Home | Community | Message Board

Out-Grow.com - Mushroom Growing Kits & Supplies
This site includes paid links. Please support our sponsors.


Welcome to the Shroomery Message Board! You are experiencing a small sample of what the site has to offer. Please login or register to post messages and view our exclusive members-only content. You'll gain access to additional forums, file attachments, board customizations, encrypted private messages, and much more!

Shop: PhytoExtractum Buy Bali Kratom Powder   Left Coast Kratom Kratom Powder For Sale   Original Sensible Seeds Autoflowering Cannabis Seeds   Kraken Kratom Red Vein Kratom   North Spore Cultivation Supplies   Bridgetown Botanicals Bridgetown Botanicals   Unfolding Nature Unfolding Nature: Being in the Implicate Order

Jump to first unread post Pages: 1
Some of these posts are very old and might contain outdated information. You may wish to search for newer posts instead.
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Today in psychedelic history (03/10) * 3
    #14096442 - 03/10/11 05:37 AM (12 years, 10 months ago)

  • 1967:  Pink Floyd releases their first single, "Arnold Layne".




Quote:

"Arnold Layne" was the first single released by British Psychedelic rock group Pink Floyd, shortly after landing a recording contract with EMI. The song was written by Syd Barrett, Pink Floyd's co-founder and original front man. Although not included on the band's debut album, The Piper at the Gates of Dawn  (though it is included on the bonus disc of the CD version), "Arnold Layne" has come to be popular within fan circles, and is featured on numerous compilation albums of the band.

The song

The song's title character is a transvestite whose primary pastime is stealing women's clothes and undergarments from washing lines. According to Roger Waters, "Arnold Layne" was actually based on a real person. Waters: "Both my mother and Syd's mother had students as lodgers because there was a girls' college up the road so there were constantly great lines of bras and knickers on our washing lines and 'Arnold' or whoever he was, had bits off our washing lines."

However, despite finding a place in the Top 20, the song's unusual transvestism theme attracted the ire of Radio London, which deemed the song too far-removed from "normal" society for its listeners before eventually banning it from radio airplay altogether.

Producer Norman Smith wanted the band to re-record the Joe Boyd-produced song after they had signed up with EMI. While Waters and keyboardist Richard Wright were willing to do this, Barrett, on the other hand, wasn't entirely satisfied with the existing studio cut, and argued against recording another version. Attempts were made to re-record the song at the insistence of EMI (who at the time only wanted to use in-house producers) but, perhaps due to Barrett's indifference to doing so, the re-recordings never got very far and the Boyd-produced session was used.

Boyd mentioned in several interviews over the years that "Arnold Layne" regularly ran for 10 to 15 minutes in concert (with extended instrumental passages), but the band knew that it had to be shortened for use as a single. Boyd has also said it was a complex recording involving some tricky editing, recalling that the middle instrumental section with Richard Wright's organ solo was recorded as an edit piece and spliced into the song for the final mix.

The song was mixed into mono for the single. It has never been given a stereo mix though the 4 track master tape still exist in the EMI tape archive.

Music videos

A black and white promotional film of "Arnold Layne" was made the same year, and featured members of Pink Floyd dressing up a mannequin before showing it around a beach in East Wittering, West Sussex. Recently, an alternative promotional film was unearthed, which featured the band goofing around in a forest and in front of a church. It is also the only known footage of Syd Barrett lip synching to the song.

Track Listing

A. "Arnold Layne"
B. "Candy and a Currant Bun"

All tracks written by Syd Barrett.

Personnel

    * Syd Barrett - Guitar and Vocals
    * Roger Waters - Bass
    * Richard Wright - Organ and Backing vocals
    * Nick Mason - Drums and Percussion


B-side "Candy and a Currant Bun"
Released 10 March 1967 (UK)
24 April 1967 (US)
Recorded 29 January 1967
Sound Techniques Studios, London
27 February 1967
EMI Studios, London
Genre Psychedelic rock, psychedelic pop
Length 2:52
Label Columbia (EMI) (UK)
Tower/Capitol (US)
Capitol (Canada)
Writer(s) Syd Barrett
Producer Joe Boyd


(https://en.wikipedia.org)



10 March 1967
Pink Floyd's debut single, Arnold Layne (B-side: Candy And A Currant Bun), was released in the UK, and reached No. 20 in the charts. The song was banned by BBC Radio London, who objected to the lyrics about a transvestite underwear thief.


(http://www.pinkfloyd.com)









  • 1973:  Pink Floyd release the album The Dark Side Of The Moon




Quote:

The Dark Side of the Moon is the eighth studio album by English progressive rock group Pink Floyd, released in March 1973. The concept album built on ideas explored by the band in their live shows and earlier recordings, but it lacks the extended instrumental excursions that characterised their work following the departure in 1968 of founding member, principal composer and lyricist Syd Barrett. The Dark Side of the Moon's themes include conflict, greed, the passage of time and mental illness, the latter partly inspired by Barrett's deteriorating mental state.

The album was developed as part of a forthcoming tour of live performances, and was premiered several months before studio recording began. The new material was further refined during the tour and was recorded in two sessions in 1972 and 1973 at Abbey Road Studios in London. The group used some of the most advanced recording techniques of the time, including multitrack recording and tape loops. Analogue synthesisers were given prominence in several tracks, and a series of recorded interviews with staff and band personnel provided the source material for a range of philosophical quotations used throughout. Engineer Alan Parsons was directly responsible for some of the most notable sonic aspects of the album, including the non-lexical performance of Clare Torry. The album's iconic sleeve features a prism that represents the band's stage lighting, the record's lyrics, and the request for a "simple and bold" design.

The Dark Side of the Moon was an immediate success, topping the Billboard Top LPs & Tapes chart for one week. It subsequently remained in the charts for 741 weeks from 1973 to 1988, longer than any other album in history. With an estimated 45 million copies sold, it is Pink Floyd's most commercially successful album and one of the best-selling albums worldwide. It has twice been remastered and re-released, and has been covered by several other acts. It spawned two singles, "Money" and "Us and Them". In addition to its commercial success, The Dark Side of the Moon is one of Pink Floyd's most popular albums among fans and critics, and is frequently ranked as one of the greatest rock albums of all-time.

Background

Following the release of Meddle in 1971, in December the band assembled for an upcoming tour of Britain, Japan, and the United States. Rehearsing in Broadhurst Gardens in London, there was the looming prospect of a new album, although their priority at that time was the creation of new material.  In a band meeting at drummer Nick Mason's home in Camden, bassist Roger Waters proposed that a new album could form part of the tour. Waters' idea was for an album that dealt with things that "make people mad", focusing on the pressures faced by the band during their arduous lifestyle, and dealing with the apparent mental problems suffered by former band member Syd Barrett.  The band had explored a similar idea with 1969's The Man and the Journey.  In a recent interview for Rolling Stone, guitarist David Gilmour said:

    ...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. There was definitely a feeling that the words were going to be very clear and specific.

Generally, all four members agreed that Waters' concept of an album unified by a single theme was a good idea.  Waters, Gilmour, Mason and keyboardist Richard Wright participated in the writing and production of the new material, and Waters created the early demo tracks at his Islington home in a small recording studio he had built in his garden shed.  Parts of the new album were taken from previously unused material; the opening line of "Breathe" came from an earlier work by Waters and Ron Geesin, written for the soundtrack of The Body, and the basic structure of "Us and Them" was taken from a piece originally composed by Wright for the film Zabriskie Point.  The band rehearsed at a warehouse in London owned by The Rolling Stones, and then at the Rainbow Theatre. They also purchased extra equipment, which included new speakers, a PA system, a 28-track mixing desk with four quadraphonic outputs, and a custom-built lighting rig. Nine tonnes of kit was transported in three lorries; this would be the first time the band had taken an entire album on tour, but it would allow them to refine and improve the new material, which by then had been given the provisional title of The Dark Side of the Moon (an allusion to lunacy, rather than astronomy).  However, after discovering that that title had already been used by another band, Medicine Head, it was temporarily changed to Eclipse. The new material premièred at The Dome in Brighton, on 20 January 1972, and after the commercial failure of Medicine Head's album the title was changed back to the band's original preference.

Dark Side of the Moon: A Piece for Assorted Lunatics, as it was then known, was performed in the presence of an assembled press on 17 February 1972—more than a year before its release—at the Rainbow Theatre, and was critically acclaimed.  Michael Wale of The Times described the piece as "... bringing tears to the eyes. It was so completely understanding and musically questioning."  Derek Jewell of The Sunday Times wrote "The ambition of the Floyd's artistic intention is now vast."  Melody Maker was, however, less enthusiastic: "Musically, there were some great ideas, but the sound effects often left me wondering if I was in a bird-cage at London zoo."  The following tour was praised by the public. The new material was performed live, in the same order in which it would eventually be recorded, but obvious differences between the live version, and the recorded version released a year later, included the lack of synthesisers in tracks such as "On the Run", and Bible readings that were later replaced by Clare Torry's non-lexical vocables on "The Great Gig in the Sky".

The band's lengthy tour through Europe and North America gave them the opportunity to make continual improvements to the scale and quality of their performances.  Studio sessions were scheduled between tour dates; rehearsals began in England on 20 January 1972, but in late February the band travelled to France and recorded music for French director Barbet Schroeder's film, La Vallée.  They then performed in Japan and returned to France in March to complete work on the film. After a series of dates in North America, the band flew to London to begin recording the album, from 24 May to 25 June. More concerts in Europe and North America followed before the band returned on 9 January 1973 to complete work on the album.

Concept

The Dark Side of the Moon built upon experiments Pink Floyd had attempted in their previous live shows and recordings, but lacks the extended instrumental excursions which, according to critic David Fricke, had become characteristic of the band after founding member Syd Barrett left in 1968. Guitarist David Gilmour, Barrett's replacement, later referred to those instrumentals as "that psychedelic noodling stuff", and with Waters cited 1971's Meddle as a turning-point towards what would be realised on the album.  The Dark Side of the Moon's lyrical themes include conflict, greed, the passage of time, death, and insanity, the latter inspired in part by Barrett's deteriorating mental state; he had been the band's principal composer and lyricist.  The album is notable for its use of musique concrète and conceptual, philosophical lyrics, as found in much of the band's other work.

Each side of the album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience, and (according to Waters) "empathy".[8] "Speak to Me" and "Breathe" together stress the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life—"Don't be afraid to care".  By shifting the scene to an airport, the synthesiser-driven instrumental "On the Run" evokes the stress and anxiety of modern travel, in particular Wright's fear of flying.  "Time" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focussed on mundane aspects; it is followed by a retreat into solitude and withdrawal in "Breathe (Reprise)". The first side of the album ends with Wright and vocalist Clare Torry's soulful metaphor for death, "The Great Gig in the Sky".  Opening with the sound of cash registers and loose change, the first track on side two, "Money", mocks greed and consumerism using tongue-in-cheek lyrics and cash-related sound effects ("Money" has been the most commercially successful track from the album, with several cover versions produced by other bands).[  "Us and Them" addresses the isolation of the depressed with the symbolism of conflict and the use of simple dichotomies to describe personal relationships. "Brain Damage" looks at a mental illness resulting from the elevation of fame and success above the needs of the self; in particular, the line "and if the band you're in starts playing different tunes" reflects the mental breakdown of former band-mate Syd Barrett. The album ends with "Eclipse", which espouses the concepts of alterity and unity, while forcing the listener to recognise the common traits shared by humanity.

Recording

The album was recorded at Abbey Road Studios, in two sessions, between May 1972 and January 1973. The band were assigned staff engineer Alan Parsons, who had worked as assistant tape operator on Atom Heart Mother, and who had also gained experience as a recording engineer on The Beatles' Abbey Road and Let It Be.  The recording sessions made use of some of the most advanced studio techniques of the time; the studio was capable of 16-track mixes, which offered a greater degree of flexibility than the eight- or four-track mixes they had previously used, although the band often used so many tracks that to make more space available second-generation copies were made.

Beginning on 1 June, the first track to be recorded was "Us and Them", followed six days later by "Money". Waters had created effects loops from recordings of various money-related objects, including coins thrown into a food-mixing bowl taken from his wife's pottery studio, and these were later re-recorded to take advantage of the band's decision to record a quadraphonic mix of the album (Parsons has since expressed dissatisfaction with the result of this mix, attributed to a lack of time and the paucity of available multi-track tape recorders).  "Time" and "The Great Gig in the Sky" were the next pieces to be recorded, followed by a two-month break, during which the band spent time with their families and prepared for an upcoming tour of the US.  The recording sessions suffered regular interruptions; Waters, a supporter of Arsenal F.C., would often break to see his team compete, and the band would occasionally stop work to watch Monty Python's Flying Circus on the television, leaving Parsons to work on material recorded up to that point.  Gilmour has, however, disputed this claim; in an interview in 2003 he said: "We would sometimes watch them but when we were on a roll, we would get on."
A portable L-shaped brown wooden case with a silver metal fascia filled with buttons and controls is positioned on a wooden work surface. The controls for the device are mostly rotary, and denoted with lettering and numbering. The lower part of the box contains a small matrix of holes and a joystick. Other pieces of electrical equipment are visible behind the device.
The EMS VCS 3 (Putney) synthesiser

Returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", while fine-tuning the work they had already laid down in the previous sessions. A foursome of female vocalists was assembled to sing on "Brain Damage", "Eclipse" and "Time", and saxophonist Dick Parry was booked to play on "Us and Them" and "Money". With director Adrian Maben, the band also filmed studio footage for Pink Floyd: Live at Pompeii.  Once the recording sessions were complete, the band began a tour of Europe.

Instrumentation

The album is particularly notable for the metronomic sound effects during "Speak to Me", and the tape loops that open "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".  The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album).  At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs (particularly "On the Run").

Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesisers to their sound. For example, the band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated bass drum made to simulate a human heartbeat (during "Speak to Me", "On the Run", "Time", and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time", and "On the Run".  The assorted clocks ticking then chiming simultaneously at the start of "Time", accompanied by a series of Rototoms, were initially created as a quadraphonic test by Parsons.  The engineer recorded each timepiece at an antique clock shop, and although his recordings had not been created specifically for the album, elements of the material were eventually used in the track.

Voices

Several tracks, including "Us and Them" and "Time", demonstrate Richard Wright and David Gilmour's ability to harmonise their voices. In the 2003 documentary The Making of The Dark Side of the Moon, Waters attributed this to the fact that their voices sound extremely similar. To take advantage of this, Parsons perfected the use of studio techniques such as the doubletracking of vocals and guitars, which allowed Gilmour to harmonise with himself. Parsons also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb, and the panning of sounds between channels (most notable in the quadraphonic mix of "On the Run", when the sound of the Hammond B3 organ played through a Leslie speaker rapidly swirls around the listener).

The album's credits include Clare Torry, a session singer and songwriter, and a regular at Abbey Road. She had worked on pop material and numerous cover albums, and after hearing one of those albums Parsons invited her to the studio to sing on "The Great Gig in the Sky". She declined this invitation as she wanted to watch Chuck Berry perform at the Hammersmith Odeon, but arranged to come in on the following Sunday. The band explained the concept behind the album, but were unable to tell her exactly what she should do. Gilmour was in charge of the session, and in a few short takes on a Sunday night Torry improvised a wordless melody to accompany Richard Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth, and wanted to apologise to the band—only to find them delighted with her performance.  Her takes were then selectively edited to produce the version used on the track.  For her contribution she was paid £30, equivalent to about £300 as of 2011, but in 2004 she sued EMI and Pink Floyd for song writing royalties, arguing that she co-wrote "The Great Gig in the Sky" with keyboardist Richard Wright. The High Court agreed with her, but the terms of the settlement were not disclosed.  All post-2005 pressings which include "The Great Gig in the Sky" therefore credit both Wright and Torry for the song.
A middle-aged woman stands on a path amidst green vegetation, under bright sunlight. She wears a black T-shirt with a white logo, and holds a small piece of black card which carries the same logo. She has blue jeans, and white shoes. Her hair is cut short. She is looking slightly upward, over the head of the photographer.

Snippets of voices between and over the music are another notable feature of the album. 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 three, and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes more central to the album (such as madness, violence, and death). Questions such as "When was the last time you were violent?", followed immediately by "Were you in the right?", were answered in the order they were presented.  Roger "The Hat" Manifold proved difficult to find, and was the only contributor recorded in a conventional sit-down interview, as by then the flashcards had been mislaid. Waters asked him about a violent encounter he had had with another motorist, and Manifold replied "... give 'em a quick, short, sharp shock ..." When asked about death he responded "live for today, gone tomorrow, that's me ..." Another roadie, Chris Adamson, who was on tour with Pink Floyd, recorded the explicit diatribe which opens the album: "I've been mad for fucking years—absolutely years".  The band's road manager Peter Watts (father of actress Naomi Watts) contributed the repeated laughter during "Brain Damage" and "Speak to Me". 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 near the end of "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? There's no reason for it — you've got to go sometime" and closing words "there is no dark side in the moon, really. As a matter of fact it's all dark" came from the studios' Irish doorman, Gerry O'Driscoll.  Paul and Linda McCartney were also interviewed, but their answers were judged to be "trying too hard to be funny", and were not included on the album.  McCartney's band mate Henry McCullough contributed the line "I don't know, I was really drunk at the time".

Completion

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.  All four members of the band were engaged in a disagreement over the style of the mix, with Waters and Mason preferring a "dry" and "clean" mix which made more use of the non-musical elements, and Gilmour and Wright preferring a subtler and more "echoey" mix.  Thomas later claimed there were no such disagreements, stating "There was no difference in opinion between them, I don't remember Roger once saying that he wanted less echo. 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."  Although the truth remains unclear, Thomas' intervention resulted in a welcome compromise between Waters and Gilmour, leaving both entirely satisfied with the end product. 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).  Interviewed in 2006, when asked if he felt his goals had been accomplished in the studio, Waters said:

    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.

Packaging

It felt like the whole band were working together. It was a creative time. We were all very open.


–Richard Wright

The album was originally released in a gatefold LP sleeve designed by Hipgnosis and George Hardie, and bore Hardie's iconic dispersive prism on the cover. 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. For The Dark Side of the Moon Richard Wright instructed them to come up with something "smarter, neater—more classy".  The prism design was inspired by a photograph that Thorgerson had seen during a brainstorming session with Powell. 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 design represents three elements; the band's stage lighting, the album lyrics, and Richard Wright's request for a "simple and bold" design.  The spectrum of light continues through to the gatefold—an idea that Waters came up with.  Added shortly afterwards, the gatefold design also includes a visual representation of the heartbeat sound used throughout the album, and the back of the album cover contains Thorgerson's suggestion of another prism recombining the spectrum of light, facilitating interesting layouts of the sleeve in record shops.  The light band emanating from the prism on the album cover has six colours, missing indigo compared to the traditional division of the spectrum into red, orange, yellow, green, blue, indigo and violet. (An actual prism would exhibit a continuous spectrum with no defined boundaries between colours, and coloured light within the prism.) Inside the sleeve were two posters and a sheet of 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.

In 2003 VH1 declared that The Dark Side of the Moon had the fourth-greatest album cover of all time, and in 2009 listeners of the UK radio station Planet Rock voted the packaging the greatest album cover of all time.

Since the departure of founding member Barrett in 1968, the burden of lyrical composition had fallen mostly on Waters' shoulders.  He is therefore credited as the author of the album's lyrics, making The Dark Side of the Moon the first of five consecutive Pink Floyd albums with lyrics credited only to him.  The band were so confident of the quality of the writing that, for the first time, they felt able to print them on the album's sleeve.  When in 2003 he was asked if his input on the album was "organising [the] ideas and frameworks" and David Gilmour's was "the music", Waters replied:

    That's crap. There's no question that Dave needs a vehicle to bring out the best of his guitar playing. And he is a great guitar player. But the idea which he's tried to propagate over the years that he's somehow more musical than I am is absolute fucking nonsense. It's an absurd notion but people seem quite happy to believe it.

Release

A monochrome image of members of the band. The photograph is taken from a distance, and is bisected horizontally by the forward edge of the stage. Each band member and his equipment is illuminated from above by bright spotlights, also visible. A long-haired man holds a guitar and sings into a microphone on the left of the image. Central, another man is seated behind a large drumkit. Two men on the right of the image hold a saxophone or a bass guitar and appear to be looking in each other's general direction. In the foreground, silhouetted, are the heads of the audience.

As the quadraphonic mix of the album was not yet complete, the band (with the exception of Wright) boycotted the press reception held at the London Planetarium on 27 February.  The guests were, instead, presented with a quartet of life-sized cardboard cut-outs of the band, and the stereo mix of the album was presented through a poor-quality public address system.  Generally, however, the press were enthusiastic; Melody Maker's Roy Hollingworth described side one as "... so utterly confused with itself it was difficult to follow", but praised side two, writing: "The songs, the sounds, the rhythms were solid and sound, Saxophone hit the air, the band rocked and rolled, and then gushed and tripped away into the night."  Steve Peacock of Sounds wrote: "I don't care if you've never heard a note of the Pink Floyd's music in your life, I'd unreservedly recommend everyone to The Dark Side of the Moon".  In his 1973 review for Rolling Stone magazine, Lloyd Grossman declared Dark Side "a fine album with a textural and conceptual richness that not only invites, but demands involvement".

The Dark Side of the Moon was released first in the US on 10 March 1973, and then in the UK on 24 March. It became an instant chart success in Britain and throughout Western Europe; by the following month, it had gained a gold certification in the UK and US.  Throughout March 1973 the band played the album as part of their US tour, including a midnight performance at Radio City Music Hall in New York on 17 March, watched by an audience of 6,000. Highlights included an aircraft launched from the back of the hall at the end of "On the Run", which 'crashed' into the stage in a cloud of orange smoke. The album reached the Billboard Top LPs & Tapes chart's number one spot on 28 April 1973, and was so successful that the band returned two months later for another tour.

Label

Much of the album's early State-side 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 1971 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".  In some countries—notably the UK—Pink Floyd had not released a single since 1968's "Point Me at the Sky", and unusually "Money" was released as a single on 7 May, with "Any Colour You Like" on the B-side. It reached number 13 on the Billboard Hot 100 in July 1973.  A two-sided white label promotional version of the single, with mono and stereo mixes, was sent to radio stations. The mono side had the word "bullshit" removed from the song—leaving "bull" in its place—however, the stereo side retained the uncensored version. This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy.  On 4 February 1974, a double A-side single was released with "Time" on one side, and "Us and Them" on the opposite side.  Menon's efforts to secure a contract renewal with Pink Floyd were in vain however; at the beginning of 1974, the band signed for Columbia with a reported advance fee of $1M (in Britain and Europe they continued to be represented by Harvest Records).

Sales

The Dark Side of the Moon became one of the best-selling albums of all time, (not counting compilations and various artists soundtracks), and is in the top 25 of a list of best selling albums in the United States.  Although it held the number one spot in the US for only a week, it remained in the Billboard album chart for 741 weeks.  The album re-appeared on the Billboard charts with the introduction of the Top Pop Catalog Albums chart in May 1991, and has been a perennial feature since then.  In the UK it is the sixth-best-selling album of all time.

... 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 ... not only about being a good album but also about being in the right place at the right time.


–Nick Mason

In the US the LP was released before the introduction of platinum awards on 1 January 1976. It therefore held only a gold disc until 16 February 1990, when it was certified 11× platinum. On 4 June 1998 the Recording Industry Association of America (RIAA) certified the album 15× platinum, denoting sales of fifteen million in the United States—making it their biggest-selling work there (The Wall is 23× platinum, but as a double album this signifies sales of 11.5 million).  "Money" has sold well as a single, and as with "Time", remains a radio favourite; in the US, for the year ending 20 April 2005, "Time" was played on 13,723 occasions, and "Money" on 13,731 occasions.[nb 9] Industry sources suggest that worldwide sales of the album total about 45 million.  "On a slow week" between 8,000 and 9,000 copies are sold, and a total of 400,000 were sold in 2002, making it the 200th-best-selling album of that year—nearly three decades after its initial release. According to a 2 August 2006 Wall Street Journal article, although the album was released in 1973, it has sold 7.7 million copies since 1991 in the US alone.  To this day, it occupies a prominent spot on Billboard's Pop Catalogue Chart. It reached number one when the 2003 hybrid CD/SACD edition was released and sold 800,000 copies in the US.  On the week of 5 May 2006 The Dark Side of the Moon achieved a combined total of 1,500 weeks on the Billboard 200 and Pop Catalogue charts.  One in every fourteen people in the US under the age of 50 is estimated to own, or to have owned, a copy.

Legacy

The success of the album brought previously unknown 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.  Some of the profits were invested in the production of Monty Python and the Holy Grail.

Engineer Alan Parsons received a Grammy Award nomination for Best Engineered Recording, Non-Classical for The Dark Side of the Moon, and he went on to have a successful career as a recording artist. Although Waters and Gilmour have on occasion downplayed his contribution to the success of the album, Mason has praised his role.  In 2003, Parsons reflected: "I think they all felt that I managed to hang the rest of my career on Dark Side of the Moon, which has an element of truth to it. 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."[nb 11]

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.


–Richard Wright

The Dark Side of the Moon frequently appears on rankings of the greatest albums of all-time. In 1987, Rolling Stone listed the record 35th on its "Top 100 Albums of the Last 20 Years", and sixteen years later the album polled in 43rd position on the magazine's list of "The 500 Greatest Albums of All Time".  In 2006, it was voted "My Favourite Album" by the Australian Broadcasting Corporation's audience.  NME readers voted the album eighth in their 2006 "Best Album of All Time" online poll, and in 2009, Planet Rock listeners voted the album the "greatest of all time".  The album is also number two on the "Definitive 200" list of albums, made by the National Association of Recording Merchandisers "in celebration of the art form of the record album".  It came 29th in The Observer's 2006 list of "The 50 Albums That Changed Music",  and 37th in The Guardian's 1997 list of the "100 Best Albums Ever", as voted for by a panel of artists and music critics.

Part of the legacy of The Dark Side of the Moon is in its influence on modern music, the musicians who have performed cover versions of its songs, and even in modern urban myths. Its release is often seen as a pivotal point in the history of rock music, and comparisons are sometimes drawn between Pink Floyd and Radiohead—specifically their 1997 album OK Computer—which has been called The Dark Side of the Moon for the 1990s whereby the two albums share a common theme: the loss of a creative individual's ability to function in the modern world.

Dark Side of the Rainbow

The Dark Side of the Rainbow and The Dark Side of Oz are two names commonly used in reference to rumours circulated on the Internet since at least 1994 that the Dark Side of the Moon was written as a soundtrack for the 1939 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".  David Gilmour and Nick Mason have both denied a connection between the two works, and Roger Waters has described the rumours as "amusing".  Alan Parsons has stated that the film was not mentioned during production of the album.

Track listing

All lyrics written by Roger Waters.

Side one

No. Title Music Lead vocals Length
1. "Speak to Me"  Mason Instrumental 1:30
2. "Breathe"  Waters, Gilmour, Wright Gilmour 2:43
3. "On the Run"  Gilmour, Waters Instrumental 3:30
4. "Time" (containing "Breathe (Reprise)") Mason, Waters, Wright, Gilmour    Gilmour, Wright 6:53
5. "The Great Gig in the Sky"  Wright, Clare Torry[nb 12] Clare Torry 4:15

Side two

No. Title Music Lead vocals Length
1. "Money"  Waters Gilmour 6:30
2. "Us and Them"  Waters, Wright Gilmour, Wright 7:51
3. "Any Colour You Like"  Gilmour, Mason, Wright Instrumental 3:24
4. "Brain Damage"  Waters Waters 3:50
5. "Eclipse"  Waters Waters 1:45


(https://en.wikipedia.org)




10 March 1973

The Dark Side Of The Moon was released in the US. Track listing: Speak To Me; Breathe (In The Air); On The Run; Time; The Great Gig In The Sky; Money; Us And Them; Any Colour You Like; Brain Damage; Eclipse. The album gave Pink Floyd their first No. 1 chart placing.


(http://www.pinkfloyd.com)














--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (03/06/21 09:27 AM)


Extras: Filter Print Post Top
OfflineLanLord
Stranger
Male User Gallery

Registered: 01/07/10
Posts: 1,763
Loc: San Mateo, Ca. USA
Last seen: 4 years, 10 months
Re: Today in psychedelic history (03/10) [Re: Learyfan] * 2
    #14096663 - 03/10/11 08:06 AM (12 years, 10 months ago)

I've purchased this album in just about every format possible

vinyl
8 track
cassette
cd
and I probably have an mp3 or two

I had Pink Floyd in Pompeii on laser disc for years until my LD player took a shit! 

I simply can't wait until they formulate another recording format so I can buy it again!


--------------------
Good judgment comes from experience, and a lotta that comes from bad judgment.


Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: LanLord]
    #14099105 - 03/10/11 04:53 PM (12 years, 10 months ago)

8 track?  Bad ass.  I have the vinyl, but I'm not 8 track cool.  :cool:

Here's the full album on youtube format.





















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (03/09/15 10:27 PM)


Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: LanLord] * 1
    #15928898 - 03/10/12 10:16 AM (11 years, 10 months ago)

Here's the DSOTM episode of Classic Albums.  They talk about the making of the album.  Very cool. 


















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (03/09/15 10:28 PM)


Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #17932559 - 03/10/13 07:07 AM (10 years, 10 months ago)

Today is the 40th anniversary.  :cheers:

Here's Dark Side Of Oz/The Rainbow.






















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Edited by Learyfan (03/09/14 07:57 PM)


Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #17934355 - 03/10/13 04:25 PM (10 years, 10 months ago)

Quote:

Pink Floyd’s ‘Dark Side’: 40 Years Later, 40 Mind-Blowing Facts About The Mad Classic

By Chris Willman | Stop The Presses! – Sat, Mar 9, 2013 3:52 PM EST

Sure, like everybody else, you’ve listened to Pink Floyd’s The Dark Side of the Moon so many times that you can recite not just every line but every heartbeat, clock tick, and cash register ring by heart. But how much do you really know about the landmark prog classic, which is celebrating its 40th anniversary this month?

To celebrate the 40 years we’ve been listening to what is arguably the preeminent rock album of the 1970s, here are 40 things you ought to know about Dark Side. Because lunacy breeds albums about lunacy, and albums about lunacy breed lunatic obsessions with album trivia. Let’s start with that iconic cover art, shall we?

The band members spent three minutes deciding on the front cover. Designer Storm Thorgerson brought seven designs into the Abbey Road studio where they were still recording. “The band trooped in, swept their gaze across the designs, looked at each other, nodded, and said ‘That one,’ pointing at the prism. Took all of three minutes,” Thorgerson recalled in liner notes for the 2011 deluxe box. In an 2003 interview, the designer elaborated, “No amount of cajoling would get them to consider any other contender, nor endure further explanation of the prism, or how exactly it might look. ‘That’s it,’ they said in unison, ‘we’ve got to get back to real work,’ and returned forthwith to the studio upstairs.”

One of the rejected designs involved a then-popular Marvel comic book superhero. Imagine how differently we’d think of the album if the Floyd members had expressed any interest in one of Thorgersen’s alternative ideas, to have the cover feature… the Silver Surfer!

The band had always hated having their photos in the artwork. “When Storm showed us all the ideas, with that one, there was no doubt,” guitarist David Gilmour told Rolling Stone in 2003. “It was, ‘That is it.’ It's a brilliant cover. One can look at it after that first moment of brilliance and think, ‘Well, it's a very commercial idea: It's very stark and simple; it'll look great in shop windows.’ It wasn't a vague picture of four lads bouncing in the countryside. That fact wasn't lost on us.”

It was keyboardist Rick Wright who was insistent that the cover not feature any photography at all, even conceptual photos. The Hipgnosis design team was famous for elaborately staged and photographed covers, like Wish You Were Here, which came out two years later. But in this instance, as Thorgerson remembers it, Wright “said, ‘Storm, let’s have a cool graphic, not one of your tatty [figurative] pictures…’ I protested. ‘Rick,’ I said, ‘I do images, I don’t do cool graphics.’… Whereupon Rick said, ‘Why don’t you try to see it as a challenge.’”

The prism design was partly inspired by Floyd’s extravagant live light shows. “The refracting glass prism referred to Floyd light shows–consummate use of light in the concert setting,” Thorgerson said in an interview for the album’s 30th anniversary. “Its outline is triangular and triangles are symbols of ambition, and are redolent of pyramids, both cosmic and mad in equal measure, all these ideas touching on themes in the lyrics. The joining of the spectrum extending round the back cover and across the gatefold inside was seamless like the segueing tracks on the album, whilst the opening heartbeat was represented by a repeating blip in one of the colors.”

The designer went to Egypt to shoot infra-red photography of the pyramids for an inside poster. Pyramids are triangular, like the prism on the front cover, so there was that angle. But Thorgerson also figured pyramids tied in with the album’s running theme of insanity, being “fantastic structures intended to elevate Pharaohs and assist in transporting worldly goods skywards to heaven—and how mad is that?”

For a while the album had a different working title. It was to be named Eclipse (A Piece for Assorted Lunatics].

The reason it had a different title for a while was because there’d just been another album come out called Dark Side of the Moon. A group called Medicine Head beat them to the punch with a 1972 release by that title, which made Pink Floyd temporarily drop it as theirs. But when the Medicine Head album flopped, the original title was a go again.

“Money” is one of the few hit singles ever to utilize a 7/4 time signature. Roger Waters has made it sound like David Gilmour wasn’t down with that weird rhythm. “Occasionally,” Waters told Rolling Stone, “I would do things and Dave would say, ‘No, that's wrong. There should be another beat. That's only seven.’ I'd say, ‘Well, that's how it is.’ A number of my songs have bars of odd length.” But part of the song does take place in a traditional time signature. As Gilmour said, "We created a 4/4 progression for the guitar solo (but) made the poor sax player play in 7/4."

“Money” was influenced by… Booker T and the MGs? Though the basis of the song is a blues progression written by Waters, Gilmour has said he brought an R&B influence to the song’s instrumental breaks. “I was a big Booker T fan,” said Gilmour. “I had the Green Onions album when I was a teenager. And in my previous band… we played ‘Green Onions’ onstage… It was something I thought we could incorporate into our sound without anyone spotting where the influence had come from. And to me, it worked. Nice white English architecture students getting funky is a bit of an odd thought.”

The opening “song,” “Speak to Me,” is credited solely to drummer Nick Mason, something Waters has insisted was an act of charity
. "God, I resent giving that to him now,” Waters said. “'Cause he had nothing to do with it... It was like a gift. It was all right at the time."

The cover of the 2011 boxed set“Us and Them” was originally written and submitted three years earlier for the soundtrack of the film Zabriskie Point. Antonioni’s loss was Dark Side’s gain. "We wanted to put it on Zabriskie Point, on the sequence where they're having the riots and the police beating heads on UCLA campus; the counterpoint between that slow, rather beautiful music and this violence going on was great,” said Gilmour. "We couldn't understand it when Antonioni said: 'Ees not quiiite riiight for thees beet'.”

“Breathe” emerged from a song of the same name that Waters wrote for the soundtrack of a documentary called The Body, also three years earlier. But Waters’ two “Breathe” songs ultimately don’t share much besides a title and an opening line.

At the very end of “Eclipse,” in the right channel, there is the faint sound of a Muzak version of the Beatles’ “Ticket to Ride.” This was apparently playing in the background when they recorded the closing snippet of chatter. So far as we know, the Fab Four never demanded any royalties over this.

Session vocalist Clare Torry did demand—and receive—royalties and co-writing credit for “The Great Gig in the Sky,” more than 30 years after the fact. She prevailed in court, although terms of the settlement were not released; all we know is that she has been credited as a writer on all reissues since 2005. Originally she’d only been paid 30 quid for her brief studio session, and that was double the going rate because she’d come in on a Sunday night. But over the years she’d come to believe that her contributions amounted to a melody that had not previously existed in Rick Wright’s instrumental composition. Asked why she’d waited so long to file suit, she told writer John Harris, “Over the years, people said to me on numerous occasions, ‘What are you going to do?’ I did look into it, and at first, the costs were prohibitively expensive... And also, if I’d started something when I was well into my career, I’d have been thought of as a troublemaker. So once I’d retired, I thought about it again. It went on from there.”

Contrary to everything you might have assumed from the audio alone for 40 years, Clare Torry is a white chick. “We’d been thinking Madeleine Bell or Doris Troy and we couldn’t believe it when this housewifely white woman walked in,” Gilmour told Mojo. “But when she opened her mouth, well, she wasn’t too quick at finessing what we wanted, but out came that orgasmic sound we know and love."

“The Great Gig in the Sky” originally had found bits of religious voice-over instead of a female vocal. Before the band recorded it, they played it live over a period of a year as an instrumental. It was then known as “The Mortality Sequence” and used taped snippets of a voice reading from the biblical Book of Ephesians and a BBC talk show hosted by theologian Malcolm Muggeridge.

Torry’s main direction: sing for several minutes, and don’t sing any words. Waters recalled, “Clare came into the studio one day, and we said, ‘There's no lyrics. It's about dying—have a bit of a sing on that, girl.’ I think she only did one take. And we all said, ‘Wow, that's that done. Here's your 60 quid.’” (By Torry’s recollection, it was two and a half takes, and 30 quid.)

Torry thought the session went disastrously and was sure they had ditched her vocal until she saw the album in a King’s Road record shop. “I went in, put the headphones on, and started going ‘Ooh-aah, baby, baby - yeah, yeah, yeah.’ They said, ‘No, no – we don’t want that. If we wanted that we’d have got Doris Troy.’ They said, ‘Try some longer notes’… I remember thinking to myself, ‘I really, really do not know what to do. And perhaps it would be better if I said “Thank you very much” and gave up.’ “ But rather than give up and exit the session, “That was when I thought, ‘Maybe I should just pretend I’m an instrument’.” The second take was outstanding, she recalls, but she said she stopped the third take because “it was beginning to sound contrived. I said, ‘I think you’ve got enough.’ I thought it sounded like caterwauling.” She left Abbey Road thinking it was an experiment that hadn’t worked out. “I honestly thought it would never see the light of day” until she went by a record store and saw her name was indeed in the credits.

It was engineer Alan Parsons’ idea to bring Torry in for the “Gig” vocal. Parsons claims he heard her singing a cover of “Light My Fire”—although she disputes that, claiming she never sang the Doors’ song in her life. At the time she got the call, the only Pink Floyd song she knew was “See Emily Play,” “and that didn’t really hit the spot with me,” she said. “They weren’t my favorite band. If it had been the Kinks, I’d have been over the moon.” No pun intended, we're sure.

Parsons credits the band’s addiction to Monty Python’s Flying Circus for his ability to work in his ideas while they were distracted. “Very often, they'd stop for Monty Python and leave me to do a rough mix,” Parsons told Rolling Stone. “That was quite fulfilling for me. I got to put my own mark on it.”

There has been some acrimony between Alan Parsons and the Floyd members over the decades. “I think they all felt that I managed to hang the rest of my career on Dark Side of the Moon, which has an element of truth to it,” said Parsons, who went on to have hits with the Alan Parsons Project. But, he told Rolling Stone, “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.” In 2011, when Dark Side was turned into a boxed set, Parsons’ quadrophonic mix was rejected in favor of a new one, and he was not invited to participate in any way. “They’ve seen it fit not to give me [a copy] yet,” he said. “That’s very typical of the situation over the last 40 years or so. On many occasions I’ve asked to be recognized for my contributions to The Dark Side of the Moon, but both the band and the label have declined to give any sort of gesture towards me.”

The entire song cycle had been illegally issued as a bootleg LP long before the band finished the album. The group first attempted to perform Dark Side in its entirety live at a January 1972 concert, but a tape machine broke down, so they had to cut the performance of the piece off after “Money.” After that there were fewer technical snafus and the work-in-progress was performed throughout 1972, even though some of the studio work took place in January 1973, less than two months before the album was released. A performance of the entire piece at England’s Rainbow Theatre in February 1972 became a popular vinyl bootleg that year.

Future super-producer Chris Thomas was brought in for the mixing process—possibly to be a mediator between Gilmour and Waters. Recalled Gilmour in a 1993 interview with Guitar World: “Chris Thomas came in for the mixes, and his role was essentially to stop the arguments between me and Roger about how it should be mixed. I wanted Dark Side to be big and swampy and wet, with reverbs and things like that. And Roger was very keen on it being a very dry album. I think he was influenced a lot by John Lennon's [Plastic Ono Band], which was very dry... We were going to leave Chris to mix it on his own, with Alan Parsons engineering. And of course on the first day I found out that Roger sneaked in there. So the second day I sneaked in there. And from then on, we both sat right at Chris' shoulder, interfering. Luckily, Chris was more sympathetic to my point of view than he was to Roger's.”

Waters seems to think he won that battle for mixer Chris Thomas’ affections. Waters singled out Thomas’ contribution as invaluable when I interviewed him for the 20th anniversary of the album in 1993. “I think people who feel it was brilliantly made, what they're noticing is the fact that when there's something important happening, whether it's a cash register or a lead vocal or a guitar solo or footsteps in a tunnel, you can hear it,” Waters told me then. “There is space around it. And I think that that's partially at least a function of the quiet drums, which is a nice thing about it, and partially a function of Chris Thomas, who mixed it and gave the lead stuff space to exist in.”

Actress Naomi Watts’ father makes a cameo, as the “stoned laugher.” The unbridled cackling that prominently pops up in two of the tracks is the voice of Peter Watts, who was the group’s road manager. He’s also seen on the back cover of Ummagumma. He died of a drug OD in 1976, when Naomi was only 8.

Wings member Henry McCullough is also one of the uncredited voices—but bosses Paul and Linda didn’t make the cut. That’s McCullough at the end of “Money” saying “I don’t know; I was really drunk at the time,” supposedly talking about a fight he’d had with his wife. Roger Waters “interviewed” people who were hanging around Abbey Road to get the snippets of dialogue on the album, and although the McCartneys took part in these recordings, none of their bits were used because it was thought they were trying too hard to be funny.

Dark Side still holds the record for the most number of weeks spent on the Billboard top 200. The album spent a record 591 consecutive weeks on the Billboard Top 200 chart between 1976 and 1988. Counting the time it spent there before and since, it totaled out at 741 weeks, beating the former record-holder, Johnny's Greatest Hits, by Johnny Mathis, by several years. (Eventually Billboard changed the rules so that albums automatically reverted to the catalog chart and not the current chart if they dropped off for a period of time.)

It is certified for sales of 15 million copies in America, although it has almost certainly sold many, many millions more than that. The 15-times-platinum certification came all the way back in 1998. Why the album has not been submitted for further certifications since then is a mystery. We do know that SoundScan has it down as selling over 9 million copies since that system was instituted in 1991, at a time when Dark Side was RIAA-certified for 12 million, so, doing the math, we could guess that it has sold about 21 million in the U.S.

Waters says he was under pressure to let Gilmour do most or all of the singing on Dark Side. “"My memory is David and Rick were at great pains to point out how I couldn't sing and how I was tone-deaf," he told Rolling Stone in 2011. "And there's this bollocks that Rick had to tune my bass. And you only have to look at the body of work to realize that this is not the case. Maybe their way of keeping me from being totally overwhelming was to point out that I might have vocal and instrumental inadequacies."

The version of Floyd fronted by Waters and Gilmour ceased to exist after Waters announced his intention to exit in 1985. Waters was outraged—and filed suit—when the others soon decided to carry on without him. He told Rolling Stone in 1987, "There was no point in Gilmour, Mason or Wright trying to write lyrics. Because they'll never be as good as mine. Gilmour's lyrics are very third-rate. They always will be. And in comparison with what I do, I'm sure he'd agree."

After some years had passed since the split, Roger Waters and the new lineup of Pink Floyd took to performing The Dark Side of the Moon in its entirety—separately. In 1994, the Waters-less Floyd performed Dark Side on tour, including at a 14-night stand in London, where they invited Waters to join them, in vain. “"I thought it would be a good thing for the fans," Gilmour said. "But also with the safety cushion of knowing that he wouldn't do it. It was a genuine offer, though.” In 2006, Waters played on the album in its entirety on tour joined by drummer Nick Mason; he had a Gilmour sound-alike sing the estranged guitarist’s parts. Meanwhile, Gilmour, who had long since retired the Floyd name, took Wright out with him for a solo tour that included Dark Side selections.

In 2005, the classic lineup reunited for one mini-set at Live 8. This one-time gig included three songs from Dark Side (“Speak to Me,” “Breathe,” and “Money”) as well as two later choices (“Comfortably Numb,” “Wish You Were Here”).

Neither of the band’s two frontmen consider Dark Side their best album. Waters told me in 1993 that The Wall is "a much more important work." Gilmour has a different pick. “For me, Wish You Were Here is the most satisfying album,” he told Guitar World. “I'd rather listen to that than Dark Side of the Moon. Because I think we achieved a better balance of music and lyrics on Wish You Were Here. Dark Side went a bit too far the other way—too much into the importance of the lyrics. And sometimes the tunes—the vehicles for the lyrics—got neglected. To me, one of Roger's failings is that sometimes, in his effort to get the words across, he uses a less-than-perfect vehicle.”

Waters has long been frustrated with what he sees as Gilmour’s who-cares-about-the-lyrics stance. When I interviewed Waters in 1993 for the Los Angeles Times about the album’s 20th anniversary, he said pointedly: “If you read the interviews with my ex-colleagues, you'll find that they all say, 'We weren't really very interested in the words or what the record was about.'" He hated the idea that people would put on the album for pure ambience. For him, it was meant to be cerebral, and listened to while in one's right mind. But "through the intervening years, I've very much picked up a feeling that Dark Side of the Moon is easy-listening, wafting sort of music: You turn the lights down low and... drift away into some sort of New Age blissful state. And that's always confused me, because I at the time had thought the songs were actually about something more than that."

The album has had numerous full-length cover versions. Phish and Dream Theater are among the bands who’ve covered the album in its entirety in concert, and the Flaming Lips released a studio version of their take on the album. There have been bluegrass, a cappella, and string-quartet album versions, not to mention the notorious, reggae-died Dub Side of the Moon.

“On the Run” is often used by the Chicago Bulls as background music when opposing teams are introduced. Whether that’s because the tape loop just sounds cool or because they like to subliminally remind other teams that they plan to keep them on the run isn’t altogether clear.

Before Dark Side, Pink Floyd considered and dismissed another concept album, Household Objects. This LP would have consisted of the band playing, yes, household objects instead of instruments. One artifact from that, an instrumental called “The Hard Way,” was included on the 2011 Dark Side boxed set. Although it’s a fascinating what-if, we can all be grateful they decided guitars, synths, and madness ‘n’ mortality were the way to go with the follow-up to Meddle after all.

The album won one whole Grammy award. That went to Parsons, for best-engineered recording.

The band members swear they never watched or even thought about The Wizard of Oz while making the album. But that hasn’t stopped tens of millions of conspiracy theory-loving dreamers from synching the two up. Go for it!


(http://music.yahoo.com/)

















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan] * 1
    #19674902 - 03/10/14 05:35 AM (9 years, 10 months ago)

Annual bump.
















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #21385729 - 03/10/15 05:36 AM (8 years, 10 months ago)

Annual bump.
















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #22991322 - 03/10/16 05:38 AM (7 years, 10 months ago)

Annual bump.
















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #24150552 - 03/10/17 05:48 AM (6 years, 10 months ago)

50th anniversary of Pink Floyd's first single, "Arnold Layne", today!














--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #25054065 - 03/10/18 09:47 AM (5 years, 10 months ago)

45th anniversary of Dark Side Of The Moon today!  I see Rolling Stone Magazine, Wikipedia and other places saying it was released on March 1st, but www.pinkfloyd.com, which is Pink Floyd's official website, says it's March 10th, so I'm going with them.  Nevertheless, here's Rolling Stone's article from the 1st about the 45th anniversary of the album.




Quote:

Pink Floyd's 'Dark Side of the Moon': 10 Things You Didn't Know

Paul McCartney's scrapped cameo, a Silver Surfer cover concept and other factors that played into the band's 1973 psychedelic masterpiece

There are hit albums, and then there's Dark Side of the Moon. Pink Floyd's eternally popular song cycle has sold more than 15 million copies in the U.S. since its release on March 1st, 1973, and more than 45 million units worldwide. A true colossus of classic rock, the album made its creators – bassist/vocalist Roger Waters, guitarist/vocalist David Gilmour, keyboardist/vocalist Rick Wright and drummer Nick Mason – incredibly wealthy, and ultimately spent a mind-boggling 937 weeks on the Billboard 200.

In addition to its massive commercial success, Dark Side of the Moon was also a career-defining artistic achievement for the British quartet, one which marked Pink Floyd's transition from an experimental, jam-oriented progressive outfit primarily beloved by college students and assorted "heads," to a top-echelon rock act characterized by its rich songwriting – as well as by Waters' mordant worldview. Recorded at London's Abbey Road Studios in various sessions from May 1972 through January 1973, the album's cerebral soundscapes (exquisitely captured on tape by Abbey Road engineer Alan Parsons, and mixed with the help of veteran producer Chris Thomas) and heavy lyrical musings on the human condition inspired countless bong-fueled headphone listening sessions in darkened bedrooms, but its songs also sounded great on FM (and even AM) radio.

And, perhaps most crucially, the record had genuine meaning. Originally conceived by the band as a cohesive collection of songs about the pressures of life as a musician, Dark Side of the Moon eventually expanded to include songs about broader topics such as wealth ("Money"), armed conflict ("Us and Them"), madness ("Brain Damage"), squandered existences ("Time") and death ("The Great Gig in the Sky"). As Waters told Rolling Stone in 2011, "Dark Side was the first [Pink Floyd album] that was genuinely thematic and genuinely about something." And as artists like Radiohead and Flaming Lips (both of whom have been profoundly influenced by Dark Side) can attest, the album's music and lyrics still hold up beautifully today.

Here are 10 things you might not know about Dark Side of the Moon.

1. Dark Side of the Moon was the first Pink Floyd album to feature Roger Waters as its sole lyricist.
Roger Waters had been contributing lyrics to Pink Floyd albums since 1968's A Saucerful of Secrets (he also received co-writing credit on the instrumentals "Pow R. Toc H." and "Interstellar Overdrive" from The Piper at the Gates of Dawn, the band's 1967 debut), but Dark Side marked the first – though definitely not the last – time that the bassist took the lyrical reins for an entire Floyd LP. Along with adhering to a cohesive concept, Waters wanted Dark Side to feature lyrics that were more lucid and direct than anything the band had written before.

"That was always my big fight in Pink Floyd," Waters is quoted as saying in Mark Blake's Comfortably Numb – The Inside Story of Pink Floyd. "To try and drag it kicking and screaming back from the borders of space, from the whimsy that Syd [Barrett, the band's original leader, who had written the bulk of the material on Piper] was into, to my concerns, which were much more political and philosophical."

Though Waters' lyrical dominance on Dark Side essentially planted the seeds for the massive rift that would eventually occur between him and the rest of the band, it was actually welcomed at the time. "I never rated myself terribly highly in the lyrics department, and Roger wanted to do it," Gilmour admitted to Rolling Stone in 2011. "I think it was a sense of relief that he was willing to do that. At the same time, him being the lyricist and more of the driving force didn't ever mean that he ought to be in full charge of the direction on the musical side of things. So we've always had a little bit of tension in those areas."

2. The album was very nearly called Eclipse.
From the beginning, the band had intended to call their new album Dark Side of the Moon – a reference to lunacy, as opposed to outer space – but when British heavy blues rockers Medicine Head released an album of the same name in 1972, it caused the Floyd to rechristen their project as Eclipse. "We weren't annoyed at Medicine Head," Gilmour told Sounds magazine. "We were annoyed because we had already thought of the title before the Medicine Head album came out." But when the Medicine Head album stiffed and quickly sank into obscurity, Pink Floyd felt free to revert back to their album's original title.

3. Floyd fans were first treated to Dark Side of the Moon in concert more than a year before the album was actually released.
Though the lush textures and spacious arrangements of Dark Side of the Moon make it sound like a purely "studio" project, the band actually aired out all of the songs in concert – in the exact same sequence that they would appear on the album – more than a year before the album's official release. The band premiered Dark Side of the Moon: A Piece for Assorted Lunatics (as it was provisionally known at the time) at the Brighton Dome on January 20th, 1972; and though it was inadvertently cut short that night by what Waters called "severe mechanical and electric horror," the band went on to perform the song cycle in its entirety in during the rest of their 1972 live dates, further refining the songs (and the transitions between them) as they went. The band would eventually record all 10 of the album's songs onto the same reel of 16-track master tape at Abbey Road, an unusual approach that nonetheless paid considerable artistic dividends.

"The way one track flowed into another was an extremely important part of the overall feel," Alan Parsons told Rolling Stone in 2011. "So we could work on the transitions as part of the recording process rather than just part of the mixing process."

4. The original live arrangement of "On the Run" bore little resemblance to the electronic freakout on the record.
Of all the Dark Side songs played live by the band in 1972, "On the Run" was the one that was most radically transformed in the studio. Originally known as "The Travel Sequence," the instrumental was originally a guitar-driven jam – but it received a massive electronic makeover in the studio, thanks to a portable modular analog synthesizer known as the EMS Synthi AKS. The synth, which featured a built-in keyboard and sequencer contained in a suitcase (appropriately ironic, since the piece was originally inspired by Wright's fear of flying), was also used on the album's "Any Colour You Like." "There were endless, interesting possibilities for that little device," Gilmour told Rolling Stone. "We'd always considered ourselves as being a bit electronic. I always had an obsession with finding sounds that would turn something into 3D."

5. "Money" was influenced by Booker T and the MGs.
Pink Floyd's first Top 20 hit in the U.S. (it reached Number 13 on the Billboard Hot 100 in July 1973), "Money" is Dark Side's most aggressively rocking track. With its tricky 7/4 time signature (except for during the guitar-solo segment, when the song switches to 4/4), Waters' indelible bass riff, Gilmour's wailing guitar lead, a squalling solo from saxophonist Dick Parry, and a distinctive sound collage loop made up of ringing cash registers and rattling coins, the recording all but obscures its roots in the Memphis R&B of Booker T and the MGs – but they're definitely in there, according to Gilmour.

"Getting specific about how and what influenced what is always difficult," he told Rolling Stone in 2003, "but I was a big Booker T fan. I had the Green Onions album when I was a teenager. And in my previous band, we were going for two or three years, and we went through Beatles and Beach Boys, on to all the Stax and soul stuff. We played ‘Green Onions' onstage. I'd done a fair bit of that stuff; it was something I thought we could incorporate into our sound without anyone spotting where the influence had come from. And to me, it worked. Nice white English architecture students getting funky is a bit of an odd thought ... and isn't as funky as all that [laughs].

6. Paul McCartney's contributions to the album were deleted – but the Beatles made a surprise appearance on the record.
In an attempt to further tie Dark Side's songs together, Roger Waters came up with the idea of recording interviews with Abbey Road staffers, road crew members, and anyone else working at the studio – asking them a series of questions about subjects ranging from the banal (favorite colors and foods) to the deeply serious (madness and death) – and then threading some of the interview snippets into the final mix. Paul McCartney, who was finishing Wings' Red Rose Speedway album at Abbey Road, was actually among the interviewees, but Waters deemed his answers unusable. "He was the only person who found it necessary to perform, which was useless, of course," Waters told Pink Floyd biographer John Harris. "I thought it was really interesting that he would do that. He was trying to be funny, which wasn't what we wanted at all."

Even so, McCartney – or at least his music – still managed to make a brief appearance on the album. If you listen close to the end of "Eclipse," the album's closing track, a passage from an orchestral version of the Beatles' "Ticket to Ride" can be heard; the song was apparently playing in the background at the studio while Abbey Road doorman Gerry O'Driscoll (who delivered the immortal lines, "There is no dark side of the moon, really. Matter of fact, it's all dark. The only thing that makes it look light is the sun.") was being recorded.

7. "Us and Them" was a reject from the Zabriskie Point soundtrack.
The second of two singles released from Dark Side ("Money" was the first) and a minor hit in the U.S. and Canada, "Us and Them" began life in 1969 as a lovely piano-and-bass instrumental called "The Violent Sequence," which as written by Wright and Waters and submitted for inclusion in the soundtrack of Michelangelo Antonioni's counterculture drama Zabriskie Point. While the Italian director would eventually include three Pink Floyd recordings – "Heart Beat, Pig Meat," "Crumbling Land" and "Come in Number 51, Your Time Is Up" – on the soundtrack, he didn't feel that "The Violent Sequence" was appropriate for the film. In an interview for Classic Albums: The Making of Dark Side of the Moon, Waters recalled Antonioni saying, "It's beautiful, but too sad. It makes me think of church!" More than two years after it was initially rejected by Antonioni, the band revisited the demo and recast it as a moving meditation on war and poverty.

8. An image of the Silver Surfer was originally considered for the album's cover.
With its evocative, eye-catching graphic of a prism turning light into color, Dark Side of the Moon's album cover – created by English graphic designer George Hardie with input from Storm Thorgerson and Aubrey Powell of Hipgnosis – is one of the most iconic designs to ever grace an LP. "When Storm showed us all the ideas, with that one, there was no doubt," Gilmour recalled to Rolling Stone in 2003. "It was, ‘That is it.' It's a brilliant cover. One can look at it after that first moment of brilliance and think, ‘Well, it's a very commercial idea: It's very stark and simple; it'll look good great in shop windows.' It wasn't a vague picture of four lads bouncing in the countryside. That fact wasn't lost on us."

So it's interesting to imagine the album with an entirely different cover – specifically, the one suggested by Hipgnosis that would have featured an image based on the comic book character the Silver Surfer. "We were all into Marvel Comics, and the Silver Surfer seemed to be another fantastic singular image," Powell recalled in an interview with John Harris. "We never would have got permission to use it. But we liked the image of a silver man, on a silver surfboard, scooting across the universe. It had mystical, mythical properties. Very cosmic, man!"

9. Dark Side of the Moon was the first Pink Floyd album to break into the US Top 40.
Given Dark Side's multi-platinum sales figures, and the impressive Stateside success of Pink Floyd's subsequent studio albums, it's easy to forget that the band's first seven LPs all fared pretty poorly in the United States; before Dark Side, the band's biggest U.S. hit had been Obscured by Clouds, their soundtrack for the French film La Vallée, which peaked at Number 46 on the Billboard 200 in the summer of 1972. But thanks to a massive promotional push by Capitol Records, and regular spins of "Money" by American radio DJs, Dark Side of the Moon rose all the way to the top of the Billboard 200 within two months of its release.

"It went up the American charts quite quickly," Waters recalled to Rolling Stone in 2003. "We were on tour in the States while that was happening. It was obviously going to be a big record – particularly after AM as well as FM radio embraced ‘Money.'"

10. Proceeds from the album helped fund Monty Python and the Holy Grail.
As if Dark Side of the Moon wasn't enough of a pop cultural landmark in itself, the album's success was also partly responsible for the existence of the brilliantly absurd 1975 film comedy Monty Python and the Holy Grail. The members of Pink Floyd often spent their downtime during the Dark Side sessions watching Monty Python's Flying Circus on BBC2, so when the British comedy troupe ran into difficulty raising money for their first full-length feature film, the Floyd – now flush with cash from the sales of Dark Side – were more than happy to pony up 10 percent of the film's initial £200,000 budget.

"There was no studio interference because there was no studio; none of them would give us any money," Holy Grail director Terry Gilliam recalled in a 2002 interview with The Guardian. "This was at the time [British] income tax was running as high as 90%, so we turned to rock stars for finance. Elton John, Pink Floyd, Led Zeppelin, they all had money, they knew our work and we seemed a good tax write-off. Except, of course, we weren't. It was like The Producers."


(https://www.rollingstone.com)















--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #25865082 - 03/10/19 09:41 AM (4 years, 10 months ago)

Annual bump.











--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #26526643 - 03/10/20 05:38 AM (3 years, 10 months ago)

Annual bump.










--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan] * 1
    #27246090 - 03/10/21 05:02 AM (2 years, 10 months ago)

Annual bump.










--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
Offlinejdawg333
Stranger
Registered: 08/22/18
Posts: 580
Last seen: 19 days, 23 hours
Re: Today in psychedelic history (03/10) [Re: Learyfan] * 1
    #27246531 - 03/10/21 11:02 AM (2 years, 10 months ago)

Maybe the wrong thread to ask, but since DSOTM is obviously one of the 'trippiest' albums of all time do you think they were dosing a lot in the time leading up to making it? Many people claim that Waters and Gilmour only did acid a handful of times and only earlier in their career.


Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: jdawg333] * 1
    #27689369 - 03/10/22 05:04 AM (1 year, 10 months ago)

I think they had long since put down psychedelics. I could be wrong, but I get the impression that that was just something they did a few times in the mid to late 60's and never tried it again. They were probably smoking copious amounts of hash though.

Anyway, today is the 55th anniversary of "Arnold Layne".









--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
OfflineLearyfanS
It's the psychedelic movement!
Male User Gallery


Registered: 04/20/01
Posts: 34,089
Loc: High pride!
Last seen: 1 hour, 17 minutes
Re: Today in psychedelic history (03/10) [Re: Learyfan]
    #28223240 - 03/10/23 04:11 AM (10 months, 16 days ago)

50th anniversary of Dark Side Of The Moon today!








--------------------
--------------------------------


Mp3 of the month:  The Apple-Glass Cyndrome - Someday



Extras: Filter Print Post Top
Jump to top Pages: 1

Shop: PhytoExtractum Buy Bali Kratom Powder   Left Coast Kratom Kratom Powder For Sale   Original Sensible Seeds Autoflowering Cannabis Seeds   Kraken Kratom Red Vein Kratom   North Spore Cultivation Supplies   Bridgetown Botanicals Bridgetown Botanicals   Unfolding Nature Unfolding Nature: Being in the Implicate Order


Similar ThreadsPosterViewsRepliesLast post
* Today in psychedelic history (03/05) LearyfanS 2,260 17 03/05/23 09:06 AM
by Learyfan
* Today in psychedelic history (03/06)
( 1 2 all )
LearyfanS 9,295 28 03/06/23 04:08 AM
by Learyfan
* Today in psychedelic history (03/07) LearyfanS 523 5 03/07/23 04:09 AM
by Learyfan
* Today in psychedelic history (03/08) LearyfanS 3,943 16 03/08/23 04:12 AM
by Learyfan
* Today in psychedelic history (03/09) LearyfanS 474 7 03/09/23 04:07 AM
by Learyfan
* Re: Greatest trip album EVER!!!
( 1 2 3 4 5 6 all )
Anonymous 16,227 103 10/30/00 07:49 AM
by Anonymous
* What is your favorite psychedelic?
( 1 2 3 4 all )
BadgerBadger92 1,343 65 03/06/23 01:35 PM
by NotSheekle
* Regressive self-therapy using psychedelics?
( 1 2 all )
ding 9,222 20 04/20/04 04:10 AM
by Arrakis

Extra information
You cannot start new topics / You cannot reply to topics
HTML is disabled / BBCode is enabled
Moderator: psilocybinjunkie, Rose, mushboy, LogicaL Chaos, Northerner, bodhisatta
2,484 topic views. 1 members, 47 guests and 30 web crawlers are browsing this forum.
[ Show Images Only | Sort by Score | Print Topic ]
Search this thread:

Copyright 1997-2024 Mind Media. Some rights reserved.

Generated in 0.026 seconds spending 0.008 seconds on 14 queries.