Today, it's clear that Animals also represents the first stirrings of Waters' more political bent - one that would dominate his recordings past his association with the group he co-founded. Pink Floyd pushes back - and hard - against the looming, punk-driven idea that they had grown soft into middle age. Like on Final Cut, Waters dominates The Wall, but Gilmour's touch defines most of the centerpiece tracks: the tightly coiled disco-rock of "Another Brick in the Wall (Part 2)," the grinding hard rock of "Young Lust," the sublime narcotic swirl of "Comfortably Numb." Technically Roger Waters stuck around for one more Pink Floyd LP, The Final Cut - but that album, despite its pristine production and seamlessly executed concept, lacks the full-band synergy that still lingered on its predecessor. Crafting a concept album of that length and stature takes a lot of guts and interpersonal communication among band members, and it seems The Wall was the last time Pink Floyd was able to achieve that level of mutual artistic understanding. Barrett would have been proud. More importantly, it's the last album by the key lineup where the music isn't weighed down by a heavy-handed concept.Īllison Rapp: I really think The Wall was the last time everyone was on the same page, or at least awful close to it - physically as a quartet, but also emotionally. Michael Gallucci: The Wall is the last album where they sound like a band, rather than a solo vehicle for Roger Waters ( The Final Cut) or David Gilmour and some session guys (the post-Waters LPs). Read on below as five UCR contributors debate the band's last great, last good and first bad album.ġ) What was the last great Pink Floyd album? That's what makes their catalog a perfect choice for our latest roundtable.
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