Pink Floyd

  Waters performed with the band on 2 July 2005 at the London Live 8 concert, playing to Pink Floyd’s biggest audience ever. On 3 February 2006, Gilmour gave an interview to the Italian newspaper La Repubblica which indicated the band would no longer tour or produce any new material, although various members still plan on producing solo or collaborative material. The possibility of an appearance similar to Live 8 has not been ruled out by either Mason or Gilmour.

1965–1968

  Pink Floyd evolved from an earlier band, formed in 1964, which was at various times called Sigma 6, The Megga Deaths, The Screaming Abdabs, and The Abdabs. When this band split up, some members — guitarists Bob Klose and Roger Waters, drummer Nick Mason, and wind instrument player Rick Wright — formed a new band called Tea Set, and were joined shortly thereafter by guitarist Syd Barrett, who became the band’s primary vocalist as well. When Tea Set found themselves on the same bill as another band with the same name, Barrett came up with an alternative name on the spur of the moment, choosing The Pink Floyd Sound (after two blues musicians, Pink Anderson and Floyd Council). For a time after this they oscillated between ‘Tea Set’ and ‘The Pink Floyd Sound’, with the latter name eventually winning out. The word Sound was dropped fairly quickly, but the definite article was still used occasionally for several years afterward, up to about the time of the More soundtrack. In the early days, the band covered rhythm and blues staples such as "Louie, Louie," but gained notoriety for psychedelic interpretations, with extended improvised sections and ‘spaced out’ solos.

  The heavily jazz-oriented Klose left the band to become a photographer shortly before Pink Floyd started recording, leaving an otherwise stable lineup with Barrett on lead guitar, Waters on bass guitar, Mason on drums and Wright switching to keyboards. Barrett started writing his own songs, influenced by American and British psychedelic rock with his own brand of whimsical humor Pink Floyd became a favorite in the underground movement, playing at such prominent venues as the UFO club, the Marquee Club and the Roundhouse. As their popularity increased, the band members formed Blackhill Enterprises in October 1966, a six-way business partnership with their managers, Peter Jenner and Andrew King, issuing the singles "Arnold Layne" in March 1967 and "See Emily Play" in June 1967. "Arnold Layne" reached number 20 in the UK Singles Chart, and "See Emily Play" reached number 6, granting the band its first TV appearance on Top of the Pops in July 1967.

  Released in August 1967, the band’s debut album, The Piper at the Gates of Dawn, is today considered to be a prime example of British psychedelic music, and was generally well-received by critics at the time. It is now viewed as one of the better debut albums by many critics. The album’s tracks, predominantly written by Barrett, showcase poetic lyrics and an eclectic mixture of music, from the avant-garde free-form piece "Interstellar Overdrive" to whimsical songs such as "The Scarecrow," inspired by the Fenlands, a rural region north of Cambridge (Barrett, Gilmour and Waters’s home town). Lyrics were entirely surreal and often referred to folklore, such as "The Gnome". The music reflected newer technologies in electronics through its prominent use of stereo panning and electric keyboards. The album was a hit in the UK where it peaked at #6, but did not get much attention in North America, reaching #131 in the U.S. During this period, the band toured with Jimi Hendrix, which helped to increase its popularity.

1968–1970

  Musically, this period was one of experimentation for the band. Gilmour, Waters and Wright each contributed material that had its own voice and sound, giving this material less consistency than the Barrett-dominated early years or the more polished, collaborative sound of later years. Waters mostly wrote low-key, jazzy melodies with dominant bass lines and complex, symbolic lyrics, Gilmour focused on guitar-driven blues jams, and Wright preferred melodic psychedelic keyboard-heavy numbers. Unlike Waters, Gilmour and Wright preferred tracks that had simple lyrics or that were purely instrumental. Some of the band’s most experimental music is from this period, such as "A Saucerful of Secrets," consisting largely of noises, feedback, percussions, oscillators and tape loops, "Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict", which is a series of sped-up voice tape-samples resembling rodents and birds chattering that reaches its climax in a Scottish dialect monologue (largely difficult to understand apart from its final words: "And the wind cried, ‘Mary.’ Thank you."), and "Careful with That Axe, Eugene" (performed under different names during this period), a very Waters-driven song with a bass and keyboard-heavy jam culminating in crashing drums and Waters’ primal screams.

  Whilst Barrett had written the bulk of the first album, only one Barrett composition, the Piper outtake "Jugband Blues," appeared on the second Floyd album. A Saucerful of Secrets was released in June 1968, reaching #9 in the UK and becoming the only Pink Floyd album not to chart in the U.S. Somewhat uneven due to Barrett’s departure, the album still contained much of his psychedelic sound combined with the more experimental music that would be fully showcased on Ummagumma. Hints of the epic, lengthy songs to come are in its centerpiece, but the album was poorly received by critics at the time, although critics today tend to be kinder to the album in the context of their body of work. Future Pink Floyd albums would expand upon the idea of long, sprawling compositions, offering more focused songwriting with each subsequent release.

  Pink Floyd were then recruited by director Barbet Schroeder to produce a soundtrack for his film, More, which premiered in May 1969. The music was released as a Floyd album in its own right, Music From the Film More, in July 1969; the album achieved another #9 finish in the UK, and peaked at #153 in the U.S. The band would use this and future soundtrack recording sessions to produce work that may not have fit into the idea of what would appear on a proper Pink Floyd LP; many of the tracks on More (as fans usually call it) were acoustic folk songs, although critics tend to find the collection of the film’s music patchy and uneven. Two of these songs, "Green Is the Colour" and "Cymbaline," became fixtures in the band’s live sets for a time and were a part of their live The Man/The Journey suite, as can be heard in the many available bootleg recordings from this period. "Cymbaline" was also the first Pink Floyd song to deal with Roger Waters’ cynical attitude toward the music industry explicitly. The rest of the album consisted of avant-garde incidental pieces from the score (some of which were also part of "The Man/The Journey") with a few heavier rock songs thrown in, such as "The Nile Song".

  The next record, the double album Ummagumma, was a mix of live recordings and unchecked studio experimentation by the band members, with each member recording half a side of a vinyl record as a solo project (Mason’s first wife makes an unaccredited contribution as a flautist). Though the album was realized as solo outings and a live set, it was originally intended as a purely avant-garde mixture of sounds from "found" instruments. The subsequent difficulties in recording and lack of group organization led to the shelving of the project. The title is Cambridge slang for sexual intercourse and reflects the attitude of the band at the time, as frustrations in the studio followed them throughout these sessions. The band was wildly experimental on the studio disc, which featured Waters’ pure folk "Grantchester Meadows," an atonal and jarring piano piece ("Sysyphus", meandering progressive rock textures ("The Narrow Way") and large percussion solos ("The Grand Vizier’s Garden Party"). Large portions of the studio disc were previously played in their live "The Man/The Journey" concept piece. The live disc featured acclaimed performances of some of their most popular psychedelic-era compositions and caused critics to receive the album more positively than the previous two albums. With fans, the album was Pink Floyd’s most popular release yet, hitting UK #5 and making the U.S. charts at #74.

  1970’s Atom Heart Mother, the band’s first recording with an orchestra, was a collaboration with avant-garde composer Ron Geesin. One side of the album consisted of the title piece, a 23-minute long rock-orchestral suite. The second side featured one song from each of the band’s then-current vocalists (Roger Waters’ folk-rock "If," David Gilmour’s bluesy "Fat Old Sun" and Rick Wright’s nostalgic "Summer ’68"). Another lengthy piece, "Alan’s Psychedelic Breakfast," was a sound collage of a man cooking and eating breakfast and his thoughts on the matter, linked with instrumentals. The use of incidental sound effects and voice samples would thereafter be an important part of the band’s sound. While Atom Heart Mother was considered a huge step back for the band at the time and is still considered one of its most inaccessible albums, it had the best chart performance for the band so far, reaching #1 in the UK and #55 in the U.S., although it has since been described by Gilmour as "a load of rubbish" and Waters as suitable for "throwing in the dustbin and never [being] listened to by anyone ever again."The album was another transitional piece for the group, hinting at future musical territory such as "Echoes" in its ambitious title track. The popularity of the album allowed Pink Floyd to embark on its first full U.S. tour. Before releasing its next original album, the band released a compilation album, Relics, which contained several early singles and B-sides, along with one original song (Waters’ jazzy "Biding My Time," part of "The Man/The Journey" recorded during the Ummagumma sessions). They also contributed to the soundtrack of Zabriskie Point, though many of their contributions were eventually discarded by director Michelangelo Antonioni.

1971–1975

  This is the period in which Pink Floyd shed their association with the "psychedelic" scene (and its association with Barrett) and became a distinctive band who are difficult to classify. The divergent styles of their primary songwriters, Gilmour, Waters, and Wright, merged into a unique sound. This era contains what many consider to be two of the band’s masterpiece albums, The Dark Side of the Moon and Wish You Were Here. The sound became polished and collaborative, with the philosophic lyrics and distinctive bass lines of Waters combining with the unique blues guitar style of Gilmour and Wright’s light keyboard melodies. Gilmour was the dominant vocalist throughout this period, and female choirs and Dick Parry’s saxophone contributions became a notable part of the band’s style. The sometimes atonal and harsh sound exhibited in the band’s earlier years gave way to a very smooth, mellow and soothing sound, and the band’s epic, lengthy compositions reached their zenith with "Echoes" This period was not only the beginning but the end of the truly collaborative era of the band; after 1975 Waters’ influence became more dominant musically as well as lyrically. Wright’s last credited composition and last lead vocal on a studio album until 1994’s The Division Bell were in this period, and Gilmour’s writing credits sharply declined in frequency until Waters left the band in 1985. The last ties with Barrett were severed in musical, as well as literal, fashion with Wish You Were Here, whose epic track "Shine On You Crazy Diamond" was written both as a tribute and elegy to their friend.

  The band’s sound was considerably more focused on Meddle (1971), with the 23-minute epic "Echoes" taking up the second side of the LP. "Echoes" is a smooth progressive rock song with extended guitar and keyboard solos and a long segue in the middle consisting largely of synthesized whalesong produced on guitar, along with samples of seagull cries, described by Waters as a "sonic poem". Meddle was considered by Nick Mason to be "the first real Pink Floyd album. It introduced the idea of a theme that can be returned to." The album had the sound and style of the succeeding breakthrough-era Pink Floyd albums but stripped away the orchestra that was prominent in Atom Heart Mother. Meddle also included the atmospheric "One of These Days", a concert favorite featuring Nick Mason’s menacing one-line vocal ("One of these days, I’m going to cut you into little pieces"), distorted and bluesy slide guitar, and a melody that at one point segues into a throbbing synthetic pulse quoting the theme tune of the cult classic science fiction television show Doctor Who. The mellow feeling of the next three albums is very present on "Fearless," and this track displays a country influence, as does the prominent pedal steel guitar on "A Pillow of Winds." The latter track is one of the Floyd’s very few acoustic love songs. Waters’ role as lead songwriter began to take form, with his jazzy "San Tropez" brought to the band practically completed. Meddle was greeted both by critics and fans enthusiastically, and Pink Floyd were rewarded with a #3 album chart peak in the UK; it only reached #70 in U.S. charts. According to Nick Mason, this was partly because Capitol Records had not provided the album with enough publicity support in the U.S. Today, Meddle remains one of their most well-regarded efforts.

  Obscured by Clouds was released in 1972 as the soundtrack to the film La Vallee, another art house film by Barbet Schroeder. This was the band’s first U.S. Top 50 album (where it hit #46), hitting at #6 in the UK While Mason described the album years later as "sensational, "it is less well-regarded by critics. The lyrics of "Free Four", the first Pink Floyd song to achieve significant airplay in the U.S., introduced Waters’ ruminations on his father’s death in World War II which would figure in subsequent albums. Two other songs on the album, "Wots…uh, the Deal" and "Childhood’s End," also hint at themes used in later albums, the former focusing on loneliness and desperation which would come to full fruit in the Roger Waters-led era, and the latter hinting much at the next album, fixated on life, death and the passage of time. "Childhood’s End," inspired by the Arthur C. Clarke book of the same name, was also Gilmour’s last lyrical contribution for 15 years. The album was, to an extent, stylistically different from the preceding Meddle, with the songs generally being shorter, often taking a somewhat pastoral approach compared to the atmospheric use of sound effects and keyboard on sections of Meddle, and sometimes even running into folk-rock, blues-rock and piano-driven soft rock.

  The release of Pink Floyd’s massively successful 1973 album, The Dark Side of the Moon, was a watershed moment in the band’s popularity. Pink Floyd had stopped issuing singles after 1968’s "Point Me at the Sky" and was never a hit-single-driven group, but The Dark Side of the Moon featured a U.S. Top 20 single ("Money"). The album became the band’s first #1 on U.S. charts, a huge improvement over its previous recordings. The critically-acclaimed album stayed on the Billboard Top 200 for an unprecedented 741 weeks (including 591 consecutive weeks from 1976 to 1988), establishing a world record and making it one of the top-selling albums of all time. It also remained 301 weeks on UK charts, despite never rising higher than #2 there, and is highly praised by critics.

  Saxophone forms an important part of the album’s sound, exposing the band’s jazz influences, and female backing vocals play a key role in helping to diversify the album’s texture. For example, straight rock songs such as "Money" and "Time" are placed on either side of mellow pedal steel guitar sounds (reminiscent of Meddle) in "Breathe (Reprise)" and female vocal-laden song "The Great Gig in the Sky" (with Clare Torry on lead vocal), while minimalist instrumental "On the Run" is performed almost entirely on a single synthesizer. Incidental sound effects and snippets of interviews feature alongside the music, many of them taped in the studio. The album’s lyrics and sound attempt to describe the different pressures that everyday life places upon human beings. This concept (conceived by Waters in a band meeting around Mason’s kitchen table) proved a powerful catalyst for the band and together they drew up a list of themes, several of which would be revisited by Waters on later albums, such as "Us and Them"’s musings on violence and the futility of war, and the themes of insanity and neurosis discussed in "Brain Damage." The album’s complicated and precise sound engineering by Alan Parsons set new standards for sound fidelity; this trait became a recognizable aspect of the band’s sound and played a part in the lasting chart success of the album, as audiophiles constantly replaced their worn-out copies.

  Seeking to capitalize on its newfound fame, the band also released a compilation album, A Nice Pair, which was a gatefold repackaging of The Piper at the Gates of Dawn and A Saucerful of Secrets. It was also during this period that director Adrian Maben released the first Pink Floyd concert film, Live at Pompeii. The original theatrical cut featured footage of the band performing in 1971 at an amphitheater in Pompeii with no audience present except the film crew and stage staff. Maben also recorded interviews and behind-the-scenes glimpses of the band during recording sessions for The Dark Side of the Moon at Abbey Road Studios; although the timeline of events indicate the recording sessions may have been staged after the recording, they provide a glimpse into the processes involved in producing the album. This footage was incorporated in later video releases of Live at Pompeii.

  Wish You Were Here, released in 1975, carries an abstract theme of absence: absence of any humanity within the music industry and, most poignantly, the absence of Syd Barrett. Well-known for its popular title track, the album includes the largely instrumental, nine-part song suite "Shine On You Crazy Diamond", a tribute to Barrett in which the lyrics deal explicitly with the aftermath of his breakdown. Many of the musical influences in the band’s past were brought together — atmospheric keyboards, blues guitar pieces, extended saxophone solos (by Dick Parry), jazz fusion workouts and aggressive slide guitar — in the suite’s different linked parts, culminating in a funeral dirge played with synthesised horn and ending with a musical quote from their early single "See Emily Play" as a final nod to Barrett’s early leadership of the band. The remaining tracks on the album, "Welcome to the Machine" and "Have a Cigar", harshly criticize the music industry; the latter is sung by British folk singer Roy Harper. It was the first Pink Floyd album to reach #1 on both the UK and the U.S. charts, and critics praise it just as enthusiastically as The Dark Side of the Moon.

  In a famous anecdote, a heavyset man, his head and eyebrows completely shaved, wandered into the studio while the band was mixing "Shine On You Crazy Diamond." The band could not recognize him for some time, when suddenly one of them realized it was Syd Barrett. He was greeted enthusiastically by the band but subsequently slipped away during the impromptu party for David Gilmour’s wedding (which was, coincidentally, also on that day). It was the last time any of the other band members saw him. Gilmour recently confirmed this story, although he could not recall which song they were working on when Barrett showed up. Barrett’s eyebrow-shaving tendencies would later be revisited in the movie Pink Floyd: The Wall.

1976–1985

  During this era, Waters asserted more and more control over Pink Floyd’s output. Wright’s influence became largely inconsequential, and he was fired from the band during the recording of The Wall. Much of the music from this period is considered secondary to the lyrics, which explore Waters’ feelings about his father’s death in World War II and his increasingly cynical attitude towards political figures such as Margaret Thatcher and Mary Whitehouse. Although still fine nuance, the music grew more guitar-based at the expense of keyboards and saxophone, both of which became (at best) part of the music’s background texture along with the obligatory sound effects. A full orchestra (even larger than the brass ensemble from Atom Heart Mother) plays a significant role on The Wall and especially The Final Cut.

  By January 1977, and the release of Animals (UK #2, U.S. #3), the band’s music came under increasing criticism from some quarters in the new punk rock sphere as being too flabby and pretentious, having lost its way from the simplicity of early rock and roll. Animals was, however, considerably more basic-sounding than the previous albums, due to either the influence of the burgeoning punk-rock movement or the fact that the album was recorded at Pink Floyd’s new (and somewhat incomplete) Britannia Row Studios. The album was also the first to not have a single songwriting credit for Rick Wright. Animals again contained lengthy songs tied to a theme, this time taken in part from George Orwell’s Animal Farm, which used "Pigs", "Dogs" and "Sheep" as metaphors for members of contemporary society. Despite the prominence of guitar, keyboards and synthesizers still play an important role on Animals, but the saxophone and female vocal work that defined much of the previous two albums’ sound is absent. The result is a more hard-rock effort overall, book ended by two parts of a quiet acoustic piece. Many critics did not respond well to the album, finding it "tedious" and "bleak," although some celebrated it for almost those very reasons. For the cover artwork, a giant inflatable pig was commissioned to float between the chimney towers of London’s Battersea Power Station. However, the wind made the pig balloon difficult to control, and in the end it was necessary to matte a photo of the pig balloon onto the album cover. The pig nevertheless became one of the enduring symbols of Pink Floyd, and inflatable pigs were a staple of the band’s live shows from then on.

  1979’s epic rock opera The Wall, conceived by Waters, dealt with the themes of loneliness and failed communication, which were expressed by the metaphor of a wall built between a rock artist and his audience. This album gave Pink Floyd renewed acclaim and another chart-topping single with "Another Brick in the Wall (Part 2)." The Wall also included the future concert staples "Comfortably Numb" and "Run Like Hell," with the former in particular becoming a cornerstone of album-oriented rock and classic-rock radio playlists as well as one of the group’s best-known songs. The album was co-produced by Bob Ezrin, a friend of Waters who shared songwriting credits on "The Trial" and from whom Waters later distanced himself after Ezrin "shot his mouth off to the press." Even more than during the Animals sessions, Waters was asserting his artistic influence and leadership over the band, which prompted increased conflicts with the other members. The music had become distinctly more hard-rock, although the large orchestrations on some tracks recalled an earlier period, and there are a few quieter songs interspersed throughout (such as "Goodbye Blue Sky" and "Nobody Home"). Wright’s influence was completely minimized, and he was fired from the band during recording, only returning on a fixed wage for the live shows in support of the album. Ironically, Wright was the only member of Pink Floyd to make any money from the Wall concerts, the rest covering the extensive cost overruns of their most spectacular concerts yet.

  A film entitled Pink Floyd: The Wall was released in 1982, incorporating almost all of the music from the album. The film, written by Waters and directed by Alan Parker, starred Boomtown Rats founder Bob Geldof and featured striking animation by noted British artist and cartoonist Gerald Scarfe. It grossed over US$ 14 million at the North American box office. A song which first appeared in the movie, "When the Tigers Broke Free," was released as a single on a limited basis. This song was finally made widely available on the compilation album Echoes: The Best of Pink Floyd and the re-release of The Final Cut. Also in the film is the song "What Shall We Do Now?", which was cut out of the original album due to the time constraints of vinyl records. The only songs from the album not used were "Hey You" and "The Show Must Go On."

  Their 1983 studio album, The Final Cut, was dedicated by Waters to his father, Eric Fletcher Waters. Even darker in tone than The Wall, this album re-examined many previous themes, while also addressing then-current events, including Waters’ anger at Britain’s participation in the Falklands War, the blame for which he laid squarely at the feet of political leaders ("The Fletcher Memorial Home". It concludes with a cynical and frightening glimpse at the possibility of nuclear war ("Two Suns in the Sunset"). Michael Kamen and Andy Bown contributed keyboard work in lieu of Richard Wright, whose departure had not been formally announced before the album’s release.

  After The Final Cut Capitol Records released the compilation Works, which made the 1970 Waters track "Embryo" available for the first time on a Pink Floyd album, although the track had been released on the 1970 VA compilation Picnic – A Breath of Fresh Air on the Harvest Records label. The band members then went their separate ways and spent time working on individual projects.

1987– 1995

  Waters announced in December of 1985 that he was departing Pink Floyd, describing the band as "a spent force creatively," but in 1986 Gilmour and Mason began recording a new Pink Floyd album. At the same time, Roger Waters was working on his second solo album, entitled Radio K.A.O.S. (1987). A bitter legal dispute ensued with Waters claiming that the name "Pink Floyd" should have been put to rest, but Gilmour and Mason upheld their conviction that they had the legal right to continue as "Pink Floyd." The suit was eventually settled out of court.

  After considering and rejecting many other titles, the new album was released as A Momentary Lapse of Reason (UK #3, U.S. #3).Without Waters, who had been the band’s dominant songwriter for over a decade and a half, the band sought the help of outside writers. As Pink Floyd had never done this before (except for the orchestral contributions of Geesin and Ezrin), this move received much criticism. Ezrin, who had renewed his friendship with Gilmour in 1983 (as Ezrin co-produced Gilmour’s About Face album), served as co-producer as well as being one of these writers. Richard Wright also returned, at first as a salaried employee during the final recording sessions, and then officially rejoining the band after the subsequent tour.

  Gilmour later admitted that Mason had hardly played on the album. Because of Mason and Wright’s limited contributions, some critics say that A Momentary Lapse of Reason should really be regarded as a Gilmour solo effort, in much the same way that The Final Cut might be regarded as a Waters album.

  A year later, the band released a double live album and a concert video taken from its 1988 Long Island shows, entitled Delicate Sound of Thunder, and later recorded some instrumentals for a classic-car racing film La Carrera Panamericana, set in Mexico and featuring Gilmour and Mason as participating drivers. During the race Gilmour and manager Steve O’Rourke (acting as his map-reader) crashed. O’Rourke suffered a broken leg, but Gilmour walked away with just some bruises. The instrumentals are notable for including the first Floyd material co-written by Wright since 1975, as well as the only Floyd material co-written by Mason since Dark Side of the Moon.

  1992 saw the box set release of Shine On. The 9-disc set included re-releases of the studio albums A Saucerful of Secrets, Meddle, The Dark Side of the Moon, Wish You Were Here, Animals, The Wall, and A Momentary Lapse of Reason. A bonus disc entitled The Pink Floyd Early Singles was also included. The set’s packaging featured a case allowing the albums to stand vertically together, with the side-by-side spines displaying an image of the Dark Side of the Moon cover. The circular text of each CD includes the almost illegible words "The Big Bong Theory". The year also saw the release of Roger Waters’ solo album Amused to Death.

  The band’s next recording was the 1994 release, The Division Bell, which was much more of a group effort than Momentary Lapse had been, with Wright now reinstated as a full and contributing band member and figuring prominently in the writing credits. The album was received more favorably by critics and fans alike than Lapse had been, but was still heavily criticized as tired and formulaic. It was the second Pink Floyd album to reach #1 on both the UK and U.S. charts.

1995-present

  Pink Floyd have not released any new studio material or toured since 1994’s The Division Bell. The band released a live album entitled P*U*L*S*E in 1995. It hit #1 in U.S. and featured songs recorded in London, Rome, Hanover and Modena on The Division Bell tour in 1994.A live recording of The Wall was released in 2000, compiled from the 1980–1981 London concerts, entitled Is There Anybody Out There? The Wall Live 1980–81. It hit #1 on Billboard Internet Album Sales chart, and reached #19 on U.S. charts. A newly-remastered two-disc set of the Floyd’s best-known tracks entitled Echoes was released in 2001. Gilmour, Mason, Waters and Wright all collaborated on the editing, sequencing, and song selection of the included tracks. Minor controversy was caused due to the songs segueing into one another non-chronologically, presenting the material out of the context of the original albums. Some of the tracks, such as "Echoes," "Shine On You Crazy Diamond," "Marooned," and "High Hopes" have had substantial sections removed from them. The album reached #2 on U.S. charts. In 2003, a 30th-Anniversary SACD reissue of Dark Side of the Moon, featuring high resolution surround sound, was released with new artwork on the front cover. Dark Side of the Moon was also re-released on vinyl as a 180-gram, virgin vinyl pressing in 2003. The vinyl re-release included all the original posters and stickers from the album’s initial release, plus a new 30th anniversary poster. In 2004 a remastered re-release of The Final Cut was released with the single "When the Tigers Broke Free" added. The 30th-Anniversary SACD reissue of Wish You Were Here is in the works, with no release date announced.