The Dark Side of the Moon
by Pink Floyd

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1973 Classic Rock Review Album of the Year

Dark Side of the Moon by Pink FloydPerhaps the most complete concept album of all time, The Dark Side of the Moon was the ultimate redemption for Pink Floyd. Culminating years of progressive and experimental music, this album focused on the most atomic elements of human life (and not just the bright spots) and set it all to the beat of a human heart over a 44-minute journey that leaves the listener contemplating the larger picture from several angles. This album sits in a unique place in rock history, bridging the final days of the late 1960s psychedelic era with the new wave, electronic phase that dominated the late 1970s. It also is the perfect pivot point for Pink Floyd itself, representing their past (the opening sound-collage dominated sequence from the album’s start through the intro to “Time”), their present (more rock/pop oriented with long instrumental passages in the middle of the album), and their future (the ending medley, dominated by Roger Waters).

The concept was first introduced to the band by Waters immediately following the release of Meddle in 1971. Although Waters wrote all of the lyrics, The Dark Side of the Moon was the last complete band effort, with all four members getting composing credits. The music was composed and developed as a suite during live performances throughout 1972, with the band simultaneously recording the material for the album Obscured by Clouds. Recording for The Dark Side of the Moon took place at Abbey Road Studios in London, using some of the most advanced recording techniques of the time. The group, along with engineer Alan Parsons, made great use of multi-track recording, tape loops, analogue synthesizers, and a series of recorded interviews to give the album a completely original and unique sound. Snippets of voices were recorded when staff and other occupants of the studio answered a series of questions printed on flashcards. This in itself proved to be an interesting experiment as responses from Paul and Linda McCartney were not used because they seemed too calculating while the most notable responses came from the studios’ doorman, Gerry O’Driscoll.

Although the album only held the number one spot in the US for one a week, it remained on the chart for an incredible 741 weeks (over 14 years) and has sold an estimated 50 million copies worldwide. Released 40 years ago today, The Dark Side of the Moon tops many lists as the greatest album of all time and is Classic Rock Review’s album of the year for 1973.


The Dark Side of the Moon by Pink Floyd
Released: March 1, 1973 (Capitol)
Produced by: Pink Floyd
Recorded: Abbey Road Studios, London, June 1972–January 1973
Side One Side Two
Speak to Me
On the Run
The Great Gig In the Sky
Us and Them
Any Colour You Like
Brain Damage
Band Musicians
David Gilmour – Lead Vocals, Guitars
Roger Waters – Basss, Snyths, Vocals
Richard Wright – Piano, Keyboards, Vocals
Nick Mason – Drums, Percussion


Each original side of the album is a continuous piece of music. The first side begins with “Speak to Me”, which forms a kind of overture previewing several sound snippets from the album. Drummer Nick Mason receives a rare solo writing credit because the only real instrumentation is his kick drum, treated to sound like a heartbeat. “Breathe” is a natural extension of the moody songs on previous albums with double-tracked vocals by David Gilmour. Slow and methodical, every note and beat counts while Gilmour adds rich in texture with overdubbed electric and pedal steel guitars. The lyrics are as simple and brief as the title and act as a short intro for the journey up ahead.

Pink Floyd in 1973

One of the amazing qualities of The Dark Side of the Moon is how the album instantly yet seamlessly switches moods, such as when it goes from ethereal “Breathe” to the frantic “On the Run”. This an instrumental piece was performed almost exclusively on an EMS synthesizer and is driven by entering an 8-note sequence repeated at a high tempo, with more voices and sound effects on top to make the piece ever-intensifying until it finally crashes at the end with what sounds like a crashing airplane. This leads to the long intro for “Time”, starting with a chorus of chiming clocks which were painfully recorded one by one by Parsons and various antique stores in London and then synced together through multiple tape machines. Next, comes a passage dominated by Mason’s drums with heavy use of rototoms and a backing “tick-tock” sound created by Waters picking two muted strings on his bass. When the song proper finally kicks in, it is a fantastic release into a full-fledged rock song which contains one of the greatest guitar leads ever. The song is incredibly simple, especially during the verse, but sounds so rich due to excellent production and musicianship. It contains deeply philosophical lyrics, sung by both Gilmour and keyboardist Richard Wright along with a chorus of female background singers. This is the final song to ever be credited to all four members of the band and is, perhaps, the best overall group effort in Pink Floyd’s long career.

After a short, one verse reprise of “Breathe”, appended to “Time”, comes the most unique and controversial song on the album. “The Great Gig In the Sky” has no legible lyrics, but instead contains about four minutes of improvised scat vocals by Clare Torry, a session singer who Parsons knew from other projects. Depending on your artistic point of view, this could be the worst or the best song on the album, the most meaningful or most absurd, and if nothing demonstrates why Pink Floyd is an acquired taste. Originally titled “The Mortality Sequence”, it is backed by a beautiful, minor key piano sequence by Wright and Torry added her vocals in one session which she entered without previously hearing the backing track. The band paid her sixty quid for the session and sent her on her way, not really hearing from her again until three decades later when Torry sued Pink Floyd and EMI for songwriting royalties, on the basis that her contribution constituted co-authorship with Richard Wright. Torry won the suit for an undisclosed amount and all pressings of the album after 2005 credit her as co-composer.

Money singleSide two begins with “Money”, a song which is a true double-edged sword, at once being one of the most recognizable and accessible Pink Floyd songs and one of the most overplayed and overrated. Still, for a hit song it is quite unique and artistically rewarding, written by Waters in the unusual 7/4 time signature for the verses before breaking into more standard, rock-oriented 4/4 time for Gilmour’s extended guitar solo in the middle. During this middle section the sonic tones are also adjusted, as a sparse “dry” section under subtle guitar licks is bookended by stronger dynamics with heavy use of reverb and chaotic drumming by Mason. The song also features a short saxophone lead by Dick Parry.

Parry and his sax have a more prominent role in “Us and Them”, a song about as moody and surreal as one can get while maintaining top notch rock status. It was released as a single in 1974, but kind of flopped as it failed to reach the Top 100 on the charts. However, but the more macro jury of time has rightfully judged this a true Pink Floyd classic. The tune was originally written on the piano by Wright for the film soundtrack Zabriskie Point in 1969 but was rejected by the film’s director. This slow paced, seven and a half minute song contains more spoken phrases which adds to the overall feel. “Us and Them” directly bridges to “Any Colour You Like”, another reprise of “Breathe” but from a totally instrumental approach. In fact, only Gilmour, Mason, Wright are credited for this composition, as Waters is oddly left out.

However, Waters does dominate the final two tracks on the album, taking on lead vocals as well as solo credit for “Brain Damage” and “Eclipse”. Here the concept of “Dark Side of the Moon” is fully laid out with a sonically superior, perfect wrap to the album. Further, the larger picture of life itself is focused down to a particular individual as the insanity-themed lyrics are based on former band frontman Syd Barrett‘s mental instability, which began following the success of their debut album Piper at the Gates of Dawn in 1967. Waters would re-visit Barrett’s situation in much more detail on the band’s next album Wish You Were Here. Musically, “Brain Damage” contains great layered guitars and a totally unique, synth-organ lead, while “Eclipse” reverts back to a more traditional band jam led by Wright’s Hammond organ. Both songs also contain great female backing vocals. When the main instrumentation fades the sound of the heartbeat from “Speak to Me” comes back to the forefront with one final, profound spoken part by door man O’Driscoll:

There is no dark side in the moon, really. Matter of fact, it’s all dark. (The only thing that makes it look light is the sun.)”

The members of Pink Floyd have long lamented the duality of feelings they have towards the success of The Dark Side of the Moon. It would work to at once validate them as a top-notch artistic group and fractured them as a cohesive unit. The quartet would have much more success throughout the seventies and maintained headlining status even after Waters departed in the eighties. But they would never again quite reach that moment in time when everything came together to create a true rock masterpiece.


1973 Images

Part of Classic Rock Review’s celebration of the 40th anniversary of 1973 albums.


5 thoughts on “The Dark Side of the Moon
by Pink Floyd”

  1. The Great Gig In The Sky or The Orgasm Song as it would be better known as is a complete spoiler on this album.

  2. Everyone has that one album they are able to listen to over and over again. For me, that album is “The Dark Side of the Moon” by the British rock band Pink Floyd. The album was released March 1st, 1973 and became an instant hit, selling over 45 million copies worldwide. Rolling Stones named it one of the best albums of all time. If you’re someone digging into old school rock music, and who likes deep lyrics, take the trip with Pink Floyd to “The Dark Side of the Moon,” you won’t regret it.
    A lot of new rock music coming out these days concentrates on long screamos and heavy guitar solos. This may interest some listeners, but not if the listener is looking for deep lyrics. Rock musicians that come out with new music are, without a doubt, talented. However, the lyrics are shallow and get old after hearing it a couple of times. The lyrics Pink Floyd implemented into their album is deep. Generally, people use music as a way to escape reality, and therefore musicians indulge in lyrics about perfect love stories and happy times. However, when listening to the “Dark Side of the Moon,” one begins to drift further into reality and not the other way around.
    This album is by no means an escape out of reality; it brings the listener back down to earth. One of the songs in the album is called “Time.” It starts off with an alarm clock ringing in the background, alerting you that time is ticking and it never stops. We can all relate to time and wasting time is something we are all guilty of. This track talks about the importance of being productive during dull moments of the day. Life is only getting shorter the older we get. When we are young, we think we have a whole life ahead of us, but with a blink of an eye, there’s little time left and by then it’s too late. This is just one of the many concepts Pink Floyd talks about. Some other concepts the band mentions are money, greed, death, and psychiatric disorders. All these concepts are applicable to the reality of our everyday lives.
    Most music albums have tracks that are independent of each other, but DSM has its whole album play as one long song harmoniously. I found that to be an impressive way to go about the structure of this album. It’s easier to produce a bunch of songs with completely different ideas and emotions then put them on a record playing each song individually. There is no need for flow or correspondence of ideas in those kinds of albums. On the other hand, in “The Dark Side of the Moon,” the album plays as one track, which is well thought-out and structured so that the mood of the album connects to all its ideas. Like a well-constructed essay, it has an introduction body and a conclusion, tying all the ideas together. One thing that I found a bit excessive is the abstract sounds in between each song. Don’t get me wrong, there is a meaning to those parts as well, for they introduce each track; however I think the abstract music before each song is a bit to psychedelic to my taste.
    Overall this album is amazing; the amount of copies sold speaks for itself. If you are into an album that’s mixed with rock, jazz, and psychedelic transitions, you’ll love every bit of this album. The music is flawless and the mellow theme will relax you after a long day. While your friends are listening to top hits on the radio, you can indulge your mind in deep, meaningful music that teaches lessons and warns its listeners with the philosophical ideas that can ultimately lead a person to an unfulfilled life.

  3. Would someone please, please, give the saxophone its due accolades on Us and Them. This song is great, and sits on top of a maintain, but its the saxophone that sends it into outer space. What about in the second half of the song when the guy scrambles it at the top of the note. Insane – eargasmic! And how dry was it? I’ll tell you how dry it was! At the end of the session they tried to rehydrate it, but it didn’t make it. It died!

  4. I have been listening to DSOTM since it was intially released. I saw the band perform the album. I have worn out 2 vinyl copies, have a CD and recently was given a new 180 gram vinyl. I still find time to spin up the record player, crank the volume, turn out the lights and listen with the intensity that no other music I have know demands.

    It is a mood, a thought, a fleeting emotion, a lost memory, a fear of the a future without your control, a remind of the fragility of the mind. It is ethereal highs, sounds that drive the album forward that aren’t music (foot steps, cash drawers, talking voices. . .) that are integral to the entity.

    Clare Tory hitting that amazing note then falling back down to a quiet lamentation (reminds me of Barber’s Adagio) and then the grossly overplayed Money.

    I have never tired of it. That is unique. I have tired of all albums in time. They don’t age well, they wear thin, grow to familiar and breed contempt. I find I can still fall into DSOTM every single time.

    My son, now in his 30’s called me yesterday to say that he can’t listen to DSOTM in single cuts. He has to sit and listen to it in its entirity because to listen to any one piece leaves him feeling that it must be heard in its complete form. The album is 15 years older than he is.

    I can’t review the music. I can tell you that great music stand the test of time. Bach, Beethoven, Miles Davis . . . they have no time, no anchor to a period. They stand uniquely on their own to be discovered by each generation and for each generation to call it their own.

    Put the album in my coffin. I will listen to it on my way to my final destination (though Roger would HATE that thought.)

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