{"id":19608,"date":"2008-06-28T16:00:00","date_gmt":"2008-06-28T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=19608"},"modified":"2026-09-26T22:56:59","modified_gmt":"2026-09-26T20:56:59","slug":"i-want-to-break-free-queen-deacons-blues-four-housewives-mtv-looked-away","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/i-want-to-break-free-queen-deacons-blues-four-housewives-mtv-looked-away\/","title":{"rendered":"I Want To Break Free – Queen: Le blues de Deacon, quatre m\u00e9nag\u00e8res, MTV a d\u00e9tourn\u00e9 les yeux"},"content":{"rendered":"

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Une blague de Coronation Street que la radio am\u00e9ricaine n’a pas voulu passer<\/h3>\n

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John Deacon \u00e9crit I Want To Break Free<\/em> en 1983. Il a dit que l’\u00e9tincelle venait du mouvement de lib\u00e9ration des femmes. Le morceau est un blues de douze mesures en mi, trois couplets et un pont, sans vrai refrain. L’essentiel des claviers est de Fred Mandel. Il joue le solo en une prise sur un Roland Jupiter-8, puis il r\u00e9enregistre la derni\u00e8re note pour qu’elle descende d’une octave. Queen et Reinhold Mack le produisent avec le reste de The Works<\/em>. La version album dure 3:19. Le single ajoute environ quarante secondes d’introduction, clavier, cymbales et la Red Special de May, plus un solo plus long, et dure 4:18.<\/p>\n

EMI le sort le 2 avril 1984, deuxi\u00e8me single de l’album, apr\u00e8s Radio Ga Ga<\/em>. En Grande-Bretagne, la face B est Machines (Or ‘Back to Humans’)<\/em>. Il culmine au num\u00e9ro 3. L’Autriche, la Belgique et les Pays-Bas le mettent num\u00e9ro 1. Le single am\u00e9ricain de Capitol s’arr\u00eate au num\u00e9ro 45 du Billboard Hot 100. Le groupe s’\u00e9tait d\u00e9j\u00e0 accroch\u00e9 avec MTV pour le clip de Body Language<\/em> en 1982. Celui-ci ne contient pas de sexe. Il voyage quand m\u00eame mal.<\/p>\n

Le clip est une id\u00e9e de Roger Taylor. Sa compagne, Dominique Beyrand, propose une parodie de Coronation Street<\/em>. David Mallet le tourne aux Limehouse Studios le 22 mars et le 4 mai 1984. Les maisons en bande du d\u00e9but sont \u00e0 Harehills, Leeds, dont le 41 Dorset Mount. Mercury passe l’aspirateur dans le salon en Bet Lynch brune, moustache laiss\u00e9e, haut rose, minijupe de cuir, et talons de cinq centim\u00e8tres parce que les plus hauts l’emp\u00eachent de marcher. Brian May porte des bigoudis, plus proche d’Hilda Ogden. Deacon joue la femme plus \u00e2g\u00e9e, Ena Sharples. Taylor est l’\u00e9coli\u00e8re. La partie centrale est un ballet que Wayne Eagling r\u00e9p\u00e8te avec des danseurs du Royal Ballet, sans le dire \u00e0 ses chefs. Mercury se rase pour cette partie, un clin d’oeil au faune de Nijinski, et se laisse surtout porter par les danseurs.<\/p>\n

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\n

On avait fait des clips vraiment s\u00e9rieux, \u00e9piques, et l\u00e0 on s’est dit qu’on allait s’amuser. On voulait que les gens sachent qu’on ne se prenait pas tant au s\u00e9rieux, qu’on pouvait encore rire de nous. Je crois qu’on l’a prouv\u00e9.<\/p>\n<\/blockquote>\n

(Roger Taylor, \u00e0 propos du clip)<\/em><\/p>\n

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Brian May a racont\u00e9 plus tard une tourn\u00e9e promo aux \u00c9tats-Unis o\u00f9 les visages des gens de radio devenaient livides. Ils lui disaient qu’ils ne pouvaient pas passer le disque parce que \u00e7a avait l’air homosexuel. La phrase de Taylor sur MTV est plus courte. Il a trait\u00e9 la cha\u00eene d’\u00e9troite d’esprit, et dit qu’elle semblait n’\u00eatre que du Whitesnake. La Grande-Bretagne a entendu une blague de soap, dans la tradition du pantomime. Une bonne part de la radio am\u00e9ricaine a entendu un aveu. Le morceau reste au set de la tourn\u00e9e Works et de la tourn\u00e9e Magic. En Grande-Bretagne, le single devient double platine, au-del\u00e0 de 1,2 million d’exemplaires.<\/p>\n

La coupure utile, c’est le classement, pas la rumeur. Num\u00e9ro 3 l\u00e0 o\u00f9 la blague se lisait. Num\u00e9ro 45 l\u00e0 o\u00f9 elle ne se lisait pas. Le blues de Deacon et le solo en une prise de Mandel, c’est le disque. Les m\u00e9nag\u00e8res, c’est la raison pour laquelle le disque s’est arr\u00eat\u00e9 \u00e0 la fronti\u00e8re.<\/p>\n

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John Deacon \u00e9crit I Want To Break Free en 1983 comme un blues de douze mesures, et le clip fa\u00e7on Coronation Street aide \u00e0 laisser le single am\u00e9ricain au num\u00e9ro 45.<\/p>\n","protected":false},"author":1,"featured_media":19601,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[255,354],"class_list":["post-19608","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-classic-rock","tag-queen"],"yoast_head":"\nI Want To Break Free - Queen: Le blues de Deacon, quatre m\u00e9nag\u00e8res, MTV a d\u00e9tourn\u00e9 les yeux - 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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