{"id":14441,"date":"2010-05-04T09:00:00","date_gmt":"2010-05-04T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/?p=14441"},"modified":"2026-09-26T23:58:58","modified_gmt":"2026-09-26T21:58:58","slug":"revolver-the-beatles","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/revolver-the-beatles\/","title":{"rendered":"Revolver – Abbey Road, George Martin, le saut"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Le saut Abbey Road avec George Martin<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Le 5 ao\u00fbt 1966, Parlophone sort Revolver<\/em>, l’album des Beatles enregistr\u00e9 \u00e0 Abbey Road avec George Martin apr\u00e8s que le groupe a cess\u00e9 de faire comme si chaque chanson devait tenir sur sc\u00e8ne. Les sessions courent d’avril \u00e0 juin. La pochette collage noir et blanc de Klaus Voormann donne au paquet l’air d’un document studio, pas d’un promo souriant. L’ordre UK ouvre sur Taxman<\/em> de Harrison ; l’\u00e9dition Capitol US m\u00e9lange encore les pistes cette ann\u00e9e-l\u00e0, une habitude que le groupe va bient\u00f4t quitter.<\/p>\n

L’ing\u00e9nierie de Geoff Emerick marque le son : micros plus pr\u00e8s sur la batterie de Ringo, ADT sur les voix, varispeed et bande \u00e0 l’envers quand un titre le demande. Eleanor Rigby<\/em> place McCartney sur un octuor \u00e0 cordes \u00e9crit par Martin, sans groupe dans le mix final. I’m Only Sleeping<\/em> flotte sur une guitare invers\u00e9e. Love You To<\/em> et Tomorrow Never Knows<\/em> mettent la couleur indienne et les boucles de bande devant ; le second ferme l’album sur un drone de loops et une voix de Lennon pass\u00e9e dans un cabinet Leslie. Entre ces p\u00f4les : Got to Get You into My Life<\/em>, Here, There and Everywhere<\/em> et Yellow Submarine<\/em>, encore format radio mais plus \u00e9crits pour des salles qui crient.<\/p>\n

La campagne singles couple Eleanor Rigby<\/em> et Yellow Submarine<\/em>. La r\u00e9action charts est imm\u00e9diate des deux c\u00f4t\u00e9s de l’Atlantique. La critique entend un saut pass\u00e9 Rubber Soul<\/em> : titres plus courts, textures plus \u00e9tranges, trois auteurs \u00e0 plein r\u00e9gime. Harrison pose trois titres. Lennon et McCartney \u00e9changent les r\u00f4les sans avoir besoin d’une pochette concept pour expliquer le bond.<\/p>\n

She Said She Said<\/em> de Lennon sort d’une conversation sous acide avec Peter Fonda ; la batterie irr\u00e9guli\u00e8re et les guitares empil\u00e9es gardent la parano\u00efa musicale plut\u00f4t que parl\u00e9e. For No One<\/em> de McCartney utilise un solo de cor d’Alan Civil dans un texte de rupture sans filet de refrain. M\u00eame les titres plus l\u00e9gers portent des d\u00e9cisions studio : les cuivres de Got to Get You into My Life<\/em> sont de l’admiration Motown traduite en partitions Abbey Road, pas un arrangement de groupe live.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

\n

On entendait soudain des sons qu’on n’arrivait pas \u00e0 obtenir avant.<\/p>\n<\/blockquote>\n

(George Martin sur les sessions Revolver)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb15843″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1790418593{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

La tourn\u00e9e s’arr\u00eate des semaines apr\u00e8s la sortie. Candlestick Park \u00e0 San Francisco ferme le chapitre live ; Revolver<\/em> pointe d\u00e9j\u00e0 le studio comme sc\u00e8ne principale. Les remasters et le remix 2022 n’ont fait que souligner combien le punch original vivait dans les choix de micros d’Emerick et les arrangements de Martin.<\/p>\n

Ce qui reste utile, c’est la preuve de travail. Un octuor \u00e0 cordes, un ch\u0153ur d’enfants, une voix Leslie et un riff sur le fisc britannique peuvent partager un m\u00eame LP sans basculer dans le gadget. Revolver<\/em>, c’est les Beatles qui d\u00e9cident que le disque, pas la setlist, est le produit fini. Tout ce qui suit, y compris Sgt. Pepper<\/em>, emprunte cette permission.<\/p>\n

En 2022, le remix de Giles Martin rapproche le champ st\u00e9r\u00e9o de l’\u00e9coute moderne sans effacer le punch medium d’Emerick. L’album r\u00e9compense encore le casque : comptez les montages bande de Tomorrow Never Knows<\/em>, puis revenez \u00e0 l’acoustique s\u00e8che de Here, There and Everywhere<\/em>. Cet \u00e9ventail est le sens de Revolver<\/em>.<\/p>\n

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Le 5 ao\u00fbt 1966, Parlophone sort Revolver, l’album des Beatles enregistr\u00e9 \u00e0 Abbey Road avec George Martin apr\u00e8s que le groupe a cess\u00e9 de faire comme si chaque chanson devait tenir sur sc\u00e8ne.<\/p>\n","protected":false},"author":1,"featured_media":14438,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[288,287],"tags":[482,493],"class_list":["post-14441","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-albums-fr","category-chroniques","tag-classic-rock-fr","tag-the-beatles-fr"],"yoast_head":"\nRevolver - Abbey Road, George Martin, le saut - 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\/albums-fr\/revolver-the-beatles\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Revolver - 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