Pink Floyd Dark Side Of The Moon Download Zip

Have you ever wondered what Dark Side of the Moon would sound like if Pink Floyd had written it for NES, instead of for a rock band?

FAQ:

• What is this?

  This is a transcription of the entire Pink Floyd album Dark Side of the Moon for the Nintendo Entertainment System. No expansion chips were used; this album works entirely within the limitations of the standard North American NES.

• How did you make this?

  I used three free programs to create this music.

  First and foremost, Famitracker, which was used to sequence the whole thing. Huge thanks for Famitracker.

  The sound was rendered with NSFPlay.

  Final editing was done with Audacity.

• How long did it take?

  It's hard to say, because it was spread out over a very long time. Probably more than 100 hours.

  I started it back in December of 2006. I worked really hard for a couple weeks then, but only got about halfway through the album, so I kept it on the shelf. At that point I started a new job, and I got into a procrastinating mode about it, and I didn't really touch it for a very long time. In February 2010, I got back into it, working a little at a time, and by the end of March it was finally done.

• Why did you do this?

  This was a combination of several things that I enjoy.

  I have an interest in old game hardware, and part of that is the enjoyment of its music. I also like the challenge of making something large fit into a small space. In this case, the small space is the limited sound capabilities of the NES. I like to make transcriptions and arrangements of music. By taking a piece of music and rewriting it for a new instrument or ensemble, I feel like I gain a deeper relationship with it. It becomes more enjoyable, more memorable, and it's always a good lesson in composition.

  I am attracted to old video game music, not just because I appreciate the difficulty in working with such a limited means, but I think composers were forced to find a unique style because of how constrained their available palette is. Of course, sometimes composers fail under these constraints, and you end up with boring music, but when it's done well you can get something really interesting.

  Familiarity I think is one of the basic aesthetic elements that can produce a pleasurable response. A lot of people grew up playing NES games, and the sound of a NES has a deep bank of memories to draw upon and colour the experience. Drawing out these memories and comparing them against something different, something separate, like Pink Floyd, maybe causes your brain to scramble to make new connections between them. Like a joke, it makes the right connection, and you laugh, you feel pleasure. At least, that's a little bit of how I think aesthetics works.

• Why Dark Side of the Moon?

  Dark Side of the Moon as an album has been around me all my life. It's one that I've talked about and listened to with many different friends, and people of different ages.

There are a lot of albums I really love, but of my favourites this one I think is the most widely appreciated. I wanted to make something that a lot of people could understand, and Dark Side of the Moon seemed like a good option.

This is a transcription of the entire Pink Floyd album Dark Side of the Moon for the Nintendo Entertainment System. No expansion chips were used; this album works entirely within the limitations of the standard North American NES. The Dark Side of the Moon: An Astronomical Success. Pink Floyd's ground-breaking album The Dark Side of the Moon was the result of a long creative process that began around 1968. A Saucerful of Secrets (the main track from the eponymous album) was, for Nick Mason at least, where it all began. Click download file button or Copy dark side of the moon zip URL which shown in textarea when you clicked file title, and paste it into your browsers address bar. If file is multipart don't forget to check all parts before downloading! Stream The Dark Side Of The Moon, a playlist by Pink Floyd from desktop or your mobile device. Addeddate 2020-12-04 18:43:37 Identifier pink-floyd-the-dark-side-of-the-moon-mp3 Scanner Internet Archive HTML5 Uploader 1.6.4.

If you have questions or comments, please e-mail me.

Pink Floyd – Studio Albums (1967 – 1994) {Non-Remastered}
EAC Rip | FLAC Image + Cue + Log | Full Scans @600 dpi, JPG, Included
Total Size: 17 GB | 3% RAR Recovery
Label: Various | Genre: Progressive Rock, Psychedelic Rock

Some bands turn into shorthand for a certain sound or style, and Pink Floyd belongs among that elite group. The very name connotes something specific: an elastic, echoing, mind-bending sound that evokes the chasms of space. Pink Floyd grounded that limitless sound with exacting explorations of mundane matters of ego, mind, memory, and heart, touching upon madness, alienation, narcissism, and society on their concept albums of the '70s. Of these concept albums, Dark Side of the Moon resonated strongest, earning new audiences year after year, decade after decade, and its longevity makes sense. That 1973 concept album distilled the wild psychedelia of their early years — that brief, heady period when they were fronted by Syd Barrett — into a slow, sculpted, widescreen epic masterminded by Roger Waters, the bassist who was the band's de facto leader in the '70s. Waters fueled the band's golden years, conceiving such epics as Wish You Were Here and The Wall, but the band survived his departure in the '80s, with guitarist David Gilmour stepping to the forefront on A Momentary Lapse of Reason and The Division Bell. Throughout the years, drummer Nick Mason and keyboardist Rick Wright appeared in some capacity, and the band's sonic signature was always evident: a wide, expansive sound that was instantly recognizable as their own, yet was adopted by all manner of bands, from guitar-worshipping metal-heads to freaky, hippie, ambient electronic duos. Unlike almost any of their peers, Pink Floyd played to both sides of the aisle: they were rooted in the blues but their heart belonged to the future, a dichotomy that made them a quintessentially modern 20th century band.

Reviewed by Allmusic

Additional info:
• More Biographical, Career & Discography info

Disc List:

1967. The Piper at the Gates of Dawn (1987, EMI, CDP 7 46384 2, 1st UK)
1967. The Piper at the Gates of Dawn (1987, EMI, CDP 7 46384 2, 2nd UK)
1967. The Piper at the Gates of Dawn (1988, Toshiba-EMI, CP32-5269, 2nd Japan)

1968. A Saucerful Of Secrets (1987, EMI, CDP 7 46383 2, 1st UK)
1968. A Saucerful Of Secrets (1987, Toshiba-EMI, CP32-5272, 1st Japan)
1968. A Saucerful Of Secrets (1988, Toshiba-EMI, CP32-5272, 3rd Japan)

Pink Floyd Dark Side Of The Moon Download Zip Files

1969. More (1987, Capitol, CDP 7 46386 2, 1st USA)
1969. More (1987, Capitol, CDP 7 46386 2, 2nd USA)
1969. More (1988, Toshiba-EMI, CP32-5273, 2nd Japan)
1969. More (198_, EMI, CDP 7 46386 2, 1st W.Germany)

1969. Ummagumma (1988, Toshiba-EMI, CP28-5270-71, 2nd Japan, 2CD)
1969. Ummagumma (1989, Capitol, CDPB 7 46404 2, 3rd USA, 2CD)
1969. Ummagumma (198_, EMI, CDS 7 46404 8, 1st W.Germany, 2CD)

1970. Atom Heart Mother (1987, Capitol, CDP 7 46381 2, 1st USA)
1970. Atom Heart Mother (1987, Toshiba-EMI, CP32-5274, 1st Japan)
1970. Atom Heart Mother (198_, EMI, CDP 7 46381 2, 1st UK)
1970. Atom Heart Mother (198_, EMI, CDP 7 46381 2, 1st W.Germany)

1971. Meddle (1985, Toshiba-EMI, CP32-5032, 1st Japan, Black Triangle Ed.)
1971. Meddle (1986, Harvest, CDP 7 46034 2, 1st UK, Black Label Ed.)
1971. Meddle (1987, Harvest, CDP 7 46034 2, 3rd UK)

1972. Obscured by Clouds (1988, Toshiba-EMI, CP32-5275, 2nd Japan)
1972. Obscured by Clouds (198_, Capitol, C2 46385, 1st Canada)
1972. Obscured by Clouds (198_, EMI, CDP 7 46385 2, 1st W.Germany)
1972. Obscured by Clouds (198_, EMI, CDP 7 46385 2, Holland)

1973. The Dark Side Of The Moon (1983, Toshiba-EMI, CP35-3017, 1st Japan, Black Triangle Ed., Pre-emphasis)
1973. The Dark Side Of The Moon (1984, Harvest, CDP 7 46001 2, 1st UK, Black Label Ed., Pre-emphasis)
1973. The Dark Side Of The Moon (1986, Capitol, CDP 7 46001 2, 6th USA)
1973. The Dark Side Of The Moon (1986, Harvest, CDP 7 46001 2, 5th UK)
1973. The Dark Side Of The Moon (1986, Toshiba-EMI, CP35-3017, 3rd Japan, Black Triangle Ed.)
1973. The Dark Side Of The Moon (1987, Capitol, CDP 7 46001 2, 15th USA)

1975. Wish You Were Here (1983, CBS Sony, 35DP-4, 2nd Japan, Pre-emphasis)
1975. Wish You Were Here (1984, CBS, CK 33453, 3rd USA)
1975. Wish You Were Here (1984, Harvest, CDP 7 46035 2, 1st UK)
1975. Wish You Were Here (1985, CBS Sony, 32DP-359, 3rd Japan)
1975. Wish You Were Here (1987, Harvest, CDP 7 46035 2, 6th UK)

1977. Animals (1985, CBS Sony, 32DP-360, 1st Japan)
1977. Animals (1985, CBS, CDCBS 81861, 3rd Australia)
1977. Animals (1986, Harvest, CDP 7 46128 2, 1st UK)
1977. Animals (198_ Columbia, CK-34474, 3rd Canada)

1979. The Wall (1984, Harvest, CDP 7 46036 8, 1st UK, Black Label Ed., 2CD)
1979. The Wall (1985, CBS Sony, 50DP 361-62, 1st Japan, 2CD, Pre-emphasis)
1979. The Wall (1985, Harvest, CDP 7 46036 8, 2nd W.Germany, Black Label Ed., 2CD)
1979. The Wall (1987, Harvest, CDS 7 46036 8, 4th UK, 2CD)
1979. The Wall (198_, Columbia, C2K-36183, 3rd Canada, Black Label Ed., 2CD)

Dark Side Of The Moon Album

1983. The Final Cut (1983, CBS Sony, 35DP-53, 1st Japan, Pre-emphasis)
1983. The Final Cut (1984, Harvest, CDP 7 46129 2, 1st UK)
1983. The Final Cut (1985, CBS Sony, 32DP-364, 2nd Japan)
1983. The Final Cut (1985, CBS, CK 38243, 3rd USA)
1983. The Final Cut (1985, CBS, CK 38243, 4th USA)
1983. The Final Cut (1986, Harvest, CDP 7 46129 2, 2nd UK)

1987. A Momentary Lapse Of Reason (1987, CBS Sony, 32DP 820, 1st Japan)
1987. A Momentary Lapse Of Reason (1987, EMI, CDP 7 48068 2, 1st UK)
1987. A Momentary Lapse Of Reason (198_, CBS, CDCBS460188 2, 1st Austria)
1987. A Momentary Lapse Of Reason (198_, CDP 7 48068 2, 1st Germany)

1994. The Division Bell (1994, EMI, 7243 8 28984 2 9, 1st EU)
1994. The Division Bell (1994, Sony, SRCS 7324, 1st Japan)

FAQ:

• What is this?

  This is a transcription of the entire Pink Floyd album Dark Side of the Moon for the Nintendo Entertainment System. No expansion chips were used; this album works entirely within the limitations of the standard North American NES.

• How did you make this?

  I used three free programs to create this music.

  First and foremost, Famitracker, which was used to sequence the whole thing. Huge thanks for Famitracker.

  The sound was rendered with NSFPlay.

  Final editing was done with Audacity.

• How long did it take?

  It's hard to say, because it was spread out over a very long time. Probably more than 100 hours.

  I started it back in December of 2006. I worked really hard for a couple weeks then, but only got about halfway through the album, so I kept it on the shelf. At that point I started a new job, and I got into a procrastinating mode about it, and I didn't really touch it for a very long time. In February 2010, I got back into it, working a little at a time, and by the end of March it was finally done.

• Why did you do this?

  This was a combination of several things that I enjoy.

  I have an interest in old game hardware, and part of that is the enjoyment of its music. I also like the challenge of making something large fit into a small space. In this case, the small space is the limited sound capabilities of the NES. I like to make transcriptions and arrangements of music. By taking a piece of music and rewriting it for a new instrument or ensemble, I feel like I gain a deeper relationship with it. It becomes more enjoyable, more memorable, and it's always a good lesson in composition.

  I am attracted to old video game music, not just because I appreciate the difficulty in working with such a limited means, but I think composers were forced to find a unique style because of how constrained their available palette is. Of course, sometimes composers fail under these constraints, and you end up with boring music, but when it's done well you can get something really interesting.

  Familiarity I think is one of the basic aesthetic elements that can produce a pleasurable response. A lot of people grew up playing NES games, and the sound of a NES has a deep bank of memories to draw upon and colour the experience. Drawing out these memories and comparing them against something different, something separate, like Pink Floyd, maybe causes your brain to scramble to make new connections between them. Like a joke, it makes the right connection, and you laugh, you feel pleasure. At least, that's a little bit of how I think aesthetics works.

• Why Dark Side of the Moon?

  Dark Side of the Moon as an album has been around me all my life. It's one that I've talked about and listened to with many different friends, and people of different ages.

  There are a lot of albums I really love, but of my favourites this one I think is the most widely appreciated. I wanted to make something that a lot of people could understand, and Dark Side of the Moon seemed like a good option.

• Is this a joke?

  Well.. a little. When I first started working on it, I thought I'd probably put it on at a party or something just to get a confused reaction out of people.

  It's only partly a joke though. I spend a lot of time listening to old game soundtracks, and I do find them fully aesthetically satisfying. The concept of MOON8 is a bit funny, but that joke is over pretty quickly. This is a cover. This is me presenting Dark Side of the Moon in a way I hadn't heard it before, and in a way I think is actually beautiful and worth sharing.

• What inspired you to do this?

  When Kind of Bloop came out, and it's a fantastic album by the way, it reminded me that I had my own chiptune album still sitting half finished on the shelf. I think that project spurred me on a little.

  As I said above, sometimes you get very unique art by working within a limited means. A few years back I read Christian Bök's book of poetry, Eunoia, which dealt with a very arbitrary and limiting set of constraints, and it was exciting and inspiring to read.

  My favourite video game composer is Hiroki Kikuta. I first heard his music in Secret of Mana, which is my favourite game soundtrack. My second favourite is Pierre-Eric Loriaux's Atari ST Toki soundtrack. I've always been impressed by the unified theme that carries through all of Koji Kondo's Super Mario World (also check out Shnabubula's incredible remix). Shinobi III on the Genesis has a unique sound, and it pushes the hardware hard, using both the Yamaha FM chip and the old TI chip from the Master System at the same time. Tim Follin's Solstice on the NES is another one that really went to the limit of what could be done with that system. Actraiser 2 had the probably the best orchestral sound on the SNES. Rob Hubbard's One Man and His Droid, Ryoji Yoshitomi's Metroid II.. I should stop this list before it gets too long.

• Which parts were easy? Which were hard?

  Sometimes it is hard to represent the sound with just three tonal instruments to play with.

  Things like the guitar solos were usually easy; all I really needed to keep was a bassline, and put the solo in one of the pulse channels, leaving me with an extra channel for an echo effect.

  Other times, I really want to get a chord sound, but I don't have channels to spare, so I try to cram it into one channel with a really fast arpeggio, i.e. if I play all the notes in the chord really fast it's almost like you're hearing them together. This effect was more typical in home computer game music, like the Commodore 64, but the NES could do it too.

  Still other times, the original album is just really dense with tones, like with the organ echoes in Any Colour You Like. In these cases I try to pick out the more salient sounds and just give an impression of the rest.

  A lot of the expression you can get from layered sounds was completely untranslatable. Eclipse, for instance, has a long build-up where each individual part is not very complicated, but the overall effect as many of them accumulate is a rich and complex sound.

  There's a weird moment in Any Colour You Like, after the opening passage on the organ, I was trying to represent the stereo hocket between the two guitars, and I had to do it with mono sound. What came of the attempt sounds very strange to me. It's a musical passage I would never ever have thought to write, but at the same time I really liked it.

  When transcribing the drums and bass especially, I noticed that Waters and Mason hardly ever play a pattern the same way twice. This is actually common in a lot of music, but it's not something that you really notice until you start writing down every note you hear. It kind of reveals what part of the composition was premeditated, and what parts belonged to the moment. With video game music, though, everything must be premeditated, and because I was transcribing a lot of this pretty close to what's on the record, tracking a slightly different version of the same bass pattern in every measure felt like a bit of a style clash. I enjoyed that, though. I got to make NES music out of something that wasn't, and see if it might still be a beautiful thing that way.

• Why didn't you include sampled vocals? Couldn't the NES play samples?

  The NES actually had the capability to play back low quality sampled sounds, but I didn't want to make extended use of that. For the most part I just used it to play a synthesized sounding snare drum, but I did also use it for the cash register sound in Money.

  I didn't really want to use it for vocal snippets, because that really was outside the realm of NES sound (the only exception I remember is Blades of Steel). Occasionally I tried to substitute something close with the square waves, like the laughing in Speak to Me, but for the most part I had to let them drop out of the experience.

• Will you cover another album?

  I don't have any plans to right now. I've got other projects I'd like to work on first before I'd consider it. I was thinking if I did another one it might be Aja or The Downward Spiral, but don't wait for it, it might never happen.

• Would this really play on an NES?

  Yes. It has been played from a real cartidge many times. The NES ROM can be downloaded above.

• Can I buy a cartridge?

  No. I made a limited run of about 100 cartridges in 2012, but I will not be making any more.

  If you wish to build a cartridge for yourself, the ROM is available above. Lego supersonic rc game unblocked games.

  If you wish to make copies of MOON8 for sale, you must first negotiate a license with me, and separately with the original publisher of these compositions.

• Can I have this in NSF format?

  Yes. It can be downloaded in NSF format, see above.

• Have you been interviewed about this?

  • Wired.com Gamelife 4/06/2010
  • tralala.gr 4/08/2010 (Greek translation)
  • G4TV The Feed 4/03/2010
  • Hightower and Jones 4/01/2010
  • Floydian Slip 4/01/2010
  • drop-d 3/29/2011
  • Game is a 4 Letter Word 8/24/2015
  • Undressing Underground 10/6/2015

This is a transcription of the entire Pink Floyd album Dark Side of the Moon for the Nintendo Entertainment System. No expansion chips were used; this album works entirely within the limitations of the standard North American NES. The Dark Side of the Moon: An Astronomical Success. Pink Floyd's ground-breaking album The Dark Side of the Moon was the result of a long creative process that began around 1968. A Saucerful of Secrets (the main track from the eponymous album) was, for Nick Mason at least, where it all began. Click download file button or Copy dark side of the moon zip URL which shown in textarea when you clicked file title, and paste it into your browsers address bar. If file is multipart don't forget to check all parts before downloading! Stream The Dark Side Of The Moon, a playlist by Pink Floyd from desktop or your mobile device. Addeddate 2020-12-04 18:43:37 Identifier pink-floyd-the-dark-side-of-the-moon-mp3 Scanner Internet Archive HTML5 Uploader 1.6.4.

If you have questions or comments, please e-mail me.

Pink Floyd – Studio Albums (1967 – 1994) {Non-Remastered}
EAC Rip | FLAC Image + Cue + Log | Full Scans @600 dpi, JPG, Included
Total Size: 17 GB | 3% RAR Recovery
Label: Various | Genre: Progressive Rock, Psychedelic Rock

Some bands turn into shorthand for a certain sound or style, and Pink Floyd belongs among that elite group. The very name connotes something specific: an elastic, echoing, mind-bending sound that evokes the chasms of space. Pink Floyd grounded that limitless sound with exacting explorations of mundane matters of ego, mind, memory, and heart, touching upon madness, alienation, narcissism, and society on their concept albums of the '70s. Of these concept albums, Dark Side of the Moon resonated strongest, earning new audiences year after year, decade after decade, and its longevity makes sense. That 1973 concept album distilled the wild psychedelia of their early years — that brief, heady period when they were fronted by Syd Barrett — into a slow, sculpted, widescreen epic masterminded by Roger Waters, the bassist who was the band's de facto leader in the '70s. Waters fueled the band's golden years, conceiving such epics as Wish You Were Here and The Wall, but the band survived his departure in the '80s, with guitarist David Gilmour stepping to the forefront on A Momentary Lapse of Reason and The Division Bell. Throughout the years, drummer Nick Mason and keyboardist Rick Wright appeared in some capacity, and the band's sonic signature was always evident: a wide, expansive sound that was instantly recognizable as their own, yet was adopted by all manner of bands, from guitar-worshipping metal-heads to freaky, hippie, ambient electronic duos. Unlike almost any of their peers, Pink Floyd played to both sides of the aisle: they were rooted in the blues but their heart belonged to the future, a dichotomy that made them a quintessentially modern 20th century band.

Reviewed by Allmusic

Additional info:
• More Biographical, Career & Discography info

Disc List:

1967. The Piper at the Gates of Dawn (1987, EMI, CDP 7 46384 2, 1st UK)
1967. The Piper at the Gates of Dawn (1987, EMI, CDP 7 46384 2, 2nd UK)
1967. The Piper at the Gates of Dawn (1988, Toshiba-EMI, CP32-5269, 2nd Japan)

1968. A Saucerful Of Secrets (1987, EMI, CDP 7 46383 2, 1st UK)
1968. A Saucerful Of Secrets (1987, Toshiba-EMI, CP32-5272, 1st Japan)
1968. A Saucerful Of Secrets (1988, Toshiba-EMI, CP32-5272, 3rd Japan)

Pink Floyd Dark Side Of The Moon Download Zip Files

1969. More (1987, Capitol, CDP 7 46386 2, 1st USA)
1969. More (1987, Capitol, CDP 7 46386 2, 2nd USA)
1969. More (1988, Toshiba-EMI, CP32-5273, 2nd Japan)
1969. More (198_, EMI, CDP 7 46386 2, 1st W.Germany)

1969. Ummagumma (1988, Toshiba-EMI, CP28-5270-71, 2nd Japan, 2CD)
1969. Ummagumma (1989, Capitol, CDPB 7 46404 2, 3rd USA, 2CD)
1969. Ummagumma (198_, EMI, CDS 7 46404 8, 1st W.Germany, 2CD)

1970. Atom Heart Mother (1987, Capitol, CDP 7 46381 2, 1st USA)
1970. Atom Heart Mother (1987, Toshiba-EMI, CP32-5274, 1st Japan)
1970. Atom Heart Mother (198_, EMI, CDP 7 46381 2, 1st UK)
1970. Atom Heart Mother (198_, EMI, CDP 7 46381 2, 1st W.Germany)

1971. Meddle (1985, Toshiba-EMI, CP32-5032, 1st Japan, Black Triangle Ed.)
1971. Meddle (1986, Harvest, CDP 7 46034 2, 1st UK, Black Label Ed.)
1971. Meddle (1987, Harvest, CDP 7 46034 2, 3rd UK)

1972. Obscured by Clouds (1988, Toshiba-EMI, CP32-5275, 2nd Japan)
1972. Obscured by Clouds (198_, Capitol, C2 46385, 1st Canada)
1972. Obscured by Clouds (198_, EMI, CDP 7 46385 2, 1st W.Germany)
1972. Obscured by Clouds (198_, EMI, CDP 7 46385 2, Holland)

1973. The Dark Side Of The Moon (1983, Toshiba-EMI, CP35-3017, 1st Japan, Black Triangle Ed., Pre-emphasis)
1973. The Dark Side Of The Moon (1984, Harvest, CDP 7 46001 2, 1st UK, Black Label Ed., Pre-emphasis)
1973. The Dark Side Of The Moon (1986, Capitol, CDP 7 46001 2, 6th USA)
1973. The Dark Side Of The Moon (1986, Harvest, CDP 7 46001 2, 5th UK)
1973. The Dark Side Of The Moon (1986, Toshiba-EMI, CP35-3017, 3rd Japan, Black Triangle Ed.)
1973. The Dark Side Of The Moon (1987, Capitol, CDP 7 46001 2, 15th USA)

1975. Wish You Were Here (1983, CBS Sony, 35DP-4, 2nd Japan, Pre-emphasis)
1975. Wish You Were Here (1984, CBS, CK 33453, 3rd USA)
1975. Wish You Were Here (1984, Harvest, CDP 7 46035 2, 1st UK)
1975. Wish You Were Here (1985, CBS Sony, 32DP-359, 3rd Japan)
1975. Wish You Were Here (1987, Harvest, CDP 7 46035 2, 6th UK)

1977. Animals (1985, CBS Sony, 32DP-360, 1st Japan)
1977. Animals (1985, CBS, CDCBS 81861, 3rd Australia)
1977. Animals (1986, Harvest, CDP 7 46128 2, 1st UK)
1977. Animals (198_ Columbia, CK-34474, 3rd Canada)

1979. The Wall (1984, Harvest, CDP 7 46036 8, 1st UK, Black Label Ed., 2CD)
1979. The Wall (1985, CBS Sony, 50DP 361-62, 1st Japan, 2CD, Pre-emphasis)
1979. The Wall (1985, Harvest, CDP 7 46036 8, 2nd W.Germany, Black Label Ed., 2CD)
1979. The Wall (1987, Harvest, CDS 7 46036 8, 4th UK, 2CD)
1979. The Wall (198_, Columbia, C2K-36183, 3rd Canada, Black Label Ed., 2CD)

Dark Side Of The Moon Album

1983. The Final Cut (1983, CBS Sony, 35DP-53, 1st Japan, Pre-emphasis)
1983. The Final Cut (1984, Harvest, CDP 7 46129 2, 1st UK)
1983. The Final Cut (1985, CBS Sony, 32DP-364, 2nd Japan)
1983. The Final Cut (1985, CBS, CK 38243, 3rd USA)
1983. The Final Cut (1985, CBS, CK 38243, 4th USA)
1983. The Final Cut (1986, Harvest, CDP 7 46129 2, 2nd UK)

1987. A Momentary Lapse Of Reason (1987, CBS Sony, 32DP 820, 1st Japan)
1987. A Momentary Lapse Of Reason (1987, EMI, CDP 7 48068 2, 1st UK)
1987. A Momentary Lapse Of Reason (198_, CBS, CDCBS460188 2, 1st Austria)
1987. A Momentary Lapse Of Reason (198_, CDP 7 48068 2, 1st Germany)

1994. The Division Bell (1994, EMI, 7243 8 28984 2 9, 1st EU)
1994. The Division Bell (1994, Sony, SRCS 7324, 1st Japan)

Pink Floyd Dark Side Youtube