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Read Ebook {PDF EPUB} Pink Floyd Dark Side of the Moon by Pink Floyd Pink Floyd: Dark Side of the Moon by Pink Floyd Read Ebook {PDF EPUB} Pink Floyd 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 Roger Waters’ 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 Meddle 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 more 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 London 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 David Gilmour 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 Nick Mason. "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 Obscured By Clouds , 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.
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