{"id":19225,"date":"2007-07-21T09:00:00","date_gmt":"2007-07-21T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/comfortably-numb-pink-floyd-orchestra-in-the-body-solo-left-alone\/"},"modified":"2026-09-26T23:58:27","modified_gmt":"2026-09-26T21:58:27","slug":"comfortably-numb-pink-floyd-orchestra-in-the-body-solo-left-alone","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/comfortably-numb-pink-floyd-orchestra-in-the-body-solo-left-alone\/","title":{"rendered":"Comfortably Numb – Pink Floyd: la orquesta en el tema, el solo dejado aparte"},"content":{"rendered":"

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Gilmour quer\u00eda tres instrumentos. Ezrin trajo una partitura.<\/h3>\n

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En enero de 1979 Pink Floyd se instala en Super Bear, en las colinas sobre Niza, y empieza siete meses de trabajo en The Wall<\/em>. David Gilmour ya tiene un fragmento de m\u00fasica de las sesiones de su primer disco en solitario, grabado en el mismo estudio en 1978. No hay letra. Cuando Roger Waters le pone palabras, el t\u00edtulo de trabajo es The Doctor. La escena de la letra es una noche real: el Spectrum de Filadelfia, el 29 de junio de 1977, en la gira In the Flesh. Waters tiene unos retortijones tan fuertes que cree que no podr\u00e1 tocar. Un m\u00e9dico le pone una inyecci\u00f3n. Hace el concierto apenas capaz de levantar el brazo, y m\u00e1s tarde dir\u00e1 que fueron las dos horas m\u00e1s largas de su vida. Las manos como dos globos, el pinchazo que tiene que sostenerlo hasta el final del show: eso es el Spectrum, pasado a un cantante de ficci\u00f3n llamado Pink.<\/p>\n

Gilmour oye una canci\u00f3n pelada: bajo, bater\u00eda, guitarra. Bob Ezrin, llamado para coproducir con Waters y Gilmour, oye una orquesta, y Waters se pone de su lado. Michael Kamen escribe la partitura. En septiembre de 1979, m\u00fasicos del New York Philharmonic y de la New York Symphony la graban en los estudios CBS de la calle 30. La banda no est\u00e1 en la sala. La pelea no se queda en lo educado. Seg\u00fan los relatos que han quedado, termina en un restaurante de North Hollywood. El compromiso es lo que se oye: las cuerdas de Ezrin llevan el cuerpo del tema, y el \u00faltimo solo de guitarra de Gilmour se queda solo, sin orquesta debajo. Lo graba con sus amplificadores Hiwatt y un bafle rotatorio Yamaha, varias tomas, y se queda con las frases que aguantan.<\/p>\n

Waters canta las estrofas, el m\u00e9dico en la puerta. Gilmour canta el estribillo, el hombre que se ha quedado insensible. Nick Mason est\u00e1 en la bater\u00eda, Waters en el bajo, Richard Wright en el Hammond y el piano el\u00e9ctrico, Gilmour en el Prophet-5 adem\u00e1s de las guitarras. The Wall<\/em> sale en Harvest en Gran Breta\u00f1a el 30 de noviembre de 1979 y llega al n.\u00ba 3. Columbia lo publica en Estados Unidos el 8 de diciembre y llega al n.\u00ba 1. Comfortably Numb<\/em> no es el sencillo. Lo es Another Brick in the Wall, Part 2<\/em>, editado el 23 de noviembre con One of My Turns<\/em> en la cara B. Este tema simplemente est\u00e1 en el doble \u00e1lbum, y es el que el p\u00fablico pide de todos modos.<\/p>\n

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\n

Comfortably Numb, que Dave ve\u00eda como un tema descarnado, solo bajo, bater\u00eda y guitarra. Roger se puso de mi lado. As\u00ed que Comfortably Numb es una colaboraci\u00f3n de verdad: la m\u00fasica de David, la letra de Roger y mi partitura de orquesta.<\/p>\n<\/blockquote>\n

(Bob Ezrin, Guitar World)<\/em><\/p>\n

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En la gira de The Wall, desde Earls Court en agosto de 1980 hasta Los \u00c1ngeles, Dortmund y la vuelta a Earls Court en 1981, Gilmour toca el solo desde lo alto del muro de cart\u00f3n. El tema cierra el reencuentro de Live 8 en Hyde Park el 2 de julio de 2005, Waters y Gilmour otra vez en el mismo escenario. En enero de 2004 Scissor Sisters publica una lectura disco como sencillo. Llega al n.\u00ba 10 de la lista brit\u00e1nica y al n.\u00ba 1 de la lista dance. Gilmour y Mason dicen que les gusta. La nominaci\u00f3n al Grammy al mejor grabaci\u00f3n dance la pierde frente a Toxic<\/em> de Britney Spears.<\/p>\n

La pelea sigue en la mezcla. Se oye la canci\u00f3n de tr\u00edo que quer\u00eda Gilmour en c\u00f3mo el \u00faltimo solo queda al desnudo, y se oye la partitura de Ezrin en todo lo que viene antes. Waters tuvo a su m\u00e9dico. Gilmour tuvo la \u00faltima palabra, y es una guitarra.<\/p>\n

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