{"id":13960,"date":"2010-07-03T09:00:00","date_gmt":"2010-07-03T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/badhead-blur-2\/"},"modified":"2026-09-26T23:59:00","modified_gmt":"2026-09-26T21:59:00","slug":"badhead-blur-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/badhead-blur-2\/","title":{"rendered":"Badhead – Blur: L’apr\u00e8s-midi gueule de bois de Parklife"},"content":{"rendered":"

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Maison Rouge, hiver 1993-94 : Street, Kick Horns, refrain grin and bear<\/h3>\n

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Badhead<\/em> est en sixi\u00e8me position sur Parklife<\/em>, l’album Food Records d’avril 1994 qui a install\u00e9 Blur au centre du Britpop. Stephen Street produit ; John Smith ing\u00e9nieur. Les sessions se d\u00e9roulent \u00e0 Maison Rouge \u00e0 Londres de novembre 1993 \u00e0 janvier 1994, le m\u00eame hiver qui produit aussi les pi\u00e8ces de caract\u00e8re plus bruyantes de l’album. Le morceau dure un peu plus de trois minutes : batterie mid-tempo, accords coup\u00e9s de Coxon, et une ligne de cuivres des Kick Horns (Simon Clarke, Tim Sanders, Roddy Lorimer) qui transforme un journal de gueule de bois en petite parade. Sur un album plein de personnages et de cam\u00e9ras, celui-ci reste \u00e0 l’int\u00e9rieur. Aucune campagne single ne l’a pouss\u00e9. Il n’en avait pas besoin.<\/p>\n

Le texte d’Albarn est domestique et mesquin expr\u00e8s. Se lever vers deux heures, un soup\u00e7on de grippe, une dispute qui ne vaut pas le coup : le refrain pr\u00e9f\u00e8re \u00ab grin and bear it \u00bb. Ce haussement d’\u00e9paules c\u00f4toie les pi\u00e8ces de caract\u00e8re plus bruyantes de l’album (Parklife<\/em>, Girls & Boys<\/em>) et emp\u00eache le disque de n’\u00eatre qu’une com\u00e9die costum\u00e9e. L’arrangement de cuivres n’est pas du d\u00e9cor pour le d\u00e9cor ; il soul\u00e8ve l’accroche comme un orchestre de pub soul\u00e8ve un samedi apr\u00e8s-midi, chaleureux sans transformer la gueule de bois en carnaval. L’\u00e9quilibre de Street garde la voix s\u00e8che et les cuivres clairs, sans vernis moderne empil\u00e9. On entend presque les restes de d\u00e9jeuner et les rideaux \u00e0 demi tir\u00e9s dans la pi\u00e8ce.<\/p>\n

Les setlists de tourn\u00e9e attrapent encore Badhead<\/em> quand le groupe veut un groove Parklife<\/em> sans le cri du titre ni le clin d’\u0153il de Girls & Boys<\/em>. L’audio officiel sur la cha\u00eene du groupe garde la prise Maison Rouge intacte pour les nouveaux auditeurs qui ne connaissent que les singles. Les versions live enl\u00e8vent parfois les cuivres et laissent le haussement d’\u00e9paules seul ; les deux marchent, parce que le centre du morceau est le refus d’escalade, pas la fanfare. Revenez \u00e0 la s\u00e9quence album et la piste six fait encore un travail discret entre voisins plus bruyants, le genre de cut qui explique pourquoi Parklife<\/em> donne l’impression d’un quartier plut\u00f4t que d’un num\u00e9ro de vari\u00e9t\u00e9.<\/p>\n

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\n

And I might as well just grin and bear it \/ Because it’s not worth the trouble of an argument.<\/p>\n<\/blockquote>\n

(Damon Albarn, paroles de Badhead, Parklife, 1994)<\/em><\/p>\n

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Sur un album c\u00e9l\u00e8bre pour ses personnages et ses cam\u00e9ras, Badhead<\/em> est le lendemain matin, quand ces personnages rentrent chez eux. Les remasters gardent les Kick Horns nets ; la logique jour-de-grippe tient encore trois d\u00e9cennies plus tard. \u00c0 c\u00f4t\u00e9 de End of a Century<\/em> et To the End<\/em>, ce cut est la pi\u00e8ce ordinaire : pas de rebondissement, juste la d\u00e9cision de ne pas se battre.<\/p>\n

Trois minutes de refus de la bagarre. C’est la maison Parklife<\/em> sans le bus de tourn\u00e9e. Appuyez sur play pour les accords coup\u00e9s de Coxon et la petite parade des Kick Horns, restez pour le haussement d’\u00e9paules d’Albarn, et voyez combien de caract\u00e8re un titre d’album peut porter quand il ne demande jamais \u00e0 \u00eatre un single.<\/p>\n

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Enregistr\u00e9 \u00e0 Maison Rouge entre novembre 1993 et janvier 1994, Badhead est la sixi\u00e8me piste gueule de bois de Parklife : Stephen Street \u00e0 la production, Kick Horns aux cuivres, Albarn qui sourit \u00e0 travers une dispute de jour de grippe qu’il n’aura pas.<\/p>\n","protected":false},"author":1,"featured_media":13957,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[287,244,293],"tags":[311,407],"class_list":["post-13960","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chroniques","category-non-categorise","category-titres","tag-alternative-indie-punk-fr","tag-blur-fr","post_format-post-format-video"],"yoast_head":"\nBadhead - Blur: L'apr\u00e8s-midi gueule de bois de Parklife - 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\/chroniques\/titres\/badhead-blur-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Badhead - 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