GornikDaze
Well-Known Member
- Joined
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Listen to it again and see if you’d only give a 4/10 now ;)
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The Album Review Club - Week #191 (page 1286) - Harlequin Dream - Boy & Bear
- Thread starter RobMCFC
- Start date
My vinyl copy still has the posters and stickers in it - if only I had a turntable to play it on!I have DSOM on original cassette, CD, CD remaster, SACDand 3 copies on vinyl.
Needless to say, one of my favourite albums.
Elbow beards
Well-Known Member
Dsom 50 anniversary dolby atmos remix on apple music is a joy to behold.
I imagine this is what they dreamed of when making it, but only had stereo.
I imagine this is what they dreamed of when making it, but only had stereo.
shackattack
Well-Known Member
I was genuinely traumatised by Time alone, I quite like Us and Them even now. I've listened to most of them on other compilations etc but never DSOTM in full.Listen to it again and see if you’d only give a 4/10 now ;)
OB1
Well-Known Member
Well that’s just cheating ;-)
I was going to offer this up for review at some point but then I reviewed it when I wrote about 1973. Here’s what i wrote in case you didn’t see it.
“March witnessed Pink Floyd releasing a genuine contender for the greatest album ever. Now DSOTM is not even my favourite Floyd album (we’ll get to that in another year) but was the first Prog album that I ever owned. Although it is progressive, it’s not Prog in the way that Yes or early Genesis are: to my mind it is an AOR (Adult Oriented Rock) album, which is why it sold in shed loads, actually more like Amazon warehouse loads, such was the number of copies shipped and the time spent on the charts. It is the fourth best-selling album of all time, selling over 45 million copies worldwide and spending 974 weeks on the Billboard 200, peaking at No. 1.
And it is very much an album and not a collection of hit singles. In fact, no singles were released in the UK, although two singles were released from the album in the US. Both those tracks, “Money” and “US and Them” along with “Time”, can still be heard daily on classic rock stations across the States.
Released during a period of musical experimentation, DSTOM transformed Pink Floyd from art-house innovators to international superstars.
Along with the music, the album cover is perhaps the most iconic of them all (Sgt Pepper clears his throat). Its simple elegance is magnificent. Designed by Storm Thorgerson, it features a prism and light spectrum, symbolising thought and ambition, aligning with Roger Waters' lyrical focus.
Recorded at the world’s most famous studios – Abbey Road – and engineered by Prog legend Alan Parsons, the album is beautifully produced with a pristine sound that is nigh on perfect.
The album has a unifying theme that contemplates different aspects of human life, especially things that can drive you mad.
The album opens with the experimental Speak to Me. Nick Mason's sonic assembly is a lyric-less collage of sounds (heartbeats, clocks, cash registers), featuring spoken interviews on madness, Mason's heartbeat bass drum and snippets from Money and The Great Gig in the Sky. It sets the stage for the album's exploration of the human psyche. The track credits drummer Nick Mason as the composer although this is disputed by Roger Waters. Speak to Me flows seamlessly into Breathe (In the Air), a mellow, introspective track sung by guitarist David Gilmour with lyrics about birth and the rat race. Richard Wright contributes jazzy keyboards, inspired by Miles Davis.
The instrumental On the Run uses an EMS Synthi AKS synthesizer and sound effects (airport noise, footsteps and sounds a plane crash) to transmit a sense of anxiety and fear of flying.
More sound effects herald the onset of Time. Featuring Rick Wright’s last lead vocal work, on the bridge, until 1994's The Division Bell its theme is the inevitability of aging and how you can’t hold back time. “Hanging on in quiet desperation is the English way”. The instrumentation is excellent with Mason's rototom work and Dave Gilmour's guitar solo the highlights of this band composition. A timeless classic that must be on our playlist.
Time slides into Great Gig in the Sky. This is the one track I have never got on that well with, it tends to give me a headache – pass the Nurofen – Clare Torry’s improvised wailing vocal is certainly disturbing, although whether it successfully evokes death, I’m not sure.
Money though is another solid gold classic. Rendered in 7/4 time with Waters bass prominent, its about greed and critiques consumerism and financial obsession. Dick Parry's saxophone solo is excellent. Gilmour contributes multiple memorable solos. Disturbingly, Mason's coin loop reminds me of the cash-register rhythm track of the theme tune from UK sitcom Are You Being Served?.
Us and Them begins with gentle jazzy sax, which is joined by Gilmour's echoed vocals before building in intensity as the song continues to rise and fall. The subject, as the title suggests, is human relationships and societal divides. Rick Wright’s keyboards are superb throughout and his synth leads into the instrumental interlude Any Colour You Like. Gilmour's harmonised solo provides further colour.
Brain Damage is Roger Waters' only lead vocal on the album. The song is inspired by Syd Barrett's mental illness and is his personal reflection on insanity; he’s described it as being about "inner space".
Eclipse brings the album to a climatic close tying the themes together but leaving the final words to Gerry O’Driscoll: "There is no dark side of the moon, really. Matter of fact, it's all dark."
The Dark Side of the Moon is a masterpiece of rock music. It has been widely praised, with reviews noting its textural richness and lasting impact. A landmark concept album known for its innovative sound and profound themes that create an almost cinematic experience. It is as relevant today as it was on first release.”
I mentioned it is a contender for greatest album ever and if pressed, I would say it is. That doesn’t make it my favourite so I am docking half a point for “Great Gig in the Sky”. 9.5/10
I was going to offer this up for review at some point but then I reviewed it when I wrote about 1973. Here’s what i wrote in case you didn’t see it.
“March witnessed Pink Floyd releasing a genuine contender for the greatest album ever. Now DSOTM is not even my favourite Floyd album (we’ll get to that in another year) but was the first Prog album that I ever owned. Although it is progressive, it’s not Prog in the way that Yes or early Genesis are: to my mind it is an AOR (Adult Oriented Rock) album, which is why it sold in shed loads, actually more like Amazon warehouse loads, such was the number of copies shipped and the time spent on the charts. It is the fourth best-selling album of all time, selling over 45 million copies worldwide and spending 974 weeks on the Billboard 200, peaking at No. 1.
And it is very much an album and not a collection of hit singles. In fact, no singles were released in the UK, although two singles were released from the album in the US. Both those tracks, “Money” and “US and Them” along with “Time”, can still be heard daily on classic rock stations across the States.
Released during a period of musical experimentation, DSTOM transformed Pink Floyd from art-house innovators to international superstars.
Along with the music, the album cover is perhaps the most iconic of them all (Sgt Pepper clears his throat). Its simple elegance is magnificent. Designed by Storm Thorgerson, it features a prism and light spectrum, symbolising thought and ambition, aligning with Roger Waters' lyrical focus.
Recorded at the world’s most famous studios – Abbey Road – and engineered by Prog legend Alan Parsons, the album is beautifully produced with a pristine sound that is nigh on perfect.
The album has a unifying theme that contemplates different aspects of human life, especially things that can drive you mad.
The album opens with the experimental Speak to Me. Nick Mason's sonic assembly is a lyric-less collage of sounds (heartbeats, clocks, cash registers), featuring spoken interviews on madness, Mason's heartbeat bass drum and snippets from Money and The Great Gig in the Sky. It sets the stage for the album's exploration of the human psyche. The track credits drummer Nick Mason as the composer although this is disputed by Roger Waters. Speak to Me flows seamlessly into Breathe (In the Air), a mellow, introspective track sung by guitarist David Gilmour with lyrics about birth and the rat race. Richard Wright contributes jazzy keyboards, inspired by Miles Davis.
The instrumental On the Run uses an EMS Synthi AKS synthesizer and sound effects (airport noise, footsteps and sounds a plane crash) to transmit a sense of anxiety and fear of flying.
More sound effects herald the onset of Time. Featuring Rick Wright’s last lead vocal work, on the bridge, until 1994's The Division Bell its theme is the inevitability of aging and how you can’t hold back time. “Hanging on in quiet desperation is the English way”. The instrumentation is excellent with Mason's rototom work and Dave Gilmour's guitar solo the highlights of this band composition. A timeless classic that must be on our playlist.
Time slides into Great Gig in the Sky. This is the one track I have never got on that well with, it tends to give me a headache – pass the Nurofen – Clare Torry’s improvised wailing vocal is certainly disturbing, although whether it successfully evokes death, I’m not sure.
Money though is another solid gold classic. Rendered in 7/4 time with Waters bass prominent, its about greed and critiques consumerism and financial obsession. Dick Parry's saxophone solo is excellent. Gilmour contributes multiple memorable solos. Disturbingly, Mason's coin loop reminds me of the cash-register rhythm track of the theme tune from UK sitcom Are You Being Served?.
Us and Them begins with gentle jazzy sax, which is joined by Gilmour's echoed vocals before building in intensity as the song continues to rise and fall. The subject, as the title suggests, is human relationships and societal divides. Rick Wright’s keyboards are superb throughout and his synth leads into the instrumental interlude Any Colour You Like. Gilmour's harmonised solo provides further colour.
Brain Damage is Roger Waters' only lead vocal on the album. The song is inspired by Syd Barrett's mental illness and is his personal reflection on insanity; he’s described it as being about "inner space".
Eclipse brings the album to a climatic close tying the themes together but leaving the final words to Gerry O’Driscoll: "There is no dark side of the moon, really. Matter of fact, it's all dark."
The Dark Side of the Moon is a masterpiece of rock music. It has been widely praised, with reviews noting its textural richness and lasting impact. A landmark concept album known for its innovative sound and profound themes that create an almost cinematic experience. It is as relevant today as it was on first release.”
I mentioned it is a contender for greatest album ever and if pressed, I would say it is. That doesn’t make it my favourite so I am docking half a point for “Great Gig in the Sky”. 9.5/10
OB1
Well-Known Member
Yeah, I prefer WYWH, that would have scored 10/10.I've not heard it in full for a long while, prefer Wish You Were Here. I shall put it on my expensive record player and sit with a wee dram in the dark and see what's what.
mrbelfry
Well-Known Member
Dark Side of the Moon by Pink Floyd is an album I've purposefully avoided by a band I purposefully avoid. This is primarily because I'm a contrarian who grew up after music had already responded to the kind of excess buggery that I had associated with Pink Floyd. By the time I was growing up Pink Floyd felt like an establishment band – beloved by people like Jeremy Clarkson and likely to be seen performing in castles or something. Unlike many of the other bands or musicians of the late 60’s and early 70’s that I did enjoy Pink Floyd had the audacity to not be dead. Except of course for Syd Barrett who I assumed had the good taste to die before Pink Floyd embarrassed him by releasing a Penguin Book of Magic Mushroom Recipes. It’s an interesting dynamic to me that what was considered rebellion and bad behaviour 50 years ago is now very mainstream and Pink Floyd represented that in my mind as well as be exemplars of pretention, self indulgence and safe boring music. My dad likes Pink Floyd for goodness sake.
As already mentioned I’m aware of the irony of speaking like this whilst proclaiming Radiohead are the greatest band ever to exist. In my defence my favourite Radiohead songs were always the most angular and ugly and not the long, boring and overly sincere efforts that I assumed were influenced by Pink Floyd. A song like Paranoid Android is far more spikey than anything here although it is similarly ambitious.
Thus I simply apologise and admit I was mostly wrong. Not totally wrong but mostly. For starters this is almost half the length of the Taylor Swift album we just reviewed. At just 42ish minutes it’s very concise even with a couple of overly long songs. It’s extraordinary how much they’ve packed in and even though some of the song lengths may suggest sketches or throw aways every moment seems purposeful and planned. Recorded at Abbey Road with some of the same ethos as the Beatles album and personnel there is no Mean Mr Mustard here.
Opening track Speak to Me is not essential but does provide a short summary of the album with many of its motifs appearing briefly before doing a quick build and fall into Breathe. Efficiently done and the song progresses nicely and as I’d imagine it would. I had actually heard this song before although I’d never really listened before. The organ is very tasteful and adds some nice dynamics before I’m taken by surprise.
On the Run is not what I would have expected to hear and I was suitably impressed. The quadraphonic mix of this album must be an experience. Fine if you want to call it pretentious and overly sincere etc I totally get that criticism but I just enjoy the noise it makes. This album does genuinely sound superb – it’s very full but also spacious; huge but intimate. I read that there was some dispute with the band to how this might be mixed and Parson’s wasn’t happy so I’d like to hear alternate versions to see how they sound with a different take on them.
Time does serve as a song that contains things I love about this album but also things I dislike. The alarm clocks aren’t pleasant and probably are just there to show how smart everyone is but the track does develop in a way that I would describe as what it would sound like if Ennio Morricone had soundtracked Star Wars. There is a nice build that reminded me of some of stuff that IDLES have done – there last album was produced by Nigel Goodrich who also produced Radiohead who were clearly influenced. It does turn into a bit of what I feared with a vocal I just can’t take to and guitars that are a little too much. When the memory of the vocals fade I do get drawn into the ridiculousness of the instrumentation and I think I could begin to love the drama and lack of self restraint. I do think I love it actually.
The Great Gig in the Sky begins with an absolute banger of a chord change which I had to look up. The fancy Bm to F change reminded me of the opening theme to Severance and this is something I feel Radiohead might do before the rest of the sequence gets a little twee. Radiohead would have leant into the oddness of those two chords in a way that this song doesn’t. This tweeness is perhaps inevitable because the album is 50 years old. I note that the band felt this song needed something extra and they got a lot of something extra with the vocal from Clare Torry which I’m sure was used as an advert for a bank or something. I’m not on board with this and a whole point is lost.
Money has the classic bass line which I’d heard a bunch but I’d obviously not heard the rest of the song otherwise I’d have remembered the sax solo. It does some fun things and along with Us and Them I do enjoy how insane they get.
Any Colour You Like sees the return of some major synth action and I think this along with On The Run make pick up most of the hate by those who insist this is self indulgent muppetry. I enjoy it and that probably says a lot about me.
I can’t decide how I feel about Brain Damage. Lyrically it’s very twee again but the psychedelia is nice and it probably does contain the albums second best lyric – “and if the band you’re in starts playing different tunes I’ll see you on the dark side of the moon”. Nice synth action at the end as we get a Ringo Starr style kick drum into Eclipse which ends the album perfectly with the incredible spoken line “There is no dark side in the moon really. Matter of fact, it’s all dark”. The fact that his isn’t the complete line that was recorded just shows how efficient this album is and how meticulous the composition is. It’s only 42 minutes long and if I was a smarter man I’d have weaved in some kind of narrative that references Hitchhikers Guide to the Galaxy which was constantly in my head listening to this.
For my next nomination I will be requesting an album that I think is quite similar. It has the same sense of its significance and emotional instrumentation but has it’s feet firmly on the ground whilst this spins through space. It’s not actually Radiohead but a band I’ve called this generations Radiohead so maybe they are also this generations Pink Floyd despite some obvious aesthetic differences.
Anyway my response to this album has left me in need of some peanuts and I award this a very long review and a well deserved 9. I raced through and exceeded the required three listens and will gladly listen to this again.
As already mentioned I’m aware of the irony of speaking like this whilst proclaiming Radiohead are the greatest band ever to exist. In my defence my favourite Radiohead songs were always the most angular and ugly and not the long, boring and overly sincere efforts that I assumed were influenced by Pink Floyd. A song like Paranoid Android is far more spikey than anything here although it is similarly ambitious.
Thus I simply apologise and admit I was mostly wrong. Not totally wrong but mostly. For starters this is almost half the length of the Taylor Swift album we just reviewed. At just 42ish minutes it’s very concise even with a couple of overly long songs. It’s extraordinary how much they’ve packed in and even though some of the song lengths may suggest sketches or throw aways every moment seems purposeful and planned. Recorded at Abbey Road with some of the same ethos as the Beatles album and personnel there is no Mean Mr Mustard here.
Opening track Speak to Me is not essential but does provide a short summary of the album with many of its motifs appearing briefly before doing a quick build and fall into Breathe. Efficiently done and the song progresses nicely and as I’d imagine it would. I had actually heard this song before although I’d never really listened before. The organ is very tasteful and adds some nice dynamics before I’m taken by surprise.
On the Run is not what I would have expected to hear and I was suitably impressed. The quadraphonic mix of this album must be an experience. Fine if you want to call it pretentious and overly sincere etc I totally get that criticism but I just enjoy the noise it makes. This album does genuinely sound superb – it’s very full but also spacious; huge but intimate. I read that there was some dispute with the band to how this might be mixed and Parson’s wasn’t happy so I’d like to hear alternate versions to see how they sound with a different take on them.
Time does serve as a song that contains things I love about this album but also things I dislike. The alarm clocks aren’t pleasant and probably are just there to show how smart everyone is but the track does develop in a way that I would describe as what it would sound like if Ennio Morricone had soundtracked Star Wars. There is a nice build that reminded me of some of stuff that IDLES have done – there last album was produced by Nigel Goodrich who also produced Radiohead who were clearly influenced. It does turn into a bit of what I feared with a vocal I just can’t take to and guitars that are a little too much. When the memory of the vocals fade I do get drawn into the ridiculousness of the instrumentation and I think I could begin to love the drama and lack of self restraint. I do think I love it actually.
The Great Gig in the Sky begins with an absolute banger of a chord change which I had to look up. The fancy Bm to F change reminded me of the opening theme to Severance and this is something I feel Radiohead might do before the rest of the sequence gets a little twee. Radiohead would have leant into the oddness of those two chords in a way that this song doesn’t. This tweeness is perhaps inevitable because the album is 50 years old. I note that the band felt this song needed something extra and they got a lot of something extra with the vocal from Clare Torry which I’m sure was used as an advert for a bank or something. I’m not on board with this and a whole point is lost.
Money has the classic bass line which I’d heard a bunch but I’d obviously not heard the rest of the song otherwise I’d have remembered the sax solo. It does some fun things and along with Us and Them I do enjoy how insane they get.
Any Colour You Like sees the return of some major synth action and I think this along with On The Run make pick up most of the hate by those who insist this is self indulgent muppetry. I enjoy it and that probably says a lot about me.
I can’t decide how I feel about Brain Damage. Lyrically it’s very twee again but the psychedelia is nice and it probably does contain the albums second best lyric – “and if the band you’re in starts playing different tunes I’ll see you on the dark side of the moon”. Nice synth action at the end as we get a Ringo Starr style kick drum into Eclipse which ends the album perfectly with the incredible spoken line “There is no dark side in the moon really. Matter of fact, it’s all dark”. The fact that his isn’t the complete line that was recorded just shows how efficient this album is and how meticulous the composition is. It’s only 42 minutes long and if I was a smarter man I’d have weaved in some kind of narrative that references Hitchhikers Guide to the Galaxy which was constantly in my head listening to this.
For my next nomination I will be requesting an album that I think is quite similar. It has the same sense of its significance and emotional instrumentation but has it’s feet firmly on the ground whilst this spins through space. It’s not actually Radiohead but a band I’ve called this generations Radiohead so maybe they are also this generations Pink Floyd despite some obvious aesthetic differences.
Anyway my response to this album has left me in need of some peanuts and I award this a very long review and a well deserved 9. I raced through and exceeded the required three listens and will gladly listen to this again.
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mrbelfry
Well-Known Member
We seem to agree but I love the research and knowledge you bring to your reviews as opposed to my vibes approachWell that’s just cheating ;-)
I was going to offer this up for review at some point but then I reviewed it when I wrote about 1973. Here’s what i wrote in case you didn’t see it.
“March witnessed Pink Floyd releasing a genuine contender for the greatest album ever. Now DSOTM is not even my favourite Floyd album (we’ll get to that in another year) but was the first Prog album that I ever owned. Although it is progressive, it’s not Prog in the way that Yes or early Genesis are: to my mind it is an AOR (Adult Oriented Rock) album, which is why it sold in shed loads, actually more like Amazon warehouse loads, such was the number of copies shipped and the time spent on the charts. It is the fourth best-selling album of all time, selling over 45 million copies worldwide and spending 974 weeks on the Billboard 200, peaking at No. 1.
And it is very much an album and not a collection of hit singles. In fact, no singles were released in the UK, although two singles were released from the album in the US. Both those tracks, “Money” and “US and Them” along with “Time”, can still be heard daily on classic rock stations across the States.
Released during a period of musical experimentation, DSTOM transformed Pink Floyd from art-house innovators to international superstars.
Along with the music, the album cover is perhaps the most iconic of them all (Sgt Pepper clears his throat). Its simple elegance is magnificent. Designed by Storm Thorgerson, it features a prism and light spectrum, symbolising thought and ambition, aligning with Roger Waters' lyrical focus.
Recorded at the world’s most famous studios – Abbey Road – and engineered by Prog legend Alan Parsons, the album is beautifully produced with a pristine sound that is nigh on perfect.
The album has a unifying theme that contemplates different aspects of human life, especially things that can drive you mad.
The album opens with the experimental Speak to Me. Nick Mason's sonic assembly is a lyric-less collage of sounds (heartbeats, clocks, cash registers), featuring spoken interviews on madness, Mason's heartbeat bass drum and snippets from Money and The Great Gig in the Sky. It sets the stage for the album's exploration of the human psyche. The track credits drummer Nick Mason as the composer although this is disputed by Roger Waters. Speak to Me flows seamlessly into Breathe (In the Air), a mellow, introspective track sung by guitarist David Gilmour with lyrics about birth and the rat race. Richard Wright contributes jazzy keyboards, inspired by Miles Davis.
The instrumental On the Run uses an EMS Synthi AKS synthesizer and sound effects (airport noise, footsteps and sounds a plane crash) to transmit a sense of anxiety and fear of flying.
More sound effects herald the onset of Time. Featuring Rick Wright’s last lead vocal work, on the bridge, until 1994's The Division Bell its theme is the inevitability of aging and how you can’t hold back time. “Hanging on in quiet desperation is the English way”. The instrumentation is excellent with Mason's rototom work and Dave Gilmour's guitar solo the highlights of this band composition. A timeless classic that must be on our playlist.
Time slides into Great Gig in the Sky. This is the one track I have never got on that well with, it tends to give me a headache – pass the Nurofen – Clare Torry’s improvised wailing vocal is certainly disturbing, although whether it successfully evokes death, I’m not sure.
Money though is another solid gold classic. Rendered in 7/4 time with Waters bass prominent, its about greed and critiques consumerism and financial obsession. Dick Parry's saxophone solo is excellent. Gilmour contributes multiple memorable solos. Disturbingly, Mason's coin loop reminds me of the cash-register rhythm track of the theme tune from UK sitcom Are You Being Served?.
Us and Them begins with gentle jazzy sax, which is joined by Gilmour's echoed vocals before building in intensity as the song continues to rise and fall. The subject, as the title suggests, is human relationships and societal divides. Rick Wright’s keyboards are superb throughout and his synth leads into the instrumental interlude Any Colour You Like. Gilmour's harmonised solo provides further colour.
Brain Damage is Roger Waters' only lead vocal on the album. The song is inspired by Syd Barrett's mental illness and is his personal reflection on insanity; he’s described it as being about "inner space".
Eclipse brings the album to a climatic close tying the themes together but leaving the final words to Gerry O’Driscoll: "There is no dark side of the moon, really. Matter of fact, it's all dark."
The Dark Side of the Moon is a masterpiece of rock music. It has been widely praised, with reviews noting its textural richness and lasting impact. A landmark concept album known for its innovative sound and profound themes that create an almost cinematic experience. It is as relevant today as it was on first release.”
I mentioned it is a contender for greatest album ever and if pressed, I would say it is. That doesn’t make it my favourite so I am docking half a point for “Great Gig in the Sky”. 9.5/10
Kinkybyname
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sublime...
...but then again I've been mad for fucking years, absolutely years. Been off of the edge for yonks, busting my buns off for bands
...but then again I've been mad for fucking years, absolutely years. Been off of the edge for yonks, busting my buns off for bands
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OB1
Well-Known Member
I don’t have the ability / flair to write the way you do.We seem to agree but I love the research and knowledge you bring to your reviews as opposed to my vibes approach
mrbelfry
Well-Known Member
You just need a severe brain injury and you're good to goI don’t have the ability to write the way you do.
Some great tracks some not so great.
Speak to me..On thr run...Any colour you like and Eclipse do nothing for me.
The great gig in the sky really awful.
Breathe..Time...us and them...Brain damage good with Money being a brilliant song to this day.
Exactly how I remembered it in my first couple of years as a teenager when it first came out.
Not really into an whole album by Floyd more of a few songs by them to make a best off. 5/10
Speak to me..On thr run...Any colour you like and Eclipse do nothing for me.
The great gig in the sky really awful.
Breathe..Time...us and them...Brain damage good with Money being a brilliant song to this day.
Exactly how I remembered it in my first couple of years as a teenager when it first came out.
Not really into an whole album by Floyd more of a few songs by them to make a best off. 5/10
threespires
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The first few football games I went to were all at OT to watch United. I think Ive mentioned before that I was taken by the husband of my mum's friend. He was in the danish navy and when he was on leave he'd borrow me and go to the football. Dunno why.
My dad had got out of the habit of going to the football probably because he had 4 kids and worked shifts on the buses so it was a while before he took me to a game although there was no doubt I'd be a blue. My dad had an extensive match day programme collection peaking with the 81 cup final and replay. He also had a large City mirror that listed all the trophies city had won.
So one day you tell us you have had a vanilla life and the next day you tell us you were regularly kidnapped by a Danish sailor. Make your bloody mind up ! I had a mirror like that.
mrbelfry
Well-Known Member
I attempted to fact check my claim. My siblings didn't even remember the person I was talking about. My dad confirmed that he was the captains best man so he does exist however he doesn't remember him taking me to the football. My memory is much maligned but I think I'm the only one remembering correctly here. This reminds me of the time I was the only person who remembered that my wife's cousin's child was a pirate hunter. I got that confirmed at her grandma's funeral so a win win for me.So one day you tell us you have had a vanilla life and the next day you tell us you were regularly kidnapped by a Danish sailor. Make your bloody mind up ! I had a mirror like that.
If you and my dad both had the same mirror you might know my mum.
threespires
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I attempted to fact check my claim. My siblings didn't even remember the person I was talking about. My dad confirmed that he was the captains best man so he does exist however he doesn't remember him taking me to the football. My memory is much maligned but I think I'm the only one remembering correctly here. This reminds me of the time I was the only person who remembered that my wife's cousin's child was a pirate hunter. I got that confirmed at her grandma's funeral so a win win for me.
If you and my dad both had the same mirror you might know my mum.
I'd like to imagine your extended family all sat together having that conversation in some Waltonseque cabin at the foot of the mountain but it's probably a family WhatsApp group. If so and that's the kind of conversations you're having on it then it's a waste and you should move it to another platform where it's easier to monetise.
For some reason I have it my head you could win those types of mirrors at Belle Vue, though it's odds on my Auntie Annie bought me mine, can't actually remember how I got it. I definitely didn't ask your mum to lift your Dad's whilst he was asleep or anything nefarious like that.
mrbelfry
Well-Known Member
Whatsapp im afraid. It's normally just us making fun of my mum on there and not me trying to figure out if I was been groomed by my dad's weird mate when he was on shore leave.I'd like to imagine your extended family all sat together having that conversation in some Waltonseque cabin at the foot of the mountain but it's probably a family WhatsApp group. If so and that's the kind of conversations you're having on it then it's a waste and you should move it to another platform where it's easier to monetise.
For some reason I have it my head you could win those types of mirrors at Belle Vue, though it's odds on my Auntie Annie bought me mine, can't actually remember how I got it. I definitely didn't ask your mum to lift your Dad's whilst he was asleep or anything nefarious like that.
I definitely wouldn't expect you to have done anything nefarious although you do have shifty eyes
denislawsbackheel
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Incredible how tastes vary.Some great tracks some not so great.
Speak to me..On thr run...Any colour you like and Eclipse do nothing for me.
The great gig in the sky really awful.
Breathe..Time...us and them...Brain damage good with Money being a brilliant song to this day.
Exactly how I remembered it in my first couple of years as a teenager when it first came out.
Not really into a whole album by Floyd more of a few songs by them to make a best off. 5/10
I am the exact opposite.
Loathe Money.
GornikDaze
Well-Known Member
- Joined
- 9 Jul 2012
- Messages
- 10,366
Money isn’t my favourite either, maybe because it just gets played to death.Incredible how tastes vary.
I am the exact opposite.
Loathe Money.
Also I’m finding the Great Gig comments interesting. I find the vocal to be powerful and uplifting. Seeing it live again on Monday, admittedly with three different voices, it’s an incredible demonstration of the human voice. Very moving
hilts
Well-Known Member
Think I've only listened to Dark side twice once all the way through, the last was my failed attempt to listen to the 100 greatest albums of all time a couple of years back. I wasn't impressed but gonna give it another go now.