Speak to Me: The Legacy of Pink Floyd's the Dark Side of the Moonby Russell Reising
Pub. Date: 01/01/2006
Publisher: Ashgate Publishing, Limited
The endurance of Pink Floyd's The Dark Side of the Moon on the Billboard Top 100 Chart is legendary, and its continuing sales and ongoing radio airplay ensure its inclusion on almost every conceivable list of rock's greatest albums. This collection of essays provides indispensable studies of the monumental 1973 album from a variety of musical, cultural, literary and social perspectives. The development and change of the songs is considered closely, from the earliest recordings through to the live, filmed performance at London's Earls Court in 1994. The band became almost synonymous with audio-visual innovations, and the performances of the album at live shows were spectacular moments of mass-culture although Roger Waters himself spoke out against such mass spectacles. The band's stage performances of the album serve to illustrate the multifaceted and complicated relationship between modern culture and technology. The album is therefore placed within the context of developments in late 1960s/early 1970s popular music, with particular focus on the use of a variety of segues between tracks which give the album a multidimensional unity that is lacking in Pink Floyd's later concept albums. Beginning with 'Breathe' and culminating in 'Eclipse', a tonal and motivic coherence unifies the structure of this modern song cycle. The album is also considered in the light of modern day 'tribute' bands, with a discussion of the social groups who have the strongest response to the music being elaborated alongside the status of mediated representations and their relation to the 'real' Pink Floyd.
Table of ContentsContents: Foreword: the floydian slip, Craig Bailey; General editor's preface; Introduction: Life on The Dark Side of the Moon, Russell Reising. Part I 'Any Colour You Like': General Discussions: On the waxing and waning: a brief history of The Dark Side of the Moon, Russell Reising; 'Matter of fact it's all dark': audiovisual stadium rock aesthetics in Pink Floyd's The Dark Side of the Moon tour 1973, Kimi KÃ¤rki; Dark side of the men: Pink Floyd, classic rock and white masculinities, Matthew Bannister; 'We're not in Kansas any more': music, myth and narrative structure in The Dark Side of the Moon, Lee Barron and Ian Inglis. Part II 'Everything Under the Sun is in Tune': Musical and Structural Discussions: 'Worked out within the grooves': the sound and structure of The Dark Side of the Moon, Kevin J. Holm-Hudson; 'On the path': tracing tonal coherence in The Dark Side of the Moon, Shaugn O'Donnell; The keys to quiet desperation: modulating between misery and madness, Ger Tillekens. Part III 'There's No Dark Side of the Moon': Theoretical Discussions: Reversing us and them: anti-psychiatry and The Dark Side of the Moon, Nicola Spelman; Prismatic passion: the enigma of 'The Great Gig in the Sky', Sheila Whiteley; The whole of the moon: 'Brain Damage', 'Eclipse', and the mythic narrative of the Pink Floyd, Peter Mills; Pink Floyd's Levinasian ethics: reading The Dark Side of the Moon's philosophical architecture, Kenneth Womack. Part IV 'Speak to Me': The Influence of The Dark Side of the Moon: The moons are eclipsed by the moon: covering the dark side, Russell Reising; Eclipsing: the influence of The Dark Side of the Moon on the next generation's music through Radiohead's OK Computer, Benjamin Schleifer; 'And if the band you're in starts playing different tunes': an interview with Mike Gordon of Phish, Russell Reising; The Jamaican side of the moon: an interview with Michael Goldwasser of Easy Star Records, Russell Reising. 'Thought I'd something more to say': an annotated bibliography of selected reviews and commentary on The Dark Side of the Moon, Mathew Bartkowiak. Works cited; Index.
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