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The SPECIALS(1978-1984)

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The SPECIALS(1978-1984) VINYL - 23 rue des Menus Plaisirs - 78690 Les Essarts-le-Roi ([email protected]) The SPECIALS (1978-1984) Black & White Blues Les SPECIALS se sont formés à Coventry en 1978 autour C’est Elvis Costello), révélation “new-wave” (traduire de Terry Hall (chant), Neville Staples (chant, percus), “éclaircie-après-la-vague-punk”) de 1978 avec Joe Jack- Lynval Golding (guitare, chœurs), Roddy Radiation (gui- son (voir ce nom en un précédent VINYL), qui produit le tare), Jerry Dammers (piano, orgue), “Sir” Horace premier album sans titre des Specials publié à la rentrée (basse), John Bradbury (batterie)... Fondateur du petit 1979. Grosse impression, critiques unanimes, et plusieurs label indépendant 2-Tone (“2-tons”) symbolisant l’unité singles de belle facture : le multiracial de la plupart des groupes du label (The Beat, précité Gangsters, A Mes- The Selecter), Jerry Dammers est l’épine dorsale du grou- sage To You Rudy (titre pe, mais également l’instigateur de ce revival ska qui fera de 1967 signé Robert les plus festives heures de l’hiver 1979-80 ! Thompson, l’un des pre- Qu’est-ce que le ska ? C’est sous ce nom que fut décou- miers Jamaïcains à enre- verte en Occident la musique populaire Jamaïcaine des gistrer en Angleterre, ici années 60, également appelée “blue-beat”. Son rythme se agrémenté du trombone de distingue par un contretemps caractéristique, une basse Rico Rodriguez. Hymne vrombissante et un jeu de guitare saccadé (d’où le terme “rude boy” également “ska”) qui, en se ralentissant au fil des ans, deviendra repris par les Ejectés en 1999 et détourné depuis dans “rock-steady” puis “reggae”. d’obscures pub-TV...), ou Too Much Too Young raccour- ci par rapport à ses 6 minutes initiales. Le chaloupement C’est donc en 1978 que nos 7 du reggae (It’s Up To You, Too Hot, You’re Wondering mercenaires issus d’obscurs 23 Now) se marie plutôt bien avec l’urgence punkoïde (Do combos jouant punk, soul ou The Dog, Monkey Man), les possesseurs de Ford Fiesta reggae mélangent ces connaissent tous aujourd’hui Blank Expression grâce à axiomes, se réunissent en Spe- cette pub où leur auto est déguisée en boule de flipper, et cials, endossent des costumes le message (to you Rudy ?) est clair : passe-partout, réaction aux paillettes Disco et aux “Rien que parce que tu es noir haillons Punk : petit costume Rien que parce que je suis blanc de notaire de province, lunettes noires, chapeau “pork- Celà ne veut pas dire que tu dois me détester pie”, mocassins ou pompes de teddy-boys, cravate fine... Celà ne veut pas dire qu’on doit se battre” mais impérativement en noir et blanc (2-tone), voire à (Doesn’t Make It Alright damier, et font sauter le Box-Office sur le rythme entraî- aproximate translation !) nant en diable de Gangsters publié en janvier 1979. Pru- Pour nous chauffer ce rude dente, la France publie le single en cosignature avec The hiver 79, nos “Spéciaux” Selecter (titre éponyme) au verso. En plus de The Selec- livrent un EP live avec Too ter, le label 2-Tone signe The Beat, The Bodysnatchers ou Much Too Young en face A Madness et publie simultanément plusieurs 45 tours expédié en 2 minutes et Guns toniques aux visuels rigoureusement identiques : la sil- Of Navarone au verso, relec- houette “2 tons” (qui serait celle de Peter Tosh) sur un ture éthylique et trombonée fond noir & blanc & damier. (“featuring Rico”) de la célèbre B.O. des Canons de Navarone. Terry apostrophe t-il le public ou résume t-il simplement le film ? Sa diction est imprécise... et mon single français incomplet ! Comme toutes les modes, le “ska-revival” passera, mais aura au moins apporté un peu d’euphorie et une certaine fièvre sur les pistes de danse, bien moins maniérée que celle des Saturday Night à paillettes... Entre-temps, la concurrence s’active. Madness (ayant quitté 2-Tone pour VINYL n°46 • Mai - Juin 2005 VINYL - 23 rue des Menus Plaisirs - 78690 Les Essarts-le-Roi ([email protected]) Stiff- instrumental cartoonesque à la Speedy Gonzalez, on records) replonge dans le doute avec I Can’t Stand It de Jerry publie l’épa- Dammers qu’il interprète avec Rhoda Dakar des Bodys- tant LP One natchers. Incroyable : les deux chantent faux avec une Step Beyond application qui force le respect, mais le résultat est d’une (et le single étonnante spontanéité. Superbe. Délire plein phares à du même nouveau sur International Jet Set où Dammers ne sait nom) à l’im- plus à quel instrument se vouer. Intro boîte à rythme, OK pressionnant sur le tarmac, ça décolle et tu te ballades ainsi, au dessus “heavy des nuages, sur plus de 5 minutes bizarroïdes avec des heavy monster sound” et les Selecter n’ont pas à rougir de trompettes chicanos et des guitares asthmatiques sur leur album Too Much Pressure mené par le brillant On orgue en accords mineurs jusqu’au crash final... qui My Radio diffusé un peu partout (y compris on the t’amène brutalement sur une reprise au Farfisa-acheté- radio). Faut pas que ça niaise chez la bande à Jerry Dam- d’occase-en vide-grenier du Enjoy Yourself de la pre- mers, battre le fer pendant qu’il est chaud et transformer mière face ! Tu t’es remis au Perrier, mais il s’est quand l’essai au plus vite. Alors que Madness pond un excellent même passé 25 minutes... - mais prévisible - Absolutely, les Specials sortent simul- Ironie à part, je serais bien incapable de comptabiliser tanément More Specials qui en désarçonne plus d’un ! aujourd’hui le nombre d’heures passées sur cette putain C’est là que les routes se séparent. Madness conforte sa de face B en général (et Stereotypes II en particulier) et place là où les Specials la remettent en jeu, et il faut bien encore moins capable d’expliquer pourquoi !... avouer qu’avec le recul, le second reste bien plus nova- Bien sûr, comparé à ce teur que le premier ! (mais j’espère bien vous raconter monstre protéiforme, le Madness à l’occasion, l’une des meilleures surprises de single publié en parallèle cette charnière 1979-80).... (et parfois offert avec l’al- Ceux qui ont usé leur pantalon trop large (“baggy trou- bum) reste un peu conven- sers”) sur le premier volume bricolé par Costello ne tionnel (Rat Race / Rude seront pas dépaysés par la face A du petit frère. On y Buoys Outa Jail). Bien retrouve sensiblement les mêmes ingrédients, la même diffusé à l’été 80, il com- 24 joie de vivre (Enjoy Your- pense l’évidente absence de self - il est plus tard que tu “tube” extrait du LP... ne penses) avec juste un Devant cette démarche aussi passionnante que suicidaire, peu plus de dub (effets le groupe, fragilisé par la tyrannie du leader Jerry , finit d’écho) sur certains titres par éclater après une tournée anglaise laborieuse fin 1980. (Man At C+A), voire un Dammers rejoint Rhoda Dakar pour enregistrer l’effrayant petit “tube”, Do Nothing, The Boiler (elle raconte un viol...), pendant que Staples, lumineux reggae écrit par Hall et Golding fondent un groupe passablement le guitariste Lynval Gol- ennuyeux répondant au nom de... Fun Boy Three (humour ding. Donc, tout va bien... anglais !), dont je n’ai pas gardé grand souvenir. Avant la C’est après avoir retourné l’omelette que le doute s’ins- sécession, ils participent au 45 tours 3 titres publié en talle : Stereotypes déroule une mélodie dont les accords 1981, Ghost Town qui renouvelle leur reggae-Morricone semblent tomber régulièrement d’un ton ou d’un dièse (je sur le thème de la désertification en milieu rural (“Do you vais pas faire une thèse de musicologie, mais on a l’im- remember the good old days before the ghost town...”) pression que la musique “dégueule” au fur et à mesure autant que sur celui plus sensible des jeunes de banlieue qu’elle avance !), le tout enrobé de guitares espagnoles sans emploi livrés à eux-mêmes (“Why must the youth venues d’une Féria non identifiée, de trompette dont n’au- fight against themselves ? / Government leaving the youth rait jamais voulu Jean-Claude Borelli, d’une boîte à ryth- on the shelf / No job to be found in this country...”). Rien me désopilante et de chœurs empruntés à Ennio Morrico- n’a changé depuis. La voix d’outre-tombe et les démo- ne. Au moment où tu t’interroges sur le bon état de la niaques chœurs de farfadets sont à l’image de la pochet- courroie d’entraînement de ta platine, le morceau s’arrête te !... Etrange et envoûtant. pile entre deux notes... et reprend de plus belle sur la Deux titres au verso : Lyn- plage suivante ! Là, tu te dis qu’en plus du matériel Hi-Fi, val Golding s’interroge sur c’est également ta consommation de Jack Daniels (salut le racisme ordinaire (Why) Fred !) qu’il te faut sérieusement remettre en cause... et Terry Hall raconte sans C’est en fait Stereotypes II sur 7’24” (!) avec un impres- emphase ses week-ends sionnant toasting du percussionniste Neville Staples (le planifiés... aussi ordinaires toasting n’est pas un nouveau robot Moulinex, mais une (“I go out on Friday night façon de chanter sur un rythme reggae-dub, genre de pré- and I come home on Satur- rap si tu veux). Passé Holiday Fortnight, dispensable day Morning”). Succès VINYL n°46 • Mai - Juin 2005 VINYL - 23 rue des Menus Plaisirs - 78690 Les Essarts-le-Roi ([email protected]) local, mais diffusion confidentielle chez nous.
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