Pink Floyd - Dark Side Of The Moon

Year of Release: 1992
Label: Capitol
Catalog Number: CDP 7 46001 2
Format: CD
Total Time: 42:58:00

30 years have got behind since music listeners first ventured to the Dark Side Of The Moon. I'm sure when Pink Floyd entered the studio to record this album, they had no idea that it would spend close to forever on Billboard's Top 200 Albums chart, at yet it did. 741 weeks. 14 years. And yet why? What is it about Dark Side Of The Moon that makes it so long lasting? I'll admit I'm biased because I simply love this album, and hearing it again, I love it even more. It means that I will speak of this album in exalted tones (at least in my own head they are that way). And it's more than just nostalgia.

First, let me say again that I love this album. For the most part, DSOTM (as we'll hereafter abbreviate it) is a floaty, shimmery, spacey epic of an album that picks up from first cries of "Speak To Me" and carries you along until the final note of "Eclipse." Now, the space isn't the starry skies above, despite the word "moon" in the title - it's a metaphor, you see. No, that space is found between your ears? hopefully occupied by ugly but necessary gray matter. This is an album is what headphones are made for - and the stellar engineering from Alan Parsons has made this album the one that's often used to demo the fidelity of audio equipment. Those spacey sections make the moments where things explode all that more epic. We see this in the initially watery, peaceful, calming "Us And Them," which helps even you out after the excitement of the somewhat vitriolic "Money". While the music can be unifying, the lyrics tell you it's anything but. And then there's that explosive epic chorus. The other point where we get contrast is in "Brain Damage" where it is driven by Wright's keyboards. These contrasts between calm and explosive are cathartic? tension? and release? but it's those final notes of "Eclipse" that leave you in limbo? what comes next?

Oh, before I forget: I love this album.

Speaking of one's grey matter, aside from the references to insanity (and you know Waters, who wrote all the lyrics, was thinking of Syd Barrett), this is an album for your brain. I mean, Water's lyrics themselves are easy enough to remember - and in fact, you can't help but sing along - but read between the lines, and you find a wealth of meaning and commentary. Ah, but I'll leave that for the band to explain in the DVD [which, coincidentally, Keith has reviewed this very issue -ed.]. Just know that all that you hear, all that you read, and everything you think, was subtly planted there by Waters.

Anyone who has listened to radio in the last 30 years has heard parts of, if not all of, this album. Of course, nowadays, that means classic rock radio stations; don't think we'll find the spacey, sultry, sexy opening piece "Speak To Me" next to the latest pop tart (a term I'm sure someone has already under copyright). Even if you don't own your very own copy of this album (and why not?), you have more than likely heard all of it. If you've ever been to a laser light show at your local planetarium, then you've heard DSOTM. Oh, and speaking of sexy, how about the orgasmatic vocal solo from Clare Torry in "Great Gig In The Sky"? How many times since has this element been imitated? How can you not feel the sheer release that voice forces from you.

DSOTM is one of those instances when everything comes together - though when the "making of" DVD is released shortly, we'll see just how well things jelled behind the scenes. Production and performance are just right. Tracks smoothly transition from one to the other, carrying you along on a floaty bed of sound. Well, you do get set on your feet a bit for "Money" (love Dick Parry's throaty sax here). You'd think 30 years on that the sound of a cash register would sound quaint in this age of silent, computerized, registers that can even entertain you with animated ads and colourful displays. And maybe they do to those who don't remember anything but.

So, in case it's not obvious. I love this album. From Water's often cynical view, the guitar solos from Gilmour (oh, you know how I love emotive guitar solos), the cool percussion from Mason, the driving keys from Wright, and that big bass sound from Waters? if ever a band hit their stride, this is it.

Well, the time is gone, the review is over, though I've one more thing to say. Run, listener, run? and join the hi-fidelity first class traveling set ? on the dark side of the moon.

First released in 1973 on Harvest (11163)

Speak To Me (1:09) / Breathe (2:49) / On The Run (3:31) / Time (7:05) / The Great Gig In The Sky (4:47) / Money (6:23) / Us And Them (7:48) / Any Colour You Like (3:25) / Brain Damage (3:50) / Eclipse (2:06)

Richard Wright - keyboards, vocals, VCS3
David Gilmour - guitars, vocals,VCS3
Nick Mason - drums, percussion, tape effects
Roger Waters - bass, vocals, VCS3, tape effects


Dick Parry - saxophone
Clare Torry - vocals
Doris Troy, Leslie Duncan, Liza Strike, Barry St. John - backing vocals

The Piper At The Gates Of Dawn (1967)
Tonite Let's All Make Love In London (1968)
A Saucerful Of Secrets (1968)
More (1969)
Ummagumma (1969)
Atom Heart Mother (1970)
Relics (1971)
Meddle (1971)
Obscured By Clouds (1972)
Dark Side Of The Moon (1973/1992)
Wish You Were Here (1975)
Animals (1977)
The Wall (1979)
Collection Of Great Dance Songs (1981)
Works (1983)
The Final Cut (1983)
The Committee (1985)
A Momentary Lapse Of Reason (1987)
Delicate Sound Of Thunder (1988)
Shine On (Boxed Set) (1992)
The Division Bell (1994)
Pulse (1995)
Wish You Were Here - 25th Anniversary Edition (2000)
Echoes - The Best Of Pink Floyd (2001)
Dark Side Of The Moon - 30th Anniversary Edition (SACD) (2003)
The Piper At The Gates Of Dawn - 40th Anniversary Edition (2007) (2 and 3CD editions)
Oh By The Way (16CD Box) (2007)

Dark Side Of The Moon (2003) (VID/DVD)

Genre: Progressive Rock

Origin UK

Added: August 24th 2003
Reviewer: Stephanie Sollow
Artist website:
Hits: 654
Language: english


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