{"id":8167,"date":"2026-01-01T11:00:00","date_gmt":"2026-01-01T10:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/whats-going-on-marvin-gaye-2\/"},"modified":"2026-09-20T00:01:45","modified_gmt":"2026-09-19T22:01:45","slug":"whats-going-on-marvin-gaye-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/whats-going-on-marvin-gaye-2\/","title":{"rendered":"What’s Going On – Marvin Gaye"},"content":{"rendered":"

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

Une f\u00eate dans la cabine de chant<\/h3>\n

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Les voix du d\u00e9but ne sont pas un effet. Ce sont des gens dans une pi\u00e8ce, qui se saluent, et le saxophone qui suit sonne comme un homme qui s’\u00e9chauffe et a d\u00e9j\u00e0 dit la chose vraie par accident. Marvin Gaye chante comme s’il \u00e9tait entr\u00e9 de la rue et avait trouv\u00e9 le groupe d\u00e9j\u00e0 en deuil. What’s Going On<\/em>, le single de 1971 et la porte de l’album, n’accuse pas en criant. Il demande, ce qui est plus difficile \u00e0 refuser. Brother, brother. L’harmonie lui r\u00e9pond comme une assembl\u00e9e qui a d\u00e9cid\u00e9 de rester douce.<\/p>\n

La chanson lui arrive par Renaldo Benson des Four Tops et Al Cleveland, apr\u00e8s que Benson a vu la violence polici\u00e8re lors d’une manifestation \u00e0 Berkeley. Gaye, d\u00e9j\u00e0 fini avec le r\u00f4le d’amoureux que Motown pr\u00e9f\u00e9rait, prend l’id\u00e9e et la fait sienne. Il la produit lui-m\u00eame, \u00e0 Detroit, les Funk Brothers sous lui et David Van De Pitte aux arrangements. L’alto d’Eli Fontaine, une course que le musicien croyait n’\u00eatre qu’un \u00e9chauffement, est gard\u00e9 parce que Gaye y entend le disque. Berry Gordy ne veut pas du single. C’est trop politique, trop loin des baisers qui avaient pay\u00e9 le b\u00e2timent. Gaye refuse d’enregistrer autre chose tant que cela ne sort pas. Cela sort. C’est un tube. L’album a le droit d’exister.<\/p>\n

Ce que le morceau tient, sous la question, est une liste : des m\u00e8res qui pleurent, des fr\u00e8res qui meurent, des piquets, la police, un p\u00e8re qui ne parlera pas. Le bruit de f\u00eate ne part pas. C’est le g\u00e9nie et la blessure. La vie continue dans la cabine pendant que le texte compte les morts. Sur sc\u00e8ne, dans les ann\u00e9es d’apr\u00e8s, il pouvait en faire un sermon ou un cri. La version de studio est la conversation, multipist\u00e9e pour qu’il se dispute avec lui-m\u00eame et perde, poliment. La machine de Motown avait \u00e9t\u00e9 construite pour \u00e9viter ce sujet. Un chanteur a enray\u00e9 les rouages en \u00e9tant trop r\u00e9ussi pour \u00eatre renvoy\u00e9.<\/p>\n

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\n

Avec le monde qui explose autour de moi, comment suis-je cens\u00e9 continuer \u00e0 chanter des chansons d’amour ?<\/p>\n<\/blockquote>\n

(Marvin Gaye, vers 1971, rapport\u00e9 par David Ritz dans Divided Soul)<\/em><\/p>\n

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L’album qui a suivi est trait\u00e9 maintenant comme un monument, ce qui peut faire sonner le single comme une \u00e9vidence. Il ne l’\u00e9tait pas. Une maison a recul\u00e9. Un saxophoniste croyait n’avoir pas commenc\u00e9. Un chanteur qui avait enterr\u00e9 Tammi Terrell et regard\u00e9 le pays se d\u00e9chirer a d\u00e9cid\u00e9 que les chansons d’amour \u00e9taient une forme de mensonge si elles \u00e9taient les seules. La question du titre est encore sans r\u00e9ponse, et c’est pourquoi elle passe encore. Posez-la dans une nouvelle d\u00e9cennie et la rue fournit des noms frais.<\/p>\n

Ce qui reste, c’est la chaleur de cette pi\u00e8ce d’ouverture. What’s Going On<\/em> aurait pu \u00eatre un discours. C’est un rassemblement. Les Funk Brothers gardent la poche assez souple pour danser et assez grave pour vous arr\u00eater. Gaye n’\u00e9l\u00e8ve jamais la voix pour gagner. Il la tient au niveau d’un homme qui s’attend \u00e0 ce que vous vous approchiez, puis il vous dit \u00e0 quoi ressemble le plus pr\u00e8s.<\/p>\n

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