THE DARK SIDE OF THE MOON

Everything regarding this masterpiece has already been said. Every possible critic surrounding the inner context of this almost mid-seventies gem has been made already. Every imaginable review, article or headline has already been written and read. There's nothing left to be added up to the list of incommensurable wonders and never-ending fantasies that describes the complexity of "The Dark Side of the Moon". Nothing but the journey from inside out your mind transformed into vivid experiences when discovering this thirty years old creation. Mine was absolutely revealing not only because "The Dark Side of the Moon" was my first prog album ever, but for the way it turned my perspective upside-down making me understand much of what surrounded my environment back then. It was 1990. I was barely 12 years old and supposed to be riding a bike, kicking a soccer ball, acting mischievously strange and doing some homework. Instead of doing so, I used to spend many hours sat in front of the record player listening to disturbing odd sounds of hearts pounding incessantly and clocks ticking aguishly, to intriguing clattering drums and hypnotizing voices, all coming out from the same record.

Without considering the wit or the abruptness disseminated all along this album, every single composition contained in here deserves to be described with such overwhelming eloquence that all the possible words to be written would be incomplete and indescribably erroneous, and the resemblance to perfection will always lack of greatness. So, instead of looking through the entireness of the track listing featured and performed on "The Dark Side of the Moon", I'd like to dig up the verisimilitude emerging incessantly from within.

"The Dark Side of the Moon" is the determinant pinnacle of prog rock. Not that I'm comparing the accomplishments carried out by KING CRIMSON or FRANK ZAPPA in the early years of prog with such things as "In the Court of the Crimson King" or "Freak Out!" to what the English band achieved in 1973 with "The Dark Side of the Moon", I'm just saying this is the best prog rock album ever made. Ever. A successful album is not conformed of a hit that stands up for the rest of the recording; a remembered breakthrough album is the one arranged so majestically and intrepidly that combines not only the best saxophonist and the world's most acclaimed bassist of the time, but the one that contains the essential structure (art work, instrumentation, interactive lyrics) to be considered as a mythical point of comparison to tell an era from another. PINK FLOYD went to the moon and back with this musical relic in such biblical proportions.

There will always be a proghead rocking to "Money" from the intro bass twanging off superbly to the last tune of the song, there will always be a helpless self-questionable person arguing whether "Breathe" is a reprise of "Time" or not, a nice pair falling in love while the smooth sax of Dick PARRY on "Us and Them" lingers inside of them to the dance floor and a true mental case represented from head to toes in "Brain Damage". To my concern, "The Great Gig in the Sky" is the most relaxing and exuberant suite I've ever lent ears to in my life. The backing vocals by Clare TORRY are the reminiscences of a simpler time, accompanied marvelously by Rick WRIGHT's piano. "The Dark Side of the Moon" is indeed a spotless masterpiece, impeccably executed and amazingly instrumented. The lyrical interpretation by Roger WATERS will always remain as one of his finest works ever orchestrated.

An outstanding album that needs no recommendation at all since it entirely speaks for itself. A recognizable milestone that could easily take on thirty more years. A definite must to any respectable progressive rock collection.