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Pink Floyd tickets have meant more than just music for decades now. They are, to some, Pink Floyd concert tickets to the moon and to others simply Floyd tickets, nothing more, nothing less. One thing is certain; this is progressive rock at its best. The expression "progressive rock" has been used, mis-used and very much overused this past several decades, with only a small handful of great bands truly deserving of inclusion in the genre. Pink Floyd don't just deserve inclusion in the genre; they virtually invented it.
One character in particular springs to mind when looking back on the volcanic genesis from which Pink Floyd erupted; Syd Barrett. Barrett was a renaissance man, an artist in every sense of the word. His parents were broad-minded people, exposing Syd (or Roger, as he was then known) to an artistic and cultural variability few growing minds happen upon. He was encouraged to play music, explore the natural world and paint, experiences which shaped Pink Floyd's - and by extension Underground London's - stylistic direction throughout the late-60s. Soon, hipsters would be buying more than Pink Floyd tickets; they'd be immersed in a whole new style of rock-blues, dredged from the deepest estuaries of consciousness itself.
By 1964, Barrett was attending the Camberwell art school in South London, and regularly performed songs like "Effervescing Elephant" for fellow students at parties. His trademark melodious strangeness was already fully-formed while the Beatles were still singing "She Loves You". It would be a few years until Pink Floyd tickets were clamored for like those other superstars, but it was an inevitable reaction by a public desperate for aural refreshmnent.
Cleopatra hairstyles, Mini cars and mini-skirts all epitomized swinging London, but Syd's idea of what Floyd would be proved a pivotal target music would now aim for. Later bands, like the Soft Machine and Procol Harum, may never have produced the work they did had not Syd been there first to dictate immense changes in musical structure. When Syd joined a band called The Tea Set (among other things), he immediately determined to alter the complexion of what pop bands were all about, and the world took notice; noted talents, such as David Bowie, Brian Eno and Robyn Hitchcock, would later declare Barrett an indespensible influence on their own sound.
The other members of The Tea Set, namely Roger Waters, drummer Nick Mason, and Rick Wright, agreed with Syd's creation of the name "Pink Floyd" by combining parts of the names of Pink Anderson and Floyd Council. It was a bizarre fusion, like an impossible chemical equation, but which seemed appropriate to the fluorescence and humor in Syd's tunes and lyrics. Floyd released "Arnold Layne" in March and "See Emily Play" in June of that psychedelic year, 1967. The former single, an echoing, moonlit rueing of a weird chap's incarceration for stealing ladies' underwear from clotheslines, was promptly banned by the BBC despite making number 20 in the British singles charts. "See Emily Play" suffered no such censure and went to number 6.
The lad from Cambridge had been thrust into the peculiar limelight of an odd time in history, and his artistic and intellectual curiosity were always bound to embroil Syd in some kind of trouble. Massive LSD use led to increasingly meaningless behavior, until the rest of the band were unable to carry him, perched on the brink of international success as they were. The acid-dropping public fell hopelessly in love with the Barrett sound, basking in his throwaway kaleidoscopes of quasi-inane (but all-mystic) odes to existence on a middle-aged planet on the far spiral arm of an average galaxy. But as Pink Floyd tickets sold in higher numbers than the anti-materialistic Barrett could have ever dreamed, an inner disintegration was occurring. Ironically, it was Barrett's unique voice that propeled Floyd to those dizzy heights, and an attempt at retaining his services strictly as a songwriter was doomed to failure. The post-Syd era had come to pass.
The foundations were now in place for an assault on the type of fame and fortune that Barrett was simply unequipped to deal with. Floyd skipped into the 70s on the back of A Saucerful of Secrets and Atom Heart Mother, two albums that command respect even today and which testify to the remaining band members' (plus Dave Gilmour, who replaced Barrett) ability to ride the momentum generated by their fabulous founder. These albums were the tentative steps of a group committed to being themselves, with strange asides and orchestral rock arrangements, as well as some truly dismal attempts at being interesting.Pink Floyd Tickets and the Wall Era
Now all the garbage and mistakes had been expressed, Floyd were ready to mount the pinnacle - and the next two albums were to provide that. Dark Side of the Moon and Wish You Were Here inspired a whole new generation of Pink Floyd fans and sent the value of Pink Floyd tickets through the roof. Everybody wanted to see the band play live, and a Pink Floyd ticket meant life or death to some.
Subsequent releases, including the 2001 BBC Omnibus documentary "Syd Barrett: Crazy Diamond", Animals, and a dark and menacing thing called The Wall, succeeded in making Pink Floyd superstars and Pink Floyd tickets ever-more difficult to find at sane prices. Roger Waters has recently embarked on a solo tour, and indeed Roger Water tickets are equally hard to pin down, as a third generation flocks to his shows, eager to sample the sound and vision spectaculars Waters serves up.
It's a hard-hearted Floyd fan who dismisses Barrett's integral role in the formation and character of this legendary rock band, and anyone who buys Pink Floyd tickets or Roger Waters tickets today is hard pushed not to see the vestiges of Syd's utterly different style there onstage. But now is Now, and the only way to go is forward; go take in a Pink Floyd or a Roger Waters show and wallow in that intensity once more.