The Dark Side of the Moon, a 1973 album by Pink Floyd, may be the greatest and most iconic record in the annals of classic rock, note for note and track for track. It’s just beautiful, right down to the iconic front cover with its gloomy background, prism, and rainbow of light. But what if you analyze the record as a whole? What happens if we compare each of the 10 songs to one another instead of comparing the entire album to its contemporaries? Which of the recorded performances is the best and which is the least memorable? Let’s rank each song on Pink Floyd’s The Dark Side of the Moon, so relax, switch on your neon lights, fire up your copy of The Wizard of Oz, and take a seat.
The Dark Side of the Moon, which was recorded between 1972 and 1973, was created from experimental live performances that came before. It included songs inspired by Syd Barrett’s early departure from the band as well as songs about the life of a rock star.
The song “Time,” which begins with the sound of alarms and ticking clocks, addresses issues that are universal and not just relevant to the album’s premise. Specifically, the notion of a life worth living, the passage of time, and the reality of aging. It begins so ominously and nervously, cautioning the audience to “don’t let others make your choices for you.”
“Great Gig in the Sky” 2.
The soaring “Great Gig in the Sky,” which includes singer Clare Torry and who performs the celestial, heavens-like vocal improvisation on the song during its instrumentals, follows “Time” back-to-back on this list and on the LP. This song is frequently brought up while discussing the greatest, most recognizable vocal performances to date.
This song, like “Time,” addresses a subject that many of us think about on a daily or even hourly basis. Roger Waters’ catchy bass line plays over the beginning sound effects of ripping paper receipts, cash registers opening, and rattling change. David Gilmour sings, “Money, it’s a gas / Grab that cash with both hands and make a stash.” Additionally, Dick Parry’s rumbling sax solo in the song is notable.
Fourth, “Breathe (In the Air)”
The second track on the album, “Breathe (In the Air),” is a quiet, brooding track with trippy slide guitars and vocal harmonies. Despite the fact that The Dark Side of the Moon and The Wizard of Oz are famed for their musical synchronicity, there is a lyric from “Breathe (In the Air)” that serves as a crucial link in the relationship between the two. The verse balanced on the biggest wave enters just as Dorothy is moving along a fence.
Fifth: “Us and Them”
The first time Dorothy meets an Ozite is when the song “Us and Them” is played when The Wizard of Oz is being screened. There are many similarities between the two dreamy masterpieces, notwithstanding Pink Floyd’s denials that there is any relationship between the music and the beloved film. This song, which lasts for about eight minutes, is all about the concept of foreigners, whether they be in terms of space, the mind, or even the interdimensional. In addition to the topic, the song has tranquil but bizarre lyrics and pleasant gang vocals.
“Brain Damage” 6.
The most wild tune on the record, “Brain Damage,” has vocals that resemble those found inside a crazy person’s head. The crazy is in the hall as well as on the grass, according to the lyric. The song on the album is the one that gives the impression that the listener is in a mental institution. In that sense, it’s thrilling, if a little confusing. The lyrics include the song’s title as well.
“Any Colour You Like”
This blues-rock instrumental is a mind-numbing palate cleanser as well as a wild musical ramble. “Any Colour You Like” is like a magic mushroom with its echoing synths and odd improvisation solos.
“On the Run” 8.
The band’s phobia of flying inspired “On the Run,” another confusing song with sound sampling that pops in and out like faces in a nightmare. The third tune on the album also connects with Dorothy traveling in the tornado to Oz when playing in time with The Wizard of Oz.
The pinnacle of a brilliant album is the album’s last song, “Eclipse.” It’s victorious, joyous, and a shining illustration of the band’s noble character, weaved throughout its superior progressive rock. It has strong musical ability and sticky gang vocals, similar to many other songs on the CD.
“Speak to Me”
There is nothing wrong with “Speak to Me,” it’s just the least important song on an album full of important songs. The song, which only lasts around a minute, opens the album. However, it establishes the mood with a heartbeat and a few of the other sound samples—such as the tearing of receipt paper and the lunatic’s laugh—found in other songs on the LP. It’s a song with ominous undertones.