{"id":9805,"date":"2026-05-18T10:00:00","date_gmt":"2026-05-18T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/abbey-road-the-beatles-2\/"},"modified":"2026-05-18T10:00:00","modified_gmt":"2026-05-18T08:00:00","slug":"abbey-road-the-beatles-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/abbey-road-the-beatles-2\/","title":{"rendered":"Abbey Road – The Beatles"},"content":{"rendered":"

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

La derni\u00e8re s\u00e9ance, habill\u00e9e en adieu<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Le 26 septembre 1969, les Beatles sortent le dernier album qu’ils enregistreront ensemble, et ils habillent l’adieu en travers\u00e9e d’une rue. Abbey Road<\/em> ne sonne pas comme un groupe qui se d\u00e9fait, et c’est une partie du tour. Les voix se verrouillent. La basse, jou\u00e9e par Paul McCartney sur la plus grande partie du disque, est assez m\u00e9lodique pour \u00eatre un second lead. George Harrison, si longtemps le compositeur junior de la pi\u00e8ce, offre Something<\/em> et Here Comes the Sun<\/em>, deux chansons qui ont surv\u00e9cu \u00e0 la dispute sur qui avait le droit de les \u00e9crire. Le passage pi\u00e9ton de la pochette, photographi\u00e9 par Iain Macmillan le 8 ao\u00fbt 1969, a pris quelques minutes et un policier retenant la circulation. L’album a pris l’\u00e9t\u00e9.<\/p>\n

Ils l’enregistrent surtout en avril, juillet et ao\u00fbt 1969, de retour aux studios d’Abbey Road, George Martin \u00e0 la production, Geoff Emerick de retour \u00e0 la console. Let It Be<\/em> a d\u00e9j\u00e0 \u00e9t\u00e9 film\u00e9 et sortira plus tard, brouillon et public. Celui-ci est la sortie plus nette. Un synth\u00e9tiseur Moog, nouveau dans la pi\u00e8ce, colore Here Comes the Sun<\/em>, Because<\/em> et Maxwell’s Silver Hammer<\/em>. Come Together<\/em> entre en se pavanant sur un groove de mar\u00e9cage. I Want You (She’s So Heavy)<\/em> ferme la premi\u00e8re face en s’arr\u00eatant, simplement, la bande coup\u00e9e, le d\u00e9sir laiss\u00e9 en l’air comme une porte claqu\u00e9e par la machine plut\u00f4t que par un chanteur. Ringo Starr a Octopus’s Garden<\/em>, une carte d’enfant pour la paix, et elle a sa place ici parce que l’album parle aussi, en secret, d’envie d’une vie plus petite.<\/p>\n

La seconde face est celle que Lennon appellera plus tard un op\u00e9ra pop, pour la rejeter. McCartney veut une suite : des fragments cousus jusqu’\u00e0 ce qu’ils fassent un seul apr\u00e8s-midi. Martin aide \u00e0 la couture. You Never Give Me Your Money<\/em> commence la marche. De petites chansons passent la m\u00e9lodie \u00e0 la suivante. Puis The End<\/em>, o\u00f9 les trois guitaristes se relaient sur le solo, McCartney, Harrison, Lennon, dans cet ordre, un dernier partage poli du projecteur. La derni\u00e8re phrase est presque trop simple pour \u00eatre la derni\u00e8re chose qu’ils enregistrent comme groupe au travail. La simplicit\u00e9 est le sujet. Apr\u00e8s toute l’invention, une phrase qu’on pourrait dire \u00e0 quelqu’un qui quitte une pi\u00e8ce.<\/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 liked the A side but I never liked that sort of pop opera on the other side. I think it’s junk.<\/p>\n<\/blockquote>\n

(John Lennon, entretien avec Jann Wenner, Rolling Stone, 1971)<\/em><\/p>\n

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Un double face A, Something<\/em> et Come Together<\/em>, suit en octobre et atteint la t\u00eate du classement am\u00e9ricain. L’album fait de m\u00eame des deux c\u00f4t\u00e9s de l’Atlantique. Rien de cela n’annule la fracture. Le groupe est d\u00e9j\u00e0 fini, au sens pratique, quand le public tient la pochette. Ce que la pochette tient, c’est un groupe qui se souvient comment jouer comme si l’avenir \u00e9tait encore une pi\u00e8ce partag\u00e9e. L’objection de Lennon au medley est utile. Elle emp\u00eache le disque de devenir un sanctuaire. L’une des personnes qui l’ont fait n’aimait pas l’architecture. L’architecture a tenu quand m\u00eame, et c’est ainsi qu’on sait que c’\u00e9tait de l’architecture, pas seulement une humeur.<\/p>\n

Traversez la rue dans votre t\u00eate quand le medley commence. Les chansons sont courtes expr\u00e8s. Personne n’a le temps de finir une pens\u00e9e avant que la suivante arrive, ce qui est une description honn\u00eate de 1969, et de n’importe quel groupe qui s’est assez aim\u00e9 pour conna\u00eetre les sorties. Abbey Road<\/em> est le rare adieu qui sonne comme un bonjour \u00e0 l’auditeur. Le groupe part. Le disque reste sur le trottoir, patient, encore juste.<\/p>\n

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