Pink Floyd Dark Side Of The Moon Immersion Rare
Pink Floyd Dark Side Of The Moon Immersion Rare

The Dark Side Of The Moon digitally remastered by James Guthrie 2011. DISC 2 – CD 2: The Dark Side Of The Moon performed live at Wembley in 1974 (2011 Mix and previously unreleased) DISC 3 – DVD 1, ALL AUDIO: - The Dark Side Of The Moon, James Guthrie 2003 5.1 Surround Mix (previously released only on SACD) in standard resolution audio at. View credits, reviews, tracks and shop for the 2011 Blu-ray-R release of The Dark Side Of The Moon (Immersion Box Set - Disc 5 - Blu-ray) on Discogs.

Dark Side of the Box Set

The Immersion Box Set of Pink Floyd's remastered 'Dark Side of the Moon' has been stirring up the frenzied Floyd fanatics and is certainly an incredible treasure for those who can afford it, costing a cool $150 in some Australian stores. The packaging alone is worth consideration. It comes in an attractive album sized box with the multi prism effect emblazoned on the cover just to prove that this is something special. Inside the box is a treasure trove of DSOTM goodies ranging from essential (artwork booklet) to the plain ridiculous (bag of 3 marbles with early designs). The marbles are perhaps the reason this comes with a 14+ choking hazard warning, a weird thing to have on a box set. There is a massive book edited by Jill Furmanovsky and is 20 pages of brilliant colour art. The art print that goes with it is worth framing, created by Roy Lichtenstein. There is also a huge perfect- bound 40 page photo booklet designed by Storm. The album sized booklet is a massive tribute to the making of the album with huge artworks of all the variations of the pyramid design and of course lots of 70s era Pink Floyd photos and info on how this thing was created. 9 exclusive coasters come with this featuring early Storm designs. All of the Discs are repackaged CD covers with similar labels making this look like one almighty mammoth collection. The other features contained in little black envelopes, are 5 collector cards with art and comments by Storm, (one has a little horse on a bald head, and another with a swimmer in the sand), a replica ticket, 12 page credits booklet, a scarf and facsimile backstage pass. One interesting piece is the 'questions for assorted lunatics' an envelope with replica of Water's writing about the questions asked to various recipients for narration. He finishes his writing with 'End of story', so I guess this really is the end.

The Storm Thorgerson designed book deserves some attention at this stage. 27cm each side it looks like an album and is gloriously illustrated. There are photos of pyramids, and prisms galore. The newspaper clippings and inspirations such as Silver Surfer are a nice touch. All the album covers are reproduced in album size and the lyrics are here with similar design background to the remastered DSOTM released years ago except everything is upsized. There is a delightful spread of about 30 variations on the pyramid design. It is not volumous, one could read it easily by the time the final heartbeat dies down and the album ends, but it is nice eye candy to go with the ear candy. The other book is the same size with the famous face palm cover, and works as a kind of 1974 tour program with heaps of photos, some rare and unseen, little to no info at all, and many concert pix to go with the studio pix.

Onto the music which consists of 3 CDs and 2 DVDs and a Blu-ray. Disc 1 is the remastered original album and as always it is a wonderful musical feast. I did not notice huge differences in the music but the sound tends to be clearer then the SACD 2003 edition and noticeably you can hear instruments mixed to the front in places and the narrative voices are more distinct. This is the way to hear DSOTM no doubt and of course this version is now available as a single album if one cannot afford the lavish box set. It is a brilliant album that every prog lover should own, but I was more looking forward to the other CDs with music I had never heard.

Disc 2 is a previously unreleased live Wembley performance from 1974 and it is always a treat hearing the band when they were gaining popularity and were still rough about the edges. This is the same performance found on CD2 of 'DSOTM Experience Edition'.

'Breathe' has a lengthy intro with all sorts of voices, similar to the version on 'Pulse' DVD. Gilmour is a solo voice without the heavy emphasis on harmony so this is very raw. 'On the Run' is similar to the album but a pronounced announcer voice makes a change. The footsteps are quite loud and Wright has a field day on the synth. There is an elongated section before we hear the first laugh. The boom crash sounds are very effective and menacing. The plane fly overs are mixed to the front and exude a spacey atmosphere. The dark overtones of mechanized groans, propellers and swishes add to a cacophony of explosive effects. The cataclysm lasts for quite a while, roaring with the foosteps fading back in. the crowd cheer after being stunned out of their minds then there is a sudden paroxysm of bells and chimes, the way we would all recognize. 'Time' begins with signature guitar notes and sporadic percussion trade offs. The feel is different here noticeably the way the drums keep a consistent rhythm of triplets. Gilmour's voice is younger so he sounds different in the high register than on recent performances. Waters also sings the low part along with him. It is nice to hear Wright sing the chorus part back in the 70s. The lead solo is excellent as always and quite different than how Gilmour played it in the 'Division Bell' era.

Now onto 'The Great Gig in the Sky' and the part I always look forward to is to hear the ladies pound out that soulful wailing vocal solo. I was disappointed. I know I shouldn't be as this was the era when the band were at their best. However the melody is really strangled out of recognition here. There is a lot of moaning and raspy cries but it loses it's beauty for me. The ladies, Vanessa and Carlena, are not worried about the original version at all and seem to be improvising vocals as the mood hits them. They don't take turns either doing the sections one at a time, as there are noticeably two ladies singing the first part. They scream and wail a lot but it is nothing like the versions you would be used to available on DVD. At one point one lady sounds like she is giving childbirth. It appears that back in the 70s the band were not really interested in presenting a soundalike album representation of this but that changed over the years. The crowd are silent really during the breaks which again is unlike how it ended up in the more recent years. The second quieter section is still beautiful and mesmirising. One lady sings high parts and the other is on the low end. It is effective but still not as magical as more recent versions. The last bit is satisfactory, though quite raspy and strained, the ladies trade off each other but they are not singing as well as one might expect. I thought it was still moving in some ways, but I am so used to hearing this section done at least similar to the original album so that this was a real letdown. It seemed to go on too long as well, the ladies improvise for quite some time in the end section but I like the way the money starts to chink during this, building to the next track.

'Money' follows and it is a showstopper as always. The riff is great with Waters and Gilmour at their best. Gilmour is more aggressive on vocals in this performance. The guitar solo is masterful, Gilmour really shines and improvises many licks I had not hear him play before. The crowd show appreciation during this section that is quite lengthy. The girls don't do their 'woo's' here either which was an improvement. The real difference in the music is the absence of sax and pronounced female vocals. You hear them mixed to the back which works okay. It is great just to hear Gilmour jamming eloquent with the boys. It segues back to the main riff beautifully with a variation in style. Gilmour also doesn't emphasize the falsetto 'away' as he tended to do in later years. The narrative voice comes in and I like the words 'he was cruising for a bruisin' spoken by a female protagonist. It blends into 'Us and Them'.

The version of 'Us and Them' begins with a similar feel, a soft jazzy say resounds and Wright plays subtle chords on organ. The sung parts are analogous to the original except the echoes are

Pink Floyd Dark Side Of The Moon Immersion Rar