{"id":1125,"date":"2020-10-30T20:31:07","date_gmt":"2020-10-30T19:31:07","guid":{"rendered":"https:\/\/radiok7.co\/podcast\/?p=1125"},"modified":"2023-12-18T21:23:10","modified_gmt":"2023-12-18T20:23:10","slug":"jeff-buckley-grace-1994","status":"publish","type":"post","link":"https:\/\/radiok7.co\/podcast\/episode\/jeff-buckley-grace-1994\/","title":{"rendered":"Jeff Buckley \u201cGrace\u201d (1994)"},"content":{"rendered":"[vc_row type=\u00a0\u00bbfull_width_content\u00a0\u00bb full_screen_row_position=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bbdefault\u00a0\u00bb equal_height=\u00a0\u00bbyes\u00a0\u00bb content_placement=\u00a0\u00bbmiddle\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb bg_color=\u00a0\u00bb#000000″ bg_image=\u00a0\u00bb1127″ bg_position=\u00a0\u00bbcenter top\u00a0\u00bb background_image_loading=\u00a0\u00bbdefault\u00a0\u00bb 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Jeff Buckley \u201cGrace\u201d<\/h1>\n

(1994)<\/h1>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb top_padding=\u00a0\u00bb20″ top_padding_tablet=\u00a0\u00bb20″ top_padding_phone=\u00a0\u00bb20″ text_align=\u00a0\u00bbleft\u00a0\u00bb row_position=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb pointer_events=\u00a0\u00bball\u00a0\u00bb][vc_column_inner column_padding=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb 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EN QUELQUES MOTS<\/strong><\/h5>\n[\/vc_column_text][vc_row_inner column_margin=\u00a0\u00bbdefault\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb text_align=\u00a0\u00bbleft\u00a0\u00bb row_position=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb pointer_events=\u00a0\u00bball\u00a0\u00bb][vc_column_inner column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbinherit\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bbright\u00a0\u00bb left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/3″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][vc_column_text el_class=\u00a0\u00bbsize18″]Dans cet \u00e9pisode on va vous parler du chanteur et guitariste Jeff Buckley, sans doute le chanteur le plus important des nineties. Jeff Buckley m\u00e9lange les genres, se permet tout, et tout lui r\u00e9ussit. Sa voix, sa technique, son sens de la m\u00e9lodie vont donner \u00e0 son premier album Grace une aura quasi mystique[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bbright\u00a0\u00bb top_margin_tablet=\u00a0\u00bb27px\u00a0\u00bb left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ left_margin_phone=\u00a0\u00bb0″ right_margin_phone=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb 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Buckley en ic\u00f4ne absolue.[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_phone=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_position=\u00a0\u00bbleft\u00a0\u00bb top_margin_tablet=\u00a0\u00bb80px\u00a0\u00bb bottom_margin_tablet=\u00a0\u00bb0″ left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ top_margin_phone=\u00a0\u00bb30″ left_margin_phone=\u00a0\u00bb0″ right_margin_phone=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb 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column_padding_phone=\u00a0\u00bbinherit\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb column_position=\u00a0\u00bbdefault\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/1″ tablet_width_inherit=\u00a0\u00bbdefault\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][toggles style=\u00a0\u00bbminimal\u00a0\u00bb][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbRetour en 1994″][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]Voil\u00e0 pour les 10 titres de Grace. C\u2019est le 1er \u2014 et dernier \u2014 album solo de Jeff Buckley. En tout cas de son vivant, parce qu\u2019il y eu depuis une dizaine d\u2019albums de live, de d\u00e9mos et face B.
\nIl sort pour la rentr\u00e9e scolaire le 23 ao\u00fbt 1995 en Compact disque, Cassette, vinyle et MiniDisc sur le label Columbia (chez Sony).<\/p>\n

Il sort au lendemain d\u2019un autre disque assez culte des 90s, \u201cDummy\u201d de Portishead.<\/p>\n

1995 c\u2019est grande ann\u00e9e pour la musique et pour les vins de Bordeaux. Et c\u2019est aussi le passage de relais entre le grunge qui dispara\u00eet avec Kurt Cobain et la house qui sera popularis\u00e9 par Daft Punk. En France on \u00e9coute Coolio, C\u00e9line Dion, Scatman et la BO du Roi Lion !<\/p>\n

1995 c\u2019est en France l\u2019ann\u00e9e de l\u2019\u00e9lection de Jacques Chirac et de la reprise des essais nuclaires, on joue \u00e0 la Playstation et au cin\u00e9ma on va voir La Haine, Les trois fr\u00e8res ou GoldenEye.[\/vc_column_text][\/toggle][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbLa story de Jeff Buckley\u00a0\u00bb][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]Manu : On va maintenant vous raconter l\u2019histoire tragique de Jeff Buckley et de Grace, son seul et unique album. Mais pour bien comprendre tous les ressorts de l\u2019histoire il faut remonter en novembre 1966 en Californie.<\/strong><\/p>\n

Jeffrey Scott Buckley na\u00eet le 17 novembre 1966 \u00e0 Anaheim, en Californie.
\n\u00c0 sa naissance, ses parents Tim Buckley et Mary Guibert sont d\u00e9j\u00e0 s\u00e9par\u00e9s : son p\u00e8re pr\u00e9f\u00e8re se consacrer \u00e0 la musique. Son premier album sort deux jours apr\u00e8s la naissance du petit Jeff. Jeff vit donc avec sa m\u00e8re. Puis au bout de quelques ann\u00e9es avec son beau-p\u00e8re Ron Moorhead, dont il parle souvent en interview pour sa grande influence dans ses go\u00fbts musicaux. C\u2019est lui qui l\u2019initie au rock et notamment aux Doors ou \u00e0 Led Zeppelin.<\/p>\n

Je ne vais pas vous raconter son enfance dans les moindres d\u00e9tails, mais je pense qu\u2019il faut tout de m\u00eame s\u2019attarder un peu sur la relation avec son p\u00e8re, Tim.<\/p>\n

Mon master en psychologie d\u2019autoroute me permet d\u2019affirmer que le petit Jeff s\u2019est construit (et d\u00e9construit) autour de la figure de ce p\u00e8re totalement absent.
\nJeff n\u2019a quasiment pas connu son p\u00e8re. Tim meurt en effet d\u2019une overdose le 29 juin 1975, \u00e0 28 ans, alors que le petit Jeffrey, lui, n\u2019a que 8 ans. Ils se voyaient tr\u00e8s peu et Jeff ne sera m\u00eame pas convi\u00e9 \u00e0 ses fun\u00e9railles. Il l’a tout de m\u00eame vu une fois en concert deux mois avant sa mort.<\/p>\n

Tim Buckley a enregistr\u00e9 deux chansons qui \u00e9voquent son fils : Dream Letter et I Never Asked To Be Your Mountain.<\/p>\n

On va s\u2019en \u00e9couter un petit extrait, vous allez voir c\u2019est\u2026<\/p>\n

INSERT \u2014 I Never Asked To Be Your Mountain<\/p>\n

Tr\u00e8s vite, Jeff se passionne pour la musique. Il commence \u00e0 jouer dans diff\u00e9rents groupes, fait des \u00e9tudes au Guitar Institute of Technology \u00e0 Los Angeles. Il se lance dans le jazz fusion, dans le reggae, dans le hard rock\u2026 bref tout ce qui peut le distinguer le plus possible de son p\u00e8re.<\/p>\n

Manu : Il sera malgr\u00e9 tout tr\u00e8s vite rattrap\u00e9 par ce lourd h\u00e9ritage car sa carri\u00e8re d\u00e9marre vraiment \u00e0 la suite d\u2019un concert en hommage \u2026 \u00e0 son p\u00e8re !<\/strong><\/p>\n

Greetings from Tim Buckley est organis\u00e9 en avril 1991, \u00e0 l’\u00e9glise Saint-Ann de New York. Hal Willner, l’organisateur, prend contact avec Herb Cohen (l’ancien manager de Tim Buckley), qui lui parle du talent de Jeff Buckley qui finit par \u00eatre invit\u00e9 \u00e0 jouer au concert. Hal Willner lui pr\u00e9sente rapidement Gary Lucas (l’ancien guitariste du groupe Captain Beefheart) avec l’id\u00e9e de les faire jouer ensemble durant le concert. Hal briefe d\u2019ailleurs Gary dans ce sens : si le petit ne sait pas chanter, il faudra l\u2019aider un peu.<\/p>\n

Evidemment, le miracle se produit. Non seulement Jeff sait chanter mais sa voix vaut de l\u2019or. Et deuxi\u00e8me choc pour les anciens amis de son p\u00e8re quand Jeff appara\u00eet dans l\u2019\u00e9glise : il est le portrait crach\u00e9 de Tim !<\/p>\n

Le jour du concert, le 26 avril, Jeff et Gary jouent ensemble trois morceaux dont le fameux Never Asked To Be Your Mountain, chanson avec laquelle Jeff Buckley a toujours entretenu des rapports ambigus :<\/p>\n

\u00ab Je suis mentionn\u00e9 dans la chanson, tout comme sa petite amie de l’\u00e9poque, ma m\u00e8re. C’est une chanson magnifique, que j’admirais et ha\u00efssais \u00e0 la fois, et c’est pour cette raison que c’est celle que j’ai chant\u00e9e \u00bb<\/em><\/p>\n

Sa voix et sa sensibilit\u00e9 impressionnent le public. \u00c9videmment, il vole la vedette \u00e0 tous les autres musiciens invit\u00e9s\u2026 Ce fils inconnu de tous \u00e0 la voix qui ensorc\u00e8le.<\/p>\n

Apr\u00e8s ce concert, Jeff Buckley revient rapidement \u00e0 New York pour plusieurs raisons: Gary Lucas, qui a ador\u00e9 leur collaboration, lui propose de chanter dans son nouveau groupe Gods & Monsters.<\/p>\n

Jeff d\u00e9barque donc \u00e0 New York et commence \u00e0 jouer avec les Gods & Monsters. Mais des tensions apparaissent dans le groupe : Gary veut lui faire signer un contrat l’emp\u00eachant de s’investir dans d’autres projets. Ils mettent un terme \u00e0 leur collaboration.<\/p>\n

Jeff Buckley commence alors \u00e0 se produire seul sur sc\u00e8ne. Il d\u00e9couvre un petit bar irlandais du nom de Sin-\u00e9, dans le Lower East Side de New York, qui accueille les musiciens du quartier. Jeff Buckley y joue pour la premi\u00e8re fois en avril 1992. Il s\u2019y sent rapidement chez lui.<\/p>\n

Shane Doyle, le patron, lui propose de venir chanter tous les lundis. Jeff y joue quelques-unes de ses compositions (Mojo Pin, Grace, Eternal Life et Unforgiven) mais surtout beaucoup de reprises de ses idoles: Bob Dylan, Nina Simone, Joni Mitchell, Van Morrison et\u2026. les Doors.<\/p>\n

INSERT \u2014 Live at Sin-\u00e9 (The Doors)<\/p>\n

Manu : C\u2019est aussi \u00e0 ce moment qu\u2019il commence \u00e0 chanter Hallelujah. Il y a un \u00e9norme buzz autour de ce type g\u00e9nial au Sin-\u00e9. Le bar est minus, une partie du public est debout dehors sur le trottoir. En fait \u00e7a devient la grosse attraction du Lower East Side !<\/strong><\/p>\n

Oui et les directeurs artistiques des grandes maisons de disques se pr\u00e9cipitent pour le voir jouer. Il re\u00e7oit plusieurs propositions et apr\u00e8s de nombreuses h\u00e9sitations, il signe un contrat avec Sony Music, sur leur label Columbia. Le fait que son idole Bob Dylan soit dans cette maison a \u00e9t\u00e9 un crit\u00e8re d\u00e9terminant, c\u2019est s\u00fbr. Mais Columbia sera aussi la seule \u00e0 accepter les conditions de Jeff en termes d’argent et de libert\u00e9 artistique.<\/p>\n

Une fois le contrat sign\u00e9, les choses ne vont pas d\u00e9marrer tout de suite : Jeff veut prendre son temps.<\/p>\n

Les choses finissent pas avancer un peu en juillet 1993 quand Columbia d\u00e9cide de l’enregistrer en concert au Sin-\u00e9. Un premier essai est fait le 19 juillet mais sa prestation n’est pas terrible : Jeff est nerveux car le public est surtout compos\u00e9 des gens de chez Columbia. Le 17 ao\u00fbt, une 2e tentative, en petit comit\u00e9 cette fois-ci, se passe bien : Jeff Buckley retrouve l’ambiance de ses concerts. Un CD-Maxi du concert sort le 23 novembre.<\/p>\n

Manu : Nous sommes en 1994. Jeff pr\u00e9pare l\u2019enregistrement de son premier album, il recrute les musiciens qui vont l\u2019accompagner et il continue \u00e0 jouer en solo tous les lundis au Sin-\u00e9 jusqu\u2019au mois d\u2019ao\u00fbt.<\/strong><\/p>\n

Le 16 ao\u00fbt 1994, ils y donnent un concert d’adieu et quelques jours plus tard, le 23 ao\u00fbt, l’album \u201cGrace\u201d sort aux \u00c9tats-Unis\u2026.<\/p>\n

Grace re\u00e7oit un tr\u00e8s bon accueil critique, plus encore en Europe qu\u2019aux \u00c9tats-Unis. Le succ\u00e8s est absolu. Disque d’or en France, en Australie et aux Etats-Unis, \u00ab\u00a0Grace\u00a0\u00bb recevra les louanges de Jimmy Page (\u00ab\u00a0mon disque pr\u00e9f\u00e9r\u00e9 de la d\u00e9cennie\u00a0\u00bb), de Bob Dylan et de David Bowie qui l\u2019a \u00e9lu \u00ab\u00a0disque \u00e0 sauver et \u00e0 emporter sur une \u00eele d\u00e9serte\u00a0\u00bb. Bono compare Buckley \u00e0 une \u00ab\u00a0goutte de puret\u00e9 dans un oc\u00e9an de bruit\u00a0\u00bb<\/p>\n

Evidemment, ce po\u00e8te d\u00e9glingu\u00e9 beau comme un dieu, qui porte son charisme comme un fardeau et la m\u00e9lancolie en \u00e9tendard, \u00e7a va beaucoup nous plaire en France. Dans les Inrocks, Gilles Tordjmann \u00e9crit en 1994 :<\/p>\n

\u201cPas besoin de trente-six \u00e9coutes pour deviner que ce Prom\u00e9th\u00e9e stup\u00e9fait ira aussi loin que sa course \u00e0 l’ab\u00eeme le lui permettra. Il est de ceux qu’Andr\u00e9 Suar\u00e8s nommait ‘les grands vivants’: ceux pour qui la sensation d’exister ne se go\u00fbte que sur fond de risque permanent. Il est de ceux qui vont trop loin. Tout son disque proclame une logique de l’outre-passement, o\u00f9 le beau et le laid, le bien et le mal n’ont plus cours. Jeff Buckley est au-del\u00e0 du go\u00fbt. La transe n’est pas pros\u00e9lyte: on peut choisir de ne pas y entrer, pour go\u00fbter ailleurs des plaisirs plus raisonnables. Il est d\u00e8s lors parfaitement concevable de ne pas entrer chez Jeff Buckley (…) Mais il faut savoir ce que l\u2019on perd : une certaine qualit\u00e9 de vertige sauvage, une cruaut\u00e9 de la joie, une alg\u00e8bre des extr\u00eames.\u201d<\/p>\n

La critique parle aussi beaucoup de ses concerts qui prennent aux tripes et retournent la t\u00eate. Il n\u2019y a qu\u2019un seul album \u00e0 d\u00e9fendre, mais chaque soir les morceaux sont jou\u00e9s diff\u00e9remment, avec de nouveaux arrangements.
\nSur sc\u00e8ne, Jeff est habit\u00e9, poss\u00e9d\u00e9, compl\u00e8tement en transe. Et le public est sous le charme, \u00e9videmment. On n\u2019a pas vu \u00e7a depuis longtemps; depuis Janis Joplin, peut-\u00eatre. Mais Jeff s\u2019\u00e9puise : en un an de tourn\u00e9e, il donne 207 concerts. Il n\u2019arrive plus \u00e0 \u00e9crire.<\/p>\n

En juillet 95, il explique aux Inrocks : \u00ab Depuis l’ann\u00e9e derni\u00e8re, je n’ai pas \u00e9t\u00e9 capable d’\u00e9crire une chanson. Toujours en tourn\u00e9e, pas moyen de prendre la moindre distance. [\u2026] Je me sens cheap et inutile. Il faut que je me remette \u00e0 \u00e9crire\u2026 Quand je me vois, j’ai honte, je ne suis plus qu’un pantin tra\u00een\u00e9 de salle en salle. \u00bb<\/p>\n

Deux ans qu\u2019il tourne maintenant. Il est rinc\u00e9. La machine commence \u00e0 le broyer. Sa maison de disques lui met d\u00e9j\u00e0 la pression pour qu’il enregistre rapidement un deuxi\u00e8me album. En effet, \u00e0 la fin de l’ann\u00e9e 1995, Grace s’est vendu \u00e0 750 000 exemplaires dans le monde (dont 180 000 exemplaires aux \u00c9tats-Unis), mais Columbia aurait avanc\u00e9 pr\u00e8s de 2 millions de dollars si bien que les ventes de l’album ne lui permettent pas de rembourser int\u00e9gralement sa maison de disques et il doit donc \u00e9ponger ses dettes.<\/p>\n

Le rythme et la pression viendra aussi \u00e0 bout de son batteur, Matt Johnson, qui commence \u00e0 avoir des probl\u00e8mes d\u2019oreilles \u00e0 cause du volume sonore des concerts. Et puis il ne supporte plus le mode de vie excessif de Jeff, qui boit trop, fume trop et se drogue trop. D\u00e9but 1996, Matt quitte le groupe. C\u2019est une d\u00e9chirure terrible pour Jeff et un tournant pour le groupe.<\/p>\n

Manu : C\u2019est vraiment pas de bol. Le mec cartonne et pourtant ce n\u2019est toujours pas assez bien ! Il faut se remettre au travail, et on choisit pour ce deuxi\u00e8me album de faire appel \u00e0 Tom Verlaine, le chanteur du groupe Television\u2026<\/strong><\/p>\n

La premi\u00e8re session d’enregistrement de My Sweetheart the Drunk est un \u00e9chec : les conditions sont difficiles, le temps est limit\u00e9 et Eric Eidel, le nouveau batteur, ne suit pas. Le moral de Jeff est au plus bas. Il boit de plus en plus et se drogue beaucoup. Jeff d\u00e9cide de faire un break.<\/p>\n

Manu : C\u2019est \u00e0 peu pr\u00e8s \u00e0 ce moment la carri\u00e8re de Jeff Buckley va s\u2019arr\u00eater brutalement. On le retrouve mort noy\u00e9 dans le Mississipi.<\/strong><\/p>\n

Nous sommes le 29 mai 1997, le groupe prend l’avion pour rejoindre Jeff et enregistrer de nouveaux morceaux.<\/p>\n

En attendant leur arriv\u00e9e, Jeff part se promener au bord de la Wolf River, un affluent du Mississippi, avec son ami Keith Foti. Il d\u00e9cide de se baigner tout habill\u00e9. Apr\u00e8s le passage d\u2019un bateau, Jeff dispara\u00eet. Son corps sera retrouv\u00e9 six jours plus tard. Il avait 30 ans.<\/p>\n

Aujourd’hui encore, les circonstances de la mort de Jeff ne sont pas tout \u00e0 fait claires. On sait qu\u2019il traversait une p\u00e9riode de d\u00e9pression mais on sait aussi que le projet de ce 2e album lui donnait un nouveau souffle. C\u2019est la raison pour laquelle la th\u00e8se de l’accident a toujours \u00e9t\u00e9 privil\u00e9gi\u00e9e.<\/p>\n

Manu : C\u2019est vraiment un g\u00e2chis, c\u2019est tellement absurde. Toi Fanny je sais que tu es fan et que tu as \u00e0 peu pr\u00e8s TOUT lu sur Jeff Buckley : Qu\u2019est-ce que t\u2019en penses ? Pour toi c\u2019est un meurtre, un suicide ou un accident ?<\/strong>[\/vc_column_text][\/toggle][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbLe making-of de \u00ab\u00a0Grace\u00ab\u00a0\u00ab\u00a0][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]MANU: C\u2019est le moment de passer \u00e0 l\u2019enregistrement de l\u2019album avec toi Gr\u00e9goire, un album qui aurait pu \u00eatre assez diff\u00e9rent de celui que l\u2019on conna\u00eet car l\u2019id\u00e9e premi\u00e8re c\u2019\u00e9tait de faire un disque simplement avec Jeff, sa voix et sa guitare<\/strong><\/p>\n

Oui souvenez-vous on en a parl\u00e9 avec Olivia, Jeff Buckley commence v\u00e9ritablement \u00e0 attirer l\u2019attention de l\u2019industrie musicale gr\u00e2ce \u00e0 ses performances au Sin-\u00e9, ce bar de New York dans lequel il se produit, des concerts qui donneront lieu \u00e0 un son premier EP, Live at Sin-\u00e9 et donc pour la suite des op\u00e9rations, sa maison de disque, Columbia, pense \u00e0 sortir un album o\u00f9 Jeff jouerait en solo, une sorte de Live at Sin-\u00e9 mais en beaucoup mieux produit.<\/p>\n

Sauf que Jeff Buckley a d\u2019autres envies, il h\u00e9site, tarde \u00e0 entrer en studio. En fait, il faudra presque 1 an \u00e0 Jeff Buckley pour enregistrer Grace. Finalement, il se d\u00e9cide \u00e0 abandonner son num\u00e9ro de cabaret pour cr\u00e9er un groupe de toute pi\u00e8ce pour l\u2019accompagner, en l\u2019occurrence deux jeunes \u00ab musiciens \u00bb locaux, Mick Grondahl, bassiste de 17 ans seulement et Matt Johnson, un jeune batteur inconnu au bataillon. \u00c7a semble quand m\u00eame plut\u00f4t culott\u00e9 au premier abord de prendre des musiciens avec assez peu voire aucune exp\u00e9rience studio mais l\u2019entente entre les 3 hommes est super et le feeling musical est au RDV.<\/p>\n

Jeff rappelle \u00e9galement son ancien comp\u00e8re de Gods and Monsters, le guitariste Gary Lucas qui lui a compos\u00e9 les parties instrumentales de morceaux qui deviendront Grace et Mojo Pin, le titre qui ouvre l\u2019album<\/p>\n

INSERT \u2014 Mojo Pin<\/p>\n

Manu: C\u2019est \u00e0 la fin de l\u2019\u00e9t\u00e9 1993 que les choses s\u00e9rieuses commencent apr\u00e8s six semaines de r\u00e9p\u00e9titions intenses.<\/strong><\/p>\n

C\u2019est \u00e0 ce moment-l\u00e0 que Jeff Buckley et ses musiciens entrent au studio Bearsville \u00e0 Woodstock, \u00e0 2 heures de route de NYC. On ne peut pas dire qu\u2019ils soient vraiment pr\u00eats. Lors de leurs r\u00e9p\u00e9titions, ils ont pass\u00e9 plus de temps \u00e0 jammer et improviser des longues plages de musique que de mettre en bo\u00eete des morceaux fig\u00e9s. Les d\u00e9buts sont donc un peu h\u00e9sitants d\u2019autant plus Jeff Buckley est capable de donner plusieurs versions d\u2019un m\u00eame morceau, il est extr\u00eamement perfectionniste, par exemple il a enregistr\u00e9 plus de 20 fois Hallelujah et il n\u2019\u00e9tait pas satisfait de la version choisie sur l\u2019album explique Stan Cuesta, on le voit d\u2019ailleurs dans un documentaire, je crois que c\u2019est Amazing Grace, o\u00f9 il explique qu\u2019en live c\u2019est la v\u00e9rit\u00e9 de l\u2019instant qui parle mais cette fois en studio il faut graver des \u00e9motions pour l\u2019\u00e9ternit\u00e9 et qu\u2019il est jamais trop s\u00fbr de ce qui faut garder ou pas.<\/p>\n

Heureusement pour contenir ses ardeurs cr\u00e9atrices, Columbia a choisi Andy Wallace, le mixeur de Nevermind de Nirvana, ing\u00e9nieur du son exceptionnel qui a boss\u00e9 aussi bien pour Rage Against The Machine que pour Slayer ou encore Prince.<\/p>\n

AU menu, un son rock assez classique dans ces ann\u00e9es 90 \u00e0 base de guitare flanqu\u00e9e d\u2019effets chorus, de reverb et de delay, un son assez ample comme dans ce mix du c\u00e9l\u00e8bre Hallelujah avec cet effet \u00abCath\u00e9drale\u00bb obtenue en doublant la guitare, une \u00e0 droite, une \u00e0 gauche et en m\u00eame une impression d\u2019intimit\u00e9 et de proximit\u00e9 gr\u00e2ce \u00e0 des micros positionn\u00e9s tr\u00e8s pr\u00e8s de la guitare f\u00e9tiche de Jeff Buckley, une fender Telecaster de 1983<\/p>\n

INSERT \u2014 Hallelujah<\/p>\n

Donc l\u00e0 on vient d\u2019entendre l\u2019une des reprises de l\u2019album, en l’occurrence celle de Leonard Cohen, un titre que Jeff Buckley a d\u00e9couvert gr\u00e2ce \u00e0 la version qu\u2019en a donn\u00e9 John Cale en 1991. * Il y 3 reprises en tout dans cet album, Lilac Wine de Nina Simone et Corpus Carol Christi du compositeur de musique baroque Benjamin Britten. \u00c0 l\u2019origine l\u2019album ne devait contenir que des reprises car Jeff Buckley manque cruellement de compositions originales mais bien heureusement de nouveaux morceaux vont \u00e9merger pendant la p\u00e9riode de gestation de l\u2019album comme l\u2019excellent Dream Brother sur lequel Jeff joue des tablas, il faut savoir que la musique indo-pakistannaise \u00e9tait une grosse sources d\u2019influence pour le musicien, grand admirateur de Nusrat Fateh Ali Kahn. A noter \u00e9galement sur cette influence orientale, les somptueux arrangements de cordes de Karl Berger sur Grace, qui donne une
\nsonorit\u00e9 \u00e0 la Kashmir de Led Zepplin, l\u00e0 encore une grande influence pour Jeff Buckley.<\/p>\n

Manu: On en a pas encore parl\u00e9 Gr\u00e9goire, mais \u00e9videmment le mix d\u2019Andy Wallace laisse toute sa place \u00e0 la voix de Jeff Buckley\u2026<\/strong><\/p>\n

Oui les performances vocales de Jeff Buckley sur l\u2019album sont juste hallucinantes tout comme ses parties guitare d\u2019ailleurs et c\u2019est vrai qu\u2019en \u00e9coutant ces moments o\u00f9 sa voix prend des airs de cris de douleur et de lamentations on ne peut pas s\u2019emp\u00eacher de penser \u00e0 son p\u00e8re Tim, je vous propose d\u2019\u00e9couter Sweet Surrender sur le formidable Greetings from L.A du regrett\u00e9 Tim Buckley sorti en 1972<\/p>\n

INSERT \u2014 Sweet Surrender<\/p>\n

MANU: Et Greg, on a aussi oubli\u00e9 de dire qu\u2019il y a un morceau qui va passer \u00e0 la trappe et qui va \u00eatre remplac\u00e9 au dernier moment par So Real, le cinqui\u00e8me titre de l\u2019album\u2026<\/strong><\/p>\n

Oui et ce titre qui va dispara\u00eetre de la version finale de Grace, il s\u2019appelle Forget Her. On est quasiment \u00e0 la fin de l\u2019enregistrement, Jeff Buckley d\u00e9borde d\u2019\u00e9nergie cr\u00e9atrice et il compose sur le pouce une ballade Rythm\u2019n\u2019blues, sur une rupture amoureuse qui s\u2019appelle Forget Her\u2026<\/p>\n

Steve Berkowitz, son producteur flaire imm\u00e9diatement le single qui va faire un carton mais Jeff Buckley est r\u00e9ticent peut-\u00eatre parce ce titre est un peu trop impudique et d\u00e9signe trop clairement sa s\u00e9paration avec Rebecca Moore ou peut-\u00eatre que lui aussi comprend le potentiel commercial du titre et s\u2019inqui\u00e8te d\u2019une c\u00e9l\u00e9brit\u00e9 soudaine qu\u2019il aurait d\u00fb mal \u00e0 supporter. Quoiqu\u2019il en soit, ce titre est \u00e0 retrouver dans l\u2019\u00e9dition Legacy de Grace sortie en 2004<\/p>\n

INSERT \u2014 Forget Her[\/vc_column_text][\/toggle][toggle color=\u00a0\u00bbDefault\u00a0\u00bb heading_tag=\u00a0\u00bbdefault\u00a0\u00bb heading_tag_functionality=\u00a0\u00bbdefault\u00a0\u00bb title=\u00a0\u00bbL’univers visuel de Jeff Buckley\u00a0\u00bb][vc_column_text el_class=\u00a0\u00bbw1 18px\u00a0\u00bb]Manu: Merci Greg pour toutes ces infos ! Oui, c\u2019est s\u00fbr que Forget Her aurait pu cartonner aupr\u00e8s du public. Mais comme on va le voir tout de suite avec toi Fanny, Jeff aime prendre les chemins de traverse\u2026<\/strong><\/p>\n

Avant de parler de la pochette et des clips comme on fait d’habitude, j’ai envie d’aborder un aspect particulier dans la gestion de l’image de Jeff Buckley. C’est la premi\u00e8re fois en faisant des recherches que je tombe sur un truc du genre donc \u00e0 mon avis \u00e7a m\u00e9rite d’\u00eatre soulign\u00e9 : avant m\u00eame la sortie de Grace, Jeff et ses managers George Stein et Dave Lory d\u00e9cident d’imposer \u00e0 Columbia un plan marketing tr\u00e8s diff\u00e9rent de ce qu’il se fait d’habitude o\u00f9 on lance les nouveaux artistes en grande pompe.<\/p>\n

C’est un document de 14 pages qui demande basiquement \u00e0 Columbia de se conduire en petit label ind\u00e9pendant qu’il n’est pas ! Par exemple, Jeff n’accordera d’interview qu’\u00e0 des fanzines alternatifs, interdit d’ailleurs de poser des questions sur son p\u00e8re ou sa vie priv\u00e9e, il commencera par jouer dans des petits clubs avant d’aller dans des salles plus grandes, on envoit ses chansons en priorit\u00e9 aux radios \u00e9tudiantes avant les radios commerciales. En gros ils voulait que l’album grandisse progressivement avec le temps plut\u00f4t que de caracoler direct en t\u00eate des charts et pour \u00e7a, plut\u00f4t que sur l’image, Jeff mise tout sur sur le contact direct avec le public \u00e0 travers une tourn\u00e9e fleuve et le bouche \u00e0 oreilles qu’elle peut apporter.<\/p>\n

Un aspect tr\u00e8s notable de ce plan marketing pour moi c’est la volont\u00e9 de ne pas trop exposer Jeff, notamment \u00e0 travers des clips promotionnels. Dans la biographie Dream Brother \u00e9crite par David Browne, on peut lire : \u00ab Bien que Jeff soit ouvert \u00e0 la discussion, il est en principe oppos\u00e9 \u00e0 toute vid\u00e9o tir\u00e9e de l’album… ce qui donnera au public une chance de se servir de sa propre imagination et de ne pas avoir d’id\u00e9e pr\u00e9con\u00e7ue de Jeff et de sa musique. MTV doit \u00eatre trait\u00e9e avec m\u00e9fiance \u00bb. C’est \u00e9tonnant hein ?<\/p>\n

MANU : Pourtant il y a eu des clips qui ont \u00e9t\u00e9 tourn\u00e9s, non ?<\/strong><\/p>\n

F : Oui, exact il y en a eu 2. Un pour Last Goodbye et un pour So Real. D\u00e9but 1995, Jeff avait obtenu beaucoup de presse favorable \u00e0 la fois pour sa tourn\u00e9e et la qualit\u00e9 de son album. Malgr\u00e9 des chiffres de ventes corrects, l’album n’\u00e9tait toujours pas dans le classement Billboard donc tout le monde s’est mis d’accord pour sortir un single \u00ab entre guillemets \u00bb accessible accompagn\u00e9 d’un clip. Le morceau choisi est Last Goodbye.<\/p>\n

INSERT \u2014 last goodbye<\/p>\n

Jeff accepte le tournage \u00e0 la seule condition que \u00e7a soit ses amis la photographe Merri Cyr et le metteur en sc\u00e8ne John Jesurin qui s’en occupent. Columbia se plie \u00e0 sa demande comme tr\u00e8s souvent mais Jeff va leur compliquer la t\u00e2che puisqu’il conceptualise ce qu’il appelle une \u00ab anti-vid\u00e9o \u00bb.
\nMerri Cyr d\u00e9clare : \u00ab Les vid\u00e9os et ce qu’elles repr\u00e9sentent c’est de la publicit\u00e9, et ce qu’elles vantent, c’est un produit. Il ne voulait pas \u00eatre le produit. \u00bb<\/em><\/p>\n

Pour qu’on le voit sans le voir, Jeff limite le nombre de plans dans lesquels il appara\u00eet. Le clip montre le groupe en train de jouer Last Goodbye en playback pendant qu’une s\u00e9rie d’images symboliques d\u00e9file derri\u00e8re eux comme des fleurs, la lune, des \u00e9clairs, de l’eau, du feu et des portraits oniriques de Jeff.
\nLe tournage ne se passe pas bien, on l’a ajout\u00e9 au planning de tourn\u00e9e tr\u00e8s charg\u00e9 du groupe qui se trouve alors en France et c’est l\u00e0 que la vid\u00e9o est tourn\u00e9e dans un entrep\u00f4t. On est d\u00e9but f\u00e9vrier quelques jours avant le concert donn\u00e9 au Bataclan. Le groupe est lessiv\u00e9, ils arrivent tous mal ras\u00e9s, mal fagot\u00e9s et l’air compl\u00e8tement blas\u00e9s. Si vous regardez bien la vid\u00e9o, \u00e7a se voit compl\u00e8tement !<\/p>\n

D’ailleurs dans le livre de Merri Cyr ‘A Wished For Song’, le manager George Stein fait cette remarque :
\n\u00ab Tout du long, il \u00e9tait pr\u00eat \u00e0 dire merde \u00e0 l’industrie. Quand vous regardez la vid\u00e9o de Last Goodbye, \u00e0 la toute fin Jeff regarde droit vers la cam\u00e9ra d’un air \u00e9nerv\u00e9. Ce n’est pas de la com\u00e9die. Il \u00e9tait vraiment \u00e9nerv\u00e9 d’\u00eatre oblig\u00e9 de faire cette vid\u00e9o.<\/em> \u00bb<\/p>\n

Entre les allers-retours sur le montage, les incompr\u00e9hensions entre les r\u00e9alisateurs plus le conflit permanent entre Jeff et Columbia, ce qui devait \u00eatre une vid\u00e9o arty finit par \u00eatre un gouffre financier. Personne n’est content du r\u00e9sultat. Pourtant la vid\u00e9o est envoy\u00e9e \u00e0 MTV, le single marche bien et permet de booster les ventes. Objectif atteint !<\/p>\n

Plusieurs mois apr\u00e8s, il y aura un autre clip tourn\u00e9 pour \u00ab So Real \u00bb, Jeff dira que c’est sa vid\u00e9o pr\u00e9f\u00e9r\u00e9e. 4 minutes 38 de s\u00e9quences surr\u00e9alistes \u00e0 l’humour absurde, sans doute inspir\u00e9es par le mouvement d’art contemporain Fluxus dans lequel il s’est pas mal investi lors de son arriv\u00e9e \u00e0 New York !<\/p>\n

MANU : Si tu veux bien on remonte encore quelques mois en arri\u00e8re pour que tu nous parles de l’histoire de la pochette de Grace…<\/strong><\/p>\n

Yes ! On retourne \u00e0 New York, en d\u00e9but d’ann\u00e9e 1994. Jeff demande \u00e0 Columbia d’embaucher pour faire sa pochette Merri Cyr, qui le suit d\u00e9j\u00e0 depuis plusieurs ann\u00e9es et qui avait sign\u00e9 la photo en couv du Live at Sin-\u00e9.<\/p>\n

Pour cette s\u00e9ance cruciale, Jeff a en t\u00eate une image inspir\u00e9e de l’album I’m Your Man de Leonard Cohen o\u00f9 on voit le chanteur les yeux mi-clos avec les mains pos\u00e9s sur un micro vintage. Le shooting a lieu au studio Arcadia \u00e0 Williamsburg, Brooklyn avec une grosse \u00e9quipe de directeurs artistiques, de stylistes, etc. Jeff qui ne s’habille qu’avec des fripes sort un sac rempli de vieilles fringues froiss\u00e9es. Dedans il y a la fameuse veste de femme lam\u00e9e or dans laquelle il sera immortalis\u00e9. Pendant la s\u00e9ance, la chef de produit Leah Reid a entendu Jeff d\u00e9clarer \u00e0 Merri Cyr :
\n\u00ab Je serai ta muse. Je veux que tu prennes des photos de moi pour toujours. \u00bb<\/p>\n

Forever and ever. Je peux te dire que quand tu es photographe et que tu as ce genre de connexion avec un mod\u00e8le, \u00e7a n’a vraiment pas de prix.<\/p>\n

Fin de l’appart\u00e9. Plusieurs maquettes de la pochette sont mises en place, Jeff choisit d’embl\u00e9e cette image sur laquelle on le voit le visage inclin\u00e9 comme perdu dans ses pens\u00e9es. A ce moment pr\u00e9cis du shooting il \u00e9tait en train d’\u00e9couter la version instrumentale du morceau Dream Brother, qui n’\u00e9tait pas finalis\u00e9. Absorb\u00e9 par la musique, comme coup\u00e9 du monde, la musique, la musique en premier. Voil\u00e0 pourquoi Jeff a choisi cette photo.<\/p>\n

Et \u00e7a n’a pas \u00e9t\u00e9 simple, il a d\u00fb une fois de plus lutter avec Columbia qui trouve l’image soudain trop tape \u00e0 l’oeil, trop gay. Pourquoi ce type qui refuse qu’on voit en lui un joli gar\u00e7on miserait sur une imagerie aussi hollywoodienne ? C’est tout le paradoxe du personnage.<\/p>\n

J’ai une petite th\u00e9orie l\u00e0 dessus, c’est qu’il ne pouvait pas passer \u00e0 c\u00f4t\u00e9 de l’opportunit\u00e9 d’endosser le costume qui le faisait le plus r\u00eaver : celui de la chanteuse.<\/p>\n

Au f\u00e9minin, oui oui. En interview, c’est comme \u00e7a qu’il s’autod\u00e9finissait : a chanteuse with a penis. Avec des idoles comme Judy Garland, Billie Holiday, Edith Piaf, Nina Simone, et le glamour surann\u00e9 des ann\u00e9es 40\/50, comment s’\u00e9tonner que Jeff veuille s’inscrire dans cette filiation l\u00e0 ? Mais en tant qu’homme faire \u00e7a \u00e0 ce moment l\u00e0 des nineties, en pleine vague grunge ? Moi je dis g\u00e9nie absolu.<\/p>\n

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\u00c0 PROPOS DE RADIO K7 PODCAST<\/h5>\n[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][vc_row_inner equal_height=\u00a0\u00bbyes\u00a0\u00bb content_placement=\u00a0\u00bbmiddle\u00a0\u00bb column_margin=\u00a0\u00bb20px\u00a0\u00bb column_direction=\u00a0\u00bbdefault\u00a0\u00bb column_direction_tablet=\u00a0\u00bbdefault\u00a0\u00bb column_direction_phone=\u00a0\u00bbdefault\u00a0\u00bb top_padding=\u00a0\u00bb0″ bottom_padding=\u00a0\u00bb0″ left_padding_desktop=\u00a0\u00bb100″ right_padding_desktop=\u00a0\u00bb100″ top_padding_tablet=\u00a0\u00bb0″ bottom_padding_tablet=\u00a0\u00bb0″ left_padding_tablet=\u00a0\u00bb0″ right_padding_tablet=\u00a0\u00bb0″ top_padding_phone=\u00a0\u00bb0″ bottom_padding_phone=\u00a0\u00bb0″ left_padding_phone=\u00a0\u00bb0″ right_padding_phone=\u00a0\u00bb0″ text_align=\u00a0\u00bbleft\u00a0\u00bb row_position=\u00a0\u00bbdefault\u00a0\u00bb row_position_tablet=\u00a0\u00bbinherit\u00a0\u00bb row_position_phone=\u00a0\u00bbinherit\u00a0\u00bb class=\u00a0\u00bbcol-a-propos\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb pointer_events=\u00a0\u00bball\u00a0\u00bb css=\u00a0\u00bb.vc_custom_1664972558970{margin-top: 0px !important;margin-bottom: 0px !important;border-top-width: 1px !important;border-bottom-width: 1px !important;}\u00a0\u00bb][vc_column_inner column_padding=\u00a0\u00bbpadding-4-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_phone=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb top_margin=\u00a0\u00bb6%\u00a0\u00bb bottom_margin_tablet=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/2″ tablet_width_inherit=\u00a0\u00bbsmall_desktop\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb enable_animation=\u00a0\u00bbtrue\u00a0\u00bb animation=\u00a0\u00bbfade-in-from-bottom\u00a0\u00bb animation_easing=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_color=\u00a0\u00bb#f5fbdc\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb][vc_raw_html]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[\/vc_raw_html][vc_column_text el_class=\u00a0\u00bbsize18 pod_violet txt28 sep66″ css=\u00a0\u00bb.vc_custom_1663856470951{padding-top: 0px !important;}\u00a0\u00bb]Chaque mois dans Radio K7 on discute d\u2019un album avec mes copains autour d\u2019une table, parfois avec des invit\u00e9s comme P\u00e9n\u00e9lope Bagieu ou Nicolas Berno. Il y a des chroniques et des d\u00e9bats, on s’interroge sur l\u2019histoire du disque : comment il a \u00e9t\u00e9 produit, ce qui a fait son succ\u00e8s, et puis finalement ce qu’on a envie d’en retenir 20 ou 30 ans plus tard.<\/p>\n

Le 5 janvier 2020, Radio K7 est devenu le premier podcast ind\u00e9pendant sur la musique en France au classement Apple Podcast !<\/b>[\/vc_column_text][\/vc_column_inner][vc_column_inner column_padding=\u00a0\u00bbpadding-4-percent\u00a0\u00bb column_padding_tablet=\u00a0\u00bbpadding-2-percent\u00a0\u00bb column_padding_phone=\u00a0\u00bbno-extra-padding\u00a0\u00bb column_padding_position=\u00a0\u00bball\u00a0\u00bb top_margin_tablet=\u00a0\u00bb0″ left_margin_tablet=\u00a0\u00bb0″ right_margin_tablet=\u00a0\u00bb0″ top_margin_phone=\u00a0\u00bb0″ column_element_direction_desktop=\u00a0\u00bbdefault\u00a0\u00bb column_element_spacing=\u00a0\u00bbdefault\u00a0\u00bb desktop_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb tablet_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb phone_text_alignment=\u00a0\u00bbdefault\u00a0\u00bb background_color_opacity=\u00a0\u00bb1″ background_hover_color_opacity=\u00a0\u00bb1″ column_backdrop_filter=\u00a0\u00bbnone\u00a0\u00bb column_shadow=\u00a0\u00bbnone\u00a0\u00bb column_border_radius=\u00a0\u00bbnone\u00a0\u00bb column_link_target=\u00a0\u00bb_self\u00a0\u00bb overflow=\u00a0\u00bbvisible\u00a0\u00bb el_class=\u00a0\u00bbpaddbot90 img100-foot1″ gradient_direction=\u00a0\u00bbleft_to_right\u00a0\u00bb overlay_strength=\u00a0\u00bb0.3″ width=\u00a0\u00bb1\/2″ tablet_width_inherit=\u00a0\u00bbsmall_desktop\u00a0\u00bb animation_type=\u00a0\u00bbdefault\u00a0\u00bb enable_animation=\u00a0\u00bbtrue\u00a0\u00bb animation=\u00a0\u00bbfade-in-from-bottom\u00a0\u00bb animation_easing=\u00a0\u00bbdefault\u00a0\u00bb bg_image_animation=\u00a0\u00bbnone\u00a0\u00bb border_type=\u00a0\u00bbsimple\u00a0\u00bb column_border_width=\u00a0\u00bbnone\u00a0\u00bb column_border_style=\u00a0\u00bbsolid\u00a0\u00bb column_padding_type=\u00a0\u00bbdefault\u00a0\u00bb gradient_type=\u00a0\u00bbdefault\u00a0\u00bb][vc_column_text el_class=\u00a0\u00bbGT size50 pod_violet txt28 margintopmob vc_custom_1662370609207″ css=\u00a0\u00bb.vc_custom_1663856419329{margin-bottom: 0px !important;}\u00a0\u00bb]\u00ab On veut red\u00e9couvrir les 90s, apprendre des trucs et se marrer. \u00bb<\/span>[\/vc_column_text][vc_column_text el_class=\u00a0\u00bbsize18 pod_violet txt28 marginbottom1mob\u00a0\u00bb]Manu, Fanny, Olivia et Gr\u00e9goire [\/vc_column_text][image_with_animation image_url=\u00a0\u00bb131″ image_size=\u00a0\u00bbfull\u00a0\u00bb animation_type=\u00a0\u00bbentrance\u00a0\u00bb animation=\u00a0\u00bbFade In\u00a0\u00bb animation_easing=\u00a0\u00bbdefault\u00a0\u00bb animation_movement_type=\u00a0\u00bbtransform_y\u00a0\u00bb hover_animation=\u00a0\u00bbnone\u00a0\u00bb alignment=\u00a0\u00bb\u00a0\u00bb border_radius=\u00a0\u00bbnone\u00a0\u00bb box_shadow=\u00a0\u00bbnone\u00a0\u00bb image_loading=\u00a0\u00bbdefault\u00a0\u00bb max_width=\u00a0\u00bbnone\u00a0\u00bb max_width_mobile=\u00a0\u00bbdefault\u00a0\u00bb margin_left=\u00a0\u00bb10%\u00a0\u00bb margin_right=\u00a0\u00bb10%\u00a0\u00bb margin_left_phone=\u00a0\u00bb0″ margin_right_phone=\u00a0\u00bb0″][vc_column_text el_class=\u00a0\u00bbsize18 pod_violet txt28 sep66″ css=\u00a0\u00bb.vc_custom_1663856492497{padding-top: 0px !important;}\u00a0\u00bb]\u201c Le but de ce podcast c’est de red\u00e9couvrir la bande-son des nineties. Parce que c’\u00e9tait celle de notre adolescence, qui a marqu\u00e9 toutes nos premi\u00e8res fois. 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