Archivo de la categoría: Lenguas por la Paz

Mother Earth: Love, Peace, Respect


Mother Earth – Neil Young

Oh, Mother Earth
With your fields of green
Once more laid down
By the hungry hand
How long can you
Give and not receive
And feed this world
Ruled by greed
And feed this world
Ruled by greed

Oh, ball of fire
In the summer sky
Your healing light
Your parade of days
Are they betrayed
By the men of power
Who hold this world
In their changing hands
They hold the world
In their changing hands

Oh, freedom land
Can you let this go
Down to the streets
Where the numbers grow
Respect Mother Earth
And her giving ways
Or trade away
Our children’s days
Or trade away
Our children’s days

Respect Mother Earth
And her giving ways
Or trade away
Our children’s days

Mother Nature -Angelique Kidjo

Don’t ever let them hurt you in any way
Oh, never let them steal and take the best of you
Keep building cities from the ground
We’re rising with the waves
Don’t ever let them hurt you in any way
Oh, never let them steal and take the best of you
Keep building cities from the ground
We’re rising with the waves
Mother Nature has a way of warning us
A time bomb set on a lost countdown
Do you hear it?
Will you stop it?
Won’t you listen?
Aminssiamin nin va mian lébé nin hihé a min
Aminssiamin ké lé ayin gban ya djia edo la noussi lo
Each one of us each one of us
We need each other
We need each other
We need each other now
Each one of us each one of us
We need each other

Don’t ever let them hurt you in any way
Oh, never let them steal and take the best of you
Keep building cities from the ground
We’re rising with the waves
Mother Nature has a way of warning us
A time bomb set on a lost countdown
Will you find it?
Will you stop it?
Won’t you listen?

We need each other now
We need each other now
Each one of us each one of us
We need each other

Aminssiamin nin va mian lébé nin hihé a min
Aminssiamin ké lé ayin gban ya djia edo la noussi lo
I know we are humain
But why can’t we use gifts she’s given us

Mother Nature has a way of warning us
A time bomb set on a lost countdown
Do you hear it?
Will you stop it?
Won’t you listen?

Oh-h-h-h-h-h, ye ye ye ye ye ya ah

Mother Earth – Soldiers of Jah Army

They should have known this couldn’t last forever
They should have known this cannot last so long
And yes they should have known when we go murder our mother
The consequence from the father is gonna be strong

I know, I know only love will stand
When the wickedness come, wickedness go
Only love will stand

They should have seen when we go raping
Our mother Earth who was so fresh and green
That what we gonna give will be what we getting
And what we sow will be what we reap
If you take the blood out from her vein
Things, they gonna never ever be the same
Who will repair? Who will bear the blame?
For the cost of this dangerous Babylon game

I know, I know only love will stand (only love will stand)
When the wickedness come, wickedness go
Only love will stand

Only love will stand

They should have known soldier will come
And spread the message, they should have known
The righteous won’t sit and watch
They should have known I and I work for the father
I and I will defend my mother, they should have known
But know, oh, they did not

I know, I know only love will stand (I and I know)
When the wickedness come, wickedness go
Only love will stand

I know, I and I know only love will stand
I and I know, I and I know only love will stand

in any language

PEACE, мир, FRIEDE, שלום, PAIX, سلام, PAZ, 和平, PACE

In Any Tongue by David Gilmour

Home and done it’s just begun
His heart weighs more
More than it ever did before
What has he done?
God help my son
Hey, stay a while, I’ll stay up
No sugar is enough to bring sweetness to his cup
I know sorrow tastes the same on any tongue

How was I to feel it
When a gun was in my hands
And I’d waited for so long
How was I to see straight
In the dust and blinding sun
Just a pair of boots on the ground

On the screen the young men die
The children cry
In the rubble of their lives
What has he done?
God help my son
Hey, stay a while, I’ll stay up
The volume pumped right up
But not enough to drown it out
I hear «Mama» sounds the same in any tongue

How am I to see you
When my faith stands in the way
And the wailing is long done
How am I to know you
With a joystick in my hand
When the call to arms has come

just ONE…


One World by Dire Straits

Can’t get no sleeves for my records
Can’t get no laces for my shoes
Can’t get no fancy notes on my blue guitar

I can’t get no antidote for blues
Oh yeah, blues

I can’t find the reasons for your actions
Or I don’t much like the reasoning you use
Somehow your motives are impure
Or somehow I can’t find the cure

Can’t get no antidote for blues
Oh yeah, blues

They say it’s mostly vanity
That writes the plays we act
They tell me that’s what everybody knows
There’s no such thing as sanity
And that’s the sanest fact
That’s the way the story goes

Oh yeah

Oh, yeah


Can’t get no remedy on my TV
It’s nothing but the same old news
Well, they can’t find a way to be
One world in harmony

Can’t get no antidote for blues
Alright, yeah, blues


Oh yeah


One World (Not Three) by The Police

One world (not three)

One world is enough
For all of us
One world is enough
For all of us

It’s a subject we rarely mention
But when we do we have this little invention
By pretending they’re a different world from me
I show my responsibility

One world is enough
For all of us
One world is enough
For all of us

The third world breathes our air tomorrow
We live on the time we borrow
In our world there’s no time for sorrow
In their world there is no tomorrow

One world is enough
For all of us
One world is enough
For all of us

Lines are drawn upon the world
Before we get our flags unfurled
Whichever one we pick
It’s just a self deluding trick

One world is enough
For all of us
One world is enough
For all of us

I don’t want to bring a sour note
Remember this before you vote
We can all sink or we all float
‘Cause we’re all in the same big boat

One world is enough
For all of us
One world is enough
For all of us

One world is enough
For all of us
One world is enough
For all of us

One world is enough
For all of us

It may seem a million miles away
But it gets a little closer everyday
It may seem a million miles away
But it gets a little closer everyday
It may seem a million miles away
But it gets a little closer everyday

One world…

One World by de Billy Ocean

So many people
Living in the world today
Trying to find an answer
Searching for a better way
So much demonstrations
People voicing their opinion
We got to find the solution
What we need is a love revolution

‘Cause we got one world
So let’s take care of business
Don’t wait another day
We got one love, yeah
Keep on holding on
No letting go
We got one world, mmh
Delivering a message
I came here to tell you
We’ve got one dream, mmh
Brothers and sisters
You know what I mean

Callous people out there
In the world today
Will burst your bubble
Hurting (hurting) by the games they play
But I know (I know) and I feel (I see)
I see there’s something going on (yeah)
It’s time for us to turn it around (ooh-ooh)
We can’t afford to get it wrong

‘Cause we got one world
So let’s take care of business
Don’t wait another day
We got one love, mmh
Keep on holding on
No letting go
We got one world, eh
I’m delivering a message
I came here to tell you
We got one dream
Brothers and sisters
You know what I mean

One world, listen
One dream, one hope
One love, one chance
One mind, one faith
This human race
Oh, and this human race, oh-oh
One love, one hope
One dream, one love

We got one world, yeah
Let’s take care of business
Don’t wait another day
We got one love, mmh, yeah
Keep on holding on
No letting go
We got one world
Delivering a message
I came here to let you know
One dream, yeah
Brothers and sisters
You know what I mean

One world
One world, one love, one dream
You know what I mean
One love
Delivering a message
I came here to tell we got
One world
One dream, yeah
Delivering a message

One by U2

Is it getting better?
Or do you feel the same?
Will it make it easier on you now
You got someone to blame?

You say, one love, one life (One life)
It’s one need in the night
One love (One love)
Get to share it
Leaves you darling
If you don’t care for it

Did I disappoint you?
Or leave a bad taste in your mouth?
You act like you never had love
And you want me to go without

Well, it’s too late, tonight
To drag the past out into the light
We’re one, but we’re not the same
We get to carry each other, carry each other

One (One)
One (Oh, oh, one)
One (One, oh-oh)
One (Oh-oh)

Have you come here for forgiveness?
Have you come to raise the dead?
Have you come here to play Jesus?
To the lepers in your head

Well, did I ask too much? More than a lot?
You gave me nothing, now it’s all I got
We’re one but we’re not the same
See we, hurt each other then we do it again

You say, love is a temple, love is a higher law
Love is a temple, love is a higher law
You ask for me to enter but then you make me crawl
And I can’t keep holding on to what you’ve got
‘Cause all you got is hurt

One love, one blood
One life, you’ve got to do what you should
One life with each other
Sisters and my brothers
One life but we’re not the same
We get to carry each other, carry each other


One love, one love

Sorrow by Pink Floyd

The sweet smell of a great sorrow lies over the land
Plumes of smoke rise and merge into the leaden sky
A man lies and dreams of green fields and rivers
But awakes to a morning with no reason for waking

He’s haunted by the memory of a lost paradise
In his youth or a dream, he can’t be precise
He’s chained forever to a world that’s departed
It’s not enough, it’s not enough

His blood has frozen and curdled with fright
His knees have trembled and given way in the night
His hand has weakened at the moment of truth
His step has faltered

One world, one soul
Time pass, the river roll

And he talks to the river of lost love and dedication
And silent replies that swirl invitation
Flow dark and troubled to an oily sea
A grim intimation of what is to be

There’s an unceasing wind that blows through this night
And there’s dust in my eyes, that blinds my sight
And silence that speaks so much louder than words
Of promises broken

One Love by de Bob Marley & The Wailers

One love, one heart
Let’s get together and feel all right
Hear the children cryin’ (one love)
Hear the children cryin’ (one heart)
Sayin’ give thanks and praise to the Lord and I will feel all right
Sayin’ let’s get together and feel all right

Let them all pass all their dirty remarks (one love)
There is one question I’d really love to ask (one heart)
Is there a place for the hopeless sinners
Who has hurt all mankind just to save his own beliefs?

One love, what about the one heart, one heart
What about, people, let’s get together and feel all right
As it was in the beginning (one love)
So shall it be in the end (one heart)
All right! Give thanks and praise to the Lord and I will feel all right
Let’s get together and feel all right, one more thing

Let’s get together to fight this Holy Armagiddyon (one love)
So when the Man comes there will be no, no doom (one song)
Have pity on those whose chances grows t’inner
There ain’t no hiding place from the Father of Creation

Sayin’, one love, what about the one heart? (one heart)
What about the, let’s get together and feel all right
I’m pleadin’ to mankind (one love)
Oh, Lord (one heart) whoa

Give thanks and praise to the Lord and I will feel all right
Let’s get together and feel all right
Give thanks and praise to the Lord and I will feel all right
Let’s get together and feel all right

An Endless Lapse of PEACE


On The Turning Away by Pink Floyd

On the turning away
From the pale and downtrodden
And the words they say
Which we won’t understand

Don’t accept that what’s happening
Is just a case of others’ suffering
Or you’ll find that you’re joining in
The turning away

It’s a sin that somehow
Light is changing to shadow
And casting its shroud
Over all we have known

Unaware how the ranks have grown
Driven on by a heart of stone
We could find that we’re all alone
In the dream of the proud

On the wings of the night
As the daytime is stirring
Where the speechless unite in a silent accord

Using words, you will find, are strange
Mesmerised as they light the flame
Feel the new wind of change
On the wings of the night

No more turning away
From the weak and the weary
No more turning away
From the coldness inside

Just a world that we all must share
It’s not enough just to stand and stare
Is it only a dream that there’ll be
No more turning away?

Us + Them (The Bright Side of the World)

The Meaning Behind the Band Name: Pink Floyd

The seeds of the band known today as Pink Floyd were first sewn in the mid-1960s. The band, which formed formally in 1965, has gone on to make some of the most impactful and beloved albums of all time (The Dark Side of the Moon, anyone?).

But what about their name? What about the moniker Pink Floyd? What does it mean? Who is Floyd and why is he pink?

Humble Rock Beginnings

The English rock band was formed in London in 1965. The group quickly rose to popularity for its inventive, psychedelic style that featured long experimental guitar solos and longer songs. Mixed with philosophical lyrics, the band was both entertaining and thought-provoking.

Founded by Syd Barrett, Nick Mason, Roger Waters, and Richard Wright, the band had several names before landing on the one we now know today. The band released its first album The Piper at the Gates of Dawn in 1967. Guitarist David Gilmour joined that same year and Barrett left in 1968, suffering from mental illness and drug use.

The band released The Dark Side of the Moon in 1973, Wish You Were Here in 1975, Animals in 1977, and The Wall in 1979. What a remarkable run of music.

Different Names

Waters and Mason met in school in London. They first played together in a group called the Sigma 6. Waters played lead guitar, Mason drummed and Wright was on rhythm guitar. Later, during those formative years, Sigma 6 went through some other name changes, including Meggadeaths, the Abdabs, and the Screaming Abdabs. Also: Leonard’s Lodgers and the Spectrum Five. Finally, they landed on the name the Tea Set.

1965: Pink Floyd

That year, Barrett, now in the group, took over on lead guitar. The group then rebranded itself in late 1965, first referring to themselves as the Pink Floyd Sound. Later it was The Pink Floyd and after that, it was shortened simply to Pink Floyd.

According to lore, Barrett came up with the name in the spur of the moment when he found out there was another band called the Tea Set, which was slated to perform at one of their gigs. The name Pink Floyd comes from the given names of two prominent blues musicians, who Barrett loved: Pink Anderson and Floyd Council.


Today, the band is revered. And like other bands who have names that seemingly make little sense on the face of it, Pink Floyd is both odd and mysterious and ubiquitous and taken at face value. Say the name to any music fan and they’re likely to light up before spewing their favorite album and song titles from the progressive rock group.


What Makes Pink Floyd Such a Unique Band?

Pink Floyd’s music not only established a genre but managed to remain timeless. It embodied an era and captured an emotion that no other band could. Pink Floyd sought to encapsulate something that no one could or will likely ever replicate.

Despite this, it can be easy for the band to be judged on face value solely for its music. Sadly, that means it just gets thrown in with other great bands of its decade. But the real beauty of Pink Floyd doesn’t show on the surface. It exists behind the notes and words that the band uses. Here’s how that makes Pink Floyd such a unique band.

The Band is Authentic with Their Message

There’s  only so many themes that a band can write their music about. Eventually, they run the risk of sounding like their predecessors. 

Whether it’s a desire to target mass appeal or a lack of creative direction, most bands start to adhere to a basic cookie-cutter formula.

But not Pink Floyd. The band never sought to hide behind a comfortable domain for the sake of commercial success. They have remained true to their message by expressing it as authentically as they can through their music.

They use their music to spread their convictions and philosophical perspectives to the world. And not for the sake of vanity or monetary benefit but because it’s the right thing to do. 

You don’t have to look any further than albums like ‘Wish You Were Here’. It explores the band’s disillusionment with the music industry, the loss of a band member, and a feeling of creative stagnation between band members.

Many bands would be willing to keep their two worlds separate for the sake of maintaining their image. But for Pink Floyd, these worlds are one and the same. And they can’t help but speak out about them. 

Dense, Rich Arrangements

Rock bands tend to have a fairly simple lineup. All it takes is a few guitars, a bass, a drum kit, and a vocalist. That’s nothing too impressive. But being able to create the grand sound that Pink Floyd does, certainly is. 

You can pick any album out of Pink Floyd’s extensive discography and find fully-fledged song arrangements that sound open but populated. 

It’s a unique space opera experience with distant keyboard synths, a steady centering bass, reverberating drum sounds, intimate acoustic guitar scrapes, yearning vocals, and time stretching guitar solos—all in one track. 

The fact that the band was able to create such soundscapes with a few instruments is incredible in its own right. But more so for giving the listener that sounds so center stage. 

It’s a feeling of seeing someone drift away while lingering on to their memory. Nothing else has ever come quite like it before. 

They Pioneered Their Genre

For an artist, it takes a lot to be established in a genre. It takes even more to be established in a genre that is yet to exist. But Pink Floyd made it happen all the same. This is what earned them their spotlight and cemented their place in the Rock and Roll Hall of Fame. 

To date, Pink Floyd is credited with the conception of two very important genres; psychedelic space rock and blues-based early progressive rock. This has not only birthed an entire sphere of music, but it has also given inspiration to many artists such as the likes of David Bowie and Radiohead.

This is what set them apart from bands that existed in their time. They didn’t just choose a sound and work within its creative confines. The sound chose them, and it empowered their approach to build it according to their own path. Not something that’s all too commonly seen. 

Surreal Live Performances

It’s one thing to have strong musical appeal and meaningful messages. It’s another to provide an experience that is rarely found elsewhere. Yet Pink Floyd has done it all the time over the course of their long standing career. 

Ask any Pink Floyd fan, and they’ll tell you that their live performances are a step above the rest. The band does this by adding sensory elements to supplement their music. You’ll find things like lasers, lights, on-stage sets, and dioramas, providing you a unique experience. 

Audience engagement is a big part of what makes Pink Floyd’s shows stand out. Many of their concerts have gone down in rock history as unmissable experiences that have built the reputation of being magical. 

Some notable examples include using a giant cardboard representation of a cardboard wall for The Wall’s live performance or using an inflatable pig to represent capitalist imagery. All of which makes the price of admission more than worth it. 

Albums That Revolve Around a Theme

Pink Floyd is arguably among the first to cement the idea of what an album truly represents. Up until then, albums were just considered to be a basic collection of different tracks that fed the same musical style. But that changed when Pink Floyd showed up. 

Rather than using albums as a packaging method for songs, the band used it to drive a single idea that resonated through each track. By doing this, Pink Floyd managed to convey strong themes and messages through their work. 

Albums like The Wall and Dark Side of the Moon stand tall as exemplary works of art that transcend their musical shell. If you wanted to listen to any of these albums, you wouldn’t just listen to a few tracks. The optimum experience would be to finish an album in one sitting from start to finish.  

Almost any Pink Floyd album could stand on its own legs with its themes alone. The Wall presented the pressure of success and feeling distanced. Animals was a retelling of Orwellian societal politics. Dark Side of the Moon was a window into the experience of being driven mad with isolation.  

They’re Comfortable Being Themselve

In the music industry, there are a host of expectations and burdens that plague artists. Sometimes it’s the pressure from the production side of things; other times, it’s the fans. But it almost always results in an artist playing by the rules to avoid anyone’s ire. 

It takes an exceptional quality of transparency to understand that things are not ideal and yet accept them. Somehow, Pink Floyd managed to do it. That’s what has carried the band through countless lineup changes, personal spats, legal troubles, and outside criticism. 

Pink Floyd aren’t reluctant to express their genuine thoughts and stand up against what bothers them. Through a large body of their work, they have leveled their frustration at themselves, their fans, the music industry, and humanity in general. Not once have they felt half heated or regretful of what they want to express. That’s what makes the music stand the test of time. 

Guitar Solos with Depth

Guitar solos are to rock music what a fish is to water; inseparable. What sets Pink Floyd a cut above the rest is its ability to add a lot of depth to its instrumentation. That means featuring guitar solos that sound out of this world. 

There are usually three guitar players that come to mind when you think of a characteristic Pink Floyd solo: Syd Barrett, Roger Waters, and David Gilmour. And each of them have been able to inject their personality into the band with their soloing approaches. 

Above all, the most memorable solos usually tend to be associated with David Gilmour. His ability to use a basic pentatonic scale to extract and instill emotion really can’t be understated. 

On albums like The Dark Side of the Moon, Gilmour created solos that feel like they extend to the far reaches of space before being dissipated; a feeling that adds to the album’s idea of empty space and isolation. 

Their Evolution through the Years

Very few bands ever get to experience playing long enough to see stylistic evolution. Luckily, Pink Floyd has been around since 1965. That puts it at a good half-century of making, playing, and releasing music to the public. 

What’s important to notice is not how long they’ve been active. but how they’ve evolved over this time. 

Each era of Pink Floyd has had a front runner. And each one of these front runners has contributed something unique to the band. 

The Syd Barrett era shaped it by adding the guitarist’s imaginative touch to each song’s narrative. Roger Waters added to this by adding conceptual elements to the band’s albums. Finally, David Gilmour set the stage for sparse guitar arrangements with meaningful song wording. 

But instead of laying waste to an old approach, the band build its foundation on it. You’re able to track the final sound of the band based solely on its evolutionary path.

Profound lyrics 

Pink Floyd has always been lauded for its ability to be profound yet irreverent with its wording and imagery. Nowhere does it hit home as much as with the band’s lyrics. 

A lot of the band’s lyrics read out like poetic passages. And the messages they convey are some of the most relatable and relevant experiences. 

Here’s a section from The Final Cut about showcasing insecurities:

“And if I show you my dark side

Will you still hold me tonight?

And if I open my heart to you

And show you my weak side

What would you do?

Would you sell your story to Rolling Stone?

Would you take the children away

And leave me alone?

And smile in reassurance

As you whisper down the phone?

Would you send me packing?

Or would you take me home? 

These lyrics speak to the uncertainty of human nature. They ask the question of laying your true self bare while not knowing the outcome that follows it. 

At times, their lyrics get away from the philosophical and enter the real world. Here’s another piece from Have a Cigar:

“The band is just fantastic, that is really what I think,

Oh, by the way, which one’s Pink?”

This one is based on a real interaction that the band has with a producer. It shows the band’s disdain for the music industry that focuses on success rather than the music or the artist itself. Case in point, the producer in these lyrics shows his ignorance by assuming that Pink Floyd is the name of a person in the band.

They Function at Their Own Pace

Over the years, Pink Floyd has gotten both critical acclaim and criticism in the same vein. But the band’s vision has always seemed to follow its own time and space. A quality that has really made it feel otherworldly. 

Look no further than the 60s, where Pink Floyd saw its conception. You either had slow singer-songwriter artists or upbeat rock bands making headway. Setting yourself up as a down tempo progressive rock band with heavy lyrical themes and electronic elements seems so impossible.

But conventional industry success could never predict that the band would make it anyway by following their own unique approach. And it stood corrected. 

They Capture the Human Experience

Above all, what really makes Pink Floyd unique is how it’s captured a haunting feeling of nihilism and futility of the human experience. 

Balancing these perspectives takes more than just a little awareness. Few others would be able to tread that line carefully. 

Works like ‘The Wall’ paint a bleak picture of pain and agony in the larger search for acceptance. Despite achieving fame and popularity, Pink Floyd’s feelings of uncertainty, self-loathing, and dissidence are ever-present. And they are captured in their most purest form. 

From an outsider’s perspective, it’s hard to imagine how such a feeling of disdain could be channeled to make such beautiful art. But there it is. Floyd is able to take some out of the most agonizing human experiences and present them in a way that doesn’t rub anyone the wrong way. 


The Story of Pink Floyd The Dark Side of the Moon

How did an album about mental illness, mortality and the need for human empathy become one of the most classic, iconic albums of all time staying on the US Billboard Charts for 741 weeks (14 years)?

With their album “Meddle” and the side-long masterpiece “Echoes”, Pink Floyd had established themselves as an anonymous super-group in an age of flamboyant rockers like Led Zeppelin and The Who. After the departure of Syd Barrett, Roger Waters had increasingly asserted the helm as musical director and “The Dark Side of the Moon” was the first album for which he dictated all the themes and wrote all the lyrics.

Written in a direct way, Waters reflected, “Its driven by emotion. There’s nothing plastic about it, nothing contrived” and called it “an expression of political, philosophical, humanitarian empathy that was desperate to get out.”

The album was recorded at Abbey Road where the band liked to play cricket matches against the staff and was engineered by Alan Parsons. The band pushed the limits of 16-track analogue studio technology and used keyboards, sequencers and sound effects which were groundbreaking at the time.

The sonics on the album are just as important as the lyrics and each reinforce the other as David Gilmour explained, “Roger and Nick tend to make the tapes or effects like the heartbeat on the LP… The heartbeat alludes to the human condition and sets the mood for the music, which describes the emotions experienced during a lifetime. Amid the chaos there is beauty and hope for mankind. The effects are purely to help the listener understand what the whole thing is about.”

Waters described the urgent message behind the album: “This is not a rehearsal. As far as we know – and I know there are some Hindus that would disagree with this – you only get one shot, and you’ve got to make choices based on whatever moral, philosophical or political position you may adopt…If ‘The Dark Side of the Moon’ is anything, it is an exhortation to join the flow of the river of natural history in a way that’s positive…”


The making of Pink Floyd’s The Dark Side Of The Moon: lyrically bleak, musically bonkers and, somehow, the 4th best-selling album of all time

Almost 50 years since its release, Pink Floyd‘s groundbreaking eighth album, Dark Side Of The Moon, remains a monumental achievement in the history of rock music. Despite never reaching number one in the UK, and spending just one week at the summit in the US, it has since notched up 937 weeks (that’s 18 years) in the Billboard 200 Albums chart, and sold more than 45m copies worldwide. It was also recently voted the best rock album of all time by Classic Rock readers, and it’s fair to say those guys know their shakes when it comes to quality music.

The album’s story starts in a poky studio in west London in 1971, when the band embarked upon 12 days in a rehearsal room at Decca Studios in Broadhurst Gardens, West Hampstead, London. They were working on a suite of music under the title Eclipse – which would, in due course, evolve into Dark Side Of The Moon.

«It began in a little rehearsal room in London,» said David Gilmour of the album’s early days. «We had quite a few pieces of music, some of which were left over from previous things.»

«I think we had already started improvising around some pieces at Broadhurst Gardens,» confirms Roger Waters. «After I had written a couple of the lyrics for the songs, I suddenly thought, I know what would be good: to make a whole record about the different pressures that apply in modern life.»

The album slowly began to take shape. By the time 1972 rolled around, rehearsals had moved to the Rolling Stones’ rehearsal facility; a disused Victorian warehouse at 47 Bermondsey Street, South London. A grand enough setting for a creative project which would eventually come to eclipse Floyd’s previous output in terms of both its scale and ambition. «We started with the idea of what the album was going to be about: the stresses and strains on our lives,» says Nick Mason.

«We were there for a little while, writing pieces of music and jamming,» adds Gilmour. «It was a very dark room.»

Two weeks later, Pink Floyd began a 16-date UK tour at The Dome, Brighton, which included the first live performance of Eclipse, now renamed Dark Side Of The Moon – A Piece For Assorted Lunatics. Naturally, the band decided their new material required an ambitious, demanding new stage set up to match. However, it was a move their technical teams weren’t quite ready for yet. The performance was cut short midway through Money due to tech problems. 

«In those days we didn’t understand how to separate power sufficiently between sound and lights,» explains former Floyd roadie Mick Kluczynski. «It was the very first show any band had done with a lighting rig that was powerful enough to make a difference. So we had this wonderful situation where the fans were actually inside the auditorium, and we had [sound engineers] Bill Kelsey and Dave Martin at either side of the stage screaming at each other in front of the crowd, having an argument.»

«A pulsating bass beat, pre-recorded, pounded around the hall’s speaker system. A voice declared Chapter five, verses 15 to 17 from the Book Of Athenians,» wrote former NME journalist Tony Stewart at the time. «The organ built up; suddenly it soared, like a jumbo jet leaving Heathrow; the lights, just behind the equipment, rose like an elevator. Floyd were on stage playing a medium-paced piece… The Floyd inventiveness had returned, and it astounded the capacity house… The number broke down thirty minutes through.»

Not to be deterred, Floyd continued on their tour well into February, playing Dark Side Of The Moon in a nascent stage of completion by this point. «The actual song, Eclipse, wasn’t performed live until Bristol Colston Hall, on February 5,» says Waters. «I can remember one afternoon rolling up and saying: “I’ve written an ending.” Which was what’s now called Eclipse, or Dark Side. So that’s when we started performing the piece called Eclipse. It probably did have Brain Damage, but it didn’t have ‘All that you touch, all that you see, all that you taste.’

«It was a hell of a good way to develop a record,» says Mason. «You really get familiar with it; you learn the pieces you like and what you don’t like. And it’s quite interesting for the audience to hear a piece developed. If people saw it four times it would have been very different each time.»

However, as February drew to a close, work on the recording of DSOTM was derailed by the obligation to record Obscured By Clouds, the soundtrack to the film La Vallée, followed by sporadic touring. The sessions eventually resumed at Abbey Road studios in May. Working titles for existing songs included Travel (eventually Breathe), Religion (The Great Gig In The Sky) and Lunatic (Brain Damage). 

«Recording was lengthy but not fraught, not agonised over at all,» says Mason of the sessions. «We were working really well as a band.»

«I was definitely less dominant than I later became,» agrees Waters. «We were pulling together pretty cohesively. Dave sang Breathe much better than I could have. His voice suited the song. I don’t remember any ego problems about who sang what at that point. There was a balance.»

This balance, and the ease the band felt with one another, was reflected in the finished product. A harmonious record which flowed from beginning to end, it captured a rare snapshot of a band working at the peak of their creativity. Though it was a complex body of work, much of its success came from its deceptive lyrical simplicity. «Roger tried, definitely, in his lyrics, to make them very simple, straightforward, and easy to understand,» says Gilmour. «Partly because people read things into other lyrics that weren’t there.»

From this basis, the songs started to take shape. First up was Us And Them. «Rick [Wright] wrote the chord sequence for Us And Them and I used it as a vehicle,» says Waters. «The first verse is about going to war, how on the front line we don’t get much chance to communicate with one another, because someone else has decided that we shouldn’t. The second verse is about civil liberties, racism and colour prejudice. The last verse is about passing a tramp in the street and not helping.»

Next up was Money. «I knew there had to be a song about money in the piece, and I thought the tune could be about money,» says Waters. «Having decided that, it was extremely easy to make up a seven-beat intro that went well with it.»

«Roger and I constructed the tape loop for Money in our home studios and then took it to Abbey Road,» remembers Mason. «I had drilled holes in old pennies and then threaded them onto strings; they gave one sound on the loop of seven. Roger had recorded coins swirling around in the mixing bowl Judy [his first wife] used for her pottery. The tearing paper effect was created very simply in front of a microphone, and the faithful sound library supplied the cash registers.»

«Mason was always the guiding light in matters to do with the overall atmosphere,» remembers DSOTM engineer Alan Parsons. «He was very good on sound effects and psychedelia and mind-expanding experiences.»

Next, the band turned their attention to Time. The music was credited to the whole band but with lyrics by Waters. «Alan Parsons was a very good engineer,» remembers Gilmour. «He had one or two production ideas that were very good. In a clock shop in Hampstead he had recorded the ticking clocks and made these tapes up to offer us an idea, which was great.»

«Those big, grand keyboard chords are mine,» said Rick Wright at the time. «Dave used to complain I’d write in these hard keys and weird major and minor sevenths, which is difficult to play on a guitar.»

The band had just began work on The Great Gig In The Sky as the middle of the year loomed into view, and recording was again soon derailed because of touring, holidays and other commitments which kept the band occupied for much of the year.

Sporadic sessions were held in Abbey Road during October, during the first of which Dick Parry, an old friend of the band’s from Cambridge, overdubbed sax solos to Money and Us And Them. Later in the month a quartet of female session vocalists – Doris Troy, Lesley Duncan, Liza Strike and Barry St John – were brought in to embellish Us And ThemBrain Damage and Eclipse

«They weren’t very friendly,» said Duncan looking back. «They were cold, rather clinical. They didn’t emanate any kind of warmth… They just said what they wanted and we did it… There were no smiles. We were all quite relieved to get out.»

Still, with their help, the finished album was starting to take shape. Waters completed work on The Great Gig In The Sky – a sensitive contemplation of death that ends up in a place you’d never expect given the pretty keyboards that Richard Wright brings to the tune’s first minute. «Are you afraid of dying?» Waters asked. «The fear of death is a major part of many lives, and as the record was at least partially about that. That question was asked, but not specifically to fit into this song.»

Of course, one of TGGITS‘ most memorable moments was provided by a third party. «When I arrived they explained the concept of the album to me and played me Rick Wright’s chord sequence,» says vocalist Clare Torry. «They said: ‘We want some singing on it,’ but didn’t know what they wanted. So I suggested going out into the studio and trying a few things. I started off using words, but they said: ‘Oh no, we don’t want any words.’ So the only thing I could think of was to make myself sound like an instrument, a guitar or whatever, and not to think like a vocalist. I did that and they loved it.

«I did three or four takes very quickly, it was left totally up to me, and they said: ‘Thank you very much.’ In fact, other than Dave Gilmour, I had the impression that they were infinitely bored with the whole thing, and when I left I remember thinking to myself: ‘That will never see the light of day.’ If I’d known then what I know now I would have done something about organising copyright or publishing; I would be a wealthy woman now. The session fee in 1973 was fifteen pounds, but as it was Sunday I charged a double fee of thirty pounds. Which I invested wisely, of course.»

(In 2004, Torry sued Pink Floyd, arguing that her contribution to The Great Gig in the Sky constituted co-authorship. The band and record company EMI settled out of court, and the song is now credited to both Wright and Torry.)

It was 1973 by the time the final round of recording sessions began in Abbey Road Studio 2 in late January, focusing on Brain DamageEclipse and the instrumental Any Colour You Like. “It was – ‘We’ve got nothing in this space… What can we do? We’ll have a jam.’” Remembers Mason. «And that’s what Any Colour You Like was – it’s just two chords. It starts off with the synth, which sets the mood. And you have this extraordinary guitar solo from Dave.»

«I wrote Brain Damage at home,» says Waters. «The grass [mentioned in the lyric] was the square in between the River Cam and King’s College chapel [in Cambridge]. The lunatic was Syd [Barrett], really. He was obviously in my mind.»

The most innovative addition to DSOTM came as the sessions were ending, when Roger Waters hit on the idea of posing questions to Abbey Road staffers, Floyd crew members and other studio visitors. Their answers were recorded, and then edited and woven into the tracks at various points throughout the album. «We did about twenty people,» says Waters. «The interviewees all had cards with questions printed on them like: ‘Have you ever been violent?’, ‘When was the last time you thumped someone?’ and ‘Were you in the right?’ and so on.»

«Roger wanted to use things in the songs to get responses from people,» says Gilmour. «We interviewed quite a few people that way, mostly roadies and roadies’ girlfriends, and Gerry [O’Driscoll], the Irish doorman. We also had Paul and Linda McCartney interviewed, but they’re much too good at being evasive for their answers to be usable.

«Gerry the doorman said: ‘There is no da’k side o’ de moon, really, it’s all da’k.’ And stuff like that, when you put it into a context on the record, suddenly developed its own much more powerful meaning.»

The final Abbey Road session was held in Studio 2 on February 1st, 1973. «We’d finished mixing all the tracks, but until the very last day we’d never heard them as the continuous piece we’d been imagining for more than a year,» says Gilmour. «We had to literally snip bits of tape, cut in the linking passages and stick the ends back together. Finally, you sit back and listen all the way through at enormous volume. I can remember it. It was really exciting.»

The Dark Side Of The Moon was released in the US on March 17 and in the UK on the 24th. Four days later it hit No.1 in the US Billboard chart. In the UK it peaked at No.2. «We’d cracked it,» says Waters. «We’d won the pools. What are you supposed to do after that?»

Sadly, the album marked the start of a creative struggle within the band which would come to plague their work and eventually end in their acrimonious demise. 

«Dark Side Of The Moon was the last willing collaboration,» says Waters. «After that, everything with the band was like drawing teeth; ten years of hanging on to the married name and not having the courage to get divorced, to let go. Ten years of bloody hell. It was all just terrible. Awful. Terrible.»


The Meaning of Pink Floyd’s «Dark Side of the Moon»

Pink Floyd and Dark Side of the Moon Background

In early 1973, British experimental rock band Pink Floyd released their 8th album, Dark Side of the Moon, arguably the greatest rock album ever created. Since its release, it has become a cornerstone to 20th-century culture and provided great inspiration to artists within and outside of music. Its success encouraged other musicians to explore more progressive styles of music, and it raised the bar for recorded sound for future albums.

The hard work that Pink Floyd put into this album paid off financially as Dark Side of the Moon became one of the best-selling albums of all time. After its release, it went to number one on the Billboard chart for one week, but it ended up staying on the Billboard charts for a consecutive 741 weeks (or just over 14 years). This feat would make the album one of the top 25 best-selling albums ever.

Dark Side of the Moon has endured through the years because it is such a well-written and thought-out concept album. A concept album is an album where all (or most) of the songs on that album revolve around a story or a theme. This is a contrast to most studio albums which just lay out a series of songs that are often unconnected or unrelated with the exception of the fact that they are on the same album.

Knowing that Dark Side of the Moon is a concept album has given rise to a number of theories about what the album’s concept is, and or, what the meaning of the album is. The band has given partial explanations to some of the songs and the album as a whole, but for the most part, they have left it up to listeners to decide for themselves.

What Is Dark Side of the Moon About?

So what is the meaning of Dark Side of the Moon?

Dark Side of the Moon is a concept album that discusses the philosophical and physical ideas that can lead to a person’s insanity, and ultimately, an unfulfilled life.

The album is a cautionary tale in two parts; the first half describes living a life that goes unfulfilled. This part of the album consists of the following tracks:

  • «Speak To Me/Breathe»
  • «On The Run»
  • «Time/Breathe Reprise»
  • «Great Gig In The Sky»

The second half of the album consists of individual songs about different ideas and concepts that are detrimental to society and can lead to madness. These songs are:

  • «Money»
  • «Us and Them»
  • «A Color You Like»
  • «Brain Damage»
  • «Eclipse»

The philosophical ideas in the second half of the album are a sort of madness in their own right. They are also the root causes to the problem mentioned in the first half of the album that focuses on living an unfulfilled life.

What Does the Album Title Mean?

As one of the voices at the end of the album states:

«There is no dark side of the moon, really. Matter of fact, it’s all dark.»

What is the title of the album referring to? What is the dark side of the moon a metaphor for?

It’s a metaphor for darkness—the darkness (or different ideas) that can destroy all of the positive emotions and ideas that are a part of humanity. In effect, the darkness represents insanity. But like in reality, the light portrayed by the moon is really an illusion. So it would appear that the album, which seems to take the dark side of the moon concept to heart, is suggesting is that everyone on some level is insane or will have to deal with madness.

Dark Side of the Moon seems to specifically suggest that there are two types of insanity. The first type of insanity mentioned on the album suggests people go insane by riding the tide. Or specifically speaking, people are insane for doing what they’re told all of the time and just accepting life for what it is.

The second type of insanity mentioned on the album suggests that the people that don’t ride the tide realize that the people riding the tide are insane. In turn, their efforts to try to convince people not to ride the tide or their resistance to the tide itself causes them to go insane.

Below is an in-depth look at the nine tracks that make up Dark Side of the Moon.

«Speak to Me» Lyrics

I’ve been mad for fucking years, absolutely years, been over the edge for yonks, been working me buns off for bands…

I’ve always been mad, I know I’ve been mad, like the
most of us…very hard to explain why you’re mad, even if you’re not mad…

«Breathe» Lyrics

Breathe, breathe in the air.
Don’t be afraid to care.
Leave but don’t leave me.
Look around and choose your own ground.

Long you live and high you fly
And smiles you’ll give and tears you’ll cry
And all you touch and all you see
Is all your life will ever be.

Run, rabbit, run.
Dig that hole, forget the sun,
And when at last the work is done
Don’t sit down it’s time to dig another one.

For long you live and high you fly
But only if you ride the tide
And balanced on the biggest wave
You race towards an early grave.

«Speak to Me» Analysis

«Speak to Me» kicks off the album. The voices that are speaking are clearly discussing the issue of insanity. More interesting than the voices though are the sounds in the background. The bass drum is beating a pulse that resembles the beating of a human heart. Slowly the cash registers from Money and the clocks from Time enter the song along with other ambient effects that are used in other songs on the album.

The heart beat will return prominently at the end of the album. The heart beat is a metaphor for life and all the songs that occur in between the heart beats are acting as the substance, or what’s inside, of life.

«Breathe» Analysis

The lyrics in «Breathe» seem to imply two different lifestyles which are the follower (or the rabbit) and the chooser.

The chooser will be able to live a long life, but because they aren’t riding the tide they will only see what they choose to see. In this context, the song is implying that choosing can be limiting. They are also limited by their physical experiences as the lyrics suggest touching and seeing is all life is to them. To many humans this may be true, but for many there is more to life than what can be touched or seen.

If you ride the tide you will see new things because you are just going with the flow. The rabbits in the song suggests that if a person’s life philosophy is to ride the tide then you will live a short life. However, a draw back to this ride the tide mentality can be you expend their life being a laborer (or digging holes) or getting stuck doing mundane tasks over and over again.

«On the Run» Lyrics

Voice at the beginning: Is a recording of a voice at an airport listing various travel related information.

Two thirds of the way through the song another voice says: Live for today, gone tomorrow, that’s me, Hahaha!


«On the Run» Analysis

«On the Run» is mostly instrumental, with the exception of a few voices and a recording that lists flights from an airport scattered throughout the song. Either way, the passage of time is a key element to this track.

The other key element is the anxiety-driven pulse and the stressful ambient sounds that come in and out of the song. As the follow-up to «Breathe,» the anxiety of «On the Run» seems to be a metaphor for the anxiety and stress that can be congruent with a person’s life.

«Time» Lyrics

Ticking away the moments that make up a dull day
You fritter and waste the hours in an offhand way.
Kicking around on a piece of ground in your hometown
Waiting for someone or something to show you the way.

Tired of lying in the sunshine staying home to watch the rain.
You are young and life is long and there is time to kill today.
And then one day you find ten years have got behind you.
No one told you when to run, you missed the starting gun.

So you run and you run to catch up with the sun but it’s sinking
Racing around to come up behind you again.
The sun is the same in a relative way but you’re older,
Shorter of breath and one day closer to death.

Every year is getting shorter never seem to find the time.
Plans that either come to naught or half a page of scribbled lines
Hanging on in quiet desperation is the English way
The time is gone, the song is over,
Thought I’d something more to say.

«Breathe Reprise» Lyrics

Home, home again.
I like to be here when I can.
When I come home cold and tired
It’s good to warm my bones beside the fire.
Far away across the field
The tolling of the iron bell
Calls the faithful to their knees
To hear the softly spoken magic spells.

«Time» Analysis

This is a song about wasting your life doing nothing or about wasting your life doing boring and little things. A lot of people miss the opportunity to live their lives to the fullest. The idea of regret for not taking advantage of living your life is one of the tragedies of human nature that is explored thoroughly in this song.

The first verse talks about wasting your youth, which leads into the first chorus that discusses not having anyone to show you the way. This first section ends with the person in the song realizing he has been missing out on life, that he was supposed to find his own way, not be shown a way. This is a real-life revelation for a lot of people in the world.

The second verse discusses this person who has woken up and is now looking to catch up with his/her lost time. However, the physical aspects of getting older are catching up. In the final chorus, the person realizes he wasted too much of his life and is disappointed with his/her life. The person the song is speaking about presumably dies having said little when the potential to say more was always there.

Anxiety and stress, like the previous song, are underlying themes in this song, too, as the clocks, in the beginning, have a jarring effect on the listener. The jarring clocks could mean the song is meant to metaphorically wake people up that are not living their lives, or it can be continuing the anxiety and stress-driven themes from «On the Run.»

«Breathe Reprise» Analysis

Time transitions nicely into a reprise of the first song, «Breathe.» This rendition of Breathe talks about relief and finding a way to deal with all of the stress put forth in the previous songs, «On the Run» and «Time.»

The two methods of relief that are specifically discussed are home, mentioned in the lines, «home… home again, I like to be here when I can,» and religion with the lines, «The tolling of the iron bell calls the faithful to their knees to hear the softly spoken magic spells.»

«Great Gig in the Sky» Lyrics

Recorded voice:

And 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 gotta go sometime.

If you can hear this whispering you are dying.

I never said I was frightened of dying.


Ahhhh Ahhhh Ahhhhh….. for a long time.

«Great Gig in the Sky» Analysis

Another mostly instrumental song, «Great Gig in the Sky» has some recorded voices and a lady singer that wails on the song’s two-chord refrain. The voices in «Great Gig in the Sky» talk about death and not being afraid of dying, which is ultimately what this song is about—death.

People are either afraid of dying, or they’re not, and that would appear to be the message trying to be conveyed in this song. The first person to speak on this song says he is not afraid of dying, and it sounds convincing. In the second half of the song, a lady says, «I was never frightened of dying.» This is said very quietly and with less confidence than the person who said it at the beginning of the song.

The two interviews show the contrasting views on death between people. The dialogue transitions to the wailing, which at times sounds powerful and beautiful (not afraid of dying), and other times it sounds fearful and anxiety driven (afraid of dying). Or simply put: you are, or you are not afraid of dying. Both ideas seem to be conveyed by the dialogue and the wailing vocals.

The end of this song ends the physical life/living section of the album. The next half of the album focuses on ideas or the madness that can drive a person to live an unfulfilled life. Living an unfulfilled life is a type of insanity and the thorough exploration of what an unfulfilled life is on the first half of the album ties itself nicely with the second half of the album that explores insanity in a more philosophical way.

«Money» Lyrics

Money, get away.
Get a good job with good pay and you’re okay.
Money, it’s a gas.
Grab that cash with both hands and make a stash.
New car, caviar, four star daydream,
Think I’ll buy me a football team.

Money, get back.
I’m all right Jack keep your hands off of my stack.
Money, it’s a hit.
Don’t give me that do goody good bullshit.
I’m in the high-fidelity first class traveling set
And I think I need a Lear jet.

Money, it’s a crime.
Share it fairly but don’t take a slice of my pie.
Money, so they say
Is the root of all evil today.
But if you ask for a raise it’s no surprise that they’re
giving none away. Away. Away. Away….

Voices at the End:

Huh I was in the right!
Yes, absolutely in the right!
I certainly was in the right!
You was definitely in the right. That geezer was cruising for a bruising.
Why does anyone do anything?
I don’t know, I was really drunk at the time!

I was just telling him, he couldn’t get into number two. He was asking
why he wasn’t coming up on freely, after I was yelling and
screaming and telling him why he wasn’t coming up on freely.
It came as a heavy blow, but we sorted the matter out

«Money» Analysis

The second half of the album begins with «Money.» At this point in listening to all of the songs on the album there are no clear breaks, each song fades into one another except in between «Great Gig in the Sky» and «Money.» The break here happens out of necessity due to records in 1973 needing to be flipped over, and if you were listening to this on vinyl this is where you would flip the record.

Pink Floyd takes advantage of the limits of technology during this time period (or the necessary pause in the album) to change how they are going to continue discussing the topic of insanity and living an unfulfilled life. The first half of the album takes a more hands-on and personal experience with the subject matter, while the second half of the album explores the subject matter in more philosophical type of setting.

Continuing on with individual songs, «Money» is about greed and the illusion of a life well lived that comes with having an excess of wealth.

The first verse of the song focuses on the excesses of money, consumerism, and peoples desire to grab and horde as much cash or wealth as possible.

The second verse continues with the subject of the desire to grab more money, while also introducing the lengths people will go to in order to protect the money and possessions they have acquired.

The third and final verse focuses on the negative philosophical issues that money brings to a society, which include the ideas that ordinary people will never be able to increase their stash of money to match the wealthy, and the idea that money is the root of all evil.

The cash registers and money sounds that are used to underscore the whole song sound mechanical and lifeless. The mechanical money sounds are like a metaphor for the way people mechanically work the same job day in and day out for 40 plus years. People, of course, work harder, motivated by earning more money, but a lot of people ultimately waste their lives with this mentality. So the idea with the song «Money» is that the concept of wealth is one of the illusions or ideas that can be the cause of a person wasting their life, or it can be used to ruin the lives of others.

As «Money» fades out, a spoken voice dialogue describing a fight begins. This is a segue into «Us and Them,» which deals with conflict. Its inclusion on «Money» instead of «Us and Them» suggests that money is also a cause of conflict.

«Us and Them» Lyrics

Us, and them
And after all we’re only ordinary men.
Me, and you.
God only knows it’s not what we would choose to do.
Forward he cried from the rear
and the front rank died.
And the general sat and the lines on the map
moved from side to side.
Black and blue
And who knows which is which and who is who.
Up and down.
But in the end it’s only round and round.
Haven’t you heard it’s a battle of words
The poster bearer cried.
Listen son, said the man with the gun
There’s room for you inside.

I mean, they’re not gonna kill ya, so if you give ‘em a quick short,
sharp, shock, they won’t do it again. Dig it? I mean he get off
lightly, ‘cos I would’ve given him a thrashing – I only hit him once!
It was only a difference of opinion, but really…I mean good manners
don’t cost nothing do they, eh?

Down and out
It can’t be helped but there’s a lot of it about.
With, without.
And who’ll deny it’s what the fighting’s all about?
Out of the way, it’s a busy day
I’ve got things on my mind.
For the want of the price of tea and a slice
The old man died.

«Us and Them» Analysis

«Us and Them» is a song about conflict and fighting. Underlying the idea of a fight/conflict is the idea that fighting is usually between two choices or two sides, or philosophically speaking, what can be called a black and white type of mentality. The song seems to mock the black or white mentality that exists in society and states that there can be more than two choices.

The first verse and chorus talk about conflict from the viewpoint of a war. So this part of the song explores the physical side of conflict. The first verse also notes how the idea of conflict goes against the ideas of God and religion. Again, like in «Money,» it’s the people in power (the General) who are safe, while the ordinary working-class people get killed serving that higher power.

The second verse and chorus talk about conflict from a philosophical point of view or a verbal point of view. This verse, more than any other verse, mocks the idea of a black and white mentality with the lines, «Black and blue…And who knows which is which and who is who.» This line is effectively saying that it’s pointless to remove the degrees of separation between different people and different ideas. Life is too complicated to be dumbed down to black and blue. The ending idea of this section is that there can be a way to work things out and include everybody, which is described with the line, «There’s room for you inside.»

A spoken word segment makes up the next part of the song. The people talking here are discussing a fight one of the people speaking got into, which ties nicely into the conflict theme.

The final verse talks about what conflict in society is (generally speaking) about. According to «Us and Them,» conflict is about being with or without. This can include being with or without possessions, resources, etc. From this broader point of view, it lumps a song like «Money» into a subcategory of conflict.

The final chorus talks about how most people seem to avoid or ignore anything that is related to conflict, whether it be the physical acts of conflict or the philosophical ideas or arguments that lead to conflict. The price for ignoring conflicts appears to be heavy as another image of a common person dies in the song with the line, «For the want of the price of tea and a slice…The old man died.» Conflict can cut lives short, denying people the opportunity to live a fulfilling life.

«Any Color You Like» Lyrics


«Any Color You Like» Analysis

«Any Color You Like» is the final instrumental track on Dark Side of the Moon. This is the only purely instrumental song on the album as there is no singing and no voices. The title and its position within the order of the album give the strongest clues as to what this song is about.

Fading in after the conclusion of «Us and Them,» and with a title like «Any Color You Like,» the song would appear to be a sarcastic remark suggesting the lack of choices that are available to a person during the course of their life. The underscoring idea of «Us and Them» is related to the dangers of a black and white mentality, and «Any Color You Like» seems to carry that idea over into this song.

«Brain Damage» Lyrics

The lunatic is on the grass.
The lunatic is on the grass.
Remembering games and daisy chains and laughs.
Got to keep the loonies on the path.

The lunatic is in the hall.
The lunatics are in my hall.
The paper holds their folded faces to the floor
And every day the paper boy brings more.

And if the dam breaks open many years too soon
And if there is no room upon the hill
And if your head explodes with dark forebodings too
I’ll see you on the dark side of the moon.

The lunatic is in my head.
The lunatic is in my head
You raise the blade, you make the change
You re-arrange me ‘til I’m sane.
You lock the door
And throw away the key
There’s someone in my head but it’s not me.

And if the cloud bursts, thunder in your ear
You shout and no one seems to hear.
And if the band you’re in starts playing different tunes
I’ll see you on the dark side of the moon.

I can’t think of anything to say except…
I think it’s marvelous! Hahaha!

«Brain Damage» Analysis

«Brain Damage» is about losing your mind and going insane.

The first verse talks about insanity that is caused by happening what’s outside your head, with the line,«The lunatic is in the grass.» This would be the type of insanity that people see in the physical world, it’s a type of tangible insanity.

The second verse continues in this vain, but brings the insanity into a more personal area with the lines, «The lunatic is in my hall.» The lyrics have moved insanity from the outer and wider world in the first verse to the private home of the person in the second verse. This type of insanity is a bit more personal and it sounds a lot more disconcerting.

The first chorus talks about finally having a mental breakdown, potentially much earlier than a person should have a breakdown. After the mental breakdown, the final line of the chorus says, «I’ll see you on the dark side of the moon.» The dark side of the moon mentioned in this song is a place for insanity and ideas that are destructive. Of course since the moon is always dark, its also suggesting everyone to a certain point is mad.

The final verse now moves insanity to its most personal location, inside your head with the line, «The lunatic is in my head.» The verse suggests that the person who is losing his mind will pay any price in order to make him/her sane again, and subsequently they will isolate themselves in order to stop any further destruction of themselves or others.

The final chorus again elaborates on having a mental breakdown. With the line, «And if the band you’re in starts playing different tunes… I’ll see you on the dark side of the moon,» it would appear that the madness was caused by not being able to align your views with the views of everyone else, or most likely society in general. Ultimately that line in the song seems to suggest that people go crazy by resisting what they are told to do all of the time.

However, the previous songs in the album, «Money,» «Us and Them,» and «Any Color You Like» discuss the ideas that everyone in society go along with that are insane. From a larger perspective, it seems you are insane by following the ideas discussed in «Money,» «Us and Them,» and «Any Color You Like,» or you go insane by resisting them like in «Brain Damage.»

«Eclipse» Lyrics

All that you touch
All that you see
All that you taste
All you feel.
All that you love
All that you hate
All you distrust
All you save.
All that you give
All that you deal
All that you buy,
beg, borrow or steal.
All you create
All you destroy
All that you do
All that you say.
All that you eat
And everyone you meet
All that you slight
And everyone you fight.
All that is now
All that is gone
All that’s to come
and everything under the sun is in tune
but the sun is eclipsed by the moon.

There is no dark side of the moon really. Matter of fact it’s all dark.

«Eclipse» Lyrics

If there is one word to describe the song «Eclipse,» it would have to be the word all. It’s used twenty times in the song, and the word you would be a close second as it’s used eighteen times.

With «Eclipse» being the final song on the album, it uses many universal messages to describe the human experience the words all, and you serve to underscore the point that this song, this album, is about every human living on Earth. Musically, it’s an epic song with lots of background harmonies and a massive soundscape to give listeners not only a musical climax to the album but a universal sound that ties the previous thematic ideas under one idea.

The key to «Eclipse» is the final few lines, «All that’s to come and everything under the sun is in tune, but the sun is eclipsed by the moon.» This line begins by suggesting this song could go on forever (All that’s to come), and metaphorically speaking, all of these basic human experiences are represented by the sun. They are mostly positive human experiences, and they are frequently associated with living a life that is, for the most part, enjoyable. But the album ends with the sun being eclipsed by the moon.

The darkness caused by the moon, or the moon itself, is basically a symbolic representation of all the dangerous ideas that are destructive to humanity. These dangerous ideas can block out the sun or halt the living of a fulfilling life. The previous songs on the album build to this point. There is hope in the sun, but there will always be a dark side of the moon, which is a symbolic representation of the banes of humanity.


Behind the music: The cultural impact and sound revolution of Pink Floyd’s ‘The Dark Side of the Moon’

The 1970s classic still holds much relevance in progressive rock music and pop culture. We revisit the sound and the making of one of the most memorable albums in the history of rock.

The Dark Side of the Moon is a powerful and beautifully mixed album released in March 1973; it is also British band Pink Floyd’s eighth studio album. 

“I’ve been mad for fucking years, absolutely years, been over the edge for yonks,” says Pink Floyd’s production and tour manager at the time, Chris Adamson, on the first track, Speak to Me, setting the tone for the entire album.

The band’s drummer, Nick Mason, is credited as the writer of the song, which in the radio cut version is combined with Breathe (In the Air), and dubbed Speak to Me/Breathe; the two songs transition into each other, Breathe as an intro to Speak to Me.  

The album takes listeners across various emotions and stages of human life, beginning and ending with a heartbeat. The themes revolve around conflict, morality, greed, time and mental illness. The album was conceptualised through live performances on Floyd’s extensive 1972 tour of Britain and built on experimentation, psychedelic instrumentals and empathy.

A groundbreaking album

The Dark Side of the Moon has paved the way for much of the alternative or experimental rock sounds we enjoy today. From Tame Impala and Radiohead, to Dream Theater and Porcupine Tree, all have been influenced by the British band, with vocalist and guitarist David Gilmour, Roger Waters on bass and vocals, Mason on drums and percussion and Richard Wright on the organ, piano and electronic piano. 

The almost 47-year-old album also features Dick Parry on the commercial successful Money and Us and Them, playing the saxophone. 

In an interview with online music publication Louder Sound, Gilmour says he regards the album as a watershed moment for the band, that “obviously it was the breakthrough moment and was terrific, and we suddenly moved up from the medium-time to the mega-time”.

That move was partly because of the sound and partly owing to the powerful lyrics by Waters. In a 2003 documentary about the making of the album, Gilmour says: “The big move forward for The Dark Side of the Moon was Roger’s coming of age lyrically.”

As a creative force for Pink Floyd, Waters’s writing showed an existential and intense view of the world. He managed to centre the album on loosely connected themes that are relatable – greed, mental health, death and the exhaustion that comes from travel. 

It’s also the first Floyd album on which Waters was the sole lyricist. Gilmour has always contributed to the band’s songwriting process along with former frontman, the late Syd Barrett – who was also the lead guitarist in the 60s and a co-founder, but was ousted in 1968 due to his excessive LSD use. Much of the mental health references on the album were inspired by what Barrett was going through. 

In 1971, the band started to rehearse in a small studio in west London, working under the title Eclipse (the title of the last track of the album) which would eventually develop on stage into The Dark Side of the Moon.

The following year the band started to rehearse at the Rolling Stones’ old Victorian warehouse in South London as well as at the famous Abbey Road Studios.

The psychedelic sounds of The Dark Side of the Moon definitely had influences on counterculture at the time. The Rock & Roll Hall of Fame credits Pink Floyd with carving out new spaces in the industry: “Pink Floyd were the architects of two major music movements – psychedelic space-rock and blues-based progressive rock – and became known for their biting political, social and emotional commentary”; a great balance of new sounds – mainly developed through live performances during their 16-date UK tour – and hard topics that weren’t explored much in their time.

The album’s success was extensive. From breaking charting records by being on the Billboard 200 for more than 950 weeks to becoming one of the biggest bestselling albums of all times and 15-times platinum, it was nothing short of gargantuan. 

The album cover and its presence in pop culture 

The prism artwork for the album cover is an iconic and elegant design. One of the most recognisable album covers in music, it became a signature logo for the band. 

It was designed by the late graphic designer Storm Thorgerson and his team at Hipgnosis (a design company that was just as experimental as the album they designed for). 

The triangle with rainbow-coloured light coming through was inspired by a picture Thorgerson saw in a textbook. The design was unanimously approved by all band members. The artwork has a space-like feel to it, almost representing the out-of-the-world sonic output of the album itself – the light through the prism shines right through the physical album cover. The multicoloured lighting in the band’s shows is also represented on the cover. A perfect link between album art, music and production of their live shows. 

In 2017, the Victoria and Albert Museum paid tribute to the album and Pink Floyd by hosting an exhibition that honoured the groundbreaking originality of their live concerts – how they pioneered psychedelic light shows, with special effects and elaborate stage constructions. The exhibition also showed original designs and photographs of the band. The elaborate, surreal exhibition showed just how impactful their work was and how the legacy of the band is heavily linked to the success of The Dark Side of The Moon – a project as culturally impactful as anything seen in alternative rock music and contemporary pop culture. 


Us and Them by Pink Floyd

This began as a piano piece Rick Wright came up with while working on the soundtrack to the 1970 movie Zabriskie Point. It didn’t make the soundtrack, but they worked with it at the Dark Side of the Moon sessions and it eventually became this song. The director of Zabriskie Point, Michelangelo Antonioni, rejected the song for being «beautiful, but too sad… it makes me think of church.»

Zabriskie Point was one of the first soundtracks Pink Floyd worked on. They put a lot of work into it, but the director ended up using only 3 of their songs. Floyd also worked on soundtracks for the movies MoreThe Valley, and Tonight Let’s All Make Love In London.

The band refereed to this as «The Violence Sequence» because they worked on it for a very violent scene in the movie.

Dave Gilmour sings lead, but this song was written by Roger Waters and Pink Floyd keyboard player Rick Wright. Some of Wright’s other songwriting credits include «Breathe,» «Great Big Gid In The Sky,» and «One Of These Days,» but by the late ’70s Waters ended up doing most of the writing himself, and he wrote all the songs on their 1983 album The Final Cut. Talking about Wright’s compositions, Waters said in a 2003 interview with Uncut: «He would write odd bits. He secreted them away and put them on those solo albums he made and were never heard. He never shared them. It was unbelievably stupid. I never understood why he did that. I’m sure there were two or three decent chord sequences. If he’d given them to me, I would have been very, very happy to make something with them.»

One of Pink Floyd’s first uses of female backup singers. They brought in Liza Strike, Leslie Duncan and Doris Troy to sing harmonies. Troy had a hit on her own with «Just One Look.»

Like other songs on the album, this contains the ramblings of random voices. Roger Waters made flashcards with questions on them and recorded different people around the studio answering them. He showed one to a weird roadie for another band named Roger The Hat, who got the question «When was the last time you thumped somebody.» His answer made it onto this song, which is the part about giving someone a «short, sharp shock.»

Along with «Money,» this was one of 2 songs on the album to use a sax, which was played by Dick Parry.

The engineer for the album was Alan Parsons, who also worked on The Beatles’ Abbey Road album. Some of the production techniques on this are similar to the suite of songs at the end of that album, especially «Sun King.» Parsons went on to form his own band called The Alan Parsons Project, which had a hit in 1982 with «Eye In The Sky

Pink Floyd’s record company was originally hesitant to release this track because it was felt that the signature melody line was extremely depressing. >>

In the Dark Side of the Rainbow theory (that Dark Side of the Moon acts as a soundtrack to The Wizard Of Oz), the line, «And who knows which is which and who is who,» occurs after the Wicked Witch of the West appears and she is first seen with Dorothy and Glinda, the good witch on the opposite side of the screen. >>

When this was recorded, Rick Wright played the song’s jazz-influenced grand piano to what he thought was the rest of the band playing in the next studio. In fact they weren’t present and it was a recording made earlier. What started as a prank became, according to Alan Parsons in Mojo magazine, «one of the best things Rick ever did.»


Us and Them by Pink Floyd

Us (us, us, us, us) and them (them, them, them, them)
And after all we’re only ordinary men
And you (you, you, you)
God only knows
It’s not what we would choose (choose, choose) to do (to do, to do)
Forward he cried from the rear
And the front rank died
And the general sat
And the lines on the map
Moved from side to side
Black (black, black, black)
And blue (blue, blue)
And who knows which is which and who is who
Up (up, up, up, up)
And down (down, down, down, down)
And in the end it’s only round ‘n round (round, round, round)
Haven’t you heard it’s a battle of words
The poster bearer cried
«Listen son», said the man with the gun
There’s room for you inside

«I mean, they’re not gonna kill ya
So if you give ‘em a quick short, sharp, shock
They won’t do it again. Dig it?
I mean he get off lightly, ‘cause I would’ve given him a thrashing
I only hit him once! It was only a difference of opinion, but really
I mean good manners don’t cost nothing do they, eh?»

Down (down, down, down, down)
And out (out, out, out, out)
It can’t be helped that there’s a lot of it about
With (with, with, with), without
And who’ll deny it’s what the fighting’s all about?
Out of the way
It’s a busy day
I’ve got things on my mind
For the want of the price
Of tea and a slice
The old man died