The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece
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John Harris. The Dark Side of the Moon: The Making of the Pink Floyd Masterpiece
THE DARK SIDE OF THE MOON
Copyright
Contents
Dedication
Prologue January 2003
CHAPTER 1. The Lunatic Is in My Head
CHAPTER 2. Hanging On in Quiet Desperation
CHAPTER 3. And If the Band You’re in Starts Playing Different Tunes
CHAPTER 4. Forward, He Cried from the Rear
CHAPTER 5. Balanced on the Biggest Wave
CHAPTER 6. And When at Last the Work Is Done
Acknowledgements
Appendix
If you enjoyed The Dark Side of the Moon, check out this other great John Harris title
Bibliography/Sources
Index
About the Author
About the Publisher
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JOHN HARRIS
THE MAKING OF THE PINK FLOYD MASTERPIECE
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‘Arnold Layne’, the embodiment of a pop-minded economy that lay in polar opposition to the band’s approach to performance, nonetheless managed to fill its three minutes with the sense that its authors were pushing their music into uncharted territory. The combination of Barrett’s droning, distracted vocal, the song’s subtle denial of a strict verse/chorus structure and its subject matter – the lifestyle of a kleptomaniac transvestite, placed at the centre of a very English picaresque – lent it the sense of the pop form being very cleverly subverted. When it crept onto the charts, sitting alongside singles by the Monkees, the Turtles and the Dave Clark Five, the point was made explicit.
In the meantime, the group was the subject of a flurry of press attention, focused chiefly on the single’s subject matter (‘Meet the Pinky Kinkies!’ ran one headline) and the allegedly mould-breaking nature of their shows. ‘The Pink Floyd offer a total show consisting of 700 watts of amplification, weird droning music (largely improvised) and lighting and slide projections using melting oil paints,’ said Disc and Music Echo. ‘On stage, the Floyd themselves become completely lost in their music and they aim to absorb the minds of their audience too, which isn’t easy with the usual cool atmospheres around London.’
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