Released in the United States on 30 October 1971 and in the United Kingdom on 5 November, Meddle marked a significant breakthrough for Pink Floyd. After several albums of ambitious but occasionally unfocused experimentation, the band delivered a record that brought greater purpose and emotional depth to their increasingly adventurous sound.
The transformation is most apparent in “Echoes“, a 23-minute composition occupying the entire second side. Where the orchestral ambition of Atom Heart Mother had sometimes threatened to overwhelm the music, “Echoes” achieves its remarkable scale through the interaction of the four musicians themselves. Its gradual development, unsettling experimentation and eventual melodic resolution represent one of Pink Floyd’s finest achievements.
Yet Meddle is far more than a single extraordinary composition. The driving intensity of “One of These Days”, the understated beauty of “A Pillow of Winds” and the quiet determination of “Fearless” demonstrate a band becoming increasingly confident in their ability to create atmosphere without sacrificing musical substance.
The album is not entirely consistent in tone, and its two sides offer markedly different listening experiences. Nevertheless, that contrast becomes part of its appeal. Rather than imposing a single concept upon every composition, Pink Floyd allow their ideas to develop naturally, producing music that feels both adventurous and remarkably assured.
Meddle captures a moment when the band’s experimental instincts began to serve a more compelling musical vision. It remains one of their most rewarding albums, not simply because it anticipated their later achievements, but because its finest moments stand confidently alongside them.
Artistic Intentions & Making of the Album
From Atom Heart Mother to a More Collaborative Sound
By the beginning of 1971, Pink Floyd had established themselves as one of Britain’s most adventurous rock groups. Their previous album, Atom Heart Mother, had reached number one in the UK, demonstrating that increasingly ambitious music could attract a substantial audience. Yet its elaborate orchestral arrangements had also exposed the limitations of expanding a composition without always developing its underlying musical ideas.
For Meddle, Roger Waters, David Gilmour, Richard Wright and Nick Mason increasingly concentrated on developing material through their own instrumental interactions. Improvisation, atmosphere and the gradual evolution of musical themes became central to their approach.
This did not mean abandoning experimentation. Instead, the band began integrating unusual sounds into compositions with more recognisable structures and emotional direction.
Gilmour’s expressive guitar playing and Wright’s atmospheric keyboards became particularly important. Their melodic contributions could sustain extended passages without elaborate external arrangements, while Waters and Mason provided rhythmic foundations capable of moving naturally between restraint and intensity.
The resulting album demonstrated a growing confidence in what the four musicians could achieve together.
The Experiments That Became Echoes
The development of “Echoes” offers the clearest illustration of Pink Floyd’s evolving creative process.
Rather than beginning with a completed composition, the band explored a series of musical fragments during recording sessions in early 1971. These experiments developed under working titles including Nothing, Son of Nothing and Return of the Son of Nothing before gradually taking shape as “Echoes”.
Individual sounds, instrumental combinations and melodic phrases were investigated without a predetermined structure.
Among the most important discoveries was the distinctive piano note that opens the finished composition. Created by Richard Wright playing a piano through a Leslie rotating speaker, its resonant, sonar-like quality established an immediately mysterious atmosphere.
The challenge was transforming these disconnected ideas into something musically convincing.
Rather than assembling unusual sounds into an extended collage, Pink Floyd developed recurring melodies, contrasting instrumental passages and a progression towards resolution. The resulting composition retained their appetite for experimentation while demonstrating a stronger sense of purpose.
Although “Echoes” would occupy the entire second side of Meddle, its development reflected a wider transformation within the group: spontaneous discoveries were becoming the foundations of carefully developed music.
Recording Meddle and Finding a New Direction
Recording sessions for Meddle took place during 1971, primarily at EMI Studios on Abbey Road, with additional work at AIR Studios and Morgan Studios in London.
The band initially experimented with unconventional methods of generating material, including sessions in which individual musicians recorded parts without hearing what the others had played. Although many of these experiments produced little usable music, the process encouraged unexpected combinations of sounds and ideas.
More recognisable musical ideas gradually emerged.
“One of These Days” developed around a repeating bass figure, demonstrating how rhythm, dynamics and studio effects could transform a simple motif into something powerful. Elsewhere, “A Pillow of Winds” and “Fearless” emphasised acoustic textures and melody, while “San Tropez” introduced a relaxed, jazz-influenced character.
The contrasting material revealed that Pink Floyd were not attempting to construct a conventional concept album. Instead, they were exploring several musical directions while developing greater control over their arrangements.
Unlike the orchestral collaboration that had defined Atom Heart Mother, the most ambitious passages on Meddle emerged primarily from the band’s own performances. That distinction gave the album a more recognisable musical identity, even when its individual tracks differed considerably in style.
The Artwork and the Album’s Identity
The album’s cover, designed by Hipgnosis, continued Pink Floyd’s preference for unusual imagery.
At first glance, the artwork appears almost abstract, dominated by distorted textures and rippling colours. Designed around the image of an ear beneath water, the sleeve incorporates ripples intended to suggest sound waves, creating a visual connection between hearing and perception.
The image suggests a relationship between sound and perception, although its unusual composition makes the subject difficult to recognise immediately.
Unlike the deliberately ordinary cow photograph used for Atom Heart Mother, the Meddle sleeve creates an impression of mystery and disorientation. Its visual ambiguity complements the album’s atmospheric character, particularly the expansive soundscapes of “Echoes”.
However, the artwork does not illustrate a unified lyrical concept. Much like the music itself, it encourages interpretation without offering a single definitive explanation.
Sound & Production
An Organic Approach to Experimentation
One of Meddle‘s greatest strengths is the way Pink Floyd combine experimental sounds with recognisable musical structures. Where earlier recordings sometimes treated unusual effects as attractions in themselves, the band’s studio techniques increasingly serve the compositions rather than compete with them.
Instead of relying upon elaborate arrangements to create a sense of scale, Pink Floyd build intensity through repetition, instrumental layering and carefully controlled dynamics.
“One of These Days” demonstrates the effectiveness of this approach. Its heavily processed bass figure establishes an insistent rhythm, while additional instruments gradually transform the atmosphere without disrupting the underlying pulse.
“Echoes” takes the principle considerably further, moving between delicate melodies, expansive instrumental passages and unsettling experimentation. Despite its length and contrasting textures, the composition retains a recognisable musical identity.
The achievement lies not in the novelty of individual techniques, but in the confidence with which the band incorporate them into the music.
Guitar, Keyboards and Rhythmic Interplay
David Gilmour and Richard Wright play particularly important roles in shaping Meddle‘s distinctive sound.
Gilmour moves comfortably between delicate acoustic passages and powerful electric performances. His playing frequently relies upon sustained notes, subtle changes in tone and carefully developed melodic phrases rather than excessive technical display.
Wright’s piano and organ provide harmonic depth, establishing the atmosphere of quieter compositions while becoming central to the album’s extended instrumental passages. His interaction with Gilmour is especially effective on “Echoes”, where guitar and keyboards frequently respond to one another.
Roger Waters and Nick Mason are equally important to the music’s development.
Waters’ bass playing often provides more than a conventional rhythmic foundation, particularly when a repeating figure becomes the central musical idea. Mason complements this approach through patience and control, allowing rhythms to develop gradually before introducing greater intensity.
Their collective restraint gives the music room to breathe.
The production reinforces this quality. Instruments are frequently allowed to emerge individually before combining into fuller arrangements, creating a sense of movement without requiring constant changes in tempo or melody.
Studio effects, including echo, distorted guitar tones and processed keyboard sounds, expand the band’s musical vocabulary. Crucially, they are increasingly integrated into the arrangements rather than presented as isolated experiments.
Contrasting Textures
Meddle is far from uniform in its sound.
The opening “One of These Days” is dense, rhythmic and aggressive, while “A Pillow of Winds” immediately retreats into a quieter world of acoustic guitar and understated vocals. “Fearless” introduces a more determined character, and “San Tropez” adopts a relaxed, jazz-influenced arrangement.
These contrasts give the first side an eclectic personality, occasionally at the expense of continuity. Nevertheless, the recordings share an emphasis on instrumental character and atmosphere.
The production is not uniformly polished, nor does every experiment succeed equally well. Yet that variety captures four musicians discovering how effectively their individual contributions could work together.
The Music: A Track-by-Track Examination
One of These Days – A Menacing Instrumental Masterpiece
Meddle opens with one of Pink Floyd’s most immediately recognisable instrumental compositions.
“One of These Days” begins with the sound of wind before a heavily processed bass figure emerges, gradually establishing a relentless, almost mechanical rhythm. The repeated notes are deceptively simple, but their insistent pulse creates an atmosphere of growing unease.
Both Roger Waters and David Gilmour contribute bass parts, giving the arrangement an unusually powerful foundation. As Richard Wright’s keyboards introduce additional textures, the music becomes increasingly dense without losing its rhythmic focus.
Nick Mason’s drumming is particularly important to the track’s development. Initially restrained, his performance gradually becomes more forceful, driving the composition towards its explosive second half.
Rather than introducing a succession of elaborate melodies, Pink Floyd build intensity through repetition, instrumental layering and carefully judged changes in dynamics. Gilmour’s aggressive slide guitar eventually cuts through the arrangement, transforming the track’s hypnotic opening into something considerably more threatening.
The composition also contains one of the band’s most unusual vocal contributions.
Mason delivers the distorted declaration, “One of these days I’m going to cut you into little pieces”, his voice manipulated to sound deliberately sinister. Its sudden appearance is both unsettling and darkly humorous, reinforcing the track’s peculiar character.
What makes “One of These Days” so effective is its economy. The band develop a relatively straightforward musical idea into a composition of remarkable intensity without allowing the arrangement to become unnecessarily complicated.
The contrast between the restrained opening and its thunderous conclusion is particularly satisfying, demonstrating Pink Floyd’s understanding of how to create dramatic impact through musical development.
It is an exceptional opening track, establishing the album’s experimental character while delivering one of the most powerful instrumental performances of the band’s early career.
A Pillow of Winds – An Overlooked Moment of Beauty
Following the intensity of “One of These Days”, “A Pillow of Winds” introduces an entirely different atmosphere.
Built around delicate acoustic guitar and David Gilmour’s gentle vocals, the composition retreats from the opening track’s threatening energy into something intimate and almost weightless.
Its lyrics evoke a quiet domestic setting, with images of sleep, changing light and the natural world creating a sense of tranquillity. Rather than developing a conventional narrative, the song captures a fleeting atmosphere of warmth and stillness.
Gilmour’s acoustic guitar provides a gentle foundation, while subtle electric textures and Richard Wright’s keyboards add depth without disturbing the song’s delicate character.
Particularly effective is the way the composition moves between major and minor tonalities, introducing a faint sense of melancholy beneath its otherwise comforting surface.
This harmonic uncertainty prevents the music from becoming merely pleasant. There is something quietly wistful about the arrangement, as though the peaceful scene it describes is already beginning to disappear.
Gilmour’s understated vocal performance reinforces that feeling. His delivery is restrained and unforced, allowing the melody to carry the emotional weight of the composition.
At barely more than five minutes, “A Pillow of Winds” demonstrates a different kind of ambition from Pink Floyd’s extended instrumental experiments. Its achievement lies in atmosphere, melodic subtlety and an unusually delicate sense of emotional expression.
Although frequently overshadowed by the album’s more celebrated compositions, it remains one of Meddle‘s most quietly beautiful moments.
Fearless – Quiet Determination and Collective Spirit
“Fearless” continues the album’s acoustic emphasis but introduces a stronger rhythmic character and a more openly uplifting atmosphere.
The composition develops around an ascending guitar figure, its distinctive resonance enhanced by open-tuned acoustic guitar parts played by Roger Waters. The result is a warm, expansive sound that gives the music a sense of gradual movement.
Unlike the forceful intensity of “One of These Days”, the track’s momentum emerges through patience and repetition. The guitar pattern remains central throughout, while Waters’ bass and Mason’s drumming provide a relaxed but purposeful foundation.
Gilmour’s vocal performance is similarly understated.
The lyrics explore perseverance in the face of criticism and doubt, using the image of an apparently impossible climb to suggest the importance of maintaining confidence despite external discouragement.
Yet the song avoids becoming an overly dramatic declaration of defiance. Its message is delivered with a calm assurance that makes it considerably more affecting.
One of its most distinctive features is the inclusion of a recording of Liverpool supporters singing “You’ll Never Walk Alone”.
The football crowd appears alongside the music before becoming especially prominent towards the conclusion, introducing an unexpected communal dimension to an otherwise intimate composition.
The contrast is striking. Where Gilmour’s restrained vocals suggest individual determination, the crowd’s collective singing evokes solidarity and shared emotional experience.
There is also a wonderfully unpolished quality to the recording. Rather than attempting to blend the crowd seamlessly into the studio arrangement, Pink Floyd allow its rough, distant character to remain apparent.
“Fearless” succeeds because its musical simplicity reinforces its emotional message. The ascending guitar figure, steady rhythm and restrained vocal delivery create a feeling of persistence without relying upon exaggerated sentiment.
It remains one of Pink Floyd’s most appealing early songs, demonstrating how effectively the band could communicate substantial ideas through relatively straightforward arrangements.
San Tropez – An Unexpectedly Playful Diversion
After the reflective atmosphere of “Fearless”, Roger Waters’ “San Tropez” introduces a lighter and more relaxed character.
Built around a gently swinging rhythm, the composition draws upon jazz-influenced piano, acoustic guitar and an easygoing vocal performance.
Its breezy atmosphere evokes leisurely afternoons and seaside indulgence, offering an unusually carefree perspective within Pink Floyd’s catalogue.
Waters’ singing is particularly distinctive. Rather than adopting the vulnerability of “If” or the more forceful delivery associated with some of his later compositions, he sounds relaxed and almost conversational.
Richard Wright’s piano provides much of the song’s personality, introducing playful melodic flourishes that reinforce its jazz-influenced character.
The arrangement is deliberately uncomplicated, allowing the melody and rhythm to establish a pleasant, unhurried atmosphere.
However, “San Tropez” is more than a disposable novelty. Its relaxed confidence demonstrates another dimension of Pink Floyd’s songwriting, revealing a willingness to embrace accessibility and humour without feeling compelled to transform every composition into an elaborate experiment.
Its lightweight character makes it immediately enjoyable, although it lacks the emotional complexity and musical development of the album’s strongest material.
Nevertheless, that simplicity is not necessarily a weakness within the context of Meddle. Following three compositions that explore intensity, intimacy and determination, “San Tropez” provides a welcome change of pace.
It may not represent Pink Floyd at their most ambitious, but its melodic charm and understated humour make it an appealing addition to the album.
Seamus – A Blues Experiment That Divides Opinion
“Seamus” is undoubtedly Meddle‘s most peculiar composition.
Built around a straightforward blues arrangement, the track features David Gilmour’s acoustic guitar and vocals accompanied by the howling of a dog named Seamus.
The animal belonged to musician Steve Marriott and was recorded responding to the music, creating an unusual performance in which its vocalisations become part of the arrangement.
Musically, the composition is deliberately simple. Gilmour’s guitar follows a familiar blues progression, while the vocal melody offers little in the way of unexpected development. The dog’s increasingly prominent howling provides the track’s defining characteristic.
There is an undeniable absurdity to the result.
After the carefully developed atmospheres of the preceding songs, “Seamus” sounds almost like an informal studio amusement that somehow found its way onto the finished album.
Yet its brevity prevents the experiment from becoming particularly tiresome. At just over two minutes, the track does not attempt to sustain its novelty beyond the point at which the idea has been established.
Its relaxed blues performance also provides a reminder that Pink Floyd were capable of approaching music with humour, even as their compositions became increasingly ambitious.
Nevertheless, “Seamus” remains the album’s weakest track.
The novelty of the canine accompaniment offers little lasting musical substance, while the underlying blues arrangement is too conventional to compensate.
As a brief diversion, “Seamus” is harmless and occasionally amusing. As a musical composition, however, it offers considerably less than the material surrounding it.
Echoes – Pink Floyd’s First Fully Realised Epic
Occupying the entire second side, “Echoes” represents the defining achievement of Meddle and one of the most extraordinary compositions in Pink Floyd’s catalogue.
At approximately 23 minutes, it brings together the band’s experimental instincts, melodic sophistication and growing confidence in extended musical structures.
Unlike the orchestral ambition of Atom Heart Mother, “Echoes” achieves its remarkable scale primarily through the interaction of the four musicians themselves.
Its opening is immediately distinctive.
A single, resonant piano note, created by Richard Wright’s instrument passing through a Leslie speaker, establishes an atmosphere of uncertainty and anticipation.
From this deceptively simple beginning, the composition gradually develops through gentle keyboard textures, expressive guitar phrases and an understated rhythmic foundation.
When David Gilmour and Richard Wright begin singing together, their closely blended voices introduce a warmth that contrasts beautifully with the mysterious instrumental opening.
The lyrics explore isolation, recognition and the possibility of connection between individuals. Rather than constructing an elaborate fictional narrative, the song considers how encounters with other people can challenge the boundaries of individual experience.
This gives “Echoes” an emotional foundation that distinguishes it from many of Pink Floyd’s earlier extended compositions.
Its instrumental passages are equally impressive.
Gilmour’s guitar moves between lyrical melodies and increasingly forceful improvisation, while Wright’s keyboards provide harmonic depth and shifting atmospheric textures. Waters and Mason maintain a sense of direction beneath these developments, allowing the music to expand without losing its underlying momentum.
The composition’s central instrumental section is particularly exhilarating, demonstrating how effectively Pink Floyd could sustain intensity through collective performance.
However, “Echoes” is not simply an extended rock composition.
Its middle passage moves into deeply unsettling territory, with distorted guitar sounds and unusual effects creating an atmosphere of almost complete disorientation. The familiar musical structure appears to dissolve, leaving behind a collection of strange, echoing textures.
This section is deliberately challenging, but unlike the more disconnected experiments of Ummagumma, its placement serves a convincing dramatic purpose.
The gradual re-emergence of recognisable musical ideas becomes all the more powerful because of the uncertainty that precedes it.
As Wright’s keyboards begin to restore a sense of harmony, the composition slowly rebuilds towards the return of its central vocal melody.
What initially appeared to be a collection of contrasting musical ideas reveals a carefully developed structure, with the final passages providing emotional and musical resolution.
The concluding vocal harmonies are especially affecting, bringing the composition back to its central concern with human connection after an extended journey through increasingly unfamiliar sounds.
“Echoes” succeeds because its ambition never entirely overwhelms its musical substance. Even at its most experimental, the composition retains a sense of direction, while its recurring melodies and expressive performances give the extended structure genuine emotional weight.
It is the clearest demonstration yet of Pink Floyd’s ability to transform atmospheric experimentation into a cohesive artistic achievement.
Its combination of melodic beauty, unsettling experimentation and carefully controlled dynamics makes it one of the band’s finest recordings, regardless of what followed.
As the conclusion to Meddle, it transforms an already rewarding album into something exceptional. The first side demonstrates the band’s versatility; “Echoes” reveals just how far those abilities could take them when brought together within a single, fully realised composition.
Cohesion & Flow
Two Sides, Two Different Approaches
One of Meddle‘s most distinctive characteristics is the contrast between its two sides. Rather than presenting a continuous musical narrative, Pink Floyd divide the album between five relatively concise compositions and the expansive “Echoes”.
The first side moves through several musical styles, from the threatening intensity of “One of These Days” to the delicate acoustic arrangements of “A Pillow of Winds” and “Fearless”. “San Tropez” introduces a lighter atmosphere, while “Seamus” concludes the sequence with an eccentric blues experiment.
These changes are sometimes abrupt, but they reveal different aspects of the band’s developing musical identity.
The exception is “Seamus”, whose novelty makes it feel more like a lighthearted diversion than an essential part of the album’s progression. Nevertheless, its brevity prevents it from seriously disrupting the listening experience.
The second side offers something entirely different.
Where the opening five tracks explore contrasting musical directions, “Echoes” brings the band’s strengths together within one extended composition. Its recurring melodies, shifting atmospheres and gradual development create a sense of continuity that the first side deliberately lacks.
Meddle is therefore not cohesive because every track sounds alike or explores the same subject. Its identity emerges from the contrast between musical variety and sustained artistic focus.
Does Meddle Work as a Complete Album?
Despite its stylistic differences, Meddle remains an exceptionally rewarding listening experience.
There is an undeniable imbalance. “Echoes” possesses a level of ambition and emotional depth that the shorter tracks cannot consistently match, while “Seamus” remains a comparatively minor experiment.
However, this contrast also gives the album its distinctive character.
The quieter compositions provide relief from the opening intensity, and the relaxed atmosphere of “San Tropez” prevents the first side from becoming overly serious. By the time “Echoes” begins, the listener has encountered several different aspects of Pink Floyd’s musical personality.
The closing composition then gives the album a sense of scale and resolution that its individual first-side tracks could never provide.
What makes Meddle exceptional is not absolute consistency, but the quality of its strongest material and the confidence with which Pink Floyd move between contrasting ideas.
Its imperfections remain visible, yet the overall achievement is considerably greater than those individual weaknesses suggest.
Legacy & Contributions to Music
A Turning Point in Pink Floyd’s Development
Meddle marked an important stage in Pink Floyd’s development, demonstrating that their increasingly adventurous ideas could be supported by confident songwriting and more purposeful arrangements.
The album retained the psychedelic experimentation and unconventional textures that had characterised much of their earlier music, but its strongest compositions displayed a more convincing relationship between musical structure and emotional expression.
This was particularly significant for a band whose previous recordings had sometimes struggled to reconcile experimental ambition with compositional focus.
The confidence demonstrated on Meddle would become increasingly important to Pink Floyd’s subsequent work, although the album deserves recognition as a major achievement rather than merely preparation for what followed.
Echoes and the Possibilities of Progressive Rock
By the early 1970s, extended compositions had become an established feature of progressive rock. Bands were increasingly exploring lengthy instrumental passages, unconventional structures and ambitious musical concepts.
Nevertheless, “Echoes” stands apart through the way it balances experimentation with emotional expression.
Rather than relying upon technical complexity for its own sake, Pink Floyd construct the composition through recurring melodies, gradual changes in intensity and contrasting instrumental textures.
Its expansive structure allows musical ideas to develop patiently, while the return of familiar themes gives the closing passages a satisfying sense of resolution.
The composition also demonstrates how effectively the recording studio could extend the band’s musical vocabulary. Unusual guitar effects, processed keyboard sounds and carefully controlled dynamics create an atmosphere that moves between intimacy and profound unease.
Crucially, these experiments contribute to a larger musical journey rather than existing simply as demonstrations of technique.
Although lengthy compositions were hardly unprecedented by 1971, “Echoes” offered a distinctive approach to musical development, placing atmosphere, emotional resonance and collective performance at the centre of its achievement.
Beyond a Stepping Stone to The Dark Side of the Moon
Meddle is frequently discussed in relation to the extraordinary success Pink Floyd would achieve with The Dark Side of the Moon in 1973.
The connection is understandable. The band’s growing interest in atmosphere, recurring musical ideas and carefully developed arrangements would become increasingly important to their later recordings.
However, viewing Meddle primarily through the achievements that followed risks diminishing its individual character.
Unlike The Dark Side of the Moon, the album does not attempt to develop a unified lyrical concept across its entire running time. Its first side moves freely between aggressive instrumental rock, intimate acoustic songwriting, relaxed jazz influences and playful blues.
That variety gives Meddle an identity distinct from the more carefully integrated albums Pink Floyd would later produce.
There is also an appealing spontaneity to its arrangements. Even when the music becomes elaborate, the performances retain a sense of four musicians responding to one another rather than working within an entirely predetermined framework.
The album’s greatest achievement is therefore not simply that it anticipated Pink Floyd’s future success.
It demonstrated that the band could produce music of extraordinary emotional and instrumental depth without abandoning the experimental freedom that had originally distinguished them.
Closing Thoughts
Meddle represents one of the defining achievements of Pink Floyd’s career, capturing the moment when their experimental ambitions developed into something more emotionally compelling and musically assured.
Its first side reveals a remarkable range of ideas, from the instrumental intensity of “One of These Days” to the understated beauty of “A Pillow of Winds” and “Fearless”. Even the relaxed charm of “San Tropez” contributes to the album’s distinctive character, although “Seamus” remains a comparatively minor diversion.
It is “Echoes”, however, that elevates Meddle into truly exceptional territory. Its combination of melodic beauty, unsettling experimentation and carefully developed instrumental passages represents Pink Floyd at their most imaginative.
Yet the album deserves recognition beyond its closing masterpiece. Its contrasting styles, expressive performances and adventurous spirit create a listening experience that remains rewarding more than five decades after its release.
Meddle is not a flawless collection of individual compositions, nor does it possess the conceptual unity of Pink Floyd’s later work. But its finest achievements are so extraordinary that its occasional imperfections become secondary to the experience as a whole.
Official Tune Tempest Rating: 10/10
A remarkable fusion of atmosphere, experimentation and emotional depth, crowned by one of the greatest extended compositions in rock music. Meddle stands among Pink Floyd’s finest achievements, entirely deserving of its place alongside their most celebrated albums.
