278. The Dark Side of the Moon - Pink Floyd

How do you review an album that everyone will already have an opinion on? Some will love it, and some will respect it, and a few will loathe it. As a colossal Pink Floyd fan I am clearly in the former camp, but such is my love of the group, that I want to move those in the other groups into the first one. My best advice would be for you to listen to it again, without distractions and prejudices, and just see what you think.

This album is seminal, not only for its astounding record sales, but for its use of technology in the studio, and Storm Thorgerson's legendary artwork. The cover was put unanimously chosen by the band from a collection of seven designs Thorgerson's Hipgnosis company put together, with the group loving its simplicity. Having the back gatefold of the sleeve mirroring the front made for one of the great album packages ever. The recording, at Abbey Road studios, was overseen by Alan Parsons, and made use of every bit of kit the group could get their hands on from analogue synthesisers to tape loops via recorded clocks and rototoms. In terms of sales, it spent a record 741 consecutive weeks in the US Billboard Charts, and it is the eighth best selling album of all time in the UK.

Speak to Me is an instrumental with some screaming. Ok, that doesn't sound great, but it flows beautifully into Breathe (In the Air), which is delicate, spacey, and features some stunningly lilting slide guitar. It works as it dissolves so perfectly into On the Run, which has a pulsing, driving snare and keyboard combination. The vocal samples, collected from workers at the Abbey Road studio where it was recorded, add an element of diversity and creativity to the piece, and reappear throughout the album. Time features some of the best lyrics on the album, which manage to be profound without seeming to try too hard. The drumming, so beautifully arranged in stereo, and probably sounding even better in the quadrophonic arrangement the band were such a fan of, adds a space to the piece that the double-tracked voices of Gilmour and Wright cut straight through. "Hanging on in quiet desperation is the English way" is also one of the finest observations ever recorded. From there, the jaw-dropping vocal performance of Claire Torry on The great Gig in the Sky takes over, over Wright's melancholic piano playing. Whilst she was initially embarrassed at her improvised performance, the band loved it, and it captures the mood of the piece in a way that words could not. Money was a hit single, something the group have never been known for, and its unusual time signature of initially 7/4 before a 4/4 guitar solo breaks out, certainly puts the listener on edge. Dick Parry's saxophone solo is an absolute belter too, and vies with one of Gilmour's most impassioned soloes ever. Us and Them plays on themes still pertinent in today's society, and is one of the most traditional pop songs on the album. It slows thing down nicely with a suitably reflective air, and the combination of organ, piano and sax works a treat. Any Colour You Like is a great instrumental, bringing back the beat from Breathe, and leads up to Brain Damage perfectly. This is the first song by the group that really captured the band's struggles under their former leader Syd Barrett as he descended into his mental breakdown. Eclipse rounds things off with a repeated melody and vocal line that changes slightly each time, and the effect of lightening the sound as it reaches its final crescendo. Waters voice, with Gilmour and Wright harmonising, is at its finest hear, with their work taking the harshness off his sound.

This album is so much more than the sum of its substantial parts. As an overall work of art, it is utterly sublime, featuring an array of diverse yet knitted together soundscapes. I was worried that listening to this album repeatedly, having not heard it in its entirety for a while, would drive me away from it - it had the opposite effect. I notice new elements on each repeated listen, and different rhythms or sounds that would draw me in. It's not my favourite Pink Floyd album, and it doesn't have one piece that just utterly grabs me, but as a whole it is mesmerising.

Chloe's album rating: 7

Chloe's favourite track: 4. Time

Olly's album rating: 10

Olly's favourite track: 5. The Great Gig in the Sky

Ok, so next week we have 894. Slipknot by Slipknot. Different.

457. Back in Black - AC/DC

Of course I own this album - name me a former Metalhead who doesn't. Given that it's available for £1 from the bargain bin of pretty much every record store in existence, there's little excuse not to have it. Having not listened to it in its entirety for a while though, I wasn't sure whether it would still pack the punch I remember it having.

This was the band's seventh studio album, and their first after the death of their original lead singer, Bon Scott. Following his death in London after a night of heavy drinking, the band, having nearly packed it in, selected Brian Johnson from their auditions, and his first album with the group went on to become one of the biggest selling of all time, with over 26 million sales globally. It is still heralded as one of the finest rock albums of all time, and the influence it had on 80s music is clear; Van Halen wouldn't have raised their game without this album. The album's black cover is in tribute to Bon Scott, and it was only allowed by the record label on the agreement that the embossed lettering would have a grey outline.

Hell's Bells kicks proceedings off with a bell purpose-forged for this moment, before a ridiculously good riff kicks in. From that moment on, the album showcases Angus Young at his absolute best. The variety and skill he shows paved the way for much of the 80s shred guitarists, for better or worse. Shoot to Thrill doesn't quite reach the high points of the rest of the album, but is still enjoyable enough. What you do for Money Honey is the song that shows Status Quo what you can actually do with a simple chord progression. Whilst some of the lyrics are borderline slut-shaming, "they're standing in a queue just to spend a night with you/ it's business as usual again", the chorus is pure stadium singalong joy. Givin' the Dog a Bone is one of the least subtle songs about oral sex ever penned, and also one of the weaker songs on the album. Let Me Put my Love into You is one of the least subtle songs about sex ever penned, so let it not be said that the band lack variety. Whilst the lyrics of this song are possibly even more problematic, "Don't you struggle/Don't you fight/Don't you worry/'cos it's your turn tonight", musically it is astoundingly good. It is genuinely anthemic, and with more measured words could be an epic tale in the style of Led Zep. Back in Black has one of the greatest riffs ever, its simplicity and catchiness vying with Smoke on the Water. You Shook Me All Night Long is one of the least subtle songs about sex, etc, etc, but it's also ridiculously punch-in-the-air great for all the right reasons. Have a Drink on Me is one of the great lock-in songs, if such a sub-genre exists. Shake a Leg stands alongside Shoot to Thrill as a decent song, but without anything special to help it in such. Rock and Roll ain't Noise Pollution is a chugging locomotion of a song, but works well for that, and happily extends a middle finger to all the band's critics in anything but a subtle manner.

Overall, this album was simply a joy to listen to. It is in no way clever, or subtle, and the lyrics are questionable at times. However, it does what it does very simply, and very well, and that is put a smile on the face of the listener. Well, some listeners - Chloe wasn't so keen. 

Chloe's album rating: 5
Chloe's favourite track: 7. You Shook Me All Night Long
Olly's rating: 8
Olly's favourite track: 6. Back in Black

Next week we have moved from one of the best selling albums of all time to another one. It is the utter joy of 278. The Dark Side of the Moon by Pink Floyd. 

966. Fishscale - Ghostface Killah

As stated before, I'm not a huge hip hop fan. The skits alone make me want to throttle someone, and combine that with slightly tedious drug/money/women references, and you rely too heavily on decent samples. I had heard of Ghostface Killah as I'm not that out of touch, and was aware he was one of the Wu Tang Clan as Chloe is a massive fan of their work. I wasn't overly excited upon learning the title is a reference for uncut cocaine (another drugs reference - how original), but those in the know suggested that if anything would show me how good this genre could be, then this would be it.

Ghostface Killah was a roommate of RZA, and it was from these two that the other members of the Wu Tang Clan were gathered together. Following the successful launch vehicle that was 36 Chambers, Ghostface Killah had success with his first LP Ironman. The Ironman references are retained throughout all his albums, leading to an ultimately unsuccessful lawsuit by Jack Urbont for his appropriation of the superhero's name. Fishscale was the fifth album released by Ghostface Killah, and debuted at number 4 on the Billboard charts, a return to form after a couple of more disappointing records.  

After the crushing disappointment of a crappy intro skit, the quality of the Shakey Dog intro is jaw dropping. As an advert for how good hip hop can be, it resonates with a belting guitar line and relentless drumming. Kilo doesn't quite carry the quality of this introduction and whilst the guitar licks and trumpet punctuation are catchy as hell, it still doesn't carry the song as much as I'd hope. The Champ should be played as every boxing walkout song ever; angry yet tongue in cheek with a devastating sample. 9 Milli Bros is a decent collective effort, but doesn't have enough of a clear theme to shine in this company. R.A.G.U. falls into this category too, though with a better chemistry between Ghostface and Raekwon. Hit you with a Strap is a great song, using a stunning sample, and raising some interesting questions about the role of corporal punishment in raising children. Whilst I know my response to this, it is an important discussion to be having. Back Like That is rap at its most commercial featuring Ne-Yo, yet it works all the better for that. The frustration of seeing an ex with a rival is palpable, and makes a relevant point about the escalation of relationship disagreements, some overly misogynistic lines aside. The production is crisp as anything, and the samples just sound great. Be Easy doesn't do anything too intelligently, but it's hard not to enjoy it for its tight flow and percussion. Whilst the rhyming of easy and ebay may date the track slightly, when songs are this catchy, it is entirely forgiveable. Great samples can be found on Clipse of Doom and Dogs of War, the latter featuring a particularly sharp guitar line. Big Girl is catchy, but a bit of a miss for me, and Momma is pure R'N'B, which doesn't quite work on this album. Three Bricks is more traditional rap, featuring a powerful collaboration between Raekwon, Notorious B.I.G. (sampled from his track Niggas Bleed) and Ghostface Killah. Whilst the content is predictably dark, the piano sample hints at redemption. 

To be clear, there are obvious flaws in this album, and they are kindly labelled 'skits' to enable you to skip them. Those, the fact it's a bit too long, and a few too many drug/money/women cliches, aside this has some devastatingly good pieces of music. I'd love to have edited it down to a leaner album as then it really would be outstanding; as it is, it must settle for merely being very good. It is one of the few hip-hop albums I can imagine listening to purely out of choice, although I can't guarantee there won't be some track skipping.

Chloe's album rating: 7
Chloe's favourite track: 2. Shakey Dog
Olly's album rating: 7
Olly's favourite track: 13. Back Like That

Next week is 457. Back in Black by AC/DC. Riffs ahoy.