{"id":21614,"date":"2014-06-27T13:00:00","date_gmt":"2014-06-27T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/fields-of-gold-sting-barley-at-the-window-pipes-on-the-verse\/"},"modified":"2026-09-27T01:59:57","modified_gmt":"2026-09-26T23:59:57","slug":"fields-of-gold-sting-barley-at-the-window-pipes-on-the-verse","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/fields-of-gold-sting-barley-at-the-window-pipes-on-the-verse\/","title":{"rendered":"Fields Of Gold – Sting: la cebada en la ventana, las gaitas en la estrofa"},"content":{"rendered":"

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Cebada alrededor de Lake House, gaitas al final de la estrofa<\/h3>\n

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El tercer single de Ten Summoner’s Tales<\/em> mira por la misma ventana que las sesiones. Lake House est\u00e1 entre campos de cebada en Wiltshire, y Sting ha atado Fields of Gold<\/em> a esa vista: un paseo por los prados, una canci\u00f3n de amor que guarda el paisaje en la letra, viento del oeste, sol celoso, ni\u00f1os que corren cuando cae la luz. A&M la publica el 7 de junio de 1993. Llega al n.\u00ba 16 en el Reino Unido aquel verano y al n.\u00ba 23 del Billboard Hot 100. En Canad\u00e1 sube al n.\u00ba 2.<\/p>\n

La toma es otra vez la banda de Lake House, coproducida con Hugh Padgham, mezclada en The Townhouse, masterizada en Masterdisk en Nueva York. La guitarra de Dominic Miller lleva la armon\u00eda. Brendan Power toca el solo de arm\u00f3nica. Kathryn Tickell, de Northumberland, toca las smallpipes de Northumbria al final de las estrofas uno y tres. Esa leng\u00fceta no pertenece a una sesi\u00f3n pop londinense de manual, y por eso el tema no se aplana en una balada ya o\u00edda. El tempo se queda lento. Una bater\u00eda discreta y un \u00f3rgano se sientan bajo la voz. Nada en el arreglo grita.<\/p>\n

Kevin Godley dirige el v\u00eddeo, rodado en cerca de una semana con c\u00e1maras de motion control. Sting aparece como una silueta de oro que cruza un pueblo brit\u00e1nico oscuro: una cabina telef\u00f3nica roja, un buz\u00f3n, la calle vac\u00eda fuera de \u00e9l mientras el mundo dentro de la silueta est\u00e1 claro y lleno de gente. Es una imagen lista. No es el disco. El disco son las gaitas, la arm\u00f3nica y la cebada.<\/p>\n

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\n

Trabaj\u00e1bamos en horarios muy sociables, com\u00edamos muy bien, el trabajo nunca se atascaba, y ojal\u00e1 eso se refleje en la m\u00fasica.<\/p>\n<\/blockquote>\n

(Hugh Padgham, Recording Musician, mayo de 1993)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb21609″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1700021609{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

Otras versiones llegan despu\u00e9s. Eva Cassidy la canta en directo en Blues Alley en 1996, y esa toma acaba en Songbird<\/em> (1998). Su versi\u00f3n vuelve a las listas a\u00f1os despu\u00e9s de su muerte y recibe el disco de oro en Gran Breta\u00f1a de la BPI en mayo de 2022. Michael Bolton y Zucchero, entre otros, tambi\u00e9n toman la melod\u00eda. La lectura de Cassidy es la que devolvi\u00f3 a un p\u00fablico nuevo hacia la canci\u00f3n. Tambi\u00e9n es m\u00e1s lenta y m\u00e1s desnuda, lo que hace el original de Sting m\u00e1s f\u00e1cil de o\u00edr como tema de banda, no una voz sola de pie en un campo.<\/p>\n

Pon la toma del \u00e1lbum de 1993. Espera a Tickell. Las gaitas duran unos segundos y cambian la temperatura de la estrofa. La cebada estaba fuera, al otro lado de la ventana del estudio. El single sigue sonando a alguien que pod\u00eda verla mientras la cinta rodaba. La esperanza de Padgham, que la calma de esos d\u00edas en Lake House se notara en la m\u00fasica, cae aqu\u00ed con m\u00e1s claridad que en el single insignia.<\/p>\n

La parte de Dominic Miller es simple a prop\u00f3sito, formas de tres notas y no un solo, para que las gaitas de Tickell y la arm\u00f3nica de Power tengan d\u00f3nde sentarse. Ese es el arreglo de 1993. Cassidy lo desnud\u00f3 a\u00fan m\u00e1s. Las dos merecen o\u00edrse. Solo una se hizo en la casa con la cebada fuera.<\/p>\n

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Sting escribe Fields of Gold desde la cebada alrededor de Lake House, y las smallpipes de Northumbria de Kathryn Tickell responden a la voz al final de las estrofas primera y tercera.<\/p>\n","protected":false},"author":1,"featured_media":21606,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[305,273,299,278],"tags":[256,468,942,1028],"class_list":["post-21614","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-canciones","category-chronicles","category-criticas","category-tracks","tag-pop","tag-pop-es-2","tag-sting","tag-sting-es"],"yoast_head":"\nFields Of Gold - Sting: la cebada en la ventana, las gaitas en la estrofa - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" 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