"Novices to the world of acclaimed rock music looking to cut their teeth wouldn't have to dig very deep to find evidence of The Dark Side of the Moon's legacy and societal imprint. After all, this is a record that is arguably the most universally celebrated and globally popular in modern history. ...""Novices to the world of acclaimed rock music looking to cut their teeth wouldn't have to dig very deep to find evidence of The Dark Side of the Moon's legacy and societal imprint. After all, this is a record that is arguably the most universally celebrated and globally popular in modern history. Unfortunately, nowadays it's characterized, more often than not, by hyperbole. This is a shame really because it's pinpoint nuance that makes The Dark Side of the Moon one of the finest albums to grace humanity's collective eardrums. The record radiates a sound of a group that knows exactly what it wants to achieve sonically and signals the completion of a maturation that has occurred over the course of a handful of prior outings. Take 1971's Meddle for example. It's one of Floyd's finest without reservation, boasting immense successes such as Fearless and San Tropez, but there is a rather hefty outlier laden within the tracklist. To be clear, I'm using the term outlier in its most complimentary form. The 23 minute behemoth, Echoes, ended the record and served as a roadmap for where the band would venture next. The destination was a cosmic, ethereal, metaphysical realm that they dubbed The Dark Side of the Moon.
The album commences with Speak to Me, a transport that can loosely be described as a track, however, its importance is critical to the LP's DNA. The track is fronted by a literal heartbeat and incorporates various samples (faintly heard) that coordinate with future expositions, elapsing to lay out the coming journey that remains ahead. They say that your life flashes before you on your deathbed, but here the band have presented those nanoseconds at birth. It's an intriguing concept put lightly. After a short (breath) of cognizance, third track, On the Run, epitomizes the frantic rigors that life will bestow upon its participants. Synths and a Hammond organ spark throughout the frenetic, instrumental piece that help craft one of Floyd's most satisfying short-burst affirmations. A cacophony of alarm bells greet you when fourth track Time, one of Floyd's most cherished works, emerges. The song, unsurprisingly, deals with the passage of its namesake and how it is futile to protest against the all-devouring pull of its black hole. The horology driven track is arguably the album's spaciest statement, as it glides wonderfully across an unblemished, unsullied terrain. David Gilmour's lead vocals are hoisted by the serene backing of a myriad of singers before he himself uncorks a guitar solo of unflinching allure. Gilmour warns, "Tired of lying in the sunshine staying home to watch the rain; you are young and life is long and there is time to kill today, and then one day you find ten years have got behind you; no one told you when to run, you missed the starting gun." The Dark Side of the Moon has just revealed its first treasure. The final track of the A side is a bit of a deviation, but not in quality. The stunning, non-lexical vocal stylings of Clare Torry caress The Great Gig in the Sky, which stands in as a figurative grim reaper. If only dying could be this inviting. Her yowls seep into every crevice and cranny of the instrumentation, fusing into an intense moment of catharsis as side one fades out.
The tranquility subsides with an exchange of currency but this particular quid is of the funky variety. Money benefits substantially from drummer Nick Mason and session saxophonist Dick Parry. Mason excels against a tricky 7/4 time signature which is later converted to 4/4 for Gilmour's punctual guitar solo. Parry's sax shepherds the track through that very transition with all the eccentricities of a free jazz maestro. Thematically, the track mocks the pursuit of monetary wealth in the grand scheme of life's expansive possibility. "Money, it's a gas; grab that cash with both hands and make a stash; New car, caviar, four-star daydream, think I'll buy me a football team," elicits Gilmour. Money is, without opposition, the wittiest voyage on the album. Seventh track, Us and Them, shreds any remaining inklings of snarky banter. The nearly eight-minute cut is an expedition through the nucleus of human interaction and conflict. It's also the highpoint for melodic elegance on the record. For instance, the vocal harmony shared between Gilmour and Richard Wright, supported by the returning vocal quintet from Time, dishes out multiple crescendos which never fail to produce goosebumps. Dick Parry also returns, once again armed with his tenor saxophone. He contributes healthy doses of chaos alongside the angelic climaxes. Gilmour and Wright cry, "Haven't you heard it's a battle of words, the poster bearer cried, listen, son, said the man with the gun, There's room for you inside." Incredible is too tame a word for Us and Them. Any Colour You Like bridges the gap between Us and Them and the final two tracks of the record. Brain Damage, previously known as "Lunatic", is an uncompromising examination of the deterioration of one's mental health. It's a notably subdued moment on the LP, treading lightly in the manner in which one would approach a loved one battling cognitive disarray. Roger Waters tries his hand here, chanting, "And if the dam breaks open many years too soon, and if there is no room upon the hill, and if your head explodes with dark forebodings too; I'll see you on the dark side of the moon." These lyrics seem to metaphorically chronicle the spiraling psychological state of former Floyd compatriot, Syd Barrett. More details on that in 1975. The album comes to a stirring, reflective ending on Eclipse. It unfurls almost as a warning to its audience to take life seriously and thoroughly taste every precious drop of elixir it grants. Waters bestows, "And all that is now and all that is gone, and all that's to come and everything under the sun is in tune, but the sun is eclipsed by the moon." The track departs with the heartbeat that introduced the record's arrival. It's the symbolic ending of a journey, or is it a rebirth?
The Dark Side of the Moon continues to induce innumerable headlines, but it's the subtext which serves as a finer asseveration of its invincibility. Its chart topping run isn't the catalyst for the album's cultural staying power, nor is it typified by its pieces. It was constructed with the intention to be consumed wholly in the same fashion in which humans cannot pick and choose select instances within a lifetime. Yes, the performances are marvelous, but it's the uncolored edges of ruminative headspace between the sonic apexes that truly hold the jewels. It's not Pink Floyd's most personal outing (Wish You Were Here) or even their most technically proficient (Animals), but it remains their most essential due to its kinship with the human condition. The truth is, yes, it really is that good. Look within life's tiniest moments for validation.
"Every year is getting shorter, never seem to find the time,
Plans that either come to naught or half a page of scribbled lines,
Hanging on in quiet desperation is the English way,
The time is gone, the song is over, thought I'd something more to say."
-Time
Standout Tracks:
1. Us and Them
2. Time
3. Brain Damage
93.6"[+]Reply
"This used to be my favorite record, and honestly I still don't really understand how someone couldn't like it. Of course opinions are subjective, but what is to dislike about this record? Even the longer tracks, which some more casual listeners don't find enjoyable in general, are made in the fas...""This used to be my favorite record, and honestly I still don't really understand how someone couldn't like it. Of course opinions are subjective, but what is to dislike about this record? Even the longer tracks, which some more casual listeners don't find enjoyable in general, are made in the fashion of Pink Floyd, which, for some reason, people have always been more partial to in accepting longer form tracks (think about the popularity of Comfortably Numb).
The lyrics are the best of any Pink Floyd record. They are flooding with emotion. These themes were only brought further to the forefront of Water's mind when Syd Barret himself came and visited them during the production of the album. The eulogy to his legacy, as well as the love song of friendship that is the title track both are gems and some of the best songs I've ever heard. The other two songs are biting criticisms of the music industry; sarcasm seeps into every part of the vocals during the track 'Have a Cigar'.
This album is amazing, from the beginning until the end. It is Pink Floyd's magnum opus. Hand down."[+]Reply
"Sadly, I discovered how important Bowie's music is, especially this album, only after he died. I've always been a fan, but I feel slightly guilty for listening mostly to his "hits" prior to his death, leaving me unaware of many great tracks until more recently."Reply
"6 of the 8 songs on this album - "Black Dog", "Rock and Roll", "Going to California", "The Battle of Evermore", "Stairway to Heaven" and "When the Levee Breaks" are rock masterpieces. Those tracks alone are enough to warrant this album an exceptional score, but "Misty Mountain Hop", a slightly sa...""6 of the 8 songs on this album - "Black Dog", "Rock and Roll", "Going to California", "The Battle of Evermore", "Stairway to Heaven" and "When the Levee Breaks" are rock masterpieces. Those tracks alone are enough to warrant this album an exceptional score, but "Misty Mountain Hop", a slightly satirical take on the lifestyle on early 70s hippies, is also a near-masterpiece, and one of Zeppelin's most underrated songs. "Four Sticks" is the weakest track on the album, but it is still a good song.
This album - and Led Zeppelin as a band - is often categorised as heavy metal by critics, but I would not call Led Zeppelin a heavy metal band or this album a heavy metal album, although both this album and influenced almost all metal bands that followed, even to this day. None of the songs on this album come close to metal, especially if you compare it to an album like Master of Reality, a4 contemporary release by Black Sabbath. The fourth Led Zeppelin album is very much a hard rock album, with elements of blues rock, folk rock and even progressive rock, all of which are exemplified on "Stairway to Heaven". "[+]Reply
"What can you say about Rumours that has not already been said? One of the most beautiful and yet bittersweet collection of songs ever put on record. It's impossible to pick standout tracks because they are all equally good but different to each other. How the record shifts from Chrissy's heartbre...""What can you say about Rumours that has not already been said? One of the most beautiful and yet bittersweet collection of songs ever put on record. It's impossible to pick standout tracks because they are all equally good but different to each other. How the record shifts from Chrissy's heartbreakingly wistful performance on "Songbird" and builds thru to Lindsey/John's climatic finish to "The Chain" leaves your head spinning and is undoubtedly one of the finest passages of rock music ever commited to vinyl."[+]Reply
"It's quite unfortunate that this work is pigeonholed into the punk category. Even labeling this Rock 'n' Roll doesn't do it justice. What sets this album apart from the pack is it's sheer diversity and seamless blend of many influences. You can everything from Woody Guthrie, The Kinks, The Who, B...""It's quite unfortunate that this work is pigeonholed into the punk category. Even labeling this Rock 'n' Roll doesn't do it justice. What sets this album apart from the pack is it's sheer diversity and seamless blend of many influences. You can everything from Woody Guthrie, The Kinks, The Who, Bob Marley, The Sex Pistols, Bob Dylan and the list goes on and on. All of this in 19 songs and 64 minutes. Elvis should be honored by the fact that the cover of this work is a tribute to the cover of his 1956 debut. "[+]Reply
"As opposed to most BAE, The Wall is an album that requires to be shelved every once in a while. It can be just darn too depressive and all consuming. However, every time it gets a dusting, I am reminded that this is the greatest concept album/show ever realized. Roger rules."Reply
"It's so staggeringly obvious to me that this is Pink Floyd's greatest work I really don't know where to begin and where to end here. There's no wanking, no overblown sense of grandeur and importance, no musical or intellectual fat, just track after track of fantastically written music, brilliantl...""It's so staggeringly obvious to me that this is Pink Floyd's greatest work I really don't know where to begin and where to end here. There's no wanking, no overblown sense of grandeur and importance, no musical or intellectual fat, just track after track of fantastically written music, brilliantly executed and sequenced and it's all completely in the service of its ideas and concept. The tracks are ridiculously long but never feel like it, they just never lose focus or momentum. Animals is Pink Floyd at their most stripped down, focused and cohesive, and it feels all the more epic and impactful because of it. Its tone is singular and its dedication is admirable. One of my absolute favorite albums of all time."[+]Reply
"The album that forever changed the face of alternative rock. Still to this day the album sounds like nothing I've ever heard before. An uncompromising, dark and cold look at the ever changing world that we live in."Reply
"Amazing, birthed from Townsend's obtuse and failed lifehouse project. Yet The Who's finest collection of individual original songs. Doesn't have the conceptual grandiosity of Quadrophenia and Tommy, but great deep tracks as well as the classics that I long ago burned out on from overlistening."Reply
DriftingOrpheus | Helpful? (Log in to vote) | +14 votes (14 helpful | 0 unhelpful)
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Robert Anton Wilson | Helpful? (Log in to vote) | +11 votes (11 helpful | 0 unhelpful)
A maximum of 5 top-voted qualifying comments are selected for each album. To provide the best experience for visitors, comments are excluded if they refer to data corrections, contain excessive profanity, are written in all caps, are non-English, are too short, consist of conversations between users, or contain lists of best tracks etc.
