Peter James sound engineer tracks A1—B5. Leslie Duncan — track B4. David Gilmour — track B4. Barry St. John — track B4. Liza Strike — track B4. Doris Troy — track B4. Leslie Duncan — track B2. John — track B2. Liza Strike — track B2. Doris Troy — track B2. Leslie Duncan — track A4. John — track A4. Liza Strike — track A4.
Doris Troy — track A4. Leslie Duncan track B5. David Gilmour track B5. John track B5. They were threatened by Mr. In hindsight, it was very naive to think our motives would not be misunderstood and misrepresented.
The paper holds their folded faces to the floor And every day the paper boy brings more. And if the dam breaks open many years too soon And if there is no room upon the hill And if your head explodes with dark forebodings too I'll see you on the dark side of the moon. The lunatic is in my head.
The lunatic is in my head You raise the blade, you make the change You re-arrange me 'til I'm sane. You lock the door And throw away the key There's someone in my head but it's not me. Nel si aggiunge al gruppo il chitarrista David Jon "Dave" Gilmour, che sostituisce Barrett, costretto ad abbandonare da problemi psichiatrici esacerbati dall'uso di droghe pesanti.
La formazione non subisce sostanziali cambiamenti fino al , escludendo una parentesi in cui Wright figura solo come turnista. Nel Waters abbandona il gruppo; i membri rimanenti pubblicano successivamente altri due album studio di notevole successo: A Momentary Lapse of Reason e The Division Bell. Wright's time to shine on Dark Side , his synth beams taking center stage for the most arresting sections of the short instrumental -- though there's plenty of time for Gilmour's guitar to raise its own talking points in between.
Like "On the Run," not quite a fully fleshed song, but vital connective tissue for one of the most fluid LPs ever assembled, and undeniable proof that goddamn it, this album really needed its own friggin' laser show. Pink Floyd's post-"Double O Bo" version of stereophonic spy music, tense and alluring, about the coolest cat that Syd Barrett knew -- in this case, an actual cat, his pet Siamese. Not necessarily the easiest song in the Floyd catalog to defend, particularly against those who view the band as nothing more than pandering fare for year-olds who think they're the first person to compare high school to a fascist regime.
Yeah, but those sonics -- where else are you gonna hear bass that throbs like muscle pain, acoustic chords where every individual note stabs like an icicle to the back, or synths that shoot off like laser fireworks in the post-Skynet sky? A compelling case that sometimes, we all gotta engage with that inner easily-mind-blown teen and do a little anti-machine raging.
The Division Bell: a lot better than you remember! The band made the curious decision to significantly backload the album, though -- with all three singles coming on the second side -- so you have to sit through a whole lot of new-age noodling before you get to the actual song -songs. But the finest of 'em comes at the end, when the clanging church bells of the "Lost for Words" outro give way to the blood-curdling piano plinks of "High Hopes," a dolorous retrospective epic that's maybe a little more "Silent Lucidity" than "Comfortably Numb," but still comes the closest to the cinematic grandeur of classic Floyd than any other song since The Wall came down.
Maybe not quite enough musical and lyrical ideas to sustain -- takes a long time to even get past the "Ha-ha, charade you are! Would you believe Roger Waters resorts to Donald Trump imagery when he plays the song live now? The beginning to one of the most famous albums in rock history pretty successfully lays the groundwork for what's to come, with the "Speak to Me" intro essentially acting as a teaser trailer for the album's action highlights the "Money" cash register, the "Brain Damage" cackle and the sighing guitar slides of "Breathe" establishing the album's gorgeous Neil Young-across-the-fifth-dimension core jamminess.
It could've very easily been plot filler, but exemplary production and some heart-rending arrangements make "Is There Anybody Out There? The synths and sirens that swirl imposingly around Waters' panicked exhortations of the track's title -- the song's only lyrics -- give it an incredibly evocative post-apocalyptic ambiance, and the plucked acoustics and weeping strings that follow end the song with totally unexpected sensitivity, making it a transition track more rewarding than the full song it leads into.
The first Pink Floyd A-side, a catchy third-person character study that was too warped, inside-jokey and musically unpredictable for anyone to possibly mistake it for the Kinks. But of course, the band lets a recording of their damn doorman undercut the album's whole scheme at the end of "Eclipse": "There is no dark side of the moon, really.
Matter of fact, it's all dark. By song's end, the dive-bombers are humming, the babies are crying, and the audience is silently screaming from the rafters. 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, 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 Clouds , as 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. 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 colour.
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".
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 release , and instead had engineer James Guthrie create a new 5.
Speaking in , Alan Parsons 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.The album was released by EMI and Harvest on the then-new compact disc format in Japan in June , in the US and Europe in August , and in it was re-released as a remastered CD in the box set Shine On.