5 of the Best Album-Closers by Pink Floyd

During their most commercially successful era, Pink Floyd developed a reputation for delivering album-length artistic statements full of songs (including album-closers) that tied into overarching themes. As such, they needed to choose their final songs wisely so that they could sum up all that came before on those records.

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It’s interesting to check out the diversity of the five songs that we’ve chosen as the best Pink Floyd album-closers. They range from stunning epics to short, quiet ballads, but they all get the job done.

“Outside The Wall” from ‘The Wall’ (1979)

The Wall is full of bombastic music moments. One of the main criticisms of the album is that it can be overbearing. But Roger Waters, the lyricist behind this epic, did something wise with the closing track. He reduced it to a very human level, just a sad melody accompanied by clarinet and concertina. It no longer addresses the plight of the protagonist Pink so much as it reaches out to the entire audience. Waters shows compassion for all those who are trapped by their own figurative wall. And that empathetic streak helps to soften some of the blows delivered throughout the album.

“Bike” from ‘The Piper At The Gates Of Dawn’ (1967)

When Roger Waters took over as the chief lyricist of Pink Floyd, he spent much of that time trying to write from the perspective of characters who were slightly off-kilter and idiosyncratic. Syd Barrett was able to summon those qualities in a much more natural fashion as a writer, to the point that he often gave listeners a somewhat uncomfortably intimate glimpse into his inner workings.

There’s something charming about the simplicity and innocence of a song like “Bike”. It always keeps you somewhat at arm’s length with the unusual chord pattern and unhinged sound effects.

“Echoes” from ‘Meddle’ (1971)

Syd Barrett was fired from Pink Floyd in late 1967. He, sadly, retreated from actively participating in the band due to his mental health and drug issues. From there, the remaining four members struggled for a few years to find its new identity. “Echoes”, which comprises the entire second side of the 1971 Meddle album, is the moment they figured it all out.

You could call it a kind of test run for what was to come on Dark Side Of The Moon a few years later. But, that would shortchange it for the impact it makes on its own. There’s limitless beauty and weirdness to be found. And it’s one of the first times in the band’s history that David Gilmour’s musical brilliance truly comes to the fore.

“Eclipse” from ‘Dark Side Of The Moon’ (1973)

Although we’re sticking with the letter of the law in mentioning just “Eclipse” as the final song of Floyd’s brilliant Dark Side Of The Moon LP, the song is more like the second part of a one-two punch that begins with “Brain Damage”. That’s the part where the narrator really starts to notice the madness subtly enveloping him. Waters draws parallels to the Barrett story: “And if the band you’re in starts playing different tunes.”

In “Eclipse”, the takeover is complete. It’s just a matter of coming to terms with it, all as Nick Mason’s crashing drums make the transformation a cathartic one.

“Shine On You Crazy Diamond (Parts VI – IX)” from ‘Wish You Were Here’ (1975)

Pink Floyd found themselves artistically blocked after the success of Dark Side Of The Moon. The only way they could move forward was by going back and looking at their history with Syd Barrett. “Shine On You Crazy Diamond” was such a vast exploration of Barrett’s dynamism and demons that they split it into two giant slabs, one at the beginning of the album and one at the end.

That second section is distinguished not only by some of Roger Waters’ most moving lyrics: “Come on, you miner for truth and delusion, and shine.” But, it’s also distinguished by the brilliant keyboard work of Rick Wright in the closing moments.

Photo by Andrew Whittuck/Redferns