{"id":21702,"date":"2008-09-15T13:00:00","date_gmt":"2008-09-15T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/richard-iii-supergrass-a-semitone-down-sent-out-against-advice\/"},"modified":"2026-09-27T03:11:04","modified_gmt":"2026-09-27T01:11:04","slug":"richard-iii-supergrass-a-semitone-down-sent-out-against-advice","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/richard-iii-supergrass-a-semitone-down-sent-out-against-advice\/","title":{"rendered":"Richard III – Supergrass: un semitono m\u00e1s abajo, publicado contra el consejo del sello"},"content":{"rendered":"

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Otra vez Sawmills, esta vez sin productor de fuera<\/h3>\n

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El t\u00edtulo era un nombre de trabajo que se qued\u00f3. Supergrass pon\u00eda motes a las canciones sin terminar, George o Miriam o Richard, y esta era el tercer Richard. Tambi\u00e9n sonaba al rey de la obra de Shakespeare, y eso encajaba con el tema. La letra no menciona ni al rey ni la obra. Gaz Coombes la empez\u00f3 en un cuatro pistas en su cuarto: una l\u00ednea de bajo contra un ritmo que llam\u00f3 estilo Stooges, dos acordes, y luego uno de ellos baj\u00f3 un semitono, de la mayor a mi bemol. Ese intervalo es el tritono. Mick Quinn lo ha llamado el acorde del diablo. Por eso el verso parece que se te echa encima.<\/p>\n

Despu\u00e9s de I Should Coco<\/em> volvieron a Sawmills, en el Fowey, y produjeron el segundo \u00e1lbum ellos mismos con John Cornfield, el ingeniero del debut. Esta vez sin productor de fuera. Ten\u00edan 18 o 19 a\u00f1os. Rob Coombes, el hermano de Gaz, escrib\u00eda con ellos y tocaba los teclados, todav\u00eda no miembro de pleno derecho en los cr\u00e9ditos. Sam Williams s\u00ed toc\u00f3 el theremin, la l\u00ednea fina al fondo de la mezcla. El tema dura 3:13. Parlophone lo public\u00f3 el 31 de marzo de 1997, cat\u00e1logo CDR 6461. Coombes dir\u00eda despu\u00e9s que lo sacaron un poco en contra del consejo de la discogr\u00e1fica. Segu\u00eda a Going Out<\/em>, y deb\u00eda mostrar que Alright<\/em> no era todo el grupo.<\/p>\n

La lista oficial del 12 de abril de 1997 lo puso en el n\u00famero dos. No lleg\u00f3 al uno: I Believe I Can Fly<\/em> de R. Kelly estaba delante. Irlanda lleg\u00f3 al 30, Islandia al 21, Australia al 75. Las caras B son su diario de estudio. Sometimes I Make You Sad<\/em> casi no tiene bater\u00eda, solo un platillo y un bucle de gru\u00f1idos de la banda. El solo de guitarra se grab\u00f3 a media velocidad y se aceler\u00f3 hasta sonar a mandolina. Sometimes We’re Very Sad<\/em> es la toma en la que intentan gru\u00f1ir sin re\u00edrse, con Gaz al final quej\u00e1ndose de que hab\u00edan asesinado la canci\u00f3n de Mickey. Dom and Nic rodaron el v\u00eddeo en un s\u00f3tano espolvoreado con tierra de Fuller, que luego admitieron que era da\u00f1ina. Mick intenta irse y lo arrastran de vuelta. Le sangra la nariz. Rob toca el theremin frente a un televisor. Una gota de agua toca un cable y arranca el solo de guitarra. Gaz va con una Gibson SG roja. En el DVD Supergrass Is 10<\/em> los directores dijeron que fue una de las veces en que casi matan a la banda.<\/p>\n

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\n

La primera semana entramos, tocamos Richard III y pensamos: hostia, esto es genial. Con cada \u00e1lbum nos hemos sentido m\u00e1s due\u00f1os.<\/p>\n<\/blockquote>\n

(Gaz Coombes, entrevista con Robert Collins, 2004)<\/em><\/p>\n

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In It for the Money<\/em> lleg\u00f3 el 21 de abril de 1997, tres semanas despu\u00e9s del single, y fue n\u00famero dos en la lista de \u00e1lbumes. NME le dio un 8\/10 al disco. Richard III<\/em> es el tema dos, despu\u00e9s de la canci\u00f3n que da t\u00edtulo, y anuncia el cambio de temperatura: distorsionada, casi glam en el ataque, nada que ver con el piano desafinado de 1995. La idea de serie para Spielberg, nacida del v\u00eddeo de Alright<\/em>, ya estaba muerta. Coombes lo dijo claro en The Guardian a\u00f1os despu\u00e9s: Spielberg quer\u00eda una serie, y ellos quer\u00edan llegar por la m\u00fasica, no por las patillas.<\/p>\n

El n\u00famero dos del single rima con Alright<\/em>, y la banda se dio cuenta. Misma cima, humor opuesto. Dijeron que lo publicaron contra el consejo precisamente porque las dos canciones eran tan distintas, y las dos se quedaron a un puesto de lo m\u00e1s alto. Puestas seguidas, el semitono es todo el argumento. Una pregunta si te sientes alright. Esta dice que escapar es lo m\u00e1s dif\u00edcil que vas a conocer, y luego la guitarra sigue igual.<\/p>\n

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