{"id":8821,"date":"2026-07-14T09:00:00","date_gmt":"2026-07-14T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/black-steel-tricky-2\/"},"modified":"2026-09-19T23:59:33","modified_gmt":"2026-09-19T21:59:33","slug":"black-steel-tricky-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/black-steel-tricky-2\/","title":{"rendered":"Black Steel – Tricky"},"content":{"rendered":"

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Une \u00e9vasion chant\u00e9e par quelqu’un qui n’\u00e9tait pas dans la cellule<\/h3>\n

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Le tempo a \u00e9t\u00e9 baiss\u00e9 jusqu’\u00e0 ce que la menace puisse s’asseoir. Black Steel in the Hour of Chaos<\/em> de Public Enemy \u00e9tait un sprint et un manifeste. La version de Tricky, simplement Black Steel<\/em> sur la pochette, est une pi\u00e8ce aux lumi\u00e8res basses et une voix jeune qui parcourt le m\u00eame texte comme si elle le lisait sur un mur. Martina Topley-Bird n’imite pas Chuck D. Elle refuse l’imitation, et c’est tout l’argument de la reprise. Une boucle de batterie, couleur indienne, une basse qui arrive tard, une guitare qui racle plut\u00f4t qu’elle ne riffe. Tricky marmonne aux bords, switch in, switch off, un homme \u00e0 moiti\u00e9 dans la chanson et \u00e0 moiti\u00e9 dans le couloir. L’\u00e9vasion est encore dans les mots. La panique a \u00e9t\u00e9 remplac\u00e9e par un regard.<\/p>\n

Elle appartient \u00e0 Maxinquaye<\/em>, paru en 1995, le disque qui a fait de Tricky un nom \u00e0 part de Massive Attack. Mark Saunders a coproduit et a d\u00e9crit la s\u00e9ance comme une le\u00e7on d’oubli de la fa\u00e7on dont on fait les disques. Tricky voulait une reprise. Il a commenc\u00e9 \u00e0 \u00e9crire les lignes de Chuck pour Martina, puis s’est arr\u00eat\u00e9 et lui a dit que \u00e7a suffirait, r\u00e9p\u00e8te \u00e7a. Elle a chant\u00e9 sur presque rien, une boucle de tabla, et a invent\u00e9 une m\u00e9lodie sans carte. Saunders pensait que ce n’\u00e9tait pas fini. Tricky pensait que si. Plus tard des overdubs d’un groupe sont pass\u00e9s pendant qu’il \u00e9tait sorti, et il est revenu, les a entendus, et a ajout\u00e9 son marmonnement dans la pr\u00e9cipitation. La premi\u00e8re chose sortie de sa bouche est ce qu’on entend. Elle \u00e9tait encore adolescente. L’album porte le nom de sa m\u00e8re, Maxine Quaye, morte quand il \u00e9tait petit. La reprise ne l’explique pas.<\/p>\n

NME a fait de Maxinquaye<\/em> son album de l’ann\u00e9e, devant des disques britanniques plus bruyants qui attendaient le prix. Black Steel<\/em> \u00e9tait le morceau qui prouvait la m\u00e9thode d’un geste : ralentir un classique jusqu’\u00e0 ce que le classique doive parler autrement. Sur sc\u00e8ne la chanson restait instable, Martina devant, Tricky dans l’ombre de son propre arrangement, la guitare qui \u00e9clate puis se retire. Il a dit au Guardian, des ann\u00e9es plus tard, pourquoi une femme devait la chanter. Il \u00e9tait frustr\u00e9 que des auteurs aussi bons que Rakim, Slick Rick et Chuck D soient mis dans une case parce qu’ils \u00e9taient rappers. Il voulait que Martina porte le texte en signe d’appr\u00e9ciation. Il a rencontr\u00e9 Chuck. Chuck n’a jamais comment\u00e9. Tricky pense qu’il a compris.<\/p>\n

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\n

J’\u00e9tais frustr\u00e9 \u00e0 l’\u00e9poque parce que les textes de rappeurs comme Rakim, Slick Rick et Chuck D \u00e9taient si bons et qu’on les mettait dans une case parce que c’\u00e9taient des rappeurs. Je voulais que Martina, une femme, le chante pour montrer mon appr\u00e9ciation.<\/p>\n<\/blockquote>\n

(Tricky, The Guardian, 2023)<\/em><\/p>\n

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Le risque \u00e9tait l’irrespect, et le r\u00e9sultat une seconde chanson qui n’efface pas la premi\u00e8re. On entend encore la prison. On ne peut plus entendre le tempo d’origine sans remarquer ce que Tricky a retir\u00e9 : la certitude, le crew, le cri. Ce qu’il a ajout\u00e9, c’est le doute, et une chanteuse qui n’avait pas \u00e9t\u00e9 dans cette cellule, ce qui rend la cellule plus effrayante. Saunders voulait nettoyer le souffle de la boucle et ne l’a jamais fait.<\/p>\n

Ce qui reste, c’est le regard. Black Steel<\/em> sonne encore comme une lettre lue par la mauvaise personne, c’est-\u00e0-dire la bonne. L’heure du chaos a \u00e9t\u00e9 \u00e9tir\u00e9e jusqu’\u00e0 ce qu’on puisse y marcher. Les lignes de Chuck survivent \u00e0 l’\u00e9tirement. Elles refusent seulement, dans cette pi\u00e8ce, d’\u00e9lever la voix.<\/p>\n

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