{"id":14462,"date":"2010-01-23T16:00:00","date_gmt":"2010-01-23T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/suffragette-city-david-bowie\/"},"modified":"2026-09-27T01:16:27","modified_gmt":"2026-09-26T23:16:27","slug":"suffragette-city-david-bowie","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/suffragette-city-david-bowie\/","title":{"rendered":"Suffragette City – David Bowie: sprint au piano Ronson avant le rideau de Ziggy"},"content":{"rendered":"

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Ziggy Stardust, 1972 : piano Ronson, vitesse Spiders, Wham bam<\/h3>\n

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Le riff est d\u00e9j\u00e0 en retard pour le train. Le piano de Mick Ronson frappe le temps fort, Trevor Bolder et Woody Woodmansey verrouillent un sol sec, et David Bowie crie comme si la ville ne va pas attendre. Suffragette City<\/em> se place vers la fin de The Rise and Fall of Ziggy Stardust and the Spiders from Mars<\/em>, sorti le 16 juin 1972 chez RCA. Ce n’est pas une ballade et pas un discours d’op\u00e9ra spatial. C’est le sprint de rue de l’album avant le rideau de Rock ‘n’ Roll Suicide<\/em>. La basse de Bolder reste ronde et devant pour que le piano ne flotte jamais hors de la section rythmique. On entend le balancement Little Richard dans la main gauche et le grain Velvet Underground dans l’aboiement du chant.<\/p>\n

Ken Scott co-produit avec Bowie aux Trident Studios \u00e0 Londres ; les bases de ce titre tombent le 4 f\u00e9vrier 1972, le m\u00eame jour de session que Starman<\/em> et Rock ‘n’ Roll Suicide<\/em>. Ronson double comme arrangeur et guitariste lead. Les lignes de \u00ab sax \u00bb qui remplissent l’intro et les refrains ne sont pas un saxophone du tout : Scott fait descendre le synth\u00e9tiseur ARP de Trident, trouve une texture de cuivre, et Ronson joue les notes. Ce cuivre faux explique pourquoi le morceau sonne plus large qu’un quatuor sans noyer le snap glam. Les premiers pressages poussent aussi le titre en face B de Starman<\/em> (avril 1972) avant qu’il gagne sa vie propre sur sc\u00e8ne. Bowie l’avait d’abord propos\u00e9 \u00e0 Mott the Hoople ; ils ont pass\u00e9, puis pris All the Young Dudes<\/em>. Les Spiders ont gard\u00e9 le sprint.<\/p>\n

Les paroles nomment Henry, un t\u00e9l\u00e9phone qui n’aide pas, et une ville qui ne ralentit pas. La chute, \u00ab Wham bam, thank you ma’am \u00bb, tombe comme une \u00e9tiquette aboy\u00e9e, pas un apart\u00e9 chuchot\u00e9. L’ami d’\u00e9cole George Underwood a cri\u00e9 la phrase d’\u00e8re Mingus apr\u00e8s un premier passage en douze cordes \u00e0 Haddon Hall, et elle est rest\u00e9e sur le disque. Sur les tourn\u00e9es Ziggy de 1972-73, la coda devient un cri partag\u00e9. Le film live officiel du Hammersmith Odeon le 3 juillet 1973 montre encore combien les Spiders tenaient l’arrangement le soir o\u00f9 le personnage allait \u00eatre retir\u00e9. Les remasters ult\u00e9rieurs ont gard\u00e9 le snap sec de Trident plut\u00f4t que de noyer le titre dans une r\u00e9verb \u00e0 la mode.<\/p>\n

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Ziggy, c’\u00e9tait ce gamin vendeur de journaux du milieu du XXIe si\u00e8cle qui d\u00e9couvre qu’il peut devenir une star du rock du jour au lendemain.<\/p>\n<\/blockquote>\n

(David Bowie, sur le personnage Ziggy \u00e0 l’\u00e9poque de l’album)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb10945″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790425180{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Les observateurs de charts traitaient Starman<\/em> comme la porte radio, mais les fans ont appris Suffragette City<\/em> comme le moteur de salle : court, fort, et fini avant de trop s’attarder. Une r\u00e9\u00e9dition single UK en 1976 pour Changesonebowie<\/em> a rappel\u00e9 aux \u00e9couteurs occasionnels que le titre existait hors de la s\u00e9quence album. Les reprises et sets hommage reviennent au motif de piano parce qu’il n’a presque pas besoin d’explication. Remettez-le apr\u00e8s Hang On to Yourself<\/em> et le dernier tron\u00e7on de l’album s’explique : la vitesse, puis la confession. La ligne thank-you-ma’am marche encore comme un point final qu’on entend du fond de la salle. Appuyez sur play pour l’aboiement ARP seul, puis restez pour voir combien proprement les Spiders refusent de ralentir.<\/p>\n

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Sur Ziggy Stardust en 1972, Suffragette City court sur le piano de Mick Ronson et un groove Spiders sec, puis finit sur la ligne aboy\u00e9e qui remplit encore les salles : Wham bam, thank you ma’am.<\/p>\n","protected":false},"author":1,"featured_media":13695,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[287,293],"tags":[482,421],"class_list":["post-14462","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chroniques","category-titres","tag-classic-rock-fr","tag-david-bowie-fr","post_format-post-format-video"],"yoast_head":"\nSuffragette City - David Bowie: sprint au piano Ronson avant le rideau de Ziggy - 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\" href=\"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/suffragette-city-david-bowie\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Suffragette City - 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