{"id":8431,"date":"2019-04-07T11:00:00","date_gmt":"2019-04-07T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/respect-aretha-franklin-2\/"},"modified":"2026-11-09T07:11:28","modified_gmt":"2026-11-09T06:11:28","slug":"respect-aretha-franklin-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/titres\/respect-aretha-franklin-2\/","title":{"rendered":"Aretha Franklin – Respect"},"content":{"rendered":"

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Atlantic 1967 : la demande d\u2019Otis r\u00e9\u00e9crite par Aretha Franklin<\/h3>\n

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Respect<\/em> est le single Atlantic d\u2019Aretha Franklin de f\u00e9vrier 1967, enregistr\u00e9 le 14 f\u00e9vrier aux Atlantic Studios \u00e0 New York avec Jerry Wexler \u00e0 la production et Tom Dowd \u00e0 la prise de son, pour l\u2019album I Never Loved a Man the Way I Love You<\/em>. Otis Redding a \u00e9crit et enregistr\u00e9 le titre en 1965 comme plainte d\u2019homme. Franklin inverse la demande, serre le groove, ajoute l\u2019\u00e9pellation lettre par lettre et les appels \u00ab sock it to me \u00bb avec ses s\u0153urs Carolyn et Erma. Les musiciens de Muscle Shoals venus des sessions en Alabama frappent fort ; King Curtis r\u00e9pond au saxophone pendant que son piano et sa voix m\u00e8nent devant.<\/p>\n

Sorti en single en avril 1967, il atteint la 1re place du Billboard Hot 100 et du classement R&B et circule au-del\u00e0 de la radio : marches des droits civiques, meetings f\u00e9ministes, puis cin\u00e9ma et t\u00e9l\u00e9. Dur\u00e9e autour de deux minutes vingt-huit sur la prise hit. Le texte inventorie ce qu\u2019elle a donn\u00e9 et ce qu\u2019elle attend en retour ; l\u2019arrangement ne laisse pas de milieu mou. Les claviers de Spooner Oldham, la guitare de Jimmy Johnson et les r\u00e9ponses de cuivres font avancer le titre, court et fait pour un dancefloor.<\/p>\n

Redding a entendu la version Franklin et dit \u00e0 Wexler qu\u2019elle lui avait pris sa chanson. La remarque est devenue l\u00e9gende parce qu\u2019elle \u00e9tait juste : l\u2019arrangement et le retournement de genre font du cut Atlantic la version d\u00e9finitive. Franklin \u00e9tait d\u00e9j\u00e0 une star form\u00e9e au gospel passant de Columbia \u00e0 Atlantic ; Respect scelle ce passage comme fait culturel, pas seulement comme hit. Le contexte album c\u00f4toie Do Right Woman-Do Right Man et la ballade titre, mais Respect est la porte d\u2019entr\u00e9e pour ceux qui ne connaissaient son nom que des jukebox.<\/p>\n

Des d\u00e9cennies plus tard, le morceau montre encore, en deux minutes et demie, comment une reprise peut d\u00e9passer l\u2019original sans le moquer. Franklin l\u2019a gard\u00e9 dans son set jusqu\u2019\u00e0 la fin. Les reprises am\u00e9liorent rarement la section \u00e9pellation parce que les r\u00e9ponses des s\u0153urs sont \u00e9crites dans cette section. Dans le catalogue Atlantic, c\u2019est le document le plus clair des premi\u00e8res sessions Franklin avec Wexler : musiciens du Sud, discipline new-yorkaise, voix qui ne demande pas \u00e0 voix basse. Billboard l\u2019a plus tard class\u00e9 parmi les singles du si\u00e8cle ; en live, les salles attendent encore les lettres.<\/p>\n

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\n

Elle m’a piqu\u00e9 ma chanson.<\/p>\n<\/blockquote>\n

(Otis Redding \u00e0 Jerry Wexler, 1967, rappel\u00e9 dans Rolling Stone, 2004)<\/em><\/p>\n

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Respect a plac\u00e9 une demande domestique r\u00e9\u00e9crite sur la radio pop, avec cuivres, piano et une \u00e9pellation lettre par lettre qui rend la demande facile \u00e0 entendre. Le No. 1 Hot 100 est le r\u00e9sultat public. Les premi\u00e8res mesures servent encore \u00e0 ouvrir une salle, \u00e0 la radio comme en concert.<\/p>\n

Le temps fort et la premi\u00e8re phrase posent la demande. Otis a \u00e9crit la plainte. Aretha a enregistr\u00e9 la r\u00e9ponse.<\/p>\n

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