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Over it all lurked the spectre of Syd Barrett, looking back at Roger and the group from the dark side. But on Dark Side Of The Moon these themes were still relatively unsophisticated and easier to follow.
The songs and basic structure for the album came together over a period of about six weeks. David Gilmour reckons that playing the songs live beforehand made a big difference.
But when we went into the studio we all knew the material. The playing was very good. It had a natural feel. It was also the last time that every member made a major contribution to a Pink Floyd album.
But he could let rip when he wanted, as the solo on Money showed. He also sang around half the songs. Recording technology was evolving rapidly around the band.
They used the new VCS3 — the latest synthesiser on the market, albeit still quite primitive — to generate the helicopter noises and Rick Wright used it inventively on On The Run.
Half-way through making the album they switched to the new Dolby sound reduction system to give the music greater clarity and separation.
But the real masterstroke came late on when Roger decided to link the tracks with bits of speech. But passing strangers also took part.
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Archivado desde el original el 28 de febrero de Consultado el 30 de marzo de Consultado el 15 de agosto de Archivado desde el original el 15 de febrero de Consultado el 22 de marzo de Bulletin des societes d'ophtalmologie de France 4.
Archivado desde el original el 27 de febrero de Consultado el 28 de marzo de Archivado desde el original el 8 de marzo de Consultado el 3 de agosto de Archivado desde el original el 12 de junio de Consultado el 12 de agosto de Archivado desde el original el 23 de marzo de Archivado desde el original el 9 de marzo de Consultado el 29 de marzo de Consultado el 22 de agosto de Archivado desde el original el 3 de julio de Consultado el 27 de marzo de Archivado desde el original el 6 de febrero de Archivado desde el original el 1 de diciembre de Archivado desde el original el 27 de abril de Consultado el 8 de marzo de During recording sessions, Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on flashcards.
The interviewees were placed in front of a microphone in a darkened Studio 3,  and shown such questions as "What's your favourite colour?
Questions such as "When was the last time you were violent? Waters asked him about a violent encounter he had had with another motorist, and Manifold replied " His second wife, Patricia "Puddie" Watts now Patricia Gleason , was responsible for the line about the "geezer" who was "cruisin' for a bruisin ' " used in the segue between "Money" and "Us and Them", and the words "I never said I was frightened of dying" heard halfway through "The Great Gig in the Sky".
Perhaps the most notable responses "I am not frightened of dying. Any time will do: I don't mind. Why should I be frightened of dying?
As a matter of fact it's all dark" came from the studios' Irish doorman, Gerry O'Driscoll. Following the completion of the dialogue sessions, producer Chris Thomas was hired to provide "a fresh pair of ears".
Thomas's background was in music, rather than engineering. He had worked with Beatles producer George Martin , and was acquainted with Pink Floyd's manager, Steve O'Rourke.
In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun. Thomas was responsible for significant changes to the album, including the perfect timing of the echo used on "Us and Them".
He was also present for the recording of "The Great Gig in the Sky" although Parsons was responsible for hiring Torry.
When the record was finished I took a reel-to-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished.
And I thought, "This has obviously struck a chord somewhere", and I was kinda pleased by that. You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else.
And at that point I thought to myself, "Wow, this is a pretty complete piece of work", and I had every confidence that people would respond to it.
The album was originally released in a gatefold LP sleeve designed by Hipgnosis and George Hardie. Hipgnosis had designed several of the band's previous albums, with controversial results; EMI had reacted with confusion when faced with the cover designs for Atom Heart Mother and Obscured by Clouds , as they had expected to see traditional designs which included lettering and words.
Designers Storm Thorgerson and Aubrey Powell were able to ignore such criticism as they were employed by the band. The artwork was created by their associate, George Hardie.
Hipgnosis offered the band a choice of seven designs, but all four members agreed that the prism was by far the best.
The final design depicts a glass prism dispersing light into colour. The design represents three elements: the band's stage lighting, the album lyrics, and Wright's request for a "simple and bold" design.
Inside the sleeve were two posters and two pyramid-themed stickers. One poster bore pictures of the band in concert, overlaid with scattered letters to form PINK FLOYD, and the other an infrared photograph of the Great Pyramids of Giza , created by Powell and Thorgerson.
The band were so confident of the quality of Waters' lyrics that, for the first time, they printed them on the album's sleeve.
As the quadraphonic mix of the album was not then complete, the band with the exception of Wright boycotted the press reception held at the London Planetarium on 27 February.
The Dark Side of the Moon was released first in the US on 1 March ,  and then in the UK on 16 March.
Much of the album's early American success is attributed to the efforts of Pink Floyd's US record company, Capitol Records. Newly appointed chairman Bhaskar Menon set about trying to reverse the relatively poor sales of the band's studio album Meddle.
Meanwhile, disenchanted with Capitol, the band and manager O'Rourke had been quietly negotiating a new contract with CBS president Clive Davis , on Columbia Records.
The Dark Side of the Moon was the last album that Pink Floyd were obliged to release before formally signing a new contract. Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of "Us and Them" and "Time".
This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy.
In the US the LP was released before the introduction of platinum awards in The album has sold 9,, copies in the US since when Nielsen SoundScan began tracking sales for Billboard.
And this one was clear and concise. The cover was also right. I think it's become like a benevolent noose hanging behind us. Throughout our entire career, people have said we would never top the Dark Side record and tour.
But The Wall earned more in dollar terms. In , The Dark Side of the Moon was released as a remastered LP by Mobile Fidelity Sound Lab ,  and in April on their "Ultradisc" gold CD format.
The cover design was again by Storm Thorgerson, the designer of the original cover. The original quadraphonic mix, [nb 9] created by Alan Parsons,  was commissioned by EMI but never endorsed by Pink Floyd, as Parsons was disappointed with his mix.
The band elected not to use Parsons' quadraphonic mix done shortly after the original release , and instead had engineer James Guthrie create a new 5.
Speaking in , Alan Parsons expressed some disappointment with Guthrie's SACD mix, suggesting that Guthrie was "possibly a little too true to the original mix", but was generally complimentary.
Transparent glass, held in place by strips of lead, was used in place of the opaque colours of the original. The idea is derived from the "sense of purity in the sound quality, being 5.
The Dark Side of the Moon was also re-released in on gram virgin vinyl mastered by Kevin Gray at AcousTech Mastering and included slightly different versions of the original posters and stickers that came with the original vinyl release, along with a new 30th anniversary poster.
The success of the album brought wealth to all four members of the band; Richard Wright and Roger Waters bought large country houses, and Nick Mason became a collector of upmarket cars.
Although Waters and Gilmour have on occasion downplayed his contribution to the success of the album, Mason has praised his role.
But I still wake up occasionally, frustrated about the fact that they made untold millions and a lot of the people involved in the record didn't.
Part of the legacy of The Dark Side of the Moon is in its influence on modern music, in the musicians who have performed cover versions of its songs, and in a modern urban myth, often referred to as the " Dark Side of the Rainbow ".
The album's release is often seen as a pivotal point in the history of rock music, and comparisons are sometimes made with Radiohead 's album OK Computer ,   including a premise explored by Ben Schleifer in ' Speak to Me': The Legacy of Pink Floyd's The Dark Side of the Moon that the two albums share a theme that "the creative individual loses the ability to function in the [modern] world".
In a book about classic rock , Steven Hyden recalls concluding, in his teens, that The Dark Side of the Moon and Led Zeppelin IV were the two greatest albums of the genre, vision quests "encompass[ing] the twin poles of teenage desire".
They had similarities, in that both album's cover and internal artwork eschew pictures of the bands in favor of "inscrutable iconography without any tangible meaning which always seemed to give the music packaged inside more meaning ".
But whereas Led Zeppelin had looked outward, toward "conquering the world" and was known at the time for its outrageous sexual antics while on tour, Pink Floyd looked inward, toward "overcoming your own hang-ups" and seemed so sedate and boring that, Hyden commented, the scene in Live at Pompeii where they take a lunch break at the studio might well have been the most interesting part of recording The Dark Side of the Moon.
In , The Dark Side of the Moon was selected for preservation in the United States National Recording Registry by the Library of Congress for being deemed "culturally, historically, or aesthetically significant".
The Dark Side of the Moon frequently appears on professional rankings of the greatest albums. In , it was voted "My Favourite Album" by the Australian Broadcasting Corporation 's audience.
Based on such rankings, the aggregate website Acclaimed Music lists The Dark Side of the Moon as the 21st most acclaimed album in history, the seventh most acclaimed of the s, and number one of albums from One of the more notable covers of The Dark Side of the Moon is Return to the Dark Side of the Moon : A Tribute to Pink Floyd.
Released in , the album is a progressive rock tribute featuring artists such as Adrian Belew , Tommy Shaw , Dweezil Zappa , and Rick Wakeman.
Several notable acts have covered the album live in its entirety, and a range of performers have used samples from The Dark Side of the Moon in their own material.
Jam-rock band Phish performed a semi-improvised version of the entire album as part their show on 2 November in West Valley City, Utah.
Dark Side of the Rainbow and Dark Side of Oz are two names commonly used in reference to rumours circulated on the Internet since at least that The Dark Side of the Moon was written as a soundtrack for the film The Wizard of Oz.
Observers playing the film and the album simultaneously have reported apparent synchronicities, such as Dorothy beginning to jog at the lyric "no one told you when to run" during "Time", and Dorothy balancing on a tightrope fence during the line "balanced on the biggest wave" in "Breathe".
From Wikipedia, the free encyclopedia. This article is about the album by Pink Floyd. For the far or hidden side of the Moon, see Far side of the Moon.
For other uses, see Dark Side of the Moon disambiguation. Pink Floyd. Waters' early demo recording of "Money", made in his garden shed.
This selection is taken from about two minutes forty seconds onwards. Although similar to the original demo track recorded by Waters, it is considerably more rock-orientated.
This is an excerpt from the start of the track. It felt like the whole band were working together. It was a creative time. We were all very open.
I think that when it was finished, everyone thought it was the best thing we'd ever done to date, and everyone was very pleased with it, but there's no way that anyone felt it was five times as good as Meddle , or eight times as good as Atom Heart Mother , or the sort of figures that it has in fact sold.
It was It's changed me in many ways, because it's brought in a lot of money, and one feels very secure when you can sell an album for two years.
But it hasn't changed my attitude to music. Even though it was so successful, it was made in the same way as all our other albums, and the only criterion we have about releasing music is whether we like it or not.
It was not a deliberate attempt to make a commercial album. It just happened that way. We knew it had a lot more melody than previous Floyd albums, and there was a concept that ran all through it.
The music was easier to absorb and having girls singing away added a commercial touch that none of our records had.
Main article: Dark Side of the Rainbow. Waters Richard Wright David Gilmour. Waters Gilmour Wright Mason. Wright Clare Torry [nb 11].
But, that didn't sell well, so what the hell. I was against Eclipse and we felt a bit annoyed because we had already thought of the title before Medicine Head came out.
Not annoyed at them but because we wanted to use the title. Retrieved 2 February Random House. The Times. Retrieved 17 March Retrieved 16 March Retrieved 2 August Retrieved 27 September Retrieved 25 November Omnibus Press.
Retrieved 13 August Tower Records. Archived from the original on 18 August Rolling Stone.