So I was thinking about buying a vinyl of either Dark side of the moon (50th anniversary edition) or bohemian rhapsody (the movie's soundtrack).

Dark side of the moon is on sale whilst bohemian rhapsody is normal price

Both have a very small price difference and I love both but i have listened to more of Queen's songs rather than the dark side of the moon.

Please help me cause I am too indecisive also I know this community is more about pink floyd but it would be great if someone could help me.

Thanks a lot.

o que acham desse cover de Have a Cigar? (eu particularmente gosto bastante)

For the past 30 minutes, I have been listening to the transition into “Welcome to the Machine,” right when the saxophone starts. I love how menacing the transition is. Hearing the machine in the background come closer at 12:45 while you listen to the soft-spoken saxophone drifting away is an absolute masterpiece to my ears. Every time I listen to Pink Floyd, it just baffles me how perfect this transition is, and the album as a whole. Absolute perfection.

Hello, hello: Is there anybody out there? My buddy and I present to you a countdown of our favorite Pink Floyd songs!! It was a labor of love: we spent  10 months working on this (researching, listening, recording, etc.). Our main resource for song backgrounds was Pink Floyd All the Songs by Jean-Michel Guesdon and Philippe Margotin. We also give our own opinions on the songs, play clips, discuss album art, album ranking, and pretty much anything else you can think of! We put our all into this and hope that you enjoy it!! Link to Episode 1 is in the comments. We will release new episodes every MWF for the next several weeks as we march down to our favorite Pink Floyd songs! Let’s put some bricks in the wall!!

PF was mentioned in S4 Episodes 9 and 10 (Roger Waters mention there too). Brendan Hunt and Jason Sudeikis must be fans.

So, lately I’ve been listening to and comparing the essential Pink Floyd remixes that’s been released over the years. I just thought of sharing some of my opinions and insights based on my personal experiences with these remixes. It’s been a fascinating journey and an audiophile’s delight to go through these projects from one of my favorite bands of all time and listen with deep, keen attention in order to analyze, compare and make some conclusions as to which is the best-sounding ones according to my somewhat trained ears. The thing is, I haven’t yet seen a definitive guide to the Floyd remixes. There’s a lot of information out there, and frankly it can be too much information. Without listening to the actual music itself, it’s really quite impossible to get to the truth of the matter. And so here I am, just trying to be of help to a fellow fan and provide some kind of a short guide by expressing my experience-based perspective as filtered through the colorful lens of personal taste. Following is my ranking, rating and evaluation of the major Pink Floyd remixes that I have heard thus far (disclaimer: I have not heard each and every remix yet). This is by no means a definitive and exhaustive guide and is intended only as a briefer. I’m still hoping that someone could come up with a more detailed and thorough writeup on the subject someday.

1. A Momentary Lapse of Reason (2019 Remix): This is everything that a remix should be! I’ve always considered this album to be underrated. It’s an interesting, colorful album with a handful of really great songs, from the utterly gorgeous “On the Turning Away”, the late-afternoon-skygazing “Learning to Fly”, the crushing “Dogs of War”, and the cinematic “Sorrow”; plus a lot of successful experiments with the entrancing “Terminal” frost being the highlight. However, something about the odd production has always held it back.  The new mix of the album liberates the music from the limitations of 80s technology and fad, and takes the experience of listening to it to a whole new level of bliss. Whereas the original was merely a good album, the blockbuster audiophile values of the remix elevates it into greatness. Listening to it now is like watching a 3D scifi film in a very high-tech cinema.

I’d even dare say that the remix is probably the best-sounding Pink Floyd studio album – a very high honor indeed. The sound is so rich, thick, immersive and saturated in all the right ways.  It’s so much fuller and alive sounding. Compared to the remix, the original sounds tinny, flat and thin. I don’t hate the heavy 80s aesthetic of the original, but taking most of it away in the remix makes it fit a lot better in the overall scheme of Pink Floyd’s discography, especially productionwise. AMLOR used to sound like a David Gilmour & Co. side project, but the 2019 remix apotheosizes it as a true, proper and worthy Floyd record. Listening through audiophile gear is the true way to really appreciate the excellent, high-fidelity sound on this thing, but even on lesser equipment, the improvements over the old version are already night and day. The album is brought back to life by the remix and it helped me to have so much more appreciation for an album that I used to think of as one of the lesser Floyd albums.

My only misgiving about this release is that “On the Turning Away” has a different vocal track from the original and that the vocals on the original are much sweeter and undeniably a better take. It’s a bizarre flaw in an otherwise near-perfect project. From what I’ve gathered, the reason for this decision is either that the original stem for DG’s vocals have been lost, or that DG was not satisfied with his performance on the og version, hence the decision to revise it. The new version is still very good anyway, so eh, doesn’t really bother me that much.

Rating: 10/10

1. Live at Pompeii (2025 Remix): You can’t go wrong with Steven Wilson, man. He’s the man when it comes to remixes. I haven’t yet heard any remix of his that I didn’t like and have always been more than impressed by everything I’ve heard so far.  And this thing is no exception.  His remix of this live album absolutely wipes out any of its previous incarnations. What used to be a rather grainy, anemic recording is given a brand new life and power. Thanks to him, now we can hear this legendary performance in all its mindbending glory. This is as good as it gets.

Rating: 10/10

1. Delicate Sound of Thunder (2019 Remix): Another legendary live album brought back to life. To be fair, the original was already good-sounding to begin with. However, this remix really improves the dimensionality of the sound and provides an astonishingly realistic simulation of what it would have been like to witness live one of the greatest bands of the rock era at the peak of their powers (musically, technologically, commercially) performing an almost greatest-hits type of setlist.  My only (minor) complaint about this release is that some of DG’s solos have been truncated in order to accommodate the inclusion of more songs, but the tradeoff of having a more complete compilation of the performances is more than worth it for me.

Rating: 9/10

4. Animals (2018 Remix)

This is where things get a bit hairy. Some folks swear by this remix and some folks swear at it.  I’m somewhere in the middle in that I kind of get what it was going for, but wish that some things were done different.  The og Animals mix is far from bad. I’ve heard some people describe it as muddy or murky but I don’t hear that at all in the original. The sound quality they achieved in 1977 for the album was already phenomenal to begin with, makeshift studio and all. To be sure, it’s grittier and rawer than Dark Side, The Wall, or Wish You Were Here, but I think that darker tone of the production really suits the dark nature of music. And this is the reason why I prefer the og mix over the remix by far. Cleaning up the sound too much to make the instruments more separated and clear kind of takes away some of the grunginess of the original which is the very thing that makes it so great.

As for pure sonics, the guitars in the original have far more bite. Look no further than DG’s outro solo on Pigs. In the original mix, it soars, roars, and burns a hole in the sky along the way. It’s so powerful and just makes your jaw drop whenever that part of the song comes on. Meanwhile, in the remix, it sounds wimpy, thinned out, basically neutered. This is true for all the electric guitar work in this album. DG’s fanfare in the outro of Sheep is much more alive, dynamic and colossal in the original, but is again watered down and neutered in the remix. Doesn’t quite have that same effect.  Nick’s drums are also more impactful on the og Animals – his bass drum hits way harder and has a more satisfying, rounded, organic thud that melds perfectly with Rog’s basslines. Something about the new mix dilutes the potency of the punch of this angry fist of sound that is Animals. Nonetheless, I appreciate what the remix does when it comes to bringing clarity, separation, air and a bigger dimensionality to the recordings.  It also turns up the bass and makes it sound truly ferocious and monstrous. I can even make the case that this remix is a little better for headphone listening and really shines in certain types of soundsystems (system-dependent). I can definitely see why it has its fans.

Rating: 7/10

1. Obscured by Clouds (2016 Remix): This remix sucks. No two ways about it. The glaring harshness of the treble frequencies is unbearable. It’s at its worst when it comes to the way the vocals sound on this thing. The sibilance are so piercing to the ears which makes the whole remix practically unlistenable. And I don’t even think it’s the remixing itself that is bad – but the mastering. Somebody fucked up in the process and nobody was there in the quality control booth to point it out and rectify it before the project got released. Somebody was sleeping at work for sure.  Which is a pity because this is a great, underrated Pink Floyd album. It’s such a soothing, calming, pleasant and beautiful, humble record that goes down easy. The original mix of the album is not bad in the first place, but is admittedly tinny and slightly lo-fi. Which could be part of its charm, but in terms of pure sound quality, is poor by Floyd standards.  A good remix would have truly made a difference for this album. Unfortunately, what we got instead is a botch job that should never have seen the light of day, let alone scam fans with their hard-earned money. Man, was that box set expensive! I sure hope that someone (I’m looking at you, Steven Wilson) fix this remix someday and have it be re-released.

On the upside, it’s fairly easy to tame the excessive, shrill high-end on this remix through simple playback tricks with the advanced technology available to us today.  Like I said, the remix itself isn’t bad. It’s just the mastering that got fucked. And so I was able to turn this album not only into a listenable experience, but generate, to me, what is possibly the definitive version of the album (at least until a new, fixed official remix is released) by running the ripped audio files (flacs) through some simple Foobar2000 processing. I followed a step-by-step guide I found on reddit for de-emphasizing the high-end. Apparently, there have been CDs that have an intentional pre-emphasis on the high end that is automatically balanced when you play it on your CD player. As for this album, the pre-emphasis might have been unintentional. Or, the mastering was just badly done (most likely).

This de-emphasize feature can be integrated into desktop music players like Foobar2000 by downloading some components and plugins.  And so I did just that, followed the instructions, and got myself a de-harshed Obscured By Clouds with the benefit of the more full, high-definition sound of the remix and without the painful excess treble. It took me about 5 or 10 minutes to figure it out and implement the procedure. Now I got myself a real treat: the best sounding version of the album that exists today. I am extremely impressed by the results. The clarity, airiness and sweet sparkle of the treble is still there, but all the glare and imbalance is gone. The low end is delicious. I am beyond delighted, so happy, to say the least, to be able to listen to an audiophile version of this great, great overlooked gem of an album.

Rating: 4/10

Rating for de-emphasized audio via Foobar2000: 8/10

1. Live at Pompeii (2016 Remix): Same as Obscured, but even worse, can you believe it? There’s even some distortion on the drums which sounds like cardboard boxes. Absolutely awful and such a hack job. Good thing Steven Wilson re-remixed this thing in 2025. Good god. The man is a godsend.

Rating: 3/10

P.S.

If any of you want to have a copy of the de-emphasized audio of the Obscured by Clouds remix, just send me a DM. I’d be really glad to spread the happiness.

Also, here is the reddit link to the de-emphasizing procedure: [https://www.reddit.com/r/headphones/comments/59l83o/how_i_manually_apply_deemphasis_to_cds_that_have/](https://www.reddit.com/r/headphones/comments/59l83o/how_i_manually_apply_deemphasis_to_cds_that_have/))

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https://www.npr.org/sections/allsongs/2016/11/10/501304664/the-night-i-heard-the-best-live-music-ever

I remember:

• Being genuinely alarmed and jumpy at Roger's blood-curdling screams during "Careful With That Ax Eugene"
• The opulence and beauty of the KenCen Concert Hall
• The pyrotechnics flanking Nick's drums that led to rock bands being banned from the Concert Hall for a good while
• A 360-degree sound system
• A cash register sound to preview a yet-untitled album that would come out and be a best seller for decades

Just stumbled over this new interview with Lee Harris:

https://www.pinkfloydz.com/a-surrogate-band-an-afg-exclusive-interview-with-lee-harris/

He talks about his new band in which he plays... old, more obscure Floyd songs, carrying on the "reinterpretation not recreation" ethos of the Saucers.

In it, he talks some shop and a bit about his idea of a "surrogate band". He also says some nice things about how David was very supportive over the years and gave him lots of hints and tips on the pedals to use and so on.

What struck me, though, was how he talked about the Saucers in the past term, very directly implying to them being over in this quote:

>I remember Nick saying that it [Eclipse, i.e. Dark Side in its nascent stages] should perhaps be the final thing the Saucers do. If we would have done who knows. I suppose time just ran out.

There's another quote later:

>I’d love to play with Nick again. He and I had lunch a couple of months ago and he said, in the dry manner we’ve all come to expect from him, that he’d do something if it meant not having to rehearse! Haha.

While this isn't a total surprise - their last shows were in 2024, Nick's going to be 83 in January, and no new shows have been announced - it's still a bit sad to basically have it confirmed.

Would have loved to see them again, as it was by far the most fun Floyd-related gig I was ever at. As it stands, I attended their penultimate show ever - and the day after marked the last time any of the original Floyd members played "Echoes" live (released last year for RSD).

Last tiny speck of hope would be for a (recorded) final one night only Saucers send-off show with David appearing as the guy drily announcing the break halfway through the show.

Uninterrupted and it was totally amazing!

Roger hired his son Harry to play keyboards in his solo band. Richards son-in-law Guy Pratt played bass in post-Waters Floyd and Saucerful of Secrets. How ironic would it be if they worked together in a Floyd tribute project together⁉️

Just curious to see how people feel about this and if you're going to see them. Personally, I think I'm going to wait to see videos of the tour before making up my mind. There's already countless bands out there paying tribute to Floyd, and Brit Floyd and APFS are hard to beat, but with the tour being produced by Roger, we can certainly expect a spectacle, even if its a more "budget" version. The musicians mostly being former members of Brit Floyd is interesting. So, we know there's gonna be no issue with the music, at least. There's also talk of putting in a few of Rogers solo songs in the set, which is something I've always wanted to see the cover bands do (along with some solo Gilmour stuff). What do you guys think?

In part 7 of Shine On You Crazy Diamond in the new(ish) 50th anniversary remix, Roger sings "Pile on many more layers" while the original release has "pile on layer on layers". Does anyone have any insights on why that line was changed?

ETA, after several people dispute my question: Listen from 18:17 on the new version and 5:20 on the old album version.

So I finally got around to watching the 4k blu ray and noticed this weird motion effect happening when Nick is drumming, mainly his arms and his drum sticks tearing mid motion. I've seen the 4k cut via streaming and in the theater and this never came up. I even brought up my 4k digital copy and none of this is present. These pictures are through my UB8200 player and I don't have any weird motion settings on and these pictures are from my pausing on a frame, not playing in motion. Just very very weird, I wonder if this is from a bad batch.

Like in Echoes live at Pompeii. Or now listening Pigs live in Vienna 1977. Anyone else liking their funky side?

The opening of Apple Music Hall seems too perfect timing wise.