{"id":14417,"date":"2015-09-27T19:00:00","date_gmt":"2015-09-27T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/mama-genesis\/"},"modified":"2026-09-27T01:17:44","modified_gmt":"2026-09-26T23:17:44","slug":"mama-genesis","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/mama-genesis\/","title":{"rendered":"Mama – Genesis: Le Linn de Rutherford, le rire Flash de Collins, num\u00e9ro quatre UK"},"content":{"rendered":"

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Ao\u00fbt 1983 : Linn distordu d’abord, puis Collins rit comme The Message<\/h3>\n

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Un pattern de bo\u00eete \u00e0 rythmes dur ouvre la pi\u00e8ce avant que les lignes de synth\u00e9 en mineur de Tony Banks et la voix tr\u00e8s r\u00e9verb\u00e9r\u00e9e de Phil Collins n’arrivent. Mama<\/em> \u00e9tait le premier single de l’album \u00e9ponyme de Genesis en 1983, sorti le 22 ao\u00fbt 1983 sur Virgin \/ Atlantic \/ Vertigo, enregistr\u00e9 \u00e0 The Farm dans le Surrey avec Hugh Padgham en co-production. La version album dure pr\u00e8s de sept minutes ; les edits radio et vid\u00e9o coupent plut\u00f4t vers cinq. Le th\u00e8me tourne autour de l’obsession d’un jeune homme pour une travailleuse du sexe, vapeur et chaleur que Collins a plus tard li\u00e9es \u00e0 des images de bordel cubain que le groupe imaginait en \u00e9crivant. D\u00e8s les premi\u00e8res mesures, on entend pourquoi \u00e7a a ouvert la campagne : rien de poli, et c’\u00e9tait le point.<\/p>\n

Mike Rutherford a programm\u00e9 la partie Linn LM-1, pas Collins. Le pattern est pass\u00e9 par une r\u00e9verb gated (AMS RMX-16) et un ampli guitare tr\u00e8s satur\u00e9, puis m\u00e9lang\u00e9 \u00e0 un feed sec pour que la machine garde du punch. Banks a empil\u00e9 Synclavier, ARP Quadra, Emulator et Prophet-10, avec un drone de mi grave et un sample de koto qui se trouvait \u00eatre en studio. Le rire maniaque de Collins reprend le ha-ha souffl\u00e9 de Melle Mel sur The Message<\/em> (1982) de Grandmaster Flash and the Furious Five, une dette que le groupe et Padgham ont ensuite confirm\u00e9e sur The Genesis Songbook<\/em>. La vraie batterie finit par \u00e9craser apr\u00e8s des minutes de tension machine, la m\u00eame esth\u00e9tique gated qui marque le son early-80s de Collins.<\/p>\n

Stuart Orme a r\u00e9alis\u00e9 le clip s\u00e9pia-vers-couleur avec Collins face \u00e0 une femme myst\u00e9rieuse pendant que Banks et Rutherford jouent derri\u00e8re. En live, le morceau a ancr\u00e9 la Mama Tour puis les dates Wembley et europ\u00e9ennes, document\u00e9es sur The Way We Walk<\/em> et des lives suivants. Commercialement, c’est encore le meilleur classement UK singles de Genesis, num\u00e9ro quatre, avec d’autres top dix en Europe et un Hot 100 US plus faible \u00e0 73. Une r\u00e9\u00e9dition 1992 a ensuite grimp\u00e9 les charts allemands. Pour un trio d\u00e9j\u00e0 en train de glisser du prog long format vers des structures pop plus nettes, Mama<\/em> a prouv\u00e9 qu’un single sombre men\u00e9 par la machine pouvait encore remplir les arenas.<\/p>\n

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\n

Chaque chanson \u00e9tait diff\u00e9rente. Par exemple, avant, quand on \u00e9crivait, Phil faisait une petite boucle de bo\u00eete \u00e0 rythmes\u2026 Puis arrive une chanson appel\u00e9e Mama et tout le programme de batterie, la bo\u00eete \u00e0 rythmes raide, c’est moi. Donc on peut \u00e9changer les casquettes.<\/p>\n<\/blockquote>\n

(Mike Rutherford sur la programmation de Mama, interview Songfacts)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb10964″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790426207{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Remettez l’intro et le Linn sonne encore faux de la meilleure fa\u00e7on : industriel, impatient, rien \u00e0 voir avec une ouverture soft-rock polie de 1983. Ce faux est pourquoi le titre a surv\u00e9cu aux labels d’edit et d\u00e9finit encore le premier visage de l’album \u00e9ponyme. Appuyez sur play pour le pattern machine seul, puis restez pour le rire qui a vol\u00e9 son souffle \u00e0 The Message<\/em> et a rendu Genesis radio plus \u00e9trange, pas plus sage.<\/p>\n

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En ao\u00fbt 1983, Genesis ouvre la campagne de l’album \u00e9ponyme avec Mama : Linn LM-1 distordu de Mike Rutherford, rire inspir\u00e9 de Grandmaster Flash chez Phil Collins, et un num\u00e9ro quatre UK qui reste leur plus gros hit local.<\/p>\n","protected":false},"author":1,"featured_media":17016,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[287,293],"tags":[482,581],"class_list":["post-14417","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-chroniques","category-titres","tag-classic-rock-fr","tag-genesis-fr","post_format-post-format-video"],"yoast_head":"\nMama - Genesis: Le Linn de Rutherford, le rire Flash de Collins, num\u00e9ro quatre UK - 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\/mama-genesis\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Mama - 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