{"id":8521,"date":"2026-02-24T09:00:00","date_gmt":"2026-02-24T08:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/a-case-of-you-joni-mitchell-2\/"},"modified":"2026-09-19T23:59:07","modified_gmt":"2026-09-19T21:59:07","slug":"a-case-of-you-joni-mitchell-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/a-case-of-you-joni-mitchell-2\/","title":{"rendered":"A Case of You – Joni Mitchell"},"content":{"rendered":"

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

Une chanson d’amour qui ne s’agenouille pas<\/h3>\n

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Le dulcimer commence seul, un motif sec et clair, plus proche d’une table de cuisine que d’un studio, et la voix de Joni Mitchell entre comme si la conversation durait d\u00e9j\u00e0 depuis une heure.<\/p>\n

A Case of You<\/em> est enregistr\u00e9 en 1971 aux studios A&M d’Hollywood pour Blue<\/em>, que Mitchell produit elle-m\u00eame, Henry Lewy \u00e0 l’ing\u00e9nierie. Elle joue du dulcimer des Appalaches. James Taylor joue de la guitare acoustique, discr\u00e8te, sans jamais l’encombrer. Le texte s’ouvre sur une ligne prise \u00e0 Shakespeare puis refus\u00e9e : constant comme l’\u00e9toile du nord, lui dit-on, et elle r\u00e9pond que l’\u00e9toile est constante dans le noir, et que s’il la veut il la trouvera au bar. C’est du flirt et un interrogatoire dans le m\u00eame souffle. La vantardise c\u00e9l\u00e8bre, qu’elle pourrait boire une caisse de lui et rester debout, est une d\u00e9votion et un avertissement. Elle ne se laissera pas renverser. L’album sort en juin 1971, et il sonne encore comme quelqu’un qui a retir\u00e9 l’armure et gard\u00e9 le nerf.<\/p>\n

Elle a r\u00e9sist\u00e9 \u00e0 l’enqu\u00eate. Interrog\u00e9e, des ann\u00e9es plus tard, sur le destinataire, elle a appel\u00e9 cela une chanson d’amour, rien de plus, et dit que l’art joint parfois une chose arriv\u00e9e ici \u00e0 une chose arriv\u00e9e l\u00e0, jusqu’\u00e0 ce que la jointure semble une v\u00e9rit\u00e9 enti\u00e8re. L’interpr\u00e9tation n’a pas besoin du nom. Sur le dulcimer les accords sont simples, l’accordage est le sien, et la voix, proche du micro, laisse passer les petites cassures. Pas de batteur pour dire o\u00f9 le sentiment doit tomber. On suit le souffle.<\/p>\n

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\n

C’est une chanson d’amour. C’est tout. C’est de l’art. Parfois on \u00e9crit exactement ce qu’on a vu, mais d’autres fois on prend quelque chose qui s’est pass\u00e9 ici et on le met avec quelque chose qui s’est pass\u00e9 l\u00e0-bas.<\/p>\n<\/blockquote>\n

(Joni Mitchell, Mojo, 2008)<\/em><\/p>\n

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D’autres l’ont tent\u00e9e, Prince parmi eux, attir\u00e9s par la m\u00e9lodie et par le refus qu’elle contient. Les reprises ont tendance \u00e0 sucrer la vantardise ou \u00e0 noircir le regret. L’original fait les deux \u00e0 la fois, et garde un humour dans la ligne du bar, l\u00e0 o\u00f9 la chanson reste humaine. Mitchell, cette ann\u00e9e-l\u00e0, n’avait, selon ce qu’elle a dit plus tard de Blue<\/em>, presque plus de d\u00e9fenses. L’avantage, ajoutait-elle, c’est que la musique n’en avait pas non plus. On l’entend \u00e0 la fa\u00e7on dont elle appuie sur un mot, puis le l\u00e2che, sans souci d’impressionner.<\/p>\n

Ce qui reste, c’est un standard qui n’en a pas les mani\u00e8res. On a si souvent dit que c’\u00e9tait sa plus belle minute que la formule s’est amollie, et pourtant l’enregistrement ne flatte pas l’auditeur. Une caisse de toi, et elle est debout. Le dulcimer garde sa lumi\u00e8re s\u00e8che. La guitare de Taylor est une seconde pens\u00e9e, pas un lit. L’amour, dans cette chanson, inclut le droit de rester intact, promesse plus dure que pour toujours, et plus adulte.<\/p>\n

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