{"id":21065,"date":"2011-07-19T19:00:00","date_gmt":"2011-07-19T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/bodies-sex-pistols-pauline-a-plastic-bag-and-two-basses-at-wessex\/"},"modified":"2026-09-27T01:16:46","modified_gmt":"2026-09-26T23:16:46","slug":"bodies-sex-pistols-pauline-a-plastic-bag-and-two-basses-at-wessex","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/bodies-sex-pistols-pauline-a-plastic-bag-and-two-basses-at-wessex\/","title":{"rendered":"Bodies – Sex Pistols : Pauline, un sac en plastique, et deux basses \u00e0 Wessex"},"content":{"rendered":"

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Le morceau de Bollocks que Sid a vraiment jou\u00e9<\/h3>\n

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En ao\u00fbt 1977, aux Wessex Sound Studios de Londres, Chris Thomas produit et Bill Price est \u00e0 l’ing\u00e9nierie. Les Sex Pistols finissent Never Mind the Bollocks, Here’s the Sex Pistols<\/em>, l’album que Virgin sortira en Grande-Bretagne le 28 octobre. L’essentiel de la basse sur ce disque, c’est Steve Jones. Glen Matlock a \u00e9t\u00e9 \u00e9cart\u00e9, Sid Vicious ne peut pas porter un album entier, et Thomas fait jouer les parties \u00e0 Jones. Bodies<\/em> est l’exception qu’ils laissent audible. Jones dira plus tard qu’ils ont laiss\u00e9 Sid la faire, puis qu’il a doubl\u00e9 une autre basse en gardant celle de Sid tout en bas du mix. Vicious est \u00e0 l’h\u00f4pital, h\u00e9patite, avant que la chanson soit finie. Le cr\u00e9dit dit quand m\u00eame Rotten, Jones, Vicious, Cook.<\/p>\n

Le texte n’est pas une prise de position. John Lydon a dit qu’il s’agit d’une personne, une fan de Birmingham pr\u00e9nomm\u00e9e Pauline, pass\u00e9e par un h\u00f4pital psychiatrique, qui parlait de vivre dans un arbre, et qui s’est pr\u00e9sent\u00e9e avec un foetus avort\u00e9 dans un sac en plastique transparent. \u00ab She was a girl from Birmingham \u00bb ouvre ce r\u00e9cit. Il explique \u00e0 Melody Maker<\/em> en octobre 1978 qu’on avait rang\u00e9 la chanson du c\u00f4t\u00e9 anti-femmes, ce qu’il juge faux : pas de message social, une seule personne, et ce qui l’avait heurt\u00e9 c’\u00e9tait la vantardise. Des ann\u00e9es plus tard il ajoute que la chanson parle de la valeur d’une vie et aussi du fait d’amener quelqu’un au monde sans s’en occuper, et que les fausses couches de sa m\u00e8re faisaient partie de ce qu’il savait d\u00e9j\u00e0. Le mot tombe sec, six fois. C’est la voix la plus laide de l’album, et elle est pr\u00e9cise.<\/p>\n

Musicalement, c’est la m\u00e9thode studio des Pistols \u00e0 pleine pression. La guitare de Jones est un mur d’overdubs, la batterie de Paul Cook est s\u00e8che et devant, et les deux basses rendent le grave plus \u00e9pais que sur Pretty Vacant<\/em> ou God Save the Queen<\/em>. Thomas et Price laissent la voix devant, laide plut\u00f4t que lisse. Matlock n’a pas co\u00e9crit celle-ci. C’est l’une des deux chansons de l’album dont il n’est pas l’auteur. Le reste du disque avait \u00e9t\u00e9 construit plus t\u00f4t en 1977. Bodies<\/em> arrive en ao\u00fbt, tard, et c’est le morceau qui sonne comme un groupe qui refuse d’arranger le sujet.<\/p>\n

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\n

Bodies parlait d’une fille qui trimballait vraiment son avortement dans un sac en plastique. Il n’y avait pas de message social, c’\u00e9tait juste une personne.<\/p>\n<\/blockquote>\n

(John Lydon, Melody Maker, 28 octobre 1978)<\/em><\/p>\n

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L’album qui le porte arrive num\u00e9ro un en Grande-Bretagne alors que Boots, WH Smith et Woolworths refusent de stocker un disque dont le titre contient \u00ab bollocks \u00bb et dont les paroles contiennent cette chanson. La pochette fa\u00e7on lettre de ran\u00e7on de Jamie Reid n’adoucit pas Bodies<\/em>. Warner Bros. sort le 33 tours aux \u00c9tats-Unis le 11 novembre 1977. Pas de single soigneux pour expliquer le morceau. Il reste un titre d’album, ce qui explique qu’on le rencontre souvent apr\u00e8s Anarchy in the U.K.<\/em> et God Save the Queen<\/em>, et qu’on le trouve plus dur. Le 14 janvier 1978, au Winterland de San Francisco, dernier concert de la tourn\u00e9e am\u00e9ricaine, ils le jouent encore. La nuit se termine avec Lydon demandant au public s’il s’est senti vol\u00e9.<\/p>\n

\u00c9coutez-le apr\u00e8s ces deux singles si vous voulez l’ordre qu’a vraiment eu l’ann\u00e9e : les hymnes d’abord, puis la chanson qui ne demande pas \u00e0 \u00eatre scand\u00e9e. La basse de Sid est celle du bas. Celle de Jones est celle qui tient. La voix de Lydon est le sujet. Un remaster de 2012 n’a rien \u00e9crit de tout \u00e7a. La s\u00e9ance, si, \u00e0 Wessex, en ao\u00fbt 1977.<\/p>\n

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En ao\u00fbt 1977 aux Wessex Sound Studios, les Sex Pistols enregistrent Bodies avec Sid Vicious \u00e0 la basse et Steve Jones qui le double.<\/p>\n","protected":false},"author":1,"featured_media":21058,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,287,293,278],"tags":[268,311,327,486],"class_list":["post-21065","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-chroniques","category-titres","category-tracks","tag-alternative-indie-punk","tag-alternative-indie-punk-fr","tag-sex-pistols","tag-sex-pistols-fr"],"yoast_head":"\nBodies - Sex Pistols : Pauline, un sac en plastique, et deux basses \u00e0 Wessex - 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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