{"id":13794,"date":"2016-03-05T16:00:00","date_gmt":"2016-03-05T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/dirty-mind-prince\/"},"modified":"2026-09-27T00:00:21","modified_gmt":"2026-09-26T22:00:21","slug":"dirty-mind-prince","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/albums-fr\/dirty-mind-prince\/","title":{"rendered":"Dirty Mind – D\u00e9mos maison gard\u00e9es comme masters"},"content":{"rendered":"

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D\u00e9mos maison gard\u00e9es comme masters<\/h3>\n

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En mai et juin 1980, Prince enregistre les titres de Dirty Mind<\/em> dans sa maison de North Arm Drive pr\u00e8s du lac Minnetonka, puis passe les bandes \u00e0 Hollywood Sound Recorders \u00e0 Los Angeles. La pochette indique \u00ab Somewhere in Uptown \u00bb et cr\u00e9dite l’ing\u00e9nieur Jamie Starr, son premier alias public. Il garde ces prises parce que les d\u00e9mos frappent d\u00e9j\u00e0 plus fort qu’un remake trop liss\u00e9.<\/p>\n

Warner Bros. sort l’album le 8 octobre 1980. C’est son troisi\u00e8me disque studio apr\u00e8s For You<\/em> et Prince<\/em>, et le dernier de son contrat initial de trois albums. Huit titres, environ une demi-heure : funk sec, guitare new wave, textes qui font reculer les programmateurs radio. Le single Uptown<\/em> monte \u00e0 la 5e place des charts Hot Soul et Dance de Billboard. Suivent des promos de Head<\/em> et When You Were Mine<\/em> ; le Royaume-Uni re\u00e7oit plus tard Do It All Night<\/em>.<\/p>\n

Sur sc\u00e8ne, le groupe est d\u00e9j\u00e0 en avance sur le disque. La guitare reste fine et coupante, les claviers piquent plut\u00f4t qu’ils n’enveloppent, la batterie reste s\u00e8che. When You Were Mine<\/em> est une chanson pop brute que Cyndi Lauper reprendra. Sister<\/em> et Head<\/em> poussent le contenu sexuel au-del\u00e0 de ce que Warner attendait d’un artiste R&B crossover. Le label h\u00e9site ; Prince exige que les bandes sortent telles quelles.<\/p>\n

Au Billboard 200, l’album plafonne \u00e0 la 45e place et atteint la 7e des Soul LPs. L’or RIAA arrive en juin 1984, apr\u00e8s que Purple Rain<\/em> a recalcul\u00e9 tout le catalogue. La critique le place haut dans les bilans 1980, dont le sondage Pazz & Jop du Village Voice.<\/p>\n

Lisa Coleman et Dr. Fink sont d\u00e9j\u00e0 dans le cercle de tourn\u00e9e qui deviendra the Revolution ; sur disque, Prince multi-piste encore lui-m\u00eame l’essentiel de la basse et de la guitare. La photo de pochette, torse nu et trench, colle au d\u00e9fi des textes : chansons courtes, sans excuse, sans ballade de remplissage.<\/p>\n

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\n

Mick Jagger devrait ranger son p\u00e9nis et rentrer chez lui.<\/p>\n<\/blockquote>\n

(Robert Christgau, Village Voice Consumer Guide, 1980)<\/em><\/p>\n

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Saturday Night Live l’invite le 21 f\u00e9vrier 1981 : il joue Partyup<\/em> tir\u00e9 de cet album et montre \u00e0 une audience nationale le groupe de Minneapolis d\u00e9j\u00e0 en tourn\u00e9e sur ce mat\u00e9riel. La Controversy Tour de l’ann\u00e9e suivante construit le th\u00e9\u00e2tre de sc\u00e8ne sur le m\u00eame funk d\u00e9pouill\u00e9.<\/p>\n

Dirty Mind<\/em> est la charni\u00e8re avant les ann\u00e9es crossover. Sans ces huit chansons, le synth-funk de 1999<\/em> et le rock th\u00e9\u00e2tral de Purple Rain<\/em> n’ont pas de piste d’envol. Le disque sonne encore comme une d\u00e9mo qui refuse de se tenir, et c’est pr\u00e9cis\u00e9ment pour \u00e7a qu’il tient.<\/p>\n

Mettez Uptown<\/em> ou le titre \u00e9ponyme : le plan est l\u00e0, chansons courtes, pas de ballade de remplissage, un chanteur qui traite d\u00e9j\u00e0 le studio comme un one-man band avec un humour sale.<\/p>\n

Les r\u00e9\u00e9ditions et le streaming gardent la s\u00e9quence originale de huit titres. Pour un auditeur qui arrive par Purple Rain<\/em>, c’est le pr\u00e9d\u00e9cesseur plus sec et plus sale qui explique comment le Minneapolis Sound a quitt\u00e9 la radio R&B pour les clubs new wave.<\/p>\n

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