{"id":8353,"date":"2023-11-14T19:10:00","date_gmt":"2023-11-14T18:10:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/top-10-des-albums-sortis-trop-tot-pour-leur-epoque\/"},"modified":"2026-11-09T07:13:54","modified_gmt":"2026-11-09T06:13:54","slug":"top-10-des-albums-sortis-trop-tot-pour-leur-epoque","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/culture-musicale\/tops10-fr\/top-10-des-albums-sortis-trop-tot-pour-leur-epoque\/","title":{"rendered":"Top 10 des albums sortis trop t\u00f4t pour leur \u00e9poque"},"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;\">Dix albums \u00e9tranges \u00e0 la sortie qui ont plus tard servi de r\u00e9f\u00e9rences.<\/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>Silver Apples: \u201cSilver Apples\u201d<\/strong> En 1968 Simeon Coxe et Danny Taylor ont mis un banc d\u2019oscillateurs contre une batterie et ont appel\u00e9 \u00e7a un groupe. Aucune sc\u00e8ne n\u2019attendait. La pop \u00e9lectronique, des d\u00e9cennies plus tard, ressemble encore \u00e0 ce disque court.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t9<\/span><strong>The Stooges: \u201cThe Stooges\u201d<\/strong> John Cale a produit le premier album en 1969 et Iggy Pop chantait d\u00e9j\u00e0 d\u2019une voix rude et physique, pas comme un crooner. La radio n\u2019en voulait pas. Le punk, huit ans plus tard, passerait ses premi\u00e8res le\u00e7ons \u00e0 copier la posture. L\u2019album est arriv\u00e9 avant que le punk copie cette posture.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t8<\/span><strong>Suicide: \u201cSuicide\u201d<\/strong> Alan Vega et Martin Rev, 1977, deux hommes, une bo\u00eete \u00e0 rythmes, une voix proche et mena\u00e7ante. Les critiques ont parl\u00e9 de bruit. La synth-pop et l\u2019indus l\u2019ont repris ensuite. <em>Ghost Rider<\/em> sonne encore en avance sur bien des disques suivants.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t7<\/span><strong>Big Star: \u201cRadio City\u201d<\/strong> Alex Chilton et le groupe ont sorti <em>Radio City<\/em> en 1974 dans un d\u00e9sastre de distribution et la power-pop a pass\u00e9 vingt ans \u00e0 rattraper les chansons. <em>September Gurls<\/em> est \u00e9crit comme un tube et ne l\u2019a pas \u00e9t\u00e9 alors. Le public est arriv\u00e9 plus tard, en culte.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t6<\/span><strong>Kate Bush: \u201cThe Dreaming\u201d<\/strong> Son album de 1982 se sert du Fairlight comme d\u2019un outil dramatique, pas comme une nouveaut\u00e9. Elle chante depuis l\u2019int\u00e9rieur des personnages. Cela lui a co\u00fbt\u00e9 du terrain commercial. <em>Hounds of Love<\/em> serait compris. Celui-ci a d\u00fb attendre. Les exp\u00e9riences sont les chansons, donc l\u2019album sonne encore t\u00f4t.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t5<\/span><strong>Can: \u201cTago Mago\u201d<\/strong> Le double de 1971, enregistr\u00e9 au ch\u00e2teau de N\u00f6rvenich, laisse les rythmes courir sur de longs passages. Holger Czukay montait comme un monteur de film. Des producteurs de hip-hop et des groupes post-rock l\u2019ont trouv\u00e9 plus tard et ont trait\u00e9 \u00e7a comme une source neuve. Le disque \u00e9tait d\u00e9j\u00e0 l\u00e0.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t4<\/span><strong>The Beach Boys: \u201cPet Sounds\u201d<\/strong> Brian Wilson, en 1966, a quitt\u00e9 le costume de surf et b\u00e2ti un album sur des sentiments priv\u00e9s, avec des musiciens de studio et un aboiement. Il n\u2019a pas vendu plus que la culture des singles autour. <em>Sgt. Pepper<\/em> l\u2019a entendu. Comme ceux qui ont voulu ensuite une pop \u00e9crite en composition.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t3<\/span><strong>Talk Talk: \u201cSpirit of Eden\u201d<\/strong> En 1988 Mark Hollis a abandonn\u00e9 la synth-pop qui avait fait le nom du groupe et a enregistr\u00e9 quelque chose de plus calme, proche du son de la pi\u00e8ce. Le label n\u2019\u00e9tait pas content. Le post-rock a pass\u00e9 les ann\u00e9es 1990 \u00e0 le remercier. Les groupes suivants ont repris ces arrangements calmes.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t2<\/span><strong>Kraftwerk: \u201cComputer World\u201d<\/strong> L\u2019album de 1981 d\u00e9crit une vie d\u2019\u00e9crans, de donn\u00e9es et de calculettes avant que ces objets soient ordinaires. La techno de Detroit a pris le rythme et le hip-hop a pris le phras\u00e9 sec. Le disque n\u2019est pas une pr\u00e9diction vague. C\u2019est un mode d\u2019emploi arriv\u00e9 avant les machines dans chaque maison.<\/p>\n<p style=\"text-align: justify;\">\n<span class=\"eltdf-dropcaps eltdf-normal\" >\n\t1<\/span><strong>The Velvet Underground: \u201cThe Velvet Underground &#038; Nico\u201d<\/strong> La banane d\u2019Andy Warhol, l\u2019alto de John Cale, la rue de Lou Reed, 1967. Cela n\u2019a presque pas vendu et a nourri une grande part de ce qu\u2019on a ensuite appel\u00e9 alternatif. La vieille phrase de Brian Eno tient encore en esprit : peu l\u2019ont achet\u00e9 et un nombre saisissant a mont\u00e9 des groupes. En avance veut dire que les auditeurs ont b\u00e2ti le public manquant en 1967.<\/p>\n<p>[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Dix albums arriv\u00e9s t\u00f4t, \u00e9tranges jusqu&rsquo;\u00e0 ce que tout le monde rattrape.<\/p>\n","protected":false},"author":1,"featured_media":8349,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[295,298],"tags":[],"class_list":["post-8353","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-culture-musicale","category-tops10-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 albums sortis trop t\u00f4t pour leur \u00e9poque - RIFFS AND BEATS<\/title>\n<meta name=\"description\" content=\"Dix albums arriv\u00e9s t\u00f4t, \u00e9tranges jusqu&#039;\u00e0 ce que tout le monde rattrape.\" \/>\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-albums-sortis-trop-tot-pour-leur-epoque\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Top 10 des albums sortis trop t\u00f4t pour leur \u00e9poque - 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