{"id":19268,"date":"2007-06-03T11:00:00","date_gmt":"2007-06-03T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/wish-you-were-here-pink-floyd-a-car-radio-then-a-violin-they-buried\/"},"modified":"2026-09-26T23:58:26","modified_gmt":"2026-09-26T21:58:26","slug":"wish-you-were-here-pink-floyd-a-car-radio-then-a-violin-they-buried","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/wish-you-were-here-pink-floyd-a-car-radio-then-a-violin-they-buried\/","title":{"rendered":"Wish You Were Here – Pink Floyd : une autoradio, puis un violon enterr\u00e9"},"content":{"rendered":"

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Studio Three. Grappelli \u00e9tait en dessous. Ils l’ont pay\u00e9 300 livres.<\/h3>\n

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La premi\u00e8re chose sur Wish You Were Here<\/em>, le morceau, ce n’est pas le groupe. C’est une radio, enregistr\u00e9e depuis la voiture de David Gilmour \u00e0 Abbey Road en 1975, qui glisse d’une station \u00e0 l’autre. Un bout de musique classique passe. Un bout de leur propre Shine On You Crazy Diamond<\/em> aussi, qui fuit comme depuis la pi\u00e8ce d’\u00e0 c\u00f4t\u00e9. Puis une guitare acoustique entre, trait\u00e9e pour sonner comme si elle sortait de cette radio. Une seconde acoustique, s\u00e8che, est dans la pi\u00e8ce avec vous. Gilmour joue les deux, et il chante. Waters a \u00e9crit le texte. La musique est de Gilmour. Le cr\u00e9dit sur la pochette les nomme tous les deux.<\/p>\n

Le morceau est le quatri\u00e8me de l’album, entre Welcome to the Machine<\/em> et la seconde moiti\u00e9 de Shine On<\/em>. Il a \u00e9t\u00e9 enregistr\u00e9 \u00e0 Abbey Road avec le reste de Wish You Were Here<\/em>, de janvier \u00e0 juillet 1975, ing\u00e9nieur Brian Humphries, produit par le groupe. St\u00e9phane Grappelli \u00e9tait en dessous, au Studio One, en train de faire un disque avec Yehudi Menuhin. Gilmour voulait un violon country \u00e0 la fin du morceau. Ils font monter Grappelli, apr\u00e8s la discussion habituelle sur le cachet. Il joue. Ils l’enterrent si bas dans le mix qu’on n’attrape le violon qu’apr\u00e8s l’arriv\u00e9e du vent, et ils laissent son nom hors de la pochette parce qu’un cr\u00e9dit aussi discret aurait sembl\u00e9 grossier. Le cachet \u00e9tait de 300 livres.<\/p>\n

Harvest sort l’album en Grande-Bretagne le 12 septembre 1975. Il passe n\u00b0 1 au Royaume-Uni et aux \u00c9tats-Unis. Le single n’est pas ce morceau. C’est Have a Cigar<\/em> avec Welcome to the Machine<\/em> au dos, et Roy Harper chante Have a Cigar<\/em> parce que la voix de Waters a l\u00e2ch\u00e9. Wish You Were Here<\/em> reste un titre d’album que le public traite quand m\u00eame comme le single. Sur la tourn\u00e9e In the Flesh de 1977, c’est d\u00e9j\u00e0 un chant collectif. \u00c7a le reste : Pulse<\/em> \u00e0 Earls Court en 1994, et les retrouvailles du Live 8 \u00e0 Hyde Park le 2 juillet 2005.<\/p>\n

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\n

On peut juste l’entendre si on \u00e9coute tr\u00e8s, tr\u00e8s, tr\u00e8s fort tout \u00e0 la fin de Wish You Were Here, on entend \u00e0 peine un violon entrer apr\u00e8s que tout ce vent commence. On a d\u00e9cid\u00e9 de ne pas le cr\u00e9diter, parce qu’on s’est dit que \u00e7a pourrait \u00eatre un peu insultant. Il a touch\u00e9 ses 300 livres, quand m\u00eame.<\/p>\n<\/blockquote>\n

(Roger Waters, entretien pour le songbook de Wish You Were Here)<\/em><\/p>\n

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Les gens entendent une chanson d’amour. Waters l’a d\u00e9crite comme un morceau sur l’absence : Syd Barrett, et aussi le groupe qui n’\u00e9tait pas pr\u00e9sent \u00e0 lui-m\u00eame pendant qu’il faisait le disque. La radio est le sujet. Quelqu’un est dans une pi\u00e8ce, et la personne qu’il veut n’est que dans un haut-parleur, \u00e0 moiti\u00e9 accord\u00e9. La prise alternative, o\u00f9 Grappelli est vraiment audible, est rest\u00e9e dans les coffres d’EMI jusqu’au coffret Immersion de 2011. Sur l’album de 1975, il est une rumeur dans le fondu.<\/p>\n

Deux acoustiques, dont une qui fait semblant d’\u00eatre une radio, et un violon qu’on n’entend qu’en se penchant. C’est le titre d’un album sur des gens qui ne sont pas dans la pi\u00e8ce. La poign\u00e9e de main de la pochette est en feu. Le morceau est la version plus calme de la m\u00eame id\u00e9e.<\/p>\n

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Wish You Were Here s’ouvre sur l’autoradio de David Gilmour \u00e0 Abbey Road, qui cherche une station, avant qu’une seconde guitare acoustique n’entre dans la pi\u00e8ce.<\/p>\n","protected":false},"author":1,"featured_media":19261,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,287,293,278],"tags":[255,482,514,513],"class_list":["post-19268","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-chroniques","category-titres","category-tracks","tag-classic-rock","tag-classic-rock-fr","tag-pink-floyd-fr","tag-pink-floyd"],"yoast_head":"\nWish You Were Here - Pink Floyd : une autoradio, puis un violon enterr\u00e9 - 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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