{"id":21712,"date":"2008-08-23T09:00:00","date_gmt":"2008-08-23T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/sun-hits-the-sky-supergrass-fuzz-first-then-a-long-organ-climb\/"},"modified":"2026-09-27T03:11:03","modified_gmt":"2026-09-27T01:11:03","slug":"sun-hits-the-sky-supergrass-fuzz-first-then-a-long-organ-climb","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/sun-hits-the-sky-supergrass-fuzz-first-then-a-long-organ-climb\/","title":{"rendered":"Sun Hits the Sky – Supergrass : le fuzz d’abord, puis une longue mont\u00e9e d’orgue"},"content":{"rendered":"

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Juin 1997, et le refrain est fait pour qu’on le crie en retour<\/h3>\n

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Sun Hits the Sky<\/em> s’ouvre sur un riff fuzz de Gaz Coombes, pas un piano et pas une blague. Rob Coombes r\u00e9pond \u00e0 l’orgue. Mick Quinn et Danny Goffey jouent large, et le refrain est la partie vaste : il conna\u00eet un endroit o\u00f9 le soleil tape le ciel. Le morceau dure 4:55, long pour un single de Supergrass. Apr\u00e8s le second refrain, Rob prend un solo de synth\u00e9 qui continue comme un solo de prog continue, sauf que le groupe n’en fait jamais un costume. Le percussionniste Satin Singh est au cr\u00e9dit de l’album. La coda tombe sur basse, orgue et bongos. Trois mois apr\u00e8s que Richard III<\/em> se soit arr\u00eat\u00e9 au num\u00e9ro deux, c’\u00e9tait la suite en plein jour.<\/p>\n

In It for the Money<\/em> \u00e9tait d\u00e9j\u00e0 sorti, le 21 avril 1997, enregistr\u00e9 \u00e0 Sawmills et produit par le groupe avec John Cornfield. Sun Hits the Sky<\/em> est le troisi\u00e8me single, apr\u00e8s Going Out<\/em> et Richard III<\/em>, sorti le 9 juin 1997 chez Parlophone, catalogue CDR 6469. Le classement officiel du 21 juin le montre au num\u00e9ro dix. Il dure quatre semaines. L’\u00c9cosse l’a \u00e0 sept, l’Islande \u00e0 16, les Pays-Bas \u00e0 81. La face B est une reprise de Some Girls Are Bigger Than Others<\/em> des Smiths, une fa\u00e7on tr\u00e8s Supergrass de d\u00e9penser la piste en plus : un \u0153il sur la pop britannique de la d\u00e9cennie d’avant, l’autre sur un refrain qui veut un champ. Le cr\u00e9dit d’\u00e9criture inclut Rob, partout sur ce disque avant m\u00eame qu’il soit membre \u00e0 part enti\u00e8re sur la pochette.<\/p>\n

Dom and Nic r\u00e9alisent le clip, comme depuis Mansize Rooster<\/em>. Nic est le fr\u00e8re de Danny Goffey, et en 1997 le duo a une s\u00e9rie de clips Supergrass auxquels le groupe fait confiance. Celui-ci ne r\u00e9p\u00e8te pas la vir\u00e9e de Portmeirion ni le sous-sol \u00e0 la terre de Fuller. Il colle \u00e0 une chanson dont les paroles pointent vers le haut et dont l’arrangement ajoute des instruments au lieu d’en retirer. Sur l’album elle voisine avec Late in the Day<\/em> et Going Out<\/em>, les morceaux qui prouvent que le second disque n’\u00e9tait pas une copie plus forte d’I Should Coco<\/em>. Le NME avait donn\u00e9 8\/10 \u00e0 l’album. Ce single est celui qu’on entend \u00e0 travers une foule.<\/p>\n

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\n

Sur In It for the Money, on \u00e9tait seuls. On n’avait pas de producteur, m\u00eame si on n’avait que 18 ou 19 ans. On y est all\u00e9s franco dans le studio. C’\u00e9tait une p\u00e9riode vraiment excitante.<\/p>\n<\/blockquote>\n

(Gaz Coombes, entretien avec Robert Collins, 2004)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row][vc_column][vc_single_image image=\u00a0\u00bb21708″ img_size=\u00a0\u00bbfull\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1700021708{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

L’autoproduction est le sujet de la citation, et on l’entend dans la dur\u00e9e. Un producteur de label aurait peut-\u00eatre coup\u00e9 le solo de synth\u00e9. Cornfield et le groupe l’ont laiss\u00e9, puis ont laiss\u00e9 la chanson se d\u00e9faire en bongos au lieu d’un dernier refrain cri\u00e9. C’est un choix, pas un accident. Richard III<\/em> avait \u00e9t\u00e9 le claquement de porte. Sun Hits the Sky<\/em> est la m\u00eame pi\u00e8ce fen\u00eatres ouvertes : toujours fort, toujours Oxford, mais l’orgue fait autant de travail que la guitare.<\/p>\n

Il n’a pas \u00e9gal\u00e9 le num\u00e9ro deux du printemps, et il n’en avait pas besoin. Num\u00e9ro dix en juin, une chanson des Smiths au verso, et un refrain qu’on peut chanter sans conna\u00eetre les couplets, \u00e7a a suffi \u00e0 garder le deuxi\u00e8me album dans les bacs pendant l’\u00e9t\u00e9. Si vous voulez le Supergrass de 1997 sans l’accord du diable, commencez ici. Le riff fuzz est la poign\u00e9e de main. L’orgue est la raison de rester.<\/p>\n

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