The opening (mostly) instrumental "One Of These Days," with its booming, echoing bass guitar throb and menacing guitar/keyboard wails that explode into an orgy of stereophonic glee after the monstrous mid-song intonation ("One of these days I'm going to cut you into little pieces.") was an eye-opener, unlike anything I'd ever heard, jarring and cathartic. These didn't seem to have penetrated the suburban middle school enclave, and didn't get any airtime on FM radio, so I headed to the mall and took a leap of faith on a cassette copy of Meddle, which sounded interesting in the reviews I'd read at the library.Īnd it immediately became one of my favorite albums, something I play far more frequently than most of their other work (certainly more than The Wall, which I maybe pull out every year or so out of a sense of obligation). Later I stumbled over the first couple albums, from the Syd Barrett days, which were all but an entirely different band but still pretty damn cool to a kid trying to wrap his ears around the ways rock music could push (and explode) the boundaries of the pop music he was otherwise hearing on the radio.īut when it came to exploring the rest of their work, I had a much harder time finding any first-hand intelligence on the series of albums that came between the Barrett days and the 1973 Dark Side breakthrough. That of course led me to Dark Side of the Moon, which also perfectly catered to a pre-adolescent kid's sense of the profound, and Wish You Were Here. The Wall came out in the middle of eighth grade, and it was perfect fodder for a somewhat introspective, awkward kid needing an escape.
Pink Floyd, alongside the Who, were a huge factor in my leap down the classic rock rabbit hole back in junior high.
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