{"id":19120,"date":"2011-07-21T13:00:00","date_gmt":"2011-07-21T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/free-four-pink-floyd-cockney-count-in-for-a-dead-father\/"},"modified":"2026-09-26T23:59:15","modified_gmt":"2026-09-26T21:59:15","slug":"free-four-pink-floyd-cockney-count-in-for-a-dead-father","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/free-four-pink-floyd-cockney-count-in-for-a-dead-father\/","title":{"rendered":"Free Four – Pink Floyd : un d\u00e9compte cockney pour un p\u00e8re mort"},"content":{"rendered":"

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Le d\u00e9compte est une blague. Le couplet, c’est Anzio.<\/h3>\n

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Free Four s’ouvre sur un d\u00e9compte, \u00ab\u00a0one, two, free four\u00a0\u00bb, avec l’accent cockney. Cette blague est le titre. La chanson est sur Obscured by Clouds<\/em>, la bande originale que Pink Floyd fait pour le film de Barbet Schroeder, La Vall\u00e9e<\/em>. Ils l’enregistrent au ch\u00e2teau d’H\u00e9rouville, en France, entre le 23 f\u00e9vrier et d\u00e9but avril 1972, en deux pauses autour d’une tourn\u00e9e au Japon, et ils la mixent aux Morgan Studios \u00e0 Londres du 4 au 6 avril. Harvest sort l’album en Grande-Bretagne le 2 juin 1972. Le groupe le produit.<\/p>\n

Waters \u00e9crit celui-ci seul, le seul morceau de l’album qui soit enti\u00e8rement de lui. Il le chante, joue de la basse, et joue la guitare acoustique rythmique. David Gilmour joue de la guitare \u00e9lectrique. Richard Wright est aux claviers. Nick Mason joue de la batterie. Le tempo est presque enjou\u00e9, un shuffle clair, ce qui jure avec les mots.<\/p>\n

Les mots parlent de son p\u00e8re. Eric Fletcher Waters, instituteur, est tu\u00e9 \u00e0 Anzio le 18 f\u00e9vrier 1944, dans les Royal Fusiliers, alors que Roger a cinq mois. Free Four<\/em> est la deuxi\u00e8me chanson de Pink Floyd \u00e0 le dire, apr\u00e8s Corporal Clegg<\/em> sur A Saucerful of Secrets<\/em>. Le m\u00eame fait revient plus tard, plus dur, sur The Wall<\/em> et The Final Cut<\/em>. Ici, il est encore dans une chanson courte sur le fait de monter dans la tourn\u00e9e am\u00e9ricaine et d’avoir du mal \u00e0 en descendre.<\/p>\n

Schroeder les a d\u00e9j\u00e0 engag\u00e9s pour More<\/em>. La Vall\u00e9e<\/em> suit deux voyageurs en Nouvelle-Guin\u00e9e, et il redemande. Le groupe a commenc\u00e9 la musique qui deviendra The Dark Side of the Moon<\/em>, y compris les premi\u00e8res versions live de la suite, et ils s’arr\u00eatent pour le film. La salle, c’est Strawberry Studios, au ch\u00e2teau. L’acoustique de Waters est devant. La guitare \u00e9lectrique de Gilmour r\u00e9pond par des figures courtes et dures contre le shuffle. Mason tient un backbeat simple. Il n’y a pas de long solo ni de suite. \u00c0 un peu plus de quatre minutes, le morceau est construit comme un single, ce qui permet au bureau am\u00e9ricain de l’envoyer en radio sans demander une version plus courte.<\/p>\n

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\n

You are the angel of death and I am the dead man’s son. He was buried like a mole in a fox-hole, and everyone’s still on the run.<\/p>\n<\/blockquote>\n

(Roger Waters, Free Four, 1972)<\/em><\/p>\n

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Capitol sort le morceau en single aux \u00c9tats-Unis le 10 juillet 1972. C’est la premi\u00e8re chanson de Pink Floyd depuis See Emily Play<\/em> \u00e0 obtenir une vraie diffusion am\u00e9ricaine, surtout sur les stations FM qui acceptent un morceau de quatre minutes au texte sombre si le d\u00e9compte sonne comme un single. Ce n’est pas un hit des charts. \u00c7a met quand m\u00eame le groupe \u00e0 la radio am\u00e9ricaine un an avant The Dark Side of the Moon<\/em>.<\/p>\n

L’enregistrement est un travail de film fait entre deux tourn\u00e9es, dans un ch\u00e2teau fran\u00e7ais, puis mix\u00e9 \u00e0 Willesden. Le d\u00e9compte enjou\u00e9 est l’accroche. Le couplet, c’est Anzio, 1944, dit \u00e0 voix haute deux albums avant que Waters ne construise un disque entier autour de la mort de son p\u00e8re. La bande de 1972 est celle qui compte, pas un remaster plus tardif de la bande originale.<\/p>\n

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Free Four a \u00e9t\u00e9 \u00e9crit et chant\u00e9 par Roger Waters pour Obscured by Clouds, enregistr\u00e9 au ch\u00e2teau d’H\u00e9rouville d\u00e9but 1972.<\/p>\n","protected":false},"author":1,"featured_media":19113,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,293],"tags":[482,514],"class_list":["post-19120","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-titres","tag-classic-rock-fr","tag-pink-floyd-fr"],"yoast_head":"\nFree Four - Pink Floyd : un d\u00e9compte cockney pour un p\u00e8re mort - 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\/free-four-pink-floyd-cockney-count-in-for-a-dead-father\/\" \/>\n<meta property=\"og:locale\" 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