Pink Floyd (or the Dark Side of our moon)

Mr. On’ry:

I think you both saw my Facebook post a week ago about how I (nicely!) asked my kids to pipe down so I could hear the Pink Floyd song that came up on the iPod.  The song was "Breathe" from Dark Side of the Moon and all I could think of was...how does Mr. Mean not like this album (or especially Wish You Were Here)???  I have a theory about why but I'll let him berate me first.

Mr. Mean:

I love DSOTM, dude. That is the last Pink Floyd album I do like. Never liked anything that followed, even as a kid when The Wall was huge.

Mr. On’ry:

My bad.  But as a professed lover of synths how do you not like Wish You Were Here?  That album is tailor-made for you!

Mr. Mean:

Synths dominate Tiffany’s first album. Doesn’t mean I like her stuff, either. The songs, for me, just meander and are completely, utterly, overblown. Animals is ghastly. The only thing they did post-1973 that is reasonably decent is The Final Cut, and that is only because of the subject matter and the overtones of the album as a whole. But, no, I don’t own that one either. Between 1967-1973, they were brilliant, the best psych/prog mainstream band of the era. After that period, they just don’t do it for me.

Mr. On’ry:

Right and Slipknot screams and plays fast, doesn’t mean I like their stuff either.  Your logic is flawed in that first sentence because you liked Floyd up to a certain point and I was pointing out that I thought you would approve of their more synth-heavy work knowing your love of synths and your previous liking of the band.   Didn’t add up to me until you explained it in more detail.  I personally don’t own anything past it but I think Wish You Were Here is a great album.

Mr. Mean:

You like their masks. Admit it.

Mr. On’ry:

I’d like to poop in their masks before they put them on.  I can’t think of a group of bands I detest more than this mainstream version of “metal” that gets pushed on the unknowing youth of America – Slipknot, Korn, Avenged Sevenfold, Disturbed, etc., etc., etc.  I’d even throw Mastodon into this group now because that new record was an abomination that they had to have created to only sell more records.  I can’t honestly think of any other reason why they would get done with it and go, ‘Yeah, this sounds spot on!’

Mr. Mean:

Everyone knows good metal comes from Sweden these days…except for the bozo who has not chimed in yet. He’s probably listening to D*uche Magnetic.

Mr. On’ry:

Careful.  He’ll hear you and come on hear and start talking about how “heavy” that album is. 

Mr. Lonesome:

Wish You Were Here is a brilliant record, from the first note to the last. It’s an experience for sure. “Shine On” is such a tricky song, played in 12/8 during the opening guitar/synth bit. It’s a strange time measure that builds wicked tension for me. Then those four notes: buh-BUH-buh-buuuuuh. It’s said Roger Waters heard that riff and built the entire concept around it.

Lyrically, it’s unequalled in reflecting upon a fallen messiah. There’s even the story of Syd showing up in the studio one night, shaved head and brows, no one had seen him in years. He sat down, and Nick Mason recognized him, said to the others “I think that’s Syd.” And it was while they were listening to “Shine On” during the mixing process. Eerie they said. He said “I’m ready to rejoin the band.”

“Welcome to the Machine” is a wickedly dark, stark piece that showcases that lonely acoustic underneath an ocean of electronics. It is one of those songs that really plays with the lyrical concept it sings. Gilmour’s voice is scary and somber, with that lower-end voice harmonizing below it. The synth solos are wild.

“Have A Cigar” is a biting commentary on the idiocracy of the music business itself. Roger couldn’t sing it, as his voice was shredded from “Shine On.” Gilmour wouldn’t sing it, because he found the lyrics to vitriolic. So they brought in Roy Harper, who sounds like a mix between Waters and Gilmour to me anyhow. The lyrics are fantastic and ironic and scathing all at once. And a wonderful guitar solo through the outro.

Then, yes, we have that genius radio channel-changing bit: right into the Title Track. A lovely acoustic with piano keys that rain on top of it. An ode that is very much quoted today, with some very striking lyrical imagery and a sing-a-long chorus. As beautiful as it gets.

And we end with the reprise of “Shine On” which happens to have one of my favorite steel-guitar solos of all time. I love the build-up into swirls of chaos before bringing the tempo back to the original verse speed.

I think this is an album everyone should listen to with headphones, uninterrupted. And if then you don’t like it, fair enough. You probably never will. But it brings in all the elements of what I consider to be a perfect record.

Also, I freaking love “Animals” and “The Wall” – “The Final Cut” has its moments (“Not Now John”), but it bores me like all solo albums from Roger Waters. I don’t think it stands the test of time like the rest.

Mr. On’ry:

Yeah, what he said.

Mr. Lonesome:

I think this is where we all get defensive about the albums we love. Our passion flows over because we think everyone should love them like we do. But that will never happen. The best course is to try and explain why WE love them, and then hope others will give a record or band a chance upon the courteous imploring of the madmen we are!

Also, if Mr Mean doesn’t like the record it’s only because he’s a contrarian extraordinaire. And a dick.

Mr. Lonesome:

Oh, and additionally:

“The only thing they did post-1973 that is reasonably decent is The Final Cut” – Seriously?? “reasonably decent??” That is such a ridiculous statement. I’ve already discussed WYWH. I’ll skip “Animals” since I know you will never bow to reason on why it’s a fantastic record.

So let’s go to “The Wall” – please explain to me how there is nothing “reasonably decent” on here. The whole first side is strong. The second has “Hey You” and “Comfortably Numb.” Please explain how this album, in your opinion, is not “reasonably decent.”

“Between 1967-1973, they were brilliant” – Ummagumma is a mess of experimentation. The Soundtrack to “More” has some moments. Tell me you would rather listen to “Alan’s Psychedelic Breakfast” than “The Wall.”

Their first two albums were psychedelic wonderments (I prefer “Saucerful of Secrets” to “Piper”), then they had a terrific experimental phase, up through Meddle. With “Echoes” they made the song they always wanted to. With DSotM, they made an ALBUM like they always wanted to (that one consistent, flowing movement). After that, they became the most significant progressive rock band in the world, with thematic concepts, stunning music, inimitable mystique. They were always pushing themselves to the verge of reinvention.

Pink Floyd is the Quintessential Awesome.

Mr. On’ry:

Yeah, what he said (again).

Mr. Lonesome:

And… AND: Mr Mean states the best metal is from Sweden yet somehow doesn’t like Opeth.

Jag vill slå honom!!!!

Mr. Mean:

     1. Not a fan of The Wall, ding dong. In fact, it is rare that I like a cover version better than an original. Scissor Sisters’ cover of “Comfortably Numb” is genius and light years better than Floyd’s. Up yours.

     2.  Yes, I’d rather listen to “Alan’s Psychedelic Breakfast”, all sides of Ummagumma, More, and even Zabriskie Point over the effing Wall.

      3. You prefer A Saucerful of Secrets over Piper at the Gates. No surprise. I think you are daft with that statement anyway, but we have come to expect that.

      4. Hey idiots. I’ll debunk your popularity thing right now. DSOTM had spent more weeks on the Billboard Top 200 chart (duh, it’s very popular) than any other album and I love that album from start to finish. So, you both are wrong on that slant.

5. Opeth blows. Morons.

Mr. Lonesome:

         1.  That is probably the most idiotic thing I’ve ever read. Scissor Sisters, dude? I saw them perform it on SNL, and it was entertaining. But c’mon! Plus, saying you aren’t a fan of “The Wall” is fine enough. But I’d like to know why. It has a slew of songs that are the best they ever did. It has a high concept that actually makes a double album work (albeit it’s only about 60 minutes total).

        2.  Have fun listening to “The Grand Vizier’s Garden Party” you lunatic. Because we know Nick Mason is a genius songwriter.

      3. Explain why this is no surprise to you? The songs are darker, more complex. I like Syd, but I prefer seriousness to whimsy.

      4. Not my claim, but I wouldn’t have been shocked to believe it. Because YOU are the daft lunatic.

       5. Why? Explain.

      Mr. Mean:

       1. I stand by my statement. As far as The Wall having, as you say, “a slew of songs that are the best they ever did”, we can agree to disagree. It’s bloated overblown concept rubbish.

      2. I will.

     3. It’s no surprise because, as has been stated numerous times before, we both agree on a band, on a period, etc. and totally disagree on their best works.

    4. It’s a stupid claim. You both are lunatics. Daft ones.

    5. Never liked what I heard from them. Mind you, I have not listened to anything from like 1998 onwards. But, I listened to several albums of theirs only to be completely bored to tears.

    Mr. Lonesome:

      1. I’m going to punch you. Then while you are on the ground, dazed, I will put headphones on your ears. Then I will probably kick you a couple times. Then I will make you listen to The Wall while I watch. Yeah, that’s right. I like to watch. Then once it’s over, I will ask you to explain exactly what is bloated about it, and how the word rubbish is involved. Then I will kick you again, for liking Morrissey. Then I will ask once more about the rubbish claim – as in, you don’t believe the story. Or that it’s written poorly? You need to elaborate. Because even though the tour might have been overblown, the album absolutely is not.

       2. I’m curious – what do you like about side 2 of Ummagumma? This is crazy-intriguing to me. Break it down. Because outside of “The Narrow Way” and being stoned while listening to “Several Species of Small Furry Animals Gathered Together in a Cave and Grooving with a Pict” I don’t get the appeal at all. Particularly when it’s being preferred over The Wall.

 Mr. Mean. 

The Wall is horrible. Ummagumma is great. I love their experimentation.

*O.k., so tell us: Is The Wall overrated?  What’s the best Pink Floyd record?  What band should we argue about next?