I remember that day in June of 1973, when my brother Sergio showed me a disk that he had just bought: the edition mexican The Dark Side of the Moon, the new album from Pink Floyd, released in our country just a few days before by Emi Capitol. In his collection, he already had the double album Ummagumma (1969) I do not tire of listening, spellbound by those atmospheres and sounds that emerge from the minds ravings of those four English musicians (the screams, terrifying in the part high of “Careful with That Axe Eugene”were one of the most chilling and at the same time more fascinating than I had ever heard).
However, The dark side of the moon was very different, a proposal that is totally new on the part of the quartet that he left somewhat long landscapes instrumental and psychedelic to go into the production of songs more formal, although not by them less experimental and offering suggestions.
The Dark Side of the Moon was recorded in two parts, the first in 1972 and the second in early 1973. Originally appeared in Great Britain, the 12 of march from 45 years ago, to be published later in other parts of the world. Mexico came in June, in an edition in vinyl pretty decent.
It is quite feasible that if Syd Barrett had not lost the reason in 1968 and had continued as leader of the quartet, the history of Pink Floyd would have been very different and we had lost of the existence of disks that we today consider to be fundamental, from A Saucerful of Secrets (1968) and Atom Heart Mother (1970) up to wonders such as Wish You Were Here (1975), Animals (1977) or The Wall (1979), just to mention a few. Perhaps we would have had other works of art of the music, but that we will never get to know. The fact is that with the departure of Barrett and the arrival of David Gilmour, bassist and singer Roger Waters took the control of the grouping, despite the big egos of his companions, in particular the keyboardist Rick Wright.
The Dark Side was still, however, an album that has democratic in its creation, because although it was born as an idea of Waters, the other three members of the group participated, as composers and arrangers of the ten topics that comprise it.
What is it that makes this album so special and why many specialists consider it as the best in the history of rock, even above such wonders as the Sgt. Pepper’s Lonely Heart’s Club Band, the Beatles, the Who’s Next by The Who, the Blonde on Blonde of Bob Dylan or the Exile on Main Street Rolling Stones, to name just four masterpieces?
Many are the artistic factors that come together in 45 minutes that lasts The Dark Side of the Moon. In the first place, of course, the creative ability and the originality of Pink Floyd in this album reached the zenith artistic. In what musical and what letrístico, the disk is not only impeccable but practically perfect. There is only one thin point, a moment is superfluous, a fragment that on or that doesn’t fit.
From the throb of the heart, the voices unintelligible, laughter, and the scream with which it starts (“Speak to Me”), before breaking into a harmony instrumental rhythmic which gives rise to a song with two voices (“Breathe [In the Air]”), to continue with a kind of fast ostinato electronic and progressive (“On the Run”), the sound of clocks, the tic tac and the game percussion that opens the door to a spectacular item (“Time”, with the guitar and the voice of Gilmour full) and that merges with marvel’s amazing “The Great Gig in the Sky”, in which the voice superhuman Claire Torry takes us out of this world, with a singlevocal begging (what spiritual, sexual, both?) that continues to cause shivers.
The B-side of The Dark Side of the Moon continues and intensifies the quality of the album. With “Money” (the court more rocanrolero and up to bluesero of the disk, only to tenor sax included, courtesy of Dick Parry), “Us and Them” (the track longer, a marvel absolute), “Any Colour You Like” (another instrumental, a theme, a quasi-pastoral that turns into a kind of funk, mind), “Brain Damage” (a clear homage between affectionate and satirical to Syd Barrett) and “Eclipse” (the song that closes the circle, a prayer, a hymn).
The meticulous work of Alan Parsons in the sound engineering of the dish became legendary, while the design of the fabulous cover (due to the british artist Storm Thorgerson) marked a milestone.
45 years on the dark side of the moon: the great gig in the sky.