{"id":9499,"date":"2026-01-10T10:00:00","date_gmt":"2026-01-10T09:00:00","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/whats-going-on-album-marvin-gaye-2\/"},"modified":"2026-01-10T10:00:00","modified_gmt":"2026-01-10T09:00:00","slug":"whats-going-on-album-marvin-gaye-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chroniques\/whats-going-on-album-marvin-gaye-2\/","title":{"rendered":"What’s Going On – Marvin Gaye"},"content":{"rendered":"

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Une question que la Motown voulait enterrer<\/h3>\n

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Au printemps 1971, Marvin Gaye cesse de demander \u00e0 la Motown une autre chanson d’amour et pose une question plus dure, une question que le label ne veut pas \u00e0 la radio. What’s Going On<\/em> ne commence pas tant par un temps fort que par une pi\u00e8ce. Les voix se chevauchent, une f\u00eate d\u00e9j\u00e0 en cours, un saxophone qui s’\u00e9chauffe comme si personne n’avait lanc\u00e9 la prise. Puis la voix arrive, proche, presque conversationnelle, un homme qui parle aux gens dans la pi\u00e8ce plut\u00f4t qu’il ne se produit devant eux. Sorti le 21 mai 1971, l’album sonne comme Detroit apr\u00e8s que le r\u00eave des ann\u00e9es soixante s’est aminci, encore \u00e9l\u00e9gant, qui n’est plus innocent.<\/p>\n

La chanson-titre attend depuis 1970. Renaldo \u00ab Obie \u00bb Benson, des Four Tops, apporte l’id\u00e9e apr\u00e8s avoir vu la police disperser une manifestation \u00e0 Berkeley ; Al Cleveland aide \u00e0 la former ; Gaye la r\u00e9\u00e9crit autour de son fr\u00e8re Frankie, revenu du Vietnam et incapable de retrouver le pays qu’il a quitt\u00e9. Berry Gordy entend le single fini et le refuse. Trop long, trop \u00e9trange, trop politique pour la machine qui a vendu \u00e0 la jeune Am\u00e9rique un temps plus lisse. Gaye r\u00e9pond qu’il n’enregistrera plus tant que ce morceau ne sortira pas. Pendant une absence de Gordy, le single sort quand m\u00eame. Il monte. Le coup de t\u00e9l\u00e9phone furieux arrive apr\u00e8s. La question est d\u00e9j\u00e0 dans la rue.<\/p>\n

L’album qui suit est une suite, pas une pile de singles. Les morceaux encha\u00eenent comme une seule respiration. What’s Happening Brother<\/em> est la lettre du soldat. Flyin’ High (In the Friendly Sky)<\/em> et Save the Children<\/em> tournent vers l’int\u00e9rieur, puis de nouveau vers le dehors. God Is Love<\/em> laisse une porte gospel ouverte. Mercy Mercy Me (The Ecology)<\/em> regarde le ciel et l’eau comme s’ils \u00e9taient aussi des proches. Inner City Blues (Make Me Wanna Holler)<\/em> ferme sur les factures, les imp\u00f4ts, et une g\u00e2chette qui ne reste pas dans le journal. David Van De Pitte arrange les cordes pour qu’elles planent plut\u00f4t qu’elles n’adoucissent. Les Funk Brothers jouent avec la souplesse de gens \u00e0 qui l’on a dit, pour une fois, de garder les erreurs qui sonnent vrai. L’alto d’Eli Fontaine, pris pendant un \u00e9chauffement, reste dans l’intro parce que Gaye l’entend et dit de le laisser.<\/p>\n

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\n

How could you release that? It’s the worst thing I’ve ever heard in my life!<\/p>\n<\/blockquote>\n

(Berry Gordy \u00e0 Barney Ales, rapport\u00e9 dans Nelson George, Where Did Our Love Go, 1985)<\/em><\/p>\n

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La Motown a b\u00e2ti un empire sur des r\u00e9ponses : la bonne tonalit\u00e9, la bonne dur\u00e9e, le bon sourire. What’s Going On<\/em> offre une question et refuse de la r\u00e9soudre en trois minutes. Il atteint la t\u00eate du classement albums R&B et le top dix pop, ce qui ne rend pas Gordy idiot sur le risque, seulement en retard sur le public. Gaye le produit lui-m\u00eame, superpose sa voix jusqu’\u00e0 ce qu’elle sonne comme l’assembl\u00e9e d’un seul homme. Plus tard il dira qu’il a essay\u00e9 de donner une suite au disque et qu’il retombait toujours sur ce qu’il avait d\u00e9j\u00e0 dit. Il a choisi, plus d’une fois, de le laisser debout.<\/p>\n

Jouez-le depuis le d\u00e9but, sans sauter. Le bruit de f\u00eate \u00e0 l’ouverture n’est pas un d\u00e9cor. C’est la preuve que le sermon a lieu dans une pi\u00e8ce o\u00f9 les gens parlent encore, versent encore \u00e0 boire, sont encore vivants. Le groove ne crie jamais. C’est la discipline. La col\u00e8re, ici, est arrang\u00e9e. L’\u00e9cologie, la guerre et le loyer arrivent dans la m\u00eame voix de velours, et le velours ne les annule pas. Cinquante ans apr\u00e8s, la question du titre n’a pas \u00e9t\u00e9 mise \u00e0 la retraite. Le disque continue simplement de la poser avec de meilleures mani\u00e8res que le journal.<\/p>\n

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