Pink Floyd

Murmur and The Dark Side of the Moon

The Dark Side of the Moon (1973) and Murmur (1983) are two albums I own and enjoy, but neither of which I listened to when they were new. As they turn 40 (!) and 50 (!!) years old, I thought I’d reflect a bit on each.

When The Dark Side of the Moon came out in 1973, I was only nine years old and didn’t listen to any specific music or bands yet. I was gravitating toward The Beatles and The Beach Boys, though (in 1973 The Beatles had only been split up for three years). I came across this album years later, getting it first on CD in the mid-80s. The transfer was so bad (or good, depending on your perspective) that you could hear the analog hiss during quieter parts of the album.

Of the two, DSOTM is more famous, of course, but I feel it’s more dated or, to be more generous, of its time. In particular, the instrumental “Any Colour You Like” sounds very early 70s to my ears. That said, the rest of the album is sleeker and more timeless, and while it isn’t a concept album in the purist sense, all the songs connect together through themes and sound collages in a way that makes it feel like a single piece, a real album album (kids, ask your parents what an “album” is!)

DSOTM is also the sound of a band coming into its own with confidence and newfound maturity. It was Pink Floyd’s eighth album and was one of the last where all the band members fully participated.

Murmur, by contrast, was R.E.M.’s debut. Listening to it now, 40 years later, it still has a weird kind of freshness to it. I mean, it doesn’t sound anything like what you hear in contemporary pop music (which I can’t address without jumping straight into “old man yells at cloud” territory), but if you sought other albums with a similar sound recorded today, Murmur would effortlessly fit in with them, because Stipe’s vocals (not as murky as legend would have it) and the band’s early experimentation in style, going from jangly pop to simple acoustic numbers, remains vibrant and clear. It’s a fun album, an early adventure, and a great example of a group that fired on all cylinders right from the start.

Although I could have picked up Murmur when it was new (I was 19), like many others, I didn’t discover it until after getting brought in to R.E.M.’s music by a later album, in this case Document (1987) and specifically, “It’s the End of the World as We Know It (and I Feel Fine)”. In retrospect, I wish R.E.M. had done more zany songs or lighter songs. Some of the best on Murmur are these, like the appropriately propellant “Catapult”. Ah, well.

In which I rank Pink Floyd albums 1971 to 1994 from best to not best

Nute on Broken Forum recently posted the following (in reference to the Pink Floyd album A Momentary Lapse of Reason):

Best Pink Floyd album.

COME AT ME, HATERS.

As I love any excuse to make a list this has inspired me to list from best to worst the Pink Floyd albums from 1971 to 1994. I don’t include the pre-1971 material because I am not familiar enough with it to offer up an opinion.

First, here’s the chronological order of the albums:

  • Meddle, 1971
  • The Dark Side of the Moon, 1973
  • Wish You Were Here, 1975
  • Animals, 1977
  • The Wall, 1979
  • The Final Cut, 1983 (minus Rick Wright)
  • A Momentary Lapse of Reason, 1987 (minus Roger Waters)
  • The Division Bell, 1994 (minus Roger Waters)

And here is my ranking, with notes attached:

  1. The Wall. This is a sprawling and at times meandering and indulgent album but when it works it works fantastically well and the shining moments are transcendent ones, from the theatrical opening crescendo and fade to David Gilmour’s soaring guitar that concludes “Comfortably Numb”. The Waters/Gilmour work on this album is consistently strong and the album is the better for it.
  2. Wish You Were Here. More a mood piece than any of the albums on this list, Wish You Were Here is bookended by the long instrumental “Shine on You Crazy Diamond” and if you don’t like that song you’re left with all of three others to enjoy. Fortunately even these are terrific. “Welcome to the Machine” is creepily effective, the title track fittingly melancholy, with only “Have a Cigar” being a bit ordinary.
  3. Animals. Bookended by the spare and short acoustic track “Pigs on the Wing” this concept album contains one of the band’s longest songs, “Dogs”, which clocks in at 17+ minutes and it’s on the strength of “Dogs” that I place Animals where I do. The song begins slowly then plays through several movements, using sound effects, reverb and more to capture the feeling of alienation, of drowning in an unhappy world where fairness is a rare commodity and loneliness is in abundance. Not exactly make-out music but a mesmerizing journey.
  4. The Dark Side of the Moon. The biggest problem with this album is that certain parts of it, notably the instrumental “Any Colour You Like” are rather dated, sounding very much of the era they were recorded in. This isn’t necessarily a bad thing but you can’t help but imagine people grooving out on the shag carpet while listening to this. The classic tracks here are tight and strong and hold up perfectly 40 (!) years later. Sure, “Money” has been overplayed as much as any other 70s FM hit but even putting it aside you still have “Time”, “Us and Them” and “The Great Gig in the Sky”. More than any of the other albums here, this contains Rick Wright’s strongest contributions.
  5. The Division Bell. This was the last album the band recorded and came seven years after the previous. Much like Dark Side it has moments that firmly tie it to its era, with the ringing guitar of “Take it Back” bringing to mind U2 of all things. At its worst it presents some of the same calculated moves as Momentary Lapse but overall holds together with greater consistency. There are no standout tracks here but Gilmour’s reliable vocals and guitar work, alongside solid contributions from Wright, make this a good effort.
  6. Meddle. An odd album that is the final embrace of psychedelic weirdness before the band would establish its more familiar sound. This is a fairly mellow record, apart from the propulsive opening instrumental “One of These Days”, with most songs feeling like the aural equivalent of a gentle stroll. The oddities come in the form of the bluesy “Seamus” complete with barking dog accompaniment, the breezy confection of “San Tropez” (penned by Waters, of all people) and the mostly instrumental track “Echoes” that comprises the entire second half of the album. Over 23 minutes, “Echoes” drifts from Gilmour’s wistful vocals to strange, even unnerving sound effects and back again. There is no easy way to listen to this album. The shorter tracks and “Echoes” could be from entirely different records. If you’re in the mood for a bit of everything, though, you’re set.
  7. The Final Cut. This is more a Roger Waters solo album than a Pink Floyd effort. Gilmour’s guitar is absent from many songs, he provides only one vocal, and the rest of the tracks are given over to Waters’ overtly political and pessimistic observations of humanity. While there is a consistency in both the music and tone, this is not an easy album to get into, but if you give it time you’ll be rewarded by several standout tracks, from “The Gunner’s Dream” to the now-included “When the Tigers Broke Free” which was previously only found in the film version of The Wall.
  8. A Momentary Lapse of Reason. Why is this ranked last? It began as a David Gilmour solo effort, and indeed a lot of it sounds like Giilmour’s solo album About Face from three years earlier. I have two major problems with the album. The first is the effort to make it sound like Pink Floyd feels overly calculated, as if the female backing vocals, guitar solos, and themes of alienation were items on a checklist. The other problem is the lyrics. While Waters had his excesses and obsessions, he could craft some nice wordplay. Gilmour, even when helped by others, writes mostly in clichés and catchphrases, tackling ‘big’ ideas with trite phrasing. At best the lyrics stay out of the way, at worst they actively work against the song. “One Slip” is a wonderful sounding track, but the lyrics are awful.

I will, I will she sighed to my request
And then she tossed her mane while my resolve was put to the test
Then drowned in desire, our souls on fire
I lead the way to the funeral pyre
And without a thought of the consequence
I gave in to my decadence

“Drowned in desire”? “Our souls on fire”? And I’m not even touching the whole “drowned” followed by “on fire” part. This is just bad and emblematic of the album as a whole. There are some fine songs here. I particularly like the opening instrumental “Signs of Life”, the sprawling closer “Sorrow” and “On the Turning Away”, which has a quiet majesty, even if the lyrics are junior high-level simple. Overall, this is easily the slightest of Pink Floyd’s albums and far from essential.