{"id":25666,"date":"2019-05-04T09:00:00","date_gmt":"2019-05-04T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-categorise\/indeep-last-night-a-d-j-saved-my-life\/"},"modified":"2026-10-18T08:11:28","modified_gmt":"2026-10-18T06:11:28","slug":"indeep-last-night-a-d-j-saved-my-life","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/indeep-last-night-a-d-j-saved-my-life\/","title":{"rendered":"Indeep – Last Night a D.J. Saved My Life"},"content":{"rendered":"

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Un single de club new-yorkais qui s’arr\u00eate \u00e0 101<\/h3>\n

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En 1982, Indeep sort Last Night a D.J. Saved My Life<\/em> sur Sound of New York et Becket, r\u00e9f\u00e9rence SNY-5102. Michael Cleveland l’\u00e9crit. Il le produit avec Reggie Thompson. R\u00e9jane \u00ab Reggie \u00bb Magloire et Rose Marie Ramsey le chantent. Cleveland, qui a mont\u00e9 le groupe \u00e0 New York, prend lui-m\u00eame la partie parl\u00e9e. Andy Wallace est l’ing\u00e9nieur du son. Sur le maxi, Tony Humphries mixe la version Sure Shot et Gene Griffin est producteur ex\u00e9cutif. La version longue, celle de l’album de 1983 Last Night a D.J. Saved My Life!<\/em>, dure 5 minutes et 40 secondes. L’\u00e9dition 45 tours dure 4 minutes et 16. La face B est D.J. Delight<\/em>. Les compilations plus tardives, dont The Collection<\/em>, ne font que r\u00e9emballer le m\u00eame enregistrement de 1982.<\/p>\n

Le texte est une petite histoire. Une femme est chez elle, elle s’ennuie, elle appelle un homme qui ne r\u00e9pond pas. Elle pense \u00e0 partir. Un DJ passe un disque et la nuit change. Le rap de Cleveland dit qu’il n’y a pas de probl\u00e8me qu’il ne puisse arranger, parce qu’il peut le faire dans le mix. Le maxi isole m\u00eame les bruitages du texte : un t\u00e9l\u00e9phone, des pneus, une chasse d’eau. L’id\u00e9e, \u00e0 l’\u00e9poque, \u00e9tait de donner aux DJ de club des morceaux \u00e0 glisser dans leurs propres sets. Magloire et Ramsey portent le refrain chant\u00e9. Cleveland a dit plus tard \u00e0 Billboard qu’il \u00e9crivait les chansons, mais que son oreille venait de ce que les femmes lui racontaient.<\/p>\n

La radio pop am\u00e9ricaine y touche \u00e0 peine. Le Hot 100 de Billboard place le single au num\u00e9ro 101, juste \u00e0 c\u00f4t\u00e9 du classement, pas dedans. En club, c’est autre chose : 2e du classement dance, 10e du classement R&B. En f\u00e9vrier 1983, il atteint la 13e place au Royaume-Uni et la BPI le marque ensuite argent. Les Pays-Bas le m\u00e8nent \u00e0 la 2e. La France, la Belgique et l’Allemagne de l’Ouest le mettent dans le top 10 et la Gr\u00e8ce comme le Zimbabwe le listent num\u00e9ro 1.<\/p>\n

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\n

J’\u00e9cris les chansons, mais mon oreille vient de ce que les femmes me racontent.<\/p>\n<\/blockquote>\n

(Michael Cleveland, Billboard)<\/em><\/p>\n

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La suite, When Boys Talk<\/em>, entre dans le classement club et dans la liste britannique, puis s’efface. Indeep n’a pas de deuxi\u00e8me tube pop. Le groupe continue d’enregistrer jusqu’au milieu des ann\u00e9es 1980, dont l’album de 1984 Pajama Party Time<\/em>, sans un autre disque de cette taille. Magloire chantera plus tard avec Technotronic. En 2001, Mariah Carey reprend ce morceau pour le film et l’album Glitter<\/em>. En 2025, Billboard classe encore l’original au 62e rang d’une liste des 100 meilleures chansons de danse. L’enregistrement qu’on passe encore est le single de 1982 : deux chanteuses, un rap au milieu, une ligne de basse qui ne l\u00e2che pas et un titre que la musique de club a continu\u00e9 de r\u00e9p\u00e9ter longtemps apr\u00e8s que le Hot 100 a regard\u00e9 ailleurs.<\/p>\n

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