{"id":19258,"date":"2007-04-29T16:00:00","date_gmt":"2007-04-29T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/shine-on-you-crazy-diamond-pts-1-5-pink-floyd-barrett-walked-in-on-the-vocal\/"},"modified":"2026-09-26T22:56:50","modified_gmt":"2026-09-26T20:56:50","slug":"shine-on-you-crazy-diamond-pts-1-5-pink-floyd-barrett-walked-in-on-the-vocal","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/shine-on-you-crazy-diamond-pts-1-5-pink-floyd-barrett-walked-in-on-the-vocal\/","title":{"rendered":"Shine On You Crazy Diamond, Pts. 1-5 – Pink Floyd: Barrett entra durante la voz"},"content":{"rendered":"

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Abbey Road, 5 de junio de 1975. No lo reconocieron.<\/h3>\n

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Las partes 1 a 5 de Shine On You Crazy Diamond<\/em> abren Wish You Were Here<\/em> con un fundido, no con un golpe. El acorde es un sol menor, sostenido en un EMS VCS 3, un ARP Solina, un Hammond y copas de vino. Las copas se hab\u00edan grabado el 5 de enero de 1971 para un experimento abandonado, luego llamado Household Objects, y se montaron en la pista el 24 de febrero de 1975. Responde el Minimoog de Richard Wright. Luego la Stratocaster de David Gilmour, pastilla del m\u00e1stil, comprimida, con mucha sala alrededor. Abbey Road, de enero a julio de 1975, ingeniero Brian Humphries, en el nuevo Studio Three. Graban una base, descubren que la mesa nueva ha impreso los retornos de eco en la bater\u00eda y las guitarras, y tienen que tocarlo todo otra vez. Con cinta de 16 pistas tan ancha, dec\u00eda Nick Mason, no se editaba. Se tocaba desde el principio.<\/p>\n

La figura de cuatro notas de la parte 2 es la que los m\u00fasicos llaman el tema de Syd: si bemol, fa, sol, mi. Mason y Roger Waters entran despu\u00e9s de la cuarta vez, en 6\/8. La parte 3 es el solo de Minimoog de Wright. Justo despu\u00e9s de ocho minutos y medio Waters empieza a cantar, con Gilmour, Wright y las voces de Venetta Fields y Carlena Williams. La parte 5 entrega el tema a Dick Parry, saxo bar\u00edtono y luego tenor, y un zumbido de m\u00e1quina lleva la cinta a Welcome to the Machine<\/em>. Las partes 1 a 5 duran 13 minutos 33. La suite se escribi\u00f3 para ocupar una cara, como Echoes<\/em>. La partieron para que las otras canciones cupieran en el hueco. M\u00fasica de Gilmour, Waters y Wright. Letra de Waters. Ya hab\u00edan tocado un primer Shine On<\/em> en la gira francesa de junio de 1974.<\/p>\n

El 5 de junio de 1975 un hombre corpulento, con la cabeza y las cejas afeitadas, entra en el estudio con una bolsa de pl\u00e1stico. Aubrey Powell, en Hipgnosis, le hab\u00eda dicho d\u00f3nde estaba la banda. Waters no lo reconoce. Gilmour cree que es gente de EMI. Wright supone que es un amigo de Waters, trabaja un rato y luego entiende que es Syd Barrett, apartado de la banda en 1968. Waters se echa a llorar. Alguien ofrece poner la pieza otra vez. Barrett dice que acaban de o\u00edrla, y que suena un poco vieja. Se escabulle el mismo d\u00eda, durante la fiesta de la boda de Gilmour con Ginger. Storm Thorgerson dijo que dos o tres personas lloraron, y que Barrett se sent\u00f3, habl\u00f3, y no estaba de verdad all\u00ed.<\/p>\n

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Entr\u00f3 cuando est\u00e1bamos haciendo las voces de Shine On You Crazy Diamond, que iba b\u00e1sicamente sobre Syd. Por alguna raz\u00f3n incre\u00edble, eligi\u00f3 justo el d\u00eda en que hac\u00edamos una canci\u00f3n que iba sobre \u00e9l. Y no lo hab\u00edamos visto, creo, desde hac\u00eda dos a\u00f1os.<\/p>\n<\/blockquote>\n

(Richard Wright, sobre la visita de Syd Barrett a Abbey Road)<\/em><\/p>\n

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Wish You Were Here<\/em> sale en Harvest en Gran Breta\u00f1a el 12 de septiembre de 1975 y llega al n.\u00ba 1 all\u00ed y en Estados Unidos. El sencillo es Have a Cigar<\/em>, cantado por Roy Harper, con Welcome to the Machine<\/em> detr\u00e1s. Shine On<\/em> es demasiado largo para ese papel. Las partes 1 a 5 se vuelven la apertura de los conciertos de 1987 a 1994. En Earls Court, el 20 de octubre de 1994, el concierto filmado para Pulse<\/em>, a\u00f1aden la parte 7. En 2025 James Guthrie mezcla las nueve partes como una sola pieza continua para la edici\u00f3n de aniversario. El disco que terminaron en 1975 sigue empezando por la mitad que Barrett oy\u00f3.<\/p>\n

Cuatro notas, un saxo, una voz sobre un hombre que busc\u00f3 el secreto demasiado pronto, y el hombre mismo en la sala diciendo que suena viejo. Luego la cinta entra en la m\u00e1quina. Esa es la primera cara del \u00e1lbum, y no necesita la segunda para dejar el punto claro.<\/p>\n

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