Rock & Folk
n°369
pays magazine: France
date: mai 1998
Couverture "Shirley Manson est venue changer la face de la pop, son groupe s'appelle Garbage"
article de 7 pages (interview du groupe)
Photographies de Daiske

> article
 
 
 

Enregistrer

 Paris Match
n°350
pays magazine: France
semaine du 03 au 09 novembre 2016
article

Garbage n'a pas dit son dernier mot

  L'album est un peu passé à la trappe à sa sortie en juin dernier. Pourtant, toujours mené par la délicieuse Shirley Manson, Garbage a encore des choses à dire. Sur "Strange Little Bords", Shirley raconte la femme qu'elle est, une chanteuse de 50 ans qui a longtemps lutté côté amour et qui aujourd'hui n'est pas spécialement proche des membres du groupe. "Ce ne sont pas des garçons à qui je confie mes tourments, lâche-t-elle, sincère. Mais il n'y qu'ensemble que l'on arrive à créer."
Sur scène, en revanche, la magie est intacte, le charisme de la flamboyante Ecossaise prenant le pas sur ses complices musicaux. Ils viennent une nouvelle fois le prouver à Paris.
"Strange Little Birds" (Cooperative Music). En concert le 5 novembre à Paris (Salle Pleyel).
Photographie de Helene Pambrun pour Paris Match.

Garbage Album

1995 
Fix Me Now
chanson n°11 de l'album

Enregistrement: La chanson a été écrite et enregistrée par les quatre membres du groupe, dans leur propre studio d'enregistrement (les Smart Studios à Madison, dans le Wisconsin) en même temps que les autres titres de leur premier album, entre avril 1994 et mai 1995.

Paroles
Things don't have to be this way
Catch me on a better day

Bury me above the clouds
All the way from here
Take away the things I need
Take away my fear

Hide me in a hollow sound
Happy evermore
Everything I had to give
Gave out long before

Fix me now I wish you would (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should (Fix me now)
From hollow into light

Crashing silent broken down
Falling into night
Who gave up an who gave in
I'll go without a fight

Cut me down or cut me dead
Cut me in or out
Kiss me blind time after time
Take away my doubt

Fix me now I wish you would {Fix me now I wish you would} (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should {Kiss me blind somebody should} (Fix me now)
From hollow into light

Oh, oh, oh, yeah... x4

Things don't have to be this way
Catch me on a better day

Nowhere only down from here
Pick me off the floor
Take away the things I dream
One time one place one more

Fix me now I wish you would {Fix me now somebody should} (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should {Fix me now somebody should} (Fix me now)
From hollow into

Fix me now I wish you would {Fix me now somebody should} (Fix me now)
Bring me back to life (Fix me now)
Kiss me blind somebody should {Fix me now somebody should} (Fix me now)
From hollow into light

Things don't have to be this way
Catch me on a better day
Things don't have to be this way
Catch me on a better day.

Traduction
Les choses n'ont pas à être comme cela
Attrapes moi lors d'un jour meilleur

Enterre moi au dessus des nuages
N'importe ou loin d'ici
Emporte les choses dont j'ai besoin
Emporte ma peur

Cache moi dans un bruit creux
Plus jamais heureux
Tout ce que je devais donner
Je l'ai donné il y a bien longtemps

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière

Fracas silentieux, décomposé,
Tombant dans la nuit
Qui a abandonné et qui a cédé
Je partirais sans me battre

Réduis moi ou coupe moi morte
Interrompts moi ou supprime moi
Enbrasse moi aveuglément jours après jour
Eemporte mes doutes.

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière

Oh, oh, oh, yeah... x4

Les choses n'ont pas à être comme cela
Attrapes moi lors d'un meilleur jour

Loin de cet endroit
Enleve moi du sol,
Emporte les choses dont je rêve
Une fois, un endroit, une fois de plus

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière

Règle moi mon compte, j'espere que tu. (règle moi mon compte maintenant)
Ramène moi à la vie (règle moi mon compte)
Embrasse moi aveuglement, quelqu'un devrais (régle moi mon compte maintenant)
De l'ombre à la lumière

Les choses n'ont pas à être comme cela
Attrape moi lors d'un jour meilleur
Les choses n'ont pas à être comme cela
Attrape moi lors d'un jour meilleur

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

   Isthmus
The Weekly Newspaper of Madison

pays magazine: USA
date September, 21, 2001

> article on isthmus.com
Garbage: Can the Madison band's new sound succeed in the fickle pop marketplace?
by Tom Laskin

Garbage emerge with a new sound, but can they match their old success ?

Garbage have a problem on the eve of the Oct. 2 release of their third CD, Beautifulgarbage. A really big one.

Back in the mid-'90s, when the Madison-based band first made their mark on the international pop scene, buoyant, angst-filled tunes like "Queer" and "I'm Only Happy When It Rains" fit easily into a commercial music world chock-full of alternative rock and pop acts. These were halcyon days for the new, mildly subversive bands that followed in the wake of Nirvana's paradigm-shifting Nevermind, a recording that also transformed the musical life of its producer, Garbage member and Madison resident Butch Vig.

But today, everything's changed in the music industry. Companies have cut back on the number of discs they release each year; CD sales are declining in this country and elsewhere; top-selling bands that Garbage once shared stages with (e.g., Smashing Pumpkins) no longer exist. More important, the much-ballyhooed rock revival currently taking control of the sales charts in the United States favors Godsmack, Slipknot, Limp Bizkit and other aggressive, ultra-masculine "mud" metal acts whose roots extend to '80s hair bands, gangsta rap and hardcore punk.

Garbage, on the other hand, is led by changeable Scottish singer Shirley Manson, who's in the habit of layering moody self-deprecation over the band's mix of European-influenced electronic beats and '60s-inspired song structures. Frankly, both the singer and the songs will strike some teenage and preteen listeners as coming from another pop age.

And Garbage's membership realizes as much. As drummer Vig puts it: "I don't think we feel hemmed in creatively by pop or 'mud,' but it's definitely a weird time in music. We're on our third record, and we feel very lucky about that. Everything's so singles-oriented and hit-oriented now that most bands really don't have a 'career' anymore. The whole manufactured bubblegum thing with Britney Spears and O Town and the Backstreet Boys -- that's what it's all about now."

Vig points out that Garbage have never had a hit single in this country. "We've had songs in the past that have been minor radio hits or on MTV, but they haven't, you know, been massive," he says, stroking his black, Dutch Master-style Vandyke beard during an interview on Smart Studios' small second-story deck. "Really, we're lucky that we've done well enough to continue doing this. But we just made this record, and we hope people buy it."

Like Vig, Garbage's fiftysomething guitarist and keyboardist, the lanky Duke Erikson, flirted with big-time success in the local bands Spooner and Fire Town before scoring with Garbage. "Where do we fit in right now?" Erikson asks. "We probably don't fit anywhere. That's really been true all along during our career. In the past it was a bit more clear where we would land, but we never had the feeling that we belonged to any of the genres, say, on the radio. Sure, we've heard from the record company that what we're doing is over or whatever, but I don't know, we've always tried to make a niche for ourselves."

In the past, finding that niche on the radio and in the CD racks led to both popular and financial success. After spending time in the aftermath of Nevermind's success recording and remixing everyone from Smashing Pumpkins to Nine Inch Nails, Vig was ready to use his modest Madison recording facility, Smart Studios, for a personal musical project. Smart co-owner Steve Marker, a longtime musical associate and friend, and Erikson had the same inclination. But unlike many of their peers in the Madison music scene, they weren't especially interested in following the normal route of playing clubs and hoping for label interest. Instead, they cast about for a female singer to front the band, eventually hitting on Scotland's Shirley Manson, whom Marker had caught on MTV singing in a video by her old band Angelfish. When "Queer," the fledgling band's contribution to a small English CD magazine, began to receive regular U.K. airplay in 1994, they quickly secured a prominent place in the burgeoning alternative rock marketplace.

Both Garbage's self-titled debut album and the more electronic Version 2.0 were commercial successes, confirming that the band was not simply the flavor of the month. Each has sold 4 million copies worldwide, and Garbage have endured as other onetime alt-rock stars have faded into musical memory. Whether they can maintain those numbers in an industry that cares about little else depends on the quality of the material on Beautifulgarbage.

Future success, however, also depends on making new inroads in the American music market. With the first album, there was a 50-50 split between sales in the U.S. and the rest of the world, says Vig, and that was to be expected, given the way European audiences first warmed to the band. Version 2.0 didn't do nearly as well in the U.S., with the sales split running 60-40 in favor of purchases abroad. When it comes to commercial pop acts, the theory is that while the rest of the world is important, longevity and popularity are determined by U.S. audiences.

At the end of the day, Garbage, like any other major- or indie-label band, really have limited control over how their music does at the cash register. Erikson and Vig both understand as much, and are taking a wait-and-see attitude until the new album is out for a few months. Much to their delight, what they can count on these days is being received by the press as a "real" band after many years of being dealt with as a kind of artificial studio creation.

"We just did a three-week press trip in Europe, and this is the first time that people didn't ask me, like on the first record, about Kurt Cobain," Vig explains with a smile. "Or about what it was like to be in the background behind Shirley, or if we were a real band, which they asked all the time on the second record. This is the first time that they just asked about the music, and that was refreshing. Vig says a certain cynicism greeted Garbage's first two records. "We felt that a lot of journalists didn't think we were the real deal," he says. "That we were this weird studio concoction. But we knew we were a band. We lived together and worked together and wrote and produced together and were friends. But I think after playing 270 concerts and all the attendant interviews and other press stuff, people don't care about those questions about the band anymore. Now they're just open and curious about what kind of music we made."

That new music doesn't represent a radical break from either their debut or Version 2.0. On the other hand, the considerable sonic tweaking and abundant sampling that characterized the latter CD have been removed from Garbage's palette. Bass, drum and guitar configurations support songs that in the past would have been gussied up with a wealth of keyboards and other multitracked instruments. And Manson, who some critics have felt came across as mechanical and disengaged on past efforts, exposes her core emotions with singular intent on two bittersweet reflections on failed relationships, the wistful "Cup of Cup" and the crepuscular lover's lament "Drive You Home."

Would-be radio tracks like the bombastic guitar anthem "Shut Your Mouth" and the broad, Phil Spector-style salute to '50s girl groups "Can't Cry These Tears" glisten with a familiar studio sheen, but they don't really represent the overall feel or musical direction of Beautifulgarbage. In fact, if there is a musical theme running through the album, it's the band's abandonment of digitally manipulated perfection in favor of rawer guitars and more immediate vocal performances.

It's no accident that Garbage sounds more like bands that come together in a practice space and then slug it out on a van tour for months at a time. Both Erikson and Vig say that Garbage wanted to reflect the chemistry they established from playing hundreds of concerts and spending days together on cramped tour buses.

"It's a much simpler record than Version 2.0," Vig says. "All of the songs sort of came from us playing live downstairs [in Smart Studios] with guitar, bass and drums. Duke might be playing piano or keyboards too. That was the only conscious decision we made -- to make the songs simpler. Some of the songs are still layered in spots; compared to the last record, there're about half as many tracks. As far as sounds go, it's basically drums, bass, some heavy guitars and Shirley singing. There aren't 10 extra drum tracks or 10 extra guitars panning back and forth between channels."

Erikson concurs that the move toward a live band sound and relative simplicity in terms of production are clearly reflected in the final mix of the album. "A lot of songs took shape in just a few hours as opposed to a few months with the last record," he says. "Some of the songs obviously took a long time, or we wouldn't have been in the studio for a full year. But a lot of them happened very quickly. 'Silence Is Golden' we recorded basically in three days and it was done. 'So Like a Rose,' for the most part, was recorded in three hours. I think we spent a lot of time just trying to resist adding stuff to [the new album]. Because that was our tendency on the other two records."

Erikson admits that Garbage has had a hard time knowing when to stop in the studio, laughing at the band's previous obsession with sonic detail. "Whether it's painting or writing or recording music, knowing when to stop is half of art," he says. "We just kept right on a-goin" on the first two records. We were trying to make these big soundscapes, a Jackson Pollock painting rather than a Rothko."

In terms of lyrics, all of which are written by Manson, Erikson and Vig feel that working fast helped bring an immediacy to the new album as well. The relationship tunes really do sound as if they came in a flash of inspiration to Manson as she jammed with the "boys" at Smart Studios. But a pair of tracks, the in-your-face rock-pop construction "Shut Your Mouth" and the genuinely angry "Parade," radiate a more deliberate tone and message. Lines like "We know your music but of course we'd never buy it" from "Shut Your Mouth" and "Oh let's bomb the factory/That makes all the wannabes" from "Parade" seem to hit directly at the music fans and a music industry that can either make or break commercial acts like Garbage. That's a change, too, given Manson's past affection for expressing a generalized discontent with herself and the world around her.

Since Manson wasn't made available for interviews, it's hard to determine how much contempt she now feels for the trend-generating machine that helped make Garbage a success. And neither Vig nor Erikson is so impolitic as to offer a pointed interpretation of these very harsh songs. After a pause, however, Vig does allow that "they aren't specifically responses to the industry, but they could be read that way. Shirley has said that, for example, 'Shut Your Mouth' is about all the bullshit that's out there, but it's also a sort of note to self to keep your mouth shut, because she says she's the biggest, most opinionated loudmouth of anyone around. So they work on multiple levels."

Does that mean Garbage are merely playing with anti-industry and anti-mass-culture rhetoric? Any real animosity would be understandable in light of a protracted legal battle with the Universal Music Group, which absorbed the band's original American label, Almo Sounds, and then attempted to transfer Garbage's contract to the Interscope label without any input from the band. That legal fight, says Vig, is currently in limbo, and in fact, the new CD bears both the Almo and Interscope imprints. For now the band and its corporate bosses both seem content to shift into promotion and touring mode and leave the bickering to the lawyers.

Even if Garbage can't be pinned down when it comes to critiquing their personal relationship with the industry, one thing's for sure: On some levels Beautifulgarbage is far less commercially accommodating than any of the band's previous work. It embraces no particular sound or style. It comes across with ideas and commentary that challenge rather than coerce, and the playing lacks the burnished, artificial quality that's characteristic of so much youth-oriented music these days.

Whether any of these changes attract the attention of the wider music-buying public is the big question mark. Garbage say they'll know more when the album is released in October and when they mount a major world tour sometime this winter. Right now, they're just another veteran rock band trying to fit into a rapidly changing music industry.

Enregistrer

Enregistrer

Garbage Album Tour

01 juin 1996
HFStival
RFK Stadium
Washington, DC
USA

Groupe

Shirley Manson (chant, guitare)
Steeve Marker (guitare et clavier)
Duke Erikson (guitare et clavier)
Butch Vig (batterie)
Daniel Shulman (guitare basse)

Affiche

A l'affiche de ce festival:
Inner Stage
Goldfinger
Foo Fighters
Cracker
Afghan Whigs
The Presidents of the United States of America
Garbage
Jewel
Gin Blossoms
Everclear
No Doubt
Lush
Jawbox
 Outer Stage
Gravity Kills
Fred Schneider
Girls Against Boys
Jimmie's Chicken Shack
Dishwalla
Guided by Voices
Solution A.D.
Howlin' Maggie

Setlist

1. Queer
2. Fix Me Now
    3. Not My Idea
   4. My Lover's Box
5. Stupid Girl
6. Only Happy When It Rains
7. Vow

Concert

> Ticket d'entrée 
 

 - captures -
 
 
 

Backstage
- captures -
 

- reportage:  interview + live (Garbage à 4:57) -

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

Enregistrer

Garbage Album

1995 
My Lover's Box
chanson n°10 de l'album

Enregistrement: La chanson a été écrite et enregistrée par les quatre membres du groupe, dans leur propre studio d'enregistrement (les Smart Studios à Madison, dans le Wisconsin) en même temps que les autres titres de leur premier album, entre avril 1994 et mai 1995; avec, pour ce titre, la participation du percusionniste Pauli Ryan.

Paroles
My lover's charms
Are in a box
Beneath my bed
And piece by piece
I'll cherish them
Until the end

Send me an angel to love
I need to feel a little piece of heaven
Send me an angel to love
I'm afraid I'll never get to heaven

They burn my hand
Scar my face
And blind my eyes
I'll steal your breath
And throw away
What I despise

Send me an angel to love
I need to feel a little piece of heaven
Send me an angel to love
I'm afraid I'll never get to heaven

Between these walls
And darkened halls
I've done my time
If I should die
Before I wake
Then you'll know why

Send me an angel to love
I need to feel a little piece of heaven
Send me an angel to love
I'm afraid I'll never get to heaven (Piece by piece)

Send me an angel to love (Piece by piece)
I need to feel a little piece of heaven (Piece by piece)
Send me an angel to love (Piece by piece)
I'm afraid I'll never get to heaven (Piece by piece)

Piece by piece
Piece by piece
Piece by piece (Send me an angel)
Piece by piece (Send me an angel)
Piece by piece (Send me an angel)
Piece by piece (Send me an angel)

Traduction
Tous mes charmes
Sont dans une boite
Sous mon lit
Et morceaux par morceaux
Je les chérirais jusqu'à la fin

Envoi moi un ange de l'amour
Je veux sentir une petite part du paradis
Envoi moi un ange de l'amour
J'ai peur je n'obtiendrais jamais le paradis

Ils brûlent ma main
Me défigure
Et me crèvent les yeux
Je volerais ton souffle
Et jetterais toujours
Ce que je méprise

Envoi moi un ange de l'amour
Je veux sentir une petite part du paradis
Envoi moi un ange de l'amour
J'ai peur je n'obtiendrais jamais le paradis

Entre ces murs
Et ces salles obscur
J'ai fait mon temps
Si je devais mourir
Apres m'être éveillée
Alors tu saurais pourquoi

Envoi moi un ange de l'amour
Je veux sentir une petite part du paradis
Envoi moi un ange de l'amour
J'ai peur je n'obtiendrais jamais le paradis (morceaux par morceaux)

Envoi moi un ange de l'amour (morceaux par morceaux)
Je veux sentir une petite part du paradis (morceaux par morceaux)
Envoi moi un ange de l'amour (morceaux par morceaux)
Je veux sentir une petite part du paradis (morceaux par morceaux)

Morceaux par morceaux
Morceaux par morceaux
Morceaux par morceaux (Envoi moi un ange)
Morceaux par morceaux (Envoi moi un ange)
Morceaux par morceaux (Envoi moi un ange)
Morceaux par morceaux (Envoi moi un ange)

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

Bleed Like Me

2005 
Why Do You Love Me
premier single et chanson n°4 de l'album

Enregistrement: Le groupe a commencé l'écriture de leur quatrième album en octobre 2003 dans leur Smart Studios à Madison (dans le Wisconsin), mais rencontrant des difficultés, ils se séparent temporairement pour faire un break et se retrouvent au début de l'année 2004 pour retravailler sur l'album. Ils décident de se débarasser des rudiments de guitares (électriques et basses) et de batterie, pour mettre en avant la voix de Shirley Manson. 

Composition: Pour mieux se concentrer sur l'enregistrement des pistes, Butch Vig a demandé à Matt Walker de jouer de la batterie à sa place sur certains morceaux (dont Why Do You Love Me). De même pour la guitare basse, jouée par le musicien Justin Meldal-Johnsen. Why Do You Love Me a été masterisé par Emily Lazar et Sarah Register au Lodge à New York. Avec ce titre, Garbage marque son retour au rock brut et aux paroles un peu sombres. La chanson parle d'un couple qui se défait, d'une incompréhension du point de vue de la femme (Shirley): elle manque de confiance en elle en se dévalorisant, se demandant pourquoi son homme l'aime (le titre de la chanson). Shirley a mis beaucoup d'elle-même dans les paroles, elle fait part de ses doutes et ses peurs et ne se sent pas attirante. Côté vie privée, l'année 2003 marque le divorce de Shirley d'avec son (premier) mari Eddie Farrell (le couple s'était séparé depuis 2001). Aujourd'hui encore, quand le groupe interprète le titre sur scène, il arrive à Shirley de dédicacer cette chanson à son actuel (et second) époux, l'ingénieur du son Billy Bush.
Ce désaccord au sein d'un couple exprimé dans les paroles peut être aussi perçu comme une métaphore du malaise qui a régné au sein du groupe au début de l'enregistrement de l'album, qui les a mené à faire une pause de plusieurs mois.

Paroles
I'm no barbie doll
I'm not your baby girl
I've done ugly things and I have made mistakes
And I am not as pretty as those girls in magazines
I am rotten to my core if they're to be believed
So what if I'm no baby bird hanging upon your every word ?
Nothing ever smells of roses that rises out of mud

Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me

You're not some little boy
Why you acting so surprised
You're sick of all the rules
Well I'm sick of all your lies
Now I've held back a wealth of shit, I think I'm gonna choke
I'm standing in the shadows with the words stuck in my throat
Does it really come as a surprise when I tell you I don't feel good?
Nothing ever came from nothing man
Oh man, ain't that the truth

Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me

I get back up and I do it again
I get back up and I do it again
I get back up and I do it again
I get back up and I do it, I do it again

I think you're sleeping with a friend of mine
I have no proof but I think that I'm right
And you've still got the most beautiful face
It just makes me sad most of the time

I get back up and I do it again
I get back up and I do it again
I get back up and I do it again
I get back up and I do it, I do it again
Do it again
Do it again
Do it again

Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me
Why do you love me, it's driving me crazy
Why do you love me
Why do you love me
Why do you love me
Why do you love me

Traduction
Je ne suis pas une poupée Barbie
Je ne suis pas ta petite poupée
J'ai fais des choses affreuses et j'ai fait des erreurs
Je ne suis pas aussi belle que ces filles dans les magazines
Je suis pourrie jusqu'à l'os si on doit les croire
Et si je ne suis pas un bébé oiseau s'accrochant à chacun de tes mots ?
Rien ne sent jamais des roses qui sortent de la boue

Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu

Tu n'es pas un petit garçon
Pourquoi agis-tu avec surprise
Tu en as marre de toutes les règles
Et bien j'en ai marre de tous tes mensonges
Maintenant j'ai gardé plein de merde en moi, je pense que je vais étouffer
Je me tiens dans l'ombre avec les mots coincés dans la gorge
Est-ce vraiment surprenant quand je te dis que je ne me sens pas bien ?
Rien n'est jamais venu de rien, mec
Oh mec, n'est-ce pas la vérité

Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu

Je me relève et je le refais
Je me relève et je le refais
Je me relève et je le refais
Je me relève et je le refais, je le refais encore

Je crois que tu couches avec une de mes amies
Je n'ai pas de preuves mais je pense que j'ai raison
Et tu as encore le plus beau visage
Ça me rend juste triste la plupart du temps

Je me relève et je le refais
Je me relève et je le refais
Je me relève et je le refais
Je me relève et je le refais, je le fais encore
Je le fais encore
Je le fais encore
Je le fais encore

Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu, ça me rend folle
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu
Pourquoi m'aimes-tu

Le single: Stimulé par leur label qui souhaite sortir le titre en tant que premier single du nouvel album, le groupe accepte; Shirley d'expliquer: "Nous avons choisi "Why Do You Love Me" comme le premier single parce qu'il exprime beaucoup de changements d'humeurs et que cela incarne l'intégralité de l'album. Je sens qu'à la base de chaque personne, il ya une conviction que nous sommes vraiment adorables. Mais nous l'interrogeons souvent, c'est pourquoi nous cherchons des relations exclusives."

 
 >-> Pochettes des singles: Europe / UK / UK <-<

08 mars 2005
digital download - USA / Canada - Geffen
Why Do You Love Me

29 mars 2005
VINYLE  - UK - label?
    Why Do You Love Me – 3:52
Space Can Come Through Anyone – 3:18

février 2005
CD  - UK / Europe - A&E Records
    Why Do You Love Me – 3:52
Nobody Can Win – 2:51

27 mars 2005
e-CD maxi single  - Europe/Mexique/Australie
 Why Do You Love Me – 3:52
Space Can Come Through Anyone – 3:18
Nobody Can Win – 2:51
I Just Want to Have Something to Do – 2:25
Why Do You Love Me (video) – 3:52

4 avril 2005
DVD  - UK
  Why Do You Love Me – 3:52
Cherry Lips (Le Royale mix) – 3:15
Why Do You Love Me (video) – 3:52
Bleed Like Me: Interview (video) – 10:00

Digital EP  - international
 Why Do You Love Me – 3:52
Space Can Come Through Anyone – 3:18
Nobody Can Win – 2:51
I Just Want to Have Something to Do – 2:25

Les faces-b des singles :
- Space Can Come Through Anyone
- Nobody Can Win
- I Just Want to Have Something to Do

Le clip vidéo a été tourné les 30 et 31 janvier 2005, dans un studio de Los Angeles, et réalisé par Sophie Muller. Les scènes à la fin du clip, montrant le groupe interpréter la chanson en live devant un public, ont été tournées le 31 janvier: pour les besoins de la scène, Garbage avait lancé un appel à leurs fans via leur site web. Quelques jours plus tard, Shirley Manson poste sur le site un message de remerciement pour tous les fans qui ont participé au clip.
Les deux premiers tiers des images du clip sont en noir et blanc, rappelant le style des films noirs, et montrant le groupe en conflit, faisant ainsi référence au passé du groupe -d'où le choix du noir et blanc pour évoquer le passé: les garçons d'un côté, se disputant; Shirley restant à part à les observer; puis le groupe réuni à visionner des rushs que n'apprécient pas Shirley. La vidéo rend aussi hommage au groupe Blondie (et leur album Parallel Lines de 1978 avec le mur aux lignes noires et blanches verticales que peint Duke Erikson) et sa chanteuse Debbie Harry (en poster sur le mur derrière Shirley). Le dernier tiers de la vidéo, montrant Shirley dans son bain et le groupe jouer en live devant un public de fans, est tourné en couleur, pour mettre en relief la réunion du goupe dans la musique et pour leurs fans.

 
Le mur noir et blanc de l'album Parallel Lines de Blondie

> vidéo

> captures
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 

> Sur le tournage - photographies
   

> Sur le tournage - captures
 
 
 
 
 
  

> MAKING OF - video:

La promo- Performances télés et sessions accoustiques pour les radios où le groupe a interprété Why Do You Love Me en live:

> XFM - UK - 23/03/2005
> CD: UK - UK - 26/03/2005
> L'ALBUM DE LA SEMAINE - Canal + - 28/03/2005
> 20h10 Petantes, Canal + - France - 01/04/2005
> Friday Night with Jonathan Ross - UK - 01/04/2005
> TOP OF THE POPS - UK - 01/04/2005
> POPWORLD - UK - 03/04/2005
> NAPSTER live - UK - 01/04/2005
> DC101 - USA, Washington - 21/04/2005
> TRAFFIC MUSIC - France - 22/04/2005
> MUSIQUEPLUS - Canada - 23/04/2005
> WXRT - USA, Chicago - 03/05/2005
> Xtreme Session WKRK FM - USA, Cleveland - 10/05/2005
> ROVE LIVE - Australie - 20/09/2005

> Sur le web:
article Why Do You Love Me wikipedia 
les singles Why Do You Love Me sur garbage-discography  

© All images are copyright and protected by their respective owners, assignees or others.
copyright text by GinieLand.

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Enregistrer

Enregistrer

  Spin

pays magazine: Angleterre
date avril 1996
Couverture Red Hot Chili Peppers
Article: de 3 pages "More than a Woman"
Photographies de Christian Witkin