I’ve always loved music. Later in life I would make playlists on Cassette, CD’s and now on thumbdrives. With these posts I’ll reminisce about some of my all-time favorite songs.
“The Great Gig in the Sky,” a track from Pink Floyd’s iconic album The Dark Side of the Moon, is a testament to the power of instrumental and vocal improvisation. Composed by Richard Wright, the band’s keyboardist, and Clare Torry, the vocalist, this piece is a blend of atmospheric music and emotional vocalizations that communicate profound depth without the need for traditional lyrics. The instrumental foundation of “The Great Gig in the Sky” is built around Wright’s piano chords,
accompanied by a steadily pulsing bass, delicate pedal steel guitar by David Gilmour, and Nick Mason’s restrained yet dynamic drumming. The Fender ‘Duo 1000’ double-neck steel guitar, a distinctive instrument from 1962, was purchased by David Gilmour in Seattle in October 1970.
The band began casting around for a singer, and studio engineer Alan Parsons suggested Clare Torry, a 25-year-old songwriter and session vocalist he had worked with on a Top of The Pops covers album.
This guitar, featuring two necks with different tunings, allowed Gilmour to create the ethereal and sweeping slide guitar sounds that are prominent in the song. Its unique tonal qualities and versatility contributed significantly to the atmospheric depth of the track, complementing Richard Wright’s piano and Clare Torry’s emotive vocals. The song begins gently, with Wright’s piano playing a sequence of chords that create a sense of serenity and introspection.
We’d been thinking Madeleine Bell or Doris Troy and we couldn’t believe it when this housewifely white woman walked in. But when she opened her mouth, well, she wasn’t too quick at finessing what we wanted, but out came that orgasmic sound we know and love.
David Gilmour
This calmness is soon contrasted by the dramatic and soulful vocal performance that follows, adding a layer of emotional intensity to the composition. Clare Torry, a session singer, was brought in to provide the vocal element of the track. Torry’s contribution is nothing short of extraordinary and was initially an improvisation. She was given little direction beyond the mood of the song.
Her vocal performance is raw, powerful, and deeply emotive, comprising wails, cries, and melodies that convey a range of emotions, from anguish to ecstasy. Torry’s ability to improvise this vocal line has become legendary, showcasing the importance of intuition and emotional expression in music. The improvised nature of Torry’s performance underscores the value of spontaneity and creative freedom in music.
Her vocals were a one-take wonder, illustrating how improvisation can capture a moment of genuine emotion that might be difficult to achieve through meticulous planning. This approach can inspire musicians to trust their instincts and allow the music to flow naturally, often leading to unexpected and powerful results.
The spoken parts in “The Great Gig in the Sky” are brief but significant. They include snippets of interviews conducted by the band, where individuals speak about their feelings on death. These voices add a layer of human reflection and philosophical musing to the track, enhancing its thematic depth. The quotes, “I’m not afraid of dying. Anytime will do; I don’t mind,” and “Why should I be frightened of dying? There’s no reason for it—you’ve got to go sometime,” contribute to the contemplative nature of the piece.
Spoken Parts "The Great Gig in the Sky"
(At 0:39)
And 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.
— Gerry O'Driscoll, Abbey Road Studios doorman
(At 3:33, faintly)
I never said I was frightened of dying.
— Patricia 'Puddie' Watts, wife of road manager Peter Watts
In 2004, Clare Torry sued Pink Floyd and their record label, claiming she deserved co-writing credit and royalties for her improvised vocal performance. The case highlighted the complexities of authorship in collaborative art forms. The lawsuit was settled out of court in 2005, with Torry receiving co-writing credits and royalties.
This case set a precedent for recognizing the contributions of session musicians and improvising artists, acknowledging that their spontaneous creations can be integral to the final piece. “The Great Gig in the Sky”
is a powerful example of how improvisation and emotional expression can elevate a piece of music. Clare Torry’s impromptu vocal performance added an unforgettable dimension to Richard Wright’s composition, and the resulting track is a masterpiece that resonates deeply with listeners. The inclusion of spoken parts and the subsequent lawsuit also contribute to the song’s rich history and significance in the realm of rock music.
Further Reading
Sources
- Wikipedia “The Dark Side of the Moon” https://en.wikipedia.org/wiki/The_Dark_Side_of_the_Moon
- AllMusic “The Dark Side of the Moon – Pink Floyd” https://www.allmusic.com/album/the-dark-side-of-the-moon-mw0000191308
- Discogs “Pink Floyd – The Dark Side Of The Moon” https://www.discogs.com/master/10362-Pink-Floyd-The-Dark-Side-Of-The-Moon
- Wikipedia “The Great Gig in the Sky” https://en.wikipedia.org/wiki/The_Great_Gig_in_the_Sky
- LinkedIn “Pink Floyd’s The Great Gig in the Sky and what it teaches us about the value of improvisation” https://www.linkedin.com/pulse/pink-floyds-great-gig-sky-what-teaches-us-value-ted-kendall
