I don’t really think they had any more idea than I had, It was just an experiment.” Somewhere in the back of my mind it crossed quickly that perhaps I should pretend that I was an instrument. “I think they thought: ‘Well maybe we should have a vocal on it and we’ll see how it goes.’ So I listened to it and I thought to myself: ‘What the hell do I do?’ I had no idea. She was not a particular fan of Pink Floyd, and had other plans for the evening, including, she later admitted, tickets to see Chuck Berry, so a session was scheduled for the following Sunday. Torry was working as a staff songwriter for EMI. Then on January 21, 1973, 25-year-old session vocalist Clare Torry supplied three hours of improvised vocals, replacing Bible readings and a Malcolm Muggeridge speech that had featured in the live version. The music was mostly laid down on June 25, 1972. Gerry O'Driscoll and Floyd engineer Peter Watts give their thoughts on dying. So smooth, in fact, that you can easily fail to notice the sudden switch to E-minor, where the B section in Time usually ends on E-major. The track ends with a smooth reprise into Breathe. Gilmour’s guitar tone is biting and spiky, creating a marked contrast between the A section and the smoother B section. Parsons added the alarm clock sequence, which he had just recorded for a quadraphonic sound demo. Recorded during the first studio stint, on June 8, 1972. Gilmour, backed up by Parsons, says he first managed to get notes from the synth, which Waters then replaced Waters says that it was he who first elicited meaningful sound from it. The ‘Travel Section’ is a VCS3-based assembly with footsteps added by Parsons, and words from Floyd roadie Roger The Hat. The ‘train’ sound is feedback from Gilmour, then a number of sound effects were added, along with the vox pops that Waters had recorded. Gilmour’s vocals are double-tracked for fuller effect.Įmerging from one of the album’s many smooth cross-fades, On The Run is built largely with sounds from the EMS VCS3 synth. The song is about trying to be true to yourself, constructed during the Broadhurst Gardens sessions in London by Waters, Gilmour and Rick Wright.
Two of David Gilmour’s long-term fascinations are on here: the Leslie rotating speaker on the rhythm guitar, and the gently swooping pedal steel (although Roger Waters has claimed that this is an open-tuned Stratocaster played with a slide). (Its irregular orbit also explains the moon's apparent changes in size, due to its varying distance from Earth.The languorous chord progression of Breathe In The Air finally bursts out of a crescendo of screams and backwards sounds. Likewise, the eccentricity of the moon's orbit lends its face a slight wag, enabling those of us on Earth to peer over its eastern and western edges as it swishes back and forth, not unlike the :party parrot: in Slack. The tilt of its axis relative to Earth makes the moon appear as though it is delivering the planet a slow and gentle nod, affording observers fleeting glimpses of its northern and southern poles. But this animation-which condenses two and a half lunar cycles into a single 13-second gif-illustrates something about the moon you may not have noticed before: The moon kind of … wobbles.Īstronomers call those wobbles librations, and they're caused by the orientation of the moon's axis and the elliptical shape of its orbit. The phase changes you're no doubt familiar with: As the moon's position shifts relative to the sun and the Earth, darkness envelopes and recedes from the face that's tidally locked with our planet (while retreating from and enshrouding the face that points away). It was made using satellite imagery captured by the agency's Lunar Reconnaissance Orbiter. Check out this footage from NASA's Science Visualization Studio.
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