She was not a particular fan of Pink Floyd, and had other plans for the evening, including, she later admitted, tickets to see Chuck Berry, so a session was scheduled for the following Sunday. Torry was working as a staff songwriter for EMI. Then on January 21, 1973, 25-year-old session vocalist Clare Torry supplied three hours of improvised vocals, replacing Bible readings and a Malcolm Muggeridge speech that had featured in the live version. The music was mostly laid down on June 25, 1972. Gerry O'Driscoll and Floyd engineer Peter Watts give their thoughts on dying. So smooth, in fact, that you can easily fail to notice the sudden switch to E-minor, where the B section in Time usually ends on E-major. The track ends with a smooth reprise into Breathe. Gilmour’s guitar tone is biting and spiky, creating a marked contrast between the A section and the smoother B section. Parsons added the alarm clock sequence, which he had just recorded for a quadraphonic sound demo. Recorded during the first studio stint, on June 8, 1972. Gilmour, backed up by Parsons, says he first managed to get notes from the synth, which Waters then replaced Waters says that it was he who first elicited meaningful sound from it. The ‘Travel Section’ is a VCS3-based assembly with footsteps added by Parsons, and words from Floyd roadie Roger The Hat. The ‘train’ sound is feedback from Gilmour, then a number of sound effects were added, along with the vox pops that Waters had recorded. Gilmour’s vocals are double-tracked for fuller effect.Įmerging from one of the album’s many smooth cross-fades, On The Run is built largely with sounds from the EMS VCS3 synth. The song is about trying to be true to yourself, constructed during the Broadhurst Gardens sessions in London by Waters, Gilmour and Rick Wright. Two of David Gilmour’s long-term fascinations are on here: the Leslie rotating speaker on the rhythm guitar, and the gently swooping pedal steel (although Roger Waters has claimed that this is an open-tuned Stratocaster played with a slide). Fans of Pink Floyd are certainly going to be entertained by all of these stories and it's great hearing the process of what it took to get the album recorded and released.The languorous chord progression of Breathe In The Air finally bursts out of a crescendo of screams and backwards sounds. Journalists Nigel Williamson, David Fricke and Robert Sandall also offer up their comments on the album as a whole and individual songs. The four musicians talk about the recording process and we also get to hear from some of the sound technicians, mic mixers and others.
The album is certainly one of the greatest ever made but it's so magical that you really do wonder how anyone could create such an item and especially with the type of technology they had during that era. Even if you're not a fan of the album I don't see how anyone could listen to it and not be curious about how it was made. Some of the best moments come from Waters playing alternate versions including a blues version of "Money" which sounds terrific. This 49-minute documentary takes a look at the making of the film as the musicians go through each song explaining how they came to be as well as talking about original versions or alternate takes. Classic Albums: Pink Floyd - The Making of 'The Dark Side of the Moon' (2003) *** 1/2 (out of 4) Pink Floyd members Roger Waters, David Gilmour, Richard Wright and Nick Mason are all on hand giving interviews about the making of their classic 1973 album, which spent a record 741 consecutive weeks on Billboard's charts.
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