{"id":8161,"date":"2026-03-17T09:00:00","date_gmt":"2026-03-17T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/waterloo-sunset-the-kinks-2\/"},"modified":"2026-09-20T00:01:45","modified_gmt":"2026-09-19T22:01:45","slug":"waterloo-sunset-the-kinks-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/waterloo-sunset-the-kinks-2\/","title":{"rendered":"Waterloo Sunset – The Kinks"},"content":{"rendered":"

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Terry et Julie, qui n’\u00e9taient pas ces deux-l\u00e0<\/h3>\n

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La guitare \u00e9nonce une petite descente parfaite, et la rivi\u00e8re appara\u00eet sans \u00eatre longuement d\u00e9crite. Ray Davies chante comme s’il \u00e9tait \u00e0 une fen\u00eatre qu’il utilise depuis des ann\u00e9es, ne jouant pas la vue, la gardant. Waterloo Sunset<\/em>, tir\u00e9e de Something Else by the Kinks<\/em> en 1967, est une chanson de Londres qui refuse la version autocar de Londres. Un vieux fleuve sale. Des lumi\u00e8res de taxis. Deux personnes qui se retrouvent \u00e0 la gare de Waterloo, et un narrateur heureux, presque timidement, qu’elles soient heureuses. La batterie de Mick Avory et la basse de Pete Quaife les raccompagnent. La guitare de Dave Davies est la lumi\u00e8re du lampadaire.<\/p>\n

Davies la produit lui-m\u00eame, aux Pye Studios, dans une saison o\u00f9 le groupe se replie apr\u00e8s les interdictions, les bagarres et l’absence am\u00e9ricaine. Il a dit que la chanson avait commenc\u00e9 comme une pens\u00e9e sur Liverpool et avait boug\u00e9 vers la Tamise, et que, enfant, malade, il avait regard\u00e9 le fleuve depuis un h\u00f4pital et l’avait trouv\u00e9 apaisant. On a largement suppos\u00e9 que Terry et Julie \u00e9taient Terence Stamp et Julie Christie, le beau couple du moment. Il l’a ni\u00e9, plus d’une fois. Ce sont des gens qu’il a faits, assez ordinaires pour traverser un pont sans faire la une. Le d\u00e9menti fait partie de la tendresse. Une ville priv\u00e9e est plus g\u00e9n\u00e9reuse qu’une ville de c\u00e9l\u00e9brit\u00e9s.<\/p>\n

Le single atteint le num\u00e9ro deux en Grande-Bretagne et n’a pas besoin de l’Am\u00e9rique, qui n’\u00e9coutait pas de toute fa\u00e7on. Sur l’album il si\u00e8ge parmi des chansons de village greens et d’apr\u00e8s-midi fatigu\u00e9s, les Kinks devenant un groupe capable d’\u00e9crire l’Angleterre sans crier Rule Britannia ni la br\u00fbler. En concert, dans les d\u00e9cennies suivantes, la foule chante le la-la-la comme si c’\u00e9tait un hymne civique. La version de studio est plus calme que cette chorale. La voix est proche. Le coucher de soleil n’est pas une m\u00e9taphore qu’il force. C’est l’heure o\u00f9 la ville a l’air bri\u00e8vement arrang\u00e9e, et il est reconnaissant de ne pas \u00eatre dedans, seulement pr\u00e8s.<\/p>\n

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\n

Tout le monde a cru que Terry et Julie \u00e9taient Terence Stamp et Julie Christie. Ce n’\u00e9tait pas eux. Je les ai invent\u00e9s.<\/p>\n<\/blockquote>\n

(Ray Davies, sur la chanson, notamment dans X-Ray)<\/em><\/p>\n

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D’autres chansons londoniennes de la d\u00e9cennie sont plus rapides, plus dr\u00f4les, plus amoureuses de leur propre argot. Celle-ci a le temps. Elle regarde un couple et ne le suit pas dans l’appartement. Cette retenue est la raison pour laquelle elle a vieilli sans devenir une carte postale. On peut encore se tenir sur le pont et entendre les lumi\u00e8res des taxis dans la guitare. On peut encore mal comprendre les noms, et la chanson vous corrigera sans hausser la voix. Davies a continu\u00e9 d’\u00e9crire longtemps apr\u00e8s. Il a rarement \u00e9crit une fen\u00eatre aussi claire.<\/p>\n

Ce qui reste, c’est le soulagement du narrateur. Pas leur amour, le sien. Il est content que le fleuve coule, content que deux personnes se soient trouv\u00e9es, content de ne pas avoir \u00e0 traverser. Waterloo Sunset<\/em> est une chanson sur le fait de regarder, ce qui est une forme d’amour si l’on ne saisit pas. Le vieux fleuve sale tient son rendez-vous. Le la-la-la est le son d’un homme qui a d\u00e9cid\u00e9 que la vue suffit.<\/p>\n

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