Pink Floyd - Dark Side of the Moon

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Pink Floyd - The Dark Side of the Moon
A prism refracting white light into a rainbow on a black background
Album cover by Hipgnosis and George Hardie
Studio album by Pink Floyd
Released 1 March 1973
Recorded 1 June 1972 – January 1973
Studio Abbey road Studios, London
Genre Progressive rock
Length 42:49
Label Harvest
Producer Pink Floyd
Pink Floyd chronology
Obscured by Clouds
(1972)
The Dark Side of the Moon
(1973)
Wish You Were Here
(1975)
 
30th anniversary SACD Re-issue (not for sale)
 
A prism refracting white light into a prism imposed on a background of a tree at night
 
 
Singles from The Dark Side of the Moon
  1. "Money"
    Released: 7 May 1973
  2. "Us and them"
    Released: 4 February 1974

 

  "The Dark Side of the Moon" is the eighth album by English rock band Pink Floyd, released on 1 March 1973 by Harvest Records. The album built on ideas explored in earlier recordings and live shows, but lacks the extended instrumental excursions that characterised their earlier work. Its themes explore conflict, greed, the passage of time, and mental illness, the latter partly inspired by the deteriorating mental state of founding member and principal contributor, Syd Barrett.

Developed during live performances, an early version was premiered several months before recording began; new material was recorded in two sessions in 1972 and 1973 at Abbey Road in London. The group used some advanced recording techniques at the time, including multitrack recording and tape loops. Anologue synthesizers were prominent in several tracks, and snippets from recorded interviews with Pink Floyd's road crew and others provided philosophical quotations throughout. Engineer Alan parsons was responsible for many distinctive sonic aspects and the recruitment of singer Clare Torry. The album's iconic sleeve was designed by Storm Thorgerson; following keyboardist Richard Wright's request for a "simple and bold" design, it depicts a prism spectrum, representing the band's lighting and the record's themes.

The "Dark Side of the Moon" was a commercial and critical success. It topped the Billboard's Top LP's and Tapes chart for a week and remained in the chart for 741 weeks from 1973 to 1988. With an estimated 45 million copies sold, it is Pink Floyd's most successful album and one of the best-selling worldwide. It has been remastered and re-released several times, and covered in its entirety by several acts. It produced two singles, "Money" and "Us and Them". It is often ranked as one of the greatest albums of all time.

 

Background

Following "Meddle" in 1971, Pink Floyd assembled for a tour of Britain, Japan and the United States in December of that year. In a band meeting at drummer Nick Mason's home in Camden, bassist Roger Waters proposed that a new album could form part of the tour. Waters' idea was for an album that dealt with things that "make people mad", focusing on the pressures faced by the band during their arduous lifestyle, and dealing with the apparent mental problems suffered by former band member Syd Barrett. The band had explored a similar idea with 1969's The man and the Journey. In an interview for Rolling Stone, guitarist David Gilmour said: "I think we all thought – and Roger definitely thought – that a lot of the lyrics that we had been using were a little too indirect. There was definitely a feeling that the words were going to be very clear and specific."

Generally, all four members agreed that Waters' album concept unified by a single theme was a good idea. Waters, Gilmour, Mason and keyboardist Richard Wright participated in the writing and production of the new material, and Waters created the early demo tracks at his Islington home in a small studio built in his garden shed. Parts of the new album were taken from previously unused material; the opening line of "Breathe" came from an earlier work by Waters and Ron Geesin, written for the soundtrack of The Body, and the basic structure of "Us and Them" borrowed from an original composition by Wright for "Zabriskie Point". The band rehearsed at a warehouse in London owned by The Rolling Stones, and then at the Rainbow Theatre in Finsbury Park, London. They also purchased extra equipment, which included new speakers, a PA system, a 28-track mixing desk with a four channel quadrophonic output, and a custom-built lighting rig. Nine tonnes of kit was transported in three lorries; this would be the first time the band had taken an entire album on tour. The album had been given the provisional title of Dark Side of the Moon (an allusion to lunacy, rather than astronomy). However, after discovering that that title had already been used by another band, Medicine Head, it was temporarily changed to "Eclipse". The new material premièred at The Dome in Brighton, on 20 January 1972, and after the commercial failure of Medicine Head's album the title was changed back to the band's original preference.

Photograph
 
The Rainbow Theatre in London, where The Dark Side of the Moon was played for the press in 1972

 

"Dark Side of the Moon: A Piece for Assorted Lunatics", as it was then known, was performed in the presence of an assembled press on 17 February 1972 – more than a year before its release – at the Rainbow Theatre, and was critically acclaimed. Michael Wale of The Times described the piece as "... bringing tears to the eyes. It was so completely understanding and musically questioning." Derek Jewell of The Sunday Times wrote "The ambition of the Floyd's artistic intention is now vast." Melody Maker was, however, less enthusiastic: "Musically, there were some great ideas, but the sound effects often left me wondering if I was in a bird-cage at London zoo." However, the following tour was praised by the public. The new material was performed live, in the same order in which it would eventually be recorded, but obvious differences between the live version, and the recorded version released a year later, included the lack of synthesizers in tracks such as "On the Run", and Bible readings that were later replaced by Clare Torry's nol-lexible vocals on "The Great Gig in the Sky".

The band's lenghty tour through Europe and North America gave them the opportunity to make continual improvements to the scale and quality of their performances. Work on the album was interrupted in late February when the band travelled to France and recorded music for French director Barbet Schroeder's film, La Vallée. They then performed in Japan and returned to France in March to complete work on the film. After a series of dates in North America, the band flew to London to begin recording the album, from 24 May to 25 June. More concerts in Europe and North America followed before the band returned on 9 January 1973 to complete work on the album.

 

Concept

"The Dark Side of the Moon" built upon experiments Pink Floyd had attempted in their previous live shows and recordings, but lacks the extended instrumental excursions which, according to critic David Fricke, had become characteristic of the band after founder member Syd Barrett left in 1968. Gilmour, Barrett's replacement, later referred to those instrumentals as "that psychedelic noodling stuff", and with Waters cited 1971's "Meddle" as a turning-point towards what would be realised on the album. The Dark Side of the Moon's lyrical themes include conflict, greed, the passage of time, death, and insanity, the latter inspired in part by Barrett's deteriorating mental state; he had been the band's principal composer and lyricist. The album is notable for its use of musique concrète and conceptual, philosophical lyrics, as found in much of the band's other work.

Each side of the album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience, and (according to Waters) "empathy". "Speak to Me" and "Breathe" together stress the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life – "Don't be afraid to care". By shifting the scene to an airport, the synthesizer-driven instrumental "On the Run" evokes the stress and anxiety of modern travel, in particular Wright's fear of flying. "Time" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focused on mundane aspects; it is followed by a retreat into solitude and withdrawal in "Breathe (Reprise)". The first side of the album ends with Wright and vocalist Clare Torry's soulful metaphor for death, "The Great Gig in the Sky". Opening with the sound of cash registers and loose change, the first track on side two, "Money", mocks greed and consumerism using tongue-in-cheek lyrics and cash-related sound effects (ironically, "Money" has been the most commercially successful track from the album, with several cover versions produced by other bands). "Us and Them" addresses the isolation of the depressed with the symbolism of conflict and the use of simple dichotomies to describe personal relationships. "Any Colour You Like" concerns the lack of choice one has in a human society. "Brain Damage" looks at a mental illness resulting from the elevation of fame and success above the needs of the self; in particular, the line "and if the band you're in starts playing different tunes" reflects the mental breakdown of former bandmate Syd Barrett. The album ends with "Eclipse", which espouses the concepts of alterity and unity, while forcing the listener to recognise the common traits shared by humanity.

 

Recording

Photograph
 
Abbey Road Studios

 

The album was recorded at Abbey Road Studios, in two sessions, between May 1972 and January 1973. The band were assigned staff engineer Alan Parsons, who had worked as assistant tape operator on "Atom Heart Mother", and who had also gained experience as a recording engineer on the Beatles' "Abbey Road" and "Let It Be". The recording sessions made use of some of the most advanced studio techniques of the time; the studio was capable of 16-track mixes, which offered a greater degree of flexibility than the eight- or four-track mixes they had previously used, although the band often used so many tracks that to make more space available second-generation copies were made.

Beginning on 1 June, the first track to be recorded was "Us and Them", followed six days later by "Money". Waters had created effects loops from recordings of various money-related objects, including coins thrown into a food-mixing bowl taken from his wife's pottery studio, and these were later re-recorded to take advantage of the band's decision to record a quadrophonic mix of the album (Parsons has since expressed dissatisfaction with the result of this mix, attributed to a lack of time and the paucity of available multi-track tape recorders). "Time" and "The Great Gig in the Sky" were the next pieces to be recorded, followed by a two-month break, during which the band spent time with their families and prepared for an upcoming tour of the US. The recording sessions suffered regular interruptions; Waters, a supporter of Arsenal F.C., would often break to see his team compete, and the band would occasionally stop work to watch Monty Python's Flying Circus on the television, leaving Parsons to work on material recorded up to that point. Gilmour has, however, disputed this claim; in an interview in 2003 he said: "We would sometimes watch them but when we were on a roll, we would get on."

Photograph
 
The EMS VCS 3 (Putney) synthesizer

 

Returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", while fine-tuning the work they had already laid down in the previous sessions. A foursome of female vocalists was assembled to sing on "Brain Damage", "Eclipse" and "Time", and saxophonist Dick Parry was booked to play on "Us and Them" and "Money". With director Adrian Maben, the band also filmed studio footage for Pink Floyd: Live at Pompeii. Once the recording sessions were complete, the band began a tour of Europe.

 

Instrumentation

The album features metronomic sound effects during "Speak to Me", and tape loops opening "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".

The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album). At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack of several of the songs (particularly "On the Run").

Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesizers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated bass drum made to simulate a human heartbeat (during "Speak to Me", "On the Run", "Time" and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track.

Voices

Several tracks, including "Us and Them" and "Time", demonstrated Richard Wright's and David Gilmour's ability to harmonise their voices. In the 2003 Classic Albums documentary The Making of The Dark Side of the Moon, Waters attributed this to the fact that their voices sounded extremely similar. To take advantage of this, Parsons utilised studio techniques such as the double tracking of vocals and guitars, which allowed Gilmour to harmonise with himself. The engineer also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb, and the panning of sounds between channels (most notable in the quadrophonic mix of "On the Run", when the sound of the Hammond B3 organ played through a Leslie speaker rapidly swirls around the listener).

The album's credits include Clare Torry, a session singer and songwriter, and a regular at Abbey Road. She had worked on pop material and numerous cover albums, and after hearing one of those albums Parsons invited her to the studio to sing on Wright's composition "The Great Gig in the Sky". She declined this invitation as she wanted to watch Chuck Berry perform at the Hammersmith Odeon, but arranged to come in on the following Sunday. The band explained the concept behind the album, but were unable to tell her exactly what she should do. Gilmour was in charge of the session, and in a few short takes on a Sunday night Torry improvised a wordless melody to accompany Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth, and wanted to apologise to the band – only to find them delighted with her performance. Her takes were then selectively edited to produce the version used on the track. For her contribution she was paid £30, equivalent to about £360 in 2018, but in 2004 she sued EMI and Pink Floyd for songwriting royalties, arguing that her contribution to "The Great Gig in the Sky" was substantial enough to be considered co-authorship. The High Court agreed with her, but the terms of the settlement were not disclosed.All post-2005 pressings therefore credit Wright and Torry jointly for the song.

Photograph
 
Clare Torry in 2003

 

Snippets of voices between and over the music are another notable feature of the album. During recording sessions, Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on flashcards. The interviewees were placed in front of a microphone in a darkened Studio 3, and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes more central to the album (such as madness, violence, and death). Questions such as "When was the last time you were violent?", followed immediately by "Were you in the right?", were answered in the order they were presented. Roger "The Hat" Manifold proved difficult to find, and was the only contributor recorded in a conventional sit-down interview, as by then the flashcards had been mislaid. Waters asked him about a violent encounter he had had with another motorist, and Manifold replied "... give 'em a quick, short, sharp shock ..." When asked about death he responded "live for today, gone tomorrow, that's me ..." Another roadie, Chris Adamson, who was on tour with Pink Floyd, recorded the snippet which opens the album: "I've been mad for fucking years – absolutely years". The band's road manager Peter Watts (father of actress Naomi Watts) contributed the repeated laughter during "Brain Damage" and "Speak to Me". His second wife, Patricia "Puddie" Watts (now Patricia Gleason), was responsible for the line about the "geezer" who was "cruisin' for a bruisin'" used in the segue between "Money" and "Us and Them", and the words "I never said I was frightened of dying" heard halfway through "The Great Gig in the Sky".

Perhaps the most notable responses "I am not frightened of dying. Any time will do: I don't mind. Why should I be frightened of dying? There's no reason for it – you've got to go sometime" and closing words "there is no dark side in the moon, really. As a matter of fact it's all dark" came from the studios' Irish doorman, Gerry O'Driscoll. Paul and Linda McCartney were also interviewed, but their answers were judged to be "trying too hard to be funny", and were not included on the album. McCartney's Wings bandmate Henry McCullough contributed the line "I don't know, I was really drunk at the time".

 

Completion

Following the completion of the dialogue sessions, producer Chris Thomas was hired to provide "a fresh pair of ears". Thomas's background was in music, rather than engineering. He had worked with Beatles producer George Martin, and was acquainted with Pink Floyd's manager Steve O' Rourke. All four members of the band were engaged in a disagreement over the style of the mix, with Waters and Mason preferring a "dry" and "clean" mix which made more use of the non-musical elements, and Gilmour and Wright preferring a subtler and more "echoey" mix. Thomas later claimed there were no such disagreements, stating "There was no difference in opinion between them, I don't remember Roger once saying that he wanted less echo. In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun." Although the truth remains unclear, Thomas's intervention resulted in a welcome compromise between Waters and Gilmour, leaving both entirely satisfied with the end product. Thomas was responsible for significant changes to the album, including the perfect timing of the echo used on "Us and Them". He was also present for the recording of "The Great Gig in the Sky" (although Parsons was responsible for hiring Torry). Interviewed in 2006, when asked if he felt his goals had been accomplished in the studio, Waters said:

When the record was finished I took a reel-to-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished. And I thought, "This has obviously struck a chord somewhere", and I was kinda pleased by that. You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else. And at that point I thought to myself, "Wow, this is a pretty complete piece of work", and I had every confidence that people would respond to it.

 

Packaging

It felt like the whole band were working together. It was a creative time. We were all very open.
– Richard Wright

The album was originally released in a gatefold LP sleeve designed by Hipgnosis and George Hardie. Hipgnosis had designed several of the band's previous albums, with controversial results; EMI had reacted with confusion when faced with the cover designs for "Atom Heart Mother" and "Obscured by Clouds", as they had expected to see traditional designs which included lettering and words. Designers Storm Thorgerson and Aubrey Powell were able to ignore such criticism as they were employed by the band. For "The Dark Side of the Moon", Richard Wright instructed them to come up with something "smarter, neater – more classy". The prism design was inspired by a photograph that Thorgerson had seen during a brainstorming session with Powell.

The artwork was created by their associate, George Hardie. Hipgnosis offered the band a choice of seven designs, but all four members agreed that the prism was by far the best. The final design depicts a glass prism dispersing light into colour. The design represents three elements: the band's stage lighting, the album lyrics, and Wright's request for a "simple and bold" design. The spectrum of light continues through to the gatefold – an idea that Waters came up with. Added shortly afterwards, the gatefold design also includes a visual representation of the heartbeat sound used throughout the album, and the back of the album cover contains Thorgerson's suggestion of another prism recombining the spectrum of light, facilitating interesting layouts of the sleeve in record shops. The light band emanating from the prism on the album cover has six colours, missing indigo compared to the traditional division of the spectrum into red, orange, yellow, green, blue, indigo and violet. Inside the sleeve were two posters and two pyramid-themed stickers. One poster bore pictures of the band in concert, overlaid with scattered letters to form PINK FLOYD, and the other an infrared photograph of the Great pyramids of Giza, created by Powell and Thorgerson.

Since the departure of founder member Barrett in 1968, the burden of lyrical composition had fallen mostly on Waters. He is therefore credited as the author of the album's lyrics, making "The Dark Side of the Moon" the first of five consecutive Pink Floyd albums with lyrics credited to him alone. The band were so confident of the quality of the words that, for the first time, they printed them on the album's sleeve. "Roger's concerns in it are not out of date," remarked Gilmour on the album's twentieth anniversary. "He did a fantastic job with those words. Then, Roger was always more verbal than the rest of us, who had no great confidence in our lyric-writing. Probably, in hindsight, we should have stuck at it: the roots of our problems were being set back then. But we all got the credit and money that we were happy with."

 

Release

Professional ratings
Retrospective reviews
Review scores
Source Rating
AllMusic 5/5 stars
Billboard 5/5 stars
Christgau's Record Guide B
Encyclopedia of Popular Music 5/5 stars
Music Hound 5/5
NME 8/10
Q 4/5 stars
The Rolling Stone Album Guide 5/5 stars
Sputnikmusic 5/5
Uncut 4/5 stars
A monochrome image of members of the band.
 
A live performance of The Dark Side of the Moon at Earl's Court, shortly after its release in 1973.
(left to right) David Gilmour, Nick Mason, Dick Parry, Roger Waters

 

As the quadraphonic mix of the album was not then complete, the band (with the exception of Wright) boycotted the press reception held at the London Planetarium on 27 February. The guests were, instead, presented with a quartet of life-sized cardboard cut-outs of the band, and the stereo mix of the album was presented through a poor-quality public address system. Generally, however, the press were enthusiastic; Melody Maker's Roy Hollingworth described side one as "so utterly confused with itself it was difficult to follow", but praised side two, writing: "The songs, the sounds, the rhythms were solid and sound, Saxophone hit the air, the band rocked and rolled, and then gushed and tripped away into the night." Steve Peacock of Sounds wrote: "I don't care if you've never heard a note of the Pink Floyd's music in your life, I'd unreservedly recommend everyone to The Dark Side of the Moon". In his 1973 review for Rolling Stone magazine, Loyd Grossman declared Dark Side "a fine album with a textural and conceptual richness that not only invites, but demands involvement". In his 1981 review of the album, Robert Christgau found its lyrical ideas clichéd and its music pretentious, but called it a "kitsch masterpiece" that can be charming with highlights such as taped speech fragments, Parry's saxophone, and studio effects which enhance Gilmour's guitar solos.

"The Dark Side of the Moon" was released first in the US on 1 March 1973, and then in the UK on 16 March. It became an instant chart success in Britain and throughout Western Europe; by the following month, it had gained a gold certification in the US. Throughout March 1973 the band played the album as part of their US tour, including a midnight performance at Radio City Music Hall in New York City on 17 March before an audience of 6,000. The album reached the Billboard's Top LP's and Tape chart's number one spot on 28 April 1973, and was so successful that the band returned two months later for another tour.

 

Label

Much of the album's early American success is attributed to the efforts of Pink Floyd's US record company, Capitol Records. Newly appointed chairman Bhaskar Menon set about trying to reverse the relatively poor sales of the band's 1971 studio album "Meddle". Meanwhile, disenchanted with Capitol, the band and manager O'Rourke had been quietly negotiating a new contract with CBS president Clive Davis, on Columbia records. "The Dark Side of the Moon" was the last album that Pink Floyd were obliged to release before formally signing a new contract. Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of "Us and Them" and "Time". In some countries – notably the UK – Pink Floyd had not released a single since 1968's "Point Me at the Sky", and unusually "Money" was released as a single on 7 May, with "Any Colour You Like" on the B-side. It reached number 13 on the Billboard Hot 100 in July 1973. A two-sided white label promotional version of the single, with mono and stereo mixes, was sent to radio stations. The mono side had the word "bullshit" removed from the song – leaving "bull" in its place – however, the stereo side retained the uncensored version. This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy. On 4 February 1974, a double-A side single was released with "Time" on one side, and "Us and Them" on the opposite side. Menon's efforts to secure a contract renewal with Pink Floyd were in vain however; at the beginning of 1974, the band signed for Columbia with a reported advance fee of $1M (in Britain and Europe they continued to be represented by Harvest Records).

 

Sales

The Dark Side of the Moon became one of the best-selling albums of all time and is in the top 25 of a list of best-selling albums in the United States. Although it held the number one spot in the US for only a week, it remained in the Billboard album chart for 741 weeks. The album re-appeared on the Billboard charts with the introduction of the Top Pop Catalogue Albums chart in May 1991, and has been a perennial feature since then. In the UK, it is the seventh-best-selling album of all time and the highest selling album never to reach number one.

 
... I think that when it was finished, everyone thought it was the best thing we'd ever done to date, and everyone was very pleased with it, but there's no way that anyone felt it was five times as good as Meddle, or eight times as good as Atom Heart Mother, or the sort of figures that it has in fact sold. It was ... not only about being a good album but also about being in the right place at the right time.
– Nick Mason

In the US the LP was released before the introduction of the RIAA awards on 1 January 1976. It therefore held only a gold disc until 16 February 1990, when it was certified 11× platinum. On 4 June 1998 the Recording Industry Association of America (RIAA) certified the album 15× platinum, denoting sales of fifteen million in the United States – making it their biggest-selling work there (The Wall is 23× platinum, but as a double album this signifies sales of 11.5 million). "Money" has sold well as a single, and as with "Time", remains a radio favourite; in the US, for the year ending 20 April 2005, "Time" was played on 13,723 occasions, and "Money" on 13,731 occasions. Industry sources suggest that worldwide sales of the album total about 45 million. "On a slow week" between 8,000 and 9,000 copies are sold, and a total of 400,000 were sold in 2002, making it the 200th-best-selling album of that year – nearly three decades after its initial release. The album has sold 9,502,000 copies in the US since 1991 when Nielsen Soundscan began tracking sales for Billboard. To this day, it occupies a prominent spot on Billboard's Pop Catalog Chart. It reached number one when the 2003 hybrid CD/SACD edition was released and sold 800,000 copies in the US. On the week of 5 May 2006 "The Dark Side of the Moon" achieved a combined total of 1,716 weeks on the Billboard 200 and Pop Catalog charts. One in every fourteen people in the US under the age of 50 is estimated to own, or to have owned, a copy. Upon a chart rule change in 2009 allowing catalogue titles to re-enter the Billboard 200, "The Dark Side of the Moon" returned to the chart at number 189 on 12 December of that year for its 742nd charting week. It has continued to sporadically appear on the Billboard 200 since then, reaching 900 weeks on the chart in April 2015.

"The combination of words and music hit a peak," explained Gilmour. "All the music before had not had any great lyrical point to it. And this one was clear and concise. The cover was also right. I think it's become like a benevolent noose hanging behind us. Throughout our entire career, people have said we would never top the Dark Side record and tour. But The Wall earned more in dollar terms."

 

Track listing

All lyrics written by Roger Waters.

Side one
No. Title Music Lead vocals Length
1. "Speak to Me" Nick Mason instrumental 1:30
2. "Breathe" (listed as "Breathe in the Air" on the original LP label)
  • Roger Waters
  • David Gilmour
  • Richard Wright
David Gilmour 2:43
3. "On the Run"
  • Waters
  • Gilmour
instrumental 3:30
4. "Time" (containing "Breathe (Reprise")
  • Waters
  • Gilmour
  • Wright
  • Mason
Gilmour with Richard Wright 6:53
5. "The Great Gig in the Sky"
  • Wright
  • Clare Torry
Clare Torry 4:15
Side two
No. Title Music Lead vocals Length
1. "Money" Waters Gilmour 6:30
2. "Us and Them"
  • Waters
  • Wright
Gilmour 7:51
3. "Any Colour You Like"
  • Gilmour
  • Mason
  • Wright
instrumental 3:24
4. "Brain Damage" Waters Roger Waters 3:50
5. "Eclipse" Waters Waters 2:03

 

Personnel

Pink Floyd

  • David Gilmour – vocals, guitars, Synthi SKS
  • Nick mason – drums, percussion, tape effects
  • Richard Wright – keyboards, vocals, VCS 3, Synthi AKS
  • Roger Waters – bass guitar, vocals, VCS 3, tape effects
  • Alan Parsons – engineering
  • Peter James – assistant (incorrectly identified as "Peter Jones" on first US pressings of the LP)
  • Chris Thomas – mix supervisor

Design

 

 

 

Pink Floyd - Dark Side of the Moon

Harvest 3C 064-05249 stereo (1973).

Record manufactured in Italy.

The vinyl record attains a strong excellent grading, suggesting few plays.

Audio quality is very clear and strong throughout.

Both record centre labels are free from tears, stains or stickers.

The album's hinged cover is in excellent condition, displaying only minimal signs of wear.

The album cover has a strong hinge and spine.

The album has two perfectly presented posters and stickers.

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