22 following an extensive tour of the U.K. and Europe this spring and summer. (The U.K. shows had been delayed for a third time due to the uncertainty surrounding the Covid-19 pandemic.)

Eight dates have been added to the North American run, though the re-routing required that concerts in Cincinnati, St. Louis, Memphis, KC, Sacramento and Spokane needed to be canceled. See the full itinerary below. Tickets for the concerts are available here .

“We are really looking forward to returning to North America and we’re happy to be able to now announce these new dates for later this year,” said Nick Mason in the March 21 announcement. “We wanted to make sure to come back when it’s safe for our fans, the band, and our crew.”

Mason released a live album in autumn 2020, recorded in London. The 22-track collection, titled Nick Mason’s Saucerful of Secrets Live at the Roundhouse , is available in a variety of formats. The concerts on the recordings took place in May 2019.

Watch them perform “Fearless” from the album

Related: Our review of  Live at the Roundhouse

As Mason noted when he first formed the combo, “With the help of some like-minded friends, I have embarked on a voyage of discovery of the music that was the launch pad of Pink Floyd and my working life. It seems too early to retire, and I missed the interaction with other musicians.”

He is the only constant member of Pink Floyd, performing on all of their albums as well as all of their live shows.

Nick Mason’s Saucerful of Secrets are Mason, Spandau Ballet guitarist Gary Kemp, longtime Pink Floyd touring bassist Guy Pratt, guitarist Lee Harris and keyboardist Dom Beken.

The group played their first gigs at four intimate live shows at London’s Dingwalls and The Half Moon in Putney in May 2018. These were Mason’s first live musical outings since Pink Floyd’s Division Bell tour in 1994, and the show at Dingwalls was his first since Pink Floyd played at the 2005 Live 8 concert in London.

The band went on to sell-out theaters around the world including three nights at London’s Roundhouse, where Pink Floyd played some of their most revered early shows in the 1960’s.

In April 2019, Mason’s longtime bandmate, Roger Waters, joined him on stage.

Watch the trailer for the album, in which Mason explains the venue’s importance in Floyd’s history

The 2022 tour will see the band further expand their repertoire and will play songs from Pink Floyd’s early catalog up to the 1972 album Obscured by Clouds .

Nick Mason’s Saucerful of Secrets 2022 Tour (Tickets are available here  and here )

Ireland, U.K. Dates Apr 13 – Dublin – Convention Centre Apr 14 – Belfast – Ulster Hall Apr 16 – York – York Barbican Apr 18 – Liverpool – Liverpool Philharmonic Apr 19 – Oxford – Oxford New Theatre Apr 20 – Guildford – G Live Apr 22 – Birmingham – Symphony Hall Apr 23 – London – Royal Albert Hall Apr 24 – Ipswich – Ipswich Regent Apr 26 – Brighton – Brighton Dome Apr 27 – Cardiff – St. David’s Hall Apr 28 – Nottingham – Royal Concert Hall Apr 30 – Sheffield – City Hall May 01 – Leicester – De Montfort Hall May 03 – Newcastle – O2 City Hall May 04 – Edinburgh – Usher Hall May 06 – Manchester – O2 Apollo May 07 – Bath – Bath Forum May 08 – Plymouth – Plymouth Pavilions May 10 – Portsmouth – Guildhall May 11 – Croydon – Fairfield Halls

European Dates May 14 – Randers, Denmark – Vaerket May 16 – Copenhagen, Denmark – The Royal Theatre May 17 – Oslo, Norway – Sentrum Scene May 19 – Helsinki, Finland – House of Culture May 21 – Tallinn, Estonia – Alehela Hall May 23 – St. Petersburg, Russia – BKZ Ohtyabrsky May 25 – Moscow, Russia – Kremlin May 28 – Lodz, Poland – Klub Wytwornia May 30 – Budapest, Hungary – Budapest Park May 31 – Zagreb, Croatia- Hall 9 @ Zagreb Trade Fair Jun 01 – Belgrade, Serbia – Belexpo Centar Jun 06 – Istanbul, Turkey – VU Arena Jun 08 – Sofia, Bulgaria – National Palace of Culture Jun 09 – Bucharest, Romania – Arenele Romane Jun 11 – Vienna, Austria – Gasometer Jun 12 – Prague, Czech Republic – Forum Jun 13 – Berlin, Germany – Tempodrom Jun 15 – Luxembourg – Den Atelier Jun 16 – Eindhoven, Netherlands – Muziekgebouw Jun 17 – Brussels, Belgium – Cirque Royale Jun 19 – Nuremberg, Germany – Meistersinger Halle Jun 20 – Frankfurt, Germany – Jahrunderhalle Jun 22 – Paris, France – Grand Rex Jun 24 – Lucerne, Switzerland – KKL Jun 25 – Lucca, Italy – Lucca Summer Festival Jun 26 – Turin, Italy – Stupinigi Sonic Park Jun 28 – Geneva, Switzerland – Theatre de Leman Jun 30 – Stuttgart, Germany – Leiderhalle Beethoven-Saal Jul 01 – Hamburg, Germany – Laeiszhalle Jul 02 – Bad Honnef, Germany – Insel Grafenwerth Jul 04 – Munich, Germany – Circus Krone Jul 05 – Leipzig, Germany – Haus-Avensee Jul 06 – Munster, Germany – Halle Munsterland Jul 09 – Barcelona, Spain – Barts Jul 10 – Madrid, Spain – Vistalegre Arena Jul 12 – Porto, Portugal – Super Bock Arena Jul 13 – Lisbon, Portugal – Campo Pequeno

North American Dates Sep 22 – Boston, MA – Shubert Theatre Sep 23 – Philadelphia, PA – Merriam Theater Sep 25 – Providence, RI – Providence PAC Sep 26 – Port Chester, NY – Capitol Theatre Sep 27 – Washington, DC – Lincoln Theatre Sep 29 – Akron, OH – Akron Civic Theatre Sep 30 – Pittsburgh, PA – Benedum Center Oct 01 – Columbus, OH – The Palace* Oct 03 – Chicago, IL – Chicago Theatre Oct 04 – Minneapolis, MN – State Theatre* Oct 05 – Milwaukee, WI – Riverside Theater Oct 07 – Detroit, MI – Royal Oak Music Theatre* Oct 08 – Toronto, ON – Massey Hall Oct 09 – Buffalo, NY – Shea’s PAC* Oct 11 – Montreal, QC – Théâtre Saint-Denis 1 Oct 12 – New York, NY – Beacon Theatre Oct 14 – Indianapolis, IN – Clowes Hall* Oct 16 – Tulsa, OK – Tulsa Theatre* Oct 17 – Grand Prairie, TX – Texas Trust CI Theatre Oct 18 – Austin, TX – Bass Concert Hall* Oct 20 – Denver, CO – Paramount Theatre Oct 22 – Phoenix, AZ – Orpheum Theatre Oct 24 – San Diego, CA – Balboa Theatre Oct 25 – Los Angeles, CA – Orpheum Theatre Oct 26 – Santa Barbara, CA – Arlington Theatre* Oct 28 – Oakland, CA – Fox Theater Oct 31 – Seattle, WA – Moore Theatre Nov 01 – Vancouver, BC – The Orpheum

Related: Links for 100s of classic rock tours

Watch them perform “Set the Controls For the Heart of the Sun” from the album

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The Planetarium Project

On February 27 th 1973 , EMI Records held a press conference for the debut presentation of Pink Floyd’s new album The Dark Side Of The Moon at the London Planetarium. There was already a buzz in the music biz that the album was something very special and invites for London’s press and media were at a premium there being only so many seats in the auditorium. The group , who were renowned for shunning publicity, were expected to make an appearance given the excitement surrounding the release, which only added to the ir guest s’ anticipation. It was felt the Planetarium as a backdrop for the 42 minute playback was a suitable venue for Britain ’ s number one ‘ psychedelic space rock ’ band – a title they disliked and hoped the new record would put paid to that misnomer. Although the Planetarium dome could only show an array of stars, constellations and images of the cosmos whilst the music played, it probably wouldn’t help to dispel the myth , which didn’t go unnoticed by the members of Pink Floyd. The invitation had a photograph of the Pyramids of Giza in Cairo on the front, which many believed was the album cover, and led to further speculation as to what the enigmatic band were up to now . It was all a deceit.

As the audience faithfully arrived at 3 pm sharp they were met not by the band but by four life sized cardboard cut outs of Pink Floyd in defiance to EMI’s wishes for them to attend and in protest at the venue. One member did turn up – Richard Wright the keyboardist – who had not received the message of a boycott. He hastily beat a retreat when he realised he was alone. The event was an unmitigated success and the album went on to sell over 50 million copies to date.

Fifty years on in recognition of Pink Floyd’s iconic album, what more fitting a place to celebrate and replay the music set to visuals than a Planetarium. Much water has passed under the bridge since the premiere in 1973 and in retrospect they all agree the brilliance of the band’s non appearance at London’s Planetarium raised more by – lines in the press and accolades for the music than the distraction of their presence to promote the album. Forever anti-establishment and so typical of Pink Floyd’s recipe for success by not kowtowing to the norm and always bucking the system , t his attitude was to continue for the rest of their career.

Consequently, and with the help of modern technology, the idea of a revised show at 100 Planetariums around the world combined with stunning visuals – still the solar system and beyond – played out to 42 minutes of T he D ark S ide Of The M oon – has appealed to Pink Floyd. I am certain there will still be a ‘no-show ’ from the band , but there will be card board cut outs to remind the audience who Pink Floyd are , and just how significant a role the Planetarium played in the history of the record. It’s a 50 th anniversary for the Planetarium event too , only global this time , not just in London .

The show itself will be divided between the 10 tracks of the album, and in chronological order, each having a different theme ; some futuristically looking forward and some a retro acknowledgment to Pink Floyd’s visual history, all relating to a time and space experience , embracing up to the minute technology that only a Planetarium can offer. In the modern parlance it’s truly immersive ; an all encompassing surround sound and visual treat that will transcend reality and take you way beyond the realms of 2D experience.  

Aubrey Powell

PLANETARIUMS CONFIRMED SO FAR (MANY MORE TO COME):

AUSTRIA, YOUR DOME Tirol TICKETS

BELGIUM, BRUSSELS PLANETARIUM TICKETS

BELGIUM, GENK, Cosmodrome Kattevennen TICKETS

BELGIUM, Brugge, Cozmix TICKETS

CZECHIA, KRAVI HORA ​​ BRNO OBESRVATORY AND PLANETARIUM ​ TICKETS

CZECHIA,  Ostrava , Planetarium Ostrava TICKETS

FRANCE, PARIS Cité des sciences et de l’industrie ​ TICKETS

FRANCE, Planetarium Nantes TICKETS

FRANCE, Planetarium Epinal TICKETS

FRANCE, Montpelier, PlanetOceanWorld TICKETS

FRANCE, La Hague, Planétarium Ludiver TICKETS

GERMANY, HAMBURG ​​ PLANETARIUM ​​​​ TICKETS

GERMANY, BOCHUM ​​ ZEISS PLANETARIUM ​​​ TICKETS

GERMANY, Heilbronn, ​​ experimenta – Das Science Center   ​​​ TICKETS

GERMANY, MANNHEIM ​​ PLANETARIUM ​​​​ TICKETS

GERMANY, WOLFSBURG ​ PLANETARIUM ​​​​​ TICKETS

GERMANY, SOLINGEN ​​ GALILEUM ​​​​ TICKETS

GERMANY, MUNSTER, PLANETARIUM IM LWL-MUSEUM FÜR NATURKUNDE TICKETS

GERMANY, DREBACH, ZEISS Planetarium TICKETS

GERMANY, ERKRATH, Stellarium TICKETS

GERMANY, OSNABRUCK , Museum am Schölerberg TICKETS

GERMANY, BERLIN ​​ ZEISS GROSSPLANETARIUM ​​​ TICKETS

GERMANY,  ZEISS PLANETARIUM JENA ​​​ TICKETS

GERMANY, Planetarium der Hochschule Flensburg in Glücksburg ​​​ TICKETS

GERMANY, Nuernberg, Nicolaus Copernicus Planetarium TICKETS

GERMANY, Halle(Saale) Planetarium TICKETS

GERMANY, KIEL ​​​ , MEDIENDOM DER FACHHOCHSCHULE KIEL ​ TICKETS

GERMANY, Rodewisch ​​​ , School Observatory and Planetarium ​ TICKETS

ITALY, SAN VALENTINO IN CAMPO, PLANETARIUM SUDTIROL ALTO ADIGE TICKETS

NETHERLANDS, THE HAGUE, MUSEON-OMNIVERSUM TICKETS

ROMANIA, Brasov, Gradina Zoologica Brasov TICKETS

ROMANIA, Slănic, Supernova Planetarium TICKETS

SPAIN, Àger, Montsec Astronomy Park TICKETS

SWITZERLAND, LUZERN ​ PLANETARIUM IM VERKEHRSHAUS DER SCHWEIZ ​ TICKETS

UK, Edinburgh ​​​ Dynamic Earth TICKETS

UK, GLASGOW ​​​ SCIENCE CENTRE ​​ TICKETS

UK, NORTHERN IRELAND, ARMAGH PLANETARIUM TICKETS

UK, Newcastle upon Tyne, Life Science  CENTRE ​​ TICKETS

UK, Macclesfield, Jodrell Bank Observatory ​​ TICKETS TBA

UK, WINCHESTER, WINCHESTER SCIENCE CENTRE TICKETS

UK, LEICESTER, National Space Centre TICKETS

UK, BIRMINGHAM, Thinktank Birmingham Science Museum TICKETS

USA , CHICAGO ADLER PLANETARIUM TICKETS

USA , CHICAGO, Marist High School TICKETS

USA , DENVER, GATES PLANETARIUM TICKETS

USA, FAYETTEVILLE STATE UNIVERSITY PLANETARIUM TICKETS

USA, Sanford, FL, Emil Buehler Perpetual Trust Planetarium TICKETS

USA, Gainesville, FL, Emil Buehler Perpetual Trust Planetarium TICKETS

USA, KENTUCKY, HARDIN PLANETARIUM TICKETS

USA, MILWAUKEE, MILWAUKEE PUBLIC MUSEUM TICKETS

USA, MIAMI, Frost Museum of Science TICKETS

USA, ORLANDO, Seminole State College TICKETS TBA

USA, East Lansing, Abrams Planetarium TICKETS

USA, SACRAMENTO, Smud Musem of Science and Creativity (MOSAC) TICKETS

USA, LAKEWOOD (WA), Pierce College Science Dome TICKETS

USA, TWIN FALLS, FAULKNER PLANETARIUM TICKETS

USA, Wichita, Exploration Place TICKETS

USA, Las Vegas, College of Southern Nevada TICKETS

USA, Yonkers, Hudson River Museum TICKETS

USA, Cleveland, Shafran Planetarium TICKETS

USA, Glassboro, Edelman Planetarium TICKETS TBA

CANADA, EDMONTON, TELUS WORLD OF SCIENCE TICKETS

CANADA, Sorel-Tracy, Statera Experience TICKETS

CANADA, Montréal, QC, Rio Tinto Alcan Planetarium TICKETS

CANADA, Montréal, QC, Society for Arts and Technology TICKETS

CANADA, Winnipeg, Manitoba Museum TICKETS

AUSTRALIA, PERTH, SciTech TICKETS

AUSTRALIA, Brisbane, Sir Thomas Brisbane Planetarium TICKETS

AUSTRALIA, Launceston, Launceston Planetarium TICKETS

AUSTRALIA, Melbourne Planetarium (Scienceworks) TICKETS

AUSTRALIA, Wollongong, UOW Science Space TICKETS

NEW ZEALAND, DUNEDIN, Otago Museum TICKETS

NEW ZEALAND, Wellington, Space Place TICKETS

NEW ZEALAND, Wellington, Space Place at Carter Observatory TICKETS

NEW ZEALAND, AUCKLAND, Stardome Observatory TICKETS

JAPAN, Fukuoka City Science Museum TICKETS

JAPAN, Konica Minolta Planetaria Tokyo TICKETS

Contact your local Planetarium for any screening details