Aybe Sea wrote:
I’d say King Crimson and Curved Air had already used VCS3 synthesizer and so had Floyd on their earlier records, on „Echoes“ off Meddle for instance.
I never said they were the first to use the VCS 3. I basically said with the combination of that and the particular tape looping effects, made the track unique.
Aybe Sea wrote:
Soft Machine had some complex tape loop action on „Third“ album.
But not in the way Floyd utilized it on
The Dark Side Of The Moon.
Aybe Sea wrote:
As for Clare Torry, she was just a guest singer, among those soulful other female singers (a definite proof of the more radio friendly aspects of Floyd sound on that album, along the horribly hackneyed saxophone). Had they used a wonderfully bizarre untrained voice, like Robert Wyatt, who was a true scat singing innovator (and a friend of Nick Mason too), now that would’ve been weird! Using those normal soulful guest singers and that cheesy sax are blatant proofs of commercializing the Floyd sound.
You have NO clue what you're talking about, do you? Are you kidding me?! Floyd weren't even sure that using Clare would be a good idea, since it was so different for them. But when she finished her take on
The Great Gig In The Sky, they, especially Rick, were BLOWN AWAY. Not to mention, it wasn't a single and hence no (or very little) radio play until years later, since it's now one of the five largest selling albums ever.
Aybe Sea wrote:
Odd time signatures were commonplace in progressive rock.
Yes but not with a backwards tape loop constructed by Waters and his then wife in her garden using actual sounds and not necessarily artificial effects.
Aybe Sea wrote:
Again, long songs were already done by other progressive acts. Crimson, Softs, Caravan, Yes, Can, Zappa (billy the mountain of course). Floyd simply reflected on the prog rock trademarks by adding a more sanitized twist on them.
Prog-rock trademarks? Floyd began BEFORE Crimson and Yes.

And writing songs that are 25 minutes long weren't radio-friendly (and still aren't), like you are saying they are. And apart from the acts you've listed above, only Yes had major commerical success by 1973.
Aybe Sea wrote:
Oh and Waters might have hated the music industry and sing about money being the root of all evil, and yet this very same man had no problem with accepting huge paychecks for his own commercialized songs?
LOL! Yeah, that's why Waters hasn't toured with the Floyd since 1981 and has turned down
hundreds of millions of dollars to reform and tour under the name, Pink Floyd.
Aybe Sea wrote:
Still, The Wall is Pink Floyd at its more sanitized and cleaned up version. Any casual fan who likes this and Dark Side, can’t usually digest stuff like „Ummagumma“ and chances are he doesn’t know a damned thing about Syd Barrett!
So what? And I've been a fan of Floyd since '94 and I didn't really take to the Barrett era until last year...
Aybe Sea wrote:
I’m not saying Disco Boy is casual, for it’s more likely he has heard all of Pink Floyd’s albums.
You're god damn right I have.
Aybe Sea wrote:
Just pointing out that DSOTM and the Wall appeal to the lowest common denominator.
WTF?
Aybe Sea wrote:
As for Roger Waters, he was becoming a virtual Grade A Asshole as the 70s draw to close. He dispensed with other bandmembers’ contributions, even going as far as dissing Wright and Mason as musicians. I’m not saying Mason is a great drummer, but belittling your bandmates and making them feel like shit for me is morally revolting! And that spitting in the face incident? He was clearly becoming too dominant and aggressively arrogant.
Agreed. Wow, I didn't think you had it in ya...
Aybe Sea wrote:
And his lyrics? Pure pessimism and whining. Pathetic. Anyone can write pessimistic lyrics. It’s easy. Just think of something that makes you feel insecure and presto!
Are you saying anyone can write lyrics like Roger Waters? OMFG.
No offense but you need to rent or buy a DVD copy of
Classic Albums: The Dark Side Of The Moon and FAST...