Coming on the heels of the federal budget, the writing of this week’s installment might sound like it’s inspired by that hallowed day when, in carefully chosen rhetoric, the government in power – this time the minority Conservatives – will lay out how they plan to spend, or not spend, Canadian taxpayers’ money. Although budget day does seem to be a guaranteed attention grabber, it is my own financial concerns, more like woes, that have compelled me to choose that staple of classic rock radio, Pink Floyd’s “Money.”

Trying to describe “Money” might be superfluous to most people: it is after all probably played at least once a day if not more on any number of radio stations throughout the world specializing in guitar oriented rock from mostly the 60s and 70s.

Found on the seemingly immortal Dark Side of the Moon, “Money” begins with Roger Waters’ famous bass line accompanied by now iconic sound effects – the repeated opening and closing of cash registers, the throwing of change and the staccato of adding machines. From this, the bass is given a sort of whimsically mechanical rhythm over which it lays down its groove.

Perhaps best described as “blues rock,” the song does seem to play out in a certain heaviness that echoes back to blues dominated bands such as Cream. However, different from Cream’s propensity for guitar-solo dominated jamming, “Money” is far more rhythmic, and in a way, thanks to Waters’ bass playing, kind of swings. Except for David Gilmour’s screaming solo towards the end, guitars seem to linger behind the rhythm section and keyboards. As if adding texture, the guitars in the song are alternately played through heavy reverb then through a wa-wa pedal, giving “Money” a definite raunchines, I would even venture, sleeziness – a sonic connection to the song’s subject matter.

The song appears to be written from the point of view of someone who regularly worships at the unaltruistic altar of greed: “Money, it’s a hit/don’t give me that do-goody-good bullshit/I’m in the hi-fidelity first class traveling set/And I think I need a Lear jet.” Although written apparently tongue-in-cheek, “Money” seems to offer a first glimpse into Roger Waters’ now famous disdain for society’s shallow obsession with wealth and fame – themes he would pursue to greater depth on Wish You Were Here, Animals and The Wall.