John Harris - The Dark Side of the Moon - The Making of the Pink Floyd Masterpiece

JOHN HARRIS

THE MAKING OF THE PINK FLOYD MASTERPIECE

Fourth Estate

An imprint of HarperCollins Publishers 1 London Bridge Street London SE1 9GF

www.harpercollins.co.uk

This edition published by Harper Perennial 2006

First published in Great Britain in 2005 by Fourth Estate

Copyright © John Harris 2005

John Harris asserts the moral right to be identified as the author of this work

A catalogue record for this book is available from the British Library

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Source ISBN: 9780007232291

Ebook Edition © NOVEMBER 2012 ISBN 9780007383412

Version: 2016-03-18

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Cover

Title Page JOHN HARRIS

Copyright

Dedication

PrologueJanuary 2003

CHAPTER 1The Lunatic Is in My Head: Syd Barrett and the Origins of Pink Floyd

CHAPTER 2Hanging On in Quiet Desperation: Roger Waters and Pink Floyd Mark II

CHAPTER 3And If the Band You’re in Starts Playing Different Tunes:The Dark Side of the Moon Is Born

CHAPTER 4Forward, He Cried from the Rear: Into Abbey Road

CHAPTER 5Balanced on the Biggest Wave: Dark Side, Phase Three

CHAPTER 6And When at Last the Work Is Done: The Dark Side of the Moon Takes Off

AppendixUs and Them: Life After The Dark Side of the Moon

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Bibliography/Sources

Acknowledgements

Index

About the Author

About the Publisher

For Hywel, who was right.

‘I don’t miss Dave, to be honest with you,’ said Roger Waters, his voice crackling down a very temperamental transatlantic phone line. ‘Not at all. I don’t think we have enough in common for it to be worth either of our whiles to attempt to rekindle anything. But it would be good if one could conduct business with less enmity. Less enmity is always a good thing.’

He was speaking from Compass Point Studios, the unspeakably luxurious recording facility in the Bahamas whose guestbook was filled with the signatures of stars of a certain age and wealth bracket: the Rolling Stones, Paul McCartney, Eric Clapton, Joe Cocker. Waters was temporarily resident there to pass final judgement on the kind of invention with which that generation of musicians were becoming newly acquainted: a 5.1 surround-sound remix, one of those innovations whereby the music industry could persuade millions of people to once again buy records they already owned.