{"id":8635,"date":"2026-09-08T09:00:00","date_gmt":"2026-09-08T07:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/dont-you-forget-about-me-simple-minds-2\/"},"modified":"2026-09-19T23:59:13","modified_gmt":"2026-09-19T21:59:13","slug":"dont-you-forget-about-me-simple-minds-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/dont-you-forget-about-me-simple-minds-2\/","title":{"rendered":"Don’t You (Forget About Me) – Simple Minds"},"content":{"rendered":"

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Une chanson qu’ils ne voulaient pas chanter<\/h3>\n

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Une phrase de guitare reste en l’air comme une sonnerie d’\u00e9cole qui ne s’arr\u00eate pas, et Jim Kerr entre d\u00e9j\u00e0 en demandant qu’on se souvienne de lui, le titre comme une main sur l’\u00e9paule dans un couloir.<\/p>\n

Simple Minds n’a pas \u00e9crit Don’t You (Forget About Me)<\/em>. Keith Forsey et Steve Schiff l’ont fait, pour le film de John Hughes, The Breakfast Club<\/em>. Forsey, qui avait produit Billy Idol, apporte la d\u00e9mo \u00e0 un groupe \u00e9cossais fier d’\u00e9crire ses chansons et d\u00e9j\u00e0 au travail sur ce qui deviendra Once Upon a Time<\/em>. Ils refusent. Bryan Ferry avait refus\u00e9. Chrissie Hynde, alors femme de Kerr, lui r\u00e9p\u00e8te qu’elle aime \u00e7a. Forsey t\u00e9l\u00e9phone, dit qu’il est fan, demande deux jours, sans promesse. Ils s’entendent. La piste est coup\u00e9e vite, produite par Forsey, et sort en f\u00e9vrier 1985. Kerr, \u00e0 court d’une derni\u00e8re ligne, chante la, la-la-la-la, et compte la remplacer. Forsey refuse. Le non-sens reste, et c’est la partie que les stades hurlent maintenant.<\/p>\n

Kerr a racont\u00e9 l’histoire sans pr\u00e9tendre qu’ils \u00e9taient des visionnaires. En 2016 il a dit au Guardian qu’il avait ajout\u00e9 la grande fin parce qu’il n’avait pas de paroles, qu’il en \u00e9crirait, et que Forsey avait r\u00e9pondu : plut\u00f4t mourir, on garde \u00e7a. Le film pose la chanson sur un poing lev\u00e9 dans un parking gel\u00e9, cinq adolescents qui sortent de retenue, et l’accord est si net qu’il a l’air pr\u00e9vu depuis le d\u00e9but. Il ne l’\u00e9tait pas. C’\u00e9tait un groupe qu’on avait convaincu de chanter le refrain d’un autre, puis qui se l’appropriait avec une intro de guitare de Charlie Burchill et une voix qui sonne comme un serment. En Am\u00e9rique c’est le num\u00e9ro un. Chez eux c’est un tube qu’une partie du premier public a entendu comme une trahison.<\/p>\n

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J’ai ajout\u00e9 la grande fin en la, la-la-la-la parce que je n’avais pas de paroles. J’ai dit que j’en \u00e9crirais, mais Keith a dit : plut\u00f4t mourir. On garde \u00e7a.<\/p>\n<\/blockquote>\n

(Jim Kerr, The Guardian, 2016)<\/em><\/p>\n

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Ils l’ont laiss\u00e9e hors de l’album studio suivant, comme si le succ\u00e8s pouvait rester dans le film. Elle les a suivis quand m\u00eame. Chaque rappel doit d\u00e9cider s’il la joue, et la plupart des soirs la d\u00e9cision est oui, parce que la salle ne partira pas sans les la. Hughes aimait les disques britanniques, les guitares s\u00e8ches, le froid europ\u00e9en, et il voulait ce temps sur un samedi de Chicago. Kerr, que les adolescents am\u00e9ricains en retenue n’int\u00e9ressaient pas, a chant\u00e9 comme s’il avait assist\u00e9 \u00e0 la s\u00e9ance. C’est le miracle professionnel. Une chanson qu’on refuse peut quand m\u00eame aller \u00e0 votre bouche.<\/p>\n

Ce qui reste, c’est le poing lev\u00e9 et la syllabe qui ne veut rien dire et qui veut tout dire. Le texte de Forsey est une pri\u00e8re pour ne pas \u00eatre effac\u00e9 par le week-end. Simple Minds lui a donn\u00e9 l’\u00e9chelle, le delay, une voix capable de remplir un champ. Les puristes n’avaient pas tout \u00e0 fait tort. C’est plus simple que New Gold Dream<\/em>. C’est aussi la porte par laquelle un immense public est entr\u00e9, et certains sont rest\u00e9s pour les salles plus dures. Les la-la, gard\u00e9s contre le plan du chanteur, sont le bout que personne n’oublie, joli tour pour une chanson de ce titre, et meilleur que n’importe quelle ligne qu’il aurait \u00e9crite sur le chemin du retour.<\/p>\n

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Une phrase de guitare reste en l’air comme une sonnerie d’\u00e9cole qui ne s’arr\u00eate pas, et Jim Kerr entre d\u00e9j\u00e0 en demandant qu’on se souvienne de lui, le titre comme une main sur l’\u00e9paule dans un couloir.<\/p>\n","protected":false},"author":1,"featured_media":8631,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[273,278],"tags":[684],"class_list":["post-8635","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-chronicles","category-tracks","tag-simple-minds"],"yoast_head":"\nDon't You (Forget About Me) - Simple Minds - 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-forget-about-me-simple-minds-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 (Forget About Me) - 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