{"id":8683,"date":"2026-08-15T16:00:00","date_gmt":"2026-08-15T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/nothing-compares-2-u-sinead-oconnor-2\/"},"modified":"2026-09-19T23:59:16","modified_gmt":"2026-09-19T21:59:16","slug":"nothing-compares-2-u-sinead-oconnor-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/nothing-compares-2-u-sinead-oconnor-2\/","title":{"rendered":"Nothing Compares 2 U – Sin\u00e9ad O’Connor"},"content":{"rendered":"

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Deux larmes qui n’\u00e9taient pas dans le script<\/h3>\n

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Une bo\u00eete \u00e0 rythmes tient une pulsation lente, presque fun\u00e8bre, des cordes entrent comme une pi\u00e8ce qui se refroidit, et la voix de Sin\u00e9ad O’Connor arrive nue, comptant les heures depuis que l’amour est parti comme si le calcul pouvait le ramener.<\/p>\n

Prince \u00e9crit Nothing Compares 2 U<\/em> en 1985 pour le groupe The Family. O’Connor l’enregistre pour I Do Not Want What I Haven’t Got<\/em>, sorti en 1990, et produit la piste elle-m\u00eame. Elle va au num\u00e9ro un en Grande-Bretagne et en Am\u00e9rique. L’arrangement est s\u00e9v\u00e8re : un lit synth\u00e9tique, une voix sans endroit o\u00f9 se cacher, une m\u00e9lodie qui revient au m\u00eame chagrin. John Maybury tourne la vid\u00e9o surtout comme un visage, \u00e0 Paris, la Seine et le parc de Saint-Cloud aper\u00e7us puis abandonn\u00e9s. Sur la ligne des fleurs que sa m\u00e8re avait plant\u00e9es, deux larmes coulent. Elle a dit qu’elle n’avait pas pleur\u00e9 en studio. La cam\u00e9ra a fait ce que le micro n’avait pas fait. Sa m\u00e8re, Marie, \u00e9tait morte dans un accident de voiture en 1985, quand Sin\u00e9ad avait dix-huit ans. La relation avait \u00e9t\u00e9 violente. Les larmes n’\u00e9taient pas le jeu d’une amoureuse. Elles \u00e9taient celles d’une fille.<\/p>\n

Elle l’a dit clairement, des ann\u00e9es plus tard, \u00e0 la BBC et dans ses m\u00e9moires. Elle ne savait pas qu’elle allait pleurer dans la vid\u00e9o, parce qu’elle n’avait pas pleur\u00e9 en l’enregistrant. Chaque fois qu’elle chantait la chanson elle pensait \u00e0 sa m\u00e8re. Elle n’a jamais cess\u00e9 de pleurer pour elle. Le monde a entendu une rupture et est tomb\u00e9 amoureux d’une larme. Elle a laiss\u00e9 la mauvaise lecture en public et l’a corrig\u00e9e quand elle le pouvait. Le texte de Prince, \u00e9crit dans la p\u00e9riode br\u00fblante autour de Purple Rain<\/em>, est la plainte d’un amant. Dans sa bouche le mama du jardin devient le sujet. Les fleurs sont mortes quand tu es partie. Ce n’est pas une m\u00e9taphore qu’elle a invent\u00e9e. C’est la ligne qui a ouvert la serrure.<\/p>\n

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Je ne savais pas que j’allais pleurer en chantant dans la vid\u00e9o, parce que je n’avais pas pleur\u00e9 en l’enregistrant en studio. Chaque fois que je chante cette chanson je pense \u00e0 ma m\u00e8re.<\/p>\n<\/blockquote>\n

(Sin\u00e9ad O’Connor, BBC)<\/em><\/p>\n

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Le single l’a faite, bri\u00e8vement, la chanteuse la plus visible du monde, ce qu’elle ne voulait pas et qu’elle n’a pas jou\u00e9 correctement. La t\u00eate ras\u00e9e, le regard, le refus d’\u00eatre reconnaissante de la fa\u00e7on habituelle, tout cela reposait sur une voix qui aurait pu \u00eatre une carri\u00e8re de ballades. Elle a choisi d’autres combats. La chanson est rest\u00e9e, reprise, revenue, jamais am\u00e9lior\u00e9e. Les versions plus tardives de Prince sont des curiosit\u00e9s \u00e0 c\u00f4t\u00e9 de celle-ci. L’original de The Family est un autre genre. Celle d’O’Connor est le standard, non parce qu’elle a mieux chant\u00e9 que l’auteur, mais parce qu’elle a laiss\u00e9 une mort priv\u00e9e entrer dans une m\u00e9lodie publique et n’a pas essuy\u00e9 la preuve.<\/p>\n

Ce qui reste, c’est le visage, et le compte des jours. Sept heures et quinze jours, une pr\u00e9cision qui rend le deuil administratif et donc pire. Les cordes ne consolent pas. La bo\u00eete \u00e0 rythmes ne danse pas. Une jeune femme en 1990 regarde un objectif et \u00e9choue, pendant vingt secondes, \u00e0 n’\u00eatre qu’une chanteuse. Maybury a gard\u00e9 l’\u00e9chec. La radio l’a pass\u00e9 jusqu’\u00e0 ce que la larme soit c\u00e9l\u00e8bre et la raison non. La raison est dans sa propre phrase, r\u00e9p\u00e9t\u00e9e chaque fois qu’on le lui demandait. La m\u00e8re. Le jardin. La chanson qui devait parler d’un homme, et qui est devenue, dans la seule version qui compte, une visite.<\/p>\n

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Une bo\u00eete \u00e0 rythmes tient une pulsation lente, presque fun\u00e8bre, des cordes entrent comme une pi\u00e8ce qui se refroidit, et la voix de Sin\u00e9ad O’Connor arrive nue, comptant les heures depuis que l’amour est parti comme si le calcul pouvait le ramener.<\/p>\n","protected":false},"author":1,"featured_media":8679,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[844],"class_list":["post-8683","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-sinead-oconnor"],"yoast_head":"\nNothing Compares 2 U - Sin\u00e9ad O'Connor - 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\/nothing-compares-2-u-sinead-oconnor-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Nothing Compares 2 U - 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