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| Pink Floyd | Primary Artist |
| Roger Waters | Bass Guitar, Vocals, VCS 3 Synthesizer |
| Lesley Duncan | Background Vocals |
| Nick Mason | Percussion |
| Doris Troy | Background Vocals, Guest Appearance |
| Richard Wright | Keyboards, Vocals, VCS 3 Synthesizer |
| Venetta Fields | Background Vocals |
| David Gilmour | Guitar, Vocals, VCS 3 Synthesizer |
| Dick Parry | Saxophone |
| Barry St. John | Background Vocals |
| Liza Strike | Background Vocals |
| Clare Torry | Vocals |
| Carlena Williams | Background Vocals |
| Roger Waters | Composer, Tape Effects |
| Nick Mason | Composer, Tape Effects |
| Richard Wright | Composer |
| Pink Floyd | Producer |
| David Gilmour | Composer |
| James Guthrie | Mastering |
| Brian Humphries | Engineer |
| Andy Jackson | Mastering |
| Alan Parsons | Engineer |
| George Hardie | Artwork |
| Phill Brown | Engineer |
| Joel Plante | Mastering |
Editorial Reviews
All Music Guide - Stephen Thomas Erlewine
By condensing the sonic explorations of Meddle to actual songs and adding a lush, immaculate production to their trippiest instrumental sections, Pink Floyd inadvertently designed their commercial breakthrough with Dark Side of the Moon. The primary revelation of Dark Side is what a little focus does for the band. Roger Waters wrote a series of songs about mundane, everyday details which aren't that impressive by themselves, but when given the sonic backdrop of Floyd's slow, atmospheric soundscapes and carefully placed sound effects, they achieve an emotional resonance. But what gives the album true power is the subtly textured music, which evolves from ...