{"id":8377,"date":"2026-05-07T11:00:00","date_gmt":"2026-05-07T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/everlong-foo-fighters-2\/"},"modified":"2026-09-20T00:03:08","modified_gmt":"2026-09-19T22:03:08","slug":"everlong-foo-fighters-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/everlong-foo-fighters-2\/","title":{"rendered":"Everlong – Foo Fighters"},"content":{"rendered":"

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

Une chanson d’amour qui a appris \u00e0 courir<\/h3>\n

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L’intro est une course d\u00e9j\u00e0 commenc\u00e9e, deux guitares verrouill\u00e9es dans une figure qui donne l’impression de descendre une pente en refusant de tomber. Puis la voix de Dave Grohl entre plus bas que le riff, presque priv\u00e9e, avant que le refrain jette cette intimit\u00e9 dans une salle. Everlong<\/em> est une chanson d’amour avec le pouls d’une crise d’angoisse qui a d\u00e9cid\u00e9 d’\u00eatre heureuse. Les mots demandent si quelque chose pourrait sembler aussi r\u00e9el pour toujours. Le groupe r\u00e9pond en montant le volume, ce qui n’est pas une r\u00e9ponse, et la seule \u00e0 laquelle ils font confiance.<\/p>\n

Grohl l’\u00e9crit pour The Colour and the Shape<\/em>, sorti le 20 mai 1997, produit par Gil Norton aux Grandmaster Recorders d’Hollywood. Il joue lui-m\u00eame la batterie. William Goldsmith avait commenc\u00e9 l’album et est parti. Grohl refait la batterie, et Everlong<\/em> est un des titres o\u00f9 cette d\u00e9cision est tout le corps de la chanson : un batteur qui \u00e9crit une lettre d’amour puis refuse que quelqu’un d’autre en tienne le temps. Le texte appartient \u00e0 une relation qui \u00e9tait, pour lui, de l’harmonie au sens litt\u00e9ral, deux voix trouvant la m\u00eame note sans n\u00e9gociation. La vid\u00e9o de Michel Gondry, un r\u00eave de mains trop grandes et un conte violent, a donn\u00e9 \u00e0 la tendresse un cauchemar o\u00f9 habiter, ce qui convenait \u00e0 un groupe qui apprenait encore \u00e0 \u00eatre pop sans devenir petit.<\/p>\n

En concert, la chanson est celle que les salles viennent finir. Grohl peut l\u00e2cher sa guitare et laisser la pi\u00e8ce porter le refrain, et la pi\u00e8ce le peut toujours. Des mariages l’ont r\u00e9clam\u00e9e. Des enterrements aussi. Un morceau \u00e9crit dans le d\u00e9sordre d’une vie de divorce, \u00e0 propos d’un lien nouveau, a fini en v\u0153u public. Le groupe ne l’a pas con\u00e7u ainsi. Il a con\u00e7u un riff qui ne s’assoit pas, et les gens ont apport\u00e9 leurs propres c\u00e9r\u00e9monies.<\/p>\n

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\n

That song’s about a girl that I’d fallen in love with, and being connected to someone so much that not only do you love them physically and spiritually, but when you sing along with them you harmonise perfectly.<\/p>\n<\/blockquote>\n

(Dave Grohl, Kerrang, 2006)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

The Colour and the Shape<\/em> est un album de ruptures et de r\u00e9parations. Everlong<\/em> est la r\u00e9paration qui ne sonne pas r\u00e9par\u00e9e. Elle sonne urgente, comme si le sentiment pouvait partir si le tempo baisse. La production de Norton garde les guitares claires et la voix un peu r\u00eache, pour que la joliesse ne devienne pas le pi\u00e8ge d’une ballade. On peut la ralentir, et Grohl le fait parfois, avec une seule guitare acoustique, et la chanson survit parce que la m\u00e9lodie ne d\u00e9pendait jamais de la course. La course \u00e9tait seulement l’honn\u00eatet\u00e9 sur la vitesse \u00e0 laquelle le sentiment \u00e9tait arriv\u00e9.<\/p>\n

Ce qui reste, c’est un refrain auquel les gens confient leurs propres noms. Peu de chansons rock de la fin des ann\u00e9es quatre-vingt-dix ont r\u00e9ussi \u00e0 \u00eatre \u00e0 la fois un sprint et une promesse sans choisir. Celle-ci refuse le choix. Elle sonne encore comme quelqu’un qui a attendu, qui a fini d’attendre, et qui voudrait que la nuit soit d’accord. L’accord, sur le disque, dure environ quatre minutes. Dans la salle, il dure aussi longtemps que la foule peut tenir la note.<\/p>\n

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L’intro est une course d\u00e9j\u00e0 commenc\u00e9e, deux guitares verrouill\u00e9es dans une figure qui donne l’impression de descendre une pente en refusant de tomber.<\/p>\n","protected":false},"author":1,"featured_media":8373,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[334],"class_list":["post-8377","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-foo-fighters"],"yoast_head":"\nEverlong - Foo Fighters - RIFFS AND BEATS<\/title>\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\/chronicles\/everlong-foo-fighters-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Everlong - 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