Kit’s Secret Guitar, Gear, and Music Page
Guitar stuff, gear stuff, soundclips, videos, Gilmour/Pink Floyd stuff, photos and other goodies.
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GUITAR TONES - PINK FLOYD'S THE DARK SIDE OF THE MOON
Left to Right - Original 1973 album sleeve art by Hipgnosis/George Hardie, 20th anniversary CD art, 30th anniversay SACD art
THE DARK SIDE OF THE MOON GUITAR TONES - One of my all time favorite albums is Pink Floyd's Dark Side of the Moon, released in 1973. The band members were all in top form and all were writing and contributing some great songs. David's guitarwork was incredible, and Roger wrote some of the best lyrics of his career. Richard Wright's keys sounded great, and his voice perfectly harmonized with Davids. The Floyd produced one of the finest rock albums in history and it encompassed a very broad range of music.
David Gilmour likely used the Dallas Arbiter Fuzz Face and a Colorsound Power Boost for most of the distortion/fuzz tones on the album, as those were both on his pedal board at the time. Both the Fuzz Face and Power Boost were used on the post album tour as well. Some sources say David used an Orange Treble & Bass booster. Orange was a small company making pedals in the early 1970s, but there is no evidence that they ever made a treble & bass booster, and this myth appears to be someone misunderstanding when Gilmour's gear tech said David used an "orange treble and bass booster". This was actually a literal description of the Colorsound Power Boost , which was a bright orange colored booster pedal, featuring treble and bass knobs!
For modulation David used a Univox Uni-Vibe, which simulated a Leslie type rotating speaker cabinet. For delay he used the Binson Echorec II tape delay. For amps he had a Maestro Rover rotating speaker cabinet, which I beleieve was used on most songs, A Leslie rotating speaker cabinet, a Fender Twin Reverb, and his Hiwatt DR103. Pretty basic setup, but not easy to get those exact tones you hear on the studio album. For that modulated clean tone you hear in "Breathe" and "Us and Them" I believe David used both the rotating speaker cabinet and the Uni-Vibe at the same time. Even though the Uni-Vibe was designed to replicate the sound of a rotating speaker, David must have thought both had a unique sound. Track sheet notes from the recording sessions indicate both were used, and both were seen in his gear in the 1973 tour.
..Left to Right - vintage Dallas Arbiter Fuzz Face, vintage Colorsound Power Boost, and vintage Uni-Vibe
Vintage Binson Echorec II. Right photo shows the top removed from the Echorec to display the recorder tape drum and tape heads.
For guitars, David used a 1969 Fender Stratocaster (the famed Black Strat) with a 1963 rosewood neck, a 1970 Bill Lewis 24 fret custom guitar (used on the Money solo, and other tracks), and a possibly Fender 1000 pedal steel slide guitar that David acquired in 1968 at a pawn shop in Seattle. David thinks he used the pedal steel in the sessions and has commented that he never used the pedals on it. Roger Waters has claimed that David actually used a strat on his lap to play the slide parts in the studio for DSOTM.
David Gilmours Black '69 Fender Stratocaster and his custom made '70 Bill Lewis 24 fret guitar
DARK SIDE OF THE MOON SOUND CLIPS - Ripped from the 5.1 Surround Mix
Below are clips ripped from the incredible 5.1 stereo mix of DSOTM mixed by James Guthrie and released in 2003. I highly recommend you buy the 5.1 mix if you have a surround sound system. I have isolated the guitar tones from the surround tracks as best I could so that you can hear David's tones clearly to try and match them with you own gear, and so you can hear exactly what he is playing for learning reference. I suggest anyone interested in Pink Floyd buy and study the actual album. It should be in everyone's music library. The guitar solos on Time and Money are classics. EVERY song on this record is superb, and combined this is a masterpiece.
SPEAK TO ME
MP3 Sound Clip - Isolated sound effects and reverse guitar swell.
BREATHE
MP3 Sound Clip - Guitars in front of mix. Rhythm guitar with Uni-Vibe and rotating speaker is louder in the track. No vocals or drums.
MP3 Sound Clip - Guitars in front of mix with reverb and delay. Rhythm guitar with Uni-Vibe and/or rotating speaker is weaker in the track. No vocals or drums.
MP3 Sound Clip - Backing track to play guitar along with. Created from 5.1 surround mix.
ON THE RUN
MP3 Sound Clip - There was no guitar part in the studio version. It was created mostly with tape loops and a Synithi A synthesizer. In 1972 live pre-release concerts there was no synth part. David Gilmour played a guitar section here in almost the same tempo as the later album version. The guitar version was known as the "Travel Sequence". He played in time with a delay. I have removed most of the Synthi A rhythm from the 5.1 surround version so you can play along with it using a guitar.
MP3 Sound Clip - For reference, here is a 1972 live version of On the Run/Travel Sequence.
TIME
MP3 Sound Clip - Rhythm guitar up front in mix. You can clearly hear every note David plays. No drums. Some vocals and keys.
MP3 Sound Clip - Guitar solo highs mixed up front and other instruments toned down.
MP3 Sound Clip - Guitar solo lows mixed up front and other instruments toned down.
MP3 Sound Clip - Backing track to play guitar along with. Created from the 5.1 surround mix and another backing track with no solo.
MONEY
MP3 Sound Clip - Guitar Solos - guitars 1 and 2 only - with echo and reverb.
MP3 Sound Clip - Guitar Solos - dry solo guitar #1 - with drums.
MP3 Sound Clip - Guitar Solos - guitar #2 - with echo, reverb, and drums.
MP3 Sound Clip - Rhythm guitar mixed up front, other instruments and vocals diminished.
MP3 Sound Clip - Rhythm guitar mixed up front with all other instrument tracks and vocals. If you like to play the bass melody on guitar, use this BT.
MP3 Sound Clip - Backing track #1 to play guitar along with. Pro track. Not mixed from 5.1 sorround tracks.
MP3 Sound Clip - Backing track #2 to play guitar along with. Pro track. Not mixed from the 5.1 surround tracks.
US AND THEM
MP3 Sound Clip - Guitar with rotating speaker and/or Uni-Vibe effect mixed up front. You can clearly hear every note David plays. No lead vocals. Other instruments are diminished.
MP3 Sound Clip - Keyboards only. Other instruments are diminished. No lead vocals. Nice track to strum along to.
MP3 Sound Clip - Backing track to play guitar along with. Mixed from the 5.1 surround tracks.
ANY COLOUR YOU LIKE / BREATHE SECOND REPRISE
MP3 Sound Clip - The solo guitar section with the reverb guitar and keyboard channels only.
BRAIN DAMAGE
MP3 Sound Clip - Guitars mixed up front, other instruments, and vocals diminished. The mad laughter in the background comes from Pink Floyd's road manager Peter Watts (father of actress Naomi Watts).
MY GEAR - (my soundclips are here) The Colorsound Power Boost is still made today by Macaris of London, but it is now called an Overdriver. The circuit is exactly the same as the Power Boost. You can also find less expensive clones like the Throbak Overdrive Boost, or even a Boss BD-2 Blues Driver with a Phat mod. I use the Overdriver for much of the light overdrive tones and some distortion for DSOTM, and as a light boost after the Sunface. I leave the pedal on all the time with a light setting - a trick I learned from Gilmourish.com. It really makes my tube amp sound better.
The modern Dunlop Fuzz Face pedals do not sound like a good vintage silicon transistor Fuzz circuit to me, but there are good boutique replicas available. I use an Analogman Sunface BC108 silicon fuzz (not the NKT275 version) and a Skreddy Pedals Lunar Module silicon fuzz. The Sunface is almost an exact clone of the old silicon Fuzz Face and the Lunar is a custom tailored pedal made by Skreddy Pedals to produce the DSOTM fuzz tones from the album, which gets very close. The Sunface by itself does not produce tones that are exactly the same as what you hear on DSOTM, but combined with the Colorsound Overdriver with a boost setting it hits those tones exactly. The Lunar Module can do similar versions of all of the DSOTM tones on various settings, can go anywhere in the signal chain, and works well on low amp volumes as well as loud, though it does not quite have the same punch and splat that a vintage Fuzz Face has. The Sunface, on the other hand, sounds dead on to the Fuzz Face, but it must be first in line in the signal chain, does not work well with buffered pedals in the chain, and must run on non alkaline carbon batteries to sound its best. The Sunface/Fuzz Face tone circuit is also very succeptible to temperature, which alters its tone, and can pick up radio frequencies! But I still love it. I have the Sunface version with the Sundial, a knob which can be dialed to correct the tone back to normal when too cold or too hot, but it is also just a good knob to color the tone. I keep mine all the way counterclockwise.
I use all three pedals on my vintage effects board to get the full range of tones without a lot of knob fiddling. For the Money solo I use the Sunface, and kick in the Overdriver for the second half. For the Time solo I use the Sunface and Colorsound at the same time, both on a mild overdrive. If the Sunface is in a particularly good mood, and the battery is about half dead, I just use it alone for Time. The weak battery in the curcuit, and the gain on 100% is the key to the splatty-fuzz Time solo sound. For the rhythm stuff I use the Overdriver on the light overdrive setting.
Left to Right - Analogman Sunface fuzz with Sundial center knob to alter the tone, Skreddy Lunar Module fuzz, Colorsound Overdriver, Boss RT-20, MXR Carbon Copy
The Binson Echorecs are rare and very expensive, but unreliable even if you found one. There are many inexpensive analog delays available today that sound good for this type of echo. To produce the vintage warm sounding tape echo delay sounds David got from his Binson I have been using an MXR Carbon Copy, or a TC Electronic ND-1 Nova Delay. You can also get a really good analog tone from a T-Rex Replica delay, or an Electro-Harmonix Memory Man. Digital delays work OK, but a good analog delay that warms the echo repeats, incrementally increasing warmth and decay on each repeat, sounds much better for this era than a modern digital delay that has sharp and clear echo repeats.
Vintage Uni-Vibes are highly priced and very rare collectibles, but modern Dunlop Univibe sounds close to the original and uses the same circuit. There are several other good Uni-Vibe type pedals and Uni-Vibe clones currently available. For the Uni-Vibe/rotating speaker type modulation, I use a Boss RT-20 Rotary Ensemble, and sometimes a Boss CE-2 Chorus mixed with an MXR Phase 90. The Boss RT-20 is excellent for the Uni-Vibe/rotating speaker sound you hear all over DSOTM, but it sounds like metallic crap with a distorted tone. Luckily, most of the modulated DSOTM tones are clean!
For a really good list of similar gear and other options check out the buyers gear guide on Gilmourish.com.
"US AND THEM" WITH BOSS RT-20 ROTARY ENSEMBLE - Here are a few clips of the stereo Boss RT-20, which is what I use for the Uni-Vibe and rotating speaker sounds from DSOTM. It is a rotary speaker amp simulator, meant to simulate a Leslie amp. I mostly use mode 2. Fender strat with SSL-5 bridge pickup/CS69 middle and neck pickups, into RT-20, MXR Carbon Copy analog delay, and Fender Twin reverb.
MP3 Sound Clip - Us and Them intro with the RT-20 in different modes. 1, 2, and 3 are very similar. Stereo setup with two amps.
MP3 Sound Clip - RT-20 Mode 1. Leslie speaker sim.
MP3 Sound Clip - RT-20 Mode 2. Leslie plus Marshal amp sim.
MP3 Sound Clip - RT-20 Mode 3. Leslie plis Marshall amp sim with gain.
MP3 Sound Clip - RT-20 Mode 4. Uni-Vibe sim.
SUNFACE BC108 SOUND CLIPS - Example of the Sunface BC108 with the sundial knob tone/color knob. Fender strat with SSL-5 bridge pickup into Sunface, MXR Carbon Copy analog delay, and Fender Twin reverb.
MP3 Sound Clip - Sunface on light boost playing Money bass line. MXR Carbon Copy delay.
MP3 Sound Clip - Sunface with gain at 50%, playing Time solo. MXR Carbon Copy delay.
MP3 Sound Clip - Messing around with the Sunface and some MXR Carbon Copy delay.
COLORSOUND OVERDRIVER SOUND CLIPS - Fender strat with SSL-5 bridge pickup into Overdriver, MXR Carbon Copy analog delay, and Fender Twin reverb.
MP3 Sound Clip - Colorsound on light boost playing Money bass line. MXR Carbon Copy delay.
MP3 Sound Clip - Colosound on light overdrive playing Time solo. MXR Carbon Copy delay.
MP3 Sound Clip - Colorsound on maximum overdrive playing Time solo. MXR Carbon Copy delay.
"TIME" SOLO WITH ANALOGMAN SUNFACE - The carbon battery I used in the Sunface was getting weak when I recorded this and it sounded particularly good. The drive is 100% and sundial is set at 0%. Fender strat with SSL-5 bringe pickup into Sunface, MXR Carbon Copy analog delay, and Fender Twin reverb.
"TIME" SOLO WITH LUNAR MODULE - Example of the Skreddy Pedals Lunar Module fuzz pedal, which nails the DSOTM Fuzz Face tone very well. Here I am using it on full overdrive to get and get the screaming, overdriven, splatty solo sound from the Time studio version.
Lunar Module fuzz settings shown above. Played with a 2008 Fender American Strat with Seymour Duncan SSL-5 bridge pickup into a '65 Fender Twin RI. TC Nova delay.
Below are clips from various live performances of DSOTM and some DSOTM demos, out-takes, and early mixes. These give a glimpse into the range of Gilmours guitar tones and how they have changed over time, as well as how the songs themselves have changed and developed. There are also other interesting facts and tidbits I have picked over the years, as well as a complete transcription of every spoken voice heard on DSOTM. A really great documanetary about Dark Side of the Moon is the 2003 Classic Albums DVD "Pink Floyd - Dark Side of the Moon" that I highly recommend. It is full of interviews with all four band members, engineer Alan Parsons, and others. It covers just about every aspect of making the album.
On left is the ultra rare Toshiba-EMI vinyl pressing of DSOTM from around 1978, featuring a photo from the 1977 Animals/In The Flesh tour.
Middle and right photos are from the 1973 DSOTM tour.
"We all fight small battles between the positive and the negative in our everyday lives, and I'm obsessed with truth and how the futile scramble for material things obscures our path to a more fulfilling existence. That's what DSOTM is about. And despite the rather depressing ending with Brain Damage and Eclipse, there is an allowance that all things are possible, that the potential is in our hands."
-Roger Waters
....
Pink Floyd in 1972. The "Eclipse" pre-album tour
"SPEAK TO ME / THE HEARTBEAT INTRO" CLIPS
This first part of DSOTM was just called "The Heartbeat Intro" in 1972. In the later studio sessions it was changed to "Speak to Me". That title originated with DSOTM recording engineer Alan Parsons in the studio. Parson would test the mic levels in the recording sessions for Roger Waters' questionaires by asking the interviewees to"Speak to Me".
"I thought the album needed some kind of overture and I fiddled around with the heartbeat, the sound effects and Claire Torry screaming until it sounded right."
-Roger Waters on the intro to DSOTM
(CLIPS COMING )
"BREATHE" CLIPS
MP3 Sound Clip - Breathe demo. Roger Waters, circa 1971.
MP3 Sound Clip - Pink Floyd live 1974. Wembley, England. This track includes both "Speak to Me" and "Breathe". In "Speak to Me" you can make out what the voices say very easily and hear the edit on the "f" word.
MP3 Sound Clip - Pink Floyd live 1975. Los Angeles Sports Arena, California. Wish You Were Here Tour.
MP3 Sound Clip - Pink Floyd live 1994. Torino, Italy. The Division Bell Tour. Gilmour had long ago retired his Black Strat and was now playing his red strat with EMG-SA pickups. David Gilmour remembers using a Fender pedal steel slide guitar for the studio recordings, but Roger Waters said he remembers David played this with his strat on his lap..
MP3 Sound Clip - David Gilmour playing an acoustic version in 2003.
MP3 Sound Clip - David playing just the guitar part in 2003. Black Strat through an Uni-Vibe.
MP3 Sound Clip - Pink Floyd live 2008. Speak to Me / Breathe from the Live 8 Pink Floyd reunion.
MP3 Sound Clip - David Gilmour and Richard Wright live 2006. Milano, Italy. I believe this tour was the first time David ever played the slide guitar intro himself live. For other parts he played his Black Strat, brought out of retirement.
David adjusting his Binson Echorec II
"ON THE RUN / THE TRAVEL SEQUENCE " CLIPS
MP3 Sound Clip - A studio out-take of "On the Run". David Gilmour was running a loop on the Synthi-A synthesized in the DSOTM studio sessions for this part. Roger heard the Synthi-A loop that David had made and then created his own that he liked better and re-worked the track. On the album version you can hear an airport announcer saying this: "Have your baggage and passport ready and then follow the green line to customs and immigration. BA flight 215 to Rome, Cairo and Lagosyou".
MP3 Sound Clip - Pink Floyd live 1974. Empire Pool, Wembley.
MP3 Sound Clip - Pink Floyd live 1975. Los Angeles sports Arena.
MP3 Sound Clip - Pink Floyd live 1987. Rosemont, Chicago.
Original in-album sticker art by Hipgnosis. There were two stickers using identical art, each with slightly different colors.
"TIME (with Breathe Reprise)" CLIPS
MP3 Sound Clip - Pink Floyd live 1974. Empire Pool, Wembley, England. A much different and much longer intro. The clocks on the original recording were not Pink Floyd's idea, but something engineer Alan Parsons recorded as a test for a Quadrophonic Sound system.
MP3 Sound Clip - Pink Floyd live 1975. Los Angeles Sports Arena. Wish You Were Here Tour.
MP3 Sound Clip - Pink Floyd live 1987. Omni, Atlanta. A Momentary Lapse of Reason. Gilmour is playing his red strat with EMG-SA pickups.
MP3 Sound Clip - Pink Floyd live 1987. Final live performance from '87 MLOR tour. Gilmour is playing his red strat with EMG-SA pickups.
MP3 Sound Clip - Pink Floyd live 1994. Torino, Italy. The Division Bell tour.
MP3 Sound Clip - David Gilmour and Richard Wright live 2006. Milano, Italy.
MP3 Sound Clip - David Gilmour and Richard Wright live 2006. Dortmund, Germany.
"BREATHE REPRISE / HOME AGAIN" CLIPS
MP3 Sound Clip - Pink Floyd live 1973. Earl's Court.
MP3 Sound Clip - David Gilmour and Richard Wright live 2006. Milano, Italy.
Original in-sleeve album inner sleeve art by Hipgnosis
"THE GREAT GIG IN THE SKY / THE MORTALITY SEQUENCE" CLIPS
MP3 Sound Clip - David Gilmour playing the slide guitar parts - from Classic Albums DSOTM DVD, 2003.
"MONEY" CLIPS
MP3 Sound Clip - Acoustic demo. Roger Water's original demo tape.
MP3 Sound Clip - Early pre-release rough mix, 1973. From the "One Side of the Moon" bootleg. "Money" was the second song to be recorded in the DSOTM sessions in 1972. this is avery different mix of the guitars and the end bits. The spliced tape looped recordings in the beginning and throughout the song were created by Roger Waters.
...
...
.. 
David Gilmour with the '69 Black Strat in 1971, 1972, 1973 and 1974
MP3 Sound Clip - Pink Floyd live 1974. Empire Pool, Wembley, England.
MP3 Sound Clip - Pink Floyd live 1975. Los Angeles Sports Arena. Wish You Were Here Tour.
MP3 Sound Clip - David Gilmour live 1984. About Face tour.
MP3 Sound Clip - Pink Floyd live 1987. Final live performance from MLOR '87 tour.
Original in-album band poster art, and great pyramids of Giza (from an infrared photo) poster art by Hipgnosis.
"US AND THEM " CLIPS
MP3 Sound Clip - Early pre-release rough mix, 1973. From the "One Side of the Moon" bootleg. "Us and Them" was the first track to be recorded in the Dark Side of the Moon sessions in 1972. The mix is very different in this version, with more of a jazz feel to it. The original idea for the song was written by Richard Wright during the creation of Pink Floyd's contribution to the Zabriski Point film soundtrack.
MP3 Sound Clip - Rick Wright playing the paino part in 2003.
MP3 Sound Clip - David Gilmour playing the guitar part in 2003. Bill Lewis custom guitar through a Leslie rotating speaker or possibly a Uni-Vibe.
"ANY COLOUR YOU LIKE / DAVE'S SCAT SECTION" CLIPS
MP3 Sound Clip - Pink Floyd live 1972. Rainbow Theatre, live. From the pre-album release Eclipse (A Piece for Assorted Lunatics) tour. David Gilmour jamming to the "Any Colour" chords. This piece is also known as "Dave's scat section" on some bootlegs. The synth-like sound you hear harmonizing with the solo guitar is supposedly David singing with his mic going into the Leslie totating speaker cabinet.
Here is Roger Waters' explanation of the songs title.
"In Cambridge where I lived, people would come from London in a van - a truck - open the back and stand on the tailboard of the truck, and the truck's full of stuff that they're trying to sell. And they have a very quick and slick patter, and they're selling things like crockery, china, sets of knives and forks. All kinds of different things, and they sell it very cheap with a patter. They tell you what it is, and they say 'It's ten plates, lady, and it's this, that, and the other, and eight cups and saucers, and for the lot I'm asking NOT ten pounds, NOT five pounds, NOT three pounds . . . fifty bob to you!', and they get rid of this stuff like this. If they had sets of china, and they were all the same colour, they would say, 'You can 'ave 'em, ten bob to you, love. Any colour you like, they're all blue.' And that was just part of that patter. So, metaphorically, 'Any Colour You Like' is interesting, in that sense, because it denotes offering a choice where there is none. And it's also interesting that in the phrase, 'Any colour you like, they're all blue', I don't know why, but in my mind it's always 'they're all blue', which, if you think about it, relates very much to the light and dark, sun and moon, good and evil. You make your choice but it's always blue."
"BRAIN DAMAGE / THE LUNATIC SONG " CLIPS
MP3 Sound Clip - Pink Floyd live 1972. Rainbow Theatre, London. From the pre-album Eclipse (A Piece for Assorted Lunatics) tour. This was known as the "Lunatic Song" at this time. The Richard Wright keyboard solo with delay did not exist at this point.
MP3 Sound Clip - Studio outtake #1
MP3 Sound Clip - Studio outtake #2
MP3 Sound Clip - Pre-release rough mix, 1973. From the "One Side of the Moon bootleg".Missing the mad laughter from the final mix and features extra guitar soloing from David.
MP3 Sound Clip - Pink Floyd live 1973.
MP3 Sound Clip - Pink Floyd live 1975. Los Angeles sports Arena.
MP3 Sound Clip - Roger Waters playing an acoustic version in 2003.
David Gilmour at Wembley, Empire Pool 1972, playing a sunburst strat
"ECLIPSE / ECLIPSED " CLIPS
On the studio recording, during and after the spoken words "There is no dark side of the moon...", you can hear a repeating sound, barely a whisper, until the heart beat fades out. You need to use headphones at the maximum volume to hear it. Some people who have anaylized this with high end audio gear say it sounds like a small chamber orchestra, though I can not make this out. Supposedly, on some versions of the CD (not mine!), you can hear an orchestral version of The Beatles' song "Ticket to Ride" faintly in one channel. Some have said this is from George Martin's orchestral adaptation of the Beatles album Help! Listening to my vinyl version, two CD versions, and 5.1 version, I think this may be a bunch of crap, but there is definitely something there.
David Gilmour from a 1973 DSOTM show
DAVID GILMOUR QUOTES ABOUT DSOTM
"I really can't remember exactly how it happened—just that at some point Roger came in and said that instead of just one or two lyrics for individual songs that we had already been working on he had got an idea that was going to run through the whole album. Having Roger coming up with a cohesive idea of what the whole thing was going to be about was very good. We had explored some of that area before when we did a thing called "The Man and the Journey" which was a live thing we did in 1969. That was the story of the life of a person. But 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."
-2003 Rolling Stone
"At one time, it was called Eclipse because Medicine Head did an album called Dark Side of the Moon. But, that didn't sell well, so what the hell. I was against Eclipse and we felt a bit annoyed because we had already thought of the title before Medicine Head came out. Not annoyed at them but because we wanted to use the title."
-Echoes/Glenn Povey
Have you ever wondered what exactly the spoken voices sprinkled all over DSOTM are saying and who said them? I have, and it has been an obsession of mine since I was a kid. If you listen to the album enough, it is easy to make out exactly what is said. Over the years I have read in various sources about who said which lines, so I put together a list of all the spoken words, in album order, and who I believe spoke each of them. Most of these have been verified by the band or crew. Also below are some of the isolated spoken word audio interview clips. Most were responses to Roger Waters' flash card questions given to people in and around Abbey Road Studios at the time the album was being recorded in 1972. The interviews were Roger's idea and he recorded and edited them for the record.
MP3 Sound Clip - "Frightened of Dying." Spoken by Gerry O'Driscoll, the doorman at Abbey Road Studios.
MP3 Sound Clip - "Gold Disk." Roger "The Hat" Manifold, Pink Floyd's road manager.
MP3 Sound Clip - "In the Right.". Various. See below. Response to the questions "Have you ever been in a fight," and "Were you in the right?"
MP3 Sound Clip - "There is no Dark Side of the Moon." Spoken by Gerry O'Driscoll, the doorman at Abbey Road Studios.
"I've been mad for f**king years, absolutely years. I've been over the edge for yonks. Working me buns off for bands so long. I think, crikey."
-Chris Adamson, Pink Floyd roadie
"I've always been mad, I know I've been mad, like the most of us are. It's very hard to explain why you're a madman, even if you're not a madman."
-Gerry O'Driscoll, doorman at Abbey Road Studios
"Live for today, gone tomorrow. That's me."
-Roger "The Hat" Manifold, Pink Floyd's road manager
"...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."
-Gerry O'Driscoll, doorman at Abbey Road Studios
"I never said I was frightened of dying."
-Puddie Watts, wife of Pink Floyd road manager Peter Watts (father of actress Naomi Watts)
"I was in the right! Yes, absolutely in the right."
"I certainly was in the right."
-Gerry O'Driscoll, doorman at Abbey Road Studios
"I was definitely in the right. That geezer was cruising for a bruising."
-Puddie Watts, wife of Pink Floyd road manager Peter Watts (father of actress Naomi Watts)
"Why does anyone do anything?"
-Gerry O'Driscoll, doorman at Abbey Road Studios
"Yeah!"
-???
"Why does anyone do anything?"(repeat)
-Gerry O'Driscoll, doorman at Abbey Road Studios
"I don't know, I was really drunk at the time!"
-Henry Mcullough, short time guitarist with Paul McCartney and Wings
"I was just telling him, he couldn't get into number two. 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."
-Chris Adamson, Pink Floyd roadie
"Why does anyone do anything?"(repeat)
-Gerry O'Driscoll, doorman at Abbey Road Studios
"I don't know, I was really drunk at the time!"(repeat)
-Henry Mcullough, short time guitarist with Paul McCartney and Wings
"I mean, they're not gonna kill ya, so if you give 'em a quick short, sharp, shock, they won't do it again. Dig it? I mean he got off lightly, 'cause 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?"
-Roger "The Hat" Manifold, Pink Floyd's road manager, 1972
"I can't think of anything to say except..."
-Peter Watts, Pink Floyd's road manager (father of actress Naomi Watts)
"I think it's marvelous!"
-Peter Watts, Pink Floyd's road manager (father of actress Naomi Watts)
"There is no dark side in the moon, really. Matter-of-fact it's all dark"
-Gerry O'Driscoll, doorman at Abbey Road Studios
Roger Waters (1943) - Bass Guitar and Vocals, Nick Mason (1944) - Percussion
Rick Wright (1943 - 2008) - Keyboards and Vocals, David Gilmour (1946) - Guitar and Vocals
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