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In 1977, Roger Waters was angry. The bassist and co-frontman of Pink Floyd had experienced, along with the residuum of his bandmates, a meteoric ascent to rock-distinction in a brusk iv years. In 1973, Pinkish Floyd released 1 of rock's most iconic and love albums, Dark Side of the Moon . Two years afterwards, they released some other one of rock's most iconic and honey albums, Wish Yous Were Here . The ring that once played small gigs in underground London nightclubs was now packing stadiums and dazzling hundreds of thousands of fans with their distinct make of stone and complex pyrotechnics.

So why then was Waters and then dissatisfied? What could take been the source of the fury that produced Animals , Pink Floyd's beautifully cynical 10th studio anthology?

It had everything to practise with Britain'southward developing socioeconomic problems in the belatedly '70s. Waters, like many rock musicians of the era, had a marked disdain for anything (and anybody) that had to practice with authorisation and greed. And Britain, in Waters' view, was condign increasingly authoritarian and materialistic. His land was being consumed past what he believed to be commercialism's ugliest depravities. Worse yet, Waters felt like he was contributing to this emerging culture; Pinkish Floyd was, after all, one of the nigh commercially successful acts of the 1970s.

And so Waters took his bitterness and guilt, and — in typical Pink Floyd fashion — created a conceptual masterpiece.

Animals was released in the United Kingdom on Jan. 23, 1977, marker another archetype installment in Pink Floyd'south impressive discography. Critics were initially shocked by the album's harshness — in fact, some were made downright uncomfortable past the album's relentless pessimism.

Indeed, Animals was a striking divergence from Pinkish Floyd's previous ii records. Musically, the anthology adopts elements of punk, which was flourishing during the late '70s. Where Dark Side and Wish You Were Here (corking individual works in their own right) were spacey, tight and sometimes jazzy, Animals was piercing, manic and chaotic.

Still, Pinkish Floyd put their singled-out sonic stamp — which synthesizes blues influences with innovative electronic soundscapes — on Animals . And though the album is Waters' brainchild, it would exist nothing without the talent and vision of Pinkish Floyd'due south iii other members.

David Gilmour puts together a masterful guitar operation, probably his most impressive on a Pinkish Floyd album. He showcases a new glassy strat sound that is fundamental to the album'southward penetrating instrumentals. On "Dogs," a 17-minute tour de force, Gilmour graces listeners with incredibly emotional harmonized leads and an innovative, pulsating rhythm part on acoustic guitar. With that song solitary, Gilmour puts himself in a league of his ain. On the adjacent track, "Pigs (Iii Different Ones)," Gilmour manipulates his guitar with a talk box to make his solos sound similar a pig squealing. That is the blazon of artistry that distinguishes Pink Floyd from other bands.

Keyboardist Rick Wright'southward contribution to Animals is as well (as always) invaluable. Wright'southward synth and keyboard parts are thin and hollow, low hanging and ominous. On "Dogs," Wright is able to create synths that mimic the sound of a mosquito, relentlessly buzzing in and out of the listener'south ears. Also on "Dogs," Wright distorts a Hammond organ to imitate the sound of dogs barking. Yet another instance of Pink Floyd pushing sonic boundaries on "Animals."

Conceptually, the album is a scathing denunciation of a system that was morally broke  in Waters' eyes. Waters based the concept loosely on George Orwell's Animal Subcontract . There are 3 songs — all over 10 minutes — at the centre of the album, bookended by ii cursory just powerful parts of what is essentially the same song. (This unusual album construction bears resemblance to "Wish You Were Here.")

The three master songs – "Dogs," "Pigs (Three Different Ones)" and "Sheep" — each accept on a different societal or economic institution. "Dogs" is a harrowing account of the cannibalistic and ravenous nature of businessmen trying to go ahead in the corporate world. It is a perturbing and powerful tale about gaining and losing control, well-nigh being a pack animal that finds himself dying alone. (Waters was clearly not an optimistic man during his 30s.)

"Pigs (Three Unlike Ones)" is a merciless assault on figures of British potency. Waters shows particular contempt for socially bourgeois leader Mary Whitehouse (whom he calls out by name), calling her a "house proud town mouse."

"Sheep" serves equally a conclusion of sorts to the three-song string at the heart of the album. Waters describes the "sheep" that are encouraged to overtake the "dogs," but who are just told in the end to stay inside and follow orders when the revolution is consummate. Waters completes his criticism of British society by condemning the complacency of the people, which has immune the dogs and pigs to flourish.

I have barely scratched the surface of Animals complication. It is an overwhelming yet supremely listenable album made past a band at the superlative of their creative power. 1 does not have to hold with Waters' bulletin to appreciate the sheer power this album delivers.

Nima Aminian is a junior majoring in economics. His column, Classics' Corner, runs every other Thursday.

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