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Post by Mad Bugger on Jun 6, 2016 2:45:45 GMT
Here you can discuss said album and related thingies!
I listened to it a few weeks ago and loved it! I'd already heard plenty of tracks from it before I'd heard the entire album, so it really was a treat to listen to it as one cohesive unit.
I think that perhaps Us and Them (LOVE David's voice on this one), Brain Damage (lyrics are great!), Breathe (ditto with previous track; love the melody) and The Great Gig in The Sky (Ricky's piano work gets a 10/10 on this one) would be the closest I could get to choosing a favourite track, though the lattermost one had me needing to get used to all that female vocal (I don't usually listen to female artists that much; I haven't found one that I particularly like).
So far, I think it'd be my second favourite Floyd album, as I personally think that The Wall's story flows a tad better than that of this album's, but perhaps it'll grow on me more with Time*. ^u^
*Floydy pun
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Post by The Lunatic on Jun 6, 2016 13:42:53 GMT
This is my favourite Floyd album and I'm not ashamed to say it (except on days that Wish You Were Here is my favourite Floyd album...) Anyway, yes, I truly believe that there is a reason DSOTM is as famous as it is. It truly is their best work, as a conceptually and musically cohesive unit ( WYWH is possibly more cohesive musically, and The Wall more cohesive conceptually, but DSOTM has the best of both worlds). Okay, Animals is pretty cohesive, but it's not nearly as accessible as this one (you gotta be crazy to listen to all 17:04 minutes of 'Dogs'  ) and also, DSOTM is far more universal-- it's just lyrically astounding, how prescient some of the songs are (especially 'Breathe' and 'Time', my old favourites, though all of them have grown on me and I go through phases of the moon liking different ones especially  ). 'The Great Gig In The Sky' is pretty polarising-- some love Clare Torry's caterwauling, and some hate it. I personally think it's brilliant, even though, like Mad Bugger, I don't listen to littlefemaley artists much either. I do agree, Ricky gets kudos for his frabjous pianobanging. He also gets kudos for his frabjous pianoandotherkeyboardythings-banging on 'Us And Them', my favourite DSOTM track on odd days of the week. Also, Nick really shines on this album. Just go through and focus exclusively on the drums sometime-- I guarantee your mind will be blown or your 'Money' back (he's especially especially good on that track, though, kidding aside). Also, the ending always reminds me of 'The End' of Abbey Road by *that other band*. Then of course you mustn't forget 'Ticket To Ride'... |
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Post by seamusthesheepdog on Jun 7, 2016 6:55:15 GMT
The only thing that stops this album from being perfect for me is 'On the Run'. I don't mind listening to it, but it seems to go on for way too long.
Of course, some people would say The Dark Side of the Force is the sum of all its parts, including 'On the Run'-- but I don't think anyone can disagree that it's the worst song on it.
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Post by The Lunatic on Jun 7, 2016 14:10:15 GMT
The only thing that stops this album from being perfect for me is 'On the Run'. I don't mind listening to it, but it seems to go on for way too long. Of course, some people would say The Dark Side of the Force is the sum of all its parts, including 'On the Run'-- but I don't think anyone can disagree that it's the worst song on it. I do concur. That and 'Atom Heart Mother' are the only Pink Floyd songs on any album ever that I habitually skip (though AHM rocks pretty good live). If it were shorter, it'd be a brilliant little segue between 'Breathe' and 'Time' (or perhaps just string those together, I wouldn't mind). Otherwise the album is PERFECT. |
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Post by Mad Bugger on Jun 9, 2016 2:08:21 GMT
This is my favourite Floyd album and I'm not ashamed to say it (except on days that Wish You Were Here is my favourite Floyd album...) Anyway, yes, I truly believe that there is a reason DSOTM is as famous as it is. It truly is their best work, as a conceptually and musically cohesive unit ( WYWH is possibly more cohesive musically, and The Wall more cohesive conceptually, but DSOTM has the best of both worlds). Okay, Animals is pretty cohesive, but it's not nearly as accessible as this one (you gotta be crazy to listen to all 17:04 minutes of 'Dogs' ) and also, DSOTM is far more universal-- it's just lyrically astounding, how prescient some of the songs are (especially 'Breathe' and 'Time', my old favourites, though all of them have grown on me and I go through phases of the moon liking different ones especially ). 'The Great Gig In The Sky' is pretty polarising-- some love Clare Torry's caterwauling, and some hate it. I personally think it's brilliant, even though, like Mad Bugger, I don't listen to littlefemaley artists much either. I do agree, Ricky gets kudos for his frabjous pianobanging. He also gets kudos for his frabjous pianoandotherkeyboardythings-banging on 'Us And Them', my favourite DSOTM track on odd days of the week. Also, Nick really shines on this album. Just go through and focus exclusively on the drums sometime-- I guarantee your mind will be blown or your 'Money' back (he's especially especially good on that track, though, kidding aside). Also, the ending always reminds me of 'The End' of Abbey Road by *that other band*. Then of course you mustn't forget 'Ticket To Ride'... Yeah, I noticed that too! |
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Post by The Lunatic on Jun 12, 2016 15:46:22 GMT
My dad came up with a brilliant little theory about the concept of this one... he was listening to it and he said he noticed it sounded as though Roger was sanging about religion. 'Home Again (Breathe Reprise)' has an obvious reference to the tolling on the iron bell that calls the *faith*ful to their knees to hear the softly spoken magic spells. For instance, 'Brain Damage': 'the lunatic is on the grass' sounds like 'cross' cos Roger's fab English accent; 'got to keep the loonies on the path...and if there is no room upon the hill...you raise the blade, you make the change/ You rearrange me till I'm sane/ You lock the door/ And throw away the key/ There's someone in my head, but it's not me...' Basically, religious brainwashing, and then 'you' begin to think outside the box, so to speak, and then you see the distance between your new scary thoughts and the way everyone else does everything, and the singer invites you to the dark side of the moon, which is the unknown, the mystery. What Roger was probably talking about is society/civilisation-in-general-brainwashing, but religion is, of course, a very strong component of that. To my mind, 'Eclipse' is basically saying that everything familiar, like a certain way of thinking (including religion), your entire conception of how everything works, it's all connected, and it is all eclipsed by the mystery and unknown, which is what I think tDSotM represents. Maybe. Then again, I did think that particular theory up at like 11 pm at night about four months ago, so it's probably pretty rubbish. Oh, and my other theory is that the entire first side is a life story-- 'Breathe' is the birth, the beginning of life, and then you're 'On the Run', and then 'Time' comes and one day you find ten years have got behind you... and then the time is gone, song is over... and then you're 'Home Again' (see note above about the religious aspect of this'n), at 'TGGITS' which is death. No idea about 'Money'; Rog did say he felt it didn't fit with the concept too well, but it works because PINKFLOYD. (Apollogees if there are any religious members I'm offending; just another brick in the wall interpretation.) THE GREAT THING ABOUT PINK FLOYD IS YOU CAN THROW ANY RUBBISH THEORY AT IT AND IT HOLDS UP BRILLIANTLY, EVEN IF THEY PROBABLY NEVER EVEN THOUGHT OF IT! |
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Post by Mad Bugger on Jun 13, 2016 1:23:14 GMT
My dad came up with a brilliant little theory about the concept of this one... he was listening to it and he said he noticed it sounded as though Roger was sanging about religion. 'Home Again (Breathe Reprise)' has an obvious reference to the tolling on the iron bell that calls the *faith*ful to their knees to hear the softly spoken magic spells. For instance, 'Brain Damage': 'the lunatic is on the grass' sounds like 'cross' cos Roger's fab English accent; 'got to keep the loonies on the path...and if there is no room upon the hill...you raise the blade, you make the change/ You rearrange me till I'm sane/ You lock the door/ And throw away the key/ There's someone in my head, but it's not me...' Basically, religious brainwashing, and then 'you' begin to think outside the box, so to speak, and then you see the distance between your new scary thoughts and the way everyone else does everything, and the singer invites you to the dark side of the moon, which is the unknown, the mystery. What Roger was probably talking about is society/civilisation-in-general-brainwashing, but religion is, of course, a very strong component of that. To my mind, 'Eclipse' is basically saying that everything familiar, like a certain way of thinking (including religion), your entire conception of how everything works, it's all connected, and it is all eclipsed by the mystery and unknown, which is what I think tDSotM represents. Maybe. Then again, I did think that particular theory up at like 11 pm at night about four months ago, so it's probably pretty rubbish. Oh, and my other theory is that the entire first side is a life story-- 'Breathe' is the birth, the beginning of life, and then you're 'On the Run', and then 'Time' comes and one day you find ten years have got behind you... and then the time is gone, song is over... and then you're 'Home Again' (see note above about the religious aspect of this'n), at 'TGGITS' which is death. No idea about 'Money'; Rog did say he felt it didn't fit with the concept too well, but it works because PINKFLOYD. (Apollogees if there are any religious members I'm offending; just another brick in the wall interpretation.) THE GREAT THING ABOUT PINK FLOYD IS YOU CAN THROW ANY RUBBISH THEORY AT IT AND IT HOLDS UP BRILLIANTLY, EVEN IF THEY PROBABLY NEVER EVEN THOUGHT OF IT! Very intriguing theory(ies), Ployd Finkerton! Maybe I could think up some interesting Floyd theories... *travels through depths of mind for ideas* |
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Post by The Lunatic on Jun 13, 2016 18:43:42 GMT
THE GREAT THING ABOUT PINK FLOYD IS YOU CAN THROW ANY RUBBISH THEORY AT IT AND IT HOLDS UP BRILLIANTLY, EVEN IF THEY PROBABLY NEVER EVEN THOUGHT OF IT! Very intriguing theory(ies), Ployd Finkerton! Maybe I could think up some interesting Floyd theories... *travels through depths of mind for ideas* Theories cannot be searched for. One must let them come on their own 'Time', like all ideas. My advice is to listen to the music wayyy too much at night-- that is generally when the best epiphanies are lit upon. |
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Post by The Lunatic on Jul 11, 2016 15:38:34 GMT
'The Great Gig In The Sky' is pretty polarising-- some love Clare Torry's caterwauling, and some hate it. I personally think it's brilliant, even though, like Mad Bugger, I don't listen to littlefemaley artists much either. I do agree, Ricky gets kudos for his frabjous pianobanging. And this live version is somewhat harder to listen to... But after learning the piano part, I realise I need to give Rick more kudos. I can't praise it enough-- my admiration of his talents has taken yet another unbelievable spike. RIIIIIIIIIIIIIIIIIIIICK |
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Post by TheVelvetBride on Nov 24, 2016 16:07:23 GMT
First time I ever listened to this was before I joined the *other* forum, and my thoughts were all bad. I think I only made it through the first 2 songs and then I quite on the 3rd, because I didn't understand it at all. But I really liked Breathe so I just listened to that one separately. Well, as everyone knows, Breathe (by itself) cuts off rather abruptly, so I tried to find a version with a fade out, but there wasn't one.
I ended up just adding all the tracks in album order to my Pink Floyd playlist, and then I listened to it, I got it, it clicked. (Of course, Silly Girl's rants and ravings helped push me deeper into their catalogue.)
I still like this album a lot, but it's definitely not my favourite any more.
And there is my Dark Side Of The Moon ramble.
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Post by The Lunatic on Nov 25, 2016 16:57:50 GMT
I recently discovered that my DSOTM CD is damaged beyond repair -- a great crack right from the middle! The Lunatic is a sad Lunatic now.  |
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Post by TheVelvetBride on Nov 25, 2016 17:46:51 GMT
I recently discovered that my DSOTM CD is damaged beyond repair -- a great crack right from the middle! The Lunatic is a sad Lunatic now. Perfect opportunity to get the vinyl! |
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Post by The Lunatic on Nov 26, 2016 1:04:00 GMT
I recently discovered that my DSOTM CD is damaged beyond repair -- a great crack right from the middle! The Lunatic is a sad Lunatic now. Perfect opportunity to get the vinyl! OOOH, now there's an idea!  *begins to lay evil plans* I noticed the other day that in the CD lyric booklet, the line in 'Breathe' is written as 'When at last the work is done / Don't sit down it's time to make another one', whereas the line is sung quite clearly as '... dig another one'. There are other discrepancies between the written and the sung lyrics, but that one is the most obvious. |
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Post by The Lunatic on Jan 7, 2017 13:25:35 GMT
I miss this album so much Absence makes the heart grow fonder, they say; currently it's my favourite Floyd album and probably my favourite album in all the world. I should do without Wish You Were Here for a while, that'd be fitting -- eh? Also I seen to have worn it out a bit. |
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Post by syd gilmour on Mar 2, 2017 16:52:48 GMT
Yesterday was the birthday of this materpiece.
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Post by The Lunatic on Mar 3, 2017 12:52:42 GMT
Yesterday was the birthday of this masterpiece. Crap... I forgot! I guess I'll have to mark my calendar next year. Oh well, I'll listen to it today if I can. |
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Post by syd gilmour on Mar 5, 2017 4:48:54 GMT
I always though Money was a little bit overrated, especially after listening to the album twice a day for months. I even used to call the 7/4 time signature "a gimick."
Who did I think I was? Too good for Money? No way. This song is fanatstic, and has similar levels of sax induced groovitude to Shine On You Crazy Diamond.
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Post by The Lunatic on Mar 5, 2017 13:48:42 GMT
I always though Money was a little bit overrated, especially after listening to the album twice a day for months. I even used to call the 7/4 time signature "a gimick." Who did I think I was? Too good for Money? No way. This song is fanatstic, and has similar levels of sax induced groovitude to Shine On You Crazy Diamond. SAX-INDUCED GROOVITUDE!!! THAT IS THE BEST THING I HAVE EVER HEARD YOU SAY!  Yeah, 'Money' is a big song and all, but it is a headbanger. I mean, that riff alone is one of the most iconic bass riffs ever, and insanely catchy and just generally tight. I've been working at learning the guitar solo, and it's brilliant. If we're talking about The Songs Everyone Knows, then I much prefer it to 'Another Brick In The Wall Part II', although I'd have to say 'Wish You Were Here' is my favourite. |
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Post by thinyoungmoon on Aug 26, 2017 20:23:49 GMT
Aww, there are so many great thoughts about this masterpiece in this thread, I love'em all, especially the theory about the first side being about an entire life and the theory about religion!  Currently, this is my favourite Pink Floyd album again, I listen to it every day at least once, at the moment, preferably together with Wish You Were Here, after that one can't think probably anymore for the rest of the day/night. My favourite parts are probably: - the lyrics of Breathe, they are packed with wise insights without being didactic. For example 'Don't be afraid to care' that is so clever because so many fear about losing their independence and becoming vulnerable and weak if they actually care about something since finding something important always also means that one gets emotionally attached to it and is dependent on this thing/person's well-being. Also the lines And smiles you'll give and tears you'll cry
/ And all you touch and all you see
/Is all your life will ever be are ingenious because, as I understand them, they emphasize how everyone's perception of reality is different and how we'll never be able to understand reality but will always only see our image of it, so they're about subjectivity (I'll come to this thought again at the end). -The percussion at the beginning of Time, it reminds me of an elf ring where witches dance around and make an incantation, I really don't know why I think that. - THE BASSLINE IN MONEY!!!! One of the grooviest, catchiest things I've ever heard! -The chords in Us And Them, I was playing them the other day and only then I realised how incredible they are! I've always loved how 'open' they sounded as if they were just floating in the air without every intention to ever be resolved ( I'm especially talking about the chords at the beginning which are played by the guitar in arpeggios). But when I realised which chords they actually are, I was even more amazed, Faug/D is one of my favourite chords now! -Any Colour You Like! The whole song is so awesome, when I listen to it in the dark and close my eyes I really see loads of colours floating around in front of my inner eye, it's a mind-blowing experience every time! There are so, so many more great moments but I think before this gets too long here are some general thoughts on the whole album as a conclusion: Apart from the INCREDIBLE music on the album, my favourite aspect of it is probably the comforting aspect. This is one of the most comforting albums I know as there are lots of human weaknesses addressed. For example, in Breathe (I've already mentioned them above), in Time (the feeling of wasting one's time and not doing anything meaningful with one's life), in The Great Gig In The Sky the fear of death is mentioned, greed in Money, and of course insanity in Brain Damage. All these flaws are addressed but, except for Money maybe, not in a preachy way but rather in an understanding and often also comforting way so that one doesn't feel alone with all the imperfections anymore which, at least I did, one recognises in oneself while listening to them. And the big (but not final) climax 'I'll see you at the dark side of the moon' was always one of the most comforting moments in a piece of music ever, for me because it basically says: 'Everyone is a little insane because there is no such thing as 'normal' as everyone is individual anyway. You're not alone in your craziness and imperfection'. Additionally, I find the thought of everything being subjective really intriguing. I've already mentioned above, in my thoughts on 'Breathe', how they were already thematised earlier in the album and then again in 'Eclipse' with the famous quote at the very end which says that we will always see the world from our perspective although we know it's probably not reality; but for us it seems like reality because we only see one bright and one dark side even though that's not the way it really is. So we're always constrained by our senses and our perception which is one major reason why we're all so different and some are 'more lunatics than others'-because we all see the world in a different way and only thinking and logic can help realise some things despite our limitations. |
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Post by The Lunatic on Sept 9, 2017 17:45:13 GMT
The other evening, Silly Dad* and I were discussing the merits of this beautiful, wonderful, masterful album, and I was reflecting upon the cover, how they interpreted it, and what I had heard (somewhere -- can't tell you now) it represented -- the band being unified on the white beam of light side, and then going through that album-period and refracting, splitting up, becoming no longer unified, into individual colours.
Now at first glance, that may not quite seem to make sense -- The Dark Side Of The Moon was probably their most unified work to date, right? But if you think about it another way (which I did), the white light is all that they were, all that they would be, all their potential untapped -- and then the album itself is the prism, the lens through which their sound was filtered, refined, into the Pink Floyd that most people think of when they think of Pink Floyd. Everything they did afterward, they already had in them -- and you hear glimpses of it on earlier albums, Meddle and OBC most notably -- but it was only with this album that the potential** was realised.
Returning to the original sense of the band being refracted, in another way, the album's success was a prism in itself: after The Dark Side of the Moon became insanely successful, the pressure was on, and it was then that the seeds for the band's later acrimony began to germinate. So where before they weren't quite successful enough for their problems to be great problems, afterward they had all this money and pressure from people wanting hit records and for them to play 'Money' when they were trying to play 'Pigs' and to know which one is Pink, really? and it just went downhill from there. Roger in particular let it go to his head, probably.  (Though, really, if I'd written something I knew was as great as DSOTM, and it became that massively successful, I'd probably let it go to my head too -- and if the audience were yelling for me to play my hit record instead of LISTENING to what I was PLAYING, I'd probably view the prospect of playing to walls instead of people favourably too.)
So, basically, I have just proven theoretically that The Dark Side Of The Moon boasts subjectively the most mind-blowingly representatively brilliant cover art of all time. 
*can't get rid of this nickmasonname 
**I'm talking about their potential to make concept albums with brilliant, thought-provoking, prescient commentary on human experience, all wreathed in increasingly deliberate and masterful soundscapes, rather than their potential to make good music -- which of course they had all along. 
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) and also, DSOTM is far more universal-- it's just lyrically astounding, how prescient some of the songs are (especially 'Breathe' and 'Time', my old favourites, though all of them have grown on me and I go through phases of 
). 
*begins to lay evil plans*
(Though, really, if I'd written something I knew was as great as DSOTM, and it became that massively successful, I'd probably let it go to my head too -- and if the audience were yelling for me to play my hit record instead of LISTENING to what I was PLAYING, I'd probably view the prospect of playing to walls instead of people favourably too.) 
