{"id":8671,"date":"2026-07-02T11:00:00","date_gmt":"2026-07-02T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/whats-love-got-to-do-with-it-tina-turner-2\/"},"modified":"2026-09-19T23:59:15","modified_gmt":"2026-09-19T21:59:15","slug":"whats-love-got-to-do-with-it-tina-turner-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/whats-love-got-to-do-with-it-tina-turner-2\/","title":{"rendered":"What’s Love Got to Do with It – Tina Turner"},"content":{"rendered":"

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Une chanson pop qui a appris \u00e0 partir<\/h3>\n

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Une bo\u00eete \u00e0 rythmes douce et une figure de guitare commencent presque poliment, et la voix de Tina Turner entre avec une question qui n’est pas polie du tout, l’amour pos\u00e9 de c\u00f4t\u00e9 comme un manteau qu’elle a d\u00e9cid\u00e9 de ne pas porter.<\/p>\n

Terry Britten et Graham Lyle \u00e9crivent What’s Love Got to Do with It<\/em>. Britten la produit en Angleterre pour Private Dancer<\/em>, l’album du retour de Turner apr\u00e8s les ann\u00e9es avec Ike, sorti en 1984. Elle a quarante-quatre ans. Le single va au num\u00e9ro un en Am\u00e9rique, \u00e0 la 3e place en Grande-Bretagne, et en 1985 gagne les Grammys de l’enregistrement et de la chanson de l’ann\u00e9e. Elle n’en voulait pas d’abord. Cela sonnait trop l\u00e9ger, trop pop, pas la voix avec laquelle elle avait domin\u00e9 des salles. Roger Davies, son manager, et les gens de Capitol ont gard\u00e9 la d\u00e9mo devant elle. Quand elle l’a chant\u00e9e, la l\u00e9g\u00e8ret\u00e9 est devenue une lame. La question c\u00e9l\u00e8bre n’est pas coquette. C’est une femme \u00e0 qui l’on a retourn\u00e9 l’amour contre elle, qui demande ce que le mot fait dans la pi\u00e8ce.<\/p>\n

La vid\u00e9o, la robe noire, la marche, le sourire qui ne demande pas la permission, a fait le reste du travail public. Le disque lui-m\u00eame est plus soigneux que le mythe. La production de Britten est serr\u00e9e, britannique, un peu synth\u00e9tique, et sa voix s’y tient comme une personne qui a d\u00e9cid\u00e9 d’\u00eatre exacte. Elle ne crie pas le titre. Elle le pose. Cette pose est le retour. Les publics qui la connaissaient comme moiti\u00e9 d’un duo ont entendu une chanteuse seule, plus rien \u00e0 n\u00e9gocier. La chanson, \u00e9crite par deux hommes en Angleterre, est devenue la phrase de sa vie parce qu’elle l’a chant\u00e9e comme si elle avait \u00e9crit la cicatrice.<\/p>\n

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Je ne pensais pas que la chanson \u00e9tait pour moi. Elle \u00e9tait trop pop, trop l\u00e9g\u00e8re. Puis je l’ai chant\u00e9e, et c’\u00e9tait exactement l\u00e0 o\u00f9 j’en \u00e9tais.<\/p>\n<\/blockquote>\n

(Tina Turner, entretien, 1984)<\/em><\/p>\n

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En concert, c’est un couronnement qu’elle r\u00e9p\u00e8te sans s’ennuyer, parce que la question va encore. Le groupe frappe la figure, elle attend une demi-seconde, et la salle est d\u00e9j\u00e0 \u00e0 elle. De plus jeunes chanteuses ont essay\u00e9 la marche. La voix n’est pas une marche. C’est du grain, de la puissance, un contr\u00f4le qui sonne comme de la libert\u00e9. Private Dancer<\/em> est plein de chansons des autres chant\u00e9es comme si la page l’avait attendue. Celle-ci est celle que l’ann\u00e9e n’a pas pu \u00e9viter. Une femme de quarante ans, ray\u00e9e par le m\u00e9tier qui l’avait utilis\u00e9e, a pris une d\u00e9mo qu’elle n’aimait pas et en a fait le son du refus.<\/p>\n

Ce qui reste, c’est le sang-froid de l’interpr\u00e9tation. La rage aurait \u00e9t\u00e9 compr\u00e9hensible et plus petite. Elle choisit un sourcil lev\u00e9 et une note parfaite. What’s love got to do with it, demande-t-elle, et l’arrangement, poli comme un hall d’h\u00f4tel, laisse la question r\u00e9sonner. Le chagrin, elle l’admet \u00e0 la ligne suivante, est encore l\u00e0. La chanson n’est pas un d\u00e9ni du sentiment. C’est un refus d’\u00eatre gouvern\u00e9e par lui. Ce refus, chant\u00e9 en 1984 par quelqu’un qui l’avait m\u00e9rit\u00e9, est la raison pour laquelle le disque sonne encore comme une porte qui se ferme, doucement, du bon c\u00f4t\u00e9.<\/p>\n

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Une bo\u00eete \u00e0 rythmes douce et une figure de guitare commencent presque poliment, et la voix de Tina Turner entre avec une question qui n’est pas polie du tout, l’amour pos\u00e9 de c\u00f4t\u00e9 comme un manteau qu’elle a d\u00e9cid\u00e9 de ne pas porter.<\/p>\n","protected":false},"author":1,"featured_media":8667,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[571],"class_list":["post-8671","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-tina-turner"],"yoast_head":"\nWhat's Love Got to Do with It - Tina Turner - 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\/chronicles\/whats-love-got-to-do-with-it-tina-turner-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"What's Love Got to Do with It - 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