Late in the Wall sessions, a fuming Waters penned this bruised piano ballad in a single evening, having risen to Gilmour’s challenge to write “something fantastic”. The second track from The Wall is almost a segue of the opener, telling the story of the central Pink character growing up (opening with the closing crying child from In The Flesh).Īll runs relatively smoothly, lyrically and musically, until Roger Waters takes over from David Gilmour on vocals, warning of “the thin ice of modern life…”, and soon all hell breaks loose with a huge heavy rolling riff reminiscent of In The Flesh. It certainly has to ability to give you the sweats, and is probably best left alone if you’re in an advanced state of paranoia. An instrumental that builds on a sequenced synth pattern, it’s allegedly a musical interpretation of keyboardist Richard Wright’s acknowledged fear of flying. In complete contrast to preceding track, Breathe, this is Pink Floyd getting sonically way out there. Waters’s questioning lyric continues over the song’s near hypnotic, seesawing rhythm and David Gilmour’s spitting guitar solos. ‘Y ou shuffle in gloom to the sickroom/And talk to yourself ’til you die,’ offers the final pay-off line in a song whose lyrics are as despondent as its music is upbeat. Eric Fletcher Waters was a soldier in the 8th Royal Fusiliers, killed during the Second World War when his son was just five months old. ‘ I am the dead man’s son,’ sings Waters, ‘ And he was buried like a mole in a fox hole.’ The lyrics to Free Four were thoroughly bleak, but disguised in a brisk, almost country rock song, released as a single in the US, and included on Obscured By Clouds, Floyd’s 1972 soundtrack to the French art-house film La Vallée.įree Four is the first Pink Floyd song to reference Waters’s father. Pink Floyd’s 1975 song Welcome To The Machine has always been the moment listeners first realised how disenfranchised Roger Waters had become.
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