Pink Floyd —– Creative Analysis


psychedelic rock

is a style of rock music that is inspired or influenced by psychedelic culture and attempts to replicate and enhance the mind-altering experiences of psychedelic drugs. It often uses new recording techniques and effects and draws on non-Western sources such as the ragas and drones of Indian music. here is the link to where i got the above information.


Pink Floyd

Band members past and present

David Gilmour Nick Mason

Past members

Syd Barrett Roger Waters Richard Wright

Other members

Bob Klose

David Gilmour became the fifth member of the band in December 1967

Body of work 


have been active since is 1963 _1994 then 2013_2014

Unique aspects

They were known as being a   progressive rock ,art rock and blues rock.

Progressive rock, also known as prog rock or prog, is a rock music subgenre[2] that originated in the United Kingdom with further developments in Germany, Italy, and France, throughout the mid-to-late 1960s and 1970s. It developed from psychedelic rock, and originated, similarly to art rock, as an attempt to give greater artistic weight and credibility to rock music.[3] Bands abandoned the short pop single in favor of instrumentation and compositional techniques more frequently associated with jazz or classical music in an effort to give rock music the same level of musical sophistication and critical respect.[4]


here is a list of albums/songs that pink Floyd done and the year they were released.

Studio albums

Books:Pink Floyd  here is a clip of Pink Floyds a saucerful of secrets. here is the link to the full movie zabriski point.

here is the link to the meddle tour on you tube below.

Much stranger than the final version appearing on Pink Floyd Meddle album back in 1971.


Pink Floyd drummer Nick Mason has revealed the legendary band accidentally discovered a lot of innovative sound techniques they were given credit for.

The DARK SIDE OF THE MOON rocker does take credit for a number of studio gimmicks the band uncovered, but admits not all were intentional.

Mason says, “There were some very good musical sounds that we discovered by accident.

“I’m thinking about things like the Asdic ping and Dave accidentally plugging his wah-wah pedal the wrong way round.

“And we did the thing where you hit a cymbal and then dip it in water – though I can’t remember what it sounded like now.

“People assume we had a Moog years before we did, but quite a lot of sounds were constructed using very primitive equipment and simple devices.”

above is the link to the above information.


During an entrepreneurship class earlier last year, we were presented with a thought exercise: would you rather be U2 or Pink Floyd? If you were shooting from the hip you would likely answer something to the effect of, “X because I like X’s music better.” But if you looked at this exercise through the lens that considers which band is more innovative/entrepreneurial, then the answer may surprisingly lie behind the reasons why bands break up.
The premise is basically this: people behave differently when they are rewarded equally than when they are not. Sounds simple and obvious enough, but it’s surprising how rarely it’s followed. Most bands that break up attribute their dissolution to “artistic differences” which sounds kind of like “the band members had differences in opinion on the direction for the band” but in fact really means “there was a dispute on the sharing of the spoils”. In other words, the revenues of the band were unsatisfactorily divided among the band members, perhaps based on the weighting of writing/producing/stage presence/performing, etc.

Pink Floyd, like many other disbanded musical troupes, had been dividing their revenues unequally among themselves, for whatever reasons that they had decided to at first. Over time, the band members who were getting paid less realized they deserved a bigger cut, hence sending the whole band into heated disputes and eventually into disbandment. U2, in contrast, had clearly delineated and equal divisions of revenues among the band members since their formation and have (coincidentally?) endured. They have relentlessly kept up with changing trends and musical tastes, experimented with genres and showmanship (they were they first band to broadcast a concert live on YouTube) and engineered a hugely successful world tour in 2010-2011.

Impact or influence of technology

above is the link to some of the people/artists that Pink Floyd influenced below.

The music of Pink Floyd influenced numerous artists: David Bowie called Barrett a significant inspiration, and The Edge from U2 bought his first delay pedal after hearing the opening guitar chords to “Dogs” from Animals.[326] Other bands who cite Pink Floyd as an influence include: Queen, Tool, Radiohead, Kraftwerk,Marillion, Queensrÿche, Nine Inch Nails, the Orb and the Smashing Pumpkins.[327]

Pink Floyd were also admirers of the Monty Python comedy group. The band, among other British bands, helped to finance the making of the film Monty Python and the Holy Grail.[328]

Psychedelic music and the culture of the 1960s and the music of the period had an enormous influence and impact on the way we express ourselves in the modern era. Music has always been both a barometer measuring and responding to society’s problems and possibilities, and the twentieth century was a period that witnessed the emergence of a diverse range of musical styles and genres, each seemingly in reaction to the dominant sociopolitical concerns of the day. Even when the lyrics of songs were not overtly directed towards the description of social conditions and a call to improve them, as was so characteristic of the folk music of the 1960s and 1970s, music was, and always has been, shaped by the conditions of the larger panorama of the socio-cultural moment. The diversity of styles and musical genres that emerged, particularly in the latter half of the century during the turbulent period of the 1960s should hardly come as a surprise, given the variety and intensity of certain social phenomena. There were a number of intense influences that combined to produce this music including increased government control over people’s lives coupled with the fact—perhaps paradoxical—that many people’s lives were getting worse, not better, compelled musicians to respond and integrate matters such as drugs, and they did so in creatively unprecedented ways. This music was thus a response to the dominant concerns of the day and also a reaction that would shape the way people thought and responded to their society. These are only a few reasons why the music of the 1960s is often associated with rebellion and a rebellious period, particularly among the youth population.

The psychedelic musicians were indisputably affected by the same kinds of concerns that affected their folk music counterparts, but Bindas suggests that musicians and society as a whole had reached its threshold for message music, and wanted to return to the notion of a music that could transport one away from his or her problems rather than situate him or her directly in those problems and require the listener to examine them. Bindas notes several ways in which psychedelic music responded to the sociohistorical moment it occupied. First, he points out, the psychedelic musicians were still infusing their songs with a political flavor—“if anything,” he writes, “[political] fervor had [actually] increased”—but the key distinction of psychedelic music was that “the lyrics were no longer as important, and they could seldom be heard over the music” (Bindas 6). The music itself, meanwhile, was characterized by its instrumental experimentation, distinguished from other forms by “long improvisatory passages and electronically produced sound effects resonated with stroboscopic lighting to bring about a freedom of feeling” (Whiteley 33).



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