{"id":8383,"date":"2026-05-19T09:00:00","date_gmt":"2026-05-19T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/under-the-bridge-red-hot-chili-peppers-2\/"},"modified":"2026-09-20T00:03:09","modified_gmt":"2026-09-19T22:03:09","slug":"under-the-bridge-red-hot-chili-peppers-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/under-the-bridge-red-hot-chili-peppers-2\/","title":{"rendered":"Under the Bridge – Red Hot Chili Peppers"},"content":{"rendered":"

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Un po\u00e8me qui ne voulait pas du groupe<\/h3>\n

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Une guitare commence seule, haute et presque timide, le genre de figure que John Frusciante a dit avoir \u00e9crite plus heureuse que les mots parce que les mots \u00e9taient d\u00e9j\u00e0 assez tristes. Puis Anthony Kiedis entre sans l’aboiement habituel, nommant une ville comme si c’\u00e9tait une personne qui pourrait encore le reprendre. Under the Bridge<\/em> ne fait pas de funk. Il avoue, et l’aveu est si simple que le groupe, d’abord, n’a pas cru qu’il lui appartenait.<\/p>\n

Le texte commence comme un po\u00e8me. En avril 1991, en rentrant de r\u00e9p\u00e9tition, Kiedis se sent dehors de l’amiti\u00e9 de Frusciante et de Flea, et la vieille solitude de l’h\u00e9ro\u00efne revient avec une m\u00e9lodie qu’il chante tout le long de l’autoroute. Il l’\u00e9crit dans un carnet pour traiter l’angoisse, pas comme une chanson des Chili Peppers. Pendant la fabrication de Blood Sugar Sex Magik<\/em>, enregistr\u00e9 au Mansion de Laurel Canyon et sorti le 24 septembre 1991, le producteur Rick Rubin trouve la page. Kiedis est g\u00ean\u00e9. Il dit que ce n’est pas ce qu’ils font. Rubin demande pourquoi refuser une chose belle. Frusciante l’entend et trouve des accords. Flea trouve une basse qui marche au lieu de claquer. Chad Smith garde une batterie presque polie. Rubin produit. Le single, l’ann\u00e9e suivante, transforme une page priv\u00e9e en chanson que des inconnus utilisent pour expliquer le groupe \u00e0 ceux qui ne connaissaient que les chaussettes et la basse slap.<\/p>\n

En concert, Kiedis laisse souvent la foule chanter les premi\u00e8res lignes, destin \u00e9trange pour un po\u00e8me sur l’absence de partenaire. La salle devient le partenaire. La guitare de Frusciante, les soirs o\u00f9 il est l\u00e0 et clean, sonne encore comme une main offerte plut\u00f4t qu’un solo revendiqu\u00e9. Le pont du titre est un vrai lieu du centre-ville dans la m\u00e9moire de la came, et aussi la distance entre un homme et ses amis. Les deux sens survivent au chant collectif.<\/p>\n

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\n

I said, it’s really beautiful, why would you say it’s not for the Chili Peppers? And he said, that’s not what we do.<\/p>\n<\/blockquote>\n

(Rick Rubin, Rick Beato interview, 2024)<\/em><\/p>\n

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La joliesse de la chanson a rendu certains premiers fans m\u00e9fiants, comme si la tendresse \u00e9tait une trahison plut\u00f4t qu’une pi\u00e8ce plus dure \u00e0 entrer. Ce que le disque fait vraiment, c’est refuser l’uniforme du groupe. Il n’y a pas de rap o\u00f9 se cacher. La ville de Los Angeles est aim\u00e9e dans le dernier couplet avec une d\u00e9votion qui sonne comme un homme \u00e0 court de personnes. Ce tournant, de l’isolement vers une ligne d’horizon, est le vrai pont du morceau. Rubin avait raison : le groupe n’\u00e9tait pas seulement un groupe de funk. Il avait aussi raison de dire qu’ils ne le savaient pas avant que la bande soit dans le monde et que le monde r\u00e9ponde.<\/p>\n

Ce qui reste, c’est un calme que le catalogue s’autorise rarement. Under the Bridge<\/em> sonne encore comme une fin d’apr\u00e8s-midi en voiture, le carnet pas encore un tube, le chanteur pas encore s\u00fbr d’avoir le droit d’\u00eatre aussi peu gard\u00e9. Le tube a eu lieu. La part sans garde ne s’est pas perdue, et c’est le miracle. On entend la r\u00e9ticence dans la voix. C’est le son d’un homme qui lit quelque chose qu’il esp\u00e9rait que personne ne trouverait.<\/p>\n

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