“Extraordinary”: The Pink Floyd album Nick Mason thought defined him as a musician
Few bands have had a more enduring influence than Pink Floyd. From the outset, they operated in a sonic realm entirely their own, whether it was the madcap psychedelia of their early years, the profound prog-rock explorations of the 1970s, or the cerebral ambient soundscapes of their later work. The band boasts an impressive catalogue of highlights, along with a few moments they’d likely prefer to forget. One man who witnessed it all was drummer Nick Mason, a constant presence throughout their remarkable journey.
Mason’s position as the only constant member of Pink Floyd is truly impressive. He was present throughout all of their creative successes, floundering experimentation and the significant personal schism between David Gilmour and Roger Waters, meaning he has a more holistic view of their story than any of his old bandmates.
This is a fitting status to hold, given that as the drummer, he always provided them with their grounding and had a clear view of the rest of them on stage and in the studio, taking in the intricacies of what made them tick.
As the prominent musicians of his generation tend to be, due to their game-changing efforts and commitment to the countercultural spirit of defying expectations, Mason has always been forthcoming about what Pink Floyd did well, and what they did not so well. As the band had a fluctuating creative arc, there’s a mass of content for him to comment on and analyse. Like Gilmour, this has meant he has even occasionally poured cold water on efforts that have long been cherished by fans.
Just like his bandmates, who, despite their later personal problems, all worked in fluid tandem in their artistic pomp, Mason is in no doubt about Pink Floyd’s definitive works. Believe it or not, these tend to be the albums that are most acclaimed by the outside world. Yet, in true form, he even offers perspective on where these classics could have been better. It seems unfathomable for records deemed as so flawless.
When speaking to The Drummer’s Journal in 2014, Mason named 1973’s masterpiece, The Dark Side of the Moon, the album that encapsulated everything he sought to achieve as a musician. He feels it is the most robust record the quartet produced and was a perfect blend of each member’s contributions.
He said: “I’d choose Dark Side. It’s the most complete album. There’re lots of others I like, but Dark Side has a lovely mix of everyone contributing to it. I think The Wall was a hell of a piece of work but it’s probably too long. What might have been nice to have Dark Side a little longer and The Wall a little shorter. It’s got some great songs, and Roger’s lyrics are extraordinary. The fact he was only 23 still amazes me.”
It’s intriguing that while Mason considers The Dark Side of the Moon to be Pink Floyd’s finest effort, he is also critical of The Wall, the sprawling 1979 album that signalled Waters’ growing dominance and eventual departure. Mason has suggested the album should have been trimmed down, as it was effectively a Waters solo project. By that time, keyboardist Richard Wright had been forced out, and both Mason and Gilmour were relegated to near-session musician roles. Mason’s admiration for the cohesive brilliance of The Dark Side of the Moon explains his critique of The Wall, a project marred by internal conflict and bleakness for all involved, despite producing hits like ‘Another Brick in the Wall’.
Despite being so far removed from his old bandmates today, even Waters agrees with Mason. For him, The Dark Side of the Moon ticked all the boxes and was the pinnacle of their success, meaning that it finished the band off “once and for all”, even way back then.
