{"id":8305,"date":"2026-07-07T09:00:00","date_gmt":"2026-07-07T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/baba-oriley-the-who-2\/"},"modified":"2026-09-20T00:03:06","modified_gmt":"2026-09-19T22:03:06","slug":"baba-oriley-the-who-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/baba-oriley-the-who-2\/","title":{"rendered":"Baba O’Riley – The Who"},"content":{"rendered":"

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Un orgue Lowrey apprend un nom<\/h3>\n

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Le motif ne sonne pas d’abord comme un groupe. Il sonne comme une machine \u00e0 qui l’on a racont\u00e9 une vie et qui r\u00e9p\u00e8te les syllabes jusqu’\u00e0 ce qu’elles deviennent rythme. Puis les power chords s’\u00e9crasent, et Roger Daltrey chante comme s’il se tenait dans un champ qui a \u00e9t\u00e9 un festival et n’est plus que d\u00e9chets et ciel. Baba O’Riley<\/em> est souvent pris pour une f\u00eate. Le texte est un \u00e9tat des lieux des d\u00e9g\u00e2ts apr\u00e8s le d\u00e9part de la f\u00eate.<\/p>\n

Pete Townshend l’\u00e9crit pour Lifehouse<\/em>, la suite abandonn\u00e9e de Tommy<\/em>, et il ouvre Who’s Next<\/em>, sorti en ao\u00fbt 1971. The Who gravent le morceau aux Olympic Studios de Londres, se produisant eux-m\u00eames avec Glyn Johns comme producteur associ\u00e9. La figure qui bouillonne n’est pas un synth\u00e9tiseur de laboratoire, malgr\u00e9 le titre. Townshend programme un orgue Lowrey Berkshire, son preset de r\u00e9p\u00e9tition marimba, avec des donn\u00e9es qu’il voulait, dans le fantasme de Lifehouse<\/em>, faire correspondre aux signes vitaux de Meher Baba. L’autre moiti\u00e9 du titre est Terry Riley, le minimaliste dont les boucles \u00e9taient dans son oreille. Quand l’id\u00e9e d’entrer un gourou dans une machine \u00e9choue comme ing\u00e9nierie, le preset de l’orgue fait le travail. Dave Arbus, d’East of Eden, joue le violon qui scie la chanson vers la sortie, un instrument folk tra\u00een\u00e9 dans un terrain vague adolescent.<\/p>\n

En concert, la chanson devient la chose que son texte craignait : une c\u00e9l\u00e9bration. Les foules crient la ligne sur le gaspillage comme si c’\u00e9tait un toast. Townshend a pass\u00e9 des d\u00e9cennies \u00e0 expliquer qu’il parlait de la d\u00e9solation de Woodstock et des d\u00e9chets apr\u00e8s l’\u00eele de Wight, pas d’un permis. Daltrey la chante encore comme un appel. La contradiction est devenue la performance. L’orgue se moque de savoir qui a raison. Il continue de bouillonner, indiff\u00e9rent et exact.<\/p>\n

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\n

I concocted this organ sound through a synthesizer, which you hear bubbling away in the back of Baba O’Riley. So the two names together were Baba, for Meher Baba, and O’Riley for Terry Riley, and it’s O’Riley because it sounded a bit Irish at the end.<\/p>\n<\/blockquote>\n

(Pete Townshend, petetownshend.net)<\/em><\/p>\n

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Le malentendu n’est pas un \u00e9chec du disque. C’est la preuve qu’un riff peut l’emporter sur une phrase. Les gens avaient besoin d’un hymne pour le lendemain, et le groupe en avait \u00e9crit un par accident qui d\u00e9crivait aussi le lendemain avec m\u00e9pris. La batterie de Keith Moon, une fois entr\u00e9e, rend la discussion impossible. On ne peut pas rester immobile dans ce refrain en pr\u00e9tendant qu’on \u00e9coute seulement. Le violon, absurde sur le papier, est la part qui sauve la chanson d’\u00eatre seulement de la puissance. Il sonne comme une f\u00eate foraine qui ferme.<\/p>\n

Ce qui reste, c’est un titre que presque personne ne chante et un refrain que presque personne ne comprend, ce qui est une victoire tr\u00e8s Who. Baba O’Riley<\/em> ouvre encore des salles. On s’en sert encore pour le sport et pour des films qui veulent la jeunesse sans la gueule de bois. Le motif d’orgue, patient comme une roue de pri\u00e8re, se souvient de l’instruction d’origine : traduire une personne en notes. La personne \u00e9tait un ma\u00eetre silencieux. Les notes sont devenues un cri. Les deux sont encore dans le morceau si l’on laisse l’intro finir avant de lever le poing.<\/p>\n

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