Any Colour You Like C/D

https://e.snmc.io/i/1200/s/eaadd2f725e634f91070aeb2497dced7/4473312

is it the weakest track on TDSOTM . . . or low-key the best?

It's the best track on side B, followed by easily the worst track on the LP, Brain Damage.

madness

(i love it, however)

My favorite track, yes.

worst track is "great gig in the sky" surely

that's going from memory tho, i have not been exposed to that album in a coon's age

Claire Torry is magnificent in Great Gig In The Sky. I like all of side A, then on side B Money is good (though doesn't really fit) then the rest just feels like treading water apart from Any Colour You Like.

nah Money is the worst, I always skip that one

money for me too

Yes, I don't like the album that much anyway but "Money" is dreary as fuck.

"Any Colour You Like" is basically the intro of the live version of "Embryo" stretched out for three minutes. Nice keyboards and guitar though.

Money is always annoying when it starts but when it gets to the instrumental parts I'm sold again.

The i - IV progression on this is the fulfillment of the same chord changes used in "Breathe" and its reprise and "Great Gig in the Sky", which is why it fits where it does in the running order.
Interesting that I can't recall Wright playing another solo with a delay effect, given that it works so well here.

the i-V repetition of "any colour you like" sets up the I-IV motif in "brain damage" to feel even more deranged

*i-IV in "any colour"

Yeah, D minor (or Dorian) to D major!

I first heard this on the b-side of the "Money" 45 so I might think of it as its own thing more than most do.

i feel like the extent to which DSOTM is a "hey, we got a synthesizer" record is overlooked. i mean _obscured by clouds_ is like that too, but the sessions for DSOTM took place during that same time period. i think it's one of the things that makes DSOTM a great record - that sense of space and that sense of, like, jamming. not that the songs are tight and compact. having it follow directly on from "us and them" - i can see the argument that it developed from the live intro to "embryo"... which they premiered in their live set the same month as "the violence sequence", the basis for "us and them"... and then the song before "us and them", the 4/4 section is clearly derived from another live piece from around the same time often referred to as "corrosion", also appearing as "moonhead"... so there is a sense in which it's "hey, let's take a bunch of our old experimental jams and put them in a blender". but it's _better_ than those old experimental jams, is the thing, and i'm saying that as someone who fucking _loves_ the old experimental jams. like, when floyd took the "seagull" bit of "echoes" from the mid-section of the live "embryo", i love that section but do i think it improves "echoes"? not really, no.

whereas with the jammy bits on DSOTM, yes, i _do_ think the album is improved by them. it gives the album a sense of breathing room, of space, of flow, of not having to listen to roger waters sing lists off-key at us for a couple minutes. i mean don't get me wrong, they're great lists, the best lists, but it's nice to have a break.

in the context of the album, i'd honestly put it in about the same place as "shine on" part 8. that comparison puts me even more in favor of "any colour you like". i mean, would you prefer a clavinet jam? i mean, i _like_ shine on part 8, but these guys are faking the funk and i fucking well know it. it's not any worse than their attempt to play in seven, at least (two members of the band can play in seven, and neither of them are in the rhythm section).

last week i was talking to friends about the matrix (which, it turns out, i saw for the first time last thursday) as "perfectly imperfect" - a film which is deeply flawed, but one which i can't imagine changing, one where its flaws are essential to making it the work it is. the flaws root it in a particular place, time, context, i'd say. for "the matrix", that's "a 1999 blockbuster cyberpunk film made by two people with gender shit who don't _think_ the film they're making has anything to do with their gender shit", and for "dark side of the moon", that's "a 1973 prog-rock concept album by a band who just got a synthesizer" - things that are clearly "flaws" now don't feel like that looked at through the context of its creation.

i don't say that as an excuse or a defense - i don't like listening to "dark side of the moon" as much as i do most of floyd's other stuff. i genuinely prefer work that's imperfectly imperfect, work that's less... monumental. dark side of the moon, though, i do see that as a monument, a work the band labored over long and hard. i think of all pink floyd's work, it comes closest to being exactly what they intended it to be. it's a triumph. that's a begrudging recognition on my part. i'm not really into that sort of shit.

can also think of those i-IV progressions as ii-Vs

these guys are faking the funk

Though George Clinton loved A Saucerful of Secrets!

I'm trying to decide if I feel that way about the (relatively) uptempo tracks on Wet Dream.

can also think of those i-IV progressions as ii-Vs

Yes, "Great Gig" at one point goes Gm - C7 - Fmaj7.

https://tenor.com/Tsdi.gif

That's a very basic progression, but in the other songs it seems more like i - IV.

It's also unusual how the song starts and returns to B minor but mostly features this F major progression.

Though George Clinton loved A Saucerful of Secrets!

― Halfway there but for you

ok i now want to hear a funk arrangement of "celestial voices"

Realized yesterday that the long rhythmic jam in "Echoes" features the organ and guitars soloing in Dorian mode, maybe another precursor to this piece.

i feel like the extent to which DSOTM is a "hey, we got a synthesizer" record is overlooked.

Relevant trivia: I think DSOTM is the only Floyd album to not have an acoustic guitar on it somewhere.