DSOTM OVERRATED!!

this therad is just useless

I think it's one of worst famous prog albums, created to get a target: make Pink Floyd rich.

^ the term "better than" needs proper definition. I could name 10 prog metal albums that I'd prefer over DSOTM, but I would not call them "better than" DSOTM.

• Amplifier - Amplifier
• Edge of Sanity - Crimson
• Fantomas - Fantomas
• The Gathering - How to Measure a Planet?
• Heaven's Cry - Primal Power Addiction
• Pain of Salvation - Remedy Lane
• Psychotic Waltz - A Social Grace
• Symphony X - V
• Tool - Lateralus
• Devin Townsend - Terria

 

 

ldlanberg wrote: MikeEnRegalia wrote: It's a very important album. Yes, I know. If I'm not mistaken DSOTM was the first non-addicting sleep medicine.

Waaaaaaaaat!!!!!!!!

My god, r u insane?????, I use DSotM as one of my choices for pre-coitial activities.

P.S.  These 'this sucks, that sucks' kind of threads are kind of funny.... My sence of humour is warped enough to actually find it enjoyable      

Rust, I will comment on Speak to Me. Years and years ago I read from an illustrated history book on Pink Floyd (there's no way I could remember the title of the book)that Roger Waters stated "Nick Mason was not even in the f**king room when I wrote that (Speak to Me)". I don't know what's the truth on this though, but in a way I have to say that it makes sense.
Mason was often credited for sound effects and the only other composition by him I can think of from the whole Floyd catalogue is his participation on Ummagumma, which is not much of a composition either. I find it perfectly possible that Waters made this sonic collage/trailer as well, because he was the main creative force on this album and he knew what he wanted to say with it.
So, if it was only credited for Mason, but in truth also put together by Waters, it was out of pure solidarity and undoubtedly increased Mason's bank account significantly. Mason didn't receive any song writing royalties from the Floyd albums like all the other members, because... well, because he couldn't write, I suppose. Nick is known to be Roger's closest (only?) friend in the band. As for Waters later revealing he was behind this track as well, not Mason who got the credit, well... not very solidary of him anymore.
I agree that Speak to Me brings the listener in nicely. Also I am not aware of any other album beginning with a sonic collage/trailer of what is to come later on the whole piece. Whoever "wrote" it, had a perception there!
It's a good point about the b-side of the album being a variation on blues, I had never realized it that way (and still I am not sure if I agree 100 %). It's true that the chord changes are typical for blues (Waters always uses conventional chord changes, which doesn't bother me), but yet it doesn't sound like blues, which is an accomplishment in itself! (Not that I would hate blues or anything.)

If DSOTM is overrated, wher does that leave the truly appalling prog metal?

 

I don't think it is an overrated album.In its time it was a masterpiece.But for me now I find I can,t get anything more out of it.It just bore's me.I would rather listen to the more uptempo and darker lyrics of Animals.

Rust wrote: Six Eight wrote: I find DSOTM to be pretty overrated, but I'd still say it's a good four star effort. Reasons include: - "Speak to me" isn't just filler, it's overly annoying too - Outside of "Money", there's not a whole lot of variation on the second side. - I don't think any of the songs on it are 10/10 masterpieces. "Time" might be if it didn't have those annoying clocks at the start, but that's about it. EDIT: For comparison purposes, I think WYWH is worth the five star ratings it so often gets. 1. How can "Speak to me" be filler? It is perfect for setting the tone of the album and opens it up gradually. Nick Mason did this peice all by himself and it is very creative way to open the album and bring the listener in. This is rare, even in prog, that a drummer adds something to the album and not just a song. Without it the album would open up bombastically and it wouldn't nearly make as much sence since the album clearly runs in a circular pattern, opening softly and gradually getting bigger, ending big and gradually ending softly. Quite an accomplishment for a drummer if you ask me. Besides, it's only about a min. long so how can this qualify as filler? 2. The second side helps explore their blues roots in four different ways, I don't know very many bands that can play that many variations of blues on one side of an album, do you? They also variate the instruments on the second side by including Dick Perry on sax. They explore heavy blues in "Money". "Us and Them" is a great climatic, classic blues song. "Any Color" is a nice blues jam, I can see how someone might not like it, I do like it though. "Brain Damage/Eclipse" is one of the best ending to an album during that time is totally different sounding than anything on the second side, but still remains blues. None of the songs on the second side sound repetitive but are all blues. They explored many different styles of a genre unlike any other for that time, I'm preety sure that reason alone makes this album progressive. I don't think any other blues bands of that times had explored the blues genre so thoroughly.

Half of the reviews of "Fragile" on here have "Cans and Brahms", "We have heaven" and "Five percent for nothing" listed as filler. What are the official time restrictions for "filler" then?

Yeah, Speak to me is very creative. But hey, so was the second disc of Ummagumma. Doesn't make it any good.

I'd rather DSOTM opened bombastically. Since I usually skip the first track when I listen to it, it does open like that for me. I'd rather most albums opened bombastically. It works for ELP, King Crimson and the like pretty well.

I still find the second side repetitive. Not bad, but still. I never said it wasn't progressive.

Laurent wrote: Just because you don't like something doesn't mean it's overrated. Just because a piece of music isn't super complex doesn't mean it's not ambitious. I find it tiring the way some people act as if their opinion is the absolute authority on something.

Well said

Six Eight wrote: I find DSOTM to be pretty overrated, but I'd still say it's a good four star effort. Reasons include: - "Speak to me" isn't just filler, it's overly annoying too - Outside of "Money", there's not a whole lot of variation on the second side. - I don't think any of the songs on it are 10/10 masterpieces. "Time" might be if it didn't have those annoying clocks at the start, but that's about it. EDIT: For comparison purposes, I think WYWH is worth the five star ratings it so often gets.

1. How can "Speak to me" be filler? It is perfect for setting the tone of the album and opens it up gradually. Nick Mason did this peice all by himself and it is very creative way to open the album and bring the listener in. This is rare, even in prog, that a drummer adds something to the album and not just a song. Without it the album would open up bombastically and it wouldn't nearly make as much sence since the album clearly runs in a circular pattern, opening softly and gradually getting bigger, ending big and gradually ending softly. Quite an accomplishment for a drummer if you ask me. Besides, it's only about a min. long so how can this qualify as filler?

2. The second side helps explore their blues roots in four different ways, I don't know very many bands that can play that many variations of blues on one side of an album, do you? They also variate the instruments on the second side by including Dick Perry on sax. They explore heavy blues in "Money". "Us and Them" is a great climatic, classic blues song. "Any Color" is a nice blues jam, I can see how someone might not like it, I do like it though. "Brain Damage/Eclipse" is one of the best ending to an album during that time is totally different sounding than anything on the second side, but still remains blues.

None of the songs on the second side sound repetitive but are all blues. They explored many different styles of a genre unlike any other for that time, I'm preety sure that reason alone makes this album progressive. I don't think any other blues bands of that times had explored the blues genre so thoroughly.