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Home / How Do You Know When the Different Parts of Shine on You Crazy Diamond Arte

How Do You Know When the Different Parts of Shine on You Crazy Diamond Arte

1975 limerick by Pink Floyd

"Shine On You Crazy Diamond"
Shine On You Crazy Diamond Part One.jpg

The single edit of Part I
Composition past Pinkish Floyd
from the album Wish Y'all Were Here
Published Pinkish Floyd Music Publishers Ltd
Released 15 September 1975
Recorded thirteen January– 28 July 1975 ("Wine Glasses" on five Jan 1971)[1]
Studio Abbey Road Studios (Studio One, Two and Three)
Genre
  • Progressive rock[2]
  • dejection rock[3]
  • fine art rock[4]
Length 26:00 (all parts)
xiii:32 (parts I–Five)
12:28 (parts Vi–IX)
3:53 (unmarried edit)
Characterization Harvest (Uk)
Columbia/CBS (US)
Composer(south)
  • David Gilmour
  • Roger Waters
  • Richard Wright[5]
Lyricist(s) Roger Waters
Producer(south) Pinkish Floyd

"Shine On You Crazy Diamond" is a nine-function Pinkish Floyd composition written by David Gilmour, Roger Waters, and Richard Wright. It appeared on Pink Floyd's 1975 concept album Wish You lot Were Here. The song is written nearly and dedicated to Syd Barrett, who left the band in 1968 due to deteriorating mental health.

Background [edit]

The song was conceived and written equally a tribute and remembrance to their former ring fellow member Syd Barrett, a founding member of Pink Floyd.[6] Barrett was ousted from the band by the other members in 1968 due to his drug use and troubled mental health, which had affected his ability to integrate with the rest of the band and perform and create every bit a musician. He was replaced by David Gilmour, Barrett's erstwhile school friend who had initially been brought in as second guitar. The remaining band members felt guilty for removing him, but they viewed information technology as necessary, admiring Barrett's creativity and being concerned about his severe mental decline.[vii] The work was first performed on their 1974 French tour and recorded for their 1975 concept album Wish You Were Here. It was intended to be a side-long limerick (similar "Atom Center Mother" and "Echoes") but was divide into two sections and used to bookend the album, with new fabric composed that was more relevant to the album and to the situation in which the band found themselves.[8]

Recording [edit]

Bassist Roger Waters commented, as the sessions were underway, that "at times the group was there simply physically. Our bodies were there, but our minds and feelings somewhere else."[9] Eventually an idea was raised to split the song in ii, Parts I–V and Parts Vi–Nine.[9]

Co-ordinate to guitarist David Gilmour and drummer Nick Mason on the Wish Y'all Were Here episode of In the Studio with Redbeard, Pinkish Floyd recorded a satisfactory take of "Shine On You Crazy Diamond" only because of a new mixing console which was installed at Abbey Road Studios, it needed to be re-recorded because excessive 'drain' from other instruments could be heard on the drum tracks. As explained by Gilmour,

We originally did the backing track over the course of several days, but we came to the conclusion that it just wasn't good plenty. So nosotros did it again in ane day apartment and got it a lot better. Unfortunately nobody understood the desk-bound properly and when we played it back we found that someone had switched the echo returns from monitors to tracks i and two. That affected the tom-toms and guitars and keyboards which were playing along at the time. There was no fashion of saving information technology, and then we just had to practise information technology notwithstanding again.[10]

On office 3, a piano office seems to have been added "live" to the final mix, making it absent-minded from multitrack masters. That office was re-recorded at British Grove Studios by pianist Richard Wright during the multi-channel mix used for the album Immersion Edition and the SACD release.[11]

Nick Stonemason said:

With the invention of 16-rail and 2-inch tape there was the conventionalities for quite a while that in that location would be something wrong with editing record that big. Consequently whenever we played these pieces, they had to be played from beginning to cease. Particularly for Roger [Waters] and myself beingness the rhythm section, which would be laid down first, this was [chuckling] a adequately tough business because the whole matter had to exist sort of correct.[12]

The song would exist the outset song to be started and the last song to be recorded for the album. On 24 February, a sequence that was titled "Vino Glasses" was overdubbed onto part 1 of the vocal, titled later on how the band used wine spectacles to record it. The sequence was recorded on 5 Jan 1971, originally intended to be a part of a series of musical experiments the band conducted titled "Nothings".[thirteen]

Barrett'southward studio appearance [edit]

One day during recording, Barrett (at present heavyset, with a completely shaved head and eyebrows) wandered into the studio (although Mason has since stated that he is not entirely certain whether "Shine On You lot Crazy Diamond" was the particular work being recorded when Barrett was there). Because of his drastically changed appearance, the band did not recognize him for some time. When they somewhen realised that the withdrawn man in the corner was Barrett, Roger Waters became so distressed about Barrett's advent that he was reduced to tears.[8] Someone asked to play the suite once again for Barrett and he said a second playback was not needed when they had just heard it. When asked what he idea of the song, Barrett said it sounded a "bit old". He later slipped abroad during celebrations for Gilmour's wedding to Ginger Hasenbein, which took place afterward that day.[fourteen] Gilmour confirmed this story, although he could not recall which composition they were working on when Barrett showed upwardly.[15] [16]

The episode is taken upwardly by Wright as follows:

Roger was there, and he was sitting at the desk, and I came in and I saw this guy sitting behind him – huge, bald, fat guy. I idea, "He looks a bit... strange..." Anyway, so I sat down with Roger at the desk-bound and we worked for well-nigh ten minutes, and this guy kept on getting upward and brushing his teeth and then sitting – doing really weird things, merely keeping quiet. And I said to Roger, "Who is he?" and Roger said "I don't know." And I said "Well, I causeless he was a friend of yours," and he said "No, I don't know who he is." Anyhow, information technology took me a long time, and and then suddenly I realised information technology was Syd, after perchance 45 minutes. He came in equally we were doing the vocals for "Shine On You Crazy Diamond", which was basically about Syd. He just, for some incredible reason picked the very twenty-four hours that we were doing a vocal which was about him. And we hadn't seen him, I don't think, for two years before. That's what's so incredibly... weird most this guy. And a bit agonizing, also, I mean, particularly when yous come across a guy, that you don't, you couldn't recognize him. And then, for him to selection the very day we want to start putting vocals on, which is a song about him. Very foreign.[17]

Limerick [edit]

As neither the original 1975 vinyl release nor the CD re-release actually delineate the various parts precisely, the make-up of the parts below is based on a comparison of the recorded timings with the identifications in the published sheet music.

The song is in Thousand natural minor (Aeolian) calibration, but with hints of the G Dorian mode with the inclusion of the E (raised sixth) note in various parts throughout, near prominently in the four-note theme in Office II.[18] [19] [20]

Parts I–V [edit]

Part I (Wright, Gilmour, Waters; from 0:00 to iii:54) There are no lyrics in Function I. The instrumental begins with a fade-in of a Yard minor chord created with an EMS VCS 3, ARP Solina, a Hammond organ, and a wine glass harp (recycled from an earlier projection known as Household Objects). This is followed past Wright's Minimoog passages leading into a lengthy, bluesy guitar solo played by Gilmour on a Fender Stratocaster (cervix pickup) using a heavily compressed sound and reverb. Part I ends with the synthesizer chord fading into the background. During the fade-out some very faint conversation in the studio can be heard on the left channel.

Office Two (Gilmour, Waters, Wright; from 3:54 to six:27) [21] begins with a four-note theme (B♭, F, G [below the B♭], E) (known informally as "Syd'south theme") repeated throughout much of the entire section. This theme leads the harmony to C major (in comparison to the use of C pocket-size in Part I). Mason starts his drumming and Waters his bass playing after the quaternary playing of the 4-note theme, which is the bespeak where the riffs become into a fixed tempo, in 6/8 time. The chord leads back to M minor (every bit from Office I), followed past Due east♭ major and D major dorsum to a coda from 1000 pocket-sized. This part includes another solo by Gilmour.

Part III (Wright, Gilmour, Waters; from vi:27 to eight:41) begins with a Minimoog solo by Wright accompanied by a less complex variation of Mason'due south drums from Part Ii. This part includes Gilmour'due south third guitar solo, in the G natural modest calibration, and ends with a fade into Part IV. When performed on the Animals bout, Gilmour added distortion to the guitar for this solo. This solo is often dropped in live performances while the residual of role Three is still played—notably on Delicate Sound of Thunder and Pulse.

Part Four (Gilmour, Wright, Waters; from 8:41 to 11:x) Waters sings his lyrics, with Gilmour, Wright and female person bankroll vocalists Venetta Fields and Carlena Williams on harmonies.

Office V (Waters, Gilmour, Wright; from 11:x to 13:32) Part Four is followed by two guitars repeating an arpeggio variation on the main theme for about a infinitesimal with the theme of Part Two. A baritone saxophone overlays the sounds, played by Dick Parry. The saxophone changes from a baritone to a tenor saxophone, as a time signature switch from 6/eight to 12/eight creates the feeling that the tempo doubles up. The sax solo is accompanied by a Solina string synthesizer keyboard audio. A machine-similar hum fades in with musique concrète and segues into "Welcome to the Machine".

Parts Vi–Nine [edit]

Part VI (Wright, Waters, Gilmour; from 0:00 to 4:39) begins with a howling wind from the preceding vocal "Wish Y'all Were Here".[22] Every bit the wind fades away, Gilmour comes in on the bass guitar. Waters adds some other bass with a continuing riff design. Then Wright comes in playing a Solina String Ensemble Synthesizer and afterward a few measures, several rhythm guitar parts (Gilmour played the power chord rhythm function using his black Fender Stratocaster earlier switching to lap steel guitar for the solo in alive performances from 1974–77. Snowy White did the rhythm guitar parts on this rails on the band's 1977 "In the Mankind" tour) and drums come in, as well every bit a Minimoog synthesizer to play the opening solo. At the two-minute mark, Wright's Minimoog and Gilmour'southward lap steel guitar play notes in unison before Gilmour does a lap steel guitar solo (the lap steel had open up G tuning with the high D string tuned to E) with some counterpointing from Wright's synthesizers. It lasts for nearly three minutes (4 when played on the band's "In the Flesh" bout) and Gilmour played each department an octave higher than the previous one. The highest note he hit on the lap steel/slide solo was a B♭6, followed past a reprise of the guitar solo from Part Iv (which was played past White live on Pink Floyd's 1977 tour so Gilmour could switch back to his Fender Stratocaster). The vocal then switches time signatures to half-dozen/8 (found in Parts II–V), giving the advent of a slower tempo and reintroducing the vocals.

Part VII (Gilmour, Wright, Waters; from 4:39 to 6:03) contains the vocals, in a similar vein to Part IV though one-half the length, before segueing into Function Viii. Waters again sings the lead vocals with Gilmour, Wright, Fields and Williams providing backing vocals.

Role Viii (Gilmour, Wright, Waters; from half dozen:03 to 9:00) brings in Waters to play a second electric guitar for a high-noted sound riff while Gilmour plays the arpeggio riff that bridges Parts Vii and 8. A solid progression of funk in four/4 plays for about two minutes before very slowly fading out as a unmarried sustained keyboard annotation fades in around the nine-minute mark. Throughout this section, Wright's keyboards boss, with the use of a Minimoog synthesizer, and a Hohner Clavinet. Originally the section clocked in at 8 minutes before it was edited down to 3 minutes on the final version (the unedited Part 8 without the electrical piano and Minimoog overdubs surfaced on a homemade called The Extraction Tapes). When performed on the "In the Mankind" tour in 1977, the section would be extended to between 5 and x minutes as information technology would characteristic guitar solos from Gilmour (which would vary from funky ability chords to a proper solo as the Animals tour progressed) and Snowy White. In improver to their guitar solos, there was also occasional trading of leads from Gilmour and White instead of the keyboard sounds as heard on record.

Office IX (Wright, from 9:00 to 12:28) is played in 4/4 time. Gilmour described Part 9 in an interview[ which? ] as "a tedious 4/4 funeral march... the parting musical eulogy to Syd".[23] Again, Wright's keyboards dominate, with petty guitar input from Gilmour. Stonemason's drums play for much of this part, and the keyboards play for the final minute earlier fading out. On the fade-out, a short keyboard part of the melody of "See Emily Play" (at 12:07), one of Barrett's signature Pink Floyd songs, tin be heard. Function Nine, and the anthology, ends in G major, a Picardy third. When performed early the Animals bout, the part begins with the piano (as heard on record) so the synth solo is played (as on record) by Dick Parry with some slide guitar accompaniment by Snowy White would then change to one-half synthesizer/half harmony atomic number 82 guitar solo for the remainder of European leg and get-go U.s.a. leg. For the last US leg, after the piano began information technology was a bluesy guitar solo from Gilmour then harmony guitars from Gilmour and White (Gilmour playing the highest parts) and and then ending like on record. This was the terminal solo writing credit Wright would receive in Pink Floyd during his lifetime, equally well as his last writing credit of any kind until The Division Bell in 1994.

Live performances [edit]

The song series was first performed every bit "Shine On",[24] during the band's French tour in June 1974. It was introduced equally "Polish On You Crazy Diamond" on the British bout in November 1974. The set was originally performed as i whole suite with some of the parts differing from the anthology versions, and samplings of Barrett's solo song "Dark Globe" during the opening of the performance. The version from the British bout was included on the 2011 Experience and Immersion editions of Wish Y'all Were Here. The multi-part version of "Shine On You Crazy Diamond" was first performed on the ring's 1975 North American tour with "Have a Cigar" in between the two halves of the piece. The 1975 versions were close to the terminal versions, except parts one and nine were notwithstanding not refined nonetheless. The band performed the whole ix-function "Smooth On You Crazy Diamond" as part of the Wish You Were Here portion of their 1977 In the Mankind Tour, with actress musicians White on guitar and backing vocals and Parry on saxophones.

Parts I–V became a staple of Floyd's performances from 1987 to 1994. The rails opened shows for about of the A Momentary Lapse of Reason tour of 1987–89 and the tour endmost performance at Knebworth in 1990 with Candy Dulfer on saxophone.[25] The commencement 11 performances had "Echoes" equally the show opener before the band proceeded to play all of A Momentary Lapse of Reason in the residual of the first half in a slightly different sequence to the album. A condensed edition of the track (without the Gilmour solo in Part III) would and so open the second half of the shows on the group's 1994 The Partitioning Bell tour, except in shows where all of The Dark Side of the Moon was performed, in which case "Smoothen On You Crazy Diamond" opened the outset one-half of the concert. In the terminal calendar month and a one-half of the tour, the ring added part 7 to Parts I–V (equally documented on the live album Pulse). A similar version was also played during David Gilmour'south Rattle That Lock Tour in 2015 with the according screen film on brandish.

Gilmour performed nigh the whole suite (salve part Ix) at his 2001 and 2002 semi-unplugged concerts (documented on his 2002 David Gilmour in Concert DVD). "There was," he said, "a moment of thinking, 'Shall I try an acoustic guitar version of the long, synthesised opening?' Information technology came to me one day how I could do information technology, and it worked out not as well badly."[26]

Gilmour performed parts I–Two and IV–Five (in a new arrangement) on his 2006 On an Island solo bout. Part III was omitted and Parts I and 2 were simplified and more than guitar-focused. Gilmour performed Parts I–5 on his Alive in Gdańsk album on disc two and on the DVD in the four-disc edition of the anthology. The five-disc edition and the online downloads available in the three and four-disc editions include Parts I–V recorded in Venice and Vienne in 2006. In many of his performances, solo and with Pinkish Floyd, Gilmour alters the vocal tune to avoid the higher notes that were originally sung by Waters.

Waters has as well performed the epic on his 1999 and 2000 tours documented on his In the Flesh – Live album and DVD which was a condensed parts I, Two, IV, Half-dozen, Vii, and IX. Part VI on these performances had a lap steel solo from Jon Carin then guitar solos from Doyle Bramhall 2 and White. Then on Waters' 2002 tour, he played all nine parts like on record (although part Eight was shortened). An abridged version of parts I–V was performed on Waters' 2006–07 The Dark Side of the Moon Alive bout, Waters also performed the vocal on the 2016 concerts, including the gratuitous concert of the Mexico City'due south Zócalo, and the concert at the Desert Trip festival; besides the parts 6–IX, Waters performed all the Wish You lot Were Here album live in order.

Personnel [edit]

  • Roger Waters – bass guitar, atomic number 82 vocals, additional electrical guitar on Part VIII, glass harp
  • David Gilmour – electric guitars, backing vocals, lap steel guitar, additional bass guitar on Part VI, EMS Synthi AKS, glass harp
  • Richard Wright – Hammond organ, ARP String Ensemble, Minimoog, quadruple-tracked European monetary system VCS three, clavinet and electric piano on Part VIII, Steinway piano on Parts 3 and IX, drinking glass harp, backing vocals, Bösendorfer piano on the multi-channel re-release (recorded in 2008).[11]
  • Nick Mason – drums, percussion

with:

  • Dick Parry – baritone and tenor saxophones
  • Carlena Williams – backing vocals
  • Venetta Fields – bankroll vocals

Edited versions [edit]

Three different edited versions of the composition have appeared on compilation albums:

A Collection of Swell Dance Songs (Parts I, Two, 4, VII)

The version on this compilation album was cut significantly. Parts III, 5, Vi, Eight and Nine were dropped completely. Parts Iv and 7 are linked by the guitar solo from earlier in Role Iv. Lastly, the riff that links Parts Vii and VIII is repeated several times every bit the song segues into the introductory radio passage from "Wish Y'all Were Here".

Echoes: The Best of Pink Floyd (Parts I–VII)

The version on this compilation album was also cut, just less significantly. The guitar solo on Part Iii was dropped. Part Vi was shortened. Parts 8 and 9 were dropped completely. Linking Parts V and Vi is the sound of wind. These are the same wind effects used to span "Wish You Were Hither" to Part Half dozen of "Diamond" on the original LP. Finally, the riff that links Parts Vii and 8 is repeated several times every bit the song segues into the introductory passage of clocks of "Time".

A Human foot in the Door – The Best of Pink Floyd (Parts I–V)

This version was too cut. Parts Vi–9 were dropped completely. Role I was shortened. The guitar solo on Office III was dropped. The saxophone on Part 5 has an early fade-out. Finally, the machine-like hum that segues into "Welcome to the Machine" in the original album was dropped, the song but stops and "Encephalon Impairment" begins.

Releases [edit]

"Shine On You Crazy Diamond" features on all the below releases:

Albums
  • Wish You Were Here (Original release) – Pinkish Floyd, 1975
  • A Collection of Corking Dance Songs (Edited version) – Pink Floyd, 1981[27]
  • Delicate Sound of Thunder (Live version, Parts I–5) – Pink Floyd, 1988
  • PULSE (Live version, Parts I–V and 7) – Pink Floyd, 1995
  • In the Flesh – Live (Live version, Parts I–VIII) – Roger Waters, 2000
  • Echoes: The Best of Pink Floyd (Edited version) – Pink Floyd, 2001[28]
  • Live in Gdańsk (Live version, Parts I, 2, Iv & 5) – David Gilmour, 2008
  • Wish You Were Here 2011 remastered "Feel" and "Immersion" sets (early live version recorded in November 1974) – Pink Floyd, 2011
  • A Foot in the Door – The Best of Pink Floyd (Edited version, Parts I–V) – Pinkish Floyd, 2011
  • Live at Pompeii (Alive version, Parts I–2, IV–V) – David Gilmour, 2017
Video/DVD/BD
  • Delicate Audio of Thunder (VHS, Part I only) – Pink Floyd, 1988
  • PULSE (VHS and DVD, Parts I–V and VII) – Pink Floyd, 1995 (VHS) 2006 (DVD)
  • In the Flesh – Live (DVD, Parts I–Viii) – Roger Waters, 2000
  • David Gilmour in Concert (DVD, Parts I–Two, Iv–V and Six–Vii, reprise of Office Five) – David Gilmour, 2002
  • Retrieve That Night (DVD and BD, Parts I–Ii and Iv–V) – David Gilmour, 2007
  • Alive in Gdańsk 3-disc, four-disc and deluxe editions (Parts I–Two, IV–Five) – David Gilmour, 2008
  • Live at Pompeii (DVD, BD and deluxe edition, Parts I–Two, IV–Five) – David Gilmour, 2017

Utilize in other media [edit]

The original album version featured prominently in the 1976 TV serial Sailor, about the aircraft carrier HMSArk Royal. On the DVD release, it was replaced past a shine jazz composition.

The same rail is used in a joke in the 3rd episode ("Fit the Tertiary") of the radio comedy The Hitchhiker's Guide to the Galaxy. It is heard in the background, and then i of the characters comments that "Marvin [an android] tin hum just like Pink Floyd". Once again, the music was cut from commercial releases.

The extended instrumental introduction (from the original album version) was used in the concluding scenes of Adept Morning, Nighttime, a 2003 Italian moving-picture show about the 1978 Aldo Moro kidnapping and bump-off.

In the Japanese manga JoJo's Baroque Chance: Diamond is Unbreakable, the protagonist Josuke Higashikata'southward Stand up is named Crazy Diamond. In the English-language version of the anime adaptation and other official media following its release, the Stand up is named Shining Diamond to avert copyright problems.

In December 2018, the song was the subject of an episode of BBC Radio 4's Soul Music, examining its cultural influence, including an interview with Gilmour about how the song was created.[29]

Cover versions [edit]

Jack Irons included a encompass of "Smooth On You Crazy Diamond" on his first solo anthology, Attention Dimension (2004).[30]

Colonel Les Claypool'southward Fearless Flying Frog Brigade included a comprehend on their Alive Frogs Set ane anthology, described every bit "Jack Irons version".

Transatlantic has a comprehend of "Smoothen On You Crazy Diamond" on a limited edition bonus disk with their anthology Bridge Across Forever (2001).

Steve Lukather of Toto performed a cover of the song on the tribute album Pigs and Pyramids, An All Star Lineup Performing the Songs of Pink Floyd (2002).

Italian prog-rock band Elio e le Storie Tese performed a true-blue cover of parts I-III alive in 2010.[31]

Irish gaelic folk singer Christy Moore has a encompass of "Shine On Y'all Crazy Diamond" on his Mind anthology, released in 2009 and done as an acoustic guitar carol.

References [edit]

  1. ^ Guesdon, Jean-Michel (2017). Pink Floyd All The Songs. Running Printing.
  2. ^ Murphy, Sean (22 May 2011). "The 25 Best Progressive Rock Songs of All Time". PopMatters . Retrieved 31 July 2016.
  3. ^ Janovitz, Bill. "Shine on You Crazy Diamond, Pt. ane". AllMusic . Retrieved ii September 2018.
  4. ^ "The Top 150 Albums of the '70s". Treble. 12 August 2019. Retrieved 28 April 2021.
  5. ^ "Smoothen On Y'all Crazy Diamond : Sheet Music" (PDF). Sheets-piano.ru . Retrieved 27 July 2016.
  6. ^ Kirby, Terry (12 July 2006). "Syd Barrett: The crazy diamond". The Independent . Retrieved 17 August 2018.
  7. ^ Palacios, Julian (2010). Syd Barrett and Pinkish Floyd: Nighttime Globe. London: Plexus Publishing Limited. ISBN9780859658829.
  8. ^ a b "A Rambling Conversation with Roger Waters Concerning All This and That". Ingsoc.com. Archived from the original on 4 Nov 2016. Retrieved 27 July 2016.
  9. ^ a b Macan, Edward (1997). Rocking the Classics: English Progressive Stone and the Counterculture (illustrated ed.). Oxford University Press. p. 114. ISBN9780195098877.
  10. ^ "Wish Y'all Were Here songbook". Pink-floyd.org . Retrieved 27 July 2016.
  11. ^ a b "The Missing Piano on Vimeo". Vimeo.com. 26 Apr 2012. Retrieved 27 July 2016.
  12. ^ In the Studio with Redbeard
  13. ^ Guesdon, Jean-Michel (2017). Pinkish Floyd All The Songs. Running Press. ISBN9780316439237.
  14. ^ "Total Guitar 1996". Neptunepinkfloyd.co.u.k.. Archived from the original on 9 July 2006. Retrieved 27 July 2016.
  15. ^ "Il requiem di David Gilmour "I Pinkish Floyd? Sono finiti"". Repubblica.it. 3 February 2006. Retrieved 27 July 2016.
  16. ^ "David Gilmour: "Pink Floyd? It's over"". Archived from the original on 26 August 2006. Retrieved 19 Baronial 2006.
  17. ^ Kendall, Charlie (1984). "Shades of Pink – The Definitive Pink Floyd Profile". The Source Radio Show. Archived from the original on 27 September 2012. Retrieved 27 July 2011.
  18. ^ Becker, Daniel (May 2016). "A New Perspective on the Concept Album: The Governing Tonal Centrality in Pink Floyd'south Wish You Were Here" (PDF) . Retrieved 29 Dec 2020.
  19. ^ Cohen, Gilad (ane May 2018). ""The Shadow of Yesterday's Triumph": Pink Floyd'due south "Shine On" and the Phase Theory of Grief". Music Theory Spectrum. 40 (one): 106–120. doi:ten.1093/mts/mty011. ISSN 0195-6167.
  20. ^ Jones, Christopher Everett (2017). Tear Downwardly the Wall: Long-Form Analytical Techniques and the Music of Pink Floyd. p. 42.
  21. ^ "Classic tone: Shine On You Crazy Diamond |". Gilmourish.com . Retrieved 27 July 2016.
  22. ^ Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture (illustrated ed.). Oxford University Press. p. 123. ISBN9780195098877.
  23. ^ "Pink Floyd – Wish You Were Here (album review v)". Sputnikmusic.com. 21 January 2012. Retrieved 27 July 2016.
  24. ^ Carruthers, Bob (2011). Pink Floyd – Uncensored on the Record. Coda Books Ltd. ISBN978-1-908538-27-7.
  25. ^ "Live at Knebworth 1990". Live at Knebworth DVD Review. Pink Floyd News Resource. Retrieved 5 September 2008. Equally far equally the Floyd selection here, not a bad choice - a nice functioning of "Smoothen On", with a lovely solo from the Dutch saxophonist Processed Dulfer, and "Run Like Hell", which concluded the concert.
  26. ^ Fielder, Hugh: "Sinking the pink"; Classic Stone #48, Christmas 2002, p58
  27. ^ Ruhlmann, William. "A Collection of Great Dance Songs – Pink Floyd : Songs, Reviews, Credits, Awards". AllMusic. Retrieved 30 June 2013.
  28. ^ "Echoes: the album credits". Pink Floyd. Archived from the original on ii June 2010. Retrieved 20 June 2013.
  29. ^ "Soul Music – Smooth On You Crazy Diamond". BBC Radio 4. 26 Dec 2018.
  30. ^ Loftus, Johnny. "Attention Dimension – Jack Irons". AllMusic . Retrieved 17 Oct 2017.
  31. ^ tuttoeelst (12 September 2010). "Elio e le Storie Tese – Shine on You Crazy Diamon (Sciao) – Live in Sesto San Giovanni 1/17". Archived from the original on 21 Dec 2021 – via YouTube.

External links [edit]

  • William Ruhlmann review of Polish On You Crazy Diamond
  • Hubble Ultra Deep Field video featuring Part 1 of the song

jarmansomaked.blogspot.com

Source: https://en.wikipedia.org/wiki/Shine_On_You_Crazy_Diamond