{"id":7145,"date":"2013-03-14T19:10:00","date_gmt":"2013-03-14T18:10:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/top-10-des-plus-grands-batteurs-de-groupes-de-rock\/"},"modified":"2026-11-09T07:07:23","modified_gmt":"2026-11-09T06:07:23","slug":"top-10-des-plus-grands-batteurs-de-groupes-de-rock","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/culture-musicale\/tops10-fr\/top-10-des-plus-grands-batteurs-de-groupes-de-rock\/","title":{"rendered":"Top 10 des plus grands batteurs de groupes de rock"},"content":{"rendered":"<section class=\"wpb-content-wrapper\"><p>[vc_row css=\u00a0\u00bb.vc_custom_1454690049611{padding-left: 13% !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n<h3 style=\"text-align: justify;\">De Bonham \u00e0 Peart : dix batteurs qui ont fa\u00e7onn\u00e9 le rock de groupe<\/h3>\n<p>[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t10<\/span><strong>Dave Grohl (Nirvana)<\/strong><br \/>\nUne attaque punk forte, jou\u00e9e avec pr\u00e9cision. Grohl rejoint Nirvana juste \u00e0 temps pour le d\u00e9collage de <em>Nevermind<\/em>. La batterie est forte, simple et exacte. Sur <em>Smells Like Teen Spirit<\/em>, la caisse claire tape fort et reste en place. Et sur sc\u00e8ne, notamment \u00e0 Reading en 1992, Grohl joue dur derri\u00e8re ses f\u00fbts, coudes dehors, le chaos tenu dans le tempo.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t9<\/span><strong>Charlie Watts (The Rolling Stones)<\/strong><br \/>\nJamais tape-\u00e0-l\u2019\u0153il, toujours n\u00e9cessaire au groupe. Watts ne cherchait pas les projecteurs. Il donnait aux Stones leur \u00e9lan. Ses racines jazz gardaient le groupe fluide et un peu dangereux. Sur <em>Gimme Shelter<\/em>, il reste en retrait et tient le tempo. Keith et Mick sont devant. Charlie garde la mesure.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t8<\/span><strong>Phil Collins (Genesis)<\/strong><br \/>\nAvant de prendre le micro, Collins \u00e9tait l\u2019un des batteurs les plus inventifs du rock progressif. Son jeu sur <em>The Lamb Lies Down on Broadway<\/em> est d\u00e9taill\u00e9 et physique. Puis <em>In the Air Tonight<\/em>, avec ce break. Quatre coups et un son de batterie que la radio a li\u00e9 aux ann\u00e9es 80.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t7<\/span><strong>Stewart Copeland (The Police)<\/strong><br \/>\nDes frappes dures, plac\u00e9es \u00e0 contretemps. Copeland ne se contentait pas de garder le tempo. Il jouait des lignes en r\u00e9ponse et il ouvrait les rythmes reggae avec le volume du punk. <em>Walking on the Moon<\/em> tient gr\u00e2ce \u00e0 cette fa\u00e7on de poser les coups. Avec lui, le morceau reste l\u00e9ger et frappe quand m\u00eame.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t6<\/span><strong>Bill Bruford (Yes, King Crimson)<\/strong><br \/>\nUn batteur pr\u00e9cis, pass\u00e9 par l\u2019\u00e9tude. Bruford amenait un jeu travaill\u00e9 au prog. Avec Yes, il traversait les mesures impaires comme des mesures ordinaires. Avec Crimson, il jouait des parties lourdes avec une touche de jazz. Les parties sont r\u00e9fl\u00e9chies et elles balancent encore.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t5<\/span><strong>Ringo Starr (The Beatles)<\/strong><br \/>\nLe sous-estimer serait une erreur. Ringo a chang\u00e9 le groupe en jouant moins et en le jouant juste. Ses breaks sur <em>Come Together<\/em> ou <em>A Day in the Life<\/em> sont des le\u00e7ons de retenue. Il rendait les parties simples. Sans Ringo, le rythme stable qui tient le groupe n\u2019est plus l\u00e0. Le battement Beatles non plus.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t4<\/span><strong>Keith Moon (The Who)<\/strong><br \/>\nMoon ne jouait pas de la batterie de fa\u00e7on rang\u00e9e. Il frappait fort. Chaque break est charg\u00e9 et les concerts \u00e9taient rudes. Sur <em>Won\u2019t Get Fooled Again<\/em>, il pousse le morceau depuis la batterie. Il bousculait le tempo. Hors sc\u00e8ne, sa vie a fait autant de bruit que son jeu.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t3<\/span><strong>Ginger Baker (Cream)<\/strong><br \/>\nJazz, col\u00e8re et rythmes africains chez un Anglais renfrogn\u00e9. Baker \u00e9tait un pr\u00e9curseur et un technicien. Son jeu sur <em>Toad<\/em> fut l\u2019un des premiers solos de batterie prolong\u00e9s enregistr\u00e9s, r\u00e9p\u00e9titif et dur. Il donnait le tempo et posait un niveau pour la suite.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t2<\/span><strong>Neil Peart (Rush)<\/strong><br \/>\nL\u2019appliqu\u00e9. Paroles, concepts, rythmes longs et sinueux. Peart a apport\u00e9 des parties \u00e9crites \u00e0 la batterie rock. Chaque break sur <em>Tom Sawyer<\/em> est r\u00e9fl\u00e9chi, construit par sections. Sur sc\u00e8ne, il jouait trois heures durant, sans l\u00e2cher les parties, avec un jeu propre.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t1<\/span><strong>John Bonham (Led Zeppelin)<\/strong><br \/>\nLe plus lourd. Bonham \u00e9tait le plus fort, le plus lourd et le jeu restait fluide. <em>When the Levee Breaks<\/em> est un son de batterie que les producteurs actuels \u00e9tudient encore. Son pied sur <em>Good Times Bad Times<\/em> est difficile \u00e0 reprendre. Ce qui faisait de Bonzo le meilleur, c\u2019\u00e9tait le sens du tempo. Pas de m\u00e9tronome. Pas de corrections. Un rythme profond, stable.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>De Bonham \u00e0 Peart : dix batteurs qui ont fa\u00e7onn\u00e9 le rock de groupe, de Grohl \u00e0 Reading en 1992 \u00e0 Watts sur Gimme Shelter.<\/p>\n","protected":false},"author":1,"featured_media":7155,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[295,298],"tags":[482],"class_list":["post-7145","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-musicale","category-tops10-fr","tag-classic-rock-fr"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.8 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Top 10 des plus grands batteurs de groupes de rock - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"De Bonham \u00e0 Peart : dix batteurs qui ont fa\u00e7onn\u00e9 le rock de groupe, de Grohl \u00e0 Reading en 1992 \u00e0 Watts sur Gimme Shelter.\" \/>\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\/culture-musicale\/tops10-fr\/top-10-des-plus-grands-batteurs-de-groupes-de-rock\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Top 10 des plus grands batteurs de groupes de rock - 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