Just to make few (slightly anoraky) points
about your otherwise very good piece on Dark Side of The Moon (Mojo #52).
I should probably start by apologising to Alan Parsons for saying (if indeed I did say) that DSOTM would have come out the same with any engineer. Specifically, neither the clocks nor Clare Torry would have been there, so it could not have been the same. Whether better or worse one cannot know, bu suffice to say that Alan is and always was a first-rate engineer.
The person you refer to as Peter (Puddy) Watts is in fact two people. Peter, and his second wife Patricia - aka Puddy. She is the one who says, among other things, "that geezer was cruisin' for a bruisin'" and was referring to Chris Adamson. The first track, "Speak To Me" was titled not from something Alan said, but from one of the many catchphrases the aforementioned very colourful road manager (they don't make 'em like that anymore), Chris Adamson, was wont to use at the drop of a hat. "Chris?", we would say. "Speak to me," he would reply. "Grab that guitar for us, please," we would ask. "Any colour you like, they're all blue," he would say. "How are you getting on with that repair, Chris?" we would ask. "I'm in," he would say, "and when you're in, you're in." He was the source of several title for both Obscured By Clouds and DSOM.
The slide guitar on Breathe and Great Gig In The Sky, and indeed on One Of These Days on Meddle, was an old Fender twin neck pedal steel guitar that I bought in a pawn shop in Seattle in 1968. When I bought it, it had no pedals, and at some point later I had a set made for it by Gordon Huntley, who played pedal steel in Matthews Southern Comfort.
Roger may be "obsessed by truth", but if he is then his memory is failing him. I came up with the synthesiser idea for On The Run. I programmed in an eight note sequence, sped it up and was treating it with filter sweeps etc, when Roger pricked up his ears and came to join in. He thought it was great, but that my sequence was a little too sweet (one of my common failings), so he asked me to show him how to try one of his own. This we did and, lo and behold, we both preferred Roger's sequence (it was more machine-like), which *I* then went on to play and moduate for the recording.
On Us and Them, the vocal delay was run through a four track, not a two track, machine. This was so we could have the delays coming back in four different places in the stereo picture.
Read the original article:
The True Story of The Dark Side of the Moon