{"id":8023,"date":"2025-12-18T11:00:00","date_gmt":"2025-12-18T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/once-in-a-lifetime-talking-heads-2\/"},"modified":"2026-09-20T00:01:41","modified_gmt":"2026-09-19T22:01:41","slug":"once-in-a-lifetime-talking-heads-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/once-in-a-lifetime-talking-heads-2\/","title":{"rendered":"Once in a Lifetime – Talking Heads"},"content":{"rendered":"

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

Un sermon avec l’eau qui monte<\/h3>\n

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La basse ne marche pas. Elle insiste, la m\u00eame cellule encore et encore, pendant qu’une guitare file de c\u00f4t\u00e9 comme une pens\u00e9e qu’on ne peut pas finir. David Byrne commence d’une voix parl\u00e9e, celle d’un homme qui vient de remarquer sa propre cuisine. You may find yourself. La formule est une main sur l’\u00e9paule. Once in a Lifetime<\/em>, tir\u00e9e de Remain in Light<\/em> en 1980, est un funk qui est all\u00e9 \u00e0 l’\u00e9glise et en est revenu inquiet. La production de Brian Eno laisse le groove mouill\u00e9. Rien ne se r\u00e9sout. La question n’est pas romantique. Elle est domestique, et donc pire.<\/p>\n

La musique a \u00e9t\u00e9 construite d’abord, \u00e0 Compass Point, \u00e0 Nassau, o\u00f9 Talking Heads et Eno poursuivent les longs motifs entrelac\u00e9s qu’ils ont entendus chez Fela Kuti, jou\u00e9s par un groupe qui comprend aussi Tina Weymouth, Chris Frantz et Jerry Harrison. Byrne ram\u00e8ne les bandes vers New York et une radio qui n’arr\u00eate pas de pr\u00eacher. Il enregistre des \u00e9vang\u00e9listes, copie leur habitude de commencer chaque ligne de la m\u00eame fa\u00e7on, et laisse le personnage se parler jusqu’\u00e0 une vie qu’il ne se souvient pas d’avoir choisie. Same as it ever was. La formule est un r\u00e9confort et une accusation. Une belle maison, une belle femme, et l’eau qui monte encore pour les couvrir. Le texte n’est pas un journal. C’est un masque qui va.<\/p>\n

Toni Basil et Byrne font le clip comme un sermon qu’on peut regarder. Le costume blanc, les lunettes, le bras qui saccade, un corps qui emprunte \u00e0 la fois les gestes de la transe et ceux de la danse. Cela semblait comique en 1981 et semble in\u00e9vitable maintenant. Sur sc\u00e8ne, dans Stop Making Sense<\/em>, la chanson devient le moment o\u00f9 le spectacle cesse d’\u00eatre un concert et commence d’\u00eatre une possession. La prise de studio est plus s\u00e8che et plus \u00e9trange. La basse de Weymouth est le sol. Le reste de l’arrangement est une m\u00e9t\u00e9o qui passe dessus. Byrne ne crie jamais le passage existentiel. Il le rapporte, ce qui est la fa\u00e7on d’un pr\u00e9dicateur de cacher le couteau.<\/p>\n

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\n

La plupart des mots de Once in a Lifetime viennent d’\u00e9vang\u00e9listes que j’enregistrais \u00e0 la radio, en prenant des notes et en relevant des formules qui me semblaient des directions int\u00e9ressantes.<\/p>\n<\/blockquote>\n

(David Byrne, Time Out)<\/em><\/p>\n

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La radio am\u00e9ricaine se m\u00e9fie, puis se laisse convaincre lentement. La Grande-Bretagne fait entrer le single dans les classements. La chanson survit au bac new wave o\u00f9 on l’a rang\u00e9e, parce que la situation qu’elle d\u00e9crit n’a pas fini avec la d\u00e9cennie. Les gens se r\u00e9veillent encore \u00e0 l’int\u00e9rieur d’une vie assembl\u00e9e pendant qu’ils regardaient ailleurs. Les Heads se fractureront, se reformeront en morceaux, et laisseront ce titre comme celui que les civils peuvent chanter. Cette popularit\u00e9 n’est pas un adoucissement. Le texte est encore un homme qui se dit you, parce que je serait trop pr\u00e8s.<\/p>\n

Ce qui reste, c’est l’eau qui monte et la basse qui ne changera pas d’avis. Eno et le groupe ont fait un groove sur lequel on peut danser pendant que les mots demandent comment on est arriv\u00e9 l\u00e0. Once in a Lifetime<\/em> tient encore les deux, les hanches et l’effroi, sans choisir. Certaines chansons offrent une fuite. Celle-ci offre un miroir, puis, gentiment, un beat pour se tenir devant.<\/p>\n

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