Hant

The comeback album. The album without Waters. Gilmour bets everything after winning the group's brand in court. He wins with the numbers, but the album, except for 3 or 4 good moments, is forgettable. There is still an attempt to surpass his burdensome past with something different. But only "On The Turning Away," "Terminal Frost," and "Sorrow" hit the mark. In partial defense, Roger Waters didn't do any better with Radio Kaos, which was released almost simultaneously.

It's the farewell album to a now lost Syd Barrett. It's a record that is at times desperate, in the attempt not to be overwhelmed by this sudden human and creative departure. And as it happens in desperate moments, the best comes out. The closure of the band's psychedelic era. The beginning of the band's story. Every track shines with its own light, with "Jugband Blues" being Barrett's final spark of creativity for the group.

The Pink Floyd begin to take measure of the glory that will come. They still lack a certain maturity, but the album flows enjoyably, tackling themes and musical ideas that from "Echoes" onward will gain the right dimension. A minor masterpiece to be discovered.

The Wall is not the best album by Pink Floyd, let's be clear. But it is an excellent concept, where the sum of the tracks is far greater than the quality of the individual pieces (excluding a few happy exceptions). The Pink Floyd are now Waters-centric, with all the pros and cons of the context. Nonetheless, it’s a must-have, and especially a must-see: an incredible live show, both the original and the one that Waters is currently touring around the world, perhaps even more beautiful, and which gives new meanings to the

Probably one of the best solo albums by Roger Waters, with the help of Gilmour on a few tracks.
Ah, is it a Pink Floyd album? And Wright and Mason hardly even play? And Gilmour does three solos, four phrases, five arpeggios and sings on one track?
Uhm... well, it's one of the best solo albums by Roger Waters. Period.

It is the prelude to the mature phase of the group. "Echoes" is one of the absolute masterpieces of the band. "One of These Days" and "A Pillow of Wind" are gems, while the rest is pleasant filler.

The Pink Floyd are in search of new forms of expression, new paths to explore. An album (the soundtrack of a non-essential film) that showcases in embryo musical ideas and concepts that will be developed in subsequent albums. A must-have to understand their evolution.

The album that launched the legend of Pink Floyd. And of Syd Barrett. An incredible album, light-years ahead of what was the international psychedelic production at the time. The Pink Floyd went on to be more, but this album remains timeless.

The live album is seminal. The studio one is interesting, but it demonstrates how the four members perform better when joining forces rather than working on individual ideas in isolation. Special mention goes to "The Grand Vizier's Garden Party," an excellent experimental work by Nick Mason.

The album that has redefined the sound of music. Perfect in every detail (perhaps even too much). Among the 10 must-have records.

In my opinion, the masterpiece of Pink Floyd. Less perfect than "The Dark Side of the Moon," but emotionally intense and engaging.

A controversial album, in my opinion underrated. A great performance by the band, an interesting concept (and still relevant), tracks with a much more aggressive tone than their previous works. Worth rediscovering. Highly recommended.

An album that experiences fluctuating moments. Not everything works perfectly all the time, but the title track suite is majestic. The songs on the B side of the vinyl are good but not essential, except for the experimental Alan's Psychedelic Breakfast. An album that somehow closes the chapter on the past while projecting itself towards the band's mature phase.

An album that redeems the weak "A Momentary Lapse of Reason." More compact, composition-wise. More refined in terms of lyrics. It only suffers from a bit too much nostalgia. However, it also contains the most beautiful track the band has written (having returned to a more collective working mode) in many (too many) years, and in general, it's very enjoyable, with a few moments where the creative vein seems to have returned to what it once was.