Dark Side of The Moon.

[Captain Beefheart]

Talk about getting a lot for pretty much nothing. I was shopping at Borders killing myself over the fact I couldn't afford Alfred Hitch****'s Box Set Movie Collection(damn expensive!), and BAM all of a sudden I saw a familiar "cover". It was Pink Floyd's DVD for "Dark Side of the Moon. Warning: Unlike Live at Pompeii, THIS IS NOT A CONCERT DVD. Rather a documental profile from "Classic Albums" on the making of Pink Floyd's record. I appologize in advance if I'm telling you things that you're already aware of or could care less about, but it's the best way for me to collect my thoughts.

So what did I get from it. Where to start? That's a better question.

For one the very first thing that struck me was the whole "analog vs digital" production deal. We’re talking about a timeless almost thirty year old piece of music HISTORY as it stands right at this very moment. You just don't hear those sounds any longer IMO. The technology was mean and raw. The sound was loud and forceful, quite different from the playing techniques and sound technology we use today. Back then we didn't have computers, digital, etc,in a nutshell, all the technology we take for granted today. The electronics of that era were tubes. No transistors or miniature circuit boards. Most of the time the rooms were "tuned". That is to say they were constructed to be as accoustically transparent as they could be, or they had certain characteristics like natural ambience "built" into the structure. Usually bands were recorded with ambient room mics, strategically placed to capture the sound they were looking for.

Pink Floyd had a sound that made them standout IMO, especially Gilmour's guitar playing and setup which surprisingly is talked about. Just as every human voice has a unique voiceprint, also every guitarist has a unique style an "instrument print" that includes frequency characteristics as well as as other idiosyncracies. I doubt you would confuse Gilmour on guitar if you've heard him play .Also surprising was the fact that Gilmour played sum of his "parts" in a studio for the making of the documental. The most interesting thing besides the notion they wouldn't gather Roger and David in THE SAME studio, is when they go over the sequence from "On The Run". I almost had 5 orgasms just watching the process behind doing the sequence and then speeding it up and looping it. Freaking GENIUS I tell you. I recall many times that I would listen to PF's material. in darkened or pitch black rooms (remember blue lights and velvet paintings) and it seemed to me to tap more directly into the subconscious without the visual distractions imposed by sight. Yes, it's totally unnatural and against the norm to alter the senses considering that musical performances are primarily "meant" to be seen as well as heard, but i'm talking a science of sorts about effective use of conveying emotional connections and unique methods of interpersonal communication. It seemed that the distance (or dimensional isolation) between the crowds and the stage created a greater bonding and interpersonal communication between the band members "making their own personal space". (that has more to do with the concept of The Wall tho.)

The concept/musicality of the album:

For one you have to look at the expeficic time frame in which this recording happen which is widely pointed out on the documental itself. Before being ignorant and just pointing the finger and calling them pretentious junks, LISTEN to the album itself.

If the concept is clear and the intention (to get it across to the audience) is strong, chance are it will get across. Everyone has a different response to communication. When we originate, our job is to be clear in our statement. If we are, chances are we will reach a large number of the audience. And IT DID!

Sorry to be SO long winded. [img]smile.gif[/img]

[ January 26, 2004, 07:12 AM: Message edited by: Captain Beefheart ]

[SilverSpoon]

I saw part of this DVD at school. My teacher brought it in for his guitar class and let me see the part when they were talking about recording "Money." It was pretty cool how they did that 'cha-ching!' sound.

Anyways, I have to go out and buy this album now. I've only heard a few songs and am dying to hear the rest. Maybe I'll even pick up the DVD.

[darko.]

great album

..hmmm....thought i'd something more to say

:D

[Jocasta]

'nough said, darko. A classic.

[Captain Beefheart]

Originally posted by SilverSpoon:
I saw part of this DVD at school. My teacher brought it in for his guitar class and let me see the part when they were talking about recording "Money." It was pretty cool how they did that 'cha-ching!' sound.

Anyways, I have to go out and buy this album now. I've only heard a few songs and am dying to hear the rest. Maybe I'll even pick up the DVD.

Most people don't really care about all of the mechanics that go into the end result. And it's maybe it's because they are stupid and lack appreciation. They just want the finalized thing for consumption. Some artist blabbing about the subtilties, mechanics or history of his own creations would be SO boring to most except perhaps other musicians. You know, it's like if someone explained something in a *heavy* fashion to you about something that you really don't care to know but just enjoy using out of necessity or leisure. Right Jocasta>? [img]tongue.gif[/img]

But yeah the discussion on "Money" is gold all around. From the the synchronized clock thingy, to the subdivision of the song itself(7/8), to the irony of the single itself and HECK I didn't even know Waters thought of the song as a blues proggresion! [img]smile.gif[/img]

[ January 29, 2004, 11:55 AM: Message edited by: Captain Beefheart ]