{"id":8737,"date":"2026-07-21T09:00:00","date_gmt":"2026-07-21T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/1979-the-smashing-pumpkins-2\/"},"modified":"2026-09-19T23:59:28","modified_gmt":"2026-09-19T21:59:28","slug":"1979-the-smashing-pumpkins-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/1979-the-smashing-pumpkins-2\/","title":{"rendered":"1979 – The Smashing Pumpkins"},"content":{"rendered":"

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Un po\u00e8me au feu rouge, laiss\u00e9 exactement comme il est tomb\u00e9<\/h3>\n

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Une bo\u00eete \u00e0 rythmes tient une pulsation petite et t\u00eatue, plus proche d’une voiture au ralenti que d’un groupe qui arrive. Les guitares entrent tard, molles sur les bords, et Billy Corgan chante comme si le r\u00e9troviseur faisait la moiti\u00e9 du travail. 1979<\/em> ne d\u00e9crit pas tant une ann\u00e9e que le sentiment d’en avoir une derri\u00e8re soi et une autre, plus grande et vide, \u00e0 travers le pare-brise. La voix est en retrait dans le mix. La jeunesse, ici, ne se crie pas. On la regarde partir, par un temps ordinaire, \u00e0 un feu qui dure trop.<\/p>\n

Corgan a racont\u00e9 le temps qu’il faisait. Il \u00e9tait en voiture, les essuie-glaces en marche, et la sensation est arriv\u00e9e enti\u00e8re : l’enfance dans le miroir, la vie qu’il esp\u00e9rait encore devant, ni l’une ni l’autre dans ses mains. Il a \u00e9crit un po\u00e8me et, chose rare chez lui, l’a chant\u00e9 sans le modifier. Le titre \u00e9tait un nom qu’il fallait donner au sentiment. Il n’\u00e9crivait pas, au sens litt\u00e9ral, depuis l’int\u00e9rieur de 1979. Il a dit l’avoir \u00e9crit au milieu des ann\u00e9es quatre-vingt-dix sur le bord d’avoir dix-sept ou dix-huit ans, un travail, une voiture, les attaches de la maison et de l’\u00e9cole encore l\u00e0. Quand le groupe \u00e9tait au fond de Mellon Collie and the Infinite Sadness<\/em>, Flood a entendu une passe et \u00e9tait pr\u00eat \u00e0 la laisser. Corgan a pris l’h\u00e9sitation pour un d\u00e9fi, a fini la chanson dans la nuit, et Flood, le lendemain, l’a mise sur l’album apr\u00e8s une \u00e9coute. Le double album, produit par Flood, Alan Moulder et Corgan, est sorti en octobre 1995, en grande partie enregistr\u00e9 au Chicago Recording Company.<\/p>\n

Le clip, r\u00e9alis\u00e9 par Jonathan Dayton et Valerie Faris, a mis des adolescents dans une voiture et a laiss\u00e9 la nuit faire le reste : sup\u00e9rettes, une f\u00eate, les petites ill\u00e9galit\u00e9s d’\u00eatre presque parti. Cela collait au refus du texte de culminer. Sur sc\u00e8ne les Pumpkins pouvaient changer n’importe quoi en orage, mais 1979<\/em> restait une glisse. La batterie live de Jimmy Chamberlin \u00e9paississait la machine sans casser sa marche. La radio, qui avait pris le groupe pour grandiose et bless\u00e9, avait soudain un single qui sentait la vitre baiss\u00e9e. C’est devenu la chanson que les inconnus connaissaient.<\/p>\n

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Je l’avais \u00e9crit comme un po\u00e8me, et toutes les paroles sont en r\u00e9alit\u00e9 telles que je les avais \u00e9crites. Quand j’ai fait la chanson, je cherchais quelque chose, je suis tomb\u00e9 sur le po\u00e8me et je l’ai simplement chant\u00e9.<\/p>\n<\/blockquote>\n

(Billy Corgan, Variety, 2023)<\/em><\/p>\n

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Le tour, c’est le po\u00e8me non retouch\u00e9. Les autres textes de Corgan passaient souvent par la g\u00eane expr\u00e8s, des lignes gard\u00e9es parce qu’elles le faisaient tressaillir. Ici le tressaillement \u00e9tait le sentiment lui-m\u00eame, et il a laiss\u00e9 les mots dans l’ordre o\u00f9 ils \u00e9taient arriv\u00e9s au feu. Voil\u00e0 pourquoi les images ne discutent pas. Shakedown, l’ann\u00e9e, la ville qu’on quitte en ne partant pas tout \u00e0 fait. Le double album \u00e9tait un adieu \u00e0 la jeunesse dit depuis son dernier centim\u00e8tre. Ce morceau est le centim\u00e8tre.<\/p>\n

Ce qui reste, c’est le ralenti. D’autres chansons des Pumpkins prennent la grille d’assaut. 1979<\/em> s’assoit dans la voiture avec vous et ne propose pas de conduire. L’ann\u00e9e du titre est un leurre. Le sujet, c’est le moment o\u00f9 l’on remarque le leurre, et le feu, enfin, passe au vert.<\/p>\n

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