The Sky Moves Sideways is the third studio album by British progressive rock band Porcupine Tree, first released in February, 1995. It has been compared to Pink Floyd's Wish You Were Here because of their similar structure; both albums have extended pieces at the beginning and end, which are the halves of a single song.
The Sky Moves Sideways was the first Porcupine Tree album to be released in the US, and the first on which Porcupine Tree was actually a band rather than simply a pseudonym for Steven Wilson. This transition took place while the album was being recorded, so two of the tracks - namely "The Moon Touches Your Shoulder" and "Dislocated Day" - are performed entirely by Wilson, while the full band appears on the remainder of the album (including "Stars Die", a UK single which was added to the US version of the album).
In 2004, a new, two CD version of The Sky Moves Sideways was released, along with a similar re-release of the previous album, Up the Downstair, featuring newly recorded acoustic drums by Gavin Harrison on tracks which previously had only drum machines and other electronic percussion programmed by Wilson.
There are thus three distinct versions of this album - the original UK version, the US version, and the 2004 remaster - no two of which feature the same track list, or the same version of "Moonloop".
Read more about The Sky Moves Sideways: Personnel, Production & Art, External Links
Famous quotes containing the words the sky, sky and/or moves:
“The Brain—is wider than the Sky—
For—put them side by side—
The one the other will contain
With ease—and You—beside—”
—Emily Dickinson (1830–1886)
“In every landscape, the point of astonishment is the meeting of the sky and the earth, and that is seen from the first hillock as well as from the top of the Alleghanies. The stars at night stoop down over the brownest, homeliest common, with all the spiritual magnificence which they shed on the Campagna, or on the marble deserts of Egypt.”
—Ralph Waldo Emerson (1803–1882)
“The further jazz moves away from the stark blue continuum and the collective realities of Afro-American and American life, the more it moves into academic concert-hall lifelessness, which can be replicated by any middle class showing off its music lessons.”
—Imamu Amiri Baraka (b. 1934)