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Monday, April 06, 2020

Pink Floyd - "The Great Gig In The Sky (Pulse Restored & Re-edited)" [Rock & Alternative]

The Great Gig In The Sky (Pulse Restored & Re-edited)

"The Great Gig In The Sky (Pulse Restored & Re-edited)" music video by Pink Floyd
Added: 06-04-2020
Genre : Rock & Alternative
Description : Pink Floyd - The Great Gig In The Sky (PULSE Restored & Re-Edited)

Filmed live on 20 October 1994 at Earls Court, London, UK. Restored & re-edited in 2019 from the original tape masters.

Out now: Pink Floyd's 'The Later Years' box set https://ift.tt/2UgskQg

THE LATER YEARS
Included on ‘The Later Years’, a 18-disc box set (5xCDs, 6xBlu-Rays, 5xDVDs,2x7”) covering the material created by David Gilmour, Nick Mason and Richard Wright from 1987 onwards, with unreleased audio and audiovisual material, including the 1989 Venice and 1990 Knebworth concerts, as well as updated, restored and remixed audio and video, 2 x 7” singles, 60-page hardback Photo Book, 40-page hardback Credits Book, Lyrics Book, 3 x reproduction tour programmes, card envelope containing collectible memorabilia, plus Blu-rays and DVDs in individual wallets.

Also available: 12-track ‘Highlights’ package (2-LP or 1-CD) https://ift.tt/2UgskQg

PINK FLOYD SOCIAL MEDIA
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"The Great Gig in the Sky" is the fifth track on The Dark Side of the Moon, the 1973 album by the English progressive rock band Pink Floyd. The song features music by Richard Wright and non-lexical vocals by Clare Torry.

The song began life as a Richard Wright chord progression, known variously as "The Mortality Sequence" or "The Religion Song". During 1972 it was performed live as a simple organ instrumental, accompanied by spoken-word samples from the Bible and snippets of speeches by Malcolm Muggeridge, a British writer known for his conservative religious views. When the band came to record Dark Side in 1973, the lead instrument had been switched to a piano. Various sound effects were tried over the track, including recordings of NASA astronauts communicating on space missions, but none were satisfactory. Finally, a couple of weeks before the album was due to be finished, the band thought of having a female singer "wail" over the music.

As the band began casting around for a singer, album engineer Alan Parsons suggested Clare Torry, a 25-year-old songwriter and session vocalist. Parsons had previously worked with Torry, and had liked her voice on a Top of The Pops covers album. An accountant from Abbey Road Studios contacted Torry and tried to arrange a session for the same evening, but she had other commitments, including tickets to see Chuck Berry that evening, so a session was scheduled for Sunday evening between 7 and 10pm.

The band played the instrumental track for Torry and asked her to improvise a vocal. At first, Torry struggled to divine what the band wanted, but then she was inspired to pretend that she herself was an instrument. She performed two complete takes, the second one more emotional than the first. David Gilmour asked for a third take, but halfway through Torry stopped, feeling she was getting repetitive and had already done the best she could. The final album track was assembled from all three takes. The members of the band were deeply impressed by Torry's performance, but were so reserved in their outward response that she left under the impression that her vocals would never make the final cut. She only became aware they were used when she saw the album at a local record store, spotted her name in the credits and purchased it.

Tags : 1994, 90s, Pink Floyd

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