{"id":8539,"date":"2026-09-01T09:00:00","date_gmt":"2026-09-01T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/riders-on-the-storm-the-doors-2\/"},"modified":"2026-09-19T23:59:08","modified_gmt":"2026-09-19T21:59:08","slug":"riders-on-the-storm-the-doors-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/riders-on-the-storm-the-doors-2\/","title":{"rendered":"Riders on the Storm – The Doors"},"content":{"rendered":"

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

Un murmure laiss\u00e9 sur la sortie<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

La pluie tombe d\u00e9j\u00e0 quand le piano Rhodes entre, une figure de jazz sans urgence, et la voix de Jim Morrison arrive basse, comme s’il racontait l’histoire depuis le si\u00e8ge passager.<\/p>\n

Riders on the Storm<\/em> est enregistr\u00e9 entre d\u00e9cembre 1970 et janvier 1971 dans l’atelier des Doors, au 8512 Santa Monica Boulevard, produit par Bruce Botnick et le groupe, pour L.A. Woman<\/em>. Ray Manzarek joue du piano \u00e9lectrique. La guitare de Robby Krieger tremble en tr\u00e9molo. John Densmore tient une conduite douce et r\u00e9guli\u00e8re. La pluie et le tonnerre sont une m\u00e9t\u00e9o de studio, pos\u00e9s sous une chanson qui a commenc\u00e9, selon Krieger et Manzarek, comme une improvisation sur (Ghost) Riders in the Sky<\/em>. Morrison apporte un auto-stoppeur qui tue, figure d\u00e9j\u00e0 poursuivie dans un sc\u00e9nario, parente du vrai tueur Billy Cook. Puis le dernier couplet tourne, et demande l’amour, comme si l’orage avait chang\u00e9 d’avis. L’album sort en avril 1971. Le single suit en juin.<\/p>\n

Une fois la voix principale faite, Morrison murmure le texte par-dessus lui-m\u00eame, une seconde voix qui s’efface sous la premi\u00e8re. Manzarek a plus tard appel\u00e9 ce murmure la derni\u00e8re chose que Jim ait enregistr\u00e9e, une voix qui s’amincit vers l’\u00e9ternit\u00e9. Morrison part pour Paris. Il y meurt le 3 juillet 1971, \u00e0 vingt-sept ans. Le groupe a \u00e9t\u00e9 prudent, et parfois non, en transformant le calendrier en mythe. Ce qui est clair sur la bande, c’est le son : une chanson qui refuse le paroxysme, sept minutes sur l’album, l’orage qui s’\u00e9loigne. Sur sc\u00e8ne, tant qu’il \u00e9tait l\u00e0, c’\u00e9tait une fin qui ne voulait pas finir.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

\n

Il y a une voix murmur\u00e9e sur Riders on the Storm, si on \u00e9coute bien, une surimpression chuchot\u00e9e que Jim ajoute sous son chant. C’est la derni\u00e8re chose qu’il ait jamais faite.<\/p>\n<\/blockquote>\n

(Ray Manzarek, Uncut, 2011)<\/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

La radio a pris une version plus courte et n’a quand m\u00eame pas r\u00e9ussi \u00e0 la rendre ordinaire. La chanson a habit\u00e9 des films, des publicit\u00e9s, toute image qui a besoin d’une route mouill\u00e9e la nuit, et elle survit \u00e0 l’usure parce que l’enregistrement est pr\u00e9cis. On entend la pi\u00e8ce de Santa Monica, quatre hommes qui avaient failli se d\u00e9faire et qui, pendant quelques semaines, \u00e9taient de nouveau un groupe. Botnick, leur ing\u00e9nieur depuis des ann\u00e9es, a gard\u00e9 la voix s\u00e8che et la pluie large. Le contraste est le drame. Morrison ne crie pas. Il raconte, puis il se d\u00e9double en fant\u00f4me.<\/p>\n

Ce qui reste, c’est cette seconde voix. L’histoire de l’auto-stoppeur est du roman de gare, le tournant spirituel de la fin est sinc\u00e8re, et les deux tiennent dans un groove qui aurait pu venir d’un bar lounge si le bar avait un orage dehors. Le piano de Manzarek est le syst\u00e8me m\u00e9t\u00e9o. Quand le murmure arrive, la chanson cesse d’\u00eatre une sc\u00e8ne et devient un d\u00e9part. Il avait vingt-sept ans, et la bande ne le savait pas. Les auditeurs, si, et ce savoir change le fondu, qui n’\u00e9tait alors qu’un groupe emportant un bon tempo hors de la pi\u00e8ce.<\/p>\n

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La pluie tombe d\u00e9j\u00e0 quand le piano Rhodes entre, une figure de jazz sans urgence, et la voix de Jim Morrison arrive basse, comme s’il racontait l’histoire depuis le si\u00e8ge passager.<\/p>\n","protected":false},"author":1,"featured_media":8535,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[826],"class_list":["post-8539","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-the-doors"],"yoast_head":"\nRiders on the Storm - The Doors - 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\/riders-on-the-storm-the-doors-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Riders on the Storm - 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