{"id":15930,"date":"2008-10-06T13:00:00","date_gmt":"2008-10-06T11:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/the-clash-punk-that-learned-reggae-funk-and-scale\/"},"modified":"2026-09-26T23:58:39","modified_gmt":"2026-09-26T21:58:39","slug":"the-clash-punk-that-learned-reggae-funk-and-scale","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/groupes\/the-clash-punk-that-learned-reggae-funk-and-scale\/","title":{"rendered":"The Clash – Le punk qui a appris le reggae, le funk et la grande sc\u00e8ne"},"content":{"rendered":"

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Du Westway \u00e0 London Calling : vitesse punk, puis une carte \u00e9largie<\/h3>\n

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The Clash se sont form\u00e9s autour du Westway, la voie rapide sur\u00e9lev\u00e9e qui traverse l’ouest de Londres, et ils ont pris cette g\u00e9ographie au s\u00e9rieux. Joe Strummer avait dirig\u00e9 les 101ers, un groupe pub-rock, avant que le moment punk ne l’attire vers un projet plus d\u00e9lib\u00e9r\u00e9. Mick Jones venait de Hammersmith avec une discoth\u00e8que charg\u00e9e en rock am\u00e9ricain et une oreille pour les guitares jumel\u00e9es \u00e0 la Thin Lizzy. Paul Simonon a pris la basse apr\u00e8s avoir rejoint le groupe pour son allure autant que pour son talent. Terry Chimes a occup\u00e9 le si\u00e8ge de batteur jusqu’\u00e0 l’arriv\u00e9e de Topper Headon en 1977, qui a compl\u00e9t\u00e9 la section rythmique de la grande p\u00e9riode.<\/p>\n

The Clash (1977) est arriv\u00e9 un mois apr\u00e8s Never Mind the Bollocks des Sex Pistols et a imm\u00e9diatement pos\u00e9 un agenda diff\u00e9rent. L\u00e0 o\u00f9 les Pistols fonctionnaient sur le mode de la confrontation comme th\u00e9\u00e2tre, The Clash traitaient la confrontation comme un programme. Seize titres \u00e0 une cadence br\u00fblante, avec des reprises de reggae – \u00ab\u00a0Police and Thieves\u00a0\u00bb de Junior Murvin gliss\u00e9e entre des originaux sur le ch\u00f4mage, l’ennui et le fascisme emprunt\u00e9. La production \u00e9tait s\u00e8che et directe, la plupart des chansons sous les trois minutes. CBS a refus\u00e9 de distribuer le disque aux \u00c9tats-Unis, ce qui en a fait un objet culte import\u00e9 sur le march\u00e9 am\u00e9ricain pendant deux ans.<\/p>\n

Give ‘Em Enough Rope (1978) a fait appel \u00e0 Sandy Pearlman pour la production, \u00e9paississant le son de guitare en direction d’un public rock am\u00e9ricain. Le contenu politique demeurait – \u00ab\u00a0Tommy Gun,\u00a0\u00bb \u00ab\u00a0English Civil War\u00a0\u00bb – mais les textures \u00e9voluaient vers quelque chose de plus familier pour les amateurs de hard rock. Le groupe avan\u00e7ait pourtant plus vite que le disque. Leurs concerts int\u00e9graient ska, dub et rockabilly aux c\u00f4t\u00e9s des originaux punk, et leur public commen\u00e7ait \u00e0 refl\u00e9ter cette diversit\u00e9.<\/p>\n

London Calling (1979) est le disque qui a officialis\u00e9 cette amplitude. Deux LP au prix d’un, produit par Guy Stevens, il passait du reggae (\u00ab\u00a0The Guns of Brixton,\u00a0\u00bb \u00e9crit et chant\u00e9 par Simonon) au rock and roll (une reprise de Vince Taylor, \u00ab\u00a0Brand New Cadillac\u00a0\u00bb), du ska (\u00ab\u00a0Rudie Can’t Fail\u00a0\u00bb) \u00e0 la ballade lente (\u00ab\u00a0Train in Vain\u00a0\u00bb) sans jamais ressembler \u00e0 un exercice de genre. Strummer et Jones \u00e9crivaient vite et arrangeaient dans le studio. Le titre ouvre sur la voix de Strummer sans effets au-dessus d’une figure basse-guitare qui ressemble encore davantage \u00e0 une annonce qu’\u00e0 une chanson. Le disque est entr\u00e9 dans le top dix britannique et a trouv\u00e9 son public am\u00e9ricain via la radio college et les tourn\u00e9es.<\/p>\n

Sandinista! (1980) a pouss\u00e9 l’exp\u00e9rience encore plus loin, peut-\u00eatre trop : un triple album qui s’\u00e9tendait sur le dub, le gospel, des structures proches du hip-hop naissant, des voix d’enfants et des pi\u00e8ces acoustiques. Il contient certains des travaux les plus int\u00e9ressants du groupe et une partie de leurs moins essentiels. \u00ab\u00a0The Magnificent Seven\u00a0\u00bb \u00e9tait l’une des premi\u00e8res incursions d’un groupe punk britannique dans les structures du rap primitif, enregistr\u00e9e avant que la plupart des groupes rock am\u00e9ricains n’aient remarqu\u00e9 le genre. Combat Rock (1982) a ramen\u00e9 le format commercial et livr\u00e9 \u00ab\u00a0Rock the Casbah\u00a0\u00bb et \u00ab\u00a0Should I Stay or Should I Go,\u00a0\u00bb les deux plus grands hits. Puis Headon est parti pour raisons de d\u00e9pendance, Jones a \u00e9t\u00e9 renvoy\u00e9, et Strummer a tent\u00e9 de maintenir le nom avec des rempla\u00e7ants. En 1985, c’\u00e9tait fini.<\/p>\n

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Les influences sont lisibles mais pas simples. Le R&B et le rock and roll am\u00e9ricains – Berry, Presley, Cochran – venaient du jeu. Le reggae et le dub jama\u00efcains venaient d’une \u00e9coute sinc\u00e8re : le groupe s’int\u00e9ressait r\u00e9ellement \u00e0 la politique rastafarienne et \u00e0 la culture sound system jama\u00efcaine, sans utiliser le style comme d\u00e9coration. L’\u00e9criture de guitare de Mick Jones devait quelque chose \u00e0 Mott the Hoople et au glam rock de son adolescence. La lecture politique venait de l’histoire de Strummer et de la philosophie de gestion de Rhodes.<\/p>\n

Soniquement, The Clash \u00e9taient un quatuor qui occupait plus d’espace que ce que leur nombre laissait supposer. Les pistes de guitare de Jones \u00e9taient souvent doubl\u00e9es ou superpos\u00e9es. La basse de Simonon \u00e9tait mix\u00e9e en avant dans les derniers disques, une d\u00e9cision qui donne \u00e0 London Calling son poids physique. La batterie de Headon \u00e9tait inhabituellement consciente du funk pour un groupe punk : son groove sur \u00ab\u00a0Lost in the Supermarket\u00a0\u00bb et \u00ab\u00a0Train in Vain\u00a0\u00bb n’est pas ce qu’on attend d’un groupe form\u00e9 dans les squats. La tension entre le contenu politique et l’accessibilit\u00e9 musicale \u00e9tait la contradiction productive du groupe.<\/p>\n

Les portes d’entr\u00e9e d\u00e9pendent de ce qu’on cherche. London Calling couvre la plus grande amplitude et a la qualit\u00e9 la plus constante de chanson en chanson. The Clash (1977) pour la vitesse et la franchise originelles. Combat Rock pour les hits et l’\u00e9criture pop la plus serr\u00e9e. Pour quelque chose de plus \u00e9trange, Sandinista! r\u00e9compense l’\u00e9coute s\u00e9lective : naviguez dedans et vous trouverez \u00ab\u00a0Magnificent Seven,\u00a0\u00bb \u00ab\u00a0The Call Up\u00a0\u00bb et \u00ab\u00a0Somebody Got Murdered\u00a0\u00bb au milieu d’exp\u00e9riences plus longues. Par rapport aux Sex Pistols, aux Jam ou aux Buzzcocks : les Pistols \u00e9taient une provocation contr\u00f4l\u00e9e ; les Jam \u00e9taient anglais et m\u00e9thodiques ; The Clash absorbaient perp\u00e9tuellement un nouveau genre et y parvenaient parfois d’une fa\u00e7on qu’aucun de ces groupes n’a atteinte.<\/p>\n

La raison d’y revenir n’est pas la nostalgie de 1979. The Clash ont rendu le contenu politique audible \u00e0 des publics qui n’en voulaient pas vraiment, en faisant bouger la musique, en gardant les grooves assez profonds pour rester sur la piste de danse, et en \u00e9crivant des refrains assez solides pour survivre \u00e0 l’id\u00e9ologie. London Calling reste la preuve la plus claire : il ne n\u00e9cessite aucun investissement pr\u00e9alable dans le punk ou le reggae pour fonctionner, et les chansons disent encore quelque chose de pr\u00e9cis sur le monde dans lequel elles ont \u00e9t\u00e9 \u00e9crites.<\/p>\n

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The Clash se sont form\\u00e9s \\u00e0 Londres en 1976 autour de Joe Strummer, Mick Jones, Paul Simonon et d’un si\\u00e8ge de batteur instable qui a trouv\\u00e9 sa place d\\u00e9finitive avec Topper Headon.<\/p>\n","protected":false},"author":1,"featured_media":15904,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[287,289],"tags":[311,496],"class_list":["post-15930","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chroniques","category-groupes","tag-alternative-indie-punk-fr","tag-the-clash-fr"],"yoast_head":"\nThe Clash - Le punk qui a appris le reggae, le funk et la grande sc\u00e8ne - 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\" 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