
Before Dark Side, Pink Floyd Had to Learn to Build a Song — Meddle Is Where They Figured It Out
A look at Pink Floyd's Meddle, the record where a distant echo points toward the band's next great work.


A look at Pink Floyd's Meddle, the record where a distant echo points toward the band's next great work.

A 1970 record of grand titled pieces and outside voices, its reach vast, its hold in doubt, three songs the true prize within.

A grim wake of a record: Neil Young's Tonight's the Night, ten songs of uneasy grief, opened and closed by the same tune.

A grim, deliberate turn from Neil Young: a record of ruin and quiet accusation, never once eased for the listener.

A swift, forceful record named for the band itself: many songs in mere minutes, no second wasted proving it belongs.

Songs done quick, thirty minutes total, nothing wasted, one band asking nothing of your mind but joy.

Ten songs, one voice, no distance left between singer and listener — a plain, sad, perfect record.

Brian Fallon quiets his voice for ten sacred songs, bare and cut in forty minutes — a solemn hour of old melodies held back.

A record of car radios and dead friends, twelve songs long, not one wasted upon the ear.

A soundtrack review of Pink Floyd's 1969 record More, a fevered work caught between gentle melody and dark, driving experiment.
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