Editing Musique concrète (section)

===1970s===
The musique concrète elements present on [[Pink Floyd]]'s best-selling album ''[[The Dark Side of the Moon]]'' (1973), including the cash register sounds on "[[Money (Pink Floyd song)|Money]]", have been cited as notable examples of the practice's influence on popular music.{{sfn|Huckvale|2014|p=118}}{{sfn|Edmondson|2013|p=1,129}} Also in 1973, German band [[Faust (band)|Faust]] released ''[[The Faust Tapes]]''; priced in the United Kingdom at 49 pence, the album was described by writer Chris Jones as "a contender for the most widely heard piece of musique concrete" after "Revolution 9".{{sfn|Jones|2002}} Another German group, [[Kraftwerk]], achieved a surprise hit in 1975 with "[[Autobahn (song)|Autobahn]]", which contained a "sampled collage of revving engines, horns and traffic noise". Stephen Dalton of ''[[The Times]]'' wrote: "This droll blend of accessible pop and avant-garde musique concrete propelled Kraftwerk across America for three months".{{sfn|Dalton|2005}} Steve Taylor writes that [[industrial music|industrial]] groups [[Throbbing Gristle]] and [[Cabaret Voltaire (band)|Cabaret Voltaire]] continued the concrète tradition with collages constructed with tape manipulation and loops,{{sfn|Taylor|2006|p=11}} while Ian Inglis credits [[Brian Eno]] for introducing new sensibilities "about what could be in included in the canon of popular music", citing his 1970s [[ambient music|ambient]] work and the musique concrete collages on ''[[My Life in the Bush of Ghosts (album)|My Life in the Bush of Ghosts]]'' (1981), which combines tape samples with synthesised sounds.{{sfn|Inglis|2016|p=115}}