{"id":21723,"date":"2008-07-31T16:00:00","date_gmt":"2008-07-31T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/cant-get-up-supergrass-a-forest-of-reasons-with-tony-hoffer-on-the-clock\/"},"modified":"2026-09-27T03:11:03","modified_gmt":"2026-09-27T01:11:03","slug":"cant-get-up-supergrass-a-forest-of-reasons-with-tony-hoffer-on-the-clock","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/tracks\/cant-get-up-supergrass-a-forest-of-reasons-with-tony-hoffer-on-the-clock\/","title":{"rendered":"Can’t Get Up – Supergrass : une for\u00eat de raisons, Tony Hoffer au chrono"},"content":{"rendered":"

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Piste cinq du premier album qui cr\u00e9dite Rob Coombes<\/h3>\n

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Les paroles commencent un dimanche apr\u00e8s une nuit ou deux de route, \u00e0 regarder par la fen\u00eatre, assez fatigu\u00e9 pour qu’un verre de plus suffise. Ce n’est pas un single. C’est la piste cinq de Life on Other Planets<\/em>, 4:02, entre Brecon Beacons<\/em> et Evening of the Day<\/em>. Gaz Coombes chante qu’il vit une histoire entendue sur un 45 tours, une autoroute, la Californie qui appara\u00eet, puis le refrain : il n’arrive plus \u00e0 se lever, m\u00eame en essayant, debout dans une for\u00eat de raisons. Un couplet plus loin am\u00e8ne les infos, le sang dans les rues, un papillon de nuit et une flamme. Une critique de l’\u00e9poque a entendu Gimme Shelter<\/em> dans l’\u00e9chelle du morceau : blues-rock, pas le sprint britpop.<\/p>\n

Life on Other Planets<\/em> est le quatri\u00e8me album de Supergrass et le premier qui liste Rob Coombes comme membre \u00e0 part enti\u00e8re, aux claviers, \u00e0 c\u00f4t\u00e9 de Gaz, Mick Quinn et Danny Goffey. Ils avaient trouv\u00e9 que le troisi\u00e8me album, \u00e9ponyme, de 1999, manquait d’urgence, alors ils ont engag\u00e9 Tony Hoffer. L’enregistrement court d’octobre 2001 \u00e0 mars 2002 \u00e0 Mayfair, Heliocentric et Rockfield. Hoffer produit. Les notes du groupe cr\u00e9ditent Dave Sardy du mix de Can’t Get Up<\/em>. Une d\u00e9mo d’Heliocentric a surv\u00e9cu et appara\u00eet sur le remaster 2023, environ une minute plus courte, ce qui dit que l’arrangement a grandi dans la pi\u00e8ce au lieu d’arriver fini.<\/p>\n

L’album arrive en magasin le 30 septembre 2002 via Parlophone et culmine au num\u00e9ro neuf en Grande-Bretagne. Les singles sont ailleurs : Never Done Nothing Like That Before<\/em>, Grace<\/em>, Seen the Light<\/em>, Rush Hour Soul<\/em>. Can’t Get Up<\/em> reste un titre d’album, ce qui lui va. Les autres emprunts du disque sont plus bruyants. Gaz penche vers Marc Bolan sur Seen the Light<\/em>, il y a un tour Elvis, et Evening of the Day<\/em> salue Spinal Tap. Can’t Get Up<\/em> est le plus lent, fa\u00e7on Stones, avec les quatre enfin en quatuor sur la pochette. Avant la sortie ils jouent des morceaux nouveaux au festival Meltdown que David Bowie dirige au Royal Festival Hall le 28 juin 2002. Le 9 d\u00e9cembre ils font Can’t Get Up<\/em> au Heineken Music Hall d’Amsterdam, une version qui atterrit plus tard sur l’\u00e9dition deluxe, \u00e0 c\u00f4t\u00e9 d’une acoustique XFM.<\/p>\n

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\n

Il nous a aid\u00e9s \u00e0 garder les prises assez courtes et nettes. On ne tra\u00eenait vraiment pas parce qu’il nous faisait avancer. Si on l’avait refait seuls, on serait devenus vraiment analytiques, on se serait mis \u00e0 pleurer et \u00e0 r\u00e9parer des choses qui n’\u00e9taient pas cass\u00e9es.<\/p>\n<\/blockquote>\n

(Danny Goffey \u00e0 propos du producteur Tony Hoffer, 2002)<\/em><\/p>\n

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Le travail de Hoffer, c’\u00e9tait le rythme. Laiss\u00e9s seuls, ils avaient commenc\u00e9 \u00e0 se monter en \u00e9pingle. Ici la chanson a le droit de durer quatre minutes, long pour eux, mais elle ne divague pas. Le refrain est une phrase. La for\u00eat de raisons est assez concr\u00e8te : un groupe c\u00e9l\u00e8bre \u00e0 19 ans, qui \u00e9crit sur le fait de ne pas arriver \u00e0 commencer la journ\u00e9e. C’est un autre probl\u00e8me qu’Alright<\/em>, et ils ne font pas semblant du contraire.<\/p>\n

Le remaster 2023 a mis la d\u00e9mo \u00e0 c\u00f4t\u00e9 de la prise finie, et c’est la comparaison utile. La d\u00e9mo est l’esquisse d’Heliocentric. La version album est ce que Sardy et Hoffer ont laiss\u00e9 debout. Si vous voulez le Supergrass de 2002 sans le single glam, commencez ici, puis Grace<\/em>. La for\u00eat est encore la ligne qui reste, et le chrono que Hoffer surveillait est la raison pour laquelle elle reste en quatre minutes au lieu de huit.<\/p>\n

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