{"id":14525,"date":"2015-07-19T16:00:00","date_gmt":"2015-07-19T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/isnt-it-a-pity-george-harrison-2\/"},"modified":"2026-09-27T01:17:42","modified_gmt":"2026-09-26T23:17:42","slug":"isnt-it-a-pity-george-harrison-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/criticas\/canciones\/isnt-it-a-pity-george-harrison-2\/","title":{"rendered":"Isn’t It A Pity – George Harrison: rechazo Beatles que Spector por fin deja subir"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Abbey Road, subida Spector, un rechazo Beatles<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

En noviembre de 1970 George Harrison situ\u00f3 Isn’t It A Pity<\/em> cerca del coraz\u00f3n de All Things Must Pass<\/em>: siete minutos pacientes sobre c\u00f3mo la gente se hiere sin darse cuenta. La hab\u00eda escrito a\u00f1os antes, en la etapa Beatles, y la vio aparcada. Tras la ruptura entr\u00f3 en Abbey Road y Trident con Phil Spector y una sala de amigos: Ringo Starr, Eric Clapton, Klaus Voormann, Billy Preston, Bobby Whitlock y m\u00e1s del c\u00edrculo Apple.<\/p>\n

El Wall of Sound de Spector no grita aqu\u00ed. Sube. Las ac\u00fasticas marcan un pulso lento. Las slides lloran sin prisa. Coro y metales llegan como clima, no como fuegos artificiales. La Version 1 pasa de siete minutos; la Version 2 cierra el set con otro arreglo. La paciencia es el tema: Harrison da por fin a la canci\u00f3n el espacio que los Beatles no le dieron.<\/p>\n

Lo que retiene es la generosidad dentro de la pena. La letra es llana, casi conversacional, pero el arreglo abre capas nuevas para que la l\u00e1stima no se sienta delgada. Se oye a un guitarrista que esper\u00f3 su turno y lo gast\u00f3 en un himno, no en una nota de venganza.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

\n

Isn’t it a pity, isn’t it a shame, how we break each other’s hearts, and cause each other pain.<\/p>\n<\/blockquote>\n

(George Harrison, Isn’t It A Pity, 1970)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb15128″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1790420468{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00bb][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

En All Things Must Pass<\/em> el tema prueba que el debut en solitario de Harrison no era un caj\u00f3n de restos: era una catedral de canciones a la espera. Versiones y lecturas en directo vuelven a esa lenta subida. Pon la Version 1 para la nube Spector sin el ruido de un hit: siete minutos que ganan cada comp\u00e1s.<\/p>\n

Isn’t It A Pity<\/em> sigue porque nunca precipita la herida. Harrison nombra la verg\u00fcenza y deja que la slide y el coro hagan el resto. Por eso el rechazo Beatles se lee hoy como un regalo al cat\u00e1logo en solitario.<\/p>\n

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