3 Songs For Intermediate Drummers

all taken from www.tabhall.co.uk

http://www.tabhall.co.uk/display.php?dir=tabs%2FDrum+Tab%2Fg%2FGodsmack%2FKeep+away.html

http://www.tabhall.co.uk/display.php?dir=tabs%2FDrum+Tab%2Fc%2FCandlebox%2FFar+Behind.html

http://www.tabhall.co.uk/display.php?dir=tabs%2FDrum+Tab%2Fm%2FMetallica%2FEnter+sandman.html

3 Easy Tabs To Start With If You're A Drummer

taken from www.tabhall.co.uk/drumtabs.php

http://www.tabhall.co.uk/display.php?dir=tabs%2FDrum+Tab%2Fm%2FMetallica%2FFor+whom+the+bell+tolls+3.html

http://www.tabhall.co.uk/display.php?dir=tabs%2FDrum+Tab%2Fa%2FA+perfect+circle%2FMagdalena.html

http://www.tabhall.co.uk/display.php?dir=tabs%2FDrum+Tab%2FR%2FRage+Against+The+Machine%2FBulls+On+Parade+2.html

Opeth-Still Life

Taken From MusicianForums.com

"Still Life was Opeth's fourth album, after Orchid, Morningrise, and My Arms, Your Hearse. It was the first since their debut that actually featured a full band, rather than temporary members or studio musicians. After these albums - all regarded in one quarter or another as classics - Opeth were secure enough to delve deeper into their own self-contained world. Hence why this album features their most complex riffs, their most melodic acoustic passages, Michael's most expressive and technically impressive vocals, and - hey! - it's a concept album about a girl named Melinda. Like the follow-up, Blackwater Park, it's named after an obscure 70s progressive rock band.Writing about Opeth is never easy. Tool aside, no metal band has created such an enigma, and commands so much loyalty and respect amongst their fanbase. Of everybody who likes Opeth, I'm willing to bet more than half of them would put Opeth in their top 5 favourite bands. How many bands can geniunely say that - or, at least, how many bands with such a large fanbase? As such, to a fan, you almost feel like your review is always going to be inadequate. As Metal Observer put it, how can you do justice to such a band in mere words? Still Life is an especially difficult case, being my favourite Opeth album, and one of my favourite albums full stop.

The Moor kicks off the album. It's the quintessential Opeth album opener, showcasing everything about the band. It opens with atmospheric, mediaeval acoustics, until 2.30, when the albums first riff kicks in. There's a great, if fairly simple, harmonized lead at 7.30, which leads towards a hummed vocal melody at 9.30, that you're liable to still be singing 2 weeks later. It then crushes back into more heaviness.And thus we find the one frustrating thing about Opeth - you NEED to go into at least that much detail to describe just one song! Obviously, anybody who owns an Opeth album will know this. This album is no different, although, ironically, the two songs that have the most simple interplay between light and dark are, for me, the two highlights. Benighted is almost completely acoustic (there's some clean electric guitar - you certainly won't find any distortion here) and is a lesson in atmospherics. It's on a par with anything Pink Floyd ever did. I'd struggle to think why anyone except the most brutal and unforgiving death-metalhead wouldn't love this.
The other track is Face Of Melinda, which starts with one of my favourite acoustic riffs ever, and has some great lyrics and strange harmony (those trademark tritone Opeth chords appear in full force here). Michael has a way of taking ugly, discordant, non-diatonic chords and making them sound beautiful, like they make perfect sense. Face Of Melinda gets heavy towards the end, with a great, lurching riff that almost feels like it's coming out of the speakers at you. The rest of the album suffers only from not being as instantly memorable as those two tracks. That's no insult, though - Opeth fans will know that quality is assured with this band, and the rest of the album is no disappointment - it's just got longer tracks and more heavy bits. Even saying it isn't memorable is a bit of a fallacy - although Benighted and Face Of Melinda are the ones you'll be humming after hearing the album, when you play again you'll be humming along to the clean parts of the other tracks without even realising it! This, for me, is the clincher with this album over all the other Opeth efforts. The clean sections are absolute revelations; they're the reason I was anticipating Damnation so eagerly.Another reason I hold this in higher esteem than, say, Orchid is the lyrics. There's always been something about concept albums that draws me in, lyrically. The reason I don't listen to more death metal is because the lyrics are often awful (at least, that's been my experience). Opeth are a massive exception to that rule. Despite flirting with pretension, Mikael's songwriting ability is absolutely top-notch. The concept of the album can be descibed as follows -
- Man returns to hometown after being kicked out of his former home for being a heretic. (The Moor)
- Man sees childhood love (Melinda) he came home for. (Godhead's Lament)
- Man gets the idea that he will ask Melinda to elope with him. (Benighted)
- Man follows Melinda to her house under cover of night, lest he be seen by anyone who knows his crime. (Moonlapse Vertigo)
- Man meets Melinda and finds out she is already married. Still, he convinces her to run away with him. She agrees because, even if she is married, she still truly loves him. (Face Of Melinda)
- As they try to elope, Melinda is killed for her crimes against her husband. Man swears he will avenge her, even if it kills him. (Serenity Painted Death)
- Man is hung. (White Cluster)

Obviously, this does NO justice to the story, but at least it's a rough outline!As you can see, the two songs I have picked as highlights are the two most direct love songs, both of which deal with eloping with a childhood love. Both have an element of nostalgia and yearning that is absolutely captivating; it's a feeling that only heightens once you realise the whole story.

Every track on this album is a stunner. The album as a whole, thanks to great sequencing and the concept, is even greater than the sum of its parts. This is the ideal introduction to Opeth; even more so now that the digipack re-issue can be found for a much cheaper price (I picked it up for £7, and Blackwater Park for £15). Haven't you heard enough good reviews, enough hype? It's all justified. This is a modern classic.5/5.

Recommended Downloads -Benighted
Like many pre-Damnation Opeth ballads, it carries a Medieval feel. Benighted is arguably Opeth's most beautiful song, showcasing a perfectly judged guitar solo, a wonderfully melodic opening, and breathless, intimate vocals from Mikael.
Face Of Melinda
The album's best track by a whisker. It operates like a spring, winding tighter and tighter, building in tension, before unleashing the payoff. The payoff, here, is a lurching riff that manipulates volume swells to make it seem as if rising out of the floor to get you. Before all that, though, there's some wonderful guitar playing, including an intro that lands somewhere between a fanfare and serialism, and a distant, haunted melody.
The Moor
Described in more detail above. Of the more typical Opethian songs on here, this is the pick, featuring the best blend of clean, beautiful atmospherics, acoutsic passages, and nuts-out riffing. You should start here if you're new to heavy Opeth, and if you're new to this album; it does kick off the story, after all, and like any good openers, it makes you want to hear the rest of the album."

Pink Floyd-Wish You Were Here

"SubtleDagger"

#209 on Rolling Stone's Top 500 Albums Of All Time List

Pink Floyd (during this album):

Roger Waters - Vocals, Bass

David Gilmour - Lead Guitar, Vocals

Richard Wright - Keyboards

Nick Mason - Drums

After The Dark Side Of The Moon, Pink Floyd had reached mainstream success, attaining fame, money, and a large fan base. While this would make most anyone happy, it was extremely troubling for the band. When they went back into the studio to record a follow-up album, their songs were rigid and difficult to put together due to the pressure of following up a huge breakthrough album. Some songs lashed out at the music industry, while others were melancholic tributes to Syd Barret, the band's mentally deteriorating former frontman. Ironically, as they were laying the vocal dubs for one of these tracks, "Shine On You Crazy Diamond", Barret had came in the studio; the dissolving of his state of mind in front of the band may have made the album itself even more emotional.

1. Shine On You Crazy Diamond (Part 1) - It's long and worth every minute. And this is just the first part! Beginning with atmospheric noise and some light guitar, it paves its way into a undeniably melancholy mood; the four guitar notes that bring in the faster part feel amazingly emotional for such a simple melody. The guitar continues into huge crescendoes and climaxes until it falls away and we hear Water's haunting vocals: "Remember when you were young/ You shined like the sun/ Shine on, you crazy diamond". Possibly the most beautiful part of the song... a slight laughing noise precedes "You shined like the sun", and the entire band comes together for the climax. The great vocal and instrumental melodies continue, making for a fantastic song. 5/5

2. Welcome To The Machine - This track makes exceptional use of stereo and keyboard effects to instill the feeling of a machine, and the vocals are still excellent throughout. Probably the creepiest song here, "Welcome To The Machine" is the first attack on the music business, with a more derisive feel to it then the others. Technically amazing and still rather emotionally disturbing, it stands out most of all for Roger's vocals and lyrics. It can be a bit offputting from time to time, though. 4/5

3. Have A Cigar - Another attack on the music industry, but a little less harsh... this is faced more torwards the press. One of the lines, "By the way/ Which one's Pink?", is a joke about the time an uninformed interviewer thought Pink Floyd was the name of an actual member. The music is more upbeat, the chorus is amazingly uplifting, and the guitar is great throughout. A decent solo as well. The end section is a little boring, and the end leads directly into the next track by turning into radio noise. Nothing really wrong with this track, either. 4.5/5

4. Wish You Were Here - Phenomonal. This homage to Barret is earnest, heartfelt, and downright heart-wrenching. The most simplistic song here, and still the most beautiful. Roger writes fantastic lyrics,a nd this song is no exception. The section of, "How I wish/ How I wish you were here/ We're just two lost souls simming in a fish bowl/ Year after year," is so evocative and beautiful, it makes an awesome climax to the song. Perfect. 5/5

5. Shine On You Crazy Diamond (Part 2) - Though this is slightly more upbeat than the first, the same formula remains, but the melodies and lyrics are different. Still, combining this and the first part as a collective makes for a beautiful listening experience. 5/5

Wish You Were Here is often overlooked for many reasons: the five track playlist, comparisons to Dark Side Of The Moon and The Wall, and other factors. Wish You Were Here is far too often left behind when put up against Pink Floyd's classic albums, in my opinion, and I think that when taken as an independent project, it can be seen as near flawless. I'd say this is one of the best Floyd albums, and quintessential to their catalog, though it really depends on whether you can fathom thirteen minutes for each part of "Crazy Diamond". Since I absolutely love it, I'd give Wish You Were Here a 5/5.

Mushroomhead-XIII

"AntiHero3314"

Hailing from Cleveland, Mushroomhead's follow-up to "XX" (not counting their many EPs), "XIII," is a more intense assault coupled with some masterful ballads. People give this band a bad rap because of the costume-donning, but the music is so much more important than image, and it's a shame that people do not give them a legitimate shot. Yes, the Slipknot/Mushroomhead argument is well-documented, but the two bands are unrelated. I cannot stress this enough! Anyway, onward:

Mushroomhead "were" (J-Mann left the band sometime after recording):
Nothing- vocals (usually sung)
J-Mann - vocals (usually rawer and screamed)
Gravy- guitar
Bronson- guitar
Pig Benis- bass
DJ Stitch- samples
Skinny- drums
Shmotz- keyboards

The tracklist:
1. Kill Tomorrow
2. Sun Doesn't Rise
3. Mother Machine Gun
4. Nowhere to Go
5. Becoming Cold (216)
6. One More Day
7. The Dream is Over
8. The War Inside
9. Almost Gone
10. Eternal
11. Our Own Way
12. Destroy the World Around Me
13. Thirteen (includes hidden track "Crazy" at the end)

A brief synopsis of the album (abridged and taken from site):
To their credit, Mushroomhead never resort to cheap shock tactics for effect. Exhibit A: there's not one expletive on the entire album. "That speaks volumes about our singers' abilities," says Skinny. "They can convey these really dark images and powerful ideas without making things seem overly literal or too abrasive. We don't want to spell everything out for people. You have to let listeners apply the music to their lives as they need to apply it." Mushroomhead have always been outsiders pursuing their own unique vision. Listeners who've previously judged the band based on its theatrical stage show and over-the-top appearance are advised to leave preconceptions at the door.

Alright, onward to the song-by-song review:

1. Kill Tomorrow: the album starts off with crunching power chords and intricate cymbal work. Nothing begins a pre-verse line, then J-Mann tears into a rap-like verse with pounding double bass supporting him. Chorus features both singers, and the guitar lines. Nothing sings "While we pay the price we take, kill tomorrow yesterday" for the chorus. All guitar and bass work is great, the double bass is intense, and the dual singers pull the song off well. A great opening track. Score: 4.5/5

2. Sun Doesn't Rise: the single from the album. Percussion, guitar line, and keyboards begin the intro, Nothing begins with the verse, then J-Mann carries into the rest of the verses and pre-chorus. Nothing sings chorus ("Sun doesn't rise at all, who knows how far I'll fall... welcome my downfall"). Second verse is Nothing starting a line with J-Mann answering him. Keyboards and drums are excellent. Guitar and bass also done well, the outro ends the song nicely ("I can feel my faith, can't recall my crime, damaged in our own way, alone in our own way, desolate highway"). Score: 4.75/5

3. Mother Machine Gun: nice keyboard intro gives way to crunching guitar riffs and J-Mann's vocals. Nothing offers a few lines, then J-Mann proclaims to "Interrogate the truth until you hear what you like." Nothing and J-Mann alternate lines over palm-muted guitar lines. Sampling is heard clearly for the first time on the album in the chorus. Bridge slows down, then J-Mann offers more raspy lines. Drums are average, bass is good. Outro ends with keyboard and sampling. Score: 4.25/5

5. Becoming Cold (216): some notes from the previous track carry over to this track, triplet blasts on the bass drum and sampling start the song off intensely. Nothing offers a few lines, then J-Mann offers his standard raspy lines. Song is driven by both vocalists, double bass, and the guitar lines. The song drags on a little long, but it's still a good track. Score: 3.75/5

6. One More Day: this song is beautiful. Starts off with a single palm-muted eighth note riff with a piano melody that carries throughout the song. J-Mann is nowhere to be heard on the song, and a woman named Devon Gorman takes his place. She gives the song an atmospheric dimension to go along with the piano melody and an orchestra-esque sound (it briefly reminds me of the Forest Temple from Ocarina of Time for the first few notes). The keyboard really stands out in this song, as do the two vocalists. Bass and guitars take a somewhat-back seat, but they play still play an integral part as the supporting instruments. Score: 5/5

7. The Dream is Over: the most intense song on here, a complete change of tempo from the previous track. This time, J-Mann is the only vocalist on the track, with a heavy guitar riff and pounding double bass. Mini guitar fills that separate the verses are a good touch, the other palm-muted guitar riffs drive the song along with the double bass. The bridge is the best aspect of the song ("Rise up from the ashes, rethink my beliefs, the world rusts on its axis as my heart pleads for relief..."). It's a little out of place, but the song is constantly intense with J-Mann's vocals and double bass. Score: 4.25/5

8. The War Inside: J-Mann starts with some whispered vocals (reminiscent of songs like "Bwomp") with some supporting instruments, then the verses get an intense double bass and snare pounding with Nothing singing them. J-Mann again offers his raspy vocals. It's a short song, clocking in at less than 3:00, but it is a furious song with undying energy. Double bass work is relentless, and the dual vocalists feed off each other. Bass and guitar lines are standard. Score: 4/5

10. Eternal: Double bass and J-Mann shouts start the song with pounding snare and tom work. Lyrically, the song is simple. The drumming is fierce, but J-Mann is overly raspy in this song. Nothing exhibits a high range (I can't believe anything you say..."). Guitar work is palm-muted mostly save for the chorus. Bridge is pretty steady double bass. Average song, not a standout. Score: 3/5

11. Our Own Way: excellent clean guitar and keyboard intro, with some bass supporting the melody. Vocals enter at about the 0:30 mark with Nothing's vocals, which touch on life being confusing and having conflicting thoughts. J-Mann appears at the bridge in typical raspy shouts of "Arise!" and lines such as "The traitors all await your final fall, the curtain call." Song drags out with some extended instrumentation and more shouts of "Arise!" The intro is done well, but the song could have ended sooner. Mini piano solo at the end was a nice closing, though. Score: 4/5

13. Thirteen: instrumental, with a baby. Then silence... until about 5:25, where Mushroomhead cover Seal's "Crazy." It's an excellent cover. J-Mann covers the "Lost and crazy" vocals, bridge, and outro, with Nothing taking care of the verses and choruses. The bass, percussion (again, the double bass, especially in the chorus), and guitars sound awesome, as does the keyboard and sampling. Again, an excellent cover that doesn't get obliterated by a nu metal band, unlike some other examples. First 5:25 score: N/A Cover: 5/5


Pros: Mushroomhead pull off the dual vocalist stuff well, their instrumentation is excellent, especially the drummer. The song delivers heaviness coupled with softer songs. It's the best album to see if you'd like to add them to your collection, and they're easily accessible because, like mentioned in the bio, there isn't a single expletive. The mini-epic "Destroy the World Around Me" is outstanding, as is the cover of Seal's "Crazy."

Cons: Pig Benis isn't heard as often as he was in the other albums. J-Mann's vocals sound too coarse in some songs, but he is since out of the band to pursue other goals.

Overall-4.3/5

Machine Head-Through The Ashes of Empires

"Clown_Pants"

Track list:

1. Imperium
2. Bite The Bullet
3. Left Unfinished
4. Elegy
5. In The Presence Of My Enemies
6. Days Turn Blue To Gray
7. Vim8. All Fall Down
9. Wipe The Tears
10. Descend The Shades Of Night

Review:This is the latest album from Machine head, and in my opinion one of there best. My favorite song on the album is 'Bite the bullet' its got kind of a violent sort of sound to it but not tacky like some of the new stuff that comes out normally has. Bite the bullet is my personal favorite from the album but there is not a single song on there that i dont like. Some of the songs have a mellow sound to them that makes you feel kind of 'chilled and then a heavy guitar riff begins to creep in then it just totally blows you away, cant be faulted.Recomend to- I recomend this album to ANY metal head out there even if u havnt liked the bands older stuff this album is a must. Even if you have to origanly download it to listen to it because you might think that you could be wasting your money, i guarantee that you will want to buy it after listening to it, it isnt a waste.

Rating:- 5/5

*ATTENTION*

I have Just recieved my first comment!!!!!!! (Positive) Keep 'em coming!

"Ripper22"

Opeth-Blackwater Park
Released 2000. Music for Nations

Band Members
Mikael Ãkerfeldt-guitars, clean+growl vocals, lyrics
Peter Lindgren-guitars
Martin Mendez-bassMartin Lopez-drums, percussion
Steven Wilson-harmony vocals, keyboard/piano*
*not a regular band member
Produced by Steven Wilson and Opeth

Tracklist 1.) The Leper Affinity
2.) Bleak
3.) Harvest
4.) The Drapery Falls
5.) Dirge for November
6.) The Funeral Portrait
7.) Patterns in the Ivy
8.) Blackwater Park
BONUS TRACKS:
9.) Still Day Beneath the Sun
10.) Patterns in the Ivy II

After the release of "Still Life" in 1998, Opeth went into the studio to record the latest step in their musical evolution. Their career had taken them through many of the shapes of modern black metal up to this point. Their albums "Orchid" and "Morningrise" proved that they had mastered the art of melodic death metal, and from that point the band decided to go in a different direction with "My Arms, Your Hearse." Some fans, however, regarding the direction taken on "Morningrise" to be excellent, balked at the decidedly more dissonant, heavier tone of the new album. Thus, on "Still Life," Opeth married the progressive influences and the heavy influences in the way that "Blackwater Park" displays, with equal parts light and heavy, in addition to a whole lot more reverb and thickness, courtesy of new producer and Akerfeldt confidant Steven Wilson, of the British prog band Porcupine Tree."Blackwater Park" is, as said above, mostly a refinement on the sound of "Still Life," with little new innovation or changes in direction. There are full-blast metal moments, moments of breathtaking beauty, and lighter, acoustic sections layered with Akerfeldt's ever-improving clean vocals: in short, everything one can currently expect from Opeth. In this case, this "refinement" proved so successful that it is thus far Opeth's highest-selling album, selling hundreds of thousands of copies in the States. Here's the album track by track.

The Leper Affinity
"Blackwater Park" was my first Opeth album. I didn't know precisely what to expect. I had heard excellent things about them and I was, believe it or not, apprehensive. Would I like a marriage of a genre I despise(death metal) with a genre that I love(progressive rock)? With that attitude in mind, the opening to this song was terrifying. Just terrifying. A discordant piano chord fades slowly in, louder and louder, until it's really loud and you know the explosion is coming any moment, but it doesn't come it doesn't come and then it does, and the explosion is greater than you imagined. The riffs are fast, dissonant, and evil, and the aura this music gives off is of a castle where nothing except the most perverted rituals are performed. This barrage continues with Akerfeldt's reverbed, awesome death growls and never lets up. The assault gives way to the most perfect guitar solo I've heard Opeth perform(and I have nearly their entire discography), and then breaks through to one of their famed harmony breaks, with lead guitars singing over rubble-pounding chords. Sound melodramatic? This is simply the way my emotions were being manipulated on my first listen. It's not melodramatic: this was how Opeth's sound and fury being unleashed on a completely new listener felt. The acoustic sections and clean singing that follow are just gorgeous, and the song ends with a great prog-rock riff and an eerie, self-contained piano section. This was my first taste of Opeth, and I already knew I loved them.

Bleak
Surpassed only by "Black Rose Immortal" and closely followed by "The Moor," this song is my favorite Opeth song. It's groove is considerably slower and, if possible, even more eerie than the previous tune, and a highlight is the echoing E-bow lead floating above the dry-sounding acoustics and the distorted guitars. The rest of the song begins to follow a fairly standard structure until Akerfeldt's clean vocals make a return with some of the best singing of his career. It slowly quiets down until we reach an almost bluesy acoustic section, and I personally was amazed at how WELL the death metal section flowed into this part. It left me feeling like, "How did I get from there to HERE?" What follows is a great riff with a heavily distorted lead that itself goes back to the most gorgeous, instrumentally dense section Opeth ever put to tape. Listen to this with headphones and hear everything that's going on. It's breathtaking. The song ends with repeats from earlier and then the sound of a tape breaking. Awesome.

Harvest
In the tradition of "Benighted," we have a nearly all-acoustic song here, with no metal sections. My opinion is mixed. It's certainly very pretty, but since I wasn't used to Opeth's habitual use of dissonant chords in their acoustic sections, the middle section threw me for a while. I eventually got used to it, though, and realized that for Opeth, writing something standardly melodic would have been a cop-out. This isn't the best, but it's still very high-quality.

The Drapery Falls
Okay, now, this song is interesting. It seems to be more "mood music" than anything else Opeth has made. The important thing, though, is that this song is impossible to categorize. It's so original and unique-sounding that I can't believe that four guys just came up with this stuff in a couple of weeks. The intro is really the prime example of that. Where, in any band anywhere, have you heard an intro so...impossible to pin down? The sections that follow are totally cool, with melancholy acoustic while(It's that E-Bow Again!) the slide guitars swim around the sea of reverb above them. The metal sections are fairly standard and to be honest, go on for way too long, but the short acoustic bits resolve back to the intro in a nice way.

Dirge for November
This song is easily the most forgettable one on here. That said, the beginning and ending to this one are just great. The reverb-laden "wall of sound" breaks down to great effect with Mikael just sings and plays his guitar for a few seconds, and his voice isn't even tuned properly, which adds an interesting contrast. There's more beautiful music, but it's followed by music that I just can't get into. The metal music doesn't make me bang my head, it just makes me scratch it. This is followed by a way-too-long, but nice, clean section with eerie E-bow harmonies lurking in the mix. The weakest link in the album, but not THAT bad.

The Funeral Portrait
The 12-string that opens this sounds very good, but the riffs that follow almost sound like ones lifted from the middle of Dream Theater's "Another Day!" ("Duuh-duh-duh-duh-da-dat-daa-da-da-dum..) Still, it's very cool. The acoustic sections are real evil on this, helped out by Lopez's nice fills. The long, multiple guitar solos that close the song are also pretty nice, as are the harmony vocals. A solid Opeth song.

Patterns in the Ivy
An instrumental acoustic/piano duet. This is a short, nice interlude piece. I don't really have much to say, 'cause it's only a minute long.

Blackwater Park
The song is chock full of the heaviest, most evil riffs Opeth ever recorded. The song also reverses the structure of "The Leper Affinity" by placing it's mellow interlude right near the beginning, which, unlike other such interludes, is not hampered by its length. Then, the metal assault which follows does not let up for a single moment for the rest of the song. Particularly awesome is Akerfeldt's "death-metal harmony" in which two screams of different levels of bowel-churning-ness are combined to make the most evil metal blast on the entire album. You must listen to this. It's amazing.

FINAL THOUGHTS:I know this review was long and a lot to digest, but so is the album. It requires patience, and a keen musical ear: there's really no point in listening to Opeth if you're not going to really listen to them. The production is awesome, being really, really dense and bone-dry at the same time. It truly adds to the relentlessly bleak mood of the CD. The deluxe import has two bonus tracks, "Still Day Beneath the Sun," an acoustic number that is nice and forgettable, and "Patterns in the Ivy II" a rare "sequel song" that is not cruddy. The harmony solo at the end is particularly beautiful: I go out for walks at night listening to this and just close my eyes, thinking about stuff. All true lovers of rock music will like this CD. Only the most hardcore, single-minded Britney Spears fan would not. RATING: 5/5

Dark Side Of The Moon-Pink Floyd

"flyguy"

David Gilmour - Guitars, vocals
Roger Waters - Bass, vocals, all lyrics
Richard Wright - Keyboards
Nick Mason - Percussion, tape effects

This album has probably influenced just about every single rock musician to date in some shape or form. Composed of just 10 tracks and being little over 43 minutes in length, it would eventually go on selling more than 35 million sopies since its release in 1973. Many "remastered and anniversery" albums have been made. Now onto the review. Its truly an epic!!!

Pink Floyd - The Dark Side of the Moon

1. A. Speak to Me - Nick Mason uses a unique blend of effects to ahceive a very memorable and different intro to this album. These tape effects are heard through out the album and greatly complement the greatness of the album.

1.B. Breathe - David Gilmours amazing guitar layering does this song justice and opens the album of beautifully. He uses a steel guitar on this one to acheive that sound as well as other guitars. Nick and Rogers simplistic playing helps establish a nice groove to the whole song.

2. On the Run - This instrumental tunes starts off where Breathe leaves you. This song was actually made by Wright who sped up some sythesizer notes which creates the 'spiraling" sound (hopefully you know what im talking about) Nick provides extradinary tape effects for the time. Sound effects from explosions to a man running to a laughing man are heard. The balance is important setting for this song. A great song from a great band.

3. Time - Being such an epic album Time starts where On the Run leaves you as well. The tune starts out with more tape effects that include bells, chimes, and telephones and everything in between. Then Nick Mason perfroms a nice roto-tom solo that introduces the song, perhaps the only one in rock history? This leads up to a nice song progression played by the band. David Gilmour delivers a powerful guitar solo that is unique, musical and just plain awesome. As usual the backing music just kicks and could not be more fitting. This may be one of Floyd's most reconizable songs.

4. The Great Gig in the Sky - This song was written by Richard Wright and starts with a piano intro. It starts slow but the changes as the drums come in. One of the few song where the band members dont sing. The amazing singing is done by Clare Torry whom utilazies an unbelievable series of screams. The results are just great.

5. Money - Perhaps Pink Floyd's biggest and most well known hit. It features possibly the most well known bass riff known in rock history. Starting in 7/4 you notice another great batch of tape effects from the band that contain cash registers and change dropping. It delivers a powerful message and another rockin guitar solo by David Gilmour. Also Dick Parrys saxophone playing doubles the songs appeal and just overall kicks ass. Definately a true classic.

6. Us and Them - The longest track on this cd. It starts where money ends. This song is beautiful. The paino and guitar playin complement eachother so well, not to mention the harminizing in the chorus. The echoed vocals also give this song a signature feel. Dick Parry explodes with another majestic sax solo. There is also some nice "voices" that can be heard.

7. Any Colour You Like - Another Floyd instrumental. Written by the whole band. David Gilmours guitar effects in this song go beyond anything. This song can be simply desribed and a batch of colors shining magnificently. Most definately a wonderful song.

8. Brain Damage - Wow. What can i say, Any Colour You Likes drops us off here at the 8th song of the album. This song contains probably the best lyrics on the CD, listen to them and discover for yourself. Amazing song, i cant even describe in words how great it is. Great guitar verse, nice slow drum fills.

9. Eclipse - The final song of this masterpiece. It again follows right behind Brain Damage and changes to 6/8 time. The powerful lyrics help reinforce the music. I feel that this song is the album theme. IT closes with pretty much the same way that it starts. The heartbeat intesifies the ending and the album gradually comes to a halt. (unfortunately)



This album as I said before is one of the best ever. Pink Floyd literally acheives perfection with this one. It contains meaningful lyrics, wicked guitar solos, nice piano chord progressions, and groovin bass licks. This album is most definately a 10/10 and should be bought by everyone. I highly recommend that everyone purchases this CD if you dont already have it. No one would be disappointed. Lastly, I would like to thank you for reading this review, and tell me what you think. Share your opinions on this masterpiece.