Pink Floyd The Final Cut 2004 Torrent
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Over the course of decades, ’s 1973 album has become legendary for a lot of reasons, including the 741 weeks it spent on the album chart, the iconic cover art and the urban-legend connection to The Wizard of Oz. But this track-by-track approach to the LP centers on the music – the sounds, creation and concept behind one of the most successful, popular and celebrated albums in rock history.
“Speak to Me” The line on Dark Side isn’t just that it’s a masterpiece, but that it’s a masterpiece because the album displays Pink Floyd at the apex of the members’ collaboration. After former frontman left the psychedelic rockers rudderless, they gradually found a collective focus by 1972, with bassist handling the concepts (and lyrics), guitarist and contributing musical ideas and vocals and drummer maintaining a steady beat while messing with brain-tickling sound effects. Each of Floyd’s four members received writing credits on Dark Side, although Mason was listed as the sole composer of album opener “Speak to Me.” It was a decision that proved controversial in the later, more acrimonious days of the band (more on this in a bit). Devoid of lyrics, the one-plus-minute track isn’t much of a song. Conceived in the later stages of the album’s recording sessions at London’s Abbey Road Studios, “Speak to Me” was created as a starting point for this grand, contemplative LP. “It’s kind of a classical overture, a standard device used for hundreds of years,” Waters told in 2003, “put some elements of the work together at the beginning, as a taster.” “Speak to Me” might have been classical in concept, but it was more experimental in execution, with layers of fragmented sonic references to Dark Side’s forthcoming songs. You can hear ticking clocks (“Time”), a cash register (“Money”), crazy laughter (“Brain Damage”) and a woman’s scream (“The Great Gig in the Sky”), all interwoven with the sound of a pulsing heartbeat – created by futzing with the recording of a kick drum.
The same pulse is heard at the album’s end, suggesting a continuous cycle. When Pink Floyd debuted Dark Side’s suite of songs at live concerts (more than a year before the album’s release), the heartbeat sound stood alone as a long introduction that would transition from a venue filled with loud crowd talk to the band’s first proper tune, “Breathe.” For the recorded version, the so-called overture became shorter, but denser – not just featuring elements of other songs, but also snippets of spoken word.
Waters had the idea of recording interviews with people who worked with the band or at Abbey Road Studios, and seeing if the answers might dovetail with some of the weighty lyrical themes of Dark Side. The questions would begin easy (“What’s your favorite color?”) and progress to more difficult subject matter (such as violence or mental instability). The voices on “Speak to Me” belong to the band’s road manager Chris Adamson admitting, “ I’ve been mad for fucking years,” and Abbey Road doorman Gerry O’Driscoll saying, “ I’ve always been mad ” In fact, the track’s title came as a result of these interviews. Every time he tested the sound levels to record each interview, audio engineer would say, “Speak to me” into the talk-back microphone. The phrase stuck. Although Parsons named the piece, Floyd’s drummer was credited for the sonic wizardry on the Dark Side sleeve.
“It was an assembly that I did with existing music,” Mason said, years later. “You could say there’s no original material there, or you could say it’s an entirely original assembly.” Yet Waters, Gilmour and Wright disagreed with Mason’s memory, instead suggesting that the writing credit was a gift between bandmates – a token of publishing generosity from Pink Floyd’s bassist to the band’s drummer. After Waters split with the band in the ’80s, he didn’t only stop speaking to his former mates, he didn’t want Mason to get any creative recognition for “Speak to Me.” “I went through many years when I really regretted having given away half the writing credits, particularly ‘Speak to Me’,” Waters said. “I gave it to [Mason]. Nobody else had anything to do with it at all.” So much for the notion of Dark Side marking the height of Pink Floyd’s collaboration.