The Dark Side of the Moon

context: en: Following the completion of the dialogue sessions, producer Chris Thomas was hired to provide "a fresh pair of ears".  Thomas's background was in music, rather than engineering.  He had worked with Beatles producer George Martin, and was acquainted with Pink Floyd's manager Steve O'Rourke. All four members of the band were engaged in a disagreement over the style of the mix, with Waters and Mason preferring a "dry" and "clean" mix which made more use of the non-musical elements, and Gilmour and Wright preferring a subtler and more "echoey" mix. Thomas later claimed there were no such disagreements, stating "There was no difference in opinion between them, I don't remember Roger once saying that he wanted less echo.  In fact, there were never any hints that they were later going to fall out.  It was a very creative atmosphere.  A lot of fun." Although the truth remains unclear, Thomas's intervention resulted in a welcome compromise between Waters and Gilmour, leaving both entirely satisfied with the end product.  Thomas was responsible for significant changes to the album, 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" (although Parsons was responsible for hiring Torry). Interviewed in 2006, when asked if he felt his goals had been accomplished in the studio, Waters said:
qas: question: zh_tw: 克里斯・托馬斯和什麼經理是朋友？
answers: en: text: Steve O'Rourke

context: en: 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).
qas: question: zh_tw: 誰是平克・弗洛伊德在美國的唱片公司？
answers: en: text: Capitol Records

context: en: Returning from the US in January 1973, they recorded "Brain Damage", "Eclipse", "Any Colour You Like" and "On the Run", while fine-tuning the work they had already laid down in the previous sessions.  A foursome of female vocalists was assembled to sing on "Brain Damage", "Eclipse" and "Time", and saxophonist Dick Parry was booked to play on "Us and Them" and "Money".  With director Adrian Maben, the band also filmed studio footage for Pink Floyd: Live at Pompeii. Once the recording sessions were complete, the band began a tour of Europe.
qas: question: zh_tw: 他們哪一年回到美國？
answers: en: text: 1973

context: en: The artwork was created by their associate, George Hardie.  Hipgnosis offered the band a choice of seven designs, but all four members agreed that the prism was by far the best. The final design depicts a glass prism dispersing light into colour. The design represents three elements: the band's stage lighting, the album lyrics, and Wright's request for a "simple and bold" design.  The spectrum of light continues through to the gatefold – an idea that Waters came up with. Added shortly afterwards, the gatefold design also includes a visual representation of the heartbeat sound used throughout the album, and the back of the album cover contains Thorgerson's suggestion of another prism recombining the spectrum of light, facilitating interesting layouts of the sleeve in record shops. The light band emanating from the prism on the album cover has six colours, missing indigo compared to the traditional division of the spectrum into red, orange, yellow, green, blue, indigo and violet.  Inside the sleeve were two posters and two pyramid-themed stickers.  One poster bore pictures of the band in concert, overlaid with scattered letters to form PINK FLOYD, and the other an infrared photograph of the Great Pyramids of Giza, created by Powell and Thorgerson.The band were so confident of the quality of Waters' lyrics that, for the first time, they printed them on the album's sleeve.
qas: question: zh_tw: 是誰為這張專輯做藝術設計？
answers: en: text: George Hardie