Roger Waters is Pink Floyd's grand conceptualist, the driving force behind such albums as Dark Side of the Moon, Wish You Were Here, and The Wall. In the wake of Syd Barrett's departure, Waters emerged as a formidable songwriter, but it's this stretch of '70s albums – each one nearly symphonic in its reach – that established him as a distinctive, idiosyncratic voice within rock and, following his departure from Floyd in 1985, he continued to create new works in this vein (notably, 1992's Amused to Death) and capitalized on the enduring popularity of his old band by staging live revivals of Dark Side of the Moon and The Wall in their entireties.

Rare and collectable Pink Floyd broadcast recordings from 1969 - digitally remastered - including BBC sessions, audio from TV broadcasts from France and Germany, plus an early concert recorded at Southampton University.

TOTAL ECLIPSE was conceived in 1993, well into Great Dane's ambitious "Pink Floyd Project." Great Dane had wanted to put out a box set that would appeal to the fans who had been terribly dissapointed with "Shine On," Pink Floyd's official release. It's purpose was to attempt to bring to the fans a comprehensive overview of the band's career, substituting rare material and alternative tracks wherever possible. This is the reason why many of the early singles and B-sides were included. Much "Top Gear" material was also included because not only were the sound sources believed to be the better than on any previously released RoIO (RoIO = Record of Illegitimate/Indeterminate Origin), but also because it seemed that these tracks should also be represented in the band's history. TOTAL ECLIPSE was meant to be chronological (although a few tracks are out of order) and comprehensive; something that could be listened to from beginning to end.

For those who spent the whole of the 1970s actually living on the dark side of the moon rather than listening to it, A Collection of Great Dance Songs offers an opportunity to hear some of the most timeless, thoughtful, and influential rock music ever made by rich, bitter Englishmen. The album's title certainly seems less deceptive now, considering just how much of the Floyd's instrumental ambience eventually seeped into the techno and dance scenes of the '90s. Initially released during one of those yawning epochs between studio albums (namely, The Wall and The Final Cut) this best-of collection cherry picks from Pink Floyd's 1970s material–the era when the band (and they were a band in those days) bestrode the stadiums of the world like light-show leviathans and sold records by the tons–and is only undermined by the omission of sprawling masterpieces such as "Echoes" and "Atom Heart Mother" (such were the time limitations of the old vinyl format). Never mind the dance floor, this a great portable Pink Floyd collection for long car journeys.

Although there are those who nail their spirals to Vertigo as the prog label of choice, EMI’s Harvest certainly vies with it for pole position. With Harvest, the detail was everything. Loaded with the bizarre, striking and the strange, turns abounded like the Third Ear Band, Kevin Ayers and The Greatest Show On Earth. From the bad acid of Edgar Broughton’s There’s No Vibrations, But Wait through the squiffy majesty of Dave Mason’s You Shouldn’t Have Took More Than You Gave, to Be- Bop Deluxe’s future pop of Jet Silver and the Dolls Of Venus, this collection is impressive and nostalgic – its very lack of a house style providing its consistency.

Pink Floyd's supporting shows in 1980 and 1981 for Roger Waters' narcissistic, nihilistic epic The Wall are the stuff of rock & roll legend. Throughout the '70s, the band earned the reputation as one of the best live acts in rock & roll – and not just because they delivered musically but because they delivered a full-fledged show. They had model planes crashing into the stage, giant inflated pigs hovering around the arena and, of course, astonishing live shows. All of Floyd's showmanship culminated in The Wall, an album that wasn't only a story, it was designed to be a theatrical experience. And that's exactly what Floyd designed under the direction of Waters and with the assistance of such artisans as animator Gerald Scarfe and stage designers Mark Fisher and Jonathan Park.

A Momentary Lapse of Reason is the thirteenth studio album by Pink Floyd. A David Gilmour solo album in all but name, heavily featuring the kind of atmospheric instrumental music and Gilmour guitar sound typical of the Floyd before the now-departed Roger Waters took over, but lacking Waters' unifying vision and lyrical ability.

Appearing after the sprawling, unfocused double-album set Ummagumma, Atom Heart Mother may boast more focus, even a concept, yet that doesn't mean it's more accessible. If anything, this is the most impenetrable album Pink Floyd released while on Harvest, which also makes it one of the most interesting of the era. Still, it may be an acquired taste even for fans, especially since it kicks off with a side-long, 23-minute extended orchestral piece that may not seem to head anywhere, but is often intriguing, more in what it suggests than what it achieves. Then, on the second side, Roger Waters, David Gilmour, and Rick Wright have a song apiece, winding up with the group composition "Alan's Psychedelic Breakfast" wrapping it up…

Pink Floyd followed the commercial breakthrough of Dark Side of the Moon with Wish You Were Here, a loose concept album about and dedicated to their founding member Syd Barrett. The record unfolds gradually, as the jazzy textures of "Shine on You Crazy Diamond" reveal its melodic motif, and in its leisurely pace, the album shows itself to be a warmer record than its predecessor. Musically, it's arguably even more impressive, showcasing the group's interplay and David Gilmour's solos in particular. And while it's short on actual songs, the long, winding soundscapes are constantly enthralling.