{"id":8641,"date":"2026-03-10T09:00:00","date_gmt":"2026-03-10T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/take-on-me-a-ha-2\/"},"modified":"2026-09-19T23:59:14","modified_gmt":"2026-09-19T21:59:14","slug":"take-on-me-a-ha-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/take-on-me-a-ha-2\/","title":{"rendered":"Take On Me – a-ha"},"content":{"rendered":"

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

Un dessin au crayon qui a appris le refrain<\/h3>\n

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Une bo\u00eete \u00e0 rythmes et un riff de clavier arrivent d\u00e9j\u00e0 en course, clairs comme une poursuite de dessin anim\u00e9, et la voix de Morten Harket monte jusqu’\u00e0 ce que la note soit plus haute que la pi\u00e8ce ne l’attendait.<\/p>\n

a-ha n’a pas r\u00e9ussi Take On Me<\/em> du premier coup. P\u00e5l Waaktaar en avait l’ossature, avec Magne Furuholmen, et une version de 1984 produite par Tony Mansfield a \u00e0 peine voyag\u00e9. Warner les a laiss\u00e9s r\u00e9essayer. Alan Tarney a produit l’enregistrement que le monde conna\u00eet, pour Hunting High and Low<\/em>, sorti en 1985. Le single, dans ses habits neufs, atteint la 2e place en Grande-Bretagne et la 1re en Am\u00e9rique. Harket chante le refrain \u00e0 une hauteur qui sonne comme un effet sp\u00e9cial et qui n’est qu’une voix. La vid\u00e9o, r\u00e9alis\u00e9e par Steve Barron, rotoscop\u00e9e par Michael Patterson, tire une fille au crayon hors d’une bande dessin\u00e9e et l’emm\u00e8ne dans un caf\u00e9, en partie tourn\u00e9 au Kim’s Cafe de Londres, et elle a fait autant que le mix. On ne s\u00e9pare plus le dessin du fausset. Ils sont arriv\u00e9s ensemble, la troisi\u00e8me fois qu’on a demand\u00e9 \u00e0 la chanson d’exister.<\/p>\n

Harket a \u00e9cart\u00e9 l’id\u00e9e que la note haute \u00e9tait un calcul. La m\u00e9lodie allait l\u00e0, et il est all\u00e9 avec elle. Cette simplicit\u00e9 se manque facilement sous la magie de la vid\u00e9o. La production de Tarney est brillante et serr\u00e9e, la basse de synth\u00e9 qui rebondit, les guitares polies, la voix \u00e9norme. La figure de clavier de Furuholmen est le bout que les amateurs essaient encore de jouer et ratent d’un doigt. La chanson de Waaktaar, sous le morceau c\u00e9l\u00e8bre, est une pri\u00e8re pour \u00eatre pris au s\u00e9rieux par quelqu’un qui part, sujet ordinaire sous un manteau extraordinaire. Le manteau est la raison pour laquelle elle est encore \u00e0 la radio. La pri\u00e8re est la raison pour laquelle elle marche encore quand le dessin est \u00e9teint.<\/p>\n

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\n

La note haute n’\u00e9tait pas un coup. La m\u00e9lodie allait l\u00e0, et moi aussi.<\/p>\n<\/blockquote>\n

(Morten Harket, entretien)<\/em><\/p>\n

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En concert, l’\u00e9preuve est de savoir s’il montera encore. Il monte, soir apr\u00e8s soir, et la salle attend cela comme une f\u00eate attend un feu d’artifice, ce qui est injuste pour un groupe qui a \u00e9crit d’autres chansons et juste pour celle-ci. La vid\u00e9o au crayon a \u00e9t\u00e9 copi\u00e9e jusqu’\u00e0 ce que les copies soient fatigu\u00e9es. Le disque ne l’est pas. C’est un ouvrage de 1985, trois jeunes Norv\u00e9giens dans des studios londoniens, un producteur qui comprenait la radio, un chanteur dont l’\u00e9tendue n’\u00e9tait pas une rumeur. La version de Mansfield est une note de bas de page. Celle de Tarney est la porte.<\/p>\n

Ce qui reste, c’est la joie d’une difficult\u00e9 rendue semblable au jeu. Le riff est simple jusqu’\u00e0 ce qu’on essaie. Le refrain est un sourire jusqu’\u00e0 la derni\u00e8re mesure, quand la voix doit le penser. a-ha a pass\u00e9 des ann\u00e9es \u00e0 \u00eatre la vid\u00e9o, et la vid\u00e9o est merveilleuse, un caf\u00e9, une bande dessin\u00e9e, une main \u00e0 travers un mur de graphite. Dessous, une chanson sur le fait d’\u00eatre emmen\u00e9, pris au s\u00e9rieux, emmen\u00e9 n’importe o\u00f9 sauf laiss\u00e9. Les synth\u00e9s brillent. La pri\u00e8re non. Cette double vie est la raison pour laquelle un dessin de 1985 arr\u00eate encore une cuisine.<\/p>\n

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