Some time ago, a man collectively recognized as a sinner told me that madness is one of the natural components of human disposition, and I pitied him as he struggled to convert me to his doctrine, which had no other purpose than to justify his excesses. I wondered if it was right to place in such a radical perspective a concept so unknown to me. Madness. I realized I was lost. I tried to put order in my mind to understand the meaning of the term madness, but I clearly couldn't find a starting point for my research. I could have started by considering the main manifestations that involve the eclipse of reason, but then I realized that, like every dualism, rationality/madness could never transcend the relative. I was ashamed of the useless mechanics of my brain and opted for a much simpler reasoning: if rationality has the ultimate goal of guaranteeing a subject's well-being and if madness is its negation, then madness materializes in everything that directly leads to discomfort. Something had moved, even if this "something" was easily classifiable as scarce and questionable. I proceed anyway.

What behaviors are usually considered harmful by logic? Dropping acid is alienation or at least stupidity if there is no need for the individual to escape from anything; dedicating one's existence to provocation, with all the hypothetical physical and mental risks it entails, can be qualified as unconventionality, which is hardly mad at all if you consider that the march of time will render the unconventional pure everyday life, and the excuse of the generational conflict will trivialize any protest posed as nonconformity. Someone help me.

The beats of a human heart that open "Speak to me", the first track of the eleventh studio album by Pink Floyd, "Dark side of the moon" (1973) suggests a fundamental aspect hidden under apparent banality: madness has nothing abstract, it's a prerogative that belongs to us completely. I connect everything to the traced heartbeat reproduced in the booklet and I have confirmation. That man collectively regarded as a sinner was right, at least about this. Suddenly I stop. What assures me that they have certainties about madness? What assures me that their theories are truthful and that madness is not an experience full of subjectivity? I listen to the continuation of the first song and receive an answer: a perfect combination of the traditionality of the instruments and an experimentation that is still a paradigm for modern musical avant-garde over thirty years later, which does not produce compromised and confused results but, on the contrary, lives on its clarity. Those who managed to conceive this were far from mediocrity, distancing themselves from any academic expression of their being, of their thought. It was brilliant. A scream marks the boundary between the end of "Speak to me" and the beginning of "Breathe" and I understand that we're there: madness is losing sight of one's basic intellectual functions to surrender to a concentrate of primordial fears and anxieties. What induces us to this. Waters and Co. provide me with an explanation for this as well.

It is the passage of time ("Time") that the modern era has forced us to parcel. Every moment equates to a span of time whose purpose must be productivity. Producing means having something to offer, something from which to derive money, and from money to derive a status. "Time" is a slow and explicit composition, hence the absence of a text that gives way to a deafening sound of alarms and clocks preceded by a nerve-wracking ticking. "On the run" introduces what the group wants to affirm with "Time" and leads to the center of a splendid musical architecture structured on the pulsating pace of Mason's drums and sounds produced by a synthesizer that seem ahead of their time (Just so). Clear, effective, perfect. "The great gig in the sky" arrives and you are bewildered by the delicate sound of a piano and understand that madness also becomes unpredictability, but you forget about the speech for a moment, completely captivated by Clare Torry's performance, and before allowing the record to move on to its fifth track, you listen to it at least three more times (Psychiatry teaches us that one of the most common behaviors among "the living dead" is the obsessive routine of certain attitudes. A sign?).

We move on, and the emphasis is placed on the main goal of this marathon of the contemporary era: money ("Money"). The track is one of the most famous of Pink Floyd, even if among the other songs of the album, this one tends to pale since musically it is not particularly exciting. On the contrary, "Us and them" is a social manifesto that lashes out against the opportunities available to the wealthier classes, unlike the vast majority of the populace. Yet the same "Us and them" does not diverge from the tones that compose the album as it maintains that atmosphere at the limits of the dreamlike, despite the concreteness at the base of the tackled theme. The contingencies deriving from the social once again appear in "Eclipse", the last song of the album, which some have wanted to interpret as a reference to Syd Barrett: there is no room in the real world for those who cannot hide their more emotional side.

As can be clearly understood, "Dark side of the moon" is not just a journey through paranoia, the tension of modern times. It is a varied work both musically and conceptually, never losing sight of the recurring theme of the unknown, the void, the oblivion that serves as the thread that runs through the entire work.

Sublime.

Tracklist Lyrics and Videos

01   Speak to Me (01:08)

''{spoken} I've been mad for fucking years, absolutely years, been over the edge for yonks, been working me buns off for bands...

I've always been mad, I know I've been mad, like the
most of us...very hard to explain why you're mad, even if you're not mad...

{the rest of this song is an instrumental}''

02   Breathe (02:48)

Breathe, breathe in the air.
Don't be afraid to care.
Leave but don't leave me.
Look around and choose your own ground.

Long you live and high you fly
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.

Run, rabbit run.
Dig that hole, forget the sun,
And when at last the work is done
Don't sit down it's time to dig another one.

For long you live and high you fly
But only if you ride the tide
And balanced on the biggest wave
You race towards an early grave.

03   On the Run (03:50)

''{spoken} [female announcer, announcing flight departures at an airport, including 'Rome', 'Cairo', 'Naples']

Live for today, gone tomorrow, that's me (laughter)!

{the rest of this song is an instrumental}''

04   Time (06:49)

Ticking away the moments that make up a dull day
You fritter and waste the hours in an offhand way.
Kicking around on a piece of ground in your home town
Waiting for someone or something to show you the way.

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.

And you run and you run to catch up with the sun but it's sinking
Racing around to come up behind you again.
The sun is the same in a relative way but you're older,
Shorter of breath and one day closer to death.

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.

Home, home again.
I like to be here when I can.
When I come home cold and tired
It's good to warm my bones beside the fire.
Far away across the field
The tolling of the iron bell
Calls the faithful to their knees
To hear the softly spoken magic spells.

05   The Great Gig in the Sky (04:44)

''{spoken} And 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 gotta go sometime.

I never said I was frightened of dying.

{the rest of this song is an instrumental}''

06   Money (06:22)

Money, get away.
Get a good job with more pay and you're okay.
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.

Money, get back.
I'm all right Jack keep your hands off of my stack.
Money, it's a hit.
But Don't give me that do goody good bullshit.
I'm in the high-fidelity first class traveling set
And I think I need a Lear jet.

Money, it's a crime.
Share it fairly but don't take a slice of my pie.
Money, so they say
Is the root of all evil today.
But if you ask for a raise it's no surprise that they're giving none away.

''{spoken} HuHuh! I was in the right!
Yes, absolutely in the right!
I certainly was in the right!
You was definitely in the right. That geezer was cruising for a bruising!
Yeah!
Why does anyone do anything?
I don't know, I was really drunk at the time!
I was just telling him, he couldn't get into number 2. He was asking why he wasn't coming up on freely, after I was yelling and screaming and telling him why he wasn't coming up on freely.
It came as a heavy blow, but we sorted the matter out.''

07   Us and Them (07:49)

Us, and them
and after all we're only ordinary men.
me, and you.
God only knows it's not what we would choose to do.

Forward he cried from the rear
and the front rank died.
and the general sat and the lines on the map
moved from side to side.

Black and blue
and who knows which is which and who is who.
up and down.
And in the end it's only round and round, and round.

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.

''{spoken} I mean, they're gunna kill ya, so like, if you give 'em a quick short, sharp, shock, they won't do it again. Dig it? I mean he got off light, 'cos I would've given him a thrashing - I only hit him once! It was only a difference of right and wrong, innit?...I mean good manners
don't cost nothing do they, eh?''

Down and out
It can't be helped but there's a lot of it about.
With, without.
And who'll deny it's what the fighting's all about?

Out of the way, it's a busy day
I've got things on my mind.
For the want of the price of tea and a slice
The old man died.

08   Any Colour You Like (03:26)

Instrumental

09   Brain Damage (03:46)

The lunatic is on the grass
The lunatic is on the grass.
Remembering games and daisy chains and laughs
Got to keep the loonies on the path

The lunatic is in the hall
The lunatics are in my hall
The paper holds their folded faces to the floor
And every day the paper boy brings more

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

The lunatic is in my head
The lunatic is in my head
You raise the blade, you make the change
You re-arrange me 'til I'm sane
You lock the door
And throw away the key
There's someone in my head but it's not me

And if the cloud bursts, thunder in your ear
You shout but no one seems to hear
And if the band you're in starts playing different tunes
I'll see you on the dark side of the moon

I cannot think of anything to say except, ha, ha, ha, I think it's marvelous!
Ha, ha, ha!

10   Eclipse (02:11)

All that you touch
And all that you see
All that you taste
All you feel.
And all that you love
And all that you hate
All you distrust
All you save.
And all that you give
And all that you deal
And all that you buy,
Beg, borrow or steal.
And all you create
And all you destroy
And all that you do
And all that you say.
And all that you eat
And everyone you meet
And all that you slight
And everyone you fight.
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.

''{spoken} There is no dark side of the moon really. Matter of fact it's all dark.''

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