The Dark Side of the Moon

Release date: March 24th, 1973

Recorded at: EMI Studios, Abbey Road, London (June 1972-January 1973)

Total Playing Time: 42'52


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Speak To Me (Mason) [01:10] Instrumental.

Breathe (Waters, Gilmour, Wright) [02:47] Vocals by Gilmour.

On The Run (Gilmor, Waters) [03:51] Instrumental.

Time (Mason, Waters, Wright, Gilmour) [05:54] Vocals by Gilmour and Wright.

Breathe Reprise (Waters, Gilmour, Wright) [01:11] Vocals by Gilmour.

The Great Gig in the Sky (Wright) [04:47] Vocals by Clare Torry.

Money (Waters) [06:23] Vocals by Gilmour.

Us And Them (Waters, Wright) [07:48] Vocals by Wright and Gilmour.

Any Colour You Like (Gilmour, Mason, Wright) [03:25] Instrumental.

Brain Damage (Waters) [03:50] Vocals by Waters.

Eclipse (Waters) [02:06] Vocals by Waters with Gilmour at the end.



David Gilmour: Vocals, Guitars, VCS3

Nick Mason: Drums, Tape Effects

Roger Waters: Bass Guitar, Vocals, VCS3

Rick Wright: Keyboards, Vocals, VCS3, Tape Effects

Dick Parry: Saxophone on "Us And Them" and "Money"

Clare Torry: Vocals on "The Great Gig in the Sky"

Backing Vocals: Doris Troy, Leslie Duncan, Liza Strike and Barry St.John



Speak to Me (Mason)

"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..."





Breathe (Waters, Gilmour, Wright)

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.



On The Run (Gilmour, Waters)

[female announcer, announcing flights at airport, including 'Rome']


"Live for today, gone tomorrow, that's me, HaHaHaaaaaa!"





Time (Mason, Waters, Wright, Gilmour)

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 soemone 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.


So 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 nought or half a page of scribbled lines

Hanging on in quiet desparation is the English way

The time is gone, the song is over,

Thought I'd something more to say.


Breath Reprise

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.



The Great Gig in the Sky (Wright)

"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."





Money (Waters)

Money, get away.

Get a good job with good 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.

Don't give me that do goody good bullshit.

I'm in the high-fidelity first class travelling 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.


"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!"


"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"



Us and Them (Waters, Wright)

Us, and them

And after all we're only ordinary men.

Me, and you.

God only knows it's noz 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.

But in the end it's only 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.


"I mean, they're not gunna kill ya, so if you give 'em a quick short,

sharp, shock, they won't do it again. Dig it? I mean he get off

lightly, 'cos I would've given him a thrashing - I only hit him once!

It was only a difference of opinion, but really...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.



Any Colour You Like (Gilmour, Mason, Wright)




Brain Damage (Waters)

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 'till 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 and 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 can't think of anything to say except...

I think it's marvellous! HaHaHa!"



Eclipse (Waters)

All that you touch

All that you see

All that you taste

All you feel.

All that you love

All that you hate

All you distrust

All you save.

All that you give

All that you deal

All that you buy, beg, borrow or steal.

All you create

All you destroy

All that you do

All that you say.

All that you eat

everyone you meet

All that you slight

everyone you fight.

All that is now

All that is gone

All that's to come

and everything under the sun is in tune

but the sun is eclipsed by the moon.


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




The future began here. Recorded at Abbey Road on the new 16-track desk, seamlessly constructed and employing a thematic 'concept' to link the songs, Dark Side was the album which swiftly projected the Floyd from cult band to cornerstones of rock culture. A Quadrophonic mix by Alan Parsons, authorised by EMI and launched at the London Planetarium, caused a rumpus, with the band refusing to attend. This aside, the album was a huge success, and is still their biggest in commercial terms, with 28m copies sold worldwide.


It seems rather appropriate that "Dark Side" was EMI's first rock CD release. If there was a prime candidate for the new digital medium, then this was it. Inevitably, the release of "Dark Side" on CD helped give the album a new lease of life. Its success was 80 great--legend has it that there was an EMI factory which did nothing but churn out "Dark Side" CDs--that it enabled the album's U.S. chart run to top 730 weeks.


It is the fourth best seller rock album of all time - just behind "Thriller", "Saturday Night Fever Soundtrack" and Fleetwood Mac's "Rumors". It stayed on Billboard's top 200 album chart until April 23, 1988, and after that they changed the format so that once an album dropped off, it could not return. It stayed there for 723 weeks, the longest of any album, ever.


Nick Mason: "Dark Side started as a sequence called Eclipse. Most of it was developed in rehearsals for live shows, and we played it live at the Rainbow in London and opened shows with it in America in 1972. The concept grew out of group discussions about the pressures of real life, like travel or money, but then Roger broadened it into a meditation on the causes of insanity. The linking of all the sounds and the voices was very well done, I think, and we introduced an early synthesizer, the VCS3, right at the end. The recording was lengthly but not fraught, not agonised over at all. We were working really well as a band, But it wasn't only the music that made it such a success. EMI/Capitol had cleaned up their act in America. They put money behind promoting us for the first time. And that changed everything."


David Gilmour: "The big difference for me with this album was the fact that we'd played it live before we recorded it. You could't do that now of course, you'd be bootlegged out of existence. But when we went into the studio we all knew the material. The playing was very good. It had a natural feel. And it was a bloody good package. The music, the concept, the cover, all came together. For me it was the first time we'd had great lyrics. The others were satisfactory, or perfunctory or just plain bad. On Dark Side, Roger decided he didn't want anyone else writing lyrics."


As a side note, it is rumoured that initial U.K CDs were mastered not from the original tapes, but from second-generation copies. The story among Floyd buffs is that Dave Gilmour discovered this and ordered a shame-faced EMI to rectify this situation straight away.