{"id":9493,"date":"2026-02-05T10:00:00","date_gmt":"2026-02-05T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/london-calling-the-clash-2\/"},"modified":"2026-02-05T10:00:00","modified_gmt":"2026-02-05T09:00:00","slug":"london-calling-the-clash-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/london-calling-the-clash-2\/","title":{"rendered":"London Calling – The Clash"},"content":{"rendered":"

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

Le double album qui a cass\u00e9 la cl\u00f4ture punk<\/h3>\n

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\u00c0 la fin de l’\u00e9t\u00e9 1979, le premier uniforme du punk commence \u00e0 serrer, et The Clash r\u00e9pond en enregistrant un double album qui refuse de rester \u00e0 une seule place. London Calling<\/em> s’ouvre sur une guitare qui sonne comme une alarme et une voix qui sait d\u00e9j\u00e0 que l’alarme est en retard. Joe Strummer ne ricane pas tant qu’il ne fait un rapport. La ville du titre se noie, le bl\u00e9 est maigre, et le refrain veut encore vous faire danser. Sorti en Grande-Bretagne le 14 d\u00e9cembre 1979, vendu l\u00e0-bas au prix d’un seul album, c’est le rare double 33 tours qui ressemble \u00e0 une soir\u00e9e plut\u00f4t qu’\u00e0 un devoir. Dix-neuf chansons, et presque aucune n’accepte de porter la m\u00eame veste.<\/p>\n

Les s\u00e9ances se tiennent aux Wessex Sound Studios, cinq ou six semaines \u00e0 partir d’ao\u00fbt, Guy Stevens \u00e0 la production, Bill Price \u00e0 l’ing\u00e9nierie. Stevens n’est pas engag\u00e9 pour le rangement. Le groupe a d\u00e9crit une pi\u00e8ce tenue par le chaos : des chaises, du vin, un producteur qui dirige avec tout le corps parce que les chansons ont besoin d’un temps qu’il fait, pas d’une grille. Strummer et Mick Jones sortent d’un blocage d’\u00e9criture et d’un changement de management. Ce qui en ressort est un groupe qui a d\u00e9cid\u00e9 que le punk \u00e9tait un tempo de d\u00e9part, pas une fronti\u00e8re. Reggae, ska, rockabilly, R&B de La Nouvelle-Orl\u00e9ans, un peu de lounge, un peu de hard rock : chaque style est jou\u00e9 comme si le groupe avait grandi dedans, parce que, par morceaux, c’est le cas.<\/p>\n

Spanish Bombs<\/em> regarde une guerre civile et un pr\u00e9sent dans le m\u00eame souffle. Lost in the Supermarket<\/em>, chant\u00e9e par Jones, est la banlieue comme une sorte d’exil, fluorescente et seule. Clampdown<\/em> et Death or Glory<\/em> se disputent avec l’ambition elle-m\u00eame. The Guns of Brixton<\/em> donne \u00e0 Paul Simonon son premier vrai lead, une chanson de bassiste sur la pression et un quartier qui n’a pas besoin de traduction. Train in Vain<\/em> est finie si tard que les pochettes sont d\u00e9j\u00e0 imprim\u00e9es ; elle se cache \u00e0 la fin de la face quatre, non list\u00e9e, puis devient le tube que l’Am\u00e9rique entend en premier. Brand New Cadillac<\/em> et Revolution Rock<\/em> sont des reprises trait\u00e9es comme des nouvelles. Les chansons originales leur r\u00e9pondent \u00e0 la m\u00eame encre.<\/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

I didn’t want them to use it. I thought it was out of focus.<\/p>\n<\/blockquote>\n

(Pennie Smith, \u00e0 propos de sa photo de Paul Simonon au Palladium, New York, 21 septembre 1979)<\/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 pochette est l’autre moiti\u00e9 de l’argument. Le 21 septembre 1979, au Palladium de New York, Pennie Smith photographie Simonon qui plante sa basse dans la sc\u00e8ne. Le cadre est flou. Elle le croit inutilisable. Ray Lowry pose les lettres roses et vertes en \u00e9cho au premier album d’Elvis Presley, une blague priv\u00e9e qui devient le visage public du disque. Un groupe qui casse son instrument, habill\u00e9 dans les v\u00eatements de la musique qu’il \u00e9tait cens\u00e9 avoir tu\u00e9e : voil\u00e0 London Calling<\/em> en une image. Pas un rejet du pass\u00e9. Un refus de n’en \u00eatre qu’un seul chapitre.<\/p>\n

Ce qui dure, c’est la largeur. Beaucoup de groupes en 1979 savent jouer plus vite. Peu peuvent tenir une chanson d’amour, une chanson de guerre et une com\u00e9die de rudies dans la m\u00eame heure sans que les coutures se voient. The Clash le fait en traitant le genre comme une bo\u00eete \u00e0 outils plut\u00f4t que comme un v\u0153u. Posez le diamant n’importe o\u00f9. L’alarme sonne encore, et quelqu’un dans la pi\u00e8ce essaie encore de danser dessus, ce qui est soit du courage, soit de la politesse. Sur ce disque, c’est les deux.<\/p>\n

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\u00c0 la fin de l’\u00e9t\u00e9 1979, le premier uniforme du punk commence \u00e0 serrer, et The Clash r\u00e9pond en enregistrant un double album qui refuse de rester \u00e0 une seule place.<\/p>\n","protected":false},"author":1,"featured_media":9489,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"video","meta":{"footnotes":""},"categories":[288,287],"tags":[311,496],"class_list":["post-9493","post","type-post","status-publish","format-video","has-post-thumbnail","hentry","category-albums-fr","category-chroniques","tag-alternative-indie-punk-fr","tag-the-clash-fr","post_format-post-format-video"],"yoast_head":"\nLondon Calling - The Clash - 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\/chroniques\/london-calling-the-clash-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"London Calling - 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