{"id":12680,"date":"2020-08-21T09:20:00","date_gmt":"2020-08-21T07:20:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/interview-afterlife-de-john-bonham\/"},"modified":"2026-09-27T00:01:24","modified_gmt":"2026-09-26T22:01:24","slug":"interview-afterlife-de-john-bonham","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/interviews-fr\/interviews-posthumes\/interview-afterlife-de-john-bonham\/","title":{"rendered":"Interview afterlife de John Bonham"},"content":{"rendered":"

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Riffs and Beats retrouve John Bonham sur un riser de batterie dans une ar\u00e8ne vide, dos aux lumi\u00e8res, baguettes l\u00e2ches dans les deux mains au-dessus d’un kit trop grand pour n’importe qui d’autre. La pi\u00e8ce de pierre r\u00e9sonne invent\u00e9e; le pied droit qui invente le temps qu’il fait est r\u00e9el. Fiction, d’accord; la grosse caisse doit quand m\u00eame d\u00e9placer l’air comme une porte qui claque.<\/h3>\n

Riffs and Beats<\/strong>
\nBonzo, ce riser a l’air d’un tr\u00f4ne o\u00f9 personne d’autre ne devrait s’asseoir. O\u00f9 sommes-nous ?<\/em><\/p>\n

John Bonham<\/strong>
\nUne ar\u00e8ne apr\u00e8s le vacarme. J’aime les salles qui sentent encore la fum\u00e9e et la bi\u00e8re. Le kit est accord\u00e9 comme je l’ai laiss\u00e9 : fort, rond, pas poli. Prenez une chaise si vous en trouvez une qui ne vibre pas. Les ar\u00e8nes vides vibrent encore si tu sais o\u00f9 la grosse caisse vivait dans l’air. Les gens veulent Moby Dick sans le mal des r\u00e9p\u00e9titions \u00e0 la ferme.<\/p>\n

Riffs and Beats<\/strong>
\nWhen the Levee Breaks est \u00e9tudi\u00e9 comme une \u00e9criture sainte pour la batterie. Que faisait la pi\u00e8ce ?<\/em><\/p>\n

John Bonham<\/strong>
\nLa pi\u00e8ce \u00e9tait le cinqui\u00e8me membre. Cage d’escalier, distance, boom naturel. Aujourd’hui on court apr\u00e8s les plugins. Nous, on courait apr\u00e8s un couloir qui disait vrai. Si \u00e7a sonne comme du tonnerre avec des mani\u00e8res, c’est Headley Grange qui r\u00e9pond. Le couloir de Headley Grange \u00e9tait un co-auteur avec des opinions b\u00e9ton sur le boom et la distance. Il revient \u00e0 la batterie parce que le tonnerre sans tempo n’est que du bruit.<\/p>\n

Riffs and Beats<\/strong>
\nZeppelin pouvait \u00eatre d\u00e9licat puis \u00e9craser un immeuble. Comment tu d\u00e9cidais de swinguer doux ?<\/em><\/p>\n

John Bonham<\/strong>
\nEn \u00e9coutant la main droite de Jimmy et le souffle de Robert. Doux n’est pas faible. Doux, c’est un ressort. Tu le charges pour que le smash suivant veuille dire quelque chose. Les batteurs qui smashent toute la nuit ne sont que des menuisiers fatigu\u00e9s. Jouer doux charge le ressort; sans \u00e7a le smash n’est que de la m\u00e9t\u00e9o sans pr\u00e9visions. Demande \u00e0 la grosse caisse, \u00e0 la pi\u00e8ce, au fr\u00e8re \u00e0 la guitare; la l\u00e9gende est venue apr\u00e8s.<\/p>\n

Riffs and Beats<\/strong>
\nMoby Dick a transform\u00e9 un solo de batterie en th\u00e9\u00e2tre. Tu aimais le projecteur ou tu le subissais ?<\/em><\/p>\n

John Bonham<\/strong>
\nLes deux. C’\u00e9tait un endroit pour respirer et montrer les mains. Je n’\u00e9tais pas int\u00e9ress\u00e9 par les tours de cirque pour eux-m\u00eames. Je voulais que le kit parle en phrases. Si les gens se levaient, les phrases avaient touch\u00e9. Moby Dick, c’\u00e9taient des phrases \u00e0 la batterie, pas un budget feux d’artifice sans grammaire. Si \u00e7a sonne mythe de stade, remets les micros de pi\u00e8ce.<\/p>\n

Riffs and Beats<\/strong>
\nTa grosse caisse est devenue une empreinte du rock. Quel est le secret peu glamour ?<\/em><\/p>\n

John Bonham<\/strong>
\nDe l’honn\u00eatet\u00e9 heel-toe et une grosse caisse qu’on n’\u00e9touffe pas \u00e0 mort. Aussi : jouer avec la basse, pas contre elle. John Paul et moi, c’\u00e9tait une conversation, pas un concours. L’empreinte de grosse caisse vient de la conversation avec la basse, pas d’une batte plus grosse. Le respect, c’est un groove qu’on ne d\u00e9core pas de fills vides.<\/p>\n

Riffs and Beats<\/strong>
\nLes gens mythifient l’exc\u00e8s. Qu’est-ce que les jeunes devraient voler \u00e0 la place ?<\/em><\/p>\n

John Bonham<\/strong>
\nVolez le time feel. Volez la dynamique. Volez l’id\u00e9e que le batteur est un arrangeur avec des baguettes. Laissez les bouteilles du mythe sur l’\u00e9tag\u00e8re. Elles n’aident pas \u00e0 se caler avec un guitariste. Volez feel et dynamique; laissez les bouteilles du mythe aux gens qui \u00e9crivent de mauvais biopics. Volez les heures d’endurance, pas le costume viking.<\/p>\n

Riffs and Beats<\/strong>
\nSi tu pouvais corriger une mauvaise habitude des kits rock modernes, ce serait quoi ?<\/em><\/p>\n

John Bonham<\/strong>
\nTout au m\u00eame volume. Le fort sans forme, c’est du brouillard. Jouez les ghost notes. Ouvrez les charleston avec intention. Faites arriver le refrain, n’arrivez pas d\u00e9j\u00e0 en criant. Les kits au m\u00eame volume sont des machines \u00e0 brouillard; la forme fait d’un refrain une m\u00e9t\u00e9o dansable. Le destin n’a pas invent\u00e9 ce pied; des planchers t\u00eatus l’ont fait.<\/p>\n

Riffs and Beats<\/strong>
\nQu’est-ce qui te manque et qu’une ar\u00e8ne vide ne peut pas inventer ?<\/em><\/p>\n

John Bonham<\/strong>
\nUn vrai count-in de Jimmy avec ce petit sourire. L’odeur d’un flight case. Une pinte apr\u00e8s une bonne prise. Et Page qui discute d’une prise alors que je sais d\u00e9j\u00e0 laquelle respirait. Les count-ins de Page me manquent parce que les fr\u00e8res se disputent mieux quand la bande tourne. M\u00eame les fant\u00f4mes attendent le pied droit avant de revendiquer le tonnerre.<\/p>\n

Riffs and Beats<\/strong>
\nDerni\u00e8re : tu \u00e9tais un power player ou un feel player qui frappait fort ?<\/em><\/p>\n

John Bonham<\/strong>
\nLe feel d’abord. La puissance est la cons\u00e9quence de la conviction. Si tu ne chasses que la puissance, tu rates le pocket o\u00f9 vivait Zeppelin. Je frappais fort parce que la chanson le demandait, pas parce que le mythe l’exigeait. Le feel demande; la puissance r\u00e9pond; les mythes qui inversent \u00e7a embauchent le mauvais batteur. Laisse les m\u00e9taphores de tonnerre; finis la mesure.<\/p>\n

Riffs and Beats<\/strong>
\nZeppelin aurait pu marcher avec un batteur poli ?<\/em><\/p>\n

John Bonham<\/strong>
\nPoli aurait ponc\u00e9 les angles. On avait besoin des angles. Poli garde le th\u00e9 au chaud. Nous, on avait besoin de m\u00e9t\u00e9o. Le groupe, c’\u00e9tait quatre temp\u00e9raments d’accord sur un planning d’orage et en dispute sur les pr\u00e9visions entre les prises.<\/p>\n

Il compte un quatre tout bas dans la salle vide, puis laisse la grosse caisse r\u00e9pondre une fois. John Bonham laisse les baguettes crois\u00e9es sur la caisse claire comme une conversation ferm\u00e9e, et l’ar\u00e8ne garde l’\u00e9cho. Il se rel\u00e8ve comme un dernier balayage de cymbales qui en a d\u00e9j\u00e0 dit assez.<\/p>\n

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Riffs and Beats retrouve John Bonham sur un riser de batterie dans une ar\u00e8ne vide, dos aux lumi\u00e8res, baguettes l\u00e2ches dans les deux mains au-dessus d’un kit trop grand pour n’importe qui d’autre.<\/p>\n","protected":false},"author":1,"featured_media":12676,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[367,369],"tags":[452,637],"class_list":["post-12680","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-fr","category-interviews-posthumes","tag-hardrock-metal-fr","tag-led-zeppelin-fr"],"yoast_head":"\nInterview afterlife de John Bonham - 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\/interviews-fr\/interviews-posthumes\/interview-afterlife-de-john-bonham\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview afterlife de John Bonham - 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