{"id":9643,"date":"2026-09-19T23:35:05","date_gmt":"2026-09-19T21:35:05","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/black-sabbath-the-first-bruise-2\/"},"modified":"2026-09-19T23:35:05","modified_gmt":"2026-09-19T21:35:05","slug":"black-sabbath-the-first-bruise-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/black-sabbath-the-first-bruise-2\/","title":{"rendered":"Black Sabbath – La premi\u00e8re meurtrissure"},"content":{"rendered":"

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Un triton sous la pluie de Birmingham<\/h3>\n

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Birmingham, une ville d’usines et de pluie, fin 1968. Quatre musiciens qui jouent du blues sous des noms qui ne vont pas, Polka Tulk, puis Earth, se tiennent en face d’un cin\u00e9ma qui passe un film d’horreur. Le film s’appelle Black Sabbath<\/em>. Geezer Butler \u00e9crira un texte \u00e0 partir d’un cauchemar. Tony Iommi jouera un riff qui utilise le triton, l’intervalle que la musique occidentale a appel\u00e9 celui du diable, non comme un gadget mais comme la seule forme assez sombre. Ozzy Osbourne le chantera comme si le cauchemar \u00e9tait un m\u00e9tier. Bill Ward frappera la batterie comme un homme qui emp\u00eache une machine de sortir de la pi\u00e8ce. Le club de blues est encore dans leurs mains. Quelque chose de plus lourd vient de s’asseoir sur le riff et refuse de partir.<\/p>\n

Les mains d’Iommi font partie de l’origine, et pas comme une romance. \u00c0 dix-sept ans, dans un atelier de t\u00f4lerie, il perd le bout de deux doigts de la main qui frete. Il fabrique des d\u00e9s, d\u00e9tend les cordes pour qu’elles c\u00e8dent, et invente du m\u00eame coup un poids que d’autres passeront des d\u00e9cennies \u00e0 copier sans la blessure. Le premier album, Black Sabbath<\/em>, est enregistr\u00e9 vite, en une journ\u00e9e selon le r\u00e9cit souvent r\u00e9p\u00e9t\u00e9, produit par Rodger Bain, et sort le vendredi 13 f\u00e9vrier 1970. Le titre est le manifeste : la pluie, une cloche, le triton, une voix qui ne cligne pas. N.I.B.<\/em> et The Wizard<\/em> montrent qu’ils peuvent encore swinguer. Le swing porte simplement plus de fer.<\/p>\n

Paranoid<\/em>, septembre 1970, est celui que le monde ne peut pas \u00e9viter. La chanson-titre est \u00e9crite vite parce que l’album a besoin d’un morceau court, ce qui est une blague utile sur les chefs-d’\u0153uvre. War Pigs<\/em> est le vrai centre, une protestation qui marche au pas. Iron Man<\/em> est un riff si clair qu’un enfant peut le chanter et qu’un guitariste peut y passer une vie. Fairies Wear Boots<\/em> ferme la porte avec un sourire qui a encore de la terre dessus. On ne les appelle pas encore les inventeurs d’un genre dans tous les journaux. Les journaux rattraperont. Master of Reality<\/em> en 1971 baisse encore l’accordage. Vol. 4<\/em> en 1972, enregistr\u00e9 \u00e0 Los Angeles, avoue la coca\u00efne dans le titre Snowblind<\/em> et trouve quand m\u00eame Changes<\/em>, une ballade au piano qui prouve que la meurtrissure a un c\u00f4t\u00e9 tendre. Sabbath Bloody Sabbath<\/em> en 1973 est orn\u00e9. Sabotage<\/em> en 1975 est en col\u00e8re contre le business, et meilleur pour \u00e7a.<\/p>\n

Les quatre classiques ne tiennent pas. Ozzy est renvoy\u00e9 en 1979, une s\u00e9paration qui ressemblera, plus tard, \u00e0 deux carri\u00e8res n\u00e9es en m\u00eame temps. Ronnie James Dio arrive, et Heaven and Hell<\/em> en 1980 est un autre metal, plus op\u00e9ra, la guitare d’Iommi toujours comme loi. Les formations changeront. Ward partira et reviendra. Butler partira et reviendra. Le nom, port\u00e9 par Iommi, devient un navire \u00e0 \u00e9quipage tournant et \u00e0 coque reconnaissable. Aucun chapitre ult\u00e9rieur n’efface les six premiers albums. Ils gravitent autour. Le groupe solo d’Ozzy, avec Randy Rhoads puis une longue vie am\u00e9ricaine, fait de lui une c\u00e9l\u00e9brit\u00e9 que les ann\u00e9es Birmingham n’exigeaient pas. Le riff n’a pas besoin de la c\u00e9l\u00e9brit\u00e9. Il fonctionne d\u00e9j\u00e0.<\/p>\n

En 1997 les quatre originaux rejouent ensemble, et les retrouvailles ne sont pas une f\u00eate costum\u00e9e. Elles rappellent de combien peu de mat\u00e9riel le son a vraiment besoin : une figure de guitare, une basse qui bouge comme un second batteur, une voix qui peut sonner effray\u00e9e et mena\u00e7ante dans la m\u00eame ligne. 13<\/em>, en 2013, produit par Rick Rubin, ram\u00e8ne Ozzy, Iommi et Butler en studio sans Ward, ce qui est une blessure que les fans discutent et que le disque ne soigne pas tout \u00e0 fait. La tourn\u00e9e The End se ferme \u00e0 Birmingham le 4 f\u00e9vrier 2017. On croit alors \u00e0 une derni\u00e8re r\u00e9v\u00e9rence. Ce n’est pas tout \u00e0 fait la derni\u00e8re.<\/p>\n

Le 5 juillet 2025, \u00e0 Villa Park, dans la ville qui les a faits, Back to the Beginning r\u00e9unit les quatre originaux une fois encore, Ozzy assis, les riffs debout. Il meurt le 22 juillet, dix-sept jours plus tard. La chronologie compte parce que l’histoire du groupe a toujours \u00e9t\u00e9 celle d’un corps sous pression : les doigts d’Iommi, la voix d’Ozzy et sa longue survie, le swing de Ward, le texte de Butler qui a pris les films d’horreur et l’angoisse des usines pour en faire des chansons qu’on peut crier. Le cri a surv\u00e9cu au chanteur. Ce n’est pas une consolation. C’est la forme du travail.<\/p>\n

Le culte de Black Sabbath est le culte de la premi\u00e8re meurtrissure. D’autres groupes ont fait le metal plus vite, plus technique, plus th\u00e9\u00e2tral. Sabbath l’a fait lourd au sens premier : un poids qu’on sent dans le sternum. Le triton n’est plus interdit. C’est un dialecte. Ils l’ont parl\u00e9 avant qu’il ait un dictionnaire, dans une ville qui comprenait les machines, et ils ont laiss\u00e9 la pluie dans l’enregistrement. On l’entend encore si l’on monte le volume assez haut pour \u00eatre honn\u00eate.<\/p>\n

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