{"id":21043,"date":"2014-01-17T16:00:00","date_gmt":"2014-01-17T15:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/im-the-boy-serge-gainsbourg-stravinsky-under-a-new-jersey-funk-track\/"},"modified":"2026-09-26T23:59:51","modified_gmt":"2026-09-26T21:59:51","slug":"im-the-boy-serge-gainsbourg-stravinsky-under-a-new-jersey-funk-track","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/im-the-boy-serge-gainsbourg-stravinsky-under-a-new-jersey-funk-track\/","title":{"rendered":"I’m the Boy – Serge Gainsbourg : Stravinski sous un funk du New Jersey"},"content":{"rendered":"

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Une ligne de basson du Sacre, pos\u00e9e sur une bo\u00eete \u00e0 rythmes<\/h3>\n

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En juin 1984, au House of Music de West Orange, dans le New Jersey, Serge Gainsbourg cherche un cadre am\u00e9ricain. Billy Rush joue de la guitare, de la basse et de la bo\u00eete \u00e0 rythmes. Larry Fast programme les synth\u00e9tiseurs. Stan Harrison tient le saxophone. George et Steve Simms, les fr\u00e8res qui avaient chant\u00e9 avec David Bowie, empilent les choeurs. John Rollo est \u00e0 l’enregistrement, Nelson Ayres l’assiste. Philippe Lerichomme coproduit avec Rush. L’album s’appelle Love on the Beat<\/em>, chez Philips, sorti le 2 octobre 1984, mix\u00e9 par Larry Alexander au Power Station de New York. Gainsbourg chante et joue du synth\u00e9tiseur. Apr\u00e8s les ann\u00e9es reggae, il veut du funk et du rock jou\u00e9s par des gens qui vivent dedans.<\/p>\n

I’m the Boy<\/em> est en face B, quatre minutes vingt-huit. Le refrain reprend une m\u00e9lodie qui colle \u00e0 la ligne de basson ouvrant Le Sacre du printemps<\/em> de Stravinski, l’air qui avait d\u00e9clench\u00e9 une bagarre en 1913, pos\u00e9 ici sur une bo\u00eete \u00e0 rythmes et une r\u00e9ponse de saxophone. L’accroche anglaise, \u00ab\u00a0I’m the boy that can enjoy invisibility\u00a0\u00bb, vient d’un bout de chanson au d\u00e9but d’Ulysse<\/em> de Joyce. Autour, les couplets fran\u00e7ais passent par les ombres, les hommes parmi les hommes, et une nuit sexuelle sans d\u00e9tour : bars, backrooms, la ville apr\u00e8s la fermeture. Sur un disque d\u00e9j\u00e0 en route vers le scandale, avec Lemon Incest<\/em> chant\u00e9 avec Charlotte sur l’\u00c9tude op. 10 n\u00b0 3 de Chopin, c’est le morceau qui parle du d\u00e9sir gay sans mettre un nom classique dans le titre. La ligne classique est cach\u00e9e dans l’air.<\/p>\n

La prise studio est s\u00e8che et claire. Guitare et basse de Rush se calent sur les synth\u00e9s de Fast. Le sax de Harrison r\u00e9pond \u00e0 la voix. Les fr\u00e8res Simms \u00e9paississent le refrain. Gainsbourg ne pousse pas. Il pose les mots. La m\u00eame ann\u00e9e, Philips presse un disque promo d’interview avec Philippe Man\u0153uvre, extraits de l’album autour de la conversation, et un morceau d’I’m the Boy<\/em> y figure. Le label entend le titre comme un argument du disque, pas comme un reste.<\/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’m the boy that can enjoy invisibility.<\/p>\n<\/blockquote>\n

(Serge Gainsbourg, \u00ab I’m the Boy \u00bb, Love on the Beat, 1984)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb21039″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1700021039{padding-top: 24px !important;padding-right: 48px !important;padding-bottom: 24px !important;}\u00a0\u00bb][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Un an plus tard, il en emm\u00e8ne une version plus courte sur sc\u00e8ne. Les 3, 4 et 5 octobre 1985 au Casino de Paris, Rush dirige, John Kumnick joue de la basse, Gary Georgett des claviers, Tony \u00ab\u00a0Thunder\u00a0\u00bb Smith de la batterie, Harrison est de retour au sax et les fr\u00e8res Simms chantent encore. Le morceau s’ouvre sur plus de deux minutes de basse avant la voix. L’album live Gainsbourg Live<\/em> (1986) garde des couplets choisis plut\u00f4t que tout le texte studio : l’ombre, l’homme parmi les hommes, la derni\u00e8re ligne sans d\u00e9tour. L’enregistrement du lecteur, ici, est cette nuit-l\u00e0, pas un remaster du master du New Jersey. La composition, le larcin \u00e0 Stravinski, la ligne de Joyce et le sujet sont le disque de 1984.<\/p>\n

Commencez par la prise studio si vous voulez le sax et la bo\u00eete \u00e0 rythmes cal\u00e9s sur la forme du basson. Prenez la version du Casino si vous voulez entendre le groupe \u00e9tirer l’intro jusqu’\u00e0 ce que le refrain sonne comme un d\u00e9fi. Dans les deux cas, c’est Gainsbourg faisant ce qu’il faisait souvent avec la musique classique, sauf que cette fois la ligne vol\u00e9e est plus difficile \u00e0 rep\u00e9rer, et le texte ne se cache pas derri\u00e8re.<\/p>\n

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En juin 1984, au House of Music de West Orange, Serge Gainsbourg cache un motif de Stravinski dans un funk sur la nuit.<\/p>\n","protected":false},"author":1,"featured_media":21036,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,287,293,278],"tags":[272,457,906,960],"class_list":["post-21043","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-chroniques","category-titres","category-tracks","tag-newwave-electro-triphop","tag-newwave-electro-triphop-fr","tag-serge-gainsbourg","tag-serge-gainsbourg-fr"],"yoast_head":"\nI'm the Boy - Serge Gainsbourg : Stravinski sous un funk du New Jersey - 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\" 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