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The Dark Side of the Moon by Released1 March 1973RecordedJune 1972–January 1973Studio, LondonLength42:49 chronology
(1972)The Dark Side of the Moon
(1973)
(1975)30th anniversary  Re-issue from The Dark Side of the Moon "" / ""
Released: 7 May 1973 "" / ""
Released: 4 February 1974

The Dark Side of the Moon is the eighth studio album by English  band , released on 1 March 1973 by . It built on ideas explored in Pink Floyd's earlier recordings and performances, but without the extended instrumentals that characterised their earlier work. Its themes explore conflict, greed, time, and , the latter partly inspired by the deteriorating health of founding member , who left in 1968.

Developed during live performances, Pink Floyd premiered an early version of The Dark Side of the Moon several months before recording began. New material was recorded in two sessions in 1972 and 1973 at  in London. The group used advanced recording techniques at the time, including  and ;  are prominent, and snippets from interviews with Pink Floyd's  and others provide philosophical quotations. Engineer  was responsible for many sonic aspects and the recruitment of singer , who appears on one track. The iconic sleeve was designed by ; following  's request for a "simple and bold" design, it depicts a  , representing the band's lighting and the record's themes.

The Dark Side of the Moon produced two singles: "" and "". The album topped the  chart for a week, and remained on the chart for 741 weeks from 1973 to 1988. Following a change in how Billboard counts sales in 2009, it re-entered the chart and has since appeared for over 900 weeks. With estimated sales of over 45 million, it is Pink Floyd's bestselling album and one of the . It has been  and rereleased several times, and covered in its entirety by several acts. It is often regarded as one of the greatest albums of all time.

Background

Following  in 1971,  assembled for a tour of Britain, Japan and the United States in December of that year. In a band meeting at drummer 's home in , bassist  proposed that a new album could form part of the tour. Waters' idea was for an album that dealt with things that "make people mad", focusing on the pressures faced by the band during their arduous lifestyle, and dealing with the apparent mental problems suffered by former band member . The band had explored a similar idea with 1969's . In an interview for , guitarist  said: "I think we all thought – and Roger definitely thought – that a lot of the lyrics that we had been using were a little too indirect. There was definitely a feeling that the words were going to be very clear and specific."

MENU 0:00 Waters' early demo recording of "Money", made in his garden shed. Problems playing this file? See .

Generally, all four members agreed that Waters' album concept unified by a single theme was a good idea. Waters, Gilmour, Mason and keyboardist  participated in the writing and  of the new material, and Waters created the early  at his  home in a small studio built in his garden shed. Parts of the new album were taken from previously unused material; the opening line of "" came from an earlier work by Waters and , written for the soundtrack of , and the basic structure of "" borrowed from an original composition by Wright for . The band rehearsed at a warehouse in London owned by , and then at the  in , London. They also purchased extra equipment, which included new speakers, a , a 28-track mixing desk with a four channel  output, and a custom-built lighting rig. Nine tonnes of kit was transported in three ; this would be the first time the band had taken an entire album on tour. The album had been given the provisional title of Dark Side of the Moon (an allusion to lunacy, rather than astronomy). However, after discovering that that title had already been used by another band, , it was temporarily changed to Eclipse. The new material premièred at The Dome in , on 20 January 1972, and after the commercial failure of Medicine Head's album the title was changed back to the band's original preference.

The  in London, where The Dark Side of the Moon was played for the press in 1972

Dark Side of the Moon: A Piece for Assorted Lunatics, as it was then known, was performed in the presence of an assembled press on 17 February 1972 – more than a year before its release – at the Rainbow Theatre, and was critically acclaimed. Michael Wale of  described the piece as "bringing tears to the eyes. It was so completely understanding and musically questioning."  of  wrote "The ambition of the Floyd's artistic intention is now vast."  was less enthusiastic: "Musically, there were some great ideas, but the sound effects often left me wondering if I was in a bird-cage at London zoo." The following tour was praised by the public. The new material was performed in the same order in which it was eventually recorded; differences included the lack of synthesizers in tracks such as "", and  readings replaced by 's vocals on "".

Pink Floyd's  through Europe and North America gave them the opportunity to make continual improvements to the scale and quality of their performances. Work on the album was interrupted in late February when the band travelled to France and recorded music for French director 's film . They then performed in Japan and returned to France in March to complete work on the film. After a series of dates in North America, the band flew to London to begin recording, from 24 May to 25 June. More concerts in Europe and North America followed before the band returned on 9 January 1973 to complete the album.

Concept

The Dark Side of the Moon built upon experiments Pink Floyd had attempted in their previous live shows and recordings, but lacks the extended instrumental excursions which, according to critic , had become characteristic of the band after founding member Syd Barrett left in 1968. Gilmour, Barrett's replacement, later referred to those instrumentals as "that psychedelic noodling stuff", and with Waters cited 1971's Meddle as a turning-point towards what would be realised on the album. The Dark Side of the Moon's lyrical themes include conflict, greed, the passage of time, death, and insanity, the latter inspired in part by Barrett's deteriorating mental state. The album contains  on several tracks.

Each side of the album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience, and (according to Waters) "empathy". "" and "Breathe" together stress the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life – "Don't be afraid to care". By shifting the scene to an airport, the synthesizer-driven instrumental "On the Run" evokes the stress and anxiety of modern travel, in particular Wright's fear of flying. "" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focused on mundane aspects; it is followed by a retreat into solitude and withdrawal in "". The first side of the album ends with Wright and vocalist 's soulful metaphor for death, "The Great Gig in the Sky". Opening with the sound of  and loose change, the first track on side two, "", mocks greed and  using tongue-in-cheek lyrics and cash-related  (ironically, "Money" has been the most commercially successful track from the album, with several cover versions produced by other bands). "Us and Them" addresses the isolation of the depressed with the symbolism of  and the use of simple dichotomies to describe personal relationships. "" concerns the lack of choice one has in a human society. "" looks at a  resulting from the elevation of fame and success above the needs of the self; in particular, the line "and if the band you're in starts playing different tunes" reflects the mental breakdown of former bandmate Syd Barrett. The album ends with "", which espouses the concepts of and unity, while forcing the listener to recognise the common traits shared by humanity.

Recording

The album was recorded at , in two sessions, between May 1972 and January 1973. The band were assigned staff engineer , who had worked as assistant tape operator on , and who had also gained experience as a recording engineer on '  and . The recording sessions made use of some of the most advanced studio techniques of the time; the studio was capable of  mixes, which offered a greater degree of flexibility than the eight- or four-track mixes they had previously used, although the band often used so many tracks that to make more space available second-generation copies were made.

Beginning on 1 June, the first track to be recorded was "Us and Them", followed six days later by "Money". Waters had created   from recordings of various money-related objects, including coins thrown into a food-mixing bowl taken from his wife's pottery studio, and these were later re-recorded to take advantage of the band's decision to record a  mix of the album (Parsons has since expressed dissatisfaction with the result of this mix, attributed to a lack of time and the paucity of available multi-track tape recorders). "Time" and "The Great Gig in the Sky" were the next pieces to be recorded, followed by a two-month break, during which the band spent time with their families and prepared for an upcoming tour of the US. The recording sessions suffered regular interruptions; Waters, a supporter of , would often break to see his team compete, and the band would occasionally stop work to watch  on the television, leaving Parsons to work on material recorded up to that point. Gilmour has, however, disputed this claim; in an interview in 2003 he said: "We would sometimes watch them but when we were on a roll, we would get on."

The  (Putney) synthesizer

Returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", while fine-tuning the work they had already laid down in the previous sessions. A foursome of female vocalists was assembled to sing on "Brain Damage", "Eclipse" and "Time", and saxophonist  was booked to play on "Us and Them" and "Money". With director Adrian Maben, the band also filmed studio footage for . Once the recording sessions were complete, the band began a tour of Europe.

Instrumentation

The album features metronomic sound effects during "Speak to Me", and tape loops opening "Money". Mason created a rough version of "Speak to Me" at his home, before completing it in the studio. The track serves as an  and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".

The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a   (later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album). At times the degree of sonic experimentation on the album required the engineers and band to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled  of several of the songs (particularly "On the Run").

Along with the conventional  band instrumentation, Pink Floyd added prominent  to their sound. For example, the band experimented with an  on "" and "Any Colour You Like", and a  on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber (during "On the Run"), and a specially treated  made to simulate a human  (during "Speak to Me", "On the Run", "Time" and "Eclipse"). This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of . The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track.

MENU 0:00 "The Great Gig in the Sky" features Richard Wright's piano composition accompanied by improvised vocal work from . This selection is taken from about two minutes forty seconds onwards. MENU 0:00 "Money" makes use of tape loops and a 7/4 . Although similar to the original demo track recorded by Waters, it is considerably more rock-orientated. This is an excerpt from the start of the track. Voices

Several tracks, including "Us and Them" and "Time", demonstrated Richard Wright's and David Gilmour's ability to harmonise their voices. In the 2003  documentary The Making of The Dark Side of the Moon, Waters attributed this to the fact that their voices sounded extremely similar. To take advantage of this, Parsons utilised studio techniques such as the  of vocals and guitars, which allowed Gilmour to harmonise with himself. The engineer also made prominent use of  and phase shifting effects on vocals and instruments, odd trickery with , and the panning of sounds between channels (most notable in the  mix of "On the Run", when the sound of the  organ played through a  rapidly swirls around the listener).

The album's credits include , a session singer and songwriter, and a regular at Abbey Road. She had worked on pop material and numerous cover albums, and after hearing one of those albums Parsons invited her to the studio to sing on Wright's composition "The Great Gig in the Sky". She declined this invitation as she wanted to watch  perform at the , but arranged to come in on the following Sunday. The band explained the concept behind the album, but were unable to tell her exactly what she should do. Gilmour was in charge of the session, and in a few short takes on a Sunday night Torry improvised a wordless melody to accompany Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth, and wanted to apologise to the band – only to find them delighted with her performance. Her takes were then selectively edited to produce the version used on the track. For her contribution she was paid £30, equivalent to about £360 in 2018. In 2004, she sued  and Pink Floyd for 50% of the songwriting , arguing that her contribution to "The Great Gig in the Sky" was substantial enough to be considered co-authorship. The case was settled out of court for an undisclosed sum, with all post-2005 pressings crediting Wright and Torry jointly.

Clare Torry in 2003

Snippets of voices between and over the music are another notable feature of the album. During recording sessions, Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on . The interviewees were placed in front of a microphone in a darkened Studio 3, and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes more central to the album (such as madness, violence, and death). Questions such as "When was the last time you were violent?", followed immediately by "Were you in the right?", were answered in the order they were presented. Roger "The Hat" Manifold proved difficult to find, and was the only contributor recorded in a conventional sit-down interview, as by then the flashcards had been mislaid. Waters asked him about a violent encounter he had had with another motorist, and Manifold replied "... give 'em a quick, short, sharp shock ..." When asked about death he responded "live for today, gone tomorrow, that's me ..." Another roadie, Chris Adamson, who was on tour with Pink Floyd, recorded the snippet which opens the album: "I've been mad for fucking years – absolutely years". The band's road manager  (father of actress ) contributed the repeated laughter during "Brain Damage" and "Speak to Me". His second wife, Patricia "Puddie" Watts (now Patricia Gleason), was responsible for the line about the "geezer" who was "cruisin' for a bruisin'" used in the segue between "Money" and "Us and Them", and the words "I never said I was frightened of dying" heard halfway through "The Great Gig in the Sky".

Perhaps the most notable responses "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 got to go sometime" and closing words "there is no dark side in the moon, really. As a matter of fact it's all dark" came from the studios' Irish doorman, Gerry O'Driscoll.  and  were also interviewed, but their answers were judged to be "trying too hard to be funny", and were not included on the album. McCartney's  bandmate  contributed the line "I don't know, I was really drunk at the time".

Completion

Following the completion of the dialogue sessions, producer  was hired to provide "a fresh pair of ears". Thomas's background was in music, rather than engineering. He had worked with Beatles producer , and was acquainted with Pink Floyd's manager . All four members of the band were engaged in a disagreement over the style of the mix, with Waters and Mason preferring a "dry" and "clean" mix which made more use of the non-musical elements, and Gilmour and Wright preferring a subtler and more "echoey" mix. Thomas later claimed there were no such disagreements, stating "There was no difference in opinion between them, I don't remember Roger once saying that he wanted less echo. In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun." Although the truth remains unclear, Thomas's intervention resulted in a welcome compromise between Waters and Gilmour, leaving both entirely satisfied with the end product. Thomas was responsible for significant changes to the album, including the perfect timing of the echo used on "Us and Them". He was also present for the recording of "The Great Gig in the Sky" (although Parsons was responsible for hiring Torry). Interviewed in 2006, when asked if he felt his goals had been accomplished in the studio, Waters said:

When the record was finished I took a reel-to-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished. And I thought, "This has obviously struck a chord somewhere", and I was kinda pleased by that. You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else. And at that point I thought to myself, "Wow, this is a pretty complete piece of work", and I had every confidence that people would respond to it.

Packaging The album's artwork depicts the light refracting from a . It felt like the whole band were working together. It was a creative time. We were all very open.

– Richard Wright

The album was originally released in a  LP sleeve designed by  and . Hipgnosis had designed several of the band's previous albums, with controversial results; EMI had reacted with confusion when faced with the cover designs for  and , as they had expected to see traditional designs which included lettering and words. Designers  and  were able to ignore such criticism as they were employed by the band. For The Dark Side of the Moon, Richard Wright instructed them to come up with something "smarter, neater – more classy". The design was inspired by a photograph of a prism with a colour beam projected through it that Thorgerson had found in a photography book.

The artwork was created by their associate, George Hardie. Hipgnosis offered the band a choice of seven designs, but all four members agreed that the prism was by far the best. The final design depicts a glass  dispersing light into colour. The design represents three elements: the band's stage lighting, the album lyrics, and Wright's request for a "simple and bold" design. The spectrum of light continues through to the gatefold – an idea that Waters came up with. Added shortly afterwards, the gatefold design also includes a visual representation of the heartbeat sound used throughout the album, and the back of the album cover contains Thorgerson's suggestion of another prism recombining the spectrum of light, facilitating interesting layouts of the sleeve in record shops. The light band emanating from the prism on the album cover has six colours, missing  compared to the traditional division of the spectrum into red, orange, yellow, green, blue, indigo and violet. Inside the sleeve were two posters and two pyramid-themed stickers. One poster bore pictures of the band in concert, overlaid with scattered letters to form PINK FLOYD, and the other an  of the , created by Powell and Thorgerson.

The band were so confident of the quality of Waters' lyrics that, for the first time, they printed them on the album's sleeve.

Release Retrospective professional ratingsReview scoresSourceRatingB8/10 A live performance of The Dark Side of the Moon at , shortly after its release in 1973.
(left to right) David Gilmour, Nick Mason, Dick Parry, Roger Waters

As the quadraphonic mix of the album was not then complete, the band (with the exception of Wright) boycotted the press reception held at the  on 27 February. The guests were, instead, presented with a quartet of life-sized cardboard cut-outs of the band, and the stereo mix of the album was presented through a poor-quality system. Generally, however, the press were enthusiastic; Melody Maker's Roy Hollingworth described side one as "so utterly confused with itself it was difficult to follow", but praised side two, writing: "The songs, the sounds, the rhythms were solid and sound, Saxophone hit the air, the band rocked and rolled, and then gushed and tripped away into the night." Steve Peacock of Sounds wrote: "I don't care if you've never heard a note of the Pink Floyd's music in your life, I'd unreservedly recommend everyone to The Dark Side of the Moon". In his 1973 review for Rolling Stone magazine,  declared Dark Side "a fine album with a textural and conceptual richness that not only invites, but demands involvement". In  (1981),  found its lyrical ideas clichéd and its music pretentious, but called it a " masterpiece" that can be charming with highlights such as taped speech fragments, Parry's saxophone, and studio effects which enhance Gilmour's guitar solos.

The Dark Side of the Moon was released first in the US on 1 March 1973, and then in the UK on 16 March. It became an instant chart success in Britain and throughout Western Europe; by the following month, it had gained a  in the US. Throughout March 1973 the band played the album as part of their US tour, including a midnight performance at  in New York City on 17 March before an audience of 6,000. The album reached the  chart's number one spot on 28 April 1973, and was so successful that the band returned two months later for another tour.

Label

Much of the album's early American success is attributed to the efforts of Pink Floyd's US record company, . Newly appointed chairman  set about trying to reverse the relatively poor sales of the band's 1971 studio album Meddle. Meanwhile, disenchanted with Capitol, the band and manager O'Rourke had been quietly negotiating a new contract with  president , on . The Dark Side of the Moon was the last album that Pink Floyd were obliged to release before formally signing a new contract. Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of "Us and Them" and "Time". In some countries – notably the UK – Pink Floyd had not released a single since 1968's "", and unusually "Money" was released as a single on 7 May, with "Any Colour You Like" on the . It reached number 13 on the  in July 1973. A two-sided white label promotional version of the single, with mono and stereo mixes, was sent to radio stations. The mono side had the word "bullshit" removed from the song – leaving "bull" in its place – however, the stereo side retained the uncensored version. This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy. On 4 February 1974, a  single was released with "Time" on one side, and "Us and Them" on the opposite side. Menon's efforts to secure a contract renewal with Pink Floyd were in vain however; at the beginning of 1974, the band signed for Columbia with a reported advance fee of $1M (in Britain and Europe they continued to be represented by ).

Sales

The Dark Side of the Moon became one of the  of all time and is in the top 25 of a list of  albums in the United States. Although it held the number one spot in the US for only a week, it remained in the Billboard album chart for 741 weeks from 1973 to 1988. The album re-appeared on the Billboard charts with the introduction of the  chart in May 1991, and has been a perennial feature since then. In the UK, it is the seventh-best-selling album of all time and the highest selling album never to reach number one.

... I think that when it was finished, everyone thought it was the best thing we'd ever done to date, and everyone was very pleased with it, but there's no way that anyone felt it was five times as good as Meddle, or eight times as good as Atom Heart Mother, or the sort of figures that it has in fact sold. It was ... not only about being a good album but also about being in the right place at the right time.

– Nick Mason

In the US the  was released before the introduction of  in 1976. It therefore held only a gold disc until 16 February 1990, when it was certified 11× platinum. On 4 June 1998 the  (RIAA) certified the album 15× platinum, denoting sales of fifteen million in the United States – making it their biggest-selling work there ( is 23× platinum, but as a double album this signifies sales of 11.5 million). "Money" has sold well as a single, and as with "Time", remains a radio favourite; in the US, for the year ending 20 April 2005, "Time" was played on 13,723 occasions, and "Money" on 13,731 occasions. Industry sources suggest that worldwide sales of the album total about 45 million. "On a slow week" between 8,000 and 9,000 copies are sold, and a total of 400,000 were sold in 2002, making it the 200th-best-selling album of that year – nearly three decades after its initial release. The album has sold 9,502,000 copies in the US since 1991 when  began tracking sales for Billboard. To this day, it occupies a prominent spot on Billboard's Pop Catalog Chart. It reached number one when the 2003 hybrid CD/ edition was released and sold 800,000 copies in the US. On the week of 5 May 2006 The Dark Side of the Moon achieved a combined total of 1,716 weeks on the Billboard 200 and Pop Catalog charts. One in every fourteen people in the US under the age of 50 is estimated to own, or to have owned, a copy. Upon a change in methodology in 2009 allowing catalogue titles to be included in the , The Dark Side of the Moon returned to the chart at number 189 on 12 December of that year for its 742nd charting week. It has continued to sporadically appear on the Billboard 200 since then, with the total at 937 weeks on the chart as of January 2018.

"The combination of words and music hit a peak," explained Gilmour. "All the music before had not had any great lyrical point to it. And this one was clear and concise. The cover was also right. I think it's become like a benevolent noose hanging behind us. Throughout our entire career, people have said we would never top the Dark Side record and tour. But  earned more in dollar terms."

Legacy It's changed me in many ways, because it's brought in a lot of money, and one feels very secure when you can sell an album for two years. But it hasn't changed my attitude to music. Even though it was so successful, it was made in the same way as all our other albums, and the only criterion we have about releasing music is whether we like it or not. It was not a deliberate attempt to make a commercial album. It just happened that way. We knew it had a lot more melody than previous Floyd albums, and there was a concept that ran all through it. The music was easier to absorb and having girls singing away added a commercial touch that none of our records had.

– Richard Wright

The success of the album brought wealth to all four members of the band; Richard Wright and Roger Waters bought large country houses, and Nick Mason became a collector of upmarket cars. Some of the profits were invested in the production of . Engineer Alan Parsons received a  nomination for  for The Dark Side of the Moon, and he went on to have a successful career as a recording artist with . Although Waters and Gilmour have on occasion downplayed his contribution to the success of the album, Mason has praised his role. In 2003, Parsons reflected: "I think they all felt that I managed to hang the rest of my career on Dark Side of the Moon, which has an element of truth to it. But I still wake up occasionally, frustrated about the fact that they made untold millions and a lot of the people involved in the record didn't."

Part of the legacy of The Dark Side of the Moon is in its influence on modern music, the musicians who have performed  of its songs, and even in modern urban myths. Its release is often seen as a pivotal point in the history of rock music, and comparisons are sometimes drawn between Pink Floyd and  – specifically their 1997 album  – which has been called The Dark Side of the Moon of the 1990s, owing to the fact that both albums share themes relating to the loss of a creative individual's ability to function in the modern world.

Rankings

The Dark Side of the Moon has frequently appeared on rankings of the greatest albums of all-time. In 1987, Rolling Stone listed the record 35th on its "Top 100 Albums of the Last 20 Years", and sixteen years later, in 2003 the album polled in 43rd position on the magazine's list of the "". and was voted 43rd again on the magazine's 2012 list. In 2006, it was voted "My Favourite Album" by the 's audience.  readers voted the album eighth in their 2006 "Best Album of All Time" online poll, and in 2009,  listeners voted the album the "greatest of all time". The album is also number two on the "Definitive 200" list of albums, made by the  "in celebration of the art form of the record album". It came 29th in The Observer's 2006 list of "The 50 Albums That Changed Music", and 37th in The Guardian's 1997 list of the "100 Best Albums Ever", as voted for by a panel of artists and music critics. The album's cover has been lauded by critics and listeners alike,  proclaiming it the fourth greatest in history, and Planet Rock listeners the greatest of all time. In 2013, The Dark Side of the Moon was selected for preservation in the United States  by the  for being deemed "culturally, historically, or aesthetically significant". In 2014, readers of  voted it the seventh most influential progressive drumming album.

Covers, tributes and samples

One of the more notable covers of The Dark Side of the Moon is : A Tribute to Pink Floyd. Released in 2006, the album is a progressive rock tribute featuring artists such as , , , and . In 2000,  released The Not So Bright Side of the Moon, which features a cover of the entire album. The New York dub collective  released  in 2003 and  in 2010. The group Voices on the Dark Side released the album Dark Side of the Moon a Cappella, a complete  version of the album. The  band Poor Man's Whiskey frequently play the album in bluegrass style, calling the suite Dark Side of the Moonshine. A  version of the album was released in 2004. In 2009,  released a  in collaboration with , and featuring  and  as guest musicians.

Several notable acts have covered the album live in its entirety, and a range of performers have used  from The Dark Side of the Moon in their own material. Jam-rock band  performed a semi-improvised version of the entire album as part their show on 2 November 1998 in . Progressive metal band  have twice covered the album in their live shows, and in May 2011  released , a song-by-song "re-imagining" of the album. used the tape loops from Pink Floyd's "Money" to open their track "", followed by  on .

Dark Side of the Rainbow

Dark Side of the Rainbow and Dark Side of Oz are two names commonly used in reference to rumours (circulated on the Internet since at least 1994) that The Dark Side of the Moon was written as a soundtrack for the 1939 film . Observers playing the film and the album simultaneously have reported apparent synchronicities, such as  beginning to jog at the lyric "no one told you when to run" during "Time", and Dorothy balancing on a  fence during the line "balanced on the biggest wave" in "Breathe". David Gilmour and Nick Mason have both denied a connection between the two works, and Roger Waters has described the rumours as "amusing". Alan Parsons has stated that the film was not mentioned during production of the album.

Track listing

All lyrics written by Roger Waters.

Side oneNo.TitleMusicLead vocalsLength1.""instrumental1:302."" (listed as "Breathe in the Air" on the original LP label) 2:433."" Waters Gilmour instrumental3:304."" (containing "") Waters Gilmour Wright Mason Gilmour with 6:535."" Wright 4:15Total length:18:51Side twoNo.TitleMusicLead vocalsLength1.""WatersGilmour6:302."" Waters Wright Gilmour7:513."" Gilmour Mason Wright instrumental3:244.""Waters3:505.""WatersWaters2:03Total length:23:38