ABSTRACT
In discussing how segues work to enhance the dramatic effect of The Dark Side of the Moon, the author draws upon analogies from film theory. The author proposes that the cinematic qualities of Pink Floyd's segues, coupled with the dramatic unity that is characteristic of the concept album, combine to striking effect in The Dark Side of the Moon. The Dark Side of the Moon was widely acclaimed for its novel use of electronics and sound effects. By 1973, Pink Floyd already had a well-established underground reputation for 'wielding an arsenal of sound effects with authority and finesse', and they were noted for 'their dazzling and potentially overwhelming sonic wizzardry. Pink Floyd's early use of electronics and sound effects may be compared with the contemporaneous work of American electronic musicians Paul Beaver and Bernard Krause, who released three albums for Warner Brothers in the early 1970s.
