{"id":21416,"date":"2010-08-23T11:00:00","date_gmt":"2010-08-23T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/anarchy-in-the-uk-sex-pistols-la-prise-qui-a-arrete-lemballement\/"},"modified":"2026-09-27T01:16:35","modified_gmt":"2026-09-26T23:16:35","slug":"anarchy-in-the-uk-sex-pistols-la-prise-qui-a-arrete-lemballement","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/anarchy-in-the-uk-sex-pistols-la-prise-qui-a-arrete-lemballement\/","title":{"rendered":"Anarchy In The UK – Sex Pistols : la prise qui a arr\u00eat\u00e9 l’emballement"},"content":{"rendered":"

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Wessex, automne 1976, avant qu’EMI ne perde son sang-froid<\/h3>\n

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En octobre 1976, les Sex Pistols sont de retour \u00e0 Wessex Sound Studios, \u00e0 Londres, pour un premier single qui ne doit pas s’effondrer dans la pr\u00e9cipitation. Leur ing\u00e9nieur de live, Dave Goodman, a d\u00e9j\u00e0 essay\u00e9. EMI a pay\u00e9 ces s\u00e9ances. Le bassiste Glen Matlock a racont\u00e9 ensuite que Malcolm McLaren poussait le tempo jusqu’\u00e0 faire dispara\u00eetre le groove, et que le groupe a plus ou moins cess\u00e9 de jouer.<\/p>\n

Chris Thomas reprend la main, avec Bill Price \u00e0 l’ing\u00e9nierie. Thomas a produit Roxy Music et tenu la console sur Dark Side of the Moon<\/em>. Le registre de bandes de Price place leur premier passage sur Anarchy in the UK<\/em> les 6 et 7 novembre, apr\u00e8s la tentative d’octobre de Goodman, et il se souvient de dix-neuf prises sur l’une des s\u00e9ries. Le single qui sort le 26 novembre 1976 est la production de Thomas : Johnny Rotten au chant, Steve Jones qui empile les guitares, Matlock \u00e0 la basse, Paul Cook \u00e0 la batterie. Sid Vicious n’est pas encore dans le groupe.<\/p>\n

L’accord de Jones arrive en premier. Rotten entre sur la phrase que tout le monde peut citer, et le groupe reste sur un stomp, pas sur un flou. Matlock a dit que la piste sous la voix a \u00e9t\u00e9 mont\u00e9e \u00e0 partir de prises t\u00f4t dans la s\u00e9ance, la premi\u00e8re moiti\u00e9 de la prise trois, la seconde de la prise cinq, pendant qu’ils attendaient Rotten, peu press\u00e9, encore convaincu qu’ils ne savaient pas jouer. Jones a ajout\u00e9 des guitares les jours suivants. La face B, I Wanna Be Me<\/em>, est rest\u00e9e un enregistrement de Goodman. EMI sort le 45 tours dans une pochette noire unie. Les premiers exemplaires cr\u00e9ditent m\u00eame Thomas, \u00e0 tort, pour la face B.<\/p>\n

Le single atteint la 38e place au Royaume-Uni. Assez pour montrer qu’un single punk peut se vendre, pas assez pour rassurer le label. Le 1er d\u00e9cembre, le groupe jure en pleine \u00e9mission de Bill Grundy, \u00e0 l’heure du th\u00e9, sur Thames Television. EMI les l\u00e2che le 6 janvier 1977. Matlock est d\u00e9j\u00e0 sur le d\u00e9part. Le morceau reste au set, et en octobre 1977 il figure sur Never Mind the Bollocks, Here’s the Sex Pistols<\/em>, de nouveau avec Thomas et Price \u00e0 Wessex, cette fois chez Virgin.<\/p>\n

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\n

On attendait que Rotten arrive pour le chant, et il ne se pressait pas, du genre : \u00ab Vous \u00eates nuls, vous ne savez pas jouer. \u00c7a fait des semaines que vous \u00eates l\u00e0. \u00bb Et nous, on a dit : \u00ab Non. On l’a fait. \u00bb<\/p>\n<\/blockquote>\n

(Glen Matlock, entretien Songfacts)<\/em><\/p>\n

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Ce qu’on entend sur ce 45 tours EMI, c’est le single d’origine, pas l’histoire d’un remaster plus tardif. L’album reprend la m\u00eame prise, celle que le groupe avait d\u00e9fendue pour garder un tempo qu’un corps peut sentir. Les reprises suivantes, de Megadeth \u00e0 M\u00f6tley Cr\u00fce, jouent en g\u00e9n\u00e9ral plus vite et perdent le swing que Cook donne \u00e0 l’original. La version des Pistols sonne encore comme quatre personnes dans une grande pi\u00e8ce, avec un producteur qui a fait confiance \u00e0 une prise t\u00f4t dans la s\u00e9ance.<\/p>\n

Mettez-le : la guitare de Jones arrive d’abord, puis Rotten se cale dans la poche au lieu de la devancer. Une pochette noire, une 38e place, et le dernier enregistrement de la formation qui a \u00e9crit le morceau : voil\u00e0 le d\u00e9but, avant que les tablo\u00efds ne d\u00e9cident de l’intrigue.<\/p>\n

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En octobre 1976, les Sex Pistols sont de retour \u00e0 Wessex Sound Studios, \u00e0 Londres, pour un premier single qui ne doit pas s’effondrer dans la pr\u00e9cipitation. Leur ing\u00e9nieur de live, Dave Goodman, a d\u00e9j\u00e0 essay\u00e9. EMI a pay\u00e9 ces s\u00e9ances. 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