{"id":25633,"date":"2021-10-23T11:00:00","date_gmt":"2021-10-23T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/guns-n-roses-welcome-to-the-jungle\/"},"modified":"2026-10-16T11:22:56","modified_gmt":"2026-10-16T09:22:56","slug":"guns-n-roses-welcome-to-the-jungle","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/guns-n-roses-welcome-to-the-jungle\/","title":{"rendered":"Guns N’ Roses – Welcome To The Jungle"},"content":{"rendered":"

[vc_row][vc_column][vc_column_text]<\/p>\n

Les quatre minutes et demie qui ouvrent Appetite<\/h3>\n

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Welcome to the Jungle<\/em> est le premier morceau du premier album de Guns N’ Roses, Appetite for Destruction<\/em>, sorti chez Geffen le 21 juillet 1987. Le single para\u00eet en Grande-Bretagne le 21 septembre 1987, avec un Whole Lotta Rosie<\/em> en concert en face B. Une sortie am\u00e9ricaine suit en octobre 1988, avec Mr. Brownstone<\/em> au dos et cette \u00e9dition atteint la 7e place du Billboard Hot 100. La chanson dure 4 minutes et 31 secondes. Mike Clink la produit. Le cr\u00e9dit d’auteurs nomme Slash, Axl Rose, Izzy Stradlin et Duff McKagan. Steven Adler joue la batterie.<\/p>\n

Slash a racont\u00e9 que le riff principal, celui qui descend, a commenc\u00e9 chez lui un apr\u00e8s-midi, quand il l’a jou\u00e9 \u00e0 Axl. Plus tard, en r\u00e9p\u00e9tition, Duff trouve la partie lente du milieu et Slash ajoute l’introduction, construite autour d’une p\u00e9dale qui r\u00e9p\u00e8te la note, qu’il venait d’acheter. Il se souvient que les morceaux se sont embo\u00eet\u00e9s le m\u00eame jour. Les paroles sont l’image que Axl se fait de Los Angeles. Il a dit les avoir \u00e9crites \u00e0 Seattle, o\u00f9 la ville lui semblait plus petite et plus \u00e9tal\u00e9e et le contraste faisait d’Hollywood un endroit pr\u00eat \u00e0 vendre n’importe quoi \u00e0 un nouveau venu, s’il pouvait payer. La phrase parl\u00e9e au milieu, celle qui demande si l’on sait o\u00f9 l’on est, dit cette arriv\u00e9e \u00e0 voix haute.<\/p>\n

Le groupe enregistre l’album avec Clink apr\u00e8s une rencontre avec Paul Stanley de Kiss qui ne correspond pas \u00e0 ce qu’ils veulent. Duff a d\u00e9crit le premier essai de Clink : il pose des micros, les enregistre simplement et leur fait r\u00e9\u00e9couter. Aux Rumbo Recorders de Canoga Park, avec d’autres prises \u00e0 Take One et Can-Am, Clink emp\u00eache les s\u00e9ances de s’\u00e9parpiller. Les deux guitares sont devant, le lead de Slash et la rythmique d’Izzy, avec la basse de Duff et la batterie d’Adler sous Axl, qui passe de la parole au cri dans le m\u00eame couplet. Le clip qui tourne une fois que MTV prend l’album est encore l’image que la plupart des gens associent \u00e0 la chanson.<\/p>\n

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\n

Tout ce disque, ce sont des premi\u00e8res, deuxi\u00e8mes ou troisi\u00e8mes prises de chaque chanson. On joue tout le temps, on n’avait pas besoin de faire 19 prises de quoi que ce soit.<\/p>\n<\/blockquote>\n

(Duff McKagan, sur l’enregistrement avec Mike Clink)<\/em><\/p>\n

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Appetite for Destruction<\/em> se vend d’abord lentement. Sweet Child o’ Mine<\/em> ouvre ensuite l’album et Welcome to the Jungle<\/em> revient avec lui sur le single de 1988. La chanson reste le premier morceau habituel du concert. Slash a plus tard cit\u00e9 la ligne de saxophone de Baker Street<\/em>, de Gerry Rafferty, parmi ce qu’il avait en t\u00eate en \u00e9crivant le solo de Sweet Child o’ Mine<\/em>. Jungle<\/em> n’a pas besoin de cette suite pour dire ce qu’elle dit. Elle pose d\u00e9j\u00e0 les termes du disque : une ville nouvelle, un prix et un groupe qui l’a mis sur bande avant que le prix ne soit c\u00e9l\u00e8bre.<\/p>\n

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