The Pink Floyd album by album Thread part II

I can't add much to this album's accolades, but the production is still stunning listeners. I introduced my wife to it about 10 years ago (she had never heard the album) and she was blown away.

 

Going forward hard to add much to the iconic albums during this Floyd run,

A few thought's-

-This seems to be the album where David Gilmour really started honing his more succinct, almost lyrical soloing approach-it seems that most of his solo's going forward where one's that you wanted to hear note for note and were less about hearing him just jam.

-IMHO the reason that this album works so well lyric and concept wise is that the concept is so wide reaching-almost anyone can relate to a lot of what is being said. The same can be said for the albums coming up as well. For me the reason some of Roger's much later work runs into trouble and is not as effective as "classic Floyd" is that he makes the songs much too personal and is less open to various interpretations.

-One of my favorite parts of the Classic Albums video about DSOTM is where Alan Parsons is talking about the backing female vocals on "Time", where they run them though what sounds like a leslie speaker. Hearing it isolated you realize just how brilliant of an idea it is. Of course there is the opening sequence in "Time" as well.

-There is so much going on in this album but everything just seems to fit together perfectly! A masterpiece!

 

This is actually my favorite live performance of DSOTM from Boston in 1973-the band just seems very passionate (David Gilmours vocals especially) and energetic. I've heard shows where they seems to be more passive and subdued. The sound is pretty raw but still enjoyable to me.

Here's Time from that show-

 

A few that I have not seen posted yet: 20th CD box, 30th SACD, 30th vinyl, and MoFi vinyl.
A perfect album, one that never looses it's charm, a true marvel Don't know what else to say!!!

 

It was Rick Wright's beautiful simple melody and breathtaking, goosebump-inducing bridge of Us And Them that seduced me into the world of Pink Floyd. I owned the 45-RPM single of Another Brick in the Wall but otherwise hadn’t given them much though when this song first got to me around 14 years of age. I heard Us And Them a number of times on the radio and was dying to know who it was. Finally, about the 6th time I heard it, they identified it. “Oh, really, that’s Pink Floyd?” I thought, knowing only the aforementioned single from The Wall at the time. A friend’s dad had a killer stereo and he offered to tape his DSOTM LP for me. Man, I wore that tape out, and then proceeded to get my own copies on cassette and vinyl. I couldn’t believe there was music that sounded like this, and I had to know everything else about this amazing band. The Final Cut had just come out around this time, so I got into that as well and then sunk myself into the entire Floyd back catalog. More than 30 years later, I’m still mesmerized by their body of work. I do tend to visit their other works more than DSOTM these days but still, its groundbreaking production and enduring appeal is undeniable.

 

There was a time when all I knew about Floyd, was their single Another Brick in the Wall, and I hated,
I always skipped them..
then one day, searching my uncle audio cassettes, among Tina Turner, Michael, Kenny Roger , I found it:
The Dark Side of the Moon (EMI, I still have it), and since there was no track named Another Brick in the Wall, I played it, then BOOM, I discovered music, no need to grow, just on the first listen, it was perfect,
Then I listened everything from them, even ABITW became enjoyable, because I listened to the Wall from start to finish..
I feel bad when they say DSOTM is overrated, or Animals and WYWH are better,
I think DSOTM is just overplayed, you have to get back in time to that original first listen...
Probably the only album that it will never sound dated..

 

Anyone else here besides me have a copy of this?
http://www.rarerecords.net/store/pink-floyd-tour-75-–-1975-white-label-promo-only-compliation-lp/

 

Am I the only one completely burned out on DSOTM because of how it's been played to death on the radion in the last 41 years?

 

This was the lp that brought me into the world of music in 1975.This and Led Zep IV on a friends older brothers cheaper all in one system listening through headphones.Being 14 and high with a little pot I was mesmerised.Couldn't have provided a better soundtrack at the time.

Not only on the radio but the car and home stereo.That what happens when your the best.People wear you out.Still doesn't diminish the fact that it is a fantastic lp.

 

My favorite song from the album has always been Us and Them. It is the most intricate song on the album IMO. The chords are very jazz based. Rick Wright's masterpiece. However, David is the glue to my ear that adds the drama to the verses and makes the chords less dense sounding by his beautiful ascending arpeggiations and droning D note.
Here is Wiki description of the chord progression. The chorus has simpler chords and is a great contrast to the verse chords. An amazing one of a kind song. I cannot think of another song that has a D Minor Chord with a Major 7th in rock music. It is the third chord in the sequence.

The verses have a unique, jazz-influenced chord progression: Dsus2, D6add9 (or Esus2/D), D minor major 7 (or Faug/D), and G/D (the D in the bass is sustained as a pedal point throughout). The D6 with an added 9th is not unlike an Esus2 with a D in the bass, but because the bass line also provides the fifth, it is more accurately described as a kind of D chord. The D minor chord with a major seventh is a rarity in 1970s rock music. There is also an alternate sequence, played louder and with multiple harmonies, with a progression of B minor, A major, G major seventh suspended second (Gmaj7sus2), enharmonic to the slash chord D/G, and C major. This progression is played twice between each verse, and is not unlike a chorus, except that the lyrics are different with each repeat.

If you strum the chords instead of arpeggiating them, the song sounds like something from John Coltrane.

 

For me, it's really about "Money" and "Time" that I'm burned out on. More the former than the latter, tbh. The rest of it I still quite like, believe it or not.

 

Not a big deal but for my own sake and sanity, where is the bridge on Us and Them?

 

For me, always, even back in back when released, the key track was always "Time". Even then as a "tween", the concept of an "end" scared/bothered/intrigued me.Even now, I often wonder how persons at the age they were had that insight. It is THE track, the one, for me, that ties the rest of the album together, makes it - make sense. It is more than a series of blended prog sounds/melodies/chord changes, progressions, it is, in a way, our progression through life. Too heavy of a concept, probably, but "In The Year 2525", I bet this one will still be played. The term "Classic" is used to death, but this title.....truly is. I get a little tired of ones who say it's "played to death on the radio", because they are speaking of tracks, this needs to be digested one side at a time, pausing/reflecting on a side before moving on . That is how it should be, as it was intended.

 

Great, powerful album. Been a staple of my life since my childhood. Can't tell you how many times I've played it. However, it doesn't hold up to the albums that followed...WYWH, Animals, The Wall...all much better albums.

 

I am glad I experienced it on headphones when I first heard the entire album at age 16. It was after the Momentary Lapse show came roaring into town, and I couldn't go because it was a Wednesday night with an exam the next morning. A classmate who went to the show loaned me the cassette and I told her I would make her a copy of The Wall. On The Run had me turning the bedroom light back on. I had never heard stereo panning like that before in my life. It made my heart pound. When it was over, I was mesmerized.

I started buying everything with Pink Floyd's name on it. The first cd I purchased (that wasn't a gift) Christmas of 1988 was the Mo-Fi gold Dark Side.

They didn't swing back in 1988 like they did other cities (I was very upset), but I did catch them twice in 1994 each time by the mixing board.

Like Gilmour said once: it would be nice to hear it again with a pair of fresh ears and get that rush again. I made the mistake of getting into classic rock radio during that time as well and it wore it out. It wasn't until the SACD 5.1 mix in 2003 came out that I showed interest in it again.

 

You're not going mad. I referred to the progression between the verses as a bridge instead of chorus. Even the Wikipedia entry states that it "is not unlike a chorus". Well, to me it's not unlike a bridge But I realize you can't have a bridge without a chorus, so chorus it is!

 

Your post made me think again whether it was a chorus or a bridge. Sometimes it is hard to tell between the two.

 

Still my favorite Floyd album. I agree with an earlier poster that everything just came together, lyrics, arrangements, playing, production, in a perfect blend. I haven't played it thousands of times, so it still sends a chill down my spine, especially on headphones.

Permit me a personal DSOM story. In the summer of 1974 I was record manager at a Sam Goody's located in a large Raleigh mall. Nearby Duke University was hosting a track meet between the U.S. team and the U.S.S.R. team. We were told that the Russians would be visiting the mall for some American-style shopping.

The Russians essentially devoted their time to two ventures. Any store that had jeans. And Sam Goody's. And they bought every copy we had of DSOM and would have bought many more if we had them in stock. Who knew? DSOM had been out a year but not in the U.S.S.R. I suppose. I don't know if it was word of mouth or whether they had actually heard some of it.

If you weren't around in the 1970s, it's hard to overstate the level of official Soviet paranoia towards decadent western music. But the athletes knew what they wanted and they wanted Floyd; they also wanted Led Zep, the Stones and the Beatles, especially Abbey Road. But DSOM topped their wish lists.

I always wonder if they had any trouble getting that stuff back to the U.S.S.R.

 

For me, when I got the SACD, in 2.0, it was new, then when I got back into vinyl, on the MoFi vinyl issue, then last year I got a really early US press, heard stuff I never heard before, seemed new, next, a UK press? I don't fully get the "overplayed" thing. Few stations play the album. I would not think anyone would overplay the album, why would you play it if you are not ready to hear it?

 

Does everyone agree that this album is Prog?
Quite possible the only album where you could say I like Prog Rock like this album and not fear ridicule.

 

Didn't Rick say that he got an important part of this melody from a track on Kind of Blue?

 

i'd go back 1 album...i think gilmour really started to come into his own on obscured by clouds. his guitar work on that album is dominant.

 

Wha... yes it is prog, why would that embarrass you? Why would what anyone else thinks about what you like embarrass you? Like what you like and be OK with it! As they say "get some ....

 

Interesting. I don't recall reading that but it seems possible. I can't think of the song though off the top of my head. I need to listen to KOB and see if I can hear it.

 

DSOTM......still possibly the best album if you want to "show off" your stereo system.