{"id":8425,"date":"2026-05-23T16:00:00","date_gmt":"2026-05-23T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/smoke-on-the-water-deep-purple-2\/"},"modified":"2026-09-20T00:03:11","modified_gmt":"2026-09-19T22:03:11","slug":"smoke-on-the-water-deep-purple-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/smoke-on-the-water-deep-purple-2\/","title":{"rendered":"Smoke on the Water – Deep Purple"},"content":{"rendered":"

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Un riff \u00e9crit pendant que le lac \u00e9tait encore gris<\/h3>\n

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Quatre notes, puis un silence, puis les m\u00eames quatre avec une queue, et la phrase la plus emprunt\u00e9e du rock est d\u00e9j\u00e0 finie. Smoke on the Water<\/em> ne dramatise pas un incendie. Il d\u00e9pose un rapport. La voix d’Ian Gillan est presque conversationnelle, un homme qui raconte ce qu’il a vu depuis un restaurant pendant qu’un casino br\u00fblait, et le groupe derri\u00e8re lui ne s’int\u00e9resse pas \u00e0 la m\u00e9taphore. La fum\u00e9e est de la fum\u00e9e. L’eau est le lac L\u00e9man. Le riff est la seule po\u00e9sie qu’ils se sont permise, et il est si physique que des gens qui ne savent rien jouer d’autre savent jouer \u00e7a.<\/p>\n

Le 4 d\u00e9cembre 1971, pendant un concert de Frank Zappa au casino de Montreux, quelqu’un tire une fus\u00e9e de d\u00e9tresse dans le plafond de rotin. Le b\u00e2timent part. Deep Purple, en ville pour enregistrer Machine Head<\/em> avec le studio mobile des Rolling Stones, regarde. Claude Nobs, l’homme du festival qu’ils appellent Funky Claude, sort des gens. Le groupe s’installe au Grand H\u00f4tel, des c\u00e2bles par les fen\u00eatres, le mat\u00e9riel dans les couloirs, et se retrouve \u00e0 court d’album. Le riff \u00e9tait une balance, celui de Ritchie Blackmore, sans texte. Le dernier jour l’ing\u00e9nieur dit qu’il manque des minutes. Gillan et Roger Glover \u00e9crivent la biographie de la semaine sur la jam : Zappa, la fus\u00e9e, le mobile, la course contre l’heure suisse. L’album sort en mars 1972, produit par le groupe. Un bouche-trou, encore, comme Gillan l’a dit, devient ce dont le si\u00e8cle se souvient.<\/p>\n

En concert, le riff est un test : une salle peut-elle arriver ensemble. Elle le peut toujours, ce qui a fait de la chanson une blague et un standard \u00e0 la fois. Les magasins de guitares l’interdisent et \u00e9chouent. L’interdiction est le compliment. Un reportage aussi plat n’aurait pas d\u00fb devenir un monument. Il l’est devenu, parce que le monument n’est que quatre notes et une phrase vraie, et les phrases vraies, dans le rock, sont plus rares que les incendies.<\/p>\n

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\n

The engineer told us on the last day, man, we’re several minutes short for an album. So we dug it out, and Roger and I wrote a biographical account of the making of the record.<\/p>\n<\/blockquote>\n

(Ian Gillan, Songfacts interview)<\/em><\/p>\n

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Le son de Blackmore, une Stratocaster dans un ampli \u00e9troit et fort, est la raison pour laquelle le riff a surv\u00e9cu \u00e0 sa simplicit\u00e9. La simplicit\u00e9 sans grain est une comptine. Celle-ci a du grit dans la chute de la note. Le texte de Gillan n’invente pas de vilain au-del\u00e0 de some stupid with a flare gun, ce qui est du journalisme, pas un mythe. Nobs est nomm\u00e9 parce qu’il a m\u00e9rit\u00e9 le nom. La c\u00e9l\u00e9brit\u00e9 du morceau a un peu g\u00ean\u00e9 le groupe plus tard, comme un tube n\u00e9 d’une balance g\u00eane toujours. La g\u00eane n’est pas un argument musical. Le titre sonne encore comme des hommes dans un couloir froid qui essaient de finir un travail avant que la police, ou l’horloge, ou l’h\u00f4tel, frappe.<\/p>\n

Ce qui reste, c’est le lac. On peut entendre le reportage et manquer l’image : de la fum\u00e9e couch\u00e9e sur l’eau apr\u00e8s que le ridicule est devenu tragique et avant que quiconque l’ait \u00e9crit. Smoke on the Water<\/em> est cette heure-l\u00e0, mise sur une figure qu’un enfant peut apprendre et qu’un professionnel ne peut pas fuir. Le casino a disparu depuis longtemps. Le riff est la fa\u00e7on dont la nuit a refus\u00e9 de rester locale.<\/p>\n

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