{"id":21768,"date":"2008-03-15T11:00:00","date_gmt":"2008-03-15T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/sin-categoria\/take-the-long-way-home-supertramp-harmonica-first-the-door-can-wait\/"},"modified":"2026-09-27T03:10:59","modified_gmt":"2026-09-27T01:10:59","slug":"take-the-long-way-home-supertramp-harmonica-first-the-door-can-wait","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/es\/chronicles\/tracks\/take-the-long-way-home-supertramp-harmonica-first-the-door-can-wait\/","title":{"rendered":"Take The Long Way Home – Supertramp: primero la arm\u00f3nica, la puerta puede esperar"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Una canci\u00f3n de \u00faltimo momento, y gan\u00f3 la arm\u00f3nica<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

El \u00e1lbum ya se est\u00e1 construyendo cuando aparece esta. Peter Henderson ha dicho que, cuando las maquetas de ocho pistas en Burbank estaban listas, Take the Long Way Home<\/em> no estaba entre ellas. Hodgson la escribe en Topanga, en ese tramo en que una canci\u00f3n suya suele llegar a trozos, durante dos o tres semanas. La llam\u00f3 una sorpresa de \u00faltimo momento. La letra parece, al principio, un hombre que retrasa el camino de entrada. So you think you’re a Romeo. En casa es parte de los muebles. En la carretera todav\u00eda tiene unos minutos a solas con la versi\u00f3n de s\u00ed mismo que se siente una estrella.<\/p>\n

Hodgson siempre ha insistido en un segundo piso bajo ese chiste. No querer volver es la superficie. Debajo pregunta d\u00f3nde est\u00e1 de verdad la casa, la misma pregunta de The Logical Song<\/em>, hecha esta vez desde el asiento del conductor. La banda graba la canci\u00f3n en el Village Recorder en 1978, Studio B, coproducida con Peter Henderson, para Breakfast in America<\/em>, publicado por A&M en marzo de 1979. Hodgson canta. Toca teclados y guitarra. Thomson y Siebenberg impiden que el ritmo apresure la demora.<\/p>\n

La intro es la decisi\u00f3n que se oye primero. Hodgson recuerda probar instrumentos y rechazar el obvio. El saxo, pens\u00f3, habr\u00eda sido demasiado ordinario, una frase curiosa en una banda que tiene a John Helliwell. Le dan el gancho a la arm\u00f3nica de Rick Davies. Helliwell contesta despu\u00e9s con el clarinete. Ese intercambio, junto a una l\u00ednea de teclado que rebota, es por lo que se conoce la canci\u00f3n cuando la letra ya ha hecho su trabajo. La idea es pasar de largo tu propia salida. El tempo deja marcar el pie mientras lo haces.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00bb][vc_column][vc_column_text]<\/p>\n

\n

Hablo de no querer volver a casa con la mujer, de tomar el camino largo porque te trata como un mueble, pero la canci\u00f3n tiene tambi\u00e9n un piso m\u00e1s hondo.<\/p>\n<\/blockquote>\n

(Roger Hodgson)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00bb21763″ img_size=\u00bbfull\u00bb css=\u00bb.vc_custom_1700021763{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

A&M la publica como sencillo en Estados Unidos en octubre de 1979, con Rudy<\/em> en la cara B. El 9 de diciembre llega al n\u00famero 10 del Billboard Hot 100 y se queda quince semanas en esa lista. Canad\u00e1 la sube al 4. Es el tercer \u00e9xito americano de Breakfast in America<\/em> ese a\u00f1o, despu\u00e9s de The Logical Song<\/em> y Goodbye Stranger<\/em>, y no necesita que Gran Breta\u00f1a la firme. Una versi\u00f3n de radio m\u00e1s corta pasa apenas de cuatro minutos. El corte del \u00e1lbum dura 5:08, lo bastante para que la arm\u00f3nica vuelva y para que el camino largo se sienta como distancia, no como un eslogan.<\/p>\n

En los conciertos de Par\u00eds de 1979, publicados luego en el \u00e1lbum en vivo Paris<\/em>, la canci\u00f3n abre igual: la arm\u00f3nica de Davies, luego la banda. Esa intro fue una prueba, no un memor\u00e1ndum de concepto. Si el tema es el trayecto de vuelta, el primer sonido no debe ser un discurso. Debe ser el instrumento que te hace tomar la otra carretera. Supertramp eligi\u00f3 la arm\u00f3nica. La puerta pod\u00eda esperar.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"

Roger Hodgson escribe Take the Long Way Home en Topanga cuando Breakfast in America ya est\u00e1 en marcha, y Rick Davies contesta la intro con arm\u00f3nica en vez de saxo.<\/p>\n","protected":false},"author":1,"featured_media":21760,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[305,273,299,278],"tags":[255,481,772,774],"class_list":["post-21768","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-canciones","category-chronicles","category-criticas","category-tracks","tag-classic-rock","tag-classic-rock-es","tag-supertramp","tag-supertramp-es"],"yoast_head":"\nTake The Long Way Home - Supertramp: primero la arm\u00f3nica, la puerta puede esperar - 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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