Worst Songs by Pink Floyd from Every Album

Pink Floyd is one of rock music’s most creative and influential bands, pushing the limits of sound and idea with each album. Even legends may make mistakes from time to time. As we progress through the band’s amazing catalog, it becomes evident that not every Pink Floyd song possesses the grandeur that one would anticipate from such masters. Here, we pull back the psychedelic curtain to uncover the band’s lesser-known songs—those oddball pieces that don’t quite fit with their legendary reputation.

“Pow R. Toc H.” — The Piper at the Gates of Dawn (1967)

In the vast and imaginative world of Pink Floyd’s earliest work, “Pow R. Toc H.” stands out as an unconventional instrumental track composed by Syd Barrett. The piece prominently features odd vocal percussive sounds, culminating in a display that seems more exploratory than masterful. Richard Wright’s piano delivers a rollercoaster of notes, creating a soundscape reminiscent of the band’s experimental roots. However, the track ultimately comes across as a studio jam session that, while interesting, doesn’t match the enduring impact of their more coherent songs.

“Corporal Clegg” — A Saucerful of Secrets (1968)

Caught within the tumultuous era of Barrett’s departure, “Corporal Clegg” sees Roger Waters taking a narrative dip into wartime themes, foreshadowing his future fascinations. Nick Mason steps up for a rare vocal lead, with David Gilmour’s kazoo contributions adding an eccentric layer to the number. This peculiar concoction of sounds somehow merges to portray a tale of a troubled veteran, yet with an odd spritz of humor that muddles its overall tone.

“A Spanish Piece” — More (1969)

David Gilmour’s initial solo songwriting contribution to Pink Floyd’s catalog is a far cry from the depth and complexity associated with the band’s later work. “A Spanish Piece,” while an innocuous experiment in style, fails to leave any lasting impression. The track inches toward cultural caricature rather than the nuance and innovation expected from Pink Floyd.

“Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict” — Ummagumma (1969)

This track is as eccentric as its title suggests, with the song resembling an audio experiment more than a conventional piece of music. Roger Waters employs his talents for vocal effects to produce a fantastical soundscape, but the result leans closer to novelty than masterpiece. The track may have its merits in terms of creativity; however, it seldom makes it onto listeners’ repeat playlists.

“Alan’s Psychedelic Breakfast” — Atom Heart Mother (1970)

Spanning an ambitious 13 minutes, this track is a slice of life turned avant-garde art. The sounds of clinking cutlery and sizzling bacon interweave with casual musical inflections as if to transform the mundane into the profound. Listeners are given a voyeuristic audio glimpse into the breakfast habits of roadie Alan Styles, but whether this transforms into an enjoyable musical experience is another matter entirely.

“Seamus” — Meddle (1971)

Here we have Pink Floyd at their most lighthearted—or perhaps lackadaisical. “Seamus” turns a bluesy jam session into something curiously novel, with Steve Marriott’s dog contributing mournful howls to the mix. This peculiar addition to the Floyd archive often finds itself cited as one of the band’s less serious, and less successful, musical outings.

“Absolutely Curtains” — Obscured by Clouds (1972)

The closing track of this album transports the listener to the exotic locale of New Guinea through its transition from an instrumental piece into the chanting of the Mapuga tribe. While the cultural infusion is a curious end to the album, the initially restless musical arrangement doesn’t quite capture the imagination, leaving “Absolutely Curtains” as a footnote rather than a highlight.

“Speak to Me” — The Dark Side of the Moon (1973)

Often considered less a song and more a thematic preamble, “Speak to Me” provides a collage of sounds that give listeners a preview of the iconic album’s motifs. The heartbeat pulsing through the track is a recurring theme that connects the beginning and end of the record, creating a deep sense of continuity. Nonetheless, it lacks the musical substance and narrative that defines the rest of the album’s tracks.

“Welcome to the Machine” — Wish You Were Here (1975)

Wish You Were Here doesn’t have “bad” songs in a traditional sense, but “Welcome to the Machine” stands out due to its heavy-handed approach. The debate endures as to whether the song thematically dissects the music industry or a totalitarian dystopia. Gilmour’s acoustic guitar interplays with icy synths, painting a stark sound portrait of mechanization swallowing humanity.

“Pigs on the Wing (Part 1)” — Animals (1977)

The acoustic simplicity of “Pigs on the Wing (Part 1)” serves as the threshold to the darker themes explored in the rest of the album. The song views love not through rose-colored glasses, but as a scarce solace in a bleak existence. Its straightforward nature is at odds with the complex, layered soundscapes that Floyd is known for.

“Don’t Leave Me Now” — The Wall (1979)

“The Wall” is an album of extreme emotional breadth, but “Don’t Leave Me Now” skews toward the darker, more disturbing side of its spectrum. It weaves a narrative of broken relationships with a tension that verges on discomfort. Waters’ performance, though artistically valid in context, is grating to many listeners, pushing the song into the category of difficult listens within the band’s oeuvre.

“Two Suns in the Sunset” — The Final Cut (1983)

The chilling prospect of a nuclear wasteland closes Waters’ era with Pink Floyd in “Two Suns in the Sunset.” This stern warning against the horrors of war aims to provoke emotion through grim imagery and haunting sound effects. Despite these attempts, the musical delivery and an incongruous saxophone solo fail to stir the intended response from its audience.

“A New Machine (Part 1)” — A Momentary Lapse of Reason (1987)

Following Waters’ departure, Gilmour strives to maintain the Pink Floyd legacy but faces criticism with a track like “A New Machine (Part 1).” The song is a point of contention among fans, who debate whether it tries too hard to echo previous Floyd themes or simply suffers from insubstantial lyrics and lackluster melody. Regardless, the track fails to resonate in the band’s catalog as powerfully as others.

“A Great Day for Freedom” — The Division Bell (1994)

In the post-Waters era, Gilmour takes a somber look at a Europe emerging from the shadows of the Soviet Union. Yet, the political commentary is served with dreary sonic hues that render “A Great Day for Freedom” an auditory slog. Gilmour’s esteemed guitar work barely lifts the mood in a song that doesn’t quite hit home with listeners.

“Side 3: The Lost Art of Conversation | On Noodle Street | Night Light | Allons-y (1) | Autumn ’68 | Allons-y (2) | Talkin’ Hawkin’” — The Endless River (2014)

The third side of “The Endless River” feels like a patchwork of concepts rather than a coherent endeavor. “Autumn ’68” provides a fleeting glimpse into the group’s earlier days, standing out amidst a lineup that strikes the ear as vaguely familiar yet ultimately unsatisfying. It’s this incongruent collection that rests as the least compelling aspect of the album, reflecting a band still searching for a defining direction within the echo of their past greatness.