Read Ebook {PDF EPUB} Dark Side of the Moon by Pink Floyd Pink Floyd: Dark Side of the Moon by Pink Floyd. Completing the CAPTCHA proves you are a human and gives you temporary access to the web property. What can I do to prevent this in the future? If you are on a personal connection, like at home, you can run an anti-virus scan on your device to make sure it is not infected with malware. If you are at an office or shared network, you can ask the network administrator to run a scan across the network looking for misconfigured or infected devices. Another way to prevent getting this page in the future is to use Privacy Pass. You may need to download version 2.0 now from the Chrome Web Store. Cloudflare Ray ID: 6580f159df9fc43d • Your IP : 188.246.226.140 • Performance & security by Cloudflare. A Play By Tom Stoppard Incorporating The Dark Side Of The Moon by Pink Floyd. Originally broadcast on 26 August 2013, the radio play is now available as a luxury package resembling a hard-backed book, including a CD carrying the 54-minute play, which includes the majority of the Dark Side of the Moon album, plus a 56-page bound insert of the play’s script featuring all the dialogue and stage directions, plus ’ original lyrics from the album. The release also features a bonus disc with text translations in German, French, Spanish, Italian, Dutch, Portuguese, Japanese, Mandarin and Russian. ‘Darkside’ is an abstract and compelling drama which follows Emily, a philosophy student, through a series of thought experiments, which are vividly brought to life. The play also ranges over a series of grand themes, which are both thought provoking and laced with Stoppard’s characteristic wit and humour. The cast is impressive, with Bill Nighy as Dr Antrobus/the Witch Finder, Rufus Sewell is Mr Baggott/Ethics Man, Adrian Scarborough is Fat Man and Amaka Okafor is Emily. The Dark Side of the Moon. By condensing the sonic explorations of to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side of the Moon is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ponderous, neo-psychedelic art rock to jazz fusion and blues-rock before turning back to psychedelia. It's dense with detail, but leisurely paced, creating its own dark, haunting world. Pink Floyd may have better albums than Dark Side of the Moon, but no other record defines them quite as well as this one. Pink Floyd's Dark Side Of The Moon: Inside the making of their classic album. Over four decades since its release, Pink Floyd's groundbreaking eighth album, Dark Side Of The Moon , remains a monumental achievement in the history of rock music. Despite never reaching number one in the UK, and spending just one week at the summit in the US, it has since notched up 937 weeks (that’s 18 years) in the Billboard 200 Albums chart, and sold than 45m copies worldwide. It was also recently voted the best rock album of all time by Classic Rock readers, and it's fair to say those guys know their shakes when it comes to quality music. The album's story starts in a poky studio in west in 1971, when the band embarked upon 12 days in a rehearsal room at Decca Studios in Broadhurst Gardens, West Hampstead, London. They were working on a suite of music under the title Eclipse – which would, in due course, evolve into Dark Side Of The Moon . "It began in a little rehearsal room in London," said of the album's early days. "We had quite a few pieces of music, some of which were left over from previous things." "I think we had already started improvising around some pieces at Broadhurst Gardens," confirms Roger Waters. "After I had written a couple of the lyrics for the songs, I suddenly thought, I know what would be good: to make a whole record about the different pressures that apply in modern life." The album slowly began to take shape. By the time 1972 rolled around, rehearsals had moved to the Rolling Stones’ rehearsal facility; a disused Victorian warehouse at 47 Bermondsey Street, South London. A grand enough setting for a creative project which would eventually come to eclipse Floyd's previous output in terms of both its scale and ambition. " We started with the idea of what the album was going to be about: the stresses and strains on our lives," says . "We were there for a little while, writing pieces of music and jamming," adds Gilmour. "It was a very dark room." Two weeks later, Pink Floyd began a 16-date UK tour at The Dome, Brighton, which included the first live performance of Eclipse , now renamed Dark Side Of The Moon – A Piece For Assorted Lunatics . Naturally, the band decided their new material required an ambitious, demanding new stage set up to match. However, it was a move their technical teams weren't quite ready for yet. The performance was cut short midway through Money due to tech problems. "In those days we didn’t understand how to separate power sufficiently between sound and lights," explains former Floyd roadie Mick Kluczynski. "It was the very first show any band had done with a lighting rig that was powerful enough to make a difference. So we had this wonderful situation where the fans were actually inside the auditorium, and we had [sound engineers] Bill Kelsey and Dave Martin at either side of the stage screaming at each other in front of the crowd, having an argument." "A pulsating bass beat, pre-recorded, pounded around the hall’s speaker system. A voice declared Chapter five, verses 15 to 17 from the Book Of Athenians," wrote former NME journalist Tony Stewart at the time. "The organ built up; suddenly it soared, like a jumbo jet leaving Heathrow; the lights, just behind the equipment, rose like an elevator. Floyd were on stage playing a medium-paced piece… The Floyd inventiveness had returned, and it astounded the capacity house… The number broke down thirty minutes through." Not to be deterred, Floyd continued on their tour well into February, playing Dark Side Of The Moon in a nascent stage of completion by this point. "The actual song, Eclipse , wasn’t performed live until Bristol Colston Hall, on February 5," says Waters. "I can remember one afternoon rolling up and saying: “I’ve written an ending.” Which was what’s now called Eclipse, or Dark Side . So that's when we started performing the piece called Eclipse . It probably did have Brain Damage , but it didn’t have ‘ All that you touch, all that you see, all that you taste .’ "It was a hell of a good way to develop a record," says Mason. "You really get familiar with it; you learn the pieces you like and what you don’t like. And it’s quite interesting for the audience to hear a piece developed. If people saw it four times it would have been very different each time." However, as February drew to a close, work on the recording of DSOTM was derailed by the obligation to record , the soundtrack to the film La Vallée , followed by sporadic touring. The sessions eventually resumed at Abbey Road studios in May. Working titles for existing songs included Travel (eventually Breathe ), Religion ( The Great Gig In The Sky ) and Lunatic ( Brain Damage ). "Recording was lengthy but not fraught, not agonised over at all," says Mason of the sessions. "We were working really well as a band." "I was definitely less dominant than I later became," agrees Waters. "We were pulling together pretty cohesively. Dave sang Breathe much better than I could have. His voice suited the song. I don’t remember any ego problems about who sang what at that point. There was a balance." This balance, and the ease the band felt with one another, was reflected in the finished product. A harmonious record which flowed from beginning to end, it captured a rare snapshot of a band working at the peak of their creativity. Though it was a complex body of work, much of its success came from its deceptive lyrical simplicity. "Roger tried, definitely, in his lyrics, to make them very simple, straightforward, and easy to understand," says Gilmour. "Partly because people read things into other lyrics that weren’t there." From this basis, the songs started to take shape. First up was Us And Them . "Rick [Wright] wrote the chord sequence for Us And Them and I used it as a vehicle," says Waters. "The first verse is about going to war, how on the front line we don’t get much chance to communicate with one another, because someone else has decided that we shouldn’t. The second verse is about civil liberties, racism and colour prejudice. The last verse is about passing a tramp in the street and not helping." Next up was Money . "I knew there had to be a song about money in the piece, and I thought the tune could be about money," says Waters. "Having decided that, it was extremely easy to make up a seven-beat intro that went well with it." "Roger and I constructed the tape loop for Money in our home studios and then took it to Abbey Road," remembers Mason. "I had drilled holes in old pennies and then threaded them onto strings; they gave one sound on the loop of seven. Roger had recorded coins swirling around in the mixing bowl Judy [his first wife] used for her pottery. The tearing paper effect was created very simply in front of a microphone, and the faithful sound library supplied the cash registers." "Mason was always the guiding light in matters to do with the overall atmosphere," remembers DSOTM engineer Alan Parsons. "He was very good on sound effects and psychedelia and mind-expanding experiences." Next, the band turned their attention to Time . The music was credited to the whole band but with lyrics by Waters . "Alan Parsons was a very good engineer," remembers Gilmour. "He had one or two production ideas that were very good. In a clock shop in Hampstead he had recorded the ticking clocks and made these tapes up to offer us an idea, which was great." " Those big, grand keyboard chords are mine," said Rick Wright at the time. "Dave used to complain I’d write in these hard keys and weird major and minor sevenths, which is difficult to play on a guitar." The band had just began work on The Great Gig In The Sky as the middle of the year loomed into view, and recording was again soon derailed because of touring, holidays and other commitments which kept the band occupied for much of the year. Sporadic sessions were held in Abbey Road during October, during the first of which Dick Parry, an old friend of the band’s from Cambridge, overdubbed sax solos to Money and Us And Them . Later in the month a quartet of female session vocalists – Doris Troy, Lesley Duncan, Liza Strike and Barry St John – were brought in to embellish Us And Them , Brain Damage and Eclipse . "They weren’t very friendly," said Duncan looking back. "They were cold, rather clinical. They didn’t emanate any kind of warmth… They just said what they wanted and we did it… There were no smiles. We were all quite relieved to get out." Still, with their help, the finished album was starting to take shape. Waters completed work on The Great Gig In The Sky – a sensitive contemplation of death that ends up in a place you’d never expect given the pretty keyboards that Richard Wright brings to the tune’s first minute. "Are you afraid of dying?" Waters asked. "The fear of death is a major part of many lives, and as the record was at least partially about that. That question was asked, but not specifically to fit into this song." Of course, one of TGGITS ' most memorable moments was provided by a third party. "When I arrived they explained the concept of the album to me and played me Rick Wright’s chord sequence," says vocalist Clare Torry. "They said: “We want some singing on it,” but didn’t know what they wanted. So I suggested going out into the studio and trying a few things. I started off using words, but they said: “Oh no, we don’t want any words.” So the only thing I could think of was to make myself sound like an instrument, a guitar or whatever, and not to think like a vocalist. I did that and they loved it. I did three or four takes very quickly, it was left totally up to me, and they said: “Thank you very much.” In fact, other than Dave Gilmour, I had the impression that they were infinitely bored with the whole thing, and when I left I remember thinking to myself: “That will never see the light of day.” If I’d known then what I know now I would have done something about organising copyright or publishing; I would be a wealthy woman now. The session fee in 1973 was fifteen pounds, but as it was Sunday I charged a double fee of thirty pounds. Which I invested wisely, of course. It was 1973 by the time the final round of recording sessions began in Abbey Road Studio 2 in late January, focusing on Brain Damage , Eclipse and the instrumental . “It was – 'We’ve got nothing in this space… What can we do? We’ll have a jam.'” Remembers Mason. "And that’s what Any Colour You Like was – it’s just two chords. It starts off with the synth, which sets the mood. And you have this extraordinary guitar solo from Dave." " I wrote Brain Damage at home," says Waters. "The grass [mentioned in the lyric] was the square in between the River Cam and King’s College chapel [in Cambridge]. The lunatic was Syd [Barrett], really. He was obviously in my mind." The most innovative addition to DSOTM came as the sessions were ending, when Roger Waters hit on the idea of posing questions to Abbey Road staffers, Floyd crew members and other studio visitors. Their answers were recorded, and then edited and woven into the tracks at various points throughout the album. "We did about twenty people," says Waters. "The interviewees all had cards with questions printed on them like: ‘Have you ever been violent?’, ‘When was the last time you thumped someone?’ and ‘Were you in the right?’ and so on." "Roger wanted to use things in the songs to get responses from people," says Gilmour. "We interviewed quite a few people that way, mostly roadies and roadies’ girlfriends, and Gerry [O’Driscoll], the Irish doorman. We also had Paul and Linda McCartney interviewed, but they’re much too good at being evasive for their answers to be usable. Gerry the doorman said: “There is no da’k side o’ de moon, really, it’s all da’k.” And stuff like that, when you put it into a context on the record, suddenly developed its own much more powerful meaning." The final Abbey Road session was held in Studio 2 on February 1st, 1973. "We’d finished mixing all the tracks, but until the very last day we’d never heard them as the continuous piece we’d been imagining for more than a year," says Gilmour. "We had to literally snip bits of tape, cut in the linking passages and stick the ends back together. Finally, you sit back and listen all the way through at enormous volume. I can remember it. It was really exciting." Dark Side Of The Moon was released in the US on March 17 and in the UK on the 24th. Four days later it hit No.1 in the US Billboard chart. In the UK it peaked at No.2. "We’d cracked it," says Waters. "We’d won the pools. What are you supposed to do after that?" Sadly, the album marked the start of a creative struggle within the band which would come to plague their work and eventually end in their acrimonious demise. " Dark Side Of The Moon was the last willing collaboration," says Waters. "After that, everything with the band was like drawing teeth; ten years of hanging on to the married name and not having the courage to get divorced, to let go. Ten years of bloody hell. It was all just terrible. Awful. Terrible." Dark Side Of The Moon Album Lyrics by Pink Floyd. Breathe, breathe in the air. Don't be afraid to care. Leave but don't leave me. Look around and choose your own ground. Long you live and high you fly And smiles you'll give and tears you'll cry And all you touch and all you see Is all your life will ever be. Run, rabbit run. Dig that hole, forget the sun, And when at last the work is done Don't sit down it's time to dig another one. For long you live and high you fly But only if you ride the tide And balanced on the biggest wave You race towards an early grave. [female announcer, announcing flights at airport, including 'Rome'] "Live for today, gone tomorrow, that's me, HaHaHaaaaaa!" Ticking away the moments that make up a dull day You fritter and waste the hours in an offhand way. Kicking around on a piece of ground in your home town Waiting for someone or something to show you the way. Tired of lying in the sunshine staying home to watch the rain. You are young and life is long and there is time to kill today. And then one day you find ten years have got behind you. No one told you when to run, you missed the starting gun. So you run and you run to catch up with the sun but it's sinking Racing around to come up behind you again. The sun is the same in a relative way but you're older, Shorter of breath and one day closer to death. Every year is getting shorter never seem to find the time. Plans that either come to naught or half a page of scribbled lines Hanging on in quiet desperation is the English way The time is gone, the song is over, Thought I'd something more to say. Home, home again. I like to be here when I can. When I come home cold and tired It's good to warm my bones beside the fire. Far away across the field The tolling of the iron bell Calls the faithful to their knees To hear the softly spoken magic spells. "And I am not frightened of dying, any time will do, I don't mind. Why should I be frightened of dying? There's no reason for it, you've gotta go sometime." "If you can hear this whispering you are dying." "I never said I was frightened of dying." Money, get away. Get a good job with good pay and you're okay. Money, it's a gas. Grab that cash with both hands and make a stash. New car, caviar, four star daydream, Think I'll buy me a football team. Money, get back. I'm all right Jack keep your hands off of my stack. Money, it's a hit. Don't give me that do goody good bullshit. I'm in the high- fidelity first class traveling set And I think I need a Lear jet. Money, it's a crime. Share it fairly but don't take a slice of my pie. Money, so they say Is the root of all evil today. But if you ask for a raise it's no surprise that they're giving none away. "HuHuh! I was in the right!" "Yes, absolutely in the right!" "I certainly was in the right!" "You was definitely in the right. That geezer was cruising for a bruising!" "Yeah!" "Why does anyone do anything?" "I don't know, I was really drunk at the time!" "I was just telling him, he couldn't get into number 2. He was asking why he wasn't coming up on freely, after I was yelling and screaming and telling him why he wasn't coming up on freely. It came as a heavy blow, but we sorted the matter out" Us, and them And after all we're only ordinary men. Me, and you. God only knows it's not what we would choose to do. Forward he cried from the rear and the front rank died. And the general sat and the lines on the map moved from side to side. Black and blue And who knows which is which and who is who. Up and down. But in the end it's only round and round. Haven't you heard it's a battle of words The poster bearer cried. Listen son, said the man with the gun There's room for you inside. "I mean, they're not gunna kill ya, so if you give 'em a quick short, sharp, shock, they won't do it again. Dig it? I mean he get off lightly, 'cos I would've given him a thrashing - I only hit him once! It was only a difference of opinion, but really. I mean good manners don't cost nothing do they, eh?" Down and out It can't be helped but there's a lot of it about. With, without. And who'll deny it's what the fighting's all about? Out of the way, it's a busy day I've got things on my mind. For the want of the price of tea and a slice The old man died. The lunatic is on the grass. The lunatic is on the grass. Remembering games and daisy chains and laughs. Got to keep the loonies on the path. The lunatic is in the hall. The lunatics are in my hall. 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. And if the cloud bursts, thunder in your ear You shout and no one seems to hear. And if the band you're in starts playing different tunes I'll see you on the dark side of the moon. "I can't think of anything to say except. I think it's marvelous! HaHaHa!" All that you touch All that you see All that you taste All you feel. All that you love All that you hate All you distrust All you save. All that you give All that you deal All that you buy, beg, borrow or steal. All you create All you destroy All that you do All that you say. All that you eat And everyone you meet All that you slight And everyone you fight. All that is now All that is gone All that's to come and everything under the sun is in tune but the sun is eclipsed by the moon. "There is no dark side of the moon really. Matter of fact it's all dark."