{"id":21417,"date":"2009-12-10T09:00:00","date_gmt":"2009-12-10T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/anarchy-in-the-uk-sex-pistols-la-toma-que-freno-la-aceleracion\/"},"modified":"2026-09-27T01:58:56","modified_gmt":"2026-09-26T23:58:56","slug":"anarchy-in-the-uk-sex-pistols-la-toma-que-freno-la-aceleracion","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/anarchy-in-the-uk-sex-pistols-la-toma-que-freno-la-aceleracion\/","title":{"rendered":"Anarchy In The UK – Sex Pistols: la toma que fren\u00f3 la aceleraci\u00f3n"},"content":{"rendered":"

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Wessex, oto\u00f1o de 1976, antes de que EMI perdiera los nervios<\/h3>\n

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En octubre de 1976 los Sex Pistols vuelven a Wessex Sound Studios, en Londres, a grabar un primer single que no se deshaga en la prisa. Su ingeniero de directo, Dave Goodman, ya lo hab\u00eda intentado. EMI pag\u00f3 aquellas sesiones. El bajista Glen Matlock cont\u00f3 despu\u00e9s que Malcolm McLaren empujaba el tempo hasta que el groove desaparec\u00eda, y que la banda m\u00e1s o menos dej\u00f3 de tocar.<\/p>\n

Chris Thomas toma el mando, con Bill Price en la ingenier\u00eda. Thomas hab\u00eda producido a Roxy Music y hab\u00eda estado a la mesa en Dark Side of the Moon<\/em>. El registro de cintas de Price sit\u00faa su primer pase de Anarchy in the UK<\/em> el 6 y el 7 de noviembre, despu\u00e9s del intento de octubre de Goodman, y recordaba diecinueve tomas en una de las series. El single que llega a las tiendas el 26 de noviembre de 1976 es la producci\u00f3n de Thomas: Johnny Rotten cantando, Steve Jones levantando un muro de guitarras, Matlock al bajo, Paul Cook a la bater\u00eda. Sid Vicious todav\u00eda no est\u00e1 en el grupo.<\/p>\n

El acorde de Jones entra primero. Rotten aparece en la frase que todo el mundo puede citar, y la banda se queda en un stomp, no en un borr\u00f3n. Matlock ha dicho que la pista bajo la voz se arm\u00f3 con tomas tempranas, la primera mitad de la toma tres y la segunda de la toma cinco, mientras esperaban a Rotten, que no ten\u00eda prisa y segu\u00eda seguro de que no sab\u00edan tocar. Jones carg\u00f3 guitarras extra los d\u00edas siguientes. La cara B, I Wanna Be Me<\/em>, se qued\u00f3 como una grabaci\u00f3n de Goodman. EMI public\u00f3 el sencillo en una funda negra lisa. Las primeras copias incluso acreditaban a Thomas, por error, la cara B.<\/p>\n

Lleg\u00f3 al n\u00famero 38 en el Reino Unido. Bastaba para demostrar que un single punk pod\u00eda vender, y no bastaba para calmar al sello. El 1 de diciembre la banda suelta tacos en una entrevista de merienda con Bill Grundy en Thames Television. EMI los suelta el 6 de enero de 1977. Matlock ya est\u00e1 de salida. La canci\u00f3n sigue en el repertorio, y en octubre de 1977 aparece en Never Mind the Bollocks, Here’s the Sex Pistols<\/em>, otra vez con Thomas y Price en Wessex, ahora en Virgin.<\/p>\n

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\n

Esper\u00e1bamos a que Rotten llegara a cantar, y no se daba prisa, en plan: \u00abSois unos in\u00fatiles, no sab\u00e9is tocar. Llev\u00e1is semanas ah\u00ed.\u00bb Y nosotros dijimos: \u00abNo. Ya est\u00e1 hecho.\u00bb<\/p>\n<\/blockquote>\n

(Glen Matlock, entrevista en Songfacts)<\/em><\/p>\n

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Lo que se oye en ese sencillo de EMI es el single original, no la historia de un remaster posterior. El \u00e1lbum usa la misma toma que la banda hab\u00eda defendido para conservar un tempo que un cuerpo puede sentir. Las versiones posteriores, de Megadeth a M\u00f6tley Cr\u00fce, suelen tocarla m\u00e1s r\u00e1pido y pierden el swing que Cook le da al original. El corte de los Pistols sigue sonando a cuatro personas en una sala grande, con un productor que confi\u00f3 en una toma temprana.<\/p>\n

P\u00f3nlo y lo primero que cae es la guitarra de Jones, luego Rotten sentado en el hueco en lugar de adelantarla. Una funda negra, un n\u00famero 38, y la \u00faltima grabaci\u00f3n de la formaci\u00f3n que escribi\u00f3 la canci\u00f3n: ese es el debut, antes de que la prensa sensacionalista decidiera el argumento.<\/p>\n

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En octubre de 1976 los Sex Pistols vuelven a Wessex Sound Studios, en Londres, a grabar un primer single que no se deshaga en la prisa. Su ingeniero de directo, Dave Goodman, ya lo hab\u00eda intentado. EMI pag\u00f3 aquellas sesiones. 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