{"id":19257,"date":"2007-04-29T16:00:00","date_gmt":"2007-04-29T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/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\/fr\/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 entre pendant la prise de voix"},"content":{"rendered":"

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Abbey Road, 5 juin 1975. Ils ne l’ont pas reconnu.<\/h3>\n

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Les parties 1 \u00e0 5 de Shine On You Crazy Diamond<\/em> ouvrent Wish You Were Here<\/em> par un fondu, pas par un temps fort. L’accord est un sol mineur, tenu sur un EMS VCS 3, un ARP Solina, un Hammond, et des verres \u00e0 vin. Les verres avaient \u00e9t\u00e9 enregistr\u00e9s le 5 janvier 1971 pour une exp\u00e9rience abandonn\u00e9e, plus tard appel\u00e9e Household Objects, et pos\u00e9s sur la piste le 24 f\u00e9vrier 1975. Le Minimoog de Richard Wright r\u00e9pond. Puis la Stratocaster de David Gilmour, micro manche, compress\u00e9e, avec beaucoup de pi\u00e8ce autour. Abbey Road, de janvier \u00e0 juillet 1975, ing\u00e9nieur Brian Humphries, dans le nouveau Studio Three. Ils gravent une piste d’accompagnement, d\u00e9couvrent que la nouvelle console a imprim\u00e9 les retours d’\u00e9cho sur la batterie et les guitares, et doivent tout rejouer. Avec de la bande 16 pistes aussi large, disait Nick Mason, on ne montait pas. On jouait depuis le d\u00e9but.<\/p>\n

La figure de quatre notes de la partie 2 est celle que les musiciens appellent le th\u00e8me de Syd : si b\u00e9mol, fa, sol, mi. Mason et Roger Waters entrent apr\u00e8s le quatri\u00e8me passage, en 6\/8. La partie 3 est le solo de Minimoog de Wright. Juste apr\u00e8s huit minutes et demie, Waters se met \u00e0 chanter, avec Gilmour, Wright, et les voix de Venetta Fields et Carlena Williams. La partie 5 confie le th\u00e8me \u00e0 Dick Parry, saxophone baryton puis t\u00e9nor, et un bourdonnement de machine emm\u00e8ne la bande vers Welcome to the Machine<\/em>. Les parties 1 \u00e0 5 durent 13 minutes 33. La suite a \u00e9t\u00e9 \u00e9crite pour tenir une face, comme Echoes<\/em>. Ils l’ont coup\u00e9e en deux pour que les autres morceaux tiennent dans l’\u00e9cart. Musique de Gilmour, Waters et Wright. Texte de Waters. Ils avaient d\u00e9j\u00e0 jou\u00e9 un premier Shine On<\/em> pendant la tourn\u00e9e fran\u00e7aise de juin 1974.<\/p>\n

Le 5 juin 1975, un homme lourd, cr\u00e2ne et sourcils ras\u00e9s, entre dans le studio avec un sac en plastique. Aubrey Powell, chez Hipgnosis, lui avait dit o\u00f9 \u00e9tait le groupe. Waters ne le reconna\u00eet pas. Gilmour croit que c’est quelqu’un d’EMI. Wright suppose que c’est un ami de Waters, travaille un moment, puis comprend que c’est Syd Barrett, \u00e9cart\u00e9 du groupe en 1968. Waters en a les larmes aux yeux. Quelqu’un propose de repasser le morceau. Barrett dit qu’ils viennent de l’entendre, et que \u00e7a sonne un peu vieux. Il s’\u00e9clipse le jour m\u00eame, pendant la f\u00eate du mariage de Gilmour avec Ginger. Storm Thorgerson a dit que deux ou trois personnes ont pleur\u00e9, et que Barrett s’est assis, a parl\u00e9, et n’\u00e9tait pas vraiment l\u00e0.<\/p>\n

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Il est entr\u00e9 alors qu’on faisait les voix de Shine On You Crazy Diamond, qui parlait essentiellement de Syd. Il a, pour une raison incroyable, choisi le jour m\u00eame o\u00f9 on faisait une chanson qui parlait de lui. Et on ne l’avait pas vu, je crois, depuis deux ans.<\/p>\n<\/blockquote>\n

(Richard Wright, sur la visite de Syd Barrett \u00e0 Abbey Road)<\/em><\/p>\n

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Wish You Were Here<\/em> sort chez Harvest en Grande-Bretagne le 12 septembre 1975 et passe n\u00b0 1 l\u00e0-bas et aux \u00c9tats-Unis. Le single est Have a Cigar<\/em>, chant\u00e9 par Roy Harper, avec Welcome to the Machine<\/em> au dos. Shine On<\/em> est trop long pour ce r\u00f4le. Les parties 1 \u00e0 5 deviennent l’ouverture des concerts de 1987 \u00e0 1994. \u00c0 Earls Court, le 20 octobre 1994, le concert film\u00e9 pour Pulse<\/em>, ils ajoutent la partie 7. En 2025, James Guthrie mixe les neuf parties en un seul morceau continu pour l’\u00e9dition anniversaire. Le disque qu’ils ont fini en 1975 commence toujours par la moiti\u00e9 que Barrett a entendue.<\/p>\n

Quatre notes, un saxophone, une voix sur un homme qui a cherch\u00e9 le secret trop t\u00f4t, et l’homme lui-m\u00eame dans la pi\u00e8ce qui dit que \u00e7a sonne vieux. Puis la bande file vers la machine. C’est la premi\u00e8re face de l’album, et elle n’a pas besoin de la seconde pour faire le point.<\/p>\n

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