The Great Gig In The Sky — Pink Floyd — Bass cover with tabs (4k)

Become a patron on Patreon:   / membership   Buy Me A Coffee: https://www.buymeacoffee.com/BassCove... "The Great Gig In The Sky" is an instrumental piece by Pink Floyd from their 1973 album "The Dark Side Of The Moon". The song began life as a Richard Wright chord progression, known variously as "The Mortality Sequence" or "The Religion Song". During the first half of 1972 it was performed live as a simple organ instrumental, accompanied by spoken-word samples from the Bible and snippets of speeches by Malcolm Muggeridge, a British writer known for his conservative religious views. By September 1972, the lead instrument had been switched to a piano, with an arrangement very similar to the final form but without vocals and a slighty different chord sequence in the middle. Various sound effects were tried over the track, including recordings of NASA astronauts communicating on space missions, but none were satisfactory. Finally, a couple of weeks before the album was due to be finished, the band thought of having a female singer "wail" over the music. As the band began casting around for a singer, album engineer Alan Parsons suggested Clare Torry, a 25-year-old songwriter and session vocalist. Parsons had previously worked with Torry, and had liked her voice on a Top of The Pops covers album. An accountant from Abbey Road Studios contacted Torry and tried to arrange a session for the same evening, but she had other commitments, including tickets to see Chuck Berry that evening, so a session was scheduled for Sunday evening between 7 and 10pm. The band played the instrumental track for Torry and asked her to improvise a vocal. At first, Torry struggled to divine what the band wanted, but then she was inspired to pretend that she herself was an instrument. She performed two complete takes, the second one more emotional than the first. David Gilmour asked for a third take, but halfway through Torry stopped, feeling she was getting repetitive and had already done the best she could. The final album track was assembled from all three takes. The members of the band were deeply impressed by Torry's performance, yet she left the studio with a standard £30 flat fee under the impression that her vocals would never make the final cut given the general lack of response from the band. She only became aware they were used when she saw the album at a local record store, spotted her name in the credits and purchased it. A 2005 out-of-court undisclosed settlement in Torry's favour included giving her vocal composition credit. During the recording of the album, in which death and life had been a consistent theme, the members of the band went around asking questions and recording responses from people working inside Abbey Road at the time. Among the questions, they were asked "Are you afraid of dying?" The responses of doorman Gerry O'Driscoll and the wife of their road manager Peter Watts were used, as well as other spoken parts throughout the album ("I've always been mad", "That geezer was cruisin' for a bruising"). 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 janitorial "browncoat"[14][15] At 3:33, faintly: "I never said I was frightened of dying". — Patricia 'Puddie' Watts, wife of road manager Peter Watts Timecode: 00:00 — Titles/Intro (no bass) 00:20 — It's Coming Soon (bass kicks in) 01:09 — And So It Begins 02:32 — Oh, Give Me A Break, FFS 03:38 — Chill Pill