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Clare Torry

Clare Torry (born 29 November 1947) is an English singer, songwriter, and session vocalist renowned for her improvised, wordless vocal performance on Pink Floyd's 1973 track "The Great Gig in the Sky" from the album , which became one of the most iconic moments in history. Born in , , Torry began her career in the as a staff songwriter and for , releasing early singles under her own name and the pseudonym Alice Pepper, including "The Music Attracts Me" in 1967. In January 1973, at age 25, she was recommended by engineer for a session at , where she created the haunting vocal improvisation over three takes during the recording of , initially receiving a flat fee of £30 despite her significant creative contribution. Torry's performance on "The Great Gig in the Sky"—built around 's keyboard work—evolved from soft moans to intense wails, capturing themes of birth, life, and death central to the album, and she later performed it live with at London's in and with at in 1990. Initially dissatisfied with the session and fearing it echoed Yoko Ono's style, Torry nearly walked out but ultimately embraced the result after the band encouraged her to vocalize freely without words. In 2004, she successfully sued and for co-authorship royalties, arguing her improvisation constituted joint composition; the out-of-court settlement in 2005 granted her co-writing credit alongside on all subsequent editions of the album and ongoing royalties. Beyond , Torry's career spanned diverse session work, providing backing vocals for artists including on Bad Attitude (1984) and , while also appearing as an actress in British television series such as (1978). In 2006, she released Heaven in the Sky, a compilation of her 1960s and 1970s pop recordings, highlighting her early soul and pop influences. Though she largely stepped back from the spotlight after the 1970s to focus on family, Torry's legacy endures through her timeless contribution to , which has sold over 45 million copies worldwide and influenced generations of musicians.

Early life

Family and upbringing

Clare Torry was born on 29 November 1947 in , , . She was the daughter of Geoffrey Napier Torry, a Lieutenant-Commander in the who later became a company director, and Dorothy W. Singer, hailing from a well-to-do family background that provided a stable and privileged early environment in post-war . Torry spent her early childhood in , where the city's vibrant cultural scene and her family's supportive setting first exposed her to the , fostering an initial interest that would later develop through formal channels.

Education and initial musical influences

Clare Torry attended Battle Abbey School in during her youth, an experience that shaped her early years in a conservative environment. During the and , she gained early exposure to music through school activities and local influences in the region, fostering a growing interest in performance. Her family provided support for her artistic inclinations from childhood, encouraging her creative pursuits. Torry was influenced by soul and pop singers such as and . She developed her skills as a , engaging in amateur performances and self-taught techniques, including covering their songs in small clubs with a band called in the late to settle a bank overdraft fee, which felt natural and honed her vocal abilities before she transitioned to professional opportunities. These formative experiences laid the foundation for her passion for and improvisation.

Career

Early session work

Clare Torry entered the music industry in 1967 as a session vocalist, recording covers of contemporary hits released by . These recordings, often produced at , showcased her versatile voice. Her session work during this period established her as a reliable studio performer, contributing to various pop and easy-listening projects that helped build her reputation within London's recording scene. By 1968, Torry had transitioned into a staff songwriter role at EMI's publishing arm, Ardmore & Beechwood, where she was paid a weekly retainer of £10 to compose material for other artists. In this capacity, she crafted songs tailored to the needs of emerging acts, honing her compositional skills amid the demands of the label's roster. This position provided steady employment and exposure, allowing her to collaborate on material that appeared on singles and albums by various EMI-affiliated performers. Torry also undertook work creating radio and television jingles during the late , contributing vocals to campaigns that aired on broadcasts. Specific examples include her on commercials for products, such as a spot promoting pilchards, which highlighted her ability to deliver emotive, memorable phrasing in short-form . These assignments often required quick adaptations of popular styles, further diversifying her early professional experience. Her initial solo efforts emerged alongside this session work, beginning with the 1967 single "The Music Attracts Me" b/w "It Takes One to Make the Other Cry," released on Fontana Records. This debut featured original pop arrangements with Torry's lead vocals, marking her first foray into fronting her own material, though it received limited commercial attention. Additional unreleased demos from the period, later compiled on her 2006 retrospective Heaven in the Sky, reflected and influences she explored independently during her EMI tenure. It was during this foundational phase that producer , familiar with her studio capabilities, began recommending Torry for more prominent sessions.

"The Great Gig in the Sky"

Clare Torry was invited to contribute vocals to Pink Floyd's track "The Great Gig in the Sky" during a recording session on 21 January 1973 at in . The recommendation came from the album's engineer, , who had previously collaborated with Torry on session work and recognized her potential for the role. Her prior experience as a session singer at studios facilitated this opportunity, as Parsons had heard her perform on a radio show and knew of her versatility. Torry initially hesitated to accept the invitation due to a personal commitment that evening, but she ultimately attended and participated in an improvisational process guided by the band's vision of exploring themes of mortality and . With minimal direction—essentially to vocalize as if she were an over Wright's keyboard track—she recorded multiple takes over approximately 30 minutes. The initial take served as the foundational layer, with overdubs selected from subsequent attempts to build the emotional arc, resulting in a raw, wordless performance that captured escalating intensity from whispers to soaring cries. Torry later recalled feeling self-conscious during the session, even apologizing to afterward, believing her efforts resembled mere screaming rather than singing. Torry later performed the track live with at the Rainbow Theatre in in November 1973. For her contribution, Torry received a standard session fee of £30, doubled from the usual rate because the recording occurred on a Sunday, with no initial agreement for royalties or credits. The track was released on Pink Floyd's album The Dark Side of the Moon in March 1973, where it played a pivotal role in the record's monumental success, helping it top charts worldwide and sell over 45 million copies to date. Early reactions to the performance were positive from the band, with praising its authenticity, though Torry herself had mixed feelings and doubted its inclusion on the final album.

Mid-career collaborations and compositions

Following her breakthrough contribution to Pink Floyd's The Dark Side of the Moon, Torry's reputation as a versatile session vocalist opened doors to further collaborations in the mid-1970s and 1980s, leveraging her improvisational skills and emotive range. She provided backing vocals on Georgie Fame's 1979 single "A Different Dream," where her layered harmonies complemented Fame's smooth jazz-pop style. Torry's association with Pink Floyd extended into solo projects by former member . She delivered backing vocals on the 1986 soundtrack album , notably on the poignant track "Folded Flags," adding emotional depth to the film's nuclear apocalypse narrative. The following year, she appeared as guest vocalist on Waters' Radio K.A.O.S., contributing improvised lines to "" and "Four Minutes," which explored themes of and urgency in a radio-themed . Torry also reunited with for a live rendition of "The Great Gig in the Sky" at the Silver Clef Award Winners concert on June 30, 1990, at , performing with the David Gilmour-led lineup including and , recreating her original wordless improvisation to an audience of 120,000. This appearance underscored her enduring impact on the band's repertoire. Throughout this period, Torry provided backing vocals for other artists, though specific credits remain scattered across session work.

Later projects and releases

Following her earlier session contributions, Torry's involvement in the music industry during the was notably sparse, centered on selective backing vocal work and rare live appearances. In 2003, Torry appeared in the documentary : Pink Floyd – , where she detailed her improvisational approach to the vocals on "The Great Gig in the Sky," describing how she drew from soul influences like and focused on without lyrics. Torry's next major release came in 2006 with the Heaven in the Sky, issued by See for Miles Records, which gathered 18 previously obscure tracks from her and sessions, including originals like "Love for Living" and covers such as "" and "Music Attracts Me." The collection showcased her range as a pop and session singer, from upbeat singles to more introspective pieces, many recorded during her time at . During the 2010s, Torry pursued limited collaborations, including a project with composer and musician John Fyffe. Her enduring vocal performance on "The Great Gig in the Sky" has sustained interest in her work, appearing in subsequent reissues of , such as the 2023 50th anniversary remaster.

Legal matters and recognition

Copyright dispute over "The Great Gig in the Sky"

In the summer of 2004, Clare Torry initiated a lawsuit against Pink Floyd and their record label EMI in Britain's High Court, seeking songwriting credit, back royalties, and damages for her improvised vocal performance on "The Great Gig in the Sky" from the 1973 album The Dark Side of the Moon. Torry argued that her wordless, wailing vocals—developed spontaneously during the session—constituted a compositional contribution equivalent to co-authorship, rather than mere session work. She had originally been paid a flat fee of £30 for the recording and received no ongoing royalties or writing credit at the time. The case was settled out of court in 2005, with terms remaining undisclosed but resulting in Torry being granted co-writing credit alongside Richard Wright on all subsequent reissues of The Dark Side of the Moon. Her contribution was specifically acknowledged as "vocal composition by Clare Torry," ensuring she received a share of future publishing royalties from the track. This adjustment appeared on releases starting from 2005, including remastered editions. The settlement significantly impacted Torry's earnings, providing ongoing income from one of rock music's most enduring tracks, which has generated substantial royalties over decades. In interviews, Torry expressed that she initially felt undervalued and undercompensated for the performance's , noting it could have made her "a wealthy " much earlier. This dispute underscored broader challenges for session musicians in the UK during the early , where performers often signed contracts for one-time fees without rights to future royalties, despite their essential roles in hit recordings. Around , reforms by organizations like (PPL) began redistributing a portion of royalties—up to 35%—to non-featured artists, reflecting growing recognition of their contributions amid evolving copyright laws.

Awards and honors

In 2010, Clare Torry received the BASCA Gold Badge Award from the of Songwriters, Composers, and Authors (BASCA), now known as , in recognition of her outstanding services to British music, particularly her iconic vocal performance on Pink Floyd's "The Great Gig in the Sky." This honor highlighted her unique contribution as a session vocalist and , placing her alongside notable figures in the industry such as and . Torry's vocal work on The Dark Side of the Moon also earned indirect recognition through the album's success at the in 1974, where it won Best Engineered Recording, Non-Classical; following her 2005 settlement granting co-writing credit for the track, her role has since been acknowledged in discussions of the album's acclaimed production. Beyond these, Torry has been celebrated in contexts, including tributes to seminal session vocalists, though no additional formal industry awards have been documented as of 2025.

Legacy

Cultural impact

Clare Torry's improvised vocal performance on "The Great Gig in the Sky" has achieved iconic status within , serving as a defining highlight of Pink Floyd's 1973 album The Dark Side of the Moon, which has sold over 50 million copies worldwide. Her wordless, emotive wails—evoking themes of mortality and transcendence—elevate the track into one of rock music's most memorable instrumental-vocal fusions, often cited for transforming a simple into a profound emotional centerpiece. This contribution has cemented the song's place in the canon of 1970s , where Torry's raw improvisation stands out amid the era's experimental soundscapes. The track has inspired numerous covers and samples across genres, underscoring its broad appeal. Artists such as have performed live renditions, including tributes that reinterpret Torry's soaring vocals in intimate acoustic settings. Additionally, "The Great Gig in the Sky" has been sampled and featured in media, notably in a 1974 Dole bananas and a Neurofen painkiller commercial, where its ethereal quality enhanced promotional narratives of vitality and relief. Music journalism has frequently analyzed Torry's performance as a pinnacle of wordless vocals, praising its spontaneous intensity and emotional depth as a benchmark for improvised expression. Critics trace its roots to the vocalise tradition in , exemplified by Duke Ellington's scat-like innovations, while noting its ripple effects into electronic music, where similar non-lyrical vocal layers add atmospheric texture to ambient and experimental works. Torry's role is prominently featured in documentaries and books on , positioning her as an unsung female contributor to 1970s rock amid a male-dominated scene. In the 2003 documentary : The Making of The Dark Side of the Moon, she recounts the recording session, illuminating her pivotal input and challenging narratives that overlook session musicians' creative agency. Scholarly works and fan analyses further emphasize her as a trailblazing voice whose anonymity belied her transformative impact on the album's legacy.

Recent activities

In 2023, released a 50th anniversary edition of The Dark Side of the Moon, including a remastered version of "The Great Gig in the Sky" that highlighted Torry's original vocals; the track was also issued as a promotional digital single on February 10. This archival release renewed attention to her contribution amid anniversary celebrations. In September 2025, Torry featured in the YouTube documentary The Woman Behind Pink Floyd's The Great Gig in the Sky, which explored her recording process and lasting impact on the song. In 2011, Torry collaborated with musician and composer John Fyffe. Since the 2010s, she has led a low-profile life, rarely engaging in public interviews or performances, and has retired from active musical work.

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