{"id":9607,"date":"2026-09-19T23:25:45","date_gmt":"2026-09-19T21:25:45","guid":{"rendered":"https:\/\/riffsandbeats.com\/non-classe\/chic-the-locked-grin-of-the-groove-2\/"},"modified":"2026-09-19T23:25:45","modified_gmt":"2026-09-19T21:25:45","slug":"chic-the-locked-grin-of-the-groove-2","status":"publish","type":"post","link":"https:\/\/riffsandbeats.com\/fr\/chronicles\/chic-the-locked-grin-of-the-groove-2\/","title":{"rendered":"Chic – Le sourire verrouill\u00e9 du groove"},"content":{"rendered":"

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Une basse qui a refus\u00e9 la porte<\/h3>\n

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R\u00e9veillon 1977, la porte du Studio 54. Nile Rodgers et Bernard Edwards sont sur la liste, invit\u00e9s par Grace Jones, et la liste n’est pas arriv\u00e9e jusqu’\u00e0 l’homme au cordon. On les renvoie. Sur le chemin du retour l’insulte devient un chant, et le chant, nettoy\u00e9 juste assez pour \u00eatre un disque, devient Le Freak<\/em>. L’histoire est presque trop nette, ce qui est souvent la mani\u00e8re de Chic : un fait social, une ligne de basse, une guitare qui refuse de suer, et une chanson qui entre dans la culture en costume. Atlantic la sort en 1978 sur C’est Chic<\/em>. Elle est num\u00e9ro un. La porte qui ne s’ouvrait pas a \u00e9t\u00e9 remplac\u00e9e par un groove qui ne se ferme pas.<\/p>\n

Rodgers et Edwards tournent l’un autour de l’autre depuis 1970, un guitariste et un bassiste qui entendent le pocket comme d’autres entendent la m\u00e9lodie. Avec le batteur Tony Thompson ils cessent d’\u00eatre un groupe de d\u00e9pannage et deviennent un studio de design. Le premier nom, Big Apple Band, c\u00e8de la place \u00e0 Chic en 1976. Le premier album, Chic<\/em>, arrive en 1977 avec Dance, Dance, Dance (Yowsah, Yowsah, Yowsah)<\/em>, des cordes selon leur propre logique, des voix qui glissent plut\u00f4t qu’elles ne supplient. Norma Jean Wright chante, puis Alfa Anderson et Luci Martin passent devant. Le look est cher. La section rythmique est le vrai luxe. La batterie de Thompson est s\u00e8che et \u00e9norme. La basse d’Edwards est une phrase sans mot inutile. La guitare de Rodgers est un instrument rythmique incapable de jouer une note laide.<\/p>\n

I Want Your Love<\/em> montre l’autre visage : une ballade qui danse encore, des harmonies empil\u00e9es jusqu’\u00e0 ce que le d\u00e9sir sonne comme du chrome. Puis Risqu\u00e9<\/em> en 1979, et Good Times<\/em>. La ligne de basse est si in\u00e9vitable que Rapper’s Delight<\/em> du Sugarhill Gang b\u00e2tit un genre nouveau par-dessus. Les avocats finissent par mettre Edwards et Rodgers l\u00e0 o\u00f9 le sample les avait d\u00e9j\u00e0 mis : \u00e0 la racine. Chic ne fait pas campagne pour \u00eatre les p\u00e8res du hip-hop. Le disque fait la campagne. Good Times<\/em> est aussi, discr\u00e8tement, une blague sur la D\u00e9pression, un texte sur le prix du plaisir \u00e9crit l’ann\u00e9e o\u00f9 le plaisir co\u00fbtait le plus cher. On d\u00e9clare la disco morte dans certaines parties de l’Am\u00e9rique. On d\u00e9clare Chic un classique.<\/p>\n

L’organisation est plus large que le groupe. We Are Family<\/em> et Lost in Music<\/em> de Sister Sledge, en 1979, sont des disques de Chic sous un autre nom. diana<\/em> de Diana Ross en 1980, avec Upside Down<\/em> et I’m Coming Out<\/em>, applique la m\u00eame discipline \u00e0 une autre voix, m\u00eame apr\u00e8s que le label demande un mix plus doux. Rodgers ira \u00e0 Power Station avec David Bowie pour Let’s Dance<\/em> en 1983, puis sur Like a Virgin<\/em> de Madonna. La basse d’Edwards reste la signature m\u00eame quand son nom n’est pas sur la pochette. La m\u00e9thode voyage. Le groupe lui-m\u00eame, apr\u00e8s Real People<\/em> et Take It Off<\/em>, s’amincit au d\u00e9but des ann\u00e9es quatre-vingt, non parce que le pocket a \u00e9chou\u00e9, mais parce que l’industrie a d\u00e9cid\u00e9 que le mot disco \u00e9tait un handicap. Les musiciens, non.<\/p>\n

Le 18 avril 1996, \u00e0 Tokyo, pendant une tourn\u00e9e avec Rodgers, Bernard Edwards meurt dans sa chambre d’h\u00f4tel. Il a quarante-trois ans. Les concerts continuent ce soir-l\u00e0 parce que c’est ce que la section rythmique a toujours fait : garder le temps quand la pi\u00e8ce change. Rodgers passera les d\u00e9cennies suivantes \u00e0 \u00eatre celui qu’on appelle quand on veut qu’un disque ait une colonne vert\u00e9brale. Chic se reforme autour de lui, avec de nouvelles chanteuses, les anciennes chansons, Thompson parti en 2003. Ce n’est pas un mus\u00e9e. C’est un atelier qui conna\u00eet encore les mesures.<\/p>\n

La mesure a une reprise mondiale en 2013, quand Daft Punk met Rodgers sur Get Lucky<\/em> et, plus parlant encore, sur Lose Yourself to Dance<\/em>. La guitare n’imite pas 1978. Elle le reprend. Pharrell Williams chante. Les robots portent des casques. La part humaine du disque est une main droite qui coupe des doubles croches depuis la porte du Studio 54. Les m\u00e9moires de Rodgers et son travail avec chaque g\u00e9n\u00e9ration \u00e9lev\u00e9e aux samples ne font que confirmer le point. Le groove n’a jamais \u00e9t\u00e9 une mode. C’\u00e9tait une technologie du plaisir.<\/p>\n

Le culte de Chic est un culte de l’exactitude. Ils ont fait une musique de danse qu’un musicien de jazz peut jouer sans honte et qu’une foule peut danser sans mode d’emploi. Edwards verrouillait la basse sur la grosse caisse. Rodgers verrouillait la guitare sur le charleston. Thompson verrouillait tout l’immeuble au sol. Les chanteuses en faisaient une invitation plut\u00f4t qu’un sch\u00e9ma. C’est pourquoi les disques ouvrent encore des pi\u00e8ces. Le cordon a disparu. Le pocket reste.<\/p>\n

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R\u00e9veillon 1977, la porte du Studio 54.<\/p>\n","protected":false},"author":1,"featured_media":9603,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[280,273],"tags":[889,265],"class_list":["post-9607","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-bands","category-chronicles","tag-chic","tag-discofunk"],"yoast_head":"\nChic - Le sourire verrouill\u00e9 du groove - 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\/chic-the-locked-grin-of-the-groove-2\/\" \/>\n<meta property=\"og:locale\" content=\"fr_FR\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Chic - Le sourire verrouill\u00e9 du groove - RIFFS AND BEATS\" \/>\n<meta property=\"og:description\" content=\"R\u00e9veillon 1977, la porte du Studio 54.\" \/>\n<meta property=\"og:url\" content=\"https:\/\/riffsandbeats.com\/fr\/chronicles\/chic-the-locked-grin-of-the-groove-2\/\" \/>\n<meta property=\"og:site_name\" content=\"RIFFS AND BEATS\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/profile.php?id=61576819018054\" \/>\n<meta property=\"article:published_time\" content=\"2026-09-19T21:25:45+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/riffsandbeats.com\/wp-content\/uploads\/2025\/06\/Couverture-Fb-2.png\" \/>\n\t<meta property=\"og:image:width\" content=\"1640\" \/>\n\t<meta property=\"og:image:height\" content=\"924\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/png\" \/>\n<meta name=\"author\" content=\"pgorce\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:site\" content=\"@riffsandbeats99\" \/>\n<meta name=\"twitter:label1\" content=\"\u00c9crit par\" \/>\n\t<meta name=\"twitter:data1\" content=\"pgorce\" \/>\n\t<meta name=\"twitter:label2\" content=\"Dur\u00e9e de lecture estim\u00e9e\" \/>\n\t<meta name=\"twitter:data2\" content=\"4 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/\"},\"author\":{\"name\":\"pgorce\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/#\\\/schema\\\/person\\\/a6a40143836f6c8a45376e05d9879346\"},\"headline\":\"Chic – Le sourire verrouill\u00e9 du groove\",\"datePublished\":\"2026-09-19T21:25:45+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/\"},\"wordCount\":883,\"commentCount\":0,\"publisher\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/#organization\"},\"image\":{\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/riffsandbeats.com\\\/wp-content\\\/uploads\\\/2026\\\/09\\\/chic.jpg\",\"keywords\":[\"Chic\",\"Disco \\\/ Funk\"],\"articleSection\":[\"Bands\",\"Chronicles\"],\"inLanguage\":\"fr-FR\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/\",\"url\":\"https:\\\/\\\/riffsandbeats.com\\\/fr\\\/chronicles\\\/chic-the-locked-grin-of-the-groove-2\\\/\",\"name\":\"Chic - 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