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The Flaming Lips And Stardeath And White Dwarfs With Henry Rollins And Peaches Doing Dark Side Of The Moon

3.9 out of 5 stars 37 customer reviews

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Editorial Reviews

The world's most predictably unpredictable band, The Flaming Lips, have teamed up with their Oklahoma City brethren, Stardeath And White Dwarfs to record their own unique take of Pink Floyd's 1973 classic album 'The Dark Side Of The Moon,' under the title of The Flaming Lips and Stardeath And White Dwarfs with Henry Rollins And Peaches.
The collaborative project was recorded after several weeks of both bands touring the world together and mutually citing Pink Floyd as one of their favorite bands of all time and 'The Dark Side Of the Moon' as one of their primary influences.
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Video: Breathe (Video)
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Product Details

  • Audio CD (May 4, 2010)
  • Number of Discs: 1
  • Label: Warner Bros.
  • ASIN: B003D8O8FY
  • Average Customer Review: 3.9 out of 5 stars  See all reviews (37 customer reviews)
  • Amazon Best Sellers Rank: #20,060 in Music (See Top 100 in Music)

Customer Reviews

Top Customer Reviews

Format: Audio CD
Pink Floyd's "Dark Side of the Moon" is an amazingly powerful and passionate album about the anxieties of the human race. "The Flaming Lips and Star Death and White Dwarfs with Henry Rollins and Peaches Doing Dark Side of the Moon" is something quite different. I am not blown away by the power and passion of it. I'm more impressed by its weirdness and originality than anything.

Let's start at the beginning. Pink Floyd's "Dark Side" opens with eerie sound effects and voices before easing into a mellow slide guitar tune ("Breathe") that I find very relaxing. To contrast, this album's version of "Breathe" is a loud bass-driven space-rocker, the slide guitar replaced with an array of strange, dissonent guitar noises that give the sensation of taking off in a rocketship. Interestingly, it sounds somewhat like Barrett-era Floyd.

The rest of the songs are full of weird surprises, some of which are more succesful than others. The highlight is probably The Flaming Lips' "Us and Them". While the Pink Floyd original is a dramatic epic that sounds like it has been made to fill a stadium, the version on this album has been made quiet, with Wayne Coyne sounding totally alone in a small room on the outside of which the world is collapsing. On the other hand, there's "Money", which has also been left to The Flaming Lips, who have turned it into an annoying robo-funk jam monstrocity.

This is no generic, "faithful" re-production. Some might even complain that the songs have been butchered, but I believe that so-called butchery is part of the art of making fresh interpretations of old songs. I don't want a Pink Floyd nugget with Flaming Lips sauce all over it, I want a new nugget with good cuts of both Flaming Lips AND Pink Floyd meat in it.
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Format: Audio CD
I love the Flaming Lips, and I love Pink Floyd. Knowing that Pink Floyd are a huge influence on the Lips, you'd think that Wayne Coyne & company would hit their cover version of the Floyd classic, "Dark Side Of The Moon," right out of the park. Right? Well, not exactly. The Lips' take on "Dark Side" is really sick & twisted, in both great ways AND not-so-great ways. It's a real mixed bag. On the positive side, the Lips' musicianship and studio prowess are still in top form---and if you're gonna cover this legendary Floyd album, you'd *better* be in top form---and the two standout tracks for me are the two that are most faithful to the Floyd original: "The Great Gig In The Sky" (featuring a scorching vocal turn by singer Peaches), and a totally slammin', barnburning workout of the instrumental "Any Colour You Like." And getting the one-and-only Henry Rollins to do all of the spoken-word stuff is truly inspired casting.

As for the rest of the album, which is *drastically* altered by Coyne & company from the Floyd originals...."Breathe" and "On The Run" are a little bit jarring; the soft, acoustic remake of "Time" is, sorry to say, pretty boneheaded; the electronic, punch-drunk rendering of "Money" is....amusing (I suppose), and "Us And Them", minus *both* the percussion AND the classic echo effect on the lead vocals, just kinda lies there. However, the concluding "Brain Damage" and "Eclipse" come off okay (I guess).

So, to sum up, dear reader: The Flaming Lips' reworking of Pink Floyd's "Dark Side Of The Moon" ain't gonna make you forget the classic original album, but, if nothing else, it's certainly interesting. The Lips' tribute to Floyd is well appreciated, and I'll give the Lips points for effort. Do you like the Flaming Lips and/or Pink Floyd? You do? Then go ahead and buy it. Why not.
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Format: Audio CD
I'm a huge FLAMING LIPS fan, and as far as DARK SIDE OF THE MOON goes, for someone of my Generation X vintage, the album is practically burned into my DNA. Naturally, that makes this an automatic buy for me. Normally FLAMING LIPS do a pretty good job with remakes, having heard remakes of BOHEMIAN RHAPSODY by the LIPS that sounds almost mirrorlike, and Radiohead's KNIVES OUT another excellent choice. So, what happens here? The short answer might be that the LIPS decided to take a very postmodern, psychedelic electronica, and mash it to artrock, to give this FLOYD classic a new lense to view it thru. After all, if FLAMING LIPS simply remade the album note for note, sound for sound, why even bother listening? Going into it, they must have decided to use either distortion to overwhelmed the electronic soundscape, while at times matching the late night, washed out DUB effects, for the isolation and madness, that whisper of insanity insistantly calling from the back of the skull . The LIPS brought in cool supporting characters to help with the little extras. Casting HENRY ROLLINS as the crazy man who talks deranged nonsense, works perfectly. My only question, is how and/or if these STARDEATH & WHITE DRAWFS musicians, add anything substancial to the songs they play on. Their songs have a bit more overdrive than I normally enjoy. BUT...it works, it relates to the insanity theme of the DARK SIDE album. As the lazer first hits the CD disc, SPEAK TO ME pulls you right in, with the sonic effect of heartbeats fading into Rollin's psycho talk. The listener clings to the parts of the songs that remained fixed to the original arangement, while processing thru the parts of the album where distorted electronics and mind searing guitar solos, sit on top a simple rock beat.Read more ›
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