On the turning away From the pale and downtrodden And the words they say Which we won’t understand “Don’t accept that what’s happening Is just a case of others’ suffering Or you’ll find that you’re joining in The turning away” It’s a sin that somehow Light is changing to shadow And casting it’s shroud Over all we have known Unaware how the ranks have grown Driven on by a heart of stone We could find that we’re all alone In the dream of the proud On the wings of the night As the daytime is stirring Where the speechless unite In a silent accord Using words you will find are strange And mesmerised as they light the flame Feel the new wind of change On the wings of the night No more turning away From the weak and the weary No more turning away From the coldness inside Just a world that we all must share It’s not enough just to stand and stare Is it only a dream that there’ll be No more turning away? en.wikipedia.org viennateng.com http…

This is the studio version to “Chapter 24″ which is the title of a song from Pink Floyd’s 1967 LP The Piper at the Gates of Dawn. It was written by Syd Barrett and its lyrics are inspired by text from chapter 24 of the ancient Chinese tome I Ching (The Book of Changes). This is the third song on Side two off the original British release….

One Of These Days Live – Pulse which was recorded during Division Bell Tour in 94….

Us and Them Live – Pulse which was recorded during Division Bell Tour in 94….

This is the studio version to Matilda Mother” which is a song by British psychedelic rock band Pink Floyd, and is featured on their debut album, The Piper at the Gates of Dawn (1967). Written by Syd Barrett, the song is sung mostly by Richard Wright with Barrett joining in on the last verse. The lyrics quote fragments of fairy tales as read from a book to the singer by his mother (“read(ing) the scribbly black”, referring to writing in a book as a child sees it), and in the chorus he implores her to “tell me more”. The song also laments the loss of childhood, indicating these narrations are being recalled years later, and notes that “the words had different meaning”, suggesting the child may have misinterpreted the stories at the time. The song begins with an unusual bass and organ interlude. Roger Waters repeatedly plays the B on the 16th fret of the G-string by varying the lower note from D to F sharp on the D string. Unlike many older beat and pop songs, the guitar rarely plays chords, and most unusually for Western music, Richard Wright provides an organ solo in the F# Phrygian dominant scale with a natural sixth instead of its typical flatted counterpart. The song ends with a simple E mixolydian-based waltz with wordless vocal harmonies of Richard Wright and Syd Barrett. Barrett originally wrote the song around verses from Hilaire Belloc’s Cautionary Tales, in which a series of naughty children, including Matilda, receive their (often gruesome) comeuppance. He was ……

So I thought it would be fun to remix Pink Floyds classic album Dark side of the moon. It was a lot of fun too. This songs a little taster of the results with the rest of the album coming soon. Check here for more details Dedicated to Richard White, Pink Floyds keyboardist who died on 15 RIP…

A video of my favourite album of all time, The Dark Side Of The Moon By Pink Floyd. The 9 songs go from worst to best in descending order, but I love every song on the abum….

This is the studio version to “Take Up Thy Stethoscope and Walk” which is a song by British psychedelic rock band Pink Floyd, and appears on their debut album, The Piper at the Gates of Dawn (1967). This was Roger Waters’ debut song-writing credit, continually building in speed until the end and featuring frantic guitar-work by Syd Barrett and manic keyboard parts by Richard Wright. The song’s title is a reference to John 5:8 – “Jesus saith unto him, Rise, take up thy bed, and walk.” Its morbid lyrics are quite unlike anything else on the album, the rest of which was penned by Barrett, but is characteristic of much of Waters’ work; the clinical motif would recur in compositions like “Free Four” and “Comfortably Numb.” Similarly, in “Sheep,” we find more Biblical quotations adapted by Waters to fit the song. In what is probably a coincidence, the song parallels the title track to Waters’s Amused to Death by beginning with the phrase “Doctor, Doctor.” Waters later expressed disatisfactory with the song. This is the sixth and final song on Side one on the original British release….

“See-Saw” is a song from Pink Floyd’s 1968 album A Saucerful of Secrets. It is the third Pink Floyd song written solely by Richard Wright, and the second on the album as such, and features Wright on vocals. Its atmosphere, tone and lyrical content (reminiscences of an idyllic childhood) resemble Wright’s other solo composition on the album, “Remember a Day”, although the overall tone of the song is more dark and depressing….

DAVID GILMOURE – Marooned – Pink Floyd…