{"id":21569,"date":"2016-03-19T11:00:00","date_gmt":"2016-03-19T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/you-are-the-sunshine-of-my-life-stevie-wonder-gilstrap-sings-the-first-line\/"},"modified":"2026-09-27T02:00:21","modified_gmt":"2026-09-27T00:00:21","slug":"you-are-the-sunshine-of-my-life-stevie-wonder-gilstrap-sings-the-first-line","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/you-are-the-sunshine-of-my-life-stevie-wonder-gilstrap-sings-the-first-line\/","title":{"rendered":"You Are The Sunshine Of My Life – Stevie Wonder : Gilstrap chante la premi\u00e8re ligne"},"content":{"rendered":"

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Les choeurs d’abord. Le Rhodes ensuite.<\/h3>\n

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La premi\u00e8re voix de You Are the Sunshine of My Life<\/em> n’est pas celle de Stevie Wonder. Jim Gilstrap chante les deux premi\u00e8res lignes, Lani Groves les deux suivantes, et Wonder n’entre qu’ensuite, le Fender Rhodes d\u00e9j\u00e0 en mouvement dessous. Gloria Barley les rejoint dans les choeurs. C’est une porte \u00e9trange pour une chanson d’amour, et c’est ce qu’on entend avant n’importe quel chiffre de classement.<\/p>\n

Le morceau ouvre Talking Book<\/em>, sorti aux Etats-Unis le 27 octobre 1972 chez Tamla. Wonder l’a \u00e9crit, produit, et il joue le Rhodes et la batterie. Scott Edwards tient la basse \u00e9lectrique, Daniel Ben Zebulon les congas. Malcolm Cecil et Robert Margouleff, le duo du synth\u00e9tiseur TONTO, sont producteurs associ\u00e9s et ing\u00e9nieurs, avec des s\u00e9ances r\u00e9parties entre l’Electric Lady \u00e0 New York, Crystal Sound, le Record Plant et AIR. Edwards a racont\u00e9 plus tard que Wonder avait la forme tout seul, a assis le groupe, a jou\u00e9 le morceau, et a r\u00e9serv\u00e9 le studio le soir m\u00eame parce que la pi\u00e8ce sonnait d\u00e9j\u00e0 comme un tube.<\/p>\n

Tamla sort le single le 10 mars 1973, avec Tuesday Heartbreak<\/em> en face B. Le 45 ajoute des cuivres que le mix de l’album ne porte pas de la m\u00eame fa\u00e7on. Il atteint la premi\u00e8re place du Billboard Hot 100 pour la semaine du 19 mai 1973, et c’est le premier n\u00b0 1 de Wonder au classement Easy Listening. En Grande-Bretagne, il passe deux semaines \u00e0 la 7e place en juin. Aux Grammy 1974, il gagne le Best Male Pop Vocal Performance, avec des nominations pour Record of the Year et Song of the Year.<\/p>\n

Wonder a 22 ans quand le single passe n\u00b0 1, d\u00e9j\u00e0 sorti des ann\u00e9es d’apprenti Motown et entr\u00e9 dans les albums qu’il contr\u00f4le lui-m\u00eame. Talking Book<\/em> est le disque o\u00f9 les chansons d’amour et les morceaux funk partagent une m\u00e9thode : il joue la plupart des instruments, Cecil et Margouleff tiennent le synth\u00e9tiseur, et les invit\u00e9s sont l\u00e0 pour une couleur. Ici, cette couleur, c’est la basse d’Edwards et les congas de Zebulon. Les cuivres arrivent sur le single parce que la radio de 1973 aime encore un aigu brillant. La prise album est plus s\u00e8che, et c’est pour \u00e7a que l’entr\u00e9e de Gilstrap semble proche, une voix dans la pi\u00e8ce d’\u00e0 c\u00f4t\u00e9 plut\u00f4t qu’un choeur pos\u00e9 sur le mix.<\/p>\n

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\n

Il avait travaill\u00e9 la structure tout seul. Mais une fois qu’il nous a tous r\u00e9unis, il s’est mis \u00e0 la jouer. On s’est joints \u00e0 lui et on a tous senti que l’ambiance et la direction du morceau, c’\u00e9tait un tube. Il \u00e9tait tellement excit\u00e9 qu’il a dit : ce soir on va au studio et on l’enregistre.<\/p>\n<\/blockquote>\n

(Scott Edwards, Songfacts)<\/em><\/p>\n

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L’arrangement reste l\u00e9ger expr\u00e8s. Accords de Rhodes, basse ronde, congas contre la batterie de Wonder, les choeurs qui se posent dans un motif doux une fois qu’il prend la m\u00e9lodie. Apr\u00e8s l’attaque de clavinet de Superstition<\/em>, le single pr\u00e9c\u00e9dent du m\u00eame album, celui-ci vend la facilit\u00e9. Ce contraste est le sujet de Talking Book<\/em> : un disque, deux fa\u00e7ons d’\u00eatre n\u00b0 1 pop.<\/p>\n

Les reprises arrivent vite, Frank Sinatra parmi elles, mais la prise qui compte est celle de 1972. Ecoutez la version de l’album, pas une pochette de compilations plus tardive. Gilstrap ouvre encore la porte. Wonder attend encore deux lignes. Le Rhodes sonne encore comme quelqu’un qui avait fini la chanson dans sa t\u00eate avant que le groupe s’assoie.<\/p>\n

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A l’\u00e9t\u00e9 1972, \u00e0 l’Electric Lady de New York, Jim Gilstrap chante l’ouverture de You Are the Sunshine of My Life avant que Stevie Wonder ne prenne le chant.<\/p>\n","protected":false},"author":1,"featured_media":21562,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,287,293,278],"tags":[537,539,778,1025],"class_list":["post-21569","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-chroniques","category-titres","category-tracks","tag-soul-rb","tag-soul-rb-fr","tag-stevie-wonder","tag-stevie-wonder-fr"],"yoast_head":"\nYou Are The Sunshine Of My Life - Stevie Wonder : Gilstrap chante la premi\u00e8re ligne - 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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