The Dark Side of the Moon

The Dark Side of the Moon is the eighth studio album by the English progressive rock band Pink Floyd, released on 1 March 1973 by Capitol Records in the United States, and on 16 March 1973 by Harvest Records in the United Kingdom. Developed during live performances, it was conceived as a concept album that would focus on the pressures faced by the band during their arduous lifestyle, and also deal with the mental health problems of former band member Syd Barrett. New material was recorded in two sessions in 1972 and 1973 at EMI Studios (now Abbey Road Studios) in London.

The record builds on ideas explored in Pink Floyd's earlier recordings and performances, while limiting the extended instrumentals that characterised the band's earlier work. The group employed multitrack recording, tape loops, and analogue synthesisers, including experimentation with the EMS VCS 3 and a Synthi A. The engineer Alan Parsons was responsible for many aspects of the recording, and for the recruitment of the session singer Clare Torry, who appears on "The Great Gig in the Sky".

The Dark Side of the Moon explores themes such as conflict, greed, time, death, and mental illness. Snippets from interviews with the band's road crew and others are featured alongside philosophical quotations. The sleeve, which depicts a prismatic spectrum, was designed by Storm Thorgerson in response to the keyboardist Richard Wright's request for a "simple and bold" design which would represent the band's lighting and the album's themes. The album was promoted with two singles: "Money" and "Us and Them".

The Dark Side of the Moon has received widespread critical acclaim and is often featured in publication listings of the greatest albums of all time. It brought international fame and wealth to all four band members. As a blockbuster release of the album era, it also propelled record sales throughout the music industry during the 1970s. The Dark Side of the Moon is certified 14× platinum in the United Kingdom, and topped the US Billboard Top LPs & Tape chart, where it has charted for 996 weeks. By 2013, The Dark Side of the Moon had sold over 45 million copies worldwide, making it the band's best-selling release, the best-selling album of the 1970s, and the fourth-best-selling album in history. In 2012, the album was selected for preservation in the United States National Recording Registry by the Library of Congress for being "culturally, historically, or aesthetically significant". It was inducted into the Grammy Hall of Fame in 1999.

Background

Following Meddle in 1971, Pink Floyd assembled for a tour of Britain, Japan and the United States that December. In a band meeting at the home of the drummer, Nick Mason, in North London, the bassist, Roger Waters, proposed that a new album could form part of the tour. Waters conceived an album that dealt with things that "make people mad", focusing on the pressures associated with the band's arduous lifestyle, and dealing with the mental health problems suffered by the former band member Syd Barrett. The band had explored a similar idea with the 1969 concert suite The Man and The Journey. In an interview for Rolling Stone, the guitarist, David Gilmour, said: "I think we all thought – and Roger definitely thought – that a lot of the lyrics that we had been using were a little too indirect. There was definitely a feeling that the words were going to be very clear and specific."

The band approved of Waters's concept for an album unified by a single theme . Waters created demo tracks in a small studio in a garden shed at his home in Islington. Parts of the album were taken from previously unused material; the opening line of "Breathe" came from an earlier work by Waters and Ron Geesin, written for the soundtrack of The Body, and the basic structure of "Us and Them" was borrowed from an original composition, "The Violent Sequence", by the keyboardist, Richard Wright, for Zabriskie Point. The band rehearsed at a warehouse in London owned by the Rolling Stones and at the Rainbow Theatre in Finsbury Park, London. They also purchased extra equipment, which included new speakers, a PA system, a 28-track mixing desk with a four channel quadraphonic output, and a custom-built lighting rig. Nine tonnes of kit was transported in three lorries. This would be the first time the band had taken an entire album on tour. The album had been given the provisional title of Dark Side of the Moon (an allusion to lunacy, rather than astronomy). After discovering that title had already been used by another band, Medicine Head, it was temporarily changed to Eclipse. The new material was premiered at The Dome in Brighton, on 20 January 1972, and after the commercial failure of Medicine Head's album the title was changed back to the band's original preference.

Dark Side of the Moon: A Piece for Assorted Lunatics, as it was then known, was performed for an assembled press on 17 February 1972 at the Rainbow Theatre, more than a year before its release, and was critically acclaimed. Michael Wale of The Times described the piece as "bringing tears to the eyes. It was so completely understanding and musically questioning." Derek Jewell of The Sunday Times wrote "The ambition of the Floyd's artistic intention is now vast." Melody Maker was less enthusiastic: "Musically, there were some great ideas, but the sound effects often left me wondering if I was in a bird-cage at London Zoo." The following tour was praised by the public. The new material was performed in the same order in which it was eventually sequenced on the album. Differences included the lack of synthesisers in tracks such as "On the Run", and Clare Torry's vocals on "The Great Gig in the Sky" replaced by readings from the Bible.

Pink Floyd's lengthy tour through Europe and North America gave them the opportunity to make improvements to the scale and quality of their performances. Work on the album was interrupted in late February when the band travelled to France and recorded music for the French director Barbet Schroeder's film La Vallée. They performed in Japan, returned to France in March to complete work on the film, played more shows in North America, then flew to London and resumed recording in May and June. After more concerts in Europe and North America, the band returned to London on 9 January 1973 to complete the album.