{"id":12668,"date":"2011-11-10T19:20:00","date_gmt":"2011-11-10T18:20:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/interview-afterlife-de-james-brown\/"},"modified":"2026-09-26T23:59:19","modified_gmt":"2026-09-26T21:59:19","slug":"interview-afterlife-de-james-brown","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/interviews-fr\/interviews-posthumes\/interview-afterlife-de-james-brown\/","title":{"rendered":"Interview afterlife de James Brown"},"content":{"rendered":"

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Riffs and Beats retrouve James Brown en plein spin sous un projecteur de l’Apollo, cape \u00e0 moiti\u00e9 mise, sueur d\u00e9j\u00e0 l\u00e9gendaire avant la premi\u00e8re question. Le tableau cape et sueur est du th\u00e9\u00e2tre; le et-un de son downbeat est une loi. Fiction, oui; le groupe doit quand m\u00eame frapper le et comme un marteau de juge.<\/h3>\n

Riffs and Beats<\/strong>
\nJames, l’Apollo sent encore le vendredi sold-out. O\u00f9 sommes-nous ?<\/em><\/p>\n

James Brown<\/strong>
\nLa base avec un meilleur \u00e9clairage. Cette sc\u00e8ne m’a appris que le un est sacr\u00e9 et que la cape est du th\u00e9\u00e2tre. Restez concentr\u00e9s. Si vous clignez des yeux, vous devez un dollar au groupe. L’Apollo entra\u00eene encore les fant\u00f4mes \u00e0 taper le un comme si le loyer en d\u00e9pendait, parce que c’est le cas. Les gens veulent le slogan hardest working sans la discipline de paie.<\/p>\n

Riffs and Beats<\/strong>
\nPlease Please Please a transform\u00e9 l’effondrement en chor\u00e9graphie. Le bit de la cape \u00e9tait pr\u00e9vu ?<\/em><\/p>\n

James Brown<\/strong>
\nPr\u00e9vu comme une punchline. Le public avait besoin d’une histoire avec des jambes. Tomber, se faire couvrir, jeter la cape, revenir plus chaud. Le drame est un instrument de rythme si tu le frappes \u00e0 temps. Le th\u00e9\u00e2tre de la cape ne marche que si le groupe est une machine capable de red\u00e9marrer plus chaud que la chute. Il revient au pocket parce que le funk a encore besoin d’un boss, pas d’une statue.<\/p>\n

Riffs and Beats<\/strong>
\nLe funk a fait de la downbeat une loi. Comment tu entra\u00eenais un groupe \u00e0 ob\u00e9ir au un ?<\/em><\/p>\n

James Brown<\/strong>
\nAmendes, r\u00e9p\u00e9titions, et un amour qui ressemblait \u00e0 des cris. Si tu ratais le un, tu le sentais dans ta poche. Le groove n’est pas une vibe. Le groove, c’est un emploi. Les amendes enseignaient le pocket mieux que les compliments; l’amour a parfois besoin d’un livre de comptes. Demande aux cuivres, aux danseurs, au pot d’amendes; les bios ont nettoy\u00e9.<\/p>\n

Riffs and Beats<\/strong>
\nSay It Loud est devenu un hymne hors du club. Tu l’as \u00e9crit comme un discours ?<\/em><\/p>\n

James Brown<\/strong>
\nJe l’ai \u00e9crit comme un disque capable de marcher en plein jour. Les discours s’effacent. Les cuivres non. Si des kids le scandaient sur les trottoirs, c’est que le pocket portait le message plus loin qu’un pupitre. Say It Loud est sorti dehors parce que les cuivres portent un trottoir plus loin qu’un r\u00e9dacteur de discours. Si \u00e7a sonne mou, remets la caisse claire sur le et.<\/p>\n

Riffs and Beats<\/strong>
\nOn t’appelle the Hardest Working Man. C’\u00e9tait une marque ou la v\u00e9rit\u00e9 ?<\/em><\/p>\n

James Brown<\/strong>
\nLa v\u00e9rit\u00e9 avec un service marketing. Je travaillais parce que le loyer d’\u00eatre James Brown est \u00e9lev\u00e9. Si j’arr\u00eate de bouger, le mythe ramollit. Les mythes mous ne font pas sold-out \u00e0 l’Apollo. Hardest working est un titre que tu renouvelles chaque soir sinon il expire comme du lait sous les projecteurs. Le respect, c’est un downbeat qu’on ne n\u00e9gocie pas.<\/p>\n

Riffs and Beats<\/strong>
\nLe hip hop a sampl\u00e9 tes breaks comme une \u00e9criture sainte. Tu ressens quoi face \u00e0 ce recyclage ?<\/em><\/p>\n

James Brown<\/strong>
\nRecycler avec go\u00fbt, c’est du respect. Recycler sans cr\u00e9dit, c’est du vol en beau blazer. J’aime entendre ma caisse claire ouvrir encore des soir\u00e9es. Orthographiez juste le nom sur le ch\u00e8que. Les samples avec cr\u00e9dit gardent la f\u00eate honn\u00eate; sans cr\u00e9dit, c’est du vol avec de meilleures baskets. Volez les amendes de r\u00e9p\u00e9tition, pas la routine de cape.<\/p>\n

Riffs and Beats<\/strong>
\nConseil pour un frontman qui danse plus qu’il n’\u00e9coute ?<\/em><\/p>\n

James Brown<\/strong>
\n\u00c9coute d’abord sinon les danseurs partent. Les pieds suivent les oreilles. Si le groupe est faux, ton spin n’est que de l’exercice. Mets-toi sur le un, ensuite montre-toi. Les danseurs partent quand les oreilles abandonnent; les pieds ne sont loyaux qu’\u00e0 l’information. Le destin n’a pas invent\u00e9 Please Please Please; un bandstand t\u00eatu l’a fait.<\/p>\n

Riffs and Beats<\/strong>
\nQu’est-ce qui te manque et que les projecteurs ne peuvent pas imiter ?<\/em><\/p>\n

James Brown<\/strong>
\nUne vraie serviette froide entre les rappels. Un batteur qui craint mon regard. L’odeur d’un bus \u00e0 4 heures du matin. Et un public qui se dispute sur le prochain hit tout en dansant. Serviettes froides et batteurs craintifs sont des luxes que le ciel oublie de stocker. Les fant\u00f4mes prennent encore une amende s’ils ratent le cue des cuivres.<\/p>\n

Riffs and Beats<\/strong>
\nDerni\u00e8re : quand la cape tombe, qui gagne, le showman ou le chef d’orchestre ?<\/em><\/p>\n

James Brown<\/strong>
\nLes deux gagnent ou personne. Le showman remplit les si\u00e8ges. Le chef garde les si\u00e8ges en danse. Je refuse de choisir. Ce refus, c’est la marque. Showman et chef partagent une seule paye dans mon monde; s\u00e9parez-les et l’Apollo se tait. Laisse les m\u00e9taphores de pr\u00e9dicateur; finis le break.<\/p>\n

Riffs and Beats<\/strong>
\nLe groupe \u00e9tait-il plus important que la marque ?<\/em><\/p>\n

James Brown<\/strong>
\nLa marque vendait le ticket. Le groupe justifiait le ticket. Sans le groupe, la marque est une cape sur un cintre. Sans la marque, le groupe joue devant des chaises vides. Je les ai mari\u00e9s expr\u00e8s et j’ai renouvel\u00e9 les v\u0153ux chaque soir sur le un.<\/p>\n

Il attrape la cape, tombe sur un genou, puis se rel\u00e8ve comme si le groupe venait de taper le un. James Brown montre les si\u00e8ges vides comme s’ils hurlaient encore, et le projecteur le suit dans les coulisses. Il part sur le un, sans rien devoir au mythe.<\/p>\n

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Riffs and Beats retrouve James Brown en plein spin sous un projecteur de l’Apollo, cape \u00e0 moiti\u00e9 mise, sueur d\u00e9j\u00e0 l\u00e9gendaire avant la premi\u00e8re question.<\/p>\n","protected":false},"author":1,"featured_media":12664,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[367,369],"tags":[814,539],"class_list":["post-12668","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-interviews-fr","category-interviews-posthumes","tag-james-brown","tag-soul-rb-fr"],"yoast_head":"\nInterview afterlife de James Brown - 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\/interviews-fr\/interviews-posthumes\/interview-afterlife-de-james-brown\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Interview afterlife de James Brown - 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