{"id":21679,"date":"2008-10-31T11:00:00","date_gmt":"2008-10-31T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/alright-supergrass-ten-minutes-on-a-broken-piano-then-number-two\/"},"modified":"2026-09-27T03:11:06","modified_gmt":"2026-09-27T01:11:06","slug":"alright-supergrass-ten-minutes-on-a-broken-piano-then-number-two","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/alright-supergrass-ten-minutes-on-a-broken-piano-then-number-two\/","title":{"rendered":"Alright – Supergrass : dix minutes sur un piano cass\u00e9, puis la deuxi\u00e8me place"},"content":{"rendered":"

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D’abord un cottage sans chauffage. Portmeirion est venu apr\u00e8s le classement<\/h3>\n

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Les parents de Danny Goffey gardaient un piano fatigu\u00e9 dans un cottage o\u00f9 le chauffage avait l\u00e2ch\u00e9. Supergrass, encore une bande d’Oxford \u00e0 peine sortie de l’adolescence, tape les accords en staccato, file au pub, et a les paroles en dix minutes environ. Gaz Coombes se souvient d’avoir 13 ou 14 ans, il ne lance pas un discours. Mick Quinn trouve la ligne \u00ab\u00a0keep our teeth nice and clean\u00a0\u00bb et dira plus tard que la chanson \u00e9tait un jetable, plus proche d’une pub pour dentifrice que d’un plan. Il a aussi fix\u00e9 la bande deux pouces de la rythmique et l’a jug\u00e9e \u00e0 l’\u00e9preuve des balles.<\/p>\n

Ils l’enregistrent \u00e0 Sawmills, le studio r\u00e9sidentiel au bord de la Fowey, \u00e0 Golant, pendant les sessions d’I Should Coco<\/em> en 1994. Le producteur Sam Williams et l’ing\u00e9nieur John Cornfield veulent le piano de pub d\u00e9saccord\u00e9 de la d\u00e9mo, alors ils d\u00e9saccordent le R\u00f6nisch du studio, en tirant deux des trois cordes de chaque note jusqu’\u00e0 ce que l’accord boite. Le studio n’est pas ravi de devoir le remettre d’aplomb. Gaz chante et joue du piano, Mick est \u00e0 la basse, Danny \u00e0 la batterie. Sur le middle eight, Quinn passe le morceau en sol, Gaz r\u00e9pond avec un solo rock and roll, puis un bend fa\u00e7on Peter Green avec une harmonie par-dessus. Trois minutes, et c’est fini.<\/p>\n

Parlophone sort le single le 3 juillet 1995, catalogue CDR 6413, avec Time<\/em> en autre face A, une reprise de Just Dropped In<\/em> de Kenny Rogers retitr\u00e9e Condition<\/em>, et un court instrumental, Je suis votre papa sucre<\/em>. Le 45 tours suit le 10 juillet. Le classement officiel du 15 juillet place Alright\/Time<\/em> num\u00e9ro deux. Il reste dans le top trois pendant un mois et tient dix semaines. L’Irlande m\u00e8ne Alright<\/em> \u00e0 la huiti\u00e8me place, la France \u00e0 la trenti\u00e8me, l’Islande \u00e0 la sixi\u00e8me. Le m\u00eame \u00e9t\u00e9, le morceau est sur la bande originale de Clueless<\/em>. Dom and Nic filment le groupe \u00e0 Portmeirion, au pays de Galles, le village de The Prisoner<\/em> : v\u00e9los, lit \u00e0 roulettes, lecture Carry On de la t\u00e9l\u00e9 des ann\u00e9es 1960. Gaz a 19 ans. Steven Spielberg voit le clip et propose une s\u00e9rie fa\u00e7on Monkees. Le groupe dit non.<\/p>\n

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\n

\u00c7a n’a pas \u00e9t\u00e9 \u00e9crit comme un hymne. Ce n’est pas cens\u00e9 \u00eatre un cri de ralliement pour notre g\u00e9n\u00e9ration. Le passage ‘We are young, we run green’ ne parle pas d’avoir 19 ans, mais plut\u00f4t 13 ou 14, et de d\u00e9couvrir les filles et l’alcool. C’est fait pour \u00eatre l\u00e9ger et un peu pour rire, pas du tout un appel aux armes.<\/p>\n<\/blockquote>\n

(Gaz Coombes, Q, octobre 1995)<\/em><\/p>\n

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James Masterton, dans sa note hebdomadaire de classement, \u00e9crit que si chaque groupe a un chef-d’\u0153uvre, celui-ci est celui de Supergrass, \u00e0 mi-chemin entre les Small Faces et Duran Duran. Steve Sutherland dans le NME convoque Satisfaction, My Generation et Lazy Sunday. Paul Mathur dans Melody Maker entend les Rutles et \u00ab\u00a0les paroles les plus brillamment b\u00eates qu’on puisse esp\u00e9rer\u00a0\u00bb. Les lyc\u00e9ens en fin d’ann\u00e9e la veulent tout l’\u00e9t\u00e9. Elle devient aussi l’ombre. Quinn dit au Guardian en 2015 qu’Alright<\/em> s’est transform\u00e9e en meule, et que Going Out<\/em> et Richard III<\/em> servaient en partie \u00e0 dire que le groupe \u00e9tait plus que le sourire.<\/p>\n

En 1999, Coombes plaisante : ils ne la jouent plus, et s’ils la rejouaient ce serait en mineur et au pass\u00e9. Ils la rejouent. La BPI a depuis certifi\u00e9 le single double platine. Travie McCoy l’\u00e9chantillonne en 2010 pour We’ll Be Alright<\/em>. Le piano est toujours ce qui ouvre la pi\u00e8ce : d\u00e9saccord\u00e9 expr\u00e8s, \u00e9vident d\u00e8s la premi\u00e8re mesure, et boucl\u00e9 avant que le refrain ait demand\u00e9 \u00e0 qui que ce soit de se sentir alright.<\/p>\n

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