Pink Floyd
The Dark Side of the Moon

THE REVIEW

AH AH, here we go again with the legendary Dark Side, it's become an essential mention for anyone doing reviews, and since this is the first review I'm doing, eheh, I'm gonna include The Dark Side, or even Te Darc Said, after hearing it so much it’s kind of nauseating, but it’s mystical, or mythical (that way we save on the S), let's start the review, now, after the period, .
Well in 1973, (which is part of the legendary 70s, a must for music), there were bands, in America bands made country and blues records, in Europe pop and rock records, but it was progressive rock, a rock where the songs were not rock, but they called it rock; in fact, a record that came out at the end of the previous decade, by a group of nerds with glasses led by the charisma-lacking guitarist Roberto, who somehow found a demon’s instrument, the MELLOTRON, made crappy sounds mimicking real instruments but was quite junky, and the record with the red face and the throat had nothing of rock except the first track that Roberto surely didn’t even want to include, and Lago told him, but that's another story, this one.

I was saying that in 1973, Michele signed his eternal obsession for the sounding pipes, and the dreadful topographic ocean tales with encephalotic salad were competing on who was more gaudy; but Roger Uodders and Nicc Meson with Ricciard Ruait, and Devid Ghilmur or also Gilmor, as usual, doing stupid things like holding a concert with no audience, still need money and so start writing songs for a new little disc, or vinyl, or wine.

Roger perhaps just gave the idea, human madness or something like that I guess, while Nicc just plays drums without particular emphasis, because the true heroes this time are the usual Gilmor and Ruait, indeed the latter decides to put a nice heartbeat sound, and here starts the music of the light-crossed prism then rainbowed, "Speak To Me", with Breathe in parenthesis is a song made with effects devised by the "usual", and then there is something similar called "On The Run", full of 70s stuff, oh I forgot the laughter in speak to me is a nice invention, anyway several minutes have passed and there’s "Time", or Taim, which contains one of Devid's best guitar performances, truly exquisite around the fourth minute, and then they bought a thousand clocks to make the beginning, this song ends and "The Great Gig In The Sky" starts, a composition by Ricciard, with piano and then other key-based things, but it's worth noting that a female singer spontaneously improvises a scream and it’s an immediate hit, she will then be paid a few coins to whom the Pink owe a lot, at this point, if you have the old version of the record, the big black one, well, you have to flip it, because it's not over, it continues on the other side.

Trrrr Frzzz, fushshshsh, and something like Taim, but instead of alarms there are cash registers, which also make a certain rhythm, this time the Pincc got a little more inventive, then there’s a famous piece made with the bass and always repeated, on which Ricciard and Devid don’t know what to stick, but Perri, perhaps an old friend of Ricciard, fixes it, decorating or crafting, a sax solo [Sax is very American], that is legendary, this song dissolves and here comes "Us and Them", a song where, it’s clear that Perri was on fire and wanted to keep playing, there’s the Sax again [ah, the SAX], and an RR, Riccard Ruait, particularly inspired, while Nicc and Devid surround it all with minimal expertise.

And now the top of the record, the deadly "Any Colour You Like", always by the great Ricciard, that we will never forget, where the abstraction of green and colorful circles is mandatory, in full Iu Laicc style, drawing excellent geometries a bit like the synthesizer wave, superb, also does a great job introducing "Brain Damage" where Devid's arpeggios bring him back to happiness, this track is a crescendo that turns out to be one of the most historic musical passages ever, with various mixes of voices recorded for the occasion but completely Uodderous lyrics, and somewhat Barrettian, who is always great, even if he doesn’t wash, like all English people.

Certain choirs reinforced by voices going Eh EEEH, are very enjoyable and Ricciard kicks in with a mythical saw-like or tear-like sound, which is perfect, then all together again to conclude with "Eclipse", a bit monotonous but spectacular, imagine if all slightly monotonous songs were so well made!
To really close, a pseudo-intellectual enigmatic phrase and the beat of the heart, and it’s over, wow, it just flew by, and the Pink themselves will never offer us a formula so well devised and consistent with itself in its development, even though their subsequent records of the seventies are appreciable, and after the swan song of Te Uoll, only the memories of that legendary and idiotic band remain.

After analyzing the tracks, I say it's a great album, it has one of the most charismatic covers ever, and if you still haven't heard it, and even if you don't want to hear it, in the future you will hear it anyway because it’s a bit like thinking, after a while everyone does and will do it forever. Now I’ll comb through the collection to find another album to review, and I assure you it won’t be one that’s already been reviewed a billion times like this one.

See you next time!