The band approved of Waters' concept for an album unified by a single theme, and all the members participated in writing and producing material. Waters created demo tracks in a small studio in a garden shed at his home in Islington. Parts of the album were taken from previously unused material; the opening line of "Breathe" came from an earlier work by Waters and Ron Geesin, written for the soundtrack of The Body, and the basic structure of "Us and Them" was borrowed from an original composition, "The Violent Sequence", by the keyboardist, Richard Wright, for Zabriskie Point. The band rehearsed at a warehouse in London owned by the Rolling Stones and at the Rainbow Theatre in Finsbury Park, London. They also purchased extra equipment, which included new speakers, a PA system, a 28-track mixing desk with a four channel quadraphonic output, and a custom-built lighting rig. Nine tonnes of kit was transported in three lorries. This would be the first time the band had taken an entire album on tour. The album had been given the provisional title of Dark Side of the Moon (an allusion to lunacy, rather than astronomy). After discovering that title had already been used by another band, Medicine Head, it was temporarily changed to Eclipse. The new material was premiered at The Dome in Brighton, on 20 January 1972, and after the commercial failure of Medicine Head's album the title was changed back to the band's original preference.
Each side of the vinyl album is a continuous piece of music. The five tracks on each side reflect various stages of human life, beginning and ending with a heartbeat, exploring the nature of the human experience and, according to Waters, "empathy". "Speak to Me" and "Breathe" together highlight the mundane and futile elements of life that accompany the ever-present threat of madness, and the importance of living one's own life – "Don't be afraid to care". By shifting the scene to an airport, the synthesiser-driven instrumental "On the Run" evokes the stress and anxiety of modern travel, in particular Wright's fear of flying. "Time" examines the manner in which its passage can control one's life and offers a stark warning to those who remain focused on mundane pursuits; it is concluded with a retreat into solitude and withdrawal in the reprise of "Breathe". The first side of the album ends with Wright and Clare Torry's soulful metaphor for death, "The Great Gig in the Sky".
The first track recorded was "Us and Them" on 31 May, followed seven days later by "Money". For "Money", Waters had created effects loops in an unusual 74 time signature from recordings of money-related objects, including coins thrown into a mixing bowl in his wife's pottery studio. These were re-recorded to take advantage of the band's decision to create a quadraphonic mix of the album, although Parsons later expressed dissatisfaction with the result of this mix, which he attributed to a lack of time and a shortage of multitrack tape recorders.
"Time" and "The Great Gig in the Sky" were recorded next, followed by a two-month break, during which the band spent time with their families and prepared for a tour of the United States. The recording sessions were frequently interrupted: Waters, a supporter of Arsenal F.C., would break to see his team compete, and the band would occasionally stop to watch Monty Python's Flying Circus on television while Parsons worked on the tracks. Gilmour recalled, "...but when we were on a roll, we would get on."
After returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", and fine-tuned work from previous sessions. Four female vocalists were assembled to sing on "Brain Damage", "Eclipse" and "Time", and the saxophonist Dick Parry was booked to play on "Us and Them" and "Money". With the director Adrian Maben, the band also filmed studio footage for Pink Floyd: Live at Pompeii. The album was completed and signed off at Abbey Road on 9 February 1973. Gilmour recalled the band listening to the finished album for the first time as "a moment of great joy and of satisfaction and the feeling of achievement that we'd really gone that extra mile".
The album features metronomic sound effects during "Speak to Me" and tape loops for the opening of "Money". Mason created a rough version of "Speak to Me" at his home before completing it in the studio. The track serves as an overture and contains cross-fades of elements from other pieces on the album. A piano chord, replayed backwards, serves to augment the build-up of effects, which are immediately followed by the opening of "Breathe". Mason received a rare solo composing credit for "Speak to Me".
The sound effects on "Money" were created by splicing together Waters' recordings of clinking coins, tearing paper, a ringing cash register, and a clicking adding machine, which were used to create a 7-beat effects loop. This was later adapted to four tracks to create a "walk around the room" effect in quadraphonic presentations of the album. At times, the degree of sonic experimentation on the album required the studio engineers and all four band members to operate the mixing console's faders simultaneously, in order to mix down the intricately assembled multitrack recordings of several of the songs, particularly "On the Run".
Along with conventional rock band instrumentation, Pink Floyd introduced prominent synthesisers to their sound. The band experimented with an EMS VCS 3 on "Brain Damage" and "Any Colour You Like", and a Synthi A on "Time" and "On the Run". They also devised and recorded unconventional sounds, such as assistant engineer Peter James running around the studio's echo chamber during "On the Run", and a specially treated bass drum made to simulate a human heartbeat during "Speak to Me", "On the Run", "Time" and "Eclipse". This heartbeat is most prominent in the intro and the outro to the album, but it can also be heard sporadically on "Time" and "On the Run". "Time" features assorted clocks ticking, then chiming simultaneously at the start of the song, accompanied by a series of Rototoms. The recordings were initially created as a quadraphonic test by Parsons, who recorded each timepiece at an antique clock shop. Although these recordings had not been created specifically for the album, elements of this material were eventually used in the track.
Several tracks, including "Us and Them" and "Time", demonstrated Wright's and Gilmour's ability to harmonise their similar-sounding voices, and the engineer Alan Parsons used techniques such as double tracking vocals and guitars, which allowed Gilmour to harmonise with himself. Prominent use was also made of flanging and phase-shifting on vocals and instruments, odd trickery with reverb, and the panning of sounds between channels, most notably in the quadraphonic mix of "On the Run", where the sound of the Hammond B3 organ played through a Leslie speaker swirls around the listener.
In the final week of recording, Waters asked staff and others at Abbey Road to respond to questions printed on flashcards and some of their replies were edited into the final mix. The interviewees were placed in front of a microphone in a darkened Studio 3 and shown such questions as "What's your favourite colour?" and "What's your favourite food?", before moving on to themes central to the album, including those of madness, violence, and death. Questions such as "When was the last time you were violent?", followed immediately by "Were you in the right?", were answered in the order they were presented.
Several of the responses – "I am not frightened of dying. Any time will do, I don't mind. Why should I be frightened of dying? There's no reason for it ... you've got to go sometime"; "I know I've been mad, I've always been mad, like most of us have"; and the closing "There is no dark side in the moon really. Matter of fact, it's all dark" – came from the studios' Irish doorman, Gerry O'Driscoll. "The bit you don't hear," said Parsons, "is that, after that, he said, 'The only thing that makes it look alight is the sun.' The band were too overjoyed with his first line, and it would have been an anticlimax to continue."
Thomas's intervention resulted in a compromise between Waters and Gilmour, who were both satisfied with the result. Thomas was responsible for significant changes, including the perfect timing of the echo used on "Us and Them". He was also present for the recording of "The Great Gig in the Sky". Waters said in an interview in 2006, when asked if he felt his goals had been accomplished in the studio:
The design was inspired by a photograph of a prism with a beam of white light projected through it and emerging in the colours of the visible spectrum that Thorgerson had found in a 1963 physics textbook, as well as by an illustration by Alex Steinweiss, the inventor of album cover art, for the New York Philharmonic's 1942 performance of Ludwig van Beethoven's Emperor Concerto. The artwork was created by an associate of Hipgnosis, George Hardie. Hipgnosis offered a choice of seven designs for the sleeve, but all four members of the band agreed that the prism was the best. "There were no arguments," said Roger Waters. "We all pointed to the prism and said 'That's the one'."
The band were so confident of the quality of Waters' lyrics that, for the first time, they printed them on the album's sleeve.
As the quadraphonic mix of the album was not then complete, the band (with the exception of Wright) boycotted the press reception held at the London Planetarium on 27 February. The guests were, instead, presented with a quartet of life-sized cardboard cut-outs of the band, and the stereo mix of the album was played over a poor-quality public address system. Generally, however, the press were enthusiastic; Melody Maker's Roy Hollingworth described Side One as "so utterly confused with itself it was difficult to follow", but praised Side Two, writing: "The songs, the sounds, the rhythms were solid and sound, Saxophone hit the air, the band rocked and rolled, and then gushed and tripped away into the night." Steve Peacock of Sounds wrote: "I don't care if you've never heard a note of the Pink Floyd's music in your life, I'd unreservedly recommend everyone to The Dark Side of the Moon". In his 1973 review for Rolling Stone magazine, Loyd Grossman declared Dark Side "a fine album with a textural and conceptual richness that not only invites, but demands involvement". In Christgau's Record Guide: Rock Albums of the Seventies (1981), Robert Christgau found its lyrical ideas clichéd and its music pretentious, but called it a "kitsch masterpiece" that can be charming with highlights such as taped speech fragments, Parry's saxophone, and studio effects which enhance Gilmour's guitar solos.
Much of the album's early American success is attributed to the efforts of Pink Floyd's US record company, Capitol Records. Newly appointed chairman Bhaskar Menon set about trying to reverse the relatively poor sales of the band's 1971 studio album Meddle. Meanwhile, disenchanted with Capitol, the band and manager O'Rourke had been quietly negotiating a new contract with CBS president Clive Davis, on Columbia Records. The Dark Side of the Moon was the last album that Pink Floyd were obliged to release before formally signing a new contract. Menon's enthusiasm for the new album was such that he began a huge promotional advertising campaign, which included radio-friendly truncated versions of "Us and Them" and "Time".
In some countries – notably the UK – Pink Floyd had not released a single since 1968's "Point Me at the Sky", and unusually "Money" was released as a single on 7 May, with "Any Colour You Like" on the B-side. It reached number 13 on the Billboard Hot 100 in July 1973. A two-sided white label promotional version of the single, with mono and stereo mixes, was sent to radio stations. The mono side had the word "bullshit" removed from the song – leaving "bull" in its place – however, the stereo side retained the uncensored version. This was subsequently withdrawn; the replacement was sent to radio stations with a note advising disc jockeys to dispose of the first uncensored copy. On 4 February 1974, a double A-side single was released with "Time" on one side, and "Us and Them" on the opposite side. Menon's efforts to secure a contract renewal with Pink Floyd were in vain however; at the beginning of 1974, the band signed for Columbia with a reported advance fee of $1M (in Britain and Europe they continued to be represented by Harvest Records).
After a change in chart methodology in 2009 which allowed catalogue titles to be included in the Billboard 200, The Dark Side of the Moon returned to the chart at number 189 on 12 December of that year for its 742nd charting week. It has continued to sporadically appear on the Billboard 200 since then, with the total at 990 weeks on the chart as of May 2024. "On a slow week" between 8,000 and 9,000 copies are sold. As of April 2013, the album had sold 9,502,000 copies in the US since 1991 when Nielsen SoundScan began tracking sales for Billboard. In 2007, one in every fourteen people in the US under the age of 50 was estimated to have owned a copy.
In 1993, Gilmour attributed the album's success to the combination of music, lyrics and cover art: "All the music before had not had any great lyrical point to it. And this one was clear and concise." Mason said that, when they finished the album, Pink Floyd felt confident it was their best work to date, but were surprised by its commercial success. He said it was "not only about being a good album but also about being in the right place at the right time".
A quadraphonic mix, created by Alan Parsons, was commissioned by EMI but never endorsed by Pink Floyd, as Parsons was disappointed with his mix. For the album's 30th anniversary, an updated surround version was released in 2003. The band elected not to use Parsons' quadraphonic mix, and instead had the engineer James Guthrie create a new 5.1 channel surround sound mix on the SACD format. Guthrie had worked with Pink Floyd since their eleventh album, The Wall, and had previously worked on surround versions of The Wall for DVD-Video and Waters' In the Flesh for SACD. In 2003, Parsons expressed disappointment with Guthrie's SACD mix, suggesting he was "possibly a little too true to the original mix", but was generally complimentary. The 30th-anniversary edition won four Surround Music Awards in 2003, and sold more than 800,000 copies.
The cover image of the 30th-anniversary edition was created by a team of designers including Thorgerson. The image is a photograph of a custom-made stained glass window, built to match the dimensions and proportions of the original prism design. Transparent glass, held in place by strips of lead, was used in place of the opaque colours of the original. The idea is derived from the "sense of purity in the sound quality, being 5.1 surround sound ..." The image was created out of a desire to be "the same but different, such that the design was clearly DSotM, still the recognisable prism design, but was different and hence new".
The success of the album brought wealth to all four members of the band; Richard Wright and Roger Waters bought large country houses, and Nick Mason became a collector of upmarket cars. The group were fans of the British comedy troupe Monty Python, and as such, some of the profits were invested in the production of Monty Python and the Holy Grail. Parsons received a Grammy Award nomination for Best Engineered Recording, Non-Classical for The Dark Side of the Moon, and he went on to have a successful career as a recording artist with the Alan Parsons Project. Although Waters and Gilmour have on occasion downplayed his contribution to the success, Mason praised his role. In 2003, Parsons reflected: "I think they all felt that I managed to hang the rest of my career on Dark Side of the Moon, which has an element of truth to it. But I still wake up occasionally, frustrated about the fact that they made untold millions and a lot of the people involved in the record didn't."
Several notable acts have covered the album live in its entirety, and a range of performers have used samples from The Dark Side of the Moon in their own material. Jam-rock band Phish performed a semi-improvised version of the entire album as part of their show on 2 November 1998 in West Valley City, Utah. Progressive metal band Dream Theater have twice covered the album in their live shows, and in May 2011 Mary Fahl released From the Dark Side of the Moon, a song-by-song "re-imagining" of the album. Milli Vanilli used the tape loops from Pink Floyd's "Money" to open their track "Money", followed by Marky Mark and the Funky Bunch on Music for the People.
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"At one time, it was called Eclipse because Medicine Head did an album called Dark Side of the Moon. But that didn't sell well, so what the hell. I was against Eclipse and we felt a bit annoyed because we had already thought of the title before Medicine Head came out. Not annoyed at them but because we wanted to use the title." – David Gilmour[19]
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This material was later released under the title Obscured by Clouds.[20] /wiki/Obscured_by_Clouds
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"The Gear of Pink Floyd's "Dark Side of the Moon"". reverb.com. 24 February 2023. Retrieved 27 June 2025. They would continue to use Studio 3, just as they had for the original May '72 session… At times they also used the larger Studio 2, over on the other side of the building. Studio 3 also had a Studer A80 2-inch 16-track tape machine for the Dark Side sessions. At the time of the refit, this was the first of its kind in the UK, but by now all three Abbey Road control rooms had them, and Alan would sometimes bounce to a second 16-track to make more tracks available. {{cite web}}: no-break space character in |quote= at position 88 (help) https://reverb.com/news/the-gear-of-pink-floyds-dark-side-of-the-moon
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Mason is responsible for most of the sound effects used on Pink Floyd's discography.
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