Pink Floyd的艺人档案

》由

Roger W aters

创作而发表。从此，平克

·

弗洛依

德的内部矛盾越来越激化。随后的几年几位成员把主要精力投入到各自的专辑中去 。

86

年，

Roger Waters

自组临时组合

The Bleeding Heart Band

。同年

10

月，

Waters

上诉

伦敦最高法院。作为 平克

·

弗洛依德乐队的灵魂及大部分歌曲的创作者，要求法院解 除乐队

成员的关系，并制止

David Gilmour

等三人继续沿用乐队的名字。

随后的几年里，乐队获

准一直保留了原名，

Roger Waters

和

David Gilmour

< br>等人的矛盾始终加剧着。

而自从

87

年

Roger Waters

正式离队，平克

·

弗洛依德似乎也名存实亡了。

Pink Floyd is the premier space rock band. Since the mid-'60s, their music relentlessly

tinkered with electronics and all manner of special effects to push pop formats to their

outer limits. At the same time they wrestled with lyrical themes and concepts of such

massive scale that their music has taken on almost classical, operatic quality, in both

sound and words. Despite their astral image, the group was brought down to earth in the

1980s by decidedly mundane power struggles over leadership and, ultimately, ownership

of the band's very name. After that time, they were little more than a dinosaur act, capable

of filling stadiums and topping the charts, but offering little more than a spectacular

recreation of their most successful formulas. Their latter-day staleness cannot disguise

the fact that, for the first decade or so of their existence, they were one of the most

innovative groups around, in concert and (especially) in the studio.

While Pink Floyd are mostly known for their grandiose concept albums of the 1970s, they

started as a very different sort of psychedelic band. Soon after they first began playing

together in the mid-'60s, they fell firmly under the leadership of lead guitarist Syd Barrett,

the gifted genius who would write and sing most of their early material. The Cambridge

native shared the stage with Roger Waters (bass), Rick Wright (keyboards), and Nick

Mason (drums). The name Pink Floyd, seemingly so far-out, was actually derived from the

first names of two ancient bluesmen (Pink Anderson and Floyd Council). And at first, Pink

Floyd were much more conventional than the act into which they would evolve,

concentrating on the rock and R&B material that were so common to the repertoires of

mid-'60s British bands.

Pink Floyd quickly began to experiment, however, stretching out songs with wild

instrumental freak-out passages incorporating feedback; electronic screeches; and

unusual, eerie sounds created by loud amplification, reverb, and such tricks as sliding ball

bearings up and down guitar strings. In 1966, they began to pick up a following in the

London underground; on-stage, they began to incorporate light shows to add to the

psychedelic effect. Most importantly, Syd Barrett began to compose pop- psychedelic

gems that combined unusual psychedelic arrangements (particularly in the haunting guitar

and celestial organ licks) with catchy melodies and incisive lyrics that viewed the world

with a sense of poetic, childlike wonder.

The group landed a recording contract with EMI in early 1967 and made the Top 20 with a

brilliant debut single,

ite.

The follow-up, the kaleidoscopic

The Piper at the Gates of Dawn, also released in 1967, may have been the greatest

British psychedelic album other than Sgt. Pepper's. Dominated almost wholly by Barr

ett's

songs, the album was a charming fun house of driving, mysterious rockers (

odd character sketches (

and freakier pieces with lengthy instrumental passages (

Overdrive,

was not only like no other at the time; it was like no other that Pink Floyd would make,

colored as it was by a vision that was far more humorous, pop- friendly, and lighthearted

than those of their subsequent epics.

The reason Pink Floyd never made a similar album was that Piper was the only one to be

recorded under Barrett's leadership. Around mid-1967, the prodigy began showing

increasingly alarming signs of mental instability. Barrett would go catatonic on-stage,

playing music that had little to do with the material, or not playing at all. An American tour

had to be cut short when he was barely able to function at all, let alone play the pop star

game. Dependent upon Barrett for most of their vision and material, the rest of the group

was nevertheless finding him impossible to work with, live or in the studio.

Around the beginning of 1968, guitarist Dave Gilmour, a friend of the band who was also