Pink Floyd

Hipgnosis designed the famous Pink Floyd album cover in 1973. Fifty years on, Pentagram is reimagining it. ... Opening the 50th anniversary box set for Pink ...

Because this version of the album is a first, Pentagram decided to go to the original source material. This layer contains all the extra materials including a number of mixes and remastered versions of the album, as well as memorabilia. Inside this box is the crown jewel: the original remastered vinyl of The Dark Side Of The Moon — Live At Wembley Empire Pool, London, 1974. We took the same font, the same idea, and made a new structure with that for the book cover. “We’ve been very careful not to invent anything new but kind of reuse lost things and extend the idea of the original prism into a whole concept,” he tells me. “Every idea that we’ve brought to it has been taken from a little something that was in the design of the original album. In the age of digital media, the physical album experience has been relegated to novelty, but the concept of a sarcophagus works on so many levels for the Pink Floyd project. The initial sketch for the box set was built on the idea of the Egyptian sarcophagus, Marshall says, where there’s one casing inside another casing inside another casing. From there, the box set dives deeper into the story of the album. Set against a black background, a ray of white light entered the glowing outline of triangle from the left, spreading into a rainbow on the other. The cover of the 50th anniversary box set features an all black version of the original. A perfect black box opens to reveal layers of nested treasures that feel as if they’ve been miraculously found in some unknown Egyptian city, long lost under the sand of the Saqqara Desert.

Despite the groundbreaking success of their album, Pink Floyd has been plagued by internal strife for decades. The ongoing feud between band members Roger ...

The views expressed here are that of the respective authors/ entities and do not represent the views of Economic Times (ET). Despite the ongoing tensions between former band members, the album continues to resonate with new generations and receive widespread love and admiration. While many of their contemporaries focused on sci-fi and fantasy, Pink Floyd delved into the darker side of human emotions, exploring themes of stress and everyday struggles. Let us get rid of all the 'we' crap! Their melodies, particularly on the topics of time and money, resonated with audiences and continue to be relatable even 50 years after their release. Gilmour quoted the tweet and affirmed that every word was "demonstrably true."

To celebrate the 50th anniversary, Pink Floyd has a lot of goodies in store for fans. They are releasing a newly remastered version of the album on March 24, ...

They are releasing a newly remastered version of the album on March 24, along with a Blu-ray and DVD audio with the original mix and remastered stereo versions. But it went on to spend 741 weeks on the Billboard Album chart between 1973 and 1988, and has since gone on to spend a total of 972 weeks on the chart. “It really is a record that is so revolutionary at the time when it comes out in 1973, it’s revolutionary even for the band.”

Released on March 1, 1973, this album catapulted Richard Wright, David Gilmour, Roger Waters, and Nick Mason to true international superstardom after having ...

Raise your hand if you saw a Dark Side of the Moon laser show at your local planetarium. Pink Floyd never again felt this cohesive as a band, nor did any subsequent album hang together as cohesively as Dark Side of the Moon. The beating heart of Pink Floyd’s remarkable career remains The Dark Side of the Moon. Dark Side of the Moon sent Pink Floyd into orbit. Is there a better album cover than the one created for The Dark Side of the Moon? Released on March 1, 1973, in the United States, and a few weeks later in the U.K., Dark Side of the Moon consists of 10 songs spread across 43 minutes.

With the release of "The Dark Side of the Moon," Pink Floyd's penetrating exploration of madness and excess, the influential English rockers were catapulted ...

Despite the notoriety garnered by the band’s often volatile internal relationships and acrimonious split from Waters, many of Pink Floyd’s 1970s gems retain their charms, and The Dark Side of the Moon holds up, its prism refracting the luminous vision of its collaborators for all to see. Upon its release, The Dark Side of the Moon was greeted with critical acclaim and transformed Pink Floyd into international superstars. Dark Side closes with the apocalyptic “Eclipse,” which sums up the album’s aim, Waters concluding: “And everything under the sun is in tune/But the sun is eclipsed by the moon.” The album closes with the same heartbeat with which it opens, suggesting the cyclical passage of humanity and its maddening nature—dark, delirious, enchanting, eternal, or perhaps revealing that the entire album is just one, in an unending stream of the protagonist’s intermittent lunatic hallucinations. Thanatophobia and the inevitability of death remain among Dark Side’s central themes, and “On the Run” introduces their impact in a frenzied rush. This is followed by the Waters-sung “Brain Damage”—perhaps the album’s most frank discussion of insanity and chaos. This overture, entitled “Speak to Me,” sets the mood with its disembodied laughter and fragmentary references to madness, a sonic premonition of what is to come, before bleeding into “Breathe (In the Air),” one of Dark Side’s key tracks. “Us and them/And after all/We’re only ordinary men,” Gilmour insists, his spacey vocal delivery reverberating against the track’s icy backdrop. “You missed the starting gun.” Whereas “Time” explores the ephemeral nature of mortal existence, Wright’s stunning “The Great Gig in the Sky” addresses transcendence: the transcendence of commodity, fear, and ego. There’s no reason for it—you’ve got to go some time.” Though perhaps less appreciated than other, more popular Dark Side cuts, “The Great Gig in the Sky” is no less a masterpiece of psychedelic rock and remains oddly comforting in both O’Driscoll’s frank wisdom and singer Clare Torry’s impassioned vocal performance, which stands among rock’s most intense. Bassist, co-vocalist, and primary lyricist Roger Waters, who steered the album’s creative direction, had, however, not yet finished lamenting his former bandmate’s undoing, which he had been referencing for several years by then, namely on such earlier tracks as 1970’s softly devastating “If”—“If I go insane/Please don’t put your wires in my brain.” Indeed, themes of madness, paranoia, and disassociation occasionally surfaced in Waters’ lyrics, but it seems as though, after years of rehearsal, he finally brought the band’s collective trauma to the forefront on The Dark Side of the Moon, crafting a cohesive narrative that pays tribute to the mythology surrounding Barrett’s manic brilliance while simultaneously reflecting on the group’s experience of losing him. Dark Side’s impeccable polish—courtesy of the band and then-EMI engineer Alan Parsons—enshrouds the album in a certain glacial chill, permeating even its heaviest cuts and contributing to a consistent sense of atmosphere throughout, effectively wedding the manic technical ambition of the decade’s prog movement with the fluid dreamscapes of the art school psychedelia Pink Floyd began developing in the 1960s. Famously, The Dark Side of the Moon opens with the sound of a beating heart, juxtaposed with the sounds of clocks ticking and paper tearing, and fittingly, the album’s first utterance is the nonchalant declaration: “I’ve been mad for fucking years.

Abbey Road Studios are celebrating the 50th anniversary of Pink Floyd's legendary The Dark Side Of The Moon album with the announcement of their very first ...

[Roger Waters has controversially re-recorded The Dark Side Of The Moon](https://www.loudersound.com/news/roger-waters-has-rerecorded-the-dark-side-of-the-moon-without-pink-floyd) without his Floyd bandmates, telling The Telegraph: "Let’s get rid of all this ‘we’ crap! This is a collection that has been carefully curated with music fans at the heart, with elements that are trend-led to take the much-loved artwork to a new, style-conscious audience." "We are delighted to announce the first ever official collaboration between Pink Floyd and Abbey Road," says Abbey Road’s General Manager Jeremy Huffelmann.

The “dark sarcasm” line from the song is a little less known, but a group of Capital Region musicians and Pink Floyd enthusiasts have adopted it as the name of ...

— Acclaimed Michigan noise-rock group Wolf Eyes, described as both bizarre and otherworldly, joins with the avant-garde Difficult Messages Group for a show on Thursday at No Fun (275 River St., Troy). And since we don’t have to put energy into trying to dress up like the members of Pink Floyd, as might be necessary for a KISS or Beatles tribute, we pour our hearts into the music itself.” “Even folks who are not too familiar with Pink Floyd will have a blast. Of course, another line in the song, ‘We don’t need no education,’ is a double-negative and proves that my job as an English professor is necessary after all,” Youngs jokes. “To me, this line is critical of a style of ‘teaching’ that berates students and makes them feel inferior, something that was well-documented in the post-WW2 British education system.” It was a hit upon its release, thanks in part to its irresistible disco beat and ominous chorus of children chanting, “We don’t need no education” and “Hey, teacher, leave them kids alone.”

(LOOTPRESS) – On this day 50 years ago English rock band Pink Floyd released what would come to be heralded as one of the most significant musical and ...

“I think we all thought – and Roger definitely thought – that a lot of the lyrics that we had been using were a little too indirect,” he said. “Time” features an array of ringing clocks recorded separately at antique stores, an idea spearheaded and implemented by engineer Alan Parsons who would go on to have success as a musician in his own right. “I like the idea of an album being about one specific thing and all the songs within it relating back to the central theme or idea.”

In celebration of the 50th anniversary of The Dark Side of the Moon, Pink Floyd is releasing a new Blu-ray disc and CD of the classic concert The Dark Side ...

Also on March 24, Pink Floyd will release The Dark Side of the Moon deluxe box set, which also includes the Wembley concert. The items can be purchased at In celebration of the 50th anniversary of The Dark Side of the Moon, Pink Floyd is releasing a new Blu-ray disc and CD of the classic concert The Dark Side of the Moon — Live at Wembley Empire Pool, London, 1974 — and now they are giving fans a taste of it.

In celebration of the 50th anniversary of The Dark Side of the Moon, Pink Floyd is releasing a new Blu-ray disc and CD of the classic concert The Dark Side ...

Also on March 24, Pink Floyd will release The Dark Side of the Moon deluxe box set, which also includes the Wembley concert. The items can be purchased at In celebration of the 50th anniversary of The Dark Side of the Moon, Pink Floyd is releasing a new Blu-ray disc and CD of the classic concert The Dark Side of the Moon — Live at Wembley Empire Pool, London, 1974 — and now they are giving fans a taste of it.

With the release of "The Dark Side of the Moon," Pink Floyd's penetrating exploration of madness and excess, the influential English rockers were catapulted ...

Despite the notoriety garnered by the band’s often volatile internal relationships and acrimonious split from Waters, many of Pink Floyd’s 1970s gems retain their charms, and The Dark Side of the Moon holds up, its prism refracting the luminous vision of its collaborators for all to see. Upon its release, The Dark Side of the Moon was greeted with critical acclaim and transformed Pink Floyd into international superstars. Dark Side closes with the apocalyptic “Eclipse,” which sums up the album’s aim, Waters concluding: “And everything under the sun is in tune/But the sun is eclipsed by the moon.” The album closes with the same heartbeat with which it opens, suggesting the cyclical passage of humanity and its maddening nature—dark, delirious, enchanting, eternal, or perhaps revealing that the entire album is just one, in an unending stream of the protagonist’s intermittent lunatic hallucinations. Thanatophobia and the inevitability of death remain among Dark Side’s central themes, and “On the Run” introduces their impact in a frenzied rush. This is followed by the Waters-sung “Brain Damage”—perhaps the album’s most frank discussion of insanity and chaos. This overture, entitled “Speak to Me,” sets the mood with its disembodied laughter and fragmentary references to madness, a sonic premonition of what is to come, before bleeding into “Breathe (In the Air),” one of Dark Side’s key tracks. “Us and them/And after all/We’re only ordinary men,” Gilmour insists, his spacey vocal delivery reverberating against the track’s icy backdrop. “You missed the starting gun.” Whereas “Time” explores the ephemeral nature of mortal existence, Wright’s stunning “The Great Gig in the Sky” addresses transcendence: the transcendence of commodity, fear, and ego. There’s no reason for it—you’ve got to go some time.” Though perhaps less appreciated than other, more popular Dark Side cuts, “The Great Gig in the Sky” is no less a masterpiece of psychedelic rock and remains oddly comforting in both O’Driscoll’s frank wisdom and singer Clare Torry’s impassioned vocal performance, which stands among rock’s most intense. Bassist, co-vocalist, and primary lyricist Roger Waters, who steered the album’s creative direction, had, however, not yet finished lamenting his former bandmate’s undoing, which he had been referencing for several years by then, namely on such earlier tracks as 1970’s softly devastating “If”—“If I go insane/Please don’t put your wires in my brain.” Indeed, themes of madness, paranoia, and disassociation occasionally surfaced in Waters’ lyrics, but it seems as though, after years of rehearsal, he finally brought the band’s collective trauma to the forefront on The Dark Side of the Moon, crafting a cohesive narrative that pays tribute to the mythology surrounding Barrett’s manic brilliance while simultaneously reflecting on the group’s experience of losing him. Dark Side’s impeccable polish—courtesy of the band and then-EMI engineer Alan Parsons—enshrouds the album in a certain glacial chill, permeating even its heaviest cuts and contributing to a consistent sense of atmosphere throughout, effectively wedding the manic technical ambition of the decade’s prog movement with the fluid dreamscapes of the art school psychedelia Pink Floyd began developing in the 1960s. Famously, The Dark Side of the Moon opens with the sound of a beating heart, juxtaposed with the sounds of clocks ticking and paper tearing, and fittingly, the album’s first utterance is the nonchalant declaration: “I’ve been mad for fucking years.

“In 1973, Pink Floyd was a somewhat known progressive rock band,” writes neuroscientist and music producer Daniel Levitin, but The Dark Side of the Moon “ ...

His projects include the Substack newsletter [Books on Cities](https://colinmarshall.substack.com/), the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series [The City in Cinema](https://vimeo.com/channels/thecityincinema). But it could hardly have sold more than 45 million copies to date without chancing to hit the zeitgeist at a favorable angle: as Pink Floyd drummer Nick Mason said, it was “not only about being a good album but also about being in the right place at the right time.” And with the heroic age of the album long over, The Dark Side of the Moon — a newly re-recorded version of which Storm Thorgerson’s iconic cover art, still seen on the walls of college dorm rooms today, also had something to do with its success as both cultural phenomenon and consumer product. [an essay Levitin wrote for the Library of Congress in 2012](https://www.loc.gov/static/programs/national-recording-preservation-board/documents/DarkSideOfTheMoon.pdf), when The Dark Side of the Moon was inducted into the US National Recording Registry. In The Dark Side of the Moon‘s lyrics Levitin hears Pink Floyd co-founder Roger Waters’ metaphorical treatment of the difficult decision to fire Barrett, as well as his realization that “life wasn’t going to start later. And you think that the higher-pitched one is the downbeat. For the album’s fiftieth anniversary, National Public Radio’s Morning Edition [invited him to psychoanalyze it on-air](https://www.npr.org/2023/03/01/1159798950/psychologist-daniel-levitin-dissects-pink-floyds-dark-side-of-the-moon). And your sense of time is distorted.” And the idea of Its masterful engineering “propelled the music off of any sound system to become an all-encompassing, immersive experience” comprising songs that “flow into one another symphonically, with seamless musical coherence, as though written as part of a single melodic and harmonic gesture. “Themes of madness and alienation permeate the record,” he says, making reference to the story of departed Pink Floyd member [Syd Barrett](https://www.openculture.com/2013/09/psychedelic-scenes-of-pink-floyds-early-days-with-syd-barrett-1967.html). What’s Going On, Blue, Blood on the Tracks, Exile on Main Street, Born to Run, Rumours, Aja: that these and other seventies releases always rank high on best-of-all-time lists can be no accident.