{"id":19553,"date":"2007-04-04T11:00:00","date_gmt":"2007-04-04T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/rebirth-of-the-flesh-prince-camilles-opener-the-long-ending-left-on\/"},"modified":"2026-09-27T01:15:57","modified_gmt":"2026-09-26T23:15:57","slug":"rebirth-of-the-flesh-prince-camilles-opener-the-long-ending-left-on","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/rebirth-of-the-flesh-prince-camilles-opener-the-long-ending-left-on\/","title":{"rendered":"Rebirth of the Flesh – Prince: L’ouverture de Camille, la fin longue laiss\u00e9e telle quelle"},"content":{"rendered":"

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28 octobre 1986, la voix acc\u00e9l\u00e9r\u00e9e, la fin laiss\u00e9e longue<\/h3>\n

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Le 28 octobre 1986, \u00e0 Sunset Sound, Prince enregistre Rebirth of the Flesh<\/em> en Camille et garde la fin longue. Le proc\u00e9d\u00e9 est ancien. Il enregistre la voix, puis acc\u00e9l\u00e8re la bande pour que le chant monte, plus coupant, plus difficile \u00e0 rattacher au chanteur pr\u00e9sent dans la pi\u00e8ce. Eric Leeds joue le saxophone. Atlanta Bliss joue de la trompette. Prince joue le reste, au Studio 3. La veille, il a r\u00e9enregistr\u00e9 Feel U Up<\/em>. Le m\u00eame mercredi produit aussi Rockhard in a Funky Place<\/em>. Deux jours plus tard, le 30 octobre, il est encore \u00e0 Sunset Sound pour Good Love<\/em>. La semaine est une pile de chansons de Camille et du coffre, pas une s\u00e9ance d’album bien rang\u00e9e.<\/p>\n

La fin est la partie qui ne tient pas en place. La bande d\u00e9passe les cinq minutes, les cuivres encore dans la pi\u00e8ce au moment o\u00f9 un montage pop plus serr\u00e9 aurait baiss\u00e9 le volume. Susan Rogers et Coke Johnson sont aux manettes de ces s\u00e9ances \u00e0 Sunset Sound. Les 2, 3 et 4 novembre, ils reviennent pour des mix et de nouveaux overdubs de cuivres. Quand Prince assemble l’album qu’il veut sortir sous le nom Camille<\/em>, vers le 5 novembre, Rebirth of the Flesh<\/em> l’ouvre, mais avec cette fin raccourcie. L’album est mis de c\u00f4t\u00e9.<\/p>\n

Le 30 novembre, le m\u00eame morceau, toujours raccourci, ouvre le premier disque d’un triple appel\u00e9 Crystal Ball<\/em>. Warner Bros. ne sortira pas un triple. Prince r\u00e9duit le projet au double Sign o’ the Times<\/em>, et Rebirth of the Flesh<\/em> fait partie des chansons qui ne survivent pas. La bande compl\u00e8te, celle avec l’outro d’origine, reste au coffre. Le super deluxe de 2020 n’est que l’ann\u00e9e o\u00f9 cette bande sort enfin. La chanson, elle, c’est cette semaine de l’automne 1986.<\/p>\n

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\n

Camille \u00e9tait un diablotin. Quelqu’un qui venait semer le trouble.<\/p>\n<\/blockquote>\n

(Susan Rogers, The Telegraph)<\/em><\/p>\n

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Au d\u00e9but de 1987, le groupe r\u00e9p\u00e8te le morceau au Washington Avenue Warehouse, \u00e0 Edina. Cette r\u00e9p\u00e9tition sortira plus tard sur le NPG Music Club, en 2001, sous le titre trompeur Rehearsal ’88<\/em>. Elle dure environ quatre minutes. Sheila E., Levi Seacer Jr., Miko Weaver, Dr. Fink, Boni Boyer, Cat, Wally Safford, Greg Brooks, Leeds et Bliss sont dans la pi\u00e8ce avec lui. C’est une version de travail, pas la bande de Sunset Sound.<\/p>\n

Il r\u00e9utilisera plus tard les premi\u00e8res lignes dans Escape<\/em>. C’est un reste de Camille, pas une seconde vie pour le morceau entier. L’enregistrement studio avec la fin longue est celui qui compte ici : une voix acc\u00e9l\u00e9r\u00e9e, deux cuivres, et un outro que Prince aimait assez pour le garder m\u00eame quand l’album qu’il devait ouvrir n’est jamais sorti. Rogers entendait le personnage dans le pseudonyme. Le diablotin a eu une ouverture, puis l’ouverture a perdu sa fin, puis l’album entier a disparu. La bande longue, non.<\/p>\n

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