{"id":8509,"date":"2026-08-06T11:00:00","date_gmt":"2026-08-06T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/born-to-run-bruce-springsteen-2\/"},"modified":"2026-09-19T23:59:07","modified_gmt":"2026-09-19T21:59:07","slug":"born-to-run-bruce-springsteen-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/born-to-run-bruce-springsteen-2\/","title":{"rendered":"Born to Run – Bruce Springsteen"},"content":{"rendered":"

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Une route faite pour distancer la ville<\/h3>\n

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La batterie n’entre pas, elle enfonce la porte, et une phrase de guitare monte sur le manche comme quelqu’un qui v\u00e9rifie la rue avant que le feu change.<\/p>\n

Bruce Springsteen a pass\u00e9 des mois sur Born to Run<\/em>, d’abord aux 914 Sound Studios de Blauvelt, dans l’\u00c9tat de New York, puis au Record Plant de Manhattan, avec Mike Appel et Jon Landau comme producteurs, et son propre nom au g\u00e9n\u00e9rique. L’album qui porte la chanson sort le 25 ao\u00fbt 1975. Il voulait un disque avec la pression verbale de Bob Dylan, la densit\u00e9 de Phil Spector, et une voix capable de ce que faisait Roy Orbison, ce que personne, il le savait, ne pouvait faire. Clarence Clemons r\u00e9pond au couplet par un saxophone qui sonne comme un second moteur. Wendy n’est pas un symbole coll\u00e9. Elle est la personne sur le si\u00e8ge passager, et la ville derri\u00e8re eux sent l’huile et l’\u00e9t\u00e9.<\/p>\n

En concert, la chanson cesse d’\u00eatre un probl\u00e8me de studio et devient un pacte. Le groupe frappe le temps fort, la salle chante le titre avant lui, et le pont, l\u00e0 o\u00f9 l’autoroute les tire, sonne encore comme une d\u00e9cision plut\u00f4t qu’un refrain. Le single n’a atteint que la 23e place en Am\u00e9rique. L’album a fait le travail lourd, les couvertures, les disputes. Landau avait d\u00e9j\u00e0 \u00e9crit, l’ann\u00e9e d’avant, qu’il avait vu l’avenir du rock. Le morceau est l’acte de ce pari : trop de guitares, un glockenspiel qui brille dans le mur de son, un texte qui pr\u00e9f\u00e8re partir plut\u00f4t qu’expliquer.<\/p>\n

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Quand je suis entr\u00e9 en studio pour enregistrer Born to Run, je voulais faire un disque avec des mots comme Bob Dylan, qui sonne comme les productions de Phil Spector, mais surtout je voulais chanter comme Roy Orbison. Or tout le monde sait que personne ne chante comme Roy Orbison.<\/p>\n<\/blockquote>\n

(Bruce Springsteen, Rock and Roll Hall of Fame, 1987)<\/em><\/p>\n

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La fuite du texte n’est pas propre. Des clochards comme nous, chante-t-il, et la formule admet les chances. La chanson croit quand m\u00eame \u00e0 la nuit. Elle a \u00e9t\u00e9 l’ouverture, la cl\u00f4ture, la promesse qu’il fait \u00e0 une salle qui conna\u00eet d\u00e9j\u00e0 chaque virage. Sur les tourn\u00e9es de 1975, et sur toutes celles d’apr\u00e8s, le saxophone arrive encore comme une m\u00e9t\u00e9o. Des gens qui n’ont jamais vu le Jersey Shore la chantent comme si la route \u00e9tait locale. C’est le tour de l’\u00e9criture. Elle est pr\u00e9cise, et elle voyage.<\/p>\n

Ce qui reste, c’est la tension entre romance et kilom\u00e9trage. Springsteen n’a pas tant \u00e9crit un r\u00eave qu’une sortie. Les guitares s’empilent jusqu’\u00e0 ce que la st\u00e9r\u00e9o peine \u00e0 les tenir, et dessous une voix jeune essaie de sonner comme un homme d\u00e9j\u00e0 parti. Orbison reste hors d’atteinte, comme il l’a dit. L’ombre de Dylan passe et s’en va. Ce qu’il a vraiment fait, c’est une ville de quatre minutes dont on peut sortir, vitres baiss\u00e9es, avec la certitude que le matin sera plus dur que la chanson.<\/p>\n

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