The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe".
Mason received a rare solo composing credit for "Speak to Me". The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop later adapted to four tracks in order to create a "walk around the room" effect in quadraphonic presentations of the album.
Along with the conventional rock band instrumentation, Pink Floyd added prominent synthesisers to their sound. They also devised and recorded unconventional sounds, such as an assistant engineer running around the studio's echo chamber during "On the Run" and a specially treated bass drum made to simulate a human heartbeat during "Speak to Me", "On the Run", "Time" and "Eclipse".
This heartbeat is most prominent as the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop.
Several Album), including "Us and Them" and "Time", demonstrated Richard Wright's and David Gilmour's ability to harmonise their voices. To take advantage of this, Parsons utilised studio techniques such as the double tracking of vocals and guitars, which allowed Gilmour to harmonise with himself. The engineer also made prominent use of flanging and phase shifting effects on vocals and instruments, odd trickery with reverb and the panning of sounds between channels most notable in the quadraphonic mix of "On the Run", when the sound of the Hammond B3 organ played through a Leslie speaker rapidly swirls around the listener.
The album's credits include Clare Torrya session singer and songwriter, and a regular at Abbey Road. She had worked on pop material and numerous cover albums, and after hearing one of those albums Parsons invited her to the studio to sing on Wright's composition "The Great Gig in the Sky". She declined this invitation as she wanted to watch Chuck Berry perform at the Hammersmith Odeonbut arranged to come in on the following Sunday.
The band explained the concept behind the album, but were unable to tell her exactly what she should do. Gilmour was in charge of the session, and in a few short takes on a Sunday night Torry improvised a wordless melody to accompany Wright's emotive piano solo. She was initially embarrassed by her exuberance in the recording booth, and wanted to apologise to the band — only to find them delighted with her performance. The case was settled out of court for an undisclosed sum, with all post pressings crediting Wright and Torry jointly.
Snippets of voices between and over the music are another notable feature of the album. During recording sessions, Waters recruited both the staff and the temporary occupants of the studio to answer a series of questions printed on flashcards. The interviewees were placed in front of a microphone in a darkened Studio 3,  and shown such questions as "What's your favourite colour?
Questions such as "When was the last time you were violent? Waters asked him about a violent encounter he had had with another motorist, and Manifold replied " His second wife, Patricia "Puddie" Watts now Patricia Gleasonwas responsible for the line about the "geezer" who was "cruisin' for a bruisin ' " used in the segue between "Money" and "Us and Them", and the words "I never said I was frightened of dying" heard halfway through "The Great Gig in the Sky".
Perhaps the most notable responses "I am not frightened of dying. Any time will do: I don't mind. Why should I be frightened of dying? As a matter of fact it's all dark" came from the studios' Irish doorman, Gerry O'Driscoll.
Following the completion of the dialogue sessions, Beatjam - Come Together - Blue Floyd - Begins (CD, producer Chris Thomas was hired to provide "a fresh pair of ears". Thomas's background was in music, rather than engineering. In fact, there were never any hints that they were later going to fall out. It was a very creative atmosphere. A lot of fun. Thomas was responsible for significant changes to the album, including the perfect timing of the echo used on "Us and Them".
He was also present for the recording of "The Great Gig in the Sky" although Parsons was responsible for hiring Torry. When the record was finished I took a reel-to-reel copy home with me and I remember playing it for my wife then, and I remember her bursting into tears when it was finished. And I thought, "This has obviously struck a chord somewhere", and I was kinda pleased by that. You know when you've done something, certainly if you create a piece of music, you then hear it with fresh ears when you play it for somebody else.
And at that point I thought to myself, "Wow, this is a pretty complete piece of work", and I had every confidence that people would respond to it. Hipgnosis had designed several of the band's previous albums, with controversial results; EMI had reacted with confusion when faced with the cover designs for Atom Heart Mother and Obscured by Cloudsas they had expected to see traditional designs which included lettering and words. Designers Storm Thorgerson and Aubrey Powell were able to ignore such criticism as they were employed by the band.
For The Dark Side of the MoonRichard Wright instructed them to come up with something "smarter, neater — more classy". The artwork was created by their associate, George Hardie. Hipgnosis offered the band a choice of seven designs, but all four members agreed that the prism was by far the best.
The final design depicts a glass prism dispersing light into Beatjam - Come Together - Blue Floyd - Begins (CD. The design represents three elements: the band's stage lighting, the album lyrics, and Wright's request for a "simple and bold" design. Inside the sleeve were two posters and two pyramid-themed stickers. The band were so confident of the quality of Waters' lyrics that, for the first time, they printed them on the album's sleeve.
As the quadraphonic mix of the album was not then complete, the band with the exception of Wright boycotted the press reception held at the London Planetarium on 27 February. Newly appointed chairman Bhaskar Menon set about trying to reverse the relatively poor sales of the band's studio album Meddle. The Dark Side of the Moon was the last album that Pink Floyd were obliged to release before formally signing a new contract.
Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of "Us and Them" and "Time". The mono side had the word "bullshit" removed from the song — leaving "bull" in its place — however, the stereo side retained Beatjam - Come Together - Blue Floyd - Begins (CD uncensored version.
This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy.
In the US the LP was released before the introduction of platinum awards in And this one was clear and concise. The cover was also right. I think it's become like a benevolent noose hanging behind us. Throughout our entire career, people have said we would never top the Dark Side record and tour. But The Wall earned more in dollar terms. The cover design was again by Storm Thorgerson, the designer of the original cover. The original quadraphonic mix [nb 9]created by Alan Parsons,  was commissioned by EMI but never endorsed by Pink Floyd, as Parsons was disappointed with his mix.
The band elected not to use Parsons' quadraphonic mix done shortly after the original releaseand instead had engineer James Guthrie create a new 5. Speaking inAlan Album) expressed some disappointment with Guthrie's SACD mix, suggesting that Guthrie was "possibly a little too true to the original mix", but was generally complimentary.
Transparent glass, held in place by strips of lead, was used in place of the opaque colours of the original. The idea is derived from the "sense of purity in the sound quality, being 5. The Dark Side of the Moon was also re-released in on gram virgin vinyl mastered by Kevin Gray at AcousTech Mastering and included slightly different versions of the original posters and stickers that came with the original vinyl release, along with a new 30th anniversary poster.
The success of the album brought wealth to all four members of the band; Richard Wright and Roger Waters bought large country houses, and Nick Mason became a collector of upmarket cars. Although Waters and Gilmour have on occasion downplayed his contribution to the success of the album, Mason has praised his role. But I still wake up occasionally, frustrated about the fact that they made untold millions and a lot of the people involved in the record didn't.
Part of the legacy of The Dark Side of the Moon is in its influence on modern music, in the musicians who have performed cover versions of its songs, and in a modern urban myth, the Dark Side of the Rainbow. Its release is often seen as a pivotal point in the history of rock music, and comparisons are sometimes made with Radiohead 's album OK Computer  including a premise explored by Ben Schleifer in ' Speak to Me': The Legacy of Pink Floyd's The Dark Side of the Moon that the two albums share a theme that "the creative individual loses the ability to function in the [modern] world".
In a book about classic rockSteven Hyden recalls concluding, in his teens, that The Dark Side of the Moon and Led Zeppelin IV were the two greatest albums of the genre, vision quests "encompass[ing] the twin poles of teenage desire". They had similarities, in that both album's cover and internal artwork eschew pictures of the bands in favor of "inscrutable iconography without any tangible meaning which always seemed to give the music packaged inside more meaning ".
But whereas Led Zeppelin had looked outward, toward "conquering the world" and was known at the time for its outrageous sexual antics while on tour, Pink Floyd looked inward, toward "overcoming your own hang-ups" and seemed so sedate and boring that, Hyden commented, the scene in Live at Pompeii where they take a lunch break at the studio might well have been the most interesting part of recording The Dark Side of the Moon.
InThe Dark Side of the Moon was selected for preservation in the United States National Recording Registry by the Library of Congress for being deemed "culturally, historically, or aesthetically significant". The Dark Side of the Moon frequently appears on professional rankings of the greatest albums. Based on such rankings, the aggregate website Acclaimed Music lists The Dark Side of the Moon as the 19th most acclaimed album in history, the seventh most acclaimed of the s, and number one of albums from Several notable acts have covered the album live in its entirety, and a range of performers have used samples from The Dark Side of the Moon in their own material.
Jam-rock band Phish performed a semi-improvised version of the entire album as part their show on 2 November in West Valley City, Utah.
Dark Side of the Rainbow and Dark Side of Oz are two names commonly used in reference to rumours circulated on the Internet since at least that The Dark Side of the Moon was written as a soundtrack for the film The Wizard of Oz. Observers playing the film and the album simultaneously have reported apparent synchronicities, such as Dorothy beginning to jog at the lyric "no one told you when to run" during "Time", and Dorothy balancing on a tightrope fence during the line "balanced on the biggest wave" in "Breathe".
From Wikipedia, the free encyclopedia. Share Tweet. Format: UK English. Doug July 24, at am. Tinef July 24, at pm. Richard Schweitzer July 24, at pm.
Great song, one of the best examples of their creative genius and ability to innovate. Leave a Reply Cancel reply Your email address will not be published. You may like. Don't Miss. This 2 CD set is not a full show but a mix of performances and what seems to be some bonus tracks not included on the original collection of Live shows released in by mail order only.
Blue Floyd was an attempt to bring a new look to Pink Floyd music with the Jam Band treatment, full shows where released on the Blue Floyd website now defunct and owned by Pink Floyd fans but were quickly sold out and became highly collectible.
After Allen Woody's untimely death they disbanded leaving only the live shows behind for us to enjoy. These shows were a bit rough with no overdubs, no frills This "sampler" will have to do as a record of this bands efforts, and it's really too bad, because the shows were meant to be listened to as a whole, just as a Pink Floyd show is performed, with each song, each idea flowing to the next.
The problem remains In a bunch of musicians from some of the best jam bands - like Black Crowes, Allman Brothers, Gov't Mule - got together to play the music of Pink Floyd. The shows soon got legendary and as this wonderful release shows with very good reason. Much like the Mahavishnu Project this is superb musicians interpreting some classic material and really putting their own stamp on it.
In fact they are taking the music of PF and taking it to new and strange places. Seemingly intended to blow the minds of the audience as well as themselves. Mark Ford on some creative guitar, Matt Abs who quite simply is one of the best drummers around, Johnny Neal a deeply psychedelic keyboardplayer and fine harpsolist, the late, great Allan Woody on div.
Together they make some pure, profound, psychedelic fun. The project is produced by Michael Gaiman, who is also the man behind the brilliant "Mick's Picks" series of Jefferson Starship live recordings. Heady stuff. Set the controls for the inner sky. Stranger Top Contributor: Blues Music. When I first saw this I was excited.
Sounds like a cool idea! Not so much. Not enough blues; they try to sound too much like the original Pink Floyd. I don't know what was with the Matt Abts' drum solo, he is a great drummer, but his solo here is weak. The 'bonus" Beatles covers might be the best songs of the set. Blue Floyd for the most part has existed only on Youtube and Bit torrent sites. The two disc set highlights the best of their musical experiment; twisting the paradigm, and revealing much in the process.
Barely a departure or blues. Expected much more from a group of veterans. Other poor reviews pretty much state my feelings. I would say they sound like a decent Floyd cover band with very little originality.
An occasional harmonica or Hammond style organ do not the blues make. I could almost hear what I wished it was. I was very fortunate enough to see these guys back in early This is great stuff.
RIP Allen Woody. Need customer service? Click here.
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