Crazy for You Play Clip Art Black and White

1975 limerick by Pink Floyd

"Shine On You Crazy Diamond"
The unmarried edit of Office I
Composition past Pink Floyd
from the album Wish You Were Here
Published	Pink Floyd Music Publishers Ltd
Released	xv September 1975
Recorded	13 January– 28 July 1975 ("Wine Glasses" on 5 Jan 1971)[1]
Studio	Abbey Road Studios (Studio One, Two and Three)
Genre	Progressive stone[ii] blues rock[iii] art rock[4]
Length	26:00 (all parts) 13:32 (parts I–V) 12:28 (parts VI–Nine) 3:53 (single edit)
Label	Harvest (UK) Columbia/CBS (U.s.)
Composer(due south)	David Gilmour Roger Waters Richard Wright[5]
Lyricist(s)	Roger Waters
Producer(s)	Pink Floyd

"Shine On Y'all Crazy Diamond" is a nine-part Pink Floyd limerick written by David Gilmour, Roger Waters, and Richard Wright. It appeared on Pink Floyd's 1975 concept anthology Wish You Were Here. The vocal is written about and dedicated to Syd Barrett, who left the band in 1968 due to deteriorating mental wellness.

Groundwork [edit]

The vocal was conceived and written as a tribute and remembrance to their former band member Syd Barrett, a founding member of Pink Floyd.^[half-dozen] 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 power to integrate with the rest of the band and perform and create equally a musician. He was replaced by David Gilmour, Barrett's one-time school friend who had initially been brought in as second guitar. The remaining band members felt guilty for removing him, only they viewed it as necessary, admiring Barrett'southward creativity and existence concerned about his astringent mental decline.^[7] The work was first performed on their 1974 French bout and recorded for their 1975 concept album Wish You Were Here. Information technology was intended to be a side-long limerick (similar "Atom Centre Mother" and "Echoes") merely was split into two sections and used to bookend the album, with new cloth composed that was more relevant to the anthology and to the state of affairs in which the band establish themselves.^[eight]

Recording [edit]

Bassist Roger Waters commented, as the sessions were underway, that "at times the grouping was in that location just physically. Our bodies were at that place, but our minds and feelings somewhere else."^[ix] Eventually an idea was raised to dissever the vocal in two, Parts I–V and Parts Six–IX.^[9]

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

We originally did the backing track over the form of several days, but we came to the conclusion that information technology merely wasn't expert enough. So we did it again in one day apartment and got it a lot improve. Unfortunately nobody understood the desk-bound properly and when we played information technology back we plant that someone had switched the echo returns from monitors to tracks one and two. That affected the tom-toms and guitars and keyboards which were playing forth at the time. At that place was no way of saving information technology, so we just had to do it yet again.^[10]

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

Nick Bricklayer said:

With the invention of 16-track and ii-inch tape there was the belief for quite a while that there would be something wrong with editing tape that large. Consequently whenever we played these pieces, they had to exist played from kickoff to end. Particularly for Roger [Waters] and myself being the rhythm section, which would exist laid downwardly first, this was [chuckling] a fairly tough business considering the whole thing had to be sort of right.^[12]

The vocal would be the first song to be started and the last vocal to be recorded for the album. On 24 February, a sequence that was titled "Wine Glasses" was overdubbed onto part 1 of the song, titled after how the band used wine spectacles to record information technology. The sequence was recorded on 5 January 1971, originally intended to exist a part of a series of musical experiments the ring conducted titled "Nothings".^[xiii]

Barrett'due south studio appearance [edit]

One day during recording, Barrett (now heavyset, with a completely shaved caput and eyebrows) wandered into the studio (although Stonemason has since stated that he is not entirely certain whether "Shine On You Crazy Diamond" was the particular work being recorded when Barrett was in that location). Considering of his drastically changed appearance, the band did not recognize him for some time. When they eventually realised that the withdrawn human being in the corner was Barrett, Roger Waters became so distressed about Barrett's appearance that he was reduced to tears.^[8] Someone asked to play the suite once more for Barrett and he said a 2d playback was non needed when they had just heard it. When asked what he idea of the song, Barrett said it sounded a "flake one-time". He afterwards slipped away during celebrations for Gilmour's wedding ceremony to Ginger Hasenbein, which took place later that day.^[14] Gilmour confirmed this story, although he could not recall which limerick they were working on when Barrett showed up.^{[fifteen] [xvi]}

The episode is taken up past Wright as follows:

Roger was at that place, and he was sitting at the desk, and I came in and I saw this guy sitting backside him – huge, bald, fatty guy. I thought, "He looks a bit... strange..." Anyhow, so I sabbatum downwardly with Roger at the desk and nosotros worked for nigh ten minutes, and this guy kept on getting up and brushing his teeth and so sitting – doing really weird things, but keeping tranquility. And I said to Roger, "Who is he?" and Roger said "I don't know." And I said "Well, I assumed he was a friend of yours," and he said "No, I don't know who he is." Anyway, it took me a long time, and then suddenly I realised it was Syd, after maybe 45 minutes. He came in as we were doing the vocals for "Polish On You Crazy Diamond", which was basically near Syd. He just, for some incredible reason picked the very day that nosotros were doing a song which was virtually him. And we hadn't seen him, I don't recall, for two years before. That's what's and then incredibly... weird about this guy. And a bit disturbing, too, I mean, especially when you lot encounter a guy, that you don't, you lot couldn't recognize him. And then, for him to pick the very twenty-four hours nosotros want to beginning putting vocals on, which is a vocal nearly him. Very foreign.^[17]

Composition [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 beneath 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) scale, but with hints of the M Dorian mode with the inclusion of the Due east (raised sixth) notation in various parts throughout, most prominently in the 4-note theme in Part II.^{[18] [19] [xx]}

Parts I–5 [edit]

Part I (Wright, Gilmour, Waters; from 0:00 to three:54) There are no lyrics in Function I. The instrumental begins with a fade-in of a K pocket-sized chord created with an European monetary system VCS three, ARP Solina, a Hammond organ, and a vino glass harp (recycled from an earlier project known every bit Household Objects). This is followed past Wright'southward Minimoog passages leading into a lengthy, bluesy guitar solo played past Gilmour on a Fender Stratocaster (neck pickup) using a heavily compressed sound and reverb. Role I ends with the synthesizer chord fading into the background. During the fade-out some very faint conversation in the studio tin be heard on the left aqueduct.

Function II (Gilmour, Waters, Wright; from 3:54 to half dozen:27) ^[21] begins with a iv-notation theme (B♭, F, Thousand [below the B♭], Eastward) (known informally as "Syd'due south theme") repeated throughout much of the unabridged section. This theme leads the harmony to C major (in comparing to the use of C pocket-sized in Part I). Mason starts his drumming and Waters his bass playing after the fourth playing of the 4-note theme, which is the point where the riffs get into a fixed tempo, in half-dozen/8 time. The chord leads back to G pocket-size (as from Part I), followed past E♭ major and D major back to a coda from 1000 minor. This part includes some other solo past Gilmour.

Role Iii (Wright, Gilmour, Waters; from vi:27 to 8:41) begins with a Minimoog solo by Wright accompanied by a less complex variation of Mason's drums from Role Two. This function includes Gilmour's third guitar solo, in the G natural minor scale, and ends with a fade into Part Four. When performed on the Animals tour, Gilmour added distortion to the guitar for this solo. This solo is often dropped in alive performances while the remainder of office 3 is still played—notably on Delicate Sound of Thunder and Pulse.

Part IV (Gilmour, Wright, Waters; from eight:41 to eleven:10) Waters sings his lyrics, with Gilmour, Wright and female person bankroll vocalists Venetta Fields and Carlena Williams on harmonies.

Part 5 (Waters, Gilmour, Wright; from 11:10 to 13:32) Part IV is followed by two guitars repeating an arpeggio variation on the principal theme for about a minute with the theme of Function Ii. A baritone saxophone overlays the sounds, played by Dick Parry. The saxophone changes from a baritone to a tenor saxophone, every bit a time signature switch from half-dozen/viii to 12/8 creates the feeling that the tempo doubles upward. The sax solo is accompanied by a Solina string synthesizer keyboard audio. A car-similar hum fades in with musique concrète and segues into "Welcome to the Machine".

Parts VI–9 [edit]

Part Half dozen (Wright, Waters, Gilmour; from 0:00 to 4:39) begins with a howling air current from the preceding song "Wish You Were Here".^[22] As the current of air fades abroad, Gilmour comes in on the bass guitar. Waters adds another bass with a continuing riff pattern. Then Wright comes in playing a Solina Cord Ensemble Synthesizer and later on a few measures, several rhythm guitar parts (Gilmour played the ability chord rhythm office using his black Fender Stratocaster before switching to lap steel guitar for the solo in live performances from 1974–77. Snowy White did the rhythm guitar parts on this track on the band's 1977 "In the Mankind" tour) and drums come in, equally well as a Minimoog synthesizer to play the opening solo. At the two-minute marking, Wright's Minimoog and Gilmour's lap steel guitar play notes in unison earlier Gilmour does a lap steel guitar solo (the lap steel had open G tuning with the loftier D cord tuned to E) with some counterpointing from Wright'southward synthesizers. It lasts for about three minutes (four when played on the band'southward "In the Flesh" tour) and Gilmour played each section an octave higher than the previous 1. The highest note he hit on the lap steel/slide solo was a B♭six, followed by a reprise of the guitar solo from Office Four (which was played by White live on Pink Floyd's 1977 tour and so Gilmour could switch back to his Fender Stratocaster). The song then switches time signatures to six/eight (found in Parts II–V), giving the appearance of a slower tempo and reintroducing the vocals.

Part VII (Gilmour, Wright, Waters; from iv:39 to 6:03) contains the vocals, in a similar vein to Function Iv though one-half the length, earlier segueing into Part Eight. Waters again sings the atomic number 82 vocals with Gilmour, Wright, Fields and Williams providing bankroll vocals.

Part VIII (Gilmour, Wright, Waters; from vi:03 to ix:00) brings in Waters to play a second electric guitar for a high-noted audio riff while Gilmour plays the arpeggio riff that bridges Parts VII and Eight. A solid progression of funk in four/iv plays for about two minutes before very slowly fading out as a unmarried sustained keyboard annotation fades in around the 9-minute mark. Throughout this department, Wright's keyboards dominate, with the use of a Minimoog synthesizer, and a Hohner Clavinet. Originally the section clocked in at 8 minutes earlier information technology was edited down to three minutes on the final version (the unedited Part 8 without the electric piano and Minimoog overdubs surfaced on a bootleg called The Extraction Tapes). When performed on the "In the Flesh" tour in 1977, the department would be extended to betwixt 5 and 10 minutes every bit it 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 addition to their guitar solos, there was likewise occasional trading of leads from Gilmour and White instead of the keyboard sounds equally heard on record.

Part IX (Wright, from 9:00 to 12:28) is played in 4/four time. Gilmour described Part IX in an interview^{[ which? ]} as "a slow 4/four funeral march... the parting musical eulogy to Syd".^[23] Again, Wright's keyboards dominate, with little guitar input from Gilmour. Mason'southward 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), i of Barrett's signature Pinkish Floyd songs, tin be heard. Part IX, and the album, ends in G major, a Picardy 3rd. When performed early the Animals tour, the part begins with the piano (as heard on tape) then the synth solo is played (as on record) by Dick Parry with some slide guitar accompaniment past Snowy White would then change to half synthesizer/one-half harmony lead guitar solo for the residue of European leg and first U.s. leg. For the final US leg, after the piano began it was a bluesy guitar solo from Gilmour and then harmony guitars from Gilmour and White (Gilmour playing the highest parts) and then ending like on record. This was the final solo writing credit Wright would receive in Pink Floyd during his lifetime, also as his last writing credit of any kind until The Division Bell in 1994.

Live performances [edit]

The vocal series was first performed as "Smooth On",^[24] during the ring's French tour in June 1974. It was introduced as "Shine On You Crazy Diamond" on the British tour in November 1974. The prepare was originally performed as one whole suite with some of the parts differing from the album versions, and samplings of Barrett'due south solo song "Nighttime Globe" during the opening of the performance. The version from the British bout was included on the 2011 Experience and Immersion editions of Wish You Were Here. The multi-part version of "Smooth On You lot Crazy Diamond" was get-go performed on the band's 1975 North American bout with "Have a Cigar" in betwixt the two halves of the piece. The 1975 versions were shut to the terminal versions, except parts i and nine were still not refined yet. The band performed the whole nine-office "Shine On You lot Crazy Diamond" as part of the Wish You Were Hither portion of their 1977 In the Mankind Tour, with extra 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 track 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 outset xi performances had "Echoes" as the show opener before the band proceeded to play all of A Momentary Lapse of Reason in the rest of the start half in a slightly different sequence to the album. A condensed edition of the runway (without the Gilmour solo in Role III) would then open the second half of the shows on the group'southward 1994 The Division Bell bout, except in shows where all of The Dark Side of the Moon was performed, in which example "Shine On You Crazy Diamond" opened the first half of the concert. In the final month and a half of the tour, the band added part Seven to Parts I–V (as documented on the live album Pulse). A similar version was besides played during David Gilmour'south Rattle That Lock Bout in 2015 with the according screen picture on brandish.

Gilmour performed virtually the whole suite (salve part IX) at his 2001 and 2002 semi-unplugged concerts (documented on his 2002 David Gilmour in Concert DVD). "At that place was," he said, "a moment of thinking, 'Shall I try an audio-visual guitar version of the long, synthesised opening?' It came to me one day how I could do it, and information technology worked out not also desperately."^[26]

Gilmour performed parts I–II and 4–V (in a new arrangement) on his 2006 On an Isle solo tour. Part Three was omitted and Parts I and II were simplified and more guitar-focused. Gilmour performed Parts I–5 on his Live in Gdańsk album on disc 2 and on the DVD in the 4-disc edition of the album. The five-disc edition and the online downloads bachelor in the three and iv-disc editions include Parts I–V recorded in Venice and Vienne in 2006. In many of his performances, solo and with Pink Floyd, Gilmour alters the vocal melody to avoid the higher notes that were originally sung by Waters.

Waters has also performed the epic on his 1999 and 2000 tours documented on his In the Mankind – Alive anthology and DVD which was a condensed parts I, II, Four, VI, Seven, and IX. Role Vi on these performances had a lap steel solo from Jon Carin then guitar solos from Doyle Bramhall 2 and White. So on Waters' 2002 tour, he played all ix parts similar on record (although part VIII was shortened). An abridged version of parts I–V was performed on Waters' 2006–07 The Dark Side of the Moon Live tour, Waters likewise performed the vocal on the 2016 concerts, including the complimentary concert of the Mexico City'south Zócalo, and the concert at the Desert Trip festival; as well the parts VI–IX, Waters performed all the Wish You lot Were Here album live in club.

Personnel [edit]

• Roger Waters – bass guitar, lead vocals, additional electric guitar on Part Viii, drinking glass harp
• David Gilmour – electric guitars, backing vocals, lap steel guitar, boosted bass guitar on Part VI, Ems Synthi AKS, drinking glass harp
• Richard Wright – Hammond organ, ARP String Ensemble, Minimoog, quadruple-tracked EMS VCS three, clavinet and electrical piano on Office 8, Steinway piano on Parts Iii and Ix, glass harp, bankroll vocals, Bösendorfer piano on the multi-aqueduct re-release (recorded in 2008).^[11]
• Nick Mason – drums, percussion

with:

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

Edited versions [edit]

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

A Drove of Great Dance Songs (Parts I, II, IV, VII)

The version on this compilation anthology was cutting significantly. Parts III, V, VI, VIII and IX were dropped completely. Parts Four and VII are linked by the guitar solo from earlier in Part Four. Lastly, the riff that links Parts Seven and Eight is repeated several times every bit the vocal segues into the introductory radio passage from "Wish You Were Here".

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

The version on this compilation album was also cut, but less significantly. The guitar solo on Function III was dropped. Part VI was shortened. Parts 8 and Ix were dropped completely. Linking Parts 5 and VI is the sound of wind. These are the same current of air effects used to span "Wish You Were Hither" to Function VI of "Diamond" on the original LP. Finally, the riff that links Parts Vii and VIII is repeated several times as the song segues into the introductory passage of clocks of "Time".

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

This version was besides cut. Parts VI–IX were dropped completely. Part I was shortened. The guitar solo on Part Iii was dropped. The saxophone on Part V has an early fade-out. Finally, the machine-like hum that segues into "Welcome to the Machine" in the original anthology was dropped, the song simply stops and "Brain Impairment" begins.

Releases [edit]

"Smoothen On Y'all Crazy Diamond" features on all the below releases:

Albums

• Wish You Were Here (Original release) – Pink Floyd, 1975
• A Collection of Great Trip the light fantastic Songs (Edited version) – Pink Floyd, 1981^[27]
• Delicate Sound of Thunder (Live version, Parts I–V) – Pink Floyd, 1988
• PULSE (Live version, Parts I–V and VII) – Pink Floyd, 1995
• In the Flesh – Live (Alive version, Parts I–Eight) – Roger Waters, 2000
• Echoes: The Best of Pink Floyd (Edited version) – Pink Floyd, 2001^[28]
• Live in Gdańsk (Live version, Parts I, II, Iv & V) – David Gilmour, 2008
• Wish Y'all Were Here 2011 remastered "Experience" and "Immersion" sets (early live version recorded in November 1974) – Pink Floyd, 2011
• A Pes in the Door – The All-time of Pink Floyd (Edited version, Parts I–V) – Pink Floyd, 2011
• Live at Pompeii (Live version, Parts I–II, IV–Five) – David Gilmour, 2017

Video/DVD/BD

• Delicate Sound of Thunder (VHS, Part I only) – Pink Floyd, 1988
• PULSE (VHS and DVD, Parts I–V and Seven) – Pinkish Floyd, 1995 (VHS) 2006 (DVD)
• In the Mankind – Live (DVD, Parts I–VIII) – Roger Waters, 2000
• David Gilmour in Concert (DVD, Parts I–II, IV–V and Half-dozen–Seven, reprise of Role V) – David Gilmour, 2002
• Call back That Dark (DVD and BD, Parts I–II and IV–V) – David Gilmour, 2007
• Live in Gdańsk iii-disc, 4-disc and deluxe editions (Parts I–Two, IV–V) – David Gilmour, 2008
• Live at Pompeii (DVD, BD and deluxe edition, Parts I–II, IV–V) – David Gilmour, 2017

Use in other media [edit]

The original album version featured prominently in the 1976 Tv set series Sailor, almost the aircraft carrier HMSArk Royal. On the DVD release, it was replaced by a shine jazz composition.

The same track is used in a joke in the 3rd episode ("Fit the Third") of the radio one-act The Hitchhiker'south Guide to the Galaxy. Information technology is heard in the background, and so one of the characters comments that "Marvin [an android] tin hum just like Pink Floyd". Again, the music was cutting from commercial releases.

The extended instrumental introduction (from the original anthology version) was used in the last scenes of Good Morning, Dark, a 2003 Italian moving picture about the 1978 Aldo Moro kidnapping and bump-off.

In the Japanese manga JoJo's Bizarre Take chances: Diamond is Unbreakable, the protagonist Josuke Higashikata's Stand is named Crazy Diamond. In the English-language version of the anime accommodation and other official media following its release, the Stand is named Shining Diamond to avoid copyright issues.

In December 2018, the vocal was the subject of an episode of BBC Radio 4'due south 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 cover of "Shine On Y'all Crazy Diamond" on his first solo album, Attention Dimension (2004).^[30]

Colonel Les Claypool's Fearless Flying Frog Brigade included a cover on their Live Frogs Set ane album, described as "Jack Irons version".

Transatlantic has a embrace of "Shine On Y'all Crazy Diamond" on a limited edition bonus disk with their anthology Bridge Beyond 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-stone band Elio e le Storie Tese performed a faithful cover of parts I-Iii alive in 2010.^[31]

Irish gaelic folk singer Christy Moore has a comprehend of "Shine On You lot Crazy Diamond" on his Listen album, released in 2009 and done as an acoustic guitar carol.

References [edit]

1. ^ Guesdon, Jean-Michel (2017). Pink Floyd All The Songs. Running Press.
2. ^ Murphy, Sean (22 May 2011). "The 25 Best Progressive Rock Songs of All Fourth dimension". PopMatters . Retrieved 31 July 2016.
3. ^ Janovitz, Bill. "Shine on You lot Crazy Diamond, Pt. 1". AllMusic . Retrieved 2 September 2018.
4. ^ "The Top 150 Albums of the '70s". Treble. 12 August 2019. Retrieved 28 April 2021.
5. ^ "Shine On You Crazy Diamond : Sheet Music" (PDF). Sheets-piano.ru . Retrieved 27 July 2016.
6. ^ Kirby, Terry (12 July 2006). "Syd Barrett: The crazy diamond". The Contained . Retrieved 17 August 2018.
7. ^ Palacios, Julian (2010). Syd Barrett and Pinkish Floyd: Dark Earth. London: Plexus Publishing Express. ISBN9780859658829.
8. ^ ^{a b} "A Rambling Conversation with Roger Waters Apropos All This and That". Ingsoc.com. Archived from the original on 4 November 2016. Retrieved 27 July 2016.
9. ^ ^{a b} Macan, Edward (1997). Rocking the Classics: English Progressive Rock and the Counterculture (illustrated ed.). Oxford University Press. p. 114. ISBN9780195098877.
10. ^ "Wish You lot Were Here songbook". Pink-floyd.org . Retrieved 27 July 2016.
11. ^ ^{a b} "The Missing Piano on Vimeo". Vimeo.com. 26 April 2012. Retrieved 27 July 2016.
12. ^ In the Studio with Redbeard
13. ^ Guesdon, Jean-Michel (2017). Pink Floyd All The Songs. Running Press. ISBN9780316439237.
14. ^ "Total Guitar 1996". Neptunepinkfloyd.co.uk. Archived from the original on ix July 2006. Retrieved 27 July 2016.
15. ^ "Il requiem di David Gilmour "I Pink 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 Baronial 2006. Retrieved 19 Baronial 2006.
17. ^ Kendall, Charlie (1984). "Shades of Pink – The Definitive Pinkish 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 Axis in Pink Floyd's Wish Y'all Were Hither" (PDF) . Retrieved 29 December 2020.
19. ^ Cohen, Gilad (1 May 2018). ""The Shadow of Yesterday's Triumph": Pink Floyd's "Shine On" and the Stage Theory of Grief". Music Theory Spectrum. 40 (1): 106–120. doi:ten.1093/mts/mty011. ISSN 0195-6167.
20. ^ Jones, Christopher Everett (2017). Tear Downward the Wall: Long-Form Belittling Techniques and the Music of Pink Floyd. p. 42.
21. ^ "Classic tone: Shine On Yous 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 5)". Sputnikmusic.com. 21 January 2012. Retrieved 27 July 2016.
24. ^ Carruthers, Bob (2011). Pink Floyd – Uncensored on the Record. Coda Books Ltd. ISBN978-ane-908538-27-7.
25. ^ "Live at Knebworth 1990". Live at Knebworth DVD Review. Pinkish Floyd News Resource. Retrieved 5 September 2008. Equally far as the Floyd pick hither, non a bad choice - a nice performance of "Shine On", with a lovely solo from the Dutch saxophonist Candy Dulfer, and "Run Like Hell", which ended the concert.
26. ^ Fielder, Hugh: "Sinking the pink"; Classic Stone #48, Christmas 2002, p58
27. ^ Ruhlmann, William. "A Collection of Swell Trip the light fantastic toe Songs – Pink Floyd : Songs, Reviews, Credits, Awards". AllMusic. Retrieved xxx June 2013.
28. ^ "Echoes: the album credits". Pink Floyd. Archived from the original on 2 June 2010. Retrieved 20 June 2013.
29. ^ "Soul Music – Shine On Yous Crazy Diamond". BBC Radio 4. 26 December 2018.
30. ^ Loftus, Johnny. "Attention Dimension – Jack Irons". AllMusic . Retrieved 17 October 2017.
31. ^ tuttoeelst (12 September 2010). "Elio e le Storie Tese – Shine on You lot Crazy Diamon (Sciao) – Live in Sesto San Giovanni 1/17". Archived from the original on 21 December 2021 – via YouTube.

External links [edit]

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

wayrantannew1985.blogspot.com

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

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