{"id":15357,"date":"2011-11-28T19:00:00","date_gmt":"2011-11-28T18:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/serge-gainsbourg-dirty-talk-with-an-arrangers-ear\/"},"modified":"2026-09-27T00:43:36","modified_gmt":"2026-09-26T22:43:36","slug":"serge-gainsbourg-dirty-talk-with-an-arrangers-ear","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/artistes\/serge-gainsbourg-dirty-talk-with-an-arrangers-ear\/","title":{"rendered":"Serge Gainsbourg – Propos sales avec une oreille d’arrangeur"},"content":{"rendered":"

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Des cabarets parisiens \u00e0 Melody Nelson : voix s\u00e8che, m\u00e9tier s\u00e9rieux<\/h3>\n

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Lucien Ginsburg est n\u00e9 \u00e0 Paris en 1928, fils d’immigrants juifs russes ayant fui la r\u00e9volution. Il a \u00e9tudi\u00e9 la peinture, jou\u00e9 du piano dans les cabarets pour payer ses factures, et travaill\u00e9 sous le pseudonyme de Julien Grix avant de s’installer sur Serge Gainsbourg. Il a sorti Du chant \u00e0 la une!… chez Philips en 1958. Les chansons \u00e9taient mordantes, rythmiquement sobres, construites autour de l’id\u00e9e qu’un bon texte fait tout : \u00ab\u00a0Le Poin\u00e7onneur des Lilas\u00a0\u00bb, le portrait d’un poin\u00e7onneur de m\u00e9tro anesth\u00e9si\u00e9 par la r\u00e9p\u00e9tition, est devenu imm\u00e9diatement une signature. La tradition de la chanson fran\u00e7aise lui offrait un cadre ; il l’a pli\u00e9 d\u00e8s le d\u00e9but.<\/p>\n

Au d\u00e9but des ann\u00e9es 1960, Gainsbourg \u00e9crivait pour les autres aussi souvent qu’il chantait lui-m\u00eame. Juliette Gr\u00e9co, France Gall, Fran\u00e7oise Hardy et Petula Clark ont toutes re\u00e7u des chansons de lui. \u00ab\u00a0Les Sucettes\u00a0\u00bb (1966), enregistr\u00e9 par France Gall, est devenu un scandale quand Gainsbourg a r\u00e9v\u00e9l\u00e9 publiquement le double sens obsc\u00e8ne du texte. Gall, qui affirmait n’avoir pas compris, \u00e9tait furieuse et se sentit utilis\u00e9e. Il a continu\u00e9 d’\u00e9crire comme si la provocation faisait simplement partie du m\u00e9tier, ce qui pour lui \u00e9tait le cas. La voix restait s\u00e8che, pr\u00e8s du micro, plus proche de la parole que du chant.<\/p>\n

\u00ab\u00a0Je t’aime… moi non plus\u00a0\u00bb a d’abord \u00e9t\u00e9 enregistr\u00e9 avec Brigitte Bardot en 1967, puis mis de c\u00f4t\u00e9 quand son compagnon s’y est oppos\u00e9. Gainsbourg l’a r\u00e9enregistr\u00e9 avec Jane Birkin en 1969. L’\u00e9change chuchot\u00e9 en fran\u00e7ais et l’intimit\u00e9 de la production ont valu une interdiction au Royaume-Uni, en Italie et en Espagne ; il a quand m\u00eame atteint la premi\u00e8re place au Royaume-Uni. Ce que le scandale occulte parfois, c’est l’arrangement : basse, orgue et cordes verrouill\u00e9s dans quelque chose de v\u00e9ritablement sobre, la production aussi r\u00e9fl\u00e9chie que n’importe quel autre \u00e9l\u00e9ment de la composition.<\/p>\n

Histoire de Melody Nelson (1971) est le sommet studio de Gainsbourg et l’un des disques de pop fran\u00e7aise les plus cit\u00e9s du vingti\u00e8me si\u00e8cle. Jean-Claude Vannier a \u00e9crit les arrangements orchestraux : cordes superpos\u00e9es, guitare wah-wah, basse travaillant contre la m\u00e9lodie plut\u00f4t qu’avec elle. La voix parl\u00e9e de Birkin s’intercalait entre le flegme de Gainsbourg. Sept titres, un seul concept, un accident de Rolls-Royce et un crash d’avion final. L’album s’est vendu modestement en 1971 et est devenu une r\u00e9f\u00e9rence. Jarvis Cocker, Beck et Air l’ont tous cit\u00e9 en interviews.<\/p>\n

Aux armes et caetera (1979), enregistr\u00e9 en Jama\u00efque avec Sly Dunbar et Robbie Shakespeare \u00e0 la rythmique, a appliqu\u00e9 le reggae \u00e0 la Marseillaise et provoqu\u00e9 un scandale politique : des anciens combattants ont manifest\u00e9. L’album sonnait bien ind\u00e9pendamment du toll\u00e9, et les musiciens jama\u00efcains ont offert \u00e0 Gainsbourg la rythmique la plus serr\u00e9e de sa carri\u00e8re. La pol\u00e9mique, comme d’habitude, a aid\u00e9 les ventes.<\/p>\n

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Au d\u00e9but des ann\u00e9es 1980, Love on the Beat (1984) a apport\u00e9 une production hip-hop et un personnage d\u00e9sormais r\u00e9duit \u00e0 l’essentiel : cigarette, barbe de trois jours, un texte con\u00e7u pour couper court au journal du matin. Il a compos\u00e9 des musiques de films, \u00e9crit pour Catherine Deneuve et Isabelle Adjani, et est rest\u00e9 une figure parisienne capable de remplir les unes sans avoir besoin d’une machine de tourn\u00e9e \u00e0 l’anglaise. Il est mort d’une crise cardiaque le 2 mars 1991, chez lui rue de Verneuil. La maison est devenue un lieu de p\u00e8lerinage couvert de graffitis en quelques jours et l’est rest\u00e9e depuis.<\/p>\n

Ce qui a form\u00e9 Gainsbourg, c’est la chanson fran\u00e7aise, le rhythm and blues am\u00e9ricain, et l’oreille d’un arrangeur forg\u00e9e \u00e0 force d’observer de vrais musiciens en studio. Il se distinguait de Jacques Brel en ce que le romantisme de Brel \u00e9tait ample et d\u00e9claratoire ; celui de Gainsbourg \u00e9tait petit, cru et sarcastique. Il se distinguait de Michel Berger ou Serge Lama en ce qu’il accordait autant d’importance \u00e0 la production qu’au texte, et les deux n’\u00e9taient jamais des consid\u00e9rations s\u00e9par\u00e9es. L’habitude d’\u00e9crire pour les autres lui avait donn\u00e9 une discipline d’artisan que les provocations ne dissimulaient jamais compl\u00e8tement.<\/p>\n

Les auditeurs am\u00e9ricains l’ont souvent d\u00e9couvert \u00e0 travers Birkin, ou \u00e0 travers les samples hip-hop et indie de Melody Nelson qui ont circul\u00e9 dans les ann\u00e9es 1990 et 2000. Les auditeurs fran\u00e7ais connaissaient d\u00e9j\u00e0 le catalogue comme une cartographie du d\u00e9sir et du d\u00e9pit d’apr\u00e8s-guerre. Aucune de ces deux lectures n’est fausse ; les disques supportent les deux sans effort.<\/p>\n

Commencer avec Histoire de Melody Nelson pour le travail d’arrangeur dans toute son ampleur. \u00ab\u00a0La Javanaise\u00a0\u00bb (1963) montre le c\u00f4t\u00e9 chanson sans le scandale. \u00ab\u00a0Bonnie and Clyde\u00a0\u00bb (1968) avec Bardot est efficace et direct. Aux armes et caetera pour le virage reggae. \u00ab\u00a0Je t’aime… moi non plus\u00a0\u00bb reste l’entr\u00e9e la plus facile, m\u00eame si Melody Nelson est l’\u00e9coute la plus int\u00e9ressante.<\/p>\n

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Lucien Ginsburg est devenu Serge Gainsbourg dans les cabarets du Paris d’apr\\u00e8s-guerre, puis a transform\\u00e9 des chansons de trois minutes en arguments qui suivaient les gens chez eux.<\/p>\n","protected":false},"author":1,"featured_media":15348,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[292,287],"tags":[467,960],"class_list":["post-15357","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artistes","category-chroniques","tag-pop-fr-2","tag-serge-gainsbourg-fr"],"yoast_head":"\nSerge Gainsbourg - Propos sales avec une oreille d'arrangeur - 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\/artistes\/serge-gainsbourg-dirty-talk-with-an-arrangers-ear\/\" \/>\n<meta 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