{"id":8431,"date":"2026-05-02T16:00:00","date_gmt":"2026-05-02T14:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/respect-aretha-franklin-2\/"},"modified":"2026-09-20T00:03:11","modified_gmt":"2026-09-19T22:03:11","slug":"respect-aretha-franklin-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/respect-aretha-franklin-2\/","title":{"rendered":"Respect – Aretha Franklin"},"content":{"rendered":"

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

Une le\u00e7on d’orthographe avec une section de cuivres<\/h3>\n

[\/vc_column_text][vc_empty_space][vc_column_text]<\/p>\n

Le groupe frappe, et elle est d\u00e9j\u00e0 devant eux, le piano dans la main gauche de l’arrangement, la voix sans aucun doute. Respect<\/em> ne demande pas. Il inventorie ce qu’elle a, ce dont il a besoin, et le petit reste qu’elle accepte de n\u00e9gocier, c’est-\u00e0-dire rien. Puis ses s\u0153urs, Carolyn et Erma, lancent le sock-it-to-me, et le mot lui-m\u00eame est \u00e9pel\u00e9, lettre par lettre, comme si le studio \u00e9tait devenu une \u00e9cole o\u00f9 la le\u00e7on est la dignit\u00e9 et les devoirs sont imm\u00e9diats. Otis Redding a \u00e9crit la plainte d’un homme. Aretha Franklin est entr\u00e9e avec la plainte retourn\u00e9e et le groove serr\u00e9 jusqu’\u00e0 ce que l’original ne puisse plus reprendre sa chanson.<\/p>\n

Elle l’enregistre le 14 f\u00e9vrier 1967 aux Atlantic Studios de New York, produit par Jerry Wexler, ing\u00e9nierie de Tom Dowd, pour I Never Loved a Man the Way I Love You<\/em>. Les musiciens de Muscle Shoals mont\u00e9s au nord sont dans la pi\u00e8ce, King Curtis au saxophone, Franklin au piano, l’arrangement d\u00e9j\u00e0 fini dans sa t\u00eate avant le voyant rouge. Wexler a dit qu’il n’avait rien \u00e0 lui apprendre sur le phras\u00e9. Redding passe au bureau avant le single, sorti en avril, et entend la bande. Il dit qu’elle a pris sa chanson. Il le dit, a \u00e9crit Wexler, avec bienveillance et regret. Il savait que l’identit\u00e9 glissait de lui vers elle. \u00c0 l’\u00e9t\u00e9 c’est un num\u00e9ro un, et \u00e0 Monterey il la pr\u00e9sente comme celle qu’une fille lui a prise.<\/p>\n

En concert, l’\u00e9pellation est une communion. Les salles attendent les lettres. Franklin pouvait sourire dedans ou br\u00fbler dedans. L’exigence ne s’est pas adoucie avec le tube. Elle s’est \u00e9largie : un texte domestique, un texte sexuel, et, sans discours ajout\u00e9, un texte public. Des gens qui n’avaient jamais \u00e9t\u00e9 dans son mariage ont entendu leur nom dans le refrain. Ce n’est pas un accident de r\u00e9ception. C’est ce qu’une grande chanteuse fait \u00e0 un pronom.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719644035{padding-top: 30px !important;padding-bottom: 30px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

\n

She done took my song.<\/p>\n<\/blockquote>\n

(Otis Redding to Jerry Wexler, 1967, recalled in Rolling Stone, 2004)<\/em><\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css=\u00a0\u00bb.vc_custom_1453719649507{padding-top: 25px !important;padding-bottom: 33px !important;}\u00a0\u00bb][vc_column][vc_column_text]<\/p>\n

Wexler a plus tard appel\u00e9 le disque un appel \u00e0 la dignit\u00e9 combin\u00e9 \u00e0 une lubricit\u00e9 franche, ce qui est la fa\u00e7on d’un producteur d’admettre que la chanson ne tiendra pas dans un seul tiroir. Le sock it to me est l’ajout de Franklin, pas de Redding, et il change la temp\u00e9rature, de la supplique \u00e0 l’ordre. Les cuivres ne d\u00e9corent pas l’ordre. Ils le font marcher. Deux minutes et demie, et une dispute de d\u00e9cennie sur qui doit quoi \u00e0 qui a un hook. Les reprises depuis ont surtout salu\u00e9. Le salut est juste. On peut chanter les notes. On ne peut pas chanter la possession.<\/p>\n

Ce qui reste, c’est l’\u00e9pellation, enfantine et absolue. R-E-S-P-E-C-T est un moyen mn\u00e9motechnique et une ligne dans le sable. Respect<\/em> lance encore des danses et des disputes, souvent dans le m\u00eame bar. L’homme qui l’a \u00e9crit a reconnu le vol et, selon Wexler, n’a pas pr\u00e9tendu que c’\u00e9tait encore \u00e0 lui. Cette gr\u00e2ce fait partie de l’histoire du disque. La voix est le reste. Elle ne partage pas.<\/p>\n

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