Original released on LP Capitol SMAS 11163
(US 1973, March 1)
By condensing the sonic explorations of "Meddle" to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with "Dark Side of the Moon". The primary revelation of "Dark Side of the Moon" is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world. Pink Floyd may have better albums than "Dark Side of the Moon", but no other record defines them quite as well as this one. (Stephen Erlewine in AllMusic)
Of all rock albums this is the one I had doubts whether anyone at AllMusic would even find words to adequately describe it. But they've done a good job, succinctly mentioning a few points which account for the greatness, touching upon the basic method the band embarked upon and drawing attention to a little bit of the creative accidents which infuse such happy sorcery into this disc. Storm Thorgenson said that the iconic cover design incorporated three themes: the band's light show; the theme of 'ambition' and 'greed' (the pyramid); and Rick Wright's vote for something simple and dramatic. 'Simple' and 'dramatic' is exactly what the music on this LP is. Simple yet depthful work is what all artists strive for, and is the hardest task to accomplish in any art. Yet the Floyd did that, here. There is no other secret which accounts for its phenomenal hold on the public imagination. There is no hidden kabbalah such as playing the disc backward of pairing it up with 'The Wizard of Oz'. No. It is just the invasive, penetrating simplicity of the lyrics and familiar, everyday ideas like ticking clocks and tearing paper and ringing cashboxes. Voices arguing. Bodies running. Engines revving. Lungs breathing. Lips drinking. Tidal gravity, seismic trembling, journeys, death.
The songs address the mundane and the commonplace; the songs summarize and itemize the dull facets of the world around us and give them new meaning. We're shown anew, where we touch and strike these edges, these surfaces. All these 'things' we are surrounded by are given new voice by Floyd's music, given their own laughter and their own mockery and their own sarcasm. It is a chastening experience, and afterwards - after listening - nothing is the same. After, you begin to see just why madmen babble and gurgle so raucously; you discover that there is a true and terrifying strangeness in the world which has long gone unnoticed; you learn from DSOTM just why nothing anywhere is really very sensible. Underneath the surface things are crazy. It is remarkably freeing and soaring, this embracing of the terrible simple madness of things-as-they-are. Posters inside the LP continued the message, have you ever seen them? The magnificent shots of pyramids and mountains..more hints, more suggestions of the inexorability of everything, the surety that what we think we see, is illusion. What more can one ask from a rock album? What does DSOTM lack? Nothing. It's all there. (Manuel Etcheguaray in AllMusic)
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