{"id":21452,"date":"2016-06-20T19:00:00","date_gmt":"2016-06-20T17:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/as-stevie-wonder-deux-rhodes-puis-le-pont-du-predicateur\/"},"modified":"2026-09-27T02:00:24","modified_gmt":"2026-09-27T00:00:24","slug":"as-stevie-wonder-deux-rhodes-puis-le-pont-du-predicateur","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/as-stevie-wonder-deux-rhodes-puis-le-pont-du-predicateur\/","title":{"rendered":"As – Stevie Wonder : deux Rhodes, puis le pont du pr\u00e9dicateur"},"content":{"rendered":"

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Sept minutes sur l’album, la moiti\u00e9 quand Tamla a cill\u00e9<\/h3>\n

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As<\/em> est sur le second disque de Songs in the Key of Life<\/em>, le double album Tamla du 28 septembre 1976, apr\u00e8s que les singles I Wish<\/em> et Sir Duke<\/em> ont d\u00e9j\u00e0 fait le travail des charts. Wonder le produit et le chante. Il ne le joue pas seul. Herbie Hancock est sur un second Fender Rhodes, en double de celui de Wonder, avec des claps dans le vamp. Nathan Watts joue la basse. Dean Parks la guitare. Gerry Brown la batterie. Mary Lee Whitney et Yolanda Simmons chantent derri\u00e8re lui. La prise d’album dure 7:08.<\/p>\n

La premi\u00e8re moiti\u00e9 est une liste qui se comporte comme un serment. Tant qu’il y a le soleil, une rose en mai, une personne encore debout, l’amour du morceau tient. L’harmonie est du gospel \u00e0 tempo de disco, Rhodes sur Rhodes, Watts qui cale la basse sur la grosse caisse de Brown. Puis Wonder baisse la voix dans un rauque et le texte cesse de d\u00e9crire pour ordonner : change tes mots en v\u00e9rit\u00e9, puis cette v\u00e9rit\u00e9 en amour, et peut-\u00eatre que les petits-enfants le raconteront. Le rauque est le sujet. Il ne d\u00e9core pas le refrain. Il change de m\u00e9tier, de chanteur \u00e0 celui qui parle devant l’\u00e9glise, puis le long vamp sur \u00ab hey \u00bb porte les deux derni\u00e8res minutes, comme Hey Jude<\/em> a appris aux tubes \u00e0 refuser une fin.<\/p>\n

Tamla attend. I Wish<\/em> est le premier single, en novembre 1976. Sir Duke<\/em> suit et fait aussi num\u00e9ro un. Another Star<\/em> arrive \u00e0 l’\u00e9t\u00e9 1977. As<\/em> est le dernier single, octobre 1977, avec Contusion<\/em> en face B. L’edit du 45 tours dure 3:27. Il coupe le pont gospel et la longue coda, donc il coupe la raison pour laquelle la prise d’album dure sept minutes. Cet edit atteint la 36e place du Billboard Hot 100 et du chart soul, et la 24e en easy listening. Honorable, et un morceau plus petit.<\/p>\n

La ligne Spotify qui dit \u00ab edit \u00bb, c’est cette version radio. La pi\u00e8ce que Wonder a finie en 1976 est la longue. Le Rhodes de Hancock est le d\u00e9tail qui emp\u00eache le morceau d’\u00eatre une vitrine solo : deux clavi\u00e9ristes, tous deux c\u00e9l\u00e8bres pour d’autres groupes, d’accord sur un scintillement plut\u00f4t que sur un duel de solos. La guitare de Parks reste dans le rythme. Brown ne presse pas le backbeat quand le chant devient un sermon.<\/p>\n

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\n

Change your words into truth and then change that truth into love.<\/p>\n<\/blockquote>\n

(Stevie Wonder, le pont d’As, 1976)<\/em><\/p>\n

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En 1979, Kimiko Kasai le r\u00e9enregistre avec Hancock, sur son album Butterfly<\/em>. Cette reprise est la suite utile : le m\u00eame pianiste, une autre chanteuse, l’harmonie tir\u00e9e vers le jazz. La version plus tardive de George Michael et Mary J. Blige a montr\u00e9 que le morceau pouvait porter un duo. Ni l’une ni l’autre ne remplace la prise de 1976, o\u00f9 les minutes absentes de l’edit sont celles qui changent la temp\u00e9rature.<\/p>\n

\u00c9coutez la dur\u00e9e d’album. Le premier refrain est la promesse. Le pont est l’exigence. Le fondu, c’est Hancock et Wonder encore au Rhodes pendant que les claps tiennent le temps. Tamla pouvait vendre trois minutes et demie. Le disque que Wonder a sorti est celui qui ne s’arr\u00eate pas quand la radio le ferait.<\/p>\n

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