These are what we call the 'YMMV items.' Things that some people find in this work. We call them 'your mileage might vary' because not everyone sees these things in the same way. This starts discussions in the trope lists, a thing we don't want. Please use the discussion page if you'd like to discuss any of these items.
Broken Base: Over The Final Cut and the post-Waters albums. In the former case there was a famous example where the editors of a Pink Floyd fan publication voted it their best album in the same issue as the fans voted it their worst. Then there's the matter with Syd Barrett's time with the band; some circles consider this period the only worthwhile moment in Floyd's history, while fans of the classic period consider it, as well as the band's pre-Dark Side work as a whole, an oddity at best.
Critical Backlash: They triggered a big one at the height of their career. NME was the biggest culprit, with a notoriously scathing concert review from the mid-1970s. For the most popular band performing a major Dead Horse Genre, it seems inevitable that critics would run them through a wood chipper.
Critical Dissonance: Despite being regularly trashed by some critics (you can find a good review for every Pink Floyd album if you look, and critics mostly ate up their early material; the pastings they would receive in The Seventies were more of the It's Popular, Now It Sucks kind), their albums sold truckloads. The band was eventually Vindicated by History in terms of critical acclaim and are retroactively now one of the most critically adored bands of the seventies. Rolling Stone for instance, named Wish You Were Here the worst album of 1975, but 30-odd years later, included it in the Top 100 of their Greatest Albums of All Time list.
Dork Age: The band members themselves see the period between Syd Barrett leaving and the release of Dark Side of the Moon as this.
Ending Fatigue: Usually inverted, as the songs take forever to start ("Time", "Shine On You Crazy Diamond"), but played straight sometimes ("Atom Heart Mother"). "Echoes" and "Atom Heart Mother" take the cake, though: they take forever to start and they take forever to end. (The band members themselves were critical of the latter in later years for its lack of focus.) "A Saucerful of Secrets" gets a special mention for not really having what can be called a "start" or an "end".
Ensemble Darkhorse: Upon Wright's death, David Gilmour remarked that when Wright played with him on his tour supporting Gilmour's solo album On an Island, Wright got the biggest standing ovation when he introduced the band members.
Syd Barrett. He's only been a part of the first two albums out of the fourteen total (he hardly contributed to the second one), yet he's one of the most fondly known members amongst fans and even the rest of the band. Especially in contrast with Nick Mason, who appeared on all of the albums yet is not as widely acknowledged as Syd or the others.
Face of the Band: First Syd, later Roger and David. Partially subverted in that the band strove not to have a "face." This was much easier before the Internet made fans aware of what the band members actually looked like.
Growing the Beard: After five psychedelic and experimental albums, Meddle is where they really developed the sound they would become famous for.
Harsher in Hindsight: The Final Cut by Pink Floyd is both disturbingly prophetic and harrowing to listen to. Granted, the album was protesting the 1982 invasion of the Falkland Islands by the UK, but the track "Keep Your Hands of My Desert" features someone (Roger Waters) screaming, "Hey! Keep your hands off my desert!", followed shortly by the sound of an airplane flying over and an explosion. Yikes.
The Scarecrow from the band's first album seems to accidentally foreshadow Syd's dementia.
His head did no thinking, his arms didn't move...
"The Great Gig In The Sky", which Richard Wright composed, after his death.
And the fact that Syd passed away not long before Rick.
Somewhat similarly, "Dogs" contains the lyrics "Just another sad old man/all alone and dying of cancer" which become much harsher when you realize Richard Wright died of cancer and that he suffered from depression.
Nick Mason joking that "we lust after money to some extent" in Live in Pompeii becomes harsher in light of the difficulties Pink Floyd had in dealing with their success after The Dark Side of the Moon. The joke itself also becomes a bit more serious since in a previous interview section, David Gilmour states that he had a "breadline or less" existence before joining Pink Floyd. (Gilmour is actually understating it: he unsuccessfully busked around Spain and France before joining Pink Floyd and actually required treatment for malnutrition.)
During the odd 1967 interview with Hans Keller, Keller asks "Do you feel any hostility towards the audience?" in which Roger Waters answers with an emphatic "No! Not at all!". Fast forward to Montreal in 1977, however....
Somewhat justified, in that the audiences Pink Floyd played in 1967 as an underground British psychedelic band were consierably smaller, more intimate, and manageable than the ones they'd play to by the late 1970's as a successful "arena rock" band. Roger had a lot more reason to feel hostile as they played to bigger, rowdier crowds than in their earlier years.
The line "Witness the man who raves at the wall" in "Set The Controls for the Heart of the Sun".
If you remember that Live in Pompeii was released just a year before The Dark Side of the Moon, Nick Mason's interview section becomes absolutely hilarious. Mason reflects that Pink Floyd "mark a sort of era" and are "in danger of becoming a relic of the past", stating that for some people they represent "the underground in London, the free concert in Hyde Park and so on" of The Sixties and that they've had difficulties overcoming that perception. He also comments that "we have some pretty good arguments from time to time" and "we do have infighting... but without actually exploding", jokes that "we lust after money to some extent", and suggests that the "whole thing breaks down" when one person decides that they can do something better by themselves or are no longer interested.
I Am Not Shazam: "Oh, by the way, which one's Pink?", as mentioned in the 1975 song, "Have a Cigar".
Just Here For Pink Floyd: Generally the case in the rare instances where people go out of their way to see the films La Valée or More. Often the case with Zabriskie Point, too.
Most Annoying Sound: An intentional application of this trope, on the long-play record for Atom Heart Mother. The last song, Alan's Psychedelic Breakfast, ends with the sound of dripping from a kitchen tap. On the LP, the groove was made in a loop at the end, so that the needle would continuously play through that dripping sound over and over again until manually lifted off the record or turned off entirely, simulating a leaky faucet in the kitchen in record-form.
Nightmare Retardant: The song "Cymbaline" from Soundtrack From the Film "More". Though it is an undeniably somber song, it's actually supposed to describe a nightmare, and "Nightmare" was its working title. Live performances contained a soundscape of "scary" sounds such as footsteps and creaking doors intended to frighten the audience. During one performance a fan sarcastically screamed "I'M SCARED!" during this segment.
They Just Didn't Care: The American version of A Nice Pair, a compilation of the band's first two albums, substituted the live version of "Astronomy Domine" for the studio version for some reason.
Tough Act to Follow: The whole band while making Wish You Were Here. Not only were they trying to follow up a massive hit album, Roger and Nick were both going through divorces. Eventually Waters decided the only way the album was going to get done was to make it about the pressures and sense of alientation the band were experiencing then and there, even though it meant throwing out about half the material they had at that point (most of the discarded material was later reworked as the songs "Dogs" and "Sheep", from Animals).
Arguably, the albums Gilmour made as bandleader, compared with the Waters-written masterpieces. Also, when Waters took over from Syd Barrett, especially since it took about 3 years for Waters to properly emerge as bandleader.
Like a lot of classic rock bands, including Led Zeppelin, critics hated them in The Seventies but proclaim the band as geniuses today.
Rolling Stone famously lambasted Wish You Were Here, declaring it "actually nothing more than the skillful manipulation of elements so simple — the basic three chords everyone else uses — that any collection of bar hacks could grind out a note-for-note reproduction without difficulty", and complaining that "they give such a matter-of-fact reading of the goddamn thing that they might as well be singing about Roger Waters's brother-in-law getting a parking ticket". 30 years later, it was included on their 500 Greatest Albums of All Time
Roger Waters' solo albums and tours were slow sellers, but Waters became an in-demand live act around the Turn of the Millennium.
Yoko Oh No: Gilmour's then-girlfriend, Polly Samson, wrote the lyrics for most of the songs on The Division Bell. Arguably justified as Samson is a professional writer and Gilmour has always considered himself a sub-par lyricist (he asked for help on that front from Anthony Moore as well).