Engineered
by Alan Parsons
Produced by Pink Floyd
5.1 Surround Mix by James Guthrie
5.1/Stereo Mastering by Doug Sax and James Guthrie at das boot
recording DSD Authoring for SACD by Gus Skinas
David Gilmour (vocals/guitars/VCS3), Nick Mason (percussion/tape
effects), Richard Wright (keyboards/vocals/VCS3), Roger Waters
(bass guitar/vocals/VCS3/tape effects)
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"There's
someone in my head but it's not me..."
What can be said about this album that hasn't already been
said? Of course, we have to put away our dictionary of
superlatives, otherwise we would tap into it quite extensively
here. And with good reason. Pink Floyd's seminal work, Dark
Side of the Moon, is already sealed in history.
Dark Side of the Moon is Pink
Floyd's best known musical plunge into the inner workings of
insanity. Because it delivers a timeless and haunting quality,
it becomes an extraordinarily commanding experience. Spliced
with the need to address member Syd Barrett's descent into the
uncharted territories of the mind, and the obvious ability to
create and express their observations, Pink Floyd embarked on
a journey so remarkable that it set them apart in dramatic
fashion. It set them apart from other psychedelic and
though-provoking bands of their period. It also set them
apart, in that sales of this album are a thing of legend.
Interestingly, not only did DSotM
explore the mind of Syd Barrett (shrouded with schizophrenia
which was strengthened by his LSD usage - he was replaced by
Dave Gilmour to allow for his writing without having to tour
or record), it also unleashed a generation of drug users to
"experience" the album. No message, no censure...
just pure introspection.
To comment further on the artistic quality of these songs is
foolish. Volumes have been written (in much better detail)
about these tracks in the great expanse of the album's 30-year
history. Better to talk about the effects of the added
high-resolution and surround mix instead.
At this point in the early timeline of SACD, even with several
high profile titles already available (The Rolling Stones/The
Police) and soon to be (Peter Gabriel/ Bob Dylan), this new
version of Pink Floyd's Dark Side of the
Moon instantly becomes the single most essential SACD
to date. This release is nothing less than a milestone for the
format. The 1973 stereo original, although incredible in its
own right, still felt caged. We knew back then that there was
room for it to grow. When the Quadraphonic format hit the
market, which album do you suppose was tapped for expansion?
Of course... Pink Floyd's DSotM.
Now, with the advent of 5.1 sound and high resolution quality,
it's a natural choice to re-realize this classic.
Designed to commemorate the 30th anniversary of the album,
this remix also strives to be more than just another
remastering effort. It's designed to be a gift to the fans in
every way. It was decided from the beginning to remaster the
album using DSD (Direct Stream Digital) technology, and to
also price the disc competitively with standard 'redbook' CDs.
Even the date of the original's release was closely followed
for the SACD hybrid to achieve a sense of harmony.
That said, it was decided by the powers that be to have James
Guthrie (a close associate of the band for quite some time)
mix and master the 5.1 and stereo components of the album. And
while it may be a bit of a shock that original engineer, Alan
Parsons, was not invited to assist in the production, the
album has not suffered in any way. Simply put, DSotM
shines in every aspect of this disc.
The production quality of the new stereo and 5.1 surround
mixes is nothing short of astonishing - the SACD is a sonic
masterpiece. Every note of every song comes alive. Every
instrument and sound is allowed to speak, this time with true
audio purity. And that's just the stereo! The surround mix
expands on the chilling aspects of DSotM.
Each channel becomes a conduit to a vital engulfment of the
listener. To say that it's an immersive experience is to
short-change the effect. The reality is in the surrealism -
you become the estranged mind. In a 'closed -eye' environment,
you become transported. The mix, in its purity, is the driving
engine.
There is no gimmicky placement of effects. The 5.1 mix here
feels quite natural in a progressive sense. From the cash
register sound effects in Money,
to the clocks and guitar swirls of Time,
the mix for each song is done with just the right touch and
sensibility. The way I see it, James Guthrie should be asked
to do every 5.1 SACD project from here on out. For every band.
But as good as the new 5.1 mix is, this writer is still left
with the feeling that DSotM
hasn't yet reached its full potential. It still feels caged.
That's not to detract from the beauty of this SACD in any
way... it's just a telling reminder of how great and enduring
this album truly is.
It should be noted that there is little in the way of extras
here. But you do get a hybrid "redbook" layer,
compatible with all existing CD players. And the 20-page
insert booklet, that accompanies the disc, is complete with
new photographs and artwork, along with a look at the original
art and other odds and ends. The lyrics are included too,
along with credits for every aspect of this work.
Any way you slice it, this is a high quality effort from one
of Rock's greatest bands. With a redone cover by Storm
Thorgenson, updated to instill modernity to a classic, this
new release of Pink Floyd's Dark Side of
the Moon is truly an ongoing, and enthralling,
experience. Whether you listen to it as background music in
the car (thanks to its CD transportability) or soak in all of
its high-resolution potential, you'll be captured by the power
of the material. And the quality of this SACD, whichever mix
you choose, absolutely brings it alive.
"And if the band you're playing in starts playing
different tunes...
I'll see you on the dark side of the moon..."
Review
by Matt
Rowe of
The Digital
Bits
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