{"id":8629,"date":"2026-08-20T11:00:00","date_gmt":"2026-08-20T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/dont-you-want-me-the-human-league-2\/"},"modified":"2026-09-19T23:59:13","modified_gmt":"2026-09-19T21:59:13","slug":"dont-you-want-me-the-human-league-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/dont-you-want-me-the-human-league-2\/","title":{"rendered":"Don’t You Want Me – The Human League"},"content":{"rendered":"

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

Le bouche-trou devenu No\u00ebl<\/h3>\n

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Une basse de synth\u00e9tiseur compte l’entr\u00e9e comme un barman qui a d\u00e9j\u00e0 vu cette dispute, et Philip Oakey commence l’histoire de son c\u00f4t\u00e9, d\u00e9j\u00e0 certain qu’on lui doit quelque chose.<\/p>\n

The Human League enregistre Don’t You Want Me<\/em> pour Dare<\/em> aux Genetic Studios de Reading, Martin Rushent \u00e0 la production, et l’album sort en 1981. Oakey \u00e9crit le texte d’apr\u00e8s un roman-photo de magazine pour ados et d’apr\u00e8s la forme d’A Star Is Born<\/em>, un homme qui trouve une fille serveuse, en fait un visage, et ne peut pas croire qu’elle parte. Jo Callis et Philip Adrian Wright construisent un arrangement de synth\u00e9s plus dur. Rushent et Callis l’adoucissent. Oakey d\u00e9teste la version douce. Il la croit la plus faible du disque et la gare \u00e0 la fin de la face B. Susan Ann Sulley chante la r\u00e9ponse, la serveuse qui travaillait dans un cocktail bar, ce qui \u00e9tait proche du vrai : elle et Joanne Catherall avaient \u00e9t\u00e9 trouv\u00e9es dans un club de Sheffield l’ann\u00e9e d’avant, pas encore chanteuses. Simon Draper, de Virgin, veut un quatri\u00e8me single. Oakey se bat, puis accepte si une affiche accompagne le 45 tours, pour que les fans ne se sentent pas vol\u00e9s par un bouche-trou.<\/p>\n

C’est le num\u00e9ro un de No\u00ebl en Grande-Bretagne en 1981, et le num\u00e9ro un en Am\u00e9rique l’ann\u00e9e suivante. Oakey ne lui a pas tout \u00e0 fait pardonn\u00e9. En 2014 il a dit \u00e0 Classic Pop que le morceau avait beau avoir \u00e9coul\u00e9 des milliards, soit il l’avait trop entendu, soit le reste de Dare<\/em> \u00e9tait si loin devant que le tube restait dans l’ombre. L’ombre est l’endroit o\u00f9 vit le public. Le duo est le sujet. Son couplet \u00e0 elle ne s’excuse pas. Elle travaillait, il l’a choisie, maintenant elle est c\u00e9l\u00e8bre, cinq fois plus, et la chanson, qu’il voulait comme sa plainte, continue de lui donner les meilleures lignes.<\/p>\n

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\n

Don’t You Want Me a beau avoir \u00e9coul\u00e9 des milliards, soit je l’ai trop entendue, soit le reste de Dare est tellement devant qu’elle en reste dans l’ombre.<\/p>\n<\/blockquote>\n

(Philip Oakey, Classic Pop, 2014)<\/em><\/p>\n

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Sur sc\u00e8ne la dispute est une chor\u00e9graphie. Il se tient l\u00e0, elle se tient l\u00e0, la salle chante les deux parties, y compris la menace du dernier refrain, qu’une piste de danse a d\u00e9cid\u00e9 d’appeler romance. Cette d\u00e9cision m\u00e9rite qu’on la discute. Les mots sont ceux d’un homme qui ne l\u00e2che pas. La musique est si nette, si clairement produite par Rushent, que la menace arrive habill\u00e9e pour une f\u00eate. La voix de Sulley, inexp\u00e9riment\u00e9e et exacte, sauve le disque d’\u00eatre seulement le sien. Elle a l’air d’avoir d\u00e9j\u00e0 quitt\u00e9 le b\u00e2timent. Lui explique encore.<\/p>\n

Ce qui reste, c’est un tube que son auteur a class\u00e9 parmi les erreurs. Dare<\/em> est plein de chansons mieux construites, et celle-ci a l’histoire, les deux voix, l’affiche, No\u00ebl. La pop est injuste ainsi. La piste qu’Oakey cachait est celle dont l’ann\u00e9e se souvient. Le cocktail bar est encore dans le texte, un vrai m\u00e9tier devenu mythe, et les synth\u00e9tiseurs brillent encore comme si personne dans la chanson n’avait peur. R\u00e9\u00e9coutez son couplet \u00e0 elle. Le single est \u00e0 elle, quoi que dise le cr\u00e9dit, et l’homme qui ne voulait pas le sortir est encore, \u00e0 chaque tourn\u00e9e, oblig\u00e9 de chanter la question.<\/p>\n

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Une basse de synth\u00e9tiseur compte l’entr\u00e9e comme un barman qui a d\u00e9j\u00e0 vu cette dispute, et Philip Oakey commence l’histoire de son c\u00f4t\u00e9, d\u00e9j\u00e0 certain qu’on lui doit quelque chose.<\/p>\n","protected":false},"author":1,"featured_media":8625,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[840],"class_list":["post-8629","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-the-human-league"],"yoast_head":"\nDon't You Want Me - The Human League - RIFFS AND BEATS<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/dont-you-want-me-the-human-league-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Don't You Want Me - 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