In reference to the two composers who were responsible for opening the door “between poetry and song lyrics,” Roger Waters

When Pink Floyd was at its peak, the lyrics of its songs were nothing short of absurd. The following, for instance, is a genuine verse: “I know a mouse, and he hasn’t got a house / I don’t know why I call him Gerald / He’s getting rather old, but he’s a good mouse.” Taken from the song “Bike,” the band appears to have written a foolish tune that is apparently about a noble mouse who was merely pleading with Syd Barrett to call him Klaus.

However, things became increasingly serious for the band from a lyrical aspect after Barrett was removed from the band and Waters began to take greater influence over the core of the material in the 1970s. This was the beginning of the band’s decline. In point of fact, they had always been influenced by more accomplished songwriters, with Barrett writing songs such as “Bob Dylan Blues” in 1965. However, Waters made the decision to abandon the whimsical characteristics that were associated with it.

Suddenly, the group started coming up with brave ideas, and Waters came up with phrases that were more profound and profoundly impactful. “As far as my contemporaries, I am monumentally surprised how fucking scared my fellow musicians are to stick their heads out,” he declared as he began his mission to put the world to rights through the medium of poetry. However, he did not like the idea of merely being outspoken in a graceful and stylish manner, so he went to two of his favorite songwriters for inspiration.

During an appearance on Desert Island Discs, Waters stated that Leonard Cohen and Bob Dylan were the two individuals who gave us the opportunity to believe that there was a window of opportunity between poetry and song lyrics. After that, he proceeded to shower praise on ‘Bird on the Wire’, describing it as an essential effort performed by Cohen. How easy it is. In reference to the year 1969’s Songs From a Room album, he remarked that it was “so moving, so brilliant.”

Dylan, on the other hand, has consistently served as a source of motivation for the songwriter. Even more than that, he is the basis for Pink Floyd’s experimental music, not to mention the poetry that is yet to come. Howard Stern was told by Waters that “Sad-Eyed Lady of the Lowlands” had a profound impact on her life. “As soon as I heard that, I thought it seemed worthy. If Bob is able to achieve it, then I am able to do it as well. It is twenty minutes long, and it lasts for an entire hour. It does not in any way become dull, uninteresting, or anything else. You just keep getting more and more, and you continue to develop. When it continues for a longer period of time, it gets increasingly mesmerizing.

In many respects, Cohen and Dylan were instrumental in enabling a large number of musicians to express themselves more freely and to take risks with their lyrics. Cohen was a poet before he even became a musician, and if you believe Eric Clapton, Bob Dylan has never been anything other than a poet. Cohen was only ever a poet all along. It is explained by the guitarist that “He is a poet.” It might be said that he is a poet. Despite his voice, he does not trust it. Bob is not confident in his ability to play the guitar. With the exception of writing, he does not believe he is competent at anything, and even then, he has concerns about his abilities.

As stated by Waters, the door had been kicked open, and the hand-holding sentiments of the past were not going to return any time soon. However, musicians such as Joni Mitchell, Bill Withers, and Neil Young would soon push music down the same poetic path. In the words of David Bowie, “a new kind of intelligence” had come in the realm of pop songwriting.

When it came to the two men, however, there was a great deal more to them than just their poetry. In a simple explanation of his contemporaries, Dylan says, “When people talk about Leonard, they fail to mention his melodies, which to me, along with his lyrics, are his greatest genius.” Dylan is referring to Leonard’s melodies. The counterpoint lines, in particular, lend a heavenly quality and a melodic lift to each and every one of his songs.